Savannah Paletta Song Analysis

Love Song by the Damned

Released in April of 1979, Love Song was on The Damned third album Machine Gun Etiquette.  This 2 minute and 22 second song can be classified as a typical punk song of the late 70s because of its fast tempo and language. Though the lyrics are not “in your face” and angry, they are repetitive, rhythmic, and clear with a few outbursts. Though the lyrics are repetitive, I think that The Damned thought about their lyrics and the message that they are trying to share. They say lines such as “I'll be the ticket if you're my collector
I've charge the fare if you're my inspector,” showing that they want the person they are talking about to be in their life and be their “other half.” The song also incorporates heavy drums and guitars, which really bring out the punk aspect of the song. The instrumental portion of the song is definitely true punk because of its volume and intensity, but once the lyrics are sung the song could be categorized more under post punk and even somewhat rock. This is because the lyrics create somewhat of an upbeat feel to the song. The title of the song is also ironic because most love songs are usually slow, whereas this one if fast and loud. The album cover is bright and shows a scene of the members of the Damned walking across the street of a city. This portrays the ultimate punk meaning of sending a message to society and going against the norms. By walking across the street of heavy traffic, they are going against the norms of society by not waiting their turn. The cover is bright and the group looks rebellious like the classic reputation of punks in today’s society. Love Song by the Damned’s fast tempo, heavy guitar and drums, and repetition are all  reasons why it is classified as a punk song, but its clear words, light hearted feeling characterizes it as post punk and even into part of the pop genre.

Black Steel in the Hour of Chaos by Public Enemy 

Black Steel in the Hour of Chaos by Public Enemy was a complete opposite of the first song. For instance it was released in April of 1989 and was a 6 minute and 24 second long song. This length was already much longer than your average punk song and contained many different characteristic that helped categorize it at Hip-hop in stead of a punk song. The song was a much slower with a more melodic beat and contained clear and understandable lyrics. Instead of being sung or screamed like songs in the post punk or hardcore genres, Public Enemy “rapped” or talked their message with very long lyrics which were not repetitive. Black Steel in the Hour of Chaos also told a political story throughout the song talking about the resentment towards black people throughout the parts of American Society. Public Enemy’s critic went hand in hand with Bang’s explanation in “The White Noise Supremacists.” Bangs describes how in a society when you add all the words and verbal abuse into a song, you create a line for yourself and your friends that is always going to be crossed because of mis-interpretations or long time rage. Public Enemy worked to show the inequalities between blacks and white and the treatment of blacks in the society through their lyrics and messages theyre songs brought with them. In the song, Public enemy discusses, “Here is a land that never gave a damn / About a brother like me and myself / Because they never did” explaining how in America black people are usually more accused of doing things wrong than white people and end up going to prison for crimes they did not commit. The lyrics and messages presented in the song are typical of punk artist because they are angry with society and trying to rebel against it, but the sound of the song definitely leans more towards hip hop. Black Steel in the Hour of Chaos was on Public Enemy’s album It Takes a Nation of Millions to Hold Us Back and corresponds more to the hip hot genre based on their clothing and style. Though the men are there and behind bars trying to make a statement, the album cover is not very in your face or graphic rather it is one picture of them. Over all because of the style and the talking aspects of the song, Black Steel in the Hour of Chaos by Public Enemy would be considered Hip hop instead of in the punk rock genre even though the content and meaning of the music relates to the original punk meaning.

Nadir's Big Chance By Peter Hammill

Nadir's Big Chance By Peter Hammill released in February of 1975 definitely was made during the beginning of punk rock. Its “in your face” nature, aggressive lyrics and heavy guitars and drums are all elements of a “classic” punk song. “Classic punk” meaning a song which breaks from society and would not be considered normal at the time which is trying to send a message to the society. Hammill’s lyrics obviously proved his dissatisfaction with society at the time by having aggressive statements such as, “I'm gonna scream, gonna shout, gonna play my guitar
until your body's rigid and you see stars” 
and “Smash the system with the song.” These messages are showing the anger inside of these artist and how they feel about their community they are in now. They prove these people’s indentiy and urge to “go against the man.” The 3 minute an thirty four second song is a little longer than the typical punk rock length, but still had the time to be characterized under the punk genre. One instrument which Peter hammiill used was sudden bursts of saxophone which helped the loud and somewhat violent environment which the group was attracting. Also the vocals of the song were extremely scratchy with loud, nasty sound quality. The title itself goes with punk beliefs because “Nadir” means the very bottom below anything, and even coming to an end. Punks felt like they were below society which is what Nadir means. The Album cover of Nadir's Big Chance By Peter Hammill also supports categorizing it as a punk song. Nadir's Big Chance album us also extremely eye contact even though is an obvious chaotic cover even though it is black and white, not necessarily in your face but very chaotic with a lot going on. The re-run single frame pictures are individualistic and self expressive relating to their lyrics and how they feel about society. In Bangs “Rock ‘n’ Roll: White or Black?, Anonymous says that punk can be classified as “rough, rocky and gut-wrenching” which is exactly what Peter Hammill accomplished with his bold, dark and aggressive song. The song’s lyrics are definitely gut-wrenching because he does not care what society thinks of him or his message therefore will say what ever he wants. The song is also rough and rocky because if its true “punk rockiness” and how the attitude but be violent and not the same for everyone. Overall, Nadir's Big Chance By Peter Hammill is a typical punk song with its heaving outburst and instrumental aspects, as well as its aggressive lyrics and scratchy voice.

Nicholas Rogers Song Analysis

“Identity”

Released as a single and the re-released on the album Germ Free Adolescents “Identity” was one of X-Ray Spex first songs.  The band formed in 1976 and was alive during the hight of the punk movement.  The song has all the elements of a classic punk song.  The song is fast paced, heavily distorted, the riffs are repetitive, has a heavy bass and they couldn't quite figure out how to play together.  The song also includes a saxophone which adds to the melodic disaster.  As if that isn't enough the singing is terrible.  The overall feel of the song is aggressive and so are the lyrics, which talk about smashing mirrors and slitting wrists.  The band name is also somewhat punk rock with the noticeable X’s and the idea of x-ray glasses.  The album cover is no different now different and plays along nicely with the sarcastic album title Germ Free Adolescents.  The cover has bright colors and is in your face.  It also has each member of the band contained inside their individual test tube.  The bad was formed in the height of the punk rock movement and its shown in their music.  THe song is violent, aggressive and in your face. It is punk rock

“Ceremony”

Written in 1980 by Joy Division “Ceremony” was not released until 1981 as a single under New Order on Factory Records.  After the death of Ian Curtis the remaining band members created New Order and eventually added Gillian Gilbert.  Compared to the music made by Joy Division and other songs by New Order this song is more punk rock.  Compared to the punk music created during the punk movement in ‘77 it is more post punk.  The song has a moderately fast paced tempo but is by by no standards as fast as traditional punk however, some of the same techniques were used in creating the song.  Although its long then most punk rock songs at4:25 it still contains a repetitive riff throughout and mild distortion.  The lyrics are also hard to hear as if they are being muffled, and the singing isn't exactly on key.  Even though it has these punk rock qualities, the over feel of the song is up beat.  Its not aggressive or in your face, and the lyrics are on a more personal level, rather than a more outspoken general level.  The name New Order is carried over from Joy Division, both of which play off of a Nazi/Hitler theme.  The album cover does not even remotely resemble anything punk rock.  It is very generic looking containing only the song name, the band name, and a blue stripe down the middle.  “Ceremony” still has roots in punk rock and you can tell by the basic sound of the guitar, drums, heavy bass and singing but the lyrics and overall feel of the song lean towards something else putting this song in the post punk category.

“Just Friends”

This song was released in under Cattle Company records in 1982 by Dogmatic Element.  The band formed in 1980, the start of the post punk era, and the music shows it.  The song starts out slow but when it picks up it shares many similarities with “Ceremony”.  The song has a heavy bass line that leads the song, followed by a repetitive guitar riff and mild distortion.  The song give off a neutral vibe.  It does not come off as aggressive or in your face like traditional punk, but it does not necessarily have an up beat feel to it.  The lyrics are personal as well and just like in “Ceremony” the singing is out of key and the singers voice is slightly muffled.  The word dogmatic means to make a statement based off of assumptions and no real proof, which relates back to the punk rock attitude of we don't care we’ll say what we want which is an appropriate use for the name of a punk band.  The album cover is more abstract if anything.  It does not stand out and its not in your face but it does leave those looking at it questioning what it is.  The song contains key elements of a punk song but juts like “Ceremony” it has the overall feel of post punk. 

Brooks' Song Analysis

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“How Low Can A Punk Get?”

Written in 1983, this song was released on Bad Brains’ 2003 release, I & I Survive. Though a little more hardcore in nature, this song would never fail to be recognized as another fine example of punk rock. With its fast tempo, loud guitar, and rushed vocals, the song is completely unapologetic in nature, and doesn’t fail to fill the listener with the undeniable urge to throw a T.V. through a window and light something on fire.

An abrupt change of pace from the reggae-influenced sounds that Bad Brains is known for, we are given a raw vocal-delivery from lead singer H.R. that tells a frustrated account of a punk in peril: I didn't mean to rip off / I thought it was a get off in mine / I tried to make the scene off / The plan was doomed to set off on time.      

Though they themselves object to the term, Bad Brains was one of the very first hardcore bands on the scene. Hardcore, an offshoot of punk music is much darker, thicker, and faster than the classic punk music of The Ramones or The Sex Pistols; no doubt the kind of music Jack Rabid disliked within the punk culture. After all, the song is enough to send any group of young anarchists into angst-fueled body-slam frenzy.

One thing I found unique about Bad Brains is the fact that, besides putting out totally hardcore music, they’re avid followers of the Rastafarian movement. Upon looking at the album cover of I & I Survive, you can tell that they aren’t really aiming to intimidate like their contemporaries Black Flag. The album cover features no form of mutilation, gritty-looking artwork, or the like. They’re also much more technically proficient than most punk bands (they originally formed as a Jazz-Fusion ensemble), which could also be upsetting to “Punk Rock Conservatives” such as Rabid.

Bottom line: “How Low Can A Punk Get?” is a great example of hardcore music from true pioneers of the genre. They may not be four kids from New York in leather jackets singing about sniffing glue, but it’s some of the most punk rock sounds you’ll ever hear.

“Bruitist Pome #5”

            A complete change of pace from the last song, “Bruitist Pome #5” is every “true punk” fan’s nightmare. Filled with electronic instruments, a complete lack of vocals, and the incredibly rare use of a vibraphone, this song embodies the avant-garde, artistic side of punk music.

            Released by Swedish group Refused on their record The Shape of Punk to Come in 1998, this puts an emphasis on the next generation of hardcore punk bands (yes, contrary to this particular song, they are a hardcore band). Like Bad Brains, we see a much more mature approach to punk music, with an even greater emphasis on technically advanced, well thought-out material. This could be seen on their album cover, which features a clean-cut, professional approach, as opposed to earlier album covers such as Never Mind the Bollocks, Here’s the Sex Pistols or The Clash.

            “Bruitist Pome” refers to a type of sound poetry, which is, as the name suggest, poetry without words, instead focusing on the sound of the words, instead of the words themselves. So, the fact that an instrumental song is called a “Bruitist Pome” makes sense.

            Though it’s incredibly odd for a punk band, “Bruitist Pome #5” is indeed a great example of the shape of punk to come. It’s different, it’s avant-garde, and it’s just one more exploration of the punk genre as an art form. However, once again, most would not see it as a “punk song,” but instead a prime example of post-hardcore or art punk.

“Pan Opticon”

            Moving even further forward, “Pan Opticon,” by contemporary punk band This Moment In Black History was released incredibly recently. In fact, most of their material was released around 2005-2008. The song features an even more hardcore approach, even coming close to the border of the likes of heavy metal. With a heavy guitar riff and the apparent sound of menacing darkness, this song represents just another step (or a giant leap away) in the land of punk rock.

            The song is more likely than not a reference to a panopticon, a type of prison, which would definitely account for its dark nature. This is only further stepping away from the mindset of listening to punk to ignore the problems one may face in day-to-day living, as the song is incredibly dark, and not really humorous whatsoever.

            As in the other two songs, this is also a great example of a punk band with technical ability that greatly surpasses that of their influences, “Pan Opticon” features a guitar solo, complex rhythms, and vocal harmonies. Once again, it’s plain to see that this song was very well thought-out and planned.

            However, the group still represents a large amount of the punk “message.” They make numerous references to the government, even featuring president Barack Obama on one of their album covers. Also, they embody the DIY attitude of many punks that came before them, producing and distributing albums all by themselves. However, that seems to be where the similarities end. True to form, I’m sure Mr. Rabid would be quite displeased with this particular group.

            The reoccurring theme I found within these groups is the fact that they all seem to embody the hardcore mindset, as opposed to the clowning earlier punk mindset of the late 70’s. They all push the envelope, and they all bring something new to the table. While Jack Rabid may not like it, I personally think it is a shining example of punk moving forward, even if that means taking on a few new forms.

Daniela's Song Analysis

“One Armed Scissor” by At The Drive In

                At the turn of the century, punk was not a new movement.  It was well-established as a musical style for the younger generation; however, more popular was punk’s offshoots. By 2000, punk developed into subgenres such as post-punk, new wave, pop-punk, ska-punk, and more. At the Drive In are rendered as post-hardcore, which is more musically dynamic and complex than what came before it, hardcore punk. Hardcore punk is an offshoot of primal punk, with darker lyrics and heavier guitar sound. It appeared in the late ‘70s with bands such as Black Flag and The Germs. ATDI appeared in the underground scene in the 1993, not “hitting it big” until they got signed in 1996. Their sound (in Relationship in Command) is more musically dynamic than typical fast-riff punk, but it is heavy and fast-tempo and raw. In the chorus the singer yells the lyrics, which are surreal, vague, poetic, and very violent (“Cut Away, cut Away/Send transmission from the one-armed scissor /Cut away, cut away/ Banked on memory/Mummified circuitry, skin graft, machinery, sputnik sickles found in the seats”). The cover art is bright and high-contrast, which alludes to the original punk movement (examples are the Sex Pistols’ Never Mind the Bollocks and The Clash’s London Calling); however the single’s cover art is dark, gloomy, and monochromatic, which alludes to the hardcore movement. In both covers, a rocking horse is featured. That may allude to Vanham’s punk as “childish” theory (however he perhaps means more in a teenage rebel sense than a child sense.)The title of the song “One Armed Scissor” is violent, which is also a hardcore/punk characteristic.

“I and I Survive” by Bad Brains

Bad Brains’s “I and I Survive” is a powerful song—but not in the punk in-your-face way. It’s heavily reggae influenced with its slow beat, heavy bass, and skank rhythm.  That’s almost the opposite of typical punk rock, but reggae and punk joined together because of their mutual tendency to be outcast from society. “I and I Survive”’s lyrics are very peaceful and powerful, addressing topics such as the poor being empowered despite the “rich man hoarding all the money.” The cover art for this single is African-influenced with natives playing congo drums on the cover, and a white policeman seemingly after them. The writing is graffiti-style, which is a symbolism of a defy-everything attitude—something that both punks and gang-members of the ‘80s undertook.

               

“Thirsty and Miserable” by Black Flag

In 1981, Black Flag released their first full-length album called Damaged. It eventually made its way up to Rolling Stone’s “500 Greatest Albums of All Time” list. “Thirsty and Miserable” is one song on there that highly encompasses the punk spirit. With its shouted vocals, heavy riffs, and simple and fast guitar, this song, along with others on the album, escalated Black Flag’s status to a true hardcore punk band. The cover art is very dark and violent, again representing the hardcore scene. The lyrics are straight-forward and brash—and very negative in spirit (“Thirsty and miserable/you drop to the floor/you drink until you can’t see anymore”). This crude violence is what punk rock (and especially

Alex Shefrin Song Analysis

Alex Shefrin

                                             Song Analysis: The Clash, X, The Damned

               Definition of Punk/Readings-Van Ham/Hebdige

               In Subculture: The Meaning of Style, Dick Hebdige posits that the punk style revolved around a sense of anarchistic tendencies that developed as a revolt of sorts against established societal norms (Van Ham 1). In a way he hints that Punk style is a rejection of societal norms in exchange for the unconventional. According to him, the punk style is represented by a disposition to offend the silent majority through shock value and served to undermine established social norms, in order to create a change in society (Hebdige 106, 108). Van Ham adds that the punk “may be permanently outside of societal norms” (Van Ham 319), reinforcing the previous notion of rebellion within punk.

 “(White Man) In Hammersmith Palais”-The Clash

The Clash have long been held as one of the more influential British Punk bands, their name itself refers to two or more things actively going against each other, in a way embodying the ideas of the punk movement as a rebellion against society. Released on their eponymous first album in 1978 in the early years of punk rock, “(White Man) In Hammersmith Palais” incorporates a gritty production value, fast tempo and a heavily distorted guitar in the intro sort as if to say “we are punk, like us or f-off”. However as the song progresses, the guitar switches to a ska/reggae rhythm which somewhat mellows out the initial feeling throughout the almost 4 minute long song. On the other hand, the vocal style of Joe Strummer has little regard for much of a refined melody, opting for a rawer, toneless yell throughout the song instead. The lyrics of the song start off by telling a story of Joe Strummer’s experience at a reggae festival at the Hammersmith Palais, and his disappointment upon hearing “pop reggae” music rather than rebellious roots rock, the lyrics “And If they’ve got anything to say/There’s many black ears to listen/…But they ain’t got no roots rebel”, directly show this sentiment. He then extends this disillusionment to the (then) current issues in British society. The lyrics go on to criticize wealth distribution, violence, and the divide between black and white youths in British society. This criticism and rebellion against the norm and the calls for change in society clearly put “(White Man) In Hammersmith Palais” within the upper echelons of punk rock.

“We’re Having Much More Fun”-X

               When most people see the letter X as a name or title, they are inclined to think of something mysterious or taboo, however this band is neither mysterious nor taboo. Although “We’re Having Much More Fun” has a fast tempo and heavily distorted guitar, the fact that there is a harmony in the vocals and higher production value is reminiscent of more of a folk-rock style than a punk rock style, and the length of 3 minutes goes against the traditional punk format. Once you reach the chorus however everything changes, the heavier guitar and drums along with the lyrics “we’ll crawl through your backyard/ And whack your yappin’ dog”, almost throws the folk style out the window. The title itself “We’re Having Much More Fun” echoes the punk idea of anarchy and rebellion and Van Ham’ observation that “punks were treated as threats to public order” (1). Going along with this theme, the album title, “More Fun in the New World”, not only resonates with the rebellious nature of punk style but the mention of “the New World” suggests that eventually, the ideas of punk style and music will lead to a change in society. Although released in 1983, a few years after the explosion of punk, this song most certainly embodies the punk style.

History of the World Part 1-The Damned

The Damned are held as one of the early pioneers of British Punk rock, and why wouldn’t they fit the description of punk? The name itself carries connotations of those left behind; those that society won’t pay attention to. Released in 1980, the heyday of early punk, the album entitled The Black Album, making a jibe at Beatles’ critically acclaimed The White Album, could even fit in with heavier metal bands. Even the names of the members, Captain Sensible, Oxy Moron, and Rat Scabies carry with them a sense of “we don’t care society, we just don’t care”. Nevertheless, “History of the World, Part I” has only one theme common with punk, a fast tempo, aside from that this song is not punk. The song title itself carries no rebellious connotations nor anything similar to punk, rather it sounds like a prophetic message to the human race. The song itself with its keyboard and operatic style is more akin to Queen, Styx, and David Bowie than any punk band, not to mention its length of 4 minutes which goes against most punk styles. The lyrics to the song have no rebellious suggestions, instead they serve as a defeatist lamentation of sorts, “Nobody alive and no one left/ Nobody cares or ain't you heard/Looks like I'll take my dying breath/In the history of the world”. If anything, this song is a perfect example of the early 80’s new wave movement rather than a punk rock song.

Matt H's Example Song Analysis

Sample song analysis from mhill30

Andrew's Song Analysis

LCD- Song I was the most familiar with. Many band members but the key ones are Pat Mahoney, Nancy Whang, Al Doyle, Gavin Russom and James Murphy. Started in. I know that James Murphy was heavily influenced by punk music but, in some ways, this song is one of the least punk. It is much longer than the average punk song at 5 minutes and 35 seconds (though this is short by LCD’s standards). It is from Sound of Silver, Released in 2007. Cover Art shows some sort of futuristic device in a grungy room. Embodies LCD in that it uses new technology to fill a grungy, raw environment. Clever lyrics as usual but not aggressive. About loving his city because it’s all he knows but preferring it when it was dirty and unsafe. He takes on Mayer Bloomberg and calls him, “a billionaire mayor who’s convinced he’s a king”. This is the most aggressive part of the song. Tempo changes dramatically but is never fast and is only briefly aggressive. Great production value because James is first and foremost a producer. That’s how he got his start with DFA Records (The Record Company he co-owns and runs with Tim Goldsworthy). Dance-Punk. James Murphy practically invented the genre as the producer of The Rapture in 1999 on their debut album, Mirrors. It is raw but makes you want to groove.  Overall: This is dance-punk as are almost all LCD Songs. It has obvious roots in punk but the song length, high production value, and subject matter it is not punk.

James Chance-Big Contributor to the No Wave movement, which is a movement that is hard to define but incorporates jazz and funk influences into a punk attitude. It is known for utilizing cacophony and prioritizing texture over melody. James was a sax player who was into free jazz and you can hear the jazz influence and the sax riffs. This song is a Michael Jackson cover and he is generally not considered conventional punk (though James obviously changes the style and arrangement drastically). It is form a live album recorded at the Aux Baines Douches in Paris. It was released on a French label in 1980 and then rereleased worldwide in 2005. Cover Art just shows James’ Face. Sound unproduced and live. Lyrics are pretty sensual though they sound more sensual when delivered by Michael. “Lovely is the feeling now, Fever Temperatures Rising Now”. It is still very aggressive and his vocals remind me a lot of conventional punk. The song is longer than average punk song at six minutes and sixteen seconds but the tempo is pretty fast. Because of the length of song, subject matter of lyrics, connection to Michael Jackson and jazz influence it is not punk but instead “No-wave”.

The Fall- The Classical- The Classical has a constantly changing lineup (they have changed their lineup 27 times at last count) but the only consistent member was Mark E. Smith. Very influential in both the punk and post-punk scenes. James Murphy Called them, “His Beatles”. First track on their well-acclaimed album, Hex Enduction Hour. (It was literally one hour long). Released in March 1982. 5 minutes and 16 seconds long. The lyrics are cryptic and at times offensive, “Where are the obligatory niggers? HEY THERE FUCKFACE!” Apparently this lyric cost the band a record deal with Motown records. The cover art is of a bunch of scribbles and pictures. It reminded me of a zine. The tempo is relatively fast and driving and the vocals are shouted and raw, but the bass is more noticeable and the instrumentation is more complicated than the average punk song. It was recorded in a proper studio in Iceland but there are no real production flourishes and the overall sound quality is not great. Though it is longer than the average punk song and The Fall often strayed away punk, this song is punk for its aggressive music and lyrics, zine-esque cover art, raw vocals and low of production value.