It's true , the social conditions affected the teens in America , deeply. But , some were probably saying , if they drop the bomb , let's at least say we lived it up. But , there was that period , there , where Protest and politically - themed songs were something of an after thought , or maybe for Phil Ochs and Bob Dylan , but not the Crashin' Boars playing "Empty Heart" down the street.

It's interesting , to me , at least , to note how Britain and The United States have influenced each other over the years...Even when Punk hit , The Ramones were the only American band to find much success in The UK , because everybody knew they jump - started the movement. Most of the other New York Punk bands , barring The Heartbreakers (Who even got on the "Honor System" smack withdrawal program) were'nt really acknowledged for their contributions to "Culture" , once they made it to England.

On the other hand , when Hardcore was going on , here , it was'nt considered cool to listen to bands who were'nt from The U.S.

The thought of a "monkskrieg" (Gary Burger stated , at their first reunion show , "We are a GERMAN band.") would probably make a better movie than the alleged film about their actual career (I don't mean the Documentary , I mean the proposed big bucks Hollywood film that would have been so saturated in bullshit , the band refused to have anything to do with it.) , just because it would have been like an invasion from outer space ! Like "The Way - Outs" on "The Flintstones " ! Germany , with far more Avant - Garde tendencies , barely accepted the monks , allowing them to live on the outer fringes of the Beat Boom . Though they were supposed to be granted a US release on their one Polydor LP , it's hard to imagine anyone buying it , at the time. They would have drastically undersold The Velvet Underground. Underground Radio was'nt yet up and running in 1966 , so there would'nt have been a forum for that album in the states. Even they might have been REALLY scared to touch it. But , it's fun to consider the monks literally invading their own country , at the time. At least , they lived to see the first real wave of mania surrounding them. Of course , Dave and Roger are gone , now , but , they saw it.

Bry said:

re: the start of this discussion - here's my thruppence ....

 

I tend to think the garage explosion would have still happened without the British Invasion - maybe there would even have been more garage & less 'beat' - OK so Vox introduced the vox wah wah and AC amps here .. but  there was also Lysergic acid diethylamide rampaging throughout UK  Europe & the US [although obviously that had no influence whatsoever in US music of the era ...ha ha ] ... a lot of angry young americans also had the daily nuke sirens at school / the draught / segregation & vietnam to contend with -  certainly more than enough to make pretty raw & angry young sounds... especially if you knew there was a chance that the draught meant you weren't gonna make it home again (we only had the beatles and the stones to contend with ha ha )  - OK... so  the beatles were maybe the 1st after Elvis to really nail down & utilise mass branding & marketing but i think it was just that rather than themselves  - just marketing - the youth of the world needed something to cling to pretty much in the way that Mcclaren utilised the Pistols into his blanket marketing machine onto us all in 76/77 - raw 'Punk' was already live and kickin in the US well before that - Ramones / Electric chairs / Iggy etc even goin back to good ol Alice Cooper and the spiders in the mid 60's - 'no price tag' etc ...yet there was certainly was an influence re: so called British Invasion - but i reckon it'd still have happened just the same without it . cos for example the US already had the Nitecaps 'tall cool one ' pretty damn raw [later to become The Wailers - mau mau is a classic raw track - 1961 I think without lookin ] the list is endless - there was also in Europe ...the 5 torquays who later became  the Monks - their feedback and t fuzztone experimentation led into  Uberbeat around 1965 - so a tweak here and there and it all could have been a 'german invasion' instead of the UK invasion ..strangely enough a gernman invasion but led  by the americans as the Monks were all US GI's . . . .  whatever next eh ; )

then we wouldn't have to watch Macca in his post beatles/wings/michael jackson now I will be arrogant and write orchestra pieces.

What's wrong with that...I need to know....because here I go agaaaaiiiiinnn.

I imagine it's kind of important to remember the physical and cultural landscapes of the two countries. Many of the things that are valued in America are often seen as crass and vulgar in Britain, and just like if you compare British and American hiphop today you see a massive difference. Not only that but the physical landscape is different too; Britain doesn't have rampant gun culture, vast swathes of untouched wilderness, mythical highways etc.

And this totally comes out in the music. Sure bands have done covers of American songs but can you imagine a British band ever writing a song like Viva Las Vegas, New York, I've Been Everywhere? The Kinks sang Waterloo Sunset which touches feelings on a trainstation but singing about a city or a place in Britain with anything less than a deep dose of irony, melachony or sarcasm sounds embarrassing. It's why you don't have thousands of songs about London.

Real cool moody stuff you are posting. This one is really moody even for a moody song.

‪The Grodes - I've Lost My Way‬

http://www.youtube.com/watch?v=bp6r74vEIrQ&feature=player_embed...!

ok, well maybe some more ; I haven't been in this folder for a long time.

Barking Spyders - Hard World

The Kynds - So if someone sends you flowers, babe

The Dominions - I need her

The Starlites - Wait for Me

forgot about Mystic Eyes by the Mystic Tide.

http://www.youtube.com/watch?v=iKMvA6ZbHjg

I have a folder on my machine labelled moody songs so I could keep going on but I will only do so intermittently

Lily - Drusalee & the Dead

http://www.youtube.com/watch?v=OW4LBnWmJ0w

don't know how to embed

this one's soooo good

Appreciate that!

Polyvinyl Craftsmen said:

You can check out McCarthy on our podcast here, my favourite track of theirs Red Sleeping Beauty http://polyvinylcraftsmen.blogspot.com/2011/04/transmission-5.html

 

I'm going to play some of the other bands on future transmissions too. Will let you know when.

 

You can check out McCarthy on our podcast here, my favourite track of theirs Red Sleeping Beauty http://polyvinylcraftsmen.blogspot.com/2011/04/transmission-5.html

I'm going to play some of the other bands on future transmissions too. Will let you know when.

Yeah, I've got quite a bit of Long Ryders on the 'ole ipod, and like Green On Red, they could pull off country music and do it so well. I have always been meaning to check more into the Soup Dragons...Some of these others you mentioned are going on my "research" list. Thanks for your input!

Polyvinyl Craftsmen said:

I'd add The Long Ryders and a few British bands who were lumped into the C86 scene that I thought were playing in a similar vein, McCarthy, The Wolfhounds, early Primal Scream and The Loft. In fact you could probably call most of the C86 bands jangle pop - The Primitives, Tallulah Gosh, Shop Assistants, early Soup Dragons and The Chesterfields.

I'd add The Long Ryders and a few British bands who were lumped into the C86 scene that I thought were playing in a similar vein, McCarthy, The Wolfhounds, early Primal Scream and The Loft. In fact you could probably call most of the C86 bands jangle pop - The Primitives, Tallulah Gosh, Shop Assistants, early Soup Dragons and The Chesterfields.

I always liked Green On Red, especially their forays into country music and their organ laced compositions that suggests that Doors influence. I'm surprised I don't have more by Chris Stamey, the db's, the Connells, and Let's Active, since they're regional acts in regards to geographics (I'm in VA, they're all based out of NC). I really liked the Bangles earlier work, when they were known as the Bangs, and I think the Three O' Clock was the only "white pop" band that Prince signed to his Paisley Print record label. Coincidentally, he wrote "Manic Monday" for the Bangles (not a favorite of theirs by any means). Thanks for listing these, I'm making notes to track down more by them, and making a note to gather more by the bands I was already familiar with!

The Lizardmen said:

Jangle Pop:

Let's Active

The Windbreakers

The Bongos

The dB's

Chris Stamey

Bobby Sutliffe

Tim Lee

The Connells

Don Dixon

Green On Red

The Swimming Pool Q's

Right As Rain

Arms Akimbo

The Nightporters

Miracle Legion

Winter Hours

The Primitons

 

Paisley Underground:

The Three O'Clock

Rain Parade

The Bangles

Dream So Real

Jangle Pop:

Let's Active

The Windbreakers

The Bongos

The dB's

Chris Stamey

Bobby Sutliffe

Tim Lee

The Connells

Don Dixon

Green On Red

The Swimming Pool Q's

Right As Rain

Arms Akimbo

The Nightporters

Miracle Legion

Winter Hours

The Primitons

Paisley Underground:

The Three O'Clock

Rain Parade

The Bangles

Dream So Real

For those that don't know what it is, it's a music form that became extremely popular in the '80's (mainly college radio) that harked a return to jangly guitars and '60's harmonies. I'm willing to bet that 90% of you here on the Hideout already knew that, but hey, just in case some of you didn't...There was a whole slew of bands that came out during this initial heavy wave, mainly associated with the "Paisley Underground". Personally, I like listening to it, and the reason I wanted to start this discussion was to get your opinions on what bands you liked, you recommend (I know I haven't heard ALL of them), album suggestions. Or you can even bring up bands that have been called "jangle pop" but you don't agree with that categorization. And there's always room for debates, like was Tom Petty's early songs in that genre? Not a fan of his, but it's well known that he was heavily influenced by the Byrds. Of course technically, jangle pop was a throwback to the '60's, so there were a number of bands in the '70's that plyed that sound as well. You can go on Wikipedia, and they list a number of bands that they put in this category (R.E.M.'s early work, Guadalcanal Diary, the Church, etc.) So just wanting to see your thoughts on this subject, and who knows? Some of your suggestions could increase my music shopping list!

Live we use a black Fender Telecaster plugged to a Fender Hot Rod Deluxe, through a Boss Blues Driver and a MXR Micro Amp, a black Rickenbacker 360/6 plugged to a Vox AC15 through a Frantone Peachfuzz and a Roger Mayer Concorde+ treble booster, and a P-bass copy that nobody knows what make it is, apart from the bass player!

At the studio we use whatever lies around, such as a 68 Fender Bandmaster, a Frankensteined Strat and an assortment of pedals.

I think this attitude that music can be compared to something like food is wrong. I believe that artists should be paid, but this focus always on pop music is out of date. I mean supporting emerging artists is important but is EMI really the best company to do that? I think smaller labels are the future and 'stealing' tracks from a multinational with teams of lawyers to make sure both the artist and the customer don't step out of line is about as morally dubious as stealling cigaretts from Malbro.

What Townshend is complaining about creativity not being valued anymore is rubbish. We are just getting closer to the real price. Why should a rock star be worth millions for being creative? Would Townshend have been any less creative if he got paid a third of what he earnt? It's the same bullshit you see in sport with footballers getting paid millions to do something the enjoy.

With the disintegration of major record labels we can at least be certain that in 30 years time we wont have as many rusty old millionairs whinging about not being paid enough. Good music doesn't need loads of cash to be made and thankfully today it doesn't need loads to be distributed.

What they didn,t mention was that the BBC will slash 280 jobs at 40 stations, and they had a debate on the (death of local radio).

I Was there in spirit, and I met Mr Lowry. !!!!!!!!!!!!!

Digital switchover 2015.

Copyright laws being fixed to coincide.

Whatever happened to advances from record companies.Seen it done and seen it blown!

Peel was great>

itunes----------Dont use it.

Too many gadgets.

CDs killed the music industry.(indestructable)

This message will self destruct in 5 seconds?/??????????????

Yeah , some of his stuff I like . Some , not so much. I heard when Randy and Spirit toured with Arthur Lee and Love in the 90's , Randy would do his obligatory rap about what great friends he and Hendrix were (I saw him do that before a stiff "Red House"). Arthur would stand in the sidelines , going "HE HATED YOU !!!".

Axel Björnsson said:

Randy California of Spirit had a bunch of wimpy guitar scales. Maby it's the cause of his jazzy background.

Good example the solo in dark eyed woman. great fucking guitarist...

....I'm trying to remember , was'nt the solo on "Get Back" by Lennon , not Harrison? I just remember , when Kicks Magazine ran their "Name the worst Beatles song" contest , somebody said "For You , Blue" because "John Lennon always complained of not getting to take a guitar solo , and then , when he did , this is what happened !". It was a few bars on the slide guitar , hardly warranting Harrison's heavy compliment , "Elmore James got nothing on this baby !". Jagger would'nt have even said THAT about Brian Jones on a record in 1964. I seem to remember Lennon playing that , admittedly thin , solo on "Get Back" in the "Let It Be" movie , but , I could be mistaken.

It's not a concept , I'm afraid , it's a reality. People who think they know it all , and won't talk to you , except in a very condescending manner , unless you have no life , and have accumulated the same amount of information they have. Now , some people can obtain and store a lot of trivial knowledge in a very short amount of time. It's a good thing to be knowledgeable about the "Garage" genre , it's an interesting topic , to say the least. It's not a good thing to act superior if others don't share your fervor. I live in the real world , where some people dig this stuff , but , barely enough to notice . Like most of you , I'd imagine , I'm deluged with Rap and Hip Hop , a multi - multi billion dollar industry , but , IT's "Underground" , while the music I'm not forcing on other people is'nt.

I guess a REAL Garage Nazi would make people listen to Garage Rock , instead of letting 'em listen to whatever it is they want to listen to.

swt said:

"Garage Nazis" is a scary concept. But I know what you mean.

....And , Paul Burlison almost single - handedly created what we now call "Punk" or "Garage" guitar. He and Link Wray , with Pat Hare's "I'm Gonna Murder My Baby" before them , all years before fuzztone pedals were commercially available. It's good to be a good guitar player , if you can go easy on the wankery. Guitarists who go out of their way to sound BAD , i don't have a lot of patience for.

Mitchhz said:

I beg to disagree. Good guitar playing is part and parcel of wild primitive rock'n'roll just as much as minimalist guitar playing! Paul Burlinson and Cliff Gallup were excellent guitar players. Some of the finest garage songs displayed great expertise in terms of guitar work: The Recalls' Reesie and Nobody's Guy are killers, so is Project Blue by the Banshees. Or what about In the Past by We the People? I hear it's very hard to play (by the way check out the excellent French version La fermeture éclair by Belgian yéyé girl Delphine)!

 

So garage addicts should reclaim good guitar playing. Let's not leave it to bores like Mark Knopfler or Clapton!

Patrick said:

I think songs like "Wild Man" and "Born Loser" have a haunting minimalisitc quality of the primitive garage style.  Garage Punk in my opinion, was never a genre to display techincal mastery, that was left to the Progressive Rock (Led Zeppelin, Rush, Black Sabbath, Cream, Hendrix). To me, it's about a primitive inarticulate emotion.  A form of musical expression unrefined, experimental, raw, channeled within the confines of it's own limitations.  I do agree reluctantly, that the guitar was a little bit thin.  It could have been produced and engineered better (maybe some backround rhythm gtr).  I think though, if you put those early songs within the context of their times they were revolutionary as far as the dark theatrical "psychotic" impression they produced.  I guess I would just hate to see some bands butcher great songs by running them through a Grunge processor.

Had the great privilidge of not only meeting but hanging out with sky saxon (R.I.P. Dude) some years ago. a great & enlightenin' experience. but I really wanna see the chesterfield kings but don't know if they plan to play in the uk?

Mark , Never heard of this. It could have been a recording by some ex-members of the group ? The way that Larry Tamblyn and Tony Valentino regrouped as The Standells in the 80's and released a reportedly Heavy Metal - sounding remake of "Try It" with a laughable original called "Sixties Band". I'll withold judgement , because I've never actually heard it. But , is the A-side the original "Nobody But Me"? If the B-side sounds like the hit versions of "NBM" and "Nobody But Me" and "Mony Mony" "Mashed" together , it might be a DJ who got permission to do a small pressing of a remix and the original.

The Big Mix – 1/14/11

1 – Keep Britain Untidy – Peter and the Test Tube Babies

2 – The 13^th Floor – The Urges

3 – Little Egypt – Downliners Sect

4 – My Baby Left Me – Elvis

5 – The Seeker – Dexter Romweber Duo

6 – Mr. Bad Luck – Jimi Hendrix

7 – Nitro – Dick Dale

8 – 4 Leaf Clover – Old 97s w/ Exene

9 – No Need To Be Rude – Black Hollies

10 – Lula Bop Be – Johnny Bach and the Moonshine Boozers

11 – Breathless – Jerry Lee Lewis

12 – Medley w/ Theme From The X-Files – Phantom Surfers

13 – Hubcap Hunch – Hasil Adkins and S.C.O.T.S.

14 – Waxy’s Dargle – The Pogues

15 – Why Why Why – Paul Revere and the Raiders

16 – Double Talkin’ Baby – Gene Vincent

17 – Shake – Tom Waits

18 – Wild Jane – The Ripoffs

19 – Boredom – The Buzzcocks

20 – We Want The Airwaves – The Ramones

21 – Big City After Dark – Link Wray

22 – Cuttin’ Out – The Pirates

23 – Ya Ya – The Kaisers

24 – I Dig Everything – Generation X

25 – Open My Eyes – The Nazz

26 – Motorhead – Hawkwind

27 – Too Much Paranoias - Devo