Thursday, 27 July 2017
Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception -- the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression.
Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses. From beginning to end, the songs are pure, clever, infectious pop -- probably their catchiest -- with "That's Entertainment" and the should-have-been-a-single "Man in the Corner Shop" standing out.
I want post some more of the Jam in the next days. With this album The Jam jumped in the eighties. And they took with them real mod rock'n' roll. This is one of very few real rock'n'roll albums from a decade who suffered from bad digital synthesizer sounds. This is surely one of their best works. Hope you like it.
Frank Flac p1 & Flac p2 - mp3@320
At Request: Dennis Yost And The Classics IV - The Best Of Dennis Yost And The Classics IV (2002 Taragon Records) Flac & mp3@320
The band was discovered performing in Daytona Beach by talent agent Paul Cochran, who became the band's manager in partnership with Buie. The pair had formed an alliance with manager-publisher Bill Lowery and urged the band to relocate to Atlanta. With the help of Lowery, they quickly snagged the group a singles deal with Capitol Records. The Classics' debut single was "Pollyanna", a song written by Lowery client Joe South. Its style was starkly similar to that of the Four Seasons. Shortly after that they received a letter informing them that there was already a recording act named 'the Classics', who had a single titled "Till Then". In an effort to differentiate themselves, Yost and company added "IV" to the name because there were (at that time) four members.
The Classics IV performed "Pollyanna" on Dick Clark's TV Show Where the Action Is! and "Pollyanna" was a regional hit. But when WABC (AM) radio in New York started playing it they received a call from the Four Seasons' manager saying to stop playing "Pollyanna" or they would no longer get exclusives on future Four Seasons recordings. The group landed a deal with Imperial Records. Guitarists Cobb and Buie added lyrics to a jazz instrumental titled "Spooky", a regional hit for Atlanta saxophonist Mike Sharpe. The single made it to No. 3 on the Billboard Hot 100 in the U.S. and No. 46 in the UK.
"Spooky", "Stormy", and "Traces" each sold more than one million units, and all were awarded gold discs by the R.I.A.A. Those three hits plus "Everyday With You Girl" also appeared in the 1977 film The Chicken Chronicles.
They changed their name again, to "Dennis Yost and the Classics IV," and had one last top 40 hit, "What Am I Crying for?" (1972, No. 39) on MGM South.
In 1975 Yost began performing solely under his own name, and eventually he lost the rights to the Classics IV name. During the 1990s, without the trademark, he used many backup bands including Steve "Stevie G" Guettler (guitar, vocals), Jeff "JT" Strickler (bass guitar, vocals), Steve Farrell (guitar, vocals), Mike Wilson (keyboards, vocals) and Wes Armstrong (drums, vocals) of the Atlanta-based group The Rockerz. He also used Nashville-based Steve Jarrell and The Sons of the Beach Band, as well as the Hitts out of Virginia Beach, Virginia, with Ed Hutchison (guitar, backing vocals) Ramon Gonzalez (keyboards, backing vocals) Andy Crosswell (drums) and David Voss.
In 2001 Yost underwent successful throat surgery for a condition that had severely impaired his singing voice. He also won a trademark dispute which gave him exclusive rights to the name The Classics IV for both performing and recording purposes.
On July 11, 2006, Yost fell down a flight of stairs and suffered serious brain trauma.
After Yost's accident, he chose Tom Garrett to replace him as lead singer for the Classics IV. The plan was for Yost to make a few yearly "special appearances", and gradually have Garrett take over as the leader of the band. However, Yost was able to perform with them for only one appearance in 2008. Garrett and Yost worked closely together to develop the current lineup. He chose Garrett to help him keep the Classics IV music going in the Classics IV tradition. Yost would listen to the band on recorded CDs, and during that time Garrett and Yost became close friends. The band Yost chose in 2007 to continue his legacy with the Classics IV trademark consisted of Garrett as lead vocalist, Kevin Lloyd on bass, Tim Ridgeway on drums, Joe Sadler on guitar, Garard Montague III on flute and saxophone, and James Yoder on keyboards. In early 2012, due to health issues Montague was replaced on saxophone and flute by Paul Weddle.
Yost died at the age of 65 from respiratory failure on December 7, 2008, the 40th anniversary of the entrance of "Stormy" into the Hot 100's top 10.
Since Yost's death, the current Classics IV lineup is Tom Garrett (vocals), Kevin Lloyd (bass), James Yoder (keyboards), Paul Weddle (sax and flute), John Kerner (guitar) and Shawn White (drums).(from Wiki, excerpts)
This is a great collection by the band and i highly recommend to give it a listen.
SB1 Flac p1 & Flac p2 & Flac p3 - mp3@320
Sixties Garage/Psychedelic Pop: The Velvet Illusions - Acid Head (1967) (2011 Cherry Red) Flac & mp3@320
The group originated from a jam session between Randy "Jimmie James" Bowles (lead guitar, vocals) and Chuck Funk (rhythm guitar) in 1965. Funk recommended rehearsing with neighbor George Radford (saxophone) at his parents' upholstery shop, with the resulting session encouraging the trio to form a band Randy Bowles named the Illusions. Radford's father elected to manage the group, supplying them with equipment and velvet outfits. Upon discovering that another band was known as the Illusions, the band changed their moniker to the Velvet Illusions to emphasize their unusual gimmick. The band added to their personnel when they recruited Steve Weed (keyboards, vocals), formerly of the local group the Shy Guys, Larry “Lurch” Linse (bass guitar), and Danny Wagner (drums).
The expanded lineup continued to hone their skills and develop a chemistry as an ensemble at Radford Sr.'s upholstery shop. The Velvet Illusions achieved a sizable regional fanbase by renting a music hall called Nob Hill Grange where the group held several battles of the bands, most typically with rival group the Fluorescents. With a live repertoire encompassing covers of material by the Rolling Stones, the Beatles, and the Monkees, as well as novelty songs such as "Snoopy vs. the Red Baron", "Mellow Yellow", and "Winchester Cathedral", the Velvet Illusions were what Bowles explains as their manager's desire to make the group "clean cut alternatives to other bands of the period". In addition to the usual array of gigs, the band also appeared on KIMA TV to promote their Vox instruments. The group strenuously denies that the company sponsored them during their existence.
In early 1966, the band made the acquisitions of guitarists Danny Wohl and Dewayne Russell. Also during this time, the Velvet Illusions began recording at Audio Recorders in Seattle. In mid-1966, the band released their debut single "Acid Head", a composition about a woman suffering from a drug addiction, coupled with the Weed-penned "She Was the Only Girl", on Tell International Records. However, the single failed to reach a national audience when radio stations refused to promote "Acid Head" for its drug references. Two more singles, "Town of Fools" and the psychedelia-tinged group theme song "Velvet Illusions", were recorded in Audio Recorders, and released in rapid succession on Radford Sr.'s self-produced record label Metro Media. "Town of Fools" was particularly successful in the Northwest region; however, the band was limited by the small market and sought to relocate to another more prominent music scene.
Despite never receiving much promotion outside Los Angeles, the Velvet Illusions' music has since been featured on several compilation albums, and the band itself is considered within collector circles as "The great lost California psychedelic band" (despite not being native to the state). The group first appeared on Acid Dreams, and have also been included on Acid Dreams Testament, Pebbles, Volume 9, Garagelands, Volume 2, Sixties Archive, Volume 8, and Where the Action Is! Los Angeles Nuggets 1965–1968. In 2011, the Velvet Illusions' material spanning across their five singles was compiled on the album Acid Head, on Cherry Red Records. Overtime, it has been revealed the Velvet Illusions recorded the unreleased songs "Grow Up Young Man", "Lonely Girl", and "Bigfoot". The tune "Bigfoot", the most peculiar of the three songs, was composed in 1966 in response to the Bigfoot craze in the Northwest.
In 2015, Moi J'Connais Records released Velvet Illusions, another compilation album that features all of the group's material. It was particularly successful, selling out its initial press run.
Very interesting band with a different sound in their self penned songs compared to the most of the bands then.
SB1 Flac & mp3@320
"Shake some action/Psychotic reaction/No satisfaction/Sky pilot, Sky Saxon/That's what I like/Blitzkrieg bop/To the jailhouse rock/Stop stop, at the hop/Do the bluejean bop/That's what I like!" In the first verse of "(Let's All) Turn On," Hoodoo Guru's frontman Dave Faulkner summed up the band's aesthetic so well that elaborating almost seems pointless, but while it's obvious that Faulkner and his friends had a healthy appreciation of rock & roll's past, one listen to their debut album, Stoneage Romeos, made clear they thought music was having a pretty good present, too.
The Hoodoo Gurus played power pop with the force and enthusiasm of a full-bore rock band, and while they loved '60s garage rock (as if "(Let's All) Turn On" and "In the Echo Chamber" would permit any doubt on the subject), there was a lot more going on than that -- check out the pop rock of "I Want You Back," the neo-exotica of "Zanzibar," the psychobilly of "Dig It Up," the heartbroken lament of "My Girl," and the straight-ahead rock of "I Was a Kamikaze Pilot." Faulkner, guitarist Brad Shepherd, bassist Clyde Bramley, and drummer James Baker loaded their songs with catchy melodies and killer pop hooks and played 'em with the sweaty enthusiasm of a crack rock & roll band that knew the value of a great tune. And Stoneage Romeos is funny as hell without sounding like the work of a joke band; the Gurus loved a good laugh, but they loved a good tune even more. Stoneage Romeos ranks with the most solid debut albums of the 1980s, and if you don't like the Hoodoo Gurus, I suspect you don't like rock & roll very much.(allmusic.com)
I can't remember there were a better album than this in 1984 to me. I never had heard before of the band but the songs all sounds more interesting as all the bands who tried to play rock'n'roll in that time then. People in '84 preferred more the synthesizer bands. For rock'n'roll the eighties were not a good decade. But these guys were loud, they were fun and they had an album i played around the clock day by day that year. If i listen today to the Hoodoos some of their songs haven't aged only one day.
Play loud and
SB1 Flac p1 & Flac p2 - mp3@320
Wednesday, 26 July 2017
It's hard to get some information about the band except on a few dutch sites. The band was founded as The White Rockets in 1966 with Hilco ter Heide vocals, Gerard van Tongeren guitar & vocals, Ely van Tongeren lead guitar & vocals, Maarten Assink drums& vocals, Bob Luiten bass & vocals and Benny de Groot keyboards & vocals. The band was very successful in the netherlands and other european countries. But in 1973 they had their last charting song. 1979 the band call it quits.
I love the band for their fantastic harmony vocals and their fine slightly psychedelic sound.
Hope you have fun
SB1 Flac p1 & Flac p1 - mp3 p1 - mp3 p2
Tuesday, 25 July 2017
As Larry Uttal's Private Stock label couldn't do much with Blondie, this innovative disc went nowhere as well and the shame of it is that there's some great rock & roll in these grooves. Bassist Tony Murray and co-guitarist Colin Fletcher come up with a decent pop ballad in "After the Rain," while Rufus Thomas' "Walking the Dog" is so primitive that it is too bad the Rolling Stones and Aerosmith didn't get to hear it before they tracked the tune for their respective debut albums.
The snarling guitars of Fletcher and Richard Moore create a wonderful platform for Reg Presley's distinctive grunts and growls. Sure, Marc Bolan was the visionary that Reg Presley is not, but with the Troggs having three Top 30 hits to Bolan's one in America, and with quality underground stuff like this, the band should have been able to do more than issue discs for a cult following. Producer Larry Page and guitarist Colin Fletcher come up with a great track in "Gonna Make You," while sea effects on "I'll Buy You an Island," courtesy of the English Channel, is the cool, earthy stuff that made the Troggs such an important fringe band. The back of the LP has a tape box à la the Velvet Underground's Peel Slowly and See, while the front has the group sitting in a mini-mountain of unspooled recording tape.
Drummer Ronnie Bond is no longer with us, but he gets to sing the vocal on "Rolling Stone," one of two titles he co-writes with Tony Murray. There are only two Reg Presley originals here, but his attitude is everywhere, from the punk of "Rock 'N' Roll Lady" to the fine leadoff track "Get You Tonight." Had Private Stock saturated college radio with a collector's-item disc, say a colored vinyl 45 of "Get You Tonight," this excellent artifact would have had a fighting chance. It doesn't have the angst or abandon of the Sex Pistols' Never Mind the Bullocks nor does it have the pretension of some of the Clash's material; it's a consistent recording of a band doing what they do very well, and on that level it works just fine.(allmusic.com)
Flac p1 & Flac p2 & Flac p3 - mp3 p1 - mp3 p2
One of my absolute favourite 60/70ties band. This is a really great rock'n'roll band.
Pre 10cc: Hotlegs - You Didn't Like It Because You Didn't Think Of It-The Complete Sessions 1970/1971 (2012 Grapefruit Records) Flac & mp3
One of the finest archive products of the pre-CD age, You Didn't Like It was released in the U.K. in 1975, at the height of 10cc's success, as a reminder that there was more, so much more, to the members' past incarnation as Hotlegs than the hit "Neanderthal Man." Rounding up every track that the ultimately ill-starred combo cut -- that is, the entire Thinks: School Stinks album, plus four additional performances -- You Didn't Like It not only took the edge off an increasingly desperate collectors market (copies of that original album were impossible to come by), it also reminded listeners just how much of Hotlegs' legacy had been bequeathed to the members' next project. "Fly Away," itself re-recorded from a Godley-Creme contribution to a 1969 Marmalade label sampler, offers the prototype for any number of subsequent ballads -- innocent vocal, innocent song, but a deceptive beast of a lyric.
"How Many Times" (the doomed U.S. follow-up to the hit "Neanderthal Man"), "Take Me Back," and "All God's Children" each had a close relation lurking within the 10cc catalog, while "You Didn't Like It" itself had already been pressed back into surface, as the first 10cc album's closing "Fresh Air for My Mama." "You Didn't Like It" is one of four songs appended to the original Thinks album. Of the remainder, "Lady Sadie" was released as a single in 1971 and went absolutely nowhere, while "Today" and "The Loser" saw service on the "second" Hotlegs album, Songs. Despite such generosity, however, You Didn't Like It fared no better than either of its predecessors, and, bitterly, one remembers why.
10cc at the time were universally regarded among the most creative bands on the planet. Hotlegs, on the other hand, were good for one thing and one thing only. "I'm a Neanderthal man -- CRASH; you're a Neanderthal girl -- CRASH...." And collectors notwithstanding, that was never going to change. (allmusic.com)
Great like a lot of the stuff the band or its members released over the years, excuse me...over the decades. If you like what these guys have done in the past you will love this, too.
SB1 Flac p1 & Flac p2 - mp3@320
When John Squire (b. 24 November 1962, Broadheath, Greater Manchester, England; guitar) announced his departure from the Stone Roses in March 1996, inevitable press speculation followed regarding what he would do next. The usually taciturn Squire stated: ‘I’ve always been into the idea of a group... I don’t want to be a solo artist, I want to contribute to a band.’ Still contracted to Geffen Records, Squire chose three unknown musicians to join him in what constituted a fresh start after the friction of his final months in the Stone Roses.
Chris Helme (b. 22 July 1971, York, England; vocals/acoustic guitar) was approached while he was busking outside his local Woolworths, while Stuart Fletcher (b. 16 January 1976, York, England; bass) was standing in on bass for local band the Blueflies, when Squire happened to be drinking in the pub where they were playing that night. Squire, Helme and Fletcher rehearsed for several months before recruiting Andy Watts (b. 1970, London, England; drums/vocals) to complete the line-up.
After playing a low-key debut performance in Scotland, the band decamped to Los Angeles to record their debut album with Tony Visconti (David Bowie, T. Rex). Featuring songs by both Squire and Helme, Do It Yourself was released in May 1997 on the back of an excellent Top 10 single, ‘Love Is The Law’. The album eschewed the sub- Led Zeppelin riffing that weighed down the Stone Roses’ The Second Coming, opting for a more melodic and playful style of Britpop. Helme’s folk-influenced vocals were a welcome contrast to Squire’s distinctive guitar work, while his string-laden ballad ‘Blinded By The Sun’ stood out as one of the album’s highlights.
Diverse enough to appeal to both old Stone Roses fans and new listeners, Do It Yourself justified Squire’s faith in his new band by entering the UK album charts at number 2. Watts left the band in September 1997 and was replaced by Toby Drummond (b. 1976, Hastings, Sussex, England).
SB1 Flac p1 & Flac p2 - mp3@320
Monday, 24 July 2017
The Gentrys didn't take the prize when they competed on The Ted Mack Amateur Hour, but the resulting exposure led to the group's signing with the local Youngstown label. The evergreen "Keep on Dancing," their second single, hit the Top Five in 1965 after MGM picked it up for national distribution. The song was a cover of a 1963 recording by the Avantis and, in the Gentrys' hands, exemplified the stripped-down, three-chord rock & roll of the garage band revolution. Keep on Dancing is a reissue of the group's MGM album of the same name, the first of two long-players they recorded for the label and the only one to chart.
In 1965 they can't go wrong with this sound. Fine pop album.
SB1 Flac & mp3@320
The band was formed in 1965 in Louisville, doing mostly covers. But as competition among Louisville groups to write and record original music increased, the Rugbys recorded and released two singles in 1968, "Walking the Streets Tonight", written by Doug Sahm of the Sir Douglas Quintet, later included on the compilation album Highs in the Mid-Sixties, Volume 8, and "Stay with Me", written by Steve McNicol. Both songs were released locally and played on Louisville radio stations WAKY and WKLO.
|Band Of Brothers|
SB1 Flac p1 & Flac p2 - mp3@320