Customer Reviews

Are You a Boy Or Are You a Girl

5 star:		(2)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

I can see why other reviewers panned this release. However, to those who were teenagers at the time and into rock and roll, this music has some validity. I remember when these guys came out. For me, they were just as rebellious as the Stones. The songs hold up extremely well. Although the playing is not all that great, its a case of "atmosphere" over ability (their take on Memphis a case in point). The choice of material was very interesting (the haunting Marie Elena next to the relentless Bo Diddily, for instance). Their set was quite representative of the contemporary underground scene at the time. For that reason it has value. I believe this album, like the Shadows of Knight albums, accurately reflects mid-sixties Brit influenced punk/R&B rock. My 5 star rating is based on their impact on me, an impressionable 13 year old wanna be musician. Oh, well, guess you had to be there. If you were, pick this album up for a trip back to a time and place you might have forgotten.. If not, you might not appreciate it.

Outstanding compilation of The Barbarians' tracks. Listen to the roots of the punk-movement, plus some excellent instrumentals from the days when recording was actually spontaneous. "Moulty" is a classic track, a gem, and Moulty of The Barbarians is an awesome drummer and a gentleman to boot!

The Barbarians had the classic wild garage band image, with long hair and their one-handed drummer Moulty. For the most part though, the music on the original album was not particularly rocking, and mediocre. Also, none of the songs were written by the group. The low points include anemic covers of well-known material like 'Mr. Tambourine Man' and 'House of the Rising Sun.' The #55 charting 'Are You a Boy Or Are You a Girl' was a catchy novelty tune that (contrary to what another reviewer said) was poking fun at the conservative adults of the time who mocked youngsters with long hair, in a lightweight and humorous fashion. The Barbarians themselves could not have been taking aim at the British invasion groups, because the Barbarians (and especially Moulty) had longer hair than almost everyone at the time. Furthermore, the song's progress up the charts was hindered by uneven marketing, making it a bigger hit in New England and the rest of the east coast than in other parts of the country. The follow up record 'What the New Breed Say' was a fair song with rebellious lyrics that stalled at the #102 position. Aside from the repetitive slow rocker 'Take It or Leave It' and the ballad 'I'll Be Seeing You,' the rest of the album was filled with covers of well-known songs that were at best only average. The Sundazed reissue added three bonus tracks. Reaching #90, 'Moulty' was the group's third single, and quite an odd single for a garage band to release. 'Moulty' was on the sappy side, but nevertheless had some appealing qualities in the over-enthusiastic backing vocals, heavy instrumentation and positive message. The 45 was released against their will, and was the reason behind the band unceremoniously leaving Laurie Records. The remaining bonus tracks made up their 1964 Joy 45 'You've Got To Understand/Hey Little Bird.' 'Hey Little Bird' is arguably the Barbarians finest (and certainly most rocking) cut. It is also ahead of it's time being one of the earliest garage rock recordings - combining the energetic and crude American garage style with British invasion influence. 'Hey Little Bird' was also one of the earliest recordings prominently to feature the fuzz guitar. Also of note, the Barbarians played 'Hey Little Bird' on their T.A.M.I. show appearance. The Sundazed reissue is recommended, because the group had some cuts worth hearing, and everything released under their name is on that reissue. The Sundazed album also has good liner notes and track information. (2 stars for original album, 3 for the reissue)

When I bought The TAMI SHOW on dvd and saw this group The Barbarians I thought this is kind of weird but the more I watched them they seemed like a rock-Hippy movement band of the sixties and really have there own charm.They actually stand out more that the other acts on the show sometime.With the right Management they could have went alot further.

This is a RATHER poorly done bunch of tunes. Bad vocals...NO REALLY BAD vocals ..off key..total failure at harmonizing. I can't believe nobody in the studio told them how painful the vocals were. The song choices were bad. "TITLE" track and their HIT "Are you a boy or are you a girl?"....is a great tune. better quality than the other LIVE, badly mixed songs on the record. The only thing that saves this record is the guitar.I was stunned to hear Marie Elena. First of all I couldn't imagine how it was on the record with the other tunes ..it is a GREAT CHET ATKINS style.. finger picking instrumental.. EXCELLENT guitar.. even by today's standards. Suzie Q solo was excellent also...makes you think George Harrison was in the studio. The other solos are typical 60's twangy..very good ...
Moulty?? well I really feel bad for the guy and CAN'T imagine how he must have suffered thru his accident .. and loosing his hand is just unreal.. BUT the tune MOULTY ??? Oh my GOD It's right out of FRANK ZAPPA's "hey punk where you going with those beads around your neck ..?" laughably hoaky attempt at a tear jerker tune... " hey man..I need me a girl... a real girl ." as opposed to what? the blow up doll kinda girl ? Buy it to laugh at the vocals. Guitar players buy it for the very good 60's guitar solo's.

Formed in Provincetown on Cape Cod, this garage-rock band hit the airwaves in October 1965 with the novelty tune Are You A Boy Or A Girl? taking direct aim at the long locks of many of the British groups appearing on the North American scene. It's catchy, with a nice beat, but the problem was, by this time most young boys on the continent had started to let their hair grow a-la Beatles and Stones, and so the market for the satirical lyrics was pretty limited. Consequently, it only reached # 55 Billboard Pop Hot 100 b/w Take It Or Leave It. Obviously, most fans left it.

Almost half a year would go by before their next charter, an autobiographical tune by the group's leader and drummer Victor "Moulty" Moulton. It seems he had blown his left hand off while fiddling around with a home-made bomb [after which he wore a hook], and while this might have seemed like a fascinating story to him, the record-buying public clearly didn't think so because Moulty, b/w I'll Keep On Seeing You, barely made the Hot 100 in March 1966, settling in at # 90. Interestingly, background vocals on this are provided by The Elegants of Little Star fame in 1958.

The Barbarians, which also included guitarists Jeff Morris and Bruce Benson, along with bassist Jerry Causi, did enjoy some TV success, having been regulars on Shindig and The T.A.M.I Show, but record success beyond those two minor hits eluded them.

So why 4 stars? Well, one thing completist collectors like is to see ALL of an artist's charters on one disc, and this one has both, along with their flipsides. Other than that, it's pretty ordinary stuff.

This is utter rubbish. Perfect example that not everything coming from 1960's garage band/babyboomer teens was terrific. Only for the long-hair hippie, dope-smokin' types. Very frankly gross.