proto-punk
Three chords before punk ruined everything (in a good way)
By Rob Gordon
Walking home from seeing X at Metro last month, ears ringing, that specific buzz in my skull—I realized something. Proto-punk doesn't just work for running. Proto-punk IS running. It's the same raw, unpolished energy. The same refusal to overthink it. Three chords, a backbeat, and the absolute certainty that you're doing something that matters even if nobody's watching.\n\nThis is pre-safety-pin punk. Before it became a costume. The Stooges tearing through "Search and Destroy" has the same manic energy as mile three when your legs finally stop arguing with you. Early Ramones—"Blitzkrieg Bop," two minutes of pure propulsion—that's not music for thinking, that's music for moving. Death from Detroit, playing proto-punk before anyone knew what to call it, sounds like what your heartbeat wants to be at mile eight.\n\nHere's what I keep coming back to: proto-punk sits in this perfect pocket. It's faster than rock, but it's not trying to break the sound barrier like hardcore. Most tracks hover around 140-170 BPM, which is exactly where a strong steady run wants to live. X's "Los Angeles" has this driving rhythm that locks in with your cadence and refuses to let go. You're not fighting the tempo. You're riding it.\n\nDick at the store thinks I'm crazy for running to anything recorded before 1995, but he runs to jam bands, so his opinion is legally inadmissible. Proto-punk works because it's got urgency without chaos. It's got attitude without irony. When you're at mile six and the voice in your head is listing every reason to walk, you need the Ramones telling you to go go go—not some overproduced stadium anthem telling you about the eye of the tiger.\n\nThis is music made by people who couldn't really play their instruments yet but had something to say anyway. That's every runner past mile ten. We're all proto-punk at that point.
Frequently Asked Questions
What pace should I run to proto-punk?
Tempo runs and strong steady efforts. Most proto-punk sits between 140-170 BPM, which translates to about 7:00-8:30 mile pace for most people—that zone where you're working but still in control. The Ramones are perfect for 8:00 pace. X pushes you a bit harder. Death from Detroit has this relentless drive that works for threshold efforts when you want to hold something fast without redlining. This isn't recovery music. This is 'I have a point to prove' music.
How is proto-punk different from regular punk for running?
Proto-punk has swagger. Regular punk—especially hardcore—often goes too fast and burns too hot for anything longer than intervals. Proto-punk keeps that raw energy but with more groove, more pocket. The Stooges have funk underneath the chaos. Early Ramones tracks are fast but they're not trying to kill you. It's urgent without being frantic. You can actually lock into a rhythm instead of just hanging on for dear life. Save Black Flag for hill sprints. Use proto-punk for the miles where you need sustained aggression.
Which proto-punk artists should I start with for running?
Start with the Ramones—'Blitzkrieg Bop,' 'I Wanna Be Sedated,' the early stuff. Two-minute songs, perfect tempo, zero pretension. Then move to X, especially the Los Angeles album. Exene and John Doe trading vocals over that driving rhythm section—it's hypnotic at mile five. Death is essential but harder to find. The Stooges' Raw Power if you want something nastier. And look, MC5 technically counts depending on who you ask, and 'Kick Out the Jams' is a perfect warm-up song.
Does proto-punk work for long runs or just short intense workouts?
Both, surprisingly. Most people assume it's too aggressive for distance, but they're wrong. The secret is that proto-punk songs are short—two to three minutes—so you get natural mental breaks without the tempo shifting. String together twenty Ramones songs and you've got a 10-miler that never drags. The energy stays high but it's not exhausting like metal. I've run ninety minutes to nothing but proto-punk and arrived home more energized than when I left. It keeps you engaged without demanding too much attention.
Why does proto-punk sound better outside than on a treadmill?
Because proto-punk is about forward motion and treadmills are about staying in place. This music was made for driving through city streets at 2 AM, for basement shows where the walls sweat, for movement with purpose. On a treadmill you're just pushing against a belt going nowhere. Outside—especially on urban runs—proto-punk syncs up with the environment. X sounds right running past dive bars and pawn shops. The Stooges sound right when you're dodging pedestrians. This is street music. It needs streets.