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These 25 tracks were all hits between 1955 and 1977, so it might not be quite accurate to dub them all-time novelty hits. Still, that's the time span that most people who buy such compilations are going to want to zero in on, so what's the harm in the chronological limits? It can be taken for granted that a novelty compilation is going to have a lot of frivolous material and might be too much of a good thing all at once if you're not in a certain mood. But this is a pretty good assortment of cuts, usually with a strong or at least tenuous rock base, ranging from familiar classic smashes to some items that are seldom anthologized or played on oldies radio. Among the best familiar tunes are the Olympics' Coasters-like Western Movies, Bill Parsons' Elvis Presley satire The All-American Boy (actually sung by future country star Bobby Bare), Jan & Dean's Baby Talk, Johnny Bond's Hot Rod Lincoln, and the Trashmen's Surfin' Bird. Among the most frivolous? Certainly Dickey Doo & the Don'ts' Nee Nee Na Na Na Na Nu Nu has marks to spare for qualification, as do Bob McFadden & Dor's The Mummy (written by Rod McKuen!), the Ran-Dells' outer-space doo wop takeoff Martian Hop, the Pipkins' Gimme Dat Ding, and Napoleon XIV's apocalyptic They're Coming to Take Me Away Ha-Haaa! As for the seldom-heard items, there's the Ivy Three's Yogi, based on the Yogi Bear character and an actual (if quickly forgotten) Top Ten hit in 1960, the Daddy-O's' Got a Match?, and the Peels' Chiquita Banana commercial spoof, Juanita Banana. You also get Buchanan & Goodman's The Flying Saucer, Pts. 1-2, a number three hit in 1956, but not often played these days due to its dated use of brief clips of early rock & roll hits in a simulated news report with mid-'50s topical references. The liner notes are learned and witty, something you can't expect as a given with these kind of reissues. ~ Richie Unterberger, Rovi
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Novelty ushered in second guitarist and vocalist Bill Barbot, immediately bolstering Jawbox's might. Differing from the debut, the guitars are sharper and the riffs are more concise. Less straight-ahead, the record is also more dynamic, benefiting from more varied material. The only negative aspect is Iain Burgess' murky production. Normally an outstanding producer, Burgess gives Novelty a bizarre din that frustrates in places. Adam Wade's drums sound a bit canned, and J. Robbins' vocals sound too from the depths on occasion. It's still a marked improvement over Grippe, with Wade and bassist Kim Coletta sounding more in tune with each other; Barbot immediately proves to be the perfect foil for Robbins, engaging in some excellent guitar joust throughout. Lyrically, Robbins gets more abstract. (He also screams a bit more, but in a well-controlled manner.) Less introspective perhaps, songs like the excellent Static (one of the band's finest moments) seem to tackle one-on-one issues. Otherwise, who knows exactly what Robbins is addressing? Definitely not cut and dry, the songs certainly leave themselves open to any form of interpretation, but how do you decode lines like I've got this syllable sickness called the six second blues/No doubt quixotic talk has been subsumed? Sounds neat, so go with it. Novelty is transformed from a good record to a great one with the addition of the Tongues single. Full of dense swirls of swooping guitars, only to be ejected by a thick riff (the intro almost sounds like the Smiths' How Soon Is Now), the song separates the band from their D.C./Chicago roots while clinging to them at the same time. Call it My Bloody Minor Raygun. ~ Andy Kellman, Rovi
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