100 books like Hit Men

It must be said out loud and straightaway that much of this classic, influential book is, as the kids say, bullshit. But it is iconic bullshit, hair-raising bullshit, bullshit that you simply cannot ignore or pretend away. Anger, an avant-garde filmmaker whose work teems with sexual and occult content, published this book in 1965 when many of the stars of classic Hollywood whose hidden proclivities he discusses were still either alive or part of a revered pantheon: Marilyn Monroe, Errol Flynn, Lana Turner, Judy Garland, Charlie Chaplin, and so on. And his claims about their sex lives, criminal activities, and their, shall we say, 'flexible' morals were groundbreaking. It doesn't matter that much of it isn't true: the urban legends it inspired still walk the earth. And the lurid photographs of death scenes and stars at their most vulnerable, though often nightmarish, have also become iconic. As a journalist, I… show more.

A century ago, the record industry sent representatives all over the country to do field recordings of vernacular artists playing folk, blues, and early country for “hillbilly” and “race” records (the sort that Rounder would start putting out in the 1970s).

One of these scouts was Ralph Peer from the Victor Talking Machine Company, for which he oversaw 1927’s legendary “Bristol Sessions.” It was the first time that Hall of Fame titans the Carter Family and Jimmie Rodgers recorded, generally cited as the beginning of the country music industry.

As explained in Barry Mazor’s excellent biography, Peer went on to become one of the giants of the recording and publishing industry, laying the groundwork that pretty much every record label including Rounder has followed since.

I saw the film Once Upon A Time In Hollywood before reading the book. And I loved the film, one of Tarantino’s best, where – as in Inglourious Basterds – he uses fictional characters to create a world in which factual characters might exist, to the extent that the reality of the script and the reality of real life become inevitably intertwined, in ways in which reality can be distorted to a better end. This playing of fantasy and reality and the myths (the Once Upon A Time…) that storytelling can distort, is ably rendered by this book which I understand Tarantino wrote after the film was finished. There’s greater expansion on the back stories of the stuntman and his double, and less around the Manson murders, but for a film buff the book is a delight in which Tarantino’s fascination for cinema shines through, and therefore is well worth… show more.

I grew up on Manhattan’s Upper East Side. We lived above an all-purpose drugstore that included two aisles of paperback books.

Almost every day after school, that store became my own personal library. If were attracted by a particular title or cover, it would wind up in my to-buy list.

Seize the Day was one of those books. The protagonist is the hapless Tommy Wilhelm, a small-time loser who spends his life trying to impress his big-shot father (think Willie Loman only less successful).

Desperately trying to make something of himself that his father can be proud of, Wilhelm gets involved with conman father figure Tamkin.

What impressed me most was Bellow’s ability to create a living, breathing, deeply flawed character that you’re actually rooting for.

What makes characters like Wilhelm compelling is not only the constant struggle to survive in a world that seems to be stacked against them.… show more.

You might think that every artist you hear on the radio is rolling in dough, and it does work out that way for a fortunate few.

But for the vast majority of acts, recording and releasing and promoting music is an enormous amount of work with an uncertain payoff that may never come. Geoffrey Stokes’ from-the-trenches account of the 1970s-vintage country-rock band Commander Cody and His Lost Planet Airmen taking their major-label shot is an eye-opening account of how the sausage gets made – and how hard it is to break even.

In contrast to expensive sessions that leave artists in debt, Rounder’s model was always proudly low-budget.

Commander Cody made that album for Warner Brothers Records during the time when the U.S. record business was grossing over a billion dollars a year.

During those heady days, no label group better exemplified the positive side of the industry than Warner, which stood as proof that you really could have profits with honor. From Frank Sinatra to Madonna, Warner put out music that generated sales and critical acclaim in equal measure.

Stan Cornyn was an executive at Warner for 34 years, overseeing countless publicity campaigns, and this delicious memoir evokes the industry’s glory days in the prestige penthouse. If Rounder was the cream of the independent-label crop, Warner was top of the major-label heap.

The record industry was at its compact-disc-era peak in the late 1990s, when a tech firm called Napster went into business. A file-sharing service, Napster allowed listeners to trade digital versions of songs online for free.

The record industry ignored it at first and then tried to fight it before giving in and offering its music for purchase as online downloads, but it was too late. The genie was out of the bottle, and label revenue plunged by more than half. There were some grim years before online streaming took hold, which boosted the record industry to its highest peak ever in the 2020s.

By then, Rounder was no longer an independent label – sold to the Concord Music Group. It exists to this day, but on a more modest scale than before.

One of the most legendary producers in music history, Visconti enabled the talent and genius of ground-breaking artists such as David Bowie, Iggy Pop, T Rex, Thin Lizzy, Wings, and U2.

This is an insider’s view from a brilliant musician and arranger, an intimate view from a man whose talent earned the trust of the talented. The book is filled with fascinating personal tales of his work, and photos from his private collection.

No one combines the business of indie scenes – from production to labels to distribution – better than Holly Kruse. In this accessible yet rich book, she details the complicated structure of the alternative system that Azerrad nods to in his history of the bands that occupied the airwaves and whose products circulated through these systems.

To say that these independent music labels and distributors operated completely absent of the corporate music industry from the beginning is a canard, as Kruse demonstrates, but she also reveals the personal and particular practices that shaped these emerging commercial relationships and consumption patterns that undergirded music fans’ ability to participate in music scenes locally, as well as to access sounds from across the nation, and indeed the world. 

Every Sunday night for nearly a decade between the mid-70s and early 80s, most young Australians could be found in one place – in front of the TV, watching Countdown. Countdown was the most powerful force in the local pop/rock scene, the maker and breaker of hits. Published in 1993 in the afterglow of the show’s long run, Glad All Over, by former Age journalist Peter Wilmoth, is an appropriately loving tribute, which includes acknowledging the many (like me!) who loved to hate the show but still always watched it! As mostly oral history, it’s a sparkling story, and if the Countdown phenomenon still begs harder analysis – because as much as it was a great booster for Australian music, it actually blocked just as much – that’s the nature of a new historiography: the field has to get opened up first, and then is subject to increasingly… show more.