garage Archive

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?

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

Since 1980, The Fuzztones have been leaders in keeping the garage rock flame alive. Originally based in New York City, the group – led by singer-guitarist Rudi Protrudi – eventually emigrated to Germany, where they believe they’ve found a more receptive audience. There’s been a fair amount of Fuzztones-related activity in recent years; among the

Album Review: Various Artists — Los Nuggetz: ’60s Garage & Psych from Latin America

During the first four or five years of this new century, there existed online a thriving collector/trading community, dedicated to sharing and disseminating obscure, forgotten and occasionally never-known-about-in-the-first place music from the 1960s. Operating right on the edge of copyright law (well, on the wrong side of it, if truth be told), these collectors shared

EP Review: Drivin’ n’ Cryin’ — Songs from the Psychedelic Time Clock

In terms of delivering new music, Drivin’ n’ Cryin’ is employing a strategy not unlike that of Marshall Crenshaw. Instead of releasing an album after a couple years’ wait, both acts are meting out new music in smaller, EP-sized bites. From a marketing (or fan relations) standpoint, this is a solid approach; it keeps the

Album Review: Pulp and Pop Culture Box Vol. 1

You know what’s cool? When the compiler of a collection of music makes no outsized claims of cultural import about the music. Sometimes it’s art, for sure, but sometime, it’s just…fun. That’s certainly the case with Rock Beat’s new Pulp & Pop Culture Box Vol. 1. One hundred-plus tracks filling four CDs, it’s jam packed

Concert Review: Black Angels, Allah-Las and Elephant Stone — Asheville NC April 5 2013

I started attending arena-scale rock concerts back in the late 1970s. My first show was in October 1978, seeing Electric Light Orchestra with their hamburger bun/spaceship setup at Atlanta’s Omni. (In the words of Rob Reiner‘s Marty DiBergi character in This is Spinal Tap, “Don’t look for it; it’s not there anymore.) One of the

Album Review: Skydog: The Duane Allman Retrospective

Seven CDs represents quite a lot of music. And all of the music on Skydog: The Duane Allman Retrospective was recorded in the space of six and half year years. The earliest tracks date from spring 1965, and the latest cuts were recorded in fall 1971. But the 129 tracks span an impressively wide stylistic