While the band's earliest releases were mostly grounded in punk and funk rock, their later studio albums have since incorporated elements from many diverse genres of popular music and Americana into their sound, including rockabilly, rhythm and blues, soul and world music. The Daddies' music is primarily a mix of swing and ska, contrastingly encompassing both traditional jazz-influenced variations of the genres as well as contemporary rock and punk hybrids, characterized by a prominent horn section and Perry's acerbic and innuendo-laced lyricism often concerning dark or political subject matter.
Formed by singer-songwriter Steve Perry and bassist Dan Schmid, the band has experienced numerous personnel changes over the course of its 30-year history, with only Perry, Schmid and trumpeter Dana Heitman currently remaining from the original founding lineup. The Cherry Poppin' Daddies are an American swing and ska band established in Eugene, Oregon, in 1989. Here are some images I’ve collected for inspiration.įollow Dylan Kinnett’s board Space Age Bachelor Pad on Pinterest.See: Cherry Poppin' Daddies former members It contains the far-out sounds of the retro-future that have inspired the whole idea. I have collected a small but growing audio playlist of inspirations on Spotify. I’ve been using my blog and then later Pinterest to gather up a growing collection of visual examples and pictures of things that seem to fit in with the world I imagine for this. The soundtrack is already recorded, thanks to my friend Curt Seiss. The play I’m inspired by was heavily choreographed, and I don’t want to lose the element of choreography, should it ever get performed. It’s lighthearted, nonsensical and intended to be completely over-the-top. I’ve got a story about a mad scientist, the guy who lives on his couch, that guy’s girlfriend, oh and a creature from another dimension. In other parts of life the aesthetic has names like “mid century modern” and “shag.” I’ve also heard it called “Space Age Pop” and “Exotica." That’s just in the music world. One name for that style of music was “Space Age Bachelor Pad” which names the setting nicely for me. The setting for my play would be the world where these album covers happen. They felt so liberated by nonsense they pursued nonsense almost to the exclusion of all else, and this play was part of a body of work that encouraged them to do so. It’s my opinion that the “nonsense” quality of this play is a side effect of the terms of the experiment, rather than the result. It has the themes, patterns, rising and falling intonations that music has, but it does not exactly have narrative qualities. The result is somewhat nonsensical, absurd language. As I understand it, the hypothesis of the experiment was that theatrical dialogue, as sound, could be composed, as music, rather than to have the dialogue “written” in the conventional sense.
Satie, a composer, experimented to create this play. This play is structured in a format that was popular at the time, where the scenes of the play alternate with musical compositions, which are accompanied by dance movements. Once, and seemingly just for fun, the composer wrote a play along with interstitial music, entitled “ Le piège de Méduse” (“Medusa’s Trap” or “The Ruse of Medusa”). I set out to write a play, inspired by these wacky album covers.Īt the same time, I’d been interested in the work of the early minimalist composer, Erik Satie. The settings and scenarios in these photos were so blatantly, ridiculously nonsensical and obviously in love with the idea of outerspace. I had seen some ridiculous photographs, featured on the covers of old records, from an era of very early electronic music I later learned was named “ Space Age Pop”.
“Space Age Bachelor Pad” began as a script for a one act play.
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