By Lorne Behrman

(Copied from a Guitar One magazine, though it'd be interesting)

In the late '60s and early '70s, the search for the all-time high brought many to the mind-numbing records of the Grateful Dead, the Rolling Stones, Cream, Jefferson Airplane, Pink Floyd, and the Beatles, which sounded especially good to theose zonked out on mind-altering drugs. These bands, on their journey to transcendence, had lost the concept of the pop song - and the results were albums and double albums on which the route from verse to chorus and back again was often one long, strange trip. Rock 'n' Roll, it seemed, had become diluted with artistic purpose.

Previously, in the '50s - or, more accurately, the '50s of films like Blackboard Jungle and Rebel Without A Cause - rock 'n' roll had been the racket that separated kids from adults. It's volume, aggressiveness, and surly swagger was a youthul assault against a well-mannered, domestic life. Punk sought to revisit this parents-verses-kids confrontation, and did so by mining the '50s sounds of Chuck Berry, Little Richard, and Bo Diddley, and bumping up the shock value several notches. This music found receptive ears in '70s kids who had grown bored with the tune-in-and-drop-out lifestyle of the 1960s.

Most Cultural movements, whether in music or art, evolve slowly, with changes gradually seeping in before the new movement braks completely from the old. Punk, however, did not evolve so tidily; it entered the pop scene like a disgruntled postal worker. Most misicologists regard 1977 as the year punk broke - mostly because so many punk bands released records on major labels that yer - but the truth is, punk bands like the MC5, the Stooges, and the New York Dolls had been expressing dissatisfaction with the rock scene as early as the '60s. And things we bound to snap.

Today, punk is it's own musical form, and, much like blues and jazz, it has a well-defined musical lexicon and a certain respect-you-elders mentality. What's more, it has remained amazingly healthy, by branching off into genres like emo, screamo, pop-punk, and hardcore - and even those offshoots have offshoots. But here are seven of the hippi killers that started it all.

(starting in the next post.)
"Anarchy In The UK"
The Sex Pistols

Like no other band, the Sex Pistols epitomized punk. The group was a collective of contrarians: everything that civillized society cherish, from basic manners to respect for authority, the Pistols challenged - they even lambasted Queen Elizabeth, with "God Save The Queen" And they were no fonder of the popular bands of the day, as evidenced by singer Johnny Rotten's "I Hate Pink Floyd" t-shirt. The Pistols' physical appearance, meanwhile, was similarily combative; the group stuck saftey pins in their cheecks long before the sanitized wave of suburban teenage body mutilators, and they wore their hair short and spikey.

For a young band, the Pistols we incredibly self-aware. By the time of their first - and oly - official album of new material, 1977's Never Mind The Bollocks (Warner Bros.), they had alreadt had a distinctive look and a fully formed set of ideals. Yet the Six Pistols were as manufactured as the Backstreet Boys: British fashion fiend Malcolm McLaren had handpicked the foursome from a bunch of miscreants who had been hanging out at his clothing boutique, Sex, an artsy dive that sold fetish wear and '50s style rocker clothes. McLaren out the group together and indoctrinated the members with classic (and exaggerated) teenage-rebel ideals. "Anarchy In The UK", the band's first single, became a manifesto for the sound and spirit of punk rock.

sumbitch, I did a nearly identical presentation for my Rock and Roll Lyrics as Literature class.
Quote by CowsWithGuns
And the facade of heterosexualism in the punk and ska forum came crashing down like a fat girl falling off a balcony...
"White Riot"
The Clash

The Clash, like the Pistols, came together under the direction of a shadowy figure - manager Bernie Rhodes. But while Rhodes hustled for gigs, influenced the politics of the band, and helped shape the Clash's aesthetic, he was dealing with seasoned musicians - like Mick Jones, whose polished and economic melodies perfectly offest Joe Strummer's Pete Townshend-style rhythm slashings.

"White Riot," the band's spirited Sex Pistols rip-off, clearly reflected punk's stylisti trappings. And though the group would soon adandon this template and explore reggae, funk, faux-jazz, rockabilly, rap, anmd dub, they retained the attitude of punk. More important, though, the Clash were largely responsible for making punk a lifestyle, rather than a fashion statement set to a musical ruckus. In addition, the group's strong work ethic and anti-facist stance served as a healthy alternative for teens to the Sex Pistols' brand of nihilism.

Intro: x2
"Neat Neat Neat" The Damned

The Damned were the first punk band to get signed, the first to break up (only to quickly reform), and the first U.K. punk band to tour ASmerica. And unlike the Pistols and the Clash, the Damned's only agenda was to get back to rock 'n' roll basics. The band's early sound was a joyful trainwreck of power chords just barely held together by the bass and drums. But with their third LP, 1979's Machine Gun Ettiquette, the Damned revealed a humorous fascination with the macabre. Singer Dave Vanian, who had once worked as a gravedigger, created a "spooky Elvis" persona on Ettiquette, and his style no doubt influenced horror punks like the Misfits and the Cramps.

| ---2-2-2----2-2-2----2-2-2----2-2-2---|
| ---2-2-2----2-2-2----2-2-2----2-2-2-4b|
| 4b-------4b-------4b-------4b----------|
| --------------------------------------------|
| --------------------------------------------|

(this tab is probably incorrect, sorry)
| -------------------------------------- |
"Search And Destroy"
The Stooges

Vocalist Iggy Pop started his music career as a drummer for the Detroit garage band the Prime Movers, and later went to Chicago to study blues with Howlin' Wolf and Paul Butterfield drummer Sam Lay. When he realized he didn't have it in him to make Chicago Blues, he teamed up with brothers Scott and Ron Asheton and David Alexander to from the artsy Psychedelic Stooges. The band found itself when it dropped the "psychedelic" part of it's named and sound, opting instead for Velvet Underground-style drones and John Lee Hooker's beats.

The Stooges' self-titled debut, released on Elektra in 1969, was produced by VU's John Cale, but it was on the band's second album, 1970's Funhouse, that Iggy & Co., found their funk. Most punks, however, glommed onto the Stooges' third effort, 1973's Raw Power(columbia). The death of David Alexander had forced Ron Asheton to play bass on the album, leaving room for James Williamson to burst through on guitar. Williamson was a tornado of nimble yet manic blues lines (think a highly caffeinated jimmy Page), as well as an inventive rythm player, capable of juggling single-not rhythm parts with standard punk fare.



|6-6-6-6-x11-11-11-11----------| (repeat as necessary)
what about Dead Kennedys...
"I was influenced to play the guitar after I saw the guy on Power Rangers do it. I figured it would be easy, since a guitar is basically a big kazoo."

Epiphone Les Paul
Fender Blues Deville(For now... FOR SALE )
"Beat On The Brat"
The Ramones

The Ramones were four unrelated geeks form Forest Hills, Queens, who wanted to be the next Bay City Rollers but couldn't play a note. When they failed a playing their favorite songs, they decided to write their own. Using a chat-along style copped from the Rollers' "Saturday Night," they concoted a formulaic yet refeshingly basic sound - all barre chords and big sing-alongs - that seemed never to grow old. In fact, "Beat On The Brat," from the Ramones' 1976 self-titled debut, could just as reasily come off the group's 1992 album Mondo Bizzaro.

when Johnny Ramone first picked up the guitar, he would keep his place by playing downstrokes on each beat count. The punch-like motion used to produce these strokes resulted in the even and powerful rhythms that would become a signature part of the band's sound.

well brian, please, write a three-page article while your back is honestly crippling you with pain, and see how much fingers worry about missing a few letters here or there.

"Personality Crisis"
The New York Dolls

The New York Dolls were musically inept, obnoxiously cocky, and somehow totally charming. In 1973, the Rolling Stones lost the plot, shifting their energy from primal rock 'n' roll to funk, blues, reggae, ballads, and even disco. The Dolls, meanwhile, revived classic 1950s song forms, and added campy lyrics and entertainingly sloppy musicianship.

Guitarist Johnny Thunders was a musical klutz - his solos sounded like someone falling down the stairs and somehow getting up onscathed - but his bends we uniquely atonal, his feel magical; he had the ability to put the wrong things in the right places. Sadly, he would die a junkie who never tapped his full potential.



(band enter after this bar) C D
And last, but certainly not least.....

"Kick Out The Jams"
The MC5

No band briged the gap between hippies and punks like the MC5 (the Motor City 5). They embodied the "lover your neighbour" ethos while playing the most agressively grooving music of the late '60s and early '70s. In a way, they were a punk-rock jam band, rocketing to the outer limits of improvisation without letting up on the beat. The group's basic ingredients were the teachings of Chairman Mao, the fundamentals of Chuck Berry, the slinkiness of James Brown, and the celestial freedom of Pharoah Sanders. It was a wildly brilliant idea, ad when it came together - and did it ever on "kick Out The Jams" - it was like rainbow over a drag race, at once beautiful and brutal. "Kick Out The Jams" was the title track of the MC5's 1969 debut for Elektra, a bold and unpolished liv album. Interestingly, "Kick Out The Jams" has become the "Wild Thing" of punk - the song that anyone can play, and that everyone covers.

Guitarists Wayne Kramer and Fred Smith, for their part, were some of the most accomplished and inventive players in punk. Unapologetic about guitar solos, the pushed improvisation to the unraveling point. The MC5's second album, 1970's Back In The USA (Atlantic), had a recording glitch that removed most of the low-end, and the treble-heavy result became standard for the tinny road of punk rock. The band called it quits after its third album, 1971's High Times. In the '90s, MC5 guitarist Wayne Kramer made a comeback with three albums of wonderfully skewed Americana, fitting free jazz, funk, blues, and punk into a Bruce Springsteen-like aesthetic. Vocalist Rob Tyner and guitarist Fred Smith passed away, but the three remaining members are still playing the old tunes and living up the the MC5 legacy.

The intro was actually pretty good. They should have done one example from every subgenre instead of just having all '77 riffs.
Quote by original=punk
well brian, please, write a three-page article while your back is honestly crippling you with pain, and see how much fingers worry about missing a few letters here or there.

Your back really shouldn't be hurting you.

If you built up your neck a bit, you'd have no back trouble at all, and you might even resemble Henry Rollins.
Quote by BrianApocalypse
Your back really shouldn't be hurting you.

If you built up your neck a bit, you'd have no back trouble at all, and you might even resemble Henry Rollins.

No, it shouldn't hurt me. But it has. For five years it's hurt in the same spot, essentially crippling me when i attempt to do tedious thing, or type/write for an extended period of time.

I can't even put away battleship pieces without grimacing in paiun and having to get up, and walk around during.
Beat on the brat and anarchy in the UK are pretty good, but you needed God save the queen and Blitzkrieg bop.