The most recommended pop music books

Jackson’s novel shuttles between present-day Oakland and the 1967 Monterey Pop Festival as music journalist Alonzo Reid remembers and recounts to his grown children how he met his now-deceased photographer wife, Ada. What I love about this book is the fact that although the family is grieving, so much joy infuses Ada’s memory. And while Back in the Day mourns a death and the end of one love story, it ends on a hopeful note and marks the beginning of a new chapter.

I want to include a fellow British writer in my list and JEM is my favorite for suspenseful steamy stories. The Brit is the first in the Unlawful Men series. Dark and broken, mafia anti-hero Danny Black is brooding and bad. He is not supposed to fall in love with the women he takes as ‘collateral’ in a deadly game of power. Rose Cassidy has learnt to be tough to survive. Danny sees her as the mirror of himself. Their twisted attraction is not for the feint-hearted but I loved it!

Firstly, I absolutely love that this book is presented in the form of a podcast!

Maybe it’s just me, but epistolary novels always makes me feel the story is more “real”! I love how Wesolowski cleverly blurs the lines between madness, evil, and the paranormal, asking whether “monsters” really exist or are simply manifestations of our human selves.

This resonates so much with me as a clinical psychologist, because mental illness have been demonised and “monstered” throughout history, and I am always working to educate and defeat stereotypes and stigma.

Originally published in 1978, I was still a bit young to be devouring such dark and twisted tales but this one became my own blueprint for writing short stories.

This wasn't my first SK book, I had previously read his other novels like Salem's Lot and The Stand. But once I discovered Night Shift, it was like getting a different story each and every time I opened the book. 

There are no 'favorites' here because each one is sublime, but if I were forced to select 2-3 out of the 20, I'd go with "Gray Matter", "The Mangler", and "Sometimes They Come Back", mostly because these have quotes that I still see and use here and there, some 40 years later.

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.

I love music. And so I loved this more than any non-fiction book I’ve read in a long time.

Somehow it is the entire history of British pop music in a single book, from the first charts in 1952 until their death as a meaningful barometer of cultural taste in the early Noughties, breathtakingly audacious in scope, brisk yet comprehensive, and endlessly thought provoking.

A rallying cry for everyone who believes pop music is an art form (but, no, Bob, Sweet were not more important than Led Zeppelin). A book I couldn’t wait to return to every time I put it down.

It’s not an easy task to convey the carnal intensity and animal abandon of a performer whose default mode has always been unadulterated excess, but Paul Trynka’s masterful study of Iggy Pop hit the motherlode. Trynka went the extra mile and then some, tracking down hundreds of key witnesses to, and victims of, Pop’s creative chaos, and even attending his high school reunion (which is more than Iggy did). Jaw-dropping anecdotes were legion (taking a mid-gig dump behind the speakers, anyone?) and Trynka captured the driven essence of this brittle soul, perennially fighting the world while never even knowing why.

Up until the internet took over, radio airplay was the record industry’s lifeblood, and labels would do just about anything to get it. That included hiring independent radio promoters, and not asking too many questions about what they were doing to get certain records on the air at big stations.

Hit Men is an incredible tale of an ugly mid-1980s payola (play for pay) scandal, one that had rumors of organized crime involvement. It’s exactly the sort of sordid big-business shenanigans that made grassroots outfits like Rounder a lot more appealing.

Also recommended, William Knoedelseder’s Stiffed: A True Story of MCA, The Music Business, and the Mafia, which covers much of the same ground.

With Gender, Branding, and the Modern Music Industry, Kristin Lieb provides an enlightening but often troubling account of the contemporary pop music industry. By focusing on women artists in the post-MTV era, Lieb demonstrates that female pop singers are judged more than ever on their sex appeal—despite the advances of the women’s movement over the past several decades. Lieb draws from both theorists and music industry insiders, giving her conclusions weight and credibility. Yet despite its frequently disturbing findings, the book is not overly cynical. Lieb, an energetic writer, has managed to maintain her enthusiasm for pop music.