Bush - Glycerine

Barely legal

Relax with the social media, go out in nature and clear your mind.

Trained To Hate America

There was nothing ‘tough’ about F-Loder. We didn’t get into brawls or bar fights or beef with other bands. None of us even had a gym membership. We were abrasive and rude, but never confrontational. 

The closest we ever came to ‘tough’ was the time Wainwright lost a bag of cocaine at our motel room in Denver. Jon’s drugs suddenly went missing and  he promptly went insane. The entire band, Ryan Endo, and three terrified Mexican maids stood there watching Wainwright pace the room, yelling and snarling and flapping his arms. It was fucking satanic. An hour past checkout time and he was holding us hostage, refusing to leave until we solved the case of the missing coke.

I thought he’d never calm down. It felt like a scene in a mystery novel: All of us standing there, silently suspecting one another of stealing the blow. Finally, Ryan Farrell reasoned with Jon and successfully persuaded him to let it go. Though the exact conversation has gone down the memory hole, I like to think Farrell consoled him like a child: “It’s ok kiddo, we’ll get ya another bag of coke. A better one. Don’t worry, buddy.” Or maybe he threatened to quit the band then and there if Jon didn't get his act together. It's unclear. One way or another, Farrell neutralized the situation and got us back on the road.

For some reason Big Dave was extra quiet that day and it struck me as odd. He’s usually pretty vocal and opinionated. Later on during the tour it came to light that Dave had stolen the cocaine and flushed it. He said he did it because he hated drug use and wanted to save Wainwright from himself; he’d seen too many lives ruined by drugs. In other words, he was being a big old Karen, trying to trick Jon into going straight edge.

Wainwright never heard the confession and I certainly kept my mouth shut. The whole thing was just too embarrassing. It was the most unpunk, untough behavior I had witnessed in a long time. Dave, the new guy in the band, taking it on himself to fight the war on drugs, and Wainwright throwing a public conniption fit. I can only imagine what woulda happened if he’d learned the real story back then. 

Other than that, Colorado was awesome! 

Tough Guy is layered with triumphant 90s guitar chords and a flying double-time punk beat. Super catchy post-chorus leads are paired with some surprisingly disturbing lyrics. As vivid as they are belligerent, the verses tell stories of a reformed tough guy. So it's a song about an asshole who changed his ways.

Tough Guy

04 - The Campfire Grrrls - Be My Girl

Ive had this track for over 20 years and have no clue how I got it or what album its on.

After School Special - Only You

2 tracks from Totallies off the dayquill compilation, if you are interested just message me, I was too lazy to do the whole thing.

Totallies - Something Girl

Totallies - Ann #9

Secret C from Sacramento showcasing some good pop punk from the 90s. I do not own this nor do I make money off of it, if you are from the label or any band. Please contact me if you need me to take it down or even if you want me to make it downloadable. Just up here sharing gems fromthe past.

03 - The Nards - Nuclear Mom

A few of my favorites off their debut. I do not own rights or get a cent of any of this. If you are a label or band member with any questions or concernts, feel free to message me.

Ranma (The Kids Don't Understand)

I Wanna Be Free

On sale May 20th, 2025

The untold story of OC punk—the loud, rebellious force behind the ‘90s explosion of the Orange County music scene, featuring stories about legendary bands.

When it comes to punk communities across the world, the Orange County punk scene stands out as an undeniable trendsetter that helped define the sound and style of the rapidly evolving genre. From hard luck storytellers Social Distortion and multi-platinum sellers like The Offspring to cult heroes like The Adolescents and T.S.O.L., there’s much insight to gain from the story of this popular though often misunderstood music scene.   

In Tearing Down the Orange Curtain, journalists Nate Jackson and Daniel Kohn explore the trajectory of punk and ska from their humble beginnings to their peak popularity years, where their cultural impact could be felt in music around the world. Delving deep into the personal and professional lives of bands like Social Distortion, The Adolescents, The Offspring, and their ska counterparts No Doubt, Sublime, Reel Big Fish, Save Ferris, and more, this book gives readers a deeper look into the very human stories of these musicians, many of whom struggled with acceptance, addiction, and brutal teenage years in suburbia.   

Through exclusive first-hand interviews, Tearing Down the Orange Curtain brings the 20-year period of OC punk and third-wave ska (1978-2000) to life, focusing specifically on the historical and musical roots of this creative explosion. Thought-provoking, meticulously researched, and refreshingly candid, this book presents a compelling narrative of how a suburban wasteland turned into a hub for rock-n roll culture, just over 30 miles away from the bright lights of LA.

Listen Here

Tearing Down the Orange Curtain By Nate Jackson and Daniel Kohn, Read By Marc Worden (Audiobook Excerpt)

R.I.P. F-Loder (2001-2006)

F-Loder was born a quarter-century ago on Crenshaw Boulevard in a semi-abandoned rehearsal studio called Grooveworks. The initial lineup was Jon, Bill, Colin and George, but over the following four years we ran through a bunch of other dudes—a whole slew of guitar players* were hired, fired, replaced, ghosted, and occasionally rehired. 

The band’s forefathers, Bill and Jon, were middle class Torrance drug trash with a knack for writing bold irreverent lyrics. One night, while milling around in a parking lot on a smoke break, they insisted on a band name. No voting. No discussion. 
It was settled. We were F-Loder. 

How they came up with it, no one really knows. Regrettably though, by taking our namesake from Kurt Loder we made him the symbol of everything we hated about mainstream music even though the man did nothing wrong. In fact, he’s actually a quite diligent journalist and a pretty swell guy in real life. Sadly, I don’t think we’ll ever make it up to him. 

F-Loder’s music was better than it sounded. Bill had the humor, brains, and determination; Jon, the swagger and sexual charisma. Both wrote the vast majority of songs and served up the comedy on stage. 

During the first two years of jamming together, we witnessed Bill’s bass work become more steady and precise. He knew without being told that the low end should serve the song as a whole without distracting from it; he never tried to be a top gun with showy, unnecessary licks that were out of his wheelhouse. I also noticed the range and texture of Jon’s voice improve over time. He began with a nasal SoCal dialect that deepened and developed into a natural and compelling rasp. 

In the early era, Colin was the most competent and dependable musician among us. His strumming was all muscle and volume and his backup vocals were strong from day one. George, the low-testosterone timekeeper, drummed for the first two years and did his job well enough, I suppose. 

It would be way too kind to say F-Loder was a ‘South Bay’ punk band. That category is for an earlier generation of top tier punkers like Black Flag, Descendants, Pennywise, F.Y.P., etc. F-Loder, though spawned in the South Bay, was about ten years late to the scene, so they’re downgraded to a sub-genre I like to call “Torrance Punk.” Even still, the band came up with a handful of raw unapologetic punk songs in the spirit of Minor Threat, Angry Samoans and Circle Jerks. 

It’s always a bit of a mystery to me why bands stop playing together. (I mean, it’s pretty clear why Nirvana broke up.) But the truth is, bands dissolve for lots of reasons, and in the case of F-Loder it was a productivity problem. Due to our low song count, the entire discography could be played in less than 15 minutes—it was only for the antics and covers that our set stretched to half-an-hour. 

The thing is, musicians have to write songs and albums in order to survive. It’s kind of their main job. Well, F-Loder didn’t do much of that; we came up with approximately ten workable songs over a span of five years. There should’ve been at least four full albums in that time. 

Fucking unacceptable.

But I guess we did what we wanted after all, and in mid 2006 our day had come. As noisy as we played, the band unraveled rather quietly. Guttermouth officially poached Ryan Farrell, and F-Loder went on stage at Latitudes for their last ever show. 

The music posted here is a smattering of two rounds of studio recordings and a few scraps from live shows. Our first session was done in Adam Rosinsky’s humble garage in south Torrance, and everyone was really stoked on the results. Then, a coupla years later, F-Loder crossed paths with Guttermouth, who offered to re-record most of those tracks, plus a few newish ones, at their private studio in Orange County. 


*additional guitar players we used and discarded: Jay, Andy, Peter, Davis and Big Dave.

Grammy-winning audiobook publisher. Authors include James Patterson, David Baldacci, and Michael Connelly. Earbuds encouraged. Follow us on Twitter at @HachetteAudio.

New tracks tagged #90s Punk