well, then: what can a poor boy do? punk and authenticity

Greetings, readers! So I’m back at the book again here, mining chapter 3, “1977: Clamor, Exposure, and Camaraderie,” for another gem related to the DIY spirit. The clamor, of course, was ringing from speakers on the stage and in bedrooms on both sides of the Atlantic, as 1977 saw the release of the 2nd Ramones’ LP, Talking Heads: 77, Television’s Marquee Moon, The Clash, two LPs each by The Damned and The Stranglers and, almost late in the game, came the debut LP by The Sex Pistols. 5.0.3The DIY ethos informed the fanzines, too–most notably Mark Perry’s Sniffin’ Glue, which popularized the cut-and-paste ransom-note aesthetic and, for better or worse, fomented the yer-either-with-us-or-against-us ethos that led to a narrow definition of punk.

Perry’s search in ’76 for written coverage of his new favorite bands turned up almost nothing. “One time I was at [the record shop] Rock On, trying to find out if there were any magazines I could read about these bands in,” Perry recalled. “There weren’t, so the people behind the counter suggested flippantly that I should go and start my own. So I did” (Stealing, p. 42). And did so quickly, and with a sensibility that’s been confirmed nearly four decades hence, as the cover of issue #6 from January ’77 rightly confirms. Perry, too, knew that before too long, his subjects were also his readers. “John Lydon had it, Strummer had it, Rat Scabies had it,” Perry reported. “I thought, ‘If I say this in the Glue, it’s going to happen.’ I knew that, and that’s what fueled me, knowing that it was being taken seriously” (Ibid.).

Perry, alas, took himself too seriously, and did so for years. You might think after a couple decades he might back away from punk-inspired claims such as, “Punk died the day The Clash signed to CBS,” but no. For John Robb’s Punk Rock, Perry stuck to his ideological guns:

“These guys weren’t about to smash their Gibson & Fender guitars all over the stage, were they? … they manipulated punk into ‘OK, we won’t have a riot, we will sing about it instead.’ Which is cool, at least someone’s singing about it — but don’t try to make out that are some hard revolutionary. You’re just in a pop band — which the Clash ended up being. They were a great pop band, but nothing to do with punk. The real punk bands came a couple of years later, the bands we all hated like the Exploited and all those nasty working-class people [laughs] that have convictions and have been in trouble with the police …” (p. 340).

So, the requisite credentials include: smashing expensive gear, trouble with the law, and you need to be as tedious as The Exploited? As a period piece, The Exploited were perfect, but how many times can you listen to songs that repeat the same phrase in a chorus and construct musical bridges from watered down heavy metal riffs?

Mick
Mick, with Paul, and an “authentic” hair style, circa 1977. Photo by Syd.

Punk is a many-a-splendored thing and, as guitarist Marco Pirroni rightly noted, “This whole Mark P thing that [the Pistols] should sign to Bumhole Records for no money was stupid — that would never work.” The Clash’s refusal to become a self-parody by making the same album over and over again is a testament to their greatness, not a failure. And please: if we’re talking about class credentials, lay off Mick Jones. “Rock’n’roll Mick” did what any poor boy with enough pounds for a guitar and an unassailable work ethic would do: he dedicated his life to rock’n’roll, and made the world a better place.

I will give Mark P. due credit, though, for rocking Alternative TV well into the 21st century–and tonight, 8 March, in Brighton. Cheers!

What a difference a year makes: ’76 to ’77

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.

Short, sharp, and not too sweet. Brevity and vinyl rule! (April 1977) Photo by Kate Simon.

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:

1976

  1. Stevie Wonder: Songs in the Key of Life (Tamla)
  2. Graham Parker & the Rumour: Heat Treatment (Mercury)
  3. Jackson Browne: The Pretender (Asylum)
  4. Graham Parker & the Rumour: Howlin’ Wind (Mercury)
  5. Kate & Anna McGarrigle: Kate & Anna McGarrigle (Warner Bros.)
  6. Steely Dan: The Royal Scam (ABC)
  7. Joni Mitchell: Hejira (Asylum)
  8. Ramones: Ramones (Sire)
  9. Rod Stewart: A Night on the Town (Warner Bros.)
  10. Blue Oyster Cult: Agents of Fortune (Columbia)

1977

  1. Sex Pistols: Never Mind the Bollocks, Here’s the Sex Pistols (Warner Bros.)
  2. Elvis Costello: My Aim Is True (Columbia)
  3. Television: Marquee Moon (Elektra)
  4. Fleetwood Mac: Rumours (Warner Bros.)
  5. Steely Dan: Aja(ABC)
  6. Ramones: Rocket to Russia (Sire)
  7. Talking Heads: Talking Heads: 77 (Sire)
  8. Randy Newman: Little Criminals (Warner Bros.)
  9. Garland Jeffreys: Ghost Writer (A&M)
  10. 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.)

Ramones_-_Leave_Home_cover
The name of this band is … Ramones. Image by Moshe Brakha.

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.