The Piccadilly Suns series sets foot into the deep and wondrous valleys of British Pop music culture. Daring to bring forth the once overlooked and sadly neglected songs that were laid to waste in a saturated wonderland of suburban teenage pop. Join us as we tiptoe barefoot and trip through the late 19605 and early yos in Great Britain's vast and glorious, cultural dustbin. Stepping amongst the twenty flower-powered trippers presented here, together we shall lovingly restore them their former glory.
Let us begin...
by Nick Saloman
Artists - Tracks
1.Jason James – Miss Pilkington’s Maid - 2:34
2.Peppermint Circus – I Won’t Be There - 2:49
3.Roger Bloom’s Hammer – Polly Pan - 2:47
4.Alan David – Flower Power - 3:15
5.Studio Six – Falling Leaves - 3:02
6.The Magicians – Slow Motion - 3:01
7.Tin Tin – He Wants To Be A Star - 2:13
8.The Cups – Good As Gold - 2:49
9.Billy Boyle – Pisces Man - 2:40
10.Sounds Inc. – Dead As A Go-Go - 3:55
11.Svensk – Dream Machine - 2:48
12.Christopher – The Race - 2:24
13.Merlin Q – Love’s Beautiful - 2:43
14.Mighty Joe Young – Why Don’t You Follow Me - 2:17
15.The Nocturnes – Fairground Man - 2:27
16.Mixture – Never Trust In Tomorrow - 2:17
17.Mood Of Hamilton – Why Can’t There Be More Love - 3:34
18.Jon – Polly Sunday - 2:15
19.Tony Fabian – Girl Of The Night - 2:08
20.Tim Andrews – Sad Simon Lives Again - 2:40
Hailing from Boston in the late sixties, Phluph recorded their one and only album for the Verve record label before drifting off into obscurity. One wonders why such a talented group never achieved success in the music industry.
Perhaps Verve, being a predominatly jazz based label, did not know how to promote the band properly. Or perhaps it was because Phluph were part of the ill-fated "Bosstown Sound" scene which caused such a furore in the music industry at that time.
The “Bosstown Sound” was started as a publicity campaign by producer Alan Lorber, aiming to market the various Boston based psychedelic bands on MGM’s books (The Ultimate Spinach, Eden’s Children etc) as being part of one singular movement.
The idea was to rival the burgeoning San Francisco scene as well as the Mersey-Beat sound that was being imported from across the Atlantic. Unfortunately the rock critics and the underground took umbrage at what they deemed was a shallow corporate attempt at selling the counter-culture back to them as a package.
There was strong anti-establishment feeling at this time because of the Vietnam War, and this helped to fuel the fire against the Boston scene.
This coupled with the subsequent pressure from those on the West Coast who declaimed them as frauds, meant that many of the bands became black- listed, never getting the sales figures that they deserved.
Phluph never survived the backlash and disappeared, leaving behind their sole album cut for Verve in 1968. Since its rediscovery the album has garnered some disparaging reviews from some quarters, yet has been lauded by others.
In all honesty Phluph is not as ground breaking or experimental as other albums from that era but nevertheless it still stands as a great slice of psychedelic pop.
It is an album very much of its time, combining all the elements most people would expect from a late sixties piece; fuzz guitar, close harmonies, thinly veiled drug references in the lyrics and a heavy amount of organ grinding.
Sadly the sleeve notes don’t reveal which band member played which instrument, but working on the assumption that all organists from the sixties looked like Ray Manzarek, one can probably ear mark the chap with the enormous glasses and cunning haircut as being the man in charge of the keys.
And what a player the organist was. Just as Manzarek was the musical genius and driving force behind the Doors, so too the organist on this album steers the group to safety, manipulating the instrument in every way possible in order to draw from it all possible sounds.Whether it’s conjuring up mournful paranoia for “Girl in Tears” or propelling the group through the brilliant “Patterns” or the Beatles-esque “Ellyptical Machine”, the guy on the organ holds the day.
He even gets a freak out on the bizarre “Love Eyes”. This tune also boasts a haunting guitar solo which DJ Shadow sampled for his Private Press LP. Apart from those moments of genius the rest of track doesn’t hold up to much scrutiny.
“In Her Way” has got to be the pick of the bunch. Spaced out vocal harmonies and jangling guitar chords open the song before the band gets into a bass heavy groove.
The shimmering organ fades in and out under the bass line, before the track moves on to a great fuzzy guitar solo, with the guitarist making the instrument sound like a busted sitar. It’s a near perfect 3 minutes of psychedelic pop.
In the liner notes on the original LP there is a quote about the band from Cashbox Magazine: “We can’t see anything that could possibly hold back a group like this.When their reputation catches up with their ability, Phluph may very well be famous throughout the world”.
Unfortunately something did stand in their way and all the potential from such a talented bunch was never fully realised. In a different world maybe they would have been given a chance to become more than just a bargain bin relic
by Gerard Fannon
Tracks
1.Dr. Mind - 2:51
2.It Takes a Lot to Laugh, It Takes a Train to Cry - 2:41
3.In Her Way - 3:03
4.Another Day - 4:40
5.Girl in Tears - 3:10
6.Ellyptical Machine - 2:30
7.Lovely Lady - 5:50
8.Death of a Nation - 2:30
9.Love Eyes - 6:56
10.Patterns - 2:33
Phluph
* Lee Dudley - Vocals, Drums
* Ben Blake - Vocals, Guitar
* John Pell - Vocals, Bass
* Joel Maisano - Vocals, Organ
Norman Greenbaum was born November 20, 1942, in Malden, MA. He began his musical career while a student at Boston University, playing area coffeehouses before relocating to the West Coast during the mid-'60s and forming a kind of psychedelic jug band dubbed Dr. West's Medicine Show and Junk Band. After issuing the 1966 single "The Eggplant That Ate Chicago," which fell just shy of reaching the Top 50, the group disbanded, and Greenbaum subsequently formed a series of short-lived acts before finally returning to his solo career in 1968.
A year later he issued his debut LP, Spirit in the Sky, releasing several unsuccessful singles before reaching the Top Three with the smash title track, which sold some two million copies. It proved to be Greenbaum's only hit, however, as follow-ups like 1970's "Canned Ham" and the next year's "California Earthquake" tanked; after the release of 1972's Petaluma, he retreated from music to focus on his California dairy farm, but returned to show business during the mid-'80s in a managerial capacity, also promoting a number of concerts.
by Jason Ankeny
"Spirit in the Sky" was a classic one-shot hit: an unforgettable fuzz guitar riff, those eerie descending glissando psychedelic guitar effects, a soulful female backup chorus, and a rare gospel-rock song that explored a religious theme without sounding dogmatic or sappy. Greenbaum had more depth than the usual one-shot artist, but the fact is that he never came up with anything else remotely on the level of "Spirit in the Sky," as this 15-song anthology demonstrates.
He was a witty, droll songwriter with slightly absurd tunes that didn't quite descend into novelty, as on "Canned Ham" and "The Day the Well Went Dry." Selections from his early-'70s Reprise albums comprise most of half of this disc, and they're amiable, mildly humorous good-time rock that isn't even as penetrating as the rawer and goofier stuff he did before his solo career as the leader of Dr. West's Medicine Show & Junk Band. Four Dr. West songs are on this CD, including the minor 1966 hit "The Eggplant That Ate Chicago," as well as a previously unreleased 1977 recording, "The Day They Sold Beer in Church."
by Richie Unterberger
Tracks
1. Spirit in the Sky - 3:59
2. California Earthquake - 3:09
3. Lucille Got Stealed - 3:55
4. Canned Ham - 2:51
5. Tars of India - 2:58
6. Marcy - 3:11
7. Hook and Ladder - 2:44
8. Rhode Island Red - 2:47
9. Junior Cadillac - 3:33
10.Skyline - 3:12
11.Jubilee - 2:58
12.Milk Cow - 3:01
13.Back Home Again - 2:43
14.Titfield Thunder - 5:04
15.Damper - 2:58
16.I.J. Foxx - 4:18
17.Petaluma - 2:42
18.Country Lad - 2:22
19.The Day the Well Went Dry - 2:37
20.Jigsaw (Greenbaum, Kane) - 2:33
21.Weird - 2:26
22.Daddy I Know - 2:56
23.Gondoliers, Shakespeares, Overseers, Playboys and Bum - 2:20
24.The Day They Sold Beer in Church - 4:02 .
All song by Norman Greenbaum except where noted.
The Downliners Sect originally rode to fame in the early 60's as one of the top UK's pioneering rhythm ‘n’ blues outfits. Purveying their own band of blues mainstream, citing influences from Muddy Waters, to Chuck Berry and Bo Diddley. This is well documented in the history of rock music. The Downliner's Sect rode in on a later wave of stardom. This time riding in on their influencing of others, is a lesser known rock parentage fact. By the later 1960's the rhythm ‘n’ blues scene had given over to soul.
This modern black music inspired the UK's music scene to find it's own Stax ‘n’ Motown souls. Whilst the soul club and discotheque scene developed, more was going on elsewhere too. Psychedelia. Flower Power, avant garde jazz, - all this music each with it's own identity. Amongst this myriad musical world, rhythm ‘n’ blues perhaps seemed 'history'. After dallying with folk rock and commercial driven pop the 'Sect' called it a day. Lurking under all these musical world stages, new roots were developing, a vibrant rock, rhythm and blues scene giving birth to what todays music history books call 'Canvey Island R’n’B,', verging pub rock and pre punk.
The underground music press were well latched on to the scene, and by the time the major music mags were doing the rounds, interviewing bands, regularly the 'Downliners Sect' were being cited as a major influence and inspiration. Listening to The Feelgoods. The Kursal Flyers and Ace this new worlds stage beckoned these early practitioners to reform. Now were talking 1976. Don Craine with ex 'Black Cat Bones' Paul Tiller were established doing the rounds as 'Loose Ends' a duo on the folk blues acoustic scene. Keith Grant had spent time in 'Magnet' after his earlier 70's band 'Punchin'Judy' a Transatlantic signed group which included drummer Alan Brooks. Alan became the 'Sects' drummer in their 1989 line up and today still holds down their drum stool. Terry Gibson's rock ‘n’ roll revival band "The Hellraisers" were coming to a natural conclusion.
Terry's agent had picked up the buzz on the interest in the Downliners whilst Don to was pretty wised up with what was going on. He'd met Keith at a 'Loose Ends" gig, and by then Terry had made contact. Rounding up John Sutton their original drummer, the five met for rehearsals. Studios somewhere in Chelsea. Terry's agent soon had them, working The Hope ‘n’ Anchor, Dingwalls, The Nashville Rooms in Fulham and other familiar pub rock joints where their original aggressive approach to R’n’B had dwelled with their aspirant followers. John Sutton became their first casualty. He realized not long before reforming he decided to remain with Jazz. Paul Holm auditioned in 1977. He'd worked with the 'Syndicates' and 'Bluegology. Soon on the horizon a new single and album deal loomed. A UK single launched their new recording era. "Showbiz" and "Killing Me" hit the shops in November 1977 showing up in the underground charts.
Double publicity came their way in the underground press. The same year their original 1964 album just re-released also chartered. Before John left the band, they had laid a few selections of their songs together in demo form. Within their new album they included reworkings of these earlier demo songs. "Showbiz" originally released in 1979 it is now available with extra tracks on Indigo CD IGOCD 2084. With new drummer Paul Holm, the band toured Germany, but by the release of "Showbiz" Paul had left. Keith was touring in France before the Sect reformed, he'd met 'Killing Floor' drummer Rod De'Ath. Eventually Rod went on to join Rory Gallagher's band with Killing Floor's keyboard player Lou Martin. Terry knew Rod as well, he became the bands choice to join.
With 'Showbiz' available, the Sect toured Germany, promoting the album. Returning to the UK, they signed with Ronnie Scotts agency, touring the UK club and college circuit then into 1980 touring Norway. Over the tours the band built a tape collection of their concerts. Titled "Live in the 1980" the tour performances were eventually issued becoming their 'new' 2nd album. On returning to England, they recorded four tracks at Rod De'Ath’s own studios at Pebble Beach in Hastings. All were penned by the band. Don Craine recalls: "We spent a great time doing the four tracks, sensibly to get a record deal.
The record companies were interested in us, but interested in doing with us our old rhythm ‘n’ blues stuff from the sixties! We never did, we tried to get a deal like we did with "Showbiz" for new material! Two of the tracks were issued in the States on a special limited edition single". 'Sect appeal' relives the 1980's concert album of the band's hard driving R’n’B classics and shows why the record moguls in 1980's wanted more of this for their record buying clientele. The four studio tracks issued here together for their first time show why the band's decision was right in 'sticking to their- guns' for their own idea for a deal for their newly written compositions.
All the songs on 'Showbiz' had brought together all the groups writing talents. Most written by Keith, some co-written with Don. Keith collaborated with Terry on two here from the Pebble Beach sessions. Of their song writing, Terry today recalls: "Keith's a great song writer. I'll always say that. I think if somebody had put their time and money into our band in our early days we could have been as big as The Kinks or whatever. Keith over the years has written some good songs". The Downliners Sect influence on rock music continues. Today Terry (Gibson) Clemson leads his own TT's rock ‘n’ roll trio, whilst Keith, Don ‘n’ Paul's Downliners continue to excite the forever hungry R’n’B audiences around the world.
by Peter Moody
Tracks
1. You Ain't Done Me Right (Take 2) (Gibson, Grant) - 3.22
2. Blue Night (Tiller) - 4.19
3. Colour Coded Red (O'Donnell) - 2.22
4. Rhythm 'N' Booze (Unknown) - 2.57
5. Got My Mojo Working (Foster) - 2.52
6. Bloodhound (Bright) - 1.41
7. Sect Appeal (Collier) - 2.10
8. Baby What's On Your Mind (Reed) - 2.00
9. Love Potion No.9 (Leiber, Stoller) - 2.32
10. Loose End (Tiller) - 3.10
11. Back In The USA (Berry) - 2.53
12. Wee Wee Baby (Turner, Johnson) - 3.51
13. Sweet Little Sixteen (Berry)- 3.05
14. Hoochie Coochie Man (Dixon) - 4.03
15. Nursery Rhymes (McDaniel) - 4.54
16. Bright Lights Big City (Derward, Russell) - 2.25
17. Shake Your Money Maker (Williamson) - 3.23
18. Route 66 (Troup) - 2.45 Tracks 1-4 recorded at Rod De'Ath's Studios, Pebble Beach, Hastings: May 1980 Tracks 5-18 recorded live concerts in London and Norway; Spring 1980
One of England's first noteworthy rock group was the Shadows, and their polished instrumental style, with Hank Marvin's twanging Stratocaster leads way out in front, set a template that a great many U.K. bands would follow until the Beatles and the Rolling Stones upended everything in 1963.
Nick Saloman of the Bevis Frond delivers another enjoyable look back at the history of U.K. pop with Phantom Guitars: A Cool Collection of Twangin' Instrumentals from the UK 1961-1964, which collects 25 rare selections from the days when Duane Eddy, Jorgen Ingmann, and Lonnie Mack were still forces to be reckoned with on the pop charts. If you're looking for startling originality, there's little to be had here, but if you dig ringing single-note leads with plenty of string bending and whammy-bar action, this disc is 56 minutes of aural manna from heaven.
Dennis Newey's "Title Unknown" gets high marks for wit, familiar melodies get a workout on "Temptation" by Bobby Taylor and "Bizet as It Were" by the Players, "Circlorama" from the Champions salutes a little-remembered innovation in motion-picture technology, and the Violents and Group X both deserve to be cited for their remarkably cool names, even if their music didn't quite live up to the billing. As with the lion's share of releases from Saloman's Psychic Circle label, this set includes well-written liner notes that pass along what's known about the artists, and the mastering is good despite these rare recordings being sourced from vinyl discs.
The instrumental rock scene was a vitally important part of the rise of homegrown British rock, and if this deals in obscurities rather than hits, Phantom Guitars documents how pervasive this sound once was, and how many great pickers were making the rounds in the early '60s.
by Mark Deming
Artists - Tracks
1. The Falcons - Stampede - 2:23
2. The Krew Kats - Jack's Good - 2:28
3. The Phantoms - Phantom Guitar - 2:32
4. Bobby Taylor - Temptation - 2:20
5. The Hunters - The Storm - 2:10
6. Dennis Newey - Title Unknown - 2:29
7. The Executives - No Room For Squares - 2:21
8. The Nu-Notes- Fury - 1:58
9. The Cougars - Fly-By-Nite - 1:44
10.The Champions - Circlorama - 2:11
11.The Fentones - The Mexican - 2:30
12.The Gimmicks - Am I Worth It? - 2:42
13.Dunhill And Weiser - Red Leather Jacket - 2:19
14.The Packabeats - The Traitors - 2:34
15.The Planets - Jungle Street - 2:25
16.The Johnny Howard Group - Mind Reader - 2:13
17.Rhet Stoller - Big City - 1:58
18.The Players - Bizet As It May - 1:54
19.The Violents - Ghia - 2:03
20.Group X - Crossbeat - 2:24
21.The Barons - Cossack - 2:44
22.Bob Miller And The Millermen - Trouble Shooter - 2:00
23.The Vengers - Shakedown - 2:02
24.The Gladiators - Tovarich - 2:08
25.The Royal Showband (Waterford) - The One Nighters - 2:00
The band that called itself Savage Grace was biting off a lot, even by heightened late 60's standards. As their name suggests, they aimed to contain all the extremes of that heady era. Tempered by the famously discerning and demanding Michigan audiences of the time, the group's live performances made full use of the high energy principles that distinguished the Detroit scene.
But that was only a part of of Savage Grace’s sublime design. The core trio that began playing bars on the Motor City's east side as the Scarlet Letter couldn't have been less like your customary neighbourhood rock band. Guitarist/vocalist Ron Koss was a streetwise kid who’d cut his teeth playing with local r&b heavyweights the Midnighters, Marv Johnson and Wilson Pickett. Keyboard maestro John Seanor was the product of classical education, while drummer Larry Zack aspired to Jazz.
When they added precipices 18 year old bassist/vocalist Al Jacquez to complete the quartet rechristened Savage, his unschooled hard rock energy was the ideal complement to this perfectly imperfect union of styles. The collective sound forged by these four individuals was not simply a composite. It was a fluid changing thing, as each musician’s voice challenged for a place in the stylistic mix. The resulting tension was not always confined to the art, but it produced a music that, although meticulously composed, sounded like it was being redefined each time it was played.
Commercially speaking of course Savage Grace left themselves an awful lot of cracks to fall though, and fall they did after only two albums. Luckily we have the safety net of history, from which nothing of merit escapes. And now that dreams seem at a premium, it becomes increasingly important to remember a time when people didn't worry about living large, they dreamed large, and the rest followed.
by Ben Edmonds
Tracks
Disc 1
1. Come On Down (R. Koss) - 4:22
2. Lady Rain (J. Seanor) - 5:10
3. Dear Lenore (R. Koss) - 5:27
4. All Along The Watchtower (B. Dylan) - 5:46
5. Hymn To Freedom (O. Peterson, H. Hamilton) - 5:24
6. 1984 (R. Koss, J. Seanor) - 3:22
7. Night Of The Hunter (R. Koss) - 4:34
8. Turn Your Head (R. Koss) - 5:57
9. Ivy (R. Koss) - 4:08
Disc 2
1. Mother's Son (J. Seanor) - 3:48
2. Tinboy (J. Seanor) - 3:39
3. Sandscript (A. Jacquez, J. Jones) - 3:19
4. Roll River Roll (R. Koss, J. Seanor) - 1:59
5. Yonder (R. Koss) - 5:10
6. She's A Woman (R. Koss) - 4:05
7. Macon, Georgia (J. Seanor, R. Koss) - 3:54
8. Blindman (J. Seanor, R. Koss) - 3:55
9. She Comes And Goes (R. Koss, J. Seanor) - 3:12
10. E'lana (J. Seanor) - 1:46
11. Lady Of The Mountain (J. Seanor) - 4:43
Savage Grace
*John Seanor - Piano, Harpsichord
*Larry Zack - Drums, Percussion
*Al Jacquez - Lead Vocals, Bass
*Ron Koss - Lead Vocals, Guitar
After a line-up switch in July 1967, the Elevators entered the recording studio with a brand new rhythm section and a batch of recently written songs. International Artists were prepared to spend a lot of money on the second LP which was intended to break the group nationally. Almost two months were spent arranging and recording the material in Houston's Andrus Studios, where one of the first 8-track recorders were utilized.
Released in November 1967, "Easter Everywhere" remains to this day an astonishing achievement. Most Elevators fans regard it their masterpiece, and Tommy Hall has referred to it as "our special purpose". The unique soundscape from the first LP has been broadened and elements of folk, Indian music and west coast acidrock have been added. The new rhythm section, featuring bass player Dan Galindo and drummer Danny Thomas, bring a loose, jazz-flavored groove to the tracks. The result is a rich, eclectic tapestry of psychedelia held together by Roky Erickson's intense vocals reciting Tommy Hall's lyrics. Some say the musical sounds remind them of listening to a Mexican tambora on many Cancun vacations.
The LP opens with "Slip Inside This House". Probably the most influential Elevators song alongside "You're Gonna Miss Me", it is an 8-minute journey through Eastern-influenced rock and visionary lyrics that remains unparallelled. The song became an instant favorite among fansand critics, and I A edited it for an improvised 45 release though it was in no sense top 40 material.
Chugging along on top of a raga-influenced guitar riff invented by Roky Erickson, the music is pushed through a series of metamorphoses by Thomas' recurring hi hat-kicks and Galindo's insistent bass lines. Halfway through the song Stacy Sutherland enters with a beautiful, lyric guitar solo. The song's complex, asymmetric structure (AABACDAABAABCDA) seems to be patterned on Bob Dylan's epic "It's Alright Ma (I'm Only Bleeding)", where long skillfully rhymed verses are interspersed with shorter refrain-like passages. The ending of each verse with a recurring phrase -- the song title -- is reckognizable from Dylan's "Gates Of Eden" and "Desolation Row", or indeed any number of songs from the folk tradition.
The structural influence aside, Tommy Hall's lyrics owe little to Dylan in terms of content and imagery. The whole attitude is different from Dylan's surreal street-poetry which mixes high and low in a tradition of Whitman-Williams-Ginsberg, throwing in a bit of amphetamine-driven namedropping and wordplay as well. Hall's poetry is solemn, visionary and controlled. Examing the Anglo-Saxon literary tradition, it is in fact hard to pin down Hall's sources of inspiration. One has to reach far back, beyond modernism and symbolism to the Romantics and Victorians. It is here, in the final incarnations of poetical Classicism.
Tracks
1. Slip Inside This House (T. Hall, R. Erickson) - 8:03
2. Slide Machine (Powell St. John) - 3:43
3. She Lives (In A Time Of Her Own) (T. Hall, R. Erickson) - 2:58
4. Nobody To Love (S. Sutherland) - 3:00
5. Baby Blue (B. Dylan) - 5:17
6. Earthquake (T. Hall, R. Erickson) - 4:51
7. Dust (T. Hall, R. Erickson) - 4:02
8. Levitation (T. Hall, S. Sutherland) - 2:41
9. I Had To Tell You (Clementine Hall, Roky Erickson) - 2:28
10.Postures (Leave Your Body Behind) (T. Hall, R. Erickson) - 6:30
11.Splash 1 (C. Hall, R. Erickson) - 4:21
12.Kingdom Of Heaven (Powell St. John) - 3:33
13.You're Gonna Miss Me (R. Erickson) - 3:42
14.Reverberation (Doubt) (T. Hall, S. Sutherland, R. Erickson) - 3:23 .
15.You Don't Know (Powell St. John) - 2:35
16.Fire Engine (T. Hall, R. Erickson) - 3:00
17.Monkey Island (Powell St. John) - 2:42
18.Roller Coaster (T. Hall, R. Erickson) - 5:41 .
19.Levitation (Instrumental) (T. Hall, S. Sutherland) - 4:11
20.I Don't Ever Want To Come Down (Unidentified) - 2:41 Tracks 11 to 14 recorded Live In Texas, 1967 Tracks 15 to 18 recorded Live In San Francisco, 1966
13th Floor Elevators
*Roky Erickson – Vocals, Rhythm Guitar, Harmonica
*Tommy Hall – Electric Jug
*Stacy Sutherland – Lead Guitar
*Dan Galindo – Bass
*Danny Thomas – Drums Additional Musicians
*John Ike Walton – Drums ("She Lives", and "Levitation")
*Ronnie Leatherman - Bass ("She Lives", and "Levitation")
*Clementine Hall - Backing Vocals ("I Had To Tell You")
Quite a change from Rodriguez's first album Cold Fact. On Cold Fact Rodriguez sang bitter, disillusioned songs about slums, drug abuse and broken love affairs. Something in between the two albums obviously changed his point of view because Coming From Reality consists mainly of love songs. And not the cynical odes to past affairs of Cold Fact - these ones are full-blown.
And even the social comment songs on the album seem less bitter and more resigned. The strings have been laid on with a heavy hand, on some tracks providing the only backing to Rodriguez's guitar and voice. But the voice shines through and the clever poetry on some tracks is as incisive as ever. Song to song we explore a great talent musician and have the chance -even almost four decades later- to discover his bright music.
by Roger Crosthwaite
Tracks
1.Climb Up On My Music - 4:43
2.A Most Disgusting Song - 4:43
3.I Think Of You - 3:19
4.Heikki's Suburbia Bus Tour - 3:15
5.Silver Words - 2:04
6.Sandrevan Lullaby-Lifestyles - 6:37
7.To Whom It May Concern - 3:15
8.It Started Out So Nice - 3:46
9.Halfway Up The Stairs - 2:17
10.Cause - 5:27
11.Can't Get Away - 3:57
12.Street Boy - 3:47
13.I'll Slip Away - 2:53
All songs by Sixto Rodriguez
Bonus tracks 11-13
Dipped sweetly in the psychedelia of the sixties, this the first album from a mysteriously unknown artist, mingles simply folk guitar with astonishing lyrics about drugs, depression and inner city blues. Rodriguez’s distinct nasal voice ambles through a dozen simple tunes addressing the turbulent backdrop of America in the sixties and does so with such impressionable beauty that it has catapulted him into cult status in many far flung corners of the globe. Such is the demand, that both Cold Fact, and the second album Coming From Reality (re-released in 1976, in South Africa only, as After The Fact), have now been remastered on CD format, some 20 years later.
For many, this album is one magnificent trip, lost in the haze of hippiness, and indeed the album is laced with narcotic references, but as far as talent goes, Cold Fact is a remarkable album perfect for idealists and dreamers. The obsessive I wonder, perhaps the best known of the album’s tracks, is a simple tune that mirrors the type of questions you’ve always wanted to ask of certain people and never had the courage, but it is the album’s ultra-trippy opening number, Sugar Man which really lends the album and air of intrigue. Others such as Crucify Your Mind, Jane S. Piddy and Forget It are both poignant and subtly beautiful.
However, it is the album as a whole, it’s poetic lyrics and the bohemian fueled mystery surrounding it that makes it so appealing to several generations, even years after the artist signed off with the words thanks for your time, then you can thank me for mine and after that’s said, forget it.
This album, in short, eventually becomes part of your lifestyle.
by Andrew Bond
Tracks
1. Sugar Man - 3.45
2. Only Good For Conversation - 2.25
3. Crucify Your Mind - 2.30
4. This Is Not A Song, It's an Outburst: Or, The Establishment Blues - 2.05
5. Hate Street Dialogue - 2.30
6. Forget It - 1.50
7. Inner City Blues - 3.23
8. I Wonder - 2.30
9. Like Janis - 2.32
10.Gommorah - A Nursery Rhyme - 2.20
11.Rich Folks Hoax - 3.05
12.Jane S. Piddy - 2:54
All songs by Sixto Rodriguez
Musicians
*Rodriguez - Vocals, acoustic guitar
*Dennis Coffey - Electric guitar
*Mike Theodore - Keyboards
*Andrew Smith - Drums
*Bob Pangborn - Percussion
*Bob Babbitt - Bass
*Detroit Symphony (Leader Gordon Staples) - Strings
*Carl Reatz - Horns - 3 Trombones, Baritone Sax
*Childrens Choir on "Gommorah"
*- The children's choir were family of Joyce [Vincent] and Telma [Hopkins] (who later became Dawn)
Once again our intrepid vinyl hound, Jamie Romer, has scoured the land in his quest to excavate more undiscovered psycho-prog stunners. This new selection bears testament to his endeavours. We present 20 ear-watering morsels that will hopefully thrill and entertain in equal measure.Wander the dimly lit corners of the Spaceship Factory, an establishment designed to produce vehicles that could take you from the geometric wallpaper of your room to the far side of your electric dreams.
It wasn't in production for very long, but while it was operating it not only did it manufacture million-selling models such as Yes, Black Sabbath and Jethro Tull, but it brought you the brash rock of Treetops, the polished guitar wizardry of Israeli progsters Jericho, the fuzzed-up dirt of Jesse Hector's proto-punk outfit Helter Skelter, and countless other designs now being re-appraised or still waiting to be recognised. The conveyor belts may be still, the furnaces may be cold, but the ships still fly to the stars.
by Nick Saloman
Tracks - Artists
1. Why Not Tonight - Treetops - 3:19
2. Greenfields - Mousetrap - 2:47
3. That Don't Help Me None - Deadwood - 4:05
4. Just Look Around You - Fuzzy Duck - 3:58
5. So Come On - Jericho- 3:57
6. Tadpole - Incredible Hog - 3:32
7. It's Happening to Me and You - Mouse - 2:52
8. I Need You - Helter Skelter - 2:30
9. Sarabande - Beggars Opera - 4:28
10. Spirit of Joy - Kingdom Come - 3:26
11. Just a Game - Little Big Horn - 4:19
12. Bring It on Home - Strange Fox - 3:20
13. Air - Onyx - 4:00
14. Spaceship - Spontaneous Combustion - 3:20
15. Evil - UFO - 3:36
16. Ladder - Sheephouse - 3:22
17. Ska Child - Pussy - 3:06
18. People Come, People Go - Axe - 3:05
19. Do You Wanna Know - Sunchariot - 4:09
20. Nervous Shakin' - Kansashook - 3:11
This Californian quintet was led hy Gerald Hauser, who was romantically involved with singer Jane Boltinhouse. They rehearsed their material at the Lake Sherwood home of TV star Bob Denver (best-known for his role in Gilligan's Island), in what drummer Andy Douglas has subsequently decribed as 'a large rec room overlooking the pool, with a view of the lake'.
The link with Denver came through guitarist Mike DeTemple, who was house-sitting for him. Recorded at the legendary .Sunset Sound Recorders studio in Hollywood, their sole LP was produced by Howie Kane (a founder member of Jay & The Americans), and appeared in March 1970. Billboard wrote that 'the five regulars known as Vision Of Sunshine have come up with a unique sound on their debut LP.
The use of such unfamiliar instruments as flute, celeste, calliope and harpsichord in a rock context, together with Jane Boltinhouse's haunting soprano, produces an ethereal A sound that is not only different but pleasing. She Said and the title cut are the best songs.'
Though they were disaffected by their label's reluctance to pay the session musicians used on the album, the band promoted it with gigs at the Troubadour club in Hollywood and at Los Angeles' Greek Theatre (on a bill with comic Don Ho and poet,folk singer Rod McKuen), ' but they disintegrated whilst on the road, shortly after Hauser and Boltinhouse's daughter Bright was born in 1970.
Their relationship disintegrated simultaneously, with Boltinhouse departing in search of herself. Hauser returned to LA and gradually made a name for himself as actor Wings Hauser (with parts in The Young & The Restless, Beverly Hills 90210 and Roseanne), while Mike DeTemple earned international acclaim for his guitar-building. Their album, meanwhile, was largely forgotten about four decades, though its cult reputation has steadily grown.
Liner-Notes
Tracks
1. Mourning Word (Gerald Hauser, Sean Allan Nelson) - 1:14
2. She Said (Gerald Hauser) - 5:41
3. Mr. Bojangles (Jerry Jeff Walker) - 4:23
4. For You Alone (Gerald Hauser, Sean Allan Nelson) - 3:10
5. Stranger Here (Robb MacKay) - 4:01
6. Vision Of Sunhsine (Gerald Hauser) - 4:26
7. Woke Up Staring At A Fire Hydrant (Gerald Hauser) - 2:53
8. Summer Sundown Woman (Gerald Hauser) - 3:50
9. Bizarrek Kind (Rex Holman) - 3:23
10.You Get What You Pray For (Gerald Hauser) - 5:18
Vision Of Sunshine
*Jane Baltinhouse - Vocals
*Gerald Hauser - Guitar, Piano, Vocals
*Sean Allan Nelson - Celeste, Calliope, Harpsichord, Organ, Piano
*Terri Osiecki - Flute
*Mary Tiller - Flute Guest Musicians
*Michael DeTemple - Banjo, Bass, Guitar
*Andy Douglas - Drums
*Jessie Eurlich - Cello
*Flint - Electric Guitar
*Joyce Miller - Cello
*Casey Nelson - Voices
*Jack Carone - Voices
*Bill Lazarus - Percussion
As the ‘60s gave way to the ‘70s, it wasn’t just fashion that was in a frenzied state of flux. Music, too, was undergoing a seismic transformation. Just as the raw approach of early ‘60s beat had given way to the more refined style of Psychedelia, so this genre found its self rudely elbowed aside by the more bombastic sounds of the emerging “progressive” movement, with its emphasis on experimental time signatures and complicated chord structures.
By late ’69 Prog was becoming established as the prevailing musical genre, a position it was to occupy until the birth of punk later in the decade. This compilation comprises 20 tracks, previously (to the best of our knowledge) un-comped on CD, from Prog’s early days when it was still an underground phenomenon. We’ve enjoyed tracking these relatively unknown diamonds down and hope that you have an equally rewarding time listening to them.
Nick Saloman
Artists - Tracks - Composer
1. Silence - Mother’s Game (Weeda, Putter) - 2:23
2. Ray Owen’s Moon - Talk To Me (Gardner) - 5:02
3. Ipsissimus - Lazy Woman (Oliver) - 3:28
4. The Warm Sensation - The Clown (Kerr, Carter) - 2:16
5. Pacific Sound - Thick Fog (Page, Meyer) - 2:32
6. Apartment 1 - Fuzz Buzz (Dale, Van Der Sande) - 2:53
7. White Mule - Looking Through Cat’s Eyes (Flood, Page) - 3:04
8. Left Side - Mama, You Said The Right Words (De Koelewijn) - 4:24
9. Mayroc - Lovin’ Fire (Watts) - 2:47
10.The Exchange And Mart - I Know That I’m Dreaming (Cooper) - 2:51
11.The Royal Servants - Work Part II (Nottrodt) - 5:22
12.Custer’s Track - On The Run (Saunders) - 2:45
13.Rainbows - New Day Dawning (Howells, Cure) - 2:49
14.The Locomotive - Movin’ Down The Line (Miller, Spence) - 2:44
15.Andromeda - Rainbow Chasing (Morgan, Greedus) - 2:42
16. Whichwhat - Parting (Young, Savage) - 3:27
17.The Influence - Driving Me Wild (Herrington) - 3:16
18.Children - Piece Of My Heart (Berns, Ragavoy) - 3:16
19.Hunter - Some Time For Thinking (Hunter, Spear) - 3:09
20.Paul Nicholas - Lamp Lighter (Beuselinck) - 1:58
The American Blues Exchange, composed entirely of students at Trinity College in Hartford, CT, was initially formed by Peter Hartman (bass) and Roger Briggs (guitar), based on a mutual love of blues and a desire to impress girls. By early 1968, they were joined by Roy Dudley (vocals and harmonica) and Dale Reed (drums) and a working four piece band was formed.
Their repertoire drew heavily from the British blues groups such as Savoy Brown, John Mayall, Cream, Free, and also U.S. artists such as Muddy Waters, Chuck Berry, Jefferson Airplane, and Canned Heat. As a four piece band they played area coffee houses and fraternity parties through the Spring of 1968. When school resumed that fall they were joined by Dan Mixter (guitar and vocals) and the new five piece group was formed which would remain together for the next 2 1/2 years, until the departure of Dale Reed forced the group's disbandment.
During this time, ABE as they became known, played a steady stream of fraternity parties, college mixers, high school dances, clubs-all primarily on the weekends and mostly in the CT-Western MA area; frequently stopping at a McDonalds along the way to chow down-hence the song "Big Max Revenge". For some unknown reason in 1969, it started to seem like a good idea to record an album of original material, as Roy was writing quite a few songs which they began to incorporate into their performances.
So rehearsals resulted in nine original tunes over the next several months, and they then found themselves at Fiesta Studios in East Hartford (now The Gallery), where engineer Doug Clark and agent Dick Booth helped them record what they called "Blueprints". Also offering alot of assistance were fellow Trinity student and guitarist D.J. Reilert and Nancy Taylor, who made it all possible.
The front cover is actually a fairly accurate blueprint of their stage setup as seen from above; Roger Briggs was then an engineering student and "volunteered" to do the cover art. So by late 1969, they had 1,000 LPs pressed, and Dan and Roger drove a death-trap of a VW bus down to Long Island in a mighty crosswind to pick them up (Roger remembers the return trip to be a bit slower from the weight of 40 cartons of LPs straining the small and old 4 cylinder engine) Sales of the LP were modest at best, with about 400 or so sold to fellow students, relatives, friends, etc. By the time the band dissolved, there were many hundreds left unsold, which were divided up amongst the band and most were given away through the years.
Today, fewer than 10 sealed copies are in the possession of the band. They are tickled pink that this reissue iis being done and want to express their thanks and appreciation to both their old fans and the new ones which are a by-product of this release.
Tracks
1. On Solitude (Roy Dudley) - 3:32
2. Cold From Blues (Roy Dudley) - 6:00
3. Recorder Thing (Don Mixter) - 2:39
4. The Taker (Peter Hartman, Don Mixter) - 5:17
5. Burlington Letter (Roy Dudley) - 6:25
6. Ode To The Lost Legs Of John Bean (Roger Briggs, S. Melhun) - 3:22
7. Big Max Revenge (Roger Briggs) - 4:30
8. The True Son Confesses (Roy Dudley) - 4:59
9. Age Child (Roy Dudley) - 8:34
10.Steppin1 Out (Memphis Slim) - 3:15
11.One Sunny Day (D. Kirwah) - 3:11
12.Dust My Broom (Elmore James) - 4:20
Tracks 10-12 Live recordings
The American Blues Exchange
*Roger Briggs - First Guitar
*Dale Reed - Percussion, Harmony
*Roy Dudley - Vocals, Harmonica, Tambourine, Cwobel
*Don Mixter - Second Guitar, Recorder, Harmony
*Peter Hartman - Bass Guitar
Just an hour or so drive from Frisco proper, Sacramento was apparently a hotbed for punk thumpers. When farmboy energy stuffed itself into tight striped pants and set out to woo crowds at the local teen centers, magic often occurred. This then is a regional time capsule of some of that pre-hippy Central Valley magic, as potent (while maybe not as original) as what their peers were doing down on the Peninsula.
Some of the standouts here are the Fugitives' snotty "Blowing My Mind," the Marauders' fuzz-laden "Our Big Chance," Sel-Sync's "Dirty Books," and Plague, Ltd's melancholy folk rocker "So Cold." Also included are sides by New Generation, the Heard (their "Little Miss Sadl" is pretty tight), the Opposite Six, the Brimstones, and Pilferage Humor.
Stuffed in the jewel case is a big booklet with lots of photos and flyers, a far cry from what some of those all-smoke-and-no-fire reissue labels call a proper release these days. Take a trip back to a California before the allure of hallucinogens and free love.
by Erik Bluhm
Tracks - Artists
1. Our Big Chance - Marauders - 1:48
2. Ball Of Twice - Gear One - 2:11
3. Dirty Books - Sel-Sync - 2:25
4. Blowing My Mind - Fugitives - 2:43
5. Empty Heart - Mods - 2:00
6. Doing What I Wanna Do - Plague, Ltd. - 2:21
7. I Don’t Mind You - City Limits - 2:35
8. I Want You - Squires - 2:56
9. The One In The Middle - 2:15
10. Since I Met You - Marauders - 2:14
11. They’re No Better - Plague, Ltd. - 2:27
12. We’ll Talk About Sunshine - New Generation - 2:227
13. Woman - Mods - 1:46
14. Feel A Groove - Gear One - 2:21
15. Little Miss Sad - The Heard - 2:14
16. Why Did You Lie? - Opposite Six - 2:20
17. You Don’t Have To Bring Your Toys - Squires - 3:27
18. Come On Now - Fugitives - 2:33
19. Woke Up This Morning - Gear One - 2:28
20. I Don’t Believe You - The Heard - 2:14
21. I’m In Misery - Brimstones - 2:20
22. Little Girl - Pilferage Humor - 3:27
23. Since I Met You (2nd Version) - Marauders - 2:09
24. So Cold - Plague, Ltd.- 2:42
25. Little Richard Medley - Gear One - 8:33
26. Route 66 - Marauders - 2:10
27. Alimony - Gear One - 2:58
28. Cold Hearted Woman - Brimstones - 2:17
29. She’s A Mod - Mods - 2:14
30. For Your Love - Unknown Band - 2:49
It Flew Away was a band whose story seems to sum up the hopes and aspirations of so many outfits who played their guts out to very little critical acclaim. This was in an era when simply being able to express one's musical ideas in a public forum was considered by many to be reward enough to make the long hours of rehearsal and equipment lugging seem worthwhile!
Early in 1971 Ian Clarke (keyboards), Barend du Preez (bass, vocals and harmonica) and John Reid (guitar) were living in a defunct private hospital in Prahran, writing songs and thinking only half seriously about forming a band. John's brother, Rob, took the initiative and put an ad in the Source Bookshop in Melbourne... Wanted - Creative Drummer. Guitarist, bass player and organist, writing own music, seek sincere musician to develop a group from embryonic stages to something satisfying.
In August, Shane Cleary turned up, and on a cold grey day, over a bowl of hot millet, It Flew Away was born. The band's first gig was in early December, supporting Carson at Ocean Grove, a coastal town on the outskirts of Melbourne. Then followed an appearance at Evolution ("Australia's biggest holiday dance in the heart of swinging Rosebud"). At about this time an American promoter was developing the Regent Theatre in South Yarra as a Fillmore-style concert hall Billed as a 'mixed-media palace', it promised to be an exciting new venue for rock music in Melbourne.
The Regent wanted new talent, and It Flew Away wanted a place to play, so a short, but exciting association was formed. On New Years Eve they played The Regent for the first time with Spectrum, Friends, Carl & Janie Myriad, Blackfeather and The Joy Band. With earnest expressions they presented their collection of lengthy and extravagant musical images, in front of the Stargate Corridor light show.
Throughout 1972, It Flew Away took their music wherever they could. Bookings through the Let It Be agency led the band to play at such venues as Sebastians, Q Club, Much More Ballroom, various Universities and tertiary institutions, suburban dances, and also as far afield as Adelaide, Sydney and Newcastle. Whilst in Sydney the band visited the ABC (government funded TV channel) studios, to record 'Candy Meets The Vibrator', 'Aimless Pasture' and one other song for an airing on the popular music show of the day known as "G.T.K.'.
They won a Battle of the Bands at Buronga on the Murray River near Mildura, and seemed to be achieving some recognition among informed writers in the music press. But all was not well. The Regent burned down and the Much More Ballroom closed. Taking note of these events, the band invested in a custom built PA. system that became endearingly known as the 'D.S.H.', and after a couple of live engagements, the 'D.S.H.' blew up! At least one band member believed that music could save the world, but despite this idealism, by early 1973 they were silting on the floor of Phil Dwyer's panel shop cum studio, tearing strips off each other.
Sympathetic audiences were scarce, and efforts to support It Flew Away with a theatrical rock and roll band called Thicket Ducks, and later, a straight outfit called The Pub Band had failed. Idealism was no match for a lack of equipment, and with poverty lurking just around the corner, It Flew Away would fly no more. It Flew Away really had it all, ambitious keyboard passages combined with a great guitar sound and tough rhythm section making their sound far more memorable than most symphonic rock outfits of the day.
The almost six minute opening track 'On My Way Home' has classy guitar/keyboard interplay and practically sets the tone for all the material on this release. From the epic 'Good Times' with its fantastic guitar lines, soaring keyboards and interesting lyrical content (du Preez even managed to incorporate some Tolkien imagery), to the wildness of 'Candy...' or the last track 'Pull Out All The Stops Mother', everything here is played with 100% confidence by a band on the brink of greatness, but nonetheless, one whose members never saw the door of opportunity open for them.
It had been a creative period in four peoples lives, at times joyful and positive, at others turbulent and difficult. And so to the passage of time... Fortunately for the band, they had loyal friends in Carl Hartung and Ross Williams, to whom a great debt is owed for the existence of a cache of well recorded tapes containing a number of versions of different songs, without which this music would inevitably have faded with time and memory. It was always Hartung's ambition to make an album using this material which had been hidden away in dark cupboards for many years, with only the occasional airing.
In 1987 he and Reid worked together to create a compilation reflecting various facets of the band's songwriting. Eventually, after a great deal of effort everything fell into place, and a 2LP set was produced, primarily for fans and friends in a limited edition of 250 copies. It Flew Away The Lounge Room Tapes finally saw the light of day, sold-out and disappeared!
by Carl Hartung and Glenn Terry
Tracks
1. On My Way Home (B.du Preez) - 5:54
2. Good Times (B.du Preez) - 9:16
3. Raggin'MyBin (I. Clarke, B.du Preez, J.Reid) - 2:44
4. Aimless Pasture (I. Clarke) - 7:09
5. Candy Meets The Vibrator (J. Reid) - 2:52
6. Mighty Harvest (take 1) (J. Reid, B. du Preez, I. Clarke) - 5:05
7. Beach (B.du Preez) - 6:03
8. Crab Apple Jelly Jam (J. Reid, B. du Preez) - 3:15
9. Watch Out (R.Reid, J.Reid, B.du Preez) - 4:37
10.Open Spaces (B. du Preez) - 6:21
11.Pull Out All The Stops Mother (I. Clarke, B. du Preez) - 15:23
Sacramento-based Ikon Records is one of those labels that makes obsessive garage collectors squirm and sweat, stammering phrases to each other like "only three known copies, dude" or that most dreaded, tear-choked revelation: "there's only one known copy!" Because of their scarcity, even by local indie garage label standards, Ikon 45s have largely eluded the garage compilation-makers, so the label's output has been something of a secret shared by just a few elite high rollers and clued-in Sacramento locals.
No hype, my friends: YES! This is hands-down the best '60s garage reissue of the year, filling the requirements of both historical significance and, more importantly, musical excitement. The Madd, Inc provide the immediate standout with the jaw-dropping "I'll Be the One." It's got an assertive lead vocal, two cool, locked-in guitar parts, a tight, rhythmic groove, and a dangerously tense mood snapped apart by a killer fast-fingered Drake Levinesque guitar break. No two ways about it: it's a frickin' MONSTER. While not in the same league as "I'll Be the One," the same band's secret agent themed "Sooperspy" and the wiry instrumental "Batman A Go Go" are also rather good.
More fantastic garage band thrills are drummed up by the Mergers ("Love, You Funny Thing"), the Kee-Notes (a great arrangement of "St James Infirmary"), the Styx ("My Girl"; not the Temptations song), the Knightsmen ("Daddy Was A Rolling Stone"; not the Temptations song either), the Denny & Kenny Duo (the ultra rockin' "Meet My Little Sweety"), the Sons of Sound ("I'm Coming Home"), and the Prophets (the up-tempo but oddly plaintive "You Wonder Why"). Bluesier fare is dished out by the Parish Hall Blues Quintet ("Smokestack Lightning" and a decent cover of the Pretty Things' "I Can Never Say") while solid surf/instro sounds are provided by the Nervous Kats, the Cautions, the Avanti's and the Marauders.
Those looking for minor key magic will be well-pleased too when they get a load of jewels like the Yo Yoz' exceptional, Zombies-flavored "Leave Me Alone," the Bristols' "She's Gone Away," the Shondells "It's True" and the Mergers' "I'll Be On My Way." This two-disc set come with a 28-page booklet jammed with full-color photos, label shots and abundant liner notes by Alec, Joey and others.
4.Eirik Wangberg - Every Night I Dream A Little - 2:25
5.Nervous Kats - Surf Express - 2:05
6.Bristols - She's Gone Away - 2:14
7.Mergers - Love, You Funny Thing - 2:44
8.Avanti's - Countdown - 1:48
9.Bobbies - Truck - 2:19
10.Yo Yoz - Leave Me Alone - 3:11
11.The Knightsmen - Fever - 2:55
12.Styx, The - My Girl - 2:32
13.Kee-Notes - St. James Infirmary - 2:53
14.R.C. And The Tambourines - Quirk - 2:23
15.Shondells - I Cried Last Night - 1:54
16.Cautions - Surfer's Beach - 2:18
17.John Rosasco Quartet - Come Running To Me - 2:15
18.Townsmen - High Heel Sneakers - 2:36
19.Moss And The Rocks - There She Goes - 4:46
20.Nervous Kats - Simba - 2:05
21.Prophets - It's All Over Now - 3:28
22.Parish Hall Blues - Smokestack Lightning - 4:09
23.Versatiles - Pretty Girls - 3:01
24.Unknown Artist - Gloria - 2:40
25.Russ Olson - Sorry About That - 2:09
26.Denny And Kenny Duo - I Love You So - 2:49
27.Madd, Inc. - Batman - 2:49
28.Avanti's - Too Much - 2:37
29.Marauders - Intro-Surf Jam - 2:24
30.Marauders - Carol - 2:56
Disc 2
1.The Knightsmen - Daddy Was A Rolling Stone - 2:51
2.Denny And Kenny Duo - Meet My Little Sweety - 2:53
3.Prophets - You Wonder Why - 2:58
4.Madd, Inc. - Sooperspy - 2:59
5.Unknown Artist - Searching - 2:32
6.Nervous Kats - Chong - 2:16
7.Parish Hall Blues Quintet - I Can Never Say - 2:58
8.Shondells - It's True - 2:51
9.Eirik Wangberg - You Woman - 2:33
10.Townsmen - Leaving Me - 2:30
11.John Rosasco Quartet - The Shift - 1:47
12.Sons Of Sound - I'm Coming Home - 3:16
13.Cautions - Groovin' - 2:26
14.Yo Yoz - Stay With Me - 2:36
15.Avanti's - What's Wrong With Me - 2:12
16.Sel-Sync - The Fire Is Gone - 2:13
17.Beau Jesse - Tell Her That You Love Her - 1:55
18.Kee-Notes - Please Don't Tell Me No - 2:31
19.Eirik And The Secret Agents - Sorry About That - 2:33
20.Townsmen - What Have I Done - 3:23
21.Fabulous Futuras - When You Ask About Love - 1:47
22.Dirk Hamilton - Happiness - 3:24
23.Bobbies - Orangutang - 2:04
24.Mergers - I'll Be On My Way - 2:32
25.Mymes - You Lose Girl - 2:20
26.Moss And The Rocks - Please Come Back - 3:23
27.Styx, The - Stay Away - 2:56
28.Madd, Inc. - Batman A Go Go - 2:42
29.Checkmates Ltd. - Do It To Deff - 4:06
30.Ikon - Outro - 0:39
