There's gotta be a Washington Square in just about every major American city out there. It's a pretty common name. This theme song could be for any of them... Hell, let's just say it's for all of them. I dedicate this one to you, dear reader/listener, wherever you live.
I came across this one (among others) in the 25 cent bins of my local used record shop. When i was paying for everything, the clerk spotted it and said "You found this in there?! The S.D.Q. on Tribe records?! That's a real score, i didn't know we had this... Etc." I said "Yeah, I know, right... Etc."
I'm a fan of the forgotten flip sides of the hits. So this is what we have for your listening pleasure today. The other side of S.D.Q's 'She's about a mover.'
Did you know that the original version of Pipeline was recorded in the late television host, Morton Downey Jr's garage? True Story...
Not a bad sound on this one. For a group of pro session players, 'The Music City Five' actually did a pretty good job nailing the lo-fi, garage rock (literally) sound of the Chantays.
Here's the wild flip side of Crazy Elephant's catchy as all get-out hit 'Gimmie gimmie good lovin.' (If you haven't heard it in a while, Check it out.) Considering the free and easy good time feel of that one, this tune is extremely dark and gloomy in contrast. A real yin and yang record. Who knew?
It sounds a little like it could have been a leftover from the Lord Sutch and Heavy Friends album. (Which, if you dug this song at all, and don't already have, you should seek out immediately. You can thank me later.)
I couldn't have written a better explanation for this record, so i hosed this bit from a website i found called The Horror Hop:
Dickie Goodman, a college dropout, and Bill Buchanan, an aspiring music publisher, using techniques that dated back to the golden age of radio, created a splash with a new kind of record, the "Break-in." Break-ins used pre-recorded songs at various points during the record. Buchanan and Goodman employed major hits of 1955-56 to create "Flying Saucer (Parts 1 and 2)," a reinterpretation of Orson Welles' radio program "The War of the Worlds." This new version of the story of flying saucers invading earth was far more funny than frightening. Audiences agreed, and sales of the record soared to #3 on the Billboard charts.
With limited resources and, perhaps, limited inclination, Buchanan and Goodman did not seek permission for the songs they used. With the success of "Flying Saucer" generating increased sales for all the songs used within, none of the artists chose to sue. A few music publishers did, however, leading the duo to create another break-in--again without permission--"Buchanan and Goodman on Trial."
For several years, Buchanan and Goodman continued making break-in and novelty records, sometimes together, sometimes apart. After parting ways permanently, Dickie Goodman continued making break-in records with varying degrees of success until his suicide in 1989. Bill Buchanan died of cancer in 1996.
Discovering records like this is what makes it all worthwhile. I found it interesting that Part 1 was the instrumental track, and Part 2 was the vocal track. At first i thought the labels might have been accidentally switched during the manufacturing process, but upon closer examination, they actually say instrumental for part one, and vocal for part 2. This is the way they wanted it to be...
I did a little investigative research on the ole interwebs and found a page on The Carolina Soul website, which is where the following text was stolen from, it also explains the side 1 & 2 switch up:
Perhaps the closest thing to an anthem that the people of Greensboro had in the early ‘70s was “The Real Thing,” by the Electric Express. A demo version of “The Real Thing” made its Triad debut on WQMG’s “Make It, Break It,” a call-in show where listeners determined the fate of any given record. “The station lit up that night!” recalled Hudson during a recent interview. The quartet pooled their weekend wages, and headed to local funk foundry Crescent City Sound Studios, enlisting local tastemaker and radio jock Wayman “Slack” Johnson as producer.
Although Hudson had written a set of socially conscious lyrics while serving in Vietnam, label owner Walter Grady thought “The Real Thing” may perform better as an instrumental, banishing Hudson’s political prose to the single’s B-side. “The Real Thing” would soon get picked up for distribution by Atlantic, selling over 800,000 copies. The two songs serve two entirely different purposes, and although history has favored the instrumental version, you can decide for yourself which is the realest.
One thing i personally couldn't help but hearing in the instrumental version is the similarity of the lazy meandering saxophone solo at the end to the sax solo at the end of the 'Stones 'Can't you hear me knocking.' Their Sticky Fingers album had just been released in April of 1971, and this ones from '71 as well. I don't know much, but it seems to me like the sax player was probably digging on his brand new Stones 8-track in the car on his way to the studio that day... Pay attention toward the end, at about the three minute mark he straight-up rips off one of Bobby Keys' licks. It's great.
I put Part 2 first and the instrumental Part 1 second, because i personally like the vocal version more. You, however, have the choice to listen to them in whatever order you prefer. I'd definitely recommend them both...
Some stuff i find is pretty obscure and out there, and some would have been pretty mainstream back in it's day but is largely forgotten today. I may not know much, and i aint no Jazz enthusiast. I tend to just find what i find, and if i like it i share it here. I do know this much however- When you spot a title called "Alligator Boogaloo" in a markdown (25 cents to 10 cent) bin, you grab it. Don't know the artist, but i know the Blue Note label, and even though i'm not crazy about Jazz music, it's called Alligator Boogaloo, people. There was no way i could pass on this one.
I actually really dig this jam. Hope you do too.
As i said in a recent post, i recently picked up a bunch more of these "Hit" Records, and even though i like to think i have a fairly decent knowledge of mediocre pop music of the 1960s, a few of the titles stumped even me. Now i know the reason why. I didn;t know them, because they were actual original compositions... I had no idea. I thought this label only released cover versions, or 'Sound alikes' as they were called.
You really do learn something new every day. Now i'm even more obsessed than i was before with finding more titles on this label.
Here's a J. Norris original, as performed by Ed Hardin. Kind of an odd concept- The tale of a fellow who runs around on his lady, and then he feels upset about doing so... It's the flip side of Ed's take on 'Oh Pretty Woman.' And hey, while it's no Roy Orbison, it's not the worst thing i've ever spent a minute and fifty eight seconds of my life listening to...
"Aside from pornography, stalking ex girlfriends, tv commercials from my youth, and new and interesting ways for me to ignore my family- this blog has to be the best thing on the internets." -E.S.U. III
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