Gary Holt Dominates, on Guitar and in Words
Good Friendly Writing Fun looks at thrash legend’s first book, A Fabulous Disaster
Considering that Gary Holt is a pioneer in thrash metal guitar, it should come as no surprise that his debut book, A Fabulous Disaster, is smart, high-octane fun. Like standing between the rail and the pit at an Exodus gig and the crowd surfing is relentless and the pit opens all the way up to the rail and everyone’s smiling and sweating and supporting each other through the mayhem. The energy is…beyond. Bonding.
And real.
A Fabulous Disaster is no different. It’s intense and genuine. An anecdote including pizza slices nailed to a hotel ceiling with screwdrivers is balanced by a moment of gratitude after an airline waived the band’s overage fees for extra bags. Cowritten with Adem Tepedelen, the words on the page sound like Gary Holt, conversational and relatable. The book explores learning through times of struggle and doing the best you can with it. Of life getting in the way and evolving into your truest self—lessons that, ultimately, contribute to how people perceive you.
Like your favorite Exodus song or album, A Fabulous Disaster has pace and purpose right from the jump, and it doesn’t let up. Chapters are short, the structure resulting in a book ideal for either savoring or binging. It’s a linear tale that covers his youth and the infancy of the band, through the recordings and tours and label changes and lineup changes and vocalist switcheroos, to joining the mighty Slayer. Intel in every paragraph.
Billed as a “deeply personal memoir,” the book delivers on that score. Anything related to Exodus or, moreover, himself is fair game. He admits he holds onto grudges for a bit too long. Drugs were varied and ubiquitous, alcohol was from a hose, and his journey in overcoming them is made possible by his vulnerability. Which is a highlight of A Fabulous Disaster because it eliminates the distance between the stage and the rail and brings you closer to the action, whether talking about kicking bad habits or hanging with family, especially grandchildren. The sentences of reflection resonate and never drag. Just a fascinating, humble dude, seemingly.
The chapter on Tempo Of The Damned—a redemptive album for Exodus as well as, in some ways, thrash in general—depicts Gary Holt’s authenticity in microcosm. Mind you, the LP was produced after several years of dormancy. Basically on spec. Yet a freshness was present, they had a hunger, and that rejuvenating momentum basked in stark contrast to his place in the ’90s. “I was going to make damn sure that wasn’t my legacy” is simple to write, but it's a strong, revealing statement. This reader felt it and, thanks to him, I have even more appreciation of the effort.
What you won’t find in A Fabulous Disaster is technical insight into the guitar or his playing. No opinions on gear, no explanation of solos—that’s another, different type of story. This book here, it didn’t leave me wanting more. I was satiated like when the house lights come on following another stellar set, though I am still curious about the PTA and the bake sales, along with any thoughts on how his education on the business side of Slayer has helped Exodus grow.
There are plenty of amazing musicians in thrash metal, from household names on down the line. While singers, bassists, and drummers deserve respect, this is a riff game at the end of the day, and Gary Holt has an abundance of great riffs. And his riffs have bounce. Vitality. They really represent the peak of the genre.
Now, with A Fabulous Disaster, he’s given us a beautiful peek into life and love and thrash.