Biography
Purveyors of high-octane, gleefully crass trash-punk, the Didjits stood out as one of the more direct acts on the Touch & Go roster while earning a reputation as a ferociously unhinged live act. Their recordings leaned primarily on rapid-fire garage punk occasionally spiked with AC/DC-style hard rock, yet their real touchstones remained the unhinged rock & roll antics of Jerry Lee Lewis and Little Richard alongside the guitar fireworks of Chuck Berry. Across most of their albums the band compiled an exhaustive roster of rock & roll excess and depravity—sex, booze, drugs, violence, death, Satan, and similar subjects—delivered through a sarcastic, Midwestern white-trash persona. Rick Sims, the group’s lead singer and guitarist, wielded a humor that was invariably coarse whether it landed as jokey, provocative, or simply eccentric, prompting accusations of sexism and racism from writers unwilling to accept the tongue-in-cheek intent. In practice the band lampooned white-trash attitudes far more than they endorsed them, though the performances were executed with such manic immaturity that the satire frequently felt alarmingly authentic.
The Didjits originated in Mattoon, Illinois, in 1981 when brothers Rick Sims on guitar and vocals and Brad Sims on drums joined forces. Having absorbed early British punk along with loud guitar outfits such as Sonic Youth and Big Black, each sibling had already cycled through several local bands, one of them a new-wave pop project, before uniting. Bassist Doug Evans completed the lineup, and the trio began performing in area clubs under the name Rick Didjit. The frontman quickly set himself apart through a wildly unhinged stage presence and a penchant for sharp suits. Their first release, Fizzjob, appeared in 1987 on the band’s own Bam Bam label, yet it was the still-unissued follow-up Hey Judester that drew the interest of Touch & Go Records. Issued in early 1988 with noticeably tougher and more robust production, Hey Judester introduced several enduring Didjits staples, among them “Max Wedge,” “Dad,” “Skull Baby,” “Plate in My Head,” and “Stumpo Knee Grinder.”
With a gradually expanding cult following, the band issued the standalone 1989 single “Lovesicle” before delivering the 1990 album Hornet Pinata. Its standout cut, “Killboy Powerhead,” enjoyed modest college-radio traction and later received a cover by longtime admirers the Offspring. A semi-bootleg live set, Backstage Passout, documented a London performance from the accompanying tour. Full Nelson Reilly arrived in 1991 and sustained the group’s creative peak, but the next year Brad Sims endured a personal upheaval that included divorce, a quick remarriage, and his departure for steady employment. Rey Washam, whose résumé already included Rapeman, Scratch Acid, and the Big Boys, stepped in on drums. He appeared on the five-track 1992 EP Little Miss Carriage!, yet for the subsequent tour Todd Cole took over and soon became a permanent member. Cole’s recorded debut came with the 1993 album Que Sirhan Sirhan, which also marked the Didjits’ final full-length. After one last single, “Headless,” in 1994, the band dissolved. Sims spent several months with the Supersuckers, briefly collaborated with Fred Schneider, and then formed the Gaza Strippers. Washam later contributed to Ministry and Lard, among other projects.
The Didjits originated in Mattoon, Illinois, in 1981 when brothers Rick Sims on guitar and vocals and Brad Sims on drums joined forces. Having absorbed early British punk along with loud guitar outfits such as Sonic Youth and Big Black, each sibling had already cycled through several local bands, one of them a new-wave pop project, before uniting. Bassist Doug Evans completed the lineup, and the trio began performing in area clubs under the name Rick Didjit. The frontman quickly set himself apart through a wildly unhinged stage presence and a penchant for sharp suits. Their first release, Fizzjob, appeared in 1987 on the band’s own Bam Bam label, yet it was the still-unissued follow-up Hey Judester that drew the interest of Touch & Go Records. Issued in early 1988 with noticeably tougher and more robust production, Hey Judester introduced several enduring Didjits staples, among them “Max Wedge,” “Dad,” “Skull Baby,” “Plate in My Head,” and “Stumpo Knee Grinder.”
With a gradually expanding cult following, the band issued the standalone 1989 single “Lovesicle” before delivering the 1990 album Hornet Pinata. Its standout cut, “Killboy Powerhead,” enjoyed modest college-radio traction and later received a cover by longtime admirers the Offspring. A semi-bootleg live set, Backstage Passout, documented a London performance from the accompanying tour. Full Nelson Reilly arrived in 1991 and sustained the group’s creative peak, but the next year Brad Sims endured a personal upheaval that included divorce, a quick remarriage, and his departure for steady employment. Rey Washam, whose résumé already included Rapeman, Scratch Acid, and the Big Boys, stepped in on drums. He appeared on the five-track 1992 EP Little Miss Carriage!, yet for the subsequent tour Todd Cole took over and soon became a permanent member. Cole’s recorded debut came with the 1993 album Que Sirhan Sirhan, which also marked the Didjits’ final full-length. After one last single, “Headless,” in 1994, the band dissolved. Sims spent several months with the Supersuckers, briefly collaborated with Fred Schneider, and then formed the Gaza Strippers. Washam later contributed to Ministry and Lard, among other projects.
Albums
