Album Notes

Ghettobillies have been slowly building up what is now an international cult following for over 6 years. Inspired by such artists as Frank Zappa, the Dead Milkmen, Queen, and Jamiraquai and fired by the angst of middle America, Ghettobillies mix the old styles with the new and the muscle with the hustle. The 4 piece rock band balances power chords of thunderous proportions with delicate, sometimes falsetto vocals over a rocketing disco dance and funkified rhythm section. Originally a bluegrass trio with no percussion and singing in 3 part harmonies about such important themes as cross dressing, drug addiction, and love affairs with the handicapped, Ghettobillies have matured both lyrically and musically now as they incorporate driving funk and disco dance songs with power pop-punk hooks that leave you so happy you could pee.


Ghettobillies have released 2 EP's as well as 2 other full length albums in addition to "Still in the Pink". The second full length album, "Butterface", was released on Detroit independent Record label Planet Ant and their first full length album "Some Rezeev" was released independently in 1998. Their most recent full length album, Still in the Pink, was released in the fall of 2003 and is enjoying 5 star reviews and incredible sales!

With the precision of a surgeon, John Maloney (known as The Holy Maloney) dissects and reconstructs the break beats and concussive thuds that form the base of this rock and roll building of worship. Matt Longbons (known as Lord Bon bons & Bong) drops the complex slapping rivets of bass lines that hearken back to the days of Bootsie Collins and psychedelic patterns from the current Flea. Derek Kramer (AKA: Pope D 'licious) heralds a cornerstone in acoustic guitar innovation by squealing out 60's folk, 70's wah-wah rhythms, and 80's monsters of rock solos-all in one song. Rounding out the diversity of this 4-some is Robbie Conaway (AKA: Reverend C. Cobb) whose breakneck tongue tying lyrics, Freddy Mercury range and sticky thick guitar melodies bring the listener to their feet...and then to their knees.