Butthole Surfers

Butthole Surfersare an Americanrockband formed inSan Antonio, Texas,by singerGibby Haynesand guitaristPaul Learyin 1981. The band has had numerous personnel changes, but its core lineup of Haynes, Leary, and drummerKing Coffeyhas been consistent since 1983.Teresa Nervosaserved as second drummer from 1983 to 1985, 1986 to 1989, and 2009. The band has also employed a variety of bass players, most notablyJeff Pinkus.

Butthole Surfers
Butthole Surfers performing at theFillmorein San Francisco in 2009
Background information
Origin	San Antonio,Texas,U.S.
Genres	Noise rock experimental rock alternative rock psychedelic rock art punk
Years active	1981–2016 (on hiatus)
Labels	Alternative Tentacles Touch and Go Blast First Au Go Go Latino Buggerveil Rough Trade Capitol Trance Syndicate Surfdog Hollywood
Members	Gibby Haynes Paul Leary King Coffey Jeff Pinkus
Past members	seemembers section

Emerging from the 1980shardcore punkscene, Butthole Surfers quickly became known for their chaotic live shows,black comedy,and a sound that incorporated elements ofpsychedelia,noise rock,andpunkas well as their use of sound manipulation and tape editing.

Although they were respected by their peers and attracted a devoted fanbase, Butthole Surfers had little commercial success until 1996'sElectriclarryland.The album contained the hit single "Pepper",which climbed to number one onBillboard'sModern Rock Trackschart that year.

History

Formation (1976–1981)

Butthole Surfers formed atTrinity UniversityinSan Antonio, Texasduring the late 1970s, when studentsGibson "Gibby" HaynesandPaul Leary Walthall(later just Paul Leary) met for the first time. Though it was their shared taste in non-mainstream music that caused them to become friends, both appeared to be headed for very conventional careers. Haynes, as captain of Trinity's basketball team, as well as the school's "Accountantof the Year ", soon graduated to a position with a respected Texas accounting firm, while Leary remained in school working on hisMBAdegree.

In 1981, Haynes and Leary published themagazineStrange V.D.,which featured photos of abnormal medical ailments, coupled with fictitious, humorous explanations for the diseases.After being caught with one of these pictures at work, Haynes left the accounting firm and moved to Southern California. Leary, at the time one semester shy of his degree, dropped out of college and followed Haynes. After a brief period spent selling homemade clothes and linens emblazoned withLee Harvey Oswald's image, the pair returned to San Antonio, and launched the band that would eventually become Butthole Surfers.

Early years (1981–1984)

Haynes and Leary played their debut show at a San Antonio night club, The Bonham Exchange, in 1981; at that time, they had not yet settled on the band name "Butthole Surfers". By 1982, the band was backed by the sibling rhythm section composed of bassist Quinn Mathews and his brother, drummer Scott Mathews. The band did not gain a following in San Antonio, and purchased a van to return to California later that summer.

During a brief concert at theTool and Die clubinSan Francisco,Dead Kennedysfrontman andAlternative TentaclesoverseerJello Biafrawitnessed their performance and became a fervent fan.Biafra invited the group to open for Dead Kennedys andT.S.O.L.at theWhisky a Go GoinLos Angeles,and soon made an offer that would launch their recording career; if they could get someone to lend themstudiotime, 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).However, the Mathews brothers did not enter the studio with Haynes and Leary; the two had quit following a physical altercation between Scott Mathews and Haynes. The bass position was taken over by Bill Jolly, who would play on Butthole 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.

Released on Alternative Tentacles in July 1983, the resulting EP,Butthole Surfers(also known asBrown Reason to LiveandPee Pee the Sailor), offered songs with provocatively absurd 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 firstLP.) The album cover, like the many bizarre illustrations that would accompany Surfers' succeeding work, was designed by the band itself.Teeming with humor,Butthole Surferslaid the foundation for what was to come.It influenced at least one future superstar inNirvanafrontmanKurt Cobain,who listed it as one of his ten favorite albums in hisJournals.Cobain later went on to list the album "Pee Pee the Sailor" by Butthole Surfers as one of the fifty most influential albums for Nirvana's sound.Cobain would later meet his wife,Courtney LoveofHole,at a Butthole Surfers/L7concert in 1991.

Soon after the release ofButthole Surfers,the band recruited a second drummer,Teresa Nervosa(born Teresa Taylor), who had played with Coffey in a number ofhigh schoolmarching bandsin the Texas'Fort WorthandAustinareas.She and Coffey woulddrum in unisonon separate, stand-up kits, adding to the spectacle of 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.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.In 2008, she returned to the band—their website announced 2009 tour dates including "Teresa Taylor".

In 1984, the band returned to BOSS Studios to record enough material for two full-length albums. Both were originally offered to Alternative Tentacles, with the first beingPsychic... Powerless... Another Man's Sac.Before either album could be released, though, Alternative Tentacles had to acquire themaster tapesfrom 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 months of waiting, the band issued the concert recordingLive PCPPEPon Alternative Tentacles out of financial desperation in September 1984. Mostly made up of live performances of songs from their debut, it prompted some critics and fans to joke that they had released the same album twice.Meanwhile, Bob O'Neill was preparing to releasePsychic...on his own Ward 9 label to recoup his expenses.

Legend grows (1984–1987)

With some members working as dishwashers, the group was unhappy about the album being released on Ward 9.Terry Tolkin,a friend and their East Coast booking agent, signed the band to Corey Rusk's then-nascentTouch and Go Recordsin Detroit.Psychic...Powerless...Another Man's Sacwas released in 1984.Building on their first EP, the band 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 came to define their studio recordings.

Just before the release ofPsychic...,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 before heading to New York City, where they impressed members ofSonic Youth,as well asShockabillymember (and future Butthole Surfers bassist)Kramer.They then crisscrossed the country for several months, including a show in Seattle, that made a fan of futureSoundgardenguitaristKim Thayil.While in San Francisco at the end of the tour, and without a place to live, the band collectively decided to move to Winterville (a small town outside Athens, Georgia), where they admittedly made a hobby of stalking members ofR.E.M.They purportedly planned to leave a van parked in front ofMichael Stipe's house, with "Michael Stipe/Despite the Hype/I Still Wanna Suck/Your Big Long Pipe" painted on the side.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.

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.Not long after Malcolm's arrival, the band recorded their act for posterity by filming two concerts at Detroit's Traxx club. Some of this footage was eventually packaged asBlind Eye Sees All,their only official video release to date. They purchased their first 8-track recorder at this time, and used it to record two songs later used on the A-side ofCream Corn from the Socket of Davis.

Reportedly unhappy with life in the band, Malcolm quit in mid-1985.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.Without a permanent bassist and a quickly approaching European tour looming—the band's first—they contactedKramer,who quickly agreed to join.Meanwhile, their second LP, which had been submitted to Alternative Tentacles asRembrandt 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.While waiting, the band released the four-songCream Corn from the Socket of DavisEP on Touch and Go in late 1985. Once Alternative Tentacles finally declined, the group went back into Kramer's Noise New York studio to record two new tracks to replace "To Parter" and "Tornadoes", which were originally intended forRembrandt...before appearing on theCream Corn...EP's B-side.

Following the European tour, Butthole 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.She was replaced by another female drummer, Kytha Gernatt, who was dubbed Cabbage Gomez Jr. in the press soon after joining the band.Cabbage had previously performed withKathleen Lynch(a.k.a. Kathleen, a.k.a. Ta-Da the Shit Lady) in the band Easturn Stars; Lynch gained fame as Butthole Surfers' infamous naked dancer from 1986 to 1989. Kramer also left during this period and was replaced byJeff Pinkus,who gave the band's bass position its longest period of stability by staying until 1994.

Their second LP was finally issued asRembrandt Pussyhorseon 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.Best known for its minimalist reworking ofThe Guess Who's "American Woman",it is one of the most experimental albums in Butthole Surfers' heavily experimental career.Following a particularly out-of-control tour, even by Butthole Surfers' standards, the band semi-settled inWintervillein 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 ofAthens.Before long, they started a leisurely recording session for their third full-length project.Released in March 1987,Locust Abortion Technicianis one of the heaviest Butthole Surfers albums, and it is often considered their finest to date.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 ofgrunge.

Evolution (1987–1991)

Butthole Surfers atLollapalooza1991

Around the time ofLocust Abortion Technician's debut, the group bought a home inDriftwood, Texas,approximately 30 miles (48 km) outside Austin. It was a ranch house built into the side of a hill, with 5 acres (20,000 m²) of surrounding property. As with the rental home near Athens, the compound was turned into ade factorecording 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.

In early 1988, Butthole 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, as the band had been performing most of the material for years.The band 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.

Hairway to Stevenwas issued in April and marked a midway point between the band's experimental roots and the more accessible recordings that would follow. While half of the material is as extreme sounding as their earlier work, other songs are more conventional. This was the first Butthole Surfers album to make extensive use of acoustic guitar.Hairway to Stevendid not have song titles when first released and instead represented each track with an absurdist, oftenscatological,cartoon.The band traveled widely in support of the album over the next year, including a very successful tour of Europe (helped in part by the influence of new UK distributorBlast First). Like their studio recordings, their live shows were beginning to lose much of their earlier chaos.

While touring during the winter of 1988, Butthole Surfers used a portableDATrecorder to tape various concerts. The strongest of these recordings were packaged asDouble Live,a limited edition double album released on vinyl and cassette in 1989, and on CD the following year. This was the first release on the band'sLatino Buggerveillabel. Although the album, as of spring 2007, is out of print, its songs are available as freeMP3downloads on the band's official website. Issued in response to widespread, for-profitbootleggingof their live shows, it contained performances of songs from all of their previous studio albums and EPs.

Double Livewas to be the last Butthole Surfers album to feature Nervosa, who left early in 1989. Shortly after leaving, she was diagnosed with an aneurysm, and was forced to undergo brain surgery. She further began to suffer from strobe light-induced seizures.In 1991, Nervosa (who has gone by Teresa Taylor since her retirement) had a small role inRichard Linklater's filmSlacker.She was employed at theTexas School for the Blind and Visually Impairedas recently as 1995.

Butthole Surfers did not seek to replace her at the time, and opted to continue as a quartet. Following a final EP for Touch and Go—1989'sWidowermaker—the band left their longtime recording partners to sign with longtime supporterTerry TolkinatRough Trade Recordswho had also brought them toTouch and Go,for a reportedly generous one-album deal.Prior to the new LP's debut, Rough Trade talked the band into first releasing 1990'sThe Hurdy Gurdy Man,which previewed material from the coming release. The same year, Rough Trade issuedDigital DumpbyThe Jackofficers,Haynes and Pinkus's psychedelichouse musicside project.

piouhgd(pronounced "p.o.-ed", as in "pissed off" ) was the band's fifth full-length studio album, and their first for Rough Trade. Released in April 1991, it featured more electronic instrumentation, but was largely viewed as a disappointment in comparison to past recordings. Both Haynes and Leary have since expressed displeasure with the album.Regardless, the band was invited to be part of that summer's inauguralLollapaloozatour.Around this time, Haynes collaborated withMinistry,contributing vocals on their 1991 single "Jesus Built My Hotrod",which was later included on 1992'sPsalm 69: The Way to Succeed and the Way to Suck Eggs.

Mainstream recognition (1991–1999)

Rough Trade filed for bankruptcy in 1991, but not before releasing Leary's solo project,The History of Dogs.The following year, Butthole Surfers shocked many fans and critics by signing with the major labelCapitol Records.In 2017, Paul Leary reflected: "I grew up listening toThe BeatlesandGrand Funk RailroadandDean Martin,and the thought of being on the same record label that they were on was too fucking weird, really weird. A lot of people gave us grief for doing that, but fuck: I wasn't going to turn that down. "

Capitol immediately reissuedpiouhgdand paired the band with their first big-name producer,John Paul Jones,best known as the bassist forLed Zeppelin.The fruit of their partnership, 1993'sIndependent Worm Saloon,featured a more straightforward rock approach at Jones's insistence.This paid off for Butthole Surfers, giving them their first minor radio hit, "Who Was in My Room Last Night?".It reached number 24 onBillboard's Modern Rock Tracks singles chart, while the album peaked at number 124 on theBillboard200.Two of the new songs were featured on episodes ofMTV'sBeavis and Butt-head.Guitarist and huge influence on Butthole Surfers,Helios Creedplayed guitar on two of the songs from the record, "The Annoying Song" and "Clean It Up".

When Pinkus left in 1994,the remaining members enlisted a series of fill-in musicians, and continued to tour sporadically, even as all three pursued side projects. Haynes was working withJohnny Depp,Bill Carter,Sal Jenco,Flea,and others in a new group,P.In 1993, Haynes played with this band in Los Angeles'Viper Room,on the night the actorRiver Phoenixdied of a drug overdose.Meanwhile, Leary was building a reputation as a skilled music producer, while Coffey set up his own record labelTrance Syndicate.According to Leary and industry insiders, Haynes was increasingly dependent on hard drugs at this time, although Haynes has downplayed their concerns.

In 1995, the band contributed a cover of theUnderdogtheme song to be included on thetribute albumSaturday Morning: Cartoons' Greatest Hits,produced byRalph SallforMCA.Later that year, Haynes's side project, P, issued an eponymous LP on Capitol, while Coffey's Trance Syndicate label released the first Butthole Surfers compilation album.TitledThe Hole Truth... and Nothing Butt,it was mostly live tracks recorded at different venues from 1985 to 1991.In December, Butthole Surfers initiated what would become an extended legal battle with Touch and Go. At first, they were seeking to increase their profits from the albums released by the label, because the label chose a strategy of non-promotion. The case quickly became a fight for all ownership rights that dragged on for more than three years.

In 1996, Capitol released Butthole Surfers'Electriclarryland,which climbed to number 31 on theBillboard200; the single "Pepper"topped theBillboardModern Rock Tracks chart.Their songs started appearing on the soundtracks of major Hollywood movies, includingBaz Luhrmann'sRomeo + JulietandJohn Carpenter'sEscape from L.A.Despite improved sales with their second Capitol album, the group's relationship with the label was increasingly troubled. A planned 1998 project,After the Astronaut,was scrapped and Butthole Surfers acrimoniously split with their manager, Tom Bunch.In 1999, Butthole Surfers won their lawsuit against Touch and Go.Despite the outcome, several of Butthole Surfers' peers in the alternative music community, includingFugaziandMinor Threatlead singerIan MacKaye,criticized them for having pursued the lawsuit. Haynes and others said they wouldn't have initiated the proceedings if they felt Rusk's dealings had been honorable. Rusk provided the band with indecipherable accounting statements. Rusk continued to insist his actions were honest even though the U.S. Circuit Court of Appeals for the Seventh Circuit found otherwise.With the case resolved, the band reissuedPsychic... Powerless... Another Man's Sac,Rembrandt Pussyhorse(with theCream Corn...EP),Locust Abortion Technician,andHairway to Stevenon their Latino Buggerveil label.

Recent years (2000–present)

Butthole Surfers performing in Poland in 2009

In 2000, the band hired Nathan Calhoun as bassist. Having resolved their dispute with Capitol, Butthole Surfers re-recorded most ofAfter the Astronaut's songs forWeird Revolution,on theHollywood Records/Surfdog Recordsimprint. The album was released in August 2001, and reached number 130 on theBillboard200. It was their most electronic album to date and had a hip hop sound.The single "The Shame of Life" peaked at number 24 on theBillboardModern Rock Tracks chart.

Since then, the group has released two compilations on Latino Buggerveil: 2002'sHumpty Dumpty LSDis a compilation of studio outtakes, while 2003'sButthole Surfers/Live PCPPEP,combines their first two Alternative Tentacles EPs.In 2004, Haynes formed Gibby Haynes and His Problem, who released an eponymous album on Surfdog Records later that year. While promoting the side project, Haynes indicated that another Butthole Surfers studio album was likely, and remarked that it would be "noisy".However, no release date has been announced.

The band reunited withJeff PinkusandTeresa Nervosafor a tour of the East Coast and Europe in Summer 2008 with the Paul Green School of Rock All Stars. It was the first time the reunited line up played together since 1989. The group performed at theAll Tomorrow's Partiesfestival curated byMelvinsandMike PattonofFaith No More.The group's appearance at All Tomorrow's Parties led to a dispute with ATP founder and organizer Barry Hogan, who told a reporter for theVillage Voicethat Butthole Surfers (along withKilling JokeandThe Black Lips) would never play the festival again.The reunited 1986-1989 "classic" lineup continued to tour into 2009, with stops in the United States and Canada.

InAustin, Texas,during their last scheduled show for the North American/Canada 2008–2009 tour on October 31, 2009, Haynes said "We played our first show as the Butthole Surfers in Austin. And this may be our last." Haynes has not yet clarified this statement. Recently, Paul Leary and King Coffey have both stated that the band will tour again if they can pull off another album. Butthole Surfers played two shows in Austin at Scoot Inn during Halloween 2010. A report inThe New York Timessuggested that, even though Butthole Surfers had not released an album of new material since 2001, the "songs are practically incidental to the spectacle" after seeing them perform along with psychedelic bandLumeriansinBrooklyn.

The line-up of Haynes, Leary, Pinkus, and Coffey did a 12-show tour of mostly western U.S. states and one appearance in Canada from August 26, 2011, to September 11, 2011.

As of 2016, the group are on hiatus, with Leary saying: "I just don't want to play live anymore. It's not fun, I don't like touring. That hour on stage is a whole lot of fun, but the other 23 hours off stage just fucking suck."

They performed at the Day for Night music festival in Houston, Texas, which ran December 17–18, 2016.

In an interview withThe Quietusin March 2017, Leary talked about the group possibly making a new album, their first in 16 years: "We've all been busy with our own separate things, and I've done a lot of producing in the past few years, and I've got to the point now where I feel like I've done doing that for a while, so it's time to make a new Butthole Surfers album. Especially now thatTrumpis president, jeez! If there was ever a time for a Butthole Surfers album it's fucking now. It just doesn't get any weirder than that. "

In March 2019, the band released a visual history coffee table book,Butthole Surfers: What Does Regret Mean?,with authorAaron Tanner.

Name

The band did not begin as Butthole Surfers, although they did have a song of that title, possibly an early version of 1984's "Butthole Surfer". This changed at their first paid 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.Prior to that, Butthole Surfers performed under a different name at every live show. Early aliases included TheDick ClarkFive, Nine cm Worm Makes Own Food, The Vodka Family Winstons, Ashtray Babyheads,Ed AsnerIs Gay,Fred Astaire's Asshole, The Right to Eat Fred Astaire's Asshole, The Inalienable Right to Eat Fred Astaire's Asshole, Zipgun, and many others.

The name has long been a source of trouble for the band. Many clubs, newspapers, radio, and TV stations refuse to print or mention their full name, and instead opt to use "B.H. Surfers" or other abbreviations.In a 1996Rolling Stoneinterview, when asked if he could go back and choose a more culturally acceptable name for the band, Haynes replied, "I would name the band: I'm Going to Shit in Your Mother's Vagina."

Live performances

Butthole Surfers performing on December 6, 2008, inMinehead,England. This performance featuresstrobe lights,smoke machinesand a projected film in the background.

In the 1980s, Butthole Surfers earned a reputation for their 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 ofpunk rockwho had supported them from the beginning.A staged reproduction of the band's live show was filmed for 1988'sBar-B-Que Movie,a shortSuper 8 mm filmmovie directed byAlex Winter,who is best known as "Bill S. Preston, Esq." fromBill & Ted's Excellent Adventure.Bar-B-Que Movie is a spoof of 1974'sThe Texas Chain Saw Massacre,and the film ends with a music video-style performance of the song "Fast" (a.k.a. "Fart Song" ), featuring Haynes, Leary, Coffey, Nervosa, andJeff Pinkus,as well as dancerKathleen Lynch.The track displayed many of the band's stage gimmicks, such as the burning cymbal, strobe lights, films, and smoke.

By the time Lynch left in 1989, Butthole Surfers' stage show had become more predictable, with previously random shockers being done at the same point in each night's performance.Teresa Nervosaquit for good around the same time, andKing Coffeybecame the band's sole percussionist. Strobe lights, smoke machines, and evenGibby Haynes' burning cymbal are still part of the presentation, but the chaotic spontaneity of their 1980s performances is no longer on display.

Appearance

Lead vocalist and saxophonist Haynes (who sometimes sang through abullhorn), 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, had a visual aspect. As with their music, their appearance was exceptionally non-conventional in the early days, including sideways mohawks, dreadlocks, unnaturally colored hair, and the like.

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. Other attire included flasher-style trench coats over his nakedness, ridiculously home-styled wigs and cross-dressing; often employing a skirt made of an American flag and a large '60s torpedo-style stuffed bra. 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, rolls and rolls of toilet paper tossed across the audience, 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. As previously mentioned he would sing through almost anything that would alter his voice, including toilet paper rolls and megaphones early on, which eventually evolved into "Gibby's kit", a.k.a. "Gibbytronix", a rack of vocal effects stacked as high as he could reach, before which he would often stand for the majority of the show in later performances. He also often utilized various foot switches which would be used to activate certain vocal effects, and when thought to be dancing during some performances he would actually be stepping on his various pedals. Adding to the spectacle were Coffey and Nervosa, who played in unison on stand-up drum kits; behind which they would collapse onto the floor and out of eyeshot, to collect their breath and strength before rising just in time to play the next song. Finally, the whole band would often tear apart stuffed animals while on stage, throwing the stuffing through the air, creating a rather disturbing throbbing effect, caused by the stroboscopes that were always on.

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 City.Though never an official member, she became Butthole Surfers' famous "naked dancer", performing intermittently with them through 1989.One show in Washington, D.C., withGWARsaw Kathleen take the stage to dance in nothing but gold body paint and antique wooden snow shoes. At another particularly wild concert in 1986, Haynes and Lynch, by now completely bald, 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.

Equipment

Butthole Surfers began to take the collection of visual equipment seriously following Coffey's recruitment in 1983, when he added a clear plastic drum fitted with a strobe light to their show. Shortly afterwards, the band purchased what was reported as 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 later added.Equally memorable was the band's propensity for projecting a variety of films behind them as they played, beginning with one 16-millimeter projector, before adding others. This set-up allowed them to play a number of overlapping movies at the same time which were often strangely angled, upside down or played in reverse. Combined with the increasing number of strobe lights, the effect created a visually disorienting atmosphere, which occasionally caused epileptic seizures in audience members. The films' subject matter were often as disturbing as the manner in which they were played; with images of accidents, nuclear explosions, meat processing, spiders and scorpions stalking prey, gory driver's education films, and penis reconstruction surgery.Not all of the movies were horrific, and they often included nature, wildlife, and aquatic footage; as well as a color negative of aCharlie's Angelsepisode.

Members

• Gibby Haynes– vocals, rhythm guitar, saxophone, bass, keyboards and effects (1981–2016)
• Paul Leary– lead guitar, bass, vocals, keyboards (1981–2016)
• King Coffey– drums (1983–2016)
• Jeff Pinkus– bass (1986–1994, 2008–2016)

Former members

• Scott Matthews – drums (1981–1982)
• Andrew Mullin – bass (1981–1982)
• Scott Stevens – bass (1981)
• Bill Jolly – bass (1982–1984)
• Quinn Matthews – bass (1982)
• Teresa Nervosa– drums (1983–1985, 1986–1989, 2008–2009; died 2023)
• Terence Smart – bass (1984–1985)
• Kytha Gernatt (Cabbage) – drums (1985–1986)
• Mark Kramer– bass (1985)
• Trevor Malcolm – bass, sousaphone (1985)
• Nathan Calhoun – bass (2000–2002)

Touring members

• Juan Molina – bass (1985)
• Elliot Cunningham – dancer
• Kathleen Lynch– dancer (1986–1989)
• Kyle Ellison – guitar (1996)
• Owen McMahon – bass (1996)
• Josh Klinghoffer– guitar, drums (2001)
• Jason Morales – drums (2002)

Timeline

Discography

Main article:Butthole Surfers discography

• Psychic... Powerless... Another Man's Sac(1984)
• Rembrandt Pussyhorse(1986)
• Locust Abortion Technician(1987)
• Hairway to Steven(1988)
• piouhgd(1991)
• Independent Worm Saloon(1993)
• Electriclarryland(1996)
• Weird Revolution(2001)

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External links

• Official website
• Butthole SurfersatAllMusic
• Butthole Surfersdiscography atDiscogs
• Band's biography/discography
• Butthole SurfersatAlternative Tentacles
• Butthole Surfers collectionon theInternet Archive's live music archive