(an occasional series where the author does further reading on a topic he wishes to learn more about)
Suddenly, in December of 2024, it appeared for sale at Celebrated Summer records, the crucial Hampden shop run by fellow scene traveler Tony Pence.
I had heard it was the most valuable hardcore record of all time.
Chung King Can Suck It.
An original copy traded hands on Ebay for a reported $6,600.00. Highest sale on Discogs? $8,000.00. Legends abounded about this release.
fresh vinyl from Seasick Records in Birmingham, AL
And now, I could “suck it” too, for a mere fraction of the cost, in celebration of Revelation Records’ 200th release. Knowing little but recognizing the importance, I added it to my day’s purchases.
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Clearly, some further reading was needed to fully understand what I just bought. Let’s define some terms based on my research and prior knowledge:
Chung King: the name of a New York City studio, defunct since 2015, that recorded some legendary 1980s rap records to make its reputation. I know the name from years of scanning “Golden Age” rap record liner notes.
Judge: A hardcore band fronted by Mike “Judge” Ferraro that practiced what I call, affectionally, “chugga chugga” hardcore. Formed by members of other hardcore bands, their goal lyrically was to be the most militant straight edge band, ever, as a reaction to the situation in the scene at that time.
Straight Edge: Adherents don’t drink, smoke or use recreational drugs, with other vices abstained, depending on your interpretation of the philosophy. Yes, your interpretation is correct and everyone else is wrong. Make sure to let people know that on the Internet. Or start a band to better explain your position.
Revelation Records: Independent record label focused on hardcore punk. They were a few years into existing in 1989. Money was tight, thousands of dollars had been spent on this, Judge’s first full-length album, and fans had pre-ordered the record.
As I have learned, the band’s session at Chung King, intended for said debut album did not pass muster. A “fun fact” was that the person on hand who understood how to record punk, never named, was on a cocaine binge. I think the tension there is clear. Then he disappeared and those remaining on staff reportedly did not know how to record punk.
Following the session, after some back and forth, based on how close the record was to production, it was decided to release the recording in a limited edition of 110 copies on colored vinyl, to tide over fans waiting on the debut LP and to have copies to give to friends of the band, with a direct insult to Chung King as the title. The debut LP was to be entirely re-recorded.
And now, 35 years later, I have had the opportunity to sit down and listen to this, the most “dollar valuable” hardcore album ever. Is my mind blown and ear now forever changed, having heard it?
Nope! It’s not very good. The drums sound weird, high and tight. The vocals are off. The guitar isn’t right. I like how I can hear influences like Discharge on some songs more clearly than on the proper album, but that’s about it. The band were correct to re-record it, and Bringin’ It Down, second attempt, is a classic.
To quote Mike “Judge” Ferraro, “I’m bewildered. I don’t know why that record is worth anything to anybody when it’s not worth anything to the people who created it.”
Exactly!
Welcome to world of collecting physical media, especially vinyl!
If music in the streaming era is getting further and further demonetized, with “ghost artists” mass producing music which is then used to further devalue an independent artist’s piece of the revenue pie (see Liz Pelly’s excellent new book on this topic), on the other end of the spectrum, physical media collectors want the rare, the limited. the forbidden, the one of a kind.
This is a paradox. The actual music recorded on the album isn’t the point by then: the point is the limited nature of the release. So, those with a copy profit at that moment in the market. Like a house flipper does. These people are known as “record collector scum.”
The point is the music, to hear it and experience it and to support the artists who create it. One way, the current way of streaming, the artists suffer. Another way, the way of the limited physical release, values the item over the music itself.
There’s got to be another way. I will keep looking for one while continuing to do some further reading.