Monday, July 22, 2013

The Tornadoes - Bustin´ Surfboards (1963)

Not to be confused with the British studio group that gave the world the Joe Meek-produced instrumental "Telstar," or the Midwest group that recorded "Scalping Party" on Cuca, or the Kennewick, Washington combo of the same name, this group of Tornadoes burst onto the national scene with one of the very first surf instrumentals, "Bustin' Surfboards," in 1962. A family band, the Tornadoes' lineup consisted of two brothers (Gerald and Norman Sanders), their cousin Jesse Sanders, and a friend, Leonard Delaney. They started out as an instrumental group from San Bernardino, California called the Vaqueros. After adding sax man George White to the lineup, they changed their name to the Tornadoes. Their lone national chart entry was nonetheless an important one, with "Bustin' Surfboards" in 1962 making the playlists in cities that were far removed from any kind of surfing activity and signaling the beginnings of surf music as a national craze. Although using an off-brand echo unit in place of the Fender reverb unit (which hadn't been invented yet), the record had the prerequisite sound of this fledgling genre, utilizing a solid surfer's stomp drumbeat and crashing wave sound effects throughout.

More recordings followed, with a name change to the Hollywood Tornadoes for their next two singles in deference to their British namesakes, who had charted higher with "Telstar." Their fourth single, "Shootin' Beavers," was banned from radio play because of the so-called suggestive title. No more hits were forthcoming, although they did release one excellent album that stands as one of the earliest -- and best -- examples of the genre. And when Quentin Tarantino featured "Bustin' Surfboards" in his 1994 film Pulp Fiction, the bandmembers subsequently reunited -- minus saxophonist George White -- to release Bustin' Surfboards '98 three and a half decades after their original hit.

The Tornadoes' biggest hit became the title track of this, their only album, which also includes acknowledged surf classics like "Shootin' Beavers" and "The Gremmie." The inclusion of three bonus tracks (including the previously unreleased "Charge of the Tornadoes") make this a must-own for fans of the surfin' sound

The Bel Airs - Origins Of Surf Music (1960-63)

One of the very first instrumental surf combos, this Southern California group recorded one of the first big regional surf hits, "Mr. Moto." Its heavily reverbed guitar lines, distinct Mexican melodic influence, and honking sax helped set the prototype for hundreds of songs that would be recorded in the next two to three years. None of the other material the group recorded in the early '60s was as successful or memorable. Guitarist Paul Johnson was still active decades later, while guitarist Eddie Bertrand went on to form the surf band Eddie & the Showmen.

Compilation of rare sides, including early home demos featuring nothing more than two guitars, and later sessions cut at L.A.'s famed Gold Star Studios in 1963. Interesting as a document of some of the very first surf recordings, but not terribly interesting in and of itself -- "Mr. Moto" (two versions included here) towers over everything else. Comes with an extensively annotated booklet by founding member Paul Johnson.

The Atlantics - The Explosive Sound of The Atlantics (1964)

The Atlantics were Australia's answer to the Shadows and the ubiquitous surf sound widespread in the early sixties. They were, not withstanding, very accomplished musicians which set them apart from other bands of the ilk and held their own in comparison.

Becoming popular along the Northern beaches of Sydney they were signed to CBS and scored a hit with Bombora, the name of a surfing team, which propelled them to national prominence. Remaining as an instrumental group throughout the next two years, and releasing numerous 45s and albums, their popularity waned as the 'beat' invasion sound began to take over. They started to play with many differing styles and record with solo artists to arrest their slide, probably the most interesting effort was their 45, a throbbing punk classic, Come On/You Tell Me Why which featured Johnny Rebb on vocals. As well they recorded an EP at this time I Put A Spell On You, having left CBS for Sunshine. It is an interesting attempt at a psychedelic sound, something that only a few well known Australian bands experimented with at that particular time. Along with the 45 Come On and the EP they are two of the most sought-after recordings by collectors of sixties punk.

In later years the band formed the Ramrod label and studio, concentrating more on songwriting and production, they produced some country-tinged 45s while returning to their roots in the early seventies with an album of previous surf sound hits and some new compositions before calling it a day. There are many compilations available through CBS and Cane Toad which chart their history and are well worth seeking out.

As one would expect some of their songs have been captured on retrospective compilations. You'll find Bombora on Aussie Rock Collection and Nat Young's History Of Australian Surfing, The Boys features on Australian Rock And Roll Stars; The Crusher is also on Aussie Rock Collection and Come On and It's A Hard Life figure on Vol. 1 and Vol. 2 of Ugly Things respectively. Finally, Light Shades Of Dark, Part 2 appears on Datura Dreamtime.

Of their retrospective compilations CBS Singles Collection 1963-65 is probably the best. It came with excellent liner notes (courtesy of Steve McParland), good clear sound quality and some superb photos. The Teddy Bears Picnic Stomp was a compilation of cuts from their first three albums and includes a previously unreleased version of War Of The Worlds, the released version of which appeared on The Explosive Sounds Of The Atlantics and The Atlantics Greatest Hits.

(Vernon Joynson / Michael Wilczek)

This is a bit cornball compared to their best stuff -- a few of the numbers are surfizations of standards like "Secret Love," and though most of the material is original, the frequent allusions to folk melodies sometimes make this sound like the kind of surf band you'd find playing in a Greek restaurant. There's plenty of nifty guitar work, though, and only a couple of cuts are on The CBS Singles Collection, making this a nifty supplement to that compilation. The original Australian LP is far harder to find than the German CD reissue, which adds some bonus cuts.

The Atlantics - Bombora (1963)

One of the greatest instrumental surf groups did not even hail from America. The Atlantics, despite their name, were an Australian combo who not only emulated the sound of California surf music, but ranked among its very best practitioners. Featuring a reverb-heavy, extremely "wet" sound, the Atlantics attacked original material, standards, and movie themes with a nervy blend of precision and over-the-top intensity. As in Dick Dale's music, touches of Middle Eastern influences can be detected in the rhythms of melodies (some members of the group claimed Greek and Egyptian heritage). Their second single, "Bombora," went to the top of the Australian charts in 1963, and the follow-up, "The Crusher," was also a big hit. But Beatlemania spelled commercial death for the Atlantics, as it did for U.S. surf combos, in 1964 and 1965. After several albums and a few more equally fine instrumental singles, the Atlantics became a vocal group in the last half of the '60s, but are most renowned for their instrumental recordings.

The Atlantics were an Australian surf rock band in the early 1960s and arguably Australia's most successful of the genre. Most well-known for their classic hit, "Bombora", their later recordings such as "Come On" are examples of 1960s garage rock. They were the first Australian rock band to write their own hits. In 2000 the group reformed with three of the original members, and they are still actively releasing new material and performing live.

History Early years
Formed in the southern beachside suburbs of Sydney, Australia in early 1961, the group began performing locally, and soon gained an enthusiastic following. Contrary to the accepted surfing connotations of their name they actually took their name from a local brand of petrol, Atlantic. In early 1962 they appeared on a local television show New Faces, where they were voted "Most Promising Group of 1962." They signed a deal with booking agent Joan King, who convinced the members to quit their day jobs and produce a demo, which she shopped to a variety of record labels. After several rejections, they were signed to CBS Records in 1963. The A&R representative for CBS, Sven Libaek, was especially impressed by the group's original compositions. Most Australian instrumental rock bands at the time merely aped and covered material from The Shadows or, to a lesser extent, The Ventures. The Atlantics had the advantage of having twin lead guitarists, both highly proficient on solo work and both capable of pushing the band along with a driving rythmn. It was this, together with the band members European cultural influences (largely Greek with some Yugoslav and Hungarian - all members came to Australia as child migrants) that gave their music that passionate edge over other local bands of their day.

In February 1963, CBS released the first single, "Moon Man" b/w "Dark Eyes". "Moon Man" was an original song written by Peter Hood, and "Dark Eyes" was a traditional tune reinterpreted by the band. While the single was not a hit, it did gain enough attention for CBS to agree to continue to support the group.
Read more on:

Classic lineup 1962-1970
Peter Hood - Drums -1961 to present
Theo Penglis - Lead & Rhythm guitar, later Keyboards 1961-1970
Bosco Bosanac - Bass - 1961 to present
Jim Skiathitis - Lead & Rhythm guitar 1962 - present

Other members
Johnny Rebb - Lead Vocals - 1965-1970
Eddie Matzenik - Guitar - 1961-1962
Brian Burns - Guitar 1985
Martin Cilia - Guitar- 1999 to present (new member, replaced Theo Penglis in current group)

01. Bombora
02. Adventures in Paradise
03. The Gremlin King
04. Dark Eyes
05. Glassy Walls
06. Turista
07. Surfer's Paradise
08. Bluebottles
09. The World Is Waiting for the Sunrise
10. Free Fall
11. Greensleeves

This is the best Instrumental Surf Rock you can get,
 if are tierd of all shadows and ventures records !!

The Original Surfaris - Bombora

Originally slated to be released in 1963, this album was withdrawn due to litigation over the use of The Surfaris name, and retrieved from the vaults in the mid-'90s. A fair but unexceptional instrumental surf collection; the best cuts (most notably the title track) have appeared on compilations.


Those of us who've hanged 10 in our dreams know "Wipeout" by the Surfaris. These, however, are the Original Surfaris, some kids from the Fullerton area of Orange County who arrived at their name not via the Beach Boys' "Surfin' Safari," but via the Safaris' doo-wop hit "Image of a Girl." Such romantic notions can't deter drummer Mike Biondi from unleashing a maniacal drum solo that squeezes as many rim shots into 12 bars as the other Surfaris' Ron Wilson unloads in an entire chorus. Wild and woolly though the Original Surfaris may be (Larry Weed's ripping leads are precise and deadly) they also know their way around a ballad; "Surf Angel" is as wonderfully mushy as anything by Rosie & the Originals. --Jud Cost

Quite possibly the greatest surf album you've never heard, this 1963 session was only the stuff of legend until purloined by Sundazed. Screaming guitars, screaming sax, & screaming groupies vie for the stereo microphones in this Tony Hilder production that'll become the prize of your surf collection should you buy it, which you most certainly should, indeed. We ain't lyin'. Sundazed. 1995.

BOMBORA! was recorded and scheduled for release in 1963, but was unissued due to legal problems. This is the album's first release. Quite possibly the greatest surf album you've never heard, this 1963 session was only the stuff of legend until purloined by Sundazed. Screaming guitars, screaming sax, & screaming groupies vie for the stereo microphones in this Tony Hilder production that'll become the prize of your surf collection should you buy it, which you most certainly should, indeed. We ain't lyin'. Sundazed. 1995. Includes liner notes by Robert J. Dalley. This is part of Sundazed records' Yesterdazed Series. Personnel: Larry Weed (guitar); Doug Weisman (saxophone); Al Valdez (piano); Mike Biondi (drums). Liner Note Author: Robert J. Dalley. The Original Surfaris: Larry Weed, Chuck Vehle (guitar), Doug Wiseman (saxophone), Al Valdez (piano), Jim Tran (bass), Mike Biondi (drums). Compilation producer: Bob Irwin. Dirty Linen (4-5/96, p.55) - "...a great `lost' album that ended up being shelved in a vault in 1963. You'll hear `driving, twin-guitar, tuff-sax wallop' as you cruise through the ultimate surf soundtracks..."

The Surfaris - Gone With The Wave & Surfers Rule

Saturday, July 20, 2013

The Surfaris - Fun City USA & Play (1964,1965)

A Glendora, CA, surf group remembered for "Wipe Out," the number two 1963 hit that ranks as one of the great rock instrumentals, featuring a classic up-and-down guitar riff and a classic solo drum roll break, both of which were emulated by millions (the number is no exaggeration) of beginning rock & rollers. They recorded an astonishing number of albums (about half a dozen) and singles in the mid-'60s; the "Wipe Out" follow-up, "Point Panic," was the only one to struggle up to the middle of the charts. The Surfaris were not extraordinary, but they were more talented than the typical one-shot surf group; drummer Ron Wilson was praised by session stickman extraordinaire Hal Blaine, and his uninhibited splashing style sounds like a direct ancestor to Keith Moon. He also took the lead vocals on the group's occasional Beach Boys imitations.

The Rock-A-Teens - Woo Hoo (1960)

"Woo Hoo" is a rockabilly song, credited to Virginia bar owner George Donald McGraw and originally released by The Rock-A-Teens in 1959.
It is also the title track of The Rock-A-Teens 1959 album featuring the songs: Woo-hoo; Doggone It Baby; I'm Not Afraid; That's My Mama; Dance To The Bop; Story Of A Woman; Twangy; Janis Will Rock; Pagan; Lotta Boppin'; Oh My Nerves; I Was Born To Rock.

The Rock-A-Teens were an American rockabilly group from Richmond, Virginia, active in the late 1950s.
They are best known for their 1959 single, written by George Donald McGraw, "Woo Hoo", backed with "Untrue", released on Roulette Records. The song hit No. 16 on the Billboard Hot 100, but it proved to be their only hit.

The Rock-A-Teens - Woo Hoo (+bonus)

A1  Woo-Hoo
A2 Doggone It Baby
A3 I'm Not Afraid
A4 That's My Mama
A5 Dance to The Bop
A6 Story Of A Woman
B1 Twangy
B2 Janis Will Rock
B3 Pagan
B4 Lotta Bopin'
B5 Oh My Nerves
B6 I Was Born To Rock

VA - Argentina Beat & Under Vol 1-4

Thanks for this gems to Wirtis

VA - Nederbeat Dutch Nuggets 63-69 Vol. 6 (CD 5 Beat, Bluf & Branie and Nederbeat Downbeat ) Vol.6


Thursday, July 18, 2013

Heimatliche klaenge The Savages Vol.143

The Savages sind fьnf junge Musiker aus Zьrich, wobei sie aber gar nicht so wild sind, wie ihr Name
vermuten lдsst, denn sie wehren sich energisch als Beatband deklariert zu werden. Damit Sie die
Savages etwas nдher kennenlernen, zeichnen wir Ihnen mit folgenden Zeilen die Laufbahn der 
"Wilden" kurz auf.
Bekannt wurden sie durch Auftritte in Jugendhдusern, Gala-Abende und am BLICK-Festival. Nach
diesen Erfolgen machten Sie schnell Karriere und es folgten Auftritte mit Bernd Spier und Tony 
Sheridan im Road Shark Club, eine Live-Show mit Drafi Deutscher, ferner gingen sie mit der Sдngerin
Liane und Jo Roland auf Tournee. Das Schweizer Fernsehen stellte die Savages in der Sendung 
Rendez-Vous vor und Albert Werner vom Radio Basel interviewte sie in der Teenagersendung "Sali
Eine Filmgesellschaft holte die Savages nach Frankfurt vor die Kameras um einen Werbefilm fьr ein
deutsches Auto zu drehen. Dieser Spot wurde in Amerika, Finnland, Italien sowie bei uns gezeigt, 
wobei er besonders im Sьden Anklang fand. Ausschnitte von der Musik, die der bekannte Jazz-
Saxophonist Bruno Spoerri eigens fьr sie schrieb, werden heute noch fьr neue Auto-Spots verwendet.
Seit einem Jahr sind sie nun Profis. Sie lernten in dieser Zeit viel dazu und haben sich mit ihrem 
gepflegten Auftreten zur beliebten Dancing-Band emporgespielt. Was die Savages anstreben, ist eine
gute Formation zu sein, die Hits von gestern und heute spielt, um so fьr das Publikum einen 
beschwingten und abwechslungsreichen Abend zu gestalten.
Auch wenn die Titel dieser Langspielplatte nicht komerziell angelegt sind, glauben wir sagen zu 
kцnnen, dass Sie mit "Easy Dance" an jeder Tanz-Party einen Trumpf ausspielen werden.

The Savages - Easy Dance With (Layola L30-318 swiss)
01 - Mefie Toi
02 - Bastic
03 - Christine
04 - Main Theme
05 - The Lute Number
06 - Hava Nagila
07 - Listen To My Heard
08 - Early Bird
09 - Archimede
10 - T'en Vas Pas
11 - Partisan
12 - Drum Stomp
13 - Johsin
14 - Dark Eyes
15 - Hully Bach
16 - Swiss Mountains Waltz
17 - Candy Dancer

18 - Rolling Cadets (flexidisk)

21 indfødte lyde - Native Sounds - Denmark Record-Labels

 indfødte lyde - Native Sounds - Denmark Record-Labels
vol. 21

Ole & The Others - Marley Purt Drive
Ole & The Others - What Have They Done To The Rain
Ole Erling Gruppen featuring Peter Lau - Lunik
Ole Erling Gruppen & Sussi Holm - Sunny
Pede Brothers - Baby Dance For Me
Pede Brothers - Jeg Tror Endnu
Pede Brothers - Oh Darling
Pede Brothers - Rжk Mig Dine Hжnder Susanne
Pede Brothers - Walking Down
Pede Brothers - What Can I Do
Rangers - Еh, Susanne
Rangers - Kicks
Rangers - Sе Sе Sе Sе
Rangers - There She Goes
Raws - When I Walked
Red Mustangs - Shake
Red Mustangs - Stagger Lee
Red Mustangs - Tonight
Red Mustangs - Who Greets Who
Rune Christy & The Christies - Hello
Sharons - Everything's Alright
Sharons - What To Do
Silverbeats - If You Tell Me
Silverbeats - Please Come Back
Snakes - Don't Ever Leave Me
Snakes - Hello Josephine