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Punk

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Post by Admin 20th August 2007, 11:58 am

For more details on these topics, see Garage rock and Mod (lifestyle).
In the early and mid-1960s, garage rock bands that would come to be recognized as punk rock's progenitors began springing up in many different locations around North America. The Kingsmen, a garage band from Portland, Oregon, had a breakout hit with their 1963 cover of "Louie, Louie," cited as "punk rock's defining ur-text."[17] The minimalist sound of many garage rock bands was influenced by the harder-edged wing of the British Invasion. The Kinks' hit singles of 1964, "You Really Got Me" and "All Day and All of the Night," have been described as "predecessors of the whole three-chord genre—the Ramones' 1978 'I Don't Want You,' for instance, was pure Kinks-by-proxy."[18] Though it had little impact on the American charts, The Who's mod anthem "My Generation" (1965), influenced by the Kinks,[19] presaged a more cerebral mix of musical ferocity and rebellious posture that would characterize much early British punk rock: John Reed describes The Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young Pete Townshend—speed obsession, pop-art clothing, art school ambition."[20] The Who and fellow mods The Small Faces were among the few rock elders acknowledged by the Sex Pistols.[21] By 1966, mod was already in decline. U.S. garage rock began to lose steam within a couple years, but the aggressive musical approach and outsider attitude of "garage psych" bands like The Seeds were picked up and emphasized by groups that would later be seen as the crucial figures of protopunk.

For more details on this topic, see Protopunk.

In 1969, debut albums by two Michigan-based bands appeared that are commonly regarded as the central protopunk records. In the spring, Detroit's MC5 released Kick Out the Jams. "Musically the group is intentionally crude and aggressively raw", wrote Rolling Stone critic Lester Bangs, who continued:




Most of the songs are barely distinguishable from each other in their primitive two-chord structures. You've heard all this before from such notables as the Seeds, Blue Cheer, Question Mark and the Mysterians, and the Kingsmen. The difference here...is in the hype, the thick overlay of teenage-revolution and total-energy-thing which conceals these scrapyard vistas of clichés and ugly noise.... "I Want You Right Now" sounds exactly (down to the lyrics) like a song called "I Want You" by the Troggs, a British group who came on with a similar sex-and-raw-sound image a couple of years ago (remember "Wild Thing"?)[22]
That summer, The Stooges, from Ann Arbor, premiered with a self-titled album. According to critic Greil Marcus, the band, led by singer Iggy Pop, created "the sound of Chuck Berry's Airmobile—after thieves stripped it for parts".[23] The album was produced by John Cale, a former member of New York's experimental rock group The Velvet Underground. Having earned a "reputation as the first underground rock band", VU would inspire, directly or indirectly, many of those involved in the creation of punk rock.[24]
On the East Coast, the New York Dolls updated the original wildness of 1950s rock 'n' roll in a fashion that would later become known as glam punk.[25] In Ohio, a small but influential underground rock scene emerged, led by Devo, The Electric Eels, and Rocket from the Tombs, who in 1975 split into Pere Ubu and The Dead Boys (the latter would move to New York and become part of the city's punk rock scene the following year). In London, the pub rock scene stripped the music back to its basics, and provided a grounding for many of the key players in the later punk rock explosion, including The Stranglers, Cock Sparrer, and Joe Strummer of The 101'ers, who would later be a founding member of The Clash.[26] Bands with a compatible sensibility were coming together as far afield as Düsseldorf, West Germany, where "punk before punk" band NEU! formed in 1971, building on the Krautrock tradition of groups such as Can.[27] A new generation of Australian garage rock bands, inspired mainly by the Stooges and MC5, was coming even closer to the sound that would soon be called "punk": In Brisbane, The Saints also recalled the raw live sound of the British Pretty Things, who had made a notorious tour of Australia and New Zealand in 1965.[28] Radio Birdman, founded by Detroit expatriate Deniz Tek in 1974, were playing gigs to a small but fanatical following in Sydney.

Preceding the mid-1970s, punk, a centuries-old word of obscure etymology, was commonly used to describe "a young male hustler, a gangster, a hoodlum, or a ruffian".[29] As Legs McNeil explains, "On TV, if you watched cop shows, Kojak, Baretta, when the cops finally catch the mass murderer, they'd say, 'you dirty Punk.' It was what your teachers would call you. It meant that you were the lowest."[30] The term punk rock was apparently coined by rock critic Dave Marsh in a 1970 issue of Creem, where he used it to describe the sound and attitude of ? and the Mysterians.[31] In June 1972, the fanzine Flash included a "Punk Top Ten" of 1960s albums.[32] That year, Lenny Kaye used the term in the liner notes of the anthology album Nuggets to refer to 1960s garage rock bands such as The Standells, The Sonics, and The Seeds.[33] Bomp! maintained this usage through the early 1970s, also applying it to some of the darker, more primitive practitioners of 1960s psychedelic rock.[34]
By 1975, punk was being used to describe acts as diverse as the Patti Smith Group—with lead guitarist Lenny Kaye—the Bay City Rollers, and Bruce Springsteen.[34] As the scene at New York's CBGB club (popularly referred to as "CBGBs") attracted notice, a name was sought for the developing sound. Club owner Hilly Kristal called the movement "street rock"; John Holmstrom credits Aquarian magazine with using punk "to describe what was going on at CBGBs".[35] Holmstrom, McNeil, and Ged Dunn's magazine Punk, which debuted at the end of 1975, was crucial in codifying the term.[36] "It was pretty obvious that the word was getting very popular," Holmstrom later remarked. "We figured we'd take the name before anyone else claimed it. We wanted to get rid of the bullshit, strip it down to rock 'n' roll. We wanted the fun and liveliness back."[34]


The origins of New York's punk rock scene can be traced back to such sources as late 1960s trash culture and an early 1970s underground rock movement centered around the Mercer Arts Center in Greenwich Village, where the New York Dolls performed.[37] In 1974, the members of a band from Forest Hills, Queens, adopted a common surname. Drawing on such sources as the Beatles, Herman's Hermits, The Beach Boys, and 1960s girl groups, the Ramones condensed rock 'n' roll to its primal level: "'1-2-3-4!' bass-player Dee Dee Ramone shouted at the start of every song, as if the group could barely master the rudiments of rhythm".[38]
By the following year, they were playing regularly at the lower Manhattan club CBGB. "When I first saw the Ramones," critic Mary Harron later remembered, "I couldn't believe people were doing this. The dumb brattiness."[39] CBGB was already the regular venue for another band that played very loud, but much more complex music, Television. The band's bassist/singer, Richard Hell, created a look including "leather jackets, torn T-shirts, and short, ragamuffin hair" credited as the basis for punk rock visual style.[40] Early in 1975, Hell wrote "Blank Generation", the scene's emblematic anthem of escape; a recording of the song by Hell and a new band of his, The Voidoids, would first be released in 1976.[41] In August 1975, Television—with Fred Smith, former bassist for another CBGB band, Blondie, replacing Hell—privately recorded and released a single, "Little Johnny Jewel". As critic John Walker describes, the record is regarded as "a turning point for the whole New York scene" if not quite for the classic punk rock sound itself—Hell's departure left the band "significantly reduced in fringe aggression".[42] Yet another regular performer at the club was Patti Smith, a veteran of independent theater and performance poetry, who was developing an intellectual, feminist take on rock 'n' roll. Her debut album Horses, one of the seminal punk rock records, was produced by John Cale and released in November 1975.[43]Punk 170px-CBGB_club_facade Punk Magnify-clip
Facade of legendary music club CBGB, New York.
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