Yes; Wiz my band Nervous Shakes; but I don't use it much. Ivan

there they are ;-) tobi lynne said:

Ha! Here you are! http://www.last.fm/music/The+Living+Deadbeats

The LIVING DEADBEATS said:

We are, but dang I can't remember the link...

Great thread!

I was playing a gig somewhere in either Slough or Reading, anyway either the guitar or the P.A wasn't earthed properly so every time i step up to the mic to sing I get a belt of electric in the mouth. So, as a solution we stuck a sock over the mic. Anyway the sock really reeks so every time I go to sing I get a wiff of the sock and almost hurl, I kept forgetting this too for the duration of the 30 min set; so I'd play guitar, sing, smell the sock, and get the dry heaves. Retrospectively it was funny because its so stupid.

yes ratoonie said:

ok......were can i hear some???.....you tube??

ok......were can i hear some???.....you tube??

no sorry ratoonie said:

is ther music on your page??????

is ther music on your page??????

sorry i dont' understand... ratoonie said:

are you being friendly??

are you being friendly??

use google translate.... can i copy your comment to our ezine? ratoonie said:

i Love high heels .... but i dont speak Italiiano!!!!

i Love high heels .... but i dont speak Italiiano!!!!

(Billy's bones records) Giovani garage-punkers crescono. I Boilers vengono da Catania ed io ho avuto il mio primo contatto con loro quando li ho visti aprire la serata del sabato al festival beat.

Dopo aver assistito alla loro esibizione,assolutamente valida e coinvolgente,mi sono avvicinato al loro stand ed ho chiesto loro il disco per poterlo recensire e trasmettere ai Ragazzi del juke-box (prego scaricare il podcast disponibile su questa fanzine);mi aspettavo un meritato spernacchiamento ed ho invece ricevuto cortesia e il dono di "High hell lovers",e pensare che fra me e Simone facciamo quasi ottant'anni e abbiamo facce non proprio rassicuranti,quando si dice beata innocenza.
Ma ora stop ai preamboli e spazio alla band,che oltretutto lo merita; l'album in questione è un gran bell'esempio di garage-rock dall'attitudine molto punk sorretto da un suono di organo vox che ha fatto davvero bene al mio vecchio cuore di rocker impenitente.
Si passa da brani prettamente teen-punk come l'iniziale "Shake" o l'infuocata "Wlid crazy car",ad abbozzi di psichedelia eighties tipica di band come Plan 9 o Plasticland come in "Psychedelic poof" o "Call me devil!!!",ma la mia preferita è senza dubbio la canzone che da il titolo all'album ormai diventata,a pieno merito,uno dei pezzi in heavy rotation nella selezione dei ragazzi del juke-box in versione deejays.
Dischi come questo fanno ben sperare nella continuazione della scuola garage italiana che negli ultimi trent'anni tanto ha dato alla schira dei suoi fedeli appassionati.
Oh yeah:The Boilers!

http://www.iyezine.com/recensioni/939-the-boilers---high-heel-lovers.htm

(Boss hoss records) Dopo l'ellepi d'esordio dei garage-rockers nostrani Barbacans,la Boss hoss records si rifà viva con questo 7" split che vede confrontarsi quattro bands rappresentative di quattro diversi paesi.

La battle of the bands ha inizio con i già citati Barbacans che con "Cut you head G.S." dimostrano indubbi miglioramenti rispetto al loro già mirabile esordio a 33 giri "God save the fuzz",il loro brano,in puro stile garage revival, personalmente mi ha ricirdato i migliori Miracle Workers,è sostenuto da un gran lavoro di tastiera e fa presagire grandi cose per il loro immediato futuro.
A seguire troviamo i britannici Vicars con "Can't you see" dall'attitudine trashy tipo Sonics,nelle loro note mi è sembrato di ascoltare "I need you" dei kinks e se a voi questo non sembra un complimento...
Il lato B è inaugurato dagli argentini Los Peyotes con l'ottima "Pintalo de maron" un brano garage screziato da ottime iniezioni power-pop e con tocchi quasi freakbeat, alla Embrooks, sopratutto quando il cantato lascia spazio agli strumenti.
Chiudono le danze i messicani Los Explosivos con una buona cover del classicissimo "I can only you everything",che, nella loro lingua madre diventa "No eres para mi"; attitudinalmente presentano un garage dal taglio molto punk nel solco degli immensi Fuzztones.
A tanta quallità a livello sonoro fa da corollario un'ottima veste grafica che non da adito a dubbi nell'ascoltatore su quanto andrà ad ascoltare.
Dischi come questo si comprano:ascoltare,supportare,diffondere.

Save the vinyl!

http://www.iyezine.com/recensioni/940-artisti-vari---the-wildest-things-in-the-world-split-7inches.htm

"dirty chime" that's sounds like my goal too. hahah Yeah, nothing wrong with Gibsons. Link Wray used Les Pauls and Firebirds at different points. Keith Richards used a Les Paul in the sixties I believe. Gear is fun but it really is the player that matters the most. Brandon Reed said:

I get great dirty chime out of my JTM45. All I have to do is crank the master volume and I get into Dave Davies circa 'I Need You'. If that isn't great garage tone, I don't know what is.

I think more than the amp, it's important how to eq. Lots of treble w/ mild overdrive and fuzz to kick you for leads.

People also say don't use Gibsons for garage rock and again I'd say with the proper eq and playing technique you can get a great garagey tone. YMMV but I have to stand up for my own gear. :D

As far Fender bass amps go I would recommend reading up on some of the blackface and silverface bassman circuits (some of the circuits stayed the same into the seventies I believe) or a Musicmaster combo bass amp from the seventies is supposed be awesome. I wouldn't mind having one myself. Gareth Brown said:

I'm in the process of trying to find band members in the Bournemouth/Dorset area (UK). I play an original 1967 Supro through a Fender Champ from around 1972. I can get a good sound from it but feel very limited at the moment - I think i'm gonna need a bigger amp and maybe a couple of pedals (analogue of course). I was thinking of playing through a decent old Fender bass amp as I have been advised that this often produces good results. Any suggestions?

I'd second that the first 2 LPs and Night of The Living Eyes are the best C. Kings full lengths, although all of their full lengths would have been better EPs without what seem like filler tunes.

Some of their early singles are pretty incredible. (Baby Doll, in particular) And I really love how they breathed life into the Kinks' "Live Life" on that 80s tribute LP.

You'd probably like Night of the Living Eyes (if you can find it) which is a comp of early singles and some live stuff from 1982-83. And Here Are the Chesterfield Kings is actually pretty good. The second one "STOP" actually begins to clean up the sound a bit but I thought it was good. S.Law said:

my introduction to the chesterfield kings was seeing them open for the Cramps. I was blown away. but their recorded output that I've heard is pretty disappointing-the production stinks(imagine any 60's sitcom where a character is in a "rock'n'roll" band-that's the sound).

any recommendations? I passed on "doomsday" after hearing their other stuff, but that does seem to be the one to get.

my introduction to the chesterfield kings was seeing them open for the Cramps. I was blown away. but their recorded output that I've heard is pretty disappointing-the production stinks(imagine any 60's sitcom where a character is in a "rock'n'roll" band-that's the sound).

any recommendations? I passed on "doomsday" after hearing their other stuff, but that does seem to be the one to get.

I've damn near given up. Bamalama Records originally started as something to put out stuff by my band but I was suddenly inundated with bands wanting to put something out. 99% was mediocre but even the 1% that was worth putting out was more than I could afford so we did a comp CD and cassette (even though I was opposed to CDs and started this as a vinyl-only label). Both sold out quicker than I expected - within a couple of months (250 CDs, 250 cassettes). The packaging cost nothing - it was all cut and paste and Xeroxed at my office. The cassettes we had on hand (we found in cleaning out the garage) so we duped those ourselves and the CDs were duped for almost nothing. My vinyl? Gone nowhere. I have a beautifully done 4 song EP on gold vinyl by the Million Sellers (late 50s/early 60s rock n roll with some Bobby Fuller influence - fantastic) and I split the cost with the band (good friends) so we both have 250 pieces each. I've sold one, given away a few and can't even get the podcasters on here to take 'em for free (what's your problem! It's free!). The guys in the band have actually sold almost 100 in Japan (4 record shops over there have taken them) but I can't even give mine away. I did see one of my promos on eBay and it went for more than I'm selling them for! (I emailed the guy to tell him what a shithead he was - he said he wanted it because it was a "promo"...what the fuck? I have a box full of 7" I'll turn into promos with a hold punch if ya want!) I don't know if I want to continue - people keep emailing me wanting another comp and I don't know if I'm interested in doing that again. I mean, it was good for cash flow but it's not what I wanted to do with this label. If I do another comp, I need different bands and one or two that were known by more than 4 people. So I'm in the same quandary - releasing what I want to/what is cool/what will sell. At least with the comp, I kind of liked some of it but none of it blew me away. I have another record I'd like to put out soon so I may do another comp just for the sake of cash flow. I'd really like to have some stuff on it that I really liked. My fear is if I continue doing these comps, we'll be thought of as that label with mediocre comps! That's the last thing I want! Attracting good bands to the label is difficult if they don't know anything about you but it's hard to get any rep without good bands. And it seems the shittiest bands are the ones that think they're the best and that they're doing you some kind of favor by sending you their music.

I didn't start doing this to make money but it would be nice to recoup some costs!

Will do, thanks for the reply joseph Rumble said:

sounds cool - please, keep me updated on your releases!
any info for the show ist great!
g.

simone benerecetti said:

hi
i'm simone from iyezine.com
we are intereted to review your stuff
is it possibile?
we have also a garage surf podcast......
http://www.iyezine.com/podcast/922-i-ragazzi-del-juke-box-010---rad...
ciao simone

Thanks, hehehe i still listen to them too. In fact i went to a show recently and they smoked ... really cool ;-)

I like this album by Pierce S. Boaz recorded called "Surfin' the Styx" - you can dload or stream it for free from The New York Starlet Society at http://www.archive.org/details/surfinthestyx - it's kinda electro-punk surf - but it's cool spooky stuff! He did a lot of intoxicated skateboarding when composing these. Hard to surf in Queens when you're not anywhere near Rockaway.

Thank you! You've made my girlfriend very happy, she's Italian American and loves this stuff. Her father's from Sicily and can't believe it when she's listening to it, it bugs him out! FREDDI said:

There's an excellent compilation from Get Hip "60's Beat Italiano" that really worth,
"Garage Beat in Florence" is another good one. Clem Sacco is a little more trashy,or I ragazzi dai Capelli Verdi that was the second name of Ranger Sound that both made good stuff. More beaty but great names of those years,have been Jaguars,I Corvi,Rokes,I Ribelli, I Bisonti,

BackdoorStan said:

Who else from that early period of rock n' roll /rhythm&blues in Italy would you recommend listening to?

Hi great man! Are you ready for some spaghetti fuzz in food'o'rama extravaganza? (I know you have a little obsession for mexican food,ain't it?) swt said:

Are we ready for Freddi?