"ORANGE SUNSHINE MOTHERFUCKER!!"

The problem with music in the late 60's was the hippy shit, right? The goddamn peace and love stuff, the acoustic folkies, the going-to-San-Francisco-with-flowers-in-yr-hair.
But what if the 60's were as wildly murderous a time as these strange days? What if it was ALL Charlie Manson and napalm and muddy drugfreak people and Up Against the Wall, Motherfucker? Well, then, there'd only be, like, 5 bands left standing- the Stooges, the MC5, Hendrix, Blue Cheer, and Orange Sunshine.
(from http://www.sleazegrinder.com/)

Orange Sunshine: catching the very soul of the motor-blues garage-punk and acid proto-hardrock era of the late '60's and the early 70's? With band members derived from several Dutch '80's and '90's hardcore, garage-, doom-, acid-, surf-, noise-, punk- and hard-rock bands (such as Top
Gear, Panty Boy, Twin Earth, the White Trash Minstrels and Sunwheel from the metro area
of The Hague/Den Haag and Cromlech from Arnhem, check out www.motorwolf.nl for more information), Orange Sunshine started in a squat in The Hague early 1999 as a traditional 3-piece power blues band playing a mix of blues covers and originals in a very explosive way, in the very same intense way and with the very same raw sound and the very same high volume as the much inspiring power blues bands BLUE CHEER, MC5 and STACKWADDY once did in the late '60's, rendering, or should we say screaming out, the same pain, the same drugs (LSD, amphetamines, opiates), the same tension and the same soul.
Many shows followed, in many squats and bars, parties and youth centres, regular venues and main concert halls, in the Netherlands and abroad, a first record was expected and so we plunged into our own analogue recording studio in the squat where we also lived and rehearsed. We always worshipped the music and the sound of BLUE CHEER's first 2 albums and to make sure we got as close as possible to their organic energy and exhilarating dynamics, we decided to do the recording ourselves, using authentic valve amplifiers and cabinets (Fender bassman, ampeg SVT), drums (Rogers), effects (a.o. spring reverb, tape echo, Electric Mistress flanger, Big Muff and Avora fuzz), an old 1" tape recorder and an old mixing console, and authentic recording techniques i.e. recording the space around us, instead of the modern-day close-micing with tons of compressors, gates and digital multi-effects. When the volume is so up, that the air turns into french cheese, you better register that french cheese instead of all the separate instruments that are used. The source has to be pure, but it's the flow that one records!