A Quote by Brian Setzer
To me, rockabilly music paralleled punk's energy and feeling, but the players were much better.
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If you ask me, rockabilly has had a raw deal for far too long. People never shunned the blues or jazz the way they do rockabilly. But it's the original punk-rock, and it changed the way people looked at music for ever.
[Country Music] is the final destination for many punk rockers [...] Rockabilly is the mid-point and then [they] end up at Country [...] There's purity to that music and I think that appeals to a lot of punk rock people - the precision, the purity, and the directness of Country Music.
I guess, for me, what started me getting real excited about music was the New York punk and new-wave scene. All those bands looked back to the Velvet Underground and the Stooges and the Modern Lovers as well. But that was back when Television were punk, and the Talking Heads were punk.
Music is music; you can't change rock and say well this is punk rock and this is acid rock or rockabilly.
The old-timers schooled me good. They brainwashed me to respect music, whether we were playing rockabilly or blues or rock and roll.
Jazz in the 1920s and '30s was dance music, teenage music for parties, for being wild and young. There's this punk feeling I really love. It was something so radical and different and new and not codified. People didn't have a definition of what they were doing.
Folk-punk artists like This Bike Is A Pipe Bomb or Paul Baribeau were popular in the Florida punk community. I saw people early on combine roots music with more aggressive music.
The 1970s was probably the most exciting decade to be a teenager, from discovering Little Richard at the end of the 1960s to glam rock to punk rock to electro music. So much happened in that 10-year span. There were so many musical revolutions. Some were happening at the same time. You had disco going on behind punk. You had Michael Jackson. You had the Sex Pistols.
I was the only punk rocker at my high school. And there were at least a handful of black kids who liked hip-hop. Both were kind of the new music of the day, and it was lonely being the only punk.
There were a lot of fighters who were better than me that got knocked out and stopped because they stayed in the game too long. That never happened to me. I don't know that feeling. I thank God so much that that didn't happen to me.
CM has always stood for one thing: Chicago Made. Chick Magnet? That's preposterous. Girls don't like me. I was born and raised in Chicago. The city made me. Punk is just because I've always been a smart-mouthed, wise-ass punk. I still am. I was the guy, if a bunch of football players were messing with one of my friends, I'd walk over there and spit in their face.
There's not much music I'll listen to if it doesn't have pretty heavy swing. Rhythm is so important. Punk rock would have more power and feeling if it had swing.
I was into punk, but I didn't go whole-hog. A lot of kids who grew up in small towns that were into punk music went the "safe" way - not doing drugs, being straight edge.
Johnny Rotten isn't punk. Maybe that's punk to somebody, but these people are participating and challenging the corporations that are telling us what punk is and what good music is.
Prog-rock and concept records and some ambitious projects were kind of anathema post-punk. They were destroyed with the advent of punk rock. You don't necessarily need to have a degree in music composition to play in a rock band anymore, which is a great thing.
DEVO was like the punk band that non Punk America saw as Punk and so when people who were really into Punk rock would be walking around on the streets the jocks who learned about Punk through Devo would roll down their windows and yell at the Punks: 'HEY, DEVO!!'
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