"Not normal," says Ofcar Brain Jenquins, psychoanalyst. "The obsession with women and music and the erotic yet humorous overtones of their work--it's textbook, really. Clearly, they were deeply disturbed. They didn't need to be making music or taking pictures or anything else. They needed to be helped. Here at Charter-Willowbrook, we can deal with these kinds of mental problems for just as long as the medical insurance will pay for that. No, wait, that didn't come out right. I'm sorry. Can we start this over? Where was I? That's right. Not Normal."

The E Woman

The E woman was the seminal Al Phlipp Woman: Strange, strange, and stanger. This female archetype of Phlippness never failed to impress and befuddle the bandmembers she converged with.

Of the women harassed by the two freaks, she was certainly the most casual about it, taking their freakishly bizarre behavior and conversation in stride, and responding with some of her own.

Her bizarre commentary and "out-of-the-box" thinking surprises and frightens us even now, as we review it. We think it could get to you, too. If you dare, listen to The Disertation. This is only a small section, and not even the most horrific part. More has been known to drive men mad.

She was so uniquely Phlipp (often exhibiting an enlightened state of Phlippness), she has her own section in the gallery. Also, she allowed images of her to be captured (voluntarily), as opposed to be pursued with a Kodak Disc camera and photographed against her will, like most of them, so that helped.

Stacey C.

In those early days, instead of talking and getting to know girls they found attractive, the demented pair would instead take dozens of pictures of them and, in Kevin's case, attempt to use ancient Al Phlipp voodoo to capture their life essence in a crystal sphere. Which, as it turns out, didn't go over real well.

This picture of Stacey, the poor girl Kevin harrassed constantly with his camera (to whom, if she ever reads this, he now apologizes egregiously) was "borrowed" from the Overton yearbook by one the many Al Phlipp agents
Kevin had planted around the school.

Stacey was described by fellow students as "a loner who often wore black."

Stacey also had an incredibly great butt, but for some reason, no songs were ever written about it. That might not be an appropriate thing for wiser, older, more mature people to be saying, but damn it, damn it, it was true!

Gretchen G.

Gretchen, whose unique and statuesque beauty would merit her own section in the Al Phlipp art gallery, never did agree to have her image captured by the two weirdoes (whose own beauty was not normally described as "statuesque"). Thus don't blame us, although we know it would be appreciated, were there such a section. But there isn't. Because there is not enough images captured. Just live with it.

Who is Gretchen, and what is her relevance? Gretchen is the source of the brief quote: "It's been real!" before the beginning of the Al Phlipp anti-pro drug anthem, "Demand and Supply". With a voice to equal her beauty, she would have been the source of even more quotes, had she not been smart enough to avoid the retarded twosome most of the time.

Gretchen was also the inspiration behind the instrumental Al Phlipp, "Dark Eyes". At the time the song was made, the bandmembers didn't realize there had already been numerous songs since the turn of the century with that name. And depending on the light, yes, she did have very dark eyes.

Arwen W.

Arwen, whose magical butt meritted numerous musical compositions about it in several different styles, including synth-pop, reggae, blues, 50s rock, and rap, perhaps never quite understood the twosome, but was patient and understanding with them and had several of their tapes. She even listened to some of them, and some of the stuff on them was pretty awful.

In the late '80s, an independent Al Phlipp committee determined that the poor woman had been harassed enough with songs about her butt, and, as she had moved out of town and gotten married and all that, a moratorium was declared on Al Phlipp Arwen's-butt songs. Since that day, the surving members of the band have honored the moratorium, and have composed no more songs about her butt. The band now officially apologizes for any embarassment our bizarre butt-oriented music might have caused.

Still, really, she did have a great butt. And we mean that in a completely gender-nuetral way.

Crystal J.

Crystal J., whose glasses became an obsession of Jon's that finally culminated in the writing of the touching love song "Crystal, I Love Your Glasses", was strangely attracted to Jon's strangeness. Although she made several passes at him, at that time, Jon was still a little too dense to get it, and instead sang songs about her glasses.

Crystal's only appearance on any Al Phlipp album was a snippet of her saying "No" that appeared in several early industrial mixes, which a Federal court has ruled cannot be distributed. But that was about it.

Michelle H.

Michele H., although never having appeared on any album in any form, was the inspiration for the classic Al Phlipp Gooze Album hit, "Michele, You Hurt Me".

Michele had heard several Al Phlipp songs at the time of the Great Creation, but never commented on the quality, so we really don't know what she thought.

During the final year of High School, Michele, Angie W., a girl named Amy (no picture available) and Kevin engaged in numerous philosophical debates, some of which could become quiite animated. Michelle's fiestiness in making her point, in fact, led to one particular incident better left unspecified that led to the song, which led to the hit.

Also, she was the inspiration behind the historic Al Phlipp instrumental, "Rhapsody for Michelle" (we bet that was hard to figure out). And another song, too. But we aren't tell you what it was.

Arwen W.

Arwen W., whose magical butt meritted numerous musical compositions about it . . . oops! Sorry, we already said that, didn't we? Well, here's another picture of Arwen. This one is an excellent shot up her nose, taken by Jon Taylor under the influence of alien radio waves.

Angie W.

Angie W. (a giant fan of the Al Phlipp cover of "Dixie Land") heard many Al Phlipp songs in their beginning stages and was also part of the Yoo-Hoo Choclate flavored drink and cigarette creative experimentation conducted by some of the bandmembers back in the mid-eighties, although she now denies this.

Angie was the inspiration for only one song: The instrumental "Rhapsody for Angie", of which there are three different versions. Angie never appeared on any Al Phlipp album.

Mizz. T

Mrs. Thornton, Kevin and Jon's (and Tommy Martin's) most-coolest high school art teacher, would frequently sing the praises of the wacky fellows. Here is a picture of her singing said praises to the degree that it began to cause an unprecedented reality-distortion matrix. Fortunately, most of the school survived unhurt.

Rose & Brandy

It sounds like they would make a good '80s musical duo, doesn't it? Well, we don't think they were, though Rose did her hair like Teri Nunn of the 80s synth-pop group Berlin.

Brandy's one association with Al Phlipp is this picture, which was used as part of an old, limited-release (free) boxed set with the caption "It's Alive!" under it.

Rose was the inspiration for 2 Al Phlipp songs, "Rose (I shot her in the rear)" and "Claire (She's nowhere)", neither of which really have much to do with the woman herself, whom we are sure is very, very nice. We just wrote some songs about how we thought she could potentially be, as that was much safer than trying to strike up a conversation.

Leigh W.

Leigh, who not only proved that young, attractive women had an allergic reaction to Kevin, was also at times an unearthly angel with a golden halo bathing her in an blazing, glorious light. Although this picture doesn't really show that side of her. Um. Anyway, Leigh was also the inspiration for the Al Phlipp uber-hit, "Leigh, I See".

Angie W.

Angie was often annoyed by the two interlopers, but, surprisingly, never shot either of them.

Angie Wallace never actually did anything with the band, but she would actually listen to the music, which, in those days, basically qualified you as a member of the band.

Oh, wait, we already talked about her, didn't we? Sorry. Ignore this. Thank you.

The End

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