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Nuggets: Original Artyfacts From The First Psychedelic Era 1965-1968


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Nuggets: Original Artyfacts From The First Psychedelic Era 1965-1968 + My Mind Goes High: Psychedelic Pop Nuggets from the WEA Vaults + Garageaholic! Psychedelic! Outsider Music!
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Product details

  • Audio CD (26 Nov 2012)
  • Number of Discs: 1
  • Label: Rhino
  • ASIN: B009IRS756
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (31 customer reviews)
  • Amazon Bestsellers Rank: 20,767 in Music (See Top 100 in Music)

1. I Had Too Much To Dream (Last Night) - The Electric Prunes
2. Dirty Water (Single/Lp Version) - The Standells
3. Night Time - The Strangeloves
4. Lies (Single/Lp Version) - The Knickerbockers
5. Respect - The Vagrants
6. A Public Execution - Mouse
7. No Time Like The Right Time - The Blues Project
8. Oh Yeah - The Shadows Of Knight
9. Pushin' Too Hard (Single/Lp Version) - The Seeds Feat. Sky Saxon
10. Moulty - The Barbarians
11. Don't Look Back - Remains
12. An Invitation To Cry - The Magicians
13. Liar, Liar - The Castaways
14. You're Gonna Miss Me (Single Version) - The Thirteenth Floor Elevators
15. Psychotic Reaction (Single Version) - Count Five
16. Hey Joe (Single Version) - The Leaves
17. Romeo & Juliet - Michael & The Messengers
18. Sugar And Spice - The Cryan' Shames
19. Baby Please Don't Go - The Amboy Dukes
20. Tobacco Road - Blues Magoos
See all 27 tracks on this disc

Product Description

Product Description

This 4-disc box is an anthology expanded from the multi-volume Rhino NUGGETS series--originally produced by Lenny Kaye as a 2-LP collection in 1972--that traces the roots of regional American garage-punk/psychedelic bands like the Seeds, the Electric Prunes and the Standells. Nuggest: Original Artyfacts from the First Psychadelic Era was considered to be a groundbreaking compilation upon its original release.

BBC Review

The brainchild of Elektra Records chief Jac Holzman, Nuggets was a double-album survey of grass roots American garage-rock “one-hit-wonders”, originally released in 1972, at the very moment when rock’n’roll was making its first backwards-looking audit.

Curated by future Patti Smith Group guitarist Lenny Kaye (whose original liner notes would coin the term punk rock), it documented the widely pervading influence of the so-called British Invasion on ingénue mid-to-late-60s beat combos across the USA.

This anniversary reissue features new, sagacious sleeve-notes from Kaye, while the album’s 27 short, sharp, electric guitar and Farfisa organ-soaked essays remain preserved in musical amber, evincing the impact of The Beatles (to an almost preposterous level – faux Scouse accents and all – on The Knickerbockers’ Lies), The Rolling Stones, The Animals, Them et al on an eclectic tranche of musicians. These acts’ recordings would project British Invasion tropes through the prism of 1960s American musical (and, increasingly, counter) culture.

Typically, The Electric Prunes’ I Had Too Much to Dream (Last Night), The Seeds’ Pushin’ Too Hard and 13th Floor Elevators’ You’re Gonna Miss Me – all of which would enjoy deferred ‘classic’ status courtesy of Nuggets – are products of a ricocheting process of cross-fertilisation. US blues and soul-inspired British styles are bent back into feisty, indigenous variants on garage-rock, brimming with ‘out there’ lyrics and disorientating studio effects which bear testimony to a burgeoning awareness of drug-induced altered states.

There are less lysergic, less Anglophone offerings here, too. The Vagrants’ muscular, bluesy take on Otis Redding’s Respect, and Mouse’s A Public Execution, an unmitigated homage to Highway 61 Revisited-era Bob Dylan, for example, while several tracks presage a subsequent wave of US underground punk-rock.

Count Five’s spiky Psychotic Reaction proffers the missing link between The Yardbirds and early Television, while The Remains’ angsty Don’t Look Back might have been the blueprint for Richard Hell and the Voidoids. The Shadows of Knight’s Oh Yeah, meanwhile, is surely the prototype for David Bowie’s The Jean Jeanie.

Thus, Nuggets remains a Rosetta Stone among rock compilations and an indispensable resource for anyone interested in the rapid, wild and vivid evolution of 1960s psychedelia.

--David Sheppard

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Customer Reviews

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Most Helpful Customer Reviews

32 of 33 people found the following review helpful By Mr. Raymond A. Newman on 5 April 2001
Format: Audio CD
The only real competition for this box set comes from the Pebbles/Trash box (also available from Amazon). This set wins hands down in terms of sound quality and packaging, although the Pebbles set is also superb. All the classic tunes from Lenny Kaye's original compilation are present and correct, along with over a hundred other amazing punky freakouts.
Unlike Pebbles, which is pretty uniformly fuzz guitar and screaming youths, Nuggets has its tender moments. Consider the Nazz's 'Open My Eyes' which sounds like a prettier version of The Who's 'I Can't Explain'. The pop sensibility of this set means that there are plenty of other points of access for those who aren't used to hardcore sixties fuzz, such as Incense and Peppermints (as heard in Austin Powers) and Liar, Liar (Lock Stock and Two Smoking Barells). If you buy this set, you'll have everything you need to start work on a real obsession.
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38 of 41 people found the following review helpful By Gerard Hennessy on 18 Jun 2006
Format: Audio CD
In 1972 Lenny Kaye from the Patti Smith Group compiled a double vinyl album for Electra records. It consisted of half-forgotten mid-sixties singles by semi-obscure American bands. He cannot possibly have had any idea of what he was starting. At the time compilation albums were few and far between - unlike today. Furthermore the idea of compiling an album of relatively small hits and complete misses must have seemed totally crazy. Now 34 years later that original album is back - and at a budget price too! In the intervening years it has spawned an entire 'Nuggets' franchise. For example it has been been re-issued on vinyl (by Sire Records), given its name to a whole series of albums (also on vinyl) from Rhino (now sadly deleted), inspired the creation of three excellent box sets (Nuggets, Nuggets II and Children of Nuggets) as well as three single CD compilations - all with the name 'Nuggets' in their title (Nuggets, More Nuggets and Even More Nuggets). In fact, one could also argue that it helped create the whole garage-band compilation genre, as evidenced by the success of series such as Rubble, Pebbles, Psychedelic Pstones and such. However, surely the greatest evidence of its success is that many of the bands that appeared on the original Nuggets double-album are better known now than they were in their prime. Browse around Amazon or wander around your local record store and you can easily find material by the Standells, the Seeds, the Shadows of Knight, the 13th Floor Elevators and the Chocolate Watch Band.

And what of the music itself? Certainly a great deal of it is basic and discordant with little sophistication or technical expertise. However it is all infused with a tremendous energy and vitality with liberal helpings of street-corner punk attitude for good measure.
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3 of 3 people found the following review helpful By Richard on 1 Sep 2010
Format: Audio CD
Though Rhino has now issued an expanded edition with a thick book-the first of the Los Angeles/San Fransisco ones-this was a case of somebody starting with an idea and selling it to Elektra where it would seem there was no problem with licensing.
Through the years this collections has received legendary status and yet its only a sampler.There's as many should have been on and many no one would expect ie Michael & the Messengers whose version of the Reflections song of only 3 years earlier is not exactly essential.
I can take or leave all the Animals/Van Morrison influenced things as Garage and Psychedelia to me means Beatles/Searchers influences like the Knickerbockers,the Cryan Shames and many not included here like the Cyrkle or the great Frat bands like the Kingsmen,Paul Revere & the Raiders,the McCoys,Cannibal & the Headhunters.
The wonderfully named Electric Prunes began as a garage band called the Sanctions and were very Beatles influenced while the 13th Floor Elevators were the Spades.
Listed at No 6 is "Mouse" which should read Mouse & the Traps who were also known as Positively 13 o'Clock and were closer to a Dylan influence. But then Dylan himself was influenced by the British Invasion.
The Remains are really Barry & the Remains who appeared at the 2nd Shea Stadium and are currently Barry & Holly Tashain-Christian rockers.They are one of the few here who never actually had a hit single but could easily have had with Diddy Wah Diddy (also made later by Captain Beefheart).
But the collection could have been better-no Strawberry Alarm Clock,no Gentrys,no Beau Brummels,no Nightcrawlers,no Changin' Times.People are blinded by claiming this one is the be all and end all when all it is is the first
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19 of 22 people found the following review helpful By Spikey Mikey on 28 Jun 2006
Format: Audio CD
The original vinyl version of this was stunning and a must have. The reissues have been very good but have tended to substitute in favoured or classic tracks like Louie Louie rather than the original track listing. The boxed set included the original tracks and a great deal more but somehow, despite the inclusions of many classics not on the original, like Love for example, it lost some impact. It was too much of a good thing if you like.

Now, here for the first time in several years is a reissue that is both beautifully packaged (albeit that you'll need a magnifying glass for the inside of the gatefold) and does no more or less than reproduce the original on CD in mini gatefold and at a ludicrously cheap price. As such it makes a fantastic artyfact in its' own right. However, it's the music that's the real revelation.

This is a classic compilation. It has highs and lows, something for everyone and the real status of being an iconic, important historical artyfact (sorry, I have to keep using their spelling) , however, unlike many influential records, its' biggest asset is that it has the music in spades. It's corny, hard, soft, tacky and obscure. Fundamentally it's a record no collection should be without. It's not perfect. Everybody will have at least one track or more that they hate but they'll also have at least half a dozen tracks that lead them to explore new musical avenues and a lifetime of pleasure.

Enjoy.
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