Embarrassing Musical Moments

I was 10.  In my hands I held an 8-track I was supremely excited to own.  The Christmas Gods had bestowed it upon me.  I wanted it for ELO.  Years later, looking back on it, the Xanadu soundtrack is probably a lot better than I give it credit for now.

We all have these releases we were thrilled to get and then, as time passes, we wonder what the hell we were thinking.  If you don't have some embarrassing musical tragedy, you are lying.  I'm laying mine out on the table, like an autopsy gone haywire.  Xanadu 8-track.  A soundtrack to a movie that I found to be god-awful even back then.  (I know it has developed a fevered fan/cult following, but that doesn't give the film any real kind of value or integrity.)  I wouldn't buy this now.  I shouldn't have wanted it then, but I wasn't the only one who wanted it, either.  That thing sold like GHB at a frat party.

There are other albums I've owned that are equally perplexing.  This one, however, takes the cake.  I can't explain it, other than I've always had a soft spot for ELO.  I can't justify it.  And, if put under torture, I can't remember any songs other than the popular ones (and even those memories are sketchy).  I loved it, though.  I played that thing over and over on my stereo and portable 8-track player.  I whispered its name as I fell asleep.  "Xanadu ..."  It sounds almost like a spell or a DC comic book.  (In reality, Marvel put out the comic book, and DC has a character called "Madame Xanadu."  Tell me, though, that it doesn't sound like it should be a DC comic.)

I've come clean on my shameful moment.  Now I'd like to hear from some of my readers.  What releases are/were you embarrassed to own?


Mandatory FTC Disclaimer: Clicking on a link could get me a small commission.  I promise to use my money to only buy worthy releases that I won't mock thirty years from now.

Skinhead Justice and a Lion's Heart

Youth on the Street, Pressure Point's 1998 release, holds up pretty damn good.  It is a solid release filled with angry and inspiring street punk performed by a multi-racial band of misfits and skins.  That's important to note because when one hears a song like "Skinhead Justice" and "Strength Thru Oi!" (a horrible song title) the alarms go off.

"Heart Like a Lion" opens the CD with what has become an iconic line "See that girl walking down the street/Boots and braces, she looks so sweet."  It's a great song about a woman who sticks by the singer "no matter what [he's] done."  With a "heart like a lion," this girl is "always there when the others hide."  If singer Mike Erickson is growling about one woman in particular, he doesn't call it out.  Based on his description, it's obviously a skin chick, and having known several of those females throughout my life, I would say "heart like a lion" is a fairly accurate description.

The second track is a cover of "Never 'Ad Nothin'" by the Angelic Upstarts.  The final track on the CD, "So Ends Our Night," is also a cover.  This time by Last Rights.  Both are competent songs, but the Sacramento-based Pressure Point really shines when it does its own songs.  Oddly enough, "Blue Collar" is not indicated as a cover song, but it sounds like it is.  I believe I've heard this before (perhaps it's the traditional Jamaican sound throughout the song that can also be briefly heard on "Youth on the Street"), but can find no indication it isn't an original Pressure Point tune.  It is so unlike anything else on the release, yet it fits right in.  

"Skinhead Justice," "Guts Alone," "Pride & Glory," and "Strength Thru Oi!" all have titles that invoke the feeling that people get when they hear of skinheads.  These songs have zero to do with race, and everything to do with honor, the working class, unity and how the classes are played against each other.  "Pride & Glory" is the most blatant when it comes to pointing these issues out.  "When we fight each other/We're just pawns in their game/Black versus white/They treat us all the same/You can fight me, and I can fight you/When we fight each other/We do what they want us to do."  It continues, "Right wing, left wing, I got no choice/The bastards in power give me no voice/Token promises are never kept/Working class souls finance their debt."

Pressure Point is liberty spikes and shaved heads united against hypocrisy and deceit.  It's a hard order to fill, but this release shows the band is more than capable of putting up a fight against it.  It speaks some hard truths, and its only fault is that it can be easily ignored by people who come to the table with their prejudices already firmly in place.  Yes, the lyrics speak of violence, but not the violence you expect, and that is probably the most pleasant surprise of Youth on the Street.  It is intelligent and thought-provoking while at the same time avoiding all the stereotypes far too many people associate with this brand of music.


Mandatory FTC Disclaimer:  Yeah, I got this to review (for free) way back when it came out.  I reviewed it at the time in my 'zine, and decided to revisit it here to see if it held up.  It does.  Clicking on a link may earn me a commission, too.

Out of Step (With the World)

I don't download a lot of music.  Sure, I'll buy a song here and there on Amazon, but it's usually songs I already have on vinyl or cassette.  I guess I'm helping the artists since I know there are scads of "pirates" downloading their shit for free because, you know, musicians should just serve the people and not get paid for their efforts.  In that case, I don't mind paying for something I already have because it's usually only a buck, and I believe people should be compensated for their efforts.

This isn't about the ethics of stealing music, however, this is about the days of my youth.  In particularly, what it was like trying to find new music.

Before the Internet gave you everything from bestiality to revolution with the click of a mouse, if you wanted new music you had to search for it.  This wasn't easy for a true music lover, a person who wanted to go beyond what was on the radio and MTV (back when it played videos).  This meant going on an expedition where everything avenue was explored.

I spent countless hours talking to music store employees, friends who had the same taste in music I did, and going through interviews with the bands I liked hoping a name would be dropped.  Not only did I read the interviews, but I read the thank you lists on releases and looked at photos of the band hoping someone would be wearing a t-shirt I didn't recognize.  (How many people found out about the Misfits because Metallica wore the band's shirts?  Cee Lo wasn't the first to wear one, you know.)  I read 'zines and traded tapes through the mail.  This was how I found out about new music.  I lived in an area that didn't have good record stores.  I relied on outside sources for just about everything I liked.  It was a lot harder than jumping online, but there was also something more satisfying about it.  It made the music mean something to me.  It added a sense of wonder to everything.  It's not like that now.

The Internet is a double-edged sword when it comes to music.  More people around the world can hear your band, but look at what shit is still sought after.  It's the same garbage that polluted the airwaves before.  Those who truly love music will still go out of their way to seek out quality material, but most of what gets mentioned is Ok Go.  If it weren't for an "amusing" Youtube video would anyone care about this band?  Unlikely.  This is what the Internet has done.

The good music is still out there.  Finding it now, however, means you have to swim through a sea of crap to get to it.  You have to go onto crowded Myspace pages, click on questionable links, and scour forums. You can still find the stuff if you try, but it seems like part of the thrill is gone.  When something is so easily obtained, does it hold any value for the listener?  Sadly, I think not, which is another reason stealing music irritates me.  The music has become what the major labels have been trying to make it for years -- product.  A product to be stolen and disposed of as easily as a pair of threadbare socks.

Enjoy the crap.

Here is Bald Truth ... Nailed to the Wax

Hipbone Slim and the Knee Tremblers.  Have Knees, Will Tremble.  This provided the soundtrack to tonight's editing of the cannibal manuscript.  It was fitting, to say the least.

I often listen to loud music when I write and edit.  There are times when the music fits the scene I'm writing, and that is magic.  If you've never experienced something like that, I can only tell you that it is unlike anything you could imagine. 

Voodoo Rhythm Records put this out oh-so-many years ago, and it holds up.  Described as traditional rockabilly meets swamp blues meets '60s beat, I can't think of a more apt description of a band's music.  And while the soundtrack I envision for the cannibal manuscript is mostly old country, this fit quite well.

"This record is a lesson for every teen-ager and a warning for every parent!"  That's what the cover says.  I doubt many teens are listening to this, as they are too absorbed with whatever shit passes for music these days.  This harkens to the past, a time when music was actually seen as dangerous and were never seen on the Today show with Al rocking out. 

If only they knew ...


Mandatory FTC Disclaimer: I received this for free to review.  Clicking on a link can get me a small commission.  Listening to the music can be liberating.

Info on the New Juke Joint Pimps Release

Regular readers know I'm a huge fan of Voodoo Rhythm Records and all it produces.  Here's the info I got on the new Juke Joint Pimps CD, Boogie The Church Down.  I expect this will be as awesome as every other release on the label.

The Juke Joint Pimps meet their alter Ego “the Gospel Pimps, TRASHED UP WILD FRANTIC RAW RHYTHM N BLUES CHICAGO STLYE meets holy grail preaching Gospel Louisiana Soul. Not only on this record, as well live on stage the Band Jumps into two Suits.. once into the BOOZE GUZZLLING SINNER PIMPS then got saved by the Holy .. THE GOSPEL PIMPS, incl. authentic Gospel Choir and Roman Catolic preacher uniforms, what does a sinner like you want more from live! The whole album starts up with EAT FOR ME, a song that could be written by R.L. BURNSIDE. It has slow songs as well like the I NEED MY BABY or SWEETEST HYMNS the flipside of the album is dominated by the gospel music of the early and mid 50’s THE STAPLE SINGERS the PEACOCK catalogue inspired them to do such a recording.. invited a gospel choir into the studio and start recording I FEE GUILTY is a fine example of very strange gospel and raw rhythm n blues .. sung by sinners for sinners and the outcast.

Still More Letters From Doug Evil

I have not reproduced the band logo he is referencing here, as I think he may not like the logo now if he were to see it.  Doug Evil designed two logos for my band, JFK's Head.  I don't know if we ever used either because the band was pretty short lived.


Doug,

Here are 2 versions of your logo.  If there's anything you don't like just write.  It would be no problem to do another.  In the future I won't make you pay.  We can simply trade tapes or 'zines or stuff.  I feel guilty making you pay after you give me free ad space and free publicity.  I'll also give you my new address but if you don't get a reply right away then the mailman can't find Doug Evil in Pitts.  Also, I should soon be in a full band within the next 1 or two months.  Till then ...

Haplessly Yours, Doug Evil


I did not mind paying for the logo.  Artists need to be compensated for their work.  (Even the ones from whom you steal music.)  I don't remember what I paid him, but I do think we stopped writing soon after this letter ... as Doug disappeared for a while.

Letters from GG Allin 8

More letters from the man, the myth, the guy who bled everywhere ... GG "I Will Not Act Civilized" Allin.  Always fun.



Doug,

Got the article.

Mykel may or may not respond to you, but your best bet is to include a SASE.  I do still correspond with him occassionally, but not as often as I had in the past.  But we are still both very much in contact when we are in the same area.

The comp. idea sounds cool.  No objections on this end as long as it's put together right.  Try and find as many diff styles of torturous individuals + bands, etc..  Like maybe a fucking violin version of of "Drink Fight + Fuck" etc..  You get the picture.  Instead of bands trying to copy it the way it is on the records.  Let me know how it comes about.  Send #7 as soon as it's out.

GG Allin 206045


As you readers know, the compilation never came out.  We did get a few bands sending us stuff, and some of it was quite interesting.  Allin's death derailed the project, however.  I was not into the idea of looking like I was exploiting his death.

More Letters From Doug Evil

That's right.  Another missive from the man behind Orgy of One -- Doug Evil.  In this letter he writes a poetry anthology which I doubt I contributed to, as well hallucinations I was apparently having at the time.  I remember no such thing. 


Doug,

[Phone number censored for obvious reasons.]

I'm still only considering doing that poem anthology.  Send poems anyway.  Most likely I'll do it.  If I do the book will be called Severed Fairy Tails.

You've sparked real interest in me about your hallucinations.  Please go into further detail.  As for unbelievable ... I'm a vampire, remember?

How soon do you need that cover?  To be honest I haven't started it yet.  I have vacation from Dec 11 - Jan 11.  Can you wait until then?  If not I'll make time.

Get the light out of here!!!- Doug Evil


The only part of this letter that sounds remotely familiar to me is the cover of 'zine he was working on for me.  Other than that, I have no recollection of anything he is talking about.  Strange.

Give 'Em the Boot ... Again

Hellcat Records has some good music.  Not all of it, granted, but enough to warrant some attention.  One of the best ways to get an idea of what is being offered is from the Give 'Em the Boot series.  Back in 2004 the fourth part of this series came out, and it is worth looking into.
Opening with Rancid's "Killing Zone" is a good way to start any release.  Following it up with The Aggrolites' "Dirty Reggae" is a good way to kill it.  That is precisely why this CD does not see a lot of rotation in my stereo.  Yeah, I like The Slackers as much as the next guy, and you can't go wrong with the Dropkick Murphys or HorrorPops, but for all those good bands there's stuff like Chris Murray's "Let There Be Peace," which makes you wonder just what the hell you it is that happens to be coming out your speakers.

I know some can view Hellcast as boutique label for Tim Armstrong, and I have nothing wrong with that.  If that is the case, I do have to say that Armstrong's taste in music is very questionable in places.  Maybe he really, really likes Tiger Army.  I don't know.  I do know that this sampler makes me wonder what he is drinking.  I know this came out in 2004, but looking at the stuff on the label now shows that little has changed at this Epitaph offshoot.

At least Armstrong is consistent.

The first in this series of CDs had much the same problem, but it felt fresher.  It felt like it mattered more.  Listening to this fourth one makes it sound like status quo.  That said, it is still a great introduction to the type of music you can expect to find on the label.  Just don't expect anything truly mind blowing to come out of the experience.



Mandatory FTC Disclaimer:  I received this to review, so it was free.  Clicking on a link can earn me a small commission, which I desperately need so I can quit my job.

The Voice

If you tune into NBC for more than three seconds you are bound to see a promo for The Voice, a show that claims to be nicer than American Idol.  What else sets it apart?  Judges nobody cares about and singers who may be ugly.  At least that's what I get from the commercials.  I haven't watched the show and have no desire to do so.  The TV ads tell me everything I need to know.

I know these talent shows appeal to a certain segment of society, and I know they help keep television writers out of work.  I know family and friends of contesants love tuning in to see if they'll win, and then get their towns to hold celebrations if their favored son or daughter moves up far enough in the competition.  The world loves an underdog.  The world hates George Michael.  It makes for compelling television on some level.  It has little to do with the music or the art behind it.  This is entertainment.

In the end, shows like The Voice are quite harmless.  They do their job, and the "artists" they produce are usually forgettable after a few years.  Some have gone on to some degree of fame, which makes you wonder if they would have ever had the opportunity otherwise (doubtful knowing how the world of music works).  For the most part, however, these souls are forgotten by the time the next inevitable season starts, only to merit a nod once the flashback episode arrives.

Will The Voice lead to a promising career for its winner?  The only person who cares about that is the soon-to-be champion.  The rest of the world will move on, and that is perhaps the truest lesson that can be learned from this show.  These musicians are disposable.  They are fodder.  They are the filler in between ads for Dodge Chargers and iPads.  They may think they are more than that, but in the end, that is all they are to the executives at NBC.  Who would've thought the world of television and music would have so much in common?



Mandatory FTC Disclaimer:  Clicking on a link could earn me a commission.  Blah.

The Purity of Disaster

I received the Foundation "Purity/Disaster" 7" for review way back in 1992.  I remember giving it a favorable review then, and after listening to it recently I have to say it holds up.

Foundation was out of NY, and while it was a hardcore band, the songs on this release have a certain emo feeling to them.  Real emo.  Not Hot Topic emo.  The 7" itself is on white vinly (classy), and it includes lyrics to the two songs.

I tried looking the band up on the Internet and found nothing really helpful.  Even Round Flat Records, which put this out, doesn't seem to have copies of it anymore.  Not surprising.  This is a solid release, and the band members (Bill Colgrove, John Drenning, Steve Korol and Mike Waney) have already probably moved onto to other things that are hopefully music related.  (No sense in wasting one's talent by working at a diner.)  Mike Waney as of 2/11 responded to a posting on the Coregasm blog, so he's at least around and checking out what the world has to say of his old band.

I never got to see Foundation live, but I imagine it would've been quite an energetic and positive show.  The sound these guys had is due for a resurgence in the next few years.  I doubt any of it will be as good as this 7" was, though. 

Letters from Doug Evil

Doug Evil was the man behind Orgy of One, a one-man band that did some Misfits covers and original tunes.  He designed my band's logo (JFK's Head, for those keeping score), and did a cover for one of my 'zines.  We wrote each other off and on and talked on the phone on occasion.  Below is a short letter he wrote about some distribution stuff and ad space in my 'zine (Chaos Into Power). 



Doug of C.I.P.,

Here is your order of Orgy 5 "Single" tapes plus Misfits cover tapes.  1 for you & 1 (one) for the Misfits themselves!  (If you get in contact with them.)

Please copy the ad I sent you to help with the distro process & enclose a copy of the Misfits cover album flyer with any order of my tape.

Also I'd like a list of names and addresses of people who buy my tape so I can send them flyers & shit.  If there are any problems call me at [phone number listed]. 

Haplessly Yours,
Doug Evil


I did send a copy to the Misfits, but I do not recall the reaction to it.  At the time, the Misfits hadn't signed Michael Graves or Dr. Chud yet, so it was in a state of flux.  I do remember talking to Doyle prior to sending it, and he was excited about hearing it.

A Release to Get Excited About ....

Voodoo Rhythm Records, a label I consider the best on the planet, has released a split CD/LP.  (I hope I get a copy of this one.)  Mama Rosin Together With Hipbone Slim and the Kneetremblers.  Both bands are seriously freakin' good.  Cajun meets garage rockabilly.  If that release sucks I'll cut off a finger.  I just don't see it happening.  In fact, I can't think of the last time something came out on Voodoo that I didn't like.  Nope. 

Both bands have released great records before.  Both bands are highly capable of getting asses out of their seats.  Together?  Oh, that is the sweet spot.

There was other exciting news in the e-mail I got, but seeing this release kind of made everything else just fade into the background.  It isn't every day when you hear of such incredible news.  This was that day. 

For all you readers overseas, here's the tour dates:


13 Apr 2011 L'Ecurie, Genève SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)

14 Apr 2011 Cafe Kairo / bern SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)

15 Apr 2011 1. Stock, Basel SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)

16 Apr 2011 Hacienda, Sierre SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)

14 May 2011 Bearded Theory Festival, Derbyshire UNITED KINGDOM

17 May 2011 Electroacoustic Club @ The Slaughetered Lamb, London UNITED KINGDOM

19 May 2011 The Railway Inn, Winchester UNITED KINGDOM

20 May 2011 Wood Festival, Oxford UNITED KINGDOM

25 May 2011 Centre Culturel Suisse, Paris FRANCE

26 May 2011 Centre Culturel Suisse, Paris FRANCE

29 May 2011 Evolution Festival, Newcastle upon Tyne UNITED KINGDOM

11 Jun 2011 Halt auf Verlangen Festival, Grünenwald OW SWITZERLAND

18 Jun 2011 Mundial, Tilburg NETHERLANDS

19 Jun 2011 TBC Oerol Festival, Terschilling NETHERLANDS

24 Jun 2011 Glastonbury Festival, Glastonbury UNITED KINGDOM

28 Jun 2011 Festival de la Cité, Lausanne SWITZERLAND

01 Jul 2011 Skagen Festival DENMARK

02 Jul 2011 Skagen Festival DENMARK

09 Jul 2011 Festi'Cheyres SWITZERLAND

15 Jul 2011 Larmer Tree Festival, Wiltshire UNITED KINGDOM

16 Jul 2011 Pod'ring, Biel SSWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)

21 jul 2011 paleo festifal, Nyon SWITZERLAND ( with HIPBONE SLIM AND THE KNEETREMBLERS)

27 Jul 2011 Musicas do Mundo, Sines PORTUGAL

09 Aug 2011 Broadstairs Festival UNITED KINGDOM

10 Aug 2011 Broadstairs Festival UNITED KINGDOM

13 Aug 2011 Summer Sundae Weekender, Leicester UNITED KINGDOM








Mandatory FTC Disclaimer Time: Clicking on a link can earn me a commission.  I have not received a copy of this release to review yet, but I hope to.  If I do, I will write about here, of course, along with any place else that will take it.

The Lost Art of the Album Cover

I've always preferred vinyl over CDs, cassettes, 8 tracks and MP3s.  Part of this preference has to do with cover art. 

Cover art is something that seems forgotten about these days.  Yes, it still exists, but I think any serious lover of music would admit that the cover art for a CD is seriously lacking when compared to that of an LP.

When I was a kid, I got lost in cover art.  Whether it be Iron Maiden's The Number of the Beast or Massacre's Killing Time.  It didn't matter.  I'd put the record on, listen and look.  My cassettes had cover art, but it was too small to see.  Same with my CDs.  My 7" singles were even better than cassettes and CDs.  The cover art seemed to matter.  It looked like art.  It was art.  It was important.

Now the art is nothing more than a picture.  It doesn't help sell anything.  It tells no story.  It is as cold and impersonal as the MP3 format.  There seems to be little thought put into it because the people consuming it (and don't kid yourself, MP3s are a consumable product and nothing more) put no thought into what they are buying. 

Years ago, when going into a record store, I'd look at everything.  If a band I never heard of had a neat sounding name and a cool album title, the cover art would often make or break my decision to buy it.  That's how I actually ended up buying Killing Time.  The cover art appealed to me. It was as mysterious as the names of the songs on the release (and in hindsight fit the music perfectly).  The cover art of a CD never swayed me to make a purchase.

If you compare the vinyl art on any Iron Maiden album to the exact same art on the CD or cassette, you quickly realize how much detail you lose.  There are subtle touches that just aren't there when you shrink down the image to fit the format.  The LP cover was the perfect size.  Above and beyond the music, it was often art that stood on its own.  In fact, when I got Kiss' Creatures of the Night for my birthday, I actually displayed the album cover in my room for quite a few months, much like someone would hang a painting or display a sculpture.  Again, I never did that with a CD.

MP3s are meant to be played on tiny devices, the portability of which is the selling point.  Some of these devices display the cover art for whatever music you are listening to at any given time.  The art is so small, though, that it becomes pointless.  I've purchased MP3s, and like CDS, I never bought one on the whim of a cover ... because I can barely see it.  I definitely can't display it, either. 

Maybe I'm old, or maybe I romanticize too much.  I don't think so, though.  Many of my music loving friends feel much the same way.  They long for the days when buying an album meant something.  When a record felt like an event.  Sure, vinyl is still being made (and I still buy it), but the industry has changed.  The art seems less inspired.  The compact format has led to compact ideas.  There are always gems, of course, but they are no longer the norm.  Long gone are the days where I would examine every detail of a photo or painting, pondering how it fit into what I was experiencing coming from my speakers.  Upsetting?  Of course.  But it's also a sign of the times, where art has little meaning and everything is meant to be disposable ... including the music.


Mandatory FTC Disclaimer:  Clicking on my links may earn me a commission.  I'll use the money to get a new record player.

Letters from GG Allin 7

Here's a long letter from rock 'n' roll terrorist GG Allin, which came on stationary reading, "GG Allin From His Cell At Jackson State Prison."  At the bottom of the page it read, "Murder Junkies The World's Most Out-Ragious R&R Band."  I have edited out the name of the 'zine Allin tells me to send my 'zine to simply because I did send it, and they ripped off some of my interview without giving me credit.  (In the 'zine's defense, it also published a piece of mine, but not giving me credit kind of pissed me off.)  Enjoy the letter.


Doug,

Send a copy of the 'zine to [not worth mentioning].  It's a very well distr. mag. that reviews 'zines etc...

Also-- I am not sending you the address to performance just yet.  It is much to soon to approach them on this project.  You should not approach them until the project is almost finished.  Because they will want some proof of your seriousness.  The time must be right.  They are also in the process of releasing 2 CD's of mine in the next couple of months .. so the best time to get with them would be summer or fall.. It will more than likely take that much time to compile all of the material.  Let me know how it goes..

GG Allin 206045

[Addresses to reach him at after his release.]

The zine was fucking cool.. I just got it..


The project he was referring to was a music project we were working on.  His death ended the project as far as I was concerned, as I feared putting it out would make it look like I was exploiting him, and that was definitely not part of the plan.  I'm sure it would've made money, but I'm no vulture.

Letters from GG Allin 6

This letter came with a bunch of photocopied pictures, many of them signed by Allin.  One in particular, which I am too lazy to scan or I would, featured him sans pants standing on a Nazi flag and humping a statue of Jesus.  I think Disney is using that for a DVD cover or something.  Here's the letter, where Allin continues to rant against those who would dare question his loyalty to the rock 'n' roll mission.


Doug,

You tell those motherfucking non-believers to come to one of my shows.. Then they will understand just how fucking brutal of a reality I live in..  They live in a very 
[word is inked out] tight shell.. When they get close to me I'll break that fucking shell wide open.. So keep pissing them off.. Support the only real rock n roll mission that really does matter..  I'm in prison because our society cannot control my non-conformist R+R revolution... They never fucking will..  I'll be out in early 93..  Then I'll get my revenge.. Im [sic] unstoppable..

GG Allin 206045

PS. They don't let tapes in.. I can only receive money orders in any amount.. M.O. must include both my name and prison # Allin-206045.. If you want a copy of the Geraldo tape I can get it for you...


I did actually want a copy of that tape, and sent Allin some money for it.  He forwarded the money to Merle, his brother, and I never saw the tape.  Do I care?  Hell no!  I got a pic of Allin humping a Jesus statue while standing on a swastika.  Duh.  Who is the winner there?

Great Quotes from a GG Allin Press Release

As I was going through my papers, I found this three page press release for his next album.  (According to the end of the release, "GG Allin's new LP recorded in New York City, NY with the Murder Junkies to be announced soon [handwritten] is his first studio recording of all new material released in America since 1989.  Available on TBA soon [handwritten] Records. 

Here are some of the great quotes, which I think summed up GG Allin and his music pretty damn well.

"There is nothing anybody can do to shake up the underground anymore ... unless you are GG Allin who shits on stage and attacks women."  - Kim Gordon, Sonic Youth

"Allin says he leads the most violent rock 'n' roll band in the country.  We both agree that Allin's actions and lifestyle are among the most bizarre we have come across in decades of police work."  - Frank Hoy and Mary Smith, police detectives

"When it was too late, I realized my fate could have well been death." - GG Allin assault victim

"I've worked many murder cases, but this kind of behavior really sickens me." - anonymous New York City police officer

"Fights broke out, three people arrested and a near riot.  I blame GG Allin." - Lt. Bill Crook

"Mr. Allin's performance is a crime and the Constitution in this country does not save him.  Mr. Allin crossed the line in this performance." - Attorney Michael Steinhafel, prosecutor

"Failure to abide by the conditions of his parole and in lieu of the nature of his arrests in Florida and Texas (on stage) the parole board concluded that Mr. Allin is a risk to society at this time.  Maximum penalty suggested." -Michigan Department of Corrections

Who has picked up the mantle these days?  Nobody that I can think of.  Ah, the good ol' days ...