![]() ![]() ![]() The frontline is a downtown Bowery bar called CBGBs where a coterie of closely-linked but musically diverse new artists is creating some sort of semi-Warholian scene that threatens to be just as revolutionary in its cultural impact as the Factory was to the previous generation. No wonder they call 1977 the Year Zero of punk.įor a year or two I’ve been eagerly devouring increasingly breathless bulletins about the nascent New York scene in the NME, Melody Maker and Sounds. And then, as punk crossed the Atlantic, by singles and gigs by the Pistols and Clash, Stranglers and Saints, Damned and Buzzcocks, Slits and Siouxsie Sioux, Subway Sect and Slaughter & The Dogs. ![]() First by debut albums from The Ramones, Patti Smith and Blondie, heralding a New Wave from New York. It’s not the first: in the past 12 months I’ve had all my old musical preconceptions challenged, my boundaries moved, my reference points erased. Today I will buy an album that changes my life. Another bored teenager aboard the punk bandwagon that’s been gathering momentum for the past year. I’ve left school and I’m at college in a dead-end satellite town. Tim Cooper recalls its impact the day he bought it in 1977 – and assesses how it sounds today. It’s 45 years since Television released their landmark debut Marquee Moon, a defining moment in punk history. ![]()
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