The subject of ’80s music is often viewed in one of two ways. On one hand, it was animated and innovative, especially with MTV coming on the scene. But on the other hand, many see it as a shallow period where style far outweighed substance. LA in the early to mid ’80s was all of it. And it worked—there was literally something for everyone. Case in point: punk had found new life. Metal of all stripes was filling clubs and stadiums, and would also kick off a viral new strain of heavier, faster sounds via thrash. New wave clearly still had a foothold on pop culture and was a staple in the clubs and on MTV.
But while there were other genres and subgenres, one thing was abundantly clear, the scenes weren’t mixing. It would be highly unlikely to see a long-haired hesher at a punk show, and vice versa. The likelihood of an ass-beating was high.
But by the midway point of the decade, something new was feverishly bubbling beneath the surface—a loose patchwork of a scene that would make a minor blip before catapulting some of its major players into stardom. This new scene of sorts would fill a void for the musical misfits and stylistic mavericks whose tastes didn’t quite fit into the established scenes.
For context, with some of the aforementioned subgenres getting co-opted by the mainstream, those who fancied the more flamboyant and deviant sides of rock ‘n’ roll also needed a place to call home. For those not into the testosterone-driven aggression of the hardcore punk and thrash scenes or the OTT posturing of the Sunset Strip, there was now another option. Lesser-known underground clubs such as Scream, TVC15, Raji’s Club Lingerie, and Anti-Club began to host and curate bands and bills that didn’t quite fit the other scenes.
Soon, a mix of sub-genres started to converge upon these clubs and others, as well as the Melrose Ave. shopping district, and it wasn’t uncommon to see a bill including criminally underrated cowpunks Tex and the Horseheads on a bill with a young Jane’s Addiction and OG street-glam urchins The Joneses.
While this may not have made sense on the surface, a shared love of bands of yore such as the New York Dolls, Iggy Pop, Johnny Thunders, Alice Cooper, David Bowie, The Damned, and vintage Aerosmith, plus a collective appreciation for current underground artists such as Hanoi Rocks and Lords of the New Church, many of the bands and club-goers had a penchant for dressing (and cross-dressing) it up like their heroes and making each show a colorful event. Faster Pussycat was born out of this scene and would soon make its mark on a much larger scene.
Formed in 1985 by Seattle transplant, scenester, and vocalist Taime Downe, the band’s key lineup featured guitarists Brent Muscat and Greg Steele, bassist Walter Adams (replaced by Eric Stacy), and drummer Mark Michals (of former Vegas punks F8). Inspired by trash culture (deriving its name from trash auteur Russ Meyer’s film Faster, Pussycat! Kill! Kill!), vintage punk, and Aerosmith, the band didn’t spend eons honing the perfect sound; they just went out and started playing shows at any venue that would have them, which in most cases were the seedier clubs that curated a mix of styles and sounds. Soon, the band’s appeal began to broaden, and they’d venture into some of the more mainstream clubs on the Sunset Strip. Abuzz with the recent signing of the aforementioned GN’R, and sensing crossover appeal, the labels came sniffing and Faster Pussycat would soon score a deal with major label Elektra Records.
Without wasting any time, the band hit the studio and—by several reports—crafted their debut album for under $30,000, which was practically unheard of in the age of glossy, over-produced records often costing as much as 10x-20x that amount.
In spite of the lack of technical prowess, the band’s eponymous debut released in 1987 is a raw and raucous affair brimming with personality and stealthy bits of sly humor. Singles “Don’t Change That Song” and “Bathroom Wall” epitomize the surly attitude and punk aesthetic in spades.
While some critics and rock purists criticized the band’s lack of polish and technical ability, the album—a glorious mix of stripped-down punk guitars and hooky chant-along choruses—sounded fresh at the time, and actually beat Guns N’ Roses’ epic debut’s release by a few weeks. Even with scant label support, interest in the band catapulted it into the mainstream, and gone were the days of playing on eclectic club bills with patent-leather bound goth girls, pink-mohawked punks and cross-dressing dudes preening in adoration in the front row. But such is life for the upwardly mobile rock star.
The next album, Wake Me When It’s Over was released in 1989. Far more produced and polished than the debut, it was obvious that Elektra had found faith in their project and decided to invest some cash into actually helping it succeed. The lead single “Poison Ivy” is a bar-room boogie shuffle packed with more sardonic lyrics and embellished and some piano and horns for extra punch. It’s also obvious the band had gotten a bit more adept at their instruments, but the band’s ability to not take itself so seriously still shines through much of the album.
The album is probably best known for the slow jam “House of Pain.” This is no power ballad in the traditional sense and there are no keyboard-laden refrains on the pains of unrequited love. Instead, Downe reminisces candidly about growing up without a father. With sincerity and zero ironies, the song paints a picture against an aural backdrop recalling vintage Rolling Stones’ cocaine-country period of the 1970s. Wake Me When It’s Over would eventually achieve gold status, and the band would tour the world promoting it.
1992’s Whipped! would see things take a different turn. In spite of being well-received, the label pulled its support and the album would wither on the vine for a few months, in spite of a strong first single “Nonstop to Nowhere” and a clever album cover that parodied Russ Meyer’s cinematic imagery. A year or so later, the band would call it quits until reforming several years later with Downe being the only constant.
To celebrate the decadence and sleaze of Faster Pussycat’s brief but colorful prime era, HNE Recordings has released Babylon – The Elektra Years 1987-1992 a box set featuring all three studio albums in pristine remastered form, along with the rare EP Live and Rare (1990) and a slew of bonus for Pussycat purists. The set also includes a booklet, and a colorful box to keep it all tidy. While Faster Pussycat’s tenure may have been brief in the greater scheme of things, the band’s knack for brazen punk guitars and addictive hooks has stood the test of time.
For questions, comments or something you’d like to see, drop me a line at Retrohead77@yahoo.com.
