Pretty Vacant: A History of Punk [Hardcover]

Does the world really need another retelling of the punk story? I've read plenty written from all angles from people who were there, or at least wished they were.

How does Strongman's compare? England's Dreaming lite, springs immediately to mind, but that's meant as no slight; Savage's epic tome ("A sociology lecture, with a bit of psychology, a bit of neurology, a bit of fuckology," as someone once sang) certainly remains the academic pinnacle, whereas Pretty Vacant is a book of the people, by the people, for the people.

Well written and liberally peppered with little tid-bits that I haven't come across before, I've found this to be a book that's very hard to put down.

So why only four stars? Because of the amount of niggly little errors and omissions that simple research could have put right, examples being how some people's real names are given while others (Wilko Johnson, Lee Brilleaux, Pete Shelley, etc) are not; OK, so opinion still seems very divided on whether Lou Reed is Firbank or not, but Rat Scabies is Millar with an "a". Really should know better errors include stating What Goes On was on The Velvet Underground's White Light/White Heat album, rather than their eponymous third outing, and the Valentine's Ball that the Sex Pistols played was given by Andrew Logan, not Oldham.

I mostly managed to avoid the above spoiling my enjoyment of the book. It certainly is most entertaining, and as such it should be an excellent portal to learning about one of the most vital periods in the history of music, but when there are (albeit small) elements that I know to be incorrent, it is difficult for me to take as gospel aspects I was previouly unaware of.

In conclusion, with a few minor tweaks before its next print run / paperback edition, Pretty Vacant should be essential reading on its subject matter for many years to come...until someone produces the ultimate cross-referenced compendium of several thousand pages!

Sorry to say, but I don't think i read one thing in this book that countless other books on the genre haven't already dsicussed. Do yourself a favour and give this one a miss, afterall does someone who purports to be an afficianado on punk, make the blinding errors of stating that the Clash' 'I fought the Law' was on London Calling or that 'Should I Stay or Should i Go' was to be found on Sandinista, apparently it's 'finest track'.

It was December 1975 when the author first heard about Malcolm McLaren and his new band .... as explained in the preface which briefly covers some of the people and groups that would create the most dramatic upheaval in rock (The King doesn't count as that was the start). Punk encompassed fashion, design, writing, independent record companies and other aspects of culture that do not easily fit into a straightforward chronology. As Strongman points out, this manic outburst benefited performers only distantly related to the genre as well as women in rock.

The narrative begins at a Pistols gig at the 100 Club in 1976 then takes a detour to NYC and the Velvet Underground past, Iggy, the MC5, The Modern Lovers, New York Dolls, Ramones, Patti Smith et al. In Britain, Pub Rock preceded punk whilst the States had the Max's Kansas City/CBGBs scene where the likes of Richard Hell, Television and Blondie were emerging. For his efforts as connecting factor the late Malcolm gets a thorough mini-biography. Bowie and Glamrock receive their dues too. Strongman investigates the backgrounds of key individuals such as members & managers of the Clash and Pistols and designer Vivienne Westwood in some detail and explains the role of the UK national press and music weeklies like Sounds, Melody Maker and NME. Surprisingly there was much initial resistance and even hostility at the latter two with the largest circulations.

The author captures the energy & excitement of the early gigs and the Bill Grundy debacle and its aftermath with flair and insight. The headlines of outrage are much more amusing in hindsight. Suddenly, bands like The Buzzcocks, Stranglers, Banshees, Jam & Damned hit the spotlight and some of them the charts. The Pistols enjoyed a giddy turnover of record companies while others were waiting and the stage was set for the proliferation of independent labels. Everything the Pistols touched throughout 1977 achieved instant notoriety, from the Jubilee Boat incident to the God Save The Queen single. That same year The Boomtown Rats descended on London whilst new talent was stirring in Manchester & Birmingham. By now artists like Elvis Costello and various New York groups were making the British charts. The Pistols' debut album entered at number one in November but the US tour meant the end of the band in San Francisco in January 1978.

The careers of Siouxsie & The Banshees, PIL, Joy Division, The Fall and Wire are examined as well as the roots & the rise of West Coast Punk like The Dead Kennedys. The penultimate part is devoted to the fall and demise of Sid Vicious and the Clash's triumphant 1981 shows in Manhattan, whilst the last looks at the legacy, the reunions from the 1990s onward, and the legions of dead. The book concludes with a bibliography, filmography and index. Sixteen pages of plates bring the legends to life in black & white photographs. Strongman's most important observation concerns the Bill Grundy spectacle. All the fuss and notoriety attracted what became the Oi!otics: a slew of dumb bands playing stagnant 3-chord rock which became the face of punk in the UK. Innovative artists moved on, the New Wave label took over and the 1980s became the Synthpop Era. Oi!

I also recommend The Boy Looked At Johnny by the formidable Julie Burchill for a closer look at British punk, From the Velvets to the Voidoids by Clinton Heylin for American pre-punk & New York punk, and In the Fascist Bathroom by Greil Marcus for a wide embrace of the spirit of punk from 1977 to 1992. Being petty & vacuous, my criticism of Pretty Vacant cannot be justified but must be aired. I love the obscure and the One Hit Wonder so would have preferred to read more on bands like Poly Styrene & X-Ray Spex plus assorted oddities like Jilted John, Plastic Bertrand and Wreckless Eric. Otherwise, a good one.