Philip Paul‘s stellar stick work really drives this “killer” instrumental version of “Fever” that features organ (Milt Buckner) and vibes (Gene Redd) — recorded at Cincinnati’s King Studios on March 5, 1963:
“Fever” Milt Buckner 1963
Organ: Milt Buckner
Drums: Philip Paul
Bass: Bill Willis
Vibes: Gene Redd
“Fever” — rightly selected as the A-side of a 1963 single release on King subsidiary, Bethlehem (paired with “Why Don’t You Do Right“) — would be characterized 54 years later as “Mod Popcorn R&B” when sold at auction.
“Fever” would also be one of the highlights of 1963 long-playing release The New World of Milt Buckner, an album produced by Hal Neely, arranged by Gene Redd and Milt Buckner, and engineered by Chuck Seitz. (with cover design by Joseph F. Wood). 2013 would see the album reissued on compact disc in Japan.
“In late 1958, Audio Lab was formed as a budget label subsidiary to Cincinnati-based King Records. From 1959 -1962, Audio Lab released a lot of material that had never appeared in album form, including rare albums by Bullmoose Jackson, Annie Laurie, April Stevens, Lattie Moore, [Hank] Penny, the Light Crust Doughboys, Bob Newman, H-Bomb Ferguson, Sticks McGhee and John Lee Hooker.”
One track that enjoyed a second lease on life via Audio Lab was the first (non-45) album appearance of a song that would become a part of the American cultural fabric years later when used as a recurring skit on TV’s “Hee Haw” – link to related Zero to 180 history piece. As Both Sides Now observes, “The original version of [‘Pfft! You Were Gone‘] made its first (only?) LP appearance on [the Kentucky Colonel] Audio Lab album” (Bear Family’s 20-track CD compilation from 1984 Hangover Boogie doesn’t count).
Another great example of King material previously not available on LP —
1962 Audio Lab LP attributed to Moon Mullican entitled Instrumentals (that also, oddly, includes two tracks by Hank Penny and one song each by Mel Cox & Cowboy Copas).
All of these instrumentals are fairly obscure, especially the 1947 Cowboy Copas B-side “Jamboree” that got much better buzz in Billboard ‘s Dec. 13, 1947 edition compared to its A-side “I’m Tired of Playing Santa Claus to You”: “Plenty of good hill country guitar and fiddle in an instrumental potpourri of folk melodies” [streaming audio for “Jamboree” not yet available on YouTube, unfortunately].
Gerald Wilson Orchestra’s early 1954 Los Angeles sessions for Federal and King – including “Mambo Mexicana” – would be reissued five years later on an Audio Lab LP entitled Big Band Modern, a reminder of the mambo mania that had gripped the nation at the time this song (today’s featured track) was released:
“Mambo Mexicano” Gerald Wilson Orchestra 1954
Based on available discographical information, these 1954 recordings would appear to be among the earliest in a career that would span well into the new century, as NPR’s 2011 piece “The Gerald Wilson Orchestra: A Living Legacy” affirms (Wilson, as it turns out, is one of many famous jazz musicians who “did time” in Earl Bostic’s band — in this case, one of four trumpeters who played on a December 4, 1958 Los Angeles recording session (six tracks, including “My Reverie” and “All the Things You Are“).
Today’s featured artist: Gerald Wilson & HIs Orchestra
Kicking off our rogue’s gallery of Classic Audio Lab LP Covers is this modernist gem:
Grammar maven in me cannot allow disparity in song titles below go unremarked:
Zero to 180’s sprawling history trawl “Rare & Unreleased King” made passing reference to another surf-ploitation LP issued by King Records – 1963’s Surfin’ on Wave Nine – and even threatened to make that album the focus of a future history piece … whose time has come today.
Compared to Look Who’s Surfin’ Now (King LP previously celebrated here) Surfin’ on Wave Nine is a bit more of an organic affair, with only a modest amount of jiggery pokery involved.
According to Ruppli’s 2-volume Kings recording sessionography, we can only be certain that two of these songs — “The Fox” and “Buzz Bomb” by The Vice-Roys — were recorded in Cincinnati.
The Vice-Roys would record their songs for King in three sessions: c. Nov/Dec 1961 (“Moasin'”); c. September, 1962 (“Seagreen”); and April, 1963 (“The Fox” & “Buzz Bomb”). Worth noting that King would issue a split single in 1963 with “Seagreen” by The Vice-Roys chosen as the flip side for “That Low Down Move” by Hank Ballard & the Midnighters. But, as Discogs notes, “Seagreen” actually began life as an A-side issued on Bethlehem with the title “Seagram’s” – ostensibly a salute to the whiskey brand. Both Sides Now Publications recounts the controversy:
In 1960, an instrumental rock band called the Viceroys brought Bethlehem an instrumental master they called “Seagrams,” apparently thinking the name of a hard liquor brand would be hip for teens. Bethlehem liked the tune and released it. Unfortunately, Seagrams Corporation didn’t think it was funny and threatened to sue for trademark infringement, and some stations refused to play a song with the name of a commercial product without being paid for advertising time. A sheepish notice in Billboard on March 23, 1960, said, “We Goofed!” and explained that “Seagrams” was now changed to “Seagreen.”
Worth noting that in that same March 23, 1960 edition of Billboard along with the official industry notice from King Records saying “We Goofed!” was this wink-wink news item:
Just Call This a Real Loaded Idea
SAN FRANCISCO— A novel record promotion originated by Bob Earl, San Francisco branch manager for King Records, has been picked up by the national record distributor and will be repeated in Cincinnati, Chicago and New York.
Bethlehem’s new recording of “Seagram,” sung by the Vice-roys, prompted Earl to include a half pint of Seagram’s VO whiskey and a package of Vice-roy cigarettes when delivery the disk, all wrapped up in gay “Mardi Gras” gift paper. Uniformed messenger delivery personnel called upon local deejays in the four top r & b and rock and roll stations in San Francisco and Oakland — KSAN, KEWB, KDIA and KYA.
The Nu-Trons would record two sessions for King — the first (“Tension” and “Wild Side”) in May, 1963 (possibly in Cincinnati — Ruppli is uncertain) and the second (“Malibu Mal” and “Ninth Wave Out” in June, 1963.
The Tramps‘s sole contribution “Maharadja” is the earliest contribution to this various artists compilation (August, 1961), but alas — the recording is leased from another label.
Mickey Baker‘s guitar instrumental classic “Zanzie” (previously celebrated here) was recorded – along with “Gone” – June, 1962 in Paris.
Without a doubt, the song most likely to grab your attention is “The Wobbler” which likely was recorded late (November?) in 1961 by The Wobblers:
“The Wobble” The Wobblers 1961
Listen to King Surf Albums on the Radio!
This Saturday – September 8, 2018 from 6-8 PM – there will be a King Surf Party! In 1963, King Records released several surf albums, Surfin’ on Wave Nine, Look Who Surfin’ Now and Freddie King Goes Surfin’, in response to the California craze. Join WAIF FM radio hosts, Rock-it Rick, Midwest Surf Guy and Handsome Dan, as they play tracks from these King compilations on the legendary “Rockin’ & Surfin’ Show.” Those who live outside Cincinnati can tune in on the web – click on the link to WAIF 88.3 FM.
Unless you were a nature nerd in the late 1960s to mid-1970s, chances are you have never heard Mort Garson‘s mysterious and exotic instrumental theme for the CTV television series, Untamed World.
“Untamed World Theme” Mort Garson 196?
Uncanny emulation of steel drums that is/are undergirded by a percolating, undulating rhythm track — but what about those flute sounds, are those electronic, too? Ditto with the reverberating drum you hear in the final seconds of the opening theme.
I am hardly the only one, as it turns out, to have been entranced by this 60-second composition, as the comments attached to this YouTube video clip attest:
“Growing up in the late 60’s, this was one of my favourite TV shows of all time. After all these decades, I still remember the tune nearly note-perfect. Thanks so much for posting, and bringing back such wonderful memories!”
“That song has been ruling my world for 35 years!”
“thank you for posting. been wanting to hear it a long time big childhood memories. maybe a little creepy sounding but great to hear it again after 40 yrs or so”
“thx so much for posting this. Haven’t heard this for years…gave me goosebumps!!! what a simple wonderful thing from childhood. thx for the memories”
“Ok raise your hand if you & your brother used to do weird jungle dances to this song.”
“I feel like crying. Huge memories of my childhood!”
“One of the best music intros for a tv show of all time”
“Genius indeed, but that opening, especially when one was a little kid, was 1000% SCARY!!!!! :O”
“Sensational musical theme!”
“THANK YOU! I remembered everything about this intro but could not for the life of me remember the name of the show! I remember my mom and dad watching this in the mid-1980s…I think either on Saturday or Sunday nights. I guess it must have been in re-runs by that time.”
“yeh something eerie about it for sure…..”
“Yes, it’s been exactly the same for me. So great to hear this again.”
“This song always makes me want to run naked through the forest.”
“Fantastic, trippy ’70s graphics and a great “tribal”-sounding theme that makes you wanna dance wildly around the living room. So glad to hear and see this again after many, many years – thank you!”
“Oh, those were the days. Life was simple then, watching an old B&W Zenith TV with 2 channels, and the other choice was usually some religious show. Being 6 yo I chose the animals.”
“Sundays at 5:00 on CTV were a time of wonder and discovery. The fields with their chaff-like growths blowing in the wind signaled the start of a highly informative and haunting half-hour documentary. The thin straight lines speeding in a single direction, albeit staggered, brought us the silhouettes of images (offset by pink, orange, red, and teal backgrounds) that would have been lost in time if not for a YouTube account. And then the announcer, one Alan Small, would finish off almost every episode with “the Untamed World.” I remember being scared half out of my wits by, yet strangely drawn to, these simple images (all of which repeated in the outro accompanied by five others) and Mort Garson’s haunting theme, but now that fear seems just silly and ridiculous.”
Produced by Canadian Television (CTV), Untamed World was shown regularly between January and August 1969, according to IMDB, and then went into syndication – broadcast in the US through the mid-1970s and beyond, perhaps.
Mort Garson scoring 26 half-hour Untamed World shows for Metromedia, utilizing an electronic synthesizer.
Behold Untamed World‘s equally intoxicating outro theme:
Untamed World Outro Theme Mort Garson 1967?
Mort Garson’s Mother Earth’s Plantasiavs.Stevie Wonder’s Secret Life of Plants
“Full, warm, beautiful mood music especially composed to aid in the growing of your plants,” Garson’s conceptual and all-electronic Mother Earth’s Plantasia from 1976 would predate Stevie Wonder’s Journey Through the Secret Life of Plants by three years. Mother Earth’s Plantasia sells for an easy three figures at auction.
Hard to believe it was only 20 years or so ago I was having cheese coneys with The Cincinnati Enquirer‘s preeminent music writer Larry Nager and asking what it would take for the city to finally “own up” to its King Records history. Last week, to my utter delight and amazement, the City of Cincinnati, under Mayor John Cranley’s leadership and with the support of City Council, leveraged the power of the state on behalf of music history — so now Zero to 180 will have to find something else to complain about.
Thanks to a $1 land swap deal, there will be no wrecking ball for the original structure used by Syd Nathan and his talented team to birth a musical enterprise that enabled King the ability to ship out in the morning a piece of music that had been recorded the evening before. As Brian Powers point out in his King Records Scrapbook, no other label – including almighty Columbia – had the nimbleness to operate in this capacity.
Photo courtesy of Brian Powers
Unique among fellow King chroniclers and researchers, Powers organizes his King Records Scrapbook categorically — The Executives; A&R Men; Sound Engineers; Session Musicians; Recording Artists — rather than chronologically, while throwing in fun tidbits, such as a King Records Timeline of historical highlights plus street addresses of selected King artists and executives, including Syd Nathan (who once lived in Bond Hill an easy walk from the home of drummer, Reg Grizzard, and about a mile and a half from my boyhood home in Roselawn, as the crow flies).
Rob Finnis, in his extensive liner notes for Ace UK anthology King Rockabilly, reveals some of the audio engineering aspects behind King’s legendary sound (e.g., “Fever” by Little Willie John):
The live, upfront studio sound attained by engineer Eddie Smith had the bass and drums leaping out of the speakers with maximum impact. [Charlie] Feathers wasn’t the only beneficiary [“Bottle to the Baby“]. This sharp, larger-than-life ambience characterizes several other titles on this compact disc including “Move” [Boyd Bennett], “Peg Pants” [Bill Beach], “No Good Robin Hood” [Delbert Barker], and “Rock n’ Roll Nursery Rhyme” [Dave Dudley]. “That old King studio had a terrific sound,” explained Henry Glover. “It had a very high ceiling, maybe 24 feet, and the control room protruded into the studio in a V-shape like the bridge of a ship so the engineer could see in front and to the side of him. I sent for an engineer by the name of Eddie Smith who was a very good technical man. He stayed with King for about 12 years and later worked over at Bell Sound in New York.
Everything was done at one time, there was no multi-tracking; you would continue making cuts until you got every instrument, every voice, on the 1/4 inch tape and that was considered your final mix. In those days, we were even thinking of frequencies and emphasis on various instruments. Out of the regular upright bass, we got a sound just like today’s electric Fender bass by close-miking it with a microphone called the 44BX and surrounding it with live-surfaced acoustic isolation panels. The drum sound in those days was generally gotten by releasing the drum snares completely and you’d put a heavy object like the drummer’s wallet – or Syd Nathan’s wallet – on the snare and the really hard-driving backbeat stroke was actually a rimshot.
Glover would be even more emphatic in his praise for King as a facility with great sound in this passage from Arnold Shaw‘s classic roots rock historical critique, Honkers and Shouters (which includes a chapter devoted to King Records entitled “Record Company in an Icehouse”):
Shortly after he joined King Records, Glover moved to Cincinnati “because Syd Nathan had built one of the finest recording studios in the country and staffed it with Eddie Smith, a former musician who was a brilliant engineer.”
Calvin Shields behind the kit [photo courtesy Brian Powers]
Last year, on the eve of the city’s Historic Commission vote to consider the request for demolition, The Cincinnati Enquirer would subtitle Sharon Coolidge’s feature story on King in the Sunday edition, “Fight to Preserve the Legacy of King Records and Founder Syd Nathan at Crossroads” and include quotes from Patti Collins (Bootsy Collins Foundation), Elliott Ruther (Cincinnati USA Music Heritage Foundation), Jon Hartley Fox (author of ‘King of the Queen City’), L.A. Reid (who actually grew up in Evanston), Otis Williams, Mayor John Cranley, former mayor Dwight Tillery, and Anzora Adkins of the Evanston Community Council.
Can you spot the gaffe?
Elliott Ruther, in the Enquirer piece, notes the progressive hiring practices employed by Nathan – in his attempt to extend his song publishing fortunes across the color line – that put King in the forefront of American race relations. Powers point out that Calvin “Eagle Eye” Shields, in his studio work from the late 1940s to the late 1950s, may have been “the first black drummer to record country music.”
CALVIN ‘EAGLE EYE’ SHIELDS – 1950 [PHOTO COURTESY OF BRIAN POWERS]
Quotes from Henry Glover & Calvin ‘Eagle Eye’ Shields
[special thanks to Brian Powers*]
“I started using drums for the first time for country music with Moon Mullican. He fell in love with a black drummer that I had been using on several dates around Cincinnati called Calvin Shields. He was better known as ‘Eagle Eye.’ He was very, very friendly and dear to Moon Mullican. He played on many of his sessions, and many of the other country & western records when they began to use drums, which they didn’t do when I first came to King. [With] Moon Mullican, I would use a heavy backbeat that this drummer called Eagle Eye, that came there with Tiny Bradshaw a few years back and made Cincinnati his home, he was ideal for that, the backbeat.” – Henry Glover
“Moon had such a great soul. He was just like a black man to me, you know, like he thought, felt, and expressed himself and everything else. Like we would say he had a whole lot of soul, Moon did.” – Henry Glover
“Drums were a must for Moon. Moon wanted drums. And he fell madly in love with this drummer called Calvin Shields that we called Eagle Eye.” – Henry Glover
“Moon Mullican was the first to use a black band at King. In just about every case, we had a black bass or maybe a black drummer with Moon in order to get the rhythm because Moon played like a black man and he even thought like a black man – in fact, I sometimes had my ideas about whether he was black or not! He was the very first white man, I believe, that caught my eye as being not filled with bigotry or hatred … he found himself as comfortable among blacks as he did among whites. And it’s a very funny thing – both races in those days were displaying standoff-ish attitudes — not Moon. Moon would make most of the black clubs in the worst parts of town and all of his friends during the course of his stay would be black people. He’d play in black clubs and they would give him a standing ovation. It was very rare.” – Henry Glover
“Glover introduced us. I walked in and all those white cats sitting around wondering, ‘Hey, he’s got a black man playing his music.’ So I don’t say nothing to them and they don’t say nothing to me. So we played and that’s when I fell in love with him because it swung. So Moon says ‘This is my drummer,’ so when he went to buy some whiskey for the group, he bought a bottle for them and a bottle of whisky for me and him. He said, ‘Man, I want you to take me over to the Cotton Club,’ and I took him. Tiny Bradshaw invited him up and he played nothing but Duke Ellington music.“ – Eagle Eye Shields
“When a cat becomes a studio musician, he’s a musician who plays anything they bring in front of him to play. When I played with Moon Mullican, I enjoyed it. When I played that Country music, I learned to swing with that Country-Western cause I got into their mood and into their groove. When I got ready to play Rhythm & Blues, I got into their groove. When I play dance music, legit music, I get in to a legit feel cause I am a musician. I didn’t become a superstar. My thing was to be good, in order to be in demand, to be sought after.”– Eagle Eye Shields
[Moon had a number of hits in 1950 produced by Henry Glover including “I’ll Sail My Ship Alone,” “Mona Lisa” & “Goodnight Irene”; Mullican accepted the invitation to join in the Grand Ole Opry that year.] “Then Moon said, ‘I want to take you on the Grand Ole Opry with me, man.’ I said, ‘No, I don’t want to go on that.’ He asked me if I would travel with him. I told him if I’ll be out there in them towns, them junctions, you might not be around and they’ll done grab me and lynch me.’ But now I wish I had because, if I had got out with Moon, I might have made a name for myself. I might have ended up with the big one – Willie Nelson.” – Eagle Eye Shields
Moon Mullican & Henry Glover
Shields, who took not only his father’s name but nickname as well, came to King through his membership in Tiny Bradshaw’s Orchestra. Eagle Eye would conduct his session work for King in between performances with Bradshaw in town at Cincinnati’s Cotton Club and on the road in New York City. Shields would subsequently serve as drummer for the Billy Williams Quartet (1957-1961), Della Reese (1967-1973) and music director/drummer for Redd Foxx (1978-1984).
Calvin Shields with Paul Bryant (organ) & Norris Patterson (sax) – 1962 in NV
The index in King Labels: A Discography, edited by Michel Ruppli (with assistance from Bill Daniels) helpfully identifies sessions where Calvin Shields served as the drummer, thus allowing Zero to 180 to compile a special list of suggested recordings — all of them captured on tape in Cincinnati (except Willis Jackson – NYC):
Abstract expressionist cover art for 1952 French LP
Furthermore, Eagle Eye is believed – as best as Brian Powers can determine – to have played on Moon Mullican‘s version of Tiny Bradshaw’s “Well Oh Well” [recorded July 3, 1950] and the classic “Cherokee Boogie (Eh-Oh-Aleena)” [December 8, 1950], written by Moon with Chief William Redbird, plus Hawkshaw Hawkins‘ version of Tennessee Ernie’s “Shotgun Boogie” [January, 1951] and Al Dexter‘s “Hi De Ho Boogie on a Saturday Night” [May 19, 1950] — all recorded at King’s Cincinnati studio. Documentation from King’s early years, unfortunately, is often scant.
Shields would also keep time on an enchanting Latin-flavored instrumentalé tropicalé whose musical hook is a gloriously deep bass blast of the horn (B-flat):
Mack Rice wrote “Mustang Sally” following a visit to his friend, singer Della Reese in New York City. Reese had off-handedly mentioned that she planned to buy her drummer a Lincoln for his birthday. Calvin Shields, the drummer, appreciated the thought but reportedly replied, “I don’t want a Lincoln, I want a Mustang.” Shields’ response confused Rice. He could not understand why anyone would want the small Mustang instead of the bigger and more powerful Lincoln. After returning to Detroit, Rice began work on a song titled “Mustang Mama.” A serendipitous visit to Aretha Franklin’s house led to the name change to “Mustang Sally.” Franklin believed that “Mustang Sally” fit better with the music. And so the song was born.
*Henry Glover quotes are from an 1980s interview with the Country Music Hall of Fame *Calvin Shields quotes are from an interview conducted by Brian Powers in 2009.
**Willis “Gatortail” Jackson played a pivotal role in Jamaican music history when spies working for Duke Reid identified the source of Coxsone Dodd’s theme song (i.e., “Coxsone’s Hop”) that cemented Downbeat‘s status as the superior sound system in Kingston: “Later for the Gator” by Willis Jackson[1958 – sounds not a little unlike ska]. In those pre-Internet days, operators of competing mobile sound systems would use American 45s with the labels scratched off as proprietary source material. Duke Reid’s discovery of Coxsone’s source material would prompt Dodd into creating an original Jamaican sound in 1962 – ska – in time for the birth of JA’s independence. Much more direct evidence of the Cincinnati-Kingston connection can be found here and here.
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Zero to 180 was browsing Lovin Spoonful‘s 7-inch releases on Discogs and decided to give a listen to an obscure 45 track, “Lonely” – a harmonica instrumental, as it turns out – only to discover upon further examination that this song was released as an A-side for the Brazilian market only!
“Lonely” Lovin’ Spoonful 1967
Zero to 180’s pleased to see Kama Sutra did up the occasion right with a picture sleeve:
Hey, wha’ d’ya know, “Lonely” (or “Solitário”) would also be tapped as a B-side for the Japanese market:
Wow – just discovered the existence of this entry in 45Cat for a US single release for “You’re a Big Boy Now” b/w “Lonely (Amy’s Theme),” with a date of “Jun. 1967” indicated but ultimately “unreleased” – what’s the story?
No doubt about it: Jimmy Page, given his role as composer, arranger, and producer, dominates this B-side by a group you’ve never heard of (i.e., recording career = exactly one 45). This song, I am now discovering, is virtually unknown to American fans of Page’s work, as it has mainly enjoyed release in the UK and Europe — first as a B-side, and later on compilation albums that showcase the daring and original music produced by UK’s renegade indie label, Immediate. Even now, when you search YouTube, the song barely registers: just one lonely audio clip, with a mere 1,707 listens to date.
Will you please tell us the song title already?! “Just Like Anyone Would Do” — the B-side to “Bells of Rhymney” on the one and only single ever released by Fifth Avenue:
Fifth Avenue “Just Like Anyone Would Do” 1965
From the flamenco-style guitar riff that propels the song, to the instrumental bridge with the majestic piano chording, to the ghostly backing vocals that linger after the rest of the mix has faded, there’s something fairly compelling about this song (ditto for another great Jimmy Page production from that same year that unfairly sank without a trace — Nico’s “I’m Not Sayin’“).
I first encountered this haunting track on a double-album anthology of Immediate singles (with album sides devoted to “The Most Obvious”; “The Rarest of the Rare”; “Happy to Be a Part of the Industry of British Blues”; and “Jimmy Page Productions/Sessions”) that was released, oddly enough, by Nashville-based Compleat Records in 1985.
The track listing in 2000’s 6-CD box set, The Immediate Singles Collection, provides this sparse bit of text about Fifth Avenue’s sole contribution to popular music history:
45 originally released as Immediate IM 002 — 1965.
Line-up: Denver Gerrard (vcls, gtr), Kenny Rowe (vcls, bs).
Band origin: London.
The original Immediate 45 (which was the second single issued by the label, following “Hang On Sloopy” by The McCoys) does respectable business, according to Popsike, at auction.
Bonus Track! John Paul Jones’ First 45
Would you be startled to learn that John Paul Jones’s career as a solo artist goes as far back as 1964, with the release of his Andrew Loog Oldham-produced Pye 45 “Baja” (Lee Hazlewood‘s brilliant surf hit for The Astronauts) b/w “A Foggy Day in Vietnam“? Sounds like Jones is wielding a 6-string bass on this lush production.
One can be forgiven for mistaking the heartbeat bass line and the off-kilter, syncopated hand drumming in this 2-minute heavy chant as being part of the Jamaican Nyabinghi tradition. Note the special effect at song’s end — somewhat “high tech” for King in 1954:
“Oooh-Diga-Gow” Cecil Young Quartet 1954
And yet, this King track by the Cecil Young Quartet, according to Michel Ruppli King Labels discography, was recorded December 7, 1953 in Cincinnati. But where – given the live audience sounds – exactly? We the listeners can only presume that stage movements and vocal inflections, designed to accentuate the “meaning” of the lyrics, are what’s eliciting periodic bursts of laughter. To make sense of the laughs, it is imperative, given the lack of accompanying video, that the listener consult his or her inner oracle.
“Oooh-Diga-Gow” was originally a B-side that enjoyed release on 78 as well as 45. Five years later, King would reissue the song on Audio Lab LP, Jazz on the Rocks. One Ebay ad for this song (with no reference to the A-side) describes the music as “rare jazz exotica Yma Sumac,” while another seller would go even further.
King’s art department would turn out some delightful ‘cool jazz’ covers for Cecil Young and his crew during their short run with the label 1953-54:
Catchy King instrumental — and what is that instrument, exactly? Sounds like a blend of organ and harmonica, most likely:
“New Annie Laurie” Gene Redd 1960
“New Annie Laurie” seems an obvious attempt by King to “cash in” on the fresh organ retooling of “Red River Rock” made famous the previous year by Johnny and the Hurricanes, although without directly resorting to plagiarism, cleverly enough, by using an olde Scotch ballad.
Billboard‘s review of the single in its October 10, 1960 edition would have this to say about the A-side “New Sidewalks of New York” — “Gene Redd sells this happy rocker with warmth on this driving instrumental side, it’s the old tune dressed up with a rocking beat” — and then, hilariously, utter two words “same comment” about the B-side “New Annie Laurie”! Worth noting that Redd covered “Red River Rock” for King the previous year.
Brian Powers’ King Records Scrapbook informs me that Redd, originally a session player and King artist who became a talent scout for the label, would go on to do arrangements for Kool & the Gang, for which his son, Gene Redd, Jr., served as manager.
King Records would try to cash-in on the success of “Tequila” by The Champs, as Johnnie Pate‘s 1958 Federal 45 “Muskeeta” would demonstrate:
Johnnie Pate’s “Muskeeta” 1958
Johnnie Pate (b, ldr); Ronald Wilson (fl); Williams Wallace (p); Wilbur Wynne (g); Donald Clark (d).
Chicago, March 20, 1958
Cash Box‘s April 19, 1958 review acknowledged the structural similarities, though not in a bad way necessarily:
Pate sets his flute to a “Tequila”-like backdrop and hands in an exciting side. At mid point a voice belts out the word “Muskeeta.” Good mambo rock ‘n roll.
According to Armin Büttner‘s Johnnie Pate history website, the version of “Muskeeta” on the French EP (below) is exactly the same as the version on King LP 584, but for a tenor sax probably overdubbed by Ronald Wilson himself. It is not yet known, which version of “Muskeeta” is on Federal 45-12325.