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More Beer
Studio album by
Fear
Released1985
Recorded1983–1984
GenreHardcore punk
Length27:14
LabelRestless[1]
ProducerLee Ving
Fear chronology
The Record
(1982) 		More Beer
(1985) 		Live...For The Record
(1991)
Professional ratings
Review scores
SourceRating
AllMusicStarHalf star[2]
The Encyclopedia of Popular MusicStarStar[3]
The Rolling Stone Album GuideStar[4]

More Beer is the second studio album by Fear, released in 1985 (see 1985 in music).[5][6] Frontman Lee Ving spent over a year producing the album.

Critical reception

[edit]

The Encyclopedia of Popular Music wrote that More Beer "repeated the debut album's formula, with occasional stylistic variation but little else to recommend it."[3] Trouser Press wrote that the album "belch[es] forth a hops-drenched worldview that could only offend the most humorless knee-jerk liberal — plenty of whom had infiltrated the hardcore movement by the time of the album’s release."[7]

Track listing

[edit]

All songs by Lee Ving, except where noted.

  1. The Mouth Don't Stop (The Trouble with Women Is) (Philo Cramer) – 2:20
  2. Responsibility (Spit Stix) – 2:06
  3. More Beer – 3:42
  4. Hey – 0:42
  5. Strangulation - 2:27
  6. I Am a Doctor (Cramer) – 2:37
  7. Have a Beer with Fear – 1:33
  8. Bomb the Russians – 0:50
  9. Welcome to the Dust Ward – 3:30
  10. Null Detector – 1:48
  11. Waiting for the Meat – 3:52

The CD reissue includes the original recordings of "I Love Livin' in the City" and "Now You're Dead" from the band's first single as bonus tracks, but omits the song "Strangulation."

2020 Rerelease

[edit]

All songs by Ving, except where noted. CD 1

  1. The Mouth Don't Stop (The Trouble with Women Is) (Cramer) – 2:20
  2. Responsibility (Stix) – 2:06
  3. More Beer – 3:42
  4. Hey – 0:42
  5. Strangulation - 2:27
  6. I Am a Doctor (Cramer) – 2:37
  7. Have a Beer with Fear – 1:33
  8. Bomb the Russians – 0:50
  9. Welcome to the Dust Ward – 3:30
  10. Null Detector – 1:48
  11. Waiting for the Meat – 3:52
  12. I Am A Doctor (Alternate Version) (Cramer) - 2:35
  13. Acid Rain - 1:22
  14. Hey (Rough Mix) - 0:42
  15. Waiting For The Meat (Rough Mix) - 0:44
  16. Bomb The Russians (Rough Mix) - 0:53
  17. Strangulation (Rough Mix) - 2:30
  18. The Mouth Don't Stop (The Trouble With Women Is) (Rough Mix) (Cramer) - 2:09
  19. Responsibility (Rough Mix) (Stix) - 1:42
  20. I Am A Doctor (Rough Mix) (Cramer) - 2:36
  21. Welcome To The Dust Ward (Rough Mix) - 2:47
  22. Null Detector (Rough Mix) - 1:47
  23. Chicken Song (Alternate Version) - 0:44

CD 2 - 2020 Remixes

  1. The Mouth Don't Stop (The Trouble With Women Is) (Cramer) - 2:08
  2. Responsibility (Stix) - 2:07
  3. More Beer - 2:54
  4. Hey - 0:43
  5. Strangulation - 2:30
  6. I Am A Doctor (Cramer) - 2:37
  7. Have A Beer With Fear - 1:40
  8. Bomb The Russians - 0:50
  9. Welcome To The Dust Ward - 2:49
  10. Null Detector - 1:22
  11. Waiting For The Meat - 0:48

Digital versions add the song "Abooga Matches" after track 11 on CD 1 and remixes of tracks "Abooga Matches" and "Chicken Song" after tracks 7 and 9 on CD 2

Personnel

[edit]

In other media

[edit]

The opening track, "The Mouth Don't Stop (The Trouble with Women Is)," is included on the 2013 soundtrack for Grand Theft Auto V as part of the playlist for the in-game radio station Channel X.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

More Beer

View on Grokipedia
from Grokipedia
MoreBeer, Inc. is a family-owned American retailer specializing in supplies for beer, wine, and , offering equipment, ingredients, and kits through its online platform and physical locations. Founded on April 1, 1995, as Beer, Beer & More Beer by Olin Schultz and Darren Schleth with an initial investment of a few thousand dollars in from a small shed, the company expanded rapidly to become one of the most visited homebrewing supply sites globally. Still owned by its founders and Chris Graham, who joined in , MoreBeer maintains a mission to enable enthusiasts to craft beverages at home by stocking extensive inventories, including over 125 varieties of , 160 types of grains, and hundreds of kits in formats like all-grain, malt extract, and mini-mash. The company's growth reflects the resurgence of post-legalization in the U.S., providing not only consumer products like fermenters, brew kettles, and bulk ingredients but also educational resources such as guides and videos to support beginners and experts alike. Through its MoreBeer Pro division, it extends services to commercial breweries with professional-grade equipment, tanks, and ingredients, positioning itself as a comprehensive partner in the industry. Notable for competitive pricing, a 60-day return policy, and free shipping on orders exceeding $79, MoreBeer has sustained operations for nearly three decades amid evolving market demands, including shifts toward experimentation and adaptations.

Background and development

Contextual influences from Fear's career

Fear was formed in 1977 in by vocalist and guitarist alongside bassist , with the band quickly establishing itself in the local punk scene through a sound characterized by aggressive riffs and high-energy performances that diverged from the more anthemic styles of contemporaries like the or . This hardcore-leaning approach, often incorporating metal influences and confrontational lyrics, positioned Fear as outsiders even among punk peers, who sometimes viewed their unfiltered intensity as antithetical to the scene's evolving emphasis on over raw provocation. The band's renegade reputation crystallized during their October 31, 1981, appearance on , arranged by cast member , a fan of their earlier work. Ving invited a group of slam dancers from the New York punk underground to participate, resulting in onstage that damaged studio equipment, overturned props, and audience members shouting obscenities like "Fuck New York!" into open microphones, prompting to impose a lifetime ban on Fear and withhold rebroadcast rights for the performance. This backlash underscored the group's commitment to unbridled chaos over polished presentation, fostering an anti-authority stance that carried into their music and directly informed the unapologetic, audience-baiting aggression of More Beer as a deliberate rejection of institutional constraints. Building on this foundation, Fear's 1982 debut The Record garnered a dedicated for its blistering tracks like "I Don't Care About You," cementing Ving's vision of punk as visceral release amid modest label support from . With Ving exerting firm creative control as the band's constant amid rotating members—replacing original guitarist Burt Good and drummer for More Beer's sessions—the 1985 album emerged as an uncompromising extension of The Record's blueprint, prioritizing lineup-driven rawness over commercial viability and echoing the defiant autonomy honed through prior career flashpoints.

Song selection and pre-production

, as producer and frontman, curated the tracklist for More Beer from material aligned with Fear's established punk aesthetic, emphasizing rapid tempos, aggressive riffs, and lyrics lampooning everyday vices and societal expectations, including overt references to alcohol indulgence in songs like the title track. This selection preserved the band's irreverent core amid the mid-1980s punk scene's shift toward more experimental or crossover styles, prioritizing unfiltered over market-driven refinements. Pre-production focused on channeling the band's improvisational live energy into concise, potent compositions through targeted refinement, contrasting their onstage disorder with deliberate structural intensity to ensure playback fidelity to Fear's chaotic ethos. Released via independent label , the process eschewed major-label oversight post their 1981 SNL notoriety, enabling Ving's autonomous vision unburdened by external commercial mandates.

Recording and production

Studio sessions and timeline

The recording sessions for More Beer took place at Cherokee Studios in Hollywood, , a facility known for hosting various rock and punk acts during the . served as , leveraging available off-peak studio time to facilitate an efficient process that minimized costs while focusing on direct captures of the band's instrumentation. This timeline positioned the core tracking in , after an extended phase of material preparation that underscored Ving's hands-on role in shaping the songs prior to entering the studio. The emphasis on brevity in the sessions—employing basic analog multitrack setups without heavy reliance on overdubs—stemmed from a deliberate intent to preserve the spontaneous aggression inherent in Fear's live dynamic, countering the era's shift toward layered, studio-enhanced productions seen in some established punk and rock outfits. Mastering followed at facilities such as Enormous Masterworks, completing the production chain swiftly to align with the album's release later that year on .

Lee Ving's production approach

, Fear's frontman and primary creative force, self-produced More Beer to maintain full artistic control, eschewing external producers in favor of a direct, unmediated realization of the band's vision. This hands-on role extended over more than a year, despite the core tracking occurring rapidly, allowing Ving to prioritize the album's fidelity to punk's core ethos of immediacy and defiance against commercial gloss. By handling production internally, Ving rejected the era's industry norms of polished, overproduced records, opting instead for an output that captured the band's live energy without dilution. The recording sessions at Cherokee Studios in Hollywood exemplified this philosophy, with Ving securing off-peak "downtime" slots—often late-night hours like 3 a.m.—to minimize expenses while preserving a spontaneous, unrefined sound. This low-cost strategy, inherent to punk's DIY roots, enabled unfiltered expression unburdened by budgetary pressures for extensive overdubs or refinements, countering perceptions of haste as mere sloppiness by aligning with intentional anti-artifice realism. Ving's approach thus emphasized causal directness in sound capture, highlighting imperfections as authentic markers of the genre's rebellion against perfectionist studio conventions prevalent in mainstream rock. Critiques from some reviewers labeling the production amateurish overlook this deliberate framing, as Ving's method sustained Fear's satirical edge and raw aggression, distinct from his parallel acting career's more structured demands, and rooted in a commitment to punk's uncompromised integrity over polished accessibility. Empirical constraints like limited studio access reinforced this realism, yielding an album that privileged visceral output over normative sheen, thereby debunking claims of negligence in favor of punk's foundational rejection of artifice.

Composition

Musical style and instrumentation

More Beer delivers a raw sound defined by aggressive , power chord-driven guitar riffs, and high-velocity rhythms that evoke the band's influences like the , while incorporating thrash-like intensity through accelerated pacing and relentless energy. Tracks predominantly feature short durations, averaging under two minutes, with pounding drum patterns and barked vocals emphasizing urgency and minimalism over melodic complexity. The core instrumentation relies on a no-frills setup: Lee Ving's rhythm guitar and raw, shouted lead vocals provide the frontline aggression; Philo Cramer's lead guitar supplies jagged riffs and occasional solos, including augmentation on "Legalize Me" for subtle textural deviation; Lorenzo Buhne's bass and backing vocals anchor the low-end drive; and Spit Stix's drums, percussion, and congas deliver tight, hammering beats that propel the tracks forward without embellishment. In contrast to their debut The Record, which adhered strictly to uniform blitzkrieg tempos, More Beer introduces minor pacing variations—such as mid-tempo grooves in the title track—while resisting post-punk trends toward synth integration or production sheen, preserving a gritty, unpolished edge honed over extended studio sessions under Ving's direction.

Lyrical themes and satire

The lyrics of More Beer emphasize themes of personal excess, particularly alcohol consumption and its compulsive allure, as exemplified in the title track where the narrator depicts an obsessive routine of rushing from work, stripping off , and demanding endless refills amid chants of communal thirst. This hyperbolic portrayal employs exaggeration to underscore the absurdities of unchecked , aligning with frontman Lee Ving's of Fear's work as " satire" intended to provoke rather than glorify . Similar motifs of violence and self-destruction appear in tracks like "Strangulation," which literalizes interpersonal conflict through vivid, over-the-top imagery of physical confrontation, critiquing normalized aggression in urban environments without explicit endorsement. Satirical elements target societal pieties and figures, often through that challenges prohibitions and hypocrisies. For instance, the album's irreverent stance on personal responsibility in "Responsibility" mocks enforced conformity by juxtaposing chaotic impulses against institutional demands, reflecting punk's broader disdain for bureaucratic overreach. Ving's approach, as described in retrospective accounts, uses such devices to lampoon both hedonistic and the sanctimonious responses it elicits, positioning the as a deliberate affront to prevailing norms rather than straightforward . Politically incorrect humor permeates the content, including gender-related jabs in "The Mouth Don't Stop (The Trouble with Women Today Is)," where stereotypical complaints about female verbosity serve as provocative bait to elicit discomfort. These elements have drawn praise from proponents of unfiltered expression for upholding free speech in punk's confrontational tradition, yet faced criticism for veering into insensitivity that alienates audiences seeking progressive alignment. Such debates highlight the ' intent to satirize pieties across the spectrum, including what Ving and supporters view as over-sanitized cultural sensitivities.

Track listing and editions

Original 1985 track listing

The original 1985 edition of More Beer comprises 13 tracks totaling 26 minutes in length. Songwriting credits are predominantly attributed to frontman , with additional contributions from band members and . The track sequence progresses from high-energy complaints and party references in early cuts like "More Beer" toward politically charged rants in later ones such as "Bomb the ." The album's cover artwork evokes the beer-drinking motif central to the title track. No commercial singles were issued from the album upon its initial release.
No.TitleWriter(s)Length
1"The Mouth Don't Stop (The Trouble with Women Is)"2:21
2"Responsibility"2:08
3"More Beer"3:42
4"Hey"0:43
5"Strangulation", Doug Lee2:28
6"I Am a Doctor"2:00
7"Have a Beer with Fear"1:15
8"Bomb the Russians", 3:30
9"Welcome to the Dust Ward"1:30
10"Null Detector"1:45
11"Waiting for the Meat"1:29

Reissues including 2020 deluxe and 2025 anniversary editions

In 2001, More Beer was reissued as a CD by Hall of Records, featuring a minor remaster of the original 1985 album without additional tracks or significant alterations. A limited edition blue vinyl repress followed in 2015 via Atom Age Industries, marking the album's 30th anniversary as a double LP in a gatefold jacket with unreleased photos included in the inner sleeve, though it adhered closely to the original track listing. The 2020 35th anniversary deluxe edition, released October 15 by Atom Age Industries and Fear Records, expanded the album into a limited 2xCD (with corresponding multi-LP variants) format to enhance archival access. Disc 1 contained the original 13 tracks alongside a full 2020 remix by drummer Spit Stix, while Disc 2 added 14 outtakes, including alternate versions such as "Welcome to the Dust Ward (Alternate Version)" and rough mixes like "Null Detector (Rough Mix)," providing previously unreleased studio material from the era. For the 40th anniversary in 2025, a single-disc LP edition was issued February 28 via Atom Age Industries, available in limited colored vinyl pressings—red (150 copies, 50 autographed) and an exclusive pink variant (100 copies through The Record Space)—replicating the core original album on a standard format without bonus content, with shipping commencing in April.

Release and promotion

Initial 1985 rollout

More Beer was released in 1985 by the independent label , with the vinyl LP edition bearing catalog number 72039-1. A cassette version was also issued under catalog number 72039-4, reflecting the dual-format strategy common for punk releases at the time, though vinyl remained the preferred medium among the genre's core audience. Restless, known for distributing alternative and punk acts, handled the initial manufacturing and logistics through specialized channels catering to independent record stores and underground networks rather than major retail chains. The album's packaging employed a straightforward typical of mid-1980s punk aesthetics, featuring the band's logo prominently on the and a one-sided insert containing alongside a band photograph. Visual elements alluded to the record's titular motif, aligning with its satirical themes, but eschewed elaborate production in favor of cost-effective simplicity to suit the label's budget constraints. Launch efforts centered on label-driven inventory placement in niche outlets, bypassing conventional radio airplay due to the band's abrasive sound, which lacked broad commercial appeal. Distribution emphasized punk zines, fanzines, and word-of-mouth within the scene, leveraging Fear's established notoriety from their debut to seed copies among dedicated listeners and small venue operators.

Marketing and band touring

The band's promotion of More Beer emphasized live performances over traditional , reflecting the punk genre's emphasis on efforts and aversion to major label-style campaigns. Fear conducted U.S. tours in 1985 and into 1986 to support the , performing at punk and rock venues that attracted niche audiences within the hardcore scene. Notable shows included a December 7, 1985, appearance at the Spirit club and a March 21, 1986, concert at the Olympic Auditorium in . These tours featured material from More Beer alongside earlier tracks, with live sets showcasing the album's high-energy tracks like "More Beer" in raw, unpolished formats typical of the era's DIY punk circuit. Frontman Lee Ving's parallel acting pursuits, including his role in the 1983 film Flashdance, provided some incidental exposure to broader audiences, potentially enhancing the band's cult following amid limited mainstream media support. However, promotion remained constrained by the independent nature of the release on Enigma Records, prioritizing direct fan engagement through regional gigs over extensive print or broadcast advertising.

Personnel

Performing musicians

The performing musicians on More Beer consisted of the band's core instrumentalists, reflecting relative stability following the replacement of original bassist Derf Scratch. Lead vocalist and guitarist Lee Ving handled primary vocals, rhythm guitar, and harmonica parts across tracks such as "Responsibility." Lead guitarist Philo Cramer, a member since 1978, contributed guitar riffs and solos, along with cello on select recordings and backing vocals. Bassist Lorenzo Buhne, who joined post-Scratch's departure around 1982, provided bass lines and backing vocals, marking a shift from the debut album's lineup. Drummer Spit Stix, also original since 1978, performed drums, percussion, and congas, maintaining the high-energy punk rhythm section. No significant guest performers are credited for principal instrumentation, underscoring the quartet's self-contained execution during the album's recording in 1984–1985.

Production and technical credits

Lee Ving produced More Beer, overseeing the recording process that spanned over a year despite the band's claim of completing it in two days. The album was engineered by Dan Bates, with second engineering credits to David Eaton and Cliff Kane. Artwork direction was handled by Ving, featuring cover art with an eagle illustration by Mark Mahoney and a back cover fist design by Bob Seidemann. For the 2020 reissue, provided remixes for additional tracks, expanding the original album content as a co-release between Fear Records and Atom Age Industries.

Commercial performance

Sales figures and chart data

More Beer achieved modest commercial performance typical of mid-1980s independent punk releases, with no entry on the chart despite its release through , a label oriented toward alternative and underground genres with constrained national distribution networks. This lack of mainstream charting reflects the era's structural barriers for punk acts outside major label promotion, rather than inherent market rejection, as evidenced by the album's persistence in niche punk circuits. Specific initial U.S. sales figures remain undocumented in public records, but the album's alignment with Fear's cult following—built from their 1982 debut The Record, which exceeded 500,000 copies—indicates underground traction through independent retail and fan networks, independent of broader radio or retail push. Long-term availability via reissues has supported incremental sales; a 2020 deluxe expanded double CD edition, co-released by Fear Records and Atom Age Industries, incorporated the original tracks alongside unreleased remixes by drummer , while a 2021 vinyl reissue and 35th anniversary 2xCD limited edition catered to collectors. These formats, distributed through specialty outlets, demonstrate causal persistence driven by dedicated listener demand over mass-market volume. In the streaming era, More Beer contributes to Fear's digital footprint, with the album accessible on platforms like Spotify, where the band garners around 82,600 monthly listeners as of late 2024, bolstering passive revenue from plays amid punk's archival revival. Touring milestones, including a 2025 "40 Years of More Beer" performance, further affirm sustained niche viability, with revenue from live events supplementing physical and digital sales in a genre historically underserved by conventional metrics.

Long-term availability

Following its 1985 release on vinyl by , More Beer quickly went , leading to scarcity of original pressings that now command premium prices among collectors on secondary markets. Digital distribution emerged in the , with the becoming available on major streaming platforms such as and , enabling broader access without reliance on physical copies. The 2020 35th anniversary deluxe edition, featuring remixes by drummer and expanded tracks, significantly improved physical and digital availability through co-releases by Fear Records and Atom Age Industries, including limited vinyl and formats. In 2025, the 40th anniversary edition further sustained collector interest with new vinyl variants, such as colored single-disc LPs available directly from Atom Age Industries, the band's primary distribution partner for reissues. Ongoing direct sales through Atom Age Industries' online store have maintained steady availability of formats, bypassing traditional retail dependencies and ensuring persistence for fans despite the album's initial obscurity.

Critical reception

Contemporary 1980s reviews

In late 1985, issue # dismissed More Beer as "awful, lyrically and musically," criticizing its lack of energy, incorporation of rock influences, and "terrible guitar solos," while noting disappointment in the absence of the band's expected "usual dose of idiocy." The review advised readers to avoid the album, reflecting a segment of the punk scene's preference for raw aggression over perceived refinement. Trouser Press highlighted a shift toward more "disciplined and polished" production under Lee Ving's direction, yielding a " appeal" in tracks like "Bomb the Russians" and "Legalize Drugs," though it deemed the crude lyrics and overall songs less memorable than those on 's 1982 debut The Record. A December 1985 Los Angeles Times concert review praised select More Beer material for fusing "the passion of punk and the guitar craftsmanship of rock," acknowledging the band's enduring talent but observing that the new songs lacked the "chilling" edge and pointedness of prior work. This mixed assessment underscored broader 1980s critiques positioning the album as competent yet diluted in its provocative bite compared to norms.

Retrospective evaluations

In retrospective assessments since 2000, More Beer has garnered a among punk enthusiasts, evidenced by user-driven aggregators assigning it moderate scores reflective of its polarizing yet enduring appeal. On , the album holds an average rating of 3.19 out of 5 from 361 votes, positioning it as a niche favorite rather than a consensus classic, with reviewers praising its satirical edge on urban dysfunction and middle-class pretensions amid criticisms of uneven songwriting. Similarly, Sputnikmusic's 2006 user highlights the record's "heavy rocking and sometimes quite humorous" qualities, including experimental flourishes like bongo interludes and absurd lyrics, framing it as a fun, boundary-pushing extension of Fear's style despite production excesses. Reevaluations have increasingly defended the album's punk authenticity against charges of mere offensiveness, attributing such critiques to heightened cultural sensitivities that overlook the genre's roots in raw, unfiltered provocation. Aggregated user commentary on platforms like counters left-leaning dismissals—often rooted in institutional biases favoring sanitized narratives—by emphasizing the record's causal intent: humor derived from exaggerated realism about , incompetence, and social , as in tracks lampooning irresponsibility and excess, which align with punk's first-wave irreverence rather than performative outrage. This perspective posits that the album's perceived flaws, such as subpar musicianship in spots, stem from deliberate overproduction choices by frontman , yielding a chaotic authenticity that prefigures later punk but clashes with post-1990s norms prioritizing inclusivity over confrontation. The 2020 expanded reissue by Atom Age Industries, featuring the original tracks plus a remix by drummer , prompted renewed listens that underscored the satire's longevity, with user notes affirming its place in Fear's discography despite filler tracks. By , marking the album's 40th anniversary, fan reactions to the band's tour—billed as "40 Years of More Beer"—celebrated its unapologetic realism, with live reviews lauding Ving's commanding presence and the set's tight execution of provocative material as a rebuke to diluted contemporary punk. Social media posts from attendees echoed this, positioning the record as a touchstone for punk's original transgressive spirit amid evolving genre expectations.

Controversies and viewpoints

Lyrical content debates

The lyrical content of Fear's More Beer (1985) provoked disputes primarily over perceived and insensitivity, with songs such as "Strangulation" and "The Mouth Don't Stop (The Trouble with Women Today Is)" cited as exemplars. "Strangulation" depicts against women, including and imagery, which reviewers and fans condemned as excessively misogynistic and lacking satirical intent. Similarly, "The Mouth Don't Stop" caricatures women as nagging and manipulative, with lines evoking a "sinister feeling" and a "tender trap," fueling accusations of reinforcing sexist stereotypes without broader critique. Progressive-leaning critics within the punk scene, including writers and retrospective commentators, argued these lyrics exemplified a failure of , prioritizing over substantive rebellion and alienating audiences seeking punk's ethos to include gender equity. This reflected 1980s hardcore "purity wars," where ideologically driven factions clashed with apolitical or irreverent acts like , often dismissing their output as juvenile or counterproductive to punk's radical potential. No lawsuits or formal bans resulted from the content, indicating its containment within subcultural rather than wider legal scrutiny. Band members and supporters countered that such lyrics embodied punk's core trope of hyperbolic provocation, functioning as dark humor or urban rather than literal advocacy, consistent with Fear's earlier work critiquing societal hypocrisies through exaggeration. Frontman maintained in interviews that the band's intent was comedic disruption, not endorsement of depicted behaviors, positioning More Beer as a challenge to taboos amid punk's evolving norms toward earnest activism. This defense highlighted achievements in sustaining punk's taboo-breaking spirit against mounting pressures for conformity, though detractors viewed it as evasion amid the genre's shift toward explicit progressive messaging.

Band's provocative stance versus punk norms

Lee Ving, Fear's frontman, articulated a emphasizing individual irreverence and toward collectivist ideologies prevalent in the punk milieu, which contrasted sharply with the scene's dominant expectation of often aligned with left-leaning . This stance manifested in the band's performances and output, including the 1985 More Beer, where Ving's production choices amplified raw, unfiltered expression over ideological signaling, positioning the record as a deliberate pushback against the homogenizing pressures within . Ving's early resistance to emerging norms in the 1980s—evident in Fear's provocative stage antics and lyrical barbs—laid groundwork for his later public endorsements of figures challenging cultural orthodoxies, underscoring a consistent thread of causal defiance rooted in personal rather than scene loyalty. Conservative commentators have praised Fear's approach for its unflinching realism about human flaws and urban grit, viewing More Beer's humor-laced aggression as a antidote to punk's frequent descent into sanctimonious posturing. In opposition, segments of the anarcho-punk community dismissed the band as embodying a diluted authoritarianism, citing Ving's rhetoric and the album's unapologetic tone as incompatible with punk's purported egalitarian ethos, which led to exclusions from certain venues and festivals aligned with hardcore leftist factions. This polarization highlights punk's underlying ideological diversity, as Fear cultivated a following that transcended typical left-wing punk demographics through satirical edge, evidenced by sustained concert draw from varied attendees uninterested in doctrinal purity. Such appeal challenges the narrative of punk as inherently progressive, revealing instead a subculture where provocation could forge bonds across divides when grounded in shared disdain for orthodoxy.

Legacy and impact

Influence on hardcore punk

More Beer perpetuated Fear's contributions to Californian through its high-velocity riffs and irreverent themes, released amid the mid-1980s when the genre contended with mainstream dilution via MTV's promotion of and pop-oriented acts. Tracks like "Null Detector" and "Have a Beer with Fear" maintained the raw, confrontational energy defining early hardcore, resisting the era's softening trends toward accessibility. The album's fusion of punk speed with satirical edge influenced crossover developments, as evidenced by later bands such as citing among formative influences for blending aggression with humor. This stylistic persistence helped anchor hardcore's underground vitality, with More Beer's experimental leanings—described as heavy rocking and fun-oriented—echoing in punk revivals that revisited rawness over polished production.

Cultural and media references

Lee Ving's acting roles in 1980s films, such as portraying the sleazy club owner Johnny C. in Flashdance (1983) and the gang leader Raven in Streets of Fire (1984), have been interpreted by punk historians as extensions of Fear's irreverent, working-class ethos evident in More Beer's boisterous anthems of excess and defiance. These performances, drawing on Ving's real-life punk persona, amplified the album's underdog narrative of outsiders reveling against mainstream propriety, with critics noting how his on-screen aggression mirrored the record's raw, unapologetic energy. In scholarly examinations of American alternative scenes, More Beer is referenced as a hallmark of apolitical hardcore punk's celebration of inebriation, contrasting with more ideologically driven contemporaries by prioritizing personal over structured . This depiction positions the album within broader cultural discourses on punk's rejection of and , influencing portrayals of subcultural excess in non-musical media analyses of 1980s youth rebellion.

In other media

Soundtrack appearances

The track "The Mouth Don't Stop (The Trouble With Women Is)" from More Beer was included on the Blare FM radio station in the video game , released by on September 17, 2013, for PlayStation 3 and Xbox 360. No tracks from the album have been documented in major film or television soundtracks, consistent with Fear's limited penetration into mainstream visual media despite the band's influence in punk subcultures.

Covers and sampling

The title track "More Beer" from Fear's 1985 album has received limited covers, primarily within punk and hardcore-adjacent scenes. Dog Eat Dog, a rapcore band, recorded a version on their 1996 EP If These Are Good Times... / No Fronts, incorporating rap elements over the original's raw punk structure. The group also performed it live at events including the festival on June 29, 1995, and Sportland Café on February 11, 1995. New Zealand punk band Anigma included a demo recording of "More Beer" on their 1989 tape World of Fear, preserving the song's aggressive tempo and lyrical themes in an underground context. outfit The Quartet delivered a live rendition during their set at Catty Corner Ice House in on an unspecified date in , adapting it to their psychedelic style amid beer-themed originals. Sampling of tracks from More Beer remains scarce, with no major documented instances in hip-hop, punk fusions, or other genres per music databases like , reflecting the album's niche cult status rather than widespread production influence. These adaptations highlight sporadic tributes by acts valuing 's irreverent energy, though none achieved commercial prominence.

References

  1. https://www.morebeer.com/content/meet_morebeer
  2. https://www.morebeer.com/about/history
  3. https://www.morebeer.com/
  4. https://www.morebeer.com/category/beer-brewing-equipment.html
  5. https://morebeerpro.com/
  6. https://www.goodtimes.sc/seminal-los-angeles-punk-band-fear-plays-the-catalyst/
  7. https://www.gibson.com/blogs/gibson-tv/lee-ving-of-fear
  8. https://www.ocweekly.com/the-punkiest-man-in-punk-6394271/
  9. https://ultimateclassicrock.com/john-belushi-fear-snl/
  10. https://faroutmagazine.co.uk/punk-band-fear-banned-snl-reason-video/
  11. https://riotfest.org/2018/06/08/fear-banned-saturday-night-live/
  12. https://deadline.com/2025/01/the-real-story-fear-snl-1236258816/
  13. https://www.reddit.com/r/punk/comments/zk02dx/lee_ving_on_the_formation_of_fear/
  14. https://www.cbsnews.com/sanfrancisco/news/la-hardcore-punk-pioneers-fear-headline-regency-ballroom-san-francisco/
  15. https://www.youtube.com/watch?v=D6QTij6x4Vg
  16. https://www.discogs.com/master/109622-Fear-More-Beer
  17. https://www.latimes.com/archives/la-xpm-1999-mar-31-ca-22712-story.html
  18. https://www.allmusic.com/album/release/more-beer-mr0000291102
  19. https://www.loudersound.com/features/the-10-best-fear-songs-by-lee-ving
  20. https://www.discogs.com/release/17388940-Fear-More-Beer
  21. https://www.loudersound.com/features/fear-leeving-punkrock
  22. https://rateyourmusic.com/release/album/fear/more-beer/
  23. https://www.sputnikmusic.com/review/10298/Fear-More-Beer/
  24. https://www.discogs.com/release/507354-Fear-More-Beer
  25. https://genius.com/Fear-more-beer-lyrics
  26. https://genius.com/Fear-the-mouth-dont-stop-the-trouble-with-women-today-is-lyrics
  27. https://www.sacurrent.com/music/fear-celebrating-40-years-of-politically-incorrect-hardcore-punk-with-san-antonio-show-18583801/
  28. https://www.last.fm/music/Fear/More%2BBeer
  29. https://www.albumoftheyear.org/album/119342-fear-more-beer.php
  30. https://genius.com/albums/Fear/More-beer
  31. https://fearleeving.com/music
  32. https://www.amazon.com/More-Beer-Fear/dp/B00005A0HW
  33. https://www.discogs.com/release/9577324-Fear-More-Beer
  34. https://www.discogs.com/release/16017277-Fear-More-Beer
  35. https://atomageindustries.com/products/fear-more-beer-35th-anniversary-limited-edition-2xcd
  36. https://atomageindustries.com/products/fear-more-beer-40th-anniversary-edition-single-disc-lp
  37. https://www.instagram.com/p/DGouJ31J8d5/
  38. https://trouserpress.com/reviews/fear/
  39. https://www.reddit.com/r/listentothis/comments/5z81w8/fear_more_beer_punk_1985/
  40. http://metallipromo.com/fear.html
  41. https://rocktourdatabase.com/concerts/fear-35
  42. https://www.facebook.com/AlisonBraunPhotography/posts/mr-lee-ving-fear-olympic-auditorium-march-21-1986-punk-punkrock-fear-haveabeerwi/1882849965761272/
  43. https://www.latimes.com/archives/la-xpm-1985-12-16-ca-895-story.html
  44. https://www.allmusic.com/album/more-beer-mw0000652217/credits
  45. https://waitingroomrecords.com/products/fear-more-beer
  46. https://bridge909.org/events/fear-2
  47. https://open.spotify.com/artist/0hPU1czS0JdstuT8VRtBPS
  48. https://www.discogs.com/release/1917287-Fear-More-Beer
  49. https://www.thedeadwaxrecords.com/products/fear-more-beer-vintage-lp
  50. https://music.apple.com/us/album/more-beer-35th-anniversary-deluxe-edition-original-album/1777075362
  51. https://www.facebook.com/FEARtheband/posts/more-beer-released-40-years-ago-today-lp-colored-vinyl-single-disc-available-her/1183691149788523/
  52. https://atomageindustries.com/collections/fear/more-beer
  53. https://www.maximumrocknroll.com/review/issues/mrr-30/
  54. http://www.markprindle.com/feara.htm
  55. https://ocmusicnews.com/2025/04/18/40-years-of-more-beer-with-fear-live-at-garden-amp/
  56. https://www.instagram.com/p/DPe66dCEnhF/
  57. https://www.reddit.com/r/listentothis/comments/oqzidz/fear_strangulation_hardcore_punk_1985/
  58. https://www.reddit.com/r/punk/comments/lgo7xx/fear_the_mouth_dont_stop/
  59. https://www.ionmagazine.ca/content/white-punks-hate-fear%25E2%2580%2599s-%25E2%2580%259Ci-love-livin%25E2%2580%2599-city%25E2%2580%259D
  60. https://www.reddit.com/r/punk/comments/1ka1hz7/history_of_misogyny_and_homophobia_in_70searly/
  61. https://www.gleech.org/punk
  62. https://www.thevinyldistrict.com/storefront/graded-on-a-curve-fear-i-love-livin-in-the-city-b-w-now-your-dead-2/
  63. https://www.punksinvegas.com/images-offspring-bad-religion-pennywise-stiff-little-fingers-august-27-2014-joint/
  64. https://www.imdb.com/name/nm0898962/
  65. https://www.jstor.org/stable/853615
  66. https://search.proquest.com/openview/7bbf9686b26c4af40a0e32b6b5e87a8e/1?pq-origsite=gscholar&cbl=18750
  67. https://tvtropes.org/pmwiki/pmwiki.php/Music/FearBand
  68. https://www.discogs.com/release/750397-Dog-Eat-Dog-If-These-Are-Good-Times-No-Fronts
  69. https://www.setlist.fm/setlist/dog-eat-dog/1995/vliegbasis-welschap-eindhoven-netherlands-7bd3a67c.html
  70. https://www.setlist.fm/setlist/dog-eat-dog/1995/sportland-cafe-middletown-ny-63e31e4f.html
  71. https://www.setlist.fm/setlist/the-linus-pauling-quartet/2013/catty-corner-ice-house-houston-tx-53ea6bf5.html
  72. https://www.whosampled.com/Fear/
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