#Revenge of the barracuda rar series#

Lee's Garage Sector had a few songs,while not real wild fuzzy garage monsters,there were some cool things.

There were typical a-sides and b-sides,which were interesting,and so there's another blog putting up some uncomped things that are still surprising. Then there was the Twilightzone blog that released roughly 170 garage era comps,last year before one of the bands had a fit,and pulled the plug on it.There were tons of uncomped songs,that hadn't hit my ears.And I'm talking some ears that had heard a lot of the same things you might have. Hound: I still find many uncomped 'garage' songs,by simply reading a lot of blogs,and still collecting and trading. The fans themselves were able to grasp control of the music for the first time ever. I bring this up because the world seemed so much bigger and more mysterious back then, when everything hadn't been re-issued. This caused much confusion as to what 'punk' was or should be. By the mid-70's more bands appeared like the Fleshtones, DMZ and the Chesterfield Kings to play much in the style of these (not very) old records. The Droogs issued their first 45- He's Waitin' b/w Light Bulb Blues (Plug'n'Socket), the first 'new' group to revive the sound of '66. Soon there would be similar comps by every style, region, and/or label configuration possible, sometimes it seems like there were more comps than their were original 45's. All of these can be downloaded from various blogs, try looking via Chewbone or Captain's Crawl (new URL). My favorites: Hipsville 29 B.C., three volumes (Kramden), What A Way To Die (Satan), Open Up Yer Door (Frog Death) Off The Wall, two volumes, (Wreckord Wracked) The Chosen Few, two volumes (A-Go Go) and of course Back From The Grave nine volumes (Crypt), which was legally done unlike the others which were bootlegs. Soon every collector of garage 45's had their own compilation album on the market.

#Revenge of the barracuda rar series#

This was followed by the aforementioned Pebbles series which kicked off in 1976 and opened a floodgate. There was something in the air, for that same year, Mark Shipper released the first Sonics re-issue Explosive (Buckshot), sold through an ad in Who Put The Bomp fanzine. The Preachers track appeared on the first Pebbles album (Greg Shaw's bootleg continuation of the Nuggets concept). Only two of the above tracks made it onto Nuggets (Talk Talk was short listed but was unavailable due to legal problems, the Barbarians were represented by the song Moulty, not their best record, but surely a first class 'artifact'). The music was only six years old (using 1966 as the banner year for American garage), yet Kaye understood it's importance at a time when most rock writers were busy analysing Bob Dylan's lyrics (or digging through his trash), or heralding the coming revolution, which was to be led by the Jefferson Airplane or Abbie Hoffman or whom ever. What I find so interesting is Lenny Kaye's vision in excavating the past. No matter, the sound of these one-hit, teenage American bands was soon changed from punk rock to garage rock to distinguish it from the safety pin through the face variety of 70's punk. Actually the first use of 'punk' in music writing was by Nick Tosches who described Ed Sanders of the Fugs as having a 'punk muse'. In 1972 Lenny Kaye compiled the Nuggets compilation for Elecktra Records, it was subtitled 'Artifacts from the first psychedelic era', but the music was soon dubbed punk rock, probably by Greg Shaw, although Dave Marsh seems to think it's important for the world to know that he coined the term.