EVERYTHING But The Girl singer Tracey Thorn’s memoir documents her life in music – from early inspirations as an awkward teenage wannabe punk in the late 1970s through to 2007, a now happily domesticated stay-at-home mother.
Rich material is plundered from the once-bloated music industry – particularly the major labels.
Thorn’s writing is littered with wry asides and anecdotes highlighting the sublime and the ridiculous: there are Spinal Tap-style touring experiences, pop video awkwardness and Lenny Kravitz’s hair having a disagreement with her dress.
Thorn’s self-depreciation is endearing, her honesty often inspiring – particularly when she looks back on her teenage self, with tales of relationships, songwriting inspirations, the horror of live performances, self-doubt and aloof behaviour.
A constant presence by her side, long-term partner and EBTG collaborator Ben Watt’s near-death experience is dealt with without mawkishness, the experience acting as the catalyst which offers a happy ending of sorts: the unlikely tale of a worldwide smash hit.