Psy-Fi

I have a copy of that 'Girls in the Garage' album on the original vinyl pressing from Romulan Records. I bought it new back when it came out. Had no idea it had become a sought-after collector's item.

The band shown on the cover isn't actually on the album. They were called The Pretty Kittens and they were from the SoCal area...




The Pretty Kittens

I also have a Sundazed Records re-issue 45rpm single from The Tremolons, who appear on that album as The Luv'd Ones. They changed their name from The Tremolons to The Luv'd Ones in 1965...




The Tremolons

Now if you will excuse me, I'm off to listen to some garage girl greatness!

__________________

She's a Brick House

Oriphiel

Thanks for the info! It's cool that you have an original vinyl pressing! Now that even the CD's have been going in and out of print, even they are starting to get rare and expensive.

Nice reissue, by the way! I try to pick up Sundazed CD's (and occasionally vinyl) when I can, because they always write lengthy liner notes that have interviews with whoever they're reissuing!

And yeah, The Pretty Kittens have a habit of ending up on an album's cover, even if they aren't actually included in the album.

Oriphiel

Ah, my non-existent audience, how I’ve missed you so! I’ve decided to change up my style, being a little more detailed than I used to be, in an attempt to hopefully make this musical journey more exciting and meaningful. Well, regardless, i’m back, and just as I promised when last we met, I’ve brought an album with me! We’ve gone back into the past years of the 1960’s, and we’ve travelled around quite a bit, huh? From the wild underground of the Motor City during it’s artistic rise to fame, to the hip Mod scene of France during a cultural explosion, as well as to the open wilderness and expanses (not to mention the cramped studios of the numerous independent record labels that came to life and died during the mid-sixties) of Washington State. Now it’s time to go on yet another journey. This time, we’re going to the sun drenched state of California.



The year is 1984, and west coast cities like Los Angeles and San Francisco have become hot beds of musical activity. Pushed underground by Pop, Hair Metal, and the rise of MTV, the Alternative, Punk, and Post-Punk worlds exist in a strange sort of harmony. This is most evident in the so-called “Paisley Underground” movement. You had pop-rockers like The Bangs (who went on to become The Bangles), alternative champions like The Three O’Clock, progressive experimentalists such as The Dream Syndicate, and solemn alternative country/folk rock musicians like The Long Ryders, all in one musical scene. And you also had the bands who were more influenced by the Punk side of things, specifically Garage Punk. Bands like…

It’s About Time


The line-up that made all of the tracks on the album, but disbanded immediately after. Left to right, keyboardist Gwynne Kelly, guitarist/vocalist Paula Pierce, drummer Casey Gomez, and bassist Bambi Conway

The Pandoras! Originally formed as a mess-around band for a couple of bored college girls with a love for 60’s music, they quickly realized just how exciting their retro-act was to people, and began taking things seriously. They were “discovered” by Greg and Suzy Shaw, founders of “Bomp! Records”, and lovers of underground rock (especially for rock influenced by the 60’s). I’m not sure how they met the Pandoras exactly, but I do know that at that time Bomp was doing their “Battle of the Garages” competition, where they’d accept songs from Rock/Punk bands nationwide, compiling them into albums, and giving the “best” acts of the bunch a record deal. The Pandoras made the cut on the third volume, which focused on LA bands and the rougher side of the Paisley Underground, and may have been how they all got together. Regardless, the Pandoras had already cut an EP by then (“I’m Here, I’m Gone”) with Moxie, who they were unsatisfied with.


Their first EP. Fun fact: It has a curious error in that the label says "45 rpm", while in actuality it is 33 1/3.

Joining Bomp and the Shaws, they cut this album on Voxx (the publishing division of Bomp), and then went on to join the entertainment giant Rhino to cut their next album, “Stop Pretending”, which toned down their rough sound and unsuccessfully attempted to make mainstream chart waves. Unsure of how to proceed, the band suffered from almost constant line-up changes, with the only steady member being guitarist/singer Paula Pierce. After Paula died from a brain aneurysm 1991, the band finally fell apart (as a bit of trivia, bassist Kim Shattuck and keyboardist Melanie Vammen went on to form the punk band The Muffs). Now that the album has context, it’s time to hear the music itself…

1. “Hot Generation” – A cover of the classic Psycho-Surf Rock number (which I believe was originally done by The Sunsets), The Pandoras stay pretty faithful to the original’s 60’s sound. With good vocals (gotta love that wave break in the middle), solid drumming, and fun guitar work, this song is sure to make you want to throw your board on the rack and hop in your Woody for the beach!

2. “You Don’t Satisy” – A really gritty rocker with punch to it. This is a brutally rough number, with an awesome Punk feeling to it. If you like riff-based rock in the vein of The Kinks, you’ll be right at home here. Also, I love the electric organ in the background! At this point in the album, you should know exactly what The Pandoras are all about.

3. “It’s About Time” – The eponymous track of the album, this one takes it’s cues from early Folk/Psychadelic Garage Rock, being focused on good harmonics supplemented by the electric organ and fuzz guitar work that you should be used to by now.


The first line-up of The Pandoras. Left to right, drummer Casey Gomez, keyboardist and rhythm guitarist Gwynne Kelly, guitarist/vocalist Paula Pierce, and bassist Deborah Mendoza.

4. “I Want Him” – Striving for the analogue sound with this one, it’s simple, rough, and a bit distant-sounding. It’s got the makings of a classic Garage tune, being rough for the majority, save for the harmonics during the chorus.

5. “James” – A little more focused on the electric organ this time, we’re introduced to another rocker about love and lust. This one has a short fuzz guitar break that spices things up, and the harmonics in the second half help to keep things interesting. The ending is very fun as well, with the guitar kicking in while Paula shouts at the listener. Fun fact: If you listen to this in stereo, not long after the beginning, you can hear Paula’s voice go from one speaker to the other. This was unintentional, and happened because she had a habit of moving her head from side to side while singing live. I’m just inexplicably full of random information like that, huh?

6. “He’s Not Far” – My personal favorite track off this album, it focuses more on a slow and haunting beat than the previous songs. It takes advantages of harmonics and short bursts of guitar work to create a simple yet compelling sound, and the solo in the middle complements the lonely tone of the song perfectly without losing that Garage Rock sound.


Paula with her Vox Teardrop guitar

7. “Haunted Beach Party” – A groovy Psycho-Surf Rock style instrumental, this sounds like something The Cramps would’ve gotten a big kick out of. This is probably the track that uses the electric organ to best effect, and the driving drumming alongside the thrashy guitar work only helps to keep your heart pumping.

8. “The Hump” – Distant and raw, this one was recorded to have that done-in-one-take feeling of a live track. This is a cover of The Invictas’ minor hit, and keeps the wild Garage feeling that it had. I especially like the change of tone from the minute mark on, and it does a lot to add depth to the piece.

9. “I Live My Life” – Not the wildest of their songs, The Pandoras obviously made this one under the influence of the Folk/Pop Rock bands of the 1960’s that influenced their Paisley Underground brethren so much. This one sounds like something The Bangles would have put out. It’s a bit simple, but the guitar riff that comes in after the chorus is a nice touch, and the harmonica break is cool.


The "classic" line-up featured in most pictures, formed just after this album's release. Left to right:bassist Julie Patchouli, guitarist Paula Pierce, drummer Karen Blankfield, and keyboardist Melanie Vammen

10. “Want Need Love” – A great rocker with a really fun chorus, followed by a cool guitar riff. The main riff for this one sounds just a little like “Steppin’ Stone” by The Monkees/Paul Revere and the Raiders, which is fine by me! All in all, this is a fantastic song to sing (or shout) along to. In the second half, you might notice the voice going from speaker to speaker again, a fun reminder that these tracks were essentially recorded-as-played, with few enhancements or touch-ups.

11. “It Just Ain’t True” – The keen-eared Garage Rock fans among you might recognize this song from somewhere. This one is actually a remake of “It’s a Cryin’ Shame” by The Gentlemen, a song with a colorful spectrum of influence (“It’s a Cryin’ Shame” served as the basis for “What I Like About You” by The Romantics, and is essentially the same song with different lyrics. Of course, The Gentlemen were never credited for it. Take a listen for yourself, if you can find the original, and see what you think). Up-beat and light compared to the other rough tracks, this number is a nice change of pace for the album!

12. “High On a Cloud” – Another very rough and wild track with brutal vocals, the Psychadelic sounding electric organ and relentless fuzz guitar work sound perfect when combined together. This is probably the roughest I’ve ever heard a female vocalist get while still keeping things fairly harmonious (and without getting into Metal territory). This track is a great cover of The Traits’ fun yet obscure Psychadelic original. I personally like The Pandoras’ take on the song better, if only for the unrestrained brutality of it, and the supplements like the fuzz guitar break and harmonics during the chorus only help. They really nailed the analogue sound on this one!


A televised performance, you can find it on youtube! Note their album below the bass drum.

13. “Cry On My Own” – Probably the slowest song of the album, it’s another that sounds like it was influenced by 1960’s Pop/Folk Rock. It’s got a great sound, with the harmonics and electric organ in the background, but fans of The Pandoras’ rougher songs might find it a little boring.

14. “Going His Way” – A fantastic song, and the last track of the album, this one stands out as particularly unique. Though it starts off as a simple riff-rocker, it changes it’s pace with a cool Psychadelic music meltdown, before returning to the riff and finishing things off with one last punch. Paula’s voice works perfectly with the rest of the band, being just rough enough to sound dirty, while still being just clean enough to retain finesse.

A window into the world of both the 60’s and the 80’s, The Pandoras are an interesting band, and serve as the perfect example of the underground scene of their time. Pressured to adopt a more mainstream sound, The Pandoras, along with their musical peers in the Paisley Underground, struggled to find a place in the rapidly changing world. In just a few years, the bands of the Paisley Underground seemingly faded away, with only a few (such as The Bangles) able to stay together. But they all had their chance to express themselves, their “one album” that stood out as remarkably pure, and would go on to define them and what they stood for in the years to come. “It’s About Time” was The Pandoras “one album”, their chance to play the music they wanted to play, without worrying about money or fame. Not only as a wonderful arrangement of music, but also as a reminder of a time in musical history that has been largely forgotten, “It’s About Time” manages to succeed and impress on every level. I highly recommend it, and I truly hope it doesn’t disappoint you.


A young Paula Pierce. Do you remember posing with one of your first guitars?

I should note that the Paisley Underground is seeing a bit of a resurgence, with a few original bands coming back together. In fact, the Paisley Underground poster at the top of this post is for one of their reunion events. Definitely check them out some time!

Well, I had a great time revisiting a wonderful album today! But now it’s time for me to go. When I return, I’ll bring yet another album with me. After two great albums by two great bands, I think it’s time for another compilation! I’ve already touched on the all-female scene with Girls in the Garage and Ultra Chicks, so that only leaves the guys…

Now, I'll part with a fun bit of trivia. When The Pandoras teamed up with the Shaws to create "It's About Time", they created the album cover as an homage to a band from the 60's. Can you guess which one? I'll give you a hint...


They covered "Gloria" by the band Them, which was later covered by The Belles for "Melvin"! We've come full circle! Ahhh!

Oriphiel

Alright cats, i'm back again, this time a little earlier than usual, but I have my reasons. I'm going on a road trip for a few days, and I won't be updating this journal for awhile, but I have two albums for all of you! Hopefully, they'll tide over anyone who reads my journal (a membership I assume is comprised almost exclusively of people who accidentally clicked on it) until I return. Well, let's get started!

Oh, hold on. First, I'd like to mention that I've gone through and corrected many errors in my previous entries. Some were small ("you're" instead of "your"), while others were embarrassingly large (Mistaking The Doors for the band Them, so basically Morrison for Van Morrison). So if things seem a little different than you remember them, you now know why! Alright, onward!


Greg and Suzy Shaw. No relation to the Shaw Brothers.

In the seventies, Greg and Suzy Shaw (who I mentioned earlier when examining "It's About Time") started "Bomp! Records" as a labor of love, giving many underground bands a chance to have their work published. But they also had an ambitious side project, one that would take years to eventually complete. You see, they had a passion for old vintage Garage Rock from the 1960's, and were sad to see so much of it lost and forgotten as time went on. So, they set about collecting every (and I do mean every) album, 45, EP, and mystery tape they could get their hands on. They then decided to publish these songs (eventually totaling over a thousand tracks, which is just insane) so that new generations of listeners could discover and appreciate them. The all-girl bands (or at least bands with a female vocalist) were published in the Girls in the Garage series, among others (mostly by Romulan Records. Bomp's network has a lot of labels, doesn't it?). And the guys were also released in multiple series as well, the most expansive being...

Pebbles - Volume 1



The Pebbles collection! With around 28 volumes (An accurate count is difficult, with so many reissues and criss-crossing series' like "Highs in the Mid Sixties"), this mountain of vinyl is one of the most massive and exhaustive collections of music from any genre to be released in a single series (although there's probably some Time-Life collection out there big enough have it's own orbital field). Now, the biggest hurdle with this ambitious project was the licensing. I mean, how can you get the rights to over a thousand songs, especially when half of them were made by people who have long since disappeared from the world of music?


A 45 issued by Bomp! When you see the red and yellow, you know you're in for something crazy and fun!

As the legend goes, they got around the licensing problem by making a semi-fake record company supposedly based in some part of Australia, and issuing the Pebbles series in it's name. However, rather than try to hunt them down for royalties, many old-time musicians were overjoyed to have their music available to the masses, especially since many of them had long since lost their own master tapes/vinyls. So they continued on with few obstacles, and eventually Bomp Records created AIP Records, which legitimately published the series from then on. Now that we're done with the history lesson, let's get to the music! And yeah, it goes without saying that every song below is currently on youtube, if you’d like to sample them.

1. The Litter - "Action Woman" – Right off the bat, we’re treated to the twangy guitars, loud drumming, and trembling tambourine that you all should basically be using as an IV Drip at this point! The beat for this one is steady, and the tune is really catchy! The vocalist definitely holds his own, and all in all this track is a great start for the album.

2. The Preachers – “Who Do You Love?” – Filled with lyrical exaggerations of masculinity (“I wear a cobra snake for a neck tie!”), this one really has a Blues influence to it. Like one of Muddy Water’s faster numbers, or something made in The Rolling Stones’ early years. Now that I think about it, the singer sounds stylistically similar to Mick, doesn’t he?


The Preachers

3. The Floyd Dakil Combo – “Dance Franny Dance” – A shaker in the vein of Rockabilly, but with the dirty fuzz of that Garage–production analogue recording we all love so much. This song proves that there’s no reason Garage Rockers can’t have a little of that old-world class.

4. The Outcasts – “I’m in Pittsburgh and It’s Raining” – Sounds like it was influenced by some of the faster heart-beat drum and strumming guitar songs of the fifties (and I dig the harmonica, by the way), however it is clearly ingrained in the sixties with it’s fuzz guitar action in the middle. A good example of the natural progression that Rock ‘n Roll took as it left the fifties and entered the sixties.

5. The Squires – “Going All The Way” – One of my all-time favorite Garage songs, this one was sadly left out of the CD reissue of the album. With a really grabbing intro, and the heart-beat drumming that does so much to make a song seem frantic, this one impresses right from the start. The most compelling part is the guitar solo, which is both technically proficient and emotion evoking. Give it a spin sometime, you might like it!


The Squires

6. Grains of Sand – “Going Away Baby” – You can’t help but want to hop in a car and cruise around when listening to this one! It’s just so fun and exciting! While the vocals (and lyrics) are very simple, the instruments keep the song going well enough on their own, especially once the fabulous keyboard solo kicks in (and what a solo it is)!

7. The Ju-Jus – “You Treat me Bad” – One of the weaker tracks of the album, this one is just a bit too overdramatic and campy for my taste. The singer overdoes it by a mile, but I actually really love the guitar riff in the beginning and the break.

8. The Haunted – “1-2-5” – Nice! This one is a total classic song among fans of Garage Rock. In fact, seeing as how you’re here in a journal about Garage Rock, you’ve probably heard it before. It’s a slow but steady crawler from a Montreal Garage band, apparently written about buying marijuana from a street dealer (the second most popular leaf in Canada, after the maple). Very stark and haunting, I love how the fuzz effect comes in strong on the guitar right at the end of the break! I can’t recommend this one enough!


The Haunted

9. The Soup Greens – “Like a Rolling Stone” – Uh… I don’t really know what to say. Did they even listen to Bob Dylan’s original? This sounds nothing like it… Oh, who cares! It’s groovy and wild! This track stands above the others in terms of sounding like it was actually recorded live in a garage! Actually, even though it’s very simple, I think this one may just be my favorite of the bunch… go figure!

10. The Wig – “Crackin’ Up” – A Psycho-Shuffle with the tools of the trade and a frantic singer, the tune and tone change every thirty seconds or so. The result is strange, but also very entertaining and attention grabbing! Definitely a great Garage track, with a taste of Psychadelia.

11. Positively 13 O’Clock – “Psychotic Reaction” – It’s my personal belief that no one can make a bad cover of Psychotic Reaction! Originally by The Count Five (who I suppose I’ll have to introduce to you guys sometime), it’s not quite as compelling as the original, although it does get much more frantic during the break (adding in a guitar solo in place of fuzzy chord strumming). Fun fact: This song was also covered by Psychobilly heroes The Cramps!


The Positively 13 O'Clock's 45 featured in this album!

12. Kim Fowley – “The Trip” – No! I just can’t escape Kim Fowley! It’s not enough for you to mess up Girls in the Garage, no, you had to pop up here as well! By far the worst track of the album. It’s just Kim shouting random junk about taking a trip, while a groovy band backs him up. Not the most horrible song I’ve ever heard, but it’s just so boring and generic, taking no chances, and having no energy.

13. The Elastik Band – “Spazz” – What the… Is this… Is this Hip-Hop? Seriously? They had that back in the sixties? I’m so lost right now… And what’s with the guy freaking out at the beginning? Man, Psychadelic songs are awesome, kicking the conventions of genre to the curb! To anyone reading this journal, just go listen to this thing right now! Go listen to it, and bask in it’s glory! I can’t even begin to describe it!


I don't usually put videos in my journal, but dear Clapton do you need to hear it! Someone else needs to share my new found madness!

14. The Split Ends – “Rich With Nothin’” – This tra… Okay, sorry, I’m still thinking about that last song. What the hell was that? Alright, moving on, seriously… This is a Psychadelic-flavored foot stomper with that faded analogue feeling to it. And no, the band isn’t related to the New Zealand art-rockers Split Enz. A little plain compared to the other songs, but still fun in it’s own right.

15. The Shadows of Knight – “Potato Chip” – The tune isn’t bad, but the lyrics are just truly awful. Possibly the worst song made by the legendary Shadows of Knight. Apparently they kind of knew how weak it was, and never got around to doing anything with it. Still, it has some energy to it! I just really think they should have changed the lyrics…


The Shadows of Knight. They pop up a lot in this journal, huh?

16. The Wild Knights – “Beaver Patrol” – This is the last track of the album, and it’s… very cheesy. I mean, really, really cheesy. True to it’s name, it’s an ode to chasing tail in the 1960’s (yeah, subtle it is not). Kind of tinged with the early funk sound. It’s not terrible, but not very good either.

Fun stuff, huh? Bomp Records is still going strong (http://www.bompstore.com/servlet/StoreFront), and they're still stocked with both modern and vintage Garage Rock albums/compilations. Also, Suzy Shaw and her team are very knowledgeable about Garage Rock in all it's incarnations, and are always happy to answer any burning questions you can fire at them (I've asked them for advice on occasion, like when I was tracking down a CD of "It's About Time"). Definitely check them out (as well as "Alive! The Natural Sound", the label that records/publishes modern bands and sells their albums on Bomp's site).

Well, that's another album down in our quest for Garage-based enlightenment! This one is a classic, and for good reason, but man does it have some weird and weak tracks! The weird tracks (Like “Spazz”. That one times infinity.) actually help the album, making it all the more fun and exciting (You never know what to expect next). But the weak ones (I’m lookin’ at you Kim Fowley! Again!) bog things down. Regardless, no anchor could slow down this ship, and it blasts forward in spite of it’s faults. If you can find it, don’t even hesitate. Just take it and let it make your day (Seriously, I guarantee this weird album will leave you smiling and laughing)! Part two of my farewell bombardment of music will be coming to you shortly…

Oriphiel

The compilation that started my love for Garage Rock, as well as kicking off the first entry of this journal, we return to the crazy ladies of...

Girls in the Garage - Volume Two



Again, this is the reissued CD series i'm reviewing, as the original vinyl is kind of hard to find. The major difference is that the tracklists are different, with some songs lost in the transition and a few others gained.

1. The Darby Sisters - "Go Back to Your Pontiac" - A goofy advertisement song (ah, we meet again. I thought The Omens were the only ones doing this...), this one is about a lady who lost her man to his car obsession. While light hearted and comedic, it's not too terrible (The singers, for example, are alright), but it's kind of an odd choice for the first track.

2. Lonnies' Legends and Currents - "Look For Another Love" - This is a little more what I was expecting, but still a little lacking in wild energy. Driven on by the vocals and harmonies, nothing too exciting instrument-wise happens here. It's about how one shouldn't blindly cling to a lost love, when they could find someone new who truly cares for them.

3. Lindy Lane - "Low Grades and High Fever" - I do love Garage Rock, but I also love a good Rock 'n Roll dance hall number! This one is a fast and light song, with a catchy tune and a talented singer, but it's another song that has a deep voiced back-up singer thrown in the chorus for kicks (Which i'm not a huge fan of. Either go all the way and make a doowop song, or don't do it at all!). Anyway, this one is about a girl who can't concentrate in school because she's in love (Sam Cooke eat your heart out!).

4. Kari Lynn - "Cleo Cleopatra" - Awesome! Now this is what i'm looking for! With a very talented vocalist, as well as a generous amount of fuzz guitar work, this track hits the perfect stride between sweet and rough! This song is about (Who else?) the legendary Celopatra, and her irresistable allure. It's pretty much guarenteed that you'll sing along with the harmony after the chorus ("Yeah, yeah, yeah, yeah, yeah!").



5. Pat Downey and the Vistas - "Real Live Lover" - Another track taking it's cues from the fifties. I do like these slow and simple songs, but i'm kind of anxious for something really rough and fun. Anyway, this number is alright, but it doesn't take too many chances. It's about a girl who wants an exciting lover in the man she desires.

6. Cupons - "Turn Her Down" - And yet another fifties-style track. This one is pretty good, as the harmonies in the back work well to establish a doowop feeling for the piece. It's about a rivalry in affections, where the singer urges her lover to forget the other girl.

7. Ellaine and the Shandells - "Tell Me That You Care" - Hmm, I wonder where the band got their name from (*cough* Tommy James and the Shondells *cough*). It's a hip track with it's harmonies and a backing electric organ, but the real highlight of the song is the intro. Man, I didn't know Saxophones could sound so sexy! The rest is good, but the singers who come in for the post-chorus harmony are way off.

8. The Crazy Girls - "Hey hey, ha ha!" - Cool! I like it! You'd figure a wild track like this has a good story behind it, and apparently it does. The band The Javelin's were recording an album when their girlfriends wanted to record a song as well. So they all got together, and made this weird track with the girl's as vocalists! It's got that groovy Mod feeling to it, and is definitely a worthy addition to the series!

9. Jonna Gault - "I'm Never Gonna Cry Again" - This song is a haunting crawler with a killer beat and personality of it's own, and its not hard to see why it's my favorite track of the album. With that awesome raspy hum of minimalist Saxophones in the background, and a distorted Guitar that comes in and out when needed, this one just overflows with grit and class. The best part is when the song quiets down a bit, right before it explodes into an awesome solo that caught me by surprise when I first heard it! Definitely give this one a spin some time!


Jonna Gault

10. Millie Rogers - "There You Go" - A twangy Surf-Pop number, this one is about a girl who misses the one she used to have fun with. The vocals are given that analogue-drill effect again, which in this case makes it a little painful to listen to. But I like it!

11. Karin Krogh and the Public Enemies - "Watermelon Man" - No, not the Rap icons Public Enemy. This one is about a girl who wants to eat a man made out of watermelon (No, really). It's got a cool slow beat to it, with the electric organ/keyboard adding a fun sixties feeling to it.

12. Fatimas - "Hoochy Coo" - Ha! I'm sorry, it's just that I always thought that nobody could ever really could capture the sound of "Paint it Black" by the Rolling Stones as well as the original. And I was right. But these girls come pretty close instrument-wise with their drumming and guitar work! A fun song with goofy lyrics, what's not to love?

13. Karen Verros - "You Just Gotta Know My Mind" - I don't know what the line "A seagull cries a tear in my eye" means, but knowing the sixties it probably has something to do with drugs. Anyway, this one is fast and fun! The best part is when it goes into a guitar break where the guitarist messes around with a whammy bar, and a cool harmony carries on in the background.

14. Venus Flytrap - "The Note" - A very slow and haunting number, it obviously takes it's cues from the Folk Rock songs of it's time. With a cool main riff, and a good vocalist, it's a simple yet strong number!

15. Little Frankie - "I'm Not Gonna Do It" - A fun yet sloppy rocker with a heavy dose of Wanda Jackon's influence. At first I thought this was by an ex-Chyme, but later found out that Little Frankie was in actuality an ex-Chime. The more you know!


Little Frankie's 45 on Capital, during it's gold/orange swirly glory days (back when they still worked with The Beatles)

16. The Lawrence Comp - "Moon Beams" - This song gives me the creeps for some reason. It's just really lonely and distant... Oh no, I just remembered watching "Eraserhead"! No! Ha, just kidding, as if a traumatic memory that repressed could ever resurface. It's a slow Surf-Rock style song, and is mostly instrumental save for a few vocal harmonies.

17. The Weekends - "Want You"- Why does the intro sound so much like "Human Fly" by The Cramps? Creepy. Anyway, this one is another slow and simple haunter, with Psychadelic-flavored vocals and harmonies. Not bad!

18. Tammy and the Bachelors - "My Summer Love" - Apparently named after a movie from the fifties, this one is a cool Surf-Pop number that starts off slow and steady before getting to the groovy chorus.


Tammy and the Bachelors

19. Nai Bonet - "Jelly Belly" - Love the intro! A guy tells you all about the current state of the belly dancing industry, before a girl comes in to teach you how to do a belly dance yourself! Obviously, this is a comedic song, and is good for getting raised eyebrows.

20. The Uncalled For - "Come on Home" - I love this song. I don't know why, but I just really do. It sounds like the early Rolling Stones turned into ladies, got drunk, and started making a song. It's just got that really lively Garage feeling to it, despite kind of sounding like a Folk song. Just give it a listen and see what you think (honestly, I could understand perfectly if i'm the only person in the world who likes it).

21. Lori Sanders - "Out Of Your Mind" - Kind of has that out-of-this-world feeling that strange harmonies can give a song. This one is alright, but is really stark on it's own, and could have used some spicing up.

22. The She's - "The Fool" - A driving beat keeps this one moving forward, as a lady tells us all about how love made her a fool. I like the bass line on this one, as it keeps everything together rhythm-wise. And no, there is no relation to the Garage band "She/Hairem".

23. The Pussycats - "The Rider" - I like the intro, and the rest of the song doesn't fail to impress. The Pussycats do vocal and harmony work really well on this one, and the tune is intriguing as well. It's another effective haunter that I think you'll all enjoy!


The Pussycats! Josie not pictured.

24. Gale Haness - "Johnny Ander" - A dramatic song about a guy who gets treated badly for not going along with the "hippy" movement, until he relents and becomes a long-haired druggy. It's actually got some great vocal work if you're into ballads, but it's kind of hard to take it seriously because of the cheesy subject matter and lyrics.

25. Manuela and Drafi - "Take it Easy" - No relation to the song by The Eagles, this one is a cool track from Germany! The guitar flairs that come in after the vocalists finish a line really keep things interesting! However, it's another track with kind of annoying male vocalists, and the chorus is a little bland compared to the rest of the song.

26. Jacqueline Taieb - "7 Heures Du Matin" - Definitely the most iconic song of the album, this one has become a cult classic tune, in both it's French and English-language version. The track on this album is in the original French language. It's a really Mod styled mover about a girl waking up in the morning and getting ready for the day(which is more exciting than it sounds). For those of you who don't speak French, you'll still recognize a verse or two, like when Jacqueline sings "Talkin' 'Bout My Generation!" as an homage to The Who, or when she name drops Paul McCartney and Elvis Presley. Definitely give it a shot some time, it's really gun! Fun fact: The album spells her name "Taib" instead of the correct "Taieb".


Jacqueline Taieb

27. Sunday and the Menn - "You Cheated" - A melodramatic song about a girl who's fed up with her cheating and lying lover. The electric organ/keyboards in this one sound really sharp and electric, like something out of a song from the eighties. Anyway, it's a fun if unremarkable song!

28. The Indigos - "He's Coming Home" - A solid Folk song with a cool Fuzz Guitar line that comes in after the vocals (and there's a harmonica line too!). I really like this track, if only for it's ability to bring Folk to the Garage! It's a sad song about a woman who waits for her soldier fiance to return from a war in a distant land, only to have him return to her in a coffin. An anti-Vietnam Conflict song, and anti-war in general.

Well, that was a long one. I hope you all enjoyed it! It has more strange songs than the first volume, but also more slow and haunting songs. It manages to hold up well when compared to the first, even if the two have stylistically different songs. Just like the first volume, I highly recommend this one!

And now it's time for me to leave. I should be back in a few days! Until then, remember that the best music is made in the garage!

GuD

Just skimming through here and am really lookin forward to checking out the bands you're writing about. Glad to see another fan of garage rock around here, I was beginning to think I was alone heh.

__________________
I spit bullets in my feet
Every time I speak
So I write instead
And still people want me dead
~msc

Oriphiel

Thanks for the encouragement!

Alright, I just got back from my road trip! I'll get back to updating the journal just as soon as I wake up from my collapse (after all that sitting down, I need to sit down)! Next time around, I'll introduce you all to another crazy garage band, this time a vintage one rather than revival...

Oriphiel

The year is 1964, and Sacramento is burning under the shimmering summer sun. Two young sisters, Nancy and Sally Ross, join the ecstatic audience of a live show. The Beach Boys come on stage, and of course the crowd cheers them on. Dancing to the music, people laugh and sing along, spilling beers and bumping into complete strangers. Everyone in the audience is affected by the music; some are inclined to have a good time, others enjoy the sound in introspective silence, while others still bear with a style of music they don't particularly enjoy simply to be with their friends. But a few of them will be inspired to make music of their own, to be the band on stage in front of hundreds of eager listeners.

Nancy Ross left the show with an inclination to become a musician, particularly of the Rock 'n Roll variety. Already a guitar player influenced by Folk artists, she devoted her time to Rock albums, eventually developing a fondness for the roughest acts she could find. Of course, The Rolling Stones and The Doors were a large influence on her developing sound (as they were for almost every Garage Rock band at the time). Sally Ross was also inspired to be a musician, but had little prior experience playing an instrument. After dabbling as a drummer and an electric organ player, she settled in as a bassist. Nancy would come up with simple bass lines and show Sally how to play them, until she eventually became proficient enough to write her own lines.


The Hairem! Right to left (because why not?): Sally Ross, Nancy Ross, Ginny Revis, Kathy Rice

They formed a band called "The Toads", later to be known as "The Hairem", and experienced many line-up changes, though both Nancy and Sally remained in the band until the end. Right from the start, The Hairem had obstacles to overcome. First of all, the Sacramento scene was ruled by big-shot promoters and bands with club experience and radio hits under their belts. Independent start-ups like The Hairem had a difficult time cracking into the scene. Secondly, they were an all-female band, and their male counterparts didn't take them seriously. Promoters and venue-owners didn't give them the time of day, and talent scouts for record labels considered them too risky to invest in.

However, The Hairem took the gigs they could find, and eventually built up a solid reputation with both audiences and musical peers alike. Their "specialty" was playing in clubs catered to army/navy personnel on leave, being able to get a rise out of the mostly male audience with their suggestive lyrics and wild attitude. Unfortunately, most of the "promoters" who approached them ended up being frauds trying to take advantage of them (and at least in one specific scenario, actually accosting Nancy). However, they eventually got the attention of a legit promoter from Cadet Records, who took them to a studio to cut a 45. After hearing their collection of songs, the executives told them to come back with a song that was less risky, and more commercial. Nancy penned the sappy number "Boy Little Boy", which was enough to seal the deal, and the band stuck their signature wild track "Outta Reach" on the B side.


The Hairem! Counter clockwise: Nancy Ross, Piper Minas, Sally Ross, Karen Kochie, Kathy Pennison

At this point, they had changed their name to "She", and were tearing up the local music scene, being one of the go-to bands for dance hall parties. Their single was recorded in 1969, and released in early 1970. Just as expected, "Boy Little Boy" did fairly well on the local radio stations, while "Outta Reach" was mostly loved by the underground scene. In 1971, after about seven years of playing music, the members of She were now no longer high-schoolers/college students with loads of free time and a burning ambition for fame and extra cash. They disbanded, and went on to pursue their own individual goals.

She were not well known outside of Sacramento in their time. I believe they were only able to cut one 45, which was a modest hit at best. After disbanding, they faded into the obscurity of years, being forgotten by most of the world of music. However, their 45 became a sought after classic among Garage Rock lovers, and their repetoire of songs was preserved in the home-made demo tapes they had created. Making the usual boot leg rounds, their music continued to intrigue first-time listeners who had no idea who this mystery band "She" was.


Their sole 45!

Eventually, their work was collected and issued as an LP titled "Outta Reach" in 2009 by Causeway Records. Later, the fabulous Big Beat/Ace Records took the next step and painstakingly crafted "She Wants a Piece of You" a CD of their surviving song recordings. Working with Nancy Ross (who probably lent them the master tapes), the CD's liner notes are probably the most extensive biography anyone has ever given the band (and is supplemented by Nancy's quotes, memories, opinions, and large collection of vintage photographs of the band).

Well, without further ado...

She Wants a Piece of You



1. "Outta Reach" - Even though it was an ignored B side in it's time, this is the song that kept the legacy of She alive over the years. Large and wild, it continually shocks any listeners who have preconceptions that women didn't participate in the world of Rock until The Runaways/Joan Jett came along (who went on to become a great musician in her own right, but I hear this false sentiment far too often). This track is dripping with Psychadelic fun, as the electric organ and crazy vocals hit hard and don't let up until the end!

2. "Like a Snake" - One of their earlier Hairem-days songs. Kind of jarring with it's sloppy yet strong beat, the vocals are kept pretty simple on this track. It's not my favorite of their songs, but has a kind of Psychadelic charm to it.

3. "Piece of You" - The track for which the CD is named! A little faster than the last track, this one is a fun rocker with kind of depressing lyrics (it's about how no matter how hard a woman tries to succeed in life, most men will only ever see her as a sex-novelty). Tune-wise, it sounds like something the early Rolling Stones could have penned. A great and raw Garage Rock song, the only part that I would change is the shouting at the end, which sounds a bit strained and could have had more power behind it.

4. "Roll On" - Kicking off with a bouncy yet heavy beat, this one is a vocal driven song that kind of reminds me of Janis Joplin's style. The thing about this track that impresses me the most, is simply how it changes as it goes on. The band knows what you're expecting to hear, and changes the bridge's/chorus' tune and pacing to catch you off guard. Vocal wise, everyone is in top form here, nailing the Rock 'n Roll lead as well as the harmonies in the background. Love the organ that comes in at the end!


Top Left: The picture used to make the CD cover! Bottom Right: During their time as "She". Counter clockwise starting on the bottom right: Karen Luther, Sally Ross (recognize the bass guitar under her leg? Same model as Paul McCartney's!), Nancy Ross, Gayle Lee, Janis Volkoff

5. "Bad Girl" - Joann Claudianos, a ballad-style vocalist who was with the group for awhile, sang this one. It's slow and full of teen drama, being about the rough and tumble life of a girl on the streets. I personally prefer Nancy as the vocalist, as she seems to add a very iconic craziness to her songs, however Joann certainly isn't bad (and to her credit, she nails the rough sound in certain parts of the song).

6. "Hey You" - Another odd and jarring song, this one mixes a solid bass guitar line with clean vocals, and a herky-jerky chorus. It definitely follows the Psychadelic tradition of finding unconventional beats and lines to work with. Gotta love the vocals at the end, where Nancy talks to the audience.

7. "Don't Leave me Baby" - A groovy electric organ fronted song with Psychadelic/Folk Rock influenced vocals! This one sounds like something Jefferson Airplane could have made in their time (albeit a bit more uptempo and wild at times). I like how they change the chorus the second time it comes around, with a cool vocal line. Definitely one of my favorite tracks of theirs!

8. "Braids of Hair" - A little more mellow than their rockin' numbers, this one was apparently their cool-down song during live performances. It captures the Hippy/Psychadelic culture of the late 1960's into the early 1970's.pretty well!


She! Right to Left: Janis Volkoff, Sally Ross, Gayle Lee, Karen Luther, Nancy Ross

9. "Don't Go Home Tonight" - A great and catchy song, it reminds me of Folk Rock bands like The Byrds for some reason. Anyway, the vocals/harmonies are great, and work to lead the song forward. A real product of it's time, especially in the lyrics (like when Nancy lets the audience know she's a "liberation girl"), this one is another great, fun track.

10. "Not For Me" - A song in the vein of their previous track, "Hey You", this one is another jarring and unconventional slow number. This isn't their strongest song, but there's a weird kind of allure to it's sloppy simplicity. This one is of the counter-culture type, with Nancy singing about how the "in-crowds not for me". I like the line "I don't wanna grow my hair long, just to cut it short", as it's a fun dig at the times (when hippy culture demanded long hair, while the hip go go culture demanded short hair).

11. "When I Was a Little Girl" - A slow down with Joann returning as lead vocalist (although Nancy comes in later in the song), this one is similar to the earlier track "Bad Girl". As I said before, I think the Rock/Folk/Psychadelic mash-up of Nancy's vocals are better suited to the sound of the group than Joann's Ballad-style. Still, the contrasting sound probably added depth to their live performances.


Right to Left: Karen Luther, Janis Volkoff, Nancy Ross, Sally Ross, Gayle Lee

12. "Come on Along" - A sloppy shuffle, it sounds innocent enough (kind of like a show-tune, or a Folk song), but it has fun lyrics about partying hard! The guitar break is alright, but a detailed solo would have served the song more adequately.

13. "Bus Stop" - An early and rough version of what would become "Outta Reach". Of course, they haven't quite nailed what would become the definitive sound of the song, but this track is a cool bonus for fans of the band. Honestly, with the harmonies and steady drum beat, it sounds kind of like a Surf-Rock song that get a dose of sloppy heaviness injected into it. Surf-Blues?

14. "Lonely Boy of Laughter" - An up close and intimate slow song, it has more of a smooth Jazz sound to it than the earlier tracks when it begins, and it eventually becomes a kind of Folk-influenced vocals backed tune. A decent cut, it could have benefited from more steady vocals.

15. "Feel Like Giving Up" - An echo-y vocals and drums led track fronted by Joann's Balladic voice. It's fairly good, if a bit distant, but I think it would have sounded much better sped and roughed up a bit.


The LP issued by Causeway Records in 2009. God, that cover picture is hilarious...

16. "You Came To Me" - A home-made demo, this is surprisingly one of their strongest tracks, with full and beautiful vocals/harmonies. It still has that low-budget and almost lonely feeling of a Garage tune, but comes together very well as a "clean" song. If you ever need a slow-down/relaxation song, I highly recommend this tune!

17. "Outta Reach" - Another early demo version of "Outta Reach", this time led vocally by Joann. It's not as impacting as the finished song, but I actually really like the harmony during the chorus, as well as the ending (which vocally kind of sounds like the ending to a Heavy Metal tune). Still, Nancy was definitely the better choice as vocalist for this one.

18. "Satan's Angel" - A great slow demo in the vein of their earlier track "You Came to Me". Great clean vocals and a cool Jazz-like feeling give this track a nice and classy atmosphere. This one is another great, stand-out track.

19. "Boy Little Boy" - By far my least favorite song of theirs, this is the one that Nancy penned so that the execs would let them cut a 45. It's very cheesy and simple, completely lacking the soul and energy of their earlier tracks, as well as the class of their slow demos. But it apparently got them radio exposure, and was their most well known song back then.

She/Hairem are one of the quintessential all-girl garage bands, and it's not hard to see why. Despite having a very unrefined and unmarketable sound, they cut a path for themselves, leaving a number of wild songs in their wake. Their greatest talent, in my opinion, was their musical versatility. Every song on this album sounds influenced from a different band/genre, and Nancy had a fantastic ear for tunes and lyrics (not to mention that she penned every track on this CD, although four were co-written by other members of the band). They were an enigma, in that they proved they could make marketable pop songs ("You Came to Me", "Don't Go Home Tonight", "Satan's Angel"), but chose to make the most jarring and anti-pop songs they could ("Outta Reach", "Like a Snake", "Hey You", "Not For Me"). Whether examining this CD from a standpoint of the musical history of it's background and time period, or simply judging it from the merit of the songs contained within, I highly recommend this one for all fans of Garage Rock! As is the case with virtually every Garage Rock song/album, this one has been uploaded to Youtube if you care to sample it.

Here, I'd like to thank Big Beat/Ace Records for their fantastic publishing of this CD. She/Hairem is a very obscure band with little to no information available about them, and without the extensive liner notes contained in "She Wants a Piece of You", I'd have been shooting in the dark.

Lastly, I have some news of sorts. It seems Karen Luther (Organ player featured in two of the pictures above) contacted Bad Cat Records last year (http://badcatrecords.com/BadCat/SHE.htm) in response to them asking for anyone to come forward with information about the band. She mentioned that Sally Ross (Now Sally Ross-Moore) is on Facebook (and sure enough, she is), but also that other members like Nancy Ross are harder to find. So in the unlikely scenario that someone from She/Hairem is reading this, or that you know someone from the band, now would be the perfect time to find each other and have a reunion of sorts!

Alright! It's time to part ways again, my non-existent audience, though I'll return to you shortly. And when I do, I'll have another great album with me!

Pet_Sounds

You've got quite an impressive journal here already. Nice to see another one going strong.

__________________
Everybody's dying just to get the disease

Oriphiel

Thanks! If you've got any recommendations of cool, obscure music from the 1960's, feel free to shout them out!