More Hot Rod sounds on Surfadelic. This time you got to deal with this pretty rare all instro 60's Lp by RUBY SHORT ?!? [not the guy on cover pic :-)] and his crew. It features sax driven, organ swirlin', rubber burnin', R&B instros with lotsa roarin' hot rod sounds. Thanks to a WFMU blog and Evil Pain Clown who ripped it off from his own vinyl slab, it's now available for you to... Dig!
↧
![]()
Downey Records has a place in surf music history for releasing the Chantays' hit "Pipeline" alone, though that single didn't become a smash until it and the group were sold to Dot Records. This compilation has 26 instrumental sides recorded by Downey from about 1961-1965, much of which was issued on obscure singles on Downey and affiliated labels of the time, though some of it was unissued until many years later (and three cuts make their first appearance anywhere on this CD). Even surf/early-'60s instrumental music lovers will likely approach this compilation without unrealistic expectations of hearing classics along the lines of "Pipeline" or the Pyramids'"Penetration," or for that matter the Rumblers' small 1963 hit "Boss," which was recorded for Downey. Instead it's a disc for genre specialists, the attitude and energy that fired Californian instrumental surf and hot rod music also present, but a good share of the tunes themselves being rather basic and dull. There are nonetheless a good number of tracks that make things more interesting by adding the haunting, occasionally Latin-Eastern-tinged riffs that distinguished much of the better music in the style, like the Blazers' rather Dick Dale-ish "Bangalore." The Surftones'"Cecilia Ann" couldn't fail to remind many listeners of the kind of spooky ambience the Chantays created in "Pipeline"; Sir Frog & the Toads'"Mustang" wins points not only for the engagingly silly band name, but also the mighty speedy guitar picking; and the Chevells' moody "Let There Be Surf," deservedly anthologized on some of the best surf compilations, was a significant regional hit, selling 50,000 copies (though, oddly, it was the only single the group released). the Rumblers' previously unissued "Oblique" is about as avant-garde as this kind of music gets, a jazzy sax bumping incongruously against a scraping horror-movie like riff as bongos obliviously patter away. [AMG]26 surfin' and rockin' instrumentals recorded at the Downey Studios or for Downey Records in the early 1960's - the studio that gave us classics like The Chantays'"Pipeline" and The Rumblers'"Boss". Most were originally released on small independent labels, or on the Downey imprint itself. There are also some previously unreleased tracks and alternate takes. Many tunes were already compiled onSurf Legends and Rumors comp. but who cares. Dig!!!
↧
↧
![]()
Over the course of three compact discs, The Chess Box contains most of the highlights from Chuck Berry's career, including all of the hit singles. In addition to the familiar items, which are all included here, there are numerous tracks that are lesser-known but equally as good. That's particularly true on the stellar first two discs, where album tracks, B-sides, and forgotten singles like "Downbound Train,""Drifting Heart,""Havana Moon,""Betty Jean,""Bye Bye Johnny,""Down the Road a Piece," and "The Thirteen Question Method" get equal space with "Maybellene,""Thirty Days,""No Money Down,""Roll Over Beethoven,""Too Much Monkey Business,""Brown Eyed Handsome Man,""School Day,""Rock & Roll Music,""Sweet Little Sixteen,""Johnny B. Goode," and "Carol." Some serious fans, however, also found disc one, and especially the earlier songs on that disc, to be very controversial; part of the intrinsic nature of Berry's music was the sheer noisiness of the songs -- tracks like "Maybellene,""Thirty Days,""You Can't Catch Me," and "Brown Eyed Handsome Man" insinuated themselves into listeners' consciousness over the radio and on the jukebox with their sheer raucous, in-your-face sound frequently near overload. But at the time The Chess Box was done, the philosophy about CD mastering was to clean up the noise in original recordings whenever it was too pronounced, lest the "hot" digital sound make the track too harsh. Thus, the first 15 or so tracks on the first disc of The Chess Box may sound too "clean," lacking some of the raw edge from their vinyl editions. On the plus side, the detail revealed -- every note, and even the action on the guitar on the opening of "Roll Over Beethoven" -- is always interesting, and occasionally fascinating, and it is difficult to complain too loudly about hearing Johnnie Johnson's or Lafayette Leake's piano, or Willie Dixon's upright bass in such sharp relief. Additionally, for many years this set had the only undistorted CD version of "Come On" -- a relatively minor Berry song, but one that provided the Rolling Stones with their debut release -- that you could find, but potential purchasers should also be aware of the compromise in the sound. That caveat aside, the programming manages to get in most of the best album cuts, including tracks like Berry's hot cover of "House of Blue Lights" and the "Memphis Tennessee""sequel""Little Marie," though not quite enough material from 1964-1965. And toward the end of the set, the quality of the material begins to sag a bit, but there are still forgotten gems like "Tulane" that prove Berry's songwriting hadn't completely dried up. The now out of print Great Twenty-Eight collection remains the definitive single CD hits collection, and the audio quality on MCA's two-CD Anthology, released a dozen years later, is superior, but The Chess Box offers a flawed but near essential overview of his work for any serious fan, either of Chuck Berry or rock & roll. [Bruce Eder]
Viva Viva Rock 'n' Roll !!!
CHECK THIS OUT!Clash of R'n'R GiantsChuck Berry at 1.00 started:"..Leave the amp as i set it! That's my amp and I'm setting it the way i wish it!...That's the way Chuck Berry plays it, you understand?!"
From the documentary "Hail! Hail! Rock n Roll!" by Taylor Hackford
↧
As one of the busiest and most versatile session guitarists of the '60s, Jerry Cole recorded with a litany of legends, including Phil Spector, the Beach Boys and the Byrds. But to those in the know, he's renowned for his own incredible surf and hot rod instrumentals, which he delivered on a series of vintage albums with his band the Spacemen. Cole's modernistic recordings, however, sound completely different from other surf-and-drag releases of the period, with expansive arrangements that often featured elements of jazz and exotica, the better to showcase the guitarist's inventive, assertive playing.
One of Cole's best-loved LPs is this '64 release, which includes contributions from many of the same L.A.-based musicians who played alongside Cole in the now-legendary session ensemble known as the Wrecking Crew. Cole's powerful guitar work powers such turbo-charged numbers as "Night Rumble,""Border Run," Stinger" and "Hot Rod Queen," which live up to the album's title and then some!
Border Run
Night Drag
↧
A killer batch of Spaghetti Western soundtrack grooves – one that features some of the coolest and most representative sounds of the genre – by the Italian composers who both invented and perfected the style! The compilers have done a great job putting together material that has all the definitive elements, but totally transcend cliches or self-parody. It's also nice a balance of instrumental pieces and some groovy theme songs with vocals. Pure greatness! Volume 1 includes "Banditos" by Alessandro Alessandroni, "The Price Of Gold" by Angelo Lavagnino, "Memories" by Luis Bacalov, "Blindman's Arrival" by Selvio Cipriani, "Vengeance" by Carlo Savina, "Killer Calibro 32" by Robby Poitevin, "Dead Men Red (Suite 8)" by Bruno Nicolai, "Stranger" by Francesco Di Masi, "Il Bandito Messicano" by Benedetto Ghiglia and more. Hey Gringo... Draw!
↧
↧
January 10, 2014, 9:25 pm
![]()
Chuck Berry spent much of 1962 and all of 1963 in jail after being convicted on a Mann Act charge. When he emerged in January of 1964, the popular music landscape had been forever changed by the British Invasion. Fortunately artists like the Beatles and the Rolling Stones worshipped the founding father of rock 'n' roll. [The stones included "Carol" on their 1964 debut, and the Beatles included a cover of "Roll Over Beethoven" the same year on their second U.S. album.] Berry used this momentum to go into the studio to cut one of the strongest albums of his career. In addition to the hits "No Particular Place to Go" (No. 10), "You Never Can Tell" (No. 14), and "Little Marie" (a sequel to "Memphis" that went to No. 54), it also includes the standard "Promised Land." To some extent, this is Berry's final hurrah. A year after the album's release, he turns forty, and the elder statesman of rock seems to have lost much of his drive. He has one final hit (the double entendre novelty song "My Ding-A Ling" goes No. 1 in 1972), but by then Berry seems content to spend the remainder of his career on the oldies circuit. But ST. LOUIS TO LIVERPOOL is classic Berry, and it's made even better with the addition of three bonus tracks: "Fraulein,""The Little Girl From Central" and "O'Rangutang." If you need proof that Berry was still a vital artist after the British Invasion, this album proves it beyond a doubt. VERY HIGHLY RECOMMENDED [Steve Vrana] ![]()
This may be rock 's first great comeback album. Released in 1964 in the ecstasy of the early British Invasion , St. Louis To Liverpool captures the middle -aged Chuck Berry doing what he did best : pounding out song after song of relentless rock ' n' roll brilliance without much regard for anything else . Chuck had the repute Just been released from prison When He recorded this music Seems To add to the urgency , the sense of release That You can feel on every One Of These tracks . His guitar playing is unbelievably athletic , an exhilerating string of notes That ties together blues, country, and R & B to form That beautiful package called rock ' n' roll (okay , That was cheesy . But you get the point) . The disc Also benefits from a crisp , clear production That lets you hear every nuance of Berry's gorgeous playing and singing , as well as the delicious contours of Johnnie Johnson's barroom floor. The songs are some of the best in the Entire Chuck Berry catalog: Opener " Little Marie " brilliantly sets the peace , With its churning guitars , a strutting rhythm section , and a nearly hypnotic vocal . Also that song was one of the album 's three hit singles . The other two are just as good : " No Particular Place To Go" recycles the stop-start melody of earlier Berry's " School Days , " throwing in some hilarious lyrics for good measure . " You Never Can Tell " ( Which Was used quite mrmorably in Pulp Fiction) Chuck Proves That was one of rock ' n' roll 's greatest storytellers , and includes some smokin ' guitars and pianos For Those of you who do not speak Inglese ( how would you even be reading this review ?) . The album tracks are marvelous as well- " Our Little Rendezvous" is an endearingly greasy rocker with a hillbilly backbeat and lyrics That blackberries grow progressivly bizarre as the song goes on . " The Promised Land " is every bit as joyous and exuberant as " Johnny B. Goode, " and " You Two" is a delicious , swingin 'number with an incredible guitar solo . Covers of "Things I Used To Do" and "Merry Christmas Baby" show how Chuck was adept at playing the blues -he attacks the songs with some stinging guitar acrobatics and soulful vocals . " Liverpool Drive" is a high-speed instrumental pounder with a great burger - joint atmosphere. The album 's other instrumental, "Night Beat, " is a slow- burning blues rocker That Really burns . " Brenda Lee, " With its sumptuous guitar fills and thundering drums , is icing on the cake. [Laszlo Matyas]
"Ridin' along in my automobile
My baby beside me at the wheel
I stole a kiss at the turn of a mile
My curiosity runnin' wild
Cruisin' and playin' the radio
With No Particular Place To Go."
One of his best + bonus cuts. Dig!!!
↧
January 11, 2014, 4:18 pm
A second round in the Ecstasy Of Gold series of groovy Spaghetti Western soundtrack treasures – a full chamber of scorchers by the best of the best Italian soundtrack composers of the 60s & 70s – including Bruno Nicolai, Luis Bacalov, Nico Fidenco, Piero Umiliani and others! A killer mix of tonally perfect, action-packed western film score groovers – and like Vol 1, it has both groovy theme songs with vocals and some great, moody instrumentals passages. 22 tracks on 2LPs: "Roy Colt" by Piero Umiliani, "7 Gunmen" by Francesco De Masi, "Sexy Western" by Alessandro Alessandroni, "Il Mio Nome" by Bruno Nicolai, "Two Ringos from Texas" by Carlo Savina,", "I Giorni Dell'Ira" by Riz Ortolani, "La Morte Non Conta I Dollari (Sequence 6)" by Nora Orlandi & Robby Poitevin, "Guai In Vista!" by Luis Bacalov and many more.
↧
January 12, 2014, 7:43 pm
![]()
Chuck Berry's last album for Chess, for the next four years, has him back in the U.S., and running smack into the mid-'60s blues revival, playing with the likes of Paul Butterfield and Mike Bloomfield (who were beginning a brief but productive association with Muddy Waters around this time). The material varies from first-rate songs ("It Wasn't Me,""My Mustang Ford,""Ain't That Just Like a Woman") that sound utterly contemporary, to fascinating experiments ("One for My Baby") and filler like "Everyday We Rock and Roll" and "Merrily We Rock and Roll." He still rocks out, and sounds like he's having a great time playing blues with Bloomfield and Butterfield ("Sad Day-Long Night" etc.), sounding like an old Chicago bluesman, which, ironically, was the direction he chose to go in during his subsequent four-year stint with Mercury Records. He still does some straight rock & roll -- "It's My Own Business" is a great teen rebellion number -- and occasionally indulges his taste for music from the islands ("Run Joe"), in what was essentially an era-closing album, and his last attempt at making a contemporary album with his established sound. Berry's next step was four years of neglect, followed by his rediscovery as an "oldies" act. [AMG]
![]()
![]()
↧
January 13, 2014, 1:07 pm
![]()
A third sureshot selection of prime Spaghetti Western soundtrack gems on the Semi Automatic label – mostly galloping, groovy instrumentals and dusty title themes, but with some vocal bits, too – in a jam-packed 2LP set! This is the fullest volume yet – with 25 tracks from the maestros Bacalov, Orlandi, Travajoli, Fidenco, Nicolai, Umiliani, De Masi, Cipriani and more – with focus on short, action-packed little packages, but with some moodier movements, too. It's a smartly selected and sequenced set – one that finds all these great Euro Western soundtrack bits that standup nicely outside of their own full length scores, and all sound great together. Includes COOL STUFF as "Gold Of The Proud Ones" by Luis Bacalov, "Johnny Yuma" by Nora Orlandi, Armando Travajoli & Angelo Lavagnino "America Paese De Dio #2", Angelo Lavagnino - Left Handed Gunfighter, Robby Poiteven "Little Rita Of The West #11", 16 Armando Travajoli "I Lunghi Giorni Della Vendetta", "Return Of Django" by Piero Umiliani, "Arizona Colt" by Francesco De Masi, Nico Fedenco "The Texican (Instrumental)" and more!
![]()
![http://www45.zippyshare.com/v/56578367/file.html]()
↧
↧
January 14, 2014, 9:37 am
![]()
The two classic cuts that bookend this album should be enough to attract the uninitiated -- Berry at his best wrote danceable little "vest-pocket" screenplays dealing with teen life, of which "Bye Bye Johnny" and "Let It Rock" were two of his best; but because they've been so heavily anthologized, those two cuts don't have the pulling power here that they would have had 40-some years back. So get this record for everything else that's on it -- Rockin' at the Hops not only has no filler, but it's chock full of records that show off a bluesy side of Berry's output that was never fully appreciated at the time. His version of Big Maceo's "Worried Life Blues" shows how good a bluesman Berry might've been had he been more the Muddy Waters-type player and singer that Chess had been looking for; "Down the Road a Piece," a song written by Don Raye (of "Boogie Woogie Bugle Boy" fame), is a lost Berry single that could've rated right up there with "Roll Over Beethoven," except that its roadhouse ambience and story line were more mature than a lot of kids might've embraced in 1959; and Walter Brown's "Confessin' the Blues" and "Driftin' Blues" fit into the same category, Berry the adult bluesman rather than the teen-oriented teaser. "Childhood Sweetheart" is a sequel to "Wee Wee Hours," Berry's very first blues side, lifting a fragment or two from Elmore James'"Dust My Broom" for its guitar break. "Too Pooped to Pop" and "Betty Jean," by contrast, are a pair of enjoyably upbeat rock & roll numbers, each featuring uncharacteristic elements, a sax solo on the former, and a male chorus on the latter; in between them is "Mad Lad," an instrumental that presents Berry drifting into what would later be defined as a surf guitar mode. [Bruce Eder]
BTW, Mick Jagger was carrying this LP and The Best of Muddy Waters when he ran into Keith Richard in a railway station in 1961. So ya know, this is pretty much A MUST! Oh Yeah Betty Jean! It's a ROCKIN' At SURFADELIC, Let It Rock!!!
↧
January 15, 2014, 1:57 am
![]()
The Namelosers were among the rowdier mid-Swedish '60s bands, heavily influenced by the British Invasion sounds of the Rolling Stones, Who, and Beatles. Unfortunately, their recorded repertoire consisted mostly of cover versions, many of them rather well-worn ones at that, such as "What'd I Say,""Around and Around,""Money," and "Hoochie Coochie Man." They came to the attention of British and American collectors, however, in the mid-'80s, when their two best tracks, "Land of a 1000 Dances" and "Do-Ao," appeared on the fine compilation Searchin' for Shakes: Swedish Beat 1965-1968. Both of those songs were enlivened by fuzzy guitar and an attitude similar to those of the finest mid-'60s British mod bands. Unfortunately, the rest of their records were routine if energetic slogs through basic R&B-rock songs, hindered by accented vocals. All of their recordings, as well as some unreleased ones, were packaged together on the album. [Richie Unterberger]Complete collection of 7-inch, flexi and unreleased tracks from Sweden's leading proponents of wild beat, recorded 1964-1966. Sure, they shared a setlist of R&B material with a thousand other moptops, but with the addition of a home-built fuzzbox, some jackhammer drumming and the emphatic hand of producer URBAN LASSON, raw snarl was unleashed. Fav tunes: But I'm So Blue, FUZZED-OUT KILLERS Land Of 1000 Dances, Suzie Q, Do-Ao, That's Allrigh. Gid!
↧
January 16, 2014, 7:06 am
![]()
Jerry McCain is an inexplicably obscure Alabama-born harmonica player who was most active in the 1950s. His first recordings were on Trumpet Records for Lillian McMurray (who also discovered Elmore James) in 1953; they were decent but unremarkable blues sides. In 1955, however, he put together a band with his brother and went uptempo, recording eleven raucous rock and roll demos in his living room, all original compositions. On the strength of these recordings he got a contract with Excello and issued several tracks, all great rockers but not up to the level of the insane, crude demos. He’s been active on-and-off since then; his biggest hit was a 1970 cover of Guy Drake’s right-wing anthem “Welfare Cadillac”. He retired from his day job — private investigator — in the 1980s and later opened a nightclub, where he still performs occasionally. [dinosaurgardens.com]
These demo recordings for Excello are wild and raucous, featuring overamplified guitars, crashing drums, and bizarre lyrics. What a rock & roll album by Little Walter might have sounded like. [Cub Koda]
11 Raw, Outta-Control, garagey 50's R&B rockers recorded in a living room plus lotsa bonus stuff. It's a Geronimo Rock & Roll, Dig!
!!! WYLD R&B !!!
↧
January 17, 2014, 2:35 am
![]()
If you had to sweat all of Chuck Berry's early albums on Chess (and some, but not all, of his subsequent greatest-hits packages), this would be the one to own. The song lineup is exemplary, cobbling together classics like "Maybellene,""Carol,""Sweet Little Rock & Roller,""Little Queenie,""Roll Over Beethoven,""Around and Around,""Johnny B. Goode," and "Almost Grown." With the addition of the Latin-flavored "Hey Pedro," the steel guitar workout "Blues for Hawaiians,""Anthony Boy," and "Jo Jo Gunne," this serves as almost a mini-greatest-hits package in and of itself. While this may be merely a collection of singles and album ballast (as were most rock & roll LPs of the 1950s and early '60s), it ends up being the most perfectly realized of Chuck Berry's career. [Cub Coda] "There she is again standin' over by the record machine
Lookin' like a model on the cover of a magazine
She's too cute to be a minute over seventeen..."
This really is one of the purest examples of rock `n' roll ever made, from its gorgeous cover to its unassailable songs. This is swinging, greasy, rollicking, dance-all-night juke joint bliss, a sizzling slab of musical mayhem that'll be rocking across the ages until the end of time. It's the blueprint for everything from the Rolling Stones to Black Sabbath to the Clash to the White Stripes, and just about anybody else that picked up a guitar after 1957. [ACR]
"Mean while I was thinkin'
She's in the mood, no need to break it
I got the chance, I oughta take it
If she will dance, we can make it
C'mon Queenie let's shake it"
HEY PEDRO, Dig!!!
"You know, my temperature's risin'
The jukebox's blowin' a fuse.
My heart's beatin' rhythm
And my soul keeps a-singin' the blues.
Roll Over Beethoven and tell Tschaikowsky the news."
↧
↧
January 17, 2014, 5:12 pm
Originally issued in 1962, Jump Around is a reissue of the hard hitting King Records instrumental compilation Night Train from 1961 featuring six tracks from James Brown and company including "Hold It,""The Scratch,""Night Train,""Night Flying,""Suds" and "Cross Firing" to go along with material from other acts from the label including The Wobblers ("The Wobble"), Herb Hardesty ("Just A Little Bit Of Everything"), Henry Moore ("Doin' Everything,""Switch-A-Roo"), Hank Marr ("Tonk Game") and Clifford Scott ("Bushy Tail").
Sax wailin', greasy R&B instros for you to Jump Around, Dig!
↧
January 18, 2014, 4:08 pm
This was originally released by Chess in 1966 to capitalize on the then-current folk music boom. The music, however -- a collection of Howlin' Wolf singles from 1956 to 1966 -- is full-blown electric, featuring a nice sampling of Wolf originals with a smattering of Willie Dixon tunes. Some of the man's best middle period work is aboard here; "Killing Floor,""Louise," the hair-raisingly somber "Natchez Burning," and Wolf's version of the old standard "Sitting on Top of the World," which would become his set closer in later years. [Cub Koda]
Few folks are as aptly named and few albums are as aptly titled as this one. Wolf was a powerhouse of a singer, a blues belter who positively growled his words. Backed by a Chicago blues band of unrestrained force, the result is some of the strongest and long lasting recordings in the history of electric blues. Guitarist Hubert Sumlin deserves much of the credit. His piercing wails punctuate tracks such as "Killing Floor,""Three Hundred Pounds of Joy," and "Sittin' On Top of the World"--yet Wolf is always center stage. These tracks were cut between 1958 and 1966, and include both Wolf's sterling originals as well as a trio of Willie Dixon numbers tailor-made for the big man. [Rob O'Connor]
"Some folk built like this
Some folk built like that
But the way I'm built
Don't you call me fat
Because I'm built for comfort
I ain't built for speed
But I got everything
All good girls need"
↧
January 19, 2014, 5:03 am
Pretty interesting and somehow overlooked electric Chicago blues Lp recorded by Muddy Waters Blues Band [mostly] without the boss himself. Well, owing to his contractual obligations, Muddy Waters couldn’t sing, but he did not deprive himself of supplying the backing guitars, and laying down a few solos. The other musicians are Otis Spann on piano, Luther Johnson guitar & vocals, Sammy Langhorn on guitar, Mojo Buford on harmonica and Francis Clay on drums. It's a Blues Sunday on Surfadelic. Diggin' My Potatoes, Dig!
↧
January 20, 2014, 4:56 am
↧
↧
January 20, 2014, 4:06 pm
The Kaisers was a Scottish garage beat revival band formed in 1992 in Edinburgh, Scotland. The band recorded several albums and singles under a number of record labels, including No-Hit Records, Bedrock Records, Wild Wild Records and Get Hip Records. This here is real cool unofficial collection of their Ep's and 7"s with covers of R'n'R/Beat standards. Do the Shimmy Shake, Dig!
↧
January 21, 2014, 4:11 pm
![]()
Although Don & the Goodtimes continued to record until 1968 or so, this 25-song anthology focuses exclusively on what most fans would agree was their prime era, 1964-1966. The group might be remembered fondly, particularly in their native Northwest, but on the basis of what's here they were really an average, unmemorable band. For much of these early recordings, they played the generic grinding, heavily R&B-influenced frat rock that was very typical of Northwest bands in the early to mid-'60s, such as the Kingsmen, the Wailers, the Sonics, and Paul Revere & the Raiders. It's played with commendable energy but little originality, and it doesn't help that a good number of the songs are much-covered tunes that showed up in the repertoire of many groups from the time, especially in the Northwest: "Louie, Louie" (a five-minute version), "High Heel Sneakers,""Money," and "Little Latin Lupe Lu.""Little Sally Tease," a regional Northwest hit penned by future Raider Jim "Harpo" Valley, is about the best of those tracks in that style, adding a little more contemporary garage raunch to the elementary riff-based approach. About half-a-dozen of the later tracks (most of them originals from Ron "Buzz" Overman) show them moving into a more California pop/rock-aligned sound. ![]() |
| '66 Debut Lp |
These display a greater range and certainly a Paul Revere & the Raiders influence in two of the better tracks ("You Were Just a Child" and "You Did It Before"), yet remain rather anonymously competent.
The good-time "I Could Be So Good to You," their sole (and moderate) national hit, closes out the collection, which is well-annotated but could have used some notes in the track listings detailing the original release dates of each song. Don And The Goodtimes ruled the Northwest roost with their raunchy R&B! This 25 track compilation showcases their most savage howlers, including 'You Were Just A Child,''Little Sally Tease' and soon-to-be Raiders' guitarist Jim 'Harpo' Valley's punk declaration, 'I'm Real'. [Richie Unterberger]
Over 1-hour set of Great Northwest 60's garage ramalama featuring Don Gallucci on keys, who latter on produced The Stooges screaming masterpiece "Fun House". Includes NW 60's hit instro "Turn On Song". Dig!
↧
January 22, 2014, 3:51 pm
Besides Sandy Nelson's "Teen Beat," can you name another instrumental rock & roll hit from the '50s that features the drums as its lead instrument? The answer is Preston Epps'"Bongo Rock," which put Epps' frantic bongo-slapping in the Top 15 in 1959. The follow-up single, "Bongo Bongo Bongo," was a minor hit that set Epps' bongo artistry to a lazy boogie beat. Many of the tracks exude a mellow exotica vibe with flutes and, in one case, jungle sound effects, placing the emphasis on the "bongo" rather than the "rock." [AMG]
Dance To The Bongo Rock!
↧
.jpg)
