What were Glenda Fairbach’s major recordings and most famous songs?
Executive summary
Glenda Fairbach’s “catalog” as found online is a small, deliberately provocative set of X-rated novelty tracks that appear to be a modern, fictional creation rather than the work of a mid‑20th century recording artist, with titles such as Summer Night Sodomy, The First Time In My Rectum, Ram It Up My Shi**er, I Still Remember The Day You Came In My Ass, I Want Two Guys In My Ass and My Ass Is Big Enough For Both Of You cited across fan sites and forums [1] [2]. Reporting on the character explicitly calls Glenda Fairbach fictional and ties the output to AI/online fabrication and a possibly pseudonymous creator named “Jon Andre Lundal,” while unrelated real artists named Glenda appear in other sources and should not be conflated with Fairbach’s material [1] [3].
1. The core claim: sexually explicit novelty songs attributed to “Glenda Fairbach”
Multiple online listings and music aggregators present a cluster of shock‑title recordings attributed to Glenda Fairbach — for example, Ram It Up My Shi**er and Deeply In My Shitter appear on Last.fm’s artist page for Glenda Fairbach [2], and an archived forum thread catalogs a set of outrageous 1960s‑framed titles including Summer Night Sodomy, The First Time In My Rectum, I Still Remember The Day You Came In My Ass, I Want Two Guys In My Ass and My Ass Is Big Enough For Both Of You [1]. Those sources document the existence of these titles circulating online as tracks or track names and show that the persona’s “music” is presented to audiences primarily on contemporary platforms rather than as verified historical releases [2] [1].
2. Fictional persona and modern provenance: AI, a pseudonym, and online mythmaking
At least one discussion thread explicitly identifies Glenda Fairbach as a fictional character created by someone using the name Jon Andre Lundal and says the songs were produced with AI and posted to platforms like YouTube and Instagram, while the thread also recounts a tongue‑in‑cheek fictional biography placing releases in the 1960s — a claim the forum flags as part of the persona’s fabrication rather than a documented music‑industry history [1]. That source cautions readers to “trust nothing on the internet,” framing the Fairbach material as contemporary internet-era spoofing and synthetic creation rather than authenticated archival recordings [1].
3. How the evidence is distributed and where it’s thin
The most concrete traces of Glenda Fairbach’s “recordings” in the provided reporting are user‑generated listings and a Last.fm artist page that lists explicit track names — both of which demonstrate circulation and listener tagging rather than label catalogs, liner notes, or primary‑source discographical verification [2] [1]. The forum post supplies the strongest contextual claim that the material is intentionally fictional and AI‑generated, but none of the supplied sources include record‑company documentation, music‑press reviews from the alleged era, or verified release dates that would establish Fairbach as a historical recording artist [1] [2].
4. Beware of conflation: a different “Glenda” exists in music databases
Research into “Glenda” as a musician uncovers an unrelated singer who appears in conventional music reporting and festival lineups — a real artist whose biography and performances (for example, festival appearances and collaborations) are cataloged on a Wikipedia page for Glenda (musician) and who is distinct from the Fairbach persona [3]. That juxtaposition in the sources underscores a common online hazard: similar names can conflate a fictional, viral creation with genuine musicians, so careful source separation is required [3] [1].
5. Assessment and takeaways: what counts as Fairbach’s “major recordings”?
Given available reporting, the only verifiable “major” recordings tied to Glenda Fairbach are the handful of explicit novelty track titles circulating on social platforms and music sites — notably Ram It Up My Shi**er, Deeply In My Shitter, and the cluster of X‑rated titles listed on the forum — but the provenance is fictional or synthetic rather than historical, so “major” in this context means notable within an internet meme/novelty niche rather than in the recorded‑music canon [2] [1]. The limits of the evidence prevent treating these items as conventional commercial releases from a past era; alternative viewpoints exist in which some listeners treat the tracks as real vintage obscenities, but the forum source explicitly frames them as a modern fictional/AI project and warns against accepting the backstory at face value [1].