Toronto rocker DANKO JONES recently spoke with BW&BK;'s Carl Begai about the new book Too Much Trouble – A Very Oral History Of Danko Jones, penned by Stuart Berman. An excerpt from the interview is available below:

Danko: "I told Stuart that we weren’t going to censor anything they (the band's peers and detractors) said. There were a few points when I read over the drafts where I started yelling 'That motherfucker!' (laughs). It took me back to that moment in time five years back or whatever and I’m going 'That motherfucker is such a bullshitter!' There were a couple times when I mailed Stuart back and said 'Seriously man, I’ve gotta reply to this! I’ve gotta say something! This is bullshit!' I never said strike it from the book, though. We left it all in.”

Click here for more. Watch for BW&BK;'s exclusive interview with Danko about the band's new album, Rock And Roll Is Black And Blue, coming to the site this weekend.

An excerpt from the book is available below:

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."

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’.