Boogaloo Bag enthusiasts are certainly aware that DJ Pete Pop swings the Funky Broadway Brunch at Mama Roux in beautiful downtown Newburgh every Sunday. What the reader may not know is that on the last Sunday of the month, the brunch is taken over by drag queens who present two colorful shows at each Funky Drag Brunch. On Sunday, June 26, Mr. Pop had some personal affairs to tend to and needed a substitute DJ for the day. Phast Phreddie the Boogaloo Omnibus was called.
Mr. Pop was able to have things all set up for the event. He showed The Boog how to cue the music for the drag queen show—which uses modern technology. This is important because none of the songs the drag queens utilize during their performances are on 45 RPM records—the usual format for the Funky Broadway Brunch. Once everything was ready to go, Mr. Pop departed for his other situation.
The drag queen show consists of men dressed as women lip syncing to popular songs—usually by a female singer—as the performer walks up and down the aisle of the restaurant, primping, vogueing, strutting and dancing, with an occasional somersault, back-flip or, in one case, a cartwheel (which nearly took out one of Mama Roux’s chandeliers!). All the while, spectators hand dollar bills to the performers. It is great fun. Did I mention that both shows were sold out? Yes, for the Funky Drag Brunch there is a cover charge; there is no admission for non-drag Funky Brunches (which makes it even less of a drag!!).
Here are a few photos of the dragsters that will give the Boogaloo Bag reader an idea of what goes on during a Funky Drag Brunch at Mama Roux…
Oh, and let’s not forget the fine food at Mama Roux. The Boogaloo Bag writers—and photographer Miss Nancy—partook in some most excellent cuisine: gumbo ya-ya and burrata shakshuka. The gumbo is the best this side of the Mason-Dixon Line, that’s for sure. The food was so good that photos weren’t taken until it was gone!
For the music part of the event, Phast Phreddie the Boogaloo Omnibus presented much of the music usually played during a regular Funky Broadway Brunch, but with more hit records than he would normally play thrown in. This seemed to work, as tippage for the DJ was very generous! Here’s a list of everything played:
Hello GO Mechanism enthusiast. In order to fully appreciate this post, it helps if you read it as you listen to GO Mechanism Number Nine simultaneously; preferably as it is being aired for the first time on Saturday July 2 at 7:00 PM (West Coast) or 10:00 PM (East Coast)—or in what ever time zone you happen to be in—on Luxuria Music. It is presented as part of the Saturday Night Special series, where a different DJ plays music each week. From time to time, the Luxuria Musics plays host to The GO Mechanism.
Here are the notes for GO Mechanism Number Nine. If the GO Mechanism had a real DJ, he would discuss this stuff on the air. But the GO Mechanism producers would rather play music than talk, thus we have notes here in the Boogaloo Bag. After all, the “G” stands for groove, and yappin’ can get in the way of it; especially when so much O’Rooney is in the mix!
This edition’s Science Corner*** features the bongo player Preston Epps. He’s known mostly for “Bongo Rock,” a 1959 hit recording. In the early seventies, the song was re-hitted by The Incredible Bongo Band. Mr. Epps made several records and most of them are pretty cool. GO Mechanism Number Five featured his “Afro Mania,” a tremendous percussion-laden jam. In 2014, Preston Epps appeared at Tiki Oasis—the fabulous tiki culture festival held each summer in San Diego. It was there at Tiki Oasis where the Boogaloo Bag writers were able to catch Mr. Epps in action (and get his autograph on “Afro Mania!”). When Mr. Epps got into his groove, he would close his eyes and become one with the rhythm.
The three selections of Preston Epps’ music heard in this edition of The GO Mechanism are not typical of his recordings. The first is from an album called Calypso Trinidad that, for the most part, is just vocalist Louis Polliemon and Epps’ bongo playing. It was recorded maybe two years before “Bongo Rock.” The next track, “Watusi Bongo,” was recorded in the early sixties for the Donna Record Company, but it was not released until the British label Ace Records added it to a Donna/Del-Fi Records anthology. It may be one of his best recordings from the period and it’s a shame it went unreleased at the time. The third has a vocal by Andre Franklin. “Say Yeah” is a hot gospel-flavored R&B number that has become a big dance-floor favorite in reet music circles.
Cootie Williams was an outstanding trumpet player who became famous for his growling style and his use of a toilet plunger for a mute while he was a member of Duke Ellington’s Famous Orchestra. Cootie was in the band from 1929 to 1940, when he joined the big band of Benny Goodman before starting his own orchestra about a year later. His orchestra was both swingin’ and far-sighted. It employed young musicians such as Charlie Parker and Bud Powell who would soon make names for themselves in Bebop; as well as Eddie (Cleanhead) Vinson and Willis (Gator Tail) Jackson who became popular in the rhythm & blues field. Williams was the first established band leader to record songs by Thelonious Monk, such as the version of “Epistrophy” heard here. It was titled “Fly Right” at the time but it remained unreleased until Columbia Records issued a three-record compilation celebrating the big band era called The Sound of Harlem. Cootie’s orchestra also recorded the first ever version of Monk’s “‘Round Midnight” in 1944. Luckily, that one was issued soon after it was recorded. Later in the forties and early fifties, Williams also cut some fine R&B-oriented tracks.
Where did acid rock come from? The very first reference to L.S.D. on a rock ’n’ roll record is most likely this 1959 recording by the The Gamblers called “LSD-25.” The other side of the record is “Moon Dawg,” which is often considered the very first example of guitar-based surf music. The members of the band were its leader Derry Weaver, Bruce Johnston, Elliot Ingber, Larry Taylor and Sandy Nelson. Weaver left only a few recordings of The Gamblers as examples of his genius, but all of the other band members had significant careers in music.
Speaking of surf music: It is a little-remembered fact that early surfers listened to jazz records. Thus it is not surprising to see that trombonist Kai Winding titled his 1963 album Soul Surfin’. It was later re-titled More after that song (a theme from the Italian movie Mondo Cane) became a Top Ten hit. However, the photos of surfers remained on the cover and “Soul Surfin’” remained the title as per the back cover! Record business shenanigans for sure.
Maximillion at the Piano is Max Crook, who played keyboards on Del Shannon‘s early records. His solo in the middle of “Runaway” is played on a musitron, an electronic instrument Crook invented.
Does anybody know who Rolley Polley is? His Mad Drums album on Capitol is a pretty good example of exotic percussion, with “Swingin’ the Samba” included in this show. The liner notes on the back cover mention only that Mr. Polley grew up in Texas and now lives in Hollywood (or did at the time of the recording). No matter, the album swings and we’ll hear more of it on future GO Mechanisms, that’s for sure.
The Boogaloo Bag writers recently witnessed a live performance by the Mexican group Son Rompe Pera. The band consists of a bass player, a drummer, a fellow who plays bongos on a stand—similar to a timbales player—and two guys who bang away on the same very long marimba. Their music is sort of a rocked-up mutant cumbia. Indeed, their moto is “Cumbia is the new Punk.” The show was very high energy and it was shocking how well the concept worked. The Boogaloo Bag writers bought the album, and a song from it is included in this show, but there is nothing like seeing this act live. If Son Rompe Pera comes to your town, stop what you’re doing and check the group out. You’ll buy a t-shirt, too.
“One O’Clock Jump” is a famous swing number first recorded by Count Basie & His Orchestra in the thirties. It was very popular and several big bands of that era, as well as eras that followed, have performed it. The GO Mechanism presents a version by Chuck Berry. It is another track that was unreleased at the time it was recorded—probably because it was a warm-up number during a recording session. However, it shows how well Chuck Berry and his band could swing. For those keeping a score card, that’s Johnny Johnson on piano, Willie Dixon on bass, Fred Below on drums and J.C. Davis on tenor sax. Berry mostly plays rhythm on this, after he takes a brief solo near the beginning. Most of the show belongs to Davis, a talented saxophonist who also worked with Hank Ballard and James Brown. His string of singles on Chess are terrific R&B instrumentals, with “Monkey” being a favorite.
This is probably the shortest version of “Light My Fire” you will ever hear.
“Shotgun” is another Motown recording with its lead vocal track missing. See the Science Corner in GO Mechanism Number Six for more on that.
Gétatchèw Mèkurya was an Ethiopian saxophonist who mixed modern jazz with traditional Ethiopian music. His music came to the GO Mechanism producers’ attention when it was included in the Éthiopiques series of CDs that culled some incredible music from that country. There are about thirty volumes and the music ranges from very interesting to absolutely fantastic. Collect ‘em all!!
GO Mechanism Number Nine closes with a song from the super fine songwriter Peter Case. “Put Down the Gun” was written while he was on his first tour as a solo artist in 1986 and it was recorded for his second solo album. It is as timely now as the day it was written—maybe more so now.
Once again we have asked the New York City musician Oweinama Biu to recite the poetry for The GO. He does an excellent job of reading “The Bombardment,” a World War One era poem by Amy Lowell. The poem is a little lengthy, so it was broken up and delivered at several important intervals during GO Number Nine. The background music for the poem is “In C” by Terry Riley.
Here is a complete track listing of the records played during The GO Mechanism Number Nine:
Earl Bostic—Lester Leaps In (King)
Duke Ellington & His Famous Orchestra—G Is for Groove (from LP The Private Collection Volume Three – Studio Sessions New York 1962; Saja)
Cootie Williams & His Orchestra—Fly Right (Epistrophy) (from LP The Jazz Odyssey Volume Three: The Sound of Harlem; Columbia)
Terry Riley—In C (from LP In C; Columbia Masterworks)
The Three Suns—Danny’s Inferno (from LP Movin’ ’n’ Groovin’; RCA Victor)
Curtis Mayfield—Freddie’s Dead (Boogaloo Edit) (Curtom)
Peter Case—Put Down the Gun (from LP The Man With The Blue Post Modern Fragmented Neo-Traditionalist Guitar; Geffen)
The Bonzo Dog Band—Slush (United Artists)
As noted above, GO Mechanism Number Nine will be blasted over the interwebs via the Luxuria Musics for the first time on Saturday July 2, 2022. After that, it will be available as a podcast on the Luxuria Musics website—look for the Saturday Night Special dated 7/3/2022. After a few weeks, it will magically appear on the Boogaloo Omnibus Mixcloud hustle and also right here in the Boogaloo Bag.
Thanks goes out to the nice people at the Luxuria Musics who, in spite of everything, keep hosting The GO Mechanism on its website. Luxuria Music is a wonderful music streaming radio service. It is free. It has cool music. All of its DJ programs are unique and worth listening to. Also, please donate to them if you have the means to do so. They don’t make a lot of money, but it costs a lot to stay on the interwebs. Be a listener sponsor or buy something from its store.
Older GO Mechanisms can be found on the Boogaloo Omnibus Mixclouds and/or earlier posts here in The Boogaloo Bag. Go to The Boogaloo Bag home page and either scroll down or search for “GO Mechanism” to dig.
DJ Pete Pop’s fabulous Go-Go night Do The 45 is going great guns these days. It takes place on the last Friday of the month at Quinn’s, a rockin’ ramen noodle joint located in the heart of downtown Beacon , NY. For the June event, he invited Phast Phreddie the Boogaloo Omnibus to be his guest DJ. It was just those two, swingin’ their boss sounds all night long.
The party was scheduled to start at 8 o’clock and jump until 1 o’clock in the morning. Quinn’s clientele came and went. Most of them hung out and bopped around to the groovy records the DJs played. At 12:30 the place was nearly empty and it looked as if it would be an early night—but ho!—in came about twenty or so folks who quickly ordered drinks commenced to dance around to the wild sounds puttin’ down by Mr. Pop and The Boog.
Let’s not forget, Miss Nancy was in the house and she made some fabulous chocolate mint swirl cookies and her signature vegan brownies. No party is complete without Nancy’s excellent baked goods!
Toward the end of the night, Mr. Pop and The Boog each took a turntable and traded sevens for about an hour or so. The records stopped spinning around 1:30 in the morning and the Quinn’s people kicked everyone out soon after.
Here’s a list of all the records played by Phast Phreddie the Boogaloo Omnibus at DJ Pete Pop’s Do The 45:
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.