From School Library Journal
The social, political, economical, and musical elements that coalesced to shape the genre of punk have been well documented; however, few books tell the beginning from the perspective of a 17-year-old in the midst of a musical revolution. Thompson was that kid, working in a record store in London in the late 1970s and witnessing the humble start of punk rock. Although his narrative is personal, his emphasis throughout is on musicians who influenced and launched the DIY movement, both well-known acts (e.g., Patti Smith, the Sex Pistols, the Damned) and lesser-known ones (e.g., the Adverts, the Maniacs, and Roogalator). One of rock music's most prolific writers, Thompson has authored more than 100 books over the last 25 years. This most recent effort reminds us of what punk music looked like before it became a career and a topic in college classrooms. Recommended for all public libraries; this will particularly appeal to punk enthusiasts, musicians, and every member of the punk generation.—Joshua Finnell, McNeese State Univ. Lib., Lake Charles, LA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Thompson, 16 when punk exploded on the London scene in 1976, chronicles that pivotal year month-by-month, starting with American Patti Smith’s appearance on BBC-TV’s Old Grey Whistle Test, in which the budding poet and singer “drew a line in the sand the British music scene was never going to recover from” by daring to reinterpret Jimi Hendrix’s “Hey Joe,” complete with distaff writhing-guitar pyrotechnics. Previously, reinterpretation or criticism of rock gods like Hendrix and Pink Floyd had been verboten for Brit rockers. Between Smith’s effrontery and fashion statements like Johnny Rotten’s “I hate Pink Floyd” T-shirt, the times changed. Soon Thompson and friends were wading through a cornucopia of the Ramones, Television, and the rest of the New York punks and New Wavers as well as English acts like the Sex Pistols and the Clash. Reggae surfaced, and the punk and Rasta communities came together after years of violent racial and class strife. It was a heady, creative time, reminiscent of the “Swingin’ London” of Beatlemania days. Excellent anecdotal pop-music history. --Mike Tribby