GG Allin
Freaks, Faggots, Drunks & Junkies

GG Allin was an animal. Everyone knows this.

What people don't want to admit is that, in his field, the young man actually knew how to do it.

This "Freaks, Faggots, Drunks and Junkies" is his fourth album and was written, recorded, and post-produced in ONE SINGLE NIGHT by GG Allin with the unknown (alas, I liked their sound) band Bulge, and since its release in 1988, GG Allin himself called it "his Bible".

An emblematic cover, with an Allin looking more and more like a distraught animal, perpetually in an outburst of rage against everyone; our guy opens a freak-show where the main monster is himself, the target of his own hatred, describing with raw screams his erotic, toxic, physical, and mental habits.

The incredible thing is that he does it with a series of 19 songs of INSANE AND GOOD quality!!!

Let it be said that it is poorly produced, let it be said that GG Allin was out of his mind: he was the first to say it and proclaimed himself the spokesperson for the people described in the title of his record. But the reality is that this, just like "Carnival Of Excess," his country record, are two magnificent albums, even catchy despite the difficulty proposed in these grooves - and here was the genius: who else would calmly sing a song titled "Sleeping In My Piss"? 

But, unlike a dead weight like Sid Vicious, who never wrote stuff (or decent stuff) like John Lydon did and got ruined by heroin and Nancy Spungen, at least before meeting the same fate as Vicious (but without a whining Spungen), Allin was able to make himself noticed by making enemies everywhere, constantly putting himself on the line, and putting out this record that covers all possible subgenres of TRUE punk and rock 'n roll underground to the core: it goes from the rock of "Dope Money" to the hardcore assault of "Be My Fucking Whore" (ah, the love songs of the Bard Allin always enchant...) to the crust of "Suck My Ass It Smells" to the rock launched like a rock in the teeth like "Dog Shit", "Cunt Sucking Cannibal" (a decidedly passionate hymn to cunnilingus) or "Outlaw Scumfuck", reaching an unexpected peak in the final ambient with keyboards and concrete sounds of Allin injuring himself in "My Bloody Mutilation" (another thing in which GG was unstoppable and compulsive), less noisy but much more violent and real than most of the power-electronics of the Whitehouse/Sutcliffe Jugend school, a very worthy conclusion to a record that sounds like a kind of rough self-destructive documentary of rare horror... and, in its own way, beauty.

Recommended to fearless lovers of alternative rock from true underground outlaws, a unique document, even in Allin's own career: complete and complex, this record is really important.