100 books like Living Colour's Time's Up

Daphne A. Brooks’ book is a revolutionary work, centering more than a century of innovations by Black women in popular music who have been marginalized, overlooked, or erased.

Situating Zora Neale Hurston as a sound archivist and performer and Lorraine Hansberry as a cultural critic alongside blues pioneers such as Bessie Smith and Mamie Smith and contemporary artists like Janelle Monáe and Valerie June, Brooks doesn’t merely fill in blind spots.

She exposes how those blind spots reflect the partial, subjective view of white male critics and historians.

Showing us a different way of seeing and listening to culture, Brooks has informed and inspired my thinking, and some of the best work I’ve done as a journalist, including this piece about Elizabeth Cotten, whose music fueled the 1960s folk revival.

With amazing illustrations by Rachelle Baker, the journalist Clover Hope spotlights dozens of women who have played an integral role in hip-hop’s story, from legends such as Roxanne Shanté and Lil’ Kim to less often celebrated trailblazers like Bytches with Problems.

Documenting women's often unrecognized influence, Hope leaves you with a sense of how deeply they have nevertheless left their mark, and keeps their legacy alive for future generations of music-makers.

Sinéad O’Connor rose to fame in the early 1990s, before social media, when tabloids made millions taking women down, as did the music press.

Back then there were few mechanisms to clap back, so much of what we thought we knew about her, before and after SNL, was warped by that perspective. Left with little sense of who O’Connor really was, we also had limited awareness of the great music she made long after she stopped making hits.

Unlike a lot of celebrity memoirs, O’Connor’s isn’t a victory lap or a bitter tell-all. Nor does it try to gloss over the difficult parts. Instead, it’s a chance for her to tell her story herself, and for us to finally see her for the brilliant and complicated artist she truly is.

Nashville-based singer-songwriter Margo Price is the real deal.

Her beginnings were humble, and her struggles have been many. Her memoir takes you on the road with her through bad low-paying, low-attended early gigs, drinking, and drugs. Price's marriage/creative partnership is tender and beautiful, yet becomes fragile as it shoulders the unbearable loss of a newborn son.

Through it all, you can feel Price’s grit and determination to survive with her soul intact, making it in an industry that pressures artists to conform to its priorities and sets them up to fail when they resist- or simply try to be themselves.

Price’s music is the soundtrack to her courageous story in progress. In the best possible way, this book reads like the liner notes: honest, heartfelt, and profound.   

In its ambition and sweep across time and political upheavals as well as musical styles, this book may have been the closest thing I had to a model for my book.

Part musical memoir and part capsule history of the American South’s era of integration, Dixie Lullaby was written by longtime music journalist Mark Kemp – a man who grew up in Asheboro, North Carolina in the 1960s and ’70s and has the Lynyrd Skynyrd and Allman Brothers records to prove it.

Some time in the 1960s, rock ’n’ roll became rock, and rock became white. That moment forms the core of Jack Hamilton’s exploration of the fraught racial politics of this music in the United States.

Putting different artists into dialogue – such as Dylan and Cooke, or Janis and Aretha – allows Hamilton to excavate the original complexity of genre labels that, over the fifty years since, have too often effaced the original, more complicated story about race, music, and American society. 

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. 

Eric Clapton's early childhood was difficult. He'd been born illegitimately, complicating his relationship with his birth mother. His primary consolation came from playing the guitar. His fantastic talent as a young guitarist made him a cult favorite in the British nightclub scene until the entire world discovered him as a superstar in his first band, the short-lived, Cream. But his memberships in Blind Faith, Delaney and Bonnie, and Friends, and Derek and the Dominoes were also fleeting despite producing some of the most timeless songs in rock history.

All of his weaknesses rose to the top when he convinced Pattie Boyd to leave George Harrison and live with him in 1974. Pattie began traveling with Clapton as he began touring the U.S. In 1979, he and Pattie finally married, with Harrison present as an invited guest. While it seemed that Clapton had everything he had ever wanted, he was sinking… show more.

No BTS book listicle is complete without this bible of a biography. I loved it for the unexpected stories that broke and expanded my vision of the boys.

My favorite example: Suga revealing that he used to blend chicken breasts in a blender. I never knew meal prep could be this revelatory but it makes me appreciate this book and the blood, sweat, tears, and pulverized dinners that went into the making of the band all the more. 

I think that this book unveils Jerry Garcia’s essential, elusive personality better than anything I’ve read, even given the excellent work of David Browne, Blair Jackson, Dennis McNally, and other terrific Grateful Dead biographers.

I learned a lot about how seemingly secondary characters are often particularly honest and illuminating. Robert Greenfield also collaborated with promoter Bill Graham on Bill Graham Presents, the excellent autobiography in oral history format.