20 Songs, 48 Minutes

EDITORS’ NOTES

Though some critics have carelessly labeled the Remains “garage rock” on the basis of their inclusion on Lenny Kaye’s seminal Nuggets compilation, the Remains’ deeply soulful instrumental precision and deftly accessible arrangements couldn’t be further from the fuzz-laden blasts of badinage usually associated with the term. In their mid-‘60s heyday the Remains were Boston’s premier rock group, and their self-titled debut, presented here along with a grip of illuminating bonus tracks, is one of the finest full-lengths of its era. The Remains’ leader Barry X was a careful student of soul’s greatest vocalists and songwriters, as is proven by the frantic drum-break laced “Don’t Look Back” and the hoarse but soulful roar that Barry employs on his cover of Bo Diddley’s immortal “Diddy Wah Diddy.” But the Remains’ were not mere blue-eyed imitators, and their warm organ driven sound and tight Kinks-like guitar hooks make them unique amongst their contemporaries. An overlooked masterpiece, The Remains is a must for fans of hard-driving soul and frantic, pop-inflected ‘60s rock.

EDITORS’ NOTES

Though some critics have carelessly labeled the Remains “garage rock” on the basis of their inclusion on Lenny Kaye’s seminal Nuggets compilation, the Remains’ deeply soulful instrumental precision and deftly accessible arrangements couldn’t be further from the fuzz-laden blasts of badinage usually associated with the term. In their mid-‘60s heyday the Remains were Boston’s premier rock group, and their self-titled debut, presented here along with a grip of illuminating bonus tracks, is one of the finest full-lengths of its era. The Remains’ leader Barry X was a careful student of soul’s greatest vocalists and songwriters, as is proven by the frantic drum-break laced “Don’t Look Back” and the hoarse but soulful roar that Barry employs on his cover of Bo Diddley’s immortal “Diddy Wah Diddy.” But the Remains’ were not mere blue-eyed imitators, and their warm organ driven sound and tight Kinks-like guitar hooks make them unique amongst their contemporaries. An overlooked masterpiece, The Remains is a must for fans of hard-driving soul and frantic, pop-inflected ‘60s rock.

TITLE TIME
2:36
3:22
2:38
2:48
2:31
2:06
2:06
3:14
2:15
2:17
2:35
2:33
2:08
2:25
2:07
2:10
2:08
2:32
2:08
2:14

About The Remains

This Boston, USA-based garage band was formed in 1964 by guitarist/vocalist Barry Tashian. Inspired by a trip to London, where he heard British groups playing material he loved - Jimmy Reed, Little Walter, Chuck Berry and John Lee Hooker - Tashian put together the Remains with Bill Briggs (keyboards), Vern Miller (bass) and Chip Damiani (drums). They made their debut in 1965 with ‘Why Do I Cry’, a melodic slice of R&B. It was succeeded by the equally persuasive ‘I Can’t Get Away’ and an assured reading of ‘Diddy Wah Diddy’, but the Remains’ crowning moment came with their fourth single, ‘Don’t Look Back’. This engaging slice of riff-laden pop was later immortalized on Lenny Kaye’s seminal 60s punk compilation, Nuggets. The Remains moved from Boston to New York in 1966, shedding Damiani in the process. Tashian now feels this undermined the dynamics of the group. N.D. Smart joined the line-up which enjoyed a support slot on the final Beatles tour before breaking up later that year. The Remains was compiled and issued following the break. Tashian and Briggs then forged the original Flying Burrito Brothers, a name later appropriated by his friend, Gram Parsons. Tashian accompanied the latter on his classic GP and Grievous Angel albums - N.D. Smart also surfaced in Parsons’ ‘road’ band - and subsequently performed with Gram’s erstwhile partner, Emmylou Harris. He now works with his wife in a country duo, Barry And Holly Tashian.

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