Cherry Poppin' Daddies - The Boop-A-Doo (2016)

It was this sound that propelled them to brief mainstream success with their hit single, “Zoot Suit Riot.” A surprise hit, the song is decidedly less ska and more influenced by swing music, a subgenre of jazz that was popularized by big bands 60 years before the release of the song. In essence, the Daddies revived swing music briefly that fateful day in the late ’90s. With their new release, The Boop-a-Doo, the Daddies harken back to this swing sound with a cover album full of jazz standards from the ’20s and ’30s. Seen as the second of a trilogy of more jazz-oriented albums, this LP follows 2014’s Please Return the Evening, a tribute to the Rat Pack.

From the outset of the album, it’s clear that jazz reigns supreme, but influences of ska remain. “That Lindy Hop,” originally by Eubie Blake, is named after a popular dance to swing music, is driven by drums and horns, but wait… is that a banjo in the background? The banjo was not a standard instrument of jazz at the time, but the Daddies make it work along with the steady bassline.

“The Joint Is Jumpin'” follows almost seamlessly, with a similar beat to the previous track. So far, I want to get up and swing dance to this album.

“42nd Street,” the classic jazz standard, follows. By this point, I’m irresistibly tapping my foot to the swinging jazz beat. I have noticed that the Daddies don’t seem to incorporate as much true improvisation into their covers. This might be something they would save for live performances (if they were to perform these songs in concert), but it doesn’t seem like true jazz to me.

“Kicking the Gong Around,” originally made famous by Cab Calloway, is driven by the banjo, of all instruments. The tempo has slowed considerably from the previous songs, with sleazy muted trumpets leading the instrumental sections. It’s an interesting take on a jazz classic, and it’s worth a listen for the incorporation of banjo and for Steve Perry’s scat.

“Let’s Misbehave” brings back the swing beat. This song has a little bit more improv than the previous tracks, and seems more like a true jazz song to me. A solid cover.

“Puttin’ on the Ritz” follows. I think part of what makes this album interesting is Steve Perry’s voice. Particularly on this song, he sings in that “old-timey” American accent that you’d hear on old radio recordings from the early part of the 20th century. He’s really trying to make a faithful jazz cover. While at times it seems over the top, he does a pretty good job with a jazz-oriented voice.

“We’re in the Money” might be the best cover so far. From the outset of the song, it sounds like it’s been ripped from the 1930s (apart from the banjo, of course). It’s hard to believe that this cover was only released a few weeks ago, because it seems so much like it belongs in the ’20s or ’30s.

“Night and Day” gives the band a chance to show off their musical chops for the first half of the song. It’s a relief that these guys are talented musicians, especially when it comes to swing music. Decent cover, although I do have a strong preference for an alternate, less jazzy version by U2.

“Top Hat, White Tie and Tails” also has that “improv” that’s a little scripted. It just doesn’t seem like a true jazz song without improvisation.

“Trickeration” drives the tempo up. The improvisation comes back with aplomb, both instrumental and vocal (although Perry’s scat seems a little scripted). The improvisation makes it seem like a true jazz cover, and I don’t want this song to end.

“Lullaby of Broadway” is a great song in and of itself, and the Daddies do a decent job with the cover. I would have been satisfied with this as the album closer, but we’ve still got three songs left. I’m not arguing.

“Steppin’ Out With My Baby” follows. I have a soft spot for Tony Bennett’s version of this song, so it’s interesting to hear this decidedly different version of the song, complete with electric guitar solos. It never loses its jazz feel, but I’d prefer to listen to Tony Bennett sing this.

“Temptation” slows the tempo down with syncopated banjo and horns. You might know this song from the movie, Singin’ in the Rain, and it’s a pretty good cover.

“Doin’ the New Lowdown” ends the album, and the beat immediately harkens back to the swing beats of the beginning of the LP. The song ends with a musical interlude, and I now enjoy this ending to the album more than I would have enjoyed “Lullaby of Broadway.”

Song to Play on Repeat: “Trickeration”

Song to Skip: “Top Hat, White Tie and Tails”

Verdict: 3.5/5. The Cherry Poppin’ Daddies went back to the music style that made them famous and largely did it justice. A little bit more improvisation would have been nice, as when the band utilized improv, the songs stood out. I would love to see these guys perform these songs live, although I’m not sure they’d tour off a cover album!