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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:1. For Love (M-G-M) - Herman's Hermits 2. Right Behind You Baby (Sun) - Ray Smith 3. So Young (Sun) - Ray Smith 4. Karate Monkey (Parkway) - Chubby Checker 5. You Gotta Be Loose (OJ) - Wailin' Bill Dell 6. Do You Care (OJ) - Wailin' Bill Dell 7. Yeah (Rca Victor) - Johnnie & Jack 8. Light Of A 1000 Years (Golden Records of La.) - Alva Starr 9. Daddy Lolo (East West) - Ganim's Asia Minors 10. Halvah (East West) - Ganim's Asia Minors 11. Drum Twist (Warner Brothers) - Buddy Harmon 12. Bye, Bye Love (Warner Brothers) - Buddy Harmon 13. Chip Chop (Downey) - Jessie Hill 14. Woodshed (Downey) - Jessie Hill 15. Hit the Road Jack (Abc-Paramount) - Ray Charles & His Orchestra 16. The Danger Zone (Abc-Paramount) - Ray Charles & His Orchestra 17. Rockin' in the Congo (Embassy) - Preston Epps 18. Sing Donna Go (Embassy) - Preston Epps 19. Drums A-Go-Go (Original Sound) - The Hollywood Persuaders 20. Agua Caliente (Original Sound) - The Hollywood Persuaders 21. Soapy (Wand) - Mickey & The Clean Cuts 22. Static Electricity (Wand) - Mickey & The Clean Cuts 23. Somewhere Down the Line (King) - Jimmy Scott 24. We'll Never Meet Again (Federal) - The Midnighters 25. Heart Break Hotel (Funk45) - Barbara Trent 26. Geronimo Rock & Roll (Norton) - Jerry McCain & His Upstarts 27. Choo Choo Rock (Norton) - Jerry McCain & His Upstarts 28. Frankie and Johnny (Norton) - Charlie Feathers 29. Honky Tonk Kind (Norton) - Charlie Feathers 30. Crosscut Saw (Atlantic) - Albert King 31. Born Under a Bad Sign (Atlantic) - Albert King 32. Got A Little Woman (Charger) - Adrian Lloyd 33. Lorna (Charger) - Adrian Lloyd
…compiled and served by Gyro1966...
Digitally remastered by M.C. Rather & Hollis Flatt (Custom Mastering, Nashville, Tennessee). A very weird, and weirdly entertaining, curiosity of an album. The liner notes simply say that the sessions that produced these tracks are "clouded in mystery," with the result that Lewis's lone duet partner on these tracks is never actually identified. Whoever he is, let's just say that he could make a very good living as an Elvis impersonator, and probably does. Let's also say that it's more than possible that his vocals were added years (if not decades) after the original sessions, which sound as if they derive from the early '60s, just before Lewis left Sun Records. Let us also finally say that the album itself is not without a certain charm, though in the end, of course, it all comes down to caveat emptor. Personnel: Jerry Lee Lewis (vocals, piano). Audio Remixer: Bob Smith. Producers: Sam C. Phillips, Jack Clement. Compilation producers: Shelby S. Singleton, Jim Wilson. Mojo (Publisher) (5/02, p.144) -
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Thurston Harris recorded with the Lamplighters, one of the many groups on the early R&B scene in South Central Los Angeles, in the early '50s. The group later evolved into the Tenderfoots, then the Sharps, and it was under this last name they were credited to when they backed up Harris on his most famous hit, 1957's "Little Bitty Pretty One" (number two R&B and number six pop) for Aladdin. In 1957, while signed as a solo artist to Aladdin, Harris recorded a cover of Bobby Day's classic novelty number, with a solid band featuring the ubiquitous Earl Palmer on drums and his friends in the Sharps doing background vocals. The single propelled Harris immediately to the front-ranks of the R&B scene. In 1958, Harris scored a Top 20 R&B hit with "Do What You Did," but he failed to have any chart success afterwards. In 1990, Thurston Harris died of a heart attack in Pomona, CA, at age 58. "Little Bitty Pretty One" has gone on to become one of the best-loved oldies of the late '50s.(Allmusic) 
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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
Tough, psychedelic guitar band from California. Lumped in with the Paisley Underground people, but this isn't that wimpy (don't worry, I like wimpy). Superb title track and nice cover of Pink Floyd's "Lucifer Sam" (from the Syd Barrett era, natch). Five of its eight songs originally appeared on an earlier 12" EP, and this constituted a bad sign - this was the best they were ever going to be.
True West:
"Lucifer Sam" has been covered by the Black Crowes, Electric Hellfire Club, the Minders, the Flaming Lips, True West, Jay Farrar, Love and Rockets, Shockabilly, La Muerte, the Sadies, the Three O'Clock, MGMT, Spirits in the Sky, Unknown Mortal Orchestra, Cat's Eyes, Bauhaus, Southern Culture on the Skids and Chris & Cosey. - wiki
traxfromwax:
...Listening to these tracks, it's clear why John Lennon was such a huge Larry Williams fan; his rough-and-ready no-bull voice is elastic enough to move from a Little Richard trill to a Ray Charles growl, and songs like "Dizzy Miss Lizzy" and "Short Fat Fannie" are raucous enough to be punk rock nearly a full two decades before the concept was even in existence. Of the lesser-known tracks, the giddy Buddy Holly-meets-Richard Berry "You Bug Me, Baby" and the salacious "Little School Girl," featuring a good and greasy sax solo, are the highlights. (Stewart Mason, Allmusic)
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Interesting tribute compilation of bands that play "in the spirit" of the music of Creedence Clearwater Revival. The only exception on this cd is the original Midnight Special by Lead Belly. Interesting. And "kicks ass" too. - anglagard05
...The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity.(Thom Jurek, Allmusic)
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"Long before the press anointed Brian Setzer the "Savior of Swing," the Reverend Horton Heat was already serving up his sonic cocktails of rockabilly, surf, and swing. SPEND A NIGHT IN THE BOX, a title inspired by the ultra-cool prison flick Cool Hand Luke, finds the Rev recording for a new label and working for the first time under the steady hand of producer Paul Leary. The result is a comfortably familiar variation on the band's stellar brand of echo-drenched psychobilly. Leary's laid-back production approach gives the band license to experiment outside the box, whether the Rev is attempting noir-ish jazz inflections ("The Party In Your Head") or delivering some humorous, mid-tempo honky-tonk ("Hand it to Me"). Drums rumble, the bass gets slapped, and the Rev's guitar bounces and weaves through songs of broken relationships ("The Bedroom Again"), drinking ("Big D Boogie Woogie"), and lawsuits ("Sue Jack Daniels") to which any proud beer drinker/hell raiser would be proud to sing along. - from: www.cduniverse.com/
Reverend Horton Heat:
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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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
...There are liner notes, and they discuss with a fan's abandon many of the performers included here The music itself is ultimately what matters, and these 20 tracks are strictly topnotch. The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity.(Thom Jurek, Allmusic)
Two original Atlantic albums on one cd. Ruth Brown - Rock & Roll (first issued 1957) and Ruth Brown - Miss Rhythm (dating from 1959).
...There are liner notes, and they discuss with a fan's abandon many of the performers included here The music itself is ultimately what matters, and these 21 tracks are strictly topnotch. The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity.(Thom Jurek, Allmusic)
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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
...The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity.(Thom Jurek, Allmusic)
...The set opens with the bluesy Walton original "Holy Land." Walton pulls back on the beat during his solo. It's the most interesting, hard-swinging playing on the album, slightly disjointed and choppy. The influences of Errol Garner and Bill Evans emerge on Bacharach's "This Guy's in Love With You." Walton aims for clarity of line, fighting against a piano miked a little brightly. Sam Jones' driving bass is up front in the mix. Throughout, Cedar plays blues lines interwoven with ornate bop. But he brings pure melodicism to John Coltrane's "Naima." Here the band swings like a refreshing Brooklyn breeze. Cedar is at his sweetly singing best on the trio arrangement of the Cahn/Van Heusen tune "All the Way." Clifford Jordan's playing throughout is warm and almost woodsy, while Cedar and Jones' brightness offsets the mellow tonal quality of Louis Hayes' drumming. - AllMusic Review by AllMusic 
...The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity. (Thom Jurek, Allmusic)
...After World War II, Swedish pop music was heavily influenced by American jazz, and then by rock-and-roll from the U.S. and the U.K. in the 1950s and 60s, before developing into the dansband music. Since the 1970s, Swedish pop music has come to international prominence with bands singing in English, ranking high on the British, New Zealand, American, and Australian charts and making Sweden one of the world's top exporter of popular music by gross domestic product. - wiki
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 dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
trax:
Tracks here originally appeared on the Chess and Federal labels - and although Jackie started out working with Ike Turner's group, he's later featured with a host of other players, including Memphis jazzmen Phineas and Calvin Newborn! CD features notes on Jackie's brief rise to fame, plus session details - and titles include the classic "Rocket 88", plus "Tuckered Out", "Juiced", "Hi Ho Baby", "I Want To See My Baby", "True Love", "Mule", "You Won't Be Coming Back", "The Mistreater", "Much Later", "Leo The Louse", and "My Real Gone Rocket".
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First of all, let me say to all the purists in experimental music land that I think the banjo is a cool instrument. And I dig a good song. The focus here is on the SONGS. Stylistically we've got blues, country, good time head boppin' rock. Good lyrics. A bit of Grateful Dead, The Byrds, The Allman Brothers, Hot Tuna, The Kinks, John Mellancamp, it's all over the place. But Aural Innovations buddy Doug Pearson is also present with his WIARD analog synth embellishing most of the songs with a strange but cool freaky factor that adds a bit of the oddball to these very well done, if somewhat mainstream, songs. I mean, how can you not love banjo and pedal steel accompanied by zany synth noodlings?
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...A swinging and stomping collec-tion of hits from the past with a heavy guitar beat and a pounding rhythm like the surf itself had been achieved by this German group of talented instrumenta-lists, unique in the mastery of their individual sound and style, that had been developed mainly by experimentating for countless hours in Herbert Hooke's home studio. The group are all close friends from Wilhelmshaven and Sande in Northern Germany, only a few miles inland from the coast where the windsurfers do practise their sport from spring to autumn. As you might have guessed, The Cruncher" don't play only the „surf music" but enjoy as well the outdoor sports like windsurfing, sailing and swimming.
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...After World War II, Swedish pop music was heavily influenced by American jazz, and then by rock-and-roll from the U.S. and the U.K. in the 1950s and 60s, before developing into the dansband music. Since the 1970s, Swedish pop music has come to international prominence with bands singing in English, ranking high on the British, New Zealand, American, and Australian charts and making Sweden one of the world's top exporter of popular music by gross domestic product. - wiki
This is one beautiful collection of beat music, spoken word and crazed goofballed lyrics. Way out there selections of many unknown beat artists at their most primitive level spewing forth underground sounds and styles of a bygone era. No Zane or kitch here but straight ahead songs that ooze the beat feel! This is a fantastic selection of music. For me its the beat of this genre...
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I'll have to drag out my ole vinyl to be sure, but I think the sequencing of this record is somewhat altered from the original. Not that it matters much, but I'm pretty sure that on the original Columbia disc, "Whatever I Am, You Made Me" was the initial cut, and the title track closed out the album. I remember because I really liked the flow of the original back then. It seemed like track was better than the last--certainly the mark of a good record in my book. By rights, a tour-de-force number like "Going Back To Tennessee" should likely be the closing number, but lo and behold, there was "Poor Man's Paradise" right after it and THAT seemed an even more appropriate ending. Call it the "encore effect"--if it were a live performance, "Tennesssee" would have ended the set and "Poor Man's" would have been the perfect encore.
musicans:
"Surf Guitar" has 22 tracks by one of Europe's best Surf instrumental artists! It is a total joy to hear traditional surf music done so well. The CD was recorded with help from Herbert's old musician friend from the 60's, the drummer Berthold Walter from the band The Comancheros. This one really has the right stuff, and that's evident from the opening track. It simply drips with surf authenticity and sends you right back to 1963. These covers are all equally great making this CD totally listenable, from beginning to end. - DWM
A really wild collection of 31 R&B songs about the Orient from the late 50’s to early 60’s. If you love The Coasters, Las Vegas Grind series and Jungle Exotica series, don’t hesitate to grab this one quick - you’ll love it! Crazy and insane killer stuff!
...Nelson was originally from Madison, WI, and it was while attending the University of Wisconsin that the singer was discovered by producer Sam Charters and was eventually signed to a recording contract with the Prestige label. 1965 saw the release of Nelson's solo debut, the folk-based Deep Are the Roots, and when it didn't exactly burn up the charts, Nelson decided to relocate to San Francisco, with the hopes of forming a more conventional rock outfit. Shortly after arriving on the West Coast, Mother Earth was formed, which led to performances at the famed Fillmore West, opening for the likes of Janis Joplin, Jimi Hendrix, and Eric Burdon. After an appearance on the soundtrack to the 1968 motion picture Revolution (which also featured the Quicksilver Messenger Service and the Steve Miller Band), Mother Earth signed with Mercury Records and issued a steady stream of releases until the early '70s.
...Old beach friend like "Baja" and "Penetration" are taken for another whip through the foam, and even though you have heard them many times before you´ll be happy to renew their acquaintanceship for these are strong full-bodied versions that hold their own in comparison with the originals. "Surf Beat" in particular is great - full of dark, brooding power with acything guitar cutting through the maelstrom of sound, and with menacing background sax lending even further darkness. A brace of Gary Ushers best tunes are included - "Oceanside" and "Wheel Stands" - and Lee Hazlewood goes one better with the trio of the Astronauts "Baja" and "Movin" and Al Casey´s "El Aquila". Bobby Fullers "My Favourite Martian" demonstrates The Cruncher´s wet, splashy sound perfectly, whilst the powerful latin flavoured sound of The Sentinals "Latinia" presents no problem to them at all - nor for that matter does Dick Dale´s mexican styled "Taco Wagon" which also highlights their impressive guitar mastery. There´s also a couple of unexpected recruits in the String-A-Longs "Mathilda" and the Fendermens "Torture" both of which make the transition to surf effortless and convincingly. The Cruncher are to be applauded for an excellent album and if only there had been a few originals of comperable quality added to the tracks here we would have been talking about five star efforts. - Pipeline Issue 2, England
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