"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

Thanks Dave. For some reason I never bought the record, although a couple of mates had it. Downloaded "Cold Turkey" and "Too much to Dream Last Night" off iTunes recently though. Looking forward to hearing the definitive answer after all these years! Cheers.

Dave Improbable said:

hey BonzoB,

There's no doubt in my mind that they are one and the same band. In fact, if I remember correctly, the song credits for the last tune "Just Call Me Sky," obviously fake-live, during which "Naz" introduces the rest of the band, actually go to members of The Damned. I'll dig around in my records to double check and let you know for sure when I find it. It might take a while though ; my records are in terrible order.

 

BonzoB said:

Dave re-The Damned/Naz Nomad & The Nightmares. Around the time Give Daddy the Knife came out I was working as a hack on my local newspaper and was lucky enough to interview Rat Scabies as the Damned were gigging in town later that week. In great trepidation I asked him what the deal was with Naz Nomad as I had heard the album and the strong rumours. His response: "Never 'eard of the geezer!" Call me naive but since then, even though Naz's vocals are a ringer for Dave Vanian's I have always had my doubts that both bands are one and the same...Of course there a million contractural and showbiz reasons why the Rat might not let the cat out of the bag to some local newspaper guy but...Anyone out there with a definitive answer?

Dave Improbable said:

That's a tough one, but I think I have to credit The Damned as Naz Nomad and The Nighmares, who put out a fake 60's psych film soundtrack called "Give Daddy The Knife , Cindy" of great garage covers: "Action Woman,"" She Lied,"" I Can Only Give You Everything" to name a few. I soon sought out the originals. Hearing The Shadows of Knight's "Dark Side,"  B-side of Gloria, on the quarter juke-box at the diner near my school was also pretty magical (yeah, I don't care if that sounds corny.)

 

Get Action by Teengenerate, or Beach Bums Must Die by Thee Headcoats got me into "garage punk". As for punk, in general, it was Marquee Moon.

hey BonzoB,

There's no doubt in my mind that they are one and the same band. In fact, if I remember correctly, the song credits for the last tune "Just Call Me Sky," obviously fake-live, during which "Naz" introduces the rest of the band, actually go to members of The Damned. I'll dig around in my records to double check and let you know for sure when I find it. It might take a while though ; my records are in terrible order.

 

BonzoB said:

Dave re-The Damned/Naz Nomad & The Nightmares. Around the time Give Daddy the Knife came out I was working as a hack on my local newspaper and was lucky enough to interview Rat Scabies as the Damned were gigging in town later that week. In great trepidation I asked him what the deal was with Naz Nomad as I had heard the album and the strong rumours. His response: "Never 'eard of the geezer!" Call me naive but since then, even though Naz's vocals are a ringer for Dave Vanian's I have always had my doubts that both bands are one and the same...Of course there a million contractural and showbiz reasons why the Rat might not let the cat out of the bag to some local newspaper guy but...Anyone out there with a definitive answer?

Dave Improbable said:

That's a tough one, but I think I have to credit The Damned as Naz Nomad and The Nighmares, who put out a fake 60's psych film soundtrack called "Give Daddy The Knife , Cindy" of great garage covers: "Action Woman,"" She Lied,"" I Can Only Give You Everything" to name a few. I soon sought out the originals. Hearing The Shadows of Knight's "Dark Side,"  B-side of Gloria, on the quarter juke-box at the diner near my school was also pretty magical (yeah, I don't care if that sounds corny.)

 

It's sad, I live in such a shitty radio market, I didn't even know who the hell the Clash was until "Combat Rock" came out!  No friggin' lie!!!  Of course I dug it, but then I had to dig deeper and buy such classics as "London Calling" and their self-titled debut release!
Gareth Brown said:

Hi - i'm new to The Hideout... very much enjoying all of your responses... For me it was listening to 'London Calling' by The Clash that first got me interested in all things punk/garage/r'n'r related!

I think it was the Gruesomes "Tyrants of teen trash"

Besides just oldies radio?  Coming across the Hang It Out to Dry Comp at an Indie Record Store....  that change my music taste..

Yeah, zombies, UFOs and ladyboys. I think it's based on a true story.

joey fuckup said:

It's amazing what the Cramps have done for us!  Isn't "Wild Zero" that really wild exploitation/grindhouse-type flick that came out a few years back that had zombies, maybe?  I thought I had seen it advertised in the pages of "Videoscope" and "Rue Morgue"...

electrocute your cock said:

Off The Bone/Songs the Lord Taught Us. That's where I'm pinning the blame for all this. Before that I'd only heard MC5, The Stooges and a few songs here and there so I knew I'd like this stuff if I knew who the hell anyone was, but it's The Cramps who showed me the way. Guitar Wolf get an honourable mention for their appearance in Wild Zero.

Dave re-The Damned/Naz Nomad & The Nightmares. Around the time Give Daddy the Knife came out I was working as a hack on my local newspaper and was lucky enough to interview Rat Scabies as the Damned were gigging in town later that week. In great trepidation I asked him what the deal was with Naz Nomad as I had heard the album and the strong rumours. His response: "Never 'eard of the geezer!" Call me naive but since then, even though Naz's vocals are a ringer for Dave Vanian's I have always had my doubts that both bands are one and the same...Of course there a million contractural and showbiz reasons why the Rat might not let the cat out of the bag to some local newspaper guy but...Anyone out there with a definitive answer?

Dave Improbable said:

That's a tough one, but I think I have to credit The Damned as Naz Nomad and The Nighmares, who put out a fake 60's psych film soundtrack called "Give Daddy The Knife , Cindy" of great garage covers: "Action Woman,"" She Lied,"" I Can Only Give You Everything" to name a few. I soon sought out the originals. Hearing The Shadows of Knight's "Dark Side,"  B-side of Gloria, on the quarter juke-box at the diner near my school was also pretty magical (yeah, I don't care if that sounds corny.)

 

Hi - i'm new to The Hideout... very much enjoying all of your responses... For me it was listening to 'London Calling' by The Clash that first got me interested in all things punk/garage/r'n'r related!

Mine would be Thee Mighty Caesars "Lie Dectector". Changed my life.

I'll have to try and get my hands on that Damned LP, now that you mention it!
Dave Improbable said:

That's a tough one, but I think I have to credit The Damned as Naz Nomad and The Nighmares, who put out a fake 60's psych film soundtrack called "Give Daddy The Knife , Cindy" of great garage covers: "Action Woman,"" She Lied,"" I Can Only Give You Everything" to name a few. I soon sought out the originals. Hearing The Shadows of Knight's "Dark Side,"  B-side of Gloria, on the quarter juke-box at the diner near my school was also pretty magical (yeah, I don't care if that sounds corny.)

 

"Last Train To Clarksville" was definately my fave Monkees tune!  Would love to have had their car...
Joseph M Kirk said:

"Bird Dance Beat" was preferreed over "Surfin' Bird" but hey I was only 3 or 4 years old.  After the Trashmen, it was "Last Train To Clarksville" by the Monkees, and The Standells "Dirty Water" Lp was given to me when I was six.  It was a pure joy to stumble upon the Ramones and Blondie when I was 17.  I never really felt the need to listen to the radio, so I never really have.  That's a good thing since living in Philadelphia, radio station's are really lame.  And they remain that way even now except for some college stations.  And, yes I still listen to the Trashmen and the Monkees et al.

I do have a local vintage store that deals in vinyl as well, but it's usually hit and miss with what they carry, although I did score a cool Turtles 45 the other day...

Eargasm said:

you can still get many major label garage 45's reasonably cheap, Joey..most record shows should have a dealer who has a selection of this stuff for $5 and under..
Great thing is that with some diligence and perserverance you can still find many rare gems in the wild..

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.

I agree totally with Bill Wellham. Back at the start there was lots of crossover and labels didn't matter (still don't in fact!). The band I was in started as straight ahead punk rock Clash clones and mutated into what would now be called Goth. Back then it didn't even have a name and no real scene outside London to speak of where Sex Gang Children, Southern Death Cult, Theatre of Hate and a few others were "positive punk" (remember that people? Vague fanzine did a big piece...) It was supposed to be a reaction against the nihilism and pointless anarchy-pose of the Pistols and their followers - The Exploited, Chron Gen Anti-Pasti, all things Oi! etc etc. Alternative music with a message of hope, positivity, a "can-do" attitude and anything is possible in a personal and socio-politcal context..Sounds like total wank when all you want to do is dance, play bass, drink and meet girls, but I was only 14....For what it's worth I have quite a narrow view of Goth. Sex Gang, SDC, ToH, Sisters of Mercy, Fields of the Nephilum, Mission...and maybe a couple of other bands that grew up around The Batcave scene. Remember many Batcave regulars were also psychobillies stomping at the Klub Foot! Does good music really need a label?

My top goth rock experience was seeing the Swans in '86 at the Rat in Boston. They were at their peak, hard as nails. One of the most powerful shows I've ever seen. Just for yuks, I dressed all in white and looked like a snowflake in a coal mine amid all the black-shrouded goths. I saw Sonic Youth the next month but they weren't as good.

As you can see, the album title and cover art is a homage to Jerry Lee Lewis. This is not by accident. Memphis native Jason D. Williams is a boogie-woogie piano man with slightly unhinged lyrics and, according to talk around Memphis, may even be the Killer's illegitimate son. 

 

That particular rumor is addressed on the album's first track, the fittingly titled "Like Jerry Lee," where Williams sings "I don't know if he is or isn't/I could've found out once but I didn't/I figured either way it would be more than I could stand" before asking people to "quit wanting me to be Jerry Lee."

 

My own take, judging solely from his voice and looks, is that Williams is more likely than most to be Jerry Lee's kid, but either way the legendary rock and roll wild man isn't his only influence by any means. Throughout the album's 14 tracks, we also hear hints of the Rolling Stones, Moon Mullican, George Jones, and Todd Snider, who produced the record.

 

Perhaps the best track here is "If You Ever Saw a Baby With Its Pud," a Beefheartian slow rock ballad dealing with druggies, babies in the mud, John F. Kennedy, marijuana, Jackson Pollack, giants, and heartbreak. 

 

The next track finds Williams doing perhaps the perfect jukebox song, "You Look Like I Could Use a Drink," before covering Stick McGhee's "Drinkin' Wine Spo-dee-o-dee" (as popularized by Jerry Lee) and John Prine's "Daddy's Little Pumpkin," both of which display his exceptional skill as a performer.

 

Things get even weirder in the second half of the album with two gospel numbers ("Mr. Jesus" opens with the line "I've lost my pecker and I've lost my way/I don't have even a bale of hay"), a classical piano piece, and a honky tonk ballad referencing Merle Haggard and Willie Nelson.

 

This album isn't for everyone, but if, like me, you're a rockabilly aficionado with an affinity for the strange and eccentric, this is some of the best fun you'll have all year.

I'm not anti-Greg Shaw. I think he's done more good than anything but you can't be 100 % on EVERYBODY. Even Greg could be a little underhanded if he saw an opportunity, in this case, the Sonics LP. And if he'd just been a little more honest with bands stating that he would support them by putting their name out but it was going to be up to them to make their own money because honestly, he was just doing this as a fan and losing money (which I believe is true). But he never did, which is probably why a lot of bands starting having a lot of animosity toward him. It seems like only after SAVING THE WORLD ONE RECORD AT A TIME, did we get the real picture.

I always felt that punk got boring when it became more of a fashion than music..It was exciting at the beginning and eventually it just became another music to me..i remember when a Boston band called Third Rail released a 45 called "It's Over Now' somewhere around 1979..it pretty much summed things up....

Yep, if it wasn't for Greg Shaw i woulda lost interest in music completely after the first punk wave in the late 70's/eaerly 80's...Pebbles sure opened some doors for me!

 

And ya, Sinderella is definitely my least favourite Sonics LP.

Eargasm said:

Yeah, that Bomp album was pretty bad, but it was more than an attempt to cash in on The Sonics name..I'll get the facts together in my head, and come back to it...As far as Greg Shaw, I think a pretty good case could be made that none of us would be talking about this stuff if it wasn't for him...Nuggets may have been the first big wheel to get 60's punk rolling, but no one championed the burgeoning 70's punk, 60's punk and whatever the hell else was going on back then than Greg...Bomp magazine was an essential ingrediant in an era was information wasn't at your fingertips. It was being spread out by an ever growing fraternity of rock and roll zealots mostly word of mouth..
That being said, lightning rarely strikes twice, and it's difficult for 60 year old men to resurrect the impulses that created the phenomenom that is The Sonics...

Yer welcome....a fave song of mine! If you ever record it, feel free to send me an MP3 for radio airplay!

SIR DOMINICK said:

great DAVE, fantastic!

Many thanks ! This night we'll play it with the band !

great DAVE, fantastic!

Many thanks ! This night we'll play it with the band !

Try this link...

 

 

http://ontheflip-side.blogspot.com/2009/08/song-of-week-born-loser-murphy-and-mob.html