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All music presented on this site is shared under the premise of "fair use"; this site is solely intended for the purpose of education and critique. If you are a rights holder to any of the music presented and wish for it to be removed, simply contact me directly and it will be taken down.

Wednesday, February 28, 2018


This is a record that I had wanted to feature during the original run of this blog, but it wasn't until after I had ended things here that I managed to score a copy.

The intimidating dude on the picture sleeve is Freddie 'Fingers' Lee, most known in the UK as a rockabilly revival artist throughout the 70's. However, on this record, there's absolutely no 'billy' but a downright overdose of 'rock'. Freddie spent the early 60s as both guitarist and pianist with UK legend Screaming Lord Sutch before striking out on his own around 1965.

In just under two and a half minutes, Freddie and his killer band, The Upper Hand, lay out one of THEE most unhinged freakbeat tracks ever cut to wax. If the fuzzed out riff don't get ya, Freddie's wild vocal leaps most definitely WILL. Musically and lyrically this track is flat out incredible.

While I drive a Honda Hybrid that's nowhere near as cool and certainly doesn't have 'high compression cylinder heads' that Freddie's driving here, I've found myself accidentally speeding over 90 MPH when this song comes on during my regular drives up and down California's I-5.

Freddie recorded only two 45's with the Upper Hand before he went completely in the rockabilly bag. His intensity didn't slow down; there's clips of him destroying pianos with axes and chainsaws on unhinged UK TV appearances.

Sunday, February 18, 2018


 (Originally posted 1/13/13)

This record is so beautiful, I could sit and listen to it 20 times in a row...

The Vandals began their singing career as a teenage Temptations tribute act called The Young Tempts around 1967, while the singers were still in high school. A court order from THE Temptations saw the group change their name to The Young Vandals, then, by the time of this final release, The Vandals. Lead singer Otis Harris nails Eddie Kendricks' falsetto lead vocal style. After this release, Harris broke up the group because he wanted to go to college. Fate had other plans, and in a bizarre twist of life imitating art, Harris BECAME the lead singer for The Temptations in 1971, as a friend urged him to audition for Kendricks' vacated slot.  After changing his first name to Damon, Harris held the position which he until 1975. His falsetto, which we hear here, is all over the massive hit and stone classic "Papa Was A Rolling Stone".

from 1970...


Wednesday, February 14, 2018


Of course the one recurring theme in music is that of love; for me, the two are one in the same! While I believe in practicing and sharing love every day of the year, I suppose that 2/14 is a fine day to share two soul tracks that epitomize those 'butterfly in the tummy' feelings of love.May all of our days be filled with pure, unfiltered, organic, and genuine love.

(originally posted 10/16/11)

This beautiful song has a rather strange story, and one that is unique to this record (to my knowledge); namely, the same track was released three times, in a span of 4 years, by three separate labels, and under two different group names!

Originally released in 1965 by the Joytones, apparently the producers of the record felt strongly enough about the record to re-release it, hoping for the success that it deserved. Unfortunately, it did not hit the charts on any of its releases.

I believe that it is a Detroit recording, but I may be wrong.

from 1965/1969...


(originally posted 10/27/08)

There's no good way to describe my love affair with the Chicago soul sound of the '60s and early '70s better than whats contained in the grooves. The propulsive motion and swing that's heard in so many Windy City cuts is not only an inspiration, but it's a downright life affirming sound, and it's heard on hundreds and hundreds of superb 45's.

The Dynamic Tints were an extraordinary vocal group that was discovered by musician/ producer/ and Twinight Records A&R talent scout Syl Johnson. While the group penned several of their own sides, this one was written by the incredible session bass player Bernard Reed, whose bubbling style is heard on hundreds of records - some hits (Tyrone Davis - 'Turn Back The Hands Of Time'), but far too many such as this that should have been hits.

There is an underlying sweetness to this record that just hits me straight in the heart; it sounds as though it's beaming down straight from the stars...