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Secret History of Rock: The Most Influential Bands You've Never Heard

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3 star:		(1)
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1 star:		(1)

 

 

This book is so full of interesting music which I have never heard that I can only read a little bit at a time before I have to go on a shopping spree to find out what the music actually sounds like. Although the writing sometimes focused on irrelevant details like the biographies of some of the artists, in general you will learn a lot about music and get a lot of great ideas for new music to go out and search for. I bought this book as a musician obsessed with finding out the origins of different sounds and hearing all of the true original and passionate music I can. This book is an essential key in this quest. I reccomend it to anyone with a screwed up, obsessive mind about music like myself. I believe I have to know what every original band sounds like so I know exactly when my music is influenced and by whom. Pretty weird and impossible to know, but it's part of the "anxiety of influence" I suppose. Actually if you want to read Bloom's book on that topic alongside this book, it might make for an interesting experience.

If you like the kind of music that they don't play on the radio, this is the book for you. This book lists the bands that were highy influential to other bands, without ever catching the attention of the audience at large. People like Captain Beefheart and Brian Eno, groups like Wire and Dead Kennedys: you can find out who they were in this book. I bought many albums based on what I read in The Hidden History of Rock, and I have never been disappointed.

Eddie Vedder is quoted above saying: "This is the book I wish I had growing up as a kid." Well, I wish that everyone who has been turned on to "alternative" music by bands like Pearl Jam, Green Day, and Nirvana, will take note of this very informative text. Although at first glance some of the names seem gargatuan (Stooges, Nick Drake, Public Image Limited) compared to others (Erik Satie, Serge Gainsbourg, Iceberg Slim), each of the artists chosen are worthy of inclusion. There are over 80 artists covered in the text, and Sarig skillfully subdivides each into one of sixteen genres/chapters. The book is basically an amalgamation of biographies, and it is difficult to tie one chapter to the next, although there is a concerted effort to keep these stories in chronological order (so you won't be reading about Mission of Burma before you've read about DNA-- unless you so choose). Sarig does do a fine job introducing each chapter, which helps defray the otherwise disjointed feel of the book.

Other than the usual "Why wasn't this band Chosen?" or "Why did you include this one?" questions, there are at least two omisions which could have made the text much better. First, although there is a section on Gram Parsons, there is no chapter on alternative country. Given the popularity of bands like Wilco, Son Volt, and Whiskeytown (Sarig uses quotes from these artists throughout the text), it would have been appropriate to add a chapter on this growing genre of music (Jason and the Scorchers and Uncle Tupelo might have been covered).

Second, I personally think the book would have been much better if Sarig had gone out on a limb. He obviously has great taste in music and is still very much in touch with today's indie label scene. The book would have benefited from a chapter documenting a few of the current bands who are doing much in the way of innovation but receiving very little recognition. There is a whole new crop of bands who will influncee future generations of musicians, and Sarig missed his chance to give these indie scene-sters their fifteen minutes of fame. I guess we can always hope for a sequel.

Those two minor discrepencies aside, this is a monumental achievement. Collectors, music enthusiasts, and rock'n'roll fans will all profit from this book. The discographies had me running to the local used record store to see if I could find some of these great albums.

Any music book that includes articles about Young Marble Giants, Captain Beefheart, and The Cramps can't be all bad.
But "The Secret History of Rock" could have been a better book.
Let's start with the title - why include "Rock" in the title when the book includes musicians like Erik Satie, John Cage, Kraftwerk, King Tubby, and ESG.
Next, the Introduction is poorly thought out and written. Sarig blames the "baby boomers who seemed to control the media with a form of cultural fascism, the radio programmers and entertainment marketers who were selling my generation the idea that the 60s had been the pinnacle of youth culture, that our own youth culture could never be as important or as exciting as it was back then." Sarig, if you don't like the radio station you are listening to, change the dial. Better yet, don't listen to the radio. Everyone knows radio is lame, just listen to Elvis Costello's song "Radio, Radio," and you'll understand why. The baby boomers have never forced me to listen to `classic rock.' Stop your whinnying. Also, Sarig doesn't get the irony of his rant that many of the musicians in the book are `baby boomers,' - Wire, the Fall, Television, Jonathan Richman, boomers all. So don't blame a generation for not being more adventurous with your taste in music. I lived in Portland, Oregon in the early 80s, a small town with lots of `classic rock' fans. I never listened to the radio, I didn't blame the `media' for conspiring to make me listen to Led Zepplin and Sammy Hagar. I found LPs by the Fall, Wire, Young Marble Giants, and Fats Comet, sitting in my local independent music shop.
In all, not a bad book, just could have been better with more thought and less whine.

This is a well written, informative book which (ostensibly) uncovers a bunch of "unknown" bands for the reader, and which would make a great introduction to underground music for the mainstream rock listener. The only problem I had with it was that it didn't present anything really new to me. I already have albums by about half of the artists profiled, and the other half I have at least read about or heard of before I got the book. I was hoping this book could introduce me to a bunch of great bands which I had never heard of, but it just didn't happen. I also agree with previous reviewers that it is too heavily slanted toward 80's post-punk, and doesn't cover anything in genres like Afrobeat and Tropicalia, just to name a few. However, everything considered, this could be extremely eye-opening to the average rock fan (if not the seasoned collector), and comes highly recommended.

Addendum 5/15/10:
Looking back on it now, I see what the real problem with this book is. The whole premise was that the author would take a look at the bands who influenced "today's biggest bands", "today" being the mid-nineties when grunge was at its commercial peak and Metallica was selling millions (their 1991 self-titled "Black Album" is THE top selling album of the last 20 years). There are tons of profiles of appropriately "hip" artists of the past, such as Serge Gainsbourg, Scott Walker, The Silver Apples, et. al, who realistically had little or no influence on the bands this book is based around. Yet despite its clearly pervasive influence, there are NO METAL BANDS profiled. Why is this? Does the author really think that metal has not influenced the rock music of this era? There are passing mentions throughout the book of heavy metal's influence from artists like Mark Arm (of Mudhoney, Green River) and King Buzzo (Melvins). Does it have to do with the book's subtitle, "The best bands you've never heard"? Does the author consider metal too mainstream to be included? Sure, most of the target audience for this book has probably heard of Black Sabbath, but what about Celtic Frost or Mercyful Fate? Or is indicative of a general rock-crit bias against metal as "low-brow" music, whereas punk is considered "high art". For anyone interested in this punk/metal dichotomy, I would recommend skipping this book, and instead reading This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk (Roth Family Foundation Music in America Imprint).

The Secret History of Rock n Roll is no longer a secret. Roni Sarig plunges into the ever-less obcscure worlds of music and spills them onto the page surrounded by context and care. As more and more contemporary artists begin to acknowledge their roots, many in the post-Nirvana generation can look to this book to help nurture more creative listening habits. To say that modern radio is the death of creativity is an understsatement...this book will help lure thousands of listeners out of mindless, inactive "alternative" nonsense, and into an active, historical approach to listening to music. Just ask Teenage Fanclub about the importance of Big Star, or Sleater-Kinney about the energy of X-Ray Spex. Their answers, which can be heard with one listen to each artist, ought to give you an idea about the significance of Sarig's exhaustive efforts, which thankfully include contemporary artist's comments and inspirational musings. Art is forever reinterpreting the past through modern means and individual experiences, not mimicking the indistinguishable band-of-the-day whitebread guitar-chorus-guitar-histrionics that plague todays radio stations. Turn off the radio and have a good read.

In the introduction, the author observes that the most original rock musicians of the 1990s -- for example Sonic Youth and Nirvana -- were defined and distinguished by the influence of obscure artists from the 1960s, 70s and 80s. In this instance, the aforementioned bands credited Glenn Branca, Can, Half Japanese and Wire for their inspiration. Likewise, R.E.M., Beastie Boys, Butthole Surfers and Nine Inch Nails spread the word about their particular heroes and inspirations so that the influence of the "unknowns" has increased exponentially amongst the most creative young artists.

These innovators from the preceding decades may be considered the "musicians' musicians" as opposed to commercial giants like the Beatles, the Stones, Led Zep, the Police and Springsteen who were embraced by millions and may therefore be called the "people's musicians." Thus Sarig shows that there are two histories of rock, that of the mainstream and that of the little-known but heavily influential which represents the secret history of the title.

The book pays tribute to the bands, composers and performers whose enduring influence outweighs their popularity by far. Sarig interviewed numerous notable and successful 1990s musicians and in some cases drew on previous interviews in order to identify their favorite artists from earlier eras. The final list in Secret History was determined by 4 factors, the (a) ratio of influence to obscurity (b) popularity of the bands influenced (c) balance of genres and chapters (d) quality of the responses.

The result is a delightful sojourn through the most innovative and creative sounds of the 20th century. Modern classical composers like Erik Satie, John Cage, LaMonte Young, The Dream Syndicate, Philip Glass and Glenn Branca fill the first chapter. Then follows what Sarig terms the 'international pop underground' where names like Scott Walker, Big Star and Serge Gainsbourg stand out. The Stooges, MC5, Syd Barrett and Roky Erickson reside under 'garage rock' whilst Captain Beefheart, The Residents and Pere Ubu are classified as 'absurdists and eccentrics.'

Chapter 6: Frayed Roots includes singer-songwriters Gram Parsons and Nick Drake. The author's choice of Krautrock masters encompasses Can, Faust, Kraftwerk and Neu!. Brian Eno, the Jamaican Lee "Scratch" Perry and Adrian Sherwood are amongst those designated as 'sound sculptors.' Sarig's most influential 'New York rockers' include Swans, DNA, The Feelies, Richard Hell & the Voidoids, Television and ASIN:B000040OBS Suicide. He populates 'the post-industrial wasteland' with inter alia Throbbing Gristle, Einstürzende Neubauten and The Birthday Party.

Public Image Limited, Wire, Buzzcocks, The Fall, Gang of Four and Swell Maps receive the honors for 'British post-punk' while riot moms and angry women' include The Slits, X-Ray Spex, The Raincoats and Lydia Lunch. Other chapters are devoted to genres titled 'original rappers' (Gil Scott-Heron), 'minimalist funk,' (Liquid Liquid), 'American hardcore' (Dead Kennedys) and 'avant punk USA' (Mission of Burma).

A brief introduction to the genre opens each chapter, followed by Sarig's historical overview of a representative band/individual which is interrupted by quotes from their 90s admirers and concludes with a discography of the act. For example, Swans is the final group in chapter 10: New York Rockers. Their entry opens with a quote by David Yew. Sarig's essay on the band's history and significance is interspersed by quotes from Thurston Moore, Mark Robinson of Unrest/Air Miami, Ryan Adams of Whiskeytown and Lou Barlow of Sebadoh. It concludes with a discography arranged chronologically from Filth (1983) to Swans Are Dead (1997).

Although some narratives lack cohesion and many are rendered rather messy by the disruptive quotes, I award the work 5 stars because of my favorite artists that receive recognition here: John Cale, Captain Beefheart, The Residents, Nick Drake, Kraftwerk, Brian Eno, Suicide, Richard Hell, Throbbing Gristle, Lydia Lunch & X-Ray Spex. The Secret History of Rock is a valuable reference source, an eye-opener to the serious rock fan and in small doses ought to be entertaining to the casual reader. The book concludes with a bibliography and extensive index.

"The Secret History Of Rock" aimed to study large numbers of bands that have been influential on today's rock music even though they never sold significant numbers of records at least in the US. The book uses interviews from young musicians of the 1990s to illustrate the impact each group has had. However, the book does aim basically for obscure influences on well-known groups.

The book is one the whole clearly structured and gives very good detail of all the subjects concerned, with no single band being promoted at the expense of any other since each is almost (if not with perfect conscience) given the same space, we clearly see how popular and famous groups were able to use these bands. The histories would be seen by some as scanty, but on most of these groups (excessively so with some) there is adequate additional information from present-day websites. However, nobody could believe the histories have any comprehensive charcter about them because and the bands' music is never explained in the detail that a prospective listener would wish for. Hence, the curious listener is left with an empty feeling.

The book, however, is very clear in explaining, with an extremely light tone, the impact of the various movements of noncommercial music had before college radio exposed bands that commercial stations would never play. It even discusses bands like the Swans who could not get much exposure from college radio. The book has a good sense of history lacking in some comprehensive texts of this type.

The major "absentee" from the book is a look at the impact of ancient, especially medieval, music on modern rock bands - this is to some degree a repeat of Richie Unterberger. The book for this reason fails to look at women in rock beyond the "riot grrls" of the 1990s and bands that influence them (such as Beat Happenning).

Despite that fatal flaw, the book is a very good reference work.

this is an excellent book. i was familiar with some of the artists in this book when i picked it up over a decade ago. i have since become aquainted with just about all of them now and have hardly ever been let down. it seems like sarig was a bit ahead of the curve as many of the guys he writes about here have been elevated to legendary status and continue to be some of the music that generation after generation inspire new crops of musicians to explore beyond the zeppelin, beatles, stones mold. the book is more than that though. by including musicians beyond the "rock" world sarig shows how the best music of any genre comes from being open to inspiration from everywhere. sarig resists the temptation to include novelties like the shaggs that often turn up in similar books. with the internet this book loses some of its relevatory power but it is still worth a look and a book i will always appreciate.

In the introduction, the author observes that the most original rock musicians of the 1990s -- for example Sonic Youth and Nirvana -- were defined and distinguished by the influence of obscure artists from the 1960s, 70s and 80s. In this instance, the aforementioned bands credited Glenn Branca, Can, Half Japanese and Wire for their inspiration. Likewise, R.E.M., Beastie Boys, Butthole Surfers and Nine Inch Nails spread the word about their particular heroes and inspirations so that the influence of the "unknowns" has increased exponentially amongst the most creative young artists.

These innovators from the preceding decades may be considered the "musicians' musicians" as opposed to commercial giants like the Beatles, the Stones, Led Zep, the Police and Springsteen who were embraced by millions and may therefore be called the "people's musicians." Thus Sarig shows that there are two histories of rock, that of the mainstream and that of the little-known but heavily influential which represents the secret history of the title.

The book pays tribute to the bands, composers and performers whose enduring influence outweighs their popularity by far. Sarig interviewed numerous notable and successful 1990s musicians and in some cases drew on previous interviews in order to identify their favorite artists from earlier eras. The final list in Secret History was determined by 4 factors, the (a) ratio of influence to obscurity (b) popularity of the bands influenced (c) balance of genres and chapters (d) quality of the responses.

The result is a delightful sojourn through the most innovative and creative sounds of the 20th century. Modern classical composers like Erik Satie, John Cage, LaMonte Young, The Dream Syndicate, Philip Glass and Glenn Branca fill the first chapter. Then follows what Sarig terms the 'international pop underground' where names like Scott Walker, Big Star and Serge Gainsbourg stand out. The Stooges, MC5, Syd Barrett and Roky Erickson reside under 'garage rock' whilst Captain Beefheart, The Residents and Pere Ubu are classified as 'absurdists and eccentrics.'

Chapter 6: Frayed Roots includes singer-songwriters Gram Parsons and Nick Drake. The author's choice of Krautrock masters encompasses Can, Faust, Kraftwerk and Neu!. Brian Eno, the Jamaican Lee "Scratch" Perry and Adrian Sherwood are amongst those designated as 'sound sculptors.' Sarig's most influential 'New York rockers' include Swans, DNA, The Feelies, Richard Hell & the Voidoids, Television and Suicide. He populates 'the post-industrial wasteland' with inter alia Throbbing Gristle, Einstürzende Neubauten and The Birthday Party.

Public Image Limited, Wire, Buzzcocks, The Fall, Gang of Four and Swell Maps receive the honors for 'British post-punk' while riot moms and angry women' include Lydia Lunch, X-Ray Spex, The Raincoats and The Slits. Other chapters are devoted to genres titled 'original rappers' (Gil Scott-Heron), 'minimalist funk,' (Liquid Liquid), 'American hardcore' (Dead Kennedys) and 'avant punk USA' (Mission of Burma).

A brief introduction to the genre opens each chapter, followed by Sarig's historical overview of a representative band/individual which is interrupted by quotes from their 90s admirers and concludes with a discography of the act. For example, Swans is the final group in chapter 10: New York Rockers. Their entry opens with a quote by David Yew. Sarig's essay on the band's history and significance is interspersed by quotes from Thurston Moore, Mark Robinson of Unrest/Air Miami, Ryan Adams of Whiskeytown and Lou Barlow of Sebadoh. It concludes with a discography arranged chronologically from Filth (1983) to Swans Are Dead (1997).

Although some narratives lack cohesion and many are rendered rather messy by the disruptive quotes, I award the work 5 stars because of my favorite artists that receive recognition here: John Cale, Captain Beefheart, The Residents, Nick Drake, Kraftwerk, Brian Eno, Suicide, Richard Hell, Throbbing Gristle, Lydia Lunch & X-Ray Spex. The Secret History of Rock is a valuable reference source, an eye-opener to the serious rock fan and in small doses ought to be entertaining to the casual reader. The book concludes with a bibliography and extensive index.