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Cherry Poppin Daddies - At the Pink Rat

November 30, 2023 - 643 views
On July 26, 2024
12:00 AM - 11:55 PM
Cherry Poppin Daddies
Space Age Bachelor Pad Records
At the Pink Rat

Release Date: July.26 2024

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Steve Perry (Lead Singer, CPD)

At The Pink Rat” was originally conceived in my head, as a live, Broadway type stage production, but any thought of that got kiboshed by the pandemic, unfortunately. “Kings of Swing” was the opener that would set the stage for the proceedings to come. It details the emergence of an East coast, rust belt, group of teenagers who work in Italian restaurants by day and by night are the impresarios of what essentially amounts to a punk rock Speakeasy housed in a strip mall. In this WW2 era decorated club they are the house band and they play original, hybrid Swing/ Punk Rock material. The audience is all dressed accordingly and are Lindy Hopping and throwing aerials all over the place during a frenzied performance where this band are the Kings of the scene. It’s kind of Saturday Night Fever meets Swing Kids in a destroyed once grand, art deco, urban landscape like say Buffalo, NY.

“Party Shake” pits a Pentecostal preacher ranting against the depravities he is observing against an out of control, midnight soiree at a Storyville bordello. Storyville was the red light district of New Orleans from 1897 to 1917, and the area had a large part to do with the birthing of Jazz which evolved out of Ragtime. You can tell that the preacher is subconsciously titillated by the debauchery he is observing by the way he painstakingly describes every detail. In my head there is sort of a Blazing Saddles buffoonish, farcical quality to it. It’s definitely a satire of the hypocritical religious urge to mete out judgement and punishment to others, while internally engaging in the same desire landscape.”

He continues “The first two songs we released off this Swing album, “Lowdown Appreciator” and “Kingsized”, were of a more familiar Daddies sound, whereas “Party Shake” spotlights the ragtime piano playing of Andrew Oliver as well as hot jazz tuba in the bass. I wanted this recording to broaden our audience’s familiarity with our influences, which are quite wide ranging, while still grounding them in sounds they already ascribe to us. In doing so we attempt to gently forge a fuller picture of our intent, thereby allowing us freedom to address topics through use of genres (oftentimes ironically) which is a crucial piece in understanding our growing body of work.”


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