A-Ooga!!! Stamp & Shake With The Routers
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The latest in Ace's Deluxe series of limited edition releases. As the title implies, the Routers were never about high-minded cerebral matters. The motive was basic and straight forward: use any gimmick that might work to sell as many records to the maximum number of teenagers as humanly possible. Unashamed commercialism meant the writers would jump on any passing bandwagon and come up with a catchy tune. Using the same ploy that had been successful with the Marketts (See CDLUX 006) the sleeves and touring bands featured young white men, but the music you hear on this CD was mostly recorded by middle-aged black virtuoso session-men. When you listen closely you can revel in the drive and power of Earl Palmer's drums, the guttural, hoarse throated sax of Steve Douglas, and the ever-nimble and agile twanging of Tommy Tedesco. Many tracks are new to CD and four are previously unreleased. Compilation and sleeve note by Pipeline Magazine's Dave Burke and Alan Taylor. With a new interview with the Routers Joe Saraceno and Michael Z Gordon.
Top Customer Reviews
Ace have deleted stuff before like The Norfolk Sound yet why put all that work in just to eventually remove them in less than a year-its like being blackmailed
Both these groups were interchangeable in many ways and in fact the Marketts had begun in 1962 with an instrumental called Surfer's Stomp purchased by Liberty from the Union label.
Both were studio musicians using the same players in ever changing permutations and bands were formed to go on tour one of which was the no hit Vulcanes-singles on Capitol,Liberty and Goliath- who were given the chance to become Routers or Marketts the same way a U K 70s group of session musicians were given to become Rubettes.
Obviously few knew or even cared at this form of deception and the Mar-Ketts as they were now known went well into the British Invasion with one of the first Batman singles.In other words people with autographs got them from musicians who had no connection
There were other sets appearing as the Routers or the Marketts one of which included former high school popper Scott Engel who'd cut singles for a Texas label called Orbit-about 18 months later he was a Walker Brother.
Info came through to the U K in bits and bobs some of it inaccurate but the Age of the Record Collector and Serious Researchist would begin after the Beatles' Sgt Pepper.
Try reading through the booklets without getting lost if you're a recent instrumental collector-there is just too much detail for what in effect was all about people trying to make a buck by copying other people.
And don't you just love that word AOOGA-which is the sound of a car engine starting up
Most Helpful Customer Reviews on Amazon.com (beta)
Think of it as like a Sandy Nelson album minus the showy drumming, like a Duane Eddy RCA session minus the twang, like an Ernie Freeman session. These are studio creations and NOT band recordings like, say, The Fireballs. Many tracks DO feature Steve Douglas, of Duane Eddy's band, on sax, so that helps a lot in creating an exciting rocking feel, but these are not at all like Link Wray or even Lonnie Mack. They are West Coast session players churning out rockin' instrumentals on novelty themes.
And they do that incredibly well. It's hard NOT to tap your feet or your hands or hum along with these infectious tunes.
25+ tracks may be too much for most listeners to handle in one sitting (unless you are on a long drive, playing this in the car), but anyone who's debating whether or not to buy this is probably going to like it. It's ginchy and gimmicky, but it rocks. If you like Sandy Nelson, Ernie Freeman, etc., then give THE ROUTERS a try...
Recording for Warner Brothers, many of their singles had an American football theme, personified in their first release Let's Go (pony) which features the clap clap clap chant of high school/university cheerleaders, and became a # 19 Billboard Pop Hot 100 in November 1962 b/w Mashy on Warner 5283 (Warner would also release it that year on their American Pie subsidiary but b/w Spirit In The Sky on American Pie 9004). The follow-up Half Time was not as fortunate, stalling at # 115 Hot 100 Bubble Under in February 1963 b/w Make It Snappy on Warner 5332, and when Sting Ray topped out at # 50 Hot 100 in May-June 1963 b/w Snap Happy on Warner 5349 that would the end of any flirtation with a hit single.
They would, however, continue to release albums (3 more for Warner and one in 1973 for Mercury) and the following singles, always with a different cast of members which included Pat and Lolly Vegas, both later members of Redbone: in 1963 - A-Ooga b/w Big Band (Warner 5379) and Snap, Crackle And Pop b/w Amoeba (Warner 5403); in 1964 - Crack Up b/w Let's Dance (Warner 5444) and Stamp And Shake b/w Ah-Ya (Warner 5467); and Sack Of Woe b/w Superbird (Mercury 73418) in 1973.
Completist hits collectors only seeking all six sides to their three nationally- charting singles might want to consider the 2003 Collector's Choice 12-track release "Let's Go! With The Routers. But if you want more by the group, including album sides and previously-unreleased material, along with detailed liner notes like no other distributor (here by Dave Burke and Alan Taylor), you simply can't do better than this 27-track Ace of London volume. Just be aware that this does NOT include Mashy, Spirit In The Sky, Let's Dance and Sack Of Woe/Superbird.
Tracks 14 and 15 are from the 1963 LP "Lets Go! With The Routers" (Warner Bros 1490), tracks 16, 17, 18 and 19 are from the 1963 LP "The Routers Play 1963's Great Instrumental Hits" (Warner Bros 1524), tracks 20, 21 and 22 from the 1964 LP "Charge!" (Warner Bros 1559), and tracks 23 and 24 from the 1965 LP "The Routers Play The Chuck Berry Song Book" (Warner Bros. 1595). Tracks 2, 25, 26 and 27 were not previously released.
If you're interested, the full contents of their 4 LPs are listed in the Comments below.