Coffman is back with another large collection of mostly early rock tunes by influential artists. Using thematic chapters, Coffman pairs several songs with the theme and provides brief explanations of the artist(s) who recorded the song, the circumstances surrounding the recording, and a breakdown of the lyrics. His chapters encompass various styles and subgenres, including country rock, surf music, Christmas classics, teen tragedies, and garage rock. Most of the songs and artists will be familiar to avid music fans with a broad range of listening exposure. However, as many of the biggest songs were listed in Coffman's first collection, the reader may find that this collection will focus on a few more one-hit wonders and B-sides. Still, major bands, musicians, and some of the world's most popular music are represented. Much of the focus is on early rock hits, primarily from the 1960s, but there are also representatives from pre-rock eras and hits from the 2000s. Coffman's entries are typically about a page and a half, making it an easy book to pick up and put down around a variety of time constraints.

Rock and roll books have been popular for decades. Many of the most popular are tell-all books focusing on a particular musician or band. These typically emphasize the excesses and drama surrounding the musicians. Some of the most famous include Life, by Keith Richards, and The Dirt: Confessions of the World's Most Notorious Rock Band by Neil Strauss and Motley Crue. Others have a broader focus, similar to Coffman's in his work. One prized example is a book that focuses on a subgenre of rock: punk. Much like Coffman's book, Please Kill Me: The Uncensored Oral History of Punk by Legs McNeil and Gillian McCain, focuses on the roots of this rock genre, how it has evolved, and how it has influenced decades of music. However, Coffman's book takes a broader look at the larger rock genre as a whole and mostly focuses on the earliest influences and themes that colored the rock narrative. Fans of The Rest Is Noise by Alex Ross will undoubtedly appreciate the similar broad stroke that Coffman employs.

Coffman's book is effectively arranged in a format that allows for both short bursts of reading while also being capable of holding one's interest for longer periods. His writing is conversational and easy to digest while free from grammatical errors and digressions that would otherwise distract readers. His extensive knowledge of his subject and his infectious love for it are readily apparent in the writing. Some entries come across as more generic than others and lack the more in-depth feel of others, which are more developed. However, they could still serve as effective springboards for those who wish to delve deeper into the music and the musicians who created it. Coffman's affection for his subject matter is obvious in the amount of research that has gone into this comprehensive work, and most music fans will find the author's book engaging and entertaining. Those who enjoyed the author's first book will not be disappointed with this one and will likely be just as happy to pick up and consume this volume.

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