JOEY DID SONG CALLED GILLIGAN TO FURIOUS GEORGE'S ALBUM TITLED FURIOUS GEORGE: GET'S A RECORD AND DEE DEE DID EARLIER SONG CALLED BETTY CROCKER, PUNK ROCKER TO EP TITLED GOES APE!
ALBUM HAS DIFFERENT VERSION (WITHOUT DEE DEE).

SEE GEORGE'S HOMEPAGE HERE

Song Gilligan is really strange, but cool story. Album also contains cool comic from this song, appearing sure Joey's comic performance.
Dee Dee's song is fast punk and you can got info more from

WRITER AND COPYRIGHT: George Tabb

So, there I was, standing outside The Lab, the recording studio where we were finishing up our new album, "Furious George Gets A Record". It was cold out, and everyone around me was getting impatient.
"Can we go in yet?" whined Evan, my bass player, "I'm cold and my stomach doesn't feel so good."
"What's going on George?" asked our roadie, Dave.
"Yeah?", said his sister, Ericka.
I told them to hang in there for a few more minutes, and then everyone could go in and sing the chorus to "Gilligan".
"Why can't we go in now?" asked my pal Dean Dean, The Sex Machine, roadie for the Blanks 77 and baby-sitter for Renee.
"Cause HE is gonna show up," I said, loud enough for everyone to hear me.
"HE?" said Michael, our drummer, oblivious to everything around him that was going on, except for the Diet Pepsi in his hand, and Camel Light in his mouth.
"Yeah, Michael, HIM!" I shouted.
"Oh no, George," said Evan, "We are not gonna go through THIS again?"
I just shrugged my shoulders and nodded to Evan. On the first E.P. Dee Dee was late. Now it was HIS turn. The tall one. With the little rose colored glasses.
It was Joey's turn to be late.
But let me back up a bit...
About a month after the Lookout Records Fiascor broke, we, Furious George, were asked to do a record for a label called Recess. At the time I didn't know much about them except that The Quincy Punx were on the label, as well as some new Dwarves stuff, and stuff by this band called F.Y.P. It turns out that the singer guy from F.Y.P., Todd, also runs the label.
Anyway, Todd sends me a bunch of stuff that's on Recess, and I listen to it and really like it. He also sends me a picture of a Cub-Scout feeding a deer. Over the picture he wrote "Subliminal message for Furious George...join us!"
That there was enough to make me want to be on the label. The fact that the next day we negotiated the contract and everything else in about fifteen minutes didn't hurt any, either.
It was much easier than the Lookout Records Fiascor.
So we sign up with Todd, and start rehearsing like crazy for the album. We go through all our songs at every rehearsal, ones like "Phasers On Ten", "Sorry Ass Sucker" and "Orbit". We also practice the hits. "Gilligan", "Betty Krocker, Punk Rocker", and "Abduct Me".

Finally we are ready to record.
I book time in the same studio where we recorded "Furious George Goes Ape!", otherwise known as The Lookout Records Fiascor. The engineer, Dan, is the best man for the job, and has the best ears I've ever worked with. His new partner, Mike, is also great, so we know we are in good hands.
The first day of recording we are so comfortable at their studio, The Lab, that we finish up all the basics. That means all the bass and drums, for sixteen songs, got done in one day. That only left guitars and vocals.
Which took the rest of the time.My old pal from college, Aaron, flew in for the sessions, and actually played guitar on some of the tracks. When you hear the album, you'll hear him.

Anyway, things went really smoothly. Too smoothly. That is why, on that cold day outside, when Joey Ramone was late to the session, I knew everything was going too good to be true.
We had done some of Joey's vocals already, but I wanted him in on the session with everyone else, so that we could all sing along with Joey. As it turns out, everything worked out just fine. HE eventually showed up and hung out with Nick, my step-dad, and Mr. Harrison, Dave and Ericka's father. As well as everyone else there. HE sang perfectly, and wait till you hear what he says to "The Skipper" at the end of the song.
So that's it. Short and sweet. Unlike The Lookout Records Fiascor, this was a pleasure. Recess has been totally cool with us, and the artwork looks as good as the album sounds. Todd, Hal, Julie, and everyone at Recess has been a pleasure to work with, and in fact, we like them so much, we are flying out to California in August to do a tour with F.Y.P. for two weeks.
Weird, huh? How things in life sometimes work out. Joey Ramone is the nicest guy in the world to work with, and having him on our album is a dream come true. And the studio, The Lab, is the best in the business. Punk Rock!

Thanks really to you George Tabb