These pages are intended as an archive of Fucked Up vinyl releases and associated artwork. Essentially they are an illustrated version of a spreadsheet-based discography, originally compiled to keep track of a collection.
The general information (and some of the photographs) come from various internet sources including: Looking For Gold, Discogs, Dead Format, ebay, popsike, collectors frenzy, How's your edge, plus various blogs and record-label websites.
Thank you to the following good people, for providing specialist information, photographs of rare records and other stuff (in no particular order): Philip Heidenreich, Mark Masters, Mike Yearsley (Blitz Records), Francisco Aranda (La vida es en mus Records) , Rick Smith, Chris Alves, Tim Alves, Sarah Millibrand, Eric Smith, Matt Clark, Tall Rob, Tom Ellis (Static Shock Records), Özgür, Dave Brown (Sewercide Records), Felix (Havoc Records), Gordon Dufresne (Deranged Records), Craig Caron (Schizophrenic Records), Patrick Amory (Matador Records), Matt Bickle (Slasher Records), Kevin Pedersen (WYR? Records), Wilson Fuller & James Cartwright (Merge Records) Scotty Karate (Tank Crimes), Rich Rossi (Deathwish Records), Dan Williams (Wild Animals), Nick Gergesha, Cesar Serrano, Luke Mumford, Thomas Desjardines, Guille M and Del Taylor. And Google Image Search.
If you can provide photographs or ANY relevant information that's not on here, please message me. The intention is to keep adding things as they become available.
Where possible, each page has photos of sleeve, disc and insert variations, along with pressing information and notes relating to the themes and concepts of the vinyl release.
Interview conducted by David Eliade in January 2006 for Heartattack Fanzine:
You guys get a lot of flak about putting out records that are hard to get. Why do you think that is?
Pink Eyes: Everyone is down on rare records until they get one. I'm the same way. If a band puts out a limited record I'm like fuck them... until I track down a copy. I think we have that reputation but it is for the most part undeserved. We have only ever put out one legit limited record and one kind of limited record the other ones have been mistakes by pressing plants or label fuck ups.
Marbles: It’s because a lot of record collectors are full of shit. We did those Euro-only presses of some of the Deranged tunes for tour and lots of people got pissed off because they had a hard time acquiring them. So there are all these people who advocate the practice of ridiculous record nerdery by trying to get all these records that no one else can get, but then blame a band when they can't get the records they make. Its hard to understand - we made those records because the older singles didn't really get to Europe and it would have been too much work repressing every single, and all of a sudden you hear people shit talking the band because they can't get the record. They weren't made for North Americans. If you can't own every single Fucked Up record, don't get mad at us, maybe re-evaluate your priorities in life.
|Ridiculous Record Nerdery: an incomplete collection of ''Dangerous Fumes'' variants.|
So why did you publish such an extensive discography on the blog, if not as an invitation to try and get everything?
Marbles: It was more as a discouragement, to let people know how impossible/ridiculous it is to try and get it all.
Since that interview, many more Fucked Up records have been released, along with a few more variations. Some have been intentionally organised by the band, but the majority are associated with the various (pre-Matador) independent labels and are the result of error, available materials, or intentionally adding something to make an otherwise standard item become exclusive.
Themes and concepts:
There are a lot of these, some are quite complex; whilst most could be related in some way to the wonders of life and the delusions of authority, they can be interpreted in a number of ways... It would be nice to provide a more definitive summary; unfortunately this site is being compiled by someone with no connection to the band, armed with little more than Wikipedia, the Looking For Gold Blog and various interviews by others: all of these have proven at times to be unreliable sources of information.
Most of the notes are therefore cut and pasted from elsewhere, like a scrap book. Putting it in chronological order should reveal some of the narrative threads that link things together. Whatever, it's easier than paraphrasing and:
This is what a punk band does - borrow, steal, etc. We're just a patchwork of a million other things. I don't think we have a defined or central aesthetic or ideology, we just know how to pick parts from other ones really well. (1)So it must be all right.
The copied notes are taken from as close to the source as possible - ideally, from writings by and interviews with members of the band. Elsewhere, information taken from other sources is included where considered relevant, to expand upon the themes and concepts; some of the key ones appear very early on in the discography and are developed or re-presented, becoming more and more obfuscated by metaphor as the music itself paradoxically becomes more accessible, culminating in the David Comes to Life LP; presented at the time of it's release as being the ultimate statement of the narrative. Time will tell.
|Probably just a coincidence|
It’s best to take some of these figures as indicative.
First of all, much of the available information is taken from old sources and may not take account of later re-pressings
Secondly it soon becomes clear when contacting some of the labels involved that most can't remember, or don't care, or don't like answering nerdy questions from anally retentive record collecting nob-ends.
Thirdly, a review of the information on the band's blog finds pressing info varying between posts and sometimes within the same post.
Maybe a better way of looking at the pressing numbers of Fucked Up records is that they come in 4 categories:
1. Readily available: 500 or more pressed
2. Available if you’re prepared to wait: 100-500 pressed
3. Available if you’re persistent and ideally a spendthrift: 30-100 pressed
4. Only available, if you’re lucky: Less than 30 pressed
(1) Interview with Scene Point Blank 2006