Sunday, June 29, 2008
Ok i had my weekend all planed out with some record digging and posting and after a great Friday night out for some sushi and wine with some of my favorite blogging musical peers, DJ Prestige of Flea Market Funk fame, Larry Grogan from Funky 16 Corners and the lovey JJB from Eye Eat Music I though man what a great weekend this is going to be. But after some fine wine, lots of music geek talk and great sushi at Taka in Asbury Park, back over to DJ Pres' house for some more wine and great spun tunes by the DJ himself and then over to the Brick wall for a few pints of Stella to hear DJ Jack the Ripper spin some 80's dance music all should have been right in the world but alas i woke up at 4 in the morning with my throat closed shut and choking on my own uvula and spent Saturday morning in the hospital with some sort of crazy allergic reaction. So no posting and no record digging for the devil...
I'm on some kind of steroids and prescription allergy meds and have to see a specialist to see why this all happened. But any i'm braving this ill feeling to try and put together a little something to hold you good folks over that keep coming back and i really appreciate it as i rapidly close in on 50,000 hits!!!
so keeping in line with my last posting of the Butthole Surfers doing some Donovan i give you Donovan doing Wild Witch Lady one of my personal faves from Mr. P Leitch off his Cosmic Wheels album, a cut i know my man Deacon Brimstone over at Blues for the Red Boy will appreciate.
While Donovan is mostly know for his whimsical Folk songs and mild Psychedelia this track has a bit of a harder edge. Kind of like T. Rex meets The Occult!
Hope you dig...?!?!???
Donovan - Wild Witch Lady
Thursday, June 26, 2008
So this is a post to make up for the fact that i said nothing about seeing the surfers 2 days ago 6/24/08.
It had been a long time since i saw them and even with the school of rock kids storming the stage from time to time they were pretty damn cool. There was some talk about it not being a full band w/ Mr. Leary having other obligations so it was a happy moment when i found out the FULL band would be gracing the stage. And his guitar playing by the way was on point.
I didn't really watch hunchback i was too busy drinking warm beer as the beer coolers at the lanes took a shit but folks seemed to enjoy them and i missed Delicious but it was cool to catch up with guitar player Andre who, by the way, used to make thee most excellent HOT salsa ever when he owned a health food store in Red Bank back in the day... Man I miss that shit!
Anyway, here's a little bonus: The Butthole Surfers doing Donovan's Hurdy Gurdy Man from 1990.
there really is no need to even try and explain or tell this bands tale is there?
If you don't know.... well.... i won't even go there.
Butthole Surfers - The Hurdy Gurdy Man
i suck and i will go to hell
Wednesday, June 25, 2008
I was in Asbury Park last night for the Butthole Surfers show at the Asbury Lanes.
Now i know this is a "music" blog but Asbury is a town i used to run in pretty heavy. Living right next door in "The Grove", Ocean Grove that is...
I went a bit early and met some friends for some pre show drinks and it had been the 1st time i have actually been out and about in the day time in a long time so I took some time to check out the town and man has A.P. really changed a bunch in the last few years.
anyone who knows AP will know what I'm talking about (unless your one of the money hungry assholes making it an unaffordable place to live anymore) and those who don't won't give a shit.
Now i didn't leave this town on my own but had to go out of some very unfortunate circumstances. And there seems to be a lot of that going around lately but the day i left was not a happy one so before i left with a very heavy heart i took my shitty digital camera and walked the grove and up and around the boards of Asbury because i know i wasn't going to be hanging around my old haunts anymore.
I had a lot of good times up and around that area when i lived with my one time lady friend and Mother of my Children, and for a short while another one i once called my brother who has been MIA for a while now with his own "life" problems.
I lived within walking distance of a bunch of great bars that are almost all gone and few cool clubs that some are still around but i hardly ever hear of many great shows anymore, but hell, even if i did i live far enough away now that i almost never take the drive. Last night was the exception.
Anyway, I was feeling nostalgic for a time and place that no longer exists and couldn’t believe how much things have changed, not only in Asbury Park but in my life as well. So on that day I left I took these crappy pictures and I’m gonna share them with you now.
Not exactly a paradise but I called it home….
Yours truly on that fateful day, looking like the asshole that i am....
never fear, i will be back with more music whenever the fuck i feel like it.
Sunday, June 22, 2008
You can't rage against the machine when your part of the fucking machine!
Long before major label phonies were spewing mock teen angst against the government missing foundation were in the streets taking action:
Back in the 80's these guys would constantly make the New York news for their brand of political noise choas and i was fucking intrigued.
New York City's Missing Foundation harked back to the sound and style of early industrial provocateurs like Throbbing Gristle and Einsturzende Neubauten, not just in their tribal percussion onslaught but also in their theatrical social-protest stunts. Led by Pete Missing, MF was a collective with several core members, several more auxiliary members, and a host of associates that swelled their ranks to as many as 20. Fueled by anarchist politics, the band favored agitprop slogans chanted over a cacophonous racket of metal, machinery, oil drums, garbage, and other found-object percussion, with guitar and other traditional instruments audible only occasionally. Their anti-establishment screeds took aim at a variety of targets, but what truly mattered were the group's incendiary live events -- destructive spectacles that provoked civil disturbances, histrionic media outrage, and citywide bans by nervous club owners. Even the band's logo -- an upside-down martini glass in the cryptographic Neubauten style that came to signify "The Party's Over" -- was the center of a widespread graffiti campaign on New York's Lower East Side, a discomforting weapon used to devalue properties and slow the area's gentrification (in keeping with the band's special concern for the poor and homeless). MF lead vocalist Pete Missing was born in the Bronx in the late ‘50s, and got his feet wet on the New York music scene with the punk band Drunk Driving, which was formed in 1980 and actually spawned the future MF martini-glass logo. Missing later moved to Hamburg, Germany, where he formed an early, short-lived incarnation of Missing Foundation in 1984 with Florian Langmaack. Helped by several extra percussionists and members of KMFDM, this group did perform live but soon broke up. Missing returned to New York and started a new version of Missing Foundation in 1985, which also featured drummers Chris Egan and Mark Ashwill, as well as VKP and Adam Nodleman; Langmaack would later come to New York and rejoin as well, adding saxophone and sampling to the percussion-heavy mix. The group's early live performances, including a notorious appearance at CBGB's, soon marked them as a chaotic and confrontational outfit whose fans couldn't be trusted to leave a venue intact. Missing took to singing through megaphones, in part because clubs would often pull the plug on the regular sound system. With a core membership of Missing, Langmaack, Egan, and Ashwill, MF grew to encompass a variety of musicians, visual artists, and activists who contributed to the band's performances; some of them included Dave Kelly, Bones 23, and Mark Laramee, among many others. Missing Foundation's self-titled first album appeared in 1987 on the Purge/Sound League label, initially on cassette only. Their second release, 1988's 1933 -- whose title and concept linked the modern U.S. with Germany just before the rise of the Nazis -- was nearly as musically primitive, but made a much bigger splash thanks to a concert in New York's Tompkins Square Park that sparked a full-scale riot. Various members had been arrested for political demonstrations, mostly on the subject of housing rights, but this incident was directly related to the group's performance antics. In the wake of the riot, the FBI started tailing Missing, hoping to find evidence of violent criminal activity, and police raided his ex-wife's residence in search of weapons. New York's local CBS affiliate did a sensationalist three-part story ("Cult of Rage") on the band, flinging wildly inaccurate charges of Satanism and building them up into a malevolent menace on the level of the Manson Family. In the midst of the hubbub, MF formed their own label, Humanity, and completed their third album, Demise, in 1989. They supported it with a European tour (American gigs were getting hard to find), and subsequently signed a contract with Restless Records, which reissued their first three albums in 1990. Also that year, the band released their proper Restless debut Ignore the White Culture, a somewhat more accessible effort that many aficionados consider the band's best. They next undertook a Gulf War-themed tour of Europe in 1991, burning gasoline and American flags at every show to protest American policy. A final Missing Foundation album, Go Into Exile, appeared in 1992; its title proved prophetic, as the group subsequently disbanded. Missing moved to Berlin in 1993 and stayed there until 2000; living in an artists' collective, he worked primarily on visual installations, but also collaboration on the occasional musical project. Langmaack also returned to Germany, while Egan -- who'd done most of the band's photography -- became a photojournalist. Mark Ashwill died of cancer in 2000. ~ Steve Huey, All Music Guide
I put these 2 songs off the album up because even as noisy and ruckus as they are they are the easiest to distinguish and actual songs, since most of this album is pure noise and the track all run together making rather difficult to distinguish. I'm sure this was on purpose and doing it this why would probably piss them off but fuck it. I'm an anarchist in my own way....
Liberty Under Siege is pure political doom while Pistol Archive could actually be a fucking pop song if it wasn't so damn noisy and godlike....
Missing Foundation - Liberty Under Siege
Missing Foundation - Pistol Archive
Saturday, June 21, 2008
Friday, June 20, 2008
Here is the soundtrack to my nightmares from last night:
Philip Charles Lithman (June 17, 1949 - July 1, 1987), who performed under the stage name Snakefinger, was an English musician, singer and songwriter. A multi-instrumentalist, he was best known for his guitar and violin work and his collaborations with The Residents.
Lithman was born in Tooting, South London, and came from the British Blues scene. He moved to San Francisco in 1971 and became associated with the avant-garde group The Residents. It is said he was given the name 'Snakefinger' by The Residents themselves when they saw his proficiency with the guitar during their first live performance together. Another explanation for the name comes from a story concerning a party in San Francisco, at The Residents' collective, wherein all in attendance watched Lithman's fingers dart snake-like at the neck of his violin.
In 1972 Lithman returned to England and formed the pub rock band Chilli Willi & The Red Hot Peppers with Martin Stone, ex-member of Mighty Baby and a fellow ex-member of Junior's Blues Band. As a duo, they released the album Kings of Robot Rhythm. In 1974, as a full band and popular live act in Britain, they released Bongos Over Balham.
Chilli Willi lasted until 1975, their last record not selling well, and by 1976 Lithman was back in the United States, this time in Los Angeles, California, seeking a recording contract, shopping his rock-style demos.
After a few years, Lithman moved back to San Francisco, reconnected with The Residents, and performed and recorded with them. Lithman's solo records, recorded under the name Snakefinger, were released by their record label Ralph Records.
His first album on Ralph was Chewing Hides the Sound in 1979, featuring original material co-written with The Residents as well as esoteric covers like Kraftwerk's "The Model". The songs showcased Lithman's distinctive slide guitar playing and often surreal imagery. This album was followed by Greener Postures in 1980, which included his first solo compositions as Snakefinger.
While on tour in Australia in 1980, Lithman had a heart attack that left him hospitalized for six months.
In 1982 Lithman formed his backing band The Vestal Virgins with former Captain Beefheart sideman Eric Drew Feldman. Snakefinger and The Vestal Virgins released Manual of Errors on Ralph in 1982. This was followed by the blues cover album Snakefinger's History of the Blues: Live in Europe in 1984 and a new collection of largely original material in 1986 called Night of Desirable Objects.
Lithman performed with The Residents on their 13th Anniversary Tour in 1986. On July 1, 1987, Snakefinger and his band, The Vestal Virgins, were in Linz, Austria, on the European Night tour. During a performance at the Posthof Club Lithman suffered a fatal heart attack. On that same day his single, "There's No Justice in Life", was released.
Ironic wouln't you say...?
Snakefinger - The Spot
Snakefinger - Smelly Tongues
Wednesday, June 18, 2008
Tuesday, June 17, 2008
HUMAN BEAST "Volume One" Rare, sought after, and absolutely excellent heavy UK psychedelic album from 1970 (Decca); alternately hypnotic and hard-driving, with intense guitar workouts in a classic psych mould; much high-caliber Eastern-influenced guitar work and cracking drums?highly recommended, although those of you who know this album will need no encouragement, I am certain; historical buffs note that David McNiven from Bread, Love and Dreams contributed the few lyrics (strange as they are) on this mostly instrumental album.
The Human Beast - Mystic Man
Monday, June 16, 2008
Monday, Monday.... as I've said before, eclectic. We do not discriminate here @ the devil's music and take on all comers!
so here is a little something to shake out the hippy from yesterday....
Some serious hate rock from Boston Mass: Tales of the alcoholocaust spun by survivors w/ big amps & blurred vision!
You only get a small taste of this wicked 4 songer from the great Land-O-Smiles label because this bitch is still in print so if you dig the evil this mutha brings head over to Land-O-Smiles and pick up a copy or 2.
The breakdown @ 1:20 is worth the price of admission alone....
limited pressing of only 500 on picture disk never to be repressed!
Noosebomb - Man's Best Friend
Sunday, June 15, 2008
OK i must admit that this is deffo not something i would have been listening to back in the early 80's. But as i have matured and aged i realized that if i stayed that angry "young" man all my life I'd probably be an angry dead young man or in jail so I've learned to soften my pallet a bit.... That's not to say that i don't bust out the Black Flag or Celtic Frost anymore just that I've learned a time and place for everything....
Anyway, i played this song on my radio show (when it was alive) when i had my kid there and they both really liked it as well. Enough to ask me to record it for them on tape.
and after a somewhat tumultuoius Saturday i need something a little mellow:
So here is the lowdown on this dirty hippy....
Genre: Rock, Country, Roots
Years Active: 1960s, 1970s, 1980s, 1990s 2000s
Shawn Phillips is one of most fascinating and enigmatic musicians to come
out of the early '70s singer-songwriter boom. The mere fact that he was a
musician as much as a singer and songwriter made him stand out, and helped
him attract a dedicated following. His refusal to shape his music -- which
crosses between folk-rock, jazz, progressive, pop, and classical -- to anyone
else's expectations has allowed him to hold onto a large and dedicated cult
following, without ever achieving the stardom that his talent seems to merit.
Shawn Phillips was born in 1943 in Fort Worth, Texas, the son of best-selling
spy novelist Philip Atlee, who moved the family around the world at various
times, including the South Pacific. After hearing "Malaguena" at the piano,
he took up the guitar at age seven, and by the time he was 12, he was playing
the chords to Carl Perkins songs. Phillips' musical experience transcended
rock & roll, however -- in the course of his family's travels, he got to live
in almost every corner of the globe, including Tahiti, and absorbed the music
that surrounded him wherever he was living. He returned to Texas in his
teens, with some training in classical music but a love for performers like
Jimmy Reed and Ike & Tina Turner, among other blues and R&B performers. He
did a hitch in the Navy, and then went back to Texas before retreating to
California, where he played around the early-'60s folk circuit.
Phillips made his first record, an overproduced single of Bob Gibson's
version of "Frankie and Johnnie" for Columbia, which he followed with two
albums, I'm a Loner and Shawn, neither of which was successful. Phillips went
to England, where he performed and wrote songs with Donovan, in a
professional relationship somewhat clouded in controversy. Phillips claimed
in interviews during the 1970s that he co-wrote "Season of the Witch," as
well as a major portion of the songs that finally surfaced on the album
Sunshine Superman, but only ever received one co-author credit for "Little
Tin Soldier" on the Fairy Tale album. While staying in England, the range of
his work vastly expanded, partly with the help of the use of various
He was ejected from England for playing without a work permit, and tried
living in Paris for before he headed for Italy. He settled in Positano, a
tiny fishing village. By the late 1960s, Phillips' musical expertise had
broadened to include not only different kinds of guitars, but also the Indian
sitar. After a few years of trying, he recognized that he'd started too late
and would never master the sitar in the traditional manner, and instead began
learning to make his own music on the instrument.
In 1968, he went to London with a the idea for a trilogy of albums and
recorded a major portion of it in collaboration with Traffic members Steve
Winwood, Chris Wood, and Jim Capaldi, and Caleb Quayle. No record company was
willing to commit to such an ambitious body of work by an unknown artist, and
the material languished for more than two years, until Phillips came to A&M
Records. Producer Jonathan Weston listened to his work and decided to try and
release an edited version of the music.
This became his A&M debut album, Contribution, which ranged freely between
uptempo folk-rock ("Man Hole Covered Wagon") to introspective quasi-classical
guitar pieces ("L Ballade"), and works mixing sitar and acoustic guitar
("Withered Roses"). The album got positive reviews, but it was when Phillips
embarked on his first U.S. tour, in conjunction with his next album, Second
Contribution, late in 1971, that he was discovered by much of the press.
Critics in the New York Times and other publications displayed unbridled awe
at Phillips' prowess on a range of instruments, including electric and
acoustic six- and 12-string guitars and the sitar, and his singing range, a
full three octaves from baritone to counter-tenor, as well as his
songwriting. He was one of the few singer/songwriters to play double-necked
six- and 12-string guitars (a standard feature of progressive and metal
bands) on stage, in intimate locales such as New York's Bottom Line, and to
test the full range of the hybrid instrument.
Writers lavished praise on Phillips for his unusual lyrics, haunting
melodies, daunting musicianship, and the ambition of his records -- he was a
complete enigma, American-born but raised internationally, with a foreigner's
keen appreciation for all of the music of his homeland and a seasoned
traveler's love of the world's music, with none of the usual limits on his
thinking about music. He slid between jazz, folk, pop, and classical sounds
-- it was nothing for Phillips to segue from a progressive-style mood piece
with a 50-piece orchestra into an R&B-based number driven by his electric
guitar, and back again. "The Ballad of Casey Deiss," from Second
Contribution, was a case in point, a song about a friend who died when he was
struck by lightning, scored for acoustic guitars, electric guitars,
vibraphone, and the horn section of a full orchestra, as well as
A third album, Collaboration, followed, along with another tour, and then
Faces, Bright White, and Furthermore. His collaborator was conductor/arranger
Paul Buckmaster, the man responsible for the choral accompaniment on the
Rolling Stones' "You Can't Always Get What You Want." On tour, he was booked
into clubs with artists such as comedian Albert Brooks, singer/songwriter
Wendy Waldman, and Seals & Crofts, and usually worked solo, surrounded by a
half-dozen guitars, or sometimes with a single accompanist, Peter Robinson,
Phillips never achieved major stardom, despite his critical accolades. He
never courted an obvious commercial sound, preferring to write songs that, as
he put it, "make you feel different from the way you felt before you started
listening," primarily love songs and sonic landscapes. He made nine albums
for A&M before moving on to RCA with Transcendance in 1978, which mixed his
guitars with a 60-piece symphony orchestra and members of Herbie Hancock's
band, produced in collaboration with arranger/conductor Michael Kamen. He
also contributed to movie music by Manos Hadjidakis, and appeared in the
movie Run With the Wind.
With 15 albums behind him since the mid-1960s, Phillips has a following, in
America, Europe, and Japan, and he has performed at different world music
festivals. A cult figure whose peers include Van Dyke Parks and, perhaps,
Leonard Cohen (though Cohen's public profile is enhanced by his following, as
an established poet and author, in the literary community), he remains an
enigmatic figure on the music landscape. His work remained sufficiently in
demand in the 1990s, however, to justify a best-of compilation from A&M in
1992 that included notes by Phillips and one new song. In 1998, eight of his
LPs were re-released via the Wounded Bird label.
~ Bruce Eder, All Music Guide
Never fear I will be back soon enough to balance out the "Hippy"....
Shawn Phillips - Moon Shine
Saturday, June 14, 2008
Happy Saturday Morn everybody!
I took the week off to let my mix ride, i hope some of you enjoyed it?
Sticking in the somewhat heavier side of of psych here w/ some Lincoln St. Exit.
Lincoln St. Exit were New Mexico's lead garage/psych band of the late '60s/early '70s, one of the few Indian Native American groups. All four members were New Mexico Sioux. Time Has Come Gonna Die reflects the times & the Vietnam era vibe hanging over the U.S. - Kinda creepy, kinda doomy....
Their sole album "Drive It" released on Mainstream is now a sought after items of collectors interest. "Drive It" has a garage rock feel complete with wah-wah guitar and angry young man attitude.
Here guitarists Mike Martin & R.C. Gariss are backed up by the rhythm section of Mac Suazo (bass) & Lee Herres (drums).
Off the top of my head, Redbone would be the only all American Indian band i can think off? I'm sure there are more so if you have any recommendation feel free to drop them, and i looked for a while for a promo pic of the exit but could not find a decent one...
Enjoy some Indian Rock!
Lincoln St. Exit - Time Has Come Gonna Die
Monday, June 9, 2008
When I found out DJ Pres was doing this guest DJ mix thing I thought I’d put together a killer Fuzzy and Funky mix for him but when I talked to him on the phone he was all about getting some Psychedelic jams together…. I was more than happy to oblige.
It was pretty tough picking out the tunes in this mix because I could have gone on for days and days without stopping but I wanted to keep it brief and to the point and then I thought shit man, I have so many tunes I want to use why not do a sister mix!?! So I did!
I put together not 1 but 2 great sampling’s of late 60’s & early 70’s psychedelic music with some wicked fuzzy guitar tones mixed throughout, lot’s of killer organ work, some smooth but pumping bass lines and last but not least some trippy vocals and lyrics. Keep your dancing shoes under your bed for this one but bust out that bean bag chair from the attic and dust of your lava lamp, plug in you “Black Light”, break out your “sack” & burn, burn, burn!!!
So if you dig what is laying out here for your ears stop over to Flea Market Funk for the Twin of “At the Mountains of Madness Pt. 1”
Morgen - Welcome to the Void: "ABC Record's valiant attempt at the 'hip/youth' market, Probe, released many memorable LP's by such groups as Saint Steven and The Litter along with debut offerings by Zephyr, Soft Machine and Rare Bird, but none generate the frenzy at this late date quite like the quartet led by guitarist/vocalist Steve Morgen, first unleashed in 1969. Even before dropping needle on groove, the stark black-and-white sleeve with inset Edvard Munch lithograph, in contrast to the multicoloured hues so prevalent then, makes an immediate statement. And then the music makes another immediate statement... A foreboding bass riff and staccato drumming introduce 'Welcome To The Void', and for the next thirty-eight minutes one is hurled headlong into a vortex of dual-guitar overload, lyrically woven with romantic and Victorian imagery residing on a tab of microdot. Radio stations didn't bite on the single, Probe closed up shop, and the world became a decidedly sadder place."
Saint Steven - Gladcadova: Saint Steven is actually Steve Cataldo, who had previously been the guitarist and singer/songwriter for the minor late-'60s Boston psychedelic band Front Page Review. His 1969 album, also called Saint Steven, was similarly period psychedelia, w/ some Pop/rock and folk-rock sensibilities were sprinkled with bits of odd sound effects (animal roars, 1968 Republican Convention soundbites, etc.)
Eden's Children - Sure Looks Real: From Boston The Children were a three piece group. Larry Kiley the bass player and Jimmy Sturman the drummer were a constantly interesting rhythm section. The main songwriter/singer was Richard 'Sham' Schamach who was also a great guitar player. This cut from the 2nd album is from 1969. "Sure Looks Real" is nice Smooth vocal Pop that leads into an Awesome solo FUZZ ATTACK!
Lemon Pipers - I Was Not Born To Follow: The Lemon Pipers included singer Ivan Browne, guitarist William Bartlett, keyboardist R.G. Nave, bassist Steve Walmsley, and drummer William Albaugh. The group is best known for their number-one bubblegum hit "Green Tambourine" and several followups, all written by the team of Paul Leka and Shelley Pinz. The group actually wanted to play more psychedelic music; they only recorded "Green Tambourine" because their label would have dropped them had they refused. These guys get overlooked because of their "hit".
C.A. Quintet - Cold Spider: A major rarity and a major freak out record, C.A. Quintet's "Trip Thru Hell" is a spooky, murky, macabre vision. Genuinely original and chilling expeacially considering it's release date of 1968.
Fever Tree - The Man Who Paints the Pictures: Texas psych from 1968, the self-titled debut album of this unfairly neglected psychedelic band is an odd mix of slick studio work laced with surprising moments of eclecticism, from soundtrack references to hard rock worthy of the best bands of the time.
Things to Come - Dancer: Emerging from the glut of Southern Californian rock groups in the mid-'60s, Things to Come formed in 1966. Their original lineup included lead singer Steve Runolfsson, drummer Russ Kunkel (who would go on to become a top sessionman), and bassist Bryan Garofalo (also a future sessionman and a member of Glenn Frey's band since 1982). The group cut only three singles in their brief lifetime. This cut is from a 60's comp called "Speed Kills" which was made and sold to benefit "drug abusers".... heh...
Art - I Think I'm Going Weird: Classic but little known 60's Brit psych band that would later evolve into the much more know band "Spooky Tooth" released in 1967 this a "real" psychedelic record that is vamped in echo, swirling guitars, strong vocal melodies, heavy guitar riffing and great use of effects. Early & Classic indeed...!
H.P. Lovecraft - Mobin's Trip / At the Mountains of Madness: Featuring two strong singers (who often sang dual leads), hauntingly hazy arrangements, and imaginative songwriting that drew from pop and folk influences, H.P. Lovecraft was one of the better psychedelic groups of the late '60s. The band was formed by ex-folky George Edwards in Chicago in 1967. Edwards and keyboardist Dave Michaels, a classically trained singer with a four-octave range, handled the vocals, which echoed Jefferson Airplane's in their depth and blend of high and low parts. I had to end with "At the Mountains of Madness" since this is the "sister" mix to the Flea market Funk mix that ends w/ a song of the same title...
Download or listen:
The Devil's Music - Devil Dick - At the Montains of Madness Psych Mix Vol. 3, Pt. 2
Wednesday, June 4, 2008
Hey peeps, happy mid-week. Here is a little something to help you over the hump.
The Sandals, also known as The Sandells, were an early, influential surf rock band formed in 1964. They are most famous for scoring the surfing documentary The Endless Summer.
The Sandals began in 1962, when Danny Brawner, a drummer, joined a high-school group called The Twangs, headed up by the brothers Gaston and Walter Georis. The Twangs were a group heavily influenced by The Ventures. At this point, the core of The Sandals was formed: Brawner on drums, Gaston on keyboards, Walter on rhythm guitar, John Blakeley on lead guitar with his brother, David, on bass. David was replaced by John Gibson early on. The band changed their name to The Shadows, and eventually settled on The Sandells, a portmanteu of "Sand" and "ells", a popular ending for groups at the time. They released their first album, "Scrambler!", in early 1964. They partnered with World Pacific Records for the release, which allowed them to come in contact with Bruce Brown, who was then just beginning editing work on his next documentary project, The Endless Summer..
The Endless Summeris one of the first and most influential films of the surf movie genre, creating and defining an entire category of cinema which has endured and evolved in the decades since its release.
This cut was featured on the soundtrack to The Endless Summer, here is my original 45 copy.
Hang 10 and drink 6!!!
The Sandells - 6-Pak