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The Cramps discography [MP3 256]

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[SIZE=12][color=blue]The Cramps - discography[/SIZE][/color]




-Nazibilly Werwoelfen
-Songs the Lord Taught Us
-Psychedelic Jungle/Gravest Hits
-Smell of Female
-A Date with Elvis

-Whats Inside A Ghoul - Not included

-Stay Sick!
-Look Mom, No Head
-Flamejob
-Big Beats from Badsville
-Fiends of Dope Island
-How to Make a Monster



TRACKLISTS




Nazibilly Werewolfen
Live Recordings In Palo Alto, California In 1979.
- - -
1. The Way I Walk
2. Everybody's Moving
3. Domino
4. Rocket In My Pocket
5. Human Fly
6. Rockin' Bones
7. Teenage Werewolf
8. Sunglasses After Dark




Songs the Lord Taught Us

1. TV Set
2. Garbageman
3. Rock On The Moon
4. I Was A Teenage Werewolf
5. Sunglasses After Dark
6. Strychnine
7. Mad Daddy
8. Mystery Plane
9. Zombie Dance
10. I'm Cramped
11. What's Behind The Mask
12. Tear It Up
13. Fever
14. I Was a Teenage Werewolf (w/false start)
15. Mystery Plane
16. Twist and Shout
17. I'm Cramped
18. The Mad Daddy




Psychedelic Jungle/Gravest Hits

1. Greenfuz
2. Goo Goo Muck
3. Rockin Bones
4. Voodoo Idol
5. Primitive
6. Caveman
7. The Crusher
8. Don't Eat Stuff Off The Sidewalk
9. Can't Find My Mind
10. Jungle Hop
11. The Natives Are Restless
12. Under The Wires
13. Beautiful Gardens
14. The Green Door

15. Human Fly
16. The Way I Walk
17. Domino
18. Surfin' Bird
19. Lonesome Town




Smell of Female

1. Thee Most Exaulted Potentate Of Love
2. You Got Good Taste
3. Call Of The Wig Hat
4. Faster Pussycat
5. I Ain't Nothin But A Gorehound
6. Psychotic Reaction
7. Beautiful Gardens
8. She Said
9. Surfin' Dead





A Date with Elvis

1. How Far Can Too Far Go ?
2. The Hot Pearl Snatch
3. People Ain't No Good
4. What's Inside A Girl ?
5. Can Your Pussy Do The Dog ?
6. Kizmiaz
7. Cornfed Dames
8. Chicken
9. (Hot Pool Of) Womanneed
10. Aloha From Hell
11. It's Just That Song
12. Blue Moon Baby
13. Georgia Lee Brown
14. Give Me a Woman
15. Get off the Road






Stay Sick

1. Bop Pills
2. God Damn Rock'n'Roll
3. Bikini Girls With Machine Guns
4. All Women Are Bad
5. The Creature From The Black Leather Lagoon
6. Shortnin' Bread
7. Daisys Up Your Butterfly
8. Everything Goes
9. Journey To The Center Of a Girl
10. Mama Oo Pow Pow
11. Saddle Up A Buzz Buzz
12. Muleskinner Blues
13. Her Love Rubbed Off (studio)
14. Her Love Rubbed Off (live)
15. Bikini Girls with Machine Guns (live
16. Beat Out My Love
17. Jailhouse Rock
18. Jackyard Backoff




Look Mom, No Head


1. Dames, Booze, Chains And Boots
2. Two Headed Sex Change
3. Blow Up Your Mind
4. Hardworkin' Man
5. Miniskirt Blues (w/ Iggy Pop)
6. Alligator Stomp
7. I Wanna Get In Your Pants
8. Bend Over, I'll Drive
9. Don't Get Funny With Me
10. Eyeball In My Martini
11. Hipsville 29 B.C.
12. The Strangeness In Me
13. Wilder Wilder Faster Faster
14. Jelly Roll Rock





Flamejob

1. Mean Machine
2. Ultra Twist
3. Let's Get Fucked Up
4. Nest Of The Cuckoo Bird
5. I'm Customised
6. Sado County Auto Show
7. Naked Girl Falling Down The Stairs
8. How Come You Do Me ?
9. Inside Out And Upside Down (With Me)
10. Trapped Love
11. Swing The Big Eyed Rabbit
12. Strange Love
13. Blues Blues Blues
14. Sinners
15. Route 66 (Get Your Kicks On)






Big Beats from Badsville

1. Cramp Stomp
2. God Monster
3. It Thing Hard-On
4. Like A Bad Girl Should
5. Sheena's In A Goth Gang
6. Queen Of Pain
7. Monkey With Your Tail
8. Devil Behind That Bush
9. Super Goo
10. Hypno Sex Ray
11. Burn She-Devil, Burn
12. Wet Nightmare
13. Badass Bug
14. Haulass Hyena
15. Confessions of a Psycho Cat
16. No Club Lone Wolf
17. I Walked All Night
18. Peter Gunn





Fiends of Dope Island

1. Big Black Witchcraft Rock
2. Papa Satan Sang Louie
3. Hang Up
4. Fissure Of Rolando
5. Dr. Fucker M.D.
6. Dopefiend Boogie
7. Taboo
8. Elvis Fucking Christ
9. She's Got Balls
10. Oowee Baby
11. Mojo Man From Mars
12. Color Me Black
13. Wrong Way Ticket





How to Make a Monster


DISC 1:
1. Quick Joey Small
2. Lux's Blues
3. Love Me
4. Domino
5. Sunglasses After Dark
6. Subwire Desire
7. TV Set
8. Sunglasses After Dark
9. I Was A Teenage Werewolf
10. Can't Hardly Stand It
11. Sweet Woman Blues
12. Rumble Blues
13. Rumble Blues (false start)
14. Rumble Blues
15. Rumble Blues
16. Lonesome Town
17. Five Years Ahead Of My Time
18. Call Of The Wighat
19. Hanky Panky
20. Journey To The Center Of A Girl
21. Junkyard Backoff
22. Everything Goes
23. All Women Are Bad


DISC 2

(Live at Max's Kansas City 1/13/1977)

1. Don't Eat Stuff Off The Sidewalk
2. I Was A Teenage Werewolf
3. Sunglasses After Dark
4. Jungle Hop
5. Domino
6. Love Me
7. Strychnine
8. TV Set
9. I'm Cramped

Live at CBGBs (1/13/1978)

10. Way I Walk, The
11. Love Me
12. Domino
13. Human Fly
14. I Was A Teenage Werewolf
15. Sunglasses After Dark
16. Can't Hardly Stand It
17. Uranium Rock
18. What's Behind The Mask
19. Baby Blue Rock
20. Subwire Desire
21. I'm Cramped
22. TV Set




The Cramps invented "voodoobilly" with Songs The Lord Taught Us (1980), a collection of macabre, manic, ebullient rockabilly numbers that emphasized the beastly instincts: a tribal and feverish rhythm, a tone of voice that bordered on shamanic and zombie-like, a catacomb echo dampening the sound. Disguised as mere B-series parody, Cramps' voodoobilly offered another poignant fresco of urban alienation and another effective fresco of junk culture. Turning to morbid and porno themes with A Date With Elvis (1986), Stay Sick (1990) and Look Mom No Head (1992), the Cramps devoted themselves to recreating the subculture of horror movies and high-school fantasies over and over again, elevating the most degenerate themes to the status of archetypes and semiotic signs.
--------------------------------------------------------------------------------
(Italian text translated by Eric Rucker)

The Cramps were born in 1975 from the union of a singing psycho, ‘Lux Interior’ (alias Eric Purkhiser) and a gutsy girl guitarist, ‘Poison Ivy Rorshach’ (alias Kristy Wallace, ex porno actress), he from Akron, Ohio and she from Sacramento, California, who hooked up with hobbyist blue-collar guitarist Bryan Gregory in Detroit and decided to start a band with no bassist and with an eclectic percussionist, willing to smash his bare hands to a pulp on the drums when necessary. White-rock’n’roll fanatics, mesmerized by horror B-movies, they decided to merge their interests in a kind of voodoo rockabilly which, after being taken under Alex Chilton’s wing a year later at CBGB’s (first concert, the 31st of October), became the most macabre, hardcore punk show in the New York scene. The band’s demonic, psychotic style and sinister power of suggestion were confirmed on their second 45, Human Fly, their chilling revisions of minor tracks from the ‘50s (the first single had been Surfin' Bird) and by Drug Train (1979), a pyschedelic dirge with a railroad rhythm.


Their first album, Songs the Lord Taught us (Illegal, 1980), is one of the masterpieces of the New Wave: Interior’s hiccuping, sepulchral, lycanthropic shaman-guru voice, wrapped in layers of echo, the surly rockabilly figures of Ivy, grotesque guitar anti-virtuoso, the crazed 6-string distortion of Gregory, heir apparent to the satanic perversion of the Stooges, and the occult and tribal primitivism of Nick Knox’s drumming, evocative of the most sinister jungle rites, along with an all-pervading air of amateurism (by their own admission they couldn’t play) are the ingredients of their shameless epilepsy, which sounds to have been torn from atrocious suffering and obsessive neurosis.

Their poses belong to the stereotypes of horror, but their truculence is so overblown as to descend into parody. Standout tracks in this esoteric kaleidoscope for their overdose of ferocity and black humour, are the unruly pounding of Zombie Dance, the rough and exhausting ‘danse macabre’ which is I Was A Teenage Werewolf and, above all, Sunglasses After Dark, an obsessive whirlpool of nightmarish horror where the murderous-sounding Interior, grotesque and sinister, accompanies Ivy’s menacing animalesque gallop and Gregory’s slashing lysergic discharges.


Their mix of consumer society alienation made up a murky hyper-realistic fresco of junk culture, linking Warhol with Hitchcock against a background of spasmodic absurdities, above all on TV Set, with its psycho-robot chanting and martial tribalism, and Garbage Man, a mini-concert of dissonances, concrete noises and demonic guitarring. Shockingly mad furibond dances like Mad Daddy and Rock On The Moon, with their sudden wrenches, overflowing with gibbering howls and electric squalls, are the soundtrack to this hallucinatory ceremony of the neurotic.


Gregory left in 1980, in the grip of a mystical crisis, to join a San Fransisco cult. Deprived of his demonic catalysm, but with Kid Congo Powers (ex-Gun Club and Ivy’s partner) on second guitar, on Psychedelic Jungle (IRS, 1981), their next record, the Cramps kicked back on tracks like Voodoo Idol, which approaches the sinister sound of swamp-rock, the jangling blues of Can't Find My Mind, and in two more breakneck vampiric revisitations: Goo Goo Muck and The Crusher.

After having been forced to take a short break by legal problems, in 1983 the band was back on the scene, taking its satanic show around the world (with Interior imitating a car, getting drunk, getting undressed, throwing himself into the crowd and re-emerging brandishing the torn shreds of a girl’s dress) and the crazed new live depravations of Smell Of Female (Enigma, 1983), like I Ain't and Call Of The Wighat (adding perverse covers The Most Exalted Potentate Of Love and Faster Pussycat to their catalogue) are more like parodies of the subculture that spawned them. The Cramps seemed to take the opposite road to that of many teenage bands of the times, from Devo to the Ramones: they become ridiculous the moment they stopped taking themselves seriously!

The noisy and magestic boogie of Can Your Pussy Do The Dog seems to hint at a return to the ferociousness of yore, but A Date With Elvis (Big Beat, 1986) reduces the rhythmic impact (adding bass to the line-up) in favour of a calmer and more morbid atmosphere and opens a completely new phase in their career: a sort of sexual concept album whose tracks (the tremolo ode How Far Can Too Far Go, the Kinks parody People Ain't No Good, the possessed swamp-country of Cornfeld Dames, the voodoobilly relic What's Inside A Girl and the obscene epic poem Hot Pearl Snatch) build up into an irreverent vein of spicy stories for hungry college kids.

It would be four years before the next Cramps album was released, but those who thought that in the meantime the group had given up the ghost was making a big mistake: the new album, Stay Sick (Enigma, 1990), indulged in the same comic ‘porno-rock’ which had taken the place of the earlier horror parodies, though naturally still with a rock’n’roll beat.

Their farces are as offensive as they are exhilarating, from the crazed Bikini Girls With Machine Guns (with one of the most amazing solos in Ivy’s career and with Interior’s characteristic hiccuping) to the fevered Creature From The Black Leather Lagoon (dance hall and insistent echo on Interior’s voice), falling into red-light delirium as on Journey To The Center Of A Girl where the music just doesn’t matter any more. The gangling procession moves between misogynistic blues (All Women Are Bad) and S&M quadrilles (Saddle Up A Buzz Buzz), with two fantastic old-stylers (Mama Oo Pow Wow and Muleskinner Blues) alternating with the usual semiotic swamp rock delirium (God Damn Rock'n'Roll) and country and western (Daisy's Up Your Butterfly).

After substituting Nick Knox with legendary drummer Jim Sclavunos, Look Mom No Head (Restless, 1992) continued the saga of A Date With Elvis and Stay Sick. The Cramps, like all the classics, are by now a citation of themselves. Their continued homage to Saturday night civilisation (horror movies at the drive-in, the small hours in the dancehall, sex on the back seat) is becoming a rock institution as though it were a subculture museum, an adulterated version of Dr. Caligari’s laboratory and Todd Browning’s freakshow. In their studied imitations of the sonic stereotypes of the 50s, Interior and Rorschach inject an electric venom which is their real trademark: Mephistopholes stole the souls of two hick kids and is now preaching evil to a rockabilly beat.

The fan listens with horror and lust to Ivy’s clamourous guitar psycho-thrash and Interior’s macabre rockabilly hiccuping emerging from the grooves of Two Headed Sex Change and Eyeball In My Martini, among images worthy of Bela Lugosi. And perhaps the most lasting aspect of their art is the good-time porno scenario, such as that of I Wanna Get In Your Pants (with the riff from Louie Louie) and Bend Over I'll Drive, which are, in their own way, moving odes to adolesense. Their motto isn’t ‘sex, drugs and rock'n'roll’, but Dames, Booze, Chains and Boots, the crowning hymn of this disgustingly peurile spectacle. Having reached a point of no return, the process of immersion in the roles they are acting can only have devastating effects on the personality, as the couple confirm with their rash harmonizing on Alligator Stomp.

Having lost their rhythm section but not their heretical verve, on Flamejob (Medicine, 1994) the Cramps continue to wander the paths of post-pubescent erotic fantasy but, as no-one can evade the passing of time, they do it with decreasing conviction. The fanged voodoobilly of Mean Machine and Let's Get Fucked Up or the epileptic dance of Ultra Twist and Inside Out And Upside Down still know how to take r&r by the crank (sexual pun intended). Interior’s sordid werewolf register doesn’t frighten anymore but it’s still magnificent, and Rorschach’s stumbling riffs always seem to rhyme with ‘hell’. Obstinately and incorrigably, the Cramps sing hymns to the most perverse pleasures of sex in the surreal scenarios of Sado County Auto Show and Naked Girl Falling Down The Stairs. A record filled with cliches, but cliches that the Cramps invented.

Big Beat From Badsville (Epitaph, 1997) doesn’t add a single thing to the pot: we’ve heard the voodoobilly of Cramp Stomp dozens of times on their records, sung and played in exactly the same way, and we’ve heard the dirty jokes set to a rock’n’roll rhythm of It Thing Hard-On, Wet Nightmare and Badass Bug just as often. The singer still can’t hold a tune, the guitar hasn’t developed past the sound of classic rock and roll, but perhaps these are the record’s merits, not its limits. They have stayed faithful to their cliches, ignoring the rise and fall of techno, grunge and britpop: in a hundred years, they will seem like classics.
We’ll forgive them the coarse Like A Bad Girl Should and Devil Behind That Bush in exchange for the two minutes of swinging rockabilly (the way only they know how to reconstruct it) of Hypno Sex Ray and the two minutes of rock and roll acrobacy of Haulass Hyena. But the perversest duo in rock music has also learned how to put together shuffling blues the John Lee Hooker way, as in Queen Of Pain and Burn She-Devil Burn, and to imitate/parody the epic garage hymns of the 60s (Sheena`s In A Goth Band and Super Goo). Only their recurring lasciviousness holds them back from hoping for the heights of the charts.

Whether covers of 50s classics or originals penned by Interior and Ivy, their songs carry out an impressive linguistic restoration of rock and roll, destined for shadowy, wild and perverse orgies. The Cramps gave birth to the satanic rockabilly of the seventies, a sort of primitive regression of ‘homo technologicus’, apparently worlds away from the contemporary rock of dehumanisation. In reality, however, the ritual dances of metropolitan zombies are simply further manifestations of the existential catalepsy (alienation and paranoia) afflicting modern man.

Their music is also a great pantagruelian ode to junk, to trash, to recycling. Rockabilly is a simply the Dionysiac pretext for immersion in a devolving universe made up of horror movies, fast food, drive-ins, trashed cars, posters of James Dean, whorehouses on the wrong side of the tracks, soap operas and music hall sketches. The cult of cults (of darkness, of the amateurish, the forgotten, the hidden) finds in them its highest priest and priestess.

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