Reference Reviews

Lawrence Looks at Books

Encyclopedia of Indie Rock. Kerry L. Smith. 400p. Westport, CT: Greenwood Press, 2008. 978-0-313-34119-9; 2008-4529. $75.

Frank Zappa and the Mothers of Invention may have joked that they were only in it for the money, but anyone who listened to their early records would never have guessed they were aiming at commercial success. With their talkie mix of biting satire, avant-garde experimentation and up-yours attitude, to even their own record company, the Mothers seemed to be making music for no one but themselves. In fact, few fans could keep up with Zappa, who, forming his own label in 1973, would produce more than 60 albums in a 27-year recording career. Regardless of his musical legacy, Zappa’s do-it-yourself approach would inspire many who came after. For 40 years, hundreds of artists eschewing the conformity of record labels, radio stations, MTV and the music industry have produced their own records, relying on self promotion, homemade album covers and passion for their art to reach their audience. While some like R.E.M., Nirvana and Green Day have become gigantic industry success stories, many have soldiered doggedly in the face of economic difficulties for the sake of their music and fans.

In this encyclopedia, music journalist Kerry Smith surveys the history of this movement from the Velvet Underground, Talking Heads and Black Flag to Arcade Fire, Cat Power and the Decemberists. Most of the 189 entries feature bands and individual artists who have jealously guarded creative control of their own music and consequently led the independent rock movement. Other articles highlight music festivals and publications that have brought attention to the work of independent artists. From Ace of Hearts to Sub Pop Records, adventurous recording labels are given their due. Grunge, Emo and other genres favored by indie groups are explored. The portraits of individual artists capture the challenges they faced in creating music, touring and recording, as well as maintain professional relationships. Also noted are the debts of inspiration owed to predecessors and the influence the artists have exerted on other acts. Smith sets the stage for these vignettes with a brief historical overview and a timeline of indie rock. To inspire further debate, Smith also includes list of the 10 most influential indie artists and the 75 most significant indie rock albums. The latter provides a useful listening guide to the history of the movement. Unfortunately, the editorial support for the volume is not as strong as the author’s writing. The brief chronology has the Ramones signing with Sire Records seven years before the group was formed, and the index fails to highlight the main articles on each topic. The lengthy resource guide would have been more useful if divided by genre or period. Nonetheless, this entertaining guide will find avid readers of obscure musical tastes in high school, public and academic libraries.
—John R.M. Lawrence