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OC’s original punks describe the birth of the world-famous ‘Orange County sound’

BBG News

This passage is taken from Chapter 3 of the book “Tearing Down the Orange Curtain: How Punk Rock Influenced Orange County on a Global Scale,” due for release on May 20 by Da Capo Press. The book charts the evolution of punk and ska, from their grassroots origins to their height of popularity, during which their cultural influence reverberated through music worldwide. It provides an intimate glimpse into the lives of bands such as Social Distortion, the Adolescents, the Offspring, and their ska counterparts like No Doubt, Sublime, Reel Big Fish, Save Ferris, and others. The book delves into the personal and professional journeys of these musicians, many of whom grappled with issues such as acceptance, addiction, and difficult teenage years in suburban settings.

Mike Ness from Social Distortion mentioned that you should consult with the Agnews regarding the origin of what came to be known as the Orange County sound.

As a movie reviewer, I’d rephrase it like this: I was raised by a strict Irish father who worked for SoCal Gas and a loving Mexican mother, along with my three brothers – Rikk, Frank, and Alfie. We grew up in La Puente before moving to Fullerton when Rikk reached the sixth grade. Among us, I’m the one born on December 9, 1958, followed by Francis in 1964, and Alfonso joined us on January 24, 1969. Despite a decade separating me from my youngest brother (with a sister in between Rikk and Frank), we remained close-knit and bonded over our shared passion for music.

Rikk’s musical adventure began even before he grasped a pencil. At the tender age of four, he received his first drum set. Immediately, he felt an innate connection to rhythm. Since the Agnews’ maternal grandfather was a drummer and had made a name for himself in California’s Latin scene, thanks to his collaboration with Xavier Cugat and the Latinaires, rhythm seemed to be a part of their family heritage.

Drawing inspiration from the Beatles, Rolling Stones, Beach Boys, and Motown, Rikk would rhythmically beat his drums as his father harmoniously played an acoustic guitar, occasionally creating spontaneous tunes that Rikk would join in on. Upon returning home from school, Rikk would vigorously strum intense, angry chords on the family’s guitar, marking the start of a lasting passion for music.

Or:

With the Beatles, Rolling Stones, Beach Boys, and Motown as his musical muses, Rikk would syncopate drums to his father’s acoustic guitar melodies, sometimes even collaborating on impromptu tunes. Arriving home from school each day, Rikk would express frustration through aggressive strums on the family guitar, fostering a deep-rooted love for music that persisted throughout his life.

Rikk had a strong passion for the Beatles in the 1970s, but his taste evolved to progressive rock. As the mid-’70s approached, he became captivated by Kraftwerk and electronic tunes from Europe. What made Rikk unique, according to Frank, was his constant pursuit of novelty and fascination with fresh music.

To put it simply, Frank and Alfie were my initial partners in crime, sharing a passion for music just like me. We’d often play the various instruments scattered around our home, turning our humble abode into an impromptu jam session venue.

Frank started playing before he was ten, and just like Rikk, he was musically gifted.

Right away, Frank was incredibly talented,” Rikk commented. “At just fifth grade, he could play like Jimmy Page. At that time, Alfie was still in the second grade. Together, they’d head to the garage where they practiced Led Zeppelin tunes.

“None of us was a good skateboarder,” Frank said. “So we stuck with the instruments.”

Upon the release of the Ramones’ first album in April 1976, Rikk found himself captivated by their rough, energetic music, the edgy style of their black leather jackets, and their hard-edged demeanor, which was characteristic of this New York City band.

Frank recalled that he had decided to purchase a Foghat album with his birthday money, but Rikk and his friends persuaded him to get the Ramones album instead. Following his brother’s suggestion, Frank spent his cash on the influential punk rock record. Gathered around the turntable, they played it. At first, Frank’s response was less than enthusiastic. “I thought ‘what on earth is this?’ I was accustomed to Sabbath and prog rock, and at first, I didn’t care for the Ramones, as their songs were rapid, brief, and chaotic.” However, these tunes somehow lodged themselves in Frank’s mind. He kept listening over and over again until he grew to appreciate it, not just for the catchy melodies and unique style, but because of its accessibility. The idea that anyone could form a band and play a few chords resonated with Frank and many other kids growing up during an era when rock ‘n’ roll was often intricate, elaborate, and required years of lessons to master.

Yet, the vibrant youth culture and enthusiasm for music that resonated within the Agnews’ garage failed to resonate with their nearby neighbors. Instead, they frequently voiced complaints regarding the disturbing sounds originating from the Agnews’ garage.

Rikk stated, “Our neighbor from across the street would become furious and come over to warn us she’d call the police.” She exclaimed, “Please stop that racket,” but we persisted by arguing, “It’s not noise, it’s our music!

In the upcoming years, the unique mix of influences and innate talent that the brothers possessed would mold the music style of their bands. As stated by future bandmate Steve Soto to the OC Weekly, “Rikk was often referred to as the Brian Wilson of punk,” and indeed, he lived up to

Early on in the SoCal punk scene, Social Distortion drummer Derek O’Brien noticed a distinct ‘Orange County sound’ emerging. This sound was characterized by surf-inspired guitar and drums, similar to that of Agent Orange, but also present in bands like the Adolescents, D.I., Channel 3, and the Crowd. The lead vocals were rough yet melodic, a departure from the simple yelling often found in punk music. There was also a two-part guitar setup, with one or both guitars playing harmonious melodies using octaves, and backup vocal harmonies that complemented or even soared above the main vocals.

In 1976, Punk music emerged from London and New York, spreading across the country in a short span of time. Initially, it found a home in Los Angeles, and by the time it reached the other side of the Orange County border, which Angelenos derisively called the “Orange Curtain”, it had developed its own unique taste.

Teenagers who had grown up in troubled family environments, contrasting with the idyllic image promoted during the Reagan era, were strongly affected by British music groups such as the Sex Pistols and the Damned. This influence was evident in the tones of the new generation of vocalists.

According to Joe Escalante, the bassist of your punk band, they sing with a British accent. That’s their unique approach. While you may develop your own style, they suggest starting by emulating this.

In groups such as Huntington Beach’s T.S.O.L., Fullerton’s Adolescents, and Social Distortion, there are distinct echoes of British bands. Escalante highlights “World War III” by T.S.O.L. as the most representative example.

As a dedicated film enthusiast, I’m referring to the influential figure in Orange County, Jack Grisham, who’s offering guidance on the steps we should take. His insights resonate deeply, and I find myself in agreement, choosing instead of debating, to follow his lead.

Reflecting on his initial singing experience, Escalante recalls Dave Quackenbush from the Vandals commenting that he sounded like a “Republican who had just emerged from a John Birch Society gathering.” Later, he adopted an English accent and eventually blended it with his own unique style.

It’s evident when you consider all aspects that the ’90s punk movement can be linked to its roots in Orange County. The early bands from this era possessed a unique blend of precision in their sound, yet they managed to avoid any air of pretentiousness.

As a devotee of the music scene, I hold the conviction that the distinctive California punk sound originated from Orange County. This belief stems from my own experiences and influences, particularly since I was initially immersed in punk music by none other than Joe Escalante, my camp counselor who happened to be a member of the Vandals band.

In a bustling metropolis like Seattle, thousands of miles removed from where Guns N’ Roses bassist Duff McKagan spent his youth, the spirit of Southern California punk rock was still resonating within the underground punk communities. “We understood their work and their reasons,” McKagan explained. “Though in Seattle we lacked suburbs, we could imagine these punks hailing from vast suburban areas, rebelling against conservative Reagan-era politics. We got it. While we couldn’t entirely relate, we comprehended their rebellious nature.

In Fullerton, it was Leo Fender’s factory that resided, where they occasionally discarded guitars deemed unfit. For those locals who couldn’t afford one of his creations, rummaging through dumpsters for a guitar became a regular and essential practice. These cast-off guitars often ended up in the hands of young punks instead.

It was the literal embodiment of “one person’s trash is another’s treasure.”

Beyond being known for Fender, Fullerton was also attracting numerous families seeking the idyllic, small-town life often portrayed as the American dream. The area underwent development with tract houses, becoming a preferred location for families to reside. However, by the 1970s, that dream started fading for disillusioned youth, leading to the emergence of a new cultural landscape which many in the community would swiftly reject.

Jackson is a deputy editor for entertainment at The Times.

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2025-05-15 13:36

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