Hello Folks, just for your information i will go to the sun this year from the 23rd of this month until around the 15th of october. I got the confirmation today. Hurray :-). hope we will meet here again after my holidays.


Friday, 31 March 2017

Seventies English Folk Pop/Rock Unicorn - Too Many Crooks 1976 (2006 AirMail Records Japan) Flac

Unicorn was a seventies Folk Pop/Rock band with influences of american bands. This album is widely regarded as her best. The album is typically produced as a child of the seventies. The songs communicate a warm feeling and the instruments are very well arranged.
In spite of the american influences they never sound like an american band. A very relaxed album. With a nice version of ''No Way Out Of Here'' from David Gilmour of Pink Floyd fame who also produced the band.

           Frank      Flac1  You need both links! Link2 

Paul Bevoir - The Happiest Days of Your Life 1992 mp3

Paul Bevoir did his best to keep the British mod revival going well into the '80s as the main creative force behind the charmingly determined Jet Set and as the underground movement's leading songwriter, contributing perfectly crafted '60s-style pop songs to the Candees, Melvyn and the Smartys, and Dee Walker.
After the Jet Set released their first LP, There Goes the Neighborhood in 1985, Bevoir released his first solo album, The Happiest Days of Your Life backed by the Family Way. The album received some acclaim in the British press but he kept his solo work in the background while he continued to push on with the Jet Set until they disbanded in 1988. Bevoir formed Smalltown Parade in 1990, releasing two albums before breaking up. In 1994, Bevoir resurfaced, releasing Dumb Angel for the Tangerine Label.

Well known as member of the fantastic Jetset he did really great albums after he leave. This is one of his wonderful stuff. This album 6 stars out of 6!
Enjoy it
             Frank  mp3@320

Wondermints - Kaleidoscopin' Exploring Prisms Of The Past (2009) mp3

Formed in Los Angeles in 1991, the Wondermints slowly built a reputation as a cornerstone in the city's pop underground. While the band's status grew, several members individually made names for themselves as expert sidemen, eventually elevating the Wondermints to a sort of underground supergroup. Big names in the industry, such as Eric Carmen and former Dramarama member Chris Carter (who subsequently became the band's manager), started to take note, finally paying off when Brian Wilson recruited them as part of his backing band for his comeback to the stage in 1999.
Beginning as a collaboration between keyboardist Darian Sahanaja and guitarist Nick Walusko, the Wondermints released a series of home-recorded cassettes and by 1992 enlisted the talents of bassist Brian Kassan. Drummer Mike D'Amico entered the fold a year later and the quartet continued to release homemade recordings. Toy's Factory Records of Japan found interest in the band and in 1995 released their first official album, the contents of which were compiled from the home recordings, but right around the time of this release, Kassan chose to leave the ranks.

Regardless, given the greater exposure, the Wondermints secured places on several tribute and compilation albums. Multi-instrumentalist Probyn Gregory agreed to fill the slot Kassan had vacated, and in the fall of 1996 the group released The Wonderful World of the Wondermints, a record entirely of covers -- something of an abnormality for a group's second outing. They followed The Wonderful World of the Wondermints with a track for the immensely successful Mike Myers film Austin Powers: International Man of Mystery. Penned by Sahanaja, the track opened up the doors to the Wondermints' first stateside distribution deal, with EMI, and in 1998 the group finally released their first official non-compilation all-original album, Bali, to fantastic reviews. A year later, the Wondermints released the EP Cellophane.

When Brian Wilson enlisted the band for his surprising resurgence as a live performer, the Wondermints were exposed to the masses as the meat of his backing band. The collaboration proved so successful that Wilson brought the band out in 2000 to perform the classic Pet Sounds live in its entirety, then again on world tours in 2001 and 2002. The group found time amidst this heavy touring to record Mind If We Make Love to You, released in 2002, which featured, naturally, a guest appearance from Wilson. The Wondermints and Wilson took 2003 off from touring and Darian Sahanaja joined Heart for their summer tour before work on Wilson's 2004 solo release, Gettin' in Over My Head, began.

Wilson again took the Wondermints out on tour in early 2004, debuting the lost Beach Boys masterpiece SMiLE over 30 years after the project was initially abandoned, and was so invigorated with the performances that he announced plans to release a re-recorded version of SMiLE with the Wondermints. This time he made due on this promise, as the album was released on Nonesuch in the fall of 2004, officially rocketing the Wondermints to sizable importance in the history of rock & roll. Kaleidoscopin': Exploring Prisms of the Past appeared in 2009.

This is great top notch Pop/Power Pop in any and every way. Really fantastic songs and heavenly arrangements. Brian Wilson couldn't do a better choice as these guys. Highly recommended.

           Frank  mp3 link1   You need both links!   mp3 link2

Psychedelic Pop/Rock: The Exception - The Eagle Flies on Friday; Complete Recordings 1967-1969 (RPM 2014) Flac

Hailing from Birmingham, The Exception, who began life as The Exceptions, were a pop trio formed in 1967, who released a total of seven singles and one LP in their two and a half year lifespan.  The band was unique in that it was led by drummer and lead vocalist, Alan “Bugsy” Eastwood, who also penned most of the band’s songs, and employed vibes as an essential part of their sound.  Eastwood was joined by guitarist Roger Hill and bassist Dave Pegg.  RPM Records, UK, gives The Exception the royal treatment on this compilation which not only contains the band’s complete recorded output, but five previously unreleased tracks, thus totaling 26 tracks with a run time of more than 70 minutes.
The set opens with the title track, issued in March, 1967 on the CBS label, under their original moniker, The Exceptions.  Featuring vibraphone and a blazing guitar solo by Roger Hill, this may well be the high water mark for the band’s releases.  The tune’s title referred to the eagle’s head on US currency and Friday being payday for most workers, so the “eagles fly on Friday.”  Unfortunately, the meaning was lost on most UK record buyers and in turn the single failed to sell.  CBS released a second single, but it suffered a similar fate and the remainder of the group’s singles and its long LP were released on the President label.  At this point the trio’s original bassist, Dave Pegg, left the band, eventually joining Fairport Convention and then Jethro Tull.  Pegg was replaced first by John Rowland and later Malcolm Garner.
On stage The Exception were a blues based band, and their fifth single, “Tailor Made Babe” reflects this with its barrelhouse blues piano leading the way.  The b-side “Turn Over The Soil” features stinging guitar bursts courtesy of Roger Hill, and is definitely one of the highlights of this retrospective, seting the tone for the bands’ later recordings such as “Jack Rabbit” which features psychedelic guitar work by Hill.
The band was given artistic control on their first and only LP, and the resulting album “The Exceptional Exception” released in February, 1969, certainly deserved a better fate than it experienced.  Highlights include the psychedelic “Don’t Torture Your Mind” written by Hill, as well as inspired Eastwood tracks such as “Mrs. Cocaine” and “Woman Of The Green Lantern.”  Unfortunately, Eastwood became restless and left the band, effectively marking the end of The Exception although Hill and Garner did carry on with a new drummer and Hill taking over on lead vocals, by May, 1969, The Exception were no more.
Thanks to project manager John Reed and sound engineer Simon Murphy, “The Eagle Flies On Friday” is a wonderful package for fans of mid to late 1960s pop music.  The group’s tasteful use of vibes and wonderful tinges of psychedelic guitars as well as Eastwood’s unique lyrics set it apart from its contemporaries and definitely makes this collection worth exploring.  The accompanying 16 page color booklet featuring complete track annotations and informative notes by Reed are icing on the cake for this release.  As always, the folks at RPM Records live up to their motto, “By Collectors For Collectors.”
Review made by Kevin Rathert/2015
Enjoy it!
           SB1   Flac1  You need both links!  Flac2

Herman's Hermits - The Best Of Herman's Hermits-The 50th Anniversary Anthology (2015 Bear Family) Flac


Herman's Hermits were one of those odd 1960's groups that accumulated millions of fans, but precious little respect. Indeed, their status is remarkably similar to that of the Monkees and it's not a coincidence that both groups' music was intended to appeal to younger teenagers. The difference is that as early as 1976, the Monkees began to be considered cool by people who really knew music; it has taken 35 years for Herman's Hermits to begin receiving higher regard for their work. Of course, that lack of respect had no relevance to their success: 20 singles lofted into the Top 40 in England and America between 1964 and 1970, 16 of them in the Top 20, and most of those Top Ten as well. Artistically, they were rated far lower than the Hollies, the Searchers, or Gerry & the Pacemakers, but commercially, the Hermits were only a couple of rungs below the Beatles and the Rolling Stones.
The magnitude of their success seemed highly improbable, based on their modest beginnings. Guitarist/singer Keith Hopwood (born October 26, 1946), bassist/singer Karl Green (born July 31, 1947), guitarist/singer Derek "Lek" Leckenby (born May 14, 1945), and drummer Barry Whitwam (born July 21, 1946) were among the younger musicians on the Manchester band scene in 1963, when they started playing together as the Heartbeats.
The city was home to many dozens of promising bands, most notable among them the Hollies, the Mockingbirds, and Wayne Fontana & the Mindbenders. Later that year, the Heartbeats got a new member in 16-year-old Peter Noone (born November 5, 1947), who filled in one night when their regular vocalist failed to turn up for a gig. Noone was already a veteran actor, trained at the Manchester School of Music and Drama; he had been a child star on television in the late '50s, on the television series Coronation Street, but he also had musical aspirations. As a vocalist with the Heartbeats, he initially worked under the name Peter Novak. The quintet followed the same path that any other struggling band did, playing shows at youth clubs and local dances, hoping to get noticed, and they picked up a pair of managers, Harvey Lisberg and Charlie Silverman.
Accounts vary as to the origins of the name they ultimately adopted -- some say that their managers remarked on the facial resemblance between Noone and the character of Sherman in the Jay Ward cartoon show "Mr. Peabody & Sherman"; others credit Karl Green with mentioning it. In any case, "Sherman" became "Herman" and the group, in search of a more distinct name, became Herman & His Hermits and then Herman's Hermits.
They played a pleasing, melodic brand of rock & roll, mostly standards of the late '50s and early '60s, with Noone's attractive vocals at the fore. Their big break came in 1964 when producer Mickie Most was invited by Lisberg and Silverman to a show in Manchester. He was impressed with their wholesome, clean-cut image, and with Noone's singing and pleasant, non-threatening stage presence, and he agreed to produce them, arranging a recording contract for the group with the EMI-Columbia label in England; their American releases were licensed to MGM Records.
Herman's Hermits' debut single, a Carole King/Gerry Goffin song called "I'm Into Something Good," released in the summer of 1964, hit number one in England and number 13 in America. Ironically, considering the direction of many of their future releases, the group displayed anything but an English sound on "I'm Into Something Good." Instead, it had a transatlantic feel, smooth and easy-going with a kind of vaguely identifiable California sound.
Of course, that statement assumed that the group had much to do with the record -- as it turned out, they didn't. In a manner typical of the majority of the acts that Most produced, the Hermits didn't play on most of their own records; Mickie Most, as was typical of producers in the era before the Beatles' emergence, saw no reason to make a less-than-perfect record, or spend expensive studio time working with a band to perfect its sound -- as long as Peter Noone's voice was on the record and the backing wasn't something that the group absolutely couldn't reproduce on stage, everyone seemed happy, including the fans. Conversely, the group didn't have too much control over the choice of material that they recorded or released. On their singles in particular, "Herman's Hermits" were mostly Peter Noone's vocals in front of whatever session musicians Most had engaged, which included such future luminaries as Jimmy Page and John Paul Jones, with the other members relegated to background vocals, if that.
The group was grateful for the hit records that they chalked up, the revenue that those generated, and the gigs that resulted. They charted six Top 20 hits each in the years 1965 and 1966 and were a major attraction in concert, usually in a package tour situation, with the Hermits at or near the very top of whatever bill they were on. Their records were smooth, pleasant pop/rock, roughly the British invasion equivalent of easy listening, which set them apart from most of the rival acts of the period.
Their cover of Sam Cooke's "Wonderful World" (which reached number four in America) and remake of the Rays' 1950s hit "Silhouettes" were good representations of the group's releases; on their EPs and early LPs, they also threw in covers of old rock & roll numbers like Frankie Ford's "Sea Cruise." They were purveyors of romantic pop/rock just at a time when the Beatles were starting to become influenced by Bob Dylan and the Rolling Stones, the Yardbirds, and the Who were redefining the British beat sound with higher volume, greater complexity, and harder sounds.

Most recognized that those acts were leaving behind a huge number of listeners who would still buy songs resembling simple, relatively innocent sounds of 1964 or even earlier. Just how far back he and the group could reach was revealed to them by accident, following the release of Introducing Herman's Hermits on MGM Records in the United States during 1965, coinciding with their first U.S. tour. An American disc jockey heard the song "Mrs. Brown You've Got a Lovely Daughter" on that album and convinced the label to issue it as a single. The song had been done almost as a joke by the group, its guitar/banjo sound and Noone's vocal performance -- Mancunian accented and laced with a vulnerable, wide-eyed innocence -- deliberately reminiscent of George Formby, the immensely popular ukelele-strumming British music hall entertainer of the 1930s and 1940s. In England, that record would never have been considered for release by an image-conscious rock & roll group; the parents and grandparents of their audience would have loved it, but it would also have destroyed their credibility.
In America, however, it was considered just another piece of British Invasion pop/rock and a pleasant, innocuous, and eminently hummable one at that -- and it shot to number one on the charts, earning a gold record in the process. It seemed to slot in with Americans' image of England's past in a comfortable, cheerful way, evoking a kind of "theme park" cockney image that easily adjoined the contemporary vision of "Swinging London." In the end, "Mrs. Brown, You've Got a Lovely Daughter" sold 14 million copies around the world, making their first film appearance (in the movie When the Boys Meet the Girls), which came off of that same U.S. tour, seem almost an after-thought. In England, however, "Mrs. Brown" was never issued as a single.
After that, a formula was established. Mickie Most got the group to record more songs in the same vein, including the actual Edwardian-era music hall number "I'm Henry the Eighth, I Am," specifically for release as singles in America. The latter record reportedly made the group members cringe over what it would do to their image in England, but in America it hit number one and chalked up yet another gold record award. Amid all of this American chart action with novelty tunes and albums that easily rose into the Top 30 in the U.S.A., the group's British releases were a whole other story. The Hermits continued to issue current romantic pop/rock, which sold well and kept up their image as a respectable if somewhat soft rock group. At the same time, their British album sales were virtually negligible, only their debut LP ever charting (at number 16). This was unfortunate, as the British version of their second album, Both Sides of Herman's Hermits, was a perfectly respectable pop/rock LP with some very hard, loud sounds (and one "period" standard, "Leaning on a Lamp Post"), mostly solid Brit-beat numbers like "Little Boy Sad," "Story of My Life," and "My Reservation's Been Confirmed," as well as a stripped-down, straight-ahead version of Graham Gouldman's "Bus Stop."
That album and its 1967 follow-ups, There's a Kind of Hush All Over the World and Blaze (which never even came out in England), were excellent representations of the full range of the group's sound, including hard rock, psychedelia, and pop/rock, featuring very respectable originals written by Green, Hopwood, and Leckenby. While their record sales remained healthy in America well into 1966, their British singles gradually slackened in sales until the group recorded Graham Gouldman's "No Milk Today," which put them back in the U.K. Top 10; in America, the same song was also a hit paired off with "Dandy," a poppish cover of the Kinks song. The group made their second film appearance, this time in a starring role in the comedy Hold On! (1966), which mixed Herman's Hermits in a story about space flight. By the end of that year, however, the stage was set for the gradual decline in the group's fortunes, even in America. Producers Bert Schneider and Bob Rafelson, in conjunction with NBC and Columbia Pictures Television, had devised a television series that touched upon a formula for success very similar to what Mickie Most had found with Herman's Hermits: The Monkees -- all about a fun-loving pop/rock group created specifically for the series.
The program debuted in late 1966 and by that winter, the Monkees were selling millions of singles and LPs to the very same young teen audience that Herman's Hermits had cultivated. The presence of English actor/singer Davy Jones in their lineup, as the principal vocalist on their records and the romantic heartthrob of the group, only heightened the resemblance between the two acts. By 1967, Davy Jones and the Monkees were selling millions of copies of "Daydream Believer," a song that surely would have gone to the Hermits had it been written at any time earlier.
"There's a Kind of Hush (All Over the World)," a bright, upbeat pop number, put the Hermits back at number seven in England and number four in America; but an attempt at latching on to the folk-rock and psychedelic booms with a recording of Donovan's song "Museum" never charted in England and reached only number 37 in America before disappearing. They made the American Top 20 just once more with "Don't Go out Into the Rain," after which everyone seemed to recognize the inevitable. The group made one more feature film, entitled Mrs. Brown You've Got a Lovely Daughter -- the song, which had rocketed them to fame in America, served the group one last time, yielding a movie about dog racing that gave Noone a lead acting role and which was a decent box office success in 1968.
During this period, Noone co-produced a good LP for songwriter/singer Graham Gouldman (with whom he later went into partnership) that never sold well, despite some very interesting sounds. The Hermits, as a group, hewed closer to the pop market after "Museum" and enjoyed another two years worth of hits in England before Peter Noone decided to leave in 1970. The group soldiered on for another three years, cutting singles for RCA in America that were duly ignored and Noone returned briefly to the fold in 1973 to capitalize on the rock & roll revival boom and made an appearance hosting NBC's The Midnight Special, in an installment devoted to the sounds of the British Invasion, that became one of the most collectable shows in that program's run. Thereafter, Noone tried re-entering the rock & roll arena fronting a new band, the Tremblers, in 1980, without much success. He fared much better on stage in The Pirates of Penzance on London's West End, which was a huge hit in the mid-'80s. Both he and the latter-day Herman's Hermits have turned up on the oldies circuit at different times, usually working in the context of a revival of the British Invasion sound. Derek Leckerby passed away in 1994 at the age of 48, but drummer Barry Whitwam was leading a group of Herman's Hermits at the opening of the 21st century. Noone has resumed performing regularly and also became a star VJ on MTV's VH1 channel. In the year 2000, Repertoire Records began the long-overdue exhumation of Herman's Hermits album catalog, issuing state-of-the-art CD editions with bonus tracks that show off the full range of the group's music. Just as Rhino Records had previously done with the Monkees catalog, it seems like Herman's Hermits may finally be getting the recognition they deserved.

The Bear family, well known for first class releases of american acts here released the 50th Anniversary of a british band who was succesful in Britain, the rest of Europe and the US. Bear have done a great job here. 66 songs with a very beautiful and informative booklet. The booklet is a 140 pages power package as well as the two discs. If you are in british invasion bands i highly recommend this package. You can buy the edition here
and here.



mp3 link added to Andrew Gold/Graham Gouldman: The Fraternal Order Of The All - Greetings From Planet Love (1997)

I added an mp3 link to the Fraternal Order Of The All album. It's in the post.

Thursday, 30 March 2017

Harmony Grass - This Is Us

A late-'60s band that anticipated Prelude's highly commercial harmony vocals, Harmony Grass evolved out of Tony Rivers & the Castaways. They were signed to RCA a year after being formed in Essex, and scored aTop 30 British hit with "Move in a Little Closer Baby." They were unable to repeat this success, despite which they still got one LP released (This Is Us) on RCA (U.K.). They were good enough to rate supporting act status at the Marquee Club in London, but by 1970, the group had broken up. Lead guitarist Tony Ferguson and bassist Kenny Rowe went on to join Capability Brown in 1973, appearing on the album Voice (1973) for Charisma Records, while Tony Rivers sang on albums by ex-Searcher Brian Bennett, Steve Harley & Cockney Rebel, and Roger Daltrey

Harmony Grass' sole LP has a few songs from their late-1960s singles (including "Move in a Little Closer," their only British hit), and it's also filled out by a few Tony Rivers originals and an assortment of covers. This odd, occasionally impressive and sometimes saccharine mix of pop/rock casts the group among the few British exponents of sunshine pop. Sometimes the airplane-commercial harmonies and cheeriness is vacuous. On the other hand, Rivers proves himself a competent emulator of the Beach Boys' most upbeat material on "Summer Dreaming" and "My Little Girl," as well as the Pet Sounds era on "I've Seen to Dream." On yet another hand, with "Chattanooga Choo Choo," "Tom Dooley," and the weird "(It Ain't Necessarily) Byrd Avenue," the group sounds like a college glee club, here to entertain for your social function, backed by extremely competent studio musicianship.
On "Ballad of Michael," Rivers grapples with somewhat more serious lyrical themes in a tale of a philandering bachelor, but the song also finds him trying to squeeze too many words into too little space. All of the pieces included here, as well as some non-LP single sides and three 1968 tracks by Tony Rivers & the Castaways, are on RPM's The Tony Rivers Collection Vol. 2. .

Have fun
               SB1  Flac1
                       Flac2                  Here is the mp3 link:  mp3@320

Power Pop Sampler: V.A. - Buttons (From Champaign To Chicago) 2012 in Flac & mp3

Maybe it's something in the water (or in Old Style beer), but Illinois has a rich history as the Midwest's Mecca for power pop; in the 1970s and early ‘80s, the Land of Lincoln was home to hundreds of bands that were serving up soaring melodies, guitar-powered hooks, earnest vocal harmonies, dancefloor-filling rhythms, and as much Beatles-like personality as they could muster. Cheap Trick were the Illinois band who were able to sell updated pop to the masses that filled the arenas, and Shoes proved a band could rise from a basement studio and score a major-label deal and international attention, but the vast majority of Illinois power pop bands played the clubs for a few years, left behind some demo tapes or self-released singles, and then vanished without a trace.
The archivists at the Numero Group pay loving homage to the glory days of Illinois power pop with Buttons: From Champaign to Chicago, a compilation that features 19 lost classics of Midwest pop, most of which are as hopelessly obscure as any record collector could wish. Shoes are represented with one early track, "In My Arms Again," but for the rest of the acts, claims to fame are a bit dubious -- the Names were featured in the memorably clumsy low-budget horror flick Terror on Tour, the Vertebrats' "Left in the Dark" was later covered by the Replacements and Uncle Tupelo (Numero Group, of course, has chosen to feature their lesser-known "Diamonds in the Rough" instead), and the All Night Newsboys were the victims of a notorious practical joke in which their roadie was paid to vanish with their gear the night they were set to open for Heart and John Cougar Mellencamp, with several major-label scouts in attendance. And while most of these bands came of age in the New Wave era, "Be for Me" by the Jets, recorded in 1973, makes it clear that the pop underground was lurking about in Illinois long before skinny ties made their comeback.
The pleasant surprise is how uniformly good these bands are -- while a few tunes mostly get by on their energy and charm, "It's a Miracle" by the Names is a brilliant Cheap Trick rip; "Holiday" by Nines is manna from Farfisa heaven; "So Lifelike" by the Jerks is a sly and catchy variation on the theme of the Who's "Pictures of Lily," and if Band of Jocks had the worst name ever, "At Practice" is pretty brilliant. Anyone who ever had a taste for a cool hook in the pre-Reagan era will fall like a ton of bricks for Buttons: From Champaign to Chicago, and younger pop enthusiasts will be wowed by its strength and variety.(

Hello Folks, i post this collection of very good power pop from the Midwest of the US in both, Flac and mp3. If you pick the mp3 you can take only the music without the artwork because the second link is only the complete artwork.The music is in link 1. But i recommend to take the artwork because it is a giant booklet full of information and photographs. Really nice. The Flac link is limited till 2017-04-14. 

If you are a power popster grab it because here are really great songs in the collection. Contra Band, The Jets, The Shoes, The Names, Paul, The Vertebrats, Nines and a lot other fine stuff will kick you ... .
           SB1   New Flac
             mp3 Link1   You need link1 for the album and link 2 for the (great) artwork!  Link2

Sweeney Todd - If Wishes Were Horses @160 removed. New 320 link up.

I removed the old mp3@160 link. It's now in 320 in the post.

Wednesday, 29 March 2017

Grapefruit - Around Grapefruit 1968 (2005 Repertoire) Flac

 Like the fruit after it was named, Grapefruit's debut album was at times too sweet, but was on the whole a promising and worthy effort. Devoted almost wholly to songs written by leader George Alexander, the record featured tuneful, upbeat mid-tempo late-'60s British rock with good harmonies, creative ornate arrangements, and a very slight and very sunny psychedelic tinge.
Certainly similarities to the Paul McCartney-penned tracks from the Beatles' own psych-pop era are evident, and if George Alexander's songs weren't in nearly the same league as McCartney's, well, no one working the style was in McCartney's league. Grapefruit was at their best on the occasional songs in which they reached into slightly darker and more melancholy territory, particularly when they made creative use of strings, organ, baroque keyboards, and Mellotron, as on "This Little Man" and "Dear Delilah" and the instrumental "Theme for Twiggy."
The latter tune sounds like something that could have been killer had words been devised; as it is, it seems like something that wasn't quite seen through to completion. There's also the Four Seasons cover "C'mon Marianne," which, although it wasn't one of their better tracks, was (along with "Dear Delilah") one of their two small U.K. hits. The CD reissue on Repertoire adds "Dead Boot," the non-LP B-side of "Dear Delilah."

First album and completely different to the second work Deep Water.Very good psychedelic  sunshine pop. 5 stars out of 6.
           SB1   Flac1

Gary Ritchie - Pop! Radio mp3

Although not new, this is a great example of excellent and timeless melodies from Gary Ritchie. Originally from the Chicago band, Loose Lips, Ritchie teamed up with band mate Jeff King to channel his love of those classic jangle bands in Pop! Radio. Fans of Pezband, Fotomaker, The Raspberries, The Rubinoos, and The Spongetones will just love this album.
From the opening chord riffs of “I’ll Be There” you’ll hum along to the beat that has that 70’s rock feel. The Beatles-jangle isn’t far behind on “You Were Only Using Me” and the hooks just continue to fly by. The excellent rocker “Living On Lies” is a humorous autobiography of a rocker who hasn’t gotten “a life” due to his love of rock and roll. Most of the songs are about moments in a relationship and what happened “Last Night” (a great Dwight Twilley reference here) and other odes to the girl of your dreams. The gems here keep coming, and to get into any more tracks here seems superfluous. Not a single scrap of filler here, so if you never heard it do yourself a favor and stop reading. Get a hold of this album.(

Very good Power Pop album from Gary Ritchie in his own style. All is said in the review.
Have fun
              SB1  mp3@320

Fountains of Wayne - Utopia Parkway 1999 Flac

There's no denying that Fountains of Wayne know how to craft a great pop record. They know how to write a hook, they can pull of mild rockers and sweet ballads with equal aplomb, and they write melodies that feel like half-forgotten favorites. They have all the elements of a classic power pop band but they suffer from that peculiar '90s ailment -- detachment. For all their flair, talent, and craftsmanship, the band don't really dig deeper than the surface. Of course, that doesn't mean they make bad records, and their second album, Utopia Parkway, is, if anything, every bit as good as their fine debut. All the songs immediately make a connection and all of their melodic attributes simply strengthen with repeated listens. However, those repeated listens reveal that Fountains of Wayne don't have a lot to say. That's not a cardinal sin in guitar pop, since most bands simply recycle the same lovelorn themes, but Fountains choose to have fun with clichés, throwing in goofy asides even in their ballads.
Throughout the record, they seem like the well-read, pop culture-saturated kids who sat in the back of the classroom, cracking jokes that only they can understand. Depending on your view, this either enhances the fun or keeps the record at a distance, because if you don't share their disdain for hippies, laser shows, proms, malls, and bikers, it will be a little hard to sing along with those glorious melodies.
For some, this may be a minor point, but consider this: emotional depth is what lifted Matthew Sweet's Girlfriend to classic status and what keeps Utopia Parkway from truly soaring, despite its many virtues(

It seems that some people write their review of a FOW album after listening to a Swans record. (Don't misunderstand me, i like what M.Gira do). Whatever...

         SB1     Flac1

The Eyes - The Arrival Of The Eyes 1966 (2006 ACME) Flac

In 1965 and 1966, the Eyes released a clutch of singles that stand up to the Who's work from the same era in their blend of extremely innovative guitar feedback/distortion and anthemic mod songwriting. "When the Night Falls," "The Immediate Pleasure," "I'm Rowed Out," "You're Too Much," and the dry "My Generation" satire "My Degeneration" are revered highly by British Invasion collectors. The bursts of electronic mayhem were quite advanced for the time, though like the Who they had hooks and harmonies to counterpoint the madness. They weren't as memorable as the Who and didn't approach commercial success. After a much softer fourth single and an ill-conceived album of Rolling Stones covers (recorded under the name the Pupils), the group disbanded.

Acme's 2006 release The Arrival of the Eyes is the first CD compilation of the Eyes work, rounding up all of their four singles (the first two of which, "When the Night Falls" and "The Immediate Pleasure," were combined as a 1966 EP also called The Arrival of the Eyes) the demos that were collected on the Scene but Not Heard EP as well as the album of Rolling Stones covers the band recorded under the name the Pupils; in addition, it also includes a promo for "Radio London" and a couple of alternate takes. It's the complete Eyes, in other words, accompanied by a booklet with a band history and replicas of various articles and press releases from the band's brief history in the mid-'60s. This disc confirms that the Eyes were among the greatest cult mod bands of their time, with a coiled power that recalls the Who at their peak. This, of course, is most apparent on "My Degeneration," a sly dig at the Who that functions as both satire and homage, but their first three singles all had the taut, stylish energy of the Who circa 1965, and the parallels come into even sharper relief with their cover of the Everly Brothers' "Man with Money" which is a dead-ringer for the Who's unreleased version from 1966; in fact, it could reasonably be argued that the Eyes have a tighter, harder take than the Who.
The Pupils' album, while not much more than a fun curiosity, does prove that the band were exceptional mimics, capturing the frenzied energy of the Stones' "Route 66" and doing a version of "Satisfaction" that pumps up the fuzztoned guitar even louder the original. But the Eyes' true peak were those four singles, particularly their debut "When the Night Falls"/"I'm Rowed Out," two barbed pieces of mod proto-punk that remain as punchy and potent today as when they were first recorded. These four singles are the reason to pick up this long-overdue collection, and while the demos aren't as bracing as the finished versions, it all makes for highly enjoyable listening. (

If you are a sixties mod punk lover this is for YOU.
Have fun!
    link 1 here
    link 2 here
....and as need both!