”They say your village lies
In the western part of town
And that evil spirits are lurking all around
But I’m not scared of you
For evil can be found
Looking almost anywhere not just in voodoo town…”
”Tony Joe White is an American singer-songwriter and guitarist, best known for his 1969 hit “Polk Salad Annie” and for “Rainy Night in Georgia”, which he wrote but was first made popular by Brook Benton in 1970. Dusty Springfield reached the charts with White’s “Willie and Laura Mae Jones”. He also wrote “Steamy Windows” and “Undercover Agent for the Blues”, both hits for Tina Turner in 1989; those two songs came by way of Turner’s producer at the time, Mark Knopfler, who is a friend of White. “Polk Salad Annie” was also recorded by Elvis Presley and Tom Jones.” [wiki]
This is a Surfadelic tribute to favorite swamp rock maestro from bayous of Oak Grove, Louisiana. With powerful Elvis like baritone voise and wyld wah-wah guitar playin’, Tony made his own brand of voodoo/funky/soul music. Just check out tunes as Stud Spider, Even Trolls Love Rock And Roll, Don’t Steal My Love, Elements And Things, Soul Francisco or Voodoo Village and you’ll know what I’m talking about. He also did some great covers of Reddings ‘‘Hard To Handle”, Dale Hawkin’s ”Susie Q” and Johnnie Taylor’s ”Who’s Making Love”. This collection covers White’s recordings from 1968 to 1976 for Monument and Warner Bros. records. Surfadelic got soul! Dig!!!
”Down in Louisiana, where the alligators grow so mean
There lived a girl, that I swear to the world
Made the alligators look tame…”
[Polk salad Annie]
”24 superheavy and superrare vocal and instrumental funky/soul cuts from the 1960s. It does not get any nastier. All these combos lay down a heavy groove, heavily influenced by the Hardest Working Man in Showbusiness, James Brown.”
Rare Italian electro lounge with twangin’ guitar from Luis Enriquez Bacalov (famous for his soundtracks ). Interesting all-instro slab with some vintage electronic effects, clavichord, organs and surfin’ guitars mostly evident on cool trax like ”Fender With Anger”, great covers of classics ”Walk Don’t Run” and ”Tequila”, ”Riguel 1” and ”Montemario By Night”. Euro-Electro-Twang, check it out!
This collection of rarities and outtakes from 1969-1972 [from Wayne Kramer’s private tapes] is almost similar to ROIR 80s comp. ”Babes in Arms”, except for some not so important instrumental versions and exclusion of three early single trax. Most of the cuts are alternate versions of songs from the band’s studio albums, with great outtakes from ”High Time” LP – Skunk, Poison, Gotta Keep Movin, Baby Wont Ya, Sister Ann, Future Now. Then you got psychedelizied wah-wah jam Train Music [originally intended to be used for film ”Gold”], fine instros The Pledge Song and Power Trip [actually ”Skunk” instro version] and bunch of trax from debut LP with cool version of Tonight [great intro!] and delightful acoustic mix of Shakin’ Street. To make it complete I’ve added Looking At You / Borderline ’68 single plus three trax from ”Babes in Arms”, a ’67 single I Can Only Give You Everything / One Of The Guys and ’69 single B-side ”I Just Don’t Know”. Join the high-octane Detroit r’n’r’ revolution. ”…Order is my attitude, Beauty and perfection Are my attack”… Dig!!!
”The moment was there
Electrochemicals were filling the air
The pastured substance of emotional glue
Was at its best a faded blue…”
”The Bonniwell Music Machine is the second and final album by the American garage rock band, The Music Machine, recorded under the renamed moniker, The Bonniwell Music Machine, and released on Warner Bros. Records, on February 10, 1968. As with their debut LP, the album again saw the band blending garage and psychedelic rock influences, albeit with a greater emphasis on psychedelia than on their previous album release. Prior to completing its recording, all of the group’s original members, except for its creative force, Sean Bonniwell, departed, though they would still appear on some of the album’s tracks. The album was preceded by two singles, “Double Yellow Line” and “The Eagle Never Hunts the Fly”, released 1967. respectively, but both releases were also commercially unsuccessful.” [wiki]
”The eagle never hunts the fly
Listen and I’ll tell you why
He lives on the bottom of the sky
And that’s why and that’s why”
This is one of those Surfadelic favs already have been posted several times, but now it’s a vinyl rip from an unofficial release from early 90’s. Your favourite ”Talk Talk, Black-gloved Gang” teamed up with producer Brian Ross for another 60s psych-punk masterpiece. Recorded on 8 channels, at time a state of art, this album have pretty high tech standards up there with The Beach Boys or The Beatles slabs. It’s an ingenious mix of garage-psych/soul influenced rockers and ballads, with fuzzed-out killer stuff as ”Bottom Of The Soul”, “The Eagle Never Hunts the Fly”, “Absolutely Positively”, “Double Yellow Line”, “I’ve Loved You”, “Me, Myself, And I”… Just one look at the cool cover pic and you know… ”so mechanical… so machine-like. Sort of a music machine. Very much like Sean Bonniwell’s Music Machine”. This is one of the top 60’s garage/psych records, a real Surfadelic favorite. And remember… Don’t cross, the double yellow line… Dig !!!
”A classic British Invasion group formed in Andover, Hampshire in 1964. remembered chiefly as proto-punkers who reached the top of the charts with the “caveman rock” of “Wild Thing” (1966). They were signed by Larry Page, manager of the Kinks, in 1965. They recorded on Page’s Page One Records.”
Here is a vinyl rip of this ’76. 2LP comp. on Sire records. It’s a pretty solid 28 trax collection of hits and singles from 1966-72, with style range from garage/proto-punk [Wild Thing, Lost Girl, Give It To Me ,Say Darlin’, I Want You, Gonna Make You, I Can’t Control Myself, From Home, I Can Only Give You Everything], proto-glam rock [Come Now, Lover, The Raver] to slices of baroque pop [Love Is All Around, Any Way That You Want Me,Cousin Jane, You Can Cry If You Want To] and psychedelia [Night Of The Long Grass, Purple Shades, Maybe The Madman] or all-out riot of ”Feels Like A Woman”. They were an important influence for bands like the Ramones, DMZ or (earlier) the MC5. So… Come Now… Dig!!!
As it says – Raw & Wyld blues rockers in tradition of Elmor James and Hound Dog Taylor style. So here you go with cool covers and originals as Shake Your Money Maker, Dust My Broom, Don’t You Lie To Me, We’re Gonna Boogie, Jackson Tennessee, Ain’t Got A Lousy Dime… It’s wyld & raw blues screech Lp collection from B-Sharp label that gave you “Nasty Rockabilly” series. Check some favs down below ‘n’ Dig!!!
“Italian soundtracks from the late 60s to mid 70s are practically a genre to themselves and have long been a treasure trove for those who seek unique jazzy psychedelic beats. The Psych Jazzy Beat of I Marc 4, features the music of one of the top recording quartets of Italian soundtracks, I Marc 4. The members of this quartet all came from a jazz background and originally grouped together in the mid-60s with the purpose of supporting various high profile vocalists. The backing band to the most admired composers of the ’70s, from Ennio Morricone to Piero Umiliani, I Marc 4 had a unique “Italian soundtrack” style. I Marc 4 recorded several albums on their Nelson label between 1970 and 1976, featuring Antonello Vannucchi‘s incredible use of his Hammond C3, Roberto Podio‘s kicking rhythm section, and the legendary Maurizio Maiorana on bass, not to forget the real soul of the band, their guitar player, Carlo Pes. In the late 60s they moved on to being soundtrack composers whose instrumental works would then be collected and released on LPs. Psychedelic rock, soul jazz, brassy Herb Alpert style numbers, spacey exotic lounge music, goofy country funk, proto-progressive rock are the easily recognizable genres coexisting in this retrospective of one of the most hidden treasures of the Italian psych-jazz scene.”
”Among the surf groups of the Golden State, none rode a higher wave than The Challengers. Formed in 1962 by drummer Richard Delvy, who had been the beat keeper for The Bel-Airs, The Challengers were an instant success. Their 1963 LP, Surfbeat, became one of the genre’s biggest sellers. Reportedly recorded in under four hours at World Pacific Studios, the LP was released on Vault and helped solidify the surf sound.
In early ’60s California, surf and car culture were joined at the baggy-clad hip. This convergence was reflected in the music of the surf bands, many of whom began to devote equal time to automobile anthems. By now something of a surf rock entrepreneur, Delvy moved to capitalize on this trend by recording hot rod songs with The Challengers. Unfortunately, an intended 1964 LP of car tunes never came together and the fast moving decade left the surf ‘n’ street scene in the incense ashes.”
Unissued 60s lp by ”The kings of clean-cut surfin”. Fine mix of hot rod & surf vocals & instros on limited edition vinyl. It’s a Hot Rod Hootenanny. Dig!!!
After their third album (Introducing The Sonics), the original line-up split, and a band that was The Sonics in name only kept on going for the rest of the 1960s. This is a great collection that contains all of ”Introducing The Sonics” era (tracks 1-15) and then everything else that “The Sonics” recorded after Gerry Roslie was replaced by new vocalist Jim Brady.
If you thought that only first two Sonics slabs are the real deal that matters, you gotta check this collection of Jerden rec. recordings. On their 3rd lp recorded at famous ‘Gold Star’ studios, L.A. and produced by Jerry Denon [The Kingsmen producer and owner of the Jerden label] The Sonics upgraded their raw sound to a brand new fresh & crisp garage punk audio assault. With killer original punkers as ”High Time” [who said MC5 ?], ”I’m Going Home”, ”Like No Other Man”, ”You’ve Got Your Head On Backwards”, soul influenced garage tunes ”Maintaining My Cool” and ”I’m A Rolling Stone”, plus bunch of cool covers as ”On The Road Again’‘, ”Diddy Wah Diddy”, ”I’m A Man” or ”Bama Lama Lu”, The Sonics showed they have much more up their sleeves. And than, there are other fine trax as the last ’67 single with Gerry Roslie ”Anyway The Wind Blows” [a cover of Frank Zappa tune] and some solid stuff as ”Loveitis”, ”Always Love Her” and ”Lost Love” featuring Jim Brady on vocals. Unfortunately that’s about all, ’cause last 9 cuts don’t ”look” and sound as [and aren’t] The ‘original’ Sonics. That leaves you with 20 trax of kick-ass, wyld Northwest 60’s punk. Say… Dig!!!