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12 Days on the Road

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In the mid-seventies, the Sex Pistols, the most controversial rock-and-roll band ever, erupted out of London, offending everyone from members of Parliament to the rock establishment it sought to unseat. With its raw, anarchic sounds, aura of sex and violence, outrageous behavior, and concerts that frequently degenerated into near-riots, the band changed the rules of rock-and-roll forever. Add to that the early death of band member Sid Vicious, by heroin overdose, and you have all the ingredients for a legend.In January 1978, the Sex Pistols came to the United States for a twelve-day tour, mostly of cities in the Deep South. 12 Days on the Road is an extraordinary moment-by-moment re-creation of that wild adventure by Noel E. Monk, the Sex Pistols' American tour manager, and veteran journalist Jimmy Guterman. Here is a sensational, "explosive chapter in the history of rock" (Booklist) that is also "a touching and improbable tale of innocence and exploitation" (Kirkus Reviews).

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Product details

Paperback: 240 pages

Publisher: William Morrow Paperbacks; 1st Quill ed edition (November 25, 1992)

Language: English

ISBN-10: 0688112749

ISBN-13: 978-0688112745

Product Dimensions:

6.1 x 0.6 x 9.2 inches

Shipping Weight: 10.6 ounces (View shipping rates and policies)

Average Customer Review:

3.8 out of 5 stars

28 customer reviews

Amazon Best Sellers Rank:

#358,853 in Books (See Top 100 in Books)

I read Monk's book, "Runnin' With The Devil", about his days managing Van Halen, and I really enjoyed his writing style and how thorough he was, as well the first person accounts. So, I assumed this book would be the same....not at all! As others have noted it's written in a third person narrative, and often I've had to wonder who was even present during some of the events. I suppose interviews with some people may give insights to write on, but some things just seem like an Oliver Stone-ish "artistic license" and embellishments. Mentioning how twelve Sheriff's emerge from the shadows threatening to "blow someone's head off", seems absurd, and implausible(What do I know though, really?). Or conversations between other people. It's entertaining enough, as long as you're willing to just "go with it", I suppose. Or maybe his next book is written too well and I stepped back in time with his style, and therefore had certain expectations. I highly recommend the Van Halen book.

This is a hilarious recounting of the one and only U.S. tour of the Sex Pistols written by the road manager Noel Monk. It has to be funny, because it would be too disgusting otherwise. Monk has his work cut out for him, and faces countless thankless tasks with the dedication of a platoon sergeant under fire.Don't miss the sweeping irony of the underlying theme that the smelly, rude, uneducated, tasteless and surprisingly poor Sex Pistols have contempt for their Southern White audience members. Even these low-lifes can jump in on one of America's last two permissible prejudices: disdain for poor white southerners (the other permissible prejudice is against Catholics).Highlights include Sid Vicious's multiple disappearances, a pathetic radio interview where two of the Pistols were promised leather jackets to complete, and the mysterious and zonked out founder of High Times tagging along trying to insert himself into the tour for Lord knows what agenda. An excellent recounting and an excellent example of the trope that history is far more bizarre than anything your imagination can conceive.

It's a bit disconcerting to read a factual book where the author speaks of himself in the third person. Consequently he relates events and conversations for which he wasn't present, and he offers up thoughts from inside other people's heads - all stuff he could surmise, yet he presents as factual.Nevertheless, it's an easy read, fascinating and there are enough anecdotes, stories and reflections from Monk when he WAS present for me to excuse the weird third party narrative and its liberties.For a group that made history through its message and method, most of the stories show what lost little boys they were: Cook's and Jones's behavior on the San Francisco radio interview, the band's excitement about Texas and its myths, and Sid's delusions and problems - detailed (Monk was his babysitter). A few particularly striking groupie stories.I liked it. I ate it up. I read parts of it twice. They were totally gross, uniquely absorbing and I love their music. Along with Lydon's book, it's part of my permanent book collection.

Nice snapshot of that time in music history and a good story about some really seedy characters (and I'm not talking about just the Sex Pistols!). If you like music in general you should read this book because it tells a lot about music at that time in history and also, of course, about the Sex Pistols first American tour.

Interesting read, really liked it

LOOKING FORWARD TO HIS NEX BOOK!

This book is written so poorly that I’m surprised it was published. Skips from first person to third person. I had no connection to the characters because they were so under developed. Instead it focuses on drug use and the infantile antics of Sid. I was hoping to learn more about the band, but clearly the writer decided to go the tabloid route.

I'm re-reading this book for the umpteenth time - we acknowledge now the contributions and music of John Lydon, his PiL and solo works, and even nature documentaries and other TV gigs. It's actually very interesting to read this book/diary and then look at the impact one punk band and one ultra legendary punk album made on rock and roll history. Lydon is very intelligent and has done very well for himself after growing up, making music and celebrating over 40 years of marriage to his wife Nora! It is indeed somewhat interesting and admirable that a singer for a band that was all about the destruction of convention and the power structure of the world still find one of the oldest societal institutions, marriage, much to his liking. Here's to you, Mr. Lydon. This book is the story of the Sex Pistols' first and only American tour until the original lineup regrouped in the late 1990's for a much more well behaved tour, with Glen Matlock, the original bassist and author of some of the Pistols' songs back on board. Punk had started earlier - one can argue the punk aesthetic was actually part of the original spark that ignited rock and roll. Rebellion against the parents, Elvis' then wild rock and roll music and famously censored waist up only performance on TV, the ever increasing presence of black musicians breaking the race barriers, like Chuck Berry, Little Richard and top of the line jazz players making serious inroads to much wider audiences. Ray Charles would invent soul music and still have to endure the humilities of ultra racist clubs in the south, and sometimes in northern states as well, which is something historians don't really like to discuss. In fact, the legendary Wes Montgomery, the world's greatest ever jazz guitarist from Indianapolis in his early days would play in fashionable Indy clubs and then he and the band would have to sit in the kitchen between sets. So punk didn't really blaze new trails. The late '60's, the draft, Vietnam War, civil rights violence and rioting in major U.S. cities gave plenty of fuel for the fire of rock bands at the time, who were harassed by police, beaten, arrested on phony charges, and much as today, ridiculed and made the enemy for convenience's sake. Redneck right wingers were just as opposed to real freedom back then while they bragged about being patriots as now. So the earliest bands that can be connected to or credited with the movement that would surface in the mid-70's, bands like the MC5, possibly the first real punk band although the term didn't exist, The Stooges, and a few other bands who weren't swept up in the hippy dippy scene, including Blue Cheer, and early Black Sabbath were indeed huge influences whether the kids who formed their punk bands recognized it or not. So, the Sex Pistols, managed terribly by Malcolm McClaren, who was as cynical and calculating as anybody in the business, were picked as much for style as musicianship. They were manufactured in the same manner as the Monkees or other outfits that were music industry puppets, but were a huge contradiction of themselves. Rebellious, pointless disgusting public behavior, outrage at whatever supposed target was closest, and the press having a field day with them were just all part of McClaren's plot for quick bucks. Sid Vicious was too strung out and naive in his own poorly educated way to understand he was being manipulated, but Johnny Rotten was not. Drummer Paul Cook and guitarist Steve Jones tried to keep up with the much more visible Rotten and Vicious, but knew they were basically along for a sometimes terrifying ride. McClaren, too cowardly to show up for their first stateside show in Atlanta, refused to book punk hot spots like New York City or the northeast. Instead, he sent the Pistols through the deep South where mayhem and violence were practically guaranteed in redneck cities like Memphis, Tulsa, Dallas and San Antonio. What's worse is that they played a couple gigs in C & W watering holes. Tulsa's Cain's Ballroom was pretty much a neutral site, but not Randy's in San Antonio. The tour of course was a exercise in decadence, violence, Sid Vicious' heroin habit getting more and more out of control, Rotten's increasing frustration with the realization that his band and himself were being played the fools by McClaren and their music was not even being considered. All said, their one album, "Never Mind The Bollocks, Here's the Sex Pistols", was the punk shot fired around the world. Today it sounds tame, but tunes like "Holidays In The Sun", "Bodies", "God Save The Queen" and "Anarchy In The U.K." are bonafide classic rockers, full of energy, fairly competent playing (Vicious only playing a part of "Bodies", as he was thoroughly incompetent on bass, although reports were that he would eventually become a passable player after the Pistols, for his very brief time left girlfriend Nancy Spungeon's murder and his eventual suicide a few months later while awaiting trial for her death), and it remains one of the most influential punk albums, up there with The Clash's self titled debut, The Strangler's couple of first brilliant records and other worthy releases from The Ramones and other countless bands. In the end, this well written book shows that even the most anarchist, nihilistic anti-ruling class band of its day was to end up a puppet, the young band finding out the system could and did beat them, too. While some lament there wasn't new music, only a few singles after "Never Mind . . .", it is my view that a follow-up would have been almost inconceivable. Rotten, who retreated back to John Lydon, would realize that rebellion must come from within, and to use the system to defeat itself if possible. The book can be funny, ironic and even sympathetic when one considers the poor backgrounds of these English lads who were used as much as they thought they were using others. I recall as a high schooler when Vicious died a Tulsa TV anchorman mocked his death, and that was in just as poor taste as the Pistols' were. The death of anybody is serious, and only tyrants, ultra criminals and the like deserve scorn when they pass. What would Vicious have done had he cleaned up? Who knows? All in all, the story of the Sex Pistols and their first U.S. tour ends up being a sad one.

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