1971: Lea Nicholson

I've never considered myself to be a huge fan of the concertina (you know, those wannabe accordian squeezeboxes), but how do you say no to a cover like that? Remember that line from Python; "Oh pantomime horse, I'm so bloody happy!" Well, I probably must have 'a thing' for pantomime hoses! The real clincher here however is checking out the contributing artists; Bob Pegg, Tim Hart, Maddy Prior, Terry & Gay Woods, Robin Dransfield, Mick Jones, plus a cover of the Bonzos' I'm The Urban Spaceman... I hadda grab it. This came out on Trailer in England and is predominantly Mr. Nicholson and various concertinas (sometimes overdubbed so he can, er, play with himself), his folksy singing (could've fit in with either Rab Noakes or The Yetties), and harmonium on most tracks by Barry Ruffell. Most tracks are by that Trad fellow, but there is a modern protest song by Mick Jones I quite like. What with the guests and the selection of material it's a great brit-folk album with enough variety to keep your ears happy as bearded oysters! I'm not sure but I don't think this has made it to CD so far so you'll have to check with specialist sellers or get lucky in the bins.

LP found at The Turntable, Fan Tan Alley, Victoria

Here's a new cartoon, inspired by the Garage Hangover site...

Stash De Rola's appearance in the latest issue of Ugly Things was a highlight; very entertaining and illuminating. I thought I'd share this piece from the September 1966 U.K. magazine Rave.



An interesting sidenote is this tidbit from the same magazine's 'U.S. Cable' section on the page opposite... "Rumors here are that John Lennon and wife Cynthia have started discussing a possible trial separation." Interesting as this is before the Maharishi, before the 14 Hour Technicolour Dream show, and before Yoko's exhibit at Indica?

Reading the new book Surf Beat published by Backbeat. It's a good overview and I'm enjoying it so far. Lot's of little nuggets of info (Gold Star studio related in particular) even if there are a couple of odd errors like 'England's Johnny & The Hurricanes'. Not sure if the author meant to reference the magnificent Ohio group or just got them mixed up with Rory Storm's band? Also, this looks like some sort of in-between proofreadings state of the manuscript, and I thought my typing was crap! Quality control at Backbeat/Jawbone has really crashed in that respect. The book is divided into three waves of popular interest in instro/surf-inspired rock, something I don't really understand and which may not hold water for readers in Europe. It reminds me of the three waves of interest in ska music without more fuzzy dividing lines for the last two waves. Looking forward to getting to the later stuff like Honk and Corky Carroll's recordings. Yes, there were surf-influenced recordings made post 1964 and into the '70s, and some of them are the most interesting! I remember playing a Shadows best of CD as background for a gathering once, and a genuine surfer dude from back in the day commented later he liked the old syrf music, so that's how ingrained the idea of all late '50s and early '60s instrumental rock being surf music goes, but really it's not, and of course the Shadows were thee premiere English group up until the Beatles came along. The actual surfers of the era were into all kinds of music as it turns out anyway, and jazz in particular more so than rock & roll guitar stuff. But most people agree that Dick Dale is the epicenter of whatever surf music means to you. I look at it as he was inspired by his experiences surfing in creating effects on his Fender strat. There were other pop records with themes of beaches and water sports, but they are only honorable mentions in my book if not this current one.



As a kid growing up in 1970s Canada one major source of entertainment for me was my Dad's record collections. It was really more of an accumulation though; gifts from a DJ friend with a hole drilled through every label, or obsolete mono thrift shop finds. I was surrounded by seemingly everything from a nearly complete Wilf Carter discography to your cheesiest sophisticated lounge performer. While reading Surf Beat, a handful of Dad's records float to the surface of my memory. Foremost perhaps is the original Del-Fi Ritchie Valens LP, the one with the sparkly curtain background and back cover copy with the words "will continue". Ricardo Valensuela is still one of the most exciting rock & roll guitarists and singers I've ever heard! I must've played 'Come On Let's Go' from this album a hundred times. Along with a couple of singles from Eddie Cochran this is the music that really put California on my music map, that plus how Gene Vincent and Buck Owens recorded at Capitol studios in Hollywood. For further excitement I was also lucky to have access to not one but two all time classic surf albums from the crest of that first wave in 1963; 'The Ventures, Surfing' and 'Surfin' With The Astronauts'. After all this time I still don't think either has been bettered nor equaled for instrumentals evoking that liquid sound of summers never known. The Ventures were heavily represented in Dad's library of vinyl, but their lone surf themed album of mostly originals could well be their greatest achievement, one of a handful of perfect LPs ever made. Due to the presence of a couple not-so-inspired covers the Astronauts misses that perfect ten rating by a toe, but what a wonder their reverb drenched sound rising from mysterious black grooves was and still is to me! I feel lucky that the copies of these were great early stereo editions, the kind with too much separation, but all the better for me to focus on the individual elements! But mono had it's place too, like on the first beach Boys LP. Who needs stereo on a stomper like 'Surfin' (is the only life, the only life for me)'. Dating from 1962 this is more historically important than fully satisfying due to the presence of a few not so bitchin' tracks co-written with Gary Usher, although the presence of the aforementioned Eddie's 'Summertime Blues' makes up for it a little. Guitarists Carl Wilson and David Marks could shred when given a bit of room to; when David left the Boys got unbalanced in favor of the vocals as far as I'm concerned. Other records I had access to included Arthur Lyman Hawaiiana, but also a generally overlooked LP from the cheapie Crown label; 'Hawaiian Tattoo' by The Hawaiians, no doubt some generic California studio creation, had a killer uptempo lead guitar on 'Hawaiian War Chant'. There were also a couple of fascinating tracks on a tv spin-off various artists LP on ABC-Parmount, but maybe the Terorotua and His Tahitians tracks weren't actually recorded in Cali? They could authentic field recordings I suppose, but who ever is hammering on that hollow log could've taught even Mel Taylor a couple of things. These are the LPs reading Surf Beat brings to mind. In the book's definitions of first wave, second wave and third wave I guess I'm a 'didn't-catch-a-wave' as I latched onto the California instrumental sound all on my own schedule before any Nightriders or Pulp Fiction revivals. The only revival I was aware of was when fellow Canadians Shadowy Men From A Shadowy Planet burst upon the local University station's airwaves followed by Man Or Astroman.

I drew this...

I've contributed some cartoons to this new CD from Vagrant Records of Seattle, and also the words and music to one song performed by Howlin' Houndog and band! That song is 'Have You Got Soul', and is already getting a little airplay I'm told.





Like Syd and Greeny in the late '60s I fell out of the saddle for a long time. I'm hoping my stoke for doing stuff will come back.



Update: Here are two cartoons for the interior booklet...

Hey, I've been doing some reviews for the Garage Hangover site, check them out here:

Rob Chapman: Syd Barrett, A Very Irregular Head
The Pleasure Seekers: What A Way To Die
The Ingoes: Before We Were Blossom Toes
The Fenmen: Sunstroke

and didya see my letter in the Shindig with the Soft Machine cover?

1965: Hillbilly Bears

In the annals of obscure mid-'60s American garage combos, among the legions of fuzzed out foursomes, there is one truly fuzzy family who not only could make you cut a rug, but at their most furious maybe scream a little too.

Before the Dillards went electric, and before the Cowsills ever thought to get Mom into their act, The Hillbilly Bears were the family that rocked together. The innovative rhythm section consisted of Paw Rugg, who only had an old fuel can and tree branch for bass; son Shag Rugg, with an old apple squeezin’s jug; and Maw Rugg, on tambourine. This left daughter Floral Rugg (or as most boys seemed to always call her, Jailbait Rugg) to carry the tunage on an innovative four string electric lead guitar reminiscent of Tiny Grimes.

The Hillbilly Bears (or for appearances south of the border, Los Osos Montaneses) were discovered in 1965 rehearsing up in some hills and signed by Hanna-Barbera Records (soon to be home of The Five Americans). That same year, they landed a regular spot on the Atom Ant variety television program that helped them launch the dance craze hit "Do The Bear." HBR released the Bears’ debut LP, "Hillbilly Shindig," now a much prized collector's item, to catch the public interest, yet somehow the rocked-up roots music failed to move 12" units in the same way as Squiddly Diddly's "Surfin' Safari" album – also under the mighty HBR imprint that same season.

Perhaps it was a case, similar to Gene Clark's first solo album, of being lost in the shadow of the more established sound of a label mate, or possibly their sound was simply too regional to break nationwide. Sadly, the bear family's recording story began and ended with that one release. But, through reruns of their classic TV segments from 1965-1967, one can catch a glimpse of a future that might have been in Shag's "I've Got A Pony" – presaging Roger McGuinn's Chestnut Mare opus and the entire Country-Rock wave soon to follow.

Paw Rugg has been known only to grumble half coherently in his few interviews since, but perhaps – if the Rock & Roll Hall Of Fame, or at least a Hard Rock Café – could give his classic bass instrument the shrine it deserves, it might lead to a smile on the old bear's muzzle… or, dare we hope, a reunion concert?

LP found at Grooves, Market Street, San Francisco

Machucambos: Part 6 Discography

French Singles







70.941 (Feb. 1964)
Decca France
Mexicana / Capitan Paco Chico
Standard/Monophonic




79.500 (Mar. 1967)
Decca France
La Banda / El Pato de Hojalata
Stereophonic




79.520 (Feb. 1968)
Decca France
Adoro / No
Stereophonic




79.566 (June 1970)
Decca France
La Pierre Friable / La Couleur De Ta Peau
Stereophonic




79.581 (Dec. 1970)
Decca France
Hasta Siempre, Comandante / Recuerdos de Calaguallo
Note: Titled 'Che'
Stereophonic




79.586 (July 1971)
Decca France
La Piragua / Allegre Pescador
Stereophonic




83.011 (Nov. 1971)
Decca France
Alo Madrugada / Leao De Coleira
Stereophonic




84.163 (1973)
Decca France
Indio / Le Radeau de L'aventure
Note: Illustration by R. Zanotti
Stereophonic




3.567 (1973)
Vega
Samba Tragique / El Indio Llora




84.221 (1974)
Decca France
Chevere / Te Recuerdo Amanda




85.026
Decca France
Camina, Camina / Puerto Rico En El Corazon




86.023
Decca France
Mi Ochum / Chevere




86.551
Decca France
Cuando Calienta El Sol / Paseando Por La Sabana




16.698 (1979)
Sonopresse
Donde Volabas / Caria Elena
Stereophonic

Machucambos: Part 5 Discography

More Decca France Four Song EPs





460.767 (Oct. 1962)
Cuando Calienta El Sol / Esperanza / Non Monsieur / Fabulosa
Standard/Monophonic




460.769 (Feb. 1963)
Quand Je Danse Avec / Purito / Triangulo / El Silbido De Ese Tren
Standard/Monophonic




460.770 (Dec. 1962)
Dona Rosa / Samba Da Minha Terra / Samba Torto / Samba Do Perroquet
Standard/Monophonic




460.774 (June 1963)
Professor Bach / El Ascensor / Mira Mirame / La Chinqua
Standard/Monophonic




460.775 (July 1963)
El Watusi / El Osito / Malaga / Mi Son Innamorato Di Te
Standard/Monophonic




460.803 (Nov. 1963)
Ciel De Lit / La Lune (Yo Soy La Luna) / La Bamba De Colas / Otra Bamba
Standard/Monophonic




460.809 (Dec. 1963)
La Mamma / Maria Elena / America / Melinda
Standard/Monophonic




460.860 (July 1964)
Sapore di Sale / Guarare / Guantanamera / Adios Irene
Standard/Monophonic




460.891 (Dec. 1964)
Angelito / Pollera-colora / Tartamudeando / Le Grand Voyage
Standard/Monophonic




460.897 (1965)
Valsecito / Cascada / Pajaro Campana / Missionera
Standard/Monophonic




460.931 (June 1965)
Garota de Ipanema / Despenada / Al Paso / El Camaleon
Standard/Monophonic




460.975 (1966)
Cielito Lindo / Brazil / Tico-Tico / Manana
Standard/Monophonic

Machucambos: Part 4 Discography

Decca France Four Song EPs





450.875 (1959)
Duerme Negrito / El Pobrecito / La Bamba / Soy Tolimense
Reissued as 460.875 Standard/Monophonic




450.877/STO 95.500 (1959)
La Chanson d'Orphee / Adieu Tristesse (Felicidade) / Guajira / Macongo
As from the film "Orpheu Negro" Monophonic & Stereo




450.884/STO 95.503 (Dec. 1959)
Dos Horas De Balazos / Sauce / Casamiento De Negros / De Terciopelo Negro
Monophonic & Stereo




450.960 (June 1960)
La Petenera / Piedra Y Camina / Recuerdos De Ipacaray / Chaparralito
Standard/Monophonic




450.999 (Sept. 1960)
Cancao Dos Jangadeiros / Isto Aqui Nao Esta Bom / Vae, Agora Vae / Na Bahia Tamben Tem
As from the film "Os Bandeirantes" Standard/Monophonic






451.009 (Dec. 1960)
Pepito / Negra Maria Esther / Dimelo En Septiembre / Luna De Benidorm
Reissued as 460.009 Standard/Monophonic




451.069 (July 1961)
Contigo En La Distancia / Otorrino Laringologo / La Cucaracha / La Boa
Reissued as 460.069 Standard/Monophonic




451.102 (Feb. 1962)
El Choclo / Yira Yira / Perversita / El Professor
Reissued as 460.102 Standard/Monophonic




451.123 (May 1962)
Chico Cha Cha Cha / Teresita / A Dubliu / En Un Lugar Del Mundo
Reissued as 460.123 Standard/Monophonic




451.127 (1962)
Granada / Perfidia / Amor, Amor / Adios
Reissued as 460.127 Standard/Monophonic




451.140 (1962)
Tabou / Pepe, Porro / La Palomita / Alegre Pescador
Reissued as 460.140 Standard/Monophonic