I do not know all the inside info on all those obscure bands that hit the surf in California in the (esp. early) 60s. But I do know a lot about other music, Classical, Jazz, 70s & 80s disco, or in other words, the sound of good stuff! This is! The Cowabunga 4 CD set to me seemed unbeatable. Until this issue by Sundazed records came out. What an absolute GREAT sound the surf music is! Guitars, slow or rough, the melody, it truly captures the unspeakable beauty and excitement of surfing in the Pacific! Loaded with info, the booklet is a wealth of information about all those bands you do not know the names of. Now you do, and you can check them out on individual albums if you want. Go for this set, all 4 of them! And check out the Rare Surf volumes 1-2-3 too! My favorite on this cd3 is Spanish Moon by Travellers, one of the best instrumentals so far, ever! Conclusion: 60s surf to me is the coolest, greatest sound around! - ByMartijn13Maart1970
trax:1. Cheater Stomp - The Fabulous Playboys 2. Squad Car - P.J. & Artie 3. Satan's Theme - The Challengers 4. Hot Cinders - The Progressives 5. Scorpion - The Vibrants 6. Mr. Moto - Thom Starr & The Galaxies 7. (They Call The Wind) Maria - P.J. & Artie 8. Surf Beat - The Surf Riders 9. Rampage - The Challengers 10. Istambul - The Gladiators 11. Fink - P.J. & Artie 12. Rum Runner - The Surf Riders 13. Heatwave - Thom Starr & The Galaxies 14. Wild Fire - The Vibrants 15. Strange Fever - Thom Starr & The Galaxies 16. Man Of Mystery - The Progressives 17. Volcanic Action - The Challengers 18. Moonshot - Kenny & The Fiends 19. Shortnin' Bread - The Fabulous Playboys 20. Spanish Moon - The Travelers
...A large number of musicians contribute, with guitarist-producer Andy Paley leading the group and a guest appearance by Jonathan Richman on "Le Temps de L'Amour." The set kicks off with the brilliant "Chick Habit," which sets France Gall's Serge Gainsbourg-penned hit "Laisse Tomber les Filles" (which shows up in its original French later on) to a "Peter Gunn" guitar line and a smart-alecky English translation that's actually not far removed from the original French lyrics. The other 13 songs mix ye-ye classics and Blake-penned originals in the style, and it says something for the album that it's impossible to tell the two apart. Brilliant stuff, and a highly recommended album for all lovers of '60s French pop. 
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…In a year’s time, the Bottletones has musically turned some corners. The chemistry among the band members is more complete than it was in 1995. They have attacked Chicago and people are noticing, listening and rocking. People were surprised of the fact that we are from Carbondale, Ill., founding father Ace Bottletone said. They can think backwards all they want to, but we are here to kick your ass! We played a show in Chicago, lead singer Scratch Bottletone said. It was Wicker Park’s version of PK’s, and they had a pool table in the way. And we were trying to figure out what they were going to do with it. We ended up turning it over and using it as a drum riser. We can sell more beer than any band, Ace gloated. You gotta have somethin’ to be proud of other than the music. The Bottletones does more than just play good ol’ rock n’ roll. The band puts on an entertaining performance, a show. With a fast-paced melody, the band is pulling back to the roots of what they originally wanted to do make good rock n’ roll music. There’s a real big roots rockabilly scene in America and in Europe, stand-up bass player Thunk Bottletone, sporting a Schlitz belt buckle, said. There is a real psycho-rockabilly scene also; there is a more commercial edge to that psychobilly scene. The thing is, we just write a song and it comes out the way it comes out, drummer Speed Bottletone added. We don’t sit down and say, we’re going to write a psychobilly song.’ The Bottletones don’t try to play psychobilly. Sometimes they will play more traditional, some nights they might feel a little more hard-edged, and don’t be surprised if they throw in a little surf as well. When in the studio, we think we are playing for a certain thing, or we are trying to write a certain song, Crash Bottletone said. When we get out, we sound like psychobilly, whether we like it or not. We are working on a musicianship, Scratch explained. Our goal is a clean, crisp and cut sound. Rather than fuzzy, noisy and distorted, which a lot of people would consider psychobilly. The missing image to the Bottletones’ rockabilly sound may have been the purchase of an upright bass to complete the puzzle to this bands’ future. Before, I was playing my 20-year-old Rickenbocker left-handed fretless 4001, Thunk said. It was good while we were writing songs and stuff, and then last spring we decided to get an upright. Since we’ve gotten it, it’s been fabulous, Ace said. It’s exactly what we’ve wanted all along. An upright bass is like a loaded gun, Thunk said. If you’re going to use it, you better be prepared to use it correctly. It demands an awful lot of respect just being there and not being used at all. It took me about two months to where I was comfortable playing out with it. And now I’ve just gotten better at it since. Whether the members of The Bottletones are greasing their hair back, sporting Schlitz belt buckles and black leather jackets, or just playing an upright bass, it is a performance for the whole family to see. - By Gus Bode (Daily Egyptian)
The Bottletones:
I do not know all the inside info on all those obscure bands that hit the surf in California in the (esp. early) 60s. But I do know a lot about other music, Classical, Jazz, 70s & 80s disco, or in other words, the sound of good stuff! This is! The Cowabunga 4 CD set to me seemed unbeatable. Until this issue by Sundazed records came out. What an absolute GREAT sound the surf music is! Guitars, slow or rough, the melody, it truly captures the unspeakable beauty and excitement of surfing in the Pacific! Loaded with info, the booklet is a wealth of information about all those bands you do not know the names of. Now you do, and you can check them out on individual albums if you want. Go for this set, all 4 of them! And check out the Rare Surf volumes 1-2-3 too!
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…Paris in April followed in 1996, as did the formation of a new band, the Haves. Superbanyair was released in Japan in February 1997, April March Sings Along with the Makers arrived one month later, and May 1998 saw the release of April March and Los Cincos. Chrominance Decoder was issued in 1999 via the Dust Brothers' Ideal Records, with additional remixes by the brothers themselves. This album gave Blake her first significant record label push in America, and 2002's Triggers heightened her profile with a blend of classy production and lush, nostalgic French pop. April March reached new ears in 2007 with "Chick Habit," her reinterpretation of Serge Gainsbourg's "Laisse Tomber les Filles," which appeared in the Quentin Tarantino film Death Proof. The following year saw her teaming up with Steve Hanft for the creation of Magic Monsters. Her next move was to appear in two films (Slap the Gondola! in 2009 and Cet Air La in 2010) by French experimental filmmaker Marie Losier, and provide vocals on Laetitia Sadier's The Trip and Mehdi Zannad's Fugue. In 2013, a collaboration with French psych-prog group Aquaserge, titled April March and Aquaserge, was released on Freaksville Records. - Artist Biography by Stanton Swihart
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Though the title is a little vague, Running Wild is a unified collection of 30 hard-rocking, country-influenced (if not necessarily rockabilly) numbers dealing with guys who have one thing on their minds and the girls that helped put it there. Starting with Red Moore's electric version of "Crawdad Song," the sounds are pretty hot and heavy. The Country G-I's "Go Girl Go" is a pretty hot, raunchy number as well, with a leering mood and a loud guitar solo. Cliff Nash, who gets three songs on this one volume (maybe a Buffalo Bop first) looked like a greasy sub-Gene Vincent punk, to judge by his picture, and had a raw rock & roll sound, kind of like a white Ritchie Valens (think "Ooh My Head") that fails him only on "Cincinnati Rock," which comes off as amateurish. But "Jennie Lou" and "Tell Me Baby" are late '50s punk anthems. One or two of the acts represented tried a little too hard to sound like Elvis with the Jordanaires, with that smooth backup chorus, but most are closer in spirit to Johnnie Fuller on "No More-No More" with sheer reckless abandon on the guitar, vocals, and sax as he complains about life and revels in his own lust. Ronnie Ray manages to come off a little more like Johnny Cash than Elvis on "Mean Mama Blues," and it makes a difference in his effectiveness: he's quieter and more convincing. Sid Starr's "Bandera Twist" is one of the cooler twist numbers, all guitar-based and pretty hard-textured despite the dance beat it tries for. Johnny Harris' "Tired of Crawling, Start to Run" puts and acoustic guitar in front of a rock-hard bass and drum rhythm section, all pounding out a Bo Diddley beat in this predecessor to "Take this Job and Shove It," all pretty impressive for its time and for Harris' attitude. The sound is surprisingly good for virtually all of this volume, which never lets up in its pace or its passions. (Bruce Eder, Allmusic)
Real Rockin' (or Reallll Rrrrockin', as the title appears on the cover), is billed as a collection of "original early rockers," but is actually quite varied in its presentation of independent and private label singles from the late '50s and '60s. The program veers between the instrumental rock & roll of the Pastels and the Legends, the piano boogie of Earl Craig & the Downbeats, the rockabilly of Bill Swing, and the Bill Haley-style rock of Rand Parker & the Strollers. Phil Gray is an Elvis Presley sound-alike, and Judy Layne turns in a rock version of Irving Berlin's "Always." Uncle Alvis' 1968 single (an outlier, chronologically speaking) is straight country. The recordings are mastered from vinyl, and the booklet provides no information beyond a few photos and label shots. Real Rockin' differs from Buffalo Bop in its presentation because it provides both the A- and B-sides of many singles and multiple songs by single artists, which is not usually the case with Buffalo Bop titles. Most of these original singles are difficult, if not impossible, to find, so Real Rockin' provides a service for oldies rock & roll collectors. (Greg Adams, Allmusic)
Sundazed has made a name for itself by specializing in re-releasing vintage 45s from the 1960s, and they've really struck gold with the "Lost Legends of Surf Guitar" collection. All three volumes are simply brilliant, and will leave you salivating for more. Unfortunately, some of the artists on this collection are so rare that this is pretty much all you can find!
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...Blake's interest in France took root in nursery school, where she began learning French from a puppet named Monsieur Hibou (translated: "Mr. Owl"). Her Francophilia increased in 1979, when she briefly attended junior high in France as an exchange student. She graduated from Phillip Academy Andover in 1983, after which she moved back to New York City to become a cartoon animator at Archie Comics. She graduated to the animation department on Pee Wee's Playhouse in 1984, and even animated Madonna for the "Who's That Girl" video.
Chick Habit
...Endless Sleep stands out for having the largest number of Reynolds' early Demon recordings, which include his two hits, "Endless Sleep" and "Fire of Love," as well as the rockabilly favorites "Beulah Lee" and "Daisy Mae." Both sides of an instrumental rock & roll single Reynolds recorded with the Storms are here, as well as 14 demos and unreleased recordings in a variety of styles from doo wop to barroom country-rock, some of which sound like they were recorded long after the surrounding tracks. Reynolds is an inductee of the Rockabilly Hall of Fame, but only a handful of his recordings really qualify as rockabilly; most are rough-hewn teen ballads and mild rockers. "Endless Sleep" is often categorized as a teen tragedy song even though no one actually dies in it, and this collection features another of Reynolds' songs in that vein, "Don't Jump," the title of which is self-explanatory. "The Whipping Post," too, tells the tale of an averted crisis, so Reynolds might have become a specialist in songs of near-tragedy had any of these cuts produced hits in the wake of "Endless Sleep." (Greg Adams, Allmusic)
...Includes Teddy Reynolds, Johnny Stewart, Jimmy Fox, The Vibrators (two fine rocking instrumentals with hot guitar), Jimmy Trotter (tough vocal and exciting guitar work), Terri Lee (superb female vocalist), The Stacattos, The Bees (fine down home blues with excellent harp), Jimmy Anthony & The Jap Curry Blazers (really!), Roosevelt Grier (football star proves to be a fine blues singer on his version of the Lil Green classic Why Don't You Do Right), Little Boyd & the Blues Bees (more down home harmonica blues), The Classics, Bob Mosley (great piano boogie), The Penguins and more. Excellent sound and four page booklet with label shots. (Frank Scott, Roots & Rhythm)
Gerry Mohr (Miracle Workers) joins former members of Sprinkler and Dharma Bums for a spastic, explosive jolt of never-say-die garage rock. It is Sprinkler guitarist Chris Slusarenko that dishes out the freak-out fuzz guitar in this lineup. The Dharma Bums rhythm section of Jim Talstra (drums) and John Moen come along. Like the Miracle Workers, the Cavemanish Boys become so frenzied in their rawk as to border on punk ("Come on Baby"). ~ Tom Schulte, Rovi
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In the years just prior to the British Invasion, the L.A.-based Del-Fi label was apparently willing to take a chance on almost anything, if the 22 rarities on this CD are any guide. A mixture of very rare singles and unissued material, there ain't no hits to be found here, although bongo player Preston Epps did once have a big hit, "Bongo Rock," for another label. Mostly these are gutsy instrumentals in the R&B, surf, and twist styles, or really strange novelties, the kind from which even Dr. Demento might shy away. If that sounds like a tall order to fill, check out Bob Ridgley's "The Way Out Mummy," the Bedwells' "Karate," or Yo Yo Hashi's "Yo Yo's Pad," the last of which breaks up standard energetic three-chord instrumental vamps with Asian dialog straight out of your basic Hong Kong exploitation movie -- real hitbound stuff, to be sure. Then there's the non-LP B-side by exotica weirdo Eden Ahbez, an instrumental with whacked-out and (for circa 1960) adventurous phasing effects. There are also extremely rare pre-fame appearances by Love's Arthur Lee (as part of the American Four, who offer a sub-Booker T. & the MG's instrumental), and two of the Walker Brothers (who play on the Moongooners' raunchy instrumental, "Moongoon Twist"). These might have been throwaway sessions, but the resulting CD, though certainly geared to a narrow market, isn't a throwaway at all. It's a cool and occasionally glorious reminder of the days when rock & roll indies let the musicians blast away in search of that left-field hit, conventional pop standards of taste and song construction be damned. - by Richie Unterberger
...That's the bad side; the good side is that you do get the holes filled in. Sonny Knight's "Teenage Party" is a pretty nicely polished piece of straight-ahead rock & roll, originally issued on the Go Go label (and whatever happened to these tiny labels?) before vanishing without a trace until now. Most of the rest is mostly alternately angry and sweet songs about busted love affairs and romantic ideals -- think of Buddy Holly, Bobby Fuller, the Everly Brothers, or Ricky Nelson doing this repertory and you get the picture, except that Gregg Madden ("I Want a Love That's True"), Johnny Laury ("I Go and Dream"), Andy & the Live Wires ("You've Done It Again," with a Bo Diddley-like beat), the Temptations (no, not the Motown outfit) ("Birds 'N' Bees"), Wendell Nye ("Trouble"), and Lowell Knipp ("Goofy Little Bug") never got anywhere near musical immortality. The Glaser Brothers ("I Want You") might also have given the Kalin Twins a run for their money on a bigger label than Robbins, based on what we hear here.(Bruce Eder, Allmusic)
...It opens in fine style with a excellent cover of Piano Red's She Knows How To Rock by Big Buddy K and goes on to include sides Malcolm Mims Orch. (the tough instrumental Malcolm's Boogie with fine piano, sax & guitar), Larry Purnell & The Rhythm Kings, Donnie Boyd, Stick Evans, Bonny Lee (two fine sides by this Chicago blueswoman recorded for Sunnyland Slim's Airway label with great guitar and harp), Gino Gerld, King Sid & The Four Princes, Delores Johnson (the superb and soulful Gotta Find My baby from 1962 with Ike Turner & his band), Freddie Williams & The Keynotes (two fine sides including a strong cover of Ray Sharpe's Linda Lu), Pat Patterson & Albert Stevens Orch., "Slick" Lawrence & band, Calvin (Bluelight) Ruffin and others. Very worthwhile. (Frank Scott, Roots & Rhythm)
Recorded in 1975 and 1976, shortly after Big Star broke up during the fractious, drug-addled sessions for their final album, the songs on Bach's Bottom were similarly left stranded at the time, although four of them did eventually show up on the 1977 Ork Records EP Singer Not the Song.
The Band:
...Includes Cee Pee Johansen, Ben Hughes, Tommie "Blind Tom" Malone & The Bill Reese Band (a 1960 recording for legendary producer J. Mayo Williams Ebony label featuring an updated version of the traditional Cow Cow Boogie called Cow Cow Shake with 'shake calling" by Little Arch!), Mae Saint June & Brother Mack (probably another Williams production - he School days Love is another update of an old blues), BIg Eddie C. Campbell (a fine instrumental recorded for the tiny Hawaii label in 1960), The Uptowners, Wailing Bethea & The Captans (their Rockin' In The Jungle is a variation on The Signifying Monkey), Bobby Colquitt & String Bean Charles Band (two songs including the great Million Dollar Play Girl), The Trutones (a hot sax led instrumental), The Starfires, Beaulah Swan, Al Knight & The Y-Dells, Tee Tucker (actually Tommy Tucker with the grooving Rock & Roll Machine), Louise Brown (her Son-In_law is an answer to Ernie K-Doe's Mother In Law but with a different tune) and more. Excellent sound and booklet with label shots. (Frank Scott, Roots & Rhythm)
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Although former child R&B star Esther Phillips really hit her mature peak in the '60s, commercially she had a hard time finding a niche. "Release Me," her uptown R&B version of a country song, made the pop Top Ten in 1962. But she only dented the charts occasionally over the course of the next decade, despite recording frequently in a number of styles, usually (but not always) for Atlantic. This two-CD, 40-song set is an excellent distillation of work that isn't well known even by R&B devotees, drawing from about half a dozen albums and numerous singles, mostly from Atlantic, but also including 45s she made for Roulette in 1969; about half of the songs on this collection, in fact, were never issued on an album. Phillips was to a degree damned by her versatility: too suave and refined to be classified as a straight soul singer, she takes on jazz, pop, show tunes, blues, the Beatles (her gender-morphed "And I Love Him" was a substantial hit), the Rolling Stones, Van Morrison, Bob Dylan, and more. Like Etta James, the Columbia-era Aretha Franklin, and Nina Simone, she was one of those singers who fell between genre cracks: not quite soul, rock, R&B, jazz, pop, or blues, though elements of all those styles were present in her work.(Richie Unterberger, Allmusic)
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...They soon added Natalie Parks (Bad Apples) on bass and the ubiquitous Marshall Scott Warner on Drums. Endless Beach, their first release was recorded Summer of 2000 at Private Radio studio in Seattle under the direction of Jack Endino.
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In 1963, at the age of 15, France Gall recorded her debut EP, "Ne sois pas si bête" under her father's guidance. The four-track record sold an impressive 200,000 copies in France, becoming a huge hit, thanks in part to its irresistible title-track and stunning cover photo. Though Gall's young voice was high, breathy and somewhat limited, she made the most of it, and her commercial appeal was immediate.
...The goofy title comes from the fine blues Huchia Cuthia Lovin' Man by King Alex & The Untouchables. Williams Walker and The Ray-O-Vacs and Bill Walker both do a song called Party Time - not too surprising since they are basically the same performance but the latter has been edited and had some hand claps and vocal chorus overdubbed! Still it's a fine performance(s) with hot sax and guitar. Leo Price And His Band have a couple of fine sides - the rockin' guitar and sax instrumental Quick Draw and the loping vocal Hey Now Baby. Bob Lee is obviously channelling Screaming Jay Hawkins on his bizarre Wanted For Questioning and other artists include Texas Red & Jimmy (also on Still 1164), Manhattan Rhythm Boys (actually Champion Jack Dupree and reissued on Still 1164 as Brother Bones), Crook Jr., Clifford King (fine down home blues - his Chicken Shack Boogie is not the Amos Milburn song), Tony Allen & The Night Owls, Travis Ricks, Jimmy Lewis (his Teenage Sister is much better than you might expect), Piney Brown, Honeyboy Bryant and others. Fine sound. (Frank Scott, Roots & Rhythm) 
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...The album is a true collaboration with Spokane, WA's the Makers, who ignore the grunge explosion entirely, preferring to focus on the snotty garage rocking style of earlier Pacific Northwest heavies like the Kingsmen, the Wailers, and the Sonics. The songs are as stagey as March's previous explorations of French pop and Lesley Gore-style bubblegum, only this time the chameleonic March is affecting the persona of a black-eyeliner- and sunglasses-clad rocker chick, singing with her usual adorableness but with an extra hint of punky aggression. (Most songs include at least one ear-splitting yowl, but March even screams cutely.) The tunes are shamelessly derivative, but the Makers know this style so intimately that even the most obvious rip-offs somehow sound fresh and inventive. Above all, everyone concerned sounds like they're having a blast, which is all that matters in this style of music. Be warned if you're expecting more French pop, but this is a gem. (Stewart Mason, Allmusic)
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...I don't know where Mirasonic Records was located, but based on Bob Hicks' "Rock, Baby, Rock," they seemed to have the Sun sound down just about perfect, and Hicks had a punky, slightly whiny edge that made him closer to Gene Vincent than Elvis Presley or Carl Perkins. The Accent are also relatively soft and lyrical, but they're so close in sound and spirit to Buddy Holly of "Peggy Sue" that they can be forgiven their melodic experiments, which, incidentally, mostly work. Jimmy Smith's "Pinch Me Quick" (off of Wonder Records) could be a Stray Cats demo, it's so sharp in execution and recording -- he's a Carl Perkins-type singer, the guy on piano sounds like he's been listening to Jerry Lee Lewis, and only a lack of imagination in the lead guitar part prevents this from being one of the jewels in the Buffalo Bop treasure trove of singles. Chewing Ray may not have been going far with that name, to judge from the fact this his "Little Boogie Ding Dong" is off of an acetate, but his combination of incomprehensible single and the hyperactive drumming give the song a compelling lunatic edge. Bobby Martin and the Rhythm Rockers are two of the Elvis-like artists here.(Bruce Eder, Allmusic)
...Most of it is making it's first appearance on CD. It's hard to pick favorites as it's all good and among the artists here are Larry Ellison & The Mark IV, Eddie Clay (the fine Lorain, Lorain with hot guitar), Hayward Lee, Mike Robinson, The Capitals (a great sax and guitar instrumental Hangover), The Pleasant Valley Tune Jammers, John Little John (fine Chicago blues with slide guitar), Bill Strickland, The V-Eights, Dave "Baby" C o rtez (the fine and obscure instrumental S w ingin' With Dave), Meyer Kennedy & His Orch and others. The set ends with a bonus of Boogie Woogie by Charlie Dowman - a previously unreleased solo boogie woogie piano instrumental recorded in Canada in the late 40s. As usual sound is excellent and booklet has artist photos and rare label shots. (Frank Scott, Allmusic) 
Formed in Portland, Oregon in 1964 when Don Gallucci was forced to leave The Kingsmen because he was still in high school and unable to tour. Gallucei drafted in Bob Holden, a good friend of his, on drums and Holden brought with him Don McKinney, who had played sax with him in a band called The Imperials. With the bass and guitar slots filled by Dave Childs and (ex-Paul Revere & The Raiders) Pierre Oulette, The Goodtimes started out playing at The Chase in Portland, Oregon but soon became a popular regional attraction. Their debut recording in 1964 was Turn On Song, an instrumental which featured McKinney's wailing sax and Oulette's superb guitar. It became a big regional hit. However, in 1965 Oulette left to join Aesop and The Fables and was replaced by Jim Valley on guitar. As well as being one of the region's finest guitarists he was a talented songwriter and his songwriting opened up new opportunities for the group. For example, he wrote Little Sally Tease for the band, which became a gigantic regional hit and was recorded by several national acts such as The Standells and The Kingsmen. The 45 was picked up by Dunhill and the band went to L.A. to record Sweets For My Sweet and Mary Mae with P.F. Sloan and Steve Berry handling the arrangements. Whilst there they appeared on several Top TV shows. Indeed L.A. became their base until their demise.
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Kings of Makaha es un grupo de rock instrumental formado en Gijón en 2007 que empezó siendo un trío y luego pasó a cuarteto con la incorporación de teclados. Sus músicos son Juan Toraño (guitarra), Alex (bajo), Coke Makaha (batería) y Pedro Secades (órgano), con amplia experiencia en otros grupos como The Real McCoyson, Los Cohetes, Mocking Birds, Kinky Machine, Pussylovers, Beatnies, Los Osos, Edwin Moses, Groovie Doobie Groove, Robbie and the Wild Trains.
...Taking off from a lifelong interest in French music and culture (the former Elinor Blake studied in the country as a teenager), Chick Habit is a note-perfect re-creation of French ye-ye music of the 1960s. March, whose voice is a dead ringer for France Gall's similarly perky tones, borrows heavily from Gall's style and repertoire. The title track is a fairly literal translation of one of Gall's biggest Serge Gainsbourg-penned hits, "Laisse Tomber des Filles," given a "Peter Gunn"-style twang guitar track and performed with a punky snarl. (The opening track is the same song performed in March's note-perfect French.) The remaining tunes are covers of other ye-ye songs, with the highlights being Jacques Dutronc's "Le Temps de L'Amour" (a 1966 hit for Dutronc's wife, Françoise Hardy), given a smoky reading highlighted by a Dick Dale-style surf guitar played by guest star Jonathan Richman (a friend of producer and multi-instrumentalist Andy Paley, who leads the excellent band), and another dip into Gall's catalog, the dreamy "Cet Air-La." April March would, in varying degrees, explore this French pop obsession over her next several albums, but this is its purest manifestation. (Stewart Mason, Allmusic)
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