100 books like I Know Better Now

When I got into the Ramones as a teenager in 1984, I already knew that despite seemingly sharing the same surname, they weren't actually brothers.

What I didn't know for a long time was how dysfunctional this ersatz family really was, as epitomised by the fact that the two most visible members – Joey and Johnny – couldn't have been any more different as people... and didn't even talk to each other.

This book adds another layer to an already incredible tale by also delving into the story of Joey's real-life family, as it was penned by Joey's brother Mickey, hence the title. It also adds something that is sorely missing from the books written by Johnny and Dee Dee: tenderness and warmth.

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.

Marky's drinking almost managed to do what even the hate-love-hate triangle between Joey, Johnny and Dee Dee couldn't do, namely derail the band.

But what makes his book truly special for me is not so much his account of what he calls his "dog days" but his life before becoming a Ramone. He was in a hard rock band called Dust, he played in Richard Hell's Voidoids and he auditioned for the New York Dolls. If he had gotten this job, and he came very close, he would have been in no less than three seminal and legendary New York bands. 

The first proper book about the Ramones came out in 1993 and was written by Jim Bessman.

It's not without merit, but as an authorized biography, produced in collaboration with the band, it fails to cut really deep. Ten years later, when the respected English journalist Everett True (not his real name, which lends a nice touch to this tale of four fake brothers) put pen to paper, things were very different.

The band had broken up and two founder members were dead. Maybe that's why it's such a harrowing read in parts – the details of Joey's death are particularly poignant, not least because True is clearly in his camp, not Johnny's. I think definitive is the unavoidable term here.

I appreciate this book for how authentically Dave Grohl opens up about his life. His reflections on creativity, passion, and overcoming challenges with Nirvana and Foo Fighters feel surprisingly relatable, especially in the context of my own personal journey. Recent events in Grohl's life remind us that we all make human errors in judgment, and it's important not to judge or dehumanize those in the public eye. Celebrities, just like the rest of us, are on their own journeys, facing struggles and moments of self-discovery.

Grohl’s stories highlight the importance of staying true to yourself and learning from both success and failure—showing that even failure has its benefits. Reading his book reminds me of the power of sharing our experiences and the value of resilience. Despite their fame, it reinforces that even those who seem larger than life are navigating their own paths and that growth and transformation are within… show more.

Chris Frantz and Tina Weymouth are one of the great rhythm sections and one of the great love affairs in modern music. Chris lives large in my own book and the music of Talking Heads was making me dance and cheer way back in 1976. Remain in Love is the real story, beautifully told and written by Chris Frantz. 

Rock stars don’t love following rules, so you can imagine that starting kindergarten is a problem. Lupe arrives wearing sunglasses and ready to use her pencils as drum sticks. I love that this book celebrates a girl who wants to rock without cramping her style. Lupe may have to learn to follow rules and be a good friend, but any doubts about her stardom are quickly dismissed. 

I happened to have spent time with Patti Schemel when my band Scarce toured for a month with Hole in 1995. Patti is the real deal when it comes to being a musician. She’s a badass on the drums, and in real life.

I really enjoyed the intimate moments she shared about Kurt Cobain. They are tender and sweet, and show a very different side of his public persona. She takes us into the back scenes of what was like to be in a band as it took off, backing up the very unpredictable Courtney Love onstage, and what it means to be a rock star.

I also loved that she spent time writing about what it was like to be a lesbian in the male-dominated rock world, where women are seen often as simply something pretty to look at.

Her personality really shines through her writing. She’s fierce, honest,… show more.

I love this book for its deep dive into the music and time period of the 1960s and 1970s. It’s a wonderful discovery of the bands that made this era of music so wonderful and how Laurel Canyon was in the center of it.

There are great behind-the-scenes stories and interviews with the people who were there, in the industry and making the music. It’s a great glimpse into the vision, values, and freedom of the time and how it all got funneled into that fantastic music I so love.

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.