For an outfit whose very name professed a preference for anonymity, there’s a surprising amount of information available nowadays about this bunch of rockin’ Chicano chavales; check out their Wikipedia page for the full Monty. Question Mark himself has gone to considerable lengths to conceal his identity over the years, and why not? It’s one of rock’n’roll’s best-loved clichés. However, copyright registrations in the Library of Congress show his birth name as Rudy Martinez.

This, the first of their two albums, followed the runaway success of the single “96 Tears” as the title indicates, but it’s not the usual mid-sixties cash-in collection with a couple of hits padded out by inferior versions of “I’ve Got My Mojo Working” and “Summertime”. Of the twelve tracks, only one is a cover – “Stormy Monday”, the band’s inevitable contemporary bow to the blues – and the rest are originals, the writing mostly credited to all the band members. Simple stuff, mostly, with a limited palette of keys and chords, but at least they made the effort.

Of course they’re the quintessential R’n’B garage band, with the leanest, meanest sound around; they make Booker T and the MGs sound like the Electric Light Orchestra. The British Invasion influences are crystal-clear: the bass/guitar/organ interplay on the sparse twelve-bar “Up Side” shows a clear link from Eric Burdon’s original Animals, while the choppy rhythm of “You’re Telling Me Lies” is a direct steal from Doug Sahm’s own Invasion- derived “She’s About A Mover”. The more vehement of ?’s vocals, as on “96 Tears”, are a dead ringer for Van Morrison in his Them days. There’s also a closer-than-accidental resemblance to the Rolling Stones’ earliest American recordings that goes deeper than ?’s occasional Jagger impersonations. Play any of the Stones’ tracks recorded on their 1964 visit to Chess and released on the 5 x 5 EP (UK) or the 12 x 5 album (US) and you’ll see what I mean: that wiry, reverbed sound on the Stones’ “Confessin’ The Blues” as against the Mysterians’ take on “Stormy Monday”, or on the steady-rollin’ “Empty Heart” as against “Ten O’Clock”. The major differences are the forefronted Vox Continental on most of the Mysterians’ waxings and the undeniable fact that Bobby Balderama was no Brian Jones when it came to creative guitar playing.

So, derivative certainly. But, hey, if you really need originality, go play “Pet Sounds” or “Odessey & Oracle”. This is one to put on when your head’s woolly from the perplexing complexity of prog-rock and all you need is a fix of something raw and primal. For twice the strength, get the 2005 compilation Cameo Parkway – The Best Of which has the whole of this album and the follow-up Action – more of the same, though a bit denser sonically – carefully remixed from the originals, plus both sides of their valedictory non-album single. (Avoid other compilations, most of which contain re-recordings.)

mp3: I Need Somebody
mp3: Up Side

Original Vinyl | 1966 | Cameo | search ebay ]

The Buckinghams first disc is unlike anything they would ever record again. Sure, the title track was a bubblegum smash but the rest of the LP is given over to garage, blue-eyed soul, blues, and British Invasion influenced pop. It’s all good too, sung beautifully and played very tightly. You’ll be surprised when you put this gem on the turntable, if only for the two masterful garage punkers from the group’s USA tenure, “Don’t Want To Cry” and “I’ve Been Wrong.” These two tracks alone make Kind of a Drag worth a purchase.

“Sweets For My Sweet” is also given a nice garage pop reading with it’s raw guitar work and smooth organ sounds. Reissues include a powerful version of “I’m A Man”, a track that was featured on early USA pressings of this LP. Other standouts: the garage pop of “Makin’ Up & Breakin’ Up,” a superb blue-eyed soul song titled “Love Ain’t Enough” and “Beginners’ Love,” great Beatles inspired rock n roll. Even the album’s one instrumental, “Virginia Wolf,” is skillfully performed, in fact the whole album is very engaging, lacking any weak spots or noticeable mistakes. There’s lots of energy, thought and professionalism put into this music – these guys must have been one hell of a club band back in the day.

Kind of a Drag sold pretty well, so vinyl copies are very easy to find. Also recommended is the Sundazed CD reissue that was put out some years back. The youthful energy in the playing and the Buckingham’s willingness to tackle different musical genres is what makes this disc so exciting – a must if you’re into garage pop. The Yardbirds, the Kinks, and the Who were strong influences on the early Buckinghams as they had yet to fall into the bubblegum hit-making trap that was soon to come.

mp3: Don’t Want To Cry
mp3: Love Ain’t Enough

Original Vinyl | 1967 | USA | search ebay ]
CD Reissue | Sundazed | buy at sundazed ]

Three teenage sisters from New Hampshire, Dot, Betty, and Helen Wiggin, were pushed by their father to form a band and in 1969 they recorded the ultimate outsider album, Philosophy of the World. Both Frank Zappa and Kurt Cobain have cited it as a fave.

Immediately it sounds unlistenable, but soon it’s hard to stop – like rubbernecking at a car wreck. The Shaggs’ approach comes from way beyond, seemingly informed by nothing. Their music is profoundly unique, sincere, and captivating.

The “problem” with the music is the drums are plainly out of sync with the guitar and vocal.  But you can’t blame the drummer, Helen, whose oft-recycled, go-to drum fill hits the spot every time.  Dot Wiggin’s guitar and lead vocal melodies have a natural lean to complex and disorganized time signatures; I’d bet even the best free jazz drummers couldn’t keep up.  Ultimately what emerges in my mind is a picture of sibling rivalry: Dot wants Helen to follow her rambling leads, and Helen just wants her sisters to come back to the planet and adhere to some semblance of a 4/4 beat.

The songwriting is strange, but at times poignant, as in “Why Do I Feel” (listen as Betty the rhythm guitarist and Helen the drummer finally sneak in a few bars of beat-matched tempo during the intro) and “Who Are Parents?” a heartbreaking, beautiful mess of a song.  ”My Pal Foot Foot” is a bizarre piece, presumably about the family dog. “I’m So Happy When You’re Near” comes to a lyrical crescendo when they loudly proclaim “sometimes I think we are completely insane!”

Philosophy of the World is raw, abrasive, and weird, but absolutely must-hear. Especially recommended in small doses.

mp3: Who Are Parents
mp3: Why Do I Feel

CD Reissue | 1999 | RCA | buy at amzn ]
Original Vinyl | 1969 | Third World | search ebay ]

Something tells me, if I had been at San Francisco’s Avalon Ballroom in June of ‘67 to witness Moby Grape at the height of their powers, scorching through their set of two-minute pop blasts, blaring triple-guitar action and five-part harmonies soaring, I might not have survived the night. None was the match of the mighty Grape in those days; the band was “flying musically” and easily the toughest act around. Moby Grape Live is the first official release to afford a glimpse into the raucous and entrancing stage performances of one of the most exciting, original, and underappreciated bands of the ’60s.

Separated into four sides, this double LP takes us to performances from the same weeks their infamously overhyped masterpiece Moby Grape was released, to their few high-octane minutes at the legendary Monterey International Pop Festival, jumping forward to a 1969 performance in Amsterdam featuring cuts from Wow and ‘69, and ending back at the start: a full side of  ”Dark Magic,” recorded New Years Eve, 1966. This one’s worth the purchase for Side 1 alone. The rabid energy of the band, issuing rapid-fire gems like “Rounder” and “Looper,”  hits a high point in “Changes” into “Indifference” featuring Jerry Miller’s careening lead guitar. Skip Spence turns in a beautifully honest vocal to cap the blistering set with “Someday.” The highlight for me, however, are the post-Skip tracks from 1969 on Side 3. “Murder in my Heart for the Judge” shows the band at their loosest, the slack and soul of the rootsier Grape a refreshing contrast. “I am Not Willing,” one of their best songs, gets a grooving drawn out treatment and it’s interesting to hear a matured group attack earlier hits “Fall on You” and “Omaha.” The closing 17-minute raga, “Dark Magic,” is more than a piece of rock music history, an actually listenable and fascinating performance, it features inspiring guitar leads, primitive electronic squeals, Skip’s far out vocal, and the driving force of sound that made Moby Grape one of the hottest band of the era.

Sundazed has curated an important document here. Hardcore Grape addicts should note much of this material has been featured on bootlegs over the years (notably the tracks from Monterey Pop and “Dark Magic”) but none of this has ever been officially released, and never with such pristine sound quality. David Fricke’s notes are the icing on the cake. After the essential debut record, this is the Moby Grape record I would recommend next.

mp3: Omaha (1967, Monterey Pop)
mp3: Murder in My Heart for the Judge (1969, Amsterdam)

180 Gram Vinyl | 2-LP | 2010 | Sundazed | buy at sundazed ]
CD | 2010 | Sundazed | buy at sundazed ]

With the notable exception of the Zakary Thaks (both groups shared a similar sound and influence), the Liberty Bell were probably Corpus Christi’s top rock n roll group. They were talented musicians who wrote fine, original material and played with a conviction and skill that most lack.  While the Liberty Bell never recorded an album, they released 5 excellent singles on the J-Beck and Back Beat labels.  Back in the mid 90’s, Collectables issued a good compilation collecting all their singles and a couple of outtakes, titled Reality Is The Only Answer.  The sound quality and liner notes are iffy but the music is fine if underappreciated garage/psych.  Also, if you look hard enough, Reality Is The Only Answer can still be found for under $10.

The group started out life in Corpus Christi, Texas as the Zulus.  Upon manager/record label owner Carl Becker’s suggestion, they changed their name to the Liberty Bell.   Their first single (J-Beck) was released in 1967 – a rocking cover of the Yardbirds’ “The Nazz Are Blue.”  The flip side was a fine, fuzzy take on ”Big Boss Man.”  This single met with some local success prompting Becker to release their second 45, “For What You Lack/That’s How It Will Be.”  Both sides of this 45, also released in 1967, are pounding slabs of prime garage punk that should have put the Liberty Bell on the map.  All the ingredients were there too, attitude, lots of fuzz guitar and an overpowering energy but no success.  Another track cut at the same session, “I Can See,” is a brash garage number that’s worth a spin as well.  Amazingly, these 3 songs were cut on one of the first eight-track machines available in the U.S.  Their third J-Beck single was a solid blues number (“Al’s Blues”) with strong guitar work.  This track was backed by another good garage pop number that probably should have been the A-side, titled “Something For Me.”

In 1968 the Liberty Bell added ex-Zakary Thaks lead singer Chris Gerniottis to the fold.  That spring they went into the studio to record some tracks that would never be released.  “Reality Is The Only Answer,” written by Chris, is perhaps the group’s finest moment.  A scintillating acid punker, this cut features ferocious Keith Moon-like drumming and creative psych guitar effects – it’s explosive.  That summer the group forged on, releasing “Thoughts and Visions” and “Look For Tomorrow.”  These cuts were solid psych numbers with diverse influences ranging from the Small Faces to the Jefferson Airplane.  The Liberty Bell closed the year out with “Naw, Naw, Naw” and the superb fuzz laden psych B-side “Recognition.”

Truly due for rediscovery.

“Reality Is The Only Answer”

CD Reissue | Collectables | at amazon ]

Morgen was a hard rock/psych band that hailed from Long Island, NY.  They were fronted by guitarist/vocalist/wild man Steve Morgen but also included drummer Bob Maiman and guitarists Barry Stock and Rennie Genossa.  In 1969, record label Probe (ABC) released the group’s sole offering.

The album’s best known track is the classic “Welcome To The Void.”  40+ years later this cut’s over the top acid guitar work and pounding drums still shred the best of speakers.  Certainly a unique mixture of acid garage and hard rock, “Welcome To The Void” is essential listening.  There are other great cuts to be found on Morgen, like the stealth rocker “Purple” and the freaky fuzz corker ”Of Dreams.”  “Eternity In Between,” probably influenced by the Who, is another excellent track that begins with ringing guitars and crashing drums.  This 5 minute song is nearly ruined by a two and a half minute drum solo.

Steve Morgen’s sexually charged lyrics and over the top vocals will irritate some listeners but that’s really a minor complaint as most of Morgen is full of great fuzz guitar solos and solid songs.  No beads or flowers for these guys, Morgen is straight up brooding hard rock psych.  A mini gem of a record that will reward patient listeners.

Over the years Morgen has been reissued by grey area bootleggers Eva and Radioactive.  Originals may set you back a few hundred dollars.

“Welcome To The Void”

Original Vinyl |1969 | Probe | search ebay ]

This Youngstown, Ohio band hit pay dirt in 1967 with their version of the Isley Brothers’ classic “Nobody But Me.”  The group featured Mel Pachuta (bass guitar), Ting Markulin (rhythm guitar), Mike Tatman (drummer) and Richard Belley (lead guitar).  Prior to Evolutions the group had released a split LP with the Mammals and a legit 1967 debut followup titled Nobody But Me.

Most of the Evolutions material was penned by producer Lex De DeAzevedo.  While the album is a bit self-indulgent in spots, overall it’s a very classy garage psych platter; a wreckless landmark for the genre.  Only the mellotron speckled pop number ”Mrs Applebee” sounds dated today.  The fuzz guitar instro “April 15th” and country-rocker ”Two Of A Kind” are over the top psychedelic madness but in the best possible way.  The last few minutes of “Two Of A Kind” are devoted to the group destroying a piano in-house.  The rest of the lp is given over to short compact folk-rock numbers, psychedelic pop, and menacing garage punkers.

Evolutions opens with “The Face,” an excellent psych pop track with production values (strings, horns, harpsichord and lots of fuzz) that are a good deal more sophisticated than the typical Human Beinz outing.  This cut sets the tone for the lp nicely and features a smooth mixture of acoustic and electric guitar textures.  The mellow numbers, “Close Your Eyes” and “Cement,” are solid folk-rock cuts that hint at a softer, introspective side.  “My Animal,”"I’ve Got To Keep On Pushing,” and “Every Time Woman,” are worthy gems that give lead guitarist Richard Belley ample breathing room to stretch out and produce some wicked fuzztone solos.  “Every Time Woman” along with Nobody But Me’s “Flower Grave”, may be the group’s finest moment on vinyl.  This cut features blasts of lacerating fuzz guitar and neurotic punk vocals.  Behind Belley’s fab fuzz work are the Beinz locked-in rhythm section, who whip up a storm here.  Out of control and unhinged, this performance is one of the all-time garage punk classics – mandatory listening.  Evolutions is a long way from the Human Beinz frat rock, soul influenced origins.  Listening to sounds from within and taking a quick glance at the album’s fine cover art should tell you these guys were no longer fooling around.   It’s a great album by an underrated band.

Evolutions has been reissued on cd several times (Ascension and Collectables Records are the best versions) and is relatively easy to score on vinyl.

“Every Time Woman”

CD Reissue | 2006 | Collectables | 2fer w/ Nobody But Me | at amazon ]
Original Vinyl |  1968 | Capitol | search ebay ]

Minnesotan, Michael Yonkers recorded his Microminiature Love album in 1968, using an idiosyncratic approach to capture an assembly of original songs. The results are heavy! He and his group (The Michael Yonkers Band, featuring bassist Tom Wallfred & drummer/brother Jim Yunker) unleashed a new and original sound for these recordings – driven by raw alternate guitar tunings, heavy drums, mucho tape delay, unique vocal stylings & homemade electronics. The production is only part of the picture, however – the songs display original craftsmanship and are fueled by dynamic energies, pushing and pulling to high degrees. This album is built to reveal a true (& slightly dark) world inside; each new moment can draw you in deeper & it never really relents. Remarkably, the entire album was recorded in only one hour at Dove Studios in Minneapolis. Even more remarkable, perhaps, the record was not released for nearly 35 years.

Why this record went unreleased for so long is something of a mystery. Sire Records initially expressed interest in releasing it, but (according to MY, as revealed in Iker Spozio’s interview from the excellent MORNING #2 magazine) they wanted Yonkers to move to New York City and re-record the material with studio musicians, something Yonkers wasn’t ready to do. Local label Candyfloss Productions (who had recently released the excellent Trip Thru Hell LP by another MN act, C. A. Quintet) also reportedly expressed interest. Further complicating matters, Michael was still in college at the time & legally unable to sign his own record contract.

Thanks to Clint Simonson & Di Stijl records, the LP was finally released in 2002 as it was intended – seven tracks on vinyl. Sub Pop followed up with a CD release in 2003 that included 6 bonus tracks – all of which sound as if they were recorded at the same 1968 studio sessions (though they were home recorded the following year). Sub Pop did an excellent job selecting & mastering these extra tracks to fit the feel of MML.

A powerful record & one-of-a-kind.

“My House”

CD Reissue | 2003 |Sub Pop | at amazon ]
Vinyl Reissue | 2002 |De Stijl | search ebay ]

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1.  Help Me by The Kensington Market - 1969 (Aardvark – Pacemaker)

2.  I’ll Be The One by Madd, Inc. – 1966 (45 from The Ikon Records Story - Frantic Records)

3.  Shake by The Shadows Of Night – 1968 (45 from The Shadows Of Night- Rev-Ola)

4.  Little Boy Blue by Tonto & The Renegades – 1966 (45 from Scream Loud!!! The Fenton Story)

5.  Rich Man’s Fable by H.M.S. Bounty – 1968 (Things – Sundazed)

6.   Pretty Things – Oh by The Blue Things – 1965 (45 from Blow Your Mind)

7.  So Easy She Goes By by David Blue – 1966 (David Blue- Collectors Choice)

8.  On Tour by The Chancellors – 1966 (45 from Back From The Grave Vol. 8)

9.  Back Home by Cuby & The Blizzards – 1966 (45 from Singles A’s & B’s)

10.  You Do Things by The 49th Parallel – 1966 (45 from The 49th Parallel Complete – Pacemaker)

11.  I Want Your Love by The Pretty Things – 1965 (Get The Picture – Snapper)

12.  Eagle’s Son by The Electric Banana – 1967 (Electric Banana Blows Your Mind)

13.  Mazy by The Peep Show – 1968 (45 from Mazy: The Secret World of The Peep Show – Castle)

14.  Professor Black by The Lost & Found - 1968 (45 from Everybody’s Here - Charly)

15.  Frustration by Painted Ship – 1967 (45 from Acid Dreams Testament – Past & Present)

16.  Do Re Me by Mock Duck – 1968 (45 from Test Record – Gear Fab Records)

17.  Mr. Greene by The Palace Guards – 1968 (45 from Complete Recordings – Gear Fab Records)

18.  Farewell Aldebaran by Henske & Yester – 1969 (Farewell Aldebaran)

Their only album has finally been reissued by Way Back Records on vinyl and cd. The Nomadds was originally released by Radex in 1965. They enjoyed quite a local following in Freeport and were Northwestern Illinois’ most popular teenbeat group bar none. The group’s lineup is: Lee Garner (lead guitar), Tony Cannova (drums), Greg Johnson (rhythm guitar, vocals), Denny Kuhl (bass), and Dean Kuehl “Stick” (vocals, harmonica – the big guy who stands center on the album’s cover).

The Nomadds is closer in spirit to early British Invasion records like Meet The Beatles or Gerry and the Pacemakers from their giddy 1963/1964 prime. For this reason interest may be limited: there are no fuzz guitars, walls of feedback, psychedelic freakouts, or shouting punk vocals; this album was recorded in 1964! That being said, the song arrangements are articulate and take interesting detours that most teenbeat/garage groups couldn’t handle. The Nomadds cut their teeth playing the bars and teen clubs of Illinois which would explain the accomplished nature of their performances.

You’re buying the album for the five great originals but some of the covers are pretty solid too. Standout covers to these ears are a rocking version of “Roll Over Beethoven,” a rollicking “W.P.L.J.,” Jimmy Reed’s “Shame Shame Shame,” and the ultimate teenage heartbreak of “Tragedy.” Excellent originals like “There Is No More” and “You Can Fall In Love” mix minor chords, folk-like guitars and rocking rhythms while other good tracks hit more of a tender, love song vibe. My favorite tune is “Don’t Cheat On Me”, a great performance with an interesting guitar intro and a marvelous vocal arrangement – this is teenbeat at it’s finest, really.

So while this LP may not be a definitive classic, it’s still very good and recommended to those who appreciate the British Invasion or very early American garage/teenbeat sounds.

“Don’t Cheat On Me”

CD Reissue | 2009 | Way Back | at amzn ]
Vinyl Reissue | 2009 | Way Back | at amzn ]
Original Vinyl | 1965 | Radex | at ebay ]