The Proto-Punks
Here's some of the things I look at in my day gig.
As the music scene of the 1960s came to a close, some fans felt that rock had lost its meaning, edge and relevance once the major labels raided the youth market after the Monterrey Pops festival in 1967.
Fans and musicians of pre-Monterey rock and roll made conscious attempts to revive the spirit of rebellion and reckless fun that had been lost after rock’s corporate mainstreaming. Part of the dissent lay in what fans saw as “selling out” by performers. Another part lay in the middle-class professionalism that had turned such previously admired artists as the Stones and Who away from the cultural and musical roots that initially attracted large disaffected crowds of working-class youths. As famed rock journalist Lester Bangs (left) wrote in 1970:
Later in 1970, Bangs wrote a paragraph that had a significant impact upon the history of rock. In a positive review of Iggy and the Stooges debut album (simply titled The Stooges), he decried the arrogance of the new music orthodoxy, and its hatred of the raw and authentic:
Bangs didn’t invent the term ‘punk,’ nor was he the first to link it to the aesthetic. A couple of months earlier, Nick Tosches of Fusion magazine wrote an article titled “The Punk Muse: The Story of Protopathic Spiff Including the Lowdown on the Trouble-Making Five-Percent of America’s Youth,” in which he championed a music described as a “visionary expiation, a cry into the abyss of one’s own mordant bullshit. . . [its] poetry puked, not plotted.” Nevertheless, as an early exponent of the aesthetics of punk, and his position as a respected (by fans and musicians) journalist, Bangs legitimately deserves credit for popularizing the term ‘punk rock.’
Although not widely known, various elements of punk culture and expression pervaded the 1960s, usually under the radar. Nowadays, here in the 21st Century, a number of writers have begun to refer to a group of artists they dub ‘proto-punk.’ The proto-punks weren’t cohesive in their sonic style, some of them sounding more folk than rock, some more avant-garde than tonal. They do share, however, a number of elements. Most had little or no musical training, which was okay since they were against professionalism. Many of their recording procedures failed to enhance, and sometimes detracted from their performances. Many of them held ideologies that were too left even for the counterculture. They were usually crude in both sound and language. All of them had an animosity to rock commercialism, whether it was against the sugary bubblegum (or as some called it ‘treacle’) groups of the early-1960s, the massive British invasion following Beatlemania, or the post-Monterrey sellout. In short, none of these tunes would ever make it to radio, AM or FM until decades later.
Below are examples of some of the folks referred to as proto-punks. Some of it you might like right off the bat. Some of it’s admittedly an acquired taste. Hope you enjoy them as much as I do.
Things I Wonder, by the Shaggs (1969)
Once upon a time, a childless New Hampshire man named Austin Wiggin predicted that he would have daughters who would form a famous musical group. Sure enough, his daughters Helen, Dorothy, Betty and Rachel formed the Shaggs in 1965. They made a number of homemade records during the 1960s that sold nary a copy. Yet, they had an ardent fan base. Frank Zappa declared that they were his favorite rock band of all time. Lester Bangs doted on them too as an example of the crudeness that made rock and roll so much fun.
In 1980, Rounder Records took their ‘60s recordings and released them. RCA later brought them out. Recently, they have been heard on NPR and the Pacifica radio network. In 2006, they completed a successful reunion tour. Unfortunately, Helen, the drummer, passed away that year.
“CIA Man” by The Fugs (1965)
The Fugs--Ed Saunders, Tuli Kuperberg and Ken Weaver-- were more bohemian poets in the retro style of the beatniks than actual musicians. Thus, their lyrical content had a wit and a bite that fans never forgot.
The tune “CIA Man” is just one of many examples. People like me find it particularly fascinating because of the almost-prophetic nature of their words. Recording a decade before the Church and Pike Committees, they nailed the Agency on its unlawful interference in foreign governments, Project MK-ULTRA, USAID and Operation PHOENIX years before official acknowledgement of the transgressions. Thus, I’m seriously considering making this the official song of The X-Spot.
Irony of ironies: during the 1980s, original Fug member Ken Weaver became a contract agent for the CIA, where he served as a translator.
“Strychnine,” by the Sonics (1965)
The Sonics--Gerry Rosalie, Rob Lind, Bob Bennett, Andy Parypa and his brother Larry--were a kick-ass band from Seattle, a town that produces more kick-ass musicians per capita than any other. Their style is heavily blues-influenced, and tight as anything. Their version of “Louie, Louie” is hands down the best ever recorded. These guys never recorded a dull track.
Last I heard, they’re scheduled for a reunion gig this November at the Cavestomp Garage Rock Festival in Brooklyn. If I can swing it, I’ll definitely be there.
As the music scene of the 1960s came to a close, some fans felt that rock had lost its meaning, edge and relevance once the major labels raided the youth market after the Monterrey Pops festival in 1967.
Fans and musicians of pre-Monterey rock and roll made conscious attempts to revive the spirit of rebellion and reckless fun that had been lost after rock’s corporate mainstreaming. Part of the dissent lay in what fans saw as “selling out” by performers. Another part lay in the middle-class professionalism that had turned such previously admired artists as the Stones and Who away from the cultural and musical roots that initially attracted large disaffected crowds of working-class youths. As famed rock journalist Lester Bangs (left) wrote in 1970:It wasn’t until much later, drowning in the kischvats of Elton John and James Taylor, that I finally came to realize that grossness was the truest criterion for rock ‘n’ roll, the cruder the clang and grind, the more fun and longer listened-to the album’d be.
Later in 1970, Bangs wrote a paragraph that had a significant impact upon the history of rock. In a positive review of Iggy and the Stooges debut album (simply titled The Stooges), he decried the arrogance of the new music orthodoxy, and its hatred of the raw and authentic:
Here’s the smug post-hippie audience, supposedly so loose, liberated, righteous and ravenous, the anarchic terror of middle American insomnia. These are the folks that’re always saying: ‘Someday, somebody’s gonna just bust that fucked-up punk [Iggy] right in the chops.’
Bangs didn’t invent the term ‘punk,’ nor was he the first to link it to the aesthetic. A couple of months earlier, Nick Tosches of Fusion magazine wrote an article titled “The Punk Muse: The Story of Protopathic Spiff Including the Lowdown on the Trouble-Making Five-Percent of America’s Youth,” in which he championed a music described as a “visionary expiation, a cry into the abyss of one’s own mordant bullshit. . . [its] poetry puked, not plotted.” Nevertheless, as an early exponent of the aesthetics of punk, and his position as a respected (by fans and musicians) journalist, Bangs legitimately deserves credit for popularizing the term ‘punk rock.’
Although not widely known, various elements of punk culture and expression pervaded the 1960s, usually under the radar. Nowadays, here in the 21st Century, a number of writers have begun to refer to a group of artists they dub ‘proto-punk.’ The proto-punks weren’t cohesive in their sonic style, some of them sounding more folk than rock, some more avant-garde than tonal. They do share, however, a number of elements. Most had little or no musical training, which was okay since they were against professionalism. Many of their recording procedures failed to enhance, and sometimes detracted from their performances. Many of them held ideologies that were too left even for the counterculture. They were usually crude in both sound and language. All of them had an animosity to rock commercialism, whether it was against the sugary bubblegum (or as some called it ‘treacle’) groups of the early-1960s, the massive British invasion following Beatlemania, or the post-Monterrey sellout. In short, none of these tunes would ever make it to radio, AM or FM until decades later.
Below are examples of some of the folks referred to as proto-punks. Some of it you might like right off the bat. Some of it’s admittedly an acquired taste. Hope you enjoy them as much as I do.
Things I Wonder, by the Shaggs (1969)
Once upon a time, a childless New Hampshire man named Austin Wiggin predicted that he would have daughters who would form a famous musical group. Sure enough, his daughters Helen, Dorothy, Betty and Rachel formed the Shaggs in 1965. They made a number of homemade records during the 1960s that sold nary a copy. Yet, they had an ardent fan base. Frank Zappa declared that they were his favorite rock band of all time. Lester Bangs doted on them too as an example of the crudeness that made rock and roll so much fun.In 1980, Rounder Records took their ‘60s recordings and released them. RCA later brought them out. Recently, they have been heard on NPR and the Pacifica radio network. In 2006, they completed a successful reunion tour. Unfortunately, Helen, the drummer, passed away that year.
There are many things I wonder
There are many things I don't
It seems as though the things I wonder most
Are the things I never find out
I wonder about the stars above
I wonder about the birds that fly
I wonder about your love
But most of all I wonder why you make me cry
I wonder, I wonder
I wonder why we have to say goodbye
There are some things I don't understand
There are some things I do
But one thing I don't understand
Is why we have to be so blue
I understand why you feel the way you do
Because I feel the same way too
“CIA Man” by The Fugs (1965)
The Fugs--Ed Saunders, Tuli Kuperberg and Ken Weaver-- were more bohemian poets in the retro style of the beatniks than actual musicians. Thus, their lyrical content had a wit and a bite that fans never forgot.The tune “CIA Man” is just one of many examples. People like me find it particularly fascinating because of the almost-prophetic nature of their words. Recording a decade before the Church and Pike Committees, they nailed the Agency on its unlawful interference in foreign governments, Project MK-ULTRA, USAID and Operation PHOENIX years before official acknowledgement of the transgressions. Thus, I’m seriously considering making this the official song of The X-Spot.
Irony of ironies: during the 1980s, original Fug member Ken Weaver became a contract agent for the CIA, where he served as a translator.
Who can kill a general in his bed?
Overgrown dictators if they’re red?
Fucking-a man!
CIA Man!
Who can find the counteragents quick?
Especially the ones themselves have picked?
Fucking-a man!
CIA Man!
Who can plan a riot in Vietnam?
Who can have the troops destroy the Cong?
Fucking-a man!
CIA Man!
Who can buy a governmental chief?
Who can pick the next one out as quick?
Fucking-a man!
CIA Man!
Who can get a budget that’s A-rate?
Who will be the 51st state?
Fucking-a man!
CIA Man!
Who would drop secrets as Service?
The one that’s got the other service nervous?
Fucking-a man!
CIA Man!
Who can cipher anything with zeros?
Not well known, but simply, well, they’re heroes,
Fucking-a man!
CIA Man!
Who can take the sugar from the sack,
Pour in LSD and put it back?
Fucking-a man!
CIA Man!
Who can squash republics like bananas,
If they do not like their social manners?
Fucking-a man!
CIA man!
Who can train guerillas by the dozen?
Send them back to kill their uncs and cousins?
Fucking-a man!
CIA Man!
Who’s the agency well known to God?
The one that cut the staff and cut His rod?
Fucking-a man!
CIA Man!
“Strychnine,” by the Sonics (1965)
The Sonics--Gerry Rosalie, Rob Lind, Bob Bennett, Andy Parypa and his brother Larry--were a kick-ass band from Seattle, a town that produces more kick-ass musicians per capita than any other. Their style is heavily blues-influenced, and tight as anything. Their version of “Louie, Louie” is hands down the best ever recorded. These guys never recorded a dull track.Last I heard, they’re scheduled for a reunion gig this November at the Cavestomp Garage Rock Festival in Brooklyn. If I can swing it, I’ll definitely be there.
Some folks like water.
Some folks like wine.
Well, I like the taste
Of straight Strychnine.
Hey! Hey!
You may think it’s funny
That I like this stuff,
But once you’ve tried it,
You can’t get enough.
Wine is red,
Poison is blue.
Strychnine is good
For what’s ailing you.
If you listen to what I say,
You’ll try strychnine someday.
Make you jump. It’ll make you shout.
It will even knock you out.
Folks like water,
Some folks like wine.
Well, I like the taste
Of straight strychnine.
Strychnine!
Hey! Hey!
Labels: pop culture
posted by X. Dell @ 1:35 AM
14 Comments:
At 6:36 AM,
Kate said…
"grossness was the truest criterion for rock ‘n’ roll..." I actually think this is a good line! I dont think I would have liked Lester much if I knew him. Just a hunch.
Wheres the the forth Shagg? 4 sisters 3 on the cover. Perhaps she was grounded... (lol on both levels)
I liked that you have audio clips here. I will have to come back and listen when I can! (it wouldnt be appropriate for the airport! lol)
At 9:41 AM,
X. Dell said…
Kate, it isn't appropriate for the airport (that's why I included the lyrics, so everyone would understand how crude 'crude' is).
Bangs was highly principled and fair. Hence his esteem. He was pretty much a loner, but the people who knew him, liked him and respected him.
At 9:42 AM,
X. Dell said…
BTW, the fourth Shagg sister, the bass player, didn't join the band until after these recordings (too young). They were mostly a live act, and she joined them when she came of age.
At 3:08 PM,
Enemy of the Republic said…
Bangs is a great rock critic. I see others trying to imitate him; in Chicago, we had a writer--Bill Wyman (no, not the bassist of that group) was his name, who intellectualized rock to such a level that even I didn't know what he was talking about at times. He lived in a bubble. I wrote a letter that got in lambasting him for his critique of real pop music. I said real pop music is Sting--someone with enough talent to know better, but he still gives the people what they want while pretending that he isn't. The last I heard, Wyman was struggling in LA. He sure did hate the Rolling Stones; I often wonder if it were on purpose.
Anyway, what he would call punk is probably what the 80s called alternative--college radio and Sonic Youth.
At 3:58 PM,
X. Dell said…
Enemy, I'm familiar with both Wymans, although I wasn't aware of the second one's roots in Chicago.
The 'alternative' (I always say, "To what?") scene had some of the pretentions toward rebellion that the 'punk' scene did. So if that's what Wyman looked at, I'm sure that's what he found. On the other hand, as people like Dick Hebdige and other cultural theorists point out, punk cultural was primarily working-class culture. 'Alternative' artists (e.g. college radio and Sonic Youth) really reflected middle-class, or bourgeois values.
At 4:40 PM,
foam said…
i just love this line..
"a cry into the abyss of one's own mordant bullshit". that sentence is art.
we have the first 2 Fugs albums. i should say we have them as cds. we have iggy, the stooges, velvet underground (if you consider them protopunk). and who knows what else. maybe i should say my husband has this music. i leave the music buying to him since our musical tastes are so similar.
the shaggs brought a smile to my face and actually made me laugh. never heard of them.
i'd heard of sonic. don't think we have anything by them. but what's not to like. their music makes me want to dance.
i hope you do get to go to that festival. we'd probably try to go too if we were in NY.
At 10:48 PM,
Dale said…
Shouldn't it all be more about the reckless fun? Yes, I think so. I read a book of Lester Bang's reviews years ago and really enjoyed a lot of them even if I wasn't familiar with all the music.
What I want to know is who at the CIA decided to hire Ken Weaver? Was it as entertainment for the Christmas party? And are you Ken Weaver? Just asking.
Thanks for the audio clips and the lyrics as well. While I can't say I liked the sound of The Shaggs track as much as the Sonics one, it had definite appeal. The sweet/sad contrast between the voice and lyrics made for an interesting listen.
At 12:02 AM,
X. Dell said…
Foam, both Tosches and Bangs had a real poetic feel to their use of language.
Some people list Iggy, the Velvet Underground and the Dolls as protopunk. To me, they are really the true beginning of American punk.
I would suppose similar musical tastes would help a marriage.
The Shaggs do get a laugh now, and then. But I've listened to their music so long now, and dissected it ten ways to Sunday. Purely on a theoretical level, they are interesting.
I spent an hour a couple of nights before posting this listening to the Sonics. They were simply an impressive group, who never made it big. They enjoyed a bit of a revival in the early-90s as precursors of grunge, and the fame that eluded them in their youth seemed to have been a bit backdated. Better late than neer, I guess.
Dale, the first book of Bangs reviews I read was Psychotic Reactions and Carburetor Dung . There hae been several more put out since. I really liked how he heard music, his impressive knowledge of it, etc.. Most important, through his writing you can track his growth as a human being. He was brutally honest about everything, including himself.
I really wouldn't know how Weaver got a security clearance during the Reagan years, because of his anti-Vietnam activism during the 1960s. Perhaps the CIA was joking with him after all, giving him red herring assignments as fast as they could invent them. It's something I should check out.
BTW, I am not now, nor have I ever been Ken Weaver.
Glad you enjoyed the clips. I was hoping that people would find them truly different. The Shaggs are definitely an acquired taste. The Sonics have a way of grabbing your attention right away.
At 12:03 AM,
dr.alistair said…
i grew up deep in the mysticism of led zeppelin, and i still haven`t emerged.....
while punk swirled around us in the late seventies and early eighies i was immune.
i understood the anger of the clash and the sex pistols and the like and actually had a soft spot for the stranglers because they actually let thier musical proficiency show occasionally, but i wasn`t fooled into thinking that this music was the product of drug-addicted criminals.
and i recognised malcolm mclaren for who he was.
and so, the song remains the same.
At 4:42 PM,
X. Dell said…
Alister, I wasn't much a fan of the Sex Pistols or other name bands during the 1970s. I did enjoy finding some of the harder, rawer sounds of the 1960s later in life, though.
Funny you should mention Led.
At 8:52 PM,
Rick said…
I was thinking about The Fugs this evening. Then I found this post accidentally and I was delighted to hear "CIA Man" - thanks! I remember this from the album Virgin Fugs. Damn, I must have been about ten years old or so. Any idea where I can listen to any more?
At 1:53 AM,
X. Dell said…
Rick, glad you liked the Fugs. There are a numbr of subscription services where the Fugs music is available for download. A search engine will lead you to them, though.
At 7:55 AM,
eric1313 said…
Hey X
Just delving into the archives. I've read almost all of the Devil in the slide, got a little more to go, but took a detour here.
I dig the MC5 and the Stooges, and all of this that you bring to us seems very cool, and all of it very different.
heh. My friend's dad was lucky enough to see the Stooges open up for Led Zeppelin in Ann Arbor, Michigan on their '69 tour. What I would give to get a tape of that show...
And at Enemy's mention of Sonic Youth forces memories of my own late 80's early 90's youth. I remember getting absolutely fed up with people in that whole scene, all the "Thurston Moore thinks they are cool, so I should too" crud...
No wonder I actually liked the hair bands more than them. I would rather listen to Bon Jovi's New Jersey than anything by Sonic Youth...
Oh god...
I can't stand people who were like (yes another quote), "I was into Jane's Addiction before anyone else, but now I hate them"...
I should pull my hair out to remember more so I am going to stop. The pretense of the "alternative" scene really bothered me. At least when grunge hit and all the Seattle bads (good or ill) got signed, at least they made music that appealed to masses. There really is nothing wrong with that. Many of the punk rock bands, in seeking to buck the whole apparatus of the system, did just that. They appealed to great swaths of youth culture because of what they were doing and how the did it.
Really, it's all ludicrous.
I read an interview with Henry Rollins were he said he was done with the punk scene (yeah right) after witnessing a fan begging the singer in his old band (I forget the name, it's early) to spit in his face backstage. He said it made him feel sick to listen to someone asking to be treated like that, that the message, the big 'fuck off' of the scene, had turned into yet another pop cultural experience that people lived yet didn't really understand.
Anyway, I'm going back to the slide. See ya there.
At 12:00 AM,
X. Dell said…
Eric, nice of you to drop by. One of these days, I'll talk about music crowds.
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