Gamba! You Can’t Shake The Devil’s Hand

NOTE: This review originally appeared in print in the August 2020 edition of Drive-In Asylum.

In The Devil's Hand (1961, though filmed in 1959), Rick Turner (Robert Alda) thinks he has met the woman of his dreams in Bianca Milan (Linda Christian). She appears from the clouds proposing breathlessly, “let’s enjoy each other.” She offers to sing and dance the forbidden dance for him: “Should I dance for you as your blood races through your veins?”

But more quickly than he can grab a moist towelette from Bianca’s mute Tibetan man servant, Rick’s under the control of a satanic cult headed by high executioner Francis Lamont, played with stink-eyed intensity by Neil Hamilton, who had hundreds of acting credits going back to 1918 but who has been best known for the past 50-plus years as Batman's Commissioner Gordon. Lamont uses voodoo dolls and precise enunciation equally to keep members and others in line. Rick’s girlfriend, Donna Trent (Ariadne Welter), pays the price, landing in Belmont Hospital with a coronary condition after Lamont sticks a pin in her doll’s heart. An undercover reporter gets it even worse for trying to expose the cult, whose meetings seem largely to revolve around brief interpretive dances while Chaino (aka Leon Johnson) beats his bongo and members who sit on big pillows yell out, “Gamba!” occasionally and watch Lamont force people to prove their loyalty through encounters with a ceiling fan from hell.

Director William J. Hole Jr. (Hellbound, Ghost of Dragstrip Hollow) keeps things stylish and slightly spooky but with a definite light touch that lets 70 minutes or so of satanic shenanigans slip by devilishly fast. The enticing Christian (Slaves of Babylon, Murder in Amsterdam) is a lot of fun, saying things like “I saw you. I wanted you. That’s what made you special.” Music from Chaino and legendary session guitarist Rene Hall as well as a killer and magnificently sleazy opening dance theme from Baker Knight add mightily to the movie’s appeal.

From Quixotronic Past: Video Vanguards - Starring The Electric Mess

 

NOTE: This Q&A originally appeared on the defunct Quixotronic site in June 2020.

Since forming in 2007, New York City garage rockers The Electric Mess have stood out in the genre through a combination of effortless cool, clever, playful songwriting, wild-eyed openness to other pop, rock, and punk sounds, and a marvelous and mighty lineup. Another thing that has made the band distinct: deliciously fun, often star-studded, music videos that have helped boost the group’s fanbase and open new opportunities.

Bassist Derek Davidson, a film school graduate, movie photo archivist, and all-around film fanatic, is responsible for bringing the videos – including most recently a 17-minute video EP (“Beneath the Yellow Moon”) – to life. 

We talked to Derek recently about his movie background, favorite music videos, creative process, and much more:

I know a few things about your background, but can you explain how some of your creative and work experiences and your love of movies played into your being the band’s “video director?”

Well, one of the main things that helped lead me to take the role and gave me the edge was that I graduated from film school and had production experience. Once we started making music videos, I was more than happy to be able to put those skills to use again. In my college years, and then all through the 90s, I worked in a couple of excellent video stores, one for about 10 years. It was still all VHS then; DVD was just getting popular when we closed. Between the free rentals and watching movies basically all day in the store, I got to see all kinds of films. The owner was French and a cinephile and took pride in the store, so we had a great collection. I learned a lot working there, memorizing director names and filmographies, and genres. Being it was New York City, on the Upper West Side, we had many regular celebrity customers, like Joel Coen, Paul Schrader, Nora Ephron, Bob Balaban, Eli Wallach, Stiller and Meara... Alan Arkin, I could go on! It was a great place to work, as the video store was quite the popular and sociable place back in the day. I still have recurring dreams working there, and it’s been over twenty years, so it must have had some effect on me. I also met my wife working there.

After that I started working in a movie photo archive, called Photofest, which has also been a fun and inspiring place to work. We also have lots of music photos, TV, and general performing arts. We’ve contributed to thousands of film books over the years, like Easy Riders, Raging Bulls, comes to mind. Many, many more. Also documentaries, film calendars for revival houses, like Film Forum in NYC, TCM channel, some late night TV shows, Criterion Collection, Hollywood Reporter, things like that. I’ve only been there twenty years! It can be helpful to turn to the stills for reference sometimes. For “The Girl With the Exploding Dress” video, for example, which has girls sort of posing in colorful dresses and has a mod feel, I looked at photos from Antonioni’s Blow-Up to see how they posed the models and brought copies to the set as storyboards. For the “Mystery Girl” video I looked at film noir stills. Our video for “Better To Be Lucky Than Good” was even shot there.

These days I consider myself the band’s “technical director,” because unless I also wrote the song, it has generally been a collaborative effort with other members of the band, depending on whose song it is. This is especially true with “Beneath the Yellow Moon,” our 4 song video EP, where each songwriter had a strong vision for their particular song’s video going in. Very early on we worked with some outside people, like "You've Become a Witch" was made by David Horowitz of The Above, and "She Has a Funny Walk" and "He Looks Like a Psycho," where Jeff Lewonczyk had the concepts and designs, and I shot and edited them. But since then, I have also handled all the technical stuff, including shooting it and editing, lighting, knowing where to point the camera, now green screen wrangling, etc. So I’m physically directing it, but the songwriter has the final say and the answers to the big questions, and tells the actors what they want. It can be a lot of responsibility dealing with all of the technical issues, and editing a ton of work, especially four videos at once, but I still enjoy it. Also, the band saves a ton of money by not having to hire and pay outside people to produce our videos, or rely on others. And another reason I think we’ve been able to be so productive over the years.

From your viewpoint, what makes a music video worth watching? What are some of your favorite music videos or influences? 

I probably tend to favor videos with either a story or loose plot, rather than just purely visual. And humor always helps! I like the Beastie Boys videos a lot, Van Halen, Duran Duran, “Subdivisions” by Rush is a classic to me. I love The Rolling Stones “Waiting on a Friend.” I do prefer to incorporate some story elements into our videos, as it gives me a chance to shoot coverage and edit it like I’m making short narrative film, which is what interests me as a frustrated filmmaker, ha, and I feel more comfortable. Though with “City Sun,” which had more thematic elements than actual story, I feel I got to stretch out a bit more visually, with Esther’s encouragement. She had her own clear video references for it, like 80s Simple Minds and Bow Wow Wow videos, which helped.

Obviously, there are people whose first experience with the Electric Mess is through finding your video on YouTube or somewhere else online. What reaction have you gotten from fans and non-fans? How do you think the videos work to frame what the band is about? 

I don’t think it’s an understatement to say our videos put the band on the map, starting with “You’ve Become a Witch” in 2010, which set the template. From that video, a UK label called Rowed Out Records released a 7” of “Witch,” and Groovie Records out of Portugal released our 2nd record, “Falling Off the Face of the Earth” (2012). It’s not like we ever played there up to that point, though we did get to play Portugal after the record came out, but that video is what got their attention, far away from NYC. And our videos are definitely what got us on our current label, Soundflat Records. One day, end of 2013, I received a random email from Marco Traxel, who runs Soundlfat, just to say how much he enjoyed our videos, particularly “She Has a Funny Walk,” I believe. The timing was right as we were just about to start recording our 3rd record and he said he’d be interested in putting it out. And now it’s four records later with them, including the vinyl reissue of our debut record. Without YouTube and the videos we would never have been able to extend our reach like we have, especially with a European fan base. I think the videos do a good job of showing that we have a sense of humor and don’t take ourselves too seriously, and hopefully they have been showing some growth, from the quality of songs themselves, to more ambitious visuals. It’s definitely gratifying to see our videos pop up or get shared and liked by random people, people not our friends. Sometimes someone will tweet one of our videos and say they’re digging it or something. It’s a simple gesture, but of course good to see.

Many members of the New York City music scene (Suke from the Candy Snatchers and Born Loose, Andrea Sicco from Twin Guns, Eric Davidson, Jonny Couch, Lisa Lush, and others) have appeared in your videos, and it’s fun to spot them as you view the videos. Are you hoping to document the scene in some way by using them? Has it been difficult to bring them in to participate or to explain the concept of your video? 

Again, it started with “Witch” which had many of our friends in it. It’s definitely easier and more fun to cast amongst our pool of friends, many of whom are all naturals anyway. And yes, to me it has become a way to document the scene and our friends, some, as you said, over multiple videos. I think they will be something special to have one day to look back on when we’re all old and gray! Most of them are into it when we ask, and it helps we have a good track record. Most aren’t professional enough to be method actors or divas on the set, or ask too many questions, and just go with the flow. Often they just need to look cool, and that isn’t hard for most of them! We try to turn it into a fun experience. For example, with “Speed of Light,” which was all green screen, we had a small party at Esther and Dan’s one Saturday night and shot a few scenes for it. One part of the apartment was party central, while in the living room I set up the green screen and lights and took people one or two at a time to shoot their stuff, including the pool scene on the spaceship, and people were mostly cool enough with it to change from their party clothes into their bathing suits and cabana wear. It was a really fun way to work.

What was your most difficult video to shoot? Conversely, have you had any specific ideas you had to scrap because they proved too hard to pull off? 

The EP no question, both from a technical standpoint, lots of green screen stuff, which I was basically still learning as we went along, and also scheduling wise, as we decided to shoot five videos at the same time. It was a lot to bang out, but we mostly succeeded. There was a bit of a time issue as we had outdoor shooting to do along with the indoor green screen scenes, and it would have been really unpleasant to shoot outside in colder winter weather, so we did need to set some dates to get it done. We shot them all basically over two long weekends in Oct. and early Nov. The EP was originally going to be five videos, including a video for “Laserbrain,” but as we did bite off a little more than we could chew, we decided to cut it as it was not going to be up to snuff with the other four. It was for the best anyway, as the EP would have topped twenty minutes, I think too long for even our most dedicated fan.

What prompted you to release a series of videos before releasing your most recent album, The Electric Mess V? 

Early on in the songwriting process we considered just releasing a video EP, and a 10” EP to go along with it, but then the new songs started coming rather quickly, so we abandoned that idea and decided to just do another full record, and again Soundflat was interested in releasing it. But we still liked the video EP concept and had enough ideas for it to move ahead, and we also wanted it to be a bigger statement than just individual videos. Originally the plan was to have a big video release party ahead of the record release. We were actually scheduled to pick up the LPs in Germany while on tour in Europe a week later, but with the pandemic the tour of course was cancelled, and also our video party. So we just had a premiere on YouTube for it, which wasn’t nearly as much fun as a party would have been, but couldn’t be helped.

Finally, how does it feel to have completed 14 videos and a video EP? That’s impressive! Do you have a favorite one? 

Thanks, it’s very satisfying. Both as a member of a band with a body of work now, with songs and videos from five records, and also personally, with work I can be proud of. Of course I did have ambitions at one point to do feature films, and I’ve done some shorts, also with our friends, but the videos have been a nice way to still be creative and do production work, and learn new skills. One of my favorite videos, that’s not my own song, is “Better to Be Lucky Than Good,” since it gave me a chance to tell a whole story, no band shots in it, and just make it like a little film noir. Dan, whose song it is, pretty much gave me free rein, and it also had lots of friends in it, still maybe the most. There are some things I would do differently now, but I’m happy with the scope of it. Of my own songs, I’d say “Speed of Light” is my favorite now, since I feel I pulled off all the technical challenges with the green screen and was upbeat and fun. It serves the song well, has lots of humor, and really feels like we’re all on a spaceship. And the band looks cool rocking out! I’m proud of the whole EP, actually.

https://theelectricmess.bandcamp.com/

A Journey Into the Thunderous Fireball Jungle

NOTE: This article originally appeared in print in the April 2020 edition of Drive-In Asylum.

Fireball Jungle is like one of the once popular annual localized coupon books that offered an abundance of “entertainment” options that you never knew existed and wondered if you dare take – even for buy one, get one half-off margaritas. But the Jungle’s Throne Room has bar stools that are actual toilets, they have a singing poodle act, and the bartender looks like Cat Woman, so why the hell not try it out?

And I’m way underselling all the action at the ‘ol Throne Room, which is but one of many entertainment options to be found in 1968’s Fireball Jungle.

The movie immerses us in the action (“in thundering color”) around a couple of South Florida racetracks and the deadly relationship between a gangster, a junk man, and a group of young adults who live to race, love, and kill. “Cat Eye” Meares (Alan Mixon) is the wild-eyed bad boy who’s tearing up the local tracks, but his recklessness is suspected of causing accidents and even two deaths. Racing officials are worried that “senseless track accidents are increasing alarmingly,” so they bring in Cat Eye and make him say his full name (Ronald Elwood Meares) but administer no additional punishment.

We soon learn of Cat Eye’s connection with “Uncle Nero,” aka Nero Solitarius (John Russell), a local gangster who is betting on the races and wants to expand his criminal activities around the track. We also meet new driver Steve Miller, really Steve Cullen (Randy Kirby), the brother of slain racer Buzzy Cullen, one of Cat Eye’s victims. Steve’s going undercover because Buzzy hinted about speedway shenanigans to him before his fiery death. Cat Eye introduces himself to “the new guy who wants to be a smart guy” by slapping him around, putting his cigarette out on his neck, and nearly drowning him.

Steve recovers quickly – motivated equally by avenging his brother’s death and courting the dreamy Ann Tracey (Nancy Donohue) – and gets back on the track and the case to uncover corruption. Steve breaks briefly to heal and take in the groovy sounds of Mercy, who perform their real life hit “Love (Can Make You Happy)” under the moniker the LSD Lunch Bunch at a place called the Have a Joint Café. Cat Eye, meanwhile, is up to no good at a local junkyard run by Sammy (Lon Chaney Jr.), who has trained his dog to bring him beers.

Cat Eye is causing trouble for Uncle Nero, who gives him a taste of his own medicine by nearly drowning Cat Eye in his swimming pool and then drying off calmly with a towel from one of his honeys and thanking him for the workout. Cat Eye hatches a plan while stewing in the previously mentioned Throne Room as a lady with fake eyes painted on her real eyelids looks on. Hoping to get back to winning on the track and wanting to show Uncle Nero that he’s more than a rotten kid, as well as looking to soothe his Ann ache, Cat Eye tricks Steve into attempting to steal a car for Uncle Nero, but it’s really a set up.

Steve slips the heat, but a junkyard showdown ensues that lands him in the hospital and leaves Sammy dead despite just moments earlier pledging to turn his life around thanks to a passionate speech from Steve. Cat Eye finds himself on the run from the cops, and after a ridiculously lengthy fistfight with a local convenience store owner, a bloody Cat Eye returns to where it all started for the young lad – the racetrack – and I bet you can guess what the last word of the movie is.

Since its release, there has been confusion about who directed Fireball Jungle (Americana Productions). In the main titles, Joseph P. Mawra is credited as director and José Prieto is listed as an assistant director, but Prieto was soon after given credit by producers as director. There was speculation over the years that Prieto and Mawra were perhaps the same person. In a 2016 interview with the Rialto Report, Mawra, who seemed to have disappeared in the 1970s, explained that producers of the movie took his name off Fireball Jungle and added Prieto and also made unwanted changes to the movie by inserting stock footage and newsreel of stock car races. Mawra gives them “credit” also for the singing poodle. Most famous for the Olga movies set in New York City, Mawra also directed Shanty Tramp and Savages From Hell during the same period in Florida. He depicts the gritty action and violence in Fireball Jungle with fun and sleaze.

With a Carl Perkins meets Eddie Haskell take on Cat Eye, Mixon is a blast. He struts around, smirks, refers to himself in the third person, pours motor oil on a would-be wooer, and threatens violence by promising to “think of something fancy.” Mixon, who died in 1997, went on to appear in a handful of television roles and turned up as Paulina Porizkova’s father in Her Alibi. Kirby, who came to Fireball Jungle after having a recurring role on The Girl From U.N.C.L.E., is quite good as the clean-cut Steve, less so while being slapped around and more so during his tender scene with Chaney. Chaney handles pitiful well as Sammy, a man who looks to his dog to affirm facts during his conversations with people. The other big name, John “Lawman” Russell, seems to have fun in his role as Nero, who “gets rich by being smart” and says, “It’s still my time, punk, and don’t you forget it.”

A 1993 article in Ecco describes the work of make-up artist Doug Hobart on Fireball Jungle and the friendship that bloomed between Hobart and Chaney. It was Hobart who came up with the idea of painting a nude woman’s body and face with checkerboard paint during the Throne Room scene, and he also devised the simulation of the memorable scene where Chaney’s character is burned to death in his junkyard shack. Hobart also worked on The Gila Man, The Hooked Generation, The Weird World of LSD and other noted exploitation movies of lore.

Mercy went to No. 2 on the Billboard Top 40 in 1969 with “Love (Can Make You Happy).” Their appearance in Fireball Jungle had no effect on success for either them or the movie. In addition to “Love,” Mercy’s instrumental B-side “Fire Ball” is heard during a memorable beach party scene where the loser of a fight between two girls is tied to a motorcycle and dragged behind it. R&B singer Tiny Kennedy sings the title track and performs in the movie. Both Mercy and Tiny Kennedy would go on to appear in Fireball producer George Morgan’s 1978 movie The Amazing Mr. No Legs with Richard Jaeckel and John Agar.

Interestingly, in the Billboard Book of One-Hit Wonders, in the entry about Mercy’s big hit, Fireball Jungle is mentioned, but the book says incorrectly that the movie was never released, which was repeated in other publications. Its non-existence would likely come as a surprise to any still living attendees of the Judy Drive-In in Walton, Kentucky on July 4, 1971, where Fireball Jungle was part of a quadruple-feature “from dusk to wee hours” with I Walk The Line (with Gregory Peck and Tuesday Weld), Take a Girl Like You, and The Vampire Lovers.

From Quixotronic Past: ... All the Marbles

Over the summer, I'm hoping to move some of the stories I wrote at the now defunct Quixotronic. The blog, which featured the various talents of my movie club, The Brew City Psychotronic Society, went strong for a couple of years before kicking the bucket in 2022. Here's my one of my favorites, a look at Robert Aldrich's underseen ... All The Marbles. More old stories, and hopefully some new ones, to come!

Sadly, 1981’s … All the Marbles was the last movie director Robert Aldrich lived to make. The renegade filmmaker – the man behind movies as diverse and bold as Kiss Me Deadly, Whatever Happened to Baby Jane, The Dirty Dozen, and The Longest Yard – died at his home in 1983 at age 65.

The failure of the movie, which depicts the journey to redemption for two women’s wrestling tag team partners (The California Dolls - Vicki Frederick and Laurene Landon) and their cheap and grumpy but ultimately good-hearted manager (Peter Falk), “sealed Aldrich’s fate in Hollywood,” according to The Films and Career of Robert Aldrich by Edwin T. Arnold and Eugene L. Miller.

Aldrich worked on several projects in the final years of his life as he battled serious health issues, but … All the Marbles would mark the end of an incredibly productive but often turbulent career that began in 1941 as a production clerk for RKO.

“Aldrich agonized over its failures for months, reviewing it, rethinking it,” Arnold and Miller write. “It had been, to him, a heartfelt and ultimately positive film. If he tempered its warmth with a dose of irony and cynicism, it was still a testament to his sense of humanity, although one buffeted by the realties and cruelties of a hard world.”

This look at … All the Marbles marks the debut of The Society Pages, a section of the website dedicated to the movies, actors, directors, and others behind the flicks that the cheap and grumpy but ultimately good-hearted members of the cult movie group known as the Brew City Psychotronic Society have watched together; that number currently stands at 238.

Here are a few tidbits about … All the Marbles:

Why not start with something I have already mentioned: The Films and Career of Robert Aldrich, a 1986 book that offers fascinating insight into … All the Marbles and the rest of Aldrich’s often incredible output. The title of the chapter in which they discuss … All the Marbles plays on the name of one of his most famous movies, but it also gives you an idea of how Aldrich’s career was going at the time: “What Ever Happened to Robert Aldrich?” As he headed into the movie, “he knew he had lost much of the bargaining power which had enabled him to make so many of his best works.” With … All the Marbles, Aldrich initially aimed at a more commercially focused movie with straight comedic appeal. “It's purely, totally commercial,” he told a Boston Globe reporter who came to the set during filming. “It fits in with my philosophy, which is that the process is at best a craft, not art.” But Arnold and Miller describe how the movie became less comic as filming progressed. Location shooting in Akron and Youngstown, Ohio, provoked a sense of the devastation that the then current recession had inflicted on Middle America. This sense of downbeat realism is very much evident, but the movie is still quite funny, both in the interplay of Falk and Frederick and Landon as they drive from gig to gig, as well as the depiction of the politics of wrestling. “In its own sneaky way, … All the Marbles becomes a parody of the other come-from-behind, spiritually-invigorating films which feed our national mythos,” they write. “Once again, Aldrich undermines the very genre he seems to employ at least to a degree.”

Another book about Aldrich, Body and Soul: The Cinematic Vision of Robert Aldrich, by Tony Williams, compares … All the Marbles to “old Warner Bros. musicals about putting on a show and beating the depression, with Iris (Frederick) and Molly (Landon) as working showgirls and Harry Sears (Falk) as a cynical, streetwise Aldrich version of those early producers played by Warner Baxter in 42nd Street (1933) and James Cagney in Gold Diggers of 1933 (1933). For those of a more exploitation mindset, 1972’s great Unholy Rollers about the wild world of roller derby, starring the one-and-only Claudia Jennings, also might make a damn good double feature with … All the Marbles.

This interview from a Canadian sports website with Landon from 2006 is full of great information about … All the Marbles and her career. Landon explains how she and Frederick were chosen from an initial casting call that brought in 2,000 women. Before their roles were secured, they had to attend a wrestling school run by Mildred Burke, the legendary female wrestler, and undergo weeks of training. They continued to go to the gym to learn wrestling after the Screen Actors’ Guild went on strike during their training. Landon even broke her foot during the training, but she kept going. It all paid off obviously; they not only got the roles, but their work in the ring was consistently praised in reviews of the movie. In the interview, Landon also talks about some of the ups and downs she and Frederick had with Aldrich (e.g., naked mud wrestling), turning down a role on GLOW out of fear of being typecast, and body slamming Dudley Moore on the Tonight Show while promoting the movie.

The late New York Times writer Judy Klemesrud (who also apparently wrote the first Trump profile) asked Aldrich in 1981 why he picked such “slim and gorgeous” women for the roles of Iris and Molly, considering most female wrestlers were “squat, muscular and unattractive.” “I think the public likes to see attractive people. I know I like to see attractive people,” he said. “So if you’re going to have two women wrestlers, why not have them attractive?” The attractiveness of Frederick and Landon seemed to be too much for Gene Seiskel, who trashed the movie as “mindless fluff” during Sneak Previews. He believed it was wholly unbelievable that two women as beautiful as the California Dollls would have any trouble being wrestling stars immediately. Seiskel seemed to be offended that a movie about what the Christian Science Monitor called the “sordid milieu of female professional wrestling” was even made.

More on women’s wrestling and on the aforementioned Mildred Burke can be found in her autobiography by Jeff Lenn, The Queen of the Ring: Sex, Muscles, Diamonds and the Making of an American Legend.” Lenn discusses Burke’s experience working on … All the Marbles: “It was the most serious and expensive film treatment ever given to women’s wrestling and Burke worked on it for months. She trained the actresses in her gym – she worked with the Dolls alone for more than two months – putting them through their paces with her own wrestlers and teaching them the crooked-leg head scissor and other holds.” MGM paid her $3,000 a week for her work during the film, which brought renewed attention to Burke, then 65.

… All the Marbles can be found on Amazon.

Memories: Playlist for 3.15.24

Hey, it's a single-week playlist! This week's opening theme was "memories," inspired by a blazing new release from James Baker & the Groundbreakers. Read more about Baker, who has terminal cancer, and the release here and here.

Listen to the March 15 show right here (starts at the 30-minute mark).

Ramma Lamma "Zero Hour theme" on Self

James Baker & the Groundbreakers "Memories" on In the Red

Too Much Joy "New Memories" on People Suck Music

The Silos "Memories" on Watermelon

Dolly Parton "Living On Memories of You" on RLG/Legacy

Glambilly "Memories" on Saustex Media

The Painkillers "Memories" on Off the Hip

Shadowy Men On A Shadowy Planet "Memories of Gay Paree" on Yep Roc Records

Baby Washington "A Handful of Memories" on Soul Story

Wanda Chrome & The Leather Pharoahs "Detroit God" on self released

Plasticland "Fairytale Hysteria" on Ryko/Rhino

Trolley "Ladies and Gentlemen" on Easter Records

Paris, Texas "One Hot Coma" on New Line Records

Tommy James & The Shondells "Gotta Get Back to You" on Roulette

Nick Lowe "Stick It Where the Sun Don't Shine" on Columbia

TV Sound "Do Be Good" on Killing Horse Records

Vacant Lot "Please Please" on Shake

The Whiffs "I Don't Wanna Know" on DIG!

The Hypos "Tell Me Your Name" on Self-Released

Jack Oblivian "Girl on the Beach" on Big Legal Mess Records

Ryan Davis & the Roadhouse Band "Flashes of Orange" on SOPHOMORE LOUNGE

Dion "I Can't Help but Wonder Where I'm Bound" on Norton Records

Mary Timony "Dominoes" on Merge Records

Oblivians "Live the Life" on Crypt Records

Etta James "Strange Things Happening" on Ace Records

Subsonics "Her Name Was Eve" on Slovenly Recordings

The Jon Spencer Blues Explosion "Jailhouse Blues" on In The Red

The Mal Thursday Quintet "A Smell of Honey, A Swallow of Brine!" on Chunk Archives Recordings

Terry Corin & Her Boy Friends "Sick Sick Sick" on Stag-A-Lee

The A-Bones "Don't Talk About Him" on Norton Records

Terry Anderson and the Olympic Ass-Kickin Team "My Bandana" on Doublenaught Records

The Minus 5 "Smoke On, Jerry" on Yep Roc Records

The Raspberries "Let's Pretend" on Capitol

Dave Edmunds "Deborah" on Swan Song

Chatham County Line "Out of the Running" on Yep Roc Records

Dan Montgomery "Rock Hard" on Fantastic Yes Records

Bobby Patterson "Your Love Belongs Under a Rock" on Omnivore Recordings

Icky Renrut "Ho...Ho" on Jerome

Jerry Lee Lewis "Sticks and Stones" on Pickwick

Tyler Keith & the Apostles "Edge of the City" on Black and Wyatt Records

The Mighty Hannibal "I'm Coming Home" on Norton Records

Bobby Womack "Take Me" on History of Soul

Daylight Dump: Playlists for 3.8, 2.23, 2.16, 2.9, 2,2 & 1.26

Continuing my tradition of posting big playlist dumps on holidays, here's one for the most beloved holiday of all, right? Some outstanding new music releases over the past weeks, including Terry Anderson & the Olympic Ass Kicking Team, Gino & the Goons, Mary Timony, TV Sound, Mal Thursday, Pearl Harbour, the Sleeveens and more. Sadly, I also did some tributes in recent weeks to the legendary likes of Dexter Romweber, Mary Weiss, and Mojo Nixon. Missing them all! 

March 8

Ramma Lamma "Zero Hour theme" on Self
Guided By Voices "The Best Foot Forwards" on GBV Inc
The Box Tops "Sweet Cream Ladies, Forward March" on Arista
Yo La Tengo "Paddle Forward" on Matador
Icewater "Looking Forward" on Omnivore Recordings
Tommy Ray "One Step Forward" on Beluga Records
Theatre Royal "All Fall Forward" on Medlar Records
Pearl Harbour "Everybody's Boring But My Baby" on Liberation Hall
Mary Timony "The Guest" on Merge Records
Alex Chilton "Can't Seem to Make You Mine" on Numero Group
Luna "Season of the Witch" on Rhino Atlantic
The Jack Rubies "Heaven Shook Me" on Big Stir Records
The Spartan Dreggs "Our Strange Power of Speech" on Damaged Goods
The Devil Dogs "Babysitter" on Sympathy for the Record Industry
Gino and the Goons "Baby Doll" on Big Neck Records
Hamell On Trial "Tucker Carlson (feat. Ruth Theodore)" on Saustex Records & Entertainment, LLC
The Sleeveens "Tales From the Megaplex" on Dirtnap Records

Sin Bad "Marry Me" on SINcerely BADass Records DK
Primitive Broadcast Service "City of Clocks" on Primitive Broadcast Service
High Gallows "Play the Fool" on OnEleven Recordings
Thriftones "Anywhere, USA" on Fox Cry Records
Four Rouges "The Ralphie" on Cheep! Cheep!
Flamingo Tours "Dance to the Devil" on Soundflat
The Pretty Things "Stone Hearted Mama (Mono Version) [Live at the BBC - Radio One Session / Peel Sessions - Top Gear, 15/05/1971] [Remastered]" on Repertoire Records
Pat Todd & The Rankoutsiders "Dirty Thoughts & Busted Hearts" on Rankoutsider Records
Terry Anderson and the Olympic Ass-Kickin Team "Got To Be Strong (feat. Don Dixon)" on Doublenaught
Los Lobos "Wake Up Dolores" on Rhino/Warner Records
The Fried Brothers "I Lost Her" on Gear Fab
James and the Ultrasounds "I Get the Shakes" on Misspent Records
The Valients "Za Boo" on Sundazed Music / Modern Harmonic
The Woggles "Baby, I'll Trust You When You're Dead" on Wicked Cool Records
Rockin' Ronald & The Rebels "Cuttin' Out" on Ace
Barrence Whitfield & The Savages "Play Pen" on Folc Records

Superchunk "Brand New Love" on Merge Records

Drop Nineteens "The Price Was High" on Wharf Cat Records
Ryan Davis & the Roadhouse Band "Learn 2 Re-Luv" on SOPHOMORE LOUNGE
Palace Music "New Partner" on Drag City Records
Kay Adams "Roll Out the Red Carpet" on Sundazed Music Inc.
Lloyd Cole "I Can Hear Everything" on earMUSIC
The Monkees "She Hangs Out (Single Version)" on Grapefruit
Wendy Rene "Break Out (AKA Bust Out)" on Craft Recordings
Luna "Slash Your Tires" on Elektra Records
Vessel "Beginning of the End" on Cheep! Cheep!
The Electric Mess "Nice Guys Finish Last" on The Electric Mess
The Blasters "Marie Marie" on Liberation Hall
Deano & Jo "Come On Down" on Plenty Tuff
NRBQ "I Found a Love" on Sundazed
Joecephus & The George Jonestown Massacre "Ramblin Rose (Cherie Currie, Mike Watt, J Mascis)" on Saustex
King Salami and the Cumberland Three "Shake It Wild" on Soundflat Records

Feb. 23

Ramma Lamma "Zero Hour theme" on Self

Flat Duo Jets "Goin' to a Town" on Norton Records Inc.

Dex Romweber "Going Down" on Propeller Sound Recordings

Dexter Romweber "Room for Rent" on Permanent

Dexter Romweber "Feel Like Going Home" on Manifesto Records

Dwight Twilley Band "Looking for the Magic" on Arista

Marshall Crenshaw "You're My Favorite Waste of Time" on Arista

The Shangri-Las "Dressed In Black" on Red Bird

The Kynd "Mr. America" on Gear Fab

The Electric Mess "Better to Be Lucky Than Good" on Soundflat Records

The Sellwoods "Drunken Noodle (In Your Pants)" on Chaputa

Jane Woe "This is a Raid" on Saustex Records & Entertainment, LLC

Thee Midniters "The Town I Live In" on Rhino

Mick Collins & Danny Kroha "Winter Blues and Greens" on Norton Records Inc.

Prix "Every Time I Close My Eyes" on Numero

Gary Stewart "Your Place or Mine" on RCA

Paul Revere & The Raiders "Tighter" on Columbia

Senator Bobby "Wild Thing" on Parkway

Jinksie "Slide" on 5744605 Records DK

VIDEO SEX PRIEST "Salt" on White Falcon Records

Cozy Danger "Where Are All My Dogs At" on Cozy Danger

Sin Bad "One Can Dream" on SINcerely BADass Records DK

New York Dolls "Lonely Planet Boy" on Mercury Records

Iggy & The Stooges "Raw Power [2023 Remaster]" on Columbia/Legacy

Patti Smith "Free Money" on Arista/Legacy

The Ramones "Teenage Lobotomy" on Sire

Television "Carried Away" on Rhino/Elektra

The Replacements "Left of the Dial" on Sire

Dead Kennedys "Chemical Warfare" on Cherry Red Records

Social Distortion "Indulgence" on The Bicycle Music Company

Black Flag "My War" on SST Records

Hüsker Dü "First of the Last Calls" on SST Records

Bad Brains "Rally Around Jah Throne" on Astralwerks

Minutemen "Cohesion" on SST Records

Descendents "Hope" on SST Records

The Young Rascals "Come on Up" on Atlantic

The Liberty Bell "That's How It Will Be" on Grapefruit

The Ventures "Paper Airplane" on Dolton

The Zantees "Money to Burn" on Midnight Records

Rhythm Pigs "Choke on This" on Mordam

Walter Daniels Meets Jack Oblivian "7th Son" on Black & Wyatt

James Brown "I Got Ants in My Pants, Pt. 1" on Polydor

Death of Samantha "Werewolves of London" on Homestead Records

The Cramps "Beautiful Gardens (Live)" on Vengeance Records

Joe Boots and the Fabulous Winds "Rock N' Roll Radio" on Norton

Gino and the Goons "Baby Blue Pants" on Chumpfire

Link Wray "Cross Ties" on Ace

Link Wray "Jack the Ripper" on Ace

Butthole Surfers "No, I'm Iron Man" on Rough Trade

Larry & the Loafers "Let's Go to the Beach" on Satan

Crazy Teens "Crazy Date" on Norton

Stan Ridgway "Calling Out to Carol" on Geffen Records

Feb. 16

Ramma Lamma "Zero Hour theme" on Self

Link Wray "I'm Branded" on Ace

Thee Headcoats "I'm Hurting" on Damaged Goods

The Cramps "I'm Cramped" on Embassador Records

The Muffs "I'm Confused" on Reprise

The Okmoniks "I'm Done" on Slovenly Recordings

Toni Basil "I'm 28" on Rhino

The Hollies "I'm Alive" on Imperial

Ramones "I'm Affected (Demo)" on Rhino/Warner Records

The Trashwomen "I'm Trash" on Lazy Lizard

Carbonas "I'm Empty" on Goner

The Mistreaters "I'm Hurting" on Big Neck Records

Violent Femmes "I'm Free" on Slash

Boris the Sprinkler "I'm Green" on Go Kart

The Moseleys "I'm Yours" on s/r

Dave "Baby" Cortez "I'm Happy" on Clock

Otis Clay "I'm Qualified" on Hi

Lorette Velvette "I'm Down" on Veracity

Joe South "I'm Snowed" on Norton

The Othermen "I'm Drunk" on Killer Diller Records

Bo Diddley "I'm Bad" on Reel to Reel

catl "I'm On" on Catl. Records

The Romantics "I'm Hip" on Nemperor

Webb Pierce "I'm Tired" on Decca

Flat Duo Jets "I'm Sorry" on Sky Records

The Animals "I'm Mad" on MGM

The Magic Mushroom "I'm Gone" on Satan

The 5.6.7.8's "I'm Blue" on Sweet Nothing Records

Barrence Whitfield & The Savages "I'm Young" on Folc Records

The Mono Men "I'm Hangin'" on Dangerhouse Skylab

The Bluebells "I'm Falling" on London Music Stream

The William Loveday Intention "I'm Unkind" on Damaged Goods Records

The Go-Betweens "I'm Alright" on Beggars Banquet

Dirty Fences "I'm Here" on Dirty Fences

Robyn Hitchcock "I'm Falling" on Yep Roc Records

The Wailers "I'm Down" on Norton

The Spaceshits "I'm Dead" on Sympathy for the Record Industry

Jimmy Reed "I'm Nervous" on Vee Jay Records / Charly Records

Bad Livers "I'm Convicted" on Sugar Hill Records

Dave Dudley "I'm Hooked" on Mercury

Roy Orbison "I'm Hurtin'" on Legacy Recordings

The Twilight Singers "I'm Ready" on One Little Independent

Ironing Board Sam "I'm Gone" on Big Legal Mess Records

Hasil Adkins "I'm Alone" on Norton Records

Dean Carter "I'm Leavin'" on Ace Records

Link Cromwell & The Zoo "I'm Crying" on Norton Records

Feb. 9

Ramma Lamma "Zero Hour theme" on Self

The Grovelers "Sicko" on The Grovelers

Oblivians "I'm Not a Sicko (There's a Plate in My Head)" on Crypt Records

Bash & Pop "Making Me Sick" on Chaos

Buzzcocks "Sick City Sometimes" on Cherry Red Records

Freakwater "Sick, Sick, Sick" on Thrill Jockey

The Dustaphonics "Eat My Dustaphonics" on Dirty Water Records

The Mal Thursday Quintet "Kitten with a Whip" on Chunk Archives Recordings

Mark Four "I'm Leaving" on Deram

Otis Redding "Bring It On Home" on Rhino

The Orient Express "Dance For Me" on Sundazed

The Hypos "Pictures" on Self-Released

Booker T. & The M.G.'s "Mrs. Robinson" on Real Gone

Pat Todd & The Rankoutsiders "All We Have To Show" on Dog Meat Records

Jack Oblivian "Rat City" on Big Legal Mess Records

Rufus Thomas "6-3-8 (That's the Number to Play)" on Stax

Sex Scenes "I'm Not Your T.V." on Self-Released

World in Action "The System Kills" on Self-Released

VIDEO SEX PRIEST "Salt" on White Falcon Records

Fox Face "We Do Nothing" on Dirtnap Records

Trailer Bride "Sorry Times" on Walt Records

Joecephus & The George Jonestown Massacre "Ramblin Rose (Cherie Currie, Mike Watt, J Mascis)" on Saustex

Pierced Arrows "Zip My Lip" on Vice

The Paybacks "Dumb Love" on Savage Jams Records

The Tripwires "(Something In A) Friday Night" on Spark and Shine

Superchunk "Winter Games" on Merge Records

The Eastern Dark "Julie Loves Johnny" on Half A Cow Records

Hoodoo Gurus "Hung Out To Dry" on Universal Music Australia (Distribution)

Perfect "Makes Me Happy" on Ryko/Rhino

Visqueen "Hand Me Down" on Local 638 Records

Tommy Keene "Already Made Up Your Mind" on Second Motion

Scott the Hoople "Sad Box" on Self-released

Mojo Nixon & Skid Roper "Don't Want No Foo-Foo Haircut on My Head" on Enigma

Mojo Nixon and The World Famous Blue Jays "Chug-A-Lug" on Diesel Only

Jello Biafra with Mojo Nixon & the Toadliquors "Hamlet Chicken Plant Disaster" on Alternative Tentacles

Mojo Nixon & Skid Roper "Promised Land Tonight" on RBI / Enigma

The Pleasure Barons "The Definitive Tom Jones Medley (Live)" on Shout!

TV Sound "So It Goes" on Killing Horse Records

J Mascis "Right Behind You" on Sub Pop Records

Dollar Store "Believe" on Bloodshot

Jane Woe "Hi Ho Silver" on Saustex Records & Entertainment, LLC

Silver Jews "Smith & Jones Forever" on Drag City Records

The Go-Betweens "This Night's for You" on Yep Roc

The Galileo 7 "Can't Go Home" on Damaged Goods Records

Baby Shakes "Come Back Home" on Lil' Chewy Records

Feb. 2

Ramma Lamma "Zero Hour theme" on Self

Jackie De Shannon "Dream Boy" on Ace

The Bachelor Pad "Girl of Your Dreams" on Cherry Red Records

The 5.6.7.8's "Dream Boy" on Sweet Nothing Records

Oscar Mack "Dream Girl" on Rhino Atlantic

Nick Curran and the Lowlifes "Dream Girl" on Eclecto Groove Records

Freakwater "Dream Girl" on Thrill Jockey

James Brown "Mother Popcorn" on Polydor

Alex Chilton "Take Me Home & Make Me Like It" on Numero Group

Nomads "I'm Five Years Ahead of My Time" on RPM

The Sonics "Save the Planet" on Re:Vox

Midnight Woolf "Can't Slow Down" on Off the Hip

Little Willie John "Drive Me Home" on Gusto

Guitar Wolf "Racing Rock" on Matador

Dukes Of Hamburg "Off The Hook" on Gearhead Records

The Saxons "She's All Wrong" on Gear Fab

Jerry Lee Lewis "Don't Let Go" on Pickwick

Sugar Stems "What's a Girl to Do?"

The Hatchets "Bad Way" on 1174521 Records DK2

Sin Bad "B-Side" on SINcerely BADass Records DK

The Grovelers "Heartbreak Love Machine" on The Grovelers

Dwight Twilley "Wild Dogs" on The Right Stuff

The Figgs "I Won't Go to Miami" on Gern Blandsten Records

The Feelies "I'm Waiting For the Man" on Bar/None Records

The Velvet Underground "Some Kinda Love" on Island Mercury

Holly Golightly "Frozen In Time" on Damaged Goods

Bob Luman "Big Big World" on Epic

The Golden Boys "Let the Cold Wind Blow" on 12XU

Sportsguitar "So Healthy" on Matador

Game Theory "Erica's Word" on Omnivore Recordings

The Plimsouls "Magic Touch" on Geffen Records

CTMF "Walking on the Water" on Damaged Goods Records

High Heels "Midnight to 12:06 Man" on Chumpire

The Monsters "The Witch" on Voodoo Rhythm

The Dirtbombs "I Hear the Sirens" on In The Red

Tyler Keith And The Preacher's Kids "Straw Boss" on Black Dog Records

Tyler Keith "Scarlet Street" on Tyler Keith

Liz Anderson "Lay Some Happiness On Me" on RCA Victor

Superchunk "February Punk" on Merge Records

The Stoneage Hearts "Motor Away" on Off The Hip

Sloan "The Answer Was You" on Yep Roc Records

Terry Anderson and the Olympic Ass Kickin Team "Boyfriend 2" on self-released

The Real Kids "Too Many Fish in the Sea (Live, June 1978)" on Crypt Records

Reigning Sound "Stick Up for Me" on In the Red Records

Zorton and the Cannibals "(You Must Fight to Live) on the Planet of the Apes" on Badgerow Records

Elmore James "One More Drink" on Kent

The Spinns "Long John" on Demonbeach

Jacques Dutronc "Mini, mini, mini" on Vogue

Sir Douglas Quintet "Heya, Heya" on Liberation Hall

Jan. 26

Ramma Lamma "Zero Hour theme"

Preacher's Kids "The Honeymoon's Over" on Get Hip

Homer Banks "Before The Honeymoon" on Craft Recordings

Chatham County Line "Honeymoon" on Yep Roc Records

The Monochrome Set "Ten Don'ts For Honeymooners" on Cherry Red Records

Hasil Adkins "Chocolate Milk Honeymoon" on Norton Records

The Real Kids "That Girl Ain't Right" on Ace of Hearts Records

George Jones "Why Baby Why" on Epic

Gino and the Goons "Drunk + Lonesome" on Chumpire

The Watzloves "I Have A Dream" on Voodoo Rhythm

Kids on a Crime Spree "We're So Good" on Slumberland Records

Radioactivity "What You Want" on Dirtnap Records

Missing Monuments "Covered In Ice" on Slovenly Recordings

The Hypos "Tore My Whole World Down" on Self-Released

The Swingin' Machine "Do You Have to Ask?" on Arcania International

Jay Nelson "Don't You Want A Man Like Me" on Rhino

Barrence Whitfield & The Savages "I'm Ready I'm Ready!" on Folc Records

Paul Cebar "LIVE IN THE STUDIO"

Steve Wynn "The Ambassador of Soul" on Real Gone Music

Palace Music "Viva Ultra" on Drag City

The Paranoid Style "Love & Demotion" on Bar/None Records

The Lloyds "Nothing in Return (When the Party’s over)" on Liberation Hall

Alejandro Escovedo "Don't Need You" on Bloodshot Records

VIDEO SEX PRIEST "Salt" on White Falcon Records

Madness "The Law According to Dr. Kippah" on BMG Rights Management (UK) Limited

The Feelies "Head Held High" on Bar/None Records

The Moaners "Foxy Brown" on Yep Roc Records

The Shangri-Las "Right Now, and Not Later" on Charly

Mary Weiss "Stop and Think It Over" on Norton Records

New York Dolls "Give Her a Great Big Kiss" on Norton Records

Mary Weiss "My Heart Is Beating" on Norton Records

Superchunk "Train from Kansas City" on Merge Records

Lavish Waste "Strain from Kansas City" on Lavish Waste

The Shangri-Las "Out In the Streets" on Charly

The Shangri-Las "Heaven Only Knows" on Charly

The Downbeat 5 "Dum Ditty Ditty" on Hi-N-Dry Records

Mary Weiss "Nobody Knows (But I Do)" on Norton Records

The Shangri-Las "You Cheated You Lied" on Charly

Tav Falco & Panther Burns "Only the Lonely" on Triple X Records

Ryan Davis & the Roadhouse Band "Free From the Guillotine" on SOPHOMORE LOUNGE

Luna "Moon Palace" on Elektra Records

Barbara Dennis "Here's My Shoulder" on Teensvile

The Outta Sites "I Dream of Jeannie" on The Outta Sites

Baby, Yer the Best 2023 (even late): Playlists for 1/5 and 1/12

Before it was time for another show, I figured I should post my last two playlists, including my Jan. 5 show that highlighted many of my favorite songs and albums (didn't get to all) from 2023. To recap, here's my Top 10 albums, previously posted at WMSE: 

1. VARIOUS ARTISTS – WRITTEN IN THEIR SOUL: THE STAX SONGWRITER DEMOS (STAX/CRAFT RECORDINGS)
2. TYLER KEITH AND THE APOSTLES – HELL TO PAY (BLACK & WYATT)
3. THEE HEADCOATS – IRREGULARIS (THE GREAT HIATUS) (DAMAGED GOODS)
4. PAT TODD AND THE RANK OUTSIDERS – SONS OF THE CITY DITCH (DOG MEAT)
5. YO LA TENGO – THIS STUPID WORLD (MATADOR)
6. JINKSIE – S/T (SELF-RELEASED)
7. MOVIE MOVIE – STORYBOARDS (TOPSY TURVY)
8. THE BASEBALL PROJECT – GRAND SALAMI TIME! (OMNIVORE)
9. DEX ROMWEBER – GOOD THING GOIN’ (PROPELLER SOUND RECORDINGS)
10. DAN MONTGOMERY – CAST-IRON SONGS & TORCH BALLADS (FANTASTIC YES)

I waited partly because it took a bit for the full audio archive to show up, but it was also because I'm always damn slow to post the playlists! 

Typically, I post the newest playlist first, but I'll start with the Jan. 5 show. I did play a few new songs on the Jan. 12 show, including one from the new Greg Cartwright project, the Hypos and the latest single from Xposed 4heads.

Jan. 5

Ramma Lamma "Zero Hour theme" on Self

Thee Headcoats "The Kids are All Square" on Damaged Goods Records

T. Tex Edwards with Homer Henderson "Strcyhnine Wine" on Self-released

Drop Nineteens "Tarantula" on Wharf Cat Records

R. Ring "Still Life" on Don Giovanni Records

Dan Montgomery "Sort It All Out" on Fantastic Yes Records

Graham Day and The Gaolers "Mystery Man" on Damaged Goods Records

Movie Movie "The Girl With the Wandering Eye" on Topsy-Turvy

Ivan Julian "Can't Help Myself" on Pravda Records

Jane Woe "Train Song" on Saustex Records & Entertainment, LLC

Quasi "Queen of Ears" on Sub Pop 

Madness "Lockdown and Frack Off" on BMG Rights Management (UK) Limited

CTMF "Beneath the Flowers Serpents" on Damaged Goods Records

Mudhoney "Human Stock Capital" on Sub Pop Records

Gee Tee "Goodnight Neanderthal" on Goner Records

Subsonics "It's a Long Way Suzy To New York City" on Slovenly Recordings

Powersolo "If I Could Fly (feat. The Courettes)" on Crunchy Frog

Jinksie "Slide" on 5744605 Records DK

Sex Scenes "I'm Not Your T.V." on Self-Released

Combustor "Supercool" on Splunge Communications, Inc

Xposed 4heads "Flash Cube" on Internal Combustion

Terry Alan Hackbarth "I Heard That Song Before" on Self-released

The Shivvers "My Love Calling" on The Shivvers

The Shivvers "Reckless" on Self-Released

Terry Anderson and the Olympic Ass Kickin Team "Chainsaw Repair Shop" on Doublenaught Records

Superchunk "Learned to Surf (Acoustic Demo)" on Merge Records

Dex Romweber "Good Thing Going" on Propeller Sound Recordings

Ryan Davis & the Roadhouse Band "Learn 2 Re-Luv" on SOPHOMORE LOUNGE

Daddy Long Legs "Star" on Yep Roc Records

Pat Todd & The Rankoutsiders "Livin' In a World of Hurt" on Dog Meat Records

Stephen's Pharmacy "Save it for the Night" on Crepe Murder

Juniper "Bang!" on Confidential Recordings / Fabcom!

Hammel on Trial "Pray" on Saustex

Sweeping Promises "You Shatter" on Feel It Records

Lloyd Cole "Warm by the Fire" on earMUSIC

Sparklehorse "It Will Never Stop" on Anti/Epitaph

Instant Smile "Thorazine Bender" on Slow n Sober Music

Rocket 808 "Long Stretch of Desert" on 12XU

The Timekeepers "Nasty" on Ace

Tyler Keith & the Apostles "Edge of the City" on Black and Wyatt Records

Augie Meyers and the Western Head Band "Baby Baby (Won't You Come Back Home)" on Bear Family

Iris DeMent "Workin' on a World" on FlariElla Records

The Baseball Project "Grand Salami Time" on Omnivore Recordings

Eddie Floyd "Gotta Make a Comeback" on Craft

Son Volt "Sometimes You've Got to Stop Chasing Rainbows" on Transmit Sound

TV Sound "How Do We Know How to Feel?" on Killing Horse Records

Rufus Thomas "Come On Dance With Me" on Craft Recordings

The Goldstars "My Money" on Mordorlorff Music

The Mullens "Lonely Wolf" on Get Hip Recordings

Willie Singleton "Love Treaty" on Craft Recordings

Jan. 12

Ramma Lamma "Zero Hour theme" on Self

Thee Headcoatees "Boysville" on Damaged Goods

The Nomads "Coolsville" on Crypt

Harvey McLaughlin "Bigfootsville" on Saustex Records & Entertainment, LLC

Dave Dudley "Lonelyville" on Mercury

Freakwater "Loserville" on Thrill Jockey Records

Quasi "Nowheresville" on Sub Pop Records

NRBQ "Flat Foot Flewzy" on Sundazed

Shabam "On the Planet of the Apes" on Cherry Red

The Master Plan "Ooh Baby Ooh" on Rum Bar

The Ventures "The Twist" on Dalton

The Dead Brothers "The Laws of Man aka Ode to a Deserter" on Voodoo Rhythm

American Music Club "Challenger" on Reprise

Bo Diddley "Make Up Your Mind Tonight" on Last Call

Sam The Sham & The Pharaohs "Love Me Like Before" on MGM

Xposed 4heads "Mess Up" on Internal Combustion

The Hullmen "Real Cool Time" on Self Released

Beach Patrol "One More Cigarette" on Duck on Monkey Records

Heathrow "You Don't Have to Go" on Easter Records

Fetchin' Bones "Spot" on Capitol Records

Pat Todd & The Rankoutsiders "Long In the Tooth (Before the Dolls)" on Dog Meat Records

The Dirtbombs "Daddy Rockin' Strong" on The Wind Records

Barrence Whitfield & The Savages "Bad Situation" on Folc Records

Art Guy "Where You Gonna Go?" on Ace

The Hypos "My Kind of My Party" on Self-Released

Champion Jack Dupree "New Low Down Dog" on JSP Records

Lee Fields "The Door" on Daptone Records

The Fox Sisters "We're Going Swimming, Baby!" on FOLC Records

They Might Be Giants "Nothing's Gonna Change My Clothes" on East Side Digital

Morgan and the Organ Donors "Mood Swingin'" on Perennial / K Records

Guided By Voices "Love Set" on GBV Inc

Kelly Hogan "Plant White Roses" on Anti/Epitaph

Los Lobos "Emily" on Rhino/Warner Records

Jane Woe "Dream" on Saustex Records & Entertainment, LLC

Drop Nineteens "A Hitch" on Wharf Cat Records

Oakley Hall "Nite Lights, Dark Days" on Jagjaguwar

The Records "All Messed Up and Ready to Go" on Virgin

The Fleshtones "Tear for Tear" on Yep Roc Records

Mitch Ryder & The Detroit Wheels "Shakedown" on New Voice

The Brothers Johnson "I'll Be Good to You" on A&M

Dave "Baby" Cortez "Soul Rub" on Norton Records Inc.

The Woggles "Karate Monkey" on Wicked Cool Records

The Feelies "Everybody's Got Something to Hide (Except Me and My Monkey)" on A&M

Sloan "Misty's Beside Herself" on Yep Roc Records

Tommy Roe "Paisley Dreams" on Grapefruit

The Bats "Castle Lights" on Kning Disk