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De La Soul’s Two Testaments

[As it happens, it’s one year to the day since I last updated this site. I started it several years ago for two main reasons: To republish some old writing I still felt worthy and to publish some new lists as I worked my way through the entirety of my own record collection and used the project as an excuse to fill in some gaps. I lost the thread on the first a long time ago, and the second more recently. Will this get me back here more frequently? I don’t know.

But Dave “Trugoy the Dove” Jolicoeur, one of the three members of De La Soul, died today. De La’s debut, 3 Feet High and Rising, came out during my freshman year of high school and was a kind of foundational text as I found my way in life and in culture. It remains one of my very favorite albums. In 2009, for the Memphis Flyer — What was the occasion? They must have been playing a show in town. – I wrote a piece about that album and the group’s deeply overlooked 2001 album AOI: Bionix, which I dubbed the band’s two testaments. I still very much feel that way.

For what it’s worth – and I know that it isn’t much, but a mention for posterity – this was one of three pieces that year I submitted for the annual awards contest for the Association of Alternative Newsmedia, a collection that took second place in music criticism in the Flyer’s circulation category. Republished here with a few small edits. ]

Hip-hop has produced more momentous artists than De La Soul. Run-DMC, Public Enemy, Eric B. & Rakim, Notorious B.I.G., Outkast, and a few others perhaps have a greater claim to the genre’s Mt. Rushmore. But in a culture so far short on longevity and mutability, I know of no other hip-hop artists whose peaks are more than a decade apart and who have had as much to say to the music’s fans — once referred to as the hip-hop generation — about living a rewarding life.

As Long Island teenagers making their debut with the precocious epic 3 Feet High and Rising, this trio — Kelvin “Posdnuos” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Mase” Mason— bravely tested hip-hop’s cultural boundaries, burrowing deeply into their own idiosyncratic personalities. Later, as thirtysomething fathers on the deep and subtle AOI: Bionix, they crafted the most convincing argument yet for what hip-hop as stable grown folks’ music might sound like.

“Sony Walkmans keep us moving/De La Soul can help us breathe.”

— “Tread Water,” 3 Feet High and Rising

Released in 1989, 3 Feet High and Rising spearheaded a hip-hop movement known as the Native Tongues, a loose affiliation (or, in Tongues parlance, a tribe) of artists such as A Tribe Called Quest, Jungle Brothers, and Queen Latifah united by an Afrohumanist philosophy and a playful sense of sonic exploration. The Native Tongues offered both a middle-class alternative to a form born in the New York City streets and housing projects and a gentler alternative within a genre then divided by the political militance of Public Enemy on the East Coast and the gangsta aesthetic of N.W.A. on the West Coast.

De La’s debut was a commercial hit and a relative critical smash, winning 1989’s Village Voice “Pazz and Jop” national critics poll, becoming the first teen winner and first debut-album winner since the Sex Pistols. But even then some found it too slight to be a Great Album, its full-fledged songs interrupted by recurring skits (a practice it launched, for better or worse), esoteric jokes, and other aural experiments, and its perspective too unreadable and navel-gazing.

Fans dubbed it “the hip-hop Sgt. Pepper’s,” but in retrospect “the hip-hop White Album” is probably a more apt Beatles comparison. More audacious and more definitive than anything else to come out of the Native Tongues crew, it’s a sprawling 24-track invitation to an unknown world, filled with in-group solidarity (“The Magic Number,” “Me Myself and I”), social commentary (“Ghetto Thang,” “Say No Go”), inspired DJ cut-and-paste (“Cool Breeze on the Rocks”), Aesop-like fables (“Tread Water”), and total weirdness (“Transmitting Live From Mars,” 66 seconds of a scratchy French spoken-word record over a Turtles sample).

It’s an album that contains both hip-hop’s first convincing love song with “Eye Know” (right, LL Cool J’s “I Need Love” came first, but he just wanted to get in your pants) and the genre’s healthiest sex song with the posse cut “Buddy.” And despite its teen-oriented self-absorption, it has a fierce spirit. The first rapped verse on the record, courtesy of 19-year-old Posdnuos: “Difficult preaching is Posdnuos’ pleasure/Pleasure and preaching starts in the heart.”

With its “D.A.I.S.Y. Age” rhetoric (which stands for “Da Inner Sound, Y’all” — don’t laugh), Day-Glo color schemes, private lingo, unexpected references (stray lyrics about Fred Astaire and Waiting for Godot), and inscrutable in-jokes (“Posdnuos has a lot of dandruff”), 3 Feet High and Rising was the sound of creative teenagers energized by their own brains. 

As much as indie-rock kings-in-waiting Pavement, who emerged soon after, these were modestly privileged suburban bohemians turning their surfeit of leisure time and their overactive intellects into something familiar yet totally new, its verbal imagination actually topped by its sonic imagination.

Two years earlier, fellow Long Islander Rakim — as culturally conservative as De La Soul were radical — had made a claim for the genre: “Even if it’s jazz or the quiet storm/I hook a beat up/Convert it into hip-hop form.” It’s a classic lyric, one that announced the genre’s voracious musical appetite. But Rakim couldn’t think past mainstream African-American forms. De La, inspired by George Clinton’s Parliament-Funkadelic and partnered with sampling genius Prince Paul, took Rakim’s manifesto and added to the list Hall & Oates, Steely Dan, Johnny Cash, “Schoolhouse Rock”, and a French-language instructional record, just for starters.

Underground mix-masters like Double Dee & Steinksi were earlier to the game, and the Beastie Boys would double-down on De La’s achievement later the same year with Paul’s Boutique, but more than anything else, 3 Feet High and Rising expanded hip-hop’s sonic vocabulary.

As insistent as the trio had been initially to confront hip-hop’s cultural boundaries (perhaps captured best in the comically put-upon “Me Myself and I” video), they did succumb to peer pressure, recording the fed-up defense to a stupid recurring description, “Ain’t Hip To Be Labeled a Hippie,” and then following up 3 Feet with the self-conscious and self-negating De La Soul Is Dead.

But 3 Feet‘s influence won out. The sonic message was that absolutely anything could be turned into hip-hop. But the personal message was that hip-hop could be anyone’s vehicle for self-expression, a message later embraced by white trailer-park products (Eminem), mixed-race Midwesterners (Atmosphere), nice middle-class white girls (Northern State), Third World survivors (M.I.A., K’ Naan), and lots of other people with something to say and a beat to say it over.

“No need to spit a cipher to show you I’m a lifer in rap/I cultivate moves larger than that.”

— “Bionix,” AOI: Bionix

3 Feet High and Rising‘s sonic fragmentation is generational but also partly a product of youth. Feeling creakier on the wrong side of 30, the band pursued a steadier groove on their Art Official Intelligence records: 2000’s Mosaic Thump and 2001’s better Bionix

Where 3 Feet was bumpy, the AOI records are smooth. Where 3 Feet was clever and cryptic, the AOI records are smarter and more plainspoken.

What the trio lost in youthful verve they made up for with a consistently rewarding musical vision on their second career peak. Rather than the Prince Paul-organized bricolage and jokiness of 3 Feet High and Rising, here is hip-hop as the ultimate adult R&B, without the confrontation or showy party vibe of most contemporary mainstream hip-hop or the spare beats of the underground. Rather, De La’s AOI records luxuriate in the sturdy, comfortable, and soulful — groove music for stay-at-homes. This music doesn’t grab you, but it deepens over time.

And it’s no accident that the more limited sources but more consistent groove makes for a fuller connection to the African-American musical tradition. After flying their freak-flag as kids, this later music embodied the Black middle-class experience they were living. Even the skits on Bionix (“Rev. Do Good”) tap into a Black American iconography that might have felt limiting as teenagers.

With AOI: Bionix, the group united verbal concept with the music’s grasp for the eternal. This was an album about growing up without giving out. Its most compelling moment comes on the concluding “Trying People,” one of the first pop-music acknowledgements of 9/11 outside of tribute-song rush jobs. The song is directed at hip-hop’s younger generation, with Dave (long since dropping his old “Trugoy” moniker) rapping, “You see, young minds are now made of armor/I’m trying to pop a hole in your Yankee cap/Absorb me/The skies over your head ain’t safe no more/And hip-hop ain’t your home.”

Once obsessed with making music in their bedrooms, the group was now focused on a different set of priorities: “Got fans around the world/But my girl’s not one of them,” Posdnous raps on the same song. “And my relationship’s a big question/’Cause my career’s a clear hindrance to her progression/Says she needs a man and her kids need a father/And I’m not at all ready to hear her say ‘don’t bother.’”

This central conceit is explored all over the record. The opening scene-setter, “Bionix,” features lyrics such as, “I don’t ball too much, ya dig/I got a ball and chain at the crib who want my ass at home.” The charming lead single, “Baby Phat,” is the middle-aged answer to Sir Mix-a-Lot’s “Baby Got Back”: “Your shape’s not what I dig/It’s you … You ain’t in this alone/I got a tummy too/Just let me watch your weight/Don’t let it trouble you.” 

On “Simply,” they search for a place to have fun without young “thugs” (their language) ruining everything, and on “Watch Out,” they make romance by proposing a joint account.

The record’s decorum breaks down toward the end with the sexed-up “Pawn Star” (which should surprise no one who remembers 3 Feet High and Rising‘s “De La Orgie”) and the funny, conflicted marijuana meditation “Peer Pressure” (with Cypress Hill’s B-Real). But this detour is needed confirmation that adulthood doesn’t have to equal stodgy.

Hip-hop hasn’t yet proven to be a form with the personal longevity of blues, country, or even rock. But after saying more about both teendom and responsible adulthood than anyone in the so-called hip-hop nation, one hopes De La Soul can stay interested long enough to pull hip-hop into the uncharted territory of middle age.

Radio shows

Sing All Kinds Radio: “The Give ‘Em a Great Big Kiss Show”

If you listen to this show, rather than just check out the setlist, you’ll here a screw up (not the first!) as I started playing the wrong side of the Superchunk 7”. The thing about having a theme each week is that everything has to fit it, so I couldn’t just let the “A” side go. 

So, in execution, I dunno. But in concept this is one of my favorite shows so far. 

The stream:

The setlist: 

  1. “Kiss” — Prince & the Revolution
  2. “Give Me a Big Kiss” — Van Morrison
  3. “Give Him a Great Big Kiss” — The Shangri-Las
  4. “Looking for a Kiss” — The New York Dolls
  5. “One Kiss Led to Another” — The Coasters
  6. “Kizza Me” — Big Star
  7. “I’ll Kiss You” — Cyndi Lauper
  8. “Beer and Kisses” — Amy Rigby
  9. “Passionate Kisses” — Lucinda Williams
  10. “The Shoop Shoop Song” — Betty Everett
  11. “Then He Kissed Me” — The Crystals
  12. “Just One Kiss” — Raphael Saadiq
  13. “On the Mouth” — Superchunk
  14. “Make Out Club” — Unrest
  15. “Kiss Your Lips” — Allo Darlin’
  16. “Kiss, Kiss, Kiss” — Yoko Ono
  17. “The World’s a Mess, It’s in My Kiss” — X
  18. “Kiss and Say Goodbye” — Kate & Anna McGarrigle
Radio shows

Sing All Kinds Radio: “The Tribute Show”

This week’s show was tribute songs, from one artist to another. There are tons of these, so I mostly tried to play pairs of linked chains of tribute. I haven’t had a chance to listen back myself, but there were some technical issues early on, at least in my headphones. Wasn’t sure if it was impacting the broadcast. 

The stream:

The setlist: 

  1. “Bessie Smith” — The Band
  2. “Song to Woody” — Bob Dylan
  3. “Song for Bob Dylan” — David Bowie
  4. “Thin Wild Mercury” — Todd Snider
  5. “Bob Dylan Wrote Propaganda Songs” — The Minutemen
  6. “D.Boon” — Uncle Tupelo
  7. “Dancing with Joey Ramone” — Amy Rigby
  8. “I Wanna Be Your Joey Ramone” — Sleater-Kinney
  9. “Tunic (Song for Karen)” — Sonic Youth
  10. “Johnny’s Gonna Die” — The Replacements
  11. “Alex Chilton” — The Replacements
  12. “The Replacements” — Art Brut
  13. “Lightnin’ Hopkins” — R.E.M.
  14. “Unseen Power of the Picket Fence” — Pavement
  15. “Sir Duke” — Stevie Wonder
  16. “Parker’s Band” — Steely Dan
  17. “Funeral Song for Mississippi John Hurt” — John Fahey
Radio shows

Sing All Kinds Radio: “The Girls & Boys Show”

This week’s show was one of my favorites from an idea/setlist standpoint. Thanks to Prince for the inspiration. 

The stream:

The setlist: 

  1. “Girls & Boys” — Prince & the Revolution
  2. “Are You a Boy or Are You a Girl?” — The Barbarians
  3. “Girls” — David Johansen
  4. “Boys” — The Shirelles
  5. “Hey Boy” — Magic Kids
  6. “Hey Girl” — The Blasters
  7. “Bad Girl” — The New York Dolls
  8. “Bad Boy” — Holy Modal Rounders
  9. “Bad Girl” — Smokey & the Miracles
  10. “Bad Boy” — John Prine
  11. “Bad Girls” — Donna Summer
  12. “The Good Girls” — Amy Rigby
  13. “Cynical Girl” — Marshall Crenshaw
  14. “Singular Girl” — The Old 97s
  15. “This Boy” — The Beatles
  16. “That Boy” — Carsie Blanton
  17. “Fast Girls” — Sarge
  18. “Losing Boy” — Eddie Giles
  19. “Androgynous” — The Replacements
Radio shows

Sing All Kinds Radio: “The 1967 Show”

This week’s show was one of my monthly “time travel” episodes, jumping back to 1967.

The stream:

The setlist: 

  1. “Sgt. Pepper’s Lonely Hearts Club Band’ — The Beatles
  2. “A House is Not a Motel” — Love
  3. “She Has Funny Cars” — Jefferson Airplane
  4. “Country Air” — The Beach Boys
  5. “8:05” — Moby Grape
  6. “Sittin’ On a Fence” — The Rolling Stones
  7. “Pictures of Lily” – The Who
  8. “Ups and Downs” — Paul Revere & the Raiders
  9. “Run, Run, Run” — The Velvet Underground
  10. “Let it Out (Let it All Hang Out)” — The Hombres
  11. “Neon Rainbow” — Box Tops
  12. “Expressway to Your Heart” — The Soul Survivors
  13. “Spanish Castle Magic” — Jimi Hendrix
  14. “Bring It Up” — James Brown
  15. “Tougher Than Tough” — Derrick Morgan
  16. “Pouring Water on a Drowning Man” — James Carr
  17. “Wait You Dog” — Mable John
  18. “You’re All I Need” — Bobby Bland
  19. “Soul Serenade” — Aretha Franklin
  20. “Love is a Doggone Good Thing” — Eddie Floyd
Radio shows

Sing All Kinds Radio: “The Morning Show” and “The Lonesome Show”

SING ALL KINDS is an afternoon show but to note the beginning of a new year, the first show of 2021 was “The Morning Show”

The stream:

The setlist: 

  1. “Good Morning, Good Morning” — The Beatles
  2. “Watch the Sunrise” — Big Star
  3. “Your Love is Like the Morning Sun” — Al Green
  4. “Breakfast in Bed” — Dusty Springfield
  5. “Woke Up This Morning” — Johnnie Frierson
  6. “Cigarettes and Coffee” — Otis Redding
  7. “Sunday Morning” — The Velvet Underground
  8. “Monday Morning” — Fleetwood Mac
  9. “Monday Morning Rock” — Marshall Crenshaw
  10. “Bloody Mary Morning” — Willie Nelson
  11. “One Too Many Mornings” — Bob Dylan
  12. “Early in the Morning” — Louis Jordan
  13. “Early in the Morning” — Buddy Holly
  14. “Early in the Morning” — Heartless Bastards
  15. “In the Morning” — Built to Spill 
  16. “In the Morning Time” — The Clovers
  17. “Jumpin’ in the Morning” — Ray Charles
  18. “Sunday Morning Coming Down” — Johnny Cash
  19. “We’ll Sweep Out the Ashes in the Morning” — Gram Parsons

This week, one of pop music’s grand topics: “The Lonesome Show.”

The stream:

The setlist:

  1. “Tired of Being Alone” — Al Green
  2. “It’s Gonna Be Lonely” — Prince
  3. “I’ve Been Lonely for So Long’ — Frederick Knight
  4. “Ain’t Got No Home” — Clarence “Frogman” Henry
  5. “Crazy with Loneliness” — Harlan T. Bobo
  6. “If Loneliness Was Art” — Allo Darlin
  7. “Lonely Girl” — Todd Snider
  8. “Lonely Girls” — Lucinda Williams
  9. “The Lonely, the Lonesome and the Gone” — Lee Ann Womack
  10. “Nobody’s Lonesome For Me” — Hank Williams
  11. “Lonely Coming Down” — Dolly Parton
  12. “Lonesome and a Long Way From Home” — Delaney and Bonnie
  13. “You’re Gonna Make Me Lonesome When You Go” — Bob Dylan
  14. “Those Lonely, Lonely Nights” — Earl King
  15. “Lonely Nights” — The Hearts
  16. “So Lonely” — Johnny Ace
  17. “Wish Someone Would Care” — Irma Thomas
  18. “If Only You Were Lonely” — The Replacements
Radio shows

Sing All Kinds Radio: “The Staying In Show”

This week was a special New Year’s Eve edition, with songs about not going out and instead sitting around the house. 

The stream:

The setlist: 

  1. “Party Lights” — Claudine Clark
  2. “Nobody Really Cares if You Don’t Go to the Party” — Courtney Barnett 
  3. “TV Party” — Black Flag
  4. “Stay Away” — Nirvana
  5. “Sequestered in Memphis” — Hold Steady
  6. “In My Room” — The Beach Boys
  7. “Waterloo Sunset” — The Kinks
  8. “Watching the Wheels” — John Lennon
  9. “Flowers on the Wall” — Statler Brothers
  10. “Bedda at Home” — Jill Scott
  11. “Late to the Party” — Kacey Musgraves
  12. “I Don’t Want to Spoil the Party” — The Beatles
  13. “Don’t Get Around Much Anymore” — Willie Nelson
  14. “All My Rowdy Friends Have Settled Down” — Hank Williams Jr.
  15. “Stillness is the Move” — Dirty Projectors
  16. “Hommage a Grungie” — Kate & Anna McGarrigle
  17. “My Little Corner of the World” — Yo La Tengo
Radio shows

Sing All Kinds Radio: “The Covers Show” (Vol. 1) and “The Jesus Show”

New Year’s resolution: Get back on a weekly posting schedule.

Two weeks ago, on “Sing All Kinds,” I finally leaned on an obvious crutch to which I’ll return from time to time: A covers show. This first one focused mostly on modern “alt-rock” artists borrowing from the classic-rock or pre-punk canons. 

The stream: 

The set list (original artist in parenthesis):

  1. “Gloria” — Patti Smith (Them, featuring Van Morrison)
  2. “Femme Fatale” — Big Star (The Velvet Underground)
  3. “Sweet Jane” — Mott the Hoople (The Velvet Underground)
  4. “And Then He Kissed Me” – Moe Tucker (The Crystals)
  5. “Into the Groovey” — Sonic Youth (Madonna)
  6. “Eight Miles High “– Husker Du (The Byrds)
  7. “Everybody’s Got Something to Hide Except for Me and My Monkey” — The Feelies (The Beatles)
  8. “Norwegian Wood” — Cornershop (The Beatles)
  9. “Waiting for the Day” — Reigning Sound (The Beach Boys)
  10. “Crimson and Clover” — Joan Jett & the Blackhearts (Tommy James & the Shondells)
  11. “Stop Your Sobbing” — The Pretenders (The Kinks)
  12. “Soul Kitchen” — X (The Doors)
  13. “Alone Again Or” — Mouse Rocket (Love)
  14. “Candle Mambo” — Amy LaVere (Captain Beefheart & His Magic Band)
  15. “Friday I’m in Love” — Yo La Tengo (The Cure)
  16. “Put a Little Love in Your Heart” — Amy Rigby and Wreckless Eric (Jackie DeShannon)

Last week, on a Christmas Eve edition, I did “The Jesus Show.:

The stream:

The setlist:

  1. “Jesus Christ” — Big Star
  2. “Jesus is Waiting” — Al Green
  3. “Spanish Pipedream” — John Prine
  4. “Me and Jesus” — Tom T. Hall
  5. “New Friend Jesus” — Craig Finn
  6. “Travellin’ on for Jesus” — Kate & Anna McGarrigle
  7. “Jesus Christ” — Woody Guthrie
  8. “Christ for President” — Billy Bragg & Wilco
  9. “Jesus, Etc.” — Wilco
  10. “Jesus Doesn’t Want Me for a Sunbeam” — Nirvana 
  11. “Jesus Christ was an Only Child” — Modest Mouse
  12. “Spirit in the Sky” — Norman Greenbaum 
  13. “Jesus Just Left Chicago” — ZZ Top
  14. “Jesus, the Missing Years” — John Prine
  15. “Jesus” — The Velvet Underground
  16. “Touch the Hem of His Garment” — Sam Cooke
  17. “Talkin’ About Jesus” — Delaney & Bonnie
Radio shows

Sing All Kinds Radio: “The 1973 Show”

Last week was my birthday, so I took the monthly time machine back to the year of my birth. 

The stream:

Here’s the playlist:

  1. “All the Way From Memphis” — Mott the Hoople
  2. “Rosalita” — Bruce Springsteen & the E Street Band
  3. “Jean Genie” — David Bowie
  4. “Put it On” — Bob Marley
  5. “Have You Been Making Out Ok?” — Al Green
  6. “Smodern” — Miss Smodern (from Africa Dances)
  7. “Thankful n’ Thoughful” — Sly & the Family Stone
  8. “Vicious” — Lou Reed 
  9. “Personality Crisis” — New York Dolls
  10. “Grandma’s Hands” (live) — Bill Withers
  11. “Grandpa was a Carpenter” — John Prine
  12. “The Swimming Song” — Loudon Wainwright III
  13. “Share Your Love With Me” — The Band
  14. “Tearjoint” — Dan Penn
Radio shows

Sing All Kinds Radio: “The Grab a Plate Show” and “The Nonsense Show”

A double-up posting on the past two weeks shows:

On Thanksgiving afternoon, I slipped away for a food-centric hour, “The Grab a Plate Show.”

The stream:

Here’s the playlist:

  1. “Green Onions” — Booker T. & the MGs
  2. “I Got It” — Little Richard 
  3. “Beans and Cornbread” — Louis Jordan
  4. “Boogie Woogie Blue Plate” — Louis Jordan
  5. “I Heard the Voice of a Porkchop” — Michael Hurley
  6. “Bar-B-Q” — Wendy Rene
  7. “Red Beans” — Professor Longhair
  8. “They’re Red Hot” — Robert Johnson
  9. “Jambalya” — Hank Williams
  10. “Heartbeat Chili” — Allo Darlin
  11. “Savoy Truffle” — The Beatles
  12. “Starfish and Coffee” — Prince
  13. “Ham and Eggs” — A Tribe Called Quest
  14. “Chicken Grease” — D’Angelo
  15. “Memphis Women and Chicken” — Dan Penn and Spooner Oldham
  16. “Shortnin Bread” — Mississippi John Hurt
  17. “No Biscuit Blues” — Kate & Anna McGarrigle
  18. “What Made My Hamburger Disappear” — Michael Hurley, the Unholy Modal Rounders and Jeffrey Fredericks & the Clamtones

Last week, I delved into the rich musical history of wordless mumbo jumbo with “The Nonsense Show.” 

The stream:

The playlist:

  1. “Tutti Frutti” — Little Richard
  2. “Be-Bop-a-Lula” — Gene Vincent & His Blue Caps
  3. “Hey Baba Leba” — Thurston Harris
  4. “Ooh Poo Pah Doo” — Jesse Hill 
  5. “Papa Oom Mow Mow” — The Rivingtons
  6. “Wooly Bully” — Sam the Sham & the Pharoahs
  7. “Ooby Dooby” — Roy Orbison
  8. “Shoobie Oobie” — Rosco Gordon
  9. “Oop Shoop” — Shirley & the Queens
  10. “Rama Lama Ding Dong” — The Edsels
  11. “Rubber Biscuit” — The Chips
  12. “Da Doo Ron Ron” — The Crystals
  13. “Diddy Wah Diddy” — Bo Diddley
  14. “Doo Wah Diddy Diddy” — Manfred Mann
  15. “Do-Wacka-Do” — Roger Miller
  16. “Yakety Yak” — The Coasters
  17. “Ya Ya” — Lee Dorsey
  18. “Wang Dang Doodle” — Howlin Wolf
  19. “Boom Boom” — John Lee Hooker
  20. “Ba Ba Boom” — The Jamaicans
  21. “Chickie Wah Wah” — Huey Smith
  22. “Ko Ko Mo” — Gene & Eunice
  23. “Shting-Shtang” — Nick Lowe
  24. “B-I-Bickey-Bi Bo-Bo-Go” — Gene Vincent & His Blue Caps