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  • 1 month later...
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not necessarily, he could have been saying "come on, let's Rock and Roll with the Ramones"

as he would add the 'the' for any bandname that's in plural, but without article

you wouldn't say "let's listen to Buzzcocks now" or "here comes a track by Sex Pistols" either, would you? ;)

welcome back, btw :D

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  • 2 weeks later...

Well, I might. "Let's listen to some Buzzcocks"...sounds alright to me. "Let's listen to the Buzzcocks"; no problem with that either. What's your point?

Anyway, moving swiftly along:

E is for EATER.

Considering that they were one of the earliest of the UK punk bands to explode onto the scene in 76/77, it's remarkable how unrecognised Eater remained, both at home and abroad. It's not for their lack of catchy tunes, in any case. Perhaps they were a little too generic for the time. They were one of those bands who put out a few spunky singles, one underrated album, then disappeared without a trace.

Fronted by Andy Blade, (reputedly only in his mid-teens at the time), Eater's best known track is their second single, "Thinking Of The USA", which featured in Mojo magazine's countdown of "the best punk rock singles of all time". Eater also contributed two tracks to the seminal punk rock compilation "Live At The Roxy WC2".

"Thinking Of The USA"

"Outside View"

"Lock It Up"

"Fifteen" a version of Alice Cooper's "I'm Eighteen"

"No Brains" (Live) Interesting archive footage of 77 punk in action (though it seems to take an age to load; maybe it's this PC). Yes, that is a pig's head you see stage-front. :o

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Well, I might. "Let's listen to some Buzzcocks"...sounds alright to me. "Let's listen to the Buzzcocks"; no problem with that either. What's your point?

my point is mostly about the use of the band name as a stand alone - as opposed to within a sentence :)

also it's really just a minor thing - the fact that we're discussing it already gives it too much attention :D

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And while we're on the subject of "classic (i.e. old skool) punk, it's almost wall-to-wall on PUNK.FM ; the "only punk rock internet radio station, dedicated to the music of 1976 to 1979".

To be honest, their claim that they "only play 1976 -1979 recorded tracks, studio, live, demo- anything else is complete and utter nonsense" is flagrantly untrue. e.g. "Peek-A-Boo" by Siouxsie & The Banshees was recorded in 1988, for starters.

The station's musical selection is sufficiently eclectic to include the likes of Squeeze, Ian Dury, The Tubes, and The Fall as well as a wide range of the more obscure and the more obvious punk / new wave acts.

It's worth a listen; for a while, at least. And potentially educative, for anyone who has been enjoying this thread so far.

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  • 4 weeks later...

Read this for a potted account of the origins of Generation X

Fronted by Billy Idol, who later became an internationally recognised mainstream pop-star, Generation X would become pin-up boys of the UK punk scene, a role they appeared reasonably happy with, unencumbered by any of the ideological issues of the day which would weigh heavily upon other bands. Generation X just wanted to be an exciting, ass-kicking, glamorous rock'n'roll band. Although this meant they were taken less seriously, and frequently condemned as "false", by the more earnest ideologues and pontificators, it is hard to dispute their credentials for consideration as a true "punk" band. Billy Idol is often cited as a member of "The Bromley Contingent" (also described in more interesting detail HERE, whose presence in the annals of punk history is cemented by the presence of some of their number at the infamous "Bill Grundy Interview" which catapulted the Sex Pistols onto the front pages of the nation's press. A gang of attention-seeking teenage poseurs, the Bromley Contingent cottoned on quickly to the early Pistols and became their "devoted cult following".

Truth be told, Billy Idol was only a bit-part of this gang; he was 3 or 4 years older than the others, and already off at University. He could drive however; he was behind the wheel for the Contingent's pilgrimage to the legendary Mont Marsan Punk Festival in France. Photos from those early days see Billy Broad sporting a "Mod" look, quite at odds with the glam / punk /avant-garde stylings of his comrades. He tried several other out-of-kilter looks before settling on the peroxide punkabilly look that would become his trademark. Billy was a mixed up youth in other ways, too.

In "Your Generation" , he launches into an attack on the redundancy of previous rock generations, the title a mischievous nod to The Who's proto-punk classic, "My Generation". If you notice, he also suggests that ridding ourselves of these burdensome historical figures "might take a bit of violence". Oooh! How very "punk".

Within a matter of months, Generation X would score a hit with "Ready Steady Go", which betrays his adoration of various 60s pop inspirations appearing on the show of the same name, presented by the lovely Cathy McGowan, (with whom Billy was in love). Ok, he claims not to be in love with the Beatles, the Stones, Bobby Dylan, et al, but you just know that he is. Because he's in love with rock and roll!

"Wild Youth" (1977) is an exuberant melange of 77 punk rock with the anthemic UK glam of The Sweet and Slade from earlier in the decade.

I don't particularly like "Kiss Me Deadly" from 1978, but the footage (from some documentary or other)is quite interesting. There's something about them at this point that makes me think of The Libertines, butI'm not sure why.

By 1979's "Into The Valley Of the Dolls" , Billy is more in love with himself than ever. Not a bad single, mind you.

"King Rocker" is utterly preposterous, but truth be told, I've always been quite fond of the absurdities of pop. The unlikely premise of the song? An imaginary boxing match between Elvis and John Lennon. Seriously.

By this time, Generation X were so "commercial" that whatever had remained of their serious punk credibility was heading for the shredder.

Before the band eventually fizzled out, after contracting their name to the snappier Gen X, they managed to record the perennially uplifting "Dancing With Myself" You can certainly argue it's not really "punk" any more; however, it does feature Steve Jones of The Sex Pistols as guest guitarist, if that helps any. :P

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  • 6 months later...

I is for Ian Dury. (Since I didn't mention him under "D").

In two minds about whether to include Ian Dury, but my decision was cemented by viewing of the Dury bio-pic "Sex & Drugs And Rock'n'Roll" and recent re-listenings after-all-this-time of his "New Boots And Panties" album. I concluded that, even though for the most part his music isn't technically of the punk rock genre, he was certainly an important scene figure both influencing and epitomising the times in attitude and matters sartorial.

"Billericay Dickie"

"Sweet Gene Vincent" with guest appearance from Mick Jones of The Clash on guitar.

"Blockheads"

"Clevor Trever"

"What A Waste"

Anda taste of what Ian was up to in the pre-punk years, when he fronted the influential Kilburn & The High Roads: "Rough Kids"

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J is for The Jam

Okay, so The Jam subsequently became known as a Mod Revival band - then as just "the best band around" - which has overshadowed their origins as one of the hottest bands on the scene when UK punk was about to burst huge on the national stage. Ultimately derided by many on account of their smartly besuited moddish apparel, and reviled by others on account of their apparent professionalism (at odds with the zeitgeist), The Jam made their name as a *******-hot live act on the nascent punk scene, playing snotty, kick-ass, high octane rock in the "angry young men" style. They were clearly influenced much by such acts as The Who, The Small Faces (both artists whose songs were also being covered by The Sex Pistols around 1975-76, as it happens), as well as acknowledging other 60s influences (e.g. soul, r'n'b, Motown) which served to distance them somewhat from their punk peers.

For all the divisiveness of the scene that resulted in The Jam moving off in different (more successful) directions, albeit with a massive, loyal fan-base in tow - a string of fantastic hit singles easily explains their status, by 1980, as the UK's top band - no history of the mid/late 70s UK punk explosion is complete without The Jam included therein.

"In The City" And yes, that is Factory Records supremo Tony Wilson presenting Granada Tv's news programme "So It Goes".

"All Around The World" And yes, that is Marc Bolan presenting the new music show "Marc".

"This Is The Modern World"

"News Of The World"

"A-Bomb In Wardour Street"

"Down In The Tube Station At Midnight" Simply, one of the best songs ever written, by anybody.

"Strange Town"

"When You're Young"

"Eton Rifles"

"Going Underground" Straight in the Uk chart at #1, back in the day when that meant something. Another song that bears comparison with any of the supposed "all-time greats", imho.

"Dreams Of Children" The other A-side on tyhe Going Underground single, but commercially at least, eclipsed by the other side. Still a great song in its own right, though.

"Start!"

With hindsight, I acknowledge that (imo) some of the earlier stuff is a bit ropy. However, I reckon that from 1978 to 1980, The Jam's output - a string of classic singles and consecutive brilliant albums in "All Mod Cons", "Setting Sons" and "Sound Affects" - is pretty much unrivalled for consistent excellence.

Ladies and Gentlemen, The Jam. What a 'kin' great band.

:)

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L is for the LEYTON BUZZARDS. Not an important band, really. Not very influential in any way, though like Eater who I featured earlier in the thread, there's something quintessential about them. Punk wasn't all about the big names,it was as much about the lesser-known participants who in many cases, were more typical of the times, or summed them up perfectly. In this case, The Buzzards seemed to specialise in being a sort of tongue-in-cheek pastiche of The Clash.

I'm a bit disappointed at the poverty of youtube footage of the Leyton Buzzards - hoped there would be footage of their minor punk rock classic from 1978, "19 And Mad", but sadly not.

However there is a clip of their most celebrated chart hit "Saturday Night Beneath The Plastic Palm Trees", which is either inexcusably crap or a stroke of pop-genius,depending on how seriously you took all this punk rock sh1t.

"We Make A Noise" demonstrates the "Clash pastiche" aspect of the Leyton Buzzards to a T, with its distinctive riffing and the reference to having a one way ticket to "garageland".

I found one other clip of The Leyton Buzzards recorded work, a home made vid featuring two tracks from the bands only album, a lost classic, "From Jellied Eels To Record Deals":

"Land Of The Free" & "British Justice", which could be perceived as cheeky responses to The Clash's twin obsessions with the USA and police repression on the UK streets.

(A couple of these geezers later turned up in early 80s abomination Modern Romance of "Ay Ay Ay Moosey" and "Everybody Salsa" notoriety. But I forgive them)

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Also beginning with L, The Lurkers are another example of a quintessential UK punk band, albeit one who has a more distinguished recording history,status and a recognised place in the overall scheme of things than the relatively consigned-to-oblivion Leyton Buzzards (above).

The Lurkers tended more towards the Ramones / Eddie & The Hot Rods vein of simple, cranked up r'n'b than the "angry brigade" or art-school tendencies found within the punk rock "movement".

"Aint Got A Clue"

"I Don't Need To Tell Her" is one of my favourite Lurkers singles. This rendition (a live TV appearance) shows the vocalist all over the place tune-wise, but it amply demonstrates the kind of fervour that existed at the time for even relatively modest "also ran" punk rock.

"Shadow" And the crowd went wild.

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M

Strictly speaking, can we consider Magazine as a "punk" band? No, probably not. Or can we?

Strictly speaking, it would probably be more accurate to describe them as "post-punk" and have done with it. Indeed, there is a strong case for citing Howard Devoto as the inventor of "post-punk". As founder member of Buzzcocks in 1976 - after having been greatly enthused by seeing The Sex Pistols early gigs - Devoto was right at the forefront of the punk happening. However, by early 1977 - the year punk went overground - Devoto had already decided that punk (as it was now being called) was a dead-end, and quit the Buzzcocks to pursue his more esoteric instincts with his new combo, Magazine, who introduced keyboards, effects pedals and musicianship to create atmospheres vastly different to the angry anti-intellectual stomping inherent to much of the more mainstream punk phenomenon.

Digression: Throughout 1977 to 1979, there was a pretty fine line between the genres of punk, new wave, power-pop and what would eventually be referred to as post-punk. (It's kind of odd, really, to refer to anything happening in 1977 as "post-punk", but there y'go.)

My view of punk is such that I sometimes wonder whose right it is to define what is and what isn't? In any case, the issue of "definition" is fraught with difficulties, as it is in constant flux, being redefined over a 30 year period to accommodate new waves, influences on and perceptions of the "genre". If I'm not making sense: an example to clarify. The stereotype of "a punk" in 1977/78 (which might differ greatly from what the great majority of punk band members actually looked like) would be defined by certain aspects of appearance and music choice, which might reflect an "on the cheap" replication of the appearances of "major players" such as The Sex Pistols, The Clash, The Damned. Hence wrap-round shades, mohair jumper, tartan/leopard print bondage trousers, recycled ornamentation (safety pins, baby's dummy, etc,etc.). But there wouldn't be a heavily-studded painted leather or a mohican hair-do in sight, because these would be popularised a few years later. By 1981, the stereotypical punk look/tastes have changed. Many who had embraced the looks/sounds of thefirst/2nd wave bands have moved on to pastures new, whilst "diehards" and/or new incomers to the genre are enthused more by 2nd or 3rd wave punk bands, more "of the street" including the likes of Discharge, GBH , The Exploited (who have developed their own more extreme style to differentiate themselves from those perceived as sell-outs / lightweights / new romantics, etc.) whence the mohican, 1ft high spikes, studded leathers and a different kind of punk music altogether. By the mid 80s, the look and sound of "punk" had changed again, to accommodate diverse influences such as the US hardcore sound and style, and the "crusty" style emerging from the Crass/anarcho-punk scene. Music and fashion being in continuous evolution, but stereotype reinforcing stereotype as new adherents adapt themselves in order to "fit in" to the current scene. (Given that punk was supposed to be anti-conformist and encouraged individual thought, originality, etc. the irony shouldn't be lost on anybody.)

Personally, I tend to see it - "PUNK" - as quite a broad and inclusive church*; if I allow it to be defined purely by a set of simplistic, stereotyped characteristics rooted primarily in the media's cartoon perception of it, what happens then to those whose punk spirit urges them to break free of such constraints? Are they "punk", or aren't they? To me, it's a nonsense to employ a definition of "punk" which necessitates conformity and excludes key maverick figures from the original "scene", whose works might be considered formative and influential, such as Howard Devoto, Mark E. Smith (The Fall), John Lydon's Public Image Ltd, and many more.

*To give you an idea of how broad a church: I don't have any problem with including outfits such as Joy Division, Wire, Siouxsie & The Banshees, Bauhaus, The Pop Group and the like, even though they were "a bit different". On a good day, I can even make a case for The Psychedelic Furs. :P

Anyway, getting back to Magazine. Ok, Devoto invented post-punk, Magazine guitarist John McGeoch (later of The Banshees) might be credited with inventing a distinctive post-punk guitar style. They formed in 1977, but released their first single, the absolute classic "Shot By Both Sides" in 1978. Interestingly, the distinctive ascending guitar motif in "Shot..." is replicated in Buzzcocks "Lipstick", Devoto having taken the riff with him, Shelley having decided to keep it for himself. And why not? It's a cool riff.

Since "Shot By Both Sides" is a classic punk rock single, and some of Magazine's other (early) stuff still sounds quite Buzzcocky / art-punk, I have no qualms about including them here in this punk thread, even though, on the whole, a listening of their entire discography would undoubtedly see them classified as something other.

"Shot By Both Sides"

"My Mind Aint So Open"

"Touch And Go"

"The Light Pours Out Of Me"

"Rhythm Of Cruelty"

"Song From Under The Floorboards"

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  • 2 weeks later...

M is also for The Members

It's hard to justify nailing The Members down as a "punk rock" band; they were another of those bands that hung around the cusp of punk / new wave / power pop. If anything, they were shapeshifters; when it was fashionable to do so, they shed their punky edge in favour of a brand of clash-influenced white reggae not dissimilar from The Police (listen to "Offshore Banking Business"). Later, they would toy with funk rock, before fizzling out without ceremony.

However, The Members legacy to punk rock includes two absolute classic singles of the genre: "The Sound Of The Suburbs" and "Solitary Confinement". There's a certain tongue-in-cheek irony afoot in both of these tracks (in their handling of their respective subject matter), a self-deprecating humour, but also just the right combination of energy, melody and simplicity to identify them as "punk" tunes.

(It's an odd thing about punk, that some of its best moments result from attempts at satire of the genre. (see also: "Jilted John" - Jilted John, "Ca Plane Pour Moi" - Plastic Bertrand, "Kill" - Alberto Y Los Trios Paranoias, and "Sound Of The Suburbs".)

"Sound Of The Suburbs"

The Members - Sound Of The Suburbs

(Carroll/Tesco)

Same old boring Sunday morning, old man's out washing the car,

Mums in the kitchen cooking Sunday dinner, her best meal, moaning while it lasts,

Johnnys upstairs in his bedroom sitting in the dark,

Annoying the neighbours with his punk rock electric guitar.

This is the Sound,

This is the Sound of the Suburbs

This is the Sound,

This is the Sound of the Suburbs

Every lousy monday morning Heathrow jets go crashing over my home,

Ten O'clock, Broadmoor siren driving me mad, won't leave me alone,

The woman next store just sits and stares outside,

She hasn't come out once ever since her husband died.

This is the Sound,

This is the Sound of the Suburbs

This is the Sound,

This is the Sound of the Suburbs

Youth club group used to want to be free,

Now they want anarchy!

They play too fast, they play out of tune,

They practise in the singer's bedroom,

The drums quite good, the bass is too loud,

And I… can't hear the words.

This is the Sound,

This is the Sound of the Suburbs

This is the Sound,

This is the Sound of the Suburbs

Saturday morning, family shoppers crowding out the centre of town,

Young blokes sitting on the benches shouting at the young girls walking around,

Johnny stands there at his window looking at the night,

I said, hey what you listening to there's nothing there! (that's right)

This is the Sound,

This is the Sound of the Suburbs

This is the Sound,

This is the Sound of the Suburbs

"Solitary Confinement" Live in France.

"Solitary Confinement" Single version. Lyric contains real jokes. Well, one, at least.

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As anybody who has seen 999 on tour within the last few years will know, they, 999 are an original 1977 punk band. Because he (999 mainman Nick Cash) mentions it several times during every show. And then again at the end.

And their merchandise includes a large back-patch featuring 999's traditional logo, with the words "Made in 1977" etched across the corner. How sad is that?

Anyway, I digress.

I like 999's eponymously titled debut album, and still listen to it occasionally, when the mood takes me. It's choc-full of short, sharp rock'n'roll belters like "I'm Alive!", "Chicane Destination", "Hit Me" and "Direct Action Briefing", interspersed with more restrained chugging rockers, such as the classic singles "Emergency", "Homicide" and "Titanic Reaction". It's well worth 45 minutes of anybody's time. I'd recommend it. Honestly.

Unfortunately (for them), 999 were another one of those bands who were ultimately mistrusted for various spurious reasons, including: their age, their dubious fashion sense, a perceived enthusiasm to compromise in the interests of commerce. In sum; a lack of "street credibility".

A poor second album was followed by a brief flirtation with chart success with the "Obsessed" and "Indian Reservation" singles in 1981/2, followed by a disappearance into well-deserved oblivion. Only to re-emerge decades later as "the Last of the True Believers". (Or, looked at another way, a band with understandable insecurities.)

"Emergency"

"Homicide"

"I'm Alive!"

"Titanic (My Over) Reaction"

"Direct Action Briefing"

"No Pity"

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I'm just glad somebody's enjoying the fruits of my labour. ;)

A couple of cracking bands coming up next.

O is for The Outcasts, probably the best punk rock band to come out of Belfast.

Now, I was pretty much oblivious to the existence of The Outcasts until I saw them on Dec 20th, 1981 at the Christmas On Earth punk all-dayer at Leeds Queen's Hall. This was before I lived in Leeds: I was 16 and had to get a day-pass to travel by train to the Big City for this momentous event, attended by 7,000 people. It snowed, as I recall. I missed headliners The Damned and The Exploited due to having to catch the last train back to Doncaster. Nevertheless, the line-up included quite a few "name" bands of the time: Chelsea, Vice Squad, Chron Gen, Anti-Nowhere League, GBH, and Black Flag. Sad to say, Black Flag went down like the proverbial lead balloon, leaving the audience either bewildered or unimpressed. Having read Henry Rollins Tour Diary account of the event, I gather the feelings of antipathy were mutual. Anyway, I digress, wildly.

The Outcasts (of whom I had never heard) were last minute replacements for Anti Pasti (whom I had been looking forward to seeing, until they were delayed on their US Tour, would you believe?) And The Outcasts were chuffing fantastic. Absolutely the dog's bollocks. Probably the best band I saw that day. A contemporaneous report of the event says: One group who had conquered the awesome travelling conditions (snow and ice) were the Outcasts, from Belfast. They were next, demonstrating an attractive variation on the basic punk format with a tight, melodic and varied selection of songs (including the Glitter Band’s "Angel Face") that nevertheless, shook with a mighty power. They impressed many, but disappeared shortly after playing, bound for Stranraer, the ferry back to Northern Ireland and work the next morning. (Melody Maker, Jan 2nd 1982).

Tight, melodic and mightily powerful, indeed. At this time, The Outcasts were operating with two drummers a la The Glitter Band. As I recall, the drummers wore balaclava masks - terrorist chic - which added to the menacing impact of their pounding beats. Ho happy day.

I soon went to see The Outcasts again, this time in a small venue, the legendary Retford Porterhouse, and, again,they were just superb. I subsequently discovered that the band had been going since 1977, and some of the standout songs from the live shows I had enjoyed so much - "Frustration", "You're A Disease", "I Don't Wanna Be An Adult", "The Cops Are Coming" - had all been released on various singles in 1978/79. Around this time (1982) an Outcasts track, "Mania", was included on a compilation album, "Punk & Disorderly", featuring a motley assortment of "new" punk bands. Despite being a pretty mediocre product, "Punk & Disorderly" sold well to the new generation of punk rockers, which undoubtedly helped the band to achieve greater prominence. Also, John Peel was a fan, and the band recorded a couple of studio sessions for his radio show. Impressed as I was, having bought the "Mania" single, (also featuring the splendid "Beating & Screaming" and an odd track "Programme Love"), it was difficult getting hold of their early singles; limited pressings and no official release on the British mainland rendering them collectors' items. So I had to content myself with "The Cops Are Coming" (split single with another band; picked up cheap at a record fair) and another track "Justa Nother Teenage Rebel" on some punk/experimental obscurities compilation album. A friend taped me a couple of tracks, but that was a pretty poor quality tape and it went west donkey's years ago. So it is only relatively recently, by purchasing "The Outcasts - The Punk Singles Collection" (a terrific anthology of the band's work) that I have been able to truly appreciate the ....ummmmm...attributes of those singles from their early years. Truth be told, the playing is pretty shoddy in places, especially the drumming (they had only the one drummer at the time of these recordings), but there is something about these songs, something unusual, something amazing and glorious that transcends their obvious technical limitations.

"You're A Disease"

Oooh, that's a bit harsh. But what a song!

"Frustration"

Raw. Really raw and angry. Chuffing A!

"JustA Nother Teenage Rebel"

For too long in my life,I've searched for the ultimate punk rock song. Egad! I think I've found it!

"Love Is For Sops"

"I don't want to meet your ma and pa,

I wouldn't know what to say.

I don't believe in communicating anyway..."

"Self-Conscious Over You"

Showing off his sensitive side now.

"Gangland Warfare"

"Mania"

"Ruby" ...don't take your love to town.

Following the indie-chart success of "Mania" and its follow-up, a cover of The Glitter Band's "Angel Face", the band experienced a tragedy, when founder member, drummer Colin Cowan, (brother of vocalist Greg and guitarist Martin) was killed in a car crash. The band decided to continue, recording an excellent second Peel session which signalled a change of musical direction. By now a skilled unit, subsequent releases saw the band developing a more trad rock'n'roll sound, "Nowhere Left To Run" having a spaghetti western kind of vibe, whilst "Seven Deadly Sins" sounded LIKE THIS

The Outcasts finally split in 1985.

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P

If there was an award for the most underrated UK punk band, PENETRATION would arguably be its most deserving recipient.

One of those bands who formed as a direct result of seeing the Sex Pistols in the summer of 1976, taking their name from an Iggy & The Stooges track, Penetration were from the small town of Durham, up in the north-east of England and well away from the buzzing capital with all its nascent punk rock activity.

Penetration's debut single "Don't Dictate" is an undisputed classic of the punk genre. Their debut album "Moving Targets" was also critically acclaimed, featuring in all of the music weeklies end-of-year "Best Album" lists for 1978, and reaching #22 in the UK album charts.

"Moving Targets" featured a cover of the Buzzcocks song "Nostalgia", which was a bold move; the Buzzcocks were Penetration's peers and touring partners, but also, by now, commercially successful and amongst the "leading lights" of the movement. However, Penetration were astute enough to recognise not only a great tune, but also the prescience of "Nostalgia"'s lyric: About the future I only can reminisce

For what I've had is what I'll never get

And although this may sound strange

My future and my past are presently disarranged

And I'm surfing on a wave of nostalgia for an age yet to come

A disappointing public reaction to their second album "Coming Up For Air", released in late 1979, precipitated the band's demise in 1980. Personally, I can't understand the public's disappointing reaction; what were the public thinking??? "Coming Up For Air" is a splendid album; paradoxically, by demonstrating musical competence, imagination, creativity and melody it may have passed beyond the realm of the average punk-on-the-street's understanding.

"Don't Dictate" classic live footage of Penetration performing Don't Dictate at Manchester Electric Circus in 1977.

"Don't Dictate" The classic punk rock single.

"Nostalgia" ...the Buzzcocks cover I mentioned.

"Money Talks"

"Future Daze" & "Life's A Gamble"

"Firing Squad"

"Silent Community"

"Vision"

"Come Into The Open"

"Danger Signs"

Penetration reformed in 2001, and I'm sure it's only a matter of time before I get to see them perform at some punk rock all-dayer or such like. I hope so.

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An unexpected window of opportunity!!! :)

The RUTS it is, then.

Would it be rash of me to claim The Ruts as the best of them all? If I were in the unfortunate predicament of only being able to listen to one punk band in perpetuity......phew...tough call. But I think it'd probably be The Ruts.

Just putting together the links listed below has been a strangely emotional experience for me. It doesn't help that the untimely death of vocalist Malcolm Owen, (by heroin overdose at the age of 25), renders some of these songs particularly poignant. (Not one to glamourise or glorify his drug addiction, Owen made a point of using his insight to warn young people against hard drugs.)

For a band that recorded only one studio album, "The Crack", and lasted only 3 years from first gig to untimely-death-of-vocalist, their musical legacy is nothing short of phenomenal.

I have a place in my heart for most of those "second wave" punk bands who came along between 78 and 80, gatecrashing the charts with their gurning faces and raucous guitars - the Angelic Upstarts, Cockney Rejects, Sham 69, UK Subs, et al - but my fondness never blinded me to their flaws, of which there were...at least a few. However, The Ruts were a class apart, and, in my book anyway (given that the Pistols had demised by then), on a par with The Clash. "Pah!", I hear you scoff, doubtfully. But looking at the quality of the singles released by The Ruts in that 2 year period 1978 -80:

"In a Rut" / "H-Eyes"

"Babylon's Burning"/"Society"

"Something That I Said"/"Give Youth a Chance"

"Jah War"/"I Ain't Sofisticated"

"Staring At The Rude Boys"/"Love in Vain"

"West One (Shine On Me)" / "The Crack"

...I rest my case, Your Honour.

This is at least as good as the six singles released by The Clash during the same 2 year period. "Babylon's Burning" and "Staring At The Rude Boys" take some beating, and, do you know what? Even the mighty "White Man In Hammersmith Palais" and "Tommy Gun" don't quite do it.

One can't help wondering what the Ruts might have gone on to achieve, if only... :(

"In A Rut"

"H Eyes"

"Babylon's Burning"

"Something That I Said"

SUS

"Jah War"

"I Aint Sofisticated"

"Dope For Guns"

"Staring At The Rude Boys"

"Staring At The Rude Boys" (complete recorded version)

"Love In Vain"

"West One (Shine On me)"

"You're Justa"

So: one "proper" album, "The Crack", and a compilation "Grin And Bear It", comprised of (some) singles, b-sides, tracks recorded for the John Peel show and a couple of live recordings (Paris '79). I have both of these, but also keep a compilation CD, "Something That I Said: The Best Of The Ruts", for convenience sake. Essential stuff.

After the death of Malcolm Owen, the remaining three band members- Paul Fox (guitar), Segs (bass) and Dave Ruffy (drums) - continued as Ruts DC (D.C. standing for the Latin term Da Capo, meaning 'back to the beginning') They released two albums on the Virgin label, in a more reggae/dub stylee - "Animal Now" and "Rhythm Collision"- before splitting in 1983.

P.S. On 16 July 2007, the band reformed for the first time in 27 years, and played a special benefit gig for Ruts guitarist Paul Fox, following his diagnosis with lung cancer. Henry Rollins (of Black Flag), stood in for Owen. They were supported by Tom Robinson, The Damned, Misty in Roots, U.K. Subs, Splodge (Splodgenessabounds), John Otway, and the Peafish House Band which featured Lee Harris, (The Blockheads), Tony Barber (Buzzcocks) and Rowland Rivron, plus Edward Tudor-Pole and T. V. Smith.

Paul Fox died on 21 October, 2007 at the age of 56.

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just wanted to mention that German Punk outfit Die Toten Hosen did a not quite bad cover of Babylon's Burning :)

"not quite bad"? You do them a disservice, it's actually quite good!

I think what set The Ruts apart from their contemporaries in the late 70s punk thing was that they were more multi-dimensional.

They were pretty competent musicians and had a genuine feel for musical dynamics. When they turned their hand to reggae, they could pull it off very convincingly and with attention to production detail.

Also, Owen's vocal/lyrical approach was...so much "punk rock" was about anger and righteous indignation, and often not much more. Who, at that time and in the context of punk rock, sought to move people on a more emotional level, to create a musical and vocal combination that would tingle the spine? Owen could do anger - and do it well - but he could also do the latter.

"It Was Cold" Poor quality footage, unfortunately.

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  • 9 months later...

R is also for Rezillos

Now, some might dispute the Rezillos inclusion in a list of "proper" punk bands. By the time Rezillos achieved public prominence (via appearances on Top Of The Pops in 1978), "punk" had already been strait-jacketed by a new public perception of how "punk" was supposed to look and behave. The Rezillos, from Edinburgh, Scotland, had some common ground with the early UK punk bands, in that their music was a high-octane, garagey rock'n'roll racket; a cranked-up version of 60s beat-pop, if you like. On the other hand, The Rezillos had no political agenda, were whacky, zany and hell-bent on entertaining. And perceived as "uncool" by sniffy elitists. However,their debut single, "I Can't Stand My Baby", recorded in the summer of 1977 was and remains a true punk rock single, playing the smart/dumb paradox exquisitely.

You'll notice, watching this clip, that at least a couple of the original Rezillos line-up were moustachioed long-hairs; this might have distanced them from the metropolitan punk rock "in-crowd". Away from the capital, this sort of fashion faux pas mattered less, and people dug The Rezillos regardless. However, the pared down line-up you see on the later TV clips clearly remain relatively unconcerned by fashion credibility. By this time, (1978), a distinction had been drawn between "punk" and "new wave", and The Rezillos were perceived as falling into the latter category. Still sounds quite alot like punk rock to me, though. :)

"I Can't Stand My Baby"

"Top Of The Pops" (miming on Top Of The Pops!)

"Destination Venus" I love loads of Rezillos tunes, but this is a particular favourite. I like the lyrics: "Destinatation Venus, more than darkness lies between us, 20 million miles of bleakness...human weakness. Holding my receiver, I can feel you coming nearer, probing through the airwaves, clearer...clearer, clearer... ...Further modulation of the frequency rotation triggers wave-band activation...near elation. Somewhere in the distance, I could hear a voice one instance, but it faded from existence...no persistence". Dunno if it's just me and my fondness for that smart/dumb thing, but these lyrics are somewhere approaching genius to me...

Destination Venus" is one of those songs that never fails to cheer me up. :content:

"(My Baby Does) Good Sculptures" has a similar effect.

"Don't love my baby for her pouting lips,

Don't love my baby for her curvy hips,

I love my baby cos she does good sculptures, yeah!" :bow:

"It Gets Me" Like most of these tracks, features on the splendid album "Can't Stand The Rezillos"

"2000 AD" Whilst rooting their music in 60s rock'n'roll, The Rezillos often pursued the visual/lyrical imagery of "the future, as seen through cartoons"

"Glad All Over" A cover of the Dave Clark Five number.

When The Rezillos split up, front-two Eugene Reynolds and Fay Fife continued as The Revillos, scoring a hit with the catchy "Motorbike Beat": Link

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