Formed in '95 by Frank Meyer and Art Jackson, The Streetwalkin' Cheetahs have been on a mission to make great rock 'n' roll recordings and take their message directly to the people. Sounds simple, doesn't it? Yet, when every artist is the end product of a corporate buy-in, and music is but one step in a massive media campaign, the simplicity of the Cheetahs' raison d'etre is quite welcome. Having been heralded by everyone from Rolling Stone to Flipside to Alternative Press for their raw, no-nonsense release Live on KXLU (Triple X), The Streetwalkin' Cheetahs collected hometown accolades in the form of two nominations (and one victory) as Best Hard Rock/Punk/Metal Band in the New Times Reader's Poll.
They received a similar nomination from the L.A. Weekly, where the band's over-the-top performance at the award ceremony ignited a minor local scandal. After over 18 months of touring behind Live on KXLU, the band was thrilled to finally record their accumulated songs for Waiting for the Death of My Generation. Says bassist Jeff Watson of the sessions, "Recording this album was the best time I've ever had in a studio. Hell, I've been in bands that have taken over a year to record a freakin' CD. With this album, we were in and out in about a week. Besides, a lot of that time was spent watching Brian Kehew's collection of disturbingly bad music videos."

The album's title comes from their song "No More". "It refers to the passing of the proverbial torch from the old school to the new school," says Frank Meyer. "The album contains a lot of lyrics and imagery about how life is just a series of opportunities to sell out. To make it through successfully, you have to stay true to what you believe in. For us, that has always meant playing the music we love and not being painted into a corner." The Cheetahs' patented blend of steamrolling punk 'n' roll tempered with power pop melodicism comprises the brand new collection. Meyer talks at length about the lyrical and musical contents of Waiting for the Death of My Generation. "Songs like 'Future Lost' and 'In My Head' talk about standing your ground as everything crumbles around you. 'In My Head' deals with the concept of big corporations squashing the individual -- the little man attempts to hold on to his identity as the big company tries to wrench it away from him. 'Why You Gotta Come First' also touches on this theme. It's also one of the fastest songs we've ever done!" The band is also proud of their cover of the Saints' "Know Your Product".

Their horn-driven arrangement is true to the original while amping it up just a bit. "The Saints' song is about rock n' roll as advertising, and it ties in perfectly with the lyrics on the rest of the album, 'White Collar Money' especially," says Meyer. "When your music becomes a commodity instead of a vehicle for your own emotions, all the fun is sucked out of it." The backbone of the track's horn section comes courtesy of Fishbone's Dirty Walt and multi-instrumentalist Jon Wahl (Claw Hammer, Midget Handjob). Expanding the arrangements beyond the expected dual-guitar blitz was an idea that permeated the recording, as the Cheetahs were determined to grow and experiment. Producer Kehew joins in on keyboards on several songs (including the pick2clik "Automatic"), and there's even a sitar on "No More".

Those of you watching Wizard of Oz while Dark Side of the Moon plays in the background may have concluded this album could be a bit conceptual in nature. There is an underlying message, but not to worry, for the most part, the Cheetahs still wear their hearts on their sleeve. "There's some songs about girls, just to keep the balance happening," admits Meyer. "Most of our songs about girls have some twist to them to keep them from being too sappy. We are definitely not balladeers. Plus, love is always a mix of emotions anyway, so to write about a relationship, you have to show the tension, too. 'Petty Little Girl' and 'Lookout' both talk about confused girls who enter the lives of even more confused guys. 'Automatic' correlates love to mechanics; all the lyrics could either be about girls or circuitry." Love among the ruins. Amidst the adversity and the encroachment of faceless corporate demons, there is still a good time to be had, if we remember to turn it up. "Beer, drugs and poverty had a lot to do with the making of this album"- Art Jackson.

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