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.

The GO Mechanism Number Three

Hello GO People. Here we are with the third installment of The GO Mechanism, aired on September 25, 2021. We have been getting good numbers at the Luxuria Musics and they have asked for another GO. Here ’tis! Please keep in mind that the ‘G’ is for groove and the ‘O’ is for o’rooney. This GO Mechanism will have plenty of both…

During the second hour of The GO Mechanism, light will be shined on an artist, an album, a song, or whatever needs to be discussed at the moment. This part of The GO Mechanism shall be called the Science Corner. This edition of the Science Corner will feature the song “Caravan.” We have three good versions of it lined up for you, including the original 1936 version recorded by Barney Bigard & His Jazzopators—a musical ensemble made up of members of Duke Ellington’s Famous Orchestra—including the Duke. Barney Bigard played several reed instruments when recording with Ellington but mostly soloed on the clarinet, on which he is featured on this recording. Juan Tizol, who wrote the song, plays the melody on trombone. In order to show how musicians approach “Caravan” in different ways, The GO Mechanism will also feature Sandy Nelson’s version from the Sixties and Cassandra Wilson’s from 2008. We here at the GO Mechanism will most likely present a version of “Caravan” in very episode. If you have a favorite version of “Caravan,” feel free to note it in the comments section below.

The Johnny Guitar Watson track is interesting. It was recorded during Watson’s disco/funk phase of the seventies and eighties and issued as a B-side of the soul ballad “Love Jones” and on the LP of the same name around 1980. “Asante” is clearly an attempt at Afro-Beat and he does a great job of it. These are the kinds of oddities that The GO Mechanism hopes to seek out and present to its listeners.

The GO Mechanims will now blow its own horn (sort of) with a track by The Fleshtones featuring Lenny Kaye. It comes from the Yep Roc LP Brooklyn Solution which was produced by one of The GO Mechanism principals. Don’t know if you can really call it ‘producing,’ as all he did was suggest Lenny and The Fleshtones record together, plus he provided chocolate chip cookies at the sessions. He really wasn’t needed—The Fleshtones are pretty good at producing themselves. The boss “Twine”-like vibe of “Solution Number One” makes it a natural for The GO Mechanism.

“Mirza” is a song written and first performed by Nino Ferrer—an Italian-born singer who was very popular in Europe—especially France—during the Sixties and Seventies. The song was popular enough to have been covered several times, in several languages, including Arabic. The version presented by The GO Mechanism was recorded by unnamed studio musicians and released on an EP that was some sort of premium for a French pasta company! It is our favorite version because it has such a fabulous swing to it.

“Pago Pago Drums” by Ivi Pele & the Royal Samoans is one of the greatest records of all time. It features everything that makes for a special record: folks banging on shit and screaming! Rarely is such an excellent example of “banging on shit and screaming” ever presented to a radio audience, yet here it is, courtesy of The GO Mechanism.

You’re welcome.

“Waltz for a Pig” was released as a B-side to The Who’s 1966 “Substitute” single and credited as “The Who Orchestra” on some releases, or “The Who” on others. Apparently, due to legal action regarding the producer Shel Talmy, “Substitute” was issued several times, first with “Circles” (also called “Instant Party”) as the B-side. The Who’s then-manager Robert Stigwood decided to clear up the mess by placing a different track on the B-side, “Waltz for a Pig” (which was actually by another band he managed, The Graham Bond Organization). According to rumor, the “pig” in the title is supposed to be a dig at Talmy, who produced some fabulous early records by The Who. “Waltz” was said to have been written by Organization drummer Ginger Baker using the pseudonym, Harry Butcher. Also—probably due to the Stigwood connection—this is was issued in America on Atco. Stigwood had a connection at Atco, as other bands he managed—Bee Gees, Cream—also issued their records on Atco in the U.S.

Malvina Reynolds is mostly remembered as the writer of the song “Little Boxes,” an early Sixties folkie favorite made famous by Pete Seeger. She didn’t exactly record prolifically. Her first album was released in 1960, her second, called Malvina Reynolds Sings The Truth, came out in 1967; she was 66 when she recorded it. There are several fine tracks on this second record, including “The New Restaurant.” We may hear more from her on future GO Mechanisms.

“Eat That Chicken” comes from the Charles Mingus album, Oh Yeah, on which the great bass player and composer plays piano and sings. As a bonus, Roland Kirk is the tenor saxophone player.

For some reason, the music composed for the TV show “Peyton Place” is left off of Randy Newman’s official discography. An album of this all-instrumental music was released on Epic Records around 1966. Before he became the prolific songwriter he was becoming at the time, perhaps he also harbored dreams of being a composer of soundtracks like his three uncles, Alfred, Lionel and Emil. Of course, several years later Newman composed for several films. The GO Mechanism is happy to remind it’s listeners that Randy Newman once made some pretty swingin’ watusi records!

This sound recording was borrowed from the ARChive of Contemporary Music.

During the Sixties, Japan spawned some fabulous rock ’n’ roll bands. One of the best was Takeshi Terauchi & the Bunnys. Takeshi Terauchi—known as “Terry” to gringos—was a great guitarist. His work is featured on this outstanding version of “Ghost Riders in the Sky.” He died in June of this year and the GO Mechanism’s Science Corner may feature him on a future program.

The JP’s is an instrumental band from Finland and this track on its album Do You See What I See. The CD was given to The GO Mechanism staff by the drummer, Jaane Haavisto, who was also in Laika & the Cosmonauts.

After “Goin’ to a Happening” by Tommy Neal, there is a bit of dialog from the movie Shadow of a Doubt. Very heavy.

The last song is “My Dream Island” by The El Tempos, a doo wop/R&B vocal group from Chicago. Some how, this non-hit made its way to Jamaica where it was covered a coupled times by The Wailers with Bunny Wailer singing lead. Bunny Wailer also recorded it a couple times after he left The Wailers. Plus, Marcia Griffiths and Third World also cut versions. I’m sure there are other versions out there—The GO Mechanism would like to know about them in order to possibly present them on a future show.

Here is the complete track listing for the Third GO Mechanism program:

Earl Bostic—Lester Leaps In (King)
Elmo Hope—Abdullah (Blue Note)
Dave Davani Four—Jive Samba (Parlophone; UK)
Roger Simand—Mary Mary (Gala/RCA Victor; Canada)
Tito Rodriguez—Theme from The Magnificent Seven (United Artists)
Johnny ‘Guitar’ Watson—Asante Sama (DJM)
Nina Simone—See Line Woman (Philips)
Miles Davis—Seven Steps to Heaven (Columbia)
tv theme—Gigantor
John Simon—Desert Moog Music (Boogaloo Omnibus Loop) (Columbia)
The New Happiness—Good Vibrations (Columbia)
The Fleshtones with Lenny Kaye—Solution Number One (Yep-Roc)
The Isley Brothers—Who’s That Lady (United Artists)
James Moody’s Modernists—Tropicana (Blue Note)
Perez Prado—En La Mar Hustle (Orfeon, Mexico)
Lyn Taitt—Out on a Funky Trip (Randy’s)
??—Mirza (Super Discotheque; France)
Ivi Pele & the Royal Samoans—Pago Pago Drums (49th State)
Graham Bond Organization—Waltz for a Pig (Atco)
Lennie Hibbert—Lights (Studio One; Jamaica)

Les Yper Sound—Jericho Jerk (Limelight)
Lito Barrientos y su Oquesta—Cumbia en Do Menor (Discos Fuentes; Colombia)
Lord Flea & His Calypsonians—Calypso Be-Bop (Capitol)
Malvina Reynolds—The New Restaurant (Columbia)
Big Jay McNeely—The Goof (Federal)
Sandy Nelson—Caravan (Imperial)
Barney Bigard & His Jazzopators—Caravan (Variety)
Cassandra Wilson—Caravan (Blue Note)
Charles Mingus—Eat That Chicken (Atlantic)
Archie Shepp—Mama Too Tight (Impulse)
Tommy Neal—Going to a Happening (Vocalian; UK)
Randy Newman Orchestra—Strong (Epic)
Young Guitar Red—Red Hot Red (Formal)
Tami Lynn—Never No More (Cotillion)
Tempo 70—El Galleton (Mericana)
Terry & the Bunnys—Ghost Riders in the Sky (King; Japan)
The JP’s—My People Soul People (Texicalli; Finland)
Les & Larry Elgart & Orcheststra—The Garbage (Columbia)
Roland Kirk—Walk on By (Limelight)
Latin Playboys—Mr. Wobble from End of Violence soundtrack
Curtis Mayfield—Freddie’s Dead (Boogaloo Omnibus Edit) (Curtom)
The El Tempos—My Dream Island (Vee Jay)
Bonzo Dog Band—Slush (United Artists)

Bed music under “Science Corner” is the intro to “Caravan” by Duke Ellington, Charles Mingus and Max Roach from their album Money Jungle in an exclusive Boogaloo Omnibus loop.

Al Young—Lester Leaps In
Erica Jong—Ode to My Shoes

Thanks for checking out The GO Mechanism. It will be archived for about four weeks on the Luxuria Music website. Unfortunately, the LuxMu website is awkward and finding the archived programs are not easy—especially for the Saturday Night Special, which has a different host each week. If you can find the Saturday Night Special podcasts, the one noted as being uploaded on 9/26/2021 will be this one. In the near future, The GO Mechanism technical team will make all of the programs available in a much simpler manner. Until then, please bear with us. It is best when you can listen during the first airing of the program and you will be able to contribute by joining us in the chat room. However, Luxuria Music is a fine organization and should be supported. Dig that action here…

Boogaloo Returns to Funky Brunch

DJ Pete Pop and Phast Phreddie the Boogaloo Omnibus swing at the Funky Brunch. Photo by Marty Shane.

For the last several weeks, The Funky Brunch has been so successful at Mama Roux, the New Orleans-themed restaurant in Newburgh, NY, that it looks like it will continue indefinitely. DJ Pete Pop as been holding down the fort with his boss tunes and Mama’s clientele appear to enjoy the scene immensely. Mr. Pop invited Phast Phreddie the Boogaloo Omnibus for a return visit on Sunday September 5 and in spite of the threatening rain—which was really only a sprinkle now and then—it went really well.

But because of the threatening rain, the DJ booth was set up inside the front window instead of the back yard, with the music being pumped throughout the venue. The location of the DJ booth worked well, as nearly every satisfied Mama Roux customer expressed his or her appreciation of the sounds on their way out. For a DJ, it is always good to know that one is not throwing pearls before swine!!

Pete Pop played some great records—including another whole set of Latin soul, like last time. He’s got some pretty good records and he knows how to make them spin around!

As a club DJ, playing records in the middle of the day is something that needs getting used to. As an aging club DJ, it is something that we can get used to really fast—especially when playing records at Mama Roux. At closing time, around 4pm (not 4 AM!!), Miss Sterling, the owner of the club, showed up with her family and the Mama Roux’s chef laid out a buffet of of some very excellent food for all staff members to partake in. Are DJs considered staff members? You bet! The Boogaloo Bag writers are here to tell you that the crabcakes are fantastic!

DJ Pete Pop and Phast Phreddie the Boogaloo Omnibus pause to pose for post Funky Brunch photo op. Photo by Anthony

The following is a list of some of the sonic pearls that Phast Phreddie the Boogaloo Omnibus threw before the fabulous patrons of Mama Roux—including three popcorn records in a row:

The Nilsmen–Sand Step (RJR; Netherlands)
Paul Humphrey & His Cool Aid Chemists–Detroit (Lizard)
Cannonball Adderley Sextet–Jive Samba (Riverside)
Bobby Jones–R House Special (Gateway)
Jack Daniels Orchestra—The Loop (Jerden)
Rene Touzet his Piano & Rhythm–Caravan (Fiesta)
Donatao–Bambu (Blue Thumb; France)
Orchestre Conga Internationale–Nakupenda Sana (Play Sound; France)
The X-Citers Unlimited–Soul to Billy Joe (ABC)
Carmen Rivero y Su Conjunto–Pata Pata (Discos Columbia)
Freddie and Henchi and the S.S. Revue–Biscuits and Buttermilk (MoSoul)
Benny Spellman–Fortune Teller (Minit)
Slim Harpo—I’m Gonna Keep What I’ve Got (Excello)
Curtis Mayfield–Beautiful Brother of Mine (Curtom)
Funkadelic–Cosmic Slop (Westbound)
Betty Wright–If You Ain’t Got It (Alston)
Johnny Griffith, Inc.–The Grand Central Shuttle (GeNEVA)
Ike & Tina Turner & the Ikettes–Come Together (Minit)
Manfred Mann–Watermelon Man [from EP The One in the Middle] (His Master’s Voice; UK)
Dr. Feelgood and the Interns–Mister Moonlight (OKeh)
Bob Marley and the Wailers–Doppy Conquer (Shelter)
Toots and the Maytals–Country Road (Island)
Boogaloo Assassins—No, No, No (Sicario)
The Noble Knights–Sing a Simple Song (Cotillion)
The Meters–Trick Bag (Reprise)
The Temptations–Hum Along and Dance (Gordy)
The Chakachas–Jungle Fever (Polydor)
William DeVaughn–Be Thankful for What You Got (Roxbury)
Antique–Last Tango in Paris (Cat)
[no artist listed]–Superstition (Hoctor)
Judy Carne–Sock It To Me (Reprise)
Vincent Bell–Eleanor Rigby (Decca)
Lord Sitar–Have You Seen Your Mother Baby Standing in the Shadow? (Capitol)
Buddy Rich–Uptight (Everything’s Alright) (Pacific Jazz)
Virginia Vee–I Feel Free (RSO France; France)
Mel Tormé—Comin’ Home Baby (Atlantic)
Major Lance—Um, Um, Um, Um, Um, Um (OKeh)
Googie Rene Combo–Smokey Joe’s La La (Class)
Vic Schoen–1 – 2 – 3 (Mainstream)
Tony Clarke–Landslide (Chess)
The Vows–Buttered Popcorn (V.I.P.)
The Rivingtons–Pop Your Corn (RCA)
Jerry-O–Popcorn-Boo-Ga-Loo Pt. 1 (Boo-Ga-Loo)
Contributors of Soul–(Do The) Yum Yum Man (Emase)
The Dixie Cups–Two-Way-Poc-A-Way (ABC-Paramount)
The Heptones–Party Time (Island; UK)
Delroy Wilson–Get Ready (Monica’s; Canada)
Betty Lavette–Heart of Gold (Atco)
The Isley Brothers–Spill the Wine (T-Neck)
The Delfonics–Ready or Not Here I Come (Can’t Hide From Love) (Philly Groove)
Cumbias en Moog–Cumbia de Sal (Peerless; Mexico)
Hugh Masekela–Languta (Chisa/Blue Thumb)
Laurel Aitken–Do the Boogaloo (Big Shot; UK)
Gary (U.S.) Bonds—Workin’ for My Baby (Legrand)
Alvin Cash & the Crawlers–Twine Time (Mar-V-Lus)
Barbara George–Something You Got (Seven B)
Barbara Lynn–Oh! Baby (We Got a Good Thing Goin’) (Jamie)
Phil Flowers–I Saw Her Standing There (Dot)
Patti Drew—It’s All Over Now (Quill)
Tammi Terrell–This Old Heart of Mine (Motown)
Jewel Akens–A Slice of the Pie (Era)
The Dells–Hi Diddley Dee Dum Dum (Argo)
Timmy Norman and the O’Jahs–Roadside 75 (Sound Stage 7)
[no artist listed]–Cissy Strut (Hoctor)
Clarence Wheeler & the Enforcers—Doin’ What I Wanna (Atlantic)

None of these records are for sale.

Boogaloo Brunch Action!

Phast Phreddie the Boogaloo Omnibus and DJ Pete Pop swing at Mama Roux’s Funky Brunch!

Last year, Phast Pheddie the Boogaloo Omnibus moved to Dutchess County in Upstate New York. On the east side of the Hudson River, he has found few kindred spirits. However, on the west side, he has plenty of friends up and down the river—old friends in Kingston, Woodstock, Saugerties, New Paltz, etc. Recently he has become better acquainted with DJ Pete Pop. Mr. Pop is Newburgh’s chief proponent of reet music—especially as played on 45 RPM records. Well that’s the way we like to swing, isn’t it?

Mr. Pop has been a resident of Newburgh since 1967 when his family moved there from Greece. Little Pete was all of six years old. Now, big Pete runs a Greek diner in Newburgh and collects boss records, which he recently (as of about six or so years ago) started playing out at clubs. Before the Trump Plague hit early last year, Mr. Pete had a regular night at a joint called Quinn’s in Beacon. That gig may be starting up again soon—it may help if more folks get themselves vaccinated. We trust that every Boogaloo Bag reeder has gotten his or her shots by now. Thanks for not being stupid.

DJ Pete Pop picks another boss record to play at the Funky Brunch!

So where were we… oh, yeah, so Pete Pop contacted Phast Phreddie the Boogaloo Omnibus to see if he wanted to DJ with him at a New Orleans-themed restaurant in Newburgh called Mama Roux on Sunday August 8. This would be a late morning-early afternoon Funky Brunch event held in the Mama’s deluxe patio setting. Would the Phast Man want to do this?

Does the pope shit in the woods? Uh, how does that saying go? No matter—The Phast Man wanted to swing.

…and swing they did. When The Boogaloo Omnibus showed up with his bodyguard, the lovely Miss Nancy Gardner, Mr. Pop was already in full-on discotheque mode. The place was filling up with happy brunchers and the owner, the vivacious Miss Sterling, was smiling through her covids mask! The Mama Roux had only been open for about six months when everything had to close down. With things slowly opening back up, it was time to try a Sunday brunch event, so Miss Sterling asked DJ Pete Pop if he’d like to bring his records to spice up the aural vibe. Mr. Pop, in turn, invited the Phast One. The only way the event could have gone better is if Santa Claus had come and distributed presents!!

The nice folks at Mama Roux were kind enough to feed the DJs and it must be reported that the food was most excellent. The Boogaloo Bag writers had some salmon thing and a quiche; both were extremely tasty. The food ain’t cheap at The Mama’s—it’s a double $$ on the google maps—but you definitely won’t get cheated on flavor, that’s for sure!!

As for the music… The DJs played a mix of funky New Orleans rhythms, organ grooves and jumpin’ R&B. At one point, DJ Pete Pop got into a Latin Soul groove that he couldn’t quite get out of. As one may attest to by reading his set list below, Phast Phreddie the Boogaloo Omnibus added a Jamaican touch with a few reggae records. Dig it all here:

None of these records are for sale.

GO Mechanism Swings Again!

Thank you so much for your attention to The GO Mechanism. G-O is Groove O’Rooney! That’s what it’s all about: Groove with O’Rooney sauce spread all over it!! The Luxuria Musics were very pleased with the first installment and instantly called for a second one, so here it is!

During the second hour of each GO Mechanism there will be a Science Corner, where the host, Phast Phreddie the Boogaloo Omnibus will air three songs in a row and discuss them. This second GO Mechanism will feature the instrumental work of The Dave Clark Five.

The Dave Clark Five by Norman Parkinson, 1964

Here are a few notes on some of the songs presented during this installment:

“Calypso Blues” is a cover of a song originally recorded by Nat King Cole. That version is beautifully sung by Mr. Cole with only conga drum accompaniment, played by Jack Costanzo. It is a wonderful record that may pop up in a future GO Mechanism. Willie Rosario’s version has a distinct Latin soul groove and he treats it with a little mirth.

“Dyna-Soar” features Roland Kirk as a member of the Quincy Jones Orchestra. The track was not released until it was included in a Roland Kirk box set in 1990.

Because Phast Phreddie the Boogaloo Omnibus has so many talented friends, he feels he should include some of their work when appropriate. In this second installment of The GO Mechanism, his pals include (in order of appearance) DJ Bonebrake, The Fleshtones with Lenny Kaye, Dave Alvin (as a member of The Third Mind) and (kind of) Fred Schnieder of The B-52’s. We say “kind of” because the exclusive Boogaloo Edit of “Planet Claire” has Mr. Schnieder’s vocal part edited out. Not because we dislike Mr. Shnieder or his vocals—far from it!—but rather, The GO Mechanism artistic director so fell in love with the groove and wordless vocal of the beginning and ending of the song that it was edited together. We hope Mr. Schnieder does not take this personally.

Leticia Estrada is a singer from Colombia who presents, for your entertainment, a Spanish language version of “The Blob,” the song that plays during the opening credits of the movie of the same name.

The whole album by the previously mentioned The Third Mind is deserving of purchase by all GO Mechanism listeners. As noted, it features roots rocker Dave Alvin in a totally psychedelic setting and it works perfectly. Also, you need to listen to the complete version of “East-West” which was edited for inclusion in The GO Mechanism. Here’s hoping that the group will be touring soon so we can see how this is performed live.

Caravan is one of the greatest melodies of all time and it is very possible that The GO Mechanism will feature at least one version in each installment. Presented here is a version by Dizzy Gillespie. He must have also been a fan of the song as he recorded it several times throughout his career. This version comes to us from the early fifties when he recorded it for his own Dee Gee label.

Chris McDermott is a talented songwriter that Phast Phreddie the Boogaloo Omnibus worked with when he was a song-plugger for a major music publishing company during the nineties. Included here is one of our favorite songs by Mr. McDermott.

Here is a complete set list of all the songs played on The GO Mechanism in their order of appearance:

Earl Bostic—Lester Leaps In (King) GO MECH THEME SONG
Sonny Rollins—Paradox (from LP Work Time; Prestige)
Andre Brasseur—The Duck (Palette)
Willie Rosario—Calypso Blues (Musicor)
Wild Man Fischer—Go to Rhino Records (Rhino) [edit]
Quincy Jones —Dyna-Soar (Mercury)
DJ Bonebrake Trio—4/4 Situation (from LP The Other Outside; Wondercap)
Camarón de la Isla—Las Doce Acaban de Dar (Toná y Martinete) (from LP Antologia; Universal, Spain)
The Denvermen—Stomp Fever (RCA, Australia)
Roland Alphonso—James Bond (Island, UK)
Arthur Lee—You Can Save Up To 50% But You’re Still A Long Ways From Home (A&M)
Ted Heath—Honky Tonk Woman (London)
Ninapinta and his Bongos and Congas—Help (from LP The Downtown Scene—Hit for the Hip; Decca)
Rufus Thomas—Stop Kicking My Dog Around (from LP Can’t Get Away From This Dog; Stax)
Big Mama Thornton—Just Like a Dog (Barking Up the Wrong Tree) (Peacock)
The Fleshtones with Lenny Kaye—Comin’ Home Baby (from LP The Brooklyn Sound Solution; Yep-Roc)
Vic Schoen—1, 2, 3 (Mainstream)
The B-52’s—Planet Claire (Boogaloo Omnibus edit) (Warner Bros.)
James Brown—Fight against drug abuse public service announcement (King)
Howlin’ Wolf—Don’t Laugh at Me (Chess)
The Third Mind—East West (excerpt) (Yep-Roc)
Mose Allison—Fool Killer (Atlantic)
Frank Zappa—Take Your Clothes Off When You Dance (from LP The Lost Episodes; Rykodisc)
Miles Davis and his Orchestra—Move (Capitol)
The Dave Clark Five—Move On (from the LP American Tour; Epic)
bed music: Members of the New York Philharmonic, conducted by Pierre Boulez—Edgar Varése: Ionisation (Columbia Masterworks)
The Dave Clark Five—Rumble (from the LP Return; Epic)
The Dave Clark Five—All Night Long (Epic)
Les McCann—Compared to What (from the LP Les McCann Plays the Hits; Limelight)
Aretha Franklin—Tighten Up Your Tie, Button Up Your Jacket (Make It for the Door) (Columbia)
Bill Doggett—The Worm (Columbia)
Leticia Estrada—La Burbuja (Musart; Mexico)
Paul Butterfield—You Are What You Eat (from the movie of the same name; Columbia)
Harold Melvin & the Blue Notes—Hot Chills, Cold Thrills and Fever (Uni)
Count Basie & His Orchestra—Hang on Sloopy (from the LP Basie’s in the Bag; Brunswick)
Dizzy Gillespie—Caravan (Dee Gee/Savoy)
Tito Puente—Voodoo Dance at Midnight (RCA Victor)
Pedro Laza y sus Pelayeros—Cumbia Del Monte (Fuentes; Colombia)
Lyn Tait—Out on a Funky Trip (Randys)
Olatunji—Gin-Go-La Ba (from the LP Drums of Passion; Columbia)
Chris McDermott & the Wild Combo—Let Them Think What They Want ()
The Soul Society—Sidewinder (Dot)
Curtis Mayfield—Freddie’s Dead (Curtom)
Son House—Grinnin’ in Your Face (Columbia)
Bonzo Dog Band—Slush (United Artists)

Amir Baraka — Rhythm Blues
Anne Sexton—The Truth the Dead Know
Charles Simic—We Were So Poor
Gregory Corso—I Am 25

Luxuria Music is a completely independent and listener-supported online music steam with many other shows on the stream that you may also enjoy. The GO Mechanism people humbly ask the reader to explore the Luxuria Music website and find other shows to dig:

Also, if you dig what the Luxuria Musics are putting down, feel free to support them:

Soon after this show airs, it will be posted on the Luxuria Music website as a podcast and it will be available for about two months. The Lux Mu podcasts are kind of hidden, so here’s how you find them: Near the top right of the Lux Mu home page is a box with three red lines. Click on that, then click on “podcasts.” Scroll down a ways and click on the one noted as “Saturday Night Special.” If you need to, scroll down to the one posted 7/18/2021 and you found it. As of this writing, the first GO Mechanism is still available, posted 6/6/2021, and will most likely be available for another week or two. Also, check out the accompanying Boogaloo Bag post as you listen in order to fully understand the scene.

Enjoy The GO Mechanism!

¡Mambo Jambo Stylee Birthday Action!

Wow, it’s been about a year and a half since Phast Phreddie the Boogaloo Omnibus has spun a record in public! That means that there have been very few Boogaloo Bag entries. All of this is due to the world-wide pandemic that was prolonged by an inept president who failed to take it seriously and who was completely incapable of leading America out of the pandemic. He was rewarded with catching the plague himself, plus losing his re-election bid last November. With a shiny new president, America is slowly emerging from the pandemic, making it possible for boss DJ gigs to resume. Hallelujah!

DJ Rata swings with Electronic Head-Gear at Mambo Jambo!

Our pal DJ Rata has already secured a regular DJ gig on the first Friday of the month at a cozy neighborhood bar called Izzy Rose in Clinton Hill, Brooklyn. His birthday is June 29, but it was celebrated on July 2 there at the Izz in fine style, with guest DJs Mr. Fine Wine, Tony El Salvage and Phast Phreddie the Boogaloo Omnibus for a very special Mambo Jambo event.

Rata is one of our favorite DJs. He swings with mean R&B and the heavy, heavy mambo beat. On this night he spiced up his regular fare with some hot cumbias. The birthday boy had the joint jumpin’, that’s for sure.

Rata and Mr. Fine Wine swing at the birthday Mambo Jambo!

Mr. Fine Wine is quite possibly the best soul music DJ on the planet. He’s got the best records and he knows how to play them. Don’t believe me? Just check out his radio show on WFMU every Friday night. He’s been doing it for more than 25 years and still going strong. For about that long he has also had a residency Wednesday nights at the Botanica Club on Houston Street, but of course, the pandemic put an end to that. Rumor has it that Mr. Fine Wine may be back at the Botanica soon. When he returns, you gotta go and dig his scene because it is clean!

Tony El Salvaje and birthday boy Rata swing at Mambo Jambo!

Tony El Salvaje is another fine DJ we dig. Like Rata, he likes to swing with a mambo record or two—but he also pops with rockabilly and R&B records. His action is happening in a major way and always gets the locals hoppin’ with his uptempo fare.

DJ Rata and Phast Phreddie the Boogaloo Omnibus swing at the Mambo Jambo!

Gee, it’s been over a year since many of us had DJ’d in public and, as one may expect, a few mis-cues were witnessed. However, there was no mis-cue with the fabulous chocolate cupcakes made by Nancy “Jeannie” Gardner. Those were Good with a capitol “G!” She also brought some vegan brownies and chocolate fudge—all of which was devoured by Rata’s faithful followers!

Nancy’s cupcakes were definitely swingin’!!
Our pals Karen McBurnie (Grade ‘A’ Fancy) and Jon Hammer (Susquehanna Industrial Tool and Die) swing under the Bat Signal at the Mambo Jambo!

In order to help set the scene, Phast Phreddie the Boogaloo Omnibus brought the Bat Signal and played these groovy records:

None of these records are for sale.

The GO Mechanism Begins Here!!

The Groove Oroony Mechanism is GO!

Presenting here for the first time in the universe; the first time in eternity; the first time in psycho-cosmic exceptionalistism: The Groove Oroony Mechanism. Known commonly as “The GO Mechanism,” it is a new concept in radio programming, developed in the laboratory of Wang Dang Doodle Enterprises, a subsidiary of Boogaloo Omnibus Productions, in co-ordination with the fine people at Luxuria Music, and employing the strict high standards of that popular entity. 

The GO Mechanism endeavors to present audio excellence in a unique and fascinating manner; it is electric, eclectic, eccentric, exotic, exhausting and etcetera. 

The first GO Mechanism—broadcast on June 5 at—is a cornucopia of reet music, mostly instrumental, often swingin’, always audible.

The GO Mechanism is entertaining and educational.

There is much Groove; there is even more Orooney!

Here are some notes on the program and a list of all the tracks in order of appearance…

Earl Bostic

• For the first GO Mechanism, the music of Earl Bostic is featured in the second hour. Mr. Bostic’s rendition of “Lester Leaps In” is the theme song for The GO Mechanism, thus it is only appropriate that more of his music is brought to light. For more about Earl, visit his website. It is maintained by our friend Marty Jourard

  • The Art Blakey track is from a soundtrack to the French movie Les Laisons Dangereuse. It has been stuck in our head for a couple of years and we hope to stick it in yours.
  • It has been noted that Jim McGuinn of The Byrds wrote “Eight Miles High” after hearing some John Coltrane recordings. Steve Marcus’ version of the song may illustrate the point. That’s Marcus on the soprano saxophone.
  • It is very likely that every GO Mechanism will have a version of one of the greatest melodies of all time, Caravan.” The version we chose is one of our favorites and it is performed by three of the greatest jazz musicians of all time.
  • The Jill Scott/Charles McMahon track comes to us from a flexi disc that was included in a book written by Jill Scott. McMahon plays the didgeridoo.
  • The Hamilton Camp track was discovered on a reel-to-reel tape at a music publisher back in the nineties. Camp was a Bleeker Street folkie. His song, “Pride of Man,” first appeared on his 1964 album Paths of Victory and was notably recorded by Quicksilver Messenger Service. Camp was also a successful character actor for many years. The song played on The GO Mechanism may have never been released.
  • Several years ago, Phast Phreddie the Boogaloo Omnibus—the humble host of The GO Mechanism—listed the Jimmy Valves version of “Incense and Peppermints” in the Boogaloo Blog. In time, it was duly googled by someone claiming to be Mr. Valves’ daughter. She did not have a copy of the record and asked for scans of the labels and mp3s of the tracks. They were sent. As we type, a copy is available on ebay…

  • Sometimes we love “Inna-Gadda-Da-Vida,” sometimes we hate it. Most folks remember the song for its lycergic-induced indulgence but we’ve always liked some of the non-drum solo instrumental parts and one of them is presented here.
  • Regarding the track by The Soul Partners, what’s a “spead?”

• We end the show with a highly significant track by the great Walter Jackson.

And now, the music…

  1. Earl Bostic—Lester Leaps In (King)
  2. Art Blakey’s Jazz Messengers—No Problem (Les Liaisons Dangereuses; Philips)
  3. Alvin Cash & the Crawlers—Twine Time (Mar-V-Lus)
  4. Steve Marcus—Eight Miles High (Tomorrow Never Knows; Vortex)
  5. Tito Puente—Dance of the Headhunters (Tambó; RCA Victor)
  6. Duke Ellington, Max Roach, Charles Mingus—Caravan (Money Jungle; Solid State)
  7. Smokey Johnson—It Ain’t My Fault (Nola)
  8. Jill Scott & Charles McMahon—No Record of a Name (Journey Scape; Australia)[edit]
  9. Arnett Cobb—Lonesome Road (Party Time; Prestige)
  10. John Bunch 3—St. Thomas (Lane)
  11. Mr. D & the Highlights—Nose Full of White (Jas)
  12. Lennie Hibbert—Real Hot (Creation; Studio One, Jamaica)
  13. Leonard James & His Orchestra—Slow Down (Boppin’ and A’ Strollin’; Decca)
  14. Buddy Morrow—She Loves You (Epic)
  15. Les Yper Sound—Jericho Jerk (Fontana, France)
  16. Sonny Forrest—Diddy Bop (Atco)
  17. Vivian Reed—Shapes of Things to Come (Epic)
  18. 黛·ジュン—ブラック·ルーム(Capitol, Japan)
  19. Hamilton Camp—It’s a Hard Life and It’s Over Mighty Soon (demo)
  20. Albert Ayler—Ghosts (Vibrations; Arista-Freedom)
  21. Nels Cline—Queen of Angels (The Inkling; Cryptogramophone)[edit]
  22. Earl Bostic—Flamingo (King)
  23. Earl Bostic—Cherokee (King)
  24. Earl Bostic—Up There in Orbit (King)
  25. Hank Marr—Mexican Vodka (Federal)
  26. Herbie Mann–Mushi Mushi (Atlantic)
  27. Charlie Parker Septet–A Night in Tunisia (famous alto break edit; Dial)
  28. The Ventures–Zocko (Batman Theme; Dolton)
  29. Jimmy Valves and the Incredible Jangle Group–Incense and Peppermints (Nocturne)
  30. Ren & Stimpy Theme
  31. Captain Beefheart—Black Snake Moan (Grow Fins; Revenant)
  32. Charanjit Singh—Hey Mujhe Dil De (Instrumental Film Music; Odeon, India)
  33. Iron Butterfly—Inna-Gadda-Da-Vida (Atco)[edit]
  34. Gary Mure—Crack Up (Verve)
  35. Sandy Nelson—Scratchy (Teen Beat ’65; Imperial)
  36. Peaches & Herb—Satisfy My Hunger (Date)
  37. Sharon Jones & the Dap Kings—Fish in the Dish (Naturally; Daptone)
  38. Emil Richards & The Microtonal Blues Band—Maharimba (Journey to Bliss; Impulse)
  39. The Soul Partners—Spead (Bell)
  40. Tempo 70—El Galleton (Mericana)
  41. Curtis Mayfield—Freddie’s Dead (Superfly; Curtom)
  42. Walter Jackson—No Butterflies (Epic)
  43. Bonzo Dog Band—Slush (United Artists)

Complete poems recited by the author:

Maya Angelou—Phenomenal Woman

Lucile Clifton—Cruelty

Langston Hughes—Ballad of the Gypsy

That was it. Thanks for listening. We hope you enjoyed it. Thanks to the nice folks at the Luxuria Musics for asking us to do this… especially Miss Lina for her support and Rory for technical assistance. If The GO Mechanism gets archived on the LuxMu website, we will post a link to it here in order for the listener to re-live the experience as often as possible. If another GO Mek is called for, we will post information regarding it here in the Boogaloo Bag. In the meantime, there are several groovy shows at the LuxMu, so you are hereby encouraged to go there and check them out. Dig the scene here!!!

The first GO Mechanism has been archived. Here’s how the diligent listener can access it: set your web-o-net browser for this:

then scroll down to the Saturday Night Special dated 6/6/2021, then hit the “GO” triangle next to. In a few seconds it will GO, and so will you!!

The Back Door Man Story–somewhat

Prelude: I was recently asked to write about Back Door Man, a rock fanzine that I started in 1975, by some folks who publish a Spanish rock magazine called Ruta 66. So I wrote something, perhaps more than I should have, but less than I could have. I wasn’t given a lot of time, so what is here is mostly what I remembered. I asked DD to read and add–she helped with some names. I should have asked Tom Gardner to add, too, but I knew he would remember too much and this would end up being too long. It was edited and published in Ruta 66’s 35th anniversary issue recently. Here is what I sent them–unedited and in English. There are many people who helped us along the way and I apologize to anyone whose name I forgot. Perhaps some day a longer piece will be written and I’ll have the time to remember more of you and even ask for your thoughts on the matter. ‘Til then…

In 1974, nothing was happening. The rock bands my friends and I liked had all broken up—The MC5, The Stooges, The Velvet Underground, The Doors, The Seeds. There were a few current rock bands that we liked—Aersomsith, The New York Dolls, Blue Öyster Cult, Mott the Hoople—but they weren’t getting played on the radio and none of them were based in the Southern California area, where we were. Most of the rock magazines didn’t seem to cater to us ‘hard-core’ rock’n’rollers anymore, not even Creem Magazine.

We lived in the South Bay area of Los Angeles County. Beach towns, sure, but we were no surfers. We lived in the working class cities of Carson and Torrance. We attended keg ‘n’ Quaalude parties (at some of them I was the DJ) and we dug a couple local groups—The Imperial Dogs and Atomic Kid. We worked crummy jobs. We had nothing going for us but music: rock’n’roll—loud, hard and fast. Top Forty radio was obsessed with the insipid pop of the Johns: Elton John, Olivia Newton-John and John Denver; we hated the mellow, country-tinged pop records coming out of Los Angeles; the so-called ‘cool’ FM stations played the ugly noodlings of progressive rock—BORING!

BDM staff hangs with BÖC and Lenny Kaye

On November 11 and 12, 1974, Patti Smith and her trio played at the Whisky A’ Go-Go in Hollywood. We knew who she was because she had written for Creem, co-wrote a song or two for Blue Öyster Cult, and we had her “Piss Factory” single, which we adored. I missed the first night, but my friends went. The next day they called me and insisted I go for the second night. I went.

Tuesday night is a dead night for most clubs, but it seemed especially dreary when the act on stage was so exciting and the fans in the audience were so few. Patti’s little group—Lenny Kaye on guitar and Richard ‘DMV’ Sohl on piano—rocked with soul, intelligence and inspiration rather than with a heavy, heavy beat. Mostly it was musical accompaniment to Patti’s poetry—much like the “Piss Factory”/”Hey Joe” single. Also, she sang “The Hunter Gets Captured by the Game,” a Smokey Robinson song that was recorded by The Marvelletes. It was great.

After the show, my friends and I went back stage to meet them. It was easy because there was no security on such a slow night. We were excited about this new music coming out of New York City that they talked about.

For about a month I stewed. Why doesn’t anybody know about these bands we like? How come nobody knows about Patti Smith and The Stooges and Aerosmith and The New York Dolls? In December I decided to start my own magazine. My friends were smart—they knew a lot about music and records and they knew how to write. I told them I wanted to start a magazine. I didn’t know how to do it, so I made it up as we went. I called it Back Door Man after the Howlin’ Wolf song that was covered by The Doors—I thought it would show that we have roots that go further back than last weeks hit record. Also, The Shadows of Knight had an album called Back Door Men and we thought a reference to that was hip, too.

BDM staff: Gregg Turner, Phast Phreddie, Don Waller, Bob Meyers, DD Faye, Thom the Punk Gardner.

My friends consisted of Don Waller, DD Faye and Thom “The Punk” Gardner (we considered ourselves the Hard Core Four, as we always made the scene), also Bob Myers and Don Underwood. Underwood’s wife Liz was our first photographer—she had been president of The Seeds’ fan club. I gave them assignments, like record and concert reviews. Since we had no access to rock stars in order to get interviews, we included several ‘think’ pieces—editorials that insisted rock’n’roll return to its primal roots; basically demanding that something like the punk rock movement should happen (and it did soon after). Also, we did what I don’t think anyone else was doing at the time: we wrote about local, unsigned rock bands as a regular feature; from the South Bay first, then the whole Los Angeles area.

I didn’t know how to make a magazine. So I went to a local off-set printer and got some advice. They told me how to lay out the magazine so it can be printed properly. It turned out to be a little more expensive than I thought, but I had some money in a savings account and we used that for the first few issues. We made 300 copies of the first issue and sold them at local record stores. We were even able to get the magazine sold at the Rhino Records Store in Westwood and the Tower Records Store in Hollywood.

Tower Records was key. It was located in the heart of the L.A. music industry which resulted in several very influential people seeing BDM and wanting to help. Those people included Greg Shaw, who wrote for Phonograph Record Magazine and his own fanzine, Who Put the Bomp!; Ben Edmonds, a transplant from Detroit who wrote about us in Record World, a music industry trade magazine; and Kim Fowley—who thought we were cool enough to have his band The Runaways make their debut in my living room!

Another key contact due to the Tower Records availability was the manager of The New Order—a super group (to us!) consisting of Ron Asheton (Stooges) and Dennis Thompson (MC5). We liked the group so much we put them on our second cover and hung out with them at their Hollywood apartment.

By the third issue, we kind of knew what we were doing. Soon we added Gregg Turner to the staff. He was a record collector friend of mine who I met in a record store when I heard him ask for 13th Floor Elevators records. Later, he started Back Door Man RecordsThe Imperial Dogs, The Pop and The Zippers—and was in The Angry Samoans.

Because BDM started before the punk movement began, we were often thought of as a mainstream magazine—well, we did have Aerosmith, Kiss and The Blue Öyster Cult on the cover—but really we considered ourselves a ‘hard core rock’n’roll’ magazine, of which we felt punk rock was as much of a part as the heavy metal bands we liked. Also, by having Kiss on the cover, perhaps we could expose people to bands like The Ramones and The Clash.

DD Faye and I used the pay electric typewriters at El Camino Community College nearby to type the magazine up. I think they charged 25 cents per hour. The headlines were made with press-type. They were produced slowly, by hand. Once the magazines were printed, we saved money by stapling them together ourselves.

About a year or so after BDM was founded, some women contacted us who worked at a printer. They were Patti Smith fans and wanted to help. Carol Williams, Beth Talbert and Lorraine Suzuki were able to typeset the magazine, perform the layouts and print it all up for free. Suddenly, BDM looked professional!!

Such photographers as David Arnoff, Donna Santisi and Jenny Lens—all later became known for pictures of punk musicians—got their start at BDM.

In the spring of 1977, at the urging of BDM reader Miriam Linna (now, Norton Records, Kicks, Kicks Books, etc) I took a trip to New York City to check out the scene. While there, I met Lester Bangs who agreed to write a piece for us.

Back in L.A., things were happening with such great groups as The Weirdos, The Zeros, The Last and X playing in the local clubs, and BDM covered that, too. However, we continued to support a few mainstream artists when they made records we liked—BDM was always a rock ‘n’ roll magazine, not a punk rock magazine, although we leaned that way.

There was no set schedule when BDM was published, so it was hard to be current, but we tried. We just issued a magazine whenever we could. We were not very good business people. Although we were able to obtain ads from some record stores and a few record companies, none of us wanted to spend the time to hustle the advertising that supports most magazines. We all just wanted to write and go to concerts. When, after 15 issues, the women who printed the magazine for us were discovered by their boss, we had to pay to have it printed and we couldn’t afford it. If we wanted to continue, the only option would be to go back to typing it up ourselves. Nobody wanted to do that, so we stopped printing.

Every once in a while, I run into someone who tells me that Back Door Man was an influence on him or her. I am happy that we have a legacy of sorts. Sometimes I see them sell on eBay for a lot of money. Before he died in 2016, Don Waller wanted to reissue the magazines, maybe in a bound volume. Tom still wants it to happen, so perhaps it will. It is also very satisfying to know that there are hard core rock’n’rollers living in Spain who are interested in something that we did 45 years ago.
—-Phast Phreddie, Back Door Man publisher

Rip! Rig! Boogaloo!


Phast Phreddie the Boogaloo Omnibus and Nogood Nick swing at Rip! Rig! Panic!

The final DJ gig of the year for Phast Phreddie the Boogaloo Omnibus took place on December 29, 2019. It was the day after his 66th birthday and just a few hours after he pitched a nine-inning softball game at the Parade Grounds in Prospect Park. Thanks to global warming and a little warm weather clothing, softball is now being played all year round in Brooklyn.


Matt Clarke and Kirstyn Soles enjoyed the music and the vegan lemon sugar cookies that Miss Nancy baked just for the occasion.

The event was Rip! Rig! Panic!, the groovy gala hosted by our friend Nogood Nick and featuring exciting exotica, Mod jazz, organ grooves, impelling mambo and titillating lounge sounds. It was held at Abe’s Pagoda Bar in north Bushwick–just a few steps from the Dekalb Avenue stop on the L Train.


Nogood Nick prepares another boss sound for Rip! Rig! Panic!

Rip! Rig! Panic! is one of our favorite scenes–Nogood Nick and his guest DJs always play groovy music. The Boogaloo Bag writers often attended Rip! events when they were held at Otto’s Shrunken Head, even when Phast Phreddie was not scheduled to spin a few records. Lately, Nogood Nick has been hosting events at Abe’s and recently revived the Rip! Rig! Panic! brand for them. The Boogaloo Bag writers whole heartedly approve of this move; Rip! Rig! Panic! is a wonderful name, as it evokes the fabulous album of nearly the same title by Roland Kirk.


This particular Rip! Rig! Panic! was of particular interest, as it took place a few days before our Nick went south for the winter. As we type, he is in Miami for a couple of months and this was his going away party, of sorts. Indeed, many of his friends dropped by to wish him well in his travels. The Boogaloo Bag writers hope he has a lovely, warm winter; he’s able to score some cool Cuban records; and he comes back with a tan!


Phast Phreddie the Boogaloo Omnibus swings at Rip! Rig! Panic!


Phast Phreddie the Boogaloo Omnibus has several boxes of groovy records, what he refers to as his Happy Hour records–exciting exotica, Mod jazz, organ grooves, impelling mambo and titillating lounge sounds; in other words, Rip! Rig! Panic! material. He dipped into said boxs in order to take care of business at Abe’s. Here’s a list of everything he played:

None of these records are for sale. Some of them may have clips to the youtubes for the readers can experience them in the privacy of their own minds.


Subway Soul Club on Venus!


Being involved with the Subway Soul Club has never been boring. Things happen and things happen. An event was scheduled for June 1 at Ceremony in Williamsburg–site of the New Year’s Eve Subway Soul Club Black & White Ball that was such a success. SSC had some great DJs lined up: Mr. Fine Wine (WFMU, Botanica) and a Brit named Mark Randall. Resident DJ Phast Phreddie the Boogaloo Omnibus had a box full of boss sounds ready to go. Fearless leader Lady Dawn had the promotion in motion.


However, on the afternoon of the event (!) the SSC organization was notified by Ceremony management that the evening had been accidentally double-booked and SSC would have to be cancelled! Apparently, Ceremony management had turned over the booking of the club to an independent booking agency and forgot to notify the agency that June 1 had already been taken–many months in advance. Unfortunately, this error was not noticed until the last minute and SSC was bumped.


Lady Dawn, Subway Soul Club’s den mother and artistic director, reckoned that this was a mistake that would never happen again. Another date was booked at Ceremony:  October 26. since it was a week before Halloween, Lady Dawn decided on a spooky theme, asked folks to come in costume, and drew up an appropriate poster for it–with a mod witch flying through the sky on a Vespa scooter! Unfortunately, neither Mr. Fine Wine or Mr. Randall were available to make the scene. Lynne K (Get That Feeling) and Josh Styles (Smashed!Blocked!) were asked to be guest DJs and they were able to comply. The Subway Soul Club organization was very happy with this arrangement, as both DJs have been working with SSC since its days at Rififi, nearly 20 years ago.


However, once again Ceremony management was not able to come through. Apparently, the club was having difficulty with its landlord and all events through the end of the year had to be cancelled. The good thing is that there was about a month notice, so the SSC organization was not freaking out last minute like last time.

Another good thing, our friend Bobby Rich–who owns the Bootleg Bar, scene of the Whamo Watusi (hosted by Phast Phreddie the Boogaloo Omnibus)–had just opened a beautiful new club called Venus In Furs. The Phast Man got on the horn and asked Mr. Rich for a date at the new club as soon as possible in order to squeak in another SSC event before the end of the year. He gave them November 23.


The Subway Soul Club scene at Venus In Furs.

Lynne K and Josh Styles both agreed to come and guest DJ. Venus In Furs is a bigger and better club than Ceremony. It is the perfect setting for Subway Soul Club, with it’s huge dance floor and wildly designed walls, great sound system and bar tenders who know how to poor a drink. Everybody was happy.


Josh Styles plays another top Northern Soul favorite at Subway Soul Club.

However, even this event didn’t take place as planned–due to an act that nobody could have foreseen; guest DJ Lynne K had to deal with a family emergency and would not be available. Lady Dawn and Phast Phreddie turned to one of our favorite soul DJs Nogood Nick (Rip! Rig! Panic!) to come swing in her place. So that’s what happened.


Nogood Nick plays boss soul records at Subway Soul Club.

Plus, Miss Nancy Gardner made some vegan brownies, chocolate/pumpkin blossoms, and chocolate cookies with pumpkin mello cremes. Those things disappeared fast!


As much as the Subway Soul Club organization tried, only one event took place in all of 2019. But it was a fun one. Although it was a cold and rainy evening, the dance floor was full most of the time and the DJs played fantastic records all night. The new venue was terrific and the Subway Soul Club organization hopes it can make Venus In Furs its home for a long, long time.


Phast Phreddie the Boogaloo Omnibus observes the happening Subway Soul Club from atop Venus In Furs’ magnificent balcony.

Phast Phreddie the Boogaloo Omnibus, in order to pay homage to our friend Lynne K, opened the night with a record he learned from her. Here is a list of all the records he played at Subway Soul Club on November 23:

None of these records are for sale. Some of them have links to the youtubes for the readers’ enjoyment and edification.


At the end of the night, Lady Dawn and Phast Phreddie the Boogaloo Omnibus discuss how fabulous it was to have the Subway Soul Club event at such a beautiful location.

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