Free PDF Rip It Up and Start Again: Postpunk 1978-1984
Free PDF Rip It Up and Start Again: Postpunk 1978-1984
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Rip It Up and Start Again: Postpunk 1978-1984
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From Publishers Weekly
In the reactionary wake of 1970s punk rock came postpunk, a more complex, fragmented brand of music characterized by stark recordings, synthesizers and often cold, affected vocals. Postpunk stands as "a fair match for the Sixties," argues Reynolds, both in terms of the amount of great music created as well as the music's connection to the "social and political turbulence" of its era (the early 1980s). Seeking to address a gap in music and pop culture history, Reynolds (Generation Ecstasy) has penned an ambitious, cerebral effort to establish a high place in rock history for bands such as Joy Division, Devo, Talking Heads, Mission of Burma and, of course, Public Image Limited (PiL), fronted by former Sex Pistols singer John Lydon (Johnny Rotten). Reynolds, an energetic writer, especially captures the postpunk ethic in telling the story of PiL's short journey from record company darlings to utter oblivion. Unfortunately, by the time he gets to bands like Human League and Frankie Goes to Hollywood, his passion is undermined by his subject. Reynolds succeeds in depicting the icons and the richness of an era that clearly manifests itself as a primary influence among a new generation of musicians. (Mar.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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"Shed[s] dazzling light on a neglected era of music. The definitive word on the subject." —The Times, London"Anyone who claims to have read five better books about pop is mad, or a liar." —The Guardian, London
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Product details
Paperback: 432 pages
Publisher: Penguin Books; 1st edition (February 17, 2006)
Language: English
ISBN-10: 0143036726
ISBN-13: 978-0143036722
Product Dimensions:
5.6 x 0.9 x 8.4 inches
Shipping Weight: 13.6 ounces (View shipping rates and policies)
Average Customer Review:
3.9 out of 5 stars
41 customer reviews
Amazon Best Sellers Rank:
#117,348 in Books (See Top 100 in Books)
This is an excellent account of the post-punk years that would have been much excellenter had the three chapters cut from this version been included...The Devoto/Subway Sect chapter,the Conform to Deform Second Wave of Industrial chapter,and the SST/Blasting Concept chapter.Finding this out after the fact really irked me, because Magazine is probably my favorite band, and because both SST and second-wave industrial represent a huge part of the California post-punk experience - which makes it all the more inexplicable why these particular chapters were purged from the American version.Also, it's criminal that there's absolutely no mention of Spizzenergi - one of the great post-punk bands of all time!Oh, and I could've done without the lame ending chapter on ZTT/Frankie. I understand what he's getting at with the whole "gay sexual expression is the last frontier" idea, but what Frankie did had already been done before - much better in fact - by The Village People in the 70's.A GREAT book - don't get me wrong - but do check out the full UK version, especially if you like Magazine.
A great, fun read. As a professor I teach a course on popular music, and I often assign students Reynolds' work. The reason is that he writes like he is having a chat with the reader like a chum: he discloses personal stuff, he's a human, he admits what his limits are, he just writes to readers like he's a journalist with feelings. This is a smart and enjoyable book. it will introduce you to some bands you didn't know about, and dive into some particulars from those you do. But above all, Reynolds honest voice is what hooks you---he writes like he's sitting on your couch in your living room. I know some folks want a more "objective" tone, but I think his approach to writing is perfect for what he is writing about. He's sorta the counterpoint to Simon Frith, who is much more aloof and, I think, clueless . . . . This is a good book for folks interested in postpunk or who grew up in the 80s. I just adore Reynolds honesty and enthusiasm for the music he writes about.
I wasn't a big fan of many of the bands in this history, even though it covers all my teenage years, and I was definitely into music then. But I loved many bands that came before and after them, so I thought it would be good to know about the 'bridges' between. The book is very well written and thorough, and written from a UK and European perspective that differs from my own of the time. I thoroughly enjoyed it, and it filled in some gaps in my knowledge, and prompted me to go back and relisten to some old favorites, maybe even make a new one or two.
Let me admit right up front that I am not a fan of 95% of the music chronicled in this book. But several of my friends are, so I thought I'd dip into it to see if it would make a nice gift. With that in mind, I read the one chapter that covers music I really love, the chapter about the rapid rise and fall of the 2-Tone ska movement. Those twenty pages were enough to convince me that Reynolds is best kind of music writer, able to write evocatively about the music itself while providing the social, economic, and political context for its creation. He hits the nail firmly on the head in his analysis of The Specials' songs as "cheerless" -- tying them to social-realist cinema and the bleak post-WWII concrete jungle of their native Coventry. Reynolds also does a nice job of describing the origins of ska, it's development in England, and rather complicated ties to the mod and skinhead subcultures. He's also brimming with details about the major bands and why it all fell apart so quickly. Two quibbles do present themselves. One is that some of the transitions are a bit choppy, and I later learned that the US edition I read is an abridged version of the UK edition (nowhere is this obviously stated on the US edition). Some 300+ pages were cut, which would explain some of the choppiness I found, and I have to say that I'll be buying the more expensive UK version for my friends. The second reservation I have with the book is the total lack of documentation. It's great to quote Dammers, Hall, Staple, and all these other musicians, but it would be nice to know where these quotes came from so that one could do follow-up reading or research -- there's not even a bibliography! These cavaets of abrdigement and referencing aside, this appears to be an excellent, well-written account of an overlooked era of music history and should stand as the definitive work for many years to come.
Apparently, the US version is ~200 pages less than the UK version (which was the first copy I read). Though it seems rather blasphemous to excise chapters/portions about Einsturzende Neubauten, SST Records, Magazine, and (reducing) The Buzzcocks, I think it could also be argued that it streamlined the narrative (how punk influenced post-punk which was then co-opted into the mainstream), even if reading about those other acts/labels was interesting. The UK version was definitely enjoyable, but I felt it was a little bloated (i.e. following up the formation of PiL with... some guy who has a cult following, even by the standards of others in this book) My only real complaint is that I would've switched the last two chapters around. (Frankie Goes to Hollywood and the Goth/Neo-psychedelia chapters, respectively)I was a bit annoyed that SST were barely mentioned in the UK version, and excised entirely from the US version, but in retrospect it makes more sense as they didn't really fit into the above narrative (at least in the years covered. "Michael Azerrad's "Our Band Could Be Your Life" covers them, among others, more succinctly). So in all, it's definitely a great book, even if it does leave out otherwise interesting acts.
This has been one of my favorite books for years. Simon Reynolds finds a way to tie the disparate threads of independent experimentation and unbridled newness of the Postpunk era (1978-1984, formally) into an acceptable narrative thread that's as engaging as it is informative. I cannot recommend this book any higher.
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