arDATE = new Array( "March 2005" ) arARTIST = new Array( "Guest Selections:", "Beige", "Tennis", "Eardrum", "Satisfact", "Various Artists", "Nudge", "h. e. a. d.", "Electric Birds", "Christ.", "Twerk", "Various Artists", "Hosanna", "The Scarlets", "Rick Powell", "Dr. Buzzard's Original Savannah Band", "Bassett Hand", "The Avons", "Martin Denny", "Timi Yuro", "Uncommunity", "thefatrooster", "hungryhippo1970" ) arTITLE = new Array( "Songs they like to sing...", "Ein Konigreich Fur Eine Handgranate", "Europe on Horseback", "Side Effects", "Satisfact", "Well Suited for General Purpose Audio Work", "Trick Doubt", "97 98", "Gradations", "Metamorphic Reproduction Miracle", "Humantics", "Solar Seeds", "Hipit", "Cry Baby", "Switched On Country", " - ", "In Detroit", "Baby", "Primitiva", "Thirteenth Hour", "Brutality of Fact", "The Notwist", "1910 Fruitgum Company" ) arTRACK = new Array( "t00", "1. Women and Children First", "4. Self-Seal Mishap", "5. Lightfell", "3. How Things Work", "1. Tipper - Dissolve(out) [Phoenecia Remix]", "4. idiolect", "4. I'll Be Dissing You", "4. Slow Motion", "7. Fantastic Light>", "7. Caustic Limitation", "8. Dakota - Rocky Beach", "Part 1", "Side A", "2.4 I Walk the Line", "1.1 I'll Play The Fool", "Side A", "Side A", "2.1 Llama Serenade", "Side B", "1.1 Brutality of Fact", "1.1 Day 7", "1.6 Special Delivery" ) arDESC = new Array( "Bunny Number 1 every month from now on is for my guests, who request some tracks to appear in the jukebox. This month, I have three guests, click on each icon at left to see what they selected. ", "Oliver (Beige) Braun's quartet of mentalist funk-outs provide a fabulous aural assault course of crunching rhythmic U-turns, surrealist humming and jack-knife Spazztronica. Click here for more info on the nonplace label and info for other band releases.", "First individual artist album on bip-hop sees ben edwards (Benge) and douglas benford (si-cut.db) collaborating as tennis. Together they have produced a sound more minimal than their individual projects. Clicks and cuts, and deep dubby sounds with the occasional more melodic number. Good stuff. ", "Percussionists Lou Ciccotelli and Richard Olatunde Baker are Eardrum. Since forming in the early '90s, the duo has gleaned inspiration from free jazz, Afro-beat, musique concrète, and reggae, attempting to build on the spirit of Sun Ra, Miles Davis, Lee 'Scratch' Perry, Fela Kuti, and the outer reaches of 23 Skidoo. The duo's material is often dark, always hypnotic -- nothing but pure rhythm. Three years after making their 1996 debut with a 12' on Soul Static Sound, Ciccotelli and Baker issued the Last Night LP on Leaf. With help from several guests, all of the instrumentation was recorded live and was patched together in a rigorous editing process, Teo Macero style. Last Night Remixes, Vol. 1, a batch of reworkings from the likes of Monolake, Ashley Beedle, and the Sofa Surfers, was released in mid-2000. The duo made a full return in 2001, a year that saw the release of Side Effects, which featured contributions from renowned engineer Guy Fixsen (My Bloody Valentine, Laika), Nii Tagoe (African Head Charge), and Jason Yarde (Manu Dibango). Delving further into African-based musics, Eardrum again demonstrated a proclivity for tightly reined chaos.", "Satisfact began as a side project of Dave Schneider (of Lync and Love as Laughter) and Matt Steinke (Mocket, Octant), and unfortunately they've decided that the project has run its course. The music they produced as Satisfact was brilliantly preoccupied with the pervasiveness and alienating character of technology and modernity, recalling in some ways Tubeway Army-era Gary Numan. But whenever the hypnotic keyboards and robotic blips and squeaks seem on the verge of carrying the music away, scratchy punk guitars dripping with feedback reassert themselves, joined by a fierce, precise rhythm section and sometimes even cello and violin.

So the sound ends up being something like Sonic Youth meets Thomas Dolby. Or maybe what the Psychedelic Furs would have sounded like if they were just getting started today. No matter. The point is that Satisfactwas remarkably adroit at mining some of the musical styles of the past two decades to craft music completely attuned to both the present and the future; a music familiar with the sound of an angry cry echoing off the unfeeling sides of the machines and the skyscrapers.", "A compliation by various artists entitled 'Well-suited for General-purpose Audio Work' on CD and double LP. The press sheet reads: 'The Schematic crew returns once more with its fourth compilation ofbrain-straddling aural tanglements that realign your eardrums for this third modern millennium'. Following ace products/legends like Ischemic Folks, Lily of the Valley and House of Distraction, the Miami funkonaughts reveal 13 more salvos of digital composition sure to set your stereo on its side. Along with crytpic hardend sounds of Schematic veteras like Otto von Schirachand Richard Devine, we arew introduced to new ischemic emigre Kiyo, whose Jay Dee vs. Cornelius Cardew cage match crumbles expectations. Dino Felipe contributes 3 tracks as well, and label founders Phoenicia contribute original tracks and remix efforts, one of which is presented here. There are tracks here that are exclusive to the CD version as well. ", "The IDM-meets-post-rock collective Nudge features multi-instrumentalists Brian Foote and Paul Dickow and vocalist Honey Owens as its creative core, and features members of likeminded bands such as Fontanelle, Jessamine, Sunn, Emergency and Nice Nice as collaborators. The group formed in the late '90s and embarked on extensive jam sessions that were later cut and pasted into a glitchy fusion of live and programmed performances. This modus operandi was evident on Nudge's first album, 2002's Trick Doubt, which was released by Foote's label Outward Music Company. The following year saw the release of Elaborate Devices for Filtering Crisis, a more intricate affair that was issued by Tigerbeat6.", "After wanking together, khan and kerosone started tweaking together and here it is: techno chacha, back to fun in electronic music.h.e.a.d. was founded in1993 by Kerosene (Frankfurt/Germay) and Khan (NYC). There debut album 'EFS' released on the Cult Label Blue out of Cologne was a big success with the international press and the global electronic scene. At that point ambient hit the techno world and h.e.a.d. turned it up side down by adding noise and randomness to it. what came out was a heavy psychedelic wall of sound. This concept was perfected on their second long layer 'Hedonist' which included house elements that took this sound to the dance floor. The third release, on the German label Harvest, was called 'James Dean' and was released as both CD and EP the new album '97/98' includes influences such as R&B, Electro lounge and South American ryhthm. The idea was to put the fun back into electronic music without diminshing the high standard of sound h.e.a.d. had already achieved. Both producers bring their very own sense of style to the music such as Khan's '4E' funk (Mille Plateaux/Pharma) and Kerosene's 'Tennage Secret' on Caipirinha. '97/98' sees the pre-millenium-trauma of an electronic society and a splash of cha cha.'Our multi cultural approach combines and contrasts such things as pop art, classic hip hop and rock, poetry and techno. The musical language is transformed into pure energy and becomes understandable to anyone in this Universe.'", "Electric Birds is the solo project for Mike Martinez, co-owner of the Deluxe record label since 1995. The imprint has accumulated a diverse roster of quality releases by the likes of Matmos (whom Martinez has collaborated with), Disc, Blectum from Blechdom, and Satisfact. Martinez' early bands included John Henry West and Cars Get Crushed; the latter released full-lengths on the Goldenrod and Mod Lang labels. In 2000, he released his Electric Birds debut, an excellent album that combined computer processing with more conventional instrumentation and included production contributions from Matmos. After Martinez' second release, 2001's Panorama, and the EP's collection Strata Frames (for Belgium's U-Cover), he signed Electric Birds to Mille Plateaux, the premiere European label for experimental techno. The first full length release for the label, Gradations, appeared in April of 2002.

What I love about this song in particular is how it begins as a random collecton of unrelted samples sort of clanking on their own that slowly drift into this kind of slow dub groove. Nice. The ambient soundscapes of Gradations, producer Mike Martinez's debut album for Mille Plateaux as Electric Birds, explore a diverse array of tiny yet remarkably melodic sounds. It's not the individual sounds themselves that are melodic, but rather the way Martinez combines them into subtle layers of complementary soundscapes. For these layers, he manages to find uncanny sounds that seem purely alien under normal circumstances, sounds definitely confined to his laptop rather than the natural world. Not all the sounds themselves are actually ambient, either. In fact, many of the sounds Martinez employs happen to be quite harsh -- dissonant noises intended to contrast the overlying melodic ambience. Yet when these grating sounds get looped below the more melodic ones, the effect is very calming. For instance, the title track lays down a foundation of bubbling water and bouncing bass beats while the album's closing song, 'Rian,' sounds downright horrific with its forbidding mechanical aura. For the most part, though, Martinez concentrates on a lighter shade of ambience, and of the more soothing moments is the ten-minute 'Painted Room.' Somehow though, even the harsh moments like 'Gradations' and 'Rian,' late in the album, seem soothing. By the time you reach them, you're already so lulled that you don't notice the turn toward darkness. Whether light or dark, Gradations wows you with its tiny, almost undetectable nuances and mesmerizing melodies. Martinez's past work had foreshadowed an album like this, but only during isolated moments. Here, you get an entire album of the artist at his most meticulously tranquil, and that's fitting since Gradations is his first release for Mille Plateaux, a label recognized for excellence.", "From an early age Christ. has been a musician. His supposed collaborations in his formative years at school and early 20s are well documented, suffice to say that at the current point in time, determining the original source of cross-pollinated styles is futile. Since his first solo release proper in 2002, he has proved to be as individual and creative as the next guy, forging a unique path of musical beauty that escapes derivation.

Can much more be said? What's the point. Christ.'s expert layers of melody, broken beats and textures say pretty much everything, and along with his popularity as a formidable live act, he is a rare breed indeed.

This is really impressive stuff from Scotland's premiere label, benbecula records.", "Shawn Hatfield's Twerk project is allied with the growing minimal/experimental techno scene in California, led by producers Kit Clayton and Sutekh. Originally based in Santa Cruz, Hatfield began DJing hip-hop in the late '80s and soon moved on to acid jazz. After moving to San Francisco during the early '90s and immersing himself in the harder edge of techno, he gave up DJing in 1997 to begin recording. He recorded his first single ('Los Colores') with mixing partner DJ Cesar, and released it through the Bay Area's Organised Noise label. The Twerk EP Tide of Events gained release on Britain's Planet Rhythm later that year, and Hatfield also completed an EP for Organised Noise, Enemies of the State. He collaborated with Sutekh and Safety Scissors on the Deadpan Escapement LP for Belief Systems, and released singles for Cytrax and Delay (both affiliated with Clayton and Sutekh). Germany's Force Inc released Twerk's debut full-length Humantics in early 2000. Now I'm Rendered Useless appeared the following summer.", "Best for long club nights, this the fourth compilation of this german label. Eight unreleased exclusive tracks in typical northern europe trance manner. Supplied by known acts like Reefer Decree, Morphem, Bitmonx, Alegria and some newcomers as well.", "Even when this came out, it was pretty difficult to obtain. I just remember one of my friends saying they saw it at the local disco shop in Brooklyn. They used to play it at the 2001. That's all I can tell you about this. :) ", "The original version of the song made famous in modern time by John Waters' movie of the same name. The Scarlets feature Fred Paris who penned the song, and who later went on to front The Five Satins of 'In The Still of the Night' fame.

Click on the alternate version, by the Bonnie Sisters, which is the 'Your Hit Parade' version and the actual inspiration for the version recorded for the film. ", "This is the ultimate 70's 'Switched-on' moog album, with a totally amazing cover of Johnny Cash's 'I Walk The Line'. This is, I think, the last record I need to buy. Ever. I'm serious. OK, maybe not ever...", "Dr. Buzzard's Original Savannah Band was one of the most original musical ensembles of the disco era. They were formed in the Bronx in 1974 by Stony Browder Jr. (b. 1949), his brother August Darnell (born Thomas Browder, 1951), singer Cory Daye (b. 1952), Andy Hernandez (b. 1950), and Mickey Sevilla (b. 1953). The concept of the group was the re-creation of a '30s dance band, à la Cab Calloway, with witty lyrics and a disco beat. All of this was in evidence on their debut album, Dr. Buzzard's Original Savannah Band, released in 1976. It produced the dancefloor hit 'Cherchez la Femme' and went gold. A follow-up album, Dr. Buzzard's Original Savannah Band Meets King Pennett, was less successful. After the release of a third album, James Monroe HS Presents Dr. Buzzard's Original Savannah Band Goes to Washington, the group fragmented, with Darnell and Hernandez going off to form Kid Creole & the Coconuts. Browder reorganized and issued a Dr. Buzzard's Savannah Band (dropping the 'original') album titled Calling All Beatniks! in 1984.

I'm sure to get a lot of interesting feedback for listing this song as an influential track. While the techno phenomenon, and all its baldheaded stepchilren, put a virtual end to juvenile taunts of 'Disco Sucks!', there is still some resistance to go back and revisit a lot of the grand music that the disco era produced. The Savannah Band was no exception, and is a disco era band that is most indullibly dyed with a punk rock aesthetic. Few other disco bands were donning outfits from thrift shops, or playing punk clubs or playing live drums on stage. Indeed, the drum sounds throughout Savannah Band records are complex and incredible. The influences of ska, reggae, disco and big bands yield this unpredictable band's music. I remember leaving my after-school job one evening in Manhattan and passing a record store where they were playing this song - many months before 'Cherchez La Femme' became well known and RCA reissued the sleeve to make it appear to be the prominent song. I stopped in and immediately fell in love with the band. A couple of years later, I would see them headline at the Roxy in support of the King Pennett LP, with Gichy Dan opening. The stage was set with band positions most resembling Ricky Ricardo's band at the Tropicana, and the opening act was spectacular. Later that night, I'd be kissed by Corey Daye and would dance on stage to 'Sour and Sweet' with her. The club was in what would become my first neighborhood after leaving home, and the crowd was mixed - decidedly _not_ a disco crowd. There was one fabulous drag queen who used a 45 RPM record as a berret for her blonde bun, hot biker dudes, club kids, the usual east-village assortment out soicializing before sneaking over to the St. Mark's Baths, and a range of other outer-burroughs types eager to hear 'Cherchez...' The whole aesthetic provided a glimpse away from sanitized glamourous disco whose music could be fun, but whose crowd was way too affected for my taste. This changed everything...", "Another record that is difficult to find information about, this one has been in my collection since time immemorial. The A Side sounds like it could have been used for the theme for a show for teaching language skills to adults; a sexier Sesame Street, what with the 'Baby, Baby' interlude and the hip-swingin, gum-snappin, pool-shootin rhythm. The flip is arguably the worst song ever recorded, and was up for the Incredibly Strtange Music slot this month. Consider it a bonus; I couldn't justify separating the two tracks of this wonderful 45.", "A talented doo wop group from Englewood, NJ, that formed in high school in 1954. Until they caught wind of a Los Angeles-based group with the same name, they were the Robins, and they then renamed themselves the Avons after a river in England. The original lineup consisted of Bob, Bill, and Wendell Lea; Curtis Norris, and Ervin Watson. The quintet woodsheded until confident enough to perform local gigs. By 1955, they were the hottest group in the area. A local businessman became their manager and arranged an audition with Bea Caslon, the owner of Hull Records. Caslon signed them on the spot to her fledging label, where they joined the Heartbeats of 'A Thousand Miles Away' and later 'Daddy's Home,' of Shep & the Limelites fame. Unfortunately, the Avons never achieved the success the Heartbeats did, but managed to carve a spot in doo wop heaven with the recordings 'Our Love Will Never Die' (1956), 'Baby' (1957), and 'You're So Close to Me' (1958). Prior to their second release, ('Baby') Uncle Sam began snatching Avons for military duty, first drafting Norris (bass), who was replaced by Franklin Cole, who was himself drafted and replaced by George Coleman. Then Sunny Harley replaced drafted baritone Bill Lea. The Avons' final recording, 'A Girl to Call My Own' (1962), featured Harley. From 1955 to 1962, Hull released seven singles by them and not one hit or charted. Their changing lineup -- due to Uncle Sam -- didn't help and promo pictures were always out of date. Avid radio listeners who resided outside of New York, New Jersey, Connecticut, or Pennsylvania during 1957 to 1962 missed the Avons entirely since they didn't venture outside those four states -- where their records were played -- to gig. Decades later, via doo wop books, magazines, and CD reissues, the Avons are finally receiving the love and acclaim they sought when young and starry-eyed.

This is one of my favorite doo wops, and also along with the Flamingos' 'I Only Have Eyes For You' transcends the style of the moment and provides a glimpse into the so-called Northern Soul style that would become so popular a decade or so later. The record virtually called to me with the word 'Fuzzy' written across the label...", "Another new category in my jukes this month, Martin Denny has been a mainstay in my collection since i was a toddler. My Dad was a big fan of the lounge music craze of the fifties, and as a result I have several boxloads of these choice LPs. This is from his second album, and appeared as the flipside to his biggest hit, 'Quiet Village'. It was a HUGE surprise to me when Throbbing Gristle printed 'This albume is dedicated to Martin Denny' on their Greatest Hits album, and it ickled me that that sparked a huge resurgence of this music. This category will feature lots of different kinds of lounge music.

Denny was born April 10, 1911 in New York City—a child prodigy, at age ten he studied piano under Lester Spitz and Isadore Gorn. For four years he toured South America with the Don Dean Orchestra, followed by a 43-month stint in the U.S. Air Force during World War II; following his December 1945 discharge, Denny settled in Los Angeles, studying piano, composition and orchestration at the Los Angeles Conservatory of Music. In early 1954 he relocated to Hawaii, contracting to appear at the Honolulu club Don the Beachcomber's. The following year Denny formed his own group, originally consisting of vibist Arthur Lyman, bassist John Kramer and percussionist Augie Colon. In 1956, while appearing at the steel and shipping magnate Henry J. Kaiser's Shell Bar—a club inside the open-air Oahu resort Hawaiian Village, complete with a small pond adjacent to the stage—the combo realized that the croaking of nearby bullfrogs blended perfectly with their tropical musical approach; on a lark, Colon also began imitating bird calls onstage, all much to the delight of the audience. Denny soon began incorporating South Pacific and Far East instruments into his arrangements as well, and by the time he recorded his Liberty Records debut, 1957's Exotica, his singular sound was firmly in place.

The release of Exotica proved perfectly timed—as the 1950s drew to a close, tiki culture was all the rage in mainland America, with Hawaiian shirts a fashion trend and tiki torches a staple of backyard parties. Moreover, the evolution from mono to stereo recording and playback had taken root, and with its bird whistles, jungle calls and far-flung instruments, the many distinctive components of Denny's sound were ideal for channel separation. Originally composed by Les Baxter, the instrumental 'Quiet Village' was a massive success, earning Denny and his group an appearance on TV's American Bandstand, and the accompanying Exotica LP topped the Billboard charts. But ironically, even as his music came to embody Hawaiian culture and its mythical allure, Denny himself was no longer a fixture of the island musical culture—after a bitter contract dispute with Kaiser, he brought his group stateside, and they made their first mainland appearance at the 1957 Pebble Beach Crosby Open golf tournament party. Soon after, Kaiser lured Lyman back to Hawaii to assume Denny's vacated spot headlining the Shell Bar; Denny replaced him with Julius Wechter. Likewise, Kramer was later replaced by Harvey Ragsdale, and a second percussionist, Harold Chang, was also added the lineup.

For many listeners, the exotica craze proved short-lived, and Denny never again matched the success of 'Quiet Village,' although subsequent singles including 'A Taste of Honey,' 'The Enchanted Sea' and 'Ebb Tide' did find some favor on the pop charts. For connoisseurs, however, the story certainly does not end there—Denny continued making records in his trademark style throughout the 1960s, many of them housed in eye-popping sleeves featuring model Sandy Warner, who was such a ubiquitous presence that she was even dubbed 'The Exotica Girl.' (Warner eventually recorded her own LP, Fair and Warner, with Denny himself authoring the liner notes.) While his interests in African and Pacific Rim musical traditions yielded concept records like Afro-Desia and Sayonara, other efforts turned towards more conventional easy listening, which Liberty dubbed his 'honey' sound. For the most part, however, Denny remained a restless innovator—for Primitiva, he recorded using a number of gongs, drums and odd brass instruments acquired from a Buddhist mountaintop temple in Burma by friend and filmmaker John Sturges, on location to shoot the Frank Sinatra vehicle None But the Brave. (According to legend, the instruments were then carried down the mountain by a procession of Buddhist monks.) For 1969's Exotic Moog, his Liberty swan song, Denny even embraced electronics, much to the chagrin of his dwindling fan base.

With his recording career largely behind him, Denny maintained a busy touring schedule throughout the 1970s and into the following decade. In 1985 he announced his retirement, settling in Hawaii with his longtime wife June, but three later he grew restless, reuniting with Lyman, Colon and Chang while adding bassist Archie Grant to return for a series of sold-out club dates. A Japanese tour yielded the live recording Exotica ‘90. As the new decade began, he was the recipient of the Hawaiian Association of Music's Hoku Award for lifetime achievement; the honor coincided with the beginnings of an exotica/space-age pop revival, and virtually overnight Denny's vintage LPs began disappearing from used record stores. He was also the subject a major CD reissue campaign on the Scamp label. Now a hipster icon for a new generation, Denny again returned to the road, making occasional live appearances even into the next millennium. ", "A new category in my jukes, the divas are the women who sang to me in my youth, the hard, smokey women who took no shit, and sang like their lives hung on every note. This started as a post-Valentine bitter tribute to these hefty-throated ladies. But it's taken on a life of its own. So, I'm starting this series off with the most tragic of them all, Timi Yuro. This is the flip of her follow-on hit to 'Hurt', 'Whatsa Matter Baby.'

Known as 'the little girl with the big voice,' Timi Yuro's booming, resonant vocals were sometimes mistaken for being an African-American's, being a man's, or both. Her voice was indeed mammoth, and her delivery astonishingly mature on her debut single, 'Hurt.' This 1961 version of the pop standard reached number four and was followed by a brief period of stardom in the early '60s. Too pop in orientation to be called a rock singer, too conscious of rock and soul trends to be pigeonholed into what was then called the adult contemporary market, Yuro's undoubted talents never fully jibed with her material. While there was soul in her voice, it was of the Dinah Washington or Nancy Wilson sort, with perhaps more of a bend for straight pop than pop/rock. Over the course of the few years following 'Hurt,' she actually found her greatest success on the easy listening charts, but also dabbled in girl group, pop, R&B, Gene Pitney-like ballads, and Patsy Cline-like country. She scored several minor hits during this time, the biggest of which was the most soulful: 'What's a Matter Baby (Is It Hurting You)'; reaching number 12 in the U.S., it was covered by the Small Faces a few years later as the B-side of their first single. Continuing to record throughout the '60s and into the '70s, she experienced little success after leaving the Liberty label in 1964.

After a brief retirement in the late '70s, Yuro attempted a comeback in 1980. However a throat ailment was discovered that required surgery, forcing the singer to not only cancel her planned recording date, but also preventing her from singing -- or even talking -- for six months. She eventually did make a comeback, one not unlike other pop stars who spent brief reigns on the top of the charts -- playing her hits to small pockets of grateful fans around the world. She continued to record, too, releasing an album of Willie Nelson covers and a re-recording of her most popular songs, including 'Hurt.' Unfortunately, problems with her throat again forced her to stop singing, but the prognosis this time was cancer. Yuro struggled, first with throat cancer in the '90s, then inoperable brain cancer in the '00s, which effectively ended her singing career. Timi Yuro passed away in March of 2004.

Make sure you vist the Divas primer page here.", "Heavy on obscurity this month, this hyper-rare record is also hard to find info on. The insert should provide some insight. See Below. Tis was released in 1984, when we were in the grip of Thatcher - Era England, and post industrial music was widespread and a menacing threat to god-fearing club revellers everywhere...", "Andy and I have a lot of overlap in our music taste. You should bug him to get his band to finally play out in Boston...

Formed near Munich as a hardcore punk band, the Notwist gradually began to embrace a fusion of classic '80s indie-pop songwriting and scruffy electronic backings indebted to Oval and Autechre. The quartet is comprised of brothers Markus and Micha Acher (on vocals/guitar and bass, respectively) plus programmer/keyboard player Martin Gretschmann and drummer Martin Messerschmidt. Their self-titled 1989 debut and 1992's Nook were rough-and-tumble punk LPs. Third album 12 marked the group's first flirtation with electronics, though the chord structures and vocals of Markus Acher marked the nowtist more as an alternative band. The band then gained an American distribution deal with Zero Hour, and after 12 was reissued, fourth album Shrink appeared in 1998. Gretschmann has also recorded on his own as Console. ", "Another LJ buddy, he requested a 1910 Fruitgum Co. song that was rife with innuendo. Well, here's one of many...

The prototypical bubblegum group, the 1910 Fruitgum Company was the brainchild of Buddah Records house producers Jerry Kasenetz and Jeff Katz, also the masterminds behind such phenoms as the Ohio Express and the Music Explosion. The Kasenetz-Katz formula was a simple one: they enlisted anonymous studio musicians (in this case, vocalistsMark Gutkowski and Joey Levine — also the singer in the Ohio Express — along with guitarists Frank Jeckell, Pat Karwan, and Chuck Travis, horn player Larry Ripley, and drummers Rusty Oppenheimer and Floyd Marcus) and prolifically recorded lightweight, fluffy pop songs which found an eager audience in fans looking for an alternative to the edgier rock music of the late 1960s. With the 1910 Fruitgum Company, the Kasenetz-Katz team scored their first major hit, the 1968 Top Five smash 'Simon Says,' launching the bubblegum craze; that same year they also scored with the singles '1, 2, 3 Red Light' and 'Goody Goody Gumdrops,' all three issued as title tracks from the group's first trio of LPs. 1969's 'Indian Giver,' the title cut from the Fruitgum Company's fourth album, was their last Top Five hit, and after one last LP, Hard Ride, the group was disbanded; some of its members later resurfaced in the Kasenetz-Katz Singing Orchestral Circus." ) arLABEL = new Array( "l00", "nonplace", "bip-hop", "Leaf", "K", "Schematic", "Outward", "Caipirinha", "Mille Plateaux", "Benbecula", "Force, Inc.", "Sunset", "Calla", "Red Robin", "Camden", "RCA", "Josie", "Hull", "Liberty", "Liberty", "Black Dwarf", "Community", "Buddah" ) arFORMAT = new Array( "f00", "CD", "CD", "CD", "CD", "CD", "CD", "CD", "CD", "CD", "CD", "CD", "Seven Inch Single", "78", "LP", "LP", "Seven Inch Single", "Seven Inch Single", "LP", "45", "seven inch EP", "LP", "LP" )