How to Make a Monster

by

The Cramps

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Back in the early 80's, one of my close friends, whose woman done him wrong and was so skint he could only afford to eat mustard sandwiches and instant marcaroni-and-cheese, listened to nothing but The Cramps for three solid months because it buoyed his spirits. No, he wasn't in a rock and roll band. Laid-off auto worker...

While a down-and-out mindset isn't a prerequisite to listening to The Cramps, it certainly helps to get down to their level. At this point, it's obvious to anyone who's been paying attention that they're spinning their wheels in their own unique universe of bad taste, tawdry sex, over-the-top violence, and sub "B" exploitation flicks - no apologies offered and none needed - but it ain't a bad rut to be in.

This compilation takes a look back to the days when Erick Purkhiser and Kirsty Wallace (that's Lux Interior and Poison Ivy to you and me - I know, I'm hopeless!) hatched their dream of hitting Sun rockabilly, filthy R&B, and juvenile delinquent film soundtracks with defibrillators coated with cobwebs, eye of newt, and body parts stored down in the lab, and shouting "It's alive!" at the night sky.

Chances are if you're reading this, you aren't looking for an SACD/audiophile listening experience, which is good, because the quality of some of the early material included on "How To Make A Monster" makes most bootlegs sound like virgin vinyl, with the tape hiss on the 1976 rehearsal material recorded with guitarist (and Detroit boy) Bryan Gregory (nee Greg Beckerleg) threatening to drown everything else out. What emerges from the ether, however, is what might pass as background music for a party down in the torture chamber, early passes at now-established Cramps classics like "Domino," "Sunglasses After Dark," "TV Set," and "I Was A Teenage Werewolf," with Gregory's sister Pam (christened Pam Balam) and Miriam Linna handling the traps. And I'd be remiss if I didn't mention the (wait for it) four rehearsal takes of "Rumble Blues" recorded with Gregory's successor, Kid Congo Powers.

Disc two is comprised of two sets of "Gravest Hits" and "Songs The Lord Taught Us" era tunes recorded at Max's Kansas City and CBGB in 1977 and 1978 respectively, when the band decided to take their vision public. It's a helluva beautiful wreck, with Lux drooling and about to burst an aneurysm, going on and on about who knows what, and Gregory and Ivy bringing the fuzz and distortion. If your idea of a party is fresh underwear, steer clear.

As if all of this sonic roughage wasn't enough, Lux and Ivy's liner notes are some of the best ever, loaded with personal and sometimes disturbing anecdotes, early photos, flyers, and detailed recording information. The Cramps have always been their chew toy and, as they stress in closing, nothing they've ever done has ever been meant as schtick, a popular misconception that "cuts us to our core." Point taken.