The Greatest Garage LPs of the 60's
A personal view of some of the coolest 60's Garage & Psych LPs. By Markus Holler. Band biographies are from the legendary FUZZ ACID & FLOWERS book & all band biographies / discographies courtesy of FUZZ, ACID & FLOWERS / VERNON JOYNSON. Buy this book for indepth biographies / discographies on USA 60's Psych and Garage bands. (For copies try www.freakemporium.com)
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THE CHOCOLATE WATCHBAND - "NO WAY OUT" (TOWER, 1967)
"A tuly legendary LP by San Jose's finest 60's Garage band. This - and their second- LP has achieved near mythical status over the decades with mint original copies fetching $400+. Produced by ED COBB the "real" band was only featured on a handful of songs, the rest being played by Ed Cobb-designated studio musicians. According to legened DAVIE ALLAN & THE ARROWS helped out, but I'm not sure if that's true. This LP has been reissued on numerous occasions and these can be found easily. Nevertheless, for an authentic experience track down an original or make friends with someone who has one."
Personnel:
PETE CURRY drms A
JO KEMLING organ A B
MARK LOOMIS gtr A B C D E G
DANNY PHAY vcls (AB) gtr (GH) A B G H
NED TORNEY ld gtr A B G
RICH YOUNG bs A B
GARY ANDRIJASEVICH drms B C D E G H
DAVE AGUILAR vcls C D F
BILL FLORES bs C D E F G H
SEAN TOLBY gtr C D E F G H
TIM ABBOTT gtr E
CHRIS FINDERS vcls E
MARK WHITTAKER drms E F
PHIL SCOMA ld gtr H
ALBUMS:
(up to 1972)
1(C) NO WAY OUT (Tower 5096) Sept. 1967
2(D) THE INNER MYSTIQUE (Tower 5106) Feb. 1968
3(E) ONE STEP BEYOND (Tower 5153) 1969
NB. (1) reissued on CD (Sundazed SC 6023) 1994 with three bonus tracks: In The Midnight Hour (previously unreleased), Psychedelic Trip (previously unreleased) and Milk Cow Blues. (2) reissued on CD (Sundazed SC 6024) 1994 with the 45 version of She Weaves A Tender Trap as a bonus cut. (3) reissued on CD (Sundazed SC 6025) 1994 with two bonus tracks from the "Riot On Sunset Strip" soundtrack: Don't Need Your Lovin' and Sitting There Standing. (1) has also been reissued as No Way Out..., Plus (Big Beat/Ace CDWIKD 118) 1993, which includes eight bonus tracks (including 45 cuts like She Weaves A Tender Trap and Sweet Young Thing, an alternate take of Misty Lane and two tracks by line-up 'B' Don't Let The Sun Catch You Crying and Since You Broke My Heart). (1) and (2) have also been reissued on one CD by Eva (with inferior sound quality) and (1) and (2) have also been reissued on vinyl, with one additional track in the case of (1). There have also been a number of compilations, including Forty Four (Big Beat) 198? which includes all of the material, which the band actually played on; The Best Of The Chocolate Watch Band (Rhino) 198?; and Are You Gonna Be There? (Eva 12048) 198?.
EPs:
1 Sweet Young Thing/Come On/I'm Aware/Milk Cow Blues (Eva 2004) 198?
2 SITTING THERE STANDING (Sundazed SEP 109) 1996
NB: (1) is a bootleg. (2) Contains Sitting There Standing, 'Till The End Of The Day, Sweet Young Thing and Are You Gonna Be There. 'Till The End Of The Day and Are You Gonna Be There are previously unreleased instrumental backing tracks.
45s:
1 Sweet Young Thing/Baby Blue (Uptown 740) Dec. 1966
2 Blue Theme/Loose Lip Sync Ship (HBR 511) Dec. 1966
3 Misty Lane/She Weaves A Tender Trap (Uptown 749) Feb. 1967
4 Are You Gonna Be There (At The Love In)/No Way Out (Tower 373) 1967
NB: (2) as The Hogs. In the late eighties, the bootleg label Eva also issued a promo 45, Let's Talk About Girls/In The Past (EVA JBR 4)
This San Jose band formed in the summer of 1965 at Foothills college in Los Altos and were discovered late the following year by Ed Cobb. Their original line-up included Pete Curry on drums, who went on to become guitarist / songwriter with The Halibuts. His time in the band was severely limited however, and after their first gig was replaced by Gary Andrijasevich. Although nothing was released by the first couple of line-ups (*), they were reputedly on par with the "classic" The Chocolate Watchband, with Dan Phay being a particularly charismatic front-man.
The band were also friends with another act called The Topsiders who for a short while included Skip Spence, prior to his joining Jefferson Airplane. In 1965, both bands underwent a number of changes, with Phay, Torney and Kemling all leaving to join The Topsiders (who then became The Other Side), whilst Sean Tolby, moved from The Topsiders to The Chocolate Watchband. Indeed Mark Loomis (ex-Shandels) also had a brief spell with The Other Side after Rich Young was drafted, before he decided to reform the 'Watchband with Gary Andrijasevich and Jo Kemling. The latter opted to stay with The Other Side however, and bassist, Bill Flores (ex-Shandels) and, a vocalist, biology student Dave Aguilar, were drafted in to complete The Chocolate Watch Band's new line-up. Heavily influenced by British R & B outfits like The Stones and The Yardbirds, the band gigged regularly around the Bay Area supporting bands like The Doors, Big Brother and The Holding Co. and The Mothers of Invention.
They were signed to Tower and recorded a debut single in 1966. The 'A' side, written by Cobb, was a fine Stones' influenced number, but with an uniquely Californian interpretation. Inexplicably, Tower issued the single on its black R & B subsidiary label, Uptown, which did not, as a white group on this label, attract the airplay it deserved.
On Cobbs insistence, The Chocolate Watch Band returned to the studio to record a cover version of Blue Theme, originally performed by Davie Allan and the Arrows, on the soundtrack to The Wild Angels. However, Tower were not convinced of its commerciality, and Cobb leased the finished master to Hanna Barbers records. It was released, under the pseudonym, The Hogs, as HBR 511, with Loose Lip Sync Ship, which culminates into a strange psychedelic piece of dementia, on the flip side. It was quite successful locally and Davie Allan's version of Blue Theme became a Top 40 hit.
The 'A' side of their next single Misty Lane was more commercial and not as powerful as Sweet Young Thing. The flip was an uncharacteristically reflective, quieter number with a stringed and woodwind section.
1967 saw the band record two tracks Don't Need Your Lovin' and Sitting Here Standing, on the soundtrack to Riot On Sunset Strip. September 1967 saw the release of their debut album No Way Out. Essentially a collection of psychedelic punk, containing the impressive Let's Talk About Girls, punk versions of Come On and In The Midnight Hour as well as drug-influenced songs like Expo 2000, The Dark Side Of The Mushroom, Gosamer Wings and the title track. Many of the songs have an Eastern influence. It has later been revealed that the band did not play on the spacier tracks on this album, for which Cobb used session musicians. It is now known, too, that arranger Don Bennett and not Dave Aguilar sang the vocals on Let's Talk About Girls. However, the full band did play on Are You Gonna Be There (At The Love In)/No Way Out their next single lifted from the album. Aguilar's explanation for the mixed-up nature of the studio recordings is that the band considered themselves primarily live performers who "loved to challenge big-namegroups and blow 'em off the stage. That's where we got our excitement and our kicks". The studio stuff was considered a mere sidelight which they left mainly in Cobb's hands.
The Eastern influence was developed further on their excellent second album, The Inner Mystique, which appeared in February 1968 and actually comprised of outtakes from the first album plus new recordings that didn't feature the band. Aguilar, Loomis and Andrijasevich had all quit before the release of the first album leaving Flores and Tolby to fill their spaces with other musicians from the San Francisco Bay Blues Band. The band did not appear at all on the 'A' side, which was the work of Ed Cobb's session musicians. There was a mystical/Eastern element to instrumentals Voyage Of The Trieste and Inner Mystique, (both written by Cobb) and in their cover version of We The People's In The Past. The band itself did play on side two, which included a remix of Dylan's Baby Blue taken from their first single, an excellent version of Ray Davies' I'm Not Like Everybody Else and The Brogues' I Ain't No Miracle Worker. Flore and Tolby also quit in late '67, prior to the albums release, although this was because of the problems in maintaining a stable line-up rather than any frustration with Cobb's influence over the bands recordings.
With no band to promote the release, a year passed before Ed Cobb persuaded some members to reform the band and have another go. Guitarist Danny Phay (from The Other Side) came back in as a replacement for Dave Aguilar, who decided not to get involved again. The band wrote all the material for the resultant One Step Beyond album, but aside from I Don't Need No Doctor, it's comparatively disappointing. They split again after this album was released in 1969 and an attempted reformation in 1970 lasted just one month.
Also of note was a short lived act known as The Tingle Guild, who included Mark Lomis, Dan Phay, Gary Andrajasivich plus his cousin Chris Ramey. Original drummer, Pete Curry, also returned to the fold for a while, but presumably the band fizzled out...
Dave Aguilar was reported, in 1983, to be Professor of Astronomy at Colorado University and he then moved into doing research for the aerospace industry. Rich Young now gigs in the bay area with Jerry Miller of Moby Grape fame. Sean Tolby is now dead.
Later revelations that the band did not play on some of their album tracks perhaps diminish a little of their reputation, but they remain one of the most interesting West Coast bands and they made some fine music.
In 1999, the band reformed for a gig at the 3-day "66-99" event in San Diego on 12th June and later at the New York 'Cavestomp '99!' on Nov 5-7th alongside The Standells, Monks et al.
Compilation appearances has included: Are You Gonna Be There (At The Love-In)? on Sundazed Sampler, Vol. 2 (CD), Excerpts From Nuggets (CD), Nuggets, Vol. 2 (LP); Are You Gonna Be There (At The Love-In)? and Sweet Young Thing on More Nuggets (CD); Are You Gonna Be There (At The Love-In), Let's Talk About Girls, Sweet Young Thing on Nuggets Box (4-CD); Let's Talk About Girls on Nuggets - Original Artyfacts From The First Psychedelic Era 1965-1968 (Dble LP), Nuggets (CD); Sweet Young Thing on Pebbles, Vol. 7 (LP), Nuggets, Vol. 6 (LP); No Way Out on Psychedelic Perceptions (CD); Don't Need Your Lovin' and Sitting There Standing on Riot On Sunset Strip (LP); and Don't Need Your Lovin' on Garage Music For Psych Heads.
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13TH FLOOR ELEVTATORS - "THE PSYCHEDELIC SOUNDS OF" (INTERNATIONAL ARTISTS, 1966)
"For me this is the best LP EVER made, bar none. Yes, you may mock but this little platter means more to me than any other 33 rpm on earth or beyond. Why? The sheer otherwordliness but simple accessbility of the music for one. That true Texan feel, derived from Buddy Holly and others blended with truly inspirational and Psychedelic lyrics. To some it sounds like THE ROLLING STONES IN OUTER SPACE, and for me thisd LP has been the soundtrack to many a Psychedelic afternoon in my distant past (of course). 'Nuff said, now buy it."
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The 13th Floor Elevators
Personnel:
ROKY ERICKSON vcls A B C
TOMMY HALL jug, vcls A B C
STACEY SUTHERLAND ld gtr, vcls A B C
BENNY THURMAN bs A
JOHN WALTON drms A B
RONNIE LEATHERMAN bs B
DAN GALINDO bs C
DANNY THOMAS drms C
DUKE DAVIS bs
ALBUMS:
1(A) THE PSYCHEDELIC SOUNDS OF... (International Artists IALP 1) 1966
2(C) EASTER EVERYWHERE (International Artists IALP 5) 1967
3(-) LIVE (International Artists IALP 8) 1968
4(C) BULL OF THE WOODS (International Artists IALP 9) 1968
NB. (1) and (2) were also issued in mono (R3). (1) and (2) reissued by Radar Records (RAD 13) and (RAD 15) respectively, in the U.K. in 1978. (1) to (4) were reissued in 1979. (1), (2), (3) and (4) reissued by Decal Records, (LIK 19), (LIK 28), (LIK 30) and (LIK 40) respectively, in the U.K. in 1988. (1) - (4) also issued on CD by Spalax, Decal and by Collectables. A performance from the Avalon Ballroom 1966, has appeared on many bootlegs, including:- (B) Avalon Ballroom 1966 (FP 1001) 1977; S.F. 66 (Lysergic Records LP 025) 1980; 66 Live (KWR 3031 LP) 1985-French. There have also been a number of retrospective releases, including:- Fire In My Bones (Texas Archive Recordings TAR LP-4) 1985, Elevator Tracks (Texas Archive Recordings TAR LP-7) 1987 and The Original Sound Of (13th Hour Records 13 -LP-1) 1988, consisting of outtakes and live material. The latter has also been released as Demos Everywhere (no label) 1988, with inferior sound quality. Also of interest are:- I've Seen Your Face Before (Live) (Big Beat WIK 82) 1988 and Live Re-Union (5 Hours Back) 1988. Another recent CD release is Magic Of which features the band live at La Maison in 1965. Collectables have also released four CD's: Another Dimension (COL-CD-0506), Last Concert (COL-CD-0575), Magic Of The Pyramids (COL-CD-0505) and The 1966-67 Unreleased Masters Collection (COL-CD-8816). The latter being a 3 CD set with previously unreleased songs, rehearsal tracks, alternate takes, demos and a live recording). Thunderbolt released The Interpreter (1996), a double CD with Elevators and Roky Erickson solo tracks. The CD compilation Psychedelic Microdots Of The Sixties, Vol. 2 (Sundazed SC 11009) contains the same Elevators tracks as (8). The Best Of (Eva B37/642370) 1994, contains most of their better-known songs, although the version of You're Gonna Miss Me and We Sell Soul are from the 45 by the pre-Elevators outfit
The Spades.EP:
1 You're Gonna Miss Me/Tried To Hide/Reverberation/Fire Engine (7") (PS) (Riviera 231 240) 1966
NB: (1) rare French release with different takes. There are also a couple of retrospective EPs: Live In Austin, Texas 1967 (7") (PS) (Austin Records RE-1) 1978-UK, features four songs, which are the same versions as the Avalon Ballroom (Bootleg) LP; and She Lives/(Other IA artists) (7" promo) (Radar SAM-88) 1978 - UK.
45s:
1 You're Gonna Miss Me/Tried To Hide (Contact 5269) 1965/1966 -
2 You're Gonna Miss Me/Tried To Hide (International Artists 107) 1966 55
3 Reverberation/Fire Engine (International Artists 111) 1966 129
4 Levitation/Before You Accuse Me (International Artists 113) 1967 -
5 She Lives/Baby Blue (International Artists 121) 1967
6 Slip Inside This House/Splash 1 (International Anists 122) 1967
7 May The Circle Remain Unbroken/I'm Gonna Love You Too (International Artists 126) 1968
8 Livin' On/Scarlet And Gold (International Artists 130) 1968
NB: (1) This version of Tried To Hide is different from the International Artists one. (1) also issued on Hanna Barbera (492) in 1966 and on Hansa (19.188) 1966 in Germany. There's also a flexi disc: You're Gonna Miss Me/Tried To Hide/Reverberation/Hurricane Fighter Plane (
Red Krayola) (7" flexi-disc) (Radar S.F.I. 347) 1978The first band to describe themselves as 'psychedelic' the 13th Floor Elevators formed in the Winter of 1965, playing their first gig at the Jade Room in Austin on 13th (?) December, which garnered a mention in Jim Langdon's column in the Austin Chronicle.
Sutherland, Walton and Thurman had all previously played in a Kerrville band - The Lingsmen, who became the 13th Floor Elevators when Max Rainey, their original vocalist, left and Roky Erickson, the lead guitarist of
The Spades (another Austin act), was drafted in as a replacement. Their original line-up was completed by Tommy Hall, a local student, who played jug and along with his wife Clementine wrote much of the band's early material. It seems Clementine was responsible for their name too. Most American buildings have no thirteenth floor and the band were saying, if you want to reach the thirteenth floor and achieve a new level of consciousness, ride with them.Their first 45, released in the Winter of 1965, was You're Gonna Miss Me, which Roky had written when he was still with
The Spades. It was originally issued on the Contact label and a Jan 1966 article in the Austin Chronicle states that a local radio station refused to play the record (they claimed that the band and supporters were calling incessantly for it to be played).The band also quickly established a strong 'live' reputation playing at venues like the New Orleans Club and the Jade Room in Austin and La Maison in Houston. Significantly they were the first band to advertise themselves as 'psychedelic', predating
The Grateful Dead by about two weeks, and first hand reports of these early gigs, indicate that they were an awesome live act. Indeed, there are even rumours of en masse "flash-outs" brought on by the fervant, pulsating rhythms and feverish foot-stomping by the crowd.Texas was a highly conservative state in the late 1960s and, not surprisingly, a band like The 13th Floor Elevators with their long hair and penchant for drugs (particularly acid) had a number of brushes with the law. They were eventually busted in early 1966 and all placed on probation. Tensions were increasing within the band, too, and these led to Benny Thurman's departure and his replacement by Ronnie Leatherman.
The band's career received new impetus when Lelan Rogers signed them to his new International Artists label. Rogers had just returned to Texas from LA, where he'd been working for A & M Records. He reissued their debut 45 on his label (with a different recording of the flip side Tried To Hide) and it made No. 55 in the National Charts. Their first album, recorded in Dallas, followed shortly after. Taking a sort of Kinks or Stones styled R & B they added their own highly individual style on what was a classic vinyl offering. Prominent throughout was Tommy Hall's jug playing, which helped to give the group a unique and distinctive sound. The songs were also laced in psychedelic mysticism which was central to their music and the album is often regarded by "heads" as some of the finest psychedelic music to be committed to disc, being particularly notable for how it expands and stretches out under the influence of psychedelic drugs.
In particular, Roller Coaster, oozed the feelings of a psychedelic trip, and revelled in the new purpose to man's life that could result from the psychedelic experience. It's also claimed, that the track is about (or inspired by) Alfred Korzybski, the father of semantics - who was one of Hall's main influences. Korzybski wrote "Science and Sanity An Introduction to General Semantics and Non-Aristotelian Systems" and one of his concepts was "unsanity" which is referred to in the songs lyrics, and in the liner notes to the Psychedelic Sounds... album. Other tracks such as Reverberation dealt with how a person, who organised their knowledge in the right way could overcome problems of doubt (and avoid bum trips); Don't Fall Down dealt with the care that had to be taken to maintain this chemically-altered state; Splash 1, which was written by Clementine Hall and Roky and later covered by
The Clique, describes the meeting of two minds which have undergone the psychedelic experience and You Don't Know explained the differences between persons of old and new states of mind. Perhaps the best track of all was Fire Engine, written by Tommy, Stacey and Roky, which began with an unusual siren introduction, and superficially portrayed what it would be like to ride on a fire engine for fun rather than to fight an horrific fire - at a deeper level, the song is said to have a D.M.T. influence, with Roky twisting the words "empty place" into "Let me take you to D.M.T. place on my fire engine"... DMT being the short-term psychedelic Di Methyl Tryptamine.Like so many bands in this era The 13th Floor Elevators headed for California in August of 1966 and stayed there in San Francisco for the remainder of '66. They played at the Avalon ballroom four times and once at the Fillmore West. Their first album was released during their stay in California and this, plus the fact they gigged a lot at the Avalon ballroom, led many people to believe them to be a San Franciscan band. In fact, they actually put on an all Texan show at the Avalon during their Californian stay with
Big Brother and The Holding Company (Janis Joplin was from Austin, Texas and at one time nearly joined The 13th Floor Elevators) and the Sir Douglas Quintet. The band's time in California helped to forge important links between America's West Coast and the hitherto relatively isolated Texas psychedelic scene. The Elevators would return to California two more times in late 1967 and in 1968.They returned to Texas late in 1966 and immediately ran into disagreements with their record company about what their next single should be. International Artists wanted to target I'm Gonna Love You Too at the Top 40 market, but Tommy keen to uphold the band's quest as psychedelic leaders held out for Reverberation and got his way with this and subsequent 45 releases. Though none of them ever made the national charts again.
Early in 1967 another split developed in the band. This was partly about the use of drugs as police pressure on the band grew. All were heavily into acid except John Ike Walton - indeed, Roky was reputed to have taken it over 300 times. So when Walton and Ronnie Leatherman left the band because of management disagreements, Walton was already viewed by the band as an establishment figure. After the split Tommy, Roky and Stacey retreated to Kerrville, a small hill town in the countryside, where they spent the Summer of 1967. They recruited two new members, Danny Thomas, a drummer, and Danny Galindo, a bass player and started work on their second album, Easter Everywhere, which entered the shops in the Autumn of 1967. It contained their own interpretation of Bob Dylan's Its All Over Now, Baby Blue. She Lives, a Tommy/Roky composition was also issued as a 45. Musically the album was more controlled and less frenzied than their first album but there are a lot of collectors who consider this to be their best LP. It suffered from under-promotion and Lelan Roger's policy of underpublicising the band to create a mystique around them had by this stage become counter-productive. Sadly, too, the group was beginning to crumble with Roky becoming increasingly unreliable and frequently missing gigs. The record company tried unsuccessfully to put him into a 'rest' hospital, but late in 1968 he was busted again. To avoid being dumped in Huntsville (the Texas State Prison), he claimed to be a Martian and the authorities committed him to Rusk State Hospital for the criminally insane early in 1969. Stacey got busted again and was not so lucky - he ended up in Huntsville.
Taking advantage of the band's problems the record company issued their third album, which failed to capture the band at anything like its best. It was not a 'live' album at all - the tracks were studio outtakes, with faked applause added. It did, however, contain five songs not featured on their studio albums - Bo Diddley's Before You Accuse Me (the flip to their 3rd single); Buddy Holly's I'm Gonna Love You Too; Soloman Burke's Everybody Needs Somebody To Love and two original compositions, You Gotta Take That Girl and You Can't Hurt Me Anymore.
When Tommy Hall headed for California the band, already minus Roky and Stacey, literally fell apart leaving behind them an incomplete album tentatively titled, The Beauty And The Beast. It was released after their demise by the record company late in 1968. They changed its name to Bull Of The Woods. Its finest moments included, Never Another, one of the best and most demented tracks ever recorded (the only one on the album written by their usual songwriting duo of Roky and Tommy) and May The Circle Remain Unbroken, a haunting Roky composition issued immediately after Easter Everywhere which had also appeared on one of their later 45s. Nearly all the remaining material was written by Stacey Sutherland often in conjunction with Tommy Hall. Stacey's songs are for the most part rather stark but Street Song and Rose And The Thorn both feature some fine guitar work.
Roky spent three years in Rusk State Hospital and it took a court case to get him out! In 1972 he attempted to reform the band with John Ike Walton using other musicians but it fell apart after two gigs, Thurman later played for
Plum Nelly, Galindo was in Rubayyat and Duke Davis, who was also associated with the band was in Gritz, but Erickson's subsequent solo career and the mystique surrounding the band has led to continuing interest in their recordings which prior to the reissue of their first two albums, in 1978, meant copies were changing hands for quite a few dollars.In recent years a plethora of the band's material has appeared. Fire In My Bones and Elevator Tracks both comprise alternate takes (mostly from their first LP) and several live tracks of variable quality. I've Seen Your Face Before is a live recording with rather confusing liner notes dating from 1966 or 1967. It features She Lives and Levitation from their Easter Everywhere album, the rest of the material is from their first LP. The Original Sound Of .. and Demos Everywhere both contain the same material despite their different titles, although the former contains track information that isn't present on the latter and is better sound quality. Side one contains alternate mixes of tracks from their first album, side two is thought to be an audience bootleg, although it claims to be a radio broadcast.
Compilation appearances have included:- You're Gonna Miss Me on Lenny Kaye's Nuggets and TwentyOne KILT Goldens, Vol. 2; The 45 version of Tried To Hide on Mind Blowers, Vol. 1, Austin Landing, Vol. 1 and The International Artists Singles Collection; live '67 recordings of You're Gonna Miss Me and She Lives In A Time Of Her Own, without Roky on Acid Visions - The Complete Collection, Vol. 1 (3-CD set); A live track from a 1972 reunion Maxine on Austin Landing, Vol. 2; A loose jam based around Levitation entitled Elevator Jam on Sixties Rebellion Vol's 1 & 2 (CD); The live version of The Word on Turds On A Bum Ride, Vol. 4 and finally, Epitaph For A Legend, a double compilation LP first issued in 1980, contains an excerpt from Fire Engine, a radio ad for the Bull Of The Woods LP, the previously unissued Wait For My Love and Roky and Clementine Hall performing previously unissued versions of Splash 1 and the Powell St. John composition Right Track Now.
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THE GOLDEN DAWN - "POWER PLANT" (INTERNATIONAL ARTISTS, 1967)
"This LP is from cut the same cloth as the ELEVATORS' LP outlined above. In fact it came out on the same label and was, I believe, recorded alongside the Elevators (in the same studio) when they recorded their second opus "Easter Everywhere". Coming across as the Elevators' younger brothers let loose on the same drugs this LP is one of the true lost classics of the era. It isn't usually mentioned in the same sentence as the ELEVATORS but the similarities between both bands' records a re striking. A must for any fan of cool Garage based Psych."
Personnel:
JIMMY BIRD gtr A
BILL HALLMARK bs A
GEORGE KINNEY vcls A
TOM RAMSEY gtr A
BOBBY RECTOR drms A
ALBUM:
1(A) A POWER PLANT (International Artists 4) 1967
NB: (1) has had a limited repressing in 1979 and issued on CD by Fan Club (NRCD 4126) and Eva (B26) in 1992.
Taking their name from the esoteric teachings and philosophy of the Hermetic Tradition, this band was formed in Austin in 1967. The 13th Floor Elevators got them a recording contract with International Artists. Indeed, George Kinney and Roky Erickson had grown up together in South Austin, attended the same school and played together in The Fugitives, a garage band from 1964/65. Kinney also played in Chelsea from late 1965 to late 1966 joining The Golden Dawn at the invitation of some high school friends when Chelsea fell apart.
The album is one of the best on the label with fine psychedelic instrumentation and thought provoking lyrics. Sadly, International Artists failed to promote it and the band fell apart when Kinney, determined to have nothing more to do with them, headed for California. Together with George Banks (who did the artwork for the album) Kinney later published Roky Erickson's book "Openers" whilst Roky was in Rusk State Hospital and the book helped to win his release. One cut from the album, Starvation, was later issued on an EP by Radarscope (RAD 88) 1978 in the U.K. along with cuts by the 13th Floor Elevators, The Red Krayola and The Lost and Found. Copies were given away at Red Krayola's 1978 reunion gig at London's Hope and Anchor pub.
Bill Hallmark went on to sing & play guitar for Rubayyat along with the 13th Floor Elevators' Danny Galindo.
Compilation appearances include: My Time on Endless Journey - Phase Three (LP) and Endless Journey - Phase I & II (Dble CD).
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THE MUSIC MACHINE - "TURN ON THE MUSIC MACHINE" (ORIGINAL SOUND, 1966)
"A really cool LP, this: The
Music Machine performed the meanest fuzz and keyboard garage ever made, with slick production and a real attitude. Classic songs follow one after the other such as "Talk Talk" "Trouble", "The People In Me" etc. Ultra cool...Personnel:
SEAN BONNIWELL rhythm gtr A B
RON EDGAR drms A
MARK LANDON ld gtr A
KEITH OLSEN bs, vcls A
DOUG RHODES organ, vcls A
ALBUMS:
1(A) TURN ON (Original Sound 8875) 1966 76
2(B) BONNIWELL MUSIC MACHINE (Warner Bros 1732) 1967
3(B) CLOSE (Capitol ST 277) 1969
NB: (1) reissued on Big Beat (Big Beat WLK 17) in 1983 in the U.K. and later on CD and vinyl by Performance (PERF 0397). (2) also released in France (Warner CLPW 1545) 1968. (3) Sean Bonniwell Solo LP. There's also a number of retrospective releases:- Best Of (Rhino RNLP 11 9) 1984; Turn On - The Very Best Of (CD) (Collectables COL-CD-6044) 199?; Beyond The Garage (CD) (Sundazed SC 11030) 1996, a reissue of the second album from 1967 with two previously unreleased and bonus tracks; and Ignition (LP/CD) (Sundazed SC 11038 / LP 5038) a decent collection of rarities and unreleased material.
45s:
1 Talk, Talk/Come On In (Original Sound 61) 1966 15
2 The People In Me/Masculine Intuition (Original Sound 67) 1967 66
3 Double Yellow Line/Absolutely Positive (Original Sound 71) 1967 ll
4 The Eagle Never Hunts The Fly/I've Loved You (Original Sound 75) 1967
5 Hey Joe/Taxman (Original Sound 82) 1968
6 Hey Joe/Wrong (Original Sound 82) 1968
7 Bottom Of My Soul/Astriologically Speaking (PS) (Warner Bros 7093) 1967
8 Me, Myself And I/Soul Love (Warner Bros 7162) 1968
9 You'll Love Me Again/In My Neighbourhood (Warner Bros 7188) 1968
10 You'll Love Me Again/To The Light (Warner Bros 7199) 1968
11 Tin Can Beach/Time Out For A Daydream (Warner Bros 7234) 1968
12 Advice And Consent/Mother Nature Father Earth (Bell 764) 1969
13 Where Am I To Go?/Sleep (Capitol 2551) 1969
NB: The Warner Bros and Bell 45s are as the Bonniwell Music Machine. The Capitol 45 is taken from Sean's solo LP. (11) released in France with picture sleeve (Warner WV 5110). A rare French EP with picture sleeve also exists: Talk, Talk/Come On In/The People In Me/Wrong (Vogue INT 18121). There's also a reissue 45: Point Of No Return / King Mixer (PS) (Sundazed S 131) 1997.
Centred around Bonniwell, who had earlier sung with sixties folk group The Wayfarers, this Los Angeles band developed out of a trio called the Ragamuffins, which had featured Bonniwell, Edgar and Olsen. Edgar had earlier drummed for The Goldebriars with Curt Boettcher, whilst Olsen who was an old friend of Boettcher, had played with Gale Garnett and Jimmie Rodgers, and also briefly with the Wayfarers, at whose club in Charleston the Goldebriars often played. He later married Goldbriar Sheri Holmberg.
Bonniwell disillusioned with straight folk, became the Goldebriars tour manager, and migrated to LA with them. Olsen meanwhile had run into another old friend, Doug Rhodes and Bonniwell grabbed them for his new band, The Music Machine, adopting The Goldebriars all-in-black, dyed black Beatlecut look in the process, lock, stock, and barrel.
The Music Machine's debut album contained the U.S. hit Talk Talk and a number of other strong original compositions, notably Masculine Intuition, Wrong and Trouble. Bonniwell's harsh voice was ideal for much of this material and for a while the group achieved some success. Their debut album also featured competent versions of Hey Joe, ? and The Mysterians' 96 Tears, the Beatles' Taxman and Neil Diamond's Cherry Cherry.
The People In Me/Masculine Intuition 45 was also taken from their debut album and Hey Joe was subsequently issued as a 45. However, not everything was presumably going smoothly and the second album was issued after the band had split. Recorded in Muscle Shoals, Alabama and New Mexico it comprised three outtakes from the earlier album and some new material.
The band also made some other recordings, acetates of which have recently surfaced with the following tracks: Side One Everything Is Everything/You'll Love Me Again/This Should Make You Happy/Black Snow/Mother Nature, Father Earth/Dark White; Side Two No Girl Gonna Cry/King Mixer/Advise And Consent/Tell Me What Ya Got/Citizen Fear/Point Of No Return.
After the split Edgar, Rhodes and Olsen all reunited again with Boettcher in Millenium and appeared on the first Sagittarius album. Keith Olsen later became a studio engineer and producer.
Bonniwell went on to record a solo album Close, a moody, rather introverted effort. After that he dropped out and got religious, resurfacing in the 1980s fronting Heaven Sent, a Christian band. In 1982 he re-recorded Talk Talk.
In 1984, Rhino issued a Best Of compilation, which comprised many of their best known cuts and some unissued masters. One interesting and rare spin off from the band was Nothin's Too Good For My Car/So Long Ago (OS95) which Bonniwell recorded with Paul Buff and Brian Ross under the name Friendly Torpedos shortly before leaving Original Sound. It was released in 1970. Warner Bros 7188 also from 1968 was withdrawn soon after being issued and is now highly sought-after.
A 1997 pic sleeve 45 from those fine folks at Sundazed features two more unreleased tracks from 1966 - Point Of No Return and King Mixer. Hopefully many more corpses from the moody men in black are still to be exhumed.
In 1998 Sean Bonniwell joined the Fuzztones on 45 for an updated rendition of The People In Me (Misty Lane 046).
Compilation appearances have included: Talk Talk on Battle Of The Bands (CD), More Nuggets (CD), Nuggets From Nuggets (CD), Excerpts From Nuggets (CD) and Nuggets, Vol. 1 (LP); Talk Talk and Double Yellow Line on Nuggets Box (4-CD); Talk Talk and 96 Tears on 20 Great Hits Of The 60s (LP); No Girl Gonna Cry on Turds On A Bum Ride Vol. 1 & 2 (Dble CD) and Turds On A Bum Ride, Vol. 1 (Dble LP); You'll Love Me Again on Acid Dreams - The Complete 3 LP Set (3-LP), Acid Dreams Testament (CD) and Acid Dreams, Vol. 1 (LP); Double Yellow Line and The Eagle Never Hunts The Fly on Nuggets, Vol. 2 (LP); Double Yellow Line on Sundazed Sampler, Vol. 2 (CD) and Garage Music For Psych Heads, Vol. 1; Double Yellow Line, Absolutely Positively, The Eagle Never Hunts The Fly and I've Loved You on Mindrocker, Vol. 10 (LP)
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THE SHADOWS OF KNIGHT - "GLORIA" (DUNWICH, 1966)
"Chicago's premier 60's Garage band even hit the charts with their top version of Them's "Gloria" which launched a zillion covers by virtually every American teen band. This LP is a super blend of tough Brit inspired R'n'b with snatches of THE YEARDBIRDS, THEM & THE PRETTY THINGS but with enough style and additood all of their own. A must have."
Personnel:
NORM GOTSCH gtr A B
WAYNE PURSELL bs A
WARREN RODGERS gtr, bs A B
TOM SCHIFFOUR drms A B C
JIM SOHNS vcls A B C D
JOE KELLEY bs, ld gtr B C
JERRY McGEORGE gtr C
DAVE WOLINSKI bs, keyb'ds C
DAN BAUGHMAN gtr D
JOHN FISHER bs D
KENNY TURKIN drms D
WOODY WOODROFF ld gtr D
ERIC BLOMQUIST E
JACK DANIELS ld gtr E
BOB HARPER E
CHARLIE HESS E
GARY LEVIN E
ALBUMS:
1(C) GLORIA (Dunwich SD 666) Apr. 1966 46
2(C) BACKDOOR MEN (Dunwich SD 667) Oct. 1966
3(D) SHADOWS OF KNIGHT (Super K SKS 6002) 1969
4(-) GEE-EL-O-AIRE-I-AY (Edsel ED157) 1985 - UK
5( ) LIVE (DONE 5CD) 199?
6( ) RAW 'N' ALIVE AT THE CELLAR CLUB 1966 (Sundazed 5006) 1992
7( ) SUPER K COLLECTION (COL-CD-0581) 199?
8( ) ONE WAY, SHAKE (COL-CD-30331) 199?
9( ) DARK SIDES - THE BEST OF... (Rhino R2 71723) 1994
NB. (1) reissued on Radar (RAD 11) 1979 in the UK. (5) is a 7-track mini CD. (6) is a previously unreleased live album. Also on CD (SC 11013).
45s:
1 Gloria/Dark Side (Dunwich 45-116) Jan. 1966 10
2 Oh Yeah/Light Bulb Blues (PS) (Dunwich 45-122) May 1966 39
3 Bad Little Women/Gospel Zone (PS) (Dunwich 45-128) Aug. 1966 91
4 I'm Gonna Make You Mine/I'll Make You Sorry (Dunwich 45-141) Oct. 1966 90
5 Willie Jean/The Behemoth (Dunwich 45-151) Feb. 1967 -
6 Someone Like Me/Three For Love (Dunwich 45-167) Aug. 1967
7 The Potato Chip Record(5" Columbia S.P. Cardboard Disc) (Auravision ) 1967
8 Shake/From Way Out To Way Under (Team 520) Oct. 1968 48
9 My Fire Dept. Needs A Fireman/Tour Us (Super K SK-8) 1969 -
10 My Fire Dept. Needs A Fireman/Run Run Billy Porter (Super K SK-1 0) 1969
11 Gloria '69/Spaniard At My Door (Atco 6634) 1969
12 I Am The Hunter/Warwick Court Affair (Atco 6776) Aug. 1970
13 Gloria/Dark Side (reissue) (Atlantic 13138) 1971
14 I Got My Mojo Working/Potato Chip + Interview (Sundazed S 123) 1996
NB. Gospel Zone was also released as a one-sided promo in 1966. (14) contains two previously unreleased tracks. The 'A' side is a rare alternate version while the 'B' side is a radio ad with interview. (8) and (11) also released in France (Buddah 610 020 and Atco 81). There's also a French EP Oh Yea (with the typo!) /It Always Happens That Way/Gloria/Dark Side (Atco 113) and a French single, Gospel Zone/Bad Little Woman (Atco 28). These four French releases have picture sleeves with photographs of the group.
A garage band from Chicago, formed in 1964 by Warren Rodgers, Norm Gotsch and Wayne Pursell, who went to Prospect High School in Mt. Prospect, Illinois. They took their name after the UK act The Shadows, adding the "Knight" reference from their high school mascot and recruited Jim Sohns. Strongly influenced by the Brit-Invasion sounds, they even started a teen-club The Cellar, named in honour of The Cavern Club.
The original line-up was discovered playing a showpiece concert at the Cellar Club in Chicago's Arlington Heights which was being staged to attract talent spotters from record companies. Bill Traut and George Badonsky of Dunwich Records bit the bait and the band was signed up and went on to give this hitherto obscure label its major national success.
Before the release of their debut 45, however, Wayne Pursell was replaced by Joe Kelley (ex-The Vectors) in September 1965, and in December, Norm Gotsch was also replaced by Jerry McGeorge.
Their restrained version of Van Morrison's classic song with Them, Gloria, was chosen for their debut 45 because it was the band's showstopper. It made No. 10 in the charts, giving them their only Top 20 hit. Tom Schiffour's machine-gun drumming over the final choruses perhaps gave it a distinctive edge. By contrast the flip, Dark Side was a haunting melodic piece, in contrast to the bands other material... it turns out that this track was written by Wayne Pursell, but copyrighted in Warren Roger and Jim Sohns names, after Wayne had left the band. Shortly after the 45s release, Warren Rogers and Jerry McGeorge swapped bass/lead guitar roles.
The Shadows Of Knight's debut album, recorded during March/April 1966, was flushed with cover versions of classics like I Got My Mojo Working, Hoochie Coochie Man and Oh Yeah. The album climbed to No. 46 in the U.S. Album Charts and provided their second single, Oh Yeah, a Bo Diddley cover. The Shadows Of Knight's version climbed to a tremendous climax of blasting fuzz guitars and just made it to the lower reaches of the U.S. Top 40. Their third 45, Bad Little Woman, a reinterpretation of a very obscure British R&B single by The Wheels was another guitar extravaganza and coupled with its rather weird-sounding 'B' side Gospel Zone, which was dominated by wildly overechoed percussion, some regard this as their finest hour. In commercial terms, however, it was less successful peaking at No. 91.
The band's second album, Back Door Men was a mixture of cover versions and originals. It provided more examples of their Bo Diddley-inspired sound and of Joe Kelly's superb guitar work. However, the band were now beset again by personnel problems with Dave Wolinski, (of The Males), who'd played keyboards on some tracks on the second album joining to replace Warren Rogers, who was kicked out of the band after a gig and subsequently drafted into the U.S. Army. This line-up cut a raw version of I Got My Mojo Working in December 1966, which was later included on the 1972 compilation Early Chicago (Happy Tiger (HT 101 7). Two more 45s were recorded, Willie Jean and Someone Like Me, but neither enjoyed any commercial success. Indeed the last one didn't feature the group at all, as the band had disbanded in July 1967, but was the work of Jim Sohns and a group of session musicians. Of the departing members, Wolfinski and Shiffour formed Bango Flying Circus and Jerry McGeorge joined H.P. Lovecraft. This concluded their first musical phase during which they played punkish and rhythm blues numbers.
Next Jim Sohns (who'd had the band's name copyrighted in his name) put together an entirely new line-up (D) which recorded the album for Super K and lasted through until mid-1970. During this 'bubblegum' phase they enjoyed another minor hit with the Kasenetz-Katz produced Shake, which was also very big regionally. When they fell apart Sohns got together line-up (E) which played heavy metal music. Indeed Sohns kept the band together gigging on the local circuit with various personnel for most of the seventies. With the dawning of the 'punk' era of the late seventies came a new interest in mid-sixties garage bands of the first 'punk' era. Passport were keen to sign them in 1977 but only if they reverted back to their sixties image and style, which they refused to do.
Compilation appearances include: Someone Like Me on Mindrocker, Vol. 2 (LP), The Seventh Son (LP); Oh Yeah, I'm Gonna Make You Mine and Bad Little Woman on Nuggets Box (4-CD); Oh Yeah on Nuggets - Original Artyfacts From The First Psychedelic Era 1965-1968 (Dble LP) and Nuggets, Vol. 6 (LP); Gloria and I'm Gonna Make You Mine on Nuggets, Vol. 2 (LP); Oh Yeah (LP version), Light Bulb Blues, Uncle Wiggly's Airship (unreleased) and Interview/Potato Chip on Oh Yeah! The Best Of Dunwich Records (CD); Potato Chip (which was originally issued on a 5" cardboard record and given away with Fairmont Potato Chips in 1967 as part of a potato chip promotion campaign) on Pebbles Vol. 1 (CD), Pebbles Box (5-LP), Pebbles, Vol. 1 (LP), Great Pebbles (CD) and Trash Box (5-CD); Bad Little Woman on Songs We Taught The Fuzztones (Dble LP & Dble CD); I Got My Mojo Working on The Dunwich Records Story (LP), Sundazed Sampler, Vol. 1 (CD); I'm Gonna Make You Mine on Turds On A Bum Ride, Vol. 1 (Dble LP) and Turds On A Bum Ride Vol. 1 & 2 (Dble CD); Taurus on Turds On A Bum Ride Vol. 4 (CD) and Filling The Gap (4-LP); Shake on Battle Of The Bands (CD), Bubble Gum Music Is... The Naked Truth (LP) and Pop Explosion; Gloria on Even More Nuggets (CD) and Highs Of The Sixties; I'm Gonna Make You Mine, Bad Little Woman and I Got My Mojo Working on If You're Ready - The Best Of Dunwich... Vol. 2 (CD).
The Sundazed Raw 'N' Alive At The Cellar Club 1966 is an amazing slab of raw R&B, and shows why this band are so revered, but there are several other retrospectives, and their material is well worth investigating.
Of the original line-up, Joe Kelly departed to form his own blues band, which also included Tom Schiffour; Jerry McGeorge joined H.P. Lovecraft and Dave Wolinski firstly went on to the Bangor Flying Circus and later Rufus. He has also worked with Quincy Jones and Michael Jackson. Wayne Pursell started a band called "The" which later became The Regiment.
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THE SONICS - "HERE ARE THE SONICS" (ETIQUETTE)
THE SONICS - "BOOM" (ETIQUETTE)
"These guys were the kings of the American Northwest during the early to mid 60's. Protégé's of the equally excellent WAILERS these guys took raw to a new level. With shredded guitar speakers, a mighty lead vocal, tough sax and a shit hot rhythm section they took Garage music to a level of "brutality" (for want of a better term) that was 10 years ahead of its time. The roots of Hard Rock lie right with this band but they did it better than anyone since. Says I anyhow."
Personnel:
BOB BENNETT drms A
ROB LIND sax, vcls, hrmnca A
ANDY PARYPA bs, gtr A
LARRY PARYPA ld gtr, vcls A
GERRY ROSLIE organ, piano, ld vcls A
JIM BRADY ld vcls
RON FOOS bs
RANDY HAITT keyb'ds, vcls
DOUG HEATH gtr
DANNY HOEFFER ld gtr
STEVE MOSIER drms
NB. line-up 'A', 1964-67.
ALBUMS:
1(A) HERE ARE THE SONICS (Etiquette 024) 1966
2(A) THE SONICS BOOM (Etiquette 027) 1966
3(A) INTRODUCING THE SONICS (Jerden 7007) 1967
4(-) EXPLOSIVES (Buckshot 001) 1973
5(-) THE SONICS (First 7719) 1978
6(-) SINDERELLA (Bomp 4011) 1979
7(-) UNRELEASED (First American FA-7719) 198?
8(-) FIRE AND ICE (First American 7779) 1983
9(-) FULL FORCE (Etiquette 11 84) 1985
10(-) LIVE FANZ ONLY (Etiquette ) 198?
11(-) MAINTAINING MY COOL (Jerden JRCD 7001) 199?
12(-) FIRE AND ICE: THE LOST TAPES, VOL. 1 (Jerden JRCD ????) 1996
13(-) FIRE AND ICE: THE LOST TAPES, VOL. 2 (Jerden JRCD ????) 1996
NB. (3) reissued on First American Records (First 7715) in 1977. (2) reissued on Fan Club (FC 020) 1987. (6) issued in Europe on Line (LILP 4.00249) in 1980 on white vinyl. (1) and (2) are now available on one CD, as well as being issued on CD as Psycho Sonics, together with some rarities. (9) is also now available on CD. (12) is a CD compilation. (13) and (14) contain their final recordings from 1966-1968. Also of interest to readers may be a tribute album, Here Ain't The Sonics, featuring cuts by Nomads, Cynics, Marshmallow Overcoat and Mojo Nixon among others. This is also available in CD format.
45s:
1 Keep A Knockin'/The Witch (Etiquette 11) 1964
2 Boss Hoss/The Hustler (Etiquette 16) 1965
3 Shot Down/Don't Be Afraid Of The Dark (Etiquette 18) 1965
4 Love Lights/Like No Other Man (Jerden 809) 1966
5 Love Lights/You Got Your Head On Backwards (Jerden 809) 1966
6 The Witch/Like No Other Man (Jerden 810) 1966
7 Don't Believe In Christmas/(B side by The Wailers) (Etiquette 22) 1966
8 Psycho/Maintaining My Cool (Jerden 811) 1966
9 Louie Louie/Cinderella (Etiquette 23) 1966
10 Love-itis/You're In Love (Jerden 909) 1967
11 Lost Love/Any Way The Wind Blows (Piccadilly 244) 1967
12 Love-Itis/You're In Love (Piccadilly 255) 1967
13 Any Way The Wind Blows/Lost Love (UNI 55039) 1967
14 Dirty Old Man/Bama Lama Bama Loo (Burdette 106) 1975
15 The Witch/Bama Lama Bama Loo (Great Northwest 702) 1979
NB: (4) and (10) unreleased.
Tacoma, Washington was their home town and they were one of the finest punk bands to come from the Northwest in this era. The Witch was an enormous hit in the Pacific Northwest, indeed The Sonics were immensely popular there. Their follow-up Psycho was also a local hit. Most of their material was original and written by Gerry Roslie, although they also did cover versions of tracks like I'm A Man. Arguably they were left behind in the San Francisco-based rock renaissance of 1967.
Their third album, which was produced by Jerry Dennon, was called Introducing because it was their first on a major label. This album was later re-released in the late seventies under the title The Sonics' Original Northwest Punk. The last 45 recorded by the original line-up was Any Way The Wind Blows. After this members departed to go to college or join other bands - with Rob Lind being the last original to leave in 1968.
Jim Brady came in on lead vocals in 1967, from The Mercy Boys and by 1968 was leading the band. From Love-itis onwards they perfected a new sound adding strings and horns but it didn't go down with their fans and they slowly faded out of the limelight.
Jerry Roslie, reformed the band in 1979 with a new line-up to record (6) for Bomp.
Doug Heath and Ron Foos formed The City Zu and Danny Hoeerer went on to play for Tower Of Power. Rob Lind now lives in LA where he is involved in the film industry. Gerry Roslie still records and writes songs today.
As one would expect the band are featured on a number of compilations, including:- The Witch andPsycho on The History Of Northwest Rock, Vol. 1 (LP); Any Way The Wind Blows and You've Got Your Head On Backwards on The History Of Northwest Rock, Vol. 2 (LP); High Time on The History Of Northwest Rock, Vol. 3 (LP), Battle Of The Bands, Vol. 2 (LP) and History Of Northwest Rock, Vol. 2 (CD); Like No Other Man on The History Of Northwest Rock, Vol. 4 (LP); Santa Claus on Back From The Grave, Vol. 4 (LP); Any Way The Wind Blows on Baubles - Down To Middle Earth (LP); Cinderella and Louie Louie on A Journey To Tyme, Vol. 3 (LP); Boss Hoss and He's Waitin' on Nuggets, Vol. 8 (LP); Like No Other Man on Battle Of The Bands, Vol. 1 (LP); The Witch, Shot Down and The Hustler on The Northwest Rock Collection, Vol. 1 (LP); Strychnine on Born Bad (Songs The Cramps Taught Us), Nuggets, Vol. 2 (LP) and Songs We Taught The Cramps; The Witch on Excerpts From Nuggets (CD); Louie Louie on The Best Of Louie Louie; Strychnine, Psycho and The Witch on Nuggets Box (4-CD); Like No Other Man and Maintaining My Cool on Northwest Battle Of The Bands, Vol. 1 - Flash And Crash (LP & CD); High Time on Northwest Battle Of The Bands, Vol. 2 - Knock You Flat! (LP) and Northwest Battle Of The Bands, Vol. 2 (CD); High Time and You've Got Your Head On Backwards on Northwest Battle Of The Bands, Vol. 2 - Knock You Flat! (CD); You've Got Your Head On Backwards and Like No Other Man on Northwest Battle Of The Bands, Vol. 1 (CD); Cinderella, Strychnine and The Witch on Songs We Taught The Fuzztones (Dble LP & Dble CD); and finally the instrumaental rarity Goodhard Rock appears on Turds On A Bum Ride Vol. 6 (CD). The compilers of the last compilation sumise that this track is "probably" an outtake from material recorded for their third album.
They also contributed three tracks alongside The Wailers and The Galaxies to an early compilation Merry Christmas (Etiquette ETALB 025) 1965. The tracks were:- Santa Claus, The Village Idiot and Don't Believe In Christmas.
(all band biographies / discographies courtesy of FUZZ, ACID & FLOWERS / VERNON JOYNSON)
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