The NOMADDS s/t - ORIGINAL 1965 LP on RADEX Records - Garage Psych

$

370

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ITEM 
Artist: The Nomadds

Title: The Nomadds
Original Mono LP

Purple Vinyl LP, if held up to a light source.

CONDITION

Cover: vg, cover has ring and edge wear & tear on front and back

Vinyl: vg+

Grading scale: m-, vg++, vg+, vg, vg-, etc. 

(similar to goldmine's, except I do not use m or nm)

All vinyl is graded visually, unless otherwise noted, play grade upon request.

INFO
Label: Radex Records

Label / Matrix #: MLP-6521

Country of Origin: USA

Year made: 1965 (April 17 recorded in late 1964)

Personnel:

Lee Garner - lead guitar

Tony Cannova - drums

Greg Johnson - vocal, rhythm guitar

Denny Kuhl - bass

Dean "Stick" Kuehl - vocal, harmonica

Tracks:

(covers)

Shame, Shame, Shame

Lucille

Roll Over Beethoven

Ain't That Just Like Me

Tragedy

Love Potion No. 9

W.P.L.J.

(originals all credited to Greg Johnson)

You Can Fall In Love

I'm In Transit

There Is No More

Don't Cheat On Me

Enter Into My Life

There's still a bunch of good mid-1960s LPs out there that haven't been reissued, and probably won't be either, due to the "45s only" tunnel-vision epiphany of garage guys combined with the "psych only" tunnel-vision epiphany of LP collectors. I ain't complaining as this allows me to pick up and muse over these suburban reflections of Ed Sullivan hysteria without a dozen guys trying to beat me to it, in much the same manner that I've been able to round up a stack of killer guitar-psych/hard rock 45s from 1969-1972 at almost no cost. Nevertheless, I must admit that the criticism often leveled against these local mid-60s albums -- such as them being lame-ass selections of top 40 covers no one wants to hear -- carries certain weight, no matter how much I like to romanticize around the circumstances that produced some zit bag custom label album from Iowa 1967. If you're sane, you might not see the greatness of the Ha'Pennys, and you might be right.

But some of these LPs aren't just atmospheric snapshots of a time and place; they actually contain good music. I've had the rare LP by Illinois five-piece the NOMADDS on hand for many years, and have always felt it to be "different", but never quite got around for a microscope analysis until now. The band came out of Freeport and were known for years as the best live act around, mixing covers with several good originals. They had been going for some time when moptop-mania began in '64, but their adjustment is flawless and seemingly without effort.

The most notable aspect of the Nomadds LP is that it derives from a very specific moment in time, which is the American teen scene after the British Invasion had hit, but before the eruption of crazed garage sounds in 1966. This is an LP that looks to Merseybeat rather than Mick Jagger for inspiration. And when I say Merseybeat I ain't talkin' about no Beatles. No sir, the band poster most likely pinned up in the basement where the Nomadds rehearsed was of the late, great Gerry & the Pacemakers. I'm not sure in what position the Mojo magazine-type "hip/unhip" switch for these Liverpudlians rests in at the moment, but over in our household their name has always carried a certain respect.

The Pacemakers' fingerprints are all over this LP, from Dean Kuehl's excellent Gerry Marsden-influenced lead vocals and the plaintive three-part harmonies to the stripped down, slightly reverbed instrumentation, as well as traces of late 1950s US pop that was in demand on both sides of the Mersey back in '63. I haven't caught any Lonnie Donegan but I'm sure he's in the Nomadds bag too, right next to the Everly Bros and Buddy Holly on a return trip across the Atlantic. This is not the Litter, you can believe that.

The LP opens most impressively with one of five Nomadd originals, the catchy, sublime and just plain great "You Can Fall In Love"; a simple melody hook baiting the listener into swallowing a sweet minor chord bridge before getting delightfully gutted by a brief tempo shift that these guys probably were alone in their zip code area to pull off. As far as 1964 beat sounds go, this is masterful. A flawless cover of "Shame Shame Shame" follows, done Cavern-style, which means an understated, subtle approach far from any unpleasant Roger Daltrey "rock" postures. I said I wasn't going to bring in the Beatles, but have to point to the Fabs' superb 1963 BBC recording of "Memphis, Tennessee" as a blueprint for this sound. The Nomadds then deliver another flawless original with "In Transit", an uncanny recreation of the best aspects of early Liverpool-mania, carrying the unabashed teen woes of 50s pop into the guitar band era. The vocals are superb, better than almost anything I've heard on a local LP from the era.

Two "rockers" follow, paying tribute to forefathers Little Richard and Chuck Berry respectively, flawlessly done with lots of little details that suggest a backbone of several months of rehearsal and club dates before the Nomadds worked up the nerve to cut their album. Side 1 closes with another band original, and another moody minor chord winner, the title being "There Is No More" and the band displaying their effortless grasp of tempo shifts and advanced verse-bridge-refrain structures like Brian Epstein might walk in the door any minute. Side 2 opens with the always popular "Just Like Me" which works up a bit of a frenzy and even some wild teen screams, suggesting briefly that the 'Madds (a nickname I just invented) were just another top 40 cover band gone haywire on asthma pills. The throbbing bass line and angular vocal harmonies that make up "Don't Cheat On Me" tells you that they weren't, the message being "garage" but the sound being all beat.

A slow, last-dance take on "Tragedy" reminds you that crooner ballads were still a mandatory ingredient on both sides of the Atlantic at this point, unless your last name happened to be Lennon. Speaking of John Winston I'm convinced he would have nodded in approval of the clear-cut 'Madds take on that old Neal Cassady favorite, "Love Potion #9", a song I wish more 60s bands would have done. The drug theme is expanded further on "W.P.L.J" a teen booze-hound favorite extolling the virtues of White Port and Lemon Juice, in case you weren't around at the time. It's a fine rendition, but like the two preceding covers, that unique Nomadds' touch doesn't fully carry over into the non-originals. Realizing the jeopardy they're in, the band slides back into your cortex with the supremely atmospheric original "Enter Into My Life", with a teen vocal so haunting that Gerry Marsden would have gone back to driving a milk truck if he'd ever heard it. A muffled, slightly reverbed guitar solo captures the timeless essence of the teen experience as skillfully as the organ solo on Phil & the Frantics "I Must Run", and when the guy starts humming along with the guitar towards the end you realize that this is the major league company in which the Nomadds belong, whenever they worked up the cojones to write their own songs. All five originals on this LP are truly great.

There aren't many local US teenbeat albums from 1965, simply because the notion that it was possible to emulate the Beatles and the Stones needed time to sink in, in addition to visible avatars such as the Beau Brummels, Sir Douglas Quintet and the Byrds, all three of which were just getting around at the time. Listening to the Nomadds often brilliant LP, and adding the Fugitives equally fine 1965 LP on Hideout into the equation, it seems obvious that the few local bands that made it onto microgroove weren't many steps behind the McGuinns and Sahms of the world. The Nomadds LP is close to an unknown classic, and would have gone there with the addition of maybe just one more band original on side 2. Even without such fantasies it still blows away a whole bunch of more obviously "garage"-minded LPs from 1966-67. - review by Patrick the Lama

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