...The fact that the subterfuge doesn't work not only isn't a failing, it's what gives the album its tension and makes it the most musically interesting and satisfying studio album since their indie debut, TALES OF THE NEW WEST.The simple fact of the matter is that no band which features the wild-man bray of drummer/singer Country Dick Montana is ever going to sound too commercial. The best material here, like the sly "Socialite" and the wild "King of Sleaze"--one of two tracks featuring session god Jim Keltner deputized on drums, while Montana goes all out vocally--is as strong as anything the Beat Farmers ever did. - AllMusic Review by AllMusic
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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It took years for ska music to become an overnight success. When tunes like ‘My Boy Lollipop’ hit the airwaves in Britain in the sixties, most listeners assumed that the odd and addictive back-to-front beat was something dreamed up in the studio the month before. Some realised that the music had connections with Jamaica, but few people knew that the genre had been gestating for some years. The music owed some debt to Jamaica’s indigenous folk music, mento, but the strongest, most obvious ingredient of ska was American r&b. By the close of the 1950s the advent of record pressing facilities on the island had enabled records to be manufactured, without sending tapes to Britain and waiting for records to be shipped back. A number of enterprising Jamaicans began to supervise recording session and released the results on their own labels.
…Yung Wu was led by singer / songwriter Dave Weckerman, who had been the drummer in the Feelies' first lineup before being replaced by Anton Fier. Backed by Glenn Mercer and Bill Million on guitars (they also produced the album), John Baumgartner on keyboards, Brenda Sauter on bass, and Stanley Demeski on drums, Weckerman finds a midway point between the mellow, twangy rootiness of contemporaneous Feelies records like Only Life and the more tightly wound jangle of 1980's Crazy Rhythms. Resulting songs like the title track, "Spinning," and the quietly tense "Return to Zion" are archetypal examples of the Hoboken sound that was a mainstay of late-'80s college radio. The album's three covers -- Neil Young's "Powderfinger," the Rolling Stones' "Child of the Moon," and "Big Day," a Brian Eno song that originally appeared on Phil Manzanera's solo album Diamond Head -- were proudly uncool by 1987 terms, which of course only makes them cooler. Shore Leave was largely ignored at the time, selling fewer than 5,000 copies all told, but it's a minor classic of '80s jangle pop ripe for rediscovery. Although never released on CD at the time (in 1987, a lot of indies were still sticking exclusively to vinyl and cassettes), Shore Leave is one of many classic out of print albums on the Twin/Tone and Coyote labels now available on custom-burned CDs through the Twin/Tone website. 
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…After several years of concentrating on various other projects like MARBLE ORCHARD, ELECTRIC FLIES, PEARL DIVERS, WICKED ONES they got back together again. Their common source of inspiration: cold beer, cartoons, trashy horror flicks and rock'n'roll. They put their woodies back into the garage, tuned their guitars and revved up their amplifiers. As always, they play it how they see it. So dig the crazy rock sound. Stomp to the beat. The time is now to get shook outta shape. - https://www.cheaptrashrecords.de
Surf Trio side: "Kings of the surfing beat, that's we." Trashman LaPole's song in Windstärke 10. Please take your woody and find pure fun. Followed by an atmospheric rendering of Love's "This house is not a motel." Marble Orchard side: Janglin' rockin' version of Bobby Fuller Four's "It's love, come what may" and a speedy blast-off interpretation of Fab Four's "Nowhere Man."
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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...The 21 tracks here are mostly drawn from Turner's early-'50s sessions with the Kings of Rhythm at the Clarksdale studio, done under the auspices of the Bihari Brothers' Modern, RPM, and Flair labels. Apart from a few well-known numbers like the classic "Rocket 88," much of the material here isn't in other collections, nor has it been assembled in one place before -- some of it has shown up on vinyl, but never together on CD. It consists of Turner working with the Kings of Rhythm, evolving his guitar and piano technique and pumping up the volume and beat on R&B, pushing it toward rock & roll. The highlight for completists is the medley "All the Blues, All the Time," on which Turner, newly confident on the guitar, goes through an extended instrumental medley of B.B. King, Elmore James, Muddy Waters, and John Lee Hooker material. Also included is some hard R&B-cum-rock & roll by the Kings of Rhythm fronted by J. W. Walker, Little Johnny Burton, Dennis Binder, Lonnie "The Cat," and Billy Gayles. The interesting thing is that "Rocket 88," for all of its renown, is just one of the good tracks here -- "Early Times" by Dennis Binder could just as easily have caught the public's fancy with its beat. The sound is somewhat compressed on some of the early material (and, especially, the Johnny Wright/Ike Turner orchestra numbers, although Turner's guitar is real sharp on "The World Is Yours"), but generally it is equal or superior to any other digital incarnation of the individual tracks, and the notes are extremely thorough.(Bruce Eder, Allmusic)
…They have added second guitarist James Mastro, moved up to RCA Records, and brought in producer Richard Gottehrer. Gottehrer, who has a sharp sense of rock & roll dynamics (listen to his work on the Angels' "My Boyfriend's Back"), is a felicitous choice, and the added instrumentation (and no doubt better-budgeted recording and mixing) allows the Bongos to better realize their pop sound. As a result, songs like "Numbers with Wings," with its echoed vocals and full sound, have the kind of epic sweep Richard Barone's compositions have always suggested without achieving before. Not that the band has become overblown--just fulfilled. ~ William Ruhlmann, All Music Guide
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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Once more, NOW SOUNDS raids the Capitol Records vaults in Hollywood for late-’60s Psychedelic Pop/Soft Pop obscurities and unearths a treasure trove of first-time-on-CD gems.
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Founding members included Ron Kleim on guitar and vocals, Pete Weinberger on guitar and vocals, Dave Meyers on bass and Aaron Temple on drums. Dave Meyers was replaced by Jeff Martin shortly after the release of their first E.P. on Moxie records in 1985. Terrence Kerrigan, from The Bo Diddley Headhunters, replaced Aaron Temple in August 1988 and was with the band through June 1989, when he, Martin and Weinberger, Joel Barnett, founding member of the Miracle Workers and the Bo Diddley Headhunters, and Richard Spaugh from Drivetrain and previously Dimension 7 formed The Wicked Ones. Tim Erickson and Chuck Thompson handled the drum duties at various times during the Surf Trio's reformation in the mid-to-late 1990s.
American Rock Band, formed in the Tucson, Arizona Punk scene, but based for most of its career in Los Angeles, California, where it was loosely associated with the Paisley Underground. Earlier records have the wide-screen psychedelic sound of first-wave desert rock, while later releases tended more towards traditional country rock. Years active 1979 to 1992 and 2005 to 2006. - discogs
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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Book a Trip has 26 tracks from singles released on Capitol from roughly 1966-1970, most of them making their CD debut. The actual sounds are very much more "pop" than "psych," and it might be more accurate to peg these as pop recordings reflecting some influence of the psychedelic era rather than tracks combining pop and psychedelia. Certainly they're obscure and collectable, however, with just a couple of unlikely popular acts (the Four Preps and the Lettermen, neither of them groups associated with psychedelia or rock), as well as a few (the Shanes, Stained Glass, Chris & Craig) who might be recognized by specialist '60s collectors. The songs and productions are generally period pieces that are pleasant but not innovative, with little that approaches the classic or even extremely commercial. The arrangements often show strong traces of Capitol's biggest American group, the Beach Boys, in both the harmonies and musical backing; a good share of Association influences crop up, too. One of the strongest tracks, "Chris Craft No. 9" by the Shanes (actually a Swedish group), is much more in the guitar-oriented British Invasion style than its surroundings. The numerous famous names and connections to bigger acts, detailed by the excellent liner notes, are arguably more interesting than the music itself. Chris & Craig went on to lead one of the better obscure Los Angeles folk-rock groups, the Penny Arkade; a couple tunes were written by Dick & Don Addrisi, of "Never My Love" fame; David Axelrod co-wrote and co-produced Moorpark Intersection's "Yesterday Holds On," and produced the Lively Set's "Let the Trumpets Sound," written by David Gates; the Exception, whose "My Mind Goes Traveling" very strongly emulates the late-'60s Beach Boys, featured a pre-Chicago Peter Cetera; Leon Russell arranged and conducted the orchestra on the Four Preps' "Hitchhiker"; "Along Comes Mary" composer Tandyn Almer arranged and played on Pleasure's "Don't Take the Night Away"; and Summer Snow's "Flying on the Ground" is one of the earliest covers of a Neil Young song. (Ritchie Unterberger, Allmusic)
…That trio of performers / groups may seem an unlikely marriage (or menage?), but it does neatly sum up the sound these guys create. With a major debt to surf music, both vocal and instrumental, The Surf Trio bang out two sides of minimal 60s-rooted pop, mostly written by the band but with appropriate covers from The Astronauts and a few more.
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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...As Bill Dahl points out in his excellent liner notes, the Sheppards' legacy was largely ignored until Solid Smoke reissued their music on a vinyl collection in 1980; named by Time critic Jay Cocks as one of the Top Ten albums of that year. This fact illustrates not just that this music lasts, but that it's perhaps even easier to respect its achievement and power years later, when it's possible to put it into perspective with what came before and since. With that hindsight, it's not hard to hear this group as a pivotal point for the music -- a harmony group with roots in doo wop who tackled a number of different sounds, including rock, pop, and blues, and helped point the direction toward soul. This doesn't necessarily mean they were influential. They were based in Chicago and were rarely heard outside of that area. While their manager and namesake Bunky Sheppard was a major figure on the scene, managing numerous other groups (most notably the Esquires); it's hard to tell if this group in particular was influential on the musicians of the 60s. That said, the music stands as prescient and tremendous; perhaps the very fact that it was created and exists in a vacuum makes it all the more remarkable. Throughout these 25 songs, many doo wop traits surface, but it's hardly street-corner harmony. The instrumentation and vocal arrangements, and pop hooks; humor; flashes of blues guitar; sweet melodies; and strings; all combine in different ways to suggest the Chicago soul of the 60s. Based on these songs, it sounds as if they could have done anything; but they also manage to seem slightly behind and ahead of their time, so they didn't make waves at the time. Looking back, this is absolutely stellar music. Cocks wasn't kidding when he named this among the best albums 1980 had to offer. Bunky's Picks ranks among the best 1998 had to offer, too, and whenever you hear this for the first time, it will be among the best music you'll hear all year, too. (Stephen Thomas Erlewine, Allmusic)
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...It contains four songs from the album You Can't Buy a Gun When You're Crying as well as many unreleased songs that they played on this tour. The songs, however, are played in more of a blues format than on You Can't Buy a Gun. - wiki
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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It's about time Estrus did a cheapo sampler. Seems like every other half-cocked "punk" label in existance has already ridden this particular gravy train till the wheels fell off. Well this one is darn sure worth it. 26 songs that rock in every great garage method possible. All the big boys are here: Makers, Mono Men, Nomads, MOAM, Drags, and many more. And for a measly five bills, you get some very rockin tunes. And the treat is that the disc gets better as it goes along. Even if you aren't a huge garage freak (or especially, if you are) this is a great way to sample the best from a wide array of top bands. Not to sound like an infomercial, but you simply cannot go wrong! Buy Buy Buy! - punkviper
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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Second guitarist / vocalist Buddy Blue was replaced by Joey Harris, who had sung on the group's two previous albums. Harris proves to be a more than competent singer and guitarist, and also shares lead vocals with Jerry Raney on some songs. "Ridin'" is one of the finer songs on the record, fitting in easily with the band's country-rock, bar-room style. An excellent Paul Kamanski original titled "Hollywood Hills" opens the album, and it's one of the finest tracks the group ever recorded. Raney comes up with a few good originals such as "King of the World," but the cracks in the foundation are evident. It's an excellent album in the end, but there is evidence of some alienation (in terms of band identity) in the grooves. - AllMusic Review by Matthew Greenwald
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is unbearable. I hope you enjoy. (Gyro1966)
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