Zakary Thaks: Form the Habit (Garage-Frat Rock Compilation)

BAND INFO

One of the best garage bands of the '60s, and one of the best teenage rock groups of all time, Zakary Thaks released a half-dozen regionally distributed singles in 1966 and 1967; some were hits in their hometown of Corpus Christi, TX, but none were heard elsewhere until they achieved renown among '60s collectors. Heavily indebted (as were so many bands) to R&B-influenced British heavyweights like the Stones, the Kinks, and the Yardbirds, the group added a thick dollop of Texas raunch to their fuzzy, distorted guitars and hell-bent energy.


Lead singer Chris Gerniottis, only 15 when Zakary Thaks began making records, joined another interesting Corpus Christi garage/psychedelic group, the Liberty Bell.

From Corpus Christi, Texas, Zakary Thaks were one of the city's top acts between 1966-69. Originally known as The Marauders, they soon changed name to The Riptides, with a repertoire of mainly surf-style music. With British bands like the Kinks and Stones becoming more influential, in March 1966 they again changed names to The Zakary Thaks and signed to Carl Becker's J-Beck label. Chris Gerniottis was just 15 at the time whilst the other members were 17.

Bad Girl, their first 45 was a strong punk song with a snappy guitar introduction. It was picked up by Mercury for national distribution but was reckoned to have sold more records in South Texas where they developed a strong following. The follow-up sold quite well locally too, getting to No. 1 in Austin and San Antonio. It was liberally endowed with guitar feedback, but the flip was a more routine bluesy number thrown together in an hour at the studio. Zakary Thaks at this time opened for most of the touring bands that played Corpus Christi, including The Byrds, Jefferson Airplane, Animals, Beach Boys, Yardbirds, and The 13^th Floor Elevators.

Superb compilation. It takes its place as one of the very best single-artist '60s garage reissues, the songwriting and musicianship at a far higher level than most '60s garage bands could boast, with just as much insouciant youthful energy. From the punk of "Bad Girl" and the mind-blowing fuzz guitar of "Face to Face" to the Beatlesque pop of "Please".

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