Current lineup: Poison Ivy (guitar), Lux Interior (vocals), Harry Drumdini (drums), Sean Yseult (as Pepper Franklinstein) _______________________ Former members: Bryan Gregory (Greg Beckerleg) – guitar, April 1976 – May 1980, Pam Ballam (Pam Beckerleg) – drums, April 1976 – Sept 1976, Miriam Linna – drums, Oct 1976 – June 1977, Nick Knox – drums, July 1977 – Jan 1991, Julien Grindsnatch – guitar, July 1980 – Sept 1980, Kid Kongo Powers (Brian Tristan) – guitar, Dec 1980 – Sept 1983, Mike Metoff (as Ike Knox) – guitar, Oct 1983 – Nov 1983; Jan 1984 - July 1984, Jim Sclavunos – drums, 1984, Candy del Mar – bass, July 1986 - Jan 1991, Slim Chance – bass, July 1986 - Jan 1991, Nickey Alexander – drums, June 1991 - Jan 1993, SugarPie Jones – bass, 2000, Jim Chandler – “Laid down the primal beat” for the European tour 2004, Bill “Buster” Bateman – drums, June 2004 - Aug 2006, Chopper Franklin – bass &; guitar, Jan 2002 - Sept 2006, Jen Hanrahan – castanets June 2000 - Aug 2000,
In the spring of 1976, The CRAMPS began to fester in a NYC apartment. Without fresh air or natural light, the group developed its uniquely mutant strain of rock’n’roll aided only by the sickly blue rays of late night TV. While the jackhammer rhythms of punk were proliferating in NYC, The CRAMPS dove into the deepest recesses of the rock’n’roll psyche for the most primal of all rhythmic impulses -- rockabilly -- the sound of southern culture falling apart in a blaze of shudders and hiccups. As late night sci-fi reruns colored the room, The CRAMPS also picked and chose amongst the psychotic debris of previous rock eras - instrumental rock, surf, psychedelia, and sixties punk. And then they added the junkiest element of all -- themselves. / J. H. Sasfy, Professor of Rockology, from the liner notes of The Cramps 1979 release Gravest Hits
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It would be almost impossible to have never heard of The CRAMPS. Their career has been the stuff of legend. Dangerously bizarre but most of all cool, The CRAMPS represent everything that is truly reprehensible about rock’n’roll. Founding members Lux Interior (the psycho-sexual Elvis/Werewolf hybrid from hell) and guitar-slinging soul-mate Poison Ivy (the ultimate bad girl vixen) are the architects of a wicked sound that distills a cross of swamp water, moonshine and nitro down to a dangerous and unstable musical substance. Their cultural impact has spawned a legion of devil cults and dance-floor catfights, and created in its wake a cavalcade of cave-stomping imitators. As punk rock pioneers in the late seventies, they cut their teeth on the stages of CBGB and Max’s Kansas City and recorded their first record at Sam Phillips legendary Sun Studios, funded mainly by Ivy’s income as a dominatrix in NYC. They coined the now popular term “psychobilly” on their 1976 gig posters. Their hair-raising live performances are still a total, no-holds-barred rock’n’roll assault. After a quarter century of mayhem, they’re too far gone to even consider any other course.
¡MACABRA PRESENTACIÓN ESTE 30 DE OCTUBRE! HORROR RUDE ROCK CON LOS EVILS...IN PERSON!!! PRESENTANDO UN SET ESPECIAL PARA ESTA LÚGUBRE NOCHE, LA CITA ES EN EL CLANDESTINO AVE. CENTRAL 322, A TRES CUADRAS DEL METRO RIO DE LOS REMEDIOS ¡¡¡NO FALTES!!!
The country cult classic, “Psycho”, was composed by Leon Payne, a blind Texas country singer-song writer, after he’d read about fellow Texan Charles Whitman.
In 1966 Whitman had strangled his mother to death, stabbed his wife, and then headed to the top of the University of Texas Library tower and opened fire on an unsuspecting crowd, using his Marine corps sniper rifle, killing sixteen people. Whitman was gunned down by police.
What's up, just checkin out your page. Looks cool. By the way, we just uploaded a few NEW SONGS from our UPCOMING ALBUM!! You should check them out and tell us what you think.
In the spring of 1976, The CRAMPS began to fester in a NYC apartment. Without fresh air or natural light, the group developed its uniquely mutant strain of rock’n’roll aided only by the sickly blue rays of late night TV. While the jackhammer rhythms of punk were proliferating in NYC, The CRAMPS dove into the deepest recesses of the rock’n’roll psyche for the most primal of all rhythmic impulses -- rockabilly -- the sound of southern culture falling apart in a blaze of shudders and hiccups. As late night sci-fi reruns colored the room, The CRAMPS also picked and chose amongst the psychotic debris of previous rock eras - instrumental rock, surf, psychedelia, and sixties punk. And then they added the junkiest element of all -- themselves. / J. H. Sasfy, Professor of Rockology, from the liner notes of The Cramps 1979 release Gravest Hits
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