Reviews of tasty and obscure hook-filled rock'n' roll releases (Glam, Heavy Bonehead Crunchers, Powerpop, Pop/psych,Garage, Surf, 60s Girl Group Rock)...Plus any quirky musings that tickle my fancy...
I created this blog in order to stimulate interest, share discoveries and encourage people to go out and search for the original vinyl. Hopefully this blog might also encourage labels to actually compile some of this stuff officialy.
GYGAFO –Wino/Broken Smiles –Look Records SP. 6061 (1975 UK)
GYGAFO from Yorkshire, were named after an enlightened Northern promoter told the band to Get Your Gear And F*** Off during a sound check. In 1973, they got as far as recording an unreleased LP Legend of The Kingfisher which is full of proggy moves and flute, but this single appeared a couple of years later and is a different kettle of (king)fish. Loutish, bratish and rousing; Wino stomps and pounds and features some fine lead guitar. Although they had already shorn off their earlier Prog leanings, by 1976 they were “knocked for 6” by Punk and the band imploded.
Monument –Infarctus/Computer Love –AFA 639 (1971 France)
This was the only single release by these teenage miscreants from the outskirts of Paris. Already responsible for a Heavy Psych LP in 1970 titled Volume 1, this was their only further output, released under the banner of “Plays Hard Rock”. Both sides do as they say on the tin, and if anything the Cro-Magnon attitude hits deeper lows (or exultant heights?) with plenty of fuzz, guttural vocals and overall heaviness. Both songs are pretty long and although they could have been more succinct, the sheer unrelenting thumping will batter you into submission. Both tracks are totally wild. Monument were Micky Wals (vocals, guitar), Joël Averbouch (guitar), Lou Lou Laguerre (keyboards), Patrick F. (bass) and Tony Laguerre (drums)
I had a bit of time off, so I had the opportunity to visits some of the record shops in Brooklyn. Thanks to Doug Pressman of Record Grouch as my guide, here is the lowdown: Green Point seems to be the new centre of record buyers, with Academy and Record Grouch moving from Williamsburg.
All store owners were all friendly, and although I made no great finds (at first), it was a pleasant day with the odd bar visit to liven up proceedings
Coop 87
coop 87
Co-op 87, at 87 Guernsey Street, Brooklyn, NY 11211 had some good stock and is well worth visiting. It looks like there is a good stock turnover. Some good singles.
Academy
Academy have recently moved to 85 Oak Street, Brooklyn, NY 11222, and the focus is currently more on LPs, however once they get organised, 45s should be making more of a comeback. Some very reasonable prices.
Captured Tracks
Captured Tracks at 195 Calyer Street, Brooklyn, NY 11222, have a good selection of LPs, perhaps more of a Soul focus
Captured Tracks
Record Grouch
Record Grouch, 986 Manhattan Avenue, Brooklyn, NY 11222, played the best music. A good wide selection of stuff, from second-hand to choice reissued (picked up the Iron Claw double...). Owners who live their stuff and are the perfect hosts.
Record Grouch
The Thing
Apparently a big hit with Japanese tourists is The Thing opposite from Record Grouch at 1001 Manhattan Avenue, Brooklyn, NY 11222, is quite amazing. When you walk round the mounds of stuff, you walk downstairs to the catacombs just filed wall to wall with vinyl. Wonder where records go when no one wants them? Well it looks like at 250.000 of them end up here. The last stop before landfill. Now if you had 2 days, there may be some finds, but it is a tad overwhelming..
The Thing
The Thing
By early evening we headed to The Archive of Contemporary Music at 54 White Street, New York, NY 10013 as they were holding a cocktail party (well cheese and wine) as a pre-sale event. Picked up nice copies of the A Square SRC/Rationals and MC5. I was holding out getting the pic sleeve, but the copy they archived was not for sale at any price...
Raw Meat –Stand-By Girl/Out in The Country –Blue Hour BH9 -1001 (1969 US)
Raw Meat’s Stand-By Girl is a prime example of an overlooked obscurity, which is bound to gather better-late-than-never recognition for those still hunting for Heavy gems of outstanding worth. Stand-By Girl is a wondrous tour-de-force in heavy fuzz-faced shenanigans, with a solid Bonehead foothold, but on the edge of tipping over into an undocumented world of weird. Stand-By Girl has one of the heaviest/scuzziest heavy fuzz sounds anywhere. Then the weirdness sets in from initial medieval vocal interludes into…well the heart of weirdness. More great guitar ensues. What were they thinking?
The B side is a bit more sane; featuring cowbell, layered vocals and more great guitar. It appears the A side was produced by Richard Thomas with some deft edits and crude yet all inclusive recording techniques. Full credit should also go to engineer Ken Smith and the band for some of the arrangement and production ideas.
“Ken Smith was most likely the recording engineer on “Stand-By Girl,” because he was a close friend and a studio innovator; it was his idea to release “Stand-By Girl” in stereo, which garnered a lot of attention back then…” (Susan Gallion)
“The boys in the band came up with the vocal ideas. I did edit the single in a couple of places including adding the ending to the very start of the song to kick it off. The other edits tightened the arrangement but I don't remember where they were or if they were used in the final release…” (Richard Thomas)
The B-side was recorded at Dave Kennedy Studios, one of the first multi-track studios in the U.S., and it was produced by the band members. The A-side became popular on radio in San Francisco, Pittsburgh, and a few other places beyond Milwaukee.
(Richard Thomas and Susan Gallion ran The Blue Hour label at the time. They recorded and released the Burst of Life LP as Susan and Richard Thomas in 73. They are both still active in music today: www.richardpaulthomas.comwww.OceanbirdMusic.com But what of the band?
They all lived in Milwaukee, Wisconsin. The line-up was:
Drums: Michael Jablonski, Lead Guitar: Don Gruender and Gene Peranich on bass guitar.
It seems that all three of them sang and co-wrote the songs. At the time, the band was going through some personnel problems and didn’t do any traveling to promote the record. A few months after the record was released, Don, the guitar player, left the band. (He passed away in 2012. A new Raw Meat was formed sometime in 1970, but they had a different musical focus.
There is more news for 2015 as Richard has recently licensed both tracks for a forthcoming vinyl release on Permanent Recordshttp://www.permanentrecordschicago.comAbout time!
Moby Dick –Clear Days/Hold on Me - Negram NG 189 (1970 NL)
Moby Dick was out of Delft (the home of that blue pottery). It appears that this single was their only release. Clear Days is a fine example of continental heaviness. Hold on Me also has some merit mixing in softer passages with heavier interludes.
Moby Dick was comprised of singer Hans de Koning with Cees Vlottes on guitar, Joop Vavier on bass and Huib de Jong – Drums. Some of the members then moved on to form Cape Canary
Time for another mystery acetate and a fine Powerpop Pearl specimen. This is really worth somebody doing some detective work as I couldn’t find any obvious trails out there. I assume this is mid 70s and it sits nicely between Pilot-type Anglophile Pop and US Powerpop in the mould of TheRaspberries with a touch of Blue Ash. It’s hard to believe that both songs are unreleased as both performances have high glossy production values and are mighty fine tunes to boot. Now unless this has come out under another name, we need to know who these guys were. Terrific stuff!
The Legend –Portrait of Youth/ Enjoy Yourself –R703 (1968 US
We go a bit further back in time than usual for one of the most exuberant Who-inspired performances around. Although owing an obvious allegiance to The Townsend School of Riffs (Think Raspberries I Don’t Know What I Want), the tune goes beyond its Mod/Garage origins into Heavy Fuzz Psych with Powerpop overtones. The production values elevate the tune even further, the power remains, but the overall effect is surprisingly glossy (in a good way!) The Legend got out of Denver early in their career and relocated in LA signing to the Megaphone label. Portrait of Youth was their second single. They also released 2 LPs, the first under The Legend name, the 2nd when they morphed into Dragonfly when things got even heavier. The B side Enjoy Yourself is a great example of inventive tuneful Psych at its best.
Hear full versions of Portrait of Youth and Enjoy Yourself
Inheritance –Kookie/Come on - EMI test pressing (1972 Australia)
After all the Bone Crunchin’ heaviness, let’s go back to the safety of a Global Bubblegum World… Here’s an obscure, Antipodean cover of Kookie originally record by Germany’s Sandwich (pre Bläck Fööss). I think the Aussie version just wins it, by having rougher edges and more hard driving Bubblegum grooves, although the sound is more ’68 than ’72. This appears to be a custom promo pressing prior to gaining a limited release on HMV. Anyhow know anything about Inheritance? –was it a real group or a studio creation? The B side is a pleasant enough pop ditty.
Here's an absolute monster unknown and (as far as I can tell) unreleased Proto Punk monster from 1972. The guitars remind me of Third World War's Ascension Day, but the overall performance recalls more Barry Rolfe (Look The Business 1973) or a less focused Streak. The song was recorded as a demo for Carlin Music, but it is clear why it didn't get any further than the acetate stage as it was definitely 5 years too early. It really forges a link between Garage Punk and Punk and is more proof that Crushed Butler weren't the only proponents of loud and brash riffing with a snotty attitude in the UK at that time.
Anyone with any clues or information -please step forward
Clinton –Falling Behind/Midnight in New York –Shotfire EU 694210 (1976 US)
With members from Uniontown and Masontown (PA), this record seems to have been Clinton’s sole outing. Recorded at Audio Innovators in Pittsburgh, this great double sider was released in August 1976. I am only featuring the rousing Proto Punk scorcher Midnight in New York as the A side is in even worse condition, although it’s a great Hard Rock number. Anyhow the B side is loud and crunchin’ a bit like Streak with some Under My Wheels era Alice Cooper licks. The band was comprised of Lee Hayes (vocals), Tom Skelton and Bill Osniak on guitars, Bill Rankin (drums) and songwriter/bassist Jim Tait.
Guys, if any of you see this –please get in touch. I need more information and an upgrade!
Two major label Canadian outings screaming to be untied from the stake…Quebec’s Morse Code Transmission were more from the Proggy side of the spectrum, but on this non-album B side they let all hell loose with some near Proto Metal machinations and silly vocals. Ontario’s Merriday Park released 3 Heavy Psych singles with prominent organ, but here on their second single they added a fun line in exploitation groovy-ness to their brew (Evil’s black, hairy black… )!
Galactus –Live With
Me/You Can’t Win –Airship 6042-22 (1976 US)
Continuing the
Swamp Rats’ (Psycho!) tradition of only releasing cover versions, lead singer
Bob Hocko reappeared in 1976 with Galactus. Live With Me is a gritty near-Proto
Punk rendition of The Let It Bleed number instilled with crunching guitars and
snotty vocals. They also surprisingly cover the Kinks Kontroversy obscurity You Can't Win on the B
side. I am sure their sole LP (Cosmic Force Field) is worth hearing as it
includes a cover of The Move’s Do Ya which should work great based on the
performances on this single. Galactus is of further interest as it also featured
Jim Wilson, the Creme Soda (Tricky Zingers) bassist
Hear full versions
of Live With Me and You Can’t Win
One recent discovery is the amazing Sweet Leaf single:
Sweet Leaf -Indian Man/ I Need You-Elmwood (1975 US)
“Custer Custer What you’re going to do? You have 10.000 indians down on You…” What can you say about this fake native American-sided extravaganza that throws XIT back into the reservation. With its Heavy riffage and pounding war drums, this make Propeller’s Apache Woman or Moonquake’s Wardance sound positively restrained. From Pueblo Colorado, this was somehow the creation of Norman Petty’s studio. Pressed up in minute quantities, this single was Sweet Leaf’s first and last (recording) stand…
Hear a soundclip of Indian Man
Here is the full list
Ted Mulry -Jump in My Car-Original version -German Pic Sleeve -1976 Barry Ryan -Do That- Glam classic -French Picture Sleeve -1975 Harpo - My Teenage Queen -Glam Thumping Cruncher -1974 Boston Boppers -Did You Get What You Wanted -Killer Junkshop Glam -1974 Scarface -Tootsie Roll Baby -Killer Obscure Crunchin' Glam -Demo -1975 Ricky Wilde-- Teenwave -Crunching Glam-French Pic Sleeve -1974 Sparky-Summertime Woman -Snarly Troggs Junkshop Thumper -1972 Jerusalem -Kamakazi Moth- -Hard Rock FREAK -German Pic Sleeve-1972 Andromeda -Go Your Way -Heavy Psych/Freakbeat/ Hard Rock -1969 Marsha Hunt -Desdemona/Hippy Gumbo -John's Children -Bolan-1969 Sundance -Gotta Get You Back -Crunchin' US Hard Rock-1971 Jailhouse -Bad End/ Ya Hoo Hoo - UK BONEHEAD Hard Rock -1972 Haffy's Whiskey Sour -Shot in The Head-Vanda & Young/Easybeats -1971 Small Wonder - Ordinary Boy/ Ride a Black Sheep -Raga Glam -T. Rex 1974 Jon Symon -Silver Star - Killer Glam/Proto Punk -1975 Rainbow Family -Travellin' Lady -1972 -Heavy Psych FREAK Snatch- For Always and Ever- Ultra Rare GLAM- Glitter Band 1975 Chris Neal -Mr. Leather and Velvet -Classic GLAM Anthem -1973 Sweet Leaf -Indian Man -Heavy Bonehead Hard Rock -1975 Tiger B Smith -Morning Bird -Bonehead Glam Stomper 1975 Dwarf -Backstage Queen-- US-Private Proto Punk -Rare -1976 Josuha -Jenny (Take Me Out For a Ride) -Stoner Freak Glam -1973 Husky Wells -Can't Be Satisfied -Female Mod/Glam Dancer -1974 Incredible Hog -Lame-Killer Heavy Rock/Glam -German Pic Sleeve -1973 Farm -Fat Judy -Bonehead Crunchin' Glam Boogie -Demo -1974 Stepson –It’s My Life/ Rude Attitude –Bonehead Cruncher Proto Punk 1974 The What -The Devil's Game -Obscure Proto Metal Doom Heavy Psych TNS -Time's Up Michigan Proto Punk/Hard Rock -MC5 -1972 Rescue Co. No 1 -Roll-A-Bowl-A-Woman -Stomping Junkshop Glam -Demo -1975 Life -This Time -Heavy Fuzz Psych/ Hard Rock- Obscure-1972 Inca Bullet Joe -Nothing Has Changed -Heavy Rock - Bonehead Cruncher 1971 Just Plain Smith -Just Open Your Mind /February's Child -FREAKBEAT -1969 Biddu -Look Out Here I Come -Eastern Psych Mod Dancer- Pic Sleeve -1967 J.C. Livingstone -Momma Was A Steamroller -Killer Freakbeat/Glam UK 1973 Catapult -Let Your Hair Hang Down -Thumping Dutch Glam 1974 Arzenboys -Bump on My Head -Heavy Glam Groover -1975 P.A.T.C.H -Where Are you Now?/Bang Bang Bang -Top UK Powerpop -1972 Hetherington- Teenage Love Song- UK Powerpop-1973- Pic Sleeve Pony -It's Gonna Be So Easy- US Powerpop-1974- Promo Dana Gillespie- Weren't Born a Man- German Pic Sleeve-Bowie -1974 Libido -Hold on To Your Fire/Weren't Born a Man -Dana Gillespie -1973 Jetz -Catch Me -Proto Punk/Powerpop - Original German picture Sleeve -1977 Dictators -Heartache/ Search & Destroy - German picture Sleeve -1977 Hector -Wired Up -Killer Proto Punk/Glam - DEMO -1973 Puhdys -Hellraiser/Highway Star -East German!!!! Glam -1974 Union Express -Do You Love Me/Alligator Fix -Killer Glam - Pic Sleeve 1973 T. Rex -Get It On -Rare Italian Picture Sleeve-1971 Abacus -Indian Dancer -Stomping & Crunching Glam - Dutch Pic Sleeve 1974 Streak -Bang Bang Bullet -Wild Proto Punk - Pic Sleeve 1973 Pagliaro -Illusion/ Revolution -Moonquake-Killer Crunchin RAWK
K.G. Young –Spider/ Spider Woogie 9th Movement –CBS 4302 (1969 German issue)
K.G. is in fact Brill Building songwriter/producer Kenny Young whose long and varied career encompasses many fine Girl Group, Bubblegum, Purepop and novelty (Yellow Dog) sides. Spider is a fine specimen of late 60s Psych Pop featuring fine line in orchestration and arrangement. This single is an astute blend of melodicism and quirkiness which could have appealed to kids as well as the more sophisticated pallet
Zendik –Is There No Peace/Aesop – Pslhrtz 100 (1970 US)
From Illinois and as the label states: Recorded in America…Yup and with real attitude too, with the stars and stripes probably hanging upside down. Zendik sounds like a slightly hippie-fied MC5 underpinned by a driving bass riff recalling The Stooges. This is the real McCoy, like a rural White Panther call to arms. Where Black Sabbath may have shied away by only asking the question, these shout out GOD IS DEAD. Apparently this is not related to the Zendik Texas commune, but perhaps inspired by?
Henry Turtle –Do You Believe/ You Turned Your Back and Walked Away –Columbia DB 8859 (1972 UK)
Do You Believe was the first single released by Henry Turtle and was issued from a session at Air with a heavy backing crew featuring Chris Spedding, Herbie Flowers and Clem Clatini. Do You Believe is a surprisingly successful Spector recreation recalling I Can Hear Music or Don’t Worry Baby with Henry’s distinctive vocal delivery adding an unexpected twist. The B side is a real heavy monster. The first few seconds are pretty weird then all hell breaks loose with Chris Spedding shining on what could be construed as a bongo infused T. Rex covering Whole Lotta Love. Funny to note that the French release (where the A and B sides were switched), warns the purchaser that the song only really gets going after the first 20 seconds!
Henry is still active as a singer/songwriter and artist, you can check out his website here: http://www.henryturtle.co.uk
Hear a full version of You Turned Your Back and Walked Away
Giano Ton –Bocca Di Rosa/Matalo –Rca PM 3550 (1970 Italy)
Giano Ton is a nom de plume for Giacomo Tosti and Matalo was featured on the soundtrack of Cesare Canevari’s Spaghetti Western of the same name. What is surprising is the mix of virulent Heavy Fuzz, Psychomania (Witch Hunt) choir vocals and snarly lead in English. The second half of the tracks is where the lead guitar gets cooking and the overall performance is pleasantly short, getting to the point without time for any digressions.
The New Lords –Radio/T.V. –Columbia C006-30419 (1971 Germany)
The Lords were (and still are?) the longest serving German Beat group. Although their best (R&B and some near Psych numbers) was also offset by some more radio friendly comedic sing-along stuff. By 1971 the band had split and the short-lived New Lords incarnation only featured Ulrich Gunther from the original band with younger cohorts in tow. They managed to put out an LP under the new moniker along with a single culled from that album, however the two tracks presented here were exclusive to this release. The coupling of T.V. and Radio makes this a concept single of sorts. Heading in a more Heavy direction T.V. is a real corker. It is Euro Hard Rock of the highest order and sits nicely next to Propeller (featuring Achim Reichel and Herbert Hilderbrandt from that other German rock dynasty –The Rattles) The A side is also superb but in a more radio friendly manner but with plenty of twists and turns including some surprising backward guitar. It is a shame that The New Lords didn’t continue in this promising direction as this line-up of the band split in ‘72
Godson –All Dressed in White/We’ve Not Made It -Philips 6006155 (1971 UK)
We’ve Not Made It is an absolute killer piece of Proto Punk coming across like an early Boys track with strong Stones inflections. The vocal delivery is positively yobbish and snotty in its attitude; it’s hard to believe that this came out in 71. Even more surprising is that Godson was a project created by John Bachini (ex-Orange Bicycle) with Mike Vaughan (Easybeats manager) on production duties and not a kick off effort by some young upstarts. All Dressed in White is more obviously commercial recalling John Kongos imitating Dylan over a Abbey Road/Hotlegs backing track but spelling out no hit wonder.
Angelo Finaldi –Le Sorcier Le Maudit/ Pas Fou –TC Extra EX 7726 (1972 Canada)
Here’s a pair of cracking raucous Glamrockers from this French Canadian guy. Le Sorcier Le Maudit was written for French wrinkly/Plastic surgeon victim Johnny Halliday, but Johnny didn’t give it the A side treatment it deserved. Anyhow both sides are top notch powerful performances, out-rocking Michael Pagliaro in his own backyard. Angelo was in 60s Canadian Garage Punkers La Revolution Francaise and Les Sinners. Strangely enough he recorded in London around this time for RAK. The result? http://purepop1uk.blogspot.co.uk/2011/04/angelo-eighteen-midnight-flight.html. Yes Angelo Finaldi was the Angelo in Angelo & Eighteen! Vivre Le Quebec –Vivre Le Quebec libre…!
Beautiful Garden –Dear Miss Mary/Dreaming –Delta D 1019 (1973 NL)
Here’s a real Purepop number with the emphasis on stomping quirky Pop. Dear Miss Mary featuring lead vocals with a strong Bowie/Tigers on Vaseline delivery adding a Glam element especially when also considering what sounds like clog stomping underpinning the beat. There’s also some nice Fuzzy guitar over the strong melody widening its appeal. Dear Miss Mary was written by Alan Decker (Left Side’s bass player). Beautiful Garden was from Schoonhoven, with the band’s name being a direct translation of their hometown. The band was Dick Hegeman (lead vocals), Ron de Wit (bass guitar), Gert v.d. Lagemaat.(guitar), Gerrit Bohré (keys) and Cor Gravestein (drums). It looks like this was the first of 2 singles the band released
The Kingsmen -You Better Do Right/Today –Capitol 3576 (1973 US)
This single came out a long way along The Kingsmen career. It seems that by 1973, they tried to actualise their sound away from the Jolly Green Giant/Louie Louie workouts towards a more contemporary Hard Rock sound. Not sure what permutation of the band was behind this, but on this B side Today they rock out in a surprisingly assured manner with some fine lead guitar. You Better Do Right is also good, more melodic like a cross between the Raspberries I’m a Rocker and a convincing Bob Seger number.
Wolfman and The Pack -Gimmie Gimmie Good Lovin'/You're So Fine -New Deal NDR 0001-45 (1969 US)
From the wilds of West Kentucky, comes this spirited cover the Crazy Elephant hit. It’s raw and rockin' and features some killer guitar from the 1 minute mark making it the perfect mix of Bubblegum and Hard Rock. Wolfman and The Pack was a long serving outfit featuring Robert “Wolfman” Crider on Guitar and lead Vocals, James Stanfill (bass), Gary Holder on drums and Lannie Wall on the cutting lead guitar. There also had an album out on New Deal as well as another single on Century Records "Give Me Back What's Left of My Heart". The Wolfman passed on a couple of years ago
Posting on Purepop sometimes helps to uncover fascinating back stories to hitherto unknown but key releases. In this instance the band members were blown away that their sole private label single was being talked about over 40 years after its initial release and contact was made. The original review can be found here http://purepop1uk.blogspot.co.uk/2013/06/tns-times-up.html
Time’s Up is a a remarkable no holds barred overdriven Michigan Rock Classic and the archetypical example of the perfect Proto Punk performance. Following a couple of calls with drummer Dave DeHoog, here’s the lowdown
TNS were born as a trio comprised of Dave DeHoog (drums/lead vocals), Steve Barkwell (bass) and guitarist Randy Nichols. Based in Grand Rapids, the band was formed around Dave and Randy’s friendship. After trying out another couple of guys they met Steve (bass). He didn’t play an instrument but really wanted to be in the band, so Steve went off to buy a Silvertone bass and Randy taught him some basic moves. Dave:“After 6 months he learned so much that we put him in the band. He just took right off…” In 1971 they auditioned Al (lead vocals) who then joined the band
Live at Calder Plaza, Grand Rapids 1972
They were known as The TNS Blues Band from 1969 onwards heavily inspired by UK Blues Boom acts such as Chicken Shack or early Fleetwood Mac. But why the name TNS? The reason screams out attitude…Dave: “Originally we would play anywhere including wedding receptions and our music didn’t fit that kind of thing and we were done being yelled at during wedding receptions because the music was too loud. TNS stands for Take No Shit! We are the Take No Shit Blues Band and we are going to play what we want, where we want and we are going to play as loud as we want…”
The change from TNS
Blues Band to simple TNS was not due to a shift in direction or even a
concerted decision, but due to practicality and graphic design issues! Dave:“There wasn’t
room on the label for TNS Blues Band!
Although heavily
inspired by the UK blues sound, Michigan/Detroit high energy wasn’t far away Dave:
“We used to go and see the MC5 about twice a month, we loved Wayne Kramer and
Dennis Thompson, but we weren’t really aware of The Stooges and never saw them.
Detroit was about a three hour drive away and there was a lot of talent there…”
The sound on the
record is incredibly raw with an exemplary guitar sound. Dave: “When we got to
the studio there were 2 engineers. We started rolling in those 100 W Marshall
stacks in and that one dude didn’t want anything to do with us and left, so we
were just left with one engineer…” That lone engineer did a great job in
capturing the performance with the amps cranked up to maximum to get the overdrive
and sustain needed. The band played the tracks live in the studio and added the
vocals later.
The recording of
the single was the only record session they did, but there is a live ¼” tape waiting to be uncovered. Their live set
included other originals as well as some choice covers such as MC5’s Ramblin’
Rose or Alice Cooper’s Return of The Spiders along with more bluesy material
such as Taste's Catfish Blues or Messin With The Kid. I hope that we will get to hear
this live tape one day.
Time caught up with
TNS and although they remained friends; by 1974 the band started to dissolve due
to other commitments taking precedence. Now 40 years later, TNS are gaining
wider interest. Time’s up has since shown up on Michigan Meltdown Volume 2 and
may be making another appearance on a Numero group compilation. But there’s still
nothing quite like playing Time’s Up as it was intended on a glorious 45.
