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The Cramps – Longjohn Reviews

Magnificent – 62 Classics from The Cramps Insane Collection


This compilation is another installment of oddball novelty records taken from The Cramps personal record collection. Those of you who are familiar with The Cramps trashy amped up rock n roll will adore this mad mish mash of music spread across two discs that include sleazy rock n roll, hillbilly head bangers, spoken word nonsense, howling RnB scorchers, surf and exotica.

The late Lux Interior and Poison Ivy were avid collectors of obscure kitsch 1950’s music and it was their respective record collections that provided the template for their own raw primal style, and the result was a brilliantly deranged take on 1950s and early 1960s rock n roll.

Cherry Red Records subsidiary Righteous Records have recently released a series of these albums, and it is difficult to think of a single band apart from The Cramps who could have inspired compilers to release albums full of unorthodox madness. If it was not for the crate digging of Lux Interior and Poison Ivy then most of these artists and songs may have just disappeared into obscurity.

The latest volume is a double disc with sixty-two (yes 62) sonic slabs of some of the rawest and wildest rock n roll ever committed to tape. These records are magical items if you happen to have them on 7’’ chunky vinyl, and if you don’t then this compilation is the next best thing.

Righteous Records have done a splendid job in getting this music out to a wider audience, however, if there is one small gripe to be made then this compilation is simply too long with musical tropes often repeated, and even the most rabid fan of leg shimmying rock n roll will be worn out after the first disc.

This is a minor quibble in what is otherwise an enormously fun compilation full of songs littered with sledge hammer riffs, hooks galore, odd ball charm and all sorts of other near craziness in between. If the listener can stay the distance then they will be duly rewarded with left field rock n roll that will make you wonder how some of these artists made this stuff up in the first place.

Rock n roll as Lux Interior beautifully explained in an MTV interview from 1984 is simply about sex and the celebration of earthly desires. However, earthly desires is not the only concern on this album as it launches into the stratosphere with a number of space oddities, including Jimmie Haskall’s Blast Off, followed by the wonderfully galactic instrumental Ghost Satellite by Bob and Jerry.

There are a few movie soundtracks on this compilation and the theme tune to the schlock horror film The Blob was scored by Burt Bacharach, and the film tells the story of a small American town that is terrorized by an outer space gelatinous monster, which slides and creeps across the floor and ‘will eat you ‘ if you are not careful teenyboppers.

There is even room on this compilation for actor Robert Mitchum who starred in the 1958 film Thunder Road. Not only did he play the lead in the film, he even wrote the script and composed and sang the theme tune ‘Ballad of Thunder Road’, which tells the story of a man who bootlegs moonshine that would even ‘quench the devils thirst’, and the story of this liquor runner is an unexpected and welcome inclusion on this album.

Prison life has been a long source of fascination for singers and songwriters in this period, and no compilation of this type would ever be complete without the inclusion of Jerry Lieber and Mike Stoller’s prison lament, ‘’Riot in Cell Block No#9. Even better still is that Wanda Jackson covers this particular version and her unmistakable kittenish growl coupled with a rough edged rockabilly track is enough to make you wish you were in a calaboose with her.

Bo Diddley was never afraid to refer to himself or include his own name in his songs, and this infectious trick is repeated on ‘Bo Diddley is a Lover’. The irresistible rhythmic shuffle, humorous bravado, and the raw production that defined his records in the late 1950’s and early 1960’s is all present and correct on this particular tune culled from Bo’s sixth studio album.

The Clovers ‘Your cash ain’t nothing but trash’ released in 1954 on Atlantic Records is a scorching slice of horn and piano driven Doo Wop, and it is easy to see why this combo were snapped up by Ahmet Ertegun, who presided over these harmony kings as they notched up over 20 hit singles on the RnB charts in the early 1950s.

Paul Peek (who?) and Johnny Burnette and his Trio both grace this compilation with a couple of rockabilly strollers. Little information exists on Paul Peek but he did release over a dozen singles, including ‘Olds-Mo-William, which is a rockabilly floor filler.

Johnny Burnette can lay claim to being a rock n roll pioneer and released a handful of great singles, including ‘The Train Kept a Rollin’ (later reprised by The Yardbirds). However, the B-side ‘Honey Hush’ is no slouch either, and the same vaguely distorted guitar riff from side A is recycled and played by the sadly over looked rockabilly guitarist Paul Burlison.

It would be an understatement to say that having to listen and absorb 62 tracks spread across 2-CDs is an endurance test. However, we are never going to get the opportunity to hang out in The Cramps record lair so for a pair of fivers you get this crack-pot collection of wild, untamed rock n roll in it’s most primitive form. BUY HERE!

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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November 7, 2016 By : Category : Front page Music Reviews Tags:, ,
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The Incredibly Strange Music Box: LP Review

The Incredibly Strange Music Box: 60 Songs from The Cramps’ Crazy Collection (Righteous Psalm 23 85D)


Anyone picking up this monster compilation has probably already guessed that legendary schlock horror rockers The Cramps didn’t get their chops from listening to Eagles LPs. Come to think of it, they probably didn’t learn their licks here either, but the inspiration behind their scuzzy 60’s rock ‘n’ roll formula lurks in the bit stream of this double CD.

First up, one of the more familiar names of Rock n Roll history, Mickey & Sylvia treat us to their jittery, battle of the sexes washboard shuffle, ‘No Good Lover’. The Collins Kids’ innocent-sounding name leads us into a false sense of security, ready for their licentious ‘Whistlebait’, with a strangulated boy (or is it a girl?) vocal. Skip Manning’s basic Elvis grunt is enriched with fine distorted guitar on ‘Ham ‘n‘ Eggs’, a slightly comical take on the ‘We go together like…’ simile beloved of songwriters.

Smokey Joe’s Fats Waller-like croak provides a suitable voice for the crazy jungle rhythm of   ‘Signifying Monkey’, a ditty that’s less than the sum of its parts, although easily the best song title here. In our more sensitive age, we would probably baulk at ‘Stutterin’ Cindy’s mockery, but it’s easy to guess why Lux Interior would have liked this Charlie Feathers song.  The familiar scrape of plectrum on steel guitar string signals the appearance of the great Bo Diddley, in a steady rocker, ‘Congo’, with a heady infusion of exotic jungle atmosphere.

The hurtling comedy of The Aladdins’ harmony piece, ‘Munch’ comes on like an even dumber ‘Give Me Back My Bubble-gum’, and with a crazy sax break cranking it higher. The sax is downright salacious on Joe Dodo’s ‘Groovy’,  but we get a chance to cool our heels and our ardour in Jim Backus & Friend’s ‘Delicious!’, a sort of guffawing, Stateside take on Champagne Charlie furnished with an equally bibulous female companion. Sticking with the inebriate theme, we get a fairly standard country whine, ‘Here I Am Drunk Again’, from Clyde Beavers.

Sparkle Moore’s ‘Skull and Crossbones’ has our tough gal giving her man a good ticking off, and how easy it is to imagine the young Poison Ivy Rorschach hearing this little gem and filing it away under ‘Personal Style’. Rusty Draper’s stammering vocal on the banjo-driven country stomp ‘Tongue Tied over You’ might have been a little too much for the age it was minted in, but has its moments. Charlie Ryan & The Timberline Riders’ ‘Hot Rod Guitar’ is a steady roller with nimble fretwork, but there’s not much here to elevate it above the usual fare.

The Sheiks’ ‘Baghdad Rock’ instro is an obvious Cramps favourite, with its ‘The Walk’ style beat and weird, haunting horn. The Duals’ stormy ‘Lovers Satellite’ has a crystal clear guitar solo to clean the eardrums out, and The Invaders ‘Shock Treatment’ comes on like a lost Jo Meek track, all ghostly calls over a standard surf backing. Freddie & The Hitch Hikers’ ‘Sinners’ makes good use of a not-so-heavenly chorus, in this sermon-infused chugger. It would be nothing but a low swindle to leave out ‘Tequila’, and it’s ‘The Three Suns’ take which does the honours here.

A solid hint of menace and some icy-cool guitar work in The Ventures’ ‘Green Onions’, followed by a Billy Fury-like moody vocal performance from Gary Warren, in ‘Midnight Rain’, a memory song with a whispering chorus that provides two high spots in a row on this first disc. A genuine, murmuring blues with brooding guitar, in the form of Kenyon Hopkins’ ‘Let Me Out’, takes us deftly into a crazy rocker with heavily distorted guitar and primitive lyrics in ‘Hot and Cold’ by Marvin Rainwater.

Hank and the Electras’ ‘Get Lost Baby’ is a tepid little number, in spite of its great title, but redemption is on the way with The Bikinis’ ‘Crazy Vibrations’ a rattlesnake-like sound, with tinkling piano behind and a snaky, pumping sax with deep twangy bass fattening up the beat. Those of you with a taste for low-end comedy will love Jerry Neal’s ‘I Hates Rabbits’, but we’re soon into the truly inspired ‘Twistin’ In The Jungle’, Buddy Bow’s near-horror movie soundtrack with its bonkers bongos and brass.

James and Septette’s ’‘Congo Elegy’ comes on like a perverse Bobby ‘Boris’ Pickett out-take, with a mambo struggling to get out of the piece, and desperate, salacious lyrics. A standard Bill Haley-o-like beat for ‘Tarzan’ from Glen Reeves & His Rock-Billys, and to end this disc, two songs entitled ‘Voodoo Doll’. The Interiors (dig that name…) piece is an R ‘n’ B chugger and Glenda and Glen’s has an unnerving female vocal and random raindrop sound in the bass that does the job the more effectively of the two. (Heard that name before somewhere, too.)

The innocent sounding Buddy Holly-ish performance of ‘Straight Skirt’ by Gene Summers that opens the second CD belies the rather lecherous subject matter. The Ventures are in fine form in ‘Bumble Bee Twist’, picking their way precisely through a ‘Man of Mystery’ style riff. The Romans’ ‘Uh Huh’ is every bit as primitive as the title suggests a crazy piece of exotica, chugging guitars and exclaiming sax. Art Wood’s hillbilly hiccupping on ‘My Jib’ is a little too stereotypical to satisfy. The fast, jazzy rock ‘n’ roll and sax craziness of Sil Austin in ‘Fallout’ is far more pleasing to the ear.

Charlie Feathers’ ‘Wild Wild Party’ shuffle has its moments, as does Gene Simmons and the Rebels’ ‘Twixteen’, an Eddie Cochrane-a-like treatment of a tale of perilously young sexual allure. Martin Denny’s ‘Misirlou’ uses creepy woodwind and drum brushes hissing their snakeish rhythm in a very different take on the classic tune.

The Forbidden Five show us why they’re called so, with their bongos, animal noises and weird Eastern/Western rhythms in ‘RFD Rangoon’,  and continuing with the Eastern stylings, Preston Love and Orchestra serve up a tasty slice of exotica in ‘Ali Baba’s Boogie’. The Bambinos’ ‘Algiers’ is another entry in the downright disturbing category, and Marvin Rainwater’s distorted echo sounds like it was produced with some species of elastic band, on his bizarre ‘Boo Hoo’. Dick Penner’s ‘Cindy Lou’s slightly mocking guitar notes and sinister twang perfectly suit this borderline suggestive song. Skip Manning’s ‘Devil Blues’ is more big band than bottleneck, with its ‘behave or face the consequences’ message.

The Red Callender Sextet offer up more exotica in ‘Voodoo’, and Garry and Larry’s hard driven ‘Garlic Bread’ is by way of total contrast.

Moving into the Red Zone, The Blenders’ ‘Don’t F*ck Around With Love deliver the doo-wop  song sweetly, making the profanity all the more of a surprise, but The Empallos’ ‘Hi Cups’ mighty sax creep is true instro-salaciousness.  The Midnighters’ rock ‘n’ roller ‘Sexy Ways’ fully lives up to its name.

‘Gumbo’ by Shades of Rhythm has a loose, crazy feel, and The Voxpoppers ‘The Last Drag’ has a screechy-voiced treatment with the faint air of Fats Domino about it. Roland Janes’ ‘Guitarville’ has the fabulous spacey twangy bass and subtle, tapping drums of a surf classic. The Ventures’ ‘Ginchy’s faintly Neo-Classical high-note guitar workout pleases, and Spot Barnett’s loud, brash, Rock ‘n’ Blues ‘Sweetmeats’ is enlivened by a wavering sax. For my money, the standout track here is ‘Young William & The Jamaicans’ urgent, echoed ‘Limbo Drum Part 1’. Ike Turner Orchestra’s ‘Cuban Get Away’ seems a little too far removed from Ike to be all his work. Our CD selection closes with Bobby Rhines and the Rogues’ call-and-response  festival, ‘Port Zibee Part II’ and Tommy Mercer and the McBrides’ ‘Volcano Rock’, a left-field rock ‘n’ roller with enough sound effects to make even Joe Meek blush.

What’d’ya mean, you’ve got ‘em all?




Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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July 20, 2015 By : Category : Cult Front page Music Picks Punk Reviews RnB Rockabilly Tags:, , ,
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Cherry Red Album Reviews – Oct 2014 by Long John


The Incredibly Strange Record Club

Various Artists

Inspired by the Cramps crazy record collection Volume One: Fungus, Stockings, Torture, Beatniks, Robots and Nonsense.

According to the compilers of The Incredibly Strange Record Club, this compilation of oddball novelty 45rpms was inspired by The Cramps record collection. Those of you who are familiar with The Cramps brand of sleazy, amped up Rock n Roll will surely understand what is on this collection and will love it as a result. The Cramps were well known as record collectors and their penchant for 1950s Rock n Roll provided the template for their own take on the genre and they were arguably the forerunners of the Psychobilly genre, which emerged in the late 70s and early 80s.

Trying to sum up The Cramps is no easy feat and the same goes for this compilation, it embodies everything that The Cramps distilled to such lethal and deranged effect. The album delves into all kinds of subject matter, which is often hilariously nonsensical and at times just plane gibberish. The album broadly encompasses, trashy and camp Rock n Roll, Country, RnB, Jazz, spoken word, Doo Wop, sleazy Rock n Roll instrumentals, with exotic jungles noises thrown in for good measure.

The music is largely drawn from the mid to late 1950s with a smattering of songs from around 1960/61, and the oddity and unpredictability of this album will be very appealing to those with a discerning ear for the weird and the bizarre. Tommy Blake kicks things off with F-olding Money a cool bit of swinging Rock n Roll, in which he adopts two voices and it is a tale of a man who is down on his luck and when all means of legally making money are denied him, he resorts to bravado and violence to justify what he sees as the unfairness of his situation. But all he ends up with is a jail sentence and it could be argued that this song is more autobiographical than perhaps Tommy Blake intended.

There are also a number of tracks that celebrate the dance crazes of the late 1950s and early 1960s, including Jerry Dallman and the Knightcaps The Bug, and an instrumental by Big Walter and the Thunderbirds Watusie Freeze PT 1. The latter tune in particular is referencing a popular solo dance routine that hit its peak in the early 1960s, and this bizarre and exotic sounding tune comes with jungle noises and a tribal drum rhythm, which propels the track along.

However, the appeal of the album lies in the perfectly nonsensical and tongue in cheek nature of the songs. Jamie Horton’s Robot Man tells the tale of a rapturous girlfriend who finds the love of a robot (which she can control with a key) preferable to a straying, lying, fighting and cheating man. The absurdities continue with the hilariously gibberish Rubber Biscuit by The Chips, and Mope-iity Moope by The Boss Tones. These wonderful pieces of offbeat nonsense can’t be taken seriously at all when considering that the subject matter is eating rubber biscuits that ricochet off walls and a trip back from space with a woman who everyone comes to see do the Bop.

The album comes to a conclusion with a couple of haunting instrumentals and a couple of spoken word tracks, which considering the subject matter segue into each other perfectly. Lullaby of the Doomed by Babs Gonzales is a jazz tinged spoken word tune that mourns the loss of a loved one, followed by Ed’s Place by Horace Heller, which is a macabre confessional piece about infidelity, and the reaction of a jealous lover who resorts to the willful murder of his love rival and the so called accidental murder of his lover. Some might say a song about murder should not be amusing, but in the hands of Horace Heller the story takes a few twists and turns as the perpetrator unburdens his conscience on the listener, before calling the police to confess his murderous deeds.

Having to endure 26 tracks on any album can be somewhat trying even for the most dedicated of music fan. However, this compilation does not outstay its welcome due to the absurdity and humour displayed on many of the tracks. The album as a whole encompasses a curious mix of silliness, murderous intent, the surreal, lurid, and macabre that it is worth shelling out a paltry tenner as it is quite unlikely that many music fans will have an odd-ball compilation like this in their collection. BUY HERE!


Shapes and Shadows

Psychedelic Pop and other rare flavours from the Chapter One vaults 1968-1972

A compilation for late 1960s rare Psych and Pop aficionados, who do not want to spend a fortune on Ebay trying to hunt down these rarities can now enjoy hearing these carefully chosen tracks on one album. Les Reed OBE, a highly successful (if not well-known) songwriter, founded the Chapter One label in 1968, and throughout the 1960s Reed was writing songs at a prolific rate, which were covered by a myriad of artists including, Gene Pitney, Tom Jones, Elvis Presley, Connie Francis, Wayne Fontana, Petula Clark, Shirley Bassey to name a few.

However, by 1968 Les Reed decided to start what can be considered one of the first independent labels, for fledgling new artists and bands. It could be argued that Les Reed may have been following in the path of Andrew Loog Oldham’s Immediate label, except Chapter One never had the same kudos and sadly did not enjoy the same level of commercial success of Immediate, and after ever diminishing chart returns the inevitable happened and by 1973 the label folded. It will amuse many to know that one of the labels biggest hits came in the form of a football song. Step forward Gerry Monroe and Leeds United F.C, who recorded Marching On Together for the 1972 F.A Cup Final, and is still sung by Leeds United fans on the terraces of Elland Road to this day.

Les Reed has given Cherry Red Records subsidiary Grapefruit Records his full backing to raid the vaults of Chapter One, and what they have assembled is an album that will largely appeal to collectors and completists of late 60s early 70s Psychedelic tinged pop. As usual Grapefruit Records have done an excellent job with the packaging, and the artwork, rare photos and the 14 pages of sleeve notes make this a tempting purchase before a song has even been heard.

It would be fair to say that compilations of this sort can be hit and miss and some of the tracks on here were not hits for a reason, but then most of us know that some of the best music ever released did not sell. ‘The record buying public shouldn’t be voting’. The real interest for collectors will be the handful of tracks by the Episode Six. This band released nine singles between 1966 and 1969, five of which grace this compilation. Sadly not even once did this band trouble the charts, and now they are probably best known (rather unfairly) as the band that spawned the careers of Ian Gillan and Roger Glover who went on to superstardom in the band Deep Purple.

The Episode Six’s output for Chapter One varies somewhere between Pop, Rock and Psych and as a result of this toe dipping into different genres their output does vary in quality. However, the band did have some heavier, funkier moments, which are included on this album such as Jack D’Or and Mozart Versus the Rest, which were both released in 1969. There is also some rare footage on You Tube of the band performing Morning Dew and I Hear Trumpets Blow in 1967. The latter song in particular shows their leniencies towards pop, but they did a pleasing version of Bonnie Dobson’s Morning Dew. But one gets a sneaking suspicion that The Grateful Dead and Nazareth’s versions of the song would be the preferred choice for many listeners.

There must have been something in the air in St Albans in the 1960s, as this was the place that gave birth to Donovan and the Zombies. Both of whom were the purveyors of music that more often than not erred on the side of wistfulness and whimsy. Following very closely in their footsteps were a little known outfit called Bliss whose Courtyards of Castile and Lifetime are both included on this album. Both of these songs may be considered in the Psych/Folk genre, however, there is certainly no freak out moments on this pair of haunting singles and the intrigue of these songs will be in their scarcity. Bliss and Chapter One must not have been too concerned with the commercial viability of these singles as they so readily demonstrate a melancholy and wistfulness that pre dated the Zombies somewhat sombre classic Odessey and Oracle by the best part of a year.

Why anyone would want to name their band Putney Bridge will be beyond most of us, however, such is the dearth of information on this band that the name does at least tell us where they are from.  The three songs included here all date between 1970 and 1972, and album opener What’s It All About is a pleasant enough pop song and is by far the most hit worthy song of the three.  Your Turn To Die has a Prog meets white boy blues feel to it, with a blistering but over played lead guitar, and the Meaning Of Love kicks off with a twin assault of fuzz guitar and Hammond intro, which would sound like bliss to many, but the lyrics are cringeworthy. Harmony among the races is to be applauded, but in the hands of Putney Bridge this song just sounds like a load of pseudo hippy nonsense and comes across as trite and patronizing.

The rest of the album demonstrates the softer side of UK based guitar bands in the late 1960s and early 1970s. Morning Glory, Sad People, and The March Hare best demonstrate this. It is a moot point of discussion how any of these bands can get lumped into the Psych genre, when really you could argue that this music is just schlock and is given some sort of kudos and merit by including it on a compilation that implies that it is indeed Psychedelia. The appeal of this album lies in the fact that all these songs are ridiculously obscure, which makes this album an intriguing purchase for musicologists and completists of pop music in this period. BUY HERE!

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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October 16, 2014 By : Category : Front page Music Pop Reviews Tags:, , , , , , ,
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The Cramps at Napa State

‘The guy filming couldn’t point his camera at the inmates because he couldn’t show them escaping.’

Lux Interior

As occupational therapy, it is likely that The Cramps’ patented ‘switchblade rock’ was always likely to prove more stimulating than a pleasant afternoon’s basket weaving. Indeed, the very idea of putting on a rock band, especially one that skated on the thin crust of sanity as a matter of nightly routine, as a diversion for the psychologically fragile would seem to be fraught with innumerable hazards. However, it had been tried before. Los Angeles synth punks The Screamers had performed at Camarillo State Mental Hospital with no recorded fatalities. They told Lux just that. They also mentioned that the audience were mostly catatonic, so it seemed like a safe proposition.

When The Cramps arrived with San Francisco-based support band The Mutants, they found that the inmates at Napa State were considerably more animated than had been the case at Camarillo. ‘That’s the Cramps show that should’ve been stopped,’ reminisced Lux. ‘The audience were doing everything you can imagine. Just imagine something and they were doing it. They were bizarre, dancers like you have never seen before in your life. People lying on each other on the floor. Oh God… We didn’t wanna leave.’

While video footage of the concert shows that the band were barely phased by the free-form displays of expressive movement, random stage tidying and front-row frug dancing that they were performing amid, New York Rocker’s Howie Klein seemed a little startled; ‘The audience went berserk and it was pogo city all over again. I’ve never seen so much audience participation – one patient went over to the superintendent and said, “These guys look like they just got out of T-Unit”. T-Unit, the super later told me, is where they keep the lifers.’

In fact, there is much that is endearingly child-like about the reactions of the Napa State inmates to their evening’s entertainment. During ‘Love Me’ several inmates descend on Lux to give him a group hug as he issues his pleas for affection and a small scale hoe-down breaks out in another corner of the room. At one point Lux asks a female inmate, ‘How do you like the Cramps so far, honey?’ ‘Arrrrrrgh,’ comes the reply.

Aside from Lux having to wrest the mic back from a female patient intent on treating those gathered to her screaming solos (she exacts a small revenge by pushing Lux gently from the step-high stage – he barely notices) and a worrying moment for Bryan when a male detainee strolled over to scrutinize the guitarist’s boot, there was little genuine cause for alarm. Apart from the eleven inmates who escaped during the show. And that wasn’t no thing, ‘They just go out in the woods for a while and say, “Yeah, we escaped, we could have if we wanted to” and then they come back,’ assured Lux.

Despite the breakout, the show was deemed to have been a roaring success. ‘The administration liked us so much they said they would write us a letter of recommendation to get us into clubs,’ beamed Lux. ‘We never actually got one, but that would have been great to have got a letter of recommendation from a mental institution. Everybody we met there was crazy. All the people putting on the show were crazy. It was hard to tell the administration from the crazy people.’


June 5, 2015 By : Category : Articles Garage Gigs Rockabilly Taboo Tags:, ,
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Cramps Jukebox

The Cramps Jukebox puts together a nice selection of original cuts that made up some well known Cramps covers etc. Check out The spotify linkies and enjoy this rockin’ gold!

The Spark Plugs – Chicken
3 Aces And A Joker – Booze Party
Link Wray – Fatback
Ronnie Cook & The Gaylads – Goo Goo Muck
Kit & The Outlaws – Don’t Tread On Me
Dale Hawkins – Tornado
J.J. Jackson & The Jackals – Oo-Ma-Liddi
Jack Scott – The Way I Walk
Mel Robbins – Save It
Jerry Warren – Rompin’
Junior Thompson – How Come You Do Me
The Fanatics – I Will Not Be Lonely
Ronnie Dawson – Rockin Bones
Flower Children – Miniskirt Blues
Don & The Galaxies – Sundown
Instrumentals – Chop Suey Rock
The Rumblers – Boss
The Jesters – Peter Gunn
Larry Phillipson – Bitter Feelings
Del Raney’s Umbrellas – Can Your Hossie Do The Dog
The Sparkles – Hipsville 29 BC
The Green Fuz – Green Fuz
Dave ‘Diddle’ Day – Blue Moon Baby
R. Lewis Band – Get Off The Road
The Huntsmen – Fever
Fender Four – Margaya
Freddie & The Hitchhikers – Sinners
The Phantom – Love Me
Dean Carter – Jailhouse Rock
Jimmy Stewart – Rock On The Moon
The Groupies – Primitive
The Embers – I Walked All Night
Kai Ray – I Want Some Of That
Kasenetz-Katz Super Circus – Quick Joey Small
Andy Starr – Give Me A Woman
Jett Powers – Go Girl Go
Shades – Strolling After Dark
Tune Rockers – Green Mosquito
Lonnie Allen – You’ll Never Change Me
Bostweeds – Faster Pussycat Kill Kill
The Busters – Bust Out
Sherrif & The Ravels – Shombolar
Hayden Thompson – Blues Blues Blues
Jimmy Lloyd – Rocket In My Pocket
The Novas – The Crusher
Jackie Lee Cochran – Georgia Lee Brown
Runabouts – The Strangeness In Me
Mac Rebennack – Storm Warning
Lee Dresser And The Krazy Kats – Beat Out My Love
Flames – The Bird
The Shells – Whiplash
Bill Allen & The Backbeats – Please Give Me Something
The Blues Rockers – Calling All Cows
Warren Smith – Uranium Rock
The Shells – Trapped Love
Nat Couty – Woodpecker Rock


Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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June 5, 2015 By : Category : Rockabilly Tags:, ,
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