On this day in 1976, the Ramones released their self-titled debut album, widely regarded as the first true punk record.

Led by single ‘Blitzkrieg Bop’ it emerged from the CBGB scene in Manhattan and reached number 11 on the U.S Billboard chart.

The scene it spawned soon swept the world, almost immediately leading to arguments about what it was, who was and wasn’t punk and what it all meant anyway.

How many punks does it take to change a lightbulb? 20. One to screw it in and another 19 to tell him he’s doing it wrong and has sold out.

Is it possible to tell the story of punk through its songs, in a way that won’t just annoy everyone? Probably not, but we’ve given it a go with 10 songs and five bonus tracks.

Blitzkrieg Bop – The Ramones (Ramones, 1976)

Still arguably the group’s most famous song, their debut single is recognisable the world over for its “Hey! Ho! Let’s go!” refrain. Simple, catchy and bold – it set the template for a movement.

Blank Generation - Richard Hell and the Voidoids (Blank Generation, 1977)

That said, there are many who would argue that the inception of punk came years before. The CBGB club in Manhattan is generally considered its cradle of life, and some would credit Television as the true progenitors of punk. Richard Hell wrote and performed this song during his time with the band, with live versions going back until at least 1974, but it wasn’t given an official release until 1977.

God Save The Queen – The Sex Pistols (Never Mind The Bollocks, Here’s The Sex Pistols, 1977)

Inspired by the bands coming out of New York, fashion designer and impresario Malcolm McLaren looked to create a similar aesthetic for The Strand, a band he was managing. The group recruited John Lydon as their new singer and changed their name to the Sex Pistols, and while ‘Anarchy In The UK’ was their first single it was ‘God Save The Queen’ that earned them infamy. With lyrics decrying Queen Elizabeth’s “fascist regime” it was banned by the BBC and commercial radio stations, while workers at the vinyl pressing plant laid down their tools in protest at its content.

London Calling – The Clash (London Calling, 1979)

Often cited as one of the greatest albums ever made, London Calling saw The Clash move away from the three-chord structure of punk and into more experimental areas. The familiar sound remains on the title track, but the bass and drums bring in elements of reggae and R&B.

Alternative Ulster – Stiff Little Fingers (Inflammable Material, 1979)

Stiff Little Fingers’ debut album Inflammable Material was described by the NME at the time as “the classic punk rock record”. It was informed by the band’s upbringing in Northern Ireland during the Troubles, which is never more apparent than on ‘Alternative Ulster’: “Take a look where you're livin'/You got the Army on the street/And the RUC dog of repression/Is barking at your feet.”

Nazi Punks F*** Off – Dead Kennedys (In God We Trust Inc, 1981)

Originally seen as a left-wing scene, the extreme nature of punk brought far-right elements into the mix. This infiltration was addressed in typically blunt style by Dead Kennedys in 1981 as they warned the skinhead movement: “stab your backs when you trash our halls/trash a bank if you’ve got real balls”.

Rise Above – Black Flag (Damaged, 1981)

As it grew punk naturally began to change, with one of the most important emerging trends the hardcore scene. One of its most influential groups was Black Flag, whose 1981 debut album Damaged would inspire not just the nascent hardcore scene but grunge and beyond.

The Killing Moon – Echo & The Bunnymen (Ocean Rain, 1984)

Another diversion from the orthodoxy was so-called post-punk, which adopted a more broad approach than the traditional raw and simple sound of punk. ‘The Killing Moon’ was inspired partially by Russian balalaika music and partially by a reinterpretation of David Bowie’s ‘Space Oddity’, featuring strings and a portentous bassline.

Carnival – Bikini Kill (Revolution Girl Style Now, 1990)

In its initial iteration punk was overwhelmingly, well, male. The riot grrrl scene emerged in America’s Pacific Northwest in the early 1990s in response to sexism in local punk scenes. Chief among the groups were Kathleen Hanna’s Bikini Kill, who would encourage women to come down to the front at their shows and personally remove misbehaving men.

Going To Pasalacqua – Green Day (39/Smooth, 1990)

What’s now known as pop-punk emerged from California’s Bay Area, specifically the club at 924 Gilman Street in Berkeley. The Lookouts, Operation Ivy and the Mr T Experience were early pioneers but it was Green Day who brought pop-punk to the masses. Their 1994 album Dookie sold 14 million copies on major label Reprise, but as ‘Going To Pasalacqua’ shows they had the sound nailed from the get-go on their indie debut.

Bonus

No More Heroes – The Stranglers (No More Heroes, 1977)

Even in its earliest days punk groups were taking the genre to different places. Rather than guitar ‘No More Heroes’ is based around a keyboard riff, and namechecks several historical figures: “whatever happened to Leon Trotsky?/He got an icepick that made his ears burn”.

Punks Not Dead – The Exploited (Punks Not Dead, 1981)

People have been lamenting the death of punk since punk was invented, and Edinburgh band The Exploited looked to return the genre to its 1970s working class roots on their debut album.

Happy House – Siouxsie and the Banshees (Kaleidoscope, 1980)

Another post-punk classic, ‘Happy House’ features atonal vocals in a punk style but incorporates reggae beats and atmospheric guitar sounds.

Straight Edge – Minor Threat (Minor Threat EP, 1981)

By the early 1980s some punks considered the most non-conforming thing one could do would be to refrain entirely from intoxicants and casual sexual relations. The movement took its name from a Minor Threat song, though frontman Ian MacKaye insisted it was always a personal philosophy and never meant to be a movement.

Pretty Fly (For A White Guy) – The Offspring (Americana, 1998)

Because why can’t punk be funny too?