NOVO, U CELOFANU ORIGINAL STRANO IZDANJE 1. RADIO PLUG FOR MONSTER MASH ON STATION KFWB - Bobby `Boris` Pickett 2. SCREAMIN` BALL (AT DRACULA HALL) - The Duponts 3. DRAC`S BACK - Billy De Marco & Count Dracula 4. MIDNIGHT STROLL - The Revels 5. GHOST TRAIN - Virgil Holmes 6. THE MUMMY`S BALL - The Verdicts 7. FRANKENSTEIN`S DEN - The Hollywood Flames 8. I`M THE WOLFMAN - Round Robin 9. SPOOKSVILLE - The Nu-Trends 10. THE MUNSTERS THEME - Milton DeLugg & Orchestra 11. COOLEST LITTLE MONSTER - John Zacherle 12. MONSTER PARTY - Bill Doggett 13. THE CREATURE (FROM OUTER SPACE) - The Jayhawks 14. MR WERE-WOLF - The Kac-Ties 15. RADIO STATION PROMO FOR BILL GAVIN - Bobby `Boris` Pickett 16. MY SON, THE VAMPIRE - Allan Sherman 17. THE MONSTER - Bobby Please & The Pleasers 18. THEME FROM THE ADDAMS FAMILY - The Fiends 19. NIGHTMARE MASH - Billy Lee Riley 20. THE VOODOO WALK - Sonny Richard`s Panics with Cindy and Misty 21. FEAST OF THE MAU MAU - Screamin` Jay Hawkins 22. FRANKENSTEIN`S PARTY - The Swingin` Phillies 23. LEGEND OF SLEEPY HOLLOW - The Monotones 24. BO MEETS THE MONSTER - Bo Diddley 25. ROCKIN` IN THE GRAVEYARD - Jackie Morningstar 26. RADIO PLUG FOR MONSTER MASH ON STATION WCOP - Bobby `Boris` Pickett 27. MONSTER MASH - Bobby (Boris) Pickett And The Crypt-Kickers 28. THE VAMPIRE - Orvin Yoes Gore blimey, Boris, what manner of beast is this? True to its Mission Statement of bringing great music back from the dead, the House of Wax that is forever Ace Records has (temporarily) nipped over to the dark side, to disinter more than two dozen monstrous goodies (and one or two baddies) from rock`n`roll`s overflowing Vault of Horror. Ace`s resident Scaredy Cats, Tony `Mummy`s Boy` Rounce and Rob `Gratefully Undead` Finnis have been for a little walk through music`s graveyard, trying to keep the dark forces at bay while they toiled to create a monster that is as ghastly as you`d hope any CD entitled `These Ghoulish Things` could ever be. Working overtime on the graveyard shift we`ve unearthed more than two dozen mouldering oldies, assembling the finished CD from only the finest `spare parts` and working at a pace that can truthfully be described as `frightening`. The delights that your gruesome twosome have dug up include a number of tracks that have lain undisturbed in Rock`n`Roll`s Vault Of Horror since their first appearances on vinyl in the 1950s or early 60s. These tracks include Billy De Marco and Count Dracula`s Drac`s Back which, it is alleged, had to be recorded at night, due to the ongoing unavailability of one of its vocalists during daylight hours and Orvin Yoes` staggeringly inept The Vampire, which sounds as though it actually might have been recorded from the inside of a coffin with the lid nailed down, and for which `amateurish` might probably be too kind a description. But before you start thinking that this is just another heap of musical body parts, randomly cobbled together to form any old monster (mish-) mash, we`d like to assure you that this really is a creation of a quality that any top notch mad scientist would be proud to call his own. This CD`s Theatre Of Blood or `bloooerghhhhh`, as Allan Sherman`s My Son, The Vampire would have it presents a horror show that`s drawn almost exclusively from rock`n`roll`s Ghoul-den age, its time span approximately matching the mid-late 50s peak of popularity for scary movies, and dovetailing with the latter`s impact on post WWII teenage America. With teens being scared out of their wits at drive-in movie theatres all across the USA, it was only natural that horror would quickly work its way into rock`n`roll. How much it did so is reflected unless you`re a crazy, mixed-up Transylvanian, in which case nothing is reflected, of course in the number of doo woppers who cut songs that related to the genre. At least 25% of the inclusions here are vocal group records, many by immortal names like the Hollywood Flames and the Jayhawks. Their cuts here, as well as those of many others that we`ve disinterred from the Vault Of Horror, have first class reputations that their `novelty value` does nothing to besmirch. Likewise, big bad Bo Diddley`s meeting with an unspecified monster is just as compelling as any of his marginally less horrific encounters with the Chess brothers. Other notable rockers from the locker here include die-hard Memphis rockabilly-cum-bluesman Billy Lee Riley, who has brought along a plateful of Nightmare Mash for your delectation (goes down very well with a little spot of congealed blood, we find. We`re also pleased to welcome some other larger than life-or-death personalities to our Screamin` Ball At Dracula Hall, both of whom are well known world wide for their ability to spin a scary story or two. That`s Philadelphia`s John `Dinner With Drac` Zacherle over there in the foyer drinkin` blood (spo-dee-o-dee) with the great Jalacy `Screamin` Jay` Hawkins, whose original version of his classic Feast Of The Mau Mau is, quite frankly, a howl from start to finish. In the true spirit of Halloween, every major monster of the big or small screen gets a look in. From TV land we`ve invited the Munsters and the Addams Family, dressed in their best funeral clothes and ready to do The Voo Doo Walk with The Creature From Outer Space, The Wolfman and The Mummy (be careful not to step on the latter`s loose bandages, Daddy-O), and if he can find his way over from Sleepy Hollow without his head Ichabod Crane. (If you lust for a vampire, you`ll also find plenty to sink your teeth into here thanks to Allan Sherman, the Duponts and the aforementioned Mr Yoes.) Those who can`t get into this Monster Party will be found close to hand, Rockin` In The Graveyard with Jackie Morningstar or maybe just taking a Midnight Stroll with the Revels. Try to join our party if you can: Dr Frankenstein assures us it`s going to be really `alive! ALIVE!!` And when the CD`s over, be sure to catch the Ghost Train leaving from track 5, where Virgil Holmes is ready to get you back to the Old Dark House in time for a glass of gin (it`s our only weakness) and hibernation `til the following night. We`d love to tell you more, but it`s getting close to midnight and frankly we know what happens once the clock strikes twelve, and we don`t want to stick around to witness it for ourselves. `Fire bad!` `Friend good!!` `These Ghoulish Things even better still!!!` It`s your funeral if you don`t dig it.

NOVO, U CELOFANU ORIGINAL STRANO IZDANJE 1 –The Pledges Aka Skip & Flip Betty Jean Written-By – Gary Paxton 1:58 2 –Gary Paxton What Kind Of Girl You`ve Been Written-By – Gary Paxton 1:43 3 –Skip & Flip It Was I Written-By – Gary Paxton 2:15 4 –Skip & Flip Fancy Nancy Written-By – Clyde Battin, Gary Paxton 1:50 5 –Chuck & Chuckles* Bury The Hatchet Written-By – Clyde Battin, Gary Paxton 2:37 6 –Doug & Freddy Need Your Love Written-By – Bobby Freeman 2:25 7 –The Hollywood Argyles* Alley-Oop Written-By – Dallas Frazier 2:39 8 –Joe Lover & The Gaylads Band Don`t Leave Me Baby Written-By – Joe Coleman (4) 2:15 9 –The Rod Marshall Combo Hot Toddy Written-By – Herb Hendler, Ralph Flanagan 1:48 10 –The Innocents (2) Tick Tock Written-By – Al Candelaria, Darron Stankey*, Robert West* 2:18 11 –Paul Revere & The Raiders Midnite Ride Written-By – Paul Revere 2:51 12 –The Hi-Tensions The Clock Written-By – Sonny Parker (2), The Hi-Tensions 2:12 13 –P.F. Flyers (2) The Turtle & The Hare Written-By – Dallas Frazier 2:38 14 –The Mavericks* Sugar Babe Written-By – Dallas Frazier 2:24 15 –The Paradons Never Again Written-By – Edward Scott 2:13 16 –Dorothy Berry And The Swans (8) You Know You Lied Written-By – Dave Kaddison 2:22 17 –The Cordials (2) The International Twist Written-By – Gary Paxton, Johnny MacRae 2:48 18 –Ritchie Marsh* Darling, I Swear That It`s True Written-By – Gary Paxton, Ritchie Marsh* 1:51 19 –Bobby Pickett & The Crypt-Kickers* Monster Mash Written-By – Bobby Pickett, Leonard Capizzi 3:11 20 –Sonny Day Razor Blades Written-By – Johnny MacRae, Sonny Day 2:34 21 –Johnny MacRae Honest John Written-By – Gary Paxton, Johnny MacRae 2:33 22 –David & Lee Tryin` To Be Someone Written-By – David Gates 2:18 23 –Gary Paxton Your Money Makes You Pretty Written-By – Ray Stevens 2:24 24 –Don Wyatt I`ve Got Love Written-By – Don Wyatt 3:04 25 –Gary Paxton Spookie Movies Written-By – Steve Stone (3) 2:19 26 –Renfro & Jackson Elephant Game Part 1 Written-By – Paul Nuckles 2:41 27 –Wee Willie (2) We`re Gonna Dance Written-By – John Greek (2), William Powell (3) 2:19 28 –Ron Holden Shake A Shake Written-By – Ron Holden 2:10 29 –Buddy Wayne Agent 007 Dance Written-By – Buddy Wayne 2:25 30 –Mickey Rooney Jr. I Can Read Between The Lines Written-By – Kenny Johnson* 2:13 31 –The Four Freshmen Nowhere To Go Written-By – Bill Comstock 2:42 32 –The Art Reynolds Singers Jesus Is Just Alright Written-By – Arthur Reynolds 1:55 The more observant amongst you might have noticed that over the past couple of years Ace Records has had the good fortune to license the catalogue of one of rock’n’roll’s greatest – and strangest - people. Gary Sanford Paxton has no idea of his remarkable position within the pantheon of 1960s Hollywood record men. While the Spectors, Melchers and Ushers of the time receive regular kudos, Paxton remains a shadowier, almost enigmatic figure. But when considering the amazing discography of this multi-faceted producer, one must remember that he very likely either wrote, arranged, performed upon, sang upon, engineered, A&R’d or published any item that has his name on. In most cases it was a combination of several or all of these elements. There was no-one else in the American record industry like him. There still isn’t. Best known for directing the novelty smashes Alley-Oop and Monster Mash, Paxton was already a veteran of the charts as half of the duo Skip & Flip. He set up in Hollywood in 1960 and, over the next five or so years, generated a remarkable catalogue that straddled not just novelty but R&B, doo wop, surf, hot rod, girl groups, jazz, garage rock, country and gospel – all bearing his idiosyncratic touch. HOLLYWOOD MAVERICK documents the oddball genius of Paxton’s glory years from 1958-1965, as he confounded a sceptical record industry by scoring major hits in the most unusual manner. It’s the yin to the yang of Ace’s recent anthology of Paxton’s one-time partner, Kim Fowley. A large quota of tracks appear on CD for the first time, having previously only been available on tiny labels that the workaholic Paxton seemed to form every other week. Many, such the vocal group gems The Clock and Never Again, are heavy-duty rarities, while others are unknown classics waiting to be discovered. Rock’n’roll, R&B, instrumentals, crazy dance tunes and the plain bizarre all factor into the equation. We also hear his earliest recordings a an artist - from the rockabilly Pledges via Skip & Flip and the Hollywood Argyles, to some singles he cut under his own name for Liberty and others. Also featured are early and/or obscure recordings by Paxton-associates including Leon Russell, David Gates, Sky Saxon, Paul Revere & The Raiders, Dorothy Berry, Ron Holden and a host of others. Not to mention the original recording of future hippie anthem Jesus Is Just Alright, rather more tastefully rendered by the Art Reynolds Singers, featuring a then-unknown Thelma Houston. Gary Paxton’s odyssey is an incredible one that easily has the makings of a sensational “Aviator”-style biopic – and we’re only talking his first twenty-five years. Abuse, adultery, drugs, booze, and duplicity, in both business and personal relationships, pepper the tale, much of which is detailed in an admittedly lengthy sleeve note (so long in fact, that the normally liberal Ace editorial department recoiled in horror and demanded an edit – though should the masochists amongst you wish to experience the full unexpurgated version, click on the website.) My conversations with many of Paxton’s associates from the Hollywood days provided a wealth of insider information, and though a few grumbled lightly about perceived lack of credit – the producer was as bad a businessman as he was great as a creative force – they all, to a man, waxed lyrical about Gary S Paxton, frequently describing him either as the most talented man they had ever encountered in the music business or, more simply, a ‘genius’. Though there is more to come on Ace – Paxton’s R&B and garage/psych masters are due for reissue next - Hollywood Maverick marks the culmination of several years of intensive research. I hope that this anthology goes at least some way to explaining the man’s genius – and giving Gary S Paxton some long over-due recognition into the bargain. ADDITIONAL COMMENTARY ON SELECTED TRACKS: Doug & Freddy - ‘Need Your Love’ A haunting Bobby Freeman cover, which was the debut release on the first of Paxton and Fowley’s shared labels, K&G. Doug Salma: “I always felt that was one of our better records - the feeling was real, more in the vein of what we were about.” Kim Fowley: “I remember the first thing I produced while I was with Gary was Doug & Freddy, on K&G. So it was a Kim and Gary record, but it was a Kim record. ‘Need Your Love’ was my idea, because Bruce Johnston worshipped Bobby Freeman and he used to sing that song at the Rainbow Roller Rink. I took the concept and got Doug & Freddy to do it like Robert & Johnny and they did. We did that at S&L in San Gabriel.” Gary Paxton: “That was a little studio in a garage, with an old engineer, Harold Shock. He didn’t have any monitor speakers, just an old Firestone radio speaker up in the right corner. I’d come over and say I wanted some more bass, and he told me, ‘you’ll have to talk to me in my left ear because I’m deaf in the right ear’ - where the speaker was!” Kim Fowley: “Oh my god, Harold Shock, he was seventy years old and when he would edit tape, he would bleed all over it - you just couldn’t sit there and watch him with the razor blade!”’ Joe Lover & the Gaylads - ‘Don’t Leave Me Baby’ Reputedly a car wash employee from Bakersfield, Joe Lover was brought to Paxton and Fowley by Chris Christensen, who released the remarkable ‘Don’t Leave Me Baby’ first on the Prudential label. Gary Paxton: “That’s me and Doug on backing vocals.” Kim Fowley: “I would say that, in the history of rhythm and blues and rock’n’roll, ‘Don’t Leave Me Baby’ is the eeriest, strangest record ever made, and that includes ‘I Put A Spell On You’ by Screamin’ Jay Hawkins. It makes anything by the Doors seem like the Monkees. Gosh, of all the stuff I did with Gary, if Jesus on Judgement Day told me to play him one great record that would get me into heaven, that Gary and I did, I would bring that single, and Jesus would say, ‘you get to sit next to me at the dinner table!’ What a great record, tremendous.” The Hi-Tensions - ‘The Clock’ Another K&G release, and nowadays a sought after item amongst vocal group R&B aficionados. Gary Paxton: “The Hi–Tensions were obviously black, an El Monte or San Gabriel outfit.” Kim Fowley: “‘The Clock’, we acquired it from Madelon Baker at Audio Arts [the song first came out on the Audio label]. I found the master but I don’t remember anything about it. Gaynel Hodge was involved.” Doug Salma: “I never met the Hi-Tensions, but I made ‘The Clock’ my pick of the week on the Huggy show [Salma befriended legendary deejay Dick “Huggy Boy” Hugg, and often sat in for him on KALI]. I played the heck out of it, ‘cos it reminded me of the Debonaires’ ‘Every Once In A While.” Paul Revere & the Raiders - ‘Midnight Ride’ An underappreciated item from the Raiders’ obscure Paxton/Fowley-supervised phase on Gardena, which with its sound effects, loping piano rhythm and Lindsay’s jive-talk delivery, displays a clear Paxton influence. After Revere got drafted, Mark Lindsay did solo recordings with Gary and added his sax to oddities like the Marksmen’s ‘Coffee House, Part Two’, before getting busted for burglary. Kim Fowley: “I was co-producer. Mark and Paul Revere had a Mick and Keith kinda collaboration. Everybody always changed in the band, except for those two, they were the constant [other members on this recording are Jerry Labrum on drums and Richard and Robert White on guitars]. They played every night of the week and were great live. Revere was a businessman and Lindsay was a character. He was my chauffeur for a while, he slept on my floor and drove me around in his car. He was a professional wide-eyed kid.” PF Flyers – ‘The Turtle & The Hare’ Once again, this is classic 1960-61 Paxton, on a Dallas Frazier tune released via Morey Bernstein’s Reveille label. Contrary to rumour, the fictitious group name is not a reference to Paxton and Fowley, as the latter was gone by the time of its June 1961 release. Doug Salma: “A PF Flyer was a brand of tennis shoe. That’s me and Fred (Johnny MacRae) and Gary – we cut that at S&L. I think Gary was the one who came up with that way of speaking [a la ‘Alley-Oop’ – see sidebar]. I got good at it and used that voice on ‘Big Bad Ho Dad’ and other stuff I did – as did Kim.” Darling, I Swear That It’s True – Ritchie Marsh The Seeds’ frontman Sky Saxon in a previous incarnation, with a Paxton produced record, released on Shepherd in 1962, that is typical of the mawkish teen schlock the Salt Lake City native cut in the days before ‘Pushin’ Too Hard’. Gary Paxton: “I used to produce Richie, and he and I wrote some songs together. He was freaked out then, and stunk - never bathed!” Don Wyatt – ‘I’ve Got Love’ A highlight of Paxton’s late 1962 trip to Nashville was this recording, engineered by Papa Don Schroeder and cut with the cream of Nashville’s then session mafia. Wyatt made singles for Bob Ross’ Rosco Records and other labels, and went on to be the bass singer in a latter-day Ink Spots. Gary Paxton: “On the Don Wyatt in Nashville I used a tuba instead of the bass. Don was a football player, and was kinda like a cross between Roy Hamilton and Arthur Prysock. Boy, I loved [Prysock], I went to see him in person once and he knocked me out. I was always mentally drawn to real talent. Don was a great singer, great performer too. Real smooth, a Sam Cooke type. In 1962 there was not one company that had a black country singer - Charlie Pride was a lot later. Jerry Kennedy, Charlie McCoy, Bob Moore, and Ray Stevens are all playing on the Don Wyatt Nashville session, I had all of them. Ray was the conductor, and instead of using a real bass, I used a bass tuba!” Renfro & Jackson – ‘Elephant Game (Part One)’ For a novelty record, this controversial July 1963 release rocks pretty hard. Gary Paxton: “Jesse Sailes was my drummer, and Chuck Hamilton my bass player – both of them were about 6 foot 5, and weighed about 280. And the way they talked, they were both really funny, like Wolfman Jack. So I decided to record them. We went in and cut the track; it never changed key, it was like a Bo Diddley song. Paul Nuckles wrote it. He was a stunt man for many big stars, a stand-in for people like Paul Newman. He lived at the Hudson mansion, and that guy would come almost every day with a broken arm, a broken rib, or something smashed! We named the artist Renfro and Jackson, and it was a pretty weird record. I took it up to KFWB, and they told me, ‘that’s too black, we don’t play black records’ - the blackest they would play was something like ’Shop Around’. So we went and got a Volkswagen convertible, rented an elephant, got about fifteen pom-pom girls, and did a parade down Hollywood Boulevard, starting up by La Brea. We had the elephant pulling the VW and all these pom-pom girls dancing in front and the sides. And we had signs on the elephant, “KFWB Unfair To Elephants”, “KFWB Unfair To Renfro & Jackson”, etc. We’re going down Hollywood, we had crowds gathering in front of the radio station, but then the elephant got nervous and started crapping in the street. They called a SWAT team, who arrested us and later made us go and clean up all the crap from the elephant. They actually took us to jail, for a record promotion.” Mickey Rooney Jr – ‘I Can Read Between The Lines’ While he may not have had constant chart placements, by the mid-1960s Paxton did have a steady steam of income from his publishing interests, the one area where he had actually displayed some business savvy. He landed one copyright (‘Butterball’) on the Tijuana Brass’ multi-million selling album “Whipped Cream & Other Delights”, and another earner was this Kenny Johnson tune, tucked away on the B-side of Gary Lewis & the Playboys’ seventh Top 10 hit ‘Green Grass’ – ironically produced by Gary’s nemesis at Liberty, Snuff Garrett. This is the original version of the song, recorded by actor Mickey Rooney’s eldest son in late 1965 (who had releases on Liberty too), but never issued. Gary Paxton: “Barney Kessel, who had married Mickey Rooney’s ex-wife Carol, brought Mickey Jr into me. We did this and then Gary Lewis covered it. I remember when ‘Alley Oop’ was #1, Gary Lewis was going to turn 16 and he told his father [comedian Jerry Lewis] that he wanted the Hollywood Argyles to play for his birthday party. So Jerry Lewis’ office called me up and I think they paid us several thousand dollars. It was like a gig, at their mansion in Bel Air. We played a while, and then all the kids jumped in the swimming pool and they were raising cain, so Jerry said, ‘c’mon in the kitchen’, and he was really nice to us – he didn’t have to be.”