At $25, it's not on my must-read list. Plus, I lost most enthusiasm for it when we found out the author said "Please E, edit this and tell what I may and may not say." I got the impression that it turned into a sanitized, over-large press release.

I think Grierson deserves credit for writing about Bad Dude in Love, and the book is worth reading for the very entertaining insights of Carter. In fact, Grierson does a pretty good job of covering the early years of E's career. Unfortunately, the more recent the events being covered get, the more the quality of the book begins to wane. A "santized, over-large press release" is perhaps a tad harsh. However, with a few exceptions, I remember thinking that the second half of the book doesn't really reveal, let along analyse, anything about E and Eels which either (a) couldn't be discovered via Google, or (b) would not be favourable towards E. 

I facepalm every time people start gushing about about that song on here. I really think it is the definitive throwaway E track. What is that breakdown all about?

I am in agreement about Hombre Lobo being the best of the trilogy.

It is still a bit disappointing that this is the case. When talk of more albums following first came up I thought: "I imagine the really great stuff is coming. HL must just be something that he has dashed off extremely quick -- like Shootenanny. It won't exactly be filler, but the other albums will probably more in the deeper, higher-class, ESB or Daisies mould." I was wrong.

Also, all this talk of "Somebody Loves You" makes me want to hear that original basement demo which, I think, was put up on the official site back in the day. I think was just E on piano, and it sounded like it was recorded on a boombox. I am pretty sure there was an original demo for "I'm Going to Stop Pretending . . ." as well. I may have got the instrumentation for these recordings wrong -- was one of them played on guitar? -- but they did exist didn't they?   

I have just recently received my copy. The pictures alone make it a worthwhile purchase. I have read the first 45 pages and, while I do agree that the vast majority includes nothing new for any of the Eels fans on here, there are more than a couple of interesting areas covered in those pages. These are mostly things that were omitted--or just glossed over--in the autobiography.

I am hoping that once I get beyond E's formative years and onto the Eels material, there will be even more new information unearthed. Specifically, I am looking forward to hearing more from the people he has worked with: to hearing there views on the work they and E have done together.

EDIT: I've finished it now. It was a very nice read.

*Spoilers* Discovering just how far his and Tommy's releationship has been repaired was pretty eye opening (they are pretty much close friends now; Tommy even got married at E's house). The fact that Tommy said he and E had actually spoke about reforming the original lineup is also particularly exciting. Anything that gets Butch and E back working together would be great.

Speaking of Butch, it is a shame that he was unable to contribute directly to the book because of some kind of gagging order. Of all the collaborators who are interviewed in the book, it is Butch who I would most like to hear talk about what it is like to work with E.

That is not to say that Butch doesn't get a word in. Grierson has obviously carried out some painstaking research and archival work. He uses quotes from interviews regularly and generally to great effect. One criticism I would make, however, is that there are moments when he perhaps does this too much. Huge blocks of text are often taken up with quotes from interviews, and their is often very little unpacking of the matter of the quote itself from Grierson. However, I do think that I would be less concerned about this if I were a more casual fan -- one who hadn't read all the interviews and pretty much new all the quotes already. If they were falling on fresh ears, maybe I wouldn't have found this to be too much of a problem.

I do agree with the comments above which state that, generally, Grierson, while clearly a fan, isn't fawning. Also, I think it commendable that he doesn't go down the "expose rout," giving a warts-and-all account of some of the more dramatic moments of E and Eels' history.

However, I think sometimes the balance between these two approaches -- that is, being appreciative, yet objectively critical, and being investigative, but in a respectful manner -- is sometimes a little off kilter. This is more so in the case of E's life, rather than the life of Eels. (Indeed, I really like the fact that, when speaking about Tomorrow Morning, Grierson does acknowledge that E could be seen as simply repeating himself. For the record, I really do think that album is a clear-cut case of rehashing.)

My main criticism regarding Grierson's handling of the balancing act between investigation and respect of privacy is in regards to his marriage and divorce. Less than a page is spent on both of these events combined, and the details given are often extremely sketchy. Basic facts, such as when the divorce/separation occurred are not given. And while Grierson does note that, out of respect for E, his ex-wife, and his wishes, many participants were unwilling to speak on the issue, I still think he could have gone a little further. I didn't want a warts-and-all account. But I also think the marriage does play a significant role understanding the man and a portion of his work -- after all, that is the aim of the the book as a whole. And Grierson, unfortunately, steers well clear of the event. Indeed, E himself gives more information on the event himself in his memoir. I think the fact that Grierson doesn't even weave in any of E's memoir comments on the marriage into his own account -- as he often does in many other areas of the book -- might be indicative of the extent to which Grierson was keen to keep within the confines that his subject, E, expected of him. I think ultimately this wish to keep within all boundaries was slightly detrimental to the book as a whole.

Still, Grierson is a very good writer and he gives a good account of the story of Eels so far. It is an account which manages to be very comprehensive for those unfamiliar with the story and which also contains some fresh and extremely worthwhile insights for the more hardcore fans.       

"Grandfather's Clock Strikes Twelve" could easily be an outtake from Beck's Odelay.

I have always gotten fairly hostile when people make the early-Eels/Beck comparison. I claim that it is a lazy comparison to make. I go on to note that E's vocals are vastly superior to Beck's, and I point to the fact that both Eels and Beck worked extensively with the same producers around the same time.

However, this track does sound uncannily like Beck. In the chorus, the vocals are even similar.

Nice idea. I enjoyed completing it and got 70%.

I need to brush up on my Eels sample knowledge. I also have no clue about E being a studio audience member for a talk show. Can anybody enlighten me on that?

1. In Gratitude For This Magnificent Day   *
02. I'm A Hummingbird   **
03. The Morning   **
04. Baby Loves Me   ***
05. Spectacular Girl   *
06. What I Have To Offer   ****
07. This Is Where It Gets Good   **
08. After The Earthquake   *
09. Oh So Lovely   *
10. The Man   ***
11. Looking Up   no stars
12. That’s Not Her Way   **
13. I Like The Way This Is Going   ****
14. Mystery Of Life   **

Bonus CD
01. Swimming Lesson   **
02. St. Elizabeth Story   **
03. Let’s Ruin Julie’s Birthday   ***
04. For You   ****