Style and Influences
The band's major influences stemmed from late 1970s punk acts like The Ramones, The Germs, Sex Pistols and The Clash, along with such early 1980s American hardcore bands as Black Flag, Circle Jerks and Minor Threat. Unlike many other hardcore bands of the era, they also acknowledged proto-punk bands like the New York Dolls and MC5. Even more unusual for a band of the scene that spawned them, they were also informed by such new wavers as Elvis Costello, The Jam and Nick Lowe, as well as authors like Jack Kerouac.
Greg Graffin called his influences "pop-sounding rock tunes that were not necessarily commercial." Brett Gurewitz acknowledges attempting to emulate Germs singer Darby Crash early on in Bad Religion's lyrical style. "He wrote some intelligent stuff, and didn't shy away from the vocabulary, which I thought was cool." In addition to their use of unusually sophisticated vocabulary for a punk band, Bad Religion is also known for their frequent use of vocal harmonies. They took their cues from The Adolescents, in the way that they used three-part harmonies. Bassist Jay Bentley says, "Seeing The Adolescents live, it was so brilliant. So, in a way, the Adolescents influenced us into saying we can do it, too, because look, they're doing it."
In turn, many of today's punk bands cite Bad Religion as an influence, including AFI, All, Authority Zero, The Bouncing Souls, Death by Stereo, Lagwagon, NOFX, The Offspring, Pennywise, and Rise Against. Funeral for a Friend vocalist Matt Davies-Kreye has also stated Bad Religion as an influence, particularly with their Against The Grain album
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Famous quotes containing the words style and, style and/or influences:
“All my stories are webs of style and none seems at first blush to contain much kinetic matter.... For me “style” is matter.”
—Vladimir Nabokov (1899–1977)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“Live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influences of each. Let them be your only diet drink and botanical medicines.”
—Henry David Thoreau (1817–1862)