Oriphiel

Nice to meet another fan! Indeed, Garage Rock is very fun and frantic, which is why I love it so much! If you have any recommendations, I'd love to hear them!

Pet_Sounds

We covered this in the Psychedelic Album Club a couple weeks ago. Neat blend of early Floyd and garage rock.

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Everybody's dying just to get the disease

Oriphiel

Thanks for the recommendation, Pet_Sounds! I'll check them out!

Now, as promised, here's the next part of "The Western". I was going to update it weekly, but I've already written so much of it that I wanted to put a bit more out there. It's a one-time thing, though, as I'll definitely stick to weekly updates from now on.

Western - Part 2

The two walked on, until they came to a patch of dry bushes. There, concealed very well by the thick mess of branches and half buried in a ditch, was the corpse of a man. Not far from the body was a revolver. The pale metal of the pistol glittered under the fiery sun, giving off an air of majesty as if it were the sword of a heroic knight, or a fang in the mouth of a horrible demon. Lady Fate smiled with an honest grin as Rachel picked it up, and she said “Oh, well isn’t this just a painting? It’s like somethin’ out of an old book with a name that everyone’s heard before, yet nobody ever reads the damn thing. Except me, of course.”

Rachel turned the revolver over, running her fingers across all of the grooves and mechanisms, eyes wide with excitement. She pulled the hammer back, a feat that required all of her strength, and the gun gave out the ‘click’ that oft precedes death. “You know, I think it suits you,” said Lady Fate, “more than milk and tears, anyway. Say, how ‘bout you give it a shot?” Though Rachel was tempted, she knew a gun shot would raise the hairs of everyone in town, her parents included. And a scared parent is an attentive parent, enough to notice that their child was missing.

Thinking about her parents, Rachel realized that she ought to find her way back home; it was almost time for dinner. She started to dash for the town, when she heard Lady Fate yell after her. “Rachel! Don’t let your parents see that pistol! You hide it good, hear?” Rachel stopped, looked back at her, and then looked down at the gun in her hands. “Can’t have them snakin’ it ‘fore you learn how to quickdraw, can we? Oh no, couldn’t have you missin’ out on that memory.” Rachel continued on with her sprint towards home. Once there, she hid her revolver in the hollow of a nearby tree, and stepped inside her home to complete the few chores she had left.

The days passed as they had always for Rachel, with her sneaking away from her chores whenever possible. Only now, she was obsessed with becoming a gunslinger, and her favorite haunt in her free time was the saloon. It was a place of blood and alcohol, where the curses and stories of the world took life. The first few times Rachel entered, the bartender swiftly kicked her out and threatened to inform her parents of her wandering, yet her determination always brought her back, until everyone simply got used to her being around. She would drag the piano stool (which, as there was no piano player, was never missed) to a table, and sit on it while the gunslingers spun their tall tales. Her wide eyes now had a shine to them, such that they could have been hiding a flame within, or were frozen quite solid by a cold and unforgiving wind.

She would be lost to the excitement of the wild west; the glitter of a well polished navy revolver, the dull sheen of a leather duster coated in patches of alkali dust, the large boots with heightened heels so that the stirrup could fit in the large and stabilizing groove, and of course the metal spurs that, even on the most unhygienic and unwed to charisma, never stopped glittering in whatever beam of light found them in the dark saloon. It was among the drifters and gunslingers that Rachel found the mirror; the thing that, when you look into it, allows you to see yourself. And so it was with a crystal clear resolution that she started to become her ideal.

She set about retrieving her revolver, and spent a good amount of her free time “practicing” with it outside of town; she would point it at bushes and cacti, pretending that she was gunning down bandits. “It’s a fine gun, little chalk, and a fine gun deserves a fine holster, hm?” spoke Lady Fate, squinting through the sunlight that managed to pierce her parasol. Though it was a gruesome affair, and it took quite awhile for her courage to meet her, Rachel managed to remove the leather gun belt from her deceased benefactor. It was an old and weathered piece of brown leather, but she cherished it all the same.

Oriphiel

Returning to Los Nuggetz, we delve back into the world of vintage Latin Garage Rock!


In the spirit of Latin Garage Rock, here's a vintage poster for a Santo flick!

Los Nuggetz - Disc Two

1. Los Johnny Jets – “Deja De Llorar” – Opening up with a wall-of-sound created by guitars, drums, a bass guitar, and a saxophone, this one is a rockin’ shuffle that should get you on your feet for awhile! Apparently, this one was originally performed by The Mojos (“Everything’s Alright”), in the UK.


Los Johnny Jets!

2. Los Pops – “Te Esperaba” – A cover of “See See Rider”, this one starts up with an electric organ scramble, and then hits hard with the steady drums and rough voiced vocalist! I like the tone change that happens about a minute in, as it helps to keep things interesting.

3. Los Salvajes – “Hielo En Vez De Amor” – Los Salvajes return, this time with a crooning Pop-Rock number! It’s alright, if a little strained sounding.

4. Els 5 Xics – “Soy Muy Hombre” – A cover of “I’m a Man” by the Spencer Davis Group, this one is a crawler with a sort of frantic feeling to it. The electric organ helps to give it a slight Psychadelic sound.

5. Los Young Beats – “Baby Please Don’t Go” – This one is a very strange tune, with a jarring and irregular beat to it. The guitar playing is top notch, and the bassist really keeps the song going strong ‘till the end (not to mention the lazy, rough vocals). Big Joe Williams originally recorded this number back in the day. Also, this is another track in the compilation where the vocalist sings in heavily accented English.


Los Young Beats!

6. Los Cheyenes – “Bla Bla Bla” – A nice club-shaker with good all-around guitar, bass, and drum work. The best part is near the beginning, when the guitarist plays a solo as the vocalist shouts in the background!

7. Os Lobos – “Miragem” – A smooth Vocal-Pop number, this one aims to set a relaxing mood rather than tear down a dance hall. A little stark, it works well enough for what it is.

8. Los Beat 4 – “Pobre Gato” – A Beat-style Vocal-Pop number, this is another in a long line of tracks in this journal that sound like they could have been originally sung by The Beatles in their early days. I’m no master of the Spanish language, but I believe the title roughly means “Poor Cat”.

9. Los Streaks – “Diablo Con Vestido Azul” – A charming rocker with a bit of a Surf-twang to the guitar playing, this one has very fun electric organ work, as well as a kind of frantic pace! The vocalists are skilled, and help to flesh things out. A go go song through and through, this one was originally a Motown number (“Devil in a Blue Dress”).


Los Streaks!

10. Los Yorks – “Cielo” – Bobby Hebb originally performed this slow and smooth Jazz-Pop track ("Sunny"), and Los Yorks make it their own. Everything comes together pretty well for this one (and the guitar riff during the break sounds kind of like the 007 theme song)!

11. Radio Barcelona – “Estacion Identification” – Straight from Barcelona, here’s another radio ID to add to the culture of the compilation!

12. Los Salvajes – “Soy Asi” – Returning again (man, these guys have by far the most songs of any band on this compilation), Los Salvajes keep the party alive with their Beat-style foot-stomper! Just for kicks, they randomly throw in the guitar riff from The Rolling Stone’s “Satisfaction”.

13. Los Monjes – “Pobre Nina” – This is the same recording as number twenty from the first disc (“Conoces El Final” by Los Cheyenes). I believe the manufacturers made a mistake here. Since the one on the first disc doesn’t sound anything like Los Cheyenes, I’ll assume that this is where the track was supposed to go.

14. Los Brincos – “Nadie Te Quiere Ya” – A melancholy Vocal-Pop number, the instrumentation works very well with the vocal harmonies to create a fun and compelling track (and the trumpets that play in the middle add a nice Latin touch). Definitely one of the stand-out tracks of the compilation so far!


Los Brincos

15. Los 4 Crickets – “Yo Crei” – Right away, you can tell that this is a cover of “Reach Out, I’ll Be There”, a fun song that was a popular track to cover among club bands back in the day. Though not quite as compelling as the original, this one definitely isn’t a bad number.

16. Los No – “Incomprendidos” – A great foot-stomper, the general tune of it kind of reminds me of “My Generation” by The Who. I like the tone change in the middle, where the guitar and harmonica player both get fun breaks.

17. Los Speakers – “Te Olvidare” – If you like Psychadelic stompers with electric organs and fuzz-guitars, you’ll be right at home with this one! This is another catchy track where everything just works well, and the Hendrix-y guitar solo in the middle only helps.

18. Kaleidoscope – “P.S. Come Back” – I hope you liked those accented English sung tracks earlier, because here’s another one! This one starts off kind of weak, but at the minute mark it comes to a stop, blasting into a fuzz-guitar solo.

19. Los 007 – “Yo No Puedo Econtrar” – Going for the slow and haunting feeling, Los 007 provide a change of pace for the compilation. This track really sounds similar (especially the chorus) to “Need A Little Lovin’” by fellow Garage Rockers Foggy Notions.


Los 007! I wonder where the got they name from...

20. Traffic Sound – “I’m So Glad” – Recognize this one? Back in the Honey Ltd. Entry, this was the song they performed live in the video at the bottom of the page! Skip James originally performed this one, way back in the day. The vocalists do pretty well here, and the harmonies work well.

21. Los Salvajes – “Corre Corre” – Los Salvajes again, with a rough cover of Jackie Edwards’ Ska classic “Keep On Running”. Though not the best cover, there’s something fun and infectious about it…

22. Los Gatos Negros Quique Tudel – “Cadillac” – Another cover, this time of a Vince Taylor and The Playboys tune (“Brand New Cadillac”). They do a pretty good job here, and the tune is pretty jumpy and compelling!

23. Los Salvajes – “La Neurostenia” – Who else? It’s Los Salvajes yet again, with another cover (“19th Nervous Breakdown” by The Rolling Stones). This one is just as jumpin’ and fuzz-guitar laden as their other numbers.

24. Los Belmonts – “Arriba, Abajo Y Lados” – I thought a Yardbird cover would pop up somewhere, and sure enough here’s a cover of “Over Under Sideways Down”. Frantic and fun, it’s certainly got charm to it!

25. Los Sleepers – “Zombie” – The last track of the CD, this one is a melancholy song with solid drumming and strong bass work. It’s a bit unusual, but I guess that’s the whole point!


Los Sleepers!

We’re now officially half-way through Los Nuggetz! It’s very fun so far, getting to hear famous songs from the sixties as covered by Latin Garage Rockers, and the original numbers are great as well. However, a few bands pop up too often (the most apparent being Los Salvajes). That’s not to say that they’re bad, only that it kind of stifles the variety.

That’s all for today! I’ll bring another album tomorrow, and I’ll cut into the third part of Los Nuggetz as well. Seeya!

Oriphiel

Fear not, gentle listeners of strange retro music, for I have returned! We've really cut into the vintage Garage Rock scene, haven't we? And we've even looked at some of the other styles of music being played at that time. But I haven't really talked about any Revival bands (except for The Pandoras), which is just a cryin' shame. Well, today i'm going to rectify that. But before we get started, make sure you grab your surfboard. You might need it...


Hop in, man! Come on, don't be a square!

The mid to late 1970's into the early 1980's saw many developments and movements in the world of music. There was the rise to power of the modern wave of Punk Rock, the beginning (and some might say the end) of the avant-garde and alternative creative playground of Post-Punk, the rise of Heavy Metal, the beginnings of modern Rap music (which would take off in the 1980's and 1990's), as well as an odd Pop culture that embraced all of these movements (a top radio hit could embrace any or all of these styles. For example, Blondie's (a Punk/Post-Punk Pop band) odd-ball hit "Rapture", which featured Rapping).


Needless to say, it was a fun time to be alive.

Another musical chapter in the story of the late 1970's was the 1960's Revival that culminated in various local scenes popping up across the world (remember when we talked about The Paisley Underground of the late 1970's/early 1980's?). One such scene was the Surf Rock Revival, comprised of bands who had an addiction to surfing, twangy guitars, and vocal harmonies! The most influential and well-known of these psycho-surfers was without a doubt...

Drop Out With The Barracudas



The Barracudas! Comprised of founding members guitarist Robin Wills and singer Jeremy Gluck, as well as drummer Nick Turner and bassist David Buckley, these boys were probably mournfully pining over the bitchin' waves and glittering beaches of California while cooling their heels in their native England (a country not exactly known for it's "Summer Fun"). Their career began when they put out the single "I Want My Woody Back" in 1979, a song that showed the world that Surf Rock was anything but dead. With the support of UK music legend John Peel (who you really need to look into, if you haven't already. He's been involved with virtually every musical movement of the UK, from Punk/Post-Punk to Techno and everything in-between), they garnered enough support to join EMI (the UK music giant). From there, they released their most successful single, "Summer Fun", which charted nationally in 1980!



With a hit under their belt, The Barracudas followed up with a steady line of singles, as well as their debut album, "Drop Out With the Barracudas" (1981). Building up a following of dedicated fans (apparently, their live performances were very impressionable, and they've released a good amount of live albums), they continued to play until the mid-1980's rolled around. Though they split up, they've reunited multiple times over the years, and are also very active in having their work reissued (by labels such as Voxx/Bomp!). Alright, it's time for the music. I've actually never listened to The Barracudas in depth before (though I've heard "I Want My Woody Back"), so this should be a new experience for both of us. Now, let's dive into the beautiful waves of this musical beach!


The Barracudas!

1. "I Can't Pretend" - A track from the golden age of punk, but with a twist of the clean vocal harmonies that Surf-Rock is known for. This one sounds very similar to The Ramones, so if you like them (Gabba Gabba , Hey!) you'll probably have a ball with this one. Honestly, this number has aged pretty well, and sounds like something that could make the radio rounds even today.

2. "(We're Living In) Violent Times" - It's surprising how well Surf-Rock and Punk go together, but so far The Barracudas have been more on the Punk/Post-Punk side of things. If it wasn't for the vocal harmonies, i'd say this was just a solid Alternative number. Still, it's a good song with a message that might resonate with you.

3. "Don't Let Go" - Another track that sounds heavily influenced by The Ramones, and in turn went on to influence the Punk sound of today. It's not hard to see where modern Punk bands, like Green Day, got their sound from. Not bad, but where's the Surf Rock? I was hoping for twangy guitars...

4. "Codeine" - A little slower and more intense than the last tracks, there isn't a single trace of the surfin' sound here. Rough and catchy, it's pretty good, but now I really feel like i'm listening to a modern Punk album.


One of their Live Albums, issued in 1983

5. "This Ain't My Time" - Hooray! A fuzz-guitar! I've actually heard this one before (The Barracudas put it on "Be A Caveman!", a best-of compilation for the Revival bands that worked with Voxx/Bomp records back in the day). Though it has a a slight taste of the Garage sound to it, this one is a Skate-Punk number through and through.

6. "I Saw My Death In A Dream Last Night" - This oddly titled track is another Punk number, this time with strange sound effects (and a little electric organ work). At this point, I've given up on waiting for a Surf number...

7. "Somewhere Outside" - Tune-wise, kind of reminds me of a lot of Post-Punk numbers from back in the day ( like Modern English's whole "I Melt With You" number).

8. "Summer Fun" - The waiting for a Surf Rock song pays off! A fun song with a great intro (which came from a vintage radio commercial for the Plymouth Barracuda). Though it vies for the Surf sound more than the other tracks, it's still very much ingrained in Punk. I like the Beach Boys-esque background harmonies near the end of the track!



9. "His Last Summer" - In the vein of "Dead Man's Curve", this one is a Surf Rock homage to a hip guy that dies tragically (though in a surfing accident, rather than while out hot rodin'). With great harmonies, a wonderful surfin' sound, electric organ work, and hilarious lyrics (Like when they say their dead friend is now "Surfin' through the stars on a gleamin' board. The eternal surf.") this one is one of the stand-out tracks of the album. My personal favorite so far!

10. "Surfers Are Back" - Yay, another surfin' track! This one opens with "Cowabunga!" and a drum roll, and you know exactly what's about to happen. Another stand-out track, this one will make you want to throw on your swimsuit and head for the coast!

11. "Somebody" - And we go right back to the Punk. This one kind of reminds me of The Clash and the Dead Kennedys. It's pretty fun, as well as being a bit rougher then the previous tracks. While I like the guitar solo, I kind of dislike the background chant-shouting during the chorus (You know, that thing that Def Leppard did all the time). But you know me, the less bells and whistles the better (Warning! There is a "Fuzz-Effect" clause in the fine-print of that sentiment).

12. "Campus Tramp" - I have no idea what a "Campus Tramp" is, but I suppose Punk Rock songs have an exemption from having to make sense. This is another Punk number, similar to the ones from the beginning of the album. Addendum: All I can say is "Fwooosh", the name of the song went right over my innocent little head!


The Barracudas reluctantly pose for the cover of their hit single

13. "On The Strip" - An ode to the heart of the life of every coastal city (complete with car/motorcycle engine sounds), this one has some pretty twangy Surf guitar work at times. Of course, the best part is when they harmonize the line "Good Vibrations!" (hooray for homages!).

14. "California Lament" - Kicking off with Beach Boys-esque vocal harmonies, this is another great track to contribute to the Surf atmosphere of the album. There's also pretty solid guitar work, and the trademark thumping echo-y drumming of the 80's. Lyrics-wise, this one is a bit strange, as it's (I think) about a cruise getting blown up by a bomb before the eager surfers aboard can reach California.

15. "I Wish It Could Be 1965 Again" - The final track of the album, we're treated to a Ramones-style rocker with fun background surf harmonies! Here, The Barracudas pine for the days of old, back in the age of hippies, live music television shows, pot roasts and rotary phones.


There is also a vintage group from the 1960's called "The Barracudas". Here's a picture of them.

The Barracudas hit hard with their unique brand of Surf-Punk, as well as mixing things up with more traditional and straight-forward Punk numbers (which i'm not a huge fan of, but I still had fun with them). With a nice energy to it, and a sound that has aged very well, modern Punk fans should really get a kick out of this one! Of course, I recommend it, but keep in mind that if you expect it to be all Beach Boy style numbers, you're in for a Punk Rock surprise!

Oriphiel

Alright, as recommended by Pet_Sounds, here's...

Chariot Rising



Dantalian's Chariot? Uh-oh, time for some heavy Psychadelia. Quick, you grab the incense and I'll grab the peppermints! Is the madman in the hall?! Ticking away... the moments that make up a... dull day...

Alright, enough with all that. Dantalian's Chariot were a short-lived Psych band (They only lasted for roughly a year, 1967-68) in the late sixties that suffered the same fate that befell many Psychadelic and Progressive bands in those days; unable to find commercial success, they struggled with and were eventually shot down by the big record labels. You see, Dantalian's Chariot wanted to make risky and experimental music, while their label wanted a safe investment (Catchy Pop-Rock numbers and the like). Being unable to compromise with each other, their label dropped them (Although seeing as how their label was EMI, I don't know why they didn't see it coming). All in all, they were only able to release one single with EMI, "Madman Running Through The Fields".

Joining CBS records, they set about finally kicking off their foray into the world of music with their own debut album. Unfortunately, they were once again at ends with their record label, and just like before couldn't come to a compromise with them. Instead of releasing the album they had just recorded, their label went through all of their past recordings and slapped together an album that they thought might do better commercially. Needless to say, Dantalian's Chariot were not pleased, and ultimately fell apart.

Comprised of George "Zoot" Money, Collin Allen, Andy Summers (who later joined Ska-Rock legends The Police) and Pat Donaldson, Dantalian's Chariot didn't last very long, but they did have an impact in the grand scheme of things. Their single "Madman Running Through The Fields" apparently was a cult hit among Psychadelic audiences, and generated enough of interest that it has appeared on multiple compilations of Psychadelia and Garage Rock. Years later, in 1996, Wooden Hill Records gathered their recordings and released this CD, "Chariot Rising", as essentially what their debut album was supposed to be. Now, let's begin...

1. "Madman Running Through the Fields" - Psychadelia mixed with a little bit of a Beat-music feeling to it (Kind of a taste of Pop and Jazz), this one tries to unnerve you right off the bat with a high-pitched tone and other effects (like what I think is a reversed cymbal crash). Honestly, this one is pretty catchy and relaxing (especially the Folk bit about two minutes in), though it is a bit jarring at times. It's no surprise that this is a well-loved track among fans of Psychadelia!


Dantalian's Chariot!

2. "World War Three" - Nice and heavy, this one introduces more effects (like distortion and feedback) and opens with what seems like an instrumental growl! The vocals are stark and harmonic, reminding me of The Beatles (especially the album Revolver, namely "She Said", with it's fun harmonic vocals and the infamous backwards guitar solo) during their foray into Psychadelia (and irrevocably intertwining it with many traditions of Beat-music, including elements of the vocal work). Of course, as a Prog/Psych song, there are tone changes and breaks here and there, and everything comes together to make a very fun and interesting song!

3. "This Island" - A relaxing number that opens with the sound of waves on a beach, as well as some organ and sitar work in the background. The acoustic guitar and the female operatic-vocalist, combined with the thumping drums, really remind me of a Spaghetti Western. Now i'm really in the mood for a Leone flick! Honestly, this is actually a very good instrumental, and I liked it quite a bit (which is strange, because usually non-Surf Rock instrumentals bore me to tears).

4. "Fourpenny Bus Ride" - Another track that really reminds me of The Beatles (I know I keep bringing them up, it's just that the vocalist kinda sounds like Paul McCartney here). This one is pretty catchy, kind of like a Pop Rock number on LSD! Of all the songs so far, I would say that this is probably the one that stood the best chance of making the radio rounds of the day, being relatively clean and straight forward.

5. "Four Firemen" - This one really reminds me of... Alright, I won't mention The Beatles anymore, I promise! It's just that the loud bass line mixed with the vocal harmonies really... Okay, no, you're right, I need to be more detailed with my speculations. This one is a slow and melancholy number that focuses more on vocal work than the past tracks, featuring very few sound effects and sparse instrumentation.

6. "Sun Came Bursting Through My Cloud" - I'm kind of confused as to why both of their record labels thought they were unmarketable. They're really good! This one is kind of a simple and melancholy Vocal-Pop/Folk number, and it's another of their tracks that easily could have charted if it had been produced and released properly.



7. "Recapture The Thrill" - Similar to the last track, but with a little more speed to it (as well as more vocal and instrument work), as well as being a little happier (even if it is about getting old and coming to the realization that you're going to die, so you may as well be happy with what you have rather than try to reclaim what has long passed).

8. "Soma" - Love the sitar work! This is an instrumental that goes for a mysterious and exotic sound. Opening up with an homage to the music of India and the Middle East, it moves on into a smooth number led by a jazz flute. Then the two styles mix, with some Jazz guitar playing coming in near the end. After coming to a complete stop, the song starts up again with the flute and sitar coming together in front of beating drums. After one more stop. the music comes back for the final few moments of the song.

9. "Coffee Song" - Hooray, a tambourine! This is another melancholy vocal-led track with an acoustic guitar setting the beat. I think the "Coffee" of the song is kind of a metaphor for the memories we hold; they're transient and eventually disappear, just like we do, but they give us comfort and meaning in the time that we have. Kind of a duality of being both meaningful and meaningless. I also think that... Wait a second.. Oh no! I'm starting to become introspective! Psychadelic music strikes again! How dare you make me actually think about the music i'm listening to?

10. "High Flying Bird" - With the album coming to a close, we're treated to a smooth number in the vein of Jazz. It's a nice and relaxing track, with the vocalist urging people to remember the importance of love and understanding. After all, all you need is... (I just had to get in one last word about the last Beatles , didn't I?) love!



Fantastic! Even though I don't usually go for the Prog/Jazz scene (which is very odd, considering that my first real taste of music was when my sister gave me a copy of Pink Floyd's "Dark Side of the Moon"), I still had a blast with this one (probably because the Psychadelic parts were so much fun)! You've got a lot of variety here, from Psychadelic trip songs ("Madman..."), to heavy and energetic numbers ("World War Three"), to imaginative instrumentals ("This Island"), to catchy and fast almost-Pop-Rock tracks ("Fourpenny Bus Ride"), and beyond! I definitely recommend it for the next time you feel like kicking off your shoes, lighting up some *cough* incense *cough*, and unwinding.

Pet_Sounds

Glad you enjoyed it.

__________________
Everybody's dying just to get the disease

Oriphiel

Here's part three of Los Nuggetz!

Los Nuggetz - Disc Three


Here's another poster for a Santo flick to set the mood!

1. "Radio Capital" - Kicking things off, we've got another vintage radio ID to set the mood. And as soon as it ends...

2. Lone Star - "Mi Generacion" - We blast right into a blazing cover of The Who's "My Generation"! I was hoping a Who cover would pop up sooner or later! This one is just as frantic and fun as the original, although it lacks a bit of the original's style.

3. Javier Batiz and The Famous Finks - "Tijuana Sun" - On ode to the lovely city of Tijuana, famed for it's anything-goes atmosphere. This one opens with a Wipeout drum roll, and eventually leads into a fun cover of the hit "California Sun".

4. Los Stop - "Extiende Tus Brazos" - Another cover of "Reach Out, I'll Be There" (I told you this was a popular tune to cover!), this one has a female vocalist. Honestly, I think this one is a little heavier-hitting than the cover on the second disc. It's got strong vocals and a solid beat, while the other seemed a bit weak.

5. Los Dug Dugs - "No Te Astuses, Es Solo Vivre" - Nice! This one has a great feeling to it, with the electric and acoustic guitar work mixing very well together. The vocals and harmonies are great, and I kind of want to sing along (even though I can't speak Spanish)! There's a cool Psychadelic slow down at the minute and twenty second mark, that leads into a blistering solo. My personal favorite of the disc, this one is probably my favorite song of the whole compilation!


Los Dug Dugs!

6. Los Pumas - "Cuando Caminas" - A cover of Jackie DeShannon's "When You Walk In the Room". A fast and light number, this one is good, though it lacks something in the way of power.

7. "Radio Bogota" - Another radio ID, you gotta love the way the announcer says "Hey hey"!

8. Los Young Beats - "Gloria" - One of these days, i'm going to have to count up each cover of "Gloria" and "Louie, Louie" to see which pops up more in this journal! This is a pretty wild take on the classic Them tune, and it really reminds me of the version that "Los Rockin' Devils" put out in the sixties (which was a minor hit for them).

9. Los Shains - "96 Lagrimas" - Heh, bet you weren't expecting "96 Tears", were you? This cover of the "? and the Mysterions" hit is alright, but it is a bit strained sounding. The fun electric organ work from the original is here as well.

10. Francis Morello - "Mrs. Robinson" - A cool take on Simon and Garfunkel's song off of the soundtrack to "The Graduate" (which was a pretty big soundtrack, back then). This one is an instrumental, and it has pretty good fuzz-guitar and electric organ work.

11. Los Mockers - Every Night - Los Mockers return with their unique brand of heavily accented English sung rockers. This one seriously has a cool Blues feeling to it, and sounds like something The Rolling Stones could have had a hit with (and I would'nt be surprised if someone told me they had originally performed it)!


Los Mockers!

12. Los Yaki - "Dia De Noche" - Yay, another Kinks cover! This one is of "All Day and All Of the Night", and it doesn't disappoint! Moving at a fast pace, the frantic vocals really tie it all together! And yes, just like the original, it has the Kink's signature move (slow down the song, hit the drum a bit, everyone screams, and a guitar solo erupts).

13. Los Pets - "Hello I Love" - An absolutely fantastic Psyched out version of The Doors "Hello I Love You"! Everything about this track, from the fuzz-guitars to the steady drums and electric organ work, just comes together perfectly! This is one of the more solid and fun covers to pop up so far!

14. Mike and the Runaways - "Um, Um, Um, Um, Um, Um" - What a song title. Anyway, this is another pretty good number that's sung in English. Apparently a cover of a song by Major Lance (though I haven't heard the original, so I can't exactly compare this cover to it).

15. Juan "El Matematico" Garza - "Loco Te Patina El Coco" - Ha ha ha! Oh man... I can't really explain this one, other than saying that it's a cover of "Wild Thing" by The Troggs. You'll just have to listen to this one for yourselves! Heh... I'm actually laughing pretty hard right now... I need to play this one at a party sometime...

16. Los Sirex - "Yo Grito" - An awesome go go mover with great drumming and fuzz-guitar work! Though the central vocal line is kind of odd, it actually works really well to set a Psychadelic mood. Love the guitar solo, by the way.


Los Sirex!

17. "Volkswagen Commercial" - This one is exactly what it sounds like! Actually, the song in the intro is kind of catchy...

18. Los Tijuana Five - "Mi Auto Puedes Manejar - Of course, right after the car commercial they had to put a cover of "Baby You Can Drive My Car"! This one is a great send-up to The Beatles, and is pretty faithful to the original. Nice!

19. Los Ovni - "Voy Para Loco" - I actually really like this one! It's a cover of James Brown's "I'll Go Crazy". I think the reason I like it so much is the that the great beat mixes perfectly with the rough and wild vocalist! Give it a spin some time, and see what you think.

20. Lorella con Los Shakers - "Sola Estoy" - This one starts off with a great intro, but doesn't really go anywhere from there. Still, it's a pretty fun number with a twangy guitar solo (judging by the vocalist, I think this one is from Barcelona, but i'm probably wrong).


The Lorella of "Lorella with the Shakers"!

21. Los Rockeros - "Te Digo Adios" - Now it's time to slow things down with a smooth song that i'm assuming is about love (or heartbreak). It's pretty good, but not exactly Garage Rock or Psychadelia.

22. Los Salvajes - "Pienso En Ti" - A cover of the classic "You Were On My Mind", Los Salvajes return to the compilation with their only offering on this disc (a shocker, considering they had like five songs last time around). I like it!

23. Los Yorks - "Pronto Un Doctor" - A nice and fast mover with some strange choices in instrumentation, I really like the super twangy guitar that pops up throughout the song! What was that sound at the end?


Los Yorks!

24. Los Huracanes - "El Calcetin" - A nice and heavy rocker, this is a catchy and intense number! Another stand-out track of the album, if only for the compelling way the instruments all come together. Honestly, that cool drum break after the chorus would fit in a modern song perfectly!

25. Los Sirex - "Fuego" - From "The Crazy World of Arthur Brown", can you say... "Fire"! Just as jarring and compelling as the original, you should have fun with this one!

26. "Canada Dry Commercial" - Ending the disc, here's another commercial! This time it's for Canada Dry, the (pretty) famous ginger ale pop.

This was without a doubt my favorite disc of the compilation so far! With great originals like "No Te Astuses, Es Solo Vivre", wild covers like "Dia De Noche", "Hello I Love" and "Mi Generacion", as well as strange numbers like "Loco Te Patina El Coco", this CD just hits all the right spots! And now there's only one disc left, which will be served up tomorrow! Adios, mi hermanos y hermanas!

Oriphiel

Yeah, I thought it was really fun! Thanks for the recommendation!

Oriphiel

Well, we've really looked at a lot of music this week, huh? Unfortunately, I'v got some bad news... I'm going on another mysterious road trip, so I may not be updating this for awhile. Still, whenever I get the chance, I'll throw a few albums your way!

Before I go, I'll finish up Los Nuggetz and introduce you guys to another fantastic Garage album! Let's dive right in...

Many people wonder just what happened to music in the 1960's. When they first started, the scene consisted of Rockabilly, Doowop and Pop-Ballads that had carried over from the fifties (with a splash of Jazz added to the mix). And when the 1960's ended and gave way to the 1970's, the musical world was exploding with experimentation, as Funk, Progressive Rock, Early Heavy Metal, Early Punk Rock, Hard Rock, and many other genres, swept across the world. What was the catalyst for all of this change? The answer is that many things contributed to the musical culture of the times, such as the Civil Rights Movement and the Vietnam Conflict. But many people point to a definite part of the 1960's as the main trigger for the musical boom; the British Invasion.


Recognize these chaps?

In the mid-1960's, all of the English lads and lasses who had grown up on American Rock 'n Roll came of age, and started playing their own versions of it (Usually starting off in Skiffle bands). Some bands initially stayed fairly close to the Pop-Rock formula laid down by acts such as The Everly Brothers (Like The Beatles, although they occasionally knew how to rock Little Richard-style), while others were drawn to the rough Blues music that had served as one of the key progenitors of "Rhythm and Blues" (Like the Rolling Stones). Back in the states, Rock 'n Roll had lost a lot of steam, and had become much more Jazz and Pop-centric in order to appeal to the masses (With smooth musicians like Dion DiMucci and Gary U.S. Bonds keeping Rock 'n Roll alive). When British Rock 'n Roll hit stateside, it was almost as if they were showing America how it was done.

When the invasion hit, and British Rock 'n Roll began to destroy the American charts, all of the young Jazz players of America laid down their flutes and picked up their guitars (seriously, almost every Garage Rock musician in this journal got their start by playing Jazz/Beat/Skiffle in the early sixties). While most American Rock 'n Roll acts had a very difficult time making the charts in competition with their British Counterparts, there were a few American bands that fought hard and carved a name for themselves, such as...

Midnight Ride


Their album, Midnight Ride!

Paul Revere and the Raiders! With the most coincidental name ever (the band that helps to keep American music in competition with Britain having "Paul Revere" in their name, who famously rode to Boston to warn of the approaching British army), they were actually named after the band leader Paul Revere Dick. If you're wondering how the band came together, they actually wrote a song about it ("The Legend of Paul Revere", wherein Paul heroically buys hamburger buns from Mark Lindsay). Though their line-up changed quite a bit, in the mid-sixties (their most famous period) they were comprised of core members Paul Revere and Mark Lindsay, as well as Mike Smith, Drake Levin, and Mike Holliday (not to mention Phil "Fang" Volk, who came in a bit later as their bassist).


They became known for their fancy costumes, which helped to spur on a trend of stage bravado among their peers.

The Raiders began in the late fifties (though they weren't known as "Paul Revere and the Raiders" until the early sixties). For awhile their biggest number was a cover of "Louie, Louie", however in 1965 they released the hit "Just Like Me", which began a long line of radio hits for them. Releasing follow-up albums, they eventually put out "Midnight Ride" in 1966, the album that featured their biggest hit "Kicks", as well as the original version of the Punk-Rock staple "Steppin' Stone". Considered by many fans to be their strongest album, it was also the one that convinced critics that they were the real deal. Now, after that wonderful build-up, let's see for ourselves what to make of it...


Paul Revere and the Raiders take getting lost backstage to a new level!

1. "Kicks" - Kicking off the album is their big hit, a compelling foot-stomper with a distinctive Garage Rock feeling to it! It has a kind of melancholy beat to it, which makes sense as it was originally written for The Animals. With great vocals (a little stronger and cleaner than many other Garage bands) and thrashy guitar work, this is a really fun track!

2. "There's Always Tomorrow" - Right away, you can hear the influence of British bands like The Who and The Rolling Stones, and this song has that certain fast Beat-music mixed with Rock 'n Roll and Blues feeling to it. The guitar solo here is really frantic and fantastic (with a touch of a Psychadelic feeling to it).

3. "Little Girl in the 4th Row" - Here's a change of pace, a slow Vocal-Pop number that focuses on vocal harmonies rather than the fast and dirty guitar work of the previous tracks. A bit of a Mamas and the Papas feeling to it.



4. "Ballad of a Useless Man" - And now the speed picks up again with another rocker, this time led by the electric organ (which I believe was a Vox Continental, as the band used mostly Vox instruments). Vocal-wise, Mark Lindsay was always great at hitting the Rock 'n Roll sound, and here is no exception.

5. (I'm Not Your) Steppin' Stone" - One of their greatest songs, this one was mostly ignored until it was covered by The Monkees (who did a fantastic take on it in their own right. The Liverpool Five also have a great cover of it). Mark Lindsay really shows how powerful and rough his voice can be, while still able to blend in with the smooth harmonies. The low fuzz-guitar work combined with the electric organ flairs really create a great Psychadelic back beat for the song!

6. "There She Goes" - The last track of the A-side, this one pays it's dues to Folk/Country Pop-Rock bands like The Byrds. With a great Skiffle sound to it, this would have probably resonated well with audiences across the pond! Alright, now flip the record over...


Known for their fun and wild live performances, they were a very different band in the studio. Gotta love Fang's white Vox Phantom bass!

7. "All I Really Need Is You" - Opening up the B-Side is this Vocal-Pop number, which has kind of an early Funk/Motown beat to it (while the guitars come in with an odd choice of a Psychadelic riff). For the chorus, the rest of the band chimes in with well-made harmonies. There is a nice tone change at the two minute mark, that helps to change things up.

8. "Get It On" - This one has a definite Psycho-Blues feeling to it! With a simple yet compelling guitar riff, rough and simple vocals, and fun harmonica work in the intro, it's very catchy (especially once the electric organ comes in)! Definitely one of my favorite tracks so far! Apparently Phil Volk took over lead vocalist duties for this on, and he does a great job.

9. "Louie, Go Home" - A very Mod-Beat/Psychadelic number with echo-y vocals, twangy guitars, and of course vocal harmonies and electric organ work. I really like the cool Psych-Waltz tone change that happens about a minute in! Great all around!



10. "Take A Look At Yourself" - Another fun Skiffle type mover that has a fun tone and pace to it (and easily could have been a hit for one of the Merseybeat bands of the time).

11. "Melody For An Unknown Girl" - Ending the album is a slow Jazz instrumental with a fun spoken intro (where they explain that the song was written for a girl they haven't even met yet, which is really sappy).

Well there you have it! This is actually a really great album with a nice variety of songs on it, and it's one of the rare albums where I wouldn't want to change a single thing about it (except maybe the last track...). Honestly, i'm really impressed with Paul Revere and the Raiders (I'll admit that I was a fan of them before, owning a lot of their singles, however I hadn't ever listened to any of the songs on this album before).

And now I'll get to work on the final part of Loz Nuggetz, which I'll put up later today.