The Purple Hearts: Benzedrine Beat! (AUS, 1964/70)

Originally formed in Brisbane in 1963, where they established a strong cult following with their wild brand of uncompromising heavy rock and R'n'B. An example, Here 'Tis can also be found on the Devil's Children CD.
They relocated to Melbourne in 1966 and when Redmond left to open a disco Tony Cahill was recruited as his replacement.

Lobby Loyde (aka Barry Lyde) was in their band prior to joining The Wild Cherries. Bob Dames went on to Black Cat Circle and then with Mick Hadley joined Coloured Balls. Tony Cahill later went on to The Easybeats.


All ten songs the Purple Hearts released during their brief lifetime (on 1965-67 singles) are on this meticulously thorough reissue. It also adds four songs they recorded on acetates in early 1965 prior to their recording deal, as well as seven tracks by the Coloured Balls, the band in which singer/harmonica player Mick Hadley and bassist Bob Dames played in the late 1960s and early 1970s. The Purple Hearts tracks are the ones the collectors who seek this CD out will be most interested in, as they're solid punky R&B, very much in the mold of the British bands springing up in the wake of the Rolling Stones circa 1964-65. The cuts are tough and hard-boiled, and will no doubt recall similar, though superior, British acts such as the Pretty Things and the Graham Bond Organization. What makes the Purple Hearts inferior to such acts is that they recorded absolutely no original material, devoting most of their studio performances to covers of songs by the likes of Bond, Paul Butterfield, Bo Diddley and Muddy Waters. They do, however, pull off a superbly menacing R&B/punk makeover of the spiritual "Early in the Morning," with searing fuzz guitar and voodoo-ish ensemble chanting. Too, their sole 45 to feature cover tunes that weren't well known ("Of Hopes and Dreams and Tombstones"/"I'm Gonna Try") is pretty respectable, though Mick Hadley's vocals aren't quite up to the level of belters like the Pretty Things' Phil May. The Coloured Balls tracks (in quite variable sound quality), which are much more in a hard rock/blues-rock/psychedelic/progressive rock vein, are apparently taken from "rehearsals, gigs and local TV appearances" -- the liner notes aren't wholly clear on this point. These songs aren't nearly as interesting as the Purple Hearts' material, and are likewise all covers, this time around of songs by Jethro Tull, Steve Miller, and Fleetwood Mac, as well as blues tunes by Howlin' Wolf and Willie Dixon. The 36-page booklet is exemplary, with liner notes featuring vintage photos and first-hand quotes from original band members, properly honoring the Purple Hearts' status as one of the more notable Australian rock acts of the 1960s.

remember also
their ep

The Mark Leeman 5: Rhythm & Blues Plus! (UK, 60s Comp)

Rare as hell, this amazing rare compilation from this band from the British Invation style. Pay attention to this extremely rare lost beauty.

You may wonder when you read the title of this lp, "R&B Plus" - plus what ? Plus the Mark Leeman Five of course, but also a little bit of jazz - a lot of feeling and the distinctive sound that can be only produced by true musicians. Personally I am unable to select a favourite track from the eleven. This is just a small sample of the very wide range the boys are capable of. From the belting rhythm of "got my mojo working" to the gentle phrasing in "Frenzy" -

THIS is the Mark Leeman Five.

Jim Goff

If you're a fan of British R&B and haven't heard the tracks you'll be blown away - listen to the incisive guitar and Mark Leeman's stunningly sublime vocals on the barnstorming opener, and then realise that this was recorded in 1963 - it makes bands like the Stones and Yardbirds recordings from the time sound like that of pissant wannabees, and even my beloved Downliners Sect and Pretty Things don't come close. Even if you're not a fan of the era and style, then you have to be impressed by the musicianship and the sheer balls of a British band daring to take on a jazz classic like "Moanin'" or the arrangement and vocals on "Work Song". I guess that as an unsigned band using Pye's studios they were limited by time, and most of the tracks were one or two takes. It's an understatement to say they must have been absolutely awesome live...

...review and original link by Stuart...
original lp: 11 tracks
8 bonus

The Monks: Five Upstart Americans (GER, 1965)

One of the strangest stories in rock history, the Monks were formed in the early '60s by American G.I.s stationed in Germany. After their discharge, the group stayed on in Germany as the Torquays, a fairly standard beat band. After changing their name to the Monks in the mid-'60s, they also changed their music, attitude, and appearance radically. Gone were standard oldie covers, replaced by furious, minimalist original material that anticipated the blunt, harsh commentary of the punk era. Their insistent rhythms recalled martial beats and polkas as much as garage rock, and the weirdness quotient was heightened by electric banjo, berserk organ runs, and occasional bursts of feedback guitar. To prove that they meant business, the Monks shaved the top of their heads and performed their songs -- crude diatribes about the Vietnam war, dehumanized society, and love/hate affairs with girls -- in actual monks' clothing.


Rawer than their primordial opus, Black Monk Time, Five Upstart Americans is a collection of demos by proto-punks the Monks (recorded when they were still known as the Torquays). While most demonstration recordings are, by nature, more primitive than the finished product, these sessions could be seen as even more representative of the Monks primal vision. Here their "over-beat" songs of love/hate, confusion, and frustration are stripped to their bare essentials, with minimal lyrics and overdubs. Taped in a single day in 1965, most of these performances remained unreleased for 34 years ("I Hate You" and "Oh, How to Do Now" were included as bonus tracks on Infinite Zero's reissue of Black Monk Time in 1997). Though essential listening for Monk converts, the uninitiated should bless themselves with Black Monk Time before proceeding further. Five Upstart Americans also includes their first 45 (as Five Torquays), which only hints at what was to come.

...served by germt...


The Sonics: Very Rare Live Comp (US, 1966/72)

Lead singer Gerry Roslie was no less than a white Little Richard, whose harrowing soul-screams were startling even to the Northwest teen audience, who liked their music powerful and driving with little regard to commercial subtleties. With hit after hit on the local charts (and influencing every local band that ever took the stage), the band inexplicably was never able to break out nationally, leaving its sound largely undiluted for mass consumption. Breaking up in the late '60s (after one ill-fated album attempt to water down their style for national attention), the Sonics continue today to be revered by '60s collectors the world over for their unique brand of rock & roll raunch.


brutally/raw live recordings!!!yeah! thats what you like ah?


The Spotnicks: Live In Tokyo (SWE, 1964)

In 1969 the Spotnicks disbanded, but Winberg continued to record using the name until the group reunited in 1972 upon the request of a Japanese record company. The same year, "If You Could Read My Mind" from the album Something Like Country became a big hit in Germany. The Spotnicks would retain their popularity there for a long time, even as it faded elsewhere. Only the Japanese audience proved more faithful and, accordingly, the Spotnicks devoted most of their touring during the '70s to these two countries. After the release of 1972's Something Like Country (the Spotnicks' best album according to many fans), they had practically ended being a band, consisting mainly of Winberg and various session musicians.


The Spotnicks: Live In Paris (SWE, 1961/63)

If remembered at all today, it is probably thanks to their silly astronaut costumes, but in the '60s the Spotnicks were one of the most successful instrumental rock groups, alongside the Shadows and the Ventures. Their very specific sound had more in common with the Shadows, being clean and intentionally gentle. It originated from their first primitive demo recordings, but the record company liked it and, being plastic and twangy, it was promoted as a space sound. Already in the late '60s it was outdated, but that didn't stop the group from having big successes throughout the decade. In the '70s the sound was definitely antiquated, but like the Ventures, the Spotnicks found reliable audiences in Japan and Germany, as well as a cult and nostalgia following around the world. The Spotnicks have sold over 20 million albums, making them among the most successful Swedish groups ever, surpassed perhaps only by ABBA and Roxette. By the late '90s they had released 39 studio albums, recorded roughly 700 songs, and had more than 100 members in the different constellations of the band.

"Hava Nagila" became a hit in England in 1963, and the same year Johansson left and was replaced by Derek Skinner. The rest of the '60s led to increasing success in Europe, the U.S., and Japan, and the band even managed to compete with itself on the Japanese charts when the Spotnicks' song "Karelia" took the first position from the Feenades' "Ajomies." The song was the same, just recorded under different titles. The Feenades were a Finland-based side project to the Spotnicks, built upon Winberg and Peter Winsnes, who had joined the Spotnicks in 1965. Winberg also released less successful recordings under the name the Shy Ones. Compared to the following decades, the '60s were a relative stable period for the Spotnicks in terms of the group's lineup. Some new members were recruited, though, like drummer Jimmy Nicol, bassist Magnus Hellsberg, and drummer Tommy Tausis, who had earlier played with Tages.


Ronny & The Daytonas: G.T.O. (US, 1964/66)

Nashville's greatest contribution to the hot-rod and surfing craze of the early '60s came in the form of Ronny & the Daytonas.

Produced by Bill Justis and based in Nashville, Ronny and The Daytonas were fronted by John "Buck" Wilkin (aka Ronnie) and Buzz Cason. Although based very far from California, the group released several songs which can be compared to the best sides of the Beach Boys or Jan and Dean. Benefiting from the excellent songriting skills of Wilkin, they got a national hit in 1964 with G.T.O., still a hot rod classic. Their subsequent singles sold quite well too and they became so popular that several fake "Ronny and the Daytonas" were touring in the Southwest.

Although their most successful period was 1964/65, when they were signed to the local Mala/Amy label (also in charge of The Box Tops), they kept on recording for RCA until 1968. Their line-up was not very stable and, in 1967, some of The Daytonas became The Hombres.

In 1969, when the group finally broke up, John Buck Wilkin formed the short-lived American Eagles. He would also release two interesting solo albums and do a lot of session work with rock and country acts. Buzz Cason became a well-known producer and worked with The Hangmen, Us Four, White Duck and Jay Bentley.

After years of suffering from numerous bootleg compilations direct from noisy 45s of dubious legality and dodgy fidelity, Sundazed puts together simply the best collection now available on everybody's favorite Nashville hot-rod group. John Buck Wilkins -- aka Ronny Dayton -- was the nominal group's focus as songwriter, singer, and lead guitarist, doing most of his hot pickin' on a nylon-string classical model. As a songwriter, his principal inspirations were Brian Wilson and Chuck Berry. His producer was Sun Records' alumni Bill Justis ("Raunchy"), a supposed rock hater, who nonetheless knew how to cut 'em and cut 'em good. As a result, the handful of singles and two albums from Ronny & the Daytonas' Mala Records period (1964 to 1966) stand as not only some fine Beach Boys-influenced music but some great rock & roll that's not merely imitative, something that's actually going somewhere, and you can hear it going right on this nicely sequenced disc. This 20-song compilation is split almost evenly between the styles of their biggest hits, with the first 11 tracks echoing the rocking, gas'n'go call to arms of "G.T.O." while the balance features the lush harmonies and BB ballad style of "Sandy." The big news here is that for the first time ever, first generation master tapes have been used for everything and even an original, multi-layered, mono on mono (i.e.; noisy and hissy) recording like "Sandy" sounds better than it ever has. These vintage recordings should quite easily find an audience beyond surf, hot rod, and Beach Boys music fans. Good stuff, sounding great and well-packaged.

The Spotnicks: In Stockholm (SWE, 1964)

The Spotnicks were formed in Göteborg, Sweden, in 1957, by guitarist and undisputed bandleader Bo Winberg. The other members were guitarist and singer Bob Lander, drummer Ove Johansson, and bassist Björn Thelin, several of whom had already played together in local rock & roll bands like the Blue Caps, Rock Teddy, and the Rebels. The first year they performed under the name the Frazers, but soon changed it to the Spotnicks. In 1961 they were signed by Karusell and released their first singles containing mostly instrumental covers of famous songs. The selection of songs was as varied as the performances were homogenous, including titles like "Hava Nagila" and "Johnny Guitar." Later the same year, the Spotnicks toured Germany, France, and Spain, and in 1962 they released their debut album, The Spotnicks in London, recorded on their first trip to England. Featured on this tour were the space suits that the band would wear on-stage until 1969.

Great instrumental classic rock, great live recordings from this swedish band! Check it out! Ah yes, you wont find here raw or fast garage songs. Still great!.



Love: Live in London (US, 1970)

The Blue Thumb Recordings

(Hip-O-Select/Universal, 2007)
Much-maligned late line-up’s two LPs from ’69 and ’71 plus previously unreleased Live In London 1970 set.

Here you have the live set, recorded in London.
I know... more classic rock and psych than garage... but still a great document that includes "my little red book" !.

Forever Changes purists look away now. The line-up that Arthur Lee put together in 1968 after disbanding the original band in a fit of pique when their orchestral masterpiece failed to sell in the US, are not an inferior version of Love. And so productive were the new band’s studio sessions for 1969’s Four Sail (Love’s final album for Elektra) that they also gleaned the double LP Out There, released by new label Blue Thumb just three months later. Doggone’s canine subject matter and epic drum solo may have dated, but the romantic Willow Willow is ravishing, while the closing Gather ‘Round features an Arthur lyric as unfathomable and deceptively beautiful as Andmoreagain’s one about the snot caked against his pants. The live set from 1970 shows the new line-up tackle all five albums with aplomb (an achingly tragic Signed DC especially). Clearly at home to the smog and dissolute London vibe, Love stayed in the UK to record the uncharacteristically good-natured False Start, featuring a certain Jimi Hendrix on explosive opener The Everlasting First. But the good vibes were short lived and Love broke up a few weeks after False Start came out. Shame! (Jenny Bulley)

...served by germt...


The Yardbirds: Cumular Limit (UK, Unreleased Recordings 67/68)

Yeah...more live stuff.

Cumular Limit
is an album of previously unreleased live and studio recordings by English blues rock band The Yardbirds released in 2000. It features alternate versions of recordings from Little Games (#1, 6-9), live-recordings from Offenbach, 16 March 1967 (#2-5) and France TV ("Bouton Rouge", 9 March 1968[1], #14) and previously unreleased material from New York (#10-13).

This is an uneven but generally pleasing compilation of Yardbirds material. The highlight is a series of four-tracks off German television from March of 1967, a point when the band, with Jimmy Page on lead guitar, was immersed in psychedelia. Among the tracks played live is "Happenings Ten Years' Time Ago," perhaps the culmination of the group's psychedelic period and otherwise under-represented in their concert output; Page does a good job of replicating the single's double lead guitar sound, including the stripped-down break. "Over Under Sideways Down," "Shapes of Things," and "I'm a Man," all of which are represented on the group's official live album, are all well recorded, and "I'm a Man" (perhaps the most ubiquitous song in the group's output, with three official versions) comes off well, apart from the closing credit announcement in German that intrudes over the finale, but the other cuts reveal just how sloppy the band could be in their media appearances; on the plus side, Keith Relf is in much better voice here than he is on the official Anderson Theater live album from a year later. The major part of disc one is a set of alternate takes of late-era tracks of which "White Summer" and "Tinker Tailor Soldier Sailor" are the strongest numbers. What sounds like a work-in-progress version of "Ten Little Indians" featuring the guitar up close and personal (and projecting some ornate feedback) may please Jimmy Page completists (who will also devour the tracks "You Stood My Love" and its accompanying unreleased cuts, "Avron Knows"; they aren't much as songs (though they're better than much of what is on Little Games), but they do offer Page playing some aggressive and appealing leads, while "Spanish Blood" has him playing gorgeous Spanish guitar. A live version of "I'm Confused" from France in March of 1968 comes off much better than the official Anderson Theater version from later the same month. The second disc is a CD-ROM containing the video version of the four German television songs on disc one; it has amazingly high quality and is enjoyable as one of the few fairly lengthy extant glimpses of the group playing to an audience.


The Jacks: Live 24-7-1968 (Japanese Psychedelic Garage)

More psychy than garage, but nice raw `n fast tunes garagey`style, the sound quality is not the best thou, but still a great live recording.

The Jacks played in a distinct musical style fused with ambient psychedelic, surf, folk and jazz. The group had a dark, introspective sound with an exploratory, improvisational edge and sometimes headed into moody instrumental excursions. The Jacks typically employed reverb, tremolo and subtle fuzz-guitar and also utilized the vibraphone, organ and wind instruments such as the flute. Lead singer Yoshio Hayakawa sung in Japanese and typically ranged from a low, calm and tranquil voice to throaty, desperate sounding wails. Similarly, drummer Takasuke Kida would follow suit, going from subtle jazzy sounding fills to complicated, offbeat rhythms and manic cymbal crashes.

¡¡¡ THE JACKS LIVE 1968 (2nd Show) !!!


The Sonics: This Is... The Savage Young Sonics (US, 1961)

Before the Kinks and the Who came along and planted the seeds for what is commonly referred to as proto-punk, several obscure and/or one-hit U.S. wonders beat the two aforementioned British acts to the punch -- the Kingsmen, the Trashmen, and the Sonics. While the Kingsmen and the Trashmen managed to score a massive hit each ("Louie, Louie" and "Surfin' Bird," respectively), the Sonics never broke through outside of their home city of Tacoma. Regardless, the Sonics are often name-checked as one of the greatest garage rock bands ever, and the 2001 compilation This Is... The Savage Young Sonics focuses entirely on the group's early years. It turns out that the father of the Sonics' brother guitar/bass tandem, Larry and Andy Parypa, taped nearly every live show the group played during the early '60s, and these recordings serve as the basis for this 20-song release. Although the group was still a ways off from perfecting its tough-and-rough sound (which eventually included a heavy R&B influence), the comp includes such early instrumentals as "Sonic Blues" as well as covers of popular bar band standards of the day -- "Rumble," "Bony Maronie," "Keep A-Knockin'," and even the aforementioned "Louie, Louie." While newcomers should stick with one of their classic mid-'60s releases (e.g., 1965's Here Are the Sonics), longtime Sonics fans looking to trace the group's roots will certainly be able to do so with This Is... The Savage Young Sonics.

link served by Roadrunner


The Sonics: Live In Tacoma, Busy Body!!! (US, 1964)

Given the many stories of their crazed on-stage prowess and the frantic drive of their classic studio sides, fans of real-deal garage rock have often wished that someone had the presence of mind to make a decent-sounding live recording of Tacoma, WA, madmen the Sonics in their glory days. And, as it happened, someone did -- a radio station in Tacoma, KTNT-AM, used to have a regular Friday night feature called Teen Time, in which they broadcast a live spot from one of the area's teen clubs. A guy in Seattle named Doug Patterson owned an Ampex reel-to-reel tape machine and frequently taped the Teen Time shows to collect songs for his own teenage band to cover, and two surviving tapes featuring the Sonics in action have been collected on Busy Body!!! Live in Tacoma 1964. Since these two shows (lasting less than 33 minutes combined, including patter from the announcer) predated the release of their debut single, "The Witch," and the epochal album Here Are the Sonics, the emphasis is on covers and instrumentals, and while the audio is quite good for AM radio broadcasts more then four decades old, the mix is a bit sloppy and Gerry Roslie's vocals are barely audible, with Rob Lind's sax and Larry Parypa's sax way up front. Still, if this isn't the ideal document of the Sonics on-stage, it's a whole lot of fun; these tapes show they were admirably tight and full of fire when playing for their fans, and having a wild good time cranking out "Ooh Poo Pah Doo," "Goin' Back to Granny's," "Night Train," and "Have Love, Will Travel" with all kinds of attitude. And while they didn't deign to play "Psycho" while Patterson was rolling his tapes, there's a wicked early version of "The Witch" that points to things to come. Busy Body!!! captures the Sonics in a transitional phase, when they were still minding the template of Northwest heroes the Wailers but developing an overdriven personality of their own, and it's loud-and-proud teenage fun.

13th Floor Elevators: Live At The Avalon Ballroom (US, 1966)

Out of order...
Shure...you do remember the Kinks cover here.

They played at the Avalon ballroom four times and once at the Fillmore West. Their first album was released during their stay in California and this, plus the fact they gigged a lot at the Avalon Ballroom, led many people to believe them to be a San Francisco band. In fact, they actually put on an all-Texan show at the Avalon during their California stay with Big Brother and The Holding Company (Janis Joplin was from Austin, Texas and at one time nearly joined The 13th Floor Elevators) and the Sir Douglas Quintet. The band's time in California helped to forge important links between America's West Coast and the hitherto relatively isolated Texas psychedelic scene. The Elevators would return to California two more times in late 1967 and in 1968.

link served by germt


The Bachs: Live at Skokie Valley Jr High (US,1967)


Chicago garage combo the Bachs formed in the fall of 1965. Singer/bassist Blake Allison and guitarist Mike DeHaven first collaborated in a high school group called "the Phases" -- DeHavenJohn ("Ben") Harrison and drummer John Babicz in another teen band, the Apollos. In time, Allison also joined the Apollos, and following the addition of singer/guitarist John Peterman, the quintet renamed itself the Bachs. Gigging steadily across Chicago's North Shore area, the group also performed in Battle of the Bands competitions, once beating the fledgling Amboy Dukes, led by guitarist Ted Nugent. Although Allison and Peterson proved a prolific songwriting duo, the Bachs never recorded any commercially released singles -- they did, however, privately press 150 copies of a 1968 LP, Out of the Bachs. Comprised of 12 Allison/Peterson originals, and recorded in one day for $400.00, the album is something of a Holy Grail for garage collectors, prized for its sheer scarcity, as well as its fuzz-laden psych-punk sound. With its members poised to attend college, the Bachs split in April of 1968.

¡ ¡ ¡ THE BACHS LIVE ! ! !


The Yardbirds: Live at Anderson Theatre (UK, 1968)

So..the sound quality is superb, near 10 pts to me.
A killer set. The last tour of the band, before the split (and the creation of the other monsters!).
Highly recommended for all. Yeah... almost forgot the amazing 12 minutes version of "I m a man", really great. The band at their best!

The Yardbirds
unfortunately soon disintegrated once they could no longer attain commercial success. Relf and McCarthy formed Together and then the excellent Renaissance.

Dreja became a photographer and Page was left to form the enormously successful Led Zeppelin, who were originally, for a very short while, known as The New Yardbirds. Disastrously Relf died in 1976 after electrocuting himself at his home.


The Zipps: Live & extremely rare... (Dutch live recordings-compilation)

Recommended for garage diggers. The quality `s not the best, but still great rare stuff here for collectors.

" Beginning with 1967's "Marie Juana" -- a record which required significant lyrical revisions before Relax censors would agree to its release -- the Zipps steered their garage-influenced sound towards psychedelia, and thanks in part to their hallucinatory light show, they earned the sobriquet "The Dutch Pink Floyd"; Elzerman openly espoused drug use in interviews, and stickers reading "Be Stoned! Dig: Zipps Psychedelic Sound" were distributed at live dates.



V.A. : It`s happening here (US, 60s Really Rare Garage Promo Recordings from N.Jersey)

I really like this compilation, one of my favs: "She wont have me".
Rare recordings, amateurs band pulling out all of their repertoire!.
Well... what do you think? *-

These gems
are from a 12-track LP compilation of young, fledgling New Jersey rock bands from the mid to late 1960s, produced by Alyn Heim and Bill Neale.

hese gentlemen magnanimously provide 11 different amateur rock bands the venue to showcase their talents and original songs on this promotional record (only "The People" get two spots, with what sounds like two completely different bands anyway). Some are just OK, some outright awful, none are actually what you'd call proficient, but all are utterly sincere. The music is unfailingly charming on a ‘locals' level, and there are actually some decent tunes and arrangements buried underneath some often brutal performances and productions. The Avlons in particular should certainly get some kind of award for crafting a rather appealing pop record out of exactly two notes.

It sounds as though the bands were given one take, and then hustled out of the studio, which would seem to defeat the purpose of such a noble venture. Nonetheless, there is an abundance of youthful innocence and joie-de-vivre in these tracks. The true star is whoever wrote the liner notes, which make each of these bands (none of which ever amounted to anything at all) sound like the second coming of the Beatles.

LINK: HAPPENS HERE! (yes dedicated to all of you who visit daily this blog...and specially to those who drop comments all the time! thank you.)


The Mojo Men: Not Too Old to Start Cryin': The Lost 1966 Masters (US, 1966)


One of the earliest San Francisco rock bands, the Mojo Men had local hits on the Autumn label with "Dance With Me," "She's My Baby," and a cover of the Rolling Stones' "Off the Hook" in the mid-'60s. Their early sides displayed a raunchy but thin approach taken from the mold of British Invasion groups like the Stones and Them.

One of the earliest San Francisco rock bands, the Mojo Men had local hits on the Autumn label with "Dance With Me," "She's My Baby," and a cover of the Rolling Stones' "Off the Hook" in the mid-'60s. Their early sides displayed a raunchy but thin approach taken from the mold of British Invasion groups like the Stones and Them.

For a minor mid-'60s San Francisco garage/folk-rock/psych group with very limited national success, the Mojo Men certainly recorded a hell of a lot of material. This compilation contains no less than two dozen previously unreleased 1966 recordings, cut in the uneasy period between when their original label, Autumn, had bit the dust, and they had yet to release tracks with their next company, Reprise. It's no less than the fourth CD of material from the group that's been issued, with no duplication between the discs. For that reason, even some enthusiastic '60s/San Francisco collectors might wonder whether it's only of peripheral, completist-only interest. It's definitely not, however; a little surprisingly, it has much of the best stuff they ever did, with only a few of the songs that would be re-recorded at Reprise. Far more than their earlier, more garage/British Invasion-inclined recordings prior to the entrance of drummer/singer Jan Errico into the lineup, it has a folk-rock/slightly psychedelic feel somewhat akin to the pre-Grace Slick work of Jefferson Airplane. Too, it's nonetheless less precious and slick than their more polished (if occasionally fine), baroque rock-influenced Reprise material. Bittersweet, wistful folk-rock with mild garage and psychedelic tinges (and more than a touch of the Beau Brummels) is the main vibe on this strong set of mostly original material, highlighted by the ones on which Errico's stirring, yearning vocals -- the best qualities she brought into the band from her former outfit, the Vejtables -- are prominent. While some of the tunes are rather run of the mill, the best of them are really good, including the Beau Brummels-style "Is Our Love Gone"; "Not Too Old to Start Cryin'," represented by two versions (and later redone for Reprise); and, above all, "You Didn't Even Say Goodbye," where Errico's singing is a match for Signe Anderson at her best. Even the oddball cover arrangements of "She Cried" (formerly a hit for Jay & the Americans) and the late-'50s Bell Notes rocker "I've Had It" are cool. You could even make an argument for this as the best Mojo Men CD, despite the absence of their only two songs to make appreciable national noise, "Dance with Me" and "Sit Down, I Think I Love You."



John E Sharpe And The Squires: Maybelline + Singles (SOUTH AFRICAN Garage Pop/Rock,1966)

CBS, ALD 6962

South African garage rock ... you're kidding right? Nope. To someone who doesn't know much about this niche, it's pretty friggin' impressive.

Unfortunately I haven't been able to find a great deal of information on namesake John E. Sharpe and company. Sharpe and bassist Les Goode had previously been in the Johannesburg-based The Deans. Inspired by The Beatles and The Stones in 1963 the two formed John E. Sharpe and the Squires. A popular draw on the city's club scene, in 1965 they were signed to CBS South Africa. Over the next two years they released a series four singles:

- 1965's 'Stop Your Sobbing' b/w 'High Heel Sneakers' (CBS catalog number SSC 545)

- 1965's 'I'll Explain' b/w 'Yours for the Picking' (CBS catalog number SSC-587)

- 1966's 'I Am a Rock' b/w 'Like a Rolling Stone' (CBS catalog number SSC-650)

- 1966's 'Monkey Shine' b/w 'Take It Easy' (CBS catalog number SSC-698)

Their sole LP, 1966's "Maybelline" offers up a sterling set of pop and raging garage rockers. All hyperbole aside, musically the album rivals anything put out by their better known US and UK contemporaries. Sharpe has one of those snotty voices that's perfect for the band's commercial moves which include one of the earliest Paul Simon covers I'm aware of ('I Am a Rock'). Also be sure to check out their weird pseudo-polka cover of Chuck Berry's title track. His voice is even better on tougher garage numbers like the catchy 'Monkey Shine' and their blazing cover of Bo Diddley's 'I'm a Man'.

"Maybelline" track listing:
(side 1)

1.) Monkey Shine - 2:26

2.) What's Your Name - 2:12

3.) Maybelline (Chuck Berry) - 2:35

4.) L.S.D. - 2:56

5.) I'm a Man (Bo Diddley) - 4:00

6.) I Am a Rock (Paul Simon) - 2:28

(side 2)
1.) Walking The Dog - 2:21

2.) She's Fine, She's Mine - 4:20

3.) Bo-Diddley (Bo Doddley) - 3:59

4.) I Gave My Wife A Diamond - 2:13

5.) Back Door Man - 2:55

6.) Folsom Prison Blues - 3:07

I haven't been able to verify it, but someone who knew Sharpe in the early 1960s told me that he had died of cancer.

(internet source)

great info, reviews, pictures and interviews (and more) at
garage hangover site

LINK: cause IM A BACK DOOR MAN ! ! !


V.A.: America`s Hottest Garage Rock Songs (Perfomed by Danish 60`s garage rock bands!)

Ok, the words raw and crude are just great to describe this compilation, fast n furiuous covers, like the title says... Americas hottest garage rock songs ! ! !

While many of the original garage bands vanished into the dustbin of history, the songs they wrote were integral to the fabric of American popular music. (See the pic for the tracklist/bands)



Steve & The Board: ... and the Giggle Eyed Goo (AUS, Garage Beat 60s Comp)


A pop band from Sydney who achieved some hits. Steve Kipner's dad , Nat Kipner was one of Sydney's top producers and also owned the production / record company Spin. Nat worked with The Bee Gees on many of their early records and he gave his son's band lots of free time in his studio to record and write songs.

Their album was one of the rarest and best of the sixties. Predominantly comprised of decent originals, it also had a splattering of tight cover versions of Rosalyn, Farmer John, Love's Made A Fool Of You and Little Miss Rhythm And Blues.

Colin Petersen had been a child actor and would later travel to England to join The Bee Gees along with Vince Maloney. Peterson's replacement, Geoff Bridgford went on to The Groove, Tin Tin and also worked with The Bee Gees for a while, whilst Carl Keats also wrote some songs for The Bee Gees.


All 16 tracks released by the band are included on this CD reissue of their sole album, which adds both sides of their two subsequent non-LP singles. Steve and the Board weren't out of this world, but they were an energetic, slightly above-average British Invasion-inspired band, leaning closer to the Beatles and the Mersey sound than raving R&B. Their biggest Australian hit, "The Giggle Eyed Goo," is actually a bit in the novelty vein and not too representative of most of their repertoire, which was dominated by original material. "I'm to Blame" is a nice, innocuous mating of the Mersey sound and the Byrds, while "Margot" goes more into the harder-charging sounds of mid-'60s mod rock, and "I Want" will probably be favored by garage fans for its high, droning, distorted guitar riff. "I Call My Woman Hinges 'Cause She's Something to Adore" is certainly one of the more oddball song titles of the era, and is like several of their other songs, a respectable midpoint between the R&B and pop wings of the British-influenced sound. The highlight, though, is the brooding, sublimely melodic rockaballad "Lonely Winter," which, incidentally, was recorded by the Bee Gees (with better vocals and a slightly fruitier arrangement) around the same time.

There's another Bee Gees connection in a cover of an early Barry Gibb song the Bee Gees never released, "Little Miss Rhythm & Blues," though this slow interpretation is markedly inferior to the fine up-tempo version of the song issued by Trevor Gordon in the mid-'60s. Of the non-LP cuts, "So Why Pretend" is about the best in its sort of Zombies-meets-1965 British beat boom sound, though none of them are that great. Unfortunately, there's virtually nothing in the way of informative liner notes on this expanded re-release, though it has a complete discography.



Good Feelings (Canadian Garage Rock, 60`s Compilation)

Both sides of this Winnipeg, Manitoba, band's 45 can also be heard on Rough Diamonds, Vol. 8: Winnipeg 65-66 and Like I Love You has also got a second airing on The Midwest vs. Canada, Vol. 2. Both are pleasant but in no way outstanding.

Hackie was later guitarist with Petite and Nite People in 1983.

Rips from 45`s, eps and singles, no oficial album here. Let me know what you think about this canadian band.



The Gables: Snake Dance (US Very Rare Garage/Surf Rock, 1966)

Does anybody know certain dates about this band? year of the lp, gigs perhaps? another shows? anything?- dig it.

196? LP Fleetwood GAB-1

This obscure mid-sixties garage album is now a minor collectors' item.

The Gables (1966)

The Dimensions: From All Dimensions (US, 1966)

From Park Ridge, Illinois. The album is a classic of the 'prep-rock' garage genre, rather like the Rising Storm album, only this supposedly had a pressing of just 100 making it a mega-buck rarity. The Eva reissue has an extra track and costs a lot less!

There were many obscure garage bands in the mid-'60s who released limited editions of all-cover albums to be given away at gigs and school. Most of these albums were virtually worthless except as time capsules, but there were a few scattered exceptions that proved the rule -- LPs of this kind by T.C. Atlantic and the Litter became valued collector's items. The Dimensions were another example. Nothing is known about this Chicago college group, whose derivative, but exciting, album achieved a much greater audience when it was reissued for the '60s collector audience in the '80s.

Album review

Not an original bone in their body on this 1966 album of 12 covers, but The Dimensions did a good job as aspiring Rolling Stones. Killer versions of "Carol" and "Do You Love Me" highlight this timepiece, with the kind of crudely amplified raw guitars and frenetic drums that could not be reproduced by the most exacting current scientific methods.



Gene Latter & The Shake Spears: Summertime (SA,1966)

As they should, these lads were one of the biggest bands to ever come out of Rhodesia, a former British colony in southern Africa turned into a quasi-apartheid state until nationalist struggles kicked out White rule and turned the land into the countries of Zambia and Zimbabwe. While the Spears spent their early years in Rhodesia, they made their mark while living in Belgium. Thus, their records, while sought out, are not too difficult to find. (crud-crud)

Pretty damn good songs here. Fast pop, beat rock, of course covers of all kinds. Dig it.

LINK: and the living is easy...


The Victors: Victorious (US Garage, 1964/66)

Dan Dailey, Jim Kane, Terry Knudsen and Gary Leach were memebers of the Scotsmen. Also related with the Litter.

This Minneapolis group later became The Litter and they can also be heard on the Get Hip album (GHAS 5066), Electras vs. Scotsmen / Victors (1993). It contains tracks from 1965 to 1968. All bar Denny Waite were previously in The Scotsmen.

Yes.. these guys were young.. and their covers were so raw and crude !! really garageones !. Pay attention to all the songs, from "midnight hour" to "good golly miss molly"(rawest version ever!) and a couple of more songs that are really interesting. Really like this kind of songs/sounds/style (simple songs, raw voices, crude instrumentation, easy to play, hee... jjeje) , so hope you can understand me.



Electric Banana (1967/69)

The Electric Banana was an alias used by British rockers the Pretty Things beginning in the '60s and throughout the '70s, comprised of members Phil May (vocals), Dick Taylor (lead guitar), Wally Waller (bass), and John Povey (drums). In an effort to make some quick money, the group contributed music to a variety of low-budget films, one such title being The Haunted House of Horror. The Electric Banana issued several obscure albums (all long out-of-print and extremely hard to find) -- 1967's self-titled debut, 1968's More Electric Banana, 1969's Even More Electric Banana, and 1970's Hot Licks.

Early complete recordings, instrumental demos, b sides and more.

1967 Electric Banana dewolfe dwlp 3040
1968 More Electric Banana dewolfe dwlp 3069
1969 Even More Electric Banana dewolfe dwlp 3123
More recordings remixed in stereo


The Chants R&B : The Stage Door Tapes Live (NZ, Live 1966)

Great live`n raw recordings from this amazing band from New Zealand.

Forming in Christchurch in 1964 Chants R&B were really New Zealand's Pretty Things. Their musical influences were British R'n'B outfits like The Stones, Pretty Things and Kinks. Initially they were called The Chants, but changed their name after discovering a U.K. act with the same name.

They were a regular live attraction at a club called The Stage Door. Three of their four 45 cuts - a Courtney/Rudd original I Want HerI'm Your Witchdoctor and Meaux's Neighbour Neighbour - can also be heard on Wild Things, Vol. 1I'm Your Witchdoctor on How Was The Air Up There?, Neighbour, Neighbour, which featured great vocals and gruff guitar work, on Ugly Things, Vol. 3 and It's A Kave-In and finally I'm Your Witchdoctor on The Best Of Ugly Things. and covers of John Mayall's and show them to be a competent R'n'B outfit. Other compilation appearances include

They caused quite a sensation when Mike Rudd nailed his still plugged in and switched on guitar to the stage floor during a gig in June 1966.

Their original guitarist Jim Tomlin, who also played the hypnotic Indian flute on I Want Her, left in mid-1966 to be replaced by Max Kelly, but Tomlin returned to produce their second 45.

In November 1966, they headed for Melbourne with a new line-up (C), but when Trevor and Mike fell out (a classic case of 'musical differences') they split in early 1967.

There's a recommended 1996 compilation album with lots of previously unreleased material.

In Tim Piper they had one of the region's best blues guitarists and Mike Rudd was pretty powerful with the axe too. Piper later played with Australia's Chain and Alta Mira.

Great info about them in the hangover

LINK: this guys in love with you...


The Jades of Fort Worth: Introducing the Jades (US 60`s raw garage recordings)

This lp was later released in 1982 (Cicadelic 1000)
Here you ll find lots of covers. These recordings were from 65 till 69.

A raw punk outfit from Fort Worth who were a popular local attraction in their day. Sometimes known as The Jades Of Fort Worth, their second 45 and later pressings of the third one were released under that name. Their third 45 was originally credited to Jades Of Stone. They specialised in cover versions, which they delivered in their own fiery style. On I'm Alright Gary Carpenter set a Rolling Stones song to new lyrics and the formula worked - they enjoyed a local hit. Next up was a Small Faces song and for their third and final effort they chose a Van Morrison composition.

They finally called it a day in 1969, by which time only Carpenter and McCool remained from their original line-up. For the first half of the seventies Carpenter played in a showband called Colossus, and later he recorded an album which he decided not to release. After a spell as a DJ in Fort Worth he was last heard of managing the Sound Idea stereo store in Camp Bowie.

The most comprehensive guide to their material can be found on their retrospective album.

LINK: please make a mirror of this link... and put it in the comments
thanks (in others serves if possible)


The Blazers: On Fire (1966, US Superb Garage,R&B)

I told Maxi: "pay attention carefully to this lp."
Highly recommended, raw songs, nice balads, great rock and superb covers. Really, a great album for me.
Great versions of Have Mercy, Stand by me, Good lovin, My girl and Mustang Sally. (great cover repertoire)

Waiting to see if you notice any info more of this band or some info to add.

From Kansas City, Missouri. I Don't Need You, composed by D. Hord, is catchy garagey-beat with haunting electric piano. The Halter-composed flip is derivative saxy rockin' pop with echoes of DC5's version of Berry Gordy's Do You Love Me.

LINK: Have mercy... (leechers)


The Kinetics: Snow Children (1967,US, also as The 5 Kinetics/Kinetic Energy)

After years of gigging, the Houghton-based rock group The Kinetics were poised on the cusp of national exposure in 1968. They had released two singles, an LP, toured extensively around the midwest and filled concert halls in Chicago.
Formed in 1963 as The Kinetic Energy, the group was led by singer Frank Gallis, who was a 'dancer' while on stage and always moving,
giving life to the name, which means energy in motion.

If you want to read the complete history about this rare band, with lots of pictures and great reviews and interviews, check rock n roll graffiti .

Produced by Fran Locatelli, the long player was titled "Snow Children." Credited to the (Five) Kinetics, the LP was issued by Recorded Publications Co., Camden, N. J., and carried the catalog number 81262.

The album's simple two-color cover features various geometric shapes, but no image of the Kinetics. That's because the cover wasn't considered important compared to the record inside which was supposed to sell the group.

An order was placed for 2,500 copies of the album, which was also sold in some Copper Country retail stores, at dances, and distributed to selected disc jockeys.



Embalo R (1967, Brasilian Garage)

Surf sounds... instrumental, flower, pop, some classic.
This lost lp from Brasil.
English/brazilian lyrics.
You ll find some rare covers...
of course, from the Beatles among others.



Half Tribe: Only Starting (US,1965)

From the Reading, Pennsylvania area this ouffit, also known as the 'Half Tribe of Manasseh' or just 'The Tribe' left just one gloriously rare vinyl artifact - (no 45s traced) - of decent garage music featuring mainly covers - Money, Empty Heart, Malagueña, Summertime etc. Shortly after this the band would disintegrate - Hawkins and Sammis going on to form The Other Half whose LP is equally rare.

Very very rare... really really good. Dig it.



Knights 5+1: On The Move (1967,US)

Another unknown album on the rare Justice label, with covers of Knock On Wood, West Sun, Mustang Sally, Tomatoes, In The Midnight Hour, Barefootin', When A Man Loves A Woman, Land Of A 1,000 Dances, On The Move, Try Me, Don't Lose Your CoolNinety Nine And A Half (Won't Do). and Of all the rediscoveries from the Justice Records library, the Knights 5+1 are one of the most rewarding, a sophisticated multi-racial rhythm-and-blues sextet with a professional veneer to their playing and three qualified lead players (Wilfred Wilson on sax, Ronnie Cook on lead guitar, and Bing McCoy on the organ). The Knights 5+1 had a great lead singer whose name, alas, hasn't lasted in the memory to be passed down to us today. They were based in the area around Charlottesville, Virginia, and undoubtedly played a lot of clubs and dances there-this is one band that would've been worth seeing more than once, and not just for r&b history buffs and oldies fanatics.


The Knights 5+1 were not only a completely professional band, in contrast to virtually all of the rest of the Justice Records roster, but they were good songwriters as well, based on the evidence of the title-track and a pair of additional instrumentals interspersed among the covers of "In The Midnight Hour," "Mustang Sally,""Land of a Thousand Dances," and "Try Me." Their influences included rock 'n roll and gospel as well as r&b, and they must've held audiences at the University of Virginia and other venues spellbound when they weren't up dancing to the group's music.