Rock*: A Mainstream Alternative History of Alternative Mainstream Music

by Chuck Klosterman

Kaleidoscopic culture critic Chuck Klosterman rewrites the history of reality in a wildcat work of speculative fiction based on a question that has never been considered or (in all likelihood) even What if The Beatles had only developed a cult following while the Velvet Underground emerged as the most popular band in the world?

The Velvet Underground & Nico was released in the spring of 1967. For decades, the cliche has been that it initially only sold 10,000 copies, though everyone who bought it supposedly started a band. It is the definition of a record whose influence outstrips its mass popularity. But what if the opposite had transpired? What if instead of selling 10,000 copies, it had sold…10 million copies? What if it had sold 100 million copies? What would have happened if the Velvet Underground had inexplicably become the biggest group in the history of popular music, and everything about the rest of the 20th century was merely a footnote to that phenomenon?
Whatever answer you imagine is an infinitesimal splinter, at least when compared to Rock*. Chuck Klosterman has generated a fictitious universe where almost everything is different, except for the songs. The songs remain the same—the difference is how they are heard and what they now mean. Lou Reed is a messiah, reversing the monoculture and dictating the outcome of presidential elections. The Beatles disappear, though they never break up. The Rolling Stones collapse while Led Zeppelin goes bankrupt. Punk rock fills stadiums, undermined only by insouciant radicals like Boston and Van Halen. Disco is destroyed. Hip-hop becomes country. The 1980s are defined by disposable pop icons (like G.G. Allin) and Christian revivalists (like Madonna). Lenny Kravitz lets love rule, Oasis collides with a wonderwall, and the terrorist attacks of 9/11 are somehow blamed on the Strokes.
Presented like The Rolling Stone History of Rock & Roll if written by Philip K. Dick, Jorge Luis Borges, and Patrick Bateman, Rock* intermixes satiric contrarianism and Spinal Tap-ish absurdity with darker theories about what makes art popular, how success delineates perception, and the inescapable consensus of subjective history. It is not, nor does it claim to be, the greatest book ever written about rock and roll. But it’s probably the last one that ever needs to be written.

Genres: Music, Fiction, Humor, Historical Fiction, Satire, Society, Audiobook

Audible Audio

Published September 22, 2026

About the author

Charles John Klosterman is an American author and essayist whose work focuses on American popular culture. He has been a columnist for Esquire and ESPN.com and wrote "The Ethicist" column for The New York Times Magazine. He was awarded the ASCAP Deems Taylor award for music criticism in 2002.

Reviews

[Peter Derk]

...this might be the only Klosterman DNF for me.
Here's the thing: I don't know a shitload about rock history of the 60s and 70s, so as I read this, I have no idea which parts are manufactured by Klosterman and which are basically as they happened in real life. I've never really listened to The Velvet Underground, so I don't really know which parts of this are based in reality, which are made up, and which are, most importantly, pretty funny jokes to those who DO know about this stuff.
I know super basic stuff, like "The Beatles were extremely popular," but I don't know anything about Lou Reed other than the fact that he collaborated with Metallica on what is easily their worst album and what I hope is also Reed's worst album.
I just might not have the background for this to really hit.
I LOVE that Klosterman is doing his own thing lately. His Football book was also not something I expected to really love, but love it I did.
And for publishers and so on considering paying Klosterman, just know I pre-ordered this book, and I'll pre-order his next one, no matter what it seems to be about.

[Dan · Rating 1 out of 5]

I love Chuck's writing, but this book is a rock version of an Eli Cash novel.

"Well, everyone knows Custer died at Little Bighorn. What this book presupposes is... maybe he didn't?" Eli Cash, The Royal Tenenbaums

[Samantha · Rating 3 out of 5]

I’m generally not wild about fictionalized non-fiction, but this was a solid change of pace for Klosterman and it is, at times, truly hilarious.

There’s a lot here that just reads like absurdism and nonsense, and it makes it hard to get through the book without your mind wandering pretty frequently, but the story certainly has its moments. I suppose one could argue that it’s no more absurd than real rock criticism, and that definitely counts for something.

All the Lou Reed/Velvet Underground stuff is kind of exhausting (admittedly in a deliberate sense), but there are some great laugh out loud moments: describing Exile on Main Street as “derivative,” as well as the bits about the government-mandated “wall of sound,” the discussion of the Strokes being partly responsible for 9/11, and the general failure of the Beatles.

Confused? That’s the idea, and while it’s tiresome and too much at times, it’s funny enough often enough that this is worth a read.

*I received an ARC of this book in exchange for an honest review.*

[Michael Reilly · Rating 5 out of 5]

I picture Chuck Klosterman giggling while he wrote this book.

The premise of this alternative history is that when the Velvet Underground released their first album "The Velvet Underground and Nico" in March of 1967, it changed pop music. It became the bestselling album of all time. It's New York cool decadent intellectual style set the model for the future of rock music. The Beatles "Sgt Pepper" was a flop. "When the hippies became outmoded, the Beatles became lame."

The idea is that this book is written in 2002 by a rock critic who is retiring from "Velveteen" magazine. Jann Wenner changed the original name, "Rolling Stone", when it became clear as they were issuing their first issue that the future of rock was the Velvet Underground.

The writing is a perfect parody of a snarky hipster rock critic. Klosterman revisits the whole history of pop music and twists it into this alternative history.

Elvis lives on as a spokesperson for Jimmy Dean sausage.
Andy Warhol, who produced the Velvet Underground album, becomes the most important record producer of all time.
The Monkeys have an insane way to measure how good their performances are.
Howard Cosell reports during MNF on the assassination of a Rock superstar, but it is not John Lennon.
(Spoiler Alert) Karen Carpenter marries Steve Martin
The CIA distributes bad acid at Woodstock
And on and on.

Klosterman rewrites American history. The change in musical tastes changes the results of a presidential election

Rock Critics, who are finally being listened to, turn into a dark force. They form the National Association of Rock Critics aka NARC, a great joke right there. NARC becomes a hugely powerful political force. It partners with the Mafia. It forces Hollywood to use rock music in all the blockbuster films. "Star Wars" features music by Thin Lizzy and Steely Dan. NARC conspires to destroy disco and it gets rap music to be thought off as a type of country music.

Klosterman perfectly captures the self-importance and intolerance of a certain type of rock critic. On a grander scale, it shows the danger when intellectuals get political power.

Although there are some serious undercurrents, this is basically a very funny book. He has great fun coming up with song and band descriptions.

At a Led Zeppelin concert the "lowest point ...had to be the recitation of a new power ballad about gold and stairways and the shrubbery of heaven."
The Band is "a group of Canadian accordion enthusiasts."
U2 is "an Irish group who relied on technological gimmicks to overcome their musical limitations."
The Beatles "Please Please Me" was "about soixante-neuf". (Goggle it)

Did I mention the Phil Spector-Andy Warhol hostage taking or the brutal take down of John Fogerty or the origin story of Dire Strait's song "Money for Nothing"? There is also a bonus appearance by my favorite science fiction writer P. K. Dick.

Klosterman hides a lot of serious stuff behind all of the funny stuff. The NARC manifesto is a dead-on parody of the worse kind of intellectual intolerance. This is a brilliant funny/serious book about an alternative rock music world.

[Logan Dalton · Rating 4 out of 5]

This is basically Danny Boyle’s Yesterday for The Ringer listeners/readers.

Chuck Klosterman’s alternate history novel where The Velvet Underground become the most important band in history and change the course of the world is hilarious, insightful, and at times, frustrating. The NARC organization is a joke that wears thin eventually, but I enjoyed reading about the fates of the Beatles, Stones, Elvis, KISS, Van Halen, Boston, and Yo La Tengo.

I’m curious to see the reader reaction to this one and might be more careful about my Velvet Underground>Beatles and Stones quips.

[Marci Stern · Rating 5 out of 5]

What would the music (and larger) world look like if the Velvet Underground were the most popular, explosive band of our lifetime? In Rock, Chuck Klosterman takes us into this alternate universe, and I was SEATED. This is a genius work that frequently made me laugh out loud. I truly loved every minute of it. That said, I don't think it has universal appeal. I'd say go for it if you (1) already adore Chuck Klosterman, and (2) enjoy reading about music history. Otherwise, proceed with caution.

[Dan · Rating 5 out of 5]

My thanks to NetGalley and Grand Central Publishing - Da Capo for an advance copy of this work of speculative music fiction that looks at a world where the British invasion didn't claim the high ground of the record charts, where a small band from New York became the arbiters of taste, style, drugs and more, and what came after.

Besides the words "We are going to be doing some songs from our new album" the words,"What If", are probably the saddest in just about any language, from vocal, clicks and even sign language. What if I asked the person out. What if I tried a little harder, what if I went right and not left, taken the harder path and not coasted on easy. What if means that things might be better. This isn't always true, Different yes, but not always better. Life has a way of taking what seems like a Perfect World, and making it well a lot of Metal Machine Music. What if if a popular concept, used in comics, science fiction, even in non-ficition. Many a music fan has always wondered, what would have happened if a record label actually pushed certain bands, not said ughh that's not commercial and just dumped it. And what if by chance the a band that was perceived as the bad guys won. Questions asked in this fascinating, fun, and totally anti-fab book. Rock*: A Mainstream Alternative History of Alternative Mainstream Music by music critic and historian Chuck Klosterman is a look at what the world would be like without the Beatles, the Summer of Love, a world where the sound from car radios were songs about rattled with the Heroin, and Sister Ray and others, and what that future might hold.

The book begins as an introduction, written not noted music writer and Editor for Velvetten magazine Lester Conway Bands, looking back at the book that tried to encompass a musical movement that no-one had seen coming, and one that changed the world. There was Elvis, there was the Rolling Stones, and there were the Beatles, whose album Sgt. Pepper's Lonely Hearts Club Band was going to make the Beatles, the band to be reckoned with. Instead a little album by a band few had heard of The Velvet Underground & Nico dropped their self-titled album. And changed the world. Backed by their label, something few expected, soon the sounds of Nico were changing the way young women talked. The songs changed minds, making drug use something to be discussed, sexual and trans issues brought to the surface, not in a fearful way but in positive ways. And Lou Reed became the voice of a generation. No Beatle cuts, no Summer of Love, and a world that was left different. In ways that were better, and in some ways worse.

I don't want to to ruin much. This book is amazing, especially for music nerds. True confession, I went into reading this without really looking, so at first I thought it was a real nonfiction book. Imagine my confusion. In fact don't read anything further, just read this book. There is so much here, so much research, so much thinking. Ok if this happened, what would happen next. What would this band do with different influences. Different ideas. The ending of the Rolling Stones, Led Zepplin going over like a lead balloon, returning most of the members back to studio work. Neil Peart of Rush only playing in 4/4 time. So many in-jokes, but one can tell a lot of work went into this. A Velvet Underground Cinematic Universe. I was laughing out load, wanting to argue about certain sections. A book that was so much more, and so much better than I expected.

I really enjoyed this on so many levels. The work involved. There are even music charts at the end of the book covering the seventies with songs in the top ten, critics choice and more. A book for music fans. As I wrote, and I know it is too late, don't read anything about this book. Just sit and read and get lost in what might have been. It sounds both magical, and awful, much like some of the songs Lou Reed wrote.

[Perry · Rating 1 out of 5]

Let's say I decided to tell you a joke and you decided to listen. I warn you that it is a long joke and you say that's ok. The joke goes on and on. It is possible that you get into the spirit of the joke and start laughing at points, even though I keep telling the joke without pausing for your laughter. It is also possible that you find the joke increasingly annoying and not funny at all. I think that might be comedic novels in general and this book in specific. My guess is that Klosterman had a lot of fun writing. I wish it were more fun to read.

[R.]

Yessssssssssss

[John Spiller · Rating 2 out of 5]

"What is this shit" is how Greil Marcus famously began his Rolling Stone review of Bob Dylan's double album, Self Portrait. Marcus' question would be equally applicable to Chuck Klosterman's "Rock*: A Mainstream Alternative History of Alternative Mainstream Music." Klosterman starts with an interesting premise: what if "The Velvet Underground & Nico" became rock's best-selling and most influential album, consigning The Beatles, the Rolling Stones, Led Zeppelin, and Elvis Presley to afterthought status. Imagine a world where GG Allin and Jandek played stadiums, and teenagers adopt the affect and accent of Nico. Like so many deceptive record reviews I have read in my time, it sounds so much more promising in description than in execution. "Rock" reads like a McSweeney's Quarterly humor piece that was overlong by a factor of 350 pages. It is puzzling. Klosterman is a good writer, and rock music is his metier. If anyone could have pulled off a "Man in the High Castle" counterfactual history of rock, it would be Klosterman. And yet, this book is uninteresting and unfunny. To put it in terms that Klosterman would appreciate and understand, this is his "Cut the Crap." ("Cut the Crap" being the massively anticipated and hugely disappointing album by The Clash.")

[Mattschratz · Rating 5 out of 5]

I must give this five stars, because it is maybe the weirdest book I have ever read. Other books take a counterfactual to illustrate something about the world, the way that The Man in the High Castle or The Plot Against America try to imagine what specific versions of fascism would look like with more historical success. This book sets out to imagine what would've happened if the Velvet Underground were more popular than the Beatles in 1967, for the purpose of imagining what things would be like if the Velvet Underground were more popular than the Beatles in 1967. Things that happen include Lester Bangs living into the new millennium, the Rolling Stone's last record being It's Only Rock and Roll, and the Strokes being blamed for 9/11. This is like writing a book about, what if Charles Guiteau missed when he shot James Garfield? And the answer is, somehow, that the two Dakotas were admitted to the Union as East and West Dakota instead of North and South. The reader would say: okay! I guess! That is what I thought reading this book. I loved it!

[Ali · Rating 3.5 out of 5]

*I won a free copy of this book through a Goodreads Giveaway.*

Madonna as the best selling Christian artist of the 80s, Led Zeppelin as an under appreciated art band, and the Beastie Boys as a Jewish Cowpunk Trio? This book makes me grateful to live in a universe where the Velvet Underground did not supersede The Beatles. The quips are quite humorous here, but this will go right over your head if you don’t have a passing knowledge of 20th century pop music history. There were a couple artists that I had to look up for context.

If you are a rock music fan with an appreciation for ridiculous humor and sarcastic quips, you have come to the right place. Thank you to Goodreads for the book!

[Egghead · Rating 4 out of 5]

fun boondoggle like
billy idol's cyberpunk
question: where's james brown?

[Dan · Rating 3.5 out of 5]

It took me an embarrassingly amount of time before I realized what was actually going on. That made this book soooo much better.

[Robert Fletcher · Rating 2 out of 5]

Chuck has written a couple of my favorite non-fiction books (The Nineties, Killing Yourself to Live).

He also wrote one of my least favorite novels of all time (Downtown Owl).

This one doesn’t rank that low, but it was an eye-roller and a waste of time that I’m not getting back.

I knew the risks when I went in - it was worse than I thought.

[Russ Morey · Rating 5 out of 5]

I didn’t fully appreciate the idea of the Velvet Underground being the focus of this book until I got to the third chapter. I love the alternate universe in which Klosterman puts the reader in. The outcomes of some of the biggest bands in the world are overshadowed by Velvet Underground is daft, yet extremely entertaining! The fake interviews, the members of prominent bands as we know and love them are replaced by other artists, and the utterly ridiculous story about KISS makes for a great read! I also purchased the book on Audible with Chuck Klosterman narrating so I can relive the story as I drive to and from work.

[Mike · Rating 5 out of 5]

…some parts are just funny, almost absurd, until you think about it. I’ve not had more fun during a read in a long time!! Thank you, Mr. Klosterman!!

[Victor Martinelli · Rating 5 out of 5]

I finished this book in two sittings. About 36 hours from start to finish. I loved this book!

So first, I need to start with the fact that this book is very niche and written for someone just like me. It leans heavily into modern continental philosophy of the last 70 years and modern music history of the last 70 years. If you are not really well versed in the history of obscure music acts of the 60s, 70s, and 80s, along with the philosophies of Zizek, Butler, Foucault, Lacan, Adorno, Chomsky, and Derrida, then the inside jokes will not land as hard, otherwise this is the greatest and funniest in tone book ever about these subjects.

Is this review sounding pretentious, Yes! But this really is a smart person’s book. It’s a book that takes what happens and reinterprets its meaning, and asks you to build a world where the meanings are reversed or inversed depending on the situation. This book tests your knowledge of sociology as well. Not your standard book, really a great but challenging read if you lack the background. Extremely thought provoking!

Read Major Labels by Kelefa Sanneh before this book to get all the jokes

Happy to live in a timeline where Chuck Klosterman publishes two books in a year!!

[Eric Rovie · Rating 5 out of 5]

A funny and clever alternate universe history of music where (among others) The Velvet Underground are the biggest band of the 60’s, Big Star’s records go to #1, and the Rock Critics Union becomes the most powerful union in the USA. I couldn’t put it down. And I laughed a lot.

[Drew Blake · Rating 5 out of 5]

Crazy and niche concept for a book that somehow works. Hilarious and insightful, and the voice work by James Austin Johnson on the audio version is incredible.

[Tamara Coleman · Rating 5 out of 5]

Such an interesting re-imagining of Music History. It's a critics book about music and cultural criticism and how our cultural landscape shifts and changes with the premise. As a fan of the Velvet Underground and Nico, it was so good to see them get the recognition they deserve. As a fan humor, criticism, and satire this was a laugh-out-loud almost philosophical take on the state of music and the industry.

[Benoit Lelièvre · Rating 4.5 out of 5]

First thing I've told myself after finishing this book is that I'll have to read it again.

Not uncommon territory in my relationship to Chuck Klosterman's writing, but this time it's not out of pure enjoyment. Not a 100% anyway. This time it's because I've spent two thirds of the thing misunderstand what the hell it was. Which is embarrassing knowing that I'm professional critic and this is a book about how professional critics can make everyone's lives needlessly complicated.

Here's what Rock is: a rewriting of what rock history would've been if critical acclaim and commercial success suddenly became the same thing. It's not as linear as you think.

Michel Chion didn't become the modern day embodiment of Tchaikovsky. Cryptopsy (although they are mentioned) didn't swap playing venues with Coldplay. What happens is not a Freaky Friday-like reversal of cultural fortunes. It's more muddled and parasited by the desire for power and influence, notably through the National Association of Rock Critics (shortened as NARC), the book's villains who quickly get drunk on their power and try to engineer cool and meaning for mass audiences. The results are as bewildering as they are funny. Can you imagine early nineties spent worshipping Lenny Kravitz instead of Nirvana? Me neither. Not before this book. Now I can't stop thinking about it.

Rock is more simple and structurally playful than all of Chuck Klosterman's books. His thing usually playful discourse embedded in rigid, almost academic structures, but this is as deadpan of an alternative history as you can get, explored in the most playful way. Even though it presents itself unassumingly, it's his most demanding thought experiment yet.

[Jarrett · Rating 3 out of 5]

Many thanks to Net Galley, Grand Central publishing and their imprint Da Capo for the Arc of this book.

Chuck Klosterman’s latest book blends fiction and non-fiction in his book of rock and roll history. While At times, he leaves things the way that they were, but at times he blurs the lines of reality and adjusts things so that his proposal of “what if band x became than they were supposed to be.” While this seems like a good idea and does work on some levels, at times it falls short and doesn’t make sense at all, such as the Velvet Underground becoming bigger than The Beatles (which just sounds insane). Most of the book is entertaining and very well researched, he does get all the dates right for the releases, but when he alters the history of music, the book falls short a bit and things like MTV changing its identity a few years after its launch, made for some serious arguments that could break out among book clubs.

In the end, Klosterman’s book version of Yesterday, a film by Danny Boyle that makes The Beatles disappear from the face of the earth while only one man has memory of them, that works in certain parts, but falls short in others. He also does a great job of blending elements of fiction and non-fiction perfectly so that the reader has no idea if this really happened or not, but also makes them think what if this really happed, would it have actually been a success.

If you are a fan of alternative history, music, or just a fan of Klosterman in general, this book is for you.

[BookwormBraggings · Rating 4 out of 5]

If you’ve ever listened to a song and thought, “Okay, but what does this actually SAY about us?”—welcome to Chuck Klosterman’s world.

Rock is the kind of book that starts with music and somehow ends up making you question everything from pop culture and celebrity to nostalgia, identity, and why we care so much about the songs we grew up with. Klosterman has a talent for taking something seemingly simple—an album, an artist, a lyric—and turning it into a rabbit hole you didn’t know you wanted to fall into.

And honestly? That’s half the fun.

His writing is sharp, funny, occasionally absurd, and unapologetically opinionated. He can spend pages dissecting a rock song and leave you thinking, “I never thought about it that way… and now I can’t stop thinking about it.”

What makes the book especially entertaining is that it isn’t just about rock music. It’s about the strange emotional power music has over us. Why certain songs become attached to specific memories. Why some artists become cultural icons while others disappear. Why we defend the music we love as if we personally invented it.

The vibe: smart, funny, slightly chaotic, and perfect for anyone who enjoys overthinking music.

You don’t necessarily have to agree with Klosterman—and I suspect he’d be perfectly happy about that. The best part is getting pulled into the conversation.

⭐️ Rating: 4/5

A fun read for music lovers, pop-culture obsessives, and anyone who has ever spent an unreasonable amount of time arguing about which band is overrated.

[EVAN · Rating 4 out of 5]

Rock* by Chuck Klosterman is a comprehensive alternate history of rock since 1967, positing a world in which the Velvet Underground is the world's most popular and influential band in the world, rather than the Beatles.

Are you the sort of person who knows the aphorism, "only 1,000 people bought the first Velvet Underground album, but they all started bands"? Are you familiar with the works of Lester Bangs and G.G. Allin? The movie, "Mazes and Monsters?" Read reviews by Robert Christgau? More to the point, are you a Gen-X music dork? If so, you will love Rock*. If you draw a blank on those names, a lot of the book will go over your head.

Chuck Klosterman started his career as a music critic, and has spent his career writing about music, pop culture, and sports, with occasional forays into politics, and this book is something of a love letter to his early career; only a critic could imagine a world in which critics have substantial power over entertainment and politics.

Again, it's very much targeted at a specific audience (the kind who will look at the alternative top 10s in the back and chuckle), who will enjoy it. Klosterman is very talented and it's not to say that non-music geeks won't enjoy it. However, if you're the kind of person who recognizes the name Mark Leyner and laughs at the idea of Robert Caro writing for Spin, you will appreciate more deeply.

This honest review was given in thanks for an advanced reader copy from Da Capo and NetGalley.

[Jeff Morgan · Rating 3 out of 5]

Have you ever had a friend tell you a joke that takes entirely too long and you just keep waiting and waiting for the punchline to drop? That’s what this book is like.

So, this (entirely too long) joke’s on me. I saw the words “Chuck Klosterman,” “rock,” “alternative,” and “history,” and thought this was Chuck Klosterman’s history of alternative rock. I didn’t realize, until after a few pages, that it is Chuck Klosterman’s alternative history of rock . . .

It’s all satire.

The Velvet Underground was rock history’s biggest success story and Elvis, The Beatles, The Rolling Stones, and The Beach Boys all flopped. CCR popularized a genre known as “napalm rock.” KISS is your favorite artist’s favorite artist (and they all died in an explosion). “Hotel California” is not a giant metaphor but a literal account of Don Henley’s unpleasant stay at a hotel. Oasis broke up amicably over creative differences. Rolling Stone Magazine is VelveTeen. MTV is RockScan. All pop culture is controlled by an organization known as N.A.R.C.

It’s mildly funny at points . . . but this would have been much better in an essay-length piece.

[Andrew Langert · Rating 4 out of 5]

When I try to describe Chuck Klosterman to other people, the first thing I say is that he sees things and describes things from a unique perspective and point of view. This book is an extreme example of that.

In this fairly short book, Klosterman re-imagines rock history as if the Velvet Underground were the act that brought rock and roll music to the forefront, not the early 1960s Beatles. Most of what is written about in this book are real people, real bands, real music albums, real songs. But what is said about these people and things are imagined (most of the time), but with elements of truth.

Klosterman is a great essayist and the chapters in this book amount to essays. He writes about Kiss (the glam rock band), Oasis (the Gallagher brothers), the Monkees and others but everything is influenced by Lou Reed and the Velvet Underground. He even wrote a chapter on the creation of the Rock and Roll Hall of Fame at Syracuse University (not Cleveland).

A fun read, great for music and pop culture buffs.

[Terrance · Rating 2 out of 5]

I was a music journalist for about 8 years. I very much like Chuck Klosterman's writing, but this feels like the shaggiest of shaggy dog stories whose premise was over in the first chapter. It makes me think that Chuck is trying to live in a world he feels is more "just" to the snarky critics out there who think the Beatles are overrated and the Velvet Underground is underrated. We get it. I've heard nothing but comments like this from music critics for decades. It's not interesting anymore. I really wanted to like this book. I thought the premise was interesting. But that's all that it was - premise, and then rambling in "rock critic" language for the rest of the book. Having been a music critic, I know how difficult it can be to describe music in creative ways. If I heard about the Velvets' "drone" one more time, I might have sold my VU records. It's amazing how much this book made me want to disagree with him, purely just for the sake of disagreeing. Read some of his older books instead. They're far better.

[Ward Whipple · Rating 2 out of 5]

There's a generation of music critics who traffic in smugness and snark, and Chuck Klosterman is one of them. His commentary is best digested in column form, or in a collection of scattered writings that don't necessarily need to be consumed in one sitting. His latest opus is an attempt to rewrite rock history from the point of view that the Beatles didn't dominate the industry, but that the Velvet Underground became the biggest thing in music instead, thereby changing the future.
The trouble is that the book is overloaded with inside jokes only rabid students of rock history will catch, and you can practically hear the author howling at every one of his observations. There is an attempt to suggest that this is the sort of thing Lester Bangs would have done or even enjoyed, but while it's one thing to admire the guy, he's impossible to imitate. A word that is surprisingly not used at all in the manuscript comes to mind, and that is "puerile".
(advance proof provided by NetGalley)

[Jake · Rating 3 out of 5]

(3.5/5)

A fun thought experiment driven to its logical extreme, and then continued for a further 200 pages (complimentary). Klosterman presents his vision of a world in which the Beatles and The Velvet Underground have swapped places, with the former fading into cult obscurity and the latter becoming the biggest band in the world.

The resulting book is occasionally maddening, frequently funny, and always interesting. Most enjoyable are the bits wherein a cabal of rock writers (National Association of Rock Critics, or NARC) secretly control all of pop culture, the band KISS are your favorite artist's favorite artist (and meet their demise in a tragic kite accident), and everyone's conviction that The Strokes were almost certainly involved in, or even responsible for, 9/11.

All this to say: the music snob in your life is going to love this.