Big Black - Knowledge

1706:" Some critics viewed these defenses as mere justifications for actual deep-seated racism, homophobia, and misogyny on Albini's part, given his level of familiarity with the subject matter, but he insisted that he was not a prejudiced person and was merely satirizing those impulses that rational, civilized persons normally suppress in the course of social interaction: "So once that's given, once you know what you think, there's no reason to be ginger about what you say. A lot of people, they're very careful not to say things that might offend certain people or do anything that might be misinterpreted. But what they don't realize is that the point of all this is to change the way you live your life, not the way you speak." 1375:

four songs: "Cables", "Dead Billy", "Pigeon Kill", and "Racer-X". Albini explained that the performance was "not about Big Black wanting to get back together or even an audience wanting to see Big Black, it's that ... to not honor Touch and Go would be an insult by way of damning with faint praise", describing the label as " just a benchmark for how a record label should behave, but how people should behave." During the performance he stated that "You can tell not something we had a burning desire to do, but we did it because we love Touch and Go we love Corey Rusk When history talks about rock music it has a tendency to skip from the

884: 725:, paid for their own recordings, and signed no contracts. Durango later remarked that "We came from a punk perspective—we did not want to get sucked into a corporate culture where basically you're signing a contract because you don't trust the other person to live up to their word. We had ideals, and that was one of our ideals." The band members figured that if a record company were going to cheat them, they would be able to do so with or without a contract because the band could not afford to defend themselves. 44: 1052:, he drunkenly smashed the drum machine. Albini also accused Riley of a number of other shortcomings including lateness to rehearsals, always needing rides, and "flashes of brilliance offset by flashes of belligerence." However, though he made a number of threats, Albini never fired Riley. Another problem facing the band was that Riley was now in college and both Albini and Durango had to keep day jobs, which limited Big Black's ability to tour. When Durango announced that he intended to enter 1804:. Aesthetically, the band's firmly-held ideals, staunch independence, insistence on creative control, and stark lyrical topics had a significant impact on the developing independent rock community. "Big Black was a band that went where few bands dared to go (and where many felt bands shouldn't go)," writes Mark Deming, "and for good or ill their pervasive influence had a seismic impact on indie rock." Albini summed up several of the band's core ideals in his notes to the 980:, was also released through Homestead Records in 1986, but later that year Big Black had a falling out with the label and its distributor, Dutch East India Trading. According to Albini, Dutch East India's accounting practices were "always fucked. They would do every sleazy, cheap trick to avoid paying you, like send you a check that wasn't signed or send you a check that had a different numeral and literal amount." Homestead then asked to make five hundred copies of a 989:

United States and abroad as a high-priced "collector's item". Though Homestead claimed not to be selling copies, Albini telephoned one of the label's salespeople posing as a record buyer and was told that they would sell him copies, but not in Chicago. As a result of the deception, Albini and Big Black severed ties with Homestead and Dutch East India. Though the band was receiving lucrative offers from major labels, they chose to remain independent and signed to

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aesthetic battle plan. The lyrics were subject to change at whim once the subject had been decided on anyway. Anybody who thinks we overstepped the playground perimeter of lyrical decency (or that the public has any right to demand "social responsibility" from a goddamn punk rock band) is a pure mental dolt, and should step forward and put his tongue up my ass. What we sing about is none of your business anyway.

419: 1165: 1599:". The sound that Big Black forged for themselves, however, was wholly original: Azerrad remarks that "the band's music—jagged, brutal, loud, and nasty—was original to a downright confrontational degree. Big Black distilled years of post-punk and hardcore down to a sound resembling a singing saw blade mercillesly tearing through sheet metal. No one had made records that sounded so harsh." 695:

We never had a booking agent. We never had a lawyer. We never took an advance from a record company. We booked our own tours, paid our own bills, made our own mistakes and never had anybody shield us from either the truth or the consequences. The results of that methodology speak for themselves: Nobody ever told us what to do, and nobody took any of our money.

633:, transporting themselves and their equipment in a cramped car and sleeping on people's floors. Albini handled much of the band's logistics himself, setting up rehearsals, booking studio time, and arranging tours. With their reputation growing through small tours, he was able to set up a run of East Coast dates including performances in 1276:, and using few special effects. He is also known for recording almost any artist who requests his services (usually at very low rates but deliberately charging high amounts to artists on major record labels), disliking being credited on the albums he works on (insisting on being credited as a recording engineer rather than a 653:'s music press. Big Black simultaneously found themselves gaining popularity in their hometown, but felt embittered that the same locals who had snubbed them just months before were suddenly interested now that they had built a reputation outside the city, and the band actually refused to play in Chicago for some time. 1379:

to Nirvana, something started in the 1980s and you're seeing the evidence of it all around you", remarking that the label was "the best thing to happen to music in my lifetime, and we did this to say thanks". The performance prompted offers from promoters for further reunion shows, but Albini stated

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I am now quite happy to be breaking up. Things getting much too big and uncontrollable. All along we've wanted to keep our hands on everything, so nothing happened that we didn't want to. With international and multi-format/multi-territorial shit, that's proving elusive. I prefer to cut it off rather

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beginning in the fall semester of 1987, the band decided to keep going until he began school and then call it quits. Despite enjoying increased press, radio airplay, record sales, and concert fees, the band did not regret their decision and eschewed the idea of commercial success. According to Riley,

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was the only club in the city that was booking punk rock shows and was also large enough to accommodate Big Black, but after performing there Albini badmouthed the club in an interview and found himself banned from it permanently. Compounding the problem were the band's aggressive, noise-driven sound

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Tensions were also mounting within the band. Albini did not drink alcohol, so Riley and Durango became drinking buddies on the road while Albini was doing interviews and handling the band's logistics. Riley, however, was drinking to excess, and his behavior ruined several of the band's performances.

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EP, Pezzati amicably left the band due to his increasingly demanding job, the need to devote time to his fiancée, and the increasing popularity and busy schedule of Naked Raygun, of which he was still a member. Durango, meanwhile, opted to leave Naked Raygun to commit full-time to Big Black. Pezzati

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the band did not have to rent a tour van to fit all of their equipment. Thus Big Black was able to profit from most of their tours. They embarked on a 1984 national tour of the United States in preparation for their forthcoming Homestead EP, utilizing the close-knit network of independent rock bands

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through mutual friends and convinced him to play bass guitar with Big Black. Pezzati recalled that Albini "knew a heck of a lot about, right from the start, how to release a record and get the word out that you have a record", and that "He jumped at the chance to have a band play his stuff." The two

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Albini also emphasized that the songs' lyrics were not the focal point of Big Black, and that the vocals were only there out of necessity: "It seemed like, as instrumental music, it didn't have enough emotional intensity at times, so there would be vocals. But the vocals were not intended to be the

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commented that "Anybody who thinks rock and roll is alive and well in the infinite variety of its garage-boy permutations had better figure out how these Hitler Youth rejects could crush the competition and quit simultaneously. No matter what well-meaning rockers think of Steve Albini's supremacist

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It meant nothing to us if we were popular or not, or if we sold either a million or no records, so we were invulnerable to ploys by music scene weasels to get us to make mistakes in the name of success. To us, every moment we remained unfettered and in control was a success. We never had a manager.

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On September 9, 2006, Albini and Durango reunited with original bassist Jeff Pezzati for a Big Black reunion performance at Touch and Go's 25th Anniversary festival. Albini's touring schedule with Shellac did not allow time for the band to rehearse a full set, so they instead played a short set of

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EP in spring 1987. The cover artwork for the limited original edition of the EP was a pair of forensic photos of an accident victim whose head had been split down the middle, and the record was packaged in a black plastic "body bag" to conceal the artwork from sensitive consumers. A sticker on the

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states that the album "upped the ante on the musical and lyrical ferocity of Big Black's previous body of work, an unrelenting assault of guitar sounds and imagined violence of all sorts." Albini later remarked that "we just had a higher-than-average percentage of really good songs." The lyrics on

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remarked that "I was pulverized into near oblivion as wall after wall of frustration, heartache, hatred, death, disease, dis-use, disgust, mistrust, and maelstrom stormed the stage waging war with military precision insistently invading every open orifice with the strength of ten thousand bulls".

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and guitars that sound like shattering glass", while Kellman calls it "undeniably Big Black's brightest/bleakest moment, an epically roaming track that features an instantly memorable guitar intro, completely incapable of being accurately described by vocal imitation or physical gesture It's Big

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in 1985 and, according to Albini, "We didn't want our audience milked for extra money to buy an alternate format." A few weeks after the single's release, Albini began seeing copies for sale in record stores outside of Chicago. He soon found out that the 12-inch single was being sold both in the

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Albini believed that Big Black had nothing to gain by adopting the usual corporate trappings of rock bands: "If you don't use contracts, you don't have any contracts to worry about. If you don't have a tour rider, you don't have a tour rider to argue about. If you don't have a booking agent, you

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onstage before the band played, a tradition he carried on from their earliest performances through their dissolution and revived for their 2006 reunion set, and would count in most songs by yelling "One, two, fuck you!" While playing, the band members would slam their hands against their steel

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It seems preposterous now, but at the time, people seemed overly concerned about the literal meaning of our lyrics. I know we never discussed it amongst ourselves. Lyrics seemed a necessity, so we had them, but the subject matter was an extension of our interests — not part of a political or

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calls it "a scabrous masterpiece", while his colleague Andy Kellman states that "each is incisive enough to render a razor as effective as a butter knife. In sum: yowl, ching, thump-thump-screech. Ugly characters line up in the songs like early arrivals at a monster truck rally." Critic

1686:": "Given how intermingled the gay and punk subcultures were, it was assumed by anyone involved that open-mindedness, if not free-form experimentation, was the norm. With that assumption under your belt, joke all you like. The word 'fag' isn't just a gay term, it's funny on its own — 941:,' literally." Riley explained that the song was about the effects of boredom in rural America: "There's only two things to do: Go blow up a whole load of stuff for fun, or have a lot of sex with the one girl in town who'll have sex with anyone. 'Kerosene' is about a guy who tries to 1786:

Musically, Big Black's insistent drum machine rhythms, abrasive textures, and obsessively repeated riffs provided a major part of the blueprint for so-called industrial rock. Their bracingly intense music aside, the saving grace of the band's often obnoxious approach was that it was

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at many rock clubs were befuddled by the drum machine, afraid that it would not work with their sound system or would blow out their speakers, and the band would have to coerce the club owner or threaten to cancel the show in order to get them to put the drum machine through the

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Albini named his new musical project Big Black, calling the moniker "just sort of a reduction of the concept of a large, scary, ominous figure. All the historical images of fear and all the things that kids are afraid of are all big and black, basically." He used the

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and gone on to work at Homestead, negotiated an unorthodox deal for the band: Big Black merely licensed their recordings to Homestead for specific lengths of time, rather than the label retaining the rights to the recordings as was typical. Further, the band took no

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was a polarizing record that was praised in the national press and became an underground success, surpassing the band's expectations by selling three thousand copies soon after its release. Big Black secured a European distribution deal for their records through

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doing evil things that the average person might merely contemplate. Some, such as "Cables", "Pigeon Kill", and "Jordan, Minnesota", were based on real events, or things that Albini had witnessed during his Montana upbringing. He compared the stories to

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The members of Big Black have often been asked why we chose to break up (the end of the band having been announced well in advance) just when we were becoming quite popular. The best answer then and now is: To prevent us from overstaying our welcome.

1643:. "That's just what was interesting to me as a postcollegiate bohemian", he later remarked. "We didn't have a manifesto. Nothing was off-limits; it's just that that's what came up most of the time." Many of his songs told miniature short stories of 301:

and insisting on complete control over all aspects of their career. At the height of their success, they booked their own tours, paid for their own recordings, refused to sign contracts, and eschewed many of the traditional corporate trappings of

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didn't really seem intense most of the time—most of the time it just seemed childish. I guess that's how I would differentiate what we were doing from what other people were doing." Both Albini and Riley described Big Black as a punk rock band.

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EP, but Albini defended its use as a comical term, saying "in a way that's a play on the concept of a hateful word. Can a word that's so inherently hilarious be hateful? I don't know." He similarly defended his use of gay jokes and the word

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came downstairs and asked to play along. The trio clicked as a unit, Durango's ability to rework arrangements and tweak sounds helping to refine Albini's song ideas. According to Albini, "He ended up being absolutely crucial to Big Black."

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magazine wrote that the band's stark presentation of evil, deep-seated human impulses bolstered their work against criticism: "The topics are so deliberately loaded that you can't criticize their 'art' without looking like some fucking

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snips; the notch causing the pick to hit each string twice, creating the effect of two simultaneous guitar picks. Durango remarked: "I always thought that our guitar playing was not so much playing guitars, but assembling noises

800:). In Chicago he joined a band called Savage Beliefs, and his playing style impressed Albini and Durango, who invited him to join Big Black as they were recording the songs that would make up the band's first full-length album. 1330:

In 1992 Big Black's catalog reverted to Touch and Go Records, who re-released their entire discography and kept their records in print long after the band's breakup. That October the label released the live album and video

1028:, showing signs that the band was lagging creatively. Durango later remarked that "I was feeling tapped out ideawise. At that point I think we had tried everything that we wanted to try, musically and in the studio." 293:. Though the band's lyrics contained controversial material, the lyrics were meant to serve as a commentary or a display of distaste for the subject matter. They were staunchly critical of the commercial nature of 404:'d for the campus radio station, from which he was repeatedly fired for playing loud and abrasive music during the morning time slot as well as not completing the required logs. He also wrote a controversial 3929: 905: 1076:, half in London and half at Albini's home studio. Their final tours began in June 1987, taking them to Europe, the United Kingdom, Australia, and across the United States. They performed at the 729:

don't have a booking agent to argue with." Handling the tour booking, equipment hauling, setup, and breakdown of shows themselves also meant that the band did not have to hire a booking agent or

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The following Big Black songs were released on compilation albums. This is not an exhaustive list; songs that were first released on the band's albums, EPs, and singles are not included.

1020:, so don't get your hopes up, cheese!" According to Durango, "We didn't want to sit there and screw people. If we felt it wasn't as good, then we should just be honest about it." Indeed, 1710:

center of attention — the interaction within the band and the chaotic nature of the music, that was the important part." However, he did enjoy testing the tolerance of the white liberal

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drum machine and began writing what would become the first Big Black songs. However, he was unable to find other musicians who could play the songs to his satisfaction, later stating in

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to play on the sessions as accompaniment to the drum machine, which they dubbed "Roland" for album credits. Albini achieved a signature "clanky" sound with his guitar by using metal

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of "Il Duce" for free distribution to radio stations. The band agreed on the condition that the single was not to be offered for sale, since the song had already been released as a

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band was also liberating, as the members no longer had to be concerned with the group's future. Albini wrote that he was happy to be breaking up the band before it grew too big:

903: 1460:, normally the most human aspect of a rock band, became its most inhuman; it only made them sound more insidious, its relentlessness downright tyrannical." On tour, the 1472:

The band's guitar sound was also unconventional. Albini was determined to avoid the "standard rock stud guitar sound", and achieved a signature "clanky" sound by using

932:'s standout tracks, is viewed by both Azerrad and Allmusic's Andy Kellman as the band's peak performance. Azerrad remarks on its "powerful rhythm ripped straight from 904: 1142:

was released shortly after the band's breakup and went on to become their most successful record, with an initial pressing of eight thousand copies. Mark Deming of

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During performances of "Jordan, Minnesota", the band would reach a point where they would prolong a discordant, creepy noise while Albini would perform an intense

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sound culminates if not finishes off whole generations of punk and metal." Albini himself later considered the album's first side as Big Black's best output.

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in the fall of 1979, his senior year, while recuperating from a badly broken leg resulting from being struck by a car while riding his motorcycle. Moving to

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in his living room, handling the guitar, bass, and vocals by himself and programming the Roland TR-606 to provide the drum sound. Influenced by bands like

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in his audience and provoking reactions out of listeners, stating that one of the band's goals was "to have pointedly offensive records". Terri Sutton of

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about his experiences titled "Worthless Goddamn Cripple". In 2004 he participated in a musical project called Miasma of Funk, releasing the album

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thought-provoking. Big Black set a standard for freedom of expression and forthrightness that has been emulated to varying degrees ever since.

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committing evil acts that most people only sometimes contemplate: "Big Money" deals with a corrupt police officer, "Bazooka Joe" profiles a

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with whom they would have to share profits. The lack of a drummer also meant one less member to split profits with, and since there was no

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Part of Big Black's local unpopularity stemmed from Albini and the vitriol he regularly directed at Chicago's rock scene: by 1985, the

5010: 1452:, rather than the second and fourth beats typically accented in rock music. "The effect was a monolithic pummeling, an attack", says 1112:). Albini wrote of the experience that "If I die right now it will all have been worth it." In the United States the band played in 5045: 1763:. "It was actually very disturbing to watch", says Durango, "It would really get people unsettled." The band would respond to 617:

released, Big Black drew very small crowds in their native Chicago. They began venturing outside of Illinois to play shows in

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Albini "sorta conned" small local label Fever Records into financing the next Big Black EP, bringing in drummer Pat Byrne of

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with acidic comebacks or deliberately offensive jokes. Describing the intensity of a January 1987 Big Black performance in

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and Albini's confrontational lyrics, which tested the tolerance of his white liberal audience by mercilessly satirizing

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in 1995, which was initially erroneously reported as a suicide attempt. Having lost the ability to walk, he authored a

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that "I couldn't find anybody who didn't blow out of a pig's asshole." Instead, in the spring of 1981, he bought a

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Big Black's music was influenced by a number of genres and artists. Albini was a fan of punk rock bands including

4022: 768:'s release in April 1985. Riley had moved to Chicago in 1982 from Detroit, where he had worked at a studio where 3963: 1748:

worn around his waist like a belt, and would "prowl the stage like a spindly gunslinger", according to Azerrad.

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that saw a large number of the rural town's adults indicted on charges of involvement in a huge child sex ring.

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Big Black's music challenged convention, pursuing an abrasive sound that was more aggressive than contemporary

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Through their aggressive guitar playing and use of a drum machine, Big Black's music served as a precursor to

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Durango, meanwhile, continued to play music during his law school years, releasing two EPs on Touch and Go as

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Big Black's aggressive and abrasive music was characterized by distinctively clanky guitars and the use of a

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recalls that "It looked like someone had plugged Steve into the amp he was pretty scary to watch onstage."

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by guitars." He and Albini respectively billed their guitars as "vroom" and "skinng" in the liner notes for

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and exploded them into something much huger than anyone but Albini had ever imagined", while Mark Deming of

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and other controversial topics, and Albini later regarded the effort as one of his few artistic regrets.

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Onstage, Big Black presented an intense spectacle to match their music. Albini would set off a brick of

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and ground like a dentist's drill, creating a groundbreaking and monolithic dissonance in the process."

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and danceability to the band, while Albini and Durango's guitar work was more violent than ever before.

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Big Black's songs explored the dark side of American culture in unforgiving detail, acknowledging no

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with Sonic Youth on July 22, Albini's 25th birthday. At a sold-out show in London for 1,300 people,

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and dealt frankly—and often explicitly—with politically and culturally loaded topics including

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who was attending Northwestern, but the two proved incompatible as musicians. Albini passed

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notched with sheet metal clips, creating the effect of two guitar picks at once. The

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With their breakup announced well in advance, Big Black recorded their final album,

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comments that "by this time Big Black had both refined the ideas first suggested on

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Looking for better distribution of their records, Big Black negotiated a deal with

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lies, they lie themselves if they dismiss what he does with electric guitars—that

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Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991

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placed strategically around the performance room, keeping vocals very low in the

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and stuff like that didn't really seem intense to me, it seemed comical to me.

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and released in December 1983, with the first two hundred copies packaged in a

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drum machine, the model Albini used to create Big Black's early drum sound

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tape to try to enlist other musicians to the project, briefly recruiting

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as "cold, dark, and resolutely unlistenable", with the lyrics describing

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that "The next one's gonna make you shit your pants." Big Black's first

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Albini claimed to be aiming for a "big, massive, slick rock sound" with

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Albini began playing in college bands, including a short-lived "arty

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practiced in Pezzati's basement, and one day Naked Raygun guitarist

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The band's drum machine is credited as "Roland" on their releases.

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as though he were one of the children from the song's lyrics being

1640: 1552: 1493: 1441: 1414: 1303:. Riley recorded tracks with the groups Algebra Suicide, Bull, and 1292: 1143: 996: 842: 820: 734: 478: 386: 290: 258: 4960: 4915: 4858: 3156: 3150: 2564: 2313: 2108: 1806: 1764: 1720: 1524: 1508: 1497: 1333: 1177: 1133: 1081: 858: 755: 686: 626: 598: 393: 49: 3930:"Big Black, Scratch Acid, GVSB to reunite for Touch and Go fest" 1341:

during the band's final tours, as well as the compilation album

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Organizationally, we were committed to a few basic principles:

1695: 1636: 1616: 1556: 1440:. Rather than attempt to make it emulate the sound of a normal 1338: 1308: 1296: 1201: 1121: 830: 666: 662: 649:, followed by a European tour on which they won acclaim in the 638: 602: 520: 449: 286: 270: 3565: 3563: 3561: 2518:

cover included as a one-sided single with issue No. 9 of

3254:"Dave Riley, Bassist for Noise Rockers Big Black, Dead at 59" 2734:(dir. Joe Losurdo and Christina Tillman) (2007) - Documentary 1628: 1608: 1473: 1236:. Some of his most well-known recordings include the Pixies' 1189: 1164: 282: 266: 4744: 1496:

remarks that "The group's guitars alternately sliced like a

456:

from a friend in exchange for a case of beer, and spent his

3558: 3382: 3380: 1760: 1620: 1520: 1519:. When Riley joined the band in 1985 he brought with him a 1312: 1184:

from 1992 until his death in 2024. He also began work as a

1049: 769: 409: 274: 4049:"Critic's Notebook; 'Those Were the Days,' the Punk Remix" 4023:"Performance and Interview Footage (Video) from Big Black" 1847:

programming (1981–1987; died 2024); bass guitar (1981–82);

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at Northwestern, Albini immersed himself in the fledgling

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on their fingers. Albini used a specially-made hip-slung

1740:

so hard that they would draw blood, often needing to put

1383:

Albini died at age 61 on May 7, 2024, of a heart attack.

1176:

Following Big Black's breakup, Albini formed and fronted

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In addition to two studio albums, Big Black released two

4252: 4250: 4248: 3377: 2966:"Steve Albini Interview - 2/5/16 - For WUSB Stony Brook" 1824:

Operate as much as possible apart from the "music scene"

993:, Albini being good friends with label head Corey Rusk. 780:

had recorded (he is credited as a recording engineer on

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Blurry and Disconnected: Tales of Sink-or-Swim Nihilism

1673:

Albini's lyrics drew criticism for apparent racism and

1323:. Riley died December 24, 2019, at the age of 59, from 1321:

Blurry and Disconnected: Tales of Sink-or-Swim Nihilism

815:

was released, stating in the last sentence of the EP's

337:. Most of the band's catalog was kept in print through 2950: 2948: 2731:

You Weren't There: A History of Chicago Punk 1977-1984

527:, and bloody pieces of paper thrown into the inserts. 4245: 3964:"Big Black Live at Touch & Go's 25th Anniversary" 1535:

had recorded. During their career Big Black recorded

1284:

for his work (calling them "an insult to the band").

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than have it turn into another Gross Rock Spectacle.

1024:

recycled many of the same sounds and themes found on

3861: 3829: 1865:– bass guitar, backing vocals (1985–1987; died 2019) 3680: 3678: 3225: 3223: 3183: 3181: 3179: 3123: 3121: 3084: 3082: 3043: 3041: 3031: 3029: 2945: 1611:. Albini's lyrics openly dealt with such topics as 1009:Big Black's first release for Touch and Go was the 4191: 4189: 3902:"Big Black added to Touch and Go 25th Anniversary" 3710: 2938: 2936: 1816:Treat everyone with as much respect as he deserves 1417:has associated their sound with both hardcore and 1327:that began in his throat and spread to his lungs. 1299:, with clients including Touch and Go Records and 741: 608: 530: 56:in 1986; left to right: Riley, Albini, and Durango 18:For the bodyguard and television personality, see 4219: 1820:Avoid people who appeal to our vanity or ambition 1380:flatly "that is definitely not going to happen." 349: 4992: 4333: 4289: 4177: 4017: 4015: 3675: 3540:"BIG BLACK AT THE GEORGETOWN STEAM PLANT POSTER" 3324: 3220: 3176: 3118: 3079: 3038: 3026: 716:, who had befriended Albini through writing for 396:punk scene and became a devoted fan of the band 4376: 4374: 4372: 4362: 4360: 4358: 4356: 4354: 4342: 4317: 4315: 4313: 4303: 4301: 4186: 4122: 4120: 4110: 4108: 4106: 4096: 4094: 4092: 3692: 3690: 3525: 3523: 3521: 3519: 3517: 3515: 3513: 3503: 3501: 3499: 3497: 3467: 3465: 3463: 3444: 3442: 3440: 3421: 3419: 3417: 3415: 3413: 3361: 3359: 3357: 3317: 3315: 3313: 3311: 3309: 3307: 3305: 3295: 3293: 3291: 3289: 3287: 3285: 3213: 3211: 3209: 3207: 3197: 3195: 3193: 3102: 3100: 3098: 3096: 3094: 3063: 3061: 3059: 3057: 3055: 3053: 2933: 2646:"Hunter's Safety (Tommy Bartlett Dies in Pain)" 1436:A major component of Big Black's music was the 4072: 3487: 3485: 3483: 3481: 3479: 3477: 3001: 2999: 2997: 2995: 2993: 2910: 2908: 2906: 2904: 2902: 2900: 2898: 2896: 2894: 2892: 2750: 2748: 4760: 4012: 3654: 3652: 753:In late 1984, following the recording of the 538:In early 1983 Albini met Naked Raygun singer 361:in 1981 during his second year of college at 4369: 4351: 4324: 4310: 4298: 4280: 4117: 4103: 4089: 4073:Corcocan, Nina; Monroe, Jazz (May 8, 2024). 3687: 3510: 3494: 3460: 3437: 3410: 3368: 3354: 3302: 3282: 3204: 3190: 3167: 3091: 3050: 1108:of the song as a single in conjunction with 408:titled "Tired of Ugly Fat?" for the Chicago 234:, who played on Big Black's two full-length 3957: 3955: 3713:The Penguin Book of Rock & Roll Writing 3474: 2990: 2889: 2745: 2536:cover that was included with copies of the 1826:(which was never our stomping ground), and 1539:of songs from a number of styles including 515:on to John Babbin of the small local label 4767: 4753: 4129: 3923: 3921: 3919: 3649: 3141: 3139: 3137: 3135: 3133: 601:town that dealt with an overpopulation of 265:. The band's lyrics flouted commonly held 3593: 2865: 2863: 2861: 2859: 2857: 2855: 2853: 2851: 2849: 2847: 2845: 2843: 2841: 2839: 2837: 2835: 2833: 2831: 2829: 2827: 2825: 2823: 2821: 2819: 2817: 2815: 2813: 2811: 2809: 2149:released through a subsidiary imprint of 4154: 3961: 3952: 3628: 3622: 2807: 2805: 2803: 2801: 2799: 2797: 2795: 2793: 2791: 2789: 2525: 2135: 1367:was expanded to include the tracks from 1163: 417: 5006:American industrial rock musical groups 3927: 3916: 3658: 3247: 3245: 3243: 3241: 3239: 3237: 3235: 3130: 2754: 1853:– bass guitar, backing vocals (1983–84) 1828:Take no shit from anyone in the process 865:, "Stinking Drunk" describes a violent 738:to learn of cities and venues to play. 4993: 4046: 3987: 3981: 3962:Lapatine, Scott (September 11, 2006). 3705: 3699: 3145: 2507: 1926: 434:" act called Stations that featured a 5061:Musical groups disestablished in 1987 5021:Alternative rock groups from Illinois 5016:American post-hardcore musical groups 4748: 4047:Sanneh, Kelefa (September 14, 2006). 3801: 3599: 2786: 2156: 1421:and described them as influential to 3899: 3893: 3251: 3232: 2591: 1859:– guitar, backing vocals (1983–1987) 1726: 1096:joined Big Black onstage to play an 4256: 4225: 4195: 3569: 3386: 3330: 1869: 1363:format. The re-released version of 1280:, if at all), and refusing to take 956:, a label recommended to Albini by 797:The Electric Spanking of War Babies 764:, who joined Big Black the week of 597:, and "Pigeon Kill", about a rural 341:for years following their breakup. 230:. In 1985, Pezzati was replaced by 13: 5056:Musical groups established in 1981 5051:1987 disestablishments in Illinois 5036:Ruthless Records (Chicago) artists 2963: 2869: 1260:(1998). In 1997 he opened his own 882: 14: 5077: 4447: 3749: 2618:The Middle of America Compilation 2236: 1319:, and in 2006 published the book 1159: 869:, and "Fists of Love" presents a 5011:American noise rock music groups 4977: 4976: 4160: 3988:Orzeck, Kurt (August 11, 2006). 3252:Grow, Kory (December 26, 2019). 1980: 1307:before being incapacitated by a 1016:EP's cover read "Not as good as 919:Problems playing this file? See 901: 369:during his high school years in 42: 5046:1981 establishments in Illinois 4884:The Rich Man's Eight Track Tape 4716: 4691: 4666: 4641: 4616: 4587: 4558: 4529: 4500: 4471: 4441: 4412: 4383: 4066: 4040: 3928:Carioli, Carly (July 2, 2006). 3874:The Rich Man's Eight Track Tape 3795: 3773: 3743: 3629:Neoteric (September 15, 2007). 3532: 3451: 3428: 3273: 3109: 3070: 3017: 3008: 2543: 2213:The Rich Man's Eight Track Tape 1523:background, having worked at a 1344:The Rich Man's Eight Track Tape 1188:, working with artists such as 609:1984: Touring and label signing 605:by feeding them poisoned corn. 381:the following year to pursue a 2981: 2972: 2957: 2059: 1879: 1295:. He then became a practicing 807:, which was less frantic than 1: 4774: 3900:Paul, Aubin (June 29, 2006). 2738: 2522:, and limited to 500 copies. 1957:of Big Black consists of two 1822:(they always have an angle), 1347:, which combined tracks from 1254:(1996), and Page and Plant's 1168:Steve Albini performing with 373:, and taught himself to play 365:. Albini had become a fan of 261:, elements that foreshadowed 22:. For the percussionist, see 5041:Touch and Go Records artists 4940:"He's a Whore" / "The Model" 3659:Briehan, Tom (May 8, 2024). 2461:"He's a Whore" / "The Model" 1779: 1104:" (Big Black had released a 7: 3755:"Worthless Goddamn Cripple" 2723: 1651:Ripley's Believe It or Not! 484:Our Band Could Be Your Life 10: 5082: 2365: 2219:Released: October 12, 1987 1834: 344: 297:, shunning the mainstream 17: 5031:Homestead Records artists 4974: 4948: 4932: 4893: 4868: 4843: 4818: 4782: 3661:"Steve Albini Dead At 61" 3155:(CD booklet). Big Black. 2770:Little, Brown and Company 2702:Label: Chemical Imbalance 2490:Released: October 5, 1992 2431: 2380: 2115:Released: October 5, 1992 1943: 1935: 1925: 1917: 1909: 1901: 1893: 1886: 1602: 481:, the EP is described by 357:Big Black was founded by 350:1981–1982: Formation and 335:independent record labels 170: 166: 132: 113: 77: 66: 61: 41: 34: 5066:Au Go Go Records artists 4699:"He's a Whore/The Model" 1391: 1386: 452:, borrowed a four-track 2679:"Every Man for Himself" 2465:Released: July 13, 1987 2444:Released: July 13, 1987 2295:Released: December 1983 2264:Released: December 1982 1977:, and one video album. 1425:as well as pioneers of 1325:squamous cell carcinoma 1257:Walking into Clarksdale 363:Northwestern University 29:American punk rock band 4163:"Effigies – Biography" 3783:. Top Scrap Recordings 3684:"Azerrad, pp. 343–345. 2694:Happiness Is Dry Pants 2626:Label: HID Productions 2090:Label: Walls Have Ears 1832: 1789: 1662: 1301:Cynthia Plaster Caster 1180:from 1987 to 1989 and 1173: 1130:Georgetown Steam Plant 1068: 1036: 887: 697: 531:1983: Full lineup and 427: 62:Background information 4348:Azerrad, pp. 332–333. 4295:Azerrad, pp. 312–313. 4228:"Review: 'Heartbeat'" 4183:Azerrad, pp. 329–330. 3457:Azerrad, pp. 337–339. 3434:Azerrad, pp. 335–337. 3279:Azerrad, pp. 328–329. 3187:Azerrad, pp. 326–327. 3127:Azerrad, pp. 324–326. 3115:Azerrad, pp. 321–322. 3088:Azerrad, pp. 320–321. 3076:Azerrad, pp. 318–321. 3047:Azerrad, pp. 318–319. 3035:Azerrad, pp. 317–318. 3014:Azerrad, pp. 316–317. 2987:Azerrad, pp. 315-316. 2954:Azerrad, pp. 314–315. 2942:Azerrad, pp. 313–314. 2872:"Big Black Biography" 2715:"Burning Indian Wife" 2348:Released: Spring 1987 1888:Big Black discography 1812: 1784: 1657: 1167: 1063: 1048:During a key show at 1031: 886: 692: 673:, and stereotypes of 565:EP was recorded with 421: 4728:Touch and Go Records 4724:"God's Favorite Dog" 4703:Touch and Go Records 4678:Touch and Go Records 4628:Touch and Go Records 4603:Touch and Go Records 4574:Touch and Go Records 4545:Touch and Go Records 4516:Touch and Go Records 4487:Touch and Go Records 4428:Touch and Go Records 4399:Touch and Go Records 4339:Azerrad, pp. 324–325 4027:Touch and Go Records 3940:on November 10, 2008 3880:Touch and Go Records 3848:Touch and Go Records 3761:on February 27, 2010 3229:Azerrad, pp. 328–330 3161:Touch and Go Records 2920:Touch and Go Records 1317:Groove on the Mania! 991:Touch and Go Records 945:the two pleasures." 339:Touch and Go Records 24:Big Black (musician) 5026:Blast First artists 4834:Songs About Fucking 4422:Songs About Fucking 3633:Songs About Fucking 3607:Songs About Fucking 3574:Songs About Fucking 3546:. December 16, 2017 2532:"In My House" is a 2493:Label: Touch and Go 2468:Label: Touch and Go 2033:Songs About Fucking 1583:'s "He's a Whore", 1291:and recording with 1251:Razorblade Suitcase 1214:the Wedding Present 1140:Songs About Fucking 1073:Songs About Fucking 1003:Songs About Fucking 928:"Kerosene", one of 681:like "darkie" and " 460:week recording the 454:multitrack recorder 247:Songs About Fucking 4869:Compilation albums 4053:The New York Times 3934:The Boston Phoenix 2658:God's Favorite Dog 2157:Compilation albums 1967:compilation albums 1910:Compilation albums 1843:– vocals, guitar, 1690:— like the words ' 1242:(1988), Nirvana's 1186:recording engineer 1174: 888: 677:, sometimes using 428: 379:Evanston, Illinois 323:compilation albums 279:child sexual abuse 212:Evanston, Illinois 71:Evanston, Illinois 20:Christopher Boykin 4988: 4987: 3601:Christgau, Robert 3544:Jive Time Records 2916:"Big Black: Info" 2721: 2720: 2592:Other appearances 2589: 2588: 2514:"Rema-Rema" is a 2505: 2504: 2363: 2362: 2234: 2233: 2145:is an authorized 2133: 2132: 2057: 2056: 1951: 1950: 1944:Other appearances 1742:adhesive bandages 1727:Live performances 1559:; these included 1492:. Mark Deming of 965:compilation album 906: 894:"Kerosene", from 875:Jordan, Minnesota 710:Homestead Records 585:Public Image Ltd. 523:, photographs of 371:Missoula, Montana 201: 200: 5073: 4980: 4979: 4949:Related articles 4877:The Hammer Party 4802:Santiago Durango 4769: 4762: 4755: 4746: 4745: 4739: 4738: 4736: 4734: 4720: 4714: 4713: 4711: 4709: 4695: 4689: 4688: 4686: 4684: 4670: 4664: 4663: 4661: 4659: 4645: 4639: 4638: 4636: 4634: 4620: 4614: 4613: 4611: 4609: 4591: 4585: 4584: 4582: 4580: 4562: 4556: 4555: 4553: 4551: 4533: 4527: 4526: 4524: 4522: 4504: 4498: 4497: 4495: 4493: 4481:The Hammer Party 4475: 4469: 4468: 4466: 4464: 4448:Mason, Stewart. 4445: 4439: 4438: 4436: 4434: 4416: 4410: 4409: 4407: 4405: 4387: 4381: 4380:Azerrad, p. 313. 4378: 4367: 4366:Azerrad, p. 333. 4364: 4349: 4346: 4340: 4337: 4331: 4330:Azerrad, p. 325. 4328: 4322: 4321:Azerrad, p. 324. 4319: 4308: 4307:Azerrad, p. 329. 4305: 4296: 4293: 4287: 4286:Azerrad, p. 312. 4284: 4278: 4277: 4275: 4273: 4254: 4243: 4242: 4240: 4238: 4223: 4217: 4216: 4214: 4212: 4193: 4184: 4181: 4175: 4174: 4172: 4170: 4158: 4152: 4151: 4149: 4147: 4133: 4127: 4126:Azerrad, p. 336. 4124: 4115: 4114:Azerrad, p. 326. 4112: 4101: 4100:Azerrad, p. 320. 4098: 4087: 4086: 4084: 4082: 4070: 4064: 4063: 4061: 4059: 4044: 4038: 4037: 4035: 4033: 4019: 4010: 4009: 4007: 4005: 4000:on July 26, 2009 3996:. 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Archived from 3747: 3741: 3740: 3716: 3703: 3697: 3696:Azerrad, p. 344. 3694: 3685: 3682: 3673: 3672: 3670: 3668: 3656: 3647: 3646: 3644: 3642: 3626: 3620: 3619: 3617: 3615: 3597: 3591: 3590: 3588: 3586: 3567: 3556: 3555: 3553: 3551: 3536: 3530: 3529:Azerrad, p. 341. 3527: 3508: 3507:Azerrad, p. 340. 3505: 3492: 3491:Azerrad, p. 338. 3489: 3472: 3471:Azerrad, p. 339. 3469: 3458: 3455: 3449: 3448:Azerrad, p. 337. 3446: 3435: 3432: 3426: 3425:Azerrad, p. 335. 3423: 3408: 3407: 3405: 3403: 3391:The Hammer Party 3384: 3375: 3374:Azerrad, p. 334. 3372: 3366: 3365:Azerrad, p. 332. 3363: 3352: 3351: 3349: 3347: 3328: 3322: 3321:Azerrad, p. 331. 3319: 3300: 3299:Azerrad, p. 330. 3297: 3280: 3277: 3271: 3270: 3268: 3266: 3249: 3230: 3227: 3218: 3217:Azerrad, p. 328. 3215: 3202: 3201:Azerrad, p. 327. 3199: 3188: 3185: 3174: 3173:Azerrad, p. 342. 3171: 3165: 3164: 3143: 3128: 3125: 3116: 3113: 3107: 3106:Azerrad, p. 322. 3104: 3089: 3086: 3077: 3074: 3068: 3067:Azerrad, p. 319. 3065: 3048: 3045: 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Sputnikmusic 3621: 3592: 3557: 3531: 3509: 3493: 3473: 3459: 3450: 3436: 3427: 3409: 3376: 3367: 3353: 3323: 3301: 3281: 3272: 3231: 3219: 3203: 3189: 3175: 3166: 3129: 3117: 3108: 3090: 3078: 3069: 3049: 3037: 3025: 3016: 3007: 2989: 2980: 2971: 2956: 2944: 2932: 2888: 2870:Deming, Mark. 2785: 2778: 2743: 2742: 2740: 2737: 2736: 2735: 2725: 2722: 2719: 2718: 2717: 2716: 2711: 2710: 2709: 2703: 2700: 2699:Released: 1987 2690: 2686: 2685: 2684: 2683: 2680: 2675: 2674: 2673: 2670: 2664: 2663:Released: 1986 2654: 2650: 2649: 2648: 2647: 2644: 2635: 2634: 2633: 2627: 2624: 2623:Released: 1984 2614: 2610: 2609: 2606: 2603: 2593: 2590: 2587: 2586: 2585: 2584: 2578: 2572: 2571:Released: 1992 2560: 2556: 2555: 2554:Album details 2552: 2545: 2542: 2503: 2502: 2501: 2500: 2494: 2491: 2479: 2475: 2474: 2473: 2472: 2469: 2466: 2457: 2456: 2455: 2454: 2451: 2445: 2433: 2429: 2428: 2427: 2426: 2420: 2414: 2413:Released: 1985 2405: 2404: 2403: 2402: 2396: 2390: 2389:Released: 1985 2382: 2378: 2377: 2374: 2367: 2364: 2361: 2360: 2359: 2358: 2355: 2349: 2337: 2333: 2332: 2331: 2330: 2327: 2321: 2320:Released: 1985 2309: 2305: 2304: 2303: 2302: 2299: 2296: 2284: 2280: 2279: 2278: 2277: 2271: 2265: 2253: 2249: 2248: 2245: 2238: 2237:Extended plays 2235: 2232: 2231: 2230: 2229: 2226: 2220: 2208: 2204: 2203: 2202: 2201: 2191: 2185: 2184:Released: 1986 2173: 2169: 2168: 2167:Album details 2165: 2158: 2155: 2131: 2130: 2129: 2128: 2122: 2116: 2104: 2100: 2099: 2098: 2097: 2091: 2088: 2087:Released: 1987 2076: 2072: 2071: 2070:Album details 2068: 2061: 2058: 2055: 2054: 2053: 2052: 2046: 2040: 2039:Released: 1987 2028: 2024: 2023: 2022: 2021: 2015: 2009: 2008:Released: 1986 1997: 1993: 1992: 1991:Album details 1989: 1982: 1979: 1949: 1948: 1945: 1941: 1940: 1937: 1933: 1932: 1929: 1923: 1922: 1919: 1915: 1914: 1911: 1907: 1906: 1903: 1899: 1898: 1895: 1891: 1890: 1881: 1878: 1867: 1866: 1860: 1854: 1848: 1836: 1833: 1783: 1781: 1778: 1738:guitar strings 1728: 1725: 1656: 1604: 1601: 1537:cover versions 1529:George Clinton 1404:of intensity. 1393: 1390: 1388: 1385: 1337:, recorded in 1234:Page and Plant 1161: 1160:Post-Big Black 1158: 1030: 1006: 995: 982:12-inch single 916: 910: 900: 892: 891: 890: 881: 880: 879: 861:who becomes a 787:Trombipulation 774:George Clinton 750: 740: 691: 651:United Kingdom 610: 607: 535: 529: 354: 348: 346: 343: 333:, all through 299:music industry 257:rather than a 199: 198: 197: 196: 191: 186: 181: 174: 168: 167: 164: 163: 161: 160: 155: 150: 145: 142: 136: 134: 130: 129: 127: 126: 123: 119: 117: 111: 110: 108: 107: 102: 97: 92: 87: 81: 79: 75: 74: 68: 64: 63: 59: 58: 47: 39: 38: 35: 28: 9: 6: 4: 3: 2: 5078: 5067: 5064: 5062: 5059: 5057: 5054: 5052: 5049: 5047: 5044: 5042: 5039: 5037: 5034: 5032: 5029: 5027: 5024: 5022: 5019: 5017: 5014: 5012: 5009: 5007: 5004: 5002: 4999: 4998: 4996: 4983: 4973: 4967: 4964: 4962: 4959: 4957: 4954: 4953: 4951: 4947: 4941: 4938: 4937: 4935: 4931: 4925: 4924: 4920: 4918: 4917: 4913: 4911: 4910: 4906: 4904: 4903: 4899: 4898: 4896: 4892: 4886: 4885: 4881: 4879: 4878: 4874: 4873: 4871: 4867: 4861: 4860: 4856: 4854: 4853: 4849: 4848: 4846: 4842: 4836: 4835: 4831: 4829: 4828: 4824: 4823: 4821: 4819:Studio albums 4817: 4811: 4810: 4806: 4804: 4803: 4799: 4797: 4796: 4792: 4790: 4789: 4785: 4784: 4781: 4777: 4770: 4765: 4763: 4758: 4756: 4751: 4750: 4747: 4729: 4725: 4719: 4704: 4700: 4694: 4679: 4675: 4669: 4654: 4650: 4644: 4629: 4625: 4619: 4604: 4600: 4598: 4590: 4575: 4571: 4569: 4561: 4546: 4542: 4540: 4532: 4517: 4513: 4511: 4503: 4488: 4484: 4482: 4474: 4459: 4455: 4453: 4444: 4429: 4425: 4423: 4415: 4400: 4396: 4394: 4386: 4377: 4375: 4373: 4363: 4361: 4359: 4357: 4355: 4345: 4336: 4327: 4318: 4316: 4314: 4304: 4302: 4292: 4283: 4268: 4264: 4262: 4253: 4251: 4249: 4233: 4229: 4222: 4207: 4203: 4201: 4192: 4190: 4180: 4164: 4161:Huey, Steve. 4157: 4142: 4138: 4132: 4123: 4121: 4111: 4109: 4107: 4097: 4095: 4093: 4076: 4069: 4054: 4050: 4043: 4028: 4024: 4018: 4016: 3999: 3995: 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3147:Albini, Steve 3142: 3140: 3138: 3136: 3134: 3124: 3122: 3112: 3103: 3101: 3099: 3097: 3095: 3085: 3083: 3073: 3064: 3062: 3060: 3058: 3056: 3054: 3044: 3042: 3032: 3030: 3020: 3011: 3002: 3000: 2998: 2996: 2994: 2984: 2975: 2967: 2960: 2951: 2949: 2939: 2937: 2921: 2917: 2911: 2909: 2907: 2905: 2903: 2901: 2899: 2897: 2895: 2893: 2877: 2873: 2866: 2864: 2862: 2860: 2858: 2856: 2854: 2852: 2850: 2848: 2846: 2844: 2842: 2840: 2838: 2836: 2834: 2832: 2830: 2828: 2826: 2824: 2822: 2820: 2818: 2816: 2814: 2812: 2810: 2808: 2806: 2804: 2802: 2800: 2798: 2796: 2794: 2792: 2790: 2781: 2779:0-316-78753-1 2775: 2771: 2767: 2763: 2762: 2757: 2751: 2749: 2744: 2733: 2732: 2728: 2727: 2714: 2713: 2712: 2708: 2704: 2701: 2698: 2697: 2696: 2695: 2691: 2688: 2687: 2681: 2678: 2677: 2676: 2671: 2669: 2665: 2662: 2661: 2660: 2659: 2655: 2652: 2651: 2645: 2642: 2638: 2637: 2636: 2632: 2628: 2625: 2622: 2621: 2620: 2619: 2615: 2612: 2611: 2607: 2604: 2601: 2600: 2597: 2583: 2579: 2577: 2573: 2570: 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2082: 2077: 2074: 2073: 2069: 2066: 2065: 2051: 2047: 2045: 2041: 2038: 2037: 2036: 2035: 2034: 2029: 2026: 2025: 2020: 2016: 2014: 2010: 2007: 2006: 2005: 2004: 2003: 1998: 1995: 1994: 1990: 1987: 1986: 1981:Studio albums 1978: 1976: 1972: 1968: 1964: 1960: 1959:studio albums 1956: 1946: 1942: 1938: 1934: 1930: 1924: 1920: 1916: 1912: 1908: 1904: 1900: 1896: 1894:Studio albums 1892: 1885: 1877: 1875: 1871: 1864: 1861: 1858: 1855: 1852: 1849: 1846: 1842: 1839: 1838: 1831: 1829: 1825: 1821: 1817: 1811: 1809: 1808: 1803: 1797: 1795: 1788: 1777: 1774: 1770: 1766: 1762: 1758: 1753: 1751: 1750:Gerard Cosloy 1747: 1743: 1739: 1734: 1724: 1722: 1717: 1713: 1707: 1701: 1697: 1693: 1689: 1685: 1680: 1676: 1670: 1668: 1661: 1655: 1653: 1652: 1646: 1642: 1638: 1634: 1630: 1626: 1622: 1618: 1614: 1610: 1600: 1598: 1594: 1590: 1586: 1582: 1578: 1574: 1570: 1566: 1562: 1558: 1554: 1550: 1546: 1542: 1538: 1534: 1530: 1527:studio where 1526: 1522: 1518: 1514: 1510: 1506: 1501: 1499: 1495: 1491: 1487: 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Retrieved 2759: 2729: 2693: 2692: 2668:Touch and Go 2657: 2656: 2617: 2616: 2595: 2576:Touch and Go 2563: 2562: 2544:Video albums 2537: 2529: 2526: 2524: 2519: 2511: 2508: 2506: 2481: 2460: 2449:Touch and Go 2435: 2422:Format: 7", 2408: 2384: 2353:Touch and Go 2340: 2339: 2312: 2311: 2298:Label: Fever 2287: 2286: 2256: 2255: 2224:Touch and Go 2211: 2210: 2176: 2175: 2142: 2139: 2136: 2134: 2124:Format: LP, 2120:Touch and Go 2107: 2106: 2079: 2078: 2048:Format: LP, 2044:Touch and Go 2031: 2030: 2000: 1999: 1952: 1918:Video albums 1873: 1870: 1868: 1851:Jeff Pezzati 1845:drum machine 1841:Steve Albini 1827: 1823: 1819: 1815: 1813: 1805: 1799: 1790: 1785: 1768: 1754: 1746:guitar strap 1733:firecrackers 1730: 1715: 1708: 1700:gefilte fish 1688:phonetically 1678: 1672: 1667:Steve Albini 1663: 1658: 1649: 1606: 1517:Naked Raygun 1502: 1489: 1485: 1477:guitar picks 1471: 1438:drum machine 1435: 1401: 1395: 1382: 1373: 1368: 1364: 1361:compact disc 1359:" single in 1352: 1348: 1342: 1332: 1329: 1320: 1316: 1286: 1255: 1249: 1243: 1237: 1198:the Breeders 1175: 1139: 1138: 1109: 1090:Graham Lewis 1080:festival in 1071: 1069: 1064: 1046: 1041:Steve Albini 1037: 1032: 1025: 1021: 1017: 1010: 1008: 1002: 998: 977: 973: 972:, combining 967: 962: 948: 947: 942: 934:Gang of Four 929: 927: 918: 895: 847: 838: 824: 812: 808: 804: 802: 795: 785: 765: 754: 752: 747: 743: 727: 717: 707: 702:Steve Albini 698: 693: 655: 614: 612: 588: 570:Iain Burgess 560: 557:guitar picks 550: 540:Jeff Pezzati 537: 532: 512: 509:Lyle Preslar 505:Minor Threat 500: 497: 482: 475:Killing Joke 461: 458:spring break 443: 436:drum machine 429: 412: 398:Naked Raygun 359:Steve Albini 356: 351: 316: 314:rock music. 255:drum machine 252: 245: 239: 228:Naked Raygun 224:Jeff Pezzati 222:and bassist 216:Steve Albini 203: 202: 184:Jeff Pezzati 179:Steve Albini 172:Past members 158:Touch and Go 115:Years active 15: 4844:Live albums 4674:"Heartbeat" 4077:. Pitchfork 3803:Riley, Dave 3751:Riley, Dave 3663:. Stereogum 2641:Big Payback 2484:In My House 2385:"Rema-Rema" 2151:Blast First 2060:Live albums 1963:live albums 1955:discography 1902:Live albums 1880:Discography 1773:Lydia Lunch 1692:hockey puck 1625:child abuse 1597:In My House 1591:", and the 1581:Cheap Trick 1569:The Payback 1565:James Brown 1513:the Stooges 1481:sheet metal 1479:notched by 1406:Heavy metal 1377:Sex Pistols 1355:, and the " 1270:microphones 1239:Surfer Rosa 1100:of Wire's " 958:Sonic Youth 954:Blast First 817:liner notes 742:1985–1986: 679:pejoratives 623:Minneapolis 577:sheet metal 385:degree and 375:bass guitar 329:, and five 319:live albums 312:underground 308:independent 244:(1986) and 153:Blast First 4995:Categories 4809:Dave Riley 4165:. AllMusic 3725:. p. 2739:References 2682:"Crack Up" 2672:Format: LP 2643:" (premix) 2471:Format: 7" 2453:Format: 7" 2357:Format: EP 2329:Format: EP 2301:Format: EP 2228:Format: CD 1863:Dave Riley 1675:homophobia 1645:sociopaths 1633:immolation 1613:mutilation 1427:noise rock 1423:indie rock 1402:indicators 1218:Superchunk 1118:Providence 1054:law school 921:media help 852:sociopaths 850:presented 792:Funkadelic 782:Parliament 762:Dave Riley 671:chauvinism 647:Danceteria 613:Even with 579:sleeve in 574:galvanized 507:guitarist 400:. He also 383:journalism 304:rock bands 232:Dave Riley 226:, both of 210:band from 194:Dave Riley 90:noise rock 5001:Big Black 4909:Bulldozer 4776:Big Black 4733:March 27, 4708:March 27, 4683:March 27, 4658:March 27, 4649:"Il Duce" 4633:March 27, 4624:"Il Duce" 4608:March 27, 4579:March 27, 4550:March 27, 4539:Bulldozer 4521:March 27, 4492:March 27, 4463:March 27, 4450:"Review: 4433:March 27, 4404:March 27, 4272:March 27, 4259:"Review: 4237:March 28, 4211:March 28, 4198:"Review: 4146:March 11, 4058:March 27, 4032:March 27, 4004:March 27, 3973:March 27, 3968:Stereogum 3944:March 27, 3908:March 27, 3885:March 26, 3853:March 26, 3787:March 26, 3765:March 25, 3641:March 21, 3631:"Review: 3614:March 21, 3605:"Review: 3585:March 21, 3572:"Review: 3402:March 23, 3389:"Review: 3346:March 20, 3333:"Review: 3163:. TG81CD. 2925:March 24, 2881:March 20, 2608:Track(s) 2516:Rema-Rema 2438:Heartbeat 2418:Homestead 2409:"Il Duce" 2325:Homestead 2289:Bulldozer 2189:Homestead 2013:Homestead 1780:Influence 1757:pantomime 1589:The Model 1585:Kraftwerk 1577:Heartbeat 1561:Rema-Rema 1549:hard rock 1541:post-punk 1533:Sly Stone 1456:, "their 1419:post-punk 1398:punk rock 1357:Heartbeat 1282:royalties 1222:PJ Harvey 1154:Killdozer 1102:Heartbeat 1078:Pukkelpop 1059:lame duck 978:Bulldozer 937:Black's ' 867:alcoholic 823:, 1986's 809:Bulldozer 778:Sly Stone 731:road crew 615:Bulldozer 590:Metal Box 562:Bulldozer 533:Bulldozer 525:Bruce Lee 367:punk rock 208:punk rock 204:Big Black 148:Homestead 122:1981–1987 95:post-punk 85:Punk rock 36:Big Black 4982:Category 4923:Headache 4827:Atomizer 4653:Allmusic 4597:Headache 4458:Allmusic 4393:Atomizer 4267:Allmusic 4232:Allmusic 4206:Allmusic 4141:AllMusic 3994:MTV News 3805:(2006). 3719:New York 3709:(1992). 3580:Allmusic 3397:Allmusic 3341:Allmusic 3335:Atomizer 3265:March 8, 3149:(1991). 2876:Allmusic 2766:New York 2758:(2001). 2724:See also 2705:Format: 2629:Format: 2580:Format: 2496:Format: 2398:Format: 2342:Headache 2273:Format: 2269:Ruthless 2193:Format: 2093:Format: 2017:Format: 2002:Atomizer 1765:hecklers 1716:Puncture 1712:hipsters 1641:misogyny 1553:synthpop 1547:, funk, 1545:new wave 1494:AllMusic 1490:Atomizer 1467:monitors 1442:drum kit 1415:AllMusic 1353:Headache 1349:Atomizer 1293:Boss Hog 1278:producer 1245:In Utero 1144:Allmusic 1110:Headache 1026:Atomizer 1022:Headache 1018:Atomizer 1012:Headache 999:Headache 949:Atomizer 930:Atomizer 896:Atomizer 848:Atomizer 843:Allmusic 826:Atomizer 772:artists 748:Atomizer 735:drum kit 595:abattoir 567:engineer 479:the Cure 432:new wave 387:fine art 291:misogyny 259:drum kit 250:(1987). 241:Atomizer 140:Ruthless 4966:Shellac 4961:Rapeman 4933:Singles 4916:Racer-X 4859:Pigpile 4568:Racer-X 4200:Racer-X 4169:May 12, 3842:Pigpile 3157:Chicago 3152:Pigpile 2968:. 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