The roots of the swing revival are generally traced back to 1989, which saw the formation of several of the scene's most prominent figures: Los Angeles' Royal Crown Revue and Big Bad Voodoo Daddy, who often stuck close to playing traditionally-styled jump blues and rockabilly; San Francisco's swing scene[1] included Lee Presson and the Nails who started performing at local clubs in 1994 and Lavay Smith & Her Red Hot Skillet Lickers, who showcased vocal jazz and blues influences, emerging in 1996; and Eugene, Oregon's Cherry Poppin' Daddies, who incorporated elements of punk rock and ska into swing and jazz music.
[4] In 1996, the American comedy Swingers, which featured scenes filmed at The Derby and a musical performance by Big Bad Voodoo Daddy, became a critical and commercial success and is frequently credited with bringing the swing revival further into the cultural mainstream.
[5] In April 1997, the Squirrel Nut Zippers' 1996 single "Hell" appeared on the Billboard charts, effectively becoming the first hit song of the swing revival; their album Hot would achieve platinum sales of one million units by the RIAA by December 1997.
[8] The Brian Setzer Orchestra, which was founded by former Stray Cats frontman Brian Setzer in 1992, also achieved double-platinum sales with their 1998 album The Dirty Boogie, whose cover of Louis Prima's 1956 song "Jump, Jive an' Wail" became the highest-charting single of swing revival, peaking at #23 on the Billboard Hot 100 and winning a Grammy Award for Best Pop Performance by a Duo or Group with Vocal.
[9][10] At the same time in 1998, The Gap used Prima's version of "Jump, Jive an' Wail" in a "Khakis Swing" commercial;[11] according to Stereogum, Gap's commercialization of the revival in particular was considered as signifying the end of the 90s swing revival or movement, though examples of neo-swing in general continue to be produced beyond the 90s.