Friday, January 30, 2015

Texas Spotlight: The 13th Floor Elevators - You're Gonna Miss Me/Tried To Hide

The region by region Battle of the Garage Bands moves on to Texas. It is a documented fact (from the1966 Census of Garage Bands) that every kid in Texas between the age of 13 and 23 was in no less than three garage bands at each time. Even that weird kid, Marvin, from Waco. He was in three bands just like everybody else. It's a fact. Look it up.

We launch our Texas spotlight with an infamous record from a legendary band. The 13th Floor Elevators. They need no introduction. The song needs no introduction. But I guess we have to say something about it.

You're Gonna Miss Me was composed by 17-year old frontman, Roky Erickson. Roky had already recorded the number in 1965 with his high school band, The Spades. When he met up with The Elevators, they gave the song a fresh coat of paint, changed the tires and added a big fuzzy jug to the song. They recorded the number in '65 and released it in the first week of '66 on Contact Records. Four months later it was released again on International Artists Records in May.

I think we all agree, this is one of the all time greats. Particularly the ominous bridge with the brilliant chord progression that lifts the song to new heights (just like a bridge should).
I gave you the warning
But you never heeded it
How can you say you missed my loving
When you never needed it
You're gonna wake up wondering
Find yourself all alone
But what's going to stop you baby?
I'm not coming home (x3)
Let's be honest, every casual 13th Floor Elevators fan knows both these songs as they are both on the debut album. But what you may not have known is that this Flip-Side, Tried To Hide, is a very different, earlier take than what appeared on the album. We present to you today, that single version. Faster, bassier, boppier. Even a little bit like Love's My Little Red Book there at the opening.

Until next time, we'll see you On The Flip-Side!

Wednesday, January 28, 2015

And the winner of the Great Lakes Regional Battle of the Garage Bands is...

Another close one. In the end the Shadows of Knight edged out The Unrelated Segments by just one point. The Shadows of Knight will now proceed to the waiting room to see who wins the next few regions yet to settle their Battle of the Garage Bands.

Here is what we have results for so far:

New England: The Squires with Going All The Way/Go Ahead

The South: The Bad Roads with Too Bad/Blue Girl

Great Lakes: The Shadows of Knight with Bad Little Woman/Gospel Zone

The Mid-Atlantic: The Enfields with She Already Has Somebody/I'm For Things You Do

New York: The Blues Magoos with We Ain't Got Nothing Yet/Gotta Get Away

Next up for the Battle of the Garage Bands? The mighty, mighty Texas. Stay tuned for a heaping of Texas garage coming your way in the next two weeks. 
Until next time, we'll see you On The Flip-Side!

Tuesday, January 27, 2015

Great Lakes Spotlight: The Aardvarks - I'm Higher Than I'm Down/That's Your Way

Our final day of the Battle of the Garage Bands for the Great Lakes Region has us at the top of the alphabet with The Aardvarks.

The Aardvarks of Grand Rapids, Michigan recorded 4 records between 1966 and 1968. Today we are going to spin their second release. I'm Higher Than I'm Down and That's Your Way were released on Vark Records in May of 1966. The band at this time was lead singer Darryl Dingler, Garey Walker, Terry Potts, Rick Kuerth, Jim Britton and Don Herald. Darryl Dingler composed both sides of today's submission to the competition. The Aardvarks recorded the numbers in Sparta, Michigan at a movie theater converted into a recording studio. This studio was owned by Dave Kalmbach who also served as the producer and engineer. Dave also was the owner of Fenton Records, which was responsible for releasing many a great local record, including yesterday's entry by The Chentelles

The A-Side today is a real amazing number. I'm Higher Than I'm Down is a true stand-out in the garage genre. But of course, that's why it's here today, right? From the wide-open drum-centric opening to the lyrics of overcoming obstacles and rising above the mundane, to the two and three-part harmonies. It all adds up to make this record one cut above your normal garage output. Then there are the bells! Best use of bells in a garage song since Richard and The Young Lions out of New Jersey used them in You Can Make It
If the sky should soon adorn my way of black
And it seems I have no way of turning back
The way that I am facing
Is not the way I am bound
Yes it is I am now higher than I am down
Yeah, Baby!

The Flip-Side isn't too shabby either. That's Your Way has a nice warbly guitar and that familiar snare-drum sound. But this one has a great harmonica riff doubled by the organ. Great stuff.

As I have done before, I have been given much of this information from the good work of the hep-cats at I also lifted the photo from said site. Check out more about The Aardvarks at that site which can be found here.
That's it for the Great Lakes region. The Brain-Trust at On The Flip-Side will convene at a secret mountain top location to debate and vote on the winner. Stay tuned.

Until next time, we'll see you On The Flip-Side!

Monday, January 26, 2015

Great Lakes Spotlight: The Chentelles - Be My Queen/Time

Day 9 of our Great Lakes Spotlight has us digging on a great record on the famed Fenton Records label. Not too much out there about The Chentelles but it would appear they were a bunch of 13-16 year old kids from the Fennville, Michigan area in the West of the state. The band was Dale Atkins, Bruce Smiertka, Dennis Smiertka, Bill Dalton, Jr., Mark Adams and John Willerton. They released this one and only record in 1967. As usual, we'll flip the record over. Why? Because it's our blog and that is what we like to do. On The Flip-Side? get it?

The Flip-Side of the record, Be My Queen, is one of the all-time garage ravers, in this writer's opinion. Depraved vocals, wild organ, drums that sound as if they are being banged on by a group of wild baboons, tambourine leads, a hint of fuzz, and not one, but two restrained guitar solos. And the solos are done by a 13-year old junior high kid! The song was written by the bassist, Mark Adams, and the organ player, Bill Dalton. According to the cool folk at, Dalton does the lead vocals and Adams, the backup vocals. Adams also does the killer scream that pairs with the organ.

The A-Side, Time, is a slow, moody number that would make Wally Tax and his Outsiders stand up and take droopy-eyed notice. You may not dig it at first, but I urge you to stick with it. It's moodiness is really something to make this a better than average song. Plus, it's almost four minutes long! That doesn't happen much in the garage punk world. Bruce Smiertka and Bill Dalton Jr. share writing credit here.

Credit where credit is due. I've lifted the photo of Bill Dalton Jr. from the aforementioned More info on the band from that site, here.
Until next time, we'll see you On The Flip-Side!

Wednesday, January 21, 2015

Great Lakes Spotlight: The Knaves - Leave Me Alone/The Girl I Threw Away

We'll hit the hot Great Lakes Region Battle of the Garage Bands on day 8 with a truly inspired number. This is the kind of thing that could only come from the demented minds of crazed male teenagers. Lucky for us, Bill Traut and his Dunwich cronies didn't try to tame them.

The demented band in question went by the name The Knaves and they hailed from the northern suburbs of Chicago. The band was made up of Howard Berkman, John Hulbert, Mark Feldman, Neil Pollack, and Gene Lubin. Singer and guitarist, Howard Berkman and guitarist and harmonica player, John Hulbert get writing credit for their maiden release, Leave Me Alone/The Girl I Threw Away. It was recorded in '66 and released in January, 1967.

This anti-authority number -- allegedly originally released on the Glen Label before being picked up by Dunwich -- has all the musical punch and drive to back up it's "piss-off" lyrics. I'm not 100% sure on all these, but here are the lyrics to Leave Me Alone. They say more about why this is a great song, than I ever could.

I was driving in my jaguar car, I had nothing much to do.
I had my woman with me, we were looking at the view
We were driving around searching, for a nice little place to stop
When up pulled that blue suede warrior, better known as a cop.
He said "Hey baby, do I know you? Can you call this town your home?"
So I rolled up my window I said "Leave Me Alone" 
Why Don't you Leave Me Alone
Can't you see I'm doing nothing
Well fight some crime, or something
Just, Leave Me Alone 
I was sittin' in a restaurant, trying to shake the flies outta my hair
I was lookin' at my woman, I was admiring the silverware
When up steps a waiter, he says, "Hey Babe you can't do that"
He said, "Why don't you order something?"
I said "give me filet of fat"
He said, "Look here, baby, we can't do that, it's un-American in tone"
So I put down my fork and I said, "Leave Me Alone"
Why Don't you Leave Me Alone
Well go wait on a table
Or go sweep out the stable
But Leave Me Alone 
I was sitting in my apartment, about 5 O'Clock at night
I was smoking and I was drinking, I was getting kinda tight
I was sitting on the ceiling, I was looking at the floor
When in walked my landlord, he walked right thru the door
He said "Hey baby, get out of here, don't you call this place your home"
Why, I said, "why don't you choke yourself and Leave Me Alone." 
Why Don't you Leave Me Alone
Build yourself a slum
Or chew some bubble gum
But Leave Me Alone
If you think you can figure out what it is he orders (I said "give me the last _____") please let us know. One website had "Give me a leg of fat" but I don't hear that.

Check comments for clarification on the lyrics.

The A-side gets all the love and all the comp action. But we present here the under-the-radar Flip-Side, The Girl I Threw Away. The boys aren't so mad on this side. They are a little reflective and a little sorrowful. Berkman and Hulbert get writing credit on this folky jangler.

Until next time, we'll see you On The Flip-Side.

Tuesday, January 20, 2015

Great Lakes Spotlight: The Choir - It's Cold Outside/I'm Going Home

More Great Lakes region Battle of the Garage Bands.

Day 7 has us back in Ohio just outside of Cleveland where four mods from Mentor High School kicked out two great original songs in October of 1966. The original release was on the Canadian-American Records label. A few months later the record was picked up for national release by Roulette Records in the Spring of 1967.

The Choir (named The Mods until the recording session) was fronted by Dan Klawon and featured Jim Bonfanti, Dave Burke and Wally Bryson. The members swapped instruments and singing duties. Shortly after recording the double sided pop-gem Dan Klawon would leave the band. Ultimately the remaining members would join forces with another local kid, Eric Carmen, and morph into The Raspberries. But that's a story for another blog.

It's Cold Outside got the A-Side treatment. And why not? It's a wonderful pop number that shows a great sense of craftsmanship with Dan Klawon singing his own composition about unrequited love and other meteorological depressions. It's Cold Outside is a gentle, approachable song with a real sense of ability to be a hit. Much more so than are most of the songs that get play here. Simple guitar, light harmonies, a key change and a soaring chorus make this song a real hum-along number.

The Klawon composed I'm Going Home gets the highly coveted Flip-Side and hints at a rougher side of the band. The number was covered by The Chesterfield Kings for their debut album (see more about that here). Still no guitar lead, but the harmonica gives it a real nice edge. I'm not sure if that is Klawon singing lead on this one. Sounds more nasally to me. I'm thinking not. Let us know if you know.

As with most things Ohio, we first turned to to get info on the band. While they didn't have much info, they did have this groovy picture. Thanks Buckeye Beat.
Until next time, we'll see you On The Flip-Side!

Friday, January 16, 2015

Great Lakes Spotlight: The Pleasure Seekers - What A Way To Die/I Never Thought You'd Leave Me Baby

We're rolling through the Great Lakes Battle of the Garage Bands smoother than a 1964 Buick Wildcat on the rough and tumble streets in America's rust belt. And we've only just begun. 

Today's double sided gem is from Detroit Michigan's, The Pleasure Seekers. And it is our first female entry in the Battle of The Garage Bands! The hedonistic little Pleasure Seekers was comprised of sisters Suzi Quatro and Patti Quatro; sisters Nancy Ball and Mary Lou Ball; and, Diane Baker, who, not long after this recording, was replaced by Arlene Quatro. The band was managed by Dave Leone, who gets writing credit for both sides of this super-rare 1965 single released on the local Hideout Records label.
We've flipped the sides over because -- as usual -- we think the Flip-Side is better. What A Way To Die is, simply put, awesome. The song has a nice Jimmy Reed turnaround riff, bitchin' low-fi production, a perfectly placed spoken voice giving a retort to Suzi's banshee lyrics, reverb drenched over-dubs, growly little vocals, and of course some of the best lyrics ever committed to wax. Watch out boys, these girls are gonna walk all over you as they stagger to the fridge to get another beer.

There is no-way these girls' moms thought this was appropriate. These lyrics are so great, we present every word here for your enjoyment.
Well I love you baby
I'm telling you right here
But please don’t make me decide babyBetween you and a bottle of beer come on overwell come on over to my side (come on baby, to my side)well I may not live past twenty-onebut -- WOO!What a way to die! 
Your lovin' fluctuates babyand everybody knowsbut the temperature always stays the sameon an ice cold bottle of Stroh's come on overwell come on over to my side (come on over, honey)well I may not live past twenty-onebut -- WOO!What a way to die! 
When I start my drinkingmy baby throws a fitSo I just blitz her outta my mindwith seventeen bottles of Schlitz come on overwell come on over to my side (come on...over)well I may not live past twenty-onebut -- WOO!What a way to die! 
You’ve got the kind of bodythat makes me come aliveBut I’d rather have my hands aroundA bottle of Colt 45 come on over,come on over to my side (are you coming or not baby?)well I may not live past twenty-onebut WOO! What a way to die!
The A-Side of the single, I Never Thought You'd Leave Me Baby is a raver in it's own right. Groovy bass line and tight vocals. Yeah Baby!
Enjoy. Until next time, we'll see you On The Flip-Side!

Thursday, January 15, 2015

Great Lakes Spotlight: The Shadows of Knight - Bad Little Woman/Gospel Zone

You Bad Little Woman! Welcome back to day 5 of the Great Lakes-Region of the Battle of the Garage Bands. We've written extensively about The Shadows of Knight in the past. As any casual Flip-Side reader will know, this band is one of our favorites. 

The Shadows of Knight were formed in the hallways of an Arlington Heights, Illinois High School (the school nickname was...the Knights. Get it?). After a few early mutations and instrument swapping, the band settled into the line-up of Jim Sohns on vocals, Warren Rogers on Bass, Joe Kelly on lead guitar, Jerry McGeorge on rhythm guitar and Tom Schiffour on drums. In early 1966, The Shadows of Knight would release the first ever record for one of the all-time great garage labels, Dunwich Records. That record was their cleaned up cover of Them's Gloria

But today we feature the 2nd single from The Shadows of Knight. And, believe it or not, it is also a cover of a record from Northern Ireland, this time a record by an obscure group called The Wheels. The Wheels covered Gloria for their debut in September of 1965. That was released only in the UK. For that band's second release they did two originals: Bad Little Woman with a flip-side of Roadblock. But here is the kicker. That single was released on a local US label called Aurora Records one month before it was released in the UK. The band name was unceremoniously changed to The Wheel-A-Ways, the flip-side was changed to a different song and the version of Bad Little Woman is an early demo version, not the same pounding one released in the UK a month later. Both versions of The Wheels' release can be heard here. 

It was likely the languid demo version mistakingly shipped to and released on Aurora in January of '66 that was presented to The Shadows of Knight for consideration. Regardless, The Shadows of Knight version of the song is dramatically different than either version by The Wheels. 

According to Jerry McGeorge, who has recently been in touch with us at Flip-Side:
The Wheels' Bad Little Woman was presented to us in demo form as a potential single. We came off the road to do the sessions for the second album and recorded it at that time, early Summer '66. We weren't nuts about it the way it sounded and someone got the idea of having Hawk [aka David Wolinski] add keyboards to fill it out, which worked splendidly.
We concur with McGeorge. The floating organ over the song creates a lush bed for the band to soar over the song. Joe Kelly, one of the most talented and under-appreciated lead guitarists in the US garage scene, paints a beautiful picture with his deep bends. McGeorge also informs us that Kelly plays a Gibson ES 335 (see pics) on the recording and you can really feel the power of the guitar as the band kicks into the glorious lead break at 1:15. But his guitar work is never better than right after the break when he responds so delicately to singer Jim Sohns' restrained vocals. 
He brought you home last night
Smelled like gypsy rose
Now I don't know just where you been
He only knows
He says he loves you baby
Just like I love you
He says he loves you baby
Just like I love you
Oh no, it's not true!
The band had a pattern in their releases. A non-band composed number on the A-Side, a fabulous original relegated to the Flip-Side. In this case it is one of The Shadows of Knight's best recordings, the drummer composed Gospel Zone. It opens with a rip-roaring dead-switching effect by Kelly or McGeorge that then catches fire and propels the song into an infectious groove. The bass work by Warren Rogers really stands out on this number. It sounds to this listener like he is playing a hollow body bass. We're guessing the same Framus Star Bass in the pics below. Oddly, Gospel Zone was released by Dunwich as a one-sided promo in severely edited down form, clocking in at a full minute less than the normal take. We've only ever seen one copy of that record.

Credit where credit is deserved: I've nicked almost all of the photographs from a Joe Kelly fan site which can be found here.

Until next time, we'll see you On The Flip-Side!

Wednesday, January 14, 2015

Great Lakes Spotlight: The Del Vetts - Last Time Around/Everytime

Day 4 of our Great Lakes-Region Battle of the Garage Bands takes us back to the Chicago area. And back to Dunwich, Man. Today we spin both sides of the Del Vetts debut single from August, 1966. 
We'll I'm sitting here sinking on deeper down.
My head is a' spinning around and 'round.
I can't seem to shake this feeling.
Oh, My body is a rockin' and a-reelin'.
Oh' it's such a funny feeling
that I know this is the last time around for me, Oh yeah, 
Oh, I'm sinking on sinking on deeper down.
My eyes are blood and I can't hear a sound.
Fight it! help me fight it.
Because I know this is the last time around for me. 
The Del Vetts were Jim Lauer on vocals and lead guitar, Bob Good on rhythm, Jack Burchall on bass and Roger Deatherage on drums.

Their debut single was a raging original composed by their friend, Dennis Dahlquist who penned a kick ass Yardbirds inspired song called The Last Time Around. Production is perfect as is Lauer's vocal delivery and Better Man Than I inspired guitar break. Jeff Beck would have been proud. Special shout out to the bass work of Jack Burchall whose work on this song truly inspired me to learn every note of what he did with his fast running fingers. This single was released just days after the Things To Come released I'm Not Talkin' and just two months before The Banshees set Project Blue upon the record buying public and The Shadows of Knight released Bad Little Woman/Gospel Zone. You see why I love this label?

While Last Time Around was a true regional hit, the follow-up, I Call My Baby STP, which came with a nice pic sleeve and an STP Oil sticker as part of a quasi-ad campaign, was a flop. (but the flip is respectable) It turns out that was the last time around for the Del Vetts who went from one bad name to another as they inexplicably changed their name to the lame-ass Pride and Joy, whose lone Dunwich release, Girl/If You're Ready, was highlighted a few years ago. Jim Lauer allegedly went the way of Roky Erickson and Syd Barrett. Play it loud and enjoy.

The Flip-Side is solid as solid gets and thus we include it here. Also penned by Dahlquist, the number is the rather peppy, Everytime. Another kick-ass guitar solo from Lauer. I love how you can hear someone cue them back into the verse after the guitar solo. Low-fi, baby.
Until next time, we'll see you On The Flip-Side!

Tuesday, January 13, 2015

Great Lakes Spotlight: The Turfits - Losin' One/If It's Love You Want

Day three of our Great Lakes Region of the Battle of the Garage Bands takes us to Ohio for the first time. That is where we find four Buckeye men wearing mini-skirts and frilly blouses. I don't know what more I can say about that.

The Turfits hailed from two small towns West of Cleveland, Fremont and Findlay, Ohio. The band was Whitey Gwinup, Gary Reddick, Kenny Turner and Roger Hilty. The members had been in various other bands and came together into one as The Other Ones. But, ironically, there was already another band called The Other Ones. So this other, Other Ones held a "name the band" contest at one of their shows. From that contest came the winning name of The Turfits. Okay. One has to wonder what the hell the other suggested names may have been for these hep-cats to choose The Turfits above the others? The Roadkill Kittens IV? The Pink Fluffies? The Mama's Boys?

Regardless, the curiously dressed, curiously named band recorded two songs written by Whitey Gwinup. Two songs he brought with him to the band. The A-Side is right out of garage songs 101. Losin' One has a  slow groove with a meandering Farfisa organ weaving it's way through the song. I particularly love the subtle fuzz guitar at 1:05 leading into the organ lead. The song was credited to the whole band per legal requirement. As is so often the case, the label misspelled a name. In this case, Gwinup's. The Flip-Side, If It's Love You Want, is a much more upbeat number. Again. Garage 101. Great back-up vocals, heavy organ, sweet guitar lead.

The record was recorded in Cleveland and released on Capitol Records in October of 1967.

As is the case with all things Ohio, we took a lot of info and pics from the great website, Buckeye Beat. They were given the pics from Whitey Gwinup and Wayne Van Doren.

Until next time, we'll see you On The Flip-Side!

Monday, January 12, 2015

Great Lakes Spotlight: The Banshees - Project Blue/Free

Great Lakes Spotlight resumes. Day 2! Today we feature perhaps the most crazed garage record ever put to wax! Man, that is saying a ton. Especially when we have songs like that by Australia's The Elois and Texas' The Outcasts. But I stand by it. Here we present Chicago's The Banshees doing their own composition, Project Blue. It was released in August of 1966. Any garage-O-file worth their salt has heard this song 1001 times (last week alone), but we can't let that stop us from giving them more love. This one is front and center on the Mt. Garagemore monument we have mythically built in our own depraved flippy heads. 

The Banshees were made up of singer Frank Bucaro, lead guitarist Ron Rouse, Rick Notolini on bass, John Smead on rhythm, and Tom Leetzow on drums. Lead guitarist, Ron Rouse gets writing credit for this. However, in the world's briefest interview over on, Frank Bucaro lays claim to co-writer credit. He wrote the Flip-Side of this single, the rather tame, Free

Musically speaking, this is -- and I use a technical musicologist term here -- fucking amazing. The lead guitar riff is a relentless, menacing, stabbing piece of testosterone that Angus Young could only dream of playing. You will never, ever, hear a better garage punk guitar riff. Ever. Ron Rouse, you are my hero for coming up with that and performing it so damn perfectly. Singer Frank Bucaro sounds nothing like he does on the rather tepid flip-side. (Yep, even us at Flip-Side HQ sometimes have to love the A-Side more.) On the rather cryptically named Project Blue, Bucaro screams so much and so loud you can damn near hear the blue veins popping out of his neck as he spits out "Come On Now!". There's not much to these lyrics, but man oh man, Bucaro delivers.
Oh Noooo!
I need your love baby, and I need it so bad, Yeah
'Cause your's is the only love that I ever had, babe 
I need your love baby, and only you know.
I need your love baby, and I need it more 
Your love, baby, I need your love, baby
Yeah love, oh! 
I need your love baby, and only you know. Yeah!
I need your love baby, and I need it more, love 
I need your love baby, and I need it so bad. Yeah
'Cause your's is the only love that I ever had, babe

Your love baby, I need your love, your love, baby
Come on Now!!!!!!!!!!!!
oh, come on
Let's be very clear. I would not let this man date my daughter.

Check out the picture of these cats. This is one of those things I love about 60s Garage Bands. They look so nice and clean cut. And then you get this out of them. Rouse is in the middle, Bucaro, second from left.

Like so many bands of their day, High School ended (yep, they were in high school when they did this number) and they disbanded. Some went to college, others to the military. The Banshees would scream their siren song no more. One depraved single is all we have of their existence.
Until next time, we'll see you On The Flip-Side!

Tuesday, January 6, 2015

Great Lakes Spotlight: The Unrelated Segments - Where You Gonna Go?/It's Gonna Rain

After a little holiday merriment we return today to start our next regional Battle of the Garage Bands. We just crowned The Bad Roads as the winner of the hotly contested South Region. The Enfields took a close battle in The Mid-Atlantic Region, The Blues Magoos took New York and The Squires took New England. Now we turn to The Great Lakes, a real hot-bed of Garage rock in the 60s, so we expect the next 10 days to be chock-full-O-crispy good rock.

We start the two-week run at the Great Lakes with Michigan's The Unreleated Segments!

The Unrelated Segments made three singles and they all kick some serious booty. They sound a little different than the work of other garage bands of their day, a little more ambitious, a little more polished, a little more accomplished, a little more serious.

The band was formed in Taylor, Michigan, a suburb of Detroit, in late 1966. The band was Ron Stults on vocals, Rory Mack on lead guitar, Barry Van Engelen on bass, John Torok on rhythm guitar and Andy Angellotti on drums. Before they had even a single concert, only two weeks after their first jam session, the High School boys went into the studio to record their first record in early 1967, Story Of My Life/It's Not Fair, released on Hannah-Barbera Records. Both numbers written by Rory Mack and Ron Stults. 

Today, we're going to listen to their second single, Where You Gonna Go?/It's Gonna Rain as released on Liberty Records in September of 1967. Both numbers, again, written by Mack and Stults.

Where You Gonna Go? opens with a crazy cool guitar riff that sounds like it might be run through a Leslie speaker. Van Engelen then joins the fray with some brilliant bass work before the creaking sound of a flexi mic stand gives way to Stults who sings of the bleak reality of working all day for another man, smoking cigarettes just for something to do and falling further and further behind the American Dream. The ever so brief bridge at 1:30 is an unexpected gem that really lifts the song at just the right time. The relentless guitar riff now gives way to a swinging romp:
And you know you're selling out
And as anybody knows
They'll know it by your face
And know it by your clothes
It's Gonna Rain is even more bleak. A slow, somber number that, again, features a nice chord progression and stellar bass work. Without question, the pairing of the upbeat A-Side and the somber Flip-Side make this one top notch garage record. 

Until next time, we'll see you On The Flip-Side!