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Punk / Garage - 1960-luku (CD)

Result of your query: 83 products

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Ace Of Cups - It's Bad For You But Buy It
early sixties girlgroup from San Francisco
Ace Records 2003 CD 18.00 €
Cramps - A Date With Elvis
This 1985 outing from the coolest band in the universe asks the question 'How Far Can Too Far Go?' and snaps back with an answer before you can say 'Aloha From Hell'.
Ace Records CD 18.00 €
Dean Carter - Call Of The Wild
he missing link between wild rockabilly abandon and snarling garage punk

Dean Carter was/is the ultimate rock'n'roll anomaly. Just check out the photo on the cover of CALL OF THE WILD!, one of the craziest collections your humble compiler has had the pleasure to assemble in recent memory. Presley-like stance, guitar by his side, with a swept-back do and zebra-striped jacket to die for. The ultimate in rockin' cool. Must be late 1950s, right? Uh-uh. How does 1968 grab ya?

Carter was a wildman, coughing up some of the most insane rock'n'roll platters known to man and beast, records that are all the more remarkable for their improbable recording dates. There's a time-warp sensibility to the sound of Dean Carter that is truly intriguing. He'd been singing rock in his native Champaign, Illinois since the late 1950s - indeed, there are even a couple of his rebel-raw 1959 demos included here - yet Carter retained his trademark rockabilly hiccup whether he combined it with a stomping garage beat (Sizzlin' Hot) or a rough hewn soul shout (Love's A-Workin').

Dean Carter really wanted to be a star and it's obvious from the sounds contained onCALL OF THE WILD! that he really had the goods to have become one. With an uncanny ability to swing from a high falsetto to a moody growl, the singer could switch from crooning a dramatic ballad to belting out a sizzling rocker. He just did things he wanted to do, in the way he felt right. With his sidekick Arlie Miller behind the studio controls, the amazing recordings here span a full decade (1959-69), yet they sound as though they all could have all been taped at the same session, such is the relentless rocking drive common to each and every performance.

The apex of Dean Carter has to be upon the truly berserk treatment of Jailhouse Rock that was issued as a single on Carter and Miller's tiny Milky Way label in 1967 (and has been widely bootlegged in subsequent years). The record itself defies description - suffice to say, it sounds as though a riot really is taking place - yet incredibly the research for the notes threw up the fact that buried amongst the sonic chaos is not only an accordion and a frantically-scrubbed dobro, but also a clarinet played by a 12-year old girl!! Joe Meek could not have devised a more unusual session. Many other tracks are only slightly less crazed, such as I Got A Girl, Black Boots and the stomping Mary Sue, the latter cut as a single in Washington in 1968 with the aid of one-time Gene Vincent sidekick Jerry Merritt.

I could blather on about the genius of Dean Carter for a whole RT, but instead I urge you all, if you say you like rock'n'roll, to buy this CD, ogle the eye-bending pix, read the bizarre story and revel in the unselfconsciously manic sounds it contains. This guy is an unsung hero of unprecendented proportions. All hail Dean Carter!

By Alec Palao (Ace Records)
Ace Records 2002 CD 17.00 €
Dee Dee Sharp - All The Hits & More
33 tracks
CamPark Records 1993 CD 18.00 €
Jesters - Cadillac Men - The Sun Masters
The Jesters' crazed mid-60s recordings are the ultimate in deranged genius. Dig them all here, alongside 1966 cuts from related Memphis garage band the Escapades !
Ace Records 2008 CD 17.00 €
Johnny Tedesco - Rock Del Tom Tom
1961 latin rocker from argentina
Floridita Records 2008 CD 9.90 €
Link Cromwell and The Zoo - Crazy Like A Fox
Lenny Kaye's Original 1966 Nuggets
Norton Records 2000 CD 17.00 €
Mad Daddy - Wavy Gravy
Radio Broadcasts 1958-1964
Norton Records 2003 CD 17.00 €
Mojo Men - Not Too Old To Start Cryin'
Quality garage-soaked pop and folk-rock from the future hitmakers of"Sit Down I think I Love You". All titles are previously unissued
Ace Records 2008 CD 18.00 €
Neal Ford & The Fanatics - Good Men
In mid-60s America, every major city had at least one rock’n’roll band that ruled the town. Such top-dogs enjoyed a rabidly partisan audience that packed the teen centres, populated the fan clubs and pushed their records to the top of the local charts. In the major metropolis of Houston,Texas, that group was Neal Ford & the Fanatics.

Led by Ford and featuring talented writers Lanier Greig, Jon Pereles and Johnny Stringfellow, the Fanatics ruled the roost at Houston clubs such as the Catacombs and, once they signed to Nashville indie Hickory in late 1966, seemed destined for national stardom. History has identified such local kingpins as garage bands, simply because of their grass roots appeal. But the Fanatics were a well-oiled professional machine, capable of putting on a memorable show and backing it up with vocals and chops that raised the band far above the calibre of the suburban hop or teen club. Despite the British elements to their music – Kinks chording, Zombies moodiness – theirs was very much an American sound. Lead vocalist Neal Ford had a professed love for vintage rock and R&B, but the group’s real strength vocally was the three-part harmony of Ford, Pereles and bass player Dub Johnson. When allied to the classic organ and fuzz-driven “Vox” sound of the group, it was an unbeatable combination.

Texas has a well-deserved reputation for some of the most acerbic 60s rock on record, but the state also produced a fair tranche of acts such asDallas’ Five Americans who excelled in the commercial pop of the time. The Fanatics straddled the fence. Their songwriting and playing abilities alone made them somewhat above-average, but the band was also willing to experiment. Some of this slipped out – ‘I Will Not Be Lonely’ is one of the earliest British-influenced Texan garage discs, and their Yardbirds-psych opus ‘I Will If You Want To’ seems in hindsight to have been an audacious move. But once they became regionally successful with ‘Gonna Be My Girl’ and a much more lightweight formula, the group’s releases stopped representing anything more than the commercial dictates of the record company.

Thus the standing of Neal Ford & the Fanatics for many years largely resided within the rosy glow of Houston nostalgia, but the truth is that, buried in tape vaults, record company archives and the personal stash of their former manager, lies enough evidence to demonstrate that in the studio, the Fanatics could more than match their repute as a live act.

“Good Men” is a long-overdue survey of their best recorded moments, and runs the gamut from expertly produced and performed commercial pop and folk-rock to freaky psychedelic experiment and the gnarliest of 60s punk. It features several of the Fanatics’ popular singles for Hickory, cuts from their lone album for the label, as well as fantastic earlier sides released on the Houston indies Gina and Tantara. Every track is drawn from master tape, well over half have never appeared on compact disc before, and several are unissued killers that add immeasurably to the group’s reputation.

By Alec Palao (Ace Records)
Ace Records 2013 CD 18.00 €
Rationals - Think Rational ! 2CD
To borrow the title of their lone Billboard Hot 100 entry - #92 in late 1966 - it’s really all about “respect”: the enduring respect that the mighty Rationals enjoy amongst fans and fellow musicians from Michigan rock’s golden era. Cherished by a devoted fan base, the pioneering Ann Arbor quartet were top dogs in the state, and those that experienced the Rationals in their prime share an emotional bond to the combo that the rest of us can never fully comprehend. However, the recorded evidence, as presented on our long-awaited deluxe 2 CD Rationals anthology, speaks for itself.

“Think Rational!” collects together for the first time the sides the Rationals cut between 1965 and 1968 under the auspices of their manager and mentor, the enigmatic Hugh “Jeep” Holland. Right from the start, the Rationals were somehow more mature than the average teenage garage band. The Kinks and the Zombies moves heard on early singles morphed into the full-blooded garage soul of their 1966-68 era, whereby the Rationals became the American analogue to the Small Faces or Winwood-era Spencer Davis Group. They sported a muscular, dependable rhythm section in Terry Trabandt and Bill Figg, further fuelled by the incisive, corrosive southpaw lead/rhythm of Steve Correll, and fronted by the multi-faceted abilities of Scott Morgan, one of rock’s most unselfconsciously authentic blue-eyed soul voices.

Ultimately, only the lack of a prolific songwriting team held them back. It is as interpreters that they are best remembered. The band’s two most successful records were covers of Otis Redding’s ‘Respect’ and Chuck Jackson’s ‘I Need You’. The unique arrangement of the former suffers from over-familiarity with Aretha’s subsequent chartbuster; the heartbreaking tenor of the latter could hush the crowd at even the famously “high energy” Grande Ballroom in Detroit – no less than Jackie Wilson informed the band, “you guys just cut Chuck!” Thanks to Jeep’s instruction, the Rationals’ arrangements of R&B stage faves such as ‘Leavin’ Here’, Little Richard’s ‘Poor Dog’ and Sam Hawkins’ ‘Hold On Baby’ are definitive. And their reading of ‘Temptation’s ‘Bout To Get Me’, as heard here, is pure, soulful magic.

A great sense of personal satisfaction comes with the release of “Think Rational!” Over a decade in the making, the band members had long despaired of seeing their best work gain legitimate release, so it is a tremendous honour for me as compiler to see the project to fruition, with all the rightful pieces in place. In addition to all the Rationals singles on A-Square and Cameo, we hear the rare promo 45 cut for a Detroit mens clothing store, as well as tracks from the legendary1968 fan club LP (two known test pressings), for a total of almost twenty unreleased tracks, along with a jam-packed 24-page booklet. “Think Rational!” indeed finally accords the Rationals the “respect” that they have so long deserved.

Note: we hope to feature the Rationals’ post-A-Square recordings in a subsequent Big Beat package.

By Alec Palao (Ace Records)
Ace Records 2009 CD 23.00 €
Rumblers - It's A Gas
Boss! When Californian group the Rumblers hit the American charts with their single ‘Boss’ in February 1963 the word, used locally by the surfing community to describe anything they regarded as cool, was adopted by teenagers across the nation. This word-association with surf culture, and the concurrent success of the group’s label-mates the Chantays with their Top 5 hit ‘Pipeline’, led to the Rumblers being classified by many as a surf group. But this was far from the truth. With Joe Houston’s ‘All Night Long’ as their theme song they were a sharp R&B band, described by their bass player Wayne Matteson as a black group with white skin: “We did a lot of James Brown tunes … We dressed well, and we had all of our songs choreographed.”

Naming themselves after Link Wray’s 1958 hit ‘Rumble’, the group’s first release paired the instrumentals ‘Stomping Time’ and ‘Intersection’ on the small Highland label which secured them sessions at the famed studio in Downey, California attached to Wenzel’s Music Town record store. Here, a take-off of the Strangers’ 1959 hit ‘Caterpillar Crawl’ evolved into the number they named ‘Boss’. And no wonder it became a hit, the opening bars carry one of the all-time catchiest intros. A frantically whammied low note from guitarist Mike Kelishes precedes a four-to-the-bar bass drum beat that is developed into a hypnotic riff by bass guitar, building in intensity as first guitars and then sax join in. Half a dozen bars of primal pounding and you’re hooked. Simple, but oh so effective.

A couple of early Rumblers compilation CDs have long since become sought after collector’s items, but “It’s A Gas!” surpasses them all by being a far more comprehensive selection. And in true Ace fashion it is taken direct from the best sources bringing vastly improved sound quality. The accompanying booklet features an informative essay from compiler Brian Nevill telling the full story of the group plus loads of never-before-seen pictures from the collections of the Rumblers themselves. In addition to the best of the group’s singles for Downey and Dot and selections from their “Boss” LP, there are CD debuts for both sides of the Highland single and a later 45 released under the name of the Interns. If that wasn’t enough there are no less than 10 tracks new to a Rumblers CD including four totally unreleased recordings in the shape of ‘Warhead’, ‘Why Did You Make Me Cry’, ‘Freight Train’ and ‘Strawboss’.

With all their best in one package, “It’s A Gas!” is the definitive collection of the Rumblers and is a compilation that surf and instrumental fans will find irresistible – it’s a boss gas, man!

By Alan Taylor and Dave Burke of Pipeline, the rock instrumental magazine
(Ace Records)
Ace Records 2010 CD 18.00 €
Sonics - Boom
Ace Records 2007 CD 12.00 €
Sonics - Busy Body - Live in Tacoma 1964
Live at the Red Carpet (9/64) and Live at the Tacoma Sports Arena (11/64). 15 tracks
Norton Records 2007 CD 17.00 €
Sonics - Here Are The Sonics !
vanhan Etiquette LP:n uusintajulkaisu nyt CD:nä
Ace Records 2007 CD 12.00 €
Sonics - The Savage Young Sonics
early 60s recordings. 20 tracks
Norton Records 2001 CD 17.00 €
Sonics - The Witch EP
As the revitalized Sonics traverse the globe thrilling audiences with their visceral brand of rock'n'roll, Big Beat presets a very special vinyl-only release from this the legendary Northwest garage band.

The Witch EP collects four gems from the group’s quintessential Etiquette catalogue, and features for the first time on wax, the rare “switchblade” version of ‘The Witch’, with Larry Parypa scraping metal across his guitar strings to menacing effect. Also making its vinyl debut is the full-length recording of the band’s bloodcurdling ‘Psycho’ direct from the studio master tape.

In recent years the Sonics’ pounding take on Richard Berry’s ‘Have Love Will Travel’ has become their biggest box-office item, having appeared upon countless TV commercials and soundtracks around the world. Rounding out this very special Witch EP is the original, classic take of the title cut.

Housed in a handsome sleeve featuring a rare colour picture from an unused session intended to promote the original Witch single, shot by famed Northwest photographer Jini Dellaccio, The Sonics’ Witch EP is an essential item for any fan of this unsurpassed rock’n’roll combo.

By Alec Palao (Ace Records)
Ace Records 2013 CD 15.00 €
Stud Cole - Burn Baby Burn
raging unknown L.A. recordings 1963-1968
Norton Records 2002 CD 17.00 €
VA: - A-Square (Of Course)
The Story Of Michigan's Legendary A-Square Records. 25 tracks
Ace Records 2008 CD 18.00 €
VA: - Ain't I Hard !
Sunset Strip 60s Sounds ! Garage & Psych from Viva Records.
Sundazed Music 2007 CD 18.00 €
VA: - Back From The Grave Vol. 1
raw and crude mid-60s garage
Crypt Records CD 18.00 €
VA: - Back From The Grave Vol. 2
raw and crude mid-60s garage
Crypt Records CD 18.00 €
VA: - Back From The Grave Vol. 3
Raw and Crude mid-60s garage
Crypt Records CD 18.00 €
VA: - Baltimore's Teen Beat A Go Go
Get Hip 1997 CD 9.90 €
VA: - Before The Fall - 24 Prelapsarian Cuts
f evidence were needed that all music is connected, this collection could well be it. You might think Australian punk, proto-Krautrock and Sister Sledge could only co-exist on a compilation called “Now That’s What I Call Utterly Unrelated”, but actually, beyond “Before The Fall”’s basic conceit, a few fragile connections start to present themselves. Henry Cow acted as support on a Captain Beefheart tour. Beefheart’s style was significantly influenced by bluesmen such as Leadbelly. Leadbelly and Pete Seeger hung out in 40s New York.

What else? ‘There’s A Ghost in My House’ and ‘Jungle Rock’ were both hits years after their original release. Fall fans wouldn’t automatically associate ‘The Mummy’ and ‘Transfusion’, yet listening to the originals reveals both as satire at the expense of the beatniks. ‘Transfusion’, like ‘Kimble’, owes much of its uniqueness to the innovative use of sound effects. ‘Kimble’ and ‘People Grudgeful’ are connected thanks to the fractious relationship between the artists concerned. ‘Grudgeful’ and ‘$ F--oldin’ Money $’ both play parts in stories of apparently unscrupulous label bosses. ‘$ F--oldin’ Money $’, ‘Rollin’ Danny’, ‘Transfusion’ and ‘Pinball Machine’ were all the work of artists who died before their time, some a little more before their time than others.

It’s fun to spot these connections but, as a Fall fan, I wouldn’t pin too much significance on them. Mark E Smith covered Monks’ tracks without even knowing their titles. He’s covered others without, by his own admission, being able to track down the publishing rights, knowing all the lyrics, or in the case of ‘War’, even remembering the tune. So while in some cases these originals will seem very familiar to Fall fans – the relative commercial success of ‘There’s a Ghost In My House’ and ‘Victoria’ is probably attributable to the fact the Fall didn’t muck about with the originals too much, while Smith’s vocal on ‘Mr Pharmacist’ is remarkably similar to Jeff Nowlen’s original – others are interesting as starting points for very different Fall readings.

These originals also demonstrate a lack of Smith snobbery towards music to which other contemporary bands would rapidly turn up their noses. Pop, blues, prog and daft novelties are all accorded the same respect, or lack of it.

As a fan of 60s garage, the Monks, Other Half and Sonics cuts on this collection were very familiar to me, but the journey into other genres has been a bit of a revelation. The habit of lifting rocksteady/reggae melody lines for retooling on other tracks led to a diverting trip which started with ‘People Grudgeful’ and took in related tracks such as ‘Longshot’, ‘Jackpot’ and ‘People Funny Boy’. Comparing versions of ‘Bourgeois Blues’, dipping a toe into the ocean of trucking music – all of this I would never have found myself doing had it not been for the cross-genre nature of Mark E Smith’s eclectic tastes.

By Dan Maier (Ace Records)
Ace Records 2011 CD 17.00 €
VA: - Best Of Twist-A-Rama
New York Carage Bands Vol 1. 16 tracks: Galaxies, Andy & The Classics, The Brix, Patty & The Hangmen, Reveres etc
Norton Records 2000 CD 17.00 €
VA: - Big Deal !
This album kinda pays like a tribute in reverse. All the tracks have been covered (or reworked) by "THE 5,6,7,8's!" .

The Rockin' Geishas chose these songs (even to blend and bend out of shape) means the originals are obviously amongst the great rock and roll tracks.
Mademoiselle Records CD 18.00 €
VA: - Bo Diddley Is A Songwriter
In his long and illustrious career, the late Ellas McDaniel portrayed his alter ego Bo Diddley as many things – a lover, a gunslinger, crazy, even a lumberjack would you believe (and as this is Bo we’re talking about, you would…)

One thing that Bo seldom if ever proclaimed himself to be is ‘A Songwriter”. But over a period of 10 years, Bo crafted some of the most memorable songs of the rock ‘n’ roll and R & B era, including numerous Hall Of Fame perennials which many will be unaware are his songs. For instance, there can be few on this planet who’ve never heard at least one version of “Love Is Strange” – it was featured in ‘Dirty Dancing’, one of the most popular and biggest grossing films of all time, for goodness sake! How many of the thousands of young people who own that soundtrack album also know that the same man who wrote it also wrote “Mona” a 1990s UK chart topper for Craig McLachlan, and “No No No”, a Top 10 hit in 1993 for reggae artist Dawn Penn (both songs appear here, in other versions, under their real titles ‘I Need You Baby’ and ‘She’s Fine, She’s Mine’ respectively…). Not many, I’ll wager.

Bo is so well known and loved as an R & B legend that his songwriting skills tend to get overlooked in comparison with his fabulous recordings. He may be seen by some as a left field entry in Ace’s ongoing ‘Songwriter Series’, but once the CD popped into the player, it won’t take but a few minutes (as his Chess colleague Chuck Berry once wrote) to realise that he’s here on merit, and not just because everyone at Ace loves Bo Diddley.

Of course, anyone who lived through the R&B and British Beat boom will be familiar with any number of E. McDaniel copyrights – both those Bo wrote, and those that were written for him by others. And there’s considerably more variety to Bo’s songwriting than some might initially think. OK, so he did put together more numerous variations on the ‘shave-and-a-haircut, six-bits’ rhythm. But Bo’s catalogue of compositions also embraces doo-wop (‘I’m Sorry’), teen pop (‘Love Is Strange’, ‘Mama Can I Go Out’) proto-surf (‘Bo’s Bounce’), humour (‘Pills’) 12 bar blues (‘Before You Accuse Me’) straight ahead R&B (‘I Can Tell’, ‘Diddy Wah Diddy’) and so much more besides.

As well as recording his songs, many of our stellar cast of artists were major league Bo fans and, indeed, most of those who are still around continue to be. The fact that the recordings on our CD span a period of 50 years gives a strong indication of the timelessness of his work as a writer – hardly surprising when his own early recordings still sound like they were recorded yesterday.

If there’s still any shadow of doubt in your mind that Bo Diddley IS a songwriter, buy this CD immediately and let its contents rid you henceforth of such foolish supposition!

By Tony Rounce (Ace Records)
Ace Records 2010 CD 17.00 €
VA: - Destroy That Boy ! More Girls With Guitars
“Destroy That Boy!”, the sequel to 2004’s “Girls With Guitars”, delves into the world of garage femmes and all-girl bands in a quest to prove that females of the species do indeed rock, roll and even snarl. In the post-Beatles beat boom, many an impressionable lass was inspired to take guitar in hand and toe the line with their male counterparts, with at least 160 touring female bands in the USA alone. A select few hit the recording studio to leave their aural mark on the decade, from which Ace has melded the cream of crop with some solo sisters to create another healthy 24-track dose of girl garage goodness.

This time old Blighty has its share of representatives, including fully-fledged female groups She Trinity and the Liverbirds. She Trinity – whose original members hailed from the UK, Canada and the USA, hence their somewhat confusing moniker – appear with their first and last (and most acclaimed) singles. The Liverbirds’ success was limited to their adoptive home of Germany, where they recorded two albums of R&B and rock’n’roll covers, three of which are showcased here. Schoolgirl duo the Termites get their pincers into a Stones classic, while South African ex-pat Sharon Tandy and Coventry’s Beverley Jones give out some gutsy performances too.

From across the Atlantic, alluring society girls the What Four open proceedings. The cover shows the Debutantes from Detroit, whose talents and glamorous image scored them a far-eastern tour and gigs alongside Motown’s finest. Another pivotal group was the Feminine Complex, formed by lead guitarist and songwriter Mindy Dalton, who achieved the rare feat of releasing an LP, but here we’re treated to two demos, including their wonderfully lo-fi version of the Monkees’ ‘(I’m Not Your) Stepping Stone’, cut in their first incarnation as the Pivots.

Elsewhere come the Starlets with an attitude-soaked take on ‘You Don’t Love Me’, Swedish bombshell Ann-Margret with both decks of her single for Lee Hazlewood’s LHI label and Raylene Loos and her cohorts the Blue Angels, who contribute a rollicking rendition of ‘Shakin’ All Over’. The Girls (nope, not the same gang as on “Girls With Guitars”) debut with an unreleased cut produced by Sly Stone, while woe betides the man on the receiving end of Aussie Toni McCann, who let’s rip with ‘No’.

Jack Nitzsche protégée Karen Verros kicks off the mid-section with, a fuzz-laden mind-blowing gem written by Donovan. Project X (whose line-up included Scott McKenzie) delights with a jangly folk-garage affair and Cheryll & Pam wax lyrical in ‘That’s My Guy’. British Invasion off-shoots the Lady Bugs’ ode to the American fraternity is a hilarious romp and the wiggy Fondettes pay tribute to the mop-headed boys who started it all.

Much more info on these artists is to be found in the glossy feature-packed booklet, which includes interviews with Jan McClellan of the Debutantes and Beverley Jones. So let the girls blow the dust of their guitars yet again and take a trip down to the tougher side of girl-groupsville.

By MATT MEEK (Ace Records)
Ace Records 2009 CD 17.00 €
VA: - Don't Press Your Luck
60s Connecticut sounds. Garage and psych howlers from the vaults of Trod Nossel Studios 1966-1968.
Sundazed Music 2008 CD 18.00 €
VA: - Fort Worth Teen Scene 1964-67 Vol 1
24 biisiä Texas garage Rock And Rollia mm Cynics, Jades, Larry & Blue Notes, Wyld, Tracers jne
Norton Records 2004 CD 17.00 €
VA: - Fort Worth Teen Scene 1964-67 Vol. 2
sarjan toinen osa… samaa meininkiä mm. Visions, Bards, Jack & The Ripeprs, Barons, Jades jne
Norton Records 2004 CD 17.00 €
VA: - Fort Worth Teen Scene 1964-67 Vol. 3
kuin kaksi edellistäkin.. mm. Gentlemen, Chocolate Moose, Roots, Trycerz, Jinx jne
Norton Records 2004 CD 17.00 €
VA: - Friday At The Hideout - Boss Detroit Garage 1964-67
Four Of Us, Underdogs, Pleasure Seekers, Fugitives..
Norton Records 2001 CD 17.00 €
VA: - Garage Beat ' 66 Vol. 1 Like What, Me Worry ?
Check out the artists and song titles on this disc. They'll serve as a once 'n' final warning for anyone thinkin' they've just scored some nostalgic good vibrations from the feelin' groovy sixties (Congratulations, you're about to buy the wrong collection, bub). No, what we have here is the untold, bad-attitude underbelly of that decade's rock 'n' revolution; a teenage nation that churned out thousands of raging garage records that rarely escaped Hometown U.S.A. obscurity. These are the 45 rpm singles too extreme for their time…
Sundazed Music 2004 CD 19.00 €
VA: - Garage Beat '66 Vol. 4 - I'm in Need
20 tracks
Sundazed 2005 CD 19.00 €
VA: - Garage, Beat and Punk Rock
20 tracks
Ace Records 2005 CD 10.00 €
VA: - Garagemental
Cuca Records Story Vol. 2. 26 tracks sixties garage punk rockers
Ace Records 2006 CD 17.00 €
VA: - Get Ready To Fly
26 mindbending late 60s tracks produced by Norman Petty

You’d better fasten your seat belts because once this flight takes off, you’ll never come down!

So you’re wondering why Norman Petty, producer extraordinaire and champion of rockabilly music in the 1950s has his name on a “psychedelic” compilation? The simple answer is that although Petty's main interest and focus was on music that may have been a little tamer, he still had a hand in just about every genre possible. If you were lucky enough to take the trek to Petty’s Clovis, New Mexico studio, Norman would make you sound… GREAT! He took his incredible production, arranging and editing skills and transferred them with amazing precision into the psychedelic realm.

With bands like the Frantics, Hooterville Trolley, Group Axis, Butter Rebellion, Intricate Blend, Apple-Glass Cyndrom and The Cords, how can you go wrong? Get Ready To Fly isn’t just a cameo collection of psychedelic tunes with Petty’s production as the common thread. And although the term “pop-psych” spans a pretty wide realm, this particular collection features a mind-boggling selection of 26 phenomenally-crafted songs with a bit of a hard-edged fuzz appeal. Get Ready To Fly truly doesn’t have a bad cut on it, and the overall quality of the selections is well… unbelievable!

Alec Palao has done it again, culling master tapes from another darkened vault and turning them into a highly polished audio eargasm, equipped with the requisite fuzz guitars, sitars, backwards tracking and haunting vocals required for a 73 minute flight like this. With full access to Petty's archives, the candidate list for this volume was immense, the net result being that about two thirds of the entire collection has never appeared on any compilation before. And about half of those were NEVER even released, just collecting dust in the Petty vaults for almost 40 years.

Get Ready To Fly has something for every lover of late 1960s psychedelic music, whether you're a grizzled collector or a novice, so don’t hesitate for a second to pick this one up. It’s been a long time since a collection this solid has been released.

By Ben Chaput (Ace Records)
Ace Records 2012 CD 18.00 €
VA: - Girls In The Garage Part 3
23 tracks
Romulan Records CD 18.00 €
VA: - GS I Love You: Japanese Garage Bands
Proof that the Japanese have always excelled at anything they put their hand to, including interpreting Western rock, comes with this new Big Beat collection GS I Love You, packed with some of the most impressive beat and garage sounds you'll hear from any country. GS refers to Group Sounds, the name the Japanese media gave to the local explosion of bands circa 1967.

Japanese rock really got going with the instrumental eleki boom of 1964-1965, but obviously the Beatles and other British groups were as popular in the Far East as they were anywhere else in the world, and many of them, including the Fabs, helped inspire the Group Sounds boom by visiting Japan. Amongst the tunes covered (phonetically!) on GS I Love You are frantic versions of the Mojo's Everything's Alright, Arthur Brown's Fire, and an unintentionally hilarious mangling of Long Tall Sally by the Out Cast, which has to be heard to be believed.The casual listener will also be impressed by the high standard of production and performance in many of the original tunes included. While Japanese-language vocals can occasionally take a little getting used to, the instrumental backing tracks are consistently energetic and exciting, and fans of instrumental rock are in for a treat, as the guitar playing on many cuts is amongst the wildest and most manic of the era. for an example look no further than top GS combo the Spiders' rocking treatment of Cliff's Dynamite, which puts the Shads to shame, or their refreshing take on that old warhorse Wipeout.Elsewhere, the guitar work features plenty of fast 'n' furious fuzz and whammy bar, the legend being that, used to cheap home-manufactured instruments with a high-neck action, the skill of the average Japanese guitarist was doubled or tripled in mind-boggling fashion when slinkier Western equivalents were imported. As a bonus, most solos, even on the ballads, come with bloodcurdling screams, enthusiastic yells and shouts of such stock GS phrases as "Let's Go!!" and "Awwright Boys!!"The cynics out there may regard GS I Love You as a compilation of limited appeal, but in fact quite the opposite is true. It will bring a tap to the foot and a smile to the face of any open-minded student of 1960s pop. In researching this project, I even visited Japan (actually I was there on tour as a member of the Sneetches, but still managed to blow a small fortune on GS records). Original pressings of GS singles and albums by such heavyweights of the scene as the Golden Cups, Mops, Out Cast and Spiders can sell for hundreds of pounds on the collectors' circuit, but here's a chance to hear the 'A' selection of the best Group Sounds, at just a fraction of that cost.Trivia note: whilst there have been several GS compilations over recent years, this is the first legally-licensed one outside of Japan.

Ace Records
Ace Records 1996 CD 18.00 €
VA: - Hot Generation! 1960s Punk From Down Under
According to popular stereotypes, Australians prefer their beer strong and their football played by their own rules: hard'n'fast. It's an attitude that frequently extends to their music. Rock'n'roll down under has long held a reputation for being hard, fast, loud and delivered with an untamed, youthful abandon analogous to the land itself. In Australia's mid-60s beat scene this wild spirit flourished, manifesting itself in the music of hundreds of young bands, some of which, fortunately, made it onto vinyl. Unfortunately, with a few notable exceptions (the Easybeats, the Missing Links, the Masters Apprentices), most of these amazing records remain largely unknown and unreleased outside of their homeland. Now some of the very best of these sought-after sounds can be heard on Big Beat International's ongoing Antipodean 1960s series, the latest instalment of which is Hot Generation, another collection of prime tracks from the archive of Festival Records.

While the artists here drew from a broad stylistic palette - beat, pop, R&B, soul, even surf - the music shares a raw energy and a sense of adventure indicative of the spirit we've come to call 'punk'. This new frontier punk spirit appears in a variety of moods, shapes and attitudes: The Sunsets' The Hot Generation is a relentlessly upbeat celebration of the nation's surfin' lifestyle, yet later the Lost Souls' dark, eerie lament Peace of Mind finds them marooned "a long way from home".

Steve & The Board's two contributions, I Want and I Call My Woman Hinges, typify the Aussie beat blueprint laid out by the Easybeats, combining crunchy guitar riffery, clever vocal harmonies and a unique sense of mischief. The Easys' touch is even more apparent on Johnny Young's Good Evening Girl, written by that group's prolific Vanda and Young. Elsewhere, the Soul Agents provide throbbing freakbeat on I'm Still Mad at You and back Marty Rhone on the vibrantly catchy Every Minute of You, while the Black Diamonds dish out soaring pop melodies on See the Way and Not This Time.

Other highlights include Robbie Peters' fiery version of the Zombies' She Does Everything For Me, the Purple Hearts' fuzz-inflected R&B wailer I'm Gonna Try, Russ Kruger & the Atlantics' powerful Keep Me Satisfied and Tony Worsley's savage take on the Birds' How Can It Be. The latter track was rather out of character for Worsley, who was a frequent visitor to the Aussie charts in his tamer moments, as was Normie Rowe, who shows his rougher side here on the lesser known With Me. Shout-outs should also go to Ray Brown & the Whispers, the Morloch, the Southern Gentlemen and the Pogs who all provide memorable moments. Whatever form it may take, the wild spirit of this 'Hot Generation' possesses every track.

By Mike Stax
(Mike Stax is editor of the long-lived and world-renowned Ugly Things magazine - a new issue will hit the stands any day now)
Ace Records 2002 CD 18.00 €
VA: - IG Roof Garden - Dance Jamboree '66 2CD
55 studio tracks by 30 midwest 60s groups
Arf Arf Records 1994 CD 23.00 €
VA: - It Came From The Garage
24 tracks garage rockers from Downey Records 1964-1967
Ace Records 2007 CD 18.00 €
VA: - Mad Mike Monsters Vol. 1 - A Tribute To Mad Mike Metrovich
The wildest 45s discovered and popularized by enigmatic Pittsburgh hoo-doo DJ during his primo prime years 1964-67, compiled into three sets of instant party mashers! Massive gatefold LPs tell the story of the Mad One in his own words, complete with tons of memories from his many local fans, while the CD packs deliver the same in a pocket-size format! Absolutely staggering array of sounds from this Norton icon! All sizzle, no gristle! This is the first volume.
Norton Records 2009 CD 17.00 €
VA: - Mad Mike Monsters Vol. 2 - A Tribute To Mad Mike Metrovich
The story continues in this massive gatefold second volume
Norton Records 2009 CD 17.00 €
VA: - Michigan Mayhem Vol. 1
28 forgotten 60s Michigan Garage gems
More Fun Records 1996 CD 18.00 €
VA: - Michigan Mayhem Vol. 2
29 more 60s Michigan Garage Gems
More Fun Records CD 18.00 €
VA: - Midnite Sound Of The Milky Way
24 biisiä 60s Midwest Garage rock..
Ace Records 2004 CD 18.00 €
VA: - Mondo Frat Dance Bash A Go Go
31 tracks rare high octane 60s movers and shakers
Arf Arf Records 1995 CD 19.00 €
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