The Stray Cats were a breath of fresh air in the stale pop landscape of the late 1970s and early 1980s. Formed in Massapequa, Long Island, in 1979 by guitarist and singer Brian Setzer, bassist Lee Rocker (born Leon Drucker), and drummer Slim Jim Phantom (born James McDonnell)...
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I wrote it. Hope you enjoy.
They were the tip of the spear of the great rockabilly revival of the early 80s.
Brought real rock and roll back into the zeitgeist during the "new wave" era.
MTV made them mega.
Caused me to form a rockabilly band.
The movement they helped birth, along with others, morphed into the swing, Americana, and cow-punk crazes.
Good times
There's definitely a post punk element in the Cats. Love em all the more for that.
I was in a Rockabilly band for a time in the late seventies as a result of the Rockabilly revival, which was a result of the Stray Cats. I went back and listened to Eddie Cochran, Gene Vincent, Carl Perkins, Johnny Burnette, etc. They were pioneers but the greatest of all is Brian Setzer. So glad that he is able to return to performing.
Sorry, but I’m going to have to be the spoiler…while I absolutely respect everything they’ve done and continue to do, am in awe of Setzer’s guitar prowess(and was saddened by his recent ailments)and often listen to Slim Jim Phantom’s weekly “Rockabilly Rave-Up” show on Little Steven’s Undergound Garage Sirius Radio Channel, I have to point out some history…
In spite of a mild 50’s revival in the late 60’s, a possible reaction to psychedelic excess(I remember Bill Haley’s “Rock Around The Clock” as a re-released hit on Top 40 not long after “Sunshine Of Your Love” ruled the summer of ‘68), then Elvis’ comback, and the cartoonishness of Sha-Na-Na-Na (introduced to the world via Woodstock, ironically), the interest wained a bit but picked up steam after the movie
American Graffiti, then
Happy Days feeding off of that. The music attached to all that wasn’t specifically rockabilly(there was plenty doo-wop and what I call ‘malt shop’ tunes that got attention). But as fads in America go, the infatuation did run its course. However, in Great Britain, it was a different story…
Because the 50’s Teddy Boy culture was so strong there, it survived the Beatles, beat groups, mods, hippies, and glam, and was tangentially associated with “pub rock”, a mid-70’s grass roots scene that was the first musical reaction against arena rock, superstars, prog, and so on, being a precursor to punk. Dave Edmunds, Nick Lowe, Dr. Feelgood, and others kept the spirit of not only rockabilly, but 50’s R&B, Chuck Berry, and Bo Diddley alive, as well as bands like the Count Bishops, Ducks Deluxe, Roogalator, Little Bob Story, and so on, often throwing in some 60’s garage rock. They just didn’t do the Sha-Na/
Grease dress-up thing. When punk was in full swing, there was always an acknowledgment of 50’s rockers(Sid V. did a cover of Eddie Cochran’s “Something Else”). Then, in southern California, Rockin’ Ronny Weiser was overseeing a small 70’s rockabilly revival scene from which the Blasters and others emerged.
As for New York, well, there was CBGB’s of course, and let’s not overlook the phenomenon that was the Cramps. But more important, as far as authentically recreating the experience, escaping from a run-of-the mill new wave band there was Robert Gordon, with the man, Link Wray, in tow, making a big splash in 1978…
British guitar whiz Chris Spedding, who always had a 50’s flair, took Link’s place soon after, but was dabbling earlier…
And what was Setzer, from Long Island, doing in that time period?
Just another unremarkable band making the NYC circuit.
While most of the names that I mentioned were ‘older’, there was a youthful scene coming up, at least in Britain. These guys, dating back to ‘77, were at the forefront. This clip is from ‘79…
All that being said, Setzer and the other two
had to go to the UK in 1980 where there was a greater appreciation and support for what they were doing already in place. They hooked up with the absolutely appropriate producer, Dave Edmunds. Timing being everything, their youthful good looks and(cat)style were perfect for MTV. With Two-Tone ska, synth-pop, new romantic and goth already up and running, they were yet another trend, albeit with familiar elements. Right place, right time, but not first.
