Tags: punker

4 Dec 2009, Comments (6)

S.J. and the Crossroads – Ooh-Poo-Pah-Doo (SALMAR) 1966

Author: michael selman
kennykasualsband

A garage rock group, which mainly recorded and performed covers from Beaumont, Texas, S.J. and the Crossroads, were exceptional at recording tunes with a lone star signature sound. Of the small amount of information remaining about this group, I was able to find an interview with the original lead singer Sam Messina. In this interview Messina has problems coming to grips with the idea that his band fit the garage/punk sound. After listening to S.J. and the Crossroads snarling vocals and rough instrumentation, a garage image is unveiled.

impact scan
impact scan

Today I bring you two out of a slew of monster 45’s by The Crossroads, first which is a Jesse Hill cover of Ooh Poo Pah Doo. This single was recorded in Jones Studio in Houston; the group wanted a live feel for the track so they overdubbed background voices at the beginning of the track. The band supposedly was saying the word “Rhubarb,” over and over again, however the listener is unable to decipher this from the track. The second tune is a calm version of The Strangeloves “Night Time.”

kennykasualsband

The group consisted of six Italian guys from Beaumont. Mike Daleo on guitar, Phillip Battaglia on bass, Johnny Serio on lead guitar, Sam Giglio on keys, Sam Messina on vocals and S.J. Serio on drums. The group recorded on the Salmar Label out of Beaumont, which was created for the Crossroads. The name was selected because S.J.’s and Jonny’s father Sal Serio, who was the group’s manager and their mother’s name was Mary forming SALMAR Records.

kennykasualsband

LISTEN: S.J. and the Crossroads – Ooh-Poo-Pah-Doo

LISTEN: S.J. and the Crossroads – Night Time

20 Nov 2009, Comments (2)

Mouse and The Traps – Lie, Beg, Borrow and Steal (FRATERNITY) 1967

Author: michael selman
kenny and the kasuals

Some say that the first single from this group, “A Public Execution” is to Dylan what the Knickerbockers’, “Lies” is to the Beatles. One of the few rips offs, which is so accurate that most listeners feel they are listening to the original musicians themselves. Ronnie “Mouse” Weiss was born 1939, he later spearheaded the Tyler, Texas group Mouse later becoming Mouse and the Traps. “A Public Execution” originally written by Weiss and Knox Henderson was taken to Robin Hood Studios in Tyler. The song became a regional hit. This single features Ronnie “Mouse” Weiss on 12 string guitar and vocals, Dave Stanley on Bass, Bug Henderson on guitar, Don “Levi” Garret on drums, Randy Fouts on Piano and Robin Hood Brians himself on farfisa organ. This track not only mimics Dylan’s lyrical content, but also Dylan’s singing style to the point of homage or even parody. The liner notes of the original Nuggets compilation, Larry Kane states “There are some who say that Mouse does Dylan’s Highway 61 period better than the master himself. I personally cannot agree with this statement, however enjoy this parody immensely. After the success of “A Public Execution” the group changed their name to Mouse and the Traps, and the musical styles of the group also changed to more of a punkier rough sound.

impact scan

Lie, Beg, Borrow and Steal recorded in 1967 is absolutely of this rougher sound I am referencing. The unusual thing about this track is that the full title is “Lie, Beg, Borrow and Steal,” however if you look at the uploaded image of the wax, the Lie in the title has been dropped, confusing this track with the Rare Breed single. The correct name Lie, Beg, Borrow and Steal was written by Ronnie Weiss and also recorded in Tyler at Robin Hood Studios. The musicians on the recording were Ronnie Weiss on guitar and vocals, Dave Stanley on Bass, Bugs Henderson on lead guitar, Jerry Howell on keyboards, Ken Murray on drums. I was able to find a picture sleeve on the net of a German press of Beg, Borrow and Steal. Freak out.

kennykasualsband

LISTEN: Mouse – A Public Execution

LISTEN: Mouse and The Traps – Lie, Beg, Barrow and Steal

13 Nov 2009, Comments (0)

The Sparkles – The Hip (HICKORY) 1966

Author: michael selman

As far as garage music in the sixties was concerned, there were two categories: there was The Sparkles and there was everybody else that didn’t stack up. Born in Levelland, Texas then relocating to Lubbock, this group is absolutely the rawest, screaming garage I have ever dug up. While many groups later in the seventies experimented with two drummers these guys were doing it in 1965 and doing it well. Formed in 1957, but not recording their debut until 1962 “The UT” (for Untitled) on the tiny Caron label. This recording garnered zero attention.


After this flop most of the group went on to new projects leaving only one remaining original member to start a new line up from scratch. This line up would turn out to be a success with: Louie Holt on lead guitar, Jimmy Marriott on drums, Bobby Smith on bass, Lucky Floyd on drums and lead vocal and lastly Gary P. Nunn on rhythm guitar and organ. The group signed to Hickory Records and was able to get Roy Orbison’s drummer, Larry Parks, as their producer. In 1966 they recorded “The Hip” which turned out to be a swinging dance number quite popular with the fraternity crowd at the University of Texas at Austin. This single is one, which I consider a novelty in a garage/psych genre, being that the vocals are so fast they have a rapping or slam quality.


The Sparkles were one of a few groups that were a working band only; they played for their livelihood, perfecting their sound with no dead end jobs getting in the way. The group recorded their masterpiece “No Friend of Mine” in late 1967. This incendiary effort distinguished by Nunn’s snarling guitar lead and Floyd’s remarkably anguished vocal was later immortalized via inclusion on the first Nuggets box set. I want to point out that Sundazed has released an E.P. by The Sparkles that includes three tracks: “No Friend of Mine,” “Hipsville 29 B.C.” and “I Want To Be Free.” Being that “Hipsville 29 B.C.” and “No Friend of Mine” are around $200 45s, buying the E.P. might be a good route, then again maybe you will get lucky like I have and dig them up. As for this group, the nuclear meltdown-strength classics “The Hip,” and “No Friend Of Mine” are of a different breed than any group of this time period; they capture the garage genre at peak power for the sixties. ENJOY.



LISTEN: The Sparkles – The U.T.

LISTEN: The Sparkles – The Hip

LISTEN: The Sparkles – Daddy Gonna’ Put the Hurt On You

LISTEN: The Sparkles – No Friend Of Mine

15 Oct 2009, Comments (2)

The Countdown 5 – Uncle Kirby (Toucan) 1967

Author: michael selman

This week I have been off of my feet due to a bike spill. Being that the record convention was this past weekend, I was able, prior to the spill, to dig up some new Texas fuzz. So please bear with me, next week will return to a normal length.

The Countdown 5 was formed out of the demise of a group called The Dominoes, a high school band, from Texas City, Texas. The Bamboo Hut was a Dance club in Galveston, Texas where the group became the house band. The Bamboo Hut would be a place for, practicing and performing and really tightening their sound, which later put them on the billboard top 100. In 1965, the Countdown recorded the single “Bamboo Hut,” recorded on the Pasadena label Pic 1. The single carries over a frat rock sound from the early sixties, a high-energy dance number, showing homage to their original stomping ground. The honkin’ saxophone layered over a theme of constant beach parties at a grass hut, just seems to have fallen out of a Frankie Avalon picture. “Bamboo Hut,” never stirred much attention for the group except for a local Galveston following.

Countdown 5, two years later recorded “Uncle Kirby,” this single gave the group a spot on the national charts. This track starts out with a slow psych tone, which drops out to reveal a paint peeling screamer, “I’m Gonna Get Rich.” This screamer was the beginning of an evolution of The 5’s sound, which continues with their singles to follow. The group changed labels to a local Galveston label, Toucan Records. It seems that the group, at the same time, released this single on the Houston Cinema label, but I cant figure out which came first, but I think the Toucan press was a much smaller local press. “Uncle Kirby,” later turned up on the Texas Flashback Compilation.

Coastliners1966ed

LISTEN: Countdown 5 – Bamboo Hut

LISTEN: Countdown 5 – Uncle Kirby (from Brazil)

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