GO Mechanism Number Eight

Dig it! GO Mechanism Number Eight.

The GO Mechanism is the streaming radio show hosted by Phast Phreddie the Boogaloo Omnibus. It swings periodically on the Luxuria Music website. Then it will be listed as a podcast also on the Luxuria Music website for about four weeks before it will be posted onto the Mixclouds, and then below this post here in the Boogaloo Bag. Phast Phreddie doesn’t back announce his records; it takes too much time away from playing music. Instead, all of the information a normal DJ may discuss while on the air, is posted here in the Boogaloo Bag. GO Mechanism Number Eight is scheduled to air on luxuriamusic.com on Saturday May 7, 2022 as a Saturday Night Special feature at 7:00pm on the West Coast, 10:00pm on the East Coast.

Here’s the dirt.

Science Corner:
In the Science Corner we look at the past, present and future of a musical composition: “You Don’t Love Me.” This is a blues song by Willie Cobbs that has it’s roots in a Bo Diddley song, it became a blues standard and then an international reggae hit.

The Bo Diddley song is called “She’s Fine, She’s Mine.” The title is never sung during the song, which makes it confusing because Bo Diddley also had a song called “You Don’t Love Me (You Don’t Care),” lines that are contained in “She’s Fine, She’s Mine.” Other important elements of “She’s Fine” is the guitar riff and a wordless vocal. The song was first issued as the B-side to “Diddley Daddy.”

Willie Cobbs was born near Smale, Arkansas, a small town located between Little Rock and Memphis. In the fifties, he made his way to Chicago where he leaned to play harmonica from Little Walter and tried to establish himself on the fertile blues scene there. He befriended the pianist Eddie Boyd and by 1960 the two returned to Arkansas where they played in clubs. In 1961, Cobbs and Boyd recorded “You Don’t Love Me” in Memphis. The song contains a few lines from Bo Diddley’s “She’s Fine,” notably, “You don’t love me, I know” which became the chorus. Cobbs recording added more lyrics and cleaned up the guitar riff used by Bo Diddley and his harmonica player Billy Boy Arnold. By doing this, Willie Cobbs created a new song.

The record was originally issued on Mojo Records, a label that was at least partially owned by the rockabilly singer Billy Lee Riley. The record started to make some noise in the Memphis area and it got picked up by several other companies: Ruler, Home of the Blues and Vee Jay, to name a few. The song was never technically a hit—it didn’t sell that many records—but it became a blues standard when so many others re-recorded it.

Among the first artists to cover the song was Don Hosea, another Memphis rockabilly cat, who released it on Sun Records, but called it “Uh Huh, Unh,” and gave writer credit to Willie Cobbs.

Before we get into other cover versions, let’s look at another issue. Billy Lee Riley—who claimed to have been the guitarist on the recording, though he is not credited in discographies—assembled a band called The Megatons and recorded an instrumental version of “You Don’t Love Me.” Riley retitled it “Shimmy Shimmy Walk” and took writer credit for it. The song was released on the Dodge label and picked up by Checker, a Chess Records subsidiary and the label that Bo Diddley recorded for. (It is this song that is used as the bed music for this edition of The Science Corner.) This fact is made even more interesting because it is Billy Lee Riley and The Megatons who appear on eight instrumental tracks on Surfin’ With Bo Diddley, though not credited as such; the whole album is credited as a Bo Diddley album, though he’s only on four songs. A re-recording of “Shimmy Shimmy Walk” appears on the album as “Piggy Back Surfers.”

Bo Diddley is actually only on the three songs he wrote and “Old Man River.” The other songs are all instrumentals by Billy Lee Riley and The Magatons.

Another Memphis rockabilly/pop singer named Tommy Ray Tucker cut a version of “You Don’t Love Me” under the name of Tommy Raye. It was issued on XL then Pen Records; both Memphis labels. This record, also, was not a hit. However, for some reason, many of the cover versions of “You Don’t Love Me” list Raye as its composer—including ones by Sonny & Cher (on their first LP), Gary Walker of The Walker Brothers who had a Top Thirty hit with it in England and The Starlets, a female garage band who cut it for Tower Records.

The song has become a blues standard—most likely because early on it was re-recorded by Magic Sam and Junior Wells. In the rock world, The Allman Brothers cut a nineteen minute long version of it for their Live at Fillmore album, Steve Stills and Al Kooper cut it for their Super Sessions album and the psychedelic L.A. band Kaleidoscope have it on its Beacon From Mars LP.

Somehow the song got on a boat to Jamaica where the producer Coxsone Dodd recorded a rocksteady version of the song by Dawn Penn. Her version became popular on the island around 1967 or so. By the end of the sixties, Penn was no longer singing. However, in the early nineties she was coaxed out of retirement and she re-recorded the song in a more modern dance hall style and it became a pretty big international hit. Dawn Penn took writing credit for the song.

But it doesn’t stop there. Penn’s version of the song inspired contemporary R&B singers Rihanna and Beyoncé to also record the song. Talk about a song with legs! The Boogaloo Bag writers are unsure who Beyoncé credited as the songwriter, but the Rihanna album credits both Willie Cobbs and Elias McDaniel aka Bo Diddley.

Oweinama Biu

For the spoken word portion of the program, we have asked the New York musician Oweinama Biu to recite some poems that were written during the First World War: “Anthem for Doomed Youth” by Wilfred Owen, “I Have a Rendezvous With Death” by Alan Seeger and “Grass” by Carl Sandburg. The producers of The GO Mechanism felt it was important that these poems—and others like them—are heard during this time of strife in the world.

“Headless Heroes” was written and recorded by Eugene McDaniels. This is the same person who, as Gene McDaniels, had several pop hits during the sixties: “Tower of Strength,” “A Hundred Pounds of Clay,” “Point of No Return.” By the end of the decade, he concentrated more on writing songs, mostly those that are socially aware. One of them was “Compared to What,” which was first recorded by Les McCann for his 1966 album Les McCann Plays the Hits. McCann and his group—with guest Eddie Harris on tenor saxophone—performed it at the Montreux Jazz Festival in 1969, which was recorded and released on the LP Swiss Movement. This version became very popular and increased the awareness of McDaniels as an important songwriter. The song has since been recorded countless times. Indeed, a reggae version of “Compared to What” is included later in this edition of The GO Mechanism. That version was recorded by Jerry Jones, an American singer who recorded in Jamaica.

The melody of “My Generation” is hardly recognizable in this instrumental version by Manfred Mann. Those guys knew how to re-arrange a song, that’s for sure.

Guem was an Algerian percussionist. The producers of The GO Mechanism are fond of people who bang on shit!!

There are well over one hundred recordings of “Caravan” by Duke Ellington—usually with his orchestra. We’ve included one here, a live version where the Duke introduces some of the band members at the beginning; the bass player and members of the horn section who provided some percussion activity.

One of The GO Mechanism producers’ favorite on-line radio shows is that of Dennis Diken, the drummer for The Smithereens. His show, called Denny’s Den, airs on Wednesdays on the WFMU Rock and Soul stream (2pm to 4pm East Coast time). His show bears witness to his intelligence, humor, and excellent taste in music. He closes his show each week with “Hot Tips” by Jon Thomas—a fantastic R&B organ workout. However, Diken uses it as bed music as he ends his show—he talks over it. The track is presented here without any talking.

Jon Thomas was a Cincinnati musician who played on many studio dates for King Records; it is he on the piano for Little Willie John’s original version of “Fever.” Thomas’ song “Heartbreak” was recorded by Little Willie John, James Brown, Dee Clark and Thomas had his own minor hit with it. Jon Thomas made several cool records, but his greatest achievement is most likely the cover for his album, Big Beat on the Organ, which contains “Hot Tips.”

Wganda Kenya was an Afro-Funk group from Colombia that was popular during the seventies and eighties. The group’s song played on this installment of The GO Mechanism is misspelled on the Mexican pressing; it should be “Tifit Hayed.”

The one hundredth anniversary of the birth of the great bass player and composer Charles Mingus took place on April 22, 2022. In his honor, we will hear a portion of his extended composition “Cumbia & Jazz Fusion.” Released in 1978, this is proof that Mingus was still composing great music up until the time of his death in 1979. Included is the first eleven minutes of the twenty-eight minute track.

“La Mano” by Dámaso Pérez Prado comes from an unknown source. Sorry.

Lou Courtney (real name: Louis Pegues) was a soul singer, songwriter and producer who is a favorite around the Boogaloo Bag Headquarters. He’s a legendary fellow of sorts, who rarely cracked the Top 40 R&B charts but made some fabulous records while attempting to do so. He also wrote songs that other folks recorded, such as “Do the Freddie” by Freddy & the Dreamers. There’s a guy on the Youtubes who presents a pretty good overview of his career. For this edition of The GO Mechanism, a song from Courtney’s album Skate Now/Shing-A-Ling called “Psychedelic Shing-A-Ling” has been selected. This stereo version sounds to our ears as if it is an American version of the Jamaican dub music. The track on the mono LP has a lot less echo. Perhaps that version will be presented in a future GO Mechanism.

The program closes with a timely song by reggae musician Lloyd Parks. He got his start in the rocksteady vocal duo The Termites. Parks was a bass player who became very active with session work but found time to cut solo records, including an album called Girl in the Morning, which included the song “Stop the War.”

Here is a complete track listing of all the records played in this edition of The GO Mechanism:

• Earl Bostic—Lester Leaps In (King)
• Eric Dolphy—Gazzelloni (Blue Note; from LP Out to Lunch)
• Benny Poole—I Can Dig It (Cascade Sound)
• Eugene McDaniels—Headless Heroes (Atlantic; from LP Headless Heroes of the Apocalypse)
• Manfred Mann—My Generation (His Master’s Voice; UK ; from LP Soul of Mann)
• The Mighty Duke—Racial Segregation (Mace; from LP Caribbean Carnival)
• Oliver Nelson—Alto-Itis (New Jazz; from LP Screamin’ the Blues)
• Living Guitars—All Day and All of the Night (Camden; from LP Teen Beat Discotheque)
• 101 Strings—Karma Sitar (A/S)
• The Yardbirds—Hot House of Omagarashid (Epic; from LP Over Under Sideways Down)
• Guem—Racine (Le Chant Du Monde; France; from LP Percussions)
• Duke Ellington & His Famous Orchestra—Caravan (Verve; from LP Soul Call)
• Dave “Baby” Cortez—Hula Hoop (Roulette)
• Jerry Jones—Compared to What (Studio One; Jamaica)
• Jon Thomas—Hot Tips (Mercury; from LP Big Beat on the Organ)
• Wganda Kenya—Tipit Hayed (Peerless; Mexico)
• Johnny Harris Orchestra—Lulu’s Theme (Warner Bros.; Canada)
• Charles Mingus—Cumbia & Jazz Fusion (Atlantic; edit from LP Cumbia & Jazz Fusion)
***Bo Diddley—She’s Fine, She’s Mine (Checker)
***Megatons—Shimmy Shimmy Walk (Dodge) [Science Corner bed music]
***Willie Cobbs—You Don’t Love Me (Home of the Blues)
***Dawn Penn—You Don’t Love Me (No, No, No); (Coxsone; Jamaica)
• Keith Mansfield & His Orchestra—Boogaloo (Epic)
• Dámaso Pérez Prado—La Mano ()
• Vivian Reed—Shape of Things to Come (Epic)
• Lou Courtney—Psychedelic Shing-a-ling (Riverside; from LP Skate Now/Shing-a-ling)
• Titanic—Sultana (Epic)
• Horace Silver Trio with Art Blakey—Message From Kenya (Blue Note; from LP Message From Kenya)
• Chris Powell & His Five Blue Flames—I Come From Jamaica (OKeh)
• Menahan Street Band—The Duke (Dunham)
• The Mothers of Invention—Hungry Freaks Daddy (Verve; from LP Freak Out)
• Ralph “Soul” Jackson—Sunshine of Your Love (Atlantic)
• Curtis Mayfield—Freddie’s Dead (Boogaloo edit—Curtom; from LP Superfly)
• Lloyd Parks—Stop the War Now (Trojan; from LP Girl in the Morning)
• Bonzo Dog Band—Slush (United Artists)

Spoken word poems were recited by Oweinama Biu. These were all written as a response to World War One. They are:

“I Have a Rendezvous With Death” by Alan Seeger
“Grass” by Carl Sandburg
“Anthem for Doomed Youth” by Wilfred Owen

We thank the Luxuria Music People for the opportunity to present The GO Mechanism whenever it becomes available. Luxuria Music is a listener-supported affair and The GO Mechanism producers and the Boogaloo Bag writers strongly suggest that they are supported. This edition of The GO Mechanism will be available as a podcast soon after its initial air-date of May 7, 2022 as the Saturday Night Special broadcast 5/8/2022. After about three or four weeks, it will magically appear in the Mixclouds and right here…

Rebel Night Swings Again!

Rebel Night host Seiji sets up the turntables as he gets ready for an evening of rockin’ records!

Rebel Night is one of the most fabulous record hops in New York City. It has been in operation since 2005, swingin’ at several different clubs, but mostly at Otto’s Shrunken Head on 14th Street in Manhattan. It is hosted by four rockabilly fanatics from Japan and they play the most rockin’ records imaginable; heavy on rockabilly but also lots of rockin’ R&B, doo wop and even an occasional garage record. Phast Phreddie the Boogaloo Omnibus is asked to be a guest DJ with them from time to time and, indeed, was scheduled to do so on March 20, 2020. Unfortunately, the trump virus took hold around that time. A week before the event the whole planet was ordered to lock-down, thus that Rebel Night was cancelled.

Rebel Night host Aki cues another boss record!

Over the last several months, especially with the help of vaccines, the world seems to have been coming back to life—or at least, trying to. Musical acts are starting to tour again, clubs are opening up, and DJ nights are returning. With nearly everything slightly back to normal, the Rebel Night hosts thought it was time to bring rock’n’roll back to New York City; on Saturday April 16, 2022 they did it, back at Otto’s Shrunken Head.

The Rebel Night crew pause for a photo op: Phast Phreddie the Boogaloo Omniubs, Mike N Stein, Akinori and Seiji.

Most of the Rebel Night hosts were in the house. Hiromu, who was one of the founders of Rebel Night, has moved back to Japan and he and his records were missed. Another founder, Kikuchi, dropped out a few years ago and rarely makes the scene. However, Seiji and Akinori were able to keep the party going and Junichi showed up toward the end of the night in order to help with late night action. Those guys have some fabulous records and they know how to play them!

Mike N Stein swings at Rebel Night!

DJs Mike N Stein and Phast Phreddie the Boogaloo Omnibus, who were both scheduled to work back in 2020, were asked back. Mike N Stein of The Memphis Morticians played some fantastic records. It was great to see him back behind the DJ booth.

Rebel Night hosts Akinori selects a record as Junichi and Seiji offer guidance!

More importantly, this was a homecoming. After two years and two months of no Rebel Night, a lot of the regulars returned with fresh new dancing shoes. It was terrific to see all of the familiar faces. As regular Boogaloo Bag readers may know, The Boog has moved out of The City and so coming to Manhattan and seeing so many great friends was a genuine pleasure for him. The place was packed and folks were boppin’ all night. Plus, Miss Nancy made some Easter cookies for the occasion and they were devoured accordingly.

Seiji checks his levels as Miss Nancy’s cookies await in the foreground!

In order to present two sets of hot rock, Phast Phreddie the Boogaloo Omnibus dipped heavily into his box of all-time greatest records and pulled about twenty of them to play at Rebel Night, augmented with some recent acquisitions and other appropriately rockin’ records from his library. He is still wary of the trump virus so he wore his Batman mask throughout the night. Here is a complete list of the records he played:

None of these records are for sale.

GO Mechanism Number Seven

You have found the notes to GO Mechanism Number Seven. The GO Mechanism is a multi-discipline, multi-dimensional, multi faceted experience that is ultimately enhanced by both listening to the program and reading along to its companion Boogaloo Bag entry. GO Mechanism Number Seven will initially air on Luxuria Music on March 26 at 8:00 PM California time (10:00PM in New York). After it is aired, it will be available as a podcast for about four weeks on the Luxuria Music website before being posted on both the Mixclouds and below. If you are reading this before the initial airing on Luxuria Music, The GO Mechanism producers invite you to go to the Luxuria Music website, listen in and join us in the Lux Mu chat room. In the chat room each song will be announced as it is played. Plus, you will be able to interact with The GO Mechanism producers in real time.

The GO Mechanism endeavors to offer Groove and O’Rooney to a troubled world. In order to present more Groove than gab, the program does not stop to back-announce song titles and artists. All of that information is found here in The Boogaloo Bag. One aspect of The GO Mechanism is The Science Corner—a segment of the program that aspires to bring important information to the listener’s attention. It will take place near the beginning of the second hour of the episode. The O’Rooney will flourish naturally throughout the program.

Manu Dibango

In this episode of The GO Mechanism, The Science Corner looks at Manu Dibango’s song “Soul Makossa.” Most folks know it as the cool African funk record that was on the radio in 1973, but there is much more to the story than that. It was a sensation in the disco clubs of New York City before it was available in the United States. Thus, several acts—most of them one-off studio groups—recorded versions of the song in order to cash-in. These versions were all meant to exploit the popularity of the song without having to actually license it. An act called Afrique almost got away (reaching Number 33 on R&B charts) with it before Atlantic Records was able to license the original by Manu Dibango. Most of these versions are fairly faithful to the original, and thus are not that interesting. It seems the further one gets from New York City, the more original the arrangement of the song is. The Science Corner presents three versions of the song:

The Lafayette Afro Rock Band was a group from Long Island that moved to France in order to be an authentic American funk group operating in Europe. The group’s first album is called Soul Makossa and includes the track heard in The Science Corner. However, when the LP was released in the U.S., it was retitled Voodounon and “Soul Makossa” was not included. This may be because the group had a working relationship with Manu Dibango and they didn’t want to steal his thunder. Of the three versions presented here, this one is pretty close to the original.
Grupo Guerro – 78 was led by Carlos Guerra, a trumpet player from Venezuela. This version is one of the wildest, with its shouting and bird calls! The beat is more of a mambo than Afro-funk.
Brent Dowe was a founding member of the reggae group The Melodians. Their song “Rivers of Babylon” was featured in the movie The Harder They Come. Dowe co-wrote the song and left the group for solo career soon after that song’s original success in 1970. A few years later he cut his version of “Soul Makossa.” He actually cut it twice for his single; one side was a pretty straight reading, the other is the reggae version heard here. On both sides the word is misspelled as “Masooka.”

Here are some other cool versions of “Soul Makossa:”

The Afrosound (from Colombia)
Toño Quirazco (from Mexico)
Byron Lee & the Dragonaires (from Jamaica, also called “Reggae Makossa”)
Babatunde Olatunji (from Africa)
The Ventures (yes THOSE Ventures!)

King of the Be-Bop baritone saxophone, Cecil Payne is a GO Mechanism favorite. He first made a name for himself in Dizzy Gillespie’s post-war big band. He didn’t really lead too many sessions, so there are not a lot of records available under his name. However, he played on sessions by just about every important jazz artist you can name, from John Coltrane on down. When you see his name on a recording, you know it’s going to be boss.

If Wild Bill Davis never cut another record, he should be sainted for his work with Louis Jordan and His Tympany Five (1945-1949). Those records are fabulous and Davis was the pianist, and sometimes the organist. Davis is one of the earliest keyboard players to regularly make the electric organ swing. “Breaking Out” is a single-only release, and perhaps the only record he ever made that one can frug to.

Zimeno is a (mostly) reissue label run by our friend Danny Holloway—yes the same Danny Holloway who wrote for New Musical Express, produced The Plimsouls and Owen Gray, and managed The Heptones. Lately he’s been working as a DJ in posh Hollywood nightclubs and resurrecting super obscure Jamaican records like The Underground Vegetables version of the Booker T & the M.G.’s song “Melting Pot.” This record is GO!

“Cumbia Sampuesana” is like the “Louie Louie” of cumbia songs. There must be about a hundred versions of it. It seems that just about any group of musicians south of El Paso that ever worked a cumbia rhythm has played it. Indeed, a modern version was aired in GO Mechanism Number Six. It was originally recorded by Conjunto Tipico Vallenato from Colombia. The version here is by Afrosound, a group from Columbia made up of excellent, hand-picked musicians. Expect more from Afrosound in future GO Mechanisms.

Laika & the Cosmonauts are often called Finland’s Number One surf band, but upon listening to “Syncophant” one will notice that, after about a dozen years after it was formed, the group had progressed beyond it’s surf ’n’ Shadows influences in order to produce very modernistic instrumental music.

Laika & the Cosmonauts

The version of Jimi Hendrix’s “The Wind Cries Mary” by Hopeton Lewis is remarkable not only for its adaptation to a reggae beat, but also for never going to the chorus of the song!

Bulawayo Sweet Rhythms Band is a musical unit from South Africa. Here the group renders a version of Glenn Miller’s big hit record, “In the Mood.” The other side of the single is the original version of “Skokiaan,” if you know where that’s at!

This episode’s version of “Caravan” is by The Epics, who are from Australia.

“Life’s Too Short” by The Lafayettes is a favorite of The GO Mechanism producers. The group was from Baltimore. In the John Waters film Hairspray, there is a scene where the group (actors) plays (lip-syncs) this song as the kids dance. It is one of our favorite moments of the movie.

The Happenings Four were a Japanese rock’n’roll group of the sixties. The group is one of many bands who have become known as exponents of what is called Group Sounds or GS. The Happenings Four added their own lyrics (in Japanese) to Lou Donaldson’s soul jazz composition “Alligator Boogaloo” and recorded a winner! Astute GO Mechanism listeners will note that another Group Sounds track was played earlier in the show: the one by The Golden Cups. In fact, there are (and will be) GS songs sprinkled throughout The GO Mechanism macrocosm.

Quincy Jones’ “Rack ‘em Up” is from the soundtrack to The Pawnbroker. Although he is not necessarily a favorite of The GO Mechanism producers, it seems that he has already landed three songs in seven episodes of The GO Mechanism. How did that happen?

Sugar and Spikes” by Captain Beefheart & His Magic Band actually doesn’t have Captain Beefheart on it. It is from sessions for Trout Mask Replica that appeared on the compilation Grow Fins.

The GO Mechanism producers never liked the song “Summer Breeze” until they heard this boss instrumental version by The Isley Brothers. It features the way underrated guitar playing of Ernie Isley. Was he ever on the cover of Guitar Player Magazine? I don’t think so. It’s a shame that his playing has never really been celebrated as much as it should be.

Here is the complete track listing for GO Mechanism Number Seven:

• Earl Bostic—Lester Leaps In (King)
• Cecil Payne—Bongo Bop (Charlie Parker; from the LP Performing Charlie Parker Music)
• Wild Bill Davis—Breaking Out Part Two (RCA Victor)
• Underground Vegetables—Melting Pot (Zimeno)
• Charanjit Singh—Lekar Ham Diwana Dil (Odeon; India; from LP Instrumental Film Tunes)
• Cal Tjader—My Little Red Book (Skye)
• Clifford Brown & Max Roach—Mildama (EmArCy; from LP Brown & Roach Incorporated)
• Duke Ellington & His Famous Orchestra—Bunny Hop Mambo (Capitol)
• Tito Puente—Mambo Beat (RCA Victor; from LP Mucho Puente)
• La Bert Ellis—Batman Theme (A&M)
• The Golden Cups—Iwa-Mata-Noboru (Capitol; Japan)
• Afrosound—La Sampuesana (Discos Fuentes; Colombia)
• Laika & the Cosmonauts—Syncophant (Yep-Roc—from LP Absurdistan)
• Hopeton Lewis—The Wind Cries Mary (Dragon; UK)
• Bo Diddley—Bo’s Guitar (Chess; from LP Go Bo Diddley)
• Smokey Robinson & the Miracles—Backfire (Tamla—from LP A Pocketful of Miracles)
• Bulawayo Sweet Rhythms Band—In the Mood (Wena Buti Lalela (London)
• Astor Piazzolla—Michelangelo ’70 (American Clavé; from LP Tango: Zero Hour)
• The Epics—Caravan (His Master’s Voice; Australia)
• The Lafayettes—Life’s Too Short (RCA Victor)
• • • The Lafayette Afro Rock Band—Soul Makossa (Manifesto; from LP Afro Funk Explosion)
• • • Grupo Guerro – 78—Soul Makossa (Discolandia)
• • • Brent Dowe, The Gaynotes—Reggae Masooka (Gay-Feet/Dub*Store; Japan)
• The Happenings Four—Alligator Boogaloo (Capitol; Japan)
• Rene Hall—Cleo (Specialty)
• Quincy Jones—Rack ‘Em Up (Mercury)
• Captain Beefheart & His Magic Band—Sugar n Spikes (Revenant; from LP Grow Fins)
• The Four Shells—Hot Dog (Volt)
• Herbie Mann—The Scratch (Atlantic)
• Grupo Santa Cecilia—Africa Bump (Orfeon)
• Isley Brothers—Summer Breeze Part 2 (T-Neck)
• The Pioneers—Papa Was a Rolling Stone (Trojan)
• Tony Fox—I Dream One Day (Tri-Spin)
• Los Lobos—Revolution (Warner Bros.; from LP Colossal Head)
• Mahotella Queens—Incwepelezi (Gumba Gumba; South Africa)
• Lee Fields with Sugarman & Co.—Shot Down (Daptone)
• Herbie Hancock—Blow Up End Title (M-G-M/from LP Blow Up soundtrack)
• Curtis Mayfield—Freddie’s Dead – Boogaloo edit (Curtom)
• Manu Dibango & Hal Singer—The Soukous (Decca; France)
• Bonzo Dog Band—Slush (United Artists)

Extended Spoken word:
Dylan Thomas—Do Not Go Gentle Into That Good Night
Langston Hughes—Weary Blues (Verve; from LP The Weary Blues With Langston Hughes)

That’s the story for this installment of The GO Mechanism. After the program airs (this one on March 26) it will be in the Luxuria Music podcast section for about a month–as the Saturday Night Special entry dated 3/27/2022. Then it will be archived at the Boogaloo Omnibus Mixcloud Site and also at the end of this post.

Luxuria Music podcasts can be found here !!!!!!

Do the Funky Brunch, Baby!

DJ Pete Pop swings with his imported Ray Barretto record at the Funky Brunch!

After a long holiday vacation, Phast Phreddie the Boogaloo Omnibus returned to Mama Roux and DJ Pete Pop’s fabulous Funky Brunch on March 6. These Sunday afternoon DJ gigs are a gas for several reasons: 1) Pete Pop plays primo platters. 2) The food is good. 3) The Boog digs playing the Brunch. 4) The food is good.

Yeah, the food! Mama Roux is an elegant eatery with a New Orleans theme, located in the heart of downtown Newburgh, NY. On Sundays, after the Funky Brunch concludes and the front door is locked, the Mama Roux people have a little party. The joint is closed Mondays and Tuesdays, so Chef Matty whips up a spread of fine food (stuff that may go bad in two days) for the employees; DJs included. On this occasion the Boogaloo Bag writers sampled some excellent fried chicken, outstanding mashed potatoes, sensational seafood sausages and superb Brussel sprouts.

To say that Pete Pop is back in action would be putting it mildly. He hosts the Funky Brunch every Sunday—with an occasional guest DJ; plus he’s got his Do The 45 shindig at Quinn’s in Beacon up and running again. In fact, the next Do The 45 will have none other than Todd-O-Phonic Todd as guest DJ. It will happen on March 25 and you don’t want to miss that. In the near future, The Boog may be a featured DJ at The 45, too, and we are looking forward to it.

Phast Phreddie the Boogaloo Omnibus swings at the Funky Brunch!

Anyway, here’s a list of records played by Phast Phreddie the Boogaloo Omnibus at The Funky Brunch:

• The Teemates–Nightfall (Audio Fidelity)
• Troy Thompson Band–1-2-3 (Dee Dee)
• Betty Harris–Show It (Sansu)
• Young Jessie–Shuffle in the Gravel (Atco)
• The Chi-Lites—Ain’t You Glad (Winter’s Over) (Blue Rock)
• Brenton Wood–Some Got It, Some Don’t (Belldisc Italiana; Italy)
• The Temptations–Masterpiece (Gordy)
• Eric Donaldson–You Must Believe Me (Dragon; UK)
• Cymande—The Message (Janus)
• Richard ‘Groove’ Holmes—Ain’t That Peculiar (Prestige)
• The Meters–Hand Clapping Song (Josie)
• Dyke and the Blazers–Let a Woman Be a Woman – Let a Man Be a Man (Original Sound)
• Ray Johnson–I Heard It Through the Grapevine (In Arts)
• Sam Wright Group–Green Onions (Peak)
• Hank Mance and the Blues Faculty–Red Beans and Rice (Soul International)
• Irma Thomas—She’s Taken My Part (Cotillion)
• Jessie Hill–Hey Now Mama (Yogi-Man)
• Johnny Adams–Tra-La-La (Ric)
• Marvin & Johnny–Hot Biscuits and Gravy (Felsted)
• Russell Evans and the Nite Hawks–Send Me Some Cornbread (Atco)
• Elijah and the Ebonies–Hot Grits!!! (Capsoul)
• Rufus Thomas–Hot Grits (AVI)
• Johnny Barfield & the Men of S.O.U.L.–Soul Butter (SSS International)
• Barbara Lynn–Let Her Knock Herself Out (Jamie)
• Owen Gray–Groove Me (Camel; UK)
• Odell Brown & the Organ-Izers–Mellow Yellow (Cadet)
• Jane Morgan–Elusive Butterfly (Epic)
• René Touzet and His Orchestra–Ticklish Mambo (Caquillita) (GNP)
• Pablo Beltran Ruiz y su Orquesta–Bang Bang (RCA Victor; Mexico)
• Los Stop–Pata Pata (Belter; Spain)
• Los Javaloyas–Yeh Yeh (La Voz de Su Amo; Spain)
• The Windjammers—It’s Not Unusual (Argo)
• The Thrills–Bring It On Home To Me (Capitol)
• The Wild Magnolias–Iko Iko (Polydor)
• Major Lance–Land of 1000 Dances (Columbia Special Products)
• Warren Lee–Funky Belly (Wand)
• Alton Ellis—It’s Your Thing (Riley Inc/Dub Store.; Japan)
• Gil Scott-Heron–The Bottle (Strata-East; France)
• Dick Hyman at the Organ and Sam (The Man) Taylor on Tenor Sax–Congo Mombo (M-G-M)
• The Hawketts–Mardi Gras Mambo (Sapphire)
• Bobby Taylor–Mashed Potatoe Time (Club Long Island)
• King Coleman–The Mash Potato Man (Togo)
• Lou Donaldson–Soul Gumbo (Argo)
• Amanda Ambrose–This Door Swings Both Ways (Dunwich)
• Little Brenda Starr–A Dancing Good Time (Vegas)
• Spanky Wilson–Shake Your Head (Eastbound)
• The Temptations—You’ve Got My Soul on Fire (Gordy)
• The Pazant Brothers–Toe Jam (RCA Victor)
• The Corner Boys–Gang War (Don’t Make No Sense) (Neptune)
• Everyday People–I Like What I Like Part 2 (Paramount)
• The Cecil Holmes Soulful Sounds–Superfly (Buddah)
• Harvey Scales & the Seven Sounds–The Yolk (Chess)
• Mr. Jim and the Rhythm Machine–(Do The) Hot Pants (Wizdom)
• Phil Upchurch—Darkness, Darkness (Part 1) (Blue Thumb)
None of these records are for sale.

A list of the records played by DJ Pete Pop can be found here!!

Emergency Beacon Boogaloo!!

For several years, our Upstate pal DJ Pete Pop has been hosting a DJ night called Do the 45 at a groovy joint called Quinn’s in beautiful downtown Beacon, NY. When the Trump virus hit and the whole world stopped working for a couple years, his operation was put on hold. Recently, he has been able to get his action back together. A couple months ago, the Boogaloo Bag writers, who last year moved up to the Mid Hudson Valley, were able to attend one of the come-back gigs when the great Gaylord Fields was guest DJ. They observed a scene that was mean and clean with folks dancin’ and a-carryin’ on. So it was with delight that Phast Phreddie the Boogaloo Omnibus agreed to be a guest DJ at the last minute when Mr. Pop’s scheduled guest DJ, Todd-O-Phonic Todd, could not come north for the gig due to the crummy weather (there had been about five or six inches of snow that morning).

DJ Pete Pop swings at Do the 45!

The Boog received the invitation to swing around five in the afternoon. Start time was 8:00 PM. He barely had enough time to gather about fifty or so 45s into a box and run out the door.

Do the 45 is DJ Pete Pop’s flagship dance night featuring rock and soul music. Pete produces premium Pop power with his psychedelic lights, groovy movies and boss records. Folks come from all over the area to partake in Quinn’s food—it is a restaurant that features what it calls Japanese comfort food, with its specialty being Ramen noodles. While they are there, folks often get up and shake a little action during one of Pete Pop’s nights.

DJ Hardly Quinn swings at Do the 45!

With the absence of the marquee guest DJ, Pete Pop also invited a couple of local DJ’s to help out with the musical selections: DJ Stately Wayne Manor and DJ Hardly Quinn. These two have been working pretty steadily, lately, what with a gig at Otto’s Shrunken Head the very next night. They served up the goods, that’s for sure. Between the four DJs, the cool music kept the club warm from the chilly winds outside.

DJ Stately Wayne Manor swings at Do the 45!

Everyone was asking, “Where’s Todd-O-Phonic Todd?” With any luck, Todd-O-Phonic Todd will actually be on hand for Do the 45 in March—the event takes place on the last Friday of the month—and you know the Boogaloo Bag writers will be there.

Phast Phreddie the Boogaloo Omnibus swings at Do the 45!

Meanwhile, these are the records that Phast Phreddie the Boogaloo Omnibus was able to scare up and play for his emergency session at Do the 45:

• Lorenzo Holden–The Wig (Cee-Jam)
• The Jimmy Ed Trio—Baby, Baby, Oh Baby (Yan-G)
• Hank Diamond–Soul Sauce (Wachi Wara) (World Pacific)
• The Second Coming–She Has Funny Cars (Steady)
• Donnie Elbert–This Old Heart Of Mine (Is Weak for You) (Mojo; UK)
• Ricardo Ray–Nitty Gritty (Roulette; UK)
• Little Tony and the Hawks–Do What You Did (Original Sound)
• Norman T. Washington–Tip Toe (SLD; France)
• The Weedons–Shimmy Shimmy (Metronome; Germany)
• The Shirelles–Boys (Scepter)
• Normie Rowe—Shakin’ All Over (Jubilee)
• Sandy Nelson–Casbah (Imperial)
• Captain Beefheart and His Magic Band–Diddy Wah Diddy (A&M)
• The Magnificent (7)–Stubborn Kind of Fellow (Lemco)
• Pierre Perpall–Shotgun (Citation; Canada)
• Sugarpie Di Santo–The Whoo Pee (Brunswick)
• The Atlantics–Tequila (CBS; Italy)
• The Dee-Jays–Bama-Lama-Lou (International Polydor; Sweden)
• The Satelites–We Like Birdland (Palace)
• Mack Kissoon–Get Down With It/Satisfaction (Young Blood; Germany)
• Johnny Hallyday–Noir C’est Noir (Philips; France)
• The Liberty Belles–Shing-A-Ling Time (Shout)
• La Lupe–Touch Me (Roulette)
• The Majestics–Tighten Up (Unique; Germany)
• Owen Gray–Help Me (Island; UK)
• James Brown–Out of Sight (Smash)
• The Combinations–Bump Ball! (RCA Victor)
• The Apaches–Geronimo (Mercury)
• The Playboys–Boogie Children (Jewel)
• The Johnny Burnette Trio–The Train Kept A-Rollin’ (Coral)
• Vince Taylor and His Playboys–Brand New Cadillac (Chiswick; UK)
• Elvis Presley–Long Legged Girl (With the Short Dress On) (RCA Victor)
• Los Crazy Birds–La Noche (Night Time) [from EP Napoleon] (Orfeon; Mexico)
• The Baskerville Hounds–Space Rock – Part 2 (Tema)

None of these records are for sale.

The GO Mechanism Number Six

Here are the notes for GO Mechanism Number 6, which is scheduled to be aired on Luxuria Music’s streaming radio site on Saturday February 5 during its “Saturday Night Special” program.

The Science Corner in this installment of The GO Mechanism will feature three backing tracks created in the Motown Records recording studio—known as the ‘Snake Pit’ because of all the cables strewn around it. Motown had a fairly regular group of musicians as a house band and they played on most of the records made during the sixties. When playing these records, the listener often concentrates on the vocalist—no sin there, many of the Motown singers (ie, Marvin Gaye, Smokey Robinson, Martha Reeves) were spectacular. On these tracks heard in The Science Corner, the lead vocals have been stripped and the listener can key-in on the music played by the band, known as The Funk Brothers. Several years ago, they were the subject of a good documentary called Standing in the Shadows of Motown. In the film, the musicians discuss how the tracks were produced and give insights on recording so many hit songs.

Many of the band members of The Funk Brothers were pulled from the jazz nightclubs of Detroit by Barry Gordy, Motown’s owner. One such musician was Johnny Griffith, a pianist who played on many of Motown’s hit records. He also cut an album, simply titled Jazz, for a short-lived Motown subsidiary label called Workshop Jazz. GO Mechanism Number 6 leads off with a track from that album. In the seventies, Griffith made some cool funk records under the name Johnny Griffith Inc.

As noted in GO Mechanism Number 4, Daptone Records has lately been branching out into the world music kingdom. In GO 6 we present an example of Moroccan music that the label released last year by a group called Innov Gnawa.

For this installment of The GO Mechanism, its producers were able to add some of their all-time favorite records into the mix. At one point, there are four in a row—music by Eddie Lovette, Jan Davis, Jack Costanzo (Mr. Bongo) and Dave Bartholomew.

“Shrimp and Gumbo” by Dave Bartholomew is quite simply one of the greatest records ever made. It came to the attention of the GO Mechanism producers during the eighties when it appeared on a French compilation of his music. It had been on the top of our want-list ever since—until it was finally obtained about ten years ago via a heavy, heavy record deal with noted radio personality and record collector Mr. Fine Wine.

Another contemporary act presented in GO 6 is Los Disco Duro, an Oakland, California-based group of electronic musicians who breathe fresh life into the ethnic rhythms of South America. Presented here is the group’s version of “Cumbia Sampusana,” a very popular cumbia from Colombia. This new version is as good as any of the four or five other versions in the Boogaloo Omnibus library.

“Big Nick” is an excellent organ groover by the New Orleans musician James Booker. The exact melody was used by Italian-born, French singer Nino Ferrer for his song “ Les Cornichons” and it is one of our favorites by him. Don’t worry, the French people gave Booker a co-writing credit on the song. Most likely, the Ferrer version will be played in a future GO Mechanism.

James Booker got co-writing credit for the Nino Ferrer vocal version of his song! Yayy!!

The same can not be said for Hommy Sanz, who took songwriting credit for his cool mambo version of The Yardbirds’Heart Full of Soul.” Is it too late for the real writer, Graham Gouldman to call his lawyer?

Did Hommy Sanz write this song?

In 1958, M-G-M records released an album of spoken word called The Weary Blues With Langston Hughes. On one side of the album Langston Huges recites his poetry and and makes observations over the playing of some traditional jazz musicians, with compositions by the writer Leonard Feather. The other side presents Huges’ eloquence backed by Charles Mingus’ band playing Mingus’ compositions, but under pianist Horace Parlan’s leadership for contractual purposes. The last track on the album is this version of “Jump Monk,” sans Hughes.

Jimmy McCracklin‘s fabulous rocker “What’s That” has become quite a sensation on R&B dance floors over the last several years. A truly boss song, the version heard here in The GO was unreleased until it appeared on a Bear Family CD compiling all of McCracklin’s Mercury recordings in 1992. There are some great songs on that disc, so expect to hear more from Jimmy in future GOs.

In the early sixties, popular R&B organ player Bill Doggett featured a young singer named Charles Hatcher in his live act. Although Doggett recording prolifically, he very rarely recorded with a vocalist. However, Hatcher was allowed to record as a percussionist, and is heard on this track, “Oo-Da” from Doggett’s LP Wow! that was first issued on ABC-Paramount in January 1965. Soon after, the frustrated Hatcher left the band, changed his name to Edwin Starr and recorded one of the greatest records ever made, “Agent Double 0-Soul.” In 1969, Doggett released an excellent instrumental version of Starr’s hit song “Twenty-Five Miles.”

John Coltrane’s “Tranesonic” was recorded on February 15, 1967 at the Van Gelder Studio in Englewood Cliffs, NJ. It was never released until it was issued on an album called Stellar Regions in 1995.

Call Me Mr. Tibbs” is the name of a movie that starred the great actor Sidney Poitier. He passed away in January and The GO Mechanism salutes him by playing the title song by Quincy Jones.

Mary Lou Williams photo by William P Gottlieb

It seems inconceivable how the great Mary Lou Williams could go from the swingin’ “Froggy Bottom” to the groovy funk number presented at the end of GO Mechanism Number 6. However, in between she made a bunch of great records, including “Walkin’ and Swingin’” (with Andy Kirk & His Twelve Clouds of Joy), “Yes We Have No Bananas,” “Kool Bongo,” “Gemini,” “Oo-Bla-Dee.” We may revisit Ms. Williams in a future Science Corner.

Here is the official track listing for GO Mechanism Number Six:

•Earl Bostic—Lester Leaps In (King)
•Johnny Griffith—Unknown Minor (Jazz Workshop) – LP Jazz
•Jack Daniels Orchestra—The Loop (Jerden)
•The Atlantics—Beaver Shot (Rampart)
•James Carter—Caravan (DIW/Columbia) JC on the Set
•Màalem Hassan Ben Jaadfer – Innov Gnawa—Chorfa (Daptone) Lila
•Los Teenagers—Cumbia Sinceleja (Discos Fuentes; Colombia) Cumbias y Gaitas Famosas
•Eddie Lavette—Boomerang (Steady)
•Jan Davis—Watusi Zombie (Holiday)
•Jack Costanzo—Chicken and Rice (Boogaloo edit ending) (GNP Records stereo version)
•Dave Bartholomew—Shrimp and Gumbo (Imperial)
•Cracker Jacks commercial
•Gary Mure—Crack Up (Verve)
•Bunky Green—Orbit 6 (Cadet) Testifyin’ Time
•Chocolate Watch Band—Expo 2000 (Tower)
•Los Disco Duro—Cumbia Sampuesana (Discos Mas)
•Roland Alphonso—James Bond (Studio One) Something Special: Ska Hot Shots
•Tito Puente—Cuero Pelao (RCA Victor)
•Earl Bostic—La Bossa (King)
•The Big Game Hunters—See the Cheetah (Uni)
•James Booker—Big Nick (Peacock)
•Horace Parlan with Charles Mingus—Jump Monk (Verve) Weary Blues With Langston Huges reissue
•••The Four Tops minus one—Reach Out (I’ll Be There) (Motown)
•••The Supremes minus one—You Keep Me Hanging On (Motown)
•••The Isley Brothers minus one—Take Me In Your Arms (Rock Me for a Little While) (Tamala)
•Hank Jacobs—Elijah Rockin’ With Soul (Call Me)
•Art Blakey—A Night in Tunisia (Part 1) (Blue Note)
•Milton DeLugg—Rise Robots Rise (Mainstream)
•Jimmy McCracklin—What’s That (Part 2) (Mercury/Bear Family CD)
•Bill Doggett—Oo-Dah (ABC-Paramount) Wow!
•Hommy Sanz y su Orquesta—Heart Full of Soul (Fonseca)
•Dave & Ansil Collins—Doing Your Thing (Techniques; UK)
•Dyke & the Blazers—The Wobble (Original Sound)
•John Coltrane—Tranesonic (alternate take) (Impulse) Stellar Regions
•Quincy Jones—Call Me Mister Tibbs (United Artists)
•David Alexandre Winter—Qu’est-ce Que J’ai Dansé!
•Etta James—Plum Nuts (Argo) Second Time Around
•Curtis Mayfield—Freddie’s Dead (Boogaloo edit)
•Mary Lou Williams—Let’s Do the Froggy Bottom (Mary)
•Bonzo Dog Band—Slush (United Artists)

Recited poetry:
Alec Guinness—O The Sun Comes (by e.e. cummings) (RCA Victor)
Gregory Corso—Sun – A Spontaneous Poem

After its original air-date, February 5, this GO Mechanism will be available as a podcast on the Luxuria Music website. It can be found among the Luxuria Music podcasts for the Saturday Night Special programs and this one will be dated 2/6/2022.

This episode of The GO Mechanism Experience is now available here

Previous GO Mechanisms are available at the Mixclouds. Dig it here!

The GO Mechanism Number Five: Now with more O’Rooney!

Thank you for starting your new year listening to The GO Mechanism. Number 5 will be aired on January 1, 2022 on Luxuria Music’s music streaming website. Here are notes on some of the songs:

In the Science Corner, which takes place during the second hour of the show, the music of the Japanese guitarist Takeshi Terauchi is featured. Starting in the early sixties, Takeshi was one of Japan’s greatest rock’n’roll guitarists. He was inspired to make mostly instrumental music after seeing The Ventures, who were very popular in Japan.

For the most part, Takeshi made music with two or three bands—depending on how you count them. In 1962, he formed The Blue Jeans. He left that band around 1966 and formed The Bunnys. Then, about two or so years later, he formed another band which he also called The Blue Jeans. The recordings presented in this edition of The Science Corner, although all of them are with The Bunnys, are fairly representative of his music. The first one, which he calls “Fate,” is a re-working of the famous theme from Beethoven’s Fifth Symphony. Do we need to remind GO People that Electric Light Orchestra was not the first non-classical act to borrow from classical music? The concept had been around. B. Bumble & the Stingers used a theme from The Nutcracker Suite for its hit “The Nut Rocker.” Hadda Brooks incorporated themes from classical music into her boogie woogie instrumentals during the forties. A year after “Fate,” the British freak beat group Love Sculpture recorded a similar guitar-workout with its version of “Sabre Dance.”

Takeshi also took ancient Japanese folk melodies and served them up as frantic guitar showcases. Our second selection is such a recording. Called, “Kanjincho,” it comes from either a samurai or a kabuki tradition—depending on the translation you read.

“Test Driver” is a fabulous rock’n’roll guitar instrumental. An original composition, it is as good as anything by The Ventures, Link Wray, Jeff Beck or any guitarist you care to name. At the end of The GO Mechanism a fourth track will be played—another re-working of a Japanese folk melody.

Takeshi Tarauchi passed away in the middle of 2021 with little notice here in the U.S.A. A recent NPR article on its website of internationally renown musicians who died that year doesn’t even mention him.

Get more better information about him—in English—at these websites:

No Recess
Fancy Magazine
Perfect Sound Forever

Or in Japanese here:


Takeshi Tarauchi

This installment of The GO Mechanism leads off with a composition by David Rex, an Australian saxophonist whose album Collision Course was released in 1998. It is very modernistic and suggested listening for GO Mechanism enthusiasts.

The Oliveira Trio is a musical ensemble from Porto, Portugal. Featured here is a groovy version of the theme song to the TV show Knight Rider. The group also does a great version of our favorite Bill Doggett song, “The Worm.”

James Brown recorded many instrumentals during his career. One was aired on GO Mechanism #4. The GO Mechanism producers hope to present many more in future episodes. The one presented on GO #5 serves as the background music to a reading of the first three paragraphs of “A Chase (Alighieri’s Dream)”, a short story by Leroi Jones, later known as Amiri Baraka. It is aptly read by Oweinama Biu exclusively for The GO Mechanism and is not available in stores.

Our pal and hero, Todd-O-Phonic Todd, has a cool show that airs on WFMU on Saturday afternoons. The Rubinoos recorded a fabulous theme song for him, which he plays about 30 minutes into his show each week. The GO Mechanism producers were able to track down an instrumental version of the song and it is presented here. We hereby challenge Todd-O-Phonic Todd to play The GO Mechanism theme song, “Lester Leaps In” by Earl Bostic on his show!!

Ronnie Kole was a New Orleans-based pianist. No, he is not in the Professor Longhair/Fats Domino/James Booker tradition. Kole was associated with Al Hirt and Pete Fountain—THOSE New Orleans musicians. That’s why this version of “The Batman Theme” is so unexpected; it is a favorite here at the Tree Frog Studios where The GO Mechanism is conceived.

The version of “Caravan” heard on this edition of The GO Mechanism is by Ralph Marterie, a band leader in the swing music tradition. During the early fifties, Marterie had great success with “Caravan.” The GO Mechanism producers have chosen his early sixties re-recording of the song that has a twist beat—thus the song is called “Caravan Twist.” Manny of Marterie’s records are rather square, covers of pop hits, but some of them are actually, unexpectedly, rockin’. Perhaps a future Science Corner pin-pointing his hip tracks is in order.

“Man on the Moon” by Ornette Coleman was only released as a single.

“The Groovy Line” is from the album Learn How to Dance. It is a two-record set of cheesy and very square dance tunes (waltz, foxtrot, Irish jig, charleston, etc.). One is expected to do the frug to “The Groovy Line.” Jack Hansen is credited as the musical director. I pray that this track is on a single somewhere so I can ditch the album.

Apparently, nearly every copy of the Lee Harris record, “Skate, Boogaloo and Karate Too,” has had its labels scratched off. The copy in The GO Mechanism library is no exception. According to legend, this was done at the record company itself, perhaps because someone wasn’t happy with the credits on the label. Further, The GO Mechanism producers are currently researching Karate records for a future Science Corner.

Lee Harris–“Skate, Boogaloo and Karate” (Forte): Nearly every copy of this record has both its labels rubbed off!

Official GO Mechanism track listing:

Earl Bostic – Lester Leaps In (King)
David Rex Quintet – Collision Course (Jazzhead; Australia)
Ahmad Jamal – Rico Pulpa (Epic)
Los Salvajes – Al Capone (Regal; Spain)
Cannonball Adderly – Marabi (Blue Note)
Lord Flea and His Calypsonians – Out De Fire (Capitol)
Oliveira Trio – O Justicero (Knight Rider Theme) (Dinamite; Portugal)
James Brown – The Chicken (King)
Mwana Amin – Africa Kung Fu (Zeida; Guatamala)
Ondatrópica – Pig Bag (Soundway; UK)
The Rubinoos – Todd-O-Phonic Todd Show Theme Song (Toddoprise)
Ronnie Kole Trio – Batman Theme (White Cliffs)
King Coleman – Do the Booga Lou (Port)
The Jaguars – Roundabout (Epic)
Big Jay McNeely – 3-D (Federal)
The Plimsouls – When You Find Out (Planet)
Preston Epps – Afro Mania (Jo-Jo)
Professor Longhair – Cuttin’ Out (Ron)
Pud Brown Trio – Take the A Train (Capitol)
The Golden Cups – Hiwa-Mata-Noboru (Capitol; Japan)
Freddy King – High Rise (Federal)
Astor Piazzola – Tanguedia III (American Clavé)
The Buddies – The Beatle (Swan)
Ralph Marterie – Caravan Twist (United Artists)
–Takeshi Terarauchi & the Bunnys – Fate (Symphony #5) (Seven Seas; Japan)
–Takeshi Terarauchi & the Bunnys – 勧進帳 [Kanjincho] (King; Japan)
–Takeshi Terarauchi & the Bunnys – Test Driver (King; Japan
The Teemates – Nightfall (Audio Fidelity)
The Phoenix Authority – Journey to the Center of the Mind (Mainstream)
Los Guacharacos – Esperma y Ron (Discos Fuentes; Colombia)
Olatunji – Akiwowo (Chant to the Trainman) (Columbia)
Ornette Coleman – Man on the Moon (Impulse)
Mikis Theodorakis – The Jet (20th Century)
Perez Prado – Sexomania (Orfeon; Mexico)
Charly Antolini – Charly’s Drums (BASF/Cornet; Germany
The Ventures – Nightstick (Cathy’s Theme) (Dolton)
Nick Venet & Orchestra – Theme from ‘Out of Sight’ (Decca)
Nino Ferrer – Cornichons (Riviera; Canada)
Jack Hansen – The Groovy Line (HRB Music)
The Sugarman Three—Soul Donkey (Daptone)
Lee Harris – Skate, Boogaloo and Karate Too (Forte)
Curtis Mayfield – Freddie’s Dead (Boogaloo edit) (Curtom)
Terry & the Blue Jeans – Kuroda Bushi (King; Japan)

Spoken bits:

•The Road Not Taken read by Robert Frost
•A Chase (Alighieri’s Dream) by Leroi Jones (Amiri Baraka) – read by Oweinama Biu exclusively for The GO Mechanism

Thanks for diggin’!!

If you’d like to hear the show after it is first aired, go to the Luxuria Music home page, click on the “Podcasts” button and scroll down to the “Saturday Night Special.” Then click on the “Saturday Night Special” icon and scroll until you find the one posted on 1/2/2022. The shows are usually available for about a month. Or, just click on the mixcloud hustle below:

All four previous GO Mechanisms have been posted on the Mixclouds. This GO will be posted on the Mixclouds a few weeks after its broadcast. Check out The GO Mechanism on the Mixclouds here:

Also, we ask that all GO Mechanism enthusiasts support the Luxuria Musics. Please go to its website, listen to its music stream when you’re at work, and buy something from its store—or just send it money! Like all of us these days, Lux Mu needs help.

Funky Brunch Is Happening!

On November 14, Phast Phreddie the Boogaloo Omnibus was asked to participate in another Funky Brunch at Mama Roux, the fabulous New Orleans-themed restaurant located in beautiful downtown Newburgh, NY. The Boog got the call from Funk Brunch host DJ Pete Pop and it was answered!

The Funky Brunch DJ booth has moved into the main room, since it’s been a bit chilly to keep the DJs outside, but folks are still heading out to the patio area to eat their brunch and the music is being provided to them via the technology of an extra speaker or two.

Once again, DJ Pete Pop unleashed a flow of boss R&B, New Orleans grooves and Latin boogaloo records. Phast Phreddie the Boogaloo Omnibus tried to keep up with his selections of swingin’ soul music, heavy heavy funk and a few nice things.

DJ Pete Pop swings at the Funky Brunch!

The best part of the evening is the end, when everyone has gone home but the help, and the chef brings out a bunch of food for all to eat…and the food is good! Not being a foodie, The Boog couldn’t tell you exactly what was eaten—suffice it to say, chicken, shrimp and waffles were involved—but he can most definitely tell you that the food is GOOOOOD!

Although the Phast Man only does this about once a month—DJ Pete Pop makes the scene with the cool sounds every Sunday from 11:00 AM to about 4:00 PM at Mama Roux. If you are anywhere Upstate New York on a Sunday morning/early afternoon, you should get it together and get on down to Mama Roux and dig the action. Heck, ya gotta eat, so you might as well eat when boss records are being played, right?

Phast Phreddie the Boogaloo Omnibus swings at the Funky Brunch!

Here’s a list of all the records played by Phast Phreddie the Boogaloo Omnibus at Mama Roux for the Funky Brunch:

Keith Mansfield & His Orchestra–Boogaloo (Epic)
The Beatniks–Beatnik’s Blues (Roulette)
Sergio Mendes–My Favorite Things (Atlantic)
Ohna Truth–If It Feels Good – Do It (Roulette)
Detroit Emeralds–Baby Let Me Take You (In My Arms) (Westbound)
Frank Minion–Watermelon (Bethlehem)
Cookie–That’s What You Do to Me (RCA Victor)
Jimmy Smith–Chain of Fools (Part I) (Verve)
Judy White–Vacuum Cleaner (T-Neck)
Earl King–Tic Tac Toe (Wand)
Shirley Scott–It’s Your Thing (Atlantic)
Earl Van Dyke & the Soul Brothers–How Sweet It Is to Be Loved by You (Soul)
Lola Falana–Working in the Coal Mine (Reprise)
Sam Campbell and the Bystanders–Hey La Ya La (Galaxy)
The Joe Cuba Sextet–Oye Como Va (Aprietalo) (Tico)
Melon y su Grupo–La Reina Del Boogaloo (Orfeon; Mexico)
The Black Beatles–Reggae and Shout (Pama; UK)
Rudy Robinson and the Hungry Five–Mut-ley Doing the Crawlpen (Mier)
Tommy Strand–I Wanna Testify (Fame)
The Temptations–Let Your Hair Down (Tamla/Motown; France)
Willard Burton & the Pacifiers–Warm the Pot (Till It Gets Good and Hot) (Money)
Explosions–Hip Drop Pt. 1 (Gold Cup)
The Vibrettes–Humpty Dump pt. 1 (Lujon)
Robert Lockwood Jr. with George Cook & Gene Schwartz–Down Home Cookin’ (Big Star)
Elijah and the Ebonies–Hot Grits!!! (Capsoul)
Sons of Slum–The Push and Pull (Gamma)
[no artist listed]–Do the Push and Pull (Statler)
Lee Harris–Skate Boogaloo and Karate Too (Forte)
Dave Collins–Smooths and Sorts (Rhino; UK)
The Combinations–Bump Ball! (RCA Victor)
Shirley Scott–Soul Sauce (Impulse)
Tito Puente’s Orchestra–Twiggy (Tico)
Lavell Kamma Afro Soul Review–I Know Where It’s At (Tupelo Sound)
Chairman of the Board–Life & Death (Invictus)
Dorothy, Oma and Zelpha–Gonna Put It on Your Mind (Chisa)
Sarah Vaughan–1-2-3 (Mercury)
Count Basie–Come Together (Happy Tiger)
Betty LaVette–Games People Play (Silver Fox)
Jerry-O–Scratch My Back (Boo-Ga-Loo)
[no artist listed]–Super Fly (Hoctor)
The Shangaans–Taboo (Columbia; UK)
Leon Austin–Respect (King)
The Temptations–Psychedelic Shack (Gordy)
General Crook–Gimme Some (Part 1) (Down to Earth)
Maurice Simon and the Pie Men–The Git-Go (Carnival)
Noe Pro–Sabes (Falcon)
The Chandelles–El Gato (Dot)
The Electric Tomorrow–Sugar Cube (World Pacific)
Elliott Baron–The Spare Rib (Golden World)
Carlos Roman y su Conjunto–Swing Colombiano (Welcome Twist) (Son-Art; Mexico)
Brass Impact–Mas Que Nada (Command)
Della Reese–Compared to What (AVCO Embassy)
Johnny Jenkins–Voodoo in You (Atco; France)
El Chicano–Viva Tirado – Part I (Gordo)
Herbie Mann–Do It Again (Atlantic)
The Five Steps–Tighten Up (Dade)
Gerry Mulligan–Downtown (Limelight)
Charles Lloyd–She’s a Woman (Columbia)
Detroit Emeralds–Ode to Billy Joe (Ric Tic)
Junior Mance–Thank You Fallettin Me Be Mice Elf Agin (Atlantic)
War–Nappy Head (Theme From “Ghetto Man”) (United Artists)
Dr. John the Night Tripper–Mama Roux (Atco)
Eddie Bo–Let’s Let It Roll (Arrow)
Slim Gaillard–Cement Mixer (Putti Putti) (Era)
Angie Hester–Bump Step (ABC)
The Noc-A-Bouts–Jungle Safari (Cosmic)
Fela Ransome-Kuti and the Africa ’70–Chop and Quench (Regal Zonophone; UK)
Paulo Alencar and His Brazilian All-Stars–Zirigidoom – Bossa Nova (Atco)

None of these records are for sale.

The GO Mechanism #4

The GO Mechanism is back in the swing with an air date of Saturday November 20 for GO #4. Here are the notes regarding some of the GO Action:

This installment’s Science Corner will look at how three jazz giants—musicians who were very influential during the forties and fifties (and in one case, even the thirties)—were able to deal with the swingin’ sixties. We will start The GO Mechanism with the three artists at hand playing compositions in the style they are known for: Sonny Stitt, Dizzy Gillespie and Johnny Hodges. Then, during the Science Corner, we will present them again playing hits of the day.
Sonny Stitt was an alto saxophonist who is often compared to Charlie Parker. He came to prominence around the same time as Parker and his playing often incorporated many of the bebop ideas that Parker was promoting at the time. Early in his career, as on the first track here, Stitt switched to tenor saxophone, probably in order to distinguish himself from the other, more famous alto saxophonist, but later returned to the smaller horn. Stitt cut a lot of fabulous records for the Prestige, Savoy, Verve and other record companies and he played with such fellow jazz legends as Bud Powell, Max Roach, Miles Davis, Gene Ammons and many others. During the sixties, organ jazz was very popular and Stitt recorded several albums in that style.

Around 1965, for some reason, Sonny Stitt was asked to record a solo over the backing track to Edwin Starr’s hit “Agent Double O Soul” and it was released as a single. That’s the track we’ve chosen to play in The Science Corner.

Dizzy Gillespie, along with Charlie Parker, was key in igniting the bebop revolution in jazz during the forties. We are sure that very few GO Mechanism listeners have never heard of him. His career spanned the late thirties through the early nineties. During the sixties, his recording career became a little erratic, recording sporadically and often concept albums. In the seventies he made a few pretty cool funk records, then returned to form for the Pablo label. In 1982, he played a solo on Stevie Wonder’s “Do I Do” which was a big hit.

In 1969, Dizzy recorded Joe South’s “Games People Play” for Solid State Records and it was even released as a single. The track has a kind of relaxed funk that is infectious, however Dizzy doesn’t really enter the song until almost two minutes into the recording.

Johnny Hodges spent nearly his entire life touring and recording as a featured alto saxophonist with Duke Ellington’s Famous Orchestra. Hodges joined the Duke in 1928 and stayed with him, except for about five years during the early fifties, until the saxophonist died in 1970. During the period away from Duke, Hodges led his own band that included John Coltrane at one point.

During the sixties, Hodges recorded several albums under his own name without any involvement from Duke Ellington. One of them was called Don’t Sleep in the Subway and it is the title track—a hit for Petula Clark—that is presented here in the Science Corner.

Playing the popular hits of the present time is something jazz musicians did throughout the history of jazz, actually. In the early days of jazz, many of the songs that were performed by jazz musicians were songs from Broadway musicals. However, the concept of sixties pop hits performed by jazz legends seems so incongruous probably because sixties pop hits seem so unjazz-like. However, a melody is a melody and talent is talent. Who would think that a musician like John Coltrane would want to take a little ditty like “My Favorite Things” and turn it into a masterpiece? Yet, there it is!

The spoken word segments during this broadcast are all by Danny Weizmann, reading his piece entitled “Heatwave” as issued on the New Alliance CD Hollywoodland. The bed music is “Sick, Upright” by Zombie Rev, a musical entity that is led by our friend Tom Gardner.

Ruben Guevara has recorded “Con Safos” several times, but this is the version that The GO Mechanism producers like the best. It is from the unreleased compilation LP called L.A. Radio.

Sun Ra’s “Lullaby for Realville” is from his first album on the Transition label, produced by Tom Wilson.

Rufus Thomas’ version of “Wang Dang Doodle”—one of the greatest songs of all time—was not released back when it was recorded in the sixties for Stax Records and was first issued on a CD called Can’t Get Away From This Dog in 1991 by Ace Records in England.

“Early Roman Gods” is a Bo Diddley-vibed song that appears on Bob Dylan’s Tempest album of 2012. Peter Case’s slightly psychedelisized version appears on his latest album The Midnight Broadcast. Somehow it runs seamlessly into “Rangeh Shad,” a very hip instrumental by the Iranian artist Afsheen.

Peter Case - The Midnight Broadcast - LP
“The Midnight Broadcast” by Peter Case (Bandaloop)

We don’t believe that the Dave Brubeck recording presented here was ever on a Dave Brubeck LP. However, it is possible that it did appear, but under a different title.

The bed music for the Science Corner is “Where the Sky Ended” by the Richard Grossman Trio. His recordings are the avant guardest you will ever hear.

This installment’s version of “Caravan” is by Tekeshi Terauchi, a Japanese guitarist that may soon have a Science Corner dedicated to him. He was an incredible guitarist who made some fabulous records during the sixties but is largely unknown outside of Japan.

The version of “Homework” presented here may not be the original version—that was done by Otis Rush in 1962—but one of the guys who wrote it, Al Perkins, is one of the singers.

If “Fruit Cake” by The Hornets sounds like “Comin’ Home, Baby” by Mel Tormé, that is probably because they were both written by the same guy, bassist Ben Tucker.

Over the last few years, the Brooklyn-based record company Daptone has moved beyond its instant-classic soul and funk sound that it is known for. The label has also released gospel, garage rock, reggae and mambo records. Cochemea is Cochemea Gastelum, a saxophonist who has played with Sharon Jones & the Dap Kings. Cochemea is of Native American descent and he explores his roots on the records under his own name. “Tukaria” comes from his second Daptone LP, Vol. 2: Baca Sewa that was issued earlier this year. The next GO Mechanism will present a Daptone release that features music from Morocco.

In Texas, Noe Pro is a famous Tejano musician. Outside of Texas, only a handful of record collectors are aware of him. The GO Mechanism producers are unsure how to categorize his song “Sabes” that is presented here. It has elements of rock, soul, pop and norteño music. It is also damn catchy!

Show closer “Mexico 70” was written and performed by Perez Prado and His Orchestra to celebrate the 1970 World Cup tournament that was held in Mexico that year. Though he was born in Cuba, Prado lived much of his life in Mexico and it was in Mexico City where he launched his career and, when his popularity in the United State waned, he was still able to make records and play shows. The song, “Mexico 70” (pronounced May-hee-ko say-ten-tah) has one of the most fabulous grooves you will ever hear. Plus, the organ sound is way boss.

Go Track List

Earl Bostic—Lester Leaps In (King)
Sonny Stitt—Sonny Side (Prestige)
Dizzy Gillespie—The Champ (Dee Gee)
Johnny Hodges & His Orchestra—Squatty Roo (Bluebird)
Zombie Rev—Sick, Upright (Sound Asleep; Scotland)*
Los Corraleros de Majagual—Cumbia Campesina (Discos Fuentes)
Curtis Mayfield—Radio Spot (Rhino)
Earth, Wind & Fire—Drum Song (Columbia)
Ruben Guevara—Con Safos (Freeway)
The Romeos—Mon Petite Chow (Loma)
Bud Powell—Un Poco Loco (Blue Note)
Les Elgart & His Orchestra—Voo Doo Drums (Columbia)
Frank Minon—Watermelon (Bethlehem)
Sun Ra—Lullaby for Realville (Transition)
Rufus Thomas—Wang Dang Doodle (Stax)
Peter Case—Early Roman Kings (Bandaloop)
Afsheen—Rangeh Shad (Hang Rooz; Iran)
Dave Brubeck with Ragu—Do Not Fold, Staple, Spindle or Mutilate (Columbia)
James Brown—Top of the Stack (King)
Richard Grossman—Where the Sky Ended (Magnatone)
[Science Corner]
—Sonny Stitt—The Double O Soul of Sonny Stitt (WinGate)
—Dizzy Gillespie—Games People Play (Solid State)
—Johnny Hodges—Don’t Sleep in the Subway (Verve)
Cumbia en Moog—Cumbia de Sal (Discos Fuentes; Colombia)
Takeshi Terauchi—Caravan (King, Japan)
Grady Martin—Twist and Turn (Decca)
The Freedom Sounds featuring Wayne Henderson—Things Go Better (Atlantic)
Al & Bunky—Homework (Constellation)
The Mogambo’s—Bi-Aza-Ku-Sasa (Sunbeam)
The Tarantulas—Tarantula (Atlantic)
The Golden Pot—Take One (Disc AZ; France)
The Hornets—Fruit Cake (Columbia)
Cochemea—Tukaria (Daptone)
Slim Gaillard and Bam Brown—Groove Juice Special (Hit That Jive Jack) (ARCO)
Noe Pro—Sabes (Falcon)
Frank Zappa—Peaches En Regalia (Bizarre)
Tito Puente & His Orchestra—Cha Kee Ta (RCA Victor)
Curtis Mayfield—Freddie’s Dead (Boogaloo Edit) (Curtom)
Perez Prado—Mexico 70 (Orfeon; Mexico)

Spoken word:
Danny Weizmann—Heatwave (New Alliance)
*Sick, Upright by Zombie Rev is the bed music for each portion of Heatwave.

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This GO Mechanism is now available right here…

Son of the Funky Brunch

The Funky Bunch DJs work out on the patio. As a sure sign of fall, a cool breeze blew an autumn leaf onto the turntable several times. Luckily, not as the turntable was playing a record.

On October 17, Phast Phreddie the Boogaloo Omnibus returned to the Funky Brunch—an excellent happening that happens every Sunday at Mama Roux, a New Orleans-themed restaurant located in the heart of Newbergh, New York, with the mighty Hudson River visible just down Broadway. The food is gooood at Mama Roux, so if you live within a 20-hour drive, you may want to make the scene!!

DJ Pete Pop swings at the Funky Bunch.

The Funky Brunch is hosted by our pal DJ Pete Pop. He’s got a basement full of great records and he knows how to play them. Apparently it is rare that Pete Pop has a guest DJ with him at the Funky Brunch. A couple of weeks ago he had our friend DJ Elevator Operator. It was a gas to see him working the Funky Brunch crowd. However, Pete Pop usually works alone—which is fine, but he enjoys diggin’ what other DJs are putting down. With that in mind, he had Phast Phreddie the Boogaloo Omnibus work a little overtime.

Phast Phreddie the Boogaloo Omnibus prepares to present another boss jam to the Funky Bunch faithful.

At the end of the event, the chef laid out some food for the employees to partake. Mr. Pop and the Phast One did so with glee. We don’t think we can tell you what we had because they all had French names that we quickly forgot, but the food was goooood!!

Here’s a list of all the records played by Phast Phreddie the Boogaloo Omnibus at the Funky Brunch:

Toussaint McCall–Shimmy (Ronn)
Mel Brown–Chicken Fat (Impulse)
Marvin Holmes & the Uptights—Ooh, Ooh the Dragon Part I (Uni)
Hopeton Lewis–The Wind Cries Mary (Dragon; UK)
Gilberto and His Orchestra–Pelé (Smash)
The Joe Loco Quntet–St. Lous Blues Cha Cha Cha (Fantasy)
Lou Donaldson–Everything I Do Gonh Be Funky (From Now On) (Blue Note)
Brothers and Sisters featuring Mary Clayton–The Mighty Quinn (Ode)
Cresa Watson–These Boots Are Made for Walking (Charay)
Lee Dorsey–Candy Yam (Amy)
Señor Soul–Working in the Coalmine (Whiz)
The Mighty Flea featured with The Johnny Otis Show–Ode to Billy Joe – Part I (Eldo)
Sly & the Family Stone–If You Want Me to Stay (Epic)
Underground Vegetables–Melting Pot (Ximeno)
Rhetta Hughes—You’re Doing With Her–When It Should Be Me (Tetragrammaton)
Harmonica George–Get in the Kitchen and Burn (Toddlin’ Down)
The Fascinators–Fried Chicken and Macaroni (Capitol)
The Debonairs–Ah-La-La (B and F)
Harvey (formerly of The Moonglows)–Any Way You Wanta (Tri-Phi)
Walter Wanderley–Cheganca (Verve)
Zorro Five–Reggae Shhh! (Decca; Italy)
Winston Groovey–Funky Chicken (Jackpot; UK)
The Afrosound–La Danza de los Mirlos (Discos Fuentes; Colombia)
Bonzo Dog Band—I’m the Urban Spaceman (Imperial)
The Three Suns–Volcano (RCA Victor)
Nina Simone–Sea Lion Woman (Philips)
Lalo Schifrin–Mannix (Paramount)
The Good Timers–Chain of Fools (Atlantic)
Martha Reeves & the Vandellas–Jimmy Mack (En Español) (Tamla/Motown; Spain)
The Chosen Few–Everybody Plays the Fool (Trojan; UK)
Arthur Louis—Knockin’ on Heaven’s Door (Island)
Conjunto Típico Contreras–Cumbia Sampuesana (RCA Victor; Mexico)
Smokey Johnson–It Ain’t My Fault – Pt. 1 (Nola)
Al Johnson–Carnival Time (Ron)
Ralph Jackson–Jambalaya (Amy)
Bob Marley–One Cup of Coffee (Beverley’s; Jamaica)
Rosco Gordon–Cheese and Crackers (Sun)
Lambert, Hendricks & Ross–Gimme That Wine (Columbia)
Hank Marr–Watusi-Roll (Federal)
Mongo Santamaria—Mongo’s Boogaloo (Columbia)
Dizzy Gillespie–Soul Kiss – Part I (Perception)
Skin, Flesh & Bones–Solitary Man (Tit for Tat; Jamaica)
The Temptations–Papa Was a Rollin’ Stone (instrumental) (Gordy)
Enoch Light & the Brass Menagerie–Theme From “Shaft” (Total Sound/Project 3)
Alan Copeland–Mission: Impossible Theme / Norwegian Wood (ABC)
Les Beethovens–Pour Moi ‚a Va (Miracle; Canada)
The Isley Brothers—It’s Your Thing (T-Neck)
The Watts 103rd Street Rhythm Band–Do Your Thing (Warner Bros-Seven Arts)
Freddie & the Kinfolk–Mashed Potato Pop Corn (Dade)
Andre Williams—Humpin’ Bumpin’ and Thumping (Checker)
Rodger Collins–Foxy Girls in Oakland (Galaxy)
Archie Bell & the Drells–Get It From the Bottom (Atlantic)
Jimmy Caravan and His Trio–Higher and Higher (Tower)
The Jazz Crusaders–Uptight (Everything’s Alright) (Pacific Jazz)
The Atlantic Sounds–Pata Pata (Atlantic)
Marlena Shaw—Let’s Wade in the Water (Cadet)
Nella Dodds–Come See About Me (Wand)
The Shirelles–Boys (Scepter)
Bill Justis and His Orchestra–Green Onions (Smash)
Just Brothers–Sliced Tomatoes (Music Merchant)
Tommy Reynolds; The T-Bones–Beat Goes On The (Liberty)
Dee Clark–Heartbreak (Constellation)
Judy Collins–Hard Lovin’ Loser (Elektra)
Mose Allison–Foolkiller (Atlantic)
The Bobby Williams Group–Boogaloo Mardi Gras Pt. 2 (Capitol)
Joe Quijano y Su Conjunto Cachana; canta – Ray Cruz–Grita Güepaje (Nueve Cesta)
Perez Prado and His Orchestra–Ritmo de Chunga (RCA Victor)
Jimmy Nolen—Swingin’ Peter Gunn – 1 (Fidelity)
Billy Preston—Billy’s Bag (Vee Jay)
Masking Sound–Une Fille Comme Ca (Trans-Canada; Canada)
Freddie and the Freeloaders–Last Night (Red Hedd)
The Romeos–Mon Petite Chow (Loma)
Denzil Dennis–Mama We’re All Crazee Now (Pama Supreme; UK)
Roland Al & the Beverly’s All Stars–Soul Finger (Pyramid; UK)
Buster Pearson—Ain’t It Groovy (Big Shot; UK)
Toño Quirazco y su Show Cartier–Hey [from EP A Ritmo de Boogaloo] (Orfeon; Mexico)

None of these records are for sale.