lördag 1 december 2012

The Humane Society : Knock, Knock (1967)

The Humane Society: Knock, Knock / Tip Toe Thru The Tulips
Liberty 55968 Apr '67
(Simi Valley, CA)

This song is downright scary. It might've been less scary if it was about drugs or shadows or unicorns, I dunno.
But the story seems to tell about a late-night caller, knocking on his ex-girlfriends door. 

"Who's there?" she asks.
"It's me. And I just wanna be near."

That might be nice if it wasn't for the fact that she has cast him out "like a dog in the rain" and he's about to tell her what he feels about the situation - in a very Norman Bates-y fashion..

"you know what's going on in this whirling, swirling brain..knock, knock..." he explains thru his tight lips.

And the band start speeding up the song, underlining the intensity of the drama.
You get the feeling he slams the door behind him.

The second verse continues with ominous lines of him "whirling swirling in a world of grief and sin" and that "if you come back - I know I'll die".

What the hell is going on in that apartment?

The band speeds up again (which pretty much functions as the chorus) and our protagonist shouts out in the air "KNOCK, KNOCK! WHO'S THEEERE? WHO'S THEEERE!?"

I think I'll just let you use your own imagination.

Attic Sounds : Shadows (1966)

Attic Sounds: Shadows / Let Us Be Young
Mike 4007 Jul '66
(Silver Spring, MD)

For some funny reason, all songs named Shadows performed by a sixties garage band are fuck-notch!
Vejtables made a great psychedelic folk-punker called Shadows, The Leather Boy made this high-drama spooky psyche-tinged ballad of the same name, The Electric Prunes' Shadows was also high on the drama  and is an exquisite punkadelic creation.
I could go on.
There might be something about shadows as a phenomenon that inspires the mind, especially if you are drawn to exploring the dimmer parts of it through drugs. Hence all the psychedelic touches.

This Shadows is a rather strange song. The beginning almost reminds me of Hurricane Fighter Plane by Red Crayola.
But this is no freak-form onslaught. It has this hypnotic slightly psychedelic verses and it totally opens up on the chorus with gorgeous chords on the guitar and a soaring tambourine.
We also get a short break with some organ mucking about, turning up the light on the already afterglow-y qualities of the song.

It rated quite poorly in the TBM with a 5 points out of 10, it didn't even make the TBM 1000. But that only proves that it is an acquired taste and not a crap dud of a track.

fredag 30 november 2012

Little Willie & the Adolescents : Get Out Of My Life (1966)

Little Willie & the Adolescents: Get Out Of My Life / Stop It
Tener 1009 Nov '66
(Orlando, FL)

I can't top the lyrics with any kind of wild rabid ravings. This must be the meanest, nastiest, evilest, most pissed-off tirade ever written by a 60s combo.
It feels like the band also just surrendered and turned down the volume and just played.
That makes the production of this glorious work of art rather different compared to your average garage punker. So take that into consideration before you wonder were the rave-up is, or the wailin harmonica.

What gives you the big idea, you can walk over me, child?
Just because you got a big fat guy don't mean you own the world
I got news child
It ain't gonna sound so good to you
You don't know nothing baby
Not even a small bit of me

So honey, do me a favor
Just one small thing

Get out of my life

What makes you think you're so good you can spread things around?
You ain't no angel either child, I got things on you
So do me a favor
Shut your big mouth
Stop spreading those lies you know ain't true, child

And please do me one more thing

Get out of my life

Why do you always think you're so great you can push me around
I ain't your private property anymore, darling
I'm taking out of here child
I can't stand it anymore
You're all dried upp honey
I don't dig this scene

So honey, just one more thing
One little thing, child

Get out of my life

What do I have to do child - draw you pictures?
What's wrong with you child?
I'm taking off like a kite
I don't dig this scene anymore
I'm splittin' baby
I got my guitar in tune and I'm getting the heck out of here, child
Go baby! Go! Go!
Aaa get out! Get out, child!

The Unrelated Segments : Where You Gonna Go? (1967)

The Unrelated Segments: Where You Gonna Go? / It's Gonna Rain
Liberty 55992 Sep '67
(Detroit, MI)

And we are back in Michigan with THE UNRELATED SEGMENTS! 
Listen to that insane guitar and that bouncy bass and the creaking of the mike stand (yes that is a mike stand with an adjustable bar making that crazy noise). And the drums are fucking brutal the way it drives that track till the breaking point. The drums are ridiculously driving. 
And the lyrics with that stuffy nose vocals delivered by Rory Stults (R.I.P.). Just flawless. A ten-pointer in my book.

"But still you try to kid yourself and say you'll get away. But where you gonna go?"

The Unrelated Segments released two other 45s, one before this 'un, and one after, in '68. All are awesome.
This track is not the only killer, Story Of My Life and Cry, Cry, Cry is flawless too!
And the flip to this is a great moody punker that is one point short of being a killer.

The Unrelated Segments on wiki:

The Unrelated Segments on Cicadelics fuck-ugly site:

#179 on TBM Top 1000

The Beatin' Path : The Original Nothing People (1967)

The Beatin' Path: The Original Nothing People / I Waited So Long
Fontana 15830 May '67
(Reading, PA)

This is a strange song! It has this uptight beat, a fierce organ and some ace vintage laid-back sneering going on.
And check out that lead-guitar, talk about spartan use on notes. I love that, just a "waaa-ya-ya-yang".

It is almost on the verge of being psychedelic. Well it is not your average rock'n'roll track. It is too.. weird.
And weird is good.
One reason to the weird quality of the song could be that it was originally meant as a song about a drug experience. It was called 8 X 10, but the singer lost the lyrics and had to write some new ones.

A year before this killer, The Beatin' Path recorded the MONSTER I Can't See You as The Starlites.

Get Hip rereleased the 45 some decade ago. Go see if it's still there.

#536 on TBM Top 1000

The Banshees : Project Blue (1966)

The Banshees: Project Blue / Free
Dunwich 129 Jun '66
(Chicago, IL)

Dunwich released a lot of incredible 45s and this is - in my supreme opinion - the best.

Project Blue Book was a government study of the UFO phenomenon. What this has to do with the lyrics escapes me, unless the protagonist was gaga over a unidentified flying object.

The song revs up with some serious fretting, supported by riffing that means business.
The singer screams, the drummer furiously takes swings at every drum, cymbal and any hard object in reach.
The guitar fretting, courtesy of one Ron Rouse, just won't let up. Franc Bucaro (the singer) keeps screaming, the drummer really gets into it and smashes, smashes, smashes the cymbals into shreds of metal.

They try to take it down a bit on the verses but it is impossible to fork in any kind of credible dynamics here. This is a runaway train.

They even come to a grinding halt at 2:00 minutes but obviously had 30 seconds more of braking distance or 30 seconds more of paid time in the studio.

#114 on the TBM Top 1000

The Banshees on 60s garage bands:

The Squires : Going All The Way (1966)

The Squires: Going All The Way / Go Ahead
Atco 6442 Sep '66
(Bristol, CT)

If this song only contained the three anthemic chord heard in the first 5 seconds of this song, it'd be enough.
But it doesn't.
A nocturnal organ is there as well as some four-on-the-floor drums that always steals the focus from the volatile vocals. 

This is one of the best downer punkers around and Crypt Records even released an LP worth of material with these guys (otherwise, this is their only release). Some bad blood was shed while releasing said LP which made it go out of print; word is that it is being rereleased.
Go get it. Go, boy!

The Rouges : Next Guy (1966)

The Rouges: Next Guy / Faces On The Wall
Waverly 108/9 Sep '66
(Marblehead, MA)

There are a bunch of great loner/vagrant/outsider loser tracks out there, like Orphan Boy by Half Pint & the Fifths, N Patrick Williams' Bad Seed and this one, to name a few.

The difference 'tween the protagonists of said songs and say, Born Loser, is that these lyrics are not about some punk kid swinging and drinking and being cool. No these lyrics are about bums and hobo life.

You could even make the saddest little musical starting with Orphan Boy growing up become the box-car riding hero of this song - Next Guy - and then end it all with Bad Seed by Williams.

OK, nuff of that! Let's get to what we are here for - Next Guy!

This is another one of those songs I didn't really like the first time I heard it. I was still obsessed with fuzz, screams and wild solos. I'm glad I gave it continuous new chances.

We start off with some sad strumming setting the scene for this woesome tale.
Our burdened lead character is roaming the country from town to town, getting dirty look, kicking dogs (tho they seem to be the best friends he have found). The box-car is getting colder everyday and he has given up all he is living for.

Sad, huh?

The lyrics were most probably scribbled down as a school assignment, the author probably got an A- and decided to put music to it. It is a bit one-dimensional and juvenile.
But it possesses some dark cinematic quality.

I'd give it a break. For a pauper's sake.

The Reasons Why : Don't Be That Way (1966)

The Reasons Why: Don't Be That Way / Melinda
SoundTrack 200 Dec '66
(Temple, TX)

A choked and disoriented punker with an overload of epic things happening.
First, we get served a Kinks-ish riff and that is always a good sign.
Second, we got that choked singer, hysterically spitting out the words as the girl is packing her bag.
Third, one minute into the track the singer spits out the somewhat illogical but utterly epic "if you leave me tomorrow, I'll die today!"
Fourth, at 1:11 we get that blessed rave-up! A rave-up can save any half-baked song, then imagine what it does to an already perfectly baked one!
In fact, the healing powers of a rave-up is probably what the singer relied upon in a last attempt to make his dame stay.
Fifth, they don't end the song with the rave-up. The end-song rave-up is for super-epic demi-god masters only - if you do that move wrong, the song totally falls apart. The Reasons Why don't make that rookie mistake and instead does the intro again this time sprinkled with some machine-gun snare-shots.

If anyone can make out the whole set of lyrics, please mail them to me!

#21 on the TBM Top 1000

Tree : No Good Woman (1967)

Tree: No Good Woman / Man From Nowhere
Barvis 7010 Jan '67
(Wilmington, DE)

Sometimes you just want some good old 60s garage punk on yer plate.
Tree enters, falling down the stairs, instruments drawn and a baaaad 'tude.
Once again a no good woman has struck, this time not only ugly, but fat too! Not to mention hairless - on the head that is..

Bring on the solo already, somebody pleeaaase!
A exceptionally fierce shadow boxing of strings begins, only to crash down the stairs again, rising, regaining balance and goes for the final fuzz-free attack 'tween the growled verses.

Needless to say, this track floored me the first time I heard it and the love remains . The flip is an avarage instrumental, more for the already um.. saved.

Placed #41 on the TBM Top 1000.

torsdag 29 november 2012

Nick D'Angelo Farmers : Mr. Zeppelin Man (1968)

Nick D'Angelo Farmers: Mr. Zeppelin Man / Time To Be A Woman
Chime 109 '68
(Long Island, NY)

If there ever will be an all acoustic Back From The Grave, this demented piece of a mother-folker should be right on top of the short list.

We got some crapulous cave-man beatnik thumping on the drums, some lobotomized strokes on the suitingly out-of-tune autistic guitar and a melody on yet another auschwitztic guitar and we are set to go.
Let's top that off with some cat singing about a fat man stuck in a door and I'm ready to get LIT, baby!
Listening to this sober feels like a terrible waste of good times.

This display of mental-patient gewgaw should be enough, but wait - there's more.
Yes, Nick and his farmers have a cardiac-arrest up their straight-jacket sleeves.

Everything is fine and demento-dandy till we get 1:20 into the song and someone jerks some kind of archaic folky weapon and starts fingering it like a rheumatic inmate fingering his spouse on the yearly conjugal visit.

After that embarrissing moment (I blushed) the drummer passes out repeatedly over the drum-kit and you think the whole chaotic moment is over.
But the best is yet to come. All the happy folk-freaks in the band begins howling and wailing, screaming for  about half a minute!

A total favorite of mine, even if it might take some getting used to.

The Benders : Can't Tame Me (1966)

The Benders: Can't Tame Me / Got Me Down
Big Sound 3006 May '66
(Menomonie, WI)

Devilish dames, what would we do without them.
The untamable one in this primitive drum-thumpin' ripper is a bit elusive. Let's just say that it is hard for teens to maintain a healthy relationship.

The Benders were the first real rock'n'roll band in the town of Menomonie and clearly the task very seriously, judging the extreme rocking nature of Can't Tame Me.
I know - Gerry Cain steal a lot of attention with his fuzz-drenched solo, but don't forget about the wild hoarse howling of drummer/vocalist Paul Berry! Not to mention the bass-gymnastics supplied by Geno Jansen.

But if we choose to focus on the wild solo - then, wooow, man! That is something out of the ordinary.
Like, this is early '66. People didn't get down like that back in '66!
We can all agree on this being a 10-pointer at any year, but if you also take into consideration that this is before all those crap guitar-heroes flung out all those plastic sludgy LSD-solos, you gotta be amazed!
We are talking Ron Ashton quality here!

And it is so cocky! It begins with these enormous fuzz-tones just setting up the canvas before the all too short high string-bending up on the scale, then lands like a 747 on a coin and goes back to pound out cool riffs again. It is all over after just 25 seconds, but it feels like.. 30 seconds haha, I dunno!
Time and space gets sucked in into the black hole of rock'n'roll.

A nasty punker indeed, and a perfect song.

More about The Benders:

#72 on the TBM Top 1000

Our Gang : Careless Love (1966)

Our Gang: Careless Love / Heartbeat
Warrior 166 Feb '66
(Buena Park, CA)

Cooler than life Careless Love is the sound of dark feelings and nocturnal living.
It is not sprinkled with fuzz, psychotic screams, reverb or excessive speedy riffing. Armed only with a killer groove and a the angry neighing of a harmonica they set out to destroy.

Look, this is not yer average rendition of a Holwin' Wolf standard, this track stands on its own two feet.
Check the title: Careless Love. Let that sink in.
Its not that the dame don't care, she is being totally ruthless! We don't really get more info about the situation than the singer has been shown Careless Love. And that stings. He got dem blues.

A very spartan track and also very cinematic. Smoky, dark, late-night and dejected blues.

#435 on the TBM Top 1000

Read more about the Warrior label:

Cave Men : It's Trash (1966)

Cave Men: It's Trash / The Pillow Bit
'Chelle 148 Aug '66
(Key West, FL)

I don't say this a lot these days but turn the volume the fuck up on this track!!
The Cave Men ain't playin - it is TRASH that the dame goes out every night and does the deeds devilish dames does. IT IS TRASH, I TELL YA!
It is actually such a fucked-up situation that we need a fuzz the size of a kitten, reverb like you are playing in a cathedral, and it is very important (just to make sure it gets through to the listeners how 'trashy' the dames behaviour is) that you SCREAM the whole song!

I'm exaggerating. But how do I make this over-the-top punker justice in writing?
Everything about it is so perfect you almost don't believe it actually exists.

The off-on singer who balances being leisurely apathic and down-right psychotic seemingly on the verge of mental breakdown.
The fuzz-drenched guitars - both rhythm and lead.
The lyrics.
The dramatic solo.
The reverb, the delay, the fuzz..
The double-tempo drums on the outro.

This is a two minute song. Two intensely dramatic minutes. 
I am speechless.

#25 on the TBM Top 1000

Murphy & the Mob : Born Loser (1966)

Murphy & the Mob: Born Loser / Because You Love Me
Talismen Nov '66
(Tyler, TX)

The star of this song is the incredibly cool lyrics. There is no end to the coolness oozing out of the speakers when Murphy & the Mob sings the anthem of all loners.
This is outsider-punk at it's finest. Murphy need nuttin'. No pals? Who cares, he got them gals in his pad, with an unlisted phone and a steady job to go to (when he actually does work is another question since all he does is sleeps and 'swings'. Hmm, he might be a professional swinger? He might be working on a circus? Yeah, cause the Murph always swings alone. Atleast that is what he says.)
Sounds dreamy, right?

The lyrics is not the whole song, tho. The intro is fantastic, why with some string-picking (heavy fuckin strings, man) over a startled tambourine galloping over the prairie.
The drums take on the hunt, racing away until it gets to a complete halt only to continue the chase after some much needed cymbal-trilling (at 0:38).
The bass pretty much does its fucking job which is swinging (oh, the Murph might be a bass?)
All this is fine and dandy - über-cool lyrics, the disjointed riffing of the guitar, the agitated tambourine, the screams and the mandatory (but very nice) bass. 

But it is not all.
The song hell-raises the bar at 1:10.
The Murph - feeling uncharacteristically chatty - leans against you, put his arm over your shoulder and confidentially spill the beans:
"All the people..I mean..people..they just don't understand"
He points at a mirage in the far horizon: 
"They see me comin'..they shake their heads and say: 'Look at him! ..he's a born loser.." 
And before you can nod your head in forced empathy, Murphy loses his cool:

Placed #87 on the TBM Top 1000