tisdag 13 december 2016

Hoosier Hotshots

EPI 001 USA 1992

This is the first of three albums released on Epilogue records. The other two are Josefus and Truth, not really what we're looking for. 
If you're not looking for trouble, that is. The Josefus album (EPI 002) has a different version of the five-hour epic apocalyptic hippie-ripper "Dead Man". Funny. We didn't even need the original version.
Enough talking about insignificant pleasantries.

What we have here is 16 tracks from 14 Indiana groups.
You could argue that this is one of those so-so, standard, meat-and-potato garage comps.
And you'd be half-right.

It tries, and fails. Tries, and fails again. Throws a sureshot - but it's too late. 
This is not a watertight comp. This is the kind of comp that used to leave me frustrated and bewildered some 20 years ago.
"Do people actually like this shit?" I would ask myself. "I can't believe I paid $20 for this fucker! I can't understand why I didn't listen to it in the store! Fuck it, this is it, I'm never buying another fuckin' garage comp!!"

I lied, of course. I would buy more comps. A lot of them too. My faith would never be restored. But it wasn't Hoosier Hotshots that broke my spirit. 
It was actually some impotent professor-esque albums that was flying under the flag of Big Beats  Nuggets From The Golden State. It just bored me out of my fuckin face. 
I swear - when I opened the CD-case, a moth stumbled out, coughed out some dust, wiped his glasses on his cotton vinyl-friendly gloves, spewed out some trivial facts about pressing plant numbers, release dates, locales and the benefit of making garage comps from masters instead of original 45's. He then checked his prostate himself, made himself a cup of green tea and passed out on the sofa. He's still there. He's funny, my friend the moth.

Yeah, Hoosier Hotshots ain't that bad. It has some immediate killers (Not killers really. More like manslaughterers. In selfdefense-ers)

We have XL's classic acid punk clawing itself into your ears. I can't stand that high-pitched fuzz but I guess it is a matter of taste.
Cirkit is undeniably one of the best tracks here. 
The Endd of Out Of My Hands fame (Pebbles #9) does a pretty damn neat hazy freakbeaty slice of psych.

Those three are the only ones that really grabs you the first listen. And they're all relatively pedestrian garage.
So you feel a little bit empty the first time you've listened through it. That is when you listen to it again. If not right away, then atleast in the near future.

And then details hiding in the dark corners will emerge, voices from testosterone of yore will beckon your name and you will slowly come to a realization: this is a good album.
It is not great. But it is good. 

I checked it out on Discogs and my-oh-fuck-me-my what an overpriced slice of sausage. 
60 bucks? Seems legit.. I tell ya, those vinyl-collecting pharaohs are paying too much. Masochists. Consider it entry fee for the country club.

And what did I do wrong this time? 
I repeated tracks. Second Choice and Tell Me Girl is on Before The Dawn goddammit!

I didn't plan to revamp this, but I did anyway, then Ichanged my mind and somehow they sipped through so when I changed my mind again I find I repeated those two fuckers.
Sorry 'bout that.

Vintage Review:

While regions such as the Northwest and New England and states like Texas, Pennsylvania, Florida, California, Ohio, Minnesota and even Colorado have been represented by 60s garage compilations, Indiana seems to have been ignored until now. To be honest, I'm not even sure where it is on the map! 
However, judging from this brand new album, the Hoosier State also had its share of frustrated teenage musicians learning how to play guitars when they could've been trying out for the school football team or doing their geography homework (so they'd know where to find their home state on the map). 
Hoosier Hotshots is a good package with a glossy cover (which smells great for some reason) and an info-packed 8-page booklet. 
Things start out with the XLs' "Second Chance," a creepy organ mezmerizer making good use of an unusual deadpan lead vocal, but I've little use for their other cut, a later psych thing on which the guitarist applies dentist drill fuzz leads to your nerve ends. 
The Cirkit show how fuzz should be used on "Yesterday We Laughed," which has a fat, aggressive fuzztone riff and some original tricks in the arrangement. 
The Wild Things are anything but, yet their "I'm Not For You" is an amazing mid-tempo haunter with some inspired changes and a magical basement production: all muffled bass, cheap reverb, rattling tambourine and almost-in-tune guitars. 
In the teen ballad stakes there's Sir Winston & The Commons, whose "One Last Chance" is a cool Merseyish pleader which sounds like it was recorded from inside the bass drum. The Teen Tones' "Long Cold Winter" is another heart-tugger enhanced by some lonely wind effects ala Joe Meek. Yeah! 
Blues Inc. turn in a nice, Zombies-inspired tune, "Tell Me Girl," complete with electric piano and breathy Blunstoned vocals. 
The Endd (of "Out of My Hands" semi-fame) make an appearance with "Come On Into My World." Trouble is, after a promising beginning, the second half of the song degenerates into a distorted facsimile of Robert Plant fronting Blue Cheer (kind of like a lot of those long-hair/cut-off jeans bands that are always on TV nowadays, come to think of it). 
I prefer the Dukes' "Take Your Love," a twisted minor-key pop song with simple guitar and bass interplay and a slightly spastic rhythm which keeps the song on the verge of total collapse - hey, sometimes that's the best place to be! 
Other good tracks include the Shooting Stars' "I Love Her Anyway," a pounding shouter (or should that be shouting pounder?) from the teenage Louie/Sloopy/Lupe Lu school of 3-chord tricks, the Brit-style R&B of the Backdoor Men's "Evil," and a fine incompetent thudder by the Ferris Wheel. All of these tracks support the basic premise of this enjoyable comp and others like it: to hell with sophistication - leave that to the wimps! 

- Mike Stax (Originally published in Ugly Things #11, 1992)

måndag 28 november 2016

Garage Music For Psych Heads Vol. 1


Much thanks to a friendly user, we can let our eyes feast on the original cover to the cassette.
Awesome! These things should be preserved to be enjoyed by future generations.
I seriously think that.

Psych-Out ‎– PSY102 Cassette 1983

I have absolutely no idea what this is. Sometimes you stumble on random comps and this is one of them.
It is a sensible mix of garage and aimed at the psych-head side of the garage scene - I guess?

We get some moody tracks, some slightly psych-ish tracks, a fistful of classics (still not comped to hell way back when this cassette was released in 1983), two! (2) Hey Joes, , Beatles original drummer Pete Best's own little band (Pete Best Four, duh), some major bands (Electric Prunes, Chocolate Watch Band, Cryan Shames, Music Machine) and it all ends with Golden Cups epic cover of Hey Joe.

It is a great introductory course in garage, especially what garage was a lot about in the mid 80's. 
I recommend all newcomers to explore this set. Old black-belt garage connoisseurs like myself don't have much to find here. Except some reminiscence, which is good enough for me. 

Despite valiant efforts, I failed to find the original cover to the cassette so I made my own. I was trying to capture the aesthetics of the day but only had half of my ass invested so.. well, I made a cover anyway. If you have the original let me know and I'll update this post.

What I urge you to do now, my friends, is to download this set, copy it to a cassette (C60 I s'pose) and let that shit get tangled up and stuck in your car. You don't have a cassette player in your car? OK, in your boombox then? No? Your stereo? Walkman?
OK then just let it rest in peace on a bookshelf or loan it to a friend who loses it or drop it behind the bed where they usually ended up back in the daze.

onsdag 16 november 2016

Before The Dawn

Urgh, this might be my last comp - it's getting harder and harder to make good comps. And this is kinda stinky. (I actually have a semi-cool comp coming up so hold the fort!)

Oh and on this I made a classic blunder - I jumped one volume: the last one I did was vol. 34 and now this is vol. 36! 
I know atleast two other series that made the same mistake; Sixties Rebellion (#13) and Psychedelic Unknowns (#10).

I would rate this set 6 on a ten-scale. But I did put in a lot of time to get a good flow, and all these songs are cherry-picked, and I have listened to it, thinking it was kinda nice.
Just don't want you to get you expectations too high.

Let's see what we have here.


"..everywhere I go they say 'sad boy', but can't they see I don't want their sympathy.. I said nooo.."

TBM rates I Said No as a seven (7). The EPIC flip Rivers Of Hate gets a six (6).
If you have heard the flip you know how stupifyingly good it is, and if you haven't heard I Said No you might be excited to what you will hear.
I can tell you right now that I don't think it is nearly as good. Not on the same planet.
It is a somewhat pedestrian but cool folkrock jangler and serves as the poppy side of the 45. It is 2 years behind its times, Byrds did this in 1965, but hey - who cares nowadays.
At 1:25 a very crude Byrdsy solo emerges and you face will shine up.

You can hear Rivers Of Hate on my splendid comp Love Is Tuff.

(Marysville, CA) Oct '67
M.C.C 101067


"..everybody knows you've been untrue.."

One of many Bondsmen; this lot hails from Massachussets.
I really dig this kind of laid back folkrock.
Some cute amateurish harmonies, a funny little drum-lick, some nice guitar.
I don't take much sometimes.

(Concord-Sudbury, MA) Jun '66
Fleetwood 4564


"..tell me that you love me, baby be mine and you will have the world, tell me I can have your lovin' so fine and you will be my girl.."

Some swingin' mersey-esque beat meets standard American rock'n'roll.
It don't matter how much pop there is in the mix, when you pour it on a bunch of 60s kids from the states it always ends up rockin and a-rollin'. Beatles couldn't play rock'n'roll like this to save their life.
That said, this is pretty bland rock'n'roll. But I thought you might want to hear it.

(Hazelwood, NC) Apr '66
Switch (6-6390)


"..then I realized, dreams do not come true, is that really you..?"

Wow, 1971! I would've guessed 1966.
Great moody tune.

(Bath, PA) May '71
Brenick-Flagg 1012


".. if I had my way, I'd have her and she would stay but, my baby's walking 'way from me.."

Oooooh yeaaaa...
This song is sooo cute..
You can find the (even better, much better actually) flip I've Seen You Around on Root '66, Teenage Shutdown Vol. 2 and Soma Records Story Vol. 3.
My Baby is a slice of very cool and slightly somber mersey-beat.

(Winona, MN) Jan '65
Soma 1427


"..you left trace of your memory imprisoned in my tortured mind.."

Some more crude jingle-jangle folk-rock to table 66 please!
Some serious dynamics here from soft-spoken words of self pity to downright hysteric shrieks of bitter sorrow.
And don't think we missed that you snagged a part from You've Lost That Loving Feeling - ballsy move!

(Bucyrus, OH) May '67
no label 400


"..I know how it's been for a girl like you.."

More inferior flips to classic garage hits! But I'd almost choose this over Weird. But only almost.

(Rochester, NY) Aug '66
Nu-Sound 6111 


"..well, I knew all along that it would happen again.."

Wanna see what TBM wrote about this? "moody org-riff unison voc swinger" and rated it a 6. I think that is fair. A so-so effort and the better side of the 45.
It is also one of the cheapest singles on this comp, on popsike it fluctuates from 50 to 100 bucks
In  December of '68 they the released their second and last 45. A drum-thumping acid-punk monster with nails-on-blackboard fuzz. The flip to that supposedly sucks.

(Terre Haute, IN) Apr '66
Paro 100


".. I'd give anything to see her walk through that door.."

Last year this puppy went for 349 bucks - totally worth it. Both sides sports seriously moody top-shelf garage. You can find the flip here.
This is one of the best songs on this comp, hands down.

(Aubindale, MA) Sep '67
David-Lloyd Co. (201,438/9)


"..they say our love will soon be gone.."

Meeep, an overdose of heavy-frowning dramatic mood-pop. I'm sick of it now but I loved it the first 20 times I listened to it. I'm not sure what happens in the woods - I can't hear the words - but it must have been very dramatic indeed. Dramatic enough for me to name this set Before The Dawn.
(Redding-Ridgefield, CT) Dec '66
Direction 101


"..now the night is through and I find myself still thinking of you.." 

First recorded as the Reekers. Find the demo here.
BANG FOR THE BUCK! If you want you should be able to find this in the ballpark of 40 bucks. The top-side is the awesome swinging' punker What A Girl Can't Do.
Their next 45 - the mucho-cool Faces - is also around 40 buckaroonies. More bang for the buck!

(Washington, D.C.) Nov '65
Monument 910


"..now I know you've been out with some other one.."

A lot of hi-hat happening on this moody puppy. Rated 6 in TBM and righteously so.

(Columbus, OH) Apr '67


"..you think no matter what you say I won't leave you..but you're wrong, girl.."

Another affordable 45. Don't pay more than $30.
This is the kind of song that most of the time is kinda "meh" but if you play at the right place at the right time the whole room lights up and you can smell roses in the distance and everything falls into place. Those songs are far and apart so give this more than one spin.

(Allen Park, MI) '66
Bob-Ke (121237/8) 


"..the sun's gone and we've lost our way.."

You can find this and its (awesome!) flip on Crude PA Vol. 2. Very crude track.

(Whitemarsh, PA) '68?


"..I'm really nothing much.."

Phew, what a tearjerker. The flip is a silly mersey-esque pop-shuffle. Both rate 6 in TBM. I would argue If You Want Me is the winning side.

(Phoenix, AZ) '67
Dramel 22767


"..even when I look into your eyes.."

Two years ago this went for $1415. It also gets a six in TBM but booooooyyyyyy..... This is not a six... This is.. something else completely.
It is just perfect. Best on the set.

(Boston, MA) '66
Seventeen 263/4


lördag 15 oktober 2016

Rich Sounds Of The Sixties Vol. 8

Utah, Colorado, Arizona, New Mexico - the American Southwest!

We start off the set (as usual) with some early, very american, rock'n'roll. Really dig the stupid version of Something Else (which is thee most perfect rock'n'roll track ever).

We slide into brit inv territory with the great pop song Can't You See I Do by Austronauts
Don't miss that track btw! It kinda flies under the radar but it is an exquisite pop delicacy, something Nerves (of Hangin' On The Telephone fame) would break their fuckin back to come up with.

We get  a bunch of more so-so american rock'n'rollers till the garage starts-a pourin' out of the speakers.

And boy does it ever pour..
A steady stream of high quality meat-and-potato-garage come and goes. 
Some classics, some previously unknown to me and as always a real solid listen.

My faves?

For Me by Destiny's Children is a biiiiiig fave. The kinda shit that could've/should've ended up on a volume of Back From The Grave. 

The 45 by Soothsayers is a great two-sider.

I Don't Recall by the Trolls - I do recall when I first heard it. An insta-fave.

Grapes Of Wrath - If Anyone Should Ask. FUCK YAA!
So much of a fave of mine, enough to have ended up on one of my own comps.

She's Loving Me by Possums is one of the best tracks on the set.

Fe-Fi-Four Plus 2's classic is known and loved by all. Canonical garage.

That's the last of the Rich Sounds Of The Sixties comps.

Raise your glass to good ol' Rich who treated us to this!
Cheers mate! We owe you!

fredag 14 oktober 2016

Rich Sounds Of The Sixties Vol. 7

We hit volume 7 and we're back in the golden state - good ol' sunny California!
Oh, save for some leftover tracks from the Apple State of Washington and the mighty Beaver State, Union State, Webfoot State, yes the sunset state even - the glorious pacific wonderland of Oregon..

There's only two tracks here from OR but they are both worthy of mention: one is the soulful jazzy R&B-funk stomper Long Long Day by the Wheel of Fortune, the other is the jittery yet strangely solemn It's OK by the Ethics.

Liverpool 5, Rooks and Billy & the Kids all hailed from WA. Billy is the best of the bunch with the stunning Do You Need Me? which is the b-side to When I See You (that we find on RSOS #6).

But the rest is all California.
Pretty soft set, pretty darn soft I tell ya. Most tracks has frilly laces of pop 'round them, pleasant to the ear but the set gets a little indistinct because of it.
But as I've stated before - indistinct is sometimes a thing of wonder.

So this time of year when the trees turns into living dying fireworks, when the winds whispers cold secrets through the cracks in the windows, when the floor allows gentle currents of ice cold air rise through its crevices, when the dim and damp evening itself turns its misty back to you - that's when you need a steady shot of sound garage. That's when you put on this sensible set and a cup o java.

torsdag 13 oktober 2016

Rich Sounds Of The Sixties Vol. 6

Some CA, some WA, a couple Oregon..

To be honest - this is a so-so volume. Great rips, but a little slow. A couple of massive killers, another couple of absolute classics, a bunch of top-notch punkers, but also a lot of fillers. Well, according to me. I think it is a matter of taste.

What I think is cool with this volume is that it is pretty chill to listen to. And it is a good solid listen.
Yeah, it's better than so-so. I shouldn't have written that.

My faves:
Night Walkers - Stix & Stones
I love this tune so damn much. I have loved it ever since I bought (the weak and thin-sounding) Highs In The Mid-Sixties Vol. 7.
10 outta 10 in my book.

Untouchables - Don't Go I'm Beggin'
Crude northwest stomper with some mean-ass fuzz.

Initial Shock - You've Been A Long Time Comin'
Montana? What the H? There's not a lot of garage hailing from MT. When I consult TeenBeat Mayhem it tells me that the leader Mojo Collins was stationed in MT and that the band then went to San Fran, CA and recorded their 2nd 45 there.
Whatever the story, this is a very cool but careful stomper. A little shy. Awesome fuzzy solo.

Crusade - Psychedelic Woman
Arkansas is a little off too on the garage-map but there's way more than from Montana, that much is true.
Awesome stupid garage rock'n'roll, great fun, sure - it's got "psychedelic" in the title but it's got it mind in the gutter. Good wholesome r'n'r fun. 

Billy & the Kids - When I See You
One of the best drama-punkers there is. Classic.

We end with the very cool Bad Part Of Town with the Seeds - thanks Rich!

onsdag 12 oktober 2016

Rich Sounds Of The Sixties Vol. 5

Volume 5, and we're in California. We start with some tasty rock'n'roll but we pretty soon hit a golden ore with loooots of classics glimmering in the dark of the cave.

And even if none of my CA-faves are here: it is still a kick-ass set. There might be five or so bleak cuts but the rest is fuck-mazing. And the bleak cuts are rather nice too.


torsdag 6 oktober 2016

Rich Sounds Of The Sixties Vol. 4

We get to volume 4 and we're in Texas. Welcome!

So many classics here, too many to mention. Many of them the best Texas has to offer. 
Great rips and nice selection - as always.

Nuff of me yappin.

tisdag 4 oktober 2016

Rich Sounds Of The Sixties Vol. 3

Oh me oh my, what have we here? This volume is overflowing with classic garage! 

And the classic garage starts off right away with the high-energy soul of Prodigy and keep racing with Mad Hatters, prance onward with Mark Markham, reverberates together with the ominous Them-ish Jack Of Diamonds, stops by the corner where mr. Zappa is performing his best track - the folksy stomp of Trouble Comin' Every Day...
More über-classic are peppered all through this set. Most of the tracks are pretty poppy, some very slightly psyched (just sprinkled), more than one is concealed uptempo folk-rock, almost all tracks are mid- to billable acts aimed at the billboard - all rather 'safe' garage.

Off topic - I have to raise the question: is anything here garage, as we know and define it? 
And with "we" I mean "me".
What I garage? I don't know.
Garage to me is (for the most part) teen-trash, ineptly played, crudely recorded, released on their own label.
What we hear here is rather teen beat and sixties pop, dontcha think?

The umbrella-term "garage" can be a bit confusing sometimes. At least to me. Or, at least to me before. I think I've got it clearly defined in my head nowadays.
Of course I know what garage is when I hear it. Or sixties punk, or whatever. 

Sixties Garage Punk is a stupid name for a blog, a revisionist term for something untangeable, trying to define a scene that never really existed.
But even if it is a crap name y'all know exactly what ya gonna find here, do you not?


Brothers and sisters, here is the 3rd volume of Rich Sounds of the 60s, a glorious set of songs, all masterfully ripped and sequenced by a very cool collector, all in the name of sharing and having fun.

lördag 1 oktober 2016

Son Of Gathering Of The Tribes

BF 20183 Germ 1983

"Great 45 oriented sequel that should appeal to punk fans as well. Several killers and a great consistency. Only 200 copies made, each with an individual sleeve design. Was reissued in the early 90s."

Yet another 1983 comp. The year AIP released the two last great Pebbles albums. The year of the first volume of Back From The Grave. And Acid Visions, And four (4!) set of Boulders, 2nd volume of Chosen Few, Earpiercing Punk, the first five (5!!) volumes of Highs In The Mid-Sixties, the first Hipsville, the first New England Teen Scene, the second Off The Wall - need I go on?

Atleast over 30 comps was released in 1983. The second wave of the golden comp-age was in full swing. This might have been the busiest year ever. Things would slow down the following years up until around 1987 when the scene seem to have started to fizzle out.

This is pretty much a psych comp, but not 100%. More like a wigged out version of Acid Dreams.
Lots of well-known tracks here, some not that known, some previously unknown to me and a great spread of styles and smooth sequencing.
I love how the delightfully frightful brutal swaying fuzz-fest of Malibus' Cry gets to share album with the mucho-groovy hippie-hairy christian singer/songwriter D.R. Hooker.

What I dig with this slightly dizzyingly mixed album is that it puts both Cry and Forge Your Own Chains in their own personal distinct spotlight. Whereas in Back From The Grave it is pretty much a deadly flat-line all through, and the same with straight psychedelic albums.
That's why I dig Relics and Echoes In Time for example.

I hope you like it too. Much thanks to Sylvain for the glorious scan of the front cover, the back I snagged from discogs is is not as fancy.

tisdag 27 september 2016

Rich Sounds Of The Sixties Vol. 2

Volume two of this fine fine series..
A lot of classics, some early rocknroll, some not-often-so-compiled stuff, some never-comped-before.

Pop, r'n'r, punk, psych, folk - the usual mix.

My faves: Kaynines' suave That Ain't Right (uncomped, I think?), The Lost Soul by Pubs is awesome (I used it on Real Junk), the meat-and-potato garage of End Result is an excellent 2-sided killer, I've been nuts over Premiers' Get On This Plane since I first heard it on Psychedelic Experience, the uncomped Movin' On by Kensington Forest is a non-stop wigged-out psych-ish soul/folk/psych mover and She Lied by Brand X is a slice of moronity which can only be described as acid punk - don't miss the spooky rave-up at the end. Very silly.

But that's just my favorites. There a ton of other cool stuff here too.
Thanks Rich for yet another sweet set with awesome sound!

lördag 24 september 2016

Highs In The Mid Sixties Vol. 21 - Ohio Part 2

AIP 10030 USA 1985

"Another worthwhile offering with lots of cool punk/psych numbers and only one repeat. Hardly a brilliant comp in any sense of the word but better than most later Pebbles volumes. The entertaining liner notes where Shaw & Co apologize for all the errors on vol 9 suggests that the good tendency in these later comps may be due to an actual conscious effort. Who knows?"

Spot on. Really nothing more to add. The usual mix of punk, rocknroll, pop, psych and some wigged-out acid punk.

Standouts for me are I'm The Kind by Backdoor Society and In Awhile by Pictorian Skiffuls.
Acid thugs should find pleasure in Tinted Green, Another Colored Ink Drawing (A.C.I.D.) and Dark Cobble Street by Hazards, Wild Things and Four O'Clock Balloon respectively.

It's Them/TTHHEEMM's Animals/Them(UK)-inspired R&B belter Baby (I Still Want You Lovin') showed up on Back From The Grave Vol. 9. Weird choice. Would've made more sense on Teenage Shutdown. But it's one of the better tracks here. Still no killer, but one of the better.

Oh, and don't miss out on Thee Young Generation's psychedelic triumph Paperback Minds - very hip, very danceable. Discogs tells us that this is the same Younger Generation as the ones on Crude PA. I don't have TeenBeat Mayhem with me (never leave home without it!) so I can't check.

I hope this makes up for the mucho lame-oh comp I posted yesterday - sorry 'bout that.

fredag 23 september 2016

Baubles Vol. 1 - Down To Middle Earth

Baubles Vol. 1 - Down To Middle Earth

Big Beat Records ‎– WIK 72 1988

This is not sixties garage punk, I know I know..
Not that anyone ever could put their finger on exactly what that is.

Anyway, this is the kind of comp that could end up on the shelf if you were a rabid comp-collector.
And it is a very nice album!

Merrel Fankhauser & HMS Bounty kicks off the album with the-little-too-darn-sweet Things (Goin' Round In My Head), but later we'll find A Visit With Ashiya which is a mystical piece of hippie magic. Hear the holy bells and gentle sitars! See the fine silk and the living candles! Smell the exotisk incense and the dirty hippie jesus sandals! 
A great track. I love this kind of shit. When psych is this soft and cozy it is very hard for me not to fall in love with it.

Things get a little confusing and slightly sad as the mighty heavy-hittin', hard-honkin', wild-eyed-wailing' Sonics takes on Frank Zappa's Anyway The Wind Blows.
It starts out with a frustrated lonely wah-wah crying in the alley, then we jump straight into a strange cover of Zappa's tongue-in-cheek doo-wop crud, and it is a pretty uncomfortable listen.
After the sweet singing with glockenspiel & such, we then dive into this mire of wah-wah, a wah-wah as groovy as nails on a blackboard. I think my dad would make a better job.
Seriously - sounds like shit.
The song thankfully ends, even if you wonder a couple of times if it ever will.
But not before punishing you with turn-of-the-last-century wind machine and some Eight Mile High-inspired pirouettes on the guitar.
Doggone awful and a bloody shame.

Daily Flash try to brighten things up with a bit of baroque pop and even if it's not the most exhilarating baroque pop there is, it is still a cool listen and has that special autumn-y quality I so much enjoy with light psych.
Jack O'Diamonds (the 45 before this) is a lot cooler tho..

Fever Tree enters and here we go! It is the first of the four wild numbers on this album.
Crazy guitar, hairy growling, marching drums, wyld syncopated beats, a fucking german flute - exhausting!
There's a certain flavor of Music Machine in my mouth. Strange.

If this wasn't here I might've not bothered with this groovy comp.
But no-one can rest until Rabbit Mackay & the Somis Rhythm Band anthemic Tendency To Be Free is known across the world!
Don't you just wanna lose 50-60 pounds, buy a leather vest, get a bike, start a bonfire, drop a tab, take a nightly shower in a waterfall or some other wild and crazy shit like that?
You know, just stick it to The Man one last time? And this time as a biker?
Listen, you can be whoever you want in your fantasy, but in mine I'm a sunburnt, dusty, spaced-out, leather clad, bikeridin', wraparound-shade-wearin', heavy-smokin', hard-fuckin', easy-livin', gun-packin' rebel of the highway, livin' day to day, hand to mouth and with an EXTREME tendency to be free.

Ill Wind - I like them. Just too bad some hung-over christian first grade teacher bent someones arm hard enough to be allowed to screech into the mike 1:18 and onward. Buzzkill.


Lollipop Shoppe's You Must Be A Witch is known by everyone. It is great, ain't it?

Druids Of Stonehenge does some pretty tasty Odessey & Oracle-ish church-organ, damp-monestary, stain-glass-window psych on Six Feet Down. Pale Dream is some straight psyched-out punk. Very cool.

"Mee Duuhl Uuurf.."
What's that?
"Mee Duuhl Uuurf.."
I think there's someone at the door?
"Mee Duuhl Uuurf.."
Stephen? STEEPHEEN!! Can you get the door?
"Mee Duuhl Uuurf.."
Hobbit and friends marches in, waving freaky flags and precious fabrics and strange objects and knocks down tables and gets the cat entangled in their colorful dresses, skirts, shirts.
They sing about the sunshine, the top of the stairs, where the air is fresh and clean, where we both can ride a dream (??) and this is middle earth he supposedly means.
He is sure we can make that scene.
Hey - I'm all for that: let's go!

"Mee Duuhl Uuurf.."
What now!?
"Mee Duuhl Uuurf.."
The door again?
"Mee Duuhl Uuurf.."
Who could it be this time?
"Mee Duuhl Uuurf.."

Salvation does some much needed jazzy psych and I'm getting a little sleepy. Or woozy.
Wow, this is nice.. You know - when someone at a party suddenly out of the blue grabs your neck and start to give you a friendly massage (which I firkin hate) but before you can knock that sucker out, a warm unfamiliar feeling starts to spread and your mouth blossom out in a freaky deformed smile and you close your eyes and just let it happen even if you're not that fond of human contact? It's like that.
I probably won't do it again, but if I happen to cross my path in the future - who knows?

Nova Local offer us some cleansing airy soft psych - great track.
We also get entertained by some lively and amusing string-bending from some sitar-wielding studio-musician who apparently drew the shortest straw, but it is actually tastefully blended (well as much as you can blend that musical canoe with anything) into the song in the start and finish.

Nightmare Of Percussion is what the title tells us - a fuck-bunch of jazzy drumbeating and som hip singin'.
Look - a bongo! And a cowbell? I think I hear a tambourine! Is that sleigh bells!?
Santa? Is that you..?
At 1:38 and thru the remainder of the song, Santa or God or Satan or some crappy actor reads some heavy free verse while the Strawberry Alarm Clock stands in the background singing "doo-dee-doo, doo-ooo, hmmm-mmmmm..."

This is the first and last of the Baubles "series" and it is a hilarious ride thru the renaissance fair.
I urge you to get a little funky and try this out.
C'mon, you can't listen to garage all the time!


tisdag 20 september 2016

Rich Sounds Of The Sixties Vol. 1

I have been going on before about the sharing of physical comps at the old garagepunk.com forum.
I was able to snag a bunch of awesome fishes, and the Rich Sounds Of The Sixties were one of the best.
Great sound, great selection put together by one great guy. I don't want to name people on my blog, but I can give you a hint - his first name is hidden in the title of the name of the comp.

All in all he released 8 of 'em, all great, some uncomped before.
He said he welcomed some better artwork than he could provide (he made a perfect cover himself by the way, informative and clean & simplistic), so this is my shot at it.
If you can put your glasses on and squint you can read at the top that it contains "30 flacs" which is not true in this case. And I can post the flacs too if you so wish - just holler.

I will post all eight volumes. And if there is another forum comp you need, I might have it. just tell me and I'll get to rippin'.

Oh, and please forgive my ironic boasting of my name on the cover. I just want more people to find this blog so more people get into the dwindling scene of sixties garage.

lördag 17 september 2016

Michigan Mixture Vol. 1

Michigan Mixture Vol. 1

Clinging Hysteria 1 USA 1990

Since we're down the heavier path, why not post this lysergic comp. You get a lot of acid punk, some hippie punk and even a proto-punkish track (Stick Over Me by Glass Sun).

We start with Up - the younger brothers of MC5 and the Stooges and their swirling hippie punker Just Like An Aborigine. I don't know what the indigenous people of Australia would think of the lyrics but one must remember that this was released in 1970 by a bunch of punks barely past their teens.
Hassan I Sabbah is a lurking wailer with lotsa thuggish hammering on various instruments. 

Sweet Cherry is cool enough to end up on the revisioned Back From The Grave Vol. 2 with their lobotomized Funny Things Floating. Strange choice because this must be the most psyched out track on that comp series. This is serious mind melting acid punk of the finest order.
The equally blank-eyed zombie-rocker Eight Day Blues would fit in perfectly on Psychedelic Disaster Whirl and is even better than Funny Things Floating.

After Sweet Cherry we get treated to the acid rock of Pitche Blende. Fundamentalist punks won't find this interesting at all and the psych heads won't find it lysergic enough.
Stop! is unquestionably the best of the two tracks. Some wild screaming and sharp solos and cool dynamics totally makes it worth the ride. I like it a lot.

What can be said about the Glass Sun? They released two soaring 45s, one in 1971 (Silence Of The Morning/Oh Sandy) and one in 1972 (Stick Over Me/I Can See The Light) and all four tracks are great in their own way. The fuzz-propelled acid burnt dementia of Silence Of The Morning has been comped repeatedly, but this is the only place that you'll find the awesome Stick Over Me which is a kinda mix of Chamber Brother's Time Has Come Today and Chewing Gum by Creme Soda.
Great mix if, if you ask me.

Dick Rabbits ominous You Come On Like A Train is wild-eyed acid punk that could make any magic trip a hellish experience. Take Me To L.A. is quite bizarre. The melody is pleasant enough but it strokes your brain like a psychomaniac would pet a cat. There is an sunshine-y unspoken panicked passive agressive threat hanging over you the whole song through. Pretty original track.

Popcorn Blizzard is fucking terrible acid rock from a 1968 45. There is no reason for anyone to listen to this dreck. I couldn't find any decent rips of their two silly tracks so I had to consult the original comp. Who cares since no-one should be listening to this waste of sound waves.

Fifty Foot Hose's (labeled She Devils on the comp) demo of Red The Sign Post is yet another minor chord horror movie bum trip acid punker. Tough sounds and feedbacks and awesome singing. You have to be a pretty boring dude or dudette to not feel like dancing like a blood-drenched Manson sect member to this fucker.

Want some over-the-top bad vibes on that? Say hello to In Wyrd which is a fairground fright ride from the netherworld. I dare you to listen to this on any kind of mind-expanding drug. Because your brain would jump right out of your mouth. Because this track is that scary. Really.

From The Womb To The Tomb is another classic acid punker which I'm sure you've heard 1.000 times before. It has been comped before and for a good reason - it fucking rocks.

This is all in all a great acid punk comp, a real scary but fun ride. Just be sure to erase Popcorn Wizard's frilly pink hippie shit.

"Focused on the overlooked post-punk, pre-junkie Michigan psych scene, this first volume is particularly good with almost every track a killer, lots of fuzz and strange lyrics and to 95% 45s only reissued here. Essential to any acid-punk/psych fan."

tisdag 13 september 2016

Crude P.A. Vol. 1

Crude P.A. Vol. 1

Distortions 1001 USA 1990

Says the Llama:

"Title says it all really, as this Pennsylvania comp on the classy Distortions label is dominated by tunes primitive to the point of being offensive. No local hits or Battle Of The Bands victors here, these groups sound like they come from some sewer below the garage. A few excellent cuts and some garbage. Bonus points for the insert."

Yup, this isn't for the squeamish. A lot of primitive stuff here. Some tracks sounds like they fell down a well, stayed there for a good two years, got fished up by some farmer who cleaned it with chlorine and then asked his cousin (who has a tape recorder) to record the 45's he found down a dirty well and his cousin says "ok but i don't have time to get over to your place" and the farmer says "ok that's cool, you can record it over the telephone" and then he proceeds to play the singles over a crackly line on his phonograph. (Check Soul Generation's I Can't See You for reference.)

But other tracks sounds great and wild! Some I've even used myself. I wasn't planning to revamp this but changed my mind.
A good third of this comps is absolute awesome garage. 

Conductors' She Said So, Changing Tymes' You Make It Hard, Snaps' Polka Dotted Eyes, Facts Of Life's  I've Seen Darker Nights, Iron Gate's FLAWLESS Feelin' Bad and the GREATER THAN ALL GODS COMBINED Captain Dueseldorph by the Starfyres are all mandatory listening if you want to excel as a punk fiend and rise in the complicated hierarchy that is the garage society.
Nah that was an exaggeration. All I say is that if you don't listen to 'em - you're missing out. 
Not only that, you choose to miss out. Now that's an active choice. 

But you are forgiven. Just say three Hey Eriqs and do one Crusher and be on your way.

Crude PA is a much more satisfying package, with more photos and an insert with informative liner notes. Not everything on the compilation is a certified winner (and there's a few outright losers), but there's plenty of great sounds represented from the state of Pennsylvania. 
Worthy of mention are the Nomads (oh no, not another Nomads!) with their hard-hitting jangler, "Point Five" (an unreleased demo), and the Sands Of Time, whose "Come Back Little Girl" is a magnificently clumsy energizer. 
There's also memorable cuts by the Snaps, Pat Farrell & the Believers and the Conductors, but my personal pick comes from the Facts Of Life. Their "I've Seen Darker Nights" has real class, a strong, melodic haunter with galvanizing organ and guitar breaks and great drumming - a must hear.

- Mike Stax (Originally published in Ugly Things #11, 1992)

lördag 10 september 2016

Endless Journey, Phase 1

Endless Journey, Phase 1

Psycho 1 UK 1982

Says the Llama:
"The first volume of this LP psych series compiled by (the now defunct) Funhouse Records is a pretty strange affair, featuring an awkward mix of prep rock, '66 punk and heavy psych. Like what market were they aiming for? And why so many covers? A hilarious sleeve of an injection needle flying through space adds more questions to this mystery."

Hehe, the Llama's dry humor never fails to crack me up. He's right on the money, it's a very misch-masch affair. Kinda like Relics but even more confusing. 7 of the 12 tracks are covers. 
Moving Sidewalks does it best with their nuclear annihilation of the Beatles ditty. 
I don't know if you're into that kinda funny stuff but it is truly a jaw-dropping blasphemic assassination, I Want To Hold Your Hand gets hanged, drawn and quartered for all townspeople to see and it's a blast!

Even though that lysegic assauly is impossible to follow, it is still a major letdown to hear Rising Storm stumble their way through a cover of Baby Please Don't Go. 

Then we get treated to Texas pride Outcasts punk their way through Smokestack Lightning.

Oxford Circle's killer 2-sider acid punk never disappoints, and 17 Silver Studded Cadillacs is excellent.

But things starts to drag with Finchley Boys constipated performance. You get relieved when Rising Storm calms things down with a Velvet Underground-y version of Love's Message To Pretty. Don't look back is not too hot tho.

I actually dig Clique's version of Splash 1.

Mystic Tide's roaring Psychedelic Journey Part 1 & 2 is a stroke of genius but gets a bit grating after 9+ minutes of acid punk grind.

Well, if you're into sixties punk, and sixties punk only, this is somewhat of a nightmare.
I thought it was boring when I first bought it but I've warmed up to it now. Finchley Boys are quite awkward but that's ok. 

tisdag 6 september 2016

Pebbles Vol. 11

Pebbles Vol. 11

AIP 10001 USA 1983

Says the Llama:
(On Pebbles Vol. 10) "A sort of Pebbles phase 2 begins here, the deal being three or four monsters per volume and the rest pretty faceless filler stuff. Real fanatics will get these while others can settle for taping the winners."
(On Pebbles Vol. 11) "The same goes for this one which has fewer cuts as well. Punk/psych with some winners and some losers."

"Just when you thought "Pebbles" had thrown in the towel, these two platters (vol. 11 & 12) leap into the fray! As usual there's plenty of fab sounds to be found here. A variety of styles are represented, in the great "Pebbles" tradition: folk-rock, pop-punk, psych, and just plain wyld stuff.

Volume 11 probably has the edge with the demented, and thoroughly camp, Milan - the Leather Boy, the Aardvarks' great "I'm Higher Than I'm Down," and the ultra-primitive fuzz of the Modds, with "Leave My House." Best of all is the inclusion of legendary genius Neanderthals, the Barking Spyders - truly crunching godhead stuff!"

- Mike Stax (Originally published in Ugly Things #3, 1984)

Ok so who's right? It's no Pebbles vol. 5 (which is one of the best garage comps evah!) but it packs quite a punch. It does come with a couple of pop-psych tracks and the very-groovy Von Ruden's "hip" version of the Stones' Spider And The Fly. 
But I dig 'em. I might've been disappointed if I bought the platter back in '83 hoping for a veritable punk-fest, but now I can easily swallow Von Ruden's groovy pill and Looking Glass semi-plastic Visions. 

And if you're cool with those then this is a total hoot, a funfilled ride with allsortsa crrrazy "wyld" sounds that turned kids on in '66 and '83. It is just shockfulla cool stuff and covers the usual genres (like Stax said) punk, psych, pop and folkrock (that'd be Aardvarks towering larger-than-life Higher Than I'm Down).

It starts with Milan the Leather Boy's INSANE Leather Boy which burns rubber like a motherfucker, then dips its toes into some poppy psych, slides along a grimy trail of primitive rock'n'roll, digs up some crude top-shelf garage (Modds, Barking Spyders, Third Revolution) and ends it all Milan's high-energy pop-soul-punker You Gotta Have Soul!

It's just sooo much fun to listen to. In fact, the first 12 Pebbles are fun! Fun!! They are fun and nice and gets you in a good mood. The more I think about it, the more I love it.

So I'm sorry Llama. I usually agree with you but this time I go for Stax review.

Oh, and revisionist me corrected the muck-up with Galaxies IV. The original Pebbles listed Don't Lose Your Mind on the back cover but accidentally switched it for the flip; Piccadilly Circus.
Don't Lose Your Mind makes a lot more sense and is a lot better too!

lördag 3 september 2016

Gathering Of The Tribe

Gathering Of The Tribe

Bona Fide 5913 Germ 1982

"Classic druggie psych comp of the kind people rarely make these days. Appears to be designed especially for the pothead market as there are punk ravers closing each side in order to wake you up from your drug haze and turn the record over! Sounds good on acid too, except maybe for the infamous heavy blues 18-minute Josefus track."

Let's go for the throat right away and adress the Josefus track. It is too epically gargantuan to gloss over. It is like trying to explain the dead body in the trunk for a cop. It is totally impossible to not take it into account when talking about Gathering Of The Tribe.
I mean, what the fuck? What in the name of unholy intercourse?? If only it was the last track on the album, but the turd is the goddamn centerpiece!

Sheesh.. Don't get me wrong, I like heavy rock. But for starters; this is a pretty boring heavy rocker. And it's just too damn long. If you're not smoking something equally heavy, that is. 
The other matter is that it really don't belong with these other tracks. I'm ok with Macabre rubbing shoulders with Larry & the Blue Notes, but an 18 minute heavy blues epic sharing the bill with Unrelated Segments? That's just not right.

And even if you happily tap your feet through the 18 minutes of sizzling heavy-blues-hellfire, I doubt you'll revisit it again anytime soon. That is, if your not stoned out of your mind.

Other than that this is a fantastic comp! There is an overall bum-trippy vibe all through.
Slightly demented, gently lobotomized. The album does make more than one trip over the thin line between acid punk and psychedelia, and the Josefus track is a goddamn outrage, but other than that this could be sorted 'tween The Psychedelic Experience, Psychedelic Disaster Whirl and Acid Dreams. 
And its offspring Son Of The Gathering Of The Tribes. I will post that one later. You punk-fiends will definitely like that one better.

tisdag 30 augusti 2016

The Return Of The Young Pennsylvanians

The Return Of The Pennsylvanians

Bona Fide 16724-66 USA 1983

Vintage Review:
"The front cover states "14 Prime Cuts - No Fillers," but don't believe it. Despite some indispensable classics, this compilation is an overall disappointment. Why Bona Fide chose to release the Loose Enz' previously unreleased "Mister You're A Better Man Than I" (it should have been left in the vault, locked securely) and include the Kindred Spirit's "Blue Avenue" (from 1969!) instead of any of dozens of other singles s beyond me. The Centurys' "Hard Times," and "And I Cried" (check out their fab '65 demos, alos on Bona Fide), plus a couple of others, make this record worth buying, but it is hardly a fair representation of what the state of Pennsylvania had to offer in the mid-sixties. 
If you buy this record please heed my warning: there is a photo of Kindred Spirit on the back cover - don't look directly at it!"
- Ray Brandes (Originally published in Ugly Things #3, 1984)

Back From The Grave had been released when mr. Brandes wrote this review. I don't think one should, or could for that matter, underestimate the impact mr. Warren's new standard had set.

Pebbles were getting boring, AIP were pumping out sub-standard comps that left a lot to be desired audio-wise. A myriad of comps and re-releases were raining down on the ever-famined garage fiends.
A lot was shit, or pressed on crap vinyl, or just plain boring. 
In those days you could actually make a quick buck putting out a comp like this, so some of these old comps carry a certain scent of a quick-buck-made.

But 33 years can work wonders and it is hard not to get charmed by this little album. It can't hold a candle to other comps released in 1983 when it comes to "killers" but.. what can I say.. it breathes. It's not action-packed. And I mean that in a good way. Sometimes you just want to slap on something and don't go into instant party-mode. And it wasn't (then anyway) full of repeats.

I saw someone whining about the artwork - aaaah, stop that shit! The artwork is fantastic! I wish more comps looked like this. Fuck all those computer covers everyone does nowadays. I've even blasted myself for all my impotent covers because this is how a cover should look like!

Do I have any negative criticism? Naaah.. A lot of these tracks are somewhat forgettable - sure. But that don't mean they're bad! What more can I say...? If you're new to the scene you might find it hard to get into it. You shouldn't start here. 

God I'm rambling. You can tell that it's been a while since I posted anything.

"This is generally regarded as a sequel to the Penn Unknowns comp though I think there's different people behind them. In any event this one's decidedly inferior with most of the killers already reissued elsewhere."

Yeah I think it's the same guys who put out Gathering Of The Tribes in 1982 that made this (it's on the same label, as is Attack Of The Jersey Teen which I'll upload later), and I strongly suspect they are germans. Not that there's anything wrong with that.