What did the band that arguably invented what we now call punk have to do to get a little respect? punks and postpunks, including the Pistols, the Clash, Elvis Costello, and even Graham Parker the Ramones came in even under Television and Talking Heads *, their U.S.-based CBGB peers. Joey, Johnny, Dee Dee, and Tommy placed below a slew of U.K. The Ramones’ self-titled 1976 debut appeared way down at No. They were less kind, however, to its American equivalent. critical establishment so revered old-school British punk.
But all in all, it was interesting that, in the middle of the Madonna-and-Bruce decade, the U.S. Actually, the only real shocker was that RS editor Jann Wenner allowed a Pistols album to place above the Stones ( Exile on Main Street came in at No. You could tell the Stonesters were proud of themselves for being hip enough to rank a punk album among all that classic Boomer fodder: “he Sex Pistols captured second place, and that’s only the first of many surprises,” reads the contents page. foursome that landed just behind the Beatles: 1977’s Never Mind the Bollocks, Here’s the Sex Pistols came in at No. Pepper’s Lonely Hearts Club Band–by taking competing 1966 favorites Pet Sounds and Revolver out of the running completely–and sure enough, the Beatles’ 1967 disc topped the poll. In August 1987, the editors of Rolling Stone counted down “The 100 Best Albums of the Last Twenty Years.” Setting an arbitrary timespan of 20 years was a quick and dirty way to ensure the dominance of Sgt. Boomer critics are most obsessed with 1967 and the Summer of Love, but get them talking about the birth of punk, and England’s “Class of ’77” will eventually come up. They like to honor albums that came out in such years, and they tend to poll each other in years ending in seven, too.
As we mentioned in our first “Canon Fodder,” rock critics have this thing about classic albums and years ending in seven.
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