The commercialization of alternative music in the '90s resulted in many strange one-hit wonders, but few were quite as unpredictable as the Squirrel Nut Zippers. During a time when hipsters were obsessed with swing music in its relation to Sinatra and Martin's Rat Pack, the Zippers were fascinated with big-band swing and Harlem, creating a... [+] Read More

The commercialization of alternative music in the '90s resulted in many strange one-hit wonders, but few were quite as unpredictable as the Squirrel Nut Zippers. During a time when hipsters were obsessed with swing music in its relation to Sinatra and Martin's Rat Pack, the Zippers were fascinated with big-band swing and Harlem, creating a tongue-in-cheek salute to '20s and '30s jazz. For younger listeners familiar with the style but not the content of classic hot jazz, the band was good fun, but purists found the group's vaguely campy sense of humor and amateurish technique off-putting. This debate would never have even been a matter of consideration if "Hell," an incessantly catchy single from their 1997 album Hot, hadn't been able to sneak through loosened alternative airplay to become a novelty hit. "Hell" became a crossover hit on the strength of a bizarrely theatrical vehicle, and Squirrel Nut Zippers quickly became one of the hottest alternative bands of the first half of the year.

Jim Mathus (vocals, guitar, trombone) and Katharine Whalen (vocals, banjo) formed the Squirrel Nut Zippers in 1993 after leaving Chapel Hill, NC, for the nearby small town of Efland. As soon as they settled in Efland, the couple renovated a farmhouse, where they pursued various arts and crafts, and eventually the band fell into shape as Mathus and Whalen met local citizens like Don Raleigh (bass) and Ken Mosher (guitar, saxophone, vocals) who shared an interest in hot jazz. Before long, Chris Phillips (drums, percussion), Tom Maxwell (vocals, guitar, baritone saxophone, clarinet), and Je WindenHouse (trumpet) were added to the band, which was now named after an old-fashioned candy bar, Squirrel Nut Zippers. The group soon made their live debut in Chapel Hill and within a few months had developed a large fan base throughout the South.

By the end of 1994, the Squirrel Nut Zippers had signed with Mammoth Records, and they released their debut album, The Inevitable, in the spring of 1995. The album didn't make much of an impact, but the group continued to tour. Their second album, Hot, was released in January of 1997. Soon after its release, "Hell" became a hit on such influential radio stations as Los Angeles' KROQ, and MTV soon made the video into a buzz clip. By the spring, "Hell" and Hot had become hits, as the single was a staple on modern rock stations. Although the group was now successful, they received mixed reviews, with many critics claiming that they were mocking hot jazz, not paying tribute. Nevertheless, the album went gold, and a second single, "Put a Lid on It," was released in the summer. Perennial Favorites followed in 1998, as did Christmas Caravan. Two years later, the band released Bedlam Ballroom, showcasing a cut by late bandmate Stacy Guess. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Retro-swingers the Royal Crown Revue comprised vocalist Eddie Nichols, guitarist James Achor, bassist Veikko Lepisto, tenor saxophonist Mando Dorame, baritone saxophonist Bill Ungerman, trumpeter Scott Steen and drummer Daniel Glass. Debuting in 1991 with the LP Kings of Gangster Bop, the group was almost the first to catch the wave of swing-era... [+] Read More

Retro-swingers the Royal Crown Revue comprised vocalist Eddie Nichols, guitarist James Achor, bassist Veikko Lepisto, tenor saxophonist Mando Dorame, baritone saxophonist Bill Ungerman, trumpeter Scott Steen and drummer Daniel Glass. Debuting in 1991 with the LP Kings of Gangster Bop, the group was almost the first to catch the wave of swing-era nostalgia that crested during the latter half of the decade; with 1995's Mugzy's Move, Royal Crown Revue made their major label debut, signing to Warner Brothers. 1997's live album Caught in the Act generated the cult hit "Barflies at the Beach." The following year's The Contender featured the single "Zip Gun Bop (Reloaded)." Walk On Fire, which appeared in 1999, featured the Revue's tightest presentation with vintage instruments including original "44" ribbon microphones. Tours of Japan and Australia were successful and the Royal Crown Revue celebrated by issuing the live effort Passport: Live In Australia in 2001. ~ Jason Ankeny, All Music Guide [-] Hide

Another group in the '90s retro resurrection of mid-century swing/jump-blues music spearheaded by Squirrel Nut Zippers and Royal Crown Revue, Mighty Blue Kings formed in Chicago during 1994, a septet of youthful but experienced musicians who wanted to offer clubgoers a night out 1940s-style. Vocalist Ross Bon, guitarist Gareth Best, saxophone... [+] Read More

Another group in the '90s retro resurrection of mid-century swing/jump-blues music spearheaded by Squirrel Nut Zippers and Royal Crown Revue, Mighty Blue Kings formed in Chicago during 1994, a septet of youthful but experienced musicians who wanted to offer clubgoers a night out 1940s-style. Vocalist Ross Bon, guitarist Gareth Best, saxophone players Jerry "Big J" DeVivo and Sam Burckhardt, bassist Jimmy Sutton, drummer Bob Carter and pianist Donny Nichilo played local clubs for awhile, then gained a coveted residency at the Green Mill. After touring the Midwest and West Coast, Mighty Blue Kings were assured enough to begin recording. After forming their own R-Jay Records, the group released Meet Me in Uptown for an April 1996 release. Showcases at Austin's South by Southwest conference gained the band national attention, and upon signing to Sony's Work Records subsidiary they released their second album Come One, Come All in late 1997. A year later, the Mighty Blue Kings -- now consisting of Bon,Best, DeVivo, bassist Clark Sommers, saxophonist John Sandfort and organist Chris Foreman -- returned with Live from Chicago. A seasonal effort, A Mighty Blue Christmas was released in fall 2000. ~ John Bush, All Music Guide [-] Hide

The eight-piece ska/swing revival collective Cherry Poppin' Daddies formed out of several groups around the University of Oregon in Eugene. Vocalist/guitarist Steve Perry (aka MC Large Drink) and bassist Dan Schmid originally played in the Jazz Greats and the Hucks, then formed Cherry Poppin' Daddies in 1989 with a lineup which gradually... [+] Read More

The eight-piece ska/swing revival collective Cherry Poppin' Daddies formed out of several groups around the University of Oregon in Eugene. Vocalist/guitarist Steve Perry (aka MC Large Drink) and bassist Dan Schmid originally played in the Jazz Greats and the Hucks, then formed Cherry Poppin' Daddies in 1989 with a lineup which gradually encompassed guitarist Jason Moss, drummer Tim Donahue, trumpeter Dana Heitman, Sean Flannery on tenor saxophone, Ian Early on alto and baritone, and keyboard player Dustin Lanker.

The group released their debut album, Ferociously Stoned, in 1990 on Sub Par Records and followed it up four years later with Rapid City Muscle Car. The Pacific Northwest was in the grips of the grunge wave during the early '90s, though, so the Cherry Poppin' Daddies' live show puzzled quite a few fans of alternative rock. By the mid-'90s, the fascination with formerly neglected musical styles (including easy listening and swing) had increased the band's prominence, along with bands like Squirrel Nut Zippers and Royal Crown Revue. After third album Kids on the Street was picked up for distribution by Caroline Records, the group compiled the most swing-oriented tracks from their back catalog for release on Zoot Suit Riot. Following up to their 1997 multi-platinum Zoot Suit Riot, Soul Caddy was released in mid-2000. Lanker and Schmid left the group the next year and formed the Visible Men. ~ John Bush, All Music Guide [-] Hide

For their major-label debut, Big Bad Voodoo Daddy don't change their tune at all, which is a good thing. Like their two indie releases, Big Bad Voodoo Daddy is a rollicking set of big-band swing, performed with energy and tongue-in-cheek. The group runs through a number of standards and originals, and while their ironic humor may irritate... [+] Read More

For their major-label debut, Big Bad Voodoo Daddy don't change their tune at all, which is a good thing. Like their two indie releases, Big Bad Voodoo Daddy is a rollicking set of big-band swing, performed with energy and tongue-in-cheek. The group runs through a number of standards and originals, and while their ironic humor may irritate purists, their vigorous, exciting performances make the album a delight. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Who'd have thought that former rockabilly bad boy Brian Setzer's fondest dream was to lead a swinging big band? Setzer and his 17-piece band strut through a set of standards and originals, all featuring his growling guitar and vocals. The disc kicks off in high gear with screeching trumpet and a quintet of sweet saxes before Setzer fills up the... [+] Read More

Who'd have thought that former rockabilly bad boy Brian Setzer's fondest dream was to lead a swinging big band? Setzer and his 17-piece band strut through a set of standards and originals, all featuring his growling guitar and vocals. The disc kicks off in high gear with screeching trumpet and a quintet of sweet saxes before Setzer fills up the room with the originals "Lady Luck" and "Ball and Chain." Both feature witty lyrics that recall the smoke-filled bars and dance halls of the '40s and '50s while still sounding contemporary. That's the trick Setzer maintains throughout the whole record: the style references Louis Jordan and Louis Prima through Count Basie and Henry Mancini, but the band is powerful and tight as a drum. The swing is natural and never dated, and the sound is as in-your-face as the Stray Cats ever were. However, on the slower numbers, Setzer's vocal limitations are evident; he sounds more like Dino than Frankie. Both "Route 66" and "A Nightingale Sang in Berkeley Square" pale in comparison to other recent versions by Natalie Cole or the Manhattan Transfer. But, as he remakes Carl Perkins, Al Jolson, and even his own Stray Cats past, Setzer swings throughout in a way that makes it obvious he both enjoys and understands the music. More vital than anything by any of the ghost bands, and more enjoyable as well, this recording set the stage for the '90s swing movement that included Royal Crown Revue and Big Bad Voodoo Daddy. Subsequent LPs by Setzer and band proved it was no fluke. ~ Ross Boissoneau, All Music Guide [-] Hide

Detroit's Atomic Fireballs bring a fresh attitude to swing on their debut album Torch This Place. Tracks like "Man With the Hex," "Mata Hari" and "Starve a Fever" have a driven energy that shows why the group won many new fans on the 1998 Vans Warped Tour. Torch This Place is powerful fun for anyone into the new swing scene. ~ Heather Phares,...

Detroit's Atomic Fireballs bring a fresh attitude to swing on their debut album Torch This Place. Tracks like "Man With the Hex," "Mata Hari" and "Starve a Fever" have a driven energy that shows why the group won many new fans on the 1998 Vans Warped Tour. Torch This Place is powerful fun for anyone into the new swing scene. ~ Heather Phares, All Music Guide [-] Hide

The least smarmy of the bevy of neo-swing albums that were released during the same period (including admirable-selling sets by Big Bad Voodoo Daddy and the Cherry Poppin' Daddies), Royal Crown Revue's fourth album is also their most traditional offering to the genre. And because they are somewhat veterans of the scene (they formed in 1989, at... [+] Read More

The least smarmy of the bevy of neo-swing albums that were released during the same period (including admirable-selling sets by Big Bad Voodoo Daddy and the Cherry Poppin' Daddies), Royal Crown Revue's fourth album is also their most traditional offering to the genre. And because they are somewhat veterans of the scene (they formed in 1989, at least a good five years before neo-swing bands began replacing ska groups as Southern California's latest musical offering to fad-seeking kids), Royal Crown Revue play it a bit more straight and with more dash than most of their neo-swing contemporaries. Still, there's a slight hipper-than-thou vibe splattered throughout The Contender, one that still self-importantly winks at its audience as it heavy-handedly plows through music 50 years old. Choice cuts: "Walkin' Like Brando," "Zip Gun Bop (Reloaded)" and the zesty title track. ~ Michael Gallucci, All Music Guide [-] Hide

Evidently, Brian Setzer doesn't take the jump blues and swing of the Brian Setzer Orchestra as a joke. Dirty Boogie is his third album with his large band, and instead of sounding tired, the record is the group's best effort yet. Setzer rocks the band hard, tearing through blues and rock & roll covers with vigor, and delivering made-to-order... [+] Read More

Evidently, Brian Setzer doesn't take the jump blues and swing of the Brian Setzer Orchestra as a joke. Dirty Boogie is his third album with his large band, and instead of sounding tired, the record is the group's best effort yet. Setzer rocks the band hard, tearing through blues and rock & roll covers with vigor, and delivering made-to-order originals that are surprisingly well crafted and memorable. Much attention will be paid to "You're the Boss," a cover of the Elvis Presley/Ann Margaret staple from Viva Las Vegas, performed as a duet with No Doubt's Gwen Stefani, but that's hardly the only highlight here -- it's a swinging, rocking record that suggests Setzer's skills are only improving with time. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide