Butthole Surfers

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Butthole Surfers
From left: Gibby Haynes, King Coffey, and Paul Leary of the Butthole Surfers.
Background information
Also known as	Abe Lincoln's Bush, Ashtray Babyheads, B.H. Surfers, Dick Clark Five, Dick Gas Five, Dicktit, Ed Asner's Gay, The Inalienable Right to Eat Fred Astaire's Asshole, The Jack Officers, Nine Foot Worm Makes Own Food, Playtex Butt Agamemnons, Vodka Family Winstons
Origin	San Antonio, Texas, USA
Genre(s)	Alternative rock Electronica Experimental music Heavy metal Neo-Psychedelia Noise rock Performance art Punk rock
Years active	1981 – present
Label(s)	Alternative Tentacles, Touch and Go, Latino Buggerveil, Rough Trade Records, Capitol Records, Surfdog Records
Associated acts	Daddy Longhead, Drain, Honky, The Hugh Beaumont Experience, The Jackofficers, P
Website	www.buttholesurfers.com
Members
Gibby Haynes Paul Leary King Coffey Nathan Calhoun
Former members
Jeff Pinkus Teresa Nervosa Trevor Malcolm Terence Smart Bill Jolly Quinn Matthews Scott Matthews Andrew Mullins Scott Stevens Jason Morales Josh Klinghoffer Kyle Ellison Owen McMahon Kathleen Lynch Cabbage Mark Kramer Juan Molina

Butthole Surfers are an American rock band, founded by lead vocalist Gibby Haynes and guitarist Paul Leary in San Antonio, Texas, in 1981. Displaying a thick vein of black humor, they were one of the first bands to mix punk rock and psychedelia. They have further incorporated elements of heavy metal, noise rock, electronica, and other genres into their music, which makes extensive use of sound manipulation and, on their studio recordings, tape editing.^[1] The Surfers are also known for their once-chaotic live shows (see section) and their legendary appetite for recreational drugs, particularly psychedelics, which would in turn often influence their performances and albums.^[2]

The band has been through numerous personnel changes, but the core lineup of Haynes, Leary, and drummer King Coffey (born Jeffrey Coffey) has been together since 1983. Additionally, Teresa Nervosa (born Teresa Taylor) served as one of two drummers from 1983-1985 and 1986-1989. They have employed a variety of bass players, most notably Bill Jolly (1982-1984) and Jeff Pinkus (1986-1994).^[3]

While they were respected by their peers, influenced future grunge stars, and attracted a devoted fan base, the Butthole Surfers didn’t enjoy any great commercial success until 1996’s Electriclarryland, their only gold record to date.^[4] The album also contained the hit single “Pepper,” which climbed to #1 on Billboard's Modern Rock Tracks chart that year.^[5]

Contents 1 History 1.1 Early years (1981-1984) 1.2 Legend grows (1984-1987) 1.3 Evolution (1987-1991) 1.4 Mainstream recognition (1991-1999) 1.5 Modern era (2000-present) 2 Name 3 Live performances 3.1 Band 3.2 Equipment 3.3 On film 4 Band members 5 Discography 6 Samples 7 References 8 Further reading 9 External links

[edit] History

The Butthole Surfers had their genesis at San Antonio, Texas’ Trinity University in the late 1970s, when students Gibson “Gibby” Haynes and Paul Leary Walthall (later just Paul Leary) met for the first time.^[6] Though it was their overall strangeness and shared taste in non-mainstream music that caused them to become fast friends, both appeared to be headed for very average lives. Haynes, who was captain of Trinity's basketball team and was named the school's “Accountant of the Year," would soon graduate and take a job with a respected Texas accounting firm, while Leary remained in college working towards an MBA.^[7]

In 1981, Haynes and Leary were publishing Strange V.D., a fanzine featuring photos of disgusting medical ailments coupled with fictitious, humorous explanations of the diseases.^[8] After being caught with one of these pictures at work, Haynes left his accounting firm and moved to Southern California. Leary, who was one semester shy of his degree, subsequently dropped out of college and followed. After a brief period spent selling homemade clothes and linens emblazoned with Lee Harvey Oswald's image, they returned to San Antonio and launched the band that would eventually become the Butthole Surfers.^[9]

[edit] Early years (1981-1984)

Playing their debut show at a San Antonio art gallery in 1981, lead vocalist/saxophonist Haynes and guitarist Leary's new band performed under a number of aliases before settling on the Butthole Surfers (see “Name’’ section). By 1982, they were backed by the sibling rhythm section of bassist Quinn Matthews and his brother, drummer Scott Matthews. Gaining no traction in San Antonio, the quartet purchased a van and headed back to California that summer.^[10]

During a brief concert at the Tool and Die club in San Francisco, Dead Kennedys frontman and Alternative Tentacles overseer Jello Biafra witnessed their performance and became a fervent fan.^[11] Biafra then invited the group to open for the Kennedys and T.S.O.L. at the Whisky a Go Go in Los Angeles, and soon made an offer that would launch their recording career: if they could get someone to loan them studio time, Alternative Tentacles would reimburse the studio when the album was complete. The band then returned to San Antonio to record at BOSS Studios (a.k.a. Bob O'Neill's Sound Studios, a.k.a. the Boss).^[12] However, the Matthews brothers did not enter the studio with Haynes and Leary; the two had quit following a physical altercation between Scott Matthews and Haynes. The bass position was taken over by Bill Jolly, who would also play on the Surfers' next two releases, and a number of drummers participated. The last of these, King Coffey (born Jeffrey Coffey), is still with the band to this day.^[13]

Released on Alternative Tentacles in July 1983, the resulting EP, Butthole Surfers (also known as Brown Reason to Live and Pee Pee the Sailor), offered songs with provocative titles like "The Shah Sleeps in Lee Harvey's Grave" and "Bar-B-Q Pope," alternately sung by Haynes and Leary. (Haynes would become the band's primary singer by the time of their first LP.) Teeming with humor, Butthole Surfers laid the foundation for what was to come.^[14] It also influenced at least one future superstar in Nirvana frontman Kurt Cobain, who listed it as one of his top 10 favorite albums in his Journals.^[15] Cobain would later meet his wife, Courtney Love of Hole, at a Butthole Surfers/L7 concert in 1991.^[16]

Soon after the release of Butthole Surfers, the band recruited a second drummer, Teresa Nervosa (born Teresa Taylor), who had previously played with Coffey in a number of high school marching bands in the Texas' Fort Worth and Austin areas.^[17] She and Coffey would drum in unison on separate, stand-up kits, adding to the spectacle of the Surfers' ever-evolving stage show. Though Nervosa and Coffey repeatedly referred to themselves, and were referred to, as siblings, it has since been revealed that the two only presented themselves as such due to their similar appearances, and are not actually related.^[18]

With her arrival, the band's core "classic lineup" – Haynes, Leary, Coffey, and Nervosa – was in place. With the exception of a number of different bass players and Nervosa's brief sabbatical from late 1985 to 1986, it remained largely unchanged until her final departure in 1989.^[19]

In September 1984, the Surfers issued a second EP on Alternative Tentacles, Live PCPPEP. Primarily featuring live performances of songs from their debut, it prompted some critics and fans to joke that they had released the same album twice.^[20] What many didn't realize, however, is that the band had already returned to BOSS Studios to record enough material for a full-length album months before Live PCPPEP's release. (Jolly left shortly after these sessions, but did perform on the live EP). Moreover, they had also started a second album at the same studio. Both were originally offered to Alternative Tentacles, with Psychic... Powerless... Another Man's Sac arriving first.^[21]

Before either album could be released, though, Alternative Tentacles had to acquire the master tapes from Bob O'Neill, BOSS Studios' namesake and owner. He refused to release them until he'd been reimbursed for the sessions, and Alternative Tentacles couldn't immediately afford to pay. After waiting months, the band issued Live PCPPEP out of financial desperation, and O'Neill was preparing to release Psychic... on his own Ward 9 label to recoup his expenses.^[22]

[edit] Legend grows (1984-1987)

Desperate (they were then working as dishwashers), and apparently not thrilled with the album being released on Ward 9, the band agreed to let Corey Rusk issue it on his then-nascent Touch and Go in December 1984.^[23] Building on their first EP, the Surfers made psychedelia a much bigger part of their sound on this release, which made full use of the tape editing, non-traditional instrumentation, and sound modulation that defined their studio recordings.^[24]

Just before Psychic...'s debut, and with new bassist Terence Smart in tow (the first of many through 1986), the band commenced their first nationwide tour. It was on this outing that they truly established a national presence, starting at Touch and Go's early headquarters in Detroit, Michigan before heading to New York City, where they impressed members of Sonic Youth, as well as Shockabilly (and future Butthole Surfers) bassist Mark Kramer. They then crisscrossed the country for several months, including a show in Seattle, Washington that made a fan of future Soundgarden guitarist Kim Thayil. While in San Francisco, California at the end of the tour, and without a place to live, the band collectively decided to move to Winterville, Georgia, a small town near Athens, where they admittedly made a hobby of stalking members of R.E.M. Smart quit after falling in love with a friend of the band, and Trevor Malcolm, a young Canadian musician recommended by Touch and Go, replaced him on bass.^[25]

Word was spreading about the band's bizarre stage show by the time they hit the road again, resulting in ever-larger audiences at their concerts.^[26] Not long after Malcolm's arrival, the Surfers recorded their act for posterity by filming two concerts at Detroit's Traxx club. Some of this footage was eventually packaged as Blind Eye Sees All, their only official video release to date. They also purchased their first 8-track recorder at this time, and used it to record two songs later used on the A-side of Cream Corn from the Socket of Davis.^[27]

Reportedly unhappy with life as a Surfer, Malcolm quit in the early summer of 1985.^[28] A friend of the band's from Athens, Juan Molina, was brought in for a brief U.S. tour, but was not interested in becoming a full-time member.^[29] Without a permanent bassist and a quickly approaching European tour looming – the band's first – they contacted Kramer, who quickly agreed to join.^[30]

Meanwhile, their second LP, which had been submitted to Alternative Tentacles as Rembrandt Pussy Horse, was still in limbo. The reasons for Alternative Tentacles' actions are unclear, but it is known that the label delayed a decision for about a year before ultimately refusing to publish it.^[31] While waiting, the band released the four-song Cream Corn from the Socket of Davis EP on Touch and Go in late 1985. Once Alternative Tentacles finally declined, the group went back into the studio to record two new tracks to replace "To Parter" and "Tornadoes," which were originally intended for Rembrandt... before appearing on the Cream Corn... EP's B-side.^[32]

Following the European tour, the Surfers experienced more upheaval when Nervosa left around Christmas 1985, as she was tired of the living conditions associated with constant touring and had a desire to be with family.^[33] She was replaced by another female drummer, known as Cabbage, who in turn introduced the band to their legendary "naked dancer," Kathleen Lynch (a.k.a. Kathleen, a.k.a. Ta-Da the Shit Lady). Kramer also left during this period and was replaced by Jeff Pinkus, who gave the band's bass position its longest period of stability by staying until 1994.^[34]

Their second LP was finally issued as Rembrandt Pussyhorse on Touch and Go in April 1986. Coming out some two years after the original sessions, it featured a different mix and song selection than Alternative Tentacles' unreleased version.^[35] Best known for its minimalist reworking of The Guess Who's "American Woman," it is one of the most experimental albums in the Surfers' heavily experimental career.^[36]

Following a particularly out-of-control tour, even by Butthole Surfers standards, the band semi-settled in Austin, Texas in the summer of 1986. Nervosa rejoined them (Cabbage having been fired months earlier), and they went to work on crafting their first home studio in a rental house on the outskirts of town. Before long, they started a leisurely recording session for their third full-length project.^[37]

Released in March 1987, Locust Abortion Technician is one of the heaviest Butthole Surfers albums, and it is often considered their finest to date.^[38] Harnessing aspects of punk, heavy metal, and psychedelia, its unique sound produced a number of grinding, slower-paced songs, arguably making it an early precursor of grunge.^[39]

[edit] Evolution (1987-1991)

Around the time of Locust Abortion Technician's debut, the group bought a home in Driftwood, Texas, approximately 30 miles outside Austin. It was a ranch house built into the side of a hill, with five acres of surrounding property. As with the rental home, this compound was also turned into a de facto recording studio. They did not live together in the new house for long, though, with Coffey being the first to move out and get his own place. They all had separate residences by 1991.^[40]

In early 1988, the Surfers were ready to record a new album and wanted to use a modern studio for the first time, choosing a state-of-the-art facility in Texas. The following sessions took only one week, due in large part to the fact that the band had been performing most of the material for years.^[41] They also opted to follow this album's blueprint on future projects. In contrast, songs on their earlier recordings had undergone far more in-studio development and experimentation. Pinkus has expressed the opinion that the later, better-organized sessions stifled much of the spontaneous creativity that had propelled their earlier releases.^[42]

Issued in April, Hairway to Steven marked a midway point between the band's punk rock roots and the more accessible recordings that would follow, with half the material being as extreme as their previous work and other songs sounding far more conventional. It was also the first Surfers album to make heavy use of acoustic guitar. More oddly, it had no song titles when originally released, instead representing each track with an absurdist, often scatological cartoon.^[43]

The band traveled extensively in support of Hairway to Steven over the next year, including a very successful tour of Europe (helped in part by the influence of new U.K. distributor Blast First). However, like their studio recordings, their live shows were also beginning to lose much of their earlier chaos.^[44]

While touring in the winter of 1988, the Surfers used a portable DAT recorder to tape various concerts. The best of these recordings were packaged as Double Live, a limited edition live double album released on vinyl and cassette in 1989, and on CD the following year. This was the first release on the band's Latino Buggerveil label. Though the album is out of print, its songs are available as free MP3 downloads from the band's official website. Issued in response to widespread, for-profit bootlegging of their live shows, it contained performances of songs from all of their previous studio albums and EPs.^[45]

Double Live was the last Surfers album to feature Nervosa, who quit the band for good in early 1989. Shortly after leaving, she was diagnosed with an aneurysm and subsequently underwent brain surgery. She also started to suffer from strobe light-induced seizures.^[46] In 1991, Nervosa (who has gone by Teresa Taylor since her retirement) had a small role in director Richard Linklater's film, Slacker, and was employed at the Texas School for the Blind and Visually Impaired as recently as 1995.^[47]

The Surfers didn't try to replace her this time, and instead carried on as a quartet. After one final EP on Touch and Go, 1989's Widowermaker, the Surfers left their longtime recording partners when Rough Trade Records offered what was reportedly a very generous one-album deal.^[48] Prior to the new LP's debut, Rough Trade talked the band into first releasing 1990's The Hurdy Gurdy Man, which previewed material from the coming release. The same year, Rough Trade also issued Digital Dump by The Jackofficers, Haynes and Pinkus' psychedelic house music side project.^[49]

The band's fifth full-length studio album, piouhgd (pronounced "p.o.'ed," as in "pissed off"), debuted on Rough Trade in April 1991. Featuring an increased use of electronic instrumentation, it was largely seen as a disappointment when compared to past Surfers recordings, and Haynes and Leary have also expressed displeasure with it.^[50] Regardless, the band was invited to be part of that summer's inaugural Lollapalooza tour.^[51] It was around this time that Haynes recorded with Ministry, supplying vocals for their 1991 single, "Jesus Built My Hotrod," which was also included on 1992's Psalm 69: The Way to Succeed and the Way to Suck Eggs.

[edit] Mainstream recognition (1991-1999)

Rough Trade filed for bankruptcy later in 1991, but not before releasing Leary's solo project, The History of Dogs. The Surfers, as it turned out, were largely unaffected by Rough Trade's demise, and shocked many fans and critics by signing with major label Capitol Records in 1992.^[52]

Capitol immediately reissued piouhgd and paired the band with their first big-name producer: English musician John Paul Jones, best known as the bassist for noted rock band Led Zeppelin.^[53] The fruit of their partnership, 1993's Independent Worm Saloon, featured a more straightforward rock approach at Jones' insistence.^[54] This paid off for the Surfers, giving them their first minor radio hit, "Who Was In My Room Last Night?". It ranked at #24 on Billboard's Modern Rock Tracks singles chart, while the album itself peaked at #124 on the Billboard 200.^[55] Two of the new songs were also featured on 1993 episodes of MTV's Beavis and Butt-head.^[56]

Pinkus left in 1994.^[57] Supported by fill-in musicians, Haynes, Leary, and Coffey continued to tour sporadically, but all were involved in different projects. Haynes was working with Johnny Depp, Bill Carter, Sal Jenco, Flea, and others in a new group, P. (With Haynes, this band played at Los Angeles, California's Viper Room the night actor River Phoenix died of a drug overdose in 1993.^[58]) Meanwhile, Leary was gaining a reputation as a skilled music producer, and Coffey started a record label, Trance Syndicate.^[59] According to Leary and industry insiders, Haynes was increasingly dependent on hard drugs at this time, though Haynes has downplayed their concerns.^[60]

In 1995, the band contributed a cover of the Underdog theme song to MCA's Saturday Morning: Cartoons' Greatest Hits compilation.^[61] Also that year, Haynes' side project, P, issued an eponymous LP on Capitol, while Coffey's Trance Syndicate label released the first Butthole Surfers compilation album.^[62] Titled The Hole Truth... and Nothing Butt, it was mostly comprised of live tracks recorded at different venues from 1985 to 1991.^[63]

In December, the Surfers initiated what would become an extended legal battle with Touch and Go. At first they were seeking to increase their profits from that label's Butthole Surfers albums, claiming that Rusk had not been doing enough to promote them. It quickly became a fight for all ownership rights, with the band eventually winning in 1999.^[64] Though they won, the lawsuit earned them a good deal of condemnation from their peers in the alternative music community, including Fugazi and Minor Threat lead singer Ian MacKaye. Haynes and others said they wouldn't have initiated the proceedings if they felt Rusk's dealings with them had been honorable. Rusk, on the other hand, insists his actions were honest.^[65]

In 1996, Capitol released the Surfers' only gold record to date, Electriclarryland, which climbed to #31 on the Billboard 200 and contained “Pepper,” a #1 hit on Billboard's Modern Rock Tracks chart.^[66] Their songs also started appearing on the soundtracks of major Hollywood movies around this time, including Baz Luhrmann's Romeo + Juliet, John Carpenter's Escape from L.A., and others.^[67]

Despite improved sales on their sophomore effort for the label, the group's relationship with Capitol was declining. This eventually resulted in the scrapping of a planned 1998 project, After the Astronaut, as well as a combative split with their manager at the time, Tom Bunch, leaving the future of a new album in limbo.^[68] A year later, their court case with Touch and Go settled, the band reissued Psychic... Powerless... Another Man's Sac, Rembrandt Pussyhorse (with the Cream Corn... EP), Locust Abortion Technician, and Hairway to Steven on their Latino Buggerveil label.^[69]

[edit] Modern era (2000-present)

The band hired a new bass player, Nathan Calhoun, in 2000. After resolving their dispute with Capitol, the Surfers re-recorded most of After the Astronaut's songs for Hollywood Records/Surfdog Records' Weird Revolution. Released in August 2001, and charting at #130 on the Billboard 200, it was their most electronic album to date.^[70] One of its singles, "The Shame of Life," ranked #24 on the Billboard Modern Rock Tracks chart.^[71]

Since then, the group has released two additional compilations on Latino Buggerveil: 2002's Humpty Dumpty LSD, containing various studio outtakes, and 2003's Butthole Surfers/Live PCPPEP, which combined their first two Alternative Tentacles EPs.^[72]

In 2004, Haynes debuted a new band, Gibby Haynes and His Problem, who released an eponymous album on Surfdog Records that year. While promoting that project, Haynes said that another Butthole Surfers studio album was likely, and further indicated it would be "noisy."^[73] However, no expected release date has been announced.

[edit] Name

The band did not initially perform as the Butthole Surfers, though they did have a song by that title (possibly an early version of 1984's "Butthole Surfer"). This changed at their first paying concert when an announcer forgot what the band was called and used the song title for the group’s name. They decided to keep the moniker, and have largely been billed as such ever since.^[74] Prior to that, the Surfers performed under a different name at every live show. Early aliases included the Dick Clark Five, Nine Foot Worm Makes Own Food, the Vodka Family Winstons, and many others.^[75]

The name has long been a source of trouble for the band. Many clubs, newspapers, and radio & TV stations refuse to print or say their full name, opting instead to use "B.H. Surfers" or other abbreviations.^[76] The term "butthole surfer" is a crude reference to male homosexuality, as seen in the lyrics to "Butthole Surfer."

[edit] Live performances

In the 1980s, the Butthole Surfers earned a reputation for putting on particularly wild, often disturbing live performances that were both decadent and violent. As a result, they began to attract a wide range of curiosity seekers within a few years of their debut, in addition to traditional fans of punk rock who had supported them from the beginning.^[77]

By the time dancer Kathleen Lynch left in 1989, the Surfers' stage show had become more predictable, with previously random shockers being done at the same point in each night's performance. Teresa Nervosa quit for good around the same time, and King Coffey became the band's sole percussionist. Strobe lights, smoke machines, and even Gibby Haynes' burning cymbal are still part of the presentation, but the chaotic spontaneity of their 1980s performances is no longer on display.^[78]

[edit] Band

First and foremost was the aural onslaught created by lead vocalist/saxophonist Haynes (who sometimes sang through a bullhorn), guitarist Paul Leary, dual drummers Coffey and Nervosa (the latter briefly replaced by Cabbage), and whichever bassist happened to be filling in at the time. Then came the visual aspect, beginning with the musicians themselves. As with their music, their appearance was exceptionally non-conventional in the early days, including sideways mohawks, dreadlocks, unnaturally colored hair, and the like.^[79]

Known for taking the stage at early concerts with hundreds of clothespins attached to his hair and clothes, Haynes would often strip throughout a show until he was down to his underwear, or less, by the end. At other times he would hide condoms full of stage blood in his clothes and repeatedly fall to the floor, appearing to bleed profusely. Some of Haynes' other favorite tricks involved throwing handfuls of photocopied cockroach images into the crowd, as well as filling an inverted cymbal with lighter fluid, setting it (and sometimes his hand) on fire, and repeatedly hitting it with a mallet. Adding to the spectacle were Coffey and Nervosa, who played in unison on stand-up kits. Finally, the whole band would often tear apart stuffed animals while on stage.^[80]

In 1986, they first met Lynch (a.k.a. Kathleen, a.k.a. Ta-Da the Shit Lady), who was then working at a strip club called Sex World in New York, New York.^[81] Though never an official member, she became the Surfers' famous "naked dancer," performing intermittently with them through 1989.^[82] At one particularly wild concert in 1986, Haynes and Lynch reportedly engaged in sexual intercourse while on stage, as Leary used a screwdriver to vandalize the club's speakers. This came after only five songs, during which time Haynes had started a small fire.^[83]

[edit] Equipment

The Surfers got serious about collecting visual equipment in 1983, when Coffey joined and added a clear plastic drum fitted with a strobe light to their show. Shortly thereafter they purchased what was reportedly several thousand dollars-worth of stolen strobe lights at a bargain rate, and their visual equipment soon took up more space than their instruments. Smoke machines were also eventually added.^[84]

Equally memorable was the band's propensity for projecting a variety of films behind them as they played, first with just one 16-millimeter projector and then two. The latter set-up allowed them to play two overlapping movies at the same time. Combined with the increasing number of strobe lights, this created a very disorienting visual atmosphere that occasionally caused epileptic seizures in audience members.^[85]

The films' subject matter was often as disturbing as the way in which they were played, with images of terrible accidents, nuclear explosions, meat processing, and worse, including one depicting penis reconstruction surgery.^[86] Not all of the movies were horrific, though, and often included nature, wildlife, and aquatic footage, as well as a color negative of a Charlie's Angels episode.^[87]

[edit] On film

A staged reproduction of the band's live show was filmed for 1988's Bar-B-Que Movie, a short Super 8 movie directed by Alex Winter, best known as "Bill S. Preston, Esq." from 1989's Bill & Ted's Excellent Adventure and its sequel.^[88] A spoof of 1974's The Texas Chain Saw Massacre, the film ends with a music video-style performance of the song "Fast" (a.k.a. "Fart Song"), featuring Haynes, Leary, Coffey, Nervosa, and Jeff Pinkus, as well as Lynch. It also displayed many of the band's stage gimmicks, such as the burning cymbal, strobe lights, films, and smoke.^[89]

[edit] Band members

Though the Butthole Surfers have been through numerous official and unofficial members since 1981, current members Gibby Haynes, Paul Leary, and King Coffey have been together since 1983.

Current members

Name	Position	Tenure
Gibby Haynes	lead vocals, guitar, saxophone	1981–present
Paul Leary	guitar, vocals	1981–present
King Coffey	drums	1983–present
Nathan Calhoun	bass	2000–present

Previous members

Name	Position	Tenure
Jeff Pinkus	bass	1986-1994
Teresa Nervosa	drums	1983-1985, 1986-1989
Trevor Malcolm	bass	1985
Terence Smart	bass	1984-1985
Bill Jolly	bass	1982-1984
Quinn Matthews	bass	1982
Scott Matthews	drums	1981-1982
Andrew Mullins	bass	1981-1982
Scott Stevens	bass	1981

Touring members

Name	Position	Tenure
Jason Morales	guitar	2002
Josh Klinghoffer	guitar, drums	2001
Kyle Ellison	guitar	1996
Owen McMahon	bass	1996
Kathleen Lynch	dancer	1986-1989
Cabbage	drums	1985-1986
Mark Kramer	bass	1985
Juan Molina	bass	1985

[edit] Discography

Further information: Butthole Surfers discography

[edit] Samples

[edit] References

[edit] Further reading

Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981-1991. Little, Brown and Company.  Bar-B-Que Movie page. Internet Movie Database. Retrieved on February 11, 2007. Butthole Surfers page. Internet Movie Database. Retrieved on February 10, 2007. Charts & awards – Billboard albums. All Music Guide. Retrieved on February 6, 2007. Charts & awards – Billboard singles. All Music Guide. Retrieved on February 6, 2007. Cobain, Kurt (2002). Journals. Riverhead.  Cohen, Jason. "In Through the Back Door: The Butthole Surfers are the certified shock jocks of the next wave", Rolling Stone, June 24, 1993. Retrieved on February 7, 2007. Double Live MP3 download page. Butthole Surfers. Retrieved on February 13, 2007. Gold & Platinum Record Database. Recording Industry Association of America (RIAA). Retrieved on February 6, 2007. "Interview", Flipside #46, September 22, 1984. Retrieved on February 7, 2007. "Interview", Forced Exposure #11, April 18, 1986. Retrieved on February 7, 2007. "Interview", Tripping Yarns #2, 1987. Interview (King Coffey). SonicNet.com (February 22, 1995). Retrieved on February 7, 2007. Kelly, Christina. "Kurt and Courtney Sitting in a Tree", Sassy Magazine, April 1992. Retrieved on February 10, 2007. Kennedy, Patrick. Weird Revolution review. All Music Guide. Retrieved on February 20, 2007.

Leland, John & Robbins, Ira. Butthole Surfers biography. Trouser Press. Retrieved on February 7, 2007. Lieck, Ken. "Reissuing the Butthole Surfers: Tongue-in-Cheek Terror", Austin Chronicle vol. 18 #52. Retrieved on February 10, 2007. Locust Abortion Technician review. All Music Guide. Retrieved on February 10, 2007. Morthland, John & Patoski, Joe Nick. "Feeding the Fish: An Oral History of the Butthole Surfers", SPIN Magazine, 1996. Retrieved on February 7, 2007. Nunez, Carlos "Cake". "The Hole Truth... and Nothing Butt", Fiz Magazine, March/April 1993. Retrieved on February 10, 2007. Orr, Peter. "Journey to the Sphincter of Your Mind or... Cowabunghole", Reflex Magazine, September/October 1991. Retrieved on February 10, 2007. Paytress, Mark. "The Butthole Surfers: Mark Paytress Unravels the Career of the Cult American Band", Record Collector #114, February 1989. Retrieved on February 7, 2007. Rock, Dr (August 17, 2004). Dr Rock VS Gibby Haynes. PlayLouder.com. Retrieved on February 13, 2007. Slacker "Full Credits" page. Internet Movie Database. Retrieved on February 13, 2007. Video footage, Bar-B-Que Movie. YouTube. Retrieved on February 11, 2007. Young, Charles M. (2004). Butthole Surfers biography. Rolling Stone. Retrieved on February 6, 2007. Young, Charles M. "Butthole Surfers Resurface: Austin Iconoclasts Exit Legal Morass, Sign to Surfdog/Hollywood", Billboard Magazine, September 11, 1999. Retrieved on February 10, 2007.

[edit] External links

• Official Butthole Surfers website
• Butthole Surfers at MySpace
• Butthole Surfers at Alternative Tentacles
• ButtholeSurferFan.Com - Fan website with complete discography and extensive image galleries.
• The Anal Obsession - Concert chronology detailing all known band performances and existing audio/video recordings.
• Butthole Surfers collection on the Internet Archive's live music archive.

Butthole Surfers
Gibby Haynes | Paul Leary | King Coffey | Nathan Calhoun
Jeff Pinkus | Teresa Nervosa | Trevor Malcolm | Terence Smart | Bill Jolly | Quinn Matthews | Scott Matthews | Andrew Mullins Scott Stevens | Jason Morales | Josh Klinghoffer | Kyle Ellison | Owen McMahon | Kathleen Lynch | Cabbage Mark Kramer | Juan Molina
Discography
Studio Albums: Psychic... Powerless... Another Man's Sac | Rembrandt Pussyhorse Locust Abortion Technician | Hairway to Steven | piouhgd | Independent Worm Saloon | Electriclarryland After the Astronaut | Weird Revolution
EPs: Butthole Surfers | Cream Corn from the Socket of Davis | Widowermaker The Hurdy Gurdy Man
Live albums: Live PCPPEP | Double Live
Compilations: The Hole Truth... and Nothing Butt | Humpty Dumpty LSD | Butthole Surfers/Live PCPPEP
Related Articles
The Jackofficers | P | Latino Buggerveil | The History of Dogs | Bar-B-Que Movie