FARAI CHIDEYA, host:

The punk band Bad Brains has been pretty quiet for the last several years. But a new live DVD recorded in 1982 should bring back these black rock pioneers. And their music has never been for the faint of heart.

(Soundbite of music)

CHIDEYA: The film was shot on Christmas Eve at New York club CBGB. CBs was the kind of dark club with beer-sticky floors that small, local acts could share the stage with current and future stars.

As the club prepares to close it's doors for good at the end of this month, the Bad Brains DVD gives us a chance to look back at CBGB's punk past.

NPR's Christopher Johnson reports.

CHRISTOPHER JOHNSON: Lots of towns are vying for the title today, but back in the late ‘70s there was no question: Washington D.C. was the chocolate city. So much was black about that place. Even the shining stars of that city's world-class punk rock scene were four teenage brothers. They called their band Bad Brains. Led by Paul HR Hudson, the group got a quick rep for rocking stages with fuel-injected positive punk messages.

But Bad Brains' rock velocity was sometimes hard to control. The group once refused to stop playing at a protest that D.C. police tried to close down. That got Bad Brains blacklisted and briefly shutout of the few area venues that would even host punk acts.

So they headed to New York City and knocked on the door at CBGB, a Lower East Side club they played off and on in the past. The acronym means Country Bluegrass and Blues.

Bad Brains' manager Anthony Countey says that by the end of the ‘70s, CBGB was home base for acts who have moved far away from American roots music.

Mr. ANTHONY COUNTEY (Manager, Bad Brains): The high points at CBGBs were all punk rock. I mean it was The Ramones, Blondie, Talking Heads. Bad Brains were the same kind of organic musical group.

JOHNSON: CBGB founder and owner Hilly Kristal insisted on original music at his venue, and Bad Brains fit perfectly.

Mr. HILLY KRISTAL (Founder and Owner, CBGB): They were wonderful band, so I guess they gave me a break too by playing here. We gave each other a break. They were great.

Mr. PAUL HUDSON (Lead Singer, Bad Brains): Oh, I was just grateful to be able to be employed.

JOHNSON: Bad Brains' lead singer HR says those first CBGB shows helped sustain and encourage his band.

Mr. HUDSON: And they were showing us how, through group participation and thus staying together, we can accomplish and make our dreams a reality.

JOHNSON: Bad Brains were regulars at CBGB by 1982. On Christmas Eve that year the club setup a holiday show that was meant to showcase a new heavier form of punk rock that kids were just starting to call hardcore.

Bad Brains headlined that show, and fortunately CBGB welcomed a small camera crew in to capture Bad Brains at what Anthony Countey says was the top of their maximum rock game.

Mr. COUNTEY: The bands intent was always to create a unity. By this point it was really an absolute kind of thing. The band and its audience were really of one.

(Soundbite of cheering)

Mr. COUNTEY: I mean HR walks on stage at the beginning of the whole DVD. He walks right off the stage into the audience and starts, like - and he's in there for a minute (unintelligible). And he's back on stage just as the song hits. I mean everybody knew why we were there and the band knew what they were doing, and here we go.

(Soundbite of music from “Bad Brains Live At CBGB 1982”)

BAD BRAINS (Punk Rock Group): (Singing) Mama had (unintelligible)

JOHNSON: The new DVD, Bad Brains Live At CBGB 1982, also shows the group at a creative crossroads. Just a couple of years earlier, the punk kids watched the Jamaican reggae film Rockers and had also seen one of Bob Marley's last concerts in D.C.

Anthony Countey describes the impact Jamaican music was having on the young black punks.

Mr. COUNTEY: They realized that their roots were these roots as well. And that started them thinking in new directions. They started writing reggae songs, for one thing, even though they were still writing punk rock.

JOHNSON: Countey says the '82 Christmas Eve show marked the group's movement away from strictly hardcore music and deeper into roots reggae. And that night Bad Brains flaunted the breadth of their talents, switching from high-speed punk rhyme to dubbed-out roots thick with Rastafarian philosophy.

(Soundbite of music from “Bad Brains Live At CBGB 1982”)

BAD BRAINS: (Singing) Jah children, Jah children. Yeah.

JOHNSON: The group's reggae sounded experimental, sometimes even awkward. The audience seemed to patiently tolerate the songs as if they were roots interludes between the music they've really came to hear.

What Bad Brains did best in '82 was hardcore punk. As HR flailed, kids jumped on the small stage, jumped on the singer, jumped on each other and took flying leaps back into the crowd.

It's easy to see there's lots of slam dancing, bodies going every which way. But what the uneven footage also makes you feel is lots and lots of sweat.

Mr. COUNTEY: It's pretty hard to believe how hot it gets under those lights. We've recorded it; it's been about 130. It's steamy and the air starts running out. You have to keep in motion or it's just going to knock you down anyway.

(Soundbite of music from “Bad Brains Live At CBGB 1982”)

BAD BRAINS: (Singing) (Unintelligible)

JOHNSON: HR and the gang have an impressive amount of teenage stamina and their musical precision keeps the band fist tight through all the heat and chaos. The singer says almost nothing to the crowd for the entire show. There's really no time to talk anyway. The expression on HR's face says it aches just to slow down.

Anthony Countey says the non-stop onstage action in this film is an excellent snapshot of Bad Brains' positive mental attitude ideal.

Mr. COUNTEY: There's an unrelenting spirit. There's a spirit of never-give-in that cuts through even the ability to stop and have any kind of self-reflection.

(Soundbite of music from “Bad Brains Live At CBGB 1982”)

BAD BRAINS: (Singing) (Unintelligible)

Mr. COUNTEY: The feel of this video is an exuberant moment of not backing down.

(Soundbite of laughter)

JOHNSON: This disc isn't the best footage the Bad Brains shows. The shots are amateur and the sound quality is sometimes muddy. But it's still valuable for fans who never got to see this influential band in their heyday. That's according to filmmaker James Spooner, who created the black rock and roll documentary Afro-Punk. He sits to do classic Bad Brains' live film before. He says films like these are part of Bad Brains' legacy and could teach other black punks a valuable lesson.

Mr. JAMES SPOONER (Filmmaker): Bad Brains never went out of their way to tell the world that they were black. They just did their thing in, like, the only way they knew how. A lot of black rockers are so caught up in making sure that they sound black that they don't let themselves sign, yet everyone sweats (unintelligible).

JOHNSON: Soon after their Christmas Eve show, Bad Brains put out their first album, Rock for Light. After that, though, recording in toneless sporadic as been it was broke off to pursue their own musical projects. They recently re-united to work on a new album.

Last night, they wrapped up their last of three-packed CBGBs shows. When the club closes for good this Sunday, the Bad Brains DVD will truly be a punk's slice of American rock history.

Christopher Johnson, NPR News.

(Soundbite of music)

CHIDEYA: You could watch clips from the DVD Bad Brains Live at CBGB 1982 and hear a club owner Hilly Kristal look back on the venue's early days at our Web site, npr.org.

(Soundbite of music)

BAD BRAINS: (Singing) (Unintelligible)

CHIDEYA: Thanks for sharing your time with us. We'll be back tomorrow. To listen to the show, visit npr.org. NEWS & NOTES was created by the NPR News and the African-American Public Radio Consortium.

Copyright © 2006 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by a contractor for NPR, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of NPR’s programming is the audio.

Comments

 

Please keep your community civil. All comments must follow the NPR.org Community rules and Terms of Use. NPR reserves the right to use the comments we receive, in whole or in part, and to use the commenter's name and location, in any medium. See also the Terms of Use, Privacy Policy and Community FAQ.