The Standells: Dirty Water (1966)

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.


Les Baroques: S.t. (Dutch Garage 1966)

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.


The Wailers: The Boys from Tacoma-Anthology (1961-1969)

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.



The Wailers: The Fabulous Wailers at the Castle (1962)

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.


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.



The Trashmen: Live Bird '65-'67 (Amazing Live Stuff !)

Album Review
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 !


The Trashmen: The Great Lost Trashmen Album! (recorded 64-66)

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.


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!




The Standells: In Person at PJ`s (live 1964)

The Standells made number 11 in 1966 with "Dirty Water," an archetypal garage rock hit with its Stonesish riff, lecherous vocal, and combination of raunchy guitar and organ. While they never again reached the Top Forty, they cut a number of strong, similar tunes in the 1966-67 era that have belated been recognized as '60s punk classics. "Garage rock" may not have been a really accurate term for them in the first place, as the production on their best material was full and polished, with some imaginative touches of period psychedelia and pop. The Los Angeles band were actually hardly typical of the young suburban outfits across America who took their raw garage sound onto obscure singles recorded in small studios. They'd been playing L.A. clubs since the early '60s, with a repertoire that mostly consisted of covers of pre-Beatle rock hits. Drummer (and eventual lead singer) Dick Dodd had been a Mouseketeer on television, organist Larry Tamblyn was the brother of noted film actor Russ Tamblyn, and Tony Valentino was a recent immigrant from Italy. Gary Leeds (later to join the Walker Brothers) was an early member (though he was replaced by Dodd). The Standells' pre-"Dirty Water" history is a little vague and confusing; they recorded some ordinary albums and singles for Liberty, MGM, and Vee Jay, appeared in the movie Get Yourself a College Girl, and did a lot of television work (most notably a well-remembered guest appearance on The Munsters, where they did a woeful version of "I Want to Hold Your Hand"). There were flashes of gritty inspiration on early cuts like "Big Boss Man" and "Someday You'll Cry," but the group didn't really hit their stride until teaming up with producer Ed Cobb, formerly of the clean-cut vocal group the Four Preps. It was Cobb who wrote "Dirty Water," which marked quite a change of direction from their previous clean-cut image. In fact, the group didn't even like the song, which took about six months to break into a hit. Their image now considerably toughened, the group churned out four albums in 1966 and 1967, as well as appearing in (and contributing the theme song to) the psychedelic exploitation movie Riot on Sunset Strip. Cobb, in addition to writing "Dirty Water," also penned their other most enduring singles, including "Sometimes Good Guys Don't Wear White," "Why Pick on Me," and 'Try It" (the last of which was widely banned for its suggestive delivery). The group did write some decent material of their own, such as the tense "Riot on Sunset Strip," and the psychedelic "All Fall Down," which bears an interesting similarity to some of Pink Floyd's early work. Their albums were quite inconsistent — in fact, one of them, consisting of covers of big mid-'60s hits, was altogether dispensable — which makes it advisable for all but the truly committed to look for greatest hits compilations that selectively weed out the best stuff.The Standells never had a stable lineup; bass players were constantly leaving (John Fleck, aka John Fleckenstein, who was briefly in an early version of Love, held the spot for a while), and Dick Dodd went solo in 1968, the year they released their last single. Tower, as was the case with most of its artists, didn't apply intelligent long-range planning to the band's career, issuing too many albums at once. The group didn't help their own cause by issuing an awful vaudeville-rock single, "Don't Tell Me What to Do," under the transparent pseudonym of the Sllednats. They didn't record after 1968, though the group dragged on in one form or another until the early '70s (Lowell George was even a member briefly).

"In person at P.J.'s (1965) - Their debut album, and a rather mediocre affair. Mostly throwaway collage-rock cover version inc. Bony Moronie and Louie Louie. Not bad songs actually, but miles away from what they'd do later."(60s rockguide)


The Mystery Trend: So Glad I Found You (1966-1967)

The Mystery Trend's place in music history exists in a strange twilight. I suppose that they're best known for having a place on the Nuggets box set (with their lone single "Johnny Was A Good Boy") and for naming their band off of misinterpreted lyrics out of Dylan's "Like a Rolling Stone" (they should more accurately be The Mystery Tramps). Otherwise, they are now basically a footnote to the San Francisco scene, but still they were there at the start of the scene, playing along with the early Jefferson Airplane and Grateful Dead. The band unfortunately never really found an opportunity to put out any more than a Verve Records single, and this compilation consists of their entire recorded output, the vast majority of which was unreleased until the 1990's. As this is basically everything, it's a little spotty. But the high points are truly spectaular, however, and I feel like if The Mystery Trend had found the opportunity to put together a proper album, it may have been a true classic.The Mystery Trend does share some similarities with their San Francisco bretheren. The vocal sound is extremely strong and layered, often resembling the Jefferson Airplane at their best. The winding guitar leads also recalls many of the bands from that era. There's a freak-folky sound right in line with the Dead and the Airplane's debut albums. If you're open to the San Francisco scene, there is definitely something here to grab your attention.The true charm, however, rests in the little differences. The Mystery Trend was a bit older than the rest of the crowd and skipped over some West Coast psychedelic pitfalls. First off, jamming was completely ignored by The Mystery Trend. They were truly fascinated by the art of the pop song, and their strong writing (usually in the hands of keyboardist.vocalist Ron Nagle and guitarist/vocalist Bob Cuff) often recalls that of Burt Bacharach or the Brill Building. Only one track here passes the three minute mark, and that one only makes it to four.Standing out even more is The Mystery Trend's atypical sound. Psychedelia in general relies on quite a bit of reverb and echo to create a strange vibe. The guitars here are very dry and brittle sounding. Still, they manage to cut right through the powerful rhythm section to make a strong impression. This sound is mixed with Ron Nagle's also bone-dry clavinet. The band may be playing the same notes as their more-poular peers, but the sound ends up being very different. If nothing else, this makes their recordings worth a listen or two. For a fun comparison pair their cover of the Who's "Substitute" along with the original.The songs, while often strong, remain a mixed bag. This is understandable as this disc is the band's complete recordings and they were never trying to produce an entire album. Both sides of their only single, which included "Johnny Was A Good Boy" and "House On The Hill," are standouts. Even better still are the should-have-been single "Carl Street" (presented in two versions), the lyrically biting "Mercy Killing," and the Bacharach influenced "There It Happened Again." These high points make up for some of the lesser tracks like the dull instrumental "Mambo For Marion," and the annoying "Carrots On A String" (which also shows up twice for some reason). The otherwise average "Shame, Shame, Shame" is notable for including what must be one of the earliest uses of a wah pedal on guitar.If you can track this one down, So Glad I Found You is a worthwhile and important release that clears up some of the smoke surrounding this formerly enigmatic band from the initial burst of San Francisco psychedelia.


TEEN BEAT: 30 Instrumental Rocking`Instrumentals Volume 5

The fifth and final installment of Ace's series of early rock instrumental compilations is one of the best Teen Beat volumes, in large part because about half of these are acknowledged classic hits. Booker T. & the MG's' "Green Onions," Sandy Nelson's "Let There Be Drums," the Pyramids' "Penetration," Link Wray's "Raw-Hide," the Routers' "Let's Go (Pony)," Jack Nitzsche's "The Lonely Surfer," Bill Doggett's "Honky Tonk," the Mar-Keys' "Last Night," Paul Revere & the Raiders' "Like Long Hair": they're all dynamite tunes, and even if they might not be that hard to find on other reissues, it's good to have them all in one place. The 30-track disc is filled out by lesser hits that haven't made it into oldies radio formats, although all but a couple at least entered the charts. Some of them, frankly, are highly derivative and forgettable, even if they actually did quite well. What, then, are the relative rarities here to keep an eye on? There's "Week End" by the Kingsmen, not the "Louie Louie" folks but an entire different outfit comprised of Bill Haley's Comets playing under a different name. New Orleans pianist legend James Booker almost made the Top Forty in 1960 with the highly atypical (for him) "Gonzo," with its organ and flute. Ray Bryant Combo's big band-cum-rock "The Madison Time (Part 1)" was used in the soundtrack of John Waters' Hairspray. Phil Spector did the rare , non-charting Duane Eddy-like tune "Bumbershoot" in 1959, under the pseudonym Phil Harvey. There's even a leap back to the pre-rock era with Arthur Smith's "Guitar Boogie," a 1948 hit that pointed the way to the hillbilly-boogie fusion that would lay a major foundation for rock'n'roll, and was redone as a fully rock'n'roll hit in 1959 by the Virtues (as "Guitar Boogie Shuffle").

TEEN BEAT: 30 Instrumental Rocking`Instrumentals Volume 3 & 4

Devoted wholly to rock instrumentals of the late '50s and early '60s, this 30-track disc is a good investment for collectors looking for hits in the genre that didn't crack the Top 20 (and hence don't get played on oldies radio today), or missed the charts entirely. A couple smashes ("Wipe Out," "Pipeline") slip through, but otherwise there's a variety of forgotten hot wordless platters here, like the Astronauts' "Baja" (some of the best instrumental surf to originate outside out of California), the New Orleans-cum-Philly R&B of saxophonist Lee Allen, the creepy organ of the Wailers' "Mau Mau," the minimalist rockabilly of the Rock-a-Teens' "Woo-Hoo," the Ramrods' wacky adaptation of "Ghost Riders in the Sky," and the hard guitar of Duane Eddy associate Al Casey. When all's said and done, though, these aren't as good as the most famous vintage instrumental hits — stick with the more prominent compilations unless you're deeply into the sound.


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.

TEEN BEAT: 30 Instrumental Rocking`Instrumentals Volume 1 & 2

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.


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.



Paul Revere & The Raiders: Like Long Hair (1961)

Gardena Records issued Paul Revere & the Raiders' debut album in the wake of the Top 40 success of the instrumental "Like, Long Hair," and much of it is in the same vein as the single, which is a boogie-woogie arrangement of Rachmaninoff's "Prelude in C-Sharp Minor." Pianist and bandleader Paul Revere and saxophonist (and occasional vocalist) Mark Lindsay lead the instrumental attack, as they boogie up such numbers as Gershwin's "Summertime" and also provide the group's covers of bar band R&B standards like "Road Runner." It's lively, if basic music, but offers little hint that the group would go on to make polished pop/rock in a few years.



The Ventures: Twist with the Ventures (1961)

Bio from allmusic:
Not the first but definitely the most popular rock instrumental combo, the Ventures scored several hit singles during the 1960s — most notably "Walk-Don't Run" and "Hawaii Five-O" — but made their name in the growing album market, covering hits of the day and organizing thematically linked LPs. Almost 40 Ventures' albums charted, and 17 hit the Top 40. And though the group's popularity in America virtually disappeared by the 1970s, their enormous contribution to pop culture was far from over; the Ventures soon became one of the most popular world-wide groups, with dozens of albums recorded especially for the Japanese and European markets. They toured continually throughout the 1970s and '80s — influencing Japanese pop music of the time more than they had American music during the '60s.The Ventures' origins lie in a Tacoma, Washington group called the Impacts. Around 1959, construction workers and hobby guitarists Bob Bogle and Don Wilson formed the group, gigging around Washington state and Idaho with various rhythm sections as backup. They recorded a demo tape, but after it was rejected by the Liberty Records subsidiary Dolton, the duo founded their own label, Blue Horizon. They released one vocal single ("Cookies and Coke"), then recruited bassist Nokie Edwards and drummer Skip Moore and decided to instead become an instrumental group.The Ventures went into the studio in 1959 with an idea for a new single they had first heard on Chet Atkins' Hi Fi in Focus LP. Released on Blue Horizon in 1960, the single "Walk-Don't Run" became a big local hit after being aired as a news lead-in on a Seattle radio station (thanks to a friend with connections). In an ironic twist, Dolton Records came calling and licensed the single for national distribution; by summer 1960, it had risen to number two in the charts, behind only "It's Now or Never" by Elvis Presley. After Howie Johnson replaced Moore on drums, the Ventures began recording their debut album, unsurprisingly titled after their hit single.Two singles, "Perfidia" and "Ram-Bunk-Shush," hit the Top 40 during 1960-61, but the Ventures soon began capitalizing on what became a trademark: releasing LPs which featured songs very loosely arranged around a theme implied in the title. The group's fourth LP, The Colorful Ventures, included "Yellow Jacket," "Red Top," "Orange Fire" and no less than three tracks featuring the word "blue" in the title. The Ventures put their indelible stamp on each style of '60s music they covered, and they covered many — twist, country, pop, spy music, psychedelic, swamp, garage, TV themes. (In the '70s, the band moved on to funk, disco, reggae, soft rock and Latin music.) The Ventures' lineup changed slightly during 1962. Howie Johnson left the band, to be replaced by session man Mel Taylor; also, Nokie Edwards took over lead guitar with Bob Bogle switching to bass.One of the few LPs not arranged around a theme became their best-selling; 1963's The Ventures Play Telstar, The Lonely Bull featured a cover of the number one instrumental hit by the British studio band the Tornadoes and produced by Joe Meek. Though their cover of "Telstar" didn't even chart, the album hit the Top Ten and became the group's first of three gold records. A re-write of their signature song — entitled "Walk-Don't Run '64" — reached number eight that year. By the mid-'60s however, the Ventures appeared to be losing their touch. Considering the volatility of popular music during the time, it was quite forgivable that the group would lose their heads-up knowledge of current trends in the music industry to forecast which songs should be covered. The television theme "Hawaii Five-O" hit number four in 1969, but the Ventures slipped off the American charts for good in 1972. Instead, the band began looking abroad for attention and — in Japan especially — they found it with gusto. After leaving Dolton/Liberty and founding their own Tridex Records label, the Ventures began recording albums specifically for the Japanese market. The group eventually sold over 40 million records in that country alone, becoming one of the biggest American influences on Japanese pop music ever.Nokie Edwards left the Ventures in 1968 to pursue his interest in horse racing for a time, and was replaced by Gerry McGee; though he returned by 1972, Mel Taylor left the group that year for a solo career, to be replaced by Joe Barile. (Taylor returned also, in 1979.) By the early '80s, the Ventures' core quartet of Wilson, Bogle, Edwards and Taylor could boast of playing together for over 20 years. Though Edwards left the band for good in 1984 (replaced again by Gerry McGee) and Mel Taylor died mid-way through a Japanese tour in 1996 (replaced by his son Leon), the Ventures continued to pack venues around the world.


The Koala - Koala (psych-garage 1969)

Album Review:
The Koala prove themselves to be above average players, full of passion and conviction on their lone album. "Look at the Way She Comes" is typical of the band's best material: a Who/Stones hybrid with bile-inducing vocals, wild psych guitar, and a tight, nearly deranged performance — plus it's a great tune. At first, "Strange Feelings" seems to be teen-punk angst all the way, but features an unexpected yet seamless raga detour (and the only time they would noticeably embrace Indian music). "Poppa Duke Tyler" borrows both the melody and subject manner of "Eleanor Rigby," but instead of going the somber route the Beatles took, Koala uses the universal theme of loneliness to produce a stomping, unhinged rocker — complete with fuzz-tastic guitar solo from Louis Cane — where the protagonist is actually driven to the brink of madness by the isolation. Like many garage vocalists from the mid- to late '60s, singer Jose Mala's super-snotty, Jagger-like snarl foreshadows punk, but Mala has so much New York attitude and an obvious dedication that he should stand with his peers as one of the most affective vocalists of the era. In fact, it's the whole group's commitment to the material that makes it stand out from other lost garage-psych acts from the time. Their energy and enthusiasm is so infectious, with arrangements that are subtle, yet manic and appealing, it makes up for the handful of unremarkable numbers here. Drummer Joe Alexander and bassist Anthony Wesley are a competent rhythm section that manages to hold it all together even while flailing about; Cane's hyper lead guitar work is spot-on throughout; and the songs of Mala and rhythm guitarist Joey Guido are fine to fantastic tales of lost souls, wrecked relationships, and fading childhood. Truly one of misplaced gems of '60s garage pysch-punk.(allmusic)
New York-based band that released just one album, which was ignored at the time, but decades later became highly sought-after by collectors of obscure garage pysch. The unit was discovered by the Blues Magoos' producers/managers, Bob Wyld and Art Polhemus, who would secure the act a contract with Capital Records. The label decided to market the group as Australian, a marketing gimmick that seemed to have worked for another New York group, the Strangeloves (who hit the Top 40 in 1965 with "I Want Candy"). They released their first and only single, "Don't You Know What I Mean?" b/w "Scattered Children's Toys," in 1968. Though it didn't receive any chart action, the band did proceed with recording their debut LP. Produced by Wyld and Polhemus, their self-titled record was issued the following year. The Koala mixes the Who's frantic rhythms and Stones-style garage rock with riotous psych leads and venomous, proto-punk vocals. An impressive introduction, but the unit decided to call it a day soon after their album was made available and the record disappeared without much notice. It was rediscovered in the 1990s, with original LPs selling for high prices to fans of long-lost, high-energy garage psych-punk. It was eventually reissued on CD by the Fallout label in 2006. (all from todo musica !)


Los Gatos Salvajes: Compilado (Argentina Beat 1965)

Here`s a great compilation about this argentinian band... wild beat...great balads, nice touches of a wild dose of garage, simple lyrics... a big influence to all the rest of the southamerican bands of that era. Firs of all the band was knowned as the "Wild Cats", then they`ve changed the name to "Los Gatos Salvajes", the played between 1964 and 1967 before they became "Los Gatos".
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.



The Yardbirds: The First Recordings (1963)

Formed originally as the Metropolitan Blues Quartet in 1962–63 in the London suburbs, and having emanated out of the atmosphere of Bohemianism fostered by the Kingston Art School, the Yardbirds first achieved notice on the burgeoning British blues scene (or "rhythm and blues", as the British music press alluded to it) when they took over as the house band at the Crawdaddy Club in Richmond— succeeding the Rolling Stones in September 1963, and flying in the face of London's 'serious music' 'trad jazz' club scene circuit in which the new 'R&B' groups got many of their first professional bookings.
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.)




The Yardbirds: Live Blueswailing 64 (early garage recordings)

Most of the Yardbirds' original LP's are hard to find and weren't so great anyway, and the market is flooded with deceptive, cheaply packaged compilations, all of which I strongly urge you avoid (even the Rhino Records greatest hits). Most of these discs have been thrown together from the band's brief early 1964 demo tape, their live recordings from December, 1963 (Crawdaddy Club) and March, 1964 (Marquee Club), and the 1964 - 1965 single and EP material that mostly ended up on their first two American LP's. Some of these discs also feature forgettable blues workouts by Clapton and Beck that date from their immediate post-Yardbirds periods (1965 - 1966); be very wary if you see two or more of the Holy Trinity prominently advertised on any particular compilation.(records reviews)



The Wailers: The Original Golden Crest Masters (one of the first Garage Bands)

Down the intervening years the Wailers have been appallingly treated by the bootleggers. The real sound of genuine Golden Crest masters is magic, but you would never know that by listening to the distorted, shrill junk that they have provided. Now, thanks to Ace's legendary care, we can all enjoy the true magnificence of the Wailers' sound as it was meant to be heard. Not only have Ace succeeded in locating the original master tapes, but there are also a further four never-before-issued tracks to enjoy! This high-class release deservedly puts the name of the Wailers back in the hands of its true originators. (fame presentation info)



Jokers Wild: Featuring David Gilmour (1965 Pre Floyd)

Jokers Wild never made an official record, but are remembered as a band that included David Gilmour before the guitarist joined Pink Floyd. From the scant evidence that does survive, it seems rather incredible that Gilmour could have made the transition. Jokers Wild did not entertain lofty artistic ambitions, but played covers of pop-rock material, often emphasizing harmonies in the style of the Four Seasons and the Beach Boys

Paul Revere & The Raiders: The Essential Ride (63-67)

No other rock & roll band has experienced the rollercoaster ups and downs in reputation that Paul Revere & the Raiders have known across 40 years in music. One of the most popular and entertaining groups of the 1960s, they enjoyed 10 years of serious chart action, and during their three biggest years (1966-69) got as much radio play as any group of that decade, sold records in numbers second only to the Beatles and the Rolling Stones, and received nearly as much coverage in the music press of the period (which included a lot of teen fan magazines) as the Beatles or the Rolling Stones. Yet when most histories of rock started getting written, Paul Revere & the Raiders were scarcely mentioned — at best, they were usually a footnote to the boom years of the late '60s.


The Kinks: The Kinks (1º,with bonus,1964)

Although the best of the Kinks' early work is among the best British Invasion music, their initial pair of albums was far less consistent than those of the Beatles, Stones, and Who. Aside from the great "You Really Got Me," this was a shabby, disappointing set with surprisingly thin production. As R&B cover artists, the Kinks weren't nearly as adept as the Stones and Yardbirds; Ray Davies' original tunes were, "You Really Got Me" aside, perfunctory Merseybeat-ish pastiches; and a couple of tunes that producer Shel Talmy penned for the group, "Bald Headed Woman" and "I've Been Driving on Bald Mountain," were simply abominable. The rave-up treatments of the R&B standards "Got Love If You Want It" and "Cadillac" were good, and the simple "Stop Your Sobbing" would eventually be covered by the Pretenders, but overall this is real patchy. The CD reissue, however, is a great improvement, adding a wealth of bonus tracks from early singles and their first EP, some excellent. The ferocious "All Day and All of the Night" was a classic hit whose razor riffing outdid even "You Really Got Me," and the B-sides "It's Alright" and "I Gotta Move" are tremendous frenetic lost gems. There are also a couple of previously unissued cuts: an alternative take of "Too Much Monkey Business" and an early, Beatle-ish original, "I Don't Need You Any More."(allmusic)




The Trashmen: Surfin`Bird (Great Early Garage)

The only album released by the group during their lifetime actually outstrips most of the Southern California-based competition, due to the ferocious grit of the playing and a vaguely demented, go-for-broke recklessness. A good mix of instrumentals and vocals, though nothing else is on the level of the title cut; the CD reissue adds demos of "Surfin' Bird" and "Bird Dance Beat, " and a couple rare singles.(allmusic)


Link Wray: 64`Demos (Garage Roots-Raices)

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)


The Kingsmen: Collection of ... 60´s (french edition, great artwork)


30 songs of pure excitment ! superb compilation, just amazing ! ! !

30 canciones de pura exitación ! este disco no puede faltar en niguna colección ! RECOMENDADO


The Kingsmen - Louie Louie

The Kingsmen
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 ! ! !


Comienzo - Start

Le doy comienzo a este blog... estare trayendo discos de mi otro blog (mza-acid.blogspot.com)
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 ...