The Gun Club was formed by Jeffrey Lee Pierce, former head of the Blondie fan club in Los Angeles. Joining him was Brian Tristan, who was later renamed Kid Congo Powers during his stint with The Cramps, Don Snowden, who was at the time a music critic for the Los Angeles Times, and Brad Dunning. Pierce played guitar and lead vocals, while Tristan took on lead guitar, Snowden on bass, and Dunning rounding out the quartet on drums. The band was originally a rockabilly band called The Cyclones lead by Pleasant Gehman on lead vocals, but Gehman departed after only one show. Adopting the name The Creeping Ritual, Pierce moved to vocals and they spent some time gigging at local venues. Eventually, the group grew dissatisfied with their name and switched to The Gun Club, suggested by Pierce's flatmate, Black Flag and Circle Jerks singer Keith Morris.
Kid Congo left before the recording of the first album to join The Cramps. He was replaced by Ward Dotson, who would play lead and slide guitar on the band's debut album. Snowden and Dunning also departed at this time, being replaced by two ex-members of The Bags, Rob Ritter and Terry Graham, respectively. Securing a record deal on Slash Records division Ruby, the group released their debut album, Fire of Love in 1981. The album was produced by Tito Larriva of The Plugz and The Flesh Eaters' frontman Chris D. Critic Stevo Olende has written that the "album's lyrical imagery is plundered from voodoo, '50's EC comics and the blues," while another notes that "Nobody has heard music like this before or since." Fire of Love sold well and received strong reviews upon release.
By 1982, the band had signed to Blondie guitarist Chris Stein's Animal Records. The band temporarily relocated to New York to record their follow-up album, 1982's Miami. This album would feature not only Stein as producer, but also Debbie Harry on backup vocals on select tracks. Upon release, the album received good reviews but was widely criticized for Stein's production, which was said to have a thin mix. Rob Ritter left shortly after the album, changing his name to Rob Graves and forming the band 45 Grave. Before leaving, Ritter taught all of his bass parts to his former Bags bandmate Patricia Morrison and trained her as his replacement. Due to increasingly common arguments, Pierce dismissed Graham and Dotson around this time.
The Las Vegas Story and First Break-Up (1984-1986)
Terry Graham and Ward Dotson were replaced with Jim Duckworth on guitar and Dee Pop, formerly of the New York band Bush Tetras, on drums. During this time, Pierce refrained from guitar playing, instead focusing on singing. This line-up was to be very short-lived though; Dee Pop lasted only eight months before Graham returned. On the eve of an Australian tour, both Duckworth and Graham refused to get on the plane. Without a guitarist or a drummer, Pierce had the supporting act's drummer fill in for the remainder of the tour, while Kid Congo Powers returned on guitar. When they returned to the States, Graham resumed his place on drums.
Pierce returned to guitar playing during this line-up, and both he and Powers are credited with guitar on their third album, 1984's The Las Vegas Story. This album marked a significant change for the band; it represented a shift away from the punk rock of Fire of Love and Miami and a step towards a more polished, alternative rock sound. The Blaster's Dave Alvin appeared to play lead guitar on a handful of tracks. The band embarked on a tour throughout Britain in support of the album, though Graham again departed during this tour and was replaced with Desperate. After a tour supporting Siouxsie & The Banshees, the band decided to call it quits and played their farewell shows in the winter of 1984.
During the break-up, Powers, Morrison, and Desperate formed a band called Fur Bible, while Jeffrey Lee Pierce embarked on a solo career. Pierce assembled a band consisting of former members of The Cure and Spear of Destiny and released Wildweed in 1985. He organized a new band in support of the album, including Nick Sanderson of Clock DVA and Pierce's then-girlfriend Romi Mori. Sanderson played drums while Mori played guitar.
Reformation (1987-1992)
After a short stint doing spoken word performances, Pierce decided to reform a new version of the band in 1987. Powers, who had also been recruited into Nick Cave & The Bad Seeds at this time, resumed his place at guitar, with Mori switching to bass, and Sanderson retaining his place on drums. Under this line-up, The Gun Club would record a handful of albums, including 1987's Mother Juno. This album, produced by Robin Guthrie of The Cocteau Twins, was met with positive critical reception and was a successful comeback for the band. After the release of Nick Cave's 1990 album The Good Son, Kid Congo Powers departed The Bad Seeds to focus more on The Gun Club.
1990 saw the release of the band's fifth studio effort, Pastoral Hide and Seek, which Pierce produced himself. Nick Sanderson departed after the release of 1991's mini-album Divinity to focus on his other project, World of Twist. He was replaced with Simon Fish, who had previously played with Pierce on one of his solo albums. During this time, Jeffrey Lee alternated between his solo acoustic material and The Gun Club, which was his outlet for harder-edged songs. In 1992, Powers left the band to focus on his solo project Congo Norvell, and Nick Sanderson soon returned to drums after the dissolution of World of Twist.
Later Years (1993-1996)
Without their lead guitarist, Pierce decided to handle both lead and rhythm guitar parts on what would be their final album, 1993's http://www.last.fm/music/The+Gun+Club/Lucky+Jim]Lucky Jim. Pierce and Romi Mori had, at this point, been dating since the mid-eighties. However, Sanderson and Mori grew increasingly close until finally the two eloped in 1994, leaving The Gun Club without a rhythm section and Jeffrey Lee without a lover. Pierce, by his own account, had been clean for several years but soon switched back to drug and alcohol abuse after the departure of his longtime girlfriend.
He made a few live appearances with The Bad Seeds in 1994 but mostly remained reclusive during this time to write his autobiography, which proved to be exceptionally critical of former members of the band. He returned to Los Angeles, after a 10 year stay in London, where he grew increasingly fascinated with rap music and even recorded a rap cover of Tom Waits' song "Pasties & a G-String" for a Waits tribute album. With his health failing, he was only able to play a handful of shows in 1996 with a new band that consisted of Mike Martt and Kid Congo Powers on guitar, a bassist named Elizabeth Montague, and drummer Brock Avery. Pierce decided to visit his father in Utah where he suffered a stroke and was taken to a hospital. He was to undergo surgery to remove a blood clot in his brain but died on March 31, 1996.
Influence
Being among the first bands to combine punk and blues, The Gun Club has had a lasting influence on many artists. The White Stripes have been known to cover "For the Love of Ivy" and "Jack on Fire", off the band's debut album, at live shows. Of The Gun Club's music in particular, the band's vocalist and guitarist Jack White has said, "'Sex Beat', 'She's Like Heroin To Me', and 'For The Love Of Ivy'...why are these songs not taught in schools?"
Several other artists—such as Henry Rollins, Blanche, the Pixies, Cobra Verde, Noir Désir, The Flaming Stars, Tito & Tarantula, Soul Bossa, The Deadly Snakes, Calla, Lucid Nation, Love Life, Madrugada, The Von Bondies, American Mars, Th' Legendary Shack Shakers, The Fever, Archie Bronson Outfit, and Mark Lanegan of The Screaming Trees, who covered Miami's opening track "Carry Home"—have been influenced by The Gun Club.
Discography
Fire of Love (album 1981)
Ghost On The Highway/Sex Beat (double a-side single 1981)
Miami (album 1982)
Fire of Love (single 1982)
The Birth, The Death, The Ghost (live album 1983; recorded 1980)
Death Party (EP 1983)
The Las Vegas Story (album 1984)
Sex Beat '81 (semi-legal live album 1984)
Two Sides of the Beast (compilation album 1985)
Love Supreme (semi-legal live album 1985)
Danse Kalinda Boom - Live in Pandora's Box (live album 1985)
Sex Beat 81 (semi-legal live single 1986)
Death Party (semi-legal live album 1987); has no tracks from the 1983 Death Party EP
Mother Juno (album 1987)
Breaking Hands (single 1988)
Sex Beat (single 1989)
Pastoral Hide and Seek (studio album 1990)
The Great Divide (single 1990)
Pastoral, Hide & Seek (The Lost Song) (single 1991)
Divinity (album 1991)
Ahmed's Wild Dream a.k.a. Live in Europe (live album 1992)
In Exile (compilation album 1992)
Lucky Jim (album 1993)
Cry To Me (single 1993)
Live at The Hacienda 1983 (live video 1994)
Preaching The Blues (live video 1995; recorded 1984)
Early Warning (rarities and demos double compilation album 1997)
Walkin' With The Beast (single 2004)
Live at The Hacienda 1983/1984 (live DVD 2006; reissue of above videos)
Fire Of Love (live DVD 2007; recorded 1983 and 1985)
Da Blood Done Signed My Name (rarities and demos double compilation album 2007; reissue of Early Warning plus one extra interview track)
Larger Than Live (live album 2008; recorded 1990 - not 1992 as incorrectly listed on sleeve)
The Life & Times of Jeffrey Lee Pierce & The Gun Club (studio cuts and live compilation 4CD box set 2008)
Sexbeat
The Gun Club Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Jakes got a monkeyshine on his head and Debra Ann's got a tiger in her hips
They can twist and turn they can move and burn
They can throw themselves against the wall
But they creep for what they need
And they explode to the call and then they move
Move
Sex beat, go
They're stupid like I told ya, very stupid like ya saw
Very stupid as the simple thought of ever thinking at all
And all their mind, all their souls all their bodies all we know
All we know all the things that should a made us whole
All the colourless security was all that someone could go and move, move
Sex beat, drop
And yes you do look cool and by the floodlights so blue
You make my tropical apartment bed, your sacrificial pool
My body in the water and my heart is in your hand
So this is the way you choose to send me to the judgement land
So you can't move, move oohh..sex beat, go
And every day I agree you throw me down by the christmas tree
I watched your lights blink on and off while you start your fun with me
I, I know your reasons and I, I know your goals
We can fuck forever but you will never get my soul
Just so you can move
So you can move
So you can move
So you can move so you can
Oohh... Sex beat
The Gun Club's song Sexbeat is an energetic and provocative piece that explores the themes of sexual desire, stupidity, and the loss of self. The lyrics speak to the reckless abandon with which the characters in the song move and the impact of their actions on those around them. The chorus "Sex beat, go" is a call to action, with the pulsing guitar and relentless beat urging the listener to connect with the primal energy of the song.
The singer tells of Johnny's light in his eyes and Shirley's light on her lips, creating a sense of lustful desire that is mirrored in the other characters. The use of animalistic imagery, such as Jake's monkeyshine and Debra Ann's tiger in her hips, adds to the primal nature of the song. The singer suggests that the characters are stupid, with the simple thought of ever thinking at all, yet they are still able to connect with a raw and carnal energy that is both dangerous and alluring.
The song also speaks to the loss of self that comes with sexual desire, particularly the ways in which one can become consumed by it. The singer suggests that the characters are giving up parts of themselves in pursuit of pleasure, creating a sense of instability and unpredictability. The use of the phrase "the judgement land" suggests that there may be a price to pay for this recklessness, even as the song urges the listener to indulge in the energy of the sex beat.
Line by Line Meaning
Johnny's got a light in his eyes and Shirley's got a light on her lips
Johnny is energetic and excited, and Shirley is ready to kiss or speak seductively
Jakes got a monkeyshine on his head and Debra Ann's got a tiger in her hips
Jake is funny or crazy, and Debra Ann is alluring or mysterious
They can twist and turn they can move and burn
They are flexible and passionate
They can throw themselves against the wall
They are reckless and wild
But they creep for what they need
They are sneaky and sly when pursuing their desires
And they explode to the call and then they move
They respond to the urge of lust, and then engage in sexual activity
Sex beat, go
This is the rhythm of their sexual energy
They're stupid like I told ya, very stupid like ya saw
They don't think with their heads, they only follow their impulses
Very stupid as the simple thought of ever thinking at all
Their actions are purely primitive and instinctual
And all their mind, all their souls all their bodies all we know
Their entire being is consumed by their primal desires
All we know all the things that should a made us whole
This pure, physical sensation is all they need to feel complete
All the colourless security was all that someone could go and move, move
The mundane securities of life don't compare to the rush of sexual activity
Sex beat, drop
The beat of sex reaches a climax
And yes you do look cool and by the floodlights so blue
The setting adds to the eroticism of the experience
You make my tropical apartment bed, your sacrificial pool
The bedroom is transformed into a sanctuary for their physical desires
My body in the water and my heart is in your hand
Their connection is purely physical, without any emotional involvement
So this is the way you choose to send me to the judgement land
Their hedonistic lifestyle may result in condemnation, but they don't care
So you can't move, move oohh..sex beat, go
They are consumed by the rhythm of sex, and nothing else matters
And every day I agree you throw me down by the christmas tree
Their physical relationship is frequent and playful
I watched your lights blink on and off while you start your fun with me
The setting continues to add to the eroticism of the experience
I, I know your reasons and I, I know your goals
They understand that their relationship is purely physical, without any deeper meaning
We can fuck forever but you will never get my soul
Their minds and souls are not involved in their relationship, only their bodies
Just so you can move
The drive for physical pleasure consumes them
So you can move
The rhythm of sex controls them
So you can move
Their primal desires are all that matter
So you can move so you can
The beat of sex is all that matters
Oohh... Sex beat
They are consumed by the physical rhythm of sex
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: JEFFREY LEE PIERCE
Lyrics Licensed & Provided by LyricFind
@primeracalledelasoledad8439
Johnny's got a light in his eyes and
Shirley's got a light on her lips
Jakes got a monkeyshine on his head
And Debra Ann's got a tiger in her hips
They can twist and turn they can move and burn
They can throw themselves against the wall
But they creep for what they need
And they explode to the call
And then they move, move
Sex beat, go
They're stupid like I told ya, very stupid like ya saw
Very stupid as the simple thought of ever thinking at all
And all their mind, all their souls all their bodies all we know
All the things that should a made us whole
All the colourless security was all that someone could go
And move, move
Sex beat, drop
And yes you do look cool and by the floodlights so blue
You make my tropical apartment's bed your sacrificial pool
My body in the water and my heart is in your hand
So this is the way you choose to send me
To the judgement land
So you can't move, move oohh
Sex beat, go
And every day I agree
You throw me down by the christmas tree
I watched your lights blink on and off while you
Start your fun with me
I, I know your reasons and I, I know your goals
We can fuck forever but you will never get my soul
Just so you can move
So you can move
So you can move
So you can move so you can
Sex beat
@Yeast85
It’s an honour to be among all of you commenting on this beast of a band
@dozerla2705
One of the best rock songs of all time IMHO
@slimedog
Not much of a fan of Gun Club but I huge fan of this song
@wisconsindeathtrip
Same
@dalakerdaniel9240
@@wisconsindeathtrip under best 10 in my rating
@laguerita7435
Rock song?
@Danny-hc1yx
...and somewere dies a Punkrocker for that...
@11raljr11
I saw these Fuckers live in Nashville at a dingy punk club called CANTRELLS....GODDAMN I MISS THOSE DAYS
@dalakerdaniel9240
Our best years 🍻💊🍻
@casey8378
Holy shit..this song just made me dance around my house in a way I can only describe as disturbing yet invigorating if that makes sense at all.