I first heard Flat Duo Jets when I was still in high school, from the compilation "Athens, GA - Inside/Out". Intriguing, but the other tracks overshadowed.
Then they released their first LP when I was in college. Saw them on Letterman and loved the energy and band setup, so got the album. Amazing album I still listen to today.
Last Dex album I got was 2014's "Images 13" by his group "Dex Romweber Duo". It might be my favorite Dex album of all. The dude was making great rock and roll all the way to the end.
"The White Stripes’ Jack White counted Dex as a lifelong friend and frequently cited him as a major influence, calling him 'one of the best kept secrets of the rock ‘n’ roll underground.')"
@historyofpunkrock Interesting 'white label' semi-bootleg release of Shane MacGowan's pre-#Pogues band The Nips from 1980. Plain white cardboard cover with a stuck-on b&w insert, in typical #bootleg style. Features the legendary 'King of the Bop' on side one - perhaps the first really cracking song that Shane ever wrote. A cross between #punk and #rockabilly.
I bought this in 'Rock On' in London's Camden Town. Three quid and seventy-five pence, at the time. @vinylrecords
Interesting 'white label' semi-bootleg release of Shane MacGowan's pre-#Pogues band The Nips from 1980.
Interesting 'white label' semi-bootleg release of Shane MacGowan's pre-#Pogues band The Nips from 1980.
Artist: The Cramps (Lux Interior, he/him; Poison Ivy, she/her)
Why?
For Halloween, I decided to do something a bit different. The artists today never identified as trans as far as I know, but were so campy in queering gender and aggressively gender non-conforming that they embody the wider meaning of transgressing the gender binary.
Today, I am going to give you a crash course in THE CRAMPS!
The lead singer, Lux Interior (he/him), and lead guitar, Poison Ivy (she/her), fell in love over their shared passion as record collectors of classic blues and rock-n-roll, as well as a love for B-movie horror films. This led them to get married and form a band that basically created the genre of "psychobilly," also cementing other subgenres like "punkabilly." I think it's also fair to credit them with inspiring the aesthetics of later goth and emo scenes, as well.
My first encounter with the Cramps was the music video for "Garbageman." While this is a cover, it was an invitation into music that coins the idea of "punkabilly" and if Lux's extreme vocals and Ivy's groundbreaking guitar don't put a spell on you, I don't know what will.
"Ultratwist" will give you a taste of how they developed their style and sound with one of their later ablums. It also features all the wonderful campy horror vibes in the music video that define their aesthetic.
To truly understand the magic that these two brought into the world, you gotta watch them live. Have you ever wondered what the acoustics of a man singing while fellating a microphone sound like? Well, you will find out as Lux gyrates and lurches in uncanny and animalistic fashion across the stage with leather pants so low you can see his pubic hair while performing "I Was a Teenage Werewolf"
You can also get a taste for their kinky queerness in "Creature from the Black Leather Lagoon," as Lux performs in leather thong and high heels. CW: music video starts with a scene depicting a bloody demonic birth of a grown man
Thing is, Lux and Ivy were brilliant and unapologetically transgressive, while also deeply loving art. One of my favorite examples of this is one of the only songs I know about a Dada/Cubist painting. "Naked Girl Falling Down the Stairs" is about encountering Marcel Duchamp's "Nude Descending a Staircase, No. 2" (https://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2) in a museum. The music video also highlights once more Lux's amazing ability to perform in stiletto heels and a latex jumpsuit:
The Cramps infamously also decided to build on Johnny Cash's recording of performances at prisons by playing the Napa Valley Mental Hospital in 1978. Mental Hospitals were still pretty rough back then, but this is clearly a welcome bit of fun and liveliness for the patients, as they dance and even join onstage, and Lux and Ivy seem to be having a blast with them all. I think things like this endeared them to outsiders, weirdos, and folks living with mental illnesses like myself.
Lastly, I also want to suggest people check out a video essay about the Cramps by A Grrrl's Two Sound Cents. It really highlights what was amazing about this band, how absolutely brilliant and hypnotizing Poison Ivy's guitar virtuosity is, and the abosolute unrestrained play of Lux Interior on stage.
I think it's interesting the way their journey maps onto so many queer people's stories. Lux was from Ohio but escaped to California for college where he met his brilliant and beautiful wife and bandmate, Ivy. They brought their musical circus to New York in the late 70s and were a core part of the emerging punk scene, blowing open the possibilities of what punk could be. They later settled in West Hollywood, where Lux started wearing heels and breaking gender.
tried to make a #50s style #Ballad like early #Rocknroll#doowop or #rockabilly though got really weird with the production. I think i will record an acoustic version live tomorrow to see which I prefer but I really enjoy it right now the #Industrial and #Noise elements.
It seems there a thing going on here on Mastodon: folk are sharing hashtags of what makes 'em tick in order find like-minded weirdos. Here I go. Stand back...
Black and orange stray cat sittin' on a fence. Ain't got enough dough to pay the rent. I'm flat broke but I don't care, I strut right by with my tail in the air...
#GreatAlbums1950s - #GeneVincent & His Blue Caps – Bluejean Bop! (1956). Like many 50s rockers, Vincent’s LPs fall short of “great” owing to labels’ habit of reserving the best tunes for singles (no “Be-Bop-a-Lula” here or on the 1957 followup). Still, this LP is a rare place to hear a full set by the original Blue Caps – including ace Cliff Gallup on lead guitar. Plus there’s plenty of hellfire in “Jezebel” and “Who Slapped John?” to show why Vincent is a #rockabilly legend. #GreatRockAlbums
"Blue Suede Shoes" is a #rockAndRoll#standard written and first recorded by American singer, songwriter and guitarist #CarlPerkins in 1955. It is considered one of the first #rockabilly records, incorporating elements of #blues, #country and #popMusic of the time. Perkins' original version of the song appeared on the #Cashbox Best Selling Singles list for 16 weeks and spent two weeks at the number two position. #ElvisPresley recorded "Blue Suede Shoes" in 1956. https://youtu.be/mvsYRAc-BWA
#GreatAlbums1950s - #CarlPerkins – The Dance Album (1957). Sidelined after a 1956 car crash, Perkins watched from a hospital bed as “Blue Suede Shoes” topped the pop/ country/ R&B charts, only to be overshadowed by Elvis’s cover version on LP and TV. Still, Perkins made a mark with songs like “Honey Don’t,” “Everybody’s Trying to Be My Baby” and “Matchbox” (all covered by the Beatles) -- epitomizing rockabilly as an enduring form beyond the fickleness of the charts. #GreatRockAlbums, #Rockabilly
My Love for Evermore - The Hillbilly Moon Explosion (ft. Sparky from Demented Are Go) - 2019 (www.youtube.com)
I'd like to pack this in, and take you to the stars...
Stray Cat Strut - 1981 (www.youtube.com)
Black and orange stray cat sittin' on a fence. Ain't got enough dough to pay the rent. I'm flat broke but I don't care, I strut right by with my tail in the air...