Friday, September 19, 2025

The Untold Fables - The Untold Fables (White Trash Soul R&B Series No.17)


The Untold Fables were one of the few garage punk bands of the '80s who lived up to their name. Forget rock star mannerisms à la Fuzztones or wimpy jump wagoners. To me, they and The Primates remain the most underrated bands of the American scene back then. 

The Untold Fables consisted of Jon Niederbrach on guitar, Robert Butler (later of The Miracle Workers) on bass, Paul Sakry on drums, and Paul Carey on vocals. They grew out of a club called The Rave Up and later moved to Greg Shaw's Cavern Club. Their music was strongly influenced by '70s punk and '50s R&B. In spring 1985, they recorded their debut LP, "Every Mother's Nightmare", for Lee Joseph's Dionysus Records at West Beach Studios in LA. In summer 1986 and spring 1987, they held two more recording sessions at South Coast Studios in Santa Ana, this time with David Carey producing. The eleven songs from these sessions were later compiled for their second LP, "Aesop's Apocalypse", which was released in early 1989, around a year after the band split up. 

The Pretty Things' early work, along with the freakbeat of Ealing's The Eyes and some Nederbeat perhaps, were their main influences. Snottiness a plenty. Here are their two LPs combined. This isn't my rip; I found them on Soulseek at some point, so thanks anyway to the original uploader. I tried to normalise them a little and remove some noise because the transfers are obviously from vinyl, but in the end I decided to leave them as they were because I'm no pro at this, and besides, who cares — we're here for some punk sounds! The cover I designed was heavily influenced by the Mystery Scene EP and their demo. Dig the fuzz!

Wednesday, September 17, 2025

Spacemen 3 - Rollercoaster, The Singles & EPs (White Trash Soul Real R'n'R No.7)

 

Spacemen 3 were the definitive psychedelic band of the '80s (at least), led by two charismatic personalities and influenced by the heavy drones of The Stooges, Velvet Underground and Suicide. Formed in Rugby, they fused the proto-punk of the Detroit scene with garage, psychedelia, blues and gospel to lethal effect. Or to put it another way, their music was druggy and addictive. Like the MC5, they were interested in revolution and (hypnotic) guitar noise at a time when jangle pop dominated the indie scene. Spacemen 3 were, and still are, the unconditional forefathers of the shoegaze scene of years to come. 

None of their compilations of singles and EPs are quite this. They're a blend of singles with different mixes or demos. As far as I know, they never had a proper release, so I decided to do it myself again. Here, you'll find all of their singles, EPs and mini LP ("Walking With Jesus", "Transparent Radiation", "Revolution", "Take Me To The Other Side" and "Big City") in any version released before the band broke up, as well as their cover of Mudhoney's "When Tomorrow Hits" from their rare split. 

As Will Carruthers, the band's bassist (also on Spectrum, Spiritualized and Brian Jonestown Massacre) and author of the excellent memoir Playing the Bass with Three Left Hands, wrote: "To this day, I’m still not sure if it was art."

Friday, September 12, 2025

Viv Prince (1941-2025)

 

I just read Mike Stax's post about Viv Prince's passing. Prince made Keith Moon look like a Catholic schoolgirl in terms of both drumming and wildness, partying and lunacy! According to Jimmy Page, the young Keith Moon attended several Pretty Things concerts in order to study Viv's style. Prince was also the one to coin the nickname 'Moon the Loon' for Keith, with whom he was on good terms.

He was the first British rock 'n' roll musician to face a drug-related charge in court. The Kinks repeatedly approached him to become their drummer, but he chose to join the wildest of them all, The Pretty Things.  The mayhem culminated in a tour of New Zealand in August 1965, during which he paraded around in a leopard-skin pillbox hat and carried a dead crayfish on a string. He also started plotting pranks and setting fires on stage, resulting in a lot of bad publicity. Following an altercation with the crew, he was thrown off the plane taking the band home after the tour and had to find his own way back to England. He was quite a character, as well as a musician. Safe travels motherfucker!

Monday, September 8, 2025

Various Artists - Lysergic Acid 60s Punkers, Raw Mod and Freakbeat Fuzzters (White Trash Soul 60s Punk No.2)

 

Freakbeat! Yeah!! 

First things first, what is it? The term was coined by English music journalist Phil Smee (who later started the Bam-Caruso Label) to describe the harder, fuzz loaded and sometimes psychedelic mutations that happened to the British Mod scene. A rock'n'roll sub-genre, graphic design style, and aesthetic in general that was prevalent throughout the mid-to-late '60s. Freakbeat bands combined aspects of rhythm & blues, beat, pop with psychedelia and proto-punk, a sonically distinct kind of music often drawing parallels with the American garage punk. 

The diversive music style of the Mods, characterised mainly by soul elements, became somewhat lost in the mid-sixties when psychedelic drugs and vibrant clothing became the defining attributes of a (new) generation. These elements included definetely fuzztones which are often manipulated with trippy echoes and other effects. 

As you might have guessed, the lines between what is and isn't Freakbeat are blurry. The same thing happened when I was trying to create the compilation that I'm offering here. The songs have changed many times - I've actually lost count. As always, I wanted to include obscure and unprocessed gems of the era, as well as more well-known songs, at least to those familiar with this period. I also wanted to compile tracks from outside the British and US scenes. I'm fairly confident that I've succeeded, but as always, you're the judge. 

Anyway, to be more precise I changed the title to "Lysergic Acid 60s Punkers, Raw Mod and Freakbeat Fuzzters". All the tracks contain the elements I mentioned in the opening lines. The Who, The Yardbirds and The Pretty Things collaborate with lesser-known acts who are equally brilliant and perhaps even wilder! For example, there's St. Louis Union's amazing take on Bob Seger's early garage stomper "East Side Story", Jimmy Winston covering the band he founded and played on the first single with (The Small Faces), Them going punk R&B under the direction of sleazy mogul Kim Fowley after Van Morrison left and Northwest proto-punks The Kingsmen, (in)famous of course for "Louie Louie", covering this time an unknown Freakbeat tune by The Fairytale. There's also Viv Prince's band after The Pretty Things (The Bunch of Fives), The Action going psychedelic pop under the Beatles' producer, Q65 and the Outsiders' off the rails Nederbeat, and The Fleur de Lys doing "Hold On" under the pseudonym of Rupert's People before handing it to Sharon Tandy. There's even Mickey Finn's "Time to Start Loving You" (before MC5 change it to "Kick Out the Jams"), and an Italian guy who relocated to Greece singing a cover of the Troggs' "I Want You" in... Greek! Τhe range is so big actually that you'll find young savage punks from Quebec and Iceland to New Zealand and Australia. It's almost impossible to write you even a few lines about each song, although each one has a unique story behind, like the ones I've already given you to get an idea of ​​what you'll hear.

In the true spirit of Oscar Wilde ("The drawback of stealing a thing, is that one never knows how wonderful the thing that one steals is"), I even tried to recreate Bam Caruso's label logo, with Joe Meek taking the place of the famous girl for the cover. By the way, if you're wondering who's that guy carrying the guitar and playing the tambourine, look for the golden-haired founder of The Rolling Stones. I even asked myself if "Have You Seen Your Mother, Baby" by the world's greatest rock 'n' roll band fitted in, but I gave up in the end - after all, there are so many songs and bands that need more pairs of ears. 

Dig!

Saturday, September 6, 2025

Doo-doo-doo-doo, ooh-ooh-ooh yeah-yeah, I'm not waiting on a lady I'm just waiting on a friend.


You know, sometimes you lose touch with friends for no reason. There's no bad blood, it's just that life takes you in different directions. Yesterday, I bought a mono copy of The Artwoods' Art Gallery from Guerssen. I'd had the Repertoire CD for ages, but it was in stereo and I just needed it, you know? Anyway, this morning, I did my usual ritual: I woke up, chatted with my wife about the problems women always seem to find out of nowhere, and made myself a coffee. Then I placed my new purchase on the turntable. I dropped the needle and started reading Mike Stax's (as usual) detailed and entertaining liner notes. Then, at the end, I found this in the photo above. My beloved partner in crime for ages, Jean Philippe (to his friends jpstooges) here at White Trash Soul  had done the remastering, since the original mono tapes had been lost! I'm very proud of him, and I had to share this with all of you. I sent him an email to one of the countless addresses he's sent me over the years (he was a nightmare about this, but I love him anyway), and then sat down to write these few words. I have many goodies from JP in my vault from years gone by, so hopefully I'll post them for you in the next few weeks. Cheers to you mate!

Friday, September 5, 2025

Bam Caruso Records (Caff Fanzine No2, 1987)

Caff Corporation was a short-lived Brit indie label founded by Bob Stanley of Saint Etienne fame. The label operated under the names Caff, Caff Records and Caff Corporation. Established in 1989, it ran until 1992, releasing seventeen 7-inch singles. The label grew out of a fanzine that Stanley produced with a fellow band member, Pete Wiggs. 

Here's a piece about the legendary (now) Bam Caruso label, founded by Phil Smee in 1983. Bam Caruso Records was a pioneering British independent label dedicated to reissuing rare '60s psychedelic, freakbeat, and garage pop/popsike music. The label is best known for its 'Rubble' series, a compilation of obscure British psychedelic tracks, quite similar in terms of quality to 'Nuggets' or 'Pebbles'. 



(Right click and select 'open link in new tab' for full scans resolution)


Monday, September 1, 2025

The Someloves – Something Or Other (Mushroom, 1990)

 

The Someloves were spearheaded by Dom Mariani and Darryl Mather, who were also members of two other (now legendary) Australian garage revival outfits, The Stems and The Lime Spiders. Following the dissolution of The Stems, Mariani formed the new band with Mather.

In 1989, Mushroom Records allocated a budget of $60,000 for an album. Most of the recordings took place at Planet Studios in Perth with various musicians, including Robbie Scorer on drums, Tony Italiano on bass, and Mitch and Angie Easter on guitars and keyboards respectively. The resulting album, Something or Other, was released in 1990.

The Someloves' sole LP is one of the greatest lost power pop masterpieces of the modern era — words like 'jangly', 'chiming' and 'hook-filled' don't even begin to do it justice. Although the album was originally released to unanimous critical acclaim, the band refused to perform live. As a result, the label dropped them, which essentially killed the band and drove a wedge between the two friends.

The production (with overdubs and mixing done at Mitch Easter's studio) is more layered and nuanced than many such releases, occasionally, it evokes the sounds of a more indie pop-oriented Big Star. It would have been a hit. But it wasn't. This means it is mainly (sadly) appealing to the power pop cult. Whatever...