lily putts

Following "Deep In The Mind Of" the Purple Things released "Out Of The Deep" in 1986. Both formed a kind of diptych.The Purple Things rose from the ashes of the Vibes (one of the most exciting and creative band of the early 80's Garage/Psycho scene in England). Basically if you like the Vibes you'll like the Purple Things. The main difference between the two bands being the use of an E-Bass instead of the Double-Bass, the sound leaning more toward Garage/Punk. Their first mini-Lp "Deep In The Mind Of" was issued in 1985 on Media Burn and is a gem of weird Trash-a-Billy under Psychedelic influences (their cover of Red Krayola's "Hurricane Fighter Plane" confirms that). The LP kicks off with an amazing version of Tamrons' "Wild Man"... but enough said... let's dig it!!! - Jeronyme.

"Deep In The MInd Of…" traxfromwax:
1. Wild Man 2. Subterranean Cave Mind 3. Beautiful Red Sky 4. Insect Bones & The Astronauts

"Out Of The Deep" traxfromwax:
1. Scalped 2. Shadowed Room 3. Girl I Want You 4. Suzie Cream Cheese 5. Theme For The Gunship Reptile

GREASY RHYTHM & SOUL PARTY!!!Wow! Brand new series of killer late-1950s to mid-1960s American rhythm'n'blues and pre-soul and greasy soul!Volumes One and Two are all Male Groups/Artists belting out dance-floor fillers and wild party winners! Killer sound, killer packaging, PREPARE TO SWING, BABY!

trax:
1. so-called friends - Billy La Mont 2. sloopytime - Bobby & The Expressions 3. i don't know - Albert Collins 4. make yer mind up - The Rivals 5. hey let's dance - Jimmy Raye 6. the bump - Sam Baker 7. monkey man - Gene Burke 8. you're not gonna break my heart - McKinley Mitchell 9. the twitch - Danny White 10. what is love - The Pyramids 11. come on & stop - Marv Johnson 12. turn it on - Tony & Tyrone 13. i say love - The Isley Brothers 14. chills & fever - Allen Wayne 15. go-go gorilla - The Ideals 16. tenderiser - Wilbur Reynolds
...served by Gyro1966...

Johnny Sparrow's sides for the Gotham label, including six previously unreleased numbers and six previously unissued outtakes. "Sparrow's Flight" isn't here, although "Sparrow's Flight No. 2" is on hand. "Sparrow In the Barrel," which he'd originally cut for National and turned up as the B-side of his Gotham debut "When Your Lover Has Gone," features a strikingly dark solo from Sparrow. "Sparrow's Flight No. 2" soars effortlessly. "Boudoir Blues" shows Sparrow doing a distinctly '40s brand of jump blues, which comes off extremely well -- with superbly aggressive playing on his part -- but could hardly have been commercially appealing at the time. And "Serenade to Satchmo" is a loving tribute to Sparrow's ex-boss, with both flute and tenor sax solos.Not much is known about Johnny Sparrow's background, apart from the fact that he may have come from the South/Southwest, perhaps Texas, and that he first emerged in the reed section of Jay McShann's Orchestra, succeeding Charlie Parker during early 1944. He joined during the group's engagement at the Club Plantation in Los Angeles and played with them through the spring of that year. Unfortunately, the group didn't get to record during this period, and its work has survived best in the form of armed forces radio broadcasts. The band finally broke up in May of 1944 when McShann was drafted. He played with Louis Armstrong's band in 1946 and 1947, and got to record with the group as well. From Armstrong's band, Sparrow went to Lionel Hampton's ensemble, where he was often featured in competition with fellow saxman Morris Lane.
After two years with Hampton's group, Sparrow left in 1949 to form his own band, Johnny Sparrow & His Bows and Arrows. They recorded for a pair of small New York-based labels, Melford and National, of which the National sides were far more numerous and successful. Their biggest early success was "Sparrow's Flight," which charted in 1950. The group was based in Philadelphia beginning in 1951, with an extended engagement at that city's Club 421. During the spring of 1952, they were signed to the Philadelphia-based Gotham Records. At that time, the group consisted of Sparrow, Eugene Burrell, Thomas Moultrie, and Thomas Holloway. During its time at Gotham, the band's sound blossomed, with the addition of flute, trombone, and baritone sax, and still later a vibraphone alongside the basic quartet. By 1953, Sparrow's contract with Gotham was up, and apart from a couple of sessions the following year for RCA -- most of the songs from which were never released -- Johnny Sparrow faded into history. ~ Bruce Eder, Allmusic

trax:
01 Boudoir Boogie 02 When Your Lover Has Gone 03 Paradise Rock 04 What's New 05 Serenade To Satchmo 06 Always 07 Indiana 08 Jump Steady 09 Sparrow's Flight No. 2 10 Sparrow In The Barrel 11 I'll See You In My Dreams 12 Yesterdays 13 Am I Blue 14 What's New
...served by Gyro1966...

Arguably more of an EP than an LP, this vinyl-only release contains seven tracks of the finest blues-influenced psychedelic punk rock that you will ever come across.Appropriately titled Pushin' Up Daisies, the album features guitar and vocals by both Johnny Salton and Dave "Dee" Froshnider, the bass of Marco Pettit, and the drums of John "Sticks" Galway. I believe that Daisies lore refers to this line-up as Mach One.
​From the very first song, the instrumentation is solid. The rhythm section stays on point while also leaving space for the guitars and vocals. Like Salton, both Pettit and Galway are sorely missed local musicians. Rest in peace, brothers!
Meanwhile, the two guitarists do a great job balancing each other out, vocally and musically. Opener "Did It For Her" sets up a long-running series of bizarre alterno-love ditties that would appear throughout the Daisies' cannon. "Kill or Be Killed" and "Blew Me Away" take Side A into glorious and understated rock 'n' roll braggadocio before closing with the raucous plea for excitement, "Get Off on Your Porch," a song that I return to again and again.
Turning it down a notch, Side B presents a pair of slightly more atmospheric, introspective tracks, "Doesn't Come Around" and "In Doubt." Then ending things, "Wrap Your Arms Around Me" is a nice slice of baladeering romance. Could another song have fit here to make it an even eight? Maybe. But there are plenty of other Daisies' albums to pick through and thanks to the miracle of the internet, plenty of live video on YouTube to peruse.
​Now a few final details: Pushin' Up Daisies was recorded at L-7 Studios by engineer and producer Bob Rupe. It has a Sublapse Records catalogue number of LAP 3. And future Daisies' bass player Jill Kahn was responsible for the gorgeous cover photograph of a full-blown, black-and-white daisy. As for the availability of this album, I have never seen it turn up online and my copy was a personal gift from Mr. Salton and Ms. Kahn that I will treasure forever. The band's other records are available through the official website and I suggest you pick them up, because even though they are different on a Daisies' Mach to Mach basis, they are all glorious entries into the history of fine rock 'n' roll. - By Abel Folgartrax:
01 Did it for her 02 Kill or be killed 03 Blew me away 04 Get off on your porch 05 Get off on your porch 06 In doubt 07 Wrap your arms around me

Twenty-one sides left behind by the Undertakers, and there's not a bad song in the bunch. The first eight sides comprise their Pye Records singles, and these are pretty sharp -- this band was one of the few in England of that era that found a balance between the sax and the guitars, and melded American R&B with a thumping Merseybeat sound without coming across as either artificial or hopelessly primitive. "If You Don't Come Back" is one of the best recordings in the whole Pye catalog, even if it did herald the band's departure. Then there's the American recorded stuff, which is in a class by itself -- the Undertakers were leaner with just one guitar, and their sound is tighter, giving Lomax more room to stretch out vocally. The result is a dozen killer tracks on what ought to have been one of the great mid-1960s R&B albums by any British group; this stuff rivals The Beatles' Second Album or the My Generation album by the Who. The pity is that the band never got to follow it up -- they still had slight vestiges of that thumping Merseybeat sound, muted by the absence of a heavy rhythm guitar, and where they would have gone from here makes for fascinating speculation (one longs to hear the Lost Souls album). It's also easy to understand, after hearing this material, why George Harrison was so eager to bring Lomax to Apple. (Bruce Eder, Allmusic)trax:
01 (Do The) Mashed Potatoes 02 Everybody Loves A Lover 03 Money 04 What About Us 05 Just A Little Bit 06 Stupidity 07 If You Don't Come Back 08 Think 09 Be My Little Girl 10 She Said Yeah 11 I Need Your Lovin' 12 Tell Me What You're Gonna Do 13 Tricky Dicky 14 Irresistable You 15 Love Is A Swingin' Thing 16 Hey-Hey-Hey-Hey 17 You're So Fine And Sweet 18 Leave My Kitten Alone 19 Watch Your Step 20 Throw Your Love Away Girl 21 I Fell In Love
...served by Gyro1966...

GREASY RHYTHM & SOUL PARTY!!!Wow! Brand new series of killer late-1950s to mid-1960s American rhythm'n'blues and pre-soul and greasy soul! Volumes One and Two are all Male Groups/Artists belting out dance-floor fillers and wild party winners! Killer sound, killer packaging, PREPARE TO SWING, BABY!

trax:
1. baby don't do it - Charles Gray & Les Watson & The Panthers 2. you know how much i care - Otis Williams 3. i don't care, i don't care, i don't care - James Crawford 4. let's do it all - Jimmy McCracklin 5. she's mine - The Rivals 6. i don't know - Benny Turner 7. work work - Chico Leverett 8. shimmy shelly shake - Willie C. Echols 9. satellite stroll - Willie C. Echols 10. mama-ka-toko-laka-poo-poo-yay - Alex Spearman 11. mary lou - Young Jessie 12. baby you goofed - Rudi Stewart 14. hey hey - Dave Bartholomew 15. jes' one mo' time - Madman Jnes 16. did you do the mosquito - J.L. Smith 17. send me some lovin' - The Huntsmen
...served by Gyro1966...