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List Price: $19.99 | | Publisher: Backbeat Books
Salesrank: 140216
Released: March 1, 2009 |
| Our Price: $10.76 |
| Used Price: $18.06 |
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| Media: Paperback |
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Editorial Review:
In this epic exploration of the Pacific Northwest's esteemed garage rock traditions, Peter Blecha, Seattle's "rock 'n' roll archaeologist," skillfully weaves together the untold tales behind the rise of the region's early dance halls, recording studios, record labels, radio stations, and 1950s rockabilly, RandB, and doo-wop groups. The result is a compelling saga about an isolated region of America that, against all odds, managed to win global acclaim by stubbornly making music merely to satisfy its own provincial pop needs. Illuminating the creative continuum that arcs between the earliest rockin' pioneers and more recent demigods, Sonic Boom! reveals how one backwater music scene could produce such disparate mega-talents as the Ventures, Jimi Hendrix, Heart, Robert Cray, Queensryche, Sir Mix-a-Lot, Nirvana, and of course the legendary garage stompers, the Sonics. The culmination of over two decades of research, Sonic Boom! benefits from the 500-plus exclusive interviews that Blecha conducted with trailblazing DJs, sound engineers, label founders, and the leading luminaries of Northwest rock, including such hitmakers as the Kingsmen, the Ventures, the Frantics, the Sonics, the Wailers, Paul Revere and the Raiders, Dave Lewis, Ron Holden, Merrilee Rush, Larry Coryell, Heart, Sir Mix-a-Lot, Nirvana, and Pearl Jam.
Sonic Boom! The History of Northwest Rock: From Louie Louie to Smells Like Teen Spirit (Book) Reviews:
The NW Gospel according to St. Peter 
2009-05-07 - To begin, this is, plain and simple, a highly enjoyable read (as is his "Rock and Roll Archaeologist"). Blecha has a clear love for his subject and has spent many years digging through the backwaters of the Pacific Northwest to accumulate the rich details that that make this volume such a concise yet pleasurable experience.
While the title cites a range from Louie Louie to Nirvana, Blecha's prime focus is on the late 50's and 60's, which takes up 220 of the book's 304 pages, a period largely glossed over in Clark Humphrey's 1995 NW music tome, "Loser." Blecha also creates a much broader and more insightful picture of that era than previously delivered in titles such as the memoirs of KJR uber-boss Pat O'Day, "It Was All Just Rock `n' Roll" or James Bush's "Encyclopedia of Northwest Music."
This is not to belittle Blecha's thoughts on the decades that follow. He was a member of the Debbies in post-punk 80's Seattle and can speak with a first-hand authority on what that scene was about.
As a long time participant in and follower of the Northwest music scene, I say Blecha's latest stands up with Charles Cross's Hendrix bio as NW canon. Buy it. Enjoy. I did.
He Can't Put It Down!
2009-05-05 - This was a gift: My Husband takes this book with him where-ever he goes. He reads it every chance he gets.
Sonic Boom! The History of Northwest Rock: From Louie Louie to Smells Like Teen Spirit
Slightly Disappointed 
2009-04-19 - I agree with Mr. Beal's review. However, I had a more personal reason for buying it as I was a friend of Bob Hosko, the saxophone player for the Frantics. He is not in the index and is mentioned only once in passing. There is much more on the internet about him and I should have looked there first and saved the money.
An incredibly well researched book
2009-03-30 - Author Peter Blecha has come up with THE DEFINITIVE account of the history of Northwest Rock And Roll, in this new book.
Carefully researched, the detail on the people, the politics and most importantly, the music of the Pacific Northwest, should be a "must read" for anyone who has even a casual interest in the phenomenon of
the style of music, that has influenced generations, around the world for over five decades. Additionally, there are numerous previously unseen photos and memorabilia, which add immensely to the flavor of Blecha's text.
Of particular interest is Blecha's soundly based critique of the institutional racism that plagued (many say still does) in the Epicenter of Political Correctness, SEATTLE, Washington, and its unconscious politicians, journalists, and other "keepers of the public interest". He also fairly criticizes the terrible situation that remains shameful in the history of Seattle, in particular, by organized labor, in the personna of the Musician's Union, and its refusal to allow the exposure and growth of black musicians and bands in particular, with
sordid and well-documented detail.
Seattle's Liberal Left establishment needs to read this work, if for these above reasons only, and acknowledge
that in terms of race relations, Seattle has far to go. This book is a worthwhile, and long overdue public account of a unique cultural experience, and its historic contribution to popular music and culture.
