Big Black - Knowledge

1717:" 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." 1386:

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

736:, 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. 1063:, 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 1815:. 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 895: 991:, 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 1000:

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.

1610:". 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." 430: 706:

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.

1176: 644:, 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 1287:, 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 664:'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. 1390:

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

1697:": "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 — 952:,' 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 1797:

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.

1654:. "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 312:

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

811:). 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. 1341:

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

1039:, 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." 304:. 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 415:'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 3938: 1087:, 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 740:

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

1411:. Albini explained that the band strove for intensity, stating that their goal was to make "something that felt intense when we went through it, rather than something that had little coded 2605:

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.

1031:, 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, 1721:

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:

1471:, 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 1483:

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

5014: 943:'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 1153:

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

1455:, the band chose to exploit the idiosyncrasies of its synthetic sounds. On many songs Albini programmed it to accent the first and third 840:, found the band at their most musically developed and aggressive level yet. Riley's funk background brought a slightly greater sense of 4775: 4083: 2506: 922:"Kerosene" is cited by several critics as Big Black's peak; an "epically roaming track" with "guitars that sound like shattering glass". 807: 915: 667:

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

5039: 4892: 2221: 1354: 1463:, rather than the second and fourth beats typically accented in rock music. "The effect was a monolithic pummeling, an attack", says 5074: 3829: 3743: 2786: 1722: 1123:). 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 1774:. "It was actually very disturbing to watch", says Durango, "It would really get people unsettled." The band would respond to 628:

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

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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

3999:"Move Over, Fall Out Boy: Touch and Go Records Is Retaking Chicago" 1887:

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

1770:

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

1314:. Riley recorded tracks with the groups Algebra Suicide, Bull, and 1639: 1619: 1484: 1200: 1174: 428: 293: 277: 3939:"Big Black, Scratch Acid, GVSB to reunite for Touch and Go fest" 1771: 1631: 1531: 1352:

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

1323: 1060: 780: 420: 285: 4757: 3767: 1825:

Organizationally, we were committed to a few basic principles:

1451:. Rather than attempt to make it emulate the sound of a normal 660:, followed by a European tour on which they won acclaim in the 3574: 3572: 3570: 2590: 2527:

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

3263:"Dave Riley, Bassist for Noise Rockers Big Black, Dead at 59" 2743:(dir. Joe Losurdo and Christina Tillman) (2007) - Documentary 1247:. Some of his most well-known recordings include the Pixies' 4753: 1507:

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

893: 467:

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

3391: 3389: 1530:. When Riley joined the band in 1985 he brought with him a 1195:

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

4058:"Critic's Notebook; 'Those Were the Days,' the Punk Remix" 4032:"Performance and Interview Footage (Video) from Big Black" 1858:

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

403:

at Northwestern, Albini immersed himself in the fledgling

1755:

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

1751:

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

1394:

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

1187:

Following Big Black's breakup, Albini formed and fronted

328:

In addition to two studio albums, Big Black released two

4261: 4259: 4257: 2975:"Steve Albini Interview - 2/5/16 - For WUSB Stony Brook" 1835:

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

1004:, Albini being good friends with label head Corey Rusk. 791:

had recorded (he is credited as a recording engineer on

3875: 3873: 3843: 3841: 3817:

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

1684:

Albini's lyrics drew criticism for apparent racism and

1334:. Riley died December 24, 2019, at the age of 59, from 1332:

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

826:

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

348:. Most of the band's catalog was kept in print through 2959: 2957: 2740:

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

538:, and bloody pieces of paper thrown into the inserts. 3973:"Big Black Live at Touch & Go's 25th Anniversary" 1546:

had recorded. During their career Big Black recorded

1295:

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

1077:

than have it turn into another Gross Rock Spectacle.

1035:

recycled many of the same sounds and themes found on

1876:– bass guitar, backing vocals (1985–1987; died 2019) 4957: 4941: 4902: 4877: 4852: 4827: 3689: 3687: 3234: 3232: 3192: 3190: 3188: 3132: 3130: 3093: 3091: 3052: 3050: 3040: 3038: 1952: 1944: 1936: 1928: 1920: 1912: 1904: 1897: 1622:. Albini's lyrics openly dealt with such topics as 1020:Big Black's first release for Touch and Go was the 181: 177: 143: 124: 88: 77: 72: 45: 4200: 4198: 3911:"Big Black added to Touch and Go 25th Anniversary" 3719: 2947: 2945: 1827:Treat everyone with as much respect as he deserves 1428:has associated their sound with both hardcore and 1338:that began in his throat and spread to his lungs. 1310:, with clients including Touch and Go Records and 67:in 1986; left to right: Riley, Albini, and Durango 29:For the bodyguard and television personality, see 1831:Avoid people who appeal to our vanity or ambition 1391:flatly "that is definitely not going to happen." 4026: 4024: 3549:"BIG BLACK AT THE GEORGETOWN STEAM PLANT POSTER" 727:, who had befriended Albini through writing for 407:punk scene and became a devoted fan of the band 4385: 4383: 4381: 4371: 4369: 4367: 4365: 4363: 4326: 4324: 4322: 4312: 4310: 4131: 4129: 4119: 4117: 4115: 4105: 4103: 4101: 3701: 3699: 3534: 3532: 3530: 3528: 3526: 3524: 3522: 3512: 3510: 3508: 3506: 3476: 3474: 3472: 3453: 3451: 3449: 3430: 3428: 3426: 3424: 3422: 3370: 3368: 3366: 3326: 3324: 3322: 3320: 3318: 3316: 3314: 3304: 3302: 3300: 3298: 3296: 3294: 3222: 3220: 3218: 3216: 3206: 3204: 3202: 3111: 3109: 3107: 3105: 3103: 3072: 3070: 3068: 3066: 3064: 3062: 2655:"Hunter's Safety (Tommy Bartlett Dies in Pain)" 1795: 1668: 1447:A major component of Big Black's music was the 1042: 703: 3496: 3494: 3492: 3490: 3488: 3486: 3010: 3008: 3006: 3004: 3002: 2919: 2917: 2915: 2913: 2911: 2909: 2907: 2905: 2903: 2901: 2759: 2757: 4769: 3663: 3661: 764:In late 1984, following the recording of the 549:In early 1983 Albini met Naked Raygun singer 372:in 1981 during his second year of college at 8: 4082:Corcocan, Nina; Monroe, Jazz (May 8, 2024). 1119:of the song as a single in conjunction with 419:titled "Tired of Ugly Fat?" for the Chicago 245:, who played on Big Black's two full-length 3966: 3964: 3722:The Penguin Book of Rock & Roll Writing 2545:cover that was included with copies of the 1837:(which was never our stomping ground), and 1550:of songs from a number of styles including 526:on to John Babbin of the small local label 4776: 4762: 4754: 3932: 3930: 3928: 3150: 3148: 3146: 3144: 3142: 612:town that dealt with an overpopulation of 276:. The band's lyrics flouted commonly held 42: 2874: 2872: 2870: 2868: 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: 2158:released through a subsidiary imprint of 2816: 2814: 2812: 2810: 2808: 2806: 2804: 2802: 2800: 2798: 2607: 2556: 2378: 2249: 2169: 2072: 1993: 1378:was expanded to include the tracks from 5015:American industrial rock musical groups 3256: 3254: 3252: 3250: 3248: 3246: 3244: 2753: 1864:– bass guitar, backing vocals (1983–84) 1839:Take no shit from anyone in the process 876:, "Stinking Drunk" describes a violent 749:to learn of cities and venues to play. 3971:Lapatine, Scott (September 11, 2006). 1894: 929: 445:" act called Stations that featured a 5070:Musical groups disestablished in 1987 5030:Alternative rock groups from Illinois 5025:American post-hardcore musical groups 4056:Sanneh, Kelefa (September 14, 2006). 1432:and described them as influential to 7: 1870:– guitar, backing vocals (1983–1987) 1107:joined Big Black onstage to play an 1374:format. The re-released version of 1291:, if at all), and refusing to take 967:, a label recommended to Albini by 808:The Electric Spanking of War Babies 775:, who joined Big Black the week of 608:, and "Pigeon Kill", about a rural 352:for years following their breakup. 241:. In 1985, Pezzati was replaced by 5065:Musical groups established in 1981 5060:1987 disestablishments in Illinois 5045:Ruthless Records (Chicago) artists 1271:(1998). In 1997 he opened his own 25: 2627:The Middle of America Compilation 1330:, and in 2006 published the book 880:, and "Fists of Love" presents a 5020:American noise rock music groups 4986: 4985: 3997:Orzeck, Kurt (August 11, 2006). 3261:Grow, Kory (December 26, 2019). 1318:before being incapacitated by a 1027:EP's cover read "Not as good as 930:Problems playing this file? See 912: 380:during his high school years in 53: 5055:1981 establishments in Illinois 4893:The Rich Man's Eight Track Tape 3937:Carioli, Carly (July 2, 2006). 3883:The Rich Man's Eight Track Tape 3638:Neoteric (September 15, 2007). 2222:The Rich Man's Eight Track Tape 1534:background, having worked at a 1355:The Rich Man's Eight Track Tape 1199:, working with artists such as 620:1984: Touring and label signing 616:by feeding them poisoned corn. 392:the following year to pursue a 1306:. He then became a practicing 818:, which was less frantic than 1: 3909:Paul, Aubin (June 29, 2006). 2531:, and limited to 500 copies. 1966:of Big Black consists of two 1833:(they always have an angle), 1358:, which combined tracks from 1265:(1996), and Page and Plant's 1179:Steve Albini performing with 384:, and taught himself to play 376:. Albini had become a fan of 272:, elements that foreshadowed 33:. For the percussionist, see 5050:Touch and Go Records artists 4949:"He's a Whore" / "The Model" 3668:Briehan, Tom (May 8, 2024). 2470:"He's a Whore" / "The Model" 1115:" (Big Black had released a 3764:"Worthless Goddamn Cripple" 1662:Ripley's Believe It or Not! 495:Our Band Could Be Your Life 5091: 2228:Released: October 12, 1987 308:, shunning the mainstream 28: 5040:Homestead Records artists 4983: 4791: 3670:"Steve Albini Dead At 61" 3164:(CD booklet). Big Black. 2779:Little, Brown and Company 2711:Label: Chemical Imbalance 2499:Released: October 5, 1992 2440: 2389: 2124:Released: October 5, 1992 492:, the EP is described by 368:Big Black was founded by 361:1981–1982: Formation and 346:independent record labels 52: 5075:Au Go Go Records artists 4708:"He's a Whore/The Model" 463:, borrowed a four-track 2688:"Every Man for Himself" 2474:Released: July 13, 1987 2453:Released: July 13, 1987 2304:Released: December 1983 2273:Released: December 1982 1986:, and one video album. 1436:as well as pioneers of 1336:squamous cell carcinoma 1268:Walking into Clarksdale 374:Northwestern University 40:American punk rock band 4172:"Effigies – Biography" 3792:. Top Scrap Recordings 3693:"Azerrad, pp. 343–345. 2703:Happiness Is Dry Pants 2635:Label: HID Productions 2099:Label: Walls Have Ears 1843: 1800: 1673: 1312:Cynthia Plaster Caster 1191:from 1987 to 1989 and 1184: 1141:Georgetown Steam Plant 1079: 1047: 898: 708: 542:1983: Full lineup and 438: 73:Background information 4357:Azerrad, pp. 332–333. 4304:Azerrad, pp. 312–313. 4237:"Review: 'Heartbeat'" 4192:Azerrad, pp. 329–330. 3466:Azerrad, pp. 337–339. 3443:Azerrad, pp. 335–337. 3288:Azerrad, pp. 328–329. 3196:Azerrad, pp. 326–327. 3136:Azerrad, pp. 324–326. 3124:Azerrad, pp. 321–322. 3097:Azerrad, pp. 320–321. 3085:Azerrad, pp. 318–321. 3056:Azerrad, pp. 318–319. 3044:Azerrad, pp. 317–318. 3023:Azerrad, pp. 316–317. 2996:Azerrad, pp. 315-316. 2963:Azerrad, pp. 314–315. 2951:Azerrad, pp. 313–314. 2881:"Big Black Biography" 2724:"Burning Indian Wife" 2357:Released: Spring 1987 1899:Big Black discography 1823: 1178: 1074: 1059:During a key show at 897: 684:, and stereotypes of 576:EP was recorded with 432: 4737:Touch and Go Records 4733:"God's Favorite Dog" 4712:Touch and Go Records 4687:Touch and Go Records 4637:Touch and Go Records 4612:Touch and Go Records 4583:Touch and Go Records 4554:Touch and Go Records 4525:Touch and Go Records 4496:Touch and Go Records 4437:Touch and Go Records 4408:Touch and Go Records 4348:Azerrad, pp. 324–325 4036:Touch and Go Records 3949:on November 10, 2008 3889:Touch and Go Records 3857:Touch and Go Records 3770:on February 27, 2010 3238:Azerrad, pp. 328–330 3170:Touch and Go Records 2929:Touch and Go Records 1328:Groove on the Mania! 1002:Touch and Go Records 956:the two pleasures." 350:Touch and Go Records 35:Big Black (musician) 5035:Blast First artists 4843:Songs About Fucking 4431:Songs About Fucking 3642:Songs About Fucking 3616:Songs About Fucking 3583:Songs About Fucking 3555:. December 16, 2017 2541:"In My House" is a 2502:Label: Touch and Go 2477:Label: Touch and Go 2042:Songs About Fucking 1594:'s "He's a Whore", 1302:and recording with 1262:Razorblade Suitcase 1225:the Wedding Present 1151:Songs About Fucking 1084:Songs About Fucking 1014:Songs About Fucking 939:"Kerosene", one of 692:like "darkie" and " 471:week recording the 465:multitrack recorder 258:Songs About Fucking 4878:Compilation albums 4062:The New York Times 3943:The Boston Phoenix 2667:God's Favorite Dog 2166:Compilation albums 1976:compilation albums 1921:Compilation albums 1854:– vocals, guitar, 1701:— like the words ' 1253:(1988), Nirvana's 1197:recording engineer 1185: 899: 688:, sometimes using 439: 390:Evanston, Illinois 334:compilation albums 290:child sexual abuse 223:Evanston, Illinois 82:Evanston, Illinois 31:Christopher Boykin 4997: 4996: 3610:Christgau, Robert 3553:Jive Time Records 2925:"Big Black: Info" 2730: 2729: 2601:Other appearances 2598: 2597: 2523:"Rema-Rema" is a 2514: 2513: 2372: 2371: 2243: 2242: 2154:is an authorized 2142: 2141: 2066: 2065: 1960: 1959: 1953:Other appearances 1753:adhesive bandages 1738:Live performances 1570:; these included 1503:. Mark Deming of 976:compilation album 917: 905:"Kerosene", from 886:Jordan, Minnesota 721:Homestead Records 596:Public Image Ltd. 534:, photographs of 382:Missoula, Montana 212: 211: 16:(Redirected from 5082: 4989: 4988: 4958:Related articles 4886:The Hammer Party 4811:Santiago Durango 4778: 4771: 4764: 4755: 4748: 4747: 4745: 4743: 4729: 4723: 4722: 4720: 4718: 4704: 4698: 4697: 4695: 4693: 4679: 4673: 4672: 4670: 4668: 4654: 4648: 4647: 4645: 4643: 4629: 4623: 4622: 4620: 4618: 4600: 4594: 4593: 4591: 4589: 4571: 4565: 4564: 4562: 4560: 4542: 4536: 4535: 4533: 4531: 4513: 4507: 4506: 4504: 4502: 4490:The Hammer Party 4484: 4478: 4477: 4475: 4473: 4457:Mason, Stewart. 4454: 4448: 4447: 4445: 4443: 4425: 4419: 4418: 4416: 4414: 4396: 4390: 4389:Azerrad, p. 313. 4387: 4376: 4375:Azerrad, p. 333. 4373: 4358: 4355: 4349: 4346: 4340: 4339:Azerrad, p. 325. 4337: 4331: 4330:Azerrad, p. 324. 4328: 4317: 4316:Azerrad, p. 329. 4314: 4305: 4302: 4296: 4295:Azerrad, p. 312. 4293: 4287: 4286: 4284: 4282: 4263: 4252: 4251: 4249: 4247: 4232: 4226: 4225: 4223: 4221: 4202: 4193: 4190: 4184: 4183: 4181: 4179: 4167: 4161: 4160: 4158: 4156: 4142: 4136: 4135:Azerrad, p. 336. 4133: 4124: 4123:Azerrad, p. 326. 4121: 4110: 4109:Azerrad, p. 320. 4107: 4096: 4095: 4093: 4091: 4079: 4073: 4072: 4070: 4068: 4053: 4047: 4046: 4044: 4042: 4028: 4019: 4018: 4016: 4014: 4009:on July 26, 2009 4005:. Archived from 3994: 3988: 3987: 3985: 3983: 3968: 3959: 3958: 3956: 3954: 3945:. Archived from 3934: 3923: 3922: 3920: 3918: 3906: 3900: 3899: 3897: 3895: 3877: 3868: 3867: 3865: 3863: 3845: 3836: 3835: 3824:: Contortmedia. 3822:Warsaw, Illinois 3808: 3802: 3801: 3799: 3797: 3790:"Miasma of Funk" 3786: 3780: 3779: 3777: 3775: 3766:. Archived from 3756: 3750: 3749: 3725: 3712: 3706: 3705:Azerrad, p. 344. 3703: 3694: 3691: 3682: 3681: 3679: 3677: 3665: 3656: 3655: 3653: 3651: 3635: 3629: 3628: 3626: 3624: 3606: 3600: 3599: 3597: 3595: 3576: 3565: 3564: 3562: 3560: 3545: 3539: 3538:Azerrad, p. 341. 3536: 3517: 3516:Azerrad, p. 340. 3514: 3501: 3500:Azerrad, p. 338. 3498: 3481: 3480:Azerrad, p. 339. 3478: 3467: 3464: 3458: 3457:Azerrad, p. 337. 3455: 3444: 3441: 3435: 3434:Azerrad, p. 335. 3432: 3417: 3416: 3414: 3412: 3400:The Hammer Party 3393: 3384: 3383:Azerrad, p. 334. 3381: 3375: 3374:Azerrad, p. 332. 3372: 3361: 3360: 3358: 3356: 3337: 3331: 3330:Azerrad, p. 331. 3328: 3309: 3308:Azerrad, p. 330. 3306: 3289: 3286: 3280: 3279: 3277: 3275: 3258: 3239: 3236: 3227: 3226:Azerrad, p. 328. 3224: 3211: 3210:Azerrad, p. 327. 3208: 3197: 3194: 3183: 3182:Azerrad, p. 342. 3180: 3174: 3173: 3152: 3137: 3134: 3125: 3122: 3116: 3115:Azerrad, p. 322. 3113: 3098: 3095: 3086: 3083: 3077: 3076:Azerrad, p. 319. 3074: 3057: 3054: 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Punknews.org 3901: 3869: 3837: 3830: 3803: 3781: 3751: 3744: 3707: 3695: 3683: 3657: 3646:. Sputnikmusic 3630: 3601: 3566: 3540: 3518: 3502: 3482: 3468: 3459: 3445: 3436: 3418: 3385: 3376: 3362: 3332: 3310: 3290: 3281: 3240: 3228: 3212: 3198: 3184: 3175: 3138: 3126: 3117: 3099: 3087: 3078: 3058: 3046: 3034: 3025: 3016: 2998: 2989: 2980: 2965: 2953: 2941: 2897: 2879:Deming, Mark. 2794: 2787: 2752: 2751: 2749: 2746: 2745: 2744: 2734: 2731: 2728: 2727: 2726: 2725: 2720: 2719: 2718: 2712: 2709: 2708:Released: 1987 2699: 2695: 2694: 2693: 2692: 2689: 2684: 2683: 2682: 2679: 2673: 2672:Released: 1986 2663: 2659: 2658: 2657: 2656: 2653: 2644: 2643: 2642: 2636: 2633: 2632:Released: 1984 2623: 2619: 2618: 2615: 2612: 2602: 2599: 2596: 2595: 2594: 2593: 2587: 2581: 2580:Released: 1992 2569: 2565: 2564: 2563:Album details 2561: 2554: 2551: 2512: 2511: 2510: 2509: 2503: 2500: 2488: 2484: 2483: 2482: 2481: 2478: 2475: 2466: 2465: 2464: 2463: 2460: 2454: 2442: 2438: 2437: 2436: 2435: 2429: 2423: 2422:Released: 1985 2414: 2413: 2412: 2411: 2405: 2399: 2398:Released: 1985 2391: 2387: 2386: 2383: 2376: 2373: 2370: 2369: 2368: 2367: 2364: 2358: 2346: 2342: 2341: 2340: 2339: 2336: 2330: 2329:Released: 1985 2318: 2314: 2313: 2312: 2311: 2308: 2305: 2293: 2289: 2288: 2287: 2286: 2280: 2274: 2262: 2258: 2257: 2254: 2247: 2246:Extended plays 2244: 2241: 2240: 2239: 2238: 2235: 2229: 2217: 2213: 2212: 2211: 2210: 2200: 2194: 2193:Released: 1986 2182: 2178: 2177: 2176:Album details 2174: 2167: 2164: 2140: 2139: 2138: 2137: 2131: 2125: 2113: 2109: 2108: 2107: 2106: 2100: 2097: 2096:Released: 1987 2085: 2081: 2080: 2079:Album details 2077: 2070: 2067: 2064: 2063: 2062: 2061: 2055: 2049: 2048:Released: 1987 2037: 2033: 2032: 2031: 2030: 2024: 2018: 2017:Released: 1986 2006: 2002: 2001: 2000:Album details 1998: 1991: 1988: 1958: 1957: 1954: 1950: 1949: 1946: 1942: 1941: 1938: 1934: 1933: 1930: 1926: 1925: 1922: 1918: 1917: 1914: 1910: 1909: 1906: 1902: 1901: 1892: 1889: 1878: 1877: 1871: 1865: 1859: 1847: 1844: 1794: 1792: 1789: 1749:guitar strings 1739: 1736: 1667: 1615: 1612: 1548:cover versions 1540:George Clinton 1415:of intensity. 1404: 1401: 1399: 1396: 1348:, recorded in 1245:Page and Plant 1172: 1171:Post-Big Black 1169: 1041: 1017: 1006: 993:12-inch single 927: 921: 911: 903: 902: 901: 892: 891: 890: 872:who becomes a 798:Trombipulation 785:George Clinton 761: 751: 702: 662:United Kingdom 621: 618: 546: 540: 365: 359: 357: 354: 344:, all through 310:music industry 268:rather than a 210: 209: 208: 207: 202: 197: 192: 185: 179: 178: 175: 174: 172: 171: 166: 161: 156: 153: 147: 145: 141: 140: 138: 137: 134: 130: 128: 122: 121: 119: 118: 113: 108: 103: 98: 92: 90: 86: 85: 79: 75: 74: 70: 69: 58: 50: 49: 46: 39: 24: 18:Il Duce (song) 14: 13: 10: 9: 6: 4: 3: 2: 5087: 5076: 5073: 5071: 5068: 5066: 5063: 5061: 5058: 5056: 5053: 5051: 5048: 5046: 5043: 5041: 5038: 5036: 5033: 5031: 5028: 5026: 5023: 5021: 5018: 5016: 5013: 5011: 5008: 5007: 5005: 4992: 4982: 4976: 4973: 4971: 4968: 4966: 4963: 4962: 4960: 4956: 4950: 4947: 4946: 4944: 4940: 4934: 4933: 4929: 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4201: 4199: 4195: 4189: 4186: 4173: 4170:Huey, Steve. 4166: 4163: 4151: 4147: 4141: 4138: 4132: 4130: 4126: 4120: 4118: 4116: 4112: 4106: 4104: 4102: 4098: 4085: 4078: 4075: 4063: 4059: 4052: 4049: 4037: 4033: 4027: 4025: 4021: 4008: 4004: 4000: 3993: 3990: 3978: 3974: 3967: 3965: 3961: 3948: 3944: 3940: 3933: 3931: 3929: 3925: 3912: 3905: 3902: 3890: 3886: 3884: 3876: 3874: 3870: 3858: 3854: 3852: 3844: 3842: 3838: 3833: 3831:0-9777353-0-3 3827: 3823: 3819: 3818: 3813: 3807: 3804: 3791: 3785: 3782: 3769: 3765: 3761: 3755: 3752: 3747: 3745:0-670-84559-0 3741: 3737: 3733: 3729: 3724: 3723: 3717: 3711: 3708: 3702: 3700: 3696: 3690: 3688: 3684: 3671: 3664: 3662: 3658: 3645: 3643: 3634: 3631: 3619: 3617: 3611: 3605: 3602: 3590: 3586: 3584: 3575: 3573: 3571: 3567: 3559:September 20, 3554: 3550: 3544: 3541: 3535: 3533: 3531: 3529: 3527: 3525: 3523: 3519: 3513: 3511: 3509: 3507: 3503: 3497: 3495: 3493: 3491: 3489: 3487: 3483: 3477: 3475: 3473: 3469: 3463: 3460: 3454: 3452: 3450: 3446: 3440: 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1905:Studio albums 1903: 1896: 1890: 1888: 1886: 1882: 1875: 1872: 1869: 1866: 1863: 1860: 1857: 1853: 1850: 1849: 1845: 1842: 1840: 1836: 1832: 1828: 1822: 1820: 1819: 1814: 1808: 1806: 1799: 1790: 1788: 1785: 1781: 1777: 1773: 1769: 1764: 1762: 1761:Gerard Cosloy 1758: 1754: 1750: 1745: 1737: 1735: 1733: 1728: 1724: 1718: 1712: 1708: 1704: 1700: 1696: 1691: 1687: 1681: 1679: 1672: 1666: 1664: 1663: 1657: 1653: 1649: 1645: 1641: 1637: 1633: 1629: 1625: 1621: 1613: 1611: 1609: 1605: 1601: 1597: 1593: 1589: 1585: 1581: 1577: 1573: 1569: 1565: 1561: 1557: 1553: 1549: 1545: 1541: 1538:studio where 1537: 1533: 1529: 1525: 1521: 1517: 1512: 1510: 1506: 1502: 1498: 1493: 1489: 1486: 1481: 1479: 1474: 1470: 1466: 1462: 1458: 1454: 1450: 1445: 1443: 1442:post-hardcore 1439: 1435: 1431: 1427: 1422: 1421:Hardcore punk 1418: 1414: 1410: 1402: 1397: 1395: 1392: 1389: 1383: 1381: 1377: 1373: 1369: 1365: 1361: 1357: 1356: 1351: 1347: 1346: 1339: 1337: 1333: 1329: 1325: 1321: 1317: 1313: 1309: 1305: 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691: 687: 686:homosexuality 683: 679: 675: 670: 669:Metro Chicago 665: 663: 659: 655: 654:New York City 651: 647: 643: 639: 635: 631: 627: 619: 617: 615: 611: 607: 603: 602: 597: 593: 589: 586: 582: 579: 575: 574: 569: 565: 564:Urge Overkill 560: 557: 552: 545: 541: 539: 537: 533: 529: 525: 521: 517: 513: 507: 505: 504:child abusers 501: 497: 496: 491: 487: 483: 479: 476: 475: 470: 466: 462: 458: 457: 452: 451:Roland TR-606 448: 444: 436: 435:Roland TR-606 431: 427: 425: 422: 418: 414: 410: 406: 402: 399: 395: 391: 387: 383: 379: 375: 371: 364: 360: 355: 353: 351: 347: 343: 339: 335: 331: 326: 324: 320: 316: 311: 307: 303: 299: 295: 291: 287: 283: 279: 275: 271: 267: 262: 260: 259: 254: 253: 248: 247:studio albums 244: 240: 236: 232: 228: 224: 220: 216: 206: 203: 201: 198: 196: 193: 191: 188: 187: 186: 180: 176: 170: 167: 165: 162: 160: 157: 154: 152: 149: 148: 146: 142: 135: 132: 131: 129: 123: 117: 116:post-hardcore 114: 112: 109: 107: 104: 102: 99: 97: 94: 93: 91: 87: 83: 80: 76: 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Retrieved 2768: 2738: 2702: 2701: 2677:Touch and Go 2666: 2665: 2626: 2625: 2604: 2585:Touch and Go 2572: 2571: 2553:Video albums 2546: 2538: 2535: 2533: 2528: 2520: 2517: 2515: 2490: 2469: 2458:Touch and Go 2444: 2431:Format: 7", 2417: 2393: 2362:Touch and Go 2349: 2348: 2321: 2320: 2307:Label: Fever 2296: 2295: 2265: 2264: 2233:Touch and Go 2220: 2219: 2185: 2184: 2151: 2148: 2145: 2143: 2133:Format: LP, 2129:Touch and Go 2116: 2115: 2088: 2087: 2057:Format: LP, 2053:Touch and Go 2040: 2039: 2009: 2008: 1961: 1929:Video albums 1884: 1881: 1879: 1862:Jeff Pezzati 1856:drum machine 1852:Steve Albini 1838: 1834: 1830: 1826: 1824: 1816: 1810: 1801: 1796: 1779: 1765: 1757:guitar strap 1744:firecrackers 1741: 1726: 1719: 1711:gefilte fish 1699:phonetically 1689: 1683: 1678:Steve Albini 1674: 1669: 1660: 1617: 1528:Naked Raygun 1513: 1500: 1496: 1488:guitar picks 1482: 1449:drum machine 1446: 1412: 1406: 1393: 1384: 1379: 1375: 1372:compact disc 1370:" single in 1363: 1359: 1353: 1343: 1340: 1331: 1327: 1297: 1266: 1260: 1254: 1248: 1209:the Breeders 1186: 1150: 1149: 1120: 1101:Graham Lewis 1091:festival in 1082: 1080: 1075: 1057: 1052:Steve Albini 1048: 1043: 1036: 1032: 1028: 1021: 1019: 1013: 1009: 988: 984: 983:, combining 978: 973: 959: 958: 953: 945:Gang of Four 940: 938: 906: 858: 849: 835: 823: 819: 815: 813: 806: 796: 776: 765: 763: 758: 754: 738: 728: 718: 713:Steve Albini 709: 704: 666: 625: 623: 599: 581:Iain Burgess 571: 568:guitar picks 561: 551:Jeff Pezzati 548: 543: 523: 520:Lyle Preslar 516:Minor Threat 511: 508: 493: 486:Killing Joke 472: 469:spring break 454: 447:drum machine 440: 423: 409:Naked Raygun 370:Steve Albini 367: 362: 327: 325:rock music. 266:drum machine 263: 256: 250: 239:Naked Raygun 235:Jeff Pezzati 233:and bassist 227:Steve Albini 214: 213: 195:Jeff Pezzati 190:Steve Albini 183:Past members 169:Touch and Go 126:Years active 26: 4853:Live albums 4683:"Heartbeat" 4086:. Pitchfork 3812:Riley, Dave 3760:Riley, Dave 3672:. Stereogum 2650:Big Payback 2493:In My House 2394:"Rema-Rema" 2160:Blast First 2069:Live albums 1972:live albums 1964:discography 1913:Live albums 1891:Discography 1784:Lydia Lunch 1703:hockey puck 1636:child abuse 1608:In My House 1602:", and the 1592:Cheap Trick 1580:The Payback 1576:James Brown 1524:the Stooges 1492:sheet metal 1490:notched by 1417:Heavy metal 1388:Sex Pistols 1366:, and the " 1281:microphones 1250:Surfer Rosa 1111:of Wire's " 969:Sonic Youth 965:Blast First 828:liner notes 753:1985–1986: 690:pejoratives 634:Minneapolis 588:sheet metal 396:degree and 386:bass guitar 340:, and five 330:live albums 323:underground 319:independent 255:(1986) and 164:Blast First 5004:Categories 4818:Dave Riley 4174:. AllMusic 3734:. p. 2748:References 2691:"Crack Up" 2681:Format: LP 2652:" (premix) 2480:Format: 7" 2462:Format: 7" 2366:Format: EP 2338:Format: EP 2310:Format: EP 2237:Format: CD 1874:Dave Riley 1686:homophobia 1656:sociopaths 1644:immolation 1624:mutilation 1438:noise rock 1434:indie rock 1413:indicators 1229:Superchunk 1129:Providence 1065:law school 932:media help 863:sociopaths 861:presented 803:Funkadelic 793:Parliament 773:Dave Riley 682:chauvinism 658:Danceteria 624:Even with 590:sleeve in 585:galvanized 518:guitarist 411:. He also 394:journalism 315:rock bands 243:Dave Riley 237:, both of 221:band from 205:Dave Riley 101:noise rock 5010:Big Black 4918:Bulldozer 4785:Big Black 4742:March 27, 4717:March 27, 4692:March 27, 4667:March 27, 4658:"Il Duce" 4642:March 27, 4633:"Il Duce" 4617:March 27, 4588:March 27, 4559:March 27, 4548:Bulldozer 4530:March 27, 4501:March 27, 4472:March 27, 4459:"Review: 4442:March 27, 4413:March 27, 4281:March 27, 4268:"Review: 4246:March 28, 4220:March 28, 4207:"Review: 4155:March 11, 4067:March 27, 4041:March 27, 4013:March 27, 3982:March 27, 3977:Stereogum 3953:March 27, 3917:March 27, 3894:March 26, 3862:March 26, 3796:March 26, 3774:March 25, 3650:March 21, 3640:"Review: 3623:March 21, 3614:"Review: 3594:March 21, 3581:"Review: 3411:March 23, 3398:"Review: 3355:March 20, 3342:"Review: 3172:. TG81CD. 2934:March 24, 2890:March 20, 2617:Track(s) 2525:Rema-Rema 2447:Heartbeat 2427:Homestead 2418:"Il Duce" 2334:Homestead 2298:Bulldozer 2198:Homestead 2022:Homestead 1791:Influence 1768:pantomime 1600:The Model 1596:Kraftwerk 1588:Heartbeat 1572:Rema-Rema 1560:hard rock 1552:post-punk 1544:Sly Stone 1467:, "their 1430:post-punk 1409:punk rock 1368:Heartbeat 1293:royalties 1233:PJ Harvey 1165:Killdozer 1113:Heartbeat 1089:Pukkelpop 1070:lame duck 989:Bulldozer 948:Black's ' 878:alcoholic 834:, 1986's 820:Bulldozer 789:Sly Stone 742:road crew 626:Bulldozer 601:Metal Box 573:Bulldozer 544:Bulldozer 536:Bruce Lee 378:punk rock 219:punk rock 215:Big Black 159:Homestead 133:1981–1987 106:post-punk 96:Punk rock 47:Big Black 4991:Category 4932:Headache 4836:Atomizer 4662:Allmusic 4606:Headache 4467:Allmusic 4402:Atomizer 4276:Allmusic 4241:Allmusic 4215:Allmusic 4150:AllMusic 4003:MTV News 3814:(2006). 3728:New York 3718:(1992). 3589:Allmusic 3406:Allmusic 3350:Allmusic 3344:Atomizer 3274:March 8, 3158:(1991). 2885:Allmusic 2775:New York 2767:(2001). 2733:See also 2714:Format: 2638:Format: 2589:Format: 2505:Format: 2407:Format: 2351:Headache 2282:Format: 2278:Ruthless 2202:Format: 2102:Format: 2026:Format: 2011:Atomizer 1776:hecklers 1727:Puncture 1723:hipsters 1652:misogyny 1564:synthpop 1558:, funk, 1556:new wave 1505:AllMusic 1501:Atomizer 1478:monitors 1453:drum kit 1426:AllMusic 1364:Headache 1360:Atomizer 1304:Boss Hog 1289:producer 1256:In Utero 1155:Allmusic 1121:Headache 1037:Atomizer 1033:Headache 1029:Atomizer 1023:Headache 1010:Headache 960:Atomizer 941:Atomizer 907:Atomizer 859:Atomizer 854:Allmusic 837:Atomizer 783:artists 759:Atomizer 746:drum kit 606:abattoir 578:engineer 490:the Cure 443:new wave 398:fine art 302:misogyny 270:drum kit 261:(1987). 252:Atomizer 151:Ruthless 4975:Shellac 4970:Rapeman 4942:Singles 4925:Racer-X 4868:Pigpile 4577:Racer-X 4209:Racer-X 4178:May 12, 3851:Pigpile 3166:Chicago 3161:Pigpile 2977:. 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