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“Gloria (In Excelsis Deo / Gloria (Version))” – Patti Smith
(Words/music: Patti Smith and Van Morrison, available on Horses, Arista 1975)

Someone reading about “Gloria” without ever hearing it would imagine that Patti Smith delivers the opening line to the song through clenched teeth.  Instead, one of the first recorded artifacts of the New York punk rock scene begins closer to a whisper than a scream.  Smith lets out her signature line with a measured pace and restrained tone.  It’s not as angst-ridden or sensationalist as it is a statement of the facts.  After all, she’s not denying religion – she’s just saying that it’s not her thing.

Even if this is the most famous line in her song (only rivaled by the hook in “Because the Night”), it’s not her thesis statement.  That comes late on in the verse when she goes a step further, declaring that her sings “belong to me.”  Until this point, Smith continues with the restrained tone of her first few lines until she reaches this declaration.  When she repeats the word “me,” she lingers and sneers at it, letting the note bend slightly.  This is the moment where Smith picks up, letting the swagger in her voice take over as the song crescendos head-on into Van Morrison’s “Gloria.” As the song progresses, Smith’s narrator takes the ownership of her sins as empowerment, fusing a sense of action and control with the sexual energy in Morrison’s original.   By the end of the song (and the return of that infamous first line), Smith’s persona becomes fully formed.  The measured pace of the opening gives way to Smith’s surrealist, self-empowered narrator.  Rather than take her cues from anyone else (the Divine included), Smith’s persona acts on her own accord, bending the will of others (or others’ songs) to fit her own vision.

More on Patti Smith: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: patti smith | 1975 | 1970s | van morrison | lenny kaye | arista records | punk | punk rock | surrealism |
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“Suburban Home” – The Descendents
(Words/music: Tommy Lombardo, available on Milo Goes to College, SST 1982)

For me, the key line in the Descendents’ “Suburban Home” is the one where  Milo Aukerman sings “I wanna be masochistic.”  It’s too self-aware to suggest that “Suburban Home” is anything but tongue-in-cheek for anyone who doesn’t pick up the sarcasm from the opening “I wanna be stereotyped / I wanna be classified” line.  Ultimately, this is the suburban dilemma – assimilate into the white picket fence lifestyle or resist and stand out from your neighbors.  On an oversimplified level, it’s comfort versus individuality, and this struggle is the one that the Descendents thrash against.

Subtlety isn’t one of the Descendents’ strong points, but “Suburban Home” stomps for most of its 1:43 seconds.  The opening and closing spoken word reciting of the opening couplet helps to reinforce the song’s main point – the assimilation that suburbia thrusts upon many – and in the middle turns it into one big slamdance.  Ironically, the Descendents did anything but fade into suburbia; vocalist Milo Aukerman earned a PhD in biochemistry in between stints fronting the band.  While punk rock (in some ways) fell into blandness in the early part of this decade, the Descendents’ thrash went against the grain in 1982.

More on The Descendents: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: the descendents | 1982 | 1980s | punk rock | suburbia | sst records |
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“Kick Out the Jams” – MC5
(Words/music: Michael Davis/Wayne Kramer/Fred “Sonic” Smith/Dennis Thompson/Rob Tyner, available on Kick Out the Jams, Elektra 1969)

One of the (admittedly few) things I remember from my high school physics class is the law of conservation of energy.  Specifically, it suggests that energy can be converted but can never be created or destroyed (Einstein connects this to mass as well – that energy may be converted into mass and vice versa, but the basic idea remains the same).  Regardless, this sat dormant in my brain until I put on the MC5 a little while ago.  Its primal energy and bluesy guitars must have knocked this loose, because it made me start thinking about “energy” as it relates to this song.  “Kick Out the Jams” remains one of the most commonly credited predecessors to “punk rock,” but that’s little more than an intellectual exercise.  I’m sure that someone with a more extensive knowledge of the 1960s (specifically garage rock) could trace this thread deeper to find the first proto-punk record, be it “Kick Out the Jams” or something from the Stooges or whatever, but I’m more interested in the spirit of punk rock – or, in this case, punk’s “energy.”

Thinking of it in that sense – of the spirit of punk rock as “energy” – it stands to believe that it’s always existed, only in different shifting forms.  If it came to New York and London in three chord romps in the 1970s, as hardcore in California in the 1980s, and to the radio in the 1990s, the spirit and undercurrent remain consistent as the sounds change.  In 1969, punk rock sounded like Detroit garage rock; it morphed into the joyful chaos provided by these crashing cymbals, sped up blues riffs, and Rob Tyner’s profane proclamation to start the music.  As hesitant as I am to declare this punk rock (as I think this sounds equally like AC/DC), this is the same joyous spirit founds in its descendants.  Regardless of its label, “Kick Out the Jams” still sounds riotous forty years later no matter what you call it.

More on MC5: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: mc5 | 1969 | 1960s | punk rock | strange tangent to high school science |
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“History Lesson, Part 2” – Minutemen
(Words/music: Mike Watt, available on Double Nickels on the Dime, SST 1984)

My favorite line in “History Lesson, Part 2” – a short song with a disproportionate number of lyric gems – starts the third verse.  “Mr. Narrator,” D. Boon says, “this is Bob Dylan to me.”  This reference speaks louder than the list of Boon and Watt’s musical heroes that they used to emulate growing up.  It reads as a plea for legitimacy for punk rock – an intergenerational attempt to explain how these songs mean just as much as Dylan’s songs meant to the previous generation.  It’s a specific choice to compare it to Dylan and not the Beatles, Rolling Stones, or even Led Zeppelin because punk rock (or at least the kind of punk rock the Minutemen made and gravitated toward) shares a lot with Dylan.  Both touch on political themes, both ruffled feathers of the previous generation, and both are (to some) an acquired taste.  Boon delivers this line with the genuine tone of a teenager seeking validation, and it’s this sincere tone that makes “History Lesson, Part 2” (and most of Double Nickels on the Dime) so compelling.  Sure, Boon and Watt deliver a compelling argument for punk’s place in history, but it works because it’s 100% honest.

It’s important that Boon follows this line with one containing the word “story” because I’ve always been enamored with punk rock’s storytelling capabilities.  Two main themes run throughout punk rock – viewing the world as an outsider (or viewing yourself as outside of the mainstream at least), and punk rock as a participatory democracy.  Some take this as a violent rejection of mainstream culture, but I prefer to see it as a way to tell your own story – one that may not fit in with what’s popular yet may overlap on some points.  Some take punk rock to its nihilistic end and boil it down to finding something to rebel against, but that misses part of the picture.  Take Boon and Watt – they include Blue Oyster Cult’s E. Bloom with their list of punk rock icons and cover Steely Dan and Van Halen on Double Nickels.  Punk rock, to them, is the vehicle to tell their story.  The opening line to the song – “our band could be your life” (the title of Michael Azerrad’s excellent book about the 1980s American underground) gets read as a sign of fandom – making the bands you love a critical part of your life.  In the context of the song, it’s also meant the other way – we could be in Watt and Boon’s place, singing our own song about our own music.  I’ve seen the Hold Steady play this song changing the references to Minneapolis’ punk icons (and the Minutemen as well), and my version would be yet another musical generation removed.  In this case, the details of the story aren’t as important as the actual act of telling it.

More on Minutemen: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: minutemen | 1984 | 1980s | punk rock | punk rock saved my life | mike watt | d. boon | sst records |
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