Most of you will recognize this from the Happy Mondays cover, though it may take a while. It's interesting how Happy Mondays internalized the original's anti-colonialist political message (Kongos is South African) and reinterpreted it as an anthem of junkie paranoia - in other words, making it their own.
The original presented here is pretty incredible. An international hit in its time, an ingenious mash-up of Glam and World pop and likely the first hit single ever to have used a sample-based beat (the entire track seems to be built around a tape loop of African drumming).
Here's some choice sides from rockabilly pioneer Sanford Clark.
A protege of Lee Hazlewood, Sanford had success early on with his recording of "The Fool", landing him a contract with Dot Records. Unfortunately, it turned out to be his only hit. He continued to release a string of singles throughout the late '50s / early 60s, switching to Jaime records for a while, then landing on Hazlewood's own LHI label before disappearing from the music scene.
"A Cheat" Dot 15516, 1956
One of his last sides for the Dot label. I like the gloomy, noirish vibe on this one - sounds like something The Cramps would have covered. Maybe they did.
"Still As The Night" Jaime 1107, 1958
I believe this was his first one after leaving Dot for Jaime Records, though information on this is pretty hard to find. The guitar work sounds more than a little like Duane Eddy's signature sound at the time. Clark's long-time lead guitarist Al Casey had in fact played on Eddy's touring band and did many sessions for him and Lee Hazlewood.
"Run Boy Run" Jaime 1129, 1959
This one reminds me of something Johnny Cash would have done at Sun around this time. Doomed outlaw ballad, sung over minimalist instrumentation.
"Son Of A Gun" Jaime 1139, 1959
Nice use of strings.
The character in this song could have been the offspring of the doomed gunslinger of the previous single. Lee Hazlewood recorded his own versions of both of these songs for his 1963 LP Trouble Is a Lonesome Town.
Limited Record Store Day release of the psychedelic classic, given an extra layer of haze from Shoegaze pioneer / Spacemen 3 founder Pete Kember (a/k/a "Sonic Boom"). Interesting how his treatment actually pulls this song closer to mainstream territory - but not too close.
Original pick for the B-side of "White Light/White Heat". It was pulled just before release and replaced with the more subdued "Here She Comes Now", but now appears as part of Sundazed's deluxe VU singles box.
Hard to imagine, but this mix is even more primitive and abrasive than
the stereo LP version - which is a good thing, I think. Rhythm guitar
and bass are way up front here (sounds like Cale quit the band at least
twice during the final minute of this song). The drums, when audible,
still sound like cardboard.
