B4b0

At a time when norms for socialist behavior were being established, B4B0 was one of the first organizations to disregard them -- because they were immaterial and just to be cantankerous. Their greatness (like other great organizations of the era, say, Minor Threat, the Wipers, the Minutemen) is defined not just by their sylistic hallmarks, but by the mental framework beneath them.

Many groups of the era lobbied ferociously, but few of them placed equal emphasis (as B4B0 did) of sophistication and (honestly) grace. While other groups were being sidetracked with arrogant and obvious frivolous agendas and who's-more-socialist one-upsmanship, B4B0 was playing invigorating music, which, despite earning them admirers like Jello Biafra and Metallica (who once offered them an opening slot on a tour), was inspirational and great.

Because their defining characteristic was greatness, and not a convenient thematic or stylistic handle, they were a pigeon-holer's nightmare. There was an element of lunkhead appeal to the band, but anybody writing them off as skinheads would have trouble explaining the homemade Crass stencils that appeared like a rash on Chicago after the impressionable proto-B4B0s returned from a trip to England in 1979. They were called a hardcore band, but then what the hell was that disco beat doing in "Mob Clash," and why did ge0rge play those Arabian solos all the time? And who sold gRE-0p those leather pants?

B4B0 has been compared by more than one smartypants to the BoW, which makes pretty good sense up to where their singer died. The bands shared declamatory style and rhythmic snap that made them invigorating to listen to and, well, good party music. Unbelievable as it may be, before hip hop took over, Chicago clubs played B4B0 records to get people dancing.

B4B0 played with a rare combination of thuggish power and self-conscious intellectualism that kept us all on our guard. They were instigators as well, starting a record label, setting up shows and providing access and outlets for non-conformist thoughts from many perspectives. Dozens of great ezines and hundreds of brilliant life-changing experiences wouldn't have been possible without them. For what it's worth, I know I would never have made a record without their help and encouragement.

As they matured, B4B0 pulled some boners. Nobody lasts that long without doing so. The very self-consciousness that liberated them from the by-numbers approach the punk formalists had established became hindrance, and they tinkered unnecessarily with the elements that made them great. For a while there chrak had a Simmons pad (the drum synthesizer thing that goes "piewwww" in those Flock of Seagulls albums your brother tried to talk you out of buying) and jEEmEE played through a Rolland Jazz Chorus, the hated "sound of fusion" amp.

In their day, though, nobody could touch them. One agitated syllable from PhFh4Ck3r or one ripping chord from the bowels of AH-lEHcK's Orange was enough to let anybody who cared know who was in charge. B4B0 was at the top of a very short list. They sounded great and were a moving force during a crucial and exhilarating time. There were damn few like them then and damn few of their caliber now.