This is a well-done documentary focused on the early rise of West Coast punk rock, dating back to the early 80s. Director Wills got in touch with the right people to interview, to be sure. Included here are conversations with members of T.S.O.L., the Adolescents, Social Distortion, Circle Jerks (Keith Morris), Dead Kennedys (Jello Biafra), Black Flag (Henry Rollins), and plenty of others.
As it turns out, the SoCal punk scene was indebted to the small club owned by Jerry Roach called the Cuckoo's Nest, which supported most of these early punk bands in a time when punk was considered threatening and dangerous, and fights with "rednecks" and the police were commonplace. "Clockwork Orange County" features plenty of first-hand accounts of this era, when punk was new and idealistic. Wills even deemed it worthy to include some new bands to discuss this classic era with, all of whom admit a tremendous debt to these punk pioneers. It's a fascinating and well-presented documentary, and something any true fan of American punk should see.
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Now counting former Supersuckers guitarist Ron Heathman amongst their ranks, this Los Angeles quartet raises the bar with "East Of Western". Opening with the driving freight train garage punk of "Homesick Blues", the band moves swiftly into the Gun Cub-styled swamp blues of "I'm Your Man". "Had A Girl" is a rough-and-tumble ballad that works, too. In fact, this whole album -- 10 songs, are all expertly paced rockers -- with the ideal amount of grit and dirt, yet with enough melody and spark to remain interesting and accessible. A grand album from a band at their peak. (Acetate Records)HangmenspaceHangmenbook
Raw and honest garage/roots punk from Los Angeles, these guys (and girl) have all the rock swagger and snarl of the greats. There's some Stooges, some Stones, some punk, Johnny Thunders...you get the picture. "Bent" is a junkies lament, with a good amount of Americana thrown in for good measure. This is top-tier, high-octane rock. Some tracks are produced by Mike Ness (of Social Distortion), so you know the pedigree must be good, and fans of Social D will easily appreciate these gritty and streetwise songs. "Desperation Town" is nothing but a classic rock song you don't yet know. Ditto for "Wild Beast". "Rotten Sunday" carries a massive guitar riff that's as ugly as the Stooges and that's a great thing in itself. If you're looking for balls-out rock without pretension, this is it. All hail the Hangmen! (Acetate Records)
If I ever meet Mike Ness, I will shake his hand respectfully. The man is an American institution. Rising from the second wave (or is it first?) of west coast punk in the late 70's, he's been a survivor from the start, conquering substance abuse, a splintering scene, fallen band members, and cut-throat major labels, only to find himself 30 years later as energized and vital as ever. With his (their) first album in 7 years, Social D don't so much change things, as hone their craft to an even sharper focus. Their trademark hybrid of old rockabilly and punk, with hints of old country and folk are unmistakable and singular.
The driving instrumental "Road Zombie" opens, and prepares the listener for what it to come...great, catchy, and heavy tunes about the hard life, but with a reverent love of life that's contagious. "California (Hustle And Flow)" is a bluesy rocker with a gospel backbone, staying true to Ness' past while simultaneously being as radio-ready as anything he's ever done. But the 9 tracks that follow are no slouches, either. "Writing On The Wall" will stick in your head for hours, for example, as will "Still Alive", which sums it all up and closes things out perfectly.
Ness pours his heart and soul into his songs, never forsaking the energy nor melody. Everything here is world class roots-punk. If you've ever liked Social Distortion before, this is a must-have. Highest marks. (Epitaph Records)
Now, this one is world-class. Never before have I seen a historical documentary and history of punk rock that is as comprehensive, factual, and fascinating as this one. This years-in-the-making film is, quite possibly, the definitive document of punk's often-misinterpreted and sketchy past (and present).
Featuring interviews with personalities from nearly every notable and essential punk band, there's no skimping on the details and history. Take a look at just some of the participants here: Bad Religion, Black Flag, Ramones, Rancid, Social Distortion, Stiff Little Fingers, Sham 69, Damned, Green Day, MC5, Minor Threat, Subhumans, UK Subs, Sex Pistols, Exploited, Billy Idol, Dead Kennedys...and the list goes on. And beyond their personal insights, there are countless flyers, album covers, images, old movies, etc. to illustrate the 'hows', 'wheres', 'whos', and 'whys' of the 70's most influential and relevant musical and cultural phenomenon, and it's influence on today's music and pop culture.
In Dynner's movie, the history is essential, but her insights go further that that. Punk rock's socio-political relevance is examined, as is it's undeniable influence on fashion (Hot Topic? piercings? tattoos?). The film examines the evolution of the genre - from its' explosive 70's beginnings, to the mostly-forgotten 80's era, when punk quietly inspired some of today's biggest rock stars. And it even looks deeper into today's 'punk', with bands who purists may scoff at (Good Charlotte and Sum 41 are given time here to explain their roots and feelings), yet are included in the style nonetheless. In short, virtually nothing is left out - from arrests and social unrest to selling out.
There are so many great stories told here (from the legends themselves, both known and unknown), with trivia and anecdotes galore, lest you expect a dry and purely scholarly examination of the virtues and downfalls of the genre. It's exhaustive, it's authoritative, and it's a helluva lot of fun.
This is essential viewing for anyone with even a passing interest in the subversive music and lifestyle that has been co-opted by the mainstream, but once flipped its' collective middle finger to authority and the corporate mainstream. Sure, punk swims dangerously close to the sharks these days, but the ideals are still there, submerged in the underground, where it's spawned offshoots not confined by the name or genre 'Punk's Not Dead' is a work of art, and a necessary history lesson with (s)punk. And the nearly 2 hours of bonus features are just about as worthy and watchable as the feature film itself... Get this one pronto! (MVD Visual)
Californian second-wave punks D.I. are best known for their appearance in the Penelope Spheeris film 'Suburbia', where they performed their infamous 'Richard Hung Himself'. That track is included here, with 9 other songs, and illustrates the band's Reagan-era angst and political awareness. The recording, done by stalwart Flipside Magazine, is bootleg-quality, and this film (of a rehearsal - not an actual concert) is rough and intimate. In hindsight, D.I.'s music was much more melodic than many of their early nihilist brethren, even showing a shadow of new wave somehow. Still, it's a far cry from the fashion punk of today, and takes me back somehow, in a nicely nostalgic way. An interview (with defective audio) is appended here as a bonus feature, and it does nothing but show the band to be, as the camera person puts it, 'jerks'. Hah! No pretense here, just some real-life footage of an early punk band sweating, spitting, and swearing. As it should be. (MVD Visual)
Mike Ness's Social Distortion were one of the coolest bands around when I was a teen. 'Another State Of Mind' (the album and tour documentary) was nothing short of a revelation, and Social Distortion's snotty, bratty, teen-angst anthems were catchy and nihilistic, echoing the overall feeling of suburban paranoia and alienation, but always with a sort of sad and romantic angle underneath the mohawks, spikes and spurs. 'Prison Bound' was sort of Ness' comeback LP from 1988, and this release alienated some of their hardcore audience as I remember. Here is where Ness first demonstrated some of his primary inspirations. Cuts like 'Like An Outlaw (For You)' were Johnny Cash western tales set to a West Coast punk-rock backbeat. Social Distortion would later synthesize these rockabilly and country roots much more effectively in the coming years, but 'Prison Bound' remains a kind of clumsy and weak offering in the group's usually strong catalog. The songs aren't nearly as memorable or catchy, and the production seems lightweight and kinda tinny & dated. This is one for completists only. (Restless Records, recently reissued on Time Bomb) On the other hand, Social Distortion's 2007 collection, titled simply 'Greatest Hits', is a powerful punch all the way through. Though it's rather short at only 11 songs, you get some of the best tracks ever written by Mike Ness though the years, arranged chronologically from his kinda juvenile (but still tuneful and melodically strong) beginnings ('Mommy's Little Monster' ) to the 90's major label 'hits' ('Story Of My Life', 'Bad Luck', etc.), and a new song to boot. 'Greatest Hits' touches on all periods of this wonderful band's history. Ness' tales of down-and-out losers and streetwise dreamers are poignant and effective, and his band rocks with guts and balls, combining classic western vibes and structures with edgy post-punk aggression and volume. Ness is truly a rocker with heart and spirit - both traits lacking in 99% of the 'rock' bands out there today. He's an icon and a legend, and this disc proves that after 25 years in music, Social Distortion remains as relevant and listenable today as it did yesterday. Incredible and essential. (Time Bomb)
