Silver Convention “Get Up and Boogie (That’s Right)” / “Son of a Gun”

I’ve lost all patience, I admit, with the internet, social media, this website—the constant hustle just trying to get anyone to listen. I should probably stop writing about records I don’t even like, because I have no energy for “research”—and while I do have nostalgia for many dumb things in my past, I have none for most TV shows and quite a lot of music—including disco. But anyway, here’s a 45 with an attractive label—half yellow, half white—“Midland International”—it’s got more info on it than Encyclopedia Britannica—two dates, 1974, 1976—and under the song titles: “A Butterfly Production by Michael Kunze, An Original Jupiter Recording”—I don’t want to automatically say that sounds like there was coke involved, but come on. I mean “Get Up and Boogie” is a pretty great song—it’s mostly a repetition of several women singers singing “Get up and boogie,” though they occasionally vary that with… “Boogie.” Genius. The thing about the song I don’t like is that periodically the music stops and what sounds like several fraternity brothers shout, “That’s right!” I’m guessing for many, that “makes” the song—but for me, quite the opposite. I guess I could do a remix of the song, cut out the “That’s rights!”—but then, I’m imagining, I’d be tempted to add in something equally as dumb—like “Speen sauce!” Okay, maybe not that dumb.

The B-Side, “Son of a Gun,” is just as good—well, I like it way better (mostly due to it not having gym-short guys singing “That’s right!” all though it). But it’s a pretty great song, actually. The women intermittently sing, “You son of a gun”—which, I believe is intended, in this context, as a woman berating a man. Maybe I’m wrong—but that’s the impression I get, because between those outbursts we hear a man singing (so low and mumbly I can’t really make out the words) a kind of Barry White inspired sleaze-talking. The problem is—“you son of a gun” is never an expression used in anger at someone—it’s always an expression of approval (used with an ironic twist). So, maybe it’s the language barrier here that’s the problem—Silver Convention is a German group, after all. But for me, this is no problem at all—it’s what makes the song—well, that and the soaring instrumental parts that are very cinematic—kind of “Theme from Shaft” inspired. But what if I’m wrong about all this? I’ll have to listen to it REALLY LOUD to see what the low-voiced guy is saying. Well, I still can’t understand what he’s saying, and the neighbors are complaining, but it sounds like he’s trying to get the women to forgive him for some indiscretion, while, at the same time, trying to “get busy” with them. Pretty much what I’d imagined. It is a great song—I guess I like this record after all—and it’s put me in a much better mood! (Why I persist.)

Paul Horn “Dream Machine”

One nice thing about checking out a new (well, 1978) record is the excuse to go back and listen to others by that artist—in this case, the excellent “Visions” from 1974—and seeing if that short span of years is as catastrophic here as for many recording artists. Certainly, you wouldn’t connect the two album covers—from hippie drawing (that one) to this one’s larger-than-life, full headshot, which looks like the promotional poster for a motivational speaker. Nice. Recorded a week after my 18^th birthday—not a record I would have bought my first year of college (when I budgeted one LP per week)—so it’s just had to wait for me somewhere for 46 years—ha! The next thing that catches your eye (back cover credits) (besides a list of excellent musicians) is Lalo Schifrin (“Composed, Arranged & Conducted by”)-—so this is kind of also a Lalo Schifrin record. But it’s first of all a Paul Horn record—it’s a flute record—flute from start to finish. I like it. All the musicians are good—what stands out to me most (besides flute) is some of the bass playing. Credited is Abraham Laboriel. As with flute, I’m no great judge of bass playing, but I know what I like, and some of these lines make me stop and wonder if I’ve left something burning on the stove.

As for the songs, I most associate Lalo Schifrin with some great movie scores—so will this be one of those records I’m best able to relate to by envisioning movie scenes? Why not. Six instrumentals that may as well be named anything, so maybe. The first one, though excellent, doesn’t take me anywhere, specifically, so I’m going to engage my imagination more. Next one, I’m seeing a slightly futuristic world and we’re following some kind of cop (naturally) through his daily rituals. This is the future where the cars got much cooler (as opposed to the one we’re living in) and 1970’s fashions (including moustaches) stuck around. Next song is a deal going down. Side Two starts with a kind of split-personality song that alternates from “too cool to even be bothered” to TV show about a well-adjusted high school teacher who only helps kids get the highest SAT scores possible and has no dark side. And then… a song called, “Quite Early One Morning,” which is, as you’d expect, quiet, meditative—one of those mornings more focused on beauty, mortality, and the meaning of life than, say, coffee. But, as coffee is as inevitable as death, we progress into the day with a sad coolness. Finally, then, “The Juggler” is a bit clownish—and since I find a happy clown unbearable, I’m imposing my own sense of irony on the proceedings and choosing to imagine a protagonist who juggles love affairs, bank accounts, and wellbeing—with disaster. The End.

Terry Gibbs “Vibes on Velvet”

Nothing starts out much smoother than this record—I guess it’s a five saxophone, ten (or so) piece orchestra—the beginning of “Autumn Nocturne”—and then the vibraphone comes in, and it goes even smoother, if that’s even possible. I guess I’m kind of partial to vibes—standards with orchestra and vibes—the kind of late Fifties early Sixties cocktail den jazz—because that’s (as I said before) what I listened to in my crib (baby crib, not bachelor pad). I suppose when they named the record “Vibes on Velvet,” smoothness was what they had in mind. There are extensive liner notes covering half the back album cover, if you’re interested in some serious biographical information. Also, a bit of selling—of this record, that is. It’s charming to imagine a time when a person might pick up an LP in a record store, and that small, serious, print would function as a selling tactic. Imagine! The cover is a closeup of a vibraphone, and some mallets—it’s pleasant, but not spectacular like the other Terry Gibbs record I have—it looks like a jazz album from the year it came out, 1956. Terry Gibbs released a ton of records—I’m not even going to count what the internet lists—but this was part of his first half-dozen. It’s an early one. And he’s still around! He’ll be 100 in October! Some of my very favorite standards are here, including “Mood Indigo,” “It Might as Well Be Spring,” and one of my major obsessions, “Smoke Gets in Your Eyes.” Really good versions, too. Plus, others I don’t know like the back of my hand, but still sound like remembering dreams. There are three Terry Gibbs originals—that are great, as well, and sound pretty familiar to me, too—maybe because I’ve played this record more times than I realize. I’d play it even more if I had a rec-room, with cocktails and mellow lighting, and I was entertaining dates with romantic intentions.

Stan Kenton & His Orchestra “7.5 on the Richter Scale”

This cornball Stan Kenton cartoon-album-cover cheapo masterpiece starts off with what sounds like a college marching band version of “Live and Let Die” (which every marching band in the country did, you recall, after that movie came out—despite the not very positive message of the lyrics). Still, I like it, as well as the ridiculous version of “Body and Soul” that sets me right in a movie set in Las Vegas. It’s all movie music, actually—the liner notes refer to “now” music (bordering on rock) (thus, the “earth shaking” reference). The datedness comes across as (to me) charming. “Down and Dirty” is a detective movie theme with a great bass part on top of which horn ridiculousness makes okay sense. If you can hear “Country Cousin” (a Gene Roland composition) without seeing 1973 mustachioed Burt Reynolds in tight pants, you’re too old (or too young). Their take on the Strauss (Zarathustra) is a weird one—as is, I suppose, every take on that oddball theme—it would be fun to rank them. All in all, this LP goes with my party records (as intended, I’m guessing)—I only wish I had a dedicated “Rec-Room” with a wet bar (whatever that is), a psychedelic mural, and blacklights. Hopefully the party would last much longer than the duration of this record, but “It’s Not Easy Bein’ Green” sounds like the mellowed to exhaustion climax, when people put their arms around each other and it seems okay (at least at the time). What to make of, then, that jaunty “Godfather” theme? Maybe it’s just a sequencing problem. Or maybe I’m wrong about the party. “Blue Gene” (another Gene Roland) is another movie, this time with that weirdo James Coburn. How does that guy seem to keep getting weirder, over time?

Brenda Russell “Get Here”

When the opportunity presents itself (cheap vinyl) I’ll buy records by anyone named “Randy” (my first name)—or with the same last name as mine. Over the years, this has proved a fine strategy (Randy Newman, Leon Russell, Randy Lee, Randy California, etc. [though… the jury’s still out on Bobby Russell])—though, sometimes, and occasionally, not. But it’s always worth a try. I heard about Brenda Russell way back, at some point—she’s got a long career—here and there—but never heard any of her records. So I picked this one up when I saw a super-clean copy. It kind of confused me—the cover art—a photo of Brenda Russell, treated to look like a painting—on a clean, white background—looks totally contemporary. Yet the record is from 1988—which is eons ago. Yet… I don’t normally buy records that are this “new.” Confused yet? Well, time is relative. I like movies from the Seventies—but for children’s books, that’s way too new—Thirties and Forties, I like much better. With records, 1972 through 1974 is the three-year period I’m drawn to. With tacos, I find them best if they are only a few minutes old.

I guess this music is considered pop, but also R&B—but those categories aren’t really that helpful. The overall sound strikes me as pretty much an Eighties style of production (which would make sense), but not as flagrantly so as most rock music from this era—it’s more timeless sounding. Faster songs and slower songs—I prefer the slower ones, like “Piano in the Dark”—which has a really catchy chorus—and has an emotional quality—the word “emotion” in the lyrics—and, as you might expect, a very cool solo piano part to conclude it. (According to inner sleeve notes, played by Russell Ferrante). “Le Restaurant” (I’m a sucker for dining establishment themes) is nice—I guess I just like slower songs—which wasn’t the case when I was younger. Something occurred to me—something I also thought about while listening to this last time I listened to it—the song, “Midnight Eyes” (a bouncy one) made me think of that band, Was (Not Was)—a record by them I had way back, “What Up Dog?”—so I looked that up—1988. So that’s interesting. Though… not so much the chorus of that song. A couple of her choruses make me think of James Bond theme songs—you know, the ones from the Eighties and Nineties, I guess—which are often instances when I’m suspectable to a mainstream sound—they’re usually catchy. The title song, here, is good—I like it—another slower, more soulful one. I’m not crazy about this record, but it’s okay. I can keep it around for when I’m in the mood for this kind of thing (which happens more and more often, these days).

Iron Oxide “Bass Response EP”

Iron Oxide is a “Noise” band from Cleveland, Ohio—Jeff Curtis and K Stewart—I’ve known both of them for some time and I played in several bands with JC. I believe they refer to themselves as a noise band, but I’m not sure—still, that would be my assessment—though, at one time, similar music might have been called “industrial” or “no wave” or “experimental” or even “punk.” What’s in a label? I don’t know if they’re still performing as Iron Oxide, but I did have the pleasure of seeing a live show featuring them back in 2013, at a bowling alley, memorable for me because of the inspiring performance—at one point Stewart “played” a taco.

This is a 2005 release—it’s an “EP,” due to having two songs a side, I suppose—though it’s 45 RPM. I suppose you could try playing it at 33 RPM—though it’s not recommended. It’s got an attractive red and black cover with some stylized “modern” art which would have been comfortable in the Sixties. There are humorous liner notes, written in an odd way that makes you feel a bit off-balance—my take is that the style mimics English as a second language—and is somewhat a parody of the “audiophile” records from… I guess, the Fifties and Sixties, which exploited the new (at least for the squares in the suburbs) fetishization of hi-fidelity sound equipment. The label is “Coffee-Hut Records” (named after Youngstown, Ohio’s legendary Coffee Hut), and the vinyl, which initially appears black, when you hold it up to the light reveals that it is actually coffee colored! It’s the best vinyl color I’ve ever seen—and may be the only coffee-colored vinyl in existence (though probably not—it’s a big world).

There are four songs. Starting with Side A: “Anglegrinder”—a word which describes it well—just in the title. An instrumental. I don’t think I have the authority to elaborate. Next is a cover, “Not Moving”—which is a DNA song, written by Robin Crutchfield. There is singing in this one, lyrics I can’t make out, except for the chorus: “Not moving, not moving, etc.” This also features the Farfisa organ, and some complex noises, the origin of which I can barely guess. Oddly, I recognize this song! From the DNA tracks on the “No New York” record, a concise document of some 1970s downtown New York “No Wave” bands. I’ve told this story before, but it’s a funny one—after I worked at the Strand Bookstore for a year, 1985, 1986—I moved back to Ohio, and reunited with my records (didn’t lug them to NYC), I got out the “No New York” LP and said, jokingly, let’s see if there’s anyone I know on here—and then noticed Robin Crutchfield, who worked at the Strand. Sadly, I hadn’t gotten to know him—he had worked in a spooky computer shack in the warehouse (as I recall). There’s a lesson here (which I still haven’t learned—because I’m not exactly sure what it is).

Side B starts off with a live song called “Heat Death”—again, an apt title. If you can imagine the massive gush of flame coming from the mouth of one of those dinosaur-like Japanese monster movie monsters, you’ve got the first part—followed by something less menacing, but no less grim, like a haunted sawmill, back in operation just for the hell of it. It’s not unlike the unknowable drone coming from some part of the hi-rise apartment building they built next door to me during the lockdown—except that noise is unpleasant and ceaseless. The song on the record is intriguing and… it ends. Then, finally, another Farfisa song, the organ part repetitive enough to make you second-guess your needle’s dedication to the groove’s progression inward. Interesting—the organ is about six inches in front of you, and then further back there is what sounds like something happening—involving barrels and electricity—but I mean really, really further back—like a block away—yet in the same building. Then it ends, confidently. Did I mention that there are multiple bass parts, throughout—I’m guessing electric bass—bass guitar—not the fish.

Bobby Radcliff “Early in the Morning”

I picked up this record in 1985 (the year it came out) when I lived in New York and worked with Bobby Radcliff at the Strand Bookstore—he was (or seemed like) kind of an old-timer there—one of the people who seemed utterly comfortable coming and going, getting his work done without seeming like a person at work. It was one of the more interesting jobs I’ve ever had—mostly because it was the job with the most interesting co-workers, and he was one of them. A really funny, unique guy. You wouldn’t guess he was a singer and excellent blues guitarist, but that came to light—maybe at the time record came out. I honestly can’t remember now if I bought the record from him, or he gave it to me, or I bought it at a store—and I can’t remember if I went to see him live. I’m thinking I must have. But I did drink a little bit, back then. Actually, I drank a lot—and New York in 1985 made me double that. But I guess I was the right age for it.

For some reason, I don’t listen to blues music that much, or as much as I did at one time. It’s not that I don’t like blues—but I guess there’s some I’m not crazy about—well, there’s probably a lot I’m not crazy about, which is why I avoid it. Even so, one of the best live shows I ever saw was Junior Kimbrough (in a tent, in Iowa). And one of my very favorite records ever is Magic Sam’s “Give Me Time” (it’s not out on vinyl, I don’t think, or I’d be trying to get a copy). Maybe part of my ambivalence is because whenever I pick up a guitar I go naturally toward blues, and not real inspired versions of it (it’s my own laziness to blame, not the blues). Anyway, I’m happy that this record sounds great to me, now. I was separated with it for a while (in all my moving around—my brother had it for a while). Yet here it is, back on my shelf—in good shape, just a wine stain on one corner. One thing I like about this record is that it’s got a clean sound and unadorned production—the vocals are right out front—and Bobby Radcliff’s guitar playing is excellent—but also understated (a good quality for blues music). Also, very clean, no effects—right there, it sounds like it’s in the room. Good song selection, too. It starts out with one called “Uh!” that I really like. And there’s a couple of Magic Sam songs—who, I guess, he knew, as a kind of mentor.

The Wildcats “What Are We Gonna Do in ’64?” / “3625 Groovy Street”

File under “songs with numbers in the titles.” Weirdly, the A-side sounds too fast, and the B-side too slow—but at least “3625” has a nice groove to it—and a great title (“3625 Groovy Street”)—which is also the chorus—sung in a goofy, singsong by what sounds like three teenage girls. Who are The Wildcats? I’m not spending all day on the internet to (attempt to) find out—so it remains a mystery. Apparently the “Hazlewood” noted as songwriter (both songs) is indeed Lee Hazlewood—one of my favorite songwriters ever. Makes sense, this is on Reprise, and “3625 Groovy Street” sounds like something he’d come up with. “’64” has its moments—a really hot guitar solo, in that old rock’n’roll guitar style—really nice one. The gist of that song is, we’ve learned The Twist, etc., and so forth, but that’s old hat—so what are we gonna do in ’64? “Will it be something strange and new or will it be something old and blue?” That’s the (sung) question. What were the fads in 1964? There was that Troll Doll. Dumb, but much better than Internet Trolls. I don’t know what else. I know there was this record, with some groovy organ and hot guitar and enthusiastic singing teen-sounding girls. For me, personally, I’m sure there was a lot new—being four years old—but I can’t really remember it! Heavy drinking and smoking weed were, for me, still a decade off.

John Phillips “John Phillips (John, The Wolfking of L.A.)”

This is one of those records that just sits out there by itself—don’t really know what to do with it—well, I put it on the turntable a lot—I haven’t gotten tired of it yet. I guess it would go in my “desert island crate”—if I’m allowed a crate (on the S.S. Minnow). Every song is really good—John Phillips is a great songwriter. It’s essentially a country record—with the Wrecking Crew, some country legends, and great backup singers—in the studio. It’s one of those that I prefer to listen to as a whole rather than as a collection of songs—but if I had to isolate one, the sing-a-long, “Holland Tunnel” is the one I’d put on every mix tape—if I still made mix tapes. This is a record where I’ll buy an extra weed-saturated copy whenever I find it, intending it as a gift—but then decide I need a “backup.” Also, you’ve got to consider the gift thing, because with John Phillips, there’s a lot going on. You need little more than the internet to read some pretty awful stuff about him—which may or may not be true—so, you’ve got to decide yourself if your eyes are bigger than your stomach—or something—wrong metaphor—if you can stomach even the rumors. I read some of his autobiography, Papa John (1986), and there’s a part where he said he left members of the Rolling Stones to babysit his kids while he went into town to score drugs. I don’t know if it’s worse to admit something like that or brag about it, but besides being kind of funny, and horrifying, pathetic, (maybe charming?)—it gives you a taste of an unimaginably exotic and messed up world. So it’s up to you, the listener (and reader—you don’t have to read this) how you want to spend your money and time. The money’s not going to him (he died in 2001), or the label—it might be $3 going to your local used record store.

The other thing, for me, is even more imaginary—something about John Phillips’ image over the years, as a larger than life character, rock star, what have you. I am a big fan of the Mamas & the Papas—though I wasn’t when I was a kid. I don’t know when that happened. I guess some of their songs somehow managed to stay fresh for me—even after hearing them a thousand times. (See: Chungking Express (1994).) They were a fascinating band. I’m spellbound by any old, live (or fake live) footage I come across. Mama Cass was the real star of that band—but it cracked me up how John Phillips seemed to be trying to disappear, hide behind an acoustic guitar, despite being a head taller than the rest of them and wearing some nutty fur hat to accentuate that. Then, later images of him, you can imagine the personification of the creepy old hippie. But this record (1970)—somewhere in between—strikes me as kind of the pinnacle of his recording career—him at his best. Did he feel that way? And how much of the sordid stuff is just Hollywood-style conjured image? Probably a lot—but the back cover of the record—a photo of him on the beach with a demonic grin, sporting a top hat and fur coat, and looking just really dirty—horrified me and fascinated me to a degree that I attempted to write a short story about it. I planned on placing it as the last story in a book of stories—and I attempted to draw (with oil crayons) a version of that photo on the back album cover—intended for the back of my book. I ended up rejecting the story—not sure why—it didn’t work. But it occurs to me now that that story is why I’m getting the nagging feeling that I’ve written all this before. So, no, I’m not high, and it’s not déjà vu. And, okay, I’ll admit it—it’s my favorite record.

Dorothy Donegan “at the Embers”

Album cover photos don’t get much better than this one—four well-dressed people sitting at a bar on movable stools, the kind without backs, and tubular steel footrests at the bottom. Two women are on the center stools—wearing skirts and stockings (the photo is cropped above their waists)—and they have slipped off their shoes, which are on the floor below. It’s a rather suggestive photo for 1957. Also, a little weird. I’m not exactly sure what it says, but it seems to say a lot. One would like to assume it’s taken at “The Embers”—and there is music in the air. Drinking is going on, definitely. The men may be more focused on the woman than the woman are on the men. The band is a small jazz combo, sounds like a trio, dominated by piano that I assume is Dorothy Donegan—and her playing is kind of nuts, if I can say it. A lot of energy, and then some. Mostly standards. I have always particularly loved the name “The Embers” for a bar, nightclub, or restaurant—it’s the best.

I wouldn’t call this music “jaunty,” exactly—but it’s definitely not laid back. I might call it “caffeinated”—which I like more than jaunty (the word and the sentiment). It’s certainly energetic. It’s kind of like… why not play 100 notes, where one will do, if you can work in 100 notes. I read a little bit about Dorothy Donegan—classically trained, from Chicago, put out a dozen-and-a-half records from the Forties to the Nineties, but was best known for live performances. Wikipedia notes she was “the first African American to perform at Chicago’s Orchestra Hall”—in 1943. She criticized sexism in the music industry. She was a protegee of Art Tatum. She “was known for performing stride and boogie-woogie, as well as be-bop, swing, and classical.” When you put all those together, what do you get? Rock’n’roll. I’m just kidding—but listen to the short number called “Donegan Walk”—which sounds more like rock’n’roll than most music that calls itself rock’n’roll—it’s my favorite on the record. It’s credited to Dorothy Donegan, as is another one called “DDT”—another rockin’ out number that I’m guessing isn’t named after the insecticide. Maybe it’s “Dorothy Donegan plus something that starts with “T”—(Time, Terror, Tyrannosaurus?). I also very much like some of the standards I know—in particular, a nuts version of “That Old Black Magic,” “Just in Time,” a nice slow version of “My Funny Valentine,” and a hot version of “Lullaby in Birdland” that won’t put you to sleep. All of them are good.

Even though it’s an album cover you might want to hang on your wall, don’t do it! For one thing, you’ve got to protect the record. And for another, you’ll miss the liner notes on back—pretty good ones, though uncredited, which is weird. Even more weird, whoever formatted the liner notes obviously didn’t read them—I won’t go into details, but there are errors—how does that stuff happen—even in 1957? A lot about the Embers—a nightclub/restaurant on East 54^th Street in New York. It was on East 54^th Street, I guess—I looked it up—long gone now—just hideous skyscrapers there, now. Though it’s (was) just around the corner from Dee Dee Ramone Corner. I guess they served food there, too, and for a moment, the liner notes seem to want to turn into a restaurant review—or maybe the author was just hungry! Mostly, it’s some glowing words about Dorothy Donegan and her very popular live performances. A Time Magazine writer is even quoted: “Dorothy shuts her eyes. Her feet begin to pound the floor. Her face contorts as if she were in agony. What comes out is pure Donegan. It has the customers shagging in their seats.” What’s that mean? Well, either they are baseball players, catching fly balls for practice, or they’re f**king!