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.

Adam's Individual Presentation

Cops are Punks- The Nails

Cops are Punks is a 2:37 long song. The song was released in 1977 from Screwball Records. The band is from Boulder, CO. The members of the band are Marc Campbell, George Kaufman, Douglas Guthrie, Mike Ratti, Dave Kaufman, and Steve O'Rourke. The Nails moved to New York and by the late 1970s had established themselves on the club circuit The song is a short, faced past song that is about how cops are punks. In the lyrics, they talk about how a cop busted your stash and he is going to sell it for some money. They also go on to talk about how cops dress in black and wear leather boots, which is similar to what punks wear. They’re mean and tough, they beat up drunks. I would call this song a new wave punk song, because although it talks about how cops are punks and what they believe a punk is, the music and melody of the song has electronic aspects to it like new wave songs do. There is a fake police siren that is screaming throughout the whole song. The song does have 4 chords and a fast pace drum melody. So although the message is punk, I’d call this song new wave.

Class War- The Dils

Class War is a 1:42 long song. The song was released in 1978 on the “Dils Dils Dils” LP. The members of the band are Chip Kinman, Tony Kinman, and Buddy Hate. They were one of the major bands in the early Los Angeles punk scene. They were known for having very melodic songs and they got the nickname "Punk Rock Everly Brothers".The song itself is a very fast paced song about the band wanting a class war. Some of the lyrics are “I wanna war, between the rich and the poor” and “Class war's gonna be the last war. Are the cowards ready For a class war? I'm not talking about a race war.” They are saying how they are ready and wanted a war between the classes. Between the rich and the poor, and how it’s not about between the whites and the blacks. They believe that a civil war is coming in America’s future but this time it will be between the classes, not the races. In addition to the production value of this song, I would say this is a very punk rock song, due mostly to the message. The message is what punk is all about: the lower class being forgotten about by the upper class. At this rate, the band really does believe there is going to be a class war.

Breakdown- The Buzzcocks

Breakdown is a 1:59 long song. Apparently they made a big deal about how it is not a 2 minute song and that it is a 1:59 long. The Buzzcocks were formed at the Bolton Institute of Technology which is now called the University of Bolton. The original members at the time Pete Shelley, Howard Devoto, Garth Davies (AKA Garth Smith), and Mick Singleton were all students at the time and formed the band and had their first gig. They heard about the sex pistols and really wanted to see them in concert, and after they did, they eventually worked with the band to become their opening act. The members of the Buzzcocks have changed over 11 times and have had 15 members in the band’s history but they are still around today with only one of the original members. They always have 4 members at one time. As for their song breakdown, I would say it is punk rock / pop punk. The only reason I would call it pop punk is because of their large commercial success for opening for the sex pistols. However, since this was one of their first songs before they really became mainstream, I will consider it more punk rock. The lyrics in the song are “Oh mum can I grow out of what's too big for me?” and “Living next to nothing - my never mind remains I'm gonna breakdown ...” he is asking him mom permission to finally be allowed to “grow out of what’s too big for him” aka grow up. I think he is sarcastically asking this in the song, as if he is asking for permission to grow up, but he is going to anyway. He says how they are living next to nothing, which shows how they were very poor and lived in the lower class and how he is finally going to break down.

Hannah's Song Analysis Presentation

Punk style song analysis

View more presentations from hyoung69

“Ghost Rider”/ Suicide:

            Suicide—formed in New York in 1970—was composed of vocalist Alan Vega and synthesizer/drum machine player (a sort of proto-dance-DJ?) Martin Rev. The band draws their name from a Ghost Rider comic titled, “Satan Suicide.” Although they never garnered much commercial success, Suicide was hugely influential to modern indie rock, post-punk, and electronic music. Musicians from The Jesus and Mary Chain to Bruce Springsteen cite the band as an influence, and in fact Bruce Springsteen has covered Suicide songs in the past. Suicide is largely notable for being the first band to advertise themselves as “punk music.”

The song “Ghost Rider” clocks in at 2:35, and is characteristic of the band’s subtle yet spastic style of music. Rev’s steady electro-groove changes little throughout the course of the song, providing the base for Vega’s random, jerky lyrical delivery. The length and lyrical content of the song (“America America’s killing its youth”) are certainly punk, and the band was notorious for their violent, confrontational performances. This, I think, “cancels out the synthetic nature of the song to make it solidly punk.

“Blue Monday”/ New Order

            Following the 1980 death of lead singer Ian Curtis, Joy Division was no more. However, the proto-Goth electro-rockers quickly re-emerged onto the music scene, reborn as New Order. Unlike the sulkier, more rock-influenced previous incarnation of their band, New Order embraced the synthesizer and, eventually, the dance floor.

            “Blue Monday,” released in 1983, is notable for being the best-selling 12” single of all time. This is largely due to its cutting edge, dance-floor ready beats and moody synthesizers. The vocals, in this song, are somewhat secondary to the beat, which is a style emulated by much modern electronic music. The song takes a whopping seven minutes and twenty-five seconds to complete its run, which is about five minutes too long for a punk song. “Blue Monday” is definitely an electro postpunk song. The lyrics are heavy, and seem to be offering a criticism of society and an older generation (“those who came before me/lived through their vocation/ from the past until completion/they will turn away no more”), but there’s nothing terribly punk about the style of the song or the band. New Order was hugely influential on the modern dance and electronic styles of music, as with many of their postpunk contemporaries.

“Love Meant to Die”/Jazz Destroyers

            There is virtually no information on the Jazz Destroyers available on the Internet, which speaks to the obscurity of the band. What I have gathered is that Jazz Destroyers come from the oddly-rock-and-roll city of Cleveland, and that they functioned in some capacity during the 1980s. They were composed of Dave E. McManus and James Ellis. Other than that, the band may or may not actually exist, as far as the Internet is concerned. The band obviously never achieved any sort of notoriety; it wasn’t really clear to me whether they actually even released an album.

            The song “Love Meant to Die” is a paltry 1:24 in length—perfect for a punk song. The song is composed of sloppy, horrible guitars with gargled, tuneless lyrics about death and society thrown over the top (“I tried so hard to live with a love that was meant to die,” “In the terminal of pretty dreams/everybody loves you when you’re lying”). The last twenty or so seconds of the song feature a distorted, harder instrumental breakdown as the song dissolves into chaos. The whole affair is rather punk, in my opinion. The band name is certainly punk enough—the concept of destroying jazz was something that punks were all over. The song also seems to be mocking jazz, in a way; the song features some random mouth noises that could be interpreted as perverted scatting. Additionally, the song is a bit of a distorted, disgusting mess—as was the punk scene in general, really.

Kailey Song Analysis

“Sobre As Pernas” was released in 1985 by the Brazilian punk band, Akira S & Garrotas Que Erraram as a single. The song has yet to be released on a CD despite their prelevlance in recent years. Weighing in at 4:37, this song is longer than most punk songs, however, we have seen a ten minute post punk song. This factor of length does not change the status of the song as punk. “Sobre As Pernas,” meaning “on the legs,” tells about hell and partaking in prostitution, a taboo and therefore punk subject. Akira S & Garrotas Que Erraram, or Akira S and the Girls Who Fucked Up, was a band during the punk movement in Sao Paulo, Brazil that began during the late 1970's. The cover art for the album it originally released on shows the outline of a man using a urinal, which may represent filth in the Sao Paulo punk community. “Sobre As Pernas” maintains poor production quality, unbalanced and experimental, which is another indication that it is a punk song.

“Stand by Your Manatee” is a song by Future of the Left, a more modern band debuted in 2006 under the same title. This song is from the album Travels with Myself and Another released on June 22, 2009, but leaked in April of 2009. This is a fairly short song at 2:08 long, according to Wikipedia. Its cover art depicts a void with two human silhouettes inside of a venn diagram which maybe showing isolation and a societal otherness. A couple of the lyrics from “Stand by Your Manatee” summarize its meaning. “You let your manatee down and then you drown. That's just the way with nature.” I think that this means that you need to “stand by your man” or else everyone is going down together, showing the constructive consciousness of the post-punk movement. The tempo is fast paced, but the production is fairly well-done and clean despite the rough playing of the instruments. I would classify this song as hardcore which is a further classification of punk music.

The Pogues song, “Turkish Song of the Damned” was released on their album If I Should Fall from Grace with God in 1988. The Pogues, fronted by Shane MacGowan, incorporated many different Celtic instruments in a folky rock feel, largely inventing Celtic Punk. The band showed post-punk experimental leanings in so doing. Aside from their Irish folk feel, The Pogues had a very punk rock attitude, MacGowan actually leaving the band in 1991 because of severe alcoholism. The cover art for If I Should Fall from Grace with God is ironic in that it shows The Pogues respectably and traditionally despite their celtic cavortings. Turkish Song of the Damned has a Turkish, traditional Irish feel and contains punk sacrilege in the lyrics,

“Nor the nails of the cross

Nor the blood of christ 
Can bring you help this eve.”

The tempo of this song is fast and drunken with a somewhat dirty production value. I would classify this song as punk given the attitude of the band, the overall message of the song, and most other factors we have used to classify punk music. 

Amanda Song Analysis

Bikini Kill

The song “Tell Me So” by Bikini Kill starts off with the playing of a few simple chords and the drums kick in and then the rhythm guitar and vocals come in and make the song come together. Kathleen Hanna starts to sing and the lyrics seem somewhat personal and it appears the Kathleen is angry and wants an answer to some question. Kathleen, along with Tobi, Kathi, and Karren all made powerful noises with their instruments and voices while also trying to make a statement and a movement towards riot girl punk. However, I felt that the whining voice of Kathleen was a little too much and felt as if a cat was screeching instead of actual lyrics coming into play. The song as a whole is only two minutes and twenty one seconds long, it Even if this particular song did not appear to be as punk rock as other songs, it still made an impact on the punk scene and helped a lot of girls find their place in the punk music world.

The Reatards

Jay Reatard was the pioneer of this band and did a majority of the work. The song, “I’m So Gone,” was off of the album Teenage Hate and is only a minute and thirty seconds. The shortness of the song makes it appealing and not so arrogant. The song starts off with a simple catchy riff and Jay screaming go and then the drums kick in and the lyrics just sound like shit but it makes the song complete and totally punk rock. With a few simple lyrics, this song makes the garage punk scene successful and has the attitude of not giving a fuck that punk was so familiar with. The song had a feeling of grime and filth that came with it and made the song sound so great. Overall, the song allowed me to envision the band just sitting around getting fucked up and just playing whatever they wanted to play and shoving it in everybody’s face. The lyrics, drums, and guitar are all pulled off perfectly and this song makes for the perfect garage punk song.

Minutemen

Minutemen’s song, “History Lesson,” is very chill and does not have the harshness that hardcore punk and garage punk have. There is a hint of ska in there and has the go with the flow, fun time, kind of sound. Mike Watt and D.Boon began playing in the late 70’s and early 80’s and soon became a leader in making independent music and not sticking to any labels. With only three main chords, Minutemen made the A, G, and B string sound perfect in this song and gave the view of the band sitting and smoking chilling with each other and jamming on the acoustic just fucking around and realizing that what theyre playing could actually be turned into an actual song. This makes the song so much better and more punk rock because it just goes to show that something that could seem meaningless could have an effect on people and on a genre of music, without the creators fully realizing it. In the end, the lyrics talk about them pretty much just playing music together and expressing their appreciation for punk rock and sharing their views with us. I would most definitely define this song as punk rock