On this day, Mama’s owner Miss Sterling insisted that Phast and Miss Nancy, who was photgrapher on the scene, should take advantage of the excellent fare being served and suggested the burrata shakshuka. We couldn’t tell you exactly what it was (or even if it was legal in this state!), but it seemed to involve two or three poached eggs swimming in a rich, spicy sauce. Man, it was good.
What also was good were the fabulous records played by DJ Pete Pop. This cat has some spectacular sides and every time we DJ together he impresses with his selections. In a few weeks, he and The Boog will be workin’ it at Quinn’s for his Do The 45 dance spectacular and that will be a gas.
Here’s a list of the selections made by Phast Phreddie the Boogaloo Omnibus at the Funky Broadway Brunch on Sunday June 5:
Newburgh Illuminated is a street festival celebrating the city of Newburgh, New York. It is called “Illuminated” because, in the spring of 1884, Thomas Edison chose Newburgh as the place to host the second ever power plant in the world; one that lit up a couple of streets. The festival started a few years ago, but then was on hold during the pandemic. On June 4th it came back in fine style, centered at the cross roads of Broadway and Liberty Street. It just so happens that upon one of those four corners sits Mama Roux—the groovy New Orleans-style eatery/drinkery where DJ Pete Pop’s Funky Brunch takes place. Thus, the Mama management decided to add to the celebration with their own party on that very day, with music supplied by DJ Pete Pop, aided and abetted by Phast Phreddie the Boogaloo Omnibus.
The festival was as fabulous as any street party we have seen on either coast, with street vendors, local food, arts, crafts, and all sorts of carrying on. Also, there were stages where musicians performed. The Boogaloo Bag writers were able to check out some of the scene, but not nearly enough of it as it was quite spread out—up and down Broadway—almost to the Hudson River—and way down Liberty Street. Folks must have come from all over the Hudson Valley to celebrate the fabulousness of Newburgh!
On the last Sunday of the month, Mama Roux hosts a drag brunch. No, souped-up cars don’t race down Broadway; rather, drag queens present an exciting show. So Mama’s management invited some drag queens to entertain the street festival people. They set up on the sidewalk in front of Mama Roux and did their thing—which consisted of singing and/or lip-syncing (mostly lip-syncing) to contemporary pop songs and dancing around. Oh, and let’s not forget the outrageous outfits they wore! Every time they performed—and they must have done six or seven shows—they had captivated audiences of folks unable to believe what they were seeing. Man, it looked as if those drag queens were having loads of fun!
Also, Mama Roux set up a stand on its front porch and sold food. Good food. The Boogaloo Bag writers partook in the fried chicken, which was most excellent.
DJ Pete Pop and Phast Phreddie the Boogaloo Omnibus set up in the backyard and decided to play several records that may be a little less obscure than their usual fare—with an emphasis on the more swingin’ soul sides from the early seventies. This seemed to work, as it enticed many folks to pass through the backyard gate into the bop yard to dig the scene—and to cop a frothy beverage or eat the fine food Mama’s was layin’ down. The two DJs traded sets at the decks from about 11 AM to about 10 PM. More than a hundred records were played by Phast Phreddie the Boogaloo Omnibus, and here they are:
Norman Seldin and His Naturals–One Mint Julep (Selsom)
Do The 45 is the spectacular dance party held on the last Friday of the month atQuinn’s in Beacon, NY and hosted by DJ Pete Pop. Mister Pop brings psychedelic lights, groovy posters, video enhancements and, of course, fabulous records. For the event on May 27, he invited a bunch of his friends to come and spin a few records for the occasion. Those friends included DJ Hardly Quinn (no relation to the club, but she is a Do The 45 regular); Peter Aaron (local music scribe and neat guy), the Stately DJ Wayne Manor (it was his birthday weekend!) and Phast Phreddie the Boogaloo Omnibus.
In celebration of Wayne Manor’s birthday, Miss Nancy made some double chocolate cookies, lemonade cookies and vegan brownies! THAT, folks, is a celebration!
All DJs played some pretty boss records. Although DJ Pete Pop brought the psychedelic lights, groovy posters, video enhancements and tons of fabulous records, because there were so many guest DJs, he was only able to play about six records! Well, maybe twenty-six.
Phast Phreddie the Boogaloo Omnibus only played ten records starting at ten o’clock. Here they are:
The Boog enjoys spinning records for the Mama Roux patrons—they bop their heads as they nosh on their meals, then they look up and smile at the DJs and often leave nice tips in the tip jar. Spinning records for appreciative folks is a reward in itself.
The Boogaloo Bag has mentioned before that the food is good at Mama’s. Although The Boogaloo Bag writers are not foodies, they can still attest to the fact that the excellent chefs at Mama Roux whip up some super delicious food. On this day we were able to partake of some excellent quiche, a rice thing and something that involved chicken; a French food term may have been used. The Boog and his co-horts don’t care about any of that. The food is GOOOOOD! That’s what’s happening, baby!
Also, the music was fabulous. DJ Pete Pop played some outstanding numbers, and while he consorted with the locals, Phast Phreddie the Boogaloo Omnibus played these hot jams:
The GO Mechanism is the streaming radio show hosted by Phast Phreddie the Boogaloo Omnibus. It swings periodically on the Luxuria Music website. Then it will be listed as a podcast also on the Luxuria Music website for about four weeks before it will be posted onto the Mixclouds, and then below this post here in the Boogaloo Bag. Phast Phreddie doesn’t back announce his records; it takes too much time away from playing music. Instead, all of the information a normal DJ may discuss while on the air, is posted here in the Boogaloo Bag. GO Mechanism Number Eight is scheduled to air on luxuriamusic.com on Saturday May 7, 2022 as a Saturday Night Special feature at 7:00pm on the West Coast, 10:00pm on the East Coast.
Here’s the dirt.
Science Corner: In the Science Corner we look at the past, present and future of a musical composition: “You Don’t Love Me.” This is a blues song by Willie Cobbsthat has it’s roots in a Bo Diddley song, it became a blues standard and then an international reggae hit.
The Bo Diddley song is called “She’s Fine, She’s Mine.” The title is never sung during the song, which makes it confusing because Bo Diddley also had a song called “You Don’t Love Me (You Don’t Care),” lines that are contained in “She’s Fine, She’s Mine.” Other important elements of “She’s Fine” is the guitar riff and a wordless vocal. The song was first issued as the B-side to “Diddley Daddy.”
Willie Cobbs was born near Smale, Arkansas, a small town located between Little Rock and Memphis. In the fifties, he made his way to Chicago where he leaned to play harmonica from Little Walter and tried to establish himself on the fertile blues scene there. He befriended the pianist Eddie Boyd and by 1960 the two returned to Arkansas where they played in clubs. In 1961, Cobbs and Boyd recorded “You Don’t Love Me” in Memphis. The song contains a few lines from Bo Diddley’s “She’s Fine,” notably, “You don’t love me, I know” which became the chorus. Cobbs recording added more lyrics and cleaned up the guitar riff used by Bo Diddley and his harmonica player Billy Boy Arnold. By doing this, Willie Cobbs created a new song.
The record was originally issued on Mojo Records, a label that was at least partially owned by the rockabilly singer Billy Lee Riley. The record started to make some noise in the Memphis area and it got picked up by several other companies: Ruler, Home of the Blues and Vee Jay, to name a few. The song was never technically a hit—it didn’t sell that many records—but it became a blues standard when so many others re-recorded it.
Among the first artists to cover the song was Don Hosea, another Memphis rockabilly cat, who released it on Sun Records, but called it “Uh Huh, Unh,” and gave writer credit to Willie Cobbs.
Before we get into other cover versions, let’s look at another issue. Billy Lee Riley—who claimed to have been the guitarist on the recording, though he is not credited in discographies—assembled a band called The Megatons and recorded an instrumental version of “You Don’t Love Me.” Riley retitled it “Shimmy Shimmy Walk” and took writer credit for it. The song was released on the Dodge label and picked up by Checker, a Chess Records subsidiary and the label that Bo Diddley recorded for. (It is this song that is used as the bed music for this edition of The Science Corner.) This fact is made even more interesting because it is Billy Lee Riley and The Megatons who appear on eight instrumental tracks on Surfin’ With Bo Diddley, though not credited as such; the whole album is credited as a Bo Diddley album, though he’s only on four songs. A re-recording of “Shimmy Shimmy Walk” appears on the album as “Piggy Back Surfers.”
Somehow the song got on a boat to Jamaica where the producer Coxsone Dodd recorded a rocksteady version of the song by Dawn Penn. Her version became popular on the island around 1967 or so. By the end of the sixties, Penn was no longer singing. However, in the early nineties she was coaxed out of retirement and she re-recorded the song in a more modern dance hall style and it became a pretty big international hit. Dawn Penn took writing credit for the song.
But it doesn’t stop there. Penn’s version of the song inspired contemporary R&B singers Rihanna and Beyoncé to also record the song. Talk about a song with legs! The Boogaloo Bag writers are unsure who Beyoncé credited as the songwriter, but the Rihanna album credits both Willie Cobbs and Elias McDaniel aka Bo Diddley.
For the spoken word portion of the program, we have asked the New York musician Oweinama Biu to recite some poems that were written during the First World War: “Anthem for Doomed Youth” by Wilfred Owen, “I Have a Rendezvous With Death” by Alan Seeger and “Grass” by Carl Sandburg. The producers of The GO Mechanism felt it was important that these poems—and others like them—are heard during this time of strife in the world.
“Headless Heroes” was written and recorded by Eugene McDaniels. This is the same person who, as Gene McDaniels, had several pop hits during the sixties: “Tower of Strength,” “A Hundred Pounds of Clay,” “Point of No Return.” By the end of the decade, he concentrated more on writing songs, mostly those that are socially aware. One of them was “Compared to What,” which was first recorded by Les McCann for his 1966 album Les McCann Plays the Hits. McCann and his group—with guest Eddie Harris on tenor saxophone—performed it at the Montreux Jazz Festival in 1969, which was recorded and released on the LP Swiss Movement. This version became very popular and increased the awareness of McDaniels as an important songwriter. The song has since been recorded countless times. Indeed, a reggae version of “Compared to What” is included later in this edition of The GO Mechanism. That version was recorded by Jerry Jones, an American singer who recorded in Jamaica.
The melody of “My Generation” is hardly recognizable in this instrumental version by Manfred Mann. Those guys knew how to re-arrange a song, that’s for sure.
Guem was an Algerian percussionist. The producers of The GO Mechanism are fond of people who bang on shit!!
There are well over one hundred recordings of “Caravan” by Duke Ellington—usually with his orchestra. We’ve included one here, a live version where the Duke introduces some of the band members at the beginning; the bass player and members of the horn section who provided some percussion activity.
One of The GO Mechanism producers’ favorite on-line radio shows is that of Dennis Diken, the drummer for The Smithereens. His show, called Denny’s Den, airs on Wednesdays on the WFMU Rock and Soul stream (2pm to 4pm East Coast time). His show bears witness to his intelligence, humor, and excellent taste in music. He closes his show each week with “Hot Tips” by Jon Thomas—a fantastic R&B organ workout. However, Diken uses it as bed music as he ends his show—he talks over it. The track is presented here without any talking.
Jon Thomas was a Cincinnati musician who played on many studio dates for King Records; it is he on the piano for Little Willie John’s original version of “Fever.” Thomas’ song “Heartbreak” was recorded byLittle Willie John, James Brown, Dee Clark and Thomas had his own minor hit with it. Jon Thomas made several cool records, but his greatest achievement is most likely the cover for his album, Big Beat on the Organ, which contains “Hot Tips.”
Wganda Kenya was an Afro-Funk group from Colombia that was popular during the seventies and eighties. The group’s song played on this installment of The GO Mechanism is misspelled on the Mexican pressing; it should be “Tifit Hayed.”
The one hundredth anniversary of the birth of the great bass player and composer Charles Mingus took place on April 22, 2022. In his honor, we will hear a portion of his extended composition “Cumbia & Jazz Fusion.” Released in 1978, this is proof that Mingus was still composing great music up until the time of his death in 1979. Included is the first eleven minutes of the twenty-eight minute track.
Lou Courtney (real name: Louis Pegues) was a soul singer, songwriter and producer who is a favorite around the Boogaloo Bag Headquarters. He’s a legendary fellow of sorts, who rarely cracked the Top 40 R&B charts but made some fabulous records while attempting to do so. He also wrote songs that other folks recorded, such as “Do the Freddie” by Freddy & the Dreamers. There’s a guy on the Youtubes who presents a pretty good overview of his career. For this edition of The GO Mechanism, a song from Courtney’s album Skate Now/Shing-A-Ling called “Psychedelic Shing-A-Ling” has been selected. This stereo version sounds to our ears as if it is an American version of the Jamaican dub music. The track on the mono LP has a lot less echo. Perhaps that version will be presented in a future GO Mechanism.
The program closes with a timely song by reggae musician Lloyd Parks. He got his start in the rocksteady vocal duo The Termites. Parks was a bass player who became very active with session work but found time to cut solo records, including an album called Girl in the Morning, which included the song “Stop the War.”
Here is a complete track listing of all the records played in this edition of The GO Mechanism:
• Earl Bostic—Lester Leaps In (King) • Eric Dolphy—Gazzelloni (Blue Note; from LP Out to Lunch) • Benny Poole—I Can Dig It (Cascade Sound) • Eugene McDaniels—Headless Heroes (Atlantic; from LP Headless Heroes of the Apocalypse) • Manfred Mann—My Generation (His Master’s Voice; UK ; from LP Soul of Mann) • The Mighty Duke—Racial Segregation (Mace; from LP Caribbean Carnival) • Oliver Nelson—Alto-Itis (New Jazz; from LP Screamin’ the Blues) • Living Guitars—All Day and All of the Night (Camden; from LP Teen Beat Discotheque) • 101 Strings—Karma Sitar (A/S) • The Yardbirds—Hot House of Omagarashid (Epic; from LP Over Under Sideways Down) • Guem—Racine (Le Chant Du Monde; France; from LP Percussions) • Duke Ellington & His Famous Orchestra—Caravan (Verve; from LP Soul Call) • Dave “Baby” Cortez—Hula Hoop (Roulette) • Jerry Jones—Compared to What (Studio One; Jamaica) • Jon Thomas—Hot Tips (Mercury; from LP Big Beat on the Organ) • Wganda Kenya—Tipit Hayed (Peerless; Mexico) • Johnny Harris Orchestra—Lulu’s Theme (Warner Bros.; Canada) • Charles Mingus—Cumbia & Jazz Fusion (Atlantic; edit from LP Cumbia & Jazz Fusion) ***Bo Diddley—She’s Fine, She’s Mine (Checker) ***Megatons—Shimmy Shimmy Walk (Dodge) [Science Corner bed music] ***Willie Cobbs—You Don’t Love Me (Home of the Blues) ***Dawn Penn—You Don’t Love Me (No, No, No); (Coxsone; Jamaica) • Keith Mansfield & His Orchestra—Boogaloo (Epic) • Dámaso Pérez Prado—La Mano () • Vivian Reed—Shape of Things to Come (Epic) • Lou Courtney—Psychedelic Shing-a-ling (Riverside; from LP Skate Now/Shing-a-ling) • Titanic—Sultana (Epic) • Horace Silver Trio with Art Blakey—Message From Kenya (Blue Note; from LP Message From Kenya) • Chris Powell & His Five Blue Flames—I Come From Jamaica (OKeh) • Menahan Street Band—The Duke (Dunham) • The Mothers of Invention—Hungry Freaks Daddy (Verve; from LP Freak Out) • Ralph “Soul” Jackson—Sunshine of Your Love (Atlantic) • Curtis Mayfield—Freddie’s Dead (Boogaloo edit—Curtom; from LP Superfly) • Lloyd Parks—Stop the War Now (Trojan; from LP Girl in the Morning) • Bonzo Dog Band—Slush (United Artists)
Spoken word poems were recited by Oweinama Biu. These were all written as a response to World War One. They are:
“I Have a Rendezvous With Death” by Alan Seeger “Grass” by Carl Sandburg “Anthem for Doomed Youth” by Wilfred Owen
We thank the Luxuria Music People for the opportunity to present The GO Mechanism whenever it becomes available. Luxuria Music is a listener-supported affair and The GO Mechanism producers and the Boogaloo Bag writers strongly suggest that they are supported. This edition of The GO Mechanism will be available as a podcast soon after its initial air-date of May 7, 2022 as the Saturday Night Special broadcast 5/8/2022. After about three or four weeks, it will magically appear in the Mixclouds and right here…
Rebel Night is one of the most fabulous record hops in New York City. It has been in operation since 2005, swingin’ at several different clubs, but mostly at Otto’s Shrunken Head on 14th Street in Manhattan. It is hosted by four rockabilly fanatics from Japan and they play the most rockin’ records imaginable; heavy on rockabilly but also lots of rockin’ R&B, doo wop and even an occasional garage record. Phast Phreddie the Boogaloo Omnibus is asked to be a guest DJ with them from time to time and, indeed, was scheduled to do so on March 20, 2020. Unfortunately, the trump virus took hold around that time. A week before the event the whole planet was ordered to lock-down, thus that Rebel Night was cancelled.
Over the last several months, especially with the help of vaccines, the world seems to have been coming back to life—or at least, trying to. Musical acts are starting to tour again, clubs are opening up, and DJ nights are returning. With nearly everything slightly back to normal, the Rebel Night hosts thought it was time to bring rock’n’roll back to New York City; on Saturday April 16, 2022 they did it, back at Otto’s Shrunken Head.
Most of the Rebel Night hosts were in the house. Hiromu, who was one of the founders of Rebel Night, has moved back to Japan and he and his records were missed. Another founder, Kikuchi, dropped out a few years ago and rarely makes the scene. However, Seiji and Akinori were able to keep the party going and Junichi showed up toward the end of the night in order to help with late night action. Those guys have some fabulous records and they know how to play them!
DJs Mike N Stein and Phast Phreddie the Boogaloo Omnibus, who were both scheduled to work back in 2020, were asked back. Mike N Stein of The Memphis Morticians played some fantastic records. It was great to see him back behind the DJ booth.
More importantly, this was a homecoming. After two years and two months of no Rebel Night, a lot of the regulars returned with fresh new dancing shoes. It was terrific to see all of the familiar faces. As regular Boogaloo Bag readers may know, The Boog has moved out of The City and so coming to Manhattan and seeing so many great friends was a genuine pleasure for him. The place was packed and folks were boppin’ all night. Plus, Miss Nancy made some Easter cookies for the occasion and they were devoured accordingly.
In order to present two sets of hot rock, Phast Phreddie the Boogaloo Omnibus dipped heavily into his box of all-time greatest records and pulled about twenty of them to play at Rebel Night, augmented with some recent acquisitions and other appropriately rockin’ records from his library. He is still wary of the trump virus so he wore his Batman mask throughout the night. Here is a complete list of the records he played:
You have found the notes to GO Mechanism Number Seven. The GO Mechanism is a multi-discipline, multi-dimensional, multi faceted experience that is ultimately enhanced by both listening to the program and reading along to its companion Boogaloo Bag entry. GO Mechanism Number Seven will initially air on Luxuria Music on March 26 at 8:00 PM California time (10:00PM in New York). After it is aired, it will be available as a podcast for about four weeks on the Luxuria Music website before being posted on both the Mixclouds and below. If you are reading this before the initial airing on Luxuria Music, The GO Mechanism producers invite you to go to the Luxuria Music website, listen in and join us in the Lux Mu chat room. In the chat room each song will be announced as it is played. Plus, you will be able to interact with The GO Mechanism producers in real time.
The GO Mechanism endeavors to offer Groove and O’Rooney to a troubled world. In order to present more Groove than gab, the program does not stop to back-announce song titles and artists. All of that information is found here in The Boogaloo Bag. One aspect of The GO Mechanism is The Science Corner—a segment of the program that aspires to bring important information to the listener’s attention. It will take place near the beginning of the second hour of the episode. The O’Rooney will flourish naturally throughout the program.
In this episode of The GO Mechanism, The Science Corner looks at Manu Dibango’s song “Soul Makossa.” Most folks know it as the cool African funk record that was on the radio in 1973, but there is much more to the story than that. It was a sensation in the disco clubs of New York City before it was available in the United States. Thus, several acts—most of them one-off studio groups—recorded versions of the song in order to cash-in. These versions were all meant to exploit the popularity of the song without having to actually license it. An act called Afrique almost got away (reaching Number 33 on R&B charts) with it before Atlantic Records was able to license the original by Manu Dibango. Most of these versions are fairly faithful to the original, and thus are not that interesting. It seems the further one gets from New York City, the more original the arrangement of the song is. The Science Corner presents three versions of the song:
The Lafayette Afro Rock Band was a group from Long Island that moved to France in order to be an authentic American funk group operating in Europe. The group’s first album is called Soul Makossa and includes the track heard in The Science Corner. However, when the LP was released in the U.S., it was retitled Voodounon and “Soul Makossa” was not included. This may be because the group had a working relationship with Manu Dibango and they didn’t want to steal his thunder. Of the three versions presented here, this one is pretty close to the original. Grupo Guerro – 78 was led by Carlos Guerra, a trumpet player from Venezuela. This version is one of the wildest, with its shouting and bird calls! The beat is more of a mambo than Afro-funk. Brent Dowe was a founding member of the reggae group The Melodians. Their song “Rivers of Babylon” was featured in the movie The Harder They Come. Dowe co-wrote the song and left the group for solo career soon after that song’s original success in 1970. A few years later he cut his version of “Soul Makossa.” He actually cut it twice for his single; one side was a pretty straight reading, the other is the reggae version heard here. On both sides the word is misspelled as “Masooka.”
Here are some other cool versions of “Soul Makossa:”
King of the Be-Bop baritone saxophone, Cecil Payne is a GO Mechanism favorite. He first made a name for himself in Dizzy Gillespie’s post-war big band. He didn’t really lead too many sessions, so there are not a lot of records available under his name. However, he played on sessions by just about every important jazz artist you can name, from John Coltrane on down. When you see his name on a recording, you know it’s going to be boss.
If Wild Bill Davis never cut another record, he should be sainted for his work with Louis Jordan and His Tympany Five (1945-1949). Those records are fabulous and Davis was the pianist, and sometimes the organist. Davis is one of the earliest keyboard players to regularly make the electric organ swing. “Breaking Out” is a single-only release, and perhaps the only record he ever made that one can frug to.
“Cumbia Sampuesana” is like the “Louie Louie” of cumbia songs. There must be about a hundred versions of it. It seems that just about any group of musicians south of El Paso that ever worked a cumbia rhythm has played it. Indeed, a modern version was aired in GO Mechanism Number Six. It was originally recorded by Conjunto Tipico Vallenato from Colombia. The version here is by Afrosound, a group from Columbia made up of excellent, hand-picked musicians. Expect more from Afrosound in future GO Mechanisms.
Laika & the Cosmonauts are often called Finland’s Number One surf band, but upon listening to “Syncophant” one will notice that, after about a dozen years after it was formed, the group had progressed beyond it’s surf ’n’ Shadows influences in order to produce very modernistic instrumental music.
“Life’s Too Short” by The Lafayettes is a favorite of The GO Mechanism producers. The group was from Baltimore. In the John Waters film Hairspray, there is a scene where the group (actors) plays (lip-syncs) this song as the kids dance. It is one of our favorite moments of the movie.
The Happenings Four were a Japanese rock’n’roll group of the sixties. The group is one of many bands who have become known as exponents of what is called Group Sounds or GS. The Happenings Four added their own lyrics (in Japanese) to Lou Donaldson’s soul jazz composition “Alligator Boogaloo” and recorded a winner! Astute GO Mechanism listeners will note that another Group Sounds track was played earlier in the show: the one by The Golden Cups. In fact, there are (and will be) GS songs sprinkled throughout The GO Mechanism macrocosm.
Quincy Jones’ “Rack ‘em Up” is from the soundtrack to The Pawnbroker. Although he is not necessarily a favorite of The GO Mechanism producers, it seems that he has already landed three songs in seven episodes of The GO Mechanism. How did that happen?
The GO Mechanism producers never liked the song “Summer Breeze” until they heard this boss instrumental version by The Isley Brothers. It features the way underrated guitar playing of Ernie Isley. Was he ever on the cover of Guitar Player Magazine? I don’t think so. It’s a shame that his playing has never really been celebrated as much as it should be.
Here is the complete track listing for GO Mechanism Number Seven:
• Earl Bostic—Lester Leaps In (King) • Cecil Payne—Bongo Bop (Charlie Parker; from the LP Performing Charlie Parker Music) • Wild Bill Davis—Breaking Out Part Two (RCA Victor) • Underground Vegetables—Melting Pot (Zimeno) • Charanjit Singh—Lekar Ham Diwana Dil (Odeon; India; from LP Instrumental Film Tunes) • Cal Tjader—My Little Red Book (Skye) • Clifford Brown & Max Roach—Mildama (EmArCy; from LP Brown & Roach Incorporated) • Duke Ellington & His Famous Orchestra—Bunny Hop Mambo (Capitol) • Tito Puente—Mambo Beat (RCA Victor; from LP Mucho Puente) • La Bert Ellis—Batman Theme (A&M) • The Golden Cups—Iwa-Mata-Noboru (Capitol; Japan) • Afrosound—La Sampuesana (Discos Fuentes; Colombia) • Laika & the Cosmonauts—Syncophant (Yep-Roc—from LP Absurdistan) • Hopeton Lewis—The Wind Cries Mary (Dragon; UK) • Bo Diddley—Bo’s Guitar (Chess; from LP Go Bo Diddley) • Smokey Robinson & the Miracles—Backfire (Tamla—from LP A Pocketful of Miracles) • Bulawayo Sweet Rhythms Band—In the Mood (Wena Buti Lalela (London) • Astor Piazzolla—Michelangelo ’70 (American Clavé; from LP Tango: Zero Hour) • The Epics—Caravan (His Master’s Voice; Australia) • The Lafayettes—Life’s Too Short (RCA Victor) • • • The Lafayette Afro Rock Band—Soul Makossa (Manifesto; from LP Afro Funk Explosion) • • • Grupo Guerro – 78—Soul Makossa (Discolandia) • • • Brent Dowe, The Gaynotes—Reggae Masooka (Gay-Feet/Dub*Store; Japan) • The Happenings Four—Alligator Boogaloo (Capitol; Japan) • Rene Hall—Cleo (Specialty) • Quincy Jones—Rack ‘Em Up (Mercury) • Captain Beefheart & His Magic Band—Sugar n Spikes (Revenant; from LP Grow Fins) • The Four Shells—Hot Dog (Volt) • Herbie Mann—The Scratch (Atlantic) • Grupo Santa Cecilia—Africa Bump (Orfeon) • Isley Brothers—Summer Breeze Part 2 (T-Neck) • The Pioneers—Papa Was a Rolling Stone (Trojan) • Tony Fox—I Dream One Day (Tri-Spin) • Los Lobos—Revolution (Warner Bros.; from LP Colossal Head) • Mahotella Queens—Incwepelezi (Gumba Gumba; South Africa) • Lee Fields with Sugarman & Co.—Shot Down (Daptone) • Herbie Hancock—Blow Up End Title (M-G-M/from LP Blow Up soundtrack) • Curtis Mayfield—Freddie’s Dead – Boogaloo edit (Curtom) • Manu Dibango & Hal Singer—The Soukous (Decca; France) • Bonzo Dog Band—Slush (United Artists)
Extended Spoken word: Dylan Thomas—Do Not Go Gentle Into That Good Night Langston Hughes—Weary Blues (Verve; from LP The Weary Blues With Langston Hughes)
That’s the story for this installment of The GO Mechanism. After the program airs (this one on March 26) it will be in the Luxuria Music podcast section for about a month–as the Saturday Night Special entry dated 3/27/2022. Then it will be archived at the Boogaloo Omnibus Mixcloud Site and also at the end of this post.
Yeah, the food! Mama Roux is an elegant eatery with a New Orleans theme, located in the heart of downtown Newburgh, NY. On Sundays, after the Funky Brunch concludes and the front door is locked, the Mama Roux people have a little party. The joint is closed Mondays and Tuesdays, so Chef Matty whips up a spread of fine food (stuff that may go bad in two days) for the employees; DJs included. On this occasion the Boogaloo Bag writers sampled some excellent fried chicken, outstanding mashed potatoes, sensational seafood sausages and superb Brussel sprouts.
To say that Pete Pop is back in action would be putting it mildly. He hosts the Funky Brunch every Sunday—with an occasional guest DJ; plus he’s got his Do The 45 shindig at Quinn’s in Beacon up and running again. In fact, the next Do The 45 will have none other than Todd-O-Phonic Todd as guest DJ. It will happen on March 25 and you don’t want to miss that. In the near future, The Boog may be a featured DJ at The 45, too, and we are looking forward to it.
For several years, our Upstate pal DJ Pete Pop has been hosting a DJ night called Do the 45 at a groovy joint called Quinn’s in beautiful downtown Beacon, NY. When the Trump virus hit and the whole world stopped working for a couple years, his operation was put on hold. Recently, he has been able to get his action back together. A couple months ago, the Boogaloo Bag writers, who last year moved up to the Mid Hudson Valley, were able to attend one of the come-back gigs when the great Gaylord Fields was guest DJ. They observed a scene that was mean and clean with folks dancin’ and a-carryin’ on. So it was with delight that Phast Phreddie the Boogaloo Omnibus agreed to be a guest DJ at the last minute when Mr. Pop’s scheduled guest DJ, Todd-O-Phonic Todd, could not come north for the gig due to the crummy weather (there had been about five or six inches of snow that morning).
The Boog received the invitation to swing around five in the afternoon. Start time was 8:00 PM. He barely had enough time to gather about fifty or so 45s into a box and run out the door.
Do the 45 is DJ Pete Pop’s flagship dance night featuring rock and soul music. Pete produces premium Pop power with his psychedelic lights, groovy movies and boss records. Folks come from all over the area to partake in Quinn’s food—it is a restaurant that features what it calls Japanese comfort food, with its specialty being Ramen noodles. While they are there, folks often get up and shake a little action during one of Pete Pop’s nights.
With the absence of the marquee guest DJ, Pete Pop also invited a couple of local DJ’s to help out with the musical selections: DJ Stately Wayne Manor and DJ Hardly Quinn. These two have been working pretty steadily, lately, what with a gig at Otto’s Shrunken Head the very next night. They served up the goods, that’s for sure. Between the four DJs, the cool music kept the club warm from the chilly winds outside.
Everyone was asking, “Where’s Todd-O-Phonic Todd?” With any luck, Todd-O-Phonic Todd will actually be on hand for Do the 45 in March—the event takes place on the last Friday of the month—and you know the Boogaloo Bag writers will be there.
Meanwhile, these are the records that Phast Phreddie the Boogaloo Omnibus was able to scare up and play for his emergency session at Do the 45:
Here are the notes for GO Mechanism Number 6, which is scheduled to be aired on Luxuria Music’s streaming radio site on Saturday February 5 during its “Saturday Night Special” program.
The Science Corner in this installment of The GO Mechanism will feature three backing tracks created in the Motown Records recording studio—known as the ‘Snake Pit’ because of all the cables strewn around it. Motown had a fairly regular group of musicians as a house band and they played on most of the records made during the sixties. When playing these records, the listener often concentrates on the vocalist—no sin there, many of the Motown singers (ie, Marvin Gaye, Smokey Robinson, Martha Reeves) were spectacular. On these tracks heard in The Science Corner, the lead vocals have been stripped and the listener can key-in on the music played by the band, known as The Funk Brothers. Several years ago, they were the subject of a good documentary called Standing in the Shadows of Motown. In the film, the musicians discuss how the tracks were produced and give insights on recording so many hit songs.
Many of the band members of The Funk Brothers were pulled from the jazz nightclubs of Detroit by Barry Gordy, Motown’s owner. One such musician was Johnny Griffith, a pianist who played on many of Motown’s hit records. He also cut an album, simply titled Jazz, for a short-lived Motown subsidiary label called Workshop Jazz. GO Mechanism Number 6 leads off with a track from that album. In the seventies, Griffith made some cool funk records under the name Johnny Griffith Inc.
As noted in GO Mechanism Number 4, Daptone Records has lately been branching out into the world music kingdom. In GO 6 we present an example of Moroccan music that the label released last year by a group called Innov Gnawa.
“Shrimp and Gumbo” by Dave Bartholomew is quite simply one of the greatest records ever made. It came to the attention of the GO Mechanism producers during the eighties when it appeared on a French compilation of his music. It had been on the top of our want-list ever since—until it was finally obtained about ten years ago via a heavy, heavy record deal with noted radio personality and record collector Mr. Fine Wine.
Another contemporary act presented in GO 6 is Los Disco Duro, an Oakland, California-based group of electronic musicians who breathe fresh life into the ethnic rhythms of South America. Presented here is the group’s version of “Cumbia Sampusana,” a very popular cumbia from Colombia. This new version is as good as any of the four or five other versions in the Boogaloo Omnibus library.
“Big Nick” is an excellent organ groover by the New Orleans musician James Booker. The exact melody was used by Italian-born, French singer Nino Ferrer for his song “ Les Cornichons” and it is one of our favorites by him. Don’t worry, the French people gave Booker a co-writing credit on the song. Most likely, the Ferrer version will be played in a future GO Mechanism.
In 1958, M-G-M records released an album of spoken word called The Weary Blues With Langston Hughes. On one side of the album Langston Huges recites his poetry and and makes observations over the playing of some traditional jazz musicians, with compositions by the writer Leonard Feather. The other side presents Huges’ eloquence backed by Charles Mingus’ band playing Mingus’ compositions, but under pianist Horace Parlan’s leadership for contractual purposes. The last track on the album is this version of “Jump Monk,” sans Hughes.
Jimmy McCracklin‘s fabulous rocker “What’s That” has become quite a sensation on R&B dance floors over the last several years. A truly boss song, the version heard here in The GO was unreleased until it appeared on a Bear Family CD compiling all of McCracklin’s Mercury recordings in 1992. There are some great songs on that disc, so expect to hear more from Jimmy in future GOs.
In the early sixties, popular R&B organ player Bill Doggett featured a young singer named Charles Hatcher in his live act. Although Doggett recording prolifically, he very rarely recorded with a vocalist. However, Hatcher was allowed to record as a percussionist, and is heard on this track, “Oo-Da” from Doggett’s LP Wow!that was first issued on ABC-Paramount in January 1965. Soon after, the frustrated Hatcher left the band, changed his name to Edwin Starr and recorded one of the greatest records ever made, “Agent Double 0-Soul.” In 1969, Doggett released an excellent instrumental version of Starr’s hit song “Twenty-Five Miles.”
Here is the official track listing for GO Mechanism Number Six:
•Earl Bostic—Lester Leaps In (King) •Johnny Griffith—Unknown Minor (Jazz Workshop) – LP Jazz •Jack Daniels Orchestra—The Loop (Jerden) •The Atlantics—Beaver Shot (Rampart) •James Carter—Caravan (DIW/Columbia) JC on the Set •Màalem Hassan Ben Jaadfer – Innov Gnawa—Chorfa (Daptone) Lila •Los Teenagers—Cumbia Sinceleja (Discos Fuentes; Colombia) Cumbias y Gaitas Famosas •Eddie Lavette—Boomerang (Steady) •Jan Davis—Watusi Zombie (Holiday) •Jack Costanzo—Chicken and Rice (Boogaloo edit ending) (GNP Records stereo version) •Dave Bartholomew—Shrimp and Gumbo (Imperial) •Cracker Jacks commercial •Gary Mure—Crack Up (Verve) •Bunky Green—Orbit 6 (Cadet) Testifyin’ Time •Chocolate Watch Band—Expo 2000 (Tower) •Los Disco Duro—Cumbia Sampuesana (Discos Mas) •Roland Alphonso—James Bond (Studio One) Something Special: Ska Hot Shots •Tito Puente—Cuero Pelao (RCA Victor) •Earl Bostic—La Bossa (King) •The Big Game Hunters—See the Cheetah (Uni) •James Booker—Big Nick (Peacock) •Horace Parlan with Charles Mingus—Jump Monk (Verve) Weary Blues With Langston Huges reissue •••The Four Tops minus one—Reach Out (I’ll Be There) (Motown) •••The Supremes minus one—You Keep Me Hanging On (Motown) •••The Isley Brothers minus one—Take Me In Your Arms (Rock Me for a Little While) (Tamala) •Hank Jacobs—Elijah Rockin’ With Soul (Call Me) •Art Blakey—A Night in Tunisia (Part 1) (Blue Note) •Milton DeLugg—Rise Robots Rise (Mainstream) •Jimmy McCracklin—What’s That (Part 2) (Mercury/Bear Family CD) •Bill Doggett—Oo-Dah (ABC-Paramount) Wow! •Hommy Sanz y su Orquesta—Heart Full of Soul (Fonseca) •Dave & Ansil Collins—Doing Your Thing (Techniques; UK) •Dyke & the Blazers—The Wobble (Original Sound) •John Coltrane—Tranesonic (alternate take) (Impulse) Stellar Regions •Quincy Jones—Call Me Mister Tibbs (United Artists) •David Alexandre Winter—Qu’est-ce Que J’ai Dansé! •Etta James—Plum Nuts (Argo) Second Time Around •Curtis Mayfield—Freddie’s Dead (Boogaloo edit) •Mary Lou Williams—Let’s Do the Froggy Bottom (Mary) •Bonzo Dog Band—Slush (United Artists)
Recited poetry: Alec Guinness—O The Sun Comes (by e.e. cummings) (RCA Victor) Gregory Corso—Sun – A Spontaneous Poem
After its original air-date, February 5, this GO Mechanism will be available as a podcast on the Luxuria Music website. It can be found among the Luxuria Music podcasts for the Saturday Night Special programs and this one will be dated 2/6/2022.
This episode of The GO Mechanism Experience is now available here
Previous GO Mechanisms are available at the Mixclouds. Dig it here!