The Dead Milkmen's "Taking Retards To The Zoo" is one of my favorite completely politically incorrect without ever being vulgar songs.

Driving home from work today and 'Spazz' by the Elastik Band came on the cd player. Now, I dunno about you guys in Amerikyland but Spazz is one of those words that's a no-no and the political correctness police arrest you and lock you up in a quiet place where everybody is nice to each other, wear a lot of corduroy and read The Guardian. Been wracking my brain thinking of other such songs....?

you are my new freind :)

Axel Björnsson said:

Have to agree with The Outsiders. My all time favourite version of Summertime Blues.

13 floor elevators got it, The Jaguars- It's gonna be alright wicked and sleazy..

The Wheels - Roadblock (people tell they were some Them's rippoff but If you listen to this song you hear they are way more rough and violent then Van Morrison's Them anytime!

Kinks - well the dirtiest guitarsound of it's time (with Link Wray of course) I hear more influence from Kinks in american garage rock than from The Rolling Stones and The Beatles.. weird?

 

The Seeds and Electric Prunes have always been so mediocrity for me. You can find way better 60's tunes than these gentlemen were doing..

Rocky and his friends/riddlers - You Were Not Using Your Head

Drusalee & the Dead - Lilly

Standell's Dirty Water

anything from the Soncis

Have to agree with The Outsiders. My all time favourite version of Summertime Blues.

13 floor elevators got it, The Jaguars- It's gonna be alright wicked and sleazy..

The Wheels - Roadblock (people tell they were some Them's rippoff but If you listen to this song you hear they are way more rough and violent then Van Morrison's Them anytime!

Kinks - well the dirtiest guitarsound of it's time (with Link Wray of course) I hear more influence from Kinks in american garage rock than from The Rolling Stones and The Beatles.. weird?

 

The Seeds and Electric Prunes have always been so mediocrity for me. You can find way better 60's tunes than these gentlemen were doing..

i can never get into the seeds i guess they got to hyped up for me

The Seeds - I can't seem to make you mine, Yardbirds - For your love, Sam The Sham & The Pharaohs - Wooly Bully

96 tears

Castaways - liar liar, knickerbockers - lies, Swingin Medallions - Double Shot, Count 5 - psychotic reaction, Trashmen - Surfin Bird, Standells - Dirty Water, Electric Prunes - I had to much to dream. It can go on and on and on.

which songs do you feel are accepted garage standards (ie louie louie, gloria) and what do you feel should be? i'll say the mummies' "planet of the apes" and the outsiders' cover of "summertimes blues."

Check out Adam's interview with Hank 3 (about Cattle Callin' and other topics) here: http://www.nodepression.com/profiles/blogs/an-interview-with-hank3

Before the days of the comp (as we know it today) compainies like K-tel were putting out children music compilations that had some decidingly garage punk tunes and looking back obviously shaped my love of garage/surf punk - and all that stuff here.  I wish I still had these lps; they often had songs like Itsy Bitsy Teenie Weenie...., Chewing Gum Lose its Flavor, With Doctor, Purple People Eater (throw in rockabilly).  They were classics, I grew up cherising them, and the best match I can think of for children - maybe someone who knows the albums can post their names.

I have purchased the Groovie Goolies DVDs and can't wait to watch them with my daughter. Just in time for Halloween.  From Wikipedia: "In 2002 Lux Interior performed the voice of a character on SpongeBob SquarePants - the lead singer of an all-bird rock band called the Bird Brains.[7] SpongeBob voice Tom Kenny attended his memorial ceremony."

ghoula gogo said:

hello, this episode CHIC A GO-GO dance is great for children, the program is fun, but you like it

hello, this episode CHIC A GO-GO dance is great for children, the program is fun, but you like it

Wasn't Lux Interior in a Spongebob --- his neighbour was one of the artists ????

A version of this was published in The Santa Fe New Mexican
August 12, 2011


Many of us — fans and critics alike — have groaned for decades about the fact that the music the general public calls “country” has grown more slick and corporate. At the same time, the blues has lost much of its original gutbucket raunch, becoming smoother, safer, and mainstream-friendly.

One natural antidote to the corporatization of American roots music has come from country punks and blues punks. Call it “roots punk.” Various strains of it have been around for years and years. The term “cowpunk,” for instance, has been around since the late 1970s. The Cramps deserve a big hunk of credit for this. And people have been calling The Gun Club “punk blues” since its first album, Fire of Love, was released in 1981.

Besides The Gun Club, this crazy trail was blazed by pioneers like The Meat Puppets, Jason & The Scorchers, Flat Duo Jets, The Jon Spencer Blues Explosion, The Gories, and many others.

My favorite paradox of roots punk is that while it was healthily irreverent, playing upon and making fun of the negative stereotypes associated with country and blues, it seemed far less "sacrilegious" than most of the “country” and most of the “blues” that you hear on commercial radio or see on television.

Punk country and blues are still rocking the juke joints and honky-tonks of the underground, judging by a couple of recent records out of Europe from bands that take the raw, primitive essence of American music — one a “country” band of sorts, the other a “blues” unit — and spit it out with a little punk fire and good-time slop.

* They Called Us Country by DM Bob & The Deficits. Robert Tooke, aka DM Bob, is an American, a native of Louisiana. I’m not sure why, but he immigrated to Germany years ago. (The “DM” stands for Deutsche mark.)

He formed The Deficits in the mid-’90s. The band lasted until about 2002. It was a trio that included DM on guitar and vocals, a woman named Reinhardt — reportedly the grand-niece of Gypsy-jazz great Django Reinhardt — on slide guitar, and a drummer named Tank Top.

This album, a collection of unreleased material from The Deficits’ heyday, begins with the song that inspired the title of this collection. “They Call Me Country” is about some hillbilly picker who makes it big: “I only get my hair cut once a year, and they call me country / If I did any work, it ain’t been around here, and they call me country.”

It sounds like a close relative of “Dang Me.” In fact, I assumed it was an obscure Roger Miller tune until I checked the credits and learned that it was written by Lee Hazlewood. It was originally recorded by an Oklahoma country singer named Sanford Clark in the 1960s, and his version sounds like Miller too.

Hazlewood, who wrote “These Boots Are Made for Walkin’ ” and most of Nancy Sinatra’s other hits, is also responsible for another song on this album, “Dark in My Heart.”

Another songwriter is represented by two songs on this album. Glen Sherley is best known for writing the song “Greystone Chapel” for Johnny Cash’s classic At Folsom Prison album. At the time Cash recorded it, Sherley was in the audience serving time for armed robbery. (He recorded an album while still in prison and later toured with Cash after his release. But, ultimately, music didn’t provide salvation. Sherley committed suicide in 1978.)

The Deficits cover Sherley’s “(Step Right This Way) I’m Your Man,” a joyful little love song. But even better is “FBI Top 10,” a crime song about a sexy fugitive. “She’s free to kiss but she heads the list of the FBI’s Top 10.”

DM and pals do a sweet, harmonica-honking take on Buck Owens’ “Yearn ’n Burn ’n Heart.” And they do a surprisingly good country version of Lou Reed’s “Satellite of Love.” I’ll bet the legendarily cranky Reed would chuckle if he heard this.

After The Deficits, DM Bob went on to play drums with the Watzloves, a fun German group that specializes in trashy Cajun-flavored tunes. They Call Us Country, however, shows why DM needs to be in the forefront of a band.

* Boogie the Church Down by The Juke Joint Pimps featuring The Gospel Pimps. Don’t be confused. This is only one band, a dynamic duo from Cologne, Germany, featuring singer/guitarist T-Man and drummer/harmonica man Mighty Mike. The title of the album is a play on the title of their 2008 debut, Boogie the House Down Juke Joint Style.

As the title implies, many of the songs on this new album have elements of old-time gospel music. In the title track, T-Man imitates an old-time preacher. “I want to make love,” he says, “and I’m gonna make love to all you sisters!”

There’s “The Pimps Don’t Like It,” which was inspired by Sister Rosetta Tharpe’s “God Don’t Like It,” and “Juke Joint in the Sky,” which has the simple refrain “I’m going home to the juke joint in the sky, juke joint in the sky when I die.”

One of my favorite songs here is “Sweetest Hymns,” which has a sound similar to another song by a punk blues duo, “Stack Shot Bill The Black Keys. In the grand rock ’n’ roll tradition of self-referential songs (going back at least to “Hey, Hey, We’re the Monkeys”), the Pimps sing,

 “The angels have the greatest sound / But they don’t play it down in the ground. ...The angels singin’ the sweetest hymns / But I prefer the Juke Joint Pimps.”

Not all the tracks have gospel overtones. “I Feel Guilty” sounds like it’s built around a stray Howlin’ Wolf riff. At the end of each line, a background chorus does an eerie falsetto moan that sounds like a police siren.

When I reviewed the group’s first album, I noted that blues purists “undoubtedly will turn up their snoots.” That goes double for gospel purists with the new album. In fact, if these guys weren’t so far below the radar of popular consciousness, this blasphemous boogie would probably spark a few (literal) bonfires from religious groups.

But like I said about the earlier work, this music has spirit.

The World Ain't Round It's Square

yeah i have the vox because im a musical scitzophrenic  and i eed to go fromm gutterfuzz to 50s style overdrive in beetween sounds ,

im not one to by vintage instruments to much as when my influenses used them they where new so id get a reissue

ie the reissue fuzz tone and vox tonebenders from the 90s  or the reissue vox phantom

First of all; if you're happy with what you already have, I wouldn't worry too much.  Try not to get too "anal" about having the "right" equipment... becoming a gear-geek can tend to be counter-productive!

Anyway:

Am not a fan of "modeling" amps, so as a future (?) upgrade, I would recommend the Laney Lionheart series for amplification... great build-quality, a retro-look, and excellent basic clean and/or overdriven tube (valve) sounds.

Also, in my eyes there's no need to go the overpriced "vintage-route", when in search of a fuzz-pedal (or anything else for that matter)... there's plenty of modern-day clones that'll do the job just as well (and in many cases better!).  For over-the-top fuzz, I've got a Mosrite-clone from Ashbass called Fuzzbrite (as opposed to the original Fuzzrite), which I got of Ebay for a sensible amount of money.

 

(e)

Shin Ei Fuzz Wah. The last pedal you'll ever need son.

i should mention by obscure garage band i refer mainly to the back from the grave series mainly

So excited for Hans Condor too! Not to be missed. .. Also, I want to meet all of you from GPH that are going to Gonerfest!

Or just go to Gonerfest every year. I go for the ribs too! :)

Thanks for sharing, digging your sets!

swt said:

I'm loving Spotify. I gotta bunch of playlists up:

http://open.spotify.com/user/robotclaw

gotta be the b sus4 from pinball wizard ,though ill never ever use it in composition