Flat Duo Jets was a Psychobilly band from Chapel Hill, North Carolina and Athens, Georgia. They were a major influence on several bands of the 1990s and 2000s, including The White Stripes. In interviews, Jack White (the White Stripes' lead singer and guitarist) has often acknowledged Dexter Romweber's influence. Their first album, Flat Duo Jets, was recorded direct to two tracks in a garage in the late 1980s but not released until early 1990. Also in early 1990 the band opened for The Cramps on a national tour. Jim Dickinson produced their second LP, Go Go Harlem Baby. Their ninth and last studio album, Lucky Eye, was their first major label release (Outpost Records), and was produced by Scott Litt, best known as a producer of R.E.M..
Singer/guitarist Dexter Romweber has pursued a solo career since the 1999 breakup of the Flat Duo Jets and has toured with Cat Power, Squirrel Nut Zippers, Neko Case and others. His older sister, Sara Romweber (who is a founding member of Snatches of Pink), plays drums with her brother as the Dexter Romweber Duo.
Flat Duo Jets' drummer Crow Smith resurfaced in 2005 with a debut solo album of his own. Bassist Tone Mayer played with Dex since 1979 and helped form an earlier band the Kamikazees in 1983. Tone departed the Duo Jets circa 1990 to join The Chicken Wire Gang.
Nearly ten years after the band's demise a live soundtrack to "Two Headed Cow", a documentary film about Dexter and the Flat Duo Jets, was released in 2008.
Other articles related to "flat duo jets, duo jets":
... He and drummer Crow made up the seminal roots outfit Flat Duo Jets that hailed from Chapel Hill, NC and, for a short time, Athens, GA ... Often pegged by critics and casual fans as simply rockabilly, the Duo Jets were adept at playing in a multitude of styles ... From the start, Flat Duo Jets shows became legendary for the fierce drumming of Crow and the blazing guitar work of Romweber ...
Famous quotes containing the word flat:
“The windy springs and the blazing summers, one after another, had enriched and mellowed that flat tableland; all the human effort that had gone into it was coming back in long, sweeping lines of fertility. The changes seemed beautiful and harmonious to me; it was like watching the growth of a great man or of a great idea. I recognized every tree and sandbank and rugged draw. I found that I remembered the conformation of the land as one remembers the modelling of human faces.”
—Willa Cather (18731947)