Covering the country region by region, Ian Glasper profiles not only big names like Vice Squad, Anti Pasti, and The Defects, but also the more obscure bands of the era such as Xtract, Skroteez, and Soldier Dolls.

    It contains myriad critical-listening descriptions of the sounds of the time, but also places those sounds in the context of history. Drawing on hundreds of fanzines, magazines, and newspapers, the book is—in the spirit of punk—an obsessive, exhaustively researched, and sometimes deeply personal portrait of the many ways in which punk was an artistic, cultural, and political expression of defiance.A Cultural Dictionary of Punk is organized around scores of distinct entries, on everything from Lester Bangs to The Slits, from Jimmy Carter to Minimalism, from 'Dot Dash' to Bad Brains. Both highly informative and thrillingly idiosyncratic, the book takes a fresh look at how the malaise of the 1970s offered fertile ground for punk—as well as the new wave, post-punk, and hardcore—to emerge as a rejection of the easy platitudes of the dying counter-culture. The organization is accessible and entertaining: short bursts of meaning, in tune with the beat of punk itself.Rombes upends notions that the story of punk can be told in a chronological, linear fashion. Meant to be read straight through or opened up and experienced at random, A Cultural Dictionary of Punk covers not only many of the well-known, now-legendary punk bands, but the obscure, forgotten ones as well. Along the way, punk's secret codes are unraveled and a critical time in history is framed and exclaimed.Visit the Cultural Dictionaryof Punk blog here.

    This experience gave Carducci a unique perspective on music and "Rock And The Pop Narcotic" is perhaps the only book of popular music criticism that attempts to achieve a genuine aesthetic of rock music. The content runs the gamut of music, touching on everything from the Allman Brothers to Husker Du to Black Flag.

    in 1978. Punk kings who spread counterculture around the world, they’ve been cited as influences by the Red Hot Chili Peppers, Green Day, Rancid and The Offspring; have toured with The Clash, The Ramones, The Dead Kennedys, Black Flag, Nirvana, PiL, Minor Threat and others; and are the subject of two tribute albums. They are the band that introduced the term “hardcore” into punk lexicon and may have turned Nirvana’s lead singer Kurt Cobain onto a career in music.But punk is more than a style of music: it’s a political act, and D.O.A. have always had a social conscience, having performed in support of Greenpeace, women’s rape/crisis centres, prisoner’s rights, and antinuke and antiglobalization organizations. Twenty-five years later D.O.A. can claim sales of hundreds of thousands of copies of their 11 albums and tours in 30 different countries, and they are still going strong.I, Shithead is Joey’s personal, no-bullshit recollections of a life in punk, starting with the burgeoning punk movement and traversing a generation disillusioned with the status quo, who believed they could change the world: stories of riots, drinking, travelling, playing and conquering all manner of obstacles through sheer determination.Praise for D.O.A.:“They rock out. They blow the roof off. Some of the best shows I’ve seen in my life were D.O.A. gigs. I’ve never seen D.O.A. not be amazing.”—Henry Rollins (Black Flag, Rollins Band)“The proper medicine growing young minds needed.”—Jello Biafra (Dead Kennedys)“Joey Shithead casts a long shadow.”—John Doe (X)“They’ve changed a lot of people’s lives.”—Dave Grohl (Nirvana, Foo Fighters)Joey “Shithead” Keithley has long been an activist, including as a candidate for the Green Party, and is the founder of Sudden Death Records (www.suddendeath.com). He lives in Vancouver with his wife and their three children.

    Their hits, including Golden Brown, No More Heroes and Always The Sun, were written against a background of spectacular success, dismal failure, drug dependency, financial ruin, infighting and misfortune. Understandably, the band have been loath to reveal the true meaning behind their songs, instead revelling in the mystery and confusion they created. As a response to David Buckley's one-sided biography of the band (No Mercy, Hodder & Stoughton, 1997), Hugh Cornwell, founding member and songwriter, is determined to set the record straight, displace the myths and explain for the first time the real stories behind The Stranglers, his departure and the origins of all their songs.

    In 1987, Lawrence Livermore founded independent punk label Lookout Records to release records by his band The Lookouts. Forming a partnership with David Hayes, the label released some of the most influential recordings from California’s East Bay punk scene, including a then-teenaged Green Day. Originally operating out of a bedroom, Lookout created "The East Bay Punk sound,” with bands such as Crimpshrine, Operation Ivy, The Mr. T Experience, and many more. The label helped to pave the way for future punk upstarts and as Lookout grew, young punk entrepreneurs used the label as a blueprint to try their hand at record pressing. As punk broke nationally in the mid 90s the label went from indie outfit to having more money than it knew how to manage.

    Many were created by the musicians themselves and demonstrate the emphasis within the punk scene on individuality and the manic urge of its members to create things new. Images were compiled out of whatever material could be found, often photocopied and, still warm, stapled to the nearest telephone pole to warn the world about next week's gig. One glance and you can sense the fury of live performances by bands such as Black Flag, the Dead Kennedys and The Minutemen, and, through the subtext the reader is exposed to the psyche of a generation of musicians stripped bare: The Germs, J.F.A, NOFX, X, The Circle Jerks, Devo, The Exploited, The Screamers, The Cramps, The Dils, The Avengers and more.

    David Nolan's 'I Swear I Was There' describes the early days of the Sex Pistols, their first gig at the Manchester Free Trade Hall in 1976 and the long-term effects of that first concert.

    The book includes 29 interviews with people involved in the straight edge scene, some of whom are now in prominent bands.

    "Punk "was the Bible of the urban counterculture movement. It not only gave punk music its name, but influenced the East Village art scene and steered the punk aesthetic and attitude. "The Best of Punk Magazine" includes high-quality reprints of hard-to-find original issues, as well as rare and unseen photos, essays, interviews, and even handwritten contributions from the likes of Andy Warhol, Lou Reed, Debbie Harry, the Ramones, the Sex Pistols, Lester Bangs, Legs McNeil, Lenny Kaye, and many more. For collectors, lifelong punks, and those just discovering what punk is all about, this is the chance see the history of the movement come back to life.

    It’s a tale of success--and excess: great music, drugs (he overdosed and was pronounced dead three times), and resurrection.The Dead Boys, with roots in the band Rocket from the Tombs, came out of Cleveland to dominate the NYC punk scene in the mid-1970s. Their hit “Sonic Reducer” soon became a punk anthem. Now, for the first time, Cheetah dishes on the people he’s known onstage and off, including the Dead Boys’ legendary singer Stiv Bators, Johnny Thunders of the New York Dolls, the Ramones, the Clash, Pere Ubu, and the Ghetto Dogs, as well as life at CBGBs, a year with Nico, and more.Straight from the man, these are the backstage stories that every punk fan will want to hear. Never mind the Sex Pistols, here’s Cheetah Chrome!

    Even the circumstances of its recording, purportedly in an abandoned cinema and a cave formed from Icelandic lava, have achieved legendary status among their ever-loyal fanbase. Have a Bleedin Guess tells the story of the album, including how each song was written, performed and recorded. It also includes new interviews with key players. Author Paul Hanley, who was one of The Fall's two drummers when Hex was created, is uniquely placed to discuss the album's impact, both when it was released and in the ensuing years.

    It developed concurrently everywhere, and every region had it's own identity. But it was in San Francisco and L.A. where the most radical behavior in stateside punk rock style and attitude was exhibited. It was anti-hippie, anti-disco, anti-parent and anti-"nice". And it was shockingly new. These photos are ground zero of punk rock style—delirious innovation and a snarling takeover of youth culture still resonating more than 20 years hence.

    Though it sold miserably, the record made music history by documenting a burgeoning regional sound, the raw fusion of heavy metal and punk rock that we now know as grunge. But it wasn’t until five years later, with the seemingly overnight success of Nirvana’s “Smells Like Teen Spirit,” that grunge became a household word and Seattle ground zero for the nineties alternative-rock explosion.Everybody Loves Our Town captures the grunge era in the words of the musicians, producers, managers, record executives, video directors, photographers, journalists, publicists, club owners, roadies, scenesters and hangers-on who lived through it. The book tells the whole story: from the founding of the Deep Six bands to the worldwide success of grunge’s big four (Nirvana, Pearl Jam, Soundgarden and Alice in Chains); from the rise of Seattle’s cash-poor, hype-rich indie label Sub Pop to the major-label feeding frenzy that overtook the Pacific Northwest; from the simple joys of making noise at basement parties and tiny rock clubs to the tragic, lonely deaths of superstars Kurt Cobain and Layne Staley.Drawn from more than 250 new interviews—with members of Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Screaming Trees, Hole, Melvins, Mudhoney, Green River, Mother Love Bone, Temple of the Dog, Mad Season, L7, Babes in Toyland, 7 Year Bitch, TAD, the U-Men, Candlebox and many more — and featuring previously untold stories and never-before-published photographs, Everybody Loves Our Town is at once a moving, funny, lurid, and hugely insightful portrait of an extraordinary musical era.

    It took a group of skateboarders, a teacher and a census clerk to wake the city up and start one of the first hardcore punk scenes in America. Why Be Something That You're Not chronicles the first wave of Detroit hardcore from its origins in the late 70s to its demise in the mid-80s. Through oral histories and extensive imagery, the book proves that even though the California beach towns might have created the look and style of hardcore punk, it was the Detroit scene - along with a handful of other cities - that cultivated the music's grassroots aesthetic before most cultural hot spots around the globe even knew what the music was about.The book includes interviews with members of The Fix, Violent Apathy, Negative Approach, Necros, Pagans, Bored Youth, and L-Seven along with other people who had a hand in the early hardcore scene like Ian MacKaye, Tesco Vee and Dave Stimson.