Social Distortion
Independent Years: 1983-2004 [4 LP Box Set]
(The Bicycle Music Company)
Mommy’s Little Monster (Red Translucent Vinyl)
Prison Bound (Clear Concrete Swirl Translucent Vinyl)
Mainliner: Wreckage from the Past (Clear Translucent Vinyl)
Sex, Love and Rock ‘n’ Roll (Gold Translucent Vinyl)
Social Distortion, fueled by the pain and intense emotions of Mike Ness, have been a punk rock and roll institution since 1978. They burst out of the LA Punk scene brandishing a few seven inches of classics. They manifested on TVs of suburban punks by documenting a forsaken cross-country bus tour with Youth Brigade, and later, Minor Threat, in Another State of Mind. The culmination of this intense gestation is our first installment of this box set, the rabid, Mommy’s Little Monster. The band formulated a grinding, blasphemous soundtrack to the punk’s daily fight in early ‘80s society. Tracks like “Mommy’s Little Monster”, “Anti-Fashion”, “All the Answers”, “The Creeps” all embody the cynical snarl of Mike Ness and the boys.
Social Distortion took their combative lyrics and spat in society’s face. But as other bands, such as Minor Threat, SSD, Negative Approach, Black Flag embraced the new stripped down aggression, Ness was always a songwriter, a musician. His chords, sullen and heavy, had a catchiness. His country inclinations were present from the beginning. While Minor Threat stood defiant with simple music, no persona and a straight edge creed; Ness’ defiance was done with melody, indulgent drugs and booze, and image (note the eye make-up). Ness wanted to be a rock and roll singer. The song, “Another State of Mind” is a somber tale of missing home in his isolation on the road.
Mommys Little Monster is a testament to LA’s roots. The catchy hooks he constructed mixed Johnny Cash with the L.A. sound of Circle Jerks, Adolescents, 45 Grave, Germs, X and Descendents. Add the universal attraction of Johnny Thunders and Ramones, you have this stellar twelve inch. Here, the translucent red vinyl is stunning and pings with rage and loss over Ness’ crooning yearns and refusals.
Prison Bound did not come until 1988, five years later. Ness had been buried deep into heroin and depression. He had emerged for this record out of rehab and stocked heavier with his rock and roll influences. The classic line up first appears here, Ness is joined by Dennis Danell again while recruiting John Maurer, bass, and Christopher Reece, drums. The new tracks are drenched in a more pure rockabilly/ rock n roll sound. Tracks like “Prison Bound” paint the illicit picture that this is a hard luck album. Traditional tattoos had not poked their needles into hardcore and punk, never mind mainstream, yet. Ness began using biker and outlaw mantras to go with his boots and leather and greased back hair (a foreshadowing of “Born To Lose”, “Bad Luck”, etc).
“No Pain, No Gain” and “Lawless”, as it is 1988, draw from bands like Nick Cave & The Bad Seeds, while “Indulgence” can equally conjure The Cure and Echo & The Bunnymen. The odd timing of traditional country rock in the ‘80s pounds home. All have an influence on the brutally dark cover of Rolling Stones’ “Backstreet Girl”. Again, storytelling is projected, channeling atmospheric artists like Springsteen and Tom Waits and Johnny Cash, as much as standards of Merle Haggard and Hank Williams all ooze from Ness’ grizzly renditions. “On My Nerves” and “I Want What I Want” charge fast with a rockabilly backbone. The solid line up here displays versed musicians; equipped with a booze fueled love of different genres cauterized Prison Bound as a certified classic. Most US punks had been “artists’ and experimenting for three years, hardcore bands were going metal, and the breed of kids were trying to resurrect the simple drive with youth crew bands. Social Distortion were carving out their own niche.
This rock and roll approach forced a trajectory straight into Epic Records, and deservedly so. This is where this box set leaves a gap. Social D made three albums for the majors; two for Epic, one for 550, where they were label mates with Celine Dion (I’m just teasing. White Light White Heat White Trash is my favorite SD LP.). The self-titled and Somewhere Between Heaven and Hell are classic albums, the peak of the band most agree. Videos on MTV and bigger tours and brought the band to an apex while they maintained the line-up and integrity.
When we rejoin Social Distortion in this box set, it was a rebirth for the band. Chuck Biscuits had come and gone. The unfortunate passing of OG guitarist Danell occurred. John Mauer had left. The biggest change for me, when I bought Sex, Drugs, and Rock N Roll was the tone. I believe in his life, Mike Ness, was clean and found a happy relationship. All of a sudden, the down and out hangover in a seedy hotel room alone with an empty bottle tales were replaced with sunny California days of hand holding and happiness. That said, this is an outstanding album. The songwriting is matched with strong musicianship. I do love these songs, mostly.
On “Angel Wings” Ness plays the mentor of misery of how to persevere, as a mentor in NA/AA would do. Which is cool. The sound of the record is gritty still, not polished in production. Also, it is punkier than the major label trio. It’s a great record. As much as I tease about “Highway 101”’s ‘s tone; it is a great track, and on my top three of the LP. Hard drums and a sparse guitar is rousing. The somber lament still pervades through the positive lyrics. When this album was released, I had found a new love and the song’s sentiment is invigorating for those days. “Don’t Take Me for Granted” is a classic punk tune, reminiscing on lost friendships and shared halcyon days. The bass line is driving, the drums engulfing. This is the stand out track here.
“Reach for the Sky” kicks of the album brilliantly. The dark overtones with melodic guitar lines pull at the heart. If you’re drinking whiskey, this will extract some bitter tears. But if you’re clean, you can use it as an impetus to grab life by the balls each day. This is classic Social D. It is a warning from someone who has seen the gutter. “I Wasn’t Born to Follow” picks up the mood, guitars swirl and drums push slightly on this mid-tempo number. “Nickels and Dimes’ is a raucous track, vivid and engaging with fuzzy guitars. “Footprints on the Ceiling” is a toe-tapping country ditty that celebrates potential. “Winners and Losers” is a clear throwback to White Light White Heat White Trash as Ness bandies clichés. It embraces a great addition to their sound in the Hammond organ that always wins with me, adding texture and a palpable emotive quality. Dan McGough’s B3 organ shows up in other tracks and is a welcome addition. “Live Before You Die” is another affirming number. And again, “Angel’s Wings” as the album’s closer has made me weep a few times when the drunken nadir of heartache and bad decisions are grappling my ambition.
The fourth LP, Mainliner, was an existing collection of early singles. “1945” is a classic by the band, early in 1981 and again in 1982. We get both versions here, from the Posh Boy 45 rpm and the 13th Floor 45 rpm; the latter being beefier. The B-side, “Playpen” is included twice as well. “Moral Threat” and “All the Answers” have their single versions on here as well. Getting the band’s cover of the Stones’ “Under My Thumb” on vinyl is a pounding version that snarls and rips, always a classic. “Mass Hysteria” is another lost gem. The notes of buzzing guitars and speedy drums are classic, mosh inducing chords solidify this track in L.A. punk pantheon.
Social Distortion heralded an amazing ability to blend traditional rock and roll (and rockabilly and country) and defiant punk. That ability transcended their instruments and portrayed their paradoxical balance of despair and hope, regret and acceptance. The band constantly evoked contradictory emotions through literary lyrics and mournful tones. Ness’ vocals were of a teacher and prophet, a la Springsteen, Cash and Kristofferson. The vocal tones are haunting and dreary, but inciting and insightful. These are anthems for the broken and beaten. They were amazing at atmospheric rock and roll, heavy on emotion without pretention. So gather outcasts, bikers, skins and punks. It’s history lesson time, on pretty wax colors.
