Sundays are Funky Brunch days. The day when DJ Pete Pop swings at Mama Roux with his groovy 45s. He rolls into the joint around 10am and sets up his equipment. By the time 11am comes around he has his turntables turning, mixing board mixing and speakers are speaking! On Sunday January 22, Mr. Pop invited Phast Phreddie the Boogaloo Omnibus to come spin a few records with him.
DJ Pete Pop continues to work his magic at Mama Roux. The Funky Brunches have been roaring successes. Each Sunday sees a full house of folks. First they chow down, then, as they leave the premises, they bow down to DJ Pete Pop for providing them with such a fantastic audio experience that enhances their equally fantastic brunch experience.
How many times do we have to tell you that the food is good at Mama Roux? At this particular Brunch, right at 3:30, the wonderful people at Mama’s brought a full plate of fabulous fried chicken over to feed the DJs. Man, that was good! (The Boog made a note in his mind to bring more chicken records next time!)
For this Funky Brunch, Phast Phreddie the Boogaloo Omnibus brought a cache of calypso records to spice up the audio experience. Here’s a list of all the records he played:
New Year’s Eve is always a time of great revelry. In order for the revelry to really revel, it helps to have some boss sounds played at a volume that is intense enough to induce revelment. The management at The Dogwood understood this principal and duly asked DJ Pete Pop to provide said boss sounds for the club’s year end celebration. Pete Pop then asked Phast Phreddie the Boogaloo Omnibus to help out. Plus, extra added attraction, our new pal Peter Aaron brought a box of records and a couple times during the evening, he pulled out some records and played them.
The Dogwood is a groovy club/bar/restaurant located on East Main Street in Beacon, NY. It’s got a couple rooms, and for this evening, one of them was cleared of tables and chairs in order for dancing to ensue—and it ensued in a big way!
DJ Pete Pop is the king of reet music on both sides of the Newburgh-Beacon Bridge. He is currently holding down four regular DJ gigs—three monthlies at the Dogwood, Quinn’s and now the Jet Set; plus the Funky Brunch every Sunday at Mama Roux. In fact, New Year’s Eve weekend, DJ Pete Pop worked the Friday Night (Do The 45 at Quinns’), Saturday Night (New Year’s Evenoted here) and Sunday morning Funky Brunch! Does the man ever sleep?
Peter Aaron is a fellow who was recently introduced to the Boogaloo Bag writers. He’s a Kingston cat who was once the leader of the nineties punk band Chrome Cranks. These days he’s written some books about music and culture and is the arts editor of Chronogram, Hudson Valley’s culture magazine. He’s also the host of Go-Go Kitty, a program on WKNY—Radio Kingston, on Thursday nights. So this guy knows his music and on New Year’s Eve, he played some great records that kept the dance floor alive.
Adding to the festivities in a big way were Miss Nancy’s peanut butter fudge and mint-infused vegan brownies.
At midnight, the club provided attendees with a glass of champagne. All were directed outside where there was a midnight Beacon Ball Drop!
As New Year’s Eve nights go, this one was certainly a gasser, but it was not without it’s disaster. Some time after midnight it was observed that condensation from the overhead air conditioner was dripping near the DJ booth. TOO near. Water was present on the top of Peter Aaron’s record box (luckily, closed) and The Boogaloo Omnibus’ fez box (luckily, closed). However, the bulk of the drippings fell into DJ Pete Pop’s main record case. Water was all over them. Most of the records were saved due to the fact that Mr. Pop keeps his 45s in plastic sleeves, but all of that had to be wiped down. Unfortunately, water did get into some of the sleeves—maybe about a dozen or so—and they had to be separated from the records. Peter Aaron was asked to extend his DJ set in order to give The Boog and Mr. Pop time to clean up the mess. Mr. Aaron did a grand job of it, so there were no worries in that department; the show went on!
…and what a show it was. All night long there were folks dancing and carrying on as if it were New Year’s Eve, because, of course, it was! Everyone had a grand time. At the end of the night, when things were getting packed up to leave, one of the owners of the Dogwood conversed with the Boogaloo Bag writers and let them know that he was very pleased with how the evening went down. Everybody was happy.
Here is a list of all the records played by Phast Phreddie the Boogaloo Omnibus at the Dogwood for the New Year’s Eve Party:
The last Friday of the month is Do The 45 night at Quinn’s, the popular rock ’n’ ramen joint in downtown Beacon, NY. Do The 45 is the rollickin’ party hosted by our pal DJ Pete Pop, who asked Phast Phreddie the Boogaloo Omnibus to guest DJ with him on the last Friday of December—which was also the last Friday of the year.
This particular Do The 45 landed on December 30, which is celebrated world-wide as Bo Diddley’s birthday. Some Bo Diddley records were played, as well as records by acts who recorded his songs. DJ Pete Pop even played the Mickey Gilley record “I Ain’t Bo Diddley!” Somehow, Bo Diddley appeared on the poster about a week before Pete Pop realized that the event would take place on Bo Diddley’s birthday. If that ain’t magic, I don’t know what is.
DJ Pete Pop continues to impress the Boogaloo Bag writers with his ultra fabulous records and the way that he plays them. Seems every time he swings we gotta check out what he’s spinning: always groovy stuff!
On hand to help celebrate was go-go dancer Sheba Shake, whose artistic gyrations had the packed house in awe all night! In fact, Do The 45 lasted a good hour beyond the stated closing time, folks were having that much fun—most likely starting their end-of-year celebrations early.
Speaking of magic, here’s a list of all the songs played by Phast Phreddie the Boogaloo Omnibus at the Bo Diddley Birthday Do The 45 dance party:
This is The GO Mechanism—an audio odyssey designed to shatter your fragile egg-shell mind. It is hosted by Phast Phreddie the Boogaloo Omnibus who will be your guide on this journey through your senses. The G stands for Groove and That’s what it is all about. The O stands for O’Rooney, an intangible force that puts the “oo” into Cool. The GO Mechanism is assembled via a secret copyrighted Ultra-Tonal® method that is especially engineered to challenge every component of your neurological system.
The GO Mechanism is initially aired as a Saturday Night Special on Luxuria Music’s web streaming hustle. The one at hand will air on Saturday January 7. This will be a particularly exceptional GO, as the Management at Luxuria Musics have asked TheGO Mechanism producers to supply them with a show relating in some remote way to the new year. Since 2023 ends with a three, The GO Mechanism producers have assembled a show made up of songs, compositions and assorted madness associated with the year 1963. The Science Corner will feature some live recordings from 1963. Even our graphic image is from 1963, a sort of modified version of “Otherworldly,” a painting by the Swiss/French artist known as Le Corbusier.
At various intervals during this episode Dylan Thomas will recite poetry, some of it his. Although the Welsh poet died in 1953, the recordings were released on an LP in 1963. Mr. Thomas will also drop pearls of wisdom at crucial moments during the program.
President John F. Kennedy will occasionally speak to us during this episode. Furthermore, brief excerpts from the 1963 film “It’s a Mad, Mad, Mad, Mad, World” have been inserted as necessary. Plus, there are drop-ins from a stereo test record that was released in 1963.
Every song and recording played on the show—with the exception of the opening and closing themes—were all recorded and/or released in 1963.
“Tossin’ and Turnin’” was a Number One Pop hit for Bobby Lewis in 1961. The Marvelettes perform an enthusiastic version of the song for their live album. The backing is sparse—guitar and drums are prominent, and there’s a good guitar solo!—but the girls pull it off with the help of an excited audience.
The Miracles track has long been a favorite of The GO Mechanism producers. “Way Over There” is sped up quite a bit from the studio version and is given an exciting Isley Brothers-like finish, amending the song with a call and response with the audience.
On each of these live recordings, the audience is animated and very much a part of the show. It must have been a gas to witness these acts so early in their respective careers. The records all came out around the summer of 1963, with Wells’ in September.
Charles Mingus recorded three albums for Impulse Records in 1963: The Black Saint and the Sinner Lady,Mingus Plays Piano and Mingus Mingus Mingus Mingus Mingus. “Better Get Hit In Yo’ Soul” comes from the latter and it has been… well, it’s hard to say which is anybody’s favorite Mingus composition because he wrote so many great ones. It’s a composition that Mingus recorded in 1959 for the Mingus Ah Um LP. At that time it was called “Better Get It in Your Soul.” We can’t decide which recording is better because the melody is so strong that every version is good.
We had to have a song with “1963” in the title and, luckily, Hal Blaine and the Young Cougars were able to oblige us for our second record. This track, “Hawaii 1963,” sounds to us that there is only one Young Cougar—the guitarist—as it is mostly a drum feature with a bit of guitar. Hal Blaine was a session drummer in Los Angeles during the sixties. In fact, he was THE session drummer, a member of the select studio musicians known as ‘The Wrecking Crew.’ We can’t tell you who the guitarist is on this, but Blaine would have had the pick of any session guitarist at the time, so you know that whoever it was is solid. It’s a cool track, no matter.
Like Little Stevie Wonder, briefly mentioned above, Billy Preston was a child prodigy. As a teen he recorded with the gospel great James Cleveland. His first album was released in 1963, contained “Greazee,” and was called 16 Year Old Soul for Derby Records—a company associated with Sam Cooke. Preston cut some records for Vee Jay (“Billy’s Bag” is a boss one), was a regular on the teen TV show Shindig!, then teamed up with Sly Stone for an album for Capitol. In 1969, he reconnected with The Beatles, who he met while he was on tour in England as Little Richard’s organ player in 1962. After that, the GO Mechanism producers lost interest in Preston’s career, what with Grammy Awards and all!
The interesting thing about Nina Simone’s composition “Blackbird” is that the single version (released in 1963) was nearly four minutes long and on the LP it was just over two. Usually it’s the other way around. Also, the album that contained it was called Nina Simone With Strings and there are no violins in evidence on the recording.
Rufus Thomas was, at heart, a bluesman, and he proves it with his version of John Lee Hooker’s “Boom Boom.” The track comes to us from Thomas’ Walking the Dog LP, which is one of the finest in all Rhythm & Blues.
Amos Milburn has long been a favorite of The GO Mechanism producers. Starting in 1946, the Texas-born musician cut some fantastic R&B tracks for Aladdin Records—about 140 of them. 19 of them hit the R&B charts pretty hard. However, his recording opportunities dried up after 1957 as times changed. Three sessions for King Records only yielded five songs. For some reason, he was signed to Motown Records where he recorded 25 tracks, 12 of which appeared on the album The Return of “The” Blues Boss in 1963. Motown must have had high hopes for Milburn—the cover states: “Included in this album the hit single ‘I’ll Make It Up to You Somehow,’” a ballad co-written by producer Clarence Paul. The record, unfortunately, was not a hit. In March of 1964, Milburn returned to the Motown studio and cut seven more tracks but none of them were released at the time. Milburn’s recording career languished until 1967 when he issued the excellent “Whiz-A-Shoo-Pepi-Dada” on King. In the seventies, Mllburn suffered a couple of strokes that left him an invalid and he returned to Houston where he died on January 3, 1980.
“O Rangutang” is a boss Chuck Berry instrumental that he recorded on November 15, 1963. It first saw release as the flip side to “Nadine (Is It You)” the next year.
The GO Mechanism dipped into the Coltrane Live at Birdland well twice with excerpts from “I Want to Talk About You” and “Afro Blue” in order to get some back ground music for two of the Dylan Thomas readings. The two pieces were recorded on October 8, 1963.
The Birds was a very popular movie in 1963. Alfred Hitchcock’s thriller made one afraid to go outside. R&B singer Louis Jonesapparently tried to take it to the bank with his “The Birds Is Coming.” It’s a fantastic, unbelievable record that is actually more scary than the movie…and that worries me! More about Louis Jones here.
Speaking of scary records, The Tammy’s “Egyptian Shumba” includes screaming girls, nonsense lyrics and mummies! It is a rockin’, sockin’ good-time shouter that will wake you up from the dead. With out a doubt, one of the greatest records of all time. It was co-written by pop star Lou Christie and recorded on November 1, 1963. Trade magazine Cashbox reviewed it and said, “Teen lark threesome could make a chart stand with this engaging teen-dance romp. It’s wild, whacky and original. Watch it.” That’s putting it mildly.
The GO Mechanism producers are quite fond of the music of Astor Piazzolla, the great bandoneon player and creator of the nuevo tango. His music has been featured in GO Mechanisms Seven and Five. Both of those tracks are from the eighties. The track here, “Iracondo” is from a 1963 album called Tango Para Una Ciudad. We have a pressing made in Uruguay. What better record to follow it with than The Isley Brothers fabulous recording of “Tango,” from 1963.
Erma Franklin was Aretha’s big sister. Around the time that little sister was signed to Columbia Records, appropriately enough, Erma was signed to its sister label, Epic. For the most part, both Franklins were assigned standards and show tunes to record. After Erma’s LP didn’t catch on with record buyers, she cut two more singles with session drummer/Columbia staff producer Bobby Gregg at the helm. These lean more on the R&B side, with 1963’s “I Don’t Want No Mama’s Boy” a fabulous shouter. None of the records hit and she was dropped from the label. She often sang back-up on her sister’s records and several years later she was picked up by Shout Records were she made her masterpiece, the original version of “Piece of My Heart.” Aretha, on the other hand… well we all know what happened to her.
If we made a mistake with our 1963 records, it is with “Swing” by The Tokens. Somewhere we saw “1963” attached to the record, got excited and added it to the program. However, by all accounts, it was released in April 1964. By the time we discovered our error, The GO Mechanism had been sent to Luxuria Music for processing. Yeah, but, for a group of pop vocalists whose records are mostly on the square side, it’s a pretty hep disk. Let’s just say it was recorded in 1963 and released the next year.
This edition of The Go Mechanism is bookended by a pair of recordings where the drums and guitar are prominent—mostly drums. The second record in the show was the Hal Blaine’s “Hawaii 1963.” We close the show with one of the greatest records of all time, which is also a guitar/drum duet: “Swinging Drums” by Ronny Kae. The latter record is much more crude and nasty sounding. In fact, it sounds as if it was made by crazy people. Mr. Kae’s version of “Caravan” was featured in GO Mechanism Number 12 and you can read more about him in that corresponding Boogaloo Bag post.
Earl Bostic—Lester Leaps In (theme song) (King)
Charles Mingus—Better Get Hit in Yo’ Soul (Mingus, Mingus, Mingus Mingus; Impulse!)
Hal Blaine & the Young Cougars—Hawaii 1963 (RCA Victor)
Billy Preston—Greazee, Pts. 1 & 2 (Derby)
Nina Simone—Blackbird (Colpix)
Quartet Trés Bien—Boss Trés Bien Part 2 (Norman)
The Moonlighters—Watermelon Man (Thunderbird)
The Rolling Stones—Stoned (Decca; UK)
Rufus Thomas—Boom Boom (from LP Walking the Dog; Stax)
Jimmy Gordon—Buzzzzzz (Challenge)
Little Joey Vespe—Caravan (Parkway)
Amos Milburn—Hold Me Baby (from LP The Return of “The” Blues Boss; Motown)
Chuck Berry—O Rangutang (Chess)
Teri Thornton—Open Highway (Route 66 Theme) (Columbia)
John Coltrane—excerpt from “I Want to Talk About You” (from LP Live in Birdland; Impulse)
Gene Burkes—Monkey Man (Arock)
Kai Winding—Pipeline (from LP Soul Surfin’; Verve)
Louis Jones—The Birds Is Coming (Decca)
The Tammys—Egyptian Shumba (United Artists)
Elliott Shavers—Soul Village (Blaun)
The Orchids—That Boy Is Messin’ Up My Mind (Columbia)
Joe Tex—I Wanna Be Free (Dial)
Marvin Gaye—Mojo Hannah (from LP Recorded Live On Stage; Tamla)
Little Stevie Wonder—Soul Bongo (from LP The 12 Year Old Genius – Recorded Live; Tamla)
The Marvelettes—Tossin’ and Turnin’ (from LP Recorded Live On Stage; Tamla)
The Miracles—Way Over There (from LP Recorded Live On Stage; Tamla)
Mary Wells—I Don’t Want to Take a Chance (from LP Recorded Live On Stage; Motown)
The Rotations—Heavies (Original Sound)
Olatunji—Lady Kennedy (Columbia)
Thelonious Monk—Bye-Ya (Columbia)
Astor Piazzolla—Iracondo (from LP Tango Para Una Ciudad; CBS; Uruguay)
The Isley Brothers—Tango (United Artists)
John Coltrane—excerpt from Afro Blue (from LP Live at Birdland; Impulse)
Erma Franklin—I Don’t Want No Mama’s Boy (Epic)
J.C. Davis—Monkey (Chess)
Mongo Santamaria–Yeh-Yeh (Battle)
Roland Kirk—Abstract Improvisation ()
The Tokens—Swing (B.T. Puppy)
Ray Barretto—Watusi (Tico)
James Brown—Choo Choo (King)
Curtis Mayfield—Freddie’s Dead (Boogaloo edit) (Curtom)
Thus concludes another exciting episode of The GO Mechanism. Thank you to the Luxuria Music Management for asking us to be involved in its Luxuria Music New Year celebration by incorporating a “3” in the program. It was certainly different and we hope it was appreciated.
After The GO Mechanism initially airs on the Luxuria Musics—this one on Saturday, January 7— it will be available as a podcast for a few weeks. Look for the Saturday Night Special dated 1/08/2023. 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 Musicis 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!
On Wednesday, December 21, Phast Phreddie The Boogaloo Omniubus got an urgent call from DJ Pete Pop. The management at Quinn’s—the groovy rock and ramen joint in Beacon where Pete hosts his Do The 45 shindigs once a month—called him and asked him to assemble the troops for a bash THAT Friday night (December 23, night before Christmas Eve). Can The Boog swing? His reply: Yes, indeed!
This was kind of easy. The Boog is planning to DJ with Pete Pop at the regularly scheduled Do The 45 on December 30—a day before New Year’s Eve—so he already had records together for an event at Quinn’s; so picking discs for the night was a snap. However, now the records for the following Friday night will have to be re-thought out.
Pete called the night the Rockin’ Holiday Hop—and it absolutely rocked. DJ Nina Day was on hand to play a few records from time to time. Her alter ego Sheba Shake occasionally appeared on the stage to go-go dance. DJ Pete Pop played some fantastic records. Miss Nancy baked two kinds of cookies that were coated with powdered sugar (chocolate crinkles and pfeffernusse), plus her signature vegan brownies. Folks were dancing and carrying on all night.
Phast Phreddie the Boogaloo Omnibus played these records:
On Sunday December 18, Phast Phreddie the Boogaloo Omnibus returned to Mama Roux in Newburgh, NY to guest DJ for a holiday edition of DJ Pete Pop’s fabulous Funky Brunch. On this day, Pete Pop had a family affair he wanted to attend that afternoon, so after he set up and played records for about 30 minutes or so, The Boogaloo Omnibus took over and swung the rest of the event.
Mama Roux has excellent food and folks come from all over the area to partake. There was an office X-mas party going on in the north corner and the rest of the room was fully occupied by folks enjoying their respective wonderful brunches. Nearly everyone complimented the DJ on their way out.
When it was time to close, there were fried chicken, French fries and corn fritters available for the staff—including the DJ and his official photographer Miss Nancy, who took all the photos seen here.
This is a list of all the records played by Phast Phreddie the Boogaloo Omnibus at this holiday edition of The Funky Brunch, including a couple of LP tracks:
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 GO Mechanism originates on the Luxuria Music website as part of its “Saturday Night Special” series. This one will have its first run on Saturday December 10 at 10PM East Coast Time. If you are listening to The GO as it initially airs over the Luxuria Music web streaming hustle, please join us in the Lux Mu chat room for more fun. Otherwise, check the Luxuria Music podcasts—this one will be listed as a “Saturday Night Special” dated 12/11/2022. The Lux Mu podcast will be available for a couple of weeks, then it goes to the mixclouds and the bottom of this post. 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 below. 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.
This is a very special GO Mechanism. Not only is the introduction taken from the Twilight Zone, but so were all the drop-ins. During “Creek Bank” by Mose Allison, some dialog from one of the Zones has been added. The GO Mechanism producers hope that the message of this show is not lost on deaf ears. More on the Twilight Zone here.
Also, we have a very momentous poetry reading. The GO Mechanism producers recently discovered some verses by Don Van Vliet that were published in one of the very earliest Creem magazines—the June 1970 issue, to be exact. One of the poems, titled “I Like the Way the Doodads Fly,” is recited here by GO Mechanism’s resident recititionist Oweinama Biu. (The poem was also printed on the back of the Mirror Man LP by Captain Beefheart & His Magic Band. This takes place in the middle of the track by Jean Jacques Perrey.
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 three vocal blues recordings that contain the involvement of Charlie “Yardbird” Parker.
Charlie Parker was the innovative and influential alto saxophonist who was key in developing quick tempos, futuristic harmonies and virtuosic technique into the jazz form known as bebop. Early in his career he was a member of the Jay McShann Orchestra, based in Kansas City. Some of Bird’s earliest recordings were made with that big band, including the first track in The Science Corner—“Hootie’s Blues.” Although “Hootie” was a nickname for Jay McShann, the song is sung by Walter Brown. Brown joined McShann’s group in 1940, recorded this in 1941, then left the band in 1944, but would work with McShann again in 1947 through 1951. Brown was a blues shouter, much in the Jimmy Rushing mold. Also in 1947, Brown recorded with Tiny Grimes, the subject of the second track in The Science Corner.
Tiny Grimes played the four-string tenor guitar and sang. In the early forties he was a member of the Art Tatum Trio with whom he recorded. He also recorded with Billie Holiday and others. Tiny Grimes would later record R&B records with his group called The Rockin’ Highlanders that included tenor saxophonist Red Prysock and singer Screamin’ Jay Hawkins. During the late fifties and sixties he recorded some fine jazz albums. In 1945 he recorded under his own name with Charlie Parker in tow. “Romance Without Finance” is a cool number that has been recorded by others—it is not to be confused with a song of the same name by the early Temptations. On this recording, the pianist is Clyde Hart, who is key in the next track.
Also in 1945, Charlie Parker recorded with Clyde Hart’s All Stars, which included the singer Rubberlegs Williams on four songs. Williams got his nickname from being a dancer at various Harlem nightclubs. He had the ability to make his legs go all wobbly—as if they were made of rubber—and this always got a rise out of his audience. Williams’ voice owes a bit to Eddie “Cleanhead” Vinson, but is perhaps a bit more raw. The track, “G.I. Blues,” features Bird playing the obligatos at the beginning. Two takes of the song were recorded and they came out with different titles—the other being “4 F Blues.” The hot trumpet solo is by Dizzy Gillespie.
Early in his career, Charlie Parker worked with Al Hibbler (who was also briefly in the McShann Orchestra), Sarah Vaughan, Billy Eckstine and Earl Coleman; but those are basically jazz crooners and not blues singers. Here in the Science Corner we are focused on Bird’s contribution to the blues.
This episode’s version of “Caravan” is by Roger King Mozian and His Latin Twisteros. It comes from an album titled El Twist!! Twisting to Latin American Favorites. According to the LP jacket’s liner notes… “Equally at home in the North American dance band field and the exotic South American idiom, Roger blends intriguing Latin rhythmic patterns with the current infectious Twist beat to form an irresistible sound for dancing.” The GO Mechanism producers believe that he has succeeded remarkably.
Old standards, you know, the kind of songs that Frank Sinatra used to sing, are not often enjoyed by The GO Mechanism producers—unless, of course, they are performed by doo wop groups. “Moonlight In Vermont” is a perfect example. Sinatra first recorded the song in 1958 and included it in his repertoire for most of the rest of his life. The GO Mechanism proudly presents a version here by the L.A. R&B vocal group The Crenshaws. This group began life in the early fifties as The Lamplighters, with singer Thurston Harris, and recorded for Federal Records. After Harris left, the name was changed to The Sharps and they backed Harris on some of his sides on Aladdin. The group also can be heard as background singers on records by several different artists. For example, it is The Sharps who are whooping it up and hand clapping on Duane Eddy’s twangy “Rebel Rouser.” The group recorded as The Tenderfoots, The Four After Fives and probably a couple other names that no one remembers. In 1961, the group—now called The Crenshaws, after a boulevard that goes through South Central Los Angeles—cut six tracks for Warner Bros., including “Moonlight In Vermont.” The next year, as The Rivingtons, the band would score big with ‘Papa-Oo-Mow-Mow.”
“Black Widow” is a Philippine funk record by Joe Cruz and the Cruzettes. You’ll never find this record. Luckily, long-time GO Mechanism friend Danny Holloway reissued it on his Ximeno label about seven or eight years ago and even that goes for about $50 now.
The Poets were a beat group from Scotland. “That’s the Way It’s Got to Be” has a subtle burn to it that, when the maracas kick in, if you’re not hooked, you’re not alive!
Jamaicans are famous for taking songs by other artists, maybe changing the title some, and taking writer’s credit—if credit is given at all. Case in point: “Hey Train” by Prince Buster’s All Stars. The composition is really “Take the A Train.” It was written by Billy Strayhorn for the Duke Ellington Orchestra and first recorded in 1941. Here we have a ska version recorded in the sixties but not released until two or three years ago.
Benny Poole was a saxophonist who lived and operated in Jackson, Michigan. Since his teen years, he was assembling bands and playing whatever gigs he could get, with whatever musicians he could round up, including a young Abbey Lincoln, who was living in Kalamazoo when she was a teenager. Poole clearly had talent, as he was often offered jobs to go on the road with national acts but he stayed in Jackson with his family. He sold cars, worked in a factory and managed a roller rink in order to make ends meet. In Jackson he is remembered as a legend—there is even a mural of him on a wall in the town. But he only cut a handful of singles of which “Pearl, Baby, Pearl” is the best, but it’s pretty great. He died two years ago.
The T.S.U. Toronados group was formed while its members were studying at Texas Southern University in Houston. The second part of its name comes from a car built by Oldsmobile during the mid-sixties. In 1967 the group was signed to the local Ovide label and was asked to back a vocal group from Houston called Archie Bell & the Drells. That’s The T.S.U. Toronados tightening it up on the big hit, “Tighten Up.” While the record was charting, Archie Bell was drafted and to fill out the first album by Archie Bell & the Drells, some recordings by The Toronados were used, but not credited. When Bell returned from the Army, his record company, Atlantic Records, sent him and the Drells to record in Philadelphia. The T.S.U. Toronados recorded two singles for Atlantic (this one, “Cuttin’ the Corners,” actually issued on Ovide first), then cut two for Volt before returning to local Houston companies.
Dave Bartholomew, who recorded this installment’s Greatest Record of All Time, was the godfather of New Orleans rhythm & blues. During the fifties he wrote songs and directed recording sessions for Smiley Lewis, Jewel King, The Spiders, Chris Kenner, Earl King, Robert Parker and many others; plus he tried to revive the career of Roy Brown. His own “Shrimp and Gumbo” is without a doubt his greatest achievement—it clearly eclipses all his other work, as well as the work of just about everybody else who ever made a record. Recorded in November of 1955, “Shrimp and Gumbo” by Dave Bartholomew is one of the Greatest Records of All Time.
Earl Bostic—Lester Leaps In (King)
Sonny Rollins—Hold ‘Em Joe (from LP On Impulse; Impulse)
The Latinaires—Camel Walk (Fania)
The Mothers of Invention—Dog Breath (Reprise/Bizarre)
Roger King Mozian and His Latin Twisteros—Caravan (from LP El Twist!!!; Columbia)
Bobby Fuller—Stringer (Todd)
The Crenshaws—Moonlight in Vermont (Warner Bros.)
Lennie Hibbert—Twilight Zone (from LP Creation; Studio One)
Combo Los Galleros—Soledad (from LP Cumbias y Gaitas Famosas 2; Discos Fuentes, Colombia)
Dinah Shore—Thirteen Men (RCA Victor)
Mose Allison—Creek Bank (from LP Creek Bank; Prestige)
Joe Cruz—Black Widow (Ximena)
Nat King Cole—Calypso Blues (Capitol)
Bill Doggett—Gumbossa (from LP Bill Doggett Plays American Songs Bossa Nova Style; King)
Jean Jacques Perrey—Eva (BGP; UK)
The Cocktail Cabinet—Breathalyser (Page One; UK)
Johnny Cole—War, No More (Original Sound)
Jil Jalala—Lahkaya (Disques Gam; Morocco)
The Love Supremes—Sing This All Together (See What Happens) (unreleased)
The Astors—The Twilight Zone (Stax)
Jay McShann Orchestra—Hootie Blues (Decca)
Sam Phipps—Woke Up Clipped (from LP Animal Sounds; (Dream) (bed music for Science Corner)
Tiny Grimes Quintet—Romance Without Finance (Savoy)
Rubberlegs Williams with the Clyde Hart All Stars—G.I. Blues (Continental)
Sandy Nelson—Out of Limits (from LP Rebirth of the Beat; Imperial)
The Salty Peppers—Uh Huh Yeah (Capitol)
ZZ & De Maskers—Ik Bedoel ’T Altijd Zo Goed (Artone; Netherlands)
X-O-Dus—English Black Boys (dub edit; Factory; UK)
Yma Sumac—Taki Rari (from LP Mambo!; Capitol)
The Poets—That’s the Way It’s Got to Be (Decca; UK)
La Redada!—¡Avandaro El Bugaú! (Monofonus Press; Europe)
Orquesta Akokán—Mi Congas Es de Akokán (Daptone)
Buster All Stars—Hey Train (Prince Buster/Rock A Shacka; Japan)
Adjenar Sidhar Khan—Mahabaratha Kali (Festival; France)
Benny Poole—Pearl, Baby, Pearl (Latin Boo-Ga-Loo) (Solid Hit)
John Barry—Beat Girl Theme (from the soundtrack to the film Beat Girl; Columbia; UK)
Rebop Kwaku Baam—Kyekye Kule (Island)
Bo, Jr.—Coffee Pot Part 1 (Tail-Gate)
TSU Toronados—Getting the Corners (Atlantic)
Curtis Mayfield—Freddie’s Dead – closing theme (Curtom)
Dave Bartholomew—Shrimp and Gumbo (Imperial)
Drop-ins and dialog from The Twilight Zone (used without permission!) Poetry: “I Like the Way the Doodads Fly” by Don Van Vliet, found in an old Creem Magazine, recited by Oweinama Biu.
After The GO Mechanism initially airs on the Luxuria Musics—this one on Saturday, December 10— it will be available as a podcast for a few weeks. Look for the Saturday Night Special dated 12/11/2022. 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!
The place is beautiful. The tiki decor is very well thought out and not at all campy or trashy. These folks took the time, energy and expense to do it up right. The edifice sits on the eastern bank of the Hudson River and at night one can see the bright lights of the city of Beacon on the other side. The Boogaloo Bag writers are very happy to have such a swingin’ place so close to their new home in the Hudson Valley. With any luck, this will become a new home for the reet record playing of DJ Pete Pop—and his occasional guest DJ Phast Phreddie the Boogaloo Omnibus.
As for the Jet Set A’ Go-Go shindig, the music was spectacular. DJ Pete Pop continues to impress us with his fabulous records and his keen ability to make them go round. Some of Pete’s local friends showed up to hang out—including Hudson Valley tiki royalty Miss Tiki Paka.
For his part, Phast Phreddie the Boogaloo Omnibus wore a fez and played these wonderful records:
The Keystone State Soul Weekender isn’t just three days of dancing around to fabulous records; it has become a family reunion of sorts. There is a hard-core group of folks who come every year and that group seems to be getting bigger at each event. The group includes dancers as well as DJs. There are DJs that rotate in and out of circulation—of which Phast Phreddie the Boogaloo Omnibus is proud to be one—and they don’t work in competition, but rather in cahoots with each other. The DJs are out on the floor dancing to each other’s records. A camaraderie has developed among them that is unmatched in the DJ culture world. These people, who come from all over the continent (and England), genuinely like each other and it all came together because of their love of soul music. Very often, the DJs would compliment each other on their selections—and what fine selections they were, too. These DJs know their stuff, that’s for sure!
During the weekend of November 18, 19 & 20, the Sixth Keystone State Soul Weekender was held at the Elks Lodge in beautiful downtown Lancaster, PA. As the faithful were gathering on Friday night, hugs were in abundance.
Also in abundance was love for our friend Andrew Turner, who passed away over the summer. The Boogaloo Bag writers first met Mr. Turner at the first Keystone State Soul Weekender in 2016. He was sitting by himself on the other side of the room when we invited him to come sit with us and help us eat Miss Nancy’s cookies that she baked for the event. A record show used to take place in Manhattan and occasionally Andrew would take a train in from his home town of Reading, PA. After the show, we would get Thai food. He was one of the nicest people we’ve ever met and his passing saddened us quite a bit. In fact, it saddened a lot of the DJs who knew him, as many dedicated songs or whole sets to him. Indeed, the whole weekend was unofficially dedicated to Mr. Turner—especially with members of his family in attendance each night and a shrine set up in the chill-out room to honor him.
There was another person whose attendance was missed this year as well: Dennis T. Brennan. He was a record dealer who brought records to sell to us during the Sunday brunch portion of the Weekender. During the sixties he was a member of The Intentions, a blue-eyed soul group from nearby Harrisburg. In the olden days, Phast Phreddie bought records from him off his lists in Goldmine and later through lists he circulated via email, in the days before the ebays or the discogs. Mr. Brennan passed away in March.
This year, there were two newcomers: Patrick Foisy and Marty Emanuel—both travelled from Canada. Mr. Foisy, known as Parka Pat due to his Mod leanings, brought his own pre-recorded introduction on a 45 RPM record. In Montreal he swings a boss dance party called With It. He was supposed to attend last year’s event but was held back by mean covid restrictions. Mr. Emanuel was born in South Africa but now lives in Winnipeg were he is known as Mod Marty and produces the On Target podcast.
Meanwhile, as all the dancing was going on in the main room of the Elks Lodge, in the chill-out room where the bar was, folks were selling records. Phast Phreddie the Boogaloo Omnibus was able to enhance his record collection considerably—plus he sold and traded several records from his own collection. Also in the chill-out room on Saturday afternoon Chet Stewart of local soul legends The Trenells signed autographs and sold a limited edition reissue of one of his records. At one point, he came on stage as his record was played.
In previous years, the Sunday Soul Brunch was held downstairs in the Elks Lodge diner. However, this year the Lodge failed to hire a chef, so the brunch was held upstairs. Extra tables were set up and folks brought their own grub. Luckily, there is a good coffee shop a short way down the street where folks could get some snacks.
To illustrate a point made above regarding the friendships that have developed among the DJs, DJ Chey Frazier started his Saturday night set with Dobie Gray’s immortal “Out on the Floor.” It had loud scratches that could be heard, making the Boogaloo Bag writers wince. One of the DJs remembered that Scott Boyko, who was selling records in the next room, had several mint copies for sale. That DJ bought one of them right then and there—with Mr. Boyko making a price reduction—and brought it up to Mr. Frazier as a gift and told him to get rid of the beat-up copy! How often do you see DJs working together like that?
If you are reading this and have not yet attended a Keystone State Soul Weekender, I strongly urge you to do so next year and become part of our family. As November approaches, watch all the social medias in order to get more information, or even better, join the Keystone State Soul Weekender group on the Facebooks.
Phast Phreddie the Boogaloo Omnibus was responsible for three sets over the weekend—Friday night (boss, popular Northern Soul selections), Saturday afternoon (fave dance records—yes folks were boppin’ at 1:00 in the afternoon!), and the opener of the Sunday Brunch (all groovy instrumentals). Here is a list of every record he played:
Mama Roux is a marvelous New Orleans-themed restaurant/bar located in the heart of downtown Newburgh, New York—the jewel of the Hudson River. Mama’s staff is made up of some groovy people. The decor has a subtle Mardi Gras ambience. The bathrooms are clean. The food is good. Not only that, but it was profiled in the current issue of The Hook magazine, a periodical that celebrates culture, art and community in the Lower Hudson Valley. On this occasion, it was suggested that we try the French fries—we did and they were extremely tasty. In fact, the fries were so good that they were gone before we could think to take a picture of them! We’ll have to order them again next time.
DJ Pete Pop is the busiest DJ of reet music in the area. He’s got his Sundays at Mama’s, of course, but also once-a-month gigs at Quinn’sand the Dogwood—both in Beacon on the other side of the river—plus he’s in negotiations to present a night at The Jet Set, a groovy new tiki bar that sits on the banks of the Hudson in Newburgh. If anyone can do this it is Pete Pop. He’s got some pretty darn boss records and he knows how to make them go round!
At one point, some Funky Brunch attendees pulled up in a pickup truck full of cute little dogs! They delighted everyone who walked by.
Everybody had a great time at the Funky Brunch. Here’s a list of all the records played by Phast Phreddie the Boogaloo Omnibus that day (hopefully, no French fries grease was transferred to any of the records!):