4 comments about Going Underground: American Punk, 1979-1992.

1. One of the more notable things about this book, that I don't think many people realize, is that it is a 100% DIY product. I got to know the author, George Hurchalla a little bit after he contacted me, wanting to use some of my photos in the book. George spent six years of his life researching, interviewing, writing, re-writing, editing and designing this book. Then he put up his own money to have it published. He doesn't just talk the talk... He walks the walk.
   
   George felt that too much history was being repeated by the same few "usual suspects." He felt that lesser known participants should have their say. He wanted to introduce his readers to the smaller, lessor known scenes of the U.S.. It didn't all happen in just L.A., N.Y., D.C. and Boston, ya know. As George says, "Since punk rock was meant to be an anti-hero movement, it's a tragedy to let the winners write the history of it, and to make counter-culture heroes of people who were never meant to be anything more than inspirational peers."
   
   This book is an exhaustive history of the punk/hardcore scene from the period of 1979 - 1992. George chose the time-frame arbitrarily. He felt that there was already a tremendous amount of history recorded about the first wave of punk from 1976 - 1980 and his ending at 1992 marks when he dropped out of the scene. "Going Underground" chronicles the rise of the punk/hardcore movement from the perspective of George's discovery of the music via his older, college-aged, brother. George was in high school when his brother brought home a Sex Pistols record. Bored with the standard, classic rock fare that was common in 1980, this music lit a fire in him. There's a great quote by Karen Allman of the Tucson band, Conflict, regarding her own intro to the Pistols that kinda says it all, "That's horrible! Play it again!"
   
   George's personal narrative, combined with quoted stories from band members and scenesters weaves a fascinating account of the era. There is a tremendous amount of detail dedicated to the accounts from lessor known areas, such as my own mid-western area. I finally feel like my own hometown scene in Chicago has been more accurately represented, exposing us as a city with much more going on than merely the infamous Effigies/AoF feud. As the book states, many of us locals felt that the "personality conflict" between the two bands got too much attention at the expense of everything else that went on in our scene. Finally, finally, the stories of the lessor known bands are told. Finally, the voices of the average participants are heard.
   
   Especially poignant was an account by Austin photographer, Geoff Cordner, regarding the misfit status of which most of us felt we belonged to:
   
   "We were gathered out back in the alley after some kind of punk/new wave performance art thing - this was back before anyone made a distinction between punk and new wave. Everyone was drinking beer and nobody was saying very much because we were all a profoundly uncomfortable bunch - that was our common ground, it seemed - punk as a gathering of angry losers and rejects who, without sufficient beer in our systems, remained too uncomfortable with ourselves to really be comfortable with each other. It was a powerful thing just knowing there were others as f*ck*d up as you."
   
   We came together and built our fledgling punk scenes for many differing reasons, but the one thing we all had in common was our dissatisfaction with the status quo. If the mainstream society wouldn't accept us, no problem, we created our own underground society. We wanted to break away from the old tried and true norms of just about everything we encountered. Our motivation was powerful, as George says, "Knowing that no one would ever put out our records for us, no managers would set up tours for us, no clubs would open their doors to us, no radio stations would play our music, and that situation would only get worse, a generation of punks took the steps necessary to have our voices heard the best we could."
   
   I highly recommend this book, it's truly a great read. If you were a punk back then-- every page turn will bring you back into some memory. If you are a current punk- this is an accurate account of the times, a highly informative piece on the genre. It's a chronicle of punk history written FOR THE PUNKS, BY A PUNK. A true DIY project, so be sure to support the effort and buy this wonderful book!



2. Music is inextricably linked with autobiography. There are albums you love, not for the songs per se, but for the fact that the minute that first note hits the speaker, you're for a moment 16 again.
   
   In "Going Underground", Hurchalla doesn't shy away from placing his own life front and center. The book isn't a band history, ala "Our Band Could Be Your Life", though it's full of fantastic quotes, stories and interviews from dozens of incredibly bands. The Big Boys, Naked Raygun, Articles of Faith, the Dead Milkmen, Scrawl, Minus Man, and hundreds of others fill every page.
   It's not a taste of the indie gossip-mill, ala "Hardcore: a Tribal History", either. In total, it's a history of scenes, often focusing on those scenes you never heard of, like Lawrence, Kansas or Des Moins, Iowa. It's a history of punk and hardcore based on the people who made these scenes possible: fans, zine writers, musicians, club owners.
   
   Above all, though, it's about Hurchalla himself. His journey through the hardcore scene is so full of awe and wonder and joy that the whole book comes alive in his stories. He jumps from reportage and interviews to short personal stories, nervy and quick like a Wire tune, that never fail to electrify.
   
   In the end, like Azzerand's book, "Going Underground" reveals that this scene which, from the outside often seemed just angry and violent, was built on and held together by the love that these people had.
   
   Plus, there's no way to have a bad book with the Randy Biscuits on the cover.



3. This is the first book I have ever read by author George Hurchalla but if it is any indication of his writing skills and knowledge of the topics he covers then he has a bright future ahead of him in publishing.Going Underground is the rarely told (and often inaccurately I might add) story of the early US underground
   hardcore punk music scene. Author Hurchalla not only talks
   about his own experiences within this time period but also includes those of numerous other people who had been involved,and Hurchalla makes it a point to not just interview the same old people who have been quoted a million times before.The book is also filled with many never before seen photos of the era as well.What really made Hurchalla's writing special is the way he knows and understands his subject yet never comes off as another stuffy know it all "expert".This book is for anyone interested
   in this music scene and will appeal to both the scene veterans
   and the complete novices.I cannot recommend this book enough.



4. This is without a doubt one of the best works of non-fiction Ive ever read, and I read alot of non-fiction. Any fan of the American hardcore scene will find this book not only informative, but highly entertaining. Hurchalla does a great job covering the national scene as a whole. So many books about the subject only cover the larger scenes in LA, New York, DC etc...but in this one you finally get to read about the scenes in places like Philidelphia, Texas, Cincinatti and Vancouver. I was afraid the author would concentrate alot of info on the places he was familiar with (Florida and Pennsylvania) but he really did his research and covered the nation as a whole. I didnt expect to read anything about the areas Im most familiar with-Detroit and Columbus OH, so I was very pleased to see bands like the Necros and Scrawl covered extensively. If youre sitting on the fence about this book, by all means, buy it! You wont be dissapointed.

5 comments about The New York Dolls: Too Much Too Soon.

1. I agree with Paul 110% I discovered this album thanks to his excellent journalism on this artform. The term music is not sufficient to describe this medium, as listening to it provokes a feeling of overwhelmingly sensations. As a woman, this album incurrs a raw sexual energy that makes me question my modesty. The raw totality of DJ's talents is so all encompasing that I hardly consider him to be a mortal man. I find myself questioning my existence on this auditory planet. As I experience this album I like to indulge myself in the inspirational pages of Larry McMurtry, and doing these acts simultaneously is a glorious experience second only to religious ecstacy.



2. The New York Dolls were pioneers of the punk movement stemming in the early 70's and this book comprehensively chronicles their provocative, inebriated stent as a band. Nina Antonia is very detailed in the roots of the band, from the members' childhood and influences, up to their split after a turbulent tour of Florida. I found the book very interesting and attention-grabbing, and I learned a lot of stuff I did not know before. This edition also includes some nice classic photos of the Dolls. A reccomended read for any fan of the band.



3. Too Much, Too Soon is an excellent read about one of the most influential bands of the early seventies. The band only released two albums but they made a deep mark in the pre-punk era and started the first New York punk movement.
   The band had many tragedies (the death of Billy Murcia, the orignal drummer) and has been snake bitten repeatedly.
   Drugs (Alcohol, Pills, Speed and Heroin) and malaise doomed this band. Only the front man and lead singer David Johansen has managed to remain unscathed whilst
   heartbreak has taken Johnny Thunders, Jerry Nolan and most recentally Arthur Kane. All this and more can be found in this brilliant bio (and one of my sources for information).
   
   Highly recommended.



4. Nina Antonia has obviously done her research on the amazing torrent of attitude and style that was the New York Dolls. I had read Please Kill Me by Legs McNeil prior, which had been a primary influence in my intrest in the history of the Dolls. While in some regards his oral history is more complete, I still found a lot of enriching information in Antonia's book, including some really cool insights to the background behind some of the lyrics. Also, I learned a lot more about Arthur Kane and David Jo then McNeil had offered. I was a little surprised that Johnny Thunder's "official biographer" didn't have a heavier Johnny focus (besides, I know I'm not the only one who thinks he was the coolest Doll), but I then, I guess she'd have a harder time selling "In Cold Blood" if she gave Johnny's whole story here.



5. I bought this coupled with the newer Dolls bio, "Trash! The Complete New York Dolls", and found "Too Much Too Soon" is more personal than "Trash...". It's prob'ly because the author Nina Antonia is a Johnny Thunders fanatic. Being personal can be good in a way that it is very deteiled about a small but funny episode like JT puked in the airport in front of the press in France, but can be bad to be too emotional about the band, which makes the whole book invalidate. Chlonologically, this book covers members' childhood until Jerry Nolan's death, while "Trash...." covers until 2004 reunion and beyond. I enjoyed reading it, but I prob'ly have to give "Trash...." more credit since it covers longer period, and Jerry Nolan and Arthur Kane more than this book does.

No comments about Angelo Sindaco: Skinstreet.

5 comments about Please Kill Me: 6The Uncensored Oral History of Punk.

1. All the interview are so intriguing, but most of the interesting stories are transplanted into rocumentary films like Punk Attitude or End of Century-the biography of the Ramones, let stand one of the authors, Legs McNeil is in these films. So I assume most of the artists talking/being talked in this book; Iggy Pop & the Stooges, velvet Underground, Patti Smith, New York Dolls, Ramones, Richard Hell, Dead Boys, etc, etc...., if they have their own rocumentary films, main stories talked in this book are in them.
   
   But what I found interesting was the stories from the groupies, or girlfriends so to speak, like Cylinda Foxe(David Johansen's ex-girl friend/wife, married to Steven Tyler), Bebe Buell(Todd Langren's ex-girl frined, Patti Smith's friend, mother of actress Liv Tyler)and Connie, who was a crazy street hooker who was with Arther Kane and Dee Dee Ramones. There so many other inspiration to this book, but to me, their stories are something really fresh, giving more atmosphere of the late 1970's New York and its scenes, kind of like, insider story.



2. A little about my frame of reference. I was a few years shy of being able to fully partake in the punk experience. Nonetheless, a friend and I were into the Sex Pistols, Ramones, and Clash when the scene was going down. So, you know I love this stuff, and merely talking about it thrills me; however, Please Kill Me overall left me somewhat cold. Let me explain why.
   
   First off, the book is nothing more than a gossip rag. 98% of the interviews focus on sex and drugs. What's missing? The Rock-n-Roll! Groupies are given WAY too much time to speak. If you add up the words by interviewee, it seems like 35% is testimony by groupies. There are gleaming occasions though when you get some real pearls. For example, the MC5 tell all about their famous gig in Chicago. Iggy shares how he wrote the "I got a heart full of Napalm" lyric. Bandmates explain how Iggy got his name. But that still doesn't account for the dross along the lines of "I just thought so-and-so was so cute, but then I thought so-and-so was cute." Pretty pathetic. There was some major editing to be done here. I mean, why is there testimony from Bebe Buell about her affair with Jack Nicholson?
   
   Next off, the book limits its scope to a handful of focal bands - and mostly how they relate to New York City. These bands include Velvet Underground, Iggy and the Stooges, MC5, David Bowie, Patti Smith, Ramones, New York Dolls, Dead Boys, Heartbreakers, Television, and the Sex Pistols. I am sure that everyone has at least one favorite punk that was left out, so I don't see the point in complaining about that; however, Please Kill Me sees everything through the lens of the New York City scene and tends to dismiss anything happening outside of New York or, equally, denigrate other scenes as New York derivatives. It could have been that way, but I don't think it is a fully accurate depiction. There is certainly some distorting bias of the editors here.
   
   Next, there seems to be some issues with facts in the book. Several others have mentioned some. For one, I was peeved that Legs McNeil, the author, took a lot of pride in claiming that he was the father of the term "punk" as applied to the culture. It's pretty well documented that Lester Bangs did this about 6 years prior - and Legs was friends with Lester, so the chance to steal the term was certainly there.
   
   If you are a real fan of punk, this book will not be an entire waste of time, but I can't help but feel that there are many better books. I am currently looking for those. But Please Kill Me will, at the very least, give you an idea of the personalities of the focal people. It will not give you insight to the punk movement from a philosophical or artistic point of view. Like I said, it is merely a gossip rag.



3. This is a great book. With it's "directly from the horse's mouth" approach, it gives the story as seen from it's original players. And the author's choice quotes are excellent: amusing, and at the same time highly informative.
   
   But, naturally, there are faults.
   
   First: half of the book isn't about the original Punk Rock itself, but about it's predecessors - MC5, The Stooges, New York Dolls & The Velvet Underground. I personally have nothing against these bands, but some of the space taken up by them should be given to what happened after Punk '77.
   
   Second: English punk, here, is a generally considered a farse. That might be half-true about the Sex Pistols, but what about The Clash? The author also treats Punk's political leanings - a major & defining trait of the style - as something "forced". There's also a very real feeling of resentment of the protagonists of the New York scene towards British punk - a feeling that's shared with the author himself. Brit punks are treated here, most of the time, as usurpers...
   
   The third major fault I find in this book is the complete lack of coverage it gives to 80's and 90's punk. Where is Hardcore (Dead Kennedys, Bad Brains & Discharge)? Where is Oi! music? And what about Crossover (D.R.I., S.O.D.)? And Grindcore? And those platinum-selling punk bands of the nineties (Greenday, The Offspring)? The focus is just too narrow.
   
   I repeat: this is a great book, but know what you're buying.



4. In the same way film maker Sergei Eisenstein would juxtapose film clips using his theory of montage, combining of two different elements that create a single new experience, Legs McNeil and Gillian McCain create a thorough narrative using the a patchwork of various quotes from culled from the remnants and survivors of the early punk scene.
   
   What impressed me most was the format of the book. It is a collage of quotations that forms a true story with a beginning, middle, and end. There is no prose or re-telling, just the assumed touch up of the spoken word to make the text more readable. And it's not the quotes themselves that guide the story, but the deliberate placement and order of the quotes that bring life to the text.
   
   To show you how the book could have been a major disaster, just read the "More Depraved Testimony" in the appendix of the Penguin Books edition. These are bits and quotes that were left out of the first edition. They seem placed randomly around one another and don't have the same contextual feel as the book proper.
   
   With an emphasis on the music and bands that predated the British version of punk, "Please Kill Me" tells the story of Iggy and the Stooges, the MC5, the Ramones, Richard Hell, Patti Smith Group, the New York Dolls, the Dead Boys, and the punks and groupies that frequented the infamous CBGB venue.
   
   While the Sex Pistols and the like do appear in references, it usually in the context of the early punker's reactions to and encounters with the Pistols and the other Britt punks. Sid Vicious got much more attention later in the book, but only once his exploits were based out of New York.
   
   The point of view is very New York centric, so rather than using the sub-title "The Uncensored Oral History of Punk," I might be more inclined to consider it "An Uncensored Oral History of Punk."
   
   A major distraction is the story's meanderings away from the music itself to a tabloid sensationalism of the decadent drug use, sex, and exploiting one another. At times it seems that a lot of these bands were just getting together as something to do between scams.
   
   Though I wasn't even born during the indie/punk genesis, I was an ancillary spectator of the mid-90s punk renaissance, and I'm not even a radar blip in the current scene; I like to think there was something more to the music that I can always go back to and always get something from than just fashionable, sneering cartoon cliché with a t-shirt reading "Please Kill Me."



5. If you want to know where punk all started read this book. I first read it in high school, I had seen it at the library and thought it might be interesting. It's way more thatn interesting, I was a total novice when it came to punk music, and after reading it I became the know-it-all of punk rock history. I was calling out all the punks in my school who worshipped The Sex Pistols and the Clash. I did a research paper on Punk rock and this book was my major source. My only criticisim is it's mostly east coast or N.Y. punk. And there's no mention of the no-wave movement that came afterwards with bands like James Chance and the Contortions, and Teenage Jesus. Suicide isn't mentioned either. However there are other books that cover the different waves of punk, like American Hardcore for the hardcore/nazi punk, I've got the Neutron Bomb, I believe is the title that covers the L.A. scene, which is allright but a little shortsided, I think Lexicon Devil: the Rise and Fall of Darby Crash and the Germs, is a more indepth look at L.A. punk. Besides all that if you haven't read this book it's a must if you're a fan of punk rock, not only a read you must own it.

1 comments about Love Songs.

1. is genius."Reality asYlum and "Bata Motel" are the premeire and supreme examples of what it means to be a fuLL humAn.Loving is what one becomes when they realize the humanity and the pain and reAlization it must have too to get there.Hell yeah.I likE the book "Spiritual Bathing" Also.I enjoy wisdom and good poetry.You may want to check out Suzanne Vega'S boOk "The Passionate Eye" and Ani DiFrancO'S"sElf evident." See my "Poetry" listmania for other wonderful pooetry finds and poetic books anD music.

5 comments about Siouxsie and the Banshees: The Authorised Biography.

1. Rock biogs are a motley lot, and I think I make a good benchmark reviewer for this as I like a lot of the Banshees early stuff, but always got the impression Siouxsie was a bit of a punk prima donna. I was pleasantly surprised by this, as it's nicely put together, a good read, and I left with a great deal more respect for and understanding of Ms Sioux and crew. It's not going to change your life - punk's had far too many unrealistic aspirations laid on its shoulders by scene asskissers over the years - but this book's both an entertaining and informative take on all things Banshee.



2. I have a casual interest in Siouxsie and the Banshees and recently decided to add their 'best of' to my CD collection. On a whim I decided to get this biography to find out the stories behind some excellent songs. I must say how impressed I was with what I learned about the band and the personalities within. I can sum it all up by saying it's a story of chance, hard work, an over-whelming desire to be different, drinking, a seemingly never ending succession of guitar players, more drinking, some drugs, persistance and artistic integrity. With more drinking! Starting from a point of not even knowing how to play their instruments right through to crafting some song arrangements which are quite exquisite, Siouxsie and the crew really made their mark. This book delivers a blunt and to-the-point account of how they managed it. A very interesting read for anyone whose single buying years started in the late 70s and who has an interest in the late punk/new wave/pop genre.



3. Siouxsie and the Banshees tells you like it is. Period. They talk about everything from their childhood, drugs, alcohol, traumatic experiences, etc in such vivid detail that you literally feel like you are experiencing it! I think all books about celebrities should be just like this: straight to the point and honest! However, Sioxsie and the Banshees draw you in with their colorful way of speaking......and believe me, their life will be stuck in your head.....no, seriously.
   
   GET THE BOOK!!!!



4. The author of this bio does a great thing. He shuts his f#@king mouth and lets the band do the talking. The book really gives an insight into the band that I never had. Good creative insight, and a little naughty gossip as well. Good read, Great band



5. This is a great book because it has all the viewpoints of all the players in the band for a span of about 25 years. Really gives you an inside view to the bands history whether from Siouxsie and her ex Budgie, the fellow founder, Steven or one of her guitarists who left because they quit on her before a show, sickness, or being sacked. There were a few. Great drama and essential for anyone who loves their music. Also loved the backgound info about what went into making all their albums.

5 comments about We Owe You Nothing, Punk Planet : The Collected Interviews.

1. Beng familiar with the fanzine version this book took the interviews from since their first issue, I did not initially think this book would be that good. But coming from someone still involved in punk and hardcore and indie rock, I gotta say the interviews are quite good, and the subjects interviewed are some of the most important and best known.

   The entire book is made up of interviews from past fanzine issues but I think interviews are great historical documents and should be more appreciated.

   Punk Planet the fanzine doesn't blow me away but this book is really very good. Any indie music fan should have this on his/her bookshelf. No joke.




2. Where the (corporate published) This Band takes a narrative approach to telling the story of punk (and thusly giving us more of an insight into the author himself instead of the bands and people he's "profiling"), We Owe You Nothing lets the bands and people speak for themselves. What emerges is an honest, filter-free look into the punk underground.

   Additionally, while This Band stops at the early 90s, creating an artificial feeling of "it ended", We Owe You Nothing looks forward into the present and future of punk (while still remaining rooted in its history) by talking with contemporary bands and non-musical figures whose continued influence make punk a growing, dynamic, changing entity. Azzerad's book doesn't even come close.




3. The majority of interviews are with performers and bands that established themselves in the 1990's. More importantly, the majority of interviews are with bands that were already circling the perimeter of corporate-sponsored "indie-rock". With the exception of Jello Biafro were never given any real insight into the workings of truly underground, hardcore political punk. Where were the interviews with MDC, Nausea, Toxic Reasons, Youth Brigade, Lydia Lunch, Foetus, Filth, Gangrene, the Squat or Rot crowd etc.? Daniel Sinker does a good job covering middle-class University-friendly phenomenona like the Riiot Grrl movement - but does little in the way of real research. Sinker missed the boat by about a decade and what we're given is his interpretation of what "punk rock" is.



4. This is a truly amazing and inspiring collection of interviews. From Kathleen Hannah, Noam Chomsky, Jello Biafra, Thurston Moore, and many more known and unknown personalities, this book should work to revitalize your spirit to live, to dare, to create. Aside from Frank Kozik (who, while interesting, is not very inspiring) the people included in this anthology are vital, engaged artists, writers and just regular people who share some remarkable stories, fascinating insights. If your interested in real life political issues, what it means to create and sustain a culture, to be involved in communities or just interested in the human experience, I highly recommend this book.

   If you are into all of the "I'm so hip and crusty" stuff that the guy who trashed the book is into, then no, you won't like this, I suppose, because you have your own microscopic view of "punk" and will dislike anything that doesn't fit into it, but maybe you should still read this collection anyhow. It might help.




5. there are a few good interviews in here (jello biafra, ian mackaye, etc.). other than that it's pretty boring, unless you really dig corporate indie rock. there really isn't much on pre-90's punk and there's a section dedicated to chumbawamba. get this and read the good interviews then pass it along to someone else.

5 comments about Rat Scabies and the Holy Grail: Can a Punk Rock Legend Find What Monty Python Couldn't?.

1. "Holy Blood Holy Grail" - and this one.
   
   The first because - despite the fact that other books on the subject preceeded it - it's the one that really put the subject on the map. And Dawes' book because it's the only one I've read that really seems to pick up where the first one leaves off, with a very entertaining and comical, yet touchingly personal, spin. Is there anything to the mystery after all? Who knows? But with a book like this, the quest is just as beguiling a read as any blockbuster revelation could be.



2. What happens when a journolist and a punk rock legend go off to find the Holy Grail? Well read this to find out. An hilarious account of adventuring in the misty world that most people have only heard of due to The DaVinci Code. A good travel book and mystery book. Highly recommended.



3. If you've read/see the Da Vinci Code this is a must read book. The same basic idea, just a little more tongue in cheek.



4. This book is awesome! I've read it three times already...It just doesn't get old. I originally got it because I'm a fan of The Damned. Any fan of The Damned, the DaVinci Code, the esoteric, or anybody who just wants a laugh-out-loud read should buy this!
   
   Funny as hell, interesting, mysterious, spooky, and, oh yeah, funny as hell!! Great book!!



5. While most of the plot deals with the Rennes-le-Château mystery, deep inside this book is about friendship. It is also quite funny.

3 comments about Turn That Down!: A Hysterical History of Rock, Roll, Pop, Soul, Punk, Funk, Rap, Grunge, Motown, Metal, Disco, Techno & Other Forms of Musical Aggression Over the Ages.

1. Grossberger is a force of nature. His comedic gift blurs the lines between fact and fiction, music and mischief. He invents a history of music from the 50s to the present day, leveling the playing field. It's zany, zooey, unglued, and hyperbolic, just like the musicians themselves. It's a book for Elvis fans, Beatlemanias, Little Richardarians, Motownians, Madonna maniacs, Bowie wowies--in other words, all of us with iPods and LPs and old copies of Rolling Stone. It's the music industry unplugged, unzipped, and zapped. I can't imagine anyone else having such a smart perspective. A great read, with photos (and wayward captions) throughout!



2. This is one of the funiest books I have ever read. It has a magnificent sense of musical history and the story is told with astounding insight and humor. Buy it. Read it. You'll laugh.



3. A great buy for anyone who wants to learn about rock history without falling asleep (which would be very sad considering the topic). I'd buy it more for the humor but you'll come away knowing quite a bit aobut how music evolved and it's history. Browsing the picture captions is worth the price alone.

3 comments about Green Day International Superhits!: Authentic Guitar-Tab Edition : Includes Complete Solos.

1. Green Day International Superhits Is Tight.Has 21 Great Songs That Has Chords,The Tabs,And Complete Solos.Definitely Worth 22 Bucks.Includes These Cool Songs:

   Basket Case
   Brainstew
   Geek Stink Breath
   Good Riddance(Time Of Your Life)
   Hitchin' A Ride
   J.A.R. (jason andrew relva)
   Jaded
   Longview
   Macy's Day Parade
   Maria (unreleased)
   Minority
   Nice Guys Finish Last
   Poprocks & Coke (unreleased)
   Redundant
   She
   Stuck With Me
   Waiting
   Walking Contadiction
   Warning
   Welcome To Paradise
   When I Come Around

   A Really Great Book.So If You're Thinking About Buying This Book.BUY IT! It's Worth Your Money.




2. I am a beginning guitar player and had downloaded most of the free guitar tabs for the Green Day songs in this book. I could have saved a lot of time and frustration had I just bought the book first. The 'real' chords and sheet music are definitely the way to go. Most of these songs are surprisingly easy to play and book helps you play the songs as they sound on the Green Day CD's. If you like Green Day and want to play the songs from the CD, buy this book, its worth it.



3. What's the point of buying guitar tabs when you can just search the net for free ones? I think I will give this book a two just because the riffs on some of Green Day's songs are pretty good, the only problem is that it is a Green Day product, and if I endorsed it by giving it any higher of a review, I would be supporting Wussie Rock, it's a new subgenre that I put Green Day into, judging from the fact that the main singer is a little fairy princess.