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Rip It Up and Start Again: Postpunk 1978-1984 Paperback – February 17, 2006
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From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
"Anyone who claims to have read five better books about pop is mad, or a liar." —The Guardian, London
Top Customer Reviews
Get the whole story and buy the UK version. It contains chapters on US bands on the SST label, 2nd Gen. Industrial bands (Foetus, Test Dept.) a very important part of the post-punk aural landscape.
Ironic (or maybe typical) that a book on the highly political post-punk era is as cut up and censored as the US edition is.
from Simon Reynold's blog:
DIFFERENCES BETWEEN THE UK AND US EDITIONS
* the chapter sequence is different from the UK version
* three chapters are cut for reasons of space: the Devoto/Subway Sect chapter; the Conform to Deform Second Wave of Industrial chapter; and the SST/Blasting Concept chapter
* two chapters compressed into one for reasons of space, the Goth chapter and the Glory Boys/Big Music chapter
* Timeline is absent for reason of space
* in the US edition, the Appendix on MTV and the Second British Invasion is folded into the chapter on New Pop's peak
* no illustrations in the US edition
* the Mutant Disco chapter is written up as proper historical prose in the US edition, as opposed to the oral history in the UK edition
* no bibliography in the US edition
I don't understand this "reason of space" explanation. Wonder if they cut out some words from the dictionary for "reason of space"?
Approximately 200 pages missing from the US edition.
Very Very Lame
Don't waste your money. Get the UK edition and skrew the US publishers.
True fans of post-punk should read this book, however they should read the UK version and not this shortened US version. Three chapters have been cut in their entirety and portions of other chapters have been cut or shortened. In total, the US version of the book is nearly 200 pages shorter.
The cover of the UK edition is also much cooler.
However, my purpose in writing this review is not to discuss the book. It suffices to say that despite the two-star review, this is really a four-star book, and is highly recommended to anyone with post-punk listening experience who wants to understand the sociopolitical, economic, and musical histories of post-punk. Instead my purpose of this review is to advise you against buying the US edition, since it is an abridged version of the longer (and more comprehensive) UK edition.
What's been cut from the US edition is a little over a hundred pages of material, including three complete chapters. Off the top of my head, there's a chapter on Magazine that got cut, a chapter on industrial music that got cut, and a chapter on the American SST scene that got cut. I'm also told, though I didn't get the chance to do the comparison myself, that there are bits and pieces of the chapters themselves that have been cut out of the US edition.
In short, don't be afraid to spend a couple extra bucks on the UK version for the complete experience.
Most Recent Customer Reviews
the best book on the subject. Great chapters on so many of your favorite purveyors of not-quite-popular-music. Read morePublished 7 months ago by randalman
As a primer for post-punk, it's a reasonable jack of all trades. What it lacks in detail it tries to make up in scope, but ultimately he favors non postpunk pop than telling us... Read morePublished 16 months ago by Tuzzster
I thought this book would be amazeballs. But it's only ok.
I mean... 78-84? that's it? more years please. meh.
I loved this book. But I wish someone would release an interactive version with music clips and videos from everything discussed. Read morePublished on November 1, 2013 by Fabu Nobo
Bummed to read how much better the UK version is, but the US version is pretty great. Good firsthand sources, a nice balance of overview and detail to keep interest, and plenty of... Read morePublished on June 26, 2013 by illnoise
Polystyrene of the X-Ray Spexs, Pauline Black of The Selector, Rhoda Dakar of the The Body Snacthers (UK Artist), Bad Brains, Fish Bone,(USA)no mention. Read morePublished on March 27, 2013 by Gille
You always hear people tell you that punk changed everything. It killed bloated arena rock! It was a fresh sound! It was a break with the 60s! Read morePublished on June 13, 2012 by Augustus Carmichael
Simon Reynolds, who previously wrote the definitive early history of electronica, Generation Ecstasy, is simply one the best music historians and critics alive, an exhaustive... Read morePublished on July 2, 2011 by Erik Ketzan