After 1975, some bands sparked a movement that forever changed rock music. Bands like The Ramones and The Clash pioneered punk rock and became some of the genre’s most beloved icons. Then, in 1977, the Sex Pistols released their explosive debut album ‘Never Mind the Bollocks’, which hit the music scene like an earthquake. Following this, many punk bands emerged in the 1970s.
However, not all of them achieved international popularity. If we could predict the future and know which bands would succeed, it would be better to place our bets on the site https://nomaspin-casino.com, which welcomes all fans of punk music. Here, players will receive a generous registration bonus and can try to win money on slot machines while listening to songs like “Blitzkrieg Bop,” “Should I Stay or Should I Go,” and “Anarchy in the UK.”
Now, read below about the four albums you need to discover if you consider yourself a punk rock fanatic.
Elton Motello – Victim Of Time (1978)
The debut album by Elton Motello (real name Alain Ward) from Brighton, UK, is a real rarity of its time. Although he is best known for covering one of the most provocative punk tracks, his eccentricity has probably only improved his reputation over the years.
American influences can be heard on the album, ranging from the lyrics of “Hey-Ho!” to the dynamic tempo characteristic of the Ramones in the opening track. It also contains elements of glam rock, R’n’B, and pub rock. In the compositions, you can catch echoes of the pop music of the 1960s and 1970s, as well as the audacious swagger of Lou Reed and David Bowie of the early 1970s. However, this eclectic mix of styles is always filled with punk energy.
The song “Jet Boy, Jet Girl” is a real gem, which is a cover of Plastic Bertrand’s Belgian hit “Ca Plan Pour Moi” but with English lyrics that create a surprisingly witty (for its time) ode to a passionate and jealous same-sex romance. This makes the track stylish, memorable, and somewhat cool while remaining kitschy and consciously, even joyfully stupid. Other compositions feature horns, keyboards, slides, guitars, and Motello’s excited vocals, creating one of the real oddities of the late 70s punk scene.
The Consumers – All My Friends Are Dead (1978)
Although initially some questioned the band’s claim that this material was recorded in 1977, one of the two remaining members recently confirmed that the recordings were indeed made in December of that year.
Nevertheless, these ten demo tracks represent a powerful eighteen-minute charge of raw and aggressive punk rock, which can be considered a precursor to hardcore and could rival the early works of Black Flag or Germs. With their shredding guitar riffs, speed, and aggression ahead of their time, they could have become more famous today if they had received a full-fledged release during the band’s activity rather than remaining only in demo format until the official release in the 1990s.
In 1977, punk rock was not easy, especially for the consumers, who were originally from Phoenix, Arizona, and were far from the support of like-minded people from California, London, or New York. School friends Paul Cutler (guitar) and David Wiley (vocals) recall driving 356 miles to Los Angeles to buy a 7-inch Sex Pistols CD. They eventually moved to the burgeoning Los Angeles punk scene but unfortunately did not have time to take full advantage of this move.
Cutler later founded the band 45 Grave, which re-recorded The Consumers’ track “Concerned Citizen,” which is available in its early version here, and then created The Dream Syndicate.
Ultravox – Ha! Ha! Ha! (1977)
Of course, this is not the band that released the incendiary pop hit of the 80s, “Vienna”! But at the same time, yes and no. When other instruments start playing in the opening track of RockWrok after the first keyboard chords, it becomes obvious that this is still the same band with the same name. This version with original vocalist John Fox is a completely different project, likely to surprise those who are only familiar with their later mainstream sound.
This is a more punk-orientated form of the band, with an explosive, energetic, and nervous sound that sometimes turns into aggression and sometimes becomes thoughtful and introspective. Guitars howl and wriggle, and keyboards are sharp at one moment and smooth at another, creating compelling noir and atmospheric punk soundscapes.
John Fox’s style is radically different from that of Midge Jura, who replaced him a few years later. To those who discovered the band’s back catalogue after their chart success in the 80s, such a difference might seem shocking. Due to bias, the first two Ultravox albums did not receive proper recognition in the punk community, although they represent an interesting early stage in the genre’s development. Among them, “While I’m Still Alive” stands out, combining the gloom and longing of Joy Division tracks with a disco beat, and “Distant Smile,” where harmonica and cello create a melancholic Gothic atmosphere before rapidly moving to an energetic and verbose finale.
F.U.2 – Depression (1977)
This record remained in the shadows despite being released during the heyday of punk. In fact, it was a “pseudo-punk” album, which was considered unacceptable in the punk environment. However, over time, having freed himself from fashionable prejudices, he turned into an intriguing curiosity rather than an outright parody.
The F.U.2 band consisted of British session musicians assembled by guitarist Terry Clemson (formerly of the Downliners Sect) solely to capitalise on the new punk “trend”. The band’s name and the explicit label “punk rock” that adorned most of the covers next to pins and skulls gave away their status as “fake” for British punks. Nevertheless, the album was primarily aimed at the foreign market, where, as they hoped, it would not be able to distinguish it from real punk at that early stage, when punk was just beginning to expand beyond the UK and North America.
No matter how difficult it may be for old punks to admit this, an impartial listener may notice that at least the first half of the album quite convincingly reproduces the sound and spirit of early British punk. Although these musicians couldn’t resist adding harmonics and keyboards, the album was recorded and mixed in just one day (which gives it an additional punk authenticity) and includes several bright and energetic punk rock tracks, albeit in a less serious way with titles such as “Sniffin’ Glue” and “Mean Evil Child.”
