Holy crap. This Los Ovnis jam, "Infinito," IS a bit heavy for what I'd normally post, BUT... it's sloppy, groovy, and RAW! So I'll allow it.
Los Ovnis were a relatively successful Mexican group; they were regulars on TV, played all over, and recorded six (!) LPs in four years. Their last LP, Hippies, is something of an exception for Mexican garage as most of the songs were Los Ovnis originals, not covers, and it's actually really fucking good. Uh, good luck getting your hands on an original tho'; godamn reissues rate $50! They split in 1968. Also: I'm sorry my Spanish sucks.
Now here is another established classic killer, the Dirty Words' "Why."
Now ain't that some brutal hollerin' and caterwauling from Chicago teenagers!! The flip of "Why," "Taking My Blues Away," is pretty good too. In all, they had three 45s. Their second single, "Born In Chicago" b/w "Midnight Hour," was on Chess and the third, "Not This One" b/w "Mellow Down Easy'" was old recordings unissued until 1996. Oh, Dirty Wurds began as a bluegrass band. Weird.
For its time, the Red Squares' blazin'-tight, riff-driven "You Can Be My Baby" is an exception. It sits just beyond the edge of what the then contemporary big chord/riffy bands like the Creation, the Who and the Kinks were doing. The opening riff salvo sounds like something from the Damned's first LP.
The Red Squares were an English band working in Denmark. That "You Can Be My Baby" is SO heavy and fast was actually a bit odd for them, as they otherwise were a 4 Seasons-sounding harmony group. Oh, there are two versions: the above is the Swedish version b/w "Turning Around," and the other is what sounds like a demo; it's slower, b/w "Sherry," and was issued in Denmark. The Red Squares were popular enough, at the time. They recorded two LPs and a ton of 45s. They split in 1969, but reformed in 1989; they're still active.
"Feathered Fish" is my favorite track from LA garage band the Sons of Adam. It's a track written for them by Love's Arthur Lee!! DAG!
The Sons of Adam were originally from Baltimore, and were first known as the Fender IV. Once they arrived in LA they were renamed Sons of Adam by none other than Kim Fowley. In all they had a handful of solid singles and were mainstays on the Sunset Strip clubs; they also played the Northwest as Dewey Martin AKA Sir Raleigh's the Coupons. Oh, I'd reckon their other notable side, notable for the blistering leads, is "Saturday's Son." This group included the MIGHTY Randy Holden on guitar, prior to his time in the Other Half AND Blue Cheer. The Sons Of Adam also included Michael Stuart, who later played with Love. The group eventually became known as New Wing and had a couple 45s on Pentancle. The band was also featured in the Sidney Poitier and Anne Bancroft movie The Slender Thread, they were the band on stage in the go-go club!!
Jesus, it sure took me goddamn long enough to post about Los Shains, a popular and prolific surf/beat/garage group from SOUTH OF THE BORDER! Dig these Peruvian fellers just killin' the Johnny Burnette Trio killer, "Train Kept A Rollin'" via the Yardbirds' arrangement, natch.
When they nailed it, Los Shains were dead on. However, as a working/club band, they certainly played a wide range of covers, so their occasional version of something tedious like the New Vaudeville Band's novelty hit, "Winchester Cathedral," as "Catedral de Winchester," should be forgiven, 'cause their fuzz-soaked rearrangement of the Shondells' "Mony Mony" into an instrumental jam makes up for a few "aw, man" moments.
Del Shannon was an early-'60s rock and roll singer, prolly best know for "Runaway." This mover, "Move It On Over," was issued as a 'B' side on Amy in 1965; Shannon's backed on this session by the Royaltones.
After his short time on Amy, he ended up on the Liberty label for a bit, where he recorded a MAJOR sike record, The Further Adventures of Charles Westover. Seriously, that LP is GREAT!! Anyway, he never did have any more major hits, and by 1969 he'd moved into production, tho' he was still recording and touring in the '70s. Shannnon committed suicide in 1990.
by Dave Segal
on Fri, May 10, 2013 at 3:29 PM
Patience is a virtue; so is punctuality and the radical concept of not making your fans wait an inexcusably long time to see you perform. While I have loads of respect and admiration for Secret Chiefs 3—who played the Crocodile Wednesday night—I have to take issue with how they doled out their music on this occasion.
Doors were at 8:30 and Secret Chiefs 3 were the only act on the bill. They went on at 9:45 and did a great hour-long set. Dressed in white hooded robes (except for the drummer, who was in a black hooded robe), SC3’s five members executed an incomparable mélange of heavy metal, spaghetti Western/Italian horror-film soundtrackage, prog rock, and avant jazz from their Masada and Forms repertoires. It sounded at once bracingly futuristic and enigmatically ancient. Everyone onstage is a virtuoso; their technical proficiency is so dazzling it’s exhausting. Nobody in the band said a damned word to the crowd. (Some jackass shouted “Free Bird!” a crime that should be punishable by death at this late date. SC3 ignored his request.)
Holy shit! Trey Spruance's head turned into a light sculpture of Saturn.
SC3 exited the stage at 10:45 and many punters thought the show was over. It wasn’t. However, the band didn’t announce anything to the effect of “Thanks! We’ll be back for another set in x minutes.” That would’ve been nice. Instead, we had to rely—if we were lucky—on a Crocodile employee telling us that this gap in the evening’s entertainment was merely an "intermission."
Now, an intermission at a concert is a serious momentum killer, and it’s not like SC3 are so old they need to take an extended break. But, hey, they’re eccentric guys and their music’s rare and fantastic, so we can deal. Give ’em 15 minutes to drink/toke/joke/chill backstage and they’ll come back recharged for the second set. But this intermission lasted 45 fucking minutes. On a fucking Wednesday.
Many people bounced during this overlong silence—maybe 25-35 percent of the attendees. I stuck around for two songs after the break and then left, shaking my head at the contempt shown toward the audience. (I was also fatigued and grumpy from being out late five of the last six nights—Masaki Batoh, three nights of Debacle Fest, and Acid Mothers Temple—so I was in no mood for delayed gratification, no matter how dome-cracking.)
This is an English record—well, an acetate—credited to the Talismen. It's quite stunning, the playing and production are stellar!! HOWEVER, I've never read any definitive info as to who the band really was or who produced this track, so I got nothing!! Nothing that is 'sides, PLAY LOUD!
If it is the English band the Talismen, they were a beat group active in the UK and Italy. Yardbird/session guitarist, Jimmy Page, was part of the session band that played on their Stateside 45 "Casting My Spell."
Jeepers! Here we are AGAIN, back in OHIO!! Right, this group the Baskerville Hounds were first known as the Dantes, but were renamed the Tulu Babies as a nod to their manager's, WWHK's Ron Brittain, radio catch phrase. As the Tulu Babies they had a local hit with their first, and a real kick-ass 45, "Hurtin' Kind." It was their next manager, and Tema label owner Jim Testa, who named them AGAIN, and this time as the Baskerville Hounds. Oh, they were from Cleveland. I'm posting "Space Rock Pt.1 & 2" since is a fucking RAW instrumental, and I just found a copy TODAY!!
Of course "Space Rock Pt.1 & 2" IS actually a not so thinly veiled cover of "2120 South Michigan Avenue," a Rolling Stones jam off'a their 12x5 LP. I lerve the Stones, natch, but I think the Baskerville Hounds own this.
Just got this today! Stoked!
The band, via all it's incarnations, ended up recording a TON of 45s and an LP, Featuring Space Rock Part 2. I think they split up around 1970 or so.
Wait...WHA?! Canook GARAGE?!? Bu-bu-bu-buuuuuttt, I thought Canadia only ever produced one good band..., like, EVER. And that band would be, of course, RUSH!!! Well, fuck me and dig the Lords of London!
"Time Waits For No One!?!" What a mover, y'all! The flip "Cornflakes And Ice Cream" was the sweetest of pop, filled with sunshine reflected off steel drums and cellophane candy wrappers. Um, yeah, like it's radio-friendly pop, but listen to it; it's off-sounding, hella creepy. Of course, it was a hit in 1967. The Lords of London were from Toronto, Ontario, and later evolved into heavy prog band Nucleus and then went pop rock as A Foot In Cold Water.
by Kyle Fleck
on Tue, May 7, 2013 at 12:24 PM
Lauryn Hill Sentenced to Three Months for Tax Evasion: That was the verdict following a lengthy court battle.
Fight For Your Right to Frolic: Beastie Boy Adam "MCA" Yauch had a Brooklyn park dedicated to him on Saturday, marking the first anniversary of his death. At the ceremony, fellow member Adam "Ad-Rock" Horovitz reminded everyone: "Beastie Boys is for the children."
Godammit. As I'm currently stuck in a oui oui hole, via this afternoon's Jacques Dutronc post, I kinda think I hafta write about Les 5 Gentlemen's "Si Tu Reviens Chez Moi." So much good here, including them dueling organ bits!! Also: I WISH I knew what they were singing about!!!
This beat group was based in Marseille, France, and only met with marginal success. However, it wasn't for lack of trying; in two-ish years they released FIVE (!) EPs. They also had a go in the UK, but got nowhere. Their UK single issue was as by Darwin's Theory, "Daytime" b/w "Hosanna," on Major Minor. It's good, but again, failed.
Holy CRAPS!! So last July, original '60s Bay Area group Powder played the Comet. Well, TOMORROW night they're fucking BACK and playing at Studio 66!
Powder was a band of young fellers from San Mateo, California, where they started playing as Art Collection. Then, they hooked up with New Zealand singer Ray Columbus, their sound "matured" and they become Powder. Tho' located in the Bay Area, they were not typical period West Coast sike, they played BIG chords, HUGE riffs, and had awesome harmonies; they sound a lot like the Who. So... like, very Anglo, OBVIOUSLY, but they successfully pulled it off. Powder members, and brothers, Thomas and Richard Frost would later have some success as Thomas and Richard Frost as well as being part of Sonny & Cher's backing band. The current Powder line-up includes music scholar Alec Palao on bass!! FUCKING FUCK YEAH!!
Powder play tomorrow night, Star Wars day NIGHT, May the Fourth, at Lo-Fi. Also on deck: resident Studio 66 group the 66'ers and resident selectors ChrisPo, Vodka Twist, and Pelvis.
Holy shit. So Greg Ginn's Black Flag has a new record...well, a new song available for download off the new Black Flag album - Down in the Dirt.
SST Records is proud to announce a free download of the first new BLACK FLAG song in many years. On the upcoming 22 song LP to be released this summer, Down in the Dirt features Ron Reyes on vocals, Greg Ginn on guitar/theramin, My War bassist Dale Nixon on bass, and Gregory A Moore on drums. The band will begin touring in May in both Europe and the U.S. ***note: not to be confused with the 'fake' Flag band currently covering the songs of BLACK FLAG in an embarrassingly weak "mailing it in" fashion*** We urge you to check out the real BLACK FLAG when they hit your area.
Wow. Well, all right...I guess now all we hafta do is download the song. Right? Uh...I've been hesitating all last night and today, 'cause...like, as a general rule new jams by important old bands usually just suck; I'm afraid.
Meanwhile, Vice Magazine has interviewed the other former members of Black Flag currently active (ahem) the "embarrassingly weak 'mailing it in'" group Flag; read the interview here; it's good! And if you'd like to watch Flag "phoning it in" then see for yourself the LIVE Flag show is NOT AT ALL weak/mailed in!! Oof. I have feeling this Black Flag vs. Flag silliness is gonna get even more ridiculous.