We recorded our self titled record in 2008 after finally cementing a solid, dedicated lineup. Serial Bill, Gyps Fulvus, J.T. Scuggs, & I bought a myriad of recording gear and got to work. This record is the sound of a bunch of rowdy 20 somethings making a ruckus in a basement.


It's a fun look into our humble beginnings. Zombie Holocaust, Camp Crystal Lake, Class of Nukem High, She's Weird, 21, My Dead Girlfriend... those were all songs that we had been performing for years.  Billy and I wrote / recorded Vampire Pinup Girl in one night to cap off the album and it's been a staple ever since.


I look back fondly on these days. Our self-titled was cut right after Billy and I left the Undead, where we were held to a much higher standard than we would hold ourselves to, for the rest of time.


This album went a lot further than I ever expected it to, and we did absolutely nothing to capitalize on it.


Our second album was a big missed opportunity. We lost J.T. Scuggs to parental responsibilities, but gained "Zombie" Alex, Phil Maldehyde and Ginny Tonic to complete the Say What Again lineup. We upgraded some things, and added some more guitars and keyboards.


A lot of the songs on this album are re-recordings of songs from the previous album because, while we were still a bunch of cave-people, we were now cave-people with better tools. New songs that turned up on here were Ron Is Old, Haddonfield Horror II, Casket Co, Smoke and Mirrors, Better Off Dead, Deathmask, Assisted Suicide. This is where I Flatline originated, thanks to Alex. I've omitted it though, because I re-wrote some of it in 2013.


This album came out at a terrible point in my life where I was a very unhappy person and I decided to call it quits after this. I always shunned this album, but again, it did well, and like a cunt, I didn't bother to capitalize. If people wanna hear it, here it is (mostly...)


After the fall of the Bad Whoremoans, I was an even more miserable person. I was blessed to have the opportunity to jam with Mike Myers, Chaz Jones, and Mr. Jim of Continental Crawler, an old Lodi band that I really dug. Mr. Jim also did time in the Misfits, performing on Static Age. Eventually we lost Charlie, recruited Gyps and Steve Berman (The Victims) and started calling ourselves 'The Exstatics'


Mr. Jim and I cut enough drums for an entire album, and we released an EP or two at some point, but the album was left unfinished. I never got my attitude in check and quit, and the band forged on to become 'The Cheap Vibes'


I retained Mr. Jim's drum recordings and some of what we had recorded for the EPs and recorded what would have been The Exstatics album. These songs are some of my favorite songs, probably the best I've ever written. It's where I Got Your Number, Little Black Dress, and Bad Teacher were spawned from.


I had basically quit music and resigned myself to fucking a big titted wannabe model and producing other people's bullshit until my brother committed suicide in April of 2012. It fucked me up for the better and made me reconsider much of the content I had put out. I re-wrote the lyrics for Zombie Alex's tune I Flatline from Say What Again and we cut it on Seven Year Itch.


I decided to revisit the Bad Whoremoans again because it was familiar at a time when my brain felt like jelly.  I had some good ideas for new songs (Vincent Price was the only one that made it.)   I also cannibalized vocals from 2005 demos of Dirty Jersey Devil, Haddonfield .5, and Slaughter House Romance, recorded new music for them, and included those on here incase you wanted to see how much things didn't change in seven years.


Also, this is the first and so far only Bad Whoremoans album with brushes instead of drumsticks on a song. We should do that more, but most of our material really isn't conducive to it.


We followed up a year later with Bad Whoremoans in 3d, featuring no old songs and my old friend Tony Stanz on guitar. He contributed the music for Transformation and leads on some shit. Hell of a guy, check out his band Hercyn.


I feel like it's our most stereotypical "horror punk" album, and the writing sessions from it spawned a shitload of other songs (some were included as bonus tracks, some demos were released on various compilations, hunt around...)


I liked recording this album because I played a moog on I'd Fuck Me. These songs were all very easy to write. I decided to take a hiatus after this album came out because I really wanted to play pop punk.


Not Aloud Records listened to three albums worth of demos that I had recorded and advised me to pick the 13 best songs, so I picked 18. It runs the gamut from pop-punk to garage rock and roll to some metal. My influences ran everywhere from The Descendents, Rick Springfield, Queens of the Stone Age, Weezer, and Jawbreaker.


I got to have some of my friends like Lenny Love and Gyps make guest appearances. Some of these songs were kicking around for 4-5 years but most of them I wrote in 2013-2014. I also threw two of the Exstatics tracks on there for good measure.


I didn't get to support this much because Serial Bill and I rejoined The Undead.


Pandora fans, this is the only one of my records that's on there.


In 2014, Serial Bill and I rejoined the Undead and immediately started playing benefit shows and stuff. Eventually Bobby's wife joined, we cut an album, it's on 5 colors of vinyl... Billy plays drums on half of it, Boris plays drums on the other.


I rocked the bass on this one and took lead vocals on I Got Your Number and Vampire Pinup Girl.  I also wrote the song Righteous Light. I didn't have much of a hand in engineering or producing it, but it was cool to be a part of on a solely performatory basis.


 Eventually I was getting a lot of neck pain and numbness from playing bass, and brain pain from my sense of humor conflicting with the band's ideals. I wanted to start auditioning my replacement, Tommy Lee Jones in Men In Black style. Instead, they already did it behind my back, and then they bullshitted me for a while so fuck them.


This was a fun time in my life while it lasted. I make a lot of mean jokes about The Undead because those motherfuckers did me kind of dirty and I'm meanspirited, but I truly hope they're happy.


I recorded this album all by myself, just for shits and giggles with no intention of ever performing it live. I re-recorded the first song I ever (co)wrote called Die Away, from my first band 'Dementia 13.'


I feel like I covered a lot of ground that I always wanted to cover including Aliens, Mad Max, some conspiracy theories, Evil Dead, and all kinds of other shit.


A high point for me is I Gave My Heart To A Frankenhooker. I wrote it after I hung out with Patty Mullin, who told me that other bands had written songs about her but the lyrics "weren't very nice." She told me she dug the tune and I was happy to hear that.


Everyone was requesting an acoustic album for years, so I finally pulled the trigger on it. Acoustic guitar... piano... There's some interesting stuff. Deep cuts.


We're cannibalizing some of it for the new Bad Whoremoans album. The 2017 lineup of the Bad Whoremoans is playing Makeup & Latex, Harold Ramis Is Turning In His Grave, etc.


Makeup & Latex came from music that I originally wrote for lyrics written by my friend Dave Street. The Monster Who Made Me was a song that I originally composed for Angelica Page during our short lived band. They were arrangements that I always liked, so I decided to use them.


Early on, we had a really stupid name.... The Pumpkin Patch. We played a lot of gigs, anywhere, in blood and makeup, for no rhyme or reason and performed on Pat Duncan's WFMU show.. We released two EPs, had some personnell changes and eventually changed our name to the Bad Whoremoans.


The Pumpkin Patch is like the "BETA" version of the Bad Whoremoans. Most of the songs were the same, but our priorities were all wrong. THe name was all wrong. Once we retooled it, things fell into place a little bit more...