Tupelo Chain Sex
| Industry | Music |
|---|---|
| Founded | 1982 |
| Founder | Dave Dahlson, J.J. Poskin, Sim Cass, Joey Altruda |
| Defunct | 1989 |
| Headquarters | Los Angeles , United States |
| Products | Music albums, live performances |
Tupelo Chain Sex emerged in the 1980s as a distinctive punk/jazz/rockabilly ensemble, created by Dave Dahlson (known as "Limey Dave"), J.J. Poskin (also called JJ Holiday), Sim Cass, and Joey Altruda, the latter of whom also initiated Jump With Joey. Throughout the early 1980s, they were prominent headliners at various Los Angeles hotspots such as Club Lingerie, the Sunday Club at Cathay de Grande, The Music Machine, Al's Bar, The Anti-Club, and the O.N. Klub. Their extensive touring schedule included performances alongside bands like The Circle Jerks.
Members
Among the lineup was the notable electric violinist Don "Sugarcane" Harris, previously affiliated with Frank Zappa and The Mothers of Invention. In 1982, Willy "Wooly" McNeil became part of the then "rowdy psychobilly band." Frontman Dave Dahlson ("Limey Dave") was distinguished by his signature blue Mohawk, Roman soldier tattoos, and bold stage costumes, all of which reinforced the group’s provocative and edgy persona.
Critical reception
Renowned graphic designer Art Chantry lauded Tupelo Chain Sex as one of the "... best fucking bands I've seen in my life," drawing parallels to contemporaries such as Sonic Youth, Hüsker Dü, Butthole Surfers, and the Cramps.
Reviewers found their sound difficult to categorize; The Miami News described it as a blend of jazz, bop, R&B, swing, reggae, country, rock, blues, punk, funk, Latin rhythms, mambo, thrash, calypso, salsa, soul, shuffle, skiffle, ska, skank, surf, boogie, jive, dub, and psycho-billy.
When they debuted on the Los Angeles circuit, the Los Angeles Times characterized them as "bizarre" and an "avant-garde rockabilly combo" incorporating washboard and harmonica elements. The band was fronted by Limey Dave with his Mohawk and vocals enhanced by echo effects. Subsequent critiques noted dadaism as a significant influence on their style.
The Washington Post referred to their music as a "startling musical synthesis," merging punk's raw energy with the complex rhythms and solos typical of jazz combos. A critic from SPIN Magazine compared their sound to a hybrid of Charlie Parker and Dead Kennedys, describing Spot the Difference as "the most eclectic album I've heard all year."
Discography
- What Is It (Selma, 1982, LP)
- Ja-Jazz (Selma, 1983, LP)
- Spot the Difference (Selma, 1984, LP)
- Dr. Nightcall b/w Two Cadillacs Crash! (Selma, 1984, 7" ps)
- Record Breaker (DeLuxe, 1985, bootleg 10" colored vinyl)
- 4! (Cargo, 1989, LP & CD)
References