You gotta get out to get down: come join Sundazed recording artists The New Mastersounds for an in-store performance at Grimey’s in Nashville TONIGHT (5/4) at 6:00 PM CST! It will be the appetizer before their full-length show at The Mercy Lounge that evening, which will no doubt become an epic dance party (get your tickets HERE or at the door). Come meet the band, pick up a copy of Masterology to have signed and hang out with the Sundazed staff!
Can’t make the gig? Get your copy of Masterology HERE!
A half-hearted Harvard University theology student in 1965, Gram Parsons wasn’t really thrilled about attending classes. He much preferred hanging around the fervent Cambridge/Boston folk scene, playing with many musicians until he met guitarist John Nuese. Nuese encouraged Parsons to steer away from folk toward a more country direction, setting Parsons on the path that would eventually win him international acclaim. Lifting the name from a classic “Our Gang” skit, Parsons and Nuese formed the International Submarine Band along with Ian Dunlop on bass and Mickey Gauvin on drums. Relocating to New York City, the band struggled to find their way while looking for a label home.
They found a temporary home at Ascot Records, which released their debut single in 1966. The 7” paired two cover songs, the Johnny Mandel-composed “The Russians are Coming, The Russians are Coming” along with a rollicking take on the Buck Owens’ hit “Truck Driving Man.” Though it made little noise at the time, their version of the latter song is now widely regarded as THE first country rock recording. While Parsons would spread the country rock gospel through his later work with The Byrds, The Flying Burrito Brothers and his solo recordings, this 45 was the original pebble in the pond whose waves are still being felt today. Out of print for decades, Sundazed is proud to bring this incredibly important single back to the public. Sourced from the original analog mono masters and packaged in a brilliant picture sleeve, this release is a “must-own” for grievous angels everywhere. Pour me another cup of coffee!
Order your copy HERE!
Saturday, April 16th is Record Store Day. Get out there and support your local independent record retailer!
BY “IMPERIAL” DECREE, ALL HAIL THE HOLLIES!
New releases for April 2011:
The Hollies – Lost Recordings and Beat Rarities 10×7″ Box Set
The Hollies – Beat Group! MONO Edition 180 gram vinyl LP
The Hollies - Bus Stop MONO Edition 180 gram vinyl LP
Get more info and order them all here!
Hey, we just wanted to let you know that these fabulous Sundazed CD’s are now out of print. NOW is your chance to grab these rockin’ releases before they’re GONE, DADDY, GONE! Remember, he or she who hesitates misses the collectables so make like an early bird and gobble up these delectable digital discs while you still can! Quantities are limited, though, so let’s make this our little secret. Once word gets out, they’ll be outta here before you can say “jewel case”!!!
Check out the entire list HERE!
The Tall Cool Tale of Paul Revere & the Raiders: A conversation with Mark Lindsay and Paul Revere
by Domenic Priore
For most rock ’n’ roll combos, to sustain the loss of not just one, but two era defining hits – “Louie, Louie” and “(I’m Not Your) Steppin’ Stone” – could’ve easily set one off course. Not so with the Pacific Northwest’s Paul Revere & the Raiders, who moved to Hollywood in 1964 to become that rare combination of rock ’n’ roll hitmaker/television star. With 15 hits on the American Top 40 between 1961 and 1971, they were one of the most consistent groups of the ’60s… but this is not just a story of any mere chart buster.
From the moment Paul Revere & the Raiders came together as a band, they were pretty much antonymous in terms of their music, and what direction they wanted their career to be steered. In the wake of the Pacific Northwest’s first major hit in 1959 “Tall Cool One” by The Wailers, Paul Revere & the Raiders would follow with a similar instrumental for their first chart breakthrough “Like Long Hair” (#38) on Gardena Records in 1961. These were groups who designed their sound by direct connection with an audience, as the Pacific Northwest was not necessarily going along with the teen idol sap radio was delivering to kids in those post-Payola scandal days when so-called “rock ’n’ roll” had gone soft.
In the rhythm and blues community, such vanilla airplay issues made no difference, but for Anglo kids, to strike out on your own with a rock ’n’ roll combo was now somewhat against the Bobby Vinton/Bobby Rydell grain. The Pacific Northwest, Los Angeles and uninfected-by-HUAC British towns such as Liverpool shared a similar independence during the early part of the ’60s in terms of their continued embrace of actual, wyld rock ’n’ roll delivery. L.A. developed a tremendous amount of Surf instrumental groups and Chicano rock ’n’ roll while Liverpool swarmed with Beat groups. At the very same time in the Pacific Northwest The Wailers, Paul Revere & the Raiders, The Kingsmen, Don & the Goodtimes, Mr. Lucky & the Gamblers, The Sonics and many others came out with their own brand of rowdy music that came to be generalized as “Frat Rock” later on. Continue reading