måndag 23 maj 2016

Nederbeat 1965-1969

Nederbeat 1965-1969

I have some followers who are new to sixties garage. 
This set is made for them. For those who haven't heard this yet.

I don't know that much about nederbeat, simply because I don't think it is that good.
I dig the classics and that is pretty much all I know. Too much crap to wade through.

That is why I made this set. These 24 tracks is all I need to hear from this scene.

Most of you have heard them all before. But this set is not for you.
I hope you will enjoy it as much as I did putting it together.

lördag 21 maj 2016

Love Comes, Love Goes

Love Comes, Love Goes

I picked these 16 songs from about 50-60 tracks I had piled together for this volume.
It took me ages to complete and I'm still not happy with it. Mostly because most of the songs are ripped from scratchy sources and fizzles and pops and what with the surface noise and such.

But if you were OK with Return Of The Walrus you should be OK with this.
I see this volume as the third in a trilogy that started with You Take Me For Rides and Walrus being the second.

And this set is a grower. I've been listening to it a lot, and all the songs benefits from repeated listening.
As I have stated many times before: just like psychedelia, moody garage needs a good setting. You need to let it breath. You need to invite it into your home, and you need that home to ready for all the moody gloom and doomy despair..
You can't just yank it out, slap it on and go about your day.
Think of it as an occasion.

Because this set is super-depressing. If you are into that kinda stuff you will be happy. Happy-sad.
So get some napkins, pour yourself a big glass of your poison of choice, close the door, shut the blinds, curl up in a fetal position and hit that play button. And get ready to cry..


"ever since I was a boy I've given my life to you.."

"..vvvats why I say..." yeah Michael, vvvat is that you were sayin?
Super-tight 50s-ish rocker. Totally irresistible.

I think this was the only 45 this canadian band put out. On the flip you can find "Comfort Him"

I don't know where in Canada they resided, when this was released or the actual number.
Below represent the meager information I gathered. Sorry bout that.

(Canada) '65?
Danco 302?


"I remember everything you said, everything you used to do.."

Oh GAAAWD this is heavy.. The Contemporaries suck us down into a maelstrom of guitars, organs and cymbals.
The flip is a so-so instrumental.

(Wilmington, DE) Nov '66
Richie 672


"breaking hearts is the only thing you know how to do.."

First time I heard this, I fell off my chair! It is that good. The sound is huuuuuge. I bet this is one of those one-mic-in-the-middle-of-the-room recordings.

(Sylacauga, AL) '66
Justice LP


"and then I find that she's not coming back, now my whole world is painted black.."

The flip to the insane She Gives Me Time! Fan-duckin-tastic downer grinder. I has a little Heart Full Of Soul about it. So fucken cool. I heard this for the first time ever just a month ago!
It was for a long time a very hard 45 to track down - I think the flip She Gives Me Time that appears on Back From The Grave was mastered from an old mixtape.
I don't know how many there is in existence but the last I heard was 1 confirmed beat-up copy and maybe two more. Actually I think the rip on this is not from the beat-up cooy so there should be at least two copies..
But don't ever take my word for anything, ever. K? K..

(Los Angeles, CA) Jul '66
M-Gee 002


"they said love was a lie.."

Here come the tears. The flip to this 45 is moody too, but this one is the winner. Or, loser.

(New Castle, IN) Jul '66
Showboat 1516


"you think I'm gonna cry over you, you think I'm gonna die over you, you think I'm gonna mess my mind over you.."

Ooooh, yes baby! I hear one guitarist diggin hard on McGuinn's solo in So You Wanna Be A.. and goes flying on unchartered territory. 
Great girl put-down.

(Dunkirk, NY) Oct '67
Shades 71031


"I'm gonna try to find somehow, try to make you love me now, cause I'm never gonna stop lovin' you.."

Believe it or not, but these guys could very well have bumped into The Psychedelic Stooges since both resided in Ann Arbor, Michigan and performed in 1967.
And even if there's no vacuum cleaner on this 45 (The Ig used to play one in '67), it is still a stark performance. It feels very Michigan-y. Great chorus.
The flip She's Gone Far Away is great too.

(Ann Arbor, MI) '67
M-S-I 126220


"why should I trouble myself for a girl who never be mine.."

This was not the only cool song released 45 by the Palace Guards. The flip is equally cool and I suspect you've already heard No Comin' Back.
All in all they released 4 singles from 66 to 69.

I haven't been listening much to Beau Brummels, but it feels like they might be an influence here.
Great track.

(Metarie, LA) Jun '66
U-Doe 104


"give me one reason.."

Super-heartfelt and very cool song. Flip is Old Man River which I strongly suspect sucks very hard.
Still wanna hear it tho..

(???) Oct '65
Teen 900


"the thrill is gone and I can't go on.."

Awesome kiddie-garage featuring the most precocious lyrics I've ever heard. I wouldn't be surprised if it was his dad who wrote the lyrics, probably with the kids mom in mind without the kid knowing it. Fantastically ironic if that was the case. One can only hope.

(New Rochelle, NY) '66
Bruno-Dean Rec. Studio


"every young man in town has had his poor heart broken.."

Aaah, dig that falsetto on the chorus! So cool! Nice jazzy guitar too.

(Hazelwood, NC) Apr '66
Gold Standard 189


"do you want my love?"

Redwoods are ready to do anything to keep their love by their side. Azum jingly-jangly moody teen beat.
They shared label with a bunch of other cool acts, but I don't know jack-shit about Phalanx Records. You google.

(???) Dec '66
Phalanx 1030



Not too shabby flip on this, but Why is whadditz all about. I feel a Byrds-y influence, especially in the bass-department and the guit-solo. But I don't know.
I have to say that it feels a little, just a tiny bit, ahead of its time - this is 1965 and they still sound soo soo bitter and cynical.

(Riverside, CA) Aug '65
Circle 953


"what can I do?"

Tidal Waves released 3 45s on HBR, two in 66 and one in 67. This is their best.

(Detroit, MI) Jul '65
HBR 482


"I wish that I had a love of my own, a love that will never ever die - loneliness is mine.."

Ok, this time I can't say that this is better than the flipside because the flip is this. But I can tell you that this 45 has total playability. Both sides are totally awesome, even if the flip is godhead.

Esquires put out 4 45s on Glenvalley from 65 to 66.

(Irving, TX) Sep ' 65
Glenvalley 103


 Let's wrap this up with the ultimate downer track. We're not talking the usual depresso here, no we're talkin "one of these day you'll be the blame I took a nose-dive into this gas-oven" kinda track. Some heavy shit here goin on.
The whole song reads like a suicide letter and the swamped honking saxophone doesn't help.

(Greenville, NC) Mar '66
JCP 1037

lördag 14 maj 2016

The Psychedelic Experience

The Psychedelic Experience

Lysergia 1994
Subtitled The Ultimate Journey Through Late 60s Psychedelia

This is the precursor to The Psychedelic Experience-series that spanned over four volumes. 
Seemingly compiled by a bunch of freaky Stockholmanians, Patrick the Llama being one. I think Stefan Kery could have had a finger in it too. I don't really know.
Could be a world-wide effort.

I get a little bit frustrated with this, I have to tell you.
This could have been in the Psychedelic Disaster Whirl category. And Psychedelic Disaster Whirl is one of the greatest comps in the world! (Psychedelic Experience even repeat What Good Is Up which is strange. They should have had access to other, uncomped, 45s..)
Instead they choose to take that odder way, the bizarre path of Relics or Echoes In Times or Endless Journey even, by mixing exquisite acid punkers with yawn-ish psychedelic album cuts.

I had much more preferred a thematic, chronological approach as that of the first 3 volumes of Highs In The Mid Sixties.
If they had put all acid-punkers from all four albums on one set - that had burned a hole in your speakers and your mind.

But! This is an excellent album and has this very special atmosphere about it and I love it - even if it has a way too many repeats on it och and even if there's some party-poopin' snore-chedelic cuts on it.
I thanks the repeats - I wouldn't have heard them if it wasn't for this! And the party-poopin' snore-chedelic cuts create that certain anything-can-happen feel. Then again, you have to have an open mind to take it all in.

The original album has some uncredited trippy tidbits but not on my version - I didn't even want to try to start to replicate that. 

You can buy it now for the ridiculous price of 75 bucks over here.

Says the Llama:
"From Lysergia's music department comes this conceptual garage psych comp in a mindblowing dayglow sleeve and a ltd ed of 300. Since reviewing this may seem like tooting our own whistle, let's just say the response to it has been truly great and all copies went quicker than a paycheck. Incidentally, the title is to be taken in a literal, chemical sense."

torsdag 12 maj 2016

Highs In The Mid Sixties Vol. 19: Michigan Part Three

Highs In The Mid Sixties Vol. 19: Michigan Part Three

AIP 1985

This would be the last of the Michigan Highs. It starts out strong with the racing high-energy frat-tastic Look Away but then we have to ride through the Dylan-esque snooze-fest This Mornin', the awkward Tears Tears (the flip is 10000000 times better) and the obligatory turd - Be Careful With Your Carful.

After that we have a real smooth ride, and even if I'm not that crazy about Times Passed I know a lot of others who are.

I had to use vinyl rips from the original HITMS on two tracks; This Mornin' and Be Careful With Your Carful.


onsdag 11 maj 2016

Highs In The Mid Sixties Vol. 6: Michigan Part Two

Highs In The Mid Sixties Vol. 6: Michigan Part Two

AIP Records, 1984

"Better sound, weaker selection. Still, this could pass as a sort of guide to the mid-60's Michigan scene since many of the big local acts and labels are represented. But the music isn't very good."

The Llama speaks the truth. It's not even bad, it is just boring.
Not all, of course. We have 4-5 great tracks who are really great - Yorkshires is a steady rocker, Blokes is the "killer" on this set and Jimmy Gilbert's Believe What I Say is swingin' teen beat supreme.

But we have these obligatory fratty covers (why.. just why..? what is it with these fratty covers?) and then we have a real stinker - the folk-rock turd If You Treat Me Bad Again with the Masters Of Stonehouse. And we have some other questionable material here and there.

Michigan was a way cooler scene than what we hear on this sorry comp.
By the way, I couldn't find better sounding versions of Bed Of Roses and the Chocolate Pickles so what you hear is what the actual vinyl comp sounds like. Nice, huh..?

I don't know what's up with Hey You (by the Chocolate Pickles) but it seems as if the 45 itself is supposed to have that bizarre mix. Obnoxious.


tisdag 10 maj 2016

Highs In The Mid Sixties Vol. 5: Michigan

Highs In The Mid Sixties Vol. 5: Michigan

AIP Records, 1983

"This one repeats three tracks off Chosen Few 2 and has the added bonus of a lousy sound quality. Too bad, since there are some potentially good frat/folkrock tunes here. Avoid."

I sure hope you don't avoid this revamped version of the fifth HITMS released in 1983.
It is a revelatory experience to hear the Highs the way they should've sounded.
It was downright depressing to listen to them before. I really rather didn't. 
But in those beggars couldn't be choosers. Most of the songs you wanted to listen to were forged and locked in shit-vinyl. 

This album is fairly consistent with some bona-fide killers as the highs and some fratty covers as the lows. But those lows are totally acceptable. They give this set some dynamics.

As expected we get some 45s from Fenton and they blow most competition out of the water. But don't forget the Boss Five, the Undecided and the Run-A-Rounds.
I really recommend this set, it was great to hear it at is was intended.

"Michigan had a strong scene, with some fine bands such as the Unrelated Segments, Terry Knight & the Pack, the Fugitives, and of course, ? & the Mysterians. Past Michigan comps have tended to focus on the later groups: MC5, Amboy Dukes, SRC etc.these two volumes are commendable for showcasing, for the most part, an earlier, and more exciting scene. Unfortunately though, these two albums suffer from the same problems as the AIP Chicago collection; some mediocre selections, repeats from other comps, and fluctuating sound quality.
Volume One is definitely the best of the two, with some really fab cuts from the likes of the Underdogs, the Rationals, and the Run-Arounds. Included too are some of the best Fenton label 45s, like the Quests' "Shadows In The Night," the Mussies' "12 O'Clock July," and the brain-stunning "I'll Come Again" by the Legends. With only a few weak tracks, this one's definitely worth getting.
Volume Two is less appealing, despite good tracks by the Yorkshires, the Underdogs (again), Jimmy Gilbert, the Pleasure Seekers, and a great, raw, live rendition of "Wine, Wine, Wine" by Renegades V. Most of the album is merely "O.K.," and with so many good comps coming out, that just ain't gonna cut it. Oh well."
- Mike Stax (Originally published in Ugly Things #3, 1984)

måndag 9 maj 2016

The Electric Trip

The Electric Trip

Tonight we will take a break from the usual revamped old comps or my own occasional comps.
Tonight I will post this.

And just what the fuck is this?
Well my old friend Lorenzo Woodrose of Baby Woodrose fame posted classic psychedelic songs from youtube on facebook.
First came one, then five more, then another ten and I wanted to catch the moment as it was very spontaneous.

I love it when an inspired person who has the same taste in music as I plays music he/she loves.
For me it was a trip down memory-lane in more than one way. 

I didn't tamper with the sequencing, the only thing my creation is the cover and the cheesy - but fitting - title "The Electric Trip".
You will probably not find any surprises here, but that is not the point. Look at this as a lost radio broadcast or a deejay set at your favorite club.

I hope you love it as much as I do.

Part 1

Part 2

Part 3

söndag 8 maj 2016

The Open Lid

The Open Lid

Released on LSD (?) in 1991.


Vintage Review
"I never know quite where to file these various artist 7-inchers - pesky things. Luckily, I probably won't bother with this one. It features four gimmicky psych cuts by the likes of the Riders Of The Mark and the Third Stone. All feature plenty of "trippy" sound effects, fuzz guitar and "far out" arrangements, without actually taking you anywhere exciting. Pass."
- Mike Stax (Originally published in Ugly Things #11, 1992)

"Looks like another Erik Lindgren effort though I'm not sure. Similar in style to the Calico Wall comp with so-so studio psych on side 1 and much better garage psych on the flip, both tracks being available here only. Color vinyl and cool psychy op-art sleeve."

Mr. Stax gives an example of the never-ending grudge a lot of garage-heads hold to any kind of trippy music. I am certainly not an advocate for psychedelic music but why hate on it?

The Llama does kinda the same thing when he's dissing on the first two tracks. What is wrong with a little plastic studio psych? And the lyrics to Dr. Krieg are (somewhat) compelling!

No really, this is a cool 45. And...it is a not-so-cool 45.
I suspect they are all rejected tracks from the Beyond The Calico Wall album. Same font, (probably) the same illustrator (Daniel Abbott), and it reeks of Erik Lindgren.
I love Beyond.. and this EP sits nice between that and let's say Psychedelic Experience Vol. 1.

But then again - you'll do better listening to this if you got a buzz going on.
And the biggest buzz I ever get nowadays is one beer to many on a hot balcony.
And these tracks are very trippy indeed when I'm in that state. But I wouldn't listen to it while commuting.

So this mini-comp demands a pretty elaborate setting to be properly enjoyed, just like a bunch of other psychedelic-tinged comps.
Compare it to the Garage Dreams Revisited I posted yesterday. That EP you can listen to whenever and where-ever.

Believe it or not, this lengthy essay is me asking you to give The Open Lid a fair chance. It is easy to dismiss it as kitschy and silly. And it is, a little bit. But give it a fair chance.


lördag 7 maj 2016

Pebbles Vol. 4

Pebbles Vol. 4

BFD Records 1979


An anonymous dude or dudette asked me to post this so I did. 

When I first got this I was like "huh"? I had always dug on Beach Boys and Jan & Dean and other cute-sy surf but I was new to sixties garage and Pebbles and.. well it wasn't what I expected.

And there's a lot of rawer, wilder and more primitive surf out there who hadn't been comped yet and who might've fit the "Pebbles" series better so what the fudge is this?
Half of the B-side is Brian Wilson-projects for example!

Anyhoo, I wont talk about this strange volume of the Pebbles-series anymore.
What's the use? It's there and it is... fun! Just plain fun.
And summer is here. So wax up your board and light up a campfire and hang ten or whatever you do.

I made this very quick, hope I didn't get anything wrong. Don't be shy to tell me if you find anything wrong with it.
Oh and on the original vinyl version we can find Dave Edmunds. You won't find him here. The revisionist me switched it for another Brian Wilson project - He's A Doll by the Honeys.

Stay fresh, kitties!

Garage Dreams Revisited

Garage Dreams Revisited

Amber Star Records, 1993
Pressed on yellow gold transparent vinyl.

I don't know when or why downer garage caught air and grew strong. Might have been around the beginning of the 90s. 

Anyway - don't you just love the little garage EPs? Adorable.
Garage Dreams Revisited looks like the might be some psych on it. It really isn't. Chains On My Heart has this little raga-esque solo-break but that's about it.
The rest is just downer garage but as I've stated before, downer garage share the same qualities that psychedelic music does. It's all minor chords, often pretty dramatic, a jazzy solo here and there...

Anyways - a great little comps this is. Every song a winner.
I tried hard to find a version of the Reekers demo that was not so marred by surface noise but no such luck. I went with the track from the vinyl comp.

I don't know who made this, but a Brian Vee and a Mr. C is mentioned in the credits.


fredag 6 maj 2016

Re-upped: Pebbles Vol. 1

Pebbles Vol. 1

Mastercharge Records 1978, 500 pressed

BFD Records 1979, a looot more pressed

There seems to be some kind of confusion regarding the initial release of Pebbles Vol. 1.
Age of Madness says it was released in 1977, and on BFD.
And what the heck BFD Records is/was is another question which I won't go on about now.

The Pebbles album was originally released as an LP on Mastercharge Records in 1978 as a collaborative effort of several collectors in a limited edition of just 500 copies.

Y'all have this album, and I bet you have all the songs, maybe all the 45s and everything.
But you can't deny that it hasn't been properly revamped. And my humble attempt does not do it justice, atleast not the justice it deserves.

I would like a deluxe double album - no a box! - with all the original Mastercharge artwork, the BFD artwork, vintage reviews, interviews, pix of the bands and scans of the labels, maybe some photos tucked in with memorabilia, interviews with the old bands about what Pebbles ment to them, interviews with neo-garage bands about what Pebbles ment, interviews with old music journalists about what Pebbles ment to them, updated liners.. everything.

This album and its reverberations are still in effect today. It's the starting point of the butterfly effect that is the still healthy garage rock scene we see today.
Sure someone sooner or later woulda digged out those ol' 60s 45s but Pebbles did it first.
And they did it over and over again.

When I listened through the revamped album I couldn't help to be swept away again, with a smile on my face.
There might be better comps, but this was the one that stole my heart.

Says the Llama:
"The series that set the ball rolling back in the late 70's. Regardless of his later activities (which included ripping off hopeful young musicians) Greg Shaw deserves a lot of credit for his groundbreaking job to bring attention to local 60's records at a time when the music industry was on its knees in front of David Bowie and Elton John. Along with Lester Bangs and Lenny Kaye Shaw more or less created the concept of 60s punk, first via Bomp Magazine and then through the Pebbles, whose early volumes must've sold tens of thousands of copies by now. The original release of vol 1 (circa 1977) has a different sleeve and liners to the well-known reissue available today. No need to describe the music except to say that while side 1 has some of the greatest 45s ever made, a couple of choices on side 2 seem a bit questionable. As you may know, some tracks are pitched (most notably the Squires)."

Original liners:

Pebbles is a new series of collectors' albums, inspired by the brilliant Nuggets album, dedicated to bringing you the best of obscure '60s punk and esoteric rock. Volume One of the Pebbles series is concerned with classic punk recordings from some of the many local music scenes of the 1960's. Included are 16 classics that collectors have read about, and despaired of finding, for years. Borrowed from the collections of some of America's foremost authorities on '60s rock, these records are in many cases one-of-a-kind, and so obscure that few even remember who some of these groups were or where they originated from. However, again turning to our panel of experts, we have made every effort to find out as much as we could about the tracks included on this album.

Side One

1. "Action Woman" (The Litter) The Litter were one of the best groups to emerge from the active Minneapolis scene. Along with the Gestures, Castaways, T.C. Atlantic, The Trashmen, and hundreds more, the Litter were part of a scene that produced literally hundreds of records, only a handful of which ever got out of the Twin Cities. The Litter put out two albums on a local label before being signed to a national label, ABC. Their ABC-Probe album can still be found, but it doesn't begin to compare to the earlier stuff. "Action Woman" was a local hit, and is included here from their amazing first album, Distortions (1966).

2. "Who Do You Love" (The Preachers) This Bo Diddley classic received an amazingly raw treatment from The Preachers, evidently a Los Angeles band ca. 1965-66. Other records by this group have been found, although it's a common enough name that there is some doubt whether all are, in fact, by the same band who made this record.

3. "Dance Franny Dance" (The Floyd Dakil Combo) One of the most legendary Texas records of the '60s, this one was recorded "Live at the Pit, Dallas" and was somewhat of a regional hit, even receiving airplay in such unlikely places as San Francisco, where it made the KYA Top 60 for one week in 1966. The solid, chugging beat and clean, simple energy of this record have endeared it to all who were lucky enough to find it on the original Jet-Star label, or the (actually scarcer) nationally-released Guyden version - including the Flamin'Groovies, who at one time intended to record the song. Other Dakil records (including a fairly common one on Earth) fail to measure up.

4. "I'm In Pittsburgh, And It's Raining" (The Outcasts) Another little-known Texas band, most likely from San Antonio, recorded this blistering punk-rocker, which has been compared to the Pretty Things at their best, and also to Eddie & The Hot Rods, by certain people in Holland who put out an extremely rare bootleg pressing of it under the name The Kicks in 1977, aimed at the New Wave market! The original was on Askel 102.

5. "Going All The Way" (The Squires) This one is a real mystery. Only two collectors are known to have copies, and although the record appeared on a national label, nobody has ever been able to identify the group or their origin. The strangest thing is that this is the only known record by this group, although by their sound (both sides are well-produced, extremely good original songs. The "B" side, an amazing Byrds soundalike, will be on Volume Two of Pebbles) they should have recorded much more extensively. In any case, this record holds its own in intensity, energy, and composition with any of the best punk records of the '60s, and deserves far better than the total obscurity from which only this album is likely to rescue it.

6. "Going Away Baby" (The Grains Of Sand) The Grains Of Sand were a fairly well-known Los Angeles band around 1965-66 who recorded 3 or 4 excellent 45s, mostly in the folk-rock style. This is their punkiest outing, although the song was co-written and produced by Michael Lloyd (The B-side was published by "Fowley Whipped Dog Music"!). It appeared on the Genesis label.

7. "You Treat Me Bad" (The Ju-Jus, featuring Ray Hummel III) Another fabulous, obscure record, this one appeared on the Fenton label out of Grand Rapids, Michigan around 1966. This was an extremely prolific label, issuing more than 200 local records, though not all of them were punk-rock.

8. "1-2-5" (The Haunted) The Haunted were one of Montreal's premier punk bands, and this song was a sizable hit in Canada, and received a bit of airplay in America when released on Amy. In Canada, they were on the Trans-World label, which released albums by other punk bands, including The Rabble. The Haunted album is one of the hardest to come by relics of the '60s, but it includes nothing more powerful than this single. It did include versions of "A Message To Pretty" and "Out Of Time," but not the group*s other singles "I Can Only Give You Everything" and "Come On Home."

Side Two

1. "Like A Rolling Stone" (The Soup Greens) It's been said about the punk bands of the '60s that they could transform any song into "Louie Louie," and this record is certainly one of the more amusing proofs of that observation. The group, from somewhere in New York State, is not known to have made any other records.

2. "Crackin' Up" (The Wig) Yet another fine example of Texas punk, this record has the distinction of having been written by Rusty Weir, currently well known for several boring solo albums on major labels. But even the most boring hippies (Loggins & Messina, Delbert McClinton, etc) have been known to have valid punk roots, and such is the case here. Few '60s punk records are wilder than this 1966 single, released on the local Black Knight label in eastern Texas.

3. "Psychotic Reaction" (Positively 13 O'clock) Still in eastern Texas, we come upon this wild cover version of the Count Five hit, by an unknown band who never actually existed. According to Jimmy Rabbitt (L.A. disc jockey and sometime C&W recording artist), who produced this record with Robin Hood Brians (of Mouse & the Traps fame) at Brian's studio in Tyler, Texas, it was a studio record mad by members of Mouse & the Traps and other local bands. It was released in 1966 on the HBR label out of Los Angeles.

4. "The Trip" (Kim Fowley) Everyone knows who Kim Fowley is, but few have any ideas how many weird, demented records he was responsible for in some capacity between 1959 and 1970, let alone all that he's done since then. There could easily be a 3-album set of Fowley's best obscure singles, but for the present, none could be more representative than this song, released at the height of teenage freakout mania. Interestingly, Kim's version (on the Corby label, whose story is so confusing we won*t even get into it) was the inspiration for several covers, notably one by Godfrey, an LA disc jockey who got (not surprisingly) a lot of airplay with it in Southern California. It became a sort of cruisin' anthem in East LA, where variations were recorded by other bands like Thee Midnighters. Godfrey himself released it in 2 or 3 versions, with varying B-sides. They were all great, and fairly bizarre, but none better than Fowley's original.

5. "Spazz" (The Elastik Band) This song was destined for Volume Two of Nuggets, but seeing as how that album may never see the light of vinyl, we felt it worthy of inclusion here. Surely one of the most tasteless records ever made, it was (amazingly enough) released on a major label known for tasteful rhythm & blues, but failed to be a hit (can't imagine why...). The group, not to be confused with several others of the same or similar monicker, is believed to have been based in New York.

6. "Rich With Nothin" (The Split Ends) One of the best records to come out of Tampa, Florida's active local scene in the '60s, this is also one of the most impressive efforts to duplicate the style of Paul Revere & the Raiders. It stands out as a truly strong and delightfully arrogant suburban punk. Released on the minor CFP label, it's virtually impossible to find, even in Florida.

7. "Potato Chip" (The Shadows Of Knight) This song, together with the jocular spoken intro, was issued only on a 5-inch cardboard record, possibly tied-in to a potato chip promotion. The song itself is quite good, but was never released to the public.

8. "Beaver Patrol" (The Wilde Knights) Probably a Los Angeles band, the Wilde Knights were but one of countless groups who did off-color records within the punk idiom. References to "beavers", long hot-dogs, etc. characterized these records, which were usually sold by the groups themselves at gigs as "novelties." This is by far the best record of this type we've ever uncovered, and we put it at the end of this album because nothing could possible follow it...

Every effort has been made in the preparation of this album to achieve the highest possible quality, given that many if not all of the records included suffer from deficiencies in recording and pressing to begin with, and many had to be mastered from second-hand copies. In mastering, the tracks were run through an ADC-500 professional graphic equalizer and a noise-reduction unit.

We wish to thank all the fans and collectors who have been of assistance in compiling this series. Special thanks must go to Greg Shaw, Ken Barnes, Alan Betrock, Mike Saunders, and the pages of Bomp, Rock Marketplace, and the many other fine fanzines that have kept the spirit of punk rock alive...

Note: the small skip that occurs in "Action Woman" was present on the original record and could not be eliminated. Your copy of Pebbles is not defective..."

The New England Teen Scene Vol. 2

The New England Teen Scene Vol. 2

Moulty Records 1984, 500 pressed

This is my my kind of a comp. I'd take this over Texas Flashbacks any ol' day.

I have not done anything to revamp this myself so I'm breaking my own rules here.
But I found this great-sounding boot and I just had to share it with you.
After all, I have posted a revamped Vol. 1 so you might want to hear the album that followed in its entirety.

Says the Llama:
"Dave B follows suit with an equally great sequel featuring several local big-names as well as the obscure sounds of vol 1. Some truly marvellous stuff and slightly easier to locate."

Vintage review:
"At first playing this long awaited sequel to "New England Teen Scene, Vol. 1" seemed to fall far short of the standard set by its predecessor. However, I found the more I listened to it, the more it grew on me.
This volume features a couple of the more famous New England bands - the Barbarians' legendary "Hey Little Bird" is here, along with "Talkin' Bout You" from a 1965 Remains demo. My favorite track is the lightning fast Cobras raver, "I Wanna Be Your Love," which opens Side One like an out of control locomotive! No caffeine free soda pop for these guys!
What really sets this volume apart from Volume One is its emphasis on pop. On repeated listenings a lot of these tracks that at first were forgettable put the most wear and tear on my needle. The Beatles and Zombies loomed heavily over New England, and their influence is strongly felt here on Side Two.
So, with some great shots of Moulty on the cover, a free photo of the Plagues inside, and loads of great songs, this is one not to be missed!"
- Ray Brandes (Originally published in Ugly Things #4, 1985)


torsdag 5 maj 2016

Pebbles Vol. 10

Pebbles Vol. 10

BFD Records 1980

"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."

C'mon now that is unfair! This is a solid comp. Ok, it's not vol. 5 and it is not peppered with punkers and ruff'n'tuff sounds or facemelting fuzz..
But it is a fantastic album and reeks of that Pebbles-ooze - and that is a good thing!

I don't know what the hell happened in 1981 and 1982, but no Pebbles were released those years.
Mind you, BFD (or Bomp!, or whatever) had pumped out 10 comps in just two years - that's pretty impressive.


Diana's Rootin' Tootin' Wild Teenage Rock 'N' Roll Party!

Diana's Rootin' Tootin' Wild Teenage Rock 'N' Roll Party!

Released by Romulan Records in 1986

Yup this is the first release from Romulan Records who later released surf comps, the Girls In The Garage series and the Frolic Diner series.

This type of comps are a sometimes hit-and-miss affairs, but when they work they're usually a fun listen.
It is very consistent all through. Nothing really sticks out but there's no turds either.

This album is pretty rare, from what I've understood. I think there was only 600 pressed, and I've seen it being sold for more than 60 euros.
The first tracks is marked as being played by an "Unknown Group" but it is Gary & the Universals who rocks out on their only 45 release in 1967.

A lot of tracks a too obscure to be easily found so I used maybe 4-5 tracks from the original vinyl.
Hope you dig and that you have a magical day.


onsdag 4 maj 2016

Relics Vol. 1

Relics Vol. 1

Released on db Records in 1982. 500 pressed.


db Records also released Oil Stains in 1982, but that's it.
I dunno man, maybe I should take a break from this comp-fest or maybe this one actually is as bad as I think.
Traits is one of my all time faves and Never Existed is nice. The two songs by The Eyes might be the finest freaky beat there is.
But then we have a bunch of other stuff.. stuff I don't know what to do with..
I've seen guys n gals diggin' on this strange beast but I can't seem to understand why. Like, what's there to dig?
Ready for some synonyms?
Insipid, bland, weak, wishy-washy, unappetizing, unpalatable, flavorless.

This is the kind of music you end up listening to if you smoke too much hashish.
You need to be high to listen to this and appreciate it.

And of course that is why I dig it. Not because I smoke hashish (since I don't). I dig it because it is a shoddy and lazy and half-assed affair and I dig the bright yellow color with a fuckin flower on it and I dig the bizarre mix of uk freakbeat, kitschy instrumentals, psychploitation, Cream-ish blues rock and psych and acid punk..

The last three songs were impossible to find from better sources so they are from the original vinyl comp album.


tisdag 3 maj 2016

Re-upped: Off The Wall Vol. 2

Off The Wall Vol. 2

Wreckord Wrack, 1983

Says Johan Kugelberg:
"The two volumes of OTW have certain whispered somethings to say about the art of assembly, of sequencing, of compiling and its core mystical and alchemical nature. Some comps work, and some don't. Some playlists do/don't, mixed tapes for pals, mixed tapes for babes, some work and some don't and it seems very difficult to discern what components direct the work in one direction or another. As this whiff is being written, I've been spilling a constant of garage comps on the turntable, and in a manner, waited for myself to react: not only for a particularly crazy record to entice one to start dancing the frug, but for those sanctified moments where every consecutive record in sequence adds exponential critical mass to the previous until the comp becomes a thing unto itself. 

OTW 1&2 deliver in spades. The liner notes of OTW 1 consists of as clear and concise a statement of definition and intent that we'll ever get about '60's punk and how it came to be: and as it was written in 1981, fifteen years after 1966, I can but gasp that 15 years ago today was 1995 and what odious jams ruled airwaves mainstream and underground that given year. Oh well. What was once directly lived has receded into a representation." 

Supposedly compiled by Jim Atwood this time around too.

This is of course one of the best comps ever. And how could it possibly fail?
The classics stands shoulder to shoulder on Off The Wall Vol. 2.
Yet this is the first time a new audience get to hear all these old songs.
And you must have been blown away.

If you consider the onslaught of garage comps released in 1983: Back from the Grave make its debut with volume 1 & 2 , Pebbles return after a three year hiatus with 2 great comps together with the first five volumes of Highs In The Mid Sixties, Hipsville 29 BC, Chosen Few vol. 2 - and this!

Dussins of albums with primitive garage, jet-propelled pop, stomping beat showered the famished rocknrollers and punks with new yet old but new music from when times were cooler.
I was 12 in 1983, and I had no idea there was all this cool sixties music besides the Stones.
Oh, if someone had introduced me to Off The Wall Vol. 2 then.. I had to was almost 10 years until I heard my first garage comp - but what a trip that was!

Oh, look at me babbling away! Sorry!

If you want to read a lengthy thread about this at the G45 forums; here's the link.

And if you want read an even lengthier thread about the best old comps; try this.

måndag 2 maj 2016

Re-upped: Pebbles Vol. 9

Pebbles Vol. 9

BFD Records 1980

Says the Llama:
"The first signs of decline on this folk-rock/punk volume. Several classics and a good consistency but overall weaker than the previous volumes."

Hm. Maybe. But this is still a damn hot set. I'm not crazy about Pretty Girl by the Bugs but other than that this flows magnificently. 
I have to say that listening to this now (something I never do anymore), it is much better than I remembered or expected it to be. Very consistent. 

Pebbles Vol. 6

Pebbles Vol. 6

BFD Records, 1980

Andrés asked me for Pebbles Vol. 6 so I go went and did it!

I'm not that inte the UK scene - or anything not from North America - but some good ol' wild british R&B is nice for a change.

And since I'm notoriously sceptic to the european scene (amongst any other scene but the North American one..except canada and australia) I always liked Pebbles Vol. 6.
Funny because were definately wilder and more primitive 45s out the at the time of the making of this album, songs that had not yet been compiled.
But the selection here plays like a dream and it is a pleasure to listen and it is fun all the way through.

Sure there are som lame-ish covers but they just fit. I wouldn't remove one song.

Says Wikipedia:
"The following information was taken primarily from the liner notes on English Freakbeat, Volume 6. Twink was one of the members of the Fairies, an under-appreciated British rhythm & blues band; Twink would later be one of the founding members of a very different band, the Pink Fairies.

"Leave My Kitten Alone" is a celebrated Beatles rarity, written by Little Willie John, that is one of the standout tracks on the first Beatles Anthology collection. This version of the song was released in 1964 and features a young Jimmy Page.

Members of the Cheynes include Mick Fleetwood, co-founder of Fleetwood Mac, as well as Peter Bardens and Phil Sawyer. They released several singles between 1963 and 1965.

The real name of the front man for Jason Eddie and the Centremen is Al Wycherley, the brother of Billy Fury, a pop star in the late 1950s. Their experimental treatment of "Singing the Blues" was released in the U.S. by Capitol Records in June 1966.

The music by Bo and Peep was recorded in 1964, and the band is mainly The Rolling Stones plus others that might have included Gene Pitney and Phil Spector; this is an unexpectedly tuff treatment of the well known ballad."

söndag 1 maj 2016

Re-upped: Pebbles Vol. 8

Pebbles Vol. 8

BFD Records, 1980

This is where Greg Shaw concludes his tirade in the liners "The Boy Looked At Roky".

There's the usual dose of wimp-pop, uptempo poppy garage, 45s from somewhat prolific acts..
To me - the me that was 20 years ago - this was a let down.
The only track that really blew my mind was My Baby's Gone by Sound Barrier.

A lot of classics left me cold: Starfires, Faine Jade, Lemon Drops..
Not to mention the ultra-fast but silly pop songs: Bad Way To Go, I Can't Stand This Love Goodbye, Don't Do It Some More..
And Hey Little Girl made me furious.
But I'm OK with all those songs now.

And you do get You Must Be A Witch, Bad Times, How Many Times, She Lied..

Well we all have our own faves.

Says the Llama:
"18 killers on this outstanding volume with a mix of classic punk and wimp-pop that's even better than vol 2. Some big acts turn up with obscure winners alongside the usual hallowed $300 rarities."


Re-upped: Pebbles Vol. 7

Pebbles Vol. 7

BFD Reords, 1980

Says the Llama:
"no drop in quality here with a nicely balanced set of punk classics, beat/ folk-rock and garage psych. Great liners (cont'd on vol 8) that lays down the truth on drugs, politics, Englishmen and similar subjects."

Not as epic as 1, 2 and 5 but loaded with killers and classics.
A turd seems to be mandatory so in true Pebbles-fashion we are offered some excrement in the form of Seen Through The Eyes as starters and A Pindaric Ode for dessert.
 But they still can't take the thrill out of this ride.


Re-upped: Pebbles Vol. 5

Pebbles Vol. 5

1979 BFD Records

This is arguably the best volume in the series. Top notch and consistent all through (but whaddup with Magi?).
It is packed with classics and genre-definers and even if I have heard this a thousand times before it still manages to put a smile on my face.

If you are new to sixties garage, then this is an excellent place to start. It is one of maybe 5 of the  most important comps - it is canon and an inspiration for other canonical albums.

You others who already have this on CD in you ipod - you might want this for two reasons: better sound, original artwork, original sequence and most importantly - no Magi.

Yes, I replaced Magi with She's The One by Dr. Spec's Optical Illusion instead.
Magi just don't belong here.

Says the Llama:
 "Compiled (or at least annotated) by NJ collector Vic F who was involved with the Eva comps as well."

Says John Peel:
"The British Invasion's influence can be heard throughout the album. Bands from Texas, New Mexico, Wisconsin, Florida, Illinois, Georgia and Canada sounding like "All Day And All Of The Night" era-Kinks, or "Get Off My Cloud" era-Stones, or "We Gotta Get Out Of This Place" era-Animals. Rawer than a freshly broken heart, vocals yelp, scream and occasionally harmonise, guitars fizz, grind and clash and drums are thrashed within a inch of their lives. Occasionally skittish keyboards will float through the mix and on The Satyrs' "Yesterday's Hero" a sitar howls as if strung with catgut and the animal concerned isn't quite extinct. It's unsophisticated, it's ugly, it's amateurish and it's exactly why I became interested in music in the first place. 

The best tracks are The Trees' "No Good Woman", The Shag's "Stop And Listen", The Gentlemen's "It's A Cryin' Shame", The Five Canadians' "Writing On The Wall", Little Phil And The Nightshadows' "The Way It Used To Be", The Time Stoppers' "I Need Love" and Dirty Wurds' "Why" but nothing included here can be discounted."