It’s time for another delve into the 1001 Albums You Must Hear! Whenever there’s an album on the 1001 I don’t recognise, it’s usually a punk album. So this week, I’ve decided to cover a whole week of punk, which will cover some of the core bands of the genre as well as some of the less familiar ones. There’s also loads of new-wave and post-punk on the list; we’ll give that a separate week later.
Bad Brains, ‘I Against I’ (link)
This 1988 album is ostensibly hardcore punk, but falls prey to a lot of the mainstream rock trappings of the era: flangey, trebly guitar, snares high in the mix. There’s also elements of reggae and heavy metal, while singer HR varies between whine and high-pitched squeak. This hasn’t dated very well; feels like all the naff elements of Faith No More’s 80s output without any of the hooks or weirdness.
Buzzcocks, ‘Another Music In A Different Kitchen’ (link)
Staples of “Best Punk Album Ever!”-type compilations thanks to ‘Ever Fallen In Love’, this album’s cover makes it look like a ZTT synth-pop album, but is of course full of melodic punk. The album is superior punk fare because it fuses tunes with urgent intensity (some left over by Howard Devoto, who left before the album was recorded), but also because it includes elements that anticipate post-punk: ‘Sixteen’ pauses for a noise break, while ‘Moving Away From The Pulsebeat’ sounds like a template for early Siouxsie and the Banshees.
Circle Jerks, ‘Group Sex’ (link)
Fourteen songs in just fifteen minutes, meaning that the album has no time to get boring. Not keen on this riff or idea? No problem, it’s over in a second. Like Napalm Death’s ‘Scum’, the brevity of the individual tracks almost renders them pointless to talk about: the cumulative effect is exhilarating, but maybe hard to get a handle on.
Ian Dury, ‘New Boots and Panties!!’ (link)
Recorded before the Blockheads were fully established, but featuring most of the members, Ian Dury’s only appearance on the list fuses a sort of funky rhythm section with pub rock piano, supported by Chaz and Dave (well, Chaz Janckel and Dave Young but…), Moog synths and saxophones popping in to flesh out the sound, and Dury’s Cockney blokey observations over the top. It’s an unusual album but, for one generally considered as punk, it’s rarely as raucous (apart from ‘Blockheads’ itself, perhaps). The Spotify version appends a load of tracks, including ‘Sex and Drugs and Rock’n’Roll’, which wasn’t on the first print of the album but which mysteriously appeared unannounced on the second. Whichever version you hear, though, this is worth checking out.
Germs, ‘GI’ (link)
The Germs were a hardcore punk band who briefly featured Belinda Carlisle on drums, but are best remembered for this, their only album. With Joan Jett on the controls and Pat Smear on guitar, it’s aggressively fast and hard, acting as a proto-hardcore album as it sprints through 16 songs in 38 minutes. The average song length would be even shorter if not for ‘Shut Down (Annihilation Man)’, closing the album and crawling along for 10 minutes. The album is often heralded for Darby Crash’s lyrics, but it’s hard to distinguish them through his hoarse spit.
The Stooges, ‘The Stooges’ (link)
As always with the Stooges, there’s a story: they tried to get away with submitting a five-track album to the label, assuming that would be enough; it wasn’t, and they had to write three more songs in 24 hours. This features some of their most famous songs: ‘No Fun’, ‘I Wanna Be Your Dog’, ‘1969’, and producer John Cale occasionally adds colour with viola and, of course, sleigh bells. I’m not sure I enjoyed this that much though: stripping rock and roll down to its core comes at a cost to its dynamic variety, at least here, where it’s the same riff all the way through a song until another one starts.
The Stranglers, ‘Rattus Norvegicus’ (link)
They could play, that’s the difference: particularly Dave Greenfield, who’s always appending Bach arpeggios onto the choruses. The Stranglers trade in fast punk where the bass is high in the mix, the keyboards add colour, and the musical competence means they can go anywhere they want (there’s a song in waltz time, there’s a reasonable attempt at reggae in ‘Peaches’, and one of the bonus tracks is in 9/4). They’d go on to do all sorts, including a weird sophisticated new wave version of themselves in the 80s. This is a good album.
Next week: a journey into something wacky ready for Sunday brunch: all the albums with food references! (Not including albums on Food Records).
Status update: 679 heard (68%), 322 remain.