Like “alternative rock”, “freakbeat” is a term that’s often used yet never fully explained. Lots of dealers use it to hype songs that more than often fall outside the parameters of the true definition of freakbeat – and that’s okay, because even I had to look it up. The general consensus is that freakbeat applies to songs recorded between 1965 and 1967 by bands starting to adopt some of the “freakier” elements of psychedelia but not yet ready to break from their beat pop roots. Of course, the very definition of “psychedelia” is still debatable, so any definition that hinges on that has to be even shakier at best. But for the record, if the song you’re listening to was recorded in 1968, it’s not freakbeat.
If you ask me, I’ve always thought of “freakbeat” as another name for British garage bands. There’s a raw, electric energy to freakbeat bands that parallels the crude Neanderthal slabs of primal rock coming out of the basements of teen America. It’s loud, it’s simple, it’s easy to dance to but it can also topple small buildings. It’s dangerous, and for the most part, it’s just drums, bass and guitar, all trying to play louder than the guy to the left. Again, for the record, if the song you’re listening to has a sitar solo, it’s not freakbeat.
There’s no better example of classic loud snotty freakbeat than this rare single by Kenny Bernard and the Wranglers, matched up with the healthy competition of the Im-Pacts on Side 2. This one came out in August 1965, which falls nicely within the parameters of freakbeat – but one listen to the soundclip will leave you far more convinced. Kenny Bernard’s “The Tracker” is a monstrous slab of crude sub-Pebbles garage punk with the same stutter-step organ rhythm as Doug Sahm’s “She’s About a Mover,” released four months earlier. Only this is British, so you gotta call it “freakbeat.” Or simply call it brilliant and leave it at that.
Like Kenny Bernard, the Im-Pacts bat .500 on their side too, only once again, it’s an extra base hit. Despite the “dum” title, “The Dum Dum Song” is a super cool bass-heavy rumbling slice of vintage freakbeat that sounds as loud, as powerful and as destructive as the early Who. Who were no strangers to freakbeat themselves. But again, I can go on and on describing the sounds and trying to make them sound exciting (I hope I already did), but just check out the soundclip. And if you’re not convinced these beats ain’t freaky enough, then surely someone’s got a Spanky and Our Gang album you can get real cheap.
Original RARE French EP on the Vogue/Pye label. Sleeve has some writing on the back cover, overall really nice VG+. Vinyl plays VG+.