An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Fenix TX is an American pop punk band. The band formed as Riverfenix in 1995 in Houston, Texas, they released an EP, G. B. O. H. and an album, Riverfenix, on independent record labels, before having to change their name due to a cease and desist order from the estate of actor River Phoenix. Following the change of name, they signed with major label MCA Records in 1999. On MCA, they released two further albums, 1999's Fenix TX and 2001's Lechuza, which collectively sold over 600,000 units, prior to breaking up in 2002 over creative differences. After the split, bassist Adam Lewis and drummer Damon DeLaPaz devoted themselves to their now defunct side project Sing the Body Electric, while vocalist/guitarist Will Salazar and guitarist Chris Lewis formed the band Denver Harbor. Donnie Reyes went on to join Khobretti. In September 2005, Fenix TX announced their reunion, they released a live album, Purple Reign in Blood, supported it with tours across the United States and Japan. The band that would become Fenix TX formed in late 1995 in Houston, Texas under the name Riverfenix by guitarists Will Salazar and Damon DeLaPaz, vocalist Carl Lockstedt.
However, Carl's tenure was short-lived after recruiting drummer Donnie Reyes. At this point, Salazar was forced to take over vocal duties. With this solidified line-up, the four piece set to work by playing extensively on the Texas pop punk scene alongside such renowned bands as 30 Foot Fall, Good Riddance and Goldfinger. Popular venues included local clubs such as Fitzgerald's. In 1996, the band released their debut EP G. B. O. H. Under the Houston-based record label Fuzzgun Records, which they followed by playing the Mullets Across America Tour with Home Grown, Cousin Oliver and The Hippos. During this time the band would concentrate on distributing copies of their demos to other record labels. Mojo Records showed interest in the band, due to procrastination and indecision the process never came to fruition. However, two Mojo interns Richard and Stefanie Reines, were on the brink of starting their own label, Drive-Thru Records, agreed to sign Riverfenix as their first band. In December 1997, Drive-Thru released Riverfenix's thirteen-track full-length debut Riverfenix, produced by Jim Barnes.
Within the following year, the album managed to sell out its first three print runs of 5,000 copies each, quite an achievement for an independent record label operating out of the owners' garage. The CD's lyrics and melodies caught the attention of Blink-182's Mark Hoppus, whose sister was at that time dating Riverfenix's DeLaPaz. Hoppus offered the band an opening slot on an upcoming Blink-182 tour, became their manager. However, due to the schedule of his own band and the popularity of Blink-182's 1999 album Enema of the State, Hoppus passed managing duties onto Blink-182 manager Rick DeVoe. While Fenix TX's song "Speechless" was garnering radio airplay and major labels' attention, Hoppus' effort in promoting Riverfenix was overheard by Blink-182's record label MCA, who showed major interest in signing the band. Two obstacles, separated Riverfenix from MCA: The band was still under contract with Drive-Thru Records, who were unwilling to compromise. Additionally, the estate of late actor River Phoenix filed a cease and desist order against the band, barring further usage of the name Riverfenix.
While Drive-Thru Records and MCA settled for a distribution agreement, the band discarded the "River" from their name and appended Texas' postal abbreviation. Thus, Riverfenix became Fenix TX. With a new record deal, Fenix TX re-recorded the majority of their 1997 eponymous album for their MCA debut Fenix TX, released it on July 13, 1999; the album reached No. 3 on Billboard's Top Heatseekers. The hit single "All My Fault" received heavy radio and TV airplay, triggered through the song's integration in the TV movie Jailbait, which featured a cameo appearance by Fenix TX; the music video, in return, starred Alycia Purrott from the cast of Jailbait, as well as Blink-182's Hoppus. "All My Fault" reached No. 21 on the Billboard Modern Rock chart. Following the success of their MCA debut, Fenix TX went on numerous tours, including the Warped Tour and both national and international tours with label mates New Found Glory. However, in late 2000, drummer Reyes left the band to pursue other interests. To compensate, DeLaPaz took over drumming duties for the band and a search for a new guitarist commenced.
In March 2001, James Love was announced as the replacement guitarist. The band revealed the name of their follow-up record, Lechuza. Lechuza was released on May 22, 2001 and debuted on No. 87 of the Billboard 200, with its single "Threesome" reaching No. 66 on the UK Singles Chart. The album featured a total of eleven songs, all of which were more raucous and energetic than those on the band's previous efforts, with occasional escapes into heavy metal-esque guitar distortion paired with screaming vocal patterns; the reason for the change in style was Lewis' and DeLaPaz's constant feelings of disapproval for the band's songs, as revealed by Salazar in an interview in late 2002: " for Lechuza the guys were looking for a different direction so they wrote some songs that were way different, like Something Bad's Gonna Happen and Pasture of Muppets, just so that they could have some songs that they could, in their words have fun playing onstage." One of these songs, "Beating a Dead Horse", explicitly addresses the problems that had arisen within the band.
The continuously growing rift between S
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
Purple Reign in Blood
Purple Reign in Blood is the third album released by the pop punk band Fenix TX. The album is a live recording and it marks their first performance together in four years. "Katie W." and "Phoebe Cates" were made available for streaming on November 2, 2005. On the same day, it was announced that Prince was going to sue the band in regards to the album artwork; the album was released on November 8 through Adrenaline. From November 18 onwards, the version with the original artwork was replaced with a version with altered artwork; the show's encore was cut from the CD, evident as the end of the CD fades out while the crowd chants the phrase "One more song!". "Something Bad Is Gonna Happen" – 3:56 "Phoebe Cates" – 4:09 "Katie W." – 3:59 "Minimum Wage" – 3:05 "Tearjerker" – 3:50 "Pasture of Muppets" – 4:05 "Fortunate Son" – 2:29 "Threesome" – 4:02 "Abba Zabba" – 4:47 "A Song for Everyone" – 4:13 "Flight 601" – 4:15 "Major Tom" – 3:54 "All My Fault" – 4:33Six songs were cut from the recording to make the album.
These songs include the entire encore, which consisted of a cover song, an original song and ended with "Rooster Song". Two other cover songs and a song from the Fenix TX album failed to make the album. Damon DeLaPaz – drums Adam Lewis – bass Chris Lewis – guitar Will Salazar – vocals, guitar
Damon DeLaPaz is an American drummer and songwriter. He was a founding member of the punk rock groups Fenix TX, 30footFALL, Sing The Body Electric, he has recorded an instrumental solo project called Sci-Fi/Horror. DeLaPaz has recorded and toured with a variety of different bands and toured as a fill in drummer for Blink-182, The Vandals, Good Charlotte, Home Grown, Ape Machine, Trash Talk, The Last Internationale. DeLaPaz was recruited to play drums for 30 Foot Fall in the early 90s by drummer Rubio Cisneros, Broken-Note founder/guitarist Crazy Tony Avitia, lead singer Butch Klotz. Touring Houston and Austin, 30 Foot Fall's popularity grew; the band at this point had developed their own sound, comparable to early NOFX or based on elements developed by Minor Threat. DeLaPaz's first recording with the band was on the "Elementary School Love" 7". 30 Foot Fall recorded and released their first LP with DeLaPaz, Divided We Stand on Fuzzgun Records in 1995 and began touring the United States extensively gaining a strong underground fanbase.
The band followed up their first LP with the Junior High Sucked 7" and in 1996 Fearless Records signed the band and produced their next record, Acme-143. DeLaPaz toured extensively with the band during their most active years before moving to California with his other band, Fenix TX. Fenix TX formed in late 1995 in Houston, Texas under the name Riverfenix by guitarists Will Salazar and Damon DeLaPaz; the four piece played extensively on the Texan pop punk scene alongside such renowned bands as 30 Foot Fall, Good Riddance and Goldfinger. In 1996, the band released their debut EP G. B. O. H. Under the Houston-based record label Fuzzgun Records, which they followed by playing the Mullets Across America Tour with Home Grown, Cousin Oliver and The Hippos. Two Mojo Records interns Richard and Stefanie Reines, were on the brink of starting their own label, Drive-Thru Records, agreed to sign Riverfenix as their first band. In December 1997, Drive-Thru released Riverfenix's thirteen-track full-length debut Riverfenix, produced by Jim Barnes.
Within the following year, the album managed to sell out its first three print runs of 5,000 copies each. Blink-182's Mark Hoppus offered the band an opening slot on an upcoming Blink-182 tour, became their manager. Hoppus passed managing duties on to Blink-182 manager Rick DeVoe. While Fenix TX's song "Speechless" was garnering radio airplay and major labels' attention, Hoppus' effort in promoting Riverfenix was overheard by Blink-182's record label MCA, who showed major interest in signing the band. Riverfenix became Fenix TX. With a new record deal, Fenix TX re-recorded the majority of their 1997 eponymous album for their MCA debut Fenix TX with new tracks produced by Ryan Greene and mixed by Jerry Finn, released it July 13, 1999; the album reached # 3 on Billboard's Top Heatseekers. The hit single "All My Fault" received heavy radio and TV airplay, triggered through the song's integration in the TV movie Jailbait, which featured a cameo appearance by Fenix TX; the music video, in return, starred Alycia Purrott from the cast of Jailbait, as well as Blink-182's Hoppus.
"All My Fault" reached #21 on the Billboard Modern Rock charts. Fenix TX went on numerous tours, including the Warped Tour and both national and international tours with label mates New Found Glory. However, in late 2000, drummer Reyes left the band to pursue other interests. To compensate, DeLaPaz took over drumming duties for the band. DeLaPaz's second recording with the band, Lechuza was released on May 22, 2001 and debuted on #87 of the Billboard 200, with its single "Threesome" reaching #66 on the UK Singles Chart. "Lechuza" featured DeLaPaz on Guitar as well as Drums. The album was produced by Jerry Finn and includes Keyboard tracks performed by Roddy Bottum of the band Faith No More; the hidden track at the end of the album entitled "Kool-Aid", features DeLaPaz on all instruments including bass guitar. The instrumental song was inspired by a drum cadence that DeLaPaz and Salazar performed as part of the drum line in their high school marching band; the decision to break up the band occurred in the middle of the writing process for what would have become Fenix TX's third album.
On September 19, 2002, the disbandment of Fenix TX was announced. However, the band reunited again to record a live album at The Clubhouse in Tempe, released under the title Purple Reign in Blood - Live on November 8, 2005. DeLaPaz's concept for the album's artwork merged the band's logo with the pentagram from Thrash Metal Band Slayer's logo on top of Prince's iconic glyph; the album's artwork resulted in a desist order from Prince's attorneys. After the breakup of Fenix TX in September 2002, DeLaPaz and Adam Lewis recruited singer Anthony Scalamere, bassist Jason Torbert and ex-Fenix TX guitarist James Love for their experimental/hardcore side-project Big Black Boat. Soon after the formation, the name of the project was changed first to ChChCh HaHaHa and became Sing the Body Electric on February 15, 2004. Sing the Body Electric recorded their eponymous six song EP Sing the Body Electric, released by Restart Records on August 10, 2004; the band put on many energetic live performances in Southern California alongside bands such as Sparta and Unwritten Law, embarked on one US tour opening for Fu Manchu.
Sing the Body Electric's musical style was different from that of Fenix TX, tended more towards progressive rock and hardcore punk. Somewhat distasteful behavior was ref
Skate punk is both a skater subculture and a subgenre of punk rock music. A genre of hardcore punk associated with skate culture, skate punk changed into a more melodic genre of punk rock in the 1990s. Since the 1990s, skate punk has been a genre that features fast tempos, lead guitar playing, fast drumming, singing. Featuring the fast tempos of hardcore punk and melodic hardcore, skate punk combines these with the catchy hooks of pop punk. Skate videos have traditionally featured this fast style of punk rock; this played a big part in the coining of the term "skate punk". 1970s and early 1980s punk rock bands like Buzzcocks, Adolescents, Black Flag, Circle Jerks paved the way for skate punk. Skate punk was pioneered in the 1980s by bands such as the Big Boys, Suicidal Tendencies, JFA. A lot of early skate punk bands are part of the hardcore punk movement nardcore, which emerged in Oxnard, California. In the 1990s, skate punk changed into a more melodic punk rock genre with bands like NOFX, MxPx, No Use for a Name.
Skate punk broke into the mainstream during the 1990s with bands such as the Offspring. Skate punk's popularity continued in the early 2000s with bands such as Sum 41. During the 2010s, newer skate punk bands such as Trash Boat, Cerebral Ballzy, Trash Talk, achieved underground to moderate success in the using the influence of previous skate punk bands. Skate punk is known as skate rock and skatecore. Noted by AllMusic for having "high-energy", skate punk features fast tempos. Many of the 1980s skate punk bands were hardcore punk bands. In the 1990s, it changed and was played by bands that sound more like pop punk and standard punk rock than hardcore punk. A skater subculture, skate punk's origins go back to skate culture and surf culture. Author Sharon M. Hannon noted skate punk is known for "its fast guitars, driving bass lines, surf music–style drums". According to Mark Lepage of Spin magazine, it has a "double-time hup-two-three-four beat". Skate punk music features singing and vocal harmonies.
Rolling Stone described skate punk as "a sort of pop hardcore". Some skate punk music has lyrics that are about humor - "mostly of the smartass variety". A lot of skate punk music features lead guitar playing, guitar riffs, sometimes guitar solos. Skate punk is described by AllMusic as having "thrashier guitars" than regular punk rock. Blast beats and fast drumming are common in skate punk. Skate punk features the fast tempos of hardcore punk and melodic hardcore combining them with the catchy hooks of pop punk; some skate punk bands play other genres of music. Skate punk paved the way for third-wave ska; some skate punk bands, including NOFX and the Suicide Machines play ska punk. Some skate punk bands, including Suicidal Tendencies, Hogan's Heroes, Excel play thrash metal and / or crossover thrash. California punk bands like Black Flag and Circle Jerks paved the way for skate punk with their "fast and raw" music, "which replicated the feel of skating." 1970s punk bands like the Buzzcocks and 1980s punk bands like The Descendents made fast and catchy punk rock songs about teenage confusion, combined the aggression and speed of hardcore punk with pop-inspired melodies.
Derived from hardcore punk, skate punk began in the early 1980s. The Big Boys and JFA are considered pioneers of skate punk. Bands such as Gang Green, Suicidal Tendencies, The Faction, Rich Kids on LSD, Tales of Terror, Drunk Injuns, NOFX, Hogan's Heroes, were among the first wave of skate punk bands. Johnny Loftus of AllMusic described early skate punk music as "a confluence of punk's anger and simplicity, the furious speed of hardcore, defiantly smart-assed machismo". Many early skate punk bands are part of the hardcore punk movement nardcore, which emerged in Oxnard, California. Popular among skateboarders, 1980s hardcore punk bands with connections to skateboarding culture were labeled as "skate punk" - the origin of the term. Early skate punk bands are noted for creating the connection between punk skateboarding. Mörizen "Mofo" Föche, vocalist of Drunk Injuns and former employee of the magazine Thrasher, is "often credited with first coining the term'skate-punk'." As skate punk became more popular during the 1990s, it changed into a more melodic genre.
During this time, some skate punk bands experienced mainstream success and were featured at events such as the Warped Tour, which started in 1995. Prominent skate punk bands of the 1990s include Consumed, Good Riddance, Strung Out, NOFX, Lagwagon, Guttermouth, No Use for a Name, Blink-182, Face to Face, Slick Shoes, MxPx, Unwritten Law, Ten Foot Pole, Screeching Weasel, Bad Religion, the Offspring, Pennywise. Skate punk broke into the mainstream in the 1990s; the Offspring's album Smash, released in 1994, launched the band into the mainstream. Rancid's album... And Out Come the Wolves, Green Day's album Dookie, the Offspring's album Smash helped launch punk rock as a whole into the mainstream. Smash, certified 6x platinum by the Recording Industry Association of America, sold at least 6.3 million copies in the United States and at least 5 million copies outside the United States. NOFX's 1994 album Punk in Drublic was certified gold by the RIAA on May 5, 2000. Unlike other 1990s punk rock bands, NOFX never signed to a major record label.
NOFX has not given permission for its music videos to be played on channels like MTV and VH1. Explaining this decision NOFX member Fat Mike said: "We made the'Leave It