...The label started a tremendous record series already with its first issues on vinyl. The focus was to reissue or even issue for the first time those unknown jewels from small and tiny little U.S. independant labels from the 50s and 60s.Zdrenka also started a similar CD album series with interesting cover pictures after he re-named the label from Bison Bop to Buffalo Bop. The sound on these records and CDs is mostly rough tough Rockabilly stuff, the steamhammer way, originally recorded in some primitive garage or cellar. They are all dubbed from original old vinyl discs and freshly remastert to maintain the original sound – and what can we say: It rocks from A to Z!
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1. It's Many Miles From Me To You - Homer Monroe 2. Carmin Sue Rock - Lee 'Red' Melson 3. Lonesome Old Jail - Blankenship Brothers 4. Don't Shoot Me Baby - Bill Bowen 5. Party - Al Sims 6. Nothin' But A Nuthin' - Jimmy Stewart & His Nighthawks 7. Hard Up Blues - Blankenship Brothers 8. I'm Long Gone - Carl Belew 9. Pretty Baby - Lewis Pruitt 10. Rockin' Thru The Tunnel Of Love - Lee 'Red' Melson 11. All Messed Up - Jess Hooper 12. Wilson Blues No.1 - James Wilson 13. Way Up Alaska Way - Al Oster 14. Have Myself A Ball - Bill Bowen 15. Time Will Tell - Art Buchanan 16. You're Gonna Reap What You Sow - Ray Strong 17. Pack Up And Go - Sid Triplett 18. Track Down Baby - Tom James 19. That's Why I Am Blue - Blankenship Brothers 20. Where There's A Will - Carl Trantham 21. Married Life Blues - Sid Triplett 22. Bubble Gum Boogie - Curley Rash 23. Hey Baby - Tom James 24. You Tore your Playhouse down - Rabon Sanders 25. Sleepy Time Blues - Jess Hooper 26. Waiting For A Train - The Blankenship Brothers 27. Little Red Caboose - Al Sims 28. I'm Being Haunted - Lee 'Red' Melson 29. Irena Cheyenne - Al Oster 30. Heartbreak Station - 'Cuzzin' Bill Hamby
…served by Gyro1966...
...Some of them are so obscure that they haven't made it into any discographies. It opens in great form with Chicago bluesman Doc Bill Joseph doing I Don't Like It with hot piano from Lafayette Leake and also includes sides Gene & Wendell, Allen Thomas with some scatting R&B, Percy Welch & The House Rockers (big voiced blues shouter), The Three Tuffs (funky down home blues with what sounds like a vocal imitation of a violin in the background!), Joe Louis Johnson, Johnny Gatewood, Larry & The Rexettes (a fascinating song about World War II), Johnnie Mae Matthews, John Sowell & The Jack Olsen Orch., The Diaboligues (a great cover of the Don Gardner/ Dee Dee Ford hit I Need Your Lovin'), The Jolly Jax Trio (an R&B song about Alan Shepard's pioneer space flight!), Sweet Root & The Rockin' Whalers (fine Jimmy Reed influenced blues), Johnny Taylor & The Tabs and more. Excellent sound and booklet with label shots. (Frank Scott, Roots & Rhythm)
The Knights were a guitar rock band from 1961 through 1964 and they made a strong statement in the Southwest where they released "Precision" on Red Feather Records in 1964. The arrival of the Beatles in February of that year, however, not only prompted The Knigts to make a change of genre in 1965 from instros to frat rock vocals, hut a name adjustment as well as they became known as King Richard and the Knights. They would live by that name until their breakup in 1967.
Thessaloniki's heavy garage band The Mushrooms was one of the first of the genre to come to the attention of audiences outside of Greece, with their 1986 release "Taste Of ...", a mixture of psychedelia and the heavy sound of the eighties. They're also of interest for the label that signed them: their debut album was the second record to come out on Pegasus (for those of you who won't rest until they know: the first one was "A Way Out" by The Anti- Troppau Council, who shall go down in history as the band that started the famous Athens scene around the legendary Pegasus Club). This independent little firm would go on to become the purveyor of some very fine Greek sounds indeed (read on ...). The Mushrooms came together in December 1984 "having already played with other groups, they joined forces in a more psychotropic effort" it says on the liner notes. Although they didn't gig very often they played with The Dream Syndicate, The Chills, Robyn Hitchcock, T.V. Personalities and Died Pretty when those bands visited Greece. After changing guitarists and gigging more regularly both in and out of the country they started work on a second album that saw the light of day in 1990 (as the sixth Pegasus release) but sadly they disbanded a year later. - from Crohinga Well
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Blam! Is the first full-length album from The Kustard Kings, the house band for the critically acclaimed New York City based Loser's Lounge series. The Kustard Kings are one of the most written-about, talked-about and in-demand bands in New York. The band has shared the stage with such diverse talents as Deborah Harry, James Iha (Smashing Pumpkins), Lenny Kaye, J. Mascis, Bob Mould, Joey Ramone and Ronnie Spector. The group has received high praise from such notables as Burt Bacharach and Lee Hazelwood.
Thessaloniki's heavy garage band The Mushrooms was one of the first of the genre to come to the attention of audiences outside of Greece, with their 1986 release "Taste Of ...", a mixture of psychedelia and the heavy sound of the eighties. They're also of interest for the label that signed them: their debut album was the second record to come out on Pegasus (for those of you who won't rest until they know: the first one was "A Way Out" by The Anti- Troppau Council, who shall go down in history as the band that started the famous Athens scene around the legendary Pegasus Club). This independent little firm would go on to become the purveyor of some very fine Greek sounds indeed (read on ...). The Mushrooms came together in December 1984 "having already played with other groups, they joined forces in a more psychotropic effort" it says on the liner notes. Although they didn't gig very often they played with The Dream Syndicate, The Chills, Robyn Hitchcock, T.V. Personalities and Died Pretty when those bands visited Greece. After changing guitarists and gigging more regularly both in and out of the country they started work on a second album that saw the light of day in 1990 (as the sixth Pegasus release) but sadly they disbanded a year later. - from Crohinga Well
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INFO: http://rcs-discography.com/rcs/label.php?key=601
Additionally, she "rocks the house" with reckless abandon - playing wild and "heavenly" guitar licks in her own style - which I'm sure sobered many a male guitarist back in the day. The expression "All In" comes to mind when I hear her soaring voice "singing and shouting" over a piano, drums, and choir, and I feel myself "lifted up" in a glorious, all enveloping, sonic cloud - Praise be to God - Sister Rosetta is standing in the "AMEN" section! (Record Runner)
Berlin underground band from the golden years right after the German reunification. Their concerts were often kept secret because the smaller clubs couldn't cope with their huge number of fans. No further info online for this rarity.
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…They split up in 1987. Their guitarist John Drenogiannis was consider one of the most prolific guitarists of his time, although he was self teached (after hearing in 1978 the 1st Sex Pistols lp, he said, he took a wooden stick pretending that it was a guitar and started jumping up and down scaring his mother, and that was it!). He played as session musician in many bands (Xwris Perideraio amongst others) and after splitting up of ATC he formed YEAH! that have released 2 great LPs. He also played with LIBIDO BLOOM in their 3 LPs. He is now a famous motorcycle journalist with own tv programm. The vocalist Vasilis (Bill) Tzavaras was what we call performer. He along with Bassist Tolis Maragkos/Gerasimos Gatzelias and drummer Takis Kanellos, have disappearred from the scene few years after band split up. There are some tapes with the recorded but never released 2nd LP (which is great too), but that's another story (if you get what i mean:)) - mutantsound /aka Jim from Greece
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Collector Records is run by obsessive Dutch collector Cees Klop who started issuing LPs of rare 50s rockabilly and rock 'n' roll in the 70s on his White Label. After nearly two hundred LP releases (!) he switched to compact disc in 1991 reissuing some of the previously reissued material as well as a whole heap of newly unearthed material. In addition to reissuing rare 45s he has tracked down artists, record labels and recording studios resulting in releases which include alternate takes, unissued songs, demos and home recordings. Some of the releases have a regional or thematic slant but most are just miscellaneous collections. Sound quality is good considering the origin of some of the material and the packaging is pleasing in a down home way with slim booklets with photos and label shots and occasional notes. Almost every release has some really excellent material and the real enthusiast will want 'em all.(Roots & Rhythm)
Berlin underground band from the golden years right after the German reunification. Their concerts were often kept secret because the smaller clubs couldn't cope with their huge number of fans. No further info online for this rarity.
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...David Dunn's "Rock Me" manages some impressive guitar pyrotechnics and solo sax acrobatics, and it pretty well sets the standard for this set. "Gonna Be Nice Tonight," a primitive piece of rock & roll that might almost qualify as "retarded" in its reliance on repeated words, may not have belonged here, but most of the rest is professional and more than a little inspired. Terry Dunavan's "Rockin' at School" is a nicely paced piece of teen fantasy, and Billy Adkinson's "Sugar Lump" is a surprisingly hard-edged number, considering its title. An outfit called the Shadows, having nothing to do with Hank B. Marvin and company, provides a free-wheeling, smoothly professional "Redwood Fence," sparked by a Chuck Berry-inspired guitar break. "Katy D" by Billy and the Jokers is a cheerful delineation of teenaged rural lust, and Chance Halladay's "Home Run" (which never had a prayer of airplay) has a lot of fun with baseball terminology and romance set to a decent rocking beat. There's only one ringer here amid these generally wild and lusty rockers -- Jimmy Work's beautiful, relatively languid "Tennessee Border" is stuck in here, and it's a little too country although it does fit in with the social ambience of some of the rest of the music, if not the genre. It definitely pales beside Glenn Mooney's loud, wild, roaring "Come Over Rover" and Leroy Bowman's "Uh Huh," with its intimate inventory of the object of his affections ("she's five-foot-two, every little inch is fine"). A lot of those present looked like singularly unlikely rock & rollers, but the sound on 27 of these 30 tracks shows that almost any of them might have made it. (Bruce Eder, Allmusic)
...While Precoda is understandably missed, Cutler was no slouch as a replacement guitarist, and the recordings here generally have a good, rootsy feeling to them. Most were recorded during mid-1987 with Vitus Matare manning the boards and Green on Red mainstay Chris Cacavas guesting on keyboards and vocals. Cutler throws in some okay feedback squeals and blasts, while Cacavas adds a further barrelhouse/bar band jam touch to the material, especially on the cover of Rodney Crowell's "I Ain't Living Long Like This." Wynn's in OK voice and everything sounds pleasant, though frankly less of the hot-wired inspiration of the band's early years appears -- it's reverential without being revelatory, where a band like the Walkabouts took many similar influences to wider conclusions. Most of the remaining tracks come from earlier recordings in 1985 shortly after the band was reactivated with Cutler as the new guitarist. Hearing him play distinctly non-chaotic/goth music so soon after 45 Grave's dissolution is perversely amusing, but the real point is that he brings a fine sense of performance to Wynn's material, especially to the disc-concluding "Blood Money," a solid rocker. One final ringer is an outtake from the Live at Raji's album, a nice version of "When You Smile," introduced with an amusing admonition for the crowd to scream so "we can run a loop of that whole thing" throughout said record's length. In general, 3 1/2, while nowhere near the real heights of the Precoda years, is listenable and intriguing if not deathless. - AllMusic Review by Ned Raggett
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Along with featuring a variety of country music sentiments, the Sin-Tones second full-length offers traces of the Cramps' eccentricity and Dick Dale's adroitness. Joining core band members Michael Hussey (vocals, guitar, keyboards) and Jo Bradley (vocals, bass) on Surf-o-Ghetti is Sean Dignan (drums), previously the proficient beat keeper for Toronto's Suckerpunch. Although it doesn't contain anything as bizarre as their surf version of Gordon Lightfoot's "The Wreck of the Edmund Fitzgerald" (from their self-titled debut), Surf-o-Ghetti contains an abundance of drollness, in addition to the band's adept surf/country rock. (Fading Ways) By Rob Nay
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...The band not only captured the essence of their contemporaries (e.g., their howling cover of the Sonics' "The Witch" captures the original's ferocity, and their rendition of The Kingsmen's "Long Green" surely helped the Goodtimes top the Northwest Battle of the Bands), but they also contributed to the Northwest rock 'n' roll vernacular with stellar originals like "Little Sally Tease."
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Easily one of the best new releases in the surf/instro world in some time. Superb musicianship, highly original tunes, lots of energy, offering a variety of styles and tempos, moving easily from darkness to light, and yet true to the genre throughout. Especially recommended to folks who are new to surf/instro or just curious about what it has to offer. - Reviewer: Neal
The Sidemen:
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...There are some familiar names here, too -- Patsy Cline ("Love Me Love Me Honey Do"), most obviously, and Dodie Stevens ("Pink Shoe Laces"), but the rest is rarer than hen's teeth. Fonda Wallace ought to have been a legend for the raucous "Lou Lou Knows," and Barbara Tennant's "Rock Baby Rock" is one of those bracing rock & roll anthems that just moves, honking saxes, sub-Jordanaires, chorus and all (dig her scream of ecstasy before the sax break). Joyce Poynter ("Chilli Dippin' Baby") is a hybrid country rocker, but Orella Myers has a lot more of a country twang in "Give a Little, Take a Little," and the song wouldn't have been out of place on a Grand Ole Opry program, but someone sure knew how to strum a hot guitar and coax some loud notes from an amplified axe. A few ballads ("I'll Never Love Again" by Betty Nickel, etc.) break up the mood, and not everything is up to the standard of the best rockers -- Penny Candy's "The Rockin' Lady") is predictably programmatic, although Virginia Lowe's "I'm in Love with Elvis" gets by on her soaring vocals; Myers' "Ask Lucille" is strictly backwoods; Dottie Mae's "Sugar Doll" isn't too much harder. But this is still a solid collection, if a bit more countrified (without a rockabilly beat to compensate) than most rock & roll fans necessarily want. On the other hand, "Go Get the Shotgun, Grand'Pa" by Ann Castle is a rural subject rendered in a solid rock & roll form, with a rhythm section that sounds like it was pulled from the nearest strip-joint band on a good night and a fiercely sexual performance from Castle. The real finds here are "Gonna Be Loved" by Linda & the Epics, which sounds like a sure bet for the A-Bones to cover if they ever hear it, with superb guitar and sax work, and "Money Honey" by Janece Morgan, who sounds like Gene Vincent reincarnated as a girl, with a band that deserved better than anonymity backing her up. (Bruce Eder, Allmusic)
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..."We wouldn't call ourselves a surf rock band per se," Halverson said. "We're like a rock reverb band that's really loud."
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"Hey Son! tout d'abord un grand bravo à toi pour les posts que tu proposes, toujours très classe!
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...There are some serious professional musicians represented, such as country-rockabilly veterans Alden Holloway (pictured with a double-necked guitar) and Dell Vaughn, but some of this CD is in a loose, wild rockabilly vein. Gene Vincent's "Spaceship to Mars" would've fit in perfectly, and Terry Dunavan's "Rock It on Mars" even recalls the Vincent number, but there's cooler and more interesting stuff here: the Love Brothers' unissued acetate of "Flying Saucer Rock 'n Roll" is rockabilly punk at its most primitive -- real A-Bones type material; the Rockers' "Rock, Rock, Rocket Ship," which isn't far behind and has a crunchy bass; Holloway's "Blast Off," which has crisp Chet Atkins licks, a cool tenor sax solo and some catchy choruses; Vaughn's "Rock the Universe," which has a real roadhouse band feel to it; Monte Mead's "Cape Canaveral" on the Fortune label, with its crisply arranged country-style guitars and a solid, hard beat; "Moon Beat" by the Fabulous Imperials; and Jimmy Stewart's raw, hard country raunch "Rock on the Moon," stuff that makes Carl Perkins seem almost urban. Buck Trail's "Knocked Out Joint on Mars" gets the equation of sex, space and guitars assembled in the right order, with a good beat; Stewart's "Rock on the Moon" is tighter and has a better dance beat. Jackie Gotroe's "Rock It to the Moon" strips the formula to its basics, with lyrics that equate girls, moon rockets and blast-offs, with a hot guitar break in the middle and a better melody than the competition -- even it gets outdone for scatology, however, by Stan Beaver's "Got a Rocket in My Pocket." Billy Nix's "Moon Twist" is about as much fun as a twist record done by a guy who obviously prefer rockabilly could possibly be -- Nix melds the two forms beautifully, nice and slow but never sluggishly. Carl & Norman's "Shooting for the Moon" is a different twist, a comical harmony number (with nice piano ornamentation dressing up a basic country band backing) that equates a failed rocket launch with frustrated romantic possibilities. "Light My Rockets" is a more upbeat look at the same scenario by Neil Alan. Gene Lanzi's "Countdown 4-3-2-1" stands out as the only real instrumental here, a tense guitar piece (with Lanzi providing narration every so often). Billy Hogan's "Shake It Over Sputnik" is a silly topical number about southern pride, the Jupiter-C and the space program. (Bruce Eder. Allmusic)
...He recorded and released rockabilly on Nau-Voo and also leased some of the better ones like Billy Adams' You Heard Me Knocking and Bobby Lawson's Baby Don't Be That Way . McKinney was no Sam Phillips but he knew how to record rock'n'roll. Virtually all of the 25 tracks here are wild and primitive rockers with really good singing and guitar playing. Standouts include the 2 already mentioned plus Deacon & the Rock & Rollers - Rockin' On The Moon , the IV Leaguers - Jim Jamin' , Lawson's If You Want My Love , Adams' You Gotta Have A Ducktail , Fun House and Return Of The All American Boy , the Untouchables' I Don't Know (the only country rocker here) and many more. (AE, Roots & Rhythm)
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No many hits in this collection, but that's really the beauty! A must for any fan of vintage surf. Great vintage tunes that find lots of time on my player. I still love surf hits, but turn to this more often. Many of these artists helped to create the socal surf/instro genre - the vibe is here! - by unknown
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...With keyboards, it would have been the next VV's. We had met the Daisy Chain during our last tour. I fell in love with Before I Go! This song should have been a classic, a permanent hit. So I called them and I worked for Jani's voice. All my songs were written for her. None of their songs were written for me... so I stole Before I go and I think our male/female version is one of the best songs ever! Jani is great and she found just the right way to tell the french words. This created the Vietnam Chain offerings of "Before I Go" and "Susmoala Beat." - Mark
…Among the highlights are two terrific tracks by interestingly named Chicago bluesman Bo Dudley (Oscar Coleman) featuring some great steel guitar by, presumably, Freddy Roulette. There are two tracks from the excellent New Orleans singer/ guitarist Jesse Allen, two by the fine Baby Calloway, one of them instrumental, recorded in 1962 for Bay area label Bay-Tone. Also includes Eddy Jones & The Cyclones, james Carter & The Sentimentals, V. & B.B., James Wayne (I'm not sure if this is the same guy who cut Junco Partner), Havert Bennett, John Brim (two sides cut for his own BB label in the 70s), Cliff Chambers, and others. An entertaining collection. (Frank Scott, Roots & Rhythm) 
...This 2CD set includes 1 disc containing thirty original recordings of the songs that this fiendish duo either gave mention of during this interview, or covered, sang the praises of or otherwise made public during their delightfully colorful career – albeit one tragically ended by the untimely death of Lux in 2009. But as ‘Chop Suey Rock’, ‘Do You Mean Jelly Bean’ and‘Caterpillar Crawl’ rub shoulders with twenty seven other gems from an oeuvre it’s difficult to name but easy to recognise, a rare glimpse of the music which informed the work of one of America’s finest ever acts, is presented here for all to enjoy and learn from. (Chrome Dreams)
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Yeah, it's your world now: Jon Spencer Blues Explosion, Doo Rag, the Gories, the Gibson Brothers, Fat Possum Records and Rooster Blues, the Flat Duo Jets, Southern Culture on the Skids. Sure they rock. They all rock. And when they were rocking in their mamas' arms (about nine months after we balled'em), Tav Falco and his Unapproachable Panther Burns were shaking all over. These were wreckabilly, juntabilly, psychotropic evenings long before such genres were termed, when the difference between the Panther Burns and Charlie Feathers was mostly age and a few notches on the volume knob of a Vibroverb amp. Okay, and Charlie knew how to play.
Tav Falco & The Unapprochable Panther Burns:
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