Monday, January 16, 2017

Formative Albums

This is something that originated on social media — people posting lists of albums important to their teenage years, as opposed to say all-time favorites, or what have you.  I rarely if ever do these things, but those who know me know that, aside from poetry, I also write about music.  So, my list.  Here, I’m really thinking something like ages 14-18 or so.  As it’s 12” albums, I’ve left off important 7”s, and I’ve also only gone with one per band, in no exact order (though I guess they’re roughly in the order of my coming to them).  Again, this is not an all-time favorite album list, which would be rather different   I’m sticking with the “influenced you in your teenage years” thing.  Here are eleven.  [Bracketed comments in regard to live shows.]

Ramones, first album 
I actually first listened to this when it came out in 1976, when I was 10, due to the fortuitous presence of a long-time family friend who gave it to my parents.  Afterward, I went through a couple of different phases of musical development, including popular AM radio groups, then a serious Beatles period ages 13-14, then some “new wave,” and then at 14 got into true punk rock again in a big way, with the Ramones gracing my record-player frequently.  In fact, they still do.  This album is probably the ultimate punk album (certainly one of the all-time best albums, period), and I imagine my life might have been very different without it.  [I finally saw the Ramones live in 1985.]

Sex Pistols, Never Mind the Bollocks 
While the lustre of this one has kind of worn off for me (if I ever listen to the Sex Pistols these days, it’s mostly the rarities or B-sides), I would be lying if I said it wasn’t a major record for me during the early part of my punk career.  (I use the word “career” because I was in a band already — Wasted Talent — aside from just being “a punk”).  Out of the “big three” of the British punk bands (Pistols, the Clash, and the Damned), I would now unhesitatingly go with the Damned as my favorite, and even throw in Sham 69 and the first Wire album over the Pistols.  Strange how that happens.  [I never saw the Pistols live, as they broke up when I was 11, but I did see the Professionals with Steve Jones and Paul Cook.]

The Plasmatics, New Hope for the Wretched 
As it turns out, this band was originally a performance-art project created by their manager (I think it was), but then weren’t the Sex Pistols too, in a way?  When this album came out (1980), they were pretty much the biggest thing in American punk rock, and I even remember seeing them on Entertainment Tonight or one of those shows, blowing up a car on stage as part of their live act.  You might dismiss them as a gimmick, but the real test is in the music — they were a surprisingly good band, and Wendy O. Williams was a great singer and front-woman.  Best tracks: “Butcher Baby” and “Monkey Suit.”  [Never saw them live.]

Dead Kennedys, Fresh Fruit for Rotting Vegetables 
The DKs were a pretty well-known band in the early hardcore scene, though they don’t sound as hardcore as some on their early stuff.  I started buying their singles, then saw this album in the store.  My favorite tracks were probably “Let’s Lynch the Landlord” and “California Über Alles.”  Jello Biafra’s voice is the kind of thing you either love or hate.  What I also liked about the DKs is that they had a pretty original guitar sound, with weird surf influences, etc., not just the standard bar chords.  Highly political (maybe even more so on their subsequent releases), one could argue that they are once more relevant, given the era we now live in.  To be honest, though, I don’t listen to them much anymore. Just a subjective thing.  I guess, like the Sex Pistols, I kind of wore them out.  [Never saw them live.]

Germs, (GI) 
The Germs, however, never get old for me.  Darby Crash had one of the best punk singing voices out of anyone.  Despite his self-created image as a drunken lout, his lyrics are some of the most poetic or literary lyrics in punk rock.  The Germs took the best of the original ’77 punk sound and intensified it, creating (along with a few other bands) the L.A. hardcore sound.  Pat Smear’s guitar is unrelenting.  There’s not a whole lot in the way of leads, but his bar chords are hard to beat.  This is still one of my favorite albums.  [Never saw them live.]

Black Flag, Damaged 
As is Black Flag’s Damaged.  Since I’m only going with one album per band, it was a toss-up between this and Flag’s other great album, My War.  But since I’m still focusing on earlier influences, I chose Damaged.  I can’t count how many times I played this album at age 15 and 16, over and over, very much into the lyrics and the viscerality of the music, and the way they were able to evoke intense emotion more so than probably any other band I can think of.  You want pathos, you got it!  But it doesn’t so much speak to the teenage condition as it does the human, and that’s one reason why it still holds up as art for the ages.  [I first saw them live in May 1982, and ten times after that.]

V/A, Flex Your Head comp 
As everybody knows, Washington, D.C., had the best hardcore scene in the country, or at least the best bands.  This compilation is proof: The Teen Idles, Untouchables, S.O.A., Minor Threat, Government Issue, Youth Brigade, Red C, Void, Iron Cross, Artificial Peace, and Deadline all on one album, without a single throwaway track.  Even though I think I was just 15 when I got this, it made me want to quit school and move to D.C. to be part of it all.  In retrospect, there was at least something to be said for staying in State College, PA, for a couple more years, as awful as it seemed at the time, and being in the band I was already in.  [Of the bands on this compilation, I saw live shows by Minor Threat, Government Issue, Void, Iron Cross, and Deadline.]

Minor Threat, Out of Step 
Along with Black Flag, and then very soon the Bad Brains, Minor Threat was one of the let’s say top three bands that represented “me” and how I felt about life and how I put myself forward in the world at the time.  Focusing on personal politics and positing a straight-edge philosophy (in fact, vocalist Ian MacKaye originated the idea and the term, as we all know), MT was and is the quintessential East Coast hardcore band, the sine qua non of the genre, and have never been surpassed (sorry, Fugazi fans; sorry NYHC fans; etc.).  Out of Step was their only album, but it didn’t come out until the spring of 1983.  By that time, it was an “event,” and it was worth the wait — it’s indisputably a great record.  Before it, though, their two 7” EPs were almost constantly on my turntable.  [I saw Minor Threat twice, in May 1982 and June 1983.]

Bad Brains, Rock for Light 
Though I had listened to their ROIR cassette and of course really liked it, and had a few of their tracks on compilations, I didn’t really get into the Bad Brains in my own way until 1983, when Rock for Light came out.  “Ah, yes,” I thought to myself, “now I see why Henry Rollins and Ian MacKaye argue that the Bad Brains are the greatest hardcore band ever.”  People say their heyday was a year or so earlier, and maybe it was, but Rock for Light is one of the best and most original hardcore/punk/whatever albums imaginable, in sound, fury, and content.  Sure, it’s a toss-up between this and the ROIR album, in fact many of the songs are the same, but I give this one the edge here for production and my own personal investment at the time.  And, the three reggae tracks on this album are great!  [I saw the Bad Brains twice in 1985, shortly after they re-formed.]

Hüsker Dü, Zen Arcade 
I got Hüsker Dü’s first album shortly after it came out and thought it was so-so.  Then, however, I was blown away by both Everything Falls Apart and Metal Circus.  Either of these latter two could be on my list, but Zen Arcade, wow.  It came out in the summer of 1984, so I was either still 17 or had just turned 18.  It was that point in time where the original hardcore scene was just starting to fragment and evolve (if not the beginning of the end), and this double album pointed a way forward.  It still retained the speed, roughness, and noisiness of hardcore (a few songs were still outright thrash), but brought in all kinds of other influences at the same time: 60s garage/psych, hard rock, an “emotional” lyricism, there are a couple of acoustic tracks, vocal melodies, some tape loops, etc., but they never lose their punk edge and intensity.  Zen Arcade is a landmark album, and still one of my favorites.  [I saw Hüsker Dü twice, in December 1983 (with the Minutemen opening) and in the spring of 1985.]

The Stooges, Fun House 
It’s hard to know where to begin with Fun House.  Any of the three Stooges studio albums could’ve been on this list — in fact, I first bought Raw Power when (I think) I was still 14.  But, I started getting into Fun House when I was 17 or so, partly because Henry Rollins (via Chuck Dukowski’s influence) had talked it up in an interview.  My initial point of comparison was Black Flag’s My War LP, the way both albums had this subtle departure in mood between side one and side two, with the back half getting wilder and more free-form.  But Fun House quickly took on a life of its own for me, at a time when (as I alluded to above) I was looking for something beyond what had increasingly become a hardcore formula (well, I stayed with the hardcore sound for a while more, too).  Much has been written about this album (indeed, readers of my blog know that I write about the Stooges myself from time to time), and its importance to my own art from that period on cannot be overstated; there’s no other record like it.  In my opinion, it is the greatest rock’n’roll album.  [Never saw the Stooges live, though I did see a couple of Ron Asheton shows (with Empty Set, and Dark Carnival) and a couple of Iggy Pop shows.]

Since narrowing it down is difficult, here’s a supplementary twenty-two more formative albums.  Again, no particular order except rough personal chronology, same time period (age 14-18).  And I’m obviously leaving off many other important ones.

Gary Numan & Tubeway Army, Replicas
New York Dolls, first album
Iggy Pop, Soldier 
Lydia Lunch, Queen of Siam 
Dead Boys, Night of the Living Dead Boys 
V/A, The Decline of Western Civilization soundtrack
V/A, Hell Comes to Your House comp
V/A, Boston Not L.A. comp
Circle Jerks, Group Sex 
Misfits, Walk Among Us 
Faith/Void, split LP
V/A, Let Them Eat Jellybeans comp
V/A, Not So Quiet on the Western Front (MRR) comp
SS Decontrol, Get It Away 
D.Y.S., Brotherhood 
Ruin, He-Ho 
Necros, Conquest for Death 
Marginal Man, Identity
Black Sabbath, Paranoid 
The Velvet Underground & Nico
The Doors, first album
MC5, Kick Out the Jams