garage Archive

Never Had It Better: A Chat with James Lowe of The Electric Prunes (Part Two)

Continued from Part One… Bill Kopp: In 2012 I wrote a blog entry in which I suggested that Syd Barrett may have – consciously or otherwise – nicked the intro of “Are You Lovin’ Me More (But Enjoying It Less)” for Pink Floyd‘s “Astronomy Dominé.” The two are too similar for it to be coincidence,

Never Had It Better: A Chat with James Lowe of The Electric Prunes (Part One)

In that heady summer of 1967, one of the songs that captured and embodied the zeitgeist was “I Had Too Much to Dream (Last Night),” a fuzzed-out psychedelic miniature masterpiece by the trendily-named Electric Prunes. While the original group managed only to squeeze out two albums – the debut LP titled after the hit single,

EP Review: The Fauntleroys — Below the Pink Pony

I can’t find the specific quote I’m looking for at the moment, but there’s an entry in Lillian Roxon’s Rock Encyclopedia (the original 1969 edition, not the lousy and lifeless early 70s update edited by Ed Naha) in which the author predicts the rise of one-off collaborations between established music. Again, I can only paraphrase,

Album Review: The Roaring 420s – What is Psych?

There’s a bubbling-under sort of cottage industry in sixties revivalism. And it’s been around for at least a couple of decades now, occasionally popping into the mainstream consciousness to enjoy a charting single or album. Of course Oasis raised the practice to fetishism in the 1990s, shifting millions of units for their trouble. And the

Album Review: Sun Ra — A Space Odyssey

As Kris Needs notes in his excellent and detailed liner notes for A Space Odyssey: From Birmingham to the Big Apple – The Quest Begins, Sun Ra was a practitioner of “garage jazz.” Today (May 22 2014) would have been the 100th birthday of the man born Herman Blount, though once he rechristened himself Sun

Album Review: Night Beats — Sonic Bloom

Modern perspectives on 60s garage rock have littered the musical landscape in the 21st century. But I’m reminded of an oft-repeated response to all that by a friend of mine. Upon hearing the latest band claiming to faithfully re-create the garage rock vibe of 1965-68, he often remarks upon the result, saying something like, “Aww…that’s

It’s a Mondo Zombie Boogaloo!

It’s one thing to make good music. A challenging thing, not to be taken for granted, but as far as live performance goes, ultimately it’s only one part of the mix. Another thing is to put on a good show. Some artists do that without getting the first part of the equation (Gene Simmons, I’m

Album Review: Various — In Fuzz We Trust

The premise alone is enough to set your head a-spinning. First, start with a bunch of sixties garage bands, the kind immortalized on the legendary Lenny Kaye-curated Nuggets album. Now flash forward to the 1980s and beyond, when a second wave of bands spring up in tribute to the garage/psych sound of yesteryear. Now flash

Fuzzy Memories: A Conversation with The Fuzztones’ Rudi Protrudi, Part Three

Continued from Part Two… Rudi Protrudi: We did a single in 1972 and our singer was very into Jethro Tull , and we did “Locomotive Breath” along with a lot of other stuff. He played flute, and he had the Ian Anderson thing down. Yeah, I like the song. And so when we started writing

Fuzzy Memories: A Conversation with The Fuzztones’ Rudi Protrudi, Part Two

Continued from Part One… Bill Kopp: Throughout The Fuzztones‘ history, you’ve again and again managed the tricky feat of writing new, original songs that fit the aesthetic of stuff from 1965-66. Is it a conscious effort to do that, or by now are you so immersed in the style that it just happens that way?