Few songs have impacted the generations of rockers like the “Louie Louie.” The song has sold millions of copies, been covered by nearly every bar band and released by dozens of major recording artists. No version, however, has been quite as popular and time-tested as The Kingsmen’s classic 1963 rendition.
This year marks the 50th Anniversary of The Kingsmen releasing their classic version of this American rock standard. On Sunday September 29th, Original Kingsmen lead guitarist MIKE MITCHELL went back into the studio to re-record his famous lead guitar solo with one of todays most energetic and talented young bands, “The CRY!” The results are EPIC!
Of course, like the original, the track was recorded in Portland, Oregon (this time at Fetish Pop Studios) and features Mike’s epic lead solo. Joining Mike on Guitar is The CRY!’s Brian Crace. The two pickers immediately found chemistry and (true to the garage genre) only took three takes to get the final leads tracked. The CRY! front man Ray Nelsen’s punky lead vocal style fits perfectly (and we can actually understand the lyrics!) Bassist Dave Berkham and drummer Kurt Lavon deliver the goods filling out the rhythm section and backing vocals.
In celebration of this song (and a half century of togas, beer and frat parties) Mike is joining The CRY! in releasing this OFICIAL 50th ANNIVERSARY VERSION for FREE DOWNLOAD. .
The Thanes have long been ambassadors of ’60s folk-punk and garage pop jangle, so it's not really surprising that their new single should reflect these distinct qualities. In fact they were making records like this before the new breed of mid-6os loving kids were even born. But that’s not to say they’re old hat. Singer and guitarist Lenny Helsing has led a plethora of line-up changes – now settled on Angus McPake (12-string guitar / organ / vocals), Mark Hunter (bass / vocals) and Mike Goodwin (dums) – that reaches back to the mid-80s; but unlike some of their more visual and visceral ’80s contemporaries the group never succumbed to an over use of fuzztone and onstage bombast, keeping their approach and style far more oblique and honest. The Thanes’ distinct sound has changed little over the years too. Whilst bands have come and gone and moved onto new pastures they have continued to focus on a format of perfecting the mid-60s jangle of LA bands that “Love-d” The Byrds (ie The Dovers), the weirdly mixed-up beat of Dutch bands like The Outsiders and Q65 and the minor-key moodiness of Scottish ancestors The Poets. Their music has never dated or aged. It remains undiminished.
‘She's Coming Back To Me’ is a perfectly encapsulated melodic slice of jangly garage furnished with short jabs of fuzz across the chorus. Unexpectedly, it then veers off into a whirligig of jazz-spiked 12-string … and back again, as authentic in spirit and sound and as tightly constructed as any of ye olde garage nuggets that so often gain spins on 6 Music and beyond.
The flip-side houses the group’s reading of ‘Love Is Fading Away’, originally recorded by The Poets back in the autumn of 1965, but not released commercially until 30 years later. Although The Thanes’ version was recorded before the death – in August 2012 – of Poets’ founder, lead singer and songwriter George Gallacher, it now serves as the group's poignant tribute to the memory of their great friend, musical compatriot and truly dynamic voice! Between 2010-2012 The Thanes led an interesting double-life, playing as The Poets, featuring George Gallacher and guitarist Fraser Watson, breathing new life into and giving a distinct edge to the group’s much-loved Decca and Immediate material. If much of Scotland are fretting over independence The Thanes are single handedly keeping the music of the nation’s finest beat group alive. Frankly, it is that important!
These latest waxings are fruits born out of sessions undertaken in group member Angus McPake’s self-built Ravencraig studio complex deep in the heart of Edinburgh. As with both State and Toe Rag recordings the analogue recordings leap out of the speakers.
Beaulieu Porch is the work of one man, Simon Berry. He writes, plays and records his orchestrated, baroque psychedelic pop songs on his home studio in a secluded spot in the south of England. He creates all the artwork, and releases his records through his own burgeoning label, Tillsammans Records. The debut, self-titled album was released at the tail end of last year to a clamour of praise and critical appreciation, appearing shoulder to shoulder with the likes of Tame Impala and Brian Jonestown Massacre in several end of year “best of” charts. The follow up album, We Are Beautiful, released this year, has already appeared in several best of 2013 lists, alongside Jacco Gardner, Temples, Foxygen et al, picking up some marvellous reviews on the way..." A sublime work" (The Sound Of Confusion Blog)..."absolutely stunning" (Sound Injections Blog)..."effortless hooks spilling out and intimate pop mastery virtually bubbling up at every turn" (Sunrise Ocean Bender Blog) and "very much an essential purchase" (Shindig! Magazine).
The View From Gainsborough’ is a galvanic slice of pure modern psychedelic pop; swathes of backwards guitar chords over crashing drums and tambourines introduce a floating, harpsichord led verse, and the catchy, sing-a-long "Let me be you guide, to the other side" chorus will be lodged firmly in your open mind. If you listen carefully towards the end, you may hear, among the strings and guitars, something that sounds like a latin mass sung backward at the wrong speed in a high pitch.
Although Manchester is home to The Electric Stars they’re not just another Northern act trying to rekindle the past indie glories of The Smiths and Stone Roses. Renowned Manc diva Denise Johnson (she of those great Primal Scream records ‘Movin’ On Up’ etc) showed up on last year’s critically acclaimed Sonic Candy Soul album singing some gutsy gospel backing vocals on the Gram/Stones/Scream vibed ‘Stoned Again’. There’s a similar edge too on ‘Every Now And Then’ (this single’s exclusive track) that packs a country-honk swagger to rival Exile…
If the majority of the Stars’ music is certainly more inspired by those halcyon days of the mid-60s through mid-70s (touching on wide eyed psychedelic pop, raunchy rhythm and blooze and glamish pop/rock) it’s all faultlessly topped off with a polished contemporary pop edge that is crying out for daytime radio play and a tabloid newspaper fan base. Working class pop music, honed on good times.
Jason Edge predominantly sings in a gently effete manner, more Blunstone than anyone, but he can easily slip into that louche Jagger white man sings the blues after a Jack and coke mode, heard here on ‘Every Now And Then’. The two accompanying tracks from the Sonic Candy Soul album take in ‘Between The Streets And The Stars’’ 1966 styled mod/pop style and the far darker hued drama of ‘Bedtime Stories’, which could have been made by an early ’80s act informed by Bowie’s Berlin period.
These three songs air The Electric Stars various strands. Although immensely different they slot together like Ikea furniture. It all clicks!
The Electric Stars - Between The Sheets And The Stars
Johnny Casino is one of the most admired and respected musicians of the Rock&Roll scene of Australia. He was guitarist and leader of Asteroid B-612, having a good success in the middle of the 90’s. He also lead other great bands, such as the superband The Egos, or the American Johnny Casino’s Easy Action. In the last years, he decided to concentrate on Johnny Casino & the Secrets in addition to collaborating with other great Australian musicians. This double LP is a compilation of the best songs of this wonderful guitarist, singer and songwriter, till now only released on cd.
I have been struggling about what to do with PPO and it's future. I am going to take a little time off and mull it over. No Secret Saturdays, no posts, no music, no nothing for a while. Sorry!
Look through the archives while I am away, I bet there is something you missed. Also feel free to leave comments suggestions or what ever comes to mind.
Feel free to email me but I may be slow to respond so please have patience.
As always, thanks to everyone out there. Without all of you, I wouldn't still be here.
Sam Vicari keeps it simple. The Chicago-based Vicari's songs have an electric pulse, but bear the imprint of a singer / songwriter, with themes touching on heartbreak, alienation and Midwestern ennui. That's not to say that the record is a sad-sack, cry in your beer lament. Vicari harnesses the power pop hooks and sunny on the outside exterior of classic 90s alternative acts, recalling Pinkerton-era Weezer, Bob Mould's poppier Sugar moments, and the smart, biting lyricism that has given Superdrag such longevity. "My favorite bands and musicians have always been the ones who are very simple, sincere, and honest in their delivery," says Vicari. "I guess I strive for the same thing. I don’t really like to premeditate; I just let things come out the way they do."
In keeping with his humble vibe, Vicari was raised in a small Indiana town before moving to Chicago. After a series of demos and EPs, his proper debut LP Keep Careful was released independently while Vicari was attending college to become an elementary school teacher. Garnering marked press and a cult audience, the album went on to be named one of Chicagoist's favorite local releases. Fast forward to 2012, and we have Vicari's followup Heart Explosion, fully funded through profits of tutoring math to 5th and 6th graders, and through a part-time Starbucks barista gig.
It's this humble sincerity, and workingman integrity that informs every track onHeart Explosion, along with twenty-something heartbreak and healing. "It was my first year out of college, and I didn’t really have any idea what I was going to do next," says Vicari. "I had put a lot of hope and energy into jobs and relationships just to have them fall through, which was really discouraging. I was working all the time, so I was pretty tired. It was definitely the right environment to write a record like this one.
Utilizing guitar overdubs and recorded on tape, Heart Explosion comes alive with a verve and rawness absent from so much overproduced, alt-pop these days. "We bought 3 reels of 2 inch tape for $25 dollars per reel," recalls Vicari. That’s absurdly cheap. Since our tape was old and used, it made the record sound a little rough and washed out, but it still has the power of tape. I’m really proud of the way everything came out."
This is Dw Dunphy's first vocal album since 2010, The Radial Night, is a concept album with interlocking ideas concerning the perils of modernity, communication, relationships, and self-revelation.
A one-man band operation, Dw Dunphy wrote and recorded The Radial Night on his laptop computer while, at the same time, shooting for a full-band sound experience.
With a mind for 60s-70s pop/rock, Dw Dunphy's The Radial Night is lo-fi indie rock with high-production aspirations and universally recognized thematic concepts.
Big Dwarf are not text book cool and they’re not destined for the front cover of the NME, but if Bowie circa Station To Station, Pink Floyd’s mid-70s Harvest period (Dark Side Of The Moon / Wish You Were Here), the kraut stylings of Neu, Gong and indeed Steve Hillage’s solo work (that gliss guitar, in particular) alongside a smattering of free festival Orb-like electronica, ’80s artistic pop, Talk Talk and the darker elements of the opiated drones and vocals of Spacemen 3, The Darkside and Spectrum topped off with a slightly E-cstatic driven ’90s feel akin to Happy Mondays, Terry Bicker’s Levitation and Primal Scream circa Screamadelica appeal you’ll find a lot to enjoy. These are only merely reference points as this is an act that don’t benefit from musical era shoe horning. Instead of wearing influences on sleeves Big Dwarf delicately combine sustained acid guitar breaks, funky movements and a space-rock atmosphere into a field of their own.
Towards Abstraction, which includes an ongoing collaboration with the beautiful Alison O’Donnell of ‘70s acid-folk legends Mellow Candle and mixing, electronics and engineering from Stephen Mallinder of ’80s synth protagonists Cabaret Voltaire furthers the druggy imagination displayed on their fast becoming rare debut EP.
Pre-order BIG DWARF’s towards abstraction… album on CD and receive it hot off the press for low price of £5 (plus P&P and taxes where applicable)!
* Limited to pre-orders only! * The band will show their appreciation with signed dedications to the purchaser on the inside sleeve! If you would like the dedications to a name other than that on the invoice please notify us in the comments section of your order.
Formed following the tragic circumstances that led to the end of awesome garage band Thee Vicars, the remaining members hooked up with players from MFC Chicken for this new band. Now Groovie Records have the pleasure to present you here 2 authentic beat-garage songs to put you dancing all night long. More than ever do they try and replicate the thrill of those primal garage recordings right from the beginning ushered in by bands like The Wailers or The Stones.
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