Much like his music, Mark Langen‘s memoir “Sing Backwards and Weep” is a dark, gripping and compelling piece of work. Lanegan is best known as the former frontman of The Screaming Trees as well as an acclaimed solo artist, and his memoir is a must-read for any fan of rock music from the 90s.
The enigmatic dark prince of Seattle music tells stories of getting arrested, being kicked out of a traveling circus, dropping out of the National Guard, getting his legs crushed in a farm machinery accident, battling alcoholism, and doing lots and lots of drugs. And that’s just what happens in the first chapter.
About those drugs. This isn’t a read for the squeamish when it comes to needles. Lanegan is very transparent about his addictions and shares an abundance of tales about getting high. There are almost as many stories about doing drugs, scoring drugs, and dealing drugs as there are about Lanegan’s life as a rock star. One chapter near the back half of the book that takes place in Europe is particularly tough to get through. It details all the painful logistics involved with scoring drugs to stay well while on tour and it is an exhausting read.
Readers likely won’t come away with gained sympathy for Lanegan after finishing his book or a better understanding of his artistic process, but they will have better insight into his life and a newfound respect for his work knowing the sordid details of what he has overcome. Aside from dealing with serious drug addiction, he also battled alcoholism and sex addition on top of having an extremely difficult childhood growing up where he calls “the wrong side of the Cascades” (Ellensburg, Wa.).
Of course, like anyone involved in the Seattle music scene in the 90s Lanegan also endured his share of losses, most notably the death of Kurt Cobain. The stories Lanegan shares about Cobain end up serving as the emotional heart of the book. It’s very clear the two were close friends. While Lanegan often scored drugs for Cobain, they shared a bond that went beyond being junkies together. According to Lanegan, Cobain viewed him as a big brother figure, which made Cobain’s death especially difficult for Lanegan to process.
At one point near the end of the book, Lanegan states “character assassination is a lifelong hobby of mine” and he definitely holds nothing back when naming names. He recounts stories of hallucinogenic drug trips with Layne Staley, former Presidents of the USA drummer Jason Finn spreading a rumor about Lanegan being HIV positive, his near brawl with Liam Gallagher and many other salacious encounters with notable rock stars.
“Sing Backwards and Weep” is filled with gossip but doesn’t read like a tabloid. Lanegan’s matter-of-fact storytelling turns what could be viewed as talking out of school into just a reformed sex addict, alcoholic junkie sharing his experiences.
Surprisingly, because of the way he tells his story (the man is a natural storyteller) he is able to overcome the challenge of being the most unlikeable character in his own memoir. Lanegan never commits any acts that are too despicable, but as the protagonist, he doesn’t do himself any favors by not sterilizing or polishing his memories. But that is the appeal of the book. Lanegan isn’t afraid to share the ugly details of his life, which makes “Sing Backwards and Weep” such an engrossing read.
Lanegan never shares much about regretting his choices (aside from one heartbreaking story of regret involving Cobain) or ends up successfully seeking avenues to change his behavior for that matter. Instead, he owns up to his choices and is well aware that he is his own worst enemy. He makes himself look as bad, and in some cases worse, than the former colleagues and friends whose characters he assassinates.
The book comes to an almost abrupt end in 2002 after the death of Layne Staley. It’s disappointing there aren’t details about his work with Queens of the Stone Age (Josh Homme makes an appearance near the back half of the book), his records with Isobell Campbell or his many acclaimed solo records of the past 18 years. There also are not a lot of details about his work in the studio or his songwriting process.
It would be interesting to find out how he has changed his craft since becoming clean, as well as learn more about the inspirations for his songs. But there is more than enough in “Sing Backwards and Weep” to satisfy Lanegan’s fans as well as anyone who longs for the days of flannel and Doc Martens. Leaving the entire second act of Lanegn’s life left untouched is a curious decision, but it does leave readers wanting more. Perhaps all of that will come in a second memoir.
