January 23, 2014, 3:59 pm
This is real, I mean REAL COOL collection of instros & few vocals from famous 60's Surf/Hot Rod label DEL-FI. Don't miss it. A BOB KEENE PRODUCTION, Dig!!!
1. Church Key-The Gonzos
2. Thunder Reef-The Bobby Fuller Four
3. Hayburner-The DeFenders
4. Drag Beat-The Shifters
5. Bombora-The Original Surfaris
6. Pintor-The Pharos
7. Moongoon Twist-The Moongooners
8. Wild Twist-The RLR Coasters
9. Mag Rims-The Roasters
10. Our Favorite Martian-The Bobby Fuller Four
11. Back Seat '38 Dodge-Opus 1
12. Steel Piper-The RLR Coasters
13. Road Runner-Ronnie & The Casuals
14. Wolfman-The Bobby Fuller Four
15. Surfin' Anniversary-The Shifters
16. Okie Surfer-David Gates
17. Candymatic-The Roadsters
18. Surfari-The Original Surfaris
19. Rhythm Surfer-The Pharos
20. Wipe Out-The RLR Coasters
21. Corrido Twist-The Ventures
22. Sidewalk Surfer-The Surfettes
23. Dawn Patrol-The Shifters
24. Mother, May I Go Surfin'-The Crocketts
25. Hot Toddy-Ronny
26. Gaucho-The Darts
27. High Noon Rumble-The Ventures
28. Chase-The Bobby Fuller Four
29. Surfin' Queen-Larry Bright
30. Millie The Ghoul-The Ticklers
31. Beatle Walk-The Scramblers
32. Misirlou-The Bobby Fuller Four***
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January 24, 2014, 4:17 pm
The best and most diverse set yet in the Spaghetti Western compilation series with loads of great nuggets mined from a slew of cult classics, and relatively obscure European-produced westerns of the late 60s and 1970s! Ecstasy Of Gold Vol 4 does a terrific job of pairing distinctive sounds of the genre – ominous strings, dusty percussion, crackling effects – with others that bringing groovy, funky and loungey strains of the period. It's got great material from Nico Fidenco, Piero Umiliani, Francesco De Masi, Bruno Nicolai and other legendary composers – with 25 tracks on 2LPs! "Wind In My Face" and "Clayton" by Nico Fidenco, "Tequila #5" by Lallo Gori, ""L'Ultimo Assaulto", "Arizona Colt (Vocal)" and "A Man Must Fight" by Francesco De Masi, "Blood River" by Piero Umiliani, "Johnny West" by Angelo Lavagnino, "The Great Dual" by Luis Bacalov, "Lo Chiamavano Trinita" by Franco Micalizzi and even more Killer Bullets.
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January 25, 2014, 12:38 pm
Japanese version of '65 Lp with a different track listing than the similarly titled western release. Here you got great instros like Ten Seconds To Heaven, 2000 Pound Bee, Go Go Slow, Night Stick, A Go Go Guitar and some fine covers of rock classics. A real cool sound with Fuzz guits here & there. Goin' To A-Go-Go, Dig!!!
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January 26, 2014, 2:45 pm
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Before the Premiers, Cannibal & the Headhunters, and The Blendells, there was The Romancers. The Romancers were the first East L.A. Chicano band to record an album and were the main influence of the mid-sixties East L.A. sound. The Romancers got their name from flyers and posters promoting East L.A. dances which read “Dance and Romance” this Saturday night, etc.
In 1963, The Romancers (Max Uballez, rhythm guitar; Andy Tesso, lead guitar; Chris Pasqual, bass; Armando Mora, tenor sax; and Manuel Mosqueda, drums) showed up to record for Del-Fi Records with two songs written by Max, “Slauson Shuffle” and “All Aboard.” After recording the two songs, Bob Keane asked “do you have any more?.” They hurriedly wrote seven songs, added three covers, and finished their first album in five hours total. Their sound consisted of a strong and steady rhythm section, an excellent tenor sax soloist, a solid “chunka chunka” rhythm guitar, and an innovative lead guitarist on a trebly, poppy Fender Telecaster. [Mark Guerrero]
Do the Slauson!
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January 27, 2014, 6:19 am
I know, You know, everyone should know by now... But then again, here are these 60's "Northwest Punkers" at [almost] FULL FORCE in ULTRA-MONAURAL Surfadelic vinyl rip of this 80's Etiquette Rec. compilation. It's kinda ''Best Of'' of The Sonics 64/65 stuff recorded in Seattle and Tacoma Washington, covering their first two slabs + 7" B-sides The Hustler& Keep-A-Knockin'. If you're new to this site or [if it's possible] to 60's Garage Rock, this is a good starting point to learn who's No.1 in this kinda stuff. The others have to dig anyway.It's a 50th Anniversary of Unbeatable Wyld Garage R'n'R Scream! It's a real Boss Hoss, Dig!!!
"Hey little girl,
I play a guitar.
I even drive
a brand new car.
Big man in town,
I’ve been shot down."
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January 28, 2014, 11:04 am
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Sounds Incorporated were a saxophone-led instrumental style sextet, from Dartford, Kent, England. The group formed in 1961 and had their first taste of success backing Gene Vincent for his UK tour as a replacement for The Blue Caps who had been denied British work permits. They initially released a single "Mogambo" on the Parlophone label and later produced three singles on Decca, the last of which "Keep Movin'" was produced by Joe Meek. The group had already made use of the unique sound of an electronic 'Clavioline' keyboard before this recording and it was an instrument also adopted by another Meek-produced group, The Tornados. Whilst performing in Hamburg in 1963 Sounds Incorporated gained the attention of The Beatles and were subsequently signed to NEMS by Brian Epstein. The group toured with The Beatles as the opening act, including the famous Shea Stadium concert in New York. Sounds Incorporated began releasing singles on the Columbia label, gaining moderate success in the UK charts. Their third single "William Tell" reached #2 in the Australian charts in 1964, the same year that the band released their first eponymous album and became a regular backing group for Cilla Black. Another album followed, also titled "Sounds Incorporated", on EMI's Studio 2 label in 1966.
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Sounds Incorporated had shortened their name to "Sounds Inc" by 1967 and Cameron, Holmes and West also featured as the saxophone section on the track "Good Morning Good Morning" for The Beatles' album "Sgt. Pepper's Lonely Hearts Club Band". The group then left EMI and recorded the single "How Do You Feel", featuring vocals for the first time, on the Polydor label. Sounds Incorporated began to disintegrate when Newman departed, performing at one point with the Jeff Beck Group, and with Cameron leaving to follow a career in A&R. The group moved to Australia where their popularity was stronger but, after the release of a further LP, Sounds Incorporated finally broke up in 1971.
30 + 2 trax collection of English Beat/Pop instrumental group dating from 1962-66, featuring tunes from their first two Lp's and bunch of 7"& unissued sides. The group was famous for their energetic stage act, and backed or supported nearly everyone from the Beatles downwards, including Gene Vincent and Cilla Black! There's some cheesy stuff here & there but anyway it's a PRETTY COOL comp. Dig!
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January 29, 2014, 12:03 pm
R-billy/rhythm & blues similar to Dr.Feelgood but with Trashy/Horror themes & stuff. It's a SCREAMING LORD Monster Rock! You're gonna Screem And Screem again. Dig!
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January 29, 2014, 5:45 pm
2009 collection from the under-appreciated '60s Mod outfit including all four Decca singles plus previously unreleased material. Making up the four great bands of the 1966 Pop-apocalypse were The Who, The Action, The Creation and The Attack. Four names that, in their brevity, summed up the instant flash of Mod appeal. They had more energy than an H-bomb after flash, and they hit the senses and the soul with a long awaited wake up call. About Time is a definitive collection, which includes such tunes as "Anymore Than I Do", "Feel Like Flying", "Try It"[The Standells cover], "Colour Of My Mind", "Magic In The Air"...
This is A MUST for fans of The Action, Open Mind, early Who, The Creation, Les Fleurs De Lys and stuff. It's a MOD/PSYCH BOOM alright! Dig!!!
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January 30, 2014, 2:19 pm
14 classic R&B/Rock'n'Roll tunes from 50's & 60's covered by your favorite Dolls. Featuring Bo Diddley, Sonny Boy Williamson, Eddie Cochran, Chuck Berry, Muddy Waters, Larry Williams, Shangri-Las... Trash, Go Pick It Up!
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January 31, 2014, 11:04 am
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The Columbia Recordings 1965-1967 is basically a reissue of Les Sauterelles' 1966 debut LP with nine bonus tracks, the extras including a few outtakes, the 1965 non-LP single "Hong Kong"/"Janet," and both sides of a couple of Italian-language 45s. The album was one of the first rock LPs recorded by a Swiss band, and though quite derivative and filled almost wholly by covers of American and British artists, it was a decent if raw approximation of the mid-'60s British beat sound. Certainly the material chosen was diverse, from the Byrds and Dylan to Bob Lind, Ian & Sylvia, the Beatles, and the Who. Their garage-like covers of Lind's "Cheryl's Going Home" and the Sorrows'"No No No No" were actually quite good, and their perky cover of Dylan's "Desolation Row" unusual, though other numbers were substandard or little more than faithful copies of the prototypes. A small glimpse of a more original sound could be heard in one of the two originals, "Springtime," which was pretty fair Who-style mid-'60s mod rock. The English-sung bonus tracks are pretty forgettable, and one of the Italian singles is just Italian versions of two songs from the LP ("Routine" and the Byrds'"I'll Feel a Whole Lot Better"). The other two Italian numbers, though, are more interesting, "Aiuto!...Va Sempre Male" fleshing out the 1966-1967 Who influence, "Il Quinto Non lo Paghi" showing more of a folk-rock/Beatles flavor, though with showbizzy horns. [AMG]Pretty solid Freakbeat/Pop by this Swiss 60's beat crew [The Locusts] also called the "Swiss Beatles". Lotsa fine covers of Who, Beatles, Sorrows, Byrds, Dylan, and few real cool originals as Janet, Springtime, Routine, Hong Kong. So c'mon, let's jump around with LES SAUTERELLES. Dig!!!
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February 1, 2014, 10:38 am
The instromonsters are back for a thrilling third installment of all-instrumental Rock 'n' Roll! Surfadelic is proud to present another super-cool volume of 50's & 60's high octane Rock'n'Roll instro stompers, shakers and surfers. Say... Dig!!!
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February 2, 2014, 8:10 am
Tony Joe White has parlayed his songwriting talent into a modestly successful country and rock career in Europe as well as America. Born July 23, 1943, in Goodwill, Louisiana, White was born into a part-Cherokee family. He began working clubs in Texas during the mid-'60s and moved to Nashville by 1968. White's 1969 debut album for Monument, Black and White, featured his Top Ten pop hit "Polk Salad Annie" and another charting single, "Roosevelt and Ira Lee (Night of the Moccasin)." That same year, Dusty Springfield reached the charts with White's "Willie and Laura Mae Jones." Brook Benton recorded a version of White's "Rainy Night in Georgia" that hit number four early in 1970; the song has since become a near-standard with more than 100 credits. [AMG]
"If some of ya'll never been down South too much...
I'm gonna tell you a little bit about this,so that you'll understand
What I'm talking about..."Black And White was the album that followed his own 1969 US top ten hit Polk Salad Annie, the song that introduced swamp rock to the nation: funky horns, southern fried wah-wah guitar, alligator soul boogie and a voice as deep as his sideburns. There's a stack of that here, including an extra-fine version of Willie And Laura Mae Jones, as well as the earlier single Soul Francisco and four other original songs. The second side of the album consists of other people's material done the Tony Joe White way: Johnny Taylor's Who's Making Love, Slim Harpo's Scratch My Back, Roger Miller's Little Green Apples (a surprisingly effective and tender version), Glen Campbell's Wichita Lineman and Dusty Springfield's (or Dionne Warwick's) The Look Of Love. [amazon reviews]
"I ain't never been to San Francisco
But I believe a thing has happened there..."
YEAH, me too... "Soul Francisco" was a big hit in France and Belgium in '68, and it's just a beginning of an succesful career for "Swamp Fox". For me, upon hearing that Elvis-like voice and sexy wah-wah guitar, it was love at first site. Then there's godhead Don't Steal My Love, with even more killer WAH-WAH RUMBLE,epic Willie And Laura Mae Jones andPolk Salad Annie who "Made the alligators look tame". You couldn't ask for more SOUL. This and his 2nd Lp "...Continued" are my alltime favorite Soul/Swamp Rock slabs. This ain't no Garage nor Surf but you're ain't cool without this stuff. Should I say that... THIS IS A MUST!!!
"Don't steal my love like a thief in the night
And don't leave me in the dark searchin' for your light
If you take from me give somethin' in return
Don't Be so cold while my fire Burns""The cotton was high
And the corn was growing fine
But that was another place and another time"***
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February 3, 2014, 1:29 pm
"The river was dark and muddy
And the moon was on the rise
And all of the creatures in the swampland
Had woke up to feed for the night"
Ooh-Wee Baby! The story "Continued" on his '692nd slab of Swamp Rock Wah-Wah stompers and Soul ballads. Produced by Billy Swan it features his alltime classic Rainy Night In Georgia which is covered by Brook Benton in '70 and many others [Ray Charles, Otis Rush, Randy Crawford, Tennessee Ernie Ford, Amos Garrett, Hank Williams, Jr., Shelby Lynne, John Holt] and the single Roosevelt and Ira Lee. From the opening track Elements And Things you're in for more Swamp/Soul guitar-wah treat. There are sex-crazed soul/wah stompers Woodpecker and I Want You, [Polk Sallad alike] Old Man Willis and other strong tunes as Woman With Soul, ballads I Thought I Knew You Well and closing The Migrant. This package comes with 12!!! real cool bonus trax. So ya know, gotta Dig!!!
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February 4, 2014, 3:56 pm
The 3rd and last T.J.White slab for Monument Rec. featured singles "High Sheriff of Calhoun Parrish" and "Save Your Sugar For Me". It was recorded at RCA Victor Studios, Nashville and Lyn-Lou Studios, Memphis in 1970 and again was produced by Billy Swan. This somehow laidback album is a mix of great Swamp/Soul stompers as my favorite Stud-Spider [hmm, not your ordinary spider], Conjure Woman, Save Your Sugar For Me, Groupy Girl and great cover of Hard To Handle and some acoustic guitar, harmonica country rock ballads. There's a pretty interesting 8 minutes session "Swampy" cover of J.L.Hooker's Boom Boom at the end. All you have to do is... Dig!
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February 5, 2014, 11:28 am
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Tony Joe White's self-titled third album, Tony Joe White, finds the self-proclaimed swamp fox tempering his bluesy swamp rockers with a handful of introspective, soul-dripping ballads and introducing horn and string arrangements for the first time. The album -- White's 1971 debut for Warner Bros. -- was recorded over a two-week period in December 1970, in two different Memphis studios (one was Ardent Studios, where Big Star later recorded their influential power pop albums). His producer was none other than London-born Peter Asher, who had just produced James Taylor's early hits for the label (he would continue to produce hits for Taylor and Linda Ronstadt on his way to becoming one of the most successful producers of the '70s). One can surmise that Warner Bros. may have put White and Asher together as a way for the producer to work his magic with an artist who had much promise. White had already scored big with 1969's "Polk Salad Annie" for Monument, and he was having success as a songwriter too: "Rainy Night in Georgia" was a huge hit for Brook Benton in 1970. As you might expect, there aren't really too many surprises here, despite the addition of the Memphis Horns and other Muscle Shoals sessioners. The songs are fairly standard and straightforward, nothing too out of place or experimental, and White's husky southern warble remains the album's key focus. ![]()
Many of the songs will remind the listener just how turbulent the cultural climate of the late '60s and early '70s was in the U.S. White's soulful southern-tinged spoken drawl introduces "The Change" (as in a "change is gonna come"), then a potent theme and oft-spoke clarion call that, indeed, the times they were a changin'. "Black Panther Swamps" and "I Just Walked Away" (the album's first single) are also successful at what they attempt. Meanwhile, over on the more sentimental side, "The Daddy" concerns itself with the generation gap between father and son, and mentions the son cutting his long hair ("a little respect will never hurt you"). The mawkish "Five Summers for Jimmy" will appeal to fans who liked Bobby Goldsboro's "Honey." On a more positive note, "A Night in the Life of a Swamp Fox" was White's somewhat-frustrating look at what was going on in his life, playing his sole hit for fans but wanting something more out of his career. Unfortunately, this album never did bring him the success he craved, although it deserves another listen.
[Bryan Thomas]
Well, The first Warner Lp for TJW is kinda mixed bag of half cool and half so so stuff. What I really dig here are stompers as opening They Caught The Devil..., closing Voodoo Village and The Change, My Kind Of Woman, A Night In The Life Of A Swamp Fox. To make the package stronger some bonus trax are included here as '76 single A-side fine cover of Susie-Q [my fav version], legendary Even Trolls Love Rock And Roll, Backwoods Preacher Man... Dig the Swamp!
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February 6, 2014, 3:07 pm
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Producer Bob Keane and disc jockeys from KRLA radio station in Los Angeles helped conceive the idea for this album. The KRLA Top Eliminator was a customized dragster made to help promote KRLA. The title track is a reworking of "King Of The Beach," and an earlier record from the band's days in El Paso, Texas. There are three other car songs, a killer version of Buddy Holly's "Love's Made A Fool Of You," and two non-original songs that Bobby Fuller hated, "I'm A Lucky Guy" and "The Magic Touch." [amg]
This is a '81 German Line rec. version of '65 slab, with different track listing. It's a REAL COOL mix of Hot Rod tunes and Garage/Pop rockers. Almost everything here is GREAT, from opening instro Thunder Reef to The Magic Touch [my ALLTIME FAV]. There's a [great homage to legendary Rock'n'roll D.J.] instro Wolfman and another Surfadelic favs The Phantom Dragster and KRLA Top Eliminator. What to say about luscious folk/pop ballad My True Love [resembles Beau Brummels] or Don't Ever Let Me Know. If you don't know Bobby you gotta check this out. This is the TOP NOTCH U.S. 60's garage/pop/rock, A MUST!!!
***R.I.P. BOBBY
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February 7, 2014, 6:29 pm
Their second slab is a collection of non-hit singles released in the previous years, but it's more consistent and better than the famous debut lp. Featuring such cool R&B/Soul instros asSoul Dressing, Tic-Tac-Toe, Jelly Bread, Outrage, Chinese Checkers, Can't Be Still... Sweet Soul Instros, Dig!
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February 8, 2014, 6:04 am
This is an "Vintage" Surfadelic collection of mostly laid back Surfin'/Hot Rod instrumentals, inspired by some beautiful late summer sunsets. Nothin' new here, just some lazy hot afternoon impressions. Back Due To Popular Demand, Dig!
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February 8, 2014, 8:51 pm
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Just a matter of months after Dance to the Music, Sly & the Family Stone turned around and delivered Life, a record that leapfrogged over its predecessor in terms of accomplishment and achievement. The most noteworthy difference is the heavier reliance on psychedelics and fuzz guitars, plus a sharpening of songcraft that extends to even throwaways like "Chicken." As it turned out, Life didn't have any hits -- the double A-sided single "Life"/"M'Lady" barely cracked the Top 100 -- yet this feels considerably more song-oriented than its predecessor, as each track is a concise slice of tightly wound dance-funk. All the more impressive is that the group is able to strut their stuff within this context, trading off vocals and blending into an unstoppable force where it's impossible to separate the instruments, even as they solo. The songwriting might still be perfunctory or derivative in spots -- listen to how they appropriate "Eleanor Rigby" on "Plastic Jim" -- but what's impressive is how even the borrowed or recycled moments sound fresh in context. And then there are the cuts that work on their own, whether it's the aforementioned double-sided single, "Fun,""Dynamite!," or several other cuts here -- these are brilliant, intoxicating slices of funk-pop that get by as much on sound as song, and they're hard to resist. [Stephen Thomas Erlewine]
Don't let the cover confuse you, it's the same '68 ''Life'' Lp but with different cover art. Groundbreaking Psychedelic/R&B/Soul delivered by Sly & the crew is nothing but a pure audio DYNAMITE! Non-stop Raw Fuzz energized dance music for Psych-heads.Have you heard that Jane Is A Groupee?!? Explosive vinyl rip by Surfadelic! Don't be a Chicken. Get down 'n' Dig!
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February 9, 2014, 7:34 pm
16 tracks recorded in the 1950s for New York's Old Town label, most of which were unissued at the time. The core of this anthology is the 11 songs by Sonny Terry & Brownie McGhee, who do electrified city blues with an audible influence from Chicago performers like Bo Diddley and Jimmy Reed. It's not the style they're most renowned for, perhaps, but the results are pretty good. [AMG]
This Rare stuff from these two 50's R&B fellows are the best they ever recorded, believe me. If you like Chicago electrified blues you gotta go for this. Dig!
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