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01
Steve Rowland Out Ridin
02 :34
02
The Parkays Get It
02 :30
03
Mark III Trio Good Grease
02 :33
04
The Roller Coasters Rimshot Part 2
02 :31
05
Hoochie & The Coochie Coos Skee-Mo
02 :17
06
Baby Earl & The Trinidads Backslop
02 :33
07
Roosevelt Fountain Red Pepper Part 2
02 :08
08 02 :37
09
Rudy & The Reno Bop's Rudy's Monkey
02 :14
10
The Impellas Hook-Em
02 :04
11
The Gone All Stars 7-11
02 :31
12
David Rockingham Trio Bee Dee
02 :03
13
Les Drivers Good Gully
02 :24
14
Big Jay McNeely Big Jay Shuffle
02 :19
15
Wild Bill Davis Blues For Barbara
02 :14
16
The Noc-A-Bouts Jungle Safari
02 :11
17
Gene The Hat Hush Puppy
02 :00
18
The Red Tops Mustard
02 :43
19 01 :45
20
Pancho Villa Baby Cakes
01 :55
21
Ken Kash Kwintet Vicious Vodka
02 :18
ARTIST
TITLE
Dr. Boogie Presents Heavy Jelly: Essential Instrumentals
FORMAT
CD

LABEL
CATALOG #
SR 292CD SR 292CD
GENRE
RELEASE DATE
12/8/2009

This is the fifth volume in Sub Rosa's collection devoted to rare and lost recordings from the '20s to the '60s, following Dr. Boogie Presents Rarities from the Bob Hite Vaults (SR 271CD/LP), Oh, Run Into Me, But Don't Hurt Me! Female Blues Singers -- Rarities 1923-1930 (SR 268CD/LP), Shim Sham Shimmy (SR 279CD/LP), and Dr. Boogie Presents 26 Deranged And Smokin' Cool Cats (SR 286CD/LP). This time around, musicologist and radio personality Walter De Paduwa aka Dr. Boogie has assembled a collection of hot-shot instrumentals culled from the original 45s -- tunes mainly dominated by a sax and organ, and always backed by a strong rhythm section. The first half of the '60s was a perfect test ground for whoever wanted to make a record for a fistful of dollars. The 45 rpm was king, and among the other genres of the day, instrumentals occupied a sizeable chunk of production. The best-known instrumentals came from California in the late '50s, thanks to the surfers who quickly adopted a new guitar sound from Texas. Simultaneously, all over the United States bands started recording lots of diverse and surprising instrumental tracks. They did so for various reasons: lack of a good singer, as filler for a B-side, or for a shot at the charts with a different, jukebox-ready mix of an already-released song. The mark of a good instrumental was often a gimmick, i.e. that little something -- a riff, an intro, a repetitive chord -- that would act as the piece's signature item. The tracks here were shamelessly designed for no other reason than to fill up the dancefloor, to great effect.