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)Starting with volume 28, I went back to the same setup that i used for the Garage Greats 45's series. I used the NAD preamp. Not sure if there is a sonic difference, but these 45's sure sounded great blasting out of two huge power amps into two quality sets of speakers on my end.
trax:1. Crossfire Time (Constellation) - Dee Clark 2. I'm Going Home (Constellation) - Dee Clark 3. Keep Your Mouth Shut (Calla) - Jean Wells 4. Walking the Dog (Stax) - Rufus Thomas 5. You Said (Stax) - Rufus Thomas 6. It Tears Me Up (Atlantic) - Percy Sledge 7. Heart of a Child (Atlantic) - Percy Sledge 8. Lovey Dovey (Atlantic) - The Clovers 9. Little Mama (Atlantic) - The Clovers 10. Cool Down Baby (Mercury) - Elton Anderson 11. Secret of Love (Mercury) - Elton Anderson 12. Done Gone (Mercury) - George & Earl 13. Better Stop, Look and Listen (Mercury) - George & Earl 14. Rock-A-Bayou Baby (Tara) - The Moonlighters 15. Broken Heart (Tara) - The Moonlighters 16. Two-Timer (Dee-Jay Jamboree) - Jimmy Gray & The Missels 17. My Wish (Dee-Jay Jamboreee) - Jimmy Gray & The Missels 18. He's Waitin' (Norton) - The Sonics 19. Cinderella (Norton) - The Sonics 20. Glad All Over (Columbia) - The Dave Clark Five 21. I Know You (Columbia) - The Dave Clark Five 22. I'm Gonna Be a Wheel Someday (Guyden) - The Bleaters 23. Shake a Tail Feather (Westchester) - The Expressmen 24. Top Twenty (Capitol) - Bunny Shivel 25. Baby Time (Capitol) - Bunny Shivel 26. Goin' Away (Get Hip) - The Boss Tweads 27. It's Best You Go (Get Hip) - The Boss Tweads 28. Thunderbird (Sun/Norton) - Sonny Burgess 29. We Wanna Boogie (Sun/Norton) - Sonny Burgess 30. Hey High School Baby (Norton) - Benny Joy 31. Little Red Book (Norton) - Benny Joy
…compiled and served by Gyro1966...
trax:
...Though the album does spotlight classic guitar solos, such as the one on Jerry Garcia's "Love Scene," more often than not it features songs where great playing is integral to the song rather than decoration. Willie Mitchell's "Soul Serenade," Taj Mahal's "Six Days on the Road," and Bobby Gregg and His Friends' "The Jam, Pt. 1" all let other elements in the songs share the spotlight with the guitar, and they're all the better for it. The Wailers' "Frenzy," Travis Wammack's "Scratchy," and Country Joe & the Fish's "Section 43" are some of the other highlights from this album, which mixes a wide array of rock styles and players into a refreshingly diverse tribute that's almost as versatile as the guitar itself. (Allmusic)
trax:
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)
trax:
trax:
... THE ENCHANTERS FOUR blast through "Like Tuff" and you feel like the reverb is inside your head. THE MARLINS "Let Down" and THE BLAZERS "Poison" make you climb the walls and you are hypnotized as FREDDIE & THE HEARTACHES do "Womp Womp" and THE CREATIONS do "Crash". Then it's time for THE TEMPESTS "Lemon Lime" and you are turning flips on top of the furniture. As THE PREMIERS do "Firewater" they are coming to take you away and as you're drooling down the front of your straitjacket you throw back your head and laugh maniacally: you have gone STRUMMIN' MENTAL.
From the early 90s liverpool scene there were lots of bands lumped intogether as “mad scousers”, some were ok (Dr Phibes and the House of Wax Equations) some were shitter than shit (Space – if you think they were shit when they started putting albums out in the late 90s you should have seen them 5 years before. jesus. The ginger cunt from space is probably the only person I hate that I’ve never actually met.) One was criminally neglected, relegated to half page articles in the back of NME and underpromoted albums courtesy of GO Discs! who’d probably had enough of liverpool after the La’s debacle.
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)
trax:
trax:
...Well, the answer is, they didn't -- or at least not on their sophomore outing, The Hardest Way. The '60s garage and '80s punk influences that made Big Soul so memorable are back again on The Hardest Way, and both singer/guitarist J.T. and organ player Dan McKinney are in solid form, but much of the material doesn't rock quite as hard as the blazing first side of Big Soul, and even the tunes that do connect at full force -- "Out of My Mind," "You Can't Touch Me," and the title cut -- lack the passion and heart that really made the difference on the first album. In short, The Hardest Way finds the Original Sins suffering from the typical second-album dilemma: not enough top-shelf material. While this problem would remedy itself on Self Destruct, that unfortunately doesn't make The Hardest Way any better. - by Mark Deming
The Original Sins:
... You look listlessly about you and realize that there's no better way to get back on your feet than by goin' STRUMMIN' MENTAL - that's the euphoric psychotic state induced when you listen to the rare primitive 1957-65 instrumental wailin' and poundin' contained on this record. - from: http://www.klangundkleid.ch/
... Tim Foster from the Troublemakers and his gang under the name of Th' Losin Streaks have captured the spirit of the 60's teen sound and they offer us a 12 song long player that could perfectly suit as BFTG vol. 9! "Sounds Of Violence" contain 10 original killers like "Beg, Steal Or Borrow" which reminds me of the Miracle Workers "Go Now", "Maybe I Will", "If And When" and 4 frenzied covers such as Birds' "Leaving Here" and Bad Roads' "Blue Girl". If you dig the Sonics, the Wailers, BFTG series, Chelsea boots, dark sunglasses, beer and speed, go for this! - www.geocities.com/theecave
trax:
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)
trax:
trax:
...Sure, you'll still recognize that unmistakably cool, acerbic voice, but like her debut, The Good Things, Main Attraction falls into another genre altogether. Although it shares the pop smarts of Thee Headcoatees' best work (most of which consisted of covers or Billy Childish-penned originals), garage has been replaced by folk and country, and punk by soul and R&B. Meanwhile, the crazed horns on "If I Should Ever Leave" give that particular number a ska feel, while the languid psychedelia of "The Sign" and "Seashells" evokes the Paisley Underground of 1980s outfits like Rainy Day and Opal. To say that her sophomore effort, which was originally released in a limited edition by Germany's Teenage Kicks, represents a more "mature" Golightly -- which it does -- makes it sound as if she'd gone "soft," but nothing could be further from the truth. It's eclectic, to be sure, but slick or boring -- never. Main Attraction was reissued by the U.K.'s Damaged Goods in 2001.
trax:
...A lot of this sounds like Link Wray as filtered through a particularly garagey lens: crude, echoing guitars, some weird sound effects, the occasional surf influence and honking sax a la Johnny & the Hurricanes, all tied together with a general sense of mania. You ain't hearda none of these cuts, unless you've been spending half your time in the same thrift stores that the Cramps and other like-minded souls sift through; not one of these acts are known on even a cult level. It's fairly monotonous in such a big serving -- an occupational hazard of such subterranean compilations -- but it's interesting, sometimes gripping evidence of the wild, somewhat trashy rock that continued to thrive on a grass-roots level at a time when such sounds were supposedly almost extinct. - AllMusic Review by Richie Unterberger
trax disc 1:
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)
trax:
trax disc 1:
"Poppy punk. The first kind that I can tolerate since CRIMPSHRINE. Now, if it's pop punk, and I can tolerate it, you know it's gotta be good if you actually listen to it." - CAUSTIC TRUTHS MAGAZINE #84
trax:
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)
trax:
Virtually nothing is known of the life and full career of this Philadelphia-based saxman and vocalist. What is known is that he cut some sizzling rhythm & blues between 1954 and 1965 (and maybe beyond, for all anyone can tell) and played one of the most famous and familiar breaks in the history of '50s rock & roll, the sax solo on the Silhouettes' 1958 smash "Get a Job" -- this puts Rollee McGill right up there with Jimmy Wright and his work at Gee Records, Gone Records, and the like, and with Frankie Lymon & the Teenagers et al., as a star sideman, except that McGill also sang and cut sides on his own. As a singer, he was similar to Johnny "Guitar" Watson, and he also wrote most of his own material. Yet this brilliant tenor sax player, commanding vocalist -- who was as impressive on the ballads as the jump numbers -- and prodigious composer only had one hit of his own, "There Goes That Train." Originally cut for Piney Records in Philadelphia, this record became a local hit and was picked up by Mercury Records for national distribution, who enjoyed a number ten R&B hit in the summer of 1955. And then nothing. McGill undoubtedly played lots of sessions, including the Silhouettes date that yielded "Get a Job," but he never charted another record nationally. He cut searing singles like "Rhythm Rockin' Blues" and slow blues numbers like "Come on In (both originals), featuring players like Mercury resident pianist Ernie Freeman, that went unbought during the heyday of the R&B explosion of the mid-'50s, and later recorded ballads and jump numbers for the Kaiser, Junior, Chelsea, and Riff labels, into the mid-'60s, and apparently was working well into the '80s, playing locally and on various sessions by other artists. In 1999, Bear Family Records of Germany finally gave long-delayed acknowledgment to this lost legend of the R&B by releasing a CD of his known recordings. A year later, on November 1, 2000, McGill died at the age of 68.(Allmusic)
The Insomniacs are proud to serve up their latest collection of garage-flavored pop treats, JUST ENJOY IT! The long-awaited follow-up to ‘Switched On’ ups the ante on the band’s signature poppy hooks and buzzy energy. New boy Joel adds a whollop to the backbeat to give these new classics a kick in the arse and commands you to shake your shit!
The Insomniacs:
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)
trax:
...Among the highlights are Blind Willie Johnson's wordless "Dark Was the Night" and Tampa Red's goodtime "You Can't Get That Stuff No More" and also featured are Charley Patton, Blind Boy Fuller, Leadbelly, Casey Bill Weldon, Buddy Woods, Robert Johnson, Bukka White, Sister O.M. Terrell and Son House. With the exception of two later cuts, all of the music (which includes a pair of previously unreleased selections) dates from 1927-40. (Scott Yanow, Allmusic)
The opening line of The Mighty Sparrow - "when the cafe doors exploded" - aptly describes what is happening to you while you listen to Brutalist Bricks. This album bursts with rocking energy from start to finish. It gives the illusion of loose, seat-of-the-pants indie punk, but make no mistake - this material is tight - well crafted, well played, and well produced. The songs are relatively short and brimming with hooks, which you will find yourself humming if you ever stop listening to the disc. - ByR. Fenimore
trax:
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)
trax:
Reprise label was set up by Frank Sinatra, using $200,000 of his own money. He was increasingly unhappy with Capitol Records with lots of restrictions and miserly royalty rates. Several of his friends joined the label, including Sammy Davis, Jr. and Dean Martin. Rreprise remained independent only until August 1963, when low profits and disappointing album sales forced Sinatra to sell two-thirds of his stake to Warner Brothers. The imprint continued successfully throughout the Sixties and Seventies, reinventing itself as a rock label with the likes of Frank Zappa, Joni Mitchell and Neil Young. The legacy of Reprise lies not only in the music but in higher royalty rates and the label’s far-sighted policy of reversion of rights to the artist – which means, ironically, that reissues of many classic albums, including Sinatra’s, no longer appear on the label. Modern acts still flourish on the Reprise labels, including Josh Groban, Enya, Tom Petty, David Foster, Michael Buble, Eric Clapton and Michael Franks.
trax:
Cee Bee Beaumont were a three piece from Holloway who played great garagey moddy instrumentals at a furious pace. They were Snider (Git) Chef Butch (Drums) and King Zero (Git). Sadly after two great albums they are no more but you never know a reformation may be just around the corner.
trax:
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)
trax:
trax disc 1:
Cee Bee Beaumont were a three piece from Holloway who played great garagey moddy instrumentals at a furious pace. They were Snider (Git) Chef Butch (Drums) and King Zero (Git). Sadly after two great albums they are no more but you never know a reformation may be just around the corner.
traxfromwax:
%2045%20-%203642A.png)
.jpg)
.jpg)
.jpg)
%2001.jpg)
