New Bomb Turks - Four Times Nine (White Trash Soul Real R'n'R No.16)

 

In my previous post about Teengenerate, I mentioned the New Bomb Turks as one of my favored punk rock bands of the '90s. The first time I saw and heard them playing this suprecharged rock'n'roll, there was a look of obvious surprise on my face, see I was expecting guys in leather jackets with long or spiky haircuts and other such dumb clichés. I hadn't even heard of the Descendents or Milo yet (this was the pre-internet era, as I've mentioned many times already) and I also didn't know that the members of Bad Religion were college graduates. Learning through fanzines that these four guys had English degrees from Ohio State University was quite a revelation for me. I was myself, too, something in between because I wasn't a nerd definitely but I also wasn't someone who didn't like to read, especially literature and history. As you might have guessed, I felt completely at home.

The band took their name from Robert Wuhl's character in the early-'80s cult classic comedy 'The Hollywood Nights', which also marked the screen debut of Tony Danza. I remember them uploading a letter to their embryonic website from an Armenian guy complaining about the name because he believed it had something to do with Turkey and genocide. Afterwards, he told them to fuck off and sent him some patches or pins, it was hilarious!

It was the "Destroy-Oh-Boy!" album that first blew me away on Tim's Crypt. The New Bomb Turks combined the rawest '50s rock 'n' roll with the snotty '77 punk and the intense warp speed of '80s hardcore, a winning formula copied by at least two other great bands of the era, The Dirtys from Michigan and Los Ass Draggers from Spain. From that moment on, I felt that things were going downhill for me. I was hooked on like a heroin addict. I couldn't wait for their next single or LP and that continued until they decided to split. They reformed thanks to some evil rock'roll power and I got to see them on stage here in Greece about ten years back. 

The homegrown stuff I made especially for you once again was inspired by the Rolling Stones' "12X5". Somehow, I had to force myself to narrow it down to just four songs from each of their albums and three compilations of singles and other tracks. It turned out to be a real challenge. If you think the job of a serious compiler is easy, just try doing the same thing with the Ramones or Motorhead smart ass... But I think I've cracked it. The more I listen to this, the more I like it. For the cover of the comp, I used the stunning sketches of Arturo de Leon, the man behind the artwork for N.B.T.'s debut and a '90s t-shirt that I found on eBay and bought without hesitation. I believe it is his too. 

Bear in mind that these guys are from the same region as Cheetah Chrome of the Dead Boys and Mike Hudson of the Pagans. Their punk rock 'n' roll has some serious bloodline and DNA. I don't know about the Epitaph stuff but Crypt have reissued multiple times their first two albums, so do yourself a favor if you're not sitting on any of these and go fuckin' buy everything with their name on. 

The Jim Jones Revue - B-Sides & Rarities (White Trash Soul Real R'n'R No.12)

 

When did you last hear a real rock 'n' roll band? Since the Devil Dogs split up? Or was it back in the 'Soulseller' era of the Hellacopters? After the Jim Jones Revue broke up, Nick Curran and the Lowlifes were the only ones who could keep the fire burning. I mean, I can't think of anyone else since Nick's untimely death. Don't get me wrong, I love The Righteous Mind and the All Stars and Jim Jones seems to be the only guy around doing this ramalama bamalama loo thoroughly, but as much as I like the post-Revue bands, they don't have the manic '50s rock 'n' roll energy of Jerry Lee Lewis amplified through the MC5 with Gerry Roslie on vocals sound, that Revue had. 

The Revue was a rock'n'roll intelligentsia full of fundamentalism. It was a group of punk rock jihadists who managed the considerable feat of being both serious and tongue-in-cheek and who drank diesel and poured out smoke. Little Richard's leather-clad gospel evangelists and Johnny Thunders' mourners. Imagine Tarantino's Reservoir Dogs with velvet waistcoats and sideburns doing funerals. The Jim Jones Revue was a stark reminder of just how dangerous rock 'n' roll used to be. 

This compilation brings together all of Revue's b-sides, as well as a few other rarities and it's as hot and dry as a desert wind.

Rocket From The Crypt - Scream, Dracula, Scream! - White Trash Soul Edition

 

Fact is a lot is written already by me about the '90s, but that's the era I grew up in - be kind (or fuck off). Now that I have enough distance to draw reliable conclusions, I believe it really was a fantastic time to be a young prick! There were so many incredible bands and records around floating almost every week, If you had been there, there would be no way you could have forgotten it. As that impartial judge called time has shown, many of these have stood the test of time and are now rightly considered just as essential as their '60s and '70s predecessors. Right? Right!

Punk rock was no exception to this. A healthy underground scene existed globally that put to shame the bands under that tag that did make it commercially. OK, "Dookie" was fantastic record, and Rancid did well too, either by rejecting Madonna's offers or by releasing "And Out Comes the Wolves" but I couldn't stand bands like NOFX and I still can't stand them. After gaining momentum, Epitaph was no different to the majors in terms of what it was putting out. The last great band to come out of Bad Religion's CEO label was The Humpers, but the crowd and the establishment needed caricatures, not a rock 'n' roll band with a name like that and that junkie Johnny Thunders and The Heartbreakers feel and attitude.

To this day, amazing and most importantly, genre-defining groups are still under most people's radars. When I talk about gangs like The Stitches, The Infections, The Rip-Offs, The Devil Dogs, Teengenerate, Bladder Bladder Bladder, Dimestore Haloes, The Riffs, New Bomb Turks or Chinese Takeaway, only a handful of people are willing to rant along. And when I mention names like Mudhoney or Rocket From The Crypt, I usually get a "that's not punk" reply. You morons! Mark Arm and Co. were more garage punk than your Fuzztones and RFTC were the reincarnation of the first three Saints albums.

This leads us to the main subject of this post, which is the unsurpassed punk rock mayhem of "Scream, Dracula, Scream!" By the time this record was released, I was already a fan and had acquired "Circa Now". This Stax-abilly sound was right up my alley and it was epitomised by a band with greasy pompadours. Man, you just can't get cooler than this! Named after the infamous '70s black horror b-movie "Scream, Blacula, Scream!" and featuring the band's name and record title in the font of (San Francisco’s First and Only Rock 'n' Roll Band) Crime, you knew instantly what you were holding. The liner notes on the CD couldn't make it clearer: Our desire is to Rock 'n' Roll. Punk is dead.

In the midst of the '90s highly commercialized "punk", RFTC rejected their father in favour of their grandfather and kept the rock 'n' roll torch burning. Much to my surprise, 'On a Rope' dared to breach the charts. For a moment, I thought there was hope for humanity, there wasn't, let it all burn. These San Diego motherfuckers mixed rock'n'roll guitars on the same channel with horns in order to blow your ears and speakers and they succeeded. From start to finish, this album is the hottest garage punk and '50s R&B since when Bailey and Kuepper were still on good terms and would get shitfaced before heading into the studio.

Rocket from the Crypt released three singles from "Scream, Dracula, Scream!", all with great b-sides that deserve to be heard. There's even a cool Real Kids cover among them! I don't understand why such a high point of '90s punk/rock 'n' roll hasn't received an expanded reissue yet, which is why I decided to do it myself. Here's the complete classic release, including all the songs missing.

The Action - The Complete Rolled Gold Era, 1967/1968 (White Trash Soul 60s Psychotropia No.4)

 

Some things in life are just not meant to be. Whenever any lost recordings by a hugely influential band or artist are unearthed, the cliché of the 'lost classic' is the first thing you read. In most cases, at least in my opinion, they're not but the mystery of the unknown or better still, the unheard, leads us to these hyperbole filled early conclusions. Sadly, this is the bitter truth for the highly revered 60s mod band, The Action and their 1967 and 1968 recordings.

The "Rolled Gold" reels are the long-lost masterpiece that nobody was ever allowed to hear until the guys at Dig the Fuzz Records got their hands on them back in the mid-90s. Despite being signed to legendary Beatles producer George Martin's AIR label and enjoying strong support in clubs, the Action strangely never had a hit record. No one before or since has recreated the Tamla sound quite so brilliantly. As Steve Marriott famously said: "We all tried our hand at getting that (Motown) sound you know, all the bands in the mid ‘60s. The best ones at it were the Action... They were an amazing band!" Some things are not meant to be, indeed... 

I talked previously about the changes in sound and attitudes of the 'in crowd' bands on the few freakbeat compilations I made for this space. As the mods became interested in more psychedelic drugs, their sound evolved accordingly. 'Never Ever', their self-penned pop masterpiece showcasing astonishing three-part harmonies (not unlike those of the 'other' band Mr. Martin had under his wing), was released in February 1967... Their final single, the acid pop brilliance and most adored by yours truly 'Shadows and Reflections', was recorded in early March and subsequently released two months later. Although it received rave reviews, mysteriously failed to sell enough. Again...

During this period, Pete Watson, one of their guitarists gave up. The remaining members continued as four-piece. At one point, they even asked Keith Emerson to join them on Hammond organ, but he declined. The Action were already in search of new lands. A version of John Coltrane's 'India', recorded for the BBC, has proven this clearly. The "Rolled Gold" material was started and the process was underway. Although they weren't signed to Giorgio Gomelsky, they did use his studio and Reg King was at the top of his game. He was in charge of everything, producing, singing and writing most of the songs' parts. 

The 'Rolled Gold' demos, supposedly named after the tapes kept in a handmade gold sleeve, were played to George Martin. He chose 'In My Dream' as a potential single, and the band re-recorded it with him at De Lane Lea Studios. EMI (AIR's distributor) showed no interest and the tracks were shelved. The band tried to persuade another label to provide the funding to record the album properly but unfortunately and for reasons The Action members cannot remember, Polydor decided to pass also. And that was the final nail in the coffin. Reggie left the band to work on a solo album after Rod Stewart's advice (with all Action comrades playing in), while the rest of the group slowly morphed into Mighty Baby. 

In the summer of 1968, the remaining Action members put on tape five final songs under that name. The absence of Reg's voice led many to refer to these recordings as Mighty Baby, but they are not. All these songs embrace a brilliant Mods-meets-Byrds approach, rather than the Baby's known occult prog material. Personally, I rate them as highly as any of the previous Action recordings. Whiteman and Bam sing like any other West Coast band of the era, and as beautifully. I would even go so far as to say that these songs would easily have made it onto any Byrds LP or Syd's Floyd. Anyway...

I'm still trying to understand why this masterpiece was never given a chance. In those demos, the band definitely went psychedelic and clearly they were still in love with Soul and R&B. Don't be intimidated by the term 'demo', the recordings are as rough and clean as they need to be and so unbelievably ahead of their time! "Rolled Gold" is more direct than Who's "Sell Out", more adventurous than Small Faces' "Ogden's Nut Gone Flake" and more concise than The Byrds' "Fifth Dimension". Believe me people, these songs are as fruitful and vibrant in their raw form as any comparable finished material of the era!

The Prisoners - Live (White Trash Soul Real R'n'R No.10)

 

For those who for some reason haven't yet understood from any of the many previous posts and mentions, how fanatical I am about the Prisoners, let me state it again succinctly: VERY! To me, they were by far the best of the 80s garage revival and just take a moment to think about all the incredible bands the world had at that time (Tell Tale Hearts, The Creeps, Crimson Shadows, The Last Drive, The Stems, Miracle Workers, Chesterfield Kings etc). The Prisoners were a bone-juddering affair. The group came together at the close of the mod revival thing or the dawn of the new garage-psych resurrection and despite being perfect for both scenes, the group remained largely snobbish about such trends. In fact, they even snubbed their hometown and their friend Billy Childish by rejecting the Medway's recording methods.

If they had been willing to change their approach, the outcome might have been different. However, the band was set on doing things their own way and refused to heed any advice on how to achieve success. Consequently, The Prisoners never graduated from playing in smaller London venues. Quality over quantity, fuck you very much!

As you can see for yourself, I used the legendary "Live at Leeds" by The Who as a pattern for the cover of this compilation of live recordings of the Prisoners from a time when they and I were very young. Their sound brings more to mind, though, the Rolling Stones of the "Got Live If You Want It" era, if the latter had had a Hammond in their line-up and Steve Winwood on keys shortly before he left to join Traffic.

So, the idea behind this concept was simple, yet it has not been officially implemented until now. Every legitimate released live recording of them had to be collected, whether from the relatively rare split LP with the Milkshakes or the stray tracks included as bonus material on the CD reissues of the ever-top Big Beat/Ace label. The end result was a set of 18 songs, none of which had been used twice (except one, OK) and a time period that it seems to be their absolute peak: 1983–1988 (most probably, in some cases I wasn't sure about the date of recording). I made this to try and deceive myself since I never had the chance to see them live. 

I chose the order of the tracks purely chronologically, and I listened to it several times before posting it (as usually). I always try to consider every possible detail, such as sound matching and flow, as if it were an official release (I have quite a few issues with OCD, I am aware of that). You know what? I really enjoyed it and I hope you did too! Here's just another labour of love from this blog to some of the heroes of its youth.

Various Artists - Nothin': Sixties Wild Punk and Raw R&B (White Trash Soul 60s Punk No.5)

 

Sometimes I feel like I'm repeating myself and I know I actually am. It's like listening to The Ramones and Motörhead albums basically, but I secretly hope that all of this is just as enjoyable for you as the songs by those legendary bands. I mean, what else is there to write about '60s garage punk that hasn't already been said? The same thing happens quite often with the songs I choose to take in. I can't and don't want to remember whether I've included them before or elsewhere and obviously I'm probably not introducing you to anything you don't already know or haven't listened to before.

I'd like to think that there will always be younger listeners and visitors, and that they will always find something new here. There's really no reason for this blog to exist if not to present something to people that might make their lives a little better. Yes, I'm one of those hopelessly romantic fools who believes that books, records and films can improve our miserable reality. Fortunately for me, it works still. Sometimes. Isn't that the essence of art after all, its offering and its necessity? Obviously, I consider rock 'n' roll to be an art form, especially when performed by teenagers who have the minimal of potential and are brimming with adrenaline, hormones and anger - emotions that they don't know how else to channel.

I've had this compilation on my phone and iPod for a while now. While I don't think there's anything here that fans of the genre don't already know or have on their shelves, I still think they'll enjoy it because it's been put together like a DJ set in a smoky basement club or something. For newcomers and youngsters who haven't already been immersed in BFTG - like series, this will be quite a wild ride. When I started picking out the songs, I wanted them to be as R&B and black rock 'n' roll-based as possible. I was keen for them to have harmonicas, maracas and tambourines maybe even more so than fuzz guitars or trashy organs. I wanted to hear Bo Diddley rhythms and Elmore James slides played by white punks out of their minds and had been raised in hell. And I wanted there to be plenty of snotiness. There are bands from all over the world, USA, United Kingdom, the Netherlands and Oceania. Grab a beer and let's get started! 

1. Keep Me Covered - The Frays
2. You Got What I Want - The Boys Blue
3. I'll Be There - The Sons Of Fred
4. She'll Be Sweeter Than You - Nix Nomads
5. Things She Says - The In Crowd
6. Come Back Baby - Screaming Lord Sutch
7. Let's Make It - Cuby + The Blizzards
8. What'cha Gonna Do About It (Alt. Version) - The Small Faces
9. Please Go Home - The Rolling Stones
10. I Want You - Belfast Gypsies (Them)
11. 80-96 - The Dantes
12. Bad Little Woman - The Shadows Of Knight
13. Dance Girl Dance - Greg Barr & The Barr Association
14. I'll Make You Sorry - Our Mothers' Children
15. In And Out - Larry And The Blue Notes
16. You Don't Love Me - The Little Boy Blues
17. We're Pretty Quick - The Chob
18. Hate - The Stoics
19. Ugly Thing - The Creatures
20. I Need You There - The Chessmen
21. Project Blue - The Banshees
22. Hot Gully Wind - The Master's Apprentices
23. Cry (Over Her) - The Malibus
24. Like What Me Worry - 006
25. Nothin' - The Ugly Ducklings
26. Double Decker Bus - The Count Five
27. I'm Walkin' Babe - The Unusuals
28. Get Your Baby - Mark & The Escorts
29. Caught You Red Handed - Jolly Green Giants
30. Don't Go I'm Beggin' - The Untouchables
31. Don't Crowd Me - Keith Kessler
32. Hidden Charms - Link Wray And His Ray Men
33. Born In Chicago - The (Dirty) Wurds
34. Sitting There Standing - The Chocolate Watchband
35. At The River's Edge - The New Colony Six

The Chesterfield Kings - The Greg Prevost Years, 1978-2002 Singles and EPs (White Trash Soul Real R'n'R No.9)

As I've said many times before, I'm just a rock 'n' roll nerd who likes to share my thoughts on artists who I think should be more well-known. I'm not preaching to the converted either. Most of the time, when I sit down to write I don't know how to start or finish the piece you're reading, but I do know that I don't want to be just another person telling the story of these artists. If you weren't aware of them but like them, then get off your lazy arse and do something, we're in the internet age for fuck's sake and everything's just a few clicks away, if you are not on magazines and fanzines already (too bad for you). So, I'm not going to tell you The Chesterfield Kings' tale.

I listened to the latest Kings album the other day. It wasn't bad, but it wasn't The Chesterfield Kings either. I don't know how Andy Babiuk should call his 'new' gang, but to me it's simple: No Greg Prevost - no Chesterfields! End of discussion, thanks for your attention. To be honest, I don't care who owns the rights to the name, although I'm pretty sure it was Greg who set up the band in 1978 in Rochester, ΝΥ. Prevost is a very important figure to me, even if you are trying to put aside the Chesterfield Kings. A culture vulture and rock 'n' roll enthusiast of the highest order, he has written hundreds of essays for legendary magazines such as Ugly Things and Kicks, as well as his own fanzine, Outasite. He liked the same way the 60s garage punk unknowns and the Brian Jones-era Stones as the New York Dolls and The Heartbreakers or Motörhead, Alice Cooper, Muddy Waters and Nancy Sinatra. To me at least he is as important as Lux Interior.

This compilation is a pissed-off take. Don't get me wrong, I love Andy almost as much as Greg, but I'm not going to change my mind. The Chesterfield Kings ended the day Greg walked away. And here's the epitaph. A much needed (I believe) compilation, encompassing all of their singles and extended plays, including those that that went unreleased or were bootlegs. Most of them (if not all) have been out of print for like ages, so if you're new to their game you won't be able to find them easily or at an affordable price. This is the Chesterfield Kings' heritage as recounted by one of their most devoted fans.

The Raveonettes - Rave On (WTS Popkid No.7)

 

The Raveonettes sound ingredients: '50s rock'n'roll, Jesus and Mary Chain's noise pop, Phil Spector's Wall of Sound, The Everly Brothers' harmonies, Buddy Holly's ghost and Velvet Underground's dark, a little bit of C86 jangle just for spice and the '90s love for electronica of Primal Scream. Now, mix all these elements together with cult noir movies and '70s VHS wild b-movie erotica. This Danish duo certainly look like they could have come straight out of the Andy Warhol Factory, don't they? Have you ever pondered what the outcome might have been if Sonic Youth had been a Cramps tribute band or if The Ronettes had been the singers for Suicide? I suppose you can already see where this is going...

Following the huge success of 'Love in a Trashcan', The Raveonettes could have repeated the formula that brought them fame and fortune without losing their charm. However, they chose to delve even deeper into their darkness, continuing to produce small masterpieces to this day. Rather than stealing glances backwards, they pick up where they left off. Even when tragedy struck. (Sune Rose Wagner was in a long-term relationship with the late American fashion designer, Katie Gallagher. Gallagher was found dead in her Manhattan apartment in July 2022, just one day before Wagner's 50th birthday. Since then, Wagner has spoken publicly about the trauma of her loss.) As Samuel Beckett said, "I can't go on, I'll go on".

Like usual, here's an unofficial compilation of what I think are their best compositions and recordings, which, as far as I know doesn't exist in any form, especially with these songs.

David Peter and the Wilde Sect - The Tornado Sessions" & Out Of My Mind / Don't Leave Me (White Trash Soul R&B Series No.21)

Hailing from Copenhagen, Denmark, David Peter and the Wilde Sect tread the line between old-school beat and garage. Their music was fast, raw and loud, authentic sixties-based R&Beat, with beforehand guitars, pounding and steady traps with an added and impressive harmonica wailing. This was rock 'n' roll played the way it's meant to be, as it was by outfits such as The Milkshakes in the recent past or by the early Stones and as their name betrays, the Downliners Sect more than half a century back. Chuck and Bo's ghosts are everywhere, and of course that's a compliment! During their brief lifetime, they only released an EP and a single, and both were gathered by me for your listening pleasure. I wish they had done more.

Various Artists - Wau Y Los Arrrghs Under Influence

I had no idea who Wau Y Los Arrrghs were until these lunatics took the stage at Slovenly's first 'WE'RE LOUD' festival in Athens, Greece, back in 2015. I was mostly there for my teenage crush, the New Bomb Turks, when all of a sudden... BOOM! Yep, just like the Sonics one! I couldn't believe what I was witnessing: the most insane, manic garage PUNK I had ever seen and heard in my life and the most Back from the Grave-influenced outfit since the days of Gravedigger V or the Gruesomes! Naturally, I spent most of my money on their merch and I had to rely on my cousin, who I had dragged along, to provide the rest of the night's booze and it's needless to say also that ever since I have never missed a release of theirs.

Anyway, half (if not most) of their songs are covers of sixties punk and surf instros classics, given Spanish titles and lyrics. In fact, even Los Arrrghs' originals are built on quite many knicked riffs and rhythms. The end result sounds like the Trashmen and the Sonics enjoying paella and sangria at a drunken fair in a small Spanish village in a province full of savages. As mentioned, many of these 'spanishised' songs are a good source of trivia, even for those familiar with the garage, beat or surf genres and here's another 'Under Influence' compilation that's sure to annoy your neighbours!

1. Demolición - Los Saicos
2. Searching - The Omens
3. King of The Surf - The Trashmen
4. Girl (You Captivate Me) - ? & The Mysterians
5. My Brother The Man - We the People
6. I've Been Thinking - Paul Bearer & The Hearsemen
7. It's Great - Jonah & The Whales
8. Yes I Do - The Hatfields
9. They Can't Hurt Me - The Lyrics
10. Help Me Find Myself - The Troyes
11. Can't Be A Lie - Los Mockers
12. Time Will Tell - The Kinks
13. Your Body Not Your Soul - Cuby & The Blizzards
14. On My Mind - Mike Berry
15. One Fine Day - Shel Naylor
16. Sur Une Nappe De Restaurant - Jacques Dutronc
17. Yo Grito - Los Sirex
18. Ace Of Spades - Link Wray & The Raymen

The Phantom Brothers - Germany's Wildest Beat Group (White Trash Soul R&B Series No.20)

 

The Phantom Brothers were formed in 1959 by sailors Horst Krüger (lead guitar and vocals) and Rudi Krüger (drums), who also belonged to a rocker gang, and Olgerd Woköck (guitar and vocals), a wholesaler. They performed as the Phantoms in Rendsburg. The trio, who took their name from the French band, Les Fentomes, made their first live appearance in 1960. They renamed themselves to the Phantom Brothers when Wolfgang Woköck, Olgerd's brother who played lead guitar with the instrumental group the Tornados, joined the band as bassist.

On 1 December 1963, they came third in a Star Club competition - yes, the one that the young savage Beatles played in and Jerry Lee Lewis recorded the best ever live LP - and were signed by Manfred Weissleder, owner of the famous now St. Pauli rock'n'roll venue before he sent them all over Europe to perform, with guest appearances including the Iron Door Club in Liverpool. Mike Stax (The Tell Tale Hearts/The Crawdaddys/Ugly Things magazine) referred to them as "Germany's Wildest Beat Group" hence the title of my compilation. All of their singles feature outstanding R&B performances with edgy, aggressive guitars and pounding drums, this is why the German youngsters nicknamed them their country's answer to the Rolling Stones. 

Dieter Horns of another Star Club garage beat band, the German Bonds said: "The Phantom Brothers were the absolute punkiest and hardest thing to see at the time. The Pretty Things later were perhaps similar. The Phantom Brothers were from the boonies. But they performed it so mercilessly, we could all just take our hats off." Their early 1966 and first single, “Chicago” b/w “It Ain't Necessarily So" remains a 60s punk monster which forced Tim Warren to include it in the famous Trans World Punk Rave Up compilation in 1987. Crude!

Re-Up: Iggy & the Stooges - Unrough Powder: The Trueborn Raw Power Mixes (WAXEP001)

The Who - Meaty, Beaty, Big and Bouncy (Alternate White Trash Soul Version)

 

'Meaty, Beaty, Big and Bouncy' is the first in a long line of Who compilations. It is also widely regarded as the best. One reason for its success is that it has an actual purpose. Meaty was designed as a collection of the group's singles, many of which were never released on albums and it was compiled by Pete Townshed himself.  

However, there were some negative aspects to the situation at first. Kit Lambert, The Who's manager, tried to change the track order, but failed because too many copies had already been produced. The UK release was delayed because The Who and their other manager, Bill Curbishley, failed to consult Lambert but anyway. Aside from 'Boris the Spider' and 'I'm a Boy', every track on the album had been released as a single in the UK. Furthermore, all except 'A Legal Matter', 'Magic Bus and 'The Seeker' were top ten hits. 'Happy Jack', 'I Can See for Miles', 'Magic Bus' and 'Pinball Wizard' were also Top 40 hits in the US.

As it was released before 'Who's Next', it doesn't feature any of the group's later radio friendly "rock" hits. But that's for the best, in my opinion at least. I never liked them that much, if at all, right after. The Who have always been a maximum R&B outfit of pill-poppin' mods, not a bunch of long-haired hippies.

This time, I'm offering an alternate version of 'Meaty, Beaty, Big and Bouncy'. I love the Ox, but 'Boris the Spider' was a joke, not a proper song — let alone one worthy of such a great collection. So I threw it out, don't care for any different aspect, it's my blog after all. I replaced it with what I consider to be the most underrated early Who song: 'Circles', which I learned from the Fleur De Lys' cover version when I was younger. Then I added two more: 'Call Me Lightning' was another US-only single that made it to the Top 40. Aside from that, it remains an amazing sonic blast of proto-power pop with added doo-wop vocals — it could have been easily a song by the Action!

At the tail end of this alternate look of mine it's the monster that is 'Goin' Down'. A song by Don Nix, a veteran of the Memphis music scene, having been involved with the very first house band for Stax Records, The Mar-Keys, since the late '50s. It is likely that this version was based on Freddie King’s rendition, which appeared on his 1971 album 'Getting Ready'. Pink Fairies and the Jeff Beck Group both tried it in the studio and at concerts, but Townshend and Co. probably went there first. There is only a live recording of it from 1971, and its sole legitimate release was on the 1987 rarities kind of thing album, 'Two's Missing'. A powerful smack in the vain of  'Live at Leeds'. Of course a no single release but to yours truly a battle cry to their younger and angrier days.  

All original MBB&B songs are ripped from the 1985 US CD version by MCA. 

The reason was no other than Steve Hoffman's remastering. A well-known figure in the audiophile community, he is named for using every time the best available source tapes and Hoffman's mastering is praised widely for improving the sound of the early Who recordings. The key element of his remastering work was the replacement of the original LP's fake stereo tracks by using vintage true stereo and mono mixes. I often visit his forum to see what Steve or others have to say about recordings and pressings I'd like to put my hands on. 

For the Meaty project, he wrote this: That's what I tried to do for the original MCA MEATY CD. The big problem is that in the late 1970s, the Who's material was "divided up" and the earlier stuff (starting, I think, at PICTURES OF LILY and going back) stayed at Brunswick, UK and stuff from I'M A BOY and later) went to the Who for their new TRACK label. So in the UK there are two different sets of owners, two different master vaults and a lot of confusion and bad blood. In the USA everything stayed with Decca/MCA so it was easier for me to recompile the set from scratch (I only had an afternoon) but a lot was a tape copy from the UK but at least true mono or true stereo. I doubt that would be possible to do in the UK now except by legal wrangles.

For the Extras I used rips from: 

1. CIRCLES, The Who '66 (2001 CD - Polyboy Records, duophonic)
2. CALL ME LIGHTNING, Magic Bus - The Who On Tour (2007 CD, Decca Records Japanese, Stereo)
3. GOIN' DOWN, Who's Missing & Two's Missing (2011, Polydor Records, SHM-CD Japanese, Stereo)

I also created the front sleeve featuring the then WHO logo, which I attached to the bottom right corner using scans of the original pamphlet that came with the American edition of 'Meaty Beaty Big and Bouncy' in 1971.

Various Artists - Lyres Under Influence

The truly great bands involved in or pioneering the garage revival scene of the '80s played the important role of archaeologist. They were the ones who, with their expertise, brought to light things we didn't know existed. As a natural continuation of DMZ, (the) Lyres carried on this tradition. They were the first to revive 60s punk, before everyone else saw the trend and claimed to be part of it. 

Jeff Conolly was/is quite a character! He completed this task even before Tim Warren, Greg Shaw and Billy Miller (perhaps) did. Compiling some of the songs that the Lyres have covered, instantly creates one of the best garage punk and freakbeat playlists around and that's what I have to offer this time. All I had to do was to decide which tracks to select and arrange them in a way that would make them flow nicely for all of you people. Either way, I had already done my job many moons back. Cheers!

1. The Witch - The Sonics
2. Take A Look At Me - Mr. Lucky & the Gamblers
3. Since You Been Gone - The Kingsmen
4. Little Sally Tease - Don & The Goodtimes
5. What A Girl Can't Do - Hangmen
6. How Can I Make Her Mine - Bobby Roberts & The Ravons
7. Gotta Find A New Love - The Yo-Yo's
8. Busy Body - Jolly Green Giants
9. Don't Tell Me Lies - Tommy Tucker & The Esquires
10. No Reason To Complain - The Alarm Clocks
11. Jezebel - Teddy Boys
12. Lily - Drusalee & The Dead
13. Stacey - The Hangmen Of Fairfield County
14. Baby (I Still Want Your Lovin') - It's Them
15. Soapy - Mickey & The Clean Cuts
16. I Don't Wanna Cry - The Buckinghams
17. We Sell Soul - The Spades
18. I Confess - The New Colony Six
19. What's Wrong With You - The Outsiders
20. Love Me Till the Sun Shines - The Kinks
21. Shake It Some More- Jay-Jays
22. She's Got Eyes That Tell Lies - Him & the Others
23. Go-Go Girl - John's Children
24. The Way I Feel About You - The Pete Best Combo
25. Grounded - The Syn
26. You'll Never Do It Baby - The Cops 'n' Robbers
27. Now I've Got A Witness - The Rolling Stones
28. Let's Talk About Girls - The Grodes
29. Don't Tread On Me - Kit & The Outlaws
30. Stormy - Jesters Of Newport
31. Hang Up - The Wailers
32. Let's Have A Party - The Rivieras

The Wylde Mammoths - Singles, EPs, Flexi 1986 - 1994 (White Trash Soul R&B Series No.19)

Here's an updated and expanded version of the post I did back in 2010. I've added everything I was missing back then. In fact I'm still missing the 'Before It's Too Late' two sider, but don't worry — it's here from another man's rip at a very good bitrate (thanks to Soulseek and its P2P digital heart). I asked Tim Warren about the possibility of an expanded/remastered reissue of their two LPs on Crypt when I met him about three years ago here in Athens, but he seemed annoyed, so I didn't pursue the matter. Geniuses like him and Peter Maniette have their own way of thinking, don't they? And I suppose, after Peter's sad loss, this will remain a 'should have been' kind of thing for all Mammoth fans. Of all the amazing bands that emerged after the brutal, savage and voracious monster that was The Crimson Shadows (The Stomachmouths, The Highspeed V and The Maggots, to name a few), The Wylde Mammoths were the most unique, thanks to Peter's rare songwriting brilliance. If you're looking for some perfectly executed garage beat in a 60s tradition, lo-fi  recorded and as straightforward and exciting as The Kinks in their early days, with an added 'Back From The Grave' fixation, here's another chance.

The Chesterfield Kings - The Chesterfield Kinks (White Trash Soul Real R'n'R No.8)

Having been here for such a long time, you obviously don't need a recap or a history lesson on Rochester's finest Frankensteins, the Chesterfield Kings, do you? I guess you're also familiar with their long-standing fixation on the Beatles/Stones dipole. Well, here's the thing: Greg, Andy and Co. have always had a soft spot for The Kinks as well — the most British of the British Invasion bands — and they've covered them no less than five times throughout their career. As the title betrays, the idea this time was to bring together all the covers they did for the Kinks in one place. The only thing missing is a performance of 'Party Line' from a 1985–86 video, which I have been unable to acquire all these years. Brief but satisfying... 

Lyres by Miriam Linna (Breakthrough No. 1, Todd Abramson, 1984)

 

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

Les Grys-Grys - R&B Maximale: Les Singles (White Trash Soul R&B Series No.18)

 

Les Grys-Grys were my favourite "new" band. I've only felt this excited about a modern outfit twice before: the first time was back in the '90s with the misanthropic early Hellacopters punk rock 'n' roll blasts (before they turned arena rock '70s, up until the "Soulseller"era), and the second one with The Jim Jones Revue records, which had this fenerish Little Richard cum Jerry Lee backed by The Sonics and spreading chaos sound. 

Hailing from Montpellier, France, Les Grys-Grys proudly displayed their sixties influences in their invigorating reverberation. Starting out by playing covers, they absorbed the best elements of the bands and sounds that influenced them — most notably The Pretty Things and The Downliners Sect (one of them actually wore a headcoat once or a 'deerstalker', for those who are unfamiliar with the term), as well as American garage punk bands such as Count V — infusing them into their own furious style. These Frenchies were the real deal and a reminder of how you felt as a teenager.

Had the Grys-Grys lived in the '60s, the Marquee would never have let them play because of the mayhem they would have caused. They set out to romp classic white R&B with filthy fuzztones, sharp bursts of frenzied drumming, punchy bass lines, manic maraca-shaking and wild harmonica blowing. Their two LPs flirt more with the freakbeat sound of Down Under, but the three long-out-of-print singles I've gathered for you are pure, untamed and unhinged maximum R&B! 

I was devastated when they called it a day because I never got the chance to see them live. I hope for a future release of live recordings. In fact, I'm hoping for a release containing all the material these loonies have left unreleased. Until then, I'll stick to their brother band, Les Lullies, with their more '77 approach.

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."

Various Artists - Modernist Jukebox: Paul Orwell

 

This next one came up when I was searching for more information about Paul Orwell's influences (although it was obvious just by listening to his records). If you're not familiar with his music, the London-area genius will steamroll you with his retro energy. If you didn't know any better, you'd think it was a solo project from a member of the Pretty Things, Small Faces, or the Creation. In a word: Freakbeat! All the basic ingredients are in here, fuzz guitars, Hammond organ and tambourines. I love this guy because he's like me; he doesn't care if he's a mod or a rock 'n' roller. He likes his Fred Perry shirts as much as his bomber leather jackets. Fuck borders in any case!

So, I came across a Modculture.uk post from 2017 in which Paul picked his favorite tunes and made short comments about them. The problem is that this "Jukebox" playlist is on Spotify, and I can't stand people who listen to music on Spotify. To make matters worse, some of the tracks that this guy chose weren't in the streaming site's database. Enter White Trash Soul again to set things straight. The whole list could have easily been mine. If someone had asked me to compile an introduction to that era, I would have only changed a few songs. For example, I would have chosen the amazing original "Shadows and Reflections" instead of the punked version of "I'll Keep Holding On" by The Action. But nevermind, it's still a kick-ass song collection. Head over to the original post to read Orwell's remarks while listening to what I've made for you this time.