Cherry Poppin' Daddies
From Wikipedia, the free encyclopedia
| Cherry Poppin' Daddies | |
|---|---|
 The Cherry Poppin' Daddies, performing live in Eugene, Oregon in April 2008.
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| Background information | |
| Origin | Eugene, Oregon, United States |
| Genre(s) | Rock Swing revival Third wave ska Alternative rock Funk rock |
| Years active | 1988–present |
| Label(s) | Space Age Bachelor Pad Sonic Recollections Mojo Records |
| Associated acts | White Hot Odyssey, The Visible Men |
| Website | www.daddies.com |
| Members | |
| Steve Perry Dan Schmid Dana Heitman Jason Moss Dustin Lanker Joe Manis Jesse Cloninger Kevin Congleton |
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| Former members | |
| See: Cherry Poppin' Daddies former members | |
The Cherry Poppin' Daddies are an American rock band formed in 1988 in Eugene, Oregon.
Devised as a counter to the rising grunge movement of the Northwest, the Daddies played a mixture of rock, swing, punk, ska and funk, gaining notoriety from extensive touring and three acclaimed independent albums before finding their best known success in their contributions to the swing revival of the late 1990s, namely "Zoot Suit Riot", their first (and only) hit single, and their multi-platinum[1] compilation album of the same name. Following the decline of the swing revival and their drop from a major label, the band endured a brief hiatus before reuniting in 2002 to continue touring and recording.
The Daddies are also remembered for their Oregon-based cult following and lively, formerly controversial stage shows.
Contents |
[edit] History
[edit] Genesis
The Cherry Poppin' Daddies formed in Eugene, Oregon in late 1988, the product of singer/songwriter Steve Perry. Perry, a native of Binghamton, New York, moved to Eugene in the early 80s and enrolled in the University of Oregon where he met bassist Dan Schmid. The two eventually dropped out of college to focus primarily on music, both playing in a number of punk rock bands before forming what would soon become the Daddies.
As the grunge movement began to bloom throughout the Northwest, Perry became disillusioned with the state of the local music scene and set out to create something more genre-bending and compositionally challenging[2]. At this time, he became enamored with swing music and, recruiting a horn section into his band, began to compose some, modernizing it by blending it with punk rock energy and 1960s lyricism[3]. Eventually the group's repertoire grew even more experimental, also encompassing forms of funk, rock and heavy metal. Said Perry:
| “ | Music kind of took a downward spiral...just kind of got really stagnant. So I think that guys who were into music just wanted to do something that no one else was, just kind of lash out or just express themselves….it was our way of saying, "Screw you". I think our music was really a correction to what their viewpoint was. I don't like irony and a lot of that alternative stuff was just fake.[4] | ” |
The name of the band was a last minute decision. The members had been debating over what to call themselves, pitching such suggestions as Big Yank, Mr. Wiggles[5] and The Iron Men of Leisure. Finding themselves without a name and the deadline for their first show rapidly approaching, they quickly decided upon the intentionally provocative moniker of "Cherry Poppin' Daddies", taken from a line in a race record the members had heard. The name was never meant to insinuate rape or incest, but was rather a campy homage to the cartoonish risqué of the Dixieland recordings that had inspired them; as Perry put it, a sexy name that swings[6].
[edit] Early Years and Controversies (1988 - 1990)
Onstage, the Daddies were just as provocative as their title. The band became notorious for their over-the-top semi-performance art stage shows, in which members would usually perform in drag, wild costumes or half-nude. Among their many stage antics, Perry—who was performing under the stage name "MC Large Drink" in an attempt to distance himself from the Journey frontman of the same name—had been carried on stage tied to a giant crucifix[7], comically re-enacted Biblical stories using crude props, had slathered himself in chocolate wearing only a diaper [8], often devised a mad scientist persona and invented silly, useless inventions onstage, gyrated with scantily-clad female go-go dancers and a giant phallic pickle statue and drove around onstage in the "Dildorado", a modified ride-on lawnmower built to resemble an erect penis that happened to simulate ejaculation by shooting salvos of liquid soap.[9]
Additionally, the band's name and their lyrics (most notably the song "Drunk Daddy", which included the line "Drunk Daddy smashed my sister") attracted accusations of sexism and misogyny. The community backlash from the supposedly liberal college town was fierce: the Daddies found themselves often receiving hate mail and death threats, teams of people would rip down show flyers as soon as they were put up, and their concerts were the sites of organized protests and even bomb threats[7]. On one occasion, Perry had a cup of hot coffee thrown in his face as he was walking down the street.[10]
Despite the public hostility, the Daddies still managed to attract critical acclaim and sell out shows in the Eugene area. The band refused to change their name, citing artistic freedom. However, after local venues refused to book them due to the negative publicity that naturally accompanied them, the group temporarily took to disguising their name, performing as "The Bad Daddies", "The Merry Poppin' Daddies" or simply "The Daddies", though retaining their full title while traveling abroad[11].
[edit] Ferociously Stoned and Growing Popularity (1990 - 1996)
In 1989, the Daddies released their first demo, a cassette entitled Four From On High, featuring four tracks of swing and hard funk. After selling reasonably well and winning the approval of legendary DJ Al "Jazzbo" Collins[12], the group recorded their self-produced debut Ferociously Stoned in 1990, released on independent label Sub Par Records (subsequently released on the band's own label, Space Age Bachelor Pad Records). Featuring heavy emphasis on bass and brass and lyrics that ranged from deep and insightful to raunchy and hyper-juvenile, the album proudly displayed the band's rich diversity, swaying between swing, hot jazz, hard rock and even disco and R&B.
Ferociously Stoned immediately became a best-selling record in Eugene[13] and garnered favorable reviews in The Rocket, Alternative Press and The Oregonian, remaining for over a year on The Rocket's Northwest Top Twenty list[14]. In 1991, they won the Portland Music Association's Crystal Award for Outstanding New Band[14]. Ferociously Stoned was re-released on compact disc in 1994, adding the four tracks from Four From On High.
Around 1993, the Daddies began to tour nationally, playing such prominent events as Austin's SXSW, Vancouver's Music West and San Francisco's SFO1[14]. They developed a notable following in California, where, because of their unconventional use of horns, they became a part of the burgeoning third wave ska scene, which included artists such as Skankin' Pickle and Let's Go Bowling. In 1994, they were voted by SF Weekly as one of the three best unsigned bands in the Bay Area, along with Skankin' Pickle and Alphabet Soup[14].
By this time, the Daddies had cleaned up their stage act, replacing their shock-rock stunts with high-speed energy and Perry's frantic Cab Calloway-like dancing. The band's transition into semi-maturity was evident in their second independently released album, 1994's Rapid City Muscle Car. A lyric-driven concept album, Muscle Car proved to be even more eclectic than their debut, incorporating ska punk, country, 50s rock 'n' roll, psychedelia and neo-lounge into the band's already diverse repertoire of swing, rock and funk. The album was released to similar critical acclaim as their debut, with The Stranger calling it "a hell of a ride".
The mid-90s established the Daddies as a prominent indie act. Their first two albums sold upwards of 35,000 combined units[15] and in 1996 alone, the band embarked on six cross-country tours[16].
1996 also saw the release of the Daddies' third self-produced album, Kids on the Street. Featuring Perry on rhythm guitar, Kids was a notable departure from the band's last two albums, featuring lyrical themes that were considerably darker in tone, less prominent brass and a predominantly guitar-driven alternative rock and grunge-pop sound, though the record occasionally branched into ska, power pop, southern rock and jazz. Distributed by noted indie label Caroline Records, Kids worked it's way up Rolling Stone's alternative charts, eventually selling 25,000 copies.[3]
[edit] Zoot Suit Riot and Mainstream Exposure (1997 - 1999)
Although third wave ska and ska punk were on their way to dominating the mainstream in early 1997, the Daddies began attracting a larger swing-oriented fanbase, enough so that concert-goers would frequently approach their merch booth and ask which of their albums had the most swing songs on them. Seeing an opportunity, yet lacking the financing to record a new album, the band's manager convinced the Daddies to compile all of the straight swing tracks from their first three releases into one album, resulting in Zoot Suit Riot: The Swingin' Hits of the Cherry Poppin' Daddies, which also featured four brand-new tracks, including the eponymous song[17]. Reportedly, the record sold as many as 4,000 copies a week[18]. At this time, the Daddies underwent another change in image, as they started catering their sets more towards their newfound swing fans and adopted a new appearance in the way of retro suits, a decision made after suit-clad Mighty Mighty Bosstones frontman Dicky Barrett teased the group for their shabby onstage clothing.[19]
During a national tour with Mojo Records artists Reel Big Fish, the label approached the Daddies about initiating a recording contract. Wishing to have wider distribution with their newest album, the band agreed, and signed a three-record deal[16]. Zoot Suit Riot was reissued and given mainstream distribution in July of 1997.
After impressive album sales and heavy rotation on college radio, Mojo released "Zoot Suit Riot" as a single in early 1998 and started fishing it around to modern rock radio, much to the reluctance of the band, who couldn't see the song faring particularly well on mainstream radio and were worried that they'd lose money off it's promotion.[20]
By early 1998, the third wave ska explosion gave way to the swing revival, a movement that had been bubbling since the mid-1990s, spearheaded by such groups as Royal Crown Revue and the Squirrel Nut Zippers. "Zoot Suit Riot" and its accompanying music video suddenly became the defining song of the movement and shot the band to the brink of major stardom: the album rose its way up to #1 on Billboard's Top Heatseekers and #17 on the Billboard 200, eventually achieving double platinum status, and the group was nominated for a MTV Video Music Award[21] and were prominently featured in the mainstream media, performing on such television programs as The Late Show and The Tonight Show. Zoot Suit Riot was even the subject of a parody song by "Weird Al" Yankovic.
1998 and 1999 also saw non-stop touring for the Daddies, both nationally and internationally, as they shared the stage with such major acts as The Mighty Mighty Bosstones, Ozomatli, Los Fabulosos Cadillacs, The Specials, Rancid and Reverend Horton Heat, as well as acting as the headliners on the 1998 Warped Tour.
Though the Daddies were enthusiastic about the modern revival of swing and dance music and remained friendly with the majority of artists active in the scene, they were critical about the direction the genre was taking in comparison to the earlier ska revival. Said Perry about neo-swing's primarily retro and nostalgia-heavy slant:
| “ | I have some misgivings about the whole thing not because it's getting big but because when people first get into it, they learn to swing dance and buy the jump blues records and that's not what we're really about ... People are being really retro revisionist toward it right now, but in order for [swing] to grow and become more modern they have to let the bands do more interesting things with it. A lot of these bands just play covers. I find that totally a straightjacket. If they don't let bands stretch out a little bit, it's going to die. Musicians won't want to play it because they're forced by traditions to do so.[22] | ” |
Another target of Perry's criticism was the media's treatment the revival:
| “ | I feel sorry…because of the way the media didn't allow all of our bands to have an individual thing. They just lumped us all together as if we all play the same kind of music, and it's not true…But you know, it is annoying. You put out this kind of music, and then people go, "They're this and they're that", you know, "all swing bands are the same" -- that's what the media did. And it sucked for a lot of us…I think it was a real turnoff as far as how the press, in particular, dealt with it[23]. | ” |
By the end of the century, the swing revival, along with the Daddies' mainstream popularity, began to fizzle out as Latin pop and boy bands started rising up the charts. With their touring schedule coming to a close, the Daddies took the opportunity to start working on their next album.
[edit] Soul Caddy and Hiatus (2000 - 2005)
In 2000, the Daddies returned to the studio and recorded their fourth album, Soul Caddy. Another loose concept album reflecting themes of loneliness and alienation, Soul Caddy was a return to the band's standard multi-genre format, delving into soul, Mod revival, ska, hard rock, swing, funk and jazz. The album's leading single was the T. Rex-influenced, Tony Visconti-produced glitter rock number "Diamond Light Boogie".
Mojo's response to Soul Caddy was marginal at best. Claiming that the album wasn't like "the Cherry Poppin' Daddies people know and love", the label did little to promote neither the album nor the single, at one point releasing the latter without the band's name on it[24].
Ultimately, despite receiving moderate critical acclaim, the single didn't chart and Soul Caddy met with disappointing sales, due not only in part of the demise of the swing revival, but also because of audience misconceptions; the majority of new fans the band had accumulated during the Zoot Suit Riot period were unaware of the Daddies' early work and believed them to be a swing-only band, and were thus confused and dissatisfied with the album's lack of swing tracks. A number of reviews, including one from The Boston Globe, even chastised the band for "abandoning" their jump blues "roots" and imitating other artists.[25]
Mojo Records folded in 2001 when it was sold to Zomba/BMG, leaving the Daddies without a label and sending them into a period of inactivity. Perry re-enrolled in the University of Oregon, graduating in 2004 with a degree in molecular biology, while working with his glam rock side project White Hot Odyssey with Daddies guitarist Jason Moss. Dan Schmid and keyboardist Dustin Lanker went on to form their own baroque pop side project, The Visible Men, releasing two albums. Schmid also toured with Black Francis, playing on his 2007 album Bluefinger, and Perry contributed vocals to the song "Ola" off Beenie Man's Grammy Award-winning album Art and Life.
The Daddies regrouped in 2002, sporadically performing single "greatest hits" shows throughout the country at various festivals, casinos and state fairs, though never fully undergoing a complete tour. Meanwhile, Zoot Suit Riot became a staple of 90s pop culture, and the band's work received prominent notice on such competitive dancing shows as Dancing with the Stars and So You Think You Can Dance, which featured "The Ding-Dong Daddy of the D-Car Line" and "Zoot Suit Riot", respectively.
[edit] Resurgence and Susquehanna (2005 - present)
In 2005, the Daddies got back into gear, performing shows more frequently and spending a year and a half writing brand new material. In late September 2007, Perry announced on the band's official MySpace that the group was planning on releasing a new studio album, their first in nearly a decade. The official Daddies' website was also rebooted and redesigned, featuring all of the band's previous albums available for digital download.
Their sixth album, Susquehanna, was quietly released via download on the band's website in February 2008, before receiving a proper compact disc release through Space Age Bachelor Pad the following June, coinciding with their latest US tour.
Susquehanna continued in the Daddies' trademark multi-genre concept album format. Featuring a predominantly Latin-inspired sound, the album experiments with flamenco, bossa nova, Latin rock, reggae and soca, while keeping true to the band's roots of swing, ska and rock. Reviews of the album were mixed; though no major publications provided reviews, amateur internet reviewers, most of whom were mainly, if not only, familiar with Zoot Suit Riot, either praised the band for their musical experimentation or criticized it for its inconsistency.
Currently, the Daddies are performing more frequently from coast to coast, and in November 2008, they embarked on two month-long tour of Europe. During these shows, the band has debuted at least five new songs; Perry has announced that the band hopes to start recording a new studio album in 2009, and possibly release a compilation of the band's collected ska songs.[26]
[edit] Style and influences
[edit] Musical
Perry and Schmid have cited bands such as The Wipers, Elvis Costello, the Meat Puppets[27][28], The Damned[29] and the Butthole Surfers[30] as major influences on the Daddies' style, in terms of the experimental and often genre-bending approaches they took to punk rock.
With their members coming from a varied musical background, from punk rock to jazz, rather than attempt a Mr. Bungle-esque fusion of genres, the Daddies approach each style separately on their albums; for instance, an album will have a swing song, a funk song, a rock song, etc.. Perry uses this approach for a number of reasons, mainly to create a varied, unique listening experience, frequently challenging themselves compositionally by constantly evolving and experimenting. Additionally, Perry uses various sounds as a musical backdrop to his lyrics: in his narrative songs, the genre is sometimes used to personify the type of character being sung about[31] (for instance, big band swing being used for the sleazy Hollywood character of "Mr. White Keys"), or to emphasize the moods reflected in the song[32] (e.g., loud, aggressive rock used for the angst and remorse-themed "Irish Whiskey").
Swing-wise, the Daddies have cited Fletcher Henderson, Count Basie and Duke Ellington as their primary influences. However, the band doesn't play the style of straight swing that was common in either swing or neo-swing, composing their rhythm section in more of a punk/rock style while the horns and keyboards usually play according to standard jazz and swing procedure.
[edit] Lyrical
Perry has been the Daddies' sole songwriter since their inception, naming lyricists such as Randy Newman, Ray Davies, Elvis Costello[30], groups like Steely Dan[31] and authors Henry Miller and Jack Kerouac[33] as influential on his songwriting. The majority of Perry's songs are socio-realistic narratives, frequently about seedy or undesirable characters (told in both first and third person, sometimes with an unreliable narrator), and often utilize irony and twists of humor.
Recurring themes in Perry's songs include father figures ("Drunk Daddy", "Hazel, South Dakota"), loss ("Luther Lane"), loneliness ("Bleeding Ceremony"), sex ("No Mercy for Swine"), suicide or suicidal ideation ("The Lifeboat Mutiny"), alcoholism ("Pink Elephant") and history ("Zoot Suit Riot").
Each of the Daddies' albums (with the exception of the Zoot Suit Riot compilation) are crafted as a concept album, some more complex than others, with its songs tied together by either a common lyrical theme or format. For instance, the majority of songs on Soul Caddy frequently reference themes of loneliness and isolation, while each track on Susquehanna are narratives in which the characters in the songs reflect on a moment of loss from their past. In writing an album, Perry describes each song as characteristic of a short story[30]; by that standard, an album becomes a musical novel, its chapters all leading up to the final song(s): as Perry puts it, the moment of grace, clarity and closure.[13]
A common motif in the Daddies' music (particularly in their swing songs) is to juxtapose dark subject matter against peppy, upbeat music (e.g. "Drunk Daddy", "Master and Slave"). According to Perry, the choice to use serious lyrics in a genre uncharacteristic of such content lends more punch to the message.[34]
[edit] Members
[edit] Current members
- Steve Perry (MC Large Drink) – lead vocals/rhythm guitar (formation – present)
- Dan Schmid – bass (formation – 1997, 1998 – present)
- Dana Heitman – trumpet (formation – present)
- Jason Moss – lead guitar (1993 – present)
- Kevin Congleton – drums (2008 – present)
- Dustin Lanker – keyboards (1997 – 1999, 2000 – present)
- Joe Manis – alto saxophone (2006 – present)
- Jesse Cloninger – tenor saxophone (2008 – present)
[edit] Former members
- Chris Azorr – keyboards (formation – 1997)
- Tim Arnold – drums (formation – 1990)
- Adrian P. Baxter – tenor saxophone (1993 – 1996)
- "CrackerJack" Brooks Brown – alto saxophone (formation – 1994)
- Darren Cassidy – bass (1997 – 2000)
- Nalya Cominos – bass (1997)
- Tim Donahue – drums (1997 – 2008)
- Ian Early – alto saxophone (1997 – 2006)
- Sean Flannery – tenor saxophone (1996 - 2008)
- John Fohl – guitar (1990 – 1993)
- Adam Glogauer – drums (1996 – 1997)
- Johnny Goetchius – keyboards (1999 – 2000)
- James Gossard – guitar (formation – 1990)
- James Phillips – tenor saxophone (formation – 1993)
- Rex Trimm – alto saxophone (1996 – 1997)
- Hans Wagner –drums (1996 – 1997)
- Brian West – drums (1990 – 1996)
[edit] Discography
[edit] Studio albums
| Year | Title | Label |
|---|---|---|
| 1990 | Ferociously Stoned | Sub Par Records |
| 1994 | Rapid City Muscle Car | Space Age Bachelor Pad |
| 1996 | Kids on the Street | Space Age Bachelor Pad |
| 2000 | Soul Caddy | Mojo |
| 2008 | Susquehanna | Space Age Bachelor Pad |
[edit] Compilations
| Year | Title | Label | Information |
|---|---|---|---|
| 1997 | Zoot Suit Riot | Mojo | Four new tracks |
[edit] Singles/promos
| Year | Title | Tracks | Label |
|---|---|---|---|
| 1989 | Four From on High cassette | 1. "Dr. Bones" (Steve Perry) – 3:32 | |
| 2. "Diabolic Tastemaker" (Perry) – 5:12 | |||
| 3. "Up From the Gutter" (Perry) – 4:30 | |||
| 4. "Cherry Poppin' Daddy Strut" (Perry) – 3:05 | |||
| 1992 | The Daddies 7 in. | 1. "Ding Dong Daddy of the D-Car Line" (Perry) – 3:34 | Sonic Recollections |
| 2. "Mom Was No Fat Broad" (Perry) – 4:51 * | |||
| 1997 | Vacationing In Palm Springs 7 in. (Split with Reel Big Fish on track 1) |
2. "Hi & Lo" (Perry) – 3:41 * | Mojo |
| 3. "2:29" (Perry) – 3:43 * | |||
| 1997 | Zoot Suit Riot promo CD | 1. "Zoot Suit Riot" (Perry) – 3:53 | Mojo |
| 1997 | Zoot Suit Riot UK 7 in. | 1. "Zoot Suit Riot" (Perry) – 3:53 | Mojo |
| 2. "No Mercy for Swine" Live from the House of Blues (Perry) – 3:35 * | |||
| 1997 | Brown Derby Jump promo CD | 1. "Brown Derby Jump" (Perry) – 3:01 | Mojo |
| 2. "Zoot Suit Riot" Spanish version (Perry) – 3:55 * | |||
| 1998 | Zoot Suit Riot Australia CD single | 1. "Zoot Suit Riot" (Perry) – 3:53 | Mojo |
| 2. "2:29" (Perry) – 3:43 * | |||
| 3. "Zoot Suit Riot" Spanish version (Perry) – 3:55 * | |||
| 1998 | Zoot Suit Riot UK CD single | 1. "Zoot Suit Riot" (Perry) – 3:53 | Mojo |
| 2. "2:29" (Perry) – 3:43 * | |||
| 3. "No Mercy for Swine" Live from the House of Blues (Perry) – 3:35 * | |||
| 1998 | Here Comes the Snake promo CD | 1. "Here Comes the Snake" alternate mix (Perry) – 3:13 | Mojo |
| 2000 | Diamond Light Boogie promo CD | 1. "Diamond Light Boogie" single edit (Perry) – 3:30 * | Mojo |
| 2. "Diamond Light Boogie" album version (Perry) – 3:42 | |||
| 3. "Diamond Light Boogie" instrumental (Perry) – 3:37 * |
[edit] Other non-album tracks
| Year | Track | Source |
|---|---|---|
| 1993 | "Nobody's Friend" (Perry) – 5:17 | I-5 Killers, Volume 2 compilation |
| 1993 | "The Graduate" (Perry) – 3:24 | Northwest Ungrunge compilation |
| 1997 | "Sound System" (Operation Ivy) – 2:06 | Take Warning: The Songs of Operation Ivy tribute album |
| 1998 | "Jump in the Line (Shake, Shake Senora)" (Harry Belafonte, Rafael De Leon, Gabriel Oller, Stevenson C. Samuel) – 3:45 | BASEketball Original Motion Picture Soundtrack |
| 1998 | "Butch the Gay Santa Claus" (Perry) – 1:37 | Kevin and Bean: Santa's Swingin' Sack Christmas album from radio station KROQ |
| 1999 | "Brown Derby Jump" Live (Perry) – 3:22 | Jingle Ball '98: The CD live album from radio station Star 100.7 (KFMB-FM) |
| "Zoot Suit Riot" Live (Perry) – 4:03 | ||
| 2001 | "Jake's Frilly Panties" (Perry) – 2:48 | Available for download on official website for fan club members from 2001 through April 2006 |
[edit] Videography
- "Zoot Suit Riot" music video, directed by Isaac Camner (1997)
- "Zoot Suit Riot" music video, directed by Gregory Dark (1998)
- "Brown Derby Jump" music video, directed by Jamie Caliri (1998)
- "Brown Derby Jump" (live), performed in the documentary Punk Rock Summer Camp (1998)
- AMC Swings!, television special hosted by and featuring the music of the Cherry Poppin' Daddies (1999)
- "Zoot Suit Riot" (live), performed on the instructional VHS Swing: The Romance of Dance (1999)
[edit] Movie Soundtrack Appearances
- "Jump In The Line (Shake, Senora)" - in BASEketball (1998)
- "Cool Yule" - in I'll Be Home for Christmas (1998)
- "Dr. Bones" - in Meet the Deedles (1998)
- "So Long Toots" - in Blast From the Past (film) (1999)
- "Here Comes The Snake" - in Three to Tango (1999)
- "Here Comes The Snake", "Zoot Suit Riot" and "When I Change Your Mind" - in Simon Says (2006)
[edit] Other songs performed live
Songs performed live at various times without released studio recordings:
[edit] Originals
- "Billy Liar"
- "Centurions of Rome"
- "Jack & Jill"
- "I'm Your Sin"
- "Pool Shark"
- "Ragged Old Flag"
- "Silver Rocket"
- "Slapstick"
- "You Wiped Your Ass with My Heart"
[edit] Covers
- "April in Paris" (Vernon Duke, Yip Harburg)
- "Call Me Irresponsible" (Sammy Cahn, James Van Heusen)
- "Come Fly with Me" (Jimmy Van Heusen, Sammy Cahn) (originally intended to be recorded for a cancelled Frank Sinatra tribute album around 1998)
- "I Gotta Be Me" (Sammy Davis, Jr.)
- "It's Not Unusual" (Les Reed, Gordon Mills)
- "Jungle Boogie" (Kool & the Gang)
- "Mona Lisa" (Ray Evans, Jay Livingston)
- "Sound System" (Operation Ivy)
- "Switchin' To Glide" (The Kings)
[edit] References
- ^ MTV News. 'Cherry Poppin' Daddies Singer Gets Platinum Record for Birthday' MTV News, 1998.
- ^ St. James, Adam. 'Zoot Up Punk' Miami New Times.
- ^ a b Shelton, Sonya. 'Cherry Poppin' Daddies Biography' http://www.musicianguide.com/.
- ^ Sculley, Alan [1] Last Word Features
- ^ Taylor, Robin. '1930s AD' National Catholic Reporter, Dec. 4, 1988
- ^ Rodriguez, Ming. 'Bad Daddies Fight Bad Reputation' The Daily Emerald. October 4, 1990
- ^ a b Glauber, Rich. 'The Baddest Daddy' What's Happening.
- ^ Craig, David Cobb. 'Swing High' People Magazine
- ^ 'The Official Cherry Poppin' Daddies Biography' http://www.daddies.com/
- ^ Willman, Chris 'The Poppa Chart' Entertainment Weekly. May 29, 1998
- ^ Killen, Venus. 'An Evening with the Cherry Poppin' Daddies' SKAzaam. 1998
- ^ Daddies bio on Last.fm
- ^ a b Siegle, Lisa. The Daddies Are Poppin' Up from the Underground The Register-Guard. March 15, 1991.
- ^ a b c d Official 1994 Cherry Poppin' Daddies Press Kit
- ^ Official 1996 Press Kit
- ^ a b Warren, Mark. Focus Magazine, Iss. 84 (Sep 4th - Sept. 17, 1997) 'Cherry Poppin' Daddies'
- ^ Miserandino, Dominick A.. 'Cherry Poppin' Daddies - Steve Perry' www.thecelebritycafe.com. 2000
- ^ Foyston, John.. 'Cherry Poppin' Daddies' OregonLive. September 6, 1998
- ^ Hagestedt, Andre. 'Oregon's Sugar Daddies?' Oregon Offbeat(s) Network. Circa 1998.
- ^ Fulmer, Carl & Coston, Daniel. 'Tangents Magazine Interview' Tangents Magazine. 1998
- ^ MTV News 1998. 'Cherry Poppin' Daddies Discuss What Really Swings' MTV News.
- ^ Thiel, Shayla. 'Meet the Cherry Poppin' Daddies' The Washington Post. September 19, 1997
- ^ Maerz, Jennifer. [www.drdrew.com/DrewLive/article.asp?id=1069 'Steve Perry of Cherry Poppin' Daddies'] www.drdrew.com. 2001
- ^ duBrowa, Corey. 'Dropping In' Oregon Quarterly. 2008
- ^ Greenlee, Steve. The Boston Globe. February 15, 2001.
- ^ Mohler, Bennett. 'The Cherry Poppin' Daddies Are Back' The Torch. November 20, 2008
- ^ 'Chat-A-Log' Earwig Chat Cave. May 6, 1998.
- ^ Hollifield, Clayton. 'Interview' July 7, 1998.
- ^ Steininger, Alex. 'Interview with Steve Perry' In Music We Trust. c. 1997
- ^ a b c Chandler, John. 'The Cherry Poppin' Daddies'. The Rocket. August 13, 1997.
- ^ a b Kale, Wendy. 'Pop Go the Daddies'. Colorado Daily. December 10, 1993.
- ^ Rentilly, J. 'Cherry Poppin' Daddies' Gallery Magazine. November 2000.
- ^ Kastle. 'Cherry Poppin' Daddies'. Factor X. May 1994.
- ^ Feifer, Jason. 'Listen Up, They've Got Something to Say' Ink19.com. C. 2001
[edit] External links
- The Official Cherry Poppin' Daddies Website
- Cherry Poppin' Daddies at MySpace
- Daddyworld: A Comprehensive CPD Fan Site, Est. 1998
- Dream Not of Today: Interview with Steve Perry of the Cherry Poppin' Daddies
- 2008 Rockwired Interview with the Cherry Poppin' Daddies
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