Punk rock is considered a product of the ’70s, when bands like the Ramones, the Sex Pistols and the Clash propelled the style into the mainstream. But punk really has its roots in the early ’60s, when three chord bashers with attitude first established their own loud, fast and hard rules for setting rebellion to music.

Here’s a look at 10 proto-punk grandfathers and their contributions:

• The MC5: The punk starts here — in Detroit in 1964, when this motley pack of rabid volume mongers turned their amps up to 12 and played harder than a granite slab in every high school auditorium and armory they could find until the major labels couldn’t deny them any longer. The result was their seminal debut, the prickly, live Kick Out The Jams. Drawing on John Lee Hooker, Sun Ra and even the Black Panthers for inspiration, and fueled by their iconoclastic manager John Sinclair, few artists have cut their own path in music or had a broader influence than the 5.

• Iggy and the Stooges: James Osterberg, the man who would become Iggy, started his musical life as a blues drummer, but after he fell under the grimy spell of fellow Detroiters like the MC5, he dropped out of college and formed the Psychedelic Stooges with Gibson Flying V strangler Ron Asheton. “I Wanna Be Your Dog,” from their 1969 debut album, remains a rite of passage for every aspiring punk and garage rock band.

• The Kinks: “You Really Got Me” is a badass pre-punk anthem, from its foundation riff to Gibson Flying V master Dave Davies’ scrabbling solo break. And there’s no lyricist snottier than Ray Davies, at least in the ’60s. The Kinks’ “All Day and All of the Night,” which slams along on two chords, blatantly shouts out its lust in a way that would inspires punk torchbearers Richard Hell and Stiv Bators to write “Love Comes in Spurts” and “I Need Lunch,” respectively, a decade later. And tunes like “Dedicated Follower of Fashion” have the festering English cynicism that kept Johnny Rotten sour.

• The Who: 1965’s “My Generation” is the first punk rock anthem, all spit and rebellion and nihilism. And Gibson legend Pete Townshend — who has a long history of wielding SGs, Les Pauls, a Flying V and the acoustic SJ-200 is punk’s first poet laureate, a bloody knuckled player whose lyrical vision was as uncompromising in his band’s first 15 years as his brutal tone and wind-milling stage presence. The Melvins, Green Day and Guns ’N Roses have all performed “My Generation,” and the Clash owe a direct debt to St. Pete for their mix of bright writing, brash sounds and crashing performances.

• The Sonics: The roots of Pacific Northwest grunge go back to this Tacoma quintet, who teamed up loud, hard ‘n’ fast guitar chopping with themes like guzzling strychnine (“Strychnine”), turning homicidal (“Psycho”) and the Devil (“He’s Waiting”). During the ’80s garage rock revival the Sonics were touchstones, and “Strychnine” became a litmus test for the scene’s six-stringers much like Eric Clapton’s Gibson Les Paul ’Burst propelled take on Freddie King’s “Hideaway” was in the early blues-rock era. No less an authority than Jack White has called the Sonics “the epitome of ’60s punk.”

• The 13th Floor Elevators: These Texas outlaws recorded just one classic song, 1965’s “You’re Gonna Miss Me,” but its impact was immense, influencing a diverse array of bands from Z.Z. Top to R.E.M. to the Jesus and Mary Chain. But what really captivated the imagination of the punk rockers that followed was the life of the group’s leader and guitarist Roky Erickson. Already well on his way to becoming an acid casualty, Erickson was busted for possession of a single joint in 1969 and was given the option of 10 years in jail or pleading insanity and being committed to the state hospital for the criminally insane. There he was given electro-convulsive therapy and Thorazine injections, entirely twisting his brain. Despite that, he’s had several comebacks and is even now on a new career high, proving you can’t always keep a strange man down.

• The Seeds: 1965 was a magical year for seminal punk rock, and that year’s “Pushin’ Too Hard” by Los Angeles’ the Seeds was a two-chord wonder that reached the Top 40 while kicking against mainstream society’s pricks. The number remains a snarling slap at a cookie-cutter culture, and has also proven effective in the repertoires of avant-punks Pere Ubu, new-wave poppers the Bangles and underground indie-rockers the Embarrassment. 

• Blue Cheer: Jim Morrison called these San Francisco psych-rockers the most powerful band he’d ever seen. And they were known for paint peeling volume at a time when that was no easy feat to achieve. Nonetheless, guitarist Leigh Stephens became a sonic whirlwind with a Gibson SG slung over his shoulders. Blue Cheer’s 1968 version of Eddie Cochran’s “Summertime Blues” remains a bruising essay in teenage frustration and a blueprint for how a great punk band revisits a classic.

• ? & the Mysterians: Singing keyboardist Rudy Martinez, a/k/a ? or Question Mark, and his group had the first punk/garage-rock/whatever-grungy-thing-you-wanna-call-it tune to hit the top of Billboard’s pop chart, 1966’s “96 Tears.” That song, plus “I Need Somebody” and “Can’t Get Enough of You Baby,” shaped a cannon that inspired DMZ, the Lyres and a host of other ’70s punk club acts, and inspired Dave Marsh to become the music journalist to use the word “punk” to describe a sound in his 1971 story on ? in Creem magazine.

• The Electric Prunes: With a backwards guitar intro cut on a ’58 Gibson Les Paul Standard with a Bigsby whammy bar by Ken Williams, and a rhythm guitarist named “Weasel,” the Electric Prunes screamed onto the scene in late 1966 with “I Had Too Much to Dream Last Night,” a scalding lysergic journey into heartache via the route of distortion, feedback and howling three-chord fury. Their interplay and sonic daring foreshadowed the fusion of pop smarts and stinging sounds in later bands like Television and the Patti Smith Group.