Chung King Can Suck It is a limited-pressing colored vinyl album by New York City band Judge, containing the original version of what was to be the Bringin' It Down album. The title of the album is a direct insult to the Chung King recording studio in New York City (then known as Chung King House Of Metal).

Judge had gone into Chung King with only one three-day weekend of studio time block-booked in order to record their first album, since band members John Porcelly and Sammy Siegler were set to tour with their main band Youth Of Today in Europe later that month. The studio was home to many of the popular (and now legendary) rap acts of the day, including the Beastie Boys, Run-DMC and LL Cool J; Youth Of Today had recorded their second album We're Not In This Alone at the same studio earlier in the year, so Porcelly and Siegler were already familiar with the place. According to a 2005 interview with Judge guitarist Porcell in AMP Magazine, all three of those acts had already been using three of the four separate facilities in the studio complex, leaving Judge with what was at the time the least technologically advanced of the four rooms. To complicate matters, the recording engineer the band had been assigned by the studio was a full-blown cocaine addict - an irony given Judge's militant anti-drug lyrics and moral code. During the second day of the sessions, the engineer on duty failed to show up for work, forcing the band to work with another studio staff engineer totally unaccustomed to recording punk rock music.

After the sessions were completed, Porcell and Siegler listened to the finished mixes while on the Youth of Today European tour and came to the conclusion that while the performances were good, the recordings were not up to the standards of what they had done in the past with Youth of Today. The drum tracks in particular do not have the punch typical of other Revelation releases at the time, and the overall mix is considered to be thin. A phone call to lead singer Mike "Judge" Ferarro confirmed that he too was unhappy with the finished album, and the group chose to shelve the session and start over in a different studio. Unfortunately for Revelation, label owner Jordan Cooper had already paid for the mastering of the record and the plating of the vinyl stampers - a point in the manufacture of record too late to fully prevent the release of an album, especially for Revelation Records, which was then still a small independent label that Cooper was running out of his home.

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