Still, the highest profile it got post-Watchband/pre-power pop revival was from a group called Sacred Mushroom, a band out of Cincinnati featuring singer Larry Goshorn — better-known for joining Pure Prairie League after the Scott Fuller-sung “Amie” was cut but before it became a hit. I'm Not Like Everybody Else by Head [1] was written by Ray Davies and was first released by The Kinks in 1966. So here are eight different ways of trying to make sure that unease is known, and hopefully sympathized with. Head [1] released it on the single Street Level Assault in 1994. Users who like I'm Not Like Everybody Else - Acoustic Cover - Live - Kinks. Users who reposted I'm Not Like Everybody Else - Acoustic Cover - Live - Kinks. Please download one of our supported browsers. It almost sounds mannered, really, foregoing that famous ascending-and-tumbling six-note guitar opening for a “Be My Baby” drumbeat and a retro-pop fanfare, while his singing is both arch and romantic at the same time in a way that siphons all the urgency out. And their “I’m Not Like Everybody Else” was the debut single that put them on their path to, if not stardom, then at least outrage and notoriety; an homage that doubles as a warning to the unwary and a threat to the complacent. Being tongue-in-cheek nostalgic for ’60s pop culture and casting a winking eye towards the trappings of their youth meant they tended to lean somewhere between freakbeat and full-blown psych, in ways XTC had to create an entirely new alter ego to pull off, only to miss out on the peak C86-era UK indie they inspired after lineup instability and label woes left them rudderless for most of the decade’s second half. They staged a comeback of sorts starting with 1989’s Privilege, with founding member/main songwriter/lead singer Dan Treacy rounding out a trio with bassist Jowe Head and drummer Jeffrey Bloom, but the ’90s saw Treacy struggle with both drugs and depression to the point where he spent six years across the turn of the millennium on a prison boat for shoplifting. But they can be reasonably straight-faced, too, like they were on their most well-known 120 Minutes crossover, a version of Status Quo’s “Pictures Of Matchstick Men” that gave alt-rock one of its best fiddle performances and damn near outdid Tom Petty at his own Americana game. in 1999. A total RIYL if you’re into their two-generations-later Bay Area acid-garage mutant offspring like Ty Segall and Oh Sees, their first two albums — 1967’s No Way Out and 1968’s The Inner Mystique — are both excellent go-tos for earlier manifestations of those particular vibes even if both albums were recorded by significantly different personnel. Brooklyn’s Beechwood are one of those bands that might be sorely mistaken for a trend-hopping buzz group if they landed in some other era — assuming you can figure out what era it is from song to song, since they run a pretty wide gamut of scuzz from garage to glam to punk to indie that’s not that easy to date. Session schlepper turned punk cult hero Chris Spedding had already appeared on albums by Jack Bruce, John Cale, Brian Eno (“Needles In The Camel’s Eye”), Elton John, Harry Nilsson (“Jump Into The Fire”), and, uh, the Wombles by the time he’d reinvented himself as a solo artist with his 1975 single “Motor Bikin’.” The vintage rock throwback hit was followed up by a self-titled solo album that positioned him as both a rowdy revivalist and an early champion of the up-and-coming punks 10 years his junior — he famously produced early demos for the Sex Pistols — and although he was still more of an underground hero than a chartbuster at the turn of the ’80s, his rejuvenation still carried through loud and clear.

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