Three vols 10” vinyl series of killer rare 50s/60s rockers. Here you got wyld rock’n’roll, garage, beat and R&B obscurities from long gone era. One of the best comp series I heard lately. Loads of cool stuff. Don’t miss it!
The Kinks are one of the most important Brit invasion bands that influenced 60’s garage rock sound. Here you got their ’64 debut, rockin’ r&b/beat slab with covers of Chuck Berry, Bo diddley, Slim Harpo, Lazy Lester, and some classic R.Davies tunes So Mystifying, Just Can’t Go To Sleep, I Took My Baby Home, You Really Got Me, Stop Your Sobbing. ”Face To Face” is their 4th studio album released in October 1966. The album marked the band’s shift from the hard-driving style of beat music, catapulting them to international acclaim. Being their first album consisting entirely of Ray Davies compositions, it has also been regarded by critics as rock’s first concept album.” Bought these stereo reissues in 1989., they still sound nice today. I know you know but then again… Vinyl rip by Mr.Eliminator. Dig!!!
Roger the Engineer (originally released in the UK as Yardbirds and in the US, Germany, France and Italy as Over Under Sideways Down) is a classic 1966. studio lp by the Yardbirds. These are Edsel records ’83 reissues with different collor cover art and different trackslists as Mono issue (blue cover) has two more cuts, ”Happenings Ten Years Time Ago”/”Psycho Daisies” from ’66 single. There are significant differences between mixes like in “Hot House of Omagararshid” (Beck’s lead guitar differs noticeably between the two mixes) or “He’s Always There” (Longer fadeout and extended vocals at the end of the mono version). This is their best lp, one of the top 60′ rock albums. You got killer stuff like Over, Under, Sideways, Down, Rack My Mind, He’s Always There, Turn Into Earth, What Do You Want… Edsel did a real good job with the sound [they used original E.M.I. masters]. In this case MONO version is my favorite. Vinyl rip by Surfadelic. Check it out!
Oh no, it’s not what you think. Surfadelic hasn’t become douchebag lame evergreen site. I know, this LP cover sucks ass big time, looks sooo damn boring ugly and isn’t a selling point for sure but the music inside is a real cool garage/beat, belive you me! Melbourne’s Bobby Bright and Laurie Allen had a number of pop hits in the mid-60s, from the Laurie Allen composition I Belong With You (1965) to Hitch Hiker. They were regulars on the Go!! TV pop show and later had their own show on ABC-TV (Australia), It’s A Gas, later Dig We Must. This is their 2nd and best slab – Dave Clark Five, Everly Brothers influenced freakbeat with cool trax as “No Next Time”, “Jump Back”, ”Not My Girl”, ”Fallin”, ”You’ll Come ’round”, ”Sweet And Tender Romance”, some of which you could hear on Australian 60’s garage comps as Ugly Things, Devil’s Children, Oz Beat Frenzy!, Down Under Nuggets… So, as Bo Diddley said “You Can’t Judge A Book By The Cover”, don’t miss it!
Two Australian 60’s garage beat comp with mostly rare but pretty solid ‘Down under’ fuzzed-out rumble. There are some well known acts like The Elois, Purle Hearts, Missing Links, Throb, Barrington Davis, Johnny Rebb & The Atlantics… ”Oz Beat Frenzy!” is more on raw garage side while ”Australian Music Beat Scene” is more beat oriented. Anyways, check some favs down under, Stop, Look And Listen ‘n’ Dig!!!
Thee Cybermen was a garage beat band from the Shropshire, England, [not to be confused with US or Finnish Cybermen]. They were influenced by raw revival-beat sound of MEDWAY SCENE and groups like The Prisoners and The Milkshakes. Their albums Borderbeat (1995) and Strange & Cruel (1997) as well as singles were recorded at legendary Toe-Rag Studios, London [analogue based recording studio, recordings for The Kaisers, The Kravin’ A’s, The Masonics, Holly Golightly, Thee Headcoats…]. Now you know what to expect or… you don’t. Anyways… Dig the Fuzz!!!
”Power pop has never sounded so powerful! When former Mandrake Paddlesteamer mainstays Brian Engel and Martin Briley convened as Liverpool Echo in 1973, the Beatles had been in the grave for just three years, and the world still desperately wanted them back — so desperately that, with a band name borrowed bodily from an old Merseybeat-era newspaper, what could any record company do, but lift a “Fabs”-headlined copy of the paper for an album cover? But “Beatles Come Home So Quietly” really wasn’t the most appropriate banner for an LP jacket, all the more so since, once you hit the vinyl, the spirit of the “Moptops” hung so heavily over the music that it screamed out for attention. Of course, it was true that any early-’70s band that was capable of melding melody with studio-borne creativity would inevitably be tarred “the new Beatles” (as Badfinger and 10cc would readily testify); it is also true that all such comparisons were then hopelessly devalued by the arrival of the Rutles. But still Liverpool Echo have an uncanny grasp of the Merseybeat sound circa 1963 and 64, spliced with a healthy hint of the Hollies, and that was more than enough to raise high hopes for the album. Unfortunately, hope was all that the record label (Spark) could do. They certainly had no promotion or distribution muscle to speak of, and both band and LP sank within seconds, to lie forgotten until Revola revived it (with excellent Mark A Johnston liner notes) in 2005.” [Dave Thompson]
Beatlesque ”Hard days’ night” era style power pop/beat. Dig!!!
”For goodness sake, I got the hippy hippy shakes…”
”On 20 Rock & Roll Hits of the 50s & 60s, Thee Milkshakes attempt to inject new life into some old chestnuts and succeed, to a point. Billy Childish and Mickey Hampshire both shred things up vocally and their guitars growl and sting in all the right places, while the lo-fi recording gives the set an authentic feel full of vim and vigor. Their choice of songs to cover is both happily inspired (the Shirelles’ “Boys,” Link Wray’s “Comanche,” Eddie Cochran’s “Something Else,” Chan Romero’s “Hippy Hippy Shake”) and sadly pedestrian (Chuck Berry’s “Carol,” and “Sweet Little Sixteen,” Barrett Strong’s “Money,” Little Richard’s “Rip It Up”).” [allmusic]
When in the mood for some wyld garage beat action I pick this among 100’s of Billy Childish slabs. This is one of my favorite all-covers lps and my fav Milkshakes album too. It brings back memories on those early Hamburg days of The Beatles wyld R’n’R rumble. Vinyl rip by Surfadelic. For goodness sake, Dig!!!
More volumes of this solid comp. series of obscure UK 60’s freakbeat/mod/pop. As with previous vols, some cool stuff mixed with some so-so and lame tunes, the choice is yours. This is not the original rip but trax have been gathered from other sources. Anyways, sound quality is pretty fine so check ’em out!
Link for other four volumes Beat!
On the wave of freakbeat craze at Surfadelic, here comes new comp.series of some obscure & rare UK 60’s mod/beat. Some of the songs could be heard on other collections but some are available only here. Well, everything seems nice at first glance, the package is cool, the sound is great but the problem is that many of the tunes are 2nd class, so after so many 60’s freakbeat comps this is kinda like ”scrap the bottom of the barrel”. Anyways, there are enough fine stuff for you ”hardcore freakbeat fans” as every volume has 20 trax with the crisp clear sound and lotsa fuzz. Come on and enjoy your wyld 60’s fantasy dream, Dig !!!
[A message for sunnyboy66 from youtube: Hey dude, don’t put it immediately on YT, let it live for a while ok ?!?]