Customer Reviews (1)

Very Good,Very Specific
Vernon Joynson has written THEE books on Prog and Pysch.

Here he seeks to Identify and organize ONLY '76-'82 UK punk/oi, new wave, mod, power pop, and post punk.

It DOES NOT include Two Tone(ska revival) or rockabilly/roots revivalists, metal(NWOBHM), and some post punk.

It DOES NOT deal with U.S. punk/new wave.

However, it is exhaustive on UK punk/oi, new wave and mod. You will not find anything this comprehensive on UK punk 1976-1982 anywhere else. Works very well with Trouser Press Record guides.

If you need to investigate punk/new wave further search out The Rock Yearbook series on St.Martin's Press(these were put out in the early 80's.) ... Read more

Product Description
Touch and Go fanzine was the brainchild of Tesco Vee and Dave Stimson and was launched in Lansing, Michigan, in 1979. Major fanatics of the new punk happenings in the late 70s, TV and DS set out to chronicle, lambaste, ridicule, and heap praise on all they arbitrarily loved or hated in the music communities in the US and abroad.

In laughably minuscule press runs by today s standards, T & G was made by guys within the Midwest scene strictly for the edification of scenesters and pals in other cities like DC, Philly, Boston, LA, SF, Chicago, et al. Inspired by magazines such as Slash and Search and Destroy and writers like Claude Bessy and Chris Desjardines, TV and DS pumped out seventeen naughty, irreverent issues together, and TV did another five solo.

Magazines like Forced Exposure and Your Flesh, among others, soon fired up Xerox machines themselves, and the rest is history. So is the legendary independent record label launched from this zine, and so are the bands covered inside: Black Flag, Minor Threat, the Misfits, Negative Approach, the Fix, the Avengers, the Necros, Discharge, Iron Cross, Youth Brigade, Faith, Die Kreuzen, Crucifix, Poison Idea and all the other punks worth their weight in glorious black and white. ... Read more

Customer Reviews (3)

"Where Hardcore Doesn't Mean Pornography" (usually)
This is an enjoyable tribute to what used to be the underground, before even alternative or college rock was coined, three decades ago. It's a hefty read, but conveniently assembled and longer lasting than aging newsprint. It's handsomely produced and sturdy, if heavy, to hold.

Tesco Vee of the Meatmen teamed up with Dave Stimson in Ann Arbor to produce this slapdash, ornery, and entertaining fanzine. Cutting and pasting their typed reviews, concert flyers, salacious photos, found art, and random scrawls, they photocopied twenty-two issues. They surveyed the gloom of post-punk, they ridiculed the neon of the new wave. They insulted (TSOL, GG Allin, sometimes Fear) or celebrated (local groups The Fix, Necros, and, surprise, The Meatmen) those claiming to be hardcore.

Wit wriggles into many reviews. Two entries cited in their entirety show a pithy style perfected. Stimson sums up "I Don't Like Mondays" by the Boomtown Rats. "The little California miss could've done us all a favor had she taken her shooting spree to the Ensign studio when this grandiose piece of schmaltz was recorded."His soundbite on the LP "Pauline Murray and the Invisible Girls": "(forgot the label) I bought it. I sold it. What more do you need to know?"

Scatology scatters over nearly every page. A frustrated, lonely, adolescent mentality lingers. Its slogan: "Where hardcore doesn't mean pornography." Fecal fixation, erectile fascination, naughty peeps, and homophobic taunts fills margins. Two cartoon balloons appear over a tiny photo of two conversing celebrities. John Lennon is made to ask: "So, what's it like being black?" Muhammed Ali finds himself responding: "Better than being dead."

This sophomoric reaction to convention conveys T&G's reaction to the usual media coverage of the angry, lonely fans of musicians hyped, caricatured, or dismissed. The fanzine champions albums such as Gypsy Blood from Doll by Doll, 154 by Wire, Seventeen Seconds by The Cure, and Hypnotised by The Undertones. It documents how the nascent alternative category widened. Later issues discuss Big Country, Cocteau Twins, Motorhead, and a metal band, Venom.

Presciently, the critics pan such leaden tunes as "Punk's Not Dead" by The Exploited. Tesco praises 999. They despise a Midwestern mentality whose biggest contribution to the new music is "What I Like About You" by The Romantics. Oddly, Cleveland and Minneapolis bands seem overlooked; perhaps the decline of the Ohio scene and the delay in the rise of the Twin Cities one may account for this omission. Or it may be plucky rivalry between Ann Arbor and the rest of the country.

They analyze the promise and the flaws within October by U2: "Soothing harmonies. I'm sure they feel as noble as they look on the cover...but there is something about their clinical and smug approach that really bothers."They warn against the otherwise forgotten group Chronic Generation. "Crutches couldn't help this band, their s[--]t's that lame."

The edition opens with testimonials by scenesters, writers such as Byron Coley, and punks themselves. Keith Morris of Circle Jerks, Ian MacKaye of Minor Threat, and Henry Rollins of Black Flag praise the fanaticism that fills these pages, edited by Steve Miller, whom I presume is not the Gangster of Love.Let the final word be a stray phrase from here, as hardcore in the early 1980s became as conformist and commodified as previous cultural and musical rebellions. "We are the hippies of tomorrow."

I can't put this down
The Touch and Go omnibus just might be the best book in the history of print. Seriously, books can go and die now.

Simply the best
To have all the issues of Touch and Go in their original form compiled into a single beautifully bound book is a godsend. I can not recommend this book enough. 576 pages of punk rock bliss. ... Read more

Customer Reviews (1)

Posters make the punk.
An amazing idea, document the rise of a local music scene by the most common form of communication. In Seattle, in the '80s it was the flyers for shows stapled or pasted up around town. Designed to attract attention, they ranged from quick Xeroxs to silk-screened-on-posterboard masterpieces for better-known bands. Postering was the primary means of promotion for bands in Seattle at that time, and this book is filled with hundreds of examples of the form. Browsing through the pages, you see the evolution of a music scene as it became more and more active, inventive and crowded. This book is especially interesting to anyone who ever covered their walls in college with gig posters, or who is a collector. And, if you're from Seattle, and were ever "on the Ave." you'll no doubt remember many of the posters, even if you never saw the bands play. ... Read more

Product Description
'The Masque' was Brendan Mullen s grimy basement club in late 70 s Los Angeles where West Coast punk first coalesced. A haven for "weirdos, nerds, borderline sociopaths and assorted misfits with attitude problems" and home to bands, as The Germs, X, The Weirdos, The Bags, The Plugz and so many more, who managed, in the two short years 'The Masque' was open, to make history.
The book is filled with classic photos and ephemera by Jenny Lens, Alain Saint Croix, Michael Yamplosky, Al Flipside and many others, showcasing the influential fashion of an era with no rules. This massive volume features large scale photographs throughout, many of which have never been seen before.
Live at the Masque Nightmare in Punk Alley is an impressive document of the most notorious punk scene ever. Text by Brendan Mullen and Kristine McKenna. ... Read more

Customer Reviews (4)

A Must-Have for Fans of Early Punk, Especially L.A. Punk!
Amazing Photos of the Masque Scene. Dozens of big photos of the wild environment and all the characters. The book is large and the pages of photos are 9" by 12". Many are single photos on a whole page. Early punk is so interesting. These outfits were so outrageous for back in the late 70s. It's impossible to understand how weird these people looked unless you were around back then. Nobody looked like that. And it's funny that there were a lot of people with long hair too. Everything was still a work in progress. You were still allowed to have long hair - I think until about 1980. Anyway, if you're a big punk fan you need this. I gave it 4 stars instead of 5 because I don't think it's that appealing if you're not into punk.

I have a book on Amazon in April 2010 called One Step Beyond: A Teenage Odyssey in 1980s Los Angeles. Please check it out. Click on my signature thing to find my profile. Thanks.

One Step Beyond: A Teenage Odyssey in 1980s Los Angeles (Volume 1)

I WAS THERE
This book brought back a lot of great old memories. It also brought back some bad ones as well. I was the unidentified drummer in Backstage Pass on Pg.82-83. If you want to know what the Punk music scene was in El Lay in the late 70's this is a must. Looking back at these photos it does strike me that it was all a little more "Rocky Horror Show" than I remembered it. But we were young, indestructable, and it was a lot of fun.

I had experiences playing in that band, at that time, that I could have had no other way. There were the drugs, the alcohol, and the slime encrusted Music Biz bottom feeders that seemed to be everywhere looking for someone to use. There were also some great times that I will always treasure.

The book is well put together and Brendan has much insight in to the era and the people who shaped the movement on the west coast. Highly recommended for pop music history buffs.

Great Time Capsule of the LA Punk Scene!
I Waited for this Book!
I was at the Release Party/Concert in LA, back in November 2007. But I couldn't buy it there Or even see one! The 30th anniversary of the Masque was a Blast then & this book is a Great addition to the Memories of that Night. If you couldn't be there in the Original days, or the night of the show, this will make up for it!
Bands! Clothes! Stars! Cars! Girls! Guys!

The Best Rock scenes Form & Develop themselves, & LA was no Exception. Even though "inspired" by London & New York, LA's insular scene made for a More Original, sounding & looking bunch of Bands & Fans. This Book's images, by the Best Underground snappers & scenesters, give the Best insight to What it Must have been like to be in that Lucky group rockin' in that smelly old Basement!
I went to LA in 1978, as a 10 year old, & I distinctly remember seeing a Bunch of "weirdos" on Hollywood Blvd. I returned in 2003 & Made my Bee-line to that Back alley after Years of being under the LA scene's Musical Spell. It's just a Locked door now, but I'm at least thrilled to now have this Document of those far gone days.

I Love Brendan Mullen's insight & anecdotes of the Scene. Nothing about Cashing in on it, Just filling his Need to protect the History of a Scene, & punk world taken over by the Posers & Millionaires of the So called "Punk Rock" "scene" of today. a Great Companion to the book: We've got the Neutron Bomb!

Literally a Snapshot into just a few fleeting years in the Music History of LA.

Great Documentation of the Hollywood scene.
Excellent photojournalism and amusing writing. A must have for those that lived there and those that wished they did as well.
Get it, you will like!.

G. ... Read more

Product Description

Product Description
During the heyday of the punk era, young photographer Rikki Ercoli took his Nikon everywhere, documenting the wildly energetic scene. Shot at live concerts and backstage in London, New York, and other U.S. cities, these never-before-seen black-and-white photos include Sid and Nancy at Max's Kansas City; Patti Smith playing a clarinet solo; Blondie’s Debbie Harry putting on mascara backstage; Jello Biafra in the mosh pit midperformance; The Dead Boys' Stiv Bators performing with a mike cord wrapped maniacally around his neck; as well as classic moments onstage from The Ramones, The Clash, Dead Kennedys, and more. Other celebrities caught in performance or on the scene include Marianne Faithful, Edie the Egg Lady (of John Waters movie fame), and Lance Loud. This book is a powerful photographic record of punk's greatest bands and stars. ... Read more

Customer Reviews (4)

disappointing
I found this book disappointing. Its mostly several shots of one show for each artist, and alot of them arent even that great. They are pics pretty much anyone in the audience with a camera couldve taken themselves. There's also very little info on most of the pics..not even the year they were taken. There are a few gems though..like the shots of the Misfits but over all i found the book boring. For the low price i paid though i guess i shouldnt complain, but i have personally taken more intersting pics at concerts with a disposable camera. The 4 crappy photos of Andy Warhol at the end of the book kind of surprised me too..very out of place. Im a huge Warhol fan but what was he doing in this book??

GREAT PICTURES BUT TOO SHORT
I bought this book at a good price. The Misfits, Dead Kennedys, Circle Jerks, Ramones and a bunch of other bands that Rikki Ercoli caught in his camera during the good punk times. All pictures are in black and white, and pretty cool but the reason I rate this item 4 stars its because its so short an little. The pictures could have been greater if they were bigger. If you want cooler and much much bigger pictures buy "Punk: the desperate record of a revolution" which by the way costs only 3 dollars more.

Just in time for your holiday punk rock needs!
The photos in this book are fantastic and comparable to anything by Roberta Bayley or Bob Gruen.The author's reminiscences are brief and to the point, giving a synopsis of each shot.I found one error -- the band cited as D.O.A. is actually Discharge; other than that, the only possible complaint I have is that it could be lengthier and twice its size.You get great endpapers of the Misfits with Robo on drums and fans doing a pile-on, a very stoned-looking Deborah Harry, and other greats.Perfect for the punk rock coffee table.Nice work, R.E.

This book ROCKS!
It's not just about the bands -- okay, maybe it is -- but these are totally dynamite portraits (mostly taken live at tiny clubs, some backstage) of some of my favorite bands from the punk / new wave era.

Okay, so I saw the Ramones play like a dozen times between 1978 and 1984. Saw Patti Smith play at a tiny club in '78 or '79 (Radio Ethiopia tour?)... changed my life. I won't bore you with my personal history (or what I remember of it anyway.)

Well, there are a few omissions (what? no Talking Heads?!?) but ya gotta love the crowd shots of the Misfits and the Dead Kennedys. And the Circle Jerks, too. Something for everyone in this collection -- put on some vinyl and turn it way up when you're looking at it. ... Read more

Product Description
"Sniffin Glue" was the most vital and cutting edge punk fanzine of its time. It featured all the key artists of the time from "The Ramones" and the "Sex Pistols" to "Blondie". Written by Mark Perry, this book takes an irreverent retrospective look at the heady days of punk, featuring superb original photographs from the likes of Jill Furmanovsky and Pennie Smith and a full-length interview with TV and radion personality Danny Baker, who wrote for the original fanzine over 20 years ago at the start of their career. During its brief existence "Sniffin Glue" brilliantly chronicled the birth, rise and demise of punk rock in the UK. Starting with a print run of a mere 50 copies, by Issue 3 the circulation was way into the thousands. Joined in the later issues by young co-writer Danny Baker, sales started to exceed expectations and by Issue 12 Mark Perry called it a day declaring it's existence too successful as he was keen to avoid accusations of becoming part of the established rock press. And for the collector there are all 12 issues of the magazine reproduced in their entirety. ... Read more

Product Description
Screaming for Change examines the ideology of punk rock. Previous work enlightened our understanding of the genre of punk without uncovering, ultimately, what punk asks us to do and believe. This study proposes that punk should be understood as a way of seeing the world, as a way of reasoning, or, essentially, as a philosophy on its own terms. ... Read more

Product Description
The photographs of Jenny Lens—many unseen, and many more well-known but seldom credited—are poignant reminiscences of a rude and rowdy moment in punk rock history. From 1976 to 1980, Lens took early shots of groups that would go on to be legendary: the Germs, the Go-Gos, Blondie, the Ramones, the Damned, the Clash, Iggy Pop, and many more. Punk Pioneers chronicles the music scene as it raged from stadium and glam rock to punk, steadfastly archiving early pioneers, followers, writers, fans, and performers at shows, backstage, and at parties. Lens reveals untold stories with rare and candid images: Joey Ramone poolside before a show in San Francisco; Debbie Harry tearing off her wedding dress on stage in L.A.; Iggy Pop painting on a whim in the Hollywood Hills. This book stands alone as a record of punk legend, capturing the energy and brilliance, passion and frustration, and most importantly the fight for music and art that embodied the punk movement. Featuring a foreword by renowned photographer Glen E. Friedman, this is one of the most important and most beautiful collections of photography of the least documented era in punk. ... Read more

Customer Reviews (10)

aprapos ...
I love that this great book, full of amazingly candid early photos from some of the most influential musicians of the punk era, is $19.77!!!

Now the story can be shown
http://www.amazon.com/gp/product/0789315890/ref=cm_cr_rev_prod_title
I haven't talked with you forever Jenny, but I am so excited to get my hands on this. I have looked through it, and it is even better than I could have imagined. You should feel great about this. I'm sure there are hundreds of people for each photo that feel that the SoCal scene has been justified that much more. For those who were there, it's a souvenir, a document. For those who want to find out how things came about, well, here's photojournalism at it's best. Thank you Jenny Lens, a great talent far too long overlooked.

From Someone Who Was There
Jenny documented the work of artists from all backgrounds and ethnicities. She was one of a handful who documented the early Hollywood punk scene, which was pretty well integrated. Jenny was never afraid of me and that's saying something, because lots of people were. The Vex and the Hollywood scene did not happen at the same time and those who attempt to distort history by lumping them together are making a big mistake.

Punk Pioneers by Jenny Lens is far and away the most awesome coffee table quality book about the early punk scene. It contains an incredible range of artists that were around during punk's conception, birth, and childhood. Its scope is much broader and helps the reader understand where punk was coming from and what was going on in the parallel musical universes of bands like Van Halen and artists like Bob Marley. I think this aspect of Jenny's book is really important, because as I've said time and time again, seeing early punk in isolation does not really convey how far it was from the mainstream nor does it acknowledge the influences of what came before it. Jenny's book acknowledges the New York punk and early glam bands that set the stage for what would become a unique West Coast cultural movement. Punk Pioneers cements Jenny's status as punk photography's Alpha Bitch.

Thanks, Jenny!
Aside from Frank Grimes cries of racism (yawn - read his other book reviews which contain the same EXACT,ludicrous accusations) ... keep in mind, he's 100% incorrect: Jenny is the least racist person I know, andthe other positive reviews regarding her recent book are spot on!Punk Pioneers is a truly fantastic collection of writing and pictures from one ofLA punk's greatest artists.Unfortunately, the early LA punk scene always took a back seat to New York and England; which no doubt, is a shame.When one fast forwards to over 3 decades later, it's easy to see LA punk may have actually had a bigger impact on the music scene than its east coast and trans Atlantic counterparts.Jenny's book gives LA its due credit, and captures the essence of this creative, unique, and influential scene.In addition, it includes excellent shots of NY and the UK.I've been waiting for Jenny's book for years; I've always considered her the greatest photographer / punk historianthere is.This book validates that view: these amazing photographs breathe life back into the days of old. I put on a compilation of 70's punk, turned the cell phone off, and allowed Jenny to take me on an incredible journey ... what a trip!

Jenny Lens is one of the Unsung Heroes of the LA punk rock scene!
I was so Waiting for this Book! It does NOT disappoint!

Not only do you get Jenny's Iconic Pictures, you get some Personal anecdote's of her Insider's time in the scene. I talked once on the phone with her for over Two hours! We talked about it All & the Stories in the Book are the same to what she told me, 3 years earlier! before she could even Think about Making the Book!More is Coming!

Her Genuine Enthusiasm for the Scene & its Music & bands comes Right on through! Just Buy it!

Support the Real Supporter's of the LA punk Rock Scene! Check out [...] ... Read more

Product Description
"Will I like this book?" asked Deborah Harry, the still sultry lead singer of Blondie, when recently presented with an advance copy. She definitely will, and so will you!

Blondie, From Punk to the Present: A Pictorial History is the firstnew book on Blondie in two decades. Over three years in the making,this unique and distinctive 8 1/2" x 11" softbound book contains 514pages of articles, essays, and photographs.

Blondie took the music world by storm in the late '70s and early'80s, and the influence of this band and its lead singer Deborah Harryis still being felt today and increasingly recognized with the passageof time. Blondie reunited in the late 1990s, produced a new album, NoExit, in 1999, and another album is due in 2003. In the meantime, weall await with anticipation as to what Blondie holds in store for usin the future.

New York City-based Blondie was formed in 1974, honing its musical skills at the famous punk rock club, CBGBs, and eventually emerging on top of the new wave scene and then crossing over to the pop music mainstream. Their self-titled first album, Blondie, reflected a punk ethos and 1960s girl group sensibilities or, the Ramones meets the Ronettes, as one music critic opined. Blondie made six albums from 1976 to 1982, the most successful being Parallel Lines, considered by many music critics to be one of the best rock albums of all time. Within this time span, from the late seventies to the early eighties, Blondie constituted a major force on the rock/pop scene, producing a string of hit singles internationally. The most well-known of these singles are the reggae-inspired "The Tide Is High," the rap song "Rapture," and the disco-flavored "Heart of Glass" and "Call Me." More recently, in 1999, the single, "Maria," debuted at number one in the United Kingdom, making this song the sixth number one single for the group there. With this hit single, Blondie reached yet another milestone—the first band to have had a number one single in each of the last three decades in the United Kingdom. So Blondie continues to make music history and the band's legacy grows. The members of Blondie are true pioneers in every sense of the word.

This comprehensive compendium is more than the usual anthology since it contains essays from such well-known insiders as Chris Stein, Blondie's co-creator, and Victor Bockris, respected music journalist and critic.

The text is divided into chronological sections covering the early days of Blondie, punk rock and new wave music a quarter of a century ago, through Deborah Harry’s solo career, the band’s reunion, and into the new millennium.

In addition to the comprehensive text, the book is about one-fifth photographic content, and is divided into three sections covering the band's early years, Debbie's solo period, and the band's reunion.

The large photo sections present the fine work of such internationally acclaimed rock photographers and photo documentarians as Roberta Bayley, Bob Gruen, Stephanie Chernikowski, Marcia Resnick, Tina Paul, Mick Rock, Ebet Roberts, Joe Ryan, Pete Still, Mike Morton, Sylvie Ball, Teresa Hale, and many more.

The volume is rounded out by a series of selections in an Appendices section, an extensive Bibliography, and seven indexes. The book constitutes a valuable reference resource, and encompasses the more general subject of American popular culture. ... Read more

Customer Reviews (14)

The book is a must for the Blondie fan
This book is a tour-de-force exegesis of the entire Blondie career and the effect lead singer Deborah Harry has on the role of the blonde female vocalist in pop and rock. Nearly the first third of the book is given over to the punk milieu from which Blondie sprang and Blondie's role in that scene. This makes the book a fascinating overview of the nascent New York City punk scene. Like the rest of the book, several authors contribute pieces of no more than a few pages. This makes for much redundancy as the same topics are covered, but treat this book as casual reading and reference and the many points of view coalesce into detailed complete if kaleidoscopic view of the territory. In here are some real nuggets, like the uncensored interview of Harry for High Times and cross interview with Nina Persson of The Cardigans. There are plenty of photos from all parts of the Blondie/Deborah Harry history and some interviews with the photographers. "Part IV: In Retrospect" contains discographies from the U.S. and U.K. perspectives along with many pages of appreciations from various authors. Metz gives a short synopsis of each article explaining how it fits in. The book is a must for the Blondie fan and adds much to those that are interested in the NYC punk landscape she grew out of.

An overdue Christmas present for Blondie fans
Full disclosure: I have an article reprinted here ("Blondie: Once More Into The Bleach," DISCoveries, 9/99). That said, I'm pleased at how this project turned out. I read it in two subzero vacation days here, and couldn't put it down once.

From Punk To Present works well as a photo essay, scene history, and critical overview (including the band's triumphant '99 comeback). This is a Christmas present for the Blondie/Deborah Harry fan - and long overdue.

The best selections put Blondie in context of its often-turbulent times. Kudos here to Robert Betts's interviews with longtime scene photographer Roberta Bayley (whose nonchalance wins points for charm ); Victor Bockris (whose censored High Times interview elicits some candid admissions about Harry's struggles with drugs); Francois Wintein, for his freewheeling interview with drummer Clem Burke (a great subject, as I can attest); and original bassist Gary Valentine.

Being a collector type myself, I also appreciated the forays into less-obvious terrain, including Harry's work with the Jazz Passengers ("Private Lesson: Debbie Does Jazz"), and the reunited band's bid for radio acceptance ("No Exit In Sight: The Rebirth Of Blondie" -- which reminds us of the skewed promotional logic that prevails in the music business. For anyone writing off Harry's `80s and `90s solo work as chopped liver, Daniel Porter provides a thoughtful, balanced assessment.

I would have liked tighter editing of the academic pieces, and interweaving of photos into the lengthier selections, just to give the reader's eyes a break. (Of course, printing budgets play a role in these decisions, so that's hardly a knock.) That said, this book's sprawling nature is part of its charm; it's not aimed at the attention-span-starved armchair quarterback, but the bug-eyed fan who owns those "New Zealand"-only disco mixes. There's nothing like a fan's book for fans; now let's see an updated version to accompany the new Blondie album!

Ink the Flesh
A labor of both love and lust, this hanging-on-the-telephone-book sized compilation feels like a fansite that somehow sneaked off the web and onto a printing press. An overemphasis on their 1999 comeback and fuzzy photos gets it docked a star, but it's hard to argue with such woozily wondrous excess, both the author's and the band's.

Blondie,From Punk to Present
If you are a Blondie fan or just someone who wants to know all about the band that started it all this is the book for you.Excellent!...

Blondie and her background
This book is a tour-de-force exegesis of the entire Blondie career and the effect lead singer Deborah Harry has on the role of the blonde female vocalist in pop and rock. Nearly the first third of the book is given over to the punk milieu from which Blondie sprang and Blondie's role in that scene. This makes the book a fascinating overview of the nascent New York City punk scene. Like the rest of the book, several authors contribute pieces of no more than a few pages. This makes for much redundancy as the same topics are covered, but treat this book as casual reading and reference and the many points of view coalesce into detailed complete if kaleidoscopic view of the territory. In here are some real nuggets, like the uncensored interview of Harry for High Times and cross interview with Nina Persson of The Cardigans. There are plenty of photos from all parts of the Blondie/Deborah Harry history and some interviews with the photographers. "Part IV: In Retrospect" contains discographies from the U.S. and U.K. perspectives along with many pages of appreciations from various authors. Metz gives a short synopsis of each article explaining how it fits in. The book is a must for the Blondie fan and adds much to those that are interested in the NYC punk landscape she grew out of. ... Read more

Product Description
KILL THE MUSIC is the true story of a girl-crazy college radio idealist and his relationships between family, friends, enemies and the politics of the music scene. Set in the "Bible Belt" during the late 80's, this poignant account explores his experiences as a college radio deejay at WUSC-FM, and the owner of the ill-fated 4808 Club in Charlotte, NC.

Depicting candid conversations with legendary rock stars, tales of sexual liaisons, and the ins and outs of concert promotion, KILL THE MUSIC is a no-holds-barred comedic, skewed, enlightening, and sometimes sad look into a past not so long ago, and how oddly our society is connected through media.

The book also touches on the growth of live music in North and South Carolina, censorship issues, and the antiquated laws and puritanism that suffer the New South. Michael, the son of a flamboyant attorney and a beauty queen, traverses through the politics of music, in an almost fairy-tale like odyssey of punk and passion, finally succumbing to the small town mentality of a "World Class City."

Commentaries on these issues throughout but never short on levity, KILL THE MUSIC is an insightful must-have for those who love seedy tales of nightclubs, rivalries, and the alternative, heavy metal, and punk rock music genres, during the Reagan and Bush eras.

KILL THE MUSIC was described by Innocent Words Magazine as "...wildly entertaining."

The Charlotte Observer described KILL THE MUSIC as "well received" and referred to Plumides as an "Uptown nightlife pioneer."

Author Michael G. Plumides, Jr. is a graduate of the University of South Carolina, with a Bachelor of Arts Degree in Government and International Studies. Plumides also holds a Doctorate in Jurisprudence from John Marshall Law School in Atlanta, Georgia.

"It was a time of a shifting cultural landscape:the PMRC, Jessie Helms and the forces of censorship waged war on the arts, including punk, metal and hip-hop, with the likes of Judas Priest and 2 Live Crew squarely in their sights. Into those crosshairs came Michael Plumides, who'd come up through the ranks of college radio to operate Charlotte's controversial 4808 Club.

In his memoir, KILL THE MUSIC, Plumides describes the highs and lows of running a venue, from sleazy sexual liaisons with horny patrons and butting heads with overachieving alcohol and vice agents, to backroom intrigue at the hands of a rival club owner, and the outrageous musical personalities who walked (or staggered) through the loading-dock doors of the club. Things came to a head in September, 1990, when theatrical metal maestros GWAR were booked for a high-profile, all-ages show at the 4808 - it was the opportunity local authorities had been waiting for.

Not only is the book a lively read, brimming with memorable, true-life characters (Soundgarden, Bad Brains, Danzig, Corrosion of Conformity, Black Crowes, L.A. Guns, Widespread Panic, Motorhead, Megadeth, Hootie and the Blowfish), it is also a crucial snapshot of a place and time that hasn't really been documented all that thoroughly.

When Mike Plumides opened up the 4808 Club, the circus officially came to town in Charlotte, and when he was finally forced to shut it down a few short years later, the circus pulled up stakes and left. And if you ask some of the locals who still live in Charlotte, by some measures that circus has never come back."
Fred Mills - Managing Editor - Blurt Magazine

“...what's really going on here is more about the author than anything else; thankfully he's a pretty entertaining storyteller."
Kevin Oliver - Free Times - Columbia, SC

"Plumides tackles censorship during the rise of alternative rock." Courtney Devores - The Charlotte Observer

... Read more

Customer Reviews (19)

Could not put it down
Ran into Mike for the first time in twenty years, he gave me a copy of the book to read. I started on it that night and wasn't able to stop reading until the end. It's a vivid account of the real scene that was happening in Charlotte and Mike's struggle to bring the best and heaviest acts to Charlotte (some of whom he let my band open for). Really great, bought back many memories of the best music scene Charlotte ever had!

very good read from an equally good guy
I first met Mike at a convention back in 2009 through some of our mutual friends. The guy was very friendly, genuine and down to earth. We sat around chatting for hours, while the guy bought me a few beers and signed a copy of his book for me. You don't find too many people like that anymore, so it was really refreshing to meet someone like him. When I read his book later, I found that it was the exact same person coming through in his writing... also rare from what I've seen in my life.

As for the book itself, I'll just quote from our review in Stiff Magazine: "Times have changed and morals have been pushed farther to the limits, but this story of one of the original pioneers against political morality being used for censorship and the dirty nature of the industry is a must read for anyone that enjoys the freedoms today fought for by a past generation. Along the way, you also get insights into the backstage antics of several well-known acts of today (back when they toured in cars and vans instead of quarter-million dollar tour buses) and the constant threats to just try to stay afloat in a cut-throat music industry. Give this story a read, if nothing else, because without these fights in the past, you wouldn't be enjoying the acts you see today pushing the envelope."

Totally enthralling and captivating!A MUST read if you're a music fan
If you can appreciate the music scene and have a thing or two against authority, this book is for you.Plumides totally spills his guts here in this fast read and you get some big chuckles out of the stories that he tells.This is a guy who seized the bull by the horns and made his way into the music scene in very very conservative Charlotte NC.He admits his foibles, his bad choices in women, his savvy in marketing music and you really get a feel for how magnetic he really is.The writing is done very well, story moving at a good pace without any dull parts.He finished this one out with a bang and a message for the authorities in Charlotte and other cities with that Barney Fife attitude towards those of us who refuse to conform and follow the good ole boys "Conform or be cast out" agenda.

You will not be able to put this one down.Worth every penny of the ride!

Insightful, Entertaining, and Damn Funny at Times
Let me start off by saying I'm 33. I was between 12-14 years old when all of the the events that take place in this novel were happening. I wasn't there to witness the cultural growing pains of Charlotte first hand as a music fan. That being said i think i can offer a different viewpoint and perspective than many of those older who experienced the ups and downs of Charlotte's cultural night life.

Kill the Music provided me a tutorial history of the burgeoning Charlotte Club scene and the height of the big metal era. A no holds barred account of one owner, his club, and the attempt to bring something different to a big city.

Plumides gives detailed accounts of his adventures as a journalist and club owner.From Dave Mustaine of Megadeath getting groupies to pay for his drugs to the famous banning of GWAR from our beloved southern state.

I consider myself a musicologist of North Carolina music history. This book is a great addition to my references of study and learning. The only disappointment i found was that there were no pictures to go along with this great telling of Charlotte's music history. Hopefully a reissue at some point might amend this.

The salad days of music
If you were a part of the music scene anywhere in the south (or beyond) in the 80s, this book will hold special interest. Even if you weren't, its a great story told by an insider to college radio and the vibrant club scene of the times. I don't take the time to read books start to finish anymore, but this one I couldn't put down. Any easy, fun read, Michael takes us from the idealism of college radio to the real world difficulties of growing a scene. While this may not be much of a story in NYC, the conservative climate of the South at the time made this a much more difficult prospect.
Reading this story took me back to a wonderful time of hanging out at shows and gave me a bit of insight into what was really going on behind the scenes.Thanks man! ... Read more

Product Description
Nothing Feels Good: Punk Rock, Teenagers, and Emo tells the story of a cultural moment that's happening right now-the nexus point where teen culture, music, and the web converge to create something new.

While shallow celebrities dominate the headlines, pundits bemoan the death of the music industry, and the government decries teenagers for their morals (or lack thereof) earnest, heartfelt bands like Dashboard Confessional, Jimmy Eat World, and Thursday are quietly selling hundreds of thousands of albums through dedication, relentless touring and respect for their fans. This relationship - between young people and the empathetic music that sets them off down a road of self-discovery and self-definition - is emo, a much-maligned, mocked, and misunderstood term that has existed for nearly two decades, but has flourished only recently. In Nothing Feels Good, Andy Greenwald makes the case for emo as more than a genre - it's an essential rite of teenagehood. From the '80s to the '00s, from the basement to the stadium, from tour buses to chat rooms, and from the diary to the computer screen, Nothing Feels Good narrates the story of emo from the inside out and explores the way this movement is taking shape in real time and with real hearts on the line. Nothing Feels Good is the first book to explore this exciting moment in music history and Greenwald has been given unprecedented access to the bands and to their fans. He captures a place in time and a moment on the stage in a way only a true music fan can.
... Read more

Customer Reviews (58)

haha i lied the title for this book
Well I enjoyed reading this book its basically this guy who writes for spin magazine and writes about early 90s "emo" bands. Im halfway thru the book and its hard for me to put it down cause im into this kind of music.
Overall I gave this a 4 out of 5. Pick this up if you want to learn about the beginnings and some culture of punk-emo stuff!

Feels good until the topic shifts
Andy Greenwald's "Nothing Feels Good: Punk Rock, Teenagers and Emo" is a fascinating journalistic investigation into the hard-to-define musical genre "emo." Chronicling the growth of the musical movement from its birth in the early 80s until 2003 when the book was published, Greenwald has composed a piece of rock journalism similar in style to the works of Chuck Klosterman or even the later works of Lester Bangs.

Greenwald has a fascination with misery, as sadness is a quintessential part of the emo definition. Greenwald fleshes out the main idea of emo as punk-rock based music made as an artist's catharsis that teenagers latch onto and associate emotionally with.

To make sure the reader gets the point, Greenwald dedicates almost a third of the book to the most depressing of all emo acts, Dashboard Confessional. The nearly reverential tone that he uses in describing the de facto leader of the movement emphasizes the main point of this book:music, emotion and memories are inextricably tied together in the minds of teenagers.

Even though Greenwald does analyze the social trend of emo through case studies on bands, the best parts of the book come when he practices his bill-paying craft and enthusiastically describes the bands and labels associated with the genre. From the absurdly cocky Vagrant Records to the painfully humble Jimmy Eat World, Greenwald shows many ways that the confessional candor which embodies the emo movement can manifest itself. The various angles that Greenwald uses to approach the point keep this from being a tiresomely repetitive read.

It's when Greenwald diverges from the music side of emo that the book goes south. The last 41 pages crawl by as Greenwald turns his eye to online communities and their hyper-dramatic emotions their users proudly display. In contrast to the giddy descriptiveness of the first 269 pages, the section on Livejournal.com and Makeoutclub.com lacks any luster at all.

"Nothing Feels Good: Punk Rock, Teenagers and Emo" is a well-researched, mostly quick-moving read. Fans of underground music of the last fifteen years (emo or non) will have a great time playing the "ha! I liked that band first!" game, as well as learning about an often-misunderstood genre.

this book pretty much sucks
it started out extremely promising, discussing rites of spring and the origins of the term "emo".it made the important distinction that emo actually developed out of hardcore and punk.but very quickly turns into the worst written piece of fluff i've read in a long time.desperately grasping at ways to make his book seem relevant, greenwald consistently forces the same points over and over again told with simple writing and dumb similies.due to poor marketing, the book is aimed at fans of bands like jawbreaker, mineral, and the promise ring, while it consistently just lionizes media darlings dashboard confessional and spotlights "indie" label heavyweights vagrant records.if you love the watered down, emotionless bands, that the media packages as "emo" for the masses, then this book is for you.through about 2/3 of the book, i was convinced that greenwald was trying to make the point that highschool jocks that have virtually no interest in music are pioneers of a new musical movement.and 25 pages about makeoutclub and livejournal?seriously now, what point are you trying to prove here? greenwald is the journalist equivalent of the "emo" entities he spotlights.doing his best to make a name for himself while disconnecting himself from his roots, which in this case is quality writing.scattered, boring, tried too hard to be relevant, and worst of all, trying to cash in on a fad.i find it extremely disappointing (though not surprising) that someone found this worthy of publishing.

good effort, but lacks focus
Being an avid music fan, i mainly picked up this book to learn about the DC hardcore roots of emo and maybe stumble across a few great bands i hadnt heard of. While the first quarter or so of the book was exactly what i wanted, it really strayed later on. While Dashboard Confessional is certainly a "key" band in this genre of music, i felt that devoting an entire quarter of the book to Chris Carrabba was a bit unnecessary, and i didnt really get a lot out of this section.

Additionally, the chapters about livejournal and other blog websites was, in my opinion, unnecessary. Emo kids are not the only ones using these types of services. I dunno - that part just seemed....irrelevant.

My last complaint lies with the author's explicit statements of his own opinions on certain artists. For example, he calls The Lyndsay Diaries a rather poor band, although practically calling Dashboard the best thing since sliced bread. I've listened to both bands, and there isnt really a lot of difference. Maybe its just my opinion, but opinions should be left at the door for a nonfiction book.

My Review
NOTHING FEELS GOOD in my opinion is one of the few books that really does explain who are the 'emo kids.' Andy Greenwald explains to the readers that the 'emo kids' are the regular teenagers with regular problems dealing with regular life. Greenwald's 'How to have a nervous breakdown' is one the most humerous things that I, myself, have read in a long time. The main subject that I think Greenwald covers well is teenagers and the internet. Being a teen myself, he really puts it into perspective about who teenagers are internet savvy,not only that, that they use the internet as a outlet for expression. Live jornal, myspace, xanga, makeout club, and anything that envolves an audience is a typical site a teen with use to express there emotions. Greenwald breaks down teenagers emotions and gives an in-depth idea about the term, 'emo'. Overall, I would highly recommend this book to anyone that wants to know what goes on in a teen's mind when the internet and music is involved. Greenwald takes a highly confusing topic of 'emo' and gives it his own meaning which is the reason why I bought the book and why you should read it. ... Read more

Product Description
Punk gives voice to the punk generation 25 years on, remembering the mad, frenzied and often incoherent world of 1975-1979. the cultural movement that burrowed through Andy Warhol's Factory and the early 1970s New York underground, emerging triumphant, kicking and screaming at the top of the British pop charts. With nearly 100 contributors. Including specially commissioned interviews with members and managers of the Sex Pistols, the Clash, the Ramones, the Heartbreakers, Slouxsle and the Banshees and many others, everybody who was part of punk as it grew in popularity is represented. Their memories are supported by hundreds of photographs, many previously unpublished. This book allows the reader to make up their own mind about the people and the lifestyle that became known affectionately as Punk. ... Read more

Customer Reviews (1)

the real thing
written by people who were there and capturing the most genuine flavour of the late 70's, this book is an amazing artifact. ... Read more

Product Description
The authors present an eyewitness account of the punk scene in Washington, D.C. Illustrated with more than 100 photos, the book documents the rise of trailblazing artists from the 1980s and 1990s, while examining the roots of Dischord Records, Positive Force, and Riot Grrrl. Artists featured include Henry Rollins, Minor Threat, Fugazi, and Bikini Kill. ... Read more

Customer Reviews (23)

A solid, if initially a bit monotonous in its narrative, account of punk in Washington DC
A solid, if initially a bit monotonous in its narrative, account of punk in Washington DC

The book almost starts by offering straight away a nitty gritty linear narrative of punk conception and evolution. Initially the structure does not feel very inviting with an almost immediate dive in micro details that takes a while to put in context. The strange format for a book that without a few minimal insets with BW photographs, is essentially written narrative also contributes to this feeling of awkwardness in published form.

But if one tries to follow along and leave this initial first impressions aside, the volume actually does a rather nice job of dwelling in the development of a local punk scene, its growth, and influence. Politics and controversies both local and at a broader scene are exposed with personal and interesting points of view, and more often than not with fair contextualization.

It is not a gossip volume per se, although in a couple of places seems almost about to go in that direction to quickly retreat. Ultimately that sense of personal accounts and openness about the author's involvement gives the text an interesting and engaging quality. Ultimately it is good material in any case to further understand the history of local culture in Washington DC, the States, and how it was woven with social action and popular media.

Prep School Baldies Get Sweaty
Dance Of Days is a decent enough book. It tells stories well and covers as much as it can through the political activist-colored glasses of the author, Mark Andersen. The book was co-written (read cleaned up) by DC alt-journalism staple Mark Jenkins, who probably and thankfully removed the tear-stained confessional aspects of Andersen's writing that moistens the book's beginning and end.

The subtitle is misleading to some because it's not hugely comprehensive of every band and scene in DC, but Andersen's not a writer by trade but an active participant in the Dischord scene as an organizer for Positive Force, a DIY activist group. The book is slanted heavily towards politically correct assumptions of what is right and real, but in that regard its saving grace is Andersen's compulsion to point out the bad along with the good. To his credit, and in defiance of the rules of political activism, he insists on reporting the DC scene warts and all.

In the world of Dance Of Days, "meaning" is really super important. Lyrics contain the answers to life's problems and banging pickle buckets in the park across from the White House accomplishes a whole lot. Shows are remembered in perfect detail, and the right word or note creates synergies between band and audience as close to a religious experience as most are ever going to experience.

The major players of the scene are creative types full of the euphemism "contradictions". Ian MacKaye is ok even though he's pushy with ideas and more violent than you'd imagine. The DC scene would rank up there with Passaic, NJ if not for him. Henry Rollins is pathologically hypocritical in everything he does and says. HR of Bad Brains is clinically insane.

It's safe to say Dance Of Days is not a history of the DC punk scene but a well researched set of remembrances of what one person found exciting and interesting. It's where you can read the line "They were trying to survive, searching for a tribe, for family, for fun" and maybe not puke. Maybe.

Must Read
I moved to DC because of the music, plain and simple. And this is a wonderful reminder of how great it was to be in a community of incredible creative people who were also passionate about politics and social change.

Misquoted
I give it two stars for a great concept but I have a few issues with it since it is suppose to be non-fiction.The 1st being that someone I know was was misquoted in it which makes me wonder how many other people people were misquoted as well. Also I would disagree with some the character descriptions and affiliations given to a few of the people.

wow
It's a great book but you aren't into the bands and curious about the scene at that time then you will probably be pretty bored. ... Read more

Product Description

Customer Reviews (1)

xGOODREADx
Sober living for the Revolution is an awesome book, more than just the usual war stories and pictures book. The only drawback is when some of the authors/essayists get too out there with the wordplay, meaning yes it's good to have a diverse vocabulary but some of us aren't as familiar with the classics as others, ya know? I'm a pretty well read guy but some of the writings were tough to get through. Over all though a must-read for anyone who thinks Straight Edge should be more than just merch sales and finger pointing. ... Read more

Product Description
Cinderella's Big Score celebrates the contributions of punk's oft-overlooked female artists, explores the latent—and not so latent—sexism of indie rock (so often thought of as hallowed ground of progressive movements), and tells the story of how these women created spaces for themselves in a sometimes limited or exclusionary environment. The indie music world is littered with women who have not only withstood the racket of punk's intolerance, but have twisted our societal notions of femininity in knots. Raha focuses on the United States and England in the 70s and 80s, and illuminates how the seminal women of this time shaped the female rockers of the 90s and today. Groups profiled range from The Runaways, The Slits, and The Plasmatics to L7, Sleater-Kinney, and Le Tigre. The book includes women not often featured in "women in rock" titles, such as Exene Cervenka of X, Eve Libertine and Joy de Vivre of Crass, and Poison Ivy Rorschach of the Cramps. Rare interviews and more than forty black-and-white photographs are included in this tribute to the transgressive women of the underground music scene. ... Read more

Customer Reviews (5)

A disappointment.
I was very excited upon finding this book. "At last, a book for all the women in punk I've admired!" I thought. Though the author does a fine job in her selection of women for the book, the writing is mediocre, to say the least.

The book could have been an interesting dissertation into what it's like to be a minority in an alternative scene. However, the chapters lack any reference to movements within specific time periods. There is no analysis of what the women have done for the punk scene in terms of musicianship and effects of lyrical content; instead, Raha writes as if she is a starstruck fan, only able to spew praise and nothing but.

The author should have thought out a better approach towards writing about an impressive list of women in a scene that already has a roster of many underdeveloped and underwritten books to its name. However, the style of Raha's writing and her lack of insight makes the book ultimately fall under said category.

Shoddy research!
I contributed photos to this piece of poorly researched crock of smelly crap. I could barely stomach the first chapters because I read so many inaccuracies, whether about Blondie, Runaways, Go-Go's, X and others. The author had access to people like myself, who know the dates, quotes, locations, etc. She lifted text from other books, which were not correct either. Terrible research! How can anyone pay any attention to something which has easy to verify mistakes? Horrible horrible horrible. I wrote the author, who said she had researchers. Well, they didn't do their job! Total disrespect for the women she purports to admire. HYPOCRITE.

yes yes yes--For all the riot grrrls, punk girls, new wavers.....
This is a great book from a person's point of view regarding many of my favorite bands. I am not completely done reading it but I like it so far.

pretty good
Raha's book is pretty good but has some flaws nevertheless. The author seems to be too harsh on non-indie musicians, as if nothing of any worth has ever come from any of them.
Also, she seems to be trying to write objectively, but her opinions and tastes come through in her writing sometimes. Just as an example, she doesn't seem to be too fond of Bikini Kill's music(maybe that's just my impression but she seems to feel the need to justify their technical flaws, despite the fact that they weren't any worse than many bands in this book, let alone in punk in general, and the fact that technical aptitude is far from being extremely important in punk. There seem to be some omissions as well, among them neglecting to mention how Mia Zapata of the Gits died and how it affected the community. Still, if that's in order to concentrate on her life instead of her death, then omitting the information was a good decision.
Despite all its flaws, the book is very informative and serves as a great testament to some of the amazing punk/indie women of the past and present, who, despite their talents, efforts(in many cases both musical and activist) and influence, constantly get overlooked in most punk/indie chronicles.

A tribute to punk rock's female artists
Readers interested in punk rock music in general and women's contributions to the genre in particular will relish Cinderella's Big Score: Women Of The Punk And Indie Underground, a tribute to punk rock's female artists. Maria Raha works for Spin and Vibe magazines: her focus on the U.S. and English punk rockers of the 1970s and 80s details how women influenced groups of the times, and beyond. Recording history influence and background blends with details on the lives and contributions of major female musicians and groups.
... Read more

Product Description
This is a chronicle of the punk years that includes critical writings on the performers and music and follows what the author calls the punk sensibility of "dread, release, negation, empowerment and excitement as it developed from about 1975 to the present". ... Read more

Product Description
This work presents a visual documentary of what punk was really all about. The photographs of punks, including Shane MacGowan, capture them pogoing at the Roxy Club and dressed as cat women. Pictures of stars, and full-length fashion statements are also featured. ... Read more

Customer Reviews (1)

an up close view of what the punk scene was really like
if youre into punk, then this books for you. with incredible photos of the damned,the sex pistols,the clash,the jam and so many other early punk bands.it talks about the bands, the music, the style of dress,the attitude, and of course, the fans.this book is packed with pictures of the bands onstage and backstage and has some cool photos of the fans just getting crazy and hangig out.but really its just something pretty cool to have if you want to know what actually went on with the punk scene in tne mid 70's...if you weren't already there. ... Read more

Product Description
In a thorough chronicle of the American underground punk and New Wave rock scene, noted music critic Heylin explores the origins and evolution of this fiery music phase of the '60s and '70s--from the Velvet Underground to the Ramones to the Talking Heads.Amazon.com Review
The Ramones. Suicide. Pere Ubu. This book explores the originsand evolution of the fiery history of punk and New Wave. Filled with insights from such music legends as LouReed, Debbie, Harry, David Byrne, Patti Smith, and Richard Hell, thisbook is a great read for music lovers and pop culture afficionados. ... Read more

Customer Reviews (18)

Credit Where It Is Due
In discussing this book, some appreciation is definitely in order. This book was published in 1993 and the author's research for the book began in the 1980s. In the book's preface Heylin noted that his motive in writing the book was to give due credit to the music and musicians that comprised American punk rock, both of which had been overlooked when punk rock was initially discussed in favor of the more visible British acts. While the history of American punk rock and the bands that comprised it now seem to have established a secure position in our cultural consciousness, it is worth remembering that this was not always the case. Regardless of whether Heylin in writing this book had anything to do with changing this perspective, the fact that he wrote a book devoted to what was potentially a forgotten musical history is something that deserves to be recognized, especially if like myself you are a fan of this type of music.
As to the contents of the book, it is a solid history of American punk rock, both its musical precursors-The Velvet Underground, the MC5 and the Stooges, the Modern Lovers, the New York Dolls-and the bands that were part of it. Heylin also does a nice job discussing the Cleveland scene, and bands like Rocket From The Tombs and Pere Ubu. Additionally the author discusses the discography for the bands at issue, including important bootlegs. A reader coming to the subject without any background will get a good working understanding of the topic.
All of this said there are a few cautions. Any writing of history involves the author's personal editorial choices and points of emphasis. For Heylin it is clear that in writing a history of the subject, certain bands figure more prominently than others in his thinking. In particular Heylin is obviously a bigger fan of Patti Smith and Television than of others. The result is a seeming imbalance: Patti Smith is discussed in three full chapters and part of another; Television (or its precursor the Neon Boys) also receives three full chapters and part of two others. In comparison The Ramones are discussed in one full chapter and parts of two others, as is Blondie (who, I should add, the author does a nice job with and demonstrates a good appreciation for the band's music). The Talking Heads are discussed in parts of three chapters, and the Dead Boys and the Dictators share part of a single chapter. In discussing sources Heylin relies on many more sources for Patti Smith, Tom Verlaine and Richard Hell than others: 23 articles on Patti Smith; 10 articles on Tom Verlaine; 10 articles on Richard Hell. By comparison there are 4 articles in total for the four original Ramones. Thus in the divide between the supposedly "artistic" acts like Patti Smith and Television on the one hand and bands such as The Ramones on the other, Heylin very much considers the former more significant, and this history reflects it. This is of course a matter of the author's personal musical tastes and judgment, but it should be recognized as an interpretation that while not necessarily wrong, is subject to challenge. Other books, such a "Please Kill Me", took a different view.
A point should also be made about the author's view of Patti Smith. To put it mildly, Heylin is a big fan. There is certainly nothing wrong with this, but fans are not always the most objective about the musicians they love. In the book Heylin quotes Patti Smith at length (by my count, 39 times), and often in a manner that is not effective.
This leads finally to the Postlude that was added in the updated editions. That Heylin was on notice that this addition would operate to alienate fans of the original book is stated right in the subtitle for the Postlude. In the Postlude Heylin expresses opinions about a number of performers and defends his view of the history of American punk rock. He asserts (I think very reasonably) that it is unfair to claim that British punk rock bands derived from the American punk rock bands, but that they developed independently. He also attempts to defend Patti Smith against what he views as unfair criticism, such as in "Please Kill Me" where she came off somewhat poorly. This is fine except Heylin sees unfair criticism of his hero so often from enough sources that he comes off as somewhat blinded. At worst, the criticisms he objects to reveal nothing more than a flawed human being, but Heylin will have none of it.
A related but more fundamental objection is his attempt to reassert his own view of American punk rock with "artistic" bands like Patti Smith and Television at the forefront in light of conflicting interpretations that have arisen in the intervening years. Of particular frustration to Heylin is that today The Ramones have moved to the forefront of the history of American punk rock at the expense of bands that he feels are more deserving. I should say that while I am a Ramones fan, I actually sympathize somewhat with Heylin's view. It could be argued that from being unjustly overlooked, The Ramones have now been mythologized to the point where they literally take the oxygen out of the room where their contemporaries are concerned. If, as Heylin believes and states, Patti Smith, Television, Richard Hell and Pere Ubu are the epitome of American punk rock, then The Ramones being moved to the front of the line, a process which he attributes not to their music but the skill of their apologists in the musical press, can only be a matter of pure exasperation. It is with this sense of profound exasperation that he endeavors in the Postlude to derogate the Ramones's music, to compare them unfavorably to the Clash and the Sex Pistols. This is again a matter of taste, but to the extent that the reader doesn't fully buy this take on musical history (I don't), you are left not with a compelling argument but with a bitter screed.
All in all, however, with reservations aside, this is a book worth reading and a subject matter worth exploring. If as I have noted there are other interpretations that differ from Heylin's, this simply means that the exploration should go deeper. But this is still an excellent start.

Superb history and reference work on American art rock and punk
This engaging and informative work explores the origins of the American punk and art rock scene, covering artists like Patti Smith, Tom Verlaine, Richard Hell & The Voidoids and The Ramones, all of whom contributed to the innovations or the were the originators of many stylistic and musical traits evident in later bands.

The book is an American punk Who's Who and a rock 'n roll What's What, a detailed history and a valuable reference work. It would make an excellent companion volume to Roni Sarig's The Secret History Of Rock and In The Fascist Bathroom by Greil Marcus, especially since Marcus' book mostly ignores the New York side of punk rock.

Starting with the Velvet Underground, it also deals with The Stooges, MC5, Jonathan Richman & The Modern Lovers, The Electric Eels, Alan Vega & Suicide, The New York Dolls, Wayne County & The Electric Chairs, Blondie, The Heartbreakers, The Talking Heads, Pere Ubu, Lydia Lunch and other seminal artists.

The text consists of interviews with the artists concerned, so you hear about those glory days in their own words. The famous venues CBGB's & Max's Kansas City also get their due. The bibliography provides a cross-section of the most useful published sources on American punk and there's an extensive discography. Black & white photographs (some very rare, like a pic of Patti Smith's graduation) enliven the text. Highly recommended for fans of intelligent rock music.

Well written but I have some qualms
This is a well written history of the period between 1974 and 1977 and the music coming out of two American cities - NY and Cleveland.

Most of the attention here is focused on Patti Smith, Television and Richard Hell with ample consideration also given to Blondie, Suicide, and Pere Ubu given their accomplishments.

The writer also acknowledges VU and The New York Dolls but for the most part ignores the two biggest bands that came out of NY -The Ramones and The Talking Heads.It's true that he mentions them often but it is never with the same kind of concentrated digging and insight that he affords Patti Smith or Television.

For example, the reader benefits from a very nice background on both Smith (Smith's Catholic v. Atheist upbringing and her job in the "Piss factory" get to be expounded upon) and Verlaine and Hell (the story of those two meeting and running away is discussed at length) but only a cursory examination of The Ramones and Talking Heads' early days is presented.

Nonetheless, it's an agreeable, easy read - the kind of book all punks ought to have in their bathroom.

This is "the bible"
This book, which I happened to come across the year it came out is the fairest and most accurate account of the early days of punk in the USA. It gives ample credos to the Cleveland "anti-scene" of Electric Eels, Mirrors, Rocket from the Tombs, Pere Ubu, etc. It does not exclusively focus on CBGB's as mentioned in other reviews. Many of the chapters are take off's on the Clevo scene and it's purveyors. Of course it also covers the other scenes in depth.

Evidence of just how important this book is...check how much you will have to now pay to get a copy!!! I have heard of people paying over 200 dollars for it. It really merits another printing.

paul simone

From The Dirt Great Flowers Grow!
This Book Is one of the Best of it's Kind!
Covering the Bands You Know & love But Also Opening up Your Ears to The Best of What came Before or after...

Where Else Can A GREAT band Like Rocket From The Tombs get their Due? They are just as Valuable As Television or The Dolls! The Velvets, The MC5, Richard Hell, Peter Laughner, And Others All Given their Rightful Place in Rock's history!

This is Required Reading for All you Kids out there, who Want to Make it Real again. No Ham-fisted tales of Limos or Mountains of coke, Just Busted Vans, Empty Clubs & a little Dope to make it all go down easy.

The Best Bands, The Best Tunes, The Best Albums. Everything Covered for the Best Reason! "cause they are the Best! The Best that Rock'n'Roll has to Offer.
Step Aside MTV, the Old Folks are Coming Back! ... Read more