Released in 1965, when the Everlys were one of the only rock'n'roll era acts still being influenced by and influencing the cutting edge of pop music, and still having hits, at least outside the US. I would guess that most of the British groups listened carefully to the production and particularly the guitar sounds on this record (the ever amazing James Burton), and that 'Man With Money' was a touchstone for the future sound of The Who.
Really enjoying this Texas band just now. The A side of this single comes off a great album called 'The Strange Boys and Girls Club' (on the magnificent In The Red record label). Like the Black Lips they play old music but make it fresh and vital. Their sound is a garagey slurred take on the blues, with a real pop ear under raw production, and for me it really hits the spot. The B-side is an old blues/rock standard that I first heard in its rock form (Them, Amboy Dukes, AC/DC*), but The Strange Boys laid back shuffle takes it further back toward Big Joe Williams 1935 version, though John Lee Hooker gets the writing credit on the Strange Boys' sleeve (not sure how that works, good lawyers I guess).
I obtained this 7" from Missing Link one of two great Melbourne record shops still selling new music, both from city centre basements, and thriving through a love of music and strong connection with the local scene. While Missing Link leans towards punk, metal and experimental stuff, the other great store (and record label), Off The Hip, focusses on garage and '60s style rock. Wish there was something like either back in embra.
The STRANGE BOYS- Woe Is You and Me
The STRANGE BOYS- Baby, Please Don't Go
*I'm afraid I couldn't resist posting this clip of AC/DC camping up 'Baby, Please Don't Go' with Bon in a drag, fag in hand!
Here we have a reissue from Zenith Records (who run their own vinyl pressing plant in Melbourne) of three songs from Toni McCann's impossible to find first two singles, even this reissue is pretty rare now. The legend on the reverse of the sleeve states: "Our very own (child) queen of punk", and the wild garage beat sounds contained within live up to this.
Toni recorded these tracks when she was just fifteen years old, backed by Tony Worsley's band, The Fabulous Blue Jays, and they stand as the toughest female fronted tracks of '60s Australian beat, a match to anything on the wonderful Girls From the Garage compilations. There's a cool interview with Toni here.
Speaking of The Thanes, here is singer Lenny Helsing, pre-Thanes in The Green Telescope. It may seem slightly mad (and probably is) to go all the way around the world to buy a record by an Edinburgh band, but you just don't see these in Scotland anymore, plus I was much too young to buy it first time around. To my surprise I've seen lots of Lenny's old records (Thanes, Green Telescope and even The Stayrcase) in various Melbourne record shops and having spoken to a few folks it seems that he was a bit of hero here back in the garage revival days, and of course Melbourne label Corduroy (now defunct?) put out a couple of The Thanes' records.
Anyway, I've posted the three band originals (the other track is an Outsiders cover, naturally). The production is great especially considering the 1985 date, and although obviously indebted to '60s garage and nederbeat, some punk/indie elements (in a good way), nice songwriting, and Lenny's awesome vocals combine to make this much more than an exercise in nostalgia; in fact to my ears it's one of the best artefacts of the 80s garage revival.
I think some of these tracks are on a CD entitled 'Gardyloo! Edinburgh's Detritus 1983-2003' a collection of overlooked garage and rock'n'roll. Unsure if you can get this in the shops, but if you message Beatsville they might sell you one, as I know Angus has plenty in his cupboard! Lenny also drums on the cracking new Wildebeests LP which I advise tracking down.
Here is a new record! These Geelong kids (next town along from Melbourne) recently played a Friday night residency at a bar near my house, and I ended up catching them twice. They play super enthusiastic and authentic 1960s r'n'b in the style of the very early Rolling Stones/Pretty Things/Beatles, with a large dash of Back From The Grave garage. Now they certainly aren't the first or will they be the last to play this stuff, but they do it really well. Nearly all the songs are fine originals (the only cover I noticed was 'I'm Rowed Out' by the Eyes) that manage to combine really raw playing with great melodies, and they have two ace frontmen who split singing/snarling/harmonica duties.
Back in the UK we have some really cool garage bands (The Thanes to pick the best Scottish example) but, no offence guys, most of them are hardly spring chickens! So the fact The Frowning Clouds are all about 17 years old and look just like like their 60s idols really adds to the authenticity, as did the screaming girls down the front of the stage (I kid you not).
These two songs come from their first record, an EP (though is it really an EP if it only has 3 songs and plays at 45?) released by a small Spanish label Monterrey, and although the production could be better, this is a fine debut. Watch out for a full length LP that's in the works.
I got this single in Brisbane, where The Avengers ruled the roost for a couple of years in the late '60s (no relation to the New Zealand band of the same name). 'Listen Listen' is a fabulous Beatles rip-off; a confident, melodic rocker, excellently produced by Howard Gable. Unfortunately the brash style, that works so well on the A-side, doesn't hit the spot on the flip, where their cover of The Outer Limits' 'Just One More Chance' lacks the fragility that makes the original such a good track.
So far I've only blogged about Australian based artists, but my criteria is simply that they should be records I've acquired here, so this one's an infectious double sider of Memphis rock'n'roll novelty pop that I scored at a Melbourne record fair.
Gene Simmons was a minor rockabilly singer who recorded for both Sun and Hi records, who's name was later borrowed by future Kiss man Chaim Witz. 'Haunted House', which must of sounded a little behind the times when it charted in 1964, was originally done by Johnny Fuller in 1958 and Gene first heard the song performed live by Sam the Sham, who also recorded a version at about the same time. All three versions are great but I think Simmon's is the best. The B-side, a Simmons/Ray Harris original, is also a real fun tune with upfront piano and a bit of a New Orleans feel.
I recently moved to Melbourne from Scotland. Due to a pre-existing record buying illness, I have been perusing the op-shops and record stores of Australia for shiny black plastic. This is a blog about some of my discoveries.
All music is taken from the records, with crackles and scratches included.
A perfect single. Both sides. 
