THE CRAMPS SONGS THE LORD TAUGHT US on IRS PROMO DEBUT 1980 NM
$
29
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Description
Here is a NEAR MINT copy of THE CRAMPS DEBUT! LP titled SONGS THE LORD TAUGHT US. It is an ORIGINAL US pressing on the I.R.S. label, catalog #SP-007 in STEREO sound from 1980. The LP is NEAR MINT! and the vinyl is shiny and black with excellent playback. The cover is original cardboard in NEAR MINT condition with just a hint of wear and a PROMO! Stamp on back. It is a beautiful NEAR MINT copy for you to own. It is an opportunity to purchase this CRAMPS DEBUT LP in this condition. It’s a true gem for the ALTERNATIVE / INDIE / POST-PUNK ROCK collector!! Email me with any questions and be sure to look at the pic’s. I do not accept bids from or ship to Italy. International bidders can email me for shipping rates. Thanks for Looking & Good Luck!
Music Review from AllMusic.com by Ned Raggett
Continuing the spooked-out and raging snarls of their Gravest Hits EP, the Cramps once again worked with Alex Chilton on the group's full-album debut, Songs the Lord Taught Us. The jacket reads "file under: sacred music," but only if one's definition includes the holy love of rockabilly sex-stomp, something which the Cramps fulfill in spades. Having spent Gravest Hits mostly doing revamps of older material, the foursome tackled a slew of originals like "The Mad Daddy" and "TV Set" this time around, creating one of the few neo-rockabilly records worthy of the name. Years later Songs still drips with threat and desire both, testament to both the band's worth and Chilton's just-right production. "Garbageman" surfaced as a single in some areas, a wise choice given the at-once catchy roll of the song and downright frightening guitar snarls, especially on the solo. The covers of the Sonics' "Strychnine" and Billy Burnette's "Tear It Up" -- not to mention the concluding riff on "Fever" -- all challenge the originals. Interior has the wailing, hiccuping, and more down pat, but transformed into his own breathless howl, while Ivy and Gregory keep up the electric fuzz through more layers of echo than legality should allow. Knox helms the drums relentlessly; instead of punching through arena rock style, Chilton keeps the rushed rhythm running along in the back, increasing the sheer psychosis of it all.
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