Perry's surprisingly pessimistic views on the world, the industry, music and people don't exactly fit the bill of what you'd expect spouting forth from the frontman, but it becomes apparent that that misunderstanding may just be what fuels his dissatisfaction. Perhaps one of the most misperceived bands to hit the scene, Steve Perry and the Cherry Poppin' Daddies claim they aren't just about swing, as the success of Zoot Suit Riot, the ensemble's breakout 1997 album, pigeon-holed them as being.

Unfortunately, fame for some can bring stereotyping, and they're the perfect example. Perry adamantly explains, "First of all, Zoot Suit Riot was a compilation of the swing songs that we had on our previous three records, so it was kind of focusing on one aspect of our personality." Soul Caddy is more representative of the band's true persona he aims to establish, saying, "This record is more like how we make records, which is more eclectic, varying styles. On this record obviously we tackled all sorts of harder rock styles and soul music, and things like that to try and bring home the points of each song."

Continuing with his passionate presentation of the band's latest collection, the singer-songwriter makes the point that on the album, just as in our chat, Perry throws everything on the table. "This one is more personal, I think. But I have no skin. It's all my little scream, you know? I think it's about transformation and I'm in a period of my life when I really feel a desire to transform in some ways personally." More specifically, Soul Caddy's 13-song track list consists of pervading images Perry uses to deliver those themes. "There are two symbols on this record that are very important," he begins. "One image that I got for the whole record was the idea of the comet, which goes toward the sun and then back out. I feel personally that I'm the comet that's way, way out in the cold and heading toward the sun, but still far, far away."

So what is the Sun? "The sense of community, the sense of belonging, the sense of happiness, the sense of anything desirable," he somberly responds.

That still leaves one more emblem pertinent to the album, and it doesn't get any lighter. "The other image would be of blood letting," Perry fills in the blank. "The pinnacle song, the one that's most important to me on this record is 'Bleeding Ceremony.' It's about sitting in the tub and cutting yourself with a razorblade. I used to know someone who would get into the shower and she'd cut herself. The thing is, you're in the tub, you're cutting yourself, you're bleeding and passing from this world, not in the literal sense. You're not dying but you're passing from the disappointment and the banality of the world. So it's the transformation."

Perry's translation of Soul Caddy only intensifies. "There's a lot of venality, loneliness, disappointment and the idea of the surface versus the inner soul," he says matter-of-factly. Then he explains the construction of the CD packaging and how even the superficial aspects of the album were made to reflect that theme. "The cover is black and white and then you open it up and inside there's a bursting forth of colors. So it's that playing of the inner versus the surface."

One might say that element of the album cover is also a perfect manifestation of Perry's own surprising contradictions. As the face of the ten-year-old Cherry Poppin' Daddies ensemble, his bittersweet commentary contrasts the dancin' on air image that has popularized the Daddies. Despite the "simply swing" stigma, their latest offering fuses rock, ska, jazz and pop to their more noticed swing sound. Breaking out of the mold Zoot Suit Riot created, the Cherry Poppin' Daddies are seeking to prove they've got a lot more in them, and Perry's hoping there's a lot more in those listening.

With such a sullen sense of reflection, what will satisfy the accidental star of swing?

"I'm hoping to find a community of peers, or people who think the same things that I think, who actually listen and aren't just surface, crass people," he says flat out. "But I'm not holding my breath."