Along with Why Pick on Me, this was the group's strongest album, although you're always better off with a greatest hits collection. "There Is a Storm Comin'" and "Pride and Devotion" are a couple of strong numbers that don't make it onto compilations, and "Rari, " the moody B-side of "Dirty Water, " tis one of their best little-known tracks. The CD reissue takes off one cut (the easily found "Sometimes Good Guys Don't Wear White") and adds six bonus tracks of only mild interest, including a version of "Batman." Add points for finding a longer version of "Rari, " though.
Ok this is highly recommended... what is not of the Standells !?!? Really great album... this band is also on my top 10.
LINK: THERE`S A STORM COMING !
One of the strangest and best Dutch bands of the mid-'60s, Les Baroques always seemed out of synch with the real world. They had a French name, a lead singer with an obviously anglicized pseudonym (Gary O'Shannon, real name Gerard Schoenaker), and played R&B-tinged pop-rock with odd streaks of European folk tunes and corny orchestral arrangements. Their reputation hinges chiefly upon their first four singles and self-titled 1966 LP, all recorded with O'Shannon before the singer left the group at the end of 1966. At his best, O'Shannon could sound like a less polished, neurotic version of Van Morrison, delivering songs that, like much Dutch beat of the mid-'60s, were sullen and minor-keyed. Les Baroques took this moodiness to extremes, however, in cuts like "Silky" and "Summer Beach," which had a dreamlike sheen and forlorn, doomed atmosphere. At other times, they espoused an earthier, R&B-based sound more in line with some British groups of the time, especially in the sharp organ riffs; "She's Mine" closely approximates Them's ballads, while "O, O, Baby Give Me That Show" is a good Animals clone. "Such a Cad," a weird punky number that was, like several of their 45s, embellished with bassoon (!) fills, was a big Dutch hit in 1966. But after one more fine single, the typically inscrutable "I'll Send You to the Moon," O'Shannon had to leave the band for military service. Les Baroques did continue for five more singles and a second LP with Michel van Dijk as lead singer, but it wasn't the same, although the first two singles with this lineup, "Working on a Tsing Tsang" and "Bottle Party," were acceptably twisted pop numbers.
The sole LP with O'Shannon as lead singer is rather more subdued and R&B-oriented than their oddball, poppier singles. It's still a worthwhile (and, in the U.S., nearly impossible to find) album that generally finds O'Shannon determined to squeeze every tortured nuance from both the bluesy items and the sentimental numbers. The best cut, however, is the hardest-rocking: "O, O, Baby Give Me That Show" is a clear contender for best Animals soundalike of the era, complete with biting organ solo. Some of the group's 1965-66 singles, incidentally, appear on a number of reissue compilations; the two-CD Dutch import Such a Cad has the band's complete recordings, although few, if any, copies seemed to make it over to North America.
LINK: TOO SHY TO
Ok here we have a superb anthology about one of the most important bands in the garage scene. This album contains songs from the early instrumental-era, then the garage movin through the psychedelic songs. This is an essential album that you must have. Highly recommended.
Like i said before... this is one of my favourite bands... and take a good listen to them !.
27 Songs of high quality.
LINK: YOU WEREN`T USING YOUR HEAD
The historical importance of the Wailers is undeniable. They were one of the very first, if not the first, of the American garage bands. Backing Rockin' Robin Roberts, they revamped an obscure R&B song called "Louie Louie" into a 1961 local hit that served as the prototype for the countless subsequent versions of the most popular garage song of the '60s. And their stomping, hard-nosed R&B/rock fusion inspired the Sonics, who took the Wailers' raunch to unimaginable extremes. While they anticipated the British Invasion bands with their brash, self-contained sound, their inability to write first-rate original material, as well as their rather outdated sax and organ-driven frat rock, put them in a distinctly lower echelon. As the decade progressed, the group did absorb mild folk-rock and psychedelic influences without great effect, either commercially or on their sound itself.
WAILERS, ONE OF THE FIRST GARAGE BANDS ?
The Wailers had coalesced from a crude instrumental combo with hits like "Tall Cool One" into a storming rock'n'soul outfit by the early 1960s, and the Spanish Castle in the DMZ between Seattle and Tacoma was their home turf. Modeling themselves somewhat on the scale of a small-change soul revue, they sported instrumental workouts from the band built around Mike Burk's propulsive and exciting drumming ("Shivers," "Sac O'Woe") and Rich Dangel's bluesy guitar playing ("San-Ho-Zay"), along with the triple threat of vocal turns from piano/organ pounder Kent Morrill (a nice reprise of "Dirty Robber" from the Golden Crest album) and featured band vocalists Rockin' Robin Roberts ("Rosalie," "Since You've Been Gone") and Little Gail Harris ("All I Could Do Was Cry," "I Idolize You"). These are the Fabulous Wailers you hear on this disc: a groundbreaking band in their prime on their home turf. An added bonus to this ultra-important live album — and make no mistake about it, every Northwest band from the Kingsmen to the Raiders to the Sonics on down were influenced by this band and this record — are the inclusion of two bonus tracks, both sides of the original Etiquette/Wailers/Rockin' Robin Roberts single of "Louie Louie" and "Mary Ann." Undoubtedly one of the most influential albums in Seattle rock & roll history.
ANOTHER GREAT BAND AND VERY IMPORTANT IN THE HISTORY OF GARAGE ROCK ! THESE ARE THE MASTERS ! ! !
LINK: SAN-HO-ZAY !
Although marketed as a surf band, Minnesota's Trashmen were decidedly landlocked by geography, but not by spirit. The group's odd mix of surf, R&B, sneering garage pop, and psychotic instrumentals made them one of the most eccentric and interesting of the groups that sprang up around the surf craze of the early '60s. This delightful collection of rare live tracks shows the kind of offhand, humorous dementia that they channeled into their shows, climaxing in a near six-minute version of their wacky masterpiece, the manic "Surfin' Bird." But this was a surprisingly versatile and nimble band, and their versions here of Booker T. & the MG's' "Green Onions" and James Brown's "Mashed Potatoes" spotlight a funky little R&B groove, while "Same Lines" sneers along with the best of 1960s garage punk, and "Keep Your Hands off My Baby" is skillfully executed faux doo wop. Two of the songs here ("Bird Dance Beat," "King of the Surf") were recorded at the Home School for Girls at the Saux Centre in Minnesota in 1966, and the mere thought of young, impressionable girls listening to this band of goofy maniacs is a sobering one.
10 POINTS FOR ME ! great & amazing surf-garage-pop-demented music !
LINK: BIRD DANCE BEAT !
Band Info (Am.)
A Minneapolis rock & roll band, they evolved from Jim Thaxter & the Travelers, recording one single under that name ("Sally Jo"/"Cyclone"). The group comprises Tony Andreason (lead guitar), Dan Winslow (guitar/ vocals), Bob Reed (bass), and Steve Wahrer (drums/vocals). Unfairly depicted as a novelty act, the Trashmen were in actuality a top-notch rock & roll combo, enormously popular on the teen-club circuit, playing primarily surf music to a landlocked Minnesota audience. Drummer Steve Wahrer combined two songs by the Rivingtons ("The Bird's the Word" and "Pa Pa Ooh Mow Mow"), added freakish vocal effects and a pounding rhythm to the mix, and, by early 1964, the group was in the Top Ten nationwide with "Surfin' Bird." Though the group continued to release great follow-up singles and an excellent album, their moment in the sun had come and gone; they disbanded by late 1967/early 1968. They re-formed in the mid-'80s and continued to play locally until Wahrer's death. The Trashmen are revered by '60s collectors as one of the great American teen-band combos of all time, their lone hit exemplifying wild, unabashed rock & roll at its most demented, bare-bones-basic, lone-E-chord finest.
ALBUM REVIEW (am.)
Recorded in March 1964 and January/July 1966, The Great Lost Trashmen Album! was the supposed second release from those Minneapolis hodads who gave the world "Surfin' Bird." The material finds the Trashmen heading toward Beatles territory on the 1966 sessions, especially on "Talk About Love" (featuring Farfisa organ) and Buddy Holly's tune "Heartbeat." There's also plenty of amazing surf instrumentals and vocal tracks comparable to "Kuk," with cool gremmie/hot-dogging/kowabunga lyrics. "Think It Over" would have made an excellent inclusion in one of those AIP beach party movies of the early '60s. Needless to say, if you have any interest in surf music beyond the Beach Boys, buy this Sundazed disc immediately!
TRASHMEN ... ALSO ONE OF MY FAVOURITE,yeahh... AMAZING !
LINK: BE TRUE TO YOUR SCHOOL !
In some ways this series actually gets more interesting with the fourth volume, possibly because the need to fill up so much space (another 30 tracks worth) with instrumental rock oldies meant that more unusual items had to be excavated. There are a few big hits (Bill Justis' "Raunchy," Bill Black's "Smokie"), yet most of these are singles that didn't even make it into the Top 100; over half missed the listings altogether. Not all of these are rock, either; Hank Levine's "Image" is a lost exotica single, Moe Koffman's "The Swingin' Shepherd Blues" is light jazz, and Kokomo's "Asia Minor" is classical boogie. While some of the selections are only average, there are some good nuggets here, like the Megatons' scorching variation of "You Don't Love Me" ("Shimmy, Shimmy Walk"), Travis Wammack's innovative guitar work on "Scratchy" (which has a snatch of backwards vocals that was way ahead of its time for 1964), the Centurians' moody surf instro "Bullwinkle Pt. II" (used in the Pulp Fiction soundtrack), and Lonnie Mack's "Chicken Pickin'." There's also the peculiar belly-dance rock of the Hollywood Persuaders' "Drums-a-Go-Go," which was created by a pre-Mothers Frank Zappa with Paul Buff.
30 instrumentals from the late '50s and early '60s, the era when instrumental rock was at its peak. Most of these were hits, though a few of them didn't make the Top 20, and some didn't even make the Top 100. Hence the selections are often more obscure than what you'll find on Rhino's Rock Instrumentals series. The Rhino series, however, remains not only a much better introduction to this nifty genre, but considerably higher in overall quality. The best songs on Teen Beat are often on the Rhino series as well (the Ventures' "Walk Don't Run," Preston Epps' "Bongo Rock," Link Wray's "Rumble"); the lesser-known ones, though a boon to collectors, simply aren't as good or imaginative. It's a serviceable supplement, though, if you're looking for more of the style, and the best cuts are certainly dynamite.
LINK: VOLUME 1
This digs way deeper into the cobwebs of history than the first volume of the series. Although a few of these were big hits, over half of the 30 tracks didn't even make it into the Top 100. That doesn't mean they should be dismissed. But in the case of these selections at least, they're simply not nearly as memorable as the best early rock & roll instrumentals, whether hits or flops. There are some nifty highlights, like two raw, bluesy '61 cuts by a young Roy Buchanan, uncommonly rocking items by Chet Atkins, and the early Danelectro bass workout by the Fireballs ("Carioca"). But a lot of these are standard-issue three-chord instrumentals by no-names like the Atmospheres, or forgettable flop followups by one-hit wonders like Dave Cortez, Floyd Cramer, and the Champs. The energy level is always high, but that in itself isn't a high recommendation, although devotees of instrumental rock will certainly find a lot of cuts here that are hard to locate on CD.
LINK: VOLUME 2
Highly Recommended. SouthAmerican Beat.
Banda rosarina pionera del Rock Argentino. Originariamente bautizada los "Wild Cats", en 1964 cantaban en inglés en fiestas y como teloneros de grupos llegados de Buenos Aires. En el repertorio estaban las canciones de Chuck Berry y Elvis Presley. Poco a poco, y con la llegada de Litto Nebbia, se fueron incorporando temas propios (tanto en inglés como en castellano), hasta alternar un estilo más cercano a The Hollies, The Beatles y The Animals.(Rock-ar)
Los Gatos Salvajes (which translates as "The Wild Cats") are generally cited as Argentina's first great beat-era group, playing solid, bluesy garage rock at a time when the scene was hopping in America and the United Kingdom but scarcely existed in Latin America. While los Gatos Salvajes were clearly influenced by the Beatles, it's not hard to tell that they'd been listening to the Rolling Stones and the Yardbirds as well, and the Farfisa organ that made its way into their arrangements suggests they were checking out a few American garage acts as well. However, the group put their own spin on the beat sound, singing their own songs in their native tongue, and more than 40 years after they released their first recordings, an anthology of their music has finally appeared in the United States. Los Gatos Salvajes Complete Recordings includes all 12 cuts from los Gatos Salvajes' first and only album, seven non-LP single sides, highlights from appearances on Argentine television, and some demo recordings of singer and guitarist Litto Nebbia working out new songs for the group. Anyone hoping to hear frantic blues wailing or atomic-powered teen angst will probably be a bit disappointed; while los Gatos Salvajes could deliver respectable versions of "Little Red Rooster" or "Talking 'Bout You," on much of this album they sound like the teenagers they were, still finding their way through their music at a time and place where simply playing rock & roll was a rebellious act. But that's also part of this disc's very real charm — los Gatos Salvajes were five young men who loved rock & roll and played with the sincerity of true believers, blazing a trail for hundreds of Latin rockers who would follow, and the original songs here show they had learned enough from their influences to develop an impressive voice of their own, one which would grow stronger when they later evolved into los Gatos. Fun stuff, and a real eye opener for fans of international garage sounds.
LINK: ME TIENES QUE BESAR !
With a repertoire drawn from the Delta-soaked Chicago blues titans Howlin' Wolf, Muddy Waters, Sonny Boy Williamson II and Elmore James, the Yardbirds began to build a following of their own in London before very long. Their inexperience and their less-than-stellar musicianship was obvious, but their commitment was just as powerful, as they hammered away at versions of such blues classics as "Smokestack Lightning", "Got Love If You Want It", "Here 'Tis", "Baby What's Wrong", "Good Morning Little School Girl", "Boom Boom", "I Wish You Would", "Done Somebody Wrong", "Rollin' and Tumblin'", and "I'm a Man".
September, 1963: The group play their first shows billed as the 'Yard-birds'.
They made their first significant lineup addition when singer/harmonica player Keith Relf, rhythm guitarist Chris Dreja, bassist Paul Samwell-Smith and drummer Jim McCarty, replaced original lead guitarist (Anthony) Top Topham with a very boyish-looking art student named Eric Clapton in October 1963. Clapton already knew what he was doing with his instrument; his solo turns, while far enough from the gripping little gems for which he became famous soon enough, already set him apart from most of his peers among the British blues clubbers. Between his sleek guitar playing and Keith Relf's improving harmonica style, the group could at least boast two attractive players that made listeners overlook their still-incomplete rhythmic attack. And, of critical importance, Crawdaddy Club impresario Giorgio Gomelsky—who had all but discovered the Rolling Stones but thought it beyond his range to become their manager—learned enough from his previous miss to become the Yardbirds' manager and, as it turned out, first producer.
Under Gomelsky's guidance, the Yardbirds got themselves signed to EMI's Columbia label in February, 1964; they set a precedent of a sort when their first album turned out to be a live album, Five Live Yardbirds, recorded at the legendary Marquee Club in London. The group was well enough reputed that none other than blues legend Sonny Boy Williamson II himself invited the group to tour England and Germany with him, a union that survives to this day on a live album memorable for Williamson's trouper-like adaptation of his deep troubadour style of blues to the Yardbirds' raw, unpolished rock version. ("Those English kids," Williamson said famously of the Yardbirds and other British blues groups like the Animals and the Stones, "want to play the blues so bad—and they play the blues so bad", though he had a personal affection for the Yardbirds' members and even thought of moving to England permanently, until the illness that resulted in his early death in 1965.)
GREAT SOUND !!!
LINK: BOOM, BOOM !!!
GREAT SOUND QUALITY
CALIDAD DE SONIDO MUY BUENA
LINK: THE SKY IS CRYING
HIGHLY RECOMMENDED... A LOT OF PEOPLE CONSIDER`EM AS ONE OF THE FIRST GARAGE BANDS OF ALL THE TIMES... AN EARLY INFLUENCE FOR ALL THE BANDS (64-67)
LINK: ROAD RUNNER
LINK ALBUM: YOU REALLY GOT ME !
LINK BONUS: YOU STILL WANT ME
(THE KINKS: PERSONAL FAVORITES)
Link Wray (1929-2005)
Formando un poderoso trío con sus hermanos en los 50's, Wray produjo un vulgar, violento y siniestro sonido como nadie antes había escuchado hasta la fecha. Basando a menudo sus instrumentales en acordes rítmicos, Wray fue llamado a la vez "El abuelo de los power chords" y "El padre del Heavy-Metal". Aunque su popularidad tuvo una corta vida, su estilo permaneció en las guitarras de Pete Townshend, Jeff Beck, y Jimmy Page, y días después en las cuerdas de los practicantes del heavy-metal, punk y grunge.(Fuente, Rockabilly)
LINK: RUMBLE !
THE KINGSMEN: FRENCH VYNIL COMPILATION FROM THE 60`s
30 songs of pure excitment ! superb compilation, just amazing ! ! !
30 canciones de pura exitación ! este disco no puede faltar en niguna colección ! RECOMENDADO
LINK: MOJO WORKOUT
Grupo de garaje americano, formado en Oregon en 1957, y disuelto en 1968.
Saltaron a la fama con una version de "Louie Louie" de Richard Berry con la que definieron el estilo del garaje.
En el 64 se dividieron en dos bandas con el mismo nombre. Una banda estaba formada con el bateria Lynn Easton (que tuvo la "picardia" de registrar el nombre sin decir nada al resto del grupo) y el guitarra solista Mike Mitchell. La otra banda estaba formada por el cantante y guitarra Jack Ely (el verdadero inventor del sonido de los Kingsmen) que acabo olvidado hasta que en los 90 se le reconocio su labor, y el pianista Don Galluci que acabo formando su propia banda (Don and the Goodtimes).
Intro - disco fundamental - bases - raíz para entender el garage ... una delicia para todos los garageros ! ! !
Essential - Roots - Base - this album is essential to understand the garage music ... a delight to all the fans of this style ! ! !
LINK: LOUIE LOUIE
para completar a este ... ya que ahi tengo discos escenciales de este genero ... espero que se lo visite seguido y se lo comente de la misma manera o mas ... a esparcir la noticia ... prometo que cada disco posteado va a volarles la cabeza ... en serio ...
I`ll try with this new blog... ill be bringing post from my other blog (mza-acid.blogspot.com) in order to complement this one ... that`s beacause i have essential records in there ... i hope you visit this blog very often ... please leave comments ... and tell all of your friends about this blog ... ill promess that every record here will blow your heads off .... really mean it ...