Too Much Trouble - A Very Oral History of DANKO JONES book is available through ECW Press. An excerpt from the book courtesy of Spinner.ca is available below:

Danko Jones' aborted Universal mission is a tale as old as indie-rock itself. It's just that their failed-major-label stint happened to play out at a time when Canadian indie rock, for the first time ever, was becoming an internationally recognized exemplar of hipster cool. The media-hype machinations that had immortalized the music scenes in Seattle, Austin and Chapel Hill during the '80s and '90s were now anointing Toronto, Montreal and Vancouver the new thriving epicentres of indie rock. Bands like BROKEN SOCIAL SCENE, ARCADE FIRE and the NEW PORNOGRAPHERS were forging a new Canadian musical aesthetic defined by multiheaded collectives, anthemic group choruses, orchestral grandeur, textural density and heart-on-sleeve emotionalism. It's a community that Danko Jones once had ties to -- Danko was once a roommate of and occasional musical collaborator with Broken Social Scene's Brendan Canning -- but, by the mid-2000s, the band's riff-rock raunch could not have been more of out of step with prevailing Canadian indie-scene fashion.

Danko Jones: "In 2005, we played a show somewhere in the northeast of America. And the club was structured so that the big room -- which is where we were playing -- was on the top level, and below that there was a smaller room, but both shows shared a dressing room. In the dressing room, there was a communal computer, and we needed to use it. And there was a guy sitting at the computer, who was obviously a part of the other show. I asked, 'Are you finished?' And he goes, 'Hold on a second.' And then he leaves, and JC sat down at the computer -- and on the screen that guy had written 'Danko Jones is corporate rock' or something like that. It was a guy from (Montreal indie-rock band) SUNSET RUBDOWN. And we almost beat him up. A girl who was with him defended him, so we just scared the shit out of him -- we were like, 'Who the fuck are you? Where are you from?' And he says, 'Montreal.' And we're like [sarcastically], 'Oh, Montreal' -- because we knew that was the new indie rock Mecca.

George Stroumboulopoulos (former CFNY/102.1 The Edge DJ, current host of CBC Television's George Stroumboulopoulos Tonight): "The kind of Canadian indie rock that was being celebrated was different. While Danko were always the kings of indie, they were never considered the artistic band. Broken Social Scene and Arcade Fire were spectacular bands that lived in a different genre. And I also think what happened was that alternative and indie music became very sensitive and soft -- people wanted emotional stuff. If you listen to all the indie stuff that gets played on all the radio stations and music blogs now, all that stuff is soft. Even when it's noisy, there's no dark streak to it. Indie kids don't like rock music. Indie fans grew up listening to THE CURE. I love the Cure, but the Cure are not KISS, you know? And most indie/alternative kids are afraid of rock 'n' roll."

Damian Abraham (Fucked Up): "In the early 2000s, it was almost like there was this old indie rock versus new indie rock thing happening in Canada. Especially internationally, people looked at (bands like Broken Social Scene and Arcade Fire) as the birth of Canadian indie rock, as if nothing had come before it. Unfortunately, bands like Danko, who had predated it, got left by the wayside, even though their indie credentials are just as intact as anyone else's. But it's always been like that, when you look at the way scenes explode: bands that have a certain sound get lumped together and the bands that had either been doing it longer or doing something different fall through the cracks. You look at Seattle, and bands like the FASTBACKS, or GAS HUFFER, or the SUPERSUCKERS, or the DWARVES -- bands that didn't really fit the grunge thing -- kind of got forgotten about, or aren't really talked about in the same breath. It's the same thing in Toronto: there's a certain Toronto indie sound."

Click here for more.

A description written by Stuart Berman about the 160-page paperback reads as follows:

Danko Jones may be a straight-forward rock band, but their story is anything but. They’re a band that has roots in many different music communities - the North American indie-rock scene, the Scandinavian garage-rock scene, the European metal scene - but belong to none of them. They’re the only band that’s toured with both Blonde Redhead and Nickelback, and they’re the only band whose biography could attract a cast of characters that includes Lemmy Kilmister of MOTÖRHEAD, Elijah Wood, Ralph Macchio, Peaches, Dizzy Reed of GUNS N' ROSES, Damian Abraham of FUCKED UP, Jello Biafra of THE DEAD KENNEDYS, George Stroumboulopoulous, Alan Cross, Mike Watt and many others.

Too Much Trouble is about more than just Danko Jones’ history - it’s an exploration of the rigid politics that govern both underground and mainstream music, and how a band can succeed without pandering to either.

This is a 15-year saga that goes from college-radio DJ booths to corporate boardrooms, from dingy after-hours boozecans to the biggest festival stages in Europe, marked by encounters with everyone from D.C. riot grrrls to Dublin riot police, from death-metal deities to Hollywood celebrities. And if all this sounds somewhat preposterous, well, as Danko himself would say: this book ain’t boastin’, it’s truthin’.