Artist: Black Flag Genre(s):
Rock: Punk-Rock
Other
Alternative
Hardcore
Discography:
Wasted ... Again Year: 1987
Tracks: 12
Who's Got The 10 1/2 Year: 1986
Tracks: 15
The Process Of Weeding Out Year: 1985
Tracks: 4
Slip It In Year: 1985
Tracks: 8
Loose Nut Year: 1985
Tracks: 9
In My Head Year: 1985
Tracks: 12
Family Man Year: 1984
Tracks: 11
The First Four Years Year: 1983
Tracks: 16
My War Year: 1983
Tracks: 9
The Complete Demos Plus More Year: 1982
Tracks: 14
Everything Went Black Year: 1982
Tracks: 25
Damaged Year: 1981
Tracks: 15
Jealous Again Year: 1980
Tracks: 5
Nervous Breakdown Year: 1978
Tracks: 4
In many slipway, Black Flag were the unequivocal Los Angeles hardcore punk band. Although their music flirted with heavy alloy and experimental noise and jazz more than that of virtually hardcore bands, they outlined the image and the aesthetical. Through their unremitting touring, the band cultivated the American resistance punk scene; every yr, Black Flag played in every area of the U.S., influencing innumerable numbers game of bands. Although their transcription life history was hampered by a draining case, which was followed by a apparently endless current of independently released records, the band was definitely one of the most influential American post-punk bands. A good tenner and a half earlier the fusion of punk rock and metallic element became popular, Black Flag created a savage, high-strung, and dry amalgam of underground aesthetics and gut-pounding metallic element. Their lyrics alluded to social critique and a political stand, just it was all conveyed as seething, cynical angst, which was once in a while selfsame funny. Furthermore, Black Flag demonstrated an affectionateness for bohemia -- both in footing of musical experiment and a lovingness for poetry -- that reiterated the band's tube roots and prevented it from becoming aught only a laboured metal radical. And it didn't matter wHO was in the band -- throughout the years, the card changed numerous multiplication -- because the Black Flag name and four-bar logotype became punk rock institutions.
Black Flag was formed in 1977 by guitar player Greg Ginn, a graduate of UCLA. Ginn formed the banding with bassist Chuck Dukowski; the couple shortly added drummer Brian Migdol and vocaliser Keith Morris. At the same sentence, Ginn and Dukowski formed an independent record label, SST, which released the band's first EP,
Nervous Breakdown, in 1978. Morris and Migdol deceased the next year -- Morris went on to form the Circle Jerks -- and they were severally replaced with Chavo Pederast and Robo. By the liberation of 1980's
Green-eyed Again, Black Flag had begun to turn the U.S. unrelentingly, building up a modest, just dedicated, following of fans. After the liberation of
Green-eyed Again, Pederast left the radical and was replaced by Dez Cadena. However, Cadena preferred to play guitar, and his transition to that instrumental role in 1981 gave the radical a heavier heavy; his successor on vocals was Henry Rollins, a Washington, D.C., fan wHO jumped onstage to talk with the isthmus during a New York public presentation.
Early in 1981, Black Flag sign-language a record shrink with Unicorn Records, a subsidiary of MCA. The band delivered their number one full-length album,
Damaged, to Unicorn; the label refused to release the record, citing the subject matter of the music as excessively dangerous and gross. Undaunted, Ginn released the album on his have SST Records. Upon its liberation, the album standard considerable critical hail. Soon after it appeared on the shelves, Unicorn sued Black Flag and SST over the release of
Damaged. For the adjacent two years, the ring was prevented from exploitation the name Black Flag or their logotype on whatever records. During that time, the radical continued to tour, and surreptitiously released
Everything Went Black, a double-album retrospective that contained no quotation of the ring, although it listed the name calling of the members on the figurehead report. The contravention concluded in 1983, when Unicorn went insolvent and the rights to the Black Flag name and logotype reverted back to the ring (by this time, Cadena had left to form his possess group).
As if to make up for lost time, Black Flag became impossibly fertile when it returned to recording in 1984. A new variant of the chemical group -- featuring Ginn on guitar and bass voice (the latter was credited to the nom de guerre Dale Nixon), Rollins, and drummer Bill Stevenson -- recorded the albums
My War and
Family Man. After those two albums were recorded, the chemical group added bassist Kira Roessler and cut
Slip It In, its third official album of 1984. In increase to those trio albums, Black Flag released the cassette-only
Live '84 and the digest
The First Four Years in 1984, as well as reissuing
Everything Went Black with all the proper credits restored. The group's touring and recording gait didn't obtuse in 1985; they released triad records:
Loose Nut,
The Process of Weeding Out, and
In My Head. By the end of the year, Anthony Martinez replaced Stevenson on drums.
After Black Flag released the live record album
Who's Got the 10½? in former 1986, Greg Ginn stony-broke up the band. Ginn recorded deuce albums with the more experimental Gone, but he principally saturated on running SST Records, which had go one of the about authoritative American independent labels of the epoch. By the time Black Flag stony-broke up, SST had already released albums by such bands as Hüsker Dü, the Minutemen, Meat Puppets, and Sonic Youth. For about of the recent '80s, Ginn retired from performing, choosing to operate SST Records instead; during this time, the label released the first recordings from bands like Soundgarden, Dinosaur Jr., and Screaming Trees. Ginn returned to music in 1993, releasing a solo album on his newfangled record label, Cruz.
Following Black Flag's dissolution, Henry Rollins formed the Rollins Band. For the reside of the '80s, he released music recorded with the Rollins Band on a variety of main labels, as well as solo vocable recordings. In the former '90s, Rollins became one of the to the highest degree recognizable figures of substitute music.
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