Published by Thames and Hudson, 1992. Reviewed by Glenn Povey.

Published in the UK by Thames and Hudson, "Rock Sets" is the stunning visual history of behind-the-scenes technical design wizards Mark Fisher and Jonathan Park. They are, of course, the London-based team, Fisher-Park, who's creative genius for rock shows has made it possible for us to enjoy what could be a stupendously boring affair.

High on visual imagery, impact and resourcefulness, Fisher-Park have carved a niche for themselves as the leading concert designers for nearly every major act in the world. Ranging from the huge scaffolding jumble sale scrap yard that the Rolling Stones carted around the USA for "Steel Wheels", the almost Roger Dean-esque scapes that formed Stevie Wonder's "Hotter Than July" set, to the magnificent scale of Jean-Michel Jarre's show in Houston in 1986. Of course, the more studious among us will have read their Pink Floyd programmes and the name Fisher-Park is almost synonymous with "The Wall" show tour and Roger Waters solo tours of "Pros & Cons" and "Radio KAOS" (not to mention the huge Wall In Berlin re-run).

Pink Floyd were the kick-start for Fisher-Park's rock career back in 1977 when they were asked to design a series of inflatables for their live shows. Both had careers in design/architecture, and had been constructing inflatables and lightweight structures as early as 1966. The pair didn't team up until 1976, but the call from Floyd later that year to work on the "Animals" tour was a critical one in their career. You could almost say the rest is history.

It is interesting to see that stadium rock has advanced only in as far as the sets are concerned. The emphasis is always on the visual impact. The ability to keep the fans in the back entertained is a critical point in their business.

What I found oddly remarkable about this book is its simplicity, yet fine attention to detail. Apart from the glossy presentation, there are three large foldouts giving panoramic views of stage designs and a plethora of previously unpublished photos.

But what really sells this book is the study of the whole design development from rough sketches through the computer line drawings, and finally their transformation into the finished product.

Furthermore, and a real treat for Floydies, are the detailed notes on the 1977 tour, including the sheep cannons, the 1980-81 Wall tour incorporating the "slug" concert hall, and especially the 1975 tour pyramid design which was revived in 1977 for possible reuse on future tours.

The book is so full of little treats like this it's hard to put down, and like I said, it is so visually stunning in itself you can gawp at it for hours. The only down point is a few mixed up dates appearing here and there, but this is nit-picking really. If you're looking for an interesting departure from the norm in music books, try it out. Although it can be read cover to cover in one (extended) reading session, this is because you won't want to put it down!