ON TARGET – 20 Direct Hits From The Mod Revival

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In late 70s/early 80s England punk was followed by a revival of the Mod look & sound of the mid 60s. The music was a great combination of punk & power pop. Unfortunately this scene was all but completely ignored in the US. Sure the Jam had a small American following and one neo-mod group did have a Top 30 hit stateside (“turning Japanees” by the Vapors) but most Yanks never heard the Chords, the Purple Hearts, the Lambrettas, Merton Parkas or Secret Affair. “On Target” is an excellent intro to this obscure scene. These bands take what the Kinks, Small Faces & Who started and combined it with the “revolution” … & early Clash. Best songs: “when you’re young” by the Jam, “maybe tomorrow” & “British way of life” by the Chords, and “millions like us” by the Purple Hearts.

Cool overlook of UK late 70s/early 80’s mod revival scene with some well known acts as The Jam, The Chords, Secret Affair, Purple Hearts, The Merton Parkas, Squire, The Lambrettas, The Jolt and some lesser known bands as Back To Zero, Teenbeats, The Nips, Small World, The Killermeters, The Circles… 20 Direct Hits, Dig!!!

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THE GODFATHERS – Hit By Hit (Deluxe Edition)

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An offer you can’t refuse!

A welcome return for this cultish London garage band’s debut, which is now a 29-track, 2-CD behemoth including a remastered collection of rare live tracks and radio sessions from November 1986. The album remains untouched but, unusually, sounds better than the original vinyl, with even more depth to the bass drum on some tracks.

Disc Two holds the 16 rare, intriguing and remastered tracks, including The Godfathers’ fledgling Radio 1 sessions with Andy Kershaw and Janice Long, (the latter previously available, but here sounding markedly improved from the woody-sounding Kershaw session).

Eight live tracks finish this revised edition, with covers including a storming Blitzkrieg Bop and Anarchy In The UK. This is where The Godfathers truly shine. Like Dr Feelgood before them, they never sounded better than when tearing an audience apart: Peter Coyne’s angry vocals, the sawing guitars of Dollimore and Gibson and the pounding beats of Mazur drum you into submission.

The Godfathers gave rock’n’roll back to the street and this edition is the definitive, essential collection for anyone with a hankering for hit after hit of classic British punk rock’n’roll. The sound of the first rebellion of the 80s London youth against Popworld PLC sounds remarkably fresh and relevant even today.

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It would be a shame if the world forgot about The Godfathers. Although they were always out of time, trying to reignite a punked-up rock (as in R&B/R&R) spirit during the haircut decade, ironically you could argue that the first years of the new century have been more Godfathers-friendly than any time since they started. Bands like The Hives have based their entire career on emulating ‘Cause I Said So’ (not included here), consciously or not, and the whole garage-revival owes a debt to these guys along with Billy Childish and Mick Collins.
So what do you get on this 2CD? on the first disc, Hit By Hit, which was their first album (I know it’s a singles compilation but after all that’s what ‘album’ originally meant) and has been elusive/expensive for years: now you can get THIS DAMN NATION (otherwise unavailable) on CD at a reasonable price, not just one of their very best tracks but ONE OF THE BEST SONGS EVER – it’s the essence of punk even though it probably isn’t strictly punk. There’s hardly any lyrics and yet it says EVERYTHING: it’s in the attitude.
You also get two of their other best songs: I WANT EVERYTHING, and their stunning version of COLD TURKEY. ‘Lonely Man’ is fantastic…but then there’s not a bad track on here, even the Rolf Harris cover and the instrumentals are great. Added to the original LP is the Love Is Dead E.P.(previously re-released on the ’96 Sony comp), the original version of ‘Love..’ far better than the Sony remake.
The 2nd Cd has the previously issued Janice Long session (perfect version of ‘If I Only Had Time’), a never-issued before (as far as I know) Kershaw session from ’85 and some live tracks, all great, even the cover of ‘Anarchy In The UK’, which hasn’t often been covered with this much dignity. [Colney Hatch]

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HATE TO SAY I TOLD YOU SO (but it’s 20th anniversary already!)

“Do what I please gonna spread the disease
Because I wanna…”

…And they did!

With the explosive mix of 60’s garage riffs of the The Kinks and Sonics + 70’s punk rock fury (and the help from God), five elegant but crazy arrogant swedes managed to conquire the world. This, their 2nd Lp from 2000. sparks the new garage revival wave for a 21st century. “Veni Vidi Vicious” was kinda like a garage punk hit album with killer singles and videos as Hate To Say I Told You So, Die, All Right! and Main Offender that jammed the rock’n’roll media.

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“They looked like the Rolling Stones and sounded like The Stooges. They were gonna do what they wanted because they could, and damned if I didn’t immediately feel that. They were jerking around on my TV screen, heads floating in front of alert signs, looking very dirty-clean and dumb-smart, the epitome of cool.”

“Singer Pelle Almqvist‘s guttural scream shot spit through the fourth wall, which is truly the essence of the band. The Hives have often been called (by both critics and themselves) one of the greatest live rock bands in the history of amplifiers. That energy spewed onto every second of Veni Vidi Vicious.

The album heralded a more sophisticated, cleaner level of production. The band reportedly called the sound “a velvet glove with brass knuckles.” It’s 12 tracks came in at a quick 27 minutes. Two of the songs cleared three minutes, which is more than The Hives’ bright burning freight-train of a debut. It had catchy choruses, but it was still punk through and through. I’d never been to a bar, but listening to this album, I could taste beer splatter and sweat mixing in the air.” [Kat Bein]

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And now, for this special occasion you can enjoy Surfadelic LP rip from limited edition white vinyl!

“Confucius says: Ah…The Hives. The future is theirs… should they want it.”

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BURIED ALIVE!! 2 [Oz 60’s Garage Punk]

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Remember groundbreaking BURIED ALIVE!! 6xCD compilation of 60’s garage from Australia and New Zeland? Well, this is sequel with 6 CD’s and 150 trax more of crazy raw r&b/beat action Oz style! It’s kinda like a overkill but you gonna like it, alright!
If you dig comps like Ugly Things, Wild Things, Devil’s Children or Before Birdmen Flew series than this stuff is A MUST fer ya!
Say…Dig!!!

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DISC 1-3 / DISC 4-6

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THE KRAVIN A’s – Krave On [1991]

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“British Merseybeat-influenced combo featuring Bruce Brand and recorded at Toe Rag Studios. Neat combination of Beatles and the Zombies inspiried material injected with an extra dose of garage beat. This band could have rocked the Cavern club with the best of them! ‘60s style Beatle-esque pop. Featuring Bruce Brand of Headcoats fame.

Prime purveyors of “Medwaybeat”, the Kravin A’s were formed in Chatham, England and featuring members of Thee Milkshakes, Headcoats, Daggermen and others. Their sound is intoxicating with beatlesque melodies, twangy guitars riffs and catchy rhythms and lyrics.” [Editorial Reviews]

It’s a payday, alright! Dig!!!

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FORTUNE & MALTESE and the Phabulous Pallbearers

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90’s organ driven trashy garage-frat rock revival band from Detroit. Influenced by mid 60’s garage punk, their sound has some similarties to those of The Untamed Youth or early Boss Martians. This here is a real COOL collection of their singles and EP’s. Among superfine originals there are some great covers of Chris Montez’s “Let’s Dance”, Bobby Fuller Four’s “Take My Word”, Everly Brothers’ “Gone Gone Gone”, Lincoln St. Exit’s “The Bummer” and Ognir And The Nite People ‎”I Found A New Love”. Anyways, it’s fun fun FUN! Comes with special Surfadelic “extra bonus” trax! Phabulous!!!

[Important: If you find better fidelity version of “Time Has Gone” let me know!]

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CYCLONE! French 60’s Guitar Instro Action!!!

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“When rock ‘n’ roll music hit the shores of France, it was embraced with a fervor more intense than in other European countries. The first wave of French rock bands set the stage for the later yé-yé scene and led a generation of Gallic teens to follow suit and launch their own groups. Many were inspired to form combos by the Shadows, the reigning kings of instrumental rock throughout Europe in the early ’60s. Every country had bands vying to be the top instrumental group but nowhere was the competition more fierce than in Paris. Many of the featured artists included the standards of the day in their repertoire. Their original efforts, though, are often more interesting, illustrating the great French tendency to digest American music as one giant lump, instead of seeing the genre-divided subsets that dictated the way Americans consumed music. Among the musicians are the same players who contributed to the sound of much-adored artists such as France Gall, Sylvie Vartan and Johnny Hallyday by supplying their musical accompaniment. Some of the contributors are expats, such as America’s jazz guitar great turned French producer/songwriter Mickey Baker, and others hail from closer, among them the UK’s Krewkats, Tommy Brown and Micky Jones, but they all come together to form this quintessentially French collection for your listening pleasure.” [UK collection]

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Although the origins of French rock and roll were American-inspired, this guitar-driven instrumental surge stemmed primarily from the phenomenal success of the British acts the Shadows (the top pre-Beatles rock band in the UK, with five number one records from 1960-63) and the short-lived Tornados with their mega international “space-age” hit “Telstar” from late 1962, produced by the eccentric technical musical wizard innovator Joe Meek. (The latter became a #1 hit worldwide, including in the US where it foreshadowed what came to be known as the British Invasion by a little over a year.) There is undoubtedly also a fair amount of American surf-rock influence, as well as occasional glimpses of European folk melody. Note the absence of saxophones, so prominent in American rock and roll of that period.

“Fort Chabrol” by Les Fantômes is the best of the Shadows-inspired tracks here, while “Galaxie” by Les Guitares du Diable captures the “Telstar” clone crown. Les Players’ “Manhunt” is my winner in the surf-rock category; Les Manégasques’ “Psychose” takes the prize for most frenetically unhinged instro; but overall I’ll go with Les Sunlights as my favorite group in this compilation for their two shining exemplars of the French pop-rock instrumental genre: “Day Train” – a high-energy boogie ride (with sound effects) on France’s fastest train (its most famous at the time), le Mistral; and their brilliant under-two-minute take on Ernesto Lecuona’s “Andalucia.” [Amazon review]

This compilation tells the story of instrumental rock from France in the 60s. If you like surf music this is an undiscovered treasure trove of musical treats. Check some Surfadelic favs down below ‘n’ dig!!!

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THE SUPER STOCKS – Thunder Road

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The Super Stocks were a California studio band created by Gary Usher in 1964. to capitalize on the popularity of surf music and hot rods. Usher’s bands distinguished themselves from other studio creations by the quality of the session musicians – the Super Stocks made use of Wrecking Crew session musicians, including guitarist Glen Campbell. The band produced three albums on Capitol. [wiki]

Whether penning Beach Boys songs with Brian Wilson, producing classic albums by the Byrds or recording with Sagittarius, Gary Usher was never more part of the sunny California sound than when he cut the three top-speed Super Stocks LPs for Capitol Records in 1964. With Usher singing lead, THUNDER ROAD comp by this studio-only outfit of seasoned L.A. session pros, is a collection of nitro-burning gems from ’64 that helped put super-charged, wide-track muscle cars right in the middle of the daydream of every American teenager!

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PULP ROCK INSTROS vol. 1

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Kind of an interesting comp, and one of those pop culture footnotes as well. I’ve no doubt in my mind that this comp was released due to the Pulp Fiction movie/soundtrack being so popular the year before. But what this comp offers is not the “classic” stuff per se, but a strange collection of famous artists and their obscure work, or obscure artists and their completely non-famous work.

Take into account the two biggest names – Dick Dale and Link Wray. Dick Dale’s cover of Peter Gunn is not from the early 60s as you would expect, but from a recording session in 1975, well after (or rather between) his big moment/s in the sun. The Link Wray song is not one of his hits, but rather one of his b-sides. “The Swag” is probably more known as the opening theme in John Waters’ Pink Flamingos than as the b-side to “Rumble.” There’s also some 80s surf thanks to Jon & The Nightriders, Dave Allen & The Arrows, and a revived Surfaris (who unfortunately take a song title like “Punkline” and disappoint all punks everywhere with it).

The rest is old surf from the original era – The Trashmen, The Frogmen, The Pyramids, etc. I’d say this leans slightly more towards 60s beach party b-movie soundtrack than the awesome surf hits we all know and love, but there’s still some freshness here in that the standards are slightly tweaked and revised. ” [Rateyourmusic review]

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32 HOT ROD HITS [featuring Deuce Coupes, Darts & De-Fenders]

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A 32-track collection of early 1960s hot rod-themed instrumentals originally released by Bob Keane’s Del-Fi Records, this set combines LPs from the Deuce Coupes (Hotrodder’s Choice), the Darts (Hollywood Drag), and the De-Fenders (Drag Beat), all three of which were essentially the same group of veteran L.A. session players, a cast that included Glen Campbell, Hal Blaine, Tommy Tedesco, and Leon Russell, and in the case of the Deuce Coupes, brothers Lolly and Pat Vegas. Nothing here was actually a radio hit, but this is still a nice compilation of snappy, R&B based jams with a whole lot of extraneous car engine effects edited into the mixes. [AllMusic]

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