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** With Lard he covered Music/NapoleonXIV's "They're Coming to Take Me Away".
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** Lard's 7 and a half-minute "The Power of Lard", 15-minute "I Am Your Clock", and 32-minute "Time to Melt" (though the latter could be considered subversions as they don't go through tons of changes; they're just really slow).
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** Lard's 7 and a half-minute 6:37 "Pineapple Face", 7:29 "The Power of Lard", 15-minute 8:28 "[[Music/NapoleonXIV They're Coming to Take Me Away]]", 15:29 "I Am Your Clock", and 32-minute 31:55 "Time to Melt" (though the latter two could be considered subversions as they don't go through tons of changes; they're just really slow).
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* 1989 - ''The Power of Lard''
* 1990 - ''I Am Your Clock''
* 1990 - ''I Am Your Clock''
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* 1989 - ''The Power of Lard''
Lard'' (EP)
* 1990 - ''I Am YourClock''Clock'' (EP)
* 1990 - ''I Am Your
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* 2000 - ''70's Rock Must Die''
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* 2000 - ''70's Rock Must Die''
Die'' (EP)
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* GoodGirlsAvoidAbortion: Viciously deconstructed in "Will the Fetus Be Aborted?", then in the final verse:
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* GoodGirlsAvoidAbortion: Viciously deconstructed in "Will the Fetus Be Aborted?", which spends most of its verses describing reasons a good girl might want an abortion, then in the final verse:
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* 2000 - ''Live from the Battle in Seattle'' (with the No W.T.O. Combo, a collaboration with [[Music/{{Soundgarden}} Kim Thayil]] and [[Music/{{Nirvana}} Krist Novoselic]])
to:
* 2000 - ''Live from the Battle in Seattle'' (with the No W.T.O. Combo, a collaboration with short-lived {{supergroup}} including [[Music/{{Soundgarden}} Kim Thayil]] and [[Music/{{Nirvana}} Krist Novoselic]])Novoselic]], as well as Novoselic's Sweet 75 bandmate Gina Mainwal)
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** ''Never Breathe What You Can't See" has the 6:20 "Islamic Bomb" and the 6:09 "Caped Crusader".
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** ''Never Breathe What You Can't See" See'' has the 6:20 "Islamic Bomb" and the 6:09 "Caped Crusader".
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* HiddenTrack: ''The Audacity of Hype'' and ''Enhanced Methods of Questioning'' both have them (and in each case they're the longest song on the album, if the one on ''Audacity'' qualifies as a "song"). ''White People and the Damage Done'' doesn't, technically, but does feature four bonus tracks after about seven minutes of silence, so it's still similar.
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* LastNoteNightmare: ''The Audacity of Hype'' ends with an eight-minute HiddenTrack featuring all the songs from the album played at once.
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* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]", and ''White People and the Damage Done'' to "[[Music/NeilYoung The Needle and the Damage Done]]". Plus "John Dillinger" speaks for itself. Finally, ''Prairie Home Invasion'' may or may not be one to ''Radio/APrairieHomeCompanion'', and "Invasion of the Mind Snatchers" may or may not be one to ''Film/InvasionOfTheBodySnatchers''. A lot of his other references to pop culture are probably closer to {{Take That}}s.
to:
* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]", and ''White People and the Damage Done'' to "[[Music/NeilYoung The Needle and the Damage Done]]". Plus "John Dillinger" speaks for itself. Finally, ''Prairie Home Invasion'' may or may not be one to ''Radio/APrairieHomeCompanion'', and "Invasion of the Mind Snatchers" may or may not be one to ''Film/InvasionOfTheBodySnatchers''. A lot ''Film/InvasionOfTheBodySnatchers'', and "Caped Crusader" may or may not be one to, well, ComicBook/{{Batman}} (the main thing ambiguous about these is whether they're intended as Shout-Outs or {{Take That}}s). That said, ''a lot'' of his other references to pop culture are probably closer to {{Take That}}s.
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* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', and "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]". Plus "John Dillinger" speaks for itself. Finally, ''Prairie Home Invasion'' may or may not be one to ''Radio/APrairieHomeCompanion'', and "Invasion of the Mind Snatchers" may or may not be one to ''Film/InvasionOfTheBodySnatchers''. A lot of his other references to pop culture are probably closer to {{Take That}}s.
to:
* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', and "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]".London]]", and ''White People and the Damage Done'' to "[[Music/NeilYoung The Needle and the Damage Done]]". Plus "John Dillinger" speaks for itself. Finally, ''Prairie Home Invasion'' may or may not be one to ''Radio/APrairieHomeCompanion'', and "Invasion of the Mind Snatchers" may or may not be one to ''Film/InvasionOfTheBodySnatchers''. A lot of his other references to pop culture are probably closer to {{Take That}}s.
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* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', and "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]". Plus "John Dillinger" speaks for itself. Finally, ''Prairie Home Invasion'' may or may not be one to ''Radio/APrairieHomeCompanion''. A lot of his other references to pop culture are probably closer to {{Take That}}s.
to:
* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', and "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]". Plus "John Dillinger" speaks for itself. Finally, ''Prairie Home Invasion'' may or may not be one to ''Radio/APrairieHomeCompanion''.''Radio/APrairieHomeCompanion'', and "Invasion of the Mind Snatchers" may or may not be one to ''Film/InvasionOfTheBodySnatchers''. A lot of his other references to pop culture are probably closer to {{Take That}}s.
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Changed line(s) 75 (click to see context) from:
* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', and "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]". Plus "John Dillinger" speaks for itself. A lot of his other references to pop culture are probably closer to {{Take That}}s.
to:
* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', and "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]". Plus "John Dillinger" speaks for itself. Finally, ''Prairie Home Invasion'' may or may not be one to ''Radio/APrairieHomeCompanion''. A lot of his other references to pop culture are probably closer to {{Take That}}s.
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* JustLikeRobinHood: "John Dillinger", though it uses a liberal dose of SarcasmMode to get its point across.
* MorallyBankruptBanker: Targeted in "John Dillinger" among others.
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* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket''. A lot of his other references to pop culture are closer to {{Take That}}s.
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* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket''. ''Film/FullMetalJacket'', "Burgers of Wrath" to ''Literature/TheGrapesOfWrath'', and "Werewolves of Wall Street" to "[[Music/WarrenZevon Werewolves of London]]". Plus "John Dillinger" speaks for itself. A lot of his other references to pop culture are probably closer to {{Take That}}s.
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* TheCoverChangesTheMeaning: "[[CaptainObvious Will the Fetus Be Aborted?]]" and "Let's Go Burn Ole Nashville Down".
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* TheCoverChangesTheMeaning: "[[CaptainObvious Will the Fetus Be Aborted?]]" and "Let's Go Burn Ole Nashville Down".Down" are based on older songs but have completely different lyrics unrelated to the concepts of the songs they were based on (although the former is a {{snowclone}} of the original song's title, "Will the Circle Be Unbroken?").
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* VocalTagTeam: On his album with Mojo Nixon they are this. Most of the other time if any other vocalists share vocals with him it's a case of StepUpToTheMicrophone.
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* ShoutOut: "Full Metal Jackoff" to ''Film/FullMetalJacket''. A lot of his other references to pop culture are closer to {{Take That}}s.
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* 1994 - ''Prairie Home Invasion'' (with Mojo Nixon, sessions also produced the single ''Will the Fetus Be Aborted?''
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* 1994 - ''Prairie Home Invasion'' (with Mojo Nixon, Nixon; sessions also produced the single ''Will the Fetus Be Aborted?''Aborted?'')
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* SarcasmMode: Used so often in his lyrics you might think it was his default voice.
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* ThreeChordsAndTheTruth: Although he comes from a HardcorePunk background, this trope is normally averted. He plays the ProtestSong nature of hardcore straight, but tends to write much more complex songs than are the norm for the genre (see the number of straight EpicRocking examples above for proof).
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* NotSoDifferent: "Caped Crusader" swipes some of its lines from 9/11 terrorist Mohammed Atta and some from then-Attorney General John Ashcroft, and in the liner notes invites the listener to "spot the difference".
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* FoxNewsLiberal: As with Music/PhilOchs' original, Jello and Mojo Nixon's version of "Love Me, I'm a Liberal" eviscerates them.
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** With Mojo Nixon he covered Darryl Cherney's "Where Are We Gonna Work (When the Trees Are Gone?)", Fred Kirby's "Atomic Power", Phil Ochs' "Love Me, I'm a Liberal" (with some new lyrics to make it more current to TheNineties), the Goldcoast Singers' novelty hit "Plastic Jesus", the traditional songs "Will the Circle Be Unbroken?" (with new lyrics as "[[CrossesTheLineTwice Will the Fetus Be Aborted]]?") and "Old Joe Clark" (with new lyrics as "Let's Go Burn Ole Nashville Down").
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** With Mojo Nixon he covered Darryl Cherney's "Where Are We Gonna Work (When the Trees Are Gone?)", Fred Kirby's "Atomic Power", Phil Ochs' Music/PhilOchs' "Love Me, I'm a Liberal" (with some new lyrics to make it more current to TheNineties), the Goldcoast Singers' novelty hit "Plastic Jesus", the traditional songs "Will the Circle Be Unbroken?" (with new lyrics as "[[CrossesTheLineTwice Will the Fetus Be Aborted]]?") and "Old Joe Clark" (with new lyrics as "Let's Go Burn Ole Nashville Down").
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* RealLifeWritesThePlot: Several of his songs are based on real-life events, including the TearJerker "Hamlet Chicken Plant Disaster".
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* RealLifeWritesThePlot: RealLifeWritesThePlot[=/=]RippedFromTheHeadlines: Several of his songs are based on real-life events, including the TearJerker "Hamlet Chicken Plant Disaster".
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* BlackComedy: Jello's stage name, which juxtaposes the name of a cheap, mass-produced dessert with the infamous Biafran Civil War, one of the more publicised cases of mass starvation in Africa. Plus quite a lot of his songs.
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** ''Walk on Jindal's Splinters'' has the 12:37 "Walk on Guided Splinters".
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** ''Walk on Jindal's Splinters'' has the 12:37 "Walk on Guided Gilded Splinters".
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* GoodGirlsAvoidAbortion: Viciously deconstructed in "Will the Fetus Be Aborted?", then in the final verse:
--> Tanya lived for revolution
--> Wanted to overthrow the state
--> She had fifteen [[DirtyCommies Commie]] babies
--> [[MoralGuardians Phyllis Schlafly]], ain't that great?
--> Tanya lived for revolution
--> Wanted to overthrow the state
--> She had fifteen [[DirtyCommies Commie]] babies
--> [[MoralGuardians Phyllis Schlafly]], ain't that great?
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* CityOfSpies: "[=McGruff the Crime Dog=]" asks, "Why not hire half the country to spy on the other half?"
* HummerDinger: Subjected to a song-length TakeThat in "Yuppie Cadillac".
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* TakeThat: As with his Music/DeadKennedys material, plentiful, including a few against his former bandmates in "Those Dumb Punk Kids (Will Buy Anything)" and "Voted Off the Island". He's taken a few at UsefulNotes/BarackObama from a left-wing perspective as well ("Barackstar O'Bummer" and the album title ''The Audacity of Hype'' being the most obvious).
to:
* TakeThat: As with his Music/DeadKennedys material, plentiful, including a few against his former bandmates in "Those Dumb Punk Kids (Will Buy Anything)" and "Voted Off the Island". He's taken a few at UsefulNotes/BarackObama from a left-wing perspective as well ("Barackstar O'Bummer" and the album title ''The Audacity of Hype'' being the most obvious).obvious).
* TheWarOnTerror: Probably half the Melvins collaborations were commentaries on this.
* TheWarOnTerror: Probably half the Melvins collaborations were commentaries on this.
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* BadBoss: Present in many of his songs, but the bosses in "Hamlet Chicken Plant Disaster" have to take the cake. They locked their workers into the factory to boost productivity levels, then it burned down. Horrifyingly, this is based on real-life events; twenty-five people died and forty more were injured.
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* RealLifeWritesThePlot: Several of his songs are based on real-life events, including the TearJerker "Hamlet Chicken Plant Disaster".
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* CoverVersion: With D.O.A. he covered Music/TheAnimals' "We Gotta Get Out of This Place" and with Music/{{Melvins}} he covered Music/AliceCooper's "Halo of Flies". With the latter he also recorded a version of Music/DeadKennedys' "California Über Alles" given new lyrics referring to then-California governor Creator/ArnoldSchwarzenegger.
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* CoverVersion: TheCoverChangesTheMeaning: "[[CaptainObvious Will the Fetus Be Aborted?]]" and "Let's Go Burn Ole Nashville Down".
* CoverVersion:
** With D.O.A. he covered Music/TheAnimals' "We Gotta Get Out of ThisPlace" Place".
** With Mojo Nixon he covered Darryl Cherney's "Where Are We Gonna Work (When the Trees Are Gone?)", Fred Kirby's "Atomic Power", Phil Ochs' "Love Me, I'm a Liberal" (with some new lyrics to make it more current to TheNineties), the Goldcoast Singers' novelty hit "Plastic Jesus", the traditional songs "Will the Circle Be Unbroken?" (with new lyrics as "[[CrossesTheLineTwice Will the Fetus Be Aborted]]?") andwith "Old Joe Clark" (with new lyrics as "Let's Go Burn Ole Nashville Down").
** With Music/{{Melvins}} he covered Music/AliceCooper's "Halo ofFlies". With the latter he also recorded Flies", as well as a version of Music/DeadKennedys' "California Über Alles" given new lyrics referring to then-California governor Creator/ArnoldSchwarzenegger.
* CoverVersion:
** With D.O.A. he covered Music/TheAnimals' "We Gotta Get Out of This
** With Mojo Nixon he covered Darryl Cherney's "Where Are We Gonna Work (When the Trees Are Gone?)", Fred Kirby's "Atomic Power", Phil Ochs' "Love Me, I'm a Liberal" (with some new lyrics to make it more current to TheNineties), the Goldcoast Singers' novelty hit "Plastic Jesus", the traditional songs "Will the Circle Be Unbroken?" (with new lyrics as "[[CrossesTheLineTwice Will the Fetus Be Aborted]]?") and
** With Music/{{Melvins}} he covered Music/AliceCooper's "Halo of
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* TakeThat: As with his Music/DeadKennedys material, plentiful, including a few against his former bandmates in "Those Dumb Punk Kids (Will Buy Anything)" and "Voted Off the Island".
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* TakeThat: As with his Music/DeadKennedys material, plentiful, including a few against his former bandmates in "Those Dumb Punk Kids (Will Buy Anything)" and "Voted Off the Island". He's taken a few at UsefulNotes/BarackObama from a left-wing perspective as well ("Barackstar O'Bummer" and the album title ''The Audacity of Hype'' being the most obvious).
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See Music/DeadKennedys for his releases with them.
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* MinisculeRocking: Not as often as you'd probably expect given his HardcorePunk roots. His only post-Kennedys track that actually falls under the two-minute limit mentioned in the trope description is the fifty-second-long "Voted Off the Island" from ''Sieg Howdy!''. "Bad" from the Nomeansno collaboration is 2:18, and after that all his other songs are at least two and a half minutes long.
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* TakeThat: As with his Music/DeadKennedys material, plentiful.
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* TakeThat: As with his Music/DeadKennedys material, plentiful.plentiful, including a few against his former bandmates in "Those Dumb Punk Kids (Will Buy Anything)" and "Voted Off the Island".
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* 2011 - ''Enhanced Methods of Questioning'' (marketed as an [[ExtendedPlay EP]], despite containing over forty minutes of music)
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* 2011 - ''Enhanced Methods of Questioning'' (marketed as an [[ExtendedPlay EP]], EP, despite containing over forty minutes of music)
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* EpicRocking: Parodied with Lard's "70s Rock Must Die", which features all kinds of {{Seventies}} hard rock tropes including gratuitous cowbell, endless guitar solos, a PowerBallad style bridge, vocal histrionics, an overly repetitive chorus, and of course the obligatory BigRockEnding. Played straight with several other songs:
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* EpicRocking: Parodied with Lard's "70s Rock Must Die", which features all kinds of {{Seventies}} [[TheSeventies Seventies]] hard rock tropes including gratuitous cowbell, endless guitar solos, a PowerBallad style bridge, vocal histrionics, an overly repetitive chorus, and of course the obligatory BigRockEnding. Played straight with several other songs:
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While undoubtedly best known as the frontman of HardcorePunk legends Music/DeadKennedys, '''Jello Biafra''' (real name Eric Boucher) has had quite a career since leaving the band as well. He has amassed quite a large number of spoken-word albums about political activism as well as a large body of recorded music that mostly serves as {{Spiritual Successor}}s to the Kennedys' output. His music recordings, both as collaborations with other groups artists (D.O.A., Nomeansno, Mojo Nixon, Music/{{Melvins}}) and with his own band the Guantanamo School of Medicine, have made him a respected elder statesman in the world of punk (a condition he even comments on in the song "Enchanted Thoughtfist"). While his former bandmates from the Kennedys have evolved into the living incarnation of MoneyDearBoy, half-heartedly rehashing old songs in concert and "singing songs about how bad the good old days were", Biafra continues to evolve and to produce some [[AwesomeMusic awesome new tunes]].
!!Discography
Solo, spoken-word:
*1987 - ''No More Cocoons''
*1989 - ''High Priest of Harmful Matter: Tales From the Trial''
*1991 - ''I Blow Minds for a Living''
*1994 - ''Beyond the Valley of the Gift Police''
*1998 - ''If Evolution Is Outlawed, Only Outlaws Will Evolve''
*2000 - ''Become the Media''
*2002 - ''The Big Ka-Boom, Pt. 1''
*2002 - ''Machine Gun in the Clown's Hand''
*2006 - ''In the Grip of Official Treason''
Collaborations with other artists:
*1990 - ''Last Scream of the Missing Neighbors'' (with D.O.A.)
*1991 - ''The Sky Is Falling and I Want My Mommy'' (with Nomeansno)
*1991 - ''Tumor Circus'' (with Tumor Circus)
*1994 - ''Prairie Home Invasion'' (with Mojo Nixon, sessions also produced the single ''Will the Fetus Be Aborted?''
*2000 - ''Live from the Battle in Seattle'' (with the No W.T.O. Combo, a collaboration with [[Music/{{Soundgarden}} Kim Thayil]] and [[Music/{{Nirvana}} Krist Novoselic]])
*2004 - ''Never Breathe What You Can't See'' (with Music/{{Melvins}})
*2005 - ''Sieg Howdy!'' (with Music/{{Melvins}})
*2015 - ''Walk on Jindal's Splinters'' ([[LiveAlbum live]], with the Raunch and Soul All-Stars, a {{supergroup}} of Southern musicians)
With Lard (collaboration with [[Music/{{Ministry}} Al Jourgensen]] and others):
*1989 - ''The Power of Lard''
*1990 - ''I Am Your Clock''
*1990 - ''The Last Temptation of Reid''
*1997 - ''Pure Chewing Satisfaction''
*2000 - ''70's Rock Must Die''
With the Guantanamo School of Medicine:
*2009 - ''The Audacity of Hype''
*2011 - ''Enhanced Methods of Questioning'' (marketed as an [[ExtendedPlay EP]], despite containing over forty minutes of music)
*2012 - ''Shock-u-py!'' (single)
*2013 - ''White People and the Damage Done''
!!Tropes present in his post-Kennedys career include:
* CoverVersion: With D.O.A. he covered Music/TheAnimals' "We Gotta Get Out of This Place" and with Music/{{Melvins}} he covered Music/AliceCooper's "Halo of Flies". With the latter he also recorded a version of Music/DeadKennedys' "California Über Alles" given new lyrics referring to then-California governor Creator/ArnoldSchwarzenegger.
* EpicRocking: Parodied with Lard's "70s Rock Must Die", which features all kinds of {{Seventies}} hard rock tropes including gratuitous cowbell, endless guitar solos, a PowerBallad style bridge, vocal histrionics, an overly repetitive chorus, and of course the obligatory BigRockEnding. Played straight with several other songs:
** Lard's 7 and a half-minute "The Power of Lard", 15-minute "I Am Your Clock", and 32-minute "Time to Melt" (though the latter could be considered subversions as they don't go through tons of changes; they're just really slow).
** ''Last Scream of the Missing Neighbors'' has the 13:57 "Full Metal Jackoff".
** ''The Sky Is Falling and I Want My Mommy'' has the 8:48 "Chew" and the 6:35 "Sharks in the Gene Pool".
** ''Prairie Home Invasion'' has the 9:07 "Buy My Snake Oil".
** ''Never Breathe What You Can't See" has the 6:20 "Islamic Bomb" and the 6:09 "Caped Crusader".
** ''Sieg Howdy!'' has the 7:43 "Halo of Flies", the 7:55 "The Lighter Side of Global Terrorism (extended space-melt version)", and the 7:33 "Caped Crusader (Subway Gas/Hello Kitty mix)".
** ''The Audacity of Hype'' has the 6:05 "Three Strikes" and the 21:13 "I Won't Give Up" (though the actual song is 7:14 and it ends with an 8:01 HiddenTrack featuring all the songs played at once after about 7 minutes of silence).
** ''Enhanced Methods of Questioning'' has the 32:03 "Miracle Penis Island" (though the actual song is 7:38 and it includes the 18:23 "Metamorphosis Exploration on Deviation Street Jam" as a HiddenTrack).
** ''White People and the Damage Done'' has the 14:34 "Shock-u-py!" (though around half of that is silence; the actual song is about 7:40), the 6:52 "Crapture (Flight F.I.N.A.L. Space Blast Extension)", and the 7:34 "Shock-u-py! (Soul Clap mix)".
** ''Walk on Jindal's Splinters'' has the 12:37 "Walk on Guided Splinters".
* LoudnessWar: Averted with his older work. His newer work starting around his Melvins collaborations dips into this somewhat, but is still nowhere near as bad as the worst examples of the trope.
* ProtestSong: Most, if not all, of his output.
* TakeThat: As with his Music/DeadKennedys material, plentiful.
!!Discography
Solo, spoken-word:
*1987 - ''No More Cocoons''
*1989 - ''High Priest of Harmful Matter: Tales From the Trial''
*1991 - ''I Blow Minds for a Living''
*1994 - ''Beyond the Valley of the Gift Police''
*1998 - ''If Evolution Is Outlawed, Only Outlaws Will Evolve''
*2000 - ''Become the Media''
*2002 - ''The Big Ka-Boom, Pt. 1''
*2002 - ''Machine Gun in the Clown's Hand''
*2006 - ''In the Grip of Official Treason''
Collaborations with other artists:
*1990 - ''Last Scream of the Missing Neighbors'' (with D.O.A.)
*1991 - ''The Sky Is Falling and I Want My Mommy'' (with Nomeansno)
*1991 - ''Tumor Circus'' (with Tumor Circus)
*1994 - ''Prairie Home Invasion'' (with Mojo Nixon, sessions also produced the single ''Will the Fetus Be Aborted?''
*2000 - ''Live from the Battle in Seattle'' (with the No W.T.O. Combo, a collaboration with [[Music/{{Soundgarden}} Kim Thayil]] and [[Music/{{Nirvana}} Krist Novoselic]])
*2004 - ''Never Breathe What You Can't See'' (with Music/{{Melvins}})
*2005 - ''Sieg Howdy!'' (with Music/{{Melvins}})
*2015 - ''Walk on Jindal's Splinters'' ([[LiveAlbum live]], with the Raunch and Soul All-Stars, a {{supergroup}} of Southern musicians)
With Lard (collaboration with [[Music/{{Ministry}} Al Jourgensen]] and others):
*1989 - ''The Power of Lard''
*1990 - ''I Am Your Clock''
*1990 - ''The Last Temptation of Reid''
*1997 - ''Pure Chewing Satisfaction''
*2000 - ''70's Rock Must Die''
With the Guantanamo School of Medicine:
*2009 - ''The Audacity of Hype''
*2011 - ''Enhanced Methods of Questioning'' (marketed as an [[ExtendedPlay EP]], despite containing over forty minutes of music)
*2012 - ''Shock-u-py!'' (single)
*2013 - ''White People and the Damage Done''
!!Tropes present in his post-Kennedys career include:
* CoverVersion: With D.O.A. he covered Music/TheAnimals' "We Gotta Get Out of This Place" and with Music/{{Melvins}} he covered Music/AliceCooper's "Halo of Flies". With the latter he also recorded a version of Music/DeadKennedys' "California Über Alles" given new lyrics referring to then-California governor Creator/ArnoldSchwarzenegger.
* EpicRocking: Parodied with Lard's "70s Rock Must Die", which features all kinds of {{Seventies}} hard rock tropes including gratuitous cowbell, endless guitar solos, a PowerBallad style bridge, vocal histrionics, an overly repetitive chorus, and of course the obligatory BigRockEnding. Played straight with several other songs:
** Lard's 7 and a half-minute "The Power of Lard", 15-minute "I Am Your Clock", and 32-minute "Time to Melt" (though the latter could be considered subversions as they don't go through tons of changes; they're just really slow).
** ''Last Scream of the Missing Neighbors'' has the 13:57 "Full Metal Jackoff".
** ''The Sky Is Falling and I Want My Mommy'' has the 8:48 "Chew" and the 6:35 "Sharks in the Gene Pool".
** ''Prairie Home Invasion'' has the 9:07 "Buy My Snake Oil".
** ''Never Breathe What You Can't See" has the 6:20 "Islamic Bomb" and the 6:09 "Caped Crusader".
** ''Sieg Howdy!'' has the 7:43 "Halo of Flies", the 7:55 "The Lighter Side of Global Terrorism (extended space-melt version)", and the 7:33 "Caped Crusader (Subway Gas/Hello Kitty mix)".
** ''The Audacity of Hype'' has the 6:05 "Three Strikes" and the 21:13 "I Won't Give Up" (though the actual song is 7:14 and it ends with an 8:01 HiddenTrack featuring all the songs played at once after about 7 minutes of silence).
** ''Enhanced Methods of Questioning'' has the 32:03 "Miracle Penis Island" (though the actual song is 7:38 and it includes the 18:23 "Metamorphosis Exploration on Deviation Street Jam" as a HiddenTrack).
** ''White People and the Damage Done'' has the 14:34 "Shock-u-py!" (though around half of that is silence; the actual song is about 7:40), the 6:52 "Crapture (Flight F.I.N.A.L. Space Blast Extension)", and the 7:34 "Shock-u-py! (Soul Clap mix)".
** ''Walk on Jindal's Splinters'' has the 12:37 "Walk on Guided Splinters".
* LoudnessWar: Averted with his older work. His newer work starting around his Melvins collaborations dips into this somewhat, but is still nowhere near as bad as the worst examples of the trope.
* ProtestSong: Most, if not all, of his output.
* TakeThat: As with his Music/DeadKennedys material, plentiful.
