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10 garage rock classics that are 60 years old

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At some stage during my lifetime, “lo-fi” transitioned from being a descriptive term to a musical genre. Initially used to describe less polished or lower quality sounding music, by the mid-1990s artists began deliberately choosing a more raw and unrefined production style, moving away from the pristine, high-tech sound associated with mainstream label music.

In simpler, conversational terms, they used less complex, vintage recording gear and opted against polishing the sound during post-production. Instead, they kept the raw, unaltered sounds, much like a ‘farm-to-table’ approach in the music industry.

Prior to these events, numerous rock bands were already managing to produce the desired wall of sound in a more rudimentary way. This wasn’t something they chose to do, it was a necessity driven by factors such as lack of funds, expertise, and talent. They made do with just a few guitars and a drum kit, and having a decent vocalist who could hit the right notes was often considered an added bonus. However, even that was not always essential. What mattered most was their attitude and determination.

Back then, in the 1960s, these bands required an additional essential element. One band member needed a garage where they could practice. These groups were known for playing garage rock – the pioneering form of low-fidelity music.

Garage rock classics turning 60 years old

Garage rock was a broad category with various subgenres. For example, if the garage overlooked the beach, the band likely played surf rock. If they turned their amplifiers up so loud they disturbed the neighbors, they were essentially precursors to punk music, even though no one in the ’60s would have used “precursor” for that. No matter what style it was, and I suggest envisioning this with a hint of Billy Joel’s tone, it remains garage rock to me.

The most iconic track in the annals of rock & roll is actually a garage rock song. This tune, you could say. “Louie Louie,” penned by Richard Berry in the mid-50s as a straightforward R&B number, was so easy to interpret that an unassuming band from the northwest, the Kingsmen, managed to record their distinctively raw version in 1963, thereby kick-starting the garage rock genre.

Just like many other early garage rock tunes, ‘Louie Louie’ originated with a strong R&B influence. However, shortly after its release, another powerful force swept through garages nationwide. This movement, which started in Europe, was given the name ‘the invasion’ by the media.

As soon as the Beatles stepped foot in America, every up-and-coming band started emulating their Merseybeat style. R&B didn’t fade away because R&B was a fundamental part of Merseybeat. Garage rock, like any young and ambitious startup, was agile and adaptable. If psychedelia was trendy on Monday, garage bands would play that. If a folk artist became popular on Tuesday, garage bands made sure they had an acoustic guitar ready. They were versatile and able to take on many different styles.

By 1965, garage rock had grown into a powerful surge. It was primarily a local phenomenon, with only a handful of garage bands managing national hits. However, if you visited Cleveland, Minneapolis, Los Angeles, or New York, you would find that rock enthusiasts in each city believed their hometown bands were the undisputed rulers of this genre.

A remarkable assortment of fantastic music, crafted by groups of determined young musicians, be it within or outside garages, gave rise to an extraordinary, multi-disc anthology titled “Nuggets“. This compilation aimed to highlight and celebrate this musical treasure.

2025 finds me reminiscing about the early days of garage rock, which was reaching its peak around 1965. Here are ten outstanding tracks from that era that you might enjoy. Whether you call it garage, lo-fi, or something else entirely, it’s simply fantastic, groundbreaking rock and roll music. Enjoy!

“Double Shot of My Baby’s Love” by the Swingin’ Medallions

Before their debut album was released in 1966, the Swingin’ Medallions had already put out a single of this Cyril Vetter/Don Smith song in 1965. Interestingly, Dick Holler & the Holidays had recorded it earlier in 1963, but their version didn’t gain much popularity. The Holler version has a pleasant, breezy feel to it, but it lacks the boisterous energy that the Medallions brought to it.

The “garage” part is characterized by a larger and more impactful drum fill, a stronger organ melody, and a group of musicians creating a ruckus. By the way, this topic might have caused some surprise in 1965, but it would be the focus of an enlightening article in Glamour Magazine 47 years later, offering valuable insights on how to achieve a double-shot sound similar to The Swingin’ Medallions.

“Dirty Water” by the Standells

It’s possible that the popularity of this song among Boston sports enthusiasts might be affected by its origins, as it was written and performed by a group of Californians who hadn’t visited Boston prior to recording it. However, it features the raw, urban vocals of Dick Dodd and a harmonica solo from Tony Valentino, giving it an authentic garage band feel. When it’s time for the guitarist’s solo, he switches to his harmonica.

“She’s About a Mover” by the Dir Douglas Quintet

Doug Sahm’s powerful vocal in the blues number was accompanied by a locomotive-like beat and Vox organ. He crafted this song, incorporating approximately 75% of the Coasters’ “Searchin'” and adding hints of Ray Charles’ “What I Say.” The Quintet was known for its versatility, blending Texas blues, country music, and a conjunto rhythm. Towards the end, Sahm delivers an energetic guitar solo while Augie Meyers maintains the momentum with his organ playing.

“Liar, Liar” by the Castaways

1963 marked the emergence of this group from Minneapolis, a fact that contradicts the widespread belief that they were named after the television show “Gilligan’s Island,” which didn’t debut until the following year. To be honest, I’m unsure about the origin of their name. Their only hit was “Liar, Liar,” and it left a substantial impression during the ’60s.

The organ and confrontational tone of the song harmonized perfectly with the counter-culture demonstrations of the late ’60s. One timeless aspect of the song remains guitarist Robbie Folschow’s falsetto voice, particularly his lyrics: “Liar, Liar, pants on fire—Your nose is longer than a telephone wire.

“I Want Candy” by the Strangeloves

This catchy pop tune starts with a robust bass drum rhythm, followed quickly by a surf guitar melody and saxophone notes. The words start next, expressing ideas that Marcy Playground would express about sex and sweets over three decades later. However, the identities of those playing or singing have always been unclear to me since The Strangeloves, a trio consisting of Bob Feldman, Jerry Goldstein, and Richard Gottehrer, employed session musicians for both studio recordings and live performances.

Initially, these three musicians from New York chose to pose as Australian siblings to link themselves with the British music revolution, avoiding the need to learn British accents. They released several tunes, yet eventually opted to discontinue their deception and continued composing. They went on to have lengthy, prosperous careers in music.

“Keep on Dancing” by the Gentrys

Titled “Keep on Dancing,” this was the Gentrys’ only major hit. True to its name, it was a strong dance number with its fast shuffle rhythm and organ breaks. However, what makes this song particularly interesting is an interesting fact for fans of professional wrestling. The distinctive high, slightly nasal lead vocals are provided by none other than James Ray Hart, who would later find fame as the Hall of Fame wrestling manager, Jimmy Hart, known as “The Mouth of the South.

“Lies” by the Knickerbockers

You can debate endlessly about which group does the best rendition of Beatles tunes. Personally, I think Tears for Fears’ “Sowing the Seeds of Love” is closest. However, since the original Beatles are no longer with us, it’s hard to say for certain if a band from 1965 could have matched their sound. In that case, they might have performed a song like “Lies.” It’s amazing how influential the Liverpool lads were that a group from Bergenfield, New Jersey felt compelled to imitate them so thoroughly.

“Find My Way Back Home” by the Nashville Teens

As a gaming enthusiast, I’ve got to spill this: Contrary to what one might think, The Nashville Teens weren’t city slickers from Tennessee. Nope, they were actually from Weybridge, a quaint town southwest of London, around 4,000 miles away! Yet, in ’64, they made waves with “Tobacco Road.” Their next hit had a tinge of that same Southern American vibe, but it also bore a striking resemblance to the Beatles’ “Another Girl,” which was being crafted almost simultaneously.

“Can’t Seem to Make You Mine” by the Seeds

The Southern California band led by Sky Saxon combined elements of punk and psychedelia while maintaining a garage rock style. This second hit single they released in ’65 was decent, with a more subtle impact than their first one, “Pushing Too Hard,” which had a stronger rhythmic pulse. However, this slower-paced track showcases Saxon’s dramatic singing skills more effectively.

“I See the Light” by the Five Americans

Musician David Rabon exhibits a charming, restrained urgency, while keyboardist John Durrill displays his skills during verse interludes on his Vox. Although they would gain greater recognition a couple of years later for the catchy pop breakup track “Western Union,” their song “I See the Light” stands out as superior. It excels both as a garage rock piece and as a song overall.

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2025-03-28 13:01

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