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"All I have to say about these songs is that I love them, and want to sing along to them, and force other people to listen to them, and get cross when these other people don't like them as much as I do"
-Nick Hornby

What interests Nick Hornby? Songs, songwriters, everything, compulsively, passionately. Here is his ultimate list of 31 all-time favorite songs. And here are ...
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"All I have to say about these songs is that I love them, and want to sing along to them, and force other people to listen to them, and get cross when these other people don't like them as much as I do"
-Nick Hornby

What interests Nick Hornby? Songs, songwriters, everything, compulsively, passionately. Here is his ultimate list of 31 all-time favorite songs. And here are his smart, funny, and very personal essays about them, written with all the love and care of a perfectly mastered mixed tape...
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Editorial Reviews

For those familiar with Nick Hornby's fiction (High Fidelity, About A Boy, Fever Pitch, How To Be Good), these essays on music will have instant appeal. Hornby's approach to music is personal, meditative, quirky and always engaging. In 30 short essays (four to seven pages on average), he links his life, history and politics through the subject of particular groups and songs. Among the artists discussed are Springsteen, Dylan, Santana, Ani DiFranco, Nelly Furtado, J. Geils, Led Zeppelin, Soulwax and Royksopp. The list is as idiosyncratic as you'd expect from Hornby, and the writing and thinking are always engaging. KLIATT Codes: SA-Recommended for senior high school students, advanced students, and adults. 2003, Penguin, Riverhead, 206p., Ages 15 to adult.
— Daniel Levinson
From the Publisher

"A small, singular, delightful collection [about] the power of songs to bind people culturally and to reach deeply into the human spirit, bending the heart into new shapes with new potential." —The New York Times Book Review

"When Hornby writes about his enthusiasms and how they intertwine with his life, he's amusing and inspiring." —Rolling Stone

"That whole subculture, all those mournful guys to whom the sound of record-store bin dividers clicking by is almost music enough, should love Songbook, yet so should anyone interested in great essays, or in the delicate art of being funny, or in how to write about one's feelings in such a way that other people will actually care." —San Francisco Chronicle

"Delivered in a hugely enjoyable, invisible prose that does in words what Hornby’s tunesmiths do with sound. He writes good." —Time Out London

"Quintessentially Hornby: an idiosyncratic and charming exploration of the meaning of music and how it changes as we grow up and grow old." —Seattle Weekly

"A book about the joy of listening to great pop songs, about the elusive genius of a catchy chorus . . . what shines most is Hornby himself—his wry self-awareness, his disarming honesty. Effortlessly readable, every chapter reminds us how special an observer of human behavior Hornby is." —Heat

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Product Details

  • ISBN-13: 9781573223560
  • Publisher: Penguin Group (USA) Incorporated
  • Publication date: 10/7/2003
  • Pages: 224
  • Sales rank: 381,773
  • Product dimensions: 5.26 (w) x 8.06 (h) x 0.62 (d)

Meet the Author

Nick Hornby

Nick Hornby is the author of six novels, the most recent of which is Juliet, Naked, and a memoir, Fever Pitch. He is a finalist for a National Book Critics Circle Award for music criticism, and editor of the short-story collection Speaking with the Angel. In 2010 Hornby's screenplay for An Education was nominated for an Academy Award. He lives in North London.


Journalist and bestselling novelist Nick Hornby is best known for his portraits of dysfunctional Peter Pans -- clueless postmodern males in various stages of arrested development who discover, often to their chagrin, that growing up is a process involving far more than the passage of time. Dubbed the "maestro of the male confessional" by The New Yorker, Hornby is credited as the founder of the "lad lit " genre -- a peculiar honor, since he also seems to be its only truly successful practitioner!

However, to dismiss Hornby's writing as the testosterone-laced equivalent of "chick lit" is to seriously underestimate his talent. The New York Times Book Review put it this way: "Hornby is a writer who dares to be witty, intelligent and emotionally generous all at once. He combines a skilled, intuitive appreciation for the rigors of comic structure with highly original insights about the way the enchantments of popular culture insinuate themselves into middle-class notions of romance." (As further proof of his standing in the literary community, a group of distinguished colleagues -- including Germaine Greer, Zadie Smith, and Doris Lessing -- honored Hornby with the 2003 London Award.)

After graduating from Cambridge, Hornby worked a succession of jobs (he taught school, gave language classes, and served as a host for Samsung executives visiting the U.K.) before becoming a journalist. He wrote a series of pop culture columns for the Independent and wrote about music, books, and sports for Esquire, The Sunday Times, Elle, and the Times Literary Supplement. Then, in 1992, Hornby published a hilarious sports memoir about his maniacal obsession with Britain's Arsenal Football Club. A huge bestseller, Fever Pitch won the William Hill Sports Book of the Year Award and helped to give soccer a cachet far beyond its formerly "blokey" appeal. His debut novel, High Fidelity, appeared in 1995. Teeming with hip music and pop culture references, this story of a thirty-something record store owner lamenting his failed romantic relationships struck a responsive chord with readers on both sides of the Pond, paving the way for his bestselling 1998 follow-up, About a Boy.

Critical praise and literary honors have followed Hornby throughout his career: His 2001 novel How to Be Good won the WH Smith Fiction Award and was nominated for a Booker Prize; A Long Way Down (2005) was shortlisted for both the Whitbread Novel Award and the Commonwealth Writers Prize. He is the author of a bestselling novel for young adults (Slam), and his nonfiction essays have been collected into several anthologies, including The Polysyllabic Spree, Housekeeping vs. the Dirt, and Songbook (published in the UK as 31 Songs). He also serves as a pop music critic for The New Yorker.

Good To Know

Hollywood loves Hornby!
  • High Fidelity was filmed in 2000 with John Cusack.
  • Hugh Grant starred in the 2002 film About a Boy.
  • Fever Pitch was filmed twice: The 1997 British version starred Colin Firth. In 2005, an Americanized remake (substituting the Boston Red Sox for the Arsenal Football Club ) was released starring Jimmy Fallon and Drew Barrymore.

    Hornby has admitted that when he first began writing, voice was a problem. "Everything changed for me when I read Anne Tyler, Raymond Carver, Richard Ford, and Lorrie Moore, all in about '86-'87," he has said. " ... voice, tone, simplicity, humour, soul ... all of these things seemed to be missing from the contemporary English fiction I'd looked at, and I knew then what I wanted to do."

    Hornby is the father of an autistic son, Danny. He is also a co-founder of TreeHouse, an English charity school for autistic children. A portion of the proceeds from the sale of Speaking with the Angel, an anthology of stories he edited in 2002, was donated to TreeHouse.

    Writer Zadie Smith has credited Hornby for "reintrocuding the English novel to its long-lost domestic roots."

    Music is still paramount in Hornby's life. He has a longstanding relationship with the American rock group Marah and has collaborated with them in music/spoken word performances on several occasions.

    Hornby writes a monthly column, "Stuff I've Been Reading," for The Believer , a literary magazine published by Dave Eggers's McSweeney's publishing house.

  • Read More Show Less
      1. Date of Birth:
        April 17, 1957
      2. Place of Birth:
        Redhill, Surrey, England
      1. Education:
        Jesus College, Cambridge University

    Read an Excerpt

    Thunder Road


    'Thunder Road'



    I can remember listening to this song and loving it in 1975; I can remember listening to this song and loving it almost as much quite recently, a few months ago. (And, yes, I was in a car, although I probably wasn't driving, and I certainly wasn't driving down any turnpike or highway or freeway, and the wind wasn't blowing through my hair, because I possess neither a convertible nor hair. It's not that version of Springsteen.) So I've loved this song for a quarter of a century now, and I've heard it more than anything else, with the possible exception of...Who am I kidding? There are no other contenders. See, what I was going to do there was soften the blow, slip in something black and/or cool (possibly 'Let's Get It On,' which I think is the best pop record ever made, and which would easily make it into my top 20 most-played-songs list, but not at number 2. Number 2--and I'm trying to be honest here--would probably be something like (White Man) In Hammersmith Palais' by The Clash, but it would be way, way behind. Let's say I've played 'Thunder Road' fifteen hundred times (just over once a week for twenty-five years, which sounds about right, if one takes into account the repeat plays in the first couple of years); ' (White Man)...' would have clocked up something like five hundred plays. In other words, there's no real competition.

    It's weird to me how 'Thunder Road' has survived when so many other, arguably better songs--Maggie May,' Hey Jude,' God Save the Queen,' Stir It Up,' So Tired of Being Alone,' You're a Big Girl Now'--have become less compelling as I've got older. It's not as if I can't see the flaws: 'Thunder Road' is overwrought, both lyrically (as Prefab Sprout pointed out, there's more to life than cars and girls, and surely the word redemption is to be avoided like the plague when you're writing songs about redemption) and musically--after all, this four and three-quarter minutes provided Jim Steinman and Meatloaf with a whole career. It's also po-faced, in a way that Springsteen himself isn't, and if the doomed romanticism wasn't corny in 1975, then it certainly is now.

    But sometimes, very occasionally, songs and books and films and pictures express who you are, perfectly. And they don't do this in words or images, necessarily; the connection is a lot less direct and more complicated than that. When I was first beginning to write seriously, I read Anne Tyler's Dinner at the Homesick Restaurant, and suddenly knew what I was, and what I wanted to be, for better or for worse. It's a process something like falling in love. You don't necessarily choose the best person, or the wisest, or the most beautiful; there's something else going on. There was a part of me that would rather have fallen for Updike, or Kerouac, or DeLillo--for someone masculine, at least, maybe somebody a little more opaque, and certainly someone who uses more swearwords--and, though I have admired those writers, at various stages in my life, admiration is a very different thing from the kind of transference I'm talking about. I'm talking about understanding--or at least feeling like I understand--every artistic decision, every impulse, the soul of both the work and its creator. 'This is me,' I wanted to say when I read Tyler's rich, sad, lovely novel. ' I'm not a character, I'm nothing like the author, I haven't had the experiences she writes about. But even so, this is what I feel like, inside. This is what I would sound like, if ever I were to find a voice.' And I did find a voice, eventually, and it was mine, not hers; but nevertheless, so powerful was the process of identification that I still don't feel as though I've expressed myself as well, as completely, as Tyler did on my behalf then.

    So, even though I'm not American, no longer young, hate cars, and can recognize why so many people find Springsteen bombastic and histrionic (but not why they find him macho or jingoistic or dumb--that kind of ignorant judgment has plagued Springsteen for a huge part of his career, and is made by smart people who are actually a lot dumber than he has ever been), 'Thunder Road' somehow manages to speak for me. This is partly--and perhaps shamingly--because a lot of Springsteen's songs from this period are about becoming famous, or at least achieving some kind of public validation through his art: What else are we supposed to think when the last line of the song is I'm pulling out of here to win,' other than that he has won, simply by virtue of playing the song, night after night after night, to an ever-increasing crowd of people? (And what else are we supposed to think when in ' Rosalita' he sings, with a touching, funny, and innocent glee, Cause the record company, Rosie, just gave me a big advance,' other than that the record company has just given him a big advance?) It's never objectionable or obnoxious, this dream of fame, because it derives from a restless and uncontrollable artistic urge--he knows he has talent to burn, and the proper reward for this, he seems to suggest, would be the financial wherewithal to fulfill it--rather than an interest in celebrity for its own sake. Hosting a TV quiz show, or assassinating a president, wouldn't scratch the itch at all.

    And, of course--don't let anyone tell you otherwise--if you have dreams of becoming a writer, then there are murky, mucky visions of fame attached to these dreams, too; 'Thunder Road' was my answer to every rejection letter I received, and every doubt expressed by friends or relatives. They lived in towns for losers, I told myself, and I, like Bruce, was pulling out of there to win. (These towns, incidentally, were Cambridge--full of loser doctors and lawyers and academics--and London--full of loser successes of every description--but never mind. This was the material I had to work with, and work with it I did.)

    It helped a great deal that, as time went by, and there was no sign of me pulling out of anywhere to do anything very much, and certainly not with the speed implied in the song, 'Thunder Road” made reference to age, thus accommodating this lack of forward momentum. 'So you're scared and you're thinking that maybe we ain't that young anymore,' Bruce sang, and that line worked for me even when I had begun to doubt whether there was any magic in the night: I continued thinking I wasn't that young anymore for a long, long time--decades, in fact--and even today I choose to interpret it as a wistful observation of middle age, rather than the sharp fear that comes on in late youth.

    It also helped that, sometime in the early to mid-eighties, I came across another version of the song, a bootleg studio recording of Springsteen alone with an acoustic guitar (it's on War and Roses, the Born to Run outtakes bootleg); he reimagines 'Thunder Road' as a haunting, exhausted hymn to the past, to lost love and missed opportunities and self-delusion and bad luck and failure, and that worked pretty well for me, too. In fact, when I try to hear that last line of the song in my head, it's the acoustic version that comes first. It's slow, and mournful, and utterly convincing: an artist who can persuade you of the truth of what he is singing with either version is an artist who is capable of an awful lot.

    There are other bootleg versions that I play and love. One of the great things about the song as it appears on Born to Run is that those first few bars, on wheezy harmonica and achingly pretty piano, actually sound like they refer to something that has already happened before the beginning of the record, something momentous and sad but not destructive of all hope; as 'Thunder Road' is the first track on side one of Born to Run, the album begins, in effect, with its own closing credits. In performance at the end of the seventies, during the Darkness on the Edge of Town tour, Springsteen maximized this effect by seguing into 'Thunder Road' out of one of his bleakest, most desperate songs, 'Racing in the Street,' and the harmonica that marks the transformation of one song into the other feels like a sudden and glorious hint of spring after a long, withering winter. On the bootlegs of those seventies shows, 'Thunder Road' can finally provide the salvation that its position on Born to Run denied it.

    Maybe the reason 'Thunder Road' has sustained for me is that, despite its energy and volume and fast cars and hair, it somehow manages to sound elegiac, and the older I get the more I can hear that. When it comes down to it, I suppose that I, too, believe that life is momentous and sad but not destructive of all hope, and maybe that makes me a self-dramatizing depressive, or maybe it makes me a happy idiot, but either way 'Thunder Road' knows how I feel and who I am, and that, in the end, is one of the consolations of art.


    A few years ago, I started to sell a lot of books, at first only in the U.K., and then later in other countries, too, and to my intense bewilderment found that I had somehow become part of the literary and cultural mainstream. It wasn't something I had expected, or was prepared for. Although I could see no reason why anyone would feel excluded from my work--it wasn't like it was difficult, or experimental--my books still seemed to me to be quirky and small-scale. But suddenly all sorts of people, people I didn't know or like or respect, had opinions about me and my work, which overnight seemed to go from being fresh and original to cliched and ubiquitous, without a word of it having changed. And I was shown this horrible reflection of myself and what I did, a funfair hall-of-mirrors reflection, all squidged up and distorted--me, but not me. It wasn't like I was given a particularly hard time, and certainly other people, some of whom I know, have experienced much worse. But even so, it becomes in those circumstances very hard to hang on to the idea of what you want to do.

    And yet Springsteen somehow managed to find a way through. His name is still taken in vain frequently (a year or so ago I read a newspaper piece attacking Tony Blair for his love of Bruce, an indication, apparently, of the prime minister's incorrigible philistinism), and for some, the hall-of-mirrors reflection is the only Springsteen they can see. He went from being rock 'n' roll's future to a lumpy, flag-waving, stadium-rocking meathead in the space of a few months, again with nothing much having changed, beyond the level of his popularity. Anyway, his strength of purpose, and the way he has survived the assault on his sense of self, seem to me exemplary; sometimes it's hard to remember that a lot of people liking what you do doesn't necessarily mean that what you do is of no value whatsoever. Indeed, sometimes it might even suggest the opposite.

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    Table of Contents

    Songbook 31 Songs...

    1. Introduction
    "Your Love Is the Place Where I Come From"—Teenage Fanclub

    2. "Thunder Road"—Bruce Springsteen

    3. "I'm Like a Bird"—Nelly Furtado

    4. "Heartbreaker"—Led Zeppelin

    5. "One Man Guy"—Rufus Wainwright

    6. "Samba Pa Ti"—Santana

    7. "Mama You Been on My Mind"—Rod Stewart

    8. "Can You Please Crawl Out Your Window?"—Bob Dylan

    9. "Rain"—The Beatles

    10. "You Had Time"—Ani DiFranco

    11. "I've Had It"—Aimee Mann

    12. "Born for Me"—Paul Westerberg

    13. "Frankie Teardrop"—Suicide

    14. "Ain't That Enough"—Teenage Fanclub

    15. "First I Look at the Purse"—the J. Geils Band

    16. "Smoke"—Ben Folds Five

    17. "A Minor Incident"—Badly Drawn Boy

    18. "Glorybound"—The Bible

    19. "Caravan"—Van Morrison

    20. "So I'll Run"—Butch Hancock and Marce LaCouture

    21. "Puff the Magic Dragon"—Gregory Isaacs

    22. "Reasons to Be Cheerful, Part 3"—Ian Dury & the Blackheads

    23. "The Calvary Cross"—Richard and Linda Thompson

    24. "Late for the Sky"—Jackson Browne

    25. "Hey Self Defeater"—Mark Mulcahy

    26. "Needle in a Haystack"—The Velvelettes

    27. "Let's Straighten It Out"—O. V. Wright

    28. "Röyksopp's Night Out"—Röyksopp

    29. "Frontier Psychiatrist"—the Avalanches

    30. "No Fun/Push It"—Soulwax

    31. "Pissing in a River"—the Patti Smith Group

    ...And 15 Albums

    It's a Mann's World
    Alternative Earle
    Sweet Misery
    The Entertainers
    Pop Quiz


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    Customer Reviews

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    Sort by: Showing 1 – 13 of 11 Customer Reviews
    • Anonymous

      Posted March 7, 2004

      Ever loved a song?

      Superb book. If any piece of music has ever moved you in any way, you'll relate to this book. I found myself stopping and reflecting on tbe words wrote here and saying; 'God, thats exactly the way I feel! Why couldn't I have said that!' Even if you've never heard any of the songs here, it wont matter because one mans meat is anothers poison. Music touches everyone at one time or another and this book shows how.

      1 out of 1 people found this review helpful.

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      Posted December 26, 2013



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    • Posted April 20, 2009

      I Also Recommend:

      These are his songs...makes me wonder what are mine.

      This was a great little book. Hornby writes in a very conversational style and writes about music, well, his music. He writes about songs that are important to him and why. These are the songs that resonate. He talks about the stories surrounding them; why they are important; and how they stay on his list.

      Hornby is the same writer who wrote "High Fidelity" and "About A Boy." With "Songbook" he keeps a similar theme. While, true, it's not exactly a Top 5 List it still evokes the same type of wonder...and how exactly pop music seems to highlight and even define a person.

      It's clever and entertaining and wry and sentimental and even a little inspiring. It's a good book.

      Oh, and it made me find Teenage Fanclub's "Songs from Northern Britain" and agree with Hornby's taken on them as well.

      Was this review helpful? Yes  No   Report this review
    • Anonymous

      Posted February 12, 2004

      i would expect no less

      a great read for any hardcore music fan. hornby hits the nail on the head, perfectly. it's one to read over and over again.

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