Mostly German Old Used 45s That Metal Mike Saunders Mailed To Me

Bombitas "My Boy"/"My Boy (Instrumental)" (Sanii, 1986). Label based in Madrid; marketing and distribution in Belgium. Beat, very obviously, stolen from "Girls Just Want To Have Fun." Hair on two girls on the cover is piled high and messy in a slutty-disco-dolly-trying-to-look-new-wave way, like Company B on the cover of their debut album, but wasn't that a year later? Still, probably, not an unpopular style at the time. Song written by the great Herman Brood...who was from Holland, right? Song is perfectly serviceable, if not especially distinctive, mid '80s rock-oriented-dance (as oppposed to dance-oriented-rock), a good genre to be generic to. Vocals are, um, tart, don't fade into the background--extroverted, not in an uselessly overblown diva-like way, but still in a way that suggests the singer isn't afraid to make a spectacle of herself. At one point the singer seems to discuss her mother's opinion of her boy's lovemaking technique, but I probably heard that part wrong.

http://adaptivepath.com/images/services/casestudies/blogger/blogger1_500.jpg

Nah.

(Proper Bombitas label probably would've been Sanni/Carrere, actually.)

Boule Noire "Lion Lion De Va Ville"/"Miss Lanny" (Magique, 1977) Dapper soul brother with Afro and bushy mustache and jeans and jean jacket sits on a throne on the cover; I assume he's Mr. Noire, who does a pretty decent foreign-language approximation of '70s (Philly, maybe? But don't quote me on that) soul on the B-side. The A-side is weirder, harder to peg: A mistranslation of early '70s pop-rock trying to get funky, and winding up more light on its feet, halfway to disco, maybe? He doesn't really pull it off, but it's sort of singular, which is a plus. And I'm not even beginning to adequately describe it.

Bouzouki Disco Band "Disco Bouzouki"/"Do Re Mi Fa Soul" (Polydor, 1977) Probably the worst record so far on this thread that I can't pull myself to part with. Just some middling hack instrumental easy-listening ensemble trying ineptly to jump on the disco bandwagon -- on both sides, though on "Disco Bouzouki" they at least manage to paste a by-the-book "disco beat" underneath. No bouzouki I can hear, though. But what can I say? The name of the band and the song titles are too neat to get rid of.

Alberto Camerini "Tanz Bambolina"/"Maccheroni Elettronici" (CBS, 1982) Great great great great great proto-fuzzdance (= post-new wave) (= Telex-like) (= better than Gary Numan--who I like, don't get me wrong--because prettier and funnier and less cold and static) Italodisco robot bubble-pop about automatic clowns and, um, "macaroni baby oh oh oh" and rock and roll from an apparently androgynous android with a nifty geometric haircut. Probably my favorite record on this thread so far, give or take Sheila B's "Spacer," which doesn't really count since everybody already heard of it. (Also, the B-side is a better macaroni song than "Yankee Doodle.")

I only just noticed this thread! I am v. happy.

Claudio Cechetto "Gioca-Jouer"/"Giouca-Jouer (Instrumental) (Hit Mania, year unknown) Another great one, also "made in Italy"--in fact, I'm pretty sure I bought it on the exact same day and at the exact same store as the Camerini 45, though don't ask me the specifics. Anyway, Claudio looks like a sort of hearththrob on the cover, and the sort of dancey backing music behind his voice mixes cute toybox synth diddles with a repeated (seemingly sampled, if that's possible) smooth jazz hook, and on top of it Claudio jubilantly says a few sentences here and there but mostly, even more jubilantly, shouts out to the beat what seem to be dance-step instructions (for little kids, maybe?) that match the sign-language semaphore signals demonstrated with faceless drawings of a guy on the back cover of the 45 sleeve: Dormire! Salutare! Autostop! Starnuto! Camminare! Nuotare! Sciare! Spray! Macho! Clacson! Campana! Okey! Baciare! Capelli! Saluti! Superman! They look like easy steps to learn, too.

Chavaan "Wanene Wanana"/"Mom's Lion" (Atlantic, 1977)Excellent Latin boogaloo (or what sounds like it) (or maybe just a salsa band inching toward disco?) (though maybe I just say that because of the year) pressed in Spain, with call and responses between the warm-sounding male lead singer and a bunch of exuberant gals on the A-side. Then on the B-side, the guy happily keeps telling us it's a mambo then something like "buggalo buggalo buggalo buggalo" over an Eddie-Palmieri-reminiscent piano hook. Actually his vocal chant there sort of reminds me of certain African music I've heard (like, I don't know, Obed Ngobeni, whose 1985 My Wife Bought a Taxi album I stupidly no longer own? Or Rod's immortal 1980 Afro-disco single "Shake It Up [Do the Boogaloo]"?) So it's some kind of boogaloo.

Chilliwack "I Must Have Been Blind"/"Chain Train" (Parrot, year unknown) Are Chilliwack mysterious enough for this thread? They don't seem as unknown as most of the acts whose 45s I'm pulling off myself, seeing as how they actually had a hit once in the United States (the diddybopping semi-acapella soft-rock pop song "My Girl [Gone, Gone, Gone]," which I get the idea might be from after they kinda mellowed out), plus it is common knowledge that they were Canadian. But not being Canadian myself, that is pretty much all I really know about them, even though I also have two albums by them on my shelf (1981's Wanna Be A Star, which has "My Girl" on it, and 1982's "Opus X." Judging from those album covers, they are a trio.) Anyway, on the 45, the A-side is a very likeable country-rockish choogle (by which I mean easily rolling rustic rock not mellow or aimless enough to be Grateful Dead-style hippie music but, um, too unmacho to be redneck Southern rock, or something like that), and the B-side starts off with a Chuck Berry riff then gets a wee bit tougher and proggier. Judging from this music, they were very friendly guys. But not wimps by any means. Which would put them in the same Canadian genre as Bachman-Tuner Overdrive and the Guess Who, probably.

"pulling off my SHELF" (not self), I meant.

And obviously Creedence Clearwater Revival invented and named the choogle genre. (I'm not sure if it's ever been officially declared a "genre" by the Officical Genre-Naming Society, but it should be.)

Jeffrey Dahl "Rock & Roll Critic"/"Janine"/"I Heard" (Doodley Squat, 1977). Wow. Forgot I had this one. Metal Mike definitely did not send it to me, but Dahl was apparently in some early version of the Angry Samaons, not to mention, if I'm remembering right, at times also in Powertrip (first band I ever heard call themselves "speedmetal") and early '80s L.A. noise punks Vox Pop. But this is before then. And "Rock & Roll Critic," recited in a swishy, sarastic voice more glam than punk, is a hoot: "You hate my songs, you say that they're d-d-d-dumb." "Go practice your typing." Opening riff sounds like "Clash City Rockers," kinda, which might mean he got it from "Can't Explain," given the year. Or not. Eventually the proto-punk greaser chug falls out, though, and for quite a while the music just slows down to this repetitive strum rhythm, sort of like the opening of "Walk on the Wild Side." Then it cranks back up. Two songs on the B-side -- the first one more a Peter Laughner gloom-folk-metal kind of ballad thing about a girl, the latter one more proto-Samoans Vommishness. Both good. On the disc label -- I don't know if this was Dahl's publishing company, or what -- it says "NEWAVE MUSIC." Spelled like that. In 1977. I wonder if this 45 is worth money! Though probably less than it could be, since whoever owned it before me scrawled some words like "hiya hiya hiya" and "speedoo" (with the "o"'s made to look like eyes) in black and orange magic marker on the picture sleeve (where Dhal's got his jean jacket open exposing his bare chest, and looks like a true punk in the '60s beat-you-up sense, on the back, and on the front he's driving his car with shades on.)

chuck i should mail you this weird 7 inch i found. it seems like something u would like...it's rockin' rod and the strychnines...i guess pacific NW early 80s suburban garage punks...the A side is "Kill the Milkman" and the b-side is "We Stand United"...the cover on one side is rockin' rod pointing a gun at you...and the other side is them in front of some suburban houses on cheap old kawasaki 150cc motorcycles sneering and dressed in real dorky clothes..one guy flicks off the camera.

in the we stand united they complain about how their parents harsh their mellow.....including the fact that their parents took away their fishing nets, which really pisses them off i guess.

Joey Dee and the Starliters "Hot Pastami And Mashed Potatoes Part I"/"Hot Pastrami And Mashed Potatoes Part II" (Roulette, year unknown) Okay, not that obscure an act, but nobody ever talks about them, and they're still pretty much a mystery to me, even though I also have their Peppermint Twisters LP on my shelf. Were they from Philly? Was he a teen idol? Was the idea just to be a squeaky clean white boy version of Hank Ballard and the Midnighters? Whoever they were? Except Dee's band does not sound squeaky clean, and neither does he. They sound raunchy, and they earn their pastrami and taters. Mostly just an instrumental with Dee (I assume Dee) shouting out the title. But it rocks and it rolls. A lot. If Jon Spencer's Blues Explosion were any good, they probably would have sounded something like this.

Oh man, that swounds awesome, Chuck!

xp - Dahl 45.

*swounds* sounds awesome too. Dibs on the copyright.

Dancing Panther Danceband "Cement Mixer (Put-Ti Put-Ti)"/"Tropic Love" (Warner Bros., year unknown.) Was there a vout revival in the early '60s? Is "vout" even what stuff by Slim Galliard (who wrote the A-side, though I'm not sure I've ever heard his version) was called? He was, like, a beatnik jazz dada nonsense rapper from, more or less, the swing era or thereabouts, right? Anyway, A-side slings hipster slanguage about cement mixers: "A bottle of reet/con-creet." Mix up the gravel with water and "see the melorooni come out…keeno!." "Who wants a bucket of cement?" Words hit me as sort of scatological, somehow. Music starts out sounding like a fairly fake version of jump-blues-like dance jazz at first, but then the sax comes in and it's very real. (Not as wild as the sax dance of Joey Dee's song, but close.) B-side's an instrumental mixing up lounge, Latin, jazz, and Hawaiian music -- related possibly to Martin Denny's exotica or maybe Esquivel's space-age bachelor pad music, which is why I'm guessing early '60s.

chuck i should mail you this weird 7 inch i found

Sure, why not? I will email your my address! Thanks, M@tt!

Deer Hill Range Riders Square Dances (Promenade EP, year unknown.) Four songs. First and fourth ones, “Couples To the Right” and “Cut Off Six,” seem to mix in naval toot-toot music from “Popeye”, or cartoons about tugboats. First one, especially, is almost a rap, and speeds up as it goes: Your corners all Around the hall Promenade home Wait for the call,” though maybe not in that order. “Your pretty girl is my old maid.” Second song, “Spanish Cabiliero,” doesn’t sound particularly Spanish beyond its title. Third song is “Red River Valley” with dance instructions on top.” The caller, if that’s what he’s called, talks in a monotone – not necessariy like he’s bored, but definitely like he’s businesslike.

D.D. Sound "Disco Bass"/"Disco Bass Instrumental" (Baby, 1977) Italian. Cover also says "Disco Delivery"; can't tell if that's part of the band's name or not. Credited to A & C Libionda and C. Ricanek; pretty sure I've seen the former name(s?) on other records; just blanking out on where. Music seems functional, generic, as much post-swing-band as Eurodisco electronics. Subliminal girl voice, and a deeper male voice grumbling "disco bass!" now and then, so clearly the bass is as much his voice as the bassline (which is fine, don't get me wrong.)

yeah, Slim Gaillard was in and out of the music biz between the 30s and 80s (b. 1911?-d.1991), and was back in by the late 50s, so may well have inspired an early 60s album. Originally known for singing, playing guitar and tap-dancing simultaneously, and Slim and Slam (Stewart, bassist) had a hit,"Flat Foot Floogie (Was A Floy-Floy)" in late 30s. Orig "Flat Fleet Floogie," and for that dis to military, was drafted (change to"Flat Foot" albili didn't keep him out). Recorded with Charlie Parker and Dizzy Gillespie, and stole the show live, at least according to Brian Priestley's notes to Laughing in Rhythm: The Best of the Verve Years (the fleet/foot thing is mine, not BP's) No "F.F.F." here, nor "Cement Mixer," (maybe those weren't on Verve), and I'd need to find some more Gene Krupa cigarettes to get into all of this, but I do dig most of it. "Arabian Boogie" might've inspired Professor Longhair; "Serenade to a Poodle" woofs eloquent; "Soomy Roomy (Song of YXabat)" is a great parody of Yma Sumac and the whole exotica thangette; "Genius" (AKA "Ride Slim Ride") has him as a one-man-band and vocal group, overdubbing eight instruments and a bunch of mouth sounds(incl. harmonies), and making it sound comfortable, in 1951, when overdubbing was something of a chore. There's also "Yo Yo Yo," "Yip Roc Heresy," "Chicken Rhythm" (chorus: "Buk Buk Buk Buk!").Also in the booklet, Harvey Pekar and Joe Sacco's cartoon essay spots him between Charlie Christian and Chuck Berry, Priestly has him early associated with other swing-to-bop teadrinkers like Harry The Hipster Gibson,and Leo Scatman Watson, King Cole Trio(I'd say Cab Calloway before that, and Louis Jordan along side in the later 40s, and even Bob Wills, when he starts bouncing the falsetto around, and of course he invented his own language before Magma)(okay, more like Beefheart, because it twists English to its own purposes) "Gomen Nasal" indeed, and Gezundheit.

but Dahl was apparently in some early version of the Angry Samaons, not to mention

He was in a mid-period version of the Samoans, after Saunders first decamped for the Bay Area.

The only thing he's still on is a live recording -- very rare-- Return from Samoa, which was a Euro bootleg which pressed a Samoans show in NYC, at the Mudd Club, if memory serves. I have it. It's not very good.

I had a 7 inch of "Permanent Damage" which the Samoans played while he was in the band. Another version of it, or perhaps only a slightly different mix, wound up on the Powertrip record, which was reissued as a CD a few years ago.

Quite a bit of Jeff Dahl, as a solo artist, was released through Triple X and Sympathy for the Record Industry well after he left the Samoans.

My favorites from Dahl were the Powertrip record and his "I was a teenage glam fag," self-releases, of which there were two. The "Glam fag" releases were cover versions of his favorite glam rock tunes, most of which he did justice to.

Dollar, "Takin' A Chance On You"/"No Man's Land" (WEA, 1981) Okay, I'm pretty sure we're back to a bunch of 45s that Metal Mike did send me, albeit a few years ago. Even more than the Tight Fit people mentioned above, I'm pretty sure these guys were part of some mysterious early '80s post-Abba "pop revival" (in England, at least, and maybe all of Europe) forefronted by Bucks Fizz (who I think I still have a good LP by.) Anyway, both sides of this sound lighter than air and whiter than that. Pretty downbeat, actually. B-side concerns being haunted by somebody's memory. A-side has a title that sounds like an answer record to a big Abba hit, and has "ba ba ba" parts chiming like bells. Cover has a boy and girl, both extremely blonde and fully blow-dried and fresh from the ski slopes. Even the boy's shirt is white. You hear them both, and they are impeccably produced and entirely free of germs.

Dollar "Mirror Mirror"/"Radio" (WEA, 1981) Both of these Dollar singles have small holes on them, by the way. "Radio" has a more bell-chime vocals and a more Abba-worthy bounce than either of the sides of the previous one, but "Mirror Mirror," which I'm pretty sure was their big U.K.-maybe-transcontiental hit, is produced by Trevor Horn has lots of ornate little sounds filling it out and bringing it to life; some parts are weird and artsy in an almost pop-pomp 10cc kind of way. The vocals are layered like crazy, a house of mirrors I guess, especially when the boys says "the mirror always echoes... echoes.... echoes ...echoes". So: onomatopoeia pop.

Dolly Dots "We Believe In Love"/"Who Is That Waiting At Your Door" (WEA, 1980) Definitely got this one and the next Dolly Dots 45 from Metal Mike. This one's a Dutch pressing, and Dolly Dots, judging from the cover, are six girls -- two black haired, two brown haired, two blonde. Prettiest one is the black haired one who looks like Kate Bush. Anyway, A-side of this one sounds like a cross between Boney M "El Lute"/Abba "Fernando"-style Spanish revolution Euro- bubblegum and some old hymn that used to get sung at Catholic church, but the words are about neither Spanish revolution nor anything especially saintly. B-side, though, is a truly angelic girl-group rip. Picture on the back cover shows the cover of Dolly Dots' album, whereon they wear roller-derby uniforms (or some kind of uniforms, anyway. I was thinking hockey, but then I noticed one of the album's songs is called "Rollerskating," so roller derby it is.)

Dolly Dots "P.S."/"So That's Why" (WEA, 1981) Dolly Dots get funky! "P.S." has a propulsive "Rapper's Delight"/"Another One Bites the Dust"-type funk groove (not a "Good Times" bassline, exactly, but close), and the six girls (Spice Girls prototypes, maybe?) ride it just fine, telling you to "get up!" until you do and eventually doing a cute little rap -- pretty early in the game for white girls (or, to be precise, five white girls and one possible woman of partial color, juding from the photos), though I think "Rapture" had been '80s and "Square Biz" was also '81. B-side's more Abba-bop, very very catchy.

(Latter 45's made in West Germany. Not sure which country, if either, the gals actually come from.)

Dyn-O-Mite De Luk "Mon Nom C'Est Dyn-o-mite"/"Mon Nom C'Est Dyn-o-mite (Version Instrumentale)" (Able, 1977). Not from Metal Mike, I don't think. Early funktional disco indebted to Isaac Hayes and Jimmy Walker. Slight African tinges. Some wah-wah. Not bad.

Earth & Fire "Twenty Four Hours"/"In A State of Flux" (Polydor, 1981). Yeah, that's right -- no Wind. They don't look like Earth Wind & Fire, either, though it's true some of them (the Raffi-like one with the scarf for instance) have darker complexions than other ones. One of them, also, is a girl, posssibly wearing pajamas. The one with the longest hair also has the most receding hairline, and is leaning on his keyboard on the cover. One of the guys has a song sheet on his lap (so I'm going to guess he might be the songwriter), and the guy with the drumsticks has an Afro and looks a little crazy. (None of this is remotely getting across how wacky they all look, but I'm trying.) At any rate, they all also look like they'd be good neighbors. Pressing says West Germany, but the back sleeve says "Benelux," which I know from Armed Forces Radio weather forecasts means Belgium, Netherlands, and Luxembourg. Oh yeah, the music's good, too. A-side is fun and silly post-Abba polka-pop; B-side is much less happy sounding, almost prog-rock-leaning, instrumental. Weird. And definitely from Metal Mike.

Earth & Wire "Weekend"/"Answer Me" (Vertigo, 1979) Same formula, more or less: Bubblegum polka-pop backed with wordless prog-fusion movie soundtrack possibility. Both less energetic than their counterparts on the other Earth & Fire single, but that's okay. "Weekend" allegedly "Nr. 1 in Holland," according to the sleeve.

(Earth & Wire was obviously a mistake. To my knowledge, Earth have never collaborated with Wire at all, and probably never will.)

Fancy "Wild Thing"/"Fancy" (Big Tree, 1974) This was actually a hit, right? And bizarrely, I also have their 1974 album. But I can't remember anybody ever talking about them, ever. Three guys (one tough guy, one college professor looking guy, one proto-disco Jewfro looking guy) plus a longhaired gal in cutoff shorts on the cover of the LP; single has no picture sleeve, but the LP cover is info enough. ("Fancy, a New Band, great guys, fantastic chick.") Troggs remake has the girl panting suggestively, a proto-disco synth break into a hard funk guitar break, plus the Troggs riff done good. (Big Tree, judging from the album notes, was some sort of Atlantic subsidiary; Brownsville Station were on the same imprint, right?) Self-titled B-side theme song, which is not on the LP, has a good catchy riff and a swings in a decently glammy way with a vaguely sexy whispered vocal from the lady of the house. Not much of a song at all, but it's okay. LP cover indicates the "Wild Thing" cover was already a "chart record" before the LP came out -- so I wonder if these were maybe studio dudes who had to quickly toss an album together to capitalize on their hit single (which capitalizing I assume was never very successful, since it hardly ever is in such cases) -- you know, like (non-studio dudes but you get the idea) M, or the Shop Boyz or whoever. Anyway, I just decided that Fancy (not to be confused with Fanny, who seem more famous) remind me of Ram Jam (on their first LP of course, not their second one) for some reason.

Wayne Fontana and the Mindbenders "Game of Love"/"One More Time" (Fontana, year unknown though it would be very easy to look up.) "The purpose of a man is to love a woman, and the person of a woman is to love a man." A huge hit, way bigger than Fancy's, but again, who the hell were Wayne Fontana and the Mindbenders, and how come, in the many decades I've been paying attention to people paying attention to music, nodody has ever said one word about them? Damn, this song is pretty funky too: Square white guys (squarer than Mitch Ryder or the Soul Survivors, I bet) getting soulful for frat boys, or for bizzers trying to appeal to frat boys, or what? I have no idea. Is it my imagination, or did Phil Collins badly cover this in the '80s? (Or maybe even not so badly?) B-side is convincingly sweet blue-eyed soul, assuming these guys actually had blue eyes. (Maybe they were British??) Anyway, the two main things I know about Wayne Fontana and the Mindbenders are (1) In the first review I ever read of an Elvis Costello and the Attractions album, which would have been Armed Forces, probably in a college newspaper (The Varsity News, I guess) at University of Detroit or a high school one (The Spectrum) in West Bloomfield, Michigan, the writer compared the two bands, and then nobody ever has since, as far as I can tell. (With Get Happy that might actually have made sense! But this song is better than anything on that album.) [2]"Game of Love" was definitely a staple on "Cruisin' Music", the Sunday night '60s music show on KCOU at University of Missouri-Columbia in the early '80s. Beyond that, I know about as much as you do about them, and possibly a whole lot less.

Gary's Gang "Keep On Dancin'" (Sam/Columbia, 1978) Okay, another actual hit -- sorry, this is getting ridiculous, but I know nothing about these dudes either, and suddenly I'm curious. Not to be confused with "Keep On Dancing" by the Gentrys, which is probably an even better dance song, and which I wish I also had a 45 of but strangely I don't, though I know nothing about the Gentrys, either. Anyway, this is funky ethereal bubble-disco (same neighborhood as Dan Hartman's "Instant Replay" or Paul Nicholas's "Heaven on the Seventh Floor" maybe), with an excellently polyrhythmic drum break in the middle. I have a '79 LP called Gangbusters by Gary's Gang also, but neither Gary nor his gang are shown on the cover, just a '30s Chicago-style gang murder scene. (There is a gang in the inner sleeve, dressed '30s Chicago style with snazzy striped suits and machine guns and mustaches and molls, but I have no idea if the gang is Gary's or if he's one of them.) 45 is a little odd, too -- a "DJ Reservice" promo with same song on both sides.

Fancy was Ray Fenwick's (guitarist) band of studio hacks. Fenwick was kind of a jazzoid plus rock guy. The project also included Les Binks who drummed for Judas Priest for one, maybe two, albums. Definitely a one-off type act fishing for hits outside what they really wanted to play --which was something tuneless that few wanted to hear.

By explanation: Fenwick subsequently became part of the Ian Gillan Band, the murky, tuneless stumbling funk and jazzoid rock band that did Clear Air Turbulence and a self-titled one which didn't do well with the punters, as opposed to later albums which returned to Gillan's more familiar hard rock/metal roots.

I used to see a CD of Fancy's stuff quite frequently. I remember the single, which was competent, but never had any interest in hearing more from it. Definitely the kind of act that would fit in my Sludge in the 70's scheme if they'd actually have made a few records and become a more real band.

Jimmy Gibson "Oh Why (Sag' Warum)"/"Swing Love" (Disques Motors, 1978) Pretty funky for a German guy, or French guy, or whatever Jimmy is. (45 sleeve says "Original American Version", so maybe he's American, actually. But Disques Motors is sure not an American label.) A-side's a lush sort of Barry White/Isaac Hayes-style seduction-mumble soundtrack; B-side as its title suggests more a swing-era croon done disco style. But on both of them, Jimmy's vocal accrues more red-clay soul depth toward the end.

Thanks, George (and for the Jeff Dahl info up above, too...)

ps (Also the whole idea of Gary's Gang of course reminds me of "I'm the Leader of the Gang [I Am]" by Gary Glitter, which Brownsville Station covered.)

Wayne Fontana and the Mindbenders look pretty British I guess:

http://youtube.com/watch?v=IWJYMaOwNNg

Gary has a pretty big gang, it turns out:

http://youtube.com/watch?v=7iHaP6XIAp4

The Gentrys keep on dancing faster:

http://youtube.com/watch?v=a9ylOFfdRRw

Bay City Rollers version:

http://youtube.com/watch?v=fui_R2mVlH0

Dolly Dots:

http://youtube.com/watch?v=EOMg3gL6lkA

Dollar:

http://youtube.com/watch?v=fqkI2VBiLgg

Chilliwack's big hit:

http://youtube.com/watch?v=yahBtp_1jWE

Claudio Cechettto (I guess his song was for aerobics class!):

http://youtube.com/watch?v=NOyXvsTA5tQ

Alberto Camerini:

http://youtube.com/watch?v=wHoCv1G4Prk

SCTV Chilliwack parody (!?):

http://youtube.com/watch?v=ddIq7p-nAVQ&mode=related&search=

Just got another HUGE box of weird old foreign vinyl in the mail from Metal Mike. So here's some more:

Aneka "Little Lady"/"Chasing Dreams" (Hansa UK, 1981) Shares her name with my youngest offspring (now sleeping in this room) and the singer of the Gathering (now not sleeping in this room), but spells it differently. Scottish, with a red Cleopatra haircut. Her song "Japanese Boy" supposedly went #1 in the UK in 1981 (according to words Metal Mike has penned on the sleeve) and this (according to the liner notes) is the followup (not as big a hit -- only #50 sez Mike.) Mike has also attached a post-it note that says "Make It Stop!" I think that's a warning that this is gonna suck. Synthy gurgle, squeaky voice, not real catchy or poppy to my ears: "Treat me like a lady on TV. Leave me alone leave me alone..." Post-early-Kate Bush/Lene Lovich yelping hiccups. Not very good. Ballad B-side is worse.

Cardinal Point "Come Out And Say It"/"I Won't Let You Go" (Phillips, year unknown) Four guys with colorful shirts and jackets and sweaters and Bay City Rollery hair (most of them). The coolest guy is obviously the one in shades. A-side is softy-rocky with slightly good-time-glammy chorus, forgettable. B-side slower, almost liedery (though not German), a snooze.

Jackie Carter "Treat Me Like A Woman"/"Mama Don't Wait For Me" (Atlantic Germany, 1976) Sorry, but I gotta say -- on the 45 cover Jackie (who also sang for Silver Convention I think) is sitting perched on what looks like some kind of antique table, with her legs spread like she's about to relieve herself. With gold platform shoes no less. I guess a toilet wasn't handy. Music on the A is more disco than the last couple singles, but generically and not compellingly so. Second woman out of three 45s who tells you how to treat her. Toward the end of the song she starts gasping and moaning in a suggestive manner. A lot. B-side is sprightlier sub-Abba pop -- "I'm the happiest girl in the world....I'm 16...my homework is done...Don't keep the dinner warm, I'm gonna eat out tonight...I've found someone who knows how to hold me tight." Boys doo wop in the background as she discusses being asked out on a date. Weirdly innocent after the A-side (unless she's lying to Mom), but still not distinctive enough to keep.

Jackie Carter "Stay For The Night"/"Let's Have A Party" (Global Germany , 1979) Three years later, same Jackie, more disco still. More NRG, too. Still not grabbing me. A-side outwears its welcome quick, even though her vocal inflections recall Elton John once, and there's some mini-orchestrations and sax during a break. She sounds breathier on the B, still sounds like she's going through the motions. More so-what sax. Not much of a song, or groove, or hook. Nobody's gonna stay the night for this party. A ways in she starts whispering sweet French nothings, but by then it's too late.

Chanter Sisters "Talking Too Much About My Baby"/""Just Your Fool" (Safari Germany, 1977) One curly haired brunette sister, one long-haired blonde sister. Light-rocking, slightly countryfied smooth-jazz Euro-soul on the A-side. Pretty harmonies. One of the singers reminds me of Maria Muldaur, I think; groove might even have a little "Midnight At the Oasis" (from 1974) in it. Weird lyric -- they say they're talking too much about their baby, but they never really tell us anything about him. Warmer sax than the last song, though, and the song is nicely short: 2:45. B-side is more upbeat, a Donna Summer move, and it's clearer that both girls have rich voices, but one of them sounds a lot huskier than the other one -- in a rock (like, post-Joplin) way almost. Boogie woogie piano, just real propulsive in general.

Tina Charles "I Love To Love (But My Baby Loves To Dance)"/"Disco Fever" (CBS UK, 1976) Tina looks kind of tomboyish, and this is catchy like Kiki Dee or somebody going disco. Plus the predicament with her dance-loving boyfriend is kind of cute too: "Instead of going downtown, we'll stay at home and get down." Still sounds kind of like disco-by-numbers (real early in disco's tenure for that, I would think), but by more likeable numbers than most of the previous songs. Then the first line in "Disco Fever" is "walking sideways like a crab"! And there are macho men behind Tina chanting the title ("disco fever! disco fever! everybody got disco fever!") and having a boogie party, and there's some Rufusy funk to the horn and bass parts. And the song stretches out its groove pretty well, and the guys start grunting "hungh!" Goofy enough to keep. (Though maybe not -- I just took it off the turntable and noticed the vinyl is cracked, totally split in half, almost across the whole side. Must have
played right through it.)

Tina Charles "You Set My Heart On Fire"/"Fire (Instrumental)" (CBS Germany, 1975) This one sounds even better! And older! With lots of old time rock'n'roll "bop she bop she bop"s! Yet still totally disco! And apparently not cracked! And Tina has a real big nose on the 45 sleeve, which gives her lots of character! Her life was a room full of gloom, then a "knight in armor shining" came along, to set her heart on fire and take her higher. Wow, Europeans really caught on to disco early. Assuming she was one. B-side instro retains the doo-wop, the horns, the syncopation, and Tina repeatedly saying "fire! fire! higher! higher!" And now I'm realizing it sounds kind of like "Rock The Boat" by the Hues Corporation (1974 again), rhythmwise. Somebody should have rapped over it.

Why is Saunders sending you stuffs?

No idea. Just a generous guy, I guess. I assume lots of them are duplicates, or maybe just records he's tired of taking up space, who knows. Seems like I mysteriously get a big box about once a year; it just shows up, no explanation. This year's (mostly LPs, actually) was the biggest yet.

Anyway, here are more:

Fox "Only You Can"/"Out Of My Body" (Gema Germany, 1974) A couple other Fox singles are discussed upthread, first by me, later by Frank Kogan. I think they came up on some other thread lately, too. Assuming this is the same Fox. Metal Mike post-it note says "#3 UK early 1975: Is this were guitar rock took downers, rolled over and croaked?" Maybe -- it's pretty slow, and weird as fuck -- but I'm not sure this is "guitar rock." Teutonic proto-gothic possible love child of an affair between Nico and Yoko (possibly the woman with the tassels and metal snake bracelet on her bare skin on the 45 sleeve) tells you that "only you have a right to be you," plus something I couldn't quite catch about gyros. Is this what Savage Rose sounded like? How the hell was this a hit, especially in a place where people supposedly speak actual English? Rhythm is a soporific approximation of reggae, sort of. And that's only the first side. The second side is still Teutonic (she's talking about switching on her TV set, plus something I keep mistaking for "take me out to the ballgame"), but has more skips and pops on it. Probably not great for my stylus, so I'm gonna take it off, but this one still belongs on my shelf.

Full House "Standing On The Inside"/"Johnny" (CBS Holland, 1976). Songwriting credit on the A-side goes to Neil Sedaka, who was still writing great songs in the mid '70s, but probably not this one. Full House are apparently five people -- two guys (one w/ big 'stache, one w/ Afro) and three girls. Sedaka song is slightly foreign-accented, keyby post-Brill pop of no notable distinction; would be better if faster. Talks about it being bad times for rock'n'roll, which it wasn't, really, but I don't see how this would have helped even if it was. "Johnny" switches to one of the girls singing, about a little boy who will be a star if he practices his guitar, then meets a girl named Marlene. Chorus is sorta drink-worthy, if not exactly rousing, about how we'll be your friend if you need one. A little oompah to it. Actually like it better than the A, but not enough.

Pete Heyn & The Fleet "Holland Disco"/"The New Dutch Organ Group" (Gip Holland, 1979) Awesome band name and song titles, obviously. Three guys (all dressed in white, a couple with actual guitarish instruments) and three girls (in sparkly outfits, and dancing awkwardly with their hands) on the sleeve. "Holland Disco" is not disco, in any way I can tell, but is a wacky instrumental with lots of windup grandfather clock noises stuck in there over the obligatory oompah. After an introduction three times as long as the actual song part, the Euro ladies start chiming in like automatons: "We love disco dancing in Holland. Disco dancing in Holland. Disco dancing in Holland. Dancing in the street." Only I swear to God I thought they were saying HARLEM, instead of Holland. Flipside is, well, organ-y. Another semi- instrumental, and unfortunately the girls don't start chanting about being the new Dutch organ group. But they do say "The silver fleet is coming in" as as the rhythm starts to get a
little more boing to it. Neat!

Kincade "Dreams Are Ten a Penny (Jenny Jenny)"/"Counting Trains" (Bellaphon Germany, year unknown) Think I already hated a single by this over-mustached guy upthread. And the A-side here is pretty sappy -- a guy remembering the girl next door (who has apparently since gone astray, or maybe not, though that seems implied in the don't-give-up type advice he gives her), and the tree they used to play under as kids, which I guess is now dead -- though the tune does have half a smidgen of early '70s Edison Lighthouse/Spiral Staircase bubblegum to it. Or maybe even Terry Jacks writing a suicide note to Michelle his little one who gave him love and helped in find the sun, but really, not nearly that good. "Counting Trains" is a sort of flatly sung fake-country wanderlust ballad that starts out talking about "feeling as if the bomb has dropped," with a capella wah wah parts later. Every train Kincade misses is a lost chance to escape. So okay...has the potential of pushing my Lee Hazlewood buttons, maybe. Worth another listen sometime, at least. Just not right now.

Also been liking these 12-inch singles from the new Metal Mike box this morning:

Dalla Morandi "Dimmi Dimmi"/"Pomereggio In Uffico" (RCA Italy, 1988) beautiful spacey dreamy Italo air-disco; songwriting of A-side partially credited to M. Malavasi, which I assume means Mauro Malavasi, the Change guy.

Paso Doble "Comupterliebe" (WEA Germany, 1984) beautiful sad dreamy Kraut-disco from co-ed duo with excellent Aryan cheekbones but an un-German name

Mamie Van Doren "State Of Turmoil" (Corner Stone, 1984) Autographed!! Though I have no idea how I'd check to find out whether that's Mamie's real signature. Also, I never even knew she ever made a record. Surprising thing is, it's actually good, in a decadent halfway-between-Marianne Faithful circa Broken English and Cyndi Lauper circa She's So Unusual new wave war-zone post-disco sung in a wordly weathered seen-it-all-and-been-all-over-the-world kind of way.

Band I'm most curious about so far from all the European K-Tel-type albums Mike sent: Sailor, whose "Stiletto Heels" really does sound like a less arty version of Roxy Music. Can't believe I never checked them out before.

Favorite Heavy Metal Kids song so far on all the European K-Tel-type albums he sent (almost every one of which seems to have one): "Chelsea Kids."

footnotes:

* Paso Doble actually sound more synth-pop than disco (their A-side reminds me of A-Ha or Alphaville), and the single also has a B-side (unmentioned on the sleeve) called "Stadthyăne", which is more upbeat but not as good. Perhaps that short-vowel hash mark over the "a" is an indication of their nationality.

* "Only You Can" actually is the Fox 45 discussed by persons other than me upthread, where it is explained that their strange Teutonic woman singer was actually from Australia.

* In the other Kincade single upthread, he has a first name (= John.)

Claudio Cechetto "Gioca-Jouer"

Later translated into English in the Black Lace Euro-hit "Superman," according to Mike T-Diva on this very related thread:

I Have Never Heard Entire Albums By These Bands Who Have Excellent Songs On Late '70s/Early '80s European K-Tel-Style Compilations

Otherwise, I decided that Kincade's "Jenny Jenny" does (inexplicably) have enough 1910 Fruitgum in its sound to get by. And the lovely whirligig rhythm of Pete Heyn etc.'s "Holland Disco" totally pulls me in.

Anita Karlsen "Bli Med"/"Natt Of Dag" (Slager Norway, 1986) The hole of the 45 is little not big, and Anita is riding a motorbike (or scooter, maybe? She doesn't look dangerous at all, despite her slight overbite, so probably) on the sleeve. Music is...pop! With sparkling synths working as drama more than rhythm. Sounds very sweet and sparkling, with massed-vocal verses. Chorus seems to have Anita coo-ing the line "Mr. Hard Booty" in a slightly husky voice, but I'm probably hearing her wrong. Flipside starts out slower, spacier, with plenty of echo on the drum machines. Eventually it picks up in, um, a '80s teaming Euro-studio-pop ballad sort of way. Eventually a sorry excuse for a "rock guitar solo" enters the picture. Not bad! Though the songs are probably duller than the sounds, to be honest.

Daliah Lavi "Wer Hat mein Lied So Zerstort, Ma?"/"Akkordeon" (Polydor West Germany, year unknown) Figured out the title was an Aryanization of "Look What They've Done To My Song, Ma" (always secretly loved that song ever since my secretly emo childhood, though for some reason I keep thinking it's by Melanie or Yvonne Elliman when really it's by the New Seekers) just by reading the sleeve; good for me! And long-haired pensive beauty Daliah schaglerizes it wunderbar; some dark Nico ice-queen cabaret stuff in there, neat. Also deduced that the B-side would somehow involve accordions, but didn't know it would start out like a cross between "Love is Blue" and, well, either "The Windmills Of Your Mind" or "As Tears Go By" I guess. Which is to say...dark! depressive! in the afternoon! yikes! And actually, the accordion is way back in the background, though it's there.

Olivia Molina "Das Lied"/"Antwort Auf Alle Fragen" (EMI West Germany, 1973) More rainy Mittwoch afternoon fraulein schlager, in a mod speckled dress no less! After a while these songs start to make me sleepy, even when they pick up halfway through and get all bombastically orchestrated and stuff. Too much emotion for me, or something. Second song has "warum"s and "blumen"s and "fragen"s and "sonnenschein"s (all of which I am probably gespelling wrong) in it, but this still bores me more than the previous two.

Monica Morell "Ich Fange Nie Mehr Was An Einem Sonntag An"/"Ice Weine Nicht" (Columbia West Germany, 1972) That last record apparently was made in Koln, this one in Munich; wonder if that makes a difference. Well, this one, on the A-side anyway, has some horns. And a choir. And a really long title. And the singer looks more like Marcia Brady, but it's still making me want to reject the tone-arm. Which I did, only to find some toy-shop sounds opening the other side, then the music slowing down for more words about sonnenschein that sadly don't sound sonnescheiny at all to me. Zzzzz.

Nanna "Call Me"/"I Love You" (Replay, 1983) Okay, whew, this one looks way less morose and suicidal. And more '80s! She even has a nice smile. Nation of origin unknown, but published by "Great Dane Music," so maybe Holland. "Baby don't you have a phone?" she sarcastically asks (in English), over cute little synth beats. She could call him, but says (in a very friendly and non-egotistical tomboy voice) that she won't. A few minutes in, completely unexpectedly, Nanna starts making lots of popcorn hiccups with her mouth that sound like Lene Lovich under the influence of Hot Butter, cool!! "I Love You" has just as simple a title, and is an even more upbeat and bopping slice of Eurobubblemotown pop, with whipcrack studio effects and sexy catching-of-breath parts and the kind of post-Elton teeny-rock guitar you'd hear...where? Kim Wilde records, maybe? Rick Springfield records? Somewhere like that. Somewhere good. I totally-otally love this one.

(Wait, "Great Dane Music" would imply Denmark not Holland, right? Duh.)

Nanna pop >>> Anita Karlson pop btw; Anita's just keeps going in one and ear out the other. Doesn't cut it. But the Nanna one is loaded with cute hooks.

Daliah Lavi's New Seekers cover thankfully balances its ice-cold Nico schtick with warmer Al Jolson phrasing (if Al Jolson was German and rolled his r's), at least whenever she says "mama." And her accordion song has a palpable...wurlitzeriness? hurdy-gurdiness? caliopiopity? or something to its rhythm. None of which might come from the squeezebox (which doesn't do a whole lot til the song's end.)

Nena "Leuchtturm"/"Kina" (CBS Schalplatten West Germany, 1983). Yeah, that Nena. And boy is she cute. No one dances on logs in videos about nuclear annihilation like Nena does, I'll tell you that. The boys in her band are pretty cute, too, though they're not my type despite looking almost as girly as she does. Anyway. This is the year before "99 Luftballons," and Nena and her Nena-boys are still hungry, and "Leuchtturm" starts with plenty of post-Kraut-rock dub echo before the guitar hooks and synth bubbles kick in and Nena manages to be entirely nonchalant and entirely exuberant at the same time. "Kina" is more conventional synth pop, but with that pretty pretty pretty gurgle the Krauts were so much better than the Limeys at putting in there at the time (do I believe that? well it sounded opinionated either way) and Nena says "All ist klar" (but not "Der Kommissar") and "Cary Grant" and "mitternacht" and stuff like that. Yay!

Nena "Feuer Und Flame"/"Woman On Fire" (CBS Schalplatten West Germany, 1985) Now on the other side of luftballon stardom, Nena delivers a concept single. She and her band look significantly more alternative (scarves! new wave haircuts!) and jaded (sitting on the floor! surrounded by candles!) on the 45 sleeve; fame has clearly taken its toll. "Feuer Und Flame" has her mainly repeating the title over and over and over, over intermittently bumptious Killing Joke tribal drums and noisy dance-metal riffage. "Woman On Fire" is a translation, it turns out, though clearly not a literal one, and Nena seems less assured singing in English, obviously not her native tongue, though the stuff about "body heat" recalls Olivia Newton-John circa "Physical," and of course the title rhymes with "danger and desire," this being the '80s and all. "And the woman on fire...is me." Hot!

Pat & Paul "Beim Kronenwirt"/"Wenn Der Toni Mit Der Vroni" (Telefunken West Germany, 1973) Paul is prettier than Pat (the girl) (blonde) on the cover, a nice touch. At first I thought they were both wearing knit sweaters, but it's just that Pat's arm is around Paul so you can't see his suit. Anyway, this is schlager. But heartily tuba-farting schlager, at least in "Beim Kronenwirt"'s case. with lots of singalongable "yoo-biddy-yoo-biddy-yoo"s and "ya-ha-ha-ha"s in the singing. In fact, that's mostly all it is. And the singing isn't even much in the way of singing -- hell, I can sing better than that, and the nuns used to make me lip-synch in church not to throw off the rest of the class (true story), but it kinda doesn't matter. Big fat ugly German guys nostalgic for anti-Semitic passion plays drank so much bier to this song they couldn't see straight, I can tell. Which is interesting, because Pat & Paul are young people. B-side goes a little too far in the "we're all having so much fun aren't we" department to be convincing (Pat's "yoo hoo!" exclamation give you the idea she's not all that into it), and falls apart when it slows, blegh.

Actually, the A-side of that Pat & Paul single sounds like a totally forced brand of "fun", too, the more I hear it. Maybe old Germans didn't drink to it after all. Perhaps they tossed their steins of beer in the annoying couple's faces instead.

And it's my civic responsibility to point out that, despite my eternal infatuation with Nena, none of those four tracks above has hooks anywhere near as undeniable as "99 Luftballons." (Few songs, do, but still.) Still wonder, though, what Alex In NYC would think about the very Killing Joke opening to "Feuer Und Flamme" (which Nena and band pretty quickly turn into actual pop music, of course.)

Metal Mike, via email:

the only truly odd thing is that in Berlin, when i dug through close to 1,000 (or way more -- had to be 12 to 15 "boxes" stacked w/45s straight up, easy to flip straight through) 45s at the store where most of the 45s came from (they're stickered with yellow -- i think -- typed/printed stickers that read like

e 0.50 ( = 75 cents last spring)
or e 1.00 ( = 1.50)

there was NOTHING by Arabesque, nothing! now, the pricier (like slade, sweet in good condition) stuff was in equally massive boxes behind the counter/back room, which i didn't even have time to put in "want this act" queries for (save Slade, for our guitarist who now wears an old Slade design at every gig on stage) -- but gonig by Ebay , Arabesque is decidedly NOT collectible, not even vaguely. they just have nominal value (except maybe a little moreso for the endless Japanese pressings/lps which are many more albums than the german/euro issues).
((ALSO, nothing by the Newton Family, huh)

some clever guy who likes their stuff, cleared it all out at that store years ago! some disco-music dance music fan richfuck from Japan on a leisurely european vacation huffing drugs in amsterdam and taking pictures of the old Berlin Wall! (which is my favorite neighborhood in the whole world, the bohemian old Keuzberg and Friedrichshain neighborhoods, especially the former. now that is one trippy/spooky/trippy-assed little section of god's green earth. i don't think there's anywhere in america that compares to it -- except maybe one of the deep south towns/areas razed to the ground by the North in the Civil War. (we hiked Civil War trails in mississippi, ponds/lakes that had been filled with blood, but i always say = no tanks, no credibility!)

i have a rough Youtube checklist (of the best, supposedly, per my hacking around) on Arabesque and (also) the Newton Family if you want to put some interns on it to find those goddamn 45s that weren't there in Berlin.

(i did pick up a $2 copy of the very first Arabesque lp in Oslo, a norway pressing with the early disco-era hits, not half as interresting as their shortly-later ABBA-clone poppier/dancier/rockiers hits)