...The result is an album of songs that are exceptionally strong, catchy, and well-played, a very "grown up" album, in fact. Perhaps the shift was inevitable, or perhaps the boys felt a sense of freedom to write more mature, emotionally charged songs since casting aside their Ramones-esque surname. Whatever the reason, the Compulsive Gamblers' sophomore release, Bluff City, is a genuinely moving effort by any standard. Lively and almost cartoonish by its close, "Pepper Spray Boogie" more than lives up to its title, as it storms by in a flurry of Jerry Lee Lewis-style piano bashing and hyperactive string bends worthy of Chuck Berry himself. With its howling organs, slinky guitars, and aching vocals, "One Eyed Girl" calls to mind the Doors (if they'd spent more time brawling in seedy juke joints or listening to Eric Burdon records). The first half of Bluff City's raucous, ragged rock could probably pass for a lost Oblivians record, which is fine, but things really come together for the second half of the album. The back half of the album finds the boys finally being brave enough to strip away their protective layers of fuzz and screamy vocals in favor of cleanly played, truly timeless anthems for the broken-hearted. Easily the most beautiful song ever recorded by anyone who ever called himself an Oblivian, "I Don't Want to Laugh at You" is a surprisingly sweet love story with clear, beautifully twangy guitars and gorgeous vocals that call to mind someone like Grant Lee Buffalo or Roy Orbison at times (minus any sort of pretentiousness such comparisons might imply). "New Romance" is just as stunning, but with the lilting vocals replaced by more straightforward but just as moving whispery sing-speak. "You Don't Want Me" is oozing with the qualities that make a song like "Sway" so great, while "Don't Come Looking for Me Now" abandons the slow-dance balladry of the previous songs in favor of country flair. And "Trouble"? Whoo-wee! It plays like a dark, rainy street -- simply sultry and well worth the price of admission on its own. The album-closer "Don't Haunt Me" sounds like a Them Wranch outtake, and that's a high compliment. With an appealing mix of dirty Gibson Bros./Cheater Slicks-style barroom foot-stompers and lonely, middle-of-the-night tearjerkers, Bluff City is probably the strongest and most easily approachable Compulsive Gamblers (or Oblivians) album, making it both a must-have for fans and the perfect introduction for the uninitiated. Pass the whiskey (and the tissues). - AllMusic Review by Karen E. Graves
trax:
01 My Love Is A Monster 02 X-ray Eyes 03 Mystery Girl 04 Pepper Spray Boogie 05 I Call You Mine 06 One-eyed Girl 07 I Don't Wanna Laugh At You 08 New Romance 09 You Don't Want Me 10 Don't Come Looking For Me Now 11 Trouble 12 Don't Haunt Me
…And he did a good job. The first CD includes surf classics from the 60s, with the obvious choices and some not so obvious. The second CD covers from the 70s to the 90s; the sound is mostly the same, with some harder guitar play. And the 3rd CD covers "today's artists/surfers" (because some surfers do music), with a great variety of styles which mostly do not relate to the classic surf sound. The interesting booklet is both in French and English, the cover painting by a Biarritz artist, François Lartigau (Biarritz is France's surf capital city). I might write something more consistent after further listenings. - chrismass61
Formed in 1983, the Beasts have become something of an Australian indie "supergroup", the only constant being the vocals of Tex Perkins (Cruel Sea, The, Salamander Jim). The original line up included Perkins, Guitarists Spencer P. Jones (Johnnys, The) and Kim Salmon (Scientists, The (2), Kim Salmon And The Surrealists), Bassist Boris Sudjovic (Scientists, The (2), Dubrovniks) and Drummer James Baker (2) (Hoodoo Gurus, Dubrovniks).
Its a live to air JJJ recording of only 5 tracks but its nice, in a sleazy kind of way! As only Tex can. - That Striped Sunlight Sound
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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)
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trax CD 3:
…And he did a good job. The first CD includes surf classics from the 60s, with the obvious choices and some not so obvious. The second CD covers from the 70s to the 90s; the sound is mostly the same, with some harder guitar play. And the 3rd CD covers "today's artists/surfers" (because some surfers do music), with a great variety of styles which mostly do not relate to the classic surf sound. The interesting booklet is both in French and English, the cover painting by a Biarritz artist, François Lartigau (Biarritz is France's surf capital city). I might write something more consistent after further listenings. - chrismass61
In March 1988, the Beasts (Perkins, Salmon, Jones, Baker and Sujdovic) decided to reconvene and cut Sour Mash with engineer / producer Phil Punch. Sour Mash (December 1988) virtually redefined the parameters of guitar-based rock'n'roll. The Cramps-influenced swamp- rock of old had been discarded for a more adventurous slab of gutbucket blues and avant-garde weirdness. Perkins' voice had matured into an authentic blues growl that showed the influence of Howlin' Wolf, Captain Beefheart and Tom Waits. The thundering cover of the Jack Nitzsche / Ry Cooder song `Hard Work Drivin' Man' backed with `Elvis Impersonator Blues' and `I Love You Because' (November 1988) became a #1 independent hit single, as did the double single `The Hate Inside' (August 1989).
The Beasts of Bourbon:
The legacy of The Soul Stirrers will always be the quality of their music, their innovative style, stage presence, longevity and a wealth of talent they had as members and lead singers. From their inception in Texas in 1936 until the present, there have been many members of this group and unfortunately, many of the namse have been lost in time. Those that made a name as stand outs and were able to thrill audiences both here and abroad, will never be forgotten. From the late forties until his departure in 1951, R. H. Harris was the voice that powered this quintet. Considered by many, one of the greatest voice of the era, his leaving creating a void thought too great to overcome, but in stepped nineteen year old Sam Cooke. Cooke who would immediately propel the Stirrers into a string of hits that would make the group a household name and one of the biggest acts in the gospel field. Their finest recordings on the Specialty Label out of Los Angeles during the mid fifties are arguably the finest ever recorded. The Cooke era ended in 1957 when Sam chose to record secular music. His replacement would be Johnnie Taylor, who, from 1957 to 1961 would record some of the sweetest Gospel Classics that can be heard on the cd " Heaven Is My Home ". namely, " Out On A Hill ", " There's Not A Friend ", " My Life Belongs To Him ' and " Heaven Is My Home ", had these songs been included, I would have given this volume five stars, but, that's okay as well. Johnnie Taylor would also leave the group for a number of reported reasons and he would be replaced by Jimmy Outler, ( after Cooke's pursuit of Joe Ligon Failed ). Jimmy's work with the group would not equal that of any of the former lead singers, but he would record another Stirrers classic, " Jesus Be A Fence Around Me ". On this volume he can be heard on lead on one of my personal favorites, " Since I Met The Savior ". During all this time, the one constant, was the presence of Paul Foster and J J Farley whose bass and baritone would anchor this group for many, many years. Outler's farewell came in 1964 and he would be replaced by James Phelps who would become the last lead singer of the group at the SAR Label. In December of 1964, Sam Cooke would be tragically and mysteriously killed in Los Angeles. But greatness can not be defeated by tragedy. The Stirrers would survive the death of Sam Cooke and the demise of SAR Records and they would ultimately wind up in the windy city with a totally new lineup with the exception of Farley. Eventually the group would be set with Willie Rogers, Arthur Crume, Sonny Mitchell, Martin Jacox and Farley. They would go on to record some very fine music for the Chess / Checker Group, again proving the resillience and resourcefulness of this group. Through the years and many lineup changes the Stirrers have remained elite in the field of gospel. Which of the group's composition or who was the best lead singer is the source of many conversations, but Joy In My Soul is the only place where you'll get to hear three of their lead singers being produced by the fourth and perhaps, the greatest of them all, but, to be completely fair and correct about the matter, I consider Paul Foster a great asset and one of the best singer the Soul Stirrers were lucky enough to have in the group. They come along only once in a lifetime and truly are ...irreplaceable.(A. D. Bowman, The Gospel Monthly)
trax CD 2:
...Where Cowabunga! concentrated on surf's stars, Surf-Age Nuggets digs deep; for every song by Dick Dale, there are many more by lesser-known but just as devoted acts such as the Ramrods, the Telstars, the Mosriters, and the Elite U.F.O. (!). The collection also lives up to the Trash & Twang part of its name with lots of rough, raw tracks that border on proto-punk in their intensity (check out the Emotionals' down-and-dirty version of "Miserlou," the Gestics' "Rockin' Fury," or the Safaris' "Kick Out") as well as commercials and movie trailers (the ones for Vox and House on Haunted Hill are especially memorable) that reflect how big a part surf music played in pop culture at the time, and vice versa. Covering all the bases of surf music from sleek to raw and everything in between, this set is a must for anyone who wants to explore the style beyond its big names. (Allmusic)
trax disc 4:
An absolute classic. High water marks on this effort include their brilliant, haunting covers of "Psycho" & CCR's "Graveyard Train" as well as now classic originals "Love & Death", "Lonesome Bones", "Drop Out" & "Save Me A Place". Singer Tex Perkins wasn't nearly as polished in these early days, but the charisma is already evident in abundance. Good rock songs with a heavy-handed dark country undertone. Great record & the place to start if you're just getting into this incredible band... - by jRoulette
traxfromwax:
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:
...Where Cowabunga! concentrated on surf's stars, Surf-Age Nuggets digs deep; for every song by Dick Dale, there are many more by lesser-known but just as devoted acts such as the Ramrods, the Telstars, the Mosriters, and the Elite U.F.O. (!). The collection also lives up to the Trash & Twang part of its name with lots of rough, raw tracks that border on proto-punk in their intensity (check out the Emotionals' down-and-dirty version of "Miserlou," the Gestics' "Rockin' Fury," or the Safaris' "Kick Out") as well as commercials and movie trailers (the ones for Vox and House on Haunted Hill are especially memorable) that reflect how big a part surf music played in pop culture at the time, and vice versa. Covering all the bases of surf music from sleek to raw and everything in between, this set is a must for anyone who wants to explore the style beyond its big names. (Allmusic)
The artists on this compilation are believers of that lesser known maxim "If at first you DO succeed, may as well try again." Each of these songs represents an attempt at a shameless cash-in on a formula that, well, worked once. Most were an artist's immediate follow-up to a chart hit while others were later stabs at jumpstarting stalled careers. Either way, send in the clones.
Welcome to Volume 2 of Clones! As before, each of the songs here represents an attempt at a shameless cash-in on a formula that, uh, worked once. Most were an artist's immediate follow-up to a chart hit while others were later stabs at jumpstarting stalled careers. And if these artists can so unabashedly try to replicate an idea that worked once, I don’t see why I, your shameless compiler, couldn’t do the same by creating a second volume. In both cases, send in the clones.
…Listless Dylan-esque vocals run alongside lounge-lizard Hammonds and the raw joy of Chuck Berry. The recorded performances, though modern, are rushed, rough, and sloppy. Nothing less than 20 tracks are included, with the horn-packed ragtime rock of "Scaring Myself" and the lurching Oingo Boingo nod "Dead Waltz" holding together a large number of unremarkably mature efforts such as "Name a Drink After You," "Sour and Vicious Man," and "Handful of Burning Sand." Ultimately, absent the shock value of their higher-profile band the Oblivians, the Compulsive Gamblers come across like a tribute band already tired of its own tribute. - AllMusic Review by Dean Carlson
trax:
...Where Cowabunga! concentrated on surf's stars, Surf-Age Nuggets digs deep; for every song by Dick Dale, there are many more by lesser-known but just as devoted acts such as the Ramrods, the Telstars, the Mosriters, and the Elite U.F.O. (!). The collection also lives up to the Trash & Twang part of its name with lots of rough, raw tracks that border on proto-punk in their intensity (check out the Emotionals' down-and-dirty version of "Miserlou," the Gestics' "Rockin' Fury," or the Safaris' "Kick Out") as well as commercials and movie trailers (the ones for Vox and House on Haunted Hill are especially memorable) that reflect how big a part surf music played in pop culture at the time, and vice versa. Covering all the bases of surf music from sleek to raw and everything in between, this set is a must for anyone who wants to explore the style beyond its big names. (Allmusic)
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