Play This Book Loud is the literary equivalent of a trip to the record store, that enchanting experience of searching for something new from something old. Joe Bonomo (pronounced Bo-know-mo, not the Turkish Taffy), an English professor at Northern Illinois University, starts his book that way, recalling the days of the coronavirus when he was offered hand sanitizer and plastic gloves at Green Tangerine, his local record shop. From there, we depart on essays on Van Halen’s “Panama,” the Cra...
Play This Book Loud is the literary equivalent of a trip to the record store, that enchanting experience of searching for something new from something old.
Joe Bonomo (pronounced Bo-know-mo, not the Turkish Taffy), an English professor at Northern Illinois University, starts his book that way, recalling the days of the coronavirus when he was offered hand sanitizer and plastic gloves at Green Tangerine, his local record shop.
From there, we depart on essays on Van Halen’s “Panama,” the Cramps, Green Day, Lester Bangs, Pickwick Records, Dick Clark’s Twenty Years of Rock and Roll double album, to name but a few of the subjects covered. There are also asides on Cragmont Cola (once sold at Safeway supermarkets), radio jingles, and “great archeological artifacts found on YouTube.”
While Bonomo does a lot of looking back, he brings us right to the present, where he feels we’re enjoying a golden age of musical writing. No, it’s no longer confined to the pages of Rolling Stone or The New Yorker but across the internet, where people like Josh Terry, Steve Pick, Tony Fletcher, Dan Epstein, Heather Ferris, and Aaron Gilbreath, to name a few, are busy posting stories.
Bonomo is busy building his own internet file with the Substack site, No Such Thing as Was. A quick glance at the site reveals that, in addition to posts on Amyl and the Sniffers, the Linda Lindas, Bad Nerves, and the Strokes, there’s a review of George Harrison’s Electronic Sound from 1969, a record that most of us have never heard (the back story on how the record was made may be even more fascinating than the review).
In talking about Lester Bangs, who died at the age of 33 in 1982, Bonomo cites the music journalist as his greatest influence. “He was more than a rock critic. The 45s and album cuts were simply the moving parts that got his words to the page. He was writing about what it means to be alive,” he said.
If you’ve ever come across a Pickwick Records release, you’ll be interested in Bonomo’s take on the subject. The company, which specialized in producing cheap knock-offs of hits of the day, was started in 1950 by Cy Leslie, “a Harvard-educated World War II vet who understood the dynamics of the wallet,” he noted. Recalling a Pickwick release of Beatle favorites, Bonomo is still amazed that the label attempted to duplicate "Mother," John Lennon's primal effort from an early solo album: "Who'd want to tackle a performance so raw and private, not to mention infamous and epochal?"
As for the 1973 Dick Clark release, “a wide-ranging potted history of rock and roll,” Bonomo pointed to the different genres of music represented on the album as well as the historic significance of the era that produced it. At the time of the album’s release, American Graffiti was also hitting theaters with a musical salute to nostalgia.
The author of Play This Book Loud always has something interesting to offer when it comes to the music front. Bonomo makes the point that Green Day, a band that still sells out arenas, has a career that parallels Bruce Springsteen in many ways.
Where else do you get an essay on the 7-Eleven convenience store chain’s 1966 release, “Do the Slurp?” The promo novelty 45 knocked Bonomo out as a kid, a memory he still can’t shake but happily shares with you.
