”A high-octane mix of and charging hot rod instrumentals, this album laps the competition! Led By Bruce Johnston, The Kustom Kings include The Wrecking Crew’s finest, including Steve Douglas, Glen Campbell, Tommy Tedesco, and Hal Blaine!”
VROOOM!!! After a short break here we go again with a hot rod rumble at Surfadelic. This here is one of the finest slabs in genre [from my point of view], with songs and instros mostly penned by Bruce Johnston/Steve Douglas tandem, graced by cool production with buzzing fuzz sound. Fav tunes: [instros] Fireball, Tuck And Roll, Asphalt Eater, [Vocals] Super Fine 39, Stick Six, In My 40 Ford, cool cover of Rip Chords’ Hey Little Cobra. But there’s a catch, I have two different vinyl rips, one is probably from original 60’s vinyl while other is from reissue. You gotta choose brothers & sistas or dig ’em both. ”Go fast, don’t be last, win the race first place, remember you’re a fastest car around…”
Hey folks! You know Bo. Hey Bo Diddley and stuff… This here is a 20 min. ’66 B&W promo documentary directed by Gary Sherman on Bo’s rumble, Duches, studio session [”We’re Gonna Get Married”], live gigs [”Hey Go Go”], records pressing and special appearance of legendary DJ Tom “Big Daddy” Donahue. I’ve recently uploaded it on YT just fer ya, so better check it out while it’s up. I think you need mo’ BO!
”The Birth Of Surf Volume 3 is essentially a journey back to the glory days of the surf rock instrumentals. There’s twenty-six tracks from familiar faces and new names. Among the familiar faces is the founding father of the surf rock instrumental, Dick Dale. Joining Dick Dale and His Del-Tones are The Rip Tides, The Rumblers, The Sentinals, The Baymen, The Torquetts, The Rondells, Marrell’s Marauders and The Surfaris. That’s just a tantalising taste of The Birth Of Surf Volume 3. It was lovingly compiled by Alan Taylor and Dave Burke of Pipeline Magazine.
For anyone looking for an introduction to the surf rock instrumental, then The Birth Of Surf series is the perfect starting point. Along with the the first two instalments in The Birth Of Surf series, The Birth Of Surf Volume 3 is the perfect primer to the surf rock instrumental.”more at [DereksMusicBlog]
COOL surfin’ stuff all the way. Surf’s Up! Dig !!!
Are you for more hot instrumental rockin’ action? This here is a Real COOL vinyl comp. series of raw 50s/60’s R’n’R & surf instros. Mostly little known groups but pretty wyld. Well, some of the tunes you could hear on other comps but who cares, ya gotta hear ’em again [and learn well] alright? Gid!
… And again, surfin’ & draggin’ double feature on Surfadelic. Two fine collection of 60’s instros and vocal tunes from Downey and Garpax labels.
”It Came from The Beach” compilation gets together all the surf and rocking instrumentals recorded at the Downey Studios or for Downey Records in the early 60s. Most were released on small indie boutique labels, if not on the Downey imprint itself. It comes with some prev. unreleased stuff as well as many tunes you could already heard on ”Surf Legends And Rumors” comp. but from different masters.
The other collection is based on the ‘Beach Party‘ album Gary Paxton released in 1964 on GSP plus many additional tracks from the archive. Contains half instros/half vocal [mostly surfin’ girl groups] and some previously unreleased tunes from the vaults of Gary Paxton’s Garpax Records. Some real cool stuff mixed with some so so, but pretty solid anyways. Let’s go to the beach!
”Meet TOM & JERRY – no, not the cartoon cat & mouse, but two widely respected Country session guitarists.
TOM TOMLINSON had worked on the Louisiana Hayride in the early 50s and carved out a reputation as a hot session guitarist, before joining Johnny Horton’s band – he played on all Horton’s hits.
JERRY KENNEDY had been a successful 13-year old Rockabilly singer, ‘Jerry Glenn’, before also joining the Louisiana Hayride house band, eventually becoming a Nashville ‘A’ Team regular at the age of just seventeen.
They teamed up in early 60’s to record four instrumental albums for Mercury Records. The albums entitled “Tom & Jerry”, cover all genres of music, also included Hank Garland, Boots Randolph, Bob Moore, and Harold Bradley.
Jerry Kennedy Orchestra participate to the complete sessions recording for Johnny Hallyday in 1962. Kennedy was one of the session musicians used by Bob Dylan in recording his classic album, Blonde On Blonde in 1966.
This ’63 surf styled lp among instros has some girls singing tunes as well known Lee Hazlewood ”Surfin’ Hootenanny”[also recorded by Al Casey]. – As requested
”Best known for their hits as the Rip Chords, the vocal duo of Bruce Johnston and Terry Melcher collaborated on countless hot-rod and surf records during the mid-1960s, working under a seemingly endless variety of studio guises. While Johnston was already a well-known West Coast session player, Melcher (the son of Doris Day) had released a series of singles under the name Terry Day before being named Columbia Records’ youngest-ever staff producer; he brought Johnston to the company to release 1963’s ”Surfin’ Round the World”, and the pair soon began collaborating regularly. As the Rip Chords, they scored their biggest hit with 1964’s “Hey Little Cobra; ” a series of singles credited to Bruce and Terry followed before the duo went their separate ways, with Johnston joining the Beach Boys and Melcher enjoying even greater success as a producer.” [allmusic]
”Dean Carter was a true oddity of ’60s rock. He was a singer-guitarist with the heart and much of the sound of a ’50s rockabilly wildman, yet he recorded music that updated that rockabilly spirit with ’60s garage rock and dashes of soul, and even a bit of psychedelia here and there. Carter didn’t put out a whole lot of records in the ’60s, and those he did put out were heard by few. Yet one of those singles in particular, 1967’s “Jailhouse Rock”/”Rebel Woman” (on the small Milky Way label), is highly valued by ’60s garage collectors, even if its rockabilly influence made it a little anachronistic. Carter also did a good deal of unreleased sessions of considerable quality, whether he was playing relatively straight rockabilly or his freakier hybrid of rockabilly with late-’60s sounds. Much material from those sessions came to light on the fine Big Beat 2002 CD release Call of the Wild.
Carter was born Arlie Neaville and began playing rockabilly in the late ’50s in Champaign, IL, where he remained based for much of the ’60s. He recorded for the Ping label in 1961 under his real name, on the more established Fraternity label in 1962 as Arlie Nevil, and then for Limelight as Dean Carter in 1964. That same year, he and Arlie Miller, a member of his band the Lucky Ones, started a home studio in Danville, IL to record both Carter and other musicians. The pair also ran the small Milky Way label, which released product by Carter and others. At times the sessions got pretty strange even by garage rock standards, with ukulele, accordion, dobro, and clarinet all heard in addition to the usual crunchy guitars on his outrageous cover of Elvis Presley’s “Jailhouse Rock.”
Carter went to the West Coast for a while in the late ’60s, recording a couple of singles in Washington State with Gene Vincent guitarist Jerry Merritt, for Merritt’s Tell International label. He returned to the Midwest at the end of the decade to resume recording with Miller, and went back to billing himself as Arlie Neaville on record. In the early ’70s, he went into gospel music, where he’s remained ever since.” [allmusic]
”He’s been described as “Jack Starr meets Johnny Kidd”, “a lysergic Conway Twitty” and “Elvis fronting the ’66 Yardbirds” but mere words can’t truly describe the unique sounds of the late, great Stud Cole!”
””The late, great Stud Cole’s 1968 promo only LP (only 100 copies made in 1968) with five bonus cuts gives Los Angeles’ ultimate loner icon a fitting tribute as his memory is perceived in the digital age. Starting off with the title track, Cole’s Burn Baby Burn sounds timeless, a welcomed escape from the modern glut of over produced, emotion-deprived recordings. Cole’s fusion of 60’s rock and gritty country still sounds years ahead of its time, his seductive singing style alluring, its tough boy approach fitting for the rock and country he creates.” [Alex Steininger]
”Lounge flavored garage, with rock-a-billy influences, Elvis-like vocals, and fuzz guitar, all over blues/psych mat’l. This is one unusual album, originally issued as a demo only in 1968. The artist’s real name was Pat Tirone, and he was a bartender from L.A.”
What to say about those two wyldmen weirdos of Rock’n’Roll? It’s a double dose of 60’s garage, r-billy/blues/psych lunacy and mayhem the way it shoulda be… or what? Anyways, I’ve already have posted these real cool cats, two wacko garage surfadelic favs and I do it again. If you like acts as Hasil Adkins and The Cramps this is for you. And yeah, check this one too – Kookie Cook[a friend of Dean Carter] Burn Baby Burn!
”The Surfaris were an American surf rock band formed in Glendora, California in 1962. They are best known for two songs that hit the charts in the Los Angeles area, and nationally by May 1963: “Surfer Joe” and “Wipe Out”, which were the A-side and B-side of the same 45 rpm single.
Wilson’s energetic drum solo made “Wipe Out” one of the best-remembered instrumental songs of the period. “Wipe Out” is also remembered particularly for its introduction. Before the music starts, Berryhill’s dad broke a board (imitating a breaking surf board) near the mic, followed by a maniacal laugh and the words “Wipe Out” spoken by band manager Dale Smallin. “Wipe Out” was written in the studio by the four original members (Berryhill, Connolly, Fuller, & Wilson). It was initially issued on the tiny DFS label (#11/12) in January, 1963. It was reissued on the tiny Princess label (#50) in February, 1963. It was picked up by Dot (45-16479) in April, 1963, and later reissued as Dot 45-144 in April, 1965. It sold over one million copies and was awarded a gold disc.
The band released a series of records, with two other singles, “Surfer Joe” (written and sung by Wilson) and “Point Panic” (another group-composed instrumental), having an impact on the charts. Point Panic is a renowned surfing venue in Hawaii after which the song was named.
The original 1963 membership remained intact until August 1965 when Connolly departed before their Japanese tour. Ken Forssi replaced him on bass for the tour. Fuller resigned after the tour and the band folded in early 1966.” [wiki]
“Ha ha ha ha ha, wipe out!.” Classic stuff, everybody knows [remember legendary chasing scene from “The Wanderers”?] but The Surfaris ain’t just ”one hit wanders”. They recorded several fine lps and 45’s and this here are three collections of their 60’s stuff from classic dragin’ & surfin’ tunes [cool instros as Scatter Shield, Murphy The Surfie, Point Panic, Waikiki Run, Burnin’ Rubber, Beat 65, Big Surge, Surf Scene, Dune Buggy, Scratch] to garage, pop & folk rock [especially ’77 comp. ”Gone With The Wave” with many interesting covers]. ”Wipe Out! The Best Of” comes with 6 bonus trax added by Mr.Eliminator, so you better watch out! Go Go Go For Louie’s Place! Dig !!!
”This quasi-legitimate bootleg compilation collect 30 tunes (mostly hot rod & surf) that Usher had a hand in as producer and/or performer between 1960 and 1965, most taken from rare collector 45s.
The majority of tracks here are penned by Usher, from “The Battle Hymn of the Republic” rip-off “Lonely Surfer Boy”, to two 1960 singles released under Gary Usher’s own name: “You’re The Girl” (which was his first 45, released on the Titan label) and its b-side “Driven Insane” which has backing vocals by future Honeys member Ginger Blake; solo compositions like The Wheel Men’s “School Is A Gas,” the instrumental “Gear!” and The Pyramids “Custom Caravan.” An unusual chord structure and prominent piano solo distinguish The Pendletons “Barefoot Adventure” and the ultra-rare comedy track “Wave Hog” which is sung by Gary Usher – is credited to the Silly Surfers and was commissioned for a model-kit building company! Following this is two follow-up tracks: “Francis The Foul” (which is about a cheating football player) and “Leaky Boat Louie”, both taken from a 1965 comedy album by the Weird-Ohs. Other highlights are the Four Seasons-inspired “Shame Girl” b/w “I’ve Got Plans” by the Neptunes, Gary Usher’s Beatlesque ”It’s A Lie” and ”The Beetle”, The Pyramids instrumental ”Mindnight Run”, The Marketts ”Collision Course” and what is credited as “the only enjoyable cut” from the comedy album Rod’s N’ Ratfink by Mr. Gasser & The Weirdos: “The Lonely Stocker” – which was strangely enough the weakest track on the Knights album. Also found are a Gary Usher vocal on the Wilson-Usher collaboration “Shut Down” which was released under the name The Road Runners.”
A re-up of this cool bootleg collection with enchanced sound quality on many trax by Mr.Eliminator himself. Don’t miss it !
”Formed by Beverly Hills eighth-graders in 1962, the New Dimensions issued three instrumental surf LPs shortly afterward for the small budget label Sutton. Like most such groups, they’d be totally forgotten by all but the most dedicated surf music collectors if not for the presence of New Dimensions mainstays Jimmy Greenspoon (later keyboardist for Three Dog Night) and Michael Lloyd (later in the West Coast Pop Art Experimental Band, and still later producer of records by the Osmonds, Shaun Cassidy, and Leif Garrett). The New Dimensions cut sides very much in the style of the Chantays and Dick Dale, but never made a commercial impression, in part because they only issued LPs, without putting any singles on the market. After evolving into the Alley Kats and cutting a few singles, Lloyd and Greenspoon took separate musical paths, with 22 tracks from their early group eventually finding their way onto the CD compilation The Best of the New Dimensions.” [allmusic]
Great all-instro collection with four unreleased trax by these L.A. 60’s surfers. Already have posted some of their slabs but this kicks ass comp is one of the best out there next to The Astronauts ”Surfadelic Collection”, The Lively Ones ”Hang Five!!!”, Dick Dale’s ”King Of The Surf Guitar” or The Super Stocks ”Surfing Instrumentals”. Style ranged from Astronauts-like surfin’ instros to sax driven R&B and bongo-exotica influences. Featuring mighty COOL stuff as Failsafe, Cat on a Hot Foam Board [from famousDiggin’ Out comp.], National Breakout, Wild Wave, Chicky Run, Blacktop, Bongo Shutdown … all originalsand hot cover of ”Miserlou” too. More fresh splash o’wet reverberating sounds for summer fun. This is a MUST. Say… Dig !!!
[p.s. Check this out! Don’t know why but they kinda use photos from same session for The Sentinals lp cover. Hot damn ?!?] 🙂
