Lesser bands certainly got a shot at having a record recorded and properly distributed in the underground than if located in other cities. And since Dischord’s gone on to work with more fey indie styled groups in latter years, its early catalog still receives a fair amount of attention. Of course, if Minor Threat didn’t rule and MacKaye hadn’t dedicated his life to music, this conversation wouldn’t be worth having. Anyway…
Yeah, the Saints rule. Radio Birdman’s surpassed by few bands dating to punk’s early era. But there’s so much other junk floating around down there. Only problem is – or was at least – was that there wasn’t a good way to expose weird bands to an international audience. X, not the Los Angeles band dummy, released its first long player in 1979, but didn’t have it issued in the States until 1993. So, say what you will about Amphetamine Reptile and its host of like minded bands, the label released this stunner. Who even cares that it was fourteen years too late.
The Gun Club ruled. And while Jeffrey's work during the eighties couldn't match his earlier output, he's still an interesting (and doomed) figure. Never mind some of the commentary here being something other than English...just watch.
That's a nasty sounding rhythm section for a band that looks like Kleenex does. But cobbled together from the likes of other top ranking grrl/rawk groups from the seventies, nothing resulting from the collaboration should be surprising. It's just good.
There’s no way to properly document each and every group working with these tropes during that very specific time period. But groups like the Oblivians and the New Bomb Turks, their collective combination of sixties’ garage swagger and punk’s gap toothed sneer, severed as new templates.
First off, the dancing in this thing is amazing. Second, Mo-Dettes are basically a femme, post-punk supergroup. Eat it up. It's better than your 2010 top ten list.
Power pop as punk? Close enough. The Nerves were around during the seventies punk thing. And while a good portion of the band's catalog flirted with more commercial work, a few choice cuts emerge as being punkier than probably intentioned.
These dudes weren't so much punkers as clever guys playing music in England during the seventies. Regardless of what Albertos and company are recalled for, this track would still easily fit onto just about any retrospective from the era.
Yeah, No Wave has more resonance among folks who fancy themselves well versed in the historical aspects of American rock and punk stuffs. Much as today, back in the seventies when everyone realized pressing a record wasn’t as difficult as people might lead you to believe, a bevy of low rent ensembles went on sprees, spouting off after months if not years in assorted basements. The result, after punk opened up ears like old perverts do to recently graduated high schoolers, was spewing forth in a run of now forgotten one off singles.
The onslaught of Bay Area garage acts has, for the most part, been pretty steady in the qualitydepartment. Granted, it’d be pretty difficult to plain ole stink at a formula people have been working with for the better part of the last fifty years.
What’s weird, though, is that while folks who actually pay attention to music not covered by Pitchfork, Thee Oh Sees, the Fresh and Onlys as well as the rest of that cohort have been around for a pretty good amount of time now. Which makes some random internet outlet reviewing Ty Segall’s Melted something like six months after it was first released and passing it off as new a bit bothersome.
There aren't too many garage bands around capable of pulling off a harmonica feature. The Gories have had some practice over the years and at a show in Chicago a few months back, the trio showed off a bit...