The Hellhound Sample [NOOK Book]

Overview

YOU DON'T NEED TO GO TO THE CROSSROADS TO MAKE A DEAL WITH THE DEVIL. THE CROSSROADS WILL COME TO YOU. James 'Blue' Moon, the greatest living bluesman, was ten years old when he saw Robert Johnson playing on a street corner. Now, more than seventy years later, he's dying of cancer. His last wish is to reunite his estranged family - his soul-diva daughter Venetia Moon and his grandson, hip-hop mogul Calvin 'Ice Blue' Holland - for one final album. Enter his former protégé, hapless British blues-rock superstar Mick...
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The Hellhound Sample

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Overview

YOU DON'T NEED TO GO TO THE CROSSROADS TO MAKE A DEAL WITH THE DEVIL. THE CROSSROADS WILL COME TO YOU. James 'Blue' Moon, the greatest living bluesman, was ten years old when he saw Robert Johnson playing on a street corner. Now, more than seventy years later, he's dying of cancer. His last wish is to reunite his estranged family - his soul-diva daughter Venetia Moon and his grandson, hip-hop mogul Calvin 'Ice Blue' Holland - for one final album. Enter his former protégé, hapless British blues-rock superstar Mick Hudson, who has unfinished business with all three of them, plus a posse of vengeful gangstaz and a mysterious figure with whom Blue struck a deal one dark, bloody night at a haunted crossroads back in his native Mississippi Delta. It's a potent mix of secrets, nightmares and lies, spanning decades and continents. James 'Blue' Moon has one last chance to escape the hellhound on his trail ... if the cancer doesn't get him first. YOU NEVER GET OUT OF THESE BLUES ALIVE.
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Editorial Reviews

From the Publisher
"The rock critic's rock critic.” -- Q Magazine

"Rock's original gunslinger.” -- Independent on Sunday

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Product Details

  • ISBN-13: 9781900486897
  • Publisher: SCB Distributors
  • Publication date: 10/23/2012
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 292
  • File size: 762 KB

Meet the Author

Ralph J. Gleason Music Book Award winner CHARLES SHAAR MURRAY has been appearing regularly in print for four decades, and has long been recognised as one of the most admired stylists in British pop-cultural journalism. He is "the rock critic's rock critic" (Q magazine), a "front-line cultural warrior" and "original gunslinger" (Independent on Sunday). He is the internationally acclaimed author of Crosstown Traffic: Jimi Hendrix And Post-war Pop and Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. This is his first novel. It's a killer.
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Read an Excerpt

Mick Hudson always used to say that the inspiration for the invention of Velcro must've been the floor of the Marquee Club. Take a bunch of cheap but heavy-duty industrial carpeting, marinate it for decades in a toxic blend of sweat, trodden-in cigarette ash and spilt drinks, and you had something which stuck to the soles of your boots like it loved you so much it didn't want to let you go, making this weird schlup-schlup sound with every step you took. And, strangely enough, this phenomenon seemed to remain constant no matter how many times The Marquee shifted location. The prosaic explanation was, of course, that an economy-minded management simply took the same old carpet with them whenever they moved.
Mind you, four decades and change as a professional muso, with all the attendant substance abuse involved, must've played absolute hell with Hudson's memory for minutiae. The first time he'd played the celebrated rock dive, where every big name from the Stones onwards had gotten their start, had actually been at the original premises in Oxford Street, and in those days the club hadn't had carpet at all, just a bare wooden floor.
That was when he was playing lead guitar for Bluebottle, his first professional band. 'Professional', in this particular context, simply meant that they didn't have day jobs: whatever meagre income they managed to scrape together derived more or less exclusively from playing gigs. And their so-called manager was about as much use as a chocolate teapot. Arthur Blunt wasn't even really a manager at all, just a friend of the drummer's dad who'd played piano in music halls a long time ago and fancied 'keeping his hand in with show business.' Under his 'expert guidance,' the band had released one single on EMI's HMV subsidiary, a Brill Building pop song wished on them by their producer, which they'd attempted to roughen up with the wailing harmonica and rustling maraccas standard for post-Rolling Stones R&B groups with pop ambitions, but it had been a disaster. Simultaneously too poppy for the band's small but growing live following and too raucously bluesy for mainstream pop fans, it had fallen between the two stools with a resounding thud, selling barely 500 copies.
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    Posted November 22, 2012

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    She ate a mouse

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