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Books > Music > Contemporary popular music > Rock & pop > Indie
In the 1990s, there was only one real punk rock band still
standing. Rancid. Other so-called punk acts had bent the term so
much they were unrecognisable as punk or had become a caricature of
the expression. Or worse of themselves. Childhood friends Tim
Armstrong and Matt Freeman formed Rancid in 1991. Heralding from
the punk scene in Gilman Street, Berkeley, they were members of the
ground-breaking outfit Operation Ivy. After Op Ivy's demise, the
duo recruited Brett Reed on drums and by the release of their
second LP in 1994, the enigmatic Lars Frederiksen on guitar and
vocals. In 1994 came the inspirational, platinum-selling ...And Out
Came The Wolves. The band were soon a fixture on MTV, radio and
even Saturday Night Live. At this point, many would have
disappeared into the stratosphere, but not Rancid. They worked
tirelessly in the punk network, giving plenty back and keeping true
to those crucial two elements of punk - liberation and unity. In
2021, they remain the most credible punk band on the planet. Rancid
Tracks describes their nine studio albums, track by track, and
covers compilations, stand-alone singles, splits, rarities, and
unofficial releases.
A Kunstlerroman by British contemporary artist Sue Webster, which
combines personal memoir with an exploration of the ongoing
influence of youth, music, and Siouxsie and the Banshees on her
life and work. Emanating from a poignant unpacking of objects and
memories--which Webster has turned into a private exhibition to
coincide with the publica-tion--this book positions the Banshees
and the artist herself alongside visual references to everyone from
David Bowie and the Sex Pistols to William Burroughs and Salvador
Dali--using the Banshees and the punk scene amid which she grew up
as an entry point to reflect on the cultural and personal
evolutions of the last decades. More than 300 illustrations combine
ephemera with artwork and reveal the connection between influence
and art: objects documenting her fanaticism of the Banshees, from
record covers and photographs to ticket stubs and lyrics;
paraphernalia from books, artists, and cultural figures that relate
to the Banshees and that world of 1970s and early 1980s post-punk;
personal effects from diary pages to unseen photographs; and
selected artworks by Sue Webster and longtime partner Tim Noble.
?An American Demon is Jack Grisham's story of depravity and
redemption, terror and spiritual deliverance. While Grisham is best
known as the raucous and provocative front man of the pioneer
hardcore punk band TSOL (True Sounds of Liberty), his writing and
true life experiences are physically and psychologically more
complex, unsettling, and violent than those of Bret Easton Ellis
and Chuck Palahniuk. Eloquently disregarding the prefabricated
formulas of the drunk-to-sober, bad-to-good tale, this is an
entirely new kind of life lesson: summoned through both God and
demons, while settling within eighties hardcore punk culture and
its radical-to-the-core (and most assuredly non-evangelical)
parables, Grisham leads us, cleverly, gorgeously, between temporal
violence and bigger-picture spirituality toward something very much
like a path to salvation and enlightenment. An American Demon
flourishes on both extremes, as a scary hardcore punk memoir and as
a valuable message to souls navigating through an overly
materialistic and woefully self-absorbed "me first" modern society.
An American Demon conveys anger and truth within the perfect
setting, using a youth rebellion that changed the world to open
doors for this level of brash destruction. Told from the point of
view of a seminal member of the American Punk movement -- doused in
violence, rebellion, alcoholism, drug abuse, and ending with
beautiful lessons of sobriety and absolution -- this book is as
harrowing and life-affirming as anything you're ever going to read.
The most wide-ranging and provocative look at punk rock as a social
change movement told through firsthand accounts. Punk rock has been
on the frontlines of activism since exploding on the scene in the
1970's. Punk Revolution! is the most wide-ranging and provocative
look at punk rock as a social change movement over the past
forty-five years, told through firsthand accounts of roughly 250
musicians and activists. John Malkin brings together a wide cast of
characters that include major punk & post-punk musicians
(members of The Ramones, Bad Religion, Crass, Dead Kennedys, Patti
Smith's band, Gang of Four, Sex Pistols, Iggy & the Stooges,
Bikini Kill, Talking Heads, The Slits, and more), important figures
influenced by the punk movement (Noam Chomsky, Kalle Lasn, Keith
McHenry, Marjane Satrapi, Laurie Anderson, Kenneth Jarecke), and
underground punk voices. These insightful, radical, and often funny
conversations travel through rebellions against Margaret Thatcher,
Ronald Reagan, Donald Trump, and Vladimir Putin and to punk
activism that has taken on nuclear war, neoliberalism, modern
warfare, patriarchy, white supremacy, the police, settler
colonialism, and more. The result is a fresh and unique history of
punk throughout the ages.
'Spitting & Screaming: The Story of The London Pub Rock Scene
& 70s British Punk' is rather a grand title. Does it over
promise? Who is this guy Neil Saint who calls himself The Saint
podcasting and broadcasting his RETROPOPIC RADIO show? If you think
that folks then you're wrong... The book represents a thorough
investigation of the London Pub Rock and British Punk scene in the
seventies from over 50 interviews with the participants themselves.
Amongst others the author has spoken to...Sally Jane Delaney,
daughter of Tally Ho publican Lillian Delaney, shares memories of
listening to the birth of London Pub Rock as 'Eggs Over Easy' play
a residency at her home, Steve Conolly, known as Roadent, conveys
his direct knowledge of the early punk scene roadying for The
Pistols and The Clash, Charlie Harper, founder member of The UK
Subs, recounts the very earliest days of The Roxy as punk goes
overground in 77 after The Grundy interview and Andrew Lauder, a
player in the music scene, informs you how much he disliked The
Stranglers before falling in love with them and signing them to UA.
Spanning that early to late seventies the book is a must read for
the music lover!
Uncompromising and innovative, hardcore punk in Washington, DC,
birthed a new sound and nurtured a vibrant subculture aimed at a
specific segment of the city's youth. Shayna L. Maskell explores
DC's hardcore scene during its short but storied peak. Led by bands
like Bad Brains and Minor Threat, hardcore in the nation's capital
unleashed music as angry and loud as it was fast and minimalistic.
Maskell examines the music's aesthetics and the unique impact of
DC's sociopolitical realities on the sound and the scene that
emerged. As she shows, aspects of the music's structure merged with
how bands performed it to put across distinctive representations of
race, class, and gender. But those representations could be as
complicated and contradictory as they were explicit. A fascinating
analysis of a punk rock hotbed, Politics as Sound tells the story
of how a generation created music that produced--and
resisted--politics and power.
In this book, Wilson Neate gets beneath the surface of a punk band
with a difference. In contrast with many of their punk peers, Wire
were enigmatic and cerebral, always keeping a distance from the
crowd. Although Pink Flag appeared before the end of 1977, it was
already a meta-commentary on the punk scene and was far more
revolutionary musically than the rest of the competition. Few punk
bands moved beyond pared-down rock 'n' roll and garage rock,
football-terrace sing-alongs or shambolic pub rock and, if we're
honest, only a handful of punk records hold up today as anything
other than increasingly quaint period pieces.While the majority of
their peers flogged one idea to death and paid only lip service to
punk's Year Zero credo, Wire took a genuinely radical approach,
deconstructing song conventions, exploring new possibilities and
consistently reinventing their sound. This is a chord. This is
another. This is a third. Now form a band, proclaimed the caption
to the famous diagram in a UK fanzine in 1976 and countless punk
acts embodied that do-it-yourself spirit. Wire, however, showed
more interesting ways of doing it once you'd formed that band and
they found more compelling uses for those three mythical chords."33
1/3" is a series of short books about a wide variety of albums, by
artists ranging from James Brown to the Beastie Boys. Launched in
September 2003, the series now contains over 50 titles and is
acclaimed and loved by fans, musicians and scholars alike.
"Fellow rock stars, casual members of the public, lords and media
magnates, countless thousands of people will talk of their
encounters with this driven, talented, indomitable creature, a man
who has plumbed the depths of depravity, yet emerged with an
indisputable nobility. Each of them will share an admiration and
appreciation of the contradictions and ironies of his incredible
life. Even so, they are unlikely to fully comprehend both the
heights and the depths of his experience, for the extremes are
simply beyond the realms of most people's understanding."
--from the Prologue
The first full biography of one of rock 'n' roll's greatest
pioneers and legendary wild men
Born James Newell Osterberg Jr., Iggy Pop transcended life in
Ypsilanti, Michigan, to become a member of the punk band the
Stooges, thereby earning the nickname "the Godfather of Punk." He
is one of the most riveting and reckless performers in music
history, with a commitment to his art that is perilously total. But
his personal life was often a shambles, as he struggled with drug
addiction, mental illness, and the ever-problematic question of
commercial success in the music world. That he is even alive today,
let alone performing with undiminished energy, is a wonder. The
musical genres of punk, glam, and New Wave were all anticipated and
profoundly influenced by his work.
Paul Trynka, former editor of "Mojo" magazine, has spent much time
with Iggy's childhood friends, lovers, and fellow musicians,
gaining a profound understanding of the particular artistic culture
of Ann Arbor, where Iggy and the Stooges were formed in the mid to
late sixties. Trynka has conducted over 250 interviews, has
traveled to Michigan, New York, California, London, and Berlin,
and, in the course of the last decade or so at "Mojo," has spoken
to dozens of musicians who count Iggy as an influence. This has
allowed him to depict, via real-life stories from members of bands
like New Order and the Red Hot Chili Peppers, Iggy's huge influence
on the music scene of the '70s, '80s, and '90s, as well as to
portray in unprecedented detail Iggy's relationship with his
enigmatic friend and mentor David Bowie. Trynka has also
interviewed Iggy Pop himself at his home in Miami for this book.
What emerges is a fascinating psychological study of a Jekyll/Hyde
personality: the quietly charismatic, thoughtful, well-read Jim
Osterberg hitched to the banshee creation and alter ego that is
Iggy Pop.
"Iggy Pop: Open Up and Bleed" is a truly definitive work--not just
about Iggy Pop's life and music but also about the death of the
hippie dream, the influence of drugs on human creativity, the
nature of comradeship, and the depredations of fame.
Celebrating a wide range of punk design in vinyl cover art,
posters, flyers, fanzines, and other ephemera, The Art of Punk
highlights the movement primarily within graphic design and print,
while also considering its impact on wider popular culture. Punk
was based on immediacy-an often-inspired amateurism and
underground, close-knit communities that burned brightly but were
not intended to extend beyond the gig, the event, the scene, the
moment. Punk songs by such legendary bands as the Sex Pistols, the
Ramones, the Damned, the New York Dolls, the Germs, and the Clash
tended to be short, fast, and aggressive, and the oft-repeated
credo "If it can't be said in three minutes, it's not worth saying"
was adopted as standard practice, extending in turn to an entire
ethos for the whole subculture. The book is arranged
chronologically, and by genre, and features more than 900 visual
examples both by uncredited artists and internationally renowned
designers and design groups, alongside interviews with, and
commentary by, many of the artists concerned.
After discovering a derelict record plant on the edge of a northern
English city, and hearing that it was once visited by David Bowie,
Karl Whitney embarks upon a journey to explore the industrial
cities of British pop music. Manchester, Liverpool, Newcastle,
Leeds, Sheffield, Hull, Glasgow, Belfast, Birmingham, Coventry,
Bristol: at various points in the past these cities have all had
distinctive and highly identifiable sounds. But how did this
happen? What circumstances enabled those sounds to emerge? How did
each particular city - its history, its physical form, its accent -
influence its music? How were these cities and their music
different from each other? And what did they have in common? Hit
Factories tells the story of British pop through the cities that
shaped it, tracking down the places where music was performed,
recorded and sold, and the people - the performers, entrepreneurs,
songwriters, producers and fans - who made it all happen. From the
venues and recording studios that occupied disused cinemas,
churches and abandoned factories to the terraced houses and back
rooms of pubs where bands first rehearsed, the terrain of British
pop can be retraced with a map in hand and a head filled with music
and its many myths.
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Phoenix
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Thomas Mars, Deck D'Arcy
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R1,241
R989
Discovery Miles 9 890
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With one foot in the world of French touch house music that defined
the late 1990s and the other in the world of post-punk pop that
grew from Joy Division and New Wave, Phoenix have evolved from an
edgy French band to one of the most influential indie acts of the
last twenty years. Drawing on the band s own archives of snapshots
and memorabilia and including original photography of everything
from the band s instruments to the notebooks in which every lyric
and chord change are carefully notated, the book is a visual
celebration of spectacular performances and a superfan s chronicle
of the evolution of a band from the studio to the stage. Published
to coincide with a series of anniversaries for the band thirty
years since their formation as teenagers in 1989; twenty since the
release of their debut record in 1999; and ten since Grammy
Award-winning Best Album Wolfgang Amadeus Phoenix in 2009 and with
original interviews conducted with the band throughout, this book
is an intimate celebration of a group whose particular brand of pop
has struck a chord on both sides of the Atlantic.
Culture from the Slums explores the history of punk rock in East
and West Germany during the 1970s and 1980s. These decades
witnessed an explosion of alternative culture across divided
Germany, and punk was a critical constituent of this movement. For
young Germans at the time, punk appealed to those gravitating
towards cultural experimentation rooted in notions of
authenticity-endeavors considered to be more 'real' and 'genuine.'
Adopting musical subculture from abroad and rearticulating the
genre locally, punk gave individuals uncomfortable with their
societies the opportunity to create alternative worlds. Examining
how youths mobilized music to build alternative communities and
identities during the Cold War, Culture from the Slums details how
punk became the site of historical change during this era: in the
West, concerning national identity, commercialism, and
politicization; while in the East, over repression, resistance, and
collaboration. But on either side of the Iron Curtain, punks'
struggles for individuality and independence forced their societies
to come to terms with their political, social, and aesthetic
challenges, confrontations which pluralized both states, a
surprising similarity connecting democratic, capitalist West
Germany with socialist, authoritarian East Germany. In this manner,
Culture from the Slums suggests that the ideas, practices, and
communities which youths called into being transformed both German
societies along more diverse and ultimately democratic lines. Using
a wealth of previously untapped archival documentation, this study
reorients German and European history during this period by
integrating alternative culture and music subculture into broader
narratives of postwar inquiry and explains how punk rock shaped
divided Germany in the 1970s and 1980s.
Ecstasy did for house music what LSD did for psychedelic rock. Now,
in "Energy Flash," journalist Simon Reynolds offers a revved-up and
passionate inside chronicle of how MDMA ("ecstasy") and MIDI (the
basis for electronica) together spawned the unique rave culture of
the 1990s.
England, Germany, and Holland began tinkering with imported Detroit
techno and Chicago house music in the late 1980s, and when ecstasy
was added to the mix in British clubs, a new music subculture was
born. A longtime writer on the music beat, Reynolds started
watching--and partaking in--the rave scene early on, observing
firsthand ecstasy's sense-heightening and serotonin-surging effects
on the music and the scene. In telling the story, Reynolds goes way
beyond straight music history, mixing social history, interviews
with participants and scene-makers, and his own analysis of the
sounds with the names of key places, tracks, groups, scenes, and
artists. He delves deep into the panoply of rave-worthy drugs and
proper rave attitude and etiquette, exposing a nuanced musical
phenomenon.
Read on, and learn why is nitrous oxide is called "hippy crack."
Combining unique access to Green Day with a journalist's nose for a
great story, Mark Spitz tells the complete account of the band
Green Day from their earliest days to their most recent explosion
in popularity--achieved after many in the business had written the
band off as old news. It??'s hard to believe that in early 2004,
Green Day was considered pass??--a strictly 90s phenomenon. Since
then, they have rewritten the rules of rock???namely the rule that
says: no comebacks allowed. Sure, there are second acts in rock,
but usually they???re embarrassing. ???American Idiot??? has sold 4
million copies in America???the biggest selling rock record of the
year. It??'s currently at number 20 on the charts???57 weeks after
debuting at number 1. The band was awarded a Grammy for rock album
of the year and seven MTV video music awards including video of the
year. NOBODY LIKES YOU is a story of friendship and the
transporting power of playing very loud music. It is the story of
how high school drop out Billy Jo Armstrong came to write song
lyrics that inflamed the political conscience of fans in a way that
two Yale graduates couldn???t. Green Day??'s story???from rise, to
fall, to rise again--has never been fully told, and Spin journalist
Mark Spitz has exclusive access.
Raised in Queens, where he worked as a plumber while honing his
guitar skills, Johnny Ramone eventually became a founding member of
The Ramones, one of the most influential rock bands of all time.
Often called the first punk rock outfit, their status is now
legendary. But despite becoming an international star when he was
alive, Johnny never really strayed from his blue-collar roots and
attitude. His bouts of delinquency as a kid might have given way to
true discipline when it came to keeping the band in line, but he
was truly imbued with the angr y-young-man spirit that would
characterise his persona on and off stage. Johnny was the driving
force behind the Ramones, sometimes referred to as a drill
sergeant, bringing order and regiment to the band. This was evident
in the speed, accuracy and intensity of their music. Johnny kept
the band focused and moving forward, ultimately securing their
place in rock history. The Ram ones were inducted into the Rock and
Roll Hall of Fame in 2002 and two years later, Johnny dies of
cancer, outliving the other two founding members and getting the
last and complete word. Brutally honest, revealing and touching,
this is Johnny Ramones's story and the story of the Ramones from
start to finish, told in his own words and on his own terms. In
addition to his story, the book will contain Johnny's annotated and
graded assessment of the Ramones' albums, a number of eccentric Top
Ten Lists; favourite Elvis films, favourite Republicans [Johnny was
actually pretty conservative], favourite horror films, pages from
his legendary "black books" with notes on concerts, inspirations,
anecdotes and scores of black and white and colour photos, many of
which have not been published before.
Examining the multigenerational impact of punk rock music, this
international survey of the political-punk straight edge
movement--which has persisted as a drug-free, hardcore subculture
for more than 25 years--traces its history from 1980s Washington,
DC, to today. Asserting that drugs are not necessarily rebellious
and that not all rebels do them, the record also defies common
conceptions of straight edge's political legacy as being associated
with self-righteous, macho posturing and conservative Puritanism.
On the contrary, the movement has been linked to radical thought
and action by the countless individuals, bands, and entire scenes
profiled throughout the discussion. Lively and exhaustive, this
dynamic overview includes contributions from famed straight edge
punk rockers Ian MacKaye of Minor Threat and Fugazi, Dennis Lyxzen
of Refused and the International Noise Conspiracy, and Andy Hurley
of Fall Out Boy; legendary bands ManLiftingBanner and Point of No
Return; radical collectives such as CrimethInc. and Alpine
Anarchist Productions; and numerous other artists and activists
dedicated as much to sober living as to the fight for a better
world.
Two and a half decades on, Jawbreaker's 24 Hour Revenge Therapy
(1993-94) is the rare album to have lost none of its original
loyalty, affection, and reverence. If anything, today, the cult of
Jawbreaker-in their own words, "the little band that could but
would probably rather not"-is now many times greater than it was
when they broke up in 1996. Like the best work of Fugazi, The
Clash, and Operation Ivy, the album is now is a rite of passage and
a beloved classic among partisans of intelligent, committed,
literary punk music and poetry. Why, when a thousand other artists
came and went in that confounding decade of the 90s, did Jawbreaker
somehow come to seem like more than just another band? Why do they
persist, today, in meaning so much to so many people? And how did
it happen that, two years after releasing their masterpiece, the
band that was somehow more than just a band to its fans-closer to
equipment for living-was no longer? Ronen Givony's 24 Hour Revenge
Therapy is an extended tribute in the spirit of Nicholson Baker's U
& I: a passionate, highly personal, and occasionally obsessive
study of one of the great confessional rock albums of the 90s. At
the same time, it offers a quizzical look back to the toxic
authenticity battles of the decade, ponders what happened to the
question of "selling out," and asks whether we today are enriched
or impoverished by that debate becoming obsolete.
Please Feed Me is a punk rock vegan cookbook. Each recipe features
an anecdote by a band that performed at the Hope Collective, a
popular punk venue in Dublin the author helped maintain for over a
decade. (The Hope Collective became a blue print and inspiration
for punk and DIY spaces across Ireland and the UK.) The book
features contributions from over 120 people who donated their vegan
recipes and thoughts on the importance of the punk rock community
and culture, including stories from seminal punk banks such as
Fugazi, Bikini Kill, and Chumbawamba.
In addition to great recipes, Please Feed Me uniquely illustrates
the connections between community, art, activism and health. The
thunderous subtext of the book is the vital underground community
and network created and maintained by a collective of organizers
and hundreds of musicians at a time when most punk bands were
signing to major labels for the highest dollar amount. The book
documents pieces of the stories of many popular US and
international punk bands that continue to have a major influence on
youth subcultures today.
In the late '90s, third-wave ska broke across the American
alternative music scene like a tsunami. In sweaty clubs across the
nation, kids danced themselves dehydrated to the peppy rhythms and
punchy horns of bands like The Mighty Mighty Bosstones and Reel Big
Fish. As ska caught fire, a swing revival brought even more
sharp-dressed, brass-packing bands to national attention. Hell of a
Hat dives deep into this unique musical moment. Prior to invading
the Billboard charts and MTV, ska thrived from Orange County,
California, to NYC, where Moon Ska Records had eager rude girls and
boys snapping up every release. On the swing tip, retro pioneers
like Royal Crown Revue had fans doing the jump, jive, and wail long
before The Brian Setzer Orchestra resurrected the Louis Prima
joint. Drawing on interviews with heavyweights like the Bosstones,
Sublime, Less Than Jake, and Cherry Poppin' Daddies-as well as
underground heroes like Mustard Plug, The Slackers, Hepcat, and The
New Morty Show-Kenneth Partridge argues that the relative economic
prosperity and general optimism of the late '90s created the
perfect environment for fast, danceable music that-with some
notable exceptions-tended to avoid political commentary. An homage
to a time when plaids and skankin' were king and doing the
jitterbug in your best suit was so money, Hell of a Hat is an
inside look at '90s ska, swing, and the loud noises of an era when
America was dreaming and didn't even know it.
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