Fans pick 100 books like The History of Bones

The gold standard of rock and roll oral histories. Two authors, years and years in the making, chronicling one of music's most incendiary eras. "Will you die for the music?" Lou Reed asks in the early pages. In other words, how many knife fights, sleepless nights, and dead friends would it take to stop you from chasing artistic salvation?

Reading this book while I wrote my own made me realize just how sterilized my scene (like much of America) had gotten by the turn of the millennium. Third-wave emo wasn't famously dangerous or gritty, but many of its icons grappled with life-threatening addiction and mental health issues (even more than I expected going in). Yet, thankfully, almost all of those band members are still with us. Please Kill Me illuminated this. It's no accident the final word in my book is "survive."

This book gave me a drive. Goodman’s account of the Strokes’ debaucherous rise in 9/11-era New York City ignited my passion for oral history and to tell the story of the music that made me. Downtown cool kid garage rock shaped popular culture immensely, but so did My Chemical Romance and their cohort (even more so, I’d argue). Up to this point (MMITB was published in 2017), 2000s emo was frequently misconstrued by those too old to have understood its impact or left out of the conversation entirely.

As I conducted interviews for my book, I challenged my own hypotheses (and personal biases) about these two scenes. I learned they intermingled more than I thought. I talked to Fall Out Boy’s Pete Wentz about DJing the ultra-hip downtown party Misshapes and My Chemical Romance’s Mikey Way about trying to catch a glimpse of Madonna at the same place.

Like nothing I'd ever read before. An incredible fusing of the familiar and the fantastic. Much of it takes place in Greenpoint, Brooklyn, during the 2010s, on the same subways and sidewalks I frequented. I interviewed author Geoff Rickly extensively for my book, as his band Thursday is central to its plot. I thought I knew Geoff's story pretty well. Turns out, I had no idea.

This book is surrealist, and it's autofiction. I could tell you how great it is by stressing you don't need to know anything about Geoff or his band to be spellbound by it. But I think the best praise I could give is how it made me consider all the extraordinary things that are happening around me all the time

Reading Shea Serrano is like kicking back with an old friend... who can expertly trace rap's evolution from the Bronx and "Rapper's Delight" to the LA vs. NY rivalries, to the rise of the South, the bling era, the blog era, and up to the present (or at least 2014, when this book was published).

Equal parts conversational and cunning, this book is a master class in voice from which I still pull inspiration. Whenever I'm thinking, "How could this thing I'm writing sound less like an online encyclopedia article but still harness all these arcane details I want to squeeze in?" I think of this book, which is often.

A talented saxophone player, Sonny Rollins left a successful performing career at age 29. He believed he could improve his craft by constant practice, and he found a unique place to do so—the Williamsburg Bridge that connects Manhattan and Brooklyn in New York City. Inspired by the sights and sounds of the city, Rollins played his heart out. Gary Golio’s lyrical text captures the rhythm and flow of Rollins’ saxophone, while Ransome’s vibrant watercolor and collage artwork provides a perfect complement to the text. Back matter offers further information about Sonny Rollins’ life and career and about the Williamsburg Bridge. 

An artist—a wonderful horn player—speaks his candid, clear-eyed, eloquent account of his life: self-destructive, immensely creative.

If the horn is broken, if the player is just out of prison, if he’s drug-riddled... all that might be bad for himself or others, but he improvises with his back to the wall, to get out of it. And in speech as in music, a great improviser.

The illustrations in this book are fantastic. They are filled with pastel blues, reds, floating circles, and overlapping shapes. They are very atmospheric. It feels like I’m listening to one of John Coltrane’s melodies.

The text is musical, too. The short and lyrical lines focus on the sounds that Coltrane heard as a boy and the events in his early life that inspired him to become a Jazz giant. The book’s ending is great. It is very satisfying. 

Saxophonist, flutist, and jazz educator Dave Liebman (born in 1946) was the son of two Jewish Brooklyn schoolteachers, who envisioned the same life for him — all the more so after he contracted polio at age nine. Much to their dismay, Liebman had different ideas. Because he couldn’t play sports, he nourished a passionate interest in music, first taking piano lessons, then moving on to his real interest, the saxophone. A strong student with an interest in history, he might have followed his parents’ wishes and become a teacher — until the night, at age 16, he took a date to the New York jazz club Birdland and heard the saxophone giant John Coltrane for the first time, and realized the one and only thing he wanted to do with his life.

Written in the form of a dialogue with the jazz writer and musician Lewis Porter, What It Is… show more.

Don’t let the (original) lengthy subtitle, with its nearly forty-year-old date reference, put you off; this is a deeply original and highly engaging account of the music and philosophy of one of America’s most prolific and consistently creative musicians: composer, improviser, educator and multi-instrumentalist Anthony Braxton. With a double narrative that deftly alternates between lofty discussions of subjects such as metaphysics, mysticism, language, and astrology, and the daily grind of a challenging twelve-date tour of England by a Braxton quartet in the winter of 1985, Forces in Motion cleverly captures much of the complexity, intelligence, ambition and humour of its uncompromising subject. At one point Lock describes Braxton as “an alchemist, a man who opens doors you didn’t know existed”; the same can be said of the book itself. A perfect marriage of musician and writer. 

Space Is the Place opened so many windows for me into a world of esoteric spirituality fused with mind-blowing musical and theatrical creativity. John Szwed was a member of my PhD dissertation committee, although it was pretty hard to track him down, and he was wrapping up this book as I finished my own. I’d seen Sun Ra at my college and thought of the Arkestra as a kind of spaced-out novelty act, not knowing anything about Ra’s history: his celestial epiphanies; his long immersion in big-band jazz, including his stint with the great Fletcher Henderson; the cadre of stellar musicians he recruited and molded for the Arkestra; his entrepreneurial streak. When I turned to the study of music and spirituality, Szwed’s biography became an indispensable source. Afrofuturism has become a very hot topic in contemporary cultural studies, and there’s no better way into its arcane mysteries than through this… show more.