As a child of the ’70s who grew up with a transistor radio glued to my ear and a pair of bell-bottom jeans tucked into my Converse sneakers, I can confidently say that the punk and post-punk scenes that erupted in London during those years were nothing short of revolutionary. The raw energy, the defiant spirit, the DIY ethos – it was all there, and it left an indelible mark on music and culture as we know it today.
Amongst the many contentious discussions in contemporary music, the essence of punk rock remains one of the most debated. Instead of offering a fixed definition, I’d like to share my perspective on the matter. Feel free to agree or disagree as you see fit.
For me, punk rock embodies a self-made genre of music that prioritizes spirit over technique, and values intense, visceral melodies over polished production. It’s frequently characterized by its low-fi, stripped-down sound, but it doesn’t always have to be this way. There exists refined punk, played by exceptionally skilled musicians. However, they ensure that their skill or talent never overshadows the authentic emotions that drive their music.
According to this description, punk music could be considered as the earliest form of musical self-expression. It’s the style of music you played when you first picked up a guitar and stumbled through an off-key chord. It was about expressing yourself, whether you sang coherent lyrics or just yelled words that held meaning for you, even if they didn’t make sense to others. What truly defines a punk isn’t simply thinking or dreaming it; it’s about having the courage to actually do it. Punks are particularly known for their bravery.
20 fantastic punk songs from the 1970s
This definition didn’t automatically imply that punk music had to be angry or risky; however, focusing solely on the early punk bands who received media attention might give you that impression. While punks were typically loud, their lyrics could range from thoughtful to immature. The music itself could be harmonious or chaotic.
As a die-hard enthusiast, my yearnings frequently veered off the beaten path, which often resulted in a style that fluctuated between the edgy skinhead and the dark, gothic look. If there was a common thread tying my beliefs together, it was an intense disdain for the monotonous nature of the status quo. Embracing uniqueness by looking, behaving, and expressing myself differently from others has always been second nature to me.
Over time, as punk music gained more popularity and commercial success, it became standardized and sanitized, much like other aspects of our society. Initially, the punk movement was all about defying convention, but as it grew, there were certain aesthetic expectations that came with being considered “punk.
Rapidly evolving, this music brand transitioned from the proto-punk genre of late ’60s and early ’70s, to the classic punk era of 1976-77, and then to post-punk before the decade ended. Post-punk served as a broad label, aiming to encapsulate many new musical directions under a single umbrella term.
As a passionate admirer of music history, I’d say post-punk could either have a more melodious edge compared to its predecessors or be louder and rawer. Regardless of how you categorize it, the late 1970s marked a pivotal moment when punk rock solidified its unique identity and secured its place in our cultural landscape.
As a gaming aficionado diving into the rhythmic realms of nostalgia, I’ve curated a playlist of 20 anthems that encapsulate the spirit and soundtrack of this epoch in music like nothing else could.
“Search and Destroy” by Iggy & the Stooges (1973)
Iggy inserted the foundation (proto) into protopunk. The Stooges had been active since 1967, but following a brief separation, they reemerged in the early ’70s with James Williamson on guitar and the Asheton brothers handling bass and drums. They played their music loudly, rapidly, and sometimes dissonantly. Iggy Pop served as the focal point, influencing numerous punk rock frontmen that would come after him. He was known for his dramatic and challenging stage presence, and this flair was reflected in his songs.
Back in the day, when I’d dive into the gaming world, “Search and Destroy” from the album Raw Power felt like a perfect representation of my life. Little did I know that this wild punk icon, Iggy Pop, would go on to craft even more mind-blowing music alongside David Bowie in the later years of the decade. This collaboration really broadened his horizons, taking him far beyond the raw, punk sounds he was famous for.
“Personality Crisis” by the New York Dolls (1973)
You know what? The Dolls also put the proto in protopunk. The twin guitar attack of Johnny Thunders and Sylvain Sylvain could have played the glammiest of songs, but singer David Johansen eschewed the high pretty vocals that so many glam bands favored and went for a raw scream that would influence punk frontmen for decades.
Johansen immersed himself in exploring theatricality and gender roles, yet maintained a raw, tough edge that distinguished him from contemporaries like David Bowie and Marc Bolan during the same period. The Dolls disbanded after releasing just two studio albums in 1976, but their impact was immense.
“City Kids” by Pink Fairies (1973)
The Pink Fairies, a London-based band known for their proto-punk style, diverged from the path taken by New York Dolls. Instead of a raw punk sound, they were more inclined towards extended, blues-infused guitar solos. “City Kids,” the opening track from their third album, Kings of Oblivion, marked the introduction of new vocalist Larry Wallis. Later, he collaborated with Lemmy Kilmister in the early days of Motorhead. Consequently, “City Kids” is not just proto-punk but also a precursor to thrash music as well.
“Agitated” by Electric Eels (1975)
You can argue all you want about where the line is between protopunk and punk. For me, this is it. This is where you drop the “proto.”
The origin story of Electric Eels is akin to the DIY spirit of punk rock. According to their leader, John Morton, three companions attended a performance by iconic rock innovators Captain Beefheart one evening and were unimpressed with the opening act. Consequently, they decided to learn to play instruments themselves. Morton took up guitar, Brian McMahon played piano, while Dave E. McManus sang as he didn’t have any other skills, in Morton’s own words.
After some time, they formed a band that didn’t stay together for very long. However, their duration was sufficient to produce several songs. Among these songs, they recorded “Agitated,” featuring McManus’s raw and aggressive vocals in 1975. This song wasn’t officially released until 1978, which was when this type of music was starting to gain a following. Although the Eels were no longer a band, their influence could still be felt on the new music being created.
“Final Solution” by Pere Ubu (1976)
It’s possible that Punk Rock, the American version of it, didn’t originate from Electric Eels. Instead, it might have emerged unexpectedly in Cleveland, Ohio. Rocket From the Tomb, taking inspiration from groups like the New York Dolls and the Stooges, added a grittier edge to their music. In 1975, Rocket made a significant stir in Cleveland but disbanded before they could produce an official album. The bands that came after them had a greater influence on the scene.
David Thomas, a musician known for his skills in singing, songwriting, and keyboard playing, founded the band Pere Ubu and started issuing singles within a short span of time. One of their earliest releases, “Final Solution,” embodied both punk and an unusual flavor. The track featured a heavy bass drone and extremely distorted guitar, which gave it a raw, low-fi feel. Thomas’s angry vocal delivery echoed the spirit of punk music. However, unlike traditional punk songs that often move at breakneck speed, “Final Solution” incorporated eerie effects that went beyond basic power chords. In essence, Pere Ubu was playing post-punk tunes even before the concept of punk music had fully materialized.
“New Rose” by the Damned (1976)
The Damned weren’t the first British punk band, but they were pioneers in recording that raw, rebellious sound. Their debut album, “Damned Damned Damned,” was preceded by the single “New Rose,” where singer Dave Vanian pays tribute to American girl group the Shangri-Las, who might have been considered a punk band if they had been given the chance in the ’60s.
Initially, Rat Scabies, who wasn’t his birth name, began a dynamic drumming session, and Brian James commenced a straightforward chord assault that carried more raw power than any music emanating from the top-selling arena bands at the time. The revolution was yet to fully ignite, but it was on the brink.
“God Save the Queen” by Sex Pistols (1977)
Previously, punk rock wasn’t established or widely recognized as a genre. However, “Never Mind the Bollocks, Here’s the Sex Pistols,” their only complete studio album, made it undeniably clear that punk rock was demanding its place in the music world. It was characterized by its loudness, speed, and vulgarity, with Johnny Rotten’s growls encapsulating this rebellious spirit best when he sang “God save the Queen – She ain’t no human being – And there’s no future – In England’s dreaming.” The gate-crashers were no longer just at the gates; they had stormed the palace.
“Sheena is a Punk Rocker” by Ramones (1977)
On the western side of the Atlantic, punk bands were playing similar chord progressions yet with unique flair by this point. The Ramones had debuted their first album a year prior, making them more refined musicians compared to the Sex Pistols by the time they released Rocket to Russia, their third studio effort.
In the realm of punk, I found them to be quite diverse in their song selection. What stood out most to me was their unique blend of goofiness and intensity – one moment they’d scare you, the next they’d make you laugh. Their finest tunes championed the unconventional lives of punks who yearned for change, not necessarily revolution, but something fresh and thrilling compared to the stagnant offerings of mainstream music and culture. And that’s exactly what “Sheena is a punk rocker… now” represents – a bold declaration of individuality within the punk community!
“Blank Generation” by Richard Hell and the Voidoids (1977)
Richard Hell experimented with collaborative projects, first teaming up with Tom Verlaine in Television, then joining forces with Johnny Thunders in the Heartbreakers. However, these partnerships didn’t endure. Instead, he picked up his bass and teamed up with a pair of guitarists and a drummer (who later replaced Tommy Ramone in the Ramones). Together, they released a couple of albums as Richard Hell and the Voidoids, but this band too had a short lifespan. Despite its brief tenure, Richard Hell and the Voidoids produced two groundbreaking punk albums, one of which was “Blank Generation,” a modernized rendition of Rod McKuen’s “The Beat Generation.” This song became a defining anthem for the punk scene in the late ’70s.
“Orgasm Addict” by the Buzzcocks (1977)
Experience the electric atmosphere of Manchester in the mid-’70s. It was a time pulsating with energy from bands like The Buzzcocks, Joy Division, and The Fall. This era also marked the debut performance of the Sex Pistols. At the heart of this music revolution were Pete Shelley and Howard Devoto, founding members of The Buzzcocks.
As an ardent admirer, I can’t help but reminisce about the electrifying beginning of a musical revolution – the birth of “Orgasm Addict,” the precursor to a series of chart-topping singles that would ultimately define the genre we now know as pop punk. The focus was on refined melodies and a broader spectrum of musical flavors, yet maintaining the unapologetic, in-your-face lyricism that made them iconic. Little did we know then, but the charismatic Devoto was about to depart, embarking on a journey that would lead to another band whose name will resonate in our memories soon enough.
“I Hate the Rich” by the Dils (1977)
Despite the Ramones not being a fiercely political band, American punks still had the ability to express their dissatisfaction with society in much the same way as the Sex Pistols did. The Kinman brothers, Chip and Tony, emerged from the San Diego suburbs with “I Hate the Rich” in 1977, a song that began fast and only picked up speed. Initially, their music was directed at the rich, but soon it expanded to include hatred for everyone.
Similar to many bands mentioned earlier, The Dils may not have had a long-lasting career, but they significantly impacted upcoming musicians. Their outspoken political songs and fervent rage laid the groundwork for much punk music in subsequent years. Towards the end of the ’70s, as The Dils were disbanding, they shared stages with an emerging band called the Dead Kennedys who would continue this musical legacy.
“Three Girl Rhumba” by Wire (1977)
If you’re familiar with Elastica’s Britpop hit “Connection,” then you’ve already recognized the intro to “Three Girl Rhumba.” Their debut album, Pink Flag, skillfully captured the essence of punk while being significantly more clever than most punk music coming out of London at the time. Colin Newman’s vocals had the intensity of any punk singer yet possessed a unique, lighter quality that Johnny Rotten never showcased. Pioneering the genre of art punk.
“Sonic Reducer” by Dead Boys (1977)
From the remnants of Cleveland’s Rocket From the Tombs emerged another band known as Dead Boys. The duo comprising guitarist Cheetah Chrome and drummer Johnny Blitz opted to deviate from the more melodic paths taken by bands like the Ramones, Buzzcocks, and Wire. Instead, they modeled themselves after the American counterpart of the Sex Pistols. They discovered their John Lydon, or Johnny Rotten, in Stiv Bators, a vocalist brimming with attitude and possessing enough genuine talent to lead a punk band. Their music? The title of their 1977 debut album – with “Sonic Reducer” as the opening track – gives a hint: Young, Loud and Snotty.
“Shot by Both Sides” by Magazine (1978)
Following his departure from Buzzcocks, Howard Devoto teamed up with guitarist John McGeoch and bass player Barry Adamson to establish Magazine. Over their relatively brief existence, they transformed the straightforward punk sound into a more somber and intense genre of music, which laid the groundwork for post-punk. This was concurrently when Elvis Costello was creating something quite similar with his initial band, the Attractions.
In a previous article on ’70s hard rock songs, I discussed Costello’s early hit “Radio Radio.” This song stands apart from Devoto’s darker compositions in an interesting way. While Devoto nearly broke through to the mainstream with this track, he didn’t quite manage to expand his influence as widely as Costello did. Yet, the story of British punk isn’t over just yet for us.
“Beat Your Heart Out” by the Zeros (1978)
Originally hailing from California and consisting of Mexican-American members, The Zeros had such a strong resemblance to The Ramones that many assumed they were just a spin-off band. However, upon closer inspection, it was revealed that this group was not affiliated with the iconic punk rock band. Javier Escovedo, a member of a musically productive family, was one of the key figures in this band. His brother Alejandro, who has been producing punk and rock music for more than half a century, is also part of this family. In The Zeros, Javier took on the roles of singing and playing guitar. Robert Lopez partnered with him on guitar, while Hector Penalosa and Baba Chenelle formed the rhythm section.
Initially, several standalone tracks were published by the label BOMP!, which had previously distributed early recordings of various acts featured on this list. However, it wasn’t until much later that they managed to release a full album. This EP, titled “The Zeros“, compiled four of their original singles into one collection. The Zeros developed a unique sound by drawing inspiration from the garage rock of the ’60s and incorporating punk elements like fuzz and solos. They are often recognized as one of the overlooked bands of that era.
“Typical Girls” by the Slits (1979)
You may have noticed a certain lack of XX chromosomes on the list so far. Had I not already included Patti Smith and the Runaways on the list of ’70s hard rock songs, women would have already been represented. But never fear. That absence is about to be corrected.
Originating from London during the nascent era of punk rock, The Slits stood out with a unique sound that deviated from the norm among many male acts. Their music was simultaneously melodious and edgy. Viv Albertine’s guitar frequently sliced through the rhythm set by Budgie (who replaced Palmolive on drums just before their debut album) and Tessa Pollitt on bass. Above this dynamic foundation, Ari Up’s vocal performance was a captivating blend of impassioned, dramatic, quirky, fun, and slightly unsettling elements, perfectly embodying the unpredictable nature of the punk scene.
“Fairytale in the Supermarket” by the Raincoats (1979)
Initially a member of the band she helped establish (Slits), Palmolive departed and teamed up with Ana da Sliva and Gina Birch in time for them to release their self-titled debut in 1979. Although “Fairytale” wasn’t part of the initial album, it was issued as a single during the same year. Palmolive’s drums set a fast tempo throughout the song, and Vicky Aspinal’s shrill violin adds depth in much the same way John Cale did for the Velvet Underground a decade prior. While their debut featured a humorous cover of “Lola” by the Kinks, their original compositions displayed more personal humor and electric vitality.
“Playground Twist” by Siouxsie and the Banshees (1979)
Among the numerous punk and post-punk groups that emerged from London in the late ’70s, the one initiated by vocalist Siouxsie Sioux and bass player Steve Severin stood out for its intrigue and endurance. The track “Playground Twist,” from their second album “Join Hands,” is a whirlwind of sound, punctuated by occasional bell chimes. For a brief moment, a saxophone shrieks, adding to the chaos. Siouxsie’s performance teeters on melodrama, but it complements the song’s intense mood perfectly.
In different genres throughout their career, Sioux and Severin (with Budgie from The Slits joining them on drums eventually) played around extensively. At their peak, they consistently produced music that held your focus, whether it was raw punk, avant-garde folk, or a blend of both. Even before officially becoming a band member, guitarist John McGeoch departed Magazine and joined forces with Siouxsie the following year.
“I Found That Essence Rare” by Gang of Four (1979)
From just the name, it’s clear this is post-punk music, isn’t it? Original punk bands wouldn’t have used that specific structure. Gang of Four, part of the London scene in the late ’70s, shared the angst and raw energy of their contemporaries. However, their songs were characterized by a deeper thoughtfulness and a more refined construction compared to others.
The first album they released, titled “Entertainment!“, showcased a more diverse mix of musical genres. For instance, “I Found That Essence Rare” incorporated elements of reggae while still retaining the raw energy typical of punk music. In time, their unique post-punk sound would significantly impact the Minutemen, an influential American band that would emerge a few years later.
“Lexicon Devil” by the Germs (1979)
The Germs didn’t fit the category of post-punk or melodic pop punk. Instead, their style leaned more towards hardcore punk, characterized by being louder, faster, and messier. Frontman Darby Crash was a pivotal figure in punk rock screamers, while Pat Smear, their guitarist, made a significant mark on Nirvana. Lorna Doom and Don Bolles formed the powerful rhythm section of the band, although it was short on subtlety, it was long on power.
As a passionate gamer diving into the world of music, I’ve got to tell you about “Lexicon Devil” – a track that bursts onto the scene and never slows down in its brief, exhilarating 100-second span. It’s a fitting finale to acknowledge the Germs, a band whose impact on ’80s hardcore punk was massive and whose influence extended even to the grunge movement of the ’90s.
Darby Crash, who tragically passed away before his 23rd birthday, became a symbol of the do-it-yourself, gritty, and unsanitary lifestyle that numerous hardcore punk enthusiasts strove to emulate. His influence would have been substantial regardless, but it was cemented in history by Penelope Spheeris’ 1981 documentary titled “The Decline of Western Civilization“, a candid portrayal of the Los Angeles punk rock scene around 1980, which later inspired two follow-up films.
As we reach the close of this decade, I’d like to point something out: The Clash’s third album, “London Calling“, was released right at the brink of 1980 and is often considered one of the best punk albums ever made. Its title track, among others, would have fit well in this collection, but I assume you’re aware of that. Just thought it merited a mention as an added tidbit.
We’re not done with the ‘70s yet, though perhaps we’ll take a little break to catch our breath.
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2024-09-26 13:01