80’s Rockabilly Style of Brian Setzer….

I know I have been MIA for a few month. I have been working on some other projects and had to let this slip away for a time. Well, I am back and will be posting on a more regular bases. New Pin-ups on the way and a few new surprises………..

80’s Rockabilly Style of Brian Setzer….      

Their style was pretty tough back in the hungry years before the big payday when they rocked on a steady diet of engineer boots, creepers, skinny jeans, polka dot thrift shop tops with cut-off sleeves, bandanas and a sneer. Soon the look was gobbled up by the mainstream made-for-MTV crowd and regurgitated into a uniform with elements of new wave / new romantics fluffy hairdos, argyles, leopard print, gold lamé, Zodiac boots, and over-sized sportcoats.

Setzer was honored with being the first artist since Chet Atkins to be granted a Gretsch artist model guitar built and named for him. A true reflection of how strongly he was identified with Gretsch, and how he helped cement them with a new generation as the true player’s guitar for anyone serious about Rockabilly and the like.

 

 

A young and well-coiffed Brian Setzer of the Stray Cats back in the early 1980s

 

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1982, Paris– A couple of lean, mean rockers Thierry Le Coz & Brian Setzer. Brian and the Stray Cats hit the road for the UK and Europe early on, as the Teddy Boy movement and the strong  love abroad for the Sun Records & rockabilly music legends (Elvis, Carl Perkins, Johnny Cash, Jerry Lee Lewis, Eddie Cochran, Gene Vincent, Duane Eddy, and many more) called them there to make their mark. Thierry (yep, he’s French) is a great guitarist and started out in the Rockabilly band Teen Kats back in the early 1980s, and met Brian and the boys while they were there touring Europe.  Le Coz moved to Austin, Texas in ’84, played with Will Sexton in Will and the Kill among others, and is still doing his thing. I love that pic of them, great style.

 

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1983– Dave Edmunds and Brian Setzer of the Stray Cats rock New York City’s Roseland Ballroom with an encore of Eddie Cochran’s “C’mon Everybody”

 

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