Fear of a Punk Planet is the third album by the southern California punk rock band The Vandals, originally released in 1990 by Triple X Records. It was their first album to include the lineup of Dave Quackenbush, Warren Fitzgerald, Joe Escalante and Josh Freese, solidifying the band's roster after several years of fluctuation. This lineup would remain intact for the rest of the band's career, and for this reason Fear of a Punk Planet is considered by many fans to be the first proper album by the "new" Vandals. The album returned the band to their punk rock sound, after having played mostly in a country style on their previous album Slippery When Ill. The band would stick to a punk rock formula throughout the rest of their career. The album's title called to mind the rap album Fear of a Black Planet by Public Enemy, released that same year. It featured guest appearances by Dweezil and Moon Unit Zappa, Scott Thunes and Kelsey Grammer. An independent music video was filmed for the album's first track, "Pizza Tran."
The album was re-released with bonus tracks in 2000 by the band's own label Kung Fu Records in order to celebrate its tenth anniversary.
*Tracks 13-16 are included on the 2000 anniversary edition re-release only.
The song describes a dance move named after Roger Thomas.
This song is about the home video game Pong, and compares playing it to an act of rebellion.
The song plays on rap and gang slang words.
This song tells of a man's troubles with his girlfriends, but he is encouraged by the fact that more girls are turning 18 (the legal age of consent) each day.
This song tells of a landlord's headaches with his lazy tenants.
A parody of a song from the musical Grease. In the original version, John Travolta and Olivia Newton-John's characters tell conflicting stories of their summer relationship. While the woman's story tells of a sweet and innocent romance, the man's version is much steamier and full of machismo as he attempts to impress his friends. Underneath, however, it is obvious that they are both infatuated with each other. The Vandals' version begins with the "he said/she said" male/female vocal tradeoff of the original, but then the man's voice takes over and tells his friends how he slept with the girl and then left her. He also tells of other sexual conquests and how he gives the girls a fake telephone number and address. In the end, though, the woman has the last laugh as the man seems to have found someone he generally cares for, but then she leaves him for someone else.
A fictional tale of the death of model and TV actress Farrah Fawcett. In the song several explanations for the actress' death are given, but the singer suspects a conspiracy and theorizes several other explanations for her demise. In reality Fawcett is still alive and continues to act on television and in movies.
This song uses a lot of wordplay with the pro- and anti- prefixes and declares many things that the singer supports and disapproves of.
A cover of a song originally performed by Ricky Nelson, who was himself a television and music star and teen idol. It tells of the difficulties of being a young person in the spotlight.
Based on the 1980s sitcom of the same name, this song tells the tale of a robotic girlfriend that runs amok at night with programmed lust. The song contains an interpretation of the main motif of "Mars, the Bringer of War," the first movement of Gustav Holst's suite "The Planets."
A humorous answering machine message beginning with a mellow piano tune and a polite greeting by Kelsey Grammer, which then launches into a loud and angry message telling off the singer's boss, his school and anyone else who might be calling him. It gets polite again, however, when he addresses his grandmother. The song ends with an actual humorous answering machine message left by Quackenbush's grandmother.
This song tells of an extremist punk who uses terrorism to achieve moral, political and musical goals.
This song describes the many amazing things which can be found in the Chinatown section of downtown.
A tongue-in-cheek call for worker solidarity.
A cover of a hit song originally performed by The Beach Boys.
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