100 Books Like Her Country

Patti Smith’s book beautifully chronicles her intense and formative friendship with the groundbreaking artist Robert Mapplethorpe as they navigated the vibrant and often gritty art scene of late 1960s and 1970s New York City.

Theirs wasn’t a fairytale romance, but a complex, evolving bond between two flawed yet undeniably brilliant creatives. Reading about their struggles, their artistic pursuits within the legendary Chelsea Hotel, and the wider New York City scene evoked a strong sense of nostalgia for me, a time and place I've always found artistically inspiring.

The exploration of their creative partnership, the push and pull between them as individuals finding their artistic voices, is something I’ve often yearned for but haven’t quite experienced in such a profound way.

A tender meditation on all the disparate threads, sounds, loves, conversations, and lessons that meld together to create an artist. Watching Bob trying to throw off the accolades and labels that want to pin him down like butterfly and explore whatever takes his fancy is my favorite part of this trip, weaving through all the stolen records and ghosts and signposts and colored lights beckoning. 

Is there anything Dolly can’t do?

In 2022 she teamed with best-selling thriller author James Patterson on a novel about an aspiring country musician with a troubled past. AnnieLee hitchhikes her way to Nashville, but just as her musical career starts to gain traction, the demons from her past start to catch up.

Knowing Dolly co-wrote the story makes it hard to avoid reading her voice into the experiences of the youthful main character, but also into the voice of the older country music legend Ruthanna, who takes the struggling newcomer under her wing.

This book reminds you that Dolly, at her core, is a skillful storyteller.

Written by the revered god-daddy of Australian songcraft, Shots is a beat peek behind the curtain of what it is to be a young band on the road and on the rise, all lens flare vignettes; dry, brutal, and perfect, as cool as The Don himself. His uncanny way with words lets us bear witness to the country hall dances, Kings Cross streets, and back of the van like a poetic spy cam.

Believe it or not, this actually is a book about Nina Simone’s gum and the lengths to which the author goes to protect and memorialize a piece she chewed during a concert she played, and he saved in a napkin. There is a lot of explanation of process and documentation, so it feels like an art book meets a how-to manual.

But it’s also a memoir of sorts about the author’s life as a musician playing with Nick Cave and his own band, the Dirty Three. I love how this book looks and feels and manages to be several different genres at once. In fact, the moment I finished it, I went out and bought several copies to give as gifts. 

Musicologist Lydia Hamessley delved into Dolly’s songwriting corpus over the course of a decade, analyzing her tremendous output of songs, according to different categories.

“Coat of Many Colors,” for example, is the most beloved from among Dolly’s autobiographical songs. Lydia breaks down the harmony, and relationships between melody and lyrics to explain why the song works so well.

Songs about women’s lives, in another section, includes deeply affecting vignettes like “Down from Dover,” about a pregnant young woman’s despair after being abandoned by her lover and rejected by family.

Lydia’s book systematically unpacks the musical heart of Dolly’s creative genius, a quality that can at times be overshadowed in writings about her by the outsized nature of Dolly’s public persona.

This book positions Dolly as an icon for women’s struggles for equality and autonomy, through the lens of working-class women Sarah knew growing up. 

In songs like “Just Because I’m a Woman,” Dolly lays out issues of gender-based double standards just as clearly as any feminist analysis published in an academic journal, arguably, more clearly. Songs like “Eagle When She Flies” convey, in Sarah’s words, the “simultaneous vulnerability and deep power of women.” The first example was banned in its time on US radio, while many country radio DJs refused to play the latter during the early 1990s.

Sarah connects the dots and argues that Dolly’s feminism is embodied in her creative output and her actions, decade after decade. Dolly’s 2018 song “A Woman’s Right” makes a good follow-up.

This book is a classic. Along with the Smithsonian Collection of Classic Country recordings and Bill Malone’s Country Music, U.S.A., my own interest in writing about country music began here. 

When a senior scholar advised that country music lacked “respectability” as an academic topic, this book was among the small set of works that sealed my confidence to do what I wanted and figure it would all work itself out (Dolly does what she wants, too!).

In compiling biographical profiles of women in country music, this book also filled in a whole portion of history typically glossed over in most country music writing up until that point. It likewise planted seeds for future research and writing on the history of women in the genre, which continues to bear fruit today.

A little star swiftly turns into a superstar!

I was lucky enough to meet Taylor, so I dove into this book with gusto. It’s an easy and highly engaging read. I love how the author emphasizes the importance of Taylor’s values: hard work, perseverance, and love of a supportive family. What I found particularly appealing was the adorable description of how an 11-year-old Taylor had the gumption to hand out CDS of her music to record execs in Nashville! Five years later, she released her first album and it was a hit!

I love how this talented young lady has used her life experiences—both good and bad—to build a bridge to success. This is a well-researched, inspirational, and enjoyable read. 

I became a Brandi Carlile fan through her memoir, first. Various bookish people had been excited about it, and I love a memoir in audiobook, especially from a creative person. She sings! In the audiobook! Coming of age as an openly gay young person in the 1990s Pacific Northwest who loved country music wasn’t the easiest way to fit in. (I saw her in concert recently, and she joked about performing three-part harmony in Seattle at the height of grunge.) But she has always embraced her inner misfit. For example, some of her early performance costumes were inspired by the outlandish outfits of ‘70s Elton John…who is now a personal friend. “The Joke”, one of her most beautiful songs, is all about the misfits winning out in the end, and I love her for this stubborn faith.