"The Johnny Appleseeds of the neo-swing movement were definitely Royal Crown Revue. They were the first band to play swing music AND dress up in '40's double-breasted zoot suits with all the attendant regalia. Their homes boast Heywood-Wakefield furniture, the pin-up art of George Petty, and a vintage car parked in the driveway. They were the archetype for the complete retro lifestyle." (V. Vale, author of the recently-published book, Swing! The New Retro Renaissance)
In 1989, when hair bands on the Sunset Strip were all the rage in Los Angeles, the members of Royal Crown Revue were experiencing a different kind of musical education, paying countless dues in various rockabilly, punk, blues, jazz, and even marching band aggregates. Mellifluous Manhattan vocalist Eddie Nichols, raised with Frank Sinatra in one ear and the Ramones in the other, made his way west, eventually forming a rockabilly outfit known as the Rockamatics, with guitarist James Achor. A mutual friend introduced Eddie and James to Watts-born tenorman Mando Dorame, who had already gained considerable chops playing honkin' rhythm and blues in South Central L.A. with the likes of Big Jay McNeely.
Driven by a desire to do something new, the three put a twist on the retro-rockabilly style of such artists as Louis Jordan and Louie Prima. The band began to hone its sound on the L.A. underground scene at clubs such as the legendary King King. By 1994, that "new" sound had grown to include the impressive talents of drummer Daniel Glass, baritone sax player/arranger Bill Ungerman, bassist Veikko Lepisto and San Francisco trumpeter Scott Steen (a veteran of the renowned St. Vitus Dance, an early Bay Area neo-swing orchestra).
As early as 1991, Royal Crown Revue had released its first record and was relentlessly crisscrossing America and Europe, spreading the swing virus by playing hundreds of shows yearly. Early roadie/fix-it mechanic Joe Schmoe recalls that no matter where they went, people practically got into car wrecks ogling the band as they walked down the street dressed in their razor-sharp double-breasted suits, fedoras, loud '40's ties and two-tone spectator shoes. Placing a premium on understanding their craft, the boys left no stone unturned, collecting old 78s, classic pulp novels, cars, clothing, furniture and musical instrumentsç’¦nything great that America produced between World War I and the Vietnam War. Inspired by RCR's raw enthusiasm and an interest in connecting with their history, fans started trolling for their own threads, dancing to swing music and eventually forming their own bands .
In 1993, Royal Crown Revue began a two-year house gig at a fledgling club in Hollywood, which would turn into one of the most storied chapters in the band's career. Originally built in the 1920s by Cecil B. DeMille, the Derby Club had just undergone a major restoration, and its art deco motif proved to be the perfect setting for RCR's stylish brand of swing. Within months, the band was playing to packed houses, creating a buzz around L.A. and drawing influential Hollywood players interested in seeing how the old could be made new again.
Once such observer was Chuck Russell, who asked the band to recreate their energetic stage show for his film The Mask (starring Jim Carey and Cameron Diaz). RCR's cameo in the 1994 film helped disseminate their classic "Hey Pachuco," which, even without substantial airplay, has had a tremendous impact on American pop culture. The song's infectious, thundering beat has been featured in countless movie trailers, Las Vegas shows, a national Acura ad campaign which aired during the 1996 Olympics, and even the Miss America Pageant. RCR also served as the inspiration for the hit movie Swingers, with writer/star John Favreau originally scripting the dance sequence around his experiences as a Derby regular at the band's shows.
In 1995, legendary producer and A&R man Ted Templeman witnessed Royal Crown Revue's now-finely-honed Derby show and immediately signed the band to Warner Bros. Records. The album that resulted, Mugzy's Move, established RCR's "hardboiled" style and produced such originals as "Datin' With No Dough," "Trouble In Tinsel Town" and "The Rise and Fall of The Great Mondello." Mugzy's Move also included RCR cover version of Bobby Darin's swinging "Beyond The Sea," as well as the Willie Dixon blues classic, "I Love The Life I Live."
Since the release of Mugzy's Move, RCR has been a whirlwind of activity, touring extensively (over 1,000 to date, in countries such as Canada, Japan, Australia, New Zealand and of course, Europe and the US) and turning on audiences of every variety to the power of swing. In a single week in 1996, the band received standing ovations from crowds at concerts for both KISS and Neil Diamond, an accolade few others can claim. RCR have also made numerous television, radio and print appearancesç’µost notably on Late Night with Conan O'Brien, Viva Variety and the Today Show. Their video of "Barflies At The Beach" went into heavy rotation after winning on MTV's influential 12 Angry Viewers program, and was groundbreaking in its ability to crossover into an alternative format. Most recently, the band contributed two tracks to the upcoming Bette Midler album, appeared at the Playboy Jazz Festival and composed the original theme for the WB Network's 1998-99 season.
For the better part of a decade, Royal Crown Revue has been playing hard-hitting, original music to an astoundingly wide range of audiences: from snowboarders, punks and greasers to "Swingers" and old-time jazz fans alike. Through it all, the band has proved to be equally adept at energizing a mosh pit, charming a black tie reception or grooving a Las Vegas lounge. With the release of The Contender, RCR continues to push the boundaries of classic American music while maintaining a solid commitment to understanding its roots. And that's a fact, Jack. Dig it!
