The home of !!! GARAGE SURF PUNK & ROCK'N'ROLL !!!

The home of !!! GARAGE SURF PUNK & ROCK'N'ROLL !!!
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Wednesday, July 23, 2014

BO DIDDLEY - Hey! Good Lookin' [1965] Vinyl Rip!!!

One of Bo Diddley's least-known albums, mostly recorded in April of 1964 and released a year later, at the point when none of his records were selling in America. With an edgy, raunchy sound and modern record techniques (it's in stereo), Diddley and band come up with a solid '60s version of his original sound. The title track is a real jewel, featuring Jerome Green on the maracas and Lafayette Leake on the piano. "Mama Keep Your Big Mouth Shut" isn't a bad soul-styled number, with Diddley abandoning his standard beat in favor of a smoother, more Motown-like sound. He tries for a similar sound on "I Wonder Why (People Don't Like Me)" and "Brother Bear." In addition to the title track (which is not the Hank Williams tune), the Bo Diddley beat gets a workout on "La La La," "Rain Man," and "Bo Diddley's Hoot'nanny." Bo gets to have some real fun on "London Stomp," his commentary on the sudden fashionability of British rock & roll, parodying the accents and attitudes of most of the bands that he encountered on his visit to England in October of 1963. Other tracks sound like they'd have worked well as part of extended jams of the kind that Diddley did on-stage--"Yeah Yeah Yeah," in particular, could've come from the middle of one of his 15-minute shuffle-and-chant workouts, and would've been great in such a setting, although here, as a free-standing 2:25 track it's a little weak, but that can be forgiven in view of the strength of the rest of the material. [Bruce Eder]

Same ole "Diddling" but hey! It's a Bo Diddley Beat alright. Diddle Dig!!!

Tuesday, July 22, 2014

THE SHADOWS - Jigsaw / From Hank, Bruce, Brian And John [1967]

1967. The Summer of Love. Sgt. Pepper's and Satanic Majesties, San Francisco, flowers in your hair...and the dear old Shadows, still besuited and a-twanging, a-grooving, and a-moving, and so firmly locked in a bygone age that even grandma thought they were a little square. And then you play their latest album. No one's ever going to believe that Jigsaw (released elsewhere as Shadows 67) is a lost psychedelic masterpiece; no one is ever going to line the Shadows' version of "Tennessee Waltz" up alongside "Lucy in the Sky with Diamonds," no matter how revolutionary John Rostill's use of fuzz bass may have been. But if Eric Clapton borrowed Jimi Hendrix's effects board, and you dropped more acid than either of them, closed your eyes, and drifted away, you could forget the sleeve's slick warning of "smooth arrangements in the style of today" and wonder what would happen if Pete Townshend sent some trademark chords through one song, Cream muscled in on another, and the Jeff Beck Group decided to take out "Cathy's Clown." "Prelude in E Major" and a dreamy "Stardust" head off the handful of undeniably traditional Shadows arrangements, and do so with applaudable aplomb. But the real meat on the album comes when the Shadows forget to reflect past glories, and simply let rip. 
"Friday on My Mind," the Easybeats chestnut so beloved of the garage band revival, is positively nasty and so accurately predicts David Bowie's later version that one has no doubt what he was doing during this halcyon year. Equally rousing is the cod country cowpoke anthem "With a Hmm-Hmm on My Knee" -- so loudly does history acclaim the Shadows' instrumental prowess and influence that their contributions to musical humor are frequently overlooked. Suffice to say, "Hmm-Hmm" slips effortlessly into the same bag as the earlier "What a Lovely Tune" and so on and, if the Shadows' place alongside the Bonzo Dog Doo Dah Band in the pantheon of rock's great comics remains in doubt, check out "Winchester Cathedral," which can barely stand for smirking, and "Green Eyes," which shares its rhythm with the Bonzos' own "Hunting Tigers Out in India." All of which adds up to one incontrovertible fact. This album is one of the all-time psych-era greats. And it's still a well-guarded secret. Funny how that happens, isn't it? [Dave Thompson]

By 1967, the Shadows were at the end of their hitmaking career, and very close to breaking up altogether. Before they went, however, they had one final classic to deliver, an album that arrived packaged up like a parcel, which, when unwrapped, revealed a host of solid gems, evidence that no matter how far pop music had moved from the model they helped style a decade earlier, the Shadows had no intention of being left behind. From Hank, Bruce, Brian, and John peaks with a typically well-crafted Graham Gouldman original, "Naughty Nippon Nights," but from start to finish, it rattles with a defiance that makes a mockery of the band's so-called "veteran" status. No matter that they scored their first hits (with Cliff Richard) while Lennon and McCartney were still killing time in the Quarrymen. For all that the Beatles brought to the '60s, none of it would have been possible without the Shadows, and their blistering version of "You're a Better Man Than I," the jokey "Snap Crackle and How's Your Father," and excellent covers of "The Last Train to Clarksville" and "The Letter" are career best album tracks (even if they can't compete with the band's best 45s). Plus they play with a ferocity that borders on menacing at times, even when slowing everything down and welcoming Cliff Richard into the pack for the hit "The Day I Met Marie"; it's a beautiful, dreamy song, but there's something oddly menacing about it as well, a moodiness that taps so thoroughly into the underbelly of psychedelia that, if this wasn't good ol' Cliff and the Shads, it could have been almost anyone.
[Dave Thompson]

 Two maybe lesser known but pretty interesting Shadows '67 slabs. Dig!

Saturday, July 19, 2014

CHICO ARNEZ - New Sounds Of [1972]

Chico Arnez, real name Jackie Davis, was a proponent of the Latin sound in England, having a BBC Radio show in the 60's and 70's and recording several albums. The liner notes say that he was convinced to record this collection of mostly covers because his public wanted a newer sound. He starts off with a swinging little Go-Go type number played by a big band called "Would I". The record is actually mostly loungey big band numbers such as One Note Samba, but Arnez does come through with some good covers like "Hawaii Five-O" with some open drums, a fast version of Fleetwood Mac’s "Oh Well" that sounds like it could be used in a TV cop show, and "Whole Lotta Love" with some more open drums. Cool covers of Bacharach tunes, spy-fi version of "Night Train", "Aquarius", Jobim's "One Note Samba"...

Some "New Sounds" here on Surfadelic. This Easy Listening classic was introduced to me by the GROOVIE tune called "Would I" which landed on supercool comp. TITTY-TWIST-A-GO-GO! alredy posted here. Well, I'm not an "Easy Listening Expert", but I can tell it's a Lounge slab "Par excellence". If I were you, I Would dig this stuff... Would I ?!? Dig!!!

Friday, July 18, 2014

MEN FROM S.P.E.C.T.R.E. - The Living Eye [2006]

The Switzerland band Men From S.P.E.C.T.R.E. combines the best psychedelic groove with the funkiest 60’s spy-fi and the swingingest library music. The rough edges and instrumental action sound echoes the space-rock-bands and soundtracks of the 70s. The catchy beat of Drums, Congas and Bass join the wild Hammond organ and fuzzy Guitar to mash-up the scenes. Their influences cover Soundtracks, Hippies, 60s Beat, Mods, Rockers, Mockers, Library Music, Pill-Parties, 70s Rock music.

"The Living Eye" is the third record of the S.P.E.C.T.R.E.’s released on American label Hammondbeat Records. It is more indulgent, more psychedelic, and hits the beat harder than the previous records. Rather than trying to recreate the 60's mod sound, the men are now incorporating a more modern vision while staying true to the roots of the movement they further. Their songs are layered with multiple levels of sound, impeccable timing with sound effects that work with the music and don't stand out as cheap sonics, and the rhythms are both groovy and psychedelic at the same time. This album has good flow while each song is very polished and fluid in it's own right. No dead spots. [audiovisor]

Funky hammond grooves, space and psychedelic 60's to 70's rock, spy movie themes summed with FX sounds and hard beating drum breaks! For fans of Stereophonic Space Sound Unlimited, Dig!

Tuesday, July 15, 2014

TRASHWOMEN - Spend The Night With / Vs.Deep Space / Live! / Lust EP

The Trashwomen were an all-women surf revival and garage punk band from the area of San Francisco that formed in 1991. Infatuated with the 60s Minneapolis surf-garage band The Trashmen, they developed their own fans, including The Donnas and The Spastics. The members were Tina Lucchesi (ex-Count Backwards), Danielle Pimm (also ex-Count Backwards) and Elka Zolot (formerly with Eight Ball Scratch). The group's first release was an EP of 1000 copies on the small, new independent label Hillsdale Record Company in 1992; it also was the label's first release. Tina Lucchesi and Danielle Pimm later were members of the garage supergroup The Bobbyteens (featuring Tina as singer), who inspired and helped start the career of their friends in the band The Donnas. []

Surf-rock hellcats howl at the moon. I can't think of an all-girl band who sound more psychotic than this. The lo-fi fidelity sounds blasted through a tin can and the music sounds straight from a garbage can. Half of these songs are covers of old surf instrumentals. The other half are snarling originals that blend in with the classics just fine and often feature the great grating vocal caterwaul of Elka Zolot. It's truly fun trash. If you like The Mummies, here's their girl counterpart.
[Jason Hernandez]

Yep! Here are almost everything they recorded.
Half Surf / Half Garage / Half John Waters

Sunday, July 13, 2014

RAMONES - s/t [1976] Vinyl Rip!!!

Original 1st line-up of my alltime favorite rock'n'roll band is no more. Now I can say it's the real "End of the century". I already have posted some RAMONES vinyl rips and had this one in process as this sad news breaks. Anyway, here's SUPER-SONIC Surfadelic vinyl rip of their debut slab from original US plastic. This one goes for Tommy. 1,2,3,4...!

 It's a Baseball Bat Beat Alright!

Friday, July 11, 2014

CALIFIA: The Songs Of Lee Hazlewood [2010]

A gold mine for the devoted followers of Lee Hazlewood, and a good set compiling chart-minded pop of all stripes, Califia: The Songs of Lee Hazlewood spans the mid-'50s breakthrough of pop/rock that Hazlewood helped spark with his Duane Eddy productions all the way to the early '70s -- a mere dozen years in chronology, but an epoch in popular music. Hazlewood was one of the first and best producers of the rock age, a man whose innovative sounds on Eddy brought a young Phil Spector to Arizona in the late '50s to learn at his feet. Fans of Lee Hazlewood have ensured that nearly all of his solo recordings have been reissued at least once, but his flood of songwriting and production for various labels and artists between the mid-'50s and early '70s has never been surveyed like this. Although his only number one hit is not included here (Nancy Sinatra's "These Boots Are Made for Walkin'"), the material is uniformly good. Granted, since Hazlewood was usually aiming for the charts with these productions (as opposed to his solo material), it leans toward the pedestrian, but for those who've spent a lot of time listening to pop music of the '60s, it's easy to hear how the innovative productions elevate these songs and performances above the mediocre and to a higher level. The emphasis is on the range of artists he produced, so associated acts like Nancy Sinatra, Sanford Clark (who recorded the only big hit here, 1956's "The Fool"), Duane Eddy, Suzi Jane Hokom, and the Shacklefords are given only two tracks each at the most, with more time accorded for one-shots from artists both famous (Ann-Margret, Dusty Springfield, B.B. King) and not so much (the Darlenes, the Wildcats, Don Cole, and studio-drummer extraordinaire Hal Blaine). [John Bush]

[Special Tanx goes to Mattia, a friend from Italy, who sent me this super-nice collection]

Thursday, July 10, 2014

JAMES BOOKER - More Than All The Funky 45's [Rare & Unreleased 1960-63]

Certainly one of the most flamboyant New Orleans pianists in recent memory, James Carroll Booker III was a major influence on the local rhythm & blues scene in the '50s and '60s. Booker's training included classical instruction until age 12, by which time he had already begun to gain recognition as a blues and gospel organist on radio station WMRY every Sunday. By the time he was out of high school he had recorded on several occasions, including his own first release, "Doing the Hambone," in 1953. In 1960, he made the national charts with "Gonzo," an organ instrumental, and over the course of the next two decades played and recorded with artists as varied as Lloyd Price, Aretha Franklin, Ringo Starr, the Doobie Brothers, and B.B. King. [AMG]

To be honest, I don't dig his better known later stuff, but this collection of his early 60's instro tunes is kinda pretty cool. If you dig Booker T. & MG.s organ instros or early James Brown R&B, then this is for you. Funky Vinyl Rip by Surfadelic. Dig!

Tuesday, July 8, 2014

DISCIPLINA KICME - Ja Imam Sarene Oci [1985] Vinyl Rip!!!

DISCIPLINA KIČME is a rock band formed in 1981, in Belgrade, Serbia (ex-Yugoslavia). They were one of the two spin-offs of the seminal new wave band Šarlo Akrobata, musically best described as an aggresive and artistic rhythmic explosion experimenting and seeking out new expressivness. During next 10 years, various additions to basic bass+voice+drums line-up appeared (additional drummer, 2 drummers + 2 trumpeters, sax + trumpet). Band released 7 LPs on the domestic market, constantly toured the country and played festivals in Yugoslavia, Austria and Italy. [jugorockforever]

 "Maybe it is hard to understand 'em, but it is nice to look at and listen to them"

Well... Now it's time for some pretty EXTREME stuff here on Surfadelic. DISCIPLINA KICME [Discipline Of Spine] could be described as New Wave/Alternative/Post-Punk band, but it was actually minimalistic Drum'n'Bass/Punk/Funk Henrix influenced three piece HIGH ENERGY crew, one of it's kind. Their 2nd slab mini LP "Ja Imam Sarene Oci" [I Got Technicolor Eyes], a follow-up to legendary brutal debut album "Sviđa Mi Se Da Ti Ne Bude Prijatno" [I like to make you feel uncomfortable], add some innovations to their aggresive sound. Now you got to deal with heavy Bass, Drums and Trumpet. In a way, they could be described as Serbian precursors to Jon Spencer Blues Explosian. Anyway, it's a HEAVY BASS BLUES alright! Dig!!!

Monday, July 7, 2014

THE THANES - Thanes Of Cawdor [1987] Vinyl Rip!!!

The Thanes debut slab is a cool mix of moody and upbeat garage/folk numbers, originals and covers of Beaux Jens "She Was Mine" [Back From The Grave vol.6], The Zipps "Kicks & Chicks", The Allusions "Where Have All The Good Times Gone" or Chris Montez "Some Kinda Fun". At time they developed a style kinda somethin' in between The Outsiders [Dutch] and some US 60's garage/beat/pop. Buzz Buzz Yeh Yeh, Dig!

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