Tuesday, July 29, 2008
Also by popular demand, I've reuploaded this Sufjan Stevens compilation which you can download from the original post here.
Monday, July 28, 2008
Sunday, July 27, 2008
AS DREAMS TWIST AND BLUR
ALBUM````WE ALL DREAM OF RUBBER WINGS AND JELLY FEET
GENRE````ELECTRONIC, IDM, EXPERIMENTAL, ELECTRO, MOOG, AMBIENT, GLITCH
COMPILED BY PANDA STUFFER
A compilation I made dedicated to those positive, inspiring and complex dreams we all like to talk about but cannot explain.
As many of my compilations go, this one is also an eclectic mix of different artists. Selection spans from early vintage moog sounds and IDM ambient music over glitch electro to experimetal minimal intros by some more known and mainstream artists. Feel free to express your opinion about this compilation in the comments.
If somebody wants to review this selection of mine, feel free to do it.
THE BLURRY, DREAMY TRACKLIST:
01 Elliott Smith - Ostriches & Chirping
02 Aphex Twin - 4
03 Mike And Rich - Eggy Toast
04 Chris Moss Acid - Up Periscope
05 Fuzakenna Forest Journey
06 Cornelius - Wataridori
07 Paul Bonneau - Extase
08 Fennesz - Uds
09 Telephone Jim Jesus - Birdstatic
10 Robert Lippok & Barbara Morgenstern - Please Wake Me For Meals
11 Daedelus - Dreamt of Drowning
12 Cornelius - Like a Rolling Stone
13 Four Tet-Prefuse 73 - Creating Cyclical Headaches
14 Black Moth Super Rainbow - Seeds
15 Datach'i - What It Is
16 Cubismo Grafico - Vaseline For 11 Basslines
17 Flying Lotus - 1983 (daedelus odd dance party remix)
18 Casino Versus Japan - Over Island
19 Daniela Casa - Vizio
20 T.O.N.T.O's Expanding Head Band - Ferryboat
21 Xploding Plastix - The Cave In Proper
22 Drexciya - Draining of the Tanks
23 Kid Spatula - Nordy
24 Sufjan Stevens - The Undivided Self (for Eppie and Popo)
25 Steve Jansen - December Train
26 Miaou - On A Sunday (Qua Remix)
27 De Phazz - Twang
28 Martin Rev - Ten Two
29 Philippe Cam - Caddie's Day
30 Kelley Polar - A Feeling of the All-Thing
DOWNLOAD RUBBER WINGS AND JELLY FEET
Saturday, July 26, 2008
ROCK DAT SHIT
ALBUM`````BOGGY BYTES VOL. 3
GENRE`````ELECTRO, TECH-HOUSE, DUB, MINIMAL, EXPERIMENTAL, FUSION
One fearless mix. Top-notch production. New club music. Yeah!
GREAT AND DETAILED ALBUM REVIEW FROM IGLOO MAGAZINE:
Every generation gets the electric guitar it deserves -- the device that a million kids run out and buy and use to make music that drives their elders to ranting about "old school" this and "back in the day" that. So now we have new rave and mashups and DJ mixes that don't require the ability to beatmatch, and we have Ableton Live to thank.
Take Modeselektor's new mix CD Boogy Bytes Vol. 03 for Bpitch Control. I can't say for certain the German producer-duo used Live to sequence all the mixes, but it sounds like they did. Really, it doesn't matter how they made this; they made it to sound like right now. This mix is a touchstone for today's left-of-center dance culture. Why? It's all about the math. Math Problem #1. The album features 27 tracks in just over 65 minutes. Divide. That's one track every 2.407 minutes. But many tracks come in at under a minute, serving as bookends for the standout songs. Digital tools make such breathless mixing possible. But a new problem arises because some tracks even feature multiple songs. Math Problem #2. Track 11 contains 4 songs (Errorsmith's "Free For All," Robag Wruhme's "Papp-Tonikk," Female's "Cally 2," and Krause Duo's "Tigerbett"). Another division problem? No, this is a mashup, using German magic to turn 4 into 1. I know everybody says mashups are no longer cool, but this isn't Britney Spears mixed with Cannibal Corpse. It's a creative layering of some lesser-known electronic music to create something wholly original, and something that blends seamlessly with the rest of the mix. Thus digital mixing allows DJs to transform their material, making new music that is uniquely theirs. Math Problem #3. This is the complex interplay of algorithms that Modeselektor use to create beautiful ripples of reverb and waves of delay and tsunamis of other effects, sometimes as transitions between tracks and sometimes within the tracks themselves. Although I wish Modeselektor did not rely so much on massive filter sweeps in their mixes, how else are you going to go from IDM to hip-hop to techno? It's a problem.
In the end, I worry that with the rise of digital tools like Ableton Live, producers will start to forget how to take chances that are not pre-programmed. After all, there is a plugin for Live that has a knob called Chance. But these tools also give DJs an enormous amount of freedom. As they always have, most DJs will continue to make terrible choices, and we will be constantly reminded that indeed freedom isn't free. But then something like Boogy Bytes Vol. 03 will come along and remind us why we liked dance music in the first place.
Thursday, July 24, 2008
A BEAUTIFUL COLLAGE
ALBUM`````THANK YOU FOR GIVING ME YOUR VALUABLE TIME
GENRE`````SOUNDTRACK, ALTERNATIVE, EXPERIMETAL, POST-ROCK, TRIP-HOP
Excellent, subtle album by one of Europe most interesting and mystified producers.
This album has the same kind of warm, reverb-y production that Ipecac head honcho Mike Patton often favors (see Fantomas' Director's Cut), and has a collage-type avant-garde pop/rock feel that's not a million miles away from something like Director's Cut or Mr. Bungle's California. Then again, it's certainly not beholden to those influences either: the main inspirations here seem to be hip-hop (especially in terms of the production) and old American R&B and soul music, combined with an unusually user-friendly experimental streak. Basically, Kaada takes isolated samples and loops from old recordings, mixes them together with live instruments and (sometimes) vocals, and creates new songs that are essentially virtual collaborations between musicians from these different times and places. The striking thing about this album, although it's only striking once you try to analyze it, is that it's almost impossible to tell what sound is coming from what record. Whether it's sampled or live or not, or if you know all the recordings he's dealing with, knowing such things won't prevent you from enjoying the music here.
Thank You For Giving Me Your Valuable Time is full of such subtleties, which, rather than merely sounding coy and clever, add some real heart to the album and elevate from just a technically impressive collection of sampling and production trickery into something more.
GENRE`````EXPERIMETAL, AMBIENT, ELECTRONIC
This is a true rarity and a great find. I just cant find ANYTHING about this album. This is some kind of instumental, experimetal, ambient, electronic-art record from the 70's. I don't even know where I got it.
As the titles of tracks point out - it mostly describes bad human deeds and the slow dying of this world. It is quite atmospheric, precise and sounds unusualy good for an unknown vintage record.
DOWNLOAD SOCIETA MALATA
ARTIST`````GERT WILDEN & ORCHESTRA
ALBUM`````THE SCHULMADCHEN REPORT
EXCELLENT ALBUM REVIEW by :
The tag end of the 1960s and the beginning of the 1970s brought a river of permissiveness into film, with sexploitation getting a pretty good foothold in American drive-ins and cheap theaters -- not porn, but softcore weirdness involving lots of young people running around naked in whatever circumstances could be concocted.
As good as America's breed of low-rent filmmakers got with this, though, they couldn't hold a candle to the Europeans -- particularly the Germans, who all but turned softcore into a science. It may well be that America retreated to cheap horror movies in self-defense (and a case could be made that the English also beat a retreat, assuming a hardcore literary stance). And so, Germany produced Schulmäedchen Report (Schoolgirl Report), its many sequels, and its ilk. There were a lot of them, many of which wound up exported, badly dubbed, and run to death. If they didn't have a soundtrack by Gert Wilden & His Orchestra, then they weren't worth bothering with -- well, at least according to the liner notes here. Going by the evidence at hand, the liner notes might well be right. Wilden's music is a wonderfully demented pastiche that takes its inspiration from all kinds of sources -- "Dirty Beat" swipes from Led Zeppelin, but chucks in bits of acid rock, crazed Farfisa organ, and drum work that sounds like tap-dancing piledrivers.
Other cuts teeter on the edge of pure lounge, there's bits of smoky jazz, R&B, crazily mangled surf music, whatever else can be jammed in and will stick -- listening to this is like dealing with weather in Vermont: wait a couple of minutes and it'll change completely. One moment it's lolling saxophone, and the next it's James Last on amphetamines. It all fits, it's often hilarious, and it is absolutely worth keeping on hand.
Lobby cards and stills are scattered liberally throughout so that booklet begins to resemble a photo essay on nudism (the booklet front and the tray card feature nude stills as well; no disguises evident here.) The music, however, remains interesting long after the images have become boring.
GERT WILDEN SHORT BIOGRAPHY:
German conductor and composer Gert Wilden labored in semi-obscurity for most of his professional career. He provided themes and incidental music for literally dozens of European films and TV shows from the mid-'50s through the '80s, while never gaining the renown of contemporaries like Peter Thomas or Martin Boettcher. The tongue-in-cheek exotica revival of the mid-'90s, however, bought a new interest in previously unnoticed genres, and two CDs of Wilden's music, Schulmadchen Report and I Told You Not to Cry, were released to some acclaim in 1996 and 1997.
One of the first and my favourite swing jazzist. This is my small selection of his songs. Some of them you probably heard in many Woody Allen movies. One of his most famous tunes "Sing Sing Sing" is a included in a frantic scene of the movie "Pollock" (played by Ed Harris) which is a must-see.
01 Sing, Sing, Sing
02 I Want To Be Happy
03 My Old Flame
04 Memories Of You
05 Dark Shadows
06 Sometimes I'm Happy
07 When A Lady Meets A Gentleman Down South
08 How Deep Is The Ocean
10 Stompin' At The Savoy
11 Life Goes To A Party - Take 2
12 Sing, Sing, Sing - Part 2
Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed "The King of Swing," his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. The most popular figure of the first few years of the Swing Era, he continued to perform until his death 50 years later.
YOUTUBE: WATCH BENNY GOODMAN PERFORM HIS MOST FAMOUS SONG "SING SING SING"!!!
Benny Goodman Wikipedia entry here:
Benny Goodman official site here
ARTIST`````FELIX KUBIN UND DAS MINERALORCHESTER
ALBUM`````MUSIC FOR THEATRE AND RADIO PLAY
GENRE`````ELECTRONIC, EXPERIMENTAL, AMBIENT
My favourite dadaist German is back. I like Matki Wandalki more but this is a quite surprising European refreshment.
NICE AND SHORT BIOGRAPHY:
FELIX KUBIN, messenger of exploding lungs, lives and works against gravitation. His activities comprise futurist pop, electroacoustic and chamber orchestra music, radio plays, performance projects, lectures, curator activities and his own record label Gagarin Records. At the age of 12 he started composing electronic 4-track music of which a selection has been released on Dat Politics' label SKIPP, on A-Musik and Was Soll Das? Schallplatten. Since 10 years he played on plenty of festivals for electronic music, among them Sonar, Mutek, Ars Electronica, ISEA and Wien Modern. His vast artistic output has been published on vinyl, CD and film, in books and magazines. Other groups he was/is involved with include the contemporary ensemble Integrales, the noise project Klangkrieg, the communist singing group Liedertafel Margot Honecker and the tetchy teenage bands Die Egozentrischen 2 and x2.
ALBUM REVIEW BY boomkat.com (Read the whole review here)
A logical follow-up to Felix Kubin's Filmmusik album released a full decade ago, this compilation of theatrical and radiophonic soundtracks finds one of the most distinctive voices within European electronic music at the peak of his powers. The music compiled here comes from three plays: Branko Simic's Zufall, based on a Vladimir Nabokov short story, Hollywood Elegien, a Brecht/Eisler adaptation by Schorsch Kamerun and The Raft, a radio play written by Xentos Bentos of The Homosexuals. Throughout, Kubin's work artfully obliterates conventional orchestral sources with a Mego-like disregard for soundmatter.
ALSO YOU CAN DOWNLOAD HIS GREAT ALBUM "MATKI WANDALKI" FROM MY BLOG HERE
You can check Felix out here:
For the link great tnx goes to TalkingBook
Wednesday, July 23, 2008
ALBUM``````OKIE DOKIE IT'S THE ORB ON KOMPAKT
GENRE``````AMBIENT TECHNO, EXPERIMENTAL
I've stopped listening to Kompakt artists few years ago but then I rediscovered this gem and hell, I'm interested again. Great, great work by one of the genre's finest producers.
THE ORB SHORT BIOGRAPHY:
The Orb virtually invented the electronic genre known as ambient house, resurrecting slower, more soulful rhythms and providing a soundtrack for early-morning ravers once the clubs closed their doors. The group popularized the genre as well, by appearing on the British chart show Top of the Pops and hitting number one in the U.K. with the 1992 album U.F.Orb. Frontman Dr. Alex Paterson's formula was quite simple: he slowed down the rhythms of classic Chicago house and added synth work and effects inspired by '70s ambient pioneers Brian Eno and Tangerine Dream. To make the whole a bit more listenable -- as opposed to danceable -- obscure vocal samples were looped, usually providing a theme for tracks which lacked singing.
Absurd title aside, Okie Dokie marks the Orb's absolute absorption into Cologne's Kompakt label, following a series of 12" releases and compilation appearances dating back to late 2002. The principal factor is Thomas Fehlmann, a longtime associate and Kompakt elder statesman whose presence is felt on every track, consequently inhibiting Alex Paterson's whimsical impulses. There are no incongruous vocal appearances, silly spoken bits, or lumbering dubwise squibs. All the unnerving flights of fancy and widespread deficiencies that made Cydonia and Bicycles & Tricycles the slightest Orb albums have been washed away, exchanged for a stern focus and a series of productions that are also consistent for their even level of quality. Okie Dokie is a prime, stimulating example of what can happen when innovators find themselves inspired by younger producers who have been deeply influenced by their work.
GENRE``````PROG-ROCK, ART ROCK
This over-the-top pretencious album is just tooo huge, titanic and monstruous. Eclectic messages about pretty much everything, glorius, mystified lyrics that occassionaly sound a bit "cheesy" along with a couple of infamous, experimental tracks like "Infinity" where a famous greek acctress yells "I am, I am to come. I was." while having an orgasm + one 19 min spectacular non-listenable mixed track. Everything a bombastic cult album needs is here and stuck together in 1, 18 hours of 1970's rock spectacle.
...and - I really hate Biblical references in music but sometimes, when put in right perspective and from a safe distance, mixed with lots of humor it can acctualy work as a pure concept and as pure musical pounding entertainment.
This is considered to be the very first "concept album" and one of the greatest achievements of the genre ever by the way.
A Greek band of the late '60s and early '70s, Aphrodite's Child scored only one European hit, "Rain and Tears." Though it was a big one, the group became little more than a trivia answer after keyboardist Vangelis PapathanassiouChariots of Fire
The band began to record their crowning achievement late in 1970: a musical adaptation of the biblical Book of Revelation, entitled 666. Silver Koulouris, having finished his Greek army duty rejoined the band. However, relations between all the band members were not good at the time, and continued to worsen during the album's creation. dropped his surname and hit number one with the theme to in 1981.
Essentially, 666 was Vangelis' concept, created with an outside lyricist, Costas Ferris. The music that Vangelis was creating for 666 was much more psychedelic and progressive rock oriented than anything the band had done before. This did not sit well with the other band members, who wished to continue in the pop direction that had brought them success. Furthermore, Roussos was being groomed for a solo career, and recorded his first solo single "We shall dance" (with Sideras on drums), and his first solo album On the Greek side of my mind, whereas Vangelis recorded the score for L'apocalypse des Animaux and worked on a single with his girlfriend Vilma Ladopoulou, performing with Koulouris using the pseudonym "Alpha Beta".By the time the double LP 666 finally came out in late 1971, and having sold over 20 million albums, the band had already split.
The lyrics for "666" here
JAPAN'S FINEST TABLATRONIC SAMPLEMANIA ETHOGRAPHERS OR SIMPLY SAID - THE FUTURE SOUND OF JAPAN
ARTIST``````````ASA-CHANG & JUNRAY
SINGLE 01`````KANA (2004)
SINGLE 02`````SENAKA (2004)
ALBUM`````````TSU GI NE PU (2003)
GENRE``````````ELECTRONIC, EXPERIMENTAL, POST-ETNO (HA?)
Extraordinary sampling techniques and brilliant beat-programming are trademarks of this Japan-based experimental band. Unfortunately, these 3 recordings are all I have. If anyone has their album/compilation "Jun Ray Sung Chang" please let me know because I simply cannot find it anywhere.
I don't understand one word they are singing (speaking mostly) but it somehow seems they are examining the Japanese language itself. I've realised that for people who don't understand their chopped-up lyrics, this album may even sound more interesting because the voices litteraly become rhytmic instruments just like percussions and sound textures they are using.
My favourite tracks are "Toremoro" from "Tsu Gi Ne Pu" album and "Kana" from "Kana" single.
This is strange, but their albums, EP's and singles are extremely rare to find on the internet and that makes this a must-must-have:)
Based in Tokyo, self-taught tabla guru Asa-Chang spends his professional life touring with multi-million-selling J-pop acts - groups that make S Club 7 sound like Joy Division. Regarded as Japan's premier session percussionist, in his spare time this loveable eccentric makes music that might just blow your head off.
Asa-Chang & Junray is the name of the Asa-Chang experience, and comes from the 'Jun-Ray Tronics' soundsystem he uses. The word also means 'pilgrimage' - Asa-Chang is on a mission to take music to places it's never been.
All three recordings are packed in one zip file.
DOWNLOAD ASA-CHANG & JUNRAY
Read an interview here: Asa-Chang & Junray feat. Kyoko Koizumi
Thursday, July 17, 2008
IT'S TIME TO GET REACQUAINTED
ALBUM````SEE ME RIDIN'
GENRE````INDIE, ELECTRONIC, SYNTH POP, MINIMAL, BUBBLEGUM POP
Since Suicide are one of my favourite 80's underground asshole acts, Martin Rev just comes along naturally. This album is his best work (maybe even including the Suicide albums). Everything is here: Martin's naive I-dont-give-a-fuck voice, glorious I-dont-give-a-fuck childish lyrics (I love you, yes I do, and I always want to be with you, yeah) and minimal stylish I-dont-give-a-fuck rhythms and melodies. Even those few instrumental songs are somehow...really good.
It is amazing how such simple and basic compositions sound so fresh and out there. Basicaly, he was out there in the 1980's, 1990's and damn he still is. See me Ridin' sounds incredibly fresh today so you all synth-indie-wanaabees can just go and bleed to death in a smelly corner.
by Greg Prato
On Martin Rev's 1996 solo album, See Me Ridin', the co-founder of the legendary electro-rock band Suicide steps out on his own, and offers 16 tracks of minimalist bubblegum power pop. But don't worry longtime Suicide fans, drum machines, Rev's trademark synthesizers, and his half-sung/spoken vocals are the basis for each song, while Suicide's hypnotizing repetition is used to great effect as well. Although a wide variety of musical artists and styles come to mind when listening to the album (Buddy Holly, Guided by Voices, Legendary Pink Dots, and David Lynch-like soundscapes), it's still unmistakably Martin Rev. What carries the compositions is Rev's strong sense of melodicism -- "Pillars," "Be Mine," "Secret Teardrops," and the title track contain such strong melodies that they sound hauntingly familiar.
Attention industrial/techno-heads, it's time to get reacquainted with one of the genre's founders...Martin Rev.DOWNLOAD
Get him @ myspace
See his shitty site
See a crappy fan site with some info and miserable photos
Sunday, July 13, 2008
GENRE````POST ROCK, EXPERIMENTAL
I've been listening to Bark Psychosis for a long time now and that's a bit odd considering that they have - well...only 2 albums.
Since I've already posted their first groundbreaking album "Hex" which you can and must download here, there is no reason for not posting their second, not groundbreaking but simply mature and beautiful album - Codename: Dustsucker. Considering the amount of time it took them to make this album, it's a wonder how hey managed to contain that same, fresh and organized blurry emotional sound trip they had in 1994.
Despite a relatively small recorded output and little media recognition, Bark Psychosis was one of the most innovative artists of their era. From rather uninspired origins as a teenaged Napalm Death cover band, the British group evolved by leaps and bounds, moving from moody, lush pop to ambient soundscapes to taut, atmospheric experimental music; their work was so revolutionary, and so impossible to define, that noted critic Simon Reynolds even found it necessary to invent a new sub-genre -- "post-rock" -- simply to categorize their vision.
(from www.dustedmagazine.com by Adam Strohm)
For every Bon Jovi or Mission of Burma, who find success in their comebacks, there are the ill-fated attempts of countless bands whose quest for resurgence may never even reach the pubic eye (or ear), even on the level of independent music. Luckily, for Sutton and Bark Psychosis, this doesn't seem to be an applicable issue.
Augmented by a group of 14 musicians and vocalists, Sutton leads the group through nine dreamy numbers which don’t often vary from a formula that might be tired in 2004, but something that Sutton pulls of with a vitality that many others lack.
Before the lengthy construction of this album, Graham Sutton’s mind had been away from Bark Psychosis for a few years, but it’s hard to tell. ///Codename:Dustsucker is largely without missteps or ill-advised ideas; instead it’s a fresh look at the sound that he’d once eschewed. It’s nothing brazenly new, but there’s no need for it to be. The nighttime dream that is ///Codename:Dustsucker is enveloping enough that there’s not much need to worry about such minor squabbles, as, with this music, the details aren’t what matter in the end.
You should also consider downloading their previous album "Hex" here.
ALBUM````UNRELEASED 70'S PORNO MUSIC
GENRE````FUNK, KITSCH, SEX
YEAR``````2004 / 1970's Vintage Porn
A true gem - sleezy soundtrack music that almost every comedian (Pablo Francisco?) pranked with at least once is here - remastered and carefully selected for your enjoyement. Inserted narattions by porno-super-tzar Ron Jeremy are gorgeously simple, awful, sleezy reminders of vintage 1970's porn movies with a "back-story haha" (hairy plummer suddenly appears at a half-naked-just got of a shower blonde's apatrment to repair her "pipes"). Simply said - wah-wah sex classic!
Ron Jeremy - the plumming legend
by Jason Ankeny from allmusic
If the smiling visage of smut film icon Ron Jeremy that adorns the cover of PornoSonic isn't in and of itself enough to convince you to buy the record, then you need to seriously recalibrate your value system -- the Hedgehog is a veritable trademark of quality, and one listen to this collection of vintage porn music will no doubt prove enough to keep you coming back for more. These ten instrumentals are from the classic "boom-chicka-pow-wow" school of skinematic debauchery, loaded with funky drums, bone-rattling basses, and guitars that squeal and moan like starlets in heat -- best of all, the esteemed Mr. Jeremy contributes spoken material guaranteed to keep the ladies in the mood. Highlights include such theme songs as "Laying Pipe," "Sex Starved Secretaries," "Cramming for College," and "Prepare for Take Off."
1. Dick Dagger's Theme [From Dick Dagger's Big Dick Dilemma]
2. Cramming for College [From Cramming for College]
3. Nice n' Sleazy Does It [From "If It Ain't Easy It Ain't Sleazy"]
4. Spiderpussy [From Spiderpussy]
5. Special Delivery [From a Happy Ass]
6. Sex Starved Secretaries [From Takin' Dictation]
7. Prepare for Take Off [From Mile High Club]
8. Her Magic Carpet [From Donna Does DeNise]
9. Laying Pipe [From Plumber's DeLight]
10. Spiderpussy (Slight Return) [From Spiderpussy 2: Caught in the Web]
Monday, July 7, 2008
ALBUM`````BORN BAD IN JUNGLE FEVER
GENRE``````PROTO-ROCK, EARLY ROCKABILLY, ROCK & ROLL, PROTO-PUNK, PSYCHOBILLY
This is a selection/mixed bag of 12 volumes of the brilliant "Born Bad" compilations, Monkey Madness compilation and Jungle Fever discs.
Some of these artists you may know (Wanda Jackson, The Groupies etc.) but some are true unknown gems of the past age. I was thrilled to find out that many of these songs are included on the fabulous "Songs The Cramps Thaught Us" compilations which are dealing with the birth of psychobilly music that made The Cramps sound so damn good.
Jungle Fever and Monkey Madness songs are added just to spice the mix up estheticaly and give it a bit of needed innocence and ridicule since most of these songs are bizzare underground failures that were strangely influental on many music movements in America in those days.
01 The Groupies - Primitive
02 The Cherokees - Uprising
03 Phantom - Love Me
04 Kai Ray - I Want Some Of That
05 Alfred E Neuman - It's A Gas
06 Novas - The Crusher
07 Frantics - Werewolf
08 Rumblers - Boss
09 Jody Reynolds - Fire Of Love
10 Fendermen - Mule Skinner Blues
11 Wanda Jackson - Funnel Of Love
12 Andre Williams - Bacon Fat
13 Kip Tyler & His Flips - Jungle Hop
14 Link Wray & His Ray Men - Fat Back
15 Readymen - Shortnin' Bread
16 Rivingtons - Mama-Oom-Mow-Mow
17 Mel Smith & The Night Riders - Pretty Plaid Skirt
18 Sonics - He's Waiting
19 R Lewis Band - Get Off The Road
20 The Highlights - Ah So!
21 The Continental Cousins - Kana Kapila
22 The Peeple - Hi Yo Camel!
23 The Revels - Conga Twist
24 Brother Bones - Monkeyshines
25 Prairie Ramblers - Monkeys Is The Cwaziest People
26 Andre Williams - The monkey speaks his mind!
27 Hoosier Hotshots - Like a Monkey Likes Coconuts