The band's sound is diverse, utilizing elements of skate punk, hardcore punk, reggae, and other music genres. Their lyrics generally satirize issues such as politics, society, various subcultures, racism, the music industry, and religion, often using a large amount of comedy.
NOFX's first recording was a demo from 1983, produced by The Germs drummer Don Bolles, which did not sell any copies. They released their self-titled debut EP on Mystic Records in 1985, which was later re-released in 1992 as part of the Maximum RocknRoll CD. For a year, Erik Sandin left the band and was replaced by Scott Sellers, then Scott Aldahl. Dave Allen was in the band for about four months, until he died in a car accident. In 1986, the band released So What if We're on Mystic!. Dave Casillas joined the band on second guitar in 1987 and was featured on the EP The P.M.R.C. Can Suck on This!, attacking the PMRC's call for censorship of music. The original cover was an edited S&M photo, but the re-released version was changed to a photo of Eric Melvin.
Eric Sandin returned and they recorded Liberal Animation in 1988 (before Dave was replaced by Steve) with Brett Gurewitz of Bad Religion. Although the title and some lyrics mocked vegetarianism and animal rights, Fat Mike says that he became a vegetarian after he wrote Liberal Animation. 'If a big enough animal had a chance it would eat you up!' The album was re-released in 1991 on Gurewitz's label Epitaph. Dave then left the band and was replaced by Steve Kidwiller. NOFX had signed to Epitaph by 1989, releasing their second album, titled S&M Airlines. 1990 saw the release of Ribbed. By 1991, Aaron Abeyta (aka El Hefe), joined to round out the group. White Trash, Two Heebs and a Bean was released in 1992, which originally had the title White Trash, Two Kikes, and a Spic. The original title was changed because Eric Melvin's grandmother was upset about the racial epithets.
It was not until the 1994 release of Punk in Drublic that the band had a commercial breakthrough, with the album going gold. In the same year, pop punk entered the mainstream with the success of The Offspring's Smash and Green Day's Dookie.
In 1996 they released Heavy Petting Zoo, which wasn't very popular among its fans because it showed a different sound in some tracks. Their 1997 record So Long and Thanks for All the Shoes was faster, with more ska and reggae, and was well received by the public, although its title shocked everybody because it seemed as it was going to be their last album. They soon stated it wasn't true.
In 1999, the band released The Decline, a fiery and pessimistic social commentary. Having a duration of 18 minutes and 23 seconds, it is nearly the longest punk song to date, second only to "Yes Sir, I Will" by Crass, which spans more than 22 minutes.
The coming of a new century marked the end of NOFX in Epitaph Records. In 2000 they released Pump Up the Valuum, which in many people's opinion is a good record but still is missing something.
In 2003, NOFX released War on Errorism, and launched their anti-George W. Bush campaign. Fat Mike organized the website Punkvoter.com, compiled two chart-topping Rock Against Bush compilations, and kicked off a Rock Against Bush United States tour. The band has released many EPs (i.e. Fuck the Kids, The Longest Line) on Fat Mike's own label Fat Wreck Chords. In February 2005, they launched the NOFX 7" of the Month Club, a subscription-based service which saw the release of one new EP almost monthly, from February 2005 to March 2006 (a total of 12 releases). The cover art for these EPs were chosen from fan-submitted entries. The first 3000 subscribers to the club received all of their records on colored vinyl. Fat Wreck Chords later released full sets of the EPs.
On March 14, 2006, an EP entitled Never Trust a Hippy was released. The EP was followed on April 18 by the album Wolves in Wolves' Clothing. On September 12, 2006, the video game EA Sports NHL07 was released, featuring the title track of the latter album on its soundtrack.
The band recorded three nights of shows in San Francisco, California for the live album, They've Actually Gotten Worse Live! that was released on November 20, 2007.
NOFX aired in 2008 a reality show on Fuse TV called NOFX: Backstage Passport, chronicling their recent worldwide tour full of mishaps and fun stuff.
NOFX released their eleventh full length, Coaster, on April 28, 2009.
NOFX released their twelfth full length, Self/Entitled, on September 11th, 2012.
Official site: http://nofxofficialwebsite.com
The Separation Of Church And Skate
NOFX Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Flush the bouncers with wasted youth
When did punk rock become so safe?
When did the scene become a joke?
The kids who used to live for beer and speed
Now want their fries and coke
Cursing and flipping birds are not allowed
In fact let's keep noise levels down
Must separate the church and skate!
Why don't we put pads on the kids?
Helmets, head gear and mouth pieces!
Then we could pad the floor and walls
Put cameras inside bathroom stalls
We make sure only nice bands play
Make every show a matinee
Teach kids to be all they can be
And we could sing my country tis of thee
Sweet land of liberty
When did punk rock become so safe?
I know it wasn't Duane or Fletcher
Who put up the barricades
Like a stake in the heart
Somehow we got driven apart
I want conflict! I want dissent!
I want the scene to represent
Our hatred of authority
Our fight against complacency
Stop singing songs 'bout girls and love!
You killed the owl! You freed the dove!
Confrontation and politics
Replaced with harmonies and shticks
When did punk rock become so tame?
These fucking bands all sound the same
We want our fights, we want our thugs!
We want our burns, we want our drugs!
Where is the violent apathy?!
These fucking records are rated G!
When did punk rock become so safe?!
The NOFX song "The Separation of Church and Skate" is an indictment of the punk rock scene and how it has lost its original rebellious spirit. The lyrics are a commentary on how punk rock has become too safe, too commercial, and too conformist. The song is a call to arms for the punk rock community to return to its roots as a force for dissent and nonconformity.
The opening lines of the song, "Lost in a sea of combat boots, flush the bouncers with wasted youth," capture the youthful energy and rebelliousness that was once the hallmark of the punk rock scene. The lyrics then go on to lament how that spirit has been lost, how punk rock has become too sanitized and commercialized, and how its original message of protest and opposition has been replaced with conformity and complacency.
The line "When did punk rock become so safe?" is repeated throughout the song, acting as a refrain that drives home the central message. The song is a call to arms for the punk rock community to reject conformity, to reject commercialism, and to embrace the original spirit of punk rock as a force for dissent and nonconformity.
Furthermore, the song is a tongue-in-cheek attack on the idea of making punk rock "safe" by adding pads, helmets, and mouthpieces to protect the kids. The idea of putting cameras in bathroom stalls and only allowing "nice" bands to play is a ridiculous notion that highlights just how absurd the concept of "safe punk rock" really is. The song ends with a call to action, a plea for confrontation and politics to replace harmonies and shticks, and for punk rock to become vibrant and unpredictable once again.
Line by Line Meaning
Lost in a sea of combat boots
The singer is feeling lost and insignificant in a sea of punk rock fashion, where combat boots are a common sight.
Flush the bouncers with wasted youth
The singer encourages rebellion against the authority of bouncers and security, suggesting that the youth should be wasted and uncontrollable like the punk rock scene of old.
When did punk rock become so safe?
The singer laments how the punk rock scene has lost its edge and become bland and comfortable in contrast to its roots as a rebellion against authority.
When did the scene become a joke?
The singer is not pleased with how the punk rock scene has been trivialized and commercialized, becoming a mere commodity or source of entertainment.
The kids who used to live for beer and speed
The singer reminisces about a time when the punk rock scene was fueled by youthful energy, passion and a desire to live dangerously and recklessly.
Now want their fries and coke
The singer notes how the punk rock scene has become more mainstream and commercial, with its participants more concerned with getting fast food and soft drinks than living on the edge.
Cursing and flipping birds are not allowed
The singer criticizes the lack of individuality and freedom of speech in the punk rock scene today, where even cursing or using obscene gestures is frowned upon or even banned.
In fact let's keep noise levels down
The singer notes how the punk rock scene has become more respectful of social norms and conventions, with excessive noise or rowdiness being discouraged or prohibited.
Must separate the church and skate!
The singer believes that religion and skating or punk rock should be kept separate, perhaps because religion is seen as conformist and incompatible with the spirit of rebellion.
Why don't we put pads on the kids?
The singer criticizes the overprotectiveness and coddling of young people in modern society, where kids are shielded from harm and risk-taking in various ways.
Helmets, headgear and mouthpieces!
The singer mocks the excessive safety precautions taken by modern society, where people are expected to wear helmets and headgear for even the slightest risks.
Then we could pad the floor and walls
The singer extends the ridicule to suggest that everything should be padded or protected to avoid any kind of injury or accident, making life dull and devoid of excitement and challenge.
Put cameras inside bathroom stalls
The singer criticizes the surveillance and monitoring culture of modern society, where privacy is violated and people are constantly watched and judged.
We make sure only nice bands play
The singer parodies the preference of modern society for pleasant and inoffensive music, where only clean, wholesome and non-threatening bands are allowed to play.
Make every show a matinee
The singer ridicules the idea of having punk rock shows in the middle of the day, where they are less likely to generate controversy or chaos.
Teach kids to be all they can be
The singer mocks the educational or instructional approach taken by modern society towards young people, where they are taught to fulfill their potential or follow their dreams in a sanitized and safe way.
And we could sing my country tis of thee Sweet land of liberty
The singer ironically suggests that the punk rock scene should embrace patriotism and conformity, betraying the spirit of rebellion and freedom that it used to embody.
I know it wasn't Duane or Fletcher Who put up the barricades
The singer blames no one in particular for the decline of the punk rock scene, acknowledging that it was a gradual and collective process that involved many different factors and actors.
Like a stake in the heart Somehow we got driven apart
The singer compares the decline of the punk rock scene to a fatal blow that separated its members and alienated them from each other and from the cause of rebellion.
I want conflict! I want dissent!
The singer expresses his desire for conflict and disagreement, seeing them as necessary for the development and expression of free speech and liberty.
I want the scene to represent Our hatred of authority
The singer wants the punk rock scene to reclaim its anti-authoritarian and anti-establishment roots, and to reject any form of conformity or complacency.
Our fight against complacency
The singer envisions the punk rock scene as a vehicle for challenging norms and expectations, and for resisting the temptation to settle for mediocrity or comfort.
Stop singing songs 'bout girls and love!
The singer criticizes the focus on romantic love and relationships in music, seeing it as a sign of conformity and dullness.
You killed the owl! You freed the dove!
The singer uses these absurd statements to mock the lack of originality and deep meaning in modern punk rock lyrics, which often resort to cliches and platitudes.
Confrontation and politics Replaced with harmonies and shticks
The singer criticizes the lack of political and social engagement in modern punk rock, where harmonies and showmanship are more valued than meaningful content or expression.
These fucking bands all sound the same
The singer is frustrated with the homogenization and commodification of punk rock, where sound, style and image are more important than originality or creativity.
We want our fights, we want our thugs!
The singer craves the raw energy and excitement of the punk rock scene of old, where fights, violence and controversy were not uncommon.
We want our burns, we want our drugs!
The singer expresses his yearning for the reckless and self-destructive elements of punk rock, like drug use and burning oneself with cigarettes or lighters.
Where is the violent apathy?!
The singer misses the paradoxical mix of aggression and indifference that defined the punk rock scene in its early days, where anger and disengagement were two sides of the same coin.
These fucking records are rated G!
The singer concludes by mocking the sanitized and toned-down nature of modern punk rock, where even the most rebellious and subversive messages are watered down or eliminated.
Lyrics © Wixen Music Publishing
Written by: MICHAEL JOHN BURKETT
Lyrics Licensed & Provided by LyricFind
Austin
on Doornails
These two shots are for Derrick
The singer is dedicating these two shots to Derrick.
For rifle, not the handgun
“Rifle” is a song from Lagwagon, a band Derrick played drums for. “the handgun” was likely what he used to commit suicide, hence why the singer is dedicating the two shots to rifle, not the handgun
For coffee and cigarettes
The singer is dedicating these shots to the act of enjoying coffee and cigarettes.
Give it back
It's unclear what the singer wants Derrick to give back.
You know, suicide isn't painless
The singer is pointing out that suicide isn't painless, despite what the famous song suggests.
When you leave everyone in pain
Suicide can cause a lot of pain for the people left behind.
Two shots will never go down the same
Each shot is a unique experience and can never be replicated exactly.
This beating's for Jimmy
The singer is dedicating this beating to Jimmy.
For ultimate devotion
The beating is dedicated to the idea of ultimate devotion.
For your mind of my own
It's unclear what this line means.
Bring out your dead
This line may be a reference to the film Monty Python and the Holy Grail, where a man goes around collecting dead bodies while saying 'bring out your dead'.
Sedated, flagellated
The singer is describing someone who is sedated and flagellated.
You were the one most loved and hated
The person being described was both loved and hated by people.
Thanks for all that carpet and your songs
The singer is thanking someone for their carpet and their songs.
Oh, this patron's for Jason
The singer is dedicating this patron to Jason.
And this lager's for Andy
The singer is dedicating this lager to Andy.
And these doses are for bomber
The singer is dedicating these doses to someone referred to as 'bomber'.
And this fix is for Bradley
The singer is dedicating this fix to Bradley.
This ritalin's for Lumpy
The singer is dedicating this ritalin to someone referred to as 'Lumpy'.
And this speedball's for friday
The singer is dedicating this speedball to someone on Friday.
This nitrous hit is for Lynn and best friend Dobbs
The singer is dedicating this nitrous hit to Lynn and her best friend Dobbs.
This bowl is for my mom
The singer is dedicating this bowl to their mom.
For drinking more than I did
The dedication is for the singer's mom who drank more than they did.
For posting bail for me in New York
The singer's mom posted bail for them in New York.
And in Hollywood that first time
It's unclear what this line means.
And that joint we smoked was the worst time
The singer is reflecting on a time when they smoked a joint and it ended up being a bad experience.
'Cause doing drugs with parents is just wrong
The singer thinks it's wrong to do drugs with parents.
This song is for winning losers
The singer is dedicating this song to people who may have lost some battles, but have won in the end.
It's for lucky substance abusers
The song is dedicated to people who have been lucky enough to be substance abusers and still have their lives together.
The ones who left their black marks on us all
The singer is acknowledging people who have made an impact on our lives, whether good or bad