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

The home of !!! GARAGE SURF PUNK & ROCK'N'ROLL !!!
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Friday, August 29, 2014


High Energy R&B Roll live performance by these two rock legends backed by The Stormsville Shakers. Originally issued on Decca in '65, these live recordings sound so clean like some live in studio stuff, without crawd cheer or interference. So, you gotta deal with some cool originals and interesting covers of For Your Love, Whole Lotta Shakin' Goin' On and fine take on Looking Back, Slow Down and stuff. Dig!!!

Wednesday, August 27, 2014

THE CREEPS - Enjoy The Creeps [1986]

Ever since the release of the 1972 Nuggets there have been bands like the Creeps, and most likely there always will be. The Swedish retro act aims squarely at mid-'60s garage rock, aping the bands that aped the yardbirds, but thanks to inspired playing and inventive arrangements, they succeed in adding to the tradition rather than just running in place. Recorded with period-appropriate atmosphere (i.e. a thick, dirty echo), the Creeps bang out nine originals that channel the Animals and Them, delivered with power and precision. "Down at the Nightclub" leads off Enjoy the Creeps with a stiff swing and a booze-positive philosophy, then breaks down with a jazzy piano coda. Other highlights include the lascivious "Hi, Hi, Pretty Girl," the Farfisa-driven instrumental "Rattlesnake Shake," and the frantic drum rolls and fuzz solo on "Ain't No Square." A medley of Sonics covers ("Maintaining My Cool" and "I'm A Rolling Stone") is reverent and energetic, but won't change anyone's mind about the wild, rambunctious Northwest originals. In fact, the only thing missing on Enjoy the Creeps is a sense of true abandon, that apocalyptic spark that makes the most primitive, boneheaded garage bands like the Count Five or the Seeds so eternal. 

The Creeps are musicians, not punks, and while there's no lack of get-down vitality to their sound, they won't take the listener anywhere except the dancefloor. However, their pugnacious take of the obscure, middle-finger anthem "City of People" seethes with defiance ("Baby don't you mess with me/Cuz you know you could never bring me down/Hey Hey Hey!"), equaling the sneer of the original 1966 Illutions single, and nearly matching Fireworks' vicious 1995 rewrite as "City of Assholes." Garage rock revivalists will find lots to move to on Enjoy the Creeps, but the band didn't stay tied down to their nostalgic muse for long. The Creeps modified their sound in later years, taking on more modern elements with soul/funk textures that earned them a Swedish Grammy, and a big hit in their homeland with "Ooh, I Like It" in 1990. [Fred Beldin]

Sunday, August 24, 2014

THE SILLY SURFERS & THE WEIRD-OHS - Music To Make Models By / The Sounds Of... [1964]

What we got here are two hot rod/surfin'/novelty slabs created by Roger Christian, Nick Venet, Jimmie Haskell, David Weiss, Gary Usher and producer Reuben Klamer, based on the hugely successful early sixties “Silly Surfer” and “Weird-ohs” model car assembly kits from The Hawk Model Co. The Weird-ohs model kits were introduced in 1963. The initial three-kit batch of Weird-ohs consisted of Digger, a dragster; Daddy, a commuter; and Davey, a biker. These were soon joined by other releases that went on to become one of the most popular and successful series of model kits in plastic hot rod history. Similar to the drag monsters and toy model kits that Ed “Big Daddy” Roth and Stanley Mouse were creating the Weird-ohs were the creation of William Campbell. 
If you get your kicks with Mr. Gasser & The Weirdos stuff already posted here, this is for you. Funny, Silly & Weird. Dig!

Click Each Pic To Listen!

Saturday, August 23, 2014

THE VISCOUNTS - Featuring "Harlem Nocturne" And "Night Train"[1960]

The Viscounts were an American instrumental rock group from New Jersey, formed in 1958. They had one hit single, with Earle Hagen's instrumental classic "Harlem Nocturne", which peaked at #52 in the U.S. Billboard Hot 100 chart in 159. It was re-released in 1966 and hit #39 the second time a9round. [wiki]

Sax driven moody R&B/Jazz instros with few rockin' tunes as Chug-A-Lug, Dig, Night Train and Along The Navajo Trail. Their version of Harlem Nocturne appears on John Carpenter's "Christine" movie soundtrack. Perfect film noire score. Dig!

Thursday, August 21, 2014

THE CRAMPS - A Date With Elvis [1986]

"Stick em up baby reach for the sky
Here's somethin' new you might like to try
I know a place that's far from here
where the squares they won't come near..."

After Psychedelic Jungle, the Cramps experienced personnel and record label difficulties; they would not release another studio album until this one, four years later. Gone here are the tinny sound quality and horror-flick-based lyrics of prior releases, replaced by clearer sonics and an often hilarious obsession with sex (examples of the latter can be found on "What's Inside a Girl?," "The Hot Pearl Snatch," "Cornfed Dames," "(Hot Pool of) Womanneed," "How Far Can Too Far Go?," and the uproarious single "Can Your Pussy Do the Dog?").
There are numerous sly references in the verses to high and low cultural icons, including "Shake it one time for me" (a line from Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On"), "I'll be dancing through the flames/Like a devil in disguise" (a nod to the Elvis Presley hit), and "Now there's more things in Tennessee/Than is dreamed of in your philosophy" (a paraphrase of a line from Shakespeare's Hamlet). 
 Most of the songs here are in various rockabilly-derived styles featuring either garage rock fuzz or Duane Eddy twanging guitar from Poison Ivy. Vocalist Lux Interior is in excellent form here, exhibiting a fair bit of variety within his usual 1950s-derived approach. "Kizmiaz" is unique in the band's oeuvre, being a smarmy parody of 1960s hippie feel-good music; Ivy joins Interior on vocals here. Intonation is off in a few numbers (notably on "Kizmiaz," "The Hot Pearl Snatch," and "Can Your Pussy Do the Dog?"), but this is not enough to detract from the overall excellence. This rollicking and energetic platter in particular is the equal of any in their canon, and an essential listen. [David Cleary]

"People ain't no good. 
They never do what I think they should. 
So people ain't no good"

"A Date With Elvis" marks a turning point in The Cramps style & sound. With addition of Bass and Candy Del Mar [actualy Ivy played bass on this record] they swung their image in more glamorous and sex oriented direction than before. Just one look at cover art [one of the sexiest in r'n'r history] and you know this ain't place for the squares. The Cramps slide through a Rockabilly influenced Garage Punk with some surfin' tones tossed in for a pretty cool measure. "Can Your Pussy Do The Dog?" is a question of the day. Here kitty kitty... Dig!!!

 "Whoa...there's some things baby I just can't swallow.
Mama told me that girls are hollow.
Uh-uh...What's inside a girl?
Somethin's tellin' me there's a whole nuther world"

Wednesday, August 20, 2014

MAXIMUM FREAKBEAT [Feedback! Fuzz! Distortion! And Mayham!]

Feedback, fuzz, distortion, and mayhem -- that's what the cover of this 21-song compilation of mid-late-'60s British sides promises, and it delivers and then some. There's barely a word of information about any of the 21 acts included here, which range from relatively familiar names such as the Mark Four ("I'm Leaving"), the Mascots ("I Want to Live"), Wimple Winch ("Save My Soul"), Thor's Hammer ("I Don't Care"), and the Syndicats ("Crawdaddy Simone") to bands such as the Elois ("I'm a Man") and the Truth ("Hey Gyp [Dig the Slowness]"), about which precious little is known, and the release itself is a CD-R, which doesn't exactly stand as a recommendation. But the music is astonishing as well as astonishingly good -- all of it loud, mod-influenced, soul-based rock built on over-amplified guitars and drumming from the Keith Moon school of reckless abandon, slashing, pounding, and crunching their way through two or three minutes of mayhem masquerading as music -- actually, most of it is surprisingly successful musically, though hardly any of these acts lingered commercially for more than five minutes. Interspersed with the British acts are a handful of European groups that had ties to British labels, including the Mascots and Thor's Hammer (who sound a lot like the '60s American outfit the Litter), but it all flows together nicely, and despite the lack of annotation, there are some neat poster re-creations of the era, and the sound quality is amazingly good, with no obvious deficiencies despite the obscurity of the material and the obvious fact that this isn't an official release. [Bruce Eder]

Catching R&B as it morphed into psychedelia, but with an angry, frantic edge, freakbeat has become one of the most avidly collected genres in all of pop. This legendary compilation – unavailable for over a decade – gathers 21 of the genre’s finest examples. Britain is amply represented by legends such as Wimple Winch, the Mark Four and the Syndicats, alongside furious contributions from Iceland (Thor’s Hammer), Australia (the Missing Links, the Elois), Germany (the Ricketts), Sweden (the Lee Kings) and Holland (the Motions), proving that freakbeat was a truly International phenomenon.

You're pretty familiar with some of these stuff from elsewhere [and from this blog as well] but then again it' a...

!!! RAW 'N' WYLD 60's BEAT !!!

Monday, August 18, 2014

GARY USHER - Hot Rod U.S.A. [1960-1965]

This quasi-legitimate bootleg compilation collect 30 tunes (mostly hot rod & surf) that Usher had a hand in as producer and/or performer between 1960 and 1965, most taken from rare collector 45s.
The majority of tracks here are penned by Usher, from "The Battle Hymn of the Republic" rip-off "Lonely Surfer Boy", to two 1960 singles released under Gary Usher's own name: "You're The Girl" (which was his first 45, released on the Titan label) and its b-side "Driven Insane" which has backing vocals by future Honeys member Ginger Blake; solo compositions like The Wheel Men's "School Is A Gas," the instrumental "Gear!" and The Pyramids "Custom Caravan."  An unusual chord structure and prominent piano solo distinguish The Pendletons "Barefoot Adventure" and the ultra-rare comedy track "Wave Hog" which is sung by Gary Usher - is credited to the Silly Surfers and was commissioned for a model-kit building company!  Following this is two follow-up tracks: "Francis The Foul" (which is about a cheating football player) and "Leaky Boat Louie", both taken from a 1965 comedy album by the Weird-Ohs.  Other highlights are the Four Seasons-inspired "Shame Girl" b/w "I've Got Plans" by the Neptunes and what is credited as "the only enjoyable cut" from the comedy album Rod's N' Ratfink by Mr. Gasser & The Weirdos: "The Lonely Stocker" - which was strangely enough the weakest track on the Knights album.  Also found are a Gary Usher vocal on the Wilson-Usher collaboration "Shut Down" which was released under the name The Road Runners.

Saturday, August 16, 2014

LOOK WHAT I HAVE FOUND vol.14 "Stampede!" [16 Weird Instro Wailers From The Pre-Surf Era]

"What a good time that was, the late 50s and early 60s. If you couldn't sing, don't bother; just start an instrumental band and make some great songs. Now everyone thinks he can sing and we have to listen to it day after day. Write your own lyrics to these tunes, daddy-o. and sing along under the cold shower..." 

So many compilations so little time... What we got here is unofficial collection from the series of over 200 !!! rare singles comps made by fictitious In The Trash Can Records. You gotta deal with some early surfin', rockin', sci-fi and novelty instros and couple of vocal tunes [and few Cramps favs too] from rare 45's. Read the original story here. Composed by Mr.Eliminator, cover Art by SURFADELIC.

Friday, August 15, 2014

BLUE CHEER - Blitzkrieg Over Nüremberg [Live in Germany 1988]

Look folks, I don't dig heavy metal no way, no no [except Motorhead when I'm in a "Killer" mode] but BLUE CHEER proto-metal is my weakness. Their first two '68 slabs are hard rock/garage-psych jewels standing shoulder to shoulder with MC5 & Stooges power stuff. This here is pretty fine live '88 recordings with new line-up: Duck MacDonald lead guitar/vocals, Dave Salce on drums and only original member Dickie Peterson on bass guitar & vocals. They ''surf'' through some Blue Cheer's classic stuff as Just A Little Bit, Out Of Focus, Babylon, Doctor Please & Summertime Blues and couple of solid 80's tunes. There are some great guitar fireworks worthy of an Leigh Stephens. Say... Blitz!

Wednesday, August 13, 2014

WADADLI RIDERS - Made In Antigua [2009]

This is the first full album of Wadadli Riders. A recording proudly done and mixed in Antigua. It is actually the very first surf music recording done in the Caribbean. The sound is mostly traditional, lots of reverb and in some cases a harder drum sound: all fans of classic surf music will like this album!
The guitar sound of Wadadli Riders takes inspiration from bands like Astronauts, giving particular accent to the reverb and the dwell from the Fender tank, but it pushes in some cases stronger vibrations, due to the heavy gauge of the strings used with the Fender Jaguar. The first song "Dwell At 10" comes out very strongly and it is missing of a rhythm guitar, and gives a good idea of the live sound of the band. It introduces the album with a great impact. Going through the song list you can enjoy ballads like "Going My Wave" and faster and more aggressive surf music tunes, like "JBL D-130F" (named after the famous guitar speaker, used in the recording), "Kawaramachi" or "Hurricane Season". It is much fun to listen to Caribbean inspired melodies like "Caribbean Vibes".

What the hell is "Wadadli"? Well, it is the ancient name of the Caribbean island of Antigua where the band was actually formed in 2005.
Since then the band was very active with concerts worldwide, participating to important festivals like the Surfer Joe Summer Festival in Italy and the Surf Guitar 101 Convention in California. They have also been touring with Daddy-O Grande of Los Straitjackets and shared the stage with many surf bands from everywhere.
As the musicians did split in early 2011, the band finished its career with just this album out and an EP together with Rev Hank of the Canadian band Urban Surf Kings called "Rev Hank Meets Wadadli Riders".
[Album Notes]

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