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"

Andre Williams- GIN

I just had the pleasure of seeing Mr. Rhythm in Berlin this week and figured I put up this lesser known track of his on Norton Records. Most famous for his 1957 hits "Jail Bait" and "Bacon Fat", Williams usually talks and pleads through the songs, beggin for pussy or in this case another sip of Gin. There is a new documentary about this 72 year old legend called "Agile Mobile Hostile: A Year with Andre Williams" that I have not seen, but the trailer looks fucking amazing. Here is his myspace link, see him any chance you can get!!

Andre Williams wants some "Gin"