Mark George , Yeah , what we call "Freakbeat" , now , some bands , like The Dave Clark 5 and even The Tremeloes , I'm just now finding out , had at least one or two killer Freakbeat sides. Most people would argue it's heyday was 66 - 67 , but there were still traces of it in England after the "Summer of Love " had passed. "I Can See , But You Don't Know" by The Equals and "Feels Like a Woman " by The Troggs were both released in 1970. There are a lot of good comps ( The Rubble series was one of the first , and most of that stuff still holds up , today . Electric Sugar Cube Flashbacks also had some great tracks on each volume , and , I think , came out several years earlier.)....Of course , I'd recommend the "Nuggets 2 " box set to anyone who wants to get a crash course in English Mod/Psych/Freakbeat.  I recommend the first Nuggets box set , too. I told this College student I met , who'd asked me about it , I had most of that stuff already ,but , it was good to have it all with GOOD sound (Even Rhino sometimes dropped the ball , there , previously) , and it's a good starting point. If you find some bands you really like , you can pursue them further.

dont forget 'the action', 'the attack' early Chris farlowe and even the Small Faces.

Freakbeat was a weird genre that only really lasted through 1966, a stranger r and b and a pre-cursor of psych.

on cd theres also 'the freakbeat scene' on Deram and 'freakbeat freakout' on Sequel.

How I envy you discovering all these bands for the first time! and the beauty of a site like this is all the knowledge that you can tap!

This thread is right up my alley.

Horse The Band - The Red Tornado:  http://www.youtube.com/watch?v=bQlobg7r7Co
Horse The Band - A Million Exploding Suns (about Marvel's The Sentry): http://www.youtube.com/watch?v=sMN9eDpFFe0

And being a huge comic fan myself, all of my bands have written songs about comics. Here is one from my current band.

Mind Powers - Where Is The Laser? Ask The Police! (A song about Hank Pym creating Ultron...the title is a reference to the infamous poorly translated line Ultron utters in the Captain America and The Avengers arcade game):  http://soundcloud.com/mindpowers/05-where-is-the-laser-ask-the

We also have a currently unrecorded song called Space Widow that makes references to Ego the Living Planet, the Green Lantern Mogo, the Negative Zone, and the Phantom Zone.

The lyrics of two of my former bands, Manchester Black and Gamera! The Invincible, were almost solely about comics. We had songs about The Hulk, Spider-Man, Crisis on Infinite Earths, Green Lantern's destruction of Coast City, etc. If anyone is interested I will post the EPs on here but I don't want to blow this thread up with self-promotion if you guys don't want it, haha.

I really have no idea. I have a Spotify account (I'm kopper65 there and it's also connected to my Facebook profile) but I honestly haven't spent much time looking into how to use it. It doesn't look like you can, though. I found this on Spotify's FAQ section:

http://www.spotify.com/us/help/faq/content/content-features/

But I also found this:

http://www.spotify.com/us/help/faq/ipod-integration/can-i-sync-my-podcasts-to-my-ipod-with-spotify/

So it sounds like it depends what you have in your iTunes music library. If you're already subscribed to the GPPN using iTunes, then you can use Spotify to access them (add them to a playlist or whatever).

A Big Enchilada Facebook fan asked whether he could get my show on Spotify. I don't know how I could do that, or whether it's even possible. It would be cool if we could get the whole GP network feed on Spotify, but again, I'm not sure if that can be done.

cheers man! they sound great will listen to more

Feffo said:

thanks! i just listen this song and i like it.. I'll search for lp :)

 

another great band are shapes have fangs

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

stinkyben said:

1. harlem! http://youtu.be/KClYxxxY-_c

Shapes Have Fangs

it's just because of time - try to put 3 LP's on 1 CD- this doesn't work

___________________________________________________________

by the way i have all of the records mentioned above expect (MADAME RITARD'S HORRORS OF THE WAX MUSEUM) - i've ripped most of them to my PC a few years ago - drop me a line if you're interested in complete soundfiles

Real Gone Garbage

Swing for a crime

Wavy Gravy 1,2,3

MADNESS INVASION 1,2,3

Blunderbuss 1,2

Tabu

Weirdsville, Wildsville, Wowsville

Mello Jello

Bent Batty & B'noxious

Cough Syrup For Elvis Impersonators

still missing the Mondo Hysterico comps in this thread - also 3 volumes but only have Vol.3 on Vinyl and Vol.1+2 on PC

Frolic Diner (6 Volumes) very close to Las Vegas Grind comps

Big Itch Vol.1-8 are very nice too

and don't forget about the Bug Out Vol.1-3

Lavender Jungle

whoohhaaa so many great music - should be a nearly complete list of everything weird :-)

or did i forget something

Ive got wavy gravy on vinyl and cd but the cd has half of four hairy policemen on it as well! not sure why they didnt add the whole thing on?

of a similar ilk is 'jungle exotica' on Strip records

The Madchester stuff was at times Northern Soul and funk influenced, especially the Happy Mondays and The Stone Roses "Fool's Gold". The beat's just The Funky Drummer.

I always imagined it to be a revived version of the Kinks and Beetles and 60s stuff so the whole northern soul and funk is a new idea I'll have to have a look at. To be honest though in 1993 I was only 7 so I pretty much missed the significant stuff and got the arse end of it. I remember it in 1997 particularly with the 'cool Britania' thing New Labour were spouting off. And about then Blur and Oasis were staples, Wonderwall and Parklife and all that. I still have Tender as a single which is a bit dull but the French Song (B side) is actually rather cool. I was quite big on the Sterophonics, but some cunt stole my CD. They went majorly downhill though with Just Enough Education to Perform in the same way that Oasis managed to make the worst record ever with Standing on the Shoulders of Giants.

 

I also heard that Brit Pop was in some ways a reaction to grunge, trying to make a British scene, which kind of makes sense in the same way how the Kinks and British Invasion bands were trying to do a British version of what was going on in America at the time. It's one reason why British music usually works better than some other countries because it just sounds embarrassing when you try to outright copy what's started in the USA.

 

I never really did the Happy Mondays but I really should buy a few records, any suggestions?

pills thrills n bellyaches!

    brilliant album!

I always imagined it to be a revived version of the Kinks and Beetles and 60s stuff so the whole northern soul and funk is a new idea I'll have to have a look at. To be honest though in 1993 I was only 7 so I pretty much missed the significant stuff and got the arse end of it. I remember it in 1997 particularly with the 'cool Britania' thing New Labour were spouting off. And about then Blur and Oasis were staples, Wonderwall and Parklife and all that. I still have Tender as a single which is a bit dull but the French Song (B side) is actually rather cool. I was quite big on the Sterophonics, but some cunt stole my CD. They went majorly downhill though with Just Enough Education to Perform in the same way that Oasis managed to make the worst record ever with Standing on the Shoulders of Giants.

I also heard that Brit Pop was in some ways a reaction to grunge, trying to make a British scene, which kind of makes sense in the same way how the Kinks and British Invasion bands were trying to do a British version of what was going on in America at the time. It's one reason why British music usually works better than some other countries because it just sounds embarrassing when you try to outright copy what's started in the USA.

I never really did the Happy Mondays but I really should buy a few records, any suggestions?

Anything spring to mind?

Mike Humsgreen said:

Yeah I like some of that. I was a little un in the 1990s and so it was on the radio all the time.

Yeah I like some of that. I was a little un in the 1990s and so it was on the radio all the time.

I grew up with a lot of the Madchester and Britpop stuff, like The Stone Roses, Happy Mondays, Inspiral Carpets, Suede, Blur, Elastica, Ocean Colour Scene, Kula Shaker, Primal Scream et al. I was wondering if there were any fans of it on here?

I noticed some of the Madchester bands were heavily influenced by Northern Soul and Funk, right down to the drumming and wah-wah guitars (Fools Gold and anything by the Happy Mondays).  

The new Big Enchilada is up.

It's not a "hillbilly" episode, but it's got some songs by Gun Club, Scott H. Biram, The Hickoids, Glambilly, Frontier Circus and The Tombstones, not to mention a real spooky old blues song by Geeshie Wiley circa 1930.

Check it out.

http://garagepunk.ning.com/pro files/blogs/big-enchilada-40-c lobberin-amp-slobberin

oops, sorry!

Rob Wright said:

Hey Dave, you'd have to ask Rob Wright from NoMeansNo, I'm not him!  Cheers, Rob

dave machine said:

Garage sure isn't trendy in northern British Columbia, which is why bands can't be dangerous up here. It's hard enough getting gigs at the northern folk festivals (and we do like playing them, it's all we have, plus it's a good way to get in free to a three day party). Bands are thrown out for being too rock and roll, sad but true. So no swearing at the audience or spitting whiskey on them - just ask a band called the Turncoats about their Kispiox experience.

I'm curious to know how NoMeansNo did at Atlin or Dawson City a couple years back? (sorry I didn't make it, it's still two days driving north of here) I used to love seeing NoMeansNo and never felt in danger near the stage. Moshing used to be a lot less violent than it is now, and it was fun. Rock and roll should be fun. I totally agree that passion and energy are often lacking, and are a requirement. But after our first gig a few years ago where we almost got into fights with local rednecks at the local pub, we decided that isn't the way to go for rockers in their 30s and 40s. Passion and energy can just mean a good fucking time is had by all.

Yeah, that's about right. Have a band like the Fuzzzzzztones come up on your saturday night date chat on what music turns you on and explain their looks and Garage antics and it's FROWN from your companion. Tell them you dig the cute lookin' Black Lips and it's all, AH YEAH SO COOL SO GREAT SO CUTE! GARAGEPUNK IS SOOOOO GREAT!

Nothing against the Black Lips, but one part of why they are making it big, is because they are young and good lookin.

people just have no backbone, that helps them dig the dirt below the trends, they are guided by the iTunes store hot list. And that is shallow territory.

There's a lott of confusion thru "bands" calling themselves garage right now, because kids mistake it for what's hip and don't know the roots. ...The everlasting trouble with trends.

Forgive my short babbling, I'm inna hurry.



John White said:

The term "Garage" is trendy, but I don't think true garage rock bands are trendy. The NFL used garage rock "type" bands for all their ads last year, that helps get the sound out there in the mainstream. I don't think hipsters really know the roots, they just dig the sound and style.

Ha! Thanks for that!
kopper said:

Hell yeah, it's trendy as fuck right now. And it's really annoying. I keep hearing or reading of "garage" sounds or influences in bands that sound NOTHING like garage rock (or "garage punk," for that matter). I think it's just the state of the music scene right now. Bands like the Hives, White Stripes, and Black Lips (amongst others) really put "garage rock" in the mainstream, and then you had labels like Vice Records jump on the bandwagon with lots of money to promote it with the help of corporations like Scion, and BOOM. It's the "next big thing." Problem is, too many of these bands are just plain BORING, and I bet most of 'em wouldn't know a Sonics or Oblivians tune if it hit 'em on their heads.

Oh, and by the way, I never could stand the Strokes. As far as I'm concerned they were the "Pearl Jam of Garage Rock," a fabricated band, totally fake, with crappy music that might be OK when compared with the rest of mainstream "rock music," but pales in comparison to most of the real garage rock/punk out there.

The term "Garage" is trendy, but I don't think true garage rock bands are trendy. The NFL used garage rock "type" bands for all their ads last year, that helps get the sound out there in the mainstream. I don't think hipsters really know the roots, they just dig the sound and style.

Dave,

I sympathize with your plight to an extent. Here in MN we may be spoiled, but we have our share of rednecks and naysayers on the periphery. Really though: Bands can't be dangerous up there? Being dangerous and being a dick are two different things. Honestly, I wouldn't want some jackass in a band spitting on me either. To me that's not dangerous, that's poseur shit like Green Day and Manson. If somebody spit on me I'd probably want to beat his ass too or at least spit back on him. There are better ways to be dangerous with some good healthy subversive lyrics or an aggressive stance. Trust me, my band Murder Lane played a redneck joint once where everyone HATED us. This was a podunk, honky tonk dive and we were in full face paint singing about "Drinking Redneck Blood": Ya think that went over well? Needless to say, thought we were destined to get linched. We finished our set anyway and hung around for free beer. Did anyone pick a fight? Nope. But I'll tell you what, we were ready to throw down in a heartbeat. Why? Because I'll be damned if I'm gonna let some redneck spoil my fun. Besides, maybe some tough guy rednecks will think twice after they get the crap kicked out of them by a 40 year old punk in Frankenstein makeup.

"Rock 'n Roll is based on revolutions going way beyond 33 and 1/3."

-Jon Trudell- 

dave machine said:

Garage sure isn't trendy in northern British Columbia, which is why bands can't be dangerous up here. It's hard enough getting gigs at the northern folk festivals (and we do like playing them, it's all we have, plus it's a good way to get in free to a three day party). Bands are thrown out for being too rock and roll, sad but true. So no swearing at the audience or spitting whiskey on them - just ask a band called the Turncoats about their Kispiox experience.

I'm curious to know how NoMeansNo did at Atlin or Dawson City a couple years back? (sorry I didn't make it, it's still two days driving north of here) I used to love seeing NoMeansNo and never felt in danger near the stage. Moshing used to be a lot less violent than it is now, and it was fun. Rock and roll should be fun. I totally agree that passion and energy are often lacking, and are a requirement. But after our first gig a few years ago where we almost got into fights with local rednecks at the local pub, we decided that isn't the way to go for rockers in their 30s and 40s. Passion and energy can just mean a good fucking time is had by all.
Rob Wright said:

The thing I can't down with in regards to the new crop of 'garage' bands is they are all so fucking wimpy!  Where's the danger, the excitement, the punk rock?  I like psych, and I like some stoner-y kinda stuff too, but I need some energy and passion and spite and hate in my rocknroll to really get me going.  I rarely feel an element of danger bands live shows these days, it's either straight up 'bug' music (see: The Flintstones) or it's just so wimpy that I can't get behind it.  I don't need a GG Allin show, but c'mon, make me feel like I might get hurt if I get a little too close to the stage, y'know?!  GIMME DANGER LITTLE STRANGER

haha fucking thiefs... but it's okay because they're so cool... 

John Battles said:

Axel , It sounds like they mean they would like to hear The Ravonettes cover it...."Die When You Die" actually IS a cover song , of sorts. It's taken directly from "You're Gonna Die" by Destroy All Monsters. He changed it a bit ,  of course , the words are his. He did the same thing with "Scumfuc Tradition" ("Family Tradition" by Hank Williams , Jr.) , "Outlaw Scumfuc" ("Longhaired Redneck by David Allan Coe.) and even "Blow Jobs" ("She Got a Nosejob " , a Mad Magazine record !!!!). YES , I DO NEED TO GET OUT , TONIGHT.

Axel Björnsson said:

are you talking about they have already cover it or you like to hear them cover it? (don't find it on youtube)

i loves GG - was really surprised by how much i liked the music - leave out the blood and shit montage and listen to the Murder Junkies music - it's great. and GG himself - his lyrics are pure pain but he was a wordsmith for sure...

I'd love if you check out Zero Hour sometime. It's my radio show on WMSE 91.7 in Milwaukee. It airs Fridays from Noon to 3 p.m. You can listen online at wmse.org, where it is also archived.

I play all independent (with a little cheating now and then) rock-n-roll. Expect garage, old R&B and honky tonk, rockabilly, punk, blues, alt.country, soul, surf, power pop, etc. spastic, goofy, primitive, loud, lots of Milwaukee and Wisconsin because that's where I live, lots of Virginia and North Carolina because where I used to live, and lots of Memphis because, shit, it's Memphis!

Blog at zerohourradio.blogspot.com

Two latest playlists below.

9-23-11

Boppin’ High School Baby – ’68 Comeback
Time Bomb High School – Reigning Sound
High School Confidential (live) – Jerry Lee Lewis
School Work – Dean Carter
Afterschool Special – High School Sweethearts
Why Do I Go to School – The Sixteens

Stuck in the Middle – The Replacements
Teenage Timebomb – Okmoniks
My GTO – Teengenerate
Jokes – Trent Fox & the Tenants
Crusher – Los Explosivos
Let Me Play With Your Poodle – Johnny Buckett

Elevation Time – The Hook Up
I Must Be the Devil – Glambilly
Dirty Sex – The Bloody Hollies

On a Bus – John Wesley Coleman
Allright Tonight – Limes

Local Lunchbox
Coffee Beans (rock) – Annie B. & the Vagabond Company
Cat Girl – Annie B. & the Vagabond Company
These Boots Are Made for Walkin’ – Annie B. & the Vagabond Company

Living Hell – The Bottle Rockets
Learn to Say No – Lydia Loveless
Last Great Guitar Slinger – John Howie & The Rosewood Bluff
New York City Women – The Booze

Stranger in Town – Light Bulb Alley
Needle in the Camel’s Eye – The Hickoids

John Paul Keith in the studio
You Devil You (live) - John Paul Keith
The Man That Time Forgot (live) - John Paul Keith 
Jealous Heart – Jack Oblivian
Rock-n-Roll Will Break Your Heart (live) – John Paul Keith 

Chains – The Sorrows
Love is Knockin’ At Your Door – Muck & the Mires
Get Better – The Insomniacs
Something in a Friday Night – The Tripwires
Lend Me Your Comb – Bambi Kino

Beeramid – Fuad & the Feztones
King of the Rocket Men – Hipbone Slim & the Kneetremblers
Sarah Lee – Esquerita
Scream – The Tumblers
I Wanna Be Your Man – The Wild Zeros

I Ain’t Takin’ You Out – Personal & the Pizzas
Let’s Buy Some Wine – Vex Ruffin & the Lo-Fi Jerkheads
Planet Foreign/Apt – Shadowy Men on a Shadowy Planet
Crossed Wires – Superchunk
Smile Like a Villian – The Midwest Beat

9-16-11

Who Drank My Beer (While I Was in the Rear) – Dave Bartholomew
Big Boy Pete – Arch Hall Jr. & the Archers
Catch This Teardrop – Bo-Keys with Percy Wiggins
Sugar Coated Love – Lazy Lester
I Wonder If You Wonder – Michael Hurtt & The Haunted Hearts
Weak Spot - Bo-Keys with William Bell
Niki Hoeky – Bobby Rush

I’m Tired of You, Satan – The Party Lights
Why Ain’t Bo on My TV? – Hipbone Slim and the Kneetremblers
One-Eyed Monkey – Hipbone Slim and the Kneetremblers
I’m Not Drinking More – DM Bob & the Deficits
Best Friend – The Demolition Doll Rods

She Said – Stupidity
People, Let’s Freak Out – The Freaks of Nature
Lover Please – Jack Oblivian
Ooh My Soul – Pretty Boy
Jackie – Midnite Snaxx
Serve the Man – The Revelators
Nautiloid Reef – The Nautiloids

Local Lunchbox
Partay Reggae – Codpiece
Teenage Corpse – Dummy Club
Ballad of a Lady Gunslinger – Dummy Club
Milorganight – Drugs Dragons

Summer on a String – Spider Bags
Empty Bar – Limes
Teenage Kicks – Dead Brothers
Oh Lord, My Heart – The Deadly Snakes
Little Miss Keith Richards – John Wesley Coleman
I’m a Man – The Buckinghams

Get Down With It – Bobby Marchan
Right Arm For Your Love – Swamp Dogg
Cloudy Day – Finis Tasby
I’ve Got to Find Myself a Brand New Baby – Mike & the Modifiers
Meanest Jukebox in Town – Johnny Paycheck

Phone interview with Brian Henneman from the Bottle Rockets
Turn for the Worse – The Bottle Rockets
Kerosene – The Bottle Rockets

Hung Over – The Martinis
Crazy House – Redd Foxx
Mona Lisa – Tav Falco’s Panther Burns
Train From Kansas City – The Shangri-Las
Out of Control – LH & the Memphis Sounds

We Don’t Have to Hide Anymore – Muck & the Mires
Running for Your Life – Tommy Keene
Money City Maniacs – Sloan
Dear Donna – Jay Banerjee
Kentucky Lounge – The Liquor Giants
You Devil You – John Paul Keith

The Soul of a society

By

Chris Henniker

Detroit has the reputation as the soul music capital of the world, but never has its influence ever been associated with anywhere behind the Iron Curtain. There is one exception:  Marta Kubisova. Miss Kubisova’s soul recordings between 1966-70 have been collected in a charming little compilation, “Ne! The Soul of Marta Kubisova”, by Vampisoul Records that captures the mood of Czechoslovakia undergoing dissent. When people wanted society to open up, the popular music captured the feeling by its utter lack of propaganda. Although I only know a few words of Czech, you can’t imagine the principles of Socialist Realism fitting the funky organs and melancholic brass straight out of Oke, Stax or Atlantic studios, can you?

When I bought it, I was unsure what I was getting into. I saw the words “fuzz Guitars” on Rough Trade’s description, which is reassuring, but anything for a fiver I guess. Well? I was expecting Eurovision type dross, but it’s no different to any American soul album. If there were any mods or skinheads behind the Iron Curtain, they would be cutting a rug to this.  Except her version of the Hare Krishna chant is catchy and unexpectedly kitsch. In a society where religion was suppressed, it’s almost Eurovision quality is somewhat defiant in the face of the tanks that rolled through Wenceslas Square. It sounds like those naff nonsense songs you get in the Eurovision Song Contest, like Bim Bong Bombi Bang, but it’s even more challenging given Czechoslovakia was a Catholic country under the yoke of Russian colonialism. The events of the Prague Spring make the psych-folk Ballad of The Soldier and the Girl feels all the more poignant. It feels like a tragic tale of lost love and yearning.  Even the ending feels sitar-like.

The more upbeat numbers like the Beat/Blues number Na Co Te Mam could be  British Invasion classics if English was a Slavic (as opposed to a Germanic) Language. It does feel like it goes into kitsch at times, but the soul influences are far too strong for it to do so. The closer sounds like Astrid Gilberto with its Bossa Nova beats and is ideal for a hot summer’s afternoon in Rio, overlooking Copacapana Beach with a Rum and Coke. Beats huddling for bread in a shortage economy, doesn’t it?

Like I said, it’s a charming compilation that captures the spirit of a time when people wanted change as well as one girl’s talent. She was even tipped for international stardom, until the regime banned her as an instrument of American imperialism. It’s a true document of history, which gives a glimpse behind the Iron Curtain and the soul of a society that wanted to get funky.