Punk rock was originally coined in 1971 by Dave Marsh after witnessing a Question Mark and Mysterians gig. Punk entered the American mainstream in 1977, when both Time magazine and Newsweek offered punk their front page.
In the summer of 1977, Time and Newsweek informed their readers of a new subculture, called "punk," that had emerged at a few rock clubs in the United States and Britain. It was a style of exuberant ugliness. Men and women alike wore short hair that had been cut seemingly at random, and dyed unnatural colors. Flesh was pierced in sundry locations, at times with safety pins. Punk bands had names like the Dead Boys or The Clash. The music was very loud, very fast, and seldom involved more than three chords. Dancing was spasmodic. Spitting was common. -- Scott McLemee
free jazz Thurston Moore discography of free jazz recordings
Years later, when punk started up, some of the players were also jazz fans, especially the incestuous New York scene. Patti Smith's second album, Radio Ethiopia, contained a frenzied title-track that rivals "L.A. Blues." (Supposedly, Ornette himself was slated to play on it). Tom Verlaine and Richard Lloyd of Television certainly had Coltrane and Ayler in mind when they took off on their solos. Voidoids guitarist Robert Quine sounded like this was where his head was at also. In all, they had the same thing in mind as Lou Reed when he was trying to get his guitar to imitate the jazz he loved.
http://www.furious.com/perfect/jazzpunk.html The Real Godfathers of Punk
by Billy Bob Hargus (July 1996)
Stuck between Punk Rock noise and New Wave explorations, the No Wave scene was born in New York where it lived a short life in tight connection with downtown's avant-garde artistic crowd. Mostly an attitude towards music, it was characterized by the refusal of traditional Rock 'n' Roll format (chords, chorus...) and the incorporation of exterior influences such as Free Jazz (the Loft Scene), contemporary and black music (funk, disco).
The gurlpages.com web site is inspired by an appreciation for the women in punk circa 1975-80s. This is pre-riot grrrl punk, sistahs 'n brudduz. This meanswe love the Slits, the Raincoats, Y Pants, Dark Day, ESG, X-Ray Spex (PolyStyrene), Essential Logic (Lora Logic), Young Marble Giants (Alison Statton),Sonic Youth (Kim Gordon), X (Exene Cervenka), Girls at Our Best!, Patti Smith, Lene Lovich, Laurie Anderson, The Adverts, Jaine Aire and the Belvederes, Lydia Lunch, Siouxsie and the Banshees (Siouxsie Sioux), Lilliput/Kleenex, Revillos,etc.
http://www.bestweb.net/~rline/ - This celebrates the three schools of punk rock in New York City from the middle to late 1970's. THE NY MUSIC SCENE (1975-1978)
http://www.cbgb.com seminal club in New York where punk was born (which means not in England ;-))
There were two clubs at the beginning, CBGB and MAX's Kansas City -- two stories unfolding across Manhattan's Lower East Side. Though most groups played both venues, at the outset there were CB's bands and Max's bands.
Punk and Reggae
.. Punk and reggae became intertwined because to two of punks influential stars, Mr Rotten and the boys in the Clash, reggae was very much a part of their musical scene and growing up and each vied to say they loved it more than the other as an influence. For the Clash they covered Junior Murvin's Police & Thieves, wanted a Notting Hill riot of their own, had Lee Perry produce one of their finest singles Complete Control and worked alongside Mikey Dread on their sprawling Sandinista album and live while spraying their clothes with Prince Farianisms like' Heavy Manners' . Jah Wobble in Pil would utililise the pounding reggae bass on a many a tune and as Haile Unlikely Vs the Steel leg recorded his own groovy 12". Contrasting this is the two very different experiences of the boys visiting Jamaica. For the Clash it was a heavy trip resulting in the song 'Safe European Home'. For Rotten him and Letts spliffed out to sound systems and generally had a good time at Virgin's Expense .There were some unusual contenders... The Slits stomping 'Grapevine' the growling reggae bass driven 'Nice & Sleazy' by the Stranglers, the incendiary cover of Marley's 'Johnny Was' by SLF and there were some stinkers too.. The Members 'Offshore Banking Business' , some execrable Patti Smith shite , the dreadful Unwanted's 'Secret Police 'and I don't care what anyone says ATV's 'Love Lies Limp'. Prizes for serious white boy reggae prior to the two tone revival must go to the Ruts who really did capture the space and power of reggae and weld it to a white mans punk anger ( whatever that means) Essentially a London thang reggae and punk were thrown together by being mutual outcasts, two fingers against authority and a sense of an established order breaking down. Both were rebels. In the DJ booth at the Roxy Don Letts played reggae and dub platters before punk records were avalaible.John Peel was as likely to follow records by the Cortinas and Clash with records by Misty In Roots and Augustus Pablo. The NME had its own Reggae page. 1977 (When the two sevens clash.. Babylon ie England was to disintegrate) was to be an apocalyptic year in reggae terms.... and so it was in music fashion and society generally as white and black street culture found itself with the same aspirations for possibly the first and last time. Summing it all up tho was the distinctly infectious tunes of the suprise number One single at the end of 77 ,Althea & Donnas 'Uptown Ranking', which financed Lightning records punk excursions. [And of course there was Bob Marley's Punky Reggae Party] -- http://www.punk77.co.uk/punkhistory/reggae.htm2002, jan 06; 12:05:
Stooges - Stooges [Amazon US] Iggy and his Stooges, their debut album including '1969' ("War across the U.S.A. / Another year for me and you / Another year with nothing to do"), and 'Now I Wanna be Your Dog'
The Clash - London Calling [Amazon US] By the time 1979 rolled around, the Clash were no longer, strictly-speaking, a punk group. They had a lot more to offer, fusing their punk style with ska, reggae, blues, traditional rock, pop. From the driving bass opening to the title track to the untitled pop love song, "Train in Vain", this is as flawless an album as they get.
Richard hell and The Voidoids - Blank Generation [Amazon US] If the title track didn't sum up an entire generation, it certainly captured the frazzled swagger of early punk rock. Launched from New York City's famous C.B.G.B. nightclub, the Voidoids released this debut in 1977, around the same time as Television's Marquee Moon. A rewrite of an old cornball Beat song, "Blank Generation" echoes the Sex Pistols's cries of "no future." "Love Comes in Spurts," the 1977 album's other classic, is a double-entendre both playful and menacing. The rest is the sound of Hell's nervous voice rubbing up against Robert Quine's equally nervous electric-guitar playing and an unyielding rhythm section. -- Steve Knopper
The New York Dolls - The New York Dolls [Amazon US]
In 1972, when rock & roll was all but dead in Manhattan, five cross-dressing glam punks from the boroughs convened and began hammering out crude, sub-Chuck Berry rock for the downtown in-crowd. It took another year before a record company dared to sign them, thus foisting The New York Dolls on an essentially uninterested world. Taking their cue from the band's guitarist/Keefalike Johnny Thunders, hardcore Dolls fans pooh-poohed Todd Rundgren's production as wimpy: twenty-five years after its release, songs like "Personality Crisis" and "Looking for a Kiss" sound more trashily invigorating than ever. With the Rolling Stones finished as a vital force by '73, the doomed Dolls were there to step into the void. A classic. --Barney Hoskyns
The MC - Kick Out The Jams [Amazon US]
Kick Out The Jams still sounds astonishingly powerful after almost 30 years. Recorded live at Detroit's Grande Ballroom in 1968, this relentless, aggressive set offers the frenzy of politicized garage punks blasting through giant stacks: a blitzkrieg of hard rock ignited from the dueling guitars of Wayne Kramer and Fred Sonic Smith and of the throttled vocals of Rob Tyner. The Stooges with barricade-busting ideals, the Five turned the Motor City into a Mecca of sonic excess and shattered the dazed dreams of hippie America. From the pounding of the title track to the eight-and-a half-minute weirdout of "Sun Ra's "Starship,"" Kick Out The Jams will rip your head to shreds. --Barney Hoskyns