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And this ossession is what drives the book, making it such a great read.
This results in the standard fanboy favoritism that music writers seem prone to of crediting the bands they like while neglecting bands that they don't.
P.S. Buy the UK version of the book - better cover, more pages, pictures - better in every way.
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 3 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 13 months ago 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 18 months ago 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 21 months ago 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 Donald A. Planey
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
Apparently, the US version is ~200 pages less than the UK version (which was the first copy I read). Read morePublished on February 1, 2011 by Brett Lloyd
As a general point I like the book and would recommend it. It's well written, although some of Reynold's ideas get repetitive. Read morePublished on October 7, 2010 by ihasch