They sought and found little mainstream success, but the group's piledriver drum machines and brutal, slashing electric guitars were widely influential, especially for industrial rock. Albini's snide, malevolent singing and provocative lyrics garnered much attention.
Albini made a name for himself for his controversial "Tired of Ugly Fat?" column in the Chicago zine Matter, as well as irregular contributions to Forced Exposure. At the time, the band consisted of Albini and his drum machine, a Roland TR-606. (All of Big Black's recordings credit "Roland" as if "he" were a member of the band.)
The Lungs EP, the first effort to appear under the Big Black name, was recorded by Albini in his dorm room at Northwestern University. Intended primarily to recruit members to fill out the band, Lungs was released by Ruthless Records. The record is infamous for the variety of inserts, which included a lyric sheet in most copies, plus extras like condoms, dollar bills, stickers, concert tickets, photographs, silverware, razor blades, bloody bandages, and squirt guns. Heavily influenced by Public Image Limited and Killing Joke, Albini describes the amateurish Lungs as one of his few artistic regrets.
In 1983 Jeff Pezzati and Santiago Durango, both of Naked Raygun, joined the band on bass and guitar, respectively. They recorded two EPs together, switching to Homestead Records, and soon after Pezzati left the band. He was replaced by Dave Riley.
Riley was a longtime funk fan and had worked at a Detroit recording studio frequented by Sly Stone and George Clinton. His bass guitar work with Big Black was, to a degree, influenced by funk — not to suggest that he played like Bootsy Collins or Larry Graham, but he did bring a sinuous quality to the music. Even before Riley joined, there was evidence of an interest in funk: Big Black had already covered James Brown's The Payback.
The band made a name for itself nationally with its first album Atomizer, which featured more controversial lyrics by Albini, and strong contributions by Durango and Riley to the songs and arrangement — a working scheme the band had settled on because it took advantage of each member's strengths. Some listeners did not understand that their songs were either social commentary or sarcastic jokes (often both), and assumed that the band was sexist and racist. Albini responded to these accusations by making his lyrics even more offensive than before. Albini has stated that irritating "squares" was no challenge, but he took specific glee in offending "hipsters".
Albini drew much lyrical inspiration from misadventures and escapades he observed during his teen years in rural Missoula, Montana: for example, Cables was inspired by acquaintances who would visit a slaughterhouse to watch cattle get killed.
In 1987 the band switched labels again, this time to the cult Chicago-based indie label Touch and Go Records, when the band became disenchanted with Homestead Records after the label illegally released promotional-only copies of some limited-edition recordings. Big Black then released the Headache EP, which bore a sticker reading, "Not as good as Atomizer, so don't get your hopes up, cheese!" This was not a gimmick; the band truly thought Headache was inferior, and wanted to warn fans.
Shortly after, Durango announced that he was leaving the band to attend law school. Never expecting to make a career out of Big Black, the band realized this would be a good time to stop, not wanting to turn into the Rolling Stones. They broke up, and then released one final album, Songs About Fucking
Steve Albini went on to become a successful recording engineer (he dislikes the term "producer") for bands like Pixies, Nirvana, The Jesus Lizard, The Auteurs, Slint, Membranes, PJ Harvey, and many others, in addition to playing in Rapeman and Shellac.
The band are mentioned in the 1988 the Dead Milkmen song, Sri Lanka Sex Hotel, in the line: "Let's play Big Black at 3 a.m., And tell the neighbours they can all get fucked".
Dave Riley suffered a stroke in 1993 and was left paraplegic. He started a blog and wrote a book.
Santiago Durango released two EPs as Arsenal on Touch and Go, and is still a practicing lawyer. In his first case he helped recover Cynthia Plaster Caster's bronze casts of the genitalia of various rock and roll artists, including that of Jimi Hendrix. He handled some litigation for Touch and Go, and is currently an appellate defender.
Touch and Go acquired the rights to the Big Black back catalog, and reissued these (by this time) hard-to-acquire classics.
Big Black have been posthumously successful, with Q Magazine's August 2007 issue naming Songs About Fucking as the fifth loudest album of all time, just ahead of the Who's Live at Leeds and Public Enemy's It Takes a Nation of Millions to Hold Us Back.
Big Black briefly reunited to play a few songs at Touch and Go Records 25th anniversary celebration on 9 September 2006. The line up was Steve Albini, Santiago Durango and Jeff Pezzati. They played Cables, Dead Billy, Pigeon Kill and Racer X in that order.
"I know what you're all thinking... 'what was all the fuss about?'" Albini said onstage that night. He later said that the reunion would not have happened but for the Touch & Go anniversary, and said the record label is "the most important thing to happen in music in my lifetime." Pezzati and Durango nodded in assent.
Big Black's career is chronicled in Our Band Could Be Your Life, a study of several important American underground rock groups.
In December 2019, longtime bassist Dave Riley passed away from throat and lung cancer. He was 59.
Newmangenerator
Big Black Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And who owns the machine? I do, that's right, I do
This device will make me famous
This device will make me fly
This device will all holy
This device defies all laws
This device will make me famous
This device will make me fly
This device defies all laws
Laws that are stupid and make no sense
Newmangenerator, this can rule the world
I know it -- I know, I built this thing
I know what she does
Who owns the key? That's right, I do
And who owns the machine? That's right, I do
The lyrics to Big Black's song "Newmangenerator" reflect a sense of ownership and power. The singer is claiming that they own both the key and the machine, indicating a level of control over the situation. The repeated phrase "this device" suggests that they have created something innovative and powerful, and that it holds the potential to change the world as we know it - to make them famous, holy, and to defy the very laws of physics and society.
The singer's use of the phrase "Laws that are stupid and make no sense" suggests a rebellious attitude towards authority and the status quo. The repetition of the phrase "I know" reinforces the idea that the singer is in control and is fully aware of the potential of their creation. The phrase "Newmangenerator, this can rule the world" further highlights the sense of power and ambition that underlies these lyrics.
Taken as a whole, the lyrics to "Newmangenerator" suggest a defiance towards existing power structures and a desire to create something new and innovative - something that could fundamentally change the world as we know it.
Line by Line Meaning
Who owns the key? I do, that's right, I do
I am the owner of the key that controls access to this device
And who owns the machine? I do, that's right, I do
I am the sole proprietor of the machine being referred to
This device will make me famous
By utilizing this invention, I will become renowned for my contribution to society
This device will make me fly
In some way, this technology will give me the ability to soar through the air
This device will all holy
This machine will be of spiritual significance and deemed sacred
This device defies all laws
The operations and functionality of this device seem to contradict fundamental principles already established by science
This device will make me famous
By utilizing this invention, I will become renowned for my contribution to society
This device will make me fly
In some way, this technology will give me the ability to soar through the air
This device will make me holy
Through this technology, spiritual enlightenment and purification can be achieved
This device defies all laws
The operations and functionality of this device seem to contradict fundamental principles already established by science
Laws that are stupid and make no sense
Existing laws which conflict with the potential of this device are invalid or foolish
Newmangenerator, this can rule the world
This innovation has the power and potential to change the world and its current state of affairs
I know it -- I know, I built this thing
As the creator of this invention, I am fully aware of its capabilities and potential impact
I know what she does
I have a clear understanding of the device's functionality and purpose
Who owns the key? That's right, I do
I am the owner of the key that controls access to this device
And who owns the machine? That's right, I do
I am the sole proprietor of the machine being referred to
Contributed by Scarlett B. Suggest a correction in the comments below.
Neil Kirkwood
Happy memories of hearing this played by John Peel.
Johnny Midnight
My Newman Generator is ready to rock! I just need nine 12-volt batteries.
MeadowShoreRecords
Oh shit I wish they had just made one more album
EC
Some heavy Killing Joke influence here. I fucking love that Geordi Walker-style rhythm guitar.
Max Feeney
I can’t turn this song off ever if I do I will implode
Dillweed
Always gotta come back once in a while
bmxband1t77
Still kicks MUCH Ass to this day😮
Speed User
You can hear The Fall influence.
Animangus z
is this like.... a single? Did they only ever play it live? Is it part of an album? If so i'd love to hear it
Al Eph
It reminds me of Fish Fry off Songs About Fucking quite a bit.. I wonder if this song ended up becoming that one?