Michael Purkhiser’s 3-D | The Action | Interview | Brother of Lux Interior from The Cramps

Michael Purkhiser’s musical journey includes forming his first serious band, The Action, in the late 1970s and collaborating with his brother Lux Interior to record The Cramps’ ‘Ohio Demos’ in their parents’ basement in 1978.

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This wasn’t just another garage band; it was a visceral experience, a collision of youthful angst and raw talent. Together with his brother Lux, they recorded The Cramps’ ‘Ohio Demos’ in their parents’ basement in ’78—a testament to their DIY ethos and relentless pursuit of authenticity. Imagine a teenage Michael, surrounded by posters of rock icons, immersing himself in the sonic worlds of The Raspberries and The Who, shaping The Action into a local powerhouse. The ’90s saw him transition to a solo career, teaming up with the legendary Don Dixon, and diving into the 3-D project, an audacious blend of British instrumental pop and ’60s surf sounds. Michael’s wizardry didn’t stop there; as a sound engineer, he sculpted the aural landscapes for acts like the Beatles tribute band “1964 The Tribute” and crafted custom amps for the likes of Dan Auerbach. His career has been a wild, unpredictable ride, but through it all, Michael remains a relentless creator, always chasing the next great musical revelation.

MuSick Recs and Trash Wax Records have recently released the debut EP from 3-D, the solo project of Michael. This EP, featuring Lux’s original artwork, comes out 25 years after its creation. In the early ’90s, Michael went solo, collaborating with producer Don Dixon, and formed the studio project 3-D in 1997. The project recorded 30 tracks at Akron’s Big Adventure Sound studio, with Lux providing artwork inspired by his love for 3-D photography. After a 20-year hiatus, Michael, now in L.A., connected with Art Bourasseau of MuSick Recordings, leading to the 2019 decision to release four instrumental tracks from the 3-D sessions as an EP. Dubbed “surftrack” music, 3-D’s sound merges ’60s and ’70s British film/TV music with classic surf rock. The tracks, known for their spontaneity, were mostly written and recorded on the same day. Mastered by Evan Foster at No-Count Studios in Seattle, the EP features Lux’s evocative album artwork, now adapted for this release.

“Playing with The Cramps at CBGBs was very memorable”

Would you like to share about your upbringing? Tell us about daily life back in your teenage years.

Michael Purkhiser: From the moment I heard the first Beatles album in 1963, I knew I wanted to play the guitar. I started on an old beat-up Kay acoustic, pantomiming Beatles songs in 1963/1964. Very shortly thereafter, my mom said, “Let’s get you some guitar lessons,” so I started guitar lessons on Tuesday nights at Akron Music! My first band was in 1966, playing at local dances. By 1969, I put together a band called TEA. We played Who, Led Zeppelin, and Cream covers. I really loved the heavy stuff. My teenage years were a bit hard. I went to a school where sports were more important than music, and I had very few friends there that played music. I had long hair and was a bit of an outcast. I couldn’t wait to get out of school for the day so I could go home and play my guitar. My mom was very supportive of my music. She was an Elvis fan and loved rock ‘n’ roll.

Was there a certain scene you were part of, maybe you had some favorite hangout places? Did you attend a lot of gigs back then?

There was a small group of us in junior high and high school that played music. We would get together at each other’s houses and play guitars. Other than that small group of friends, I was a bit of a loner. No girlfriends; it was all about the music and buying guitars. Kent, Ohio, which was the next town over from my town (Stow, Ohio), had a happening music scene going on in the ’60s. As a side note, Kent was the home of Kent State University, where four students were killed by the Ohio National Guard on May 4th, 1970, which made national headlines. Being a college town, it had a great music scene. One band in particular that I loved was The James Gang, which Joe Walsh played with. One of the happening clubs was called JB’s, where The James Gang and other happening groups played. I was too young to get in, so I usually went around to the back of the building where there was a small window where you could watch the bands. I remember watching Joe Walsh play ‘Jeff’s Boogie,’ then smashing this cheap guitar he played it on. I eventually scored a fake ID and then could get into the clubs. I looked a lot older than I was, and in those days, there were no pictures on IDs. The James Gang was amazing! They were on their rise to stardom, but their home base was JB’s, where they played Thursday and Sunday nights for $2. Other local bands I loved at the time were The Raspberries featuring Eric Carmen and a band called Glass Harp from Youngstown, Ohio, that featured Phil Keaggy, who was, and still is, an amazing world-class guitarist.

If we were to step into your teenage room, what kind of records, fanzines, posters, et cetera, would we find there?

The Beatles, Hendrix, Zeppelin, and Cream posters with incense burning! My hippie days. I had a large record collection of many various rock artists as well as soundtrack music, which I always loved. My parents and the neighbors were cool letting me blast my music on my stereo system.

Your brother had a large collection of records. I would love it if you could share where he bought his records and what some of the most interesting ones, in your opinion, were or which ones were influential for him and you?

Rick (Lux) was into music and had a huge collection of records spread all about in his bedroom. It was always magic going upstairs to his room and hanging out. He loved the British Invasion music back then in the mid-sixties. I remember seeing Rolling Stones, Kinks, The Who, Yardbirds, and various other records up there. He was the one who turned me onto The Who, Hendrix, and Cream. He had a really nice stereo system which always impressed me. That was my first taste of electronics, which I eventually ended up studying in college. He was also into comic books and loved MAD Magazine! I don’t remember seeing too many ’50s albums in his room at this time. That came a bit later when he and Ivy moved back to Ohio in 1973 and were really heavy into collecting vinyl and 78s. They loved going to flea markets, as did I, to look for vintage gems in the dark at 5 a.m.! There were also a couple of people in Akron they bought from who had lots of extremely rare stuff: blues and rock ‘n’ roll 78s and such. I can remember them coming back to the house with their flea market or junk store finds. He’d be educating me on all the early rare rockabilly music as he played his latest digs. He was always into music, but never spoke about having a band until around 1973 when they came back from California to live in Ohio for a couple of years. I remember them talking about putting a band together and moving to NYC, which they did in 1975. That was the beginning of The Cramps.

In a recent interview, you mentioned a song you wrote with your brother. The collaboration on ‘Trick or Treat, Mother and Me’ seems like a unique moment of creative synergy between you and your brother.

It was a very short-lived experience with him. I had an old tape recorder and was getting into writing and recording my own music. This was 1967. I was 12 years old. We collaborated on maybe three or four songs, but that was about it. At that time, he had his sights set on getting out of Ohio and moving to California, where he ended up meeting Ivy around 1971.

Was The Action your very first band, or were you in any other bands?

The Action was my first serious band. The bass player, Brent Warren, and I met through an ad Brent placed in the Cleveland Scene Magazine. Brent and I shared a love of power pop music and wanted to be the next Raspberries. Our original drummer ended up leaving pretty early on, and that’s when we hooked up with drummer Cliff Bryant (RIP). That was the popular lineup of The Action. The band put out three singles and shopped heavily for a record deal to no avail. We got close a few times, but never got the deal we were after. It was a strange thing—our studio recordings were very wimpy in comparison to what we sounded like live, which I think was the biggest reason we couldn’t get a deal.

We played a live Cleveland radio show concert in 1982 called The Coffee Break Concert. That really showcased what the band really sounded like. We were offered to buy the master tapes from the show but passed, mainly because I felt we played too fast, which was the norm back then anyway. Not buying those masters and putting that recording out was one of the biggest mistakes of my life. It captured us perfectly. Big sound like The Who. Years later, I tried to track down those master tapes but had no luck. All that exists is a cassette tape of the radio show. We should have been shopping that tape. I think if we had, we probably would have gotten signed.

How would you describe the local scene where The Action played? What are some of the most memorable gigs you did?

The Action played in Akron and Cleveland and would make weekend trips up to NYC to perform. We got around. Akron had a really good scene at the time. It was called “The Akron Sound” by some magazines. Devo came out of that scene. The Bank Nite Club in downtown Akron, Ohio, was home base for a lot of great Akron bands at that time. The scene was getting a fair amount of attention by the press in places like NYC and England. The Action opened for many people, including Robert Gordon, Joan Jett, Marshall Crenshaw, The Cramps, and many, many others.

What did your repertoire consist of?

Mostly originals, but also various covers. Dave Edmunds/Nick Lowe’s ‘Never Been in Love,’ The Flaming Groovies’ ‘Shake Some Action’ (which became one of our most popular songs to perform), some obscure rockabilly like ‘Sugaree’ by a ’50s rockabilly guy that mastered our third single named Rusty York, and Jerry Lee Lewis’ ‘Let’s Talk About Us.’ But mostly originals.

What influenced your sound?

The Raspberries and The Who would be the two main influences. I also loved Jeff Beck.

The Action’s singles are still highly sought-after collectors’ items. What was it about your music that resonated with audiences then, and how do you feel about its enduring appeal?

I think power pop has always had a large underground following. We had a band from Japan called Love Action playing our material, and a band called The Choosers also recorded one of our songs. I wish we would have played in Japan. I think we would have done well. It’s just fun, danceable music and memorable because of the catchy melodies. I think it’s great that people still search out our records. I had a test pressing copy of what would have been our second record called ‘4 X 3.’ A guy from Japan paid a lot of money for that.

Would love it if you could share some further words about where the three singles issued under the name of RadioGram Records were recorded?

The first two singles, ‘Get Back to Me’ and ‘Radio Music,’ were recorded in my home studio at my parents’ house. Also noteworthy – that’s where I recorded The Cramps’ ‘Ohio Demos.’ The third single was recorded at Bushflow Studios in Akron. He had better equipment and an 8-track recorder which we liked.

What inspired the songs?

The Beatles, Raspberries, and The Who I’d say were the main influences. The Raspberries were Cleveland-based, so you could go see them at small local clubs back in the day. They were tight and powerful. I was hooked from the minute I heard them. Kind of like The Beatles meet The Who. Their guitarist, Wally Bryson, has always been one of my top ten favorite guitarists. It’s interesting that in the ’90s I engineered an album by Scott McCarl, who was The Raspberries’ bass player on their last album, ‘Starting Over.’ He became a good friend, and we reconnected a couple of years ago in 2022. I now have a small studio in my Los Angeles home, and we recorded and I played on a few songs from his re-released album called ‘Play On.’

Recording The Cramps’ Ohio Demos in 1978 sounds like a significant part of your musical history. Can you walk us through the experience of working on that project in your parents’ basement? I think there are many people who would absolutely love to know more about the Ohio Demos. What are some recollections from working on it?

The Cramps were on their way across the country to play on the West Coast, one of the places being The Napa State Mental Institution. The demos were recorded a few weeks before that gig happened. I can’t remember if we were recording those songs to become an album or if they were just going to be working demos. I’d guess they were just going to be working demos. I believe they already had a relationship with Alex Chilton, who went on to produce some of their albums. It was fun recording them. Most songs were first takes. It was cool having them in the house where Lux and I grew up together.

What would be the craziest gig you ever did?

Probably CBGB’s opening for The Cramps in 1978. That was a total mismatch of styles, but it worked. The audience dug it. That was the night where I first met Dennis Diken, the drummer for the Smithereens. We became close friends and still are to this day. The Smithereens and The Action played gigs together. It was a fun bill. The Smithereens’ first Ohio gig was opening for us in the Kent club JB’s that I spoke about previously.

Transitioning to a solo career in the 1990s, you collaborated with REM/Smithereens producer Don Dixon. How did working with Dixon influence your approach to songwriting and recording compared to your earlier experiences with The Action?

That was in 1992, I believe, when I was working on a solo project. Don was great. He came in and knocked out some great mixes. He was also interested in my band from the mid to late ’80s called “The Walking Clampetts.” The Clampetts were mainly a cover band playing ’50s/’60s rock ‘n’ roll and rockabilly classics. In 1988, we began writing songs and trying for that elusive record deal. Don was interested in producing, but we needed a label and had no luck. The Clampetts are a whole other story unto itself. We had a very large NE Ohio following. The band began in 1981, and I joined in 1985 after The Action had called it quits. The timeline was The Action (1978-1984) and The Clampetts (1985-1990).

After The Clampetts broke up in 1990, we continued to play annual reunion shows for the next 32 years! Our last show was in 2022. The main founder of the band, John Teagle, passed from cancer in 2023. The remaining members and I are talking about doing some more shows possibly next year. The Clampetts never lost their following. We continued to sell out the reunion shows for all 32 years after we broke up.

Moving forward to the 1990s, you embarked on a solo career and formed the studio project 3-D. Can you tell us about the creative process behind 3-D and the inspiration behind its name?

When The Clampetts broke up in 1990, I decided to take an offer as a front-of-house engineer for a national Beatles tribute band called “1964 The Tribute.” I was tired of playing live and had a baby on the way. I needed a good-paying steady gig with benefits. I love live engineering, so it worked out well. We traveled the world together. My first shows with them were in East Germany nine months after the wall came down. What a cool experience that was! I decided to leave that full-time position in 1994 and go out with them occasionally for the next 16 years. I was designing and building tube guitar amps and tube compressors at this time. In 1997, the writing/recording bug bit me again, and I was off writing music. 3-D was my project with various musicians coming into the studio and recording tracks. We laid down two albums’ worth of material. In 1998, we had an album deal that fell through, and I then decided to put the project on the shelf. The 20-some songs that we recorded sat on the shelf, five of which were instrumentals. Fast forward to 25 years later in 2022. Art Bourasseau, owner of MuSick Recordings, became a good friend when I moved to LA in 2014. We had weekly dinners, but I never talked much about my music until 2022 when we decided to work together and put out the 3-D EP with four of the instrumental tracks I recorded back in 1997. Finally, a record deal! When Lux was alive in 1997, I asked him to put together some artwork for the expected 3-D album that never came out. That artwork also sat on the shelf for 25 years until we decided to use it for the 3-D EP. Don’t ever give up on your dreams because you never know when they might happen!

Your newest EP, featuring the original instrumentals from the 3-D sessions, is finally seeing the light of day after two decades. How does it feel to revisit this music, and what do you hope listeners will take away from it?

I’m thrilled the songs finally came out and are getting heard. I also think it’s really cool that, as a tribute to my brother Lux, his artwork is finally seeing the light of day.

You’ve described 3-D’s style as “surftrack” music, blending British background music with classic ’60s surf sounds. What draws you to this fusion of styles, and how do you approach capturing the spontaneity and energy of the genre in your recordings?

I’ve always loved instrumental music. I became very interested in the British instrumental pop sounds when I first heard a CD in 1996, which was a collection of that genre. I believe that CD was called ’20 Classic Loungecore Favourites.’ That CD really hit me, and I wanted to write some music in that genre. The first song I wrote became the lead track on the EP called ‘Razor Ridge.’ From there, I wrote four more instrumentals for the 3-D sessions. All the 3-D music was written very quickly. I’d work on ideas in the morning and afternoon, and by that night, I was in the studio with musicians recording it. I wanted the music to be fresh and spontaneous. It was a great time. I loved having the music come together so quickly, unlike The Action days when we labored over songs and recordings for months at a time. I still have PTSD from those days! These days, I still write quickly, but not as quickly as the original 3-D sessions.

“Before Lux became a singer, he was a very talented fine artist”

The EP’s artwork, originally intended for an album by Lux, adds another layer of significance to the release. Can you share more about the collaboration between you and Lux, and how his artwork complements the music of 3-D?

It was cool to work with Lux again. I’ve always loved his art, so it was especially cool to have it used on the EP. Not sure many people know this, but before Lux became a singer, he was a very talented fine artist. I used to watch him paint in the ’60s. He painted beautiful abstract paintings. Funny story—my mom worked for a guy back then who was very cultured and wanted Rick (Lux) to paint a portrait of himself. Lux took the job and painted a very abstract painting of this guy. This was in 1965. My mother was horrified when she saw it! She tells Rick, “I thought you were going to paint a real portrait of him??” His reply was, “If you want a picture of him, go buy a camera and take a picture! I’m painting him as I see him in the abstract.” As it turns out, the guy loved the painting!

Your journey from Akron to L.A., from The Action to 3-D, spans decades and musical landscapes. How do you see your evolution as a musician, and what are your hopes for the future of your music?

At this point in time, I’d really like to sell one of my songs. I’ve been working on an album’s worth of material these last few years which I’d like to release, but I also would really like to have one of my songs make it on a major release of some kind. I think my music is very catchy, has something to say, and would be a great fit for the right artist. Easier said than done, but I’m setting my sights on it.

As a sound engineer, what are some key principles or techniques you adhere to when capturing and enhancing live performances or studio recordings?

I like to keep things simple. I don’t believe in cluttering up a recording or live mix. I learned this when I was learning how to get the correct Beatle sounds for all the different Beatle tribute acts I’ve worked with over the last 35 years. It’s been quite an education. My DAW of choice now is Logic, and I’m amazed at the quality you can get in a home studio these days. I love all the plugins available, especially all the Abbey Road plugins. I can use gear now that I could never have afforded to use before. I can sit in my house and write music and have people come over to record, or have them record remotely from their location. We live in an amazing time, technically speaking.

Are there any specific projects or collaborations you’re particularly proud of in your career as a sound engineer or amp technician?

“1964 The Tribute” taught me so much as an engineer and electronic designer. These guys nail it for sound. I’ve been to Carnegie Hall running sound for them numerous times, as well as Red Rocks and other great venues across the country. Besides running sound for them, I also started designing equipment for them. They originally were using authentic Vox AC30s from the 1960s, which were falling apart. I ended up rebuilding them from the ground up. The next thing happening was we weren’t meeting the airlines’ weight restrictions with the gear. I then designed and built them lightweight AC30s that weighed in at 39 pounds but still had the correct sound. I was also designing and building them vacuum tube mic preamps and studio-grade compressors. When I left my full-time position with them in 1994, I started designing and building all types of different gear for many different touring groups.

Can you delve into the process of designing and building amps that emulate the sound and aesthetics of iconic models like the Vox AC30 while also meeting the practical demands of touring musicians?

I learned a lot by taking apart ’64’s AC30s and rebuilding them. I designed a lightweight AC30 they could get on planes when we flew to gigs. Side note – some Vox executives were at one of those Carnegie Hall shows where ’64 was using my lightweight AC30s. When they found out what was going on, I promptly received a cease and desist letter from their lawyers! When I first got that document, I thought, hey, this is really cool! I must be doing something right! Ha! Building back then was a bit difficult because there weren’t as many materials available as there are now, but there was enough. Most of the older circuits were very simple. Let me let you in on a big secret: simple IS better! That’s why so much of the older gear sounds so great. The designs weren’t all clogged up with features like effects loops and such, which IMO is why so much of the current reissue gear doesn’t sound as good. The engineers design in features to sell more gear which also destroys the integrity of the original designs. I’m not knocking technology because so much of it IMO is great like Logic. Even the modeling amps have their place. But if you’re going to trek back some 60+ years ago, simple was the norm. Simple certainly hasn’t stopped people from buying those simple recorded records from the ’50s and ’60s.

Your work with musicians like Dan Auerbach highlights your reputation for crafting custom designs and modifying amps. Could you share any insights into your approach to tailoring equipment to meet the specific needs and preferences of individual artists?

Man, it’s scary how much you know about me! Lol. Dan was great to work with. He loves those early amp designs, and I was ready to either modify gear for him or custom-build him gear. It was great to be working with this young guy who really appreciated the older designs. It was also cool because The Black Keys were playing small clubs when I started with them, but I could see the writing on the wall. They were going to be big. I saw the same thing happen with The Cramps. They were playing CBGBs, and the next thing you know, Alex Chilton is working with them, and they’re on their way to becoming big.

You recently mentioned the new Action album. I would love it if you could share some further details about it.

There’s been some talk of putting out that live radio broadcast from 1982. Maybe throwing in some unreleased studio recordings as well. It’s just talk for now, but time will tell.

What’s next for you?

More writing and recording. I want to release a full album, hopefully next year sometime.

Looking back, what was the highlight of your time in the band? Which songs are you most proud of? Where and when was your most memorable gig?

That live radio broadcast concert was a great gig. For once, we finally captured what the band was all about. Playing with The Cramps at CBGBs was also very memorable. We also played in a part of Cleveland known as The Flats. Now it’s a bit posh, but back then, it was more on the dangerous side. So many memorable gigs down there. People coming out in below-zero weather to see the band, drink, dance, and party. Then a long drive home in blizzard snowstorms, wondering if you’d even make it home. Great memories. One of the songs I wrote that I’m still really proud of was a song called ‘Oh Tell Me.’ It was never released but recorded at that live radio show. Brent Warren (bassist for the Action) wrote a song I really dig called ‘Ladylove.’ That was nearing the end of the band. There’s a YouTube video of that floating around. I love it. We were really starting to come into our own sound with this track.

Thank you for taking your time. The last word is yours.

My career in music has been very diverse. So many great fans and great memories! And it ain’t over yet! Thank you for thinking of me and writing this article. Peace!

Klemen Breznikar

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Headline photo: The Action live (1982)

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