Not the first but definitely the most popular rock instrumental combo, the Ventures scored several hit singles during the 1960s -- most notably "Walk-Don't Run" and "Hawaii Five-O" -- but made their name in the growing album market, covering hits of the day and organizing thematically linked LPs. Almost 40 Ventures' albums charted, and 17 hit... [+] Read More

Not the first but definitely the most popular rock instrumental combo, the Ventures scored several hit singles during the 1960s -- most notably "Walk-Don't Run" and "Hawaii Five-O" -- but made their name in the growing album market, covering hits of the day and organizing thematically linked LPs. Almost 40 Ventures' albums charted, and 17 hit the Top 40. And though the group's popularity in America virtually disappeared by the 1970s, their enormous contribution to pop culture was far from over; the Ventures soon became one of the most popular world-wide groups, with dozens of albums recorded especially for the Japanese and European markets. They toured continually throughout the 1970s and '80s -- influencing Japanese pop music of the time more than they had American music during the '60s.

The Ventures' origins lie in a Tacoma, Washington group called the Impacts. Around 1959, construction workers and hobby guitarists Bob Bogle and Don Wilson formed the group, gigging around Washington state and Idaho with various rhythm sections as backup. They recorded a demo tape, but after it was rejected by the Liberty Records subsidiary Dolton, the duo founded their own label, Blue Horizon. They released one vocal single ("Cookies and Coke"), then recruited bassist Nokie Edwards and drummer Skip Moore and decided to instead become an instrumental group.

The Ventures went into the studio in 1959 with an idea for a new single they had first heard on Chet Atkins' Hi Fi in Focus LP. Released on Blue Horizon in 1960, the single "Walk-Don't Run" became a big local hit after being aired as a news lead-in on a Seattle radio station (thanks to a friend with connections). In an ironic twist, Dolton Records came calling and licensed the single for national distribution; by summer 1960, it had risen to number two in the charts, behind only "It's Now or Never" by Elvis Presley. After Howie Johnson replaced Moore on drums, the Ventures began recording their debut album, unsurprisingly titled after their hit single.

Two singles, "Perfidia" and "Ram-Bunk-Shush," hit the Top 40 during 1960-61, but the Ventures soon began capitalizing on what became a trademark: releasing LPs which featured songs very loosely arranged around a theme implied in the title. The group's fourth LP, The Colorful Ventures, included "Yellow Jacket," "Red Top," "Orange Fire" and no less than three tracks featuring the word "blue" in the title. The Ventures put their indelible stamp on each style of '60s music they covered, and they covered many -- twist, country, pop, spy music, psychedelic, swamp, garage, TV themes. (In the '70s, the band moved on to funk, disco, reggae, soft rock and Latin music.) The Ventures' lineup changed slightly during 1962. Howie Johnson left the band, to be replaced by session man Mel Taylor; also, Nokie Edwards took over lead guitar with Bob Bogle switching to bass.

One of the few LPs not arranged around a theme became their best-selling; 1963's The Ventures Play Telstar, The Lonely Bull featured a cover of the number one instrumental hit by the British studio band the Tornadoes and produced by Joe Meek. Though their cover of "Telstar" didn't even chart, the album hit the Top Ten and became the group's first of three gold records. A re-write of their signature song -- entitled "Walk-Don't Run '64" -- reached number eight that year. By the mid-'60s however, the Ventures appeared to be losing their touch. Considering the volatility of popular music during the time, it was quite forgivable that the group would lose their heads-up knowledge of current trends in the music industry to forecast which songs should be covered. The television theme "Hawaii Five-O" hit number four in 1969, but the Ventures slipped off the American charts for good in 1972. Instead, the band began looking abroad for attention and -- in Japan especially -- they found it with gusto. After leaving Dolton/Liberty and founding their own Tridex Records label, the Ventures began recording albums specifically for the Japanese market. The group eventually sold over 40 million records in that country alone, becoming one of the biggest American influences on Japanese pop music ever.

Nokie Edwards left the Ventures in 1968 to pursue his interest in horse racing for a time, and was replaced by Gerry McGee; though he returned by 1972, Mel Taylor left the group that year for a solo career, to be replaced by Joe Barile. (Taylor returned also, in 1979.) By the early '80s, the Ventures' core quartet of Wilson, Bogle, Edwards and Taylor could boast of playing together for over 20 years. Though Edwards left the band for good in 1984 (replaced again by Gerry McGee) and Mel Taylor died mid-way through a Japanese tour in 1996 (replaced by his son Leon), the Ventures continued to pack venues around the world. ~ John Bush, All Music Guide [-] Hide

King Curtis was the last of the great R&B tenor sax giants. He came to prominence in the mid-'50s as a session musician in New York, recording, at one time or another, for most East Coast R&B labels. A long association with Atlantic/Atco began in 1958, especially on recordings by the Coasters. He recorded singles for many small labels in the... [+] Read More

King Curtis was the last of the great R&B tenor sax giants. He came to prominence in the mid-'50s as a session musician in New York, recording, at one time or another, for most East Coast R&B labels. A long association with Atlantic/Atco began in 1958, especially on recordings by the Coasters. He recorded singles for many small labels in the '50s -- his own Atco sessions (1958-1959), then Prestige/New Jazz and Prestige/TruSound for jazz and R&B albums (1960-1961). Curtis also had a number one R&B single with "Soul Twist" on Enjoy Records (1962). He was signed by Capitol (1963-1964), where he cut mostly singles, including "Soul Serenade." Returning to Atlantic in 1965, he remained there for the rest of his life. He had solid R&B single success with "Memphis Soul Stew" and "Ode to Billie Joe" (1967). Beginning in 1967, Curtis started to take a more active studio role at Atlantic, leading and contracting sessions for other artists, producing with Jerry Wexler, and later on his own. He also became the leader of Aretha Franklin's backing unit, the Kingpins. He compiled several albums of singles during this period. All aspects of his career were in full swing at the time he was murdered in 1971. ~ Bob Porter, All Music Guide [-] Hide

Sandy Nelson was the biggest -- and one of the few -- star drummers in the late 1950s and early 1960s era in which instrumental rock was at its peak. He landed two Top Ten hits, "Teen Beat" (1959) and "Let There Be Drums" (1961), which surrounded his Gene Krupa-inspired solos with cool, mean guitar licks that were forerunners of the surf sound.... [+] Read More

Sandy Nelson was the biggest -- and one of the few -- star drummers in the late 1950s and early 1960s era in which instrumental rock was at its peak. He landed two Top Ten hits, "Teen Beat" (1959) and "Let There Be Drums" (1961), which surrounded his Gene Krupa-inspired solos with cool, mean guitar licks that were forerunners of the surf sound. Nelson had only one other Top Forty hit, "Drums Are My Beat" (1962). He ground out a quick series of instrumental albums in the early 1960s -- eight within 18 months, as a matter of fact -- with several other top Hollywood rock and pop session musicians. Nelson was not that great a drummer, although he was good. His principal importance is that he found a place for drum rock solos in hit instrumental singles, and the more reckless elements of his style no doubt influenced other musicians, such as surf drummers and, later, Keith Moon.

Nelson started to play rock'n'roll as a teenager in Los Angeles in the 1950s, forming a group that included Jan Berry, Dean Torrence, and Bruce Johnston, all of whom would be important to the surf and hot rod scenes a few years down the line. By the late 1950s he was playing sessions, including drums on the Teddy Bears' chart-topper "To Know Him Is to Love Him." After his "Teen Beat" became a hit for Original Sound in 1959, he signed with Imperial as a solo artist, and continued to work as a session musician. For instance, he's heard on Gene Vincent records of the time, as well as the Hollywood Argyles' big hit "Alley Oop," on which he also did some screams. Nelson's numerous solo albums, despite the assistance of top fellow sessioneers like Steve Douglas (sax), Ernie Freeman (piano), and Rene Hall (guitar), had a lot of basic and unimaginative instrumental rock, whether original material or covers of well-known hits of the day. As with Duane Eddy's recordings, however, these simple albums might have helped inspire aspiring musicians, as things to play along and learn with if nothing else.

Near the end of 1963, Nelson was involved in a serious motorcycle accident that necessitated amputation of his right foot and part of his leg. Nonetheless, he managed to resume his drumming career and continued to churn out albums, as well as some singles, of which "Casbah" (1965) is the highlight, with its wild splashing drums and frenetic middle eastern-surf guitar. ~ Richie Unterberger, All Music Guide [-] Hide

Best known for supplying the theme song to the popular TV comedy show The Kids in the Hall, Toronto's largely instrumental trio Shadowy Men on a Shadowy Planet originally formed in 1984, consisting of members Brian Connelly (guitar, keyboards, backing vocals), Reid Diamond (bass, lead vocals), and Don Pyle (drums, backing vocals). The band... [+] Read More

Best known for supplying the theme song to the popular TV comedy show The Kids in the Hall, Toronto's largely instrumental trio Shadowy Men on a Shadowy Planet originally formed in 1984, consisting of members Brian Connelly (guitar, keyboards, backing vocals), Reid Diamond (bass, lead vocals), and Don Pyle (drums, backing vocals). The band merged punk (à la the Dead Kennedys) and surf (à la the Ventures) sounds together to create a highly original style, resulting in a steady stream of EPs/singles issued throughout the mid- to late '80s. These included such quirky titles as "Love Without Words," "Wow Flutter Hiss '86, Schlagers!," "Live Record With Extra Bread and Cheese," "Explosion of Taste," and "Reid Does Neil."

By 1989, a local comedy troupe (and friends of the band) was given their own TV show, Kids in the Hall, which used the Shadowy Men on a Shadowy Planet track "Having an Average Weekend" as their theme song. In 1990, the trio issued their debut full-length release, Savvy Show Stoppers, which was a compilation of material from their earlier singles. Two more releases followed shortly thereafter, 1991's Dim the Lights, Chill the Ham and 1993's Sport Fishin' (the latter of which was recorded by Steve Albini), but by 1995, Shadowy Men on a Shadowy Planet had split up. The former members went on to other projects: Diamond and Pyle joined forces once again in Phono-Comb, while Connelly worked with Neko Case's Boyfriends and Atomic 7. In early 2001, Diamond passed away after a battle with cancer. ~ Greg Prato, All Music Guide [-] Hide

Link Wray may never get into the Rock & Roll Hall of Fame, but his contribution to the language of rockin' guitar would still be a major one, even if he had never walked into another studio after cutting "Rumble." Quite simply, Link Wray invented the power chord, the major modus operandi of modern rock guitarists. Listen to any of the tracks he... [+] Read More

Link Wray may never get into the Rock & Roll Hall of Fame, but his contribution to the language of rockin' guitar would still be a major one, even if he had never walked into another studio after cutting "Rumble." Quite simply, Link Wray invented the power chord, the major modus operandi of modern rock guitarists. Listen to any of the tracks he recorded between that landmark instrumental in 1958 through his Swan recordings in the early '60s and you'll hear the blueprints for heavy metal, thrash, you name it. Though rock historians always like to draw a nice, clean line between the distorted electric guitar work that fuels early blues records to the late-'60s Hendrix-Clapton-Beck-Page-Townshend mob, with no stops in between, a quick spin of any of the sides Wray recorded during his golden decade punches holes in that theory right quick. If a direct line can be traced forward from a black blues musician crankin' up his amp and playing with a ton of violence and aggression to a young white guy doing a mutated form of same, the line points straight to Link Wray, no contest. Pete Townshend summed it up for more guitarists than he probably realized when he said, "He is the king; if it hadn't been for Link Wray and "'Rumble,'" I would have never picked up a guitar."

Everything that was handed down to today's current crop of headbangers from the likes of Led Zeppelin and the Who can be traced back to the guy from Dunn, NC, who started out in 1955 recording for Starday as a member of Lucky Wray & the Palomino Ranch Hands. You see, back in the early '50s, it was a different ball game altogether. Rock & roll hadn't become a national event in the United States yet, and if you were young and white and wanted to be in the music business, you had two avenues for possible career moves. You could be a pop-mush crooner like Perry Como or a hillbilly singer like the late Hank Williams, and that was about it. With country music all around him as a youth in North Carolina, the choice was obvious; Wray joined forces with his brothers Vernon and Doug, forming Lucky Wray & the Lazy Pine Wranglers, later changing the band name to the spiffier-sounding Palomino Ranch Hands. By the end of 1955, they had relocated outside of Washington, D.C., and added Shorty Horton on bass. With Link, Horton, and brothers Doug and Vernon ("Lucky," named after his gambling fortunes) handling drums and lead vocals respectively, they fell in with some local songwriters, and the results made it to vinyl as an EP on the local Kay label, with the rest of the sides being leased to Starday Records down in Texas.

But by 1958, the music had changed, and so had Wray's life. With a lung missing from a bout with tuberculosis during his stint in the Korean War, Link was advised by his doctor to let brother Vernon do all the vocalizing. So Link started stretching out more and more on the guitar, coming up with one instrumental after another. By this time, the band had sweated down to a trio, and changed its name to the Ray Men. After a brief flirtation as a teen idol -- changing his name to Ray Vernon -- the third Wray brother became the group's producer/manager. Armed with a 1953 Gibson Les Paul, a dinky Premier amp, an Elvis sneer, and a black leather jacket, Link started playing the local record hops around the D.C. area with disc jockey Milt Grant, who became his de facto manager. One night during a typical set, says Link, "They wanted me to play a stroll. I didn't know any, so I made one up. I made up "'Rumble.'"

"Rumble" was originally issued on Archie Bleyer's Cadence label back in 1958, and Bleyer was ready to pass on it when his daughter expressed excitement for the primitive instrumental, saying it reminded her of the rumble scenes in West Side Story. Bleyer renamed it (what its original title was back then, if any, is now lost to the mists of time), and "Rumble" jumped to number 16 on the national charts, despite the fact that it was banned from the radio in several markets (including New York City), becoming Wray's signature tune to this day. But despite the success and notoriety of "Rumble," it turned out to be Wray's only release on Cadence. Bleyer, under attack for putting out a record that was "promoting teenage gang warfare," wanted to clean Link and the boys up a bit, sending them down to Nashville to cut their next session with the Everly Brothers' production team calling the shots. The Wrays didn't see it that way, so they immediately struck a deal with Epic Records. Link's follow-up to "Rumble" was the pounding, uptempo "Rawhide." The Les Paul had been swapped for a Danelectro Longhorn model (with the longest neck ever manufactured on a production line guitar), its "lipstick tube" pickups making every note of Link's power chords sound like he was strumming with a tin can lid for a pick. The beat and sheer blister of it all was enough to get it up to number 23 on the national charts, and every kid who wore a black leather jacket and owned a hot rod had to have it.

But a pattern was emerging that would continue throughout much of Wray's early career; the powers that be figured that if they could tone him down and dress him up, they'd sell way more records in the bargain. What all these producers and record execs failed to realize was the simplest of truths: if Duane Eddy twanged away for white, teenage America, Link Wray played for juvenile delinquent hoods, plain and simple. By the end of 1960, Wray found himself in the mucho-confining position of recording with full orchestras, doing dreck like "Danny Boy" and "Claire de Lune." But when these gems failed to chart as well, relations with Epic came to a close, and by years' end, Link and Vern formed their own label, Rumble Records.

Rumble's three lone issues included the original version of Wray's next big hit, "Jack the Ripper." If "Rumble" sounded like gang warfare, then "Jack the Ripper" sounded like a high-speed car chase, which is exactly what it became the movie soundtrack for in the Richard Gere version of Breathless. Link's amp was recorded at the end of a hotel staircase for maximum echo effect, while he pumped riffs through it that would become the seeds of a million metal songs. After kicking up noise locally for a couple of years, it was going through another period of disc jockey spins when Swan Records of Philadelphia picked it up and got it nationwide attention. Certainly Wray was at his most prolific during his tenure with Swan, and label president Bernie Binnick gave Link and Vernon pretty much free rein to do what they wanted. Turning the family chicken coop into a crude, three-track studio, the Wray family spent the next decade recording and experimenting with sounds and styles.

At least now they could succeed -- or fail -- on their own terms. Most of these sides were leased out as one-shot deals to a zillion microscopic labels under a variety of names like the Moon Men, the Spiders, the Fender Benders, etc. What fueled this period of maximum creativity is open to debate. A lot of it had to do with the fact that Link and the boys honed their particular brand of rockin' mayhem working some of the grimiest joints on the face of the planet when these tracks were cut. When Swan label chief Binnick was questioned as to how he could issue such wild-ass material, he would smile, throw his hands up in the air and say, "What can you do with an animal like that?"

As the new decade dawned, Link Wray's sound and image were updated for the hippie marketplace. Wray's career fortunes waxed and waned throughout the '70s, a muddle of albums in a laid-back style doing little to enhance his reputation. After a stint backing '70s rockabilly revivalist Robert Gordon, Wray went solo again, taking most of Gordon's band (including drummer Anton Fig) with him. But if the studio sides were a bit uneven, (Wray recorded several albums in the '80s backed by nothing more than a clumsy drum machine), he still could pack a wallop live, and his rare forays on the stages of the world spread the message that rock & roll's original wild guitar man still had plenty of gas left in the tank.

Wray married and moved to Denmark in 1980, recording the stray album for the foreign market, and throughout the 1990s he was still capable of strapping on a guitar and making it sound nastier than anyone in his sixties had a right to. And his back catalog got a lot attention in the '90s when the grunge revolution hit, with several young, hip guitarists citing Wray as an influence, and his early work continued to be reissued under various imprints. He recorded two new albums for Ace Records, Shadowman in 1997 and Barbed Wire in 2000 and toured up until his death in Copenhagen on November 5, 2005. ~ Cub Koda & Steve Leggett, All Music Guide [-] Hide

Decent 18-track distillation of their 1962-65 work, including several album tracks and non-LP singles. "Wipe Out" is by far the best cut, of course, but the instrumentals, packed with reverbed guitars, honking saxes, and high-end drums aplenty, usually have an admirably sleek power. Two of the vocal surf tunes were co-written by Gary Usher, who... [+] Read More

Decent 18-track distillation of their 1962-65 work, including several album tracks and non-LP singles. "Wipe Out" is by far the best cut, of course, but the instrumentals, packed with reverbed guitars, honking saxes, and high-end drums aplenty, usually have an admirably sleek power. Two of the vocal surf tunes were co-written by Gary Usher, who also worked with the Beach Boys during this time. ~ Richie Unterberger, All Music Guide [-] Hide

New Orleans' favorite tenor sax player had a modest hit with the title track, a bouncy instrumental tailor-made for his honkin' style. The resulting album issued on the Ember label and a stray 45 are collected up here, a loose batch of blues, rockers, smoky jazz ballads, and jumpers. All of these are assigned quaint malt-shop titles like "Teen... [+] Read More

New Orleans' favorite tenor sax player had a modest hit with the title track, a bouncy instrumental tailor-made for his honkin' style. The resulting album issued on the Ember label and a stray 45 are collected up here, a loose batch of blues, rockers, smoky jazz ballads, and jumpers. All of these are assigned quaint malt-shop titles like "Teen Dream," "Hot Rod Special," "Boppin' at the Hop," and "Bee Hive." But corny titles aside, here's some classic New Orleans blowing in a variety of settings, all of which work, making for a solid sax album that's grade-A listening all the way. ~ Cub Koda, All Music Guide [-] Hide

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A nice overview of Curtis' solo career, Instant Soul: The Legendary King Curtis begins with the breakthrough success of "Soul Twist" and "Soul Serenade," then moves through his later recordings for Atlantic. It's interesting to hear Curtis in both the Memphis and Muscle Shoals settings and how he adapts his horn to different grooves along the... [+] Read More

A nice overview of Curtis' solo career, Instant Soul: The Legendary King Curtis begins with the breakthrough success of "Soul Twist" and "Soul Serenade," then moves through his later recordings for Atlantic. It's interesting to hear Curtis in both the Memphis and Muscle Shoals settings and how he adapts his horn to different grooves along the way. A solid collection of this artist's best, although points get shaved off for the inclusion of a later recut version of "Wiggle Wobble," rather than the original by Les Cooper that Curtis blew so magnificently on. ~ Cub Koda, All Music Guide [-] Hide

Twenty of Meek's most notable hit singles and misses from 1960 to 1966. Includes his biggest hit productions (the Tornados' "Telstar," the Honeycombs' "Have I the Right," Heinz' "Just like Eddie," Mike Berry's "Tribute to Buddy Holly," John Leyton's "Johnny Remember Me"). Just as intriguing, though, are the more obscure items, some of which are... [+] Read More

Twenty of Meek's most notable hit singles and misses from 1960 to 1966. Includes his biggest hit productions (the Tornados' "Telstar," the Honeycombs' "Have I the Right," Heinz' "Just like Eddie," Mike Berry's "Tribute to Buddy Holly," John Leyton's "Johnny Remember Me"). Just as intriguing, though, are the more obscure items, some of which are hard or impossible to find on other compilations. Among these are the wild horror-rock of Screaming Lord Sutch's "'Til the Following Night," the super-creepy Moontrekkers instrumental "Night of the Vampire," the soul-pop of the Riot Squad (with Mitch Mitchell on drums), brassy femme pop by Glenda Collins, and a couple of excerpts from I Hear a New World, his bizarre outer-space opus. There are many other interesting Meek discs out there for those who want to go further, but this is an excellent introduction. ~ Richie Unterberger, All Music Guide [-] Hide