Various Artists - Ace Records Halloween Compilations

No long-winded Halloween stories this year; I couldn't think of any that were of any import or interest. But during the year, I gathered up a few more releases related to the holiday, and wanted to get a couple of them posted here before Friday - so here you are.

The first, These Ghoulish Things - Horror Hits For Halloween, was released in 2005. It contains some superb selections of horror rock from the Golden Age of Rock 'n' Roll, between 1957 and 1964. Artists both renowned (like Screamin' Jay Hawkins and Bo Diddley) and obscure are featured here. But what makes this release unique is that it also contains several 1962 radio station plugs recorded by Mr. "Monster Mash" himself, Bobby "Boris" Pickett. In all, many of the tunes on this disc had never before been released on CD, making this an essential album for connoisseurs of this genre. Here's the lineup:

1 Radio Plug for Monster Mash on Station KFWB - Bobby 'Boris' Pickett
2 Screamin' Ball (At Dracula Hall) - the Duponts
3 Drac's Back - Billy Demarco & Count Dracula
4 Midnight Stroll - Revels
5 Ghost Train - Virgil Holmes
6 The Mummy's Ball - The Verdicts
7 Frankenstein's Den - The Hollywood Flames
8 I'm the Wolfman - Round Robin
9 Spooksville - The Nu-Trends
10 The Munster's Theme - Milton Delugg & the All-Stars
11 Coolest Little Monster - John Zacherle
12 Monster Party - Bill Dogett
13 The Creature (From Outer Space) - The Jayhawks
14 Mr. Were-Wolf - The Kac-Ties
15 Radio Station Promo for Bill Gavin - Bobby 'Boris' Pickett
16 My Son, the Vampire - Allan Sherman
17 The Monster - Bobby Please & the Pleasers
18 Theme from the Addams Family - The Fiends
19 Nightmare Mash - Billy Lee Riley
20 The Voo Doo Walk - Sonny Richard's Panics W/Cindy and Misty
21 Feast of the Mau Mau - Screamin' Jay Hawkins
22 Frankenstein's Party - The Swingin' Phillies
23 Legend of Sleepy Hollow - The Monotones
24 Bo Meets the Monster - Bo Diddley
25 Rockin' in the Graveyard - Jackie Morningstar
26 Radio Plug for Monster Mash on Station WCOP - Bobby 'Boris' Pickett
27 Monster Mash - Bobby 'Boris' Pickett
28 The Vampire - Orvin Yoes

The second one here, Mostly Ghostly: More Horror for Halloween, coming out a few years later, was a follow-up of sorts to These Ghoulish Things.  All of the music on this album is from the same general time period as the earlier comp, i.e., late '50s/early '60s. Allmusic.com put together a great summation of this compilation that I really can't add much to or refute:

If you're looking for a non-run-of-the-mill soundtrack to your next Halloween party, this disc, and its predecessor, These Ghoulish Things: Horror Hits for Halloween, should just about tide you over the first round of trick and treat. Devoted wholly to rock/horror novelties from the mid-'50s to the mid-'60s, just a couple of these 25 tracks... were hits. And as a matter of fact, just a few of the other artists... will be familiar to the average knowledgeable rock fan. Since these are essentially novelty songs, you might not feel much like pulling them out on occasions other than Halloween, much like you only play Christmas albums at a certain time of year.

The songs are longer on novelty than musical value, but if nothing else, they're entertaining relics of just how outrageously silly early rock & roll performers (and labels) would get in search of a quick hit. Some of the songs, too, are pretty strong in their own right, especially Sutch's "'Til the Following Night" (one of the best pre-Beatles rock & roll records from Britain), "Haunted House," and the Moontrekkers' instrumental "Night of the Vampire" (one of Joe Meek's best productions). It doesn't get much weirder than Gary "Spider" Webb's "The Cave, Pt. 1," consisting mostly of a boy and a girl sporadically calling out to each other in a cave as guitars twang and drums throb.

Beatles' novelties, to stretch the thread more, don't get much weirder than Gene Moss & the Monsters' "I Want to Bite Your Hand," issued in the wake of the Fab Four's invasion of the U.S. For Cramps fans, there's the original version of "The Goo Goo Muck," as first heard on Ronnie Cook & the Gaylads' 1962 single.

Here's the track list for this one as well:

1 Dracula's Theme - The Ghouls
2 Til' The Following Night - Screaming Lord Sutch & The Savages
3 Do The Zombie - The Symbols
4 Haunted House - Jumpin' Gene Simmons
5 Dinner With Drac - John Zacherle
6 The Goo Goo Muck - Ronnie Cook & The Gaylads
7 The Mad Scientist - Zanies
8 The Cave - Chuck Holden
9 Spooky Movies - Roy Clark
10 They're Here - Boots Walker
11 Black And Hairy - Screaming Lord Sutch
12 The Hearse - Terry Teen
13 Terrible Ivan - Art Roberts
14 Night Of The Vampire - The Moontrekkers
15 The Mummy - The Naturals
16 I Was A Teenage Creature - Lord Luther
17 The Cave - Gary 'Spider' Webb
18 The Cat - Rod Willis
19 Zombi - The Monotones
20 Alligator Wine - Screamin' Jay Hawkins
21 Morgus The Magnificent - Morgus & The Three Ghouls
22 Sleepy Hollow - The Last Word
23 Rockin' Zombie - The Crewnecks
24 I Want To Bite Your Hand - Gene Moss & The Monsters

So, that's that. For your enjoyment this holiday weekend, here are two superb and lauded Halloween-themed releases put out on the Ace Records label: These Ghoulish Things - Horror Hits For Halloween in 2005, and Mostly Ghostly: More Horror for Halloween in 2012. Have a spooky, scary, fun listen, and as always, let me know what you think.

Happy Halloween! 

Please use the email links below to contact me, and I will reply with the download link(s) ASAP:

• Various Artists - These Ghoulish Things - Horror Hits For Halloween: Send Email
• Various Artists - Mostly Ghostly: More Horror for Halloween: Send Email

 

(Oh, and just in case you were wondering - yes, there WAS a recording of "The Cave, Pt. 2" by Gary Webb, a follow-up to the original.  For the sake of completeness, here it is for your listening pleasure - however, you won't find it as being much of a variation of "Pt. 1":)

 

Various Artists - Sounds Of The Seventies (1974 & 1975)

An old elementary school classmate of mine died a couple of weeks ago. I can't call him a "friend", per se, but he was an essential presence in my childhood experience.

I've mentioned in previous postings that my Navy officer dad's next duty station after the conclusion of our time in Wisconsin was serving as a professor at the U.S. Naval Academy in Annapolis, Maryland. We arrived there that summer, and settled into a two-story townhouse in military housing across from one of the main academy gates, directly behind the neighborhood pool and adjacent to the neighborhood of West Annapolis.

West Annapolis is about a forty square block area, bounded by Rowe Boulevard to the south, Weems Creek to the west, the Severn River to the north, and government property along its eastern edge. The neighborhood is pretty much cut off from the rest of the city of Annapolis proper due to its proximity to said "government property" - namely, the grounds of the U.S. Naval Academy and the adjacent housing areas for officers and their families stationed there, where I lived. As such, West Annapolis has over the decades developed a somewhat insular, go-it-alone stance among the longtime residents there, not mixing much with regular Annapolitans and maintaining a cool attitude towards the "interloping" military families living just on the other side of the old wooded Baltimore & Annapolis Railroad right-of-way.

However, the young children of area officers had to go to school somewhere. And since the Naval Academy Primary School, a K-through-5 private school located across the Severn at the Naval Station, had limited enrollment, for many years the majority of kids living in Arundel Estates and Perry Circle (the military housing areas) were required to attend local facilities, the first and closest one being West Annapolis Elementary School (WAES). So in 1974, that's where the majority of my siblings and I began our latest academic year.

For the most part, relations between the local youngsters and the relatively more transient military offspring at the school were tranquil. I know that some of the West Annapolis boys and girls considered many from my area as "rich kids" and elitist snobs (believe me, we were most decidedly not!), while some of my Navy acquaintances thought many of the locals were lower-class lowlifes (again, not remotely true). But in those years, that tranquility was constantly being roiled by one boy, Frederick, the Terror of West Annapolis.

Frederick (or "Freddie" as he was more commonly known) was a short, wiry redhead with a fiery temper and rock-hard fists that he seldom hesitated to make use of, if the situation called for it. He was a year behind me in grade; however, for a few years in the early/mid '70s, WAES administration decided to experiment with a new teaching approach whereby instead of having the 3rd, 4th, 5th and 6th grades in four separate classrooms, each classroom would contain a combination of ALL FOUR GRADES. So each individual teacher was were forced to provide instruction to all of the learning levels simultaneously, every day - which must have been a nightmare for them. In hindsight, it was a nutty idea, and I don't recall learning very much that year. WAES finally abandoned that practice before the 1970s ended, segregating the grades into separate classrooms, like most other schools in the nation do. But I went to school there through the brunt of this experimental period... and as 'luck' would have it, Freddie was one of my classmates.

Freddie's fearsome reputation, cultivated by classroom and schoolyard incidents that landed him in the Principal's office several times that year, and nurtured by juvenile word-of-mouth, was such that he became, in many of our minds, the pre-teen 'crime boss' and 'bete noire' of West Annapolis. Outside of attending school there, most Navy kids avoided the neighborhood, especially the area close by Freddie's house, lest they run afoul of "Freddie's gang" of area kids he reportedly controlled.

There used to be a little neighborhood store directly across the street from WAES, on the corner of Melvin Avenue and Annapolis Street about a block away from his home, called Waxman's Grocery. Mr. Waxman was the sour and crotchety proprietor of this old-fashioned one-room store, and he seemed to hate kids (many years later, I learned that Mr. Waxman's son, a WAES graduate, had been killed in Vietnam in his teens shortly after arriving over there as a new enlistee in the late 1960s... so it was then I began to understand Mr. Waxman's demeanor and feel some sympathy for him). Despite his cantankerous nature, children flocked to his shop after classes ended for the day, as Mr. Waxman stocked every brand and variety of popular candy then available - Atomic Fireballs, Mike & Ikes, Lemonheads, Pop Rocks, Marathon bars, Chunky Bars, you name it. The store owner was well aware of the individuals who kept him in business. The market was Ground Zero for the local Wacky Packages craze of the mid-70s; students would buy the packs by the dozen, trading the adhesive parody renditions of popular consumer products with others in the school or otherwise sticking them to their school folders and lockers.

Bubble Yum, the first soft chunk bubble gum, was released by LifeSavers (in limited quantities) in the Western U.S. in late 1974, and the company began a gradual national rollout later that year, with the Baltimore/Washington D.C. area serving as an early East Coast test
market. When it initially appeared, it was shipped to only a few stores in our area in very small quantities, and Waxman's Grocery, with its proven track record of moving vast amounts of confectionery product, was one of the stores selected. When Freddie and his boys discovered this, they staked out Waxman's for hours on end, watching for the delivery trucks and, by their presence, "discouraging" (so to speak) non-neighborhood kids from going there. Freddie's gang would buy up every pack of Bubble Yum available, at 30 cents for a pack of five pieces, then take them to school and resell them to children craving the new gum for upwards of fifty cents to a dollar for each individual chunk. Those guys ended up making a small fortune that winter and spring, until increased product distribution and availability put Bubble Yum in more local stores. But for a long while, they were the preteen Gum Mafia.

As much as I've detailed the fearsome, threatening antics and actions of Freddie and his gang here, I did have some normal interactions with him from time to time. More that once, I recall heading over to West Annapolis to hang out and play with him and his friends, and during the winter he and his crew gathered with the Navy kids sledding down Suicide Hill directly adjacent to Perry Circle, the only decent place to slide in the immediate area. In our few playtimes, a sort of detente existed between us, as it does between kids. Still, Freddie would sometimes suggest we do activities that I wasn't comfortable with, such as shoplift sweets at the local 7-11. In those situations, I would demur, then try to quickly and quietly remove myself from his presence and head back home, as the unspoken threat of drawing the ire of "Freddie's gang" was always present.

The mid-70s period was a transitional period for music. AM radio fare, consisting of lite rock, novelty songs and other lightweight fare, still ruled the airwaves, but harder-edged punk, reggae and hard rock music was bubbling just below the surface, ready to break out. Songs that were giant hits and schoolyard favorites during that time included "Up In A Puff Of Smoke" by an obscure (for the U.S.) British singer named Polly Brown:

For some reason, this song was HUGE as WAES - never did much for me, though (in a related story, Polly Brown never had another charting song in America...).

Another massive song from that time was "Billy, Don't Be A Hero" by Bo Donaldson & The Heywoods:

Although the premise was hokey and overly sentimental (a young woman begs her love not to go off to war, but stay and marry her; he goes anyway and, of course, buys the farm in his first battle), this song still went to #1 in America in the summer of 1974, selling nearly four million copies. However, it was hated as much as it was loved, voted No. 8 on Rolling Stone magazine's readers' poll of "10 Worst Songs of the 1970s".

What I didn't know at the time was that this song was a remake of a British hit from earlier that year. Bo Donaldson & The Heywoods were an obscure group of journeymen from Ohio who hadn't had much success in the prior ten years of their music career, until they glommed on to "Billy, Don't Be A Hero", originally penned by a British group, Paper Lace, who took their version to the top of the UK charts just three months prior. Understandably pissed at seeing their thunder and stateside glory stolen by Bo Donaldson et al., Paper Lace quickly released their follow-up single, which made it to US #1 six weeks later that midsummer, the group's first (and only) American hit - "The Night Chicago Died":

Children couldn't get enough of songs like this back then!

The potential menace of Freddie and his gang overall did little to affect the fun times I had living there in Annapolis.  There was a great group of kids on my street and up the hill in Perry Circle, and we were a close-knit bunch.  We would all hang together at the pool on warm days, playing Marco Polo and basking in the sun.  The winters were marked by building huge snow forts, from which we would choose sides and have intense snowball fights.  There were birthday parties, slumber parties, football games, and expeditions into the restricted areas near Shady Lake or through the old Civil Defense tunnels and shelters under the apartments.  During the holiday season, we would practice Christmas carols together, then put together a chorus and go door to door singing to our neighbors.  Or we would head over across the street through the Naval Academy gates, to play baseball on the diamonds there, hang out on the platforms and structures of the old Academy obstacle course on Hospital Point, or try to sneak into the "Midshipmen/Authorized Staff Only" areas throughout the Yard.  

After years of requests, I was finally awarded the paper route in my neighborhood, delivering the Evening Capital each night after I got home from school (I was one of the paper's youngest newsboys).  I worked that route like a dog, doubling the subscriptions on my street inside of a few months, and by Christmas that year I was making a fortune (well, a relative fortune for a preteen in the 1970s).  The Evening Capital provided me with a few extra over-the-shoulder newsbags, and there were always a few extra papers in my stack each day.  So with them, my friends and I devised a game called Dogfight: each of us would have a bag filled with newspapers tightly wrapped with rubber bands, then we would get on our bikes and ride circles around each other in a big field, whipping papers at other riders to see who we could knock off!  Sounds kinda brutal now... but it was a very fun, looked-forward-to activity, and I never recall anyone getting seriously hurt.

Great memories. 

Freddie and I weren't close friends, only casual acquaintances at best, and I didn't keep in close contact with him after I left elementary school and moved on to Bates Junior High across town the next year. I would, however, continue to hear stories about him from some of my younger friends who still attended WAES - from all reports, his attitude and demeanor didn't change an iota. And after my family left Maryland in the late 1970s, he all but completely faded off of my radar. I learned more about him in recent years through my contact via Facebook with his older brother, who I didn't know at all back during my Annapolis childhood but got to know later. Through him, I learned that after Freddie left high school, he served a short stint as an enlisted Navy man, then quickly returned to the Annapolis area, where for decades he worked as a local handyman and house painter.

My lone interaction with Freddie since the end of our school days together occurred a couple of years ago, when I repeated to his brother a funny (and probably apocryphal) story about a practical joke Freddie reputedly played on one of his West Annapolis cronies, that quickly made the schoolyard rounds. Freddie fired off a blistering response through his brother's thread, angrily denying the legend and castigating me up and down for even INSINUATING that it was true. Mind you, I was retelling the tale of a harmless and minor childhood prank that allegedly occurred... but still, almost fifty years later, it managed to set him off. Apparently, some things - and some people - never change. Freddie's brother is friendly, stable and accomplished, and managed to put together a pretty good life for himself and his family - in other words, the complete opposite of Freddie.

So, as such, I don't have any particularly deep feeling of loss regarding Freddie's demise - he was a bully, and sort of a dick, and from all reports and indications remained so up to his dying day.  I wasn't the only one with this reaction; for decades, I've remained in close contact with several of my old Arundel Estates childhood friends. Their feelings on Freddie's death can be summarized in a single comment one of them made to me: "He was the 'bogeyman' for a lot of kids back then." Can't really refute that assessment.

With that being said, Freddie was an integral part of that fondly remembered time and place in my life, and his presence and actions have done little to obscure the happy times I recall living in Annapolis as a child (prior to my return there as a Naval Academy midshipmen almost a decade later). If anything, Freddie was like a grain of sand in an oyster shell - an irritant whose presence still ended up creating something lasting and cherished.

So, in honor of his passing, and in homage to that time, here are a few music compilations from that period that will give you a sense of what was being listened to in the mid-70s. These are part of a forty-volume(!) series of recordings released by Time-Life Music between 1989 and 1999, covering the entirety of the 1970s. I only picked up a few of these, since I had other compilations that covered this same general time period. But the ones provided here, covering 1974 and 1975, are an excellent summation of music from that time.

In case you're wondering, here's the lineup:

Sounds Of The Seventies: 1974:

1. Can't Get Enough – Bad Company
2. Show and Tell – Al Wilson
3. Come and Get Your Love – Redbone
4. I Shot the Sheriff – Eric Clapton
5. Help Me – Joni Mitchell
6. I Can Help – Billy Swan
7. Sha-La-La (Make Me Happy) – Al Green
8. Rock the Boat – The Hues Corporation
9. Bennie and the Jets – Elton John
10. Midnight Rider – Gregg Allman
11. Sweet Home Alabama – Lynyrd Skynyrd
12. The Loco-Motion – Grand Funk Railroad
13. Smokin' in the Boys' Room – Brownsville Station
14. Rikki Don't Lose That Number – Steely Dan
15. Rock On – David Essex
16. Midnight at the Oasis – Maria Muldaur
17. Kung Fu Fighting – Carl Douglas
18. Keep on Smilin' – Wet Willie
19. Then Came You – Dionne Warwick & The Spinners
20. The Bitch Is Back – Elton John

Sounds Of The Seventies: 1974 - Take Two:

1. Lookin' for a Love – Bobby Womack
2. You Ain't Seen Nothing Yet – Bachman-Turner Overdrive
3. The Joker – Steve Miller Band
4. Until You Come Back to Me (That's What I'm Gonna Do) – Aretha Franklin
5. Can't Get Enough of Your Love, Babe – Barry White
6. Mockingbird – Carly Simon with James Taylor
7. I've Got to Use My Imagination – Gladys Knight & The Pips
8. Sundown – Gordon Lightfoot
9. Everlasting Love – Carl Carlton
10. Shinin' On – Grand Funk Railroad
11. Rock and Roll, Hoochie Koo – Rick Derringer
12. Takin' Care of Business – Bachman-Turner Overdrive
13. Rock Your Baby – George McCrae
14. Sideshow – Blue Magic
15. Haven't Got Time for the Pain – Carly Simon
16. Tin Man – America
17. Dancing Machine – Jackson Five
18. Jungle Boogie – Kool & the Gang
19. Nothing from Nothing – Billy Preston
20. I'll Have to Say I Love You in a Song – Jim Croce
21. Radar Love – Golden Earring

Sounds Of The Seventies: 1975:

1. You're No Good – Linda Ronstadt
2. Jackie Blue – Ozark Mountain Daredevils
3. That's the Way (I Like It) – KC & the Sunshine Band
4. Must of Got Lost – J. Geils Band
5. Why Can't We Be Friends? – War
6. Sister Golden Hair – America
7. Philadelphia Freedom – Elton John
8. Black Water – Doobie Brothers
9. Love Is a Rose – Linda Ronstadt
10. How Long – Ace
11. Dance with Me – Orleans
12. Free Bird – Lynyrd Skynyrd
13. You Are So Beautiful – Joe Cocker
14. Feel Like Makin' Love – Bad Company
15. Lady Marmalade – Labelle
16. Pick Up the Pieces – Average White Band
17. Island Girl – Elton John
18. Some Kind of Wonderful – Grand Funk Railroad
19. The Hustle – Van McCoy & Soul City Symphony
20. Let's Do It Again – Staple Singers

Sounds Of The Seventies: 1975 - Take Two:

1. When Will I Be Loved – Linda Ronstadt
2. Bad Time – Grand Funk Railroad
3. Roll On Down the Highway – Bachman-Turner Overdrive
4. Movin' On – Bad Company
5. Take Me in Your Arms (Rock Me a Little While) – The Doobie Brother
6. They Just Can't Stop It (The Games People Play) – The Spinners
7. L-O-V-E (Love) – Al Green
8. Shining Star – Earth, Wind & Fire
9. Get Down Tonight – KC & the Sunshine Band
10. I'm on Fire – Dwight Twilley
11. SOS – ABBA
12. Shame, Shame, Shame – Shirley & Company
13. Cut the Cake – Average White Band
14. You're the First, the Last, My Everything – Barry White
15. Low Rider – War
16. Fight the Power (Part 1 & 2) – Isley Brothers
17. Bungle in the Jungle – Jethro Tull
18. Only Women Bleed – Alice Cooper
19. Can't Get It Out of My Head – Electric Light Orchestra
20. Poetry Man – Phoebe Snow
21. I'm Not in Love – 10CC

Enjoy these discs, released in 1990 and 1991 (for the "Take Two" versions), and as always, let me know what you think.

Please use the email links below to contact me, and I will reply with the download link(s) ASAP:

• Various Artists - Sounds Of The Seventies: 1974: Send Email
• Various Artists - Sounds Of The Seventies: 1975: Send Email
• Various Artists - Sounds Of The Seventies: 1974 - Take Two: Send Email
• Various Artists - Sounds Of The Seventies: 1975 - Take Two: Send Email

Various Artists - The Year Without A Santa Claus (Unofficial Soundtrack)

 

Can you BELIEVE this TV Christmas special is FIFTY YEARS OLD today?  Out of all the holiday specials released by producers Arthur Rankin, Jr. and Jules Bass from the early '60s to the late '80, this show is, in my opinion, part of the great triumvirate of classic Rankin/Bass productions, along with 1964's Rudolph The Red-Nosed Reindeer and 1969's Frosty The Snowman.  When I was young, I always looked forward to seeing this one the most (to be honest, I always found Frosty to be a little annoying, as the main character seemed borderline mentally impaired - and having Jimmy Durante as the narrator seemed sort of an odd choice to me...  Rudolph is redeemed by the presence of the great Yukon Cornelius and the Burl Ives snowman character).

This program is chock-full of beloved scenes and songs... probably none more memorable than the outstanding Snow Miser introduction and song, performed by the great Dick Shawn::

 

(that little cymbal 'stinger' that plays as Snow Miser sits in his chair has ALWAYS had a special place in my heart!)

Not to be outdone by his brother Heat Miser's entrance:  

I was going to put together a longer, more detailed writeup regarding this show's golden anniversary... (un)fortunately, People Magazine already beat me to it - I can add nothing further to this story, located here.

Unlike a couple of other Rankin/Bass Christmas specials (including Frosty, Santa Claus Is Comin' To Town, and 'Twas The Night Before Christmas), no official soundtrack for this program was ever produced.  However, over the years, a number of bootleg versions of the tunes from this show, culled from the audio track, have been released.  Here's the lineup of songs provided here:

1. Leroy Anderson - Sleigh Ride (Instrumental)

2. The Wee Winter Singers - The Year Without A Santa Claus

3. Shirley Booth - I Could Be Santa Claus
4. Ron Marshall & Mickey Rooney - I Believe In Santa Claus
5. Ron Marshall (ft. The Wee Winter Singers) - It’s Gonna Snow Right Here In Dixie
6. Dick Shawn - The Snow Miser Song
7. George S. Irving - The Heat Miser Song
8. Christine Winter - Blue Christmas
9. The Wee Winter Singers - Here Comes Santa Claus

10. Mickey Rooney – There'll Be No Year Without A Santa Claus

11. The Wee Winter Singers - The Year Without A Santa Claus

So here for your listening pleasure is the unofficial soundtrack to The Year Without A Santa Claus, originally released in 1974.  Enjoy, and as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Send Email

More Mary Hansen (Stereolab) Obscurities

I was in the casino last weekend to play a little poker and make a couple of bets on the NFL playoff games scheduled for that weekend. The place I go has a huge sports book, with multiple giant screens covering a vast back wall, showing every current game (football, college and pro basketball, hockey, etc.) being played at that particular time on various broadcast networks.

As I was walking in to the space to place my bet at one of the automated machines (go Kansas City!), I was jolted when I suddenly heard Stereolab's "Lo Boob Oscillator" blasting at top volume all around me. Now, Stereolab isn't generally what you'd expect to hear coming out of a casino's music system... so needless to say, I was momentarily confused, as I couldn't immediately place the source. Then I looked up and one of the display screens, and saw it was running the following commercial for Hotels.com:

I couldn't believe it - a huge corporation choosing to set their ad to a tune by a band that I'll wager the vast majority of Middle American viewers had never heard of, and one of my favorite songs of all time, as I've related in a previous posting here! Now, I'm not overly superstitious... but I took that out-of-the-blue Stereolab encounter as a good omen... as it turned out to be. I not only won my football bet that night, but also came away with a solid win at the hold 'em tables.

As I've detailed time and again here, I adore Stereolab, and over the years have managed to gather up pretty much all of their recorded output as a group (or "Groop", if you will), both albums and singles, along with many of the band collaborations and individual member side projects. In the past, I've posted a couple of these harder-to-find releases here earlier, including the Rose, My Rocket-Brain! tour EP from 2004 and the Eaten Horizons Or The Electrocution Of Rock art-house release from 2007.

I was ecstatic when they reformed in 2019 after a ten-year hiatus, and went running like a bastard to their show at Boston's Royale back in September of that year, a couple of months before COVID hit (damn, hard to believe that show was THAT long ago...). The concert was superb, and even with the long break, they didn't seem to have missed a beat (and yes, they played "Lo Boob Oscillator"). But seeing the group up on stage that night once again made me wistful for the presence of Mary Hansen, their late percussionist, keyboardist and background vocalist, who died in 2002. As I mentioned in an earlier post, Mary brought an ineffable quality to Stereolab's music:

Hansen's voice was the perfect complement to Sadier's; their singing styles and vocal range were very similar . . . but different enough to add nuance and color to many of the band's songs.

So, in the wake of a previous request for these items from an intrepid blog visitor, I thought I'd post a few more releases I have that feature Mary's work.

• Europa 51 - Abstractions

Over the years, Stereolab's drummer Andy Ramsay has been the catalyst behind an number of the band's experimental singles/EPs, offshoots and collaborations, Either with his bandmates or working independently, Ramsay has appeared on, written for or arranged releases with artists as diverse as The High Llamas, Ui, Wire, The Charlatans, Add N to (X), and many, many more. In the past, I've featured some of his work here on this blog. But this release was probably his most eclectic.

Named after Roberto Rossellini's early '50s Italian film starring Ingrid Bergman, Europa 51’s lone album, Abstractions, is the work of Ramsay and fellow Stereolab member Simon Johns, also featuring Mary Hansen, High Llamas members Dominic Murcott and John Bennett, jazz bass player Simon Thorpe and classical harpist Celine Saout. The album was a hybrid project that combined styles like lounge, jazz, bluegrass, and folk. While this album sounds somewhat like Stereolab from time to time, in many ways it goes far beyond anything The Groop had ever done - unfortunately, with somewhat uneven results. Mary's vocals are featured on tracks 4 through 7 ("Voyeurism", "Three Steps In The Sun", "Golden Age Of Gameshows" and "Free Range Corona"), and are lovely as always. But be sure to check out the entire album - it may not all be to your taste, but you will definitely find sounds that pique your interest.

• Splitting the Atom - Splitting The Atom EP:

Another Ramsay one-off, a short-lived project with Stereolab's sound engineer Simon Holliday and Peter Kember, a.k.a. Sonic Boom (Spaceman 3, Spectrum, etc.). Only 2,500 copies of this EP were pressed for release on black vinyl, making it one of the rarest Stereolab-related discs. Mary Hansen added vocals to one track here.

Trivia: "Monkey Brain" (vinyl pops and all) was later used as the soundtrack to a short film/digital video called "four" by Man and Martin, described as "four whole minutes of pulsating thought muesli, ultra-violet and ultra-compact bulletproof adventures for ages four years and above" (Man and Martin is graphic designer, sculptor and AppleMacintosh convert Andy Martin). "four" premiered at the onedotzero2 digital film festival at the Institute of Contemporary Arts, London in May 1998. Here it is, if you'd like to see it:

• Various Artists - Spooky Sounds Of Now:

An ostensibly Halloween-themed compilation CD - plus a very cool comic collection in book form ("Spooky Tales", subtitled 'Spirit Summoning Stories', edited by Mark Baines) - all housed in a lidded box. In addition to inclusions from alternative heavy hitters such as Jad Fair, Yo La Tengo and The High Llamas, this release also includes a short track by Blips, "Blip^/Blip~", featuring Stereolab's Tim Gane and Mary along with Sonic Boom once again. It sounds a lot like what was released on the Turn On side project, also released that year - hard to tell if it was an outtake from that session or not. No matter - it's a pretty good tune.

Here's the full track list:

1. Dymaxion - The Haunted Radio
2. Blips - Blip^/Blip~
3. Jad Fair & Jason Willett - Werewolf of London Town
4. Two Dollar Guitar - The Lonliest Monk
5. Herald - It's Under The Waltzers
6. Kooljerk - Mailor Jeune
7. Mount Vernon Arts Lab - Scooby Don't
8. Cylinder - Red Moss
9. Pink Kross - Spooky Dooky
10. Mystery Dick - Screambirds
11. Amplifier - Cat Whisker
12. The Yummy Fur - Saturday Night Mo-Mo
13. Dick Johnson - Vertigo
14. Angel Corpus Christi - Clown Sex
15. Project Dark - Full Length Mirror
16. G. Mack - Red Moss [Frame Trigger]
17. the Dramatics - Hallucination of a Deranged Mind [Inspired by Coffin Joe]
18. Yo La Tengo - 3D
19. Supermalprodelica - L'etat De Grace
20. High Llamas - Spool to Spool
21. Will Prentice - Singing Floorboards

• Alternative 3 - Original Soundtrack Recording:

In June of 1977, England's Anglia Television aired a documentary called 'Alternative 3' on its weekly Science Report program. The episode was presented as a factual expose, in that the show's investigators had found evidence that life on Earth was soon to be doomed to extinction from global warming, and the two superpowers of that time (Russia and the United States) had been secretly working together for decades to terraform and eventually

colonize the Moon and Mars with selected superior humans - leaving the rest of us here on this planet to die off when the inevitable end came. The show detailed what appeared to be a global 'brain drain', with scientists, engineers and other highly skilled technicians and thinkers from all over the world seemingly disappearing or dying - but, in the course of the program's investigation, finding that they all had been recruited for the interplanetary program, and sequestered at a secret base to work on it. 'Alternative 3' was filled with interviews with authoritative personnel and film footage showing the level and scope of work on this secret plan up to the present day.

Within minutes of its airing, network and government phone lines were inundated with thousands of calls from jolted viewers, demanding more information on this all-too-real effort. Needless to say, 'Alternative 3' was all just a big hoax, a spoof of similarly styled conspiracy documentaries from that period. It was originally planned to air on April 1st (April Fool's Day) of that year, in order to drive that point home, but due to production issues was not broadcast until June 20.

Needless to say, it freaked a whole lot of people out, in the same manner that Orson Welles' radio broadcast of War Of The Worlds caused mass hysteria almost forty years earlier. Although Anglia Television and the show's producers freely and readily admitted that it was fake, the basic points and premises of 'Alternative 3' live on to this day in various forms in other global cabal/UFO/extraterrestrial conspiracy theories.

The score for the 1977 broadcast was composed by no less than Brian Eno, who subsequently released a portion of it on his 1978 album Music For Films. And in 2001, a collective of musicians (including Stereolab, Add N to (X), Richard Thomas and others, all recording under the Alternative 3 moniker) recorded and released an 'alternative' version of the film score, allegedly for a feature film on the hoax that was scheduled for release that same year (I didn't find any evidence that this movie was ever produced or released, however).

This album is promoted on the label's website as "Super fried electronic madness. Long lost sessions mostly recorded at the Centre of Sound in London plus some dubs done at the ‘labs studio, stretched and twisted into dense and filmic slices of electronica." Can't really argue with any of that description!

 

So here for your listening pleasure is a smorgasbord of Stereolab's Mary Hansen-related ephemera:

• Europa 51 - Abstractions, released by London-based experimental music label Lo Recordings in 2003;
• Splitting the Atom - Splitting The Atom EP, put out on Stereolab's own Duophonic Super 45s label in 1997;
• The Spooky Sounds Of Now compilation, launched by Scottish independent label Vesuvius Records, also in 1997; and
• Alternative 3 - Original Soundtrack Recording, another Lo Recordings release, put out on April 30th, 2001

Have a listen and once again contemplate and revel in the artistry of the late, lamented vocalist, who left this world way too soon - you are still missed, Mary, by multitudes of music fans.

And as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

• Europa 51 - Abstractions: Send Email
• Splitting The Atom - Spiltting The Atom EP: Send Email
• Various Artists - Spooky Sounds Of Now: Send Email
• Alternative 3 - Original Soundtrack Recording: Send Email

Various Artists - No Alternative

 

Holy smokes - this seminal compilation is THIRTY YEARS OLD this week!

To understand why this disc is so essential, and so celebrated, I direct you to Stereogum's writeup on it from ten years ago, on No Alternative's twentieth anniversary - can't add a word to this superb summation.

I'll just save my breath, and instead provide you all with possibly the best and timeliest collection of then-rarities and unreleased songs by some of the giants of alternative music of that period.  Here's No Alternative, released on Arista Records on October 26th, 1993.  Enjoy this great throwback to an interesting and exciting era in modern music, and, as always, let me know what you think.

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Various Artists - This Is Rockabilly Clash

Stumbled across this one a couple of years ago, in my ongoing search for anything and everything related to The Clash.  It's a compendium of Clash tunes reworked by several bands in the rockabilly/psychobilly style.  Here's the lineup of songs and artists:

1. Guns of Brixton - The Honeydippers
2. Career Opportunities - Farrell Bros.
3. Capitol Radio - The Hyperjax
4. Jail Guitar Doors - The Caravans
5. Train In Vain - The Sabrejets
6. Should I Stay Or Should I Go? - Long Tall Texans
7. I'm So Bored With The U.S.A. - XX Cortez
8. Jimmy Jazz - Frantic Flintstones
9. What's My Name? - The Charles Napiers
10. Bank Robber - The Pistoleers
11. Brand New Cadillac - The Accelerators
12. Janie Jones - Farrell Bros.
13. Know Your Rights - The Caravans
14. Guns Of Brixton - Rancho Deluxe

Some tunes here work better than others... but all in all, this is a great group of songs providing an interesting, different take on some familiar music from Strummer, Jones & Co., in a style with which the original band was not unfamiliar with.

No long-winded story from me regarding this one...  Posting this for no reason whatsoever, other than I like it, and thought that some of you might like it as well.  Here's the compilation This Is Rockabilly Clash, released on Raucous Records in the UK on July 11th, 2003.  Enjoy, and let me know what you think about it as well.

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Various Artists - Until The End Of The World (Original Motion Picture Soundtrack)

I was saddened to learn of the death in Pittsfield, Massachusetts last week of singer and actress Julee Cruise. About four years ago, she announced that she was suffering from systemic lupus, a painful autoimmune condition that left her depressed and unable to move and walk. Reports state that she took her own life at her home, with The B-52's song "Roam" playing as she died (Cruise was a touring member of The B-52's in the early 1990s, replacing Cindy Wilson who took a few years off to raise her children; I remember seeing her on stage at a band show I attended in Washington, DC during that period).

In a post I wrote almost a dozen years ago, I detailed how I first came across Cruise's music and my impressions regarding it - the melancholy, haunting quality that both repels and attracts the listener. After the release of her debut album Floating Into The Night in 1989, Cruise issued a follow-up, The Voice Of Love, four years later. As with the first album, almost all of the songs on her sophomore release were written by director David Lynch and composer Angelo Badalamenti, so the sound and atmosphere are remarkably similar to Floating Into The Night. The Voice Of Love is more of a continuation of her debut, rather than a stand-alone entity. If you liked the first, than this one will be right up your alley as well.

Between these two albums, Cruise recorded a Lynch/Badalamenti-modified cover of an old Elvis Presley song, "Summer Kisses, Winter Tears", for the soundtrack to Wim Wenders' scifi drama Until The End Of The World, starring William Hurt. The plot of the film had something to do with in a finding and using a device that can record visual experiences and visualize dreams... but the end result was so confusing and convoluted that the few people who DID go to see the movie were left flummoxed by it. Cashing in on his success with small, cerebral films like Paris, Texas and Wings Of Desire, Wenders managed to secure a budget of $22 million for this latest film, an amount more than the cost of all of his previous films combined. And he proceeded to spend every penny of that money, spreading his production over almost half a year with setups in 11 countries.

While Graeme Revell (co-founder of the Australian industrial band SPK) was commissioned to compose the movie theme and other incidental music for the film, Wenders asked a number of his favorite recording artists (including Cruise) to contribute songs as well for inclusion. For their selections, he asked them to anticipate the kind of music they would be making a decade later, when the film was set. It was Wenders' desire to use every song he received to its fullest extent that ultimately contributed to the overall length of the film. The initial cut was reportedly TWENTY HOURS long, from which the director and producer whittled down to a more standard running time versions of 2 1/2 and 3 hours (which Wenders called the "Reader's Digest" versions). There is also reportedly a five-hour "director's" cut of this film which has been screened at various festivals over the years.

...Not that any of that mattered. The truncated versions of Until The End Of The World were released to theaters, first in Germany in September 1991, and later in the U.S. that December, and overall the flick was a commercial failure, managing to gross only about $830,000 against its $22 million budget.  Critics at the time savaged it; Roger Ebert gave the film 2 stars out of 4, describing it as lacking the "narrative urgency" required to sustain interest in the story, and wrote that it "plays like a film that was photographed before it was written, and edited before it was completed". He went on to say that a documentary about the globe-trekking production would likely have been more interesting than the film itself.  Other reviewers were even less kind.

But while the film flopped, the soundtrack was, frankly, amazing, featuring great songs by some of the top alternative performers of the day.  Wenders chose well.  Here's the soundtrack lineup:

1. "Opening Title" – Graeme Revell
2. "Sax and Violins" – Talking Heads
3. "Summer Kisses, Winter Tears" – Julee Cruise
4. "Move with Me (Dub)" – Neneh Cherry
5. "The Adversary" – Crime & the City Solution
6. "What's Good" – Lou Reed
7. "Last Night Sleep" – Can
8. "Fretless" – R.E.M.
9. "Days" – Elvis Costello
10. "Claire's Theme" – Graeme Revell
11. "(I'll Love You) Till the End of the World" – Nick Cave & The Bad Seeds
12. "It Takes Time" – Patti Smith (with Fred Smith)
13. "Death's Door" – Depeche Mode
14. "Love Theme" – Graeme Revell
15. "Calling All Angels" (Remix Version) – Jane Siberry with k.d. lang
16. "Humans from Earth" – T Bone Burnett
17. "Sleeping in the Devil's Bed" – Daniel Lanois
18. "Until the End of the World" – U2
19. "Finale" – Graeme Revell

Personal favorites on this disc, in additon to the Julee Cruise song, include R.E.M.'s "Fretless", Depeche Mode's "Death's Door" and the Jane Siberry/k.d.lang collaboration "Calling All Angels".  At the time, most of these songs were unavailable anywhere else, making the compilation a gold mine of rarities. All in all, the soundtrack did better than the movie, eventually reaching #114 on the U.S. Billboard Top 200 Albums chart in 1992.

So, in honor of the life and art of Julee Cruise, I proudly offer to you all Until The End Of The World (Original Motion Picture Soundtrack), released on Warner Brothers Records on December 10th, 1991.  Enjoy, and as always... well, you know.

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Various Artists - The Fall: A French Tribute

 

Once again, here's my annual post commemorating the death of Fall major-domo and 'Godlike Genius' Mark E. Smith, who slipped this mortal coil four years ago today.

There's even less to talk about in regards to The Gruppe this year. As I've noted in prior commemorative yearly posts, the silence in FallWorld continues to settle. The last post on the Official Fall Website was in February 2018, the month after Mark died, and its discussion board has been dormant, with the last new post in May 2020, nearly two years ago. The "unofficial" (and in my opinion, better) website The Fall Online website hosted its last posting in June 2020. At least The Fall Online Forum there is still fairly active, with new posts and discussions almost daily. But I've definitely noticed a decrease in the scope and level of activity there. At least there are some Facebook group sites, such as "Mark E Smith & The Fall: It's Not Repetition, It's Discipline" and "The Mighty Fall", trying to hold up their end.  But it's distressing to see widespread memories of my all-time favorite band gradually fading away.

Imperial Wax was on hiatus for most of 2020, as the COVID moratorium on live music entered its second year. However, in October of last year, the band played its first gigs in almost two years, and continued with another one earlier this month. They appear to be expanding their concert slate in England and on the Continent further into the year, and have mentioned that they are in the process of writing their second album, which currently has an unknown release date scheduled.

Brix and The Extricated, Brix Smith-Start's much-maligned band made up of former Fall stalwarts, a group I have heaped tons of scorn and derision on over the years, appears to be no more - thank God.  Brix announced that she would be releasing a solo album, Valley Of The Dolls, later this year, and also putting together an all-female band made up of "post-punk feminists", including former members of My Bloody Valentine, to take out on the road sometime this spring. With typical modesty and humility, she added that the group would be "going under the name Brix Smith or possibly Brix Smith Group, I haven’t decided yet. It’s time for me to put my money where my mouth is and take it out there!"

(Man, the narcissism and relentless self-promotion NEVER ends with her, does it?)

Not much more left to say, so I'll just get to the music.  For your review this year, I'm offering a compilation of reinterpretations/re-imaginings of some classic Fall tunes, all done by French artists.  I love sets like this - not only do you sometimes get interesting, off-the-wall takes on songs you know well and love, this album also shows the worldwide reach and influence of The Fall's music.  I highly recommend it. 

Here for your perusal is The Fall: A French Tribute, released on Teenage Hate Records on November 15th, 2019. Enjoy, and use this disc to keep Mark E. Smith and his band in your thoughts for just a little while longer. And, as always, let me know what you think.

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Various Artists - Elvira Presents...

With October 31st just around the corner, and longtime horror hostess Elvira (or more specifically Cassandra Peterson, the actress who plays Elvira) in the news recently due to the revelations in her recently published autobiography Yours Cruelly, Elvira: Memoirs of the Mistress of the Dark, I thought I might post a couple of her Halloween-related compilations.

The first Elvira music compilation came out in 1983, a couple of years after Peterson auditioned for and won the job of presenter for a revival of a popular Los Angeles-area weekend horror show featuring old scary movies called Fright Night. The program (renamed Elvira's Movie Macabre) featured her now-iconic character Elvira, Mistress Of The Dark, a saucy, sarcastic, 'Valley Girl'-type tricked out in heavily-applied horror-film makeup, a huge black beehive wig and a tight-fitting, low-cut black gown which displayed Peterson's ample chest.  Elvira not only introduced the decidedly Grade-B, -C and -Z films, she would often interrupt the flicks during the program to poke fun of their overall crappiness, in addition to making racy double entendres and jokes about her boobs. She quickly gained notoriety and popularity in the region, and parlayed that success to appearances on Johnny Carson's Tonight Show and other programs (like CHiPs and The Fall Guy) which brought her nationwide fame.

Her first release, Elvira Presents Vinyl Macabre - Oldies But Ghoulies (Vol. 1), was a quickie collection of Halloween/horror-related rock and pop hits and standards by the likes of Bobby "Boris" Pickett and Sheb Wooley, slapped together by Rhino Records in the early years of that label's existence. As such, Peterson/Elvira had little to do with or on the album, other than record a couple of intros/outros and appear on the cover in all her glory. Despite its relative generic October music presentation, today this disc commands high prices, probably because the record was never rereleased on cassette or CD.

The follow-up to this initial release was Elvira Presents Haunted Hits, put out in 1988. Actually, in some ways, this album serves as sort-of rerelease of Vinyl Macabre, as it reprises a number of songs that were on the first compilation (like "Monster Mash", "Purple People Eater" and "Haunted House"), while adding a substantial number of other holiday-related tunes, some rather popular and renowned. In case you're interested, here's the lineup:

1. Monster Mash - Bobby 'Boris' Pickett & The Crypt-Kickers
2. Haunted House - Jumpin' Gene Simmons
3. Ghostbusters - Ray Parker Jr.
4. Out OF Limits - The Marketts
5. The Blob - The Five Blobs
6. The Creature From The Black Lagoon - Dave Edmunds
7. The Purple People Eater - Sheb Wooley
8. The Addams Family (Main Title) - Victor Mizzy
9. Twilight Zone - Neil Norman & His Cosmic Orchestra
10. Welcome To My Nightmare - Alice Cooper
11. End Of Side One - Elvira
12. Beginning Of Side Two - Elvira
13. Halloween Spooks - Lambert, Hendricks & Ross
14. Dead Man's Party - Oingo Boingo
15. Little Demon - Screamin' Jay Hawkins
16. Horror Movie - The Skyhooks
17. I Put A Spell On You - Screamin' Jay Hawkins
18. King Kong - Big T. Tyler
19. Attack OF The 50-Foot Woman - The Tubes
20. I Was A Teenage Werewolf - The Cramps
21. Voodoo Voodoo - LaVern Baker
22. The Creature (From Outer Space) - The Jayhawks
23. Full Moon - Elvira
24. Martian Hop - The Ran-Dells
25. Attack Of The Killer Tomatoes - Lee Lewis
26. Elvira's Outro - Elvira

Elvira was a little more involved on this album; in addition to her commentary, she's even provided a full song to sing, "Full Moon" - a lightweight, synth-poppy confection that doesn't hold up well next to the other classics included here. But all in all, in my opinion, this is probably the best of the compilations released under her name, due to the breadth, scope and volume of fun Halloween music offered here. It was a bestseller for the label when it was released, and remains a perennially popular disc.

But the success of the ...Haunted Hits album seemed to lead to some unfortunate decisions/choices for the next Elvira compilation, Elvira Presents Monster Hits, released six years later. It appears that someone (either Peterson herself or the producers) believed that the big selling point for the earlier set was the increase in Elvira's voice and presence. So for this new one, the decision was made to ratchet up the "Elvira factor" - more than one-third of this short (28 minute long) album is centered on her. This includes two original songs, "Monsta' Rap" and "Here Comes The Bride (The Bride Of Frankenstein)" - both generally bland, worthless songs that do little more than take up space that could have been better utilized by including more classic and well-known Halloween songs.  The track list for this brief release is as follows:

1. Introduction - Elvira
2. Monsta' Rap - Elvira
3. Little Demon - Screamin' Jay Hawkins
4. Feed My Frankenstein - Alice Cooper
5. Monster Mash - Bobby 'Boris' Pickett
6. Nightmare On My Street - DJ Jazzy Jeff & The Fresh Prince
7. The Addams Family - Joey Gaynor
8. Here Comes The Bride (The Bride Of Frankenstein) - Elvira
9. Outro - Elvira
   

Also note that this comp includes several repeats from Elvira's previous releases, making the existence of this one somewhat redundant.

In years to come, Rhino would release a couple more Halloween compilations under Elvira's name, all to gradually diminishing returns: Revenge Of The Monster Hits in 1995 and Elvira's Gravest Hits (an 'best of' (*eye roll*) album devoted almost solely to tunes crooned by her) in 2010, along with Heavy Metal Halloween in 2009. But these have done little to decrease the fame of Peterson's signature character; Elvira remains popular and active to this day.

Anyway, here for your spook-tacular pleasure are two discs to make your haunted holiday complete:

• Elvira Presents Haunted Hits, released in 1988; and
• Elvira Presents Monster Hits, released in 1994

Both were put out by Rhino Records.

Enjoy, and have a wonderful, safe and happy Halloween! And as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Various Artists - Elvira Presents Haunted Hits: Send Email
Various Artists - Elvira Presents Monster Hits: Send Email