Many bands claim to be era-defining. Few are. Primal Scream were. If you have ever wondered what it would be like to be at the birth of one of rock n roll's bastard offspring then this book is for you. Martin St John was Primal Scream's leather gloved flailing skeleton, bashing away on the tambourine in the 1960s obsessive, garage psyche, mid-eighties period. He was there, bang central, in the middle of the psychedelic maelstom-in the days before Screamadelica, in the days before Top Of The Pops, in the days before Glastonbury - and he has a story to tell. If you think you know Primal Scream, think again. The Psychedelic Confessions Of A Primal Screamer will introduce you to six Glaswegian garage heads hell bent on acid, hard kicks and psychedelia. And there's more again....
A Gothic Horror novel about severe mental distress and punk rock. The novel is written in the form of a diary kept by a psychiatrist, Dr. Rodney H. Dweller, concerning his patient, Nathaniel Snoxell, brought to him in 1979 because of several attempted suicides. Snoxell gets involved in the nascent UK anarcho-punk scene, recording EPs and playing gigs in squatted Anarchy Centers. In 1985, the good doctor himself “goes insane” and disappears. This semi-autobiographical novel from Rudimentary Peni singer, guitarist, lyricist, and illustrator Nick Blinko, plunges into the worlds of madness, suicide, and anarchist punk. Lovecraft meets Crass in the squats and psychiatric institutions of early ‘80s England. This new edition collects Blinko”s long sought after artwork from the three previous incarnations.
As the Seventies drew to a close and the media declared punk dead and buried, a whole new breed of band was emerging from the gutter. Harder and faster than their ’76–’77 predecessors, not to mention more aggressive and political, the likes of Discharge, the Exploited, and G.B.H. were to prove not only more relevant but arguably just as influential. Several years in the making and featuring hundreds of new interviews and photographs, Burning Britain is the true story of the UK punk scene from 1980 to 1984 told for the first time by the bands and record labels that created it. Covering the country region by region, author Ian Glasper profiles legendary bands like Vice Squad, Angelic Upstarts, Blitz, Anti-Nowhere League, Cockney Rejects, and the UK Subs as well as the more obscure groups like Xtract, The Skroteez, and Soldier Dolls. The grim reality of being a teenage punk rocker in Thatcher’s Britain resulted in some of the most primal and potent music ever committed to plastic. Burning Britain is the definitive overview of that previously overlooked era.
“The Bars represent me finding my people. We were like a tribe. Together we are strong whereas before we felt weak and ostracized.” Barred for Life is a photo documentary cataloging the legacy of Punk Rock pioneers Black Flag, through stories, interviews, and photographs of diehard fans who wear their iconic logo, The Bars, conspicuously tattooed upon their skin. Author Stewart Ebersole provides a personal narrative describing what made the existence of Punk Rock such an important facet of his and many other people’s lives, and the role that Black Flag’s actions and music played in soundtracking the ups and downs of living as cultural outsiders. “The Bars say ‘I’m not one of them,’ and it also lets the right people know that I am one of them.” Stark black-and-white portraits provide visual testimony to the thesis that Black Flag’s factual Punk-pioneering role and their hyper-distilled mythology are now more prevalent worldwide then when the band was in service. An extensive tour of North America and Western Europe documents dedicated fans bearing Bars-on-skin and other Black Flag iconography. Nearly four hundred “Barred” fans lined up, smiled/frowned for the camera, and issued their stories for the permanent record. “It is the black flag of anarchism, and that is the opposite of the white flag of surrender.” Barred for Life expands its own scope by presenting interviews with former Black Flag members and those close to the band. Interviews with alumni Dez Cadena, Ron Reyes, Kira Roessler, Keith Morris, and Chuck Dukowski, as well as photographers Glen E. Friedman and Ed Colver, and the man responsible for tattooing The Bars on more than a few Black Flag players, Rick Spellman, round out and spotlight aspects of Black Flag’s vicious live performances, forward-thinking work ethic, and indisputable reputation for acting as both champions and iconoclastic destroyers of the Punk Rock culture they helped to create. “When I see The Bars I think ‘Black Flag the band,’ but they also represent an entire movement of people that are not going to conform. They are part of a culture of people that stand up for themselves.”
From the author of the National Book Award finalist Black Leopard, Red Wolf and the WINNER of the 2015 Man Booker Prize for A Brief History of Seven Killings "An undeniable success.” — The New York Times Book Review A true triumph of voice and storytelling, The Book of Night Women rings with both profound authenticity and a distinctly contemporary energy. It is the story of Lilith, born into slavery on a Jamaican sugar plantation at the end of the eighteenth century. Even at her birth, the slave women around her recognize a dark power that they- and she-will come to both revere and fear. The Night Women, as they call themselves, have long been plotting a slave revolt, and as Lilith comes of age they see her as the key to their plans. But when she begins to understand her own feelings, desires, and identity, Lilith starts to push at the edges of what is imaginable for the life of a slave woman, and risks becoming the conspiracy's weak link. But the real revelation of the book-the secret to the stirring imagery and insistent prose-is Marlon James himself, a young writer at once breathtakingly daring and wholly in command of his craft.
Keith Morris is a true punk icon. No one else embodies the sound of Southern Californian hardcore the way he does. With his waist-length dreadlocks and snarling vocals, Morris is known the world over for his take-no-prisoners approach on the stage and his integrity off of it. Over the course of his forty-year career with Black Flag, the Circle Jerks, and OFF!, he's battled diabetes, drug and alcohol addiction, and the record industry . . . and he's still going strong. My Damage is more than a book about the highs and lows of a punk rock legend. It's a story from the perspective of someone who has shared the stage with just about every major figure in the music industry and has appeared in cult films like The Decline of Western Civilization and Repo Man. A true Hollywood tale from an L.A. native, My Damage reveals the story of Morris's streets, his scene, and his music-as only he can tell it.
Stealing All Transmissions is a love story. It’s the story of how The Clash fell in love with America, and how America loved them back. The romance began in full in 1977, when select rock journalists and deejays aided the band’s quest to depose the rock of indolence that dominated American airwaves. This history situates The Clash amid the cultural skirmishes of the 1970s and culminates with their September 1979 performance at the Palladium in New York City. This concert was broadcast live on WNEW, and it concluded with Paul Simonon treating his Fender bass like a woodcutter’s ax. This performance produced one of the most exhilarating Clash bootleg recordings, and the photo of Simonon’s outburst which graced the cover of the London Calling LP was recently deemed the greatest rock’n’roll photograph of all time. That night marked one of the last opportunities for American audiences to see The Clash as a punk band, teetering between conviction and uncertainty, before they became a seriously brilliant rock group. Stealing represents a distinctive take on the history of punk, for no other book gives proper attention to the forces of free-form radio, long-form rock journalism, or Clash bootleg recordings, many of which are now widely available on the web. This story, which takes its title from the 1981 single “Radio Clash,” includes original interviews with key figures from the New York punk scene. This secret history concludes with an analysis of how we listen to music today and its impact on the written word.
With its own fashion, culture, and chaotic energy, punk rock boasted a do-it-yourself ethos that allowed anyone to take part. Vibrant and volatile, the punk scene left an extraordinary legacy of music and cultural change. John Robb talks to many of those who cultivated the movement, such as John Lydon, Lemmy, Siouxsie Sioux, Mick Jones, Chrissie Hynde, Malcolm McLaren, Henry Rollins, and Glen Matlock, weaving together their accounts to create a raw and unprecedented oral history of UK punk. All the main players are here: from The Clash to Crass, from The Sex Pistols to the Stranglers, from the UK Subs to Buzzcocks—over 150 interviews capture the excitement of the most thrilling wave of rock ’n’ roll pop culture ever. Ranging from its widely debated roots in the late 1960s to its enduring influence on the bands, fashion, and culture of today, this history brings to life the energy and the anarchy as no other book has done.
