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THE KNIGHT OF TEXAS
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TEXAS 74
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TAMPA BAY BLUES
01 mourin' blues - nitty gritty dirt band
02 epitaph blues - medicine head
03 rocket car wash blues - rockets
04 broken hearted blues - t-rex
05 i got the blues - rolling stones
06 the daily blues - john kay & steppenwolf
07 56 blues - keith emerson trio
08 mother's blues - boomerang
09 cumberland blues - grateful dead
10 hesitation blues - nitty gritty dirt band
11 muleskinner blues - muleskiner
12 working man's blues - rockets
13 holdin' blues - uncle ben & the wild rice
14 nomad blues - nathan zark
15 burt's blues - gary duncan & quicksilver
16 v-8 ford blues - mt rushmore
17 jimmy olsen's blues - spin doctors
18 teenie's blues - keith emerson trio
19 lean woman's blues - t-rex
20 back door blues - ultimate spinach
21 ventilator blues - rolling stones
22 bus driver blues - blue water trio
23 haight ashbury blues - randy & the westwood paper
24 blues on the moon - linn county & friends
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ARLO, ALICE,AUTUMN, AND A THANKSGIVING DINNER
..in 1965, 20-year-old Arlo Guthrie was convicted of littering in the Berkshire
County town of Stockbridge, and the song "Alice's Restaurant Massacree" was born.
The son of legendary musician Woody Guthrie, Arlo and a friend were spending
Thanksgiving with Alice and Ray Brock at the couple's home in a former church.
Alice asked the boys to take a load of trash to the town dump. When they arrived,
they found that the dump was closed, so they threw the trash down a nearby
hillside. Guthrie turned the story of their subsequent arrest and court appearance
into a best-selling record. Thirty years later, he returned to the Berkshires. He
purchased the former church building and converted it into an interfaith spiritual
and social service center.The story of "Alice's Restaurant" begins and ends at a church in Great BarringtonMassachusetts. By the 1960s, the small, pine Gothic Revival building had lost its
congregation. The Episcopal diocese put the building up for sale, and in 1964,
Alice and Ray Brock purchased it. After a formal de-consecration ceremony, the
young couple moved in.e Brocks were a creative and charismatic pair who had been influenced by Jack Kerouac and other members of the Beat Generation. Ray was an architect and
woodworker, Alice a painter and designer. Both worked at a private school in
nearby Stockbridge. They transformed the former church into a quirky but welcoming
place where their students and other young people could find refuge from
"establishment pressures," especially the Vietnam War and the draft.
Ray and Alice served as surrogate parents for the young women and men who camped
out, sometimes for weeks at a time, at the church. The neighbors were not happy
about the arrangement. They viewed the Brocks and their guests as drug-using,
long-haired hippies. Agitated residents honked their car horns and yelled as they
drove past; they wrote letters to the editor protesting the presence in their community of what they called a "beatnik commune."It was in this context that police officer Bill Obanhein reacted so strongly when the church group was implicated in the Thanksgiving trash dump. That evening, the
Brocks received a call from Obanhein. He had spent "two very unpleasant hours
going through the debris until he found an envelope with the Brocks' name. Alice
confirmed that Arlo and his friend were the culprits. Obanhein summoned the boys \
to the police station."Officer Obie" later admitted that he had no sympathy for longhaired,
nonconformist teenagers, although he conceded that they were basically "good
kids." He decided to give them a scare and make an example of them so that the
town would have no more trouble with hippies. He arrested the pair and put them in
a jail cell until a furious Alice Brock bailed them out. Two days later, they
appeared before a blind judge and his Seeing Eye dog, who "viewed" Obanhein's
photo evidence of the trash dumping and convicted the two young men of littering
He fined them $25 each and ordered them to clean up the trash.After paying the fine and completing the cleanup, Arlo Guthrie began coposingwhat would take up one entire side of his first album. Eventually 18 minutes long, "Alice's Restaurant Massacree" evolved slowly over the next two years. The firstverses written recounted the events of Thanksgiving 1965. Later Arlo added lyrics
critical of the Vietnam War. When Alice Brock opened a restaurant in Stockbridge
in early 1969, the song found its refrain, "You can get anything you want at
Alice's Restaurant." Then, finally, there was the draft. Called before his New
York City draft board for a hearing on his fitness for military service, Arlo
faced a final question: "Have you ever been arrested?" In the song, his conviction for
littering saves Arlo Guthrie from the draft. In reality he was classified 1A, but his lottery number never came up.When director Arthur Penn made a movie based on the song in 1968, he filmed on
location at the former church; a number of the participants played themselves.
Opening in the summer of 1968, one week after Woodstock, it was hailed as "one of
the best films about young people ever made." The locals were not happy to see
their town portrayed as a hippie haven, but many of them did enjoy being in the
movie. Both Arlo and "Officer Obie" played themselvesOver the years, many people made pilgrimages to the building they called "Alice's church." In 1990 one of those pilgrims was Arlo Guthrie. To Guthrie, the communitythat had gathered there in the 1960s was not the failed utopia depicted in the movie but a place that nurtured enduring relationships. As he gazed through the
windows into the empty building, he decided that there was still a spiritual
presence there. As Alice Brock once said, "They had a ceremony to take God out of
the church before we moved in, as though you can pick God up and place him here or
there. I don't feel like the church was deconsecrated. It was always a holy place."
Over the next five years, Arlo Guthrie raised funds to purchase the building as a
home for the Guthrie Center and Guthrie Foundation, a nonprofit interfaith
organization, which brings together individuals for spiritual activities as well
01 turket in the straw - ewan dobson
02 100'000 turkeys - chris t t
03 be thankful for what you got - arthur lee & love
04 the autumn stone - small faces
05 autumn afternoon - stone ponys
06 autumn too long - bob & kit
07 forever autumn - moody blues
08 late november - sandy denny
09 now be thankful - fairport convention
10 i thank you - sam & dave
11 november night - peter fonda
12 thankful - joe cocker
13 thank you - sly & the family stone
14 thankful heart - petra
15 autumn almanac - kinks
16 autumn wind - delicate balance
17 thanksgiving day - ray davies
18 thanksgiving filler - drive- by truckers
19 thanks - james gang
20 the thanksgiving prayer - johnny cash
21 late november - pavlov's dog
22 thank you - led zeppelin
23 thankful - caveman
24 alice's restaurant massacre - arlo guthrie
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KEEP YOUR FAITH
This was Gypsy's third album - their first on RCA Records - released in 1972. There were no lengthy songs on this album. However, "Day After Day", "Young Gypsy", "So Many Promises", and the title cut, "Antithesis (Keep Your Faith)", all received radio airplay. This was another good album by the group and all of the songs are easily recognizable as being by Gypsy.
Line-up / Musicians
- James Walsh / vocals, keyboards
- Enrico Rosenbaum / vocals, guitar
- James C. Johnson / vocals, lead guitar
- Randy Cates / vocals, bass
- Bill Lordan / drums
Tracks Listing
1. Crusader (3:10)
2. Day After Day (3:15)
3. The Creeper (3:13)
4. Facing Time (4:12)
5. Lean On Me (3:13)
6. Young Gypsy (3:06)
7. Don't Bother Me (3:13)
8. Travelin' Minnesota Blues (2:32)
9. So Many Promises (2:23)
10. Antithesis (3:21)
11. Edgar (Don't Hoover Over Me) (3:25)
12. Money(4:51)
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`AT THE GATES
Unlock the Gates is the last album by the rock band Gypsy. Keyboardist James Walsh continued the band in various incarnations as The James Walsh Gypsy Band. The horn section is from the band Chicago. Overall this is not a bad LP I think in OMO that the LP jacket is one of the worst covers ever made. I reworked the artwork , The original members would eventuality release two more
recordings a few years later
Personnel
* Enrico Rosenbaum - guitar, vocals
* James Walsh - keyboards, vocals
* James Johnson - guitar, vocals
* Bill Lordan - drums
* Randall Cates - bass, vocals
* Walter Parazaider - saxophone
* James Pankow - trombone
* Lee Loughnane - trumpetenbaum except as noted. 1. "Is That News?" (Rosenbaum, Johnson) – 3
2. "Make Peace With Jesus" (Rosenbaum, Walsh) – 3:15
3. "One Step Away" (Walsh) – 3:11
4. "Bad Whore (The Machine)"– 2:48
5. "Unlock the Gates"– 3:42
6. "Toin It"– 2:46
7. "Need You Baby"– 3:05
8. "Smooth Operator"– 3:20
9. "Don't Get Mad (Get Even)"– 3:14
10. "Precious One" (Johnson) – 4:19
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PUNK ASS
A various assortment of punk-garage from a lot of different artists. Some of these bands went on to become a little more refined while others vanished with only theses snarling musical memories.
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THE GOLDEN AGE OF UNDERGROUND RADIO
Tom "Big Daddy" Donahue (May 21, 1928 – April 28, 1975), was a pioneering rock and roll radio disc jockey.
Donahue's career started in 1949 on the east coast of the U.S. at WTIP in South Carolina and contined at WIBG in Philadelphia and WINX in Maryland. He moved to San Francisco in 1961 after the payola scandal involving Alan Freed and Dick Clark.
Donahue re-invented himself, first as a disc jockey at Top Forty station KYA (now KOIT) in San Francisco, and then to run a record label (he discovered, produced, recorded, and managed The Beau Brummels on his Autumn Records label, later selling the act to Warner Brothers). He also opened a psychedelic nightclub, and produced concerts at the Cow Palace and Candlestick Park with his partner, fellow KYA disc jockey Bobby Mitchell (also known as Bobby Tripp; real name Michael Guerra, d. 1968).
Donahue wrote a 1967 Rolling Stone article titled "AM Radio Is Dead and Its Rotting Corpse Is Stinking Up the Airwaves" which also lambasted the Top Forty format. He subsequently revamped the foreign-language station KMPX into what is considered to be America's first alternative "free-form" radio station on the largely ignored FM band, playing non-commercial music by album-oriented bands. In 1969 he managed Leigh Stephens, Micky Waller, and Pete Sears in the band Silver Metre, and Stoneground in 1970. In 1972 he moved to the role of general manager at KSAN, where he encouraged playlists of music from different eras and genres interspersed with political commentary.
A typical example of KSAN radio featuring Tom Donahue can be found on the album The Golden Age Of Underground Radio.
Donahue, and his DJ wife Raechel, formed further free-form radio stations KMET and KPPC-FM in Los Angeles.
He died from a heart attack in 1975. He was inducted into the Rock and Roll Hall of Fame in 1996 as a non-performer, one of only three disc jockeys to receive that honor
.Original Posting January 2010
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LEE LIVE
Lee Eugene Michaels (born Michael Olsen, November 24, 1945, Los Angeles, California) is an American rock musician who sings and accompanies himself on organ, piano, or guitar. He is best known for his energetic virtuosity on the Hammond organ, peaking in 1971 with his Top 10 pop hit single, "Do You Know What I Mean".
with The Sentinals, a San Luis Obispo, California-based surf group that included drummer Johny Barbata (later of The Turtles, Jefferson Airplane and Jefferson Starship). Michaels joined Barbata in the Strangers, a group led by guitarist Joel Scott Hill. Michaels later moved to San Francisco, where he joined an early version of The Family Tree, a band led by Bob Segarini. In 1967, he signed a contract with A&M Records, releasing his debut album, Carnival of Life, later that year with David Potter on Drums. As a session musician, he played with Jimi Hendrix, among others.
Michaels's choice of the Hammond organ as his primary instrument was unusual for the time, as was his bare-bones stage and studio accompaniment: usually just a single drummer,[2] most often a musician known as "Frosty," real name Bartholomew Eugene Smith-Frost, who was a member of Sweathog, and whose bare handed technique was an inspiration for John Bonham,[3] or with Joel Larson of The Grass Roots. This unorthodox approach attracted a following in San Francisco, and some critical notice. (Sounds Magazine, for one, reported of Michaels that he had been called "the ultimate power organist.") But Michaels did not achieve real commercial success until the release of his fifth album.
That album, titled 5th and released in 1971, produced a surprise US Top 10 hit (#6 in the fall of 1971), "Do You Know What I Mean." It was an autobiographical homage to the loss of a girlfriend. Michaels's Top 40 follow-up, a cover version of the Motown standard, "Can I Get a Witness," peaked at #39 on Christmas Day of 1971, eight years to the week after Marvin Gaye's version peaked at #22. Billboard ranked "Do You Know What I Mean" as the No. 19 song for 1971 Michaels recorded two more albums for A&M before signing a recording contract with Columbia Records in 1973. But his Columbia recordings failed to generate much interest, and Michaels had gone into semi-retirement from the music industry by the end of the decade.
In 1991, Michaels obtained full rights in all of his A&M recordings from A&M, in settlement of disputes that had arisen from A&M granting licenses to Delicious Vinyl for the use of Michaels's recordings by means of digital sampling on several Young MC recordings. Once he had regained full ownership rights, Michaels granted licenses to Rhino Records and Shout Factory to release several "best of" albums over the years. In November 2015, Manifesto Records released his entire catalog of A&M albums in compact discs and in re-mastered digital form, as well as a vinyl release in February 2016.
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GARY DUNCAN
Gary Duncan was another deer caught in the headlights and he owes it to a myopic media strapped to headlines rather than story. In 2007, writers, papers and magazines flocked to his door, supposedly to interview Gary Duncan, musician. Duncan soon found that what they really wanted were a few lines to support already written headlines about the so-called Summer of Love.
“What I did 40 years ago, that's what I've been doing as far as interviews all year,” he said. “Going back and reliving all of those things is something I'm not really into. The music was good and the whole thing was great, but now it's 40 years later and my music is totally different. I've been trying to get the word out about what I am doing now. I have around twelve CDs out now, all newer. I had a recording studio for about 20 years and recorded everything I played. Then, when 9/11 happened, there suddenly weren't any more gigs. I didn't work for five years and lost the studio, but I kept the 500+ hours of music I'd recorded. If the music has been bad, it would have been easy. I could have just thrown it all away. But after listening to it, I realized it was good, so I ended up tying up with a guy named Karl Anderson, who owns Global Recording Artists. That's the label my music is released on now.
“I had stuff on cassette, on DAT tapes, two-track mixes, on 2-inch tape. We went through all of it and are slowly getting them out. I have maybe six CDs that we haven't released yet. They sell, but not a lot. I don't make a lot of money off of those.”
Why Global Recording, you ask? Why not a major label?
“Quicksilver's Peace By Piece came out on Capitol in 1986. It was getting really good promotion, was starting to move, then the president of the label got fired and everybody he'd signed got dropped. They dumped the record. They just stopped promoting it and didn't make any more copies. I called them and asked if they had the masters because I wanted to put it out and they said no, we don't have them. We don't even have a copy. Well, I did. I had a copy of the original mix, so I put it out myself.
“I put out Shape Shifter on my own label, as well, and now it is on GRA Records. Most people don't even know it's out there because it never got any promotion.”
Shape Shifter, originally a two CD set, took on a life all its own. Keying on theme and variations, Duncan recorded and re-recorded many of the tracks, some remarkably different than those on the original discs. The original set is now available on single discs as Volumes 1 & 2.
The third volume of Shape Shifter consists of three 'new' tracks--- Light Up the Night, Cover Girl, and Time to Shine--- and alternate versions of songs from Volumes 1 & 2.
Unlike the original set, on Volume 3 Duncan handles the vast majority of the instruments himself. “Volume 3 of Shape Shifter was actually the original demos Gary produced for the album,” explained Karl Anderson of Global Recording Artists. “Gary played almost everything on those tracks. The idea was to record the demos and give them to the band so they could learn the parts for the sessions. In the process, some songs were dumped and a lot of the tracks ended up significantly different than the final versions. While going over the material, we decided those 'demo' tracks were worthy of inclusion in the expanded set of discs we were going to put out.”
Volume 4 is another animal altogether. Some tracks are different versions of those from Vol. 1 & 2 sans voice, some were left over from earlier sessions, and some recorded fresh. Duncan kept it instrumental because he liked the way it sounded. This ain't your Granddaddy's Quicksilver, my friend--- more like Gary Duncan Unleashed.
Again, Karl Anderson: “Volume 4 was an instrumental version of songs from the original Shape Shifter. Originally, we were going to call it Waltzing the Warthog, but decided to add it to the Shape Shifter set because we didn't want to confuse fans as they purchased the different albums. You get very different versions on this album and get a chance to hear Gary really play some guitar.”
Duncan has unleashed himself on a number of albums over the years, some criminally overlooked. One wonders whether the Quicksilver fans from the sixties even know they exist and why the ones who do, like the writers who call for interviews, seem to prefer reliving the past to hearing the new. No matter, really. Gary Duncan has gained a loyal following of new fans, enamored almost as much as Duncan himself with his chosen style. Still, it gets frustrating at times, but Duncan has not let it daunt him.
“I grew up playing R&B and jazz. These days, when I can play what I want to, I play jazz--- in my own way. That's what Quicksilver was really doing, anyway. We improvised every night we played. The whole idea was to get stoned, get on stage, start the song and see where it went.”
Duncan has carried that attitude toward music from the beginning. He wrote the quintessential Quicksilver tune Gold and Silver while still in his mid-teens and really never looked back. Like the music, the band evolved as well, musicians joining and leaving as life and the life of the music moved forward.
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DUNCAN'S RETURN QUICKSILVER
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BANANA?
Young got his start on the folk circuits of Boston and New York, and had already cut a couple of solo albums before forming the Youngbloods. John Sebastian was one of the supporting musicians on Young's second LP, and comparisons between the two — and between the Youngbloods and the Lovin' Spoonful — are inevitable. Both groups offered good-timey folk-rock with much stronger jug band influences than West Coast rivals like the Byrds, though the Youngbloods made greater use of electric keyboards than the Spoonful, courtesy of the enigmatically named Lowell "Banana" Levinger. The Youngbloods didn't craft nearly as many brilliant singles as the Lovin' Spoonful, but (unlike the Spoonful) endured well into the hippie/psychedelic era.
While Young was always the focal point of the band, their first two albums also had songwriting contributions from guitarist Jerry Corbitt. Produced by Felix Pappalardi (who also worked with Cream), these records (The Youngbloods and Earth Music) were engaging and mature, if inconsistent, folk-rock. Corbitt's "Grizzly Bear" was a small hit, as was "Get Together," a Dino Valenti song that had previously been recorded by Jefferson Airplane. The Youngbloods' slow, soulful interpretation of "Get Together" was definitive, but it wouldn't reach the Top Ten until it was re-released in 1969, after the song had been used in a television public service ad.
March 30, 1969
The Avalon Ballroom, San Francisco, CA.
FM Radio.
1. Ride the Wind
2. Sugar Babe
3. Four in the Morning
4. Too much monkey Business
5. Banana's
6. Dolphins
7. The Wine Song
8. Darkness, Darkness
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SMILE ON YOUR BROTHER
The song is an appeal for peace and brotherhood, presenting the polarity of love versus fear, and the choice to be made between them. It is best remembered for the impassioned plea in the lines of its refrain, which is repeated several times in succession to bring the song to its conclusion.
The song was originally recorded as "Let's Get Together" by the Kingston Trio and released on June 1, 1964, on their album Back in Town While it was not released as a single, this version was the first to bring the song to the attention of the general public. The Kingston Trio often performed it live.
A version of the song first broke into the top forty in 1965, when We Five, produced by Kingston Trio manager Frank Werber, released "Let's Get Together" as the follow-up to their top ten hit "You Were on My Mind". While it did not achieve the same level of success as the other, "Let's Get Together" provided the group with a second top 40 hit on the Billboard Hot 100 when it peaked at #31. It would be their last hit record.
In 1967, the Youngbloods released their version of the song under the title "Get Together". It became a minor Hot 100 hit for them, peaking at #62 and reaching #37 on the US adult contemporary chart. However, renewed interest in the Youngbloods' version came when it was used in a radio public service announcement as a call for brotherhood by the National Conference of Christians and Jews. The Youngbloods' version, the most-remembered today, was re-released in 1969, peaking at #5 on the
Billboard Hot 100.
01 youngbloods
02 dino valenti
03 we five
04 california poppy pickers
05 need artist name
06 hamilton camp
07 stone ponies( linda ronstadt)
08 jefferson airplane
09 cryan' shames
10 kim richey
11 yankee dollar
12 david crosby
13 joni mitchell
14 kingston trio
15 caculas
16 dave clark five
17 family album
18 carolyn hester coalition
19 a groue called smith
20 big mountain
21 ultimate spinach
22 indigo girls
23 sunshine company
24 neil & peggy young
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A ROCKIN' COMBO
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SUZY CREAMCHEESE...WHAT'S GOT IN TO YOU?
A Great mix borrowed from the defunct blog
Birds With Broken Wings
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HOW COULD I BE SUCH A FOOL?
I can think of no one better to serve up for the "No Commercial Potential" holiday of Valentine's Day. Frank gives us some of his doo wop roots and influence here with the Mother's. Enjoy your Holiday Guys and Girls! Put this one on to candlelight as you woo your ladies(or gents) after spending exuberant amounts of cash to get to that point
Revisiting Zappa and the Mothers for a shot at Valentines Day. I added a few extra songs to reach my usual standard of 24 I tryed to stay in the doo wop mode but when your dealing with Zappa anything
go's This is a repost from a couple of years back
01 cheap thrills
02 wowie zowie
03 how could i be such a fool
04 go cry on somebody else's shoulder
05 i'm not satisfied
06 wplj
07 anything
08 love of my life
09 valarie
10 fountain of love
11 oh no
12 electric aunt jemima
13 stuff up the cracks
14 you didn't try to call me
15 any way the wind blows
16 how could i be such a fool
17 hey nelda
18 deseri
19 dog breath
20 cruising for burgers
21 later that nite
22 another cheap aroma
23 jellyroll gumdrop
24 directly from my heart to you
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IT'S A NUGGET IF YOU DUG IT
Lenny Kaye, who compiled the original Nuggets double LP set, also compiled a second volume that was never released. Many of the cuts appeared on the later Nuggets releases, but some did not. Below is the tentative track listing for Lenny Kaye's unreleased second Nuggets volume
A list of the proposed Lenny Kaye's Volume 2 of Nuggets (never completed)
The Lovin' Spoonful – "Do You Believe in Magic" (Kama Sutra)
The Outsiders – "Time Won’t Let Me" (Capitol)
The Left Banke – "Walk Away Renée" (Smash)
Syndicate of Sound – "Little Girl" (Bell)
The Balloon Farm – "A Question of Temperature" (Laurie)
Swingin' Medallions – "Double Shot of My Baby’s Love" (Smash)
The Gentrys – "Keep On Dancing" (MGM)
The Music Machine – "Talk Talk" (Original Sound)
The Five Americans – "I See the Light" (Abnak/HBR)
? & the Mysterians – "96 Tears" (Cameo)
Richard & The Young Lions – "Open Up Your Door" (Phillips)
The Beau Brummels – "Laugh, Laugh" (Autumn)
Clefs of Lavender Hill – "Stop-Get a Ticket" (Date)
The Rainy Daze – "That Acapulco Gold" (Uni)
The Elastik Band – "Spazz" (Atco)
The Mystery Trend – "Johnny Was a Good Boy" (Verve)
The Good Rats – "The Hobo" (Kapp)
The Yellow Balloon – "Yellow Balloon" (Canterbury)
The Gestures – "Run Run Run" (Soma)
The Choir – "It’s Cold Outside" (Roulette)
Bobby Fuller Four – "I Fought the Law" (Mustang)
The Myddle Class – "Free As the Wind" (Tomorrow)
The Evil – "Whatcha Gonna Do About It?" (Capitol)
The Gants – "Road Runner" (Liberty)
The Music Explosion – "A Little Bit of Soul" (Laurie)
The North Atlantic Invasion Force – "Black on White" (Mr. G)
The Monocles – "Spider and the Fly" (Chicory)
The Lollipop Shoppe – "You Must Be a Witch" (Uni)
The Kaleidoscope – "Just a Taste" (Epic)
Gonn – "Blackout of Gretely" (Emir)
The Squires – "Goin’ All the Way" (Atco)
Link Cromwell – "Crazy Like a Fox" (Hollywood)
Lenny Kaye is perhaps best known as Patti Smith’s long-time guitarist and collaborator, but his contributions to rock history and rock ‘n’ roll culture go much deeper than that. In 1972, he collected then forgotten garage and psychedelic singles to create the Nuggets compilation album, which proved to be one of the most influential records of all-time, leading to countless 60s garage rock comps and inspiring generations of new rock ‘n’ roll bands. He was also part of the first generation of rock critics, his writing appearing in publications like Fusion, Crawdaddy, Rolling Stone, Creem, Disc, Melody Maker, Hit Parader, and Rock Scene.
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WARNER'S ARTYFACTS
There is no download for this one I have this one on vinyl but currently the turntable is packed away for our";sometime" soon move back to St.Louis If your an avid cut and paste person you can track the tunes and make your own. Hopefully I will get s chance to run the vinyl to complete this one
One of the crowning achievements in classic oldies compilations was Warner Special Products' Wild Thing, a double album (don't think it ever came out on CD) concocted for the the TV marketing company LakeShore Music.
The collection compiled the crude recordings of America's favorite garage bands (or protopunks), primitive groups who, 15 years before the English and New York punk explosions, nurtured a raw sound built upon only three chords. (And what chords they were!)
These bands were not concerned with nihilism. Their revolution was a simple one--turn the amps up loud and blow mom and dad away!
The greatest example of this, of course, is the Kingsmen's "Louie Louie," which is punk incarnate, a drunken brawl with bodies and cymbals crashing. The record is so sloppy that, after the guitar break, the vocalist interrupts too early, nearly throwing everybody off the beat into a tumbling heap. This instant of brash carelessness defined American garage-punk rock.
The punk of the '60s is the most impudent style in rock history. As the Standells'"Dirty Water" fades out, the lead singer proclaims that he's the Boston Strangler. Or, consider the vehemence of the fuzztone on rabid classics such as the Leaves'"Hey Joe," Music Machine's "Talk Talk," and Count Five's "Psychotic Reaction."
Wild Thing contained 30 of these chaotic tunes--from frat-house romps like the Swingin' Medallions'"Double Shot" to psycho stomps like Balloon Farm's "A Question of Temperature. The only collection that can compete with this one in establishing the positive energy of the much-maligned punk genre was 1972's Nuggets--Original Artifacts from the First Psychedelic Era.
Track listing
A1 The Troggs - Wild Thing
A2 Love - My Little Red Book
A3 The Knickerbockers - Lies
A4 The Guess Who - Shakin' All Over
A5 The Castaways - Liar, Liar
A6 The Leaves - Hey Joe
A7 Paul Revere & The Raiders - Kicks
B1 The Kingsmen - Louie Louie
B2 The Swingin' Medallions - Double Shot (Of My Baby's Love)
B3 Sir Douglas Quintet - She's About a Mover
B4 The Fireballs - Bottle of Wine
B5 The Strangeloves - I Want Candy
B6 The Music Explosion - Little Bit of Soul
B7 Syndicate of Sound - Little Girl
C1 The Music Machine - Talk Talk
C2 The Gentrys - Keep on Dancing
C3 The Swinging Blue Jeans - Hippy Hippy Shake
C4 Los Bravos - Black is Black
C5 The Bobby Fuller Four - I Fought the Law
C6 Dino, Desi and Billy - I'm a Fool
C7 The Rascals - Come On Up
C8 The Human Beinz - Nobody But Me
D1 Question Mark and The Mysterians - 96 Tears
D2 The Five Americans - I See the Light
D3 The Seeds - Pushin' Too Hard
D4 The Balloon Farm - A Question of Temperature
D5 Steppenwolf - Magic Carpet Ride
D6 The Standells - Dirty Water
D7 The Shadows of Knight - Gloria
D8 Count Five - Psychotic Reaction
Various Artists– Wild Thing
Label:
Warner Special Products ?– OP 2521, Lakeshore Music ?– OP 2521
Format:
2 × Vinyl, LP, Compilation
Country:
US
Released:
1980
Genre:
Rock, Pop
Style:
Beat, Garage Rock, Pop Rock
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?????
? and the Mysterians (also rendered Question Mark and the Mysterians) are an American garage rock band from Bay City and Saginaw in Michigan, who were initially active between 1962 and 1969. Much of the band's music consisted of electric organ-driven instrumentals, and an enigmatic image inspired by the science fiction film The Mysterians In addition, the band's sound was also marked by raw-resonating lead vocals of "?" (Question Mark), making Question Mark and the Mysterians one of the earliest groups whose musical style is described as punk rock. Through their music, the group was recognized as a template for similar musical acts to follow
The band was signed to Pa-Go-Go Records in 1966, and released its first, and most acclaimed single, "96 Tears", in the early part of the year. "96 Tears" became a number one hit on the Billboard Hot 100, and propelled the group to a 15-month period of national prominence. Their debut album, 96 Tears followed. Though Question Mark and the Mysterians were unable to replicate their success with their later recordings, and are mistakenly deemed a "one-hit wonder", they did manage to reach the singles charts on five different occasions. In 1968, their label, Cameo-Parkway, was shut down for stock manipulation by the Securities Exchange Commission, taking the band's money and contract with them. After their disbandment in 1969, the band has regrouped and released additional material over the years.
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AQUARIUM AND LIFE
An aquarium shows life as it is passing bubbles upward , Each of the bubbles can reflect a person and their time in existence. The cycle is started and begins it's journey upward. As I sit back and listen to the music that has come to I think of my time here and realize that we will all rise to the top and burst marking the passing of life, Sometimrs the bursting of the bubble comes esrlier than expected You're own air bubble is in there and it will eventually reach the top letting your soul begin to take the next phase of your existence
In the next couple of months I will have to put this blog on hiatus as I try to work on the move to St Louis. It may bigger task then I expected . Monetary levels prevent hiring or hsve s moving company So I will have help mostly from fsmily. I will also have to balance medicsl issues during this time but I know I will get support from the Almighty in the whole event.
So I will maintain the blog during the next couple months but will obviously be somewhat lighter than usual,. I will be back in a stronger mode later. I will not have a lot of time so posts may be sporadic but not gone. Links will be up and will be monitored every so often. AND if anyone has an extra ten grand I can certainly put it to good use ! Keep on Truck'in guys
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