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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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“E.M.I.” – The Sex Pistols
(Words/music: Paul Cook, Steve Jones, Glen Matlock, and Johnny Rotten, available on Never Mind the Bollocks, Virgin 1977)

Earlier this week, I was reminiscing about my cassette walkman.  I remember spending hours in high school plugged into it, usually carrying at least one spare tape “just in case” I got stuck somewhere and needed to listen to more than one cassette tape in its entirety lest I’d be forced to interact with someone.  I grew up in the CD era right before CD-Rs became popular (a quick aside – I remember going to a computer show with my dad and getting blank CDs for roughly $2 a piece and thought they were a bargain!), so I rarely bought a new album on cassette.  Instead, my travelling companions came in two varieties – homemade tapes either with an album on each side (or a mix of CD tracks and radio recordings) or bargain bin tapes.  I made a couple huge finds – most prominently I got a copy of R.E.M.’s Chronic Town at a department store going out of business sale.  I also remember having the Sex Pistols’ Never Mind the Bollocks tape in this collection (and I’m sure it’s in one of my shoeboxes somewhere), and I have a very vivid memory of sitting at school waiting for a band rehearsal as the second side of the tape played.  I identified with punk rock because it was many things that I wasn’t at 14 - adventurous, brazen, and uncompromising.  In many ways, this cassette is my personal punk rock emblem – while my peers walked around with portable CD players, I let the cassette wheels’ gentle hum mix in with the power chords.

The Sex Pistols might be more known for their attitude than for their music, and while personality was more important to the Pistols than to some of their peers (The Clash, for example, became more defined by their eclecticism than their attitude, especially in their later years), they deserve a little more credit.  Sure, these songs sneer, spit, and scoff all over the place, but they’re also well written.  “E.M.I.” embodies this balance between spirit and craft.  It’s a dig towards their former label (and by proxy a dig at the “punk as a fashion statement” sentiment), but it’s not as obtuse as the Pistols usually get accused of being.  Sure, they explicitly name the target, but it’s more a list of (reasonable) complaints rather than a libel suit waiting to happen.  It’s a cathartic release of this frustration, but it’s also catchy as hell, from the chanting of the label’s name in the background to the way John Lydon (then Rotten) annunciates every syllable.  He instinctively knows what to distort and what to rush through in order to bring his audience right in line with him.  Looking back at it, especially with it at the very end of Never Mind the Bollocks, “E.M.I.” seems like a triumphant middle finger towards their detractors.  Sure, it’s not polite to gloat when you’ve won, but sometimes it just feels right.

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

TAGGED UNDER: sex pistols | 1977 | 1970s | track analysis | personal reflection | punk rock saved my life | virgin records |
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