Title: Whores: An Oral Biography of Perry Farrell and Jane’s Addiction Author: Brendan Mullen Publisher: Da Capo Press Publish Date: 2006 Pages: 324 Genres:: Biography, Interviews, Non-Fiction Reviewer: J. Henry

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Sex, drugs, and rock ‘n roll; seems like the perfect triad for some and a recipe for disaster to others. But, this was basically the culmination of life for the members of the underground, punk, rock, alternative—what have you genre—of Jane's Addiction and those around them as documented in Brendan Mullen's compilation of interviews for the oral biography Whores.

Brendan Mullen was a coauthor of a biography on the L.A. Punk scene, in addition to the life and premature death of punk rocker, Darby Cash. In pursuing the story of Jane's Addiction, he returns to the L.A. underground music scene to focus on the next wave of musical evolution. It seems Mullen's books are progressive in telling the story of the music scene, beginning from the 1970s to the early 80s and transcending into the 21 st century to the revamping of Lollapalooza in Whores.

The subtitle of Brendan Mullen's oral biography is accurate in referencing the ego and perception of frontman: occasional despot and free-spirit Perry Farrell. After all, Jane's Addiction (just as his other band, Porno for Pyros) was his creation. Farrell (aka 'PF') is one of the central figures throughout the collection of interviews whether he is giving his two cents or being referenced as an artistic genius or overbearing musician/businessman. The bandmates in Jane's Addiction seem to serve as Farrell's backup dancers and while he acknowledges their strong role in the success of Jane's, there's still the egomaniac inside that states without his insight or lyrics, Jane's Addiction would've been nothing whatsoever. In this case, a band is a well-oiled machine. And for those who truly enjoy every melodic portion, each key, remember the chords as well as the lyrics, can appreciate what each band member brought to the table. Eric Avery (bassist), Dave Navarro (guitar), and Stephen Perkins (drums) are considered legends in their own right, what is equally amazing is how they were able to perfect their sound, inspire and create a new genre, all the while growing from adolescence and dealing with addiction.

Whores begins with the man of the hour himself, Perry Farrell. A surfer dude from a well-to-do family in the Northeast, Farrell migrates west to L.A. to surf, live free, and make music. In doing so he begins his first band, Psi-Com, and meets soon-to-be bassist and the first to quit Jane's Addiction, Avery. Both become fast friends, live in a dormitory of sorts and make music. Enter friends Navarro and Perkins and the declaration from Farrell of his own friend Jane Bainter's use of habit forming substances and we have: Jane's Addiction. The musicians get by on artistic merit and live pretty structured lives as artists with other artists. And it is from here that their addiction grows as does their talent. Focusing on sex, addiction, competing bands, and what exactly was the type of music that Jane's Addiction emoted onstage (eventually it was considered "art" rock, which seems a bit redundant in the name as all music can be considered art).

Some may not be huge fans of the oral biography format as it's essentially interviews with numerous insiders who come in and out of the story for a couple hundred pages in an attempt to tell a coherent story. Some readers may prefer their interviews short and sweet, reserved for specific subject matter, or would rather read the written voice of those involved. For Whores, at times, this format works because Jane's Addiction wasn't just about the band, but also those around them.

What could be improved upon are the time jumps and how the chunks of information are organized. With an array of fellow musicians, former managers, fill-in bandmates, relatives and significant others, Mullen compiles hours of interviews into the beginning, end, and revamping of Jane's Addiction, with snippets into the inner torment of its members during their heyday. Reading about the members of Jane's Addiction within the organization of Whores is somewhat scattered and the portions included seem erratic. In addition, the biography is often repetitive with the inclusion of several voices having similar outlooks and literally saying the same thing back-to-back. Sections that are dedicated to Perry's rants onstage or spontaneous step into a homosexual encounter are irrelevant, whereas the reasons for the group's demise, inspiration for their songs (including 'Whores' & 'Jane Said') and competition between bands is welcomed material.

Those who are fans of Jane's Addiction—or simply of Perry Farrell—who want to relive this scene during the "art rock" time will enjoy being brought into the mix of sporadic ups and, more often than not, downs of Jane's Addiction. Brendan Mullen made Whores with the fans in mind. This is the audience that will not be disappointed in truly being immersed in their past. The black & white photos aid in serving as a type of yearbook from neophyte awkwardness to full-fledged rock stars (there's even a nude picture of Perry onstage).

Readers learn about the creation and deterioration of Lollapalooza—the alternative rock gathering—Porno for Pyros, and the brief reunion of Jane's Addication (sans Avery). The dominant, creative entity that is Perry is a constant and while he's respected in the industry there are those who found his personality polarizing. In addition, the band (sans Perkins) deals with addiction, rehab, recovery and relapses, yet everyone is alive to tell the tale showing the great resilience and maturity of these rockers. And gladly so, so that Jane's Addiction could properly have their lives documented, their role in the L.A. music scene, and how they transcended popularity, but remained true to their art was properly and thoroughly told no matter how much information seems unessential. Fans of this time and music will recall a lot of the names that serve as inspiration and that also had a camaraderie that was all about their art.