This blog is dedicated to the youngsters involved in the 60s music scene. Their love for music, enthusiasm and tension to experiment, created fantastic beats and grooves. 60s garage, psych, beat, freakbeat, pop, psychedelic, and even bubblegum has inspired a lot of musicians and generations.
Let’s make this a live community full with 60s amazing stories and sounds from all over the world.
The shake begins right now

Sunday, 28 December 2008

The Barbarians-Hey Little Bird

The Barbarians-Hey Little Bird:

A real primitive garage video from the Barbarians, most probably from late 1964.
Great tune and energy.
Just pay attention to the drummer, the way he pounds his drums and the fact that all is done with one hand and one metal prosthetic claw!!!!!!!!

Saturday, 27 December 2008

Serge Gainsbourg-C'est la cristallisation-1967

Dear Bloggers,
I want to wish you Merry Christmas

Here I will post a Video Clip that is not garage, but I think that is really ultra cool from the 60s era.
I present you Serge Gainsburg-C'est la cristallisation from 1967 from the movie "Anne".
The song seems more like a dialogue between the actors in French swinging 60s night club.
Serge Gainsb0urg, one of the coolest composers and not only...

Tuesday, 25 November 2008

Jimi Hendrix singing Wild Thing

Jimi Hendrix singing Wild Thing

Rolling Stones performing 2000 Light Years from Home, 1967

Rolling Stones performing 2000 Light Years from Home, 1967

Saturday, 18 October 2008

60s Organ

Forget the Hammond B3 and her clunky brethren, the organ of choice for the discerning (and touring) 60s rock band was bound to be colorful, compact, and a scorcher in sound. The suitcase style combo organs, revered for their “cheezy” timbre, defined a classic sound for many well-known outfits and devoured the churchy sound from the organs of yore, paving the way to the synthesizer age. Welcome to the wonderful reedy world of combo organs.

The Vox Continental (1962)

Lord and master of all things combo, this line of organ is probably revered as much for its sound as for its sleek look. The beautiful inverted, harpsichord-like keys, smooth pull drawbars, and striking red flat-top cover set the bar for portable organ design over the next 10 years. Initially meant to replace the B3 for touring musicians, the distinct transistor sound of the Continental caught on with groups like the The Animals and Sir Douglas Quintet and was used most famously on Iron Butterfly’s In-A-Gada-Da-Vida. The Super Continental boasted two sets of keyboards (known as “manuals”) and even more customization of sound with a “percussion” feature, while stripped down versions like the Jaguar featured only preset buttons, without the drawbars, and a slightly thinner sound. Hard to go wrong with the Vox Con tho; let’s hear it tear. “Lay it on me, Augie“:

Farfisa Compact (1965)

They’ll tell you any combo organ recording from the 60s… if it’s not a Vox Continental it’s the Farfisa Compact. The Farfisa sound is somewhat distinct, sounding punchy and chewier than the Vox, and the “Farfisa” name does seem to embody the whole combo-organ sound in our collective consciousness. The Italian-made Farfisa was converted from the company’s transistor accordians, and became the 2nd most popular combo organ after the Vox; probably a more affordable choice for tons of 60s garage bands. The octave of black keys on the left could be switched to a bass sound that was separate from the white keys, and uniquely, you could push the lever on the bottom with your knee to open the filter of the sound during performance. The Compact line spawned many fine instruments including the Farfisa Compact Duo (two manuals), the brilliantly designed (but non-transistor) Farfisa FAST and Professional, and a series of interesting organ/synthesizer hybrids. Here’s a glaring Farfisa cut I’m sure you’ve all heard, followed by a clip of Herbie Hancock riffing nasty on a busted Farfisa for Miles Davis’s Tribute to Jack Johnson:

Gibson G-101 (1966)

Ray Manzarek used the Vox Continental for the first two Doors albums, but switched and stayed with the G-101, also known as the Kalamazoo. His use of the instrument, combined with a Rhodes Piano Bass set on top, has lended to its classic, sought-after status. Not only did the G-101 have black bass keys like the Compact, but an additional set of gray keys that could switch between an extended bass section or extended treble section. Other features included vibrato, tremolo, and sustain controls. What most distinguished it from other combos were its Piano and Harpsichord sounds, similiar to sounds heard on Back Door Man (The Doors) and Lucy in the Sky, respectively.

The Rising Storm

NO ONE REALLY KNOWS how legends get their start. They just do. In music, some bands become legendary during their active career. Others become so with the passage of time. It can start as a consensus among an elite few, perhaps because their music affects everybody differently, or perhaps because no one can seem to describe what sets them apart.

I first heard the Rising Storm at their 1981 reunion in Boston. It wasn't until I listened to their first album, Calm Before, that I recognized they were unique. I still can't put it into words, but if you compare this album to others released in the mid-'60s, there is no mistake: the Rising Storm are the best. Perhaps it's because they dared to record originals at a time when most bands relied on cover versions of well-known songs. Perhaps it was the chemistry of the six band members. Certainly it was the times. Maybe it was all of these things, possibly none. All that really matters is that the Rising Storm existed, and left us a brilliant LP that continues to be cherished more than thirty years after its release.

Their saga began at Phillips Academy in Andover, Massachusetts, one of the many prep schools that dot the New England Landscape. During the '60s, Andover was home to many bands that provided the music for the "mixers" where the Phillips student-body would socialize with girls from neighboring prep schools. Many of these groups released LPs as a keepsake of their days at Andover - a tradition began in the early '60s. The Torques, the Apostles, the Satans, and the Invictas all chronicled the popular songs of the day on albums consisting mostly of instrumental and frat-rock covers. The Ha' Pennies, who graduated in 1966, cut an album that was slightly more progressive. They too, recorded cover versions, but picked their material from the Beatles, Rolling Stones, and other mid-'60s artists. Unlike those before them, they dared to include an original song, "Love Is Not The Same" on their album.

Into this backdrop, in the fall of 1964, came the Rising Storm. They were Bob Cohan, Todd Cohen, Charlie Rockwell, Tom Scheft, Tony Thompson, and Rich Weinberg. They began like most bands, a few friends jamming on borrowed equipment, playing songs like "Wild Weekend" or "McCoy." But even in their infancy, they were experimenting with original music.
In the spring of 1965, they began to play at a few mixers under the name "The Remnants." Then, fearing that their moniker too closely resembled another more popular Boston band's name, they changed to "The Rising Storm," a term taken from their American history syllabus used to describe the turbulent period before the American Revolution. Thus, a band was born.
1966 - 1967, their senior year, they acquired a reputation as a good live band scoring extra points with their peers by extending the slow dance numbers. During spring break, they followed the tradition of previous Andover bands and recorded an album. They chose Continental Recording Studios in Framingham, MA on a recommendation from the Ha' Pennies, who had recorded their album there the previous year. For $1000, they had the studio to themselves for a week and received 500 copies of the resulting LP. When the record was released, they sold for $3.00 apiece - a far cry from the price tag affixed to that album these days.

The following year, the band went off to college and the Rising Storm was no more.

The Beatniks (singles 1968)

Passing through various configurations, the Beatniks first name was Analphabeatles and changed their name because there were bands using the same name in Rio de Janeiro and Minas Gerais. They were formed in 1965, injected Beatlemania in the programs 'Young Guard'(Jovem Guarda), presented by Roberto Carlos on TV Record, and' The Good ', headed by Eduardo Araujo, and on TV Excelsior (SP), Channel 9.
The band Betniks, when not accompanying the singer Ingrid Domingueiras also played in Sao Paulo and famous concerts promoted by Rhodia / Fenit.

After flirting with the beat European "culture" of psychedelia,that emerged around the world in 68, they recorded one of the most beautiful versions of Gloria, from Van Morrisson’s Them, for the Mocambo label.

With Bogo, guitar, vocal and the band head thinking; Marcio, guitar and voice; Nene, down, then Incredibles, and Nino Graves' Tired of Waiting "and" The Empty Place ', originally released on compact 66, by CBS. And then the Mocambo in 68, 'Because I was a boy who I loved The Beatles and The Rolling Stones' and' Outside Chance ', a version of the Turtles.

They recorded in the famous double-single, also in Mocambo in 68, with 'Gloria,' 'Fire', (Jimi Hendri’x original) 'I find you' and 'Alligator Hat' .

My favorite track here is 'Alligator Hat' which is an extremely powerful track full of snarling guitars and vocals.

01. Glória
02. Fire
03. Eu te Encontro
04. Alligator Hat
05. Era um Rapaz que Como Eu Amava Os Beatles e Os Rolling Stones
6. Outside Chance

Friday, 15 August 2008

Project Blue Vols. 1, 2 & 3

Here are the first 3 Volumes of the Project Blue Compilation. Volumes 1& 2 mostly include 60s music groups from the non English speaking world. Volume 3 is dedicated to American garage –rock bands.

Volume 1 mostly includes sixties bands influenced mostly by garage-rock-punk from 1965-68 from countries such as Poland, Canada (French speaking), Switzerland, France, India, Czechoslovakia, Yugoslavia, Japan, Spain, USA
Volume 2 is mostly includes sixties bands influenced mostly by psychedelic-rock from 1966-70 from countries such as Czechoslovakia, Canada (French speaking), Mexico, Poland, Yugoslavia, Italy, Japan and USA.
Volume 3 includes American groups

Volumes 1 & 2 include some covers of pretty well known songs, which are rather interesting as you can see the influence that 60s music from England or USA had in the youth all over the world. It is pretty much amazing if you think that 40 years ago the means of communication were so much different than the ones we have now.

Project Blue Vol. 1

1 Niebiesko-Czarni - Kulawy Wojtek (Gdansk, Poland) *2 Les Sultans - I Can Only Give You Everything (Montreal, Canada)3 The Dynamites - Too Late (Basel, Switzerland)4 Les Lord's Sonic's - Le Fuyard (France)5 The Bushmen - It's All Over Now (India) *6 The Yo Yo's - Gotta Find A New Love (Memphis, TN, U.S.A.)7 The Soulmen - I Wish I Were (Czechoslovakia)8 Zlatni Akordi - My Generation (Zagreb, Yugoslavia)Side 21 The Dynamites - Tunnel Tengoku (Tokyo, Japan)2 Los Sirex - Acto De Fuerza No 10 (Barcelona, Spain)3 Les Lutins - Donne-Moi Raison (Montreal, Canada) *4 The Bushmen - Jezebel (India) *5 The Dynamites - Someone Like Me (Basel, Switzerland)6 Delfini - Bebel (Zagreb, Yugoslavia)7 Ray Hummell III - Fine Day (Grand Rapids, MI, U.S.A.)8 Czerwono-Czarni - Big-Beatland (Poland) *

Project Blue Vol. 2

Side 1
1 The Matadors - Indolence (Prague, Czechoslovakia) *2 The Endd - Project Blue (La Porte, IN, U.S.A.) *3 Les Lutins - Demain, Ca Ira (Montreal, Canada) *4 The Matadors - Don't Bother Me (Prague, Czechoslovakia)5 La Revolucion De Emiliano Zapata - Melynda (Mexico) *6 The Action - Climbing Up The Wall (London, U.K.)7 Niebiesko-Czarni - Smutni List (Gdansk, Poland) *8 Mario Molino - Operazione Beat (Italy) *Side 21 The Mops - Atsuku Narenai (Tokyo, Japan)2 The Feminine Complex - Hide & Seek (Nashville, TN, U.S.A.) *3 The Matadors - Malej Zvon, Co Mam (Prague, Czechoslovakia)4 Los Rockin' Devils - Hello, I Love You (Tijuana, Mexico)5 Juventus - 18 Minut (Czechoslovakia)6 Grupa 220 - Prolazi Jesen (Yugoslavia) *7 The Blue Effect - Sun Is So Bright (Prague, Czechoslovakia) 8 Touch - Light My Fire (St. Louis, MO, U.S.A.) *

Project Blue Vol. 3

Side 11 The Six Deep - Girl, It's Over2 Rising Sun - Everybody Should Love Somebody3 Newberry 4 - That's Why I'm A Rolling Stone4 Missing Links - You've Got Your Rosies On5 Baker Knight & The Knightmares - Hallucinations6 Curfews - Look At Me7 Gyrations - Steppin' Stone8 East Coast Journeymen - Down Down Down9 The Sound Of Fury - I Don't Need YouSide 21 The Young Tyrants - I Try2 The Hazards - Hey Little Girl3 The Barracudas - I Can't Believe4 Brym-Stonz LTD. - You'll Be Mine5 Mark 5 - Only Woman You Can Trust6 The Preachers - Stay Out Of My World7 Ray Hummell III - Gentle Rain8 The Invaders - Have You Ever

Download Vol. 1 here:
Download Vol. 2 here:
Download Vol. 3 here:

Blog Update

Dear 60s garage-psychedelic friends,

Please accept my apologies for not having posted anything for 3 months. Heavy workload didn't allow me to upload any music from the sixties.

Now I am back and promise to upload and share with you more regularly our favourite, garage, freakbeat, psychedelic and other obscure and hard to find type of music from our favourite decade.

60s garage is back

Enjoy !!!

Sunday, 18 May 2008

Swamp Rats (1966)

Without doubt one of the most awaited Reissues & comps of the century! You don't know THE SWAMP RATS? This band was the loudest 60s band EVER!! IJust listen to the first track on this 13 track album, „louie louie"...which is one of the punkiest, most outrageous versions you have heard so the clue..this band was around in 1966-1967!!! I was just thinking about being at one of their shows in the 60's & hearing their incredible loud proto-Punk, their fuzzed out orgies, their wild sound! Man, listen to their version of THE SONICS' „psycho"...a manifest of raunchy rock'n roll..or that true monster-fuzz in THE SPARKLINGS „no friend of mine"..or the wildest ever version of THE LEAVES „hey joe"!!!! Of course..and everybody needs a rest, there are also some more mellow tracks on this...but...Punk rock NEVER became louder than here..and it was it

Track List
1. Louie, Louie
2. Hey Freak
3. She's Got Everything
4. I'm Going Home
5. Hey Joe
6. It's Not Easy [Version 1]
7. No Friend of Mine
8. Till the End of the Day
9. In the Midnight Hour
10. Here, There and Everywhere
11. Tobacco Road
12. Psycho
13. It's Not Easy [Alternate Version]
14. Untitled
15. Untitled
16. Untitled

Sunday, 20 April 2008

Conquer the World Vols 1 & 2

Conquer the world volumes 1 & 2 bring you 36 tracks from all over the world. Music in the sixties may have been dominated by anglo-speaking groups in commercial terms. But the pheanomenon of Beatles and Rolling Stones inspired thousands of young teenagers throughout the world who created music groups and gained loacal or national success. The two volumes of this compilation bring you 60s music in pop, beat, garage and freakbeat styles from countries such as Sweden, Philippines, South Africa, Luxemburg, Turkey, Singapoore, Spain, Greece, Norway, Chile, Japan, Portugal, Germany, Peru, Brazil, Israel, Belgium, France, Mexico and Lebannon.

Conquer the World Vol 1 :
1 United Nation - The Daily News (Stockholm, Sweden) *2 Ronnie King & The Passions - Girl Break Away (Pittsburgh, PA, U.S.A.)3 Eddie Peregrina & The Blinkers - Love For Sale (Manila, Philippines) *4 The Hobos - Hasie (Cape Town, South Africa) *5 Eric Thomace & The Chaps - You're Untrue (Luxembourg) *6 Baris Manco & Les Mistrigis - Bien Fait Por Toi (Turkey) *7 The Straydogs - Mum's Too Pampering (Singapore) *8 The Crescendoes - Minnie The Moocher (U.K.) *9 The Luvin' Kind - That Jungle Sun (Winnipeg, Canada) *10 Los Archiduques - Lamento de gaitas (Spain)11 The M.G.C. - Blame The Talent In The Family (Athens, Greece) *12 Asa & 1-2-6 - I'm Poisoned (Bodo, Norway) *13 Trailers - Don't Laugh (You'll Cry) (Singapore) *14 Los Angeles Salvajes - Sicodelico (Chile) *15 L.S.D. Orkestrasi - Donmeyen Sevgili (Turkey) *16 The Tempters - Kamisama Onegai (Saitama, Japan)

Conquer the World Vol 2:
1 Os Epaciais - Your Turn To Cry (Portugal) * 2 The Divorced - A Real Man (Sarpsborg, Norway) * 3 The Gents Inc. - Boy's Waiting For A Girl (Germany) * 4 Sangre Negra - Saturday Women (Lima, Peru) * 5 Reggie Norton & The Ideas - Take It Easy (Australia) * 6 Suely & Os Kantikus - Que Bacana (Sao Paulo, Brazil) * 7 The Deverons - Farmer John (Winnipeg, Canada) * 8 The Streaplers - Bad Tough Luck Girl (Gothenburg, Sweden) * 9 The Stylers - Mrs. Seelo (Singapore) * 10 The Fat & The Thin - I'm A Travelin' Man (Tel Aviv, Israel) * 11 The Explosion - Sunlight (Belgium) * 12 Trailers - Quiver (Singapore) * 13 Les Jets - La Cornemuse (France) * 14 The Nite Watchmen - I'm Gonna Lose My Mind (Findlay, OH, U.S.A.) * 15 Lee Grant & The Capitols - Don't Cry Baby (U.K.) * 16 Los Brujos - Solo Quiero Amor (Palma de Mallorca, Spain) * 17 Terry Dean & The Nitebeats - If I Can (Auckland, New Zealand) 18 Los Loud Jets - Sand (Mexico) * 19 Los Syn - Chica Tiιntame (Chile) * 20 Simon C. Edwards & His Soul Set - The Way I Do (Lebanon)

Monday, 31 March 2008

The Forum Quorum (USA-1968)

Forum Quorum is forgotten group despite a number of impressive accomplishments. But how many other groups of the era can claim two appearances on the Mike Douglas Show, two motion picture soundtracks, numerous product jingle recordings, a Vox sponsorship, a national magazine cover, and two 45 singles and a full LP release. Excellent teen psych LP with swirling organ sounds with eastern influences including the Greek traditional guitar of “bouzouki” and amplified flute. They were formed in New York.

I think that you will really enjoy this LP as it has very good production and powerful compositions which represent perfectly the 60s music scene of the era.

Their members were: Sturg Pardalis, Sal Palazzolo, Roger Calleo, Brian Albano, and Bobby Castaldo.

Saturday, 15 March 2008

The Bad Vibrations of 16 USA Lost Bands

In the USA during the 60s thousands of groups were formed and recorded hundrend of thousands of Singles, EPs or LPs. In the beginning they were very much influenced by the British Invasion groups but later on they developed their unique sound in garage pop and psychedelic standards. Most of these groups remained unnknown and had only local success. But their music is still vivid until today and here I present you some great songs from 16 USA Lost Bands.
Track Listing:
1.Jim Doval & The Gaucho's - Mama Keep Yo! Big Mouth Shut
2. Wanted - Lots More Where You Came From
3. Mersey Beats U.S.A. - Nobody Loves Me That Way
4. Boys Next Door - Suddenly She Was Gone
5. Tree - Man From No Where
6. Mixed Emotions - Can't You Stop It Now
7. Colossal - Light My Fire
8. Rocks - Because We're Young
9. Dimensions - Penny
10. Gil Bateman - Wicked Love
11. Abstract Sound - I'm Trying
12. Sandmen - World Full Of Dreams
13. Monacles - Everybody Thinks I'm Lonely
14. Disciples - Junior Saw It Happen
15. Distant Sounds - It Reminds Me
16. New Chains III - The End

Sunday, 2 March 2008

Rare Mexican Cuts from the 60s

Please dig on this compilation with Rare Mexican Cuts from 60s. All tracks are sung in Spanish , are versions of well known songs from the UK and the USA from this era and have a garage-frat rock feeling. My favorite is the Los Monstruos version of the Pretty Things's "mama keep your big mouth shut". You can also pay attetntion the Los Rockin Devils version of the Doors original "Hello I love you" which is transformed to a pure garage song, while the "Hey Joe" by the Locs del Ritmo is another extremely intresting version of this extremely popular composition among 60s garge bands all over the world.

Track List
1 Los Locos Del Ritmo - Pedro Pistolas (Peter Gunn Theme)
2 Los Anis - Mary Mary
3 Los Apson - Satisfaction
4 Los Monstruos - El Monstruo (Mama Keep Your Big Mouth Shut)
5 Los Apson - Susie Q
6 Los Johnny Jets - Fiebre (Fever)
7 Miguel Angel & Los Sharps - Gloria
8 Los Belmont - Arriba Abajo y a Los Lados (Over Under Sideways Down)
9 Los Rockin' Devils - Halo Que Tal (Hello, I Love You)
10 Los Locos Del Ritmo - Hey Joe
11 Los Yaki - Juan Saltarin (Jumpin' Jack Flash)
12 Los Johnny Jets - Deja DeLlorar (Everything Is Alright)
13 Los Johnny Jets - Cool Jerk
14 Los Ovnis - Pequena Ayuda De Mama (Mother's Little Helper)
15 Los Johnny Jets - Bajate De Mi Nube (Get Off Of My Cloud)

Monday, 18 February 2008

Los Gatos Salvajes

This is a great compilation about this Argentinian band containing wild beat, great balads, nice touches of a wild dose of garage, in simple lyrics. The band initially was called the Wild Cats, then they`ve changed the name to Los Gatos Salvajes, the played between 1964 and 1967 before they became Los Gatos which were quite succesful.

They performed their songs in Spanish and my favorites from this compilation are Yo Soy El Major, and Quien Vendra Por Mi which are pure garage tracks with harmonica and wild farfrisa.

Download Here:

Sunday, 10 February 2008

John's Children - Smashed Blocked (1966-67)

John's Children were one the 1960s' more controversial groups but have claimed their place in the history of rock. The band consisted of Andy Ellison on vocals, John Hewlett on guitar and bass, Geoff McLelland on guitar and Chris Townsen on drums. The band started as The Few in Surrey in 1964. They then became Silence. Simon Napier-Bell became their manager and they became John's Children.
They made two early singles for Columbia. Smashed Blocked, which had to be renamed The Love I Thought I Found, and Just What You Want Just What You'll Get. Geoff McLelland was sacked from the band in 1967 and was replaced by a Marc Bolan. EMI refused to issue the third single, Not the Sort of Girl (You'd Like to Take to Bed), and a "live" album called Orgasm was also not released except in the USA. Actually, Orgasm was not a live album but a studio album with the screams dubbed on from A Hard Day's Night, hence the screams for John, Paul, George and Ringo if you listen closely.
The first single with Bolan was Desdemona. This was covered later by The Jam apparently (I never heard The Jam do it myself though). It was also a controversial release and was banned by many radio stations which objected to the line "lift up your skirt and fly".
Bolan departed in June 1967 after an argument about the new single A Midsummer Night's Scene. Bolan was apparently incensed with the production techniques used by Simon Napier-Bell that the release was canceled. In its place, the B-side of Desdemona, Remember Thomas A Becket was released with new lyrics and was called Come and Play with Me in the Garden. It was allocated the same catalogue numberThe group carried on with Chris Townsen on guitar and former roadie Chris Colville playing drums and released Go-Go Girl at the end of 1967. This was another Bolan song which became Mustang Ford in T-Rex days. There is also a John's Children version of the song as Mustang Ford.
The group split soon after a disastrous tour of Germany. Hewlett became publicity manager for Apple Records and later the manager of Sparks. Townsen played with various bands including being a deputy for Keith Moon in the Who (no easy job that). Andy Ellison made four solo singles, some TV commercials and stunt work. He later emerged as the lead singer in Radio Stars who had a UK hit with Nervous Wreck.
A fantastic collection of songs by an underrated group. My favoutrite John's Clidren song is the supeb Jgged Time Lapse which I think it was a at least decade ahead of its time.
Track List
1. Smashed Blocked
2. Just What You Want- Just What You'll Get
3. Strange Affair
4. But She's Mine
5. Hippy Gumbo
6. Jagged Time Lapse
7. Midsummer Night's Scene ( Alternative Version)
8. Not The Sort Of Girl You Take To Bed
9. Mustang Ford
10. The Love I Thought I'd Found
11. Remember Thomas A'Beckett
12. Come And Play With Me In The Garden (Inst)
13. Daddy Rolling Stone (BBC)
14. Hot Rod Mama (BBC)
15. Perfumed Garden Of Gulliver Smith (BBC)
16. Jagged Time Lapse (BBC)
17. Sally Was An Angel (Inst)

Saturday, 2 February 2008

Pebbles Vol. 3 (The Acid Gallery)

Pebbles Vol. 3 focuses on obscure mid 60s psychedelic rock, is one of the most exciting albums ever. This is full blown, mind-pulverizing, acid-drenched rock 'n' roll dementia.with fuzz guitars and pounding rhythms are mixed with bizarre lyrics, trippy production, instrumrntal freak-outs, and the occasional burst of random noise. The result is a collection of songs that combine the raw joy of standard 60s garage rock with the weirdness of avant guard artists of the era, such as the Velvet Underground. Think that these songs were more produced more than 40 years ago!!!!

Please note that Lea Riders Group's "Dom Kellar os Mods," is not coming from the United States and is obscure Swedish classic .

Perhaps my favourite song in this compilation and one of my favourites from sixties music is the Third Bardo's "I'm five years ahead of my time". I think that in 2 minutes the Third Bardo achieved a lifetime masterpiece in a simple genious way !!!!.

Track Listing

1. The Higher Elevation - The Diamond Mine
2. Teddy & The Patches - Suzy Creamcheese
3. Crystal Chandlier - Suicidal Flowers
4. William Penn V – Swami
5. The Jefferson Handkerchief - I'm Allergic To Flowers
6. uncredited - (bonus track)
7. The Calico Wall - Flight Reaction
8. The Hogs - Loose Lip Sync Ship
9. The Driving Stupid - Reality Of Air-Fried Borsk
10. The Third Bardo - I'm Five Years Ahead Of My Time
11. The Bees - Voices Green And Purple
12. Godfrey - Let's Take A Trip
13. The Monocles - Spider & The Fly
14. T.C. Atlantic – Faces
15. Lea Riders Group - Dom Kellar Oss Mods
16. The Race Marbles - Like A Dribbling Fram
17. The Driving Stupid - Horror Asparagus Stories
18. The Painted Faces - Anxious Color
19. Adjeef The Poet - Leek, I'm A Freak
20. Adjeef The Poet - Squafrech Lemon Comes Back
21. The Beautiful Daze - City Jungle, Pt. 1
22. Catfish Knight – Deathwise
23. The Oshun - Rattle Of Life

Sunday, 27 January 2008

Pebbles Vol. 1

Originally released in 1978 by a small Australian record label, the first volume of the Pebbles series is one of the quintessential platters of obscure 60s garage rock. The songs here are rough, rowdy, and raw, bashed out by pimple-popping teenagers with a surplus of passion and youthful agression. The set boasts some of the most revered garage rock tunes ever- The Litter's "Action Woman," for example, is widely considered to be one of the greatest 60s punk tunes of all time. Which makes perfect sense when you consider the fact that its a brutal, cathartic masterpiece, brimming with manic energy and sexual frustration. The Preachers' rendition of the classic Bo Diddley tune "Who Do You Love" is a grimey, thuggish, violent masterpiece, decked out with some caveman vocals and a mencaing, roaring melody. The Haunted's "1-2-5" is the epitome of slinky, greasy rock n roll, and "Going Away Baby" by the Grains of Sand is a hyperactive barn-burning organ-bashing extraviganza. The Outcasts' "I'm In Pittsburgh" is pure, double-time proto punk, and the Wild Knights' "Beaver Patrol" is fantastically filthy. There are also a few flat-out weirdos: Kim Fowley's "The Trip" is a wonderfully sleazy psychedelic rant, and The Elastik Band's "Spazz" may very well be one of the most insensitive songs of all time- and it's still great. The JuJus' "You Treat Me Bad" features some fantastically odd lead vocals and a great, driving guitar line. The Soup Greens contribute a hilarious cover of Bob Dylan's "Like A Rolling Stone" which bears almost no resemblance to the original. But never mind that- with its driving, "Louie Louie" style chord progression and sing-along vocals, it's still a great song. The Gonn's "Blackout of Gretely" and the Sparkles' "Ain't No Friend of Mine" (both of which were included as CD only bonus tracks) are two of the loudest, rawest, and meanest garage tracks ever. There are a few somewhat unspectacular tracks: "Potato Chip" is an obscure track by the relatively well-known Shadows of Knight, possibly released as a promotion for a potato chip company, which features a spoken word "interview" with the band followed by a weird song about the titular snack food. The interview, which is obviously scripted and features the band cracking some terrible jokes in a bored monotone, is interesting for kitsch value and not much else. The song itself is weird, dull, and worthless. Positively 13 O Clock (a doppleganger for Texas' Mouse and the Traps) turn in a fun but largely forgettable cover of the Count Five's "Psychotic Reaction," and the Split Ends' "Rich With Nothin'" is a decent but unnecessary number that I could really give or take. Also, the packaging itself contiand a couple of truly boneheaded errors: Two of the songs listed as being on the CD (The Wig's "Crackin' Up" and "I Need Love" by the Third Booth) are left off of the disc. The compilers also left off the Squires' excellent "Going all the Way," even though it was one of the highlights of the vinyl edition. Nonetheless, this is an excellent garage compilation, and a key purchase for any fan of 60s obscurity....

Track List

1. Letter - Action Woman
2. Preachers - Who Do You Love
3. Floyd Dakil Combo - Dance Franny Dance
4. Outcasts - I'm in Pittsburgh
5. Grains Of Sand - Going Away Baby
6. Ju Jus - You Teat Me Bad
7. Haunted - 1-2-5
8. Soup Green -Like A Rolling Stone
9. Wig - Crackin' Up
10. Positively 13 O'Clock - Psychotic Reaction
11. Kim Fowley - The Trip
12. Elastic Band - Spazz
13. Split End - Rich With Nothin'
14. Shadows Of Knight - Potato Chip
15. Wild Knights - Beaver Patrol
16. Sparkles - Ain't No Friend of Mine
17. Gonn - Blackout Of Gretely
18. Third Booth - I Need Love
19. Weed - It's Your Time
20. Surprise Track

Monday, 21 January 2008

The Sonics - Here are the Sonics

The Sonics whose name it is said was inspired by both the Boeing factories in and around Seattle and the jetlike sound this fivesome produced. A premier garage band with hit after hit on the local charts, the band inexplicably was never able to break out nationally, leaving their sound largely undiluted for mass consumption. They played classic songs by Little Richard and Chuck Berry, but wrote their own work too. It is by those songs that the Sonics have reached the legendary status they still have. The horror inspired texts, distorted and loud guitar playing and the hysterically screaming vocals make songs such as “(She's a)Witch”, “Boss Hoss”, “Cinderella”, “Psycho” and “Strychnine” true classics.
The Sonics from Tacoma, Washington were formed in 1963 in the wake of the early 60s success of local favorites the Kingsmen and the Wailers (whose Etiquette label they recorded for). The original members were Gerry Roslie (lead singer and piano/organ), Andy Parypa (bass), Larry Parypa (guitar), Bob Bennett (drums), and Rob Lind (saxophone). The Sonics combined the classic Northwest-area teen-band raunch with early English band grit (particularly influenced by the Kinks), relentless rhythmic drive, and unabashed '50s-style blues shouting for a combination that still makes their brand of rock and roll perhaps the raunchiest ever captured on wax.Lead singer Gerry Roslie was no less than a White Little Richard, whose harrowing soul-screams were startling even to the Northwest teen audience, who liked their music powerful and driving with little regard to commercial subtleties.
The Sonics started out playing at St Mary's Parish Hall, then Tacoma's Red Carpet teen dance club, Olympia's Skateland, Evergreen Ballroom, Pearl's and the Spanish Castle Ballroom. It was the Wailers bassist, Buck Ormsby that discovered the band as he was out talent scouting for their label, Etiquette Records.Unlike what was customary in those days the Sonics used to play as loud as possible. One of the semi-legendary stories going around about their recording sessions tells that the Sonics were only satisfied about the studio sound when all VU-meters were continuously in the red, thus driving the technicians to despair. "The Witch" became a hit in November after the Sonics had performed at Tacoma's Curtis High School. Andy: "We had just played their homecoming dance and Pat O'Day (the regions biggest DJ) came in the next week to do one of his sockhops and give a few records away. A bunch of kids kept requesting, The Witch so I guess he finally played it and the place went nuts. The next day Pat started playing (the record on the air). The single then became the all-time best-selling local rock single in Northwest history.
In fact this radio station (KJR) wouldn't air the tune prior to 3pm. Andy: "O'Day later told me that eventually the song had reached No 1 in sales, but the station policy said it was too far out to chart at No 1. The station only played it after kids got out of schools".
Their first album was a masterpiece: rough, aggressive, distorted with sweaty and frantic rock and roll. The songs "(She's a) Witch", "Psycho" and "Strychnine" written by Gerry Roslie were outstanding. For those who are not familiar with the Sonics, the first lines of “Strychnine” give a nice impression of their world: “some people like water / some people like wine / but I like the taste ... / ... of straight Strychnine”
Their second album was not that frantic, but still fantastically good - (their "Louie Louie" is really the best version ever recorded!) In 1966 they were the opening act for the Beach Boys, Jan & Dean, Jay & the Americans, Ray Stevens, Herman's Hermits, the Righteous Brothers, the Kinks, Lovin' Spoonful, Mamas & Papas and the Byrds. They also played together with another garage band, the Liverpool 5 and the female trio, Shangri-Las.
Their third album, which was produced by Jerry Dennon of Jerden Records, was called Introducing The Sonics because it was their first on a major label. This album was later re-released in the late seventies under the title The Sonics' Original Northwest Punk.
The last 45 recorded by the original line-up was "Any Way The Wind Blows." After this members departed to go to college or join other bands with Rob Lind being the last original member to leave in 1968.
Breaking up in the late '60s, after attempting to water down their style for national attention, the Sonics continue today to be revered by '60s collectors the world over for their unique brand of rock & roll raunch

Sonics are a legendary group and were one of the pioneers of what was called as garage-punk rock and they influnced hundrends of groups on the forthcaming decades.

The Strangeloves - I want candy

Formed in 1964 in New York City, USA, the Strangeloves consisted of songwriters and record producers Bob Feldman, Jerry Goldstein and Richard Gottehrer. Although they left their mark under the name Strangeloves with only four singles and one album, their fascinating story extends both before and beyond the group's brief tenure. Feldman and Goldstein had been childhood friends in Brooklyn, New York, and sang in street corner doo-wop groups. They began writing songs together and had their first success with "Big Beat", which disc jockey Alan Freed used as the theme song of his television show. By 1960 they had recorded some unsuccessful singles as Bob And Jerry when they met Bronx native Gottehrer, who was also writing songs. Before long the trio's compositions were being recorded by such major artists as Dion, Pat Boone, Freddy Cannon, Bobby Vee and the Jive Five. Their greatest success came in 1963 when Feldman, Goldstein and Gottehrer wrote and produced "My Boyfriend's Back", which became a number 1 hit for the Angels. By the following year, however, the landscape of pop music had changed with the arrival of the Beatles, and the trio had to rethink its approach. They created the Strangeloves (taking their name from the Stanley Kubrick/Peter Sellers film, Dr. Strangelove) and a mythical story to go with them. Wearing bizarre costumes, they said they were from the Australian outback and put on phony accents. Their names became Niles, Miles and Giles Strange. In 1965, they released their first single, "Love Love Love", on Swan Records, which failed to chart. They then signed to Bang Records and released "I Want Candy", a Bo Diddley-like rocker that reached number 11. Three further singles charted: "Cara-Lin" (number 39 in 1965), "Night Time" (number 30 in 1966) and "Hand Jive" (number 100 in 1966). Their only album also made the charts. In addition to their recordings as the Strangeloves, Goldstein And Feldman recorded as the Kittens, as Rome And Paris, as Bobby And the Beaus and as Ezra And The Iveys. The trio produced the McCoys' hit "Hang On Sloopy" and recorded as the Sheep. Following the break-up of the Strangeloves, Goldstein worked for Uni Records, and later produced the group War. Feldman continued to write music and produce, working with artists such as Jay And The Americans, Johnny Mathis, Freddy Cannon and Link Wray. Gottehrer became a partner in Sire Records and a successful record producer during the punk era, producing the first two albums by the Go-Go's, the debut album by Blondie and many others. Feldman recently formed a new Strangeloves group.
This LP cannot be characterised as pure garage but it certainly has a garage feeling where heavy saxophone has replaced fuzz guitars. It certainly worths to be listened.

Monday, 14 January 2008

A Forest of Gold Tops in the Land of Oz (compilation with Australian 60s psych)

A fantastic compilation with Australian 60s psych music. You will be astonished from the music and soundsthat was produced from the land of Oz. My favourite track is the trippy "Long Live Sivinanda" from the Inside Looking Out, which seems to be ahead of its time.

Track Listing

1.James Taylor Move - "Still I Can Go On" (3:05)
2.The Bucket - "I Can't Help Thinking About You" (2:30)
3.Wright of Waye - "You Can't Do It Alone" (2:45)
4.Wright of Waye - "Penelope Play" (2:31)
5.Inside Looking Out - "Morning Sun" (3:00)
6.The Proclamation - "King of the Mountain" (3:05)
7. Chris Malcolm - "Hurt, Love and Fire" (2:30)
8.Pastoral Symphony - "Sunshine Is My Sorrow" (2:24)
9.Clapham Junction - "Emily on the Grass" (2:56)
10.The Imagination - "We Got Fun" (2:39)
11.Playboys - "Black Sheep R.I.P." (2:47)
12.Playboys - "Sad" (2:58)
13.Inside Looking Out - "Long Live Sivinanda" (2:19)
14.Wright of Waye - "Sun God" (2:55)
15.Wright of Waye - "Dollar Song" (2:47)
16.Puppy - "Belinda" (2:20)
17.Puppy - "Elizabeth St. Bridge" (3:31)
18.James Taylor Move - "And I Hear the Fire Sing" (2:44)
19.The Vegetable Garden - "Even Stevens" (3:23)
20.Peter Best - "Carousel of Love" (1:48)
21.Oak Apple Day plus the Deadly Pair - "Moon Shot" (2:41)
22.The Proclamation - "Tea and Sympathy (Don't You Worry)" (2:44)
23.Mike Furber - "Watch Me Burn" (3:24)
24.Peter Tilbrook - "All Mine to Play With" (2:44)
25.Bobby and Laurie - "Every Second Day" (2:44)
26.Long Grass - "Sunshine to Burn" (2:59)

Download here: Part1 Part2

Monday, 7 January 2008

The Third Bardo - EP 1967

The Third Bardo were a legendary American psychedelic band from New York led by singer Jeff Monn. The group existed for a brief time in the late 1960's. In 1967 the thay released their only historical single, "I'm Five Years Ahead of My Time." This song received some radio exposure, but only years later was recognized as a 60's rock classic due to its inclusion in compilations such as the Nuggets etc. The Third Bardo only had one recording session, which included six tracks in all, and released one other song as a B-side, "Rainbow Life." The band broke up in 1967 and Monn began a solo career as Chris Moon.

Track List

1. I'm Five Years Ahead Of My Time
2. My Rainbow Life
3. Lose Your Mind
4. I Can Understand Your Problem
5. Dawn Of Tomorrow

Download here:

Mourning Reign - Satisfaction Guaranteed EP

The Mourning Reign were from California and were formed in San Jose in 1965. They recorded two singles both of which were released on local lables in 1966. They also recorded a third single in 1968 but this was not released. They ssplit up in late 1968 or early 1969. Here are included four classic songs by the Mourning Reign with some tasty Garage and Folk-Rock music with nice acid twinges to them and some tasty fuzz in places.

Track List

1. Satisfaction guaranteed
2. Our fate
3. Light switch
4. Cut back

Friday, 4 January 2008

Blues Magoos

Blues Maggos were formed in the Bronx, New York, USA, in 1964 and their initial name was The Trenchcoats, the founding line-up consisted of Emil "Peppy" Thielhelm, vocals, guitar, Dennis LaPore, lead guitar, Ralph Scala, organ and vocals, Ronnie Gilbert, bass and John Finnegan, drums . The group quickly became an important part of the emergent Greenwich Village rock scene and in 1966 secured a residency at the fabled Night Owl club. Near the end of 1966, the band was calling itself "Bloos Magoos" and Mike Esposito was brought in as their new lead guitarist. Esposito had at one time been in a college band with Lou Reed, and his inventive guitar playing, utilizing controlled feedback and tape-echo devices, added a new dimension to the group's sound. Having recorded flop singles for Ganim and Verve Records, the band was signed to Mercury Records, where they became the subject of intense grooming. Drummer Geoff Daking replaced LaPore in time to record their debut album, "Psychedelic Lollipop", which was released in November 1966. The band was now using a more traditional spelling of their name, "Blues Magoos".
In February of 1967, Mercury released a single called "We Ain't Got Nothin' Yet", written by band members, Gilbert, Scala and Esposito. The song was a Top 20 hit for the band in America and finished at number 72 for the entire year, but failed to achieve the same success in the UK.

A follow up hit was even harder to come by for the Magoos and their next effort, "There's A Chance We Can Make It" was mostly ignored. Subsequent efforts, "One By One" , "I Wanna Be There" and "Life is Just a Cher O'Bowlies" also failed to gain any attention. One last single release on Mercury called "I Can Hear The Grass Grow", issued in 1968, also missed the charts. By now, tensions were growing among the members of the band and the original line up split.
On the strength of their name alone, the band's management team re-signed the group to ABC Records, and, as Thielhelm had accumulated a backlog of material, suggested he front a revamped line-up. John Leillo played vibes, Eric Kaz was now on keyboards, Roger Eaton played bass and Richie Dickon became the drummer. In 1969, the band completed the album "Never Goin' Back To Georgia", while the same group, except for Eaton, was augmented by session musicians for the disappointing 1970 LP, "Gulf Coast Bound". Neither of these sold well and after hanging on for another two years, The Blues Magoos packed it in.
Thielhelm took a role in the rock musical Hair using the name, "Peppy Castro". He has since pursued a varied career as a member of Barnaby Bye, Wiggy Bits and Balance, while Cher and Kiss are among the artists who have recorded his songs. Organist, Eric Kaz went on to form American Flyer.

Although they were only "one hit wonders", Blues Magoos, with their electric suits and giant, onstage lava lamps, are fondly remembered as a classic example of the "psychedelic" music era.

Download some of their Albums here: