Epigraphs:
What’s the matter with the boy?
He don’t come around no more.—The Rolling Stones
Maybe I should just change my style.
—Dean Wareham
Just another cigarette, staring at my shoes.
—Izzy Stradlin
Note: This is an essay about three musicians who walked away: Mick Taylor from the Rolling Stones, Dean Wareham from Galaxie 500, and Izzy Stradlin from Guns N’ Roses. Their circumstances were wildly different, as were their reasons for leaving. But all three walked away from something that was working, something valuable, and in two cases something potentially worth an almost unimaginable amount of money. I’m interested in why they did it, what it cost them, what they gained, and the strange calculation involved in deciding that success itself is no longer sufficient reason to stay put.
Mick Taylor left the Rolling Stones in December 1974. Dean Wareham left Galaxie 500 in the spring of 1991. Izzy Stradlin left Guns N’ Roses in November of the same year.
In the first and third cases, the bands were among the biggest in the world. In the second, Galaxie 500 was an up-and-coming indie band, critically acclaimed and preparing for a tour of Japan, with reason to believe that bigger things lay ahead.
All three men left for different reasons. Taylor was tired of the Rolling Stones and wanted to broaden his musical horizons. Wareham had become increasingly miserable inside Galaxie 500 and wanted to start his own band and chill. Stradlin had recently become sober and suddenly found the chaos surrounding Guns N’ Roses considerably less charming when he was looking at it with clear eyes.
There are differences between the three cases of course. But I see some essential similarities.
All three men walked away from something valuable. And I mean valuable in the most vulgar sense of the word too: money.
I am fascinated by the economics of the music business. Who owns what piece? Who gets paid when an old song is streamed? Who has the publishing rights? Who has songwriting credit? If a band breaks up, who continues receiving royalties? When a guitarist leaves a group in 1974, what exactly has he surrendered by 2026? When another leaves one of the biggest bands on earth in 1991, how many millions of dollars has he effectively decided he does not need?
These aren’t incidental questions. Money is one of the invisible forces inside bands, just as important sometimes as friendship, ego, drugs, sex, musical differences, or the question of who gets the spotlight.
And so I am interested in the leaver.
More particularly, I am interested in the person who looks at a successful institution from the inside and decides that its value is no longer sufficient reason to remain there.
There is something reckless about this.
There can be something rational about it as well.
I. Mick Taylor: Leaving the Biggest Band in the World
Mick Taylor was just twenty years old when he joined the Rolling Stones.
Think about that for a minute.
He had already played with John Mayall’s Bluesbreakers, replacing Peter Green, and was a staggeringly accomplished guitarist before most people his age had figured out what they wanted to do with their lives. When Brian Jones died in 1969, Taylor became the new Rolling Stone.
He then participated in what many people consider the greatest period in the band’s history.
Sticky Fingers and Exile on Main St. from this period are, for me, the two greatest Stones records. Nothing before or afterward really comes close. Others can have “Paint It Black” or whatever else they want. I’ll take the Mick Taylor Stones.
Charlie Watts himself later called Taylor’s period a creative peak for the band, while Mick Jagger acknowledged that Taylor brought a fluent, melodic style of guitar playing that the Stones had not possessed before and did not possess afterward.
Taylor also complemented Keith Richards perfectly. This isn’t an argument against Keith, whom I also love. It is in fact the opposite. Richards and Taylor were sufficiently different guitarists that each gave the other room to be himself.
The result is all over those records. And then Taylor left.
He was twenty-five.
There are several explanations for the decision, and Taylor himself has told different parts of the story at different times. He had developed a serious drug problem. He had been touring and recording almost continuously since his days with John Mayall. He felt creatively constrained. And he believed he had contributed to the writing of songs for which Jagger and Richards received the official songwriting credit.
That last part particularly interests me.
Taylor has specifically mentioned “Sway” and “Moonlight Mile,” among other songs, and said that Jagger had promised him credits that never materialized. This wasn’t simply a matter of whether Mick Taylor’s name appeared nicely on an album sleeve. Songwriting credit means publishing. Publishing means money. And when the song in question remains part of the catalogue of the Rolling Stones for another fifty years, publishing potentially means an awful lot of money.
So Taylor quit.
This is where hindsight becomes dangerous.
It is easy now to look at the Rolling Stones as an eternal financial machine and calculate all the stadium tours Taylor did not play, all the merchandise he did not participate in, all the enormous guarantees he did not receive. But Taylor wasn’t sitting in 1974 with a spreadsheet showing the Stones’ revenues through 2026.
In fact, he has said that he wasn’t convinced the band would remain together. From inside, the Stones looked chaotic. Keith Richards’ heroin use was becoming catastrophic. Taylor had his own drug problems. The machinery was wobbling.
And Taylor was a musician. He wanted to play.
Later he put the question beautifully: some people are content to ride along on somebody else’s success. For him, that wasn’t enough.
This is the point.
Financially, leaving the Rolling Stones looks insane. Artistically and psychologically, remaining makes more sense.
Taylor has gone considerably further. Asked later whether he regretted leaving, he said that had he stayed he might well be dead.
What price do we put on that?
Taylor didn’t disappear. He worked with Jack Bruce, Bob Dylan and many others, recorded under his own name, returned occasionally to play with the Stones, and continued being exactly what he had always fundamentally been: an extraordinary blues guitarist. He just stopped being a Rolling Stone.
There is something almost shocking about the simplicity of that.
The institution had become bigger than the man. So the man left the institution.
II. Dean Wareham: Maybe I Should Just Change My Style
The Dean Wareham case is the one I know best.
I have written about Galaxie 500 elsewhere. I have written about Luna here and here. I have written about seeing Damon Krukowski and Naomi Yang in Kyoto and having Damon come across the room to shush me while I was talking to a friend before, in my opinion, the fucking show had even started.
I have litigated that case sufficiently elsewhere. I remain innocent.
More importantly, I have read Wareham’s excellent memoir Black Postcards a number of times, and the Galaxie breakup has fascinated me for years.
Galaxie 500 consisted of Wareham, Krukowski and Yang. Damon and Naomi were a couple; Dean was the third person. All three were intelligent, arty people who attended Harvard. They began making music together without, by Wareham’s telling, having any particularly clear idea what they were doing.
Somehow they developed an extraordinary sound.
Galaxie 500 was spacious and slow, droning and melodic, fragile without being weak. Wareham’s guitar floated around inside songs while his thin, peculiar voice made the whole enterprise sound simultaneously sincere and slightly detached from itself.
They became successful enough to tour internationally and open for the Cocteau Twins. Rough Trade released their records. By 1991 they were supposed to go to Japan.
Instead, Dean Wareham quit. The immediate mechanics are almost comically mundane.
Their final show was at Bowdoin College on April 5, 1991. There were reportedly only forty or fifty people there. The opening band played too long. Everyone was irritated. Afterward, according to someone who attended the show, Wareham packed his things, walked out the door and drove away without much ceremony.
Then Damon called him about the tickets to Japan. Dean told him not to buy one. He was leaving.
The phone exploded for three days.
Naomi later recalled yelling at Dean, something apparently very unlike her, because she couldn’t understand how he could throw away what they had built without even bothering to discuss it.
From her perspective, this makes perfect sense. From Dean’s, I suspect the discussion had been going on internally for months.
That is one of the strange things about leaving. The person being left often experiences a sudden event. The person leaving may experience the final announcement as merely the last sentence of an argument he has been having silently with himself for years.
Wareham had been documenting his frustrations.
The most famous passage concerns touring. Damon was effectively tour manager, and to Dean it seemed that every hotel, rental car and airline seat became another source of stress. Wareham concludes simply that traveling together highlights your differences.
That’s just true.
Travel is an extraordinary accelerant. Two people can get along beautifully when they meet twice a week for dinner and discover within four days of sharing hotels, airports, taxis, bathrooms and luggage that they should never be permitted within fifty miles of each other again.
The members of Galaxie 500 had spent years in vans together. Now there was nowhere for their differences to hide.
Then there was the spotlight.
At a show in Los Angeles in 1991, Wareham moved forward to take a guitar solo and a lighting technician put a spotlight on him.
Damon apparently interpreted this as a calculated move. Los Angeles meant record-company people. Why, he wondered, had Dean suddenly acquired a spotlight there when there hadn’t been any spotlights in Columbus or Dallas?
Dean’s tour diary records Damon complaining that Wareham stepping in front of his drum kit threw him off. Wareham writes that he resisted telling Damon to go fuck himself.
Dean’s restraint did not save Galaxie 500.
I love this story because it is simultaneously trivial and enormous.
Bands are full of these things. Who stands where. Whose song goes on the record. Who talks to the journalist. Who gets the hotel room with the view. Who gets songwriting credit. Who decides the setlist. Who is allowed to play twenty guitar solos while everyone else goes for lunch.
Every argument is ostensibly about the thing being argued about. Very few arguments are actually about the thing being argued about.
And underneath all of this, I think Wareham simply wanted something different. You can hear it happening in real time.
“Fourth of July,” from Galaxie’s final album This Is Our Music, contains the line I have used as his epigraph here:
Maybe I should just change my style.
Well yes Dean. Maybe you should dude.
Wareham left Galaxie and almost immediately began assembling what would later became Luna.
The first Luna record, Lunapark, still has one foot in Galaxie territory. “Anesthesia” has the wooziness, the Velvet Underground haze, the fuzz, the slightly narcotized pace. “Slash Your Tires” points further forward.
Then Sean Eden arrived and Luna became Luna.
Eden is a brilliant guitarist and the ideal foil for Wareham, although apparently he makes music with roughly the degree of agony other people associate with emergency dental surgery.
There is a wonderful passage in Black Postcards about the Rendezvous sessions in which producer Bryce Goggin essentially tells Sean to come into the studio the following morning, record twenty guitar solos, choose whichever one he likes, and let someone else record him because Bryce does not need to be physically present for the ordeal.
That arrangement also strikes me as very Dean Wareham. Let Sean suffer over his twenty solos. Dean will come back later.
The interesting point is that Wareham could coexist with this sort of difference inside Luna in a way he could no longer coexist with the differences inside Galaxie.
Why?
Partly age. Partly experience. Partly the structure of the band. But I think something more fundamental had changed.
Luna Was Dean’s Band
Not in the sense that the other musicians didn’t matter. Sean Eden transformed Luna. Justin Harwood and later Britta Phillips mattered as well. Stanley Demeski and Lee Wall contributed. Luna’s chemistry is real.
But with Luna Wareham no longer had to negotiate the basic identity of the project every day.
He took a risk. And it worked out.
This is where I disagree from any interpretation of the story that treats Galaxie 500 as the glorious future Dean foolishly threw away.
Galaxie 500 later became quite influential. Their records have aged well. Maybe they would have become substantially bigger had they remained together.
Nobody knows.
What we do know is that Luna became a larger, longer-lived project with a substantial catalogue of its own, a major-label career, an international audience and, after reforming in 2014, an existence that continues today.
More importantly for me, Luna is simply the better band.
By Bewitched, they had become smoother, sharper and more assured. “Friendly Advice,” “Tiger Lily,” “California,” “Great Jones Street”: this is music I can live inside.
And eventually you get Penthouse, Pup Tent, The Days of Our Nights, Romantica, Rendezvous. You get “23 Minutes in Brussels.” You get “Chinatown.” You get Luna playing “Fourth of July” and Dean reclaiming his own Galaxie song inside the band he chose to create. That matters.
Wareham didn’t merely leave something. He left for something else. The distinction is critical.
III. Izzy Stradlin: Just Another Cigarette
And then we get to Izzy.
I have been rediscovering Izzy Stradlin lately, although “rediscovering” is slightly misleading because I knew the Ju Ju Hounds when the record came out in 1992.
I loved “Shuffle It All.”
Then life happened, decades passed, music piled on top of music, and recently I came back around to the song and immediately thought:
Jesus fucking christ, Izzy Stradlin fucking rocks.
Then I put on “Come On Now Inside.” Same reaction.
And suddenly I found myself wondering something I had never adequately wondered before.
Who exactly is this guy?
Stradlin grew up in Lafayette, Indiana, as did Axl Rose. They eventually migrated separately to Los Angeles, where the band that became Guns N’ Roses assembled out of several collapsing and recombining groups.
Izzy never looked entirely comfortable with the circus.
This is perhaps easier to see retrospectively because Guns N’ Roses became one of the most circus-like bands in rock history.
Appetite for Destruction was gigantic. By the time Use Your Illusion I and II arrived in September 1991, Guns were operating at a scale almost impossible to imagine for a group that had been playing clubs only a few years earlier.
And Izzy was not some replaceable rhythm guitarist standing behind Slash. He was fundamental to the songwriting.
He co-wrote “Don’t Cry” and “You Could Be Mine,” among others, and the Illusion records finally made his importance unusually visible: he sang lead on several tracks and had sole writing credit on songs including “Pretty Tied Up,” “Double Talkin’ Jive” and “You Ain’t the First.”
Then he up and quit in November 1991 at almost precisely the moment when an ordinary person might think: Now dude? You’re leaving NOW?
Yes my friend. Right now.
Izzy had recently gotten sober and sobriety changed the view about the band.
He later described looking around after quitting drugs and essentially wondering whether this was all there was. The delays, the chaos, Axl’s lateness, shows going off the rails, the Riverport riot, the endless machinery required to move Guns N’ Roses around the planet.
Slash later framed Izzy’s departure partly in terms of his unwillingness to endure the amount of work and stress required to keep the operation functioning.
Izzy rejected the idea that he simply hated touring. His version was funnier.
He had a bus. The others had a plane. He still beat them to the gig. That tells you a lot about Izzy Stradlin.
It also tells you something about institutions after they reach a certain size. More resources do not necessarily produce more freedom. Sometimes they produce more machinery.
The plane becomes slower than the bus. The rock star becomes less free than the guy driving down the highway staring at his shoes and smoking a cigarette.
And financially? This is where Izzy’s decision becomes astonishing.
Mick Taylor left a huge band in 1974. Izzy left an enormous band in 1991 just as its commercial machine was reaching maximum velocity.
The two Use Your Illusion albums debuted at numbers one and two in the United States. Guns N’ Roses had years of stadium touring ahead of them. The catalogue would continue selling forever.
Izzy had songwriting royalties, certainly. Leaving the touring band did not magically erase his authorship of the songs he had already written.
But he was nevertheless walking away from a gigantic stream of future income associated with actually remaining a member of Guns N’ Roses.
And apparently he could live with that.
Within a year, he released Izzy Stradlin and the Ju Ju Hounds. There is no mystery about the aesthetic.
It’s loose. It’s Stonesy. It’s unpretentious. It sounds like somebody who has escaped a meeting. Thank god. Meetings suck. Hard.
“Shuffle It All” is a masterpiece.
The song doesn’t sound like a man mourning the loss of Guns N’ Roses. It sounds like a man who has discovered that there are roads in the world and that he is permitted to drive on them.
That cigarette line compresses the whole Izzy Stradlin philosophy into a few words. No pyro. No grand piano. No two-hour delay. No riot. No fucking plane.
A bus. Another cigarette. Staring at his shoes.
And one great song.
IV. Three Gambles
So who took the biggest risk?
In purely financial terms, probably Izzy.
He walked away from the hottest band on earth at almost exactly the point at which the money hose was being turned all the way on.
Taylor’s decision may look even more expensive with fifty years of hindsight, because the Rolling Stones turned out to possess something approaching economic immortality. But Taylor couldn’t know that in 1974. He thought the band might collapse. In his twenties, with the Stones themselves in chaos, this was hardly an absurd prediction.
Wareham’s gamble was different.
Galaxie 500 had prestige and momentum, but not Stones or Guns money. His risk was therefore less about surrendering millions already within reach and more about destroying something difficult to reconstruct: a critically acclaimed band with a distinctive sound, a label, an audience and an international future.
And Wareham’s gamble paid off most clearly. He made Luna and they were, at least a moderated success.
That doesn’t mean Luna proves leaving Galaxie was objectively correct. Life doesn’t supply control groups. There is no parallel universe in which Dean stays and we get to compare the fourth, fifth and sixth Galaxie records with Bewitched and Penthouse.
There is only what happened. But that is enough. Three musicians looked at successful situations and independently arrived at versions of the same conclusion:
This is valuable. I am leaving anyway.
That’s what fascinates me.
Because a calculated risk isn’t the same thing as recklessness. Sometimes the calculation includes things that cannot be entered neatly into the financial column.
Creative control. Sobriety. Friendship. Mental health. Time. The simples pleasures of making music.
The ability to get on your own bus and arrive at the fucking concert before everybody else.
V. The Price of Staying
There is another reason I am interested in these stories. I am contemplating my own calculated exit.
After nearly thirty long career in teaching, I’m increasingly looking toward walking away and pursuing writing, along with whatever else I need to do to make the economics work.
My situation is obviously not remotely comparable in scale to Mick Taylor leaving the Rolling Stones or Izzy Stradlin leaving Guns N’ Roses.
Nobody is presently offering me a stadium tour.
Damn.
But the underlying calculation interests me because it is recognizable.
When you’ve invested years in something, the investment itself begins to make the decision for you. You’ve already spent twenty years here. You have seniority. You have security. You know how the machine works. Why would you leave?
This is the logic of staying. And sometimes it is excellent logic. But there is an opposing question that gets asked less often:
What does staying cost?
Mick Taylor could calculate the money he might lose by leaving the Stones. He couldn’t calculate precisely what staying would do to him.
Dean Wareham knew exactly what he was throwing away when he told Damon not to buy the ticket to Japan. He couldn’t know Luna would work.
Izzy Stradlin could see Guns N’ Roses becoming impossibly enormous. He got on the bus anyway.
I don’t think any of these men should be romanticized merely because they left. People quit good situations for stupid reasons every day. People also remain in difficult situations for excellent reasons. There is no universal moral law of walking away.
But there is a lesson here about sunk costs. Success answers only one question:
Is this working to not?
It does not answer the more important question: Do I still want it?
Taylor didn’t. Wareham didn’t. Izzy didn’t. And so they walked.
The Rolling Stones survived Mick Taylor and became the most durable touring institution in rock history.
Galaxie 500 did not survive Dean Wareham, but Luna emerged from the wreckage and became, for my money, one of the greatest bands ever.
Guns N’ Roses survived Izzy Stradlin, although I would argue they lost something fundamental when he left: the loose, Stonesy rhythmic center underneath all the Slash and Axl spectacularity.
And all three men survived too. That’s worth remembering.
A band can be bigger than you. A company can be bigger than you. A career can be bigger than you. The machine can keep going when you leave.
Fine. Fuck em.
There is a particular kind of freedom in discovering that you don’t actually need to remain inside the machine simply because the machine is successful.
Sometimes you change your style.
Sometimes you go play the blues.
And sometimes you light another cigarette, stare at your shoes, and shuffle it all.
Dedication:
For Mick, Dean and Izzy. You guys are awesome and you totally rule. You’ve made my world a better place. Thank you fellas.