Punk was a music magazine and fanzine created by cartoonist John Holmstrom, publisher Ged Dunn, and ‘resident punk’ Legs McNeil in 1975. Its use of the term “punk rock“, coined by writers for Creem magazine a few years earlier, further popularized the term. The founders were influenced by their affection for comic books and the music of The Stooges, the New York Dolls, and The Dictators. Holmstrom later called it ‘the print version of The Ramones’. It was also the first publication to popularize the CBGB scene. Punk published 15 issues between 1976 and 1979, as well as a special issue in 1981 (The D.O.A. Filmbook), and several more issues in the new millennium. Its covers featured Sex Pistols, Iggy Pop, Lou Reed, Patti Smith, and Blondie. Punk was a vehicle for examining the underground music scene in New York, and primarily for punk rock as found in clubs like CBGB, Zeppz, and Max’s Kansas City. …”
Punk magazine’s John Holmstrom
Punk Magazine
Punk’d: The Seminal Downtown Zine of the ’70s Celebrates an Anniversary
YouTube: Flashez: Punk Magazine Interview (1977)

The Slits – Typical Girls / I Heard It Through The Grapevine (1979)

“This evening, as some of the world’s most bold-named and beautiful women make their way to the Met Gala in honor of ‘Punk: Chaos to Couture,’ the scene will be a full 180 degrees from what made the original punk promise so compelling for many women: It was about the rejection of popular standards of female attractiveness. Most of the women who self-identified with punk would not have imagined a day when Vogue or any mass magazine would canonize their nonconformist stance. With names like the Muffs, X-Ray Spex, and the Castrators, these ladies were trying to put as much distance as possible between themselves and the subscribers of those magazines. … Watch lead singer Ari Up perform crazy dance moves in a public park before an unsuspecting group of ‘normals.’ She looks pretty great with her short skirt, boots, red blazer, and long bangs. …”
Watch: The Slits Perform Their Classic Punk-Feminist Anthem ‘Typical Girls’ (Video)
YouTube: Typical girls, I Heard It Through The Grapevine

Little Johnny Jewel – Television (1975)

“‘Little Johnny Jewel’ was the first recorded work that the world ever heard of legendary New York post-punk band, Television. The song was released in 1975 by the storied New York City label Ork Records and is a blast of seemingly disconnected avant-garde guitar noodling that as the song progresses, suddenly begin to congeal into a song. The twin lead guitars of Tom Verlaine and Richard Lloyd (who had recently replaced Richard Hell, who after a rift with ever-moody Verlaine had left to form The Voidoids) intertwine, providing an almost counterpoint quality atop the foundation laid by the rhythm section of Billy Frica and Fred ‘Sonic’ Smith. … While Television were always lumped in with their punk peers – something easy to do given the time frame that they emerged and that they played the legendary early New York City dive-bar-come-punk club, CBGB with regularity, in many ways Television were both pre-punk and post-punk. They favored slow tempos, clean guitar tones and protracted improvisation. While punk was initially all about speed, brevity, and aggression (both sonic and lyrical), Television were all about languid improvisation and the bizarre poetry of Tom Verlaine‘s lyrics. …”
Song of the Day: Television “Little Johnny Jewel”
Little Johnny Jewel (Part One) b/w Little Johnny Jewel (Part Two)
YouTube: Television – Little Johnny Jewel (Parts 1 & 2)

Broken Records: The Final Days of Bleecker Bob’s Golden Oldies

“It was an institution, a rite of passage, a historical landmark, and a great place to kill time at 2 a.m. on a weekend before you passed out on the couch. Bleecker Bob’s helped start one of New York’s greatest bands, was America’s No. 1 punk outpost, and was on the receiving end of solicitous phone calls from Madonna. KORY GROW goes behind the counter of a record shop for the ages, and gets the real story on why the beloved joint had to close its doors. The aromas of must and dust were what stuck with you when you exited Bleecker Bob’s Golden Oldies Record Shop, the dumpy yet iconic LP store in New York City’s mercurial post-boho Greenwich Village. The scents wafted out the door, where they lingered in that no-man’s-land between Ben’s Pizza and Village Psychic. The collected fetor of decades-old cardboard, vinyl, and plastic all comingling, the whiff of oldies begging to be rediscovered. It was unforgettable. …”
YouTube: Broken Records

Maximum Joy – Stretch / Silent Street & Silent Dub (1981)

Maximum Joy are a post-punk band from Bristol, England, formed in 1981 and reunited in 2015. Pitchfork compared their sound to ‘one of the Slits backed by the Gang of Four,’ while PopMatters said, ‘Musically, the group’s use of complex percussion, horns, danceable bass lines, and overtly English female vocals built a bridge between the worlds of Afrobeat, reggae, avant-garde jazz, funk and pop’.  Maximum Joy formed in 1981 by ex-Glaxo Babies member Tony Wrafter (saxophone, trumpet, flute) and Janine Rainforth (vocals, clarinet, violin). They recruited two other former Glaxo Babies members, Charlie Llewellin (drums) and Dan Catsis (bass), as well as ex-Pop Group member John Waddington (guitar). The band’s influences were later described by Wrafter as ‘jazz, reggae, funk and punk, soul, hip-hop (the Last Poets, Afrika Bambaataa and the Sugarhill Gang), dub and ambient. We weren’t constrained by any single style but felt free to take what we wanted from it’. …”
Genius (Audio)
YouTube: Stretch, Stretch [Disco/Rap Mix], Silent Street & Silent Dub

“2-4-6-8 Motorway” – Tom Robinson Band (1977)

“‘2-4-6-8 Motorway’ is a single by British punk rock/new wave group Tom Robinson Band which was released in 1977, and reached #5 in the UK singles chart. The music and lyrics were written by Tom Robinson, and it was the first single released by the Tom Robinson Band, who had formed in January 1977 and were signed to EMI in August 1977. Robinson wrote the song between leaving Café Society in 1976, and forming the Tom Robinson Band in 1977, when he was performing with whichever friends were available on the night, so the song had to be simple enough to learn in a few minutes. Robinson came up with the tune “trying to work out the chords to Climax Blues Band’s “Couldn’t Get It Right”” which he could not really remember. This led to the simple three chord repeat of 2-4-6-8. The verse came from Robinson’s memories of driving back to London through the night after gigs with Café Society, ‘By the time our van hit the last stretch of M1 into London the motorway sun really was coming up with the morning light.’ …”
YouTube: 2-4-6-8 Motorway

Middleton Civic Hall in Manchester, England on October 05, 1977.

Black Roots – Sugar Minott (1979)

Black Roots is a 1979 album by Sugar Minott. It was the first to appear on Minott’s Black Roots label, and was described in the book Reggae: 100 Essential CDs – The Rough Guide as a ‘classic, which catches the singer on the cusp of the roots and dancehall phases, and with total control over his music.’ The album includes contributions from some of Jamaica’s top session musicians including Leroy ‘Horsemouth’ Wallace, Noel ‘Scully’ Simms, Eric ‘Bingy Bunny’ Lamont, Gladstone Anderson and Ansell Collins, with harmony vocals provided by Don Carlos, Lacksley Castell and Ashanti Waugh. Two of the tracks on the album had previously been issued as singles – ‘Hard Time Pressure’ and ‘River Jordan’. The album was described by Dave Thompson in his book Reggae & Caribbean Music as a ‘deeply dread collection…time has bestowed a stately uniqueness to it’. Alex Henderson, writing for AllMusic, said of the album: ‘If you combined Stax’s raw production style with the type of sweetness that characterized a lot of Chicago, Detroit and Philadelphia soul and added a reggae beat, the outcome might sound something like Black Roots.’ …”
amazon, iTubes
YouTube: Black Roots 28:49