Books like Bring Judgment Day — picked by fans

This is one of the books that had me inserting an unsolicited “did you know that...” into just about every conversation I had while reading it. Terry Allen is a singular visual and musical artist whose story exemplifies what a rich and contrarian place Texas is. 

I knew something of what I might find in a Terry Allen biography, and yet there’s so much more: 1950s Lubbock wrestling promoters and Thai psychedelic bands, David Byrne and Marcel Duchamp, and, most compellingly, the lifelong love of partners Terry and Jo Harvey Allen. I cannot imagine many authors up for the task.

Brendan Greaves expertly delivers as one of those rare characters who understands that Allen’s roles in fine art and country music are not only on equal footing but of a piece. Greaves also oversaw the masterful reissue of Allen’s iconic albums Juarez and Lubbock on Everything, which makes it all… show more.

Tara Lopez suggests something new, prioritizing punk’s diverse expression over its tired origin myths. By turning our attention to the 1990s El Paso scene that produced bands like At the Drive-In, Lopez gives us a granular, expressive take on all the things that draw us to punk: its liberatory potential, DIY ethos, and ability to impact individual lives.

Through accessible oral histories, we get a sense of how vital punk rock could be against the backdrop of border politics and in a scene off the beaten path where DIY takes on new meanings. As a punk-curious 90s adolescent myself who listened in on El Paso from Austin, Dallas, and South Texas, this account resonated deeply—there was much that was familiar, but even more to learn. 

I met Eddie Wilson in the early 2000s, and hearing his stories over a meal at his restaurant Threadgill’s (the spot where Janis Joplin got her start) put me on the road to becoming a Texas music historian. With a glint in his eye, he would describe the unbelievable goings-on at the Armadillo World Headquarters, the Austin venue he created in 1970: Willie Nelson’s transformation on finding hippie audiences, Bruce Springsteen trying to prove himself in Central Texas, Australian rockers AC/DC in their first American appearance, live recordings of Frank Zappa and Freddie King.

This book, a history of the Armadillo and a memoir of Wilson’s time in it, is as comforting, funny, and engaging as sitting down over a chicken-fried steak and hearing those stories firsthand. Wilson’s writing partner, Jesse Sublett, expertly shapes Wilson’s speaking voice for the printed page. Stir in a gallery of the Armadillo’s vibrant poster… show more.

If the Armadillo World Headquarters is one central node of countercultural country music in Texas, Willie Nelson’s Fourth of July Picnics was the other. Where the Armadillo closed down in 1980, though, Willie’s picnics persist as an annual institution to this day. Author Dave Thomas has extensively researched the phenomenon and crafts its half-century history well.

The resulting volume is a riveting account that uses the sun-baked Texas ritual as a launching pad for stories encompassing all of America. A newspaper journalist, Thomas has an eye for detail and an ear for turns of phrase that kept me turning the pages long after I should have turned out the lights. If you ever wanted to read about a sort of country music, Woodstock Groundhog Day, this is that book.

A precise, thoughtful, and unromantic blues scholar, Barry Lee Pearson was also a friend of, and occasional booking agent for, DC-area acoustic blues legends like John Jackson and Cephas & Wiggins.

Jook Right On, which I was delighted to blurb and use in my own teaching, offers a series of compact autobiographical testimonies—“blues stories”—on a wide range of topics from a wide range of blues people. 

“Wordsmiths by trade,” Pearson writes in his brilliantly incisive introduction, “these storytellers bring to their tales qualities also found in blues musical performance and philosophical perspectives characteristic of the blues tradition such as improvisation, ironic humor, ambivalence, and a life-affirming sense of hope in the face of adversity.”

Constitutionally immune to cliches, Pearson brings you closer to the blues musician’s perspective than any writer I know.  

Iconic feminist, philosopher, and activist Angela Y. Davis put African American women at the center of the story of the blues, expanding our understanding of a genre usually presented as the purview of male artists. Discussing the music and careers of 1920s blues superstars Ma Rainey and Bessie Smith and 1930s jazz vocalist Billie Holiday, who was deeply influenced by the blues, Davis approaches the blues as music innovated, popularized, and consumed by African American women. She pays close attention to the impact of gender, race, and class on artists and audiences, and shows how these artists and their fans used blues music as entertainment, self-expression, social commentary, political critique, resistance, and survival.

When Wald published her thoroughly researched and sensitively written biography of Tharpe, few people outside the world of gospel were familiar with the guitarist and singer or her significant contribution to twentieth-century music. Wald traces Tharpe’s years as an acoustic guitar-playing traveling teenage gospel evangelist, her role as one of the first stars of the fledgling genre of gospel in the 1930s and 1940s, her controversial decision to play gospel music in nightclubs, and her influence as a flashy virtuoso whose intricate licks on the electric guitar inspired musicians in country, rock and roll, and beyond. A well-told story of a fascinating woman, Shout, Sister, Shout! establishes Tharpe as a key figure in the evolution of twentieth-century popular music.   

This debut novel is a delight to read for it not only blends detective fiction with Lovecraftian horror, it also weaves a spell filled with the Blues scene and the Southern gothic genre. An intriguing tale from start to finish, it features a war veteran turned detective hired to find missing a blues man. It takes place in the Jim Crow south of 1951, these times being a horror unto themselves. Rich with atmosphere and mystery, the scenes the author depicts are something else entirely.

It began as a master’s thesis in the early Sixties, when the blues was still (just) alive and evolving, and still celebrated by its traditional black audiences. By the time the book was published in 1966, however, white fans had ‘discovered’ the music, and everything was changing. Pounding, repetitive tunes of the kind written by Willie Dixon at Chess and popularised by English R&B bands, became the canon. The blues, with a new rock audience unaware of its rich variety and deep hinterland, was reduced to a single rather tedious idea. It didn’t have to be like this. It’s not the fault of those white R&B bands, but if they had been less fixated on Chicago and opened themselves up to influences from Detroit, say, and Memphis, we might now be living in a different musical world. Keil provides a glimpse of it.

Who’s your daddy? If you play electric guitar, the answer is “T-Bone Walker.” If your response to that name is “Who?” then it’s time to meet your musical ancestor. Over a period of just two decades, T-Bone, along with the “Three Kings” (BB, Albert, and Freddie), Buddy Guy, Otis Rush, Lightnin’ Hopkins, and others created and developed the fundamental techniques and styles of electric guitar that underpin blues and rock to this day.

Obrecht is one of the best writers on the subject, compiling biographies, historical research, interviews, and conversations into a fascinating and very readable history of the musicians, the music, and the instrument.