Posts Tagged ‘Garage rock’

CD Review: Various Artists, “The Coolest Songs in the World! Vol. 8″

Various Artists – The Coolest Songs in the World! Vol. 8 (2009, Wicked Cool)
Purchase this album (Amazon)

Let us now praise famous do-rag-wearing guitarist/songwriter/deejay/record execs. Now, unless Clive Davis has a couple side gigs or fashion proclivities I’m unaware of, I can think of only one person who fits the bill—Steven Van Zandt. Call him Miami Steve, Little Steven, Silvio Dante, or Steven Lento, his main nom de rock should be “Almighty Savior of Garage Rock”—that soul-stirring mongrel amalgam of rock, soul, surf, folk, blues, punk, and the kitchen sink. Progenitors and practitioners of the three-chord stomp owe the recent interest in their work to Van Zandt’s radio program Little Steven’s Underground Garage and its various offshoots, including festival concerts, the show’s Web site, its satellite radio channel, and the wonderful Wicked Cool Records, the label through which Van Zandt has released a stack of loud and proud albums by the likes of the Chesterfield Kings, the Cocktail Slippers, and the Grip Weeds.

Wicked Cool is also responsible for a series of bitchin’ compilations named after Underground Garage’s weekly “Coolest Song in the World” feature. The eighth volume of the series has just seen wide release (after a four-month exclusive period with f.y.e., which sponsors the show), and it is a keeper. With its focus on new and young bands, the album shows garage as a living, thriving endeavor.

Palmyra Delran of the girl group the Friggs kicks off the comp with “Baby Should Have Known Better,” locking into a punky groove and spiking her cautionary tale with the kind of repetitive chorus that lodges itself in the listener’s head for years. It’s a fitting start to the record—the song was selected by Underground Garage listeners as the “Coolest Song of 2008″ and, well, it rocks.

“Terminal Boredom” finds the awesomely named Cute Lepers rocking a tune that could have been a Clash outtake. The Lepers are currently signed to Joan Jett’s Blackheart Records—a fitting connection, as Jett’s influence can be felt on a number of tracks led by female singers, like the Downbeat 5’s “Dum Dum Ditty,” which channels the Crystals through a Bad Reputation filter. That track would have made a an equally great Phil Spector single or deep cut on the Ramones’ first record, as would a number of old and recent Joan Jett tracks. (more…)

Lo-Fi Mojo: “Farmer John”

Lo-Fi Mojo

Like most listeners, the first time I heard the song “Farmer John” was on the Neil Young & Crazy Horse return-to-form album Ragged Glory in 1987. It seemed almost tailor-made for the proto-punk, garage rock stylings of the sometimes barely-competent but always glorious guitar skronk of Crazy Horse.

The song’s got a history all it’s own, however. It’s one of those chestnuts that gets unearthed every decade or so. That’s a sign of either staying power or novelty, usually…in this case, perhaps a little of both.

The definitive version, and the one that Young & Crazy Horse and any other act to cover it since the ‘60s is referencing, is from 1964, by The Premiers. Featured on the Nuggets box set, it has one of the strangest openings you’re likely to hear on record.

“Has anybody seen Kosher Pickle Harry?,” asks an unidentified emcee. “Noooo,” a group of revelers drunkenly (?) bawl. “If you see him, tell him that Herbert is looking for him.” More crowd noise ensues (including a shouted “Who’s Herbert?”). Then the band is introduced to screams of delight before it kicks into the simultaneous drum-guitar-sax opening stomp. Party noise threatens to overwhelm the song throughout the roughly two minute duration, with drunken, pitchy harmonizing (“Oh WAY Ohhhhh”) adding to the general sense of mayhem. Crazy, man, crazy. Dig it. Most of the “audience” noise was courtesy of the all-girl Chevelles Car Club, on hand at the Hollywood studio where the cut was recorded.

The song became an unexpected breakout hit, moving from local to regional to national fame within weeks, ultimately reaching #19 on the charts in that summer of ’64.

”Farmer John,” like so many other hits of that era, was a rocked-up (read: “Louie Louie”’ed) remake of an earlier, more basic ‘50s R&B song. Don & Dewey were a Los Angeles-based vocal duo. “Don” is none other than Don “Sugarcane” Harris, best known as the electric violinist on Frank Zappa’s Hot Rats, Burnt Weeny Sandwich and Weasels Ripped My Flesh albums, as well as his appearances as a sideman with John Mayall & The Bluesbreakers.

The Searchers (of “Needles and Pins” and “Love Potion No. 9” fame) also covered the song, in 1963, a version of which I could not track down. But, Grace Potter & The Nocturnals have been playing this gem in concert for a few years now, a version of which is below.

Don & Dewey – “Farmer John”
The Premiers – “Farmer John”
Neil Young & Crazy Horse – “Farmer John” [from Ragged Glory]
Neil Young & Crazy Horse – “Farmer John” [from Arc/Weld]
Grace Potter & The Nocturnals – “Farmer John” [Live]

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