The Music Machine was an American rock band formed in Los Angeles, California in 1966. Fronted by chief songwriter and lead vocalist Sean Bonniwell, the band cultivated a characteristically dark and rebellious image reflected in an untamed musical approach. Sometimes it made use of distorted guitar lines and hallucinogenic organ parts, punctuated by Bonniwell's distinctively throaty vocals. Although they managed to attain national chart success only briefly with two singles, the Music Machine is today considered by many critics to be one of the groundbreaking acts of the 1960s. Their style is now recognized as a pioneering force in proto-punk; yet within a relatively short period of time, they began to employ more complex lyrical and instrumental arrangements that went beyond the typical garage band format.
The West Coast Pop Art Experimental Band (WCPAEB) was an American psychedelic rock band formed in Los Angeles, California in 1965. The group created music that possessed an eerie, and at times sinister atmosphere, and contained material that was bluntly political, childlike, and bizarre. Representing different musical backgrounds among band members, the group, at times, resembled a traditional Byrds-esque folk rock ensemble, but the WCPAEB also, within the same body of work, recorded avant-garde music marked by multi-layered vocal harmonies.
The Chesterfield Kings were a rock band from Rochester, New York, who began as a retro-1960s garage band, and who have heavily mined 1960s music, including some borrowing from the 1960s recordings of The Rolling Stones. Core members were former Distorted Level singer, underground music journalist and avid record collector Greg Prevost, and Andy Babiuk ; others have come and gone. The band, named after a defunct brand of unfiltered cigarette, was instrumental in sparking the 1980s garage band revival that launched such groups as the Unclaimed, Marshmallow Overcoat, The Fuzztones, The Pandoras, The Malarians, Mystic Eyes, The Cynics, The Optic Nerve, the Secret Service, and the Stomachmouths.
The Neighb'rhood Childr'n were an American psychedelic pop/rock band from San Francisco, California. The band was primarily active during the late 1960s.
Pebbles is a compilation of US underground and garage single record releases from the mid- to late-1960s. It had a limited original release in 1978 and a more general release in 1979. It was followed by several subsequent Pebbles compilations and albums. This album is nowadays known as Pebbles, Volume 1 and was originally issued in 1978 as Pebbles, Volume One: Artyfacts from the First Punk Era, an obvious riff on Nuggets: Original Artyfacts from the First Psychedelic Era, a similar, groundbreaking compilation from 1972.
The Human Expression was an American garage and psychedelic rock band from Los Angeles that released three well-regarded singles, and made additional demo recordings between 1966 and 1967.
"I Ain't No Miracle Worker" is a song by the American garage rock band, the Brogues, written by Annette Tucker and Nancie Mantz, and released as the group's second and final single on Challenge Records, in November 1965. The composition is now considered a classic of the musical genre of garage rock, and has reappeared on several compilation albums and has been covered by other musical artists. The Brogues' original rendition was musically influenced by their contemporaries on the R&B circuit and the British Invasion.
Leo De Gar Kulka was a Czech-born American record producer, recording engineer and educator. Starting in Los Angeles at Autumn Records in the 1960s, he later founded the San Francisco studio Golden State Recorders, trade school College for Recording Arts and audiophile record label Sonic Arts. Kulka is considered a pioneer in the modern recording industry.
Teenage Shutdown! You Treated Me Bad! is a compilation album featuring material by underground garage rock musical artists that recorded in the mid-1960s, and was previously available to only a handful of collectors. It is the second installment of the Teenage Shutdown! series and was released on Crypt Records on October 6, 1998.
The Driving Stupid was an American garage rock band formed in New Jersey in 1966. The group issued one cult favorite single called "Horror Asparagus Stories" that is most known for its absurd lyrics and psychedelic instrumentals. Though short-lived, the band's sole release has been included on numerous compilation albums. Previously unreleased material by the band was also issued in 2002.
Garage Beat '66! is a series of garage rock compilation albums issued by Sundazed Records. The series currently consists of seven CDs, each of which is officially designated by its volume number, which appears in the upper left-hand corner of the front cover, and a corresponding "catch phrase" title, which appears as a subheading under the large Garage Beat '66 logo below. The Garage Beat '66 series attempts to represent the breadth and variety of the genre, including not only rawer hard-rocking numbers, but also songs displaying folk rock and psychedelic influence, as well as pop. All of the currently existing installments were released between 2004 and 2007. The series is recognized for good sound quality: all of the song selections were mastered from the original studio source elements. All of the volumes follow the packaging format employed by other garage compilation series such as Pebbles. Each volume includes detailed and fully researched liner notes, which include biographical sketches about each song and group, as well as other information such as origin and recording date, as well as photographs of the bands.
Garage Beat '66 Volume 5: Readin' Your Will,"is the fifth installment in the Garage Beat 66 series of garage rock compilations issued by Sundazed Records, which is available exclusively on compact disc. This volume was released on June 21, 2005 and consists of a mixture of raw up-tempo numbers as well as some psychedelic. Like all of the entries in the series, which is noted for good sound quality, all of the tracks are mastered from the original studio master sources and contain well-researched liner notes written by knowledgeable authorities. Volume 5 is mentioned by AllMusic as perhaps the best collection in the series.
Garage Beat '66 Volume 7: That's How It Will Be! is the seventh installment in the Garage Beat '66 series of garage rock compilations issued by Sundazed Records, which is available exclusively on compact disc. Like all of the entries in the series, which is noted for good sound quality, all of the tracks are mastered from the original studio master sources and contain well-researched liner notes written by knowledgeable authorities.
Garage Beat '66 Volume 1: Like What, Me Worry?! is the first installment in the Garage Beat '66 series of garage rock compilations issued by Sundazed Records, which is available exclusively on compact disc. It features well-researched liner notes, written by recognized garage rock authorities, which supply background information about each song and act, often including photographs of the bands. Like all of the entries in the series it is noted for good sound quality, as all of the tracks are mastered from the original studio master sources.
Garage Beat '66 Volume 2: Chicks are for Kids! is the second installment in the Garage Beat 66 series of garage rock compilations issued by Sundazed Records, which was released on April 27, 2004 and is available exclusively on compact disc. It features well-researched liner notes, written by Ugly Things publisher Mike Stax, which supply background information about each song and act, usually including photographs of the bands. Like all of the entries in the series it is noted for good sound quality, as all of the tracks are mastered from the original studio master sources.
Back from the Grave, Volume 1 is the first installment in the Back from the Grave series of garage rock compilations put together by Tim Warren of Crypt Records and released in 1983 on LP. In keeping with all of the entries in the series, and as indicated in the subheading which reads "Rockin' 1966 Punkers," this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals. The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll. 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. The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music. The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting a revivified "rock and roll" zombie who, along with his macabre cohorts, has just emerged from the grave to "bury" all specimens of supposedly "heretical" pop and progressive music which have come to prominence over the years, such as disco music and MTV.
Back from the Grave, Volume 2 is the second installment in the Back from the Grave series of garage rock compilations put together by Tim Warren of Crypt Records on LP. It was released in 1983. In keeping with all of the entries in the series, and as indicated in the subheading which reads "16 Garage Punkers," this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals. The set generally excludes psychedelic, folk rock, and pop-influenced material in favor of basic primitive rock and roll. 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. The liner notes are noticeably opinionated, sometimes engaging in tongue-in-cheek insults directed at other genres of music. The packaging also includes photographs of the bands, and the front cover features a highly satirical cartoon by Mort Todd depicting revivified "rock and roll" zombies who have just emerged from the grave to "burn on a skewer" all adherents of supposedly heretical pop and progressive music which have come to prominence over the years, such as disco.
The Liberty Bell was an American garage rock/psychedelic rock band from Corpus Christi, Texas who were active in the 1960s. They specialized in a blues-based brand of proto-punk influenced by British groups such as the Yardbirds. The band failed to reach wider audience in the time, but have come to the attention of garage rock collectors and enthusiasts in the intervening years since their breakup, with their work appearing on several compilations.
Garrie Emory Thompson was a record label owner, producer and band manager. He ran the Hush and Duane Record labels. he was the producer of "Little Girl" for Syndicate of Sound.
