Borderline

Borderline. A place, a way of being.

This mix has at its centre, a tribute to the mighty Doug Sahm. A true legend. Doug was Texan through and through, but not in that John Wayne way, more Paul Newman in 'Hud'. An outsider, an outlaw to straight society, with a lot of friends in the same boat, a massive musical talent and a man of controlled excess.

Doug, or Sir Douglas, as he was known through his super hot band the Sir Douglas Quintet, had his first success with the fab single, 'She's About a mover' in '64

Doug teamed up with Huey P. Meaux, the 'Crazy Cajun', producer of some renown, to produce his personal fusion of Western Swing, Cajun, Tex Mex and, and this is the BIG and, The Beatles and their rabid ilk, descending on America and their airwaves like a hoard of locusts, turning on America, turning on a very turned on guy (he'd been in showbiz since he was like 6 - you know what I mean?) to new ideas in sound. The SDQ released two great albums of excessively loose, driving Tex Mex, Blues fueled 60's pop, with buddy Augie Myers pumping the Vox organ in wild Tex Mex stylee, mixed with the Zombies and the Animals.

Doug Sahm continued on with the SDQ for a gang of amazing albums on Smash, with the single and album 'Mendocino', being probably the biggest sellers. He continued unabashedly to create excessively honest and cool music. Moving to the San Franciscan Summer of Love at its zenith, funneling all those good times and merry madness as well as the mad times and badness, splitting back to Texas when the dream had ended. Back in Texas he continued in his almost reporter like way about the most intimate details of his life, about the walls he's going to build. to "keep the Pole eeese Men out" , about smoking pot, life on the rock highway and about his intimate extramarital affairs with teenage chicks. Doug played himself in the film Cisco Pike, worth checking out. Doug was a cat that embodied that tear away spirit that embraced every nuance of the cultures surrounding him, with no racial boundaries in his personal and musical life, just wanting to rip it up and enjoy life to the fullest.

With Doug Sahm as the centrepiece of this mix, I went outwards, collecting various people he was interconnected with, such as the great Flaco Jiminez  and then outwards to connected elements of his music, Western Swing, Cajun and rockin' Country. The musics of Texas, Mexico, New Mexico and Louisiana - Borderlines.

I've included a good many selections of Louisiana sounds in this mix. Louisiana has a long long wild and sordid history, which in short, it has been Indigenous, Spanish, then French and then American. So you had Spanish people and their African slaves, French people and their slaves and then American people, and their slaves, all co mingling culture within culture. And then you had the French emigrants who'd been living in Canada for a heap of time, till they got kicked out. The long and the short they weren't welcome down south either and they split to wherever they could find land which for some was based around the endless swamps of that fine damp land. These people are known generally as Cajun, originally French Arcadian, speaking an old French dialect, one they were forbidden to speak for decades. Their culture continues in its' dreamy pagan waltz, forever outsiders, living amongst the other runaways, the indigenous, the ex-slave the ex-runaway slave and the Alligator.

I've included some monster tracks from this sphere with 'The King of the Accordian' Lawrence Walker, the stompin' Link Davis and the fiddlin' fiend Harry Choates.

There is also the African American equivalent of music form found in Louisiana called Zydeco which creates its cultural gumbo of German, French, Polish, Spanish and the other for mentioned outsider societies and their sounds. So what cha get is a Bluesy, Polka like waltzy, rockin thing, that when you get practitioners like Clifton Chenier working the pearly keys.....oochymama it's hot!

Other sounds from that state include N.O. artists Fats Domino, Ernie K Doe, Cookie and the Cupcakes and Larry Williams. A tiny inclusion from one of the most influential cities on the planet.

New Orleans is home to the Congo Square. An infamous grounds in the centre of the French Quarter, where the local peoples of colour were allowed (?) to celebrate there own culturally rich heritage, their music, dancing, and stories, for a day, a day a year. 

The expanse of great music that has been made in that wondrous city, dating back to before the birth of Jazz is mind blowing. Jumping forward to the mid 40's the studios of Cosimo Matassa began pumping out a mind blowing array of ace R and B and Rock and Roll sides for labels such as Specialty and Imperial. Then there's Joe Ruffino's Ric and Ron labels, Joe Banashak's Minit Records, where a young Allen Toussaint developed his chops to record the next wave of N'awlin's massive musical history.

There's also a whole world of crazy sounds emanating out of sheds and backrooms around the backwoods of Louisianna , such as J.D. Miller's, from which I've included Joe Carl, Tony Perreau and Clifton Chenier, as well as Eddie Shuler's magnificent Goldband label.

Jerry Lee Lewis, the Ferriday Fireball one of the wildest and most notably borderline characters on the mix is featured hear tearing 'Me and Bobby McGee' to shreds, wailing his backwoods Louisiana howl, thrashing and extending the 88's till they're left smoldering. Decades spent pounding those keys, sneaking into the local tents and halls, Diggin' Roy Hall and his Jumpin Cats, jumping up to play when he gets a chance, dancing with the devil in honky tonks. By the time he made 'Great Balls of Fire" he was already a veteran. That was a long time ago. I saw him perform in N.O.  in '92 at a white boot scootin' honky tonk bar / barn called 'Mudbugs'. God darn he was good! He had managed to maintain an existence of extreme living, yet when called upon to deliver he could sing and play with such potent force that it was like the musical equivalent a turbo engine in your face.

Some other characters don't fit the topography but do share the outsider tag, notably Charlie Feathers, a man of great fire and talent, who is noted to have created the rock-a-billy hiccup, an early member of the Sun fraternity. Charlie was the centre point of my hillbilly bop and rockabilly single hunting days. If asked "what like?" I'd say "like Charlie Feathers". Just ask the Cramps - Borderline.

Getting back to Texas, the ultimate borderline state, bordering Mexico. The border there being one of the most fiercely guarded borders in the world. Mexicans, many of whose ancestors had lived for generations in the then unnamed North American continent are not welcome to cross the border. Though ironically the bulk of the services industry in the US is powered by illegal immigrants, without whom the economy would collapse (a bit like the abolition of slavery). Texas, like New Mexico has had a long and mixed relationship with their bordering friends, as well as their resident aliens. But amongst all this mess there is an intermingling of cultural musics, food, art and personality. One of the finest cases of a mixed smorgasbord of ethnic musical cultures is Western Swing, a term created as Texan Swing became a smash on the west coast with the advent of the Western movie. A great many early westerns featured roles or cameos from Western Swing stars, such as Bob Wills, Spade Cooley or Roy Rodgers, formerly of the hot swing combo the Farr Brothers. Western Swing combined the sounds of Ellington, Basie and Henderson with Django Rheinhart and Stephan Grappelli's Hot Club of France. Infused that with Blues, Country Blues, Polkas, German waltzes, Cowboy ballads (that's a book in itself), Hawaiian guitar and old time carnie hokum. Bob Wills, with his Texas Playboys, was a leading light, though the competition was fierce. These guys were the best, the hottest the fastest. Their cutting sessions would leave you breathless. If you lay down the bucks for just about any damn record from a band of that period and you can be guaranteed a smoking ride, whether its Milton Brown and His Musical Brownies "Is my razor just for shavin'? Yes sir" or the Night Owls, featured here performing a Tex Mex classic, or the Texas Wanderers and the Lightcrust Doughboys, just slam the money down, you won't be taking many chances.

So here's to the Spanish people who had formerly traveled and settled in the great northern lands, mostly to create monasteries. Who were destroyed by the American dream (death march) The many indigenous civilisations that were also decimated. The African: abducted, enslaved, brutalised and humiliated, their every culture outlawed, excessively. To the so called White Trash left outside of society.

Here's to the all the outcasts, those forever living on the borderline.

The Mix

1. Sir Douglas Quintet - Nuevo Laredo - Smash

2. Link Davis - Slippin' and Slidin' Sometimes - ACE

3. Flaco Jiminez - Tu Nuevo Carinito - Arhoolie

4. Clifton Chenier - Night and Day My Love - Flyright

5. Doug Sahm - Just Because - Renner

6. Willie Egans - Chitlins - Mambo / Krazy Kat

7. Sunny and the Sunglows - When I Think of You - Krazy Kat

8. Cookie and the Cupcakes - Mathilda - Judd Records / ACE

9. Fats Domino - Hey La Bas Boogie - ACE

10. Jerry Lee Lewis - Me and Bobby McGee - Mercury

11. Tony Perreau - Kissin' Kin - Flyright

12. Sir Douglas Quintet - Michoacan - Smash

13. Charley Feathers - Let's Live a Little - Redita

14. Maddox Brothers and Rose - Water Baby Boogie - Arhoolie

15. Dorse Lewis (the Scared Coalminer) - Mexican Rock - Cozy / White Label

16. Bob Wills and His Texas Playboys - Rose of San Antone - Kaleidoscope Records / Tiffany Transcriptions

17. Milton Brown and His Musical Brownies - Yes Suh - Western

18. The Nite Owls - El Rancho Grande - Old Timey

19. Roy Hogsed and the Rainbow Riders - Cocaine Blues - White Label

20. Harry Choates - Jolie Blon - Gold Star / Arhoolie

21. Lawrence Walker - Lena Mae - La Louisianne Records

22. Clifton Chenier - Hey Ma Ma - Flyright

23. Joe Carl - Rockin' Fever - Flyright

24. Ernie K Doe - Free, Single and Disengaged - ACE

25. Larry Williams - Oh Babe - Specialty

26. Big Sambo and the House Wreckers - At the Party - Candy

27. Johnny Dove and the Magnolia Playboys - Looking For Money - White Label

28. Doug Sahm and Band - Poison Love - Atlantic

Projects and Praise

 

Things have been a bit quiet on mixtape front lately and I do apologise, though I can assure you it's due to perfectionism not slackness. Three mixes in the works : Rave Up, early 60's UK R and B, an unnamed mix featuring Doug Sahm, which travels around various border musics of the US, with a common thread of ethnic groups, Hispanic, indigenous, creole, both black and white who were allowed no place in America. The third a fantastical collage of film soundtracks and other worldly sounds I've entitled Fractured Fairytales.

I am very happy to see the recent deluge of vinyl re-issues lately and have been a regular consumer of 4 Men With Beards, Sundazed, Finders Keepers, Light in the Attic and their ilk. What with the Velvet Underground, 'Quine Tapes' box, The Beach Boys 'Smile' double LP, the Lee Hazelwood LPs, Gene Clarke, Captain Beefheat and an insane amount more great gear. So even though I've been more than inundated by every form of musical godliness, there have been some things which have shone brightly, either newly re-issued, or discovered. 

The image above would seem like a typical old man jazz thing to the casual observer, but this album has a beauty that the cover doesn't show. There's a great scene in Treme', where DJ Dave plays a dedication to the N.O. Indian tribes that were busily getting ready for the next days procession, after his shout out he drops one of the finest pieces of New Orleans street music ever put to record. "Indian Red" which continued as a Mardi Gras staple, was then, almost an outlaw music. The power of that tune lead me to finding the only available release. This is where things get a little mixed up, cos it's not Baby Dodds (N.O. legendary drummer) at all but Danny Barker, the guitarist, banjo playing dude. So the album is half Baby Dodds, excellent early N.O. jazz and mad drum demonstrations but then half way through the disc comes Danny Barker with various ensembles playing more of this hot creole (sung in French) street, party music. Highly recommended for those inclined. 

Another ultra fab re-release is "Sea of Joy" by Tully, the Australian group of the late 60's to early 70's. I knew them from the "Morning of the Earth" soundtrack and little bits here and there, enough to know they were very special, so when I saw the LP over at Title, I just bought it. It turns out to be one of the primo albums of the period, most hot. It's released by Chapter Music and available on LP and CD. The LP came with the CD booklet and a download card. 

On another note, it seems to be the season of Roxy Music lately, most likely due to the release of the new boxed set, but what's exiting me is the Capitol 180gm vinyl re-issues of the first few albums. Listening through them in their entirety for the 1st time in a while has made me realise what a potent and truly amazing band they were.

Last, but definitely not least is Drag City LP re-release of Red Hash by Gary Higgins. One of the ultimate insights into the 'death of the dream', or as Danny, with the Camberwell Carrot, said in 'Withnail and I "The greatest decade in the history of mankind is over. And as Presuming Ed here has so consistently pointed out, we have failed to paint it black". 

Totally wonderful, totally unique. Check it out.

Discotheque

Hey groovers, we're back for more swingin' fun.

This latest mix Discotheque zooms in on early 60's American teen beat, with an emphasis on stomping dance tunes. I've also included some freaky fab hits of the time.

For the well initiated there might be too many super hits on this mix, but seriously, how many people have really heard these hits, except in the background on golden oldies stations and that's just the old folks. Most people under 40 have heard none of these tunes.

We start off with the super sounds of Little Stevie Wonder, getting the stomp groove down gloriously, for a teenager. Then we venture off into Phil Spector's magic kingdom as he leads Bobby Sox and the Blue Jeans through 2 minutes of some of the craziest stomp to hit the needle. And who is Dr Kaplan?

Along the way have some major legends ala James Brown, who deservedly appears twice (check out the proto-punk lyrics of 'And I Do Just What I Want'), plus other Motown legends Smokey Robinson and the Miracles and the Velvettes, who along with the Chiffons and the Shangri-las add some great girl group savvy.

Two of the tracks 'Hang on Sloopy' and 'I Want Candy' have been sourced from a massive compilation called 'Smash, Boom, Bang' on ACE Records. This is a compilation of some of the productions of producers Bob Feldman, Jerry Goldstein and Richard Gottehrer. Three mavericks who helped change the music biz with their crazy caveman stomp. The adventures of these three includes the creation of an imaginary band 'The Strangeloves', taken from the then current Kubrick film. The Strangeloves took the Bo Diddley beat added some ethnic guitar, lots of clapping and stomping and created 'I Want Candy'. The pretend band (FGG and friends) dressed in animal skins and exotic attire and claimed themselves to be Australian. This was apparently because no one knew what Australians looked like and were thought to be exotic. It worked, the tune was a huge hit, later to resurface as a Bow Wow Wow single in the 80's

We get to hear David Saville introduce the voice, later to be known as 'Alvin the Chipmunk', Kim Fowley and Co. talk about giants and dinosaurs, we find out about Tommy James' attitude towards Hanky Panky, plus we get to do the 'Philly Dog' and 'The Jerk'.

How much fun can you have?

Enter the Discotheque

1. Little Stevie Wonder - Contract On Love - Motown

2. Bobby Sox and the Blue Jeans - Dr Kaplan's Office - Phil Spector Records

3. Shangri-Las - Sophisticated Boom Boom - Red Bird

4. Stu Phillips and Orchestra - Wild Party - Colpix

5. James Brown and the Famous Flames - And I Do Just What I want - King

6. Smokey Robinson and the Miracles - Do The Jerk - Motown

7. The Strangeloves - I want Candy - Bang

8. Rex Garvin and the Mighty Cravers - Emulsified - Epic

9. Enoch Light - Over, Under, Sideways, Down - Project 3

10. David Saville - Witch Doctor - Liberty

11. Tommy James and the Shondells - Hanky Panky - ABC

12. The Chiffons - He's So Fine - Laurie

13. The Olympics - Baby Do The Philly Dog - Mirwood

14. Jerry Long and the Teen Twisters - Take a Chance - Hi-Life

15. Hollywood Argyles - Alley Oop - Lute

16. The McCoys - Hang on Sloopy - Bang

17. The Velvettes - Really Saying Something - Motown

18. James Brown and the Famous Flames - Night Train - King

Hot Rod Delinquents

For me, it all started with Chuck Yeager, the King of Speed. Cars, planes, rockets and anything else that moved Chuck tried to make it go faster! The post war kids dug that jive, they wanted to be Chuck, or be like someone who wanted to be like Chuck. Anyway, car clubs sprang up all over the States and the hot rod kids would do anything to go -=faster. Hot rod songs became all the rage, with Rocket 88 by Jackie Brenston and his Delta Cats (actually Ike Turner and his Kings of Rhythm) being one of the first, it's also known as the first real rock and roll song, with it's tale of picking up chicks, popping speed and hitting the road in a hotted up Oldsmobile, setting the scene for thousands of songs to come. Rhythm and blues, country and rockabilly artists made hot rod and car songs a staple on the the hit parade and juke joints in every big and little town across the US. 
Dick Dale, the King of the Surf Guitar invented a style of playing, based on his desire to make music that conjured up a feel of what it's like in the big surf. Dick was also no stranger to fast cars and the wild life and he included many hot rod tunes in his repertoire. DD was one of many musical cats on the scene putting down their interpretation of the sound of speed, though he inspired hundreds of instrumental bands to follow in his tracks. There was also solid stars like Lee Hazelwood Gary Usher and Bobby Fuller making new interpretations of the sound of the speedway and all sorts of car related hullabaloo. 
Southern California in the early 60's hosted one of the hippest collections of musicians and music producers, hot rod designers, surf and skate board designers, cartoonists, TV and film makers and madcap characters on the planet. The sounds and images emanating out of LA and its surrounds had a major effect on the youth of the western world. Kids, like myself, grew up with Gidget, hot rod shows, slot car racing, bubble gum cards, comics, a never ending supply of stickers and decals, monster rings and flicker badges. Our bedrooms, skateboards and school books were adorned with Ed 'Big Daddy' Roth's Rat Fink, monster and hot rod images, racing flags and skulls with helmets, stickers quoting hipster language, or some Mad Magazine equivalent. Hours were spent replicating images of hot rods with nitro flames busting out the exhaust, monsters with their tongues flying out the side. It was a very groovy time to be a kid, the youth market was being invented and we were getting all sorts of fun things that have since been outlawed.

L.A. at the time was known as Plastic City by cats from other happening places like NYC and San Fran. It was a place where dreams (and nightmares) were invented and manufactured. It was scorned as a place full of phonies, carpetbaggers and shysters. Well it was, and it wasn't, the dichotomy of the American story. The well worn story is that the studios would force bands to replace their members with studio hacks. The other side of the story is that some of the coolest (or hottest) writers, producers and musicians in the US made there way there: Phil Spector, Brian Wilson, Kim Fowley, Gary Usher, Van Dyke Parkes, Lee Hazelwood and Jack Nitzsche were there. Musicians like the Baptiste family from New Orleans, Dr John, Leon Russell, Earl Palmer, Glenn Campbell, Hal Blaine, Carol Kaye, Barney Kessel and Billy Strange, to name a few, filled out the ranks of what later became know as the Wrecking Crew, laying down some of the hottest sounds emanating from the planet at the time (except for Motown and then new British Invasion). Apart from working on the Ronnettes, the Beach Boys, the Byrds and a hundred other band's recordings they were cutting sides under pseudonymms such as The Knights, The Four Speeds the Young Cougars, The Hondells, The Superstocks and most notably Ed Gasser and the Weirdos, with their trio of Rat Fink related LPs. 
It's true that any craze was latched onto and marketed to death: JD, hot rod and surf related films and products boomed. Car model kits, toys, comics, cowboy and Indian outfits, complete with bows arrows guns and tee pees, as well as all the paraphernalia I mention before. Yes it's true LA was a craze town and hot rod fever was just one of many crazes, the hula hoop and the Yo-Yo spring to mind. So hot rod, juvenile delinquent films, music and related products were pumped out of the studios and factories of southern California tut sweet. The Wild Ride, Hot Rod Hell, The Blob, Hot Rod Gang, Hot Rod Hullabaloo and a host of other knock-off dramas of jive talking white kids with too much of their daddy's money, going all juvie in their hotted up Model T's. There's Jane Mansfield talking bout Mary J, speedsters playing Chicken, hot chicks fighting the loser chicks, Lucky Strikes and stolen beer, beach and house parties that always end in a barney. There's the eventual drag race, the unhappy ending, the good girl gone bad and then good again, the cop who trying to solve the delinquency problem, the cop who thinks all kids are BAD (highly recommended reading 'Seeing is Believing' Peter Biskind's journey into the politics of 50's movies and television). 
Eventually hot rod culture, like surfing and skating were written off and demonised as outlaw culture, of course making it even hipper for outsider youth.

This mix has many of the elements of this here rave, from the sublime to the ridiculous. It features tracks from the aforementioned producers and far out bands like the Beach Boys to the great unknowns, with one sneaky inclusion of legendary 70's leather hipster Alan Vega. HRD also features bites and pieces from classic hot rod films and television.

I hope you dig these sounds the most

Now put your foot on the GAS !

1. The Four Speeds - RPM
2. Bobby Fuller Four - The Lonely Dragster
3. Chuck Berry - You Can’t Catch Me - Chess
4. Oscar McLollie and his Honey Jumpers - Roll, Hot Rod, Roll - Modern RPM
5. Dick Dale - Grudge Run - Capitol
6. Hal Singer - Hot Rod - Savoy
7. Richie Deram and The New Tones - A Girl and a Hot Rod - Pontiac
8. Mr Gasser and The Weirdos - The Fastest Shift Alive - Hot Rod Hootenanny - Capitol
9. Corvettes - Shaften - Bee Dee
10. Jimmy Carroll - Big Green Car - Fascination

11. Mr Gasser and The Weirdos - T.J.T. - Rods 'n Ratfinks - Capitol

12. Hal Blaine and the Young Cougars - Challenger II - Deuces Roadsters and Drums - RCA Victor

13. Beach Boys - Shut Down, part II - Capitol

14. The Knights - Hot Rod High - Capitol (of course it's the Beach Boys!)

15. Charlie Ryan - Hot Rod Lincon - 4 Star

16. The Du-Droppers - Speed King - Groove / RCA

17. Dick Dale - The Scavenger - Capitol

18. The Bobby Fuller Four - The Phantom Dragster - Mustang

19. Alan Vega - Speedway - Ze

20. Hal Blaine and the Young Cougars - Big "T" - Deuces Roadsters and Drums - RCA Victor

21. Richard Berry - Heaven On Wheels - Flip

Why does Creedence Clearwater Revival haunt me so?

I was at work the other day and the Alice Cooper show was on the radio, which is far more acceptable than the other tortuous stations they play. Alice excitedly introduced this CCR song, I began to feel myself getting anxious, nervous almost. The song began, I knew every nuance, every note, then Johnny boy lets in with one of his YyyyEEEEEEEEAAAAAAAHs. I was on my way to the bathroom, but this made me quicken my pace.

I never had any bad things happen to me while listening to CCR, not that I know of.

I remember my brother Mark (5 years older) had a buddy around 71-72 who was a cool dude wore round sunglasses, like they did in CCR, check flannellys, like CCR. I thought he was something to aspire to. He and Mark used to play CCR and I thought that was cool.

There was something about the cover of Cosmo's Factory, with the guys just hanging, probably stoned, playing with bikes and stuff, drinking soda. I looked at that cover a lot. It was everywhere, everyone had it, along with Free live, Zepplin 1234 HOTH, Beatles. It was normal, it was young people music, it raawked with all the elements: Rock & Roll, Rock a Billy, Country Rock, Blues Rock, even a bit of psyche Rock (intro to Born on the Bayou), Cajun and straight up bubble gum pop.

I guess one thing that interrupts ignorance is knowledge, you think you've discovered something new, but it's just a composite of other things you don't know about. but then again I don't dislike Steely Dan because they used obvious blues and jazz references, nor Little Feat, nor T Rex for copping Eddie Cochran. Those influences gently lead me towards the real thing and then I was able to reflect on how tastefully they reinterpreted their influences.

There is a heck of a lot of music that I'm supposed to like: Van Morrison, The Doors, The Who, but I don't particularly. Then there's bands that no one should like, like: The Police, U2, the current top 40, Australian Crawl, Men at Work and so on. But NONE of these bands disturb me like CCR. 

The song that day kept going round and round and round in my head. WHY? I think it was the rollin and comin' around the bend Doo Doo Doo one. I tried so hard to clear it from my head I've forgotten.

There is every likelihood that something dreadful did happen to me whilst listening to the Foggerty howl as child, there was a lot stuff going on in those backwoods burbs, a regular Peyton Place meets Jim Thompson paddock of sleazy pulp fiction.  But I think it just comes down to: If you dig Elvis, Hank, The Band, Little Milton, Howling Wolf, Dr John, the Byrds and Crazy Horse there's only so many Doo Doo Doos you can take.

Kosmik Daze

Hey folks. A new mix for the new year.
Bing Bam Boom! We're heading into the thick of 2012.
And you thought 2011 was weird.
So let's get our collective consciences together, using this vital tool. 
The Kosmik Daze primer.
What we're dealing with here is the heavy duty, the truly Kozmik. 
They who knew space is the place.
So get yourself relaxed now and press the intergalactic Link


1. Friendsound - Lost Angel Proper St.

2. Agitation Free - A Quiet Walk - With guests; Roy Harper and Johnny Young

3. Amon Duul 2 - Cerberus

4. Gong - Glad To Say

5. Popol Vuh - Kyrie Djong Yun

6. Matching Mole - Gloria Gloom

7. Tangerine Dream - Fly and Collision of Comas Sola - With guest Kim Fowley

8. Ash Ra Tempel - Schwingungen

9. Faust - Untitled 1V

10. Tooth - Harmony Brew - Featuring Daevid Allen on Glissando Guitar

11. Can - Bring Me Coffee or Tea

12. Kraftwerk - Morgenspaziergang

THREE-IN-ONE LOUNGEROOM FUN

I recently rediscovered a mix that I'd made around seven Xmases ago.
I've always wanted to make a better version. Well, now I have.

This is a mix of bright, electrifying, wild and woolly 60's and 70's tunes from all over the globe.
Shuffled in betwixt is a super powered selection of TV soundsz from a 60's -70's youth.
Enjoy this wacky caper. All ya need to do is flick the switch

1. Danger Man - Edwin Astley

2. Dumb Head - The Sharades

3. Catch That Man - Nino Nardini

4. My Name Is Nobody - Ennio Morriconne

5. The Shangri Las - Give Him A Great Big Kiss

6. Baby - Os Mutantes

7. For Your Love - Yardbirds

8. Words - The Monkees

9. The Saint - Edwin Astley

10. Kites - Simon Dupree and the Big Sound

11. Theme from "The Valley Of The Dolls" - Hugo Montenegro

12. Nature Waltz - Sven Libaek

13. Ford Mustang - Serge Gainsbourg and BB

14. Umbrellas - Free Design

15. Sunny South Kensington - Donavon

16. Someone I Know - Margo Guryan

17. Anathea - David Hemmings

18. My Carousel - David McCallum

19. Urban Space Man - Bonzo Dog Band

20. Dizzy - the Mark Wirtz Orchestra

21. She Is Today - Bergen White

22. Up The Junction - Manfred Mann

23. Drifting With The Time - Joe and Bing

24. Any Day's A Sunday Afternoon - Collage

25. Would You Like To Go - Sagittarius