Essential Punk To Own On A Vinyl

更新者 gaspipe gaspipe
更新されました 2 months ago

Those who say punk is dead tend to be those who wish punk were dead, either still somehow threatened by the culture or — this is more likely — chagrined that punks still don't give a shit what they think. Punk is, of course, very much alive. It also lives on in the below albums, punk's twenty greatest. Hey! Ho! Let's go!

  1. MC5 - Kick Out The Jams

    1969... MC5's debut album was recorded live to capture their raw energy, and featured essential tracks like “Kick Out the Jams” and “Motor City is Burning.” It could be said that, with the line, “Kick out the jams motherfucker,” MC5 ignited a punk rock revolution. The expletive use of “motherfucker,” in fact, was so controversial in 1969 that it got this work banned from Detroit department store, Hudson's. In response, the band took out an ad in the paper bashing the place, which caused them to get dropped from their label. Punk!

  2. The Stooges - Fun House

    1970... The Stooges were the perfect embodiment of what music should be," said Sonic Youth's Thurston Moore. On the Detroit band's second album (produced by Kingsmen keyboardist Don Gallucci), that meant primal garage chaos nearly a decade ahead of its time. Guitarist Ron Asheton hammered as few chords as possible ("T.V. Eye" is just one), while Iggy Pop channeled bad-trip psychedelia and metallic R&B into hormonal meltdowns that inspired generations of pent-up noise fiends.

  3. New York Dolls - New York Dolls

    1973... What the Dolls did to be influential on punk was show that anybody could do it," singer David Johansen said. Aggressive, sloppy, androgynous and loud, they blazed through the gutter glam of "Trash" and "Personality Crisis" like a demented Rolling Stones. The Dolls' Todd Rundgren–produced debut exudes sleazy swagger, one reason punk impresario Malcolm McLaren managed them before assembling the Sex Pistols.

  4. Ramones - Ramones

    1976... When the Ramones recorded their debut album for $6,400 in February 1976, the agenda was simple: "Eliminate the unnecessary and focus on the substance," as Tommy put it in 1999. But the brilliance of punk's most influential and enduring record — how four disparate outcasts from the American adolescent mainstream made such original single-minded fury — remains hard to define. Stork-like singer Joey was a pop kid chanting "Hey ho, let's go!" at the start of "Blitzkrieg Bop." Guitarist Johnny pared Dick Dale and Bo Diddley down to the airtight, bluesless staccato of "Beat on the Brat" and "Loudmouth." Bassist and primary lyricist Dee Dee wrote about what he knew (drugs, despair, hustling) with telegramatic wit. And drummer Tommy, a former recording engineer on Jimi Hendrix sessions, co-produced Ramones, guarding its brevity and purity. "We thought we could be the biggest band in the world," Johnny recalled. In a way, they would be. This is where it began.

  5. Television - Marquee Moon

    1977... Television spent years woodshedding at CBGB, to arrive at a sound as thrilling in its ambition as Ramones was in its simplicity. Marquee Moon drew on surrealist poetry and free jazz, connecting Sixties psychedelia with a more aggressive brand of derangement. The result was punk rock's first — and greatest — guitar landmark, making New York's mean streets seem like a mystic playground.

  6. The Damned - Damned Damned Damned

    1977... Often overshadowed by the Pistols and the Clash, the Damned (whose first performance saw them open for the Sex Pistols) were actually the first UK punk band to release an album. The band’s 1977 Damned Damned Damned is exemplary, not only for its place in history but also for the way the music holds up today. Take a listen to “Neat Neat Neat” and you’ll not only hear an honest sonic portrait of punk’s earliest UK moments, but also a great tune that holds up today.

  7. Sex Pistols - Never Mind The Bollocks Here's The Sex Pistols

    1977... If the sessions had gone the way I wanted, it would have been unlistenable for most people," Sex Pistols singer Johnny Rotten said. For millions, it was. But when the Sex Pistols' only official album made a frontal assault on the U.K. pop charts, Rotten's snarled lyrics about abortion and anarchy terrorized a nation. The result remains punk rock's Sermon on the Mount, and its echoes are everywhere.

  8. The Clash - The Clash

    1977... On April 3rd, 1976, a London pub-rock combo, the 101ers, played a show with gnarly urchins the Sex Pistols. The future was "right in front of me," recalled 101ers singer-guitarist Joe Strummer. A year later, Strummer was the battle-scarred voice of the Clash and in the U.K. Top 20 with his new band's self-titled flamethrower debut, a brittle-fuzz volley of politicized rage and street-choir vocal hooks that transformed British punk from a brawling adolescent turmoil to a dynamic social weapon in songs like "White Riot," "London's Burning" and "I'm So Bored With the U.S.A." Strummer and his co-writer, guitarist Mick Jones, were not born debaters; manager-svengali Bernie Rhodes pressed them to go topical. But the effect — propelled by bassist Paul Simonon and original drummer Terry Chimes — was pivotal. CBS in America did not issue the album until 1979, adding later singles. The original remains the sound of a riot being born.

  9. Wire - Pink Flag

    1977... No album summed up the infinite possibility in punk's radical simplicity better than this 35-minute, 21-song debut. R.E.M., Spoon and Minor Threat are just a few of the bands that have covered songs from Pink Flag, which ranges from the hardcore Rubik's Cube "1 2 X U" to the 28-second tabloid nightmare "Field Day for the Sundays" to "Fragile," punk's first pretty love song. "A perfect album," said Henry Rollins of Black Flag.

  10. Suicide - Suicide

    1977... Suicide came out of the same New York punk scene that spawned other innovators of the genre, but the music on their self-titled debut album was one of a kind. Stripped to a duo of singer Alan Vega and keyboardist Martin Rev, Suicide's minimalist and primal form of electronic music sounded like it originated in the darkest, dankest corners of the scene. Even other punks were scared of them. Entire subsets of music owe a debt to this harrowing record, including whatever it is Bruce Springsteen's 'Nebraska' falls under.

  11. Gang Of Four - Entertainment!

    1979... Fusing James Brown and early hip-hop with the bullet-point minimalism of the Ramones, Gang of Four were a genuine revolutionary force in their pursuit of working-class justice. The Leeds foursome bound their Marxist critique in tightly wound knots of enraged funk and avenging-disco syncopation, slashed by guitarist Andy Gill's blues-free swordplay.

  12. Dead Kennedys - Fresh Fruit For Rotting Vegetables

    1980... Lyricist/ vocalist Jello Biafra laced his political punk diatribes with a very dark sense of humor on Bay Area group Dead Kennedys' full-length debut. Tracks like “Holiday in Cambodia” and “California Uber Alles” spoke of horrific moments of history and imparted social commentary on the ills of modern society, all backed by a catchy blast of surf rock-infused punk guitars from East Bay Ray. The album enshrined Biafra as one of punk rock's most outspoken political activists, and he's only gotten feistier with age.

  13. X (5) - Los Angeles

    1980... X were way too arty to fit in with the L.A. hardcore scene — married couple John Doe and Exene Cervenka sang about L.A. as a surreal nightmare full of psycho speed freaks and burned-out Hollywood directors, over Billy Zoom's junkshop rockabilly guitar. Their producer was the Doors' Ray Manzarek; they paid respects with a version of "Soul Kitchen" that would have scared Jim Morrison right out of town.

  14. Misfits - Walk Among Us

    1981... The Misfits' first official full length consists of pummeling hardcore couched in the melodic style of late '50's and early '60s rock 'n roll. That these shout-alongs deal exclusively in B-movie guts and gore is an added bonus. Singer Glenn Danzig, whose voice is the most masculine in all of punk rock, compiled and edited this collection of songs from several different performances and recording sessions, stitching together The Misfits' strongest and spookiest record.

  15. Black Flag - Damaged

    1981... We! Are tired! Of your abuse! Try to stop us! It's! No uuuuuuse!" Black Flag walked it like they talked it, perfecting the L.A. hardcore form, with Greg Ginn's demented guitar and Henry Rollins' muscle-bound toxic rage. Damaged got them mixed up with a major label, which refused to release it and denounced it as "an anti-parent record." Which it is — not to mention anti-cop, anti-TV, anti-beer and, what else you got?

  16. Bad Brains - Bad Brains

    1982... When the Bad Brains began exploring punk rock in D.C. in the late ‘70s, they already had a jazz-fusion background. Because of this, they were one of the only bands at the time to emerge into the growing punk scene already knowing how to play. This musical ability allowed them to play punk rock at blistering speed, which played an undeniable part in the development of hardcore and the idea that punk doesn’t need to be sloppy. The band was composed of religious African-American Rastafarians who also were adept at reggae. That part of their sound influenced a range of bands from Fishbone to the Beastie Boys. Later on, the band would stray from hardcore, but their self-titled album is easily one of the greatest hardcore albums in existence.

  17. Hüsker Dü - New Day Rising

    1985... Hüsker Dü's greatness is often linked to their landmark double album Zen Arcade, but New Day Rising is tighter and more melodic. It's devastating, heavy punk with a pop skeleton that harvests the taut tension and lyrical lucidity of Grant Hart and Bob Mould, two men who may not have gotten along but propelled each other. Is there a more simple, poignant, brutal relationship critique than “I Apologize”? Minnesota acts of many stripes in the '80s had a unique ability to encapsulate frustration into couplet form, and none did so more powerfully than Hüsker Dü here.

  18. Bad Religion - Suffer

    1988... “I make a difference, too,” sings Greg Graffin in the last line of opener “You Are the Government.” It's easy to imagine the words shouted by the kid on the cover art, raising his fist in enflamed rejection — of Christianity, of Southern California, of suburbia. Suffer signaled a shift toward melody for Bad Religion and laid the groundwork for everything that the group (and a generation of lesser skate-punk acolytes) would ever write: oohs-and-ahhs, PSAT vocabulary words, and that forbidden beat. With each listen, you're 15 again, fist clenched and smiling.

  19. Fugazi - Repeater

    1990... A little grandstanding can't kill a perfect punk record. Whether or not you find lines like “everything is greed” and “never mind what's been selling / it's what you're buying” particularly profound, there's no doubting the passion with which they're delivered on Repeater. Fugazi's greatest aesthetic triumph is artfully weaving its politics into its song structures: amid chaos, there are moments of restraint, respect for the sanctity of the rhythm section. Plus there's simply no match for the call-and-response vocal (and guitar) exchanges between Guy Picciotto and Ian MacKaye.

  20. Green Day - Dookie

    1994... Punk never went away; it just went underground and took on different forms for much of the '80s. Green Day were the first band to bring the music back to the mainstream in the '90s with their first major-label outing. It arrived at just the right time, as alt-rock found some commercial footing thanks to breakout bands like Nirvana and Pearl Jam. 'Dookie' was the closest any of these big albums came to early punk's core sound: choppy guitars, frills-free songs and a snarling attitude that summed up the feelings of apathetic kids everywhere. 'Dookie' jump-started a genre that had pretty much lost interest in reaching anyone but the already converted. A whole new world opened after this record.