Archive for the ‘ Garage ’ Category

The Pretty Things “Get the Picture?”

| Garage,Psych

In London’s early 60s it seemed all the kids wanted to play American R&B and Chicago blues. Kids all throughout England exchanged guitar licks with one another in the front room of their parent’s flat – trying to emulate the sounds of Jimmy Reed, Slim Harpo or Elmore James. There was a group of young Londoners in particular who did just this, jamming after art school at the childhood home of budding guitarist Dick Taylor. When these boys, who coined themselves Little Boy Blue & The Blue Boys, started to get serious about their music and parted ways to form other groups, half of the camp went on to form a little band called The Rolling Stones while the other half formed The Pretty Things.

The Pretty Things had a hard-driving, raw, and energetic soul that poured out in their loose and urgently chaotic music. While The Stones skyrocketed into the stratosphere of success, The Pretty Things didn’t prove to be as lucky. Though they quickly gained immense notoriety around London by playing their guitar amps louder, their arrests and social punch-ups coupled with outrageous behavior (drummer Viv Prince was The Pretties’ Keith Moon…nuf’ said).  Though they never achieved the commercial success of their shaggy haired brethren, they did manage to influence many younger garage bands including The Shadows of Knight and The Primitives. The Pretties’ unique sound was propelled by Viv’s primeval drumming and Dick Taylor’s jagged & piercing guitar runs. Not to mention the main ingredient of The Pretty Things sound – Phil May, the man behind the painfully soul-filled vocal that exalted these tunes beyond the reach of mere mortals.

“Get The Picture” is The Pretty Things at their best, with two sides of amazing material. “You Don’t Believe Me” starts the record with a jangled pop-soul fever featuring Jimmy Page on supportive guitar and percussion duties. “Buzz The Jerk” comes next which has, quite possibly, one of the coolest intro riffs to come out of England. The title track “Get the Picture” has that head bobbing swagger that is truly infectious. They do a stellar job on Slim Harpo’s “Raining in My Heart,” with its tremolo soaked guitar work and May’s sorrowful vocals. The album closer, “Gonna Find Me a Substitute” oozes with cool. The fuzz bass drives and pushes this track while Dick Taylor lays down great guitar riffs throughout the song backing May’s perfect vocal performance. The Pretty Things may not have received the recognition and success they deserved, but they did and still continue to burn up turntables across the world. I guess some things are best kept secret.

“Get The Picture”

:D CD Reissue | 2000 | Snapper | buy here ]
:) Original Vinyl | 1965 | Fontana | search ebay ]

The Electric Prunes “Underground”

| Garage,Psych

When the Electric Prunes are remembered at all, it’s for their seductive nightmare of a 1967 single, “I Had Too Much to Dream (Last Night).”  Culled from their first album, “I Had Too Much to Dream” set a template for the best of the band’s work: distorted guitars and vocals, bizarre lyrics and a spooky vibe.

By the time of their second album, the Prunes were tired of being considered a prefab band.  Fed songs from some of L.A.’s best psych-garage writers, controlled in the studio by producer/Machiavelli Dave Hassinger and often replaced on record by studio musicians, the band broke out of the prefab mold and wrote many of the songs on Underground.

The result was a more cohesive album than their first album, even if the many of the album’s best songs were contributed by other songwriters. Goffin-King’s “I Happen to Love You” is one of the disc’s strongest tunes, and the duo of Annette Tucker and Nancie Mantz of “I Had Too Much to Dream” fame, contributed “Antique Doll,” another standout track.

But the songs contributed by band members are not throwaways by any means.  “The Great Banana Hoax” by members Jim Lowe and Mark Tulin has as much in common with the Monkees as the Standells, but is nevertheless memorable (and not banana flavored in the least), as are the pair’s other contributions, especially the brooding “Everybody Knows You’re Not in Love” and “Wind-Up Toys.”

Alas, Underground would be the last album for the real Electric Prunes; subsequent albums of pseudo-religious music (sung in Latin at times) used studio musicians playing under the moniker “the Electric Prunes,” while the actual Electric Prunes faded from view. Dirty shame.

“Wind Up Toys”

:) Vinyl Reissue | 2009 | Hi Horse | buy here ]
:D CD Reissue | 2000 | Collector’s Choice | buy here ]
8-) Spotify link | listen ]

The Honeycombs “All Systems Go!”

| Garage,Pop

Before the dust settled on their million-selling debut single “Have I the Right?” produced by Joe Meek, the Honeycombs released their self-titled debut LP on Pye records in September of 1964.

Dismissed by some as a novelty act for having a female drummer (bandleader Honey Lantree), they cut consistently good material at Meek’s Holloway Road home studio throughout 1965 and released their finest effort All Systems – Go! on Pye in December of that year.

Mostly a mix of freakbeat and the bubblegum-pop of their singles, All Systems- Go! also features some great experimenting from a band trying to maintain their success. It’s these genre hopping tracks that make this a solid record, but also account for some of the lesser numbers.

There are a few throwaways, like the light R&B fare of “Ooee Train” (which starts strong but dies at the verse) and “Don’t Love Her No More” (which has a great guitar sound but a terrible chorus). The version of “I Can’t Stop” featured here is not as catchy as the single, but the Honey-sung “There’s Something I’ve Got To Tell You Baby” has been improved from the Glenda Collins version. This time it’s slowed down and more sincere, replacing the strings with a mellow organ and classical guitar musings. “Our Day Will Come” expands on the exotica vibe of “Totem Pole” and displays Honey Lantree’s strong prowess as a drummer. The rhythm section is especially tight on this album and really pops out.

“If You Should” could be mistaken for an early Brian Wilson production, and is easily among the best here. “Nobody But Me” stands out with its persistent guitar line and another solid performance from Honey, but the title track is the most single-worthy, with its anthemic full band chant of “ALL…SYSTEMS…GO!!”. Most of the songs here were written by Howard & Blaikley, with the exception of the Ray Davies penned “Emptiness”, which was never recorded by The Kinks. It’s very Kinks-like and bears a striking similarity to “Something Better Beginning” which had also been recorded by the Honeycombs earlier in the year. The disc closes with the Roy Orbison sounding “My Prayer” that works strangely well and highlights the uniqueness of Denis D’Ell’s voice.  Probably the most grandiose recording here, it shows the Honeycombs as far from their core sound as they ever got, but also comes across as the most confident.

Forty six years on and All Systems Go is still an interesting and rewarding listen. It’s full of unique sounds and rhythms and is definitely one of the best of the few LP’s Joe Meek recorded.

“All Systems Go”

:D CD Reissue | 2fer | buy here ]
:) Original LP |  1965 | Pye | search ebay ]

Spur “Spur of the Moments”

| Country Rock,Garage,Psych

Spur was an unknown Illinois band who gained some local notoriety in the late 60’s but never hit the big time (they opened for many of the era’s big bands: The Byrds, Cream, Bob Seger, Steve Miller and The Grateful Dead).  For Spur of the Moments, Drag City compiled the best tracks from their sole album (1968-), along with several outtakes and rare 45 cuts.  Tons of blogs and rock magazines/fanzines have reviewed this gem, so we figured we’d give our own spin on this exciting new reissue.

While Spur of the Moments is by no means a cohesive, album-like statement, each song is finely crafted 60’s rock n roll that’s well worth a spin.  Spur started out life as a garage band who called themselves The Unknowns.  The Unknowns would eventually change their name to Spur and touch on a variety of classic 60’s sounds: garage, folk-rock, heavy psych and country-rock.  It must’ve been a challenge to assemble and piece together this anthology.  Spur were certainly long-lived by 60’s standards (1965-1972) but they were also a group who frequently revamped their sound/style and spent very little time in the recording studio.  That being said, Drag City does a great job putting all their highlights together in one convenient place.

The LP’s first five cuts are its most brilliant ones.  We begin with “Mind Odyssey,” a classic slice of psychedelic country-rock that’s highlighted by fluid guitar work and mild studio experimentation.   With “Tribal Gathering,” Spur turns a classic Byrds track into a 14 minute Grateful Dead-like acid guitar jam.   “Time Is Now,” another great performance, is quality West Coast psychedelia with good harmonies (about mid way through), fuzz guitar and a strong Jefferson Airplane feel.  These 3 cuts also suggest that Spur may have been listening to The Byrds’ Notorious Byrd Brothers album.  “Modern Era,” a 1966 single which was originally backed by a cover of Gene Clark’s “Feel A Whole Lot Better” (not included), recalls 5D Byrds, with it’s punchy, jangley guitars and acid fried lyrics – definitely a keeper.  “Mr. Creep,” a terrific cut from Spur’s sole album, sports cool, distorted vocals, razor sharp guitars and bizarre lyrics (great, twisted garage psych).  Other fine tracks: Spur’s excellent country-rock take on The Beatles’ classic “Eight Days A Week” (banjo and steel guitar make me think of a cross between Dillard & Clark and The Flying Burrito Brothers), the suprising power pop of “Help Me I’m Falling” and the jumpy garage number “Be Tender, My Love.”

Spur of the Moments is only being offered on vinyl and MP3 formats (not cd).  This is certainly one of the better reissues of 2010.  A good one to own if you’re into Moby Grape, The Byrds or Buffalo Springfield.

“Mr. Creep”

:) Vinyl Reissue | 2010 | Drag City | here ]
;) Digital Download | here ]

The Sorrows “Take A Heart”

| Garage,RnB

The Sorrows’ roots can be traced back to Coventry (around 1963), where Don Fardon (vocals), Pip Whitcher (lead guitar), Terry Jukes (rhythm guitar), and Philip Packham (bass) played in various local beat groups.  While plying their trade in the local night clubs the group was discovered by John Schroeder, Picadilly’s label manager.  Their first Picadilly (owned by Pye) single, “I Don’t Want To Be Free/Come With Me,” was an excellent Kinks-like number, full of power chords and tough, soulful vocals.  Another quality single leaked out (“Baby”) but success seemed to elude the boys.

It wasn’t until “Take A Heart” that the Sorrows had their big top 20 smash.  Originally written by songwriter Miki Dallon and recorded by the Boy Blues, “Take A Heart” for my money, is one of the UK’s greatest rock n roll singles.  The song’s arrangement gradually builds up into an explosion of speedy guitar work, charging rhythms, and violent lead vocals (Fardon was a great vocalist).  Without question, this 45 is one of the true classics.  To capitalize on the single’s success Pye released the Take A Heart LP in December of 1965.  The LP is consistently good, featuring originals, a few more tracks written by Miki Dallon and some interesting R&B covers.  Standouts include their ferocious take on “Teenage Letter,” the trashy mod pop of “Come With Me,”  a couple of strange beat ballads (“How Love Used To Be” and “We Should Get Along Fine”), and a Dylan influenced folk-rocker titled “Don’t Sing No Sad Songs For Me.”  Another great cut is their cover of “Let Me In,” a track that rocks really hard and features impressive fretwork.  Take A Heart is right up there with the early Stones’ output, the Pretty Things first two LPs, and the Small Faces debut; it’s that good.

The Sorrows released a few more 45s from the lp but none of them made the charts.   At this point Fardon decided it was best that he leave the group to pursue a solo career.  The Sorrows would soldier on, releasing an excellent early psych 45 in 1967 (“Pink, Purple, Yellow, Red”) and then relocate to Italy.  It was around this time that the group cut an LP titled Old Songs, New Songs in 1968.  A respectable LP, Old Songs, New Songs was a mixture of group originals and covers of then popular tracks by Traffic, The Small Faces and Family.  Despite the LP’s fine guitar work, it was nowhere near as good (or original) as Take A Heart.

“Take A Heart”

;) MP3 2-Album | 2006 | Sanctuary | download ]
:)  Vinyl | search ebay ]
8-) Spotify link | listen ]

The Ikon Records Story

, , | Garage

Several years back the good folks at Frantic Records treated us to The Ikon Records Story.  This vinyl sampler of the fabled label was followed by a grand, 2 cd set (60 tracks!), which included plenty of bonus cuts, lost 45s and unreleased tracks.  Many of these tracks were recorded during the prime garage/teenbeat era (1964-1966) at Ikon Studios, which was located in Sacramento, California.

There are no fuzz (Eirik Wangberg’s excellent “Every Night I Dream A Little” is a notable expection – it’s a twisted gem of a record) or freaky garage stompers a la Back From The Grave.  Be that as it may, The Ikon Records Story is loaded with great slices of mid 60’s rock n roll, surf, instrumental numbers, folk-rock, garage punk, spy-themed novelty bits and Brit influenced pop.  It’s nearly the equal of Back From The Grave but focuses on a wider array of vintage teenbeat sounds: key cuts being Madd, Inc.’s powerful, rebel rocker “I’ll Be The One” (a near classic), the Knightsmen’s impressive, Rolling Stones-like “Daddy Was A Rolling Stone,” the Mergers’ fine British Invasion influenced pop rocker “Love, You Funny Thing,” and The Shondells’ downbeat jangler “It’s True.”

There’s really too many highlights here to list – The Ikon Records Story is a terrific collection of adolescent, fresh-faced sounds from the days when rock music was new, raw and vital.  Most of the original 45’s are so rare that it would cost thousands of dollars to piece this collection together.   If you’re into classic mid 60’s sounds you should really own this superb compilation of regional rock n roll.

Sel-Sync – The Fire Is Gone

:D CD Issue | 2006 | Crypt Records | search ebay ]

? and the Mysterians “96 Tears”

| Garage,Pop

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.)

“I Need Somebody”

:) Original Vinyl | 1966 | Cameo | search ebay ]

The Buckinghams “Kind of a Drag”

| Garage,Pop

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.

“Love Ain’t Enough”

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

The Shaggs “Philosophy of the World”

| Art,Garage,Pop,Psych

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.

“Who Are Parents”

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

Moby Grape “Live”

, , | Classic Rock,Country Rock,Garage,RnB

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.

“Murder in My Heart for the Judge” (1969, Amsterdam)

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