I am neither for nor against what is happening here, but I will admit, I can't stop watching it.
Whether you love or hate punk rock, or whatever this is, there is something absolutely exhilarating about these kids, who go by the name of Otoboke Beaver, of course.
They have been around since 2009 and I am only hearing of them now.
I haven't dug deeper than this one video yet, but the drummer Leo is something to behold. I don't think I have ever seen anyone play that fast and that tight.
From 1959, please feast your ears on the debut single by Marv Johnson, "Come To Me," which was also the first single released by Berry Gordy on his new label Tamla.
The single needed bigger distribution and so, Gordy sold the rights to United Artists where it became a Top 40 hit. And then, as they say, the rest is history.
"Come To Me" is a fine record, though not nearly as fine as what was to follow on Motown. I just get a kick out of hearing it, imagining Berry Gordy and his crew popping open a bottle of bubbly and toasting the new venture. "Fingers crossed!"
Also, I didn't realize, the label was originally called "Tammy" after the Debbie Reynolds hit, but that name was already taken by another label. Some guys have all the luck.
I've watched this 90 second clip of the great Jon Cleary 15 times. It's truly brilliant and I hope you get a kick out of it, as well.
Young Man Blues (Studio)- The Who
What Is Success- Allen Toussaint
I Can't Quit You Baby- Otis Rush
Moby Dick- Sly & Robbie
Crystal Ball- Utopia
Day In Day Out- XTC
Theme From Young Frankenstein- Los Straitjackets
Sleazy Records out of Spain, a label that seems to specialize in obscure garage rock, soul, punk and rockabilly, have released a five volume set of raucous music that they are calling "Black A Billy." The music across these five records has been giving me great pleasure this past week. And while the awkward title of this set would lead one to believe you'd be listening to rockabilly played by black musicians, the actual music covers a lot more ground than the usual "dooda dooda DEEDA DEEDA dooda dooda DEEDA DEEDA."
I'd never consider Little Walter or Big Bill Broonzy rockabilly artists, but they are here, as well as J.B. Hutto and Earl Hooker, and what they offer is something closer to rockabilly than their usual type of blues.
I guess I am saying all of this because this weekend mix isn't just one thing. I've pulled some favorites from across the five volumes and if rockabilly isn't your thing but you dig the blues, you might dig this. If you dig some raunchy rock and roll like The Sonics, but you're not a big fan of the blues, you might dig this.
The five volumes have some really striking artwork, as well.
This stuff is the real deal and I hope you enjoy it.
TRACKLIST
Lookin' For My Baby- The Nightriders
Lovey Dovey Lovey One- Junior Wells
Cry Over You- Lonesome Lee
Kiss Kiss Kiss- Clifford Curry Jr.
Frog Hop- Earl Hooker
Hey Miss Fancy- The Premiers
Baby Let's Play House- Arthur Gunter
Pretty Little Pearly- Click-Clacks
Tough Enough- The Bees
Down On The Farm- Big Al Downing w/ Poe Kats
Hip Shakin'- J.B. Hutto
It's Too Late Brother- Little Walter
Hey Hey- Big Bill Broonzy
Oopin' Doopin' Doopin'- Little George Smith
21 Days In Jail- Magic Sam
Lily White Mama, Jet Black Papa- Ray Scott
Wildcat Tamer- Tarheel Slim
You Can't Make Me Doubt My Baby- Bunker Hill
Tennessee Woman- Fenton Robinson & The Dukes
Teenage Rock- Ronnie Jones & The Classmates
Cal Everett has just released his first solo record, "Weight Of Early Promise." I didn't know who Cal Everett was, but he was apparently part of the 80's band 4 Out Of 5 Doctors, whose name I vaguely remember seeing in record stores 40 years ago. As with most power pop releases, names like McCartney and Emitt Rhodes get tossed around, and while I do hear more than a little of both on this record, what I am mostly hearing is Billy Joel, and that is not a complaint.
"Weight Of Early Promise" clocks in at almost 60 minutes, and that is usually a turnoff for me. But as the record started to unfold, I didn't want it to end. This is one of the best records I've heard this year.
(h/t Steve Simels' Power Pop)
