Ronnie & Sinsashuns

I'd call it garage, but very much on the fratty side. Which I like, but it's not worth anywhere near that much even though it's quite scarce. 4 is a fair rating in my book.
 
I probably should have called it R'n'B, with a novelty feel. I've never been entirely sure what "frat" is. If anyone would like to have a go at defining it, including how it differs from RnR and RnB, and how RnR and RnB differ from each other while they're at it...
 
Lee Bryant sourced some copies from Ron last year. He was selling them for around $400. Im not sure the total amount of copies he was able to get but I think there were between 4-6 copies in various conditions.
 
I just think of "frat" as hi-energy garage inspired rock n roll without any British Invasion / Beatles influence, sometimes with a novelty aspect, 'tho usually performed in a cruder, sloppier fashion. The Kingsmen would be the group template to measure against. "Double Shot" by the Swingin' Medallions is a prime of example of 1966 frat. Anthemic type lyrics is also key for frat, something the party-goers can easily sing along with while getting drunk. "KAPO" (Lyndells), "Rip It Rip It Up" (Florian Monday & His Mondos) "Gorilla" (Shandells) "What A Way To Die" (Pleasure Seekers) are all good examples in my view of songs that meet a "frat" descriptive within the 60s garage main category tag.

A "garage rocker" can also be a frat type tune, but I think it is more stripped down, straight ahead, rocking, patterns the I-IV-V chord progression, no British Invasion influence (chord changes, melody, vocal aspects...). A sound directly channeling the '50s era guys like Chuck Berry and company. Songs are often remake versions of '50s tunes that rock, or original songs composed during the mid 60s that sound much earlier time-frame wise.

Ronnie and the Sinsashuns, to me, is a good garage rocker - it falls within the acceptable time frame year-wise (1964). As the Beatles and Invasion sounds took over, garage rockers tended to be crowded out in the realm of songs recorded on 45s. That doesn't mean there aren't any late year 60s garage rockers. Many teenage groups always had a handful of the older tunes within their live gig set lists. I can even think of one 45 from 1975, "I Can't Take My Loving Off You" by Four On The Floor. It's an original tune, crudely recorded and performed live in a club that sounds at least 10 years earlier than 1975.
 
My introduction to garage was essentially through Ugly Things and Easybeats, with HITMS, Pebbles, and BFTG hot on their heels. Therefore, unlike many Americans who appear to have a strong perceptual divide between “garage” (being essentially American), and “freakbeat”, “merseybeat”, or just “beat” originating from England, and who furthermore see garage as eminating from rock ’n’ roll - particularly as interpreted by the Northwest scene; even though I can hear and appreciate these differences, I instead zeroed in on the commonalities between the American and British styles. I see the more important formative influence on sixties garage as emanating from merseybeat.

After the novelty quickly wore off, by the time I was in my mid-teens, I found rock ’n’ roll to be deadly boring, precisely because of its unwavering adherence to the I-IV-V formula. I’ve never cared for drinking anthems or novelty either, so, thanks to Mike, I think I now better understand why I don’t like frat (except for some of the more atypical examples). It’s the unpredictability of merseybeat, and British invasion garage, which is one of its principal attractions to me. While I do like Northwest bands like the Sonics and the Kingsmen, I’ve never rated them that highly compared with the invasion-influenced bands of the southern, mid-western, and eastern states. It’s a similar story for me with R ’n’ B: the 12 bar blues formula quickly becomes repetitious, and an R ’n’ B song really has to stand out from the croud before I’ll call it garage - or it should at least contain an unexpected departure. I in fact see garage as a breakaway from the banality of rock ’n’ roll. Rock ’n’ roll may have been seen as anti-establishment when it started (although I think it was almost as staged as ‘70s punk was to be), but by 1964 it had become the establishment.

That’s just the way I see it, and others may see it differently, but I think at least it probably goes a long way to explaining why I have a different definintion of garage to some of the (mainly American) members here. It would aslo explain why I rate a certain portion of the TBM entries significantly differently. It’ll be interesting to hear other members views on this topic.
 
In line with what I meant referring to the rating of the 45 at 4 what do you guys think the most valuable TBM record is worth the most with the lowest rating?
 
Pebbles Vol. 1 has Floyd Dakil "Dance Franny Dance", a garage rocker, and it seems that a lot of people do like it even if they have a more focused definition of '60s garage (has to borrow from merseybeat).
"Linda" by the Starfires in another example that comes to mind of a '60s garage "rocker".

Vinyl01 - Can't be sure about the most valuable lowest rated tune, but the Swanks "Ghost Train" issued in 1968 but recorded 4 years earlier routinely sells for near, or beyond 2K whenever it turns up - not very often, sad to say. Rated as a 5.2 in TBM. I do not believe there is a more valuable 45 rated lower than that.
 
Wow, I have a copy of that. Did not realize it went for that much, but I was really thinking of ones that are rated lower that fetch a lot. My copy has the record # as 6081 for that side and 6080 for the ''my college cry'' side.
swanks ghost train charm 6081.jpg

I finally realized it's an instro. How many instros are among TBM?
 
Pebbles Vol. 1 has Floyd Dakil "Dance Franny Dance", a garage rocker, and it seems that a lot of people do like it even if they have a more focused definition of '60s garage (has to borrow from merseybeat).
"Linda" by the Starfires in another example that comes to mind of a '60s garage "rocker".

I have to agree with you there on classification. Dance Franny Dance I'd rate as n/a, although It Takes a Lot of Hurt does qualify as garage. Linda does have a bit of a garage feel to it, but it's still more in the rock n roll camp - I only rated it a 2.

Perhaps the two songs which give the best example of what's popular with many garage collectors, yet absolutely make me cringe:

Novas - The crusher
Cardinals - Tomato juice