Good morning, K-SAT readers. It’s month 3 on the calendar, so I’m mining chapter 3 of Stealing All Transmissions for a couple more gems that I hope you’ll fancy. In “1977: Clamor, Exposure, and Camaraderie,” I move through ’76 and the formation of The Clash into 1977, and map what’s happening in the new periodicals popping up in New York, including Punk and New York Rocker.
Robert Christgau reported that he and Richard Goldstein picked up The Clash’s debut on import vinyl at Bleecker Bob’s, put it on the turntable, and the response? “‘This is fucking great!'” There is, of course, so much that is great about their eponymous debut (I love using the word “eponymous”), and I think about Simonon having just learned his parts, and the joy and the frustration and the catharsis in “Janie Jones,” the (ironic) contempt of “Hate and War,” and the beautiful treble-y-ness of it all. I also think about the question of duration. You’ve got 14 tracks here: four are up-and-done in under two minutes; five more take but 30 seconds more.
At the time, Christgau and his comrades at the Village Voice loved popular music, but they also liked to celebrate newcomers, too, as reflected in the Pazz and Jop polls of 1976 and 1977:
- Stevie Wonder: Songs in the Key of Life (Tamla)
- Graham Parker & the Rumour: Heat Treatment (Mercury)
- Jackson Browne: The Pretender (Asylum)
- Graham Parker & the Rumour: Howlin’ Wind (Mercury)
- Kate & Anna McGarrigle: Kate & Anna McGarrigle (Warner Bros.)
- Steely Dan: The Royal Scam (ABC)
- Joni Mitchell: Hejira (Asylum)
- Ramones: Ramones (Sire)
- Rod Stewart: A Night on the Town (Warner Bros.)
- Blue Oyster Cult: Agents of Fortune (Columbia)
- Sex Pistols: Never Mind the Bollocks, Here’s the Sex Pistols (Warner Bros.)
- Elvis Costello: My Aim Is True (Columbia)
- Television: Marquee Moon (Elektra)
- Fleetwood Mac: Rumours (Warner Bros.)
- Steely Dan: Aja(ABC)
- Ramones: Rocket to Russia (Sire)
- Talking Heads: Talking Heads: 77 (Sire)
- Randy Newman: Little Criminals (Warner Bros.)
- Garland Jeffreys: Ghost Writer (A&M)
- Cheap Trick: In Color (Epic)
Now there’s a more scientific way to do this, of course, but let’s just look at the #1s here: Stevie Wonder’s Songs: 17 tracks, 85 minutes, and The Pistols’ Bollocks: 11 tracks, 34 minutes. Certainly Graham Parker and The Ramones heralded a shift in median song duration, but wow: what a difference a year makes.
The Clash doesn’t make the list, I believe, because the folks at the Voice, including Christgau, discovered the album in early 1978. (He would later claim it as his favorite Clash LP, and even his favorite punk LP, if I recall correctly.)
You can find the full polls here and here. And, if you’re paying close attention, you’ll see that the LPs included here by the band “Ramones” did not include a definite article. Like “Talking Heads.” Now, you might find the occasional book that identifies (correctly) “CBGB” rather than “CBGBs,” but I’ve never seen a book refer to this band as “Ramones,” without the “the.” The iconic t-shirt, of course, notes “Ramones,” but all the writers got it wrong. Pretty wild.