This is a review of NIGHT PEOPLE, Book 1 – Things We Lost in the Night, A Memoir of Love and Music in the 60s with Stark Naked and the Car Thieves from Readers’ Review. Thank you, Mamta!
Reviewed By Mamta Madhavan for Readers’ Favorite
Things We Lost in the Night: A Memoir of Love and Music in the 60s with Stark Naked and the Car Thieves by Larry J. Dunlap is an honest memoir in which the author has carefully depicted his years as a young and struggling musician, along with his friends as they strive for fame and fortune. The book also captures the essence of the 1960s when there was a cultural and musical shift. Their transformation from a small band to that of a famous one and their successes change Larry’s perspective on a lot of things in life. In a nutshell, the memoir exposes the 1960s, the music industry, vocal groups, R&B cover bands, Las Vegas, San Francisco, Hollywood recording studios, the nightlife, and the sexual revolution that happened during that period.
The memoir connects with readers intimately as the author shares every small detail of his life. Readers are taken into the author’s world of music, the problems they face as a band, and their struggle for survival initially. The rise of the band opens the way for many other things, and the author also speaks about the sacrifices they make on their way to the top. Many moments in the author’s life are poignantly mingled with misery, happiness, music and sex. I found the book interesting as it speaks about music, the band, recordings and many other things related with music. The challenges the author faces in his life and his love life and other casualties make this memoir a very exciting read.
http://www.atlanticcityweekly.com/ “I remember my mother watching your show when I was a child. Those songs are still in my head as an adult. I would like to know who sings “I’d Like to Have the Pleasure of Your Company” and what year was it released? Thank you — Veronica, via Facebook ”
“The group was called S.N. and the CT’s (Stark Naked and the Car Thieves). Basically it was a studio group that put it together on a little independent label called Sunburst. Didn’t do anything much nationally, but locally a great hit and can be found on the Geator’s For Dancers Only CD, volume 2. Great cha-cha record. The year was 1968.”
IN AUGUST OF 1966, CAESARS PALACE, the most incredible casino/resort/hotel of it’s time, opened its doors to the public. A few months later the most improbable event imaginable happened when Trish Turner, a talented R&B singer who occasionally sang with us in early morning jams introduced me to Clyde Carson, a slight, pasty-faced guy with a mustache so thin it looked painted on ….
“Clyde made me the most inconceivable proposition I’d ever heard. “Would you guys be interested in playing across the street at Caesars Palace?” he said after we’d settled in with our drinks.
He told me he was well connected at Caesars and thought he could get us an audition to open the rumored new Nero’s Nook lounge at the opulent resort hotel. I was incredulous, it had to have been written all over my face. Caesars Palace being justacross the street from the Pussycat might be geographically true, but for a band like Stark Naked and the Car Thieves that mammoth edifice was far across the musical universe from us. Only the biggest, most well known stars played there. Andy Williams, who hosted his own prime time television show, opened the main showroom to an international audience of celebrity and wealth flown in from all over the world just a few months ago. No rock star or group, no matter how famous or talented, had ever broken into a major Las Vegas Strip hotel, not even in the lounges. It would happen one day, but it was utter fantasy to imagine that event would take place now, with an unknown group like us. And certainly not at Jay Sarno’s, Jimmy Hoffa financed, luxurious Caesars Palace, already legendary among the elite for glamor and extravagance. When a rock artist did break that barrier, it would be the Beatles or Elvis, or maybe the Four Seasons, somebody famous worldwide taking the stage. Never an unknown band with no hit records, no matter how good anyone might think we were. It was laughable to think how being popular in a local rock n roll dance club would translate to a stage in the immense casino. Caesars overshadowed every other hotel on the Las Vegas strip, even the storied Sands and Flamingo. What Clyde was suggesting was like a talented Little League team being offered an opportunity to play with the Yankees in major league baseball.
And, of course, as is the case in fairy tales, there was a catch. We’d have to kiss a frog — Clyde Carson. He wanted to be our personal manager.” Continue reading…
Hi, I’m Larry J. Dunlap, and I’m introducing my memoir BAND, memoir of A Naked Car Thief. I’ve been writing since the late seventies when I was in the business side of music. I did artist reviews and a cartoon strip for local music magazines then. Wrote my first story, a science fiction tale about built around a play-by-mail space empire game I was addicted to about then, too. I began professional technical writing after I’d gotten involved in technical training, eventually writing for Fortune 100 companies on contract. In recent years as the press of professional life lessened, I have returned to something I knew I’d have to do before embarking on any other authorial projects, a remembrance of my transition from a young Midwestern man/boy dreamer to a creator’s life in the warm California sunshine via a mid-sixties rock band. An excerpt from this memoir was published in an Inlandia Institute anthology last November.
I’ve always known it was likely I’d be a writer since I have been such an inveterate and addicted reader. For many reasons, I never attempted to write for a wide audience until relatively recently. During the six plus years I was leader of the rock band that grew out of my homespun vocal group in Indianapolis, I formed incredible bonds with my band mates. When we gathered to reminisce, we’d always remind ourselves of the interesting adventures we’d survived. I was always prompted by the guys saying, “Man, you have got to write a book about this.” As the years went by I heard from several of them saying that it was hard to talk about what we’d accomplished because no one could relate to their memories. When I could finally devote myself to this project I wanted to rectify that impression. I realized that vignettes, told out of context, sound like either bragging or disconnection. Telling our story would put it all in context. However, with our fading and differing memories there was only one way to do that, as a personal memoir. The more I settled into the project the more I realized I’d come to the right conclusion. I needed to write about my story, how I felt, what it meant to me, and let the rest of it shine through as I remembered and retold it.
My memoir starts on New Year’s Eve of 1964, though chapter one covers a dangerous and violent night relating to the near hit record our vocal group in Indianapolis almost accidentally had in our nearby big city, Chicago. As a husband of two wonderful little boys and my high school sweetheart wife I loved, I was struggling with finding my creative place in the world. The environment around us in the structured world we grew up in and the hard line taken by our parents finally blew up when the group and I tried to turn ourselves into a working band. Though the first incarnation failed, a miraculous event sealed my fate and I was off to California to join my old buddies in a desperate attempt to create a rock band within a week in the seething musical chaos of San Francisco’s east bay dive bars. At the cost of the wrenching destruction of my family, the journey began that would carry us into adventure after adventure, to the top of San Francisco’s night life, through Hollywood, famous personal managers and record producers, to the heights of Las Vegas’ rock scene and the top of the largest Vegas resorts. A side trip to the Hawaiian islands found us performing for American warriors on R&R during the height of the Vietnam war, where I met a Hawaiian girl who touched me as deeply as my first love. As our status as performing stars rose, though we struggled with recording success, I was certain I’d reached the pinnacle of happiness and success. But there were undercurrents beyond my control that would bring me to the edge of sanity and the end of the music. Somehow I’d have to save my band, hope to save my new family, and try not to lose myself.
I’m currently working my way through the second edit. Memoir is a special form that I’ve come to really appreciate; I learned a lot from Wild, by Cheryl Strayed, and Candy Girl, by Diablo Cody, and read many, many others as I prepped for, and continue to write. I’ve adopted a narrative style including dialog to my memoir because that’s how I remember it even though it was so long ago. We moved through a time of great historical and cultural change the background behind the events of the story; there is no need to embellish the dramatic arc at all, it just is what it was. I hope other memoirists see their story as vividly as I see mine. I’m looking forward to finding more examples of this style to continue to inspire me.
Unfortunately, most memoir readers and many memoir authors see them as tearjerkers, while there’s certainly a low point in my story, so low that it feels more like black humor to me, I’m not looking for sympathy or redemption. Personally, I hate saccharine sweet stories. In my eyes I’m just trying to recount what I think of as a great adventure that I was lucky enough to be a part of, and survive — without judgment. To do this requires honing the skills and dramatic arts of authors of fiction. I hope from the Memoir’s Discussion Group on LinkedIn to be influenced by others who approach their life adventures in this way, and to be a source of influence to others in the style I’ve chosen.