trax:01 Melt Panic 02 Lobo 03 Wild Ride 04 Rockslide Rumble 05 Dear Future Husband 06 La Despedida 07 Surf Doll Dance 08 Forastero 09 Do It 10 Porque Te Vas
Just For Your Listening Pleasure: Tune in, turn on, and drop out!
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...The '60s were years of explosive transition for Latin music in New York: in tune with the times of strident political protest and cultural affirmation, new rhythms like the pachanga, boogaloo, típico and salsa signalled significant changes in musical sensibility among a new generation. By the early 1960s, the heyday of the great mambo era was passing, and by the end of the decade, the catch-all phrase salsa had been implanted on the rich variety of styles and rhythms that made up the repertoire. In between, throughout the 1960s, a thousand flowers bloomed in the Latin music field, with the bands conversant in the traditional Afro-Cuban styles of son and guaguancó and cha cha chá, Latin jazz and bolero, while also trying their hand at a range of newly-emerging styles, beginning with the pachanga in the opening years through to boogaloo and shingaling, until the roots sounds of típico as the decade ended. This array of styles came together in those heady years, and the eclectic tastes of those dynamic times are all here, from "Tanga," the first recorded example of Cubop and the classic "Descarga Cachao," to the jaunting guaguancó of Ray Barretto and Bobby Pauneto. But while some of the selections represent the preceding musical generation, and others anticipate the salsa sound of the key Fania years of the early 1970s, the focus here is on the boogaloo and Latin soul sound which was the most characteristic soundtrack of the period. Listen to the two Willie Rosario cuts, "Cool Jerk," and the pieces by Joe Loco and Willie Bobo, and you'll hear the trademarks of the style: the raucous hand-clapping, the party exhortations, the back-beat drumming, the African-American street English -- the result was a crazy, motley style named after the African-American dance craze of the moment, the boogaloo. Boogaloo and related styles of Latin soul were the first real crossover sounds that broke the language and style barriers, and the first to make it onto the Billboard charts as top sellers nation-wide. However, it was a genre not destined to last long, soon eclipsed by the more commercially-durable salsa boom of the early 1970s. But notwithstanding the brief life-span of boogaloo, to this day many of its top hits are loved by dancers everywhere. Other artists include: Manny Corchado, Macito, Tito Rodriguez, Kako, La Playa Sextet, Chuito Velez, Joe Loco, The La Playa Orchestra, Rene Grand And His Combo New York, and Dianne And Carole.
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Just fun short hopping tunes about girls, cars, & beer. these boys from missouri have captured the "surf" sound better than any california band since dick dale, & this mix of obscure covers & retro originals is just the remedy for the schlock radio churns out. maybe eminem wouldnt be as upset as he is if he had listened to a little of this during his formative years. - By mark bychowski (Houston, TX United States)
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The Beyonderers are an instrumental trio from Akron, OH. They somehow combine the reverb and twang of 60's surf rock with the distorted attitude of Link Wray and top it all off with the arrangements and guitar pyrotechnics of 80's thrash metal to create something disturbingly new. Perfect music for intense physical activity or midnight drives through near Area 51.
traxfromwax:
Hawkins' life story is almost as bizarre as his on-stage schtick. Originally inspired by the booming baritone of Paul Robeson, Hawkins was unable to break through as an opera singer. His boxing prowess was every bit as lethal as his vocal cords; many of his most hilarious tales revolve around Jay beating the hell out of a musical rival.
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Punta San Gabor, Rumbalone, Move In Day, and Moody Teen written, performed, and recorded by Daniel Carls, James Snyder, Matthew Murray, and Robert Loeper. Special Thanks to Neil Pinkerton for his valuable input; even though we didn't keep his tambourine parts.
...Half a year later they decided to call themselves THE SATELLITERS and started to develop their own interpretations from first trashy and then originated 60's influenced garage-rock to create their very own “60s-garage-acid”-style.
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...The original ballroom dance which emerged in Cuba and Mexico was related to the danzón, albeit faster and less rigid. In the United States, it replaced rhumba as the most fashionable Latin dance. Later on, with the advent of salsa and its more sophisticated dance, a new type of mambo dance including breaking steps was popularized in New York. This form received the name of "salsa on 2", "mambo on 2" or "modern mambo". - wiki
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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...This entirely instrumental set features keening, sharp, bluesy riffs in much the same distinctive style that gained him fame on "Love Is Strange" and other tunes with Mickey & Sylvia. The choice of material, though, is a bit surprising, favoring some surprisingly cornball standards: "Third Man Theme," "Autumn Leaves," "Lullaby of the Leaves," and Cole Porter's "Night and Day." Baker (who also arranged the album) manages to invest all of these with a snazzy R&B feel and biting solos. And he does actually write four of the 12 tunes himself, on which he fashions the kind of straightforward R&B that one would more likely to expect. This is a pretty good showcase to hear Baker's unadorned virtuosity. But he's really better-appreciated within the context of stronger material, either as half of Mickey & Sylvia or on the innumerable '50s R&B cuts (many on Atlantic) that feature his session work.
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...It was the biggest concert of it's kind, 10 hours long with classic and contemporary surf bands including the Surfaris, the Chantays, the Belairs, the Lively Ones, the Tornadoes, Davie Allan & the Arrows, Jon & the Nightriders, the Eliminators, the Insect Surfers, the Halibuts, the Surf Kings and the coup de grace....the Mermen (Don's favorite band). Three of the original Turtles showed up, Al Nichol, Jim Tucker and Chuck Portz. No....not Mark and Howard (Flo and Eddie). The people that were there for me that day are still there for me. I will never forget... ~ Jamie
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After years of litigation, negotiation and just plain flat out procrastination Estrus Records presents The Untamed Youth: "Live On The Fabulous Las Vegas Strip!" LP/CD! Recorded October 9, 1992 from the front row center table of the one and only El Morocco lounge, this 20 song blowout captures da Youth at their best, tearin' it up for a packed house of rabid fans and tipsy outta towners, presenting live and wild versions of alla yer Untamed Youth faves as well as a batch of hitherto unheard tunes... and as an added extra bonus this swingin' slab comes packed inna full color cover by poster guru Frank Kozik, based on his original poster designed for the show! Hot Damn! So "dig right in" and "pull up a chair" and you're THERE at the EL Morocco Lounge catching all the action! - estrus
The Untamed Youth:
"An absolute gem - a completely stunning debut album" - Bob Harris, BBC Radio 2
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traxfromwax:
Hawkins' life story is almost as bizarre as his on-stage schtick. Originally inspired by the booming baritone of Paul Robeson, Hawkins was unable to break through as an opera singer. His boxing prowess was every bit as lethal as his vocal cords; many of his most hilarious tales revolve around Jay beating the hell out of a musical rival.
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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Too many of these modern instrumental surf acts try so hard to put a spin on their music that their music ends up suffering under the weight of their particular spin. Man or Astroman have some great tunes, but it's hard to hear them through the electronic noise and junk. The Blue Hawaiians made one good album ("Sway") and have sunk into a lounge-band hell lately. The Halibuts are the only guys with the guts to play instrumental surf music straight and to take their chances. There's no hypenization here: no "lounge-surf" or "electronic-surf" or the like. Just surf. And, much like the great surf LP's of yesteryear, the songs are only as good as their melodies and performances. Thankfully, the Halibuts uncork one great melody and performance after another. "Hammerhead," "Caldera," and the rest are fantastic songs. The Halibuts don't ape the old surf songs like Los Straitjackets do--they create new surf songs that are just as compelling and original as the best of their predecessors. - amazon
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...The original ballroom dance which emerged in Cuba and Mexico was related to the danzón, albeit faster and less rigid. In the United States, it replaced rhumba as the most fashionable Latin dance. Later on, with the advent of salsa and its more sophisticated dance, a new type of mambo dance including breaking steps was popularized in New York. This form received the name of "salsa on 2", "mambo on 2" or "modern mambo". - wiki
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...Check out their catalog of stellarreleases -- including early L.A. punk like the Controllers and the Rotters,sinuous Exotica like Chaino and current garage rock luminaries like the Satelliters - The Sateliters
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Latin music refers to music originating from Latin America namely Spanish- and Portuguese-speaking countries of the Americas and the Caribbean. Latin American music also incorporates African music from slaves who were to transported to the America by European and settlers as well as music from Indigenous peoples of the Americas. The first of those encapsulates all music styles generated from Latin countries, such as salsa, merengue, tango, compas, bossa nova and bachata; as well as other styles derived from a more mainstream genre, such as Latin pop, rock, jazz and reggaeton.
traxfromwax:
In the tradition of the Trashmen and the Rivieras before them, the Untamed Youth hail from the bounteous midwest region of these United States, and swing forth with the frantically delectable combination of high octane stomp, reverb, shout and soul that powered their heroes. As teenagers, guitar playing Derek "Deke" Dickerson commanded his beloved sidekick Steve "Mace" Mace to play bass, and the two lured local drum legend/school chum Joel Trueblood into the fold, along with organ playing Chris Fletcher to form a combo, which they dubbed UNTAMED YOUTH.
The Untamed Youth:
...Their hit "Love Is Strange," as well as several other unknown but nearly equally strong tracks, featured Baker's keening, bluesy guitar riffs, which were gutsier and more piercing than most anything else around in the late '50s. Mickey & Sylvia split in the late '50s (though they recorded off and on until the middle of the next decade), and Baker recorded his best solo album, the all-instrumental The Wildest Guitar. In 1961, he took the male spoken part (usually assumed to be Ike Turner) on Ike & Tina Turner's first hit, "It's Gonna Work Out Fine." Shortly afterwards he moved to France, making a few hard-to-find solo records and working with a lot of French pop and rock performers, including Ronnie Bird, the best '60s French rock singer. He recorded only sporadically after the mid-'60s. Mickey Baker died at his home in Montastruc-la-Conseillère, France on November 27, 2012, at the age of 87...to be continued... - by Richie Unterberger
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...If you are a fan looking for rare, hard to find or in some cases previously unreleased tracks, then this is your holy grail.There are several remakes and rewrites of "Spell" since basically Jay would come back to this song any time he needed a payday, the way Stallone goes back to Rocky or Rambo. There is a Vegas style version from 1967 with female background singers and rather cheesy horns straight out of Tom Jones Live at The Flamingo. There are two rewrites, "You Put The Spell On Me" and "She Put The Whamee On Me". They are o.k but don't touch the original at all. There are some nice Motown style numbers from the sixties like "You're An Exception To The Rule" and "Two Can Play This Game", both with a strong Smokey Robinson flavor. My favorite stuff is the rarites from the fifties like "Talk About Me" and "In My Front Room" with it's sleazy sax and bump and grind rythym. The first 12 songs on disc 2 are his 1969 album "What That Is" in it's original order. This was one of his most consistent albums featuring his classic "Constipation Blues" and a great pop Gospel tune called "Ask Him", which should really be covered by some contemporary gospel singer as it is a great song. There is a great raunchy tune called "Bite It" which is like a sped up version of The Mar-Keys "Last Night". His singing of other people's songs is incredible as when he plays it straight and lets his big voice unfurl on "Goodnight My Love" and "Aint Nobody's Business" but it's his classics like "Feast Of The Mau Mau" and "Stone Crazy" that steal the show. DefinItely one of the top three Screamin Jay releases.
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