Listening 30 years later, it's easy to doubt the "punk" claim, as they sound quite homely. But listening to some punk of the time and slightly earlier "un-revived" rockabilly proves that they did indeed bring a harder edge to the genre.
But let's dismiss the ditties first. Stray Cat Strut, (She's) Sexy and Seventeen, C'mon Everybody and Fishnet Stockings may have been bankable hits, but they're definitely not the bands finest work. Often as banal as any Kai$ha song, they rely heavily on rose-tinted nostalgia and the simplicity of the songs soon wears thin.
Speaking of "thin", time for an audio quality rant! The drums lack any power whatsoever, and the hollow snare often sounds like it was actually recorded in the alley outside the recording studio (not a good thing!). Aside from the slapping, the bass guitar is quite faint. On the plus side, the jangly guitar sound has great character and the lead vocals are mostly clear.
Checklist for a rock'n'roll hit: energetic guitar lines, catchy chorus, sharp breaks and lyrics no deeper than discussing than coiffures and a Saturday night out with a pretty girl. Done! Rock This Town ticks all the boxes, and throwing a bit of punk energy into the mix results in a classic song. Built For Speed is similarly great- a nostalgic Rockabilly 101 tale of a cool car. Personally I prefer the verses to the chorus, but nonetheless it's a great song.
Providing some welcomed contrast to the the saccharine 50s love-fest, Little Miss Prissy has... ahem... balls. The riff perfectly suits the harder edge to the lyrics, and I really dig the backing screams at random intervals. Runaway Boys has a wonderful menacing feel, with the double-bass and guitar working perfectly together. My favourite section is the build-up to the chorus, sometimes played as an instrumental, sometimes with the following emotive lyrics:
Running faster,
Faster all the time
You're under-age and
God knows that's a crime
The recording quality of Too Hip Gotta Go (especially the drums) is even worse than that which prompted my earlier rant. It's well worth turning a blind ear too, though, because it's a fine rockabilly ballad. I fined the musicality a bit more inventive than "yet another rockabilly song", and the breaks in the chorus work well. Musically, My One Desire follows a similar style and is thankfully much better recorded. The riffs and energy are highlights, also I really like the different structure due to the lack of a chorus.
I tend to think of Baby Blue Eyes as an instrumental, with the occasional lyrics thrown in. And it's also a great song.
As for the pop hits, personally I'd prefer to go back to the originals and listen to Chuck Berry etc. Rebels Rule is a try-hard teen anthem, made worse by knowing that it's designed for nostalgic appeal. And a typically middle-aged audience makes (She's) Sexy and Seventeen quite creepy. Gonna Ball drops the awkward lyrics, but still doesn't appeal to me. Jeannie, Jeannie, Jeannie is much better. It brings a dash of punk rock spice to the table, which differentiates it and gives it great energy.
Now for the good stuff.
The a cappella I Won't Stand in Your Way is a wonderfully oddball inclusion. I must admit that a lot of the appeal is the contrast, but it's a great song in its own right. The bridge is a particular highlight for me. Speaking of oddball, Ubangi Stomp appeals to me for all the wrong reasons! The bassline is very awkward for ska, and to a lesser degree the drums. But this strangeness makes for a unique style, which has some kind of novelty value for this ska fanatic.
My all-time favourite Stray Cats song is Storm the Embassy. It is a great example of political protest rock, as per The Clash at their finest. The lyrics are brilliantly illustrative and scathing. Although the recording doesn't have a "big" sound, the guitar riffs have enough power to singlehandedly raise the roof! Fantastic.
Rumble in Brighton is quite similar to Runaway Boys but with added attitude, as is necessary when describing fights involving skinheads and knives. Again, huge power, thanks to brilliant guitar and bass work. I thoroughly enjoy the ebb and flow of the menacing build-ups into the riffs, and the explosion of raw energy for the ending.
While the rose-tinted rockabilly often doesn't do it for me, throwing a dash of 80s punk into the mix is a masterstroke.
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