A compelling read, swamped in the end by the new wave of ’80s rock.
The history of postpunk rock gets a microscopic examination by a keen-eyed English observer.
British critic Reynolds, who picked apart the development of house music, techno and the U.K. rave scene in Generation Ecstasy (1998), applies his methodology to the multitude of styles and sounds collectively known as “postpunk.” The rubric is somewhat misleading, since several of the significant bands Reynolds writes about—Pere Ubu, Devo, Talking Heads—either predated or worked concurrently with the punk explosion of the mid- and late-’70s. But Reynolds’s concern is not with chronology but with sensibility—the first half of his book addresses revolutionary bands whose art school–derived musical eclecticism ran contrary to the orthodoxy of conventional punk. He compellingly explores the breakaway sounds and styles of acts as diverse as Public Image Ltd. (the postpunk unit fronted by the Sex Pistols’ John Lydon), Gang of Four, Joy Division and the Pop Group. His smart, densely researched accounts of these bands and their scenes are sometimes marred by a weakness for artists whose intellectual rigor outweighed their musical worth. Sadly, this work is really two books in one, and Reynolds utterly loses his thread, and his head, when he abandons the more challenging postpunk sounds of the era to address the style-driven rise of new pop and synth-pop. Wearing his national chauvinism on his sleeve, he makes a slim connection between the pathfinding efforts of postpunk visionaries and the selling-out/buying-in ethos of such commercial acts as Gary Numan, the Human League and ABC, many of whom benefited from the early-’80s explosion of MTV. The latter half of Reynolds’s book suffers from a lack of focus, excessive Anglophilia and the strain of justifying the ascent of some decidedly lesser talents. Readers who savor the first 200 pages will likely continue patiently through its wearying finale.
A compelling read, swamped in the end by the new wave of ’80s rock.Pub Date: March 1, 2006
ISBN: 0-14-303672-6
Page Count: 432
Publisher: Penguin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2006
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
