They were an all-female band from Sacramento, CA, who put out a few CDs in the early 2000s. I discovered them on last.fm, and I really liked this one song called "Snapshot," which is on their "Take Off" release from 2001. The rest of the album is pretty good too ("Snapshot" happens to be the standout track). I was just wondering if anyone else around here discovered them or got to see them live.

Harry Horror - Gern hab ich die Frauen gesägt (I Loved sawing women) about Fritz Honka (german Mass Murderer).The 7" was forbidden due to the personal rights of Honka. Heres is a youtube link http://www.youtube.com/watch?v=2-fuUseFebY

"killer joe" by kingsmen, but I'm not sure about it.

The Time Flys - Zodiac Killer's Son

I also would really like to know that!Only saw the Trailer from the official (?) myspace site.

EGO the Living Planet said:

The first two things I thought of:

The screams that start every track of Funhouse

and (this will blow some cred) the scream at the end of the guitar solo before the last chorus of "Won't get Fooled Again"). All these years later, despite all the overplay and the whole CSI thing, it still gets me.

The first two things I thought of: The screams that start every track of Funhouse and (this will blow some cred) the scream at the end of the guitar solo before the last chorus of "Won't get Fooled Again"). All these years later, despite all the overplay and the whole CSI thing, it still gets me.

A version of this was published in The Santa Fe New Mexican  October 29, 2010 In the weeks preceding Halloween, the average American, according to statistics I just made up, will hear “The Monster Mash” by Bobby “Boris” Pickett 17.3 times. That novelty hit from 1962 (trivia note: Leon Russell played piano on the record) seems omnipresent, but it’s hardly the only tacky rock ’n’ roll monster song. They’re everywhere — full of shrieks, wolf howls, cackling witch laughs, bad horror puns, and even worse Boris and Bela impersonations — if you know where to look for them. From personal experience, I can truthfully say that monsters and rock ’n’ roll were two major cultural obsessions of American boys, and probably some girls, who grew up in the early ’60s. So it’s natural that those two realms would cross-pollinate. Recently, I was reminded of a really stupid horror-rock album I had as a kid. The track that stuck in my memory was called “Frankenstein Meets The Beatles.” I had looked for that online more than a couple of times in past years without any luck. In fact, I was beginning to wonder if the memory was just a hallucination caused by smelling too much airplane glue while putting together plastic models of The Wolfman and The Mummy. But one midnight dreary, I decided to look again. Lo and behold, I found it. A legal version, even! It was on a record called The Monster Album by none other than Dickie Goodman, most famous for his “break-in” songs, like “The Flying Saucer” and “Mr. Jaws,” set up as newscasts in which the reporter is answered by short samples of current pop hits. Besides “Frankenstein Meets The Beatles,” the album had songs with such titles as “Ghoul From Ipanema” and “Mambo Mummy.” A word of caution: While the cover looks the same and that song about The Beatles is there, the version of The Monster Album I found on eMusic and Amazon is not the same album I had in 1965. In fact the only other tune from the original that appears to be on this is “Dracula Drag” (which refers to hot-rod racing, not his manner of dress). Bags of candy: If you’re looking for a good Internet source for crazy old Halloween music, it’s hard to beat WFMU’s Rock ’n’ Soul Ichiban! blog . In fact it’s hard to beat that blog, a project of a great public radio station in New Jersey, for crazy old music of any sort. Its recent Halloween posts include “the swingin’est version of the Alfred Hitchcock theme you will ever hear” (by Stanley Wilson & His Orchestra); some videos set to songs from a proto-Elvira from Portland, Oregon, named “Tarantula Ghoul”; and a link to an impressive 60-track collection of spooky instrumentals, spiced up with several audio clips from horror-movie trailers. The collection is from J.R. Williams, an Ichiban contributor and comics artist from Oregon who frequently posts links to amazing mp3 compilations on his Flickr page. Halloween Instrumentals: Ghost Guitars features a fine variety of sounds. There are a few artists you should recognize — The Ventures (“The Bat,” “Fear,” and “He Never Came Back”), Duane Eddy (“The Trembler”), The Champs (most famous for “Tequila,” but here they do Henry Mancini’s “Experiment in Terror”), and Merv Griffin — yes that Merv Griffin — doing a faux-Lugosi intro to a rocking little thriller called “House of Horrors.” There are also a number of bands I suspect were one-offs — Frankie Stein & His Ghouls, The Gravestone Four, and Tony & The Monstrosities, etc. While there’s lots of “surf” music and strip-club sax here, this collection also includes moody tremolo twang like “Innersanctum” by Jim Wolfe & The T-Towners, which reminds me of The Viscounts’ “Harlem Nocturne” and even a little funk in “The Exorcist” by The Devils. You can find this collection HERE. But, hurry. Williams frequently removes links to the downloads. Even more goblin rock is on a blog called Spread the Good Word!. The host, who calls himself Reverend Frost, has 16 compilations of Halloween tunes waiting for you to download. (These aren’t separate tracks like Williams’ compilations. They’re all on hour-long mp3s.) I downloaded the latest. A favorite here is “Mummy’s Ball” by The Verdicts. Rockabilly ace Ronnie Dawson does his version of “Rockin’ Bones,” later covered by The Cramps. There are also some more recent songs by groups like the Fuzztones (“I’m The Wolfman”) and goth-rockers Alien Sex Fiend (”Now I’m Feeling Zombified”). And yes, there’s a Dickie Goodman tune from The Monster Album: “My Baby Loves Monster Movies.”

I have the first Purple Toads album on cassette and the second one on vinyl. I have a pretty decent collection of Canadian punk. I was hoping there was a website that had hard-to-find songs available to download.

Yeah, it's not like it's impossible to find reissues or legit comps that have obscure songs on them. Check out the Norton Records catalog, Bear Family, Crypt, Sundazed, Bomp/AIP, Rhino, etc. Hell, just do a google search for them and you're bound to find something.

stoneageromeo said:

Downloading's alright but, concerning the Purple Toads, they put out two albums that are absolutely fantastic so I suggest you buy them instead ...

Dig your artwork, Shawn does rock! Plus he's a helluva nice guy.

We play covers and we hammer them into indecipherable messes of their former selves. We play some originals, too. Those sound equally horrible! Have you ever read "Rock Stardom For Dumbshits" by The Phantom Surfers? We highly recommend it. It's kind of puts all this mumbo jumbo stuff yer talking about into...perspective? Love, The Dirtbag Surfers In 1961, when America was giving birth to surf music, one band was already trying to kill it – The Dirtbag Surfers http://www.dirtbagsurfers.com

RE: Blood from A Stone: I was given credit, but he took credit as well and all he did was change the words without my permission. Luckily, I was smart enough to copyright the song years earlier when I wrote it. Jordan & I are the real writers of the song. So I guess it's our "Chinese Rocks" He did the same thing with any song you see that has co-credits with Mike Chandler. (It Came In The Mail comes to mind) RE Braindrops: Mad Mike & I were drinking beer and feeling no pain when the song Raindrops Keep Falling On My Head came on the radio. In my stupor, I started singing along ,substituting the words Braindrops Keep Falling Out Of My Head.." Don't even get me started on the fake record by the band "King Arthur's Quartet"!!! I

Rockin Rod Strychnine said:

Yeah, that's the sucky behavior that I remember you referring to. Didn't you also come up with the Braindroppings title as well?

Yeah, that's the sucky behavior that I remember you referring to. Didn't you also come up with the Braindroppings title as well? My guitar player wrote one song (I changed the melody and chords of the middle but I wouldn't take credit for that) and if we had gotten that released, he would have got full credit. That's what I believe in. Cramps cover bands....what's the point of that?! Girl Trouble had some Cramps covers in their early sets but they also had X and Gun Club songs as well as stuff like I Got My Mojo Working. I wasn't there at the time but it was their set list for their 25th anniversary. Someone just said that you're probably going to see the wrong bands but the truth is...these retro bands who rely on covers somehow get opening spots for bands like the Love Me Nots and Woolly Bandits. And I don't like putting them down if they are just starting out (I had to rely on covers when I finally got to open for the Woggles. It was a new group) but yeah, you want to start writng tunes that you can sneak into the set.

John Carlucci said:

Hey Rod,

Good points. I totally understand. It's easier to learn covers & when played in public a cover pulls in the audience because it's familiar to them. So I know what you are talking about. That started to happen during the end of my involvement with Truly Lover Trio. I started to feel like I was in a Roy Orbison tribute band as Marcel catered to the reception he would get when doing those songs live.

Now the cover thing has gone beyond a band like the Fuzztones doing obscure Garage songs. Now we have Johnny Cash Tribute Bands, Ramones Tribute Bands, and this week I started seeing ads for Cramps cover bands.

I'm glad someone likes the In Heat lp! I myself have a love/hate relationship with that record (as I do with my entire involvement in the Fuzztones). I'm proud of what we accomplished. I think the playing was good. I just know we could have done a helluva a lot better. That's the part that kills me. It was a good opportunity, but it became a wasted opportunity as far as I'm concerned.

I try to write my songs from my own personal experience in life. It's a form of story telling. I start with the lyrics and then the music, in most cases I will collaborate with my band mates on the music. That is how I wrote No Substitute & Something on my Mind for the Speedies.(Both of which were based on true stories & ended up on Speedies singles).

I took a similar approach when I submitted "Blood From A Stone " to the Fuzztones. However that song was rejected by Rudi when I was in the band, only to turn up on the Flashbacks LP after I left the band, with most of the words changed. It turned up again last year on the Horny As Hell LP . The addition of the horns only made the song even further from what I have been hearing in my head all these years. So I'm going to take the song back to the original lyrics and redo it as it was originally intended to sound, which will put it closer in spirit to the two previously mentioned Speedies songs. (I write my best words when heartbroken. lol!)





Rockin Rod Strychnine said:

Hey Rod, Good points. I totally understand. It's easier to learn covers & when played in public a cover pulls in the audience because it's familiar to them. So I know what you are talking about. That started to happen during the end of my involvement with Truly Lover Trio. I started to feel like I was in a Roy Orbison tribute band as Marcel catered to the reception he would get when doing those songs live. Now the cover thing has gone beyond a band like the Fuzztones doing obscure Garage songs. Now we have Johnny Cash Tribute Bands, Ramones Tribute Bands, and this week I started seeing ads for Cramps cover bands. I'm glad someone likes the In Heat lp! I myself have a love/hate relationship with that record (as I do with my entire involvement in the Fuzztones). I'm proud of what we accomplished. I think the playing was good. I just know we could have done a helluva a lot better. That's the part that kills me. It was a good opportunity, but it became a wasted opportunity as far as I'm concerned. I try to write my songs from my own personal experience in life. It's a form of story telling. I start with the lyrics and then the music, in most cases I will collaborate with my band mates on the music. That is how I wrote No Substitute & Something on my Mind for the Speedies.(Both of which were based on true stories & ended up on Speedies singles). I took a similar approach when I submitted "Blood From A Stone " to the Fuzztones. However that song was rejected by Rudi when I was in the band, only to turn up on the Flashbacks LP after I left the band, with most of the words changed. It turned up again last year on the Horny As Hell LP . The addition of the horns only made the song even further from what I have been hearing in my head all these years. So I'm going to take the song back to the original lyrics and redo it as it was originally intended to sound, which will put it closer in spirit to the two previously mentioned Speedies songs. (I write my best words when heartbroken. lol!)

Rockin Rod Strychnine said:

That's the one.

MikeL said:

Thanks for the suggestion, but I already have a CD compilation of the Mummies that's also titled "Death by Unga Bunga."



Rockin Rod Strychnine said:

You might want to look for Death by Unga Bunga on Estrus. It's a comp of 7 inches and Various artists appearences plus a few songs from albums. I only recommend Never Been Caught on Telstar IF you like the Estrus CD.

MikeL said:

BTW, I like the Mummies too. I got into them thanks to "Who Know Who" when I heard "You Must Fight to Live on the Planet of the Apes" on his Sirius/XM channel.



Rockin Rod Strychnine said:

This is a topic I'm always torn on. When I started my band the Strychnines in the late 80s, we did almost all originals with the occasional cover. I wrote at least 3 or 4 albums worth of material but I had trouble getting passed my first 20 or so songs because I didn't want to let them go until I got a release out of them (which never happened) and it didn't matter to the rest of the group cuz they never cared to learn new songs anyway. So we played the same 15-20 songs for 8 years until we got bored of them. I didn't want to waste my time playing the next set of songs I wrote seeing the same thing happen (no record) so I just started dipping into Nuggets and Pebbles and having the band play those. And we learned a lot of Sonics songs. It was just more fun and less discouraging. We never toured anyway so it really didn't matter.

One thing I find discouraging though, John, is that you played on one of the few original Fuzztones albums and you ripped on those because they lacked originality. I think In Heat was a great record considering that the previous version of the band mostly did covers and saved their originals for 7 inches. I wrote songs pretty much the same way. I agree with you that he should have given his band more credit instead of claiming all ideas as his own but for being in that same songwriting school as Lux and Ivy, Billy Childish, and Paula Pierce, I think you guys did a really great job.

But you're right, those bands who claim they love the Mummies really should have taken a harder look at that band and saw what really made them special instead of relying on image and gimmicks.

Sounds like you're going to see the wrong bands!

Yeah. Jordan & I found out that Shel was living in LA not far from Jordan's place, so we got hold of him & asked him to produce the record. We were both big fans of The Who/Kinks/Creation. Speaking of the Creation, their bass player used to own the Cat N Fiddle, the best English Pub in Hollywood. He owned it until he passed away. The first time I went there (when it was in it's original location in Laurel Canyon) I sat at the bar & realized I was sitting next to Mitch Mitchell. Another time I went there & Ron Wood was sitting behind me. Behind the bar was a really cool framed promo shot of The Creation, from back in the day.

Rockin Rod Strychnine said:

I actually didn't know that at the time. LOL I was just a huge Fuzztones fan back in the late 80s/early 90s. It still sounded like a slightly modern album but modest, not OVER produced.

John Carlucci said:

Rod,

Shel Talmy produced The "In Heat" lp.... maybe that's why you like it! and @ mikel, I meant to reply to your post about Johnny Rotten but it ended up as a general reply, so if you have not seen it, it's below...click on the link, it's pretty funny.



Rockin Rod Strychnine said:

I personally wish that records still sounded like 1963 Beatles albums or Shel Talmy productions from 1965. Or even Mickie Most recordings. Produced for its day, but you can still hear static from the vocal mic.

Rod, Shel Talmy produced The "In Heat" lp.... maybe that's why you like it! and @ mikel, I meant to reply to your post about Johnny Rotten but it ended up as a general reply, so if you have not seen it, it's below...click on the link, it's pretty funny.

Rockin Rod Strychnine said:

I personally wish that records still sounded like 1963 Beatles albums or Shel Talmy productions from 1965. Or even Mickie Most recordings. Produced for its day, but you can still hear static from the vocal mic.

Yeah, definetly.

kopper said:

I personally thought there was too much wimpy '80s college rock on it and not enough real garage/psych revival stuff.

Rockin Rod Strychnine said:

I felt Rhino could have done two or three box sets of "Children". Trying to put 25 years onto 4 discs meant a lot of bands were going to miss out. They should have done the 80s for one box and the 90s for another. This year would have been perfect for the last 10. Of course, there are a few Bomp/Voxx comps that kind of fill in the gaps.

I personally thought there was too much wimpy '80s college rock on it and not enough real garage/psych revival stuff.

Rockin Rod Strychnine said:

I felt Rhino could have done two or three box sets of "Children". Trying to put 25 years onto 4 discs meant a lot of bands were going to miss out. They should have done the 80s for one box and the 90s for another. This year would have been perfect for the last 10. Of course, there are a few Bomp/Voxx comps that kind of fill in the gaps.

"Farmer John, I'm in love with your daughter!"

I was really lucky that Western WA had a decent history of garage punk when I was looking for a band so people knew.

RayDanger said:

Try starting a garage rock band in a heavy metal/punk rock town. Place an add that says "Drummer wanted for Garage Rock Band" and see all the funny looks you get.

Try starting a garage rock band in a heavy metal/punk rock town. Place an add that says "Drummer wanted for Garage Rock Band" and see all the funny looks you get.