Top 40 Rock Novels

As I've stated before, I'm a big fan of rock fiction, so it's cool to see someone's list of their top 40 rock novels. While I've read a couple on the list, including the majority are books and authors I've never heard of. I guess it is time to head down to Powell's to see which ones they have in stock. First up, Lewis Shiner's #1 ranked Glimpses.

Oh yeah, and they included a quote of mine for Peter Guralnick's Nighthawk Blues. Cool.

Matthew Specktor Interview

After reading and enjoying Matthew Specktor's That Summertime Sound I was given the opportunity to ask him a couple questions about the book, the state of his fandom, and other authors who write about music. In the last question there are a couple links to the music that inspired his writing. I guess if you approve, you should go read the book. And if they don't meet your standards, you should probably also read the book since might be the musically obsessive type that he wrote about.

Quickcrit: While many books integrate music into stories, few seem to cross the line into what I call rock fiction. How did you decide to make music such a large part of the book?
Matthew Speckotr: I guess in this case since music was simply the subject of the book. A lot of writers I really love and admire--Don DeLillo, Jonathan Lethem, Michael Ondaatje, Geoff Dyer--have written wonderfully about rock-n-roll and/or jazz. I was thinking about the Midwest, and a set of people I used to know, and the band itself seemed to crystallize a whole set of thematic interests/obsessions. I liked writing about music because it was fundamentally nerdy, too. I was a little embarrassed by the depth of my passion for it, and I figured if I was embarrassed that was probably a good indicator that I might get to something close-to-the-bone.

QC: How comfortable are you with That Summertime Sound being described as rock fiction?
MS: I'm not sure how comfortable I am with the label 'rock fiction,' but that's really because I'm a little at odds with labeling in general. (I don't love the term 'literary fiction,' either.) Genre-tags are for marketers, not fans. Having said that, I think the book does speak--I hope--to the passionate music fan. I am one, and God knows, we're all wound up in our enthusiasm for something. Hopefully, the book will speak to obsession--to passionate fandom--of any kind, as well. Also, lots of writers these days let their musical excitements show through their books. Try Dana Spiotta's phenomenal Eat the Document, for starters.

QC: Are you as obsessed about music as your narrator is?
MS: Yeah. Perhaps not in the same way--I'm twice the narrator's age, and music assumes a different place along one's continuum-of-needs as one gets older--but, I'm afraid, to the same degree. I still love loud, rackety garage rock and punk as much as I ever did. I also love certain things I would've found ideologically appalling when I was that age. I played a David Crosby record this morning. I can imagine the look on my narrator's face to hear about that.

QC: Were the Lords of Oblivion completely fictional or did you have particular band in mind as a rough template?
MS: Completely fictitious. Any similarity between 'Nic Devine' and the neglected genius Mick Divvens, former front man of the wonderful Boys From Nowhere, are strictly coincidental. (Heh. No, the band in the book is most definitely modeled on Boys From Nowhere. They're very much a real band.)

QC: Were you at all tempted to create a soundtrack or playlist to accompany the book?
MS: Well, I've done as much for a number of blogs, lately. (Largeheartedboy, Revolt Media, Owl & Bear.) I may post a more comprehensive list of things I was listening to while I wrote on my own site, shortly. I admit, I'm a sucker for writers' & musicians' recommendations and playlists. This book certainly suggests quite a bit of listening material, and if it encourages people to seek out some of these bands, so much the better.

That Summertime Sound (2009)

That Summertime Sound is a fun new novel by Matthew Specktor that documents a young man's ill-spent summer vacation in 1980s Columbus, Ohio, drinking, fumbling through romance, and obsessing over a local rock band. Like a younger brother to Nick Hornby's Rob Gordon and Roddy Doyle's Jimmy Rabbite, the narrator is driven to distraction by a passion, but not a talent, for music. The book is packed with critical ruminations on the essence of rock n' roll and references to cool bands, albums, and songs. At times it reads a bit like music nerd porn – Sonic Youth plays on the jukebox and everyone's record collection is hip and obscure. I found the level of musical detail slightly distracting from the story and overly demonstrating the narrator's precociousness until I realized that it allowed me to create a soundtrack in my head as I read along. Quite a few times, it sent me rifling through my music collection to revisit a particular album, like Sisters/Lovers or Talking Heads: 77. And the story is good too. Specktor captures those late teenage years when boys are much better equipped to discuss the merits and influences of their favorite bands than actually listen to, and have a relationship with a young woman.

For a sample, listen to sections of the book read by James Fanco, Gwyneth Paltrow, and Morgan Freeman!

Ripped: How The Wired Generation Revolutionized Music (2009)

I've read quite a few books and even more articles on and around the topic of creativity, copyright, filesharing, and the state of the music industry, but Ripped is by far the most accessible and enjoyable read. While it certainly rehashes popular topics and perspectives found more in-depth elsewhere, the presentation and tone is pitch perfect. Besides being a clear and concise writer, Greg Kot incorporates chapters on milestone events and anecdotes from everyone from academics like Lawrence Lessig to sonic innovators like DJ Shadow. As a result, marketing history and theories come alive in the actual experiences of Death Cab for Cutie and Prince. What could be dry becomes vibrant. By synthesizing discussions on promotion and innovation with sampling and sharing, Kot presents issues as an interconnected whole. Separating the arguments now seems miopic. Highly recommended.

Let It Be (2004)

It's kind of startling how little this book is about the Replacements or their album Let It Be. Although there are a couple anecdotes tagged on at the end, it's primarily Colin Meloy's autobiography. Spoiler: he had a pretty average childhood and he liked Let It Be in middle school. This book almost could be about Depeche Mode or the Smiths by just changing a few passages. Fans of the Replacements who aren't fans of the Decemberists will probably hate this book. As a casual fan of the Decemberists I enjoyed reading it, but will admit that I probably would've put it down if a) it wasn't so short and b) I wasn't curious to find out when Meloy would actually address the album in a meaningful way. What a curious addition to the 33 1/3 series.

Appetite for Self-Destruction (2009)

Lately, I've been a bit of a music industry and intellectual property junky. I'm fascinated by the changes and developing trends in music promotion and distribution. Suddenly music way down the Long Tail is accessible. As a music fan it's truly amazing (and at times overwhelming) how much new music comes out each week. So it's not be surprising that I devoured Steve Knopper's Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age.

It's a quick history of the last 40 years of big (and sometimes bad) decisions made by the colorful characters that ruled the music industry. I knew most of the broad story lines, just not many of the details, the who said what or blocked what advancement. You aren't going to walk away sorry for the bastards. It likely will just confirm your suspicions that as the major labels consolidated they became more in it for the money. My only criticism is that it almost completely ignores the indie labels and their bands, which are the labels and band I care more about. Still, it's a fascinating read.

The Wishbones: A Novel (1997)

This novel follows another bunch of relatively unsuccessful musicians. These are losers of the Rob Fleming variety - unromantic failures living in suburban New Jersey, in their mid-30s but still staying with their parents, trudging through crap jobs, with only their wedding band providing them with any pleasure in their lives. Also like Rob, they seem to be stuck in perpetual inertia about moving forward in their lives, whether that means getting married, finding a job with with consistent hours, or at least not driving while slogging down cheap beer. The main character, Dave, stumbles through the narrative thinking about, but not actually making decisions. Rather, he seems to content to let life happen to him. As a result, his life kind of sucks. It's a quick reminder how the rock n' roll lifestyle that seems carefree and glamorous when you're young, seems sort of pathetic once you no longer are.

Anything Goes: A Novel (2002)

More rock fiction. This one bums around with a blues cover band as they run a circuit through dives and roadhouses up and down the East Coast. Madison Smartt Bell's story follows a young bassist as confronts his fathers abuse, enjoys the late night/early morning attentions of various women on the road, and nurses the repercussions of an encounter with violent frat boys. I guess it is a coming of age story, if learning to write songs signifies maturity. Although there are some dark moments, those are mostly just ruminations on the characters' pasts. It reads fast and fun - a simple story spiced up with a couple colorful characters, plenty of band decisions washed down with rail whiskey, and lots of music talk. The characters are all fans of music they cover as much as they are musicians. Their ruminations on topics like Emmylou Harris' voice and guitar solos, were some of my favorite sections. Oh, and the lead character's name is Jesse. Cool.

Reservation Blues (1995)

Although this is yet another rock novel written by one of my favorite writers, this book is strikingly different. Sherman Alexie's book follows a group of American Indians who form a garage band after acquiring Robert Johnson's cursed guitar, which makes whoever plays it sound amazing. What sets this book apart is how Alexie reframes and plays with the mythology surrounding sex, drugs, and rock n' roll, integrating in American Indian mysticism, fatalism, and alcoholism. In doing so, he focuses on the pain that is released and the stories that must be told through the music. Like his other novels, the characters are both humorous and tragic. As they deal with their history, politics, and life on the reservation, he makes a convincing argument that American Indians know what it means to have the blues. They feel the blues: it surrounds, weighs down, and sometimes destroys them. By bashing it out on beat up electric guitars and cheap keyboards they share their experience. The cliché of the tortured and haunted artist has never seemed so fresh.

Mix Tape: The Art of Cassette Culture (2004)

I imagine this book was a lot of fun to make. I can see Moore going to his friends and asking them to share one of their mix tapes and maybe an anecdote with him to celebrate mix tapes. Some of the pieces are insightful and others bring a chuckle. The song lists on the mix tapes themselves are only half as interesting as what people have to say about them. I especially like the anecdotes that describes what was going on when someone made or received the mix tape. It’s a highly entertaining and quick read (or flip through) and it includes the best argument for records and analog ever (involving your ear-heart).

Never Mind the Pollacks: A Rock and Roll Novel (2004)

More rock fiction! I think as a general rule satires are hit and miss. Neal Pollack does a decent job at skewering rock critics and rock mythology, but sometimes it reminds me a little too much of Forrest Gump, as the main character (a fictional Neal Pollack) influences the careers of Elvis, Dylan, Lou Reed, Iggy Pop, and Kurt Cobain. At its worst it reminds me of one of those Not Another (Teen/Scary/Date/Superhero) Movies where all the clichés, jokes and riffs are smashed up together in more or less a jumbled mess. But just as with Forrest Gump, sometimes it's fun to imagine the little behind-the-scenes moments surrounding historical (and musical) events.

Nighthawk Blues: A Novel (1980)

Peter Guralnick is my favorite music writer. His book Sweet Soul Music led me deep into a southern soul fixation that cost me more money than I'd like to consider and kept me removed from indie and alternative rock for most of the 90s. He mostly writes roots music-related biographies or histories, so this fictional book is a slight departure from his usual work, and likely why I never picked it until now. As a story, it's just fine, detailing the life of an aging blues guitarist much the way he does in his other books. But since this is fiction, he uses the complicated relationships between the artist, his white fan/manager and white female protege to explore authenticity, reverence, and performance. While those concepts are still relevant, they're discussed differently now, making the book feel a bit dated. Then again, maybe I've read too much cultural theory.

Perfect From Now On: How Indie Rock Saved My Life (2007)

John Sellers is just about as opinionated as Chuck Klosterman, just less convincing, likely because he's more self-deprecating and less confident. He takes us through his journey of musical (and female) obsessions, some of which are oddly similar to some of my closest friends (in particular The Smiths, Joy Division, and Guided By Voices). He's a conversational writer and includes numerous asides manifested as multiple-paged footnotes. Oh, and he loves lists, which are included in the appendices. Basically, it's the fun, witty, and ridiculous diary of an obsessed indie music snob.

Rock On: An Office Power Ballad (2008)

Rock On is a fun and quick read about the descent of the once-great Atlantic Records from an insider perspective. This book isn't going to make you feel sorry for the major labels; more likely it'll make you wonder how they lasted so long. Kennedy presents himself as an out-of-touch, over-paid, marketing employee, simultaneously representing and feeling alienated from the bulk of the management. While his humorous and embarrassing antidotes from the world of calculated and commercial pop music are entertaining, they made me want to read a book by someone with more experience and insight. It's a shame Ahmet Ertegun never wrote his autobiography.

Love Is A Mix Tape: Life And Loss, One Song At A Time (2007)

Another great book I just read. It's all about how people integrate music into their lives, marking particular activities, feelings and friends with songs and sets of songs. It made me wish I had compiled more mix tapes and that I still had some of the ones I had given away. It strikes the perfect balance between funny and sad, cool and touching. By the end, I knew I would enjoy coming back to this book again and again, so I immediately packed it up and sent it to share with a friend so we could talk about it.

Celine Dion's Let's Talk About Love (2007)

I loved this book. I may read it again, soon. It's always a pleasure to read a book that incorporates cultural theory into a well-written and lively narrative on popular culture, in this case to support a discussion about aesthetics. It probably helps that Carl Wilson is not an academic, but a music critic. The book really gets going around chapter 7 when he starts discussing taste and who has bad taste and it never lets up after that. It doesn't matter if you like, dislike or don't care about Celine Dion; the book is more focused on taking a closer look at your own tastes and what shapes them.