CD Maximum Freakbeat: An Essential 60's Compilation (CD 4374283),
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Maximum Freakbeat: An Essential 60's Compilation

  • 1. I'm a Man - Elois
    2. You Can Be My Baby - The Red Squares
    3. Hey Gyp (Dig the Slowness) - Truth
    4. On My Way - Lee Kings
    5. Come on Back - Paul & Ritchie/The Cryin' Shames/The Crying Shames
    6. Save My Soul - Wimple Winch
    7. I Don't Wanna Go - Southern Sound
    8. You're Drivin' Me Insane - Missing Links
    9. I'm Leaving - The Mark Four
    10. Road Block - The Wheels
    11. Crawdaddy Simone - The Syndicats
    12. It's Shocking What They Call Me - Game
    13. I Want to Live - The Mascots
    14. Lost Girl - The Troggs
    15. Get Yourself Home - The Fairies
    16. Going Down Fast - The Mark Four
    17. Everything (That's Mine) - The Motions
    18. I Don't Care - Thor's Hammer
    19. Searchin' in the Wilderness - Allen Pound's Get Rich
    20. Johnny No - The Primitives
    21. Action Painting - The Ricketts
  • Additional Info
    Manufacturer Part Number (MPN): 2090

  • Credits

    Freakbeat can be roughly defined as what happened to British youth when they began using drugs and electric guitars at the same time without knowing what they were supposed to make of those weird new sounds and colors crashing around in their noggins. The glorious cacophony of Pete Townshend's crazed, feedback-laden guitar solos from the Who's early amphetamine overdrive period are probably the definitive expression of the freakbeat ethos, but this collection of 21 beat-era tracks confirms that plenty of bands were headed in the same direction at the time. Not all of the acts featured here are from the U.K.; Australia, always a great nation for primal rock mayhem, is represented by the Elois (whose excellent "I'm a Man" kicks off the set) and the Missing Links ("You're Drivin' Me Insane"), Holland's the Motions serve up some deadly fuzz on "Everything (That's Mine)," the Ricketts from Germany crank out some killer noise guitar with "Action Painting" (though they're no match for the Creation in the fusion of sound and vision), and Iceland's Thor's Hammer confirm that the nation had great rock & roll long before the Sugarcubes were a gleam in anyone's eye. But the majority of this music comes from British acts, and outside of the Troggs, whose "Lost Girl" is full of gloriously creepy menace, most of the acts featured here won't be familiar to the unconverted. But while this is well short of definitive at under an hour, Maximum Freakbeat is an exciting and thoroughly enjoyable introduction to this remarkably fertile (if short-lived) period in pop history, and the Game, Southern Sound, the Red Squares, Wimple Witch, and the Primitives offer plenty of incentive to find out more about what was going on in Europe in those final days before the Summer of Love had everyone wearing caftans and spoiled all the fun. ~ Mark Deming

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