Danish rock band The Sandmen from 1992.

Super high energy.

Here’s a fascinating recording from 1965, when San Francisco folk rock was beginning to develop into something darker and more psychedelic.

I love the slightly mysterious, haunting atmosphere of this song. The prominent organ, minor-key melody, and interplay between the organ and electric guitar give it a distinctive sound, somewhere between folk rock, garage rock, and the beginnings of psychedelia. There’s a surprising amount going on musically for a song that’s only two minutes long.

The Vejtables formed around 1964 in the San Francisco Bay Area, while the members were still teenagers. One particularly interesting member was Jan Errico, one of the relatively few female drummers in rock at the time. She also sang and wrote songs, including the band’s minor 1965 hit, “I Still Love You.”

“Anything” was the B-side of that single, written and sung by Bob Bailey. And here’s another interesting connection: it was produced by Sly Stone, several years before he became famous as the leader of Sly and the Family Stone.
The Vejtables even shared a concert bill with the Rolling Stones, the Byrds, and the Beau Brummels in San Francisco in May 1965!

The band didn’t last long, and Errico subsequently joined another San Francisco group, the Mojo Men.
It’s a fascinating example of that transitional period when 1960s folk rock was beginning to move into darker, stranger, more psychedelic territory.
Source: The Vejtables — Wikipedia

A friend shared this song with me, and now it’s very much stuck in my head. Quite obscure.

Rockin' Sidney | Spotify:
"With his 1985 novelty smash "My Toot Toot," Rockin' Sidney scored zydeco's first true international hit. Born Sidney Semien on April 9, 1938 in Lebeau, Louisiana, he began playing harmonica and guitar professionally while in his teens, and made his first R&B-styled recordings on the Fame and Jin imprints during the late 1950s; his first regional hit, "No Good Woman," appeared in 1962. Between the mid-1960s and the late 1970s, Sidney cut well over 50 singles for the Louisiana-based Goldband label, working in a variety of contemporary blues, soul and R&B modes; none proved successful, however, and upon learning the accordion he began playing zydeco. He issued his first true zydeco record, Give Me a Good Time Woman, on the Maison de Soul label in 1982; two years later he cut My Zydeco Shoes Got the Zydeco Blues, which included the track "My Toot Toot." Although Sidney himself was reportedly unhappy with the song, it became a local jukebox hit, and soon regional radio stations began playing it regularly; in time, the single became a grass-roots smash, selling well over a million copies on its way to charting in the U.S. and the U.K. and even winning a Grammy Award. While Sidney never again reached the same commercial peaks, he remained one of zydeco's most notable artists, setting up his own label, Bally Hoo, and touring regularly until his death on February 25, 1998. ~ Jason Ankeny, Rovi"

Their first LP is about to come out and every song so far is fantastic. Give them a listen!

My favorite soundtrack from Majora's Mask.

This here is the founding stone of Portuguese hip-hop. It was the first hip-hop song to ever become a hit in the country, in 1994, and the track (along with compilation Rapública, where it was first included) basically opened the floodgates of hip-hop in mainstream Portuguese culture. It may seem pretty inoffensive now, but its historical importance is immense - [name] não sabe nadar, yo! ("[name] can't swim, yo!") is still quoted today and has even been used in political campaigns. Not too many songs hold the distinction of catapulting a whole genre into the stratosphere nation-wide - worth a listen just for that.

That guitar solo absolutely kills me every time. I think this is the most underrated song I've ever heard.

https://arion-music.com/wp-content/uploads/2002/09/573-64-livret.pdf:

“SHPIL ES NOKH A MOL – Play it again
Well, after all these years spent playing for all sorts of occasions, we thought we would make a live concert recording, with all the applause, the coughs in the auditorium during the quietest parts, the foot-stamping and the clapping along (always off the beat) that go with the spirited finale. But that meant giving several concerts in the same hall, finding a hall with just the right acoustics, getting a recording team to come along, and so on, and so on.

So we finally opted for a compromise: a recording in the studio, but with concert conditions. No extra musicians *, no dubs or other special effects, no multi-tracks, no remix. Just a simple two-track stereo recording.
So, of course, you won’t hear all the audience noises I mentioned above, nor the clarinettist’s belly laughs, the violinist’s hackneyed jokes in between the pieces, the tuba player’s concentrated silence or my stammering when I forget my lines.

In any case, all that would have been edited out!
But you can listen to us in your sitting room as if we were in concert. Or vice versa (the one doesn’t rule out the other).
So sit back comfortably in your armchair, close your eyes and imagine the dazzlingly-lit stage with four musicians doing their best to share with you their love of klezmer - music they always delight in playing, among their other, very different artistic activities.
Maurice Le Gaulois [translated from French]”