Sax Sounds. Apollo Records. 1950’s jazz saxophone compilation with amazing graphics.

(29 votes, average: 4.34 out of 5)

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Another great Dana polka cover.   “Dream Polka”   Frank Wojnarowski.

(49 votes, average: 4.27 out of 5)

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Kenya Records Presents Od Ogatu “The World’s Fastest Drummer”.   This is a beautiful, deep red, snake skin textured cover with gold embossed letters.   The songs include “Bongo Heat”, “Devil Dance”, “Virgin Rite” and “Wild Ecstasy.”   I think I found a site where you can here this: Click HERE.

(26 votes, average: 2.96 out of 5)

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Crazy Jose — “Cha Cha Cha.”     United Artists.

(44 votes, average: 3.95 out of 5)

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TWIST! “Explosivos Vol. IV.” A compilation from Mexico (I think) with bands like: “Los Electronicos”, “Los Crazy Boys”, “Los Locos Del Ritmo” in addition to Bill Haley Y Sus Cometas! A beautiful golden glow to this one.

(25 votes, average: 3.32 out of 5)

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“Shock Treatment” The Mel Henke Group on Tempo Records. Nice red vinyl on this one.

Tracks include: Cocky Cuckoo Clock; Pennies From Heaven; Paradis Toccata; In A Mist; Little Rock Getaway; Frenzied Flight; Shock treatment; I Surrender Dear; Dance Of The Cavemen; Kakachurian Toccata; I Can’t Believe you’re In Love With Me; In A Little Spanish Town

Coming up in a variety of Chicago bands in the ’40s, this pianist had an unusual career that included recording downright weird tunes such as “Shock Treatment,” “Cocky Coo-Coo Clock,” and “Frenzied Flight,” as well as creating what might be one of the masterpieces in the genre of lounge music, although experts in this style have been a bit relaxed about establishing an exact opinion. Henke shows up in the rhythm section on some Louis Armstrong records, and meanwhile over in Nashville, he once successfully placed a song with Conway Twitty. Henke was trained to please in writing ad copy, an influence that has been considered both a pro and con factor in his recorded works. Perhaps Henke’s greatest influence as a musician was in the advertising field itself, as he was innovative in mixing music and sound effects as an attention-grabbing factor in the commercials of the ’60s.

By the early ’40s he had settled in Los Angeles, leading his own trio on the side. This outfit landed a deal to make a pair of albums on the Contemporary label, which is where jazz buffs inevitably come across him. Fans of the type of challenging jazz often presented on this label may find the concoctions of Henke a bit bubbly; his followers seem to drift in more from the aforementioned loungey or space age waiting rooms. In 1955 he went to work for Disney’s television department, writing material for a great deal of the studio’s commercials as well as incidental music for the Disneyland television series. Henke ran his own production company as well, and was known for experimenting with sound effects and the concept of mixing dialogue into musical passages. Inevitably, he created a series of albums combining these techniques with full-length musical performances and instrumental skullduggery. La Dolce Henke, worth hunting down for its title alone, is considered his masterpiece. – Eugene Chadbourne, All Music Guide

(18 votes, average: 3.89 out of 5)

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This is a Jimi Hendrix bootleg called “GOOD KARMA I”, featuring Hendrix recorded live at The Berkeley, California Community Theatre on May 30, 1970, released in this Collectors Item version by the TRADEMARK OF QUALITY folks. The cover features the classic underground illustration work of William Stout. The tracks are: FIRE, JOHNNY B. GOODE, HEAR MY TRAIN A COMIN’, FOXY LADY, and FREEDOM.

(41 votes, average: 3.95 out of 5)

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“Lover” Jean Houben at the Organ A Masterpiece Hi-Fi Record.

(34 votes, average: 4.18 out of 5)

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“Twist con Manolo Munoz”   Musart

(19 votes, average: 3.11 out of 5)

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ACID TEST on Sound City Productions with Ken Kesey and The Merry Pranksters along with members of the Grateful Dead and others. Ultra rare original copy of drugged out noise experimental psych weirdness housed in paste-on cover with blank back.

From the Acid Archives: “Legendary documentation of the 1965-66 Bay Area Acid Test scene “from 14 hours of the actual trip” (recorded in a studio). Shows the other side of acid culture which is fun, unpredictable and avant garde as opposed to the Leary camp’s solemn religious/ psychological approach. Lots of amazing mind games and word play with Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Released in March 1966, just as the Pranksters were splitting for Mexico.”

(39 votes, average: 3.62 out of 5)

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