This is another record I inherited from my friend Bob Bob(ala). I’ve posted so many of his old records already that I think he needs his own tag. I confess that when I first looked at Ray Charles Live (1973, recorded in ’58 and ’59) I thought it was a decent addition to the collection, but didn’t expect it to rock my world. I was wrong. I’ve played this entire double album many times since I got it a few years back.
Ray Charles can tear the roof off any place and in a variety of styles. There is everything here from some swinging hard bop jazz instrumentals to classic blues soul numbers like “The Right Time.” In fact, there are two recordings of that song on here and it’s still not enough for me. When the Raylette Marjorie Hendricks starts screaming “BAAAY-BAAAYeee” repeatedly I get the goosebumps. The excellent notes inside the gatefold cover describe her singing as “powerful soulfulness-bordering-on-hysteria.” It doesn’t get any better than that for me.
Thanks to Matthew for hipping me to this site: The Che Underground. Featured are bands from the swinging San Diego music scene of the 1980s, including one of my favorites, The Tell Tale Hearts. I posted a their self-titled record here a good while ago. Outsiders are allowed, check it out.
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 derriÃ¨res 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!
Raw, loud, fast, naked rock and roll power! I will never tire of it, or The Hellacopters. I just read that after a tour of Europe for their new album Head Off they are calling it quits. So sad. We end the week with another great one, Grande Rock, released in 1999 by Sub Pop. I got this record from Olsson’s in Old Town Alexandria, VA. Yes, it is vinyl. Olsson’s was cool enough to maintain a small vinyl section, but I think I had them special order this. My favorites are “Dogday Mornings” and “Venus in Force.” I brought this home and started playing it right away. Mere seconds after the needle hit the groove my daughter Paris, who was five years old at the time, exclaimed “I know that’s rock and roll!” I raise ’em right.
What a complete breakdown in posting discipline. Things happen, and these records take time to post. This one is worth the wait though. Not that I’ve been waiting. I’ve been spinning Supershitty to the Max (1996) by The Hellacopters every day since I mentioned the guys last week. This is their first record and I’ve been in love with them ever since. Thanks to Bob Schick for turning me on, and tuning me in.
Supershitty is totally raw rock and roll in the spirit of The Stooges, Motorhead and roots punk. There’s no hint whatsoever of the occasional power pop song you hear on their later recordings. My favorite, and what too often feels like my theme song, is “Born Broke.”
Now that my son Mars discovered there is a bonus song by The Hellacopters in Guitar Hero III I can’t imagine my productivity is going to increase any time soon.
Oh my goodness, this song rocks! I’m a long time fan of The Hellacopters and “Sign of the Octopus” from their new record Head Off is already one of my favorites. Listen closely for the cutting guitar lick at the end of the chorus. It only happens twice for a cumulative four seconds of rock and roll bliss. Be ready to rewind because you’re going to want more, more and more! And more!
If you’re still standing after “Octopus” check out more of their new stuff at their MySpace page, especially “No Salvation” and “Veronica Lake” and “I’m Watching You” and, well, all of ’em. I gotta get the scratch together to add this to my Hellacopters record collection.
Hellacopters! Rocket From the Crypt! When I’m having a good day these bands are part of the imaginary soundtrack of my life. I can’t get enough roots rock/punk rock. This 1999 double band single, Hellacopters’ “Crimson Ballroom” and Rocket From the Crypt’s “Delorean,” was put out by Gearhead Magazine, and included with issue #10. In my fantasy life Gearhead is the “lifestyle” magazine.
This record is a seven inch vinyl disk to be played at 45 revolutions per minute. I’ve included a pic of the vinyl so the kids can see what I’m talking about. I’m doing it all for the kids.
There are some great Bobby Darin classics on this disc from 1997 but the recording quality is lame. It sounds live, and maybe even bootlegged. I didn’t buy this album. When I was working at The Motley Fool a year or so after the dotcom bust I wandered up to one of the then-empty floors. I saw this CD sitting on a long-abandoned desk. I decided to relocate it to my desk on the one floor of our office building that held the lay-off survivors. After the first listen I could see why it was left behind. It still sounds as bad as I remember. The Fool on the other hand has only gotten “harder, better, faster, stronger.”
The title track, “Mack the Knife,” has an interesting story behind it. The Delancey Place newsletter recently emailed an excerpt from The Rest is Noise by Alex Ross. It discussed how strange and unlikely it is that this song, essentially a psychotic murder ballad, eventually became a pop standard sung by Darin, Sinatra and others.
I’m throwing out a lot of “10” ratings but these records all deserve it. This right here is the greatest band you’ve probably never heard of. Nine Nine Nine. Concrete is one of the most fun, sing-along, punk pop rock and roll records ever. It includes two great covers: “Little Red Riding Hood” and “Fortune Teller.” But the best songs are the originals. A couple favorites are “So Greedy” and “Break It Up.” The musicianship and song craft are tops. Every song leaves me wanting more. Hearing damage or blown speakers, which will come first?
Nine Nine Nine is still kicking it. I need to get their latest.
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