Kings of the Wyld

The appendix to the Orbit paperback includes an interview in which author Nicholas Eames explains that the inspiration for Kings of the Wyld was this question: What if mercenary bands acted, and were treated, like rock stars? (499). Specifically, Eames draws on music and musical celebrities popular in England and the US during the 1960s and 1970s as inspiration for his characters. He also, on his author website, shares links to a Spotify playlist associated with the novel and a list of specific songs that he listened to while writing certain scenes.

This soundtrack for Kings of the Wyld includes primarily songs by rock bands of the 1960s and 70s, including Led Zeppelin, The Rolling Stones, Pink Floyd, Janis Joplin, AC-DC, Black Sabbath, Lynyrd Skynyrd, and The Who, among others (https://nicholaseames.com/soundtrack/). Some specific references make their way into the novel. In two places, Eames draws on songs by singer-songwriter Bob Dylan, who won the Nobel Prize for Literature in 2016. A line in the book that appears after Larkspur cuts off Clay’s hand references Dylan’s 1973 classic “Knockin’ on Heaven’s Door,” and Eames’ soundtrack notes that Dylan’s 1975 song “Shelter From the Storm” captures Clay’s feelings when he reunites with Ginny in the epilogue.

Eames further notes that “Heart of Gold,” a 1972 hit by Canadian singer-songwriter Neil Young, is Clay’s theme song. Late in the book, there’s an allusion to Young’s music as Neil the Young joins the Battle for Castia, where he is described as a “grey-bearded wizard” who is “leaning heavily on a gnarled staff” (452). Sabbatha’s name is a reference to the group Black Sabbath, and the Jamaican patois spoken by Taino, a troll who lives in the Heartwyld and who provides Moog with the cure for the rot, recalls Jamaican singer, songwriter, and guitarist Bob Marley, who shaped the tradition of reggae music. For Chapter 20, the moment when Moog frees Ganelon from his prison of stone, Eames’s inspiration is a guitar solo by Jimi Hendrix. Hendrix is widely regarded as one of the most skilled and most admired of guitarists, and this virtuosity is reflected in Ganelon’s superior fighting skills. Chapters introducing Lastleaf were inspired by songs by David Bowie, and Lastleaf’s physical elegance and demeanor share resemblances to the English singer-songwriter, who attained fame in his solo career and for his flamboyant and evocative performances.

Eames notes in his author interview that the five members of Saga are modeled after members of a rock band, and these imaginary musical roles are reflected in their place in the group. Gabe is the vocalist, the frontman and face of Saga; he is charming and persuasive. Ganelon is the lead guitar; Eames notes that in the music industry, “axe” is slang for guitar (500). Ganelon is the most dangerous, accomplished, and aloof member of the band. Moog, named after Robert Moog, who invented a synthesizer popular in the 60s and 70s, is the keyboardist; he is inventive, playful, and often gets off track. Matrick, as his name implies, is the drummer. He lacks discipline in his personal life, but his skill with his knives is deadly. Eames envisioned Clay as the bassist, the quiet and often overlooked member whose rhythm holds the band together and makes the song feel complete. He is steady, reliable, and the group’s moral compass.

Other references abound, adding to the texture of the story and providing winks to attentive readers. Fender, the kobold Gabe visits in Fivecourt, is named after a popular brand of electric guitar. The name of Clay’s shield, Blackheart, alludes to the group Joan Jett and the Blackhearts. Clay’s nickname, Slowhand, is a nickname for the real-life British guitarist and singer-songwriter Eric Clapton (and was the title of Clapton’s fifth solo studio album). The book’s tagline, “The boys are back in town,” alludes to the 1976 song of that name by the Irish rock band Thin Lizzy, and the font of the novel’s title evokes the logo for the British heavy metal band Iron Maiden. Throughout, the premise that mercenary bands aren’t what they used to be plays on popular complaints that contemporary music is less soulful, authentic, or expressive than earlier musical traditions, and that contemporary musicians are less accomplished, unique, or admirable than the legends of the past, more concerned with entertainment than with art.