Clinton Heylin
Born
in Manchester, England, The United Kingdom
April 08, 1960
Genre
From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
9 editions
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published
1993
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Bob Dylan: Behind the Shades Revisited
19 editions
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published
1991
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The Double Life of Bob Dylan: A Restless, Hungry Feeling, 1941-1966
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Revolution in the Air: The Songs of Bob Dylan, 1957-1973
20 editions
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published
2009
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Bootleg: The Secret History of the Other Recording Industry
18 editions
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published
1995
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Babylon's Burning: From Punk to Grunge
4 editions
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published
2007
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All Yesterdays' Parties: The Velvet Underground in Print, 1966-1971
4 editions
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published
2005
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E Street Shuffle: The Glory Days of Bruce Springsteen and the E Street Band
18 editions
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published
2012
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All the Madmen: Barrett, Bowie, Drake, the Floyd, the Kinks, the Who and the Journey to the Dark Side of English Rock
4 editions
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published
2012
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Bob Dylan: The Recording Sessions, 1960-1994
5 editions
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published
1995
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“An essential difference between British and American punk bands can be found in their respective views of rock & roll history. The British bands took a deliberately anti-intellectual stance, refuting any awareness of, or influence from, previous exponents of the form. The New York and Cleveland bands saw themselves as self-consciously drawing on and extending an existing tradition in American rock & roll.
(...)
A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
(...)
A second difference between the British and American punk scenes was their relative gestation periods. The British weekly music press was reviewing Sex Pistols shows less than three months after their cacophonous debut. Within a year of the Pistols' first performance they had a record deal, with the 'major' label EMI. Within six months of their first gigs the Damned and the Clash also secured contracts, the latter with CBS. The CBGBs scene went largely ignored by the American music industry until 1976 -- two years after the debuts of Television, the Ramones and Blondie. Even then only Television signed to an established label.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
“If the early English and LA punk bands shared a common sound, the New York bands just shared the same clubs. As such, while the English scene never became known as the '100 Club' sound, CBGBs was the solitary common component in the New York bands' development, transcended once they had outgrown the need to play the club. Even their supposed musical heritage was not exactly common -- the Ramones preferring the Dolls/Stooges to Television's Velvets/Coltrane to Blondie's Stones/Brit-Rock. Though the scene had been built up as a single movement, when commercial implications began to sink in, the differences that separated the bands became far more important than the similarities which had previously bound them together.
In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.”
― From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World
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