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Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0
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Music
 

Second-degree Murder


The Murder Junkies keep GG Allin’s memory and angry spirit alive. You’ve been warned.

Chris Parker May 4th, 2011

The Murder Junkies with The Constanzas, Half Black Jesus and Bare Knuckle Shuffle
9 p.m. Monday
The Conservatory, 8911 N. Western
ConservatoryOKC.com, 607-4805


above GG Allin performing in 1992

There’s never been nor will there ever be another performer like GG Allin. A raging id given a stage, he was easily the crudest, rudest, most violent and disgusting individual to hold a microphone.

He would stand onstage naked (occasionally receiving oral sex from audience members); sodomize himself with the mic; cut himself with broken bottles; urinate and defecate on himself, onlookers and his band; and beat up attendees in shows that rarely lasted 15 minutes before the crowd and club owners chased him from the venue.

“It would look like there was nobody at the show, because everyone was in one corner or another, or in the back. You hardly ever see people up in the front,” said his brother and longtime bandmate, Merle Allin. “Every time we went into a club, we’d look for the back exits. We would hide our vehicle, because they always wanted to fuck your vehicle up when they were pissed at you. It was a mob scene waiting to kill you.

“We were a nightmare for the rental company because they’d have to give us a new fucking vehicle every week or two. We would be turning in a heavily damaged vehicle that smelt like shit-ass death and vomit.”

GG’s music was primal and rudimentary punk, bristling with aggression, sacrilege and the profane, from “Kill Thy Father, Rape Thy Mother” to “Diarrhea Blues.” For all their raw, puerile content, the songs, like the Ramones, had a catchy fury, particularly his ’70s and ’80s material with his early band, The Jabbers.

Merle Allin played bass in The Jabbers, and then again in The Murder Junkies, who backed GG on his last album and tour before his fatal heroin overdose in 1993.

In death, GG graduated from infamy to fame. The 1994 documentary “Hated,” directed by Todd Phillips — who went on to “Old School” and “The Hangover” — sure didn’t hurt.

“Now that he’s dead, all these hard-core fuckers are like, ‘Me and GG would’ve been best friends,’” Merle Allin said. “Dude, you weren’t even alive when GG was kicking people’s ass. He could’ve been your friend five minutes before he went onstage, and as soon as he got onstage, you could’ve been the first one with his nose broken. Believe me: You wouldn’t have been friends with him after that.”

Thanks to Merle Allin, The Murder Junkies continue; in March, they released their first new album in 16 years. It features rumbling, hard-charging, intentionally offensive misogynist anthems like “Once a Whore” and “Stab You 50 Times.”

“The band we’ve got right now is the best band we’ve had since GG died. By fucking far. It’s the same oldschool punk stuff we all were influenced by,” he said, noting, “It’s nice to be able to play an entire set without being chased from the stage.”

 
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