THEE MIDNITERS – In Thee Midnight Hour!!! [60’s Garage]

Thee Midnighters

 

And now!… Back to thee garage. Pounding East LA rock n’ roll! Original Whittier recordings of this legendary group’s mid sixties stompers, collected together in one mad set for the first time! NO BALLADS!! Killer after killer of loud, tense, massively attitudinal teenage howlers- prime cut slammers that ram the Stones into a hot, crowded bullpen wearing long red capes and little else! For the first time, the universe outside East LA can dig the majestic slam of THEE MIDNITERS! Instant party never had it so good!

”Indisputably the greatest Latino rock band of the ’60s, Thee Midniters took their inspiration from both the British Invasion sound of the Rolling Stones and the more traditional R&B that they were weaned on in their native Los Angeles. Hugely popular in East Los Angeles, the group, featuring both guitars and horns, had a local hit (and a small national one) with their storming version of “Land of a Thousand Dances” in 1965. Much of their repertoire featured driving, slightly punkish rock/R&B…” [allmusic]

 

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You could hear rippin’ ”Jump, Jive & Harmonize” and hilarious I Found A Peanut” on Teenage Shutdown! comps, ”Never Knew I Had It So Bad” on A Journey To Tyme, and now you can check out other cool originals as ‘‘Love Special Delivery”, ”Whittier Blvd.”, ”Welcome Home Darling”, ”Looking Out A Window” and fine covers as ”Everybody Needs Somebody” or ”Empty Heart”. Feel the Chicano Power!

 

 

 

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We’re THE BANANA SPLITS / Here Come THE BEAGLES [60’s Bubblegum]

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“THE BANANA SPLITS” and “THE BEAGLES” were both 1960s’ TV icons,which established their history in Saturday Morning TV.”

”The Beagles were a pair of animated canines known as Stringer and Tubby (Stringer was the tall one playing the guitar, Tubby handled acoustic bass).  Together with their manager Scotty, each episode would find the pair bungle their way through some comedic scenario which saw them learn a valuable lesson along the way which would then be encapsulated in a song.

Released on Columbia’s budget Harmony label, 1967’s “Here Come the Beagles” may have been marketed as a kids album, but offered up a great mixture of Beatlesque pop, folk-rock and even more radio-friendly bubblegum sounds.  Credited to W. Buck Biggers, Treadwell Covington, J. Harris and Chet Stovers (Biggers and Stovers were apparently responsible for writing the cartoon scripts), material such as the title track ‘Looking For the Beagles’, ‘Sharing Wishes’ and ‘I’d Join The Foreign Legion’ offered up an irresistible blend of strong melodies and great harmony vocals (love to know who these guys were) which should have stormed up the charts.  While virtually any of the ten tracks would have made a dandy single, personal favorites included the organ powered ‘Indian Love Dance’ and the rockin’ ‘Humpty Dumpty’.”

Here Come the Beagles

 

”The core of this 31-song disc is the entirety of the group’s sole ’68 album, We’re the Banana Splits. For all its good-natured, well-produced late-’60s pop, it is too sweet and happy in one dose, like having a banana split for appetizer, lunch, and dessert. Still, those songs do include the well-remembered hit “The Tra La La Song,” plus some surprisingly raving garage- soul-pop with “I’m Gonna Find a Cave” and the Wilson Pickett-like “Doin’ the Banana.” The more bubblegummy happy-go-lucky numbers and ballads are harder to bear, but obviously the session cats playing on these tried harder than they had to, putting sitar on the lightly psychedelic “In New Orleans” and Baroque harpsichord on the uncharacteristically moody “Wait Til Tomorrow.” The CD also adds eight non-LP bonus tracks, including more typically bouncy lightweight kiddie pop/rock and a boisterous alternate version of “The Tra La La Song,” but also the rather fetching ballad “Pretty Painted Carousel,” which sounds a bit like early Peter & Gordon. Actually the best part of the package, though, are the ten tracks from the rare 1967 LP by fellow kiddie TV group the Beagles, who are actually not bad mid-’60s pop/rockers with a Beatles-Merseybeat influence to the songs and harmonies, though the production bears strong American soul and pop influences.” [allmusic]

 

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Garage pop rock for 60s kids and others. Brought to you by the kind request, Dig!!!

 

 

 

A HISTORY OF GARAGE & FRAT BANDS IN MEMPHIS 1960-1975 Vol.1 & 2

 

”A History of Garage and Frat Bands in Memphis, 1960-75 is a Memphis garage rock compilation that was released in conjunction with the book ‘Playing for a Piece of the Door’, by Ron Hall. The book is a candid history and discography of over one hundred garage rock bands who recorded at least one record in Memphis between1960-1975.”

Hmmm… More appropriate title would be ‘History of Garage and Soul Bands in Memphis’ as approximately 30% of the stuff are R&B tunes [especially on vol.2]. It’s a pretty interesting collection of some fine rare 60’s recordings transferred directly from original vinyls [not master trax], so the sound is bit raw & grainy here and there but anyway cool [I’ve fixed some cliks & crackles]. Some of the bands could be heard on other comps as Flash & The Casuals on ”Uptight, Tonight” comp, Danny Bunk And The Invaders on ”Hang It Out To Dry!”, The Escapades and The Breakers on ”Pebbles”, The Scepters on ”Everywhere Chainsaw Sound” etc. but some tunes can be find only here as The Coachmen ”Possibility”,  great Sci-Fi instrumental ”The Mysterians” by Jimmy Tarbutton And The Memphis Sound or rare garage gem Los Angeles Smog Division ”Blue Green” with ”borrowed” Pretty Things ”LSD” riff. Ok, check my favs below ‘n’ Dig!!!

 

 

 

Holidays In Serbia: Instrummentón En La Cuadra Vol.5 [60’s Sci-Fi, Psych, Exotica, Garage, Lounge Instros]

Holidays in Serbia Vol. 5

 

Holla amigos! What time it is? Summertime’s here and It’s right time for another ”Instrummentón En La Cuadra” comp. It’s so cool I wish it was made by me but the truth is it was made by my dear Spanish friend Jose from fabulous Tommentonenlacuadra blogspot. You surely know that he’s a big fan and connoisseur of 60’s garage rock, mod, beat and psych but he also digs real cool instrumental stuff. This is one of the most interesting instro collections I’ve heard recently, as it gathers various genres in one place and it’s function like a soundtrack for some lost 60’s flick. Here you got Sci-fi, Exotica, Psych, R&B, Lounge, Surf, Garage & Soundtrack instumental tunes mostly by some less known artists and groups. I’ve put some of my favorites below, so check it out! Hey hombre, olé dig!!!

 

Holidays in Serbia Vol. 5b

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RUMBLE ROCK vol.1-3 [60’s Rare R-billy/Garage Rockers]

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Rumble Rock Vol. 3

 

Ultra Low-Fi Rockers! Wild guitar actions! Insane-Kickin’ Ass Rockers!

Well alright! Here’s a vinyl comp. series of some sloppy, dirty, drunken, undisciplined 60s rockers [mostly uncomped]. Here you gotta deal with some rare, obscure R-billy, C.Berry influenced R’n’R , few mid 60s garage & R&B rockers and instrumentals. It’s kinda like now legendary ”Greasy Rock’n’Roll” comp. series. Below are some of my favs you can check out. Now ya know what a fuss is all about. It’s about RUMBLE !!!

 

 

 

DEAN CARTER vs STUD COLE [60’s Garage/Psychobilly/Blues]

Dean Carter - Call Of The Wild !!

”Dean Carter was a true oddity of ’60s rock. He was a singer-guitarist with the heart and much of the sound of a ’50s rockabilly wildman, yet he recorded music that updated that rockabilly spirit with ’60s garage rock and dashes of soul, and even a bit of psychedelia here and there. Carter didn’t put out a whole lot of records in the ’60s, and those he did put out were heard by few. Yet one of those singles in particular, 1967’s “Jailhouse Rock”/”Rebel Woman” (on the small Milky Way label), is highly valued by ’60s garage collectors, even if its rockabilly influence made it a little anachronistic. Carter also did a good deal of unreleased sessions of considerable quality, whether he was playing relatively straight rockabilly or his freakier hybrid of rockabilly with late-’60s sounds. Much material from those sessions came to light on the fine Big Beat 2002 CD release Call of the Wild.

Dean Carter

Carter was born Arlie Neaville and began playing rockabilly in the late ’50s in Champaign, IL, where he remained based for much of the ’60s. He recorded for the Ping label in 1961 under his real name, on the more established Fraternity label in 1962 as Arlie Nevil, and then for Limelight as Dean Carter in 1964. That same year, he and Arlie Miller, a member of his band the Lucky Ones, started a home studio in Danville, IL to record both Carter and other musicians. The pair also ran the small Milky Way label, which released product by Carter and others. At times the sessions got pretty strange even by garage rock standards, with ukulele, accordion, dobro, and clarinet all heard in addition to the usual crunchy guitars on his outrageous cover of Elvis Presley’s “Jailhouse Rock.”

Dean Carter - Wild!

Carter went to the West Coast for a while in the late ’60s, recording a couple of singles in Washington State with Gene Vincent guitarist Jerry Merritt, for Merritt’s Tell International label. He returned to the Midwest at the end of the decade to resume recording with Miller, and went back to billing himself as Arlie Neaville on record. In the early ’70s, he went into gospel music, where he’s remained ever since.” [allmusic]

 

Stud Cole

”He’s been described as “Jack Starr meets Johnny Kidd”, “a lysergic Conway Twitty” and “Elvis fronting the ’66 Yardbirds” but mere words can’t truly describe the unique sounds of the late, great Stud Cole!”

””The late, great Stud Cole’s 1968 promo only LP (only 100 copies made in 1968) with five bonus cuts gives Los Angeles’ ultimate loner icon a fitting tribute as his memory is perceived in the digital age. Starting off with the title track, Cole’s Burn Baby Burn sounds timeless, a welcomed escape from the modern glut of over produced, emotion-deprived recordings. Cole’s fusion of 60’s rock and gritty country still sounds years ahead of its time, his seductive singing style alluring, its tough boy approach fitting for the rock and country he creates.” [Alex Steininger]

”Lounge flavored garage, with rock-a-billy influences, Elvis-like vocals, and fuzz guitar, all over blues/psych mat’l. This is one unusual album, originally issued as a demo only in 1968. The artist’s real name was Pat Tirone, and he was a bartender from L.A.”

 

 

What to say about those two wyldmen weirdos of Rock’n’Roll? It’s a double dose of 60’s garage, r-billy/blues/psych lunacy and mayhem the way it shoulda be… or what? Anyways, I’ve already have posted these real cool cats, two wacko garage surfadelic favs and I do it again. If you like acts as Hasil Adkins and The Cramps this is for you. And yeah, check this one too – Kookie Cook [a friend of Dean Carter] Burn Baby Burn!

 

 

THE SURFARIS – Surfers Rule/Gone With The Wave/Wipe Out! The Best Of [60’s Surf/Hot Rod/Garage]

 

”The Surfaris were an American surf rock band formed in Glendora, California in 1962. They are best known for two songs that hit the charts in the Los Angeles area, and nationally by May 1963: “Surfer Joe” and “Wipe Out”, which were the A-side and B-side of the same 45 rpm single.A-254867-1446475420-7579.jpeg
Wilson’s energetic drum solo made “Wipe Out” one of the best-remembered instrumental songs of the period. “Wipe Out” is also remembered particularly for its introduction. Before the music starts, Berryhill’s dad broke a board (imitating a breaking surf board) near the mic, followed by a maniacal laugh and the words “Wipe Out” spoken by band manager Dale Smallin. “Wipe Out” was written in the studio by the four original members (Berryhill, Connolly, Fuller, & Wilson). It was initially issued on the tiny DFS label (#11/12) in January, 1963. It was reissued on the tiny Princess label (#50) in February, 1963. It was picked up by Dot (45-16479) in April, 1963, and later reissued as Dot 45-144 in April, 1965. It sold over one million copies and was awarded a gold disc.
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The band released a series of records, with two other singles, “Surfer Joe” (written and sung by Wilson) and “Point Panic” (another group-composed instrumental), having an impact on the charts. Point Panic is a renowned surfing venue in Hawaii after which the song was named.
The original 1963 membership remained intact until August 1965 when Connolly departed before their Japanese tour. Ken Forssi replaced him on bass for the tour. Fuller resigned after the tour and the band folded in early 1966.” [wiki]

Surfaris

 

Ha ha ha ha ha, wipe out!.” Classic stuff, everybody knows [remember legendary chasing scene from “The Wanderers”?] but The Surfaris ain’t just ”one hit wanders”. They recorded several fine lps and 45’s and this here are three collections of their 60’s stuff from classic dragin’ & surfin’ tunes [cool instros as Scatter Shield, Murphy The Surfie, Point Panic, Waikiki Run, Burnin’ Rubber, Beat 65, Big Surge, Surf Scene, Dune Buggy, Scratch] to garage, pop & folk rock [especially ’77 comp. ”Gone With The Wave” with many interesting covers]. ”Wipe Out! The Best Of” comes with 6 bonus trax added by Mr.Eliminator, so you better watch out! Go Go Go For Louie’s Place! Dig !!!

 

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THE KEYMEN vs THE KEYMEN [’60s Garage/Surf vs ’50s R&B/Lounge]

The Keymen

 

Actually not [likely] the same band but there’s always a bit of mistery. The Keymen [Originally known as The Fabulous Keymen] were 60’s garage/surf combo from Las Cruces, New Mexico and here they are featured with solid unreleased ’65 set of surf instros, cool ’67 garage single ”What Am I To Do” and some so so/lame frat rock, blue-eyed soul covers.

The ‘other’ Keymen were ’50s rock instrumental group who had one small hit with “Gazackstahagen” in 1958. suported by Dick Clark. Their album is fun all-instro sax driven R&B/Lounge slab with covers of hit tunes in seductive Las Vegas Grind style. Go Keymen Go !!!

 

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THE FLAMETHROWERS – Intensity! [Raw 1960 Detroit Instrumentals]

the-Flamethrowers - Intensity

 

Well… Before The Stooges there were Flamethrowers! This double 7″er features four 1960 crude & rude instrumentals influenced by Link Wray. This stuff somehow reminds me on Hasil Adkins tunes as “Reagan Blues” without vocals. Shame there’s no full lp with such delightful instro sounds to set yer ass in flames. Flamethrowers for presidents! Oh Detroit, so much to answer for… Anyways, you got Intensity alright! Dig !!!

 

SAND SURFIN’ (Border Town Rock N’ Roll 1964-67)

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“Down in the wastelands of New Mexico,
where there’s a definite lack of H2o
The kids get their kicks on this barren land,
when they go surfing on pure white sand
Sand Surfing Sand Surfing”
[The Four Dimensions]

 

Cool collection 60’s garage & surf rock rarities from El Paso, Texas. 1964-67 set equally divided between surf stomps and garage monsters including rarities from the Suemi, goldust and Frog Death labels! Let’s go Sand Surfin’!!!

 

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