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The early Damned: from left, Dave Vanian, Rat Scabies, Brian James and Captain Sensible
Song of the Day: Today let's go back to 1976, and one of the flowering moments of punk, with the first single by the London band, a declaration of love, perhaps not just for a girl, but for the music genre itself
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Mark E Smith 1957-2018
Song of the Day: With the sudden news of the passing of Mark E Smith, how can we choose a song to exemplify this force of nature, this difficult genius, this guttural great, this prince of post-punk lyricists inspired by HP Lovecraft, William Blake, Wyndham Lewis, Gene Vincent and krautrock
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Deer Tick
Song of the Day: Following on from our hooves, animal, and body parts band theme, we turn to two very contrasting tracks, from the versatile Rhode Island band who have variously been described as anything between alt-country and punk
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Patti Smith, 1975
Song of the Day: "Three-chord rock merged with the power of the word" is how the Chicago-born New York singer and poet described the 1975 debut album that galloped on the music scene with such impact, combining poetry with early punk and krautrock
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The Transplants
Song of the Day: Following yesterday's Fall number, a track from a very different origin but with its own brand of shouty catchiness, and a superb piano hook. This 2003 release from Tim Armstrong (Rancid), Rob Aston (Death March) and co from their first eponymous album, and bizarrely, was used on a Garnier Fructis TV commercial
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Prophets of Rage - a protest supergroup
Song of the Day: To accompany Donald Trump's continuing controversies, two powerful tracks from the new album made by as potent a protest force in music imaginable – a supergroup of three members of Rage Against The Machine along with Public Enemy’s Chuck D and DJ Lord, and frontman B-Real of Cypress Hill
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James Murphy of LCD Soundsystem
Song of the Day: From the stronger, later part of James Murphy and co's returning album, American Dream, a powerful cri de coeur about US politics and personal turmoil, with classic dance-punk driving rhythms and riffs, cutting lyrics and here echoing influences of Berlin-era Bowie and early U2.
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