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He had it all—the heroin chic thing before it was chic, the scars, the swagger, an incredible stage presence. He was a really intelligent, funny, talented man who enjoyed life and thought it was there to be enjoyed. He chose to take big bites. After bursting on to the Australian music scene in 1975, Dragon fast developed a reputation for both hard rocking and hard living. As the highly visible and charismatic lead singer, Marc Hunter was the voice behind such timeless hits as "April Sun in Cuba," "Are You Old Enough?" and "Rain." Yet Hunter was also a maverick whose destructive genius and serious heroin addiction led to a turbulent relationship with his bandmates, including older brother Todd. His fast living contributed to his early death,�at just�44. This intimate and revealing portrait is the first biography of one of the original hard men of Australian rock. It has been written with full co-operation of Marc’s mother, Voi, and his brother and former bandmate, Todd, as well contributions from many high-profile Australian music personalities such as James Reyne, John Paul Young, Kate Fitzpatrick, Richard Clapton, Don Walker, Kevin Borich, Tommy Emmanuel, and Robert Forster.
- Sales Rank: #6197876 in Books
- Published on: 2012-01-03
- Original language: English
- Number of items: 1
- Dimensions: .90" h x 6.00" w x 9.20" l, .95 pounds
- Binding: Paperback
- 304 pages
About the Author
Jeff Apter is a critically acclaimed music writer. Previously he was Music Editor at Australian Rolling Stone and is author of several books on well-known artists such as Silverchair, Jeff Buckley, and Keith Urban, and the Finn brothers. He is currently co-writing the memoirs of Kasey Chambers and also Mark Evans.
Most helpful customer reviews
2 of 2 people found the following review helpful.
it was always exciting to hear a new (old) song like 'Still in Love' or 'April Sun
By A Customer
I came to Dragon at the beginning of the 'Glory Years' (as their 'Trilogy' tour has it) and knew nothing of their 'Young Years' ... it was always exciting to hear a new (old) song like 'Still in Love' or 'April Sun ...'. I think I came across them on Countdown, no doubt with Molly spruiking them as the biggest thing since ... the last biggest thing.
And then, after 'Body and the Beat' they sort of disappeared from my consciousness. I heard the occasional song on the radio and was surprised when Marc Hunter died, but really paid them little attention.
So it was interesting to read this book, to learn how big they'd been and how their 'lifestyle issues' so often sabotaged their careers. In this book Marc Hunter appeared to me as something of a tragic figure, so talented yet so controlled by his addictions. But I felt the book neither glorified Marc's drug use nor overly condemned him for it.
So a compelling read, telling a story I was very keen to hear.
0 of 0 people found the following review helpful.
I Caught that Dragon!
By Melissa D. Brown
I had trouble tracking down a copy of this book as it is out of print but was lucky enough to find a copy at a local independent store a few months ago.It was worth tracking down.It would be of interest to anyone who has a casual interest in Dragon's music as well as to die-hard fans.It was a shame Marc died so young at 44 when he seemed to have gotten his life together.He would have had more to offer had he lived.
1 of 3 people found the following review helpful.
This is a terrible book
By david nichols
When it comes to Jeff Apter’s biography of Marc Hunter, Chasing the Dragon, I’m not only biased; I’m also jealous. About ten years ago, I determined to follow up the minor success of my book about the Go-Betweens with two other music histories: the ‘80s story’ of the Go-Betweens would be joined by the ‘sixties story’ of Pip Proud, and the ‘70s story’ of Dragon (of course all of these artists’ tales bled into subsequent decades, but there was some pattern and structure to this idea – which is not to say it wasn’t insane). Dragon was to come first, simply because I needed to shore up some profile for myself as a writer before embarking on the difficult (to sell, as so few had heard of him, and to write, as he remembered so little) Proud story.
Easy to plot these things out, we hacks do it all the time, and the plotting is half the fun. But I was different because I had a contract. An established publisher had drawn it up, and it was just a matter of when could I drop by and sign it, get my tiny advance and start for real on my Dragon book. I had a number of interviews with past members, and some further contacts to follow up, and some choice archival material. My great idea was to write the book in the first person of Dragon itself – like it was a monster – all too true, really. This was also a good idea because the group had no consistent members throughout its existence (Todd Hunter came closest, but left in the late 90s; of course he has since resurrected the band to good effect). Nothing ever lives up to your own expectations – least of all something you do yourself – but this could really have worked.
It was coming along, when I got a call from my would-be publisher: a meeting with the company’s New Zealand distributors had put paid to my project, as far as everyone there was concerned. NZ wasn’t interested in a Dragon book and therefore (in the minds of the Australian publishers) there wasn’t enough of a market. The contract was torn up, withdrawn, deleted, whatever, and I never even saw it. While I bravely vowed to press on, fate, fear, pursuit of a real day job and other junk got in the way and it withered. Some of my research was reshaped for the sleevenotes for the reissues of the first two Dragon albums on Aztec, the second of which is due to come out in 2012.
All of the above is not a tragic story of wasted time that could have been spent inventing the iPad or whatever people moan about when they think about the past. I mention this to alert you to the frame of mind I was in when I heard about Chasing the Dragon, and why I should not be writing a review of Chasing the Dragon. And here it is:
Apter is the ubermind behind a big fat conveyor-belt churn of hagiographical studies of (mainly fairly humdrum) musicians (that said, Mark Evans’ recent ‘as told to Jeff Apter’ memoir of AC/DC is masterful!) and he’s no doubt developed a process that serves him well in production/completion/deadline terms. He is probably already mapping out his 2013 titles, Not So Dum-Dum: the Tex Perkins Phenomenon and Such as That Which a Rolling Stone Would not Gather: the tale of Ian ‘Mossy’ Moss and for all I know his Sing if you’re Proud to be Pip.
The choice of Marc Hunter as a biographical subject is a natural one, and while I would argue that Hunter was only one of a bunch of men that made up Dragon and not even necessarily the most interesting (someone else was researching a Paul Hewson book a few years ago – nothing’s come of that yet), attention is of course typically directed to the front man – that’s why they’re called ‘front men’. Hunter was a stunningly clever person, with an extremely quick wit and huge charm. He made a very good fist of appearing not to care what others thought of him and he was involved in the creation of many excellent records, though rarely as an instigator.
Apter captures the essence of Hunter’s public persona well, particularly in the extraordinary self-deprecatory – bordering on depressive – comments he made throughout most of his career (Though not an example of great wit exactly, Apter’s information that Hunter would typically introduce live performance of the song ‘April Sun in Cuba’ as ‘Another piece of s***’ gives the flavour of the singer’s approach). He also presents Hunter’s final years interestingly, when he was losing money and, though still well-known, unable to command large crowds.
However Apter also, for reasons that are either cunning elements of a process he developed, or attributable to the abovementioned laziness, streamlines the Hunter story fairly heavily. The reader never gets bogged down in the detail that would have infected my Dragon book (e.g. Apter radically understates the number of singles Dragon released before ‘This Time’ was a hit; contrary to his neat claim on pages 60-61 Paul Hewson did not replace Ray Goodwin, and in fact you can see them both playing in the band on Countdown clips on YouTube; do these things really matter to the bigger picture? In a sense ‘no’ and in another sense ‘absolutely’). Personally, I can see why it would be easy to dismiss the fact that Hunter recorded a solo single in New Zealand in the mid-70s as irrelevant in itself; but is it so unimportant if we are trying to piece together a complex, self-destructive singer – not, certainly, a reluctant star but definitely one with an unconventional approach to stardom? Which is to say – he recorded a solo single in New Zealand, Jeff, why? Was he planning a solo career back then? Did he do solo shows in the mid-70s parallel to being in Dragon? You make a lot out of his love of ‘lounge’ music, and how it was so different to the prog-rock Dragon; so what about this pop record, ‘X-Ray Creature’? What does that say?
At other times, one wonders if Apter has actually listened to his interviewees: he accepts the line that Marc Hunter didn’t care about the albums he made between his ejection from Dragon in 1978 and the band’s reformation in 1982; that they were tossed off, and more of an excuse for a party than a genuine attempt to promote a career. Yet he will also quote a collaborator from this period as saying that recording with Hunter was ‘always interesting and fun’, producing some ‘great stuff’ and that he ‘always managed to keep it serious.’ I personally feel these are terribly underrated albums, full of great songs, at least as good as the best Dragon pop. Apter’s attitude is noncommittal; he clearly thinks that any participant’s opinion is better than his own, or that it’s all a bunch of opinions in a pot, and that since he apparently doesn’t like the music much himself he might as well stick to others’ memories, barely probed.
The laziness also goes down familiar roads of the rock bio where authors so often feel safe dissing things they have surely never heard merely because it’s fun to slag off the unsuccessful or obscure: for instance, Apter’s discussion of a pre-Dragon band, Heavy Pork, as ‘less-known-the-better.’ Once again this is a small point but an important one exemplifying certain unsatisfactory elements of the overall. Apter has never heard Heavy Pork – or if he has he doesn’t say as much – and is pretty sure we’ll never hear them either, and indeed, there are probably no recordings or perhaps even reliable memories of their songs or sound. This proves nothing about their value, and a good writer doesn’t make those kinds of judgments on something he or she can’t know anything about: when did ignorance ever keep you critically aware? Excuse the hyperbolic comparison but if Max Brod had burnt Kafka’s manuscripts, would that make Metamorphosis ‘less-known-the-better’? Apter shows similar colours when he comes to discuss the first two Dragon albums, Universal Radio and Scented Gardens for the Blind. There is some indication that he has listened to the first of these (he could have bought it on CD, although he presumably didn’t listen to the end of the Aztec reissue where the mid-70s Hunter solo single is included), and perhaps not the second, for which he quotes conflicting assessments including some tosh about ‘god-awful mellotron’. He plainly didn’t see the need to do a huge amount of research on either of these records, to a degree I personally find baffling (not because I believe he has to like them, but if you’re writing a biography of someone, at very least pretend to care and acquaint yourself with everything they’ve done!). One song on the first Dragon album is reputedly about Marc and Todd’s father: a song on their fifth album with lyrics and music by Marc Hunter is about the problems inherent in fame, fortune and overabundance. It’s always interesting to read about how an artist talks about their own life in their work – particularly when they’re commenting on a life they’re presently living. Apter couldn’t spare the time to sit down with a few LPs, unfortunately – or even to peruse a lyric sheet.
Indeed – coming back to the streamlining and/or laziness speculation – I found myself often wondering how much work he genuinely put into even the basic research for this book. For instance, there is an oft-told story about one of Dragon’s panoply of mid-seventies managers locking them in a room one weekend and telling them they couldn’t come out till they had written a hit single. On the Monday they had ‘This Time’, their first hit. True or not (Apter did interview three of the principles who could presumably have confirmed or denied) it’s a nice piece of Dragon folklore, and not mentioned at all herein. There are also curios like Apter’s references to producer Peter Dawkins which indicate that he isn’t sure if Dawkins is still alive – he is* – but figured he could hedge his bets by referring to him in the past tense.
Not any more as of July 2014. Anyway, read more at [...]
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