![]() ![]() ![]() Marginally more impressive in terms of political content is the anti-fascist anthem Fear On The Streets by the Members. Other contributions from Manchester, such as Ain't Bin To No Music School by the Nosebleeds and Lookalikes by the Drones, also give the impression that the bands may be participating in some barely articulated form of social protest. Cranked Up Really High by Slaughter And The Dogs appears, from what it's possible to decipher of the lyrics, to be an anti-drugs song. However, the distinction is somewhat opaque because a handful of the tracks on the Streets compilation reflect vague social concerns that could be subsumed under the nebulous ideological posturing of Punk Rock. Clearly, while the Clash were projecting themselves as the epitome of Punk Rock, Streets is basically about punk rock. However, this was not the only vision of what that year was about, according to the brief sleeve notes on the back of a Beggars Banquet compilation album entitled Streets: Select Highlights from Independent British Labels: 1977 was the year that the music came out of the concert halls and onto the streets when independent labels sprang out of the woodwork to feed new tastes when rock music once again became about energy and fun when the majors' boardrooms lost control. 1977, at least in the way it was mythologised by the Clash on the flip-side of their first single White Riot, was a time of apocalypse. Those pseudo-intellectuals who believe that it is possible to discover the 'origins' of Punk Rock at this particular juncture in the development of the discourse have quite simply failed to grasp the dynamics of culture and their 'work' should be subjected to merciless criticism. 1977 is only one of many points at which we could begin to investigate this phenomenon. ![]() However, as I've already pointed out, as an evolving musical genre, PUNK ROCK has no fixed boundaries. Indeed, quite a number of intellectually unsophisticated writers would lead you to believe that the genesis of PUNK ROCK is to be found in this period. This is the period when the legacy of sixties garage rock became completely entangled with the ideology of Punk Rock passed down to a subsequent generation by the likes of the MC5. CRANKED UP REALLY HIGH: GENRE THEORY & PUNK ROCK by Stewart Home CHAPTER IV: RELICS FROM THE PAST British PUNK ROCK circa 1977 Before getting to grips with the dialectical transformations of Punk Rock, I want to deal with a particular moment in the history of PUNK ROCK that was a time of both fusion and division. ![]()
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