23 Books Like An Army of Lovers

A wonderful overview of the early years of Olivia Records, this memoir from the social justice warrior of the original Olivia collective details how the first lesbian recording company was founded—and succeeded, despite all odds. Berson includes romantic insights on the artists’ passion for one another, as well as accounts of building a national audience. For two generations of women who came out with this music, the songs and albums remain critical anthems of female empowerment—and the only music that existed to affirm lesbians’ lives.

A memoir by one of the most enduring women’s music performers, covering her background in peace activism and solidarity with Black freedom singers that led to the creation of Redwood Records. Wonderful material on the many tensions concerning concerts for women only vs. forming alliances with other progressive communities and performance partners.

Featuring an Introduction by artist Linda Tillery, the book offers a timely critique of white-centered women’s music events and the possibility of Black women’s music festivals. The author looks at the different experiences of Black audiences in primarily white feminist festival spaces and the role of Black lesbian artists across several generations.

Possibly the best and rarest of all publications about the start of the women’s music movement, this volume was prepared by the students at the University of California at Santa Cruz to serve as a textbook (and record of their experiences) for the first-ever course on feminism and music. Still available to good sleuths who find used copies floating around, the title page is Women in American Music. Women’s Studies, Kresge College, University of California, Santa Cruz, Spring 1975.

The idea for the class was initiated by Karlene Faith, who went on to be an influential producer and distributor; the book she helped edit includes interviews with early Olivia artists who were guest speakers and performers in the class. Before her untimely death, she too was working on a history of Olivia Records.

This book made me want to sing out loud. Here’s why…

I submit that the best way to see something or someone you think you know everything about is to listen to a genius talk about them. This book is filled with the geniuses I learn at the feet of. Taffy Brodesser-Akner (of Fleishman is in Trouble) on Taylor Swift, Novelist Kate Christensen (who could make laundry drying on a line seem fascinating) on Tina Turner, Susan Choi on Stevie Nicks, and Elissa Schappell on Kim Gordon, and so much of this sort of praise and generosity.

It makes you want to listen to everyone in here, read everyone in here, and hug them all first. I love music, great writing, and amazing women doing both. It’s all here and rolling out of the speakers with beauty. 

This is a compelling, detailed history of three influential singer/songwriters – Carole King, Joni Mitchell, and Carly Simon. Their early careers were wildly different, yet intersected in unexpected ways as they each found their unique paths to success. What I love most about this deftly written account is that specific songs are set in their historical context, so you better understand what was happening with the artist at that time and gain new insights into the songs that still resonate today, fifty years later.

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.

In the early 1990s, a group of women-centric punk bands and their young fans created a radical feminist movement, one that is still deeply inspiring. This book of Riot Grrrl is a fascinating look at the interplay between music and revolt, as well as an enraging analysis of how media took young women’s anger and turned it poisonous. I have long been obsessed with Riot Grrrl; although I was of the age to participate at the time, I lacked information and access. So I look back now at my Gen X peers and celebrate the music and rage that created this holy thing. And in my book, some of my stories are based on these songs and the spirit of these girls.

I love how the various writers in the book explore music and its effects on them and their lives.

I really enjoyed how they also include people they have known and been fond of, such as Maggie Nelson writing about her friend Lhasa. It also explores, through the series of essays, the reasons that inspire women to play and perform, but also other areas like fame and how this affects musicians.

The essays challenge the usual pattern of men writing about music and I love the view from the female musician’s standpoint. The essays vary in length, topics, and style but this is fine. I found the book inspirational, especially as the essays are there with only light edits.

Whether writing about what it is to be far from home on a journey, or defying expectations found the passion, consideration for music, and their motivation captivating. 

This book piqued my interest because it was on former President Obama’s reading list. On the surface, this is a story about an interracial rock duo’s rise to fame and their breakup. But it is really about how race impacts black women and the choices we have to make that others don’t.

The story is primarily set in the 1970s, and as a baby boomer, I enjoy reading about this time period. In 2016, they considered a reunion, but of course, secrets and unresolved issues got in the way.