From the basement.

The Rooftop Singers, Walk Right In. Amazing how slick folk music used to be, and how raw so much pop music is now. My copy of this single on the Vanguard label is literally warped for the first half inch of vinyl. Then it settles down, except it doesn’t. The heavy stand-up bass and the unexpectedly raucous guitar solo upset the smoothed-even vocals. You don’t whether to feel lulled or goosed.

Hedva and David, Next Year/If You Stay for A While Israeli folk pop, with spoken English translation interlude. “There will come a time when peace is not a dream. When peace belongs to all without strife. There will come a time when the prophet’s words come true, when Jerusalem above all guides our life..” Then comes the na-na-na singalong.

Baby Drowsy, B-P/Generate. New Jersey five-piece with quick-action punk players and takes-her-time vocalist which really does make them sound both baby-like and drowsy.

Andy Kim, Rock Me Gently/Rock Me Gently Part 2. Did you know there was a “Rock Me Gently Part 2”? It’s a white soul-funk instrumental, where a synthesizer sounding like one of those plastic keyboards you blow through takes a solo. Back-up singers come in for the crucial “ooo”s, “Baby baby”s and chorus. When “Superstition”-style bass licks come up, the idea of “gently” has moved up to the scale to “creepy.”

Paul Mauriat and His Orchestra, L’Amour Est Bleu/Sunny. As an arranger and unpredictable popsmith, this guy should be up there with Esquivel. The A-side was a deserved hit, but “Sunny” is also full of surprises: pops and clicks and strings and even a harpsichord sound. This is what kept people alive in the ‘60s.