...Two originals and two brilliant cover versions are housed on this gem of 7” vinyl. Three of the four tracks were eventually re-released on the Single Minded compilation CD. Simply exciting!
trax:01 The Underestimated Man 02 Double Decker Bus 03 Mini Skirt Blues 04 Stranger In The House
"Inner Wardrobes of your mind" EP 1985
This is the simply brilliant four-track 12” vinyl from one of the most striking outfits from the mid-80’s UK Garage / Trash boom. The Inner Wardrobes Of Your Mind offers an explosive brew of wild Rock’n’Roll mayhem, 60’s Psychedelia, Punk and furious Rockabilly, all backed by a decent slappin’ bass, Gary Boniface’s flashy vox and some outstanding guitar sounds. The EP includes a very awesome cover version of The Outcasts’ I’m In Pittsburgh, and the song eventually made it on John Peel’s “Festive 50”. The Chainsaw Records release also hit the Top 10 of the UK Independent Chart in March 1985. Track listing: I Hear Noises (Extended Trip Version) – I’m In Pittsburgh (And It’s Rainin’) -- Hasil Adkins In My Head -- Scratch My Back.
trax:01 I Hear Noises 02 I'm In Pittsburgh (And It's Raining) 03 Hasil Adkins In My Mind 04 Scratch My Back
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
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...This collection features all of his notable 45s recorded for Sun, Bobbin and Chess between 1953-1962. The 29 tracks on this superb set feature Milton's stunning vocals and guitar. Listening to the earlier tracks you will hear elements of Fats Domino, B. B. King, Bobby Bland and even Elmore James, then as the material moves into 1957 Milton really finds his own unique vocal style.(The Guardian)
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This is what Rock'n'Roll Deke says on his homepage:
Personnel include:
...Cooke was convinced Womack and his group had the potential to become stars, and when he launched his own record label, SAR Records, he signed them to a contract. However, the act soon made some major changes -- they left behind gospel music to sing secular R&B, and they changed their name to the Valentinos. The Valentinos scored an R&B hit with their first release, an upbeat number called "Lookin' for a Love," and another single, "It's All Over Now," was climbing the charts when the Rolling Stones covered the tune, leaving the Valentinos' version in the dust. When Sam Cooke was murdered in 1964, SAR went out of business and the Valentinos subsequently broke up, while Womack went on to a long and multifaceted solo career. Lookin' for a Love: The Complete SAR Recordings is a collection that brings together the complete catalog of the Valentinos' years with SAR, as well as four songs from their gospel days as the Womack Brothers and seven unreleased tracks. For Bobby Womack fans, this is a fascinating glimpse into the early days of his career, and the consistent strength of the songs and performances make this a must for anyone with a taste for R&B vocal acts of the '60s.(Mark Deming, Allmusic)
…As before, there area coupe of cool vocals among the intro magic. "Bella Ciao" is a bouncing number with Oriko singing in Japanese, Miyaji sings accompanied by Oriko in Japanese, Oriko's pussy cat "Ob La La," which borrows a few lines from "In The Mood," "Beach (intro)" is a soundscape from the beach, and "Jawaiian Beauty," which is a slow and romantic song with a German tale that reminds me a lot of song of Kraan's early work. - Phil Dirt
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...Eccentric frontman Question Mark (actually spelled "?," once he had his name legally changed) cultivated an aura of mystery by never appearing in public without a pair of wraparound sunglasses; he frequently claimed he had been born on Mars and lived among the dinosaurs in a past life, and that voices from the future had revealed he would be performing "96 Tears" in the year 10,000. On a more earthly level, the Mysterians' sound helped lay down an important part of the garage rock blueprint, namely the low-budget sci-fi feel of the Farfisa and Vox organs (most assumed that "96 Tears" had featured the former, but ? later remembered using the latter). What was more, they were one of the first Latino rock groups to have a major hit, and ?'s sneering attitude made him one of the prime suspects in the evolution of garage rock into early punk.(Steve Huey, Allmusic)
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...A stellar quartet including the stylish pianist Sonny Clark, the agile drummer Billy Higgins, and the solid yet flexible bassist Butch Warren are absolutely crucial in making this album work, but it is still Gordon who shines. Whether he is dropping quotes into "Three O'Clock in the Morning" or running around with spritely bop phrases in "Cheese Cake," the album pops and crackles with energy and exuberance. Beautiful ballads like "I Guess I'll Hang My Tears Out to Dry" metamorphosize that energy into emotion and passion, but you can still see it there nonetheless. Gordon had many high points in his five decade-long career, but this is certainly the peak of it all. - AllMusic Review by Stacia Proefrock
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Start swimmin' FAST!! There's a "Shark Next Door"! and Miyaji Tiki is gonna try and chew him up with his riveting guitar. Manu Tiki wipes us out with his hammerhead beat while Noriko lays down one of her typical Pulp Fiction bass grooves! Don't fall off you surf board on this song or you just might get eaten!!
The Tiki Tiki Bamboooos:
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)
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…The Last might be considered a seminal indie band, having released early singles on their own label, Backlash. Their first album, L.A. Explosion, released in 1979 on the Bomp! label, has been lauded as a powerful and nearly perfect first effort. The Last recorded a second album, Look Again, in 1980 on Backlash and distributed it privately. In 1982, they returned to Bomp! for the EP Fade to Black, and then completed Painting Smiles on a Dead Man for Lolita Records before disbanding in 1985. David Nolte left to join Wednesday Week and eventually ended up in Lucky. The band reformed in 1988 with Luk Lohnes on guitar and vocals, Missy Buettner on bass, and Robbie Rist on drums joining Joe and Mike Nolte from the original lineup. That year they toured outside of California for the first time and released Confessions on the SST label. Two more releases on SST have followed -- Awakenings in 1989 and Gin & Innuendo in 1996. Dave Nazworthy replaced Rist on drums during the recording of Awakenings, and David Nolte has a cameo appearance on that album as well. Nazworthy also plays for the Chemical People. Through the personnel changes, the Last have maintained a consistent style of potent power-pop, heavily influenced by the local music they grew up listening to in Southern California. ~ Nick Kemper, All Music Guide
Long Beach, California's Pyramids were famous for their shaved heads and their early '64 surf instrumental hit, "Penetration." An admitted knockoff of the Chantays' brilliant "Pipeline," it's a memorable tune in its own right. The album it spawned has been expanded to include everything the band released plus a couple of bonus tracks. This amounts largely to a clump of fraternity-band vocal standards ("Walkin' the Dog," "Louie Louie," L.A. favorite "Koko Joe"--written by Sonny Bono--and the novelty "Long Tall Texan," later recorded by both the Beach Boys and Lyle Lovett), and surf instrumentals of varying quality (the supercharged "Road Runnah" and "Midnight Run," along with "Penetration" variations "Contact" and "Pressure," being the highlights).
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...With a serious interest and love of underground 60’s garage rock, classic pop, power pop, soul and R&B, Dom would form one of Australia’s most loved and respected bands of the mid to late 80’s THE STEMS. From their formation in the early summer of late 1983 to the end of 1987 THE STEMS with Dom at the helm as singer, songwriter and lead guitarist steadily infiltrated Australian radio, press and alternative charts, winning the hearts of critics and a legion of loyal fans. A succession of classic singles and a chart topping LP “At First Sight-Violets are Blue” stirred interest as far a field as Europe and the US. But foremost it was his ability to write great songs and the bands electric live shows that made them stand out from the rest.
...Perhaps it was the family bonds that kept them together through less successful times, but it was also recognition that they had to stay current, try new styles and keep moving that put them at music’s cutting edge.
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THE WILDEBEESTS:
Born and raised in Fremantle, singer / songwriter Dom Mariani formed THE STEMS in the summer of 1983. The band debuted alongside the Triffids and the Saints in 1984 with a sound that fused underground 60’s garage rock with post-punk, R&B and classic pop. A succession of independent records all made number one on the Australian alternative charts and along with the Hoodoo Gurus and the Sunnyboys, THE STEMS were one of only a handful of bands that cracked the mainstream charts…
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Pretty great 60’s garage influenced rockabilly with it’s own kink, way better and more interesting than other psychobilly acts. You can hear cool covers of some of your favorite Pebbles / Nuggets etc. 60s garage tunes as ”No Friend Of Mine”, ”Ain’t It Hard”, ”Judgement Day” as well as fine originals with touch of early The Cramps as ”Footsteps” [xerox of ”Don’t eat the stuff off the sidewalk”] or great rockers as ”Inside Out (See All)”, ”Ballad Of J.D.” and garage psychedelics ”Hear Noises”, ”Loosing My Mind, ”Something Ain’t”. By 1986 they evolved into The Purple Things but that’s another chapter. Now dig this!!! - renerox
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Great 6-song release by Southern California's favorite surf / instro combo: The Dynotones! This CD-EP features six great new recordings and comes in a cover designed by world famous tiki artist Shag.
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From the archives of Decca Records U.K. comes the Blues Scene (1999). This 25-track anthology covers the label's copious contributions to the 1960s renaissance of rhythm & blues-influenced rock. The movement would ultimately seed heavy metal supergroups such as Cream, Led Zeppelin and the seminal incarnation of Fleetwood Mac. Fittingly, the revolving-door personnel of John Mayall's assorted Bluesbreakers are particularly worthy of note. They not only commence and conclude this compilation, but more importantly, Mayall also provided an entrée for a host of promising young talent such as Peter Green, John McVie, Mick Fleetwood, Eric Clapton, and Aynsley Dunbar all of whom would eventually become internationally recognized icons. Among the Bluesbreaker's offerings presented here are the powerful instrumental "Curly," as well as "The Supernatural," which boasts the distinctive fretwork of Peter Green, "Steppin' Out" featuring Eric Clapton, and an incendiary early live take of "I Need Your Love." Another interesting facet is the wide spectrum of American legends whose association with Deccabrought their music to new generations and audiences. Selections from Eddie Boyd ("Key to the Highway," "Blue Coat Man," and "Dust My Broom"), Otis Spann ("Pretty Girls Everywhere"), as well as Champion Jack Dupree ("24 Hours," "Barrel House Women," and "Third Degree") are among the highlights. In the case of the latter title, Dupree had a little help from both Mayall and Clapton on this 1966 recording. The label also heralded artists such as Alexis Korner ("Early in the Morning" and "Night Time Is the Right Time") and Savoy Brown ("Taste & Try Before You Buy," "Train to Nowhere," and "Train to Nowhere") who would have a much stronger impact in Europe than in the States. As such, Blues Scene (1999) is a worthwhile assessment of Decca's vaults, and a valuable primer for the novice. Interested parties should also note the other entries in this series -- including the R&B Scene (1999) and the Northern Soul Scene (1999). (Allmusic)
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…Well i thought these guys from orange county were never going to do a follow up to their 2001 release the DYNOTONES ! but when i saw the cover art from the world famous ROCKIN JELLYBEAN from japan, i knew it was worth the wait. 14 smokin tracks with an enhanced vidio on the opening song done by piero of the mad fabricator dvd fame was just a sneak of what was to come. this disk opens with a link wray style grinder but moves nicely into some reverb drenched traditional surf, crunchy stomps, Ghoul surf ala "the deadly ones", fuzz numbers bobby fuller would be proud of,and a couple of swinging r and b style dittys sure to get your rear end movin. being that this thing is all over the vintage 60's map is why i gave it 5 stars to begin with. if you dig ventures,astronauts,lively ones,link wray,dick dale,drag raceing,frankie and annette bch movies bobby fuller,davey allen and the arrows, then this disk is a must have. file under BOSS! - By bsa blondie
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...The Wall of Fame in Mathew Street salutes Liverpool's number 1 hit-makers and there is plenty of space for further additions. Compiled and annotated by author and BBC Radio Merseyside broadcaster Spencer Leigh, Liverpool Sounds presents 75 tracks which, by and large, relate to the pre-Beatles area. There are great songs, great comedy and great performances, and every track is here for a reason. There are many hit singles and several number 1s. Even if the Beatles had been born elsewhere, the city would still have made an enormous contribution to modern popular music. From Lita Roza's (How Much Is) That Doggie In The Window (1953) to the Hillsborough Justice Collective's He Ain't Heavy, He's My Brother (2012), there have been 56 Number 1's from Liverpool. The earliest tracks on 'Liverpool Sounds: 75 Classics From The Singing City' are from the late Thirties, by Dingle-born comedian Arthur Askey; the most recent are 1965 beat recordings made at the Cavern club's Cavern Sound recording studio. In between you will hear jazz performed by the Merseysippi Jazz Band and George Melly, folk courtesy of Stan Kelly and The Spinners (including the traditional Johnny Todd, the tune of which is familiar as the theme to the long-running Merseyside-based police TV drama series Z-Cars), and pre-rock era popular vocalists like Frankie Vaughan, Lita Roza, Michael Holliday and comedian Ken Dodd. Other popular local sons of Liverpool include rockers Billy Fury and King Size Taylor & The Dominoes, and, inevitably, The Beatles (here in their own right and with Tony Sheridan) as well as beat group contemporaries Gerry & The Pacemakers (archival recordings from 1961) and Howie Casey & The Seniors. As a bonus, you can hear Johnny Gentle (who was backed by the Beatles on a 1960 Scottish tour) reminiscing on John Lennon's hand in creating his song I've Just Fallen For Someone. (The Guardian)
Hallmark Guitars Presents: The Kustom Kings, is the long awaited tribute to George Barris, best known as "The King of The Kustomizers". This compilation contains, among many other spectacular high octane songs, two unknown Dickerson's tunes, one of them maybe the greatest tribute song ever composed by Deke: "King Of The Kustomizers", obviously dedicated to Mr. Barris, and with another high powered punk-rock-remix version as a bonus on the CD edition. The album also features songs by The Collins Kids, Larry Collins, The Ghastly Ones, The Dynotones, The Neanderthals, The Kilaueas and The Untamed Youth.
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...The DYNOTONES have been playing their brand of instrumental rock-n-roll since spring 1995. The band was reformed with new members Dan Moses and Rob Kruse in June of 1998. Known for their high-energy performances, The DYNOTONES have shared stages with the likes of Los Straightjackets, The Bomboras, Deke Dickerson, Big Sandy, Jan & Dean, The Blasters, Satans Pilgrims, The Tiki Tones, The Ghastly Ones, The Chantays, and The Lively Ones. Playing small clubs to outdoor events, like Beachfest and the Rat Fink Reunion, the DYNOTONES have perfected the nostalgic sounds of the past and developed a style that has earned them a place among today’s most successful instrumental groups, as well as complementing those of the past.
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…Four songs, four covers to reclaim their roots, as well as a key to reinterpret some obscure classics their own way. The record having been recorded entirely live in studio, represents an authentic snapshot of the band playing their all-time favorite tunes. First song on the record is an obscure Beatles sound enhanced tune by The Flames, an early ‘70s band from South Africa formed by two future Beach Boys members. Power-pop pearl Girl On The Train by Martin Briley creature The Liverpool Echo is next mixing Merseybeat with Pub Rock and tons of melody. The B-side starts off with the 1974 secret gem Lover Come Back To Me by The Hudson Brothers processed by Luca Re, Dom Mariani & Co. The EP ends with the power-pop nugget (My Girl) Mary Anne originally released in the early ‘80s by the very underrated Spongetones from North Carolina. The EP is a genuine collector item with a special carved cardstock cover: it will be released in limited edition of 320 copies, which 100 of them are in pink vinyl - https://areapiratarec.bandcamp.com/album/the-sick-rose-featuring-dom-mariani-live-in-studio
...The Wall of Fame in Mathew Street salutes Liverpool's number 1 hit-makers and there is plenty of space for further additions. Compiled and annotated by author and BBC Radio Merseyside broadcaster Spencer Leigh, Liverpool Sounds presents 75 tracks which, by and large, relate to the pre-Beatles area. There are great songs, great comedy and great performances, and every track is here for a reason. There are many hit singles and several number 1s. Even if the Beatles had been born elsewhere, the city would still have made an enormous contribution to modern popular music. From Lita Roza's (How Much Is) That Doggie In The Window (1953) to the Hillsborough Justice Collective's He Ain't Heavy, He's My Brother (2012), there have been 56 Number 1's from Liverpool. The earliest tracks on 'Liverpool Sounds: 75 Classics From The Singing City' are from the late Thirties, by Dingle-born comedian Arthur Askey; the most recent are 1965 beat recordings made at the Cavern club's Cavern Sound recording studio. In between you will hear jazz performed by the Merseysippi Jazz Band and George Melly, folk courtesy of Stan Kelly and The Spinners (including the traditional Johnny Todd, the tune of which is familiar as the theme to the long-running Merseyside-based police TV drama series Z-Cars), and pre-rock era popular vocalists like Frankie Vaughan, Lita Roza, Michael Holliday and comedian Ken Dodd. Other popular local sons of Liverpool include rockers Billy Fury and King Size Taylor & The Dominoes, and, inevitably, The Beatles (here in their own right and with Tony Sheridan) as well as beat group contemporaries Gerry & The Pacemakers (archival recordings from 1961) and Howie Casey & The Seniors. As a bonus, you can hear Johnny Gentle (who was backed by the Beatles on a 1960 Scottish tour) reminiscing on John Lennon's hand in creating his song I've Just Fallen For Someone. (The Guardian)
...The collection gives equal time to both instrumental and vocal surf bands, featuring Jan & Dean's "Surf City" and "Ride the Wild Surf" alongside the Chantays' "Pipeline," the Marketts' "Surfer's Stomp," and the Bel Airs' "Mr. Moto." Though it's not a comprehensive overview of either kind of surf rock, Surfin' Hits does collect some of the best examples of both styles, and while it doesn't offer many surprises, it's consistently entertaining. (Allmusic)
...The value of tributes is a vexed question. Bands can take the concept far too seriously and lay on the reverence all too thick. Consumers, on the other hand, can enjoy them on their own merits, as a sampler of varied bands or a collection of great songs hopefully reprised in different styles. Thankfully, "The Great Stems Hoax" fits in on both counts.
...The Wall of Fame in Mathew Street salutes Liverpool's number 1 hit-makers and there is plenty of space for further additions. Compiled and annotated by author and BBC Radio Merseyside broadcaster Spencer Leigh, Liverpool Sounds presents 75 tracks which, by and large, relate to the pre-Beatles area. There are great songs, great comedy and great performances, and every track is here for a reason. There are many hit singles and several number 1s. Even if the Beatles had been born elsewhere, the city would still have made an enormous contribution to modern popular music. From Lita Roza's (How Much Is) That Doggie In The Window (1953) to the Hillsborough Justice Collective's He Ain't Heavy, He's My Brother (2012), there have been 56 Number 1's from Liverpool. The earliest tracks on 'Liverpool Sounds: 75 Classics From The Singing City' are from the late Thirties, by Dingle-born comedian Arthur Askey; the most recent are 1965 beat recordings made at the Cavern club's Cavern Sound recording studio. In between you will hear jazz performed by the Merseysippi Jazz Band and George Melly, folk courtesy of Stan Kelly and The Spinners (including the traditional Johnny Todd, the tune of which is familiar as the theme to the long-running Merseyside-based police TV drama series Z-Cars), and pre-rock era popular vocalists like Frankie Vaughan, Lita Roza, Michael Holliday and comedian Ken Dodd. Other popular local sons of Liverpool include rockers Billy Fury and King Size Taylor & The Dominoes, and, inevitably, The Beatles (here in their own right and with Tony Sheridan) as well as beat group contemporaries Gerry & The Pacemakers (archival recordings from 1961) and Howie Casey & The Seniors. As a bonus, you can hear Johnny Gentle (who was backed by the Beatles on a 1960 Scottish tour) reminiscing on John Lennon's hand in creating his song I've Just Fallen For Someone. (The Guardian)
...His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop. It's hard to resist how Gordon massages the light and sweet bossa nova "Manha de Carnaval" hand in hand with Hutcherson, the heartfelt way "Who Can I Turn To?" or "Everybody's Somebody's Fool" is turned into a personalized statement, or how the co-leaders take Frank Foster's Count Basie staple, "Shiny Stockings," beyond a classic and into immortal territory. Where Gordon and Hutcherson's true strength lies is in their ability to listen and balance their sound into a unified whole beyond any other tenor sax-vibraphone combination you might care to name, unless it's Hutch's partnership in the ensuing years with Harold Land. Picking up on a Sonny Rollins idea, "Heartaches" is a loping cowboy-type swinger with some lustrous comping from Hutcherson and Harris, while the light, cat-prancing "Le Coiffeur" is the highlight among highlights, a stealth calypso with Gordon's deftly rendered staccato notation. One has to listen closer to the pianist on this date, as he buoys the others without demanding equal space, but he is just as reverberant. While this is not Gordon's ultimate hard bop date, it is reflective of his cooling out in Europe, adopting a tonal emphasis more under the surface than in your face. It's not essential, but quite enjoyable, and does mark a turning point in his illustrious career. [The CD version contains two bonus tracks, including the Onzy Matthews composition "Very Saxily Yours" with a melody very similar to "Shiny Stockings," Hutcherson alone during a second chorus, and a classy quarter-to-eighth note solo by Gordon. Ben Tucker's "Flick of a Trick" is added on, an 11-minute groove blues that lets Harris cut loose, digging in after-hours style.] - AllMusic Review by Michael G. Nastos
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