King Brothers!

The 5.6.7.8's

Supersnazz

The Pebbles

Gito Gito Hustler

Guitar Wolf

Teengenerate

Thee Michelle Gun Elephant

Jackie & The Cedrics

The Registrators

Banana Erectors

The Tweezers

Young Pennsylvanians

The Neatbeats

The Titans

Mad 3

TV Idols

Havenots

The Raydios

Gasoline

There are even a few here on this very site, including The Routes.

Sorry, there are too many videos in this thread already. You guys know how to search YouBoob.

Hi to all Folks... I'm super excited .. Buyed 3 months ago 3 tickets thurs, sat, sun .. I can't wait to come to US.. I'm a 33 year old garage lover from Italy and will come with my girlfriend.. I've waited for a line up like this for years... Now that's a reality.. I got some money saved last year and when I saw this NR 25th Anniversary i just couldn't wait.... I booked with delta airlines direct no stop from milan to jfk, one week of real garage fun in NY..

I just can't see..  

Aaaaaaarghhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

All of this is very true. That's why the GaragePunk Podcast Network needs to keep on truckin' and keeping the real feeling alive.
Sean Law said:

Since the early 2000's the term 'Garage' has basically been affixed to virtually any band where the guitar is the focus. Sometimes this is by accident (young music journalists or gig promoters who haven't got much of a grasp of Rock'n'Roll history) and sometimes by design (unworthy groups hoping to ride the coat-tails of a large and loyal movement - just think: throw the word 'Garage' into your bio description and you've potentially got the attention of a large demographic). The term 'Garage' as a descriptive reference for a style of music has been in use since the early 70's, and said music has been around since the early to mid-60's. ALL music changes over time. So it's kind of inevitable that the original meaning may get lost to the layman or the 'mainstream'. Much like the term 'Jazz' or 'Rock'n'Roll' itself, the actual definition is currently in danger of being lost. The only way to combat this is to champion the real stuff.

Since the early 2000's the term 'Garage' has basically been affixed to virtually any band where the guitar is the focus. Sometimes this is by accident (young music journalists or gig promoters who haven't got much of a grasp of Rock'n'Roll history) and sometimes by design (unworthy groups hoping to ride the coat-tails of a large and loyal movement - just think: throw the word 'Garage' into your bio description and you've potentially got the attention of a large demographic). The term 'Garage' as a descriptive reference for a style of music has been in use since the early 70's, and said music has been around since the early to mid-60's. ALL music changes over time. So it's kind of inevitable that the original meaning may get lost to the layman or the 'mainstream'. Much like the term 'Jazz' or 'Rock'n'Roll' itself, the actual definition is currently in danger of being lost. The only way to combat this is to champion the real stuff.

John , You reminded me of a funny story. In my 20's , I'd already been into Garage and Rockabilly for a few years , but , that was in the 80's , when we had to find and buy our own shit .  I had a small income for records , not much. Now  people can obtain really rare stuff for free , but , regardless of age , they tend to glom on to three or four bands and leave it at that. Anyway , I used to know a woman about my age , she was into this stuff that was already dead , The Cure , The Smiths and so forth . I was'nt very enlightened back then . If I did'nt like something ,I would'nt shut the Hell up about it . But , she asked me "OK , If The Cramps became a big group tomorrow , and were all over MTV , would you no longer LIKE them?". I said , "That's a good question. I really don't see how they could become big , unless they turned themselves around completely , and started to sound like U2....which I don't think is possible. But , if that happened , I think I'd still like their old records , just not whatever could have made them big."

There are people in Micronesia  who know The Cramps were Garage before the GARAGE TREND of a few years ago 
, but , that was because they took all their favorite , yet unpopular, trash culture sounds , and added "The junkiest element of them all: Themselves". The thing was , this young lady got tired of my criticisms (She had a right to. Did'nt mean she had very good taste in music.) , and told me to play something I like , for HER to evaluate. So , I put on a tape that I had with me . She said "This just sounds like what everybody else is doing!" . I told her "This album is (was) about 20 years old!". It was The 13th Floor Elevators' "Easter Everywhere". 
John Carlucci said:

I totally agree with this part of your post. I've always hated labels. I feel that having preconceived notions and rules in any specific genre stifles creativity. Think about it, if the 13th Floor Elevators were a new band starting out today, how many people would say, "You can't have a jug player in a Garage Band!" lol!

Old School Hero said:.

On a side note: I do think it could go big in a real and honest way. I think this because there are a ton of people who can't stand rap or techno..and that's all you have a choice to dance to these days. I find that pure Rock 'n Roll is quite dancable and could make a huge comeback if done by the right bands, with the right DJ's, and the right people starting it.

I'm going to see the Delta Saints this Tuesday and later this month : Lords of Altamont, Sonny Vincent and some French surf bands ! This sure will be a great month !

Clément

 I saw Michael Monroe , last night , and it ROCKED LIKE FUCK !!!! If you're any kind of fan of Hanoi Rocks , and their Big Brother Bands , Dolls , Stooges , MC5 , you could do a whole lot worse than see Monroe on this tour. Especially since it's been 21 years since he did a proper tour of the states , but , this show was , BY FAR , the better of the two shows I've seen him give , and , seeing as how the first show is old enough to buy beer , now ,that's saying something. The band - Sam Yaffa (Hanoi Rocks , New York Dolls.) on Bass , Steve Conte (New York Dolls.) on Lead Guitar, The guy from Backyard Babies and Hellacopters (Sorry , Forgot his name .) on Guitar , and a Drummer who's probably been in some namedroppable bands , came on with an unrelenting , in yer face attack that's as close to seeing the real Hanoi Rocks as I think we'll ever get.

Monroe's voice has'nt lost a hitch since I first heard it in 1984 , only months before I got the news....

"Hey , John. There was a car crash in L.A. , AND Vince Neil died."

I'm thinking to myself , "Well , I'm over Vince Neil , but , I never wished him dead.". Later , I heard , of course , that Neil survived the crash , while Razzle , Hanoi Rock's (Second) Drummer did'nt. That meant an average Rock band would go on to reap millions , while a truly great and original band would call it quits (For about 20 years , anyway.).

But , unlike with Motley Crue , I remember thinking , when I first heard "Malibu Beach Nightmare"

, "Man , what a set of pipes this guy has !" . Speaking of  which , Monroe frequently supported his still - rail thin , yet muscular frame on something , above the stage , to where he appeared to be about my height (Which IS'NT tall a'tall.).

He was balancing himself , in boots , on plumbing fixtures that made a  barrier at the lip og the stage , maybe 4" around at best , moving from one end of the other like he had a safety net. He did'nt , of course.Then he'd raise his foot up , and over the mikestand , like Nuryev peaking on Aqua- Net. This man is an entertainer's entertainer. Like The Rat Pack storming the gates of The Grande Ballroom.The band worked their BALLS off , and so did he.       ROCK LIKE FUCK !!!!!             The set included pretty much all the new CD (STRONG MATERIAL , TOO.) , "Motorvatin' " , "Taxi Driver", "Malibu Beach Nightmare" , " Back To Mystery City", "Not Fakin' It" , "Dead , Jail or Rock'n'Roll" , "1970 ( I Feel Alright)", and the one - two punch of The Heartbreakers' "I Wanna Be Loved".

 I AGREE WITH MOST OF THESE CHOICES , BUT MY PERSONAL FAVORITE IS PROBABLY STILL BLUE CHEER'S "VINCEBUS ERUPTUM". IT LAID DOWN THE GROUNDWORK FOR SO MANY OF THE THINGS WE'RE TALKING ABOUT , AND SOME WE MIGHT NOT WANT TO TALK ABOUT..... IT NEVER SOUNDS THE SAME , TO ME , TWO TIMES IN A ROW.

IT'S NOT EVERYBODY'S THING , I KNOW , BUT , ANY BAND , ABOUT WHOM LISTENERS CAN BE SO POLARIZED ,WITH BASICALLY NO MIDDLE GROUND, WAS DOING SOMETHING RIGHT.

Oblivians - play 9 songs

Compulsive Gamblers - crystal gazing luck amazing

Angry Samoans - inside my brain/back from Samoa

Black Flag - first four years (although I would rather have I Don't Care on there)

there's loads more of course, but every time I put them on thinking I'm only gonna listen to two or three songs I end up playing the whole thing

Loli and the Chones  - Ps We Hate You

-Erika

One of two drumkits; 70s blue sparkly Ludwig or painted and logo-ed cheapo Stagg (which gets the most use and is due some attention....)

Telecaster through Fender Twin Reverb (for choice!) by way of a Holy Grail - my amp that generally gets used is a 70s HH into a slope-front 4x12.

80s Yamaha bass, Marshall 100w lead/bass into 1x15 cab.

Spare guitar - Squier Duo-Sonic or Fender Jag-stang.

Advice well taken. I've been working with a Fostex XR that is a 2 channel 4 track. A lot of limitations but it makes you plan what has to be done which I like. I also have a 1/2 track reel o reel, Tascam model. 1/4" tape and it sounds amazing but not a lot of track options. We did some recordings a while back and had to premix everything. Big headache. Yes, I've got a Yamaha mixer that has FX and compression.

OK. Analog then.    

Well, Tascam makes good stuff – worked on a Tascam 16-track reel-to-reel (MSR 16?) in the early to late nineties, and still have my old Tascam 688 which I did a lot of preliminary demoes on (a mixer/recorder – "only" 8-track cassette format, but still possible to get great results from!)... a couple friends had Fostex 8-tracks, which were OK too...

While Otari is/was probably a step up, along with Revox/Studer recorders, don't get too hung up in everything you read on the web (like "fat lows" and "airy highs") about this or that brand or model... these opinions tend to be very subjective, and chances are those "mind-blowing" differences are quite minimal (or even non-existant). 

Remember – there's a lot more to getting good sounding recordings than just having the "right" equipment, especially if you have little or no prior experience.

Keep in mind that all these machines are "getting old"... spare parts & service (and "fresh" tapes!) might become a headache whichever one you chose.

You already have a mixer?..

(e)

PS. Kinda hard to give theoretical advice this way – especially since there's 1001 ways of doing things... would have liked to help you out "in real life", but I live in Norway, so I guess this will have to do... :)

Ryan Thomas LeGere said:

I'm currently searching Ebay and Craigslist for anything that is in the best of condition that has been tested to play/record, has good transport and has been recently serviced. So many times something pops up that is advertised as "Looks great but have no way of testing." So then all you find are these "as is" items.

 

So what has been catching my eye is the Taascam models 38, 48, and 58. I read that the best would be the 58 because they are more durable and that the 38 always has some issue popping up.

 

Also looking at the Tascam 80 though these are getting old.

 

Another one I am looking at is the Otari MX 5050 and from what I read this is the best choice over the Tascams because of reliability and  fat sounding lows.

 

What I am having trouble considering when weighing one machine against the other is what kind of fidelity am I looking for? I definitely don't want low fi yet I don't want a pop sounding record either. The Black Keys have a fidelity I find bearable (yet not theit first album). I feel though i read a lot in forums to stay away from the Tascam 38 and hod off for MX5050. Yet, maybe I can work with the limitations of a 38.

I'm currently searching Ebay and Craigslist for anything that is in the best of condition that has been tested to play/record, has good transport and has been recently serviced. So many times something pops up that is advertised as "Looks great but have no way of testing." So then all you find are these "as is" items.

So what has been catching my eye is the Taascam models 38, 48, and 58. I read that the best would be the 58 because they are more durable and that the 38 always has some issue popping up.

Also looking at the Tascam 80 though these are getting old.

Another one I am looking at is the Otari MX 5050 and from what I read this is the best choice over the Tascams because of reliability and  fat sounding lows.

What I am having trouble considering when weighing one machine against the other is what kind of fidelity am I looking for? I definitely don't want low fi yet I don't want a pop sounding record either. The Black Keys have a fidelity I find bearable (yet not theit first album). I feel though i read a lot in forums to stay away from the Tascam 38 and hod off for MX5050. Yet, maybe I can work with the limitations of a 38.

Then you should definately do guitar + drums live... no reason why an overdubbed bass should be more "off" than an od'd guitar track.

What kind of 8-track do you have in mind?..

Ryan Thomas LeGere said:

Also the reason we'd like to do live guitar and drums and add bass later is because there are a lot of breaks with just guitar and nothing else. So if I can't overdub bass maybe I'll have to do a leading track for guitar?

Also the reason we'd like to do live guitar and drums and add bass later is because there are a lot of breaks with just guitar and nothing else. So if I can't overdub bass maybe I'll have to do a leading track for guitar?

Thanx John. I will take that all into consideration. I've decided to record us at home instead of the studio. All the studios I've gone to don't get what we are looking for. So I am in the market to purchase an 8 track and record us in my attic.

The tips about using a guide track help us out. Until now we have been preparing by getting the drums and bass tight. Yeah one thing: we are a 2 piece. so I have to add bass. What do you guys think about either

1) do bass and drums live and then add guitar and vocals

or

2) do guitar and drums live and add bass and vocals

We would prefer the second option but the question arises if the bottom end may sound off and less punctual.

John Carlucci said:

 It's possible to all play together in the same room and keep the instruments isolated,(if the studio has enough sound proof rooms). This way you get the correct feel. We record altogether, in the same room at the same time as the drummer, however the bass amp is in another room, so is the guitar amp. Sometimes I record the bass direct  through a sans amp bass driver.The keyboard sets up in the control room & plays direct, the vocalist is in a vocal booth. When recording in studios with no vocal booth, we will have the singer sing "scratch vocals" at a lower volume which we use for reference, and then overdub later. This will minimize any bleed, but we still have the vocals to keep us in place.  We all hear each other through headphones.

 I've even recorded in a one room studio where the engineer had a home-made isolation box for the guitar to play through. It was a brilliant contraption. He built a soundproof box with a ten inch speaker inside the box & a microphone. The guitar player could blast as loud as he wanted & there was no bleed whatsoever. He just needed to plug his amp head right into the box. I went direct & played in the same room as the drummer. With each instrument on it's own track, you will get a fuller sound and certain items can be brought out more in the mix or brought down. For example, cymbals. Nothing can ruin a song like over-ringing cymbals. If cymbals are not mic'd properly they can create a wash of white noise. If you play altogether, with no separation, you're stuck with it. Another trick, for studios with little isolation, and this takes some practice, is to learn the songs thoroughly so you can play them instrumentally with no vocal track at all. Then the band is all playing together, getting the correct feel, and the only thing needed to overdub, is the vocal track.

New music this week from Terry Anderson & the Olympic Ass-Kickin’ Team, Beat Seeking Missiles, Mikal Cronin, Thee Cormans and more! It’s October, so the all Halloween-themed openings have begun. And as for the Phillies, um, go Brewers!

Download or stream the entire Oct. 7 show right here.

Open the Gates – Thee Cormans
Ain’t a Ghost – The Night Beats
Creeper – Southern Culture on the Skids
Miss Monster – Modie Bones
Space Monster – Kookie & the Satalites

Step Right This Way (Baby, I’m Your Man) – DM Bob & The Deficits
Stay a Little Longer – Glambilly
Marlboro Country – Charlie Pickett
Dixie Fried – Carl Perkins

Yeah, Yeah, Yeah (Walk a Mile in My Shoes) – Stupidity
Dr. Strangelove – Beat Seeking Missiles
Caffeine & Alcohol – Dan Melchior Und Das Menace
Shoot First – Jim Jones Revue
Turn Up the Gain – The Shotglass Killers

Dark Eyes – Jack Oblivian
Got to Get Back (To My Baby) – The Bo-Keys feat. Otis Clay
Stone Fox – The Pac-Keys
Baby Bunny (Sugar Honey) – Jerry Williams, Jr.

Local Lunchbox
Dawn at the Dirt Track – Red Stuff
Kiss You – Ramma Lamma
Ain’t it Strange – The Midwest Beat
A1 Fool For Love – Honky Tonkitis

Hold on Me – Mikal Cronin
Subprime Love – High Tension Wires
Message On My Mirror – The Kidnappers
All Night Long – Lover
One in a Billion – Lover

Still as the Night – Gaye Blades
Gypsy from Kentucky – John Wesley Coleman
Blow this Town – Limes

Ridin’ Around – Terry Anderson & the Olympic Ass-Kickin’ Team
You’re the Only Girl, Delores – Cub Koda
Bad News – JC Brooks & the Uptown Sound
Bunker Mentality – Kid Congo & the Pink Monkey Birds
Wildcat – Bambi Kino

Interview with Jeff Castelaz of Pablove Foundation and Dangerbird Records

Hang Around – The Happy Thoughts
Off Switch – The Bad Sports
Can’t Just Be Friends – The Bad Sports
Out of My Head, Into My Bed – The Reatards
Nervous Breakdown – Gregory Dee & the Avanties 

Warpath – Hipbone Slim & The Kneetremblers
I Wish You Would – The Fleshtones
Don’t Want to be Free – Thee Vicars
All Good Women – The Cynics
Love Hates Me – Muck & The Mires

I Dream of Bees – The Bloody Hollies
Inside Out – Radio Moscow

Sorry to hear that Jacob!

Zorch Radio said:

Been listening to the back issues again... all day at "work!"

 I love 'em both, depends what mood I'm in really.

I prefer his solo stuff. More depth, more melodies, more dimensions.

I like the Reatards much better than his solo stuff or any of his other bands.

Agreed.  The Reatards was full on rock n roll and punk.  The solo stuff, especially at the end, got a little too melodic for me.

Splatter said:

I pretty much enjoy it all for different reasons. If i want straight up raw rock and roll it's the reatards all the way but i find his song writting got a little better as a solo artist. My favorite song is 'Night of Broken Glass'.

Even his last album was abit lacking but i can still listen to the whole thing from begging to end.

Also, Lost Sounds is pretty fucking sweet.