Cherry Poppin' Daddies

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Cherry Poppin' Daddies
The Cherry Poppin' Daddies, performing live in Eugene, Oregon in April 2008.
Background information
Origin	Eugene, Oregon, United States
Genre(s)	Rock Neo-swing Third wave ska Funk rock
Years active	1988–present
Label(s)	Space Age Bachelor Pad Mojo Records
Associated acts	White Hot Odyssey, The Visible Men, Mad Caddies
Website	www.daddies.com
Members
Steve Perry Dan Schmid Dana Heitman Jason Moss Dustin Lanker Joe Manis Jesse Cloninger Kevin Congleton
Former members
See: Cherry Poppin' Daddies former members

The Cherry Poppin' Daddies are an American multi-genre rock band formed in 1988^[1] in Eugene, Oregon by Steve Perry (lead vocals/guitar). While the band has gone through numerous personnel changes, only Perry, Dan Schmid (bass) and Dana Heitman (trumpet) remain from the original incarnation, with Perry and Heitman being the only two constant members throughout the band's twenty year history.

Conceived as a counter against the rising grunge movement of the Northwest, the Daddies played an unconventional lyric-driven mixture of punk rock, funk, ska and swing music, among other styles, attracting a local cult following for their wild and frequently controversial performance art-like live shows. The band spent most of the 1990s touring extensively and recording, with their self-produced, ska-influenced third album, 1996's Kids on the Street, earning distribution by Caroline Records and appearing on Rolling Stone's Alternative Charts.^[2][3]

The Daddies found international commercial success in the late 1990s as part of the swing revival movement, namely for their 1997 hit single "Zoot Suit Riot" and their major-label compilation album of the same name. Despite prominent media coverage and the double-platinum status of their record^[4], by 2000, the Daddies' mainstream popularity had declined with that of neo-swing. Following a short hiatus, the band regrouped in 2002 to continue touring and recording, independently releasing their fifth and most recent studio album, Susquehanna, in early 2008.

Contents 1 History 1.1 Formation 1.2 Early years and controversies (1988–92) 1.3 National touring and rising popularity (1993-96) 1.4 Zoot Suit Riot and mainstream exposure (1997–99) 1.5 Soul Caddy and hiatus (2000–05) 1.6 Return and Susquehanna (2006–present) 2 Musical style and influences 2.1 Lyrical 3 Members 3.1 Current members 3.2 Former members 4 Discography 4.1 Studio albums 4.2 Compilations 4.3 Singles/promos 4.4 Other non-album tracks 4.5 Videography 4.6 Movie soundtrack appearances 5 References 6 External links

[edit] History

[edit] Formation

The Cherry Poppin' Daddies' genesis began when singer/songwriter Steve Perry moved to Eugene, Oregon in the early 1980s. Perry, a native of Binghamton, New York, had relocated to the Northwest to enroll in the University of Oregon, where he eventually befriended fellow student and punk enthusiast Dan Schmid. Despite neither having any prior musical experience, the two decided to drop out of college and focus on playing music, forming the jangle pop band St. Huck and the punk rock band The Jazz Greats before assembling what would eventually become the Daddies in November of 1988.^[1][5]

As the grunge movement began to bloom throughout the Northwest, Perry's disillusionment over the state of the local music scene inspired him to set out and create a punk rock band that was more genre-bending and experimental.^[6] Said Perry:

“

Music kind of took a downward spiral...just kind of got really stagnant. So I think that guys who were into music just wanted to do something that no one else was, just kind of lash out or just express themselves...it was our way of saying, "Screw you". I think our music was really a correction to what their viewpoint was. I don't like irony and a lot of that alternative stuff was just fake.[7]

”

At the time, Perry had recently discovered jazz and swing music, and, recruiting a horn section and a jazz-trained keyboardist, he began to integrate the genres into his band's repertoire of rock- and funk-influenced punk. He called the songs composed in this style a "contemporary hybrid": modernizing swing by blending it with punk rock energy and 1960s-style lyricism.^[6][8]

With their first show rapidly approaching and without a band name, the group began debating what to call themselves, pitching such suggestions as Big Yank, Mr. Wiggles and The Iron Men of Leisure, before reluctantly deciding upon the intentionally provocative "Cherrypoppin' Daddies". The name, borrowed from a line in a race record the members had heard, was intended to be edgy in the same ilk as the Butthole Surfers or Love Battery, yet also reflected the band's jazz side as a campy homage to the cartoonish risqué of the Dixieland recordings that had inspired them; as Perry put it, "a sexy name that swings".^[9][10][11]

[edit] Early years and controversies (1988–92)

	"Flovilla Thatch vs. the Virile Garbageman" Sample of "Flovilla Thatch vs. the Virile Garbageman" from the Daddies' debut album Ferociously Stoned (1990), showcasing the strong funk influence, prominent brass and blatant sexual innuendos that were predominant in the band's early work.
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Sporting a horn section, a penchant for stage theatrics, and inciting their audiences to dance, the Daddies proved to be at odds with the then-current state of the Northwest music scene, enough so that they were originally shunned by fellow local punk and alternative bands alike.^[12] Donning an array of flashy Funkadelic-inspired costumes, drag get-up or simply half-nude, the Daddies became perhaps most notorious for their over-the-top performance art-like stage shows: among their many antics, Perry – who was performing under the stage name "MC Large Drink" in an attempt to distance himself from the Journey frontman of the same name – was carried around on stage tied to a giant crucifix,^[13], gyrated with scantily-clad female go-go dancers and a giant phallic pickle statue^[14], simulated sexual acts, re-enacted various Biblical and literary stories with crude and offensive props, had slathered himself in chocolate wearing only a diaper^[15], projected pornographic videos alongside the band^[16] and drove around onstage in the "Dildorado", a modified ride-on lawnmower built to resemble an erect penis that simulated ejaculation by shooting salvos of liquid soap from its tip.^[17]

Not surprisingly, the Daddies' presence immediately generated local controversy, with their live shows being branded as "pornographic", as well as accusations of sexism and misogyny based towards their band name and lyrics.^[16] The community backlash from the supposedly liberal college town was fierce: the Daddies constantly found themselves receiving hate mail and death threats from irate citizens, teams of people on the street would rip down show flyers as soon as they were put up, and their concerts were the sites of organized protests, boycotts and even bomb threats.^[18][13][19] On one occasion, Perry had a cup of hot coffee thrown in his face as he was walking down the street.^[20]

Despite the public hostility, the Daddies still managed to attract an audience, and the group extensively played and often sold out shows in the Eugene and Portland area throughout the early 1990s. Initially, the band refused to change their name, citing artistic freedom, but after local venues refused to book them due to the negative publicity that naturally accompanied them — which included a temporary ban from the W.O.W. Hall, one of Eugene's top venues^[12] — the Daddies caved into community pressure, taking to performing under such pseudonyms as "The Bad Daddies", "The Censor Shippin' Daddies" or simply "The Daddies", though retaining their full title while traveling abroad.^[18] As the band progressed in their career, the controversy surrounding their name eventually weaned, and they returned to using their full title in their hometown, though some minor protest surfaced once again following their mainstream break.^[21]

In 1989, the Daddies recorded their first demo, a cassette entitled Four From On High featuring four tracks of funk and swing. After selling reasonably well and winning the approval of legendary DJ Al "Jazzbo" Collins^[22], the band recorded their self-produced debut Ferociously Stoned in 1990, releasing it on independent label Sub Par Records (and subsequently re-released on the band's own label, Space Age Bachelor Pad Records). Featuring heavy emphasis on bass and brass, Ferociously Stoned was mostly a showcase of the band's funk rock influences, though also dabbled in multi-genre territory, touching upon swing, hot jazz, hard rock, punk and even disco and R&B. The album immediately became an underground hit in Eugene^[23], remaining for over a year on The Rocket's Northwest Top Twenty List and helping the Daddies win the Portland Music Association's Crystal Award for "Outstanding New Band" in 1991.^[24] Ferociously Stoned was re-released on compact disc in 1994, with the four tracks from Four From On High appended.

[edit] National touring and rising popularity (1993-96)

	"Irish Whiskey" Sample of "Irish Whiskey", from Kids on the Street (1996), featuring the guitar-driven hard rock sound the band adopted during this era.
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By 1993, following a number of personnel changes including the addition of guitarist Jason Moss, the Daddies had transitioned into a full-time band and began touring nationally, playing upwards of 200 shows a year and performing at such music festivals as Austin's SXSW and New York's CMJ.^[24][3] They developed a particular following in California, where, presumably because of their use of a horn section, they became a staple of the Bay Area's burgeoning third wave ska scene, and frequently acted as touring support for such ska artists as Skankin' Pickle, Let's Go Bowling, Fishbone and The Mighty Mighty Bosstones. In 1994, SF Weekly voted the Daddies as one of the best unsigned bands in the Bay Area.^[24]

By this time, the Daddies had cleaned up and condensed their stage show, having done away with their original shock-rock stunts. The band's transition into semi-maturity was evident in their second independently released concept album, 1994's Rapid City Muscle Car. A halfway point between their punk rock roots and the more accessible recordings to follow, Rapid City Muscle Car was less abrasive and more eclectic, incorporating ska punk, country music, rock 'n' roll, psychedelia, big band and neo-lounge into the Daddies' repertoire of swing, rock and funk.

The mid-90s established the Daddies as a prominent indie act; 1996 alone saw the band embark on six cross-country tours.^[25] 1996 also saw the release of the Daddies' third self-produced album, Kids on the Street. Reflecting their newfound place within the ska scene, Kids was a drastic departure from the band's previous albums, drifting from their usual mix of genres and instead featuring a predominant focus on guitar-driven and horn-inflected alternative rock and power pop, with occasional forays into ska, grunge-pop, southern rock and jazz. Kids on the Street wound up being the band's most successful release up to that point: finding distribution with indie label Caroline Records, the album remained on The Rocket's Retail Sales Top Twenty for over seven months, eventually working its way onto Rolling Stone's Alternative Charts.^[3][8]

Despite the indie success of Kids on the Street, this era proved most difficult for the Daddies, as their constant touring schedule was becoming a burden on the band members' personal lives. The group went through heavy personnel changes at this time, recording Kids with three different drummers (including ex-Mr. Bungle member Hans Wagner), and experiencing ten line-up changes in 1997 alone, including the departure of original keyboardist Chris Azorr and co-founder Schmid, leaving only Perry and trumpeter Dana Heitman as the sole remains of the original line-up. The constant touring was also becoming a financial strain on the band; during this time, Perry said the Daddies were ultimately left with one of two options: either get signed or break up.^[26]

[edit] Zoot Suit Riot and mainstream exposure (1997–99)

Although third wave ska and ska punk had broken through into the mainstream by early 1997^[27], the Daddies had begun attracting a larger audience for their swing material, enough so that concert-goers would recurrently approach their merchandise booth and ask which of the band's albums had the most swing songs on them. Seeing an opportunity, yet lacking the financing to record a whole new album, the Daddies' manager convinced them to compile all of the straight swing and jazz tracks from their first three releases onto one CD, using their available funds to record and include four new songs.^[28] The result, Zoot Suit Riot: The Swingin' Hits of the Cherry Poppin' Daddies, again released on Space Age Bachelor Pad, became an unexpectedly hot seller, reportedly selling as many as 4,000 copies a week as the band went on tour.^[29] Finding a newer fanbase with their swing music, the Daddies underwent another shift in image as they started catering their sets more towards their swing fans and adopted a new appearance in the way of vintage suits, a decision made after suit-clad Mighty Mighty Bosstones frontman Dicky Barrett teased the group for their shabby onstage appearance.^[30]

During a national tour with Reel Big Fish, Mojo Records (who was then label to Reel Big Fish) approached the Daddies about initiating a recording contract. Wishing to have wider distribution with their newest album, the band agreed, and signed a three-record deal.^[25] Zoot Suit Riot was reissued by Mojo and given mainstream distribution in July of 1997. After impressive album sales and a few months of rotation on college radio, Mojo released "Zoot Suit Riot" as a single in early 1998 and started fishing it around to modern rock stations, much to the reluctance of the Daddies themselves, who couldn't see the song faring particularly well on mainstream radio and were worried that they'd lose money off its promotion.^[31]

	"Zoot Suit Riot" Sample of "Zoot Suit Riot" from Zoot Suit Riot (1997), the Daddies' most recognized song and one of the biggest hit singles from the swing revival movement.
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By early 1998, "Zoot Suit Riot" and its accompanying music video served as one of the kickstarts that transitioned the third wave ska craze into the swing revival, a movement that had been bubbling since the mid-1990s, spearheaded by such groups as Royal Crown Revue^[32] and the Squirrel Nut Zippers.^[33] Although the album was met with mixed to negative critical response, heavy rotation of "Zoot Suit Riot" on both KROQ and MTV eventually made the single into a genuine hit, helping the album rise to number one on Billboard's Top Heatseekers and peak at number 17 on the Billboard 200^[34], propelling the Daddies to the brink of stardom: Zoot Suit Riot achieved platinum status in 1998 and double platinum in 2000^[4], the group was nominated for a MTV Video Music Award^[35] and the band was prominently featured in the mainstream media, performing on such television programs as The Late Show with David Letterman, The Tonight Show with Jay Leno and Dick Clark's New Year's Rockin' Eve 1998.^[36] "Zoot Suit Riot" was even the subject of a parody song by "Weird Al" Yankovic.

1998 and 1999 also saw non-stop touring for the Daddies, both nationally and internationally, as they toured with such bands as the Bosstones, No Doubt, Ozomatli, Los Fabulosos Cadillacs, The Specials, Rancid and The Reverend Horton Heat, as well as acting as the headliners on the 1998 Warped Tour. 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.^[37]

Though the Daddies were mostly enthusiastic about the modern revival of swing and dance music at this time, they were openly critical about the direction the genre was taking in comparison to the earlier ska revival, singling out in interviews neo-swing's primarily nostalgia-heavy slant, calling most bands' retro-revisionist attitudes and sound an artistic straitjacket ^[38], as well as the media's treatment of the revival, claiming how the labels and press failed to distinguish the major neo-swing bands as their own individual entities, instead lumping them all together as if "all swing bands sound the same".^[39] The Daddies also found difficulty in separating themselves from their newly-acquired "swing band" image, though claimed to have often felt pressured to maintain it due to audience expectations, sometimes even to the point of encountering audience hostility at their live shows when they would deviate from playing swing material.^[40][41]

By the end of the century, the popularity of the swing revival had started to decline; as such, the Daddies' mainstream popularity, along with that of the majority of swing revival artists, began to fizzle out as Zoot Suit Riot slowly slid off the charts. With their touring schedule coming to a close, the Daddies took the opportunity to start working on their next studio album.

[edit] Soul Caddy and hiatus (2000–05)

In 2000, the Daddies returned to the studio and recorded their fourth album, Soul Caddy. Another loose concept album, Soul Caddy was a return to the band's standard multi-genre format, encompassing soul, psychedelic rock, ska, hard rock, swing, funk and jazz. The album's leading single was "Diamond Light Boogie", a T. Rex-influenced glitter rock number which was produced by Tony Visconti and featured guest vocalist Mark Volman of 1960s pop group The Turtles.^[42]

	"Diamond Light Boogie" Sample of "Diamond Light Boogie", the leading single off Soul Caddy (2000). A throwback to glam rock, it was produced by Tony Visconti, known for his work with T. Rex and David Bowie.
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Despite letting the Daddies have total creative control over Soul Caddy, Mojo's response to the record was marginal at best. Claiming that it wasn't like "the Cherry Poppin' Daddies people know and love", the label did little to promote either the album or the single, at one point releasing the latter without the band's name on it.^[43] With virtually no major marketing behind it, Soul Caddy was released in October of 2000.

The album was ultimately met with mixed reviews^[44], partly due audience misconceptions: the majority of new fans the band had accumulated during the Zoot Suit Riot period were for the most part unaware of the Daddies' early work and believed them to be a swing-only band, and were thus dissatisfied with Soul Caddy's lack of swing tracks. A number of reviews, including one from The Boston Globe, even chastised the band for "abandoning" their jump blues "roots"^[45], while some criticized the Daddies' entire aesthetic: UGO's Hip Online stated bluntly, "covering five or six genres on one album is just insane"^[46]. Despite some moderate critical praise, however, Soul Caddy ended up being a commercial failure, and, added to the folding of Mojo Records in early 2001 when it was sold to Zomba/BMG, the Daddies were sent into an extended period of inactivity, effectively disbanding for over a year. The band officially regrouped in February 2002, then took to sporadically performing single "greatest hits" shows throughout the country at various festivals, casinos and state fairs, though never fully undergoing a complete tour.

During this time, Perry re-enrolled at the University of Oregon, graduating in 2004 with a B.S. in molecular biology, and formed a side project with fellow Daddy Jason Moss, the glam rock outfit White Hot Odyssey. Schmid and keyboardist Dustin Lanker focused on their own side project, the baroque pop/powerpop act The Visible Men, releasing two albums and touring extensively. Schmid also toured with Black Francis in 2007, recording on his album Bluefinger, drummer Tim Donahue briefly toured with Yngwie Malmsteen on his 2001 European "War to End All Wars" tour^[47] and Perry contributed vocals to the song "Ola" off Beenie Man's Grammy Award-winning album Art and Life.

[edit] Return and Susquehanna (2006–present)

In 2006, the Daddies' music re-emerged into the public eye when their songs "Zoot Suit Riot" and "The Ding-Dong Daddy of the D-Car Line" were featured on the competitive dancing shows So You Think You Can Dance and Dancing with the Stars, respectively (the latter program continued to use Daddies songs well into 2009^[48]). That year, the Daddies got back into gear, performing shows more frequently and spending a year and a half writing brand new material. In late September 2007, Perry announced on the band's official MySpace that the Daddies were planning on releasing a new studio album. The official Daddies website was also rebooted and redesigned, featuring all of the band's previous albums available for digital download.

Their sixth album, Susquehanna, was quietly released via download on the band's website in February 2008, receiving a compact disc release through Space Age Bachelor Pad the following June. Susquehanna again followed the format of a multi-genre concept album: featuring a predominantly Latin-inspired sound, the album delved into flamenco, bossa nova, Latin rock, reggae and soca, while staying close to the band's roots of swing, ska and rock. Reviews of the album were again mixed; though no major media publications provided reviews, independent internet publications such as The Celebrity Cafe and PopMatters either praised the band for their mix of genres or criticized it as inconsistent.

In support of Susquehanna, the Daddies embarked on a full-length US tour in mid-2008, followed by a two month-long tour of Europe, their first visit to the continent since 1998. During these shows, the band debuted at least five new songs; Perry announced that the Daddies hope to start recording a new studio album in 2009 along with several other projects.^[49]

2009 will also see the release of the Daddies' second compilation album: entitled Skaboy JFK: The Skankin' Hits of the Cherry Poppin' Daddies, the album will compile all of the band's ska songs, along with several newly recorded tracks. According to Perry, the album will have a wider release than Susquehanna and is due out in late September.^[50]

[edit] Musical style and influences

Perry and Schmid have cited 1980s punk rock and hardcore as being most influential on the Daddies style, particularly experimental groups such as the Meat Puppets, The Damned and the Butthole Surfers, as well as Elvis Costello, The Kinks, Oingo Boingo and Parliament-Funkadelic. Both men have frequently named the Wipers' 1983 album Over the Edge as their favorite record.^{[51][52][53][12]}

Since their inception, Steve Perry has acted as the sole songwriter and primary composer of the Daddies music, as well as overseeing all artistic aspects of the group, from the production to the album artwork.^[54] According to Jason Moss in regard to the band's songwriting process, Perry usually creates the chord progressions and melodies for the songs on his guitar, and sometimes offers suggestions for drum beats, bass lines and specific guitar riffs, which are built upon by the other band members until arriving at a finished product. In contrast to bands such as Mr. Bungle or Fishbone, who created cross-genre fusions, the Daddies play each musical style separately on their albums; for instance, an album will have a swing song, a funk song, a rock song, etcetera. According to Perry, the collocation of genres creates a varied, unique listening experience, but is mostly an artistic choice, serving as a musical backdrop to his lyrics, used to personify the type of character being sung about or to emphasize the moods reflected in a song.^[55][56][57]

Swing-wise, the Daddies have cited Fletcher Henderson, Jimmie Lunceford and Duke Ellington as their primary influences^[10], though don't play the style of straight swing that was common in either traditional swing or neo-swing, driving their rhythm section in more of a punk/rock style with hornlines on top, not wholly compositionally dissimilar to third wave ska. This is most evident in the band's early swing songs, which were predominantly composed in minor keys, faster tempos and occasionally utilized heavy distortion, ska rhythms, elements of Dixieland and rock, and dissonant tones.^[38][51]

[edit] Lyrical

Perry has named lyricists such as Randy Newman, Ray Davies, Elvis Costello, groups like Steely Dan and authors Henry Miller and Jack Kerouac as influential on his songwriting, significantly in the use of narrative.^[12][56][58] The majority of Perry's songs are socio-realistic narratives, frequently about or told through the eyes of undesirable and/or sympathetic characters, sometimes with an unreliable narrator, and often employ irony and twists of humor.^[12][19] Recurring themes in his songs include distant or cruel fathers, loss, loneliness, alcoholism, sex and historical events, and often reflect struggles against adversity and the coming of age.

Each of the Daddies' studio albums are crafted as a concept album, with its songs tied together by either a common lyrical theme or format. For instance, the majority of songs on Soul Caddy frequently reference themes of isolation and social disconnection, while each track on Susquehanna are narratives in which the characters in the songs reflect on a moment of loss from their past. In writing an album, Perry describes each song as characteristic of a short story, that the album becomes a musical novel of sorts, its chapters all leading up to the final song(s): as Perry puts it, the moment of grace, clarity and closure.^[12][23]

A common motif in the Daddies' music (particularly in their swing songs) is to juxtapose dark subject matter against peppy, upbeat music. According to Perry, the choice to use serious lyrics in a genre uncharacteristic of such content lends more punch to the message.^[59]

[edit] Members

[edit] Current members

• Steve Perry (MC Large Drink) – lead vocals/rhythm guitar (formation – present)
• Dan Schmid (Dang Oulette) – bass (formation – 1997, 1998 – present)
• Dana Heitman – trumpet (formation – present)
• Jason Moss – lead guitar (1992 – present)
• Dustin Lanker – keyboards (1997 – 1998, 2000 – present)
• Joe Manis – alto saxophone (2006 – present)
• Kevin Congleton – drums (2008 – present)
• Jesse Cloninger – tenor saxophone (2008 – present)

[edit] Former members

• Chris Azorr – keyboards (formation – 1997)
• Tim Arnold – drums (formation – 1990)
• Adrian P. Baxter – tenor saxophone (1993 – 1996)
• "CrackerJack" Brooks Brown – alto saxophone (formation – 1994)
• Darren Cassidy – bass (1997 – 2000)
• Nalya Cominos – bass (1997)
• Tim Donahue – drums (1997 – 2008)
• Ian Early – alto saxophone (1997 – 2006)
• Sean Flannery – tenor saxophone (1996 - 2008)
• John Fohl – guitar (1990 – 1992)
• Adam Glogauer – drums (1996)
• Johnny Goetchius – keyboards (1999 – 2000)
• James Gossard – guitar (formation – 1990)
• James Phillips – tenor saxophone (formation – 1993)
• Rex Trimm – alto saxophone (1996 – 1997)
• Hans Wagner –drums (1996 – 1997)
• Brian West – drums (1990 – 1996)

[edit] Discography

[edit] Studio albums

Year	Title	Label
1990	Ferociously Stoned	Sub Par Records
1994	Rapid City Muscle Car	Space Age Bachelor Pad
1996	Kids on the Street	Space Age Bachelor Pad
2000	Soul Caddy	Mojo Records
2008	Susquehanna	Space Age Bachelor Pad

[edit] Compilations

Year	Title	Label	Information
1997	Zoot Suit Riot: The Swingin' Hits of the Cherry Poppin' Daddies	Space Age Bachelor Pad/Mojo Records	Four new tracks
2009	Skaboy JFK: The Skankin' Hits of the Cherry Poppin' Daddies	N/A	N/A

[edit] Singles/promos

* Denotes non-album tracks

Year	Title	Tracks	Label
1989	Four From on High cassette	1. "Dr. Bones" (Steve Perry) – 3:32
		2. "Diabolic Tastemaker" (Perry) – 5:12
		3. "Up From the Gutter" (Perry) – 4:30
		4. "Cherry Poppin' Daddy Strut" (Perry) – 3:05
1992	The Daddies 7 in.	1. "Ding Dong Daddy" (Perry) – 3:34	Sonic Recollections
		2. "Mom Was No Fat Broad" (Perry) – 4:51 *
1997	Vacationing in Palm Springs 7 in. (Split with Reel Big Fish on track 3)	1. "Hi & Lo" (Perry) – 3:41 *	Mojo
		2. "2:29" (Perry) – 3:43 *
1997	Zoot Suit Riot promo CD	1. "Zoot Suit Riot" (Perry) – 3:53	Mojo
1997	Zoot Suit Riot UK 7 in.	1. "Zoot Suit Riot" (Perry) – 3:53	Mojo
		2. "No Mercy for Swine" Live from the House of Blues (Perry) – 3:35 *
1997	Brown Derby Jump promo CD	1. "Brown Derby Jump" (Perry) – 3:01	Mojo
		2. "Zoot Suit Riot" Spanish version (Perry) – 3:55 *
1998	Zoot Suit Riot Australia CD single	1. "Zoot Suit Riot" (Perry) – 3:53	Mojo
		2. "2:29" (Perry) – 3:43 *
		3. "Zoot Suit Riot" Spanish version (Perry) – 3:55 *
1998	Zoot Suit Riot UK CD single	1. "Zoot Suit Riot" (Perry) – 3:53	Mojo
		2. "2:29" (Perry) – 3:43 *
		3. "No Mercy for Swine" Live from the House of Blues (Perry) – 3:35 *
1998	Here Comes the Snake promo CD	1. "Here Comes the Snake" alternate mix (Perry) – 2:56	Mojo
2000	Diamond Light Boogie promo CD	1. "Diamond Light Boogie" single edit (Perry) – 3:30 *	Mojo
		2. "Diamond Light Boogie" album version (Perry) – 3:42
		3. "Diamond Light Boogie" instrumental (Perry) – 3:37 *

[edit] Other non-album tracks

Year	Track	Source
1993	"Nobody's Friend" (Perry) – 5:17	I-5 Killers, Volume 2 compilation
1993	"The Graduate" (Perry) – 3:24	Northwest Ungrunge compilation
1997	"Sound System" (Operation Ivy) – 2:06	Take Warning: The Songs of Operation Ivy tribute album
1998	"Jump In The Line (Shake, Shake Senora)" (Belafonte, De Leon, Oller, Samuel) – 3:45	BASEketball Original Motion Picture Soundtrack
1998	"Butch the Gay Santa Claus" (Perry) – 1:37	Kevin and Bean: Santa's Swingin' Sack Christmas album from radio station KROQ
1999	"Brown Derby Jump" Live (Perry) – 3:22	Jingle Ball '98: The CD live album from radio station Star 100.7 (KFMB-FM)
	"Zoot Suit Riot" Live (Perry) – 4:03
2001	"Jake's Frilly Panties" (Perry) – 2:48	Available for download on official website for fan club members from 2001 through April 2006

[edit] Videography

• "Zoot Suit Riot" music video, directed by Isaac Camner (1997)
• "Zoot Suit Riot" music video, directed by Gregory Dark (1998)
• "Brown Derby Jump" music video, directed by Jamie Caliri (1998)
• "Brown Derby Jump" (live), performed in the documentary Punk Rock Summer Camp (1998)
• AMC Swings!, television special hosted by and featuring the music of the Cherry Poppin' Daddies (1999)
• "Zoot Suit Riot" (live), performed on the instructional VHS Swing: The Romance of Dance (1999)

[edit] Movie soundtrack appearances

• "Jump In The Line (Shake, Shake Senora)" - in BASEketball (1998)
• "Cool Yule" - in I'll Be Home for Christmas (1998)
• "Dr. Bones" - in Meet the Deedles (1998)
• "So Long Toots" - in Blast From the Past (1999)
• "Here Comes The Snake" - in Three to Tango (1999)
• "Here Comes The Snake", "Zoot Suit Riot" and "When I Change Your Mind" - in Simon Says (2006)

[edit] References

[edit] External links

• The Official Cherry Poppin' Daddies Website
• Cherry Poppin' Daddies at MySpace
• Cherry Poppin' Daddies at Facebook
• Cherry Poppin' Daddies at Allmusic

v • d • e Cherry Poppin' Daddies Steve Perry • Dan Schmid • Dana Heitman • Jason Moss • Dustin Lanker • Joe Manis • Jesse Cloninger • Kevin Congleton Chris Azorr • Tim Arnold • Adrian P. Baxter • Brooks Brown • Darren Cassidy • Tim Donahue • Ian Early • Sean Flannery • Jason Fohl • Adam Glogauer • Johnny Goetchius • James Gossard • James Phillips • Rex Trimm • Hans Wagner • Brian West Studio albums Ferociously Stoned • Rapid City Muscle Car • Kids on the Street • Soul Caddy • Susquehanna EPs Vacationing in Palm Springs (w/ Reel Big Fish) Compilations Zoot Suit Riot: The Swingin' Hits of... • Skaboy JFK: The Skankin' Hits of... Related articles "Zoot Suit Riot" (song) • "Diamond Light Boogie" (song) • White Hot Odyssey • The Visible Men • Mojo Records • Music of Oregon