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Are a Drag
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| Are a Drag | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | May 18, 1999 | |||
| Genre | Punk rock | |||
| Length | 25:58 | |||
| Label | Fat Wreck Chords | |||
| Producer | Ryan Greene, Me First and the Gimme Gimmes | |||
| Me First and the Gimme Gimmes chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |   [1] |
| Las Vegas Sun | (favorable)[2] |
| The Maneater | (favorable)[3] |
| Maximum Rocknroll | (mixed)[4] |
Are a Drag is the second album by Me First and the Gimme Gimmes, released in 1999 on the Fat Wreck Chords independent record label.
The album is made up mainly of show tunes. The album's title alludes to the fact that most of the songs on the album feature vocalist Spike Slawson singing songs that were originally performed by female characters in their original stage shows/movies (with the exception of the Phantom's part in "Phantom of the Opera", "Science Fiction/Double Feature" which was sung by a female traditionally, but more popularly by Richard O'Brien in The Rocky Horror Picture Show, and "Rainbow Connection").
The album's cover features the members of the band dressed up, in drag, as five characters from the musicals represented in song: a member of A Chorus Line ("What I Did For Love"), Annie Mudge from Annie ("Tomorrow"), Dorothy Gale from The Wizard of Oz ("Over the Rainbow"), Sandy Dumbrowski from Grease ("It's Raining on Prom Night"), and Dr. Frank-N-Furter from The Rocky Horror Show ("Science Fiction/Double Feature").
Like many other Gimme Gimmes albums, Are a Drag contains many elements of mash-up - more specifically, musical allusions to punk or power-pop songs in their covers. The intro to the song "My Favorite Things" quotes "Generator", by Bad Religion, and at the end of "Tomorrow", Fat Mike can be heard singing "Mommy's alright, daddy's alright, they just seem a little weird" - a lyric from "Surrender" by Cheap Trick.
Geoff Carter, writing in the Las Vegas Sun, described the album as "infectious" and "oh-so-satisfying", though warned that it may become less enjoyable with repeat listening.[2]
Track listing
[edit]Personnel
[edit]- Spike Slawson - vocals
- Chris Shiflett (a.k.a. Jake Jackson) - lead guitar
- Joey Cape - rhythm guitar
- Fat Mike - bass
- Dave Raun - drums
Additional musicians
[edit]- Karina Denike - backing vocals
- Sara K. Fisher - backing vocals
References
[edit]- ^ Allmusic review
- ^ a b Carter, Geoff (May 14, 1999). "'Star Wars' sound could only come from Williams". Las Vegas Sun. Retrieved March 1, 2024 – via Access World News.
- ^ Foerster, Jonathan (June 16, 1999). "'Gimmes' punk up Broadway". The Maneater. Retrieved March 1, 2024 – via Access World News.
- ^ MacLean, Hal (August 1999). "Music Reviews: Me First & The Gimme Gimmes - "Are a Drag"". Maximum Rocknroll. No. 195. Retrieved March 2, 2024 – via Internet Archive.
Are a Drag
View on Grokipediafrom Grokipedia
Background and recording
Project origins
Me First and the Gimme Gimmes formed in 1995 in San Francisco as a side project supergroup led by NOFX bassist Fat Mike Burkett, among artists affiliated with the Fat Wreck Chords label, blending punk rock energy with cover songs for humorous effect.[8] The core lineup included vocalist Spike Slawson (of Swingin' Utters), bassist Fat Mike Burkett (of NOFX), guitarist Joey Cape (of Lagwagon), guitarist Chris Shiflett (then of Sunny Day Real Estate and later Foo Fighters), and drummer Dave Raun (of Lagwagon).[9] This collaborative effort emerged from the mid-1990s punk scene, where band members sought an outlet to reinterpret pop and classic tunes in a fast-paced, irreverent style distinct from their primary projects.[9] The album Are a Drag, released on May 18, 1999, marked the band's second full-length studio effort following their 1997 debut Have a Ball, which featured eclectic covers without a unifying theme.[1] Are a Drag shifted to a focused concept: punk rock renditions of show tunes, many of which were originally performed by female characters, emphasizing the comedic irony of male vocalists tackling these roles.[9] The title itself serves as a pun tying into drag performance aesthetics, aligning with the band's playful subversion of musical theater conventions through high-energy punk arrangements.[9] Conceived as a thematic exploration of show tunes, this approach built on the group's cover-band roots while establishing a pattern of concept-driven releases that would define much of their discography.[8]Studio sessions
The recording sessions for Are a Drag took place at Motor Studios in San Francisco, California.[5][10] with the album's release following on May 18, 1999.[3] Production was overseen by Ryan Greene alongside the band members, who focused on transforming the source material's elaborate orchestral show tunes into concise, high-speed punk rock arrangements.[5][10] This approach required adapting intricate musical theater melodies—often from roles traditionally performed by women—into stripped-down punk structures while preserving the core hooks and emphasizing energetic delivery to suit the genre's raw style.[9] The sessions highlighted the band's commitment to high-energy performances, countering the theatrical origins of the songs with fast tempos and minimalistic instrumentation.[9] Mixing and mastering occurred shortly after principal recording at OceanView Digital Mastering, handled by Joe Gastwirt, ensuring the punk edge remained sharp without compromising the melodic essence.[5][10] To reinforce the album's drag queen-inspired theme, additional backing vocals were provided by Karina Denike and Sara K. Fisher, adding feminine harmonies that complemented the male-led punk vocals without diluting the core sound.[5][10]Release and promotion
Label and distribution
Are a Drag was released on May 18, 1999, by Fat Wreck Chords, the independent punk record label co-owned by band member and NOFX frontman Fat Mike (Michael Burkett), which focused on skate punk and pop-punk acts.[5][1] The album carried the catalog number FAT 586 and was issued without involvement from any major label, consistent with the DIY principles central to the punk scene.[5] The release was available in multiple formats, including CD (FAT586-2) and vinyl LP (FAT586-1), with initial vinyl pressings on black vinyl; subsequent represses featured colored variants, including a 2024 25th anniversary edition on clear vinyl with blue and red swirl, and digital versions became available later.[5][2] Distribution occurred primarily through Fat Wreck Chords' longstanding mail-order system, independent punk retailers, and direct sales at the band's live performances, emphasizing grassroots channels over mainstream outlets.[11] Initial sales were modest, aligning with typical figures for independent punk albums in the late 1990s, and the album did not chart on mainstream Billboard rankings but saw strong uptake within underground punk communities, as evidenced by its appearance on CMJ New Music Reports charts.[12] Promotion centered on the band's 1999 tour schedule, where tracks from Are a Drag were incorporated into setlists to build momentum among live audiences.[13]Artwork and packaging
The cover art for Are a Drag depicts the five band members dressed in drag, seated around a table playing cards with chips and drinks under a brass lamp, evoking a theatrical scene while tying into the album's show tune covers and title pun on "area rug."[1] The image incorporates punk irreverence through exaggerated makeup and attire inspired by musical theater characters, such as references to The Wizard of Oz, Grease, Annie, The Rocky Horror Picture Show, and A Chorus Line.[14] Designed collaboratively by the band and Fat Wreck Chords' team, it uses bold colors and dramatic fonts to blend Broadway aesthetics with punk humor, making the physical release appealing to fans of both genres.[5] The CD packaging includes a standard jewel case with a 4-page booklet containing lyrics, personnel credits, and liner notes by Christopher M. Dodge that humorously elaborate on the drag theme and recording process, alongside session photos.[15] Promotional materials for the album's supporting tours, such as posters and flyers, featured the band in drag makeup to emphasize the gender-bending playfulness, further integrating the visual concept into live promotion.[5] Overall, the artwork reinforces the album's conceptual pun and collectible status, bridging punk and theater subcultures.[1]Music and composition
Style and genre
Are a Drag exemplifies the punk rock genre through its use of fast tempos typically ranging from 140 to 180 beats per minute, distorted electric guitars, and straightforward chord progressions that dismantle the lush, orchestral arrangements of the original Broadway and musical theater songs.[16][6][5] The album's sound draws on pop-punk energy akin to the band's influences, including NOFX's irreverent and humorous approach, while incorporating the inherent theatricality of show tunes to create a playful yet aggressive reinterpretation.[17] This results in concise tracks averaging about two minutes in length, emphasizing brevity and high-energy delivery across the 12 songs.[6] The production, overseen by Ryan Greene, delivers a raw, energetic mix that evokes a live punk performance, prioritizing the band's tight instrumentation and vocal punch over polished effects.[5] Central to this is lead vocalist Spike Slawson's intense, screaming delivery, which infuses the covers—many originally performed by female singers—with a gritty, masculine punk edge and exaggerated flair.[18][19] Innovative elements like gang backing vocals and dynamic breakdowns amplify the choruses' drama, juxtaposing the source material's sentimentality against the band's defiant, irreverent punk ethos.[5] The entire album clocks in at 25:58, reinforcing Me First and the Gimme Gimmes' signature formula of short, punchy covers that prioritize fun and subversion over fidelity to the originals.[6]Song selections and themes
Are a Drag consists of 12 cover songs drawn exclusively from musicals and films, primarily originally performed by female characters.[5] Key selections include "Over the Rainbow" from The Wizard of Oz, "Don't Cry for Me Argentina" from Evita, "My Favorite Things" from The Sound of Music, and "Tomorrow" from Annie, chosen for their iconic status in Broadway and cinematic history.[1] These tracks highlight familiar anthems of optimism and romance, reinterpreted through the band's punk aesthetic to underscore irony and subversion.[3] The album's central theme revolves around drag and gender performance, with the all-male band—led by vocalist Spike Slawson—taking on "feminine" roles typically associated with divas, delivered via high-energy, sarcastic punk twists that challenge gender norms.[20] The title Are a Drag serves as a pun on the expression "what a drag," evoking both the tedium of performance and literal drag artistry, amplified by the album cover depicting the band in drag as musical characters.[1] This concept extends the band's history of themed covers, but here emphasizes theatrical exaggeration clashing with punk irreverence.[21] In adaptations, the original lyrics remain intact, with no new compositions added; instead, the band infuses a snarling, rapid-fire delivery that heightens ironic contrasts in lines about hope ("Tomorrow") or fantasy ("My Favorite Things").[5] The overall cohesion creates a mock "diva" playlist, juxtaposing escapist showtune glamour against punk cynicism to critique and celebrate performative femininity.[3]Reception
Critical reviews
Upon its 1999 release, Are a Drag by Me First and the Gimme Gimmes garnered generally positive reviews from music critics, particularly within punk and alternative press circles, for its energetic and humorous reinterpretation of show tunes, though some found the concept overly gimmicky. The album earned a four-out-of-five-star rating from AllMusic, which highlighted the band's "infectious" energy and their successful fusion of punk speed with show tune melodies, ultimately deeming it a "guilty pleasure."[6] However, not all feedback was unqualified praise; Maximum Rocknroll, a prominent punk zine, provided a mixed verdict in its August 1999 issue, appreciating the novelty of the 12 Broadway covers—such as "Phantom of the Opera" and "Don't Cry for Me, Argentina"—as "pretty cute" but critiquing them as "not too special" unless one was already enamored with the source material, suggesting the gimmick might alienate serious punk enthusiasts.[22] Overall, while no aggregate score like Metacritic existed for the album at the time, it was well-received in punk media for its entertainment value and lighthearted execution, with critics often emphasizing its role as a fun diversion rather than a profound artistic statement.Fan and legacy impact
The album garnered a strong cult following within punk and queercore communities, celebrated for its irreverent gender-bending humor and punk reinterpretations of showtunes traditionally associated with theatrical femininity.[6] Fans particularly appreciated the band's playful subversion of Broadway standards, which resonated in live performances where the group often incorporated matching costumes, including drag elements inspired by the album's theme.[3] Are a Drag solidified Me First and the Gimme Gimmes' reputation for producing themed covers albums, establishing a formula of fast-paced punk arrangements applied to diverse genres that influenced their subsequent releases, such as the folk-rock focused Blow in the Wind (2001). The record's enduring popularity led to vinyl represses, including a special 25th anniversary edition in 2024 featuring translucent green vinyl, reflecting ongoing demand among collectors.[2] Culturally, the album contributed to punk's integration of camp aesthetics and drag performance, blending high-camp musical theater with aggressive punk energy in a manner that predated mainstream drag's broader visibility in the 2010s.[3] It has been referenced in discussions of punk-theater hybrids, highlighting how the band's mash-up style—infusing power-pop riffs into showtunes—challenged genre boundaries and amplified queer-coded humor in underground scenes.[17] In terms of sales longevity, Are a Drag remains one of Fat Wreck Chords' consistent top performers, with steady vinyl sales during the 2010s punk revival driven by its cult status among fans.[1] While it earned no major industry awards, the album frequently ranks highly in fan-voted punk polls and retrospective lists as one of the best covers records in the genre.[24] As of 2025, the album is increasingly appreciated in hindsight for its progressive undertones around gender fluidity and performance, maintaining niche appeal through streaming platforms like Spotify, where the band boasts over 450,000 monthly listeners and the record continues to attract new audiences via its theatrical punk charm.[25]Credits
Track listing
All tracks on Are a Drag are punk rock covers of songs from musicals or film musicals, most originally performed by female characters.[26] The album has a total runtime of 25:58.[6]| No. | Title | Writer(s) | Length | Original source |
|---|---|---|---|---|
| 1 | "Over the Rainbow" | Harold Arlen, Yip Harburg | 1:31 | The Wizard of Oz (1939 film) |
| 2 | "Don't Cry for Me Argentina" | Andrew Lloyd Webber, Tim Rice | 2:29 | Evita (1978 musical) |
| 3 | "Science Fiction Double Feature" | Richard O'Brien | 2:34 | The Rocky Horror Picture Show (1975 film) |
| 4 | "Summertime" | George Gershwin, Ira Gershwin, DuBose Heyward | 2:09 | Porgy and Bess (1935 opera/musical) |
| 5 | "My Favorite Things" | Richard Rodgers, Oscar Hammerstein II | 1:52 | The Sound of Music (1959 musical) |
| 6 | "Rainbow Connection" | Kenneth Ascher, Paul Williams | 2:18 | The Muppet Movie (1979 film) |
| 7 | "Phantom of the Opera Song" | Andrew Lloyd Webber, Charles Hart | 1:45 | The Phantom of the Opera (1986 musical) |
| 8 | "I Sing the Body Electric" | Michael Gore, Dean Pitchford | 1:43 | Fame (1980 film) |
| 9 | "It's Raining on Prom Night" | Jim Jacobs, Warren Casey | 2:56 | Grease (1971 musical) |
| 10 | "Tomorrow" | Charles Strouse, Martin Charnin | 1:30 | Annie (1977 musical) |
| 11 | "What I Did for Love" | Marvin Hamlisch, Edward Kleban | 1:46 | A Chorus Line (1975 musical) |
| 12 | "Cabaret" | John Kander, Fred Ebb | 3:23 | Cabaret (1966 musical) |
Personnel
The album Are a Drag features the core lineup of the punk supergroup Me First and the Gimme Gimmes, consisting of Spike Slawson on lead vocals, Fat Mike on bass guitar, Joey Cape on rhythm guitar, Chris Shiflett (credited as Jake Jackson) on lead guitar, and Dave Raun on drums.[26] This standard punk rock instrumentation—guitars, bass, drums, and vocals—defines the album's sound, with no additional orchestral or non-traditional elements incorporated.[26] Additional musicians provided backing vocals on select tracks to enhance the harmonic elements, particularly the female harmonies in the show tune covers: Karina Denike and Sara K. Fisher.[26] Production duties were handled by Ryan Greene as primary producer, engineer, and mixer, with the band serving as co-producers; the recording took place at Motor Studios in San Francisco.[26] Mastering was performed by Joe Gastwirt at OceanView Digital Mastering.[26] Art direction and layout were managed by the Fat Wreck Chords team, with graphics assembled by Sergie Loobkoff; cover photography is credited to Jay Blakesberg, while interior and additional images were band-submitted.[26]References
- https://www.[allmusic](/page/AllMusic).com/album/are-a-drag-mw0000237866