History of Rock Music Exam 3 at Winona State University - StudyBlue StudyBlue History of Rock Music Exam 3 Kalene H. Name the musical elements found in Led Zeppelin songs. traditional electric blues, acoustic folk, experiementation Who recorded the blues rock song "Highway Star"? Deep Purple Ozzy Osbourne sang lead vocals for what british band? Black Sabbath The faces lineup included members from what earlier band? The Jeff Beck group Who is the classically-trained keyboard player of Deep Purple? Garth Hudson What elements of "Whole Lotta Love" demonstrate psychedelic characteristics? spacey sounds, stereo effects, Plant's moaning Where did Duane Alman begin his musical career? Muscle Shoals Name the song heard in class the exemplifies the early work of the Allman Brothers Band Whipping Post Lynyrd Skynyrd signed with what record label? Al Kooper's label 'Sounds of the South' "The devil went down to georgia" was a trademark song for what southern rock band? The charlie daniels band to what rock type does Santana's Music belong? Electric Blues / Latin Rock What Los Angeles-based blues-rock band was produced by Brian Wilson early in it's career?

Three Dog Night Name the song we heard in class by Three Dog Night. Who wrote this song? 'One'- Written by Kooper Aerosmith were often compared to what british band? The rolling stones How did the Moody Blues incorporate classical music into Days of Future Past? Orchestral interludes between tracks on album Advertisement name all of the Who's "concept" albums. Tommy, Who's Next, Quadrophenia What song by the Who was a precursor to that band's concept albums? The concept album Aqualung center on what idea? suspicion of political and religious institutions, like the Church of England Name the Jethro Tull recording heard in class that exemplifies their sound? 'Nothing Is Easy' What irregular instrument was part of Jethro Tull's make-up? Flute (Jazz Flute) (Yazz Flute) Who was the original lead singer of Genesis? Perter Gabriel Name the albums released by Pink Floyd. Ummagumma, Atom Heart Mother, Meddle, The Dark Side of the Moon, Wish You Were Here, The Wall Name the musicians who worked on Miles Davis's Bitches Brew album.

John McLauchlin, Joseph Zawinul, Chick Corea, Herbie Hancock Musically speaking, for what were Blood, Sweat and Tears and Chicago known? "Horn Bands" Musically speaking, for what was Alice Cooper known? dramatic music with self-satire & ghoulish topics Who was the principal songwriter of The Band during that group's peak years? Robertson Which member of The Band was classically trained? Garth Hudson Name the characteristics of the singer-songwriter movement. they were revealing their true selves, accompanied by piano or acoustic guitar--if other instruments, not distracting What 1970s singer-songwriter had worked in the Brill Building? James Taylor How did Elton John change the model of the singer-songwriter by the latter half of the 1970's ? began employing a back up band "The Night They Drove Old Dixie Down" was a country rock song by what group? The Band The members of the Eagles had been in a backup band for what singer?

Linda Ronstadt Name the song heard in class by Linda Ronstadt that utilized members of the Eagles 'Rock Me On The Water' Name the musical elements of the song "Take It Easy" Country-rock; open with big brilliant electric guitar (folk rock), another guitar enters w/ a lick (steel guitar) (country music).. Lead vocals enter (southern accent) & backup vocals (Beatles and Beach Boys), Duet in 2nd verse is added. Song is Simple Verse form. Who wrote the song "Take It Easy"? Jackson Browne Name the guitar player who briefly formed a "super group" with Stephen Stills and Al Kooper? Michael Bloomfield Name the album mentioned in class as being the beginning of country rock Sweetheart of the Radio- the Byrds What Bay Area band was commercially successful at fusing elements of funk with psychedelia? Sly and the Family Stone What musical element establishes the groove in "Thank You (faletitinme Be Mice Elf Agin)"? A repeating riff in the bass Name the member of Sly and the Family Stone who provides this element of groove? Stewart (Sly Stone) Whose "Funky Worm" was a novelty song?

Ohio Players what group had a horn section who were often guest performers on other artist's recordings? Tower of Power What group was Lionel Ritchie a singer and songwriter? The Commodores' What is the focus of Marvin Gaye's album What's Going On? problems of black urban life, issues of environmentalism in modern society, and questioned the U.S. presence in Vietnam What term did Marvin Gaye adopt to describe the structure of Side 1 What's Going On? Name the three "pillar" songs of Side 1 What's Going On? Let's Get It On, Trouble Man, Got to Give It Up, Pt 1. Name the artist who made an album entitled Innervisions Stevie Wonder Name the song heard in class from Innervisions What goup helped Motown break into the teen market in the late 1960's and early 1970's? The Jackson 5 Why was the signing of Rare Earth to Motown demonstrating Berry Gordy's broader musical aspirations? Branches out to all musical devices What independent producers started Philadelphia International? Gamble and Huff In addition to lyrical vocals and driving rhythms, what musical elements were a feature of the "Philadelphia sound"?

elegant string arrangements "TSOP" served as theme music for what 1970's media product? Soul Train Name the artists produced by Thom Bell. Spinners, Stylistics Identify the "blaxploitation" films of the 1970's. Shaft, Superfly What song firmly established the rhythmic sound of the wah-wah guitar in 1970's black pop? The Theme From Shaft Who was Isaac Hayes' songwriting partner in his early days at Stax/Volt/Atlantic? For what song were they known? David Porter- "The Theme From Shaft" With what band did George Clinton begin his career? Parliaments Name the musicians who worked with both James Brown and George Clinton. Maceo Parker, Fred Wesley Bootsy Collins Out of which jamican musical style did reggae develop? ska- rock steady What Jamaican musician's work exemplifies this style? (ska- rock steady) Bob Marley- The Wailers What musician helped to popularize reggae outside of Jamaica with a cover of "I Shot the Sheriff"? Eric Clapton Name the musical aspects of disco dance oriented.

direct dance beat with a catchy pop hook that is repeated frequently What artists were featured on the soundtrack for Saturday Night Fever? Bee Gees How did disco bring back the authority of the producer? Focus was not on the artist but on the song and beat Off the wall was a collaboration between what two musical artists? Micheal Jackson and Quincy Jones In 1979 an antidisco rally was held in what city? Chicago Name the main reasons for the disco backlash in the late 1970s viewed as a threat within the rock community, a small role was homophobia and racism, people rejected the anti-hippie part of disco On what album did Stanley Clarke fuse jazz, rock, and reggae? I want to play for you Whom did Marvin Gaye say wrote the music for his album, What's Going On? Who earned an Oscar for his score for the film, Shaft? Isaac Hayes Why is advertising on radio necessary to keep a radio station in business? It provided profits What designated Peter Frampton's Frampton Comes Alive! as a "big Album"? The album sold Millions of copies instead of just Thousands. Stevie Nicks was a singer for what successul '70s rock band?

Fleetwood Mac What former Beatle formed the group, Wings? Paul McCartney "More Than a Feeling" is representative of what band's musical style? Boston What band had a successful cover to the Kinks" You Really Got Me"? Van Halen Of what musical style is Rush an example? progressive-rock Freddie Mercury was the lead singer for what band? Queen What singer-songwriter promoted fundamentalist-style Christianity on late '70s albums? Bob Dylan How did Jackson Browne start his musical career? singer-songwriter in So Cal. cowrote "Take It Easy" How are Foreigner's early albums influenced by progressive rock? Blue rock guitar hooks drive the song forward. how did Jackson Browne start his musical Carrer? Co-wrote the Eagles "Take it Easy" How does "More Than a Feeling" feature musical progressive rock touches? uses compound AABA format, No two sections where the same, Harmony guitar parts are carefully coordinated what was the primary reason why American record labels developed new wave? they used the term "new wave" vs punk. because aggressive and dangerous images were associated with punk Andy Warhol produced an album for what band?

Velvet underground( the velvets) from what city were the Stooges and MC5 from? Detroit Name the performers who were regulars at CBGB. The Ramones, the Patti Smith Group, the Stilletos, Blondie What individual managed the Sex Pistols? Malcolm McLaren What event was viewed as a demonstration of the Sex Pistols conning of the music business industry? Filled in for Queen on a British TV show. how were the Clash generally viewed by fans and critics? the good guys in punk, political protestors Paul Weller was the vocalist for what UK punk Band? The Jam Identify the musical features of the Sex Pistols "Anarchy in the UK". Simple verse structure, 8 bar refrain, no guitar solos or synthesizer riffs What new wave band did David Byrne Lead? Talking Heads What new wave band adopted a futuristic image from the 50's science fiction? Devo What band suggested that they were the new Beatles? The Knacks Which british new wave musician blended a strong reggae influence into their music? The police For what group did Mark Knopfler play lead guitar and write songs?

Dire Straits Name the films for which Knopfler wrote soundtracks Cal, Local Hero, Princess Bride Name the female instrumentalist of Velvet Underground, and identify the instrument she played Maureen Tucker- drums Name the song heard in class that represents the style of MC5 Kick Out The Jams Name the song heard in class that represents the style of Siouxsie and the Banshees Hong Kong Garden What 1970s artist was known as the 'godmother of punk' Patti Smith What British band is known for creating the "gothic rock" genre? Siouxsi and the Banshees What is the subject matter of the song, "Gold Dust Woman"? Who wrote the song? Stevie Nicks wrote this song about her addiction to cocaine Name the song we listened to in class that represents the style of Queen Stone Cold Crazy Name the song in class that exemplifies the disco sound Bad Girls Sex Pistols (Music) - TV Tropes Sex Pistols You need to login to do this. Get Known if you don't have an account Share WMG Sex Pistols in 1976. From left to right: Glen Matlock, Paul Cook, Johnny Rotten, and Steve Jones.

"Next to the Sex Pistols, rock and roll and that hall of fame is a piss stain. Your museum. Urine in wine. We're not coming. We're not your monkeys. If you voted for us, hope you noted your reasons. You're anonymous as judges but you're still music industry people. We're not coming. You're not paying attention. Outside the shit-stream is a real Sex Pistol." —Steve Jones, rejecting the band's admission to the Rock and Roll Hall of Fame. The Sex Pistols were an English punk rock band formed in London in 1975 . Though the band didn't last very long (1975-78), and produced only four singles and one studio album , Never Mind the Bollocks, Here's the Sex Pistols , they were one of the most influential acts in the history of popular music, credited with initiating the punk movement in the United Kingdom, and inspired many later punk and alternative rock musicians. The first incarnation of the Sex Pistols included singer Johnny Rotten , lead guitarist Steve Jones, drummer Paul Cook and bass player Glen Matlock. The band was put together by Malcolm McLaren.

The lead singer Johnny Rotten, real name John Lydon, was discovered after McLaren saw him wearing a Pink Floyd T-shirt he had altered to read "I Hate Pink Floyd," the irony being that Rotten actually didn't hate Pink Floyd; it was just to be nonconformist. Additionally, McLaren once got pissed at Lydon because in an interview he named some of his musical influences as Can , Van Der Graaf Generator and Captain Beefheart , going against the punk image he was trying to cultivate.). Lydon couldn't sing, didn't look particularly like a pop star, but he was a genuine teenager from working class origins who was pretty fed up with a lot of things and now finally got a soapbox to voice his opinions. Fellow band members were brought together and the Sex Pistols were born. Famously, the band performed to a crowd of approximately 42 people at the Manchester Free Trade Hall in Manchester England in June of 1976.

As recounted in the film 24 Hour Party People , each person in the crowd either later formed a band (future members of The Smiths , Joy Division (and by extension New Order ), The Fall , The Buzzcocks , Magazine , and Simply Red) or had a pivotal role in shaping that city's music scene (Factory Records founder Tony Wilson and NME journalist Paul Morley). This show alone was proof to the band's aforementioned reaching influence on punk, Post-Punk , New Wave and eventually alternative and indie rock music. The turning point from band to spectacle is usually considered to be the firing of Glen Matlock (their Beatles -liking, actually capable bassist who co-wrote most of their early songs) and the hiring of Sid Vicious . Notably, Vicious didn't play any bass on their album Never Mind the Bollocks, Here's the Sex Pistols (bar "Bodies"), with bass duties handled by Jones and (on "Anarchy in the U.K.") Matlock. In fact, he didn't even know how to play his instrument . But the band's appeal in general had nothing to do with musicianship, more with their image, attitude and what the way they liberated a lot of youngsters to be theirselves .

They outraged countless people with their Brutal Honesty lyrics aimed at the conformity of Rock and Pop , Anti-Love Song material, swearing and shocking attacks on the British government. "God Save the Queen" was a savage criticism of the British Royal Family and became the alternative anthem during the 25th anniversary of Elizabeth II's crowning. Although the song peaked at No. 2 in the UK charts, many radio stations refused to play it, even denying its chart position. An entire nation was polarized over the success of this "filthy, degenerate band." One time when Rotten went home after a recording session he was attacked in the street by a bunch of people out of retaliation for "God Save the Queen". Upon arrival at hospital after this incident, police were called to arrest him. The national outrage about the Sex Pistols became so gigantic that many concert halls cancelled their gigs and they had to perform as a surprise act in various cities. Many future punk rockers got their start as Sex Pistols fans, such as Siouxsie Sioux and Billy Idol .

Most of these musicians were part of the media-named, (in)famous "Bromley Contingent," a group of artistically minded youths who hung out in gay clubs and shared a love of Roxy Music and the Velvet Underground , and were, in fact, largely not from Bromley . Malcolm McLaren clothed them in Vivienne Westwood bondage apparel and helped them get from one Pistols show to the next - even France! - to cause controversy. Sid Vicious was initially part of this group; he would be the Banshees' drummer for their first-ever show, as well as try to form his own band, The Flowers of Romance, before becoming a Pistol. No discussion of the Sex Pistols would be complete without a mention of Malcolm McLaren, their manager, and Nancy Spungen, Vicious' girlfriend. McLaren had a habit of taking the Pistols' ideas for his own, and spreading the myth that the whole group was his Structuralist art project . Spungen was stabbed to death in 1978.

Vicious was imprisoned for Spungen's death (whether it was him or not is another, untold story) and died of a drug overdose in 1979 after his release on bail. In January 1978, Rotten left the band sometime after Russ Meyer and Roger Ebert gave up trying to film a Hard Day's Night -esque Pistols film called Who Killed Bambi? and directly after a famously disastrous US tour which ended with him being stranded in the United States by McLaren. He reverted back to his birth name of John Lydon and formed art rock band Public Image Ltd. (or simply PiL) as a means to explore his love of genres such as dub , Progressive Rock and noise music , which he had to keep on the low-down during his Pistols days because these were the kinds of "pretentious" genres that the Pistols were allegedly supposed to be killing off. Over the course of the next decade and eight albums, PiL became an influential pioneer in the genres of Post-Punk and Alternative Rock . After Lydon left, the Pistols attempted to continue on.

One single was released in June 1978, with infamous train robber Ronnie Biggs taking over for Lydon on vocals (as a publicity stunt). After that single and the soundtrack to the then unreleased film The Great Rock 'n' Roll Swindle (eventually released in 1980), the band was essentially over by the time of Nancy Spungen's death in October 1978. After the Pistols split, Cook became a session musician and Jones made a few solo albums before becoming a radio personality in Los Angeles. McLaren also moved on to other projects, first managing Adam And The Ants and then Bow Wow Wow. He also became a musical trendsetter in his own right with his solo album Duck Rock and the classic single " Buffalo Gals ", both of which are fondly remembered and helped introduce Hip-Hop to the United Kingdom. The band's original Lydon/Jones/Matlock/Cook line-up reunited for a tour in 1996. They reunited once more for a series of dates in 2002 and 2003.

In 2007, they reunited once more for a few more shows (and to re-record "Anarchy in the UK" for Guitar Hero III). They were put on hiatus in 2008 so Lydon could restart PiL, and the Pistols have abandoned the latest of several attempts to record their second album. Matlock has also become the bassist of the Faces . Malcolm McLaren died in early 2010, and by that time Lydon and McLaren had at least patched up enough things for Lydon to recall him fondly in interviews leading up to McLaren's funeral.

Principal Members (Founding members in bold): Paul Cook - drums, percussion, backing and lead vocals (1975ï¿½1978, 1996, 2002ï¿½2003, 2007ï¿½2008) Steve Jones - guitar, bass, backing and lead vocals (1975ï¿½1978, 1996, 2002ï¿½2003, 2007ï¿½2008) Johnny Rotten - lead vocals (1975ï¿½1978, 1996, 2002ï¿½2003, 2007ï¿½2008) Glen Matlock - bass, vocals (1975ï¿½1977, 1996, 2002ï¿½2003, 2007ï¿½2008) Sid Vicious - bass, backing and lead vocals (1977ï¿½1978, died 1979) Studio and

 Live Discography: 1979 - The Great Rock 'n' Roll Swindle 1985 - Anarchy in the U.K: Live at the 76 Club 1996 - Filthy Lucre Live 2001 - Live at Winterland 1978 2004 - Raw and Live 2008 - Live & Filthy Never mind the bollocks, here's the Trope Examples: Accentuate the Negative : The band didn't sugarcoat how fed up they were with the state of their society.

Anarchy : Interestingly not actually in play in their music, given that their first single was "Anarchy in the UK". Apparently, the Pistols saw themselves as a fairly apolitical band, whose main task was to tweak the noses of a hidebound Britain as opposed to spearheading any sort of revolution, anarchist or otherwise. Johnny said it best years later: Anarchy is mind-games for the middle class. Itï¿½s a wonderful philosophy if you've got the spare time to indulge in it. Itï¿½s more like French abstract art than reality, because ultimately you would destroy everything. Whatï¿½s the point of that if you've got nothing to replace it with? Anarchy is a problem. Itï¿½s not a solution. But itï¿½s worthy of some thought. The Band Minus the Face : After Johnny Rotten left the band the rest released a few more songs. Became Their Own Antithesis : Subverted somewhat with Johnny Rotten.

While he doesn't view his time in the Sex Pistols as Creator Backlash , he was an artsy kid big into groups like Can and Van Der Graaf Generator who was discovered wearing a shirt that said "I Hate Pink Floyd ". Johnny didn't hate Pink Floyd, he simply wanted to be The Gadfly . His eclectic musical tastes which threatened to make him persona non grata in the Punk scene became more pronounced when he formed Public Image Ltd. . Becoming the Mask : Sid Vicious. When the band started, he was described as like a schoolgirl. Things went downhill from there. Sid Vicious ' tribute of Frank Sinatra 's My Way . With added C- and F-bombs . Dreadful Musician : Vicious. Supposedly, he once told Lemmy "I can't play bass". Lemmy's reply? "I know". Jones admitted that the band tried "as hard as they could" to keep Vicious away from the studio while they were recording Never Mind The Bollocks. Luckily for them, he had caught a severe case of hepatitis. Jones also admitted that they let him play one small bass part on "Bodies", but it was buried in the mix and he overdubbed his own.

Paul Cook and Keith Levene have both disputed this and said that Sid Vicious did become a fairly competent bassist. He was dreadful at it because he never played bass prior to being hired by the Sex Pistols (he was a drummer, singer, and saxophonist before that point). Coincidentally, most of the "Sid Vicious can't play" examples cite events that happened immediately after he was hired. Vicious is also said to have shown honest desire to improve his bass playing, at least before Nancy came into the picture. He apparently once stayed up a whole night on speed with a bass guitar and The Ramones ' debut album, practising along to the record until morning, by which time his playing had been greatly improved. Also worth mentioning that the manager stated he would have hired Sid Vicious to be the singer if it was an option, a logical choice given that Sid seemed to be able to hit notes far more accurately than Lydon when one compares their vocal performances. Epic Rocking : Surprisingly, they have an example: their cover of The Stooges ' " No Fun ". It's still way more primitive than most examples, though.

Evil Laugh : The very first thing uttered by Rotten on their very first single. Rrrrrrrrright... NOW, mwahahahahahahaaaaa! on "Anarchy in the U.K.". Exact Words : When it was ruled they could not perform their song "God Save the Queen" on UK soil, they got a boat and performed on the river Thames. On November 4 2016, in response to a call from an MP that the BBC should close each day's broadcasting with "God Save the Queen" (the traditional one), BBC 2's Newsnight invoked this trope, with a touch of Be Careful What You Wish For . Hidden Depths : Johnny Rotten showed his softer side when describing the sad saga of Sid and Nancy and Sid Vicious's downward spiral and death. Jerkass : Just watch any interview with Johnny Rotten/Lydon. Also Sid Vicious qualifies, as any man who would confess to killing cats would. Jerkass Has a Point : Often, Johnny uses his abrasiveness to good use. Agree with him or not, at least he often has something intelligent to say.

Location Song : "Holidays in the Sun", where the band is near the Berlin Wall, though even Johnny Rotten isn't sure why they are there in the first place. "Anarchy in the U.K." sings how anarchy came to the United Kingdom. "New York", a Pretender Diss at the New York Dolls . Mohs Scale of Rock and Metal Hardness : They tended to be in the 5-6 range. They weren't terribly fast, but they were pretty raw-sounding. Non-Appearing Title : Nowhere on the album is "Never Mind the Bollocks" uttered. Not even once. Technically, also "Anarchy in the U.K."... there's one mention of "Anarchy for the U.K." and that's it. Obligatory Bondage Song : Parodied with "Submission". The song is a result of Executive Meddling and the band's snarky Take That to it.

McLaren's clothing store, "Sex" (from whence the name "Sex Pistols"), sold along with its other punk clothes, a fair amount of bondage gear, and he demanded the Pistols write a song called "Submission," assuming it could be used as free advertising for the shop to move product. Johnny was particularly incensed by this request, and did write a song called "Submission", but wrote it about a submarine mission, a SUB MISSION . There's plenty of winking double entendres in the song to submission, but they're intentionally ridiculous exclusively to annoy McLaren and are immediately followed by absurd single entendres about undersea exploration. Protest Song : All of the songs, although on the other hand the group also states: "We don't care!" Real Life Writes the Plot : "God Save the Queen" was written when Queen Elizabeth II celebrated her 25th Jubilee, though the band has explicitly denied that they wrote it in response to the Jubilee, instead having written it as a "working-man's song" in frustration with a royal family that they viewed as out of touch.

It was their bad luck that the single just happened to be released during the Jubilee, when pro-royal and general patriotic sentiment among the class they were trying to reach was at a high point. Paul Cook: It wasn't written specifically for the Queen's Jubilee. We weren't aware of it at the time. It wasn't a contrived effort to go out and shock everyone. "Bodies" was inspired by Johnny Rotten's encounter with a crazed fan (not an exaggeration: she was institutionalised) from Birmingham named Pauline, who described to him in detail the abortions she'd had. Red Scare : Subverted by the line "I was waiting for the Communist call" in "Holidays in the Sun." Refuge in Audacity : Most of their work and stage persona is based on this. Few performers would have the chutzpah to perform "The Good Ship Venus", uncensored, in public, never mind record it for an album, yet they did just that. Rockumentary : The Filth and the Fury. Sarcastic Title : "God Save the Queen".

Self-Deprecation : The reason that their Nineties reunion tour was called "The Filthy Lucre Tour." Self-Titled Album : Never Mind the Bollocks, Here's the Sex Pistols is a partial example of this. Smarmy Host : Bill Grundy, host of Today, a regional news programme broadcast on Thames Television, who gained national attention for his interview with the Sex Pistols in 1976 that destroyed Grundy's career, while elevating the Sex Pistols to notoriety. One moment of the interview saw guitarist Steve Jones dropping f-bombs to him after Grundy made an explicit pass at Siouxsie Sioux. And to give Grundy even less credit, he was drunk at the time . Stage Names : Sid Vicious and Johnny Rotten. The Svengali : McLaren claimed to be this to the band, although how much influence he actually had is up for debate. Glen Matlock admitted that he left the band because of arguments with Johnny, and the band has since agreed that McLaren played a part in exacerbating it. His behaviour is the reason why Never Mind the Bollocks carried an unusual production credit.

To let Bill Price explain: The simple facts of the matter were that Chris was hired by Malcolm to do a series of singles for the Sex Pistols. I was hired by Malcolm to do a series of album tracks with the Sex Pistols. Life got slightly complicated, because I did a few album tracks that Chris remade as singles. Also, Chris started a couple of tracks, which got abandoned as singles, which I remade to be used as album tracks. On quite a large number of songs, when we'd finished the album, we had two versions of the song. I couldn't quite understand why Malcolm kept chopping and changing between different versions of different songs. It slowly dawned on Chris and myself that Malcolm was trying to slip between two stools and not pay Chris or me. So we said, "I'll tell you what, Malcolm. Whatever's on the Sex Pistols' album, it was either done by me or Chris, and you can pay us and we'll divvy it out amongst our little selves." Which is what we did. But it did force that very strange credit, simply because the sleeve was printed long before it was finally decided which version of each individual song was on the record.

If we'd known, it would have said 'produced by Bill Price' or 'produced by Chris Thomas'. That's how you ended up with that credit, 'produced by Bill Price or Chris Thomas'. Subsequent issues of the album on CD have amended this to a slightly more reasonable "Produced by Chris Thomas, engineered by Bill Price". The entire group was an anarchic reaction against everything rock 'n' roll stood for. Their entire public image and songs were designed to shock the establishment. "New York" against the New York Dolls "God Save the Queen" against the British Monarchy Their above-detailed writer revolt over "Submission" "EMI" against record company EMI . The band's refusal to attend their induction to the Rock 'n Roll Hall of Fame - complete with a scathing "The Reason You Suck" Speech - also qualifies. Any hope of a collaboration with American punkette Patti Smith was scuppered by Johnny Rotten's sneering at what he saw as pretentious tripe: " Horses , horses, fucking horses!" As this was the title of her first LP, Smith was not flattered or amused.

U2 Biography: The History of U2 from @U2 by Matt McGee One of only a few bands to achieve consistent commercial and critical success across three decades, U2 has charted success on its own terms on both the artistic and business sides of the music industry. From the band's earliest days in Dublin, Ireland, to the present, U2 has broken free from the traditional limitations of what a rock band -- and rock music -- could and couldn't do. By combining an original sound with honest lyrics and a challenging social message, U2 has earned the respect of their peers and critics, and an almost fanatical following of fans around the world. This is their story. U2 formed in Dublin in the fall of 1976 after 14-year-old Larry Mullen, Jr. posted a note on the bulletin board at his high school seeking musicians for a new band.

From the group of hopefuls that showed up at Mullen's home that first day, a five-piece known originally as "Feedback" formed with Mullen (born October 31, 1961) on drums, Adam Clayton (born March 13, 1960) on bass, Paul Hewson (later nicknamed "Bono Vox" and eventually just "Bono", born May 10, 1960) on vocals, and Dave Evans (later nicknamed "The Edge", born August 8, 1961) on guitar. Dave's brother, Dick, also played guitar for a while, but left Feedback very early on to join another Dublin band, the Virgin Prunes. Feedback quickly changed their name to "The Hype," and began rehearsing on weekends and after school as often as possible, forming genuine friendships and developing an undeniable chemistry in the process. After nearly 18 months of rehearsing, the band's big break came at a talent show in Limerick, Ireland, in March, 1978.

With CBS Records' Jackie Hayden judging, U2 (they had just changed their name again) won the contest, earning a £500 prize and studio time to record their first demo. Shortly after the talent show contest, the band convinced a Dublin businessman named Paul McGuinness to manage them. Now out of school, the band played as many shows as possible in and around Dublin, trying to build up a local fan base. In September, 1979, U2 released its first single, an Irish-only release called "U2:3" which topped the national charts. In December of that year, U2 traveled to London for its first shows outside Ireland, but struggled to get attention from music fans and critics. After continuing to build a large following inside Ireland, and after the success of a second Irish-only single, Island Records signed U2 to its first international contract in March, 1980. The first album to come from that agreement was Boy, released in October of that year. The album offered a fresh, new sound that earned rave reviews in both the Irish and UK press. Bono's lyrics tackled subjects like faith, spirituality, and death -- subjects generally avoided by even the most seasoned rock acts.

U2's first tour outside the UK helped develop new fan bases in other parts of Europe and in the United States, where strong club shows helped propel Boy briefly onto the U.S. album charts. But while synthesizer acts and bubblegum pop bands dominated the early 80s, U2 went off in their own direction. Their second album, 1981's October, witnessed an open embrace of Christianity, especially in songs such as "With a Shout" and "Gloria": Oh, Lord, if I had anything Anything at all, I'd give it to you Of the four band members, only Adam Clayton wasn't an admitted Christian. Bono, The Edge, and Larry attended regular prayer group meetings and eventually joined a religious group in Dublin called Shalom. That led the trio to question the relationship between the Christian faith and the rock and roll lifestyle. Edge, in particular, wasn't sure if he wanted to be in a rock band. Bono was ready to support his friend if he chose to quit the band. After nearly throwing in the towel on U2, they decided it was possible to continue making music without shedding their personal beliefs.

U2 enjoyed its first international success with the 1983 release of War, U2's third album. An all-out attack against the keyboard- and drum machine-based songs that made up the song and album charts, War featured the band's most aggressive songwriting to date in both music and lyrics. For the first time, Bono addressed the long-standing "troubles" in Northern Ireland with the song "Sunday, Bloody Sunday." Fearful to be seen as taking one side over another, he insisted on introducing the song during concerts by saying "This is NOT a rebel song!", and wrapped himself in a white flag while he sang it, to symbolize the song's call for peace. The album's first single, "New Year's Day," was U2's first legitimate hit single, reaching the #10 spot on the UK charts and almost cracking the Top 50 in the U.S. MTV put the song's video into heavy rotation, and helped introduce U2 to a new audience of fans. Tours that supported the War album in the U.S. and Europe included sold out shows at many stops.

The band captured this era with the Under a Blood Red Sky mini-album and video, which also received heavy airplay on MTV and other TV channels in Europe, and only served to add to U2's reputation as a top-notch live act. The success of War and Under a Blood Red Sky allowed U2 to renegotiate their record deal with Island Records, and the band gained more creative control and financial rewards for the future. Just when it appeared U2 had found the formula for success, they switched gears and took off in an entirely new direction. For their fourth studio album they chose Brian Eno and Daniel Lanois to produce it, a surprising choice Bono explained by saying the band members felt their new music would be more "ambient," and needed an appropriate guiding hand in the control room. 1984's The Unforgettable Fire -- named for a series of paintings drawn by survivors of the atomic bombs at Hiroshima and Nagasaki -- introduced the world to a new U2, a more experimental and unfocused U2.

Gone was the aggression of War, but the band's social and political messages stayed alive in songs such as "Pride (In the Name of Love)," which was written for Martin Luther King, Jr., and the mesmerizing "Bad", written in response to the struggles Bono's friends had with drugs in Dublin. While "Bad" quickly became a highlight of the band's live set, it was "Pride" that took U2 up another rung on the charts. The single cracked the UK Top 5 and the U.S. Top 50. The tour that supported The Unforgettable Fire saw U2 expanding its itinerary to more countries than ever before, and saw them playing to sold out sports arenas in the U.S. for the first time. Rolling Stone magazine named U2 its "Band of the 80s," suggesting that "for a growing number of rock-and-roll fans, U2 has become the band that matters most, maybe even the only band that matters." With four years of nearly constant recording and touring behind them, and with album and single sales increasing with each release, U2 was poised for international stardom in the mid-1980s.

They earned it with a pair of charitable live shows. The Live Aid concert for Ethiopian famine relief in July, 1985, was seen by more than a billion people worldwide. Not expected to be one of the main draws, U2 stole the show with a relentless, 13-minute version of "Bad" in which Bono jumped down into the Wembley Stadium crowd to dance with a fan. That performance helped earn U2 the headlining spot on 1986's "Conspiracy of Hope" tour for Amnesty International. This six-show caravan across the U.S. played to sold out arenas and stadiums, and helped Amnesty International triple its membership in the process. It also solidified U2's spot as international stars on the verge of greatness. Greatness arrived in 1987, with the release of U2's fifth studio album, The Joshua Tree. U2 had delivered a record that caught them at their musical and lyrical peak, finally comfortable with the "rock band with a conscience" label they first encountered with the War album four years earlier. In the spiritual and moral desert that had become the U.S.

of the mid-1980s, U2 stood out by bringing meaning and passion to its music. Bono tackled his contradictory feelings about America in "Bullet the Blue Sky" and "In God's Country." Biblical images showed up throughout the record as Bono questioned faith, social injustices, governmental oppression, terrorism, and drug addiction. The album debuted at #1 in the U.K., and quickly reached #1 in the U.S. The songs "With or Without You" and "I Still Haven't Found What I'm Looking For" gave U2 its first #1 singles in the U.S. Even TIME magazine put U2 on its cover, declaring the band "Rock's Hottest Ticket." The Joshua Tree tour sold out stadiums around the world. U2 had become the biggest band in the world. Just as U2 chronicled their first taste of international success some five years earlier with Under a Blood Red Sky, the band set out to document their latest run at stardom with Rattle and Hum. The project -- a combination big-screen rockumentary and double album -- paid tribute in words, music, and pictures to some of the American music pioneers that had influenced U2 in its rise to the top.

On Rattle and Hum, U2 played with B.B. King and at the legendary Sun Studios in Memphis, where Elvis Presley first found his feet as a rock and roll star. They wrote with Bob Dylan, sang about blues great Billie Holiday, and covered The Beatles. And for many critics, U2 had gone too far. Rattle and Hum was widely praised as a rock movie, but the project as a whole was roundly discarded by critics for being pretentious and excessive. It was seen by many as an overblown homage to U2's self-importance. The U2 backlash had begun, and U2 decided to stay away from the public eye for a while. The brief "Lovetown" tour of late 1989 and early 1990 lasted less than four months, and steered clear of North America. After taking time off from the band and each other, U2 joined forces again in Berlin in late 1990 to begin work on their next studio album. They were working again with the familiar duo of Brian Eno and Daniel Lanois, but these recording sessions were anything but comfortable.

Recognizing they had to "go away and dream it all up again," -- as Bono promised during a Dublin concert before the turn of the decade in late 1989 -- U2 struggled to forge a new sound and a new identity together. But in November, 1991, the new U2 delivered Achtung Baby, an album that Bono would describe as "the sound of four men chopping down The Joshua Tree." Achtung Baby was U2 at its most adventurous, bringing industrial guitars, feedback, altered vocals, and electronic dance beats into the mix. This was U2's most eclectic record to date, yet fans and critics welcomed it with almost universal praise. Rather than paying homage to the past, U2 were experimenting again -- introducing new sounds and textures, pushing new limits and moving ahead on their own terms. Instead of addressing the world's problems, Bono's lyrics were as introspective and intimate as he'd ever written before.

On "Acrobat," Bono dismantled his holier-than-thou image of the 1980s: And I must be an acrobat To talk like this and act like that And you can dream, so dream out loud And don't let the bastards grind you down U2 hit the road in early 1992 for its first American concerts in more than four years. The "Zoo TV" tour was a mind-boggling exercise in sensory overload, complete with dozens of on-stage TV monitors spitting out images from stage cameras, a hand-held Bono-cam, and even direct from satellite TV. U2 ditched the "poor-men-in-the-desert" look in favor of a fun, loose, and raunchy run at glam-rock. Bono dressed in head-to-toe leather for "The Fly" and in a metallic, silver suit for "Mirrorball Man," two characters he adopted on-stage. Zoo TV was U2's attempt at mocking the excesses of rock and roll, and they succeeded so convincingly that some fans missed the point entirely.

While U2 pretended to embrace trash and decadence, they still made a point to join a Greenpeace demonstration protesting the Sellafield nuclear power plant in England. During a break in the nearly two-year Zoo TV tour, U2 went back into the studio to work on song ideas they first developed during the tour. These sessions resulted in Zooropa, the band's seventh studio album, released in July, 1993. Zooropa took the experimentalism of Achtung Baby and multiplied it exponentially. "Numb," the album's first single, featured Edge on lead vocals reciting a monotone list of admonitions over a repetitive guitar riff. But like its predecessor, the album still managed to dominate the charts (admittedly for a shorter time than Achtung Baby did) and provided even more material for the remainder of their world tour. U2 took an extended break after the Zoo TV tour, working relatively quietly on projects for the Batman Forever and Mission: Impossible soundtracks. In 1995, the band re-emerged with Brian Eno as a collective called "Passengers," and released an experimental album called Original Soundtracks 1.

The album produced a memorable collaboration with Luciano Pavarotti, "Miss Sarajevo," but was largely ignored both critically and commercially. U2 began work on its next studio album in early 1996, with an eye toward releasing the record later that year. The band admitted its desire to incorporate the electronic sounds of bands such as Prodigy and The Chemical Brothers into U2's vision of late '90s rock and roll. Even though the album was pushed back to early 1997, pieces of a couple tracks were leaked and distributed by fans around the globe via the Internet. The brief sample that circulated of "Discotheque", which was already known to be the first single, only reinforced the rumor that U2 were trying to make a dance record. But when the Pop album finally hit stores in March, 1997, the electronic and dance influences weren't as pervasive as previous rumors suggested. Instead, tracks such as "Staring At the Sun," "Do You Feel Loved", and "Gone" represented some of U2's strongest and straightest songwriting yet.

The lyrics seemed to expand at times on ideas first brought up on previous records: "Please" was a modern update of "Sunday, Bloody Sunday" and an even stronger plea for peace in Ireland; "MOFO" found Bono talking to his departed mother, just as he did on Boy's "I Will Follow." The album debuted at number one in 28 countries, and earned U2 some of the highest critical praise of the band's career. But Pop didn't have the long term staying power that previous U2 albums had, and it was soon surpassed on the charts by the record industry's newest flavors-of-the-month. Meanwhile, U2 hit the road in April, 1997, with its PopMart Tour, which attempted to outdo the sheer size of Zoo TV five years earlier, but with a different goal: "I want this tour to be not quite so smart-arse as Zoo TV," Bono told Propaganda, the band's official fan club.

The PopMart props included a 100-foot tall, bright yellow arch; the world's largest video screen at 150 feet x 50 feet; a 12-foot-wide illuminated olive which was stuck on top of a 100-foot tall toothpick; and a motorized, 35-foot tall mirrorball lemon. While some critics were quick to mention that PopMart didn't sellout every stop, U2 fans still ate it up. PopMart was the second-highest grossing tour of 1997, with revenues of just under $80 million (US). By the time the tour ended in March, 1998, U2 had taken its act to every inhabited continent on the planet and played to well over two million people. After PopMart, U2 remained in the public eye by throwing the band's weight behind the Northern Ireland Peace Accord. They played a brief concert in Belfast in May, 1998, three days before the public voted in favor of the agreement.

Later that year, U2 would perform on Irish TV during a tribute show and fundraiser for victims of the Omagh, Northern Ireland, bombing which killed 28 and injured hundreds more earlier in the year. In late 1998, U2 issued its first compilation, The Best of 1980-1990, which included an updated version of "Sweetest Thing", an old b-side from The Joshua Tree sessions. U2 returned to the studio in early 1999 to work on its next studio album, reuniting with both Brian Eno and Daniel Lanois for the first time since 1991's Achtung Baby. The band also collaborated with author Salman Rushdie, who penned the lyrics to a song called "The Ground Beneath Her Feet," based on his book of the same name. That song, and others, eventually appeared on the soundtrack to The Million Dollar Hotel, a movie based on a story written by Bono. In between studio sessions, Bono seemed to devote every free moment he had to causes including debt cancellation in Third World nations and HIV/AIDS relief for Africa.

In 1999 alone, Bono made appearances at the G8 Summit in Germany, at the home of Pope John Paul II, at the NetAid concert, at America's Millennium Gala, and at various other functions on behalf of the Jubilee 2000/Drop the Debt campaign. While his social crusading slowed down the band's efforts in the studio, Bono dropped hints that the next record would be a more "classic"-sounding U2 album. That album, All That You Can't Leave Behind, was exactly that. After spending the better part of the 1990s trying not to sound like U2, the band decided it was finally okay to stop avoiding the U2 sound. The album, released in late October, 2000, debuted at No. 1 in 22 countries and spawned a worldwide hit single, "Beautiful Day", which earned three Grammy Awards. U2 made more than a dozen promotional appearances, including many live performances, in an effort to promote the album and win back mainstream fans that had deserted the band in recent years.

U2 set out on a full-blown world tour in the spring of 2001 to promote All That You Can't Leave Behind. The Elevation Tour saw the band return to arenas for the first time since Zoo TV in 1992. After the extravaganzas of that tour and PopMart in 1997, the relatively stripped-down Elevation Tour saw U2 perform on a heart-shaped stage which brought the fans closer to the band than ever. The highlight of the tour was an unprecedented two concerts at Slane Castle outside Dublin, the first of which took place just days after the death of Bono's father. The terrorist attacks of September 11th led U2 to rethink continuing the tour, but they chose to tour throughout October and November with a setlist that had changed to reflect the times. The Elevation tour was nearly a complete sellout, and U2 was the top concert draw in North America. The band's 80 shows (of 113 total) in North America grossed $110 million, the second-highest total behind The Rolling Stones' Voodoo Lounge Tour in 1994.

After wrapping up the tour in late 2001, U2 returned to the stage in front of a worldwide audience in early 2002 when they performed three songs in New Orleans at halftime of Super Bowl XXXVI, the NFL's annual championship football game. The band returned to the States just weeks later for the Grammy Awards, where All That You Can't Leave Behind picked up four more awards. When plans for a European tour in the summer of 2002 fell through, Bono continued his campaigns for debt and HIV/AIDS relief, which included a meeting with U.S. President George W. Bush and an 11-day tour of Africa with U.S. Treasure Secretary Paul O'Neill. He made his case for African relief on the Oprah Winfrey and Larry King TV shows. His clout, both musically and politically, earned Bono the title "Most Powerful Man in Music" according to Q magazine in October, 2002. A month later, U2 issued its second compilation, The Best of 1990-2000.

The set included tracks from Achtung Baby through All That You Can't Leave Behind, plus two new songs: "Electrical Storm" and "The Hands That Built America". The latter, also featured as the theme to Martin Scorsese's film Gangs of New York, won a Golden Globe Award in January, 2003 for Best Original Song. U2 spent much of 2003 in the studio, working on new album with a new producer: Chris Thomas, who had previously worked with Roxy Music and The Sex Pistols. But after eight months together, the two sides went their separate ways and U2's new album was delayed well into 2004. Old friend Steve Lillywhite came on board in early 2004, and six months later U2 had a new album: How To Dismantle an Atomic Bomb was released in October, 2004. Though the title sounds political, Bono admitted it was a reference to his father and the impact his father's death had on Bono. U2 supported the album with more aggressive marketing, including an unprecedent relationship with Apple, which created a U2-branded iPod.

Bono also kept up his fight against AIDS and poverty in Africa with the launch of The ONE Campaign in May, 2004. In December, 2004, Edge learned that his daughter, Sian, had a serious illness. Though Edge and the band tried to keep the story quiet, it forced a delay in the annoucement of their Vertigo World Tour, and news of the family illness spread rapidly around the world. After working out a new tour schedule that allowed Edge to spend more time with his family, the Vertigo Tour began in San Diego in March, 2005. It was a smashing success, playing to sold out crowds around the world. 2005 also saw U2 get inducted into the Rock and Roll Hall of Fame, and collect three more Grammy Awards. Late in the year, TIME magazine named Bono and Bill & Melinda Gates its Persons of the Year for their humanitarian work.

But in early 2006, the fourth leg of the tour was postponed due to a "family illness." The band never spoke publicly about what was going on until the release of their official biography, U2 by U2, in September, 2006, when Edge confirmed that Sian was ill, but didn't say what the illness was. The tour resumed late in 2006 with shows in New Zealand, Australia, Japan, and Hawaii. New songs from the U2 18 compilation album, including "Window In The Skies" and "The Saints Are Coming" featured prominently at several shows. U2 returned to the big screen in 2007, with the premiere of the groundbreaking U2 3D at the Cannes Film Festival in May. The band began work on new songs in Morocco with Brian Eno and Daniel Lanois as co-writers, but the only new material released in 2007 was a few outtakes that appeared on the November re-release of The Joshua Tree, celebrating the album's 20th anniversary. More than thirty years on, it appears that U2 still has plenty of gas in its tank.

The four original band members remain close friends and stellar musicians, and their collective ambition appears to be as strong as ever. U2 remains one of only a few bands qualified to wear the label of World's Biggest Band. They continue to write music and explore new ideas on their own terms, and their future releases and tours will be no less anticipated than those of the past. Related stories: 6. Never Mind the Bollocks – Sex Pistols (October 1977) With its day-glo stencilled lettering cover & prominent swear word this was an album to scare the middle-aged & middle-class. A good dose of post-war deference & manners still survived in Seventies Britain – particularly on TV & radio – & it is hard now to appreciate the impact of songs like God Save the Queen & Anarchy in the UK had during the Monarch's Silver Jubilee Year. The album gives the lie to the canard that punks couldn't play. Drummer Paul Cook & guitarist Steve Jones's were one of the tightest backing units in British rock, & combined with bassist Glen Matlock's song writing craft & singer Johnny Rotten's manic sneer, they created a majestic aural assault which thrills to this day.

| The 11 best punk albums - Music Previous slide Next slide 7 of 12 View All Skip Ad It took a while for punk to go from squats and bedsits to recording studios – so much so that with no punk records available Don Letts, the resident DJ at Covent Garden's Roxy Club, would famously play his favourite reggae tracks instead – turning spikey haired white kids onto the Jamaican sounds that had already inspired the likes of The Clash. But when the new bands started recording the results were explosive. While some classic punk tracks were only released as singles – The Clash's 1977, Buzzcocks' Orgasm Addict and Siouxsie and the Banshees' Hong Kong Garden – these albums still reinvented the musical landscape. By Patrick Sawer. 1. The New York Dolls – The New York Dolls (July 1973) The granddaddy of them all, unless we go as far back as the Detroit proto-punk of MC5's 1969 album Kick Out the Jams.

David Johansen and Sylvain Sylvain's pouting sneers and spandex costumes made The Dolls the bastard children of The Rolling Stones, their gender bending clothes and angst ridden lyrics – particularly on standout track Personality Crisis – bringing succour to teenage misfits. Johnny Thunders's jagged guitar licks influenced a generation of skinny white boys, particularly the Sex Pistols, whose manager Malcolm McLaren had briefly looked after The Dolls. 2. The Ramones – The Ramones (April 1976) The Clash's Joe Strummer repeatedly paid tribute to The Ramones for stripping rock 'n' roll to its bare two or three chord essentials, while all around them bands like Rush and Yes were lost in 20-minute guitar solos and stadium rock excess. The band's black leather, torn skinny jeans and cheap sneakers trademarked the essential punk look, while their revved-up hyper accelerated sound fired the starting pistol for every kid looking to start a punk band. "Hey ho, let's go!" 3.

Neat, Neat, Neat – The Damned (February 1977) They may not have had the anarchic shock value of the Sex Pistols or the sheer righteous anger of The Clash – preferring a cartoonish stage presence and dressing up in party costumes – but The Damned beat them all to it with the first British punk single New Rose. Included in this, their debut album, the opening chords of the song are a spine tingling attempt to sweep away the prog rock, glam and euro-style ballads which then dominated the charts. Listening to it now it's still possible to conjure up the excitement a teenager looking for a new, relevant soundtrack to their lives must have felt. 4. The Clash – The Clash (April 1977) Under the tutelage of their manager Bernard Rhodes, and drawing on their own experience of unemployment, squatting and social conflict, The Clash addressed urban alienation (London's Burning), dead end jobs (Career Opportunities) and racism (Hate and War); their militant politics a counter to the nihilism of Sex Pistols.

Strummer's lyrics were dispatches from a nation in crisis and with a tunesmith in guitarist Mick Jones their songs quickly rose above the three chord terrace chanting expected of punk. The band's punked up cover of reggae classic Police and Thieves and its use of reggae's 'drop out' techniques, even on faster numbers, heralded a musical experimentation which found fruit in later albums. 5. No More Heroes – The Stranglers (September 1977) With their use of racial epithets and sexist imagery – culminating in bringing strippers on stage during an infamous Battersea Park show – The Stranglers angered many within the punk movement and wider music scene. London punks dismissed them as provincial oiks – they came from Guildford, Surrey, and were older in years – but it was hard to dismiss the rumbling bass of Jean-Jacques Burnel and the haunting keyboards of Dave Greenfield, which brought a dark ominousness to punk's musical range, best displayed in No More Heroes, Something Better Change and the earlier Hanging Around. 6.

Never Mind the Bollocks – Sex Pistols (October 1977) With its day-glo stencilled lettering cover and prominent swear word this was an album to scare the middle-aged and middle-class. A good dose of post-war deference and manners still survived in Seventies Britain – particularly on TV and radio – and it is hard now to appreciate the impact of songs like God Save the Queen and Anarchy in the UK had during the Monarch's Silver Jubilee Year. The album gives the lie to the canard that punks couldn't play. Drummer Paul Cook and guitarist Steve Jones's were one of the tightest backing units in British rock, and combined with bassist Glen Matlock's song writing craft and singer Johnny Rotten's manic sneer, they created a majestic aural assault which thrills to this day. 7. Love Bites – The Buzzcocks (September 1978) Very much the northern wing of what was initially a London-centric phenomenon; the Buzzcocks went from early experimentalism to power-pop chords and harmonies about girls, love and heartbreak.

The earnestness of their tales of teenage tribulations (Ever Fallen in Love (With Someone You Shouldn't've), 16 Again, Just Lust), set to a backdrop of crumbling industrial Manchester, provided a respite from the more knowing London bands. 8. The Scream – Siouxsie and the Banshees (November 1978) Singer Siouxsie Sioux and guitarist Steve Severin had started off as part of the 'Bromley Contingent', the Sex Pistols' original coterie of fans, before taking the DIY message to heart and starting a band. Influenced by David Bowie, Lou Reed and German synth rock, such as Kraftwerk, Siouxsie and the Banshees brought a new depth and atmosphere to the punk palette, with hauntingly gothic songs such as Metal Postcard and their cover of The Beatles' Helter Skelter. 9. Germ Free Adolescents – X-Ray Spex (November 1978) A mixed-race girl with prominent braces and a granny's knitted hat, a saxophone player, songs about consumerist excess: X-Ray Spex reinvented what punk could be, even before the original formula had become familiar.

Singer Poly Styrene defied the rock industry's traditional sexism ("Some people say little girls should be seen and not heard/But I say . . . 'Oh bondage up yours'") and the band's teenage vim and lyrical inventiveness took British punks in a new direction. 10. Cut – The Slits (September 1979) By synthesising punk attitude with stripped-down reggae dub the Slits created a uniquely British, and particularly London, sound. Four girls – singer Ari Up was just 14 – who taught themselves how to play, perform and record, the Slits epitomised punk's Do It Yourself ethos. And with their brashness and unvarnished feminism (the clue is in the name, after all), they made Girl Power a reality nearly 20 years before Ginger, Sporty, Posh, Scary and Baby. Their version of Martin Gaye's I Heard It Through the Grapevine remains a masterpiece of reinvention. 11. The Crack – The Ruts (September 1979) Based in Southall, west London, these four white boys found themselves on the front line of clashes between local Asian youth and far-right National Front thugs and police.

The Ruts pinned their colours to the mast of militant anti-racism, borrowing Rastafarian imagery and language – notably in Babylon's Burning and Jah War – for their punk evocation of the street battles around them. Their spark was extinguished with the death of singer Malcolm Owen from a heroin overdose in 1980, his demise symbolic of the death of punk and the ushering in of (Thatcher's) New Romantics.

Question: What was the name of the band that started their career with the song "Anarchy in the UK"
Answer: Sex Pistols