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It's provocative! It's percussive!! Pour an afternoon (or morning) cocktail and let your ears be seduced by the sometimes sassy, always classy swingin' sounds of Rubberband Girl's bachelorette pad.
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Artist | Track | Album | Label | Format | Comments | Images | Approx. start time |
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Terry Snyder and The All Stars | Whatever Lola Wants | Persuasive Percussion | Command Records | LP | The opening passage, played by guitar, bass and brushes, is heard first on the left speaker, then is repeated on the right speaker. Next a clarinet is added and the pattern is again repeated on one speaker at a time. The purpose of this is to enable you to determine if your speakers are acoustically balanced, if you are getting the identical volume and range of sound from each speaker when you hear an exact duplication of each pattern on both speakers. To make sure that this duplication in each channel is *really* exact in the recording, the setup of the musicians in the studio was kept constant. The instruments were not changed from the microphones feeding one channel to the microphones feeding the other, nor were the microphones themselves switched. Instead, the program – the music – was switched electrically from left to right to get full, balanced reproduction in each speaker. The switch from side to side is repeated again at the end of the piece. This device occurs in the introductory passages of many of the selections on this record so that you can make repeated checks on the balance of your speakers under varying musical circumstances. | 0:00:00 (Pop-up) | |
Enoch Light and His Orchestra | The Blonde Bombshell | Paperback Ballet (AKA The Private Life of A Private Eye) | Command Records | LP | The bombshell is a strutting, swinging gal, exemplified by the strangely exotic voicing of the wailing clarinets and the rising intensity of the rhythm. Her sinuous qualities are emphasized by the manner in which Tony Mottola bends and stretches his guitar notes and by the throbbing moan of the trombones behind the clarinets. | 0:02:49 (Pop-up) | |
Lew Davies and His Orchestra | Wild Goose | Strange Interlude | Command Records | LP | Backed by the rhythmic whack of lew-sticks, Lew Davies' invention for broadening the scope of the percussion section, the ondioline plays a deep, gruff figure, followed by the piping of the piccolos and the braying of the horns, all of them moving from right to left. Answering this mating call, the wild goose flies on the left as the ondioline digs the melody out of its bass keys. The subtle, descending woodwind sound on the left following the big-voiced horn passage (right) that opens the third chorus is played by three clarinets. And connoisseurs of really full-bodied low notes will treasure the wonderfully expressive statement by the bass trombone on the right just before the orchestra winds things up with a return to the opening patterns. | 0:05:25 (Pop-up) | |
Enoch Light and The Light Brigade | When Yuba Plays the Rumba on the Tuba | Big, Bold & Brassy | Command Records | LP | Yuba and the tuba are both played by Bob Stanley in this demonstration of tubaic agility. This in essence, is the tuba against all comers, starting with the balancing figures in which it matched first with the brass team and then with bongos. Then Stanley and his tuba on the left start to galumph their way gaily through the melody with accents and fills on the right supplied by bongos, drums, trumpets, xylophone and cymbals until, as a contrast, the trumpets and piccolo lift the melody suddenly sky high on the right only to drop it back down to the baritone saxophone on the right which then joins with the tuba on the left for an ending that carries every element in your playback equipment all the way down to its nether depths. | 0:08:15 (Pop-up) | |
Enoch Light | Brazil | Big Band Bossa Nova: The New Beat from Brazil | Command Records | LP | The tune that epitomizes the spirit of the country that spawned the bossa nova is given the ultimate bossa nova treatments in this exultant arrangement. Introduced by a shattering staccato ensemble passage, it is a kaleidoscope mixture of soaring melody and intense rhythm breaks, epitomized in the opening of the first chorus by the contrast of the trombones, on the right, and the high, percussive fills on the left created by four clarinets playing the bottom part of a chord while the xylophone sketches the melody. Notice the amazing vitality and presence of Phil Bodner's very high piccolo as it sweeps in on the left and, in a brilliant exposition of the other end of the sonic scale, the strength and power of the alarmingly deep, propulsive jabs produced by Stanley Webb on his bass saxophone. | 0:10:50 (Pop-up) | |
Los Admiradores | Caravan | Bongos Flutes Guitars | Command Records | LP | This is a tremendously vibrant arrangement that shows how much musical excitement can be churned up by bongos, flute, baritone saxophone and trumpet. The entire ensemble opens on the right channel, then shifts to the left to move under Stanley Webb's exciting flute on the right and, later, Doc Severinsen's trumpet on the left. In the second chorus Willie Rodriguez takes off on some amazing flights of virtuosity on the bongos, a thrilling blend of rhythm and melody that is given added intensity by the supporting accents of Artie Marotti's xylophone and Chinese finger cymbals. | 0:14:42 (Pop-up) | |
Enoch Light and The Light Brigade | Perhaps, Perhaps, Perhaps | Provocative Percussion | Command Records | LP | if you think you've heard everything – including a record which we describe as "the most unusual record you have ever put on your turntable" – even your richly experienced ears will be amazed at the fabulous sounds of Provocative Percussion. | 0:15:12 (Pop-up) | |
Enoch Light and The Light Brigade | Love Potion No. 9 | Discotheque Vol. 2 | Command Records | LP | The Searchers first established this fey song about the gypsy potion that was to provide a remedy for the cat who isn't making it with the chicks. In this Lew Davies arrangement the gypsy formula carries a strong punch as Tony Mottola on guitar, Dick Hyman on organ and Phil Bodner on alto saxophone split up the first chorus. But its real potency is made evident when the brass team moves in and starts to build and build. That's when the potion really starts to steam. | 0:17:17 (Pop-up) | |
Enoch Light and The Light Brigade | Bond St. | Spaced Out | Project 3 Total Sound Stereo | LP | Excitement is the byword, as the rhythm section starts on the left, then switches to the right channel before it is joined by the Moog on the left (which provides the distinctive "pops" or "white noise"). Voices enter (right), and the action shifts to the center for a long crescendo, which explodes into an organ vamp. The momentum never lags, as pairs of flugelhorns, saxophones and flutes chase each other. After a rhythmic interlude on the Moog, the second chorus gets under way with voices and saxes on the right, answered in turn by the flugelhorns and piccolos on the left. An extended Moog interlude in which the voices join ushers in the third chorus. When the unison saxes swing into this last chorus, they double the rhythmic value of each note of the melody, while all the other parts move at the same pace as before. A "funky" organ solo by Dick Hyman leads to a coda which unites all the forces for a final chase. | 0:19:15 (Pop-up) | |
Enoch Light and His Orchestra | Istanbul | Far Away Places Volume 2 | Command Records | LP | The tinkle of finger cymbals and the insistent urging of a tambourine set the background for this breath-taking view of a city of veiled women. The voices and Dom Cortese's accordion are the primary vehicles for painting this colorful picture which is brightened by exciting little touches provided by the sudden growling appearance of Doc Severinsen's trumpet, the throb of a tom-tom and occasional fleeting glimpses of an evanescent belly dancer. | 0:21:51 (Pop-up) | |
Enoch Light and The Light Brigade | Carribe | Dimension 3 | Command Records | LP | This exciting and compelling piece opens with Bobby Rosengarden beating a Lujons on the right followed by Phil Kraus using an extremely soft "slap mallet" on xylophone on the left. The rhythmic attack is filled out by Don Lamond with drum sticks in the center. Once the brass and saxophones have gotten the piece off and roaring, notice the fast and intricate organ fills and solo that emerge with total clarity and fullness in the center while the trombones move from their normal right-handed position to the left in order to provide needed balance on that side. The tenor saxophone solo on the left, played against bongos on the right, is by Al Klink while it is Phil Bodner who contributes the provocative piccolo breaks later on. | 0:23:38 (Pop-up) | |
Enoch Light and The Light Brigade | Friendship | A New Concept of Great Cole Porter Songs | Command Records | LP | (From Du Barry Was a Lady, 1939). Porter wrote this as a parody of hillbilly songs and the broad comedy of his original creation is carried out in this strongly twisting version. Phil Bodner plays the deliberately corn-touched alto saxophone solo which the five-man brass team answers with a figure that s-t-r-e-t-c-h-e-s way, way out. Next time around, Dick Hyman's marvelously funky organ solo is accented by saxophone fills and breaks, as well as by trombone interjections. Don Lamond's drum break leading into the final chorus presages his big moment of glory at the end. | 0:29:56 (Pop-up) | |
Guitar Underground | Miss You | 7 Great Guitars With The Now Sound | Project 3 Total Sound Stereo | LP | The adaptation of a tune from the 20's opens with a repeated guitar figure, followed by the organ leading into the chorus. The guitar section carries the melody until the organ release. At the end of the first chorus, the bass guitars lead back into a reprise of the first strain. An exchange between the guitars and organ leads into a final unison note. | 0:32:33 (Pop-up) | |
Enoch Light and The Light Brigade | Season of the Witch | The Brass Menagerie 1973 | Project 3 Total Sound Stereo | LP | This venerable rock standard, written by Donovan, undergoes some unexpected but very effective alterations in this arrangement by Jeff Hest. The somewhat mysterious introduction features one unique sounding instrument entering after another (on different channels!) Vinnie Bell's electric sitar is followed in turn by Ed Shaughnessy's tabla, Candido's conga drum, Bobby Rosengarden's drums, Russell George's fender bass and Bucky Pizzarelli's "wah-wah" guitar, with the organ played by Dick Hyman passing between the channels. The sitar presents the melody first against an intensely driving rhythmic background. The trumpets are then pitted against the saxes and trombones as they toss phrases back and forth. After another go around, Arnie Lawrence's "magic" is heard once more, this time on soprano saxophone. A recapitulation of the theme follows, and the ensemble rocks its way into a final exciting "fade" ending. | 0:34:32 (Pop-up) | |
Enoch Light and The Glittering Guitars | You Showed Me | Glittering Guitars | Project 3 Total Sound Stereo | LP | Two of the specialized electronic effects developed for the guitar are combined in this sinuous treatment of the Turtles' great hit. Vinnie Bell opens the piece playing a fuzz-tone solo but he is soon joined in a duet by Jay Berliner, using a vibrola. Winding in and out of the two guitars is Dick Hyman's organ, sometimes in the background, at other times moving to the foreground with Phil Bodner adding his piccolo to the organ passages while Phil Kraus drops in bright accents with orchestra bells. When the strings come in, Bodner's piccolo is also teamed with them to add an extra dimension to their ensemble in the same way that it adds a top line to Hyman's organ. | 0:38:30 (Pop-up) | |
Tony Mottola + The Guitar Underground | Those Were the Days | Tony Mottola Joins the Guitar Underground | Project 3 Total Sound | LP | The rich nostalgia of this Gene Raskin tune, first revealed by Mary Hopkins when the Beatles unveiled their new Apple label, is an ideal vehicle for Tony Mottola's guitar. He plays the verse ad lib with only Vinnie Bell's special electronic effects as accompaniment. As the tempo settles in with the appearance of the melody, Dick Hyman on organ intersperses Tony's guitar solos with what Tony laughingly refers to as "Tel Aviv fills." They are appropriate because the tune often suggests near-Eastern folk dance even though, at other times, it also suggests the Berlin musical milieu that Kurt Weill portrayed so well. | 0:41:24 (Pop-up) | |
Enoch Light and The Light Brigade | Petite Paulette | Spaced Out: The Music of Bach, Bacharach and The Beatles | Project 3 Total Sound Stereo | LP | One of the principal aims of this album is to explore the potential of the Moog as an instrument whose great variety of sound production could be integrated into a larger ensemble context. However, producer Enoch Light felt that one selection of the album should spotlight the Moog as a solo instrument. Dick Lieb's response was to write this intriguing arrangement of a Bach Bouree in which five of the eight recording tracks (inputs) are devoted to the Moog, and three tracks are used for the rhythm section. Each of the five tracks highlights a different rhythm section. Each of the five tracks highlights a different sound or timbre of the Moog as it weaves in and out of Bach's original contrapuntal lines. The fantastic effect achieved is made even more exciting because of the great advances in stereo separation and direction achieved in this album. | 0:44:14 (Pop-up) | |
Enoch Light and His Orchestra | Ya Ya | Discotheque | Command Records | LP | Dance... Dance... Dance | 0:46:52 (Pop-up) | |
Enoch Light and His Orchestra | Diga Diga Doo | Stereo 35/MM Vol. 2 | Command Records | LP | This dazzling hit from Blackbirds of 1928 bristles with excitement that is launched by the swirling strings and big, bold brass on the right and then the challenging xylophone and fleet, building strings that lead into a dashing treatment of the melody with tight, hard strings on the right answering languorous strings on the left. A brilliant contrast in both timbre and tempo is set up at the opening of the second chorus between the demanding, insistent, staccato brass on the right and the gentle alto flute on the left. With unsurpassed mastery of both tone and technique, Doc Severinsen's trumpet solo on the right reaches out into the areas that have been impossible on recordings before the development of 45 mm magnetic film. This passage has a fullness and a lustre that should leap out of your speakers with an almost painful clarity. | 0:49:20 (Pop-up) | |
Bob Haggart and His Orchestra | Big Noise From Winnetka | Big Noise From Winnetka: A New and Sophisticated Concept in Contemporary Big Band Sound | Command Records | LP | Possibly the most popular novelty ever produced in the Bob Crosby band, this was originally a duet by Haggart and drummer Ray Bauduc which was highlighted when Bauduc took his drum sticks and beat on the strings of Haggart's bass while Haggart fingered the notes. Bauduc, who now works on the West Coast, and Haggart, who lives in the East, do the piece quite differently from each other these days. Here Haggart plays it a bit slower than he used to in the Crosby days, shifting to double time in the middle section when drummer Don Lamond raps the strings of the bass. Notice how Haggart has amplified his whistle at one point by complementing it with four piccolos. | 0:52:30 (Pop-up) | |
Enoch Light and The Light Brigade | St. Thomas Everybody | Future Sound Shock | Project 3 Total Sound | LP | We do hope this record will interest and intrigue you, and provide many enjoyable listening sessions. | 0:55:00 (Pop-up) | |
Enoch Light | Perdido | Big Band Bossa Nova: The New Beat from Brazil | Command | LP | 0:58:11 (Pop-up) |
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Listener comments!
DJ GeorgyGirl:
Rubberband Girl:
DJ GeorgyGirl:
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DJ GeorgyGirl:
Scott67:
👍😎🍵👣🌞🌏🌻
DJ GeorgyGirl:
Mr Fab:
DJ GeorgyGirl:
Rubberband Girl:
Scott67:
DJ GeorgyGirl:
It's Rubberband Girl's first marathon here at Sheena, kids, so show her some LOVE by hitting that pledge banner at the top of the page :-)
Mr Fab:
Rubberband Girl:
DJ GeorgyGirl:
DJ GeorgyGirl:
Scott67:
👍😎👔🎩
Otis:
Mr Fab:
DJ GeorgyGirl:
Mr Fab:
DJ GeorgyGirl:
Mr Fab:
DJ GeorgyGirl:
Otis:
Scott67:
👍😎🍵👣👣👣👣🍺
DJ GeorgyGirl:
DJ GeorgyGirl:
Scott67:
👍😉💸💸💸💸
Domenic:
DJ GeorgyGirl:
Otis:
Mr Fab:
Domenic:
Mr Fab:
DJ GeorgyGirl:
1. Click that banner at the top of the page and fling your money at the fabulous Provocative Percussion
2. Sign up for the monthly Swag for Life programme which starts at as little as $10 a month
3. Upgrade your existing Swag for Life - more cash to WFMU and more swag for you!
DJ GeorgyGirl:
Otis:
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Otis:
Mr Fab:
Domenic:
WR:
DJ GeorgyGirl:
Scott67:
👍😎🍵💋
DJ GeorgyGirl:
DJ GeorgyGirl:
Otis:
DJ GeorgyGirl:
Rubberband Girl:
DJ GeorgyGirl:
DJ GeorgyGirl:
DJ GeorgyGirl:
DJ GeorgyGirl:
Otis:
Scott67:
👍😎🎨
DJ GeorgyGirl:
DJ GeorgyGirl:
Mr Fab:
DJ GeorgyGirl:
DJ GeorgyGirl:
Scott67:
👍😎🎤
DJ GeorgyGirl:
DJ GeorgyGirl:
Mr Fab:
DJ GeorgyGirl:
Scott67:
✌😎🍹
DJ GeorgyGirl:
DJ GeorgyGirl:
Mr Fab:
That needs to be a future T-shirt/bumper sticker/whatnots
Scott67:
👍😉
DJ GeorgyGirl:
DJ GeorgyGirl:
Mr Fab:
DJ GeorgyGirl:
Scott67:
Rubberband Girl:
Scott67:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
Mr Fab:
DJ GeorgyGirl:
Scott67:
Scott67:
DJ GeorgyGirl:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
Scott67:
I shoulda gone back further, but what Musical Artist isn't loved by our Jungle Community??
DJ GeorgyGirl:
DJ GeorgyGirl:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
Scott67:
DJ GeorgyGirl:
Otis:
DJ GeorgyGirl:
wfmu.org...
WR:
I'm a gonna update my swag for life for this marathon but it is so hard to decide which programs to credit / support. So much greatness.
DJ GeorgyGirl:
Rubberband Girl:
Scott67:
Mr Fab:
drowsy:
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✌😎💨🌷🌷🌷
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Otis: