LUX INTERIOR, the ultra slithery frontman of the legendary CRAMPS engages Sal of Electric Frankenstein in this sinful interview........
I noticed your
last album was dedicated to Goulardi…He
just
past away, right?
Lux: Yup.
Out
here Zacherly is pretty much THE Horror Host.
Can
you explain to our readers the difference between the two, I don’t
think
most people are too familiar with the horror hosts and that whole
phenomenon.
Lux: They were different people, Zacharly and
Goulardi.
To say they were just Horror Hosts, they were much more than that, they
were
somewhere between a horror host and Hitler. Goulardi, he was just way
out of control, always causing trouble, always in trouble but he was so
powerful that he could get away with it. Kind of like Elvis Presley
shaking
his hips on television, he was so powerful he could get away with it,
everyone
was upset about it but they couldn’t do anything
about it because it
was
bringing in too much money. When Goulardi was on TV in the 60’s crime
just
plummeted because no one was out, they were all watching Goulardi. He
was
just a totally rebellious character. A good model for young people and
was one of the forerunners of what later became youth counterculture
type
thing.
They
had a lot of audiences based on television more
than
let’s say the movies themselves.
Lux:
Yeah,oh yeah. The movies were, of course
those
movies were great and everything and that’s part of it, but the part
where
they played music it was like a party, just the chance to go nuts, the
music like Goulardi played "Poppa Ooh Mao Mao" by the Revingtons, wild
great
rock’n’roll records that he played during the time that he was on. He
would
blow up things. He was just a role model.
Have
you seen any tapes of Zacharly’s show that he
had
in the 60’s with the house and the Standells and the Young Lions, they
always used to play. I used to live near there when I was little.
Lux:
Yeah, I’ve never seen Zacharly, I’ve
seen
the video tape of Zacherly introducing trailers and stuff which is
great.
I never saw his show but I’m always a big fan of Zacherly in the
monster
magazines. He was just an amazing. I think that Goulardi and Zacherly
were
probably really the best ones. I’ve always loved Goulardi and as a
matter
of fact we often play his hit single.
Our
band did "Coolest little monster" with Zacherly
on
the B side of one of our singles. He got a new record deal so he redid
that song. He originally was going to sing it with us but he couldn’t
do
it because of his contract, he was still signing by contract so he let
us take from the original record the intro and the middle so on our
record
it’s him doing the intro….We see him all the time. Have you ever gone
to
the Chiller Theatre conventions.
Lux:
No, We’ve always been too busy. I really
would
have loved to go to the Chiller conventions. It sounds great. I’ve seen
photos of him there and he looks great.
We
used to help around the convention with, Kevin
Clement
is the guy. If you ever want to be a guest just let me know, we can set
it up.
Lux:
Oh we’ll probably do that sometime, it’s
just
a bad timing thing. That’s ‘cause we’re always doing something right at
that time so far.
I
don’t know if you collect. Obviously by what
you’re
interested in musically you can see that you’re interested in obscure
records
and horror toys, I’m sure. Have you ever on tour found really good
finds
in any thrift shops?
Lux:
Oh, all the time. We’re always out
looking
for stuff. It’s great because we go to a lot of weird places, we’ll
stop
on the bus, in-between here and there we’ll find amazing things. Fairly
often, you know, the farther away you get from the 60s the harder it is
to find things. Somebody just gave us two albums by the Jaguars in
Montreal,
amazing instrumental albums. Fans give us stuff sometimes and that’s
really
great. Right before we left we found a box with a bunch of jelly jars
on
top of it in a junk store and I piled all this stuff and looked in this
box and something just made me want to see what’s in that box and I
found
just a stack of amazing 78s of all 50s, the real wild, obscure, crazy
rock’n’roll
stuff. Like Blues, R’n’B stuff, that was the latest thing that we
found.
But we find stuff all the time.
One
thing I want to know about. Your lyrics are
interesting
and definitely entertaining, not exactly what draws your inspiration
but
what books or movies you particularly find that you can pull from that
inspires them.
Lux:
Well, all of them. Mainly horror movies
and
exploitation movies and a lot of stuff comes from those press books
from
those old movies. Lines out of old movies, comic books that we collect,
all the old horror comics of the 50s, probably about the only comics
that
we collect are obscure horror comics, the real sick ones from the 50s.
Some stuff comes from there but mainly just old records, old rockabilly
records and that stuff, singles mainly, 45s.
50s
comics have the greatest cover, those colors.
Lux:
Oh yeah.
And
the artists. It seems as though the artist who
didn’t
know how to draw made the coolest monsters.
Lux:
Yeah, real archaic looking.
Our
record covers, we try to make each one look like
an
old, crazy comic book covers. Have you got a hold some old, obscure
horror
film lately on tape that might be real interesting. I’m sure you got
stacks.
Lux:
Well the ones that I really like a lot
are
that I think will become more popular. At one time no one ever knew who
Betty Page was and we really loved Betty Page and I can’t believe that
now she’s as well known as Marilyn Monroe or somebody. I think that the
next thing that might become popular are these West German horror
movies
from the early 60s. They’re just packed with cool stuff. They have all
these weird camera angles, they go take a drink and it’ll show them
looking
at the bottom of the glass. And some girl stripping on the other side
of
a nightclub. They all take place in nightclubs or stripclubs. Just
weird
camera angles. Some of them look like The Cabinet of Dr. Caligari where
some of the angles are so weird and stuff. And they all have sexy girls
in them and really weird stories. Titles like "The Head", "Phantom of
Soho",
"In on the River", just a lot of them early 60s West German horror
movies.
Klaus Kenski’s in some of them, Edgar Wallace. If you want to get one
just
to see what I’m talking about, "Phantom of Soho’s a good one".
I
heard of a lot of these. The French and Spanish
are
easy to come by nowadays, and Italian ones, of course.
Lux:
Yeah, you got to find a good rental
place
that gets good Sinister cinema stuff. The Something Weird Video stuff.
Yeah,
those are always at the convention. They’re
easy
to get. Something Weird come out here all the time, they have a big
huge
table.
Lux:
Yeah we’re real good friends with Mike
Rainey!
Yeah,
Mike’s real nice. We talk to him a bunch of
times
and we try and get clips from Kiss me Quick and other ones that have
Frankenstein,
those nudie cutie ones with Monsters and nudies in them. Those are
pretty
cool. We use some of those stills for our record covers.
Another
question I wanted to ask. Your stage
clothing, do you get them tailored or are they something you find in thrift
shops.
Lux:
Oh, half and half. If we find something
that’s cool and sometimes we get things made. Works both ways.
Ivy’s
outfit in NYC, everyone’s asking where she got
it.
Lux:
The one that she just wore. That was
given
to us by Margaret, the guitar player of the Doll Rods. She wasn’t
wearing
that when the tour started and she pulled it out and said, "Hey, look
at
this She-Elvis outfit" and Ivy said "Ooh yeah" and she put that on and
she looked good in it.
Lately,
as far as listening, has anything been on
the
record player for awhile? I guess being on tour is kinda hard.
Lux:
Oh all kinds of stuff. We listen to
stuff
all the time. We bring a CD player, 2 big boxes of cassettes and stuff,
compilations I’ve made out of singles. That stuff we always take with
us. Just
a lot of Rockabilly stuff is kinda what we are
listening
to, it’s really our favorite thing. We did that interview in Incredibly
Strange music talking about Bachelor Pad Music, that’s what they’re
calling
that these days, we listen to that sometimes, that’s sometimes a fun
thing
to listen to but our real passion is Rockabilly and 60s.
There
seems to be lots of Rockabilly coming out. I
mean
I remember the first time in the 70s Rockabilly resurgence but now
there’s
so many, even more things coming out of the vaults. It’s like a time
machine,
people cranking them out.
Lux:
There seems to be a lot of bands that
seems
to treat it too reverently. You know, they sing about boppin’ in the
soda
shop and all this kinda stuff and that ain’t what rockabilly is
supposed
to be about. It’s really supposed to be about sex. And I like Reverend
Horton Heat, they do something new with it, and there are a few other
bands that do. I wish that somebody would take Rockabilly a step
further, and
Psychobilly that’s not sexual enough, it’s too fast and not sexual
enough
most of the time. It’s kind of like Rockabilly mixed with punk. It
seems
it’s not as sexy as it should be.
Yeah
it doesn’t really seem to be concerned with
that.
It seems to be concerned with the hair-do’s and basically how fast they
can play. It’s not tribal enough or sensuous.
Lux:
Yeah, I mean if Elvis was concerned
about
what came 30 years before him, he’d be doing the Charleston. It makes
no
sense.
It
didn’t seem like they want to be rule breakers,
like
Elvis was more into breaking the rules, so was Jerry Lee Lewis and all
the original people.
Lux:
Yeah and I think that’s what Rock’n’Roll
is
really all about whether it’s R’n’B, Rockabilly, whatever it is. I
think
the Stooges were a great band. They did something brand new when they
started, they were about breaking rules and every once in a while something
like
that happens. But I don’t see much happening since punk rock hit the
70s,
you know the Sex Pistols and the Clash and the American bands like the
Ramones, when that happened and when we started out, I think that was
culture changing and people are still copying that, fashion is copying
that and since than Grunge was just a copy of early 70s progressive
rock.
The thing that punk rock rebelled against – and retro - that’s just
disco
for the fifth time over again. I’d like to see a bunch of 16 year old
kids
do something exciting and new with R’n’R. That’d be great.
Yeah
it seems like just now, maybe since MTV has
stopped
being a big focal point for people the young kids I’ve noticed in our
audience,
the people under 20 seem to be into rock’n’roll again.
Lux:
Uh Huh, I noticed that too. Our
audiences
are mostly very young, kids under 20. They get the point right away.
They
understand.
Yeah,
because they do it by feeling
Lux:
It’s all the ones that are 30 years old
or
something that are trying to make some kind of big philosophy to
understand
what it is.
It
seems like these young kids when I talk to them,
they’re
rebeling against the generation before them which was Hardcore and Rap
and what they’re working on is music that has melody and lyrics that
you
can remember. That’s what’s good about The Cramps because always their
songs were memorable.
Lux:
Yeah that’s a good thing and besides
that
teenagers are always going to be into sex, so if anything good happens
that’s probably the age group where it’s going to come from.
Your
record covers went through different themes, an
S&M
clothes faze for awhile but now it seem slike you’re going towards more
eclectic, right?
Lux:
Well I don’t know, we haven’t had very
many
record covers so they were just some picture we took at the time. We
have
always been kind of interested in the same thing so I have no idea what
our next record cover would be.
I
was over at Epitaph when they were putting your
record
cover together – the new one – and then told me you guys are going to
be
coming out through them. Has it made any difference to you being on
Epitaph?
Sometimes labels are a little controversial with some people.
Lux:
Well, that’s OK with me. They sell to
the
right stores, they sell vinyl and they sell CDs to the stores where a
lot
of people would go buy a Cramps record and that’s that’s good and they
know what they are doing in regards to a lot of things. I just like the
people there. The record company we were with before that was a label
distributed
by Warner Bros. And that was a real horrifying experience. Warner Bros.
Was the only real major label that we dealt with so it’s really
refreshing
to be with Epitaph who are actual real people.
Yeah,
I remember that you guys were having a lot of
problems
with IRS records. It’s hard to find a label to really care about what
you’re
doing and back you up. But with the Cramps all the fans I know of,
myself
included, were real concerned that you find someone who would really
help
you and back you up in a positive way.
Lux:
Yeah, it really is because everybody
sees
something different in the cramps and there’s been times in the past
where
the record label would say, "Oh, you’re a freak show!", "You’re
weirdos!"
"We really got to push that freaky thing!", and that’s a part of it.
Yeah,
it’s a freak show to some guy in a polo shirt but who cares about them.
It’s much better to have a record company who says we know who you are,
we know who your fans are and this should be something sincere to
everybody
involved and honest and that’s the best thing to do.
Distribution
is really important and things like
that
and they probably have a good distribution network.
Lux:
Yeah they do.
I’ve
seen you over the past dozen years and how the
shows
have changed live, sometimes it’s more elaborate. Like one time I saw
you play at "Privates" in NYC and you had the spiders coming out and cobwebs all over the
stage
and everything. Is there a difference between how you set up the shows
year by year, is it planned out how you wanna do it.
Lux:
It’s not too planned out. I think some
of
it is just what we’re into at the moment. We try to have as few rules
as
possible and we try to leave it open to being unpredictable. So we
don’t
like having a lot of props around too much but sometimes we’ll we’ll do
something because we think it’s fun or somebody gives us something,
just
like that outfit that Ivy wore. We didn’t plan it out and draw it on
drawing
boards…
Well
I don’t mean it being planned out on paper but
as
far as wanting to express a certain thing during a certain period.
Lux:
Yeah, it’s kinda just what we’re
interested
in at the time. It’s always different too, sometimes we have no time
and
we just have to throw something together and other times we have more
time
to plan something. It’s always different, it seems like we’re always
busy.
It’s hard when you are in a Rock’n’Roll band, as you know, it’s hard to
just keep it above water.
Just
the mail drives you crazy, when you get stacks
of
letters it gets to be very difficult, and you start to worry about the
things people write you about. Do you get to play smaller clubs anymore?
Lux:
Oh yeah, we play small clubs. It’s
really
fun. We just played in Montreal in a club that holds 650 people. It’s
like
two floors and the floor’s just like 10 feet from the stage, the bottom
floor is right at the edge of the stage, and it goes all around the
stage
so I mean nobody was farther away than 20 or 30 feet. And there’s like
650 people crammed in there and that was just chaos. It’s like when you
see in movies in the peevles?, it’s like the minute you step on stage,
like cshhhhhhhhh. You could hardly hear the music it was just the
shrieking
going on. That was a ball. Like that showshow we did in NY, the first
row
of people was like 10 feet from the stage, or at least it seemed like
it
with all those lights shining, I couldn’t even see the audience half
the
time..And that’s fun too but the more intimate it is the more fun it
is,
the more unusual.
The
lighting was great though, there in NYC, it was
really
dramatic.
Lux:
Yeah, we only use red and white lights,
we
try to keep it as simple as possible and you can do a lot of things
with
that. We don’t have lights that look like disneyland, the color of the
rainbow just going off for no reason.
Oh
yeah it drives you crazy. You’re trying to play
and
lights turn green, purple, orange. And you can’t see the fretboard. And
the strobe lights too, you do it tastefully, you don’t have it running
through
every song. When it does come on, everybody really savors those moments,
it gets pretty cool. When you’ve been playing, basically the original
days
when I saw you at the CBGB’s theatre way back on the Bowery, did you
ever
think that you would still be playing from then till now?
Lux:
Well, we didn’t give it that much
thought
I don’t think. I still can’t imagine not doing the Cramps at this point
I still can’t imagine not doing it so I don’t even know what’s going to
happen. We’ll just do what seems like the right thing to do. Back then
I really don’t think we thought how long are we going to do this. The
first
time we played CBGB’s, the first time we auditioned I think we were
thinking
that we’d go out and nobody would like us that much and we’d only play
once.
Yeah
everybody thinks that the first time. The guitar
that
Ivy got when she played Human Fly, that Dan Electro was that a vintage
one.
Lux:
That is completely made, made out of a
piece
of wood. That was made by a guy in Washington DC, Steve Metts. He makes
guitars for people, he makes guitars for ZZ Top, and when we were
playing
in Washingoton DC he called up Ivy in the hotel room and said, "Hey I
made
you a guitar I want to give it to you.", and she said "Oh, OK." It’s
pretty
amazing when you see it close up it has mother of pearl inlay in the
fretboard,
It has the Cramps logo and on both sides it has those trucker but flap
girls. It’s really beautiful.
Yeah
you could see it’s got a purple shine from
where
I was in the audience. I thought it was a Dan Electro the way it was
shaped.
Lux:
Well it’s a copy of a long horn, the
same
size and everything but it was completely made from scratch.
What
do you think of, I noticed Guitar Wolf
opened
for you, that whole resurgence in Japan of that whole wild rock’n’roll.
Lux:
Well I like a lot of those bands, of
course
we got Guitar Wolf, we sought them out to get them on the bill and it
was
difficult. It was difficult communicating with people in Japan most of
the
time. But I really like the 5678’s, they’re really one of our favorite
bands. Have you ever heard their stuff?
Yeah
I met them a few times, they’ve played down in
NY.
Lux:
Yeah and there’s some other bands from
over
there that are really good. The Cedrics? Yeah there’s a pretty crazy
scene
over there.
Have you been to any countries
besides the usual ones.You've played in Japan and England and all that but have you
played even further east? Asian countries at all like Thailand?
Lux: Yeah we haven't
been to Thailand but we will probably do that soon.
North Vietnam is having bands come there now.
Lux: Oh Yeah? I didn't know that. I heard that China and Thailand are having bands in there now and we plan to do that but I hadn't heard Vietnam.
Yeah you can go in to North Vietnam through Sweden and get in there and somebody told me that 10,000 people will come to a show, even old villagers because there's nothing else. But they've been buying American Punk records through the mail now.
Lux: That would be really great.
I got a letter once and I sold bunches of singles, not just of my band but all different ones to people of North Vietnam. I talked to someone from North Vietnam and they're telling me all these Swedish bands come, and how other bands come through there now that it's a little bit more relaxed. It might be cool to go there.
Lux: If the Cramps played there they probably wouldn't forget it for a while!
Yeah I read that in Thailand when they show Laverne and Shirley, at the beginning they say "Please do not copy these women - they are escaped from a mental institution and are not like how nice normal American girls act." I wonder if you come out to North Vietnam everybody will start emulating a Cramps look.
Lux: That would be pretty funny.
North Vietnam is having bands come there now.
Lux: Oh Yeah? I didn't know that. I heard that China and Thailand are having bands in there now and we plan to do that but I hadn't heard Vietnam.
Yeah you can go in to North Vietnam through Sweden and get in there and somebody told me that 10,000 people will come to a show, even old villagers because there's nothing else. But they've been buying American Punk records through the mail now.
Lux: That would be really great.
I got a letter once and I sold bunches of singles, not just of my band but all different ones to people of North Vietnam. I talked to someone from North Vietnam and they're telling me all these Swedish bands come, and how other bands come through there now that it's a little bit more relaxed. It might be cool to go there.
Lux: If the Cramps played there they probably wouldn't forget it for a while!
Yeah I read that in Thailand when they show Laverne and Shirley, at the beginning they say "Please do not copy these women - they are escaped from a mental institution and are not like how nice normal American girls act." I wonder if you come out to North Vietnam everybody will start emulating a Cramps look.
Lux: That would be pretty funny.
THE END