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Read & Burn: A book about Wire, by Wilson Neate
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Read & Burn is the first serious, in-depth appraisal of Wire, one of the most influential British bands to emerge during the punk era. If Wire were briefly a punk band, however, it was largely by historical accident. Despite the fact that they had complicated and transformed that category almost before they'd begun, they seem never to have quite escaped the label. Be it punk, post-punk, or art-punk, critics have clung onto the p-word in an attempt to capture the essence of Wire's innovative uniqueness. But their story -- which honours punk's original yet quickly forgotten commitment to the new -- is one of constant remaking and remodelling, one that stubbornly resists reduction to a single identity. As a result, the group's projects have always balanced uneasily between artistic endeavour and the need for commercial sustainability, played out against the backdrop of the musicians' perennially complex creative relationships. Tracing Wire's diverse output from 1977 up until the present, Read & Burn seeks to do justice to their highly influential and restlessly inventive body of work by developing a sustained critical account of their shifting approaches. It combines analysis and interpretation with perspective drawn from exclusive interviews with past and present members of the band.
- Sales Rank: #756381 in Books
- Brand: Brand: Jawbone Press
- Published on: 2013-06-01
- Original language: English
- Number of items: 1
- Dimensions: 8.13" h x 1.13" w x 6.00" l, 2.00 pounds
- Binding: Paperback
- 432 pages
- Used Book in Good Condition
Review
"A meaty treatise by the guy who already wrote a 150 page monograph on Pink Flag for the 33⅓ series....Wilson Neate's book is incisive, insightful and full of fascinating information." --Simon Reynolds, Blissblog (author of Rip It Up and Start Again and Retromania).
"[Wire] have long deserved a decent book and Read & Burn is a thorough and readable biography....An excellent book." --David Quantick, Q magazine (UK).
"Concise, informed prose, writing with incisiveness, authority and engaging enthusiasm." --Keith Moliné, The Wire magazine (UK).
"This is [an] exceedingly well-written and very passionate take on the band's story and output....Neate's personal take on any one Wire album, era, or idea only encourages discerning readers to go back into the stacks, listen anew, and judge or reconsider for themselves; I can't remember the last music book that sent me scurrying to play so many sounds again with fresh and eager ears." --Jim DeRogatis, host of WBEZ's Sound Opinions; author of Let it Blurt: The Life and Times of Lester Bangs, America's Greatest Rock Critic.
"[An] impressive balance of reverence for its subject with an unvarnished warts-and-all portrayal....Fans of the art-punk trailblazers in any of their incarnations will find more than enough of interest in this thorough yet readable document....Seeded with a healthy dose of photos, Read & Burn is a remarkable value for its incongruously low price and leaves few stones unturned. It's hardly designed to win new fans, but for the faithful it's the Ideal Copy." --Glen Sarvady, Stomp and Stammer magazine (USA).
"You could suggest that what Wilson Neate doesn't know about Wire isn't worth knowing - but, on reflection, there isn't anything he doesn't know about them....Neate presents an absorbing, unsparing insight into the working practices of a band saddled from birth with an inappropriate 'punk' epithet, yet whose actions, utterances and structure nevertheless resound with intimations of conflict, negation and defiance....It will have you scurrying back to the albums." --Oregano Rathbone, Record Collector magazine (UK).
"Those assuming a Wire biography might be a little dry are in for a surprise, for this is a fascinating investigation into the singular, influential group....Emotionally engaging....[A] compelling study of group psychology." --Mike Barnes, Mojo magazine (UK). "One of the best music biographies I've read. I loved it. It's both thorough and funny, and really, really well written. I could feel those individuals in the room - it does a fantastic job of capturing their forthrightness." --Ivo Watts-Russell, This Mortal Coil; founder of 4AD Records.
About the Author
Wilson Neate is the author of Pink Flag (Continuum 2008), a book on Wire's first album.
Most helpful customer reviews
9 of 9 people found the following review helpful.
Exhaustive, yet lacking
By Charles Miller
This book features a whopping 427 pages (with little in the way of illustrations), making it perhaps the most in-depth study on Wire ever written. In the introduction, the author states what it is not. There are two items which are to the detriment of such an exhaustive title:
[1] it does not cover the solo projects when Wire was on hiatus, and
[2] there is only a "selected discography" versus a complete one.
In the case of the former issue, it simply does not make sense to keep the subject matter strictly on Wire. The book kicks off with the members' backgrounds to illuminate what they brought to the table, and that makes sense. But wouldn't the solo material created by its members during periods of Wire inactivity also shed light on this topic? Certainly Graham Lewis and Bruce Gilbert's work in Dome influenced what was yet to come (i.e.: The Ideal Copy) as did Colin Newman's solo releases. Additionally, a few more pages could have made this large book more encyclical with a complete discography. In other words, I question the wisdom of eliminating these subjects.
Okay, so I just covered the minuses with regards to this book and hence, the 4-star review. Had these items been included, it certainly would be a 5-stars because again, this book is not only well-written, but what it does cover is everything you ever wanted to know about Wire and more. Indeed, it is exhaustive... 5 years in the making and hundreds of hours of interviews to make it so. The thought processes from start (1976) to finish (Change Becomes Us) is covered in a way that certainly yields a better understanding of what makes Wire, Wire. Additionally, it does belabor Pink Flag, as if that were the only reason to care about Wire. Yes, a wonderful debut album, but Wire only got better as time elapsed and here we are spared chapter after chapter reading yet more about Pink Flag. The author gives equal weight to all of Wire's releases, and that is as it should be. The lack of illustrations and its reasonable size also makes it great reading book rather than some over-sized monstrosity to accommodate giant photographs which most readers can access elsewhere. There are a few pages of illustrations, but again, not to the point that this could ever be regarded as a coffee table book, which it shouldn't be. Actually, I cannot emphasize enough how spectacular the detail is. I've learned more about Wire than all the previous Wire books I've read combined (save the solo work and discography).
FYI... for a encyclical discography, join the forum on Wire's official website and search the posts for it. The gentleman who created a Wire discography as exhaustive as this biography will send you a PDF copy of it via a download. In tandem with this currently reviewed title, you will have all the information you need to understand Wire to its fullest.
For anyone who takes Wire as seriously as I do, this book is absolute must as it explains so very much. Highly recommended.
5 of 7 people found the following review helpful.
In-depth review of a helpful guide
By John L Murphy
A long study of a band best known for frenetic bursts, like its subject, this surprises. Rather than rehashed discographies, press-kit rewrites, or gushing song-by-song trivia, Wilson Neate keeps a cool distance while he intimately probes, by interviews and interpretations, the three stages of this enduring, thoughtful, and fractious group. Hung with the albatross of its 1977 debut LP Pink Flag, still its best-known recording, Wire refused for decades to play its minimal, stuttering, edgy songs live. When it does include its title track, it may twist and thwart its original under-two minutes into nearly ten. Wire moves forward after--or away from--the promise announced by punk's birth. It doesn't prop up punk's posing corpse.
Mojo magazine in 2006 summed Wire up: "no guitar solos, no clichés, no mates"; this spins off of guitarist Bruce Gilbert's credo: "No solos; no decoration; when the words run out, it stops; we don't chorus out; no rocking out; keep it to the point; no Americanisms." All but perhaps the last the band violated sometime in the three-dozen years Neate documents, yet this too attests to Wire's restlessness with any conventions of rock music.
Gilbert approaches Wire as not a band but as "living sculpture"; he asserts not to have bought a record since 1980 when he stopped "consuming music". Their mutual, sly curiosity about mundane marginalia--honed by the art-school training of most of Wire's members--conveys an enduring engagement with London-based avant-garde as well as Central European aesthetics. Bassist Graham Lewis shares his partner's (they collaborate as the duo Dome) immersion in cacophony and dread; his lower-pitched, rounded vocals play off of guitarist Colin Newman's contrary love of melody and pop. Robert Grey's spare percussion compliments his chosen identity as a drummer, not a musician.
"The only things we could agree on were the things we didn't like. That's what held it together and made life much simpler." Gilbert's defines the band's disposition; Neate observes that while they lacked "technical sophistication", Pink Flag pushed them as far as possible. Their oblique phrases resembled aural collage; compressed tunes distorted punk's limits.
Distance distinguished the band onstage: they chose monochrome over day-glo. Their name, their album covers (always dissected well by Neate), and their attitude resisted rockist poses. Still, as Neate notes with "Ex-Lion Tamer", some signifiers date: "All punk bands had an anti-TV song." He astutely pinpoints in Newman's recollections a nascent unease with Thorne's production on Pink Flag and more and more looming large, on Chairs Missing and 154. The friction for the rest of the core four's incarnations grew from Newman's abrasion against the experimental axis of Lewis and Gilbert. That duo preferred "an independent, objective" decision an outside producer afforded. Did Wire ignite better with more purr or more sparks? Tension endured over who drove the band along: producer, one songwriter-guitarist, or a guitarist-bassist pair of songwriters.
But the third album brashly replaced some of Wire's playfulness with an oversized self-regard. As Bryan Ferry's crooning pushed out Brian Eno's tape manipulations, so Newman's aims contended against Gilbert and Lewis.
However, Neate allows every member his own voice, and a chance to respond to charges. Newman counters: "Pink Flag was just the sound of the band playing, Chairs Missing was a fantastic leap into the unknown, and 154 was between brilliant and rubbish." Fragmentation appears; solo efforts beckoned. Members began holding back ideas and material. Gilbert's rejoinder typifies the band's enduring internal debate, heard on record, on stage, and year after year: "What qualifies as music?"
After their first hiatus, in the later 80s, Gilbert and Lewis liked the devices and the process of open-ended music. Newman preferred the product, often smoothed out rather than grating. Neate pegs much of the studio results as "flat and affectless". Yet Neate offers funny tales from the Suzanne Somers debacle on Fox's The Late Show and accounts of the US Tour with the Ex-Lion Tamers to level out the gloom and machines of this "decadus horriblis".
Perverse as ever, of course Wire agreed to play the first three LPs, eventually reuniting by the millennium. ProTools excited Newman; Lewis admired thrash metal in his adopted Sweden; Gilbert never stopped bringing the noise. Grey, refreshed by tutelage in African drumming, returned from his organic farm.
Neate looks askance on Wire's third phase. Newman's "hectoring" vocals and the "maniacally" driven, "two-dimensional" industrial assault (as finally Gilbert and Lewis find common ground with Newman's interest in the post-punk of McLusky and Liars) predominate. As "unbalanced spiel" on two Read + Burn e.p.'s, these aggressive taunts were dismantled and altered into tracks for Send, all from the early 2000s.
This reviewer disagrees. "Coppiced riff meets aphorism." So Newman snaps in his wry yet elegant concision on "1st Fast". These records may throttle a listener into submission more than release joy, but in their surges more than ebbs, played by men in their fifties (Gilbert nearing 60), they drown an audience in waves of shimmering distortion and "barking" half-"arch", half-giddy amplified menace. The band sounds as if entertains itself as much as the audience on the 2004 DVD The Scottish Play.
After Newman tried to take control, Gilbert chafed and left after that DVD effort. Neate takes us into the third phase, updated. Some of this bogs down in managerial contention, but it's certainly complete for whomever needs this detail. Choosing 23-year-old guitarist Matthew Simms for Red Barked Tree (2011) proved wise. Simms adds a lighter, lilt to its title track with a bouzouki, and the band merges artsier with accessible tunes modestly but steadily. After an "archeological dig" into post-154 material excavated treasure, the band's "reimagining" for this year's model of Wire propels the band forward impressively. Change Becomes Us titles appropriately the filigreed, fussy, yet lively and alert spirit of Wire, version 3.1.
Neate calmly narrates over 400 pages a microscopic epic. Hundreds of musical and lyrical artifacts occupy this meticulous display. Neate concludes by asking each member their post-mortem take on Wire's "major missteps", taken "with the meaningless luxury of hindsight". He echoes back at the band its own detachment--and its dry wit. This reverberates with his own sharp, honest, but affectionate reaction to Wire's sounds and moods. Neate conveys contending and competing versions of Wire's ambitions to match its own confrontational sounds and oblique images--messily or neatly.
P.S. To be fair to Neate and the reviewer Charles Miller: pg. 9 lists what this book is not. Two of its seven items note that the book is not about the members' solo projects, nor does it seek to provide a complete discography. Given Miller's review, I agree that while Neate barely mentions such as Newman's "solo" post-154 LP "A-Z," which certainly merited more attention as it took lots of work meant for Wire, produced by Thorne and played by him, Rob Grey, and Newman's boyhood mate Desmond Simmons, Neate does proclaim his limits early on in an exhaustive (if overall often engrossing for hardcore fans such as me) book as it is. I'll edge my ranking, given Amazon's lack of nuance, up to 5 stars; I acknowledge this is "very" thorough--a true document and eyewitness.
1 of 2 people found the following review helpful.
Being sucked in to the story of a great band
By Lypo Suck
Read & Burn is an extremely well-researched, well-written, and engaging biography of Wire's entire career so far, and it's a must-have for any serious fans of the band. In-depth interviews conducted by the author with all four members (as well as the managers, record producers, and other parties close to the band at various points throughout their lengthy career) are hugely enlightening and informative. For example, we get detailed firsthand accounts of the tension between the two camps in the band - the more song-oriented faction of singer/guitarist Colin Newman and drummer Robert Gotobed, and the more experimental axis of guitarist Bruce Gilbert and bassist/singer Graham Lewis - and how that impacted the creative process, sometimes benefiting it, while other times creating huge personal rifts within the group. In fact, it was this very tension that led to Gilbert's permanent departure from Wire in 2006.
Neate, thanks to his extensive interviews and his subjects' apparently crystal clear (albeit occasionally contradictory) memories and valuable insight, goes into extensive detail about the recording of each album and the creative processes employed, charting the origins and creative developmental trajectory of some songs, and the sometimes radical changes or deconstructions that certain tracks went through in the studio. Much is also written about the tours and other activities that typically followed each release.
My main gripe is Neate's refusal to cover any of the solo work or outside projects that the members were involved in, especially during the band's 1980-1985 hiatus. While no sane person could expect Neate to tackle *everything*, given that covering the discography for Gilbert and Lewis' numerous projects (Dome, etc.) would be an epic endeavor in and of itself, and while I certainly wouldn't expect the solo albums to be handled with the same level of detail as the Wire albums, I still find it baffling that none of this material is discussed at all. Newman's first solo album, A-Z, was produced by Mike Thorne, who produced Wire's seminal first three albums, and also had a significant role in the group playing keyboards as a kind of fifth member (and he played on A-Z as well), while drummer Robert Gotobed also played on A-Z and 1982's Not To. I honestly think these facts warrant some discussion of these albums. Moreover, the fact that A-Z and Not To both contain re-workings of material that Wire had started just prior to their hiatus makes them even more relevant to the topic at hand. I also think that covering at least some of the more notable work in this 5-year hiatus would be hugely important in terms of documenting the individual members' creative development in this period, to see how they got from 154 to Snakedrill and Ideal Copy. The lack of discussion of this period leaves a gaping hole in the story.
Other than that, and a few minor quibbles not really worth mentioning here, I can't recommend Read & Burn enough, and serious Wire fans will find it an engrossing page-turner.
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