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Another in a series of posts that supplement the forthcoming Reverbstorm<\/em> book<\/a>. Music, especially the rock’n’roll of the mid-50s to the mid-60s, was an important motor in Reverbstorm<\/em>‘s creation: the title comes from the lyrics to Paul Temple’s song, and the song itself was included as a CD-single<\/a> with the first issue. Each issue opened with a playlist of ten pieces of music offered as a complement to the narrative. We alternated the choices: David Britton chose the first ten, I chose ten for the second issue and so on. Dave’s choices were mainly the rock’n’roll he’s been listening to all his life while I tried to balance this with a more eclectic selection. But in Reverbstorm<\/em> itself it’s the rock’n’roll that’s referenced the most, and it was this era of music we were both listening to a great deal during the composition of the series.<\/p>\n What follows is a guide to some of the songs and instrumentals referred to in the book, together with some of my favourite tracks from a compilation tape I used to play repeatedly while I was drawing. A few of these tracks are very obscure one-off singles so this list serves an additional function in saving people the trouble of hunting around.<\/p>\n Bo Diddley<\/a> (1955) by Bo Diddley<\/strong> Bottle To The Baby<\/a> (1956) by Charlie Feathers<\/strong> The Monkey (Speaks His Mind)<\/a> (1957) by Dave Bartholomew<\/strong> Esquerita And The Voola<\/a> (1958) by Esquerita<\/strong> Hootchy-Koo<\/a> (1958) by Larry Williams<\/strong> Rumble<\/a> (1958) by Link Wray<\/strong> Alligator Wine<\/a> (1958) by Screamin’ Jay Hawkins<\/strong> Storm Warning<\/a> (1959) by Mac Rebennack<\/strong> Tall Cool One<\/a> (1959) by The Wailers<\/strong> Wang Dang Doodle<\/a> (1960) by Howlin’ Wolf<\/strong> I Want Some of That<\/a> (1961) by Kai Ray<\/strong> Let There Be Drums<\/a> (1961) by Sandy Nelson<\/strong> Bo Did It! (1989)<\/em><\/p>\n Boom Stix<\/a> (1962) by Curley and The Jades<\/strong> Papa-Oom-Mow-Mow<\/a> (1962) by The Rivingtons <\/strong> Surfin’ Bird<\/a> (1963) by The Trashmen<\/strong> The Fourth Dimension<\/a> (1964) by The Ventures<\/strong> Strychnine<\/a> (1965) by The Sonics<\/strong> Bop Diddlie In The Jungle<\/a> (1966) by Tommy King and The Starlites<\/strong> Electricity<\/a> (1967) by Captain Beefheart and his Magic Band<\/strong> I Wanna Be Your Dog<\/a> (1969) by The Stooges<\/strong> Garbageman<\/a> (1980) by The Cramps<\/strong> Previously on { feuilleton }![\"bo.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2008\/06\/bo.jpg\")
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\nPart 3 of Reverbstorm<\/em>, “The Big Beat of Apes”, is subtitled “Bo Diddley meets William Hope Hodgson”, and it’s to the Bo Diddley Beat that we’re referring. Diddley recycled his highly influential riff\/rhythm many times, and inspired many cover versions, pastiches or outright thefts. A heady mix of these may be heard on one of the key albums for the creation of the series, a 1989 vinyl-only compilation entitled Bo Did It!<\/em><\/a> which gathered seventeen obscure Diddley Beat singles. A couple of these are listed in Lord Horror’s radio playlist seen in part two, while others are present in this list. But this Bo Diddley song is where it all begins.<\/p>\n
\nClassic hiccoughing rockabilly and a favourite of Savoy cult band The Cramps who covered Feathers’ I Can’t Hardly Stand It<\/em>. Bottle To The Baby<\/em> gets a mention in part 3 while Charlie himself is quoted in part 8.<\/p>\n
\nA moral tale from Mr Bartholomew, also quoted in part 3.<\/p>\n
\nOften cited as the guy that Little Richard stole all everything from, the very flamboyant Eskew Reeder Jr had an erratic career which yielded this berserk highlight, the B-side of his Rockin’ The Joint<\/em> single. I first heard this when Dave played it in Savoy’s Peter Street shop one day and couldn’t believe how crazy it sounded. It’s also hard to believe it was on a major label. Play loud.<\/p>\n
\nLarry Williams was the prince of big bawdy numbers like this, and a favourite of The Beatles who covered three of his songs. The version I used to listen to was a slightly different demo recording (not on YT, unfortunately). Lucy Swan liked Hootchy-Koo<\/em> so much she mentions it in her Lord Horror-related novel The Adventures of Little Lou<\/em><\/a>.<\/p>\n
\nThe ultimate swaggering riff and the moment where the guitar takes over from the saxophone as the locus of menace in popular music. Most people have probably heard this in the background of the Jack Rabbit Slim’s scene in Pulp Fiction<\/em> but you’ll find it elsewhere, notably a Ry Cooder cover version<\/a> in Streets of Fire<\/em>, the highlight of an otherwise lacklustre film.<\/p>\n
\nThe witches’ recipe from Macbeth<\/em> gets reworked by Leiber & Stoller as a swampland love potion for Screamin’ Jay.<\/p>\n
\nBefore a bullet ruined one of his fingers, Dr John was guitarist Mac Rebennack whose early career produced some impressive singles such as this Diddley Beat instrumental. That title is now impossible to disassociate from the devastation wrought by Hurricane Katrina in 2005.<\/p>\n
\nThe Wailers, a Seattle group, are often listed now as The Fabulous Wailers to distinguish them from Bob Marley’s group. They had a knack for catchy instrumentals; in addition to this there was also Mau Mau<\/a><\/em>.<\/p>\n
\nGiven a choice between this version of Willy Dixon’s song and the later Koko Taylor recording<\/a> (which includes Dixon on vocals) I’d probably choose Koko’s but the Wolf came first, and this was the one Dave listed in the first issue of the series.<\/p>\n
\nOne from the Lord’s playlist in part 2.<\/p>\n
\nSandy Nelson made a career out of recording drum instrumentals. This thundering opus is his finest moment.<\/p>\n![\"bodidit.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/05\/bodidit.jpg\")
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\nWho the hell were Curley and The Jades? Don’t ask me but this obscure single from the Bo Did It!<\/em> collection manages to weld a Sandy Nelson drum break to the Diddley Beat.<\/p>\n
\nOne of the great nonsense hits, and endlessly imitated afterwards, the title gets a mention in part 2. Kim Fowley had something to do with the release so it’s fitting that he’s wound up with Savoy as well, having written the insert notes to the recent Fenella Fielding album<\/a>.<\/p>\n
\nOf all the copyists and imitators that chased The Rivingtons’ success none can approach these two minutes and twenty seconds of demented genius.<\/p>\n
\nI find a little of The Ventures’ twanging instrumentals usually goes a long way, like many of these groups they work best on compilations. But I do like The Ventures in Space<\/em><\/a> which is where this spooky David Lynch-style number originates.<\/p>\n
\nPsycho<\/em><\/a> would have been the obvious choice here but I tried to avoid being predictable. Everything The Sonics recorded sounds cranked to the point of distortion, and this is no exception. Garage punk at its wildest.<\/p>\n
\nAnother track from Lord Horror’s playlist found on the Bo Did It!<\/em> collection, this is Bo’s Diddley Daddy<\/em> relocated to a jungle setting.<\/p>\n
\nThe whole of Reverbstorm<\/em> is dedicated to Trout Mask Replica<\/em> but this was a track from one of my playlists. A compelling argument for why there should be more theremins in pop music.<\/p>\n
\nLust For Life<\/em> was the album I was playing a lot whilst drawing but this song was another of Dave’s choices. One of the Savoy “Lord Horror” singles in the 1980s was a cover of Raw Power<\/em><\/a>.<\/p>\n
\nAnd another of the Savoy “Lord Horror” singles was a cover<\/a> of this unstoppable beast from The Cramps. “Do you want the real thing, or are you just talkin’?”<\/p>\n
\n\u2022 Reverbstorm: Bauhaus Horror<\/a>
\n\u2022 Reverbstorm: an introduction and preview<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"