Nina Hagen- SMACK JACK

I am gonna just give you this picture, it was too hard to choose from all of the amazing photos and styles this diva has donned over the years. People either love or hate Nina Hagen, but she has had an amazing career and is still at it. This single off of "nunsexmonkrock" is quintessential of her early 80's crossover sound: weirdo goth synths and guitars, jagged beats that are still poppy but almost cheap, and of course her amazing range of growls, screeches and operatic scary German woman voices. She is always controversial, of course she plays into it, but damn she looks the part and would have scared the piss out of me as a kid (even though now she just released a children's audio book). Oh, wiki also told me that she dated Anthony Kiedis for a year, that must have been fun. Here is the vid.

Nina Hagen and "Smack Jack"

Betty Harris- CRY TO ME

Lets just say that the mood of this picture is the exact opposite of that in the song, but Betty looks good, so I figured it would add a little spice to the page. "Cry To Me" from 1962, on Jubilee Records, to me is one of those at home with the bottle type of songs. I don't get to DJ this one too much cause its just too painful, but if its just right (say Valentine's Day at 3 AM, when there is just the heavy drinkers left at the bar and the lonely women sitting in the corner with the glow of their cigarette the only evidence of their existence) then I will let it loose. Woman's got soul, there is no doubt. And while she is more know for her catchy Toussaint productions on Sansu records, this one always hits the spot for me. She builds into it the right way, its like Charlie Parker said about soloing (and I paraphrase): you don't just go into a room and start shouting, you smile and shake hands first. You can check out the B-side "I'll Be A Liar" on So Many Records So Little Time as well, to get an idea of just what kinda voice we are dealin with here.

Betty Harris with "Cry To Me"

Jennell Hawkins- MOMENTS

When I first put this song on here I couldn't find any info on the lady herself outside that she recorded with Richard Berry (yes, the "louie louie" guy) but now there is a whole bio page and even some mp3 links. This Titanic label photo is courtesy of Brian's Music Musings a great resource for oldies but goodies like this one. I got this as a Collectables reissue B-side to Ike and Tina's "Poor Fool", but this song immediately captivated me. Her sweet vocal line is longing and slightly shattered, but never wavering in devotion or bitter. The track has a great sax intro and solo and such a smooth feel that it almost breezes past you. Most people who know me know that I only play this song when I am either really happy or really sad.

Jennell Hawkins- "Moments"

Peggy Lee- ME AND MY SHADOW

This is the B-Side to the 1969 classic "Is That All There Is?", and even more nasty and depressing, but in that super cool Sunset Boulevard (by Billy Wilder) kind of way. Peggy Lee slings and slurs her way through the text, making it seem almost cute that she's so desperate and alone. This gal could do it all and did. She even wrote the lyrics to the Disney classic "We are Siamese" cat song from "Lady and the Tramp". The arrangement of this Jolson-written cabaret number (originally made famous by the Rat Pack) is by Randy Newman. The piano and bass reel this song along while her breathy vocals make you wanna give her a big bugs bunny kiss or slit yr own throat. Sounds melodramatic I know, but goddamn I love this song.

Peggy Lee "Me and My Shadow"

Flor Silvestre- UNA LIMOSINA

Flor Silvestre, stage name of Guillermina Jiménez, has been in dozens of mexi-famous movies and sang many a celebrated song, yet will always live in the shadow of her husband, Antonio Aguilar, heartthrob actor who sold over 150 million albums over his 40 year career (not to mention son, pepe). This song develops the story of being tortured by someone so great you have to let them go, but with style (una limosina), so they know how special but evil they are. Her voice and the accordion are hauntingly desperate and sincere, something singers above the border often forget. Go to her myspace page to see what a showstopper she was, lots of videos and tracks.

Flor Silvestre- "Una Limosina"

Althea and Donna- UPTOWN TOP RANKING

I have noticed that many of my post involving ladies, esp ladies of color, have been deleted. I am not sure if the flagging gods have started to inflict their exacting (yet frivolous without explanation) censorship on my blog because I am offering up free mp3 downloads (of singles I purchased used and digitized that can no how supplant the original source tapes or official reissues) or because of some kind of musical misogyny. I almost hope for the latter as it could be some how mediated, but in attempt to add some balance back to the blog, I will put up some of the tracks again.

Like this cool cool classic from '77, of Althea and Donna singing over the Alton Ellis riddim "I'm Still in Love". John Peel originally brought this into chic-dom, gotta love him for that. This song is one of my clutch singles, I use it either to shift into the dance vibe or to apologize for something that didn't hit the floor running. This is the scene::> At least 1/3 of the girls will immediately hand their boyfriend their drink and then either attempt to pull him to the dance floor or make their way solo, knowing its a ladies number anyway. Its not really a booty track so there is more head swaying with arms up in the air than ass smackin. Here is a youtube of them gettin down on TV (love the glasses on Donna, or is that Althea?).

Althea and Donna- "Uptown Top Ranking"

Ko Ko Taylor- WANG DANG DOODLE

This may be the hottest song ever recorded. Pure juke joint flava, nasty and feisty, putting everyone in the mood for drinkin dancin and fuckin. This one will play well at weddings, hipster bashes, mexi dive bars, road trip mix CDs or even Curves workout playlists because it brings that from the bottom of the belly to the top of the head explosion from the needle drop. Ko Ko Taylor's voice on this is one of the most precious moments ever recorded, not to mention the rhythm section or the rippin sax solo. Taylor passed on this year in June, age 80, but not without gaining the title time and time again of "Queen of the Blues". You will be missed.

Ko Ko Taylor- "Wang Dang Doodle"

Lee Hazlewood- NANCY AND ME

Barton Lee died a couple years back of kidney cancer but not before leaving us a legacy of darkly charming and shruggingly unabashed music that spans his production of Duane Eddy's twangy guitar and saxtrumentals to many solo masterpieces, including his final work, Cake or Death. This song is a single from 1973's "Poet, Fool, or Bum", and of course is about his time with the Pope's Daughter, Nancy Sinatra, who he wrote and produced "These Boots are Made for Walking" and "Some Velvet Morning" for and with. Like everything with Lee, this song is not as sweet as it seems, and he offers no answers.

Lee Hazlewood "Nancy and Me"

Tony Terry- SHE'S FLY (DUB MIX)

There are a lot of these mid-80's Epic Records R&B dub mixes that accompany a pretty bland A-side radio mix, and I collect everyone I see because this was the first one I ever found, and of course the best. Its lucky I did not win big at scratch games when I was young or it would have been over for me. Unfortunately, I have never found anything else on Epic, Solar, Zomba, or Def Jam that even come close to the intricate latin breaks that Charlie "Dee" Diaz and Omar Santana put together for Tony Terry's first single (someone had something to prove, and it wasn't Mr. Terry--I mean look at the guy). This song will make any b-boy or girl dizzy, it's fast and off-kilter, but still has all of the mixing tricks and pre-digi sounds (think reverse-echo vox) that most dub mixes from this era play people off the dance floor with due to the cheese factor (sorry T'Pau). This song will either cause people to lose it on the dance floor or stand still in awe at how fucking deep it gets. File under sweat!

Tony Terry with "She's Fly (Dub Mix)"

Mitch Ryder and the Detroit Wheels- SOCK IT TO ME BABY

The picture sleeve here really is not overselling the hype that this song whizzes together. Pretty much from the shout/slap intro of the song, this song is a whirlwind of party screams, searing guitar breaks, momentous builds, grunting and punchy sax lines. Mitch Ryder, a Bob Crewe protegè had a few other bigger hits: "Little Latin Lupe Lu", "Devil With a Blue Dress On", etc. But this one, from 1967, takes his sound a step further and really feeds into the hysteria of the time. It's really hard to say what market he was trying to fit into, as this song is freak-out enough to be psychedelic garage, mob shouting and stir crazy enough to be protest, sexy enough to be black, but somehow with this overdriven mod british beat and guitar line. And Mitch is still kickin, goddamnit! Here is a link to his home page where you can find out what casino to catch him crooning Prince and Springsteen covers in. Ever-enlightening wiki also wrote that Winona took her surname from Mitch after seeing his record in her dad's collection. Thanks wiki!

Mitch Ryder and the Detroit Wheels- "Sock It to Me Baby!"

Clifton Chenier- FROG LEGS

Clifton Chenier is really the grandfather of Zydeco music (accordion and rub-board=all night dancing). He is a direct descendant of old New Orleans and the "Deep South". This track is the B-side of his soul crossover "Black Gal" on Bayou Records from the mid-50's. My copy is severly scratched but I think it lends to the sunset sittin on a porch eatin greasy frog legs atmosphere. With a rolling Creole shuck and Chenier's rip n' jive accordion solo, this song is perfect for throwing on between live acts or more appropriately to barbecue alligator meat on Sunday afternoon. Not much there, just a feel good track to start out the day.

Clifton Chenier "Frog Legs"

Mutabaruka- SIDDUNG PON DI WALL (ROLAND Z MIX)

Samuel L. called, he wants his glare back. This Roland Z. remix kills mainly for the rise n fall sax slices and the minimal drum/tamborine feel that makes this feel like a Digable Planets track. "I siddung pon di wall, an watch him watch me": the war cry of the captured and plotting! Mutabaruka is a Jamaican dub poet that has been writing for 30+ years about Jamaican culture and its role in the Worldsphere. Here is a link to his website that has a lot more info, audio, and even a section called Muta Seh, where he gives his "reasoning on a variety of subjects affecting black people and society today". This song proves that not everything out of Jamaica is about feelin irie, sometimes its more about being irate.

Mutabaruka "Siddung Pon Di Wall (Roland Z Mix)"

King Sunny Ade and His African Beats- ASE

"The Minister of Enjoyment", as he is known in Nigeria, King Sunny Adè is no doubt the international king of Jùjú. This song (from 1984's Aura on Island Records) has it all: 80's synths, buoyant electronic and talking drumline, relentless vocal refrains, pedal steel and tenor guitar, electric harmonica; what more could you want? Okay, I can imagine a crazy break in the middle and a janky video where dudes in nylon ball caps with the bill flipped up are gettin down on the streets of Lagos, but that's not the way this one roles out (it is Island Records in the 80's after all). But all lovers of electro and breakdance music can get into this one. Warning though: this will not hit on the dance floor, it is too intimidatingly chill. Obviously I learned the hard way, but it probably won't stop me from trying again. The equation involves more hippies with children or drunk 30-somethings NOT trying to hook up. This guy has more records out than Bob Dylan, and tours pretty regularly. Please do yourself a favor and see him live!

King Sunny Adè and His African Beats- "Ase"

Taj Mahal- AIN'T NOBODY'S BUSINESS

Taj Mahal, world music blues guy, sounds like it could not get any worse, but this guy is for real. His shows now may be catered to more of a botanical garden or sit down university theater crowd, but this single from 1976 shows where he's at. A re-write of the 1920's rollicking "I'm so honest, I'm drunk" 8-bar blues called "Ain't Nobody's Business if I Do" made famous by Billie via Bessie, this song seems to really speak to the spirit of '76: cocaine and champagne. It's just fun in a fuck it why not way, and not so many songs, esp 70's blues songs, can pull that off. Go see him some time, he's always touring.

Taj Mahal- "Ain't Nobody's Business"

Santo & Johny- SLEEP WALK

This could possibly be the best song (read slow instrumental ballad most commonly associated with the sad funeral sequence of "la bamba") of all time. My friend told me that the mother of Santo & Johnny used to sing it to them at night and so they recorded it and went all the way to #1 in 1959 (which makes for a great American story), but all knowing wiki says "this is apparently false". Anyone who hates this song is a hater. That being said, here is a video. Enjoy.


Santo & Johnny with "Sleep Walk"

Stan Kenton- 23N 82W

"23N 82W", the longitude and latitude coordinates for Havana, Cuba, (thanks Google) only give a glimpse into the inspiration for this romping trombone-a-thon, arranged by Bill Russo. Stan Kenton was always on the cutting edge of big band arrangements, but this song shreds away the cliche and moves into something Mingus would probably dig. It even delves into 7/4 after the Lee Konitz solo. I wouldn't have quit my high school jazz band if I knew big band tracks like this existed (sorry Mr. Brice). Originally cut in 1952, this sounds more like the soundtrack to the bay of pigs than the watered down tribute to Cuban rhythms that most big band leaders were doing at the time.

Stan Kenton with "23N 83W"

Grady Martin- THE FUZZ

Grady Martin, as a member of the Nashville A-Team, played guitar on some of the most classic country hits of the 50's and 60's, but it's his "fuzz effect" (discovered accidentally during the recording of Marty Robbins' "Don't Worry" in 1961) that changed the sound of Rock to come. Originally caused by a faulty pre-amp in the studio, this sound has been used by everyone from the Ventures to Radiohead, and of course has been made into many different pedals like the "Fuzz Tone" or the "Big Muff" that probably many of you shoe-gazing guitarists own some version of. "The Fuzz" (on Decca) is kind of a tribute to that sound, and with a different production would sound straight gangsta and fit into any miami bass or dubstep party. I love the fading effect of the strings, and how the guitar sound reminds me of an old Lee Hazelwood walking down an Arizona highway.

Grady Martin- "The Fuzz"

Broadcast- PHANTOM

This is the B-side to a rare 7" on Duophonic from 1997 that sounds like Jean-Jacques Perrey on Nyquil. Broadcast has continued to put out great albums on Warp Records, but the early stuff (as compiled on Warp's "Work and Non Work") is still my favorite. The wurlizer-filtered melodies drip in and out of the over-saturated vamps and ghostly rhythm box bossa sounds, making this a great song for either a down-tempo/chill out night or in the long pause between indie-electro bands in a smoky bar.

Broadcast- "Phantom"

Ian Dury and the Blockheads- HIT ME WITH YOUR RHYTHM STICK

This song has been in my head for the past couple weeks and has caused me to unexpectedly hit people and inanimate objects in both the public and private spheres a few too many times. Ian Dury and the Blockheads made a pretty big splash in the post-punk/new wave scene in '79 with this hit that to me sounds like Dr. Buzzard and Bryan Ferry doing bumps at the bar. A spastic galloping groove, an evocative catch-line, and the use of ironic phases in French and German make this song an instant dance floor success. Esp if yr audience is wearing a gang of 4 shirt but secretly rediscovering later kinks and yes records. Here is a live video.

Ian Dury and the Bockheads- "Hit Me With Your Rhythm Stick"

Dinosaur- KISS ME AGAIN

Arthur Russell on 45 would make any serious collector laugh (if they knew how), but when you are crack-addicted to these little records you find yourself shelling out money for things you didn't even know existed. This song was a legend in the downtown disco genre as was the mid-western buddhist cello-groove master behind it. Though relatively unknown or under-appreciated in his lifetime, more and more compilations and tribute articles about Arthur have come out in the last years and even a new documentary. When researching photos etc. for this post I came across a truly amazing description/background for this song on the Mr. Disco blog. Unfortunately, his link to the 12" mix has expired, but you can feel his enthusiasm and listen to this 45 mix; then go on ebay and pay waaaay too much for the original.

Dinosaur- "Kiss Me Again"

Bill Withers- LOVELY DAY

I have been looking for this feel good track forever, and just after lamenting to a friend that it was one of those (the "so common yet classic that no one sells them or throws them away unless they melted in the attic") I found it on my first day back at Wax Trax in Denver. Bill Withers has written some of the most classic American soul/funk anthems ("Lean on Me", "Ain't No Sunshine", "Use Me", and even "Just the Two of Us"), yet few people know his name--and those who do drop it every chance they can. His beautiful arrangements and honest lyrics created a legacy that has been sampled/bit countless times (blackstreet, arrested development, etc.) and even spawned some secular spirituals that everyone can wave their lighter to. The intro to this song really brings a smile to my face as does the sustained "lovely day" in the chorus. You have heard it before, hopefully many times, but listen again to the way this song unfolds, or check out this really bad "sunshine mix" from '88 that was a pretty big Euro hit (even bigger than the original). Still waiting for the documentary which should be out soon!

Bill Withers' "Lovely Day"

Fad Gadget- RICKY'S HAND

This is the second Fad Gadget single, and was never released on an LP. What I would give to have seen this guy live back in the day. I love the synth intro, it hits so hard, and seems like the song will be relentless, which it is. This is considered and industrial song (cause of the drill?), but to me its more like a pushier new wave track that misses the mark cause its just too annoying. I love the 808 timbale sounds in the break. This is a song to play people out of the bar, but sometimes it actually hits, then there is some guy who comes up and begs to hear PIL after or something. I can also imagine the theme used in a flight simulating video game, something like during the refueling inbetween levels. More info cause I don't have a lot of links to offer:::> Mute Records 006 and co-written, produced, and recorded with Daniel Miller (founder of Mute). Also, Fad Gadget was the first act signed to Mute, before Depeche Mode or even Throbbing Gristle.

Fad Gadget "Ricky's Hand"

Nervous Norvus- APE CALL

I always wished this guy was my grandpa. Another novelty hit, this song was actually a pretty big hit in 1956, the follow up to the ground-breaking "Transfusion". The lyrics to this one are pretty amazingly goofy, but his phrenetic voice and the extremely gratuitous use of the Tarzan sample is what makes this one so memorable. Nervous Norvus, or Jimmy Drake, invented a whole lingo with which he described his world. There is now a compilation out on Norton Records, Stone Age Woo: the Zorch Sounds of Nervous Norvus, which I recommend highly, because its not just the few novelty or Dr. Demento songs that we know, but really a whole body of work that somehow creates and encompasses his wildly fucked up cosmology. This is another song that ain't for everybody, but its worth a listen if not a download.

Nervous Norvus "Ape Call"

The Church Street 5- A NIGHT WITH DADDY "G" PT1

I can't find any pics of this band or the original record (my camera doesn't take the glossy Legrand in gold label too well, sorry) so here is a pic of the reissue. This is another saxtrumental from the house band at Legrand Records that later became the Gary "U.S." Bonds hit, "Quarter to Three." Produced by Frank Guida, this track is a rollicking southern soul hit from Norfolk, VA, that kicks hard from the lead in. I love the cymbal heavy drums (anyone who's played with me knows why) and the varied dynamics of the song lead by the amazing tenor work of Gene Barge (Daddy "G"). If you know the U.S. Bonds version, this seems a bit empty without his vocals, but it kills on the dance floor anyway, as it has the hand clapping thing goin on and the right amount of wholesome juke joint raunchiness.

The Church Street Five- "A Night with Daddy G"

Vicente Fernàndez- VOLVER VOLVER

El Idolo de Mexico with his 1976 cross the border hit on CBS records, "Volver Volver." This guy IS the undisputed king of Ranchera and is still kickin it hard, playing arenas across the US (check his myspace, pretty amazing). Here is a video link where he starts the song on a juke box (I have always wanted to do that) and sits down to drink. This guy just has it, the strength and gentle grace of his voice is undeniable. The arrangement of the organ, the strings, and the horns into swooping punches with the "ay! ay!" whelping interludes make this song a drink in the air salute to "the struggle." Here are the lyrics both in spanish and english.

Vicente Fernàndez- "Volver Volver"

The Soul Survivors- HEY GYP

This is the lesser known B-side to the huge 1967 Gamble & Huff crossover hit "Expressway to Your Heart," and is a cover of a Donovan song "Hey Gyp (Dig the Slowness)" (that while is as cute as one would expect, does not even get close to this version). These guys are still around, here is a link to their webpage. "Hey Gyp" is one of my favorite rollicking psych classics, amazing that its the b-side to the soulful and Phillie-fied "Expressway", though usually this side wins out in the DJ booth because its more fun. I love the guitar scronking, and the singing is just perfectly desperate and cool. If this song is not on a Nuggets boxset then someone is sleeping on the job. It has several freakout sections that sound like the zombies and marc bolan humping in the closet. Also the drum solo "heartbeat" section is just perfect, such soul for some whities from New York. I remember reading somewhere that they always wore sharksin suits on stage, I don't know what sharkskin feels like, but that's some big pimpin if you ask me, they sure don't dress like they usta.

The Soul Survivors "Hey Gyp"

Cannonball Adderley Quintet- DOWN IN BLACK BOTTOM

I figured this was a good time to insert one of my favorite beginners (songs that I start a set with). This track from 1970's "The Price You Gotta Pay To Be Free" features Cannonball's brother Nat Adderley on guitar and vocals. It starts with his slow deep funky guitar and backbeat, talkin about how a one way ticket is the best thing you can get in Black Bottom. Then it dissolves into a back woods Wednesday night prayer meetin (not in the mingus way) where he hands it over to god and the live (studio) audience, sayin "that's why every sunday I pray that the lord will find some way to help some folks less fortunate than me." That shit is so right I want to cry every time I hear it. The production by David Axelrod is (as always) impeccable and so fucking rich you feel right at home.

Cannonball Adderley Quintet featuring Nat Adderley Jr- "Down in Black Bottom"

Spike Jones- BLACK BOTTOM

What could Spike Jones not do? Check out this video and others to get a idea of the virtuosic genius at work and play. His depth of cultural/musical knowledge and showmanship allowed him great satirical liberty in a generally conservative late 40's/early 50's America. This track, named after a 1920's dance "the Black Bottom," has the feel of a Woody Allen slapstick scene, featuring Spike on a wide array of instruments, from bike horns, bells, to the bones. At one point during the piano solo, the "record" starts to skip and he has to slam a door to get the pianist to keep going. This song is just too much fun!! Enjoy it, and please check out his breadth of work with deconstructionism (sorry to get all nerdy and pedantic, but I love this guy), as I think he couldn't help but de- and re-contextualize everything, even as it was happening.

Spike Jones and his City Slickers play "Black Bottom"

Sparks- WONDER GIRL

This record, produced by Todd Rundgren for Bearsville Records in 1971, shows really how far this legendary glam pop group has come (Rundgren to Moroder to obscurity in the late 80's to a 21 night stint in London in 2008, playing one full album a night and debuting the newest). The Sparks brothers' (Ron and Russel Mael as seen above) goofy album titles (puns anyone?) and covers always caught my eye but it wasn't until I heard this track that I really fell in love with all of the ridiculous tongue-in-cheek pomposity that they espoused. "Wonder Girl" has this bowie-esque disco cowboy guitar line and what I like to call the "bleacher beat" (or what sounds like a reverby gymnasium full of high school basketball fans). But the piano line is what seals it, it sounds like something Rza would sample. That and the goofy lyrics make this a gem that I play almost every chance I can get.

Sparks- "Wonder Girl"

C.O.D.- IN A BOTTLE (SPECIAL MEGA-MIX)

I found this diggin through crates in a small store in Kreuzberg (Heisse Schieben) with my boy Shimmy from Awesome Tapes from Africa. It looks like this track has made it on many electro break comps due to its crazy breaks and kickin synths courtesy of Raul A. Rodriguez. Amazingly, Gil Scott Heron penned this track, but this mega-mix by James "the Mighty Chopper" Hamilton and featuring "The Smurf" hisself, Tyrone Brunson, gives us a taste of everything that was hot in '83:::> all the 808 sounds, the phased out drums and lazer sounds, the synth stabs and hand claps, etc. I know most people think its pretty lame to rock this on 45, but for a fetishist this is a fucking dream come true as many disco-electro hits never made it onto the little discs.

C.O.D. "In the Bottle (Special Mega-mix Incorporating The Smurf Tyrone Brunson)"

Tomita- ARABESQUE NO. 1

Isao Tomita's combination of experimental electronics performing classical (as in old white dudes) masterworks may not strike everyone as new (he's not as flashy as the gender-bending W. Williams), but the artistry and complexity by which he develops these melodies is staggering. The tonal qualities and the effervescence might make you giggle a bit, but this shit sounds futuristic even now (though its an RCA promo from 1974). Arabesque No. 1 is one of Debussy's most memorable pieces, but you have never heard it like this before. I think the picture above gives you an idea of what's at play here. I never am able to do this, so here is a link to the sheet music, and also a solo piano version for all you theory heads out there.

Tomita "Arabesque No. 1"

The Hello People- (AS, I WENT DOWN TO) JERUSALEM

I did not know anything about this single or band, but its one of my staple garage/psych groove tracks. Little did I know that the band dressed as mimes and mimed in between songs, which probably killed any chance of success (but makes them that much more venerable now, right?). This track comes from their 1968 s/t release, and is a rollicking blues lead by distorted e-bass and bongos. The original line-up was::>
The original Hello People were:
W. S. "Sonny" Tongue - vocal, guitar (stage name "Country")
Greg Geddes - bass, vocal (stage name "Smoothie")
Bobby Sedita - guitar, vocal (stage name "Goodfellow")
Larry Tassi - keyboards, vocal (stage name "Much More")
Michael Sagarese - flute (stage name "Wry One")
Ronnie Blake - drums (stage name "Thump Thump")

Here is a great bio/discog link to learn more about this anomaly that gets collectors' (far more involved than me) panties in an uproar. Also the video for "Teen Time" hosted by Del Curtis is more than amazing as is this blog entry about making fun of mime rock as a youth (from floweringtoilet.blogspot.com). I have not heard their albums and don't know the extent of their exploration, but this is a rockin track that gets everyone (dressed in denim) up and dancing.

The Hello People "(As, I Went Down to) Jerusalem"

Prince Mohammed- BUBBLING

Here is a reggae/dancehall gem by Prince Mohammed (George Nooks) to cap off the morning. Don't know much about it or him except that he was a DJ that then cut a few sides with Joe Gibbs (among others) and had a minor hit with "Bubbling Love" (a different track from this one). This classic track (from 79-81 era) has a killer keyboard hook and solo with Nooks' buoyant vocal line bobbing and weaving over it making me wanna raise a spliff in the air in thanks and praises. Enjoy!

Prince Mohammed "Bubbling"

Dick Curless- SNAP YOUR FINGERS

Known more for his truck drivin songs, this Maine born Country legend also did a version of "Snap Your Fingers" for Capitol Records back in 1971. Dick's version of course does away with the swooning horns giving a more down home accompaniment to his wretchedly perfect voice. He also takes the song down a note or two to showcase his deep baritone voice, which makes me think of a bullfrog with an eye patch singin in some animated disney-esque 'saloon in the woods' short cartoon. This is prolly my favorite version of the song that I have heard because he brings so much character to the piece, almost mocking the tone of it with complete sincerity and dexterity. Here is a nice bio on Dick from Wang Dang Dula (a tremendously helpful resource).

Dick Curless sings "Snap Your Fingers"

Barbara Lewis- SNAP YOUR FINGERS

Here is another version of "Snap Your Fingers" by another lesser known (I hate the term 'one hit wonder' but she is undoubtly best remembered for her hit "Baby I'm Yours") vocalist Barbara Lewis. Her rendering of the melody is more coquettish and smooth than the slight pleading of Joe Henderson, but some how the lounge soul horn and rhythm arrangement seems less sincere. But its nice to hear the female voice singin the song, and like everything she sang, she just kills it.

Barbara Lewis with "Snap Your Fingers"

Joe Henderson- SNAP YOUR FINGERS

This is one another one of my favorite songs of all time, so I am going to post a few different versions up here today starting with what I think is the original. I just learned (god bless the googlemagod) is that the Joe Henderson who sang this song in 1962 for Todd Records is NOT the one and very same legendary hard bop tenor sax man that played on so many seminal Blue Note albums in the 60's (pictured below). I always figured this was another guy (like the easy listening singer Don Cherry), and originally a country song gone soul (like "Just out of Reach" sung by Solomon Burke etc.).

And though the internet lied to me and affirmed it was truly indeed THE (meaning the one pictured above) Joe Henderson, Anonymous commented here to correct me. Here is what he said of this Joe::>

Joe Henderson (b. 1937, Como, Mississippi) grew up in Gary, Indiana, and spent some time in the Fairfield 4 gospel group, one of the early groups for Randy Wood's Dot label. He moved to Nashville in 1958. His first single for Todd was "Baby Don't Leave Me" [Todd 1066] in 1961, which made #7 on the R&B charts. His followup, "Snap Your Fingers" [Todd 1072], was a huge hit, making #2 on the R&B charts and #8 on the pop charts. He charted three other sides within the next year, "Big Love" [Todd 1077, 1962], "The Searching Is Over" [Todd 1079, 1962], and "You Take One Step (I'll Take Two) [Todd 1096, 1964]. In between the latter two, there were about a half-dozen duds, chartwise. "You Take One Step (I'll Take Two)" proved to be Henderson's swan song, as he died on November 7, 1964.

Thank you anonymous!! Now, dig the smooth vocal style and the ease at which he slides up and down the melody.

Joe Henderson and "Snap Your Fingers"

Wanda Jackson- JESUS PUT A YODEL IN MY SOUL

I am not going to say much about this revvin track beyond to give a couple info links and then hopefully you will play the song based on faith. Let's just say that the lord was definitely with her when she yodels out the outro chous of the song. She is still giggin around, GO SEE HER!!!!!!! She is and was the first female rock (n' billy too) singer ever, and has the personality to prove it.

Wanda Jackson "Jesus Put a Yodel in My Soul"

The League of Gentlemen- DISLOCATED

Talk about THE post-punk supergroup::>Robert Fripp of King Crimson fame on the guit, Sara Lee (Gang of Four, B52s) on bass, Barry Andrews (XTC and recently with Eno), and Johnny Toobad (cool name?) on skins. They were only around for about half a year, but made one of my fav EG/Polydor records ever. The flip side to this single is Frippertronics stuff that is equally amazing, but not fit to DJ unless playing the catatonic ward yr local asylum. This song's ferocity mounts and mounts until Fripp is unleashing a fury that is still somehow well contained by Lee's bass and the plodding drums. By far one of my best singles, it can be a bit abrasive in most DJ settings (either too loud or too rock--"but not the kind of rock I like"--one of the classic comments I associate with playing this side) with a lot of distorted high end gushing from Frippy and Andrews. Enjoy!!

The League of Gentlemen- "Dislocated"

The Honeymoon Killers- HISTOIRE À SUIVRE

I got the pic above from a great live archive (the clock that went backwards again) where he/she posts a live show from Bremen in '82 with other Belgian avant-rock legends Aksak Maboul (see Crammed Discs). This track is the B-side from The Honeymoon Killers hit cover of "Route Nationale 7". I love the velvety vocals of Vèronique Vincent and the proto-electro beat with the guitar and bass lashing out and pulling back. This track reminds me of Flying Lizards and Laid Back going on a road trip together. This track is great for a party thats just getting kickin, cool enough not to be in the way but cute enough to make the ladies purse their lips and weave.

The Honeymoon Killers "Histoire à Suivre"