The John Trubee Interview

Are you originally from Santa Rosa, CA? When did you first begin to fall in love with music and art? Was this something that was relevant around your household growing up? Do you have any siblings? What would you and your friends do for fun growing up?

Nope. I grew up in Princeton, New Jersey. When I was a child I used to draw pictures of old masted sailing ships and strange characters. I also loved to read, mainly science fiction. I developed a strong interest in pop music by listening to Cousin Brucie on WABC AM radio in New York City in the 1960’s. I loved Motown, Wall of Sound hits, the Beatles, the Mamas and Papas and the Byrds. I used to hear all this music in my Dad’s car while driving around Princeton and from the clock radio on my desk as I did my homework. My Mom had my brother Jay and me take piano lessons, which I hated. I later took trumpet lessons for a couple of years at her insistence. I finally choose guitar myself at age 13 thanks to my growing interest in pop and rock music. Mom used to sit for hours playing Ravel, Chopin, Cole Porter and Gershwin tunes on piano. It was great having that live music around the home. Mom played piano simply because it made her happy. I have somehow replicated that same behavior in myself on guitar for the same reason. Playing guitar makes me so happy. It is deeply engaging and meaningful. Yes, four younger brothers. Goofy kid stuff—riding bikes, running around the neighborhood, exploring the woods, reading comic books, typical kid stuff. All that is dead, ancient and bygone sadness now.

Who were some of your earliest influences in your more formative years? When and where did you see your first show and what ultimately inspired you to pursue a life in music? Did you participate in any groups, or projects prior to The Ugly Janitors?

Well the Beatles, of course. Reading their biography by Hunter Davies at age 12 ruined my life because it stoked my interest in music and made me want to make music myself. I became greatly interested in music by Cream, Jimi Hendrix, Mothers of Invention, Blind Faith, Derek and the Dominoes, Marvin Gaye, Soft Machine, King Crimson and The Delfonics. Later in LA Jon Sharkey lent me Laura Nyro’s first album. She is absolutely my favorite songwriter. She tapped into some sort of cosmic soul in a way that no one else has. Seeing concerts did not inspire me to get into music. My interest in playing music was spurred by listening to music on the radio, or on records. But just for fun, the first rock concerts I saw were Procul Harum at Alexander Hall in Princeton and Mountain and T-Rex at Fillmore East. I saw Frank Zappa’s Grand Wazoo Band at the Felt Forum in NYC. Jim Gordon was the band’s drummer and Tim Buckley’s band opened the show. Others: Weather Report, King Crimson, Sun Ra and Frank Zappa a bunch of times. I was in a nameless band when I was 15, then joined GLOOP NOX AND THE STIK PEOPLE when I was 17. I played in bands led by Richie Hass and Zoogz Rift in Los Angeles before I started THE UGLY JANITORS OF AMERICA.

How did you initially meet M.B. Gordy, Bruce Duff and other band mates and what led you guys to form the band in the early 80’s?

I met great players such as drummer MB Gordy, bassist-composer Jack Vees, pedal steel guitar player Chas Smith and the amazing multi-instrumentalist-composer Art Jarvinen (RIP) through reed player Larry Lajmer (RIP). They were graduates of Cal Arts in Valencia and knew each other well. Zoogz kicked me out of his band for a time for refusing to help pay for his electric bill. We rehearsed at his house in Woodland Hills. Zoogz insisted that our amplifiers soaked up too much electricity which he and his wife had to pay for. He told the band members to pony up cash to help pay his electric bill. I figured it was HIS band playing HIS music where HE called all the shots, so he could jolly well pay the electric bill himself. Additionally I was a working pauper driving across the valley to rehearse four nights a week in his band. I felt that also giving him my money to help pay his electric bills was unreasonable. It felt like the band was a cult if I were to give him my money to be in it. Freethinkers are unwelcome in cults. Larry Lajmer left Zoogz’ band around the same time because Zoogz made a vulgar comment about one of Larry’s friends. Larry Lajmer introduced me to several incredibly talented musicians he knew from Cal Arts. These Cal Arts guys were way more talented and musically adept than I ever hope to be. I was blessed to have them play my music in my band. I asked Bruce Duff to play bass after Jack Vees moved back east to teach music at Yale. Bruce had written an upbeat review of my band in Music Connection and we got along well. Bruce also invited me to write for BAM and Music Connection after I started writing for SPIN. Please remember that Zoogz was a very close friend of mine. I have only positive feelings about him. I am merely reporting actual facts because after I am dead no one will have access to the trove of memories in my head. Therefore it is necessary for me to barf it all out here and now before it evaporates with my eventual demise. Zoogz and I occasionally disagreed, but we were very good friends.

When and where did the band first get together to jam and what was the initial chemistry like between everyone? What were those early days of the band like before releasing and recording albums?

North Hollywood rehearsal studios circa 1981-1983. There was no chemistry. I just wrote music I wanted played. I called whomever was willing and able to play it. I called all the shots because I was the band leader. I was able to tap into some incredibly talented musicians by being fortunate enough to release a couple of records, which seemed to attract ambitious musicians just starting out. We were all young & ambitious. The whole purpose of the band was for me to record my music. I am not concerned with relationships and social niceties. My sole purpose was to make my music, the best way possible, with little, or no money available for me to do so. Being young and broke and furious from having no money and no respect from anyone and from having my time and energy wasted in insultingly tedious jobs. Thwarted lust also informed this rage. This nebulous rage is common in many young men for the same reasons: Being at the peak of one’s physical powers and energy level while being broke, possessing no status, having to take orders from idiots, being continually disrespected and humiliated and being blithely dismissed while striving to carve out one’s own individual territory in the world. This is the stew of obstructions which drives young men insane. This is what ignited and fueled the blowtorch under my ass.

Tell me about writing and recording the band’s mighty debut LP “The Communists Are Coming To Kill Us!” in ‘84 on Enigma Records. What was the overall vision and approach to this record and how did the deal with Enigma come about?

I would like to backtrack to relate not only how “The Communists Are Coming To Kill Us!” was released as an LP, but also the strange story of how “A Blind Man’s Penis” went from being a reel tape sent to me from Nashville in 1976 to a 45 RPM single released in Los Angeles in 1983. These are long, strange, convoluted stories, so please bear with me.

First the “A Blind Man’s Penis” story:

In the early to mid 1970’s Zoogz Rift recorded an album by his band ZOBUS. Zoogz lived in Parsippany, New Jersey. He sought a record deal for ZOBUS. He started presenting copies of his recordings to record labels in New York City, about 30 miles away, every day for months. Sometimes he’d stay overnight at friends’ apartments in New York. He presented his tapes to record producer Craig Leon at Sire Records. Leon had produced records, or assisted in such for Blondie, Talking Heads and The Ramones among others. Leon brushed off Zoogz, telling him his music was not commercial enough, or some such standard excuse. For years afterwards Zoogz related that story of his frustrating attempts to get his band signed and Leon became Zoogz’s poster boy for all the important music biz mucky-mucks who failed to recognize his genius and who turned him down. Zoogz took personal rejection about as well as does Donald Trump. In 1981-82 I played bass in Zoogz’s band in Los Angeles. Whenever we played at clubs I handed out sampler cassette tapes featuring a varied collection of my own music, prank phone calls, electronic space music from synthesizers I recorded in high school and college, demented anti-poetry rants and of course my novelty recording of “A Blind Man’s Penis”. One evening Zoogz’s band and the Fibonaccis played together on a bill at Al’s Bar in Los Angeles. I gave one of my sampler cassette tapes to Ron Stringer, the guitarist for the Fibonaccis. A year later Ron called me at my job at Producer’s Film Center in Hollywood, where I toiled as a 5 dollar-an-hour clerk inventorying movie film and videotapes. Ron told me that the Fibonaccis were in a studio recording some tunes for a record release. Ron played “A Blind Man’s Penis” from my sampler cassette tape for the record producer. The record producer loved my song and wanted to release it as a record. Would I give my permission to release it? I had chaffed for years to somehow make records. The whole world of recording music and making records fascinated the hell out of me. I wanted to make records more than I wanted to lose my virginity, or to buy a car, to get rich, or to acquire any of things that normal people want.

Naturally I said yes to the record producer. I arranged with him to bring my master reel tape of the song to the mastering studio in the RCA building on Sunset Boulevard. The record producer was... Craig Leon! I can’t remember if Zoogz and I specifically discussed the whole idea of Craig Leon enabling the Fibonaccis and me to release our records, as Zoogz years before had been snubbed by Leon. I can imagine that it must have annoyed him a great deal. In another ironic twist, Craig Leon and his associate Cassell Webb had been spending a lot of time with the Fibonaccis, attending live shows and rehearsals, evidently strongly interested in the band. Enabling me to release “A Blind Man’s Penis” as a 45 around the same time as the Fibonaccis’ record release was a mere afterthought and not given too much attention by either Craig Leon or the record company, Enigma. Bill Hein, president of Enigma records, let me do what I wanted with the single. We had no written contract on the record. It was all extremely informal and casual, almost easy after my years of obsessing to make a record. I was given a bunch of promo copies of it, and that delighted me. When I was given a hundred free promo copies of the single I promoted the shit out of it, sending it everywhere, handing it to folks like Malcolm McLaren when I walked up to him at a party. Matt Groening, who at the time wrote for the weekly paper The Los Angeles Reader, devoted his entire column one week to my record after I handed him a 45 promo copy at a nightclub. Elvira, A.K.A. Cassandra Peterson, initially played it on her radio show on KROQ and it received much airplay there and at college stations thereafter. It became somewhat of an underground hit. I enjoyed a fleeting notoriety. Sadly enough, the EP upon which much more time, attention and resources were lavished, “Tumor” by the Fibonaccis, simply disappeared. Perhaps the record-buying public was not yet hip and evolved enough to thrill over a song about death and cancer tumors.

Second, here is the story about how “The Communists Are Coming To Kill US!” LP came to be:

In 1983 I again played in Zoogz’ band. Zoogz had a friend we’ll call Bob (not his real name) who had seen me give a solo anti-poetry rant at the Anti-Club in LA. I used to perform spoken word rants live in nightclubs, reading demented, surrealistic, profane anti-poetry I had written while screaming, contorting, mugging, drooling, slamming myself to the stage, gesticulating with stuffed animals, puppets and a lifelike flesh-colored rubber dildo clenched in my fists. I sometimes dripped stage blood on my face to make the presentation yet more disturbing. My official public excuse for this behavior: (A) I was an impoverished young man devoid of resources, or status, profoundly alienated by the world which surrounded me. I had nothing to lose because I was already invisible and powerless. It was extremely cathartic to get on a stage and scream though a PA at an unsuspecting audience, purging myself of life’s frustrations. I laughed at myself. I laughed at my own jokes. I laughed at the audience. It was fun as hell. Laughter is so beautiful. The source of the laughter is unimportant. It is essential TO LAUGH for any reason possible! I urge you to do this sometime if you don’t believe me. Get on a stage with a microphone before a gaggle of unsuspecting rubes and shriek nonstop as if you are being hacked to pieces in a monstrous wood chipper. It is so much fun! (B) To garner attention for my music career, my band, my music. I had no money, no resources and no heavy, influential personal connections to do this any other way. And it actually kinda worked, for a while. Bob had seen one of my shriek performances at the Anti-Club and confided to Zoogz that I must be mentally ill, had emotional problems and that people were doing a grave disservice by encouraging me to do these performances. Zoogz and I had a good chuckle over that. Then I said “If I am am so mentally ill, why don’t I just commit suicide to prove it’s true to Mister Smarty Pants who knows better than I my own motivations?” Suicide is not a funny topic. Mental illness is a sorry state whose sufferers need help, not mockery. Two late members of the Ugly Janitors of America actually did commit suicide, as did Chris Leadem, whose spoken word segment “Chris Leadem Describes Hell” on this LP well revealed his own inner demons. It is not a fit topic for humor.

HOWEVER, as a profoundly alienated young man at the time, devoid of power, money, status and resources as I strove to carve out my own personal niche of territory in the midst of a leviathan urban hellhole, I recognized no such boundaries of decency and decorum. There was no absolute protocol of polite manners to guide me as I fought for my existence in a world gone mad. I blithely transgressed this imaginary boundary which is perceived and obeyed only by gentle, decent, well-adjusted folk. Inspired by Bob’s wronged-headed assessment of me, I wrote a ridiculous prank suicide letter, Xeroxed ten copies of it, and mailed it out to ten acquaintances. FOR FUN. I even sent a copy to Bob. A few days later Zoogz Rift called me on the phone. He said that Bill Hein was concerned about my prank suicide note. Bill had called Matt Groening to verify it, who then called Zoogz to see what was going on with me. Zoogz strongly suggested I call Bill to reassure him that I was not dead. I called Bill and we chatted for a bit. He invited me to come down to the Enigma Records offices in Torrance to discuss making a record album. I was elated. When we discussed me making an LP for Enigma, in my youthful eagerness I foolishly suggested I would produce the record with no budget, to which he naturally agreed. Enigma Records scheduled time at the mastering studio in the basement of Capitol Records in Hollywood.

I drove down there one evening after work carrying a brown paper bag of reel tapes and cassette tapes of widely assorted unusual recordings I had made over the years. Capitol’s engineer Eddie Schreyer and I sat there for 6 hours transferring and editing master tapes for the LP. When the LP was manufactured I drove down to Rainbo Records in Santa Monica one evening after work to pick up my boxes of promo copies of the LP. At home in my studio apartment in North Hollywood I listened to the entire album in the darkness. This was my quiet, invisible victory after years of lusting and aching after this goal so intently and obsessively. No one in the world except me knew how badly I wanted this thing. If I had never gained possession of it, my head surely would have exploded. I later rode an Amtrak train 3 days straight across the USA curled up on a seat to disperse promo copies of the LP to record labels, radio stations, and music magazines in New York City. I spent a day trudging up and down the length of Manhattan doing this. When I showed the LP to my parents my Mom rolled her eyes in disgust, shook her head and handed it back to me. Dad told me that it would never make the charts. No matter. I had realized my quiet, invisible obsession on my own terms under my own best efforts. Everything else was irrelevant.

Tell me about writing songs such as “Metallic Chimes”, “Satan Pukes on the High school Cheerleaders”, and “Atomic Tests” to name a few. The band released two cassettes that same year on Space and Time Tapes before its follow up LP in ‘85 entitled “Naked Teenage Girls From Outer Space” on Restless Records. How did you want to approach this material that differs from the previous works? I first became familiar with your work some years back with an introduction from the “Strange Hippie Sex Carnival” LP.

“Metallic Chimes” was simply a short segment of me ranting during a live band performance at Cathay de Grande in Hollywood while Roger Silverware played a chime sound patch on his Emulator keyboard musical instrument. I was just fucking around. On playback it sounded funny and weird, so that’s why I chose to put it on the album. “Satan Pukes On the High School Cheerleaders” is simply a short segment of me goofing around on an ARP 2600 analog synthesizer with reverb at Berklee College of Music in Boston. “Atomic Tests” is a prank call recorded in Princeton, New Jersey in January, 1973 in which I asked the unfortunate callee if they knew that polar bears at the South Pole developed leukemia from exposure to radiation from nuclear fallout from atomic bomb tests. This whole precept is preposterous, as polar bears are native only to the Arctic, not the Antarctic. When I had no money all I could do to amuse myself was to record prank phone calls and rants and synthesizer space music and live band performances from soundboards. When I finally got a little money from my shit jobs I’d blow almost all my savings on recording studio time and paying musicians to record. In those projects I spent time thoughtfully composing and arranging music which sounded beautiful to my ears, emulating the pop and rock records I was listening to growing up in the 60’s & 70’s. It’s amazing what and how much I could get done if I earned just a smidgen of money to pay for these projects. The weirdo indulgent stuff was manifested from when I had no money and just a tape recorder. In rare instances when I had money to pay for studio time, I ensured the music was better organized based on the many audio tropes always bouncing around inside my head. If you starve a pregnant woman, her baby will be stillborn, or hideously deformed. If I have no time, resources, or money to properly create my recordings, they likewise will be hideously deformed, rough-hewn and crippled, if not dead.

Tell me about bringing this album to life as you entered a new decade in your career at the time. You're prolific and a consistent storm of creativity and have been for over 40 years.

Nope, I disagree. Too much of the time of my life has been wasted in tedious day jobs. I had little, or no money. This greatly compromised my productivity. What few recordings I have been able to afford to create barely scratched the surface of my potential. This waste of my time and potential has infuriated me for decades. This fury is the blowtorch under my ass motivating me to spew out what few recordings I have been able to afford to record over the years. Without this blowtorch I would have been a much better citizen, watching TV and drinking beer and socializing and buying unnecessary consumer goods along with everyone else. O the humanity. Oh! “Strange Hippie Sex Carnival”, right? In 1986 I asked someone at Restless Records, an offshoot of Enigma, if I could produce another record for them. He said “Bring us the tapes and we’ll see what we can do.” I was making $6 an hour at a hardware store at that time. To save money to record an album I stopped eating, fasting for days at a time. This was not easy. Ever try fasting for 3 days? Doctors do not recommend it. The ketosis might kill you. I eventually amassed $500 to $1000 to record it, recorded at Marc Mylar’s Trigon Studio in 1987, an 8-track home studio. We had to bounce tracks, and much fidelity was lost this way. The whole sound is quashed and pinched and kinda rough. It makes me nuts. But we completed it. Restless Records turned it down when I brought it to them. MT Records in Germany eventually licensed it and released it as an LP a few years later.

What is most important to you to achieve and express with your work and what have been some of your most favorite albums, moments of the band and songs throughout the years and why? What are you currently working on? Anything in the works for 2024?

“MESSAGE TO JEFF” on my most recent CD is one of my favorite tracks. I love the gentle, singing tone of my Les Paul and the band nailed it after I showed them the lead sheet and we went over it. I taught it to them right there in the studio at the tracking session. Played it once, or twice, then BOOM! Snagged the take you hear. “MESSAGE TO JEFF” is an ear worm that haunted me for 15 years before I had the means to record it. Check it out, brah! Others? It felt great to get that first LP made after ages of dreaming of releasing a record. I am happier with he results of some recordings over others. One time I saw Paula Anka live in concert perform a song about “The Time of Your Life”, or some such shit, a song he wrote for a Kodak TV commercial while sappy scenes of his home life and memories were projected onto a screen behind him. All this stuff was meaningful to him and maybe his audience went along with it. But it made me vomit. Therefore I prefer to refrain from slobbering about how wonderful I am and about how wonderful all my music is. I only exhort your readers to please check out my music on Bandcamp, Spotify, Soundcloud, and Youtube and even, better yet, actually buy my LPs directly from me via mail order! I continue to write tunes that I may never be able to afford to record. I will not beg anyone for access to a studio. I must pay for studio time with my own money. I hate little home studios. I insist on recording in high-end professional recording studios, or not at all. I also will not share files long distance to record my music. I hate that clever patchwork shit. I prefer recording the old school way. I am a cranky old man. The world I loved and well remember has evaporated. Boo Hoo! I keep learning my favorite old pop tunes from the 60’s to play on guitar for tip jar money busking at grocery stores and at senior communities, restaurants and nightclubs. I am currently out of money, preserving what meager savings I have until I am dead, whenever that may be. I have to make it last for years else I’ll be sleeping out in the cold under the bushes. I have no money to record, to hire musicians, recording engineers, or to pay for studio time. I don’t know how to get money other than by lying, cheating, stealing and killing little babies for it. My ethical code prevents me from doing those things for money. SEMPER FI, BRAH!

JOHN TRUBEE AND THE UGLY JANITORS OF AMERICA

Each record LP is pressed on 180 gram virgin vinyl : 25 USD per LP.

Nude Woman Exdocrius - Catalog #: 6900837

This LP record features two distinct versions of the band, one in Los Angeles and one in San Francisco. BIG TINY is a rockin' surf punk instrumental, “PEOPLE ARE IDIOTS” is a now popular anthem decrying humanity's failure to live up to its potential, ALDO RAY is an intensely condensed musical biography of the forgotten B movie actor, TIME HOWLS is an elegy for my dead friends, “HAG MARCELLA” and “DRAGGIN' YOU DOWN INTO MEDIOCRITY” are acid indictments of all the bad actors who plague us throughout life and “SPANISH SUNSET EXDOCRIUS” is exotic, enchanting elevator music to accompany lovemaking---if the lovers are engaging in sexual intercourse in an elevator.

Side 1

1 WHEN BIG TINY COMES TO TOWN (3:50)

2 PEOPLE ARE IDIOTS (5:03)

3 TIME HOWLS (5:31)

4 ALDO RAY (3:54)

Side 2

1 HAG MARCELLA (3:08)

2 DRAGGIN' YOU DOWN INTO MEDIOCRITY (8:32)

3 SPANISH SUNSET EXDOCRIUS (5:09)

A Blind Man's Penis And Other Smash Hits - Catalog # 6900838

This is a “best of” compilation of sorts. Everyone already knows the title track. “MANY WHORES COPULATE FOR MONEY” is an ear worm that tormented me for years until I finally barfed it out in a recording studio. “HIGH TIDE” and “TWILIGHT SONG” are lovely ballads the Carpenters might have recorded if Karen Carpenter were still alive. “LITTLE BOY MELVIN” and “YOUR STUPID FRIENDS” are my ugly persecutions of social normalcy. I really love how “CHRISTINA'S LULLABY” turned out. It is a very simple song, but the performance and recording are remarkably close to my original conception of it. “TAKE A SHIT ON ME” is a gleeful screed against tyrants, and “SONG OF THE TIGER” further elucidates my lifelong social alienation.

Side 1

1 A BLIND MAN'S PENIS (1:42)

2 MANY WHORES COPULATE FOR MONEY (6:25)

3 HIGH TIDE (6:30)

4 TWILIGHT SONG (4:38)

Side 2

1 LITTLE BOY MELVIN RIDES AGAIN (4:20)

2 CHRISTINA'S LULLABY (3:45)

3 TAKE A SHIT ON ME (2:52)

4 SONG OF THE TIGER (4:13)

5 YOUR STUPID FRIENDS (2:50)

Salivary Excesses From The Kapok Embryo (Translucent Blue Vinyl) - Catalog # 690040

“BEYOND INFINITY'S VORTEX” is an aleatory electronic music piece I invented when I was 17. “BRIGHT NEW DAY” is my positive assertion of our life force against meaningless work and ultimate mortality set in an upbeat pop/rock arrangement. “HIGHWAY 99” is a catchy ode to the itinerant vagrant lifestyle. “SOMEBODY'S LYING TO ME” is the first installment of my ambitious “MENDACITY SONG CYCLE” and “MAGIC SHIP” is my contribution to the song confabulations about escape on enchanted vehicles from this corrupt world which were so popular in the 1960's.

Side 1

BEYOND INFINITY'S VORTEX (18:54)

Side 2

1 BRIGHT NEW DAY (4:49)

2 HIGHWAY 99 (4:34)

3 SOMEBODY'S LYING TO ME (3:34)

4 MAGIC SHIP (5:21)

GLOOP NOX AND THE STIK PEOPLE

Each record LP is pressed on 180 gram virgin vinyl        25 USD per LP

Continuing Where The Beatles Left Off... - Catalog # 7300222

The first side of this LP presents surrealistic pop tunes by John Trubee which wore ruts in his brain for years. Side two features more professional, well-adjusted songs of lovely sensibilities expressing human vulnerability and impossible longings composed by retired Rutgers English professor Jim Nevius.

Side 1

1 BIG BLACK TRAIN (4:43)

2 WORLD OF MISERY (3:34)

3 IN LOVING MEMORY (3:22)

4 ELECTRIC LOVE NUDITY SUPREME (5:27)

Side 2

1 CRAZY CRESCENT MOON (4:14)

2 WHAT I DID TO YOU (3:31)

3 TIME ON MY HANDS (4:00)

4 BYE TO ME (3:29)

5 EX-LAX SUPERSTARS FROM HELL VOMITING IN ECSTASY (4:31)

Ever Have I Crawled 'Neath X-ray Suns (Translucent Orange Vinyl) - Catalog # 7300223

More great tunes by Jim Nevius about love and freedom and tunes by John Trubee reflecting surrealistic madness. This LP features Bob Sandor on bass, Ken Lawrence on drums, and Scott Simon producing. THE SALT MINES OF ZANZIBAR is a sick novelty song by John Trubee still awaiting some courageous radio DJ to present it to a cruel, uncaring world. The astounding cover art is by the renowned San Francisco artist June Petrie.

Side 1

1 THE SALT MINES OF ZANZIBAR (3:47)

2 PORCUPINE (3:22)

3 ARE YOU CRYING AGAIN? (5:14)

4 HOUSE OF HOME COOKIN' (3:40)

Side 2

1 THE PARTICULATE BLACK SOOT ON SUNSET BOULEVARD (5:00)

2 FINGERS AND FEATHERS (3:53)

3 MANDY'S MANDIBLE (5:46)

4. WHEN SOMEONE LEARNS TO LOVE (4:04)

COMPACT DISC by JOHN TRUBEE & THE UGLY JANITORS OF AMERICA

THE DESERTS OF ETERNITY & SATAN KILLED ME TODAY 74 minute CD - Catalog # 6900841

Two albums on one CD. Recorded in 2004-2005 and 2022 at the top-end Prairie Sun Studio of the UGLY JANITORS OF AMERICA with 2 different excellent musician configurations. Song titles include MESSAGE TO JEFF, WILD WIND, DROWNING GROVER NORQUIST IN A BATH TUB, THE RAIN SONG, FLAMENCO POTLATCH, THE DREAM, BRIGHT FONTANA and many more. The SATAN KILLED ME TODAY tracks can be listened to and downloaded online here:

Retail & wholesale dealer inquiries welcome!

Here's how to order:

25 USD per LP or CD

PayPal to: johntrb09@gmail.com ,or send check/money order payable to John Trubee to:

John Trubee

PO BOX 4921

Santa Rosa, CA 95402 USA