B. Bumble And The Stingers - Chicken Chow Mein

B. Bumble and the Stingers was an instrumental ensemble in the early 1960s, who specialized in making rock and roll arrangements of classical melodies. Their biggest hits were "Bumble Boogie" and "Nut Rocker", which reached number 1 in the UK Singles Chart in 1962. The recordings were made by session musicians at Rendezvous Records in Los Angeles.

Some of the main guys contributing to B. Bumble & The Stingers hits: On piano were, Ernie Freeman, Al Hazen, Lincoln Mayorga, and Leon Russell. On guitar, Rene' Hall and Jan Davis. On drums, Earl Palmer, Sharkey Hall, and Mel Taylor.

B. Bumble And The Stingers - Chicken Chow Mein

The Mar-Kets - Surfer's Stomp

Some early California based surf rock from 1962.

The Marketts were an American instrumental pop group formed in Hollywood, California.

The Marketts were formed in 1961 by Michael Z. Gordon in Los Angeles, California. Originally spelled, "Mar-kets", Gordon penned and co-produced their first release, "Surfer's Stomp" (under the pseudonym Michael Daughtry), which became an instant national hit for Gordon and his group. Their first song was released on Union Records, but they were immediately signed by Al Bennet, president of Liberty Records.

The Marketts are sometimes classified as a surf group because of their hit instrumental "Out of Limits," one of the last big surf singles, which made 3 in early 1964. In reality, they were something of an all-purpose contemporary instrumental group with elements of surf, rock, pop, and even easy listening. And they were not really a group, but a fluid collection of Los Angeles session musicians, working under the direction of producer Joe Saraceno.

Saraceno was the principal man behind the concept of The Marketts, although he himself did not play or arrange anything on their records, or even write all of the material. He was sharp enough to latch onto the surf craze in 1962 for one of the earliest instrumental surf hits, "Surfer's Stomp," which made the Top Forty on Liberty in 1962. While working at Liberty, he also produced the Ventures for a time, and the influence of the Ventures' cleanly-picked guitar lines is very evident on "Out of Limits" and some other Marketts tracks. With their blend of surfy guitar leads, film soundtrack horns, and spooky organ, The Marketts' sound is best described not as surf, but as rock-influenced instrumental pop with a futuristic (by early '60s standards) touch. Many of their songs seemed to be doing their best to evoke space travel and science fiction flicks, sometimes with the help of what sounds like a theremin. They could be said to have filled the void between surf music and space age pop, which is not a criticism; their music is not terribly substantial, but it is fun, and has a pretty good groove.

After "Out of Limits," The Marketts would enter the Top Twenty one more time with the "Batman Theme" in early 1966, and release records as late as 1977. Saraceno, in addition to his work with The Marketts and the Ventures, would also produce Bobby Vee, the Sunshine Company, Martin Denny, and many other acts.
- Richie Unterberger, All Music Guide

The Mar-Kets - Surfer's Stomp

Hanson - Rocking Horseman - Magic Dragon

Ok, i know what you are thinking....

No!



Not that Hanson, but a great group of Funky Rocking Hendrix worshipping
dudes who were blurring lines between funky and rocking....Junior Hanson may not be Hendrix or even Frank Marino but he comes in pretty close...

"Unapologetic and hard-funkin', this supergroup released two sundry albums in the mid-70s for Manticore:

Now Hear This (1973, MC66672 - US, K43507 - UK)
Magic Dragon (1974, MC66672 - US)

Formed by Junior Hanson (real name: Donald Hanson Marvin Kerr Richards Jr.; was a member of Bob Marley & The Wailers, Steve Winwood, Keef Hartley Band), it's simply criminal that this outfit was overlooked by the British press and record buying public alike (note "Magic Dragon" being possibly a US-only release!); the only way I've personally found out about it is the same way most of today's "heavy rock archaeologists" are finding out about it: via the inclusion of bassist Neil Murray.

Both albums featured a star-studded cast. On "Magic Dragon" - Glen Le Fleur (Murray Head, Gonzalez, Ronnie Lane & Slim Chance, Olympic Runners, Gerry Rafferty), Neil Murray (Whitesnake, Gilgamesh, Colosseum II, Black Sabbath, Gary Moore, National Health). On "Now Hear This" - Rebop Kwaku Baah (Can, Eric Clapton, Joe Cocker, Free, Traffic, Steve Winwood), Clive Chaman (Jeff Beck, Hummingbird), Delisle Harper (Graham Bond Organisation, Crazy World Of Arthur Brown, Ginger Baker, David Coverdale, Freddie King, Olympic Runners), Conrad Isadore (Olympic Runners, Joe Cocker, Hummingbird, Paul Kossoff, Manfred Mann, Terry Reid, Stephen Stills, Vinegar Joe), Jean Roussel (Joan Armatrading, Elkie Brooks, Atlantis, Joe Cocker, Donovan, Roger Glover, Keef Hartley, Alan Hull, Tim Hardin, Juicy Lucy, Paul Kossoff, Linda Lewis, Osibisa, Robert Palmer, Wilson Pickett, Police, Cat Stevens, Mick Taylor, 10CC, Thin Lizzy, Ron Wood), Bob Tench (Jeff Beck Group, Roger Chapman & Shortlist, Boxer, Peter Green, Humble Pie, Hummingbird, Freddie King, Van Morrison, Linda Lewis, Streetwalkers).
http://www.alexgitlin.com/

I'm going to give you the opening track and the closing track and i'm pretty sure you can get an idea of what is in the middle!

Enjoy some cool Hendrix inspired funky guitar rock!!!

Hanson - Rocking Horseman

Hanson - Magic Dragon

Bloodrock - Lucky In The Morning

One of the 1st Heavy Rock bands after Sabbath of my youth. I pilfered my Uncle Dan's records and he had copies. Thanks Uncle Dan! You Rule!

I've never seen any live footage until now... Pretty cool

Deodato - Black Dog

DJ Prestige turned me on to this nugget and since he used it in his Summer Sweep mix I don't he'll mind if i post it proper for you all to take in on this Friday!

One more for the Led Zep covers vault:

The low down:

Eumir Deodato (born on 22 June 1943 in Rio de Janeiro) is a Grammy Award-winning Brazilian musician, producer and arranger primarily based in the jazz realm but who historically has been known for eclectic melding of big band and combo jazz with varied elements of rock/pop, R&B/funk, Brazilian/Latin, and symphonic or orchestral music. [1] Mainly, his records can be categorized as pop jazz or crossover jazz. His successes as an original artist (keyboards) occurred mainly in the 1970s. Since then, he has produced more than 500 albums for acts ranging from Kool and the Gang to Björk and k.d. lang.

Deodato was born Eumir Deodato Almeida on 22 June 1943 in Rio de Janeiro, Brazil, of Italian and Portuguese parents. He is a musical autodidact, starting with the accordion at age 12 but rapidly learning instrumental and orchestral skills that culminated in his first recording session at age 17. Originally working as pianist and arranger in the Rio bossa nova scene, he rapidly outgrew this and, along with many other Brazilian musicians during the military dictatorship[citation needed] in their country, moved to New York, working with composer Luiz Bonfá and later with producer Creed Taylor as an arranger. Additionally, he became keyboardist in Taylor's expanding group of backing artists.


Recording career
His first album in the USA, Prelude, released in 1972, was of a big band Latin jazz style that immediately attracted a wide audience. His funky version of Richard Strauss' Also Sprach Zarathustra won the 1973 Grammy Award for Best Pop Instrumental Performance and went No. 2 in the pop charts in the US and No. 7 in the UK. It was subsequently used to great effect in the 1979 film Being There, starring Peter Sellers and Shirley Maclaine. It was also covered extensively by the rock band Phish in their live performances and included in several of their live releases.

His second album, Deodato 2, despite being of the same style and quality, however failed to meet sales expectations, and practically led to the demise of the record label CTI (Creed Taylor Inc.).[citation needed] His early career records used guitarist John Tropea and quintessential jazz fusion flautist Hubert Laws. Deodato continued recording until the late 1980s on the Warner Bros label, but never reached the level of his early successes, although two singles, "SOS, Fire In The Sky" and "Are You For Real", were Top 20 Billboard Dance hits in 1985.

Two of his songs, 'Latin Flute' and 'Super Strut' are featured in the video game: Grand Theft Auto: Vice City, and on the subsequent soundtrack, titled "Grand Theft Auto: Vice City, Vol. 7 - Radio Espantoso".


Producer and arranger
Deodato has been in demand as a producer and arranger since the 1960s. In all, he has worked on over 500 albums, fifteen of which have reached platinum. His skills as an arranger provided entree to the American recording industry, writing charts for Wes Montgomery, compatriot chanteuse Astrud Gilberto, and most notably Frank Sinatra, the results of which were released as the bossa nova side of Sinatra's 1971 LP, Sinatra & Company. Other collaborations have included production duties for Kool and the Gang in the early 1980s, the first soloalbum by Kevin Rowland of Dexys Midnight Runners in 1988 and orchestrations for Björk on her 1997 album Homogenic. Deodato had previously worked on Björk's song "Isobel", making a mix which was later released on her album Telegram, produced by Björk, Nellee Hooper, Tricky, Howie B. and Deodato himself. In 2007 Dedato co-produced the single called "Paris, Tokyo" which is on the album Lupe Fiasco's The Cool. He has also written scores for a number of films.
From Wikipedia, the free encyclopedia

Deodato - Black Dog

Daddy Kae & Yvonne - Eleven Commandments Of Woman - Daddy Kae Trio - Shug!!

Here is one from Monday's scores. This in all appearances would be the response song to Prince Buster's "Ten Commandments". It would make sense this record was unearthed in Philly proper... Read on.

Wake up Philadelphia!


"Get out of that bed and make that bread"

Here's the straight dope:

Kae Williams The Broadcast Pioneers of Philadelphia

...
In March of 1941, a half year prior to the attack on Pearl Harbor in Hawaii, Kae entered the U.S. Army.In April of 1942, he received an honorary discharge while stationed at nearby Indiantown Gap, Pennsylvania.While in the service he was a member of the first all African-American field artillery battalion.

Then Williams got a job as a Youth Corp Coordinator.It was a city gig funded by a federal grant.His office was located in the famed Philadelphia Navy Yard.There, he instructed high school dropouts in good work habits, including attendance, punctuality, personal appearance and the value of dependability.He also was charged with the responsibility of applying a thorough working knowledge of policy rules, regulations and instructions pertaining to a broad range of personnel matters, including the counseling of employees and efforts to seek corrective actions or remedies to their problems.

Known as one of the earliest local disc jockeys of the blues, he broke into radio in 1943.Two years later, he went to WHAT Radio.At the same time, he also wrote for the Philadelphia Tribune (1945 to 1948) as Theatrical and Night Club critic.
...
In 1968, Williams became "Coordinator" of the station.By Spring of 1970, Kae Williams was no longer with the station.
...
In early 1954, an R&B group with gospel roots called "The Dreamers" met Kae at the studios of WHAT Radio.Dolly and Billy Banks, owners of the station, allowed Kae to invite area teenagers into a studio next to him.
...
There, the teens could dance to the music Williams was playing. Once in a while, Kae would wander next door and talk with the kids.It was one of these times he met a quintet.They were the Dreamers.Kae auditioned them and liked what he heard.

A couple months later, Kae took them to Reco Art Studios and recorded two sides.
...
The group and Kae started playing with names when someone said that Arthur had two middle names, Lee & Andrew.
...
Williams took the sides to Eddie and Bobby Heller who owned a nightclub in North Philly.
...
Kae worked out a deal and the Hearts released three releases on Rainbow, but without a lot of success.Williams decided to break the affiliation with Heller and for awhile, The Hearts only performed in area clubs, but they got a lot of exposure.
...
In 1957, Kae Williams (then at WDAS Radio) signed the group to his own small label, Junior Records.
...
Kae had them record two sides.
...
Kae also was responsible for another Philadelphia based group, The Sensations featuring Yvonne Baker, whose song "Let Me In," reached the second spot on the R & B charts in 1962.
...
Other Philadelphia artists whose success was related to Kae Williams are Solomon Burke, Moses Davis, Screamin' Jay Hawkins, Don Gardner and Doc Bagby.
...
While Kae Williams had a hand in early R&B and Doo-Wop, his main love was "The Blues."In fact, most of his radio broadcasts featured little else.
...
"If there is a musical genre that Philadelphia has, which Kae was solely responsible for promoting, it is the Blues.In fact he was dubbed "Daddy of the Blues."When blues was kind of a stepchild on the music scene in Philly back in the late 50's, Kae specialized in playing nothing but the blues.
...
Kae whose good natured, gruff voice admonished, "Get out of that bed and get that bread."

Kae was known for his charitable contributions and personal appearances for worthy causes.He was a member of the Board of Directors of The National Association of Television and Radio Announcers and President (and later Chairman) of the Strawberry Mansion Civic Association.He was on the board at the Columbia Avenue branch of the YMCA.At the University of Pennsylvania, he served of the board at the Wharton School of Business.He was also on the board of the Tioga - Quaker City Golf Club and was on the Strawberry Mansion Junior High Advisory Board.

He was also chairman and president of the local federally funded "Model Cities" program.About this, Williams said, "As chairman of Model Cities Area No. 9, it was my duty to coordinate all the efforts of civic and community groups in my area totaling approximately 60,000 residents, meeting with redevelopment authorities to determine dislocation and relocation of residents, service buildings, needs in the community, fighting crime in neighborhoods, (and) assisting the aged and youth in establishing programs beneficial to the area residents."

In 1957, Kae received an award from BMI.It was for the record, "Get a Job" for selling one million copies.In 1964, Kae had a local television show which lasted for one year.In 1978, he received the Mary Dee Award for outstanding community service.It was the first time the honor was ever presented.In 1989, Kae, Jr. accepted on behalf of his dad, the Lifetime Achievement Award from the Philadelphia Music Foundation.

During his life, Williams loved dance. He had won several awards for tap and ballroom dancing.He appeared with Count Basie, Lionel Hampton and Erskine Hawkins.Williams mentioned one time, "I studied music and dramatics at Al Berkman's School of Dramatic Arts, Philadelphia.I have also produced weekly variety shows at the Liberty and Uptown Theaters in North Philadelphia."

If there is a pioneer of the Blues as far as radio is concerned, it is Philadelphia's own , Daddy Kae (Loudmouth) Williams."He passed away on December 23, 1987.

In the mid-1950's, Kae reached what would be eventually the high point of his career.

He, and the group he was now managing, the Silhouettes, had a huge pop hit with 'Get a Job.'

The track sold several million copies in this country and abroad and topped the pop charts.

He, also, managing a group called the Sensations, which sold close to a million with the pop tune 'Let Me In.'

These records made everybody money but him and he felt a little bitter that he never got his due moneywise or publicity wise because Kae didn't own the publishing copyright.

At the time this type of thing happened to a lot of the black artists, promoters and producers in those early, pre-civil rights days of rock.

Kae Williams also inspired a lot of youngsters, black and white, to go into radio and music.

He always had time to help the new kid on the block.
...
Williams enjoyed the time he spent with the Traffic Court, said the Rev. Darryl Williams, one of his sons, because 'It still kept him somewhat involved with people.He was a people person.'
...
During his lifetime, Kae Williams received many awards. Here is a run down:

BMD - Award (Broadcast Music Inc.) (1957)The B.M.D. Award was presented to Kae Williams by Dick Clark for the hit record ("Get A Job") exceeding the sales of one million copies.
...
In 1964 Kae Williams was sponsored by Network T.V. (W.P.E.N.) in Philadelphia. This show lasted for a one-year run.In later years this show was revamped and became the Ed Hurst show.

N.A.T.R.A. - (National Association of Television and Radio Announcers)Kae Williams was chairman of N.A.T.R.A. along with being a dedicated members.

Mary DEE AwardIn 1978 Kae Williams was presented the first Mary DEE Award.Presented ti him by the Phialdelphia.Record promoters Association for outstanding community service and broadcasting.

Lifetime Acheivement AwardIn May of 1989 Kae Williams Jr. was presented producer of the year award and by surprise was given the Life Time Acheievment Award for his father Kae Williams Sr.

Not sure where this 45 fits in but it's a good 'un!


Daddy Kae & Yvonne - Eleven Commandments Of Woman

Daddy Kae Trio - Shug!!

A hot mess of records in the back of a truck, a trip to my Father's, some scores & 50,000 hits....!!!

A hot mess of vinyl


This weekend after a Great BBQ and Pool party Saturday w/ friends I took a trip down to my Pops place Sunday in south NJ. Now I've not talked to my Dad since my Grandmother died a year & a half ago and to say the least I have been a bit pissed at him for missing his Grandson's birthdays and not even a card at Christmas for the boys but he called me a week or so ago with a peace offering of records. So I ponied up the Kids & the JJB for the trek down to see the old man. We sat and shot the shit for a while and watched the Yankee game and the boys were happy to see him and before we split I pulled these records out and threw them in the back of JJB's truck. I've not even gone through them really, just a quick peek, i saw some Beatles, some classical and a hodge podge of stuff but it's not what in the pile this time but the thought that really counts, so me & my pops made up which is good because neither of us are getting any younger. There was talk of a fishing trip soon as well, we will see what happens...

Mystery records:


So after out trip to south Jersey me and JJB made our way back to Philly Monday for some Great food and beer at "Nodding Heads" where i had a n awesome jerked chicken sandwich with fried plantains and Spanish fries, JJB had the fish and chips. The homemade beer was excellent as well...

I had the "Grog" and JJB sampled a few other things....

JJB gets her drink on!


So after some food & drink we made it on over to another record store than we have never been to before and the only thing stopping us there was time & money. But I managed to pick up a few things but had to get out of there before we could even go through 1% of the store. It was a diggers paradise! Records EVERYWHERE! Boxes of 45 tucked in every corner and hardly any rhyme or reason to any of it. It was a daunting task and JJB gave up quickly and i followed soon after. DJ Prestige and Jack the Ripper if you guys are listening? You need to get your asses out to Philly ASAP so we can take you guys to this wicked spot post haste! Tons of soul, funk, and jazz albums & 45's....

Make it so!!!

Here is the small pick up i scored:

Lp's:

The Dramatics - A Dramatic Experience - Volt (I already have this but this copy was CLEAN and only 3 bucks)

Hanson - Magic Dragon - Manticore (No, not THAT Hanson! Stay tuned for this one! This is some Rocking Funk induced music ala Hendrix inspired)

Drugs Won't Get It, People Will - An Educational Record About Narcotic Use - Private

45's:

Daddy Kae & Yvonne - Eleven Commandments Of Love / Shug!! - Fairmount
Black Heat - No Time To Burn / Super Cool - Atlantic
Natural Four - Can This Be Real / Try Love Again - Curtom
3 Of A Kind - Save It (Don't Give It Away) / You're Everything In Life - Sussex
Bobby Byrd - Keep On Doin' What You're Doing / Let Me Know - BrownStone
Black Blood - A. I. E. (A Mwana) / Marie - Therese - Mainstream
The Mustangs - Baby Let Me Take You Home / Davie Was A Bad Boy - Keetch

Like i said, we didn't even scratch the surface of what was there and i could have spent a thousand dollars had i had the $$$ to burn....

*edit: I just edited the title and added this little section because i just realized that I am over 50,000 hits! So many thanks to all the folks who stop by and check out my small little corner of the vinyl blog universe!

Cheers!
dd

Jeronimo - Shades - Understanding

I've already done another posting about this great German Krautrock band so I will spare you the details and just post another one of my fave 45's from 1971 on the Bellaphon label...

I know understaning is the A side but Shades is so much cooler i had to put it 1st.

Dig in.

Jeronimo - Shades
Jeronimo - Understanding

The Beast - Power Metal EP - Mutha 006 - 1983

OK Folks, gonn stick with punky side of things here and give you another rare New Jersey gem from 1983 on the Mutha label.

I think this is a very under rated Mutha release but i guess because its labeled "Metal" some folks don't want to give it props but besides the shredding guitar playing of "The Hinge" and some of the content of the lyrics this definitely has a punk quality to it.

The guitar playing is top notch by Jack "The Hinge" Pitzer who reminds me a lot of Jack Endino in the Skin Yard days. The Hinge was a long time sound guy at the Legendary Brighton Bar, Long Branch, NJ, where The Beast has played numerous times back in the day and then he went on the play with Greg Gory of the famed Chronic Sick in the band The X-Men with members of NJ Psych greats Secret Syde and Laughing Soup Dish, but that's all a different story entirely...

The Beast Consisted of Scott Ruth (vocals), Jack "The Hinge" Pitzer (guitar), Ronnie Ace (guitar), Jeff Grass (bass), Doug Ryan (drums) - This group emerged from the band TYRANT, which included Mark Mutha. Members of the band were also went on to RIPPING CORPSE, another great NJ thrash metal band.

I've been trying to hunt down and complete my Mutha record collection since back in the day and being from the eara i've been lucky but I'm missing a bunch but i do have a large quantity so stay tuned and I'm sure I'll get to more in the very near future. I think a posting of "The Worst" Expect the Worst might be in order next!

Here is the Mutha story:

MUTHA RECORDS
When it's more than just a great record - IT'S A MUTHA!

Sometime in 1977, THE WORST and SCHRAPNEL tore a hole in the "Springsteen" picture that had represented the Jersey Shore music scene (or "SOAP" - Sounds Of Asbury Park), and so began NJ's premier, strongest, and probably longest lasting Hardcore Punk scene.
In 1978, Mark "Mutha" Chesley was playing in a HM band called TYRANT. He left that band to become manager for The Worst, and soon began hosting Mutha Record Nights at his home in Long Branch, where he would play records by hard and heavy bands like The Stooges, MC5, Blue Cheer, as well as obscure psychedelic bands from the Sixties, and the latest offerings from British and American Punk bands. Under Mutha's watchful eye. Jersey Shore Hardcore bands began to take shape. THE WORST, THE BURNT, CHILD ABUSE, and FATAL RAGE were among the first bands to emerge from this new Mutha-land.
The Fast Lane in Asbury Park (where local bands could open for national acts like The Dictators, Black Flag, etc..) as well as The Hot-Dog House (a rented loft in Asbury) were host to many of the early shows that Mark and the local musicians helped organize. Soon, The Brighton Bar in West Long Branch became home for this growing scene, and remains active to this day. The turning point for the Hardcore scene occured when Mutha Records was established in 1982 - simply for the love of music and to prevent good bands from becoming just a memory. The first release was a 7" EP by THE WORST, followed shortly by releases by CHRONIC SICK, and PUBLIC DISTURBANCE. But Mutha Records was not restricted to Jersey Shore bands, as other bands in the NJ/NY area soon filled Mark's growing catalog. "I'm for the underdog...and the underground" stated Mark, and with his help, music by the bands listed on this page will be around forever - as it should be.
Harry Baggs - Ear Wax Fanzine

If anyone has a Mutha stuff for sale or trade drop me a line!
But for now enjoy The Beast EP and you won't have to sell your left arm to hear it...

The Beast - The Beast
The Beast - Radical Man
The Beast - Enemy Ace
The Beast - The Shape

Asbury Park 45 sessions quick re-cap:

One thing i can say about the 45 sessions is there is never a dull moment!!!

i heard lots of excellent 45's ive never heard before and I can't wait to see the set lists posted over at Flea Market Funk so i can get on the prowl for some of the gems i heard.

In the mean time here is what good ol' devil dick spun:

1st set:

Jimmy Radcliff - Lay A Little Lovin' On Me - RCA
Wisdom - Funky People - Retta's Records
Betty Evert - Take Me - Uni
Rasputin's Stash - Mr. Cool - Cotillion
John Paul - I'm A Bad Son-Of-A-Gun - Phillips
The Five Du-Tones - Divorce Court - One-derful!
Jeanette (Baby) Washington - Move On - Neptune
Ed Pauling & the Exciters - Soul House - Savoy
Billy Harner - Homicide Dresser - Kama Sutra
Otis Clay - She's About A Mover - Cotillion
Bobby Harris - Sticky, Sticky - Shout
Chet "Poison" Ivey - Shake A Poo Poo - Tangerine
Tony Mason - Groove City - RCA

2nd set:

Fugi - Sweet, Sweet Lady (Part 1)- 20th Century
Segments Of Time - song To The System - Part 1 - Sussex
Executive Suite - You Got It - Babylon
Sonny Lovall - Ghetto Boy (Part 1)- Mystic Insight
Willie Henderson - Break Your Back - Brunswick
Bethea - Moon Dream - Dynamo
Truth - Excedrin Headache #24 - SOC - Sounds Of Cleveland

Overkill - SST 008 - 1982; 7 Inch

Long before New Jersey/New York's Overkill, who's 1st EP w/ "Rotten to the Core" on it i dig but soon lost interest in, I had heard the West Coast Overkill on the 1st Blasting Concept and really dug the punky metal vibe of Hell's Getting Hotter. My love of the band was further enhanced when I heard them on the 2nd Blasting Concept doing "Over the Edge" i knew i had to track down all of their stuff, and so i did. And now i give the 1st 7 inch to you. And while it may have lost a bit of luster after 25 years and it certainly is not the greatest SST recording (that award goes out to The Stains who's 1983 release of 1981 recordings is THE SHIT in West Coast HC IMHO) this is still a nice visceral nugget of early 80's punk madness that i feel is right up there with the best of them....

Overkill - Hell's Getting Hotter
Overkill - Our War
Overkill - Burn The School
Overkill - Don't Wanna Be Told

Devil Dick - JJB - Planet Mondo Funky Friday & Asbury park 45 Sessions

What an action packed Friday here @ the devil's music!

1st head on over to Planet Mondo where yours truly and my lady friend JJB of Eye Eat Music have both contrbuted a few songs each to Mr. Mondo's "Funky Friday's"...

Each one of us each choosing 3 songs to help get your weekend started!!!

Here is what's going on:

We would both like to thank Planet Mondo for having us do this little guest post over here at his world famous Mondo Atomic Blog!!! This is as it looks a HIS & HERS Collaboration for Your Friday. Please Enjoy


Ladies 1st and she's giving you some Doo-Wop

The Dells – “I want to Go Home”: Boy Group Harmonizers of the 50’s. Doo-Wop Born in a Chicago Burbs High School . Cut released late 1956.

The Eternals –“Rocking in the Jungle”: Bronx Doo-Wop Groups 1st 45’ release originally titled “Christmas in the Jungle” which wasn’t working out so well since the holiday was over 8months away. Careful were you step you may cross a lion in your travels with this tune.

The Coasters – “Sorry Gonna Have to Pass”: Storytelling R&B Vocal Group of the late 50s. They were outside the Box when it came to Mainstream DooWop, many would try to imitating their style in later years. But They Are the Kings of Weaving Vocals around a story


The Devil's part of the show is 3 choice little instrumental nuggets!

Jon Thomas – “Fat Back”: A nice little soulful instrumental R&B Soul number with plenty of Killer organ and sax from 1957. (Early!)

The Craftsmen – “Rock Along”: A kooky little Rockin’ surf type instrumental from -1961: Plenty or crazy organ and twangy guitars a-go-go!!!

The Dartells – “Dartell Stomp”: Another Great Rockin’ Instrumental this time from 1963! More killer organ work, pumping bass and a driving drum beat and break that doesn’t quit!

If these 6 little ditties don’t put a smile on your face this fine Friday then I don’t know what will!!!

Cheers!
dd & jjb



Check it out here if you want the tunes!!!: Planet Mondo Atomic Blog


And after your done there get your ass down to Asbury Park New Jersey for the next installment of DJ Prestige's world famous 45 sessions tonight where yours truly will be spinning some sweet soul, R&B and Funk!!!



Big ups to both DJ PreS and Planet Mondo for having me participate!!!

Asbury Park 45 Sessions 7/18/08

Tomorrow night!

Instant Death - The Enabler - Can't Fill The Void

From New Brunswick New Jersey's own DaDa label, which brought us some of the areas bestest Indie and Low-Fi rock i give you 2 excellent underground bedroom rockers from "Instant Death"....

2 dudes, Dave Dreiwitz, (Bass) & Scott Byrne, (Drums) Just Bass & Drums and a touch of Cagean Electronics. Wow!

Stay tuned for some more Hub City indie greatness when i post the only band that challenged Pavement for the Indy rock crown: Duochrome!

Instant Death - The Enabler

Instant Death - Can't Fill The Void

Records in the street, followed by an armed guard and today's score(s)... The Sugar Bears & Warning

So the JJB and i took a ride around around Camden NJ yesterday on the way back to Philly to check out a thrift store we knew about. We took a wrong turn and low & behold we found what we set out to find, RECORDS! Except these were strewn across the street in 92 degree heat... Not a healthy combination.

When we did finally find the thrifty we were looking for, which was in the hood, as soon as we walked in we both got followed through the store by armed fucking security! I mean WTF? Like we needed to steal the 50 cent records? and by 50 cent record i don't mean the rapper 50 cent but the shitty records were actually 50 cents a piece.... so with prices so low they were practically giving them away how could i pass up this lonely little gem here!?!



By the back of the Sugar Bears album it looks like Kim Carnes is the voice of "Honey Bear"... but believe me, this isn't even worthy of posting the tunes... pretty fucking lame. The dude doesn't even sing in the Sugar Bear voice, i mean WTF?!?

*edit: Here is the song "You Are The One" for Mr. Todd Lucas over at: It's Great Shakes since he made made comment on said song!

The Sugar Bears - You Are The One

Not much else was to be found, i bought a few religious things and a movie soundtrack lp that had the exorcist theme on it and a few "odd" things but nothing to really write home about. Pickings have been slim here lately and with gas and shit so expensive I have had no extra loot for the ebay experience of late and I aint been out to the spot in what feels like ages....

But i have to thank DJ Pres for the hook up w/ The Warning Lp, what an odd little mutant this is! Kind of like Rammstein meets Root Boy Slim and the Sex Change Band. Not much i know about these 2 darth vader looking kooks but I've listened to this album now 3 times and its pretty damn crazy.... Check out the tune "Lost In Time"
These guys seem pretty much the same...



Warning - Lost In Time

Cheers & Thanks!
dd

Nilsson - You're Breakin' My Heart

"You're breaking my heart / You're tearing it apart / So fuck you"

Happy Monday people, here is a nice little kiss off song to help get your week started.

*Warning* Keep the youngin's away from the speakers for this one...

Here is the long sorted but interesting tale of Mr. Nilsson:

Harry Edward Nilsson III (June 15, 1941 – January 15, 1994) was an American songwriter, singer, pianist, and guitarist who achieved the height of his fame during the 1960s and 1970s. For most of his recordings, he did not use his first name, and was credited only as Nilsson.

Despite some significant commercial successes, including two Grammy Awards and two Top 10 singles, Nilsson's tendency to make broad stylistic jumps from one record to the next - coupled with his iconoclastic decision making - kept him from capitalizing on his career. Among Nilsson's best-known recordings are "Without You", "Everybody's Talkin'" (theme from the movie Midnight Cowboy) and "Coconut".


Early years
Nilsson was born in the Bushwick section of Brooklyn, New York in 1941. His paternal grandparents were Swedish circus performers, especially known for their "aerial ballet" (which is also the title of one of Nilsson's albums). His father, Harry Edward Nilsson, Jr., abandoned the family three years later. An autobiographical reference to this is found in the opening to Nilsson's song "1941":

Well, in 1941, the happy father had a son
And in 1944, the father walked right out the door
Nilsson's "Daddy's Song", recorded by The Monkees, also makes reference to this period in the artist's life.

Harry grew up with his mother, Bette Nilsson, and his younger half-sister. His younger half-brother Drake was left with family or friends during their moves between California and New York, sometimes living with a succession of relatives and stepfathers. One relative who had an important influence on him was his Uncle John, a mechanic in San Bernardino, California, who helped Nilsson improve his vocal and musical abilities.[1]

Drake and Diane were his half-brother and half-sister through their mother. He also had three half-sisters through his father: Carol, Barbara and Rainy, and another half brother, Gary, all of whom lived in Florida during Nilsson's childhood.

Due to the poor financial situation of his family, Nilsson worked from an early age, including a job at the Paramount Theatre in Los Angeles. When the Paramount closed, Nilsson applied for a job at a bank, falsely stating he was a high school graduate on his application (he only completed ninth grade).[2] He turned out to have an aptitude for computers, which were just starting to be employed by banks at the time. He did so well, in fact, that the bank kept him on even after discovering the lie about his education. He worked on bank computers at night, and used the daytime to pursue his song-writing and singing career.[3]


Musical beginnings
As early as 1958, Nilsson was intrigued by emerging forms of popular music, especially rhythm and blues artists like Ray Charles. He had taken early stabs at performing while he was working at the Paramount, forming a vocal duo with his friend Jerry Smith and singing close harmonies in the style of the Everly Brothers. The manager at a favorite hangout gave Nilsson a plastic ukulele, which he learned to play, and he later developed the ability to play the guitar and piano. When Nilsson could not remember lyrics or parts of the melodies to popular songs, he began to make up his own. This led to writing original songs.

Uncle John's singing lessons, along with Nilsson's natural talent, surely helped when he got a job singing demos for songwriter Scott Turner in 1960. Turner paid Nilsson five dollars for each track they recorded. (Years later, when Nilsson became famous, Turner decided to release these early recordings, and contacted Nilsson to work out a fair payment. Nilsson replied that he had already been paid—five dollars a track.) His job with the bank was on the night shift, so Nilsson spent his days infiltrating Los Angeles music business offices, making friends and developing connections.

In 1963, Nilsson began to have some early success as a songwriter, working with John Marascalco on a song for Little Richard. Upon hearing Nilsson sing, Little Richard reportedly remarked: "My! You sing good for a white boy!"[4] Marascalco also financed some independent singles by Nilsson. One, "Baa Baa Blacksheep", was released under the pseudonym "Bo Pete" to some small local airplay. Another recording, "Donna, I Understand", convinced Mercury Records to offer Nilsson a contract, and release recordings by him under the name "Johnny Niles."[5]

In 1964, Nilsson worked with Phil Spector, writing three songs with him. He also established a relationship with songwriter and publisher Perry Botkin, Jr., who began to find a market for Nilsson's songs. Botkin also gave Nilsson a key to his office; this gave him another place to write after hours.

Nilsson's recording contract was picked up by Tower Records, who in 1966 released the first singles actually credited to him by name, as well as the debut album Spotlight on Nilsson. None of Nilsson's Tower releases charted or gained much critical attention, although his songs were being recorded by Glen Campbell, Fred Astaire, the Shangri-Las, the Yardbirds, and many other artists. Despite his growing success, Nilsson was still working the night shift at the bank.


Signing with RCA Victor
Nilsson signed with RCA Victor in 1966 and released an album the following year, Pandemonium Shadow Show, which was a critical (if not commercial) success. Music industry insiders were impressed both with the songwriting and with Nilsson's pure-toned, multi-octave vocals. One such insider was Beatles press officer Derek Taylor, who bought an entire box of copies of the album to share this new sound with others. With a major-label release, and continued songwriting success (most notably with The Monkees, who had a hit with Nilsson's "Cuddly Toy,"[6] after meeting him through their producer Chip Douglas), Nilsson finally felt secure enough in the music business to quit his job with the bank. Monkees member Micky Dolenz maintained a close friendship until Nilsson's death in 1994.


Cover of 1966 album Pandemonium Shadow ShowSome of the albums from Derek Taylor's box eventually ended up with the Beatles themselves,[7] who quickly became Nilsson fans. This may have been helped by the track "You Can't Do That", in which Nilsson covered one Beatles song but added 22 others in the multi-tracked background vocals. When John Lennon and Paul McCartney held a press conference in 1968 to announce the formation of Apple Corps, John was asked to name his favorite American artist. He replied, "Nilsson". Paul was then asked to name his favorite American group. He replied, "Nilsson".

Aided by the Beatles' praise, "You Can't Do That" became a minor hit in the US, and a top 10 hit in Canada.

When RCA had asked if there was anything special he wanted as a signing premium, Nilsson asked for his own office at RCA, being used to working out of one. In the weeks after the Apple press conference, Nilsson's office phone began ringing constantly, with offers and requests for interviews and inquiries about his performing schedule. Nilsson usually answered the calls himself, surprising those on the other end of the line, and answered questions candidly. (He recalled years later the flow of a typical conversation: "When did you play last?" "I didn't." "Where have you played before?" "I haven't." "When will you be playing next?" "I don't.") Nilsson acquired a manager, who steered him into a handful of TV guest appearances, and a brief run of stage performances in Europe set up by RCA. He disliked the experiences he had, though, and decided to stick to the recording studio. He later admitted this was a huge mistake on his part.

One Monday morning Nilsson answered his phone, and the caller turned out to be John Lennon, who praised Pandemonium Shadow Show, which he had listened to in a 36-hour marathon.[8] Paul McCartney called the following Monday, also expressing his admiration. Nilsson was disappointed that his next Monday did not come with a call from Ringo Starr or George Harrison,[9] but shortly after a message came, inviting him to London to meet the Beatles, watch them at work, and possibly sign with Apple Corps.

Pandemonium Shadow Show was followed in 1968 by Aerial Ballet, an album that included Nilsson's rendition of Fred Neil's song "Everybody's Talkin'". A minor US hit at the time of release (and a top 40 hit in Canada), the song would become extremely popular a year later when it was featured in the film Midnight Cowboy, and it would earn Nilsson his first Grammy Award.[10] The song would also become Nilsson's first US top 10 hit, reaching #6, and his first Canadian #1.

Aerial Ballet also contained Nilsson's version of his own composition, "One", which was later taken to the top 5 of the US charts by Three Dog Night. Nilsson was also commissioned at this time to write and perform the theme song for the ABC television series The Courtship of Eddie's Father. The result, "Best Friend", was very popular, but Nilsson never released the song on record. An alternate version, "Girlfriend", did appear on the Personal Best anthology in 1995.

With the success of Nilsson's RCA recordings, Tower re-issued or re-packaged many of their early Nilsson recordings in various formats. All of these re-issues failed to chart, including a 1969 single "Good Times".


Chart success
Nilsson's next album, Harry (1969), was his first to hit the charts, and also provided a Top 40 single with "I Guess the Lord Must Be in New York City" (written as a contender for the theme to Midnight Cowboy), but used instead in the Sophia Loren movie La Mortadella (1971) (USA title: Lady Liberty). While the album still presented Nilsson as primarily a songwriter, his astute choice of cover material included, this time, a song by a little-known composer named Randy Newman, "Simon Smith and the Amazing Dancing Bear." Nilsson was so impressed with Newman's talent that he devoted his entire next album to Newman compositions, with Newman himself playing piano behind Nilsson's multi-tracked vocals.[11] The result, Nilsson Sings Newman (1970), was commercially disappointing but was named Record of the Year by Stereo Review magazine and provided momentum to Newman's career.[12]


Cover of 1971 album Nilsson SchmilssonNilsson's next project was an animated film, The Point!, created with animation director Fred Wolf, and broadcast on ABC television on February 2, 1971, as an "ABC Movie of the Week." Nilsson's album of songs from The Point! was well received, and it spawned a hit single, "Me and My Arrow."

Later that year, Nilsson went to England with producer Richard Perry to record what became the most successful album of his career. Nilsson Schmilsson yielded three very stylistically different hit singles. The first was a cover of Badfinger's song "Without You" (by Pete Ham and Tom Evans), featuring a highly emotional arrangement and soaring vocals to match, a performance that was rewarded with Nilsson's second Grammy Award.[13]

The second single was "Coconut", a novelty calypso number featuring three characters (the narrator, the sister, and the doctor) all sung in different voices by Nilsson. The song is best remembered for its chorus lyric, "Put de lime in de coconut, and drink 'em both up." Also notable is that the entire song is played using one chord, C 7th. Coconut was featured in Episode 81 (October 25, 1973) of the Flip Wilson Show. The song has since been featured in many other films, commercials. It was also used in a comedy skit on The Muppet Show, which featured Kermit the Frog in a hospital bed. In the 1995 movie "Houseguest", Sinbad's character (Kevin Franklin) says the famous line from the chorus ("Put de lime in the coconut, and drink 'em both up.") at one point in the movie. Most recently it has been heard in a television commercial for Coca-Cola with Lime. The song was also used during the end credits of Quentin Tarantino's Reservoir Dogs.

The third single, "Jump into the Fire", was raucous, screaming rock and roll, including a drum solo by Derek and the Dominos' Jim Gordon and a bass detuning by Klaus Voorman. The song was famously used during the May 11, 1980, scenes in the film Goodfellas.

Nilsson followed quickly with Son of Schmilsson (1972), released while its predecessor was still in the charts. Besides the problem of competing with himself, Nilsson's decision to give free rein to his bawdiness and bluntness on this release alienated some of his earlier, more conservative fan base. With lyrics like "I sang my balls off for you, baby", "Roll the world over / And give her a kiss and a feel", and the notorious "You're breaking my heart / You're tearing it apart / So fuck you", Nilsson had traveled far afield from his earlier work. Still, the album did well, and the single "Spaceman" was a Top 40 hit. However, the follow-up single "Remember (Christmas)" stalled at #53. A third single, the tongue-in-cheek C&W send up "Joy", was issued on RCA's country imprint Green and credited to Buck Earle, but it failed to chart.


The Maverick
This disregard for commercialism in favor of artistic satisfaction showed itself in Nilsson's next release, A Little Touch of Schmilsson in the Night (1973). Performing a selection of pop standards by the likes of Irving Berlin, Kalmar and Ruby, Nilsson sang in front of an orchestra arranged and conducted by veteran Gordon Jenkins in sessions produced by Derek Taylor. While in hindsight, the sessions showcased a talented singer in one of his best performances, this was not the sort of musical endeavor that was likely to burn up the charts in the 1970s. The session was filmed, and was broadcast as a television special by the BBC in the UK. (Nilsson fans still await this film's release on home video.)

1973 found Nilsson back in California, and when John Lennon moved there during his separation from Yoko Ono, the two musicians rekindled their earlier friendship. Lennon was intent upon producing Nilsson's next album, much to Nilsson's delight. However, their time together in California became known much more for heavy drinking and drug use than it did for musical collaboration. In a widely publicized incident, they were ejected from the Troubadour nightclub in West Hollywood for drunken heckling of the Smothers Brothers.[14] Both men also caused property damage during binges, with Lennon trashing a bedroom in Lou Adler's house, and Nilsson throwing a bottle through a thirty-foot hotel window.


Cover of 1977 album KnnillssonnTo make matters worse, Nilsson ruptured a vocal cord during the sessions for this album, but he hid the injury due to fear that Lennon would call a halt to the production. The resulting album, Pussy Cats, which may charitably be described as "uneven", was a shock for listeners who knew Nilsson as one of the best singers of his generation. In an effort to clean up, Lennon, Nilsson and Ringo Starr first rented a house together, then Lennon and Nilsson left for New York.

After the relative failure of his latest two albums, RCA Records considered dropping Nilsson's contract. In a show of friendship, Lennon accompanied Nilsson to negotiations, and both intimated to RCA that Lennon and Starr might want to sign with them, once their Apple Records contracts with EMI expired in 1975, but wouldn't be interested if Nilsson were no longer with the label.[15] RCA took the hint and re-signed Nilsson (adding a bonus clause, to apply to each new album completed), but neither Lennon nor Starr switched to RCA.

Nilsson's voice had mostly recovered by his next release, Duit on Mon Dei (1975), but neither it nor its follow-ups, Sandman and …That's the Way It Is (both 1976) met with chart success. Finally, Nilsson recorded what he later considered to be his favorite album, 1977's Knnillssonn. With his voice strong again, and his songs exploring musical territory reminiscent of Harry or The Point!, Nilsson had every right to expect Knnillssonn to be a comeback album. RCA Victor seemed to agree, and promised Nilsson a substantial marketing campaign for the album. However, the death of Elvis Presley caused RCA Victor to ignore everything except meeting demand for Presley's back catalog, and the promised marketing push never happened. This, combined with RCA Victor releasing a Nilsson Greatest Hits collection without consulting him, prompted Nilsson to leave the label.


Harry Nilsson's London flat
Nilsson's 1970s London flat, located in the building at 12 Curzon Street on the pricey edge of Mayfair, was a two-bedroom apartment decorated by the design company that ex-Beatle Ringo Starr and Robin Cruikshank owned at that time. Although Nilsson cumulatively spent several years at the flat, which was located near Apple Records, the Playboy Club, Tramps disco and the homes of friends and business associates. Nilsson's work and interests took him to the U.S. for extended periods, and while he was away he lent his place to numerous musician friends. During one of his absences, ex-Mamas and Papas singer Cass Elliot and a few members of her tour group stayed at the flat while she performed solo at the London Palladium, headlining with her Torch Songs and "Don't Call Me Mama Anymore." Following a strenuous performance with encores, Elliot returned to the flat to relax and sleep and was discovered in one of the bedrooms, dead of heart failure, on July 29, 1974.[16]

Four years later, on September 7, 1978, The Who's drummer Keith Moon returned to the same room in the flat after a night out, and died from an overdose of chlormethiazole, a prescribed anti-alcohol drug.[17] Nilsson, distraught over another friend's death taking place in his flat, and with little remaining need for the property, quickly sold it to Moon's bandmate Pete Townshend and consolidated his life in Los Angeles.


Winding down
Nilsson's musical work after leaving RCA Victor was sporadic. He wrote a musical, Zapata, with Perry Botkin, Jr., libretto by Allan Katz, which was produced and directed by longtime friend Bert Convy. The show was mounted at the Goodspeed Opera House in East Haddam, Connecticut, but never had another production. He wrote all the songs for Robert Altman's movie-musical Popeye (1980),[18] the score of which met with unfavorable reviews. Nilsson's Popeye compositions included several songs that were representative of Nilsson's accalimed "Point" era, such as "Everthing is Food" and "Sweethaven". He recorded one more album, Flash Harry, which was released in the UK but not in the USA. However, Nilsson increasingly began referring to himself as a "retired musician".

Nilsson was profoundly affected by the murder of his close friend John Lennon on December 8, 1980. He joined the Coalition to Stop Gun Violence and overcame his preference for privacy in order to make public appearances solely to raise money for the gun control cause.

After a long hiatus from the studio, Nilsson started recording sporadically once again in the mid to late 1980s. Most of these recordings were commissioned songs for movies or television shows. One notable exception was his work on a Yoko Ono Lennon tribute album, "Every Man Has A Woman" (1984) (Polydor); another was a cover of "Zip-A-Dee-Doo-Dah" recorded for Hal Willner's 1988 tribute album Stay Awake: Various Interpretations of Music from Vintage Disney Films. Nilsson donated his performance royalties from the song to the Coalition to Stop Gun Violence.

In 1991, the Disney CD For Our Children, a compilation of children's music performed by celebrities to benefit the Pediatric AIDS Foundation, included Nilsson's original composition Blanket for a Sail, recorded at the Shandaliza Recording Studio in Los Angeles.

In 1985 Nilsson set up a production company, Hawkeye, to oversee the various film, TV and multimedia projects he was involved in. He appointed his friend, satirist and screenwriter Terry Southern as one of the principals, and they collaborated on a number of screenplays including Obits (a Citizen Kane style story about a journalist investigating an obituary notice) and The Telephone, a one-hander about an unhinged out-of-work actor.

The Telephone was virtually the only Hawkeye project that made it to the screen. It had been written with Robin Williams in mind but he turned it down; comedian-actress Whoopi Goldberg then signed on, with Southern's old friend Rip Torn directing, but the project was troubled. Torn battled with Goldberg, who interfered in the production and constantly digressed from the script during shooting, and Torn was forced to plead with her to perform takes that stuck to the screenplay. Torn, Southern and Nilsson put together their own version of the film, which screened at the Sundance Film Festival in early 1988, but it was overtaken by the "official" version put together by the studio, and this version premiered to poor reviews in late January 1988. The project reportedly had some later success when adapted as a theatre piece in Germany.[19]

In 1990 Hawkeye collapsed and Nilsson found himself in a dire financial situation after it was discovered that his financial adviser Cindy Sims had embezzled money from other business management clients to support his years of living beyond his means.

After the murder of John Lennon, he began to appear at Beatlefest conventions to raise money to end handgun violence and he would get on stage with the Beatlefest house band "Liverpool" to either sing some of his own songs or "Give Peace a Chance." Nilsson made his last concert appearance September 1, 1992 when he joined Ringo Starr and His All Starr Band on stage at Caesar's Palace in Las Vegas, Nevada to sing "Without You" with Todd Rundgren handling the high notes. Afterwards, a very emotional Ringo Starr embraced Nilsson on stage.


Death
Nilsson's health had meanwhile deteriorated, and he suffered a massive heart attack in 1993. After surviving that, he began pressing his old label, RCA, to release a boxed-set retrospective of his career, and also started recording again, attempting to complete one final album. He finished the vocal tracks for the album on 15 January 1994, and then died that night of heart failure. The following year, the 2-CD anthology he worked on with RCA, Personal Best, was released.
Wikipedia



Nilsson - You're Breakin' My Heart

The Mods - Ritual - Everybody Needs Somebody

Ok, Here is a few choice New Jersey cuts, via the Asbury Park area.

I had heard that these guys were from my neck of the woods from Mr. Brimstone over at Blues for the Red Boy and a few weeks ago when i was out and about with some friends and Mr. Funky 16 Corners & Iron Leg Master blogger Larry Grogan dropped the knowledge on me again I really had no idea that the 45 was even that rare, but after talking about the Asbury music scene of years gone bye with Larry and DJ Pres and The Mods came up I knew I had this 45 tucked away somewhere so i dug it out and now i give it to you!

A sharp 6-piece group from Rumson and Seabright, NJ, the Mods often performed in Asbury Park and at Le Teen de Vous in Middletown, with competition like the Castiles (one of Springsteen's first bands) and the Inmates. The original band members were Rich Lillie on vocals and his brother Bob Lillie on guitar, Phil Watson lead guitar, Wally Hageman guitar, Bob Busch on bass and Bruce Cunningham on drums.

The band released two 45s on the Al Mott's Revelation VII label, the first a promotion for a local Ford dealer, Go Steinbach's Mustang, with a crude cover of Satisfaction on the flip.

Their second record has their greatest recorded moment, the fantastic Ritual. It's known as having some of the most misogynistic lyrics of any garage song (and that's saying alot!), but there's no denying the power of the opening riff when the bass and drums kick in. The double-tracked vocals are also unusual. This release has a good cover of Everybody Needs Somebody on the b-side.

Ritual appears a second time on the Mod label as the b-side to a song based on the TV show Candid Camera. This was a tie-in to the band's appearance on the show (check it out here). The show aired in November of 1966 and led to offers to tour, but by that time the members were attending college. The Mods played occasional shows for years afterwards with changing personnel, but never again strived for national attention.

The above from: Garage Hangover

The Mods - Ritual

The Mods - Everybody Needs Somebody

Jimmy Castor Bunch - Tribute to Jimi: Purple Haze/Foxy Lady

Goingto stick w/ the Covers theme here and bring in another from the Hedrix files: DK you know this one?

A Fuzzy, Buzzy, Crude & Funky interpitation of Jimi's Purple/Lady:

Here is the lowdown on Mr. Castor & the Bunch:

Jimmy Castor (born 2 June 1943, New York) is an American pop and funk musician.

In the late 1950s, he worked with the doo-wop group Frankie Lymon and the Teenagers. As leader of The Jimmy Castor Bunch in the 1970s, and also as a solo artist, he has released several successful albums and singles, some of which have been heavily sampled in films and in hip-hop. In particular, the saxophone hook and groove from "It's Just Begun" and the spoken word intro and groove from "Troglodyte" have been sampled extensively.

Jimmy Castor…songwriter, singer, saxophonist, percussionist. Producer, arranger, humorist …alias The E-Man, has earned his well deserved reputation as “THE EVERYTHING MAN.”

Before even finishing junior high school, Jimmy Castor had written his first million seller for Frankie Lymon and the Teenagers called, “I Promise To Remember.” While furthering his education at New York City’s prestigious High School of Music & Art and later attending City College, Jimmy pursued his musical career by assembling a band of his own playing an assortment of major New York nightspots. He then wrote his second million seller, “Hey Leroy Your Mama’s Calling You,” on Mercury Records, through which a new flashy and spirited performer was introduced to the public – JIMMY CASTOR. Still early into his career, Castor befriended such music greats as Jimi Hendrix, Sly Stone, Tito Puente and King Curtis to name only a handful.

Moving on to RCA Records, “The Jimmy Castor Bunch” continued to show off Castor’s witty, pop/r&b writing ability through his amusing characterizations of “Troglodyte” and “Luther the Anthropoid,” hit singles from their first and second RCA albums, “It’s Just Begun” and “Phase Two” – the title cut from the “It’s Just Begun” album was featured in the movie “Flashdance.” On the third RCA LP, Jimmy further established his versatility as an artist/producer by expanding the group’s more serious instrumental abilities as first recognized through Castor’s haunting rendition of “The First Time Ever I Saw Your Face” and “A Whiter Shade of Pale”.

By the time Jimmy Castor released his debut album for Atlantic Records, it was no wonder that his aptly descriptive nickname could no longer be kept a secret. “The Everything Man” LP was released, and through Jimmy’s obvious talent as a master of all trades, The E-Man and The Bunch justly enjoyed a victory in obtaining Record World’s “Top Instrumental Group” award for the year. And, yet another new pair of innovative singles, “Maggie” and “The Everything Man,” hit the charts.

The internationally famous, smash LP, “Butt of Course,” was Castor’s second Atlantic release. It featured two more pop/r&b hit singles, “The Bertha Butt Boogie” and “Potential”. From the same album, there was also the legendary worldwide disco hit “E-Man Boogie,” which rated number 10 in Billboards’ annual disco poll.

“Supersound,” the next Atlantic LP yielded two more prosperous singles for The Bunch – one being the widely publicized, international favorite “King Kong” which entered the Top 100 Pop Charts in the first week of its release and reached number 1 in Japan. “E-Man Groovin’,” Castor’s fourth Atlantic LP, brought forth still another successful tale – this time about the universal and immortal Transylvanian figure “Dracula.” Castors “Maximum Stimulation” and “The Jimmy Castor Bunch” LPs further displayed Jimmy’s brilliance as a writer and performer through his enchanting saxophone melodies and smooth vocal harmonies.

In addition to his success as a recording artist, producer, writer and arranger as “The Everything Man,” Jimmy’s natural ability to relate to people along with his skill, confidence and ease as a performer and speaker has captivated and motivated audiences throughout the world at various speaking engagements.

Castor has appeared on such television shows as Dinah!, American Bandstand, Soul Train, Positively Black and Don Kirshner’s Rock Concert. Jimmy and The Bunch have also enjoyed sold out performances at such venues as The Roxy in Los Angeles, The Felt Forum and Madison Square Garden in New York, RFK Stadium in the nation’s capitol and the Omni in Atlanta.

And to add to his credit, much of Jimmy Castor’s music (“It’s Just Begun,” “The Bertha Butt Boogie” and “King Kong,” to name a few) has been sampled innumerable times in movies and by a myriad of today’s most popular artists. His statement of “What we’re gonna do right here is go back,” is LEGENDARY

Linky to official Jimmy Castor web site.

Jimmy Castor Bunch - Tribute to Jimi: Purple Haze/Foxy Lady

Los Comandos - Moby Dick

I owe this one all to DJ Jack the Ripper, ledgendary Asbury Lanes DJ who turned me on to this at my very first 45's sessions. As soon as i heard it i knew that one day it would grace my collection. It took me a while but i unearthed this gem straight from Peru!!!

It even has the fancy company stock Odeon sleeve!!!

Go me!

Thanks Jack your ok for a guy that wears womens clothes!!!

Please enjoy this awesome rude crude and funky Led Zepp cover of Moby Dick!!!

edit: i had this set to auto-post Friday and it posted it now.... strange.

Los Comandos - Moby Dick

Forward To The Caves Radio Show Tonight Cancelled...

No show tonight....

:(

Forward To The Caves Radio Show

The Devil's Music: Devil Dick Mix - Vol. 4 - 50's Rock N' Roll!!!

It's been a while since i did a mix so i put this little rocker together. Call it Rock, Rockabilly, Rock-A-Billy, Rockin' Roll, whatever you want but after my Voxpoppers post i realized i miss my 50's rock so i grabed a random box of 45's and put together this little mix for myself and for anyone out there that wants it.

Enjoy!

1. Jesse Lee Turner - Shake, Baby, Shake - 1959
2. Cliff Richards - Dynamite - 1959
3. Jack Scott - Save My Soul - 1959
4. Bill Parsons - Rubber Dolly - 1959
5. Ricky Nelson - Be Bop Baby - 1957
6. Charlie Gracie - Wanderin' Eyes - 1957
7. Benn Joe Zeppa - Topsy Turvy - 195?
8. Ray Coleman & the Skyrockets - Rock Chicken Rock - 1957
9. George Flemming - The Shake - 195?
10. Dicky Doo & the Dont's - Wild Party - 1958

The Devil's Music: Devil Dick Mix - Vol. 4 - 50's Rock N' Roll!!!

The Voxpoppers - The Last Drag

Ok, here is something i definitely don't do enough of over here considering i have thousands of 50's rockin' 45's and this here is one of my faves.

This goes out to my man over at Blues For The Redboy and he knows why....

This is the 1st pressing on AMP before Mercury records scooped up the band and put the same cut out in 1958. I found this a while back out in PA for cheap cheap cheap, after owning the only the Mercury 45 for a while now.

Info was pretty scarce but i did dig up a discussion about the band on the One Hit Wonder message board. Looks like they were from Canarsie, NY.

The Voxpoppers: (New-York)

Personnel included:

Freddie Tamburo
Sal Tamburo
Harry Tamburo


Discography :

1958 - The last drag / Wishing for your love (Mercury 71282/Amp-3 1004)
1958 - Pony tail / Ping pong baby
1958 - Come back little girl/A love to last a lifetime (Poplar 107)
1958 - Why do you treat me this way / Come back little girl (Poplar 112)
1959 - Can't Understand it / Blessing after all (Versailles 200)

There is some tasty guitar work on this cut just like the devil likes so please enjoy!


The Voxpoppers - The Last Drag

Irish Coffee - Masterpiece - The Show

Hello all, were back with a little something more in line w/ the devil's music....

Irish coffee (Irish: Caife Gaelach) is a cocktail consisting of hot coffee, Irish whiskey, and sugar, stirred, then with thick cream floated on top. The coffee is drunk through the cream. The original recipe explicitly uses cream that has not been whipped, although whipped cream is often used. Irish coffee may be considered a variation on the hot toddy.

or:

The Belgian quintet Irish Coffee: Who put out a self-titled album of blues-based hard rock with an edgy attitude in 1971 on Triangle Records. Here's the 1st single....

IRISH COFFEE officially started in 1970, originating from another band called "The VOODOO". In the beginning they played only covers from British & American bands, such as DEEP PURPLE, LED ZEPPELIN, The WHO, The KINKS etc... This band from Belgium, is killer hardrock with seering leads and really strong vocals, well composed songs.

They wrote and recorded a single album of their own music. IRISH COFFEE did a lot of live-gigs those days and were a support-act for bands like: FOCUS, Dr. FEELGOOD, YES, and many others. Unfortunately the band band splitted-up in 1975. But now the vocalist, guitarist and drummer have re-banded with a new organist and bassist and are touring in 2002-2003 playing their old stuff.

SINGLES:
1- Masterpiece / The Show (Triangle, 1971)
2- Carry On / Child (Triangle, 1971)
3- Down Down Down (Triangle, 1972)
4- Witchy Lady / I'm Hers (Barclay, 1973)

Irish Coffee - Masterpeice

Irish Coffee - The Show

Zen Guerrilla - The Seeker - Half Step

hope ya'll had a safe & happy 4th...???

I wasn't planning on being back yet but u had to cut my camping trip down a bit due to bad weather (it's been raining like mad here on the east coast)and sick kids bit all is good in the world right now so...

My lady friend JJB over at Eye Eat Music did a proper post on these guys a while back so i will spare you the details and you can head over to here page and read on if you feel so inclined....

if anyone thinks Sub-Pop stopped making good records in the late 80'sand early 90's here is a very cool punking version of The Who's - The Seeker from 2000. (Damn! that is 8 years ago already!)


P.S. - Forward to the Caves Radio show will be back on the air 6 to 10pm EST this July 10th!!!

Tune in! WLFR


Edit 2/9/10: Zen Guerrilla are a bunch of pussies!!!!!!!!! when i get home tonight i'm going to take this record out of the sleeve and shit on it and i'll gladly send it back to you pussies.... or maybe it was you sub-pop you multi-greed corporation???

either way, FUCK YOU!!!