Resolved after the death of lead singer Lux Interior, California punk rockers THE CRAMPS were definitely one of the most long-running, the most genuine and important bands that defined and pioneered at least a couple of subgenres of punk and inspired hundreds of both classic and modern bands out there. Founded back in 1976, The Cramps were founded in 1976 with a distinct musical and visual style and developed a sound that mixed the raw energy and simplicity of punk, rockabillyās fringe, and psychedelic experiments, never selling out their ideals, and never finding wide popularity. Three One G label is here to slightly change that and recall one of the greatest and most important punk in the history. Their new compilation “Really Bad Music For Really Bad People: The Cramps as Heard Through the Meat Grinder of Three One G” landmarks the 100th release by Three One G Records and it’s available digitally as well as on limited edition vinyl.
Mastered by Brent Asbury at Measurable Harm and spiced up by layout and design by Black Moon Design, the release looks and sounds amazing, and we’ve pleased to give you its new video teaser and a special excerpt from Justin Pearson’s book, From the Graveyard of the Arousal Industry, in which he talks about meeting The Cramps at the age of 12, which totally changed his life forever.
From the book From the Graveyard of the Arousal Industry by Justin Pearson
IāM NOT CURRENTLY DEVELOPING A SOCIAL LIFE
When I first moved to San Diego, I went to see The Cramps at the California Theatre, which is now an abandoned building downtown. This was one of the first concerts I went to after I moved there, and it was a monumental one. Not only was I seeing a band that I had cut my teeth on, but also I was able to meet them at the end of the show. See, I think for most twelve year old kids, they probably would have no interest in seeing a man dressed in all patent leather, wearing high heels, who stuck a microphone down his pants while rubbing his crotch. But then again, I have no idea what itās like to be an average twelve year old. Point is, the band was awesome. This was just before they started to get crappy and loose their edge (coincidentally right before they signed to Epitaph). Just after they finished the set, I asked this woman who was an usher in the theater, if she would have the band sign my t-shirt. She said that she would try, and told me to wait at her post as she took my shirt with her. A few minutes later she came back, and asked me to go with her. I ditched my friends and followed the lady to the back, through a few doors and into the bands dressing room. I was stunned when I walked in as the band all greeted me, signed my shirt, and I even got a kiss on the forehead from Poison Ivy. The band shot the shit with me. Well, as best as they could, being that I was a little kid. In retrospect, I realize that the moment that I met them influenced any sort of musical career that I have created now. They were super cool to me, and I realized that there did not have to be this preconceived notion that all musicians are stars and that I, a twelve-year old kid, could be on the same level as them. That night would stick with me for the rest of my life, and would come back to me so many times later on when I would be in a similar place as The Cramps were years ago.
When I first moved to San Diego, I went to see The Cramps at the California Theatre, which is now an abandoned building downtown. This was one of the first concerts I went to after I moved there, and it was a monumental one. Not only was I seeing a band that I had cut my teeth on, but also I was able to meet them at the end of the show. See, I think for most twelve year old kids, they probably would have no interest in seeing a man dressed in all patent leather, wearing high heels, who stuck a microphone down his pants while rubbing his crotch. But then again, I have no idea what itās like to be an average twelve year old. Point is, the band was awesome. This was just before they started to get crappy and loose their edge (coincidentally right before they signed to Epitaph). Just after they finished the set, I asked this woman who was an usher in the theater, if she would have the band sign my t-shirt. She said that she would try, and told me to wait at her post as she took my shirt with her. A few minutes later she came back, and asked me to go with her. I ditched my friends and followed the lady to the back, through a few doors and into the bands dressing room. I was stunned when I walked in as the band all greeted me, signed my shirt, and I even got a kiss on the forehead from Poison Ivy. The band shot the shit with me. Well, as best as they could, being that I was a little kid. In retrospect, I realize that the moment that I met them influenced any sort of musical career that I have created now. They were super cool to me, and I realized that there did not have to be this preconceived notion that all musicians are stars and that I, a twelve-year old kid, could be on the same level as them. That night would stick with me for the rest of my life, and would come back to me so many times later on when I would be in a similar place as The Cramps were years ago.
Eighteen years ago, Three One G Records flew in the face of Queen purists with the release of Dynamite With A Laserbeam: Queen As Heard Through the Meatgrinder of Three One G, the labelās 20th release. On it, bands like Melt-Banana, Weasel Walter, The Locust, Bastard Noise and The Blood Brothers unapologetically tackled some of the most beloved and universally recognizable music in popular culture and made it nasty, noisy, and brutal– and they did so with nothing but love and respect. This was followed by an equally bold tribute to Australian avant-garde legends The Birthday Party, entitled Release The Bats. More frenetic energy from the likes of bands like Cattle Decapitation, Das Oath, SSion and Some Girls, more chaotic feedback giving way to unsettling synth lines, and still (knock on wood) not a lawsuit in sight.
It is only fitting, then, that Three One Gās one hundredth release be another tribute, this time to an iconic band known for its raunchy and pure punk spirit, all while looking effortlessly cool: The Cramps. For the labelās third comp, the lineup of musicians enlisted to take part is even more diverse, including the likes of Chelsea Wolfe, Daughters, Mike Patton, and Metz, among others– all members, in some way or another, of the extended Three One G family. Here youāll hear everything from Cumbia-style Cramps as interpreted by Sonido De La Frontera, to Panickerās electronic dance-centric distorted version of āIām Crampedā. Just as The Cramps mastered the art of covering music through their own warped lens, Three One G carries on the torch of re-imagining songs with swagger and style, making it their own while honoring a band whose influence on the label is obvious.
This compilation will be the landmark 100th release by Three One G Records. It will be available digitally as well as on limited edition vinyl on May 1st, 2020.
