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Track List
01) Kill the Poor
02) Forward to Death
03) When Ya Get Drafted
04) Let's Lynch the Landlord
05) Drug Me
06) Your Emotions
07) Chemical Warfare
08) California Ãœber Alles
09) I Kill Children
10) Stealing People's Mail
11) Funland at the Beach
12) Ill in the Head
13) Holiday in Cambodia
14) Viva Las Vegas
01) Kill the Poor
02) Forward to Death
03) When Ya Get Drafted
04) Let's Lynch the Landlord
05) Drug Me
06) Your Emotions
07) Chemical Warfare
08) California Ãœber Alles
09) I Kill Children
10) Stealing People's Mail
11) Funland at the Beach
12) Ill in the Head
13) Holiday in Cambodia
14) Viva Las Vegas
3:05
1:24
1:24
2:12
1:56
1:21
2:56
3:02
2:04
1:35
1:49
2:45
4:34
2:36
Data Complete
70%
Total Rating
70%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1980
Punk Rock
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Punk
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Album
0 copies
Album Description
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Fresh Fruit for Rotting Vegetables is the debut studio album by the American hardcore punk band Dead Kennedys. It was released on September 2, 1980 through Faulty Products in the United States (later by Jello Biafra's own Alternative Tentacles label) and through Cherry Red Records in the United Kingdom. It has been certified by BPI gold. The best selling and generally the most critically acclaimed album by the Dead Kennedys, Fresh Fruit for Rotting Vegetables has become a major staple of American punk.
User Album Review
There are certain parts of the punk rock canon that have been so reused, rehashed and recycled it’s hard to reappraise them objectively. Similarly, the likes of pre-weathered Ramones tees on the racks at high street fashion stores, Lady Gaga in a GISM jacket and the ugly memory of the Red Hot Chili Peppers maiming Nervous Breakdown have seen underground influence and iconography brought into popular parlance in a way many could never have imagined.
The Dead Kennedys, to a large extent, have fallen foul of such erosion. Whether it’s their entry-point status for legions of teen rebels who’ll be quick to seek more esoteric pleasures, lacklustre tributes from big-name acts or the years of legal squabbles since their split, it’s become hard to step back and see their debut album for what it was and what it still represents: a caustic, snide and fiercely intelligent statement of intent that well deserves its place in punk’s battered annals.
Born of a time when much of UK punk’s first wave had grown flabby, the Dead Kennedys stood alongside fellow upstarts MDC, Bad Brains and the Misfits in forging their own harder, wilder sounds and bringing the genre to its next logical stage of development. Fusing bright, slashing chords and hyperactive bass runs with frontman Jello Biafra’s acerbic yodel-cum-snarl the band mercilessly dispatched cruel, irreverent and unceremonious potshots at political corruption and large-scale human idiocy with a mixture of crackling ire and bleak, yellow-fanged comedy. Amid the white-knuckle pacing and spit-spattered vitriol of bona-fide genre classics like California Über Alles and Holiday in Cambodia are strewn curveballs and non sequiturs, from the Dick Dale surf licks leaving vapour trails through Let’s Lynch the Landlord to the whirligig upchuck of Chemical Warfare and the band’s sneering take on Viva Las Vegas.
While the music itself holds up impeccably to three decades’ worth of use and abuse, perhaps the greatest factor in its continued relevance is also the most disheartening: today’s wars, scandals and exploitative endeavours might well be different to those of 1980, but many of the curl-lipped jibes, criticisms and sentiments herein can still be just as readily applied.
External Album Reviews
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User Comments
Available in:
Fresh Fruit for Rotting Vegetables is the debut studio album by the American hardcore punk band Dead Kennedys. It was released on September 2, 1980 through Faulty Products in the United States (later by Jello Biafra's own Alternative Tentacles label) and through Cherry Red Records in the United Kingdom. It has been certified by BPI gold. The best selling and generally the most critically acclaimed album by the Dead Kennedys, Fresh Fruit for Rotting Vegetables has become a major staple of American punk.
User Album Review
There are certain parts of the punk rock canon that have been so reused, rehashed and recycled it’s hard to reappraise them objectively. Similarly, the likes of pre-weathered Ramones tees on the racks at high street fashion stores, Lady Gaga in a GISM jacket and the ugly memory of the Red Hot Chili Peppers maiming Nervous Breakdown have seen underground influence and iconography brought into popular parlance in a way many could never have imagined.
The Dead Kennedys, to a large extent, have fallen foul of such erosion. Whether it’s their entry-point status for legions of teen rebels who’ll be quick to seek more esoteric pleasures, lacklustre tributes from big-name acts or the years of legal squabbles since their split, it’s become hard to step back and see their debut album for what it was and what it still represents: a caustic, snide and fiercely intelligent statement of intent that well deserves its place in punk’s battered annals.
Born of a time when much of UK punk’s first wave had grown flabby, the Dead Kennedys stood alongside fellow upstarts MDC, Bad Brains and the Misfits in forging their own harder, wilder sounds and bringing the genre to its next logical stage of development. Fusing bright, slashing chords and hyperactive bass runs with frontman Jello Biafra’s acerbic yodel-cum-snarl the band mercilessly dispatched cruel, irreverent and unceremonious potshots at political corruption and large-scale human idiocy with a mixture of crackling ire and bleak, yellow-fanged comedy. Amid the white-knuckle pacing and spit-spattered vitriol of bona-fide genre classics like California Über Alles and Holiday in Cambodia are strewn curveballs and non sequiturs, from the Dick Dale surf licks leaving vapour trails through Let’s Lynch the Landlord to the whirligig upchuck of Chemical Warfare and the band’s sneering take on Viva Las Vegas.
While the music itself holds up impeccably to three decades’ worth of use and abuse, perhaps the greatest factor in its continued relevance is also the most disheartening: today’s wars, scandals and exploitative endeavours might well be different to those of 1980, but many of the curl-lipped jibes, criticisms and sentiments herein can still be just as readily applied.
External Album Reviews
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