Some People Know I Have Something Here


698. The Desert Rose Band 699. The Paul Desmond Quartet Live 700. Detroit Emeralds: Let's Get Together 701. Q: Are We Not Men? A: We Are Devo! 702. Devo: Total Devo 703. DFX2: Emotion 704. Neil Diamond's Greatest Hits 705. Neil Diamond: Gold Diamond 706. The Dictators Go Girl Crazy! 707. Dictators: Manifest Destiny 708. Dictators: Bloodbrothers 709. Bo Diddley: Have Guitar, Will Travel 710. Bo Diddley Is a Gunslinger 711. Bo Diddley's Golden Decade 712. Die Kreuzen 713. Die Kreuzen: October File Mixworthy: "Uncontrollable Urge," #701; "Cherry, Cherry" and "Solitary Man," #704; "Back to Africa," "Two Tub Man," and "(I Live For) Cars and Girls," #706; "Say Man, Back Again," #709; "Gun Slinger," #710; "Bo Diddley" and "Who Do You Love," #711. I like Bo Diddley almost as much as Chuck Berry, and maybe more than anyone else from the era, so four songs seems insufficient; conversely, three from The Dictators Go Girl Crazy! seems generous. None from Die Kreuzen seems just about right. Devo's Mark Mothersbaugh has had a wildly successful second career doing soundtracks-- as a composer, first, but I also get the feeling that he had a hand in selecting what- ever outside music was enlisted for some of the movies he's worked on (the four he did with Wes Anderson, certainly, also 200 Cigarettes). I went with "Uncontrollable Urge" off the first Devo album, but there are a couple of close calls that were both used memorably in films: "Come Back Jonee" in Rock 'n' Roll High School--I forget why, but I can still see those two hall-monitor doofuses motoring around on their sidecar as it plays--and, just last year, the ominous guitar buildup on "Gut Feeling" in The Life Aquatic With Steve Zissou (it helps to have an in with the boss). Also "(I Can't Get No) Satisfaction" in Casino, used twice; that one still baffles me. Not a great cover to begin with, completely out of place in the film, and I have a hard time envisioning Scorsese as a big Are We Not Men? fan circa 1978. That was his infamous getting-all- coked-up-with-Robbie-Robertson period; did the two of them spend hour upon hour fre- netically trying to unlock the philosophical underpinnings of de-evolution? Was Joe Pesci anywhere around at the time? ________________________________________________________________________________ 714. Dinosaur Jr.: Bug 715. Dinosaur Jr.: "Just Like Heaven" 12-inch 716. Diodes: Released 717. Everything You Always Wanted to Hear By Dion and the Belmonts 718. Distractions: "Nobody's Perfect" 719. Dixie Cups: Teen Anguish Volume One 720. Dixie Hummingbirds: Your Good Deeds 721. Don Dixon: Romeo at Juilliard 722. Djavan: Bird of Paradise 723. D.O.A.: War on 45 724. Doctor & the Medics: Laughing at the Pieces 725. Doctor and the Medics: Keep Thinking It's Tuesday 726. Dr. Buzzard's Original Savannah Band 727. Dr. Buzzard's Original Savannah Band Meets King Pәnnәt 728. Dr. Strut: Struttin' 729. Doldinger Jubilee '75 Mixworthy: "Freak Scene," #714; "Tired of Waking Up Tired," #716; "I Wonder Why," #717; "People Say," #719; There's better stuff on Dinosaur's earlier You're Living All Over Me, but I only have that on CD--"Freak Scene"'s good enough. I'm that close to listing "Moon Song" by Doctor & the Medics, but that would be setting a danger- ous, dangerous precedent. I'd be moving the mixworthy idea into the realm of pure nihilism, where nothing matters and everything is permitted. This is the least interesting group of records I've posted in a while, so just a couple of quick personal associations. 1) I took a couple of film courses at the University of Toronto with a Diode, John Hamilton. I don't recall him ever sitting in class looking especially tired; he seemed very well rested. 2) Also dating back to that time, I used about 10 seconds from Dion & the Belmonts' "I Wonder Why" in Wild Christmas, one of two super-8 films I made my final year. From the same film: some voiceover by Alan Freed lifted from Alan Freed's Memory Lane, Darlene Love's "Christmas (Baby Please Come Home)," Ritchie Valens' "La Bamba," Little Richard's "The Girl Can't Help It," and the Angry Samoans' "Steak Knife." It was a festive splatter film. Six years later, Scorsese had the nerve to steal the whole Darlene Love concept for GoodFellas. I don't know, maybe it's me, I'm a little fucked up maybe, but let me understand this, Marty,: I'm here to provide soundtrack ideas for you? I amuse you, I give you ideas? ________________________________________________________________________________ 730. Eric Dolphy: Out to Lunch 731. Eric Dolphy: 3 Dolphy Groups 732. This Is Fats Domino! 733. Fats Domino Sings Million Record Hits 734. Fats Domino: ...A Lot of Dominos! 735. Fats Domino: Legendary Masters 736. Fats Domino: Cookin' With Fats 737. The Dominoes (Featuring Clyde McPhatter)- Volume Two 738. The Dominoes - Volume Four 739. Bo Donaldson & the Heywoods: Farther On 740. Lou Donaldson: Here 'Tis 741. Donovan: Mellow Yellow 742. Donovan's Greatest Hits 743. Val Doonican: Gentle on My Mind Mixworthy: "Walking to New Orleans," #734; "Ain't That a Shame," #735; "Don't Leave Me This Way" and "Deep Sea Blues," #737; "Sunshine Superman," "Season of the Witch," and "Colours," #742. Out to Lunch is one of the most famous free-jazz records of its day, but there are vibes and flute all over it, two things I hate. Much better is the title track from Dolphy's earlier Out There. The Bo Donaldson LP does not contain "Billy, Don't Be a Hero," so I don't get a chance to not-list that. It does include covers of Buddy Holly ("Oh Boy") and Todd Rundgren ("Hello, It's Me"), and little comments from Bo appended to each song title on the back cover: "If Buddy Holly ever heard what we've done to his song..." Yes, the Heywoods were as subversive as it got during the '70s, so whatever kind of mischief-making they were up to with "Oh Boy," I'm sure Buddy would have been mortified. What do you say about Fats Domino? Marcus gets off a great line about him in Stranded in connection to Little Richard's music--"some kind of unhinged New Orleans R&B, at first anyway, but even Fats Domino must have wondered what the hell was going on"-- and has Legendary Masters in his discography, with an entry as modest and to-the-point as Domino himself. Richie Cunningham named "Blueberry Hill" as his favourite song on Happy Days, a perfect match. Domino seems almost the definition of Andrew Sarris's "lightly likeable," except because he was there at the outset, and because he was so prolific, you have to drop the dismissive "lightly." He was...intensely likeable? No--too strong. Corpulently likeable? Not that either--besides being mean, it sounds clunky. Likeably likeable? Yes, that's it. Fats Domino, Ernie Banks, and Red Skelton rule over the kingdom of the likeably likeable. ________________________________________________________________________________ 744. The Doors 745. Doors: Strange Days 746. Doors: The Soft Parade 747. Doors: L.A. Woman 748. Doors: Weird Scenes Inside the Gold Mine 749. Kenny Dorham: Whistle Stop 750. Lee Dorsey: Gonh Be Funky 751. Gail Ann Dorsey: The Corporate World 752. Dorsey Brothers Orchestra: 1934-35 Decca Sessions 753. The Best of Tommy Dorsey 754. The Carol Douglas Album 755. Carol Douglas: Midnight Love Affair 756. The Best of Ronnie Dove Vol. 2 757. Down Home Praise 758. Dramatics: 10 Mixworthy: "Soul Kitchen," #744; "Love Me Two Times," #745; "Working in the Coal Mine," #750. I'm stretching--I'd get by fine without a single song from this group. Spent: Which leads me to a new partner for "Mixworthy": songs that I absolutely loved at some stage of my life, but which have been diminished, neutered, drained, all but nullified due to years and years of overexposure. Think of it as the Radio Killed the Radio Star group, although sometimes the culprit might be a commercial, and sometimes the culprit might be me. I've already made reference to a few of these songs--"Sweet Soul Music," "Gimme Some Lovin'," others--which is why the category's being created: as a form of shorthand to avoid making the same point over and over again. First two through the door: "Riders on the Storm" and "L.A. Woman." One of the Carol Douglas albums--the earlier one with "Doctor's Orders," I think-- I bought from a guy on Carlton St. who had placed an ad in NOW to sell off all his records. Not a happy memory: he clearly had AIDS and was obviously liquidating to pay medical bills. Did I feel like a vulture? Yes...I dip in and out of the I Love Music discussion group, not to post, just to look in. It's sustained by the same kind of obsessiveness that kept Radio On going for seven or eight years, so in the course of a day there'll be 40+ threads addressing the most arcane esoterica imagin- able, post after post after post until you're positive the next one will be it, the one where somebody finally says, "We have to stop now: there's nothing more to say." Of course, there's always more to say, so the last post never comes. That's what's great about it; there's an obvious downside that occasionally creeps in when you have freelancers and editors posting side-by-side, but if you're aware of that, you can adjust accordingly. A thread the other day asked people to speculate on possible scenarios had famous rock-star deaths never happened--what Bangs did with his post- humous Hendrix interview, basically. I loved this Jim Morrison post from Dr. Gene Scott: "2007 -- Golden Globe nomination for understated depiction of Kim Il Jong in Oliver Stone's Jong!" ________________________________________________________________________________ 759. Dream Academy: Remembrance Days 760. Dream Syndicate: The Days of Wine and Roses 761. Dream Syndicate: Out of the Grey 762. Dream Warriors: And Now the Legacy Begins 763. Drifters: Let the Boogie-Woogie Roll - Greatest Hits 1953-1958 764. Up on the Roof: The Best of the Drifters 765. Drifters: 1959-1965 All-Time Greatest Hits & More 766. Dudes: We're No Angels 767. Dave Dudley: The Original Traveling Man 768. Dumptruck: For the Country 769. Duran Duran 770. Duran Duran: Rio 771. Duran Duran: Seven and the Ragged Tiger 772. Ian Dury: New Boots and Panties!! Mixworthy: "Wash Your Face in My Sink," #762; "Bells of St. Mary's" and "Your Promise to Be Mine," #763; "There Goes My Baby," "Up on the Roof," and "On Broadway," #765; "Going Nowhere," #768. Most everything I've been listing in this section is either very well known, reasonably well known, or at least the work of somebody who's very well or reasonably well known. Dumptruck's "For the Country" may be an exception-- what little name-recognition they had in 1987 has pretty much vanished by this point, but "Going Nowhere" remains one of my very favourite songs from that period. The Dream Warriors album has a 1991 copyright, so that's another one of my '90s LPs. I actually continued to mail-order 45s up until '93 or so from some company out in California (forget their name--Jukebox-something, I think). I've got things like "Jump," "O.P.P.," "Smells Like Teen Spirit," George Michael's "Too Funky," all the stuff I was giving 8.0s to in Radio On. I'd be amazed if they're still in business... The Dudes record (1975) is pretty amusing. Contents: two guys from April Wine, a guy from Mashmakhan, Bob Segarini (Toronto's answer to Nick Lowe circa 1979; his big album was Gotta Have Pop, the reason being that Bob was a now person, and now people gotta have pure pop), a song co-written by Kim Fowley, liner notes by Greg Shaw, production by Spector (Mark!), and, best of all, a bassist named "Kootch." Forget Randy, forget Elliot, forget Skunk--there is no name more '70s than Kootch. Segarini was hosting a radio show a year or two ago on Q-107, Toronto's Pink Floyd station; Kim Mitchell from Max Webster is on there now. We look after our own here--I hope Flow-93.5 keeps a chair open for Dream Warrior Lou when the time comes.

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