THAT PUNK DOESN'T CARE!

X

X could have only happened in Los Angeles. Billy Zoom’s loud/fast rockabilly guitar work and DJ Bonebreak’s orchestral drumming drove Doe and then-wife Exene Cervenka's Charles Bukowski-on-biker-crank lyrics. Their hard-bitten musicianship, as well as Cervenka’s off-kilter harmonies, placed the quartet so far above their peers, they may as well have been playing atop the Capitol Records Tower rather than the Whisky A Go Go stage. Their allegiance to American roots music — rockabilly, blues, and folk — helped launch Americanas rise, while their world-class songwriting forced their peers to up their own game. As with the Ramones, X’s first four albums are essential documents of their primacy.

Black Flag

If inchoate anger and unfocussed rebellion have a soundtrack, it’s Black Flag. Primarily the brainchild of songwriter/guitarist Greg Ginn and bassist/theoretician Chuck Dukowski, these Hermosa Beach intellectual bruisers welded the heaviest metal to avant-jazz's noisy atonality. The full-tilt rhythms of the highest energy punk powered this mongrel chassis. In turn, Black Flag completely made mincemeat out of punk’s boundaries. With Henry Rollins firmly gripping the vocal mic and Kira Roessler and the Descendents’ Bill Stevenson
 installed in the rhythm section, Black Flag became key in the development of stoner rock, sludge metal, and doom metal. 

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