“Chew Tobacco Rag” Done R&B

Lucky Millinder‘s version of the classic country hit “Chew Tobacco Rag” could easily have been included on my Gusto cassette King compilation, Country Tunes Done R&B:

Billboard‘s review in the April 21, 1951 edition was very optimistic about the single’s sales prospects:

The expectorating special from the country serves a worthy cause for Millinder as his crew sets up a big rocking beat for the fine John Carol and ensemble shouts.  First big band item in some time that could bust out for big returns.

“Chew Tobacco Rag”     Lucky Millinder     1951

That big rocking beat, by the way, courtesy of Ed Shaughnessy, future long-time drummer for Doc Severinson’s ‘Tonight Show’ Orchestra who developed his jazz chops drumming for such artists as Billie Holiday, Benny Goodman, Count Basie, Duke Ellington, Tommy Dorsey, Oliver Nelson, Gene Ammons, and Cal Tjader, among many others..

WFMU’s Beware of the Blog points out that Zeb Turner’s version of this popular tune released on King made it to the Top Ten:

What was 1951’s loopiest and most contagious hillbilly novelty song?  Judging by the number of cover versions it spawned, it had to be Chew Tobacco Rag, written and originally recorded by Texan Billy Briggs for the Imperial label.  Briggs’ version never managed to chart, but Zeb Turner’s version, released on King, made it all the way to within spitting distance of topping the charts, finally losing momentum at #8.

Check out the 25 or so cover versions that you can preview here in one place.

Not uncommon for Columbia to acquire regional hits and then re-market them

One music enthusiast would cough up $119 in 2015 for this 1954 King EP.

Meanwhile, someone would throw down $200 in 2011 for an original King 45.

Oddball Hendrix 45s Worldwide

Those familiar with Jimi Hendrix‘s song catalog might be amused by the quirky decisions made in various ‘foreign’ (i.e, non-US or -UK) markets around the globe — that’s right, it’s another romp through the 45Cat database not unlike the previous piece with The Beatles.

Let us begin our quest with “Burning of the Midnight Lamp,” Hendrix’s fourth UK single and an ‘important’ early composition — right away, we note that Germany produced a playfully expressive picture sleeve for this 1967 A-side release.

Norway, on the other hand, would take Hendrix’s ‘wild man’ stage persona and run with it.

Barclay of France (previously celebrated here), meanwhile, would present Hendrix in a slightly more regal fashion in this 1967 picture sleeve.

Tragically humorous to see “Burning of the Midnight Lamp” as a B-side in 1969, paired with “Fire” for the UK market, however with the A-side mistitled as “Let Me Light Your Fire”!

New Zealand, Yugoslavia, and Germany would also confuse “Fire” with The Doors’ big breakout hit also from 1967 – pop music’s peak year – along with Spain, whose picture sleeve release (below) wins an award for most imaginatively literal interpretation.

Spanish 45 – “Let Me Ligh Your Fire”:  Musical Misspellings!

“Light Your Fire” / “Midnight Lamp” Polydor 45 from unknown country – possibly Singapore.

“Burning of the Midnight Lamp” would also be used as a B-side on this 4-track EP from Portugal that was released in 1968.

“Burning of the Midnight Lamp” would receive somewhat of a promotion in Bolivia, where the song was sequenced as the second track (side A) of a four-cut EP from 1970 that features “Come On (Pt. 1)” in its first and only starring role as an “A-side” (EP also notable for “Love or Confusion” – a recording otherwise found only on Are You Experienced).

“Come On (Pt. 1)”:  first & only A-side appearance

4-song EP from Iran (with one Hendrix track) sold for $180

Musical misspelling!  “Jimmy Hendrix Experience”

Some of Hendrix’s more adventurous songwriting efforts, such as “Are You Experienced”; “Third Stone from the Sun”; “Little Wing”; “Castles Made of Sand”; “House Burning Down”; “Rainy Day Dream Away” and “Still Raining Still Dreaming” (et al.) would not end up on a 45 release – or, at least, during his lifetime.

However, there are a couple unlikely Hendrix compositions that found themselves being issued in 7-inch format, such as side one’s ambitious (5 minutes and 29 seconds) closing track for Axis: Bold As Love – “If Six Was Nine” – chosen for the US & Australian markets in 1969 as the B-side to “Stone Free” (no doubt prompted by the song’s inclusion in the soundtrack to that same year’s classic counterculture film, Easy Rider).

“If Six Was Nine” — unlikely Australian B-side

Another unlikely Hendrix track found on a 45:  “Have You Ever Been (To Electric Ladyland)” selected as the B-side for “Crosstown Traffic” in 1968 for the Australian market, while serving the same role in 1970 for the Yugoslavian market (although paired instead with “Voodoo Chile”) — the song’s only non-LP releases thus far known.

“Have You Ever Been” — unlikely Australian B-side

But without a doubt, the oddest Hendrix composition to end up on either side of a 45 is the epic underwater fantasy that fills an entire album side on Hendrix’s finest long-player — “1983 (A Merman I Should Turn To Be)” — which Barclay saw fit to release in 1972, along with another Electric Ladyland cut, “Come On (Part 1),” that, aside from Bolivia, could not be found on a disc measuring less than one foot in diameter [in fact, hilarious to discover that Iran beat everyone else to the punch when bootleggers issued “Come On” on this EP from 1968, the year of Electric Ladyland‘s release].

French 45 – 1972

This French 45 release from 1972 would be the sole non-LP release of beautiful ballad, “Drifting” (with nice vibraphone work from Buzzy Linhart), from the first posthumous LP, 1971’s The Cry of Love.

French 45 – 1972

Spanish Castle Magic” – otherwise confined to Axis: Bold As Love – would find itself loudly liberated in Japan, where it would be released on 7-inch (and nowhere else) in 1968.

Japanese 45 – 1968

This pair of 45s from 1967 – Italy (left) & Spain (right) – shares the same design template, if not typography.

The cover design of this “Purple Haze” EP from Mexico (1968) also wins for ‘most literal’ — includes three tracks from the debut album, plus one (“Up From the Skies”) from the ‘new’ one, curiously enough.

“Freedom” b/w “Angel” 45 picture sleeve – Japan – 1971

1971 EP from Singapore — rare non-LP appearance of “My Friend” from The Cry of Love.

“Hej Joe” 45 picture sleeve – Yugoslavia – 1975

This Hendrix piece would not be complete without bootleg EP releases from Thailand, beginning with this 4-song Are You Experienced sampler (title track + 3 others).

Axis: Bold As Love would likewise get packaged as a 4-track EP sampler — includes rare instance of “Wait Until Tomorrow”; “You Got Me Floatin'” & “Little Miss Lover” on non-LP.

4-track EP (1969) includes 2 tracks each from Hendrix’s Experience & Clapton’s Cream.

Another noteworthy 4-track bootleg EP from Thailand with a familiar cover montage — includes Jimi’s “Freedom” plus three non-Hendrix (!) tracks.

Jimi appears on the cover of another 4-track EP, albeit with only one Hendrix recording — this one a bootleg from Malaysia, however.

Iran would produce other bootleg Hendrix product, such as this 4-track Smash Hits EP.

Iran would also boldly pair two musical giants – James Brown and Jimi Hendrix – for the first and last time ever on this split EP that includes “Let Yourself Go” (a song previously celebrated in Zero to 180’s salute to Brown’s brave and patriotic Vietnam tour in 1968).

Distinctive green-vinyl EP from Iran includes “House Burning Down” — plus “Mr. Soul” from Buffalo Springfield (not to mention “Grits and Corn Bread” – a 1966 soul instrumental  previously celebrated here).

Hendrix releases on obsolete playback formats are available for purchase, go figure.

Zero to 180 is stunned to discover that all three Jimi Hendrix Experience albums received radically different covers and sleeve designs when released in France on Barclay imprint, Panache, as shown below.

1967 debut

1967’s Axis: Bold As Love

1968’s Electric Ladyland

Hendrix, incidentally, would only merit one picture sleeve in his lifetime for the US market — debut 45, “Hey Joe” b/w “51st Anniversary” (released April, 1967 on Reprise).

Oddball Beatles EPs Worldwide

Last month’s surprising (and under-reported) research results pertaining to The Beatles’ controversial association with K-Tel, I assumed, had tapped the well of Beatledom dry.  So imagine my surprise when Zero to 180 researchers poked at 45Cat’s database with a stick and stumbled upon a treasure trove of curious and, at times, downright baffling decisions regarding Beatles 45 and EP releases in “foreign” markets around the world.

Thailand takes the proverbial cake, in terms of audacity, style, and sense of the absurd, with not a single vinyl offering having enjoyed input from EMI or The Beatles whatsoever.  My favorite find among these brazen bootleg releases on Thailand’s Coliseum label is an EP that features four tracks from 1968’s ‘White Album – all of them left-field song choices – but it’s the picture sleeve that wins a prize for sheer daffiness:

Musical Misspellings!   “The Beatle” (singular) + “warm gum”

Beatles 45 Thailand-aa

As one of the 45Cat catalogers notes, this 1968 EP enjoys the distinction of being the only appearance of “Martha My Dear” on a non-LP Beatles release.  Only Finland would see fit to include “Happiness Is a Warm Gun” on a (legitimate) 45, while “Glass Onion” would remain an album track solely (if you exclude this unauthorized EP from Iran).  “Savoy Truffle” very nearly suffered the same fate — until Mexico’s outsized fondness for George Harrison manifested itself in this impressive assemblage of four (count ’em) George tracks released in 1971, one year after the band had called it quits.

Guinness record for number of George songs on Beatles non-LP release

Beatles EP - Mexico-aa

Actually, that same year Apple Mexico would issue four additional George-packed EPs, particularly notable for the Beatle whose first and only A-side — 1969’s “Something” — had come near the end of the Beatles’ recording career (where his output would be limited to one song per album side):

Beatles EP - Mexico-bbBeatles EP - Mexico-ddBeatles EP - Mexico-cc

Needless to say, this is the sole non-LP appearance ofPiggies” (above, endearingly misspelled), while the picture sleeve below is a rare use of the Sgt. Pepper image on an EP that includes but one track from pop music’s most revolutionary album.

Mexico Salutes George Harrison:  fifth & final EP

Beatles EP - Mexico-eeGeorge’s “I Me Mine” would forever be confined to the Let It Be album, except in Mexico, where the song would be included on a 1972 EP, (also noteworthy for including album-only track “One After 909“), while Venezuela would go one step further by being the only country to issue this waltz on a 45.  Also noteworthy is a planned-but-never-issued 5-song EP for the UK market of what would have been the only non-LP appearance of George track “It’s All Too Much.”

Nice to see that Mexico — who would take credit for the only authorized non-LP issue ofYer Blues” — also has a soft spot for Ringo, as this hand-picked set of tracks from 1971 clearly indicates:

Beatles EP - Mexico-ffSpeaking of Ringo, this has got to be a first and only one of its kind:  A solitary Beatle (rendered as a cartoon, no less) as the cover image for a Beatles EP issued by Odeon Bolivia in 1965.

Beatles EP - Bolivia-aaaApple Mexico’s casual use of Sgt. Pepper tracks on other 1971 EPs (“Lucy in the Sky,” as well as “Help From My Friends,” and album showstopper, “A Day in the Life“) would seem to be unparalled among EMI affiliates while, at the same time, oddly sacrilegeous.  And for some quirky reason, it is Italy – not the UK – who enjoys the distinction of having issued the world’s only Sgt. Pepper 45 the year of the album’s release.

Odeon Spain’s 4-track EP is remarkable for being, essentially, a Sgt. Pepper sampler from 1968 that includes “Lovely Rita” – the only authorized such use of that track, as well as the magical “Lucy in the Sky with Diamonds.”  Odeon Argentina would enjoy similar distinction for its own 1967 Sgt. Pepper EP, notable for including “Fixing a Hole” and “Good Morning Good Morning.”

FLEXI-DISC!  Says 45cat:  “DESIGNED TO BE SOLD IN VENDING MACHINES

Beatles flexi-disc - US 1969

Must point out that the Sgt. Pepper EP released on Thailand’s TK label is almost certainly not the work of the band — the bizarro song selection [“All You Need Is Love”; “Lovely Rita”; “Baby You’re a Rich Man”; “Things We Said Today”] being a major tip-off.  As 45Cat contributor Tylerl notes with exasperation on the world’s behalf:

“Why ‘Things We Said Today’??  Weird.  Needed ‘For the Benefit of Mr Kite’ instead.  It’s not on any 45 or EP worldwide.  Sad.”

(Bam-Caruso also hits it on the head with his observation “another strange Thailand EP with an inspired sleeve.”)

Sgt. Pepper EP – but with only one track from the album!

Beatles EP - Thailand-ddBeatles EP - Thailand-ee

“Strawberry Fields Forever” is one of those monumental A-sides from AM radio’s golden age — and yet Odeon Japan would do the unthinkable, when the label made the tragic and misguided decision in 1967 to dilute the song’s seismic impact by leading off instead with a throwaway track from the previous year (“Bad Boy”) that sounds considerably out of its depth.

Beatles EP - Japan-aA recent documentary tribute toHey Bulldog,” the group’s last true collaborative effort, would note the song’s exclusion from single release during the band’s lifetime — a factual statement, if you ignore the track’s inclusion on a 1969 EP issued by Thailand renegade label, Coliseum.

the famous Yellow Submarine cover, and yet only one track from the album!

Beatles EP - Thailand-aa

Thailand’s labels would, indeed, take liberties with not only song selection but cover design, as well.  For instance, the band depicted on the 1968 EP below most definitely is not the same group that recorded “Sexy Sadie” (Lennon, by this point, wearing a beard and “granny” spectacles) and “Everybody’s Got Something To Hide Except Me and My Monkey.”

“Rock” Raccoon

Beatles EP - Thailand-bb

Note, too, this 1968 EP’s use of a still image from the iconic “I Am the Walrus” sequence in 1967’s Magical Mystery Tour film for a collection of ‘White Album‘ tracks!

Beatles EP - Thailand-cc

The only EMI-authorized issue of “I Dig a Pony” on a non-LP released during the band’s lifetime, meanwhile, is what secures Bolivia’s place in Beatles history (ditto for “Bungalow Bill,” “Julia” & “Me and My Monkey“).  But it’s Brazil (and no one else) who issued “Dear Prudence” on a 7-inch, while only Nicaragua would dare to include “Why Don’t We Do It in the Road” on a 45 (ditto “Cry Baby Cry“).

sole authorized use of “Dig It” on non-LP release:  1972 MEXICAN EP

Beatles EP - Mexico-gg

Fascinatingly, Jamaica alone would enjoy authorized use of “Sexy Sadie” on a non-LP issue, while Venezuela would have bragging rights over its singular selection of “Wild Honey Pie” for 45 release.

“I’ve Got a Falling”:  1970 MALAYSIAN EP

Beatles EP - Malaysia-bbHowever, no one can top Portugal as the only country authorized to include the ultimate Beatles psychedelic track – “Tomorrow Never Knows” – on a vinyl platter whose diameter measures less than one foot (sorry, Iran – I don’t think you got permission).

Beatles EP - Portugal-aa Happy to see the distribution of Beatles recordings reach the African countries of Nigeria, Kenya, Congo (DRC), Mozambique, Angola, Rhodesia [Zimbabwe], and South Africa, as well as countries in the Middle East, including United Arab Republic, Turkey, Lebanon, and Israel, plus such Eastern Bloc nations as East Germany, Yugoslavia, and Czechoslovakia.

Can’t tell if EMI had a hand in this 1965 EAST GERMAN 45 release

Beatles 45 - East Germany-aEncore bootleg EP
Thailand Loves The Beatles

Beatles EP - Thailand-fff

Streisand’s “Experimental” LP

Just for fun, find a casual fan of Barbra Streisand‘s music, and study her/his reaction closely when you play a fairly obscure track – “Come Back To Me” – for his/her virgin ears:

“Come Back to Me”     Barbra Streisand     1973

Believe me, Zero to 180 is just as stunned as you are to find Streisand’s name attached to a history piece on “experimental pop” — and yet here we are, thanks to 1973’s Barbra Streisand … And Other Musical Instruments being included (#34) in Mojo’s list of The 50 Most Out There Albums of All Time in their March 2005 issue, alongside such (truly) outre artists as Ennio Morricone, John Coltrane, Holy Modal Rounders, Hawkwind, Funkadelic, Captain Beefheart, and (of course) Sun Ra.

Mojo - 50 Most Out There Albums

Mojo’s Jonny Trunk explains the album’s concept, as a whole —

“The soundtrack to Barbra’s fifth TV special, the plan was to explore – literally (and laterally) – the world of sound and music, as opposed to the world of just Babs again.  This Barbra is on a sonic world trip, and the luggage is piled very high, indeed — percussion from all global villages including darabukas, gagakus, o-daikos and baglamas, as well as Moogs, mellotrons, Studers, Arps, a Putney (!) and a Tempophon.  And don’t forget the bagpipes.  They’re from Ireland.”

“Come Back to Me,” one of the more experimental tracks on the album, finds Streisand, as Trunk playfully puts it, “talking to herself through delay pedals.”

Avant-Streisand:  Experimental Pop – emphasis on Pop

Barbra-Streisand-LP-b

Would you be surprised to learn that Billboard would deem …And Other Musical Instruments to be one of their “Top Album Picks” for the week of November 10, 1973?

“Since this is the soundtrack from her TV special, there are plenty of effects one can only enjoy with all the senses.  But since you can’t see the things going on as Barbra walks through all the visual settings which are at the core of the program, your imagination has to take command.  Nonetheless, her fine tones and majestic power are sheer entertainment.  There are lots of off-beat ideas, like an Indian raga effect on ‘I Got Rhythm’ and sound effects on ‘The World Is a Concerto.’  ‘Glad To Be Unhappy’ is Barbra at her ballad best.  Ken and Mitzi Welch’s arrangements for TV provide an interesting experience on record.”

The commercial response to Barbra Streisand’s most daring work – before and forevermore – can be shown in the album’s Billboard rankings:

  • entered the Pop chart at #146 for the week of November 24, 1973;
  • advanced to #115 the following week, December 1, 1973;
  • climbed to #75 the next week, December 8, 1973;
  • peaked at #64 the week of December 22, 1973;
  • before beginning a downward descent — #132 the week of February 9, 1974;
  • down to #149 the following week, February 16, 1974;
  • hanging on at #191 the week of March 9, 1974 before dropping from the charts.

Ten years later, Billboard‘s Paul Grein would report in his “Chart Beat” column that the TV special, unfortunately, had been “poorly received.”  38 years later, a test pressing of Streisand’s … And Other Musical Instruments LP would fetch $30 at auction in 2011.

Hendrix, Beatles, the Stones … and Streisand:
K-Tel Luminaries

Barbra Streisand – whose considerable commercial heft makes her, according to the Recording Industry Association of America, the world’s best selling female recording artist – would famously relax her “No K-Tel” policy in order to allow “Evergreen” (Theme from A Star Is Born) to appear on 1981 K-Tel release The Elite (US, Canada, Brazil, Venezuela, Argentina, and the Netherlands), as well as 1981’s The Platinum Album (UK, Scandinavia, Spain, Italy, Greece, New Zealand & Australia).

K-Tel's The EliteK-Tel's The Platinum Album

Streisand would also give consent for the inclusion of chart-topping hit “People” (from Funny Girl) on K-Tel Brazil’s Sucessos Nunca Esquecidos, as well as special 2-LP set, Stars for Jerusalem, in partnership with Columbia Special Products, under the auspices of The Jerusalem Foundation.

K-Tel's Sucessos Nunca EsquecidosK-Tel's Stars for Jerusalem

Canadian version of Stars for Jerusalem reveals – Bob Dylan on K-Tel cover!

K-Tel's Stars for Jerusalem- rear cover

Smitten by the “Break-In” Record

I must have been about 9 or 10 when I first became aware of the “break-in” record, in which the man-on-the-street dishes up pop hit sound bites in response to each and every one of the news reporter’s questions.  I remember hearing “Watergrate” and “Mr. Jaws” on Cincinnati’s pop juggernaut, WSAI 1360 AM, and then, not too long after, obtaining an LP compilation of the better Buchanan and/or Goodman break-in records, from the first flying saucer 45 in 1956, all the way up to “Superfly Meets Shaft” & “Convention ’72.”

Cover design by JIM O’CONNELL

Watergrate + Superfly Meets Shaft

[Pres. Nixon in the driver’s seat, with Henry Kissinger riding shotgun & Spiro Agnew in the backseat, flanked by Superfly and Shaft]

 

I enjoyed the silliness of it all and was thrilled, as a fan of satire, by the send-up of pop culture, as well as straight society.  My brother Dean’s experiments stitching together break-in records at home inspired me to make my own, and I even roped in my friends to help me in my pointless series of “interviews” set at Fred’s (fictitious) Delicatessen.

Images below:  1962 LP ++ 1974 US 45 ++ 1977 JAPAN 45

Dickie Goodman LPDickie Goodman 45-xDickie Goodman 45-Japan

Zero to 180, thus, would like to celebrate a milestone — 5 years!  over 700 posts! — by force-feeding you an amateur “break-in” home recording (c. 1976) that features extensive sampling from the family record collection, aided in no small part by the 4-LP box set, Superstars of the Seventies.  Best to ignore the reporter’s inane line of questioning:

“Fred’s Delicatessen”     Chris Richardson & Co.     1976

[Pssst:  click triangle above to play “Fred’s Delicatessan” by Chris Richardson & Co.]

Zero to 180 Milestones:  The Preschool Years

  • Inaugural Zero to 180 post that established a bona fide cross-cultural link between  Cincinnati (via James Brown’s music recorded and distributed by King Records) and Kingston, Jamaica (i.e., Prince Buster’s rocksteady salute to Soul Brother #1).
  • 1st anniversary piece that featured an exclusive “Howard Dean” remix of a delightful Sesame Street song about anger management (with a special rant about how WordPress’s peculiarities made me homicidal the moment I launched this blog).
  • 2nd anniversary piece that refused to acknowledge the milestone but instead celebrated the under-sung legacy of songwriter and session musician, Joe South – with a link to South’s first 45, a novelty tune that playfully laments Texas’s change in status as the nation’s largest state upon Alaska’s entry into the Union.
  • 3rd anniversary piece that revealed the depths to which Zero to 180 will sink in order to foist his own amateur recordings onto an unsuspecting and trusting populace.
  • 4th anniversary piece that formalized – as a public service – musical chord changes for an old (and tuneless) “hot potato” playground game called ‘The Wonderball.’

Alex Harvey Loves Monsters, Too

Most music fans in the US (and even quite a few in the UK) are unaware that a major 1970s British rock star put out an album on K-Tel (!) during a period of peak popularity – one entitled Alex Harvey Presents the Loch Ness Monster, no less.  There’s a good reason for this record’s obscurity, as these notes from Discogs make clear:

“Released in a limited edition of supposedly 300 copies.  Comes in a beautiful gatefold-sleeve and a 12×8-inch 16-page booklet.  This is mostly a spoken-word album containing interviews with people claiming to have seen the Loch Ness Monster.  It features additional narrations by Richard O’Brien and Alex Harvey and one short musical track at the end.”

This limited release means that some Alex Harvey fans are willing to shell out £200 (only a couple months ago) or even £300 (back in 2014) for this tribute album to Nessie.  These prices are not an abberation, thus affirming the wisdom behind the decision made in 1977 by an elite group of Alex Harvey fans to purchase this long-deleted, vinyl-only release, which finally enjoyed reissue on compact disc in 2009 (John Clarkson’s review also provides a bit of back story).

I Love Monsters Too” — the album’s final selection, as noted above, is the lone musical track, and a concise one at that:  37 seconds (thus, deserving of inclusion on Zero to 180’s list of short songs in popular music):

“I Love Monsters Too”     Alex Harvey     1977

As YouTube contributor Mags1464 drolly observes, the song is “from an album that Alex made while the rest of the [Sensational Alex Harvey Band] were recording Fourplay.”   Zero to 180 just figured out why the group is relatively unknown here in the States — according to Discogs, only four of SAHB’s nine albums released in the 1970s were distributed in the US.

Front cover

Alex Harvey LP-aaBack cover

Alex Harvey LP-bbElaborate packaging includes an annotated map of Loch Ness

Alex Harvey LP-cc16-page diary

Alex Harvey LP-ddDear Diary:  Saturday 17 July 1976

[Double-click image below to view in high-resolution]

Alex Harvey LP-ee

Seven years prior to Alex Harvey’s run-in with K-Tel, Trojan Records attempted to cash in on Britain’s fascination with its most famous Scottish resident through the release of a horror-themed reggae compilation, Loch Ness Monster that contains, annoyingly, only one musical tribute to Nessie (and at least one dubious song selection — “Suffering Stink,” really?).

Loch Ness Monster LP

1970, coincidentally, would also see the UK release of an album – That’s How You Got Killed Before – by Jamaican ex-pat, Errol Dixon that features “Monster from Loch Ness” (not yet available for preview on YouTube).

One interesting “false hit” came up in my research is a spoken word collection that only enjoyed release in Canada (on Loch Ness Monster Records) by one-time Kiss manager, Bill Aucoin:  13 Classic Kiss Stories.

Bill Aucoin LP

In recent years, John Carter Cash would travel to Scotland to perform his own Nessie tribute live in an attempt to “summon the beast” from the depths of Loch Ness — successfully?  At least one person says yes:

“Loch Ness Monster”     John Carter Cash     2016

This is the only Zero to 180 piece tagged as K-Tel Records that isn’t also tagged as Various Artists Compilations

Lue Renney’s Novelty 45 on King

Lue Renney‘s quirky and endearing “Your Wiggle And Your Giggle” would be recorded at King’s Cincinnati studios on January 27, 1964:

“Your Wiggle And Your Giggle”     Lue Renney     1964

45Cat informs us this song would be issued May, 1964 on King’s Bethlehem subsidiary label.  A half century later, this “teen-rock” 45 sells for a respectable amount at auction.  “Your Wiggle and Your Giggle” merited inclusion on French bootleg LP Inferno Party, as well as Dutch bootleg compilation More Real Gone Girls.

As with Lord BooBoo, Little Mummy, and Carolyn Blakey, this one release would comprise the full extent of Lue Renney’s entire recorded output (although copyright records show that that artist would register her song “Time to Love” later that same year under the name Lue Rennebaum).

Lue Renney Bethlehem 45-a

It’s been over a year since Zero to 180 has posted a piece tagged as humor & satire

Garlic in Popular Music

There are a considerable number of people on this planet who are not yet aware of the existence of a restaurant – The Stinking Rose – that celebrates the garlic bulb in all its glory, with garlic infused into the majority of the menu offerings.  With only two locations (one in Beverly Hills, the other in San Francisco), I’m afraid this dream destination will simply have to remain one for the indefinite future for many of us.

In the meantime, I will to have content myself with garlic-themed music for my soul food.      But do songs about garlic exist?  Here’s what Zero to 180’s investigation turned up.

As it turns out, garlic songs – at least here in the States – are at least as old as the blues.  Sylvester Weaver‘s “Garlic Blues” from 1927, it bears noting, will turn 100 in 11 years:

“Garlic Blues”     Helen Humes with Sylvester Weaver & Walter Beasley     1927

Not much else would appear for a couple decades, it seems, until The Max Brüel Quartet from Denmark released their jazz instrumental composition in 1955, “Garlic Wafer.”

“Garlic Wafer” by The Max Brüel Quartet – side one, track 2

Garlic 45-b 1966 would bring another garlic sighting, when Capitol subsidiary label, Tower, released its single “(Get Off That) Booze & Garlic Bread” by garage rocker, Denny Rockwell.

This 45 deserves, if not partial credit, at least an asterisk

Garlic 45-aGarlic 45-aa

Two years later, vibraphonist Mike Mainieri and his Quartet would channel the spirits, and beat John Lennon to the punch in the process, with the wryly-titled “Instant Garlic” from the group’s 1968 album, Insight.

Instant garlic’s gonna get you — gonna knock you right on the head

Garlic LP-bb1972 would see the release of NRBQ‘s (Eddie Kramer-produced) Scraps, a wide-ranging album that would include the whimsical and dadesque “Who Put the Garlic in the Glue.”

“Who Put the Garlic in the Glue” by NRBQ – back when the Q stood for Quintet

NRBQ LP-a[42 years later, Lin Brehmer from Chicago’s CBS affiliate XRT would single out NRBQ’s “Who Put the Garlic in the Glue” for her October 22, 2014 ‘Hump Day Unusual Moment‘ segment.]

Sometime in 1977 — within the confines of Italy, appropriately enough — garlic would get the funky instrumental it so richly deserves in the form of “Garlic Salt” by The Joy Unlimited Group & the Continentals:

“Garlic Salt”     The Joy Unlimited Group & the Continentals     1977

1978 would see the final album – Spaceguerilla – from German progressive jazz-rock group, Missus Beastly, with “King Garlic,” fittingly, as its closing track.

“King Garlic” by Missus Beastly — Side 2, track 4

Garlic LP-fBefore decade’s end, Leo Kottke would do his part to advance the cause with the release of 1979’s Balance, an LP that would include “1/2 Acre of Garlic.”

“1/2 Acre of Garlic” by Leo Kottke —  Yugoslavian PressingLeo Kottke LP-a

1979 would also see the release of a Folkways album – Folk Songs from Latin America by Suni Paz – that would include the heartfelt paean “Al Ajo (To Garlic)”:

“Al Ajo (To Garlic)” — side 1, track 4

Garlic LP-e1979 would prove to be a banner year, with the release of the soundtrack to George A. Romero’s vampire-themed film, Martin — an album that would include “Garlic Chase #6.”

“Garlic Chase #6 — side 1, track 7Garlic LP-a

But the big breakthrough for garlic in song would come by way of Chapel Hill foursome, Superchunk, who no doubt “sweated out” vast amounts of garlic recording their unabashed 1990 declaration of bulb love, “Garlic” — the B-side of a split single on noted indie label, Merge, along with Seaweed and Geek (“released to go with a US tour of the three bands”):

“Garlic”     Superchunk     1990

By the turn of the new century, it was a whole new era for Garlic in Popular Music, and even LeeScratchPerry and Guided By Voices would eventually get in on the game, as you will note on the list below — a public service from the tireless research staff at Zero to 180.

Garlic in Modern Pop:  An Exhaustive & Exhausting Discography

Also Worth a(n) Historical Asterisk

Bobby Gregory‘s Country Comedy LP includes a comic routine “We Always Feed Our Baby Garlic” that is also illustrated at the very bottom of the album cover – dead center:

Garlic LP-d

The “contents” of Side A from Monty Python‘s Previous Record from 1970 – written from the perspective of a ‘Harley St. dentist’ – is an amusing bit that includes a ‘Where’s Waldo’ game:  can you find the phrase “stinking garlic”?

Garlic LP-c

“Phfft! You Were Gone”: King 78

The recurring Hee Haw skit – “Phfft!  You Were Gone” – was originally a King Record, believe it or not, that was recorded in Cincinnati, Ohio on July 3, 1952 by Bob Newman, who recorded Henry Glover‘s great truck driving song “Haulin’ Freight” the year before, as you might recall:

“Phfft! You Were Gone”      Bob Newman     1952

Billboard would review “Phfft! You Were Gone” in its November 1, 1952 edition:

“Newman tries hard on this novelty and hands it a good vocal, which should help it pick up many spins.”

Bob Newman 78-aaMany thanks to Bopping for its detailed Bob Newman sessionography in which the following musicians for “Haulin’ Freight” are listed:

Bob Newman:  bass & lead vocal
Henry Glover:  drums
Al Meyers:  lead guitar
Louie Innis:  rhythm guitar
Tommy Jackson:  fiddle
Shorty Long:  piano

Phfft!  You Were Gone” would include Newman on bass & vocals, Shorty Long on piano, and Al Meyers on lead guitar, plus “sound effect” provided by Wayne Kemp, with an unnamed drummer and rhythm guitarist rounding out the sound.

Bopping also has the history on Bob Newman alias, Lee Roberts:

“‘Phfft!  You Were Gone,’ another novelty, was sold by Bob (alias Lee Roberts) and he didn’t get a dime when about twenty years later the song became a hook on the Hee Haw TV show.  Bob, according to Hank’s widow, was a big spender:  he would sell a song for, say, $ 1,500, then throw away $ 2,000.  He sold ‘Shut Up And Drink Your Beer’ to Merle Travis, and ‘Crying Steel Guitar Waltz’ to Jean Shepard.  That’s why he never made a living of his songs.  Al Myers explained that Bob Newman didn’t know how to pursue his career, and that’s the main reason why King didn’t renew his contract in August 1952.”

Bob Newman - Audio Lab LPThe indispensable Both Sides Now Publications offers a slightly more expansive view:

“For years, the television series Hee Haw used a song on the show called ‘Phfft!  You Were Gone,’ often credited to Buck Owens.  Earlier appearances of the song on record attributed writer’s credit to Lee Roberts, Susan Heather, or Marian B. Yarneall. Bob Newman’s son Bob Jr. recently wrote to us to untangle the mystery of authorship of this classic.  It was first recorded by Bob Newman July 3, 1952, at King Studios in Cincinnati.  It was released on King 45-1131 shortly thereafter, with writer credits to Lee Roberts.  Bob Newman actually wrote the song under the name Lee Roberts, which was his usual pen name (he had over 80 songwriting credits for both ASCAP and BMI under that name), and was the first to record it. Newman sold the song to Bix Reichner in 1958.  Reichner, who wrote many songs including ‘Papa Loves Mambo’ for Perry Como and ‘I Need Your Love Tonight’ for Elvis Presley, assigned the song to his wife’s name — Marian B. Yarneall, aka Susan Heather.  By the time the Audio Lab album came out in 1959, the writer credit had changed to Susan Heather.  The original version of the song made its first (only?) LP appearance on his Audio Lab album.”

Two decades or so later, television writers would enjoy endless lyrical possibilities:

“Phfft!  You Were/Was Gone”     Hee Haw

Note, however, that Bopping assumes — as I did, until very recently — that King merely “reissued” those two truck driving songs in 1959, “Haulin’ Freight” and “Lonesome Truck Driver’s Blues.”   Sorry, Bopping, but we discovered in the previous Zero to 180 piece that those two songs were given a re-boot to make them sound more contemporary.

 King Record Innovation:  “Bio Discs

Independent record producer and music writer, Randy McNutt, has authored two books about Cincinnati’s post-WWII music history and its role in giving birth to rock & roll.

Randy McNutt-2Randy McNutt-1

King Records of Cincinnati points out a wily marketing tactic by Syd Nathan that happens to involve Bob Newman:

“The 78 RPM record pictured here, Newman’s ‘Quarantined Love’ [1951], shows another of Nathan’s innovations, the bio disc.  He printed brief biographies of artists on promotional records and sent them to disc jockeys and decision makers in the music business.  The idea must have worked, for King Records continued to issue bio discs into the 1960s.”Bob Newman 78-bio disc

Mad Mag’s Multi-Groove Flexi-disc

Remember the Las Vegas Roulette record with the “multi-groove” in which the tonearm stylus randomly selects (at least, in theory) one of 38 separate grooves – one for each slot on the roulette wheel – so as to allow partygoers the ability to play roulette from the comfort of home?   That’s right, you, too, can be the croupier.    *(Link to original piece)

Fabulous Las Vegas Roulette LP-jrIn 1980, Mad Magazine would pull off an even more ambitious vinyl feat:  a “multi-groove” flexi-disc!   45Cat’s 23skidoo rightly emphasizes:

“A random groove record.  A different ending (usually) is heard each time the record is played.  Very rare for a flexi-disc to have this feature.”

“It’s a Super Spectacular Day” [all 8 endings]    Frank Jacobs & Norm Blagman    1980

45Cat lists Mad Magazine flexi-discs from 19611981

I am grateful to have had a neighbor growing up who allowed me to borrow freely from his 1960s collection of Mad Magazines — the best educational supplement a kid could ask for.

Mad Mag-sing along-a+Mad Mag-sing along-b+

Check out the hyper-minimalist animation video that Casey Killingsworth created for the 1980 disco update of Mad’s 1961 belch-rock hit, “It’s a Gas!”

The “Rock Revolution” as seen through the lens of Mad Magazine:  1965-1968

Mad Mag-guitar-a+Mad Mag-beatles 68-a

In 2011, someone would fork over $100 for a vintage copy of Mad’s debut (and only) LP.

     Beatles                            vs.                         Stones, man

Mad Mag-ringo+Mad Mag-jagger+mag

Beatles vs. Stones:  1-0

On February 7, 2014 Mad Magazine would post the following announcement:

“Today marks the 50th anniversary of the Beatles’ arrival in America!  And in order to thoroughly commemorate, celebrate, salute and pay tribute to this historic event, we present the only time that all four Beatles appeared on our cover [September, 1968 cover above with Maharishi Mahesh Yogi] — which is still one more MAD cover than the Rolling Stones ever had!”

Mad Magazine’s Don Martin gets in on the act

Mad Mag-beatles 65+

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