michaelvee
Ikon Class
- Joined
- Apr 29, 2011
- Location
- Italy, Bologna
hello boys and girls (although it will be 99% boys, I'am afraid).... I know this topic has been discussed before on the forum, I just wanted to cast a new light on it, from a different angle.... I' most intested in your comments, good or bad, pls let me know
Confines of Garage
A good way to better identify the term Garage may be the attempt to confine it.
In first place, confining can be done chronologically. Hardcore Garage fiends, most generally, concentrate on the years 1964 to 1968, although we might widen this timeframe a little more to include Surf groups, the pre-Beat era, dance fade records and some later but still garagey sounding recordings (1962 – 1969). This means, Rock’n’Roll, Rockabilly and alike are out (tho’they can be regarded as the parents of Garage) . On the other extremity, Rock, Hardrock, Progressive Rock, Supergroups, and Jazzrock (read Cream, Lead Zeppelin, Band of Gypsies, Blue Cheer, Steppenwolf, ELP, Chicago, et al) are definitely out since all these groups have misunderstood or perverted the original concept of Garage (i.e. simplicity, and fun) (which did not mean kids had to buy a 500 W Marshall tower to impress simply by loudness. Or to visit a music academy).
The second way to border Garage is by genre / style. In straight down antithesis to Garage, all MiddleoftheRoad records, orchestrated sounds and Schlagers will be trashed for first, as will be done with artists who strive for musical virtuosity, pomposity, and elitist musicians aiming to “explore the borders” whereas delivering boring 20‘ solos and “music for musicians”, as I call it.
Same goes for folk music, flatulent ballads (like Moody Blues, King Crimson, not beat ballads), C&W and for all groups who look back (Garage always looks forwards!). I forgot: All lame ass musicians (like Greatful Dead, first place) are definitely out.
At the confines there are some unexpected groups and artists who might help to draw the red line. Like Johnny & the Hurricanes, the Beach Boys, MC5, Strawberry Alarm Clock, The Fugs, (all in ), …..
Soul music is a difficult argument, since it should be included in the sector (as Garage’s black brothers) and most Garage heads (specially Mods) love Soul sounds. Nevertheless, and without trying to draw up a racist concept, we generally exclude Soul to give it a giant but separate music hall.
Another way of confining might be to look at drugs. Purple Hearts helped to spark the sound, Marihuana elevated it, LSD lifted it off mileshigh (with some bad crash downs), Cocaine speeded it up (and then threw all in an artificial void) while Heroin killed it definitely. As Garage means fun, dance and romance, but also open-up-your-door, I’m afraid all music made on hard drugs will result dull and depressive and thus does not fit it the concept but must be demarcated. From JH to JJ, and from Lou Reed to (later) David Bowie, there are too many bad examples.
Finally (and a bit stupidly, I admit, as there are many exceptions), we can try to identify the instruments which produce Garage sounds. Starting from the classical set (electric guitar, bass, drums, keyboards, harmonica and also sax), we get to the middle section with instruments that exceptionally fit in if played with good sense and measure, like accordion, recorder, trumpet, harp, sitar……
Though you might claim many exceptions, I turn off any record featuring violin (not string ensembles!), banjo, traverse flute, and clarinet (not oboe), plus all instruments of a classical orchestra, if played unaccompanied.
What is left in between the red line, might be Garage, especially if it features fuzz guitars, snotty vocals, pounding drums, tambourine, wailing harp and howling Farfisa organ.
Confines of Garage
A good way to better identify the term Garage may be the attempt to confine it.
In first place, confining can be done chronologically. Hardcore Garage fiends, most generally, concentrate on the years 1964 to 1968, although we might widen this timeframe a little more to include Surf groups, the pre-Beat era, dance fade records and some later but still garagey sounding recordings (1962 – 1969). This means, Rock’n’Roll, Rockabilly and alike are out (tho’they can be regarded as the parents of Garage) . On the other extremity, Rock, Hardrock, Progressive Rock, Supergroups, and Jazzrock (read Cream, Lead Zeppelin, Band of Gypsies, Blue Cheer, Steppenwolf, ELP, Chicago, et al) are definitely out since all these groups have misunderstood or perverted the original concept of Garage (i.e. simplicity, and fun) (which did not mean kids had to buy a 500 W Marshall tower to impress simply by loudness. Or to visit a music academy).
The second way to border Garage is by genre / style. In straight down antithesis to Garage, all MiddleoftheRoad records, orchestrated sounds and Schlagers will be trashed for first, as will be done with artists who strive for musical virtuosity, pomposity, and elitist musicians aiming to “explore the borders” whereas delivering boring 20‘ solos and “music for musicians”, as I call it.
Same goes for folk music, flatulent ballads (like Moody Blues, King Crimson, not beat ballads), C&W and for all groups who look back (Garage always looks forwards!). I forgot: All lame ass musicians (like Greatful Dead, first place) are definitely out.
At the confines there are some unexpected groups and artists who might help to draw the red line. Like Johnny & the Hurricanes, the Beach Boys, MC5, Strawberry Alarm Clock, The Fugs, (all in ), …..
Soul music is a difficult argument, since it should be included in the sector (as Garage’s black brothers) and most Garage heads (specially Mods) love Soul sounds. Nevertheless, and without trying to draw up a racist concept, we generally exclude Soul to give it a giant but separate music hall.
Another way of confining might be to look at drugs. Purple Hearts helped to spark the sound, Marihuana elevated it, LSD lifted it off mileshigh (with some bad crash downs), Cocaine speeded it up (and then threw all in an artificial void) while Heroin killed it definitely. As Garage means fun, dance and romance, but also open-up-your-door, I’m afraid all music made on hard drugs will result dull and depressive and thus does not fit it the concept but must be demarcated. From JH to JJ, and from Lou Reed to (later) David Bowie, there are too many bad examples.
Finally (and a bit stupidly, I admit, as there are many exceptions), we can try to identify the instruments which produce Garage sounds. Starting from the classical set (electric guitar, bass, drums, keyboards, harmonica and also sax), we get to the middle section with instruments that exceptionally fit in if played with good sense and measure, like accordion, recorder, trumpet, harp, sitar……
Though you might claim many exceptions, I turn off any record featuring violin (not string ensembles!), banjo, traverse flute, and clarinet (not oboe), plus all instruments of a classical orchestra, if played unaccompanied.
What is left in between the red line, might be Garage, especially if it features fuzz guitars, snotty vocals, pounding drums, tambourine, wailing harp and howling Farfisa organ.
