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mclgdrnk
mclgdrnk of cherry poppin daddies

Psychobilly, Glitter Rock, the Floating World, and Morrissey

Posted about 1 year ago
The other day, when I started this MOG I mentioned marginalized genre's that I am enamored with. I like Glitter rock because of the very disparate elements that it attempts to unite. To clarify, what I am most interested in as Glitter would be the TRex, Dolls and Bowie stuff.... you know 50 's retro done in the 70's that somehow utilizes Film Noir, Sci Fi Spacemen, hippy psycho-babble, and Androgyny. Somehow its genesis from the Warhol transvestite theatre and trash fashion, makes it appealing too. That a style like this ever bubbled up out of the crock pot of pop, delights me. The fact that the movement feels a little bubblegum throwaway, is excellent too. Paradoxically, could it be the fact of its artificiality that gives it "authenticity" to me? More abstractly, Glitter gives me a feeling of bittersweet, floating world, transitory moment, delicacy. You really can never step into the same river twice. The 70's connection with the hard boiled 40's, I dig. There is something about John Cassavetes, for example, that gets to something interesting for me here. Reaching forward and backwards in cultural history for meme's and jamming it all into a gumball for teenagers makes me feel like white feathers are snowing all around me and I can see ghostly images of dead relatives projected on a blowing sheer curtain far above me. I predict that Psychobilly will evoke the same sensation for me someday. I have been thinking similar thoughts to Psychobilly- except with the 30's and late 20's substituted- for long before Psychobilly existed. The aspects I like about it are similar to how I feel about Glitter. The cartoony ephemeralness, the cheap ass gothiness, the Blue Velvet everywhere USA mentality. I guess my instinct runs counter to what I like, when writing in a "psychobilly" style. I recently wrote a song on the new Daddies record, (which will be coming out soon) called the Mongoose and the Snake, and because I was trying to fit it into the overall theme of the record, I toned down the trash and injected the style with a different DNA. I liked the results. Of course this begs the question "Is it still Psychobilly then?" I would say no to this. I mean Morrissey does this with "rockabilly" too, he futzes around with the American 50's (among other many other things) to perfume his vision, which is personal and real, and thereby dolls up with irony and semiotic frills; what he has created. That brings up a whole ball of wax that I won't get into that right now. Anyhow, Psychobilly and Glitter act as perfume that I use sometimes for humor and ironic distance. BTW the new record will be coming out hopefully within the month and will be called: Susquehanna. Bye for now MOGsters

Comments (6)

  1. funoka says Psychobilly is probably one of the more underappreciated art forms. Many of the best songs seem to be about you - or your date - getting all liquored up. Some great song titles from genre: All Liquored Up Liquored Up She's Liquored Up I'm Drunk Liquor and Lick Her Are You Drinkin' With Me Jesus? Liquored Up and Laid
    Permalink posted 01/03/2008
  2. contrabandwidth says Wouldn't Sha Na Na's seventies TV show sort of be a synthesis of that psychobilly glitter? I remember it vaguely, and although I didn't know what "sureal" meant, all my memories of it are very much like that. I love you assessment of why Glitter appeals to you, and I would say that is why I always return to it myself. Kind of a profound pleasure like returning to the syrupy sweet world of the primary and complimentary world of an Archie comic. My teenage years were nothing like that, but there was always something fun about losing yourself in the artificiality of Riverdale. Like gorging oneself on too much candy, satisfying and a bit dizzying in the over happiness of a sugar high. Perhaps Bolan's music serves as a sort of action painting of pop music - over analyze it and the answer is "well, I was just singing about sneakers, and everyone wears shoes..." or just bop a long and count in 4/4 just how many licks it takes to get to the tootsie roll center. Strangely, I did not discover T. Rex until college, and when I discovered it it felt like the holy grail as to what good pop music should be. Don't know what would have happened or felt as a sullen, over serious teenager. I probably wouldn't have understood it...
    Permalink posted 01/03/2008
  3. Iren says Very interesting.... 20's Psychobilly... maybe something like a hillbilly cabaret, or Steamabilly... Lovecraft via the upright bass? all of which leaves me thinking of groups like World Inferno Friendship Society and the late Stiffs Inc.. and then finally for some reason has me thinking of Wall of Voodoo... mainly because of Stan Ridgeway's interest in Pulp Noir. When you are talking psychobilly are you thinking stuff like Tiger Army or the first version of The Meteors & The Tallboys stuff? I have to say that I was a late arrival at the glitter party myself (The Velvet Tinmine comp and The Atomic Swindlers finally got me to re-check T Rex and Bowie), and one of the things that I most like about that whole scene is that it is all surface... ok mostly surface, and it's has a fun to it, even when it's trying to be something bigger... food for thought...
    Permalink posted 01/03/2008
  4. mclgdrnk says I love the concept of Steamabilly! The future aint what it used to be. For me I think of the psychobilly genre in pretty broad terms; splitting the difference between garage and rockabilly with a double bass and a few trash culture references. So when I considered what I would do with this genre, I wanted to make it fit my record with the Daddies. Part of our aesthetic has been to make records that vary in genre song to song, so as to sort of equate as well as minimize the importance of the surfaces or styles that a song may take and hopefully draw the listener into the more vital substance of what the songs are actually addressing collectively over the course of say 13 songs. {Parenthetically, the record that we are most known for is a collection of only swing tunes, culled from 3 records, and so not really a representation of how the rest of our our records have been built. Basically we did it because fans asked at our merch table for a record with all our swing songs on it- and we didn't have enough money at the time to make a proper record.} So for Susquehanna I chose to do like 1 song inspired by psychobilly/ rockabilly genre and then move on; and obviously I wanted to "make it new" in some way. What came out is kind of Rumble meets the Living End or something soundwise, with a greasy tenor part grinding and honking its way through. The lyrics avoided Zombies and Elvis, and instead I wanted to lay a bit of a narrative foundation for the rest of the record. So I described the confusion, loneliness and bitterness in the aftermath of a failed relationship. I am describing a character and the circumstances he finds himself in. More Ingmar Bergman than George Romero, I guess. Anyway, so I ended up ruining crucial aspects inherent in the genre that initially inspired me. I hope that the perfume of trash and nostalgia clings to the final product a bit, but really its function is like a scene early in a movie. I hope to set you up for the other songs which range in genre from Flamenco to Bossa to Soca to Thrash, but all have some of their DNA removed and replaced by the developing story, which spins around the ideas of memory and loss. Thanks for some of the tips on other bands that do this kind of thing, and its always comforting to affim that others think about novel ways to address genre as well.
    Permalink posted 01/04/2008
  5. Iren says hey that line between Bergman and Romero is shorter than you might think, the problem often is that people miss the underling message of both... because really weren't both of them dealing with people who are clinging to a way of life that was vanishing? or talking about people who are in worlds that are changing and they are resisting that change.. in Remero's case it's the change to zombies in the case of Bergman it's simply the change of culture (and I am thinking of the Virgin Spring and The Seventh Seal here)... come to think of it death plays a big role in much of both of their better known works.... I think that what a lot of bands miss is that use of imagery, thinking that there is something to the use of the words of the pulp world, when what is really the hook is what those words are really saying. In the case that you describe it would be more like someone feeing trapped in a zombie world where most everyone around is one of the, I don't know 'in-a-relationship-zombies' except for the survivors of the Love-a-cylpse who are still defiantly single... for some reason I see Mel Gibson wearing leather, sawed off shotgun in hand, waiting as a newly zombified Meg Ryan staggers off into the arms of a zombie Tom Hanks... or something like that..
    Permalink posted 01/04/2008
  6. mclgdrnk says I guess using Bergman as an example was an attempt at humor more than an accurate description of what I was trying to accomplish with the song. What I meant to say was that I was trying to get at the feeling of standing in a suddenly empty house after years of it being filled with family and friends. That sense of bewilderment after a tidal wave has swept away everything you had previously known. The question then becomes: "how did I get here?" and "what am I going to do?" and "am I to blame?" I guess I was trying to say that this is not the typical subject matter for a "psychobilly" song. I guess if there was a Bergman film I was thinking of, it would have been Cries and Whispers or Woody Allens'- Interiors, I should have referenced because I was trying to puncture the embarrassing melodrama of how the songs subject matter sounded to me as I typed it. In reality the song stands on its own, I think. That its about something serious is just an example of an experiment in running counter to the expectations of genre. I could have said that and saved a lot of time. The record as a whole often sounds like an interior monologue, and doesn't really address outside society at all, so zombies need not apply- even as metaphor. I just like that for a second, because of the expectations that psychobilly brings with it, you might expect a zombie or elvis to pop out of the hall closet as the main character opens the door to puzzle over a box full of family photo's in which he is frozen in seemingly happier times. Does this make any sense regarding the "perfume" that genre might provide? Years ago I saw another movie that consistently played with the expectations of Hollywood to great effect and that was Tender Mercies. Often what you expected to happen didn't occur and then the director shoved your face into the fact of your own psychic software running ridiculously counter to "events on the ground." Thanks for humoring me, hope to talk more soon.
    Permalink posted 01/05/2008

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