This, friends, is the swingingest and most bizarre version of this chestnut you will ever hear. Having recently left the Cantores De Ebano (Ebony Singers), sort of a 60s Brazilian version of Sounds Of Blackness, Noriel Vilela, possessor of an impossibly deep, rumbling basso profundo capable of blowing your speakers, embarked on a brief yet fondly-remembered solo career. This witty reworking of the Tennessee Ernie Ford original replaces the country-western-pop of the original with a rollicking samba-rock rhythm and Portuguese lyrics extolling how much fun samba is, sung by a voice from deep in the crypt that swings like crazy. It stops everybody who hears it dead in their tracks and is the guaranteed highlight of any party. What Messrs. Ford and Travis would have made of it is anybody's guess, but this version refuses to die, having recently become a hit in Brazil all over again, 30 years after its first release. I've heard many, many versions of "Sixteen Tons," but believe me, this one truly runs away with the prize!!

Who could forget the rousing "woo-hooa-a-hooas" that helped define the Pretenders' 1984 smash hit "Middle of the Road"? In a decade that saw synthesizer-oriented pop music arriving on U.S. soil from England, singer/guitarist Chrissie Hynde and bandmates tear it up on this classic example of pure, unadulterated rock music. The Pretenders' offering successfully maintains a formulaic rock pattern, with drums that beat on at a driving frenetic 4/4 pace and guitar riffs that induce foot stomping by the most conservative crowd. By the time the harmonica solo kicks in toward the track's end, "Middle of the Road" has worked itself up into such a musical romp that it challenges anyone to remain sitting down. There is no technical or instrumental trickery to be found here, no "secret sauce"; the song is very much in your face. Its rollicking music and lyrics that paint a picture of a journey make anyone want to hop into the car and take off for the open road. "Middle of the road, is trying to find me/ I'm standing in the middle of life with my plans behind me." You'd be hard-pressed to find anyone who didn't identify with that sentiment. The Pretenders zeroed in on one of humankind's most basic, secret desire � to get up and go � and backed it with an equally driven musical arrangement. And that's what makes this recording a timeless classic.
(AMG)

The B-side of the 12" single "Airport", this seems to be the Motors' forgotten song, although Virgin is about the most clueless of record companies when it comes to re-releases and best-ofs. This 8:15 track is a rollicking piano-driven stomper which gets into the groove right away and holds it throughout. The three parts do have the same tempo but it works a treat.

"The Witch" was the Sonics' debut single, released on Etiquette, the Tacoma, WA-based label owned and operated by local hero Buck Ormsby, member of garage rock pioneers the Wailers, who are known for unearthing the obscure R&B song "Louie, Louie." Reworking the tunes of Little Richard and Bo Diddley, the Sonics worked the local teen-hop circuit as a rock & roll cover band until eventually coming up with some original material with "The Witch" and what would become the flip side to the single, "Psycho." After revamping the lineup, taking on various members of the Searchers, Gerry Roslie commandeered the vocal duties with a bracing blues shouter style that would become the group's trademark. "The Witch," roughly recorded in mono, is a brooding rocker based around a revved-up blues progression with quivering guitar and a basic sax line holding down a simple riff, drums kicking away in the background. Roslie belts his cautionary tale, sagely advising all to steer clear of "evil chicks," with vocal-chord-shredding wails: "So you know the little girl/Who's new in town/Well you better watch out now/Or she'll put you down/'Cause she's an evil chick/Say, she's the witch, oww!" The band barrels on, lacking any semblance of finesse, stomping into a tempo shift and doubling the speed as Roslie howls, "Well she walks around/Late at night/Most other people sleepin' tight/If you hear her knockin' on your door/You better say get away/Wha whoo!" Guitarist Andy Parypa lets loose a note-stumbling guitar solo in a style similar to Dave Davies of the the Kinks. "The Witch" would become a regional hit, receiving extensive airplay on the powerful Seattle AM station KJR, but the Sonics would never break nationally, most of the country not yet ready for the extremely aggressive attach of the group's rough-and-tumble music.
(AMG)