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The New Book of Rock Lists Paperback – November 1, 1994

3.8 out of 5 stars 13 customer reviews

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Product Details

  • Paperback: 624 pages
  • Publisher: Touchstone; Rep Sub edition (November 1, 1994)
  • Language: English
  • ISBN-10: 0671787004
  • ISBN-13: 978-0671787004
  • Product Dimensions: 5.5 x 1.5 x 8.4 inches
  • Shipping Weight: 1 pounds (View shipping rates and policies)
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Best Sellers Rank: #704,747 in Books (See Top 100 in Books)

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By Sam Bethune on February 16, 2001
Format: Paperback
I have owned two previous editions of "The Book of Rock Lists" and will soon be buying "The New Book of Rock Lists". Why? Because it's fun to read, witty, and incisive! The rock and roll heaven portion, where various deceased rock stars are broken down in terms of how they died, is definitely worth reading.
One or two others have already castigated author Dave Marsh for having somewhat of a left leaning bias in his stinging criticism of the PMRC and certain religious zealots, as well as his categorization of famous right wing rockers. I disagree with the reviewer who referred to Marsh as being "PC". However, if you turn your political filter off and you're not thin-skinned, you'll have some fun reading.
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Format: Paperback
Although some 1950's rock information is included, the book tends to leave out much of the influence and artists/stars of that era, not the least of which on page 114 leaves out all inductees to the Rock & Roll Hall of Fame before 1998.

(I'm pointing out errors in the part of rock & roll history that I know best. I first started reading about the genre's history in 1968.)
Other errors include (but are not limited to):
page 76 Best Producers: Norman Petty is omitted.

page 85 Great Engineers Norman Petty is omitted

page 107. First Rock Records to make Gold Disc "That'll Be the Day" by the Crickets is omitted.

page 121 Best Debut Singles "That'll Be the Day" by the Crickets is omitted. "Peggy Sue" by Buddy Holly is omitted.

page 154 the movie "Buddy Holly Story" is listed as one of the best rock movies. It isn't. It is extremely inaccurate. Read "Remembering Buddy" by John Goldrosen and John Beecher which is THE definitive biography of rock's central figure.

page 164 Radio deejays who became performers J P Richardson (Big Bopper) of Beaumont Texas is omitted.

page 549 Performers who reached stardom before age 18 Ritchie Valens is omitted; he was 17 when he died.

page 579 Famous pseudonyms of the 1950's The Big Bopper J P Richardson is omitted.

That's just a sampling of the errors in this book.
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Format: Paperback
As with most of the stuff written by The King of Rock Criticism, Dave Marsh, this is intelligent, fun and challenging, and sometimes maddening (in a good way).

Also, this book inspired me to come up with some of my own lists, for the sake of fun and for the sake of clarifying some of my own thoughts on the subject matter. For example:

FOUR OF THE GREATEST YEARS FOR ROCK-AND-SOUL SINGLES:

1956 - Don't Be Cruel, Hound Dog, Heartbreak Hotel (Elvis Presley); Blue Suede Shoes (Carl Perkins); Blueberry Hill (Fats Domino); Roll Over Beethoven (Chuck Berry); The Great Pretender (Platters); Be-Bop-A-Lula (Gene Vincent); Long Tall Sally (Little Richard); I Walk the Line (Johnny Cash).

1965 - Ticket to Ride (Beatles); Satisfaction (Rolling Stones); Papa's Got a Brand New Bag (James Brown); Wooly Bully (Sam the Sham and the Pharaohs); Stop in the Name of Love (The Supremes); Unchained Melody (The Righteous Brothers); The Tracks of My Tears (Smokey Robinson and the Miracles); We Gotta Get Out of This Place (The Animals); Help Me Rhonda and California Girls (The Beach Boys); It Ain't Me Babe (The Turtles); The Jolly Green Giant (The Kingsmen); Love Feels Like Fire, Helpless (Four Tops) [those two songs are a couple of my all-time favorite album cuts that were never released as singles].

1984 - Dancing in the Dark (Bruce Springsteen); When Doves Cry (Prince); What's Love Got to Do with It (Tina Turner); Jump (Van Halen); Time after Time (Cyndi Lauper); Oh Sherrie (Steve Perry); Borderline (Madonna); Church of the Poison Mind (Culture Club); Head Over Heels (Go-Go's); On the Dark Side (John Cafferty and the Beaver Brown Band, a quite-a-bit-of-the-time very good Springsteen sound-alike).
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Format: Paperback
This is definitely one of the greatest resources for fans of rock and roll. It definitely gives a comprehensive look at the history of rock as well as gives a detailed account of how rock has influenced modern society.

However, there are a few things that I do have to nit pick about. The first is Marsh's list of performers who appeared at the Monterey Pop Festival. One performer he has listed as playing there was Aretha Franklin. However, she never appeared there. In fact, the closest anything anybody heard from her was when Otis Redding sang his version of "Respect", which he wrote. He also omitted Lou Rawls from the list of performers. Rawls played there on the first night. Other than this criticism, I stil think that this is a great book.
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Format: Paperback
Dave Marsh's original "Book of Rock Lists" was published in 1981 after Irving Wallace's "Lists" books were popular best sellers in the late 1970s. In his introduction to the 1994 update, he accurately mentions that his book "appeared on the cusp of the most important changes since the advent of rock and roll." He recalls the gradual fade of disco and punk styles and their meld into the raw, underproduced 1990s hip-hop and alternative rock.
That first "Lists" was quixotic, goring rock's sacred popular and critical cows while presenting chart statistics - as important to pop as to baseball fans -- as trivia under and around his sharp opinions. Moreover, Marsh's exhaustive knowledge and research exposed rock's lesser known masterpieces, having the effect of a recipe you had to try when you got home. The book re-established what made rock important to many.
By 1994, hip-hop and rap ruled charts, dominated fashions, entranced youth and alienated generations as R&B and rock and roll did for Marsh's generation. But Marsh (who collaborated with "Source" magzzine editor James Bernard on this edition) could not take the breezy, sarcastic approach with this style; to treat the music less than seriously played into the hands of perceived racists and authoritarians wanting it and its young, black artists silenced (Marsh's intriguing "enemies" and "fake friends" lists provide one example.)
Whether Marsh and Herbert admit it (they don't here), rap's use as rhythm as melody sears the music from its tradition and fails to compare with from the bebop jazz Marsh points it to in his list "Discredited Rock Theories.
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