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Exit Wounds. Watch Me Bleed. Born to Give. Better Than a Thousand. No Rules. Apr 03, Ted Burke rated it it was ok. The problem, though, is that editor Jim Derogatis didn't have that in mind when he gathered up this assortment of Angry Young Critics and changed them with disassembling the likes of Pink Floyd, The Beatles, the MC5; countering a well phrased and keenly argued position requires an equally well phrased alternative view and one may go so far as to suggest the fresher view point needs to be keener, finer, sharper.
Derogatis, pop and rock music critic for the Chicago Sun Times, author of the estimable Lester Bangs biography Let It Blurt, had worked years ago as record review editor of Rolling Stone and found himself getting fired when he couldn't abide by publisher Jan Wenner's policy of not giving unfavorable reviews to his favorite musicians. His resentment toward Wenner and Rolling Stone's institutional claims of being a power broker as far as rock band reputations were concerned is understandable, but his motivation is more payback than substantial refutation of conventional wisdom.
The Angry Young Critics were too fast out of the starting gate and in a collective haste to bring down the walls of the Rock Establishment wind up being less the Buckley or the Vidal piercing pomposity and pretension than , say, a pack of small yapping dogs barking at anything passing by the back yard fence.
The likes of Christgau, Marcus and Marsh provoke you easily enough to formulate responses of your own, but none of the reviews have the makings of being set aside as a classic of a landmark debunking; there is not a choice paragraph or phrase one comes away with.
Even on albums that I think are over-rated, such as John Lennon's Double Fantasy, you think they're hedging their bets; a writer wanting to bring Lennon's post-Beatles reputation down a notch would have selected the iconic primal scream album Plastic Ono Band to slice and dice.
But the writers here never bite off more than they can chew; sarcasm, confessions of boredom and flagging attempts at devil's advocacy make this a noisy,nit picky book who's conceit at offering another view of Rock and Roll legacy contains the sort of hubris these guys and gals claim sickens them. This is collection of useless nastiness, a knee jerk contrarianism of the sort that one over hears in bookstores between knuckle dragging dilettantes who cannot stand being alive if they can't hear themselves bray.
Yes, "Kill Your Idols" is that annoying, an irritation made worse but what could have been a fine project. Jan 23, Patrick rated it liked it Shelves: Pretty great concept, a host of rock critics each take a stab at convincing you why some of the most widely heralded "great" rock albums actually suck.
It was fun reading the trashing of shitty "important" classic rock bands I've always hated, like Fleetwood Mac and Led Zeppelin, but if you dis Smashing Pumpkins you can just shut the fuck up. May 15, Geoff rated it it was amazing. Brilliant idea! Some of my own sacred cows were slaughtered here and I enjoyed it none the less.
Skip the Jim Walsh chapter unless you want to know how awesome Mr. Walsh envisions himself. Nov 25, Mark rated it really liked it Shelves: recentlyread. Does anyone really think there was anything original or profound about "Never Mind the Bollocks Here's the Sex Pistols"? Are you with me, temperamentally, so far? OK, you might enjoy this collection of short rants against 34 of the supposedly greatest rock albums in history.
I can sympathize especially now in an election year when we're bound to hear "Don't Stop Thinking About Tomorrow" yet again in someone's campaign Apr 07, Lauren rated it liked it.
Oct 13, Stephen rated it it was ok. I guess by "reconsider" they mean "make unsupported and snarky comments". Many of the reviews in this book seem to have been clearly written with the editorial agenda in mind first and a real look at the musical and cultural impact of the album in question a distant second.Apr 29, · Kill Your Idols was a hardcore punk band from Long Island/New York City, New York. The band was active from through