Carl Dobkins Jr. - Lucky Devil

It's crazy to think that it's been a year since we started posting tunes here @ the devil's music but it was last x-mas time that the devil got his mp3 turntable and was able to start posting music (vinyl only thank you). so with that in mind and with the holiday season winding down i'd like to give some thanks for my wonderful family & friends for what amounts to a pretty lucky life. It's not always easy and i can lose sight of the fact that i am indeed a lucky devil overall and i do realize it. So in honor of what i lucky devil i truly am, here is Mr. Carl Dobkins Jr. w/ Lucky Devil. This goes out to all my family & friends and mostly the JJB for putting up with me over the last year and then some....

Carl Dobkins Jr. was a purveyor of mild-mannered rock & roll similar to Johnny Tillotson or Ricky Nelson who managed four Billboard hits in 1959-60, the biggest of which was the Top Five "My Heart is an Open Book." His second-biggest hit, "Lucky Devil" (also recorded by Frank Ifield around the same time) peaked at number 25 is here for you now.

Here is the Dobkins low down:

Carl Dobkins Jr. is one of those rockabilly legends who won't quit, even decades after his last chart entry. From a number three hit in 1959 with "My Heart Is an Open Book," he maintained a decades-long career that delighted audiences for generations on both sides of the Atlantic. Dobkins was born into an Appalachian family that had transplanted themselves to Cincinnati in search of a better life. The family was filled with amateur musicians — both of his parents sang, and his mother played guitar — and at age nine Dobkins was given a ukulele by his parents. He quickly learned the instrument and moved on to the guitar, learning first the country and hillbilly songs that his family favored. While Dobkins was in high school, he started writing songs of his own and cut a demo record of two of them, which led to a meeting with disc jockey Gil Sheppard, who offered to manage Dobkins in a potential music career. Rock & roll was breaking nationally and Sheppard saw Carl Dobkins Jr. as a potential star. Thus, he became "the Teenage Rage," and began singing at local dance parties and record hops. Every record label was looking for the next Elvis Presley or Carl Perkins, and Dobkins was signed to the Cincinnati-based Fraternity Records, which released "Take Hold of My Hand" b/w "That's Why I'm Asking." It failed to chart, and he next moved to the much larger King Records for a recording session, but Sheppard sold the master to the still larger Decca Records label. Issued on Decca, "If You Don't Want My Lovin'" became a regional hit on its initial release, and did well enough to justify Decca investing more time in Dobkins. He cut his first sessions for Decca in Nashville under the aegis of Owen Bradley. The result was "My Heart Is an Open Book," Dobkins' lasting claim to immortality in the field of rockabilly. One of the better crossover records in the field, it rocked hard with a solid guitar sound and a great beat, and featured the artist backed by two of the Anita Kerr Singers. Ironically, the record took six months to take off, requiring two rounds of promotion by the label. When the smoke cleared, Dobkins was making appearances on national television behind "My Heart Is an Open Book," including Dick Clark's American Bandstand the day after his graduation from high school. He toured nationally and worked in six months of army reserve service in the infantry as well, as "My Heart Is an Open Book" soared to number three nationally in the spring of 1959, earning a gold record in its 24-week chart run. A follow-up, "Lucky Devil," reached number 25 in a 17-week run late in the year, and even "If You Don't Want My Lovin'" made it to number 67 when it was reissued nationally around the same time. Dobkins also got to number 62 the next spring with "Exclusively Yours." Carl Dobkins Jr. made all of the usual moves that a young rock & roller did in those days, going into more lyrical, romantic sounds as the public's taste for rock & roll seemed to retreat in the early '60s — by 1961, he was even cutting versions of movie themes, such as "Pretty Little Girl in the Yellow Dress" from the western The Last Sunset, starring Kirk Douglas and Rock Hudson. In all, he cut 18 singles and an LP, and remained active in the business for years, touring with Bobby Freeman, Bobby Rydell, Bobby Vee, Buddy Knox, Frankie Avalon, Jan & Dean, Frankie Ford, Freddie Cannon, and Jimmy Clanton, the Drifters, and the Crickets.
allmusic.com

Anywho, i hope a few folks enjoy and thanks to the few of you out here that continue to return here so i can justify my vinyl addiction by telling myself i am doing a service by sharing old 45's that almost no one scares about.... happy 2009 i never thought i'd live this long...

Carl Dobkins Jr. - Lucky Devil

Christmas w/ the Devil & Thor vs Satan.... Happy X-Mas Everybody!

What better way to spend Christmas than w/ the Devil....???

Also this x-mas eve my gift to you is the greatest epic battle ever fought!

The Mighty THOR verses yours truly SATAN!



Merry Christmas everybody!

Little Archie - I Am A Carpet

a few years ago i was selling 45's for "the old man" on ebay and this was one on the better ones i sold for him. I personally don't sell anything. I am a troo))) collector so when i sold this great 45 i knew someday i had to find my own copy. It took me a while but i tracked one down not too long ago and here it is for anyones cares that wants to hear a really nice and tight and funky soul 45 of the highest caliber. I certainly don't claim to be a soul expert but i know what i like and i like this!

i did a search on the interwebs for little archie but mostly came up with this; so i can't paint an accurate description of mr. little (not that anyone cares) but i have a feeling that despite being "little" and a carpet, he probably got laid a lot more than any of us...

Little Archie - I Am A Carpet

Wallace Brothers - Precious Words

Some mid week 60's soul and another one of the faves here @ the devil's music:

I usually dig my soul on the heavy & funky side of things but when i dug this little gem up a few years back i really fell in love with it. The raw emotion and feeling in this cut really hit me hard. From 1964 here are the Wallace Brothers with Precious Words.

The Wallace Brothers, who were actually cousins Ervin Wallace and Johnny Simon, started in the music business as young teenagers and were among the first black artists to record at Fame Studios. Their early recordings were raw, unpolished soul and although the production values weren't necessarily the highest, their uninhibited vocals were highlighted by that very lack of sophistication. The emotion and intensity in the tracks come through as strongly now as they did some 30 years ago when they were cut. Their later Jewel 45s were more sophisticated – classic period Muscle Shoals music – but still had that same vocal intensity.

The guys came from Atlanta, attending the Archer High School there, and if you can believe the info on the back of their only US album, by the ages of 14 and 16 respectively they were apparently on the road with their own 6-piece band, not only sharing the vocals but with Simon playing sax and Wallace trying his hand at guitar. But much of this may be marketing tosh as these "facts" are accompanied on the sleeve of a picture of 3 smiling young teenagers in tuxedos and four similar gents on the back!

Their first disc was cut locally in Atlanta for the tiny Royal concern and, as its name “Faith” implied, heavily sanctified soul. A funeral slow number featuring an organ and a meandering sax, its the young harmony vocals that grab the attention, as the uninhibited gospel phrasing very much set the tone for their subsequent recordings. It obviously caught the ear of Russell Sims in Nashville as he picked it up as part of his increasing interest in R & B. Their next 45, “Precious Words” was, if anything, even more church based than their debut, and may well have come from the same initial Atlanta session. This had good chart success and was built on by “Lover's prayer” which became their biggest 45.
http://sirshambling.com/artists/W/wallace_brothers.htm

Wallace Brothers - Precious Words

Nolan Strong and the Diablos - You Are

Nolan Strong & The Diablos were an R&B and doo-wop vocal group best know for its hit songs "The Wind" and "Mind Over Matter." The group recorded for Fortune Records, a small label in Detroit starting in the the 1950s.

Nolan Strong, the lead vocalist, had an etherially high, strong tenor voice. Strong's smooth tenor, influenced mainly by Clyde McPhatter, in turn, was a primary influence on a young Smokey Robinson.

The group formed in Detroit in 1950 and originally consisted of Strong (lead tenor), Juan Guieterriez (tenor), Willie Hunter (baritone), Quentin Eubanks (bass), and Bob "Chico" Edwards (guitar). Nolan Strong named the group the Diablos after a book he was read in high school called "El Nino Diablo." In 1954 The Diablos began recording with Fortune Records, releasing a handful of 45rpm records. By late 1956, changes were made to the Diablos line-up. Scott decided to leave the group about this time to join Hank Ballard & the Midnighters — and again the Diablos were in need of a bass. Enter Jay Johnson, who was introduced to Strong through fellow Fortune artist Andre Williams.

Their first recording for Fortune was the Devora Brown-penned "Adios My Desert Love," a cha cha-flavored tune. Nolan Strong & The Diablos biggest hit was "The Wind" (Fortune 511, 1954). "The Wind" was their only national hit, though most of the group's other hits were huge local successes in Detroit (including "Mind Over Matter," (Fortune 546, 1962) which went to #1 on local radio station playlists in 1962). Other local hits, such as "Daddy Rockin' Strong" (Fortune 516, 1955), "The Way You Dog Me Around" (Fortune 518, 1955), "If I (Could Be With You Tonight)" (Fortune 532, 1959), "Since You're Gone" (Fortune 536, 1960). The group's last few records by the were credited only to Nolan Strong, although The Diablos continued to perform on the recordings up through the final 45 rpm released by Nolan Strong in 1965.

Nolan's career tapered off after '65, rumors of Fortune Records having him locked in a unprofitable contract is a rumored reason for his lack of recordings in the late '60s and '70s. Jimmy Strong passed away January 29, 1970, at age 34. His brother Nolan would join him on February 21, 1977, at age 43. Hunter, Edwards, and Eubanks are also deceased.

Nolan Strong and the Diablos - You Are

The Devils Music: Devil Dick Mix Vol. 5 - X-Mas Beer & Doo-Wop Mix 2008

I'm sittin' here drinking from a fine mixed case of Christmas beer the lovely JJB bought and with my half an x-mas buzz put this little doo-wop mix together. It's been a few months since i did one of these little mixes and this is a perfect starter to the weekend. This is the devil's 5th such mixie:

If you dig old school, and i do mean old school doo-wop & R&B & Rock N' Roll, sink your teeth into this mix and please enjoy and drink responsibly! Don't drink & drive stay home and listen to my mix!

1. Moonglows - I've Been Your Dog
2. Spaniels - I Need Your Kisses
3. Russel Jaquet & His Orch. - After Everybody's Gone
4. Vocaleers - I Walk Alone
5. The Balintineers - Tears In My Eyes
6. Pretenders - Part Time Sweet Heart
7. Spaniels - I Lost You
8. Starlarks - Send Me A Picture, Baby!
9. The Cherokees - Brenda

The Devils Music: Devil Dick Mix Vol. 5 - X-Mas Beer & Doo-Wop Mix 2008

Bob Scott - Fast Suds

I couldn't find anything about Mr. Scott here but this 45 is a nice little guitar rocker. The R.E.F. label out of Indiana PA is a mystery too. Anyone?

I did find that he cut another 45 on R.E.F in 1960 - R.E.F. 106, with this record being 107 so i guess that dates this to 1960 or 1961. I found that info on a 45 web site that specializes in records pressed in the Ohio Valley called 45 RPM Records.com

Bob Scott - Fast Suds

Charles Bevel - Porcupine Meat - Sally B. White

Porcupine meat, too fat to eat, to lean to throw away…

Man what a cool 45 from a guy I knew nothing about until fairly recent when I found this 45 in a pile of rotten old vinyl.

Mississippi Charles Bevel, multi-media artist and lecturer began his professional career in 1973. From 1973 through 1983 he performed intermittently as a musician, including a self terminated one year stint as a recording artist on the A&M record label. During that ten year period the most meaningful of those years of Mississippi were spent performing as a duo with another songwriter/performer, Chic Streetman. They also worked as an opening act for such artists as Taj Majal, Richie Havens, Hoyt Axton; Sonny Terry and Brownie Mcghee, Doc Watson, B.B. King, Third World, Albert King, Gil Scott Heron, etc.

Not sure why he terminated his contract with A&M bit it’s a bit of a shame because these 2 tunes are pretty damn cool and I had no idea who he was until I stumbled upon this 45 a while ago. Maybe if he stuck around more folks would know who he was. Or maybe they do? Now I have to find his full length album and see if the rest is as cool as this 45…

MY EVOLUTION

An Autobiographical Sketch
by Mississippi Charles Bevel

I was born the fourteenth of seventeen children, to cotton-plantation parents in the Delta of Mississippi.

For a time covering some thirty years after my birth, in periods of one month to less than two years, I had spent time in Mississippi counties like Sunflower, Leflore, Tunica and Choctaw; on cotton plantations like Joe Perry's and Joseph Pugh's; in small towns like Wier, Itta Bena, Swifttown and Greenwood. Then it was out of Mississippi and on to big cities like Memphis, St. Louis and Cleveland. And then, on to military bases in Illinois, Oklahoma, Tennessee, Hawaii, Japan, Kwajuluen Island, Midway, Alaska and California.

Working, always working; as a cotton picker, a shoeshine, stock clerk, dishwasher, grocery clerk, aviation electronics technician, naval in-flight radio operator, electrician, steel mill laborer, television engineer and ICBM missile test technician. To all of that--the places and the jobs--there are those who can bear witness.

In May of 1968, I returned from Africa, where I had lived for three and one-half years. That three and one-half years in Monrovia, Liberia was the longest that I had ever lived in any one place in all those thirty years.

During those many years there was no one, other than myself, who could have borne witness to the artists gestating inside of me; artists barely kept alive, but who could sing, write, act, and create visual art. At thirty-one the musician was born; at forty, the writer; at forty-eight, twins, the actor and the visual artist. Giving birth to those mysterious personalities, my bumbling attempts at nursing those babies, was not only an unnerving disruption to my own life, but extremely confusing and disturbing to family and friends as well.

At sixty, there is some disquiet in my life, but hardly about death. Life has showered me with too much sweetness to leave me fretting over when death will appear to gather my bones. Any uneasiness is about the illusion of time; not enough time left to divulge my revelations; my mysteries. Not those places mentioned above or the people met along the way--the world is well acquainted with those places and faces. Sure, I've been to forty seven states and ten foreign countries. But do you really want to read another personal travelogue? How about some real biography; the feelings, the thoughts, the uncommon visions and singular experiences that we all have had but which few of us can find the courage to share. There is the powerful hope that someday through my "other children"-- those half nourished artists that I have given birth to--you will get to taste, see, hear, touch, smell, and even balance against your own, my mysteries--the real biography of Mississippi Charles Bevel.

An alone life, yes. But hardly a lonely one!

Charles Bevel - Porcupine Meat
Charles Bevel - Sally B. White

E. Rodney Jones & Larry & the Hippies Band - Right On , Right On - Chicken On Down

Ok, here is a little something to get your weekend started and something the devil really digs. Funky psychedelic tunes!

Chicago's E. Rodney Jones who later went on to be a successful dj cut this 45 with Larry? & the Hippies Band? and this 45 is right up my alley with some fuzzy funky wah-wah guitar and a real groove on right on that reeks of incense & peppermint while chicken on down is a bit more of a traditional instrumental soul cut that is still nice and breezy with a certain slow walking jazz vibe.

This is just the thing to get your mind set ready for the weekend so please enjoy.

Thanks!
dd

E. Rodney Jones & Larry & the Hippies Band - Right On , Right On
E. Rodney Jones & Larry & the Hippies Band - Chicken On Down

The Galaxies IV - Don't Lose Your Mind - Piccadilly Circus

Something to rev up your Saturday, by way of Trenton New Jersey! Some really cool psychedelic garage music by The Galaxies IV!

The Galaxies IV formed at Catholic school in Trenton in 1964. Members were T.J. Tindall on guitar, Chris Holmes on guitar and vocals, Charles Brodowicz keyboards, Len Demski bass, and Alan Fowler on drums. T.J. Tindall left the band early on when his family moved to Pennington; he eventually joined the Edison Electric Band.

The first Galaxies IV 45 was Let Me Hear You Say Yeah/ Till Then You'll Cry recorded at Regent Sound studios in New York City and released on the Veep label.

This was followed with two 45s on the Mohawk label, first Don't Let Love Look Back, and then Piccadilly Circus / I'm Goin' For Myself.

Piccadilly Circus is a version of the Rolling Stones' 2120 South Michigan Blvd, often covered by 60's bands and usually retitled (other versions include Sly Stone's Buttermilk and Thee Midniters Whittier Blvd).

Piccadilly Circus was picked up by RCA for national release with the Chris Holmes' wild original Don't Lose Your Mind on the flip.

Winning a huge battle of the bands at Lambertville Music Circus judged by Phil Spector and Cousin Brucie Morrow led to features in the NY Times and Reader's Digest.

Adding a lead vocalist, Steve Shier they changed their name to Galaxie V and then Alexander Rabbit, releasing an lp on Mercury. Afterwards, Chris Holmes took the stage name Duke Williams and led his own band throughout the '70s.
Info courtesy of garagehangover.com

The Galaxies IV - Don't Lose Your Mind
The Galaxies IV - Piccadilly Circus

Earth and Fire - Maybe Tomorrow, Maybe Tonight

Ok, once again proving that everything and anything goes, here is a really strange cut by "Earth & Fire" minus the "Wind".

This a really odd track that sounds kind of like a psychedelic ABBA! Odd pounding tribal drums over effected heavy organ sounds, wah-wah guitar and a wild guitar solo that sounds if Yngwie himself were were playing, all over this kind of syrupy sweet vocal line and chorus = strange. The even stranger thing is is that i really dig it...

Not sure what that says about me. But take a listen and tell me what you think...

i may just be out of my mind on this one....

Anywho, this was a Hit in the Netherlands where these guys and gal were from which accounts for some of the oddity here i would assume.

This hit #7 in NL and was their 7th Top 10 Hit in NL....
Started in 1967 with twin Brothers Chris (Guitar) and Gerard (Keyboards) Koerts, Hans Ziech (Bass) and Hans Kalis as a group called "Opus Gainfull" also female singer "Manuela Berloth" was in the band at this point but became sick at the beginning of 1969... They changed the name of their band to "Earth & Fire" and Jerney Kaagman was added as the new singer, who apparently is now a judge on the Dutch version of "American Idol"...

Earth and Fire - Maybe Tomorrow, Maybe Tonight

Forward To the Caves Play List 12/4/08

www.wlfr.fm


here's what were playing:

skullflower - celestial highway I-III
bloodfarmers - bullet in my head
dinosaur jr - poledo
loot - baby, come closer
robot dicks - black tank
masters apprentices - death of a king
stray - crazy
wall of voodoo - ring of fire
daisycutter - pull
the worst - i don't know / going to new york city
fatal rage - i'm appalled
social decay - banished

quintain americana - one way out
clinch mountain boys - drunkards hell
melvins - night goat
steel mill - get on the line
scab cadillac - explain this
corndog - morning of love
j.d. blackfoot - epitaph for a head
cochran brothers - open the door
bl'ast! - schools out
kanibal komix - nuerotic reaction
cynics - she fell
snakefinger - smelly tongues
the weirdos - rhythym syndrome

jonah jones - i dig chicks
daniel johnston - mind conorted
johnny horton - honky tonk hardwood floor
fats noel - ride daddy ride
marvin rainwater - so you think you got troubles
tiny bradshaw - high ballin' daddy
the stoneman family - black dog blues
rev. charlie jackson - wrapped up and tangled up in jesus
Missing Foundation - Pistol Archive
washboard sam - gonna keep my hair parted

rush - working man
fatso jetson - corn on the macabre
instant death - the enabler
gene clark - no other
sam gopal - cold embrace
freak scene - a million grains of sand
beacon st. union - my love
src - secret destination
aorta - sleep tight / cataclyptic
j.d. blackfoot - the ultimate prophecy
tomorrow - revolution
the deep - choas
blackfeather - at the mountains of madness

Johnny Fortune - Dragster

There is nothing like hot rod music. Any tune that has wheels screeching, gears shifting and engines revving has a certain place in the devil's heart and this one is no exception. This thing really cooks with some sweat rocking guitar, pumping bass and a driving beat that never quits and car sounds mixed in throughout the whole song make this a grade a checkered flag winner!

Johnny was born March 18, 1943 in Warren, Ohio. At age 12 he picked up his first guitar. At age 16 recorded recorded"Soul Surfer." It quickly became a #1 hit. He wrote it in the back seat of the car on the way to the studio.
Johny played guitar on Sam Cooke's "Chain Gang" and Barbara George's "I Know." He was offered a chance to tour England with Johnny Burnette. He had to decline because he was under age.
Johnny went on to play with such notables as: Terry Stafford, Glen Campbell, Barbara Stanton, Al "The Snake" Wilson, Jerry Hopkins, Harry Belefonte, Eddie Downs, Fabian, Ricky Nelson, Jerry Reed, Willie Nelson, Barbara Mandrell and The Drifters.
He also performed with The Rondell, The Cornells, Dick & Dee Dee, The Standells, Brian Highland, The Crystals, Freddie Wheeler & The Petersons, The Tornadoes, The Three Beats and The Blenders. Televison appearances included: "Solid Gold." "The Lloyd Thaxton Show" and "The Dinah Shore Show."
When Johnny was playing with a well known artist or unknown, he always played to enhance his musicians' performance. No venue was too big or too small. Johnny gave it his all.

Sadly Mr. Fortune died in 2006.

Johnny Fortune - Dragster

The Smith Brothers - Sinner's Dream

To Prove that anything and everything goes here at the devil's music and after a few great funky soul cuts from The Triumphs & Alvin Cash, and then some blistering heavy psych, we now switch it up even further with some fine hillbilly country gospel music with The Smith Brothers from 1953.

The Smith Brothers, Smitty and Tennessee, were born in a small town called Oneida, Tennessee into a musical family. The boys learned to sing the gospel and folk tunes that were familiar to the local folks back then. The Smith Brothers were a gospel duet team. They did numerous personal appearances in the Southern region of the United States as well as recording for Capitol records.

They were at first with the group called the Sunshine Boys.

The Smith Brothers found themselves in Hollywood for a time. During their four years, mostly with the Columbia studio, they appeared in 17 films. They were said to especially be proud of their work with Charles Starrett in the "Durango Kid" series.

But television was coming onto the scene and the brothers wanted to see what it would offer them. They heard that WSB-TV was to become Atlanta and the south's first television station. In fact, it went on the air in September 1948. The Smith Brothers made a favorable impression with the station manager and program director and became the first musical act and thus, the first "live" television show in Atlanta.

Soon, Atlanta had a new station - WAGA-TV. Smitty and Tennessee put their heads together again and thought they could have a bigger and better show. Evidently they couldn't convince the folks at WSB-TV, so they switched to WAGA-TV. They went on the air with folks such as Boots Woodall, Paul Rice and announcer Jon Farmer, doing a 75-minute daily show called "TV Ranch". The show gained immediate popularity with the fans and in 1952, the folks who read Atlanta's "TV Digest" voted "TV Ranch" their favorite local music show.

Around this time, they recorded four sides for an independent record label. The records sold well and word got back to Ken Nelson of Capitol Records who convinced them to sign a recording contract with Capitol.

Their popularity continued to gain momentum in Atlanta. WAGA-TV gave them another daily show at 5:45pm which they did alone, singing their familiar duets and gospel melodies.

A 1954 article notes that the brothers were well qualified and talented enough to play Western swing and popular music, but their real interest was in the Gospel songs.
http://www.hillbilly-music.com

The Smith Brothers - Sinner's Dream

The Litter - Feeling

Alright! back to some of what the devil digs the most, FUZZ!

From 1969 with some Midwest heavy psych w/ The Litter who i guess are most known for the single "Action Woman" which was much more of a garage number then this here blistering heavy guitar psych action.

"The Litter" was originally formed from two popular Minneapolis bands in 1966, "The Tabs" (Dan Rinaldi, Bill Strandlof) and "The Victors" (Denny Waite, Jim Kane). Tom Murray was plugged in after auditioning for the group at the Minnesota State Fair.
Tom "Zip" Caplan replaced Bill Strandlof in 1967 after Bill had recorded Action Woman, Legal Matter and Soul Searchin' for the "Distortions" album. The album was finished with "Zip" playing lead on the rest of the tracks.

This cut if from the 3rd and final album called "Emerge".

The Litter - Feeling

Alvin Cash & the Registers - Philly Freeze - No Deposit - No Return

I'm sending this one out to my lil' Phillie from Philly!

2 Great funky soul cuts from Alvin Cash & the Registers on Mar-V-Lus from the year i was born:

Alvin Cash (born Alvin Welch, February 15, 1939, St. Louis, Missouri - died November 21, 1999) was an American pop singer. A graduate of St. Louis's Summers High (also attended by Luther Ingram, Billy Davis, and Anna Mae Bullock [better known as Tina Turner]), Alvin and three brothers moved to Chicago, where they sang and danced while in search of a recording contract. Andre Williams saw them perform (as The Crawlers) and had them record a tune, "Twine Time", which was a rewrite of Williams' 1957 hit song "Bacon Fat". The tune became a pop hit in 1965, and while "The Crawlers" proper, i.e. Alvin's brothers, probably did not play on the track, backing band The Nightliters did.

Soon after the success of the single, The Nightliters changed their name to The Crawlers and began touring with Cash; they would later change names again to The Registers. He went solo after a few further singles, and recorded a full-length LP tribute to Muhammad Ali; he also acted in several blaxploitation films, such as Petey Wheatstraw and Black Jack. He continued performing in the Chicago area into the 1990s, and died from ulcer complications in 1999.

Alvin Cash & the Registers - Philly Freeze
Alvin Cash & the Registers - No Deposit - No Return

Post turkey day scores!

The devil here had a great thanksgiving with some family and a few friends and after a few rough days prior (i spent tuesday & wed at the hospital and then at the docs) it was just what the doctor ordered! and then the almost best part was getting up Friday morning to do the devils own brand of black friday shopping at the flea market! and scored big with some awesome record scores!

Here is what we pulled:

45's:
Chris Farlowe - Paint It Black/You're So Good To Me - Immediate 5002
Nappy Brown - Skidy Woe/You're Going To Need Someone
Lester Flatt Earl Scruggs - The Old Home Town/I'll Stay Around
The Lonesome Pine Fiddlers - You Broke Your Promise/Nobody Cares - RCA 47-4857
The Shocking Blue - Venus/Hot Sand - Colossus 108
The Free Movement - I've Found Someone Of My Own/I Can't Convince My Heart
Eddie Cochran - Sittin' In The Balcony/Dark Lonely Street - Liberty F55056
The Dimensions - Nursery Rhime Rock/Over The Rainbow - Mohawk 116
Bill Haley & his Comets - Caldonia/Shaky - Decca 9-30926
Bill Haley & his Comets - Whoa Mabel!/Chiquita Linda - Decca 9-30741
The Dell Vikings - Come Go With Me/Whispering Bells - Fee Bee 205
Johnny Christopher - Love Stuff/Love Stuff - Entrance 7505
Raymond Leferve - Soul Coaxing/The Day The Rains Came - Classic 6755
Charles Bevel - Porcupine Meat/Sally B. White - A&M 1501
The Delfonics - You Got Yours & I'll Get Mine/Loving Him - Philly Groove 157
Roy Head - The Most Wanted Woman In Town/Gingers Breade Man - Shannon 829
Syndicate Of Sound - Little Girl/You - Bell 640
Royal Teens - Short Shorts/ Black Slacks - ABC 9882
Gene Allison - My Heart Remembers/Have Faith - Vee-Jay 273
Ike & Tina Turner - A Fool In Love/The Way You Love Me - Sue 730
Paul Humphrey & his Cool Chemists - Cool Aid/Detroit - Lizard 21006
The Ray-O-Vacs - Party Time/Crying All Alone - Kaiser 384
Mikey & Sylvia - There Oughta To Be A Law/Dearest - Vik 4X-0267
O.V. Wright - I'd Rather Be (Blind, Cripple & Crazy)/Please Forgive Me - Back Beat 628
The Johnny Otis Show - The Watts Breakaway/You Can Depend On Me - Epic 5-10606
Carl Graves - Baby, Hang Up The Phone/Mono - A&M 1620
Nathaniel Mayer - Village Of Love/I Want A Woman - Fortune 449
Boss-Tones - Mope-itty Mope/Wings Of An Angel - Boss 401
The Alley Cats - Puddin N' Tain/ Feels So Good - Phillies 108
Baby Washington - Work Out/Lets Love In The Moonlight - Neptune 107
The Virtues - Flippin' In/Shufflin' Along - Hunt 327
William DeVaughn - Blood Is Thicker Than Water/Mono - Roxbury 2001
Howard Tate - How Come My Bulldog Don't Bark/Aint Nobody Home - Verve 10420
Hollis Floyd - Everything Is Everything/ Black Poncho Is Coming - Silloh 31775
Barry & the Tamerlanes - Wonder What She's Doing Tonight/Don't Go - Valiant 6034
Johnny Madara - Teenagers Dream/Too many Hound Dogs - Swan 4063
Brenda & the tabulations - Let Me Be Happy/Little Bit Of Love - Epic 5-10898
Maxine Brown - One Step At A Time/Anything For A Laugh - Wand 185
David Bowie - Space Oddity/The Man Who Sold The World - RCA 74-0876 Pic Sleeve
Doc Bagby - Crazy Chemistry/Happy Feet - Okeh 7098
Doc Bagby - Dumplin's/Sylvia's Calling - Okeh 7089
Doc Bagby - Joy Ride/ The House Rocker - Okeh 7080
Kermit Monk - The South's Gonna Rise Today/New Orleans Dreaming - CSA 1909
James & Bobby Purify - Wish You Didn't have To Go/You Can't Keep A Good Man Down - Bell
The Platters - If I Didn't Care/Remember When/I'll Never Smile Again/My Blue Heaven - Mercury MEP-64



78's:
Al Donahue - The Wise Old Owl/You Should Be Set To Music - Okeh 6037
Shep Feilds & his Rippling Orchestra - Without Your Love/Toodle-OO - Bluebird 6966
The Jesters - McNamara's band/She Lived Next Door To A Firehouse - Decca 3268
Texas Jim Lewis & his Playboys - Rock & Rye Polka/Wine, Women and Song - Decca 5875
Bee Gee Tavern Band - Free Lunch/Mr. Mickey Finn - Vocalion - 15983



Lp's:
Tyla Gang - Moonproof - Beserkley 16
Robin Kenyatta - Gypsy Man - Atlantic SD 1633
Famous Ghost Stories w/ Scary Sounds - Mr. Pickwick
Jona Jones - I Dig Chicks - Capitol ST 1193
Think And Grow Rich - Narrated Earl Nighhtengale - Combined Registry Company 5050

I'll be back tomorrow w/ some more music!
Cheers!
dd

The Triumphs - Burnt Biscuits - Raw Dough

Thursday when the old devil here sits down w/ the family and gives thanks, chances are that when my me mum breaks out my Nana's (RIP) family biscuit recipe and gets to cookin' what were going to end up with is a little bit of burnt biscuits and or raw dough. The A is for effort and they are made with love so I'll shovel them down my gullet gladly and wash 'em down with a sudsy mug or 10...

Anyway in honor of my Mommy dearest and my Nana, whose biscuit recipe when followed properly is really stellar and as a way to give thanks, I share with you The Triumphs with 2 GREAT funky instrumental soul sides from 1961, Burnt Biscuits & Raw Dough!

This 45 is the first Volt single, produced by Chips Moman, whose influence was capital at the beginning of Satellite/Stax. The Triumphs included Howard Grimes on drums, Marvell Thomas on keyboards, Lewis Steinberg on bass and Chips Moman on guitar. Apparently named after Chip Moman's car this is the one and only single by the 1st interracial group from Memphis. There is a nice little section on them in the Soulville U.S.A book, if you care to read up any further... Oh yeah, and have a Happy Thanksgiving!

The Triumphs - Burnt Biscuits
The Triumphs - Raw Dough

Partick Sky - Child Molesting Blues - Luang Prabang

Something a little different here today and something i don't think I've touched on before; Some comedy based satire music from Patrick Sky. After all this an "eclectic" blog. Anywho, here's a couple oddball tunes to get yer week started.
Patrick Sky, born Patrick Lynch in Georgia in 1940, is a musician, singer and songwriter of Irish and Native American (Creek Indian) ancestry. A contemporary of Bob Dylan and others in the Greenwich Village folk boom of the 1960s, following military service Sky released a number of well received albums from 1965 onwards and played with many of the leading performers of the period, particularly Buffy Sainte-Marie, Eric Andersen and the blues singer Mississippi John Hurt. Sky's song Many A Mile became a folk club staple, and has been recorded by Sainte-Marie and others.

Becoming increasingly disillusioned with the music business and politically radical, Sky released the controversial and scabrously satirical Songs That Made America Famous in 1973 (the album was recorded in 1971 but rejected by several record companies before it found a home); to this day he claims to have received no royalties for the album. This album featured the earlier known recorded version of the song Luang Prabang, written by Sky's friend Dave Van Ronk. Following its mixed reception (some critics found it obscene), Sky gradually moved into the field of Irish traditional music, founding Green Linnet Records in 1973. Today he is recognised as an expert in building and playing the Irish uillean pipes, often performing with his wife Cathy. He has also published several books on the subject.

Partick Sky - Child Molesting Blues
Partick Sky - Luang Prabang

The Nightcaps - Wine, Wine, Wine

For this post I'd like to Thank Linda A Mahaffey, who's city, state & zip code i blocked out on her address label. If she hadn't bought this 45 so many years ago it might not have made it into my hands. Any way this is something I've been doing a little bit of over the weekend with some good friends and the JJB, drinking a little wine, wine, wine...
THE NIGHTCAPS, one of the first widely known white blues bands, were formed by high school friends Billy Joe Shine (vocals), David Swartz (guitar), Jack Allday (drums), Mario Daboub (bass) and Gene Haufler (rhythm guitar) in 1958. Over the years they became fixtures on their local Dallas, Texas blues scene, greatly influencing the blues and R&B acts that subsequently prospered in the region. As well as performing blues standards such as Muddy Waters' "I've Got My Mojo Working" and Junior Parker's "Next Time You See Me", The Nightcaps wrote several affecting originals. The most noteworthy of these were the singles "Thunderbird" and "Wine, Wine, Wine". "Thunderbird" was later covered by devotees ZZ Top early in their career. During this period, they became a major influence on such future luminaries as Jimmie Vaughan -- who apparently learned every song off the Nightcaps' LP -- and his younger brother, Stevie Ray Vaughan, who thought Wine, Wine, Wine was just a great record, and ZZ Top. Vaughan would later record "Thunderbird," and ZZ Top used it to open their Fandango album. Billy Joe Shine still leads a revival version of the band in the Dallas area with Lead Guitarist(an original Nightcap)Gene Haufler, along with Len Mills on Rhythm Guitar and Keyboard, and brother Dennis Mills on Bass, Mark Minton on Drums, and Richard Williams on Saxophone.

The Nightcaps - Wine, Wine, Wine

Roy Hogsed - Cocaine Blues

Here is an old one here from 1948:
Roy Hogsed (1919-1978) forged one of the most original sounds in postwar country music, a tight and exciting small group sound that often anticipated the energy and drive of rockabilly and rock 'n' roll. He is best remembered for his hit version of the notorious "Cocaine Blues" and most identified with the accordion and guitar lead and slapped-bass rhythm of his original Rainbow Riders Trio. The Arkansas-born, San Diego-based Hogsed's recording career was relatively brief, spanning 1947-54.

"Cocaine Blues" is a Western Swing song written by TJ Arnall, a reworking of the traditional song "Little Sadie". This song was originally recorded by Roy Hogsed May 25, 1947, at Universal Recorders in Hollywood, California. It was released on Coast and Capitol, with the Capitol release reaching #15 in 1948.

Roy Hogsed - Cocaine Blues

Party, Party, Party Doll!

3 different artists, same song, same recoord label, 17 years between 1st & last:
First up from 1957 Buddy Wayne Knox, born July 20, 1933 in Happy Texas; was the first artist of the rock era to write and perform his own number one hit song, "Party Doll". The song earned Knox a gold record in 1957 as well as a BMI million performance award. Knox was the very first Texas rockabilly artist to be awarded a gold record and he was one of the innovators of the southwestern style of rockabilly that became known as "Tex-Mex" music. The arc of his career anticipated that of fellow Texan Buddy Holly, yet while Holly is now enshrined in the pantheon of rock's true immortals, Knox's contributions remain sadly under appreciated.
Buddy Knox - Party Doll



Fast forward 9 years to The Hullabaloos, so named because they hailed from Hull, England, the Hullaballoos were arguably the most exploitative act of the first wave of the British Invasion. With their wig-like helmets of bleach-blond hair that vied with the Pretty Things and the Stones in length, they had an immediately striking visual presence. Musically it was another matter, for the Hullaballoos were actually not even stars in their homeland, but packaged for U.S. consumption by Hugo Peretti and Luigi Creatore, notorious vice presidents and A&R directors of Roulette Records.
I suppose since the original Party Doll from Mr. Knox was put out on Roulette after an original release on Triple-D records, it must have been the powers that be at Roulette to re-do the song.
The Hullaballoos - Party Doll


Now go even further into the future another 9 years and here we have Gamble. Who are they? I have no idea, but i suppose looking at the past and seeing that it had been 9 years since the last Party Doll hit Roulette they thought why the hell not...? Well this time it didn't work. This was not a "hit". It is not a terrible version by any stretch but by 1974 this sound was woefully out of date i suppose... you judge.
Gamble - Party Doll

The Jimmy Castor Bunch - Troglodyte (Cave Man)

Back in July I posted The Jimmy Castor Bunch - Tribute to Jimi: Purple Haze/Foxy Lady so I will spare you the long winded info, click the linky if you want it and just give you some of what the devil loves best, some fuzzy, buzzy, dirty & nasty funk from 1972! A bit misogynistic, but hey, i'm sure its all in good fun....

The Jimmy Castor Bunch - Troglodyte (Cave Man)

Mimi and Richard Fariña - Reno Nevada - One Way Ticket - Celebration For A Grey Day

A little something different here today, some hippy folk rock via 1965 on Vanguard from Mimi & Richard Fariña.

"Reno Nevada" & "One Way Ticket" are pretty cool rockers with a real 60's vibe, dig Mimi humming behind Richard singing in Reno, while "Celebration For A GreY Day" is an pretty psychedelic instrumental jam that borrows from some very famous melodies.

Here is the straighht dope:

Richard George Fariña ( March 8, 1937 – April 30, 1966 ) was an American writer and folksinger. He was a figure in both the counterculture scene of the early- to mid-sixties as well as the budding folk rock scene of the same era.

Fariña was born in Brooklyn, New York, of Cuban and Irish descent. He grew up in the Flatbush neighborhood of Brooklyn and attended Brooklyn Technical High School. He earned an academic scholarship to Cornell University, starting as an Engineering major, but later switching to English. While at Cornell he published short stories for some of the local literary magazines as well as for magazines such as The Transatlantic Review and Mademoiselle. Fariña became close friends with Thomas Pynchon and Peter Yarrow while at Cornell. He was suspended for alleged participation in a student demonstration against repressive campus regulations, and though he returned to campus, he ultimately dropped out just before graduation in 1959.

Back in New York City, Fariña wrote and mixed with the bohemians at the White Horse Tavern, the legendary Greenwich Village haunt frequented by poets, artists, folksingers, and wayfarers, where he befriended Tommy Makem. It was there that he met Carolyn Hester, a successful folk singer. They had a whirlwind courtship and married eighteen days later. Fariña appointed himself Hester's agent; they toured worldwide while Fariña worked on his novel and Carolyn performed gigs. Fariña was present when Hester recorded her third album at Columbia studios in September 1961, where a then-unknown Bob Dylan played harmonica on several tracks. Fariña became a close friend of Dylan's; their friendship is a central topic of David Hajdu's Pulitzer Prize-winning book Positively 4th Street.

In Europe, Fariña met Mimi Baez, the teenage sister of Joan Baez in the spring of 1962. Hester divorced Fariña shortly thereafter, and Fariña married 17-year-old Mimi in April 1963. They moved to a tiny cabin in Carmel, California, where they composed songs on a guitar and appalachian dulcimer. They debuted their act as "Richard & Mimi Fariña" at the Big Sur Folk Festival in 1964 and were signed to Vanguard Records. They recorded their first album, Celebrations For a Grey Day, with the help of Bruce Langhorne, who had previously played for Dylan. Due to his short life, Fariña's musical output was limited. The Fariñas released three albums, one posthumously. Fariña, like Dylan and others of this time, was considered a protest singer, and a number of his songs are overtly political. Several critics have considered Fariña to be one of the top talents to emerge from the 1960s Greenwich Village folk music scene. ("If Richard had survived that motorcycle accident, he would have easily given Dylan a run for his money." -- Ed Ward). His best-known songs are "Pack Up Your Sorrows" and "Birmingham Sunday", the latter of which was recorded by Joan Baez and has become more well-known after it became the theme song to Spike Lee's 4 Little Girls, a documentary about the 1963 16th Street Baptist Church bombing in Alabama.

At the time of his death, Fariña was also producing an album for his sister-in-law, Joan (which Baez would ultimately not release, though two of the songs were included on Fariña's posthumous album, and another, a cover of Farina's "Pack up Your Sorrows", co-written by Fariña with the third Baez sister, Pauline Marden, was released as a single in 1966).

Several of his songs were recorded by Fairport Convention in the UK, typically "Reno, Nevada" and "The Quiet Joys of Brotherhood".

Fariña is also known for his novel Been Down So Long It Looks Like Up to Me (originally published by Random House in 1966). The novel, based largely on his college experiences and travels, is a comic picaresque story of Gnossos Pappadopoulis. It takes place in the American West, in Cuba during the Cuban Revolution, and at an upstate New York university. The book has become something of a cult classic among those who follow sixties and counterculture literature. Thomas Pynchon, who later dedicated his most well-known book Gravity's Rainbow (1973) to his friend, described Fariña's novel as "coming on like the Hallelujah Chorus done by 200 kazoo players with perfect pitch... hilarious, chilling, sexy, profound, maniacal, beautiful and outrageous all at the same time." Pynchon also wrote an introduction to a recent paperback version of Been Down So Long It Looks Like Up to Me. A movie was made of the book in 1971.

On April 30, 1966, two days after the publication of his book, Fariña attended a book-signing at a Carmel Valley Village bookstore, the Thunderbird. Later that day, while at a party to celebrate Mimi's 21st birthday, Fariña saw a guest with a motorcycle and hitched a ride up Carmel Valley Road east toward Cachagua. The bike crashed within a mile or so. According to Pynchon's preface to Been Down..., the police said the motorcycle must have been traveling at 90 miles per hour, even though "a prudent speed" would have been 30 miles per hour. He was thrown from the back of the bike and killed instantly.

Mimi and Richard Farina - Reno Nevada
Mimi and Richard Farina - One Way Ticket
Mimi and Richard Farina - Celebration For A Grey Day

Reverberi - Stairway To Heaven

So i've quietly slipped past 100,000 hits last night, i know to some that is really nothing but when i started this blog i really didn't think anyone would give a rats ass about my silly records so many thanks to those who have visited on a regular, its cool to know that a few folks are paying attention to this vinyl madness that helps keep me sane... Oh yeah, and if you care i moved my "friends & allies" blog links down to the bottom of the page because it was getting rather large and out of control on the side bar, removed all dead and old links that didn't work and added a brief but accurate? description to each! If ur linked and you don't dig the way i described your blog let me know and if i like you enough i may change it for you! :)

This is a record i've been threatening to post for a while now. I just pulled it out of moth balls and here it is in honor of the devil's music going over 100,000 hits.

Today we get Reverberi and his rendition of the Led Zeppelin classic Stairway to Heaven.

This is a cool piece of jazz, fusion, rock, experimental, and classical all mashed together to make one funky ass instrumental cover version.

Gian Piero Reverberi (Genova, 29 July 1939) is an Italion composer, arranger and conductor who has been creating music since 1957.

Here is the list of fine musicians that played on this gem.

Acoustic Guitar, Guitar [12 String] - Massimo Verardi
Artwork By - DH Studio
Bass [Electric] - Gigi Cappellotto
Congas, Timbales, Guiro, Shaker, Cowbell, Percussion [Woodblock] - Larry "Nastyee" Latimer*
Drums - Tullio De Piscopo
Engineer [Assistant] - John Henning
Engineer [Re-mix] - Peter Chaikin
Guitar [Electric] - Marco Zoccheddu
Photography [Cover Photo] - Garry Sato
Producer, Piano [Steinway Grand], Clavinet [Hohner], Electric Piano [Fender Rhodes], Organ [Hammond], Synthesizer [Minimoog], Vibraphone, Glockenspiel, Harmonica [Bass], Voice, Timpani, Tambourine, Arranged By, Conductor, Concertmaster - Gian Piero Reverberi
Recorded By [Engineer] - Gian Luigi Pezzera
Violin - Sergio Almangano
Voice - Vanda Radicchi
Recorded at Ricordi Studios, Milan, Italy. Re-mixed at Records Plant Studios, Hollywood, California

Reverberi - Stairway To Heaven

Mashmakhan - As The Years Go By - Days When We Are Free

Gonna stick w/ the rock here and while this is not as muscular as the past few post this proggy goodness still rocks, the Mash stretch out a bit more than the last 2 45's but there is a certian cool flavor found in this product of the Great White North...

Sending this one one out to The Red Boy and his American hating brother...

Mashmakhan was a Canadian rock fusion band that was most active in the early 1970s, and is best known for their hit single "As The Years Go By."

Members Pierre Senecal, Brian Edwards and Rayburn Blake first met in 1960 in Montreal. Their drummer did not show up one night for a gig, so Jerry Mercer was brought in and ended up joining the band. Edwards quit shortly thereafter, but the other three continued to perform on the local scene under names like the Phantoms, Ray Blake's Combo and the Dominoes.

By 1965 they were calling themselves The Triangle, and backing up local R&B singer Trevor Payne. They backed up Payne for four years until being discovered by record producer Bob Hahn, who helped them get signed with Columbia Records in Toronto. Edwards rejoined the band and they changed their name to Mashmakhan. This name is a reference to Michoacan, a region in Mexico famous at the time for its high grade marijuana.

Senecal's song "As The Years Go By" was released off the debut album in an edited form, and was the group's first hit; it sold 100,000 copies in Canada and 500,000 copies in the United States (on the Epic label). The band actually wrote the song as a novelty addition to their album, not expecting it to gain serious recognition. The single also sold 399,000 copies in Japan. The two follow-up singles were "Gladwyn" and "Days When We Are Free".

In 1971, Mashmakhan was one of two contributors to the musical score of the NFB film Epilogue/Fieve, which was directed by William Pettigrew. "Couldn't Find the Sun", written by Rayburn Blake for the movie, was included on Mashmakhan's 1971 album The Family. This album also did well in Japan, but the band realized little domestic success and split up shortly thereafter.

Blake joined the Lisa Hartt Band and also recorded some solo material, and Jerry Mercer joined April Wine.

The original group was revived twice in the late seventies by Aquarius Records with future April Wine members Brian Greenway and, later, Steve Lang.

Mashmakhan later experienced significant renewed interest with the release of the film Festival Express, which featured color film of the band performing two songs (one song appears in the movie, one song appears in the DVD extras) during the Festival Express concerts in Canada in 1970. Several cameras provide multiple angle views of the band, and the audio recordings of the live performance are synchronized to the performance film. The Festival Express footage was captured using advanced recording devices for the time, and the resultant audio and video quality is relatively high. The band's performances in the film are powerful, creative, and exciting; Mashmakhan is perhaps most accurately termed a jazz fusion band in terms of the character of their performances.

Mashmakhan - As The Years Go By

Mashmakhan - Days When We Are Free