It's amazing what the Cramps brought us, ya know?  Link Wray, Hasil Adkins, a lot of necessities in real music to say the least!
Wayne Talbott said:

yeah makes total sense.Looking at it now, without link wray,I wounder what The Cramps would have sounded like?
It wasn't until I picked up a album by wray that I relised poison ivy's stlye of playing comes from the man himself and she used it wisely I must say.


joey fuckup said:

I know what you're saying Wayne, just like you can't really classify the Animals as "garage"...To most music historians, garage started with surf music and Link Wray, then when the British Invasion hit, you had all these bands trying to emulate these groups, yet (to me anyway), sounding not as good, but better because it was so "punk" (hope that makes sense)...1966 is "Ground Zero" for what we know as the beginning of "garage rock", but if you go back and listen to Link Wray, you wonder, it's like it was garage before it was garage, like garage was punk before there was punk...I hope I'm makin' sense...And still to this day, I'll take '60's Stones over any decade they have been in existence...

Wayne Talbott said:

For me It was hearing louie louie by the kingsmen when I first watched quadrophenia when I was 15, but it took a good five years to get realise that the records that were popping up was this creature called garage,but where does garage start?

Some say ? and the Mysterians, but could you call the kinks, the Who the Rolling Stones garage, they got classed as mod I know but they influenced a lot of garage bands, infact every garage band 

That Bay City Rollers tune is a good one, my favorite by them is "Yesterday's Hero"!  And once it gets in my head, I can't get it out!  Like now... :)
Johnny Bean said:

Blitzkreig Bop without a doubt. I bought it in 1976, I think the single I bought before that was Rock N Roll Love Letter by the Bay City Rollers so maybe that was the one :)

yeah makes total sense.Looking at it now, without link wray,I wounder what The Cramps would have sounded like? It wasn't until I picked up a album by wray that I relised poison ivy's stlye of playing comes from the man himself and she used it wisely I must say.

joey fuckup said:

I know what you're saying Wayne, just like you can't really classify the Animals as "garage"...To most music historians, garage started with surf music and Link Wray, then when the British Invasion hit, you had all these bands trying to emulate these groups, yet (to me anyway), sounding not as good, but better because it was so "punk" (hope that makes sense)...1966 is "Ground Zero" for what we know as the beginning of "garage rock", but if you go back and listen to Link Wray, you wonder, it's like it was garage before it was garage, like garage was punk before there was punk...I hope I'm makin' sense...And still to this day, I'll take '60's Stones over any decade they have been in existence...

Wayne Talbott said:

For me It was hearing louie louie by the kingsmen when I first watched quadrophenia when I was 15, but it took a good five years to get realise that the records that were popping up was this creature called garage,but where does garage start?

Some say ? and the Mysterians, but could you call the kinks, the Who the Rolling Stones garage, they got classed as mod I know but they influenced a lot of garage bands, infact every garage band 

Blitzkreig Bop without a doubt. I bought it in 1976, I think the single I bought before that was Rock N Roll Love Letter by the Bay City Rollers so maybe that was the one :)

That's one hell of a playlist!

NoHitWonder said:

well, here we go...

THE DEVIL DOGS - Big Beef Bonanza

THE CRAMPS - Smell Of Female

THE STOOGES - I'm Sick Of You

RAMONES...needless to say

well, here we go...

THE DEVIL DOGS - Big Beef Bonanza

THE CRAMPS - Smell Of Female

THE STOOGES - I'm Sick Of You

RAMONES...needless to say

My garage must be a bigger garage cause there's a ton of British Invasion groups in it.  Even some are a bit poppy like the Hollies up to like 1967.  Early Animals for sure.  There is a ton of early Kinks that fits the bill for me as well.
Wayne Talbott said:

For me It was hearing louie louie by the kingsmen when I first watched quadrophenia when I was 15, but it took a good five years to get realise that the records that were popping up was this creature called garage,but where does garage start?

Some say ? and the Mysterians, but could you call the kinks, the Who the Rolling Stones garage, they got classed as mod I know but they influenced a lot of garage bands, infact every garage band 

Psycho - The Sonics
My friends and I were fresh outta High School way into cars by the mid 90's but, we were just discovering music other than the "oldies" our parents showed us. Local record stores were the big chain type with no category for what we wanted so, we would look for any album cover that said or looked like anything Rockabilly or Surf. One of the guys got into buying music on E-vil-Bay and we would trade music with each other. He bought a Record called "Psychobilly sickness" or something like that. anyways long story short he hated it I loved it, Especially Psycho which of course wasn't Psychobilly so, I just had to find out what this music was and were I could find more of this amazing raucous Shit.

I know what you're saying Wayne, just like you can't really classify the Animals as "garage"...To most music historians, garage started with surf music and Link Wray, then when the British Invasion hit, you had all these bands trying to emulate these groups, yet (to me anyway), sounding not as good, but better because it was so "punk" (hope that makes sense)...1966 is "Ground Zero" for what we know as the beginning of "garage rock", but if you go back and listen to Link Wray, you wonder, it's like it was garage before it was garage, like garage was punk before there was punk...I hope I'm makin' sense...And still to this day, I'll take '60's Stones over any decade they have been in existence...

Wayne Talbott said:

For me It was hearing louie louie by the kingsmen when I first watched quadrophenia when I was 15, but it took a good five years to get realise that the records that were popping up was this creature called garage,but where does garage start?

Some say ? and the Mysterians, but could you call the kinks, the Who the Rolling Stones garage, they got classed as mod I know but they influenced a lot of garage bands, infact every garage band 

For me It was hearing louie louie by the kingsmen when I first watched quadrophenia when I was 15, but it took a good five years to get realise that the records that were popping up was this creature called garage,but where does garage start?

Some say ? and the Mysterians, but could you call the kinks, the Who the Rolling Stones garage, they got classed as mod I know but they influenced a lot of garage bands, infact every garage band 

Search & Destoy - as thrashed out by The Dictators - 12 inch single from 77? Then I realised it was a cover! It was all down hill from then!! Now the Dictators LP's on vinyl are woth getting the old turntable wired up for!

 

J=N=O

Friends of the Light Machine

Love's "Forever Changes" ... I was floored.

"Louie Louie"
I was in 6th grade, 1965.
Yes, I thought it contained secret dirty lyrics. Months later I'd hear the siren cal of "96 Tears" and "Dirty Water" and "Wooly Bully," though I liked "JuJu Hand" more. (I saw Sam the Sham & The Pharaohs at Springlake Amusesment Park in Oklahoma City during this period.)
"Double Shot of My Baby's Love" by The Swingin' Medallions was around that time. "Psychotic Reaction" came a little later

joe let me know if you sell that Silvertone!

joe said:

i'd like to get a fury fireball guitar, also a johnson celestion or monarch amp

also a honeytone pyschedelic machine

have a duo sonic, its ok. have a farfisa compact , its crap a yamaha yc-20 0r 30 is more reliable. have a silvertone twin twelve which i might sell at some point. an old 50's standell amp would be cool too

i'd like to get a fury fireball guitar, also a johnson celestion or monarch amp

also a honeytone pyschedelic machine

have a duo sonic, its ok. have a farfisa compact , its crap a yamaha yc-20 0r 30 is more reliable. have a silvertone twin twelve which i might sell at some point. an old 50's standell amp would be cool too

gories...

atomic 7-

the young cools-

slacktone

ravi shankar

The Batusis

Hanoi Rocks - missed them a couple of times in the old days

Sonics - missed them a couple of months back hope it was not the last chance :(

I just replied to "what are the three favorite shows you've seen" but who is still on your "to see" list that you haven't seen and you'd like to catch before they break up and die?   No resurection from the dead or time travel, please.

That's blows my fucking mind!

 

On The Flip-Side said:

If you follow Whatwave Dave's link you'll get to my site, On The Flip-Side. It has some of the lyrics but not all. Obviously it has a link to the whole song. Let me know if you need help decoding others. Also, read the comment section below the article and you'll see that the lyricist for the song weighs in with some revelations about how the song came to be.

Sir Dom -

 

If you follow Whatwave Dave's link you'll get to my site, On The Flip-Side. It has some of the lyrics but not all. Obviously it has a link to the whole song. Let me know if you need help decoding others. Also, read the comment section below the article and you'll see that the lyricist for the song weighs in with some revelations about how the song came to be.

 

Cheers

 

On The Flip-Side. 

Wow!!!!!!! what a super cool post!!!!!

A version of this was published in The Santa Fe New Mexican January 7, 2011 The cover says it all. Right beside a sepia photo of a kid in a cowboy outfit, there’s a list of subjects that are covered on the first volume of a strange series of musical compilations called Twisted Tales From the Vinyl Wastelands:  “Cowboys. Indians. Prison. Alcohol. Children. Aliens. Midgets!” There’s also a warning: “Singing Children & Other Musical Crimes.” Yep, my kind of music. And indeed, in Twisted Tales you’ll find story songs, answer songs to popular hits of the day, and novelty songs. There are topical songs ripped from the headlines of the time and politically incorrect songs — some probably racist, or at least shockingly unenlightened. The tracks are full of sex. But there are usually tragic consequences attached to lovemaking. It’s the same with liquor and drugs or being a hippie. Each CD contains about 30 songs. The lion’s share of the artists are obscure — Dude Martin, Duke Mitchell, and Johnny Wildcard. However, there are a smattering of tunes by artists whose names you might recognize: Homer and Jethro, Faron Young, Benny Joy, Lee Hazlewood, and Freddie Hart — Spike Jones even makes an appearance on Volume 7. Most of the tracks seem to come from the ’50s and ’60s, though some are from the ’70s and beyond. You can’t find these at most places where CDs are sold. They are not on Amazon or iTunes or even eMusic. There’s no website for Trailer Park Records and no mailing address on the CDs themselves. But you can find them through the magic of eBay or on the British site  No Hits Records. Here’s a look at all eight: *  Volume 1: Hog Tied & Country Fried. This is a wonderful introduction to the Twisted world. The promised aliens are here, starting with “The Martian Band” by Scottie Stoneman (Martians playing the autoharp?). There’s some sexist joy at the expense of women’s lib in Benny Johnson’s “Burn Your Bra,” while Kirk Hansard visits a “Nudist Colony.” Tommy Scott & Scotty Lee cast out devils with “Exorcism.” Hank Penny examines racism in “The Strong Black  Man” (which owes a debt to Jimmy Dean’s “Big Bad John”). And yes, there are singing children: Duane Williams, who chirps a weird tune called “The Devil Made Me Do It,” and Bill Moss Jr., who recites “When Teddy Bear Took His Last Ride,” a maudlin answer song to Red Sovine’s even more maudlin truck-driver hit. *  Volume 2: Demented Rock & Roll. These are long forgotten — if indeed ever known — records from rock’s infanthood. There are singing frogs and dancing pigs and even one for the Alamogordo chimps in “Missile Monkey.” There are also some questionable tunes about people from foreign lands, like “Tokyo Queen” by The Charlie Bop Trio and, even worse, “Chinese Rock ’n’ Roll” by Bobby Gregory. But at least one of the songs about Mexicans, “Pancho Rock,” is done by an actual Mexican American, the great Lalo Guerrero. * Volume 3: Beatin’ on the Bars. Here we get crime songs and prison laments, a major subgenre of real country music. I’m not sure why executed California murderer Caryl Chessman struck such a chord with country musicians. He’s the title character of a song by a guy called “Country” Johnny Mathis and the inspiration for Jimmy Minor’s “Death Row.” But the most twisted tale here is Horace Heller’s “Ed’s Place,” a first-person confession of a double homicide of passion (“I didn’t mean to kill her. ... But I meant to kill him!”).

*  Volume 4: Hippie in a Blunder. Hippies had a lot of the country worried in the late ’60s, with all their protesting, long hair, drugs, and love-ins. The title song by Johnny Bucket makes fun of hippies’ appearance and stupidity, but I prefer Smokey Harless’ “A Place for Them Called Hell,” because he’s not just bemused by the longhairs, he’s pig-bitin’ mad. There are lots of drug songs on this collection — psychedelic cautionary tales, such as ”LSD” by Wendell Austin, and reefer- madness tunes like “Marijuana, the Devil’s Flower” by Johnny Price. *  Volume 5: Last Kiss of the Drunken Driver. If you’re a fan of “Teen Angel,” “Tell Laura I Love Her,” and all those classic teenage-death songs of the ’50s and early ’60s, this volume is for you. It’s full of fiery car crashes and other tragedies. Most are unintentionally hilarious in their earnestness. But there’s black humor too, such as Jimmy Cross’ “I Want My Baby Back” and Louie Innis’ “Suicide.” *   Volume 6: Strange Happenings in the Boonies. More from the hillbilly Bizarro World. The aliens are back with “Swamp Gas” by The Space Walkers. “The Devil, My Conscious, and I” by Billy Barton features the craziest devil voice you’ve ever heard. “Sitar-Pickin’ Man” by Bobby Zehm is about a Calcutta cowboy and features an electric sitar. And “Teddy Bear” is back. There’s a cover of the original Sovine hit by Hank Hill — yes, that Hank Hill — and “Teddy Bear’s Epitaph” by John Texas Rocker. Sovine himself shows up with “The Hero,” a tearful tribute to John Wayne. *  Volume 7: Elvis Reese’s Peanut Butter & Banana Creme. This one’s all over the place. Al Hendrix sings about his after-shave. Bad impersonators of U.S. Sens. Robert Kennedy and Everett Dirksen sing a duet on Donovan’s “Mellow Yellow.” Wendy Powers makes strange noises on “Auctioneer Lover.” Billy Ledbetter’s “Stealing Hubcaps” sounds like a juvenile-delinquent version of Amos & Andy. There are more songs with Asian stereotypes here — “Rockin’ China Doll” by Gene Ross, “Japanese Skokiaan” by Spike Jones, and “Cholly Oop,” which is offensive to Chinese people as well as to cavemen. *  Volume 8: Please Don’t Go Topless, Mother. The title song is by another kiddy singer, Troy Hess. He’s ashamed of his mom’s job as a topless go-go dancer. A singer called Filthy McNasty does “Ice Man,” full of dumb double- entendres. Russ “Big Daddy” Blackwell tells a bad-seed story of a killer kiddy in “The Little Monster.” But the most disturbing song is Cousin Zeke’s “Lover Man Minus Sex Appeal.” Let’s just say he looses his sex appeal in a surprising way. xxxxxxxxxxx Twisted Enchilada: My latest episode of The Big Enchilada podcast includes a 20-minute sampler of songs from Twisted Tales From the Vinyl Wastelands. And I’ll play some Twisted songs Friday night on The Santa Fe Opry, KSFR-FM 101.1, starting at 10 p.m.