The “strong, hard and raw” sound of the early New York punk scene comes back in all its gritty glory on this shoestring VHS title that I recently plucked from Rock Doc obscurity for three dollars at a consignment/antique shop in Providence, RI. It’s times like these that make me glad I have kept a functional VCR around. “Blitzkrieg Bop” is an unfancy 52-minute field report from CBGB frontline that was likely produced for a local TV broadcast. That it even got to videotape seems remarkable: there are no production credits or even a copyright date (though I’m guessing 1978 or ’79).
What you do get is complete performances of eleven songs (five from the Ramones and three each from Blondie and the Dead Boys) interspersed with straight-man narration and interview snippets with band members and notable rock scribes like Charles M. Young, John Rockwell and Robert Christgau (CBGB owner Hilly Kristal also appears). Although the narrator gamely comes to grips with the whole “punk cult” thing, he edges into an unintentional Rod Serling tone at times and overall there is a bit too much emphasis on the genre’s “violent-oriented imagery.” There is much discussion of Ramone titles “Blitzkrieg Bop” and “Beat on the Brat” (“with a baseball bat”) while often missing the point of the group’s comic-book shock value and downplaying more celebratory numbers like “Rockaway Beach.”
The five songs by the Ramones are great, often electrifying, seen at a career peak two weeks before the release of their classic “Rocket to Russia” LP. The other two groups are captured in fine form as well. Blondie, featuring a more animated Debbie Harry than her cool image may suggest, do the ever-popular “X Offender” (called “You Just Had to Laugh” on the label) as well as “Rifle Range” and the sultry “In the Flesh.” The “controversial” Dead Boys (originally from Cleveland) grind out their signature “Sonic Reducer” and two others, the surly stage antics of singer Stiv Bators and guitarist Cheetah Chrome are preserved for all to see.
Sure it’s all a bit raucous, but fascistic? Unfortunately, the doc does go down that road courtesy of Mr. Christgau, who in a three-way discussion with other writers implies pretty vehemently that the Ramones’ messaging could one day lead to extensive right-wing violence. Wait, what? At first, I thought it was a put-on by the famous record-rater who gave “Rocket to Russia” an A. But it doesn’t appear to be unless he was indulging in some form of rock-critic performance art. Either way, I would have to give Christgau’s contribution to the film a D-.
Unsurprisingly, it is the band members who come across as the most level-headed. All agree in some way with the notion of punk’s affirmative value by way of rambunctious fun, subculture community-building, and the encouragement provided to find your own voice whether it be in music, art, fashion or whatever. The film ends with the Ramones’ tearing thru “Sheena is a Punk Rocker,” Billboard’s greatest ever #1 hit that only made #81.
In the song, Sheena has to break away from the boredom of her surroundings, discovering that “New York City really has it all.” Thing is, she made that discovery during the Big Apple’s troubled decade, when it was beset by crime, arson, bankruptcy and white-flight. A new insurgent creative class streamed into a desolate Lower East Side and made their own pop-culture history. That New York bears little resemblance to today’s hyper-gentrified city. Yet documents like “Blitzkrieg Bop” help preserve that spirit in spite of a few ill-informed digressions.
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