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[Mojo Nixon] My job,
I've been put here on the
planet to stir up some shit,

to get some rock and roll
going, to be the fly
in the ointment,

to be the Cheez Whiz
in the caviar of life
is what I am.

I can do anything
I want. I'm a free man.
This is America.

I'm free, drunk, and horny
and I'm gonna do
what I wanna do,

have some fun
and you can't stop me,
you knuckleheads.

["Ain't High Falutin'"
by Mojo Nixon]

♪ Oh ♪

♪ I ain't got no tuxedo ♪

♪ I don't know
What fork to hold ♪

♪ She asked me to a dance ♪

♪ Where they wear
Fancy pants ♪

♪ Don't like me the way I am ♪

♪ Go suck some Spam ♪

♪ Ain't high falutin' ♪

♪ Little bit crazy ♪

♪ Ain't high falutin' ♪

♪ Pull my daisy ♪

♪ Her dad hates me
At the front door ♪

♪ 'Cause I blew my nose
On the floor ♪

♪ I ask him how it be ♪

♪ Down at the sock factory ♪

♪ He said,
"Boy, what's that smell?"
I said, "Muscatel" ♪

♪ Ain't high falutin' ♪

♪ Little bit crazy ♪

♪ Ain't high falutin' ♪

♪ Pull my daisy ♪

♪

To separate Mojo
from the music,

it's like to say
he was "Elvis is Everywhere."

It's just too simple
and stupid.

Which is basically
what record company types,

A and R types,
are wont to do.

You know, to say,
"Oh, well, this is the guy,

this is 'Elvis is Everywhere,'
that's all there is."

And what I try to do is--

is produce the guy
who's behind the song.

♪ Let's get out of here
Get ourselves a beer ♪

Elvis come to Memphis,
Otis Redding come to Memphis,
Howlin' Wolf come to Memphis,

we figured
we should come to Memphis,
you know?

And there's a whole, you know,
musical, social, cultural--

I mean it is the center
of the Mid-South
isn't it, you know?

It's the vortex of--
of this whole, you know,
delta region.

It's, you know, all the energy
from all these, you know,

all these hicks and everything
out in the woods of all--
of all colors and denominations

kinda goes towards Memphis,
you know?

And, you know,
recording in San Diego
or LA, I mean,

you know, you just--
you just don't-- you can't get
good barbecue there.

I loved going to Memphis,
I loved working
with Jim Dickinson,

and we-- we--
we spent $100,000.

We spent three weeks
in Memphis in the big
Chips Moman Studio

with the faders
that moved on their own
and all that shit, you know--

you know,
before they had computers,

they had to use automation
on the board.

You know, I'm--
I'm trying to make the best,

biggest, loudest,
rockingest record I can make.

["You Can Dress 'Em Up
[But You Can't Take 'Em Out]"
by Mojo Nixon]

In the band,
I got Country Dick,
my buddy from--

my best buddy from San Diego,
playing the drums.

[Country Dick]
I'm out here in Memphis

and I'm working on
a Mojo Nixon album,
of all things.

And believe it or not,
it's turning out pretty good

considering, uh,
it's Mojo's project.

[Nixon] I got John Doe.
I've been in a movie
with John Doe,

Great Balls of Fire.

I realized that
he probably was the--

one of the more demented
people I've ever met.

So, we just fit together
like hand in glove.

[Nixon] I got Eric "Roscoe"
Ambel from New York

who's a great guitar player
and-- and, you know,
a friend of Mojo,

and I got Bill Davis
from Dash Rip Rock
playing guitar.

Doing my time
with the Liberation Army
playing guitar

and adding squawks and squeaks
with my guitar
as where appropriate.

[Nixon] Also, Dickinson
is playing keyboards
on most songs

and Jim Spake
is playing saxophone
on most songs.

So we're making a big--
we're in a big studio
making a big noise.

Otiswas kind
of an experiment.

There was no band.
You know, this was, like,

Dickinson put a band,
you know, put a band
around Mojo.

Mojo and Skid
couldn't agree
on the band situation,

so that's why they split.

He's like,
"I'm gonna form a band."

And Skid didn't want him to.

My feeling
is Skid didn't want him to

because he didn't want to
split up the money more ways.

Skid Roper says they split
because Mojo started a band

and didn't ask him
to be in the band.

So their stories
do not mesh up.

I remember the conversation,
"You can be the bass player,

you can be a drummer,
you can be a guitar player,"

because Skid played
all those instruments.

What do you want to do
in the band?

Which story is true?
I don't know.

My songs had arrangements,
you know, before,

but the arrangements
would just be based on
whatever I played, you know?

You know,
Skid would just follow me,
you know,

so we actually rehearsed
in San Diego,

me and John Doe
and Country Dick.

And that was pretty weird.

You know,
'cause a lot of times before,

I would write--
I would finish the songs,
you know,

you know, as--
as I was singing them
in the mic.

And this time
they're gonna be
a lot more finished.

Though I've left plenty
of holes for Mojo style

extemporaneous pontification.

You could see him,
he'd put down his notebook
and, uh,

and get in front of the mic
and, uh, and just start working
from the brain

and-- and,
yeah, I would say it was--

it was pretty interesting
to see him, um, improvise.

[Nixon]
There's a part of me,
and this is something

that happens to all people
that are funny,

because part of me
wants to be taken seriously

as a musician,
as a rock and roller.

I don't really wanna be taken
seriously as a musician,

I want to be taken seriously
as a rock and roller.

I'm still funny.
I'm still a funny motherfucker.

"Don Henley must die.

Don't let him
Get back together
With Glenn Frey.

Yeah, Shane's dentist
Don't work too hard."

This shit is funny, right?
This shit is funny.

I'm a funny man,
but I'm trying to put
more rock and roll in it.

And Dickinson understands
exactly what I want to do.

He understands
that I want it to be raw,

primitive rock and roll.

I don't know
what other producers
are interested in.

Um, they're interested
maybe being on the radio

or making quality craft.

I don't give a fuck
about quality craft,

I want to make a loud,
stupid, fun album

that some kid who's 15
and hasn't been laid yet

is gonna listen to a 100 times
and go, "God damn!"

Trying to capture
the Zen moment,

that's what all, you know,
recording is about,

that's done properly,
of course.

I try, as a producer,

not to just capture
the Zen moment

because that would just be
documentary production.

I try to extend
the Zen moment,
see, in space and time.

♪

[Mojo vocalizing]

[singing indistinctly]

[song picks up]

[Nixon] Dickinson was like
the last keeper
of the cool flame.

He was like
the last hipster alive.

Pre-Bob Dylan, pre-Beatnik,
pre-Allen Ginsberg.

Dickinson was like some link
back to, you know, uh,

back to the blues
and the jazz cats.

And then we were in Memphis
and then Dickinson's
also the keeper

of the secret history
of Memphis,

him and his buddy
Robert Gordon.

And they're telling
the secret history, not the--

not the Al Green's,
Sam and Dave history
of Memphis,

the weird, crazy, nutty
underground part of Memphis,

you know, where the real music
is happening.

Real music is always happening,

sometimes
it's just harder to find
than other times.

You know, what we want to do

and I think what Jim
will help us do too,

is to get, you know,
get some of that funk and grit

and get some of that
screwed-upness,

get some of that fucked-upness
on the record, you know?

All these records,
it's just computers
and machines

and, um, you know,
it's nice to listen to
while you're vacuuming

or while you're riding
in your car, but it--

it don't mean anything to you.

You hear it,
it don't mean nothing.

Now when I'm screaming
"Destroy All Lawyers,"
I mean it

and I want the music
to sound like I mean it, too.

I want people to feel it,
I want to be just kind of

this big stupid roar,
you know?

You know,
there's some kind of
order there to it

and some kind of,
you know, musicalness to it,

but it's essentially,
it's just,

you know, there's this big--
[screams]

♪ Destroy all lawyers ♪

♪ Destroy all lawyers ♪

♪ Bunch of evil
Weasel posers ♪

♪ Destroy all lawyers ♪

Mojo Nixon is now getting to be
a very well known name,

at least in, you know,
certain circles.

And we-- we're making a record
and we have a line item
that says go-kart.

It's a few hundred bucks.

And the record company,
for whatever reason,

maybe somebody
who had to approve the budget
or press it,

they said,
"Great, buy the go-kart,

use the go-kart
when you're making the record,

but we gotta call it
something else,

we can't have a line item
in the budget
that says go-kart."

But we're insisting,
"No, it stays in.

The line item called 'go-kart'
stays in."

We thought this was
an important principle.

You can torture me,
you can tie me down,

you can put hot spikes
up my butt,

but you cannot make me listen
to no Don Henley records.

No, you can't.

You know, some people say,
"Oh, Mojo,

Don Henley's not so bad,
you know,

he's just trying to be
a socially conscious artist."

Well, you know,
Don Henley is a fool!

♪ One, two, three, four ♪

["Don Henley Must Die"
by Mojo Nixon]

♪ He's a tortured artist ♪

♪ Used to be in The Eagles ♪

♪ Now he whines
Like a wounded beagle ♪

♪ Poet of despair ♪

♪ Pumped up with hot air ♪

♪ He's serious, pretentious ♪

♪ And I just don't care ♪

♪ Don Henley must die ♪

♪ Put a sharp stick
In his eye ♪

♪ Don Henley must die ♪

♪ Yeah, yeah, yeah,
Yeah, yeah, yeah, yeah ♪

♪ Quit playin' that crap
You're out of the band ♪

[Nixon] And now I have
a post-cowpunk supergroup.

I'm gonna be competing
with Los Lobos
and The Replacements.

I got some good songs.
Here we go!

So, the record company
goes out of business,

spends their
last million dollars
promoting David Cassidy,

not Mojo Nixon.

We had a video shoot
all ready

with the original
Bigfoot truck

to the tune of "I Want
to Race Bigfoot Trucks."

It was-- the whole thing
was gonna cost $7,500.

I was gonna get to drive
the Bigfoot.

But no!
We gotta spend the money
on motherfucking David Cassidy.

♪ Watch him fry
Don Henley must die ♪

♪ Don Henley must die! ♪

♪ Yeah, yeah, yeah,
Yeah, yeah, yeah, yeah ♪

So, The Dead Milkmen
are on the same label as us.
They're on Enigma Records.

So, when
"Stuffin' Martha's Muffin"

is shooting up
the college radio charts,

simultaneously
"Bitchin' Camaro"
by The Dead Milkmen,

another funny song
from a Philadelphia, kind of,

you know,
funny punk rock group,
is going up the charts.

Ha! Boo, boo, boo.
Boo, boo, boo.

Who's the shortest, scruffiest,
lightest band in the land?

Why, it can only be me
and Skid Roper's good friends.

[Nixon]
The Dead Milkmen
are out on the West Coast

and they got nowhere to go
for Thanksgiving.

So they come to my house
in San Diego.

And they, you know,
sleep on the floor

and I got 12, you know,
turkey He Man dinners

and four bottles
of Wild Turkey

and we have a big, you know,
Thanksgiving celebration.

Their next record
has this song on it,
"Punk Rock Girl."

And in that song
they talk about me.

"Your store
doesn't have Mojo Nixon.

Your store
could use some fixin'."

That song
fucking goes crazy on MTV

and is, like,
in the top five videos.

Then eventually
we do this tour together.

And it's Cave Dogs,
Mojo, Dead Milkmen.

We got tour busses,
we're playing in front of,
you know,

500 to 2,000 people
every night.

Mojo's on fire!
[laughing]

We hit the road
for 10, 12 weeks
or something altogether

and there was two busses,
uh, with three bands.

And quickly, Mojo's bus
quickly became the--

the bad, very bad bus.

We get back to San Diego

and we're dropping the bus off
and the guy,

the owner of the bus company,
comes on this bus, inside,

and this is the worst
fucking bus

he has ever seen
returned on tour ever.

And somebody's gonna pay
for his bus.

Easily the best
concert I've ever seen
in my entire life

and I have seen--
I've seen the Rolling Stones,

I've seen Paul McCartney,
I've seen Jerry Lee Lewis.

And that 1990 concert
at Michigan State University

is still
the best rock and roll concert

I've seen in my entire life.

[Nixon] The reason
Joe put us in that song

is because we were nice to him
when he stayed at our house.

When they--
when they were broke,

they were out
in the West Coast,
nobody knew who they were,

they had nowhere to go,
they had no money.

And that's how
I'm forever linked
with The Dead Milkmen.

♪ Punk rock girl,
Please look at me,
Punk rock girl♪

♪ What do you see?
Let's travel round the world ♪

♪ Just you and me
Punk rock girl ♪

I madeOtis in Memphis,
I got a touring band,
The Toadliquors,

you know,
out of Washington D.C.,

I got those guys with me
on tour.

We're playing the songs
fromOtis,

we're playing in bigger
and bigger venues,
it's going great.

All his buddies in the
Del-Lords and Dash Rip Rock,
Beat Farmers said,

"Well, these guys in Austin
are-- are the guys, you know?

They're-- they're--
got a young band

and they're--
sure they'd play with you, um,

and it's a total
rock and roll thing,
it'll be perfect."

And we met, uh,
and we got together

and immediately
it all gelled and he was,

you know, the exact front man
we'd always wanted.

The first show we played
in Arizona was this--

this huge festival and we're
at the top of the bill

playing in front of
20, 30,000 people
in a big stadium.

And that's how big it was
right then

and we'd, you know, flown in,
had the bus and the whole deal.

It was-- it was great.
So for us it was a huge thing,

but Mojo was always,
from day one, just, you know,

"We're a band, we're a band.
It's not Mojo Nixon
and the Toadliquors,

Mojo Nixon and the Toadliquors
is one unit

and that's how
we're gonna do it every night
on and off stage."

And that's how
it's always been.

[Nixon]
I'm happy as a clam,

except, you know,
we're reaching the wall here

because one, ho-- you know,
how big can Mojo be?

Two, you know, Enigma Records
is getting ready to collapse.

Mojo knew now
he wasn't going to be
Bruce Springsteen.

He wasn't going to be big.

We're putting out the records
on our own

using my wife's credit cards
to fund them.

It was not a regular
record company thing.

And we didn't really
have the pressure
of the record company thing.

He had no illusions anymore,
which meant the--

the leash was off,
the muzzle was off.

[Nixon] Why should I hold
back? I'm in fucking
Des Moines, Iowa.

I'm high,
I'm drunk, I'm horny,

you know, I've fuckin'--
I've been awake for a week.

I'm gonna fucking say
whatever comes into my mind.

I am gonna try
to incite a riot.

I advocate the legalization
of all drugs.

I advocate liquor sales
24 hours a day,

seven days a week,
365 days out of the year

and any goddamn time
I want it!

["Redneck Rampage"
by Mojo Nixon]

[Nixon]
It was primitive,
four to the floor,

simple,
straight ahead rock and roll.

It wasn't no damn
European art music.

It was music to dance to,
to drink to, to fuck to.

Mojo Nixon
and The Toadliquors

made a joyful noise
unto the Lord,

the Lord
of rock and roll, whoo!

[music continues]

♪ I'm on a redneck rampage ♪

♪ Tearing up the Everglades ♪

♪ I'm on a redneck rampage ♪

♪ Huntin' down Jimmy Page ♪

[Nixon] So, it's Wetdawg
on the piano,

Earl B. Freedom on the bass,

and Wid on the drums.

Wetdawg was just outstanding.
I mean, they all were.

Wid was solid,
solid as he could be,
but I was just amazed

'cause one of my main motives
for doing an album with Mojo

was so I could work with
Wetdawg because he blew
me away.

There'd always be one, two,
or three big Mojo fans waiting,

waiting for us to pull up
in the van and we get out

and they'd immediately,
you know, "Mojo, Mojo, Mojo!"

Want to talk to Mojo
about whatever.

We'd do our sound check,
Mojo was always good
to these folks,

these fans, take care of them,
sign all their stuff,

and-- and talk to them,
and we get on stage and then--

now we got 200, 300
insane Mojo fans coming
out to every show.

And that's what kept us
going every night,
night after night,

anytime we were in,
200, 300 Mojo fans

that are intense Mojo fans.

They've been listening
to the records, they've been,

you know, believing everything
that comes out

'cause it's all good stuff.
It's all the truth.

You're free.
Maybe you don't know it,
but you should. You're free.

You don't need
an identification.
You know who you are.

Live like you wanna live,
regulate yourself

and don't let anybody else
tell you what to do.

And they come
and they want to hear it
from the man himself.

And when Mojo starts
yelling out something,
they yell it right back.

[audience]
♪ Gonna tie my pecker
To my leg, to my leg ♪

♪ Gonna tie
My pecker to my leg ♪

♪ Me, your mama,
And some other whore ♪

♪ Floating down the river
On a shithouse door ♪

♪ I'm gonna tie my pecker
To my leg, to my leg ♪

♪ Gonna tie my pecker
To my leg ♪

I'd give all my lines
to have written just that one.

I don't even know.
And the "Floating down the
river on the shithouse door."

Together those are just two--

Mark Twain would fucking kill
for those to be his.

Whatever line there is,
we have crossed it and taken
a shit on it. [laughs]

♪ She's all liquored up ♪

♪ Oh, she's normally
A nice girl ♪

♪ She's all liquored up ♪

♪ Look at her go ♪

♪ She's all liquored up ♪

♪ I'm gonna attack
The guitar ♪

To him, rock and roll
is drinking and drugging

and late nights and wild times
and he's doing all of that.

He was just a leader
at that kind of, like,

carpe diem, rock and roll
all day, every day,

not just for 90 minutes
a night, you know?

Go to town and conquer.
This Viking, you know,
mentality

of rock and roll,
sex, drugs, rock and roll,
push it to the limit.

Mojo Nixon is wild,
crazy, in America.

I love life, you love life.
There are no rules.

The thing is,
is that I didn't drink,
I didn't smoke,

I didn't do drugs
before I met Mojo.

I mean, it's-- it's--
I fully expected Mojo
was going to die on stage

during those Toadliquor shows.

And darkness seeping into that

kind of confused me a little
bit as a fan, you know?

Some of y'all going,
"Mojo, you're fat,
drunk and stupid

and you look like Cornelius
from Planet of the Apes.

How can you lead
a revolution?"

I can lead it with song.
I can lead it with drink.

I can lead it
with sex and drugs.

These are things
I know something about.

These are things I advocate,
you know?

You always see pro-choice,
pro-life bumper stickers,

you never see one
that says pro-fucking.

Unless you're behind me, baby.
Pro-drinking, pro-fucking.

I'm not pro too drunk
to fuck.

I'm not gonna vote
in any elections anymore

because the Democrats
and Republicans

are selling us
the same bag of shit

with different colors
on it, man.

I'm not gonna get involved
with some third party.
I'm tired of this voting shit.

I advocate
the violent overthrow
of the American government.

I call for an insurrection!

[music playing]

["Go Back Home"
by Mojo Nixon]

♪ Wanna go back home,
Back to North Carolina ♪

♪ Wanna go back home
And see my dad ♪

♪ Wanna go back home,
Back to North Carolina ♪

♪ Wanna go back
To the things I had ♪

[Nixon] The story I heard

is the MacMillans
were kicked out of Scotland

for being drunk preachers.

The other story is that
the English hired the Scottish

to run their estates
over in Northern Ireland.

So they hired the Scots
to be their middle man,

but all this did really
was make the Scots angry
and the Irish angry.

So eventually those--
those are the Scotch-Irish

who eventually
moved to the US.

They're the ones
that became the moonshiners.

They're the ones who became,
you know, the Daniel Boone,

Davy Crockett,
hillbilly marksmen.

They love hillbilly music,
they love drinking,

and they love telling people
to get the fuck--
"Get off my land!"

[laughs]
Right? They're ornery.

They have a giant mistrust
of the state
and federal government.

They go to church
because they know
they're going to hell.

If there's a hell,
I'm gonna be there.

I'm gonna be there
with Country Dick.

I'm gonna be there with
motherfucking Bob Mitchum

and Hunter S. Thompson.
We're gonna be playing cards.

If there's a hell,
Mojo's going.

The thing is, you know,
there probably isn't a hell.

["The Ballad of Wendell Scott"
by Mojo Nixon]

When I was 12,
they passed a leash law.

They passed the leash laws
saying all dogs
had to be on a leash

and my-- my childhood dog,
Flint the dog,
he was a free range dog.

He ran around,
every night we let him go.

He'd stay tied up
during the day,
but at night we let him go.

He'd run around,
he'd come back.

But he was a kid in Danville

and there was some sort of
dog ordinance in the city

where they were going around,

the dog catcher was locking up
all the dogs and, uh,

and then you had to go
get your dog
or something like that.

It was a real, you know,
a real sort of fascist state
dog thing happening.

[Nixon] I was on a big
"free the dogs" kick.

I was gonna liberate my dog
from the leash laws.

And my mom got me a T-shirt,

a sweatshirt for Christmas
that I wore every day
said "Free The Dogs."

And so Kirby didn't want
to have the dogs chained up

and so, but they still passed
the law,

but he stood for it
and he went down there

and talked to him and,
um, he wore this T-shirt.

Probably still wears it,
or sweatshirt.

[Nixon] You know,
I was very interested
in politics.

I knew a lot about history
and government.

My dad, you know,
went to the state
Democratic convention.

My uncle was involved
in politics

and I was very much
interested in that.

You know, at 12, I thought
justice would prevail

and a person
with a right cause

would be able to convince
other people that
that was right.

But not-- not so much,
you know not so true.

To even get listened to you
have to cause a shit storm.

Should all dogs be leashed
because one bad apple
spoils the whole bunch?

Are you gonna let one bad dog
mess up my dog's life?

So I write a letter
to the mayor.

You gotta keep the dogs free
and if you, like,

if you allow this law
to go into effect,

I can't be responsible
for what might happen
to your safety.

Mayor goes to
a New Year's Eve party
with my parents.

And everybody's there,
drinking, band's playing
and everything, you know.

And the mayor grabs my dad
and says,

"Your son wrote me this letter
threatening to kill me

if I enacted the leash law!"

["The Ballad of Wendell Scott"
by Mojo Nixon]

In Danville, which was a town
of about 40,000 people,

Danville in 1960
had no black people
on the city payroll.

Not a janitor, not a--
not a garbage man.

Nobody. Why?
Because them jobs
where for white folks.

You know,
it couldn't be more divided,
more racist,

since also Danville
is about one-third black.

It's not like
there's a few black folks
over in the corner somewhere,

there's black folks
everywhere you go.

The big protests
were in like '62,

'63, '64,
so I was a little kid.

Martin Luther King
came to town.
There were actual riots.

There was literally, you know,
you see the guys with the fire
hoses and the dogs

that--
that all happened in Danville

My dad first worked
at the newspaper,

first worked at the newspaper
atThe Commercial Appeal.

That's where the guy,
the famous photo
of the Nazi who--

the Nazis sent my dad
a Back to Africa ticket.

'Cause my father spoke out,
you know,

that, you know, blacks
should be treated equal.

That, uh, you know,
we should have civil rights.

There's very few
white businessmen,

there was my dad,
there were some preachers,

there were
some college professors,
and there were some Jews.

So 99% of your white
businessmen were not for--

even if they were
for equal rights,

they were scared
to come out and say it.

When Martin Luther King
came to Danville

and gave his
"We Shall Overcome" speech,

uh, Neill recorded it or had
a recording of the speech

and played it
over and over again on his--
on his radio station.

Uh, for that
he got a lot of grief
and he got his tires slashed

and maybe a little graffiti
on the station, but he took
some heat over that.

[Nixon]
It was a calling for change.

You know, we're part
of a great struggle

to emancipate a people,
to get equality.

You know, and my father
saw himself as part of that.

And my father's mother,
my grandmother Roda--
Roda Holden McMillan,

she was like
an Eleanor Roosevelt, you
know, liberal in the South.

And she saw herself
as part of that.

My father saw himself
as a Southern liberal

who believed in equal rights.

["We Gotta Have More Soul"
by Mojo Nixon]

So, my dad worked
at the black radio station,

which was great
because I could go down there
and get records.

So, I had access
to all these records
that I did--

wouldn't normally
have access to, you know,
from the radio station.

"We're gonna save those
for Neill's son, you know,

'cause he's gonna come down
here and want to get them."

When I was a little kid,
my favorite song

was "Sweet Soul Music"
by Arthur Conley,

I heard that song and it
transformed my life.

Every time, even now,
when I hear that song,

I'm like sitting there in my
car riding down the road,
I hear them horns.

[vocalizing]

At first you might think
it's the Marlboro Man,

but no,
it's Arthur Conley going,

♪ Do you like good music?
Yeah, yeah ♪

[Nixon]
And the radio station
had a van

where they did the remotes
out of.

And it was a Volkswagen van
called the Soul Mobile.

WILA Soul Radio
and the Soul Mobile.

And I used to drive it around.
[laughs]

He was talking about
his childhood

when he was just a wee lad

and spending time
with his father
at the radio station,

the family radio station
in Danville, Virginia,

not too far
from where I grew up.

And it's a real nice part
of the country,
I can tell you.

Once when I was driving through
a truck went by my car,

blew out my windshield,
smashed it out
in the middle of winter.

I stopped
at a junkyard mechanic

and they put me
a new windshield in
for ten bucks.

That's the kind of place
Danville is.

And I think that part of Mojo,
that Danville part of Mojo,

is something a lot of people
don't get about the guy.

As much as I hated being in
Danville when I was 18,

you know, I carry Danville
around with me.

I always loved, you know,
the crazy preacher

who's going
just a little too far.

The guy
who spoke to your spirit.

He spoke
to your sense of adventure.

Right, you knew he was lying,
but you didn't care
because it was exciting

and because it hinted
that there was more going on

than the daily drudgery
of existence,

the existential ennui
of bullshit.

It hinted
that there could be
a magical place.

[crowd cheering]

["Jesus at McDonald's"
by Mojo Nixon]

♪ I saw Allah at Arby's
I saw Buddha at Burger King ♪

♪ I saw Moses at McDonald's ♪

There's kind of
an unrelenting ubiquity.
Did you get that?

There's an unrelenting ubiquity
of Jesus and McDonald's.

Well, let's fuck
with both of them
by sticking them together.

♪ I saw Jesus at McDonald's
At midnight ♪

♪ Said he wasn't
Doin' all right ♪

♪ Said he didn't feel
So fine, fine, fine ♪

♪ Said he's 'bout, 'bout,
'Bout to lose his mind ♪

[Nixon] That song
is just two chords
and an excuse to rant.

I start telling these stories,
you know, and--

and the best part
of "Jesus at McDonald's,"

I am at the mythical
down by the power lines.

And, man, I'm at that place,
that teenage make out,

you know, a place where
you'd go and drink

and you're down there
and you're out
on the outskirts of town

and you've been out too late
and then some--
something's gonna happen.

Something magical and special
is gonna happen

down by the power lines.

Kirby left Danville,
probably 1976, '75

to go to school in Ohio
and pretty much never came back
after that.

I was painfully aware

that there was something
going on in music, in politics

in, you know, the--
the whole hippie thing.

The hippie thing
didn't hit Danville till '75,
you know, kind of like--

like after the Allman Brothers,
you know, came through
or something.

I was pa-- you know,
reading Hunter Thompson

and Abbie Hoffman
and hearing, you know,
Arlo Guthrie and things,

you know,
seeing Rolling Stone

and going to see Led Zeppelin,
I knew something was going on.

It was his dream
for me to go to law school,
not my dream.

They thought because
I was a good bullshit artist,
I'd be a good lawyer.

And I am quite adept at lying.
[laughs]

By the second year of college,
I knew I hated it,

I hated the professors,
I hated the fucking classes.

I wanted to fucking
kill everybody there.

In church,
in school, my parents,

"You're not gonna be able
to get a job.

You're not gonna be able
to get a real job,
acting like this."

I ain't cut out
for no real job, motherfucker.

But once my father died,
then I real--

I don't have to go
to law school.

In fact,
I'm not going to law school.
I'm moving to England.

I'm moving to England
to live in a squat in Brixton

and I'm gonna try to join
The Clash.

You know, and then I'm gonna
move to fuckin' Colorado,
because why?

Because that's where
Hunter Thompson lives.
I-- I--

♪ I gotta be me ♪

I'm in Denver.
I got the job.

Uh, I'm in Vista,
which is like
a domestic Peace Corps.

I'm literally pretending
to be Woody Guthrie.

I'm going to
soup kitchens and playing
Woody Guthrie songs

because Woody Guthrie
is a crazy motherfucker.

Woody Guthrie
is like a proto-hippie.

He don't bathe,
he's jumping on the box cars

and traveling around,
he's writing these songs.

You know, Woody Guthrie
is the real deal.

All right,
so if you love Bob Dylan,
then you've gotta love Woody.

Bruce is doing
"This Land is Your Land,"

and it's around the same time,
you know, in the early '80s.

But, you know,
he wasn't singing--

he wasn't singing
the outlaw verses.

You know,
there's the two verses

that are kind of
the more socialist, communist,

you know, populist verses.

So I want to do
"This Land is Your Land,"

which I always thought
was a better song than--

a much better song
for a national anthem

than "Star Spangled Banner."

And I also want to talk about
the dream of America.

One of the things
that makes America great
is the American dream.

The American dream
that you can get ahead.

That you can--
that you can do better
than your-- than your parents.

That, you know,
that the possibilities
are unlimited,

that you're not being held down
by the Pope or the king

and that, you know,
if you work hard

and you're smart
and you're lucky,

hell, you might win
the motherfucking lottery.

And that's part
of what makes America great

and I wanted
to sing about that

in a kind of--
in an insane kind of way.

Going to the root
of folk music is people
like Woody Guthrie.

Nick Tosches wrote this book,
Country, The Biggest Music
In America.

Greil Marcus wrote this book,
Mystery Train.

These two books informed me

about how
there was something else

bigger and grander
going on in American music.

That it wasn't just Madonna

or Paul Anka
or even the Beatles
and the Rolling Stones.

There was a secret,
and this is part
of Dickinson, too,

there's a secret history
to American music

and I just want to be a bump
on the ass of that.

I'm living my Woody Guthrie
folk protest organizer dream.

And I got a punk rock band,
Zebra 123,

and I'm starting to write
some songs.

He would send me, um, or bring
me home cassette tapes,

and I could have one, one from--
one of his very first ones.

♪ Hey, ho, let's go ♪

That was, um, whoever that was,

but that was
one of his first covers
that he did

maybe with Zebra 123,
one of those bands.

[radio DJ] Zebra 123 band
on the KFML starting point.

What do you want to do
with your music?

Where do you want to go?

[Nixon] We'll take it
as far as it'll go.

If we can make records,
if we can go on tour,

whatever we can do,
you know.

[radio DJ] Okay,
"Could Not Be Your Friend"

is the next thing
we're going to hear

and that was written by--
by you, Kirby.

[Nixon] We usually
dedicate this song
to our favorite politician,

Mr. Ronnie Reagan.

♪ I've been dead
For a real long time ♪

♪ I got nothing on my mind ♪

♪ Kick me in the head ♪

♪ Now I am Dawn of the Dead ♪

♪ This is the zombie law ♪

♪ We're gonna eat you raw ♪

[Nixon]
Denver peters out,
I come to San Diego

and that's when
I see Country Dick
and The Snuggle Bunnies.

And they had--
they had the same idea.

They're gonna take the energy
and the excitement

of The Clash
and The Sex Pistols

and put it to hillbilly music.

Put it to Hank Williams,
you know,

to The Louvin Brothers,
to Chuck Berry.

[playing "Anarchy in the UK"]

[indistinct lyrics]

♪ I hate everything on this
Whole fuckin' planet ♪

♪ I hate my friends,
They don't like me either ♪

♪ Between life and death,
I choose neither ♪

♪ 'Cause I wanna be ♪

♪ Anarchy ♪

[Nixon] And lots of people
had that same idea.

You know,
Jason and the Scorchers
and The Blasters

and, you know, the Del-Lords,
lots of people have this idea.

"We're gonna combine,
you know, American roots
music and punk rock."

There--
there's a lot of country
roots in punk rock.

I mean, look at The Clash
for that matter.

[Nixon] Mojo and Jello
go to Austin to make
a country album.

Cockamamie scheme number 357.

Punk rockers don't like it,
Mojo fans don't like it.

So, oh, yeah, we got to do it.
That's what we gotta do.

One thing-- one thing I learned
is we were politically aligned,

but we saw a lot of
the same things
through different eyes

and that was a very big
learning experience for me.

There's a song on there called
"Where Are We Gonna Work
When the Trees Are Gone?"

which is much more empathetic
with, you know, common work--

you know, workers just trying
to feed their families
and put food on the table.

And Mojo saw things
very much from that point
of view,

as did Darryl Cherney
and Judy Berry,

the Earth First activists
who wrote the song

and were later bombed
by persons unknown
for their troubles.

Which is what Jello
and Mojo do,

they use their humor
in a smart way

to say things
that are sort of profound.

["Where Are We Gonna Work
[When the Trees Are Gone?]"
by Mojo Nixon]

♪ Well I come from a long line
Of tree falling men ♪

♪ And this company town
Was here ♪

♪ Before my grandpappy
Settled in ♪

♪ We kept enough trees
A-standin' ♪

♪ So our kids
Could tow the line ♪

♪ But now a big corporation
Came and bought us out ♪

♪ Got us working overtime ♪

♪ But tell me
Where are we gonna work ♪

♪ When the trees are gone? ♪

♪ Will the big boss
Have us wash his car ♪

♪ Or maybe mow his lawn? ♪

♪ Well, I'm a man,
I'm a man,
I'm a lumberjack man ♪

♪ But I fear
It ain't for long ♪

♪ Where are we gonna work
When the trees are gone? ♪

Punk people see him as somebody
who is uncompromising

and that is such
an important part
of the punk aesthetic.

[blues music playing]

[Bullethead] I wasn't there
when he became Mojo Nixon.

When I met him,
he was Mojo Nixon,
he was already Mojo Nixon.

By the time I met him,
the only ones
who called him Kirby

were his, his-- his, uh,

uh, his wife and his mother.

I don't think even his siblings
were still calling him
Kirby by then.

So, but, you know,
the story is,
he's in New Orleans

on a bicycle trip
cross country

Wasn't he like hitchhiking
around this country

and sleeping in a graveyard
when the Holy Spirit
came to him

and he woke up as Mojo Nixon,
you know?

Just the whole idea
about the myth, you know,

you know, print--
print the legend, right?

[Nixon] The bicycle ride
across the country morphed
out of earlier bicycle trips.

The first trip we took
when I was 12,

me and John Matthews
rode our bikes
to Smith Mountain Lake

and spent three nights
up there

and rode back
with no supervision.

We found out
if you put a can of WD-40
in the camp fire,

it makes, like,
a mushroom cloud.

You know, we're 12
and it was a dream.

You know, coast to coast.
It's gonna be like
being in the wagon train.

You know, it's gonna be like
being a hobo riding the rails.
It's gonna be an adventure.

We're gonna meet people,
do things that you can't do
on a package tour

or you know,
any kind of organized thing.

And it's 58 days
from San Diego to Danville,
Virginia.

It was unbelievable.
And we're riding
across the desert.

You know, there's--
there's no place to stop,
fucking wind's blowing.

[howling]

We weren't
in that good of a shape
when we left.

We're going to New Orleans
to see my buddy from college

who's now suddenly
out of the closet.

Takes us on a big tour
of bars in New Orleans,

and that's where I get drunk
and I'm picking people up,

whether they want
to be or not,

putting them in airplane spins
like I'm Hillbilly Jim

in wrestling
and charging them a dollar
so I can get more booze.

And it's during
this cross country bike trip

that I kind of have
the Mojo revelation.

I got a journal,
I'm journalizing.

Like 24 hours a day,
you're together with
two dudes.

We ran out of shit to say
around Albuquerque.

They'd heard
every story I got.

So I started writing

crazy stuff in this thing

and the first page says
something like,

"The Life and Times
of Mojo Nixon,"

this imaginary blues character
in my mind.

In my mind
from Pigfoot, Louisiana,
there's this blues guy

who's the offspring
of Ms. Rudolph

from Richard Pryor's
Mudbone skit,
she's the Voodoo lady,

Ms. Rudolph and Richard Nixon
had a kid.

His name was Mojo Nixon.
And that's me.

[laughs]

[blues music playing]

And I did a few gigs
by myself.

Sitting down,
I called myself Mojo Nixon.

I sit down
and I stomped and played.

I did maybe five gigs
like that by myself.

Then I hooked up
with Skid. Skid was in
The Snuggle Bunnies,

Country Dick
and The Snuggle Bunnies,

the band
before The Beat Farmers,

He was always around.
I was always around,

he was always around.

I tried to hire him
to play snare drum

or maybe one of those
cocktail drums with me.

He said, "No,
I don't want to do that.

I've got this washboard
on a stick

I use in The Snuggle
Bunnies when I don't play
the mandolin.

Why don't I do that?"

I wanted him
to be Voodoo Agnew.

Mojo Nixon, Voodoo Agnew.

He said,
"No, I got another name.
Skid Roper."

The Snuggle Bunnies used to
play every Sunday night

at the Spring Valley Inn.

Spring Valley Inn is tiny,
tiny little biker bar,

you know,
where you can buy speed.

Imagine that, we're in a biker
bar where you can buy speed.

When they would take breaks,
me and Skid would jump up.

That's the very beginning.

That's the--
that's gotta be, like, 1983.

That's the very beginning
of Mojo and Skid.

We'd jump up
and play like three songs.

The Snuggle Bunnies became
the Country Dick element,

you know, that brought all
sorts of musicians together.

And that was the germ
that started

the San Diego music scene
that became so--

that shot off
so many different groups.

[Nixon] Country Dick becomes,
not only my friend,
but kind of,

like, you know, my--
my mentor, my...

demented mentor,
my dementor, if you will.

He's a mythical character.
It's almost like
he's Paul Bunyan.

[Bullethead] I don't know
when they met,
how they met.

All I know is I'm guessing
Mojo had never met

anybody bigger, louder,
bolder than himself.

All the things
Mojo Nixon stands for,

the "be yourself,
don't settle for mediocre,"

the, uh,
"make it fun and exciting."

Country Dick embodied
those in a way even greater
than Mojo.

Mojo's whole early days were,

"I'm going to write songs.

I'm going to do things that
will impress Country Dick."

[Nixon] He's the king
of the San Diego scene.

He brings everybody together.

Country Dick wanted to do this
thing, the Pleasure Barons.

The stars
of the Pleasure Barons,

it's gonna be me,
Country Dick, and Dave Alvin.

And it's gonna be, uh--
it's gonna be a roots rock,

Vegas-style tribute to
Tom Jones on acid from hell.

Country Dick did, you know,
Tom Jones and Elvis songs.

Dave Alvin did,
like, you know, Johnny
"Guitar" Watson songs.

It was supposed to be showbiz,
Southern California

roots punk rockers
doing a big showbiz show.

We went to Texas
and then to Colorado

and then all the way
up to Vancouver.
and back to San Diego

And to this day,
crazy drunk motherfuckers

always come up to me,
"Mojo, man, I was there."

God damn it,
I couldn't be more pleased

than to introduce to you,
you already know

this son of a bitch,
but here he is.
Mojo Nixon!

["Gin Guzzlin' Frenzy"
by Mojo Nixon]

♪ Out of a glass
Or out of a cup ♪

♪ Man, I'll drink
That stuff right up ♪

♪ Bombay, Tanqueray,
Gordon's or generic ♪

♪ Bathtub gin made by Eric ♪

♪ Man, I want to get
Supersonic ♪

♪ Somebody get me
A gin and tonic ♪

♪ I'm in a gin guzzlin'
Frenzy ♪

♪ I'm in a gin guzzlin'
Frenzy ♪

♪ Gin guzzlin' frenzy,
Gin guzzlin' frenzy ♪

♪ Man, oh, man
What can it be ♪

♪ I'm in a gin guzzlin'♪

[Nixon]
So it was like 16 people.
It was chaos!

It's overwhelming.
It's too much.

You know, we're-- we're
in four vehicles traveling.

This is complete chaos
and instability

that only could move because
Country Dick wanted it to move.

[Nixon]
Country Dick is painting
with a giant canvas.

He's got his super deep voice.

On stage
he's a master showman

and he's also
completely full of shit.

Completely, you know,
he's lying about everything

all the time to make it--

to make the show
and himself better.

In another life
we were Elvis impersonators

and Shirley MacLaine
used to come to all our shows

and we were being held prisoner
underneath Graceland

and we were tunneling out
and we came out
in this women's prison

in Arkansas that was run
by Howlin' Wolf's mom.

And that's where we played
our first show.

♪ I'm opening up the casket ♪

[Nixon]
I was interested
in the blues guys

that were at the outer
limits of blues.

Street, you know,
medicine show guys.
Harmonica Frank.

There's a guy named
the Reverend Pearly Brown.

He's got a sign
around his neck says,

"God loves a cheerful giver."

He's on the cover
of a Wet Willie album.

He stands on
the corner in Macon, Georgia

singing songs to Jesus
and got a cup on the end.

There's a guy
named Bongo Joe

who's outside the Astrodome

and he's got a 55 gallon drum
with some, uh,

with some hatchet handles
and soup cans full of BBs
and he does this,

like, performance art thing
and that's what I want to be.

I had this record,
this John Lomax record,

from a prison,
from Angola State Prison
in Louisiana.

And these guys are singing
a song while chopping wood

and so, to me,
that's like the root, root,

the root of the blues.

Leadbelly. I listened to
Leadbelly, Howlin' Wolf,

John Lee Hooker,
and things like that.

The most, you know,
the most raw,

most primitive,
most, you know, earthy,

you know, blues.

The opposite of Robert Cray,
right?

The opposite of the smooth,
sophisticated blues guy.

In "Jesus at Mcdonald's"
he mentioned,

"I have the entire,
you know--

I have the entire
Robert Johnson,

Muddy Waters,
John Lee Hooker

record collection
stretched before me."

As a 17-year-old kid
in the suburbs,

I had no idea
who those guys were.

But once I started
listening to him,

I needed to know and I went
to the record store and said,

"I need these.
Who are these guys?"

Just kind of
a primitive jungle,

you know, stream of
unconsciousness, you know, uh,

you kind of click in on this,
you know,

collective subconsciousness
of the whole race.

You know, back when
everybody was doing

them dances around fires.

[vocalizing frantically]

[Nixon]
I want it down, deep, dirty.

I wanted to be
in a juke joint in Mississippi

with a dirt floor
and the one light bulb
swinging back and forth

and motherfuckers stabbing
each other in the ass,

you know,
while the band's playing.

You know, I wanted
fucking and stabbing

and music
and drinking and drugging
all going at the same time.

["Legalize It" by Mojo Nixon
& Skid Roper]

-♪ I love ♪
-♪ I love ♪

♪ Psychedelic ♪

♪ Psychedelic ♪

♪ Mushrooms ♪

♪ Mushrooms ♪

♪ One, two, three, four ♪

♪ Everybody jump
Up and down ♪

[vocalizing]

Do y'all think
we should legalize
psychedelic mushrooms?

[crowd shouting] Yeah!

Do you think
we should legalize marijuana?

[crowd shouting] Yeah!

♪ What we gotta do?
Legalize it ♪

-♪ What we gotta do? ♪
-♪ Legalize it ♪

-♪ What we gotta do? ♪
-♪ Legalize it ♪

-♪ What we gotta do? ♪
-♪ Legalize it ♪

-♪ What we gotta do? ♪
-♪ Legalize it ♪

-♪ What we gotta do? ♪
-♪ Legalize it ♪

-♪ What we gotta do? ♪
-♪ Legalize it ♪

-♪ What we gotta do? ♪
-♪ Legalize it ♪

♪ Gotta put them pushers
Right in the grave ♪

[Nixon]
So at first we're playing
and we're also both in,

like, three or four
other bands,

but all the other bands
start fading away.

This one is different,
it's only two people.

Another thing, right,
is I'm obviously insane, right?

I-- I-- I'm all in,
I'm committed.

If I'm all in, it's just--
it's a matter of time

before I got my people.

I can find the thing
that will put them on my side.

Confidence in knowing that
is half the battle.

And so, right,
'cause other bands
are getting up

and they're playing their
songs and they're staring
at their shoes.

I got the five gallon water
jug and I'm doing a song

about psychedelic mushrooms.

I'm making everybody sing
along and half the time

I'm not even on the mic.
I'm just so fucking loud.

I'm just yelling, you know?
[laughs]

[crowd chanting]

What I was telling people
what the performance was,

he'll do anything, right?
He'll-- right,

he'll do anything to sell
this motherfucking song.

There was an element
of National Lampoon,

which I loved and, you know,
whether you liked his music

or you didn't, I mean,
you connected with this guy
and you could see him.

No two shows were alike.

The promoters--
the promoters would call you

and they would tell you
how much fun it was

last night, that you should
have been there.

It was never about money.

[Nixon] And lots of
people don't like it,

but the ones that do like it,
they really like it.

They dig it.
Plus, I am determined
not to quit.

This is half of it also.

You know, Woody Allen
said, "Half of success
is showing up."

Well, hey,
and another half of it is,

this girl,
the girl I moved out here
to San Diego,

she said, you know,
"You're never gonna make
any money as a musician.

You should go
to law school, too,

so you have something
to fall back on."

So, I wrote
a song about her called

"You're Gonna Eat
Them Words".

It's on the second album
and fuck you. [cackles]

And I was wildly overconfident
in my abilities.

I had way too much confidence
for my actual level of talent.

Lots of people have talent,
but they don't have drive.

I had drive out the ass.

In San Diego, you grow up,
you can't really see bands

till you're 21,
there's no alternative radio

because that side
of the dial
is all Mexican radio.

So, I grew up without really
knowing anything

about the alternative
music scene, underground,

except there's
just one punk rock band

that had been in San Diego,
The Penetrators,

that Country Dick
had been the drummer in

and they were doing
a reunion gig.

And opening the show
was Mojo Nixon.

I had no idea that
you could sing songs

about having sex
with your friend's mother.

The kind of,
you know, crazy blues,
wild hollering thing

that Mojo did,
I didn't know it existed

as a kid growing up in,
you know,

conservative San Diego.
And it was like,

for the first time in my life,
I thought

maybe there's other people
like me in the world.

His manager Bullethead
would actually write me back,

which was amazing to me, like,
just to have some--

that kind of contact
was just unbelievable to me.

I still have those letters.
I treasure them.

[Nixon] Me, Bullethead,
and Skid, we pull
into Muncie, Indiana,

and we used to bet,
we'd have an over-under

on how many people would be
at the show.

So there was a lot at Tuesday,
Wednesday, Thursday nights,

we were headlining
shitholes with 12 people.

I used to carry around
at all times cassettes

of what was the first album.

Because I was always ready to--
"I'm ready to hand you one.

Right, right, here's my band,
we're looking to get a deal."

So at this point,
we're playing up in LA
a little bit.

Tex and The Horseheads were
part of the cowpunk thing,

you know,
with Blood on the Saddle

and Green on Red
and Blasters and X
and all the LA bands.

They're playing down here,
they're part of it

and they're tied in
with Jeffrey Lee Pierce
and Gun Club,

and we open up for them
and they dig it.

And they got, like,
a manager guy with them

and I give him the tape.

So he gives it
to his partner, Ron Gowdy.

Ron Gowdy calls me and says,
"Hey, let's put this out."

And I go, well, I said,
"No, that's just demos."

He goes, "No, no, no, put
a little reverb on the vocal

and we'll put
the motherfucker out."

We go to Hit Single here,

we run the four track cassette

through the board.

You know, put
a little juice on it.

That's the first album.

Ron is very good
at picking bands.

He picked Poison,
he picked Stryper,

he picked Dead Milkmen,

he picked a bunch
of good bands.

You know, he was good
at hearing the potential.

Ron had his own
little sub-label,
RBI Records.

We didn't have
an actual written deal,

it was all jackleg,
bootleg, half-assed.

So anyway, the record gets
a little attention.

It sells five or 10,000
copies.

I get a call from Bill Hyde,
"Hey, we're gonna put you
actually on Enigma.

Let's make another record."

And I have with me right here
the president of Enigma,

the big cheese,
the head cheese,
the grand wazoo.

The CEO a-go-go.
How you doing there,
Mr. Bill Hyde?

-Doing fine, Mojo.
-Good, good, good.

[Nixon] So I signed a deal
with Enigma

and we make the second album.

And the second album has,

you know,
"Stuffin' Martha's Muffin."

This is at the heyday
of college radio
and they got separate,

like, college radio charts
and it gets a ton of play.

During the MTV era
of Mojo Nixon,

he wrote a song called
"Stuffin' Martha's Muffin",

which was a tribute to
VJ Martha Quinn.

Martha Quinn! Martha Quinn!

Martha Quinn
is a great big chicken, man.

She-- she ain't called me
up or nothing.

She don't let me know
what's going, man.

She don't even return
my phone calls.

I thought at least
she'd sue me or something.

And I went to this
theater in San Diego.
It was called the Ken Theater

and they show
all these old art films
and everything.

And I went to
an afternoon matinee.

Mojo comes out with Skid Roper
to open a movie,

which I've never
seen a musician come out
to open a movie.

And he's got
a Sparkletts water bottle

and he's singing a song
and this is at the height of
MTV when it was getting going

and he's singing a song about,
"I wanna be stuffin'
Martha's muffin."

And the whole thing
was just so wrong
in so many ways

because there were people
there that were there to see
an art film.

Like, some art snobs
and he's offending

half the theater and the other
half's going nuts.

Well, I was going nuts.

It was great to have a duo.

Having a duo meant we could be
on the road opening

for Soul Asylum
or Butthole Surfers

or Einsturzende Neubauten,
or we could be playing
with Koko Taylor

or Jerry Lee Lewis
or with Ali Farka Touré.

-[crowd cheering]
-Speaking of Mojo Nixon
and Skid Roper,

we've got
a little album out here,
God dang it.

This album
is on Enigma Records,
it's called Frenzy.

And I want to thank
the college radio stations

for playing us
a bunch and everything.

I thank y'all for supporting--

supporting what you call
non-loverboy type music
and everything.

I'm gonna leave you
with just a little tune.

You're sitting at home alone
rubbing your love bone

waiting for the telephone
say, "I saw Jesus at McDonald's
at midnight."

[Bullethead]
So then, we do an EP,

it has "Burn Down the Malls"
on it. We make a video.

♪ You know, it started out
Just kind of a corner store ♪

♪ Then it turned into
A shopping center ♪

♪ Oh, I remember
The shopping center openings ♪

♪ Man, they used to have
Those big lights shining up ♪

♪ And now, now where do
The old folks go? ♪

♪ Where do
The young kids go? ♪

♪ What's America,
What's America turning into? ♪

♪ Mondo condo shopping mall
Hell I say ♪

♪ Burn down the malls,
Burn down the malls ♪

♪ Burn down the malls,
Burn down the malls ♪

I meant it.
I meant burn down the malls.

And the mall is just part of
the everything turning into

fucking Mcdonald's,
everything turning into
some kind of national chain.

A local guy who owns
his own business,
he's part of the community.

A corporation
is not part of the community.

Every time a shopping mall
or a giant corporation shows up
in your neighborhood,

a little piece of your soul
is chipped away

and it ain't coming back.
It ain't never coming back.

"Burn Down the Malls"
was meant to be
a flexi-disc for The BOB.

And as we were driving
to the studio we were going
to record the EP,

"Get Out Of My Way"
and Mojo wrote
the song in the van.

He was playing guitar,
Skid's in the back,
lying down,

working out the stuff
on the washboard.
And we get to the studio,

record it in one take,
and Ron Gowdy from Enigma said,

"That's not going
on The BOB flexi-disc.
That's going on the record."

And then it ended up being
the video that we shot
for a few hundred dollars

and, uh,
and was really a great step.

People loved the song,
college radio loved the song.

And then MTV, at least
on120 Minutes and some of
their specialty shows,

started playing
this video that was made
for a few hundred bucks.

120 Minutes,Sunday night
on MTV is playing the shit
out of it,

you know,
every week for six months,
"Burn Down the Malls".

All the clubs
we opened at before,
we're now headlining

and we're making money
and we're also--

we're in this position
where, because it's
just the three of us,

we can survive
on a lot less money
because if a band has

four people in it
and they got the road manager
and the T-shirt guy

and the light man
and the sound man,
they're losing money.

We were making money.

Still, it's all dudes.
It's just dude.

It's a sausage fest.
Dick City at the Mojo show.

The front row is just full of
huge Mojo fans, huge.

I mean, huge.

They love Mojo, but huge
because they're huge people

and they're just, like,
they take it all in.

They take all the Mojo in
them and it just explodes
within their body

to a point where
they become the big Mojo fan.

Sometimes you need that
affirmation that you're alive

and listening to Mojo's music
and his message
just really sat with me.

It wasn't just about,
you know, making fun of--

of Don Henley
or Debbie Gibson.

I mean, yeah,
those songs were fun
and I'm glad that they got

other people to listen,
but that's not
what it was about.

[Nixon] We go and make
the next record and we would
do "Elvis is Everywhere."

Guys are now bringing
girls to the show.
[cackles]

-♪ Who built the pyramids? ♪
-♪ Elvis ♪

-♪ Who built Stonehenge? ♪
-♪ Elvis! ♪

-♪ Who built Easter Island? ♪
-♪ Elvis! ♪

♪ Why they call it
vitamin E? ♪

♪ Elvis! ♪

Elvis is everywhere.
He's in everything.

He's even in Beanie Weenies.
I think I've been eating

so many Beanie Weenies lately
that the spirit of Elvis

has just jumped up
inside of me there.

You know, you see a guy
walking down the street,
pushing a shopping cart

Talking to himself,
is he talking to God?

Is he talking to Allah?

Is he talking
To Robert Anton Wilson?

He's talking to Elvis,
Elvis.

Really normal people,
like, people you meet

at shopping malls,
you know, they go,

"So what kind of music
does your band play?"

And I go, "Well, it's crazy.
It's rock and roll,

it's rhythm and blues,
it's comedy,

it's country, it's front porch,
it's down home,

it's nasty, you know,
and everything."

And they go, "Golly, is it--
is it like Bon Jovi?"

And I go, "No, it's not."
[laughing]

The vibe of the music
with Skid was definitely,

uh, more of a down home sound.

Washboard and guitar
and we'll take on the world.

And that's pretty exciting.

[Nixon]
Then the next big thing,
we opened for The Pogues.

Now we're fucking-- we got--
we're on TV.

[cackling]

Well, you all know about
Shane, you know, the singer
in the Pogues,

we toured with the Pogues
a couple times.

In fact, I had a song on
my last record,

"Pirate Radio."

And I was singing it
and I wanted to do a song

about this pirate radio station
that the FCC closed down
in New York.

And I thought,
"Well, I'll make it
a pirate song."

You know, the pirate song
is kind of like
an Irish song.

He still thinks
it's an Irish song,

but it's not an Irish song.
It's a Mojo song.

♪ The Coast Guard's a-comin' ♪

♪ To shut the pirates down ♪

♪ They don't believe
In free speech ♪

♪ The FCC's in town ♪

♪ Their hacksaws
And their hammers ♪

♪ They smash it all to bits ♪

[indistinct lyrics]

♪ Sing! Aye, ay, mateys ♪

♪ Oh, come on
the pirate radio ♪

♪ Land of the free
And home of the brave ♪

♪ FCC, crawl in your grave ♪

Okay, everybody,
drink from their plunger!

We toured about three weeks
with the Pogues

and we did about five weeks
on our own down South mainly.

We're doing another tour.
We're going to Europe.

We're gonna have
an EP come out.

You know,
I feel like pretty soon

we're gonna have
world domination,
you know?

So why do you think people
are eating up your stuff
right now?

Well, I don't know.
I mean, they're not quite
eating it up,

but everything is going
real good.

I think because we're just
freewheeling nuts.

We don't pretend to be
something we aren't.

We just like to have
a good time, let people know
it's okay to have a good time.

So many people walk around,
they're like, "God, is it
okay to dance?

"I mean, maybe,
can I clap now?

Gosh, if everybody
else is clapping, I'll clap."

I mean sometimes
you just gotta cut loose.

[yells]
And just be free, you know?

[Bullethead]
We were on the road, I think,
200 days that year,

which is a lot of days
and a lot of venues
that were 12 people.

We used to bet
how many were gonna be there.

Sometimes there'd be 12
and then you'd do shows

where there's 1,000 people,
like here in Austin.

It was--
it was all sort of exploding.

It was a lot of the tension
between this crazy cult figure

and this sort of mainstream
starting to catch on.

Uh, and starting to do
some MTV stuff,
some TV appearances.

Alternative radio
was just exploding

so he's doing that
and you sort of--

you know, we got caught up

in this fantasy,
how big can this get?

[audience cheering]

From their new album,
Bo-Day-Shus!!!
Where is that album?

Here it is.
Mojo Nixon and Skid Roper!

-Give it up!
-[audience cheering]

["Elvis Is Everywhere"
by Mojo Nixon and Skid Roper]

♪ When I look out
Into your eyes out there ♪

♪ When I look out
Into your faces,
You know what I see? ♪

♪ I see a little bit of Elvis
In each and every one of you
Out there ♪

♪ Let me tell you, well ♪

♪ Elvis is everywhere,
Elvis is everything ♪

♪ Elvis is everybody,
Elvis is still the king ♪

♪ Man, oh, man,
What I want you to see ♪

♪ Is that the big E's
Inside of you and me ♪

[Nixon] "Elvis Is Everywhere"
is actually getting
on regular rock radio.

It's getting on, like,
morning shows.

All the variations
of alternative and college

and weirdo and Dr. Demento,
they're all playing it.

So it's getting huge play.

And it also,
it was just by chance
that it came out

the same week
that Elvis is on the cover
ofTime and Newsweek

the week before
the 10th anniversary
of Elvis's death.

I didn't-- you would think
that I would have known that.

No, fuck no, fuck.

Just you know,
synchronicity or,

there was an Elvis--
there was a vibration

10 years
after Elvis's death,

there was a vibration
in the air.

I sucked it in,
spewed it out as the song.

There's two things going on.
There's one,

I'm making-- I'm celebrating
the greatness of Elvis

and I'm making fun
of Elvis fans,

but I'm also celebrating them
too because I am one, right?

And Elvis
and his fans represent
what's the best

and the worst about America.

♪ Yeah,
And Elvis is in Joan Rivers ♪

♪ But he's trying
To get out, man ♪

♪ He's trying to get out ♪

Can we talk?
I've got Elvis inside me.
[chuckling]

Beavis, that doesn't sound
anything like her.

-Oh.
-[both chuckling]

Thank you very much.
Thank you very much.

[Nixon] Elvis is like
the American Jesus.

When Elvis dies,
there's all these books
written about him

kind of like when Jesus died,
there's a bunch of books
written about him.

They're called
the New Testament.

And Peter Buck from R.E.M.

had a shrine to Elvis
in his bathroom.

Here Elvis has been dead
10 years.

So I'm just picking up
on this.

Plus Elvis, Elvis could do
the greatest thing

and the stupidest thing
in the same five minutes

and he didn't seem to know
the difference.

Elvis is rock and roll.
There is no rock and roll
without Elvis.

And Elvis is in everybody.
He's in everything.

And this is also part of
taking mushrooms early on

and realizing
the interconnectivity
of all existence.

You know, this is what happens
when you take acid
and mushrooms.

You realize, "Oh, nature
is all intertwined in ways

we'll never fucking
even begin to understand."

Right? That, you know,
that's how high I was.

♪ Elvis is everywhere,
Elvis is everything ♪

♪ Elvis is everybody,
Elvis is still the king ♪

♪ Man, oh, man,
What I want you to see ♪

♪ Is that the big E's ♪

♪ Inside of you and me,
Elvis is everywhere ♪

Yeah, Butthead, go-karts.

Yeah. Go-karts rule.

[Beavis] When I'm old
instead of a car,
I'm gonna have a go-kart.

[chuckling]

♪ That the big E's inside
Of you and me, Elvis! ♪

You know, they come up to me
after a show and they say,

"I really like that
'Elvis is Everywhere' song,

but do you like Elvis?"

I say, "Yeah, I like Elvis."
I say, you know,

"The song wouldn't work
if I didn't like Elvis,"
you know?

Elvis is the point man
for the sexual revolution.

Elvis goes on TV in 1956
and wipes out 2,000 years

of Judeo-Christian uptightness
about sex and stuff.

2,000 years of, you know,
"Cover your body,
your body is nasty."

2,000 years of no dancing
and no having fun.

And Elvis goes on TV
and Elvis just is, you know,

this kind of the life spirit,
you know, the thing that makes
us create more life.

It takes two people
to make new people

and Elvis is on TV
just making sure
that we understand

all that real clear
and everything.

♪ One, two, three, five ♪

MTV was trying to hold on
to its cool factor

and within that they were
making these great promos

that always threw you off
a little bit.

They were a little
off-kilter,

a little on the edge,
trying to keep the cool up.

So they got Mojo
and they had seen his shows,

they had seen the banter
between and in that wild man

evangelist mode
that he gets into.

They said,
"We have to put this on film.

This has gotta be
a part of what we are."

[woman] Marker.

[Nixon] They would get
outside characters,

kind of almost outsider art,

use them in their promos
to make them appear to be hip

while what was on TV
was a Journey video.

Once Journey found out
they could make a video,
it's over for MTV

in terms of being hip and cool.

Mojo is unbridled,

unhinged, unfiltered.

So putting him on the air
sends a signal automatically

-"We're still rebellious."
-On an equally funky front,

we spent last Saturday
with our man Mojo Nixon

who got married
at a place called
Fun Farm Go-karts

out in Chula Vista,
California

in pretty much the unhinged
manner you might expect.

We were glad when
we found out that Mojo

wasn't really going to marry
his 13-year-old cousin.

["Wedding March" playing]

[woman whooping]

Congratulations, guys.

They approached me
and they said,

"We'd like for you
to do these promos

kind of like
the Randee of the Redwoods
thing."

And I'm like, "No, no, no, no.
I'm not gonna be co-opted
by the man."

And everybody said,
"No, you should actually
talk to them."

So I did talk to them.
I made a list of 24 things.

I demanded complete,
you know, artistic control.

You gotta pay me,
you gotta pay Skid.

Complete control
over everything.

They agreed to all of it!

[laughing]

Brothers and sisters,
bring on the revolution,

I am the Reverend Mojo Nixon
from the screaming church

of the Epileptic Jesus.

They're reading books
by guys from France.

You know, what's that guy,
"Camus-moo"?

The patron saint
of the existential cow.

And "Nietzscheshiki"
and Kierkegaardian.

I don't quite get
what's going on here,

but I know it's kind of cool.

[yelling] You can get married,
screw yourself up real good.

[yelling]
But you can't buy beer.

♪ Yeah, I got a girl
Who walks just like a duck ♪

♪ Yeah, I got a girl,
She just loved to-- ♪

Hey, you thought
I was gonna say a bad word,
didn't you?

This regular TV stuff
is making me crazy!

Crazy!

[yelling] I'm sick of it.

I'm sick of it!
Die, die, you pig!

You evil pig!

Die, die, die, die!

Mr. Nixon, I gather Mojo
is not your baptismal name,

so we'll just go
with Mr. Nixon.

Next thing you know,
here's Mojo Nixon...

[chuckles] ...facing off
against Pat Buchanan on CNN.

You look like a fellow
who would want a warning label

on that and say,
"Look, this is rotten stuff."

-No, no, no, no.
-Isn't that true?

You're misreading my face
there, Mr. Buchanan.

You know, he's fought
the censorship thing
all the time.

I mean, he's always
pushing the envelope.

Almost every record will have
a sticker on it saying,

"This contains something
that will offend somebody."

You know, all politicians lie
very well, Mojo doesn't.

Mojo is a truth-seeking
missile.

This is the land of the free,
the home of the brave.

You have to take responsibility
for your actions.

You know, he wrote
an article for Hustler

back in '86 and they edited
stuff out of it.

I guess Hustler draws the line,
you can't talk about
Jesus' tally whacker.

[funky vocalizing]

["Debbie Gibson Is Pregnant
With My Two-Headed Love Child"
By Mojo Nixon]

♪ Debbie Gibson is pregnant ♪

♪ With my two-headed
Love child ♪

♪ It's a bigfoot baby,
All covered in fur now ♪

♪ Stark raving naked
In the fornication nation ♪

♪ We were secretly married
Out in Las Vegas ♪

♪ At a little bitty chapel,
Joan Collins married us ♪

♪ Rootin', tootin',
Ain't high falutin' ♪

♪ Rick Astley is a pantywaist,
Mash my butt in his face ♪

♪ He's teeny tiny,
Two inches of terror ♪

♪ They're all
Gonna scare you ♪

♪ Hair-brained,
Cockamamie, Knuckle-headed,
Idjit, galoot ♪

♪ No truth to the rumor
About Spuds and Debbie G ♪

♪ Only went to the motel
Just to watch a little TV ♪

♪ Hate that dog,
He must die ♪

"Debbie Gibson Is Pregnant
With My Two-Headed Love Child"

was written sort of
spontaneously in Australia,
actually.

Originally performed on stage

as "Kylie Minogue Is Pregnant
With My Two-Headed Love Child."

Hi, I'm Debbie Gibson.

I got this video.
I got this video.

I got Winona Ryder.

I got Winona Ryder
to play Debbie Gibson.

Me and Mojo had talked about it
when I first heard the song

in Memphis when we did a movie,
Great Balls of Fire,

together and he played me
the song and I was like,

"Oh, if you make a video
let me be Debbie G!"

[Nixon]
I've gone to Memphis

and got Jim Dickinson

who's playing piano on it
and producing the thing.

I shot the video in New York.

MTV did a, you know,
a little news feature

with Kurt Loder,
"And now let's find out

about Mojo making a video
about Debbie Gibson."

And it ran on MTV News.

This one standing
for outrageous,

which pretty accurately
describes the video

that Mojo Nixon
and Skid Roper shot this week

for their next single,
"Debbie Gibson Is Pregnant
With My Two-Headed Love Child."

There's no way to describe
this thing in words, so let's
just take a look at it.

Well, I'm going to
wrestle in green Jell-O

with Tiffany, or a girl
who's playing Tiffany.

Sounds good to me.

I'm going to give birth

to the two-headed love child

and I think
that's it for today.

There's something
in Rolling Stone where she
said something about,

she was gonna write
a song about me,
but that's all I heard.

So I'm thinking, man,
this is gonna be bigger
than Jesus.

You know,
this is gonna be bigger
than Jesus' dick.

It's gonna be fucking huge!

Totally,
this is the greatest role.

Debbie Gibson! Teen dream.

[Nixon] All of a sudden,
MTV won't play the video.

And, you know,
and they start giving,

"Oh, it's just got
the word fornication in it."

It turns out,

see, I'm making fun of
Rick Astley,

Tiffany, Debbie Gibson,
and Spuds Mackenzie.

That's how
they make their money.

And when MTV took a turn
away from music

and more towards business
and all that entails,

Mojo had problems with them.

And those culminated
in "Debbie Gibson Is Pregnant
with My Two-Headed Love Child"

not making it onto the air.

It was pretty apparent to Mojo
they were never going to
run the video.

They had gotten pressure
from, whether Budweiser
as a sponsor

or Atlantic Records
because of Debbie Gibson,

which we later found out
there was a lot of pressure

from that front,
they're not gonna run
this video.

The record company,
the manager, "Mojo, you gotta
make the edits.

You gotta do these things,"
and Mojo's just like,

"This is not where we need
to spend our time.

This is not any fun.
I'm not having fun
with this conversation."

So he calls up main contact
at MTV, he says, "Here's how
it's gonna work.

You need to tell my people
that you're never gonna run

his video no matter what we do

and you need to get them
to tell the truth.

And if you don't,
I can't keep doing spots
for you."

And I think he was scheduled
to do a spring break.

Mojo did, uh, Spring Break
in Daytona and he kept saying,

"I've got
a boner in Daytonar,"
and they didn't like that.

And they would not
come out flat and say,
"We're not running this

because we're getting
outside pressure."

They wouldn't tell them that.

And Mojo wasn't saying,
"You have to run the video."

He didn't expect they would,
he thought it was too wild.

He didn't care if they would,
but he said,

"You have to be straight
that you're not running it

or we can't have
a relationship."

["This Land is Your Land"
by Mojo Nixon and Skid Roper]

♪ This piece of dirt under
Our feet doesn't belong
To just one person ♪

♪ The person
With the most lawyers
Doesn't own all of it ♪

♪ It belongs to everybody ♪

♪ This land is your land ♪

[Nixon] It's shocking
that I got as far as I did.

It should have been,
"Fuck you, Mojo,"
the first time

before I made the promos,
but somehow it wasn't.

Now some people say, "Well,
Mojo, you fucked it up."

But see, had I given in,
then I wouldn't be Mojo.

The thing people loved about
me, the thing people liked,

was that I was
gonna go too far.

I was gonna-- fuck,
it was gonna be too much.

That's why
they came to the show.

That's why
they bought the records.

Nobody wants safe,
nice, boring, exercising,

you know,
12 hours of sleep Mojo.

People don't want
that bullshit.

People came to the show
for the chaos,

for the anarchy,
for the "fuck you."

There was two things going on
at the show,

"We don't give a shit
and fuck you!"

And, well, I only knew
one way to do it.

I only knew one way
to do the show,

high, drunk, and horny.

No one wants to see Mojo
with his hair dyed

and fucking, you know, eating
tofu and got contacts in.

And, "Here's another
one of my songs from 1986.

I hope you like it.
I hope nobody's offended."

Fuck all you people!
Fuck you motherfuckers!

I hope everybody's offended.

I want to offend people
that ain't even here.

["You Can't Kill Me"
by Mojo Nixon]

♪ You can't kill me
I will not die ♪

♪ Not now,
Not ever, no never ♪

♪ I'm gonna live
A long, long time ♪

♪ My soul raves on forever ♪

♪ Time has come
We will not wait ♪

♪ We storm the gates at dawn ♪

♪ Busting out of here
Into the world ♪

♪ Sing our victory song ♪

♪ Come on, boys ♪

♪ You can't kill me,
I will not die ♪

♪ Not now,
Not ever, no never ♪

♪ I'm gonna live
A long, long time ♪

♪ My soul raves on forever ♪

♪ Aim-A-Flame Johnson ♪

♪ Well, you can shoot
My body full of holes ♪

♪ But you can't kill
The spirit of rock and roll,
Baby ♪

["Are You Drinking
With Me, Jesus?"
By Mojo Nixon]

♪ Oh, well I saw you
Sitting there ♪

♪ I was trying not to stare ♪

♪ I wasn't sure
If it was you ♪

♪ I didn't know
Just what to do ♪

♪ Well, are you drinking
With me, Jesus? ♪

♪ I can't see you very clear ♪

♪ Are you drinkin'
With me, Jesus? ♪

♪ Won't you buy
A friend a beer? ♪

♪ As you nestle
On your barstool ♪

♪ I felt your
Warmness within ♪

♪ I looked down at my pants,
And that wasn't warmness ♪

♪ I wet myself again ♪

♪ Well are you drinkin'
With me, Jesus? ♪

♪ I can't see you very clear ♪

♪ Are you drinking
With me, Jesus? ♪

♪ Won't you buy
A friend a beer? ♪

♪ Does your head pound,
Jesus? ♪

♪ As hungover you do rise? ♪

♪ How does paradise look,
Jesus ♪

♪ Through holy
Bloodshot eyes? ♪

♪ Should we take
A cab home, Jesus? ♪

♪ Shit, man,
We can hoof it from here ♪

♪ I know
You can walk on the water ♪

♪ But can you walk
On this much beer? ♪

♪ Let me ask you
Are you drinking
With me, Jesus? ♪

♪ I can't see you very clear ♪

♪ Are you drinking
With me, Jesus? ♪

♪ Won't you buy
A friend a beer? ♪

♪ Everybody now!
Are you drinking
With me, Jesus? ♪

♪ I can't see you very clear ♪

♪ Are you drinking
With me, Jesus? ♪

♪ Won't you buy
A friend a beer? ♪

♪ Yeah! ♪

♪ Thank you, Jesus,
Yeah, that's my tab
Go ahead and pay for it ♪

[music stops]

["UFOs Big Rigs & BBQ"
by Mojo Nixon]

♪ Howdy! ♪

♪ I'm gonna tell y'all a story
You ain't gonna believe ♪

It's Kirby's wedding.
I had mine at a church
in Hamlet, North Carolina.

He's having his at a go-kart
in San Diego or Chula Vista?

Is that where I am?
Wherever I am.

[laughs] It's fine.
It's just fine.

♪ I seen somethin shootin'
Right across the sky ♪

♪ All covered in fur
With one big eye, shazam ♪

Now, I will say
that Don Henley

did come on stage with us

and got up there
and joined us on stage.

Was one of the few times
I've ever seen Mojo speechless.

He looked around at us
like, "I guess we gotta
play the song."

We fired up
"Don Henley Must Die"
and to his credit

he sang it with us
and rocked out
and had a good time.

♪ Well, UFOs are big rigs
That come from outer space ♪

♪ Stoppin' off
At the truck stop, Earth ♪

♪ Lookin' for Some
Food to eat ♪

What are you waiting on?
This is it.

You're alive once.
This is your chance.

What? You're gonna
fucking party up in heaven?

I heard there's no fucking
booze up there.

♪ Now that furry
Flying saucer boy said ♪

♪ He was looking for
Some barbecue ♪

♪ So I took him down
To Dreamland Barbecue ♪

♪ In Tuscaloosa, Alabama,
You know what we got? ♪

♪ We got ribs, white bread
And ice cold beer ♪

♪ We was eating so hard
I didn't even stare ♪

♪ And that boy was ugly too ♪

♪ Said the waitress
Reminded him of someone ♪

♪ Who was far, far away ♪

♪ Took another white pill
Another long day ♪

♪ Everybody now,
Well, UFOs are big rigs ♪

♪ That come from outer space ♪

♪ Stoppin' off
At the truck stop, Earth ♪

♪ Lookin' for some
Food to eat ♪

♪ Ya can't get
No Beanie Weenies ♪

♪ Out past the great unknown ♪

♪ Well, UFOs are big rigs
Far from home ♪

♪ C'mon, boys! ♪

♪ I think I see
Mr. Spock over there ♪

♪ Hey ♪

♪ Then that space alien said
Something that was music ♪

♪ To my truck driving
Carbuncle-budded ears ♪

♪ Let me tell ya ♪

♪ Well, out past Mars
Ain't no speed limit ♪

♪ Said he owns his space truck
He don't rent it ♪

♪ And his back was aching
Could he somewhere get him
A massage? ♪

♪ There stood Sapphire's
Space Age Love Garage ♪

♪ Ha ha, c'mon,
Well, UFOs are big rigs ♪

♪ That come from outer space ♪

♪ Stopping off
At the truck stop, Earth ♪

♪ Lookin' for some
Food to eat ♪

♪ Ya can't get
No Beanie Weenies ♪

♪ Out past the great unknown ♪

♪ Yeah, UFOs are big rigs
Far from home ♪

♪ Yeah, UFOs are big rigs
Far from home ♪

♪ Oh, yeah ♪

♪ Man, that boy shot out
Of here faster than
Richard Petty ♪

♪ Look at
That antenna he's got ♪

♪ I betcha he could pick up
Dave Nemo and the Road Gang ♪

♪ On the other side
Of the Sun ♪

[music fades]