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ROUGH GUIDE TO ROCK - 3RD EDITION (2003)
Product details
- Paperback: 1072 pages
- Publisher: Rough Guides Ltd; 3rd Revised edition edition (30 Oct 2003)
- Language English
- ISBN-10: 1843531054
- ISBN-13: 978-1843531050
- Product Dimensions: 23.9 x 17.1 x 4.4 cm
Product Description
The third edition of "The Rough Guide to Rock" is more extensive than ever. It features over 3000 album reviews, 1200 biographies, 300 original images and 268 classic album covers, covering all areas of rock music and touching on the fringes of dance, hip-hop, blues, country and soul. Compiled by a group of music journalists and enthusiastic fans, this is the guide that is not afraid to say what's hot and what's not.
Excerpted from Rock: the Rough Guide by Mark Ellingham, Jonathan Buckley. Copyright © 1999. Reprinted by permission. All rights reserved:
The Rough Guide to Rock is an unusual book: it is written by the people who know the music best - fans, rather than professional critics - and its huge number of contributors (see page opposite) means that it is based upon mutiple lifetimes of interest, experience and enthusiasm. Which is not to say that you'll find articles of slavish devotion in the pages following. When the music turns to dust, our writers say so as fervently as they champion the triumphs.The book is unusual, too, in its relation to the Internet. The first edition (1996) was commissioned partly from adverts in the press and partly through the Net, where we posted entries as a work-in-progress. This new (1999) edition has been developed almost entirely on and through the Net and, as the project has grown more interactive, fans, and often the artists themselves, have contributed updates and corrections, and fought their corners for the inclusion of neglected or forgotten bands.
Like everyone else who's ever done a rock book, or a rock magazine, we found ourselves locked right from square one in the 'But Is It Rock?' debate. Sure, we all had the same basic idea of what constitutes the term (noisy, guitar-based stuff, in the main, from America and Britain), but, as the decades have rolled on, the edges have become ever more blurred. We wanted a book with its feet firmly in the present, that gave at least as much space to indie/alternative groups as to the MTV/radio establishment. But we also wanted a book that reflected rock's history, and might introduce new audiences to enduring or seminal figures from decades past. So we made decisions to include key rock'n'roll, R&B, Motown and soul musicians - people who retain an influence in the rock world. And we decided to fade in and out of hip-hop, rap, dance, techno and country areas, again focusing on bands exerting a rock influence or with a rock audience. Given the constraints of space, we opted to exclude 'world music' and reggae: a rare, easy decision, as we have separate books on both. Oh, and we broke all of our rules just whenever it seemed appropriate. Which was basically when our burgeoning roster of authors sent us pieces that fired up our enthusiasm.
It's for that reason that you'll find surprising choices in this book. There are not too many other rock books that include pieces on To Rococo Rot or Slapp Happy alongside Slade, The Rolling Stones, Nirvana, Smokey Robinson and Neil Young. Still, their proponents made them sound interesting enough for us to feature, and we hope some of you will feel moved to check them out. We hope, too, that readers of the previous edition will enjoy discovering the 200 or so completely new entries in this book. We've re-evaluated a whole bunch of stuff - we're still wondering how we managed to print a rock book without Run-D.M.C. or The Monks - and, driven by a barrage of email, have welcomed into the fold some of the rockier 'electronica' acts, the stompier 1970s glitter-pop acts, and even a drop more Gothic rock (we're suckers for entries that arrive written in blood).
Our roster of bands now nudges the 1400 mark - even more if you include the 'what happened next' bands covered in many of the articles. There's always room for more online but, to keep the book a manageable size and weight and price, and to cram all this juicy new material into the guide, we've had to make a few cuts and harsh editorial decisions - so, gosh darn it, there's still no room for the Electric Light Orchestra or Moody Blues. If you are outraged by this or any other of our exclusions, don't scowl at the book: write to us, send us (or email) an account that stakes the claim for a band, and we'll let you know what we think. We've set up this project with a deliberately democratic brief, and we'll be issuing another edition before the next Millennium is very old. In the meantime, of course, we hope to see you on the Net
A note on THE Structure and ICONS
The individual entries in the guide are arranged alphabetically by band or artist, while further bands and artists (especially solo careers of key personnel) are discussed at the end of the main accounts. For an index of all bands and artists discussed at any length, turn to the Directory of Bands and Artists that begins on page 1132. Within the entries, you'll notice groups and individuals in THIS FONT, which means there's an individual entry on them which can be referred to for more detail.
The discographies at the end of each entry are listed in order of their recording dates, and the title of each disc is followed, in brackets, by the date of the original recording and the current label. Each disc is preceded by a symbol: c for an album on CD, r for one that's still only issued on vinyl. To make sense of the quantity of discs, we've been selective: the number of album recommendations are to some extent a reflection of status, though with younger bands and artists we've often included reviews of everything to date. --This text refers to an out of print or unavailable edition of this title.
PRIZE: 300.000 IDR
THE DAMNED - DVD - FINAL DAMNATION (2008)
DVD
THE DAMNED
FINAL DAMNATION
Bekas, like new,
SMS/WA 0812 9818 9079 ( N O R M A N)
Running for 71 minutes, the concert itself is indicative of the genre, with sloppy playing and high energy levels. Like Glen Danzig, Dave Vanian delivers his vocals with an annoying Elvis Presley twang. Captain Sensible – the clown of the band – enjoys insulting the audience between songs. His tedious banter threatens to drain the life out of the gig (the body language of his band mates suggests that they too have limited patience for his editorials). I suspect that the edits from one track to the next serve to abbreviate some of these detours. Also to this end, a review of the show is read by a mock radio announcer especially for the DVD between songs. This works well, except that the voice-over runs into parts of band playing.
Coverage of the band and the crowd is good, switching between wide angle shots, medium shots, and sweaty close-ups. The audience appears to enjoy the show: the whole mosh pit was thrashing about, not just the section near the stage. Of course, for a revival concert like this one, you would expect most of the punters to be rabid fans. Note that there are no end credits after the concert.
Track Listing:
1 See Her Tonight
2 Neat Neat Neat
3 Born to Kill
4 I Fall
5 Fan Club
6 Fish
7 Help
8 New Rose
9 I Feel Alright
10 I Just Can't Be Happy Today
11 Wait for the Blackout
12 Melody Lee
13 Noise Noise Noise
14 Love Song
15 Smash It Up
16 Looking at You
17 The Last Time
THE MEMBERS - SOUND OF THE SUBURBS (1995)
| Compilation album by The Members | |
|---|---|
| Released | 1995 |
| Recorded | various |
| Genre | Punk rock |
| Length | - |
| Label | Virgin |
| Producer | Steve Lillywhite, etc |
True to its subtitle, this 18-track collection compiles the finest moments of the band's two-year stay at Virgin Records (1979-1980). While this period was the strongest for the band, it would have been nice to include a track or two from their final album, Uprhythm, Downbeat, such as the near-hit "Working Girl."
Track Listing:
- Handling the Big Jets
- Sally
- GLC
- Banking Business/Pennies in the Pound
- Soho-A-Go-Go
- Muzak Machine
- Rat up in a Drain Pipe
- Sound of the Suburbs
- Phone-In Show
- Brian Was
- Killing Time
- Clean Man
- Romance
- Flying Again
- Solitary Confinement
- Chelsea Nightclub
- Gang War
- Police Car
O.M.D (Orchestral Manoeuvres in the Dark) - Orchestral Manoeuvres in the Dark (1980)
| Studio album by Orchestral Manoeuvres in the Dark | |
|---|---|
| Released | 22 February 1980 |
| Recorded | The Gramophone Suite, Liverpool, 1979 |
| Genre | Synthpop |
| Length | 37:42 |
| Label | DinDisc |
| Producer | Orchestral Manoeuvres in the Dark and Chester Valentino |
Orchestral Manoeuvres in the Dark is the self-titled debut album by Orchestral Manoeuvres in the Dark, released in 1980. The album peaked at number 27 in the UK Albums Chart[1]. "Electricity" and "Red Frame/White Light" were low charting singles taken from the album. A re-recorded version of "Messages" provided OMD with their first hit in the UK, reaching number 13.[2]
The album was remastered and re-released in 2003, with six bonus tracks.
Orchestral Manoeuvres in the Dark is also the title of a 1981 compilation album of tracks from this album and Organisation, released only in the United States.
Track Listing:
1. "Enola Gay"
2. "2nd Thought"
3. "Bunker Soldiers"
4. "Almost"
5. "Electricity"
6. "Statues"
7. "The Misunderstanding"
8. "Julia's Song"
9. "Motion And Heart"
10. "Messages"
11. "Stanlow"
Bonus tracks
1. "Bunker Soldiers"
2. "Almost"
3. "Mystereality"
4. "Electricity"
5. "The Messerschmitt Twins"
6. "Messages"
7. "Julia's Song"
PRIZE: 125.000 IDR
THE UNDERTONES - THE POSITIVE TOUCH (1981)
| Studio album by The Undertones | |
|---|---|
| Released | May, 1981 |
| Recorded | Wisseloord Studios January, 1981 |
| Genre | Rock |
| Label | Ardeck-EMI (UK) Harvest (US) Rykodisc (US CD reissue) Dojo Records (UK CD reissue) Sanctuary Records (UK CD reissue) |
| Producer | Roger Bechirian |
Positive Touch is a 1981 album by The Undertones. The album, the third to be released by the band, was recorded in January 1981 at Wisseloord studios in The Netherlands and was released in May that year, reaching number 17 in the UK album charts.[1]
The original LP release included the UK chart hits: It's Going to Happen, which reached number 18 in the UK charts in May 1981, and Julie Ocean, which reached number 41 upon release in July the same year.
Positive Touch was voted number 28 in the 1981 NME Albums of the Year[2]
The album track When Saturday Comes was later borrowed for the title of a famous UK football fanzine[3].
Track Listing:
- "Fascination"
- "Julie Ocean"
- "Life's Too Easy"
- "Crisis Of Mine"
- "You're Welcome"
- "His Good Looking Girlfriend"
- "The Positive Touch"
- "When Saturday Comes"
- "It's Going To Happen!"
- "Sign And Explode"
- "I Don't Know"
- "Hannah Doot"
- "Boy Wonder"
- "Forever Paradise"
PUBLIC IMAGE LTD - FIRST ISSUE (1978)
| Studio album by Public Image Ltd. | |
|---|---|
| Released | December 8, 1978 |
| Recorded | July-November 1978 The Manor Studio (Shipton-on-Cherwell) Wessex Studios, Gooseberry Sound Studios, Townhouse Studios, Advision Studios, London |
| Genre | Post-punk |
| Length | 39:54 |
| Label | Virgin Records |
| Producer | Public Image Ltd |
The album was recorded between July and November 1978 at different studios. The song "Public Image" was recorded first (the backing track at Advision Studios plus vocals and mixing at Wessex Studios) in July 1978. The whole of the first side of the record was then recorded in autumn at Townhouse Studios and The Manor Studio. The last three songs on the second side were recorded at Gooseberry Sound Studios, a cheap demo studio used because the band ran out of money.
On 9 February 1979, Warner Bros. Recording Studios in North Hollywood manufactured a test pressing of the album for PiL's U.S. label Warner Bros. Records. The sound of the record was considered as too uncommercial for an American release and PiL were asked to re-record parts of the album.[1] Although the band recorded new versions of some tracks between March and May 1979,[2] the album was never released in the U.S.
Track Listing:
- "Theme" – 9:05
- "Religion I" – 1:40
- "Religion II" – 5:40
- "Annalisa" – 6:00
- "Public Image" – 2:58
- "Low Life" – 3:35
- "Attack" – 2:55
- "Fodderstompf" – 7:40
PRIZE: 150.000 IDR
KILLING JOKE - KILLING JOKE (1980)
| Studio album by Killing Joke | |
|---|---|
| Released | August 1980 |
| Recorded | London, UK |
| Genre | Post-punk |
| Length | 39:51 |
| Label | E.G. |
| Producer | Killing Joke - Phil Harding |
Killing Joke is the debut studio album of the London post-punk band Killing Joke. Released in August, 1980 worldwide under E'G Records, Killing Joke was self-produced and was considered an underground album. The album was recorded in early 1980, shortly after a small tour promoting the Almost Red EP. The lyrics of the album were written by front man and vocalist Jaz Coleman, which expressed his opinions on issues such as politics, death, hypocrisy, human nature, pollution, and exile.
The album has been considered by many bands as an influential and inspirational database. Several bands like Nirvana, Foo Fighters, Tool, Soundgarden, and Metallica have all credited Killing Joke for a lot of their own material.
The song "Requiem" was covered by Foo Fighters in 1997 as a b-side to the Everlong single and the song "The Wait" was covered by Metallica in 1987 and released on The $5.98 E.P.: Garage Days Re-Revisited and was later released as a single for Metallica. The song also featured in the hit movie School of Rock.
Killing Joke reached number 39 on the UK Albums Chart in 1980.[1] Killing Joke went on to have three singles: "Wardance", "Change", and "Requiem".
Track listing:
1. Requiem
2. Wardance
3. Tomorrow's World
4. Bloodsport
5. The Wait
6. Complications
7. $0.36
8. Primitive
PRIZE: 125.000 IDR
BLONDIE - PLASTIC LETTERS (1978)
| Studio album by Blondie | |
|---|---|
| Released | February 1978 |
| Recorded | June–July 1977 at Plaza Sound Studio, New York |
| Genre | New Wave, punk rock |
| Length | 34:46 |
| Label | Chrysalis (1166) |
| Producer | Richard Gottehrer |
Plastic Letters is the second studio album by American New Wave band Blondie, released in February 1978 on Chrysalis Records. It was the second and final Blondie album to be produced by Richard Gottehrer. "Denis", a cover of the Randy & the Rainbows' 1963 hit "Denise", was a hit all over Europe; reaching no.2 in March 1978 in the United Kingdom. "(I'm Always Touched by Your) Presence, Dear" was the second single from the album, reaching no.10 in the UK in May 1978. The song was written by the band's original bass guitar player Gary Valentine, shortly before his departure from the band prior to the album being recorded (which necessitated Chris Stein playing bass as well as guitar). The album peaked at no.10 in the UK and has been certified Platinum by the BPI.
Track Listing:
- "Fan Mail" (James Destri) – 2:38
- "Denis" (Neil Levenson) – 2:19
- "Bermuda Triangle Blues (Flight 45)" (Chris Stein) – 2:49
- "Youth Nabbed as Sniper" (Stein) – 3:00
- "Contact in Red Square" (Destri) – 2:01
- "(I'm Always Touched by Your) Presence, Dear" (Gary Valentine) – 2:43
- "I'm on E" (Deborah Harry, Stein) – 2:13
- "I Didn't Have the Nerve to Say No" (Destri, Harry) – 2:51
- "Love at the Pier" (Harry) – 2:27
- "No Imagination" (Destri) – 2:56
- "Kidnapper" (Destri) – 2:37
- "Detroit 442" (Destri, Stein) – 2:28
- "Cautious Lip" (Stein, Ronnie Toast) – 4:24
MAGAZINE - RAYS & HAIL 1978 - 81 (1987)
| Compilation album by Magazine | |
|---|---|
| Released | April 1978 |
| Recorded | 1987 |
| Genre | Post-punk |
| Length | |
| Label | Virgin |
| Producer | Colin Thurston, John Leckie, John Brand |
All Music Guide Review
The definitive single-disc collection of Magazine, a perfect starting point for the neophyte, Rays and Hail covers the three years of the band's existence with highlight after highlight on display. Devoto's mastery of a lyrical and musical approach that wedded chilly paranoia with explosive punk and post-punk energy -- as suspicious of emotion as Wire or the Gang of Four, yet at the same time more accepting and obsessed with emotion than most others at the time -- resulted in a series of jawdroppingly grand songs. Such compositions as "Feed the Enemy" and "Because You're Frightened" showcased the balance well, not to mention the excellent performances of such bandmembers as John McGeoch on guitar and Barry Adamson on bass. The only real rarity per se is the original single take on "Shot By Both Sides," one of the many landmark tracks Devoto and Pete Shelleywrote in early days together, and which, in Magazine's hands, become a fierce statement of intent. The incorporation of keyboards, in particular, helped give Magazine its smart edge, Devoto sounding both commanding and distanced on such tracks as "Back to Nature" and "A Song From Under the Floorboards" as guitars and queasy synth tones meshed to create weird, alien atmospheres. "The Light Pours out of Me" may well go down as Magazine's most epic, evocative song among the well-known numbers, McGeoch's guitar hitting truly dramatic heights as the relentless rhythm pounds forward. However, the inclusion of "Permafrost" on this collection makes for what could arguably be the band's most stunning moment. With Devoto's at once blunt yet evocative image of a relationship of some sort stretched beyond a breaking point captured in the lyrics, all that the music needed to do was capture the same disturbed vision. That it did, featuring a slow trudge rhythm treated to sound flat and unnatural, Adamson's fretless bass sounding warning notes as it goes. ~ Ned Raggett, All Music Guide
2. Definitive Gaze
3. Motorcade
4. Light Pours Out of Me
5. Feed the Enemy
6. Fhythm of Cruelty
7. Back to Nature
8. PermaFrost
9. Because You're Frightened
10. You Never Knew Me
11. Song From Under the Floorboards
12. I Want to Burn Again
13. About the Weather
14. Parade
PRIZE: 125.000 IDR
Track Listing
1. Shot by Both Sides2. Definitive Gaze
3. Motorcade
4. Light Pours Out of Me
5. Feed the Enemy
6. Fhythm of Cruelty
7. Back to Nature
8. PermaFrost
9. Because You're Frightened
10. You Never Knew Me
11. Song From Under the Floorboards
12. I Want to Burn Again
13. About the Weather
14. Parade
PRIZE: 125.000 IDR
THE CARS - THE CARS (1978)
| Studio album by The Cars | |
|---|---|
| Released | June 6, 1978 |
| Recorded | AIR Studios, London, February 1978 |
| Genre | Rock, New Wave |
| Length | 35:40 |
| Label | Elektra |
| Producer | Roy Thomas Baker |
The Cars is the debut album by the Boston-based American new wave band The Cars, released in 1978. With the popular tracks "Just What I Needed" and "My Best Friend's Girl" getting heavy airplay on album-oriented rock radio stations, the album sold one million copies by the end of the year and steadily climbed the charts, peaking at #18 on the Billboard 200 in March 1979. The album was ranked #4 on Billboard's Top Pop Albums of 1979 year end chart. The Cars remained on the album chart for 139 weeks with four more tracks — "Good Times Roll", "You're All I've Got Tonight", "Bye Bye Love" and "Moving in Stereo" — becoming AOR radio favorites.
The album was re-issued as a Deluxe Edition on April 20, 1999, containing demos of the entire album alongside five previously unreleased demos.
Rolling stone's magazine ranked the album 279 in 500 best albums of all time.
The cover model is Natalya Medvedeva, a Russian-born model, journalist, and musician who died in 2003.
Track listing:
- "Good Times Roll" – 3:44
- "My Best Friend's Girl" – 3:44
- "Just What I Needed" – 3:44
- "I'm in Touch with Your World" – 3:31
- "Don't Cha Stop" – 3:01
- "You're All I've Got Tonight" – 4:13
- "Bye Bye Love" – 4:14
- "Moving in Stereo" (Greg Hawkes, Ocasek) – 4:41
- "All Mixed Up" – 4:14
BUZZCOCKS - ANOTHER MUSIC IN A DIFFERENT KITCHEN (1978)
| Studio album by Buzzcocks | |
|---|---|
| Released | 10 March 1978 |
| Recorded | December 1977 – January 1978, Olympic Studios, London |
| Genre | Punk rock |
| Length | 44:24 (CD) |
| Label | United Artists (original UK release) I.R.S. (1994 USA CD release with Love Bites) Nettwerk (2001 USA CD re-release) |
| Producer | Martin Rushent |
Another Music in a Different Kitchen was Buzzcocks' first album, released in 1978 and including the hit single "I Don't Mind", which reached #55 in the United Kingom singles chart in May 1978.[1] The corresponding CD was released in March 1994 on the same record label. This was the second line-up of Buzzcocks, with Pete Shelley singing, following the departure of original leader Howard Devoto.
"It's all very surreal and Dada", says Pete Shelley. "All those elements that we were exploring back then. The first Buzzcocks album title was a kind of cut-up of the title of one of Linder [Sterling]'s other pieces of art. We called it 'Another Music In A Different Kitchen' which partially came from a Linder piece called Housewives Choosing Their Own Juices In A Different Kitchen".[2]
Track listing
- "Fast Cars" (Howard Devoto, Steve Diggle, Pete Shelley) – 2:26
- "No Reply" (Shelley) – 2:16
- "You Tear Me Up" (Devoto, Shelley) – 2:27
- "Get on Our Own" (Shelley) – 2:26
- "Love Battery" (Devoto, Shelley) – 2:09
- "Sixteen" (Shelley) – 3:38
- "I Don't Mind" (Shelley) – 2:18
- "Fiction Romance" (Shelley) – 4:27
- "Autonomy" (Diggle) – 3:43
- "I Need" (Diggle, Shelley) – 2:43
- "Moving Away from the Pulsebeat" (Shelley) – 7:06
CABARET VOLTAIRE - RED MECCA (1981)
| Studio album by Cabaret Voltaire | |
|---|---|
| Released | September 1981 |
| Recorded | Western Works, Sheffield, May 1981 |
| Genre | Post-punk Industrial Experimental |
| Length | 40:11 |
| Label | Rough Trade |
| Producer | Cabaret Voltaire |
Red Mecca is an album by the Industrial/Post-punk band Cabaret Voltaire. Released in 1981 on Rough Trade Records (ROUGH 27), it was their final album before the departure of Chris Watson. It reached No.1 on the UK Independent chart in September 1981
Track listing:
- "A Touch of Evil" - 3:11
- "Sly Doubt" - 4:59
- "Landslide" - 2:08
- "A Thousand Ways" - 10:35
- "Red Mask" - 6:54
- "Split Second Feeling" - 3:47
- "Black Mask" - 3:19
- "Spread the Virus" - 3:40
- "A Touch of Evil (Reprise)" - 1:32
Prize: 200.000 IDR
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