100 books like Get in the Van

No list of books on the indie music scenes of the 1980s is complete without this classic tale of the rise of commercial tensions regarding indie rock bands.

Music offered a form of rebellion against conformity – and punk challenged the corporate music industry of the 1970s with its DIY code and aesthetics. But in its wake, new forms of rebellion and alternative pathways to success emerged – at least for a time.

These bands that Azerrad chronicles became the giants of this alternative scene, and they were the sound of college radio. As Azerrad writes, corporate labels co-opted new wave in the early 1980s, “but they couldn’t co-opt punk’s infrastructure—the local underground scenes, labels, radio stations, fanzines, and stores. They, perhaps more so than any particular musical style, are punk’s most enduring legacy.” 

The birth of punk rock was never really about the music – or at least not just about the music – and England’s Dreaming sets the context for probably the most volatile genre to assault the senses. Jon Savage’s book explores the historical and social setting that led to this – albeit brief – explosion in youth culture. He links together the birth of anarchism with the Situationist art movement alongside the eventual do-it-yourself attitude of punk fashion and music to create a narrative that’s both fascinating and incredibly relevant to the world today. As the legendary contemporaneous fanzine, Sniffing Glue once put it: Here’s a guitar chord, here’s another, here’s another…now go form a band!

The musicians responsible for creating what we now think of as punk rock were a motley assortment of folks, many of them without much in the way of formal education. But they were all great storytellers, and they had plenty of wild, outrageous, and funny stories to tell.

Please Kill Me gathers some of those stories, from Patti Smith, Richard Hell, Debbie Harry, Dee Dee Ramone, Jim Carroll, and many others (the tales of Iggy Pop alone are worth the price of admission), and the editors do an outstanding job of bringing coherence to a scene that thrived on chaos.

Tells the story of the further development of punk in Washington DC, and the birth of a thousand subgenres, from emo to post-hardcore and beyond, and punk's embracing of a more aware political consciousness, as well as a broader musical spectrum.

From Martin’s expansive look at things, let’s move onto a more granular approach – Fournier’s Double Nickels. Fournier focuses on just one band and an album (albeit a double record album and one of the best to come out of punk in the 1980s). The Minutemen played a fast, discordant music that sounded like jazz as much as hardcore thrash music. Fournier’s examination turns up something few people consider, that punk wasn’t all about blistering music but rather sophisticated in its nature. Fournier documents how the bassist in the band, Mike Watt, had extended conversations with one of the most important artists associated with 1980s punk – Raymond Pettibon (who as of now has made his way into accomplished art museums and galleries). They talked about everything from Ludwig Wittgenstein to James Joyce. Band members supposedly got into heated debates about history and would stop at public libraries while… show more.

The definitive, authorised Johnny Thunders biography, beautifully written by a beloved confidant of the late New York Doll. With a star like Thunders, lesser writers would give in to the temptation to mythologise, but Antonia is a balanced, clear-eyed biographer, presenting her friend’s complex story with style, compassion, grace, and honesty. Nina is the bohemian queen of decadence and rock ‘n’ roll’s darker side, and this book is one of many jewels in her crown.

Monte Melnick was the band's tour manager for a staggering 22 years, but his book is not the first-person, behind-the-scenes account you might be expecting.

Oh, it does look behind the scenes – pulling only few punches in the process – and is written in the first person, or rather persons. See, Monte collected accounts and anecdotes from a great many people, not just band members. It makes for a very lively, fast-paced, and effortless read, like all the best oral-history books do.

Of course Monte nicked the concept from Please Kill Me (which in turn stole it from the baseball classic The Glory Of Their Times), but there's nothing wrong with borrowing a good idea. Ten years after this came out, I did my own oral-history book.

In 1992, Mishka Shubaly survived a mass shooting at his school, his parents divorced, his father abandoned him, and he swore he would right all the wrongs for his mother. Instead, he began a love affair with the bottle and barely crawled out, but he did, and we cheer him on at each twist and turn in his journey.

Loser girl turned punk rock superhero... Those six words should sell you on The Gospel According to St. Rage alone. But that still doesn't do this book any sort of justice because this isn't really a superhero book. Sure, Barbara may have the powers to cause flocks of birds to release their...um...payload onto her enemies with the simple flick of a finger, but she's not out to save the world, she's just out to finally live the life she's been hiding from.

Eisenbrey brought me back to my own high school days with this book that feels like a punk rock song. To those days of trying to make friends, of trying to define who I am. And she does so with rock star class.

Before taking a darker turn in the second half, this book almost reads like a Steven Spielberg movie: wise grandmother advises her young grandson to stick his hands in cow patties out in the field to rid himself of warts. After this hilarious beginning, the book goes into detail on Zabrecky’s rise through the Los Angeles music scene of the early 90s, finding some success with his band Possum Dixon, the inevitable lure of drugs, and a surprising third act. This book reads almost like fiction and you’ll likely read it in a sitting or two, it’s well-paced and well-written.