| Back from the Grave, Volume 7 (LP) | ||||
|---|---|---|---|---|
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| Compilation album | ||||
| Released | 1988 | |||
| Recorded | 1960s | |||
| Genre | ||||
| Label | Crypt | |||
| chronology | ||||
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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. [1] [2] [3] It was originally released in 1988 as a double-LP containing 34 tracks, and has been newly re-mastered and re-issued in 2015. [2] 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. [4] [5] 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. [1] [2] [6]
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 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". 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.
Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada, and has experienced various revivals since then. The style is characterized by basic chord structures played on electric guitars and other instruments, sometimes distorted through a fuzzbox, as well as often unsophisticated and occasionally aggressive lyrics and delivery. Its name derives from the perception that groups were often made up of young amateurs who rehearsed in the family garage, although many were professional.
Crypt Records is an independent record label founded by American-born Tim Warren in 1983. The label has been headquartered variously in Hamburg, Germany and in several locations in the United States. Crypt is perhaps best known for issuing the ten-volume Back From The Grave Series of 1960s garage punk compilations, although its other reissues and releases include surf, rockabilly, punk rock, exotica, garage punk, original rhythm and blues, and soul music.
Contents
- LP track listing
- Side one
- Side two
- Side three
- Side four
- CD track listing
- Catalogue and release information
- References
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. [2] [6] The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music. [2] 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 musicians and fans accompanied by 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, all of which typologically prefigured 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," in effect reducing civilization back to a supposed "Edenic" state or "glorified stone age" and making the world "safe" for the "triumphal" return of primitive two/three-chord "caveman rock". [1] [2] [6]
Satire is a genre of literature, and sometimes graphic and performing arts, in which vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government, or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society.
Mort Todd is an American writer and media entrepreneur, best known as an editor-in-chief of Cracked magazine, and later, Marvel Music. He is owner of Comicfix, a media company that has developed licensed properties.
A zombie is a fictional undead being created through the reanimation of a human corpse. Zombies are most commonly found in horror and fantasy genre works. The term comes from Haitian folklore, in which a zombie is a dead body reanimated through various methods, most commonly magic. Modern depictions of the reanimation of the dead do not necessarily involve magic but often invoke science fictional methods such as carriers, radiation, mental diseases, vectors, pathogens, scientific accidents, etc.
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." [2] "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. [2] The Worlocks from Elgin, Pennsylvania's are heard on the highly frantic sixth track, "I Love You." [2] 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." [2] The Cliques, from Champaign, Illinois, follow suit with "So Hard," a song whose lyrics express intense frustration with a lover. [2] 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. [2] 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." [2] 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." [2] The closing track is "Slander," by Ty Wagner. [2]
The Syndicate of Sound was an American garage rock band formed in San Jose, California that was first active between 1964 and 1970. Through their national hit "Little Girl", the band developed a raw sound, and became forerunners in the psychedelic rock genre. The group managed to produce two other charting singles and, after their initial breakup in 1970, have since reformed with a new lineup.
Alice Cooper was an American rock band formed in Phoenix, Arizona in 1964. The band consisted of lead singer Vince Furnier, Glen Buxton, Michael Bruce, Dennis Dunaway, and Neal Smith (drums). Furnier legally changed his name to Alice Cooper and has had a solo career under that name since the band became inactive in 1975. The band was notorious for their elaborate, theatrical shock rock stage shows. In 2011, the original Alice Cooper band was inducted into the Rock and Roll Hall of Fame.
