Cherry Poppin Daddies

The Cherry Poppin' Daddies are an American swing and ska band established in Eugene, Oregon, in 1989. 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 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. 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.

Initially drawing both acclaim and controversy as a preeminent regional band, the Daddies gained wider recognition touring nationally within the American ska scene before ultimately breaking into the musical mainstream with their 1997 swing compilation '' Zoot Suit Riot''. Released at the onset of the late 1990s swing revival, ''Zoot Suit Riot'' sold over two million copies in the United States while its eponymous single became a radio hit, launching the Daddies to the forefront of the neo-swing movement. By the end of the decade, however, interest in the swing revival had swiftly declined, along with the band's commercial popularity. The resultant failure of their subsequent album ''Soul Caddy'' contributed to an abrupt hiatus in 2000.

The Daddies officially regrouped in 2002 to resume part-time touring, eventually returning to recording with the independently released '' Susquehanna'' in 2008. Their eleventh album, the punk and ska-influenced ''Bigger Life'', was released in June 2019.

History

Formation

Following his high school graduation in 1981, Steve Perry left his hometown of Binghamton, New York, for Eugene, Oregon, to pursue track and field and a chemistry degree at the University of Oregon. A punk rock devotee since adolescence, Perry soon became engrossed in Eugene's underground music scene, where he eventually met and befriended musician and fellow University student Dan Schmid. Sharing similar musical ambitions and a mutual disinterest in school, the pair agreed to drop out of college together and start a band, forming the punk trio The Jazz Greats in 1983, which evolved into the Paisley Underground-styled garage rock group Saint Huck, which lasted from 1984 to 1987.

As the rise of grunge began to phase punk and hardcore out of the Northwest underground by the late 1980s, Perry set out to start a band that stood in defiant contrast to the shoegazing attitude of alternative rock, showcasing high energy dance music and Zappa-esque theatricality in an attempt to create something that an audience would react to viscerally instead of passively. Recruiting a horn section led by alto saxophonist Brooks Brown, Perry and Schmid formed their latest band Mr. Wiggles – named so after a Parliament song – in November 1988, playing their first show in Springfield as part of a benefit concert for workers of the Nicolai door manufacturing plant, who were then engaged in a union strike.

"My conception of punk", Perry told '' The Rocket'', "was doing whatever the hell you wanted as long as it had vitality and wasn't overly stupid ... something exploratory and experimental", citing influence from genre-bending bands such as The Clash and the Meat Puppets. In their earliest incarnation, Mr. Wiggles played punk-inflected funk and soul music, though Perry's songwriting soon grew to draw heavily from a newfound interest in jazz, swing and rhythm and blues, combining punk rock and jazz arrangements in what Perry described was a desire to contemporize American roots music by infusing it with punk energy and using modernist, socially aware lyricism.

Early years (1989–1993)

In 1989, the title of Mr. Wiggles was retired when the band switched to a new name, " Cherry Poppin' Daddies", derived from jive slang the members had overheard on a vintage race record. The band played their first show as the Cherry Poppin' Daddies at the W.O.W. Hall in Eugene on March 31.

The Daddies sought to differentiate themselves from other Northwest rock bands of the era by having a horn section, featuring outlandish stage theatrics, and encouraging their audiences to dance. As Perry spoke of the Daddies' ideology, "It was our way of saying 'screw you' o alternative rock 'phoniness'... we wanted to have fun, outrageously have a good blast without even thinking about it". Nonetheless, by the end of 1989, the Daddies had built a strong and loyal following within Eugene's counterculture, frequently selling out show and gathering critical acclaim."

The Daddies recorded their first demo cassette ''4 From On High'' in July 1989, which included four tracks of funk rock and punk-influenced swing. The cassette sold over 1,000 copies in the Eugene and Portland areas, enabling the band to self-produce their debut LP '' Ferociously Stoned'', released the following year. Fusing punk rock and jazz horns with funk grooves, ''Ferociously Stoned'' drew favorable critical comparisons to contemporaries Faith No More and the Red Hot Chili Peppers while also becoming a regional best seller. The album set a record for advance sales in Eugene's record stores and remained for over a year on '' The Rockets Northwest Top Twenty list. The album helped expand the Daddies' Northwestern touring reach to as far as Alaska and Los Angeles by 1992.

Controversies and censorship

Cherry Poppin' Daddies' early performances often included flamboyant costumes, go-go dancers, phallic stage scenery, prop-heavy skits, or choreographed dance numbers. Perry—then performing under his mad scientist stage persona of "MC Large Drink"—would regularly engage in absurdist shock rock stunts, such as mock crucifixion and flag burning. One of the band's stage props was known as the "Dildorado" or "The Dildozer", a riding lawnmower modified to look like a human penis that mimicked ejaculation by shooting colorful fluids from its tip.

The band attracted controversy from Feminist groups, who condemned the band's performances as pornographic, citing their name and sexually charged lyricism as a promotion of sexism and misogyny. Perry disputed such claims, defending the controversial elements as misinterpreted satire. In what ''Eugene Weekly'' called "the most hotly discussed topic in the local music scene" and "the Eugene flash point for the growing national debate on censorship ndfree speech", the Daddies experienced controversy which nearly ended their burgeoning career. Vigilante protest groups habitually tore down or defaced the band's posters and sought boycotts against venues that would book the group and even newspapers which gave them a positive review. The Daddies' concerts routinely became sites of organized picketing and, on one occasion, a bomb threat. The band members themselves were frequent recipients of hate mail, threats and physical harassment: once, Perry claimed, an irate protester threw a cup of hot coffee in his face as he was walking down the street.

The Daddies initially refused to change their name on the grounds of artistic freedom, but a number of venues refused to book them due to the negative publicity. The band was temporarily banned from the W.O.W. Hall, where they had previously served as house band. The group later bowed to community pressure, and performed under the name "The Daddies", "The Bad Daddies," and similar variations within Eugene, but performed under their original name while touring elsewhere. As the Daddies retired the theatrical elements from their later live shows, the controversies surrounding the band waned and they returned to using their full name everywhere. Some minor complaints resurfaced during their mainstream success in the late 1990s.

National touring and independent success (1994–1996)

Throughout the early 1990s, the Daddies continued to remain a reliably popular and profitable draw in the Pacific Northwest and Northern California club circuit. Despite earning critical accolades from the local music press, including winning ''SF Weekly''s title of "Best Unsigned Band" in 1994, the Daddies struggled to achieve wider recognition and distribution. Following a number of changes in their member and managerial lineups, the group embarked on their first national tour in the fall of 1994, which was highlighted by a set at the CMJ Music Marathon festival and convention in New York City. Upon returning to Eugene without any advantageous deals, the Daddies instead bought and constructed their own independent record label and recording studio, Space Age Bachelor Pad Records, where they self-produced and self-recorded their second studio album, ''Rapid City Muscle Car'', which was released in December 1994. Described by Perry as "an idea album" and "very psychedelic", ''Rapid City Muscle Car'' was a distinct departure from the upbeat dance music vibe of ''Ferociously Stoned'', showcasing a diverse range of disparate genres including ska punk, psychedelic rock, country, rockabilly, big band, hard rock and lounge. While Perry has retrospectively cited ''Rapid City Muscle Car'' as his personal favorite Daddies album, he revealed in a 1995 interview with the ''Los Angeles Times'' that the album sold "okay" but ultimately didn't surpass sales of ''Ferociously Stoned''.

The Daddies began dedicating themselves to full-time touring in 1995, playing over 200 shows across two or three national tours per year, including spots at prominent music festivals such as South by Southwest in Austin, Texas. As the band gradually built fanbases and markets around the country, they began attracting interest from several high-profile record labels, among which reportedly included Hollywood Records and producers including Roy Thomas Baker and Terry Ellis. However, when the suggestion or stipulation was made that the Daddies stick to one genre, Perry invariably rejected these offers, not wanting any outside influences controlling the band's sound. In a similar mindset, not wishing to be pigeon-holed into any specific scene or genre, Perry at first refused to tour with ska bands, though after a highly successful and well-received tour with Fresno ska band Let's Go Bowling, he acquiesced, and the Daddies eventually carved out a lucrative niche within the national ska scene, forming regular touring partnerships with the likes of The Mighty Mighty Bosstones, Reel Big Fish and Less Than Jake.

While the mainstream's growing focus on punk and ska by the mid-1990s presented the Daddies with further commercial opportunities, Perry still insisted foremost on maintaining complete creative control of the band. In February 1996, the Daddies released their third self-produced studio album on Space Age Bachelor Pad, ''Kids on the Street''. Another musical departure from their previous record, ''Kids on the Street'' was mostly a reflection of the band's growing punk and ska influences, eschewing the Daddies' trademark brassy funk and swing in favor of guitar-driven rock, punk and ska, as well as stylistic detours into jazz and country. Distributed by noted indie label Caroline Records, ''Kids on the Street'' wound up becoming the Daddies' most successful release at the time, staying on '' The Rocket''s Retail Sales Top Twenty for over seven months and even working its way onto ''Rolling Stone''s Alternative Charts.

''Zoot Suit Riot'' and major label years (1997–1999)

By late 1996, ska had broken through into the American mainstream as one of the most popular forms of alternative music, catapulting such major label bands as Reel Big Fish and The Mighty Mighty Bosstones into the national spotlight. The Daddies, however, without the support of a record label, were ultimately left on the fringes of commercial visibility. Although ''Kids on the Street'' had sold well for an independent release, the band had continuing difficulty securing press and distribution outside of the Northwest, while the pressure of full-time touring was inevitably becoming both a personal and financial strain on the members. The Daddies experienced at least fifteen lineup changes from 1996 to 1997, including the departure of original keyboardist Chris Azorr and co-founder Dan Schmid, leaving only Perry and trumpeter Dana Heitman as the sole remnants of the original lineup. Feeling they had finally hit a glass ceiling as an independent band, Perry said the Daddies were left with one of two options at this time: either sign to a label or break up.

Despite primarily playing ska tours during this turbulent period of their career, the Daddies suddenly began attracting a sizable and enthusiastic audience for their swing music, owing heavily to the coincident public interest in the formerly underground swing revival movement due in part to the success of the 1996 film '' Swingers''. Although the Daddies had occasionally played shows with notable swing revival bands like Royal Crown Revue, they were not largely associated with the scene or subculture; when fans regularly began approaching the band's merchandise table asking which of their albums contained the most swing songs, the Daddies realized they lacked an album fully representing their swing side, prompting the band's manager to convince them to compile all of their swing songs onto one CD until they could afford to make a new album, using their available finances to record several bonus tracks for inclusion. The result, '' Zoot Suit Riot: The Swingin' Hits of the Cherry Poppin' Daddies'', became an unexpectedly popular item as the band went on tour, reportedly selling as many as 4,000 copies a week through their Northwest distributors.

While stopped in Los Angeles during another tour together, Reel Big Fish arranged a meeting between their label Mojo Records and the Daddies in the hopes of helping the band obtain a distribution deal for ''Zoot Suit Riot''. Following negotiations between Perry and Mojo, however, the label instead signed the Daddies to a two-album recording contract. ''Zoot Suit Riot'' was licensed and reissued by Mojo and given national distribution in July 1997, less than four months after its original release.

Mainstream breakthrough

As swing music steadily gained commercial momentum throughout 1997, sales of ''Zoot Suit Riot'' increased dramatically; by December, Mojo was moving 12,000 units per week. In January 1998, the label informed the Daddies of their decision to push the album's title track as a major single and distribute it among mainstream radio stations. The Daddies, who were beginning work on their next studio album, ardently protested this move, believing that a swing song would never receive airplay and were concerned that the band would end up having to recoup the marketing costs. Mojo nevertheless persisted, and much to the band's surprise, "Zoot Suit Riot" soon found regular rotation on stations such as Los Angeles' influential KROQ-FM, helping establish swing music in the mainstream and leading to its eventual commercial breakthrough, with the Daddies at the forefront. By mid-1998, the Daddies had emerged as one of the most successful bands of the swing revival: after climbing to number one on ''Billboards Top Heatseekers, ''Zoot Suit Riot'' became the first album of the swing revival to crack the Top 40 on the ''Billboard'' 200, peaking at number 17 and spending an ultimate total of 53 weeks on the charts. In June 1998, the album had sold 500,000 copies in the United States, going on to surpass sales of 1.4 million by August.RIAA – Cherry Poppin' Daddies
Recording Industry Association of America. Retrieved March 9, 2010

Suddenly finding themselves in hot demand, the Daddies immediately started touring again. Spending the majority of 1998 and 1999 on the road, the band were now playing close to 300 shows a year, carrying out both headlining and supporting tours of the United States while traveling internationally as one of the headliners on the 1998 Warped Tour beside Rancid, NOFX and Bad Religion. By this time, the group's touring conditions had greatly improved, thus enticing Dan Schmid – who had originally left the band due to health concerns – to return as the Daddies' bassist at Perry's request.

Although the Daddies were experiencing commercial success under the guise of swing revivalists, having been declared the "leaders" of the movement by ''Rolling Stone'', the band openly contested being labeled a retro act at the exclusion of their dominant ska and punk influences and modernist lyricism. While still vocal supporters of both the swing revival and its bands, the Daddies adamantly tried to disassociate themselves from the swing scene and in particular its nostalgia-based mentality: Perry explained to ''Spin'' in July 1998, "it's not our mission to be a swing band. I'm not a guy from the '40s. That's why we play ska and use heavy guitars", noting elsewhere "I can't fully take us out of the retro classification, but we harp on the fact that we're contemporary music". Thusly, the Daddies avoided touring with swing bands, selecting Latin rock group Ozomatli and ska/soul band The Pietasters as support on their first headlining U.S. tour, and opening for Argentine rock band Los Fabulosos Cadillacs on their 1998 North American tour. At one point, the Daddies attempted to arrange a tour with Primus which never materialized; said Perry, "I know there are people who come to our shows who'd like nothing more than for us to play swing 24/7 ... there are plenty of bands who want to be swing bands and swing bands only. We're trying to find the audience who'll let us write songs and just be who we are".

During the height of the Daddies' popularity, Perry found the band's mainstream notoriety was causing an alienating effect on his personal life, claiming it to have negatively changed his relationships with friends and even subjected him to occasional heckling from strangers who recognized him in public. He would later recall, "It's a total cliché, but ame
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