Trefiton was responsible for the extremely rare albums by Lightshine.
Sundenfall II and Franz Bontgen. One of the tracks had been included in
the CD compilation : " Obscured By Krauts - Another One Way Ticket Into
The Abyss Ov Thee Unexplored Teutonic Underground 1968 – 1974", while
original vinyl copies goes for much more than 100 euros.
Seffil was a quartet consisting of 3 Greeks expatriates in Germany and 1
German native guitarist. Little is known for the band. Raw and
energetic underground band with tinges of psych and garage rock, in
times reminiscent of Americans Shadrack Chameleon and BOA (without the
organist).
Background (Electric Looser) cover By Katerina OhMy
Track List : 1 Bagatelle - Everybody Knows 2 Choir - When You Were With Me 3 The Lost - Everybody Knows (Version1) 4 Little John and the Monks - Black Winds 5 The Gonn - Death Of An Angel 6 Olympians - Hopeless Endless Way 7 The Knight Riders - I Don't Know 8 The Carrols Mood - What You're Doing To Me 9 The Basement Wall - Never Existed 10 We The People - In The Past 11 Kak - Trieulogy
US band from Shreveport,Louisianna who played a cool garage kind of music drenched in Hammond organ & Wah Wah guitars,also a nice bluesy soul feel to it (originaly released in 1970 and very hard to find).Kenny’s Gruff vocals are outstanding.By musicofsixties
Label :
Psych-Out Records (re: Merlins Nose Records 2016)
Value :
Here we go and check some rather fresh band : I FENOMENI, formed in 2010 in Italy with the intention to create the dirtiest and most fuzzed out garage beat ever. Dirty guitar sounds and cheesy Farfisa organ lines on a solid and straightly pushing rhythmical substraction with some melodic vocals sung in Italian language are the ingredients of a joy – and colorful record that feels like a lost gem from not later than 1967. Nobody could tell this was first released in 2013 and reissued right now. Sound, interplay, melodies and spirit speak of smoky clubs with swirls of colors ornamenting the walls and acid drenched drinks being served by topless waitresses in short skirts.
You find yourself back in the mid sixties when it all began and the music here brings to mind tons of popular acts from that era. Starting with the early BYRDS, moving along to the US underground heroes such as THE SEEDS, THE STRAWBERRY ALARM CLOCK, THE THIRD BARDO or the later ANIMALS and psyched out JEFFERSON AIRPLANE stuff. If you look for innovations, please stop reading and grab some modern progressive rock for your own joy but if you want to be swallowed into a tunnel of sounds and colors where you can trip easy and free, this is yours. Despite the rather short length of these acid garage beat tunes you will leave what people call reality for a while. Everything here just grabs my soul and melts it away. Memorable melodies, moody riffs and those simmering fuzzed out lead guitars get me lose my senses.
This is definitely addictive stuff. If you are a fan of current acid rock like BABY WOODROSE you will not only dig but definitely worship I FENOMENI. The language is rather not important in this context as the voice alone is commanding and you understand the message without understanding the language. Beautiful and haunting. A must have for all psyche and garage freaks. By Merlins Nose Records
Taste :
Phoenix was one of the most prominent Romanian Rock and Roll bands of
the latest decades, and also the first one to take musical inspiration
from ancient Romanian folk themes.
Formed in the 1960s, it began by doing covers of Beatles songs.
However, they soon had to change their style since the Romanian
communist regime disliked any form of western culture. The communist
regime suggested that all rock oriented bands should look for
inspiration within the Romanian culture. These restrictions made the
band's leader Nicolae Covaci search within the Romanian folklore, which
gave them a unique sound.
"26 Turkish Beat, Psych & Garage Delights: rarities from beyond the Sea of Mamara" (also called Turkish Delights)is
a compilation of Turkish rock groups from the 1960s and 70s. The album
highlights the early and classic 1966-77 rock periods in Turkey,
including giants such as Mavi Işiklar, Erkin Koray, and Moğollar.
Informed by the music coming out of Britain and the United States, the
fourteen bands in this collection run the gamut from early beat sounds
of garage bands to mid-seventies psychedelic explorations,
simultaniously infusing the music with a distinctively Turkish sound.
In the mid-1960s, the British invasion's led by generals John, Paul, George, and Ringo and supported by units such as the Who, the Kinks, the Rolling Stones and the Yardbirds swept across the United States and Europe, forever altering the static-dusted sounds coming from the radio. It wasn't long before young people all over the world were plugging in amps, setting up drums, cracking cases of beer and crunching out imitations of their favorite rock 45s. Most of these groups were, perhaps fortunately, lost to time, never amounting to anything more than a handful of misspent afternoons and adolescent laughs. Even so, there are countless examples of recordings available to the scholarly, curious, or just plain demented. The United States and Europe boast an impressive number of specialty stores, magazines, and conventions devoted to the quest for finding that one obscure gem, the recording that time forgot. Over the last decade the seemingly bottomless well of obscure U.S. and British bands began to dry up, forcing the now junkie-like record collectors to turn elsewhere for their fix.
If it were mapped on a globe, the widely accepted history of rock and roll would appear to bounce back and forth between Britain and the U.S. Contrary to conventional wisdom, however, varieties of rock spilled over into any region that had transistor radios and sullen youth with too much time on their hands. Starting with the release of the now infamous Cambodian Rocks album over a decade ago, European and American collectors have plumbed the relatively uncharted depths of garage and psychedelic rock from around the world. The curious can listen, among countless others, to rave-ups by Japanese, Greek, Indian, Korean, Italian, French, Peruvian, or Brazilian bands. Turkish Delights is just one installment in a long line of 1960s re-releases from around the globe. One of the greatest impediments to the total global domination of rock and roll was language. The young and curious in non-anglophone regions were often put off by their inability to decipher the frequently slurred and confusing lyrics of rock and roll. Such was the case in Turkey, which, although it had a small rock contingent in the 1950s, did not truly jump on the bandwagon until a decade later. Early on, the interest in Euro-American popular music was fuelled in Turkey primarily by instrumental bands such as the Ventures or the Shadows. Then the Beatles broke and, as happened in many popular music scenes around the world, everything changed.By Gabriel Skoog
Even if they chose the 16 best tracks from the Lp version, the remaining cuts would still make it worth it.
There are a lot of people out there, living in the periphery, who make it their lifetime goal to hype mediocre garage-and-psych-era albums. I've heard countless records that have been touted as "mind blowing", "fuzz monsters", or "lost/undiscovered classics", only to discover that in actuality they are nothing more than a third-tier Jefferson Airplane knockoff or some such. It seems psych collectors fall into two categories when it comes to overrating these "legendary" slabs of rare wax; the first is the collector who found a completely unremarkable record that just so happens to be rather rare, so he will hype it up in hopes of jacking up the price among other collectors; and there are those who automatically love anything that is obscure, regardless of any musical merit. The latter I can forgive, because genuine enthusiasm, even in the service of God-awful music, is still genuine. The former, on the other hand, are the scum of the earth, and should have their records confiscated and be forced to listen to the most bombastic Broadway show tunes for the rest of their miserable days.
Rarely, though, the raves turn out to be justified. Index, the 1967
self-titled debut from a group of young Michiganders, is one such album.
Opening with a strange intro about flying over the plaza de toro in a
helicopter, complete with cries of "ole!", the band proceed to ease into
a fantastically dark surf rock rendition of the Byrds' Eight Miles
High. The whole album continues in a similar vein, seething with a sick
desperation, cavernous reverb, snaky guitar lines and sad-sack lyrical
content. It's fantastically minimalist, starkly atmospheric, and
sprinkled with some truly ferocious guitar work (see the storming surf
workout "Shock Wave" and the frenetic closer "Feedback").
I see
similarities between this record and the legendary Gandalf album on
Capitol, in that both contain a bunch of covers that take the originals
and stamp them indelibly with a whole new personality. The lack of
major label resources actually benefits the Index recordings greatly,
giving them a gritty sound that has the feel of being produced in a
dungeon. Anyone interested in garage rock should be forced to listen to
this, as should every skinny-jeans wearing Pitchfork.com devotee out
there. There are a million bands in Brooklyn today that would trade in
their beards to be able to sound like this, which makes it even more
astonishing that this record was recorded over forty years ago.By The Little Black Egg.
In Richie Unterberger’s 1998 book “Unknown Legends of Rock n’ Roll”, The Outsiders were referred to as "not just the finest Dutch group of the 60s, but the finest group from a non-English speaking country, period." Vocalist Wally Tax, guitarist Ronny Splinter, bassist Frank Beek, and drummer Lennart "Buzz" Busch more than substantiate Unterberger’s claim on this, their second and final album. Drawing influence from SF Sorrow era Pretty Things, The Yardbirds, The Doors, as well as Jacques Brel, The Outsiders created one of the more enjoyable albums of their era. Not quite as good as The Kinks Are the Village Green Preservation Society or Odyssey and Oracle (which were released in the same year), but a classic nevertheless.
The two best songs on the album, "Daddy Died on a Saturday" and "Prison Song" showcase Wally Tax’s skill as both a lyricist( a great feat considering the fact that English was his second language) and singer. Prison Song" starts as a quiet folk song, builds up into a proto-punk stomp, before ultimately turning into a carbon copy of The Doors’ "The End" (without the oedipal climax).
The Outsiders’ previously mentioned influences are ever present during the course of the album. It’s hard to listen to "Misfit", "Happyville", or "Wish You Were Here With Me Today" without being reminded of the Pretty Things or the Yardbirds or "You’re Everything on Earth" without being reminded of Jacques Brel. Likewise, "Zsarrah" and "I Love You No. 2" could very easily pass as Doors outtakes (well, they could if Jim Morrison sang with a thick Dutch accent). Then, of course, you have "Prison Song" which manages to mix all four of the influences.
This album is absolutely essential to anyone with any interest in sixties rock. It also works as an excellent supplement to either one of the Nuggets boxes (especially the second one which includes an Outsiders’ track). Also, try to check out the double disc CQ Sessions bootleg which includes alternate takes of every song (including the superior second take of "Prison Song") as well as a few unreleased tracks.
The legendary psych album by this Dutch band from the late sixties that's often mentioned in the same breath as Group 1850's Agemo's Trip. Renowned for conjuring up psychedelic beat music and punky garage pop the outsiders entered the spirit of '68 with an album that is seemingly filled with a hard edged, dark atmosphere of trippy paranoia. (Freak Emporium)
The Cardinals were formed in December 1994 with the following members: Michalis Nezis - guitar, Vasilis Nezis - bass, Dimitris Beleniotis - vocals/guitar/drums and Andreas Paparousos - organ. They started playing mainly covers of classic as well as obscure garage standards. They also had some original compositions, as a first evidence of their creativity. A few months later they made their first public appearance to the legendary local AN Club.
In the summer of 1996 they released their first 7" EP through Golbin Records (which later became Action Records). The tracks on this EP lean towards the groovy side of the 60s garage rhythms. More live appearances, both inside and outside Athens, followed the release of the EP, making the name of the band known to a wider audience in the Greek scene. Meanwhile the band got more confidence to fill it's set with original compositions, leaving aside the covers. Their sound turned to more moody melodies and shake rhythms, clearly showing the band's great talent.
Arround the end of 1996 two new members came: Christos Pierros on bass and Sotiris on drums. This new line-up gave more strength to the band's repertoire and helped them make more dynamic shows. In the spring of 1997 the Cardinals released their debut LP through Action Records, clearly bringing forth the moody melodies of the group.
The Cardinals managed to gain the recognition among the people who love 60s inspired music, both inside and outside Greece, because of their songwriting abilities and authenticity.
The Vietnam Veterans is a French psychedelic band, hailing originally from Chalon-sur-Saône, a commune in eastern France. They released six full-length albums during the 1980s, starting in 1983. The band was praised by many alternative music publications, including Bucketfull of Brains during the 1980s. After a 21 year long pause, they are now active again.
After releasing their compilation album The Days of Pearly Spencer in 1988, they broke up, and some members moved on to other projects. In 2005 The Vietnam Veterans released a single called "I Give You My Life / Children Eyes", and in 2009 a full-length album called Strange Girl (As The Gitanes). The band The Gitanes was one of the projects a few of the former Vets had, and the name is now added to The Vietnam Veterans name, calling it "The Vietnam Veterans (a.k.a. The Gitanes)".
The Wailers had coalesced from a crude instrumental combo with hits like "Tall Cool One" into a storming rock'n'soul outfit by the early 1960s, and the Spanish Castle in the DMZ between Seattle and Tacoma was their home turf. Modeling themselves somewhat on the scale of a small-change soul revue, they sported instrumental workouts from the band built around Mike Burk's propulsive and exciting drumming ("Shivers," "Sac O'Woe") and Rich Dangel's bluesy guitar playing ("San-Ho-Zay"), along with the triple threat of vocal turns from piano/organ pounder Kent Morrill (a nice reprise of "Dirty Robber" from the Golden Crest album) and featured band vocalists Rockin' Robin Roberts ("Rosalie," "Since You've Been Gone") and Little Gail Harris ("All I Could Do Was Cry," "I Idolize You").
These are the Fabulous Wailers you hear on this disc: a groundbreaking band in their prime on their home turf. An added bonus to this ultra-important live album -- and make no mistake about it, every Northwest band from the Kingsmen to the Raiders to the Sonics on down were influenced by this band and this record -- are the inclusion of two bonus tracks, both sides of the original Etiquette/Wailers/Rockin' Robin Roberts single of "Louie Louie" and "Mary Ann." Undoubtedly one of the most influential albums in Seattle rock & roll history.
Garage garage garege. Ναιιι αλλα αυτη τη φορα garage made in Greece!!!!δια χειρος Chris Mellios.Ετσι για να ξεκινησει ωραια το Σ.Κ.Συντομα πληροφοριες και για το ραδιοφωνικο του ραντεβου στο black duck radio. Tο ακους στο τερμα.
Track List : 1 Yesterday's Thoughts - girl you're gonna cry 2 The Permanent Show - big nose trip
3 The Sound Explosion - watch yourself 4 The Meanie Geanies - no more 5 The Jacks - baby 6 The Sound Explosion - every day and night 7 The Walking Screams - she lies 8 The Odd Mods - university girl 9 The Mongrelettes - mon mec a moi 10 The Cardinals - mary lou 11 The Basements - heart of stone 12 The Psykicks - sad lil girl
13 The Snails - heartbreaker 14 The Social End Products - kaleidoscopic path 15 The Frantic V - i believe in you 16 The Teddyboys From The Crypt - ceaseless addiction 17 The B-Sides - hey mister 18 The Basements - i'm dead 19 The Sound Explosion - lost in tyme 20 Yesterday's Thoughts - why can't you see
Τον Αλέξανδρο τον γνωρισα στον Βολο το καλοκαιρι του 2000 στον Rock Fm.Μπορει να τον συναντησεις στους Frantic V , Overtones, Jacks. Φανατικος Garagehead.
P.s Τις photos κραταει μια απ τις groupies του.
1Continental co est - I don't love you no more
2 The Hangmen - The girl who faded away 3 The Hazards - Tinted green 4 The Remaining Few - Painted air 5 The Psychopaths - Till the stroke of down 6 David Bowie & the Lower Third - Can help thinking about me 7 The Outsiders (nl) - Daddy died on saturday 8 The Music Machine - trouble 9 Q65 - The Life i live 10 The Remains - You got a hard time coming 11 Surrealistic Pillar - I like girls 12 The Beaux Jens - She was mine 13 New Colony Six - Last nite 14 The Flashback Five - Trouble misery & pain
The Hombres started life as the road band version of Ronny & the Daytonas of "G.T.O." fame; guitarist Gary McEwen, organist B. B. Cunningham (brother of Box Tops bassist Bill Cunningham), and bassist John Hunter had all attended Memphis High before they became the touring version of the Daytonas. They spent years playing under that name and doing that repertory, but had greater aspirations. Cunningham and McEwen authored a song called "Let It Out (Let It All Hang Out)," which seemed like it had some possibilities as a single.
It took them the better part of a year to get anyone in the business interested, during which bassist Jerry Lee Masters joined their lineup. Finally, Shelby Singleton brought producer Huey P. Meaux aboard to produce the record, which was issued by Verve Forecast in the summer of 1967. By that time, the group had briefly worked as the Bandits before settling on the name The Hombres. Cunningham sang lead and spoke the introduction on the folksy, country-ish narrative, filled with lyrics saturated in elements of surrealism reminiscent of Bob Dylan's mid-'60s work. This was no accident -- Cunningham admitted in a Goldmine interview that their original inspiration for the song had been Dylan's "Subterranean Homesick Blues," which they regarded as a goof masquerading as something profound; but "Let It Out" was even more over-the-top, and also had a decided working-class southern feel that made it a little more regionally appealing than its inspiration, and a short two-minute-and-six-second running time, which made it ideal for radio. "Let It Out (Let It All Hang Out)" entered the charts in September of 1967 and rose to number 12 nationally. The band tried issuing more humor-laced singles, including "Am I High (Boy Am I High)," and an LP that disappeared without leaving a trace, and The Hombres were history by 1969.
Ο Don Van Vliet (Captain Beefheart) γεννήθηκε στις 15 Ιανουαρίου του 1941 στην Καλιφόρνια. Το 1964 σχημάτισε για πρώτη φορά τη Magic Band, το συνοδευτικό του γκρουπ, έπειτα από μια συνάντηση με τον Frank Zappa. Η σύνθεση της υπήρξε μεταβλητή.
Το 1967, με συνεργάτες τους Ry Cooder (κιθάρα), John "Drumbo" French (τύμπανα), "Antennae" Jimmy Semens (κιθάρα) και Herb Bermann (μπάσο), κυκλοφόρησε το πρωτοπόρο "Safe As Milk", κερδίζοντας άμεση αναγνώριση ως μέντορας της underground σκηνής. Το διπλό "Trout Mask Replica" (1969) πέρασε στην ιστορία ως μία από τις πιο ακραίες avant-garde εκφράσεις της ψυχεδέλειας, ενώ για άλλες δουλειές, όπως το "Spotlight Kid" (1972), του καταλογίστηκε "εμπορικότητα".
Από το 1982 εγκατέλειψε οριστικά τη μουσική (τελευταίο του άλμπουμ ήταν το "Ice Cream for Crow") για να αφοσιωθεί στη ζωγραφική.
Το 1993 έγινε γνωστό ότι ο αινιγματικός και χαρισματικός Captain πάσχει από σκλήρυνση κατά πλάκας. Ανθολογίες όπως το πενταπλό box-set "Grow Fins" (1999) και το διπλό CD "The Dust Blows Forward” (1999) διατήρησαν την αειθαλή μουσική του στο προσκήνιο της μουσικής επικαιρότητας ως το τέλος του 17 Δεκεμβρίου 2010.
Taste :
Captain Beefheart And His Magic Band – Zig Zag Wanderer
Μία από τις πλέον χαρακτηριστικές περιπτώσεις συγκροτήματος που έγινε διάσημο από μια μόνο σημαντική επιτυχία. Το "96 Tears" (1966), που τους άνοιξε το δρόμο για την αναγνώριση, χαρακτηρίστηκε από την εφηβική ποίηση του Rudy Martinez και τον επίμονο ήχο του φλάουτου. Το κομμάτι έφτασε στο No 1 του αμερικανικού Top 10 και έγινε αφορμή για να το μιμηθούν αργότερα εκατοντάδες garage σχήματα.
Ο τραχύς και συνάμα απλός ήχος του αποτέλεσε έμπνευση για το punk-rock της δεκαετίας του '70 - ιδιαίτερα για τους Stranglers που το 1990 γνώρισαν επιτυχία με τη διασκευή του στα βρετανικά τσαρτ. Όλα τα μέλη του γκρουπ είχαν μεγαλώσει στο Μίσιγκαν και έπαιξαν μαζί για πρώτη φορά το 1962 ως ΧΥΖ στο Ντιτρόιτ. Υιοθετώντας το όνομα ? & The Mysterians ηχογράφησαν το "96 Tears" στο σαλόνι της μάνατζερ τους για λογαριασμό της ανεξάρτητης δισκογραφικής ετικέτας Pa-Go-Go Label. Μετά την επιτυχία του κυκλοφόρησε σε εθνική διανομή από την Cameo.
To "I Need Somebody" (1966) που ακολούθησε έδωσε στο γκρουπ τη μοναδική του Top 40 επιτυχία. Ύστερα από τρία ακόμα σινγκλ και ένα επώνυμο άλμπουμ το σχήμα διαλύθηκε. Το 1981, με αφορμή την επιτυχία που είχε ο Garland Jeffreys με τη διασκευή του "96 Tears", ο Martinez δημιούργησε μια νέα σύνθεση του γκρουπ για να πραγματοποιήσει μια σειρά από περιοδείες. Το 1985 κυκλοφόρησαν το "The Dallas Reunion Tapes" (ROIR), ένα άλμπουμ που επιχείρησε να κάνει ξανά επίκαιρο τον ήχο της δεκαετίας του '60. Το 1997 το γκρουπ επανεμφανίστηκε και προέκυψαν το λάιβ άλμπουμ "Do You Feel It Baby?" (1998) και η διπλή συλλογή νέων ηχογραφήσεων σε παλαιότερες συνθέσεις "More Action" (1999).
Γεννημένη
στο Τζάκσον του Τενεσί η Big Maybelle ξεκίνησε
τραγουδώντας gospel , αλλά όπως κάθε παιδί
στην εφηβεία που αλλάζει έτσι και αυτη
αλλαζει τα gospel με τα blues .
Ξεκίνησε την
επαγγελματική της καριέρα με τους Dave
Clark's Memphis Band το 1936 , περιόδευσε με τις
International Sweethearts of Rhythm και στη συνέχεια
εντάχθηκε στους Christine Chatman's Orchestra ως πιαντιστα οπου
και έκανε τις πρώτες της ηχογραφήσεις
με μαζί τους το 1944 αλλα και με τους Tiny
Bradshaw's Orchestra 1947-1950 .
Σαν Mabel Smith κάνει
το ντεμπούτο της ,για την King Records το 1947
με μικρή αρχική επιτυχία.Το
1952 υπογραφεί στην Okeh Records , οπου ο
παραγωγός Fred Mendelsohn τη βαφτίζει Big
Maybelle . Η πρώτη ηχογράφηση της για Okeh ,
ειναι με το κομματι " Blues Gabbin” που
πάει no3 στο Billboard R & B charts ,ακολουθούν
τα " Way Back Home" και " My Country Man" το
1953.
Το 1955 ηχογραφεί
το " Whole Lotta Shakin ' Goin On" , με παραγωγό
τον Quincy Jones. Οι περισσότερες επιτυχίες
ακολούθησαν καθ 'όλη τη δεκαετία του
1950 κυρίως για το label Savoy , που κάτω από
αυτό το label κάνει μια απ τις επιτυχίες
που την απογειώνουν το " Candy " ( 1956
) με φοβερές πωλήσεις.
Παίρνει μέρος
σε διάφορα μεγάλα φεστιβάλ όπως το 1958
Newport Jazz Festival στο Jazz on a Summer's Day το 1959 μαζί
με Mahalia Jackson , Dinah Washington , Gerry
Mulligan , Anita O'Day ,Eric Dolphy,Art Farmer και άλλους
το οποίο και βιντεοσκοπήθηκε .
Αρχές του
1960 έχοντας περάσει από αρκετές εταιρείες
αρχίζει η κατιούσα.
Συνεχίζει
να εμφανίζετε σε διάφορα Clubs αλλά ο
εθισμός της στα σκληρά ναρκωτικά
δημιουργεί προβλήματα υγείας αλλά και
προβλήματα στη δουλειά της . Το τελευταίο
hit single της ήταν το 1967 με την διασκευή του
" 96 Tears" των Question Mark & the Mysterians.
Η
Big Maybelle πέθανε το 1972 στο Κλίβελαντ του
Οχάιο. Τελευταίο άλμπουμ της το “Last of
Big Maybelle” όπου κυκλοφόρησε μετά θάνατό
το 1973.
The Kingsmen's third album featured "The Jolly Green Giant", a novelty number which reached #4 on the Billboard Hot 100 pop chart and #25 on the Billboard R&B chart, along with several other R&B classics and a couple of Wailers covers. As with previous albums, crowd noise overdubs were added on some tracks to simulate a live performance. The album sold well due to the success of "The Jolly Green Giant", the group's frenetic touring schedule, and the ongoing controversy over the lyrics of "Louie Louie". It entered the Billboard Top LPs chart on February 20, 1965, and remained for 18 weeks, peaking at No. 22.The LP was released in mono (WDM 662) and stereo (WDS 662) versions.
Το 1986 στην προσπάθεια του για αναζήτηση νέων μελών των Fuzztones ο
Rudi φτιάχνει για την πλάκα του και ένα άλλο γκρουπ instrumental τους
Link Protrudi & The Jaymen (αποτίοντας φόρο τιμής στον πολύ μεγάλο
Link Wray) το οποίο τα πάει πολύ καλά τα επόμενα χρόνια, καθώς και
δισκογραφία παρουσιάζει και πετυχημένες ζωντανές εμφανίσεις κάνει. Η
ανακοίνωση από το αφεντικό της Music Maniac Records ότι το 'Live In
Europe' lp τους τα πάει και αυτό καλά όσον αφορά τις πωλήσεις
ενεργεί σαν ενδοφλέβια ένεση αδρεναλίνης στον Rudi καθώς και νέους
Fuzztones έχει βρει και υλικό έχει αρχίσει να ετοιμάζει για τον επόμενο
στούντιο δίσκο, ο οποίος έρχεται το 1989 από την Beggars Banquet με
τίτλο 'In heat' .
Στον δίσκο δεν υπάρχουν διασκευές, την παραγωγή
την έχει κάνει ο θρυλικός (κι αυτός) Shel Talmy (παραγωγός των Who,
Creation, Kinks και πολλών άλλων στα 60ς) και επιτέλους οι Fuzztones
φτιάχνουν ένα δίσκο, σύγχρονο, δυναμικό, αρχιδάτο! Γκρίνιες και πάλι,
γίνεται και το καλό με τους Phuzztones (πρώην μέλη των Fuzztones) και
ενώ όλα έδειχναν ότι θα πήγαιναν καλά οι Fuzztones ξαναδιαλύονται και η
Beggars Banquet τους κλωτσάει. Ο «δύστροπος» Rudi αυτή τη φορά αντιδρά
πιο γρήγορα και με καλεσμένους τους Arthur Lee (Love) και Sean Bonniwell
(Music Machine) ηχογραφεί το ψυχεδελικότερο lp των Fuzztones
(1991-Music Maniac) με τίτλο 'Braindrops'. Από τα δώδεκα τραγούδια
του δίσκου τα τρία είναι διασκευές και το εξωφυλλο του δίσκου
ειναι από μια ζωγραφιά του Rudi. by Nick Arvanitakis
Perhaps the story of the band is not well known, but their achievements
were great„and international: editions of their sole LP were produced in
Peru, Mexico, Brazil and Ecuador, and 45rpm singles were published in
Mexico and Greece. St. Thomas Pepper Smelter was formed by Gerardo
Manuel Rojas on vocals and tambourine, Beto Tataje on rhythm guitar and
lead guitar, Juan Carlos Barreda on bass and vocals, Carlos Manuel
Barreda on drums and backing vocals (all from the famous group Los
Shains), and Freddy Macedo on keyboards. Their first single was a cover
of Purple Haze b/w one of their own compositions, A New Summer.The
band then began to record their only LP.
That album contains twelve
tracks„six written by the band, and the other half cover versions. The
band's music could be described as freak beat in many ways, it is a
preview of the garage /surf style of Los Shain's, heading towards the
heavy psychedelic rock of Gerardo Manuel & El Humo. At the time, St.
Thomas Pepper Smelter simply called it ñunderground music.Gerardos
voice is soft in the bands own songs, and aggressive on the cover
tunes; his guitar style oozes fuzz. The foundation of bass and drums by
the brothers Barreda is very powerful and strong; and the songs benefit
from the layers of keyboard played by Freddy Macedo.
Taste :
The (St. Thomas) Pepper Smelter - Pepper's Boogaloo
The (St. Thomas) Pepper Smelter - People
The (St. Thomas) Pepper Smelter - Betty Boom, Little Monster, Doggie And Peggie At The Witches Castle
As a garage
band moniker, the Delights might seem lightweight in retrospect, but the band's
guitarist Vince Schraub offers an explanation. Eventually rechristened the
Hudsen Bay Company on Dunwich, Schraub recalls, "When we signed up with
Bill Traut and Dunwich, they thought the Delights was a square name. Yeah, but
it really wasn't because we used to be a soul band. When I joined them, they
were doing all these obscure and esoteric black instrumentals.At one time,
they had three black singers in the band," According to Schraub, the
band's earliest guise was as a straight polka band!
"The
band never changed except drummers, says Schraub. It's almost like Spinal Tap. Two of
'em were dead within two years of the band's end," For their sole
Quill-produced single, the Delights were comprised of Greg Grimes (vocals,
flute), Vince Schraub (lead guitar, backing vocals), Jerry Germansen (Vox
organ, backing vocals), Norbert Soltysiak (tambourine, backing vocals), Louis
Sanjurjo (bass, backing vocals), and Bob Buff (drums, backing vocals).
Prior to
their association with Quill, the band was managed by Carl Bonafede (the Buckingham’s,
the Daughters of Eve). Assisted by Chess engineer Ron Malo, Bonafede had
produced the Delights' first single; their blazing cover of "Long
Green" on the Delaware label. There was also an earlier, scrapped session
for the material eventually produced by QuilL Schraub: "We got hooked up
with Ralph Marterie, the band leader from the 1940s. He became our manager We
went back to Chess with Marterie and re-recorded 'Every Minute, Every Hour,
Every Moment' and probably Just Out of Reach".
The
Delights' Zombies cover, "Just Out of Reach" is faithful as a whole
and simply astonishing in its lead vocal (with teenage phenomenon Greg Grimes
executing a flawless, almost clone-good impersonation of the Zombies' Colin
Blunstone). According to Vince Schraub, "Greg's voice coach was said to be
the best in the business and she claimed that the only reason she was staying
in the biz is because she thought Greg's stardom was a certainty."
But better
than their Zombies cover was the Delights' masterpiece, "Every Minute,
Every Hour, Every Moment." To borrow a quote from Schraub, "That
thing sounds more like the Zombies than the Zombies," For all their
promise, Schraub admits that I the Delights/Hudsen Bay Company got caught up in
the craziness of the era and by the late '60s, "went over the edge of the
cliff."
