Second Annual Report was also released November 1977.
Your text is spot on.
I agree (didn’t catch the Saints in my radar back then though) but when I got into what some called “punk” it was early 78 and I was discovering The Jam, The Clash, Elvis Costello, and even the first Police LP…
In the middle of that avalanche “Never Mind the Bullocks” got my teenager attention for some 10 minutes, felt like a bad joke, completely forgot about it when somebody grabbed me a first pressing of “Marquee Moon”.
True! Great add. We totally forgot about TG.
Exactly. Television blew all the doors off with “Little Johnny Jewel” and maintained that momentum through Marquee Moon. Outstanding stuff. Imagine a punk band in 1978 launching into 15-minute epics with lengthy, Coltrane-influenced guitar solos.
15 minute length epics with guitar solos was partially what punk rock was a reaction to.
“Punk is…” or “punk was…” …phrases fraught with peril. There be dragons.
My favourite of the 70’s British bands were definitely the art-school experimental types, rather than the London scene bands (with The Clash as an exception). This weeks’ Disquiet Junto has me channelling Swell Maps and This Heat with a lo-fi cut up. I played Piano and use a rhythm generator to create exactly three minutes of music, then cut that up into 15 second segments, alternating between the two tracks every 15 seconds.
This white sections were done with the white modules from my small 3U system. The black sections were done with the black modules. I seem to recall someone, maybe Gary Numan, once saying that the synthesizer was the true punk rock instrument. Maybe, or maybe not.
Tried something tonight but it didn’t work out. See you all next week!
This was my ‘score’ (spilled coffee on the paper on purpose to define the black and white sections)
1974-1977 NYC punk was in large part about musical invention and exploration, and the early scene fostered a fair amount of diversity.
Steve Forbert, the folk singer, had his NYC debut at CBGB (he was really good , too, and the “punk” crowd loved him).
The people I saw at CBGB in those days had no uniform or musical religion save for curiosity. By 1976 or '77, though, “punk” became more of a brand than a philosophy; Macy’s had pre-torn safety-pinned shirts on display.
It was not about simply playing crude, unskilled pop songs (though there was that, too). People were interested in ideas and musical concepts (for better or worse). Even the Ramones had an astute conceptual edge to them (for a while, anyways). It wasn’t so much that musical skill was to be rejected or scoffed at, but that lack of skill shouldn’t be a deterrent to exploring ideas.
The spirit lived on in No Wave and the mutant disco that cropped up around lower Manhattan while CBGB became more of a punk-means-hardcore venue.
Nowadays, though, bands labeled “punk” are the often the least likely to show any of the musical adventure that was once a key part of the scene.
Damn, the score looks so promising!
I read "prune overdrive+stones + contact mic + feedback"
Boy, I die to hear that.
Or perhaps ‘piano’.
No no no, now I’m dreaming about a pure Prune Overdrive!
That should be something.
Sweet yet a little bit acid.
Agreed on all points. The movement was exhausted when department stores began selling studded leather jackets with “PUNK” spelled out on the back.
No Wave was awesome. Remember seeing Arto Lindsay back in the day. DNA, Bush Tetras, Ut, Glenn Branca, etc. Memories.
When Suss Müsik closes up shop, we’re starting a new band called Prune Overdrive. Avant-garde post-industrial bossa nova punk waltzes.
And with peril sometimes comes promise…this has been a exceptionally lively and engaging thread, great fun to read with hopes of more time to comment
It amazes me that this topic is so divisive. It was tough to nail down this as a Junto project.
One of the issues about punk is that by definition, it was supposed to exist outside of the mainstream space, and yet its simplicity (musically) and message were very easy for public consumption. It was inevitable that it’d eventually be regurgitated by corporations and sold globally as a product.
I can’t see that happening with extremely experimental genres like Noise, but you never know. Every so often I hear a pop song which has elements of something that was once underground, like Glitch. Every year is one step closer to Gronkytonk.
Great point on punk’s applicability to more “mainstream” music. Strip away the punk veneer and strange realizations come to the surface. The Buzzcocks, Stiff Little Fingers and Ramones wrote pop songs. Wire were arty deconstructivists. The Clash were a “new wave” band with reggae undertones. Television played jazz. Sham 69 and The Jam wanted to be Mod-era Who. Pere Ubu were conceptual surrealists. And the Sex Pistols were simply a mirror to everything that had already happened.
At some point, it became inevitable that radio audiences would acclimate and allow these outliers to displace the mainstream. What remained further fragmented into such genres as hardcore, noise, industrial, glitch, etc. or got swallowed up and repackaged by pretenders like Green Day.
Haha! I don’t want to help you out of the dream of a pure prune overdrive… so let’s say I meant to write ‘prune’ but accidently wrote ‘piano’
Anyway, Prune for Piano, a brilliant mistake!
typos can be so creative…