The Electras: S.t (1962, early frat/garage)


The Electras would've almost certainly been relegated to the fuzzed-out annals of '60s garage rock history if not for the post-garage career of bassist (and future Senator) John Kerry.
Forming in 1961 at Concord, New Hampshire's exclusive St. Paul's School (a prep school whose alumni include actor Judd Nelson, cartoonist Gary Trudeau, and FBI director Robert Mueller), the Electras' primary goal was to "meet
more babes" according to the maraca-playing co-founder Andrew Gargarin. Gargarin and guitarist Larry Rand were desperate to meet the girls from visiting schools and struck upon the idea of forming a rock combo. The pieces fell together quickly, Gargarin and Rand found eager classmates to occupy the drums (Peter Land), rhythm guitar (John Prouty), piano (John Radcliffe) and saxophone (Tim Norris), and settled on fledgling bass student John Kerry to round out the low end. The septet taught themselves a handful of instrumentals and a couple of gruff vocal numbers ("Summertime Blues," "Ya Ya," etc.), and played their fuzzy surf-inspired numbers at school dances and debutante parties. In 1962, the group (minus sax player Norris) gathered around one microphone and made a tape recording of their tunes, sending the tape off to RCA's custom recording division and subsequently pressing up 500 LPs to sell at dances. Their eponymous debut was never widely available, but internet rumors persist of copies of the album changing hands on ebay for over $2000.


Especially in the D.I.Y. enviro
nment ushered in by the start of the Rock Era in 1955, many young people have picked up a guitar or sat behind a drum set in their high-school years, playing with friends for their own enjoyment, and not a few have taken the next step to play for school dances and other semi-professional engagements before stashing their instruments in the closet and moving on to their real adult careers. Even before the days when inexpensive recording equipment became common, some of the more well-heeled of such youthful amateurs managed to put their efforts down on tape. But it may have taken the special arrogance bred into prep school students on their way to the Ivy League and world domination actually to have arranged for copies of their recording to be pressed up on an LP by paying RCA Victor Records to do it. But that's what The Electras, a group of students at St. Paul's School in Concord, NH, did in 1962. The band aspired to the then-current trend in instrumental rock bands like the Ventures, although lead guitarist Larry Rand may not have been up to handling the fleet playing of the Ventures' Bob Bogle, and instead the group covered others such as the Virtues ("Guitar Boogie Shuffle") and the Fireballs ("Bulldog," "Torquay").They also adapted folk group the Brothers Four's "Greenfields" to the guitar-instrumental style and even came up with a couple of vocals ("Summertime Blues," "Ya Ya") that had something of the feel fellow New Englander Jonathan Richman would get into his work almost a decade later. The playing had that just-learned-their-instruments sound of eager amateurs still trying to get all the notes right without yet worrying about anything as sophisticated as interpretation. Still, if you were the entertainment director at a small college or fraternity in 1962 and this record landed on your desk, you might well have considered hiring the Electras for your Friday night dance, provided they didn't charge much more than beer money. The 2004 reissue of The Electras confirms that its members followed their true destinies as lawyers, doctors, and stock brokers, with the longest write-up in the CD booklet going to the bandmember whose contributions are least audible, bassist John Kerry, who went on to a well-publicized career as a Vietnam veteran, war protestor, and politician. LINK: GUITAR BOOGIE SHUFFLE ! ! !


The Dovers: We`re not just anybody (Compilation)


Something bout the concept of "doving" or being a "dover" appealed to musicians in both the garage rock and doo wop genres, indicating that the vast gap between street corner and garage can be spanned, providing the concept is vague enough. Thus the existence of at least two different doo wop groups called the Dovers, who sometimes obscure the fine rock group of the same name that came out of the free-flowing Santa Barbara scene of the mid-'60s. Without a doubt, the Beatles were the dominant influence on the band, who started out calling themselves the Vandells. Apparently the latter name, in addition to potentially serving as an escape valve from the confusion with the doo wop scene, might also describe the tactics of record collectors when it comes to procuring copies of the sides this band originally cut for the Miramar label. In garage rock, the Dovers are apparently the equivalent of the strongest French cheese, the original singles too expensive to purchase, the group's songs too personal for cover bands to attempt.

Most followers of garage rock hear the Dovers on compilation collections; "She's Gone" and "She's Not Just Anybody" are two titles that show the band flowing in the mainstream of rock and roll thought patterns for this era. Bands were fascinated with "chicks" -- "She's Not There," "She's a Rainbow," and so on and so forth. Drummer Rick Morinini was one of the first original members to leave the group. His replacement, Randy Busby, saw this as a step up from his gig with Ernie and the Emperors. Busby's period in the band includes some good raga rock. The group's last sessions were in May of 1966. Original bassist Robbie Laudewig died in the late '80s. In 2001, the Misty Lane label released a complete collection of the group's material.


The Dovers are rightly revered among collectors for having released a few of the finest obscure pop-oriented singles in the '60s garage rock style. All eight of the tracks from their four rare 45s are on this 10" LP. The best of the songs -- "She's Gone," "She's Not Just Anybody," and "What Am I Going to Do" -- were all among the best such singles to combine heavily Beatles/Byrds-influenced guitars, melodies, and vocals with a distinctively self-pitying teen garage sullenness. As is often the case when a thorough compilation of such a garage group is assembled, however, it also turns out that the three songs that were previously given the heaviest exposure on various-artist '60s garage anthologies are the best by a clear margin. In this instance, those songs are the aforementioned "She's Gone," "She's Not Just Anybody," and "What Am I Going to Do," all of which appeared on the original series of Pebbles LPs about 20 years before this Italian album was issued. Still, the other songs have their merits, especially in the Byrds-like guitar riffs, and "The Third Eye" in particular shows a psychedelic raga-rock influence that the group might have developed more had they continued to put out records.

The music of the Dovers is still as fresh and exciting today as it must have been upon its initial release in 1965-1966. Prior to Misty Lane Records’ complete recorded output LP reissue in 2003, however, the Dovers were the mystery band of note for 1960’s garage band collectors. They managed to release four singles – and all eight sides are fantastic examples of ‘60’s folk/raga/acid/garage rock. Mike Markesich provided a nice history of the group in the liner notes to the Misty Lane LP, but when the opportunity presented itself to ask members of the band some questions we quickly jumped at the chance. (Beyond the Beat Gen)


Teddy & The Pandas: Basic Magnetism (Usa Garage, Compilation)


Speaking with my friend Maxi, he dropped the idea of posting the latest stuff that i ve bought recently (good one ah?! ja). Here is one of them, a great band from Boston, pay attention to this one.

Boston garage combo Teddy and the Pandas formed in early 1964, originally comprising guitarist Teddy Dewart (the group's nominal leader), singer Al Lawrence, rhythm guitarist Joe Daley, bassist Billy "Sonny" Corelle, keyboardist Dickie Guerrette, and drummer Jerry LaBrecque. Daley left the lineup soon after its inception, but the remaining members were far more serious about the endeavor -- steady gigging in North Shore communities like Danvers, Gloucester, and Manchester quickly established Teddy and the Pandas as a teen favorite, and in fact they grew so popular that they even formed their own corporation and hired legal representation, accountants, and a PR consultant. They also traveled with a four-man road crew. In late 1965, the band entered Ace Recording Studios to cut their debut single, the Dewart-penned "Once Upon a Time" -- issued on the local Coristine label. In the spring of 1966 the single reached the Top Ten on Boston radio stations WMEX and WBZ, its unique sound due largely to Guerrette's snap decision to abandon his keyboard in favor of a harpsichord left in the studio by members of the Boston Symphony Orchestra. "Once Upon a Time" was such a hit throughout the northeast that the Musicor label signed to re-release the single nationally, although it stalled at number 134 on the Billboard charts. Session vocalist Toni Wine and guitar ace Hugh McCracken lent their skills to Teddy and the Pandas' second Musicor effort, "We Can't Go on This Way" -- another local smash, it fell just shy of the national Hot 100. The band spent the fall of 1966 on a six-week tour in support of Musicor superstar Gene Pitney, also appearing on the Dick Clark television series Where the Action Is. Teddy and the Pandas' third Musicor single "Searchin' for the Good Times" was also their last -- its label-mandated psychedelic trappings were a poor fit with the band's raw, energetic sound, and the record went nowhere. The group then landed at Capitol's Tower affiliate, but their lone full-length, 1967's Basic Magnetism, likewise suffered from a forced psychedelic sound. By the time the album was released, Dewart had left the band to attend college, and Paul Rivers was tapped to assume lead guitar duties before Teddy and the Pandas called it quits a few months later. The classic five-member lineup reunited for the first time on October 7, 1983 in Danvers, Massachusetts, and 15 years later they began work on their first new recordings in over three decades -- 2002 also saw the release of Rarities and Forgotten Gems, a collection of previously unreleased demos and alternate versions from Teddy and the Pandas' heyday.

From their inception, Teddy and the Pandas had formulated a plan that would allow them the opportunity while performing live to test their original songs on wildly enthusiastic crowds in and around the Massachusetts North Shore. Their plan succeeded for the most part, but The Pandas later found their musical prowess compromised by a production team keen to latch onto the latest misguided musical trend, resulting in the band's eventual dissolving. Yet, despite this and other questionable management decisions, the Pandas succeeded in recording several songs that certainly position the band as one of the very best the '60s Boston rock'n'roll scene had to offer.

The Soup Greens: That`s too bad (Usa rare Garage,1965)

BAND AND ALBUM INFO (Beyond the Beat Gen)

After randomly calling into a radio station show co-hosted by garage band researcher Mike Markesich, Dave Eagle of The Soup Greens was shocked to realize that his '60's band was so highly revered by collectors of 1960's garage band music. With Markeisch's assistance, Eagle worked out an agreement with Misty Lane Records in Italy to release the complete and surviving recordings of The Soup Greens. The collection has since received universally positive reaction from collectors everywhere and, as a result, the CD has quickly become a hot seller. Though it contains only eight tracks, the songs are all excellent - and the package amazing.

The Soup Greens started in 1965 in Lenny's basement on Neptune Ave. in Sheepshead Bay, Brooklyn. The record was released in September, 1965. We were together for over a year. One picture and two business cards exist, and some original 45s. We were very popular locally - in Brookln and Greenwich Village.



The E-Types: Introducing ...The E-Types (1965-66)


Twenty-two tracks, including both sides of their four singles and previously unissued demos, outtakes, and live performances. The four singles are legimitately fine finds if you collect obscure '60s pop-garage. "Long Before," "I Can't Do It," and "Put the Clock Back on the Wall" are outstanding, and the cover of Lennon-McCartney's "Love of the Loved" (which the BeatlesBeatle covers of the '60s. Most of the rest of this archival compilation is padding, though, consisting largely of faithful British Invasion covers and some outtakes that are markedly inferior to their singles. It's an enjoyable listen for collectors of mid-'60s rock, boasting considerably more pop-oriented material and accomplished production than the garage norm. But it couldn't be considered in the top drawer of this sort of thing.

Buy this album


This on is dedicated to Henry


August: August (1967, very rare Us garage rock)


A rare album that has shade of late '60s UK Pop Psych. Mainly original compositions, it also includes a cover version of "Eleanor Rigby". The general feel is up beat pop garage with a distinctly whimsical quality. Good harmonies, with keyboards guitar etc. Released on Shadoks on heavy vinyl and housed in a hard card sleeve.

Rare psych pop garage from Us. A raw cover of the Beatles`song "Eleanor Rigby". Highly Recommended.

! ! ! NEW LINK ! ! ! : YOU SHOULD FEEL ! ! ! ! ! !

...WORRY ISN`T IT YOU ! ! ! ... (ITS ME...)

The Alarm Clocks: Yeah! (1966)


Formed in 1965 by Parma, OH, teenagers Mike Pierce (bass and vocals), Bruce Boehm (guitar), and Bill Schwark (drums), the Alarm Clocks got a lot of mileage out of one 45 single, although it would be 40 some years before they would really take advantage of it. The trio recorded two raw slices of garage punk, "Yeah!" and "No Reason to Complain," live in a studio in 1966 and released it on their own Wake Up label, and a month or so later recorded a live demo tape of their live set at Sound Ideas Recording Studios. Nothing much came of either venture, and the group disbanded in 1967. The single, though, took on a life of its own, gradually filtering through the informal garage band collectors network and becoming a highly sought-after item.

Great classic garage, with a lot of amazing covers too!. Highly recommended for all those garageheads who want something classic. Recommended wild versions of "Money" and"Route 66".



The Poets: Scotland's No.1 Group (1963-67, Freakbeat/Uk Invasion)


Although they only released half a dozen singles, these were enough to firmly establish the Poets' status as the best Scottish rock group of the mid-'60s. It's true that this is akin to being a big fish in a small pond -- not many Scottish bands recorded in the 1960s, and not many of them were at all notable. But that shouldn't detract from the genuinely high quality of their records, which still remain known only to a relatively small band of collectors


For most purposes, this is a fine and definitive overview of the output of the band that was indeed Scotland's number one group in the 1960s, in quality if not commercial success. Both sides of all six of the Poets' 1964-1967 singles are here, as well as no less than 11 demos that were not released at the time. One flaw worth noting is that the singles are not mastered from the best possible tapes; however, the difference in fidelity between this and a compilation from more, shall we say, above-the-board sources is so minimal as to be almost meaningless.

This album contains 23 songs, early singles and some demos too.



The Pleazers: Definitely Definitive (1965)


In the mid-'60s, the Pleazers were one of the only New Zealand groups competently playing tough, British Invasion/R&B-styled rock & roll; they were probably only second to the La-De-Da's in their homeland in this regard. They managed to record about half a dozen singles, an LP, and an EP, gaining a few hits in New Zealand and playing some stints in Australia during their brief life. Mixing typical covers of the time with fairly strong original material, the Pleazers were not an extraordinary band; in the United States or Britain, they would have been just another decent regional act. Tough rock bands were still a rarity in New Zealand, though, and so the Pleazers are still remembered there as trailblazers of sorts. Originally an Australian band from Brisbane, known as 'Johnny Gray and The G Men'. They were hired to as a backing band for 'The London Brothers', Billy Bacon and Bob Cooper back in 1964. At that time the band cosisted of, Jimmy Cerezo, lead guitar, Peter Newing, rhythm guitar, Bruce Robinson, bass guitar and me on drums.They were joined by Bob Cooper and decided to change their name to the Pleazers. They then went professional and at this point Vince Lipton decided to leave and was replaced by Bruce Robinson (Bass). The band moved to Sydney, losing Jim Cerezo on the way, so Robinson moved to lead guitar and Ronnie Peel joined on bass.It was while playing in Sydney that they were noticed by Zodiac owner, Eldred Stebbing, who brought them to New Zealand in 1964, with a promise of guaranteed work and unlimited studio time. They started playing at the Shiralee and also appeared on the TV show Let's Go. They looked to be set to take the nation by storm, but fell out with TV producers and were subsequently banned from the airwaves. They started looking scruffier and seemed more comfortable with this image.Their first single, 'Last Night'/'Poor Girl', got minor response. It wasn't until they released their follow-up song, a cover of Them's 'Gloria', with 'That Lonely Feeling' on the reverse, in February 1965, that saw them get any action on the charts. Seven singles, one EP called 'Midnight Rave', and one album called 'Definitely Pleazers' were released on the Zodiac label. The other singles were 'Like Columbus Did', 'Sometimes', 'Is It Over Baby', 'Hurtin' All Over', 'Guilty', 'Can't Pretend', 'Here Today', 'La La Lies' and 'Three Cool Cats', 'Security'.Eldred Stebbing took over the Shiralee in 1966 and renamed it the Galaxie. He installed as resident bands, two of the raunchiest R&B groups around, The La De Da's and the Pleazers. The La De Da's fitted in well with the image of the club, but the Pleazers wanted to continue their rough looking image and Bob Cooper was soon replaced by Shane Hales. Cooper showed up with Hubb Kapp and the Wheels.
Ronnie Peel left the group in 1966 and was replaced by Gus Fenwick from the Layabouts. The Pleazers went back to Australia in June 1966, but returned in March 1967, without Peter Newing, only to split up 6 months later.They were one of the premier groups on the New Zealand scene, but their behaviour was far from acceptable in a staid New Zealand society. Peel spent a brief period with The La De Da's before moving to the UK and a stint with Thunderclap Newman. He later changed his name to Rockwell T James and performed well in Australia. Gus Fenwick also continued his career in Australia, before joining Shane Hales in the Shane Group, which evolved into the Apple. In Australia Gus was a member of the Bootleg Family Band, Healing Force, Nightflyer and Swanee.Shane Hales had a short stint with Jamestown Union, before forming the Shane Group, and after that had a very successful solo career, while Bruce Robinson went on to join Troubled Mind, then Flinders and Rockinghorse.In 1988 Raven released an album that was named and looked the same as the 1966 EP, but contained tracks made up of singles, the EP and album tracks.

More than 20 songs make this album a great piece.

LINK: THOU SHALT NOT STEAL (so please leave comments)

The Misunderstood: The Lost Acetates (1965-66)


Of the thousands of U.S. garage bands who struggled in the '60s without achieving international success, the Misunderstood were not only among the very best, but among the very few to progress beyond basic garage sounds to music that has been (belatedly) recognized as nearly as accomplished and innovative as that of the British Invasion bands who touched off the garage explosion in the first place. Formed in Riverside, CA, in 1963, the group began as a basic R&Brock combo in the tradition of the Stones and the Animals.


Although the Misunderstood were among the best obscure psychedelic bands -- indeed, among the best obscure '60s rock bands of any kind -- they barely got to record anything before tragic circumstances broke them up. The discovery of this bunch of previously unknown mid-'60s acetates, then, was big news to psychedelic rock aficionados, though most of this actually comes from their garage R&B days rather than the psychedelic peak they attained with their late-1966 lineup. The first nine of these 14 tracks come from sessions spanning mid-1965 to early 1966, and show them as a ferocious, above-average moody raw R&B-based group, somewhat in the mold of a more guitar-oriented Animals. It's tougher and more original than the earlier, slightly poppier garage sound heard on the pre-psychedelic sides of the Before the Dream Faded compilation, but not nearly as innovative as the brilliant Yardbirds-taken-to-further-extremes freakout songs on Before the Dream Faded that were cut in London when Tony Hill was in the band. In fact, super-amplified steel guitarist Glenn Ross Campbell wasn't even in the band yet when these nine songs were recorded. Still, these cuts are at least respectable and often exciting, like their rave-up treatment of "Got Love if You Want It" and Hoyt Axton's "Thunder 'n Lightnin'," as well as an earlier, more folk-rockish version of "I Unseen" (which they'd re-record in a far more psych-out fashion in London). Also on the album is their cover of Howlin' Wolf's "Who's Been Talkin'" from a rare 1966 single (predating their move to London) and alternate versions of four great songs they did in the Tony Hill era. These alternate versions -- of "My Mind," "Find the Hidden Door," "Children of the Sun," and "I Unseen" -- actually aren't that different from the ones on Before the Dream Faded, as they utilize the same basic tracks, which were later given some retracking and doubling of vocals at Philips-Fontana.

Great vintage stuff. Rare recordings, b-sides, outtakes, demos, unreleased songs. Garageheads material.

The Guilloteens: For my own (1965-67)


The Guilloteens formed in 1964 when Lewis Paul, Laddie Hutcherson, and Joe Davis were members of the touring version of the Mar-Keys (who were by no means the same as the musicians who played on the Mar-Keys' records). When the horn section and singers of the band didn't show up one night, the three played on their own, leading them to decide to form their own group. Local popularity built a fan base that included Elvis Presley, who according to Paul would sneak into Memphis clubs to watch the Guilloteens. It was also Elvis who got the Guilloteens a gig in early 1965 at the Red Velvet Club in Hollywood, where the group briefly relocated. Phil Spector saw the Guilloteens and was impressed enough to start working on producing their original song "I Don't Believe" in the studio. But for reasons that remain obscure, while Spector was out of town, Guilloteens' manager Jerry Williams signed a deal with the newly launched Hanna Barbera label (an off-shoot of the company responsible for popular children's TV cartoons).Still, the Guilloteens' debut single, "I Don't Believe" sans Spector production, was a strong effort mixing British Invasion pop harmony, Searchers-like guitar, and Paul's unusually thick blue-eyed soul vocals. It was a big hit in Memphis, backed with the Kinks knock-off "Hey You," another group original. Paul took vocals on three of the four songs on the band's first two singles, with "For My Own" an impressive follow-up that similarly mixed folk-rock with garage-pop, though it wasn't the same regional hit that "I Don't Believe" had been. Paul quit the Guilloteens, however, after that release, unhappy with their manager.By this time the band had returned to Memphis from Los Angeles, and replaced Paul with Buddy Delaney. Another decent single followed, one side of which ("Crying All Over My Time") was co-written by Hutcherson and Jim Dickinson, the latter later to become famous as a sideman and producer. That was their third and last release on Hanna Barbera, as a southern tour on which they opened for Paul Revere & the Raiders helped get them a deal with Columbia Records. A Revere & the Raiders influence can be heard, in fact, on their first Columbia 45, "Wild Child," a really good slice of tough garage pop-punk that rates as one of the raunchiest garage singles issued on a major label. It couldn't break the Guilloteens nationally, however, and after a final. disappointing, uncharacteristically pop Columbia single in 1967, the group split up. Delaney made a rare single shortly afterward, "Girl," as frontman for Buddy Delaney & the Candy Soupe, though it was nothing more than a slightly reworked version of the old Guilloteens B-side "Hey You." All ten songs from the Guilloteens' singles (as well as Buddy Delaney & the Candy Soupe's "Hey You") were collected for the Misty Lane Guilloteens compilation For My Own.

(first band)..."We were playing together in a tour road version of the Mar-Keys, we were the rhythm section. One night we were playing a gig in Mississippi at a college. We were the only part of the band that showed up. They expected a performance and we gave them one. On the way home we thought we would put together our own band. We rehearsed for about 6 months and started playing teen clubs like the Roaring 60's, in Memphis. We were also on a local TV program called "Talent Party" which the #1 DJ in Memphis, George Klien hosted. We couldn't find a name we liked so he had a name the band contest and the prize was a date with one of us. I think Joe was the prize. I know it wasn't me! We got a manager and I went to see my friend Elvis. I told him about our band and he picked up the telephone and called a friend of his, Tony Farrah, who owned the Red Velvet Club on the Sunset Strip in Hollywood. He hired us just on Elvis word and we were off to a good start (we were Elvis' favorite group, he often tucked himself away in a dark corner to hear us play)"....

Garage pop punk runch. Dig it.



Lemon Fog: Three O`clock Merrian Webster Time (Rare Wild Garage,1965)


The Lemon Fog were a Houston-based quintet that had the distinction of being the first rock act signed to Ray McGinnis' Orbit Records label. They started out in the spring of 1963 as The Bar Eights, formed by Fillmore High School classmates Danny Ogg and Terry Horde, with Timmy Thorpe on bass, and Dale VanDeloo on saxophone and vocals. They were a Rip Chords-type surf band, with a few pop-soul numbers mixed into their sets. The group got a few coffee bar gigs and a sock hop to two to play before they broke up when VanDeloo supposedly attacked Ogg with a mike stand during an argument. Enter Chris Lyons, who was recruiting musicians at Clem's Music in Houston for a new band he was forming. Danny Ogg showed up at the store, and Lyons asked him to join--Ogg agreed on condition that Timmy Thorpe, who had just gotten laid off from work, play bass. Lyons agreed, and by that weekend, The Pla-Boys, as they were known, were playing their first gig, at St. Regis College for the Arts. It was there that they were seen and heard by Ted Eubanks, an avant garde composer on Houston's mod scene, caught The Pla-Boys' act, which consisted mostly of covers of such garage greats as Sam the Sham and the Pharaohs and ? and the Mysterians. Eubanks liked the way they played more than what they played, and immediately approached them after the show. The band liked his suggestions, and he began putting original numbers into the group's sets. He also changed their image from clean-cut, matching suits to psychedelic, including beads. In a matter of weeks in 1965, they went from being The Pla-Boys to The Lemon Fog, who quickly became recognized as one of the more formidable bands in Houston. The group's line-up soon shifted as Timmy Thorpe was dropped and Danny Ogg moved to bass, with Terry Horde taking over the lead guitar spot. They won a local battle of the bands, and, with help from producer-songrwriter Jimmy Duncan, were approached by Orbit Records with the offer of a recording contract. Only three singles were ever issued on the group by Orbit, although they recorded many hours' worth of demos under Eubanks' direction--he handled most of the songwriting, alternating with Duncan. The best of these was "The Living Eye Theme," also known as "The Lemon Fog," which reached No. 8 on the regional and local charts in the Houston area. The group was a major draw there and in the Houston area, and made many television appearances promoting their singles. Their sound, initially typical garage band dance material, had advanced by leaps and bounds. Some of their songs resembled the folk-rock of the Byrds or the Beau Brummels, while their playing was closer in spirit to the complexity of Moby Grape, with lots of unexpected twists in the guitar and organ parts, and interesting harmonies. Personality conflicts eventually doomed the band, despite some extraordinary music to their credit. Egos clashed, and the use of drugs hampered the talents of one member, and in 1970 Eubanks was cutting records as a solo artist, which heralded the group's disintegration.

OK... DIGGING MY OLD LPS and CDS I decided to pick THIS ONE...


The Flies: Complete Collection (Freakbeat, 1965-68)


The minor British band the Flies are most well-known for a couple of things, neither of which entirely prepares listeners for the pretty average brand of pop-psychedelia on most of their recordings. One is their debut single, "(I'm Not Your) Stepping Stone," issued at the end of 1966, which is a hard rock treatment of a number more associated with the Monkees, but with plenty of crunching fuzz guitar. It wasn't a hit, but it did start to get the Flies a reputation among psychedelic collectors after being included in the very first compilation of rare British psychedelia, Chocolate Soup for Diabetics. The other thing they're notorious for are their sometimes outrageous live performances, particularly their appearance at the 14-Hour Technicolour Dream psychedelic festival in April 1967 in London, where they arranged to have hundreds of bags of flour explode and cover the audience at the end of their set.The Flies grew out of an East London band called the Rebs, and in 1965 they recorded a British Invasion exploitation album under the name of the In-Sect, all but one of the songs on the LP being covers of contemporary hits. By the end of 1966 they were signed to Decca and were recording as the Flies, though they issued only a couple of singles for the label. Arguably, their version of "(I'm Not Your) Stepping Stone" is overrated, and not particularly psychedelic, What's more, it wasn't too typical of their output, which on the Decca singles, at least, was filled out by unmemorable pop and pop-psych numbers with prominent vocal harmonies, in the manner of many other fair but unremarkable British groups recording non-hit discs at the time.The Flies did manage to put out one more single on RCA in 1968, another middling piece of pop-psych titled "The Magic Train." Some unissued demos from the time show the band moving toward a more organ-based, ethereal sound, but the group disbanded at the end of that year. Members surfaced in the subsequent obscure British psychedelic/progressive groups Infinity, Please, Bulldog Breed, and T2. In addition, while still in the Flies, singer Robin Hunt recorded a very British, fey pop/rock-psychedelic 1967 single for CBS under the pseudonym Alexander Bell, "Alexander Bell Believes"/"A Hymn...With Love." All six sides of the three Flies singles, as well as both sides of the Alexander Bell 45, various 1965-68 demos, and cuts from the In-Sect album, were reissued on the CD Complete Collection 1965-1968.


Although the Flies are primarily remembered for their punkish rendition of "(I'm Not) Your Steppin' Stone" -- covered from Paul Revere & the Raiders' version -- the vast majority of the U.K. quartet's other material is much more pop-oriented and less aggressive. Complete Collection: 1965-1968 (2002) features 22 tracks from the virtually unknown Brit rockers. The East London band had evolved from The Rebs to the In-Sect and issued a long-player under the latter moniker in 1965. The following year saw two more name changes (the Decadent Streak and No Flies on Us BUT...) and a few personnel adjustments before being signed by Decca Records based upon their double-sided demo disc of "(I'm Not) Your Steppin' Stone" b/w "Just Won't Do." (Incidentally, both demos are included on this collection.) The label convinced the band to shorten their name to simply the Flies and, in October 1966, re-recorded "Steppin' Stone" as well as the mid-tempo love song "Talk to Me" for the respective A and B sides of their debut single. With a great industry buzz beginning to surround the Flies, they were picked up as a live support act, doing gigs with the Who, the Moody Blues, the Move, and Traffic; they even opened for the Jimi Hendrix Experience in February 1967 at the Roundhouse in London. The follow-up 45 also included two strong cuts. The backbeat heavy rocker "House of Love" as well as the lightweight take on the pop standard "It Had to Be You" -- which made the band sound more like Sopwith Camel or the New Vaudeville Band than the acid-laced garage rockers associated with their earlier sides. The Flies eventually landed as the core lineup began to splinter by the end of 1967. John Hunt (drums/vocals) issued a solo single under the guise of Alexander Bell -- which featured a session guitarist named Jimmy Page. Their "theme" (if you will), "Alexander Bell Believes," is an odd bit of Baroque pseudo-peacenik psychedelia, with a decidedly Kinks-influenced mod sound. In addition to the previously mentioned platters, this CD also includes a few pre-Flies pieces, such as the In-Sect covers of Chuck Berry's "Reelin' & Rockin'," the Beatles' "Ticket to Ride," and a demo of the Kinks' "Tired of Waiting for You," among others.

Buy this album


Pure freakbeat mixed with small a small touch of uk psych, dig it.


Sons of Adam: Moxie Ep (Compilation, Raw Psych-Garage)

PAY ATTENTION: Michael Stuart's pre-Love band and Randy Holden pre-Blue Cheer era.


Releasing a few obscure singles in the mid-'60s, this Los Angeles psychedelic band is primarily remembered for just two things. Their guitarist, Randy Holden, went on to Blue Cheer, and they recorded an Arthur Lee composition, "Feathered Fish," which Love never released in their own version. The slim evidence that survives on record suggests they were a good band, though, striking a midpoint between garage pop and California freakouts, and employing distortion and feedback when those traits were still innovative. Their material has been very hard to come by, although an EP reissue appeared in 1980s; someone should reissue their singles on CD, or pad them out with any available unreleased tapes to make an album compilation.

The Sons of Adam' came from Nottingham and played the California on May 8th 1965.
Drummer Mick Franks says:
I went on to play with Sons and Lovers from 1966 and we were support act to Shirley Bassey when she toured England in 1971. We also worked during that period with Ronnie Corbett in Pantomime and summer season.
On 25th. March 1967 we were support band to Jimi Hendrix.
Would you believe we are still playing! We have as lead vocalist Phil Wright who sang Billy Don't Be A Hero with Paper Lace. We play songs of the Drifters, Beach Boys, Four Seasons etc.

About Randy...

After a couple of surf singles with the Fender IV that featured his inventive reverbed fretting, Holden joined the Sons of Adam, a Los Angeles band that cut three decent garage-psychedelic singles. Holden's characteristic Jeff Beck-like sustain can already be heard on these, the best known of which is "Feathered Fish," which was penned by Arthur Lee of Love (although Love never recorded it). When the Sons of Adam broke up, drummer Michael Stuart, in fact, joined Love, while Holden joined the underrated punky San Francisco psychedelic band the Other Half. His searing, suspended leads are the highlights of their sole album (they also recorded a few single-only songs).

THE SONS OF ADAM - Words by Michael Stuart-Ware, taken from his book.

The place was packed and the crowd was in the palm of their hands. At that moment I had to have been thinking, “Man, I would give anything to play drums with the Fender Four.” I mean, they were dynamite.
Randy not only looked unique, but his playing style was unique as well. He taught himself to play guitar, note by note, from records, and then he taught Jack and Mike their rhythm guitar and bass parts for each song. Extremely focused, Randy was a dynamic and powerfully talented guitarist. Blessed with blazing speed, his hands always shook just a little when he wasn’t playing, as if they couldn’t wait, such was the level of his intensity; and he hit the right note every time. He was a consummate perfectionist who hated leaving anything to chance. A groundbreaker of heavy metal, his product was fire and the guitar was his incendiary device. He was awesome every night.
Jack Ttana was our rhythm guitarist. The showman of the group. Great stage presence and personality. Conjure up a mental image of Frank Sinatra, with long hair and glasses, and you’ll have a rough visual concept of Jack. In fact, he even had a framed picture of himself in a Frank Sinatra pose on his bureau.
Mike Port was our bass player. Thin, soft features, baby face, gentle, expression, but the other guys had filled me in. As a kid, Mike was forced to fight his way through one of the toughest neighbourhoods in Baltimore everyday, to get to the store and buy his Mom a pack of camels, so he got tough. (more in his book)

Six of their rare songs, probably dubbed from the vinyl of the original singles. "Baby Show the World" is first-class psychedelic raunch; "Take My Hand" is a poppy number with nice harmonies that sounds kind of like a raw, garage-psychedelic Monkees; and "Saturday's Son," their best track, is a taut, Love-ish rocker with both harmonies and hard-driving guitars. Things get even more Love-ish, naturally, on their cover of the Arthur Lee-penned "Feathered Fish," which guitarist Randy Holden would also record with his next band, the Other Half. This seven-inch EP reissue is hard to find these days, but is definitely worth picking up if you're into rare psychedelia or garage music, as they were one of the best California bands that didn't last or succeed for one reason or another.

Buy this album (mmm, perhaps not, if you find a link, let me know)


The Wailers: Tall Cool One (1964, Superb & Classic)


Here's a reissue of the Wailers' Imperial album from the early '60s, after the original version of "Tall Cool One" on Golden Crest had charted once again. Frustrated with their deal with the New York label, the group went into the studio, recut their hit, and packaged it with a brace of loose instrumental workouts and a trio of vocals. One of those vocals is the original Northwest cut of "Louie Louie," featuring an inspired vocal by the legendary Rockin' Robin Roberts, being the version that inspired the Kingsmen and launched a million frat bands worldwide. Another chapter in the history of this very important and influential Northwest rock & roll band.