Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
Strawberries is the fifth studio album by English punk rock band the Damned. It was released in October 1982 by record label Bronze; the record was released as the Damned were enjoying a higher public profile, thanks to the solo success of Captain Sensible. Sensible Don't Bother Me, he introduced new instruments to the band, including sitar, cello played by his then-girlfriend, Rachael Bor of the pop group Dolly Mixture. While Strawberries was praised for its positive, up-beat melodies, the album marked a time of conflict and division within the band. During the recording, bassist Paul Gray fought with drummer Rat Scabies over management and song-writing responsibilities. Gray would leave the band in February 1983, Bryn Merrick took over on bass. Keyboard player Roman Jugg became the Damned's fifth band member, his arrival led to further experiments including loops and sampling. Jugg would move to guitar, replacing Sensible, who left the band after the Strawberries concert tour; the album's working title was Strawberries for Pigs, a name inspired by the reception the band's newer music received from some of their older fans.
As Vanian explained, "we were playing a lot of new material, we had an audience that didn't want to hear about anything, they just wanted to hear "Neat Neat Neat" and "New Rose," nothing else. And they wanted to just smash everything, and they weren't interested in hearing music at all. So at one point, I turned around and said,'It's like giving strawberries to a fucking pig, this gig, you know?' And that stuck in our minds, we used it". Strawberries was released in October 1982. Limited editions included a strawberry-scented lyric insert; the album reached No. 15 in the Official UK Album chart. Critics praised the album’s musicianship and 60s influences. Writing in Smash Hits, Fred Dellar gave the album 9 out of 10: "The Damned go melodic, offer harmony vocals, employ cellos and brass sections, remember to include a lyric sheet This is the kind of pop album Paul McCartney would be pleased to have his moniker on". In Sounds, Steve Keaton wrote that "Strawberries is the Damned at their most melodic and subversive".
He added that the album "manages to indulge both Dave Vanian’s darkly obsessive Gothic vision and the good Captain's psychedelic whims without sacrificing any hard rock sensibilities.'Strawberries' should be the LP to grant the Damned the recognition they've courted for so long". Trouser Press described the album as "eclectic and inconsistent but well-produced and boasting some fine tunes, shows Sensible's increasing pop prominence and Vanian's willingness to explore a stylistic pallette with no debt to punk". Other critics have noted the album's embrace of psychedelic pop, as well as gothic rock. In a negative contemporary review, NME called Strawberries "a miserable retch of a record, spewing fourth enough nauseous'nostalgia' to fill a book entitled'Why The Damned Never Made It', without once touching any spirit, it seems they're doomed to regurgitating their history'til the aftertaste becomes too bad to bear". AllMusic's retrospective review was favourable: "Recuperating a bit from The Black Album's uneven impact while still aiming to try whatever they want in studio, by turns sprightly and cheerful and dramatic, energetic and snarling, or all that and more at once, defies usual expectations to be yet another good rock album from the band".
On 7 January 2005, Castle Records re-released Strawberries in the United Kingdom on CD. Credits adapted from the album's liner notes. All tracks written except as noted. NoteSome versions of Strawberries have altered songwriting credits; the DamnedDave Vanian – lead vocals Captain Sensible – guitar and lead vocals, sitar Paul Gray – bass Rat Scabies – drums, synthesizer Roman Jugg – keyboard solosAdditional personnelSimon Lloyd – brass Rachel Bor – cello ProductionThe Damned – production Hugh Jones – production Dave Vanian – album cover design Linda Roast – album cover design Martin Poole – album cover design Nigel Greerson – sleeve photographyDeluxe editionVivian Stanshall – voice-over The Damned – production Hugh Jones – production Tony Mansfield – production Rat Scabies – remastering Tim Debney – remastering Debbie de Villiers – graphic design Kieron Tyler – liner notes Strawberries at Discogs
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Patricia Morrison is an American bass guitarist and songwriter. She worked with The Gun Club, Fur Bible, The Sisters of Mercy and The Damned, she was active in the Los Angeles, California punk rock scene in her mid-teens, was a founding member of The Bags in 1976. She left that band after a fallout with Alice Bag, she began Legal Weapon in 1981. Morrison joined The Gun Club in 1982, she formed the band Fur Bible with Kid Congo Powers, performing as the opening act for Siouxsie and the Banshees. It was during this time Morrison was contacted by Andrew Eldritch, asking her to join The Sisters of Mercy, she performed on The Sisters of Mercy's 1987 album Floodland. According to Jennifer Park: The Sisters of Mercy song "Lucretia My Reflection" was written by Eldritch about Morrison; the lyrics compare her to the historical figure of Lucrezia Borgia. She left the band in the early 1990s, claiming money, owed by Eldritch was not paid. In 1994, Morrison released Reflect on This. In 1996, she joined The Damned.
That same year Morrison married the Damned's lead singer Dave Vanian. After giving birth to Emily Vanian in 2004, Morrison retired from the Damned. Http://www.artifixrecords.com/bagsbio.htm 13. Artifixrecords.com March 15, 2003
Robert David "Lu" Edmonds is an English rock and folk musician. He is a vocalist and saz player in the Mekons and the lead guitarist for Public Image Limited. Growing up abroad in Poland, South America and Cyprus, Edmonds was educated in local schools and at Ampleforth College. Edmonds first came to prominence as a member of the Damned, playing guitar on their second album, 1977's Music For Pleasure, it was the rest of the band that nicknamed him "Lu"—short for "Lunatic". Billed as "Lu" while with the Damned, subsequent bands billed him as Lu Edmonds, he has played in Public Image Ltd, the Spizzles, the Mekons, Shriekback, as a Bloke in Billy Bragg & the Blokes as well as on tracks by the Waterboys and Kirsty MacColl. He co-wrote songs with MacColl for her first album and played lead guitar on her first single "They Don't Know", he has played various instruments in "world music" pioneers 3 Mustaphas 3 under the pseudonym Uncle Patrel Mustapha Bin Mustapha. Edmonds plays guitar, bass guitar, bouzouki, saz, cümbüs, oud and drums, among other instruments.
In 2009, together with fellow-pickers Justin Adams and Ben Mandelson, Edmonds formed the band Les Triaboliques, released their debut album Rivermudtwilight. Edmonds was guitarist/vocalist in new-wave band "the Edge" in 1979; this band featured drummer Jon Moss, bassist Glyn Havard who played in proto neo-age prog-rock gods Jade Warrior and keyboardist Gavin Povey who now plays with UK virtuoso guitarist Albert Lee in Hogans Heroes. In 2010, Edmonds appeared on Poets and Lighthouses, the latest album by Albert Kuvezin of the Tuvan ethnic-rock fusion group Yat Kha. Biography & Discography
Damned Damned Damned
Damned Damned Damned is the debut studio album by English punk rock band the Damned. It was released on 18 February 1977 by Stiff Records. Produced by Nick Lowe, Damned Damned Damned was the first full-length album released by a UK punk group. After the success of "New Rose" and a tour with the Sex Pistols, the Heartbreakers and the Clash, the band went into Pathway Studios to record the album Damned Damned Damned with producer Nick Lowe, who had recorded "New Rose" with them. Following 10 days of recording, the mix was completed on 15 January 1977, the day the master tapes were compiled; the album cover features the four members of the band. Guitarist Brian James recalled: "That was organised by this photographer called Peter Kodick, Stiff had assigned him to do the thing, they thought it was a jolly wheeze to surprise us with a few cream cakes, little knowing that we would relish it, get into to it and enjoy the whole experience". After the photo session, Damned bassist Captain Sensible noted: "...
I had more pie on my face than any of the other buggers and on the back of the sleeve I had my back to the picture, so I went down a photo booth and got some pictures, cut one out and said'put that on there' so I would have something to show my relatives, because I didn't think we'd be invited to make another album". Stiff deliberately printed a limited number of initial copies of the LP with a photo of Eddie and the Hot Rods on the back of the album cover, rather than the Damned playing at The Roxy. An "erratum" sticker was put on the back cover, on the front of the LP - on top of the original shrink wrap - was a red "food-fight" sticker that said "Damned Damned", thus completing the LP title when read underneath the band's name. Stiff was known for such unusual promotional activity; as of 2009, a copy of this rare print which still had both stickers and the shrink wrap intact fetched £200-500, depending on condition. The album design was credited to a pseudonym of Barney Bubbles. Damned Damned Damned was issued by Stiff Records on 18 February 1977, James' 22nd birthday.
In a contemporary review, NME praised the group's musical ability, opining that the Damned have "all the residual skills needed for the actual performance of exhausting modern music", stating that James was the most effective powerhouse guitarist since Pete Townshend and concluding that the album as a whole was "a professional production and is much more convincing than some other new wave bands I've heard on record."BBC's retrospective review praised the album's energy, pop satire and general humour, commenting, "Each track featured the hammering toms of Rat Scabies and Captain Sensible's bass-as-guitar propelling Brian James' exhilarating machine gun axe into your living room". The American press has favored the album. Ned Raggett of AllMusic gave it their highest rating of 5 stars, calling it "a stone classic of rock & roll fire" and declaring that "Damned Damned Damned is and remains rock at its messy, wonderful best." Pitchfork positively assessed the album in a negative review of the Damned's 2001 album Grave Disorder, stating, "I won't lie to you: the Damned's new album isn't good.
In fact, the Damned have only recorded a few albums that were—for instance, their debut or 1979's Machine Gun Etiquette". All tracks written except where noted. Adapted from the album's liner notes; the first disc contains the twelve tracks from the original album. NoteDisc 3 was recorded at the Damned's live debut at the 100 Club on 6 July 1976 supporting the Sex Pistols. Recorded on a Sony cassette recorder, hidden in a sports bag, onto a Scotch 120 tape. Dave Vanian – vocals Brian James – guitar, vocals Captain Sensible – bass, vocals Rat Scabies – drums, vocals Nick Lowe – producer Barry "Bazza" Farmer – engineer Peter "Kodick" Gravelle - cover photographyAdditional production Disc 2Matt Dangerfield – producer, engineer Jeff Griffin – producer Shel Talmy – producer Mike Robinson – engineer Damned Damned Damned at Discogs
A sanctuary, in its original meaning, is a sacred place, such as a shrine. By the use of such places as a haven, by extension the term has come to be used for any place of safety; this secondary use can be categorized into human sanctuary, a safe place for humans, such as a political sanctuary. Sanctuary is a word derived from the Latin sanctuarium, which is, like most words ending in -arium, a container for keeping something in—in this case holy things or cherished people; the meaning was extended to places of holiness or safety, in particular the whole demarcated area many acres, surrounding a Greek or Roman temple. Similar usage may be sometimes found describing sacred areas in other religions. In Christian churches "sanctuary" has a specific meaning, covering part of the interior, covered below. In many Western Christian traditions including Catholic, Lutheran and Anglican churches, the area around the altar is called the sanctuary. In many churches the architectural term chancel covers the same area as the sanctuary, either term may be used.
In some Protestant churches, the term sanctuary denotes the entire worship area while the term chancel is used to refer to the area around the altar-table. In many Western traditions altar rails sometimes mark the edge of the chancel. In the Eastern Orthodox Church, Eastern Catholic Churches of Syro-Malabar Church, Byzantine rite and Coptic Orthodox Churches, the sanctuary is separated from the nave by an iconostasis a wall of icons, with three doors in it. In other Oriental Orthodox traditions, a sanctuary curtain is used; the terminology that applies the word "sanctuary" to the area around the altar does not apply to Christian churches alone: King Solomon's temple, built in about 950 BC, had a sanctuary where the Ark of the Covenant was, the term applies to the corresponding part of any house of worship. In most modern synagogues, the main room for prayer is known as the sanctuary, to contrast it with smaller rooms dedicated to various other services and functions. In Europe, Christian churches were sometimes built on land considered to be a holy spot where a miracle or martyrdom was believed to have taken place or where a holy person was buried.
Examples are St. Peter's Basilica in Rome and St. Albans Cathedral in England, which commemorate the martyrdom of Saint Peter and Saint Alban, respectively; the place, therefore the church built there, was considered to have been sanctified by what happened there. In modern times, the Catholic Church has continued this practice by placing in the altar of each church, when it is consecrated for use, a box containing relics of a saint; the relics box is removed. In the Eastern Orthodox Church, the antimension on the altar serves a similar function, it is a cloth icon of Christ's body taken down from the cross, has the relics of a saint sewn into it. In addition, it is signed by the parish's bishop, represents his authorization and blessing for the Eucharist to be celebrated on that altar. In the classical world, some temples offered sanctuary to runaway slaves; when referring to prosecution of crimes, sanctuary can mean one of the following: Church sanctuary A sacred place, such as a church, in which fugitives were immune to arrest.
While the practice of churches offering sanctuary is still observed in the modern era, it no longer has any legal effect and is respected for the sake of tradition. Political sanctuary Immunity to arrest afforded by a sovereign authority; the United Nations has expanded the definition of "political" to include race, religion, political opinions and membership or participation in any particular social group or social activities. People seeking political sanctuary do so by asking a sovereign authority for asylum. Many ancient peoples recognized a religious right of asylum, protecting criminals from legal action and from exile to some extent; this principle was adopted by the early Christian church, various rules developed for what the person had to do to qualify for protection and just how much protection it was. In England, King Æthelberht made the first laws regulating sanctuary in about AD 600, though Geoffrey of Monmouth in his Historia Regum Britanniae says that the legendary pre-Saxon king Dunvallo Molmutius enacted sanctuary laws in the Molmutine Laws as recorded by Gildas.
By Norman times, there had come to be two kinds of sanctuary: All churches had the lower-level kind, but only the churches the king licensed had the broader version. The medieval system of asylum was abolished in England by James I in 1623. During the Wars of the Roses of the 15th century when the Lancastrians or Yorkists would gain the upper hand by winning a battle, some adherents of the losing side might find themselves surrounded by adherents of the winning side and unable to return to their own side, so they would rush to sanctuary at the nearest