Feldman , Goldstein and Gottehrer are rock and roll geniuses. (Scroll to the bottom and start playing the “videos”) I Want Candy is the only album by The Strangloves. My copy is not in mint condition but that just makes it rock harder. Most people have probably heard Bow Wow Wow’s version of “I Want Candy.” There have been tons of cover versions of the songs on this record. It’s hard to pick a favorite but “Cara-Lin” and “Night-Time” are definitely in contention.
These cats are connected to all sorts of great music from the The Angels’ “My Boyfriends Back” to War, Go Gos, Blondie, Circle Jerks, J. Geils Band, George Thorogood, The Fleshtones, and on and on.
The band’s amusing mythology from the back cover (I can’t believe I typed the whole thing…):
What are Strangeloves? Unusual combinations of romanticists? Or parted sweethearts?
Actually, a more logical question would be: Who are The Strangeloves?
Anyone who has had his ears tuned in to teenage radio in recent weeks would probably describe The Strangeloves as the swingingest trio to hit the music scene since the British invaded these shores two years ago.
The Strangeloves, oddly enough, don’t come from England. They hail from the backlands of Australia, a wild and uncivilized area of the continent from whence the trio acquired its earthy, hip swiveling rhythms so evident in their group’s potent recording of I Want Candy.
The same undulating beat so prominent in their hit single is multiplied to frenzied proportions as the boys showcase their best seller with 11 other swinging sessions tailored for the young-in-body as well as the young-at-heart.
This album is designed to get the crowd off their respective derrières and onto the dance floor. Sample the No Jive cut or the Just The Way You Are selection and you’ll hear exactly what this album is attempting to do–supply the most torrid sound around, the I Want Candy sound.
The Strangeloves acquired this untamed rhythm by studying the musical attributes of the natives in their own Australia. The boys were born on a farm in Armstong, Australia to Mt. & Mrs. Wilmot Strange who themselves obviously appreciated good sound. They melodically named their three sons Miles, Niles and Giles. While attending grade school and high school they assisted their father in raising sheep, learning the business of sheepherding better than Papa Strange had even anticipated. For it was at the young age of 16 that Miles, applying his vast knowledge of cross-breeding. developed the now famous breed of long hard sheep know as the Gotteher Sheep. The boys registered the breed with the Feld-Goldstein Company, Ltd. in Australia and have become independently wealthy from royalties accruing to them for each born into the Gottehrer breed.
But after completing high school, the boys turned their talents on a full-time basis to their first love–music. While on a safari in Africa, the group’s hobby, the boys acquired some unique Masai Drums and incorporated these tympany into their developing musical style. They worked intensively on creating an exciting dance sound and finally hit upon the rhythm they wanted in a tune called Love, Love, Love which went on to become their first big hit and one of Australia’s top hits of early 1965. The song was also responsible for changing the group’s name from the The Three Stranges to the The Strangeloves.
Then came I Want Candy which has documented the boys’ names on the pages the Record Industry history books both in American and throughout the world.
To give credit where credit is due the Masai Drums are under the control and supervision of Niles Strange. Miles supplies the lead voice and is an adept hand with a tambourine or almost any rhythm instrument. Giles’ contribution to the group is his very able management of the piano as well as extra drums when necessary–adding the the Afro-English beat conceive on their records.
Together the boys deliver a gross of mean sounds aimed at making your feet move.
Join in the fun and add The Strangeloves to your collection of albums. It’s music get a party moving!
This is the classic sound of first generation punk. The title track “hit” from Sham 69’s Hersham Boys frequently gets stuck in my head. Another favorite is the raucous, screaming live cut of “What Have We Got?” This cover is hilarious, with a gatefold that contains a great illustration by Brett Ewins of the band as the cockney cowboys, or “Hersham Boys.”
My grandfather, Charles “Chick” Orndoff Sigler III, made this treasure chest as a Christmas gift for me when I was probably 10 or so. He also made one for my brother Grayson, and wisely painted our first initials inside the lid of each chest. It was filled silver coins, maybe even silver dollars when he gave them to us. But the real treasure to me is the handmade box my grandfather took time to make. This was no kit. He made everything and even painted the awesome Jolly Roger inside the lid. I should confirm that with the elders, maybe my uncle Robin helped with the painting.
Thirty-some years later it’s still with me. Now, I keep it on my bedside table and use it to hold pocket change. If I didn’t have pocket change I would find some because it looks so cool sitting in the treasure chest. For a brief period it was in the attic at our first house. A home invading squirrel got in, managed to find my treasured treasure chest and gnawed on a couple corners. He was evicted with a vengeance. Looking at the damage still hurts.
On St. Elsewhere, Gnarls Barkley did a great cover of the Violent Femmes’ tune “Gone Daddy Gone.” The Femmes are repaying the cover love, with their take on the Gnarls Barkley hit, “Crazy.” It’s crazy smooth is what it is, with sounds of surf rock guitar, mandolin, flute, and of course the Femmes’ trademark bass. They even rock the theremin on the chorus.
This Mother Love Bone record, Apple, is better than I remember. Too bad the singer Andrew Wood wasn’t able to manage his state. He died of a heroin overdose before this album was released. On the back cover there is a note: “In memory of Andrew Wood.” At the time I thought they were a little too perfect, too Seattle, too trippy. Some of the lyrics and titles still strike me as a bit uh… something, but the record has plenty of great riffs and hooks. My favorite song is a dirge, “Stardog Champion.” I’m a sucker for gang vocals from a bunch of kids. Check out the video, and stay tuned for the kinders at the end.
Skateboard camp. Where boys become men. Old, broken, scarred men. But the pain is worth the thrill. The feeling of movement on a skateboard is magical. My son Mars just finished a week at skate camp here in Asheville, NC and according to him it was worth every penny. Of course, these weren’t his pennies on the line, but no matter. It’s about progression, at any age, and Mars met his goal for the week by dropping for the first time at the park. I owe that boy a t-shirt.
If you’ve heard only one song by Motörhead it’s almost certainly “Ace of Spades” from the album of the same name. There’s an AT&T television ad in heavy rotation, or maybe it’s just the type of shows I watch, that has a burly metalhead singing the song at the end. I’ve seen it so much I had to hear the real thing again.
One fun thing about the Ace of Spades (1980, this version on Profile Records 1986) album is its copious use of that curious percussion instrument the vibraslap. Hear one at Wikipedia. No sound conjures up the spaghetti-western, guns-about-to-be-drawn vibe more than the vibraslap’s rattle. I first became intimately familiar with the vibraslap when I was a percussionist in my junior high band, and I’ve been in love with it ever since. So, it’s probably no coincidence that my all time favorite Motorhead song is “Shoot You in the Back.” Just listen to all that vibraslap.
There are a few other great songs, but despite its fame this is not a consistent record. Unfortunately, there is also some really off-putting stuff like “Jailbait.” Come on, man.
This is a great great album everyone should have. I have always loved it but I just now learned that many of my favorites are covers of original ska tunes. Nothing wrong with that! I was also surprised that singer Terry Hall has no individual writing credits on Specials at all.
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