The Germs的艺人档案
by John Dougan
Living fast and dying young is one of rocks great clichés, but no phrase better describes the reasons for the demise of L.A. punkers the Germs. Capable of creating a firestorm of noisy, confrontational music, they were ultimately undone by their perversely charismatic lead singer. He was a madman named Paul Beahm, better known to the world at-large first as Bobby Pyn, later and more famously as Darby Crash, who died Sid Vicious-style out on the mainline at age 22.
Taking musical cues from the Sex Pistols (and English punk in general), as well as the CBGBs scene, adding the theatricality of Bowie, Iggy, and Lou Reed, Crash was the perfect frontman for the Germs. Backed by guitarist Pat Smear (later of Nirvana and the Foo Fighters), bassist Lorna Doom, and drummer Don Bolles, the Germs kicked up a hellacious racket that strayed from fast/loud punk into art damage and garage grunge. On-stage, their gigs bordered on performance art, with Crash in full Iggy frenzy, diving into the crowd, adorning himself with whatever foodstuffs the audience provided, wearing less-and-less clothing, all done while the band cranked out noisy spasms of simple, but effective, rock noise.
Never capturing this mania on record (how could you?), the Germs recording career is based on the sole record made during Crashs short life. Produced by Germs fan Joan Jett, (GI) was a fine hunk of early L.A. punk rock that was more literate and compelling that what was being offered by lesser local luminaries such as the Zeroes and the Weirdos. Smears guitar playing is especially volatile, matching the mewling vocals of Crash note for note. It may not be life-changing music, but the white-hot, adrenal rush is a little bit of heaven.
By the time Crash filled his veins with heroin in 1980, the Germs were pretty much over. Crashs behavior had become increasingly unpredictable, he was spending time in England, and began preforming as a solo act upon returning to L.A. Consequently, the valuable recorded work in this final period is spotty, but, thankfully much of it shows up on the definitive Germs release Germs (MIA) The Complete Anthology.
by John Dougan
Living fast and dying young is one of rocks great clichés, but no phrase better describes the reasons for the demise of L.A. punkers the Germs. Capable of creating a firestorm of noisy, confrontational music, they were ultimately undone by their perversely charismatic lead singer. He was a madman named Paul Beahm, better known to the world at-large first as Bobby Pyn, later and more famously as Darby Crash, who died Sid Vicious-style out on the mainline at age 22.
Taking musical cues from the Sex Pistols (and English punk in general), as well as the CBGBs scene, adding the theatricality of Bowie, Iggy, and Lou Reed, Crash was the perfect frontman for the Germs. Backed by guitarist Pat Smear (later of Nirvana and the Foo Fighters), bassist Lorna Doom, and drummer Don Bolles, the Germs kicked up a hellacious racket that strayed from fast/loud punk into art damage and garage grunge. On-stage, their gigs bordered on performance art, with Crash in full Iggy frenzy, diving into the crowd, adorning himself with whatever foodstuffs the audience provided, wearing less-and-less clothing, all done while the band cranked out noisy spasms of simple, but effective, rock noise.
Never capturing this mania on record (how could you?), the Germs recording career is based on the sole record made during Crashs short life. Produced by Germs fan Joan Jett, (GI) was a fine hunk of early L.A. punk rock that was more literate and compelling that what was being offered by lesser local luminaries such as the Zeroes and the Weirdos. Smears guitar playing is especially volatile, matching the mewling vocals of Crash note for note. It may not be life-changing music, but the white-hot, adrenal rush is a little bit of heaven.
By the time Crash filled his veins with heroin in 1980, the Germs were pretty much over. Crashs behavior had become increasingly unpredictable, he was spending time in England, and began preforming as a solo act upon returning to L.A. Consequently, the valuable recorded work in this final period is spotty, but, thankfully much of it shows up on the definitive Germs release Germs (MIA) The Complete Anthology.
