Back from the Grave is a series compilation albums of 1960s garage rock created and compiled by Tim Warren and released by Crypt Records.
The series originally consisted of eight LP records released between 1983 and 1992. Volumes seven and eight were double albums. Starting in 1994, the series was reissued on compact disc. Due to the longer playing times offered by CDs, the first seven volumes were contained on four discs, save for a few tracks that were omitted. And, while all of the songs on the first four CDs are included on first seven vinyl albums, they do not necessarily correspond to the individual LPs bearing their same titles. However, the Volume 8 CD corresponds almost directly its LP double-LP counterpart, but with the addition of four bonus tracks…

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…not included on the LP. The eight vinyl albums are titled consecutively “Back From The Grave, Volume 1, Volume 2, Volume 3, Volume 4, Vulume 5, Volume 6, Volume 7, Volume 8, Volume 9, and Voume 10.” In similar fashion the five CDs are titled “Back from the Grave, Volume 1, Volume 2, Volume 3, Volume 4, Volume 8, and Volumes 9 & 10” (which are both included on one CD). There are no volums 5, 6, or 7 for the CDs. Two separate LPs for Volume 9 and 10 were released in 2015 as well one CD, released the same year, which combines Volumes 9 and 10 onto one double-length disc.

Back from the Grave: Vol. 1&2

Back from the Grave, Volumes 1 and 2 (CD) is a newly re-mastered CD that combines into one disc volumes 1 and 2 of the original 1983 LPs in the Back from the Grave series of garage rock compilations out by Tim Warren of Crypt Records.This CD was released in 2015.It is not to be confused with the older Back from the Grave, Volume 1 and Back from the Grave, Volume 2 CDs released in 1996, which differed dramatically from their LP counterparts in terms of track selection. This new CD is a part of a new Back from the Grave sub-series of CDs which attempts to more faithfully replicate the song selection original LPs, bringing the series for the first time into multi-media coherence.

In keeping with all of the entries in the series, and as indicated in the subheading which reads “Rockin’ 1966 Punkers,” this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting a revivified “rock and roll” zombie who, along with his macabre cohorts, has just emerged from the grave to “bury” all specimens of supposedly “heretical” pop and progressive music which have come to prominence over the years, such as disco music and MTV.

The set begins with My Confusion,” by The Elite from Fort Worth Texas, succeeded by “Do You Understand Me,” which was the last release by the JuJus from Grand Rapides, Michigan.Two songs by the Alarm Clocks are included, “Yeah” and “No reason to Complain”—both recorded at Sound Ideas Recording Studio in Cleveland.The Fabs from Fullerton, California, are sometimes mistaken for being from Texas, because their cut, “That’s the Bag I’m In,” though recorded in Hollywood, was actually released on the Dallas-based Cottonball label.The fuzz-drenched “Cry” is by the Malibus from Providence, Rhode Island, while the Legends from Holland, Michigan, follow suit with “I’ll Come Again,” which was recorded in 1965 but not released until 1967 on Fenton Records.Several of the odder cuts are the “We All Love Peanut Butter” and an offbeat version of “Jack the Ripper,” both done by the One Way Streets and “Rat’s Revenge Part One” and “Rat’s Revenge Part Two” by the Rats.The Swamp Rats, from Pittsburgh do a rendition of the Sonics’s “Pycho.”Then, there is the unlikely inclusion of a song which, according to music writer Jeff Jarema, paradoxically resides “in the tradition of the Stooges and MC5…another 1970 punk classic,” called “Ghost Power,” but is by the Cords, who were a group of real-life Franciscan monks, who in the spirit of Vatican II decided to play rock & roll as a way to attract members of the younger generation to consecrated life.The song also appears on the Garage Beat ’66, Volume 4 CD compilation, released on Sundazed Records in 2005.”Victim of Circumstances,” by Roy Junior, is none other than Roy Acuff Jr., the son of country music legend Roy Acuff.The song was written by Don Turnbow, who also wrote “Hipsville B.C.” for Texas band the Sparkles.Detroit’s the Unrelated Segments sing “Cry, Cry, Cry.”The liner notes recount an incident when the Outsiders (of Tampa, Florida), whose song “She’s Coming on Stronger” is included in the set, ran into trouble when their van turned upside down while driving to play in Birmingham, Alabama—the band members ended up in jail.”(Would I Still Be) Her Big Man,” by the Brigands, is an about a man who dates a beautiful woman with expensive tastes, and pretends that he is wealthy, but wonders if she would accept him if she finds out that he works in a factory.The set concludes with “Crater Sota,” by the Thunderbirds.

1. The Elite / My Confusion [02:11]
2. JuJus / Do You Understand Me [02:34]
3. The Alarm Clocks / Yeah [02:45]
4. The Alarm Clocks / No Reason to Complain[02:12]
5. The Fabs / That’s the Bag I’m In [02:22]
6. The Malibus / Cry [02:15]
7. The Bel-Aires / Ya Ha Be Be [02:37]
8. Legends / I’ll Come Again [02:06]
9. Rats / The Rats’ Revenge, Pt. 1 [03:11]
10. Rats / The Rats’ Revenge, Pt. 2 [02:34]
11. One Way Streets / We All Love Peanut Butter[02:48]
12. Larry & the Blue Notes / Night of the Phantom[02:13]
13. One Way Streets / Jack the Ripper [02:20]
14. Swamp / Psycho [02:55]
15. The Cords / Ghost Power [03:02]
16. The Outsiders / Summertime Blues [02:50]
17. The Banshees / They Prefer Blondes [02:26]
18. Unknown Band / Little by Little [03:03]
19. Hatfields / Yes I Do [02:11]
20. The Reasons Why / All I Really Need Is Love[02:21]
21. Ralph Nielsen & The Chancellors / Scream[01:58]
22. The Mystics / Snoopy [02:27]
23. Hysterics / Won’t Get Far [02:07]
24. The Lyrics / They Can’t Hurt Me [02:49]
25. The Canadian Rogues / Keep in Touch [02:19]
26. Sweet Cherry / Funny Things Floating [02:53]
27. The Outsiders / She’s Coming On Stronger[02:19]
28. The Mods / Satisfaction [03:43]
29. Deverons / On the Road Again [02:40]
30. The Children Of Darkness / She’s Mine [02:33]

Back from the Grave: Vol. 3&4

Back from the Grave, Volumes 3 and 4 (CD) is a remastered CD that combines into one disc volumes 3 and 4 of the original 1983 and 1984 LPs in the Back from the Grave series of garage rock compilations out by Tim Warren of Crypt Records.[1][2] This CD was released in 2015.It is not to be confused with the older Back from the Grave, Volume 3 and Back from the Grave, Volume 4 CDs released from 1996-2000, which differed dramatically from their LP counterparts in terms of track selection.This new CD is a part of a new Back from the Grave sub-series of CDs which attempts to more faithfully replicate the song selection original LPs, bringing the series for the first time into multi-media coherence.

In keeping with all of the entries in the series, this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified “rock and roll” zombies who have just emerged from the grave to “drop in a pit” all adherents of supposedly “heretical” pop and progressive music which have come to prominence over the years.

The set begins with “Be My Queen” by the Chentelles from Western Michigan.”I’ve Got Something to Say,” by the Interns from Akron, Ohio, received regional airplay, and the group even made a local TV appearance.The Monacles from Orange County, California also appeared on a local TV show in their area and perform “I Can’t Win.” “Don’t Cry to Me,” by Jerry & the Others, from Dayton, Ohio is set to pounding Bo Diddley rhythms and scintillating guitar parts.Murphy & the Mob from Tyler, Texas sing the highly despondent “Born Loser,” which was released on Talisman Records in 1966.”You Can’t Make Me,” is by the Montells from Miami, Florida, who had previously recorded as H.M. Subjects (Her Majesty’s Subjects). “Wild Man” by the Tamrons, from Concord North Carolina, begins with a Twilight Zone-inspired arpeggiated riff and was recorded at Arthur Smith’s Studio in Charlotte. “Dinah Wants Religion” is by the Fabs, from Fullerton, California, who are sometimes mistaken for being a Texas band. Tacoma, Washington garage rock legends, the Sonics, are represented on the set with the fuzz-drenched “Santa Claus.”Tonto & the Renegades from Ocean Port, New Jersey respond in kind with “Little Boy Blue.” Side two begins with “13 Stories High” by the Botumless Pit.L.A.’s the Sloths provide the blues-tinged protopunk of “Makin’ Love.” Chicago’s the Vectors are heard doing their venison of “What In the World.” The set concludes with “Night of the Sadist,” by Larry and the Blue Notes.

1. Little Willie & the Adolescents / Get Out of My Life[02:13]
2. Chentelles / Be My Queen [02:06]
3. Ken & the 4th Dimension / See If I Care[02:13]
4. The Fugitives / You Can’t Blame That On Me[02:42]
5. Me & Them Guys / I Loved Her So [02:11]
6. Intruders Five / Ain’t Comin’ Back [02:22]
7. The Monacles / I Can’t Win [02:10]
8. Lil’ Boys Blue / I’m Not There [01:56]
9. Jerry & The Others / Don’t Cry To Me [02:53]
10. The Royal Flairs / Suicide [01:59]
11. Murphy & The Mob / Born Loser [02:27]
12. The Mods / You’ve Got Another Think Comin'[02:31]
13. The Interns / I’ve Got Something To Say[03:27]
14. Sir Winston & The Commons / We’re Gonna Love[02:39]
15. The Montells / You Can’t Make Me [02:14]
16. Tamrons / Wild-Man [03:10]
17. The Cyclones / She’s No Good [02:16]
18. The Fabs / Dinah Wants Religion [02:38]
19. Red Beard & the Pirates / Go On Leave [02:21]
20. The Hallmarks / I Know Why [02:42]
21. Rocky & The Riddlers / Flash & Crack [02:42]
22. Tonto & the Renigades / Little Boy Blue[02:24]
23. Botumless Pit / 13 Stories High [02:40]
24. Aztex / I Said Move [02:09]
25. The Nomads / Be Nice [02:41]
26. Bunker Hill / The Girl Can’t Dance [01:57]
27. The Sloths / Makin’ Love [02:02]
28. The Wyld / Fly By Nighter [01:59]
29. The Vectors / What In the World [02:16]
30. The Huns / Shakedown [02:13]

Back from the Grave: Vol. 5&6

Back from the Grave, Volumes 5 and 6 (CD) is a re-mastered CD that combines into one disc volumes 5 and 6 of the original 1983 LPs in the Back from the Grave series of garage rock compilations out by Tim Warren of Crypt Records.This CD was released in 2015.Until the advent of this CD in 2015, there had been no prior releases of volumes 5 and 6 on CD, as all of the songs which were included on the volumes 5 and LPs, appeared instead on volumes 1-4 in the old CD series—the entries in that old CD series differed dramatically from the LPs. However, this CD is a part of a new Back from the Grave sub-series which attempts to more faithfully replicate the song selection original LPs, bringing the series for the first time into multi-media coherence.

In keeping with all of the entries in the series, this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified zombies, in customary fashion, returning to wreak havoc, this time exacting joyful revenge on practically the whole human race (or at least on those members of it who do not satisfy their minimal requirements of what they consider to be hip), thus using a variety of noxious substances and even resorting to the nuclear option, while a handful of their victims wallow in a “hydroconformic acid hot tub.”

The set begins with “Warning,” by the Humans, from Albion, New York.followed by “Real Fine Lady,” by the Warlords. The Vestells were from eastern Pennsylvania and recorded “Won’t You Tell Me” at the Cameo-Parkway Studios in Philadelphia.Another featured cut is “City of People,” an invective against conformist society, by he Illusions, from Detroit.Also from the motor city, the Kegg’s follow with what Tim Warren has called their “tortured” anthem, “To Find Out.”They are later heard on the cut “Girl.”The Jesters of Newport provide the organ-driven protopunk “Stormy, while the Tigermen from upstate New York perform “Close That Door” and the Rising Tides sing “Take the World as it Comes.””My World Is Upside Down” by the Shames from Ipswich, Massachusetts, who are also later represented on the set with “Special Ones.”The Ascots form Ponitac Michigan play the revved up rocker “So Good.””Varsity Club Song” is by the Golden Catalinas from La Crosse, Wisconsin followed by “Say You Love Me,” by Billy & the Kids from Wenatchee, Washington.”Come on Mary” is by the Abandoned “Love’s a Fire” by the Werps. The set concludes with “Through the Night” by The Trojans Of Evol.

1. The Jesters Of Newport / Stormy [03:22]
2. The War Lords / Real Fine Lady [02:09]
3. The Henchmen / Livin’ [02:08]
4. The Jaguars / It’s Gonna Be Alright [02:13]
5. The Vestells / Won’t You Tell Me [02:37]
6. The Few / Escape [02:38]
7. The Nobles / Something Else [02:14]
8. The Keggs / To Find Out [02:14]
9. The Humans / Warning [02:22]
10. The Illusions / City Of People [02:25]
11. The Tigermen / Close That Door [02:31]
12. The Aztex / The Little Streets In My Town[02:07]
13. The Hatfields / The Kid From Cinncy [02:24]
14. The Centrees / She’s Good For Me [02:22]
15. The Tikis / Show You Love [02:23]
16. The Rising Tides / Take The World As It Comes[02:27]
17. The Shames / My World Is Upside Down [02:37]
18. Long John Silver & The Silvermen / Heart Filled With Love[02:16]
19. The Keggs / Girl [02:07]
20. The Beaux Jens / She Was Mine [03:07]
21. The Savoys / Can It Be [03:04]
22. The Abandoned / Come On Mary [01:58]
23. The Barracudas / Baby Get Lost [01:46]
24. The Ascots / So Good [01:41]
25. The Shames / The Special ones [02:23]
26. The Golden Catalinas / Varsity Club Song[02:19]
27. Billy & The Kids / Say You Love Me [02:09]
28. The Shandells / Caroline [02:07]
29. The Shandells / Mary Mary [02:32]
30. The Trey Tones / Nonymous [02:23]
31. The Bryds / Your Lies [02:22]
32. The Trojans Of Evol / Through The Night[02:24]

Back from the Grave: Vol. 7

Back from the Grave, Volume 7 is the seventh installment in the Back from the Grave series of garage rock compilations assembled by Tim Warren of Crypt Records and is available on LP and CD.It was originally released in 1988 as a double-LP containing 34 tracks, and has been newly re-mastered and re-issued in 2015.Though most of the LP’s tracks had appeared on volumes 3 and 4 of the Back from the Grave CD-specific sub-series (released between 1996 and 2000), in 2015, it was released on CD with the re-mastered material and closely matches the song content (and album cover artwork) of the original LP (containing all but two of the cuts on the original LP) as part of an effort to bring the LP’s and CD’s of the series into multi-medium coherence.In keeping with all of the entries in the series, and as indicated in the subheading which reads “Raw Blastin’ Mid 60s Punk,” this collection generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll, usually consisting of songs displaying the rawer and more aggressive side of the genre often characterized by the use of fuzztone-distorted guitars and rough vocals.

The packaging features well-researched liner notes written by Tim Warren which convey basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd which once again depicts the customary revivified zombies whose ethos always demands strict adherence to what they consider to be the “one true faith” of “pure” rock & roll (i.e. with no admixture of “revisionist heresy”), and on this particular occasion they are accompanied by a very select remnant of survivors (“true” rock & roll fans and beautiful women) who have been allowed to seek refuge on rafts and be spared from the vengeful “apocalypse” (and its torrential flood of Biblical proportions prefigured typologically in earlier volumes of the BFTG series), which has been near-successfully waged against all forms of musio-cultural “heterodoxy” and its global adherents, in effect “crankin’ out” a handful of “blastin'” garage tunes (from the past) in order to “clear the way” for their envisioned “retro-future,” reducing civilization back to a supposed “Edenic” state or “glorified stone age”, making the world “safe” for the “triumphal” return of primitive two/three-chord “caveman rock”.

The set begins with “The Egyptian Thing” by the Syndicate, from Los Angeles (not to be confused with the Syndicate of Sound of San Jose), and they appear again on the rousing ninth track, “My Baby’s Barefoot.””Another Day,’ is by the Moguls, and its lyrics, instead of glorifying the rock & roll lifestyle, address the daily hassles and setbacks of being in a traveling band.The Worlocks from Elgin, Pennsylvania’s are heard on the highly frantic sixth track, “I Love You.”The Hush Puppies, continue in much the same vein with the spirited “Look for Another Love,” then later re-appear with the edgier twelfth track, “Hey, Stop Messin’ Around.”The Cliques, from Champaign, Illinois, follow suit with “So Hard,” a song whose lyrics express intense frustration with a lover.The blues-based “Orphan Boy,” by Half-Pint & the Fifths, is one of the highlights of the album and tells a tale about the dejected (and rejected) life of an orphan.The Spiders would later attain fame as Alice Cooper and are represented with two songs on the set, “Don’t Blow Your Mind,” which was a big hit in their hometown of Phoenix, Arizona, and “No Price Tag.”The Mystic Five, from Venetia, Pennsylvania, serve up the highly primitive protopunk of “Are You for Real, Girl?,” and The Bends respond in kind with “If It’s All The Same To You.”The closing track is “Slander,” by Ty Wagner.

1. The Syndicate / The Egyptian Thing [02:10]
2. The Tombstones / I Want You [02:49]
3. The Moguls / Another Day [02:20]
4. The Puddin’ Heads / Now You Say We’re Through[02:02]
5. Jim Whelan & The Beau Havens / Elizabeth[02:57]
6. The Worlocks / I Love You [02:42]
7. The Hush Puppies / Look For Another Love[02:32]
8. The Bugs / Slide [02:07]
9. The Gentrys / Wild! [02:34]
10. The Syndicate / My Baby’s Barefoot [02:41]
11. The Hush Puppies / Hey, Stop Messin’ Around[01:57]
12. The Cliques / So Hard [01:57]
13. The Heathens / The Other Way Around [02:36]
14. Beep Beep & The Roadrunners / True Love Knows[02:06]
15. The Snails / Snails’ Love Theme [02:46]
16. Mike’s Messengers / Gone And Left Me [02:54]
17. The Mustangs / That’s For Sure [02:04]
18. Tyme / Land Of 1000 Dances [03:21]
19. The Noblemen / Short Time [01:59]
20. The Invasion / Do You Like What You See [02:05]
21. The Travel Agency / Jailbait [02:51]
22. The Ron-De-Voos / The Maid [02:11]
23. It’s Us / Don’t Want Your Lovin’ [02:45]
24. Half-Pint & The Fifths / Orphan Boy [02:24]
25. The Spiders / Don’t Blow Your Mind [02:33]
26. The Grifs / Keep Dreamin’ [02:05]
27. The Retreds / Black Mona Lisa [02:55]
28. The Mystic Five / Are You For Real, Girl [02:46]
29. The Bends / If It’s All The Same To You[02:33]
30. The Cavaliers / Seven Days Of Cryin’ [02:00]
31. The Hides / Don’t Be Difficult [02:36]
32. Ty Wagner / Slander [02:06]

Back from the Grave: Vol. 8

Back from the Grave, Volume 8 (CD), is numerically, though not chronologically, the fifth installment on campact disc in the Back from the Grave series of garage rock compilations assembled by Tim Warren of Crypt Records.It was released on August 26,1996.The primary reason why there were no releases for Volumes 5, 6, and 7 in the CD-specific series (released between 1996 and 2000), is that the track listings on the albums and CD’s differed dramatically, and that most of the songs included on the first seven volumes of the LP series were configured onto the first four CDs.Making matters more complicated, Vol. 4 of the CD-specific series was actually released in 2000, four years after the release of Volume 8 (though the LP version of Volume 4 was released in 1996).In 2015, a totally new re-mastered CD series of Back from the Grave is in the process of being released, which will adhere more closely to the track listings of the LPs, and will bring the series for the first time into multi-medium coherence.

Unlike the preceding four volumes in the CD-specific series, the tracks on Volume 8 corresponded almost exactly with the LP, containing all of the songs on the LP (in the same order), but with the addition of several bonus tracks.In keeping with all of the entries in the series, and as indicated in the subheading which reads “Over 30 Cuts of Utter Snarling Mid-60’s Garage Punkrock,” this collection consists of many songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.Accordingly, the set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.The packaging features a booklet containing well-researched liner notes written by Tim Warren which conveys basic information about each song and group, such as origin, recording date, and biographical sketches, usually written in a conversational style that includes occasional slang, anecdotes, humorous asides.The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music.The booklet also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified “rock and roll” zombies who, on this occasion, target none of their customary victims (aside from an occasional prong from their devils’ pitchforks), but instead have turned up at the “mosh pit” at a 1990s “Lolabigloozzaz” festival, delightfully holding up “mosh pit cookbooks” (i.e. suggesting that the sixties garage bands were the precursors of all this), while hordes of Prozac-dependent “rejects” slam dance in the mud-drenched melee below.

The set begins with the bongo-punctuated revved-up drive of “Alright,” by the Groop, from Ohio, which was recorded at A&T Studios in Toledo, which is followed by “Can’t Tame Me,” by the Benders from Michigan.Adrian Lloyd then delivers a screaming vocal in, “Lorna.”The Chancellors from Potsdam, New York sing sarcastically about traveling around the country in “On Tour.”The Bojax, from Greenville, South Carolina released a single in 1967 on Panther records, “Go Ahead and Go,” which is included here and was produced by Rudy Wyatt of fellow Greenville band, the Wyld, who perform the next cut, “Goin’ Places.”The Painted Ship, from Vancouver, Canada, appear on two tracks, “She Said Yes” and then, later in the set, “Little White Lies.”The Merlin Tree from Austin, Texas also provide two songs: first the guitar-overdriven protopunk of “Look in Your Mirror,” the later “How to Win Friends.””I Don’t Want to Try It Again” was the debut single by the Dagenites, from Oxon Hill, Maryland, who shared the same manager with Link Wray.The Dry Grins from Lafayette, Louisiana sing the organ-infused “She’s a Drag.” Satyn’s Children close the set with “Don’t Go.”

1. The Groop / I’m Alright! [02:42]
2. The Benders / Can’t Tame Me [01:57]
3. Adrian Lloyd / Lorna [02:24]
4. The Chancellors / On Tour [02:43]
5. The Pseudos / A Long Way To Nowhere [02:26]
6. The Bojax / Go Ahead & Go [01:58]
7. The Wyld / Goin’ Places [02:35]
8. The Elite U.F.O. / Now Who’s Good Enough[02:30]
9. The Painted Ship / And She Said Yes [02:32]
10. The Merlynn Tree / Look In Your Mirror[02:29]
11. Dave Myers & The Disciples / Come On Love[01:52]
12. The Cindells / Don’t Bring Me Down [02:03]
13. James T & The Workers / That Is All [02:25]
14. The Outspoken Blues / Not Right Now [02:53]
15. The Painted Ship / I Told Those Little White Lies[02:35]
16. Just Too Much / She Gives Me Time [02:24]
17. The Cavedwellers / Run Around [02:04]
18. The Village Outcast / The Girl I Used To Have[02:00]
19. The New Fugitives / That’s Queer [02:38]
20. The Asenders / I Won’t Be Home [02:15]
21. The Tikis / We’re On The Move [02:08]
22. The Amberjacks / Hey Eriq! [02:18]
23. The Ravenz / Just Like I Want Her [02:41]
24. The Piece Kor / All I Want Is My Baby Back[02:54]
25. The Dagenites / I Don’t Want To Try It Again[02:27]
26. The Dark Horsemen / You Lied [01:42]
27. The Dave Starky 5 / Hey Everybody [01:55]
28. The Dogs / Don’t Try To Help Me [01:56]
29. The Sonics / Diddy Wah Diddy [03:11]
30. The Pulsating Heartbeats / Talkin’ About You[02:51]
31. The New Fugities / She’s My Baby [02:42]
32. The Merlynn Tree / How To Win Friends [02:28]

Back from the Grave: Vol. 9&10

Back from the Grave, Volumes 9 and 10 (CD), is numerically, though not chronologically, the fifth installment in the series of Back from the Grave of garage rock compilations released on compact disk in 2015 which, unlike the previous set of CD releases issued between 1996-2000, which it will be replacing, attempts to faithfully replicate the contents of the Back from the Grave LPs, which will bring the series for the first time into multi-medium coherence.Like all of the entries in the series it was assembled by Tim Warren of Crypt Records.In keeping with all of the entries in the series, and as indicated in the subheading which reads “Raw Blastin’ Mid 60s Punk,” this collection consists of many songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals.As with all of entries in the series, the set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll.

The first half of the set consists of tracks from the Back From the Grave, Volume 9 LP, beginning with the driving protopunk of “Circuit Breaker,” by the Pastels, from Pasco, Washington. The High Spirits form Saint Louis Park, Minnesota, do a version of the Zombies’ “It’s Alright With Me,” which at one point shifts from a slow tempo that accelerates in cadence, rising to an organ-drenched climax consummated by a guitar solo and cathartic screams.The Emeralds from Greenwood, Indiana perform the gritty blues-based “Like Father Like Son,” which recounts a tale based on A Tale of Two Cities, by Victorian novelist Charles Dickens, in which the character Jerry Cruncher is a porter by day and a grave robber at night, whose lyrics chime: “…my son goes to the church where they wear the black capes where you’re taught not to have your fun…” The Gentlemen, from Dallas, Texas perform the 1965 demo acetate version of “It’s a Cry’n Shame.” Knoll Allen And The Noble Savages sing the highly primitive sexually-charged “Animal.” On track 16, James Bond & The Agents perform “Wild Angel,” which is the opening cut on the Back From the Grave, Volume 10 LP edition. The Four, from Brownville, Tennessee sing the highly suggestive “69,” which was recorded at Sam Phillips’ Sun Studio in Memphis and is set to crunching Kink’s style riffs. “Return to Innocence” is by the Expressions, from Ringgold Georgia, and previously appeared on the Destination Frantic Volume Three compilation, put out by Zone 66 Records. The Hotbeats from Bristol, Rhode Island perform “Listen.”The set closes with GMC and the Arcelles humorous send up of the Sonics’ “The Witch.”

1. The Pastels – Circuit Breaker [02:13]
2. The High Spirits – It’s Alright with Me [02:04]
3. The Warlocks – Beware [03:09]
4. The Emeralds – Like Father Like Son [02:45]
5. The Why-Nots – Tamborine [02:28]
6. The Turncoats – Something Better [03:40]
7. The Classics – I’m Hurtin’ [02:25]
8. The Raevins – The Edge of Time [02:49]
9. Lord Charles & The Prophets – Ask Me No Questions [02:11]
10. The Gentlemen – It’s a Cry’n Shame [02:25]
11. The Shakles – Whizz #7 [02:42]
12. Unknown Group – When I Feel Better [01:53]
13. Knoll Allen & The Noble Savages – Animal [01:49]
14. The Donshires – Sad and Blue [02:20]
15. The Starfyres – No Room for Your Love [02:25]
16. James Bond & The Agents – Wild Angel [03:28]
17. John English III & The Heathens – I Need You Near [02:06]
18. The Four – 69 [02:14]
19. The Expressions – Return to Innocence [02:24]
20. The Orphans – Without You [02:45]
21. The Sires – Don’t Look Now [02:24]
22. It’s Them (TTHHEMM) – Baby (I Still Want Your Lovon’) [02:48]
23. The Orphans – Hey Gyp [02:24]
24. Nobody’s Children – Mother’s Tin Moustache [02:51]
25. South’s Soul – Lost [02:12]
26. The Hotbeats – Listen [02:13]
27. The Hard Times – Mr. Rolling Stone [02:29]
28. Four More – Problem Child [01:55]
29. The Color – Young Miss Larsen [02:20]
30. GMC & The Arcells – The Witch [02:15]

All text from Wikipedia, the free encyclopedia

The huge musical influence of the church has meant that gospel music and the blues have long been intertwined. From the true guitar evangelists such as Blind Willie Johnson and Reverend Gary Davis to blues legends Charley Patton and Skip James, these recordings illustrate how the line separating the Lord’s song and ‘devil’s music’ was very thin.
Although the blues and gospel music of the African American in the pre-war era seem quite distinct, they were essentially two sides of the same coin. Both genres shared the same longing for a better life and an almost blind hope in deliverance and redemption. The musical influence of the church was profound on many blues singers, as this was often where they started out.

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Many early bluesmen would freely switch between playing blues and gospel and it was not uncommon for artists to go back and forth between careers as preachers and blues performers.

Ultimately famed for his ‘devil’s music’, Blind Lemon Jefferson’s version of ‘All I Want Is That Pure Religion’ was one of two recordings from his first session in 1926 which were gospel songs, released under the name Deacon L. J. Bates. Later that year Blind Joe Taggart and Edward W. Clayborn were the first genuine guitar evangelists to record. Clayborn only performed gospel tunes but Taggart also recorded secular music under a number of different pseudonyms. The success of these early recordings led to other singer-guitarists being sought out and recorded.

Like the itinerant bluesmen, the guitar evangelists had to ply their trade on street corners and anywhere that would allow them to scrape a meagre living together. One such artist was Blind Willie Johnson who, although a devout Christian performing only religious material, became a seminal figure in the history of the blues. From the dazzling slide guitar playing and earthy, pained vocals on Johnson’s extraordinary recordings one can draw an obvious musical comparison with the blues. It is, however, the shared subject matter of human struggle that connects the blues and gospel which resonates at the deepest level. After Johnson’s initial recordings sold very well, many star bluesmen of the time such as Barbecue Bob and Charley Patton followed suit with versions of Negro spirituals, often credited under pseudonyms in order not to offend the church.

Undoubtedly, the most technically adept of the true guitar evangelists was Reverend Gary Davis, whose incredible ragtime-infused style has been a huge inspiration to guitar fingerpickers ever since. Davis was an important inspiration to the folk music revival alongside other featured bluesmen such as Skip James (who was later ordained as a minister), Mississippi John Hurt and Bukka White, all of whom had recorded a small number of spirituals and were given a new lease of life in the 1960s. Josh white was another and here he teams up with Blind Joe Taggart, a man whom he later described as ‘tricky, nasty and mean’. The pointed ‘Scandalous And A Shame’ was his first popular Paramount recording. Blind Willie McTell was an active preacher later in life playing only religious material but sadly died a few years too early to benefit from the 1960s blues revival.

It has been said that the ‘Queen Of Country Blues’ Memphis Minnie only once went to church to see a gospel group perform, but you wouldn’t know this when hearing her take on ‘Let Me Ride’ which evokes the mood and fervour of Southern black worship. Likewise, many of Bessie Smith’s classic blues songs have a hymn-like quality as a result of the fusion of the sacred and the secular in her delivery. Her beautiful version of ‘On Revival Day’ undoubtedly reflects the dynamics she would have heard in the sacred songs in her childhood church. Less is known about Mother McCollum whose stompin’ masterpiece ‘Jesus Is My Air-O-plane’ displays her wonderful guitar-playing and soulful vocals.

01 Rev. Gary Davis – I Am The Light (2:59)
02 Blind Willie Johnson – I Know His Blood Can Make Me Whole (3:00)
03 Mississippi John Hurt – Praying On The Old Camp Ground (2:34)
04 Bukka White – The Promise True And Grand (3:02)
05 Rev. Edward W. Clayborn – (Your Enemy Cannot Harm You (2:54)
06 Blind Roosevelt Graves – I’ll Be Rested (When The Roll Is Called) (2:26)
07 Blind Boy Fuller – Twelve Gates To The City (2:40)
08 Blind Joe Taggart – Scandalous And A Shame (2:53)
09 Mother McCollum – Jesus Is My Air-O-Plane (3:17)
10 Tallahassee Tight – Got Heaven In My View (3:03)
11 Skip James – Be Ready When He Comes (2:52)
12 Julius Daniels – Slippin’ And Slidin’ Up The Golden Street (3:09)
13 Blind Mamie Forehand – Wouldn’t Mind Dying If Dying Was All (3:24)
14 Lil’ McClintock – Mother Called Her Child To Her Dying Bed (3:08)
15 Bo Weavil Jackson – I’m On My Way To The Kingdom Land (2:58)
16 Memphis Minnie – Let Me Ride (2:56)
17 Blind Gussie Nesbit – I’ll Just Stand And Wring My Hands And Cry (3:13)
18 Blind Willie McTell – Georgia Rag (3:09)
19 Blind Willie Davis – I’ve Got A Key To The Kingdom (3:10)
20 Henry Thomas – Jonah In The Wilderness (2:52)
21 Barbecue Bob – When The Saints Go Marching In (3:05)
22 Bessie Smith – On Revival Day (A Rhythmic Spiritual) (2:53)
23 Charley Patton – Jesue Is A Dying-Bed Maker (2:50)
24 Sam Collins – Lead Me All The Way (2:39)
25 Blind Lemon Jefferson – All I Want Is That Pure Religion (3:10)

In the early ’70s, the conventional wisdom in rock & roll was that Los Angeles was the home of all that was mellow and groovy, and New York City was the go-to place for music that was gritty and passionate. This may be why nearly all the major New York punk bands from the rise of the CBGB and Max’s scenes managed to land record deals fairly early in their careers, but the groups that filled the Masque in Hollywood were poorly documented, usually recorded only on independently produced 45s, if at all. History has made it clear that, as usual, conventional wisdom was off balance, and L.A. was home to some of the very best American punk bands of the day. Soul Jazz Records’ ongoing PUNK 45 series offers a concise and frantic overview of the first golden era of Los Angeles punk with…

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…the album Chaos in the City of Angels and Devils — Hollywood from X to Zero & Hardcore on the Beaches: Punk in Los Angeles 1977-81. While that name may be a tongue twister, the 22 tunes included here are all clearly winners, and point not only to the quality of the Los Angeles punk movement, but to its diversity early on. Jumping from the purposefully awkward rants of the Urinals (“Ack Ack Ack”) and the speedy blast of the Weirdos (“Life of Crime”) to the grainy drama of the Flesh Eaters (“Disintegration Nation”) and the off-kilter socio-sexual politics of Black Randy & the Metrosquad (“Trouble at the Cup”), these bands were fast, loud, and noisy in an impressive variety of ways, and in this context even the aggressively amateurish early work from the Germs (“Forming”) and the fierce but cautious proto-hardcore of Middle Class (“Out of Vogue”) sounds revelatory, or at very least like the blueprint a few thousand bands would follow in the years to come. The two cuts from the Deadbeats (“Brainless” and “Final Ride”) confirm that even the lesser-known bands on the scene were often remarkable, and while the relative muscle and arrogance of T.S.O.L. (“World War III”) and the Adolescents (“Amoeba”) point to the more faceless direction SoCal punk would follow in the ’80s and ’90s, at this point they sounded bright and vital. And if there’s a better snotty/funny opening line than that of the Eyes’ “TAQN” (“Be like someone else! Take a Quaalude now!”), it’s doubtless still in the Top Ten. Chaos in the City of Angels and Devils isn’t the perfect Los Angeles punk sampler (at least not without Black Flag or the Screamers), and the presence of “I’ve Got a Right” by Iggy & the Stooges is questionable (not an L.A. band and a few years early for punk), but this is a well-chosen overview filled with underground classics, and if you have a taste for first-era punk from any part of the world, you’ll find lots of top-notch pogo action here.

February 1st, marked the late reggae and lover’s rock icon Dennis Brown‘s 59th birthday. Hailed by NPR Morning Edition as one of the 50 great voices of all time and by Bob Marley as one of the best reggae singers in the world – the revered Jamaican icon began his recording career at the tender age of 11 and has more than 75 albums to date. Even though he passed away at the early age of 42, his music and legacy lives on.
VP Records, reggae’s leading distributor and label, pay homage with an extensive tribute album We Remember Dennis Brown of his timeless hits covered by some reggae and R&B’s most renowned artists today. Each song was re-produced by Jamaican legend Clive Hunt with his all-star team of musicians to give each song an authentic…

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…yet fresh feel.

We Remember Dennis Brown feature an array of singers from Brown’s native country and across the globe who he influenced. Jamaica’s latest crop of stars (including Jah Cure, Gyptian, Chronixx and Jesse Royal) as well as the island’s icons who worked with Brown (like reggae vocalists Bushman and Freddie McGregor) all offer their contributions. Freddie’s son Chino McGregor and Christopher Ellis, the talented UK-based singer and offspring of Alton Ellis (another one of Brown’s musical mentors and confidants), both deliver powerful renditions of Brown’s classics. New Zealand rockers also create a breezy rendition of If I Had the World. The worldly collection proves that his universal sound transcends all boundaries of time, race and creed.

1. Fat White Family – Whitest Boy On the Beach
2. John Cale – Close Watch
3. Cross Record – Steady Waves
4. The Besnard Lakes – The Golden Lion
5. Lucinda Williams – Dust
6. Cian Nugent – Lost Your Way
7. Saul Williams – The Bear / Colton As Cotton
8. Eleanor Friedberger – He Didn’t Mention His…
9. Baaba Maal – Fulani Rock
10. Tindersticks (feat. Lhasa De Sela) – Hey Lucinda
11. Lera Lynn – Out to Sea
12. Yorkston Thorne Khan – Sufi Song
13. The Long Ryders – Harriet Tubman’s Gonna Carry Me Home
14. Tortoise – Gesceap
15. Suede – Outsiders

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The soundtrack to the 2015 jazz biopic Born to Be Blue features music that strongly evinces, but never quite lives up to, the sound of the film’s main protagonist, the late trumpeter/vocalist Chet Baker.
Starring Ethan Hawke as Baker and directed by Robert Budreau, Born to Be Blue is a semi-fictitious retelling of Baker’s life set during his career comeback in the ’60s. Blessed with movie star good looks, a warm, lyrical trumpet style, and an equally supple voice, Baker was a jazz star during the ’50s.
Influenced by the spare melodicism of trumpeter Miles Davis, Baker rose to fame and helped popularize the “cool” West Coast style of acoustic jazz. He was also a notorious heroin addict who spent much of his career touring in Europe as a kind of cult jazz legend; a status only magnified…

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…by his mysterious death after alling from a window in Amsterdam in 1988. Interestingly, whether due to rights issues or a creative choice, Budreau didn’t use any actual Baker recordings on the soundtrack. Instead, he employed Canadian pianist David Braid and trumpeter Kevin Turcotte to record soundalike versions of songs strongly associated with Baker during his career. As these are jazz standards, and not songs composed by Baker, Braid and Turcotte are free to re-create Baker’s recordings replete with what are essentially transcriptions of Baker’s original solos. While the results are well-crafted and convincing, they are also brief. Some, like “Let’s Get Lost,” clock in around two minutes, just long enough for Turcotte to play the melody, a single Baker chorus, and quickly end the song before the illusion is shattered. In that sense, the recordings come off like ersatz museum pieces, intended less as music to listen to, and more as functional bits of window dressing to move the plot along. There are also a few new Braid compositions, as well as period-specific cuts from Odetta and Charles Mingus. Much more intriguing are the two recordings featuring Hawke on vocals, including a surprisingly effective take on Baker’s most identifiable recording, “My Funny Valentine.” As Baker sang in a naturalistic, unaffected manner, Hawke’s own delicate, softly wavering tone is a good fit. What he lacks of the jazz icon’s warmth and rhythmic lilt, he makes up for by conjuring Baker’s blithe, tragic romantic swoon.

At nine discs and 244 tracks, The Complete Stax Volt Singles: 1959-1968 is far too exhaustive for casual fans, but that’s not who the set is designed for — it’s made for the collector.
Featuring every A-side the label released during those nine years, as well as several B-sides, the set is a definitive portrait of gritty, deep Southern soul. Many of the genre’s major names — Otis Redding, Sam & Dave, Carla Thomas, Booker T. & the MG’s, William Bell, Rufus Thomas, the Bar-Kays, Albert King — plus many terrific one-shot wonders are showcased in terrific sound and augmented with an in-depth booklet. For any serious soul or rock collector, it’s an essential set, since Stax-Volt was not only a musically revolutionary label, its roster was deep with talent, which means much of…

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…the music on this collection is first-rate. But if you only want the hits, you’ll be better off with a smaller collection, since too much of this set will sound too similar, and sorting through the nine discs will be a monumental task if you only want to hear Otis, Rufus, Carla, and Sam & Dave.