Posts Tagged ‘rock beat’

Album Review: Black & Blue – The Laff Records Collection

Thursday, January 15th, 2015

A new 4CD collection of vintage comedy records, Black & Blue: The Laff Records Collection exemplifies the abbreviation NSFW (“Not Safe for Work”). The low-budget stand-up comedy records (usually but not always recorded in front of raucously appreciative audiences) released on the independent Laff Records label in the 1970s were a sensation in African American communities across the USA. But to buy these records, you had to know whom to ask: titles like Eatin’ Ain’t Cheatin’ by Wildman Steve simply couldn’t be put on prominent display in a record store.

The story of Laff Records is a sort of underground, sub- or counter-cultural history. The labels’ so-called “party records” were put together using the smallest of budgets – the cover art is often amateurish, and the recording techniques won’t win any audio awards – but then those measures completely miss the point. These extraordinarily “dirty” records featured the likes of Redd Foxx and Lawanda Page, both giants in the black standup comedy world. The public at large knew Foxx as Fred Sanford on the hit TV sitcom Sanford & Son; they knew Page, too, as Aunt Esther, the uptight sister-in-law of the main character. But TV viewers would be shocked (shocked, I say) to hear Page on record, on her Pipe Layin’ Dan LP. There she runs through routines with titles like “Bustin’ Cherries” and “Douche Powder.” Needless to say, as with most Laff Records titles, Page’s LPs were not for the easily offended.

But there’s an undeniable (dare I say) charm to be found in routines like Jimmy Lynch‘s “Tricky Dick & Pussy,” Dap Sugar Willie‘s “Duck You,” and Mantan Moreland‘s immor(t)al classic, “That Ain’t My Finger.” And while this caucasian writer can merely hazard a guess here, one suspects that there was a certain degree of liberation at work, an I’ll-say-anything-I-want mindset that was, in its own way, empowering to both the comics and their (almost wholly black) listening audience.

To this day, original Laff Records are fairly difficult to come by; seemingly they’ve all been melted in conservative church bonfires, or (more likely) they’re hidden away in the collection of now-aging African Americans (note to self: hit some nearby intown garage sales this coming spring). Ten or so representative titles from the Laff catalog are now collected on this new 4CD set. Robert Townsend‘s brief essay helps modern listeners understand the debt that today’s black comics owe to these underground party records. And a richly detailed booklet provides biographical and contextual information about the performers and their recordings. There’s no Richard Pryor material here (though Laff released several Pryor discs, the man’s relationship with the label was contentious), but the lesser-known names make their raunchy mark nearly as well. With Black & Blue: The Laff Records Collection, Rock Beat Records are once again to be commended for their edgy (if limited-appeal) approach to compilations and reissues.

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Album Review: Halloween Nuggets

Friday, October 17th, 2014

Halloween’s coming: October 31 is a mere two weeks away. Personally, it’s my favorite holiday: for several years I lived on one of my city’s busiest residential streets, the go-to location on Halloween. This upscale neighborhood (we were firmly at the bottom of of the street’s socioeconomic scale there, by the way) was very popular with trick-or-treaters. So much so, in fact, that people chartered vans and buses – I kid you not – just to drive their kids to our street where they could collect candy. One year, we had over 500 kids ring our doorbell.

Leaving other family members to dispense the loot, I stood out front in a creepy mask, hood and gloves, playing (well, playing after-a-fashion) my Theremin. The spooky tones fit perfectly for the play-fun that is modern Halloween. Music – especially music laden with eerie, gimmicky sounds – has long been a staple of this fall holiday.

Like Christmas, Halloween has engendered a fair amount of its own theme music. But not a lot of it has hit the charts in a big way, despite its quality. And so when an artist records a Halloween-themed tune, it usually slides quickly into obscurity. I mean, who wants to hear spooky music once November rolls around?

Well, if you’re thinking to yourself, “Me,” then I have a treat for you. Rock Beat Music has put together a box set – three discs packed to the limit – of 1960s music loosely built around the theme of ghosts, goblins, witches and monsters. Drawing mostly from among the era’s hopelessly obscure sides, Halloween Nuggets: Monster Sixties A Go-go is a fun if modest collection of ninety-plus tracks.

Because from a cultural point of view “the sixties” really began circa February 1964, there are a number of 50s-sounding tunes here. Most lay on the gimmicky theme a bit thick – loads of spooky sonds, scream and whatnot – but the underlying theme is an undeniably kitschy sort of fun. While there are a few duds – Ralph Nieson and the Chancellors‘ manic psychobilly raver “Scream” is repetitive enough to give even the most die-hard listeners a headache – there are plenty of gems here. The song titles (“Tombstone No. 9,” “Cha Cha with the Zombies”) and one-off band names alone (Frankie Stein and His Ghouls, The Graveyard Five) are entertaining enough, and a lot of songs are goofily wonderful.

Some of these tunes will be familiar to connoisseurs of garage rock obscurities: Positively 13 O’clock‘s reading of The Count Five‘s “Psychotic Reaction” has been comped many times, as has Kiriae Crucible‘s “Salem With Trial.” But for every one of those, there’s a too-rarely-heard track like Baron Daemon & the Vampires‘ “Ghost Guitars.”

The track sequence is peppered with laughably awful audio tracks from B-movie trailers. You don’t really need visuals to know what The Astro Zombies or Night of the Blood Beast are about; their inclusion here doesn’t impede the flow of the music. Instead they just add to the fun.

James Austin – the label’s leading light when it comes to compilations: see also Los Nuggetz – has done his usual fine job of collecting and choosing the songs. What he hasn’t done – and where Halloween Nuggets leaves me a bit wanting – is to provide anything along the line of discographical information, or any sort of liner notes, for that matter. So listeners are left to wonder exactly what was behind an admittedly ace number such as Ervinna & the Stylers‘ “Witch Queen of New Orleans” or the good-timing garage jangle of The Circus‘ “Burn Witch Burn.” (The exceedingly tiny type used for track listing on the box’s back is frustrating to readers of a certain age, too).

But those are minor issues; we’re here primarily for the music. And Halloween Nuggets digs deeply into the graveyard of rock’n'roll (and pop) obscurities for this set. And this 3CD set might be just the ticket to enjoying a little bit of lightweight fun before the Christmas decorations come out. (How’s that for scary?)

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Album Review: The “5″ Royales – Soul & Swagger

Monday, June 16th, 2014

There are a select few acts in musical history that didn’t sell a ton of records, yet exerted influence far beyond what their chart action might suggest. Among the most celebrated examples are The Velvet Underground and Big Star. Both groups have had said about them – apocryphally or otherwise – that they sold few records, but that everyone who bought one went out and formed a band.

That short list should also include The “5” Royales (the quote marks are part of the name). Though their notoriety is largely confirmed to blues and r&b enthusiasts, the group can count among their fans no less than Steve Cropper of Booker T & the MG’s fame, Stevie Wonder, Eric Clapton, and Jimmie Vaughan. The “5” Royales’ specialty was a bluesy, often gospel-infused vocal style not miles removed from The Platters, Drifters and Coasters. But in addition to some excellent, soulful close harmony work, the band had within its ranks a secret weapon: guitarist Lowman Pauling. His direct, compact and effective leads were an integral part of the group’s sound.

A new 5CD set (naturally, there are five!) collects all of The Winston-Salem NC-based group’s material, from their earliest 78s in their 1951 gospel phase (when they were known as The Royal Sons Quintet) through their later material. The group’s unique sound was a synthesis of blues, early rock’n'roll, doo-wop, rhythm and blues and what would later be known as soul.

The new set (on Rock Beat Records) titled Soul & Swagger: The Complete “5” Royales 1951-1967 is lavishly packaged in a sturdy hardcover book roughly the size of a stack of 45rpm singles; that’s fitting, as The “5” Royales existed in an era when the single was king, when album-length releases weren’t yet the standard. A detailed and deeply researched history and discography includes details including personnel on each track, release date and matrix number.

The set is strewn with gems; The “5” Royales were so versatile and accomplished that each listener will likely have his or her own favorite tracks. The blues-based “Thirty Second Lover” (from 1957) is as good as anything that came out that year; it sounds a bit like The Dixie Hummingbirds backed by Scotty Moore, DJ Fontana and Bill Black. Pauling tears up the fretboard on “Say It,” and their version of “Dedicated to the One I Love” is miles away from the Mamas & the Papas version.

Some of the material features saxophone (in those days, as often as not, sax – not guitar – was the lead instrument of choice for r&b sides), and swings in a manner a few steps advanced from – but not wholly unlike – Louis Jordan and His Tympani Five. A bit of gritty guitar distortion crops in from time to time, but it’s nicely balanced by the soul-stirring close harmony work of the group.

As noted above, The “5” Royales were a singles outfit. They did cut a few albums of material, but not until the CD era did any sort of thoughtful compilation of their best work appear. But now in 2014, no less than two compilations have been released. A 2CD set called The Definitive “5” Royales: Home of the Blues & Beyond is a good and thoughtful survey. But the Rock Beat set includes all of the material the group released 1951-1967, liberally sprinkled with rare, unreleased and alternate takes. And if you’re gonna dive into the work of The “5” Royales, you ought to do it right. Thanks to its comprehensive nature and the care with which is was assembled (a few early sides excepted, the sound quality is stellar), Soul & Swagger: The Complete “5” Royales is the one to buy.

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Best of 2013: Reissues/Archival Releases

Monday, December 23rd, 2013

It’s that time, again: the time of year when I coast to the New Year’s finish line and post a string of best-of lists. It’s not simply a place-holding exercise; I really do recommend these albums etc. and sincerely believe they deserve a look (or a second look). So forthwith…

2013 has seen a number of noteworthy reissue/compilation releases, but for me these are the Top Five. Click on the titles for a full review.

Pete Ham – Keyhole Street: Demos 1966-1967
The prodigiously talented Badfinger leader was also, as it turns out, prolific. One pauses to wonder what more great music he might have given the world had he successfully battled his demons. It’s some consolation that Badfinger chronicler Dan Matovina worked tirelessly to bring this two-disc set of early home demos to light. Get it while you can (if you even still can).

Various – The South Side of Soul Street: The Minaret Soul Singles 1967-1976
Just when you thought all the old R&B labels (Stax, Hi, etc.) had been fully mined for their reissue value, along comes this set. Yes, many of the artists are lesser-known than their major-label counterparts, but the quality of the music belies its relative obscurity. The people at Omnivore clearly love music, and their efforts in bringing out sets like these prove it again and again.

Duane Allman – Skydog: The Duane Allman Retrospective
The guitarist’s recording career was tragically short, but man, was he busy. Allman’s work at the helm of The Allman Brothers Band showed but one side of his talents. This lavish set displays all sides, and does so in a staggeringly impressive physical package. (There’s a cheaper/slimmed-down version available as well).

Various – Los Nuggetz: ’60s Garage & Psych from Latin America
Rock Beat has picked up the baton that Rhino initiated with its multi-disc Nuggets sets, heading south of the border and unearthing all manner of goodies. Even hardcore garage fanatics are likely to find surprises here: the music’s quite impressive, running the gamut from garage to popsike to way-out, mostly done with a guileless, on-the-cheap aesthetic that keeps it real.

Woody Guthrie – American Radical Patriot
The music of one of America’s most important musical and cultural figures deserves a set like this, perhaps the classiest, most comprehensive collection of its kind ever assembled. True, most people who purchase it won’t have a way to play the 78rpm record, but the accessible content is wonderful enough for that not to matter much.

Honorable mentions:
Concord’s jazz reissues, Real Gone Music’s soul-jazz reissues on its Dusty Groove imprint, Jazzhaus‘ ongoing trip through German TV and radio archives, and Purple Pyramid’s reissue of classic space-rock albums from Nektar.

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Album Review: Magic Sam and Shakey Jake — Live at Sylvio’s

Thursday, August 29th, 2013

Maybe you don’t know who Magic Sam is. With a moniker like that, you might guess he’s a character from Willie Dixon‘s “Wang Dang Doodle.” But the blues guitarist born Samuel Gene Maghett had an album career that lasted a relatively brief twelve years, 1957 to his death in 1969. And his first album under his own name didn’t come near the end of that period, with 1967′s West Side Soul. And while he was awarded with some posthumous honors in the 1980s and ’90s, during his lifetime he enjoyed comparatively modest fame.

A live onstage tape of Magic Sam dating from sometime around 1966 (probably December, suggests Bill Dahl‘s helpful liner notes) has been released by Rock Beat Records under the title Magic Sam and Shakey Jake – Live at Sylvio’s. This date at the well-known Chicago blues club actually predated the release of Magic Sam’s first official LP. As seems so often the case, it was thanks to a European blues enthusiast – in this case, Belgian fan George Adins – that we have this set, recorded on a portable machine.

The lineup this night included Sam on electric guitar and vocals, plus Shakey Jake (Maghett’s uncle, born James Harris) on shared lead vocals and harmonica. Bassist Mack Thompson and Elmore James‘ drummer Odie Payne, Jr. rounded out the onstage lineup. The sound of the fourteen tracks (the disc also includes a short interview and two tracks from a 1969 European date) is a bit rough, but if you dig live blues, your ears will adjust soon enough.

Magic Sam and band tear through a catalog of blues standards, just about what one would expect from a blues band in a small West Side Chicago club. Lowell Fulson‘s “Reconsider Baby” gets a soulful, greasy reading. Sam tears it up on his guitar, playing lean, sinewy single notes on his guitar; he alternates between lightning fast runs and slower, bent-note licks. The backing band does what a blues band generally does: they lay down a solid backing, free of filigree.

The band swings on Junior Parker‘s “Just Like a Fish.” We can safely guess that the producers of this set edited out the between-song banter and tuning to present a tight release; as such, most of the tracks fade in at the beginning (and out at the end). All the blues tropes are here, but somehow it feels fresh; the performance never feels perfunctory. Sam and band aren’t exactly setting Sylvio’s on fire for the first few numbers on this winter 1966 night, but they are in fact turning in a heartfelt set of readings that hit the sweet spot between loose and rehearsed. Shakey Jake gets at least as much solo time as Sam (which may well explain why he gets co-billing on this set), but that’s all to the good; both are ace blues players.

The band finally settles into a fiery groove mid-set: “I Can’t Please You” is among the disc’s best numbers, with everyone firing on all cylinders; Sam’s lead vocal is especially impressive on this James Brown-ish soul/blues nugget.

Sam shouts encouragement to his bandmates throughout the otherwise instrumental “Baby Scratch My Back,” the closest this lot gets to pop on this disc; more than anything else, on this track they sound like Chicago blues fetishists Peter Green’s Fleetwood Mac. The band really cooks on Albert Collins‘ “Backstroke.” Perhaps it’s a function of the raw sound quality that makes the instrumental numbers among the most exciting on this disc.

By July 1967 Sam was in the studio working on his debut LP; the sole number performed on this night that ended upon that set was his original “All Your Love,” the original version of which was his first single back in ’57. The remaining studio cuts were mostly cover of blues standards, but not the ones he played this night at Sylvio’s. So Live at Sylvio’s is the only place to hear Magic Sam perform most of these tunes. Don’t worry about the fidelity (which isn’t really bad at all); instead, pour yourself a scotch, close your eyes and pretend you’re in a dark corner st Sylvio’s, enjoying a tasty set from Magic Sam and his band.

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Album Review: Faye Richmonde — For Men Only

Tuesday, July 30th, 2013

Though neither of my dear, sweet parents could ever carry a tune in the proverbial bucket, there was plenty of music in the Kopp household as I was growing up. By the mid- to late 1960s – the time at which I developed an interest in such things – Mom and Dad had amassed a tidy little collection of perhaps two hundred LPs. As I began to investigate them, I was (as mentioned elsewhere) most intrigued by the one with the cover photo of four half-lit faces (Meet the Beatles). But another record caught my eye as I got a tiny bit older.

For Men Only sported a scandalous looking record sleeve. On its hot pink cover was a “mature” woman wearing nothing but a strategically placed violin. The sleeve listed some of the song titles, and even an my prepubescent years I could tell there was, er, something going on here. Song titles like “You Ought to See Her Box” and “It Was Hard When I Kissed Her Goodbye” left little to the imagination. The sleeve implied that the naked cover sleeve lady was one Faye Richmonde, but the dark blue halftone picture on the back suggested that the actual Miss Richmonde (the singer) was in fact a much lovelier and younger African American woman.

The record was on the Davis Records label, and both the liner notes and songs were credited to a Joe Davis. In those liners, Davis suggested that You Might Also Enjoy another of Faye’s albums (also helpfully available from Mr. Davis for the mere sum of $3.98) called A Little Spice. Dad had that record, too; it sported a much naughtier (albeit black-and-white) photo and better song titles (“If I Can’t Sell It, I’ll Keep Sitting On It,” “She’s Nine Months Gone From Home,” “Keep Your Nose Out of Mama’s Business,” and so on).

I ended up with both of those records in my own collection, more for the kitsch factor of the cover and song titles than anything else. But when I discovered that Rock Beat Records had reissued For Men Only, I decided it would be a good excuse to write about it. So when I visited my parents last weekend (Dad’s in his mid 80s but as sharp as ever) I asked them about these albums. At first they both feigned total ignorance. Nope, don’t remember any such thing, they insisted.

Cleverly, I had brought the CD reissue along with me. And though Dad’s legally blind, when I set the jewel case down in front of him, he furtively glanced at it and quietly mumbled, “Oh, yeah. That.” Mom picked it up and read the song titles to herself, chuckling all the while. Unfortunately, neither of them really had much else to say about the whole thing.

I did a quick search online to see what information (if any) circulates about these oddball releases. I learned that Davis was charged with distribution or manufacture of pornography in New York (home to Joe Davis Record Manufacturer, on 49th street in NYC) in 1958 or so. (It appears the charges were dropped, dismissed or otherwise ruled against.) Used copies are readily available on eBay, but be prepared to shell out upwards of $35.

The Rock Beat reissue marks the first time For Men Only has gotten a legal/legitimate reissue on CD. The reissue has no liner notes and tells you far less about the whole thing than I’ve done in this short piece. But the audio transfer is very good, which is impressive considering that the vinyl slabs Davis pressed in the 50s are not exactly 180-gram quality.

You may notice I haven’t spent any time discussing the music. Well, while it’s not bad, it’s by far the least interesting component of this whole subject. Richmonde has a nice enough jazzy cabaret/lounge style voice, and the pianist (Davis himself?) plays along in a saloon style. There’s no additional accompaniment. The songs were likely recorded in a single take, a single session. They’re good for a laugh, and remain a bit bawdy even some 55 years later. A friend who sometimes takes part in burlesque-type dance revues thinks that some of the songs on For Men Only and A Little Spice might be good accompaniment to an upcoming performance. Yep, I could see that.

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Album Review: Various Artists — Los Nuggetz: ’60s Garage & Psych from Latin America

Thursday, July 11th, 2013

During the first four or five years of this new century, there existed online a thriving collector/trading community, dedicated to sharing and disseminating obscure, forgotten and occasionally never-known-about-in-the-first place music from the 1960s. Operating right on the edge of copyright law (well, on the wrong side of it, if truth be told), these collectors shared music you simply couldn’t find anywhere else.

If you’ve heard of Nuggets, you know what I’m talking about, sorta. But go a few degrees farther on the obscuro-meter, past Pebbles, past Back From the Grave. Now…keep going. Now you’re getting close. One example was an eleven-CD set that circulated among hardcore psych/garage fans and serious aficionados. That set was winnowed down to four CDs, proper licensing was done, and the results were released as the infinitely more commercial (but only in a relative sense) Rhino set Nuggets II: British Empire and Beyond, 1964-1969. It was really, really good, and remains an essential purchase for anyone whose tastes in 60s music extends far beyond The Beatles and Rolling Stones.

A couple of tracks on that 2001 set featured bands from Spanish-speaking countries. Previously unknown (in the USA, at least) bands like Os Mutantes (Brazil), We All Together (Peru) and Los Shakers (Uruguay) were featured, and their music was extremely appealing.

So perhaps that set’s success was part of what gave inspiration to an especially intrepid collector in Switzerland who went by the online pseudonym Sylvain. He put together what was initially a 6CD series called Psychodelicias, focusing on pop, beat, pop-sike, garage and psych of the late 60s (and sometimes early 70s) from those Latin American countries plus Spain and Portugal. The sets were designed with lovely artwork, and (according to the closest thing we have to official word on this unofficial, unlicensed set) only about 35 copies of each volume were produced.

As luck would have it (and this explains how I come to know all this) I have all six volumes, each hand-numbered by Sylvain himself (my copy of Volume One is #11 of 35). Moreover, I was involved in the “vining” of this set (with Sylvain’s consent and cooperation) to members of a Stateside collector/fanatic group, and the set was extremely well-received. These days the whole trading/collector scene has pretty much faded, owing to Bittorent sites and – one surmises with a tinge of sadness – the drying-up of the well of undiscovered material.

But wait! Those with an interest in all this – and you know you’re out there – who would prefer a legitimate release, one with detailed discographical and historical information, plus higher fidelity (as opposed to the nth-generation dubs of needle drops we pioneering collector/traders had to settle for)…well, you’re in luck. Rock Beat has put together an amazing set called Los Nuggetz: ’60s Garage & Psych from Latin America. Lovingly assembled from the best sources available, and packaged in a stunning hardcover book, Los Nuggetz is the real deal. 101 tracks across four discs (all music save a few must-hear nutty period-piece radio commercials and station identifications) explore this heretofore all-but-undocumented genre.

Now, before you go having any chauvinistic, Anglophone thoughts, let me point out something out for you. Yes, a goodly chunk of Los Nuggetz is given over to Spanish-language versions (and semi-versions) of the English-language pop hits of the day. And you might get a chuckle or two out of hearing “Bule Bule” by Los Shain’s, and comparing it to a certain similarly-named song by Sam the Sham and the Pharaohs. Or Los Salvajes‘ “Todo Negro,” a reading of a certain sitar-laden Rolling Stones tune. Or even “Yo Crei (Reach Out I’ll Be There)” by Los 4 Crickets. And you might look down your nose at these sometimes (technically speaking) inferior versions.

But it’s worth remembering that covering the hits of the day was a common approach for American acts of the era, as well. To wit, consider many of the tracks on Sundazed’s 2131 South Michigan Avenue. Yep, lots of Yardbirds, Kinks, Stones and Beatles covers there. That’s what the local markets wanted, and even more so in Spanish-speaking countries. So their local heroes (or neighbors!) would march into the local studio and lay down a cover or six, inevitably imbuing the tunes with some local or regional flavor. Sometimes they’d pen wholly new lyrics to fit the songs’ meter, and sometimes they’d attempt a sort of pidgin English. The results as collected on Los Nuggetz are quite enjoyable in their own right.

And there are plenty of original songs on the set too. Los Nuggetz is a little light on the psych side, possibly owing to the fact that many of the home countries of the featured acts were ruled by relatively authoritarian regimes not given to the excesses of songs about mind-altering drugs (much less the drugs themselves). But it certainly rocks and pops with the best of ‘em.

But the overall quality (and surprising variation) among these tunes makes Los Nuggetz essential listening. The set’s packaging is on a par with Rhino’s Where the Action Is! and Love is the Song We Sing collections, and while Randal Wood‘s liner notes have the odd typo or two, the research itself is impressively solid and thoughtful. In fact, there’s really little or nothing that could have been done to better feature the music in this set. Los Nuggetz is even more well put together than Rock Beat’s last related compilation, Surf Age Nuggets. And that’s a high standard indeed. Even those lucky few who have that underground Psychodelicias set (now up to some ten volumes) won’t have more than a few of the tracks on Los Nuggetz. Get this.

Note: The cover artwork was changed a bit between distribution of the image above and actual production. But — other than what’s noted in the accompanying book –  the songs remain the same.

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Album Review: Pulp and Pop Culture Box Vol. 1

Wednesday, June 26th, 2013

You know what’s cool? When the compiler of a collection of music makes no outsized claims of cultural import about the music. Sometimes it’s art, for sure, but sometime, it’s just…fun. That’s certainly the case with Rock Beat’s new Pulp & Pop Culture Box Vol. 1. One hundred-plus tracks filling four CDs, it’s jam packed with weirdness, novelty and the aforementioned fun.

The package is nearly divided into four thematically-defined discs: Rock & Roll Invasion features 1950s and 60s sci-fi- and space-themed rockers, very few of which will be familiar even to genre aficionados. The 1963 hit single “Martian Hop” by The Ran-Dells is probably the most well-known cut on the disc; the others feature such non-luminaries as Lonnie Miley, The Rebelaires with Sammy Smith and Dick Robinson and His Makebelievers. (Yeah, me neither.) An assortment of movie trailers is scattered among the between-song spaces; the most notable of these is a suitably over-the-top spot for the classic Plan 9 From Outer Space.

The Voodoo Dolls disc features 25 tracks, all but five of which sport “Voodoo” or a variant thereof in the title. Some more nutty film trailers for radio broadcast – such as one for Voodoo Woman – round out the set. Best song title: “It’s Your Voodoo Working” by Charles Sheffield. Taken as a whole, the Voodoo Dolls set is a better collection of music than the first disc, featuring as it does a wider stylistic selection full of r&b and more.

The Teenage Rebels disc can be thought of as a sort of no-stars answer to Rhino’s Loud, Fast & Out of Control: The Wild Sounds of the ’50s box set. The narrator of the must-hear one-minute “Sex Education” instruction record assures us that it’s “not intended to be followed word-for-word.” Thank goodness for that. The sly compilers make sure to follow that cut with John & Jackie‘s “Little Girl” from 1958, which is positively (and delightfully) smutty. Its inclusion makes the whole damn set worth owning, though there are plenty of other delights within.

And the fourth disc, titled 1960′s Wild Guitar Instrumentals is just that: two dozen trashy instro-rockers full of twang, reverb and pluck. A highlight of this set is Alfredo Mendieta‘s 1959 single “Chicken Run,” a thinly disguised rewrite of Link Wray‘s “Run Chicken Run.” Originality aside, it’s a helluva lot of fun. And not only are the listings of band names a hoot – Angie and the Citations, Jack and The Ripper, The Abootay’s (sic) – but the cover art featuring a King Kong cousin terrorizing a city (London? Rome?) with a giant Stratocaster simply must be seen.

Each LP-sleeve style inner slipcase provides perfunctory track info – title, artist, release year, label and matrix number — but in keeping with the set’s hey-it’s-just-pulp aesthetic, no weighty liner notes are included. Instead a brief one-sheet more or less instructs the listen to just go listen and have fun.

Some call it trash, some engage in oxymoron-coining and call it trash culture. I call it a delight and recommend it to anyone with a sense of humor and a taste for the, well, trashy.

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Capsule Reviews: January 2013, Part 5

Wednesday, January 23rd, 2013

Here’s yet another installment in my occasional series of capsule reviews; today it’s Latin psych, comedy, rock’n'roll and country, and pop. I had a huge stack of CDs deserving of review, but time doesn’t allow for full-length reviews of everything, and these were beginning to gather dust. They deserve better. My self-imposed limit for this particular exercise is 150 words on each album.

Alfonso Lovo – La Gigantona
Count on the Numero Group for fascinating, outside-the-box releases of previously-ignored music. Their Buttons powerop compilation, their reissues of rare material by soul/r&b artist Lou Ragland, and The Boddie Recording Company, and funksters Father’s Children all brought obscurities out of undeserved shadows. And those are just a few. One of the latest is La Gigantona. Originally slated for release in the mid 1970s, this album by Nicaraguan Alfonso Lovo was a victim of that country’s political unrest. Will it sound to untrained ears like Santana? Sure, it will. The presence of percussionist José “Chepito” Areas will only reinforce that sonic connection. But there’s a psychedelic weirdness here – treated vocals, out-there guitar – that moves well beyond Santana’s bag of tricks. Rescued from the sole surviving acetate of the finished album sessions, La Gigantona is a funky, Latin psych-flavored disc that may conjure “what ifs” in your mind.

Joan Rivers – Presents Mr. Phyllis & Other Funny Stories
It’s the rare comedy record – The Button Down Mind of Bob Newhart, for example — that sounds as fresh today as in 1962. Joan Rivers started her stand-up career (these days, when she’s known more as a “personality,” we forget she ever had one) back in the mid 60s, and her debut LP has been reissued by the eclectic sorts at Rock Beat. While a lot of her humor here is built around the subject of her hairdreser (the Mr Phyllis of the title) her approach is surprisingly non-homophobic. Remember, this was 1965. The material is delivered in a well-timed, manic style, and Rivers deftly riffs off the audience’s reaction to her jokes. The absurdity of the gags – bits about wig farms and such – is pretty goofy, but there’s a sly and subtle wit to her material that might pass you by on the first listen.

Jerry Lee Lewis – The Killer Live! 1964-1970
Fleshtones biographer Joe Bonomo authored a rhapsodic book-length mash note to one of music’s all-time great albums, Jerry Lee Lewis‘ landmark 1964 LP Live! At the Star Club. Jerry Lee Lewis: Lost and Found is required reading, irrespective of how you feel about Lewis. Recently Hip-O Select collected that album with two other live Lewis documents: The Greatest Live Show on Earth (1964) and Live at the International Las Vegas (1970). While the second ’64 LP certainly suffers in comparison to the German concert, it has its moments, and a bunch of outtakes rise to a similar standard. By the time of the Vegas gig, Lewis had figured out where the money was (hint: country and western), but even it is worthwhile. Sixty live tracks is a Whole Lotta Lewis, but at least a full third of it (and possibly half) is some of the wildest stuff you’ll ever hear.

Dion – The Complete Laurie Singles
Real Gone Music continues a tradition its founders began at their old label (Collectors’ Choice Music) of putting together career-spanning singles collection of pop artists. For completists, these can’t be beat: nearly always sourced from the master tapes, there’s excellent mastering, transfer and fidelity to be found. And since we’re talking about singles, any number of non-LP sides appear, sometimes making their first appearance in digital format. Dion DiMucci – known in those teen idol days simply by his first name – enjoyed some well-deserved hits through his time on Laurie (a period that nearly extended to both ends of the 1960s), but nearly all of the hits came in the pre-Beatles era. Of course “Runaround Sue” and “The Wanderer” are here, but too are some interesting late-period pieces including a bizarre reinvention of Jimi Hendrix‘s “Purple Haze” (#63 pop) that sounds more like Arthur Lee‘s Love.

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Album Review: Dickie Goodman – Long Live the King

Tuesday, January 15th, 2013

File this one under Guilty Pleasures. Back in the early 70s when I was a kid, the novelty records that Dickie Goodman put together were a cultural touchstone. A trash-culture one, perhaps, but significant nonetheless, especially in the life of a ten-year old pop culture omnivore such as young Billy.

Goodman was certainly ahead of his time on many levels: his ideas about reprocessing the work of others aren’t really, when you get right down to it, all that far removed from the art of Andy Warhol, or the work of any number of rap/hip-hop acts. Of course Goodman was never aiming for High Art; far from it. These admittedly goofy pieces combine silly “interview” questions with snippets of then-popular songs. And the popularity of Goodman’s little vignettes was pretty long-lasting: his first hit was “The Flying Saucer,” way back in 1956, and like any effective trash culture act, he milked that one as long and as far as he could. But the hits continued well into the 1970s, with “Mr. Jaws” in ’74.

Sadly, my personal favorite, “Energy Crisis ’74” isn’t among the 27 cuts included on Long Live the King. Its format deviated little from what came before (the hits) and after (the somewhat tired, flogging-a-dead-horse non-hits, which fill the second half of this disc), but it was fun, and appealing enough that this then-ten-year-old spent nearly a dollar of his hard-earned allowance on the 45rpm single. (I still have it.)

Goodman’s son Jon pens an informative (if perhaps a bit more reverent than one might like) set of liner notes for this highly unusual Rock Beat release. His “Election 2012” – included here – attempts to revive Dad’s old format, and while all of the elements seem to be in place, it’s just not quite the same. Of course I’m not ten anymore, either. Still, Long Live the King will bring smiles (at least briefly) to the lips of those of a certain age who subsisted on AM radio in their formative years.

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