Most of the songs feature some good solos and instrumental parts. The sound of "El ángel caído" is mid to fast paced power metal, with some thrashy and galloping riffs.
The only song written by the band here is "Human Fly," a skulking mid-tempo fuzz-guitar number with monster movie lyrics. Raw, slashing guitar playing derived mostly from rockabilly and somewhat from psychedelic and 1960s garage pop (the group would have no bass player until the mid-'80s) and primitive drumming provide the platform for Lux Interior's eccentric singing, which is best described as a hyper-crazed, reverb-drenched, exhibitionist rockabilly style complete with groaning, shouting, growling, and hiccuping effects. The first release by the Cramps shows the group laying out many of the aspects of their curious style in rudimentary fashion. Released in 1979, The Cramps' debut EP "Gravest Hits" demonstrates the band's unique flair for fusing camp, Link Wray-inspired riffs, B-movies, and bizarre performances.
They were quite a spectacle both visually and audibly. The band’s performance were a thing of legend with enigmatic frontman, Lux Interior, writhing around the stage while his wife, Poison Ivy, hypnotized the audience with her guitar work. They mixed punk rock, surf, rockabilly, and garage rock to create a sound unlike anything. “I just remember laughing a lot and having a good time musically, so I have nothing but good memories.Few bands actually spawn entire genres of music but The Cramps did that and their sound spawned what is now referred to as psychobilly. “I just remember the good things, that’s for sure. In Rolling Stone’s 2017 interview, Tutt reflected on a career that spanned over 60 years. Tutt also notably toured with Neil Diamond and played drums on a pair of Billy Joel albums - 1973’s The Piano Man and 1974’s Streetlife Serenade - appearing on the hits “Piano Man,” “The Ballad of Billy the Kid” and “The Entertainer.” Other credits include playing on the lone Buckingham Nicks album in 1973, Gram Parsons’ GP and Grievous Angel, Elvis Costello’s King of America and Johnny Cash’s John R Cash. But with Jerry we never talked about it, but I just knew my role with that band, no matter what configuration it was, was to help keep it together.” “Elvis’ music was a lot more in your face you could never play enough. Socially speaking it was really different,” Tutt said “I’d always laugh because one night I’d be in Vegas playing with rhinestone two-piece outfits and the next night I’d be out with Garcia with the tie-dye and a pair of jeans. In a 2017 interview with Rolling Stone, Tutt talked about the differences between performing alongside Presley and Garcia, often in the same weekend.
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