The gods must be crazy. Seems whenever the management of of Quinn’s—the groovy ramen and rum joint in Beacon, NY—needs to spice up an evening, they call our pal DJ Pete Pop to put a night together. They did so for Thursday September 22. So it was with less than a week’s notice that Mr. Pop thought up this cool idea: Spanish Grease—a night of Latin Soul, Boogaloo, Mambo, Cumbia and assorted island rhythms. He duly contacted Phast Phreddie the Boogaloo Omnibus to swing as his guest DJ. (Well, “Boogaloo” is his middle name!!!)
Pete Pop has some excellent Latin and Latin-tinged records. His cumbia collection has been growing in recent months. He played several fantastic records and had the place jumpin’. It was boogaloo and bongos all night long!
Miss Nancy G baked up a bunch of Mexican brownies (infused with cinnamon and cayenne pepper—plus vegan) and Spanish cinnamon cookies for the occasion. These were consumed con mucho gusto!
Phast Phreddie the Boogaloo Omnibus picked out some of his favorite mambo and cha cha records and swung accordingly. One of his sets consisted of eleven “boogaloo” records in a row!
The night was a gas. Folks were boppin’ to the heavy, heavy sound of congas and exotic rhythms. When it was over, Pete Pop deemed it a roaring success due to the fact that so many fantastic records were heard. He’s hoping there will be a Son of Spanish Grease someday soon!
Here’s a list of all the records Phast Phreddie the Boogaloo Omnibus played at Spanish Grease.
Mama Roux attracts the finest people due to it’s excellent cuisine. The ambience of the club is significantly enhanced by the records played by Pete Pop, as he plays them with artful taste, inspiring several of Mama’s customers to leave their gratitude in the tip jar.
In between his DJ sets, The Boog and Boogaloo Bag photographer Miss Nancy G could not resist sampling Mama’s fantastic food. They dug the gumbo ya-ya and burrata shakshuka, respectively. Hey, haven’t they eaten that before? Sure, but it is so good—and you can only get it at Mama Roux—one may as well eat it over and over.
For his part, Phast Phreddie the Boogaloo Omnibus played a few funk records, a couple of New Orleans R&B platters, a couple of swell instrumentals and some soul sides. Dig it all right here:
It was a last-minute affair. Just as the final drought-ridden days of August were slipping away, the powers that be at Quinn’s—the groovy ramen noodle bar in Beacon, NY—looked at a calendar and noted that Sunday September 4 was the day before Labor Day and perhaps some sort of excitement should take place. A call was made to Hudson Valley’s top reet music DJ Pete Pop and he was asked to bring in a night of boss sounds. Mr. Pop accordingly gave the night a name: Shakin’ All Over; drew up a poster; and rounded up some local DJ action, including the reliable DJ Hardly Quinnand the functional Phast Phreddie the Boogaloo Omnibus. The three of them arrived on time and laid down some sounds that went out of bounds!
Pete Pop had the joint set up as if it were another Do The 45, only better—he moved the DJ booth to the stage to give the DJs a bit more room. He had some cool new videos and new posters and well, he just brought the magic, that’s what! Did I mention he has great records and knows how to play them?
DJ Hardly Quinn has spent the summer DJing at local surf music events and car shows. She’s got some pretty good records and when she runs out, she borrows some from Pete Pop!!
Miss Nancy G made some spicy vegan brownies and chocolate fudge for the event and it was all devoured accordingly!
Phast Phreddie the Boogaloo Omnibus, thinking he was only going to play a set or two, brought a small box of records and ended up playing all but about five of them! Here’s a list of all the ones that were played at Pete Pop’s Shakin’ All Over:
Welcome to the notes for The GO Mechanism Number Ten. The GO Mechanism is an audio odyssey of boss beats and reet rhythms that endeavors to compel the listener to tap one’s foot as the mind expands. The program is hosted by Phast Phreddie the Boogaloo Omnibus, a fellow who has been around several musical scenes. The “G” is for Groove, and in order to keep the groove grooving, we don’t stop to smell the roses or back announce records. A complete track listing is found here in the Boogaloo Bag. The “O” is for O’Rooney—an intangible, supernatural power that puts the oo into cool. O’Rooney is spread on thick in each GO Mechanism—listen and you will learn. The GO Mechanism originates on the Luxuria Music website as part of its Saturday Night Special series. This one will have its first run on August 20.
Halfway through the GO Mechanism there will be a Science Corner, where a momentous musical matter will be discussed and three pertinent songs will be played. In this GO we will feature the work of the great drummer Cozy Cole.
One of the selections heard in The Science Corner is “Crescendo in Drums,” a Cozy Cole feature recorded by the Cab Calloway Orchestra. At the beginning, Calloway is heard urging Cole on until the horn section kicks in.
Cole remained with Calloway until around 1942 when musical director Raymond Scott hired Cole for the CBS Radio network studio orchestra—one of the first to be integrated. During the early fifties, Cole worked with Louis Armstrong & His All Stars. In 1954, Cole and Gene Krupa founded a drum school and it stayed in business until Krupa died in 1973.
In 1958, Cozy Cole struck gold. He recorded a song called “Topsy” and had a big hit with it. “Topsy” was a swing number, initially recorded by Count Basie & His Orchestra during the thirties. Cole took the melody of the song, chopped and channeled it—much the way a Cholo takes an old Chevy and customizes it—and added serious drum activity. Cole recorded two arrangements, calling them “Part 1” and “Part 2.” “Topsy Part 2” became a Number One R&B hit (for six weeks) and it went to the Number Three position on the Pop charts. This was unusual for a twenty-year-old song that was mostly a drum solo.
Applying the old adage, “if they liked it once, they’ll love it the second time,” Cole tried to follow-up his hit with songs like “Turvy,”“Topsy Turvy” and a few versions of “Caravan.” Although they are cool records, none of them were hits. The first selection heard in The Science Corner is “Play Cozy Play,” a post “Topsy” recording that was released by King Records around 1960.
Cole continued to work pretty steadily into the seventies and died of cancer in January 1981 at the age of 71. The GO Mechanism and The Science Corner salute you, Cozy Cole, for your fine music. More of his recordings will be heard on future GO Mechanisms.
Leo Parker is a GO Mechanism favorite. He started as an alto saxophonist but switched to baritone when he joined the Billy Eckstine Orchestra around 1944. The Bebop movement in jazz was just beginning and Parker was part of it, but needed to remain on the baritone saxophone in order to differentiate himself from that other Parker, Charlie. Leo Parker played a solo on a Charles Thompson record called “Mad Lad,” that became so popular that Parker became nick-named Mad Lad. After cutting two albums for Blue Note Records in 1961, Parker died the next year of a heart attack. He was 36.
In an earlier GO Mechanism, The Science Corner addressed some big band musicians who tried to transition into the sixties. Here we have a fine attempt by Woody Herman. With its super groovy beat, it is more likely that “Sting Ray” is a reference to the sports car made by Chevroletthan the fish.
Los Belking’s was a Peruvian instrumental rock band that, while its members were still in high school, won a talent contest that netted the group a recording contract toward the end of 1966. The first single was a hit, as was the second and the band was on its way. Los Belking’s underwent several personnel changes over the years but lasted into the seventies. “Setima Petrulla” is a 45 from 1968.
GO Mechanism Number Ten is blessed with two Sun Ra tracks. The first one, “Rocket Number Nine,” has found favor among rock groups; NRBQ and Yo Lo Tengo are among the bands who have covered it. The Ra version has many stops and starts and quiet spots, so the GO Mechanism producers spiced it up, mostly with Peter Orlovsky’s recitation of his poem, “A Rainbow.” The second Ra song, at the end of the GO, is “Nuclear War,” which is not for the squeamish.
We tried, but could not find any information regarding Juanucho Lopez at all. The mambo-tinged “El Twist” is a fabulous dance record that only slightly resembles the Hank Ballard song of a similar title. No matter, “El Twist” will get your juices flowing!
Ursala Walker is a jazz singer who got her start on a local Detroit TV show for children. She worked with the Australian jazz vibraphonist Jack Brokensha during the sixties and seventies and continues her singing career to this day, performing mostly in her hometown of Detroit. “Javelin Beat” was recorded for a short promotional film that showcased American Motors’ muscle car, and, for some reason, was issued as a single; probably a give-away to American Motors dealers.
Howard Blake is a British composer mostly known for his film scores. In 1966, he made a couple of hammond organ albums from whence “James Bond Theme” comes.
The bed music for Oweinama Biu’s recitation of Brian Bilston’s “America Is a Gun” was composed by Jeff Herles, a fellow that the GO Mechanism host used to play softball with in Brooklyn. it is performed here by pianist Helen Sung and was part of a program of Herles’ music that was organized by his brother Chris after Jeff passed away in 2006.
Oswald “Baba” Brooks is a Jamaican trumpet player who played jazz during the fifties, but in the sixties and seventies he played on several ska and rocksteady records—including some by The Skatalites, Stranger Cole, Derrick Morgan and Alton Ellis, as well as a bunch under his own name. “Guns Fever” was a hit for him in 1965. We believe he is still alive and, we hope, still making music.
Speaking of Jamaican music—The GO Mechanism producers are quite fond of pointing out that just about any song can be enhanced by singing it to a reggae beat. In this GO we have three songs performed in this manner: Tomorrow’s Children with “Bang Bang,” a hit for Cher; Slade’s glam anthem “Mama We’re All Crazy Now” as performed by Denzel Dennis; and The Mighty Diamonds’ mighty re-working of “Gypsy Woman” by The Impressions. This seems to be a recurring theme in the GO World.
The Marquees were a doo wop/R&B vocal group from Los Angeles and should not be confused with The Marquees from Washington, D.C. that included Marvin Gaye. Although the song, “Christmas in the Congo,” may be considered of seasonal interest, great songs are always interesting, no matter the subject matter.
Chet Atkins was internationally known as a fellow who could play guitar. For many years, he was a Nashville session musician who played on just about every RCA Victor record made in that city. Also, he produced most of them. Plus, he made over a hundred records under his own name. His records were primarily countrified instrumental versions of pop or C&W hits, but he also recorded jazz and rock’n’roll. The title here, “Boo Boo Stick Beat,” was recorded for an album called Chet Atkins’ Teensville and released as a single. Despite it flip title, it’s rather experimental for the time it was recorded (1959). Chet Atkins is one of those musical artists whose artistry was very deep and it will take a lifetime to delve into it.
Sharon Jones & the Dap Kings—When I Come Home (Daptone)
Mighty Diamonds—Gypsy Woman (Gibbs; Jamaica)
Curtis Mayfield—Freddie’s Dead (Boogaloo edit) (Curtom)
Sun Ra–Nuclear War (Y; UK)
* denotes Science Corner selection.
Spoken, read by author, unless noted:
A Rainbow—Peter Orlovsky
She Walks in Beauty—Peter Orr
America Is a Gun—by Brian Bilston, read by Oweinama Biu
After The GO Mechanism initially airs on the Luxuria Musics—this one on Saturday, August 20— it will be available as a podcast for a few weeks. Look for the Saturday Night Special dated 8/21/2022. Once it falls off the Lux Mu podcast hustle, it will be posted on the Mixclouds as well as here in the Boogaloo Bag.
Luxuria Music is a swingin’ thing that deserves your support. Visit it often. Listen to the many cool shows. If you dig the scene, contribute monetarily. Keep Lux Mu alive!
Our new friend The Fortyfiveologist, as his name suggests, is an all-45s-all-the-time DJ who swings in and around the Capitol District of New York State. He runs a cool soul/funk/dance night of reet music called The Collar City* Hustle. He was recently introduced to Phast Phreddie the Boogaloo Omnibus by the nice people at Stupefaction. The Fortyfiveologist instantly secured a night at a club called No Fun in Troy, NY and invited The Phast Man to come up and play a few records.
That was accomplished on Saturday August 13.
One may wish to know that Phast Phreddie lived in the area—Albany—about 30 years ago. It didn’t quite turn out to be the homecoming that Boogaloo Bag photographer and Boogaloo BakerNancy Gardner was hoping for—mostly because very few things were remembered! However, some excellent Mexican food was ingested before the gig. The place, Oaxaquena Triqui, is a small Mexican market that has a little diner in the back room and a kitchen where the food is made fresh. Food was very good and the women who ran the place were very helpful.
It was confusing getting to the gig. Seems that some movie company had rented out the street and all the storefronts were changed to represent a Brooklyn street at the turn of the last century! Luckily, The Fortyfiveologist had a sandwich sign out front marking the event.
And, what an event. The Fortyfiveologist knows his stuff. He played some incredible records. The Boogaloo Omnibus tried his hardest to keep up with him. The place, No Fun, had a large dance floor with plenty of room for everyone. It also had some crazy murals on the walls. Nancy made some fudge that was consumed during the evening. Plus, she go-go danced nearly the whole night!
The following is a list of all the records played by Phast Phreddie the Boogaloo Omnibus at the Collar City Hustle:
On July 29 DJ Pete Pop’s smashing shindig Do The 45 returned to Quinn’s in Beacon, NY. Over the years, Pete Pop has accumulated some fantastic 45s and he knows how to play them. At his Do The 45 Rock and Soul dance parties he brings a bunch of them, selects some great ones and lets them spin: garage rock, soul, R&B, rockabilly, boogaloo—you name it, if it’s reet, you can count on Pete to have it and play it! Plus, he sets up his hustle at Quinn’s with a screen showing some cool videos of folks dancing, psychedelic lights are in effect and Pete’s posters are hung with care. He’s got a whole scene and, man, it is clean!
Meanwhile, folks are coming into Quinn’s to eat (its ramen noodles are celebrated up and down Main Street) and to cop a brew. Many who were in attendance were not expecting to hear the boss sounds that DJ Pete puts down but they dig it anyhow. It’s a sight to see: a bunch of folks boppin’ their heads to the beat as they slurp down their noodles.
On this Friday night, Phast Phreddie the Boogaloo Omnibus was once again called upon to be DJ Pete Pop’s guest DJ. He brought a box of cool rekkids and some of Miss Nancy’s vegan brownies and her new item, mint swirl chocolate cookies. Miss Nancy couldn’t be there in person but her baked goods made sure that her presence was felt. It was great to see so many friends—old and new—at the club, chowing, chatting, swigging and wigging out on the dance floor!
Here’s a list of all the records played by Phast Phreddie the Boogaloo Omnibus at the Do The 45:
On this occasion, the weather fully cooperated and the festivities were able to take place in the beautiful Mama Roux back yard. The DJ booth was set up in a little nook and folks from all over the Mid-to-Lower Hudson Valley dropped in to dig the brunch food and the hot toons that DJ Pete Pop and Phast Phreddie the Boogaloo Omnibus were laying down.
Speaking of food, soon after they walked in, The Boog and Boogaloo Bag photographer Miss Nancy were presented with some excellent quiche with a pastry on the side. Well, they had to pick out the ham parts, but other than that, it was an excellent quiche. Once the brunch was over, the chef pulled out a pasta dish of some sort along with a salad and all the staff members—which included the DJs and photographer—enjoyed it.
Here are all the records played by Phast Phreddie the Boogaloo Omnibus at the Funky Broadway Brunch:
Boogaloo Bag enthusiasts are certainly aware that DJ Pete Pop swings the Funky Broadway Brunch at Mama Roux in beautiful downtown Newburgh every Sunday. What the reader may not know is that on the last Sunday of the month, the brunch is taken over by drag queens who present two colorful shows at each Funky Drag Brunch. On Sunday, June 26, Mr. Pop had some personal affairs to tend to and needed a substitute DJ for the day. Phast Phreddie the Boogaloo Omnibus was called.
Mr. Pop was able to have things all set up for the event. He showed The Boog how to cue the music for the drag queen show—which uses modern technology. This is important because none of the songs the drag queens utilize during their performances are on 45 RPM records—the usual format for the Funky Broadway Brunch. Once everything was ready to go, Mr. Pop departed for his other situation.
The drag queen show consists of men dressed as women lip syncing to popular songs—usually by a female singer—as the performer walks up and down the aisle of the restaurant, primping, vogueing, strutting and dancing, with an occasional somersault, back-flip or, in one case, a cartwheel (which nearly took out one of Mama Roux’s chandeliers!). All the while, spectators hand dollar bills to the performers. It is great fun. Did I mention that both shows were sold out? Yes, for the Funky Drag Brunch there is a cover charge; there is no admission for non-drag Funky Brunches (which makes it even less of a drag!!).
Here are a few photos of the dragsters that will give the Boogaloo Bag reader an idea of what goes on during a Funky Drag Brunch at Mama Roux…
Oh, and let’s not forget the fine food at Mama Roux. The Boogaloo Bag writers—and photographer Miss Nancy—partook in some most excellent cuisine: gumbo ya-ya and burrata shakshuka. The gumbo is the best this side of the Mason-Dixon Line, that’s for sure. The food was so good that photos weren’t taken until it was gone!
For the music part of the event, Phast Phreddie the Boogaloo Omnibus presented much of the music usually played during a regular Funky Broadway Brunch, but with more hit records than he would normally play thrown in. This seemed to work, as tippage for the DJ was very generous! Here’s a list of everything played:
Hello GO Mechanism enthusiast. In order to fully appreciate this post, it helps if you read it as you listen to GO Mechanism Number Nine simultaneously; preferably as it is being aired for the first time on Saturday July 2 at 7:00 PM (West Coast) or 10:00 PM (East Coast)—or in what ever time zone you happen to be in—on Luxuria Music. It is presented as part of the Saturday Night Special series, where a different DJ plays music each week. From time to time, the Luxuria Musics plays host to The GO Mechanism.
Here are the notes for GO Mechanism Number Nine. If the GO Mechanism had a real DJ, he would discuss this stuff on the air. But the GO Mechanism producers would rather play music than talk, thus we have notes here in the Boogaloo Bag. After all, the “G” stands for groove, and yappin’ can get in the way of it; especially when so much O’Rooney is in the mix!
This edition’s Science Corner*** features the bongo player Preston Epps. He’s known mostly for “Bongo Rock,” a 1959 hit recording. In the early seventies, the song was re-hitted by The Incredible Bongo Band. Mr. Epps made several records and most of them are pretty cool. GO Mechanism Number Five featured his “Afro Mania,” a tremendous percussion-laden jam. In 2014, Preston Epps appeared at Tiki Oasis—the fabulous tiki culture festival held each summer in San Diego. It was there at Tiki Oasis where the Boogaloo Bag writers were able to catch Mr. Epps in action (and get his autograph on “Afro Mania!”). When Mr. Epps got into his groove, he would close his eyes and become one with the rhythm.
The three selections of Preston Epps’ music heard in this edition of The GO Mechanism are not typical of his recordings. The first is from an album called Calypso Trinidad that, for the most part, is just vocalist Louis Polliemon and Epps’ bongo playing. It was recorded maybe two years before “Bongo Rock.” The next track, “Watusi Bongo,” was recorded in the early sixties for the Donna Record Company, but it was not released until the British label Ace Records added it to a Donna/Del-Fi Records anthology. It may be one of his best recordings from the period and it’s a shame it went unreleased at the time. The third has a vocal by Andre Franklin. “Say Yeah” is a hot gospel-flavored R&B number that has become a big dance-floor favorite in reet music circles.
Cootie Williams was an outstanding trumpet player who became famous for his growling style and his use of a toilet plunger for a mute while he was a member of Duke Ellington’s Famous Orchestra. Cootie was in the band from 1929 to 1940, when he joined the big band of Benny Goodman before starting his own orchestra about a year later. His orchestra was both swingin’ and far-sighted. It employed young musicians such as Charlie Parker and Bud Powell who would soon make names for themselves in Bebop; as well as Eddie (Cleanhead) Vinson and Willis (Gator Tail) Jackson who became popular in the rhythm & blues field. Williams was the first established band leader to record songs by Thelonious Monk, such as the version of “Epistrophy” heard here. It was titled “Fly Right” at the time but it remained unreleased until Columbia Records issued a three-record compilation celebrating the big band era called The Sound of Harlem. Cootie’s orchestra also recorded the first ever version of Monk’s “‘Round Midnight” in 1944. Luckily, that one was issued soon after it was recorded. Later in the forties and early fifties, Williams also cut some fine R&B-oriented tracks.
Where did acid rock come from? The very first reference to L.S.D. on a rock ’n’ roll record is most likely this 1959 recording by the The Gamblers called “LSD-25.” The other side of the record is “Moon Dawg,” which is often considered the very first example of guitar-based surf music. The members of the band were its leader Derry Weaver, Bruce Johnston, Elliot Ingber, Larry Taylor and Sandy Nelson. Weaver left only a few recordings of The Gamblers as examples of his genius, but all of the other band members had significant careers in music.
Speaking of surf music: It is a little-remembered fact that early surfers listened to jazz records. Thus it is not surprising to see that trombonist Kai Winding titled his 1963 album Soul Surfin’. It was later re-titled More after that song (a theme from the Italian movie Mondo Cane) became a Top Ten hit. However, the photos of surfers remained on the cover and “Soul Surfin’” remained the title as per the back cover! Record business shenanigans for sure.
Maximillion at the Piano is Max Crook, who played keyboards on Del Shannon‘s early records. His solo in the middle of “Runaway” is played on a musitron, an electronic instrument Crook invented.
Does anybody know who Rolley Polley is? His Mad Drums album on Capitol is a pretty good example of exotic percussion, with “Swingin’ the Samba” included in this show. The liner notes on the back cover mention only that Mr. Polley grew up in Texas and now lives in Hollywood (or did at the time of the recording). No matter, the album swings and we’ll hear more of it on future GO Mechanisms, that’s for sure.
The Boogaloo Bag writers recently witnessed a live performance by the Mexican group Son Rompe Pera. The band consists of a bass player, a drummer, a fellow who plays bongos on a stand—similar to a timbales player—and two guys who bang away on the same very long marimba. Their music is sort of a rocked-up mutant cumbia. Indeed, their moto is “Cumbia is the new Punk.” The show was very high energy and it was shocking how well the concept worked. The Boogaloo Bag writers bought the album, and a song from it is included in this show, but there is nothing like seeing this act live. If Son Rompe Pera comes to your town, stop what you’re doing and check the group out. You’ll buy a t-shirt, too.
“One O’Clock Jump” is a famous swing number first recorded by Count Basie & His Orchestra in the thirties. It was very popular and several big bands of that era, as well as eras that followed, have performed it. The GO Mechanism presents a version by Chuck Berry. It is another track that was unreleased at the time it was recorded—probably because it was a warm-up number during a recording session. However, it shows how well Chuck Berry and his band could swing. For those keeping a score card, that’s Johnny Johnson on piano, Willie Dixon on bass, Fred Below on drums and J.C. Davis on tenor sax. Berry mostly plays rhythm on this, after he takes a brief solo near the beginning. Most of the show belongs to Davis, a talented saxophonist who also worked with Hank Ballard and James Brown. His string of singles on Chess are terrific R&B instrumentals, with “Monkey” being a favorite.
This is probably the shortest version of “Light My Fire” you will ever hear.
“Shotgun” is another Motown recording with its lead vocal track missing. See the Science Corner in GO Mechanism Number Six for more on that.
Gétatchèw Mèkurya was an Ethiopian saxophonist who mixed modern jazz with traditional Ethiopian music. His music came to the GO Mechanism producers’ attention when it was included in the Éthiopiques series of CDs that culled some incredible music from that country. There are about thirty volumes and the music ranges from very interesting to absolutely fantastic. Collect ‘em all!!
GO Mechanism Number Nine closes with a song from the super fine songwriter Peter Case. “Put Down the Gun” was written while he was on his first tour as a solo artist in 1986 and it was recorded for his second solo album. It is as timely now as the day it was written—maybe more so now.
Once again we have asked the New York City musician Oweinama Biu to recite the poetry for The GO. He does an excellent job of reading “The Bombardment,” a World War One era poem by Amy Lowell. The poem is a little lengthy, so it was broken up and delivered at several important intervals during GO Number Nine. The background music for the poem is “In C” by Terry Riley.
Here is a complete track listing of the records played during The GO Mechanism Number Nine:
Earl Bostic—Lester Leaps In (King)
Duke Ellington & His Famous Orchestra—G Is for Groove (from LP The Private Collection Volume Three – Studio Sessions New York 1962; Saja)
Cootie Williams & His Orchestra—Fly Right (Epistrophy) (from LP The Jazz Odyssey Volume Three: The Sound of Harlem; Columbia)
Terry Riley—In C (from LP In C; Columbia Masterworks)
The Three Suns—Danny’s Inferno (from LP Movin’ ’n’ Groovin’; RCA Victor)
Curtis Mayfield—Freddie’s Dead (Boogaloo Edit) (Curtom)
Peter Case—Put Down the Gun (from LP The Man With The Blue Post Modern Fragmented Neo-Traditionalist Guitar; Geffen)
The Bonzo Dog Band—Slush (United Artists)
As noted above, GO Mechanism Number Nine will be blasted over the interwebs via the Luxuria Musics for the first time on Saturday July 2, 2022. After that, it will be available as a podcast on the Luxuria Musics website—look for the Saturday Night Special dated 7/3/2022. After a few weeks, it will magically appear on the Boogaloo Omnibus Mixcloud hustle and also right here in the Boogaloo Bag.
Thanks goes out to the nice people at the Luxuria Musics who, in spite of everything, keep hosting The GO Mechanism on its website. Luxuria Music is a wonderful music streaming radio service. It is free. It has cool music. All of its DJ programs are unique and worth listening to. Also, please donate to them if you have the means to do so. They don’t make a lot of money, but it costs a lot to stay on the interwebs. Be a listener sponsor or buy something from its store.
Older GO Mechanisms can be found on the Boogaloo Omnibus Mixclouds and/or earlier posts here in The Boogaloo Bag. Go to The Boogaloo Bag home page and either scroll down or search for “GO Mechanism” to dig.
DJ Pete Pop’s fabulous Go-Go night Do The 45 is going great guns these days. It takes place on the last Friday of the month at Quinn’s, a rockin’ ramen noodle joint located in the heart of downtown Beacon , NY. For the June event, he invited Phast Phreddie the Boogaloo Omnibus to be his guest DJ. It was just those two, swingin’ their boss sounds all night long.
The party was scheduled to start at 8 o’clock and jump until 1 o’clock in the morning. Quinn’s clientele came and went. Most of them hung out and bopped around to the groovy records the DJs played. At 12:30 the place was nearly empty and it looked as if it would be an early night—but ho!—in came about twenty or so folks who quickly ordered drinks commenced to dance around to the wild sounds puttin’ down by Mr. Pop and The Boog.
Let’s not forget, Miss Nancy was in the house and she made some fabulous chocolate mint swirl cookies and her signature vegan brownies. No party is complete without Nancy’s excellent baked goods!
Toward the end of the night, Mr. Pop and The Boog each took a turntable and traded sevens for about an hour or so. The records stopped spinning around 1:30 in the morning and the Quinn’s people kicked everyone out soon after.
Here’s a list of all the records played by Phast Phreddie the Boogaloo Omnibus at DJ Pete Pop’s Do The 45: