Cramping their style

 

© Trebuchet Magazine

 

I’ve just finished reading Journey to the Centre of the Cramps, written by music journalist Dick Porter and dealing with the American rock band the Cramps, who blazed a sonic trail for three memorable decades from the mid-1970s to the late noughties.

 

The Cramps wore an awful lot of influences on their black-leather sleeves but somehow managed to meld those influences into a sound and style quite unlike anyone or anything else.  They took as inspiration classic 1950s rock ‘n’ roll, rockabilly, surf music, garage rock, the velocity and bad attitude of punk and the darkness and glamour (but not the pomposity) of goth.  The band’s heart and soul were guitarist Poison Ivy (Kirsty Wallace), who was responsible for their sometimes juddering, sometimes twangy, always captivating guitar sound and who wasn’t averse to posing for album-cover photos in high heels, fishnets, suspenders, shades, devil’s horns and body-hugging PVC; and her romantic and musical partner, the towering vocalist Lux Interior (Erik Purkhiser), whose sepulchral voice and ghoulish lyrics channelled a 1950s American childhood spent immersed in trashy horror, sci-fi and exploitation movies and gruesome sensationalist comics like Vault of Horror and Tales from the Crypt.

 

© The Medicine Label

 

Under Ivy and Lux’s supervision, the Cramps became a Frankenstein’s Monster fashioned out of pieces of Elvis, Ricky Nelson, Link Wray, Dick Dale, Screamin’ Jay Hawkins, the New York Dolls, the Ramones, Roger Corman, Russ Meyer, Ed Wood, the Marquis de Sade and the Addams Family; but this was no lumbering misshapen monster.  This was something cadaverously elegant and it rocked.

 

As usual, I came late to the party.  I didn’t get into the Cramps until the late 1980s, a dozen years after they’d started, thanks to my brother giving me a crackly cassette-tape recording of their 1983 compilation album Off the Bone.  (On the other side of the cassette was the 1988 Sugarcubes album Life’s Too Good.  Wow, those were the days.)  But at least by then I’d heard of the Cramps.  Indeed, the band had been credited with inventing their own musical genre, psychobilly.  And their alleged progeny, such raucous psychobilly combos as the Meteors, Guano Batz and King Kurt, with their greased quiffs, brothel creepers, tattoos and fondness for slapping a double bass, had lately been rampaging through the sweatier, dingier music venues of 1980s Britain.

 

As Porter’s book notes, the Cramps were certainly responsible for the term ‘psychobilly’ – because they’d made the word up and stuck it on a promotional flyer when they were trying to get themselves noticed in New York a decade earlier.  But they maintained a polite and slightly bemused distance from the musical scene they were supposed to have spawned.  Porter quotes Poison Ivy as saying, “I think our songs have a more sensuous tempo.  I’m not sure what exactly defines psychobilly but it seems to have taken on a life of its own.  But it’s not quite what we do.”  Porter himself observes that “whereas the Cramps drew on a smorgasbord of influences that included R&B and doo-wop, the psychobilly groups tended to eschew blues-based influences and splice rockabilly to a punk template that hadn’t existed back when the Cramps got started.”

 

© The AV Club

 

Anyway, as soon as I heard Off the Bone, I was hooked.  And I snapped up their releases in subsequent years – albums like Stay Sick (1990), Look Mom No Head (1991) and Flamejob (1994), which were choc-a-bloc with irresistible songs like Bikini Girls with Machine Guns, Creature from the Black Leather Lagoon, Journey to the Centre of a Girl, All Women are Bad, I Wanna Get in your Pants, Eyeball in my Martini, Bend Over I’ll Drive, Let’s Get F***ed Up and Naked Girl Falling Down the Stairs.  Even now, when I’m feeling a little down or stressed about something, I only have to listen to one of those songs, with Lux Interior singing his macabre, funny and innuendo-laden lyrics and Poison Ivy’s guitar buzzing or stuttering behind him, and after a minute I’ll feel right as rain again.

 

Take Naked Girl Falling Down the Stairs, for instance: “I fell in love at a terrible pace…  When someone gave her a shove down a staircase…”  I mean, how can anyone not love a song called Naked Girl Falling Down the Stairs?

 

I never saw them live, though, which is something I really regret now.

 

Porter’s book suffers from a problem typical of rock biographies.  It’s interesting while it describes how its subjects started life and struggled to establish themselves musically.  But then, once a certain level of success and fame has been reached, it becomes an inevitably less-interesting litany of record-deals, album releases, tours and line-up changes.  (Outside the creative nucleus of Ivy and Lux, the Cramps underwent a lot of line-up changes.  Among some 20 band-members over the years, only guitarists Bryan Gregory and Kid Congo Powers, bassists Candy Del Mar and Slim Chance and drummers Nick Knox and Harry Drumdini were around long enough to make much impression.)  Tellingly, it takes Porter about 200 pages to get to the end of the Cramps’ first decade; but then the remaining two decades of Cramps history are shoehorned into the book’s remaining fifty pages.

 

From The Roper Files – Word Press.com

 

One thing that reflects well on Porter is how he acknowledges the Cramps’ powers of musicianship.  He details the skill, attention to detail and hard graft that went into composing and recording their songs, which gives the lie to the perception of the band (popular among certain snooty British music critics) as a kitschy, campy and not-to-be-taken-seriously novelty act.  Ivy and Lux were extremely knowledgeable about their influences and extremely committed about what they did – and they put the work in.  Their finished songs might’ve made it look and sound easy, but this illusion of effortlessness was the result of high standards of talent and professionalism behind the scenes.

 

Inevitably, the book ends on a melancholy note, for in 2009 Lux Interior died suddenly and unexpectedly from a tear in his aortic wall.  Not only did his death deprive rock ‘n’ roll music of one of its most striking and amusing figures; but it also brought the curtain down both on his lifelong romantic and creative partnership with Poison Ivy and on the Cramps themselves.

 

That partnership and the band were of course one and the same thing.  As Poison Ivy remarked to the author in 2006, “That’s all the Cramps is – a folie à deux.”

 

© Omnibus Press