Editing Pub rock (United Kingdom) (section)

== Legacy ==
[[File:duryegg.jpg|thumb|180px|left|[[Ian Dury]] and [[the Blockheads]] live at The Roundhouse, Chalk Farm, London, 1978]]
According to Nostalgia Central, "Pub rock may have been killed by punk, but without it there might not have been any punk in Britain at all".<ref name="Nostalgia Central article"/> The boundaries were originally blurred:<ref name=GUARDIAN/> at one point, the Hot Rods and the [[Sex Pistols]] were both considered rival kings of "street rock".<ref name=SAVAGE151>Savage (1991), p. 151.</ref> The Pistols played support slots for the Blockheads<ref>Lydon (1995), p. 94.</ref> and the 101ers at the Nashville.<ref name=GUARDIAN/> Their big break was supporting Eddie and the Hot Rods at [[the Marquee]] in Feb 1976.<ref>Lydon (1995), p. 105.</ref> Dr. Feelgood played with the [[Ramones]] in New York. The word "punk" debuted on ''[[Top of the Pops]]'' on a T-shirt worn by a Hot Rod. Punk fanzine ''[[Sniffin' Glue]]'' reviewed the Dr. Feelgood album ''[[Stupidity (Dr. Feelgood album)|Stupidity]]'' as "the way rock should be".<ref name=GUARDIAN/>

Apart from the ready-made live circuit, punk also inherited the energy of pub rock guitar heroes like Dr. Feelgood's [[Wilko Johnson]], his violence and mean attitude.<ref name=GUARDIAN/> Dr. Feelgood have since been described as [[John the Baptist]] to punk's messiahs.<ref>{{cite news|url=https://www.independent.co.uk/arts-entertainment/music/features/the-dr-feelgood-factor-1607929.html |title=The Dr Feelgood factor &#124; Features &#124; Culture |newspaper=[[The Independent]] |date=13 February 2009 |access-date=15 March 2016}}</ref> In the gap between the music-press hype and vinyl releases of early punk, the rowdier Pub Rock bands even led the charge for those impatient for actual recorded music,<ref name=GUARDIAN/> but it was not to last.

Punks such as Sex Pistols singer [[John Lydon]] eventually rejected the pub rock bands as "everything that was wrong with live music" because they had failed to fight the stadium scene and, as he saw it, preferred to narrow themselves into an exclusive pub clique.<ref name=LYDON106>Lydon (1995), p. 106.</ref> The back-to-basics approach of pub rock apparently involved chord structures that were still too complicated for punk guitarists like the Sex Pistols' [[Steve Jones (musician)|Steve Jones]], who complained "if we had played those complicated chords we would have sounded like Dr. Feelgood or one of those pub rock bands".<ref>Lydon (1995), p. 87.</ref> By the time the Year Zero of punk (1976) was over, punks wanted nothing to do with pub rockers.<ref>Lydon (1995), p. 107.</ref> Bands like [[the Stranglers]] were shunned but they did not care.<ref name=SAVAGE215>Savage (1991), p. 215.</ref>

It was independent record label [[Stiff Records]], formed from a £400 loan from Dr. Feelgood's Lee Brilleaux, who went on to release the first British punk single—[[the Damned (band)|The Damned]]'s "[[New Rose]]".<ref name=SAVAGE215/> Stiff Records' early clientele consisted of a mix of pub rockers and punk rock acts for which they became known.
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