On Wednesday I offered up part one of this look at the infamous Filthy Fifteen list. That first piece also gives some background about the PMRC for anyone unfamiliar. This post covers the remaining ten songs from the FF list. The Spotify playlist at the end features all but one of the songs, that song is featured in my prior piece.

AC/DC – Let Me Put My Love Into You

The song made Tipper Gore’s shitlist for being about sex, something the mother of four was apparently just not into. The song itself is a fine track but is really little more than a footnote on one of music’s most impactful records and, as per Wikipedia’s list, the second-best selling album of all time.

AC/DC obviously did not need the help of the PMRC to promote their material. Back In Black was something of a miracle record done in the wake of Bon Scott’s death and finished just a few months after with new singer Brian Johnson. It was also miraculous that someone convinced Mutt Lange to produce two records within a year of each other but that’s another story for another time. The album is full of references to getting down and dirty, including the well-known single You Shook Me All Night Long. Kind of odd to pick this deeper cut from the album but the PMRC didn’t exercise a ton of logic in their selections.

Twisted Sister – We’re Not Gonna Take It

Twisted Sister would come to embody opposition to the PMRC at the Senate hearings, where he adeptly testified against music censorship and insinuated that Tipper Gore was the one with a dirty mind with her interpretation of song lyrics.

We’re Not Gonna Take It stands out as the clear winner of the notoriety gained from this list. The song became Twisted Sister’s best-selling single and stands as their signature anthem. It was made a hit in large part due to the PMRC controversy and Dee Snider’s appearance before the Senate. The band had spent a decade as a New York area club act before entering the commercial mainstream and the PMRC made sure everyone far and wide knew who Twisted Sister was.

Madonna – Dress You Up

Madonna burst onto the 1980’s scene and became one of its biggest stars. She was a worldwide sex symbol and would push artistic boundaries and image constraints in her trailblazing career.

Dress You Up is easily the most inoffensive song on this list. It’s here because, like Darling Nikki, Tipper Gore caught one of her daughters listening to it. While this song is clearly about being into someone and getting down, it is not at all vulgar or explicit, in stark contrast to the others here. Madonna would provide many songs far more suitable for inclusion on the Filthy Fifteen, and it’s likely her growing reputation that landed her here more than anything.

W.A.S.P. – Animal (Fuck Like A Beast)

While Twisted Sister made out like bandits due to the PMRC, there was one clear loser from the group’s efforts and it was W.A.S.P. Animal was meant to be on the band’s debut record and was released as its lead single, but Capitol Records feared the album might get pulled from retail and struck the song from the album before release. A reissue years later would restore the song as the album’s lead track.

Unlike Madonna’s song, there is no questioning why Animal is on the list. It literally has “Fuck like a beast” in its subtitle. The band did gain quite a bit of infamy from their presence on the list but would also earn their reputation through shock-rock tactics. This was just another notch in the belt, one that Blackie Lawless has since disavowed as he no longer performs the track live.

Def Leppard – High N’ Dry (Saturday Night)

The British rockers commit the ultimate sin of glorifying having some beers and a good time. Their transgressions were noted by the PMRC, who included this party anthem on the Filthy Fifteen list.

I don’t know if this inclusion did anything one way or another for Def Leppard. They would go on to become one of rock’s most successful acts and I don’t see any real correlation between them being on the list and their career trajectory. Of course the song glorifies getting lit and having a good time, that was the decade of the 1980’s. The list could have been the Filthy Five Thousand on that basis.

Mercyful Fate – Into The Coven

No more good time having or getting with some hot chick – now it’s time for the real evil. Mercyful Fate broke the Filthy Fifteen with one of their very many songs about satanism and the occult. I don’t know what prompted the PMRC to settle on Into The Coven, a person could throw darts at any Mercyful Fate song and have a valid basis for inclusion on the list for occult themes.

It’s difficult to say what tangible effect being on the Filthy Fifteen had for Mercyful Fate. Though a more underground band, the group would have a vast influence on heavy metal – both in the mainstream with Metallica and also being a pioneering act in what would come to be extreme metal. They might not have found multi-platinum sales from being labeled subversive by the PMRC but they cast a shadow over heavy metal that lasts to this day.

Black Sabbath – Trashed

The masters of occult metal would find themselves targets of the PMRC – but not for anything dark or spooky. Instead, Trashed makes the list because it’s a tale of how Ian Gillan stole Bill Ward’s car and crashed it in a booze-filled accident. It makes for obvious inclusion on songs the youths shouldn’t be listening to.

Born Again was a commercially successful record for the reconfigured Sabbath, though they would enter a wilderness for several years afterward. It probably sold well on the Sabbath name and Ian Gillan’s role as singer and didn’t need help from the PMRC to move copies. The album gets mixed reviews from critics and fans but is still a much talked-about part of the Sabbath discography. The song itself did not gain any particular notoriety from the Filthy Fifteen.

Mary Jane Girls – In My House

This all-women R&B group was assembled by Rick James and had some minor hits on the ’80’s scene. In My House would be the group’s biggest hit and probably gained some attention from being on the list. It is another ode to getting busy between the sheets but, much like Madonna’s track, is in no way explicit or obscene. It was probably more of a benefit to the group and record label’s bank accounts to be considered for inclusion on the Filthy Fifteen.

Venom – Possessed

Of anything to dig up to put on a list of objectionable songs, the PMRC went across the pond and found this Venom track. The inclusion on the list was probably a perfect marriage made in hell for the PMRC, who needed shocking examples of music to convince industry execs and politicians to care about their cause.

It’s hard to say that being on the list affected Venom in any real way. The group had already cemented themselves as a wide-ranging influential heavy metal act with their first two albums and were entering a transitional period by the time this song came around. The band were overtly satanic, an ruse meant to entertain and amuse according to the group. Their imagery and sound, pioneering in a way despite honestly sucking, would have a great influence on the coming extreme metal movement.

Cyndi Lauper – She-Bop

We conclude the Filthy Fifteen with a feminine ode to masturbation from Cyndi Lauper. She-Bop was one of Cyndi’s big hits around this time. The song is openly about enjoying one’s self, it does not imply or conceal anything and makes for excellent fodder for the PMRC.

I don’t know of the PMRC had any effect on Cyndi Lauper. She became a huge star regardless of her inclusion on the Filthy Fifteen and the song was ever-present despite the political outcry against it. She just wanted to have fun, she did, and smiled all the way to the bank. Her 50 million in album sales were most likely on her own merit and not affected by the PMRC.

That does it for this look at the Filthy Fifteen. The list itself was more of a precursor to the Senate hearings and the adoption of the Parental Advisory sticker on albums. It was an interesting look back to see what songs were so subversive as to be called out by Tipper Gore and the wives’ club. I’m not sure how huge of an effect this list had on the artists at hand, by and large their careers went without a ton of fuss from this dust-up. A few benefited and really only W.A.S.P. seemed negatively impacted. If nothing else, we at least got a sticker out of it to let us know that Cannibal Corpse records might contain explicit lyrics.

This will be the first of two parts examining the PMRC and the “Filthy Fifteen” list of objectionable songs. I’m splitting this up due to length and will post the second part on Friday.

Listening to music in the 1980’s was not just about the music. Many cultural and social issues were brought into play while most people were simply trying to enjoy some songs. The Satanic Panic was a huge issue throughout the decade and would greatly inform rock and especially heavy metal culture.

Coupled with, but also beyond the scope of, satanism was a grand posture of moralizing about a “societal decay” that the youth of the time were experiencing due to their music tastes. This posturing would look beyond just heavy metal to expose the base evils of rock and even pop music. There was no way anyone could strive to be a functioning, morally upright person when this awful music was around.

The movement to rid music of its less tasteful elements would take shape in the US in the form of the Parent’s Music Resource Center. This group was led by the wives of several US senators and found a figurehead in Tipper Gore, the wife of Senator and future Vice President Al Gore. Their efforts culminated in Congressional hearings on the subject of explicit music, famously featuring testimony from John Denver, Frank Zappa and Dee Snider.

The PMRC’s efforts ultimately led to the music industry adopting a sticker to place on albums. The infamous “Parental Advisory – Explicit Lyrics” tag meant that an album had been deemed to bear some sort of subversive message within its vocals. Major retailers like Wal-Mart refused to stock albums with the sticker, a blow to record sales in a time before the Internet when music couldn’t be sought out as easily.

But the sticker truly failed in its purpose. It rallied the music industry against it, which musicians from all genres using it as a point of ire. The sticker served as more of an advertisement for an album rather than a deterrent. Music distribution would seek to avoid the big box stores, which remained stuffed with inoffensive Garth Brooks albums and edited copies of any major release that had the sticker in its original form. CD and record stores would be a small business venture until the digital music revolution of the early 2000’s.

One component of the PMRC’s campaign was a list of songs deemed most terribly offensive. The “Filthy Fifteen” pulled songs from rock,metal and pop to condemn lyrics about sex, real or perceived violence and occult/satanic themes. The list was a rallying cry to the steps of the US Capitol for the senators’ wives and was a resource for finding good music for many others.

Today I want to take a spin through the songs found on the Filthy Fifteen list. A few are staples of my music lexicon, while others are artists I know but am specifically unfamiliar with these works. And a few others are acts I never really heard of. I’ve provided a Spotify playlist at the end that has all but one of the songs on it. I had to comb the recesses of YouTube’s unauthorized uploads to locate one song.

Here we have it, one of the greatest unintentional compilation albums ever made – the Filthy Fifteen.

Prince – Darling Nikki

Our list kicks off with the multi-talented and eccentric Minnesota native. Prince would be a major force in 1980’s music and beyond and is widely considered one of the best talents in the industry.

Prince is also responsible in some form for two other songs on the list besides his own, making him the true King of the Filthy Fifteen.

Darling Nikki is a cut from Prince’s seminal 1984 record Purple Rain. The reasons for its inclusion on the list are blatantly obvious in the opening lines, as the song’s subject Nikki is in a hotel lobby “masturbating with a magazine.” Apparently this was also the song that spawned the PMRC – Tipper Gore found her daughter listening to the song and leapt into action.

The song itself is nothing special and certainly not Prince’s best work. If anything, all the PMRC did was put more attention on a deep cut from an album that would sell 25 million copies worldwide. It would have otherwise been a looked-over curiosity from one of Prince’s signature albums.

Sheena Easton – Sugar Walls

Prince has his hands on this track as well, having anonymously penned the tune for Sheena’s 1984 record A Private Heaven. The objectionable nature of the song is apparently that “sugar walls” is a reference to the lining of the vagina. Back in the ’80’s we didn’t just air such things out loud, it was all purity or some such shit, I don’t know. The song would be a hit for Sheena, due likely in part to the free publicity generated by the PMRC. It’s a bit tough to say since she was trending upward anyway, but press is press.

Judas Priest – Eat Me Alive

Now we get into more familiar territory for me and also the song that sparked my retrospective interest in this list. I visited Defenders Of The Faith on Monday as my Album of the Week. I was in the middle of compiling that post when I ran over the lore behind the record and went down the PMRC rabbit hole, thus giving birth to this post.

And as I said in that post, yeah, this song is kinda bad. Overall it’s just silly and nonsensical, it’s a total farce. But the line “I’m gonna force you at gunpoint” does shade things in a certain direction, that much I’ll admit. I don’t really care in the end, Rob Halford has admitted the line was engineered for the purpose of attention. That attention would come, thanks to the busy bodies at the PMRC. Years later the band would wind up in a terrible lawsuit not owing to this song but likely indirectly influenced by controversy generated by the PMRC.

Vanity – Strap On ‘Robbie Baby’

Here we have the lone song not found on Spotify. I dug up an upload from YouTube, no telling if or when it’ll get struck by the big bad copyright robot. It’s a hair more provocative than other songs on the list but still isn’t overtly explicit.

Vanity was a product of the Prince women’s music machine, though by the time of this release she had left Prince behind and struck out on her own. The song is quite obvious lyrically, she is looking forward to being plowed by some dude named Robbie. Her album saw minor success but the song’s placement on the Filthy Fifteen likely helped move a few copies.

Denise Matthews would be one of the few to disavow her infamous work. She dropped the Vanity moniker in the early ’90’s and became a born-again Christian and specifically denounced her “sexed-up” work in interviews. She would unfortunately pass away in 2016.

Motley Crue – Bastard

I’ll wrap up part one with the Sunset Strip machine that caught fire in the early ’80’s and led the charge for rock’s direction in that decade.

Of all the songs from Shout At The Devil that could have easily found a spot on the Filthy Fifteen, Tipper Gore apparently chose this cut because of its violent lyrics. The song was reportedly written about someone who’d “stabbed the band in the back” and the lyrics take a defensive posture against an assailant rather than openly inciting violence. I guess nuance wasn’t much of a factor with the PMRC.

Again, of anything a group of concerned parents would pick off Shout At The Devil, this seems like a misfire. The Crue would get plenty of infamy for their antics and music along the way so being a part of the PMRC’s shitlist was just icing on the cake for them.

That does it for part one. I’ll be back on Friday with the conclusion of this look at the Filthy Fifteen.