#Cameo Parkway

[kdo-three]

? and The Mysterians - Do Something to Me (1967) Jimmy Calvert / Norman Marzano / Paul Naumann from: "Do Something to Me" / "Love Me Baby (Cherry July)" (Single) "Question Mark and the Mysterians: The Best of Cameo Parkway 1966-1967" (2005 Compilation)

Garage | Pop

JukeHostUK (left click = play) (320kbps)

Personnel: ? (AKA Rudy Martinez): Lead Vocals Bobby Balderrama: Guitar Frank Rodriguez: Keyboards (Vox Continental Organ) Frank Lugo: Bass Eddie Serrato: Drums

Arranged by Jimmy Wisner Produced by Bo Gentry / Ritchie Cordell

Recorded: @ The Allegro Sound Studios, in New York City and @ The Regent Sound Studios in New York City on July 13 and 14, 1967

Released in August of 1967

Cameo Parkway Records

[odk-2]

Chubby Checker - The Fly (1961) John Madara / David White from: "The Fly" / "That's The Way It Goes" (Single) "For Teen Twisters Only" (LP) "The Best of Chubby Checker: Cameo Parkway 1959-1963" (2005 ABKCO Records Compilation)

Rock and Roll | Rock/Pop | 1960's Dance Song

JukeHostUK (left click = play) (320kbps)

Personnel: Chubby Checker: Lead Vocals Joe Renzetti: Guitar Roy Straigis: Piano Fred Bender: Organ Joe Macho: Bass Ellis Tollin: Drums

Saxophone: Buddy Savitt Fred Nuzzullio Georgie Young

The Dreamlovers: Backing Vocals (A Doo-Wop Group from Philadelphia, Pennsylvania) Members: Morris Gardner: Lead Don Hogan: Lead Clifton Dunn: Baritone Tommy Ricks: Tenor Cleveland Hammock: Tenor James Dunn: Bass

An Electric Shaver: Sound Effect of the Buzzing Fly

Produced by Dave Appell / Kal Mann

Recorded: @ Reco-Art Sound Recording Co. in Philadelphia, Pennsylvania USA August/September 1961

Released: September: 1961

Parkway Records, Inc. (US) Columbia Graphophone Company Ltd. (UK)

Musca Domestica

[lisamarie-vee]

[mymelodic-chapel]

The Deep- Psychedelic Moods (Psychedelic Rock, Garage Rock, Experimental Rock) Released: October 1966 [Cameo-Parkway Records] Producer(s): The Deep, Mark Barkan

[tfc2211]

? And The Mysterians – The Best Of ? And The Mysterians (Cameo Parkway 1966-1967)

[mondoradiowmse]

04/17/24 Mondo Radio Playlist

Here's the playlist for this week's edition of Mondo Radio, which you can download or stream here. This episode: "All I Can Do Is Shout", featuring classic garage rock and more. If you dig it, don't forget to also follow the show on Facebook and Twitter!

Artist - Song - Album

The Trashmen - Surfin' Bird (Live) - Teen Trot

The Trashmen - Walkin' The Dog (Live) - Teen Trot

Sam The Sham And The Pharaohs - Wooly Bully - The MGM Singles

Sam The Sham And The Pharaohs - Ring Dang Doo - The MGM Singles

? And The Mysterians - 96 Tears - The Best Of ? And The Mysterians: Cameo Parkway 1966-1967

? And The Mysterians - Shout (Part 1 & 2) - The Best Of ? And The Mysterians: Cameo Parkway 1966-1967

The Sonics - Leave My Kitten Alone - Introducing The Sonics

The Sonics - I'm A Man - Introducing The Sonics

The Swamp Rats - Psycho - Back From The Grave, Vol. 1

The Alarm Clocks - Yeah - Back From The Grave, Vol. 1

The Mods - Satisfaction - Back From The Grave, Vol. 2

The Unrelated Segments - Cry, Cry, Cry - Back From The Grave, Vol. 2

Los Saicos - El Entierro De Los Gatos - Más Rock And Roll

Los Sinners - Rebelde Radioactivo - Más Rock And Roll

Jeff Wilkinson - 2 Ft. High Umbrella Man - Pitchin' Pennies

Shadows Of Knight - Gloria - Highs Of The Sixties

The Standells - Dirty Water - The Best Of The Standells

Paul Revere & The Raiders - I'm Not Your Stepping Stone - The Essential Ride: '63-'67

The Knickerbockers - Lies - Highs Of The Sixties

The New Colony Six - A Heart Is Made Of Many Things - Breakthrough

The Barbarians - Take It Or Leave It - Collector's Records Of The 50's And 60's, Vols. 19 & 20

The Music Explosion - Sunshine Games - Collector's Records Of The 50's And 60's, Vols. 19 & 20

The Five Americans - I See The Light - Garage Rock Classics

The Turtles - Outside Chance - Garage Rock Classics

The Beau Brummels - Laugh, Laugh - '60s Rock: The Beat Goes On

The Robbs - Cynthia Loves - The Robbs

The Robbs - Bittersweet - The Robbs

Syndicate - Next 21st Of May - Psychedelic States: Wisconsin In The 60s

Gorde's Horde - I Don't Care - Psychedelic States: Wisconsin In The 60s

The Count Five - Psychotic Reaction - Nuggets, Vol. 1: The Hits

Moving Sidewalks - 99th Floor - The Roots Of ZZ Top

Blues Magoos - Rush Hour - Electric Comic Book

The Chocolate Watch Band - Are You Gonna Be There (At The Love In) - Summer Of Love, Vol. 2: Turn On - Mind Expansion & Signs Of The Times

The Troggs - Feels Like A Woman - Freakbeat Freakout

The Creation - Making Time - The Best Of The Creation

The Luv'd Ones - Truth Gotta Stand - Truth Gotta Stand

The Luv'd Ones - You'll Never Know - Truth Gotta Stand

The Electric Prunes - I Had Too Much To Dream (Last Night) - The Complete Reprise Singles

The Thirteenth Floor Elevators - Slip Inside This House - 7th Heaven: Music Of The Spheres - The Complete Singles Collection

The Thirteenth Floor Elevators - Reverbaration (Sic) (Doubt) (Riviera EP Stereo Mix) - 7th Heaven: Music Of The Spheres - The Complete Singles Collection

The Seeds - Evil Hoodoo - Pushin' Too Hard/First

The Velvet Underground & Nico - Run Run Run - The Velvet Underground & Nico

The Monks - I Hate You - Dirty Water: The Birth Of Punk Attitude

The Stooges - 1969 - The Stooges

[cyarskaren52]

Jack Harlow Is Serious About This

By Ross Scarano

Photography by Stacy Kranitz

December 11, 2020

Jacket, $2,850, and shirt, $875, by Louis Vuitton Men's

Somewhere amidst the green hills of West Virginia, in the kind of club that offers bottle service to its VIP customers, there’s a woman in possession of Jack Harlow’s heart.

He flew into Pittsburgh—the nearest major airport—before driving into the wild and wonderful heart of Appalachia for a club appearance. At the club, he met a bottle girl who stopped him cold. If you were unaware that West Virginia had bottle girls, so was Harlow. “I found out just shortly before you did,” he deadpans over a video-less Zoom call.

She’s been on his mind since, and because everything in Harlow’s lyrics really happened, she’s in his music, too. Track three on his debut album Thats What They All Say, his first full-length release since his smash single “Whats Poppin” (and its star-studded remix) shot up to No. 2 on the Billboard Hot 100 and garnered a Grammy nomination for Best Rap Performance, to be precise.

Thats What They All Say will likely be one of the biggest albums of the year, and the bottle girl makes her cameo early, on “21C/Delta,” a mellow two-part journey into 21st century romance as experienced by a 22-year-old rap star who claims few vices outside of sex. In fact, Harlow is something of a strip club aficionado—when the Los Angeles Clippers point guard Lou Williams was allowed to leave the NBA bubble in July to attend a memorial service, it was Harlow’s Instagram photo that revealed that Williams had also found time to stop by Atlanta’s legendary Magic City. According to Harlow, there are no hard feelings and the video for his single “Tyler Herro” was shot on Williams’ home basketball court.

But he’s too decent a guy to say anything more about his brief encounter in Appalachia. “I don't want to ruin this person's life,” he says. Fingers crossed, this will not devolve into a “Courtney from Hooters on Peach Street”situation.

Jacket, $1,750, and pants, $600, by Room Service Los Angeles / Earrings (throughout), his own

Harlow was introduced to hip-hop around age seven by his mother Maggie, who played The Marshall Mathers LP and other landmarks of the genre while driving around their home of Louisville, Kentucky. Her trip to buy Kanye West’s Late Registration is one of his earliest memories. “She told me all the words I was about to hear but wasn't allowed to say,” he told me. Around the same time, he remembers his teachers praising his writing. “In first grade, I was writing personal narratives and persuasive letters,” he says. “That's when I knew I enjoyed words.”

After years of adolescent grinding in the mixtape circuit in Louisville, supported by his parents and grandmother, Harlow recognized that in order to progress he needed to be at the center of American music culture. So in 2017 he moved to Atlanta, where he met hip-hop veterans DJ Drama, Don Cannon, and Leighton “Lake” Morrison, who signed him to their label Generation Now in 2018. The mixtapes and EPshe made in Kentucky often felt too try-hard, both in terms of the attempts at comedic wordplay (“Like blue jeans at the state fair, I might cut you off straight mid-sentence”) and the self-seriousness that Harlow deployed as a counterbalance (a ride past his elementary school on “Eastern Parkway” becomes an opportunity for a belabored metaphor about states of matter). He describes those early records as “forcefully goofy,” so much so that he felt uncomfortable playing the music “in front of girls.” Atlanta gave his music a new sense of nonchalance; he learned to relax his grip. “I'm doing a much better job of representing who I am off record, on record,” he says.

Blazer, $1,025, and turtleneck, $750, by Off-White c/o Virgil Abloh / Sunglasses, $625, by Vintage Wood Collection

“I’m signed to the gatekeepers,” Harlow raps on the intro to Thats What They All Say. Often when gatekeepers are invoked in rap, it’s to decry the (white) executives, radio programmers, and members of the Recording Academy who prevent authentic music from truly succeeding, or, conversely, amplify the wrong things. But for Harlow, gatekeepers means Black men with impressive industry bona fides who vouch for him. Drama hosted the Gangsta Grillz mixtape series, where Lil Wayne did some of his most sublime work; Cannon produced a number of the highlights across those mixtapes; Lake managed both Drama and Cannon, along with the aughts R&B star Bobby Valentino for a period.

“I don't know if [credibility] is a requirement to have success, but it's important to me,” Harlow says. “When I was shopping around before I signed I wasn't like, ‘I’m not signing until I find some Black gatekeepers.’ But I’m proud to be signed to them.” Cannon says “gatekeeper is simply a word that says, ‘Hey, you belong here’”; Lake says that Harlow is “driven and trying to move in an urban space, and one thing that I appreciate about him is he's open to a conversation.”

A successful white rapper will always have to reckon with the fact that their skin color lends a commercial advantage. But these are times of particularly intense scrutiny about the ethics of cultural appropriation. The release of the artwork for Thats What They All Say, which depicts Harlow signing autographs for a racially diverse group of children while sitting in a luxury vehicle next to a faceless brown-skinned woman, prompted much ado on social media. But rather than, say, rush out a Macklemore-esque apology, he’s not sweating it. Harlow’s touch stays light.

Not everyone has welcomed his rise: In 2019, labelmate Lil Uzi Vert posted a photo on Instagram of Harlow with a clown emoji superimposed over his face after Harlow made his support of the label clear in response to Vert’s criticism of it. (Lake says he appreciates Harlow’s solidarity.)

Suit, $1,850, by Grayscale / Turtleneck, $590, by Thom Browne / Boots, $515, by Raf Simons / Watch (throughout), his own, by Rolex / Ring (throughout), his own

Harlow wants his name (and debut) to be mentioned among greats like Drake and Kendrick. The wide audiences they found and the respect they commanded for their technical abilities—he wants those things too. Drama, Cannon and Lake push him: 48 hours before Thats What They All Say was supposed to be completed, Harlow says Drama told him that “the greats would do a new intro.” In the final hour, Harlow recorded “Rendezvous,” a bars-forward salvo that sets the tone for the level of candor found in the album’s best moments. Cannon, who thinks “all the greats are honest,” encouraged him to rap with increasing frankess—a key skill in the age of the vulnerable rapper. “Nobody really knows who you are,” Cannon remembers telling him. “We have to know who you are, whether we like it or not. Whatever comes out, that's going to be our truth.”

Thats What They All Say is a concise coming-of-age story that marks significant improvement from his previous work. He’s trying the right amount, and the humor feels natural rather than overdetermined. When he raps with Lil Baby, the star of hip-hop in 2020, he doesn’t sound out of place. But above all, the project is animated by Harlow’s belief that he can be “honest about anything.” That can mean sexual adventures like the story of the bottle girl, or mishaps like the digital-era tragedy on “Way Out”: “I’m in the mountains out west on the tour bus texting a chick I used to mess with/Got her in the bed doing video shoots, tried to send one to me but it didn’t go through: damn.”

But Harlow can also be reflective about his flaws (he’s been seeing a therapist recently). He recounts running into someone he used to sleep with at a party for over two-and-a-half minutes on “Funny Seeing You Here,” an X-ray of early-twenties awkwardness that culminates with Harlow’s admission that, as a romantic partner, he can fall short:

You used to say her man was trash and tell me about the way he’d act

I would shake my head until I realized I’m the same as that

Now I wonder do she tell her man that I’m a trash dude

And would he shake his head until he realized that he was trash too?

On the album’s outro, “Baxter Avenue,” he stops pondering the vicissitudes of casual humping and turns his attention to race and his mixed crew. “Always wondered to myself if I could really be the leader to a group of brown-skinned boys when I’m not brown-skinned,” he raps before clocking the differences in their upbringings. Sounding genuinely unsure, he raps about wanting to share his success and wealth, and wonders what it would look like to do that fairly. He says it’s the kind of song that will be “tough to sit in a room and have other people hear.” According to Cannon, that’s exactly the sort of honesty he pushed Harlow toward.

Watch Now:

Jack Harlow Goes Undercover on Twitter, Instagram and Wikipedia

The song will start a conversation, something Harlow relishes. On the day he released the album artwork, the invite-only, audio-led social media app Clubhouse, which has become more and more popular as a gathering place for music industry real talk, hosted a vigorous debate about it. “I didn't tune in for a second,” Harlow says. “But a lot of people I’m close to did. There's no way we could have dressed that cover up, race-wise, without causing a discussion. If they had been all white, it would have been ‘Why are you whitewashing?’ If it had been all Black, it’s like, ‘Where’s the white people?’” Harlow thinks the cover reflects the city and scene he comes from. “If you come to our parties or the kickbacks we have with 20 people, it looks like [the cover].”

Lake chalks the conversation up to “everybody's in the house and has nothing but time.” Though he acknowledges that Harlow’s trio of label execs don’t always agree on his artwork choices, he says the critics “thought about [the artwork] in way more detail than Jack did. People that don't know Jack would maybe question it, but if you know him, that's him, 110%. He's a white artist in a Black genre, and he's attracted to women of all races, colors, creeds, everything.”

Painting, “Buster”, by Jaime CorumJacket, $2,850, and shirt, $875, by Louis Vuitton Men's / Pants, $820, by Off-White c/o Virgil Abloh

If you still take issue with his decision to cast a faceless Black woman as his love interest, the title is directed at you: Thats What They All Sayis meant to be an all-purpose retort. “It’s how I feel about any criticism or praise that I'm receiving,” Harlow says. “You really can't tell me anything I haven't heard before.”

Still, he does hear it. Though he’s stopped searching his name on Twitter, he hasn’t stopped reading his reviews and knows he’ll take in the latest round of press. (He doesn’t need the WiFi password to recall the 5.6 Pitchfork score for his 2019 release Confetti.) “I’m just too much of a narcissist,” he says. “I always catch ‘em.”

Blazer, $1,025, turtleneck, $750, and pants, $920, by Off-White c/o Virgil Abloh / Boots, $990, by Celine Homme by Hedi Slimane

At one point on Thats What They All Say, Harlow says that “all the rappers I love most at one point got called a fake.” Among others, he means Drake. From the occasional singing to the subject matter, Harlow is a student of the great Canadian, and he has Drake’s confidence too. Accusations of fakery never slowed Drake—he only became more powerful. Reflecting on Drake’s ability to overcome gives Harlow comfort. Like Drake, Harlow works hard at this. His seriousness is part of what makes it possible to root for him. That he’s more interested in reconnecting with the West Virginia bottle girl than trying to resolve the ills of the world with his music doesn’t hurt either.

Ross Scarano is a writer and editor from Pittsburgh.

PRODUCTION CREDITS: Styled by Metta Conchetta

Sent from my iPhone

[lboogie1906]

Chubby Checker (Ernest Evans; October 3, 1941) is a rock ‘n roll singer and dancer. He is known for popularising many dance styles including the twist dance style, with his hit cover of Hank Ballard & The Midnighters’ R&B hit “The Twist” and the Pony with the hit “Pony Time”. “The Twist” topped Billboard’s list of the most popular singles to have appeared in the Hot 100, an honor it maintained for an update of the list. He popularized the “Limbo Rock” and its trademark limbo dance, as well as various dance styles such as The Fly.

By age eight he formed a street-corner harmony group, and by the time he entered high school, he took piano lessons at Settlement Music School. He entertained his classmates by performing vocal impressions of popular entertainers of the day, such as Jerry Lee Lewis, Elvis Presley, and Fats Domino.

He entertained customers at his various jobs, including Fresh Farm Poultry in the Italian Market on Ninth Street and the Produce Market, with songs and jokes. It was his boss at the Produce Market, “Tony A.”, who gave him the nickname “Chubby”. The owner of Fresh Farm Poultry, Henry Colt, was so impressed by the boy’s performances for the customers that he, along with his colleague and friend Kal Mann, who worked as a songwriter for Cameo-Parkway Records, arranged for him to do a private recording for American Bandstand host Dick Clark. He got his stage name from Clark’s wife, who asked him what his name was. “Well”, he replied, “my friends call me ‘Chubby’”. As he had just completed a Fats Domino impression, she smiled and said, “As in Checker?” That little play on words (“chubby” describing a degree of fatness and “checkers” being, like “dominoes”, a tabletop game) got an instant laugh and stuck: from then on, he would use the name “Chubby Checker”.

He married Catharina Lodders (1964) a Dutch model, and Miss World 1962 the Netherlands, they have three children. He is the father of WNBA player Mistie Bass. #africanhistory365 #africanexcellence

[gallaxowelcome]

Chubby Checker - All The Hits For Your Dancin' Party By Chubby Checker (1962)

Cameo Parkway PCP 130 (NL)

VG/VG+ (3)

[opulentconceptions]

The Ohio Express: “Chewy Chewy” | The Monocled Alchemist Podcast #75

75: The OHIO EXPRESS | Chewy Chewy and more The Ohio Express “Chewy Chewy” | unleashed . . . C’mon and try it! This set features single sides from this underrated group who started life as a mid-sixties garage band but got turned into bubblegum kings by Buddah Records . . . includes early tracks from the Cameo Parkway label. Featured songs in order of appearance: The Yardbirds – concert…

[alexadd77]

? (Question Mark) & The Mysterians - Can't Get Enough Of You, Baby / Smokes 7' 1966 Cameo Parkway/Sonoplay - Spain. Bonita portada única española para el tercer single de este combo garagero de origen latino formado en Michigan, otro genial doble A Side. De ellos leía hace poco en Wikipedia textualmente "fueron quizás la primera banda en ser descrita Punk Rock" , si lo de los Saicos me parecia fuera de lugar, esto de Question Mark más todavía aunque flipe con ambas bandas. #? #questionmark #themysterians #7" #45rpm ##garage #psychodelic #psychodelia #beat #sixties #sixtiespunk #vinylcollection #vinyljunkie #vinylrecords #vinylcollectionpost #recordcover #protopunk #vintage. #number1 #hit #recordcollection #record #onehitwonder #recordcollector #artwork #design #music #rock #rockband #vinilo #rockmexicano

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[pleaserelaxslowly]

Bonnie & Lee - I Need Ya (Gotta Have You for My Own)

Side A I Need Ya (Gotta Have You for My Own) 2:55

Side B The Way I Feel about You 2:24

7", 45, black No sleeve

Fairmount F-1024-A (side A) F-1024-B (side B)

Cameo Parkway Records, Inc. Guydra Music Co. Merlin Music, Inc. BMI

Etch F-1024Aˌ (side A) F-1024Bˌ (side B)

Bonnie & Lee was a project produced by Guy Draper, a member of the Mayfield Singers with Donny Hathaway and Leroy Hutson. I've been unable to identify who exactly Bonnie and Lee were. There seem to be several editions of this single, all with different labels. This one is the label with the blue stripes. According to Discogs, this and one other single were the only records issued by Bonnie & Lee. It's sad, because "I Need Ya (Gotta Have You for My Own)" is actually my favorite song from the lot from where this record comes (Alice Thiel's). There is something stamped into the etch that I can't read, but it ends with the word "Wayne." This record is from Alice Thiel's record collection. My friend Amy Cordara had acquired a blue carrying case for 7" records, filled with them, many of which have "Alice Thiel" written on them. Perhaps it is part of Alice's record collection. I Googled the name in the area where we were living and looked for someone old enough to have owned a record in 1967 (when this single was issued, according to Discogs, although it isn't indicated anywhere on the label). I found only one woman who fits the description, who had died in 2018. Assuming the owner of these records never changed her name from marriage and never left the area, I will keep the romantic idea that this collection belonged to the woman in the obituary.

There are many others in this collection that I will eventually upload here. Don't worry, Alice, I'm taking care of them. I listen to them and always think about you when I listen to them.

[kermitjay]

Watch "Lou Simon Cameo Parkway I Really Love You" on YouTube

Lou Simon Cameo Parkway I Really Love You: https://youtu.be/ggKQFrQnXH0

[helloparkerrose]

[odk-2]

? and The Mysterians - Do Something to Me (1968) Jimmy Calvert / Norman Marzano / Paul Naumann from: "Do Something to Me" / "Love Me Baby (Cherry July)" (Single) "Question Mark and the Mysterians: The Best of Cameo Parkway 1966-1967" (2005 Compilation)

Garage | Pop

JukeHostUK (left click = play) (320kbps)

Personnel: ? (AKA Rudy Martinez): Lead Vocals Bobby Balderrama: Guitar Frank Rodriguez: Keyboards (Vox Continental Organ) Frank Lugo: Bass Eddie Serrato: Drums

Arranged by Jimmy Wisner Produced by Bo Gentry / Ritchie Cordell

Recorded: @ The Allegro Sound Studios in New York City, New York USA and @ The Regent Sound Studios in New York City, New York USA on July 13 and 14, 1967

Released: in August of 1967

Cameo Parkway Records