Thanks Trashman. But I bet you won't be wearing tight white pants and knee high boots when you shout it! ;-)~

^Post of the year Don.  Thanks for sharing.  and of course I ran to youtube right away to listen to Always Always.  Better yet, I see it down the right hand column of this page right now.  A sneering punk - "Hey Lets Go Now" will be my battle cry for sometime now.  thanks again.

I'm not familiar with Garage Masters, but I do know (or think I know) that sometimes reissue recordings can be done in good faith and not with the desire to  just rip off the creative artists.

Just over a year ago I created and posted a video of my own mid-sixties group The Abstracts just for the hell of it.  On several forums people responded with such comments as "That should be on Nuggets of Pebbles."  I, having been out of the music scene for many years, had no idea what they were talking about so I Googled both words and leaned about the garage band scene and about the work of such people as Greg Shaw. Then, when digging deeper, I had the total surprise (shock really!) of finding that my band's long thought forgotten single's b side -- the song "Always Always" -- WAS included on a Pebbles cd. (Essential Pebbles Volume II)

I did not get paranoid about it. Instead I contacted Bomp Records, introduced myself, and inquired how that had come to be.

Instead of the generic letter from some admin assist I expected to recieve I got a very personal email from Suzie Shaw herself telling me how much she and Greg loved the song and explaining that Greg always did whatever he could to find and credit the artists.  I took her words 100% with good faith.  In fact no one knew who The Abstracts were. And on the record -- released by a long defunct and little known label -- even the name of the composer -- Andy Bonime -- had been  misspelled. 

Could I have been angry? Felt cheated?  I suppose so. But in fact Greg's including the song on the Essential Pebbles cd proved to be a wonderful thing -- far more wonderful then the few dollars in royalties we lost but his using the track without being able to pay those royalties. So instead of being huffy I took the opportunity to thank all the people that had heard the song and decided to share it on their YouTube Channels and the like. My doing so was as innocent as Greg and Suzie was -- it was based on a love for the music.  And those "thank you"s led to an on line discussion with a stranger about whether I had actually seen the record. When I responded "yes, it is hanging framed on my wall. I was the band's lead guitarist" a door was opened to right-hearted people to give The Abstracts the credit that  they were do. And that, just one year later, led to the release of our album "Hey, Let's Go Now!" -- this time with full credit and fair reimbursement.

In truth musicians have been ripped off by unscrupulous record makers for years and years. Some even felt that way (unfairly IMO) about people like the Chess brothers.  But I see -- indeed make an effort to see -- other possibilities, other motives. And in many cases I think that includes love of the music - the desire to see it "out there," being enjoyed an appreciated.

-Don

Well, I know for a fact that Tim Warren has dealt with this issue multiple times ever since he put out the first Back From the Grave comp, and yes, he has written royalty checks to the songwriters or artists if and when these issues present themselves (i.e., a band or musician contacts him). He's even said that he will first try to locate and contact the artists ahead of time to get their approval, but in most cases this is next to impossible, or the band members think he's crazy for even wanting to reissue that stuff that they think is worthless! (I think that was the case originally with "Green Fuz"). It'd actually be great to try and get Tim to weigh in on this topic. That said, I know what you mean regarding some other entity holding the mechanical rights to songs, but even then I still don't see the difference, nor does this excuse Garage Masters from just pulling any songs they want from any other comp or release and re-releasing them on their own digital comps. My question is and remains, does Garage Masters get approval from whomever owns these rights before they assemble their compilations?

trashman said:

^the only thing I try and gather out it is those old timers do not neccessarily own the rights to their songs but perhaps a label that Orchard deals with does.  Look at all the old performers that don't see a dime anymore.  But the label receives it.

I noticed that garage masters label have a handful of fuzztones songs included on their comps.  I don't see them getting away with that unless Orchard is somehow tied to Italy Gone Down label or whatever they are working with now or in the past.

Is this any different than all the other comps that exist- BFTG, GP Unknowns, etc, etc.  NO way these compilationers are tracking down lead artists from teen bands long disbanded to pay royalties for inclusion on a comp.  If so, that is a great article that should be written - what it takes to make a garage punk compilation.

So in the end, I don't think there is anything stopping us from dong what garage masters label did as long as we find the consortium like orchard; browse a list and start compiling.  Rumors of a BFTG volume 9 - I wonder how they will do it?

 

^the only thing I try and gather out it is those old timers do not neccessarily own the rights to their songs but perhaps a label that Orchard deals with does.  Look at all the old performers that don't see a dime anymore.  But the label receives it.

I noticed that garage masters label have a handful of fuzztones songs included on their comps.  I don't see them getting away with that unless Orchard is somehow tied to Italy Gone Down label or whatever they are working with now or in the past.

Is this any different than all the other comps that exist- BFTG, GP Unknowns, etc, etc.  NO way these compilationers are tracking down lead artists from teen bands long disbanded to pay royalties for inclusion on a comp.  If so, that is a great article that should be written - what it takes to make a garage punk compilation.

So in the end, I don't think there is anything stopping us from dong what garage masters label did as long as we find the consortium like orchard; browse a list and start compiling.  Rumors of a BFTG volume 9 - I wonder how they will do it?

 

I'm still confused by this whole thing. What's stopping you or me from making our own label, putting together a bunch of goofy compilations of tracks from other albums (without first getting the permission of the artists or songwriters, mind you), whip up a cover, and distribute them through The Orchard (and therefore make money from the sale of 'em on those sites)? Am I missing something here? I hope I am... cuz this just doesn't seem right.

trashman said:

nice work kopper.  I kept seeing The Orchard show up but thought it was one of the comp titles.  Hope someone tells Bob Taylor.

I see they feature the Raveonettes, Nancy Sinatra, Ryan Adams, Coldplay, Tommy Waits and hosts of others thru labels.

They include the Garage Masters Label in their database - search our catalog feature here

http://www.theorchard.com/music

I do not think one has to be too old to rock, but one can be.  Rock comes from within.
And by that I do not mean it as condescension. A person can still be a creative musician but no longer be a rock and roller.  Life has simply led them to other things. To me there is nothing wrong with that. Others, however, take their life experience and use it to make better RnR. Nothing wrong with that either! :)

What is to me sad, however, is someone who has grown past their rockin' years who feels the need to pretend that they've not.  And it is especially sad (to me) if they are forced to play the same old song(s) that they played in their younger days if/when they no longer feel them.

When my `60s group The Abstracts recently had an album released of material we had recorded back in the `60s we had some interest shown in out doing a European tour. But in the final analysis we realized that while all of the living members of the band still "rocked" we had individually moved on style-wise.  Me to naked acoustic rock and blues.  To redo our old songs once or twice would be a hoot. But to be forced to do it night after night would not.  No, I'd rather be in the audience then that!

As one member of the band put it. `Can you imagine playing one of out more popular songs for the twelve millionth time, for instance on a cruise ship for wishing-they-were-young retirees?'  Ach! 

But the odd thing is that this person still regularly plays with a band for the pure pleasure of it, doing much of the general `60s repertoire. And I dig back deeper -- often into the Chess catalog from the fifties.

I say: Be who you are, not who you were. And enjoy it! :D

-don

Yes, both pushing 70, and the last time I saw Charlie he was practically dying from the flu and still performed with more energy and rocked harder than just about any other punk singer I've seen of any age. Iggy Pop is 25 years older than I am and has twice the energy I had at my "peak".

Mike said:

Charlie Harper

Lemmy

Not as old as some of the other's mentioned, but I think they are both pushing 70.

Funhouse is even Punk meets Jazz....Anyway fuck all those terms,it's all r-n-r !;)

doornail said:

what about garage punk. love that term!!!  

Ghislaine said:

Funhouse isnt 'garage'.It's Punk.

I don't believe these three have been mentioned

NOBUNNY - Love Visions

Oblivians - Popular Favorites

The Missing Links - The Missing Links

And so on, too hard to pick just one. 

Good idea starting this thread Bazza. I'm just learning my way around this site trying to figure out the best way to introduce myself and say "hi."

I've been playing guitar since the early sixties. Was part of 'the scene' back then but sort of dropped out for a time.  My story, if anyone is interested, was put together by Mike Dugo about a year ago (found here http://www.60sgaragebands.com/abstracts.html and here http://www.60sgaragebands.com/tiltonsmarket.html )  In any case I never stopped playing and writing; I just changed my focus and did it for myself, my family and a few friends.

Recent events with my `60s band The Abstracts (including the recent release of an album -- see here http://store03.prostores.com/servlet/uglythings/the-157/ABSTRACTS--... ) has reawakened me I guess -- made me aware that I am hardly alone in my musical tastes! And it is that, probably more than anything, that brought me here!

I'm looking forward to getting to "know" you folks here.  Thanks for listening. :)

 

I've been searching all over for a comp I had but can't remember the name of. Does anyone remember a female fronted garage revival band called The Monarchs with a song called "Hit That Bitch"?

Did he ever say it as harsh as that? I know he did kinda say what you said in that film but that sounds a bit of an unfair thing to say about a fellow musician. It's often interesting to hear about a band's background but I often wonder if it really makes any difference to the quality or style of music.

I'm definitely more on the Stones side.

Dana V. Hatch said:

the Stones pampered upper middle class prats.

The Who!

It's funny that you ask this. I've always said, there are 2 kinds of people, Beatles and Stones, and they don't mix well. I am definitely Stones, my wife is Beatles. If only I'd asked 11 years ago...

That's interesting , because Lemmy is a huge Beatles fan , and claimed he used to see them play in Hamburg all the time. It's possible , I would NEVER dispute Lemmy (Who's a very nice guy , BTW.), but he has told stories , like witnessing the Allied intervention of Germany , in 1945 , when he would have still been an infant . That said , he's always marvelled at how tuff The Beatles were , at least , back when.  When I was in Jr. High , High School , before I got into Rockabilly and Garage in earnest , The Beatles and Stones were running neck and neck , for me . Later , The Stones took hold. I guess , because they seemed a LOT more influential on the stuff I like , now , than The Beatles - Who are , of course , totally influential , most people have heard the bulk of their back catalogue over and over, whereas , The Stones , and Elvis , too , for that matter , have a shitload of great songs that only the most hardened geeks , like myself , even know. A Stones tribute band has about 25 songs they can get away with playing , but  , if a Beatles tribute band wants to focus on one era , OR go across the board , it's still P.C.  MY EARLIEST MEMORIES OF THE BEATLES GO BACK TO 1968. I'm sure I heard The Rolling Stones , then , too , but , was'nt conscious of them until the early 70's.

I like some Pop  all right , but , generally , I go in for a grittier sound. The Stones even had some great Pop songs , too , but , you'd have to be a pretty big fan to know more than a few of them .
 
Dana V. Hatch said:

Lemmy pointed out that the story is the Beatles were goody goody and the Stones were tough but the opposite was true, Beatles tough determined working class lads, the Stones pampered upper middle class prats. Still I prefer the Stones' overt sex drugs and rock and roll stance over the Beatles' subtler subversion but I love both bands like my own food.

The Psychotic Turnbuckles on some long forgotten TV show. Check it out from about 1.14

http://www.youtube.com/watch?v=NTT7E_oY3Kc

The Fabulous Wailers, The Leaves, The 13th Floor Elevators and The Seeds would have been some heavy shit with or without the Beatles. Would the Beatles have been nearly as heavy without them? I find that very doubtful. The Beatles were a pop band covering American R&B when these bands were creating a genre. Just my 2 cents. Take it for what it's worth.

matthew rosedon said:

Don't mean to upset anyone but I do wonder about the mental state of anyone who claims not to like the Beatles.  Apart from everything else they contributed to making the world a better place, without them I doubt very much whether this site would exist.  THEY CHANGED EVERYTHING.

I don't hate the Beatles, I just think the bulk of their work was gutless pop. At some point in the middle they started getting better drugs or something and put out a few good records. Then, they went right back to gutless pop.

This week not I filled in for the Blues/Country show Some Folks Get The Blues followed by my usual program Revoltuion Rock.  I played music from The Phantom, Ty Segall & White Fence, Light Bulb Alley, Lost Patrol, The Damned, The Cramps, Johnny Cash and More. 

Download Revolution Blues (Some Folks Get The Blues Fill In) podcast here: http://cjamlog1.cjam.ca/mp3dirnew/536-Some_Folks_Get_The_Blues-2012...

Download Revolution Rock podcast here:  http://cjamlog1.cjam.ca/mp3dirnew/36-Revolution_Rock-20120515-1030-...

Check out my blog post on The Phantom here:  http://revrock.blogspot.ca/2012/05/rockabilly-psychosis-phantom-sho...

 

Revolution Blues Play List:

1.  Lee Hazelwood – Run Boy Run

2.  Dan Sartain – I Don't Want To Go To The Party

3.  Dan Sartain - Love Is Crimosn

4.  James OL & The Villains – Late Night Drive (Demo)

5.  Johnny West – The Son Is A Red Ball Of Lies Tonight

6.  The Lonesome Weekends - Wheels

7.  Andre Williams & The Sadies - One Eyed Jack

8.  Magnificent Bastards – White Noize

9.  Johnny Cash – I Like The 309

10. Diamond Rugs – Out On My Own

11. John Mayal’s Bluesbreakers – Double Crossing Time

12. The Yardbirds – Psycho Daises

13. Tay Falco’s Panther Burns – Dateless Night

14. Jamie Coe – How Low Is Low

15. The Phantom – Tiger

16. Permanent Collection – It’s Alright

17. Ty Segall & White Fence – I Am Not A Game

18. The Spooky But Nice – Through The Night

19. Lost Patrol – You Just Care About Looks

20. Pointed Sticks – All That Matters (Stiff Sessions Version)

21. Hot Nasties – Lookin’ 4 U (Live)

22. The Meteors – Radioactive Kid

23. Visions – The Ghost

24. The Ride Theory – Devil In My Heart

 

Revolution Rock Play List:

25. The Phantom – Love Me

26. The Cramps – Mystery Plane

27. Modernettes – Won’t Have To Worry

28. The Black Angels – I’d Rather Be Lonely

29. The Kinks – Naggin’ Woman

30. The Gruesomes – Three Men One Coffin (Live)

31. Ramblin’ Ambassadors – Standoff At Calf Rrobe Bridge

32. The Space Plan – Trail The Rails 

33. The Features – City Scenes

34. The Carbonas – Hate You

35. Actual Water – Pencil Legged

36. The Cigarettes – All They Want Is Your Money

37. The Laughing Clowns – Laughing Clowns

38. Rotten Tropics – Nightmare Index

39. The Strokes – Life Is Simple In The Moonlight

40. Light Bulb Alley – Tonight

41. Seven Story Redhead - There's A Time To Get Down

42. The Locusts Have No King - Come One, Come All

43. Dirty Pretty Things - Plasttk Hearts

44. The Damned – She’s So Messed Up (Live)

45. Johnny Thunders & The Heartbreakers – London Boys

46. Xena Zerox - Seconds

47. Jam – Billy Hunt

48. The Adverts - Safety In Numbers

49. True Lovers – Love and Affection

 

I tried and got on. here is the link again. www.baconrock.com.  remember it is not a very progressive station, but mine is cool.  later bro, doornail

Sorry, the problem was on my end. Dot where there should have been a dash. It's all fixed up now.

http://radiofreak-out.com

Joanie Lindstrom said:

I'm not able to connect to that web site.  Problem on my end or yours?

I would hardly call Jon Varvatos "posh."  Yes, it is expensive, but I would still rather see the spot put to that use than to see another corporate franchise in that same spot.  However, I understand where you're coming from.

Chris Henniker said:

I heard about this on 6Music yesterday. It's a good idea to keep it's memory alive, especially with the club's legacy being as vast as it is, it could be forgotten about. That said, it feels like it's just a cynical cash-in on the name. It could be an excuse to put on manufactured bands or indie landfill.

When I wrote for a Greenwich based magazine, my publisher and some mutual friends asked me if I was interested in going to a rave. "Isn't that a bit late 1980's?", I asked. Jamie, who would become the bass player for Klaxons chipped in: "It's a revival." I even wonder whether the ravers have ended up like the Teddy boys, just another nostalgia movement. Even Jamie said "new rave" was a joke. It could go the same way with CBGB, just a nostalgia movement or a joke.

Look at the Hacienda in Manchester, it closed due to problems with organised crime and is now a posh block of flats. No different to CBGB being supplanted by a posh boutique, which means the these venues (IN my opinion) are key to driving gentrification. IN New Cross, There is a pub called The Montague Arms, where I used to drink, which closed recently. A fairly well known music venue with some really awesome decor, such as stuffed deer heads, and it's sad to see it go.  I glimpsed a local paper to see that it closed. It's sad, but  as Johnny Thunders said: "You Can't put your arms around a memory."

May 15th playlist is up!

Listen here:

www.mediazoic.com/jambone-scuzz

Whitecaps - The Mummies

American Wedding - Gogol Bordello

Modern Love - David Bowie

Nightmares - Jay Reatard

Gimmie Gimmie Gimmie - Black Flag

Billion Dollar Babies - Alice Cooper

Thrash Unreal - Against Me

Coming Home - TNG

All The Young Dudes - Mott the Hoople

Rocket - The Sinisters

Volcano (Live) - The Meteopathics

U N UR FRNDS - HORSEBEAR

Night Danger - Miesha and the Spanks

C.C. - The Tramadols

I Hate the World - Take Drugs

Rat Stomp - The Jitters

Last Caress - The Misfits

Nanny Cam - Real Cassingles

Down on the Street - The Stooges

Waltz Me Dirty - Sluts on 45

Hey Andras, thanks for commenting man, and I'm glad you dig the site.  Us fans of the oddballs are scattered all over but my hope is to bring us together through the site.  The Kapas are cool, and still sorta affordable.  The Minstrel was one of Kapa's more rare offerings, and had unique pickups for the Kapa line of guitars.  Good taste man!!  And I checked out your music, what fuzz are you using?  Mosrite fuzz box?