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C86 and All That: The Birth of Indie, 1983-86
Following on from acclaimed histories of the British punk upheaval of the late 1970s (Jon Savage’s England’s Dreaming) and the post-punk ferment of the early 80s (Simon Reynolds’s Rip It Up and Start Again); Neil Taylor’s new book takes the story forward to cover the next wave of groundbreaking musicians, dubbed the “C86 bands” after a now-legendary cassette compilation released by music weekly NME, whose work paved the way for the commercial breakthrough of indie later in the decade.
Taylor explores the grassroots revolution that began in 1983 with a sudden explosion of new bands, independent labels, fanzines, and pop-up clubs. Bands like the Television Personalities, the Jesus and Mary Chain, Shop Assistants, the June Brides, the Wedding Present and scores of others fused punk ethics and pop art tactics with a lo-fi sensibility to create a DIY sound not seen since the heady days of punk, and would shape the sounds of the following decade.
C86 and All That is the first comprehensive look at a scene that has remained largely undocumented until now, and tells the insider story of the ‘birth of indie’. The book features many rare photos along with flyers and zine art from the last great (pre-computer) era of DIY graphics.
Taylor explores the grassroots revolution that began in 1983 with a sudden explosion of new bands, independent labels, fanzines, and pop-up clubs. Bands like the Television Personalities, the Jesus and Mary Chain, Shop Assistants, the June Brides, the Wedding Present and scores of others fused punk ethics and pop art tactics with a lo-fi sensibility to create a DIY sound not seen since the heady days of punk, and would shape the sounds of the following decade.
C86 and All That is the first comprehensive look at a scene that has remained largely undocumented until now, and tells the insider story of the ‘birth of indie’. The book features many rare photos along with flyers and zine art from the last great (pre-computer) era of DIY graphics.
- GenresMusic
384 pages, Paperback
First published January 1, 2017
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April 12, 2020
As no one on here has reviewed this book, I thought I’d jump in with my initial reaction (having just completed it this weekend). There was some justified hostility when it first appeared due to a botched Kickstarter campaign. I don’t know if the 200 people who funded it ever received their copies or not. (?)
But of the book itself, it is excellent. Not something that can be recommended to the casual reader. You had to be there at the time (or be an extremely keen student of British popular music.) I was a teenager when I sent off for the C86 tape and instantly fell in love with all the diverse groups, spent every penny I had on the records. So, personally speaking, I couldn’t wish for a more comprehensive and authoritative account than this. There’s not much left out.
If it has faults, perhaps it’s too wide-ranging, too dense, at 525 pages. Although that didn’t bother me. I love reading about Bogshed’s worst gig, or how The Shop Assistants formed, how The Loft fell apart. But I appreciate I’m in a small demographic on that score. We believe that the opening chord of ‘Velocity Girl’ was Primal Scream’s greatest achievement, despite Mr Weatherall’s valiant efforts to prove otherwise.
The chapter on the Paisley Underground seemed out of place – the subject merits its own book perhaps. But I guess it preludes the drift away from New Wave aesthetics back to R&R, as evident in Primal Scream, JAMC and various other Creation bands. I particularly liked the chapter contrasting the fortunes of The Smiths and Felt – at some point in the future I’d like to believe that their reputational trajectories are going to cross.
It’s salient to point out that, before the internet, the cassette tape was the primary method of sharing music among fans, whether legally or not. C86 was probably the most influential cassette in UK music history. The final paragraph suggests that this book is just the first volume of three. I’d love to read the next instalment but, alas, if the author seeks funding you might want to navigate a wide berth.
But of the book itself, it is excellent. Not something that can be recommended to the casual reader. You had to be there at the time (or be an extremely keen student of British popular music.) I was a teenager when I sent off for the C86 tape and instantly fell in love with all the diverse groups, spent every penny I had on the records. So, personally speaking, I couldn’t wish for a more comprehensive and authoritative account than this. There’s not much left out.
If it has faults, perhaps it’s too wide-ranging, too dense, at 525 pages. Although that didn’t bother me. I love reading about Bogshed’s worst gig, or how The Shop Assistants formed, how The Loft fell apart. But I appreciate I’m in a small demographic on that score. We believe that the opening chord of ‘Velocity Girl’ was Primal Scream’s greatest achievement, despite Mr Weatherall’s valiant efforts to prove otherwise.
The chapter on the Paisley Underground seemed out of place – the subject merits its own book perhaps. But I guess it preludes the drift away from New Wave aesthetics back to R&R, as evident in Primal Scream, JAMC and various other Creation bands. I particularly liked the chapter contrasting the fortunes of The Smiths and Felt – at some point in the future I’d like to believe that their reputational trajectories are going to cross.
It’s salient to point out that, before the internet, the cassette tape was the primary method of sharing music among fans, whether legally or not. C86 was probably the most influential cassette in UK music history. The final paragraph suggests that this book is just the first volume of three. I’d love to read the next instalment but, alas, if the author seeks funding you might want to navigate a wide berth.
Displaying 1 of 1 review