I've only just begun to find out who Mike and the Ravens were and that whole Rollerland scene (that song is kick ass by the way). Not only is Mike Brassard promoting his new band of Ravens (or is it the same band but new material) but he's got a myspace page dedicated to the Ravens 1962. I remember that Untamed Youth did a cover of that on one of their albums but Deke Dickerson also put out a comp that tried showing scenes (especially Ohio) that existed before the Beatles. I should have mentioned So. California as well. I'm standing in the corner doing my time out. Thanks, any more scenes? Bob Blackstone said:

Ironically. I've heard they use to have rock n roll banaza's in Plattsburgh NY of all places. Mike and the Ravens held court there and released 3 good pre Beatles 45's (all collected on the Nevermore cd) and played live on a daily/weekly basis at Rollerland (I think it was called this) - with many other local groups.

Detroit had the Fugitives who eventually released an LP and some 45's but were around before the Beatles became popular. Plus you had guys like Gino Washington releasing some good rock n soul stuff.

Your right though, the Northwest had that impressive scene - Don and the Goodtimes, The Wailers, the mighty Sonics and so forth. This one requires some thought....

The Detroit scene didn't really take off until the Beatles hit, but there were certainly a few noteworthy acts, including: - The Del Tinos (Cub Koda), - The Lourds (Ted Nugent) - Billy Lee & The Rivieras (Mitch Ryder & The Detroit Wheels) Bob Blackstone said:

Detroit had the Fugitives who eventually released an LP and some 45's but were around before the Beatles became popular. Plus you had guys like Gino Washington releasing some good rock n soul stuff.

Ironically. I've heard they use to have rock n roll banaza's in Plattsburgh NY of all places. Mike and the Ravens held court there and released 3 good pre Beatles 45's (all collected on the Nevermore cd) and played live on a daily/weekly basis at Rollerland (I think it was called this) - with many other local groups.

Detroit had the Fugitives who eventually released an LP and some 45's but were around before the Beatles became popular. Plus you had guys like Gino Washington releasing some good rock n soul stuff.

Your right though, the Northwest had that impressive scene - Don and the Goodtimes, The Wailers, the mighty Sonics and so forth. This one requires some thought....

Certainly the Southern California surf scene, with the Beach Boys, Challengers, Chantays, Surfaris, etc.

With the earlier discussion of Pre-Beatles 1964, I started wondering "which cities, counties, or states actually had a vibrant music scene prior to the Beatles coming to the states", therefore not needing them in any terms as an influence. We know that the Pacific Northwest had a ton of groups going on. I'm pretty sure Minneapolis had something going on and obviously Texas. Any idea what other locales had something going on that didn't cater to the Frankie and Bobby crowds? And I mean groups, not solo acts.

When I mentioned Jet, I was basically referring to his first two years or so when it was more likely that they or the Strokes, or the Vines, or Kings of Leon were going to get played and it was more as just an example. Steven's gotton better at getting bands like the Dirtbombs and the Cynics on the show but it seems like it took a while. I've never met him but some of my non musician friends have (one friend got to meet him backstage at the Sonics show in Seattle) and they all have mentioned that he's a nice guy. I just get the feeling that if you disagree with him to his face, instead of taking your comments into consideration, he's just going to dismiss you and not be kind about it. Gas-House Gorilla said:

I know that I personally hear the Dirtbombs on the station far more often than the likes of Jet. Plus he does have a (non-original) member of the Dirtbombs on staff as a host. I have also heard him (and others on his station) promote the garage labels you mentioned, along with Sundazed, Bomp, Norton and others, as well as tipping his cap (do-rag?) to Greg Shaw, Lenny Kaye, etc.

As for the personal anecdotes you mentioned, I have no reason not to believe you. Maybe the guy is an asshole. I fortunately don’t have such first hand experience, but I can see how that would sour you. I’m sure there are others here with more authority, as I know some members are on his record label (although hence, wouldn’t be likely to say anything disparaging – but other with personal knowledge might).

Perhaps as you mentioned, everything else is better by comparison. I don’t necessarily agree, but I do greatly appreciate all the other garage outlets available to me. Unfortunately there is nobody else out there with the stature/visibility of Little Steven promoting this great music. Once there is, I will applaud their efforts as well. Also, I believe you said earlier that you listen to the show’s archives, so you must enjoy them to some degree?

Anyway, I again appreciate your thoughts, and you make some constructive points.

Ah, don't get me wrong. I do enjoy his show on occasion (not this past year though and I'll get to that) and I do applaud him for helping bring rock and roll back to the forfront the best he can. It's only the first year and this past year that I have found really disappointing. Good Points:He's playing songs that have been slowly become endangered due to the disappearence of oldies radio and the really good ones at that. Before his show, I hadn't heard Talk Talk or Psychotic Reaction on free radio over the airwaves in close to 15 years. I even called one time to request one of those songs and they claimed they didn't have it. I asked them why not, and they claimed that they were too harsh for their station. What? Anyway, he also plays old songs that never made it to the radio (at least in the States) such as Midnight To Six Man or I Can Only Give You Everything. What else....He made the Ramones, Iggy Pop (and Stooges), MC5, New York Dolls, Sex Pistols, Dead Boys, early Clash, Damned legitimate acts. In that I mean, they are no longer just part of the KROQ ghetto. Sure, a lot more meatheads now know who they are, but in the long run, just taking the time to promote their existence means a lot. And maybe the bad qualities are out numbered by the good but that first year was horrid compared to others, simply for the fact that he didn't take the time to present a well rounded history of what came before for the last 20 years prior to his show. It would have been nice to hear Voxx bands during the first year instead of Enuff Z'nuff or Cotton Mather. And I don't like the fact they he says he'd rather promote bands instead of singer songwriters, but then why does he have Graham Parker (or something similar). Well at least his choices are better than what the stations usually play when he's show is not on. As for this year, he should have let some of his Sirius Hosts guest host for the national show and present some fresh shows while he's been on tour instead of just repeating past themes with only "Coolest Song In the World This Week" be the only new feature (plus incorporating other new songs into the shows taking place of last year's new songs). And the new bands he's been promoting thIs past few months almost stink of favoritism. I won't say payola because that's probably not true at all, and I don't mean bands on Wicked Cool, either (even though that REALLY doesn't look good). No, I mean promoting his BOSS's band, Cheap Trick, Green Day, and others who don't need his help, plus some of the weak choices pitched his way, such as this Care Bears on Fire, or Tinted Windows (with a Samshing Pumkin and a Hanson Brother no less. The Noisettes really aren't that good either. Last year and earlier this year, he had bands like the Urges, Satteliters, Thee Exciters, some others I can't recall at the moment on his show and I feel those are the bands that truly deserve his help, and he actually did a lot more of that during 2004-2007 but it's slowly drifting back to what his first year was like. And that's why I feel it's a half ass job these days. I also think it's a big slap in the face of garage rock that he didn't take the time to mention the passing of Lux Interior. He did just as much and probably more to promote the gospel of garage rock. He deserved a tribute.

You are right though. He should be commended for giving this genre a chance to be heard and giving rock a good shot in the arm that it deserves.

And I do wish that some of the others on here who say they don't like him give a good reason why instead of just saying they don't like him or what he appears to be ( a corporate fraud? Maybe. I don't think so. He's gotta pay the bills but I wish he wouldn't do it promoting the new U-2 album or Elvis Costello).

BTW, Rod, some other things I want to bring up... As for Little Steven's accessibility, keep in mind that he is a celebrity who runs his own business, which oftentimes means he really is busy and unable to always meet with people. And keep in mind that some of those people who wanted to meet him may have had an inflated sense of entitlement. This happens a lot when people want to meet their favorite celebrities, and I've heard stories like this before. And if any of those people who wanted to meet him were in bands, well, I'll take a guess there may have been some ego involved as well. I'm talking about the kind of bands who think they're the greatest thing to happen to garage rock, then they're pissed because LS doesn't like them. I know a lot of musicians, so I know what I'm talking about. BTW, I've met him a couple of times myself, and he was nice enough to me. No, we didn't get to sit down and talk, or to hang out, but it was good enough for me. Also, keep this in mind...LS did not have to start his own radio show. He could have just taken the money he made from "The Sopranos" and the E Street Band and kept it for himself. However, he decided to use both his money and his celebrity capital to start the Underground Garage, and he admits that he's lost a lot of money from doing all of this. As far as I'm concerned, he deserves a lot of respect for his efforts. Maybe he's not as well versed in garage rock as the people at this site, but then again maybe that's because he does have other interests, which I think is a good thing. If you don't like what he does, fine. I still enjoy the UG, and that's all that matters to me. Rockin Rod Strychnine said:

It's mostly because he goes about promoting music in a half ass fashion and he is too proud to rely on a network of people who actually have knowledge of the genre like Tim Gassen, Mike Stax, Suzie Shaw. Hell, Little Steven even admited that Bruce Springsteen is the one who brought the Hives to his attention. If he actually read Gearhead, he would have heard of the Hives before his first episode ever aired. He dismisses a lot of what has happened for the scene like the actual documenters who took the time to write down or photograph the history. Believe me, I've heard a lot of people who were about to be introduced to him, or actually the staff wanted Steven to meet them, and he says "I don't have time, I got more important things to do". That's not cool. And I said before that the first year didn't have very much in the line of Voxx, Dionysus, Get Hip, or Estrus on the show when things were kind of slim in terms of new releases. And even with the new releases, he's hurry up and promote Jet before he'd mention the Dirt Bombs. I don't think the Reigning Sound got mentioned until after they toured with the Hives. His staff really doesn't do a lot of research either. He'll go on the show admitting that details are "vague" on the newest band he's promoting as the "Coolest Song in the World this week". It's just makes everything else look better by comparison, (which it is) but really doesn't help the scene as a whole.

Gas-House Gorilla said:

I just don’t understand the compulsion by some to blast Little Steven around here. Perhaps it’s human nature to cast aspersions at our neighbors? Hell, I recently read a comment from a Hound blog reader taking a shot at the GaragePunk Hideout. That’s the way it goes I suppose. It’s just beyond me. As Sleazy pointed out, Little Steven is about the only guy out in the corporate world promoting good music. Shouldn’t we be criticizing everybody else instead? Key to me is his Sirius station, where thankfully I can get in my car anytime and be assured of hearing quality music on my radio (and hear a great collection of hosts - Handsome Dick Manitoba, Mighty Manfred, Andrew Loog Oldham, etc). Perhaps the music doesn’t all fit into a narrow definition of “garage”, or perhaps you’re not as likely to hear an obscurity as you are with the GP podcasts (although, you’ll certainly hear some gems on Bill Kelly’s show), but that doesn’t make the music played any less great. Just count me in as a fan of anybody promoting good music. There are so few out there.

Well, Rod, in the end, all I really care about is the music, and Little Steven has turned me onto a lot of great bands that I probably would have never discovered. That includes bands that aren't "garagey" at all, but I still liked them. As far as the way he runs his business or deals with the bands, I'll just leave that up to him. I've heard the same stories about other people who run labels, i.e. they're assholes or they're unsupportive, so why is LS any worse? Besides, I just prefer to stay away from all of that bullshit Spinal Tap drama that goes on behind the scenes, and I think you should do the same, because nothing good comes out of it. And another thing...while I like garage rock, I'm not as obsessive-compulsive about it like you are, so that's another reason why I don't have a problem with LS. Rockin Rod Strychnine said:

It's mostly because he goes about promoting music in a half ass fashion and he is too proud to rely on a network of people who actually have knowledge of the genre like Tim Gassen, Mike Stax, Suzie Shaw. Hell, Little Steven even admited that Bruce Springsteen is the one who brought the Hives to his attention. If he actually read Gearhead, he would have heard of the Hives before his first episode ever aired. He dismisses a lot of what has happened for the scene like the actual documenters who took the time to write down or photograph the history. Believe me, I've heard a lot of people who were about to be introduced to him, or actually the staff wanted Steven to meet them, and he says "I don't have time, I got more important things to do". That's not cool. And I said before that the first year didn't have very much in the line of Voxx, Dionysus, Get Hip, or Estrus on the show when things were kind of slim in terms of new releases. And even with the new releases, he's hurry up and promote Jet before he'd mention the Dirt Bombs. I don't think the Reigning Sound got mentioned until after they toured with the Hives. His staff really doesn't do a lot of research either. He'll go on the show admitting that details are "vague" on the newest band he's promoting as the "Coolest Song in the World this week". It's just makes everything else look better by comparison, (which it is) but really doesn't help the scene as a whole.

Gas-House Gorilla said:

I just don’t understand the compulsion by some to blast Little Steven around here. Perhaps it’s human nature to cast aspersions at our neighbors? Hell, I recently read a comment from a Hound blog reader taking a shot at the GaragePunk Hideout. That’s the way it goes I suppose. It’s just beyond me. As Sleazy pointed out, Little Steven is about the only guy out in the corporate world promoting good music. Shouldn’t we be criticizing everybody else instead? Key to me is his Sirius station, where thankfully I can get in my car anytime and be assured of hearing quality music on my radio (and hear a great collection of hosts - Handsome Dick Manitoba, Mighty Manfred, Andrew Loog Oldham, etc). Perhaps the music doesn’t all fit into a narrow definition of “garage”, or perhaps you’re not as likely to hear an obscurity as you are with the GP podcasts (although, you’ll certainly hear some gems on Bill Kelly’s show), but that doesn’t make the music played any less great. Just count me in as a fan of anybody promoting good music. There are so few out there.

Thanks for your thoughts Rockin Rod Strychnine. I certainly respect a well thought out reply. Perhaps you’re correct on all of your points. I personally don’t see much of a difference in the frequency of the stuff he plays now from the labels you mentioned, versus back when he started. I know that he’s played the Cynics, Creatures Of The Golden Dawn, and others from the beginning. And with the structure of his programming being so broad, you’re only going to hear a smattering of such garage mixed in with the rest the stuff played (punk, girl group, British invasion, surf, rock ‘n roll, etc).

I know that I personally hear the Dirtbombs on the station far more often than the likes of Jet. Plus he does have a (non-original) member of the Dirtbombs on staff as a host. I have also heard him (and others on his station) promote the garage labels you mentioned, along with Sundazed, Bomp, Norton and others, as well as tipping his cap (do-rag?) to Greg Shaw, Lenny Kaye, etc.

As for the personal anecdotes you mentioned, I have no reason not to believe you. Maybe the guy is an asshole. I fortunately don’t have such first hand experience, but I can see how that would sour you. I’m sure there are others here with more authority, as I know some members are on his record label (although hence, wouldn’t be likely to say anything disparaging – but other with personal knowledge might).

Perhaps as you mentioned, everything else is better by comparison. I don’t necessarily agree, but I do greatly appreciate all the other garage outlets available to me. Unfortunately there is nobody else out there with the stature/visibility of Little Steven promoting this great music. Once there is, I will applaud their efforts as well. Also, I believe you said earlier that you listen to the show’s archives, so you must enjoy them to some degree?

Anyway, I again appreciate your thoughts, and you make some constructive points.

It's mostly because he goes about promoting music in a half ass fashion and he is too proud to rely on a network of people who actually have knowledge of the genre like Tim Gassen, Mike Stax, Suzie Shaw. Hell, Little Steven even admited that Bruce Springsteen is the one who brought the Hives to his attention. If he actually read Gearhead, he would have heard of the Hives before his first episode ever aired. He dismisses a lot of what has happened for the scene like the actual documenters who took the time to write down or photograph the history. Believe me, I've heard a lot of people who were about to be introduced to him, or actually the staff wanted Steven to meet them, and he says "I don't have time, I got more important things to do". That's not cool. And I said before that the first year didn't have very much in the line of Voxx, Dionysus, Get Hip, or Estrus on the show when things were kind of slim in terms of new releases. And even with the new releases, he's hurry up and promote Jet before he'd mention the Dirt Bombs. I don't think the Reigning Sound got mentioned until after they toured with the Hives. His staff really doesn't do a lot of research either. He'll go on the show admitting that details are "vague" on the newest band he's promoting as the "Coolest Song in the World this week". It's just makes everything else look better by comparison, (which it is) but really doesn't help the scene as a whole. Gas-House Gorilla said:

I just don’t understand the compulsion by some to blast Little Steven around here. Perhaps it’s human nature to cast aspersions at our neighbors? Hell, I recently read a comment from a Hound blog reader taking a shot at the GaragePunk Hideout. That’s the way it goes I suppose. It’s just beyond me. As Sleazy pointed out, Little Steven is about the only guy out in the corporate world promoting good music. Shouldn’t we be criticizing everybody else instead? Key to me is his Sirius station, where thankfully I can get in my car anytime and be assured of hearing quality music on my radio (and hear a great collection of hosts - Handsome Dick Manitoba, Mighty Manfred, Andrew Loog Oldham, etc). Perhaps the music doesn’t all fit into a narrow definition of “garage”, or perhaps you’re not as likely to hear an obscurity as you are with the GP podcasts (although, you’ll certainly hear some gems on Bill Kelly’s show), but that doesn’t make the music played any less great. Just count me in as a fan of anybody promoting good music. There are so few out there.

I still think it's Wolfman by Bobby Fuller Four with Bobby providing the Wolfman vocals.

I've no idea what he's talking about, either. Are you sure it was actually Wolfman Jack? I'm wondering if it's just a Link Wray tune with Link's vocals. He had a pretty rough voice himself, ya know...

Either that or a sound bite of Wolfman Jack on the radio talking over a Link Wray music bed. That seems much more likely than Link actually recording a song with the Wolfman.

You can download the entire album of Wolfman Jack & The Wolfpack for less than $2 on Aimee St. (That's true right now. If it gets real popular the prce will go up) http://amiestreet.com/music/wolfman-jack/wolfman-jack-and-the-wolfpack/

yeah! it's insane how the lack of fcc (or whatever agency in charge) rules allowed them to shower the united states with the best music possible. Rockin Rod Strychnine said:

Apperently his station produced enough wattage that they could be heard all along the South from Baja CA to Louisiana.

Apperently his station produced enough wattage that they could be heard all along the South from Baja CA to Louisiana.

Wolfman Jack's autobio makes for a pretty good read. Tales of setting up shop in a Mexican bordertown's radio station, while equipping the roof with enough guns and ammo to protect themselves against a local gang.

Of course I'll be there. I'm not as excited about it as I was when I first heard rumors about it, since they originally included The Mummies, DMZ & The Sonics. None of which appear to have made the cut.

All you out-of-towners should keep in mind that this might be a huge cluster fuck. Each one of the clubs holds about 500 people, and there are VIP wristbands that let folks jump ahead of ticket holders. So the odds are that you will either miss someone, or have to sit through a few bands you don't care about in order to see who you really want to.
Also there is no smoking in clubs here now.

Check out the full details here: http://garagepunk.ning.com/events/scion-garage-fest-portland

Hey man...I never claimed any band I've ever played in was good. I can't sing, play guitar or write a song to save my life...I only play in bands when there is nobody else doing what I wanna hear. Jokes on you man...that ubiquitous and colourless macho aggression IS me trying to ape Elton Motello...I just suck that bad! I play in shitty, joke bands that nobody likes...nobody (especially me) is gonna dispute this.The only thing I'm good at is listening to records...and I'm REALLY good at it. What does it matter if I think your band stinks? At least your music moved me enough(one way or another) to post a response on this messageboard...nobody else did. New Krime is garbage too...you really think it's a carbon copy of every cute no-fi band around? Shit man...this was supposed to be Hi-Fi...my "future-punk" project. Seriously though, what bands does the New Krime sound just like? I'm pretty out of the loop and would love to check 'em out so I can rip their schtick... Jesse J. Powell said:

Jesse J. Powell said:

You obviously have no idea what the fuck you're talking about or who the fuck you're talking to. You wanna hear facsimilies of your favorite bands or ape other bands with your music, go for it--no balls required! I think it'd be more interesting though if you'd ape something as dandy as elton motello instead of the ubiquitous and colourless macho aggression i've seen you ape-ing in bands so far. New Krime sounds a little sweeter to my ears, but a carbon copy of every other cute no-fi band around. Trend humper.

Jesse J. Powell said:

You obviously have no idea what the fuck you're talking about or who the fuck you're talking to. You wanna hear facsimilies of your favorite bands or ape other bands with your music, go for it--no balls required! I think it'd be more interesting though if you'd ape something as dandy as elton motello instead of the ubiquitous and colourless macho aggression i've seen you ape-ing in bands so far. New Krime sounds a little sweeter to my ears, but a carbon copy of every other cute no-fi band around. Trend humper.

Geez, why does almost every thread from a year ago end almost as soon as it begins? I should shut up since I didn't log on last year except to accept friend requests (I had no internet at home and very limited time at the public library) but man no one else, either? This topic should be 40 pages long by now.

I like "Baby, I Still Need Your Lovin'" as done by the Lyres, "Why Don't You Smile Now" by Thee Headcoats, and "Social End Product" by the Makers.

Out of Our Tree is a Wailers original by the way but the last person before me probably doesn't log on anymore either so they're never going to read this.

In 1981 I interviewed Mark E. Smith of The Fall at Evangelos' -- a downtown bar in Santa Fe owned by a Greek family. I expected a loutish snotty punk, but he was really a nice guy. We talked about our mutual love of Captain Beefheart and Johnny Cash.

Not sure why but it took me some time to get into The Fall's music. My review of the show admitted I felt a little like Dylan's Mr. Jones -- I knew something was happening there but I just didn't know what it was. But now The Fall are among my top favorites. (So are Beefheart and Cash.)

I met all the guys from the Mooney Suzuki one time before a show. Just saw them all walking down the street a couple hours before the gig. Sammy was a pretty cool guy and all of them were really friendly.

More famous though, I met Monoman from the Lyres. He was an interesting dude to say the least. I don't know if he's deaf from 25 years of garage punk, or if he's had a few too many Diet Cokes, but he and I were definitely having two different conversations when we met.

I'm afraid none of it is especially Garage-y

Guild M-20 Acoustic
Deering Goodtime banjo

Telecaster-- mutt but all Fender parts. Someday I'll be pushing this guitar in a shopping cart.
Rickenbaker 330/12-- too many barnacles to be useable, but it was only $400 to begin with.

Sola Sound Wah Wah-- Dad gave this to me on the condition that I never quit playing
Dan Echo-- Cost me all of $20, never use it.
Seymour Duncan Pickup Booster-- I kinda stole this. Dude borrowed it to me and never asked for it back. At this point it's been two years and two cities, so I'll probably sell it for a fuzz box.

Roland VG-4 amp-- dropped off the truck at Mars Music (remember them?), bought it for $50 because the speakers in Roland amps are great. Turns out the on/off switch and the cabinet were the only broken things. It has a million bells & whistles, but I usually just set it to a "tweed" setting and let it be.

Ibanez "Gio" bass-- First electric instrument, I'm irrationally attached to this thing
Rickenbaker 4001-- 1979. It's very nice, but I've never connected with this bass. It's in the care of my parents as it's accruing some worth.
Ibanez "ATK" bass-- bought while I was in high school, going to sell this soon as it's too damn heavy to play.

SWR SM-400 head
Hartke 4X10 cabinet.