The Fuzztones -- Lysergic Emanations

  Psychedelic Punk gurus The Fuzztones, are in my opinion the best Garage Revival band of all time ... question is, is this really a revival album ... no I don't think so ... they took the genre to a new heights, just like the Blues being re-invented over and over again ... I read some critics say they are just a bar band playing cover tunes, but f*ck that sh*t, these guys (and gal) are the real deal, it's proven in their rad originals, from straight up 60's punk numbers to a flamenco driven Doors-ish opus and even a Beefhearty noise experiment ... it's all done beautifully because they practice what they preach ... Ya Dig!

The Inmates -- First Offence

  Total write-off Garage Revival band, The Inmates.  Their music doesn't bring anything new to the table.  The only listenable tracks on the album covers songs, Dirty Water and Midnight To Six Man ... otherwise their First Offence, should have been their last offence ...

The Satelliters -- Wylde Knights Of Action!

  90's Garage Punk outfit, The Satelliters ... for the most part I love these Garage revival bands, but I don't like this one, not that the songs are all that bad, it's the sound that sucks, loud tinny drums, cheesy sounding fuzz, and the singer's awful Reg Presley (The Troggs) impression ... no thanks ...

Them -- Backtrackin'

  Backtrackin' is a compilation LP, due to label disputes, who ownes what, and who could release it, only certain numbers could make it on this album, for example you've got Baby, Please Don't Go, but no Gloria, they were on the same 45, ya dig.  In a nut shell, Them are a Garage Rock outfit, who got lumped in the British Invasion even though they're Irish.  They sound similar to The Animals, but with a raw-er hard Blues sound, poignantly louder charismatic vocals and grittier lyrics.  Although this comp does feature a lot of covers, a personal favorite of mine is Them's version of Simon & Garfunkel's Richard Cory, they took the tune and gave the lyrics the sound that was a far better match for it than a Folk Rock duo could.  Them and Morrison have quite the acclaim, but I feel they deserve more, Morrison is a brilliant song writer and poet, somehow the other Morrison got all the attention ... but he wasn't a short weird lookin' Irishman!

The Allman Brothers Band -- At Fillmore East

  Live virtuoso Southern Blues double LP masterpiece.  Unlike other Southern bands they ditch the Hard Rock style and focus on traditional Blues with Jazz improvisations ... apparently the band was so into the concert it lasted well into the early hours of the morning, only noticeable to them when someone opened a door and the sunlight crept it's way into the Fillmore.   The album stands as a last testament of guitar legend Duane Allman (their next release Eat A Peach had some live tracks taken from the Fillmore concerts, not featured on this set) ... and what is that he's hiding in his hand on the cover with the sh*t eating grin?  Hmmmmm, maybe a little dose of inspiration?

Love -- Da Capo

  Love seems uncertain if they're Punks or if they're Hippies, better yet, it's the same goddamn thing -- well sorta.  Seven and Seven Is is pure 60's Punk Rock and the rest of the album is erratic lush Jazz infused break beaten music. Closing track, the whole B-side, Revelation, is an eighteen minute out Doorsing the Doors Blues/ Jazz Psychedelic freak out, yips and yelps included.

Del Shannon -- Greatest Hits

  The original sarcastic bitter bear of Rock 'n' Roll, Del Shannon!  His lyrics speak to just about any dork whose been dumped or let down by women, but that's just the start, what Del really loved was subtle revenge, guiltless third party voyeuristic pleasure giving his Hat(s) Off To Larry.  The Musitron keyboard's strange sound helps set the bizarre mood for most of Shannon's numbers.  Unfortunately for Del, he faded into obscurity, dwindling away in alcoholism and eventually took his own life.  At least we'll always have Shannon's unique version of Rock 'n' Roll to help us feel not so alone when we're in the throws of a bitter break up.

Janis Joplin -- I Got Dem Ol' Kozmic Blues Again Mama!

  As much as I am (wuz?) a Big Brother, Janis snob purest, I think, I'm not too too sure yet, I might like this album better.  What made it so great, wasn't just Joplin's mega voice, but the Kozmic Blues Band, especially the Otis Redding style horn section, which stole the show in my mind.  We all associate Joplin as the San Fransisco psychedelic Queen but on this record she transformed herself into the White Lady of Soul!!!

Lou Reed -- Walk On The Wild Side: The Best Of ...

  Yeah Yeah I know, "best of " ... really, but why the hell not ... it's Lou.  Side one is by far the better half of this set.  It's got the Zimmy sounding Wild Child, I Love You, Bowie-esque, Satellite Of Love (who's that singing in the background, listen closely), Rock composed masterpiece How Do You Think Feels, fun oddity New York Conversation, and last but not the least, Lou's biggest chart topper, I love watching the jock yuppies who have no idea what the song is about but sing it to girls in bars trying to get laid, Walk On The Wild Side.  The B-side is a punishing mix.  It starts with heavy metal guitared covers of old Velvet tunes from Rock And Roll Animal which I always hated.  The latter end of the album does get better, but not great with, Sally Can't Dance, Punky B-side Nowhere At All and poetic Coney Island Baby.  All in all the record is a great comprehensive of Reed's early solo career, his first three efforts were better than the rest, but anything is pretty good from our favorite Beat Poet musician.

Holly Golightly -- Laugh It Up

  Laugh It Up is a stellar collection of cover tunes stylized by Holly Golightly, like the Detroit Cobras Golightly takes old numbers and updates em' in true fashion, the songs are much smoother than the Cobra's style, but in the same idea.  Golightly has worked with some high profile underground luminaries, especially multi-talented impresario art guru Billy Childish, and Laugh It Up's cover is drawn by Mudhoney's resident artist Ed Fotheringham.  My only problem with this modern-day Classic record is the Vinyl itself, it pisses me off just to think about it.  Almost every song skips like its going out of style.  It used to play fine, but lately, forget about it, and no, it isn't scratched to sh*t.  What I notice about new Vinyl from the 2000's is that the grooves aren't cut very deep, they resemble surface scratches more than they resemble grooves ... I've got a Meters and Brian Jonestown with the same problem.  My paranoia kicks in, all I see is some dork listening to MP3's cutting my very record, doing a bad job of course while thinking why the hell do people buy these things when you could just download em' for free ... the only reason he got the job, he's the owners best buddy who took pity on his junkie friend whose hit some hard times, which us, the buying public get the tail end of -- shotty Vinyl or as this record label called themselves, Damaged Goods!  I'd love to stand up to these infidels, take back my record, and get the Vinyl I deserve, so Laugh It Up, Fuzzball, cause I'm coming for YOU!

Elevator Through -- Vague Premonition

  Lo-Fi Stoner Folk Punk mastermind Rick White makes another Indie Rock masterpiece.  Why his albums aren't completely revered, the answer eludes me; meaning everyone should listen to Rick White music, whether it's Eric's Trip, Elevator, his solo stuff or better yet all of the above -- maybe that's just my Vague Premonition ....

Joe Jackson -- Look Sharp!

  Look Sharp! is a mediocre unauthentic version of Elvis Costello mixed with some Jam, sorry but I don't find this guy to be believable at all!  The music itself isn't half bad, but as the record went on I kept thinking, this sounds like a Costello shticked cash grab, I'll give him points for the valiant effort, and to answer his question, yeah, she's really going out with him ... so get over it!

The Surfaris -- Wipe Out

  Not exactly the best Surf Rock band, but nonetheless a essential group for the genre.  As an album, an entire record of mediocre instrumental Surf tracks with some god awful covers can be a hard pill to swallow.  Being vocaless and restrained to one style, there isn't much diversity to explore, although The Surfaris aren't the best example, maybe I'd be singing a different tune (he ..he) if this were one of the Del-Fi acts -- but I'm not so suck it up!  Funny footnote story, and I'm sure you have one very similar.  There was this kid in grade school, his claim to fame was he could play the drum bit from Wipe Out.  I remember the first time the whole class saw him in action, executing the drum solo just like the song, he became the school yard God .... well for about a week, until something else came up ....

Dave Clark Five -- Across Canada with the ...

  British Invaders the DC5 take on Canada for this release.  The 5 are crucial early 60's hit makers.  Their tunes are great, but are basically a Beatles ripoff with a little fuzz and sax.  My only real beef with this record is that the album sounds cheaply produced, there's an annoying airy tinniness to it that didn't make me Glad All Over.

Gen X -- Kiss Me Deadly

  The last of what was known as Billy Idol's Generation X, Kiss Me Deadly.  The record might not be a punk rock masterpiece, but as far as good ol' catchy rock 'n' roll numbers go this album is great, and it features a slew of classic punk guest guitarists.  I can't help but have some serious nostalgia listening to this record, visions of dancing my little brains out in punk clubs years ago in Montreal, it felt like, "Heaven Was Inside Us All!"

Gary Numan -- Telekon

  Numan's follow up to the Synth-Pop Classic The Pleasure Principle, Telekon is Tele-crap.  Beating the dead horse release, you get the feeling that Numan was far too into his bizarro futurist shtick, which gives him points for going full force, otherwise it's just creepy, like the baby faced cover.  Funny that it kinda sounds the same as his earlier releases, but there is something missing that made the others good and this one bad, maybe he just exhausted the idea to the point it didn't have life ... I don't know ... what I do know is that Telekon is Tele-gone!!

Buffalo Springfield -- S/T

  This album is a great rock 'n' roll artifact of Neil Young's humble beginnings, I personally don't care too much for Stephen Stills.  The record sounds like folky countrified garage rock, For What It's Worth this album is better in theory than in actuality .... but they do pick it up next time ... I guess I just Burned em'!

Bruce Springsteen -- Darkness On The Edge Of Town

  Darkness On The Edge Of Town is a very stylish classic rock record, Springsteen isn't breaking down any barriers here, but that's not really his shtick, just music for music's sake.  You can really hear where the Arcade Fire get their influence from Springsteen especially in the vocal style and song flow.  Take it from the boss, there's a Darkness On The Edge Of Town.

Leonard Cohen -- Songs Of Love And Hate

  Montreal's answer to Bobby D, Songs Of Love And Hate, recorded in Nashville by famous producer Bob Johnson.  Cohen's usual folk sounds has the addition of string arrangements on the record making the mood moodier.  His words seem to speak straight to the heart, poignant lyrics emulating feeling, spearheading itself to everyman.  Even the tunes that I'd consider bad, Diamonds in the Mine and Sing Another Song, Boys, have a pre-John Cooper Clarke quality to it.  I just wonder why they didn't put any effort for the cover, they didn't have an artist friend hanging around to pick up the slack, oh well f*uck it, let's sing a song for Last Year's Man ....  "Sincerely, L." Jerm-man!

Ike and Tina Turner -- Greatest Hits

  This record is a collection of early Ike and Tina hit numbers.  We all know Ike for being one of the corner stones of Rock 'n' Roll music, and a strong contender for possibly inventing it!  Each and every song is beyond great, Ike Turner's soul blues.  Now the funny part about the album, all the songs on this record are tunes sung by Tina about her love and longing for her man, but Ike wrote 'em all, like love letters to himself, even going as far as having a track called Letter From Tina but written by Ike, ha ha, we've all heard the stories of what kinda lover man Ike was.  I guess Tina was just A Fool In Love.

Shadows Of Knight -- Gloria

  Chicago's re-answer to the Blues, doing what the Stones, Yardbirds and the Who did and Amaricafied it back, the result being early Punk Rock.  Covering mostly classic Chicago Blues tunes and using Them's Gloria as the title track.  The real money is on the original tracks, Light Bulb Blues, It Always Happens That Way and Darkside, the first two are fuzzed out Punk numbers with switchblade riffs, the other a bleak moody ballad.  The Uk may have re-invented the blues, but the Americans regurgitated it an invented Punk!  Funny footnote, they're on the Dunwich label, product number 666, ouuuuu, spooky!

The Jimi Hendrix Experience -- Axis: Bold As Love

  Man ... I've been crazy about this album since I was a kid, it's by far the best record in the whole Hendrix catalogue.  There's just something smoother, more soulful and less showboaty about this album!  In my opinion Castles Made Of Sand is Hendrix's greatest contribution to rock music, the riff  and insightful lyrics can span the ages, even released today it'd be retrolessly fresh "...and so castles made of sand fall in the sea, eventually..."