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Author: David Middleton

  • FORTY-FIVE REVOLUTIONS PER MINUTE #31: We Built This City On New Wave

    Ritchie Valens' "Donna"

    RITCHIE VALENS  “Donna”  b/w  “La Bamba” (Lost-Nite Records #201, early-’80’s reissue;  Original release: Del-Fi Records #4110, 1958)

    You could Google “Valens” or “La Bamba” or even “famous plane crashes” and learn all you’d ever need to know about the late great Ritchie Valens, but you’d still only be skimming the surface.   The young Pacoima, CA wunderkind, tragically killed at 17 in the same historic crash that took the lives of Buddy Holly and J.P. “Big Bopper” Richardson 50 years ago this past February, left such an indelible stamp on rock music that it’s now literally impossible to fathom a world without him.

    Winter Dance Party

    Though Valens left behind only about an album & 1/2-worth of recorded material, those recordings are so genuine and heartfelt that they still explode from the turntable with an incendiary fury, making evident why Valens remains a major touchstone to everyone from the obvious (Santana, Los Lobos) to the not-so (Led Zeppelin, Richard Hell & The Voidoids).  His biggest hit, captured here on a somewhat questionable oldies-bin reissue, was this 1958 ballad dedicated to the gal that stole his heart, “Donna.”

    Play \”Donna\” by Ritchie Valens

    Lost-love laments in the style of The Platters or The Moonglows were common by 1958, but it’s Ritchie’s fresh-faced honesty that really sells the song here.  And sell it did, spending 18 weeks in the Top 40, peaking at #2 in December and riding on through into early ’59, when DJs flipped the record and discovered its blistering B-side.

    C'mon Let's Go!

    Valens took “La Bamba,” a 300-year-old Mexican folk song, turbocharged it with an electrifying rock ‘n’ roll backbeat and face-melting guitar solos, and created the world’s first Spanish-language rock smash.  And then, like a blazing comet zipping through the evening sky, he was gone.

    Play \”La Bamba\” by Ritchie Valens

    Though only a B-side, “La Bamba” spent 8 weeks in the Top 40, reaching #22.  Los Lobos recorded the song (along with several other faithful Valens covers for the hit biopic of the same name) and sent it to #1 in the Summer of ’87.  But you know that.

    To those of you reading this who have children, please do them a big favor:  go to eBay (or better yet a garage sale or flea market) and buy them an old monaural 45 RPM record player and a stack of old rock singles.  Turn off the fucking video games for once in their lifetime.  Let them sit cross-legged on the floor listening to Little Richard, Buddy Holly, Chuck Berry, Bo Diddley, Ritchie Valens, Fats Domino, Jerry Lee Lewis and all the other great architects of rock.  Let them thrill to the tight & smooth harmonies of The Drifters or chuckle at the aural slapstick of The Coasters.  Let them jump up & down like total maniacs to Cousin Jerry Lee’s pounding “Pi-Anna” and Uncle Ritchie’s “Flying Guitar.”   Jump up & down with them until the records skip and you all fall down on the floor together laughing hysterically.  Let your kids feel early in their lives the real, pure, true, uplifting power of rock.  They will love you forever.

    NEXT WEEK: Turn around & bend over!

  • FORTY-FIVE REVOLUTIONS PER MINUTE #30: Jackboots & Kilt

    Napoleon XIV's 1966 novelty hit, "They're Coming To Take Me Away, Ha-Haa!"

    NAPOLEON XIV  “They’re Coming To Take Me Away, Ha-Haa!”  b/w “Photogenic, Schizophrenic You” (Eric Records #195, early-’80’s reissue.  Originally released on Warner Bros. #5831, Summer 1966)

    When it comes to artistic integrity, few social groups get maligned as much as the mentally challenged.  Even in this enlightened era of advanced education, when extensive research is being done to comprehend such phenomena as autism, terms like “outsider” still separate the layers of our ability to understand the deeper workings of the human brain.  Probably out of fear.  Fear of discovering that, one way or another, we are all outsiders.

    Early rock performers like Little Richard and Jerry Lee Lewis clearly understood the minds of the mentally challenged.  They knew that there was a little bit of crazy in all of us, that it wasn’t necessarily a bad thing, and that all we had to do was just open up and let it out.  Few later rockers understood this better than The Cramps’ late leader, Lux Interior, whose pure joy in performing for mental patients is chronicled in the stunning Live At Napa State Mental Hospital DVD.  “Finally!” you can imagine the patients thinking as they jump around to the band’s pounding, distorted rockabilly, “Music for ME!  Music that speaks to ME!”

    "...to the funny farm..."

    Back in the Summer of ’66, one record ratcheted up the insanity to previously unprecedented levels when 28-year-old New Yorker Jerry Samuels (under the nom-de-straitjacket, Napoleon XIV) recorded a totally batshit spoken-word ode to a misbehaving, runaway pup.  Released on Warner Bros., it sped to the top of the charts thanks to tons of airplay and just plain utter “gotta-hear-it-to-believe-it” ridiculousness.  Behold the psycho-chaotic masterpiece of marching-band drums, helium vocals and ambulance sirens that is, “They’re Coming To Take Me Away, Ha-Haa!”

    Play \”They\’re Coming To Take Me Away, Ha-Haa!\” by Napoleon XIV

    Not psychotic enough for ya?  Check out the B-side of the original Warners 45, “!aah-aH ,yawA eM ekaT oT gnimoC er’yehT” (which is — you guessed it! — the A-side backwards).

    yalP \”!aah-aH ,yawA eM ekaT oT gnimoC er\’yehT\” yb VIX noelopaN

    Great fun on jukeboxes.  Anyway, my early-’80’s Eric Records (the pre-Rhino Rhino) pressing of ” They’re Coming…” is backed with a later Samuels composition, “Photogenic Schizophrenic You.”  Slightly more melodic and ballad-like than the A-side, “Photo-Schizo” once again employs the device of the narrator blaming the cause of his mental illness on that of another, this time a gorgeous, but of course completely multiplexed, blonde (a stone from which modern gag writers still manage to wring blood).

    Play \”Photogenic, Schizophrenic You\” by Napoleon XIV

    “They’re Coming…” shot to #3 on the Billboard singles chart before insensitivity protests from advocacy groups wiped out the airplay entirely.  Nonplussed, Samuels went on to record two whole albums of nuthouse-inspired novelty tracks for Warners.  These days, like a modern Broadway Danny Rose, he runs the successful Philly-based Jerry Samuels Talent Agency, booking  juggling clowns and one-man-bands into homes for the physically and mentally challenged.  Viva Napoleon!

    NEXT WEEK: I’m not a sailor, I’m the captain.

  • FORTY-FIVE REVOLUTIONS PER MINUTE #29: Pump Up The Valium

    THEM's classic single, "Gloria"

    THEM  “Gloria” b/w “Baby, Please Don’t Go” (Parrot Records #9727,  1964-65)

    I’m pressed for time, so this installment will have to be brief, but this record doesn’t need a whole lot of words anyway.  We are gathered here today, my friends, to celebrate one of the hands-down greatest, purest rock ‘n’ roll singles of all time:  “Gloria” (also known as “G-L-O-R-I-A!”) by early-’60’s Irish rockers Them.  Written by the band’s singer, a then-unknown young upstart named Van Morrison, this track was actually the B-side of this release, but my Parrot pressing (whether it’s original or not I’m unsure) doesn’t make that distinction.  No matter, let’s just rock.

    Play GLORIA by THEM

    The single hit the Top 100 in ’64 and again in ’65, but it was Chicago garage-rock group The Shadows Of Knight who would bring it into the Top 10 in April of ’66.  Since then it’s become the quintessential rock classic, covered by everyone in the universe.  Learn to play the E, D & A chords on the guitar, and you can cover it too.

    Play BABY, PLEASE DON\’T GO by THEM

    The B-side, which is really the A-side, is Them’s blistering take on Joe Williams’ blues classic, “Baby, Please Don’t Go.”  Also revered as a rock staple and also covered zillions of times, always using Them’s arrangement.  B’cause, as the old saying goes, if it ain’t broke — don’t fix it.

    Them released a handful of great singles and albums, and had a couple brilliant Top 40 hits stateside with “Here Comes The Night” and “Mystic Eyes.”  After Morrison left to pursue a solo career in ’66, the band attempted to soldier on without him, to no avail.  And, as everyone knows, Van Morrison’s solo career never amounted to much.

    NEXT WEEK: Ho ho!  Ha-haa!  He-hee!