Born In The Garage Vol. 8 – The Leather Boy Chronicles

 

  Among the many forgotten figures to emerge from the American music scene of the 1960s, few are as intriguing as Milan Radenkovich (1941-1971). Singer, songwriter, producer and consummate studio craftsman, he built a career that was as prolific as it was understated, leaving behind a remarkable body of work spread across a succession of labels and released under an astonishing variety of names, including Milan, The World of Milan, The Leather Boy and Rick Rodell.

  Never content to be confined to a single style, Milan moved effortlessly between Brill Building pop, beat, garage, blue-eyed soul and psychedelia. Alongside his own recordings, he wrote and produced for countless other artists, becoming one of those behind-the-scenes figures whose influence far outweighed the recognition he received.

  His untimely death in 1971, at the age of just twenty-nine, pushed his name into obscurity for decades. It wasn't until cult compilations such as Pebbles sparked a renewed interest in the lost sounds of the sixties that songs like "On the Go," "You Gotta Have Soul" and "Black Friday" finally found the audience they had always deserved.

  This session follows Milan's remarkable journey from his earliest recordings to his final work, combining his own releases with songs he wrote and produced for others. Taken together, they paint the portrait of one of the decade's most gifted and unjustly overlooked musical figures.

  Because sometimes the smallest credits tell the biggest stories.

  Let's dive into the tracklist...

1. The Leather Boy – "On the Go" (MGM, 1967)

  This musical journey through the career of Milan Radenkovich opens with "On the Go," the third and final single released under his best-known alias, The Leather Boy. Although it made little commercial impact at the time, the record has since become one of the standout titles in his catalogue, championed by collectors and revived through cult compilations such as Pebbles. It's the perfect introduction to one of the great overlooked figures of 1960s pop and garage.

2. Milan with His Orchestra – "Santa's Doin' the Twist" (Migon, 1962)

  Milan's recording career began in 1962 with this delightfully offbeat Christmas novelty, released as Milan with His Orchestra (also credited on some pressings as Milan And His Orchestra). Long before garage and psychedelia entered the picture, a young Milan was riding the twist craze that swept America in the early sixties. The song was written under the name Rick Rodell, one of the many aliases he would adopt throughout his career, already hinting at the stylistic range and versatility that would become his trademark.

3. Milan – "Innocence" (End, 1963)

  A year later, Milan resurfaced under his own name with "Innocence," his first single for End Records (END-1123). Backed with "Winter Time," it captures him in a world far removed from the garage sound that would later earn him cult status. Instead, he embraces polished orchestral pop and teen pop in the finest New York tradition of the early sixties. It was another step in a career that would see him reinvent himself time and again before arriving at the sound for which he is best remembered.

4. Lou Christie – "You and I (Have a Right to Cry)" (Roulette, 1963)

  Milan's talents soon extended well beyond his own recordings. Originally issued as the B-side of Lou Christie's third single, paired with the hit "How Many Teardrops," this beautifully crafted ballad was written under the Rick Rodell pseudonym. It shows that, even in 1963, Milan was already making his mark behind the scenes as a songwriter and producer. The single reached No. 46 on the Billboard Hot 100, and both sides were later included on Lou Christie's self-titled debut LP.

5. Milan – "Winter Time" (End, 1963)

  Released as the B-side of "Innocence," this tender ballad completes Milan's first single under his own name. Together, the two songs capture an artist still firmly rooted in the polished teen pop of the early 1960s, before his music gradually evolved towards the garage, blue-eyed soul and psychedelic sounds that would later earn him a cult following.

6. The Souvenirs – "How Many Teardrops?" (Decca, 1963)

  Issued by Decca in 1963, this was the one and only release by the short-lived British group The Souvenirs. The A-side, "How Many Teardrops?", was written by Rick Rodell, while the flip side, "I Could Have Loved You," was penned by British singer Mike Berry. It's an intriguing little single that shows Milan's songs were already finding their way to British artists, extending his reach well beyond the American pop scene.

7. Milan – "I Am What I Am" (20th Century Fox, 1964)

  Milan's second single also served as the title track and opening cut of his only LP, I Am What I Am (1964). One of the key recordings from his early solo career, it finds him firmly rooted in sophisticated orchestral pop, with the polished arrangements and meticulous production that characterised his early work, before he embraced the grittier garage and psychedelic sounds for which he is best remembered.

8. The American Beetles – "Don't Be Unkind" (Roulette, 1964)

  This single is one of the many projects that featured Milan Radenkovich as a producer, arranger and songwriter. Although "Don't Be Unkind" was not written by him, the B-side, "You Did It To Me," bears the Rick Rodell credit, making the release another example of the prolific behind-the-scenes work that kept Milan busy throughout the mid-sixties.

9. Milan – "Over and Over Again" (20th Century Fox, 1964)

  The B-side of "I Am What I Am," Milan's second single for 20th Century Fox. While the A-side opened his only LP, "Over and Over Again" completed a release that further established him as a gifted pop singer and songwriter. Richly arranged and elegantly produced, it belongs to the sophisticated pop world of his early years, long before garage rock became his musical calling card.

10. The World of Milan – "Cry, Lonely Boy" (ABC-Paramount, 1965)

  Released under the new alias The World of Milan, this was the first record to signal a change in direction. The lush orchestral pop of his earliest work began giving way to a more contemporary sound, while still retaining the vocal harmonies and Brill Building craftsmanship that shaped his songwriting. The flip side, "Luva-Luva," would later be rediscovered on the retrospective compilation Hell Bent for Leather.

11. The Leather Boy – "Jersey Thursday" (Parkway, 1967)

  Released by Parkway Records in 1967, this striking reinterpretation of a Donovan song became one of Milan's most celebrated recordings. Greg Shaw, founder of Bomp! Records and curator of the influential Pebbles series, famously wrote that "what Milan did to Donovan's songs has to be heard to be believed." That endorsement helped transform this exceptionally rare single into one of the most sought-after records among garage collectors.

12. The World of Milan – "One Track Mind" (Brunswick, 1966)

  The second and final single released under the The World of Milan banner finds Milan moving decisively towards a tougher, garage-influenced sound. More direct and energetic than his earlier work, it captures an artist in transition and offers a tantalising glimpse of the rawer approach he would soon embrace as The Leather Boy.

13. The Leather Boy – "Black Friday" (Parkway, 1967)

  The B-side of "Jersey Thursday," "Black Friday" ranks among the darkest and most compelling recordings in Milan's catalogue. Like its companion track, it remained virtually forgotten for decades before being rediscovered by collectors of 1960s garage and psychedelia, eventually earning its place as a genuine cult favourite.

14. The World of Milan – "Shades of Blue" (Brunswick, 1966)

  The flip side of "One Track Mind," this beautifully crafted recording reveals the more melodic and sophisticated side of The World of Milan. Although the single attracted little attention on its original release, both sides now rank among the finest examples of Milan's songwriting and production during the mid-sixties.

15. The Leather Boy – "You Gotta Have Soul" (Flower, 1967)

  Issued as the very first release on the newly launched Flower Records, and credited to Milan (The Leather Boy), "You Gotta Have Soul" would play a key role in Milan's posthumous rediscovery. Decades later, Greg Shaw included the track on Pebbles Vol. 11, introducing it to a new generation of garage fans and helping to restore Milan's reputation among collectors of obscure sixties recordings.

16. The Chanters – "Free As A Bird" (MGM, 1967)

  The B-side of "Bongo Bongo," this single was produced by Milan for the mysterious all-female group The Chanters. Alongside producing the record, he also wrote the A-side, making it one of the more intriguing projects of his career. Very little is still known about the group, adding yet another small mystery to Milan's remarkable body of work.

17. Breeze – "I Get Groovy Feeling" (Flower, 1967)

  One of the singles released on Flower Records, the short-lived label launched by Milan in 1967. Like many of the imprint's releases, it reflects his ambition to blend pop, soul and garage into concise, commercial productions aimed at the youth market. It offers another glimpse of Milan's lesser-known work as a producer, songwriter and label owner.

18. High Voltage – "Plastic People" (Flower, 1967)

  Another Flower Records production, "Plastic People" finds Milan beginning to embrace the psychedelic influences that were reshaping popular music in 1967. While still rooted in the immediacy of pop and garage, the record hints at the more adventurous direction his work would soon take.

19. The Doughboys – "Candy Candy" (Bell, 1967)

  By the time this single appeared, The Doughboys had already established themselves as one of New Jersey's leading garage bands. Milan's involvement with the record marks another collaboration from one of the busiest periods of his career, when his talents as a songwriter and producer were increasingly in demand.

20. The Unclaimed – "Memories of Green Eyes" (Philips, 1967)

  Written and produced by Milan, "Memories of Green Eyes" was released by Philips in 1967, backed with "Jingle Jangle." Years later, it was revived on the retrospective compilation Hell Bent for Leather, where it emerged as one of the finest examples of Milan's work behind the scenes.

21. Ice Cream – "Epitaph to Marie" (Capitol, 1968)

  In an unexpected detour into bubblegum pop, Milan wrote and arranged both sides of the only single released by Ice Cream, issued by Capitol Records in 1968. It's yet another reminder of his ability to move effortlessly between musical styles while retaining his unmistakable touch as a songwriter and arranger.

22. The Licorice Schtik – "The Kissin' Game" (Dot, 1968)

  Milan handled both the songwriting and the arrangements for this Dot Records single. "The Kissin' Game" and its B-side, "Flowers Flowers," were later rediscovered on the retrospective compilation Hell Bent for Leather, shining a light on another overlooked corner of his remarkably varied career.

23. The Downtown Collection – "Washington Square" (Strobe, 1968)

  Milan produced this 1968 Strobe Records single for The Downtown Collection. Although the band left little trace on the American pop scene, the release serves as another reminder of just how active Milan had become as a producer during the second half of the decade, lending his talents to a wide variety of artists and projects.

24. The Head Shop – "Listen with a Third Ear" (Epic, 1969)

  By 1969, Milan had taken a decisive step into psychedelic territory with The Head Shop, the ambitious studio project he produced and largely masterminded. "Listen with a Third Ear" captures this new direction perfectly, revealing an artist who had travelled a long way from the polished orchestral pop of his earliest recordings.

25. The Head Shop – "Head Shop" (Epic, 1969)

  The opening track from The Head Shop's only album, produced by Milan for Epic Records. Now widely regarded as a cult classic of American psychedelia, the LP represents the culmination of an extraordinary musical journey that had begun seven years earlier with "Santa's Doin' the Twist," Milan's recording debut. It stands as the final chapter in the remarkable artistic evolution of one of the decade's most versatile studio talents.

26. The Leather Boy – "(My Prayer) To You" (Flower, 1970)

  The last known recording Milan made before his untimely death in 1971, at the age of just twenty-nine. Released as the B-side of "You Gotta Have Soul" under the credit Milan (The Leather Boy), it brings this session to a natural close, celebrating one of the most enigmatic, versatile and unjustly overlooked figures to emerge from the American music scene of the 1960s.

Trashlist
01. The Leather Boy – On the Go (MGM, 1967)
02. Milan with His Orchestra – Santa's Doin' the Twist (Migon, 1962)
03. Milan – Innocence (End, 1963)
04. Lou Christie – You and I (Have a Right to Cry) (Roulette, 1963)
05. Milan – Winter Time (End, 1963)
06. The Souvenirs – How Many Teardrops? (Decca, 1963)
07. Milan – I Am What I Am (20th Century Fox, 1964)
08. The American Beetles – Don't Be Unkind (Roulette, 1964)
09. Milan – Over and Over Again (20th Century Fox, 1964)
10. The World of Milan – Cry, Lonely Boy (ABC-Paramount, 1965)
11. The Leather Boy – Jersey Thursday (inédito, 1966)
12. The World of Milan – One Track Mind (Brunswick, 1966)
13. The Leather Boy – Black Friday (inédito, 1966)
14. The World of Milan – Shades of Blue (Brunswick, 1966)
15. The Leather Boy – You Gotta Have Soul (Flower, 1967)
16. Chanters – Free As A Bird (MGM, 1967)
17. Breeze – I Get Groovy Feeling (Flower, 1967)
18. High Voltage – Plastic People (Flower, 1967)
19. The Doughboys – Candy Candy (Bell, 1967)
20. The Unclaimed – Memories of Green Eyes (Philips, 1967)
21. Ice Cream – Epitaph to Marie (Capitol, 1968)
22. The Licorice Schtik – The Kissin' Game (Dot, 1968)
23. Downtown Collection – Washington Square (Strobe, 1968)
24. The Head Shop – Listen with a Third Ear (Epic, 1969)
25. The Head Shop – Head Shop (Epic, 1969)
26. The Leather Boy – (My Prayer) To You (Flower, 1970)

A Teenage Sound Disaster by Mr. Fuzzley

Endless Summer Vol. 5 – Motorsurf Special (Lost 60s Surf & Hot Rod)

  

   El verano ha vuelto a Estación Zombie.

 Las clases han terminado, las ventanillas vuelven a bajar, las tablas de surf regresan a los portaequipajes y los motores rugen camino de la playa. Es tiempo de carreras improvisadas, hamburgueserías junto a la carretera, noches interminables y radios de coche sonando a todo volumen mientras el olor a gasolina se mezcla con la brisa del océano.

  En esta quinta entrega de Endless Summer dejamos el surf a un lado para adentrarnos de lleno en el universo de los hot rods californianos durante el esplendor de los años sesenta. Hondas, coupés modificados, Mustangs, woodies y toda clase de máquinas personalizadas desfilan por una banda sonora donde la velocidad comparte protagonismo con armonías vocales, guitarras cargadas de reverberación y el espíritu despreocupado de una generación que parecía destinada a vivir un verano eterno.

  Como suele ocurrir en Estación Zombie, junto a algunos nombres bien conocidos aparecen decenas de artistas que apenas tuvieron tiempo de dejar su huella. Muchas de las bandas que forman esta selección solo llegaron a publicar uno o dos singles antes de desaparecer, mientras que otras disfrutaron de trayectorias algo más largas, aunque casi siempre alejadas del éxito comercial. Ahí reside buena parte del encanto de recopilaciones como esta: rescatar pequeñas joyas olvidadas que permanecieron ocultas en los surcos durante décadas, esperando a que una nueva generación de oyentes volviera a descubrirlas.

  La sesión sirve también como homenaje a Gary Usher, una de las figuras fundamentales en el desarrollo del surf, el hot rod y el sonido californiano de los años sesenta. Junto a varias de sus primeras grabaciones en solitario, escucharemos canciones que escribió, produjo o interpretó con diferentes grupos, reflejando la enorme influencia que ejerció como músico, compositor y productor.

  En realidad, este volumen nació con una idea muy distinta. En un principio iba a estar dedicado íntegramente a Gary Usher, reuniendo sus propias grabaciones, las bandas con las que trabajó y buena parte de las canciones que escribió o produjo para otros artistas. Sin embargo, diversos problemas relacionados con los derechos de autor obligaron a replantear el proyecto y el material terminó repartiéndose entre esta recopilación y otra prevista inicialmente para el año siguiente. Con el tiempo, el cambio acabó siendo una ventaja, ya que permitió ampliar el recorrido y dar cabida a un mayor número de joyas del surf y el hot rod que merecían ser rescatadas.

  Veintiocho temas impulsados por gasolina de alto octanaje, motores rugiendo y armonías bañadas por el sol, capaces de transportarnos a una época en la que cada fin de semana prometía una nueva aventura.

  Abróchate el casco.

  Coge la tabla.

  Llena el depósito.

  Y, hagas lo que hagas...

no te quedes demasiado tiempo mirando el mar.

Trashlist
01. The Hondells! – Haulin' Honda
02. The Knights - Hot Rod U.S.A.
03. The Go-Go's – The Wild One
04. The Powder Puffs - (You Can't Take) My Boyfriend's Woody
05. The Revells - Fastest Little Racer
06. Gary Usher - You're The Girl
07. The Competitors - Little Stick Nomad
08. The Timers – Competition Coupe
09. The Customs – Hot Rod City
10. The Beach Girls - Skiing in the Snow
11. The Wheel Men – Hon-Da Beach
12. The Knights - Midnight Auto
13. The Hondells! - Rip's Bike
14. Buzz And Bucky - Tiger a Go-Go
15. The Competitors - Power Shift
16. The Go-Go's – Saturday's Hero
17. The Neptunes - Shame Girl
18. The Hondells! – Hon-Da Beach Party
19. Dave and The Marksmen - I Wanna Cry
20. Gary Usher – That's Just The Way I Feel
21. The Knights - Hot Rod High
22. Rally Packs - Move Out, Little Mustang
23. The Customs – Nifty '50
24. The Hondells! - My Little Bike
25. The Devons – Honda Bike
26. Gary Usher & Zane Ashton - Lies
27. The Timers – No Go Showboat
28. The Competitors - Cheater Slicks

Selected, Compiled & Mixed by Tony Rivers... From the Grave

  Esta iba a ser originalmente la portada de una sesión dedicada por completo a Gary Usher. Sin embargo, diversos problemas relacionados con los derechos de autor me obligaron a dividir el proyecto en dos recopilaciones independientes. La primera es este volumen; la segunda está prevista para el año que viene. Entre ambas reúnen prácticamente todo el material que había seleccionado originalmente como homenaje a uno de los principales arquitectos del sonido surf y hot rod de los años sesenta.

FantasticRetroSounds #60 Jungle Rumble Vol.3

 

  Si el volumen anterior reunía distintas versiones de "Taboo" junto a un buen puñado de canciones dedicadas a Tarzán y a sus innumerables imitadores selváticos, esta vez los protagonistas son gorilas, monos y simios de toda clase, sin olvidarnos del indiscutible rey de la jungla: King Kong.

  Todo lo demás permanece fiel a la fórmula habitual: salvaje rock'n'roll y rhythm & blues con sabor selvático, impulsados por percusiones tribales, fiebre primitiva y gloriosas dosis de auténtica locura musical.

  ¡¡¡BIENVENIDOS A LA JUNGLA... DONDE EL INFIERNO ES EL PARAÍSO!!!

Tracklist
01. Intro 'Congo Dances Are Very Gay Affairs'
02. Uèlè Kalabubu et sa Tribou - Sassa Boumbitumba África
03. Red Callender Sextet - Voodoo
04. The Rythm Addicts - The Thrill
05. Winnie Lighter - Pingo Pongo
06. Unnatural Seven - Serutan Yob
07. Thurl Ravenscroft- Dr. Geek From Tanganyika
08. Tommy King - Bop Diddlie In the Jungle
09. Billy Taylor & The Tear Drops - Wombie Zombie
10. Big Walter & The Thunderbirds - Watusi Freeze Part 1
11. Big Walter & The Thunderbirds - Watusi Freeze Part 2
12. Roy Estrada & The Rocketeers - Jungle Dreams Part 2
13. The Statesmen - Roo-Buh-Doo-Buh-Doo
14. The Loafers - Crazy Talk
15. Curley & The Jades - Boom Stix
16. The Alltecs - Gorilla Hunt
17. Freddy Cannon - Everybody Monkey
18. The Rocking Vickers (with Lemmy Kilmister) - I Go Ape
19. '100-Percent Gorilla'
20. The Ideals - The Gorilla
21. The Ideals - Go Go Gorilla [Satellite Version]
22. The Shandells - Go Go Gorilla
23. Baby Huey & The Babysitters - Monkey Man
24. Saxie Russell - El Monkey
25. J.C. Davis - Monkey
26. Jerry Warren - Monkey Walk
27. Tarantula Ghoul & The Gravediggers - King Kong

Selected by Rafa "Igor" Murillo

Cheap & Nasty #15 – Instant Punk Cash-In! (The UK Exploitation Years 1977-1979)

   When punk exploded across Britain in 1976, it was widely seen as a menace. Barely two years later, it had become a label that almost anyone could exploit. What began as a genuine musical and cultural movement quickly turned into a commercial opportunity for record labels, producers, veteran musicians and opportunists of every description.

  Cheap and Nasty #15 explores that fascinating grey area known as British Punk Exploitation. Between 1977 and 1979, dozens of singles appeared that attempted to cash in on punk without really belonging to it. Some were recorded by anonymous session musicians, others by hastily assembled studio groups, while many simply added the word punk to the title in the hope of shifting a few more copies.

  This session brings together many of those oddities, from tongue-in-cheek novelties like Norman & The Hooligans' "I'm A Punk" and The Punkettes' "Going Out Wiva Punk" to promotional giveaways, library music recordings, shameless imitations and bizarre studio experiments that today are every bit as entertaining as they are absurd. It also features artists who briefly orbited the real punk scene, including Cherry Vanilla, Alberto Y Lost Trios Paranoias and the early Police, alongside long-forgotten acts whose entire careers amounted to a single 45.

  The real surprise is just how many of these records are better than they have any right to be. Beneath the commercial opportunism lie infectious hooks, punchy riffs and enough energy to show just how deeply punk had infiltrated every corner of the British music industry. It was no longer a marginal subculture. It had become a recognisable style, easy to parody and, above all, easy to sell.

  Cheap and Nasty #15 captures the moment when punk stopped belonging exclusively to the punks. It's a journey through the distorted, opportunistic, often hilarious and occasionally inspired reflection of a movement that, in remarkably little time, went from shocking a nation to becoming just another product on the shelves of Britain's music business.

                              

                                           

                            

Trashlist

00. The Great Rock'n'roll Swindle - Trailer
01. Monks – Johnny B Rotten (EMI, 1979)
02. Wozo – Punk Rock (Music De Wolfe, 1978)
03. Norman & The Hooligans – I’m A Punk (President Records, 1977)
04. The Punkettes – Going Out Wiva Punk (Response Records, 1977)
05. Cherry Vanilla – The Punk (RCA, 1977)
06. Kevin Short & His Privates – Punk Strut (EMI International, 1978)
07. Radio Active – Alltime Needletime Loser (BeeB, 1977)
08. Colin Lloyd Band – Chat Show (Music De Wolfe, 1978)
09. F.U.2. – You Don’t Love Me (Shoking , 1977)
10. The Water Pistols – Soft Punk (State Records, 1976)
11. Billy Karloff Band – Back Street Billy (Wanted Records, 1978)
12. Johnny Ducann – Throw Him In Jail (Arista, 1977)
13. Alberto Y Lost Trios Paranoias – Snuffin’ Like That (Stiff Records, 1977)
14. Bog Ugly - I've Seen It Vomit (Toadstool Records, 1978)
15. Airship – Get Out, Take Your Mother With You (Decca, 1979)
16. Jilted John – Jilted John (EMI International, 1978)
17. Bullets - Grammar School Girls (Big Bear Records, 1978)
18. The Police – Fall Out (Illegal Records, 1977)
19. The Pork Dukes – Making Bacon (Wood Records, 1977)
20. Horrorcomic – England 77 (Lightning Records, 1978)
21. The Vacants – I’m Allrite (Variety, 1977)
22. Telescope – Bye Byes (Ain’t Nice) (Pentagon, 1977)
23. Sex Pistols - My Way (Virgin, 1979)

Unearthed by Tony Rivers

  Sid Vicious's version of "My Way," originally made famous by Frank Sinatra, has been part of my life since my teenage years. For one reason or another, it's one of those records that has always stayed with me. That's why I've chosen to end this session with it, even though the Sex Pistols are probably the most written about, analysed and endlessly discussed band in the entire history of punk.

  Then again, that's really what Estación Zombie is all about. These sessions are best thought of as a kind of audio fanzine on Mixcloud, with the blog serving as its printed companion. They're not intended to be encyclopaedias or academic studies, but personal selections driven by curiosity, forgotten records and, every now and then, a few memories of my own.

  Taken from The Great Rock 'n' Roll Swindle, "My Way" felt like the perfect way to bring this journey through the opportunistic, absurd and oddly endearing side of late seventies British punk to a close.

Sesiones Marcianas #63 CRAZY VIBRATIONS! Crazy Exotica Cocktail 3

   

   Pere vuelve a abrir el baúl de las rarezas con una selección donde el rock'n'roll, el rhythm & blues, los instrumentales, la exotica, el surf y los últimos bailes de finales de los cincuenta y principios de los sesenta se mezclan en una explosión de ritmo y diversión.

  Bongós desbocados, ritmos tropicales imaginarios, títulos imposibles, jerga inventada y un irresistible ambiente festivo marcan el recorrido por el lado más extravagante de la música popular. Desde instrumentales primitivos como "Bongo Rock" hasta fantasías pseudoexóticas, bailes hoy olvidados y extravagantes producciones de estudio concebidas con un único propósito: llenar la pista de baile.

  El resultado es una sesión repleta de curiosidades musicales, humor involuntario y energía contagiosa, donde cada tema parece dispuesto a superar al anterior en originalidad y extravagancia. Un auténtico safari sonoro por los rincones más salvajes del rock'n'roll y el pop anteriores a la llegada de los Beatles.

  "¡Hola, amigos! Esta nueva edición de Sesiones Marcianas viene cargada de ritmos bailables, exóticos y disparatados. Veinticinco temas deliciosamente excéntricos de finales de los años cincuenta y comienzos de los sesenta, listos para haceros mover los pies... Rhythm & Roll, ritmos tropicales, música para striptease y un buen puñado de sonidos maravillosamente extravagantes..."

  La mujer vestida con estampado de leopardo que aparece en la portada es la actriz y modelo Jeri Mae James. La fotografía procede de una de sus inolvidables sesiones promocionales.

Tracklist:
1. Mel Taylor & The Magics: Bongo Rock (1965)
2. The Studio Group: Go Mean (1970)
3. Fred Flinstone & His Orchestra: Quarry Stone Rock (1961)
4. Jimmy Heap: Gismo (1959)
5. The Zircons: Oongawa (1962)
6. Parkettes: El Matador (1963)
7. Leo Quica & The Earl Hagen Orchestra: Oh Leola (1958)
8. The Bikinis: Crazy Vibrations (1960)
9. The Terrifics: Loco (1958)
10. The Dazzlers: Clazy (1958)
11. Bill Joyce Combo: Twistin' in Hong Kong (1960)
12. Bernie Turner & The Armorettes: Ching Ching Wong (1963)
13. The Saucers: Cha Wailey Routa (1959)
14. Danny White: The Twitch (1963)
15. The Sparkles: Oh, Girls, Girls (1966)
16. Baker Knight: Hungry For Love (1962)
17. The Allisons: Surfer Street (1963)
18. Jerry Simms: Good Luck Orville (1961)
19. Jimmy Simmons: Land Of Love (1957)
20. The Contenders: Tequila Song (1958)
21. Danny Bell & The Bell Hops: Chili With Honey (1958)
22. Xavier Cugat: Gesundheit (1959)
23. Chaquito & His Orchestra: Chaquito (1958)
24. Jack Parnell: Topsy (1958)
25. Jacques Denjean & His Orchestra: Le Train Fou (1964)
                                              

Curated by Pere Milta

The Soul Vault Vol. 3 – Deep Cuts: Underground Soul, R&B & Northern Grooves (1966–1971)

  Once again, we unlock the doors to The Soul Vault, uncovering another treasure trove of forgotten soul and R&B gems from the sixties and early seventies. Far removed from the chart hits that dominated the airwaves, this selection ventures into the world of overlooked singles, independent labels and remarkable voices that never achieved household-name status, yet left behind recordings that refuse to be forgotten.

  Fiery dance-floor favourites like Jackie Lee's "The Duck" and Chuck Wood's "Seven Days Too Long" sit alongside prized collector's items by Eddie Parker, Gene Toones, Rita & The Tiaras and Roger Washington. There's also room for the unmistakable Detroit sound, with several early recordings by The Parliaments, long before they evolved into one of the most groundbreaking forces in American black music.

  As the session unfolds, the tempo gradually gives way to deeper emotions: broken hearts, impossible romances and richly emotional performances from artists such as Mel Britt, Syl Johnson, Frank Beverly & The Butlers and Joe Hicks. All of it wrapped in lush arrangements, razor-sharp horn sections and the irresistible pulse that made soul one of the most powerful musical expressions of its era.

  Twenty-three tracks rescued from small independent labels, forgotten B-sides, Northern Soul classics and long-hidden treasures that sound every bit as vibrant and moving today as they did the day they were committed to vinyl.

  Welcome back to The Soul Vault.

  The dust of time disappears the moment the needle touches the groove.

Trashlist
01. Jackie Lee – The Duck (Mirwood, 1966)
02. Alvin Cash & The Registers – Let’s Do Some Good Timing (Mar-v-lus, 1966)
03. Chuck Wood – Seven Days Too Long (Roulette, 1967)
04. The Lollipops – Loving Good Feeling (Impact, 1966)
05. The Precisions – If This Is Love I’d Rather Be Lonely (Drew, 1967)
06. Rita & The Tiaras – Gone With the Wind Is My Love (Dore, 1967)
07. Gene Toones – What More Do You Want (Simco, 1966)
08. Eddie Parker – I’m Gone (Awake, 1967)
09. Roger Washington – You’re Too Much (Joe Davis, 1966)
10. Frankie Pighee The Soulettes - If You Dont Think (That I Love You) (Soul Kitchen, 1967)
11. The Parliaments – Heart Trouble (Golden World, 1966)
12. The Vel-Vets – I Got to Find Me Somebody (20th Century Fox, 1967)
13. Frank Beverly & The Butlers – If That’s What You Wanted (Sassy, 1967)
14. Al Wilson – The Snake (Soul City, 1968)
15. Syl Johnson – Try Me (Twinight, 1967)
16. Ann Alford – If It Ain’t One Thing (It’s Another) (Hy Sign, 1971)
17. The Parliaments – The Goose (That Laid the Golden Egg) (Revilot, 1968)
18. The Parliaments – This Is My Rainy Day (Cabell, 1966)
19. Duke Browner – Crying Over You (Impact, 1966)
20. Mel Britt – She’ll Come Running Back (Fip, 1969)
21. Bob Relf – Blowing My Mind to Pieces (Trans-American, 1970)
22. Joe Hicks – I Gotta Be Free (AGC, 1969)
23. Duke Browner – Crying Over You (Instrumental) (Impact, 1966)

A Teenage Sound Disaster by Mr. Fuzzley

Asian Beats Vol. 3 Beat, Pop & Exotic Sounds from the Far East (1963–1968)

  Después de asomarse en varias sesiones anteriores, el explosivo sonido de la Asia de los años sesenta merecía por fin un espacio propio. Con esta tercera entrega, Asian Beats deja de ser una parada ocasional para convertirse en una serie con identidad propia dentro de Estación Zombie. El resultado es un viaje por algunas de las grabaciones más sorprendentes, vibrantes y bailables surgidas al otro lado del mundo durante la era beat.

  La ruta comienza en Singapur, uno de los grandes cruces musicales del sudeste asiático en los años sesenta. Allí, grupos como The Quests, Patrina o Fung Po Po absorbieron el rock'n'roll, el beat británico y el pop juvenil para transformarlos en un sonido fresco y con personalidad propia. A partir de ahí, el recorrido nos lleva por Malasia, Indonesia, Filipinas, Taiwán, Camboya, la India y, sobre todo, Japón, cuya extraordinaria escena musical dio lugar a un sinfín de bandas, cantantes y grupos instrumentales capaces de combinar tradición, modernidad y una inagotable energía juvenil.

  Chicas go-go, bandas eléctricas, guitarras reverberantes, versiones insólitas, ritmos frenéticos y melodías irresistibles desfilan a lo largo de una sesión que se mueve con total naturalidad entre el pop más refinado y la actitud más salvaje del garage. Son grabaciones nacidas en una época en la que el rock occidental se extendía por Asia a toda velocidad, adoptando una personalidad diferente en cada ciudad, cada idioma y cada escena local.

  Asian Beats Vol. 3 no pretende ser un estudio académico. Es, ante todo, una invitación a viajar. Un recorrido por clubes iluminados con neones, estudios de televisión en blanco y negro, pistas de baile abarrotadas y estudios de grabación donde Oriente y Occidente se encontraron para crear un sonido completamente único.

  Veintitrés temas procedentes de siete países diferentes que demuestran que la historia del beat de los años sesenta es mucho más amplia, rica y sorprendente de lo que suele contarse.

Trashlist
01. Rita Chao & The Quests - Shake, Shake, Shake (Singapore, 1966)
02. Sakura & The Quests - Stupid Cupid (Singapore, 1967)
03. Patrina - One To Nine Walkin (Singapore, 1967)
04. Chiu Yen and the Stylers - Mimi Cat (Singapore)
05. Fung Po Po - Ring Dang Doo (Singapore, 1967)
06. M. Osman & Blue Rhythm KL - Sekilas Pandang (Singapore, 1968)
07. A. Rahman Hassan & Orkes Nirwana - Kerana Fitnah
08. Kazuko Morimoto – High Teen Go Go (Japan, 1966)
09. Aki Izumi - Koi Wa Heart De (Japan, 1967)
10. Pinky Chicks - Soba Ni Ite (Japan, 1968)
11. The Spiders - Ban, Ban, Ban (Japan, 196?)
12. The Youngers - Hanashitakunai (Japan, 1968)
13. The Dynamites - Tunnel Tengoku (Japan, 1968)
14. Takeshi Terauchi and the Bunnys - Taiyo no Hana (Japan, 1968)
15. Dara Puspita - A Go-Go (Indonesia, 1967)
16. Danny Diaz & The Checkmates - Ring Dang Do (Philippines, 1966)
17. Hu Min-Hong - Twin Duck Shadow (Taiwán, 196?)
18. Van Shipley - Jan Pahechan (India, 1966)
19. Chum Kem - Twist Twist Kyom (Cambodia, 196?)
20. Tet Somnang, Meas Samon – Khynyom Jah Karake (Cambodia)
21. Hitoshi Ueki - Ikan Ni Zonjimasu (Japan, 1965)
22. Aoyama Michi - Yume No Chotokkyu (Japan, 1964)
23. Aoyama Michi - Mitchy Ondo (Japan, 1963)

Compiled in the shadows by El Mandarín Fantasma