I wish I could tell you anything about all these old comps, but that's a whole other burdon to carry and I know essentially nothing.
I know a guy who do tho, and I know he's hard at work to bring some order to the early days of garage pirates and punk swashbuckling bootleggers.
The two "Midwest" albums came out '83 and '84 on Unlimited Productions, an "1980s Iowa-based garage rock label" (quote from discogs..)
You've probably already heard a bunch of these tracks (not only on some other of my revamped classic comps, but also on some of my own!), but that is beside the point.
The kick for me is the double-whammy of a throwback: the cool 60s sounds, but also the 80s emerging scene of garage fiends.
I was a teenage punkrocker in the 80s and barely noticed the bustling scene of garage rockers.
I do remember the shock when I as a 15 year old happened to stumble upon a concert with the Stomachmouths.
I had seen hippies before, and I kinda thought I knew what punkrock was all about but this event blew my mind a bit. (My hometown was pretty backwards when it came to edgy stuff..)
It wasn't until a coupla years later when I discovered The Creeps and The Morlocks that I figured the whole thing out and by then I was too into Stooges and MC5 to get into that whole bag.
That would change 5 years later tho when I bought my first Back From The Grave (vol. 1) and descended into the maelstrom of sixties garage punk.
Earlier I mentioned the old defunked garagepunk.com forum and the sharing of files over there, didn't I?
It started with a loveable and generous OZ record collector who opened his epic collection of classic and/or hyper-rare 45s to us all and treated us with high-quality vinyl rips and sent us cdr's and downloadable flacs.
This caused quite a stir and motivated the hoardes of collectors at the forum to do the same with their priced collections.
Most of these forum comps got mailed physically left and right by the tons. I don't know how many of those comps I managed to pick up, but there was quite a few.
So now I've set the scene - people were sharing like it was the end of the world and everyone wanted to help to maintain the momentum.
So if someone sent you something, you wanted to send something cool back their way.
But some of these fellas didn't know how to rip their vinyl properly. And some fellas didn't know how to rip a cd properly, so some stuff you got sent to you was mp3s and you couldn't really rip that shit yourself and send it forward. What, should I rip an mp3 to a flac that then would be mp3'd by some bufoon an send it to some poor schmuck who rips the flacced mp3 to yet another mp3?
Shit went south pretty quick aural-wise.
So now I've set that scene too.
And I am too damn polite to ask if the stuff I was given for free was properly ripped, and thus safe to share. I had to trust my ears. And my ears suck a bit.
Soooo - someone (who might only had this comp cool enough to share) sent me a great rip of I Can Hear Raindrops - killer comp! - but I didn't know what to make of it. And since I had piles of envelopes of sent cdrs, I forgot who sent me it, and I didn't get around to doublecheck its rip-worthness.
So what do I do today when I want to share this stuff with you?
The rip sounds valid to me, and most of these songs are hopeless to find anywhere else than on this comp.
All the songs on this set I post here is from that cdr I got so I can't really say I did any effort to find better rips..
What I did was to rip it both to flac and to mp3's so you can decide yourself what to do.
Either I flacced and mp3'd a bunch of mp3's or I flacced and mp3'd a bunch of flacs.
A very shoddy post on my behalf, but nevertheless this is still a hard comp to come by these days, and thus totally worthy of getting shared even if one would think only half of my ass was inserted into this.
I just hope you'll dig this fantastic set of songs and that you have a great day and/or night, and that I love y'all.
I wasn't too crazy about this when I first got it. Or rather, I was bewildered.
It was rawer than Pebbles but it was less wild than Back From The Grave.
And those two series was pretty much all I knew what to compare it with.
(I had yet to discover Garagepunk Unknowns which is more in line to how this comp is bent)
Besides from the mega-classic making their debut here (Sparkles Hipsville 29 BC, Vagrants 2 tracks, Fantastic Dee-Jays Fight Fire) it is peppered with lo-fi tracks, off garage, apocalyptic surf and other miscellaneous strangenesses.
The jawdroppers for me are Land Beyond The Moon, Stacey and Mr. Zeppelin Man but there's no real clunkers here. Well, I can't enjoy Happiness Is Havin'.
End of Hipsville 29 BC rant.
On another note, I have put together a new set of songs. Now I only need to make a cover.
Might post it tonight.
Ok, I don't know how to sell this one to you. All I can do is to tell you a little backstory.
Let me take you back, hmmm, maybe 10 years. I had finally found friends that was as into 60s teen beat as I was. It was over at the old garagepunk.com forums.
Those were mighty fine times, with big time collectors rubbing elbows with common fans (such as myself), actual performers (Tom Kirby of Tonto & the Renegades was one of 'em) and compilers of all those comps I so feverishly worshipped.
There was just an abundance of knowledge and opinions and general silliness.
One of the voices of reason, immense knowledge and the best dry humor I've experienced was that of Patrick the Llama.
It was in a thread called "the last good comps" or something like that where the good Llama stated that the last really good 60s garage comp he knew of was "Class Of '66" and that he had one he could trade or sell.
I leaped at the opportunity and freed him of said album. And it was just magic.
Primitive, somewhat subdued, very underproduced teen beat filled the room.
I ripped it for others at the forum but was a bit miffed about the quality of the sound.
Because honestly, the vinyl didn't do justice to the music.
I am not much of an audiophile, but too much was missing in the hissing grooves.
I will try to rectify this now, but many of these tracks still sounds.. scrawny.
But turn the lights low, set the sound right and get in the groove.
LET ME FIRST SAY: I don't paint the covers, are you crazy!? I just slap on some fonts and crops some shit out and there ya go!
Sorry if I was leading anybody on..
BACK TO EAR-PIERCING PUNK!
This comp is goddamn stupid, and that is why I love it.
I really dig the haphazardness of the picked songs and the misleading and spectacular artwork.
(which I really like, btw. It is awesome in it's own pinky punky right - and you can't miss it! And it is a hellavalot cooler than most covers from various impotent comps of late. It is just ballsy and fucks with the minds of autistic and anal record collectors and that is always a very fun thing to do.)
So why isn't this ranked as one of the top early comps ever?
Well it feels a little shallow and thrown together for a quick buck. (My original vinyl sounded disgusting.)
The inclusion of Trashmen makes me frown - what the hell, couldn't they find another cooler and more punk and/or rare track? Ugh..
Some material is a little *yawn* boring. Mile Ends, Sound Extraction, Herde, Age Of Reason and Kommotions is too much dead weight to let this wild beast fly too high.
(But I have to say - as it turns out - over the years I have learned to enjoy dead weight.)
Another thing on the downside is Outlaw Blues. It is a turd I simply cannot enjoy.
(I couldn't find a better replacement track for it, so I went with the one issued on the CD version of Ear-Piercing Punk)
Yeah so that is a pretty lengthy list of why this comp isn't incredibly cool.
BUT! The champions protecting Ear-Piercings honor are:
The Groupies - the kings of slop - makes an übercool version of Hog. It is seedy, it reeks intoxication and it is famished for disgusting, vile and wild sex.
Dean Carter made his first appearance here with a double-whupass: Rebel Woman and Jailhouse Rock! Two of the wildest sixties punkers there ever was!
Starting side two is Sparkles classic No Friend Of Mine (another ten-pointer) followed by Keith Kessler (9.5 pointer but still a stone cold classic) - boom! boom!
Some ass is dragged by Herde but all that is forgot and forgiven when one of the absolute top punkers there is follows it.
I am of course talking about Mystic Tide and there haunting Runnin Thru The Night.
If you can't dig that then you can't dig nuthin.
Ugly Ducklings and Third Booth makes sure the album finish on a somewhat wild note.
OK, nuff of me yappin.
I give you, released in 1979, on Trash Records - EARPIERCING PUUUUUUNK!!!