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Psychedelic Lollipop(We Ain't Got) Nothin' Yet
Love Seems Doomed
Queen Of My Nights
I'll Go Crazy
Gotta Get Away
Sometimes I Think About
One By One
Worried Life Blues
She's Coming Home$13.99Vinyl LP Reissue - Sealed Buy Now
Electric Comic BookPipe Dream
There's A Chance We Can Make It
Life Is Just A Cher O'Bowlies
Albert Common Is Dead
Summer Is The Man
Baby, I Want You
Let's Get Together
Take My Love
That's All Folks$13.99Vinyl LP Reissue - Sealed Buy Now
Psychedelic LollipopThe Blues Magoos launched their recording career with a major smash, hitting the Top Five with the brash garage-punk anthem (We Ain't Got) Nothin' Yet. That tune is just one of the multiple pleasures of Psychedelic Lollipop, notable as one of the first albums (along with the 13th Floor Elevators' debut) to use the word psychedelic in its title. The band balances swaggering proto-punk attitude, a Beatlesque pop sensibility and adventurous acid-pop experimentalism on such tunes as Gotta Get Away, One by One and Love Seems Doomed. And the Magoos' high-energy workouts on James Brown's I'll Go Crazy and John Loudermilk's Tobacco Road rank with the greatest versions of those much-covered garage-band standards.
This 60s garage-psych nugget is now available from Sundazed on High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums.1. (We Aint Got) Nothin Yet
2. Love Seems Doomed
3. Tobacco Road
4. Queen of My Nights
5. Ill Go Crazy
6. Gotta Get Away
7. Sometimes I Think About
8. One by One
9. Worried Life Blues
10. Shes Coming Home$24.99Vinyl LP - Sealed Buy Now
Electric Comic BookThe Blues Magoos launched their recording career with the LP Psychedelic Lollipop. The equally impressive Electric Comic Book refines the band's mix of rock 'n' roll and day-glo psychedelia. That punchy yet playful approach animates such distinctive numbers as Pipe Dream, Rush Hour, There's a Chance We Can Make It and Albert Common Is Dead.
This '60s garage-psych nugget is now available from Sundazed on High Definition Vinyl, sourced from the original Mercury-label stereo masters, with the colorful original cover art meticulously reproduced.
In their '60s heyday, the Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound. The band's 1966 debut album Psychedelic Lollipop and its 1967 followup Electric Comic Book, are two of that period's most beloved and enduring albums.1. Pipe Dream
2. There's a Chance We Can Make It
3. Life Is Just a Cher O'Bowlies
6. Albert Common Is Dead
7. Summer Is the Man
8. Baby, I Want You
9. Let's Get Together
10. Take My Love
11. Rush Hour
12. That's All Folks$24.99Vinyl LP - Sealed Buy Now
Singles (1966-1969)The Complete Electric Prunes Reprise-Label Singles 1966-1969
The Original Mixes From The Master Reels
The Electric Prunes perfectly bridged the edgy, fuzz-fueled garage-rock of contemporaries like the Blues Magoos and the Thirteenth Floor Elevators with a diligent, progressive studio craft reminiscent of the Beatles and Beach Boys. And now, we're extremely proud to present a deluxe Sundazed gatefold-edition double-LP set, compiling the legendary Prunes' single sides - all of which magnificently helped draw the road map of American Psychedelia, '66-69
With detailed, insightful liner notes by David Fricke, candid words from band leader James Lowe, rare photos and more, our release is sourced right from the vintage Reprise singles masters. This set features seldom-heard mixes and versions, exactly as they were originally unleashed on the band's legendary singles
So, dim the lights and turn that amp up loud - and blast into the world's first-ever vinyl collection of these mighty and intense A&B sides - it's a Prunes project twenty years in the making for us (no kidding) - and one of our most important releases ever!!LP 1
1. Ain't It Hard
2. Little Olive
3. I Had Too Much To Dream (Last Night)
5. Get Me To The World On Time
6. Are You Lovin' Me More (But Enjoying It Less)
7. Vox Wah-Wah
8. Dr. Do-Good
10. The Great Banana Hoax
11. Wind-Up Toys
12. Long Days Flight
13. The King Is In The Counting House
1. Everybody Knows You're Not In Love
2. You've Never Had It Better
5. Help Us (Our Father, Our King)
6. The Adoration
7. Hey Mr. President
8. Flowing Smoothly
10. Violent Rose
11. Love Grows
12. Fingers Keepers, Losers Weepers$36.99Vinyl LP - 2 LPs Sealed Buy Now
REDD-SUN-5817xThe Pleasure Seekers
What A Way To DieThe archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.
The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"
The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.
That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."
The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."
"The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."
Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."
A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."
Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."
After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."
The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.
The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."
- Mike & Anja Stax (Ugly Things magazine)1. Intro By DJ The Lord
2. Gotta Get Away
3. Never Thought You'd Leave Me
4. Light Of Love
5. Good Kind Of Hurt
6. What A Way To Die
7. Elevator Express
8. Locked In Your Love
9. White Pig Blues
10. Brain Confusion
11. Where Have You Gone
12. Mr. Power$24.99Vinyl LP - Sealed Buy Now