In The Trashcan Records
GARBAGE33
"Let's open
the first file and wonder why it remained closed for all those years, and
then the second file... and by the time you'll reach file 16, you want to
scream out loud your disgust with the bad taste of people in those days..."
Belgian budget label Teeny has released a large amount of 45s from studio artists covering (non-) hits. The Shadows' classic guitar instrumental "F.B.I." gets a fair treatment here by Bud Ashton, even more than just fair: it's an excellent cover by a terrific guitar player. Bud's probably an alias and he "recorded" lots of singles for this label.
”Booze party” is their best known recording, but this flipside is also ultra cool rockabilly perfect for a rockin’ yule.
Early 60s pre-surf guitar instrumental by one of France's best combos yet unknown to the most of rock 'n' roll lovers in France. The protagonist however in this recording is the squeeky organ only to be interrupted in the middle of the song by a heavily distorted echoing guitar solo. This is pre-psychedelic guitar mayhem! On vol 38 you can listen to another track from their following 45.
If you know the Cramps, you probably know they recorded Walter Brown’s “Jelly roll rock” in the early 90s. Well, this is the flipside to that very expensive 45 from 1958.
I’m sure I’ve heard this guitar instrumental before, but I can’t remember where. Maybe on another compilation? Don’t know, but I’m sure you’ll like it. Do you know the series “Strictly instrumental” on Buffalo Bop? This is perfect for that great series of rock ‘n’ roll instrumentals.
Also released in 1960 on Mercury 71648 coupled with “Sarasota” but on that release the Rockets weren’t mentioned. At seventeen you’re old enough to dance.. Cool cool cool Bill Haley styled rock ‘n’ roll (is it just a coincidence that Boyd’s band were called The Rockets too?).
Yes, folks, this is the B-side of their legendary “Werewolf”, the 1959 song The Cramps used for “Don’t eat stuff off the sidewalk”. What’s the difference? It’s actually the instrumental version (and I mean omitting the “werewolf” spoken intro).
One of Lux Interior’s fave songs; from 1957. Need I say more? Wayne Williams aka Gaylon Wayne as he was called in the early 70s recorded a lot of country 45s. But this remained his best recording ever!
And here’s another proof of Bud Ashton’s terrific twangy guitar skills. Be it Duane Eddy or The Ventures or The Shadows: Bud’s the man! And again it’s on that tiny label called Teeny.
Really trippy, this wild guitar instrumental. This 45 contains three songs two of which are here on this volume. The A-side however is not listed here: “Memphis” also a good one.
If you know Leroy Bowman, you know his thriller “Graveyard”. Well, here’s the flipside. It’s hard to find better laid back rockabilly with a bluesy undercurrent. Bop the night away with this “Uh-huh”
Jan Berry and Arnie Ginsberg with Don Ralke's Music band. After this release Jan met Dean and became world famous as Jan & Dean, the Surf City boys. Here they are with a 1958 ode to Jennie Lee, the legendary stripper from the late 50s. Legend is that Jan & Arnie saw the stripper one night and wrote this song the day after. Four more 45s followed including three on the small Arwin label from Hollywood.
Is this guitar out of tune? Or were they drunk? Whatever, this is a cool instrumental rendition of the top western series Bonanza. Live from the outer space Ponderosa we present The Bonanzas from Belgium.
On King “Seventeen” was coupled with this fantastic stroller complete with horns, double bass and very cool vocals.
A super wild psychedelic guitar instrumental from 1967. I said psychedelic? I mean psychotic! It’s a fuzz OD, a wah-wah war with a little nod to “Gimme some lovin’”. And who do think is the guitar player? Indeed: Davie Allan. Production as usual was in hands of Mike Curb.
...featuring Davie Allan! Who else?! And again a tribute to Mr. Blue after Davie’s super instro “Blue’s theme”. The other side is also on this volume. Link Wray king of the fuzz guitar? Maybe, but the dauphin certainly is Davie Allan. At the end an organ tries to compete with Davie’s heavy guitar licks, alas.
