Quote of the Day

It may be that that we can sing what we often cannot say, whether it be from shyness, fear, lack of the right words or the passion or dramatic gift to express them. More souls have rallied to more causes by the strains of music than by straining rhetoric.

—Richard Rodgers

Team Kimberlin Post of the Day

It’s the tenth anniversary of the most popular post ever published on Hogewash!—Review: “Nothing Else” by Epoxy (#BrettKimberlin).

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Back in 2002, Brett Kimberlin fronted a band named Epoxy and released a CD called Nothing Else. The story he spun promoting the album was that it contained songs that he had written while he was being held as a political prisoner in the federal prison system.

The band consisted of Brett Kimberlin on guitar and vocals, Wade Matthews on Bass, and Robbie White on Drums. The genre of the album is someplace between grunge and punk, neither of which are among my favorite musical forms.

Let me first comment on Mr. Kimberlin’s voice. I had heard his speaking voice in court, and I understand why some people refer to it as whinny. His singing voice reminds me of the silly voice that Weird Al uses on tracks such as Eat It. Mrs. Hoge, who listened through the CD with me, said, “Eddie Haskell.” On most of the tracks his voice was off key, usually flat.

Most of the songs could have been filler tracks on a generic grunge album. Some of the alienation in them seems to be more appropriate for a 17 year old, not someone 30 years older. Mr. Kimberlin was in his late 40s when the recording was made. However, three of the songs stood out. Vicegrip was actually interesting musically. Donuts had clever lyrics. It’s about lousy prison food and would probably get a nod of approval from G. Gordon Liddy.

Then there’s the last cut Keyhole. It was outstandingly bad. Mrs. Hoge and I met while we were in the music business, and during her career as a recording engineer, she recorded more gold and platinum records than I did. Her comment was, “If you’re gonna mike a guitar that close, you should use a better guitar and make sure it’s in tune. And get a better guitar player.”

While he didn’t do especially well with the acoustic guitar on Keyhole, Brett Kimberlin is actually a reasonably good guitarist. He probably couldn’t cut it in Nashville or LA, but could make a living in a minor market (such as Seattle) or playing the Holiday Inn circuit. Indeed, the world would be a better place if he did ignore the usual advice and give up his day job.

Nothing Else by Epoxy (Pollen Records, $16.04 from Amazon) is interesting because of who recorded it, but I can’t honestly recommend it for the musical experience it offers.

UPDATE—Instalanche! Thanks again, Prof. Reynolds! And welcome to all you Instapundit readers. Please click on the Home link in the menu bar above and scroll around the site.

UPDATE 2–Aaron Walker’s review of music videos by Mr. Kimberlin’s latest band can be found here.

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A used CD seller is offering a used copy on Amazon for $18.34.

Team Kimberlin Post of the Day

Brett Kimberlin really wanted to be a famous musician, but his persistence in the face of his lack of talent became a prime source of material for ridicule. Of course, saw truthful commentary about his musicianship as grounds for a claim in one of his LOLsuits. The TKPOTD for eight years ago debunked the claim.

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The Dread Pro-Se Kimberlin alleges in his proposed second amended complaint for his Kimberlin v. The Universe, et al. RICO Madness that the coverage of his antics by my codefendants and me has adversely affected his music career. This is from paragraph 204.ECF 100-204I think that anyone who has had the misfortune to listen to one of his recordings or music videos would agree with me that a proper response to Brett Kimberlin’s music is “Don’t give up your day job.”

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This was one of the comments to the original post. This is the link in the comment.—And this saved image is an example of the sort of pointage, laughery, and mockification Kimberlin Unmasked delivered.—

Heh.

Team Kimberlin Post of the Day

Brett Kimberlin is a slow learner, but it appears that he’s finally figured out that he’s not going to have any success as a musician. The TKPOTD from eight years ago today was written when he was still laboring under delusions of adequacy.

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Brett Kimberlin has wanted a successful music career for decades. The Gentle Reader can find his music videos lurking on YouTube and see why success has eluded him. On page 354 of Citizen K: The Deeply Weird American Journey of Brett Kimberlin, Mark Singer quotes Brett Kimberlin as saying:

My lyrics are very potent, and they’ll touch a lot of people. I see myself as being in the Phil Collins mold more than, say, in the Michael Jackson mold. I can’t be fake that way. I have to be real.

Certainly, Kimberlin does not rise to Michael Jackson’s stature …

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Indeed, Michael Jackson was 5′-9″, four inches taller than The Dread Deadbeat Performer Kimberlin.

Team Kimberlin Post of the Day

The Deadbeat Performer Kimberlin really wanted, and probably still wants, a career in the music business. He’s struck out as a songwriter and performer, and he’s never been able to worm his way in through his Justice Through Music Project. The TKPOTD for eight years ago today dealt with one of his exaggerated claims about JTMP.

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In his opposition to my motion to dismiss in the Kimberlin v. The Universe, et al. RICO Madness, The Dread Pro-Se Kimberlin wrote the following:ECF 29-16I suppose by “non-profit that works with famous bands and artists” TDPK means “Justice Through Music Project.” If he does, he is misleading the court.

I recently took a look at the Justice Through Music Project website (No, I won’t link to it.) and worked my way back through over a year’s worth of its blog posts. There were lots of stories about “famous bands and artists,” but there was nothing about any of them working with or having anything to do with JTMP.

Nothing. Nada. Zilch. Bupkis.

#Wannabe

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Although I got out of any day-to-day connection the recording industry when Mrs. Hoge and I moved from Nashville to California in 1982, I stayed in the pro audio business for most of the ’80s. During my almost 20 years in recording and broadcast I did have the opportunity to work with some “famous bands and artists.” You may have actually heard of some them.