Tag Archives: punk

PUNK MUSIC 60’S AND UP

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BLONDIE COLLAGE BY ANA CHRISTY #BLONDIE#ANA_CHRISTY#COLLAGE#PUNK

 

 

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The Foundations of Punk Rock

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The beginnings of punk rock are often furiously debated. This is partially because everyone has different definition of punk rock, and partially because its foundation stones are found in several places.

MY FAVORITE GROUP IS THE VELVET UNDERGROUND

THE WHO GREATEST HITS (1964-2004)

https://youtu.be/Cwn1ArVHxnA

The Fugs – Second Album (Full Album)

https://youtu.be/flN2TFeCgdo

oye isabel The Iguanas

https://youtu.be/8Udh5x4sSXs?list=PLSppaHvgP-Ip2Lgz7_fAjghNIQhfRh4hN

The Troggs – Hit Single Anthology (Full Album)

https://youtu.be/4LDYVeFVMZg

The Sonics-1965 – Here Are The Sonics[Full Album]

https://youtu.be/yoY-VCxhWQ8

The Velvet Underground & Nico Full Album (Stereo) [HQ]

https://youtu.be/aVrTORySXjU

Small Faces – Ogdens´ Nut Gone Flake – Full record

https://youtu.be/qBOFm96rTsg

The Stooges – Fun House (Full Album)

https://youtu.be/JWcrDGvdgW0

Blondie – Rapture

https://youtu.be/pHCdS7O248g

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“Punk Rock” was originally used to describe the garage musicians of the ’60’s. Bands like the Sonics were starting up and playing out with no musical or vocal instruction, and often limited skill.

Because they didn’t know the rules of music, they were able to break the rules.

The mid to late ’60s saw the appearance of the Stooges and the MC5 in Detroit. They were raw, crude and often political. Their concerts were often violent affairs, and they were opening the eyes of the music world.

The Velvet Underground is the next piece in the puzzle. The Velvet Underground, managed by Andy Warhol, were producing music that often bordered on noise. They were expanding the definitions of music without even realizing it.

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The final primary influence is found in the foundations of Glam Rock. Artists like David Bowie and the New York Dolls were dressing outrageously, living extravagantly and producing loud trashy rock and roll.

Glam would end up splitting up its influence, doling out portions to hard rock, “hair metal” and punk rock.

New York: The First Punk Rock Scene

The first concrete punk rock scene appeared in the mid ’70s in New York. Bands like The Ramones, Wayne County, Johnny Thunders and the Heartbreakers, Blondie and the Talking Heads were playing regularly in the Bowery District, most notably at the legendary club CBGB.

The bands were unified by their location, camaraderie, and shared musical influences. They would all go on to develop their own styles and many would shift away from punk rock.

While the New York scene was reaching its heyday, punk was undergoing a separate creation story in London.

Meanwhile, Across the Pond

England’s punk scene had political and economic roots. The economy in the United Kingdom was in poor shape, and unemployment rates were at an all-time high. England’s youth were angry, rebellious and out of work. They had strong opinions and a lot of free time.
This is where the beginnings of punk fashion as we know it emerged, and they centered out of one shop.

The shop was simply called SEX, and it was owned by Malcolm McClaren.

Malcolm McClaren had recently returned to London from the U.S., where he had unsuccessfully tried to reinvent the New York Dolls to sell his clothing. He was determined to do it again, but this time looked to the youths who worked and hung out in his shop to be his next project. This project would become the Sex Pistols, and they would develop a large following very quickly.

Enter The Bromley Contingent

Among the fans of the Sex Pistols was an outrageous bunch of young punks known as the Bromley Contingent. Named after the neighborhood they all came from, they were at the first Sex Pistols shows, and quickly realized they could do it themselves.

Within a year, the Bromleys had formed a large portion of the London Punk scene, including The Clash, The Slits, Siouxsie & the Banshees, Generation X (fronted by a young Billy Idol) and X-Ray Spex. The British punk scene was now in full swing.

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The Punk Rock Explosion

By the late ’70s, punk had finished its beginning and had emerged as a solid musical force. With its rise in popularity, punk began to split into numerous sub-genres. New musicians embraced the DIY movement and began to create their own individual scenes with specific sounds.

In order to better see the evolution of punk, check out all of the subgenres that punk split off into. It’s a list that’s constantly evolving, and it’s only a matter of time before more categories appear.
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Bad Brains. ROIRRyan Cooper
Punk Music Expert
Updated July 03, 2014.
What is Hardcore?:

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Mount Lehman Grease Band 
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Fast, loud and furious – these are the elements of hardcore. From its inception in the late ‘70s, hardcore began to pick up the attitudes and messages employed by the first punk bands, setting them to driving guitar and drum lines that were more frenzied than those played by earlier bands that fell under the punk description. Faster and heavier than other contemporary punk bands, hardcore songs were often very short and very frenzied.

The Early Days of Hardcore:

At the beginning, hardcore punk was primarily a phenomenon in the states. Hardcore punk’s rise to popularity in the late ’70s and early ’80s happened in multiple cities throughout the U.S. almost simultaneously. Musicians that had been raised on heavy metal but were being influenced by punk were taking these two influences, combining them, and speeding them up into something exciting and unheard of.

At the same time, on opposite coasts, three bands help usher in the era of hardcore. LA’s Black Flag and Washington DC’s Minor Threat and Bad Brains were the primary pioneers of the hardcore sound, which also ushered in the era of slamdancing at punk rock shows.

While it had been around for a while at punk rock shows, the intensity of hardcore music really brought it into prominence.

Hardcore Breaks Out:

With the birth of these early scenes came a DIY ethic that allowed hardcore scenes to pop up all over. The Midwest was especially dense; In Detroit, Negative iApproach ruled the roost, in Lansing, Michigan, the Meatmen started a scene, and Minneapolis-St. Paul spawned the amazingly complex Husker Du, who mixed jazz, psychedelia, acoustic folk and pop in with their hardcore riffs.

It was true everywhere, though. Nevada had 7Seconds. New Jesey had the Misfits. Gang Green was raging in Boston. And New York was putting hardcore shows on by the Beastie Boys, a hardcore band that would later be better known as a rap outfit.

Once the sound began, it was impossible to put a lid on it. Essentially, any city or town large enough to have a scene seemed to have a hardcore scene, with its own chunk of local hardcore bands and local hardcore followers. This continues to be the case, and while it was (and continues to be) primarily popular in the U.S., hardcore scenes are evident all over the world.

While hardcore records are obviously an essential part of hardcore music, and without them we’d have no recorded history of the music, hardcore music and its encompassing scene was and is really about the hardcore show, where all of the DIY ethic comes together. Even now, hardcore house and club shows happen everywhere, with bands getting together to play out of basements and garages, selling self-recorded music and handmade t-shirts, and advertised by self-produced fliers.

Hardcore In The Mainstream Media:

From the early days, hardcore shows were misunderstood as violent affairs by the mainstream media. TV talk shows grabbed onto these shows as violent affairs, and TV dramas depicted them as dark violent events. The most famous is arguably the punk episode of Quincy M.E., which has spawned its own pop references in the punk scene, including a song and band name.

THE WHO GREATEST HITS

https://youtu.be/Cwn1ArVHxnA

A Message?:

Hardcore music’s only unifying factor is its sound. The lyrics and messages vary from band to band. While some hardcore bands preach drug- and alcohol-free living (known as straightedge), other bands write songs that are all about partying. There are even Christian hardcore bands with a strong religious message.

What’s Next?:

Hardcore continues to be a subgenre of music with a strong following. While it paved the way for thrash metal and other heavy sounds, many of the early hardcore bands are still together and new bands rise up constantly. Along with the continuing tide of hardcore is a wave of bands known as post-hardcore bands, but that’s another story entirely.
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Review: If You Like The Ramones…
A solid cultural history revolving around one of punk’s most influential groups
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ifyoulikeramones.JPG – Backbeat Books
If You Like The Ramones… Backbeat Books

Ryan Cooper
Punk Music Expert When I was getting into punk rock, one of my first exposures to the sound was the Ramones. Short, fast repetitive tunes delivered with a deceptive simplicity, Ramones’ songs were stripped down and raw, delivered with a sublime sense of humor that paved the way for countless bands to follow.

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At the same time, a common enough form of recommendation came from friends in the form of “If you like the Ramones, then you should check out out,” followed by the name of another band that delivered more short, fast raw punk rock.

It was a fast fun way to broaden my musical horizons. Decades later, writer and Chrome Cranks frontman (who is also responsible for influencing countless contemporaries) Peter Aaron has released, If You Like The Ramones… Here Are Over 200 Bands, CDs, Films and Other Oddities You’ll Love.

I was with eager anticipation that I tore into this book, expecting a collection of punk records I was already quite familiar with, anticipating a trip down memory lane along with the possibility of learning about other bands that I had missed.

And I was wrong. That’s not what this book is about at all. Or rather, that’s just a small part of what it’s about.

What Aaron has compiled is something much more ambitious and exciting, a book that serves as a resource on musical history that starts with a single influential band and uses it as a springboard for what came before, after, and at the same times.

Aaron recognizes that the Ramones weren’t born from a musical void, and that while they were pioneers of their specific sound, they were influenced in no small part by a wide range of bands.

He begins with the early roots of rock and roll, recognizing greats that don’t immediately leap to mind when thinking of the Ramones, like Bo Diddly and Buddy Holly, calling out their influence on rock in general, and the Ramones in particular. I was especially pleased to see his recognition of Eddie Cochran, a British rockabilly great with a tragically short career that I feel is all too often ignored for his influence on punk rock.

He calls out the more prominent influences on the Ramones as well – the girl groups and surf musicians that had a prominent effect on the band’s sounds, along with the British Invasion bands (and he’s not shy about recognizing the contributions of big names like The Beatles, Rolling Stones and The Who on the band) along with the American garage rockers (from prominent names like the Sonics to obscure bands like the Monks) who added one element to the group’s sound.

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By the time he calls out the band’s hard rock and glam influences (and relates the tale of Dust, a proto-metal band that featured the drummer who would become Marky Ramone years later), not only has it been a pleasant trip through musical history, but the hidden complexity of the band’s sound has been laid bare. Ramones songs may sound simple, but their foundations are anything but.

It’s over 100 pages into the book before he even touches upon the music that I had expected to comprise the majority of the book. This is when he reaches the punk era, exploring all of the Ramones’ contemporaries both stateside and abroad, giving a concise snapshot of the scene as it existed.

A good amount of attention is given to the fact that the Ramones weren’t solely influenced by music either, with a chapter devoted to their pop culture roots, calling out the classic cartoons that influenced the band, as well as relative newcomers like Ren and Stimpy and South Park that were born of the era, along with the TV, films and comics that laid down the band’s pop culture upbringing.

The other part that I expected to make up the bulk of the book – a listing of bands influenced by the Ramones – is much smaller than anticipated, but still quite thorough. And the book is rounded out by a complete collection of the Ramones themselves on film (including bit appearances on shows like The Simpsons and Space Ghost Coast to Coast), the various side projects of the bands, and some highly recommended Ramones tributes.

For anyone just getting into punk rock, I always recommend the Ramones, preferably with their extensive box set Weird Tales of the Ramones (Compare Prices). Moving forward, I’ll recommend If You Like The Ramones… as a literary companion. It’s much more that just a musical primer for Ramones fans, it’s a complex music history using one of the greats as a jumping off point. Instead of just a trip down a musical memory lane, I’m finding out about a range of old-timers of all styles that I want to check out, and a desire to expand my own musical horizons much further. It’s an eye-opening and in-depth book that could have simply been OK had Aaron been less ambitious, but his legwork has elevated it from a “fun read” to a “must read.”

If You Like The Ramones… Here Are Over 200 Bands, CDs, Films and Other Oddities You’ll Love
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COOL PEOPLE -BLONDIE DEBORAH HARRY

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#collage #ana_christy#blondie#punk

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Debbie Harry is a singer and actress who became famous for leading the new wave band Blondie. Her blond hair and cool sexuality made her an instant music icon.

Synopsis

Born in Florida in 1945, Debbie Harry met guitarist Chris Stein in the 1970s, and the two started a band that would later become the world-famous group Blondie. Creating new wave, a type of rock music inspired by punk and other music styles, including reggae and funk, Blondie soon met with commercial and critical success. The band’s third album, Parallel Lines, catapulted Harry to stardom, and the song “Heart of Glass” reached the top of the charts. With her white-blond hair, high cheekbones, and full lips, Harry soon became a pop music icon, influencing many female singers to come.

Early Life

Debbie Harry was born Deborah Ann Harry on July 1, 1945, in Miami, Florida, and was adopted by Richard and Catherine Harry when she was 3 months old. Growing up in Hawthorne, New Jersey, Harry sang in the church choir. She tried college for two years before dropping out and moving to New York City. Harry ended up waiting tables at Max’s Kansas City, a popular club that was part of the downtown art and music scene.

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BLONDIE-HEART OF GLASS

Official video of Blondie performing Heart Of Glass from the album Parallel Lines.

https://youtu.be/WGU_4-5RaxU

BLONDIE- PARALLEL LINES (FULL ALBUM)

https://youtu.be/WodSSuZvPjY

Debbie Harry and Chris Stein of Blondie with Anthony DeCurtis

https://youtu.be/D1ERLyCkbi0

Someone forgot to tell Blondie that New Wave bands weren’t supposed to have hit records. Blondie broke the Top 40 barrier with the Number One hit “Heart of Glass” in 1979. Their conquest was no minor feat, as it meant overcoming music-industry wariness about punk and New Wave, which challenged the established order. Blondie seemed more accessible than some of their radical colleagues because they drew upon Sixties subgenres – girl-group pop and garage rock – that had a still-familiar ring. At the same time, they spiked their songs with New Wave freshness, vibrancy and attitude. In so doing, Blondie helped usher in a changing of the guard.

One of the most popular bands of the New Wave era, Blondie hit the scene with visually arresting frontwoman Debbie Harry. Her bleached-blonde hair and full, pouty lips made her look the part of a new age Marilyn Monroe with a hint of punk hauteur (which paved the way for Madonna’s more risqué approach). “Looks have been one of the most saleable things ever,” Harry told journalist Karen Davis. “When I woke up to that, mine helped a lot.” Blondie’s striking visual image was bolstered by hooky, retro-chic pop tunes and canny art-rock leanings.

During the late Seventies and early Eighties, Blondie had eight Top 40 hits, including four that went to Number One: “Heart of Glass,” “Call Me,” “The Tide Is High” and “Rapture.” No other New Wave group had that many chart-topping singles. Striking a balance between edginess and catchiness, Blondie enjoyed hit records and artistic credibility – a best-of-both-worlds situation that few others (the Police, the Cars and Talking Heads come to mind) pulled off in that era. Blondie could number Robert Fripp and David Bowie among their pals, and they fearlessly dabbled in such genres as reggae, rap, disco and a touch of the avant-garde. Yet they also maintained ties to the tuneful, ear-catching Sixties pop aesthetic.

Blondie’s origins lay in the glam rock era of the early Seventies, when Bowie, the New York Dolls and Lou Reed were jolting the rock scene with sexual ambiguity and campy behavior. In 1973, Harry – who’d worked as a Playboy bunny and tended bar at Max’s Kansas City – joined the Stilettos, a group fronted by three female singers. When Chris Stein joined, the seeds were sown for Blondie, which began performing under that name at CBGB’s in 1975. The lineup stabilized with vocalist Harry, guitarist Stein, keyboardist Jimmy Destri, bassist Gary Valentine and drummer Clem Burke.

They signed with the independent Private Stock label and issued a single (“X-Offender”) and album (Blondie) that were produced by Sixties-rock veteran Richard Gottehrer. Driven by Destri’s Farfisa organ and Burke’s energetic drumming, the album had a Sixties sound and a Seventies sensibility. Although it sold poorly, the Chrysalis label – a more well-established independent – could hear Blondie’s potential and bought out their contract for $500,000. Blondie’s second album, Plastic Letters (1978), attracted attention for such memorably tuneful songs as “Denis” (a remake of the doo-wop hit “Denise,” which Harry partly sang in French) and “(I’m Always Touched by Your) Presence Dear.” Bassist Valentine left during the recording of Plastic Letters, and guitarist Frank Infante and bassist Nigel Harrison subsequently joined, making Blondie a sextet. At this point, Blondie was more popular abroad than at home, with Plastic Letters entering the U.K. Top 10 while only reaching Number 72 in the U.S.

Parallel Lines was Blondie’s breakthrough and one of the milestone recordings of the era. Produced by Mike Chapman – a pop-loving Englishman who’d previously worked with Sweet, Gary Glitter and Suzy Quatro – the album opened the commercial floodgates for New Wave music. It yielded two hit singles: “Heart of Glass” (whose working titles had been “The Disco Song” and “Once I Had a Love”) and “One Way or Another.” Blondie took the pulse of the age in “Heart of Glass,” which Lester Bangs described as “an anthem for the emotionally attenuated Seventies.” In topping the charts, “Heart of Glass” helped legitimize disco in the rock world (and vice versa).

The bridge they built would again pay dividends when Blondie recorded the title track for the film American Gigilo. Produced by Giorgio Moroder – the top Eurodisco producer – “Call Me” became Blondie’s second Number One single and stayed on top for six weeks.

All of a sudden, a Lower East Side band who’d come up through the ramshackle CBGB’s scene found themselves with two Number One disco hits, which occasioned some backlash. Blondie stuck to their guns.

“We really tried to vary our music and not mimic ourselves,” Harry told Billboard. “We tried to be a little daring.” That venturesome spirit was further evident on Eat to the Beat (1979) and Autoamerican (1980). The latter album took a wide-angle view of popular music, and their fearless cross-pollination earned them two more chart-toppers: “The Tide Is High” (originally by Jamaica’s Paragons) and “Rapture” (which did for rap what “Heart of Glass” had done for disco). The inspiration for Harry’s offbeat rap was the campy science-fiction film Attack of the Giant Ants. Rap had theretofore been an underground phenomenon in and around New York, and Blondie’s hybrid rock-rap gave many listeners their first exposure to the genre.

Blondie subsequently released The Best of Blondie (1981) and their most uncommercial album, The Hunter (1982). Debbie Harry also squeezed in an edgy, dance-oriented solo album, Koo Koo, which was produced by Chic guitarist Nile Rodgers. A planned hiatus turned into a full-fledged disbanding when Chris Stein was diagnosed with a rare skin disease, from which it took several years to recover.

In 1986, Stein cowrote three songs for Harry’s Rockbird solo album. Harry would release a few more solo albums: Def, Dumb and Blonde (1989) and Debravation (1993). A full-fledged Blondie reunion yielded a new album (No Exit) and single (“Maria”) in 1999. The latter entered the British charts at Number One, proving that after all these years, Blondie still had the magic.

Music icons Debbie Harry and Chris Stein join Anthony DeCurtis of Rolling Stone for a discussion about their sound, style and enduring influence. They’ll take us inside their creative processes—from the early hits to their newly released double CD package, Blondie 4(0) Ever, and album, Ghosts of Download.

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COOL PEOPLE-DEBBIE HARRY

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DEBBIE HARRY SINGING “HEART OF GLASS” 1979
DEBBIE HARRY SINGING “MOTHER”
BLONDIE HAS MORE FUN Deborah Harry, lead singer of Blondie, photographed in New York City.

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In 1974, Blondie pushed punk onto the New Wave dance floor and helped introduce hip-hop to the masses. Now, after 40 years, the band is as inventive and forward-thinking as ever. “We’re gonna re-establish ourselves in a way that we haven’t done in a while,” Debbie Harry says. This spring, she and her bandmates will release a two-disc package entitled Blondie 4(0) Ever, pairing one album of their greatest hits with another set of completely new tracks. “We’ve got this new music we’ve been playing, and it’s relevant, and important to me that people are saying the new music really fits in perfectly with the Blondie music that they know, and how interesting and beautiful it is that they fit together like that,” she says. “And we can do an almost seamless kind of show that goes over a long time, a lot of years.”

While everything may seem so much slicker and glossier today than in punk’s heyday, it’s basically impossible for Debbie not to be genuine in all things. She prefers special nights out at different little New York City clubs (especially the places where you can dance) to watching live performances on the computer or the phone. “Going to see live shows, your friends or bands you’re curious about play in little clubs, is always super-special, you know. The intimacy is great. With phones, it’s sort of like somebody’s making decisions for you. I really want to see something. I’d rather watch what is really happening at the moment. They’re sort of missing it. They’re missing the fucking important part of what the music is.”

And when the band commences its 40th Anniversary World Wide Tour, in March, expect music, fashion, a vision, and an experience that move you, not just chitter-chatter. “Today, people really like to be exposing themselves constantly,” says Debbie. “It’s almost like everybody’s some kind of an intellectual flasher.”

As for the band’s sound today, she says, “Even though technologically, and technically as musicians, we’ve changed and improved, you know, there is definitely a continuity. And that’s kind of perfect, really.”