Though sharing the Washington hardcore patch with the likes of Black Flag and Minor Threat, Bad Brains were unique in that their sound owed a lot to the influence of dub and reggae. The original line-up, consisting of H. R. (vocals), Darryl Jennifer (bass), Earl Hudson (drums) and Dr Know (guitar), played tiny venues around Washington before moving to New York. They were supposed to support The Damned on a UK tour of 1979 but were denied work permits. Probably the first exposure most Europeans had to Bad Brains was through the Alternative Tentacles compilation Let Them Eat Jellybeans (1981), which included their first single, "Pay To Cum". To get signed to an independent label Bad Brains had had to overcome the politically correct straitjacket of the anarcho-punk scene. After making some homophobic remarks in an interview there was a veritable witch hunt against them, which the band turned to their own ends on a re-recording of "Pay To Cum".

Bad Brains (1981), a primitive cassette-only release on ROIR Records, was the only studio recording of their early, ferocious material. A 12" single, "I And I Survive"/"Destroy Babylon" (1982), boasted an improved production, and Rock For Light (1983) was a landmark album. Bad Brains applied the technical skills of jazz to the framework of punk/metal, using multiple registers to create a polyphony of different melodies. Rock For Light seesawed between barely believable speedcore and deft reggae riffs: the quality and speed of their playing was not to be matched until the likes of The Stupids or Adrenaline O. D. several years later.

By 1986, Bad Brains had moved on to the seminal independent label SST, where they released perhaps the best of their albums, I Against I. Rather than sticking to the formula that had won them their audience, this album slowed the pace a little and introduced new elements to their melting pot. H. R.'s vocals carried much of the tune and the complex rhythmic structures gave Dr. Know the space necessary to deliver the kind of blitzkrieging guitar solos that could outshine most of the competition. The funk/punk style favoured by The Red Hot Chilli Peppers and Living Colour was more or less invented here. A live album, simply entitled Live (1988), was an effective summary of their performance at the time, but by then H. R. had surprised everyone by quitting the band. He proceeded to release two solo LPs, Human Rights (1987) and It's About Luv (1988), which failed to achieve much popular acclaim though many fans rated them amongst his best work. Meanwhile, in 1988, Dr Know and Darryl Jennifer teamed up with ex-Faith No More vocalist Chuck Mosely and Cromags drummer Mackie, to take Bad Brains back on tour. This was a disastrous move: Mosely was no replacement for H. R., and by 1989 the original band line-up was back in place for Quickness, which lacked the polish and invention of earlier releases. Still, a world tour re-established the faith of the fans, and some astounding performances were captured on the album Youth Are Getting Restless (1990), before H. R. and Earl once again departed. Again, Mackie was drafted as drummer, while Israel Joseph I took over on vocals. In 1993, Bad Brains signed to Epic and released Rise, which re-awakened a spark of brilliance sorely missing from Quickness. Joseph's vocals were particularly impressive, while the sharper snare sound of Mackie's drums made the band's sound even more clean and precise. Next year, H. R. and Earl once again returned to the fold and restored the original line-up. Offered a contract with Madonna's Maverick label, they reunited with Rock For Light's producer Ric Ocasek to record God Of Love (1995). The first few tracks revealed that the band had matured but not mellowed: everything was precise and concise, while Dr. Know's guitar work was controlled but dazzling. The musical balance also shifted more towards reggae than usual - "Long Time" was outstanding, combining a rampant ragga beat and a classic melody. Overall, the album demonstrated that Bad Brains' uncompromising inventiveness was undimmed after nearly two decades on the alternative music scene.

Rock For Light (1983; Abstract). A white-hot launch of thrash and speedcore, streets ahead of most of the competition.

I Against I (1986; SST). This is the best studio album that the original line-up ever produced. It loses the extremes of thrash and dub that were the mainstays of their live performances, but incorporates such a range of styles and sounds that it ranks alongside the most influential rock albums of its time.