Side A
Artist	Song
The Kingsmen	Louie Louie
The Wailers	Out Of Our Tree
The Sonics	Psycho
The Count Five	Psycotic Reaction
Chocolate Watch Band	Sweet Young Thing
The Bold	Gotta Get Some
The Litter	Action Woman
Shadows Of Knight	Bad Little Woman
The Music Machine	Point Of No Return
The Electric Prunes	I Had Too Much To Dream (Last Night) (live version)
The Balloon Farm	A Question Of Temperature
The Seeds	Pushin' To Hard
The Knickerbockers	One Track Mind
The Standells	Sometimes Good Guys Don't Wear White
Kama Del Sutra	She Taught Me Love
The Squires	Going All The Way
Blues Magoos	Gotta Get Away
Side B
Artist	Song	Buy
Chesterfield Kings	I Ain't No Miracle Worker
Fuzztones	She's Wicked
Lyres	Help You Ann
The Crawdaddys	I Can Never Tell
The Pandoras	Hot Generation
The Creatures Of The Golden Dawn	It Feels Like The End Of The World
The Miracle Workers	Already Gone
The Tell-Tale Hearts	It's Just A Matter Of Time
The Flies	I'm In Pittsburgh
Gravedigger V	Stoneage Stomp
Thee Fourgiven	Spiders In My Sink
The Unclaimed	No Apology
Yard Trauma	Some People
The Vipers	Nothings From Today
The Vertebrats	Don't Think About It
Girl Trouble	Gonna Find A Cave
Thee Headcoats	Everyday

Comment:

Garage Rock: Hey, remember those creepy kids your parents told you not to let hang around in the yard. Well, it seems they took that adolescent need to make noise and create stupid, immature, disharmony wherever possible, namely the neighborhood garage or suburban basement and mutated it into what is termed Garage Rock. The movement sprang during the first Dark Ages of rock and roll, the music at the time was manufactured teen idols, yet some clear disciples of rock were attempting to spread the gospel through surf bands and Northwest area R&B styled frat rock combos, each playing to a slightly different brain-skewed crowd. Then came the British Invasion: The Beatles, The Stones, The Yardbirds, Them, The Kinks, The Troggs, the fucking Dave Clark Five. Countless American boys opened up page 25 of the Sears Christmas catalogue and begged mom and dad for the Silvertone or Harmony guitars. Sears and Roebuck gave each kid the vision they could be the next Beatles if they wanted. Raging hormones, translated into twanging and pounding and they practiced just enough till they got it wrong. They weren't as technically adept as their idols, but the crude style and attitude became the sounds of local teen bashes. This was music made by teens for teens. It wasn't nice, it wasn't clean, and it was well...as archeologist of Rock would say---PUNK. The volcanic effects of Vietnam and the attempt to be more "serious" would sadly bury this phenomenon. The civilization of "Garage Rock" would be lost if not for Elektra Records president Jac Holzman who commissioned an archeological dig with Lenny Kaye that resulted in a two record set called Nuggets. This cherished collection would see the use of the term punk used for the first time to describe a musical sound and attitude. It's no mistake that the movement of '77 punkers led to the growing interest in the garage punks of '66. The punk explosion forced youth to analyze rock music; it helped to establish that rock actually had a history. By the early 80's factions of punk youth started to embrace trends from the past, especially the sound of 60's punk. Soon new bands emerged utilizing the bibles of Nuggets, and the series Pebbles and High In The Mid Sixties releases for spiritual guidance. Greg Shaw would set up the church with his Bomp/Voxx label and soon every town seemed to have a garage band in its underground scene, if not an entire scene devoted to the style. The dawn of the 1990's saw the end of the resurgence , yet today there are pockets of fans and bands keeping the sound alive. It is guaranteed that the sounds that insure the style and youthful spirit will be passed down onto continuing generations. The technological form is unimportant; it's the wigged out content that matters and the need for humanistic exuberance will not diminish with the years. Side ONE is Garage 1963-1967. Side TWO is Garage 1979-1989.

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