9824 - JELLO BIAFRA & THE NEW ORLEANS RAUNCH & SOUL ALLSTARS - WALK ON JINDAL'S SPLINTERS (2015)

JELLO BIAFRA AND THE NEW ORLEANS RAUNCH AND SOUL ALL-STARS
''WALK ON JINDAL'S SPLINTERS''
RECORDING DATE: MAY 8 2011
MAY 12 2015
51:19

1 Ooh Poo Pah Doo 02:48
2 House Of The Rising Sun 04:40
3 Don't Mess With My Toot Toot 04:13
4 Mother In Law 02:47
5 Bangkok 04:55
6 Judy In Disguise 03:29
7 Working In A Coal Mine 03:42
8 Land Of 1000 Dances 04:20
9 Walk On Guilded Splinters 12:50
10 Fannie Mae 03:21
11 Just A Little Bit 04:10

Jello Biafra - lead vocals
Bill Davis - guitar, vocals, percussion
Fred LeBlanc - drums, guitar
Pete "Wet Dog" Gordon - digital keyboard (credited on the album as playing "Pumpin' Piano"; Gordon used an organ sound for "House of the Rising Sun" and a piano sound for the rest of the tracks)
Brian "Bruiser" Broussard - bass
Pepper Keenan - guitar
Josh Cohen - baritone sax
Paul Grass - tenor sax
Eric Belletto - trumpet
Glen Barberot - sousaphone
Mike Joseph - baritone horn
Rich Siegel - emcee

ABOUT THE ALBUM/WIKIPEDIA
Walk on Jindal's Spinters is a live album by Jello Biafra and The Raunch and Soul All-Stars, a group of Southern musicians assembled especially for the occasion by Dash Rip Rock's Bill Davis and Cowboy Mouth's Fred LeBlanc. The album title is a play on the Dr. John song "I Walk on Gilded Splinters" meant to insult Louisiana governor Bobby Jindal.

The live performance captured on this recording resulted from Davis and LeBlanc inviting Biafra to perform a variety of New Orleans soul classics with a loose congregation of musicians during the New Orleans Jazz & Heritage Festival. Biafra encouraged Davis and LeBlanc to include some New Orleans-related garage rock songs in the set as well as an Alex Chilton cover to honor the then-recently-deceased singer.

The all-star backing band includes Pepper Keenan (Corrosion of Conformity, Down) on guitar, Pete "Wet Dog" Gordon (formerly of Mojo Nixon's backing band The Toadliquors, who had previously played with Biafra on his 1994 collaboration with Nixon, Prairie Home Invasion), and a horn section organized by Morning 40 Federation baritone saxophonist Josh Cohen that included members of both Morning 40 Federation and Egg Yolk Jubilee.

The live multi-track recording, initially thought to be unusable after a rough reference mix was completed and other technical issues (the introduction of the band's rendition of Jesse Hill's "Ooh Poo Pah Doo" was not recorded, a mistake apologized for on the album's liner notes), were successfully edited and mixed down by producer/engineer Ben Mumphrey, who had attended the show and offered his services to Biafra for the project. Mumphrey did the editing and mixing on his own downtime at Studio in the Country in Washington Parish, Louisiana (where he is the facility's general manager and chief engineer) between other commitments.

The album's release was preceded by a seven-inch single (Alternative Tentacles's first single release with a jukebox hole) featuring renditions of Buster Brown's "Fannie Mae" and Rosco Gordon's "Just a Little Bit", released on April 14, 2015. The 45 was originally planned to be issued on Record Store Day, but was rejected because Record Store Day's organizers were deemphasizing seven-inch singles in that year's promotion; Alternative Tentacles semi-facetiously claimed on their website that Record Store Day had found the 45 "too hot to handle", and issued the single, already planned to be packaged in a generic brown 45 sleeve in homage to independent R&B and rock 45s of the late 50s and early 60s, with a large sticker reading "REJECTED BY RECORD STORE DAY".

Except for where otherwise noted, the songwriter is also the artist who originally recorded the song. In instances where the songwriter will have used a pseudonymn as an artist and his real name as a songwriter, both names are respectively listed.

Side One
"Ooh-Poo-Pah-Doo" (Jesse Hill)
"House of the Rising Sun" (traditional, arranged by Alan Price) (Cover version of The Animals's adaption of the song)
"(Don't Mess With) My Toot Toot" (Sidney Simien) (Rockin' Sidney cover)
"Mother-in-Law" (Allen Toussaint) (Ernie K-Doe cover)
"Bangkok" (Alex Chilton)
"Judy in Disguise (With Glasses)" (John Fred/Andrew Bernard) (John Fred and His Playboy Band cover)
Side Two
"Land of 1,000 Dances" (Chris Kenner)
"Working in a Coal Mine" (Allen Toussaint) (Lee Dorsey cover)
"Walk on Gilded Splinters" (Mac Rebennack) (Dr. John cover)
The CD and digital download edition of the album switches the order of "Land of 1,000 Dances" and "Working in a Coal Mine" in the track sequence, and appends the "Fannie Mae"/"Just a Little Bit" single as bonus tracks.

BIOGRAPHY/AMG
By Steve Huey

Following the demise of the Dead Kennedys in the wake of the financial and emotional disaster that was their 1986 obscenity trial, vocalist and free-speech icon Jello Biafra launched a solo career, devoting some of his releases to spoken word observations on American culture and politics and others to collaborative efforts with several bands. Biafra was born Eric Boucher in Boulder, Colorado, and began collecting odd records in high school. He moved to San Francisco and took his stage name from the war-ravaged African nation then called Biafra, appending the name of the popular dessert substance because he liked the way the two sounded together. Biafra formed the Dead Kennedys in 1978, and the band quickly gained a following thanks to its hyper-driven sonic assault and Biafra's nasal, declamatory (and often quite funny) political rantings. In 1979, a year before the Kennedys' influential debut, Fresh Fruit for Rotting Vegetables, was released, Biafra ran for mayor of San Francisco on a bet; his platform included holding auctions for high-ranking city government positions, setting up a board of bribery to handle liquor licenses and building codes, banning automobiles in the city limits, forcing businessmen to dress in clown suits, and allowing vagrants legal access to empty buildings. (Voters apparently found the satire compelling enough to place Biafra fourth out of ten candidates.)

Fresh Fruit for Rotting Vegetables suffered distribution problems owing to the Dead Kennedys' name and subject matter, so Biafra formed his own Alternative Tentacles label in 1981 to counter the majors' reluctance to disseminate his material. When the Kennedys included a poster of H.R. Giger's painting Landscape #20 (Penis Landscape), which depicted rows of penises engaged in anal intercourse, in their 1985 album Frankenchrist, the band and label were prosecuted under California obscenity statutes for distributing "harmful matter to minors." Biafra's apartment was ransacked by police, and a trial was undertaken in April 1986 that lasted over a year; a hung jury resulted in the charges being dropped.

The already politically conscious Biafra emerged as an articulate champion of free speech, and with the Kennedys' breakup, he hit the college lecture circuit with a vengeance, expounding his views on American culture with a righteous anger and acerbic wit. His first solo recordings were spoken word affairs drawing on his lecture material -- No More Cocoons appeared in 1987, with High Priest of Harmful Matter: Tales from the Trial, a detailed, humorous account of the obscenity trial, following in 1989. Other spoken word releases would pop up from time to time, including 1991's I Blow Minds for a Living and 1994's three-CD set Beyond the Valley of the Gift Police. Biafra also offered frequent collaborations with other artists: the Lard project with Ministry's Al Jourgensen and Paul Barker (1988's Power of Lard EP, 1990's The Last Temptation of Reid); the D.O.A.-backed Last Scream of the Missing Neighbors EP (1990); a 1991 outing with Nomeansno entitled The Sky Is Falling, and I Want My Mommy; a side project with members of Steel Pole Bath Tub and King Snake Roost called Tumor Circus, which released a self-titled album in 1991; an EP with Plainfield; and several collaborations with Mojo Nixon, including an EP centered around the country parody "Will the Fetus Be Aborted" and the 1994 album Prairie Home Invasion.

In one of the most bizarre and least likely mishaps punk fans could imagine, Biafra was attacked at a San Francisco club in 1994 by skinheads who had somehow gotten the idea that he was a sellout; he was hospitalized for a time with two broken legs. After returning to Lard in 1997 for a new album, Pure Chewing Satisfaction, he issued the solo If Evolution Is Outlawed, Only Outlaws Will Evolve a year later and Become the Media in fall 2000. The Big Ka-Boom, Pt. 1 from 2002 was a 33-minute-long speech about the war on terrorism while Machine Gun in the Clown's Hand from later that year featured three discs' worth of spoken word from 2000-2002. The 2004 release Never Breathe What You Can't See found Biafra ranting over the heavy music of the Melvins. The collaboration continued on 2005's Sieg Howdy, which featured a cover version of the Alice Cooper classic "Halo of Flies." The three-CD set In the Grip of Official Treason landed in 2006. Around the time of his 50th birthday, Biafra recruited Faith No More bassist Billy Gould, guitarists Ralph Spight and Kimo Ball, and drummer Jon Weiss to form Jello Biafra & the Guantanamo School of Medicine. Between 2009 and 2013, the band released three albums, The Audacity of Hype, Enhanced Methods of Questioning, and White People & the Damage Done.

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9296 - JELLO BIAFRA AND THE NEW ORLEANS RAUNCH AND SOUL ALL-STARS - WALK ON JINDAL'S SPLINTERS (2015)

JELLO BIAFRA AND THE NEW ORLEANS RAUNCH AND SOUL ALL-STARS
''WALK ON JINDAL'S SPLINTERS''
MAY 12 2015
49:06

1 Ooh-Poo–pah–doo 02:36
2 House Of The Rising Sun 04:28
3 Don't Mess With My Toot Toot 04:00
4 Mother In Law 02:35
5 Bangkok 04:43
6 Judy In Disguise 03:17
7 Working In A Coal Mine 03:30
8 Land Of 1,000 Dances 04:08
9 Walk On Guilded Splinters 12:37
10 Fannie Mae 03:09
11 Just A Little Bit 03:57

ABOUT THE ALBUM
By midheaven.com
Here it is at last! The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello’s request) garage songs! Joining in were piano Wildman Pete “Wet Dawg” Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose? We got loose! You want crazy? That’s here, too. Walk on Jindal’s Splinters is one of the all-time great “you are there” high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans’ finest, just playing their asses off and having a good time doing it. The album also showcases a whole ’nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington’s Hipsters, Flipsters… series, Swingin’ Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!

BIOGRAPHY/AMG
by Steve Huey
Following the demise of the Dead Kennedys in the wake of the financial and emotional disaster that was their 1986 obscenity trial, vocalist and free-speech icon Jello Biafra launched a solo career, devoting some of his releases to spoken word observations on American culture and politics and others to collaborative efforts with several bands. Biafra was born Eric Boucher in Boulder, Colorado, and began collecting odd records in high school. He moved to San Francisco and took his stage name from the war-ravaged African nation then called Biafra, appending the name of the popular dessert substance because he liked the way the two sounded together. Biafra formed the Dead Kennedys in 1978, and the band quickly gained a following thanks to its hyper-driven sonic assault and Biafra's nasal, declamatory (and often quite funny) political rantings. In 1979, a year before the Kennedys' influential debut, Fresh Fruit for Rotting Vegetables, was released, Biafra ran for mayor of San Francisco on a bet; his platform included holding auctions for high-ranking city government positions, setting up a board of bribery to handle liquor licenses and building codes, banning automobiles in the city limits, forcing businessmen to dress in clown suits, and allowing vagrants legal access to empty buildings. (Voters apparently found the satire compelling enough to place Biafra fourth out of ten candidates.)

Fresh Fruit for Rotting Vegetables suffered distribution problems owing to the Dead Kennedys' name and subject matter, so Biafra formed his own Alternative Tentacles label in 1981 to counter the majors' reluctance to disseminate his material. When the Kennedys included a poster of H.R. Giger's painting Landscape #20 (Penis Landscape), which depicted rows of penises engaged in anal intercourse, in their 1985 album Frankenchrist, the band and label were prosecuted under California obscenity statutes for distributing "harmful matter to minors." Biafra's apartment was ransacked by police, and a trial was undertaken in April 1986 that lasted over a year; a hung jury resulted in the charges being dropped.

The already politically conscious Biafra emerged as an articulate champion of free speech, and with the Kennedys' breakup, he hit the college lecture circuit with a vengeance, expounding his views on American culture with a righteous anger and acerbic wit. His first solo recordings were spoken word affairs drawing on his lecture material -- No More Cocoons appeared in 1987, with High Priest of Harmful Matter: Tales from the Trial, a detailed, humorous account of the obscenity trial, following in 1989. Other spoken word releases would pop up from time to time, including 1991's I Blow Minds for a Living and 1994's three-CD set Beyond the Valley of the Gift Police. Biafra also offered frequent collaborations with other artists: the Lard project with Ministry's Al Jourgensen and Paul Barker (1988's Power of Lard EP, 1990's The Last Temptation of Reid); the D.O.A.-backed Last Scream of the Missing Neighbors EP (1990); a 1991 outing with Nomeansno entitled The Sky Is Falling, and I Want My Mommy; a side project with members of Steel Pole Bath Tub and King Snake Roost called Tumor Circus, which released a self-titled album in 1991; an EP with Plainfield; and several collaborations with Mojo Nixon, including an EP centered around the country parody "Will the Fetus Be Aborted" and the 1994 album Prairie Home Invasion.

In one of the most bizarre and least likely mishaps punk fans could imagine, Biafra was attacked at a San Francisco club in 1994 by skinheads who had somehow gotten the idea that he was a sellout; he was hospitalized for a time with two broken legs. After returning to Lard in 1997 for a new album, Pure Chewing Satisfaction, he issued the solo If Evolution Is Outlawed, Only Outlaws Will Evolve a year later and Become the Media in fall 2000. The Big Ka-Boom, Pt. 1 from 2002 was a 33-minute-long speech about the war on terrorism while Machine Gun in the Clown's Hand from later that year featured three discs' worth of spoken word from 2000-2002. The 2004 release Never Breathe What You Can't See found Biafra ranting over the heavy music of the Melvins. The collaboration continued on 2005's Sieg Howdy, which featured a cover version of the Alice Cooper classic "Halo of Flies." The three-CD set In the Grip of Official Treason landed in 2006. Around the time of his 50th birthday, Biafra recruited Faith No More bassist Billy Gould, guitarists Ralph Spight and Kimo Ball, and drummer Jon Weiss to form Jello Biafra & the Guantanamo School of Medicine. Between 2009 and 2013, the band released three albums, The Audacity of Hype, Enhanced Methods of Questioning, and White People & the Damage Done.

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6587 - JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE - White People and the Damage Done (2013)

JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE
''WHITE PEOPLE AND THE DAMAGE DONE''
APRIL 2 2013
69:57

01 - The Brown Lipstick Parade/5:12
02 - John Dillinger/3:55
03 - Werewolves of Wall Street/3:28
04 - Road Rage/2:36
05 - Mid-East Peace Process/3:00
06 - Hollywood Goof Disease/3:34
07 - White People and the Damage Done/5:08
08 - Crapture/4:40
09 - Burgers of Wrath/5:34
10 - Shock-U-Py!/7:31
11 - The Brown Lipstick Parade (Spit Valve Brass Mix)/5:12
12 - Burgers of Wrath (Slight Rural Extension)/5:50
13 - Crapture (Flight F.I.N.A.L. Space Blast Extension)/6:48
14 - Shock-U-Py! (Soul Clap Mix)/7:32

Jello Biafra - vocals
Ralph Spight - guitar
Kimo Ball - guitar
Andrew Weiss - bass
Paul Della Pelle - drums

REVIEW
By Ryan Bray
Jello Biafra is a man who’s never really happy unless he’s plenty pissed off. His unquenchable ire is, at best, only temporarily sated when he’s sardonically stabbing away at politics run afoul, corporate greed, or any number of society’s moving targets.

His iconic days fronting the Dead Kennedys might be long behind him, but Biafra’s found a suitably vicious surrogate act in the Guantanamo School of Medicine, the latest musical vessel for his hilarious and frighteningly pointed social skewering. The band’s latest, White People and the Damage Done, is a maddening blast of surf-coated punk aggression, and if possible, it’s even more inflammatory than it sounds. In other words, it’s Biafra staying true to adolescent, volatile form.

The singer’s trademark irreverence is spread evenly across the record’s surface, dripping from savagely pointed song titles such as “Werewolves of Wall Street” and “Hollywood Goof Disease” in sinewy slabs. Musically and lyrically, the record is as raucously sour as they come. “Road Rage” finds Biafra and his merry punk pranksters scowling over their hatred for their wives, kids, jobs, phone bills, and just about everything else, all set to a three-chord sonic shit-fit that will no doubt bring a smile to Dead Kennedy fans young and old. But the singer’s anger would just be that without his hallmark wobbled falsetto and biting humor, and White People doesn’t go without. “Crapture” slings mud in the face of God-fearing fanatics waiting for the end of the world, while “Shock-U-Py” gives the misguided Occupy movement a kick in the ass (“We will occupy / We will Shock-U-Py / And we won’t back down!”).

White People might not raise itself to the scathing heights of Biafra’s punk rock heyday, but it proves that punk’s most prized court jester still hasn’t washed the bitter taste from his mouth.

BIOGRAPHY
By Steve Huey
Following the demise of the Dead Kennedys in the wake of the financial and emotional disaster that was their 1986 obscenity trial, vocalist and free-speech icon Jello Biafra launched a solo career, devoting some of his releases to spoken word observations on American culture and politics and others to collaborative efforts with several bands. Biafra was born Eric Boucher in Boulder, Colorado, and began collecting odd records in high school. He moved to San Francisco and took his stage name from the war-ravaged African nation then called Biafra, appending the name of the popular dessert substance because he liked the way the two sounded together. Biafra formed the Dead Kennedys in 1978, and the band quickly gained a following thanks to its hyper-driven sonic assault and Biafra's nasal, declamatory (and often quite funny) political rantings. In 1979, a year before the Kennedys' influential debut, Fresh Fruit for Rotting Vegetables, was released, Biafra ran for mayor of San Francisco on a bet; his platform included holding auctions for high-ranking city government positions, setting up a board of bribery to handle liquor licenses and building codes, banning automobiles in the city limits, forcing businessmen to dress in clown suits, and allowing vagrants legal access to empty buildings. (Voters apparently found the satire compelling enough to place Biafra fourth out of ten candidates.)

Fresh Fruit for Rotting Vegetables suffered distribution problems owing to the Dead Kennedys' name and subject matter, so Biafra formed his own Alternative Tentacles label in 1981 to counter the majors' reluctance to disseminate his material. When the Kennedys included a poster of H.R. Giger's painting Landscape #20 (Penis Landscape), which depicted rows of penises engaged in anal intercourse, in their 1985 album Frankenchrist, the band and label were prosecuted under California obscenity statutes for distributing "harmful matter to minors." Biafra's apartment was ransacked by police, and a trial was undertaken in April 1986 that lasted over a year; a hung jury resulted in the charges being dropped.

The already politically conscious Biafra emerged as an articulate champion of free speech, and with the Kennedys' breakup, he hit the college lecture circuit with a vengeance, expounding his views on American culture with a righteous anger and acerbic wit. His first solo recordings were spoken word affairs drawing on his lecture material -- No More Cocoons appeared in 1987, with High Priest of Harmful Matter: Tales from the Trial, a detailed, humorous account of the obscenity trial, following in 1989. Other spoken word releases would pop up from time to time, including 1991's I Blow Minds for a Living and 1994's three-CD set Beyond the Valley of the Gift Police. Biafra also offered frequent collaborations with other artists: the Lard project with Ministry's Al Jourgensen and Paul Barker (1988's Power of Lard EP, 1990's The Last Temptation of Reid); the D.O.A.-backed Last Scream of the Missing Neighbors EP (1990); a 1991 outing with Nomeansno entitled The Sky Is Falling, and I Want My Mommy; a side project with members of Steel Pole Bath Tub and King Snake Roost called Tumor Circus, which released a self-titled album in 1991; an EP with Plainfield; and several collaborations with Mojo Nixon, including an EP centered around the country parody "Will the Fetus Be Aborted" and the 1994 album Prairie Home Invasion.

In one of the most bizarre and least likely mishaps punk fans could imagine, Biafra was attacked at a San Francisco club in 1994 by skinheads who had somehow gotten the idea that he was a sellout; he was hospitalized for a time with two broken legs. After returning to Lard in 1997 for a new album, Pure Chewing Satisfaction, he issued the solo If Evolution Is Outlawed, Only Outlaws Will Evolve a year later and Become the Media in fall 2000. The Big Ka-Boom, Pt. 1 from 2002 was a 33-minute-long speech about the war on terrorism while Machine Gun in the Clown's Hand from later that year featured three discs' worth of spoken word from 2000-2002. The 2004 release Never Breathe What You Can't See found Biafra ranting over the heavy music of the Melvins. The collaboration continued on 2005's Sieg Howdy, which featured a cover version of the Alice Cooper classic "Halo of Flies." The three-CD set In the Grip of Official Treason landed in 2006. Around the time of his 50th birthday, Biafra recruited Faith No More bassist Billy Gould, guitarists Ralph Spight and Kimo Ball, and drummer Jon Weiss to form Jello Biafra & the Guantanamo School of Medicine. Between 2009 and 2013, the band released three albums, The Audacity of Hype, Enhanced Methods of Questioning, and White People & the Damage Done.