Garage
by Michael Simmons, Cletus Nelson [Creation 8/03, 192pp.]
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Black Monk Time : Coming of the Anti-Beatle
by Thomas Edward Shaw [Carson Street 1/95, 397pp.]
"Incredible. Everything you've ever wanted from a band that time forgot, but never get. Really well written, with the ring of truth and a great sense of humor. Some great cold war stuff too. Maybe this is what Johnny Rotten was refering to when he talked about going under the Berlin Wall. Such a strange, interesting story, that now I've read the book, listened to the CDs over and over, even saw one of the guys walking around NYC with a baseball cap on and still have a hard time believing all this really happened. But right there in the book is a photo of a tonsured Dave Day comparing notes with a spit-curled Bill Haley; and there's even a German poster advertising, in clockwise order, an album from The Who, Hums of The Lovin' Spoonful, Fresh Cream, and lo and behold, Black Monk Time."
"After reading this book and listening to the CD of the same name, readers/listeners will say "The Velvet who?" This is rock and roll at its strangest, most twisted and rebellious. Mr. Shaw's story borders on the fantastic, but it really happened! Five GIs shaving their heads and dressing in black and pumping out punk music a decade before the Sex Pistols, the Clash et al. Who woulda thunk it? This is truly an essential addition to any rock musicologists library."
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Openers II; The Lyrics of Roky Erickson
by Roky Erickson, Casey Monahan [2-16-61 12/96, 317pp.]
"A book of almost all of Erickson's lyrics, from his days with the psychedelic supergroup the 13th Floor Elevators, on up to the present. A volume of lyrics and photos documenting some 30-plus years of his creative genius. Openers II includes material by Erickson never before published as well as photographs, a complete Erickson discography and first line index. [320 p., paperback] "
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Playing for a Piece of the Door : A History of Garage & Frat Bands in Memphis 1960-1975
by Ron Hall [7/01]
"It's very easy to see why the garage rock revival appeals to an old guy like me, or Steven Van Zandt. This is music we grew up listening to, loving and playing. Of course we're getting off hearing twenty- somethings play it live again. And of course it also strokes our egos that twenty- somethings are into music we loved in our youthanother affirmation that maybe the era of our youth really was the coolest ever, just like we keep telling everybody. I do have to ask why the twenty- somethings themselves are getting off on this music, though. Clearly garage rock is this year's retro fad, like lounge music and the swing revival before it. I need to be told again if and how it's more than that. Still, if the fad means that Ron Hall will find a bigger audience than he might have a few years ago for his new book and CD, I'm all for it. The book's called Playing for a Piece of the Door: A History of Garage & Frat Bands in Memphis 1960-1975 . The CD's called A History of Garage & Frat Bands in Memphis 1960-1975 . They're both from Shangri-La, Memphis' well-loved record store/ record label/publisher, and they're both great, grassroots exercises in popular history.
The book's very straightforward: brief portraits of dozens of 60s and early 70s bands, most of whom you and I never heard of because they never made it out of Memphis. Bands with names like Flash & the Casuals, Butterscotch Caboose, Danny Burk & the Invaders, the Guilloteens, the Escapades, the Jesters, the Yo-Yo's, the Torquays, the Coachmen, the Load of Mischief. Wearing Beatles haircuts and turtlenecks and shades in their official band photos. They played Memphis' sock hops and CYOs, its rock clubs and local rock shows on tv, including one hosted by George Klein, of the Memphis Mafia. Some were homegrown, others were attracted to Memphis from all over the South because it had the recording studios and the labels, including Sun and Stax. A very few became famousthe Box Tops, the Gentrys, the Mar-Keys, Sam the Sham & the Pharaohsbut most are completely unsung heroes, bands who'd never get mentioned in any mainstream rock history. Many of them wouldn't even rate the Rock and Roll Hall of Fame's insulting wall dedicated to one-hit wonders, because they never made anything resembling a "hit" record. Many just managed to do a vanity single or a demo tape before disbandingbecause the singer had to go off to college, or someone got drafted, or the drummer and singer got in a fight. Some of them don't have much to say for themselves, and only a trainspotting record-collector type will care about their mundane tales. But others have great stories to tell..."
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Savage Lost : Florida Garage Bands : The '60s and Beyond
by Jeffrey M. Lemlich [Distinctive Publishing 7/91, 416pp.]
This is the definitive history of Florida's extensive garage band scene, with profiles of bands and labels, discographies broken down by city and in full details, and many photos. Plus Jeff's introductions and commentaries, which put the whole phenomenon of '60s garage bands into nice historical context. Sadly, this is out of print, but the author has a few copies left. Visit his website for more info, or send $15 to Jeff Lemlich, Box 655018, Miami, FL, 33265.
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Till the Stroke of Dawn : A Discography of New England Garage Bands From the 1960s
by Aram Heller [Stanton Park 7/93, 72pp.]
Bomp review: This self-published book does a sensational job of gathering all the 45s, LPs, and compilation appearances by New England bands. Lavishly illustrated, with an informative introduction. Though published several years ago, it is still available from the author for $12 plus postage, while supplies last.
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Louie Louie: The History And Mythology of the World's Most Famous Rock 'n' Roll Song
by Dave Marsh [Hyperion 8/93, 245pp.]
"Here, rock critic Marsh ventures beyond mere celeb biography or fan-boy appreciation. This cultural history of a single rock tune is an exercise in modern legend-making that also tells 'the story of rock 'n' roll in a nutshell.' For Marsh, the official investigation of the allegedly obscene lyrics in 'Louie, Louie' prefigures current efforts to censor pop music. The lesson in this case is skewed in Marsh's favor, since 'Louie, Louie,' despite years of rumor and myth-making, is really a harmless sea chantey composed by a small-time performer in the mid-50's as 'an R&B dance tune with a hint of cha-cha.' When Richard Berry sold the publication rights to the tune for $750, he had no idea it would re-emerge in the early 60's as a monster hit. Although numerous West Coast artists cut versions, it wasn't until the Kingsmen recorded their slurred, one-track interpretation that the rumors began concerning the 'true' lyrics. In Marsh's view, the 'protopunk' sloppy recording of the song 'is the most profound and sublime expression of rock 'n' roll's ability to create something from nothing.' Down and dirty, the Kingsmen's version frightened parents and inspired a thorough FBI investigation based on the underground circulation of spurious vulgar lyrics. Meanwhile, the 'stop-time cluster-chord' song spawned offshoots by the Kinks, the Who, and Jimi Hendrix. The song was remade by the Beach Boys, Jan and Dean, Otis Redding, and disco king Barry White. There are instrumental remakes, jazz-fusion versions, punk homages, and a rap rendition. Despite references to Camille Paglia and Theodor Adorno, Marsh is no Greil Marcus. Though he tells the story of 'Louie, Louie'' well, his cultural analysis is shallow and dependent on all sorts of p.c. insights. A full discography attests to his central point: 'Louie, Louie'' lives!"
Greg Shaw comment: I really enjoyed this book, which in many ways is Marsh at his best. The "pc" is at a minimum here; the subject is rock & roll, something Dave has a real, visceral grasp of. He knows intuitively that "Louie Louie" is simply the most perfect song ever, and in these pages he helps you understand why. My favorite insight: that Nirvana's "Feels Like Teen Spirit" is really a rebirth of the "Louie Louie" spirit, being 'unintelligible at any speed.'
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It Was All Just Rock 'n' Roll
by Pat O'Day, Jim Ojala [R-n-R, 10/02, 400pp.]
"Pat O'Day first gained fame as the top DJ in the '60s the Northwest at radio station KJR-AM in Seattle. Considered by many the most influential figure in the development of rock 'n' roll in the region, O'Day influenced the musical tastes an entire generation of listeners. Later, he founded the company that became Concerts West, at one time the largest concert promotion firm in the world."
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Les Hou-Lops: Pour Toute la Vie
by Serge Gingras
"Can you believe it? Les Hou-Lops have a BIOGRAPHY?? Yes, it's true! Minutely detailed, and often mired in the facts (and not really giving the story or setting the scene) this book is rather austere when it comes to the goods, as far as I can tell! The author, it seems is new at this rock 'n roll game (prefering hockey) - and could be doing a darned good job of the story, for all I know! I can barely READ the book, it's in French (I'm doing my best). The photographs are fantastic, and really, every little tiny fact is covered. So if you read French, buy it! " --Glynis Ward
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Flip Side : An Illustrated History of Rock and Roll Music - Southern Minnesota
by Jim Oldsberg [Prairie House 1997, 256pp.]
Greg Shaw review: A fascinating book with profiles of 41 of the greatest Minnesota bands of the '60s, with interviews, photos, label pix, and discographies. Absolutely a milestone of research and a model of how such things should be done.
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An American Rock History Vol. 4: Indiana, Iowa and Missouri (1960-1993) (UK only)
by Hugh MacLean and Vernon Joynson [England, Borderline12/95, 170pp.]
"The fourth in the regional US Rock History series. A detailed study of artistes and groups with album discographies, band personnel details and, in most cases, some comment about the artistes and their music. Rock, pop, jazzrock, country rock, folk rock, punk, new wave, garage, psychedelic, heavy metal, new country, all are covered."
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Children of Nuggets : The Definitive Guide to the Psychedelic '60s Punk Rock on Compilation Albums
by David Walters [Popular Culture Ink 1990, 372pp.]
Greg Shaw review: This beautiful 8 1/2 x 11 hardcover book was published in 1990. It contained complete listings, by album, artist, and song title, of all '60s garage compilations then extant, with photos of virtually all of them on high quality glossy paper, and with original release info for most of the tracks. A beautiful job, now out of print, that really deserves to be updated and reprinted. Still, I use it all the time for reference. For those with Microsoft Access, there is a downloadable, updated (to-the-moment) database of the same material online: Searchin' For Shakes, and the great Garage Compilation Database, taken from the same source.
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Sixties Rock : Garage, Psychedelic, and Other Satisfactions
by Michael Hicks [Univ. of Illinois Press 4/99, 8/00, 192pp.]
"Hicks admirably describes some often-overlooked varieties of rock. Garage is rock made by unprofessional, often adolescent musicians who typically practice in a member's auto shed. The term implies a charming lack of sophistication, and Hicks lengthily explains the implications of musical decisions that many garage bands made based on what members could play, decisions that could eventuate in the overexhilaration garage rock often expressed. Hicks' discussion of psychedelic rock is no less detailed, and he cites resemblances to garage that many fans may not have noticed. His academic bent is best employed in the chapter on the song "Hey Joe," recorded by scads of bands (the Leaves and the Jimi Hendrix Experience cut the most familiar versions). In a musicologically riotous passage, he traces conflicting "Hey, Joe" authorship claims and winds up suggesting it is a venerable folk song of unknowable attribution. The technical side of this book can't be ignored, and casual readers and fans may be put off. Diligent, musically engaged readers, however, will glean much information and insight."
"Unlike their rock 'n' roll predecessors, many rock musicians of the mid-sixties came to consider themselves as artists, as self-conscious makers of a new sonic medium. Sixties Rock offers a provocative look at these artists and their innovations in two pivotal rock genres: garage rock and psychedelic music. Delving into everything from harmony to hardware, Michael Hicks shows what makes this music tick and what made it unique in its time."
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Crying Out Loud: Life in a Sixties Rock Band
by Sean Hutchinson [John Daniel 5/88]
"As '60s rock bands go, Far Cry was fairly obscurea lot of one-nighters and bar jobs, a record that flopped, a gig at New York's Fillmore East that was 'a debacle.' Certainly no one has been waiting for the group's story to be told (except, perhaps, in Syracuse, where Far Cry was 'quite popular'). But that doesn't stop bass player Hutchinson, who covers all the bases (sex, drugs and draft-dodging) in this recollection of the group's two years together. With his bland style and lack of insights, the Tufts University dropout has produced a boring book about a crazy era. Of an LSD trip, he writes, 'It was then that I suddenly got a vivid sense of the massive arrogance of automobiles.' He describes the various band members' sexual relationships with a groupie named Ruthie as 'extraordinarily pleasant,' devoid of 'jealousy or rancor.' An underlying problem with this memoir, in Hutchinson's words, is that 'beneath it all, Far Cry was quite normal, and we were neither warped nor wealthy enough to have the carnal tastes of real jaded show biz kids'."
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The Magic Land : South American Beat, Psychedelic & Progressive Rock 1966-1977, Argentina-Uruguay
by Marcelo Camerlo [Art Books Intl 6/99]
"As a huge fan of South American rock, as well as music of all Latin cultures, this book for me is truly indispensable. Maybe if there were any others like it, there would be stiff competition, but as far a I know, there ain't. A friend of mine had a copy which I xeroxed because I could not locate it before I went to Argentina last year. Of course, once in Argentina I encountered books like it, but only written in castellano (Argentine Spanish). I needed it to help guide me through locating high-quality, relevant discs, vinyl and therwise of Rock Nacional, or classic Argentine Rock of the 60's and 70's. it is sad that all of this music is not available here in the U.S., but hey, I'd love to be proven wrong. The rewards are great for any rock fan with an open mind. This book is brilliant in its originality, economy and general opinions on the music by the author, for as a music fan I had to agree with many suggestions he had of must-haves for collectors of this freaky, melodic stuff. Believe me, there's more where the music discussed in this book came from."
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Shakin' All Over: Die Beatmusik in Deutschland 1963-1967 (Germany only)
by Hans-Jurgen Klitsch [Fantasy Prod. 10/01, 488pp.]
"Beat music in Germany -- was there ever such a thing? Well, the author of this massive tome certainly does not fail to make his point that, indeed, there was. In Part One, Klitsch recaptures the zeitgeist in 29 anecdotal chapters, dealing with subjects like Hamburg's Star-Club, the music press of the time, beat festivals and many more, thus creating an exquisite sense of deja vu for everyone old enough to remember the times first-hand, and painting a vivid picture for everyone else. The remaining 350 pages of the book is an encyclopedic overview of the German beat band scene of the years in question, broken down into regional chapters and featuring a wealth of information on locally or nationally known beat combos or solo artists, with band bios, set lists, tour reports, record contract details and reminiscences of many of the artists involved. With many footnotes and the compehensive index."
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Dreams, Fantasies and Nightmares From Faraway Lands : Canadian, Australasian & Latin American Rock & Pop 1963-1975 (UK only)
by Vernon Joynson [England, Borderline 2/00]
"Covers rock, pop, beat, folk, folk-rock, blues-rock, psychedelia, flower-pop, garage, progressive rock and more from Canada and Australasia. It also provides a general introduction to Latin American beat, psychedelia, garage and progressive rock. Each section includes an A-Z listing of the artistes with discography's and personnel details are also included. It contains over 2600 entries. Profusely illustrated including 12 pages of colour. 476pp"
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Fuzz, Acid and Flowers (UK only)
by Vernon Joynson [England, Borderline 8/93, 402/570pp.]
"Incomplete but valiant encyclopedic attempt to index all obscure '60s garage & psych bands of the US, with discographies, bios, photos, etc."
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Tapestry of Delights (UK only)
by Vernon Joynson [England, Borderline 7/98, 700pp.]
"An encyclopaedic guide to British music of the beat, R&B, psychedelic and progressive, 1963 -1976. It includes an A-Z listing of the artists with bibliographies, personnel details and, for most entries, histories and comment on the music. Brand new update with the orig 600 page text plus a new 100 page section containing around 1,000 new entries, lots of illustrations. 700 pages"
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Scented Gardens of the Mind (UK only)
by Dag Erik Asbjornsen [England, Borderline, 552pp.]
"Latest release of the Borderline series. Subtitled A Guide to the Golden Era of Progressive Rock (1968-1980), this is the fourth in a row after Fuzz Acid & Flowers, Tapestry of Delights and Cosmic Dreams at Play. This superb book provides a comprehensive guide to progressive and psychedelic rock in more than 20 European countries. It perfectly complements all the above publications. Most entries contain personal details and discographies and a description of the music. With 552 A4 pages, the book is profusely illustrated, with a color section in the center. There is no similar English language encyclopaedic guide to the music of all these countries, so it is a must-have for all collectors of European psychedelic and progressive music."
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Wild Things They Don't Tell Us (UK only)
by Reg Presley [Metro 8/03, 288pp.]
"Reg Presley has encountered many things in his life - as the lead singer of The Troggs he has lived the life of a rock star to the full - but nothing he encountered on the road is as strange as the extraterrestrial forces he believes permeate the world in which we live. His notions may seem incredible, but reading this book, you might just find yourself wondering if the faceless authorities who control our lives are letting us know everything - or if there really are wild things they don't tell us."
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Rock's Wild Things : The Troggs Files
by Alan Clayson, Jacqueline Ryan [Helter Skelter 4/00, 11/00, 187pp.]
Bomp comment: Clayton is a respected fan and music historian, and he tales the Troggs' primal tale in a straightforward manner; Ryan, head of the group's UK fanclub, provides an annotated discography.
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