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.


Thursday, 27 April 2017

Hello Folks!

Hello Folks, the coming weekend my family and me will move to the new house. It's a lot of work in the next days and so i can't post music here for the next days. I think it will last around one week before i have again time enough for post music here on the blog. I hope we'll meet again here eventually end of next week.

Cheers and have a good time

Tuesday, 25 April 2017

Pugwash - The Olympus Sound (2012) Flac & mp3

Following a UK top 40 album with The Duckworth Lewis Method, Thomas Walsh reactivated his old band Pugwash with new members Tosh Flood and Joe Fitzgerald, got Andy Partridge and Dave Gregory of XTC in to lend a hand and hit the Irish charts in style. The Olympus Sound is without question the most commercial and polished record of Walsh's career - and the best tracks are as good as anything in the Pugwash back catalogue.
There's even some modern synths, samples and loops to offset the chiming Beatlesque guitars and retro keyboards. All in all with songs as immediate and strong as There You Are, Be My Friend Awhile, Fall Down, Here We Go Round Again and terrific closer Four Days this is just about perfect. Yes Pugwash sound a lot like ELO, The Beatles and of course Partridge's Swindon mob, but they do it so well that only the hardest heart could fail to love them. Pugwash newbies should start here.(Chris

This is for sure the most commercial work but i love the band for that because it's one more great album. That's what count, commercial or not. And i think if the music is good why the band shouldn't earn some bucks? Hope you will like it
and have fun
                    Frank   Flac part 1  &  Flac part 2   &  Flac part 3

Pop/Rock/Power Pop from Australia: Header On High Street (1996)

Header a band from Australia makes an interesting mixture of Pop, Rock and Power Pop with pleasant result. A lot of real nice songs and always with catchy lines. What is missing is a clear direction where the band want go. But as i said good songs and also good arrangements.

Enjoy it
            Frank   Flac part 1   &   Flac part 2

Paul Westerberg - 14 Songs (1993) Flac & mp3 (Read the review here)

Paul Westerberg's second solo LP (we all know the Replacements' final All Shook Down was really not a band LP) is a damn sight better than his first, with a batch of really nice tunes and some renewed enthusiasm (it's not as much of a downer); still, it's hard to resist the belief that he's capable of more than this. The fault is two-fold: One, fire co-producer Matt Wallace, who is more and more looming as the villain on Paul's last three LPs. The most convincing recordings here are the two crude demos Westerberg set down alone in the kitchen of his house.
His voice and tune devastate or kindle one's inner emotions by themselves. Compare these naked pathos with the somewhat rote "Knockin' on Mine" (a rip-off of Don't Tell a Soul's "Talent Show") or the just-tossed-off "Things," and it appears the lack of warmth in Wallace's familiar sound is pulling Paul's otherwise tremendous fervor down. Secondly, the first six Replacements' LPs all had more convincing material than this, culminating in the terrific Pleased to Meet Me. When inspired, he can still recall some of those heights: "Dice Behind Your Shades" remembers that former intimacy and sharp hooks, as do bits of "First Glimmer," "Runaway Wind," and the attempts at old raucous pounders, "Silver Naked Ladies" and "World Class Fad."
But they all still fall short of his former one-in-a-zillion singer/songwriter greatness. In fact, what really saves him on this record is his singing -- since the melodies and riffs are just good, not great, it takes a vocalist of his throaty gifts to deliver the pleasure. At times tender, sometimes who-gives-a-crap, other times amused or mildly sad and pensive, Westerberg makes us shower singers jealous over how much he can convey with just his pipes.
All the more reason to record future albums by himself in his kitchen? Or how about Westerberg "unplugged" from his living room? Talent like this is always best raw, whether "Kids Won't Follow" or "Never Mind" or "Kiss Me on the Bus." He'll never get that from Wallace, but he'll still shine through anyway.(Jack Rabid,

...and here is what Mr. Wallace said to the review of Rabid...:-)

 I just found Jack Rabid's review of Paul Westerberg’s 14 Songs here on AllMusic and I’m sorry that the music Paul made during specific points of his artistic development didn't jibe with what Jack's brain demanded it should have been. It’s possible that he believes that his opinion is more ‘right’ or ‘correct’ than what Paul’s personal experience, intention and inspiration dictated and, unfortunately, he comes off as being mired in the past, overly critical and a bit arrogant.

As much as it appears that Jack wants artists to stay within the confines of his own perception (generally lauding their younger days) and not allowing them to grow older gracefully, life does move forward. Artists can start off with bluster, anger, speed, and a yearning for the world to change but, in time, they learn to express themselves in subtler and, one could argue, more mature ways that take into account years of genuine experience that changes their minds, hearts and perspective. Paul Westerberg knows how disingenuous it is for an older artist to attempt to recapture the piss and vinegar and agitated momentum of his former glory. He was acutely aware of his quieter and more introspective approach as he was making records over the years and he attempted to age gracefully while working and living within a noticeably younger man’s field. Yes, even artists grow up, they have children, they buy houses, they become responsible (often reluctantly, just like us producers) as is normal and natural but they can still write and sing with power and ferocity without his music always having to be loud and fast.

Along with Jack Rabid's unfortunately misguided review he is also incorrect in stating that I was “the villain on Paul’s last three LPs” because I only worked on two albums with him (Don’t Tell A Soul and 14 Songs). Jack also erroneously stated that “the first six Replacements’ LPs all had more convincing material than this, culminating in the terrific Pleased to Meet Me” when, in fact, Pleased to Meet Me is the fifth Replacement’s LP after Sorry Ma, Forgot to Take Out the Trash (1981), Hootenanny (1983), Let It Be (1984), and Tim (1985). Album #6 would actually be Don’t Tell A Soul (1989). Stink, released in 1982, was an EP.

I genuinely hope that Jack finds a sense of peace and contentment as well as some empathy and understanding within his own life so that he might be able to see the world in general and, specifically the world of musicians struggling to create, from a different, possibly more humanist, perspective.

Matt Wallace
Record Producer/Mixer/Engineer/Remedial Musician

It exists things, i really love. And what Mr Wallace say (and that he have say it) is one of those little things.
          Frank    Flac part 1   &   Flac part 2

The Foundations - The Greatest Hits (1996) Flac & mp3

The Foundations were a surprisingly obscure late-'60s outfit, considering that they managed to reach the tops of the both the British and American charts more than once in the space of a year and had a solid three years of recordings. At the time of their debut in mid-1967, they were hailed as being among the most authentic makers of soul music ever to emerge from England -- the best practitioners of the Motown sound to be found on the far side of the Atlantic -- and were also accepted in jazz circles as well. "Baby Now That I've Found You," "Build Me Up Buttercup," and "In the Bad, Bad Old Days" were the biggest hits for this multi-racial octet, made up of Londoners and West Indians.
The Foundations were formed in January 1967 in the basement of a local coffee bar in Bayswater, gathered together through advertisements in Melody Maker. Lead singer Clem Curtis was a former boxer from Trinidad, while lead guitarist Alan Warner had been making his living in the printing trade in London while waiting for music to pay off. Flutist/saxman Pat Burke hailed from Jamaica, tenor saxman Mike Elliott had played with Colin Hicks (brother of Tommy Steele) in his band the Cabin Boys, as well as in several jazz bands, and trombonist Eric Allan Dale was another jazz veteran. Tony Gomez (keyboards), Peter Macbeth (bass), and Tim Harris (drums) rounded out the lineup. They selected the name Foundations based on their surroundings, a rehearsal space in the basement of a building.
The group made very little headway during their first few months together, although they did manage to get an audition at the Marquee Club. It was at their regular spot at a much smaller club called the Butterfly -- where they played one legendary gig on the last night of the Stax/Volt European tour -- that led to their breakthrough. They were spotted by record dealer Barry Class, who was impressed enough with what he heard to become their manager. He arranged a meeting with Pye Records producer/songwriter Tony Macaulay, who was working with Long John Baldry with some success, but also was desperately looking for a new act to break for the label. He'd written a song with his partner John Macleod called "Baby Now That I've Found You," which seemed to suit the Foundations.
The resulting single, issued in the summer of 1967, got no reaction from the public or on the airwaves until it got picked up by the BBC's newly founded Radio 1, by a stroke of pure luck. The station wanted to avoid any records being played by the pirate radio broadcasters, and looked back at recent releases that the pirates had missed. "Baby Now That I've Found You" was the immediate beneficiary, along with the group -- by November, the single held the number one spot on the British charts. The group's timing was as perfect as the song -- there had been a soul boom in England since late 1965, and the subsequent Motown and Stax/Volt tours by American R&B stars only heightened the public's interest.
The Foundations were hailed for being the first British band to come up with an authentic soul sound, and the fact that they were first multiracial band to top the British charts only made their success that much more impressive (at a time when England was beginning to come to grips with its own racial attitudes). What's more, the group had the goods to back up the press' accolades. Their performances revealed a seasoned, well-rehearsed, exciting stage presence and a bold, hard soul sound that most British bands managed to imitate only in the palest manner, if at all.
Meanwhile, their debut single got to number 11 on the American charts in the hands of MCA's Uni label, and it was equally well received in the rest of the world, selling something more than three and a half million copies. Suddenly, the Foundations were a British phenomenon and had a worldwide following.

An album, From the Foundations, was duly recorded and featured some superb material, embracing both current soul and the then-popular discotheque sounds. The covers included everything from Joe Tex ("Show Me") to Tony Hatch ("Call Me," in a version worthy of Motown), as well as some new Macaulay/Macleod numbers. The debut album never made the British charts, but it remained in print for years, a perennial seller that held up well over time. Unfortunately, a follow-up single, "Back on My Feet Again," didn't crack the British Top Ten, despite very heavy airplay and promotion, and barely made the U.S. Top 50. In retrospect, it may have been too similar to "Baby Now That I've Found You," which had sold in enormous numbers. Its relative failure led to the beginnings of a split between the group and Macaulay, as both songwriter and producer, exacerbated by the latter's decision -- as their producer -- not to permit the group to record any of their own songs, even as B-sides. Additionally, they felt that Macaulay reined in their "real" sound, making them seem more pop-oriented than they were.
These disagreements occurred at just about the same time that the group itself began experiencing internal fractures. It seemed to Curtis, in particular, that some of the other members, having topped the charts and chalked up an international hit, weren't putting out the same effort they'd been giving to the group when they were still struggling.
Curtis was persuaded to pursue a solo career, ironically right after he'd recorded perhaps the best track he ever cut with the group, a killer rendition of "It's All Right," a number they'd been knocking crowds dead with on-stage all along. (They also released a live album, Rocking the Foundations.) Additionally, saxman Elliott quit as well, and was never replaced. Curtis was succeeded by Colin Young, a good singer in his own right who fit in perfectly with the group's sound, and the reconstituted group hit once more in early 1969 with "Build Me Up Buttercup," written by Macaulay with Mike D'Abo, which reached number two in England and number one in America. "In the Bad, Bad Old Days (Before You Loved Me)" was yet another hit, reaching the U.K. Top Ten and the U.S. Top 30.
The band's success finally faltered when Macaulay exited Pye Records. As he later revealed, he was still being paid solely as a producer and he received no royalties for his songs, despite millions of copies sold. With his departure, the group was cut off from the only composer who'd written all of their hits. Additionally, the sounds of soul were changing faster than the group could assimilate it all -- they tried for a funkier, James Brown-type sound on their last recordings together in 1970 but failed to attract any attention.
The Foundations split in 1970, and by the middle of the decade that followed, Curtis revived the band -- but so had Young, and both outfits were called the Foundations. A lawsuit resulted in Curtis getting the rights to the original name, while Young was allowed to use the New Foundations. The group remains fondly remembered, if not often written about, in England, and it achieved some fresh international recognition in 1998 when "Build Me Up Buttercup" appeared prominently in the hit movie There's Something About Mary. Curtis continues to perform in a revived version of the group, and he and Warner have recorded new versions of the Foundations' classic numbers. Various versions of the Foundations continued to tour into the first decade of the 21st century, including Curtis as Clem Curtis & the Foundations and Warner as Alan Warner's Foundations.

The Foundations were a fine Soul, R'n'B Pop band mid till the end of the sixties. This are their greatest hits and this post is to remember the legacy of Clem Curtis, leadsinger, born November 28 1940 who passed away on March 27th 2017. May he rest in peace
Frank        Flac part1
                 Flac part2

Monday, 24 April 2017

Doug Powell - More (2000) Flac & mp3

For his third outing, Doug Powell follows much the same formula as with his first two albums: straight-ahead rock songs with a definite, pronounced pop leaning. Powell's influences are plastered all over this, from Jellyfish-like vocal harmonies to Todd Rundgren's brand of smooth pop and Cheap Trick-style guitar crunch. But thankfully, Powell does manage to mold the record into more than just a sum of its parts. The album's best songs -- the uppity rock of "Dinah Might," the soulful pop of "The Scent of a Rose," and the hard rock of "Empty V," amongst a few others -- are extremely well-crafted modern pop.
While not exceedingly commercial or adventurous, the devotees of verse-chorus-verse song structures and gooey background vocals will agree that not only is More catchy and memorable, but it manages to steer clear of potholes of derivation. With that being said, there are a few flaws that keep More from being a classic. The production is appropriately crisp but strangely tinny, and on the requisite mainstream music rant "Empty V," Powell appropriately gives the musical finger to MTV and their ilk. But the problem is that the listener is torn between believing whether it's appropriate commentary or a cranky old man who is upset that he never got his commercial due.
Maybe it's a little of both, but that assessment is probably a bit too harsh given the songwriting expertise displayed by Powell here and with his band, SWAG. And something does seem wrong if a song as infectious as "Rise" isn't all over mainstream rock radio. The true assessment, then, is that More is very much music by a pop fan who hates MTV, for pop fans who hate MTV. It can't be fairer than that.(

Interesting pop/power pop album. Different arrangements who fits very well to the particular songs and a very good songwriting by Doug Powell. Also he's a very expressive vocalist. The productionis not made for winning any MTV awards. And that's the best what Powell had done for this fine album
          Frank     mp3@320
                        Flac 1         &    Flac 2        You need both Flac links!

Les Irresistibles - The Essential Hits Singles And More (Magic Records 2009)

Les Irrésistibles (The Irresistibles) were a boy band during the late 1960s and early 1970s, whose members were Americans living in France. The lineup consisted of lead singer Jim McMains on keyboards and rhythm guitar, his identical twin brother Steve McMains on bass, Tom Arena on lead guitar, and Andy Cornelius on drums.

The band formed in 1966 as The Sentrys, when the members were teenage classmates at the American School of Paris. They developed a following among the local American community by playing cover versions of contemporary hits. They came to the notice of recording scouts, and eventually signed with CBS, who marketed them as Les Irrésistibles. The arrangement included British carmaker Triumph as a corporate sponsor, and the company's TR5 roadster featured prominently in the group's first video and early publicity photos.
The band's first release and biggest commercial success was "My Year is a Day" (music by William Sheller and lyrics by Tom Arena), which came out as a single in 1968. The song spent several weeks at number-one on the French pop charts, and a French version by Dalida appeared as "Dans la Ville Endormie".(wikipedia)

This was a great sixties pop band who had outstanding great singles back then. They are nearly all gathered here. 25 tracks all.

         Frank     Flac 1   &   Flac 2   You need both Flac links!         mp3@320

Keith - Out Of Crank 1967 (Vinyl) Flac & mp3

"Sugar Man" leads off Keith's follow-up to his debut album. Written by Sandy Linzer and Denny Rendell, producer Jerry Ross seems to be pulling out all the stops. Out of Crank is a good Keith record, but not as strong as the album that preceded it, nor as listenable as his highly experimental The Adventures of Keith that followed this release. "Candy" feels like his hit "98.6" with a bit of show tune flavor. "Easy As Pie" also has that "98.6" vibe, producer Ross knowing a good thing and clearly trying to capitalize on earlier success. The cover of Spanky & Our Gang's "Making Every Minute Count" doesn't have the strength of the hit version, also on Mercury. Keith has a radio-friendly voice for pop, and he had enough edge to keep him from falling into the Brian Hyland/Tommy Roe zone of teeny bop. The Renzetti/Ross "There's Always Tomorrow" is one of the highlights, as is "Daylight Savin' Time," Ross knowing how to write a good hook. The verses are distinct enough but the chorus is pure "98.6." When you talk about typecasting, this album is a perfect example. Still, the sequel to Keith's biggest hit is great, albeit blatant. "Times Gone By" is a pleasant departure, co-written by Ross/Gamble, the team that composed Bobby Hebb's "You Don't Know What You Got Until You Lose It." Keith's own "Happy Walking Around" is his first original to show up on either this or the earlier recording, and it is the most innovative thing on this disc, a good indication of the substantial path he would set out on. "Be My Girl" by Spector/Sands is in the same style as the rest of this album, very pop, and nothing to be ashamed of.(

To me all what Keith had released is very very good popsike. His music is completely underrated.
If you like sixties popsike/sunshine pop this guy is right for you. Five paisley button down shirts out of six for this album.

         Frank            Flac   &  mp3@320

Light Psychedelic/Sunshine Pop By Lisa Miller - Within Myself 1967 (2010 Sundazed) Flac & mp3

There's some sort of pop culture Rorschach test to be constructed around the question of whether a fan of esoteric '60s pop records would be intrigued or thoroughly repelled by the notion of an album of polished pop songs, with overtones of psychedelia and sunshine pop and starring a vocalist who was all of 11 years old when she did the recording sessions. But Lisa Miller wasn't an ordinary child entertainer; she cut some sides for Motown's VIP subsidiary when she was only eight, and by the time she turned 15, she was the voice of Mary Magdalene on the original recording of the Christian rock opera Truth of Truths (interesting casting, that).
Miller's first album, 1967's Within Myself, is a surprisingly solid and ambitious album from a performer of such a tender age; Miller had a strong, rich voice and sang with a confidence and technique that would be the envy of many artists three times her age. Truth to tell, Within Myself hardly sounds like the work of a little girl, and the slightly gimmicky arrangements on songs like "Mechanical Man" and "Fool on the Hill" (the latter Beatles' cover featuring a truly egregious Moog synthesizer) seem to add a novelty element to the reminder that we're listening to an 11-year-old kid, as songs like "I'll Hit a Lucky Streak" (in which she imagines what dating boys will be like) or "Be Like A Little Child" make clear. Within Myself was produced by Kay Lewis and Helen Lewis (respectively, Lisa's mother and aunt), who also wrote most of the songs, and though a significant share of the material and the arrangements could be politely described as dated (and who suggested that an 11-year-old should cover "White Rabbit"?), the studio band is bold and dynamic on all tracks and Miller's vocals more than keep up with them.
Canterbury Records, who financed the sessions and released Within Myself, went out of business within a few weeks of the album's release, and the majority of the small press run were used as promotional copies; it's hard to imagine how the album would have fared in the marketplace, given how mature and assured it sounds despite the artist's youth, but fans of vintage pop will find this a fascinating curio from a vocalist who didn't need the gimmick factor of her age to impress a listener.(

This is no gimmick or bad joke this is a really good pop album and you will surprised about the presentation of the songs. The songs also are fine pop pieces with a fine orchestration and a really good band.
Have fun
               Frank    Flac 1   &  Flac 2
                          You need both Flac links!        mp3@320

Sunday, 23 April 2017

The Ministry Of Sound - 1966 Men From The Ministry +1968 Midsummer Nights Dreaming (RPM 2005) Flac & mp3

The Ministry of Sound issued just one 1966 single while they were active. But they recorded several albums' worth of material within the space of about a couple of years, eventually bringing them to the notice of those who collect the small British school of '60s sunshine pop. Too, their history was quite complicated considering their small discography, as they were a studio outfit whose personnel included noted songwriter John Carter, although Carter was not the dominant member.
The core of the Ministry of Sound was the duo of singer/songwriters Robin Shaw and Micky Keen, who had first performed together back in the late '50s in Mick Everly & the Prophets. By the mid-'60s they were part of the house band of Southern Music Studios, and signed to Carter's publishing company as songwriters. They also recorded often at Southern Music Studios as Ministry of Sound, with Carter pitching in with songwriting, guitar, and some lead vocals. Songwriter Russ Alquist also sang lead on some tracks, as well as making some contributions as a writer, with Robin Shaw handling some of the lead vocal duties as well. Top British session drummer Clem Cattini and keyboardist Barry Kingston also recorded with them.
At least several dozen songs were recorded by the aggregation between 1966 and 1968, but the only two that found release were issued on the 1966 Decca single "White Collar Worker"/"Back Seat Driver." In common with much of the material with which the prolific John Carter was associated in the mid- to late '60s (with groups such as the Flower Pot Men and the Ivy League), it gave a British spin to the harmony sunshine pop of groups like the Beach Boys, the Turtles, the Association, and the Tokens, perhaps with a bit of the Four Seasons and Motown thrown in.
Some of it also drew from psychedelia in the sophisticated production, use of then-advanced instrumentation such as the Mellotron, songs that explored British characters and situations, and lightly trippy lyrics. It wasn't as good as their most obvious influences, but it was very smoothly recorded and sung, with pleasant if not indelible tunesmithery.

Although some of the songs they recorded were covered by British pop group Amen Corner and Australian singer Normie Rowe, the Ministry of Sound didn't get the chance to release any more records while they were active. They came to an end when Robin Shaw joined the touring version of the Flower Pot Men, with Keen, Carter, and Cattini continuing to focus on studio work.
In 2005, 35 of the tracks they recorded between 1966 and 1968 were issued on the two-CD set Midsummer Nights Dreaming/Men from the Ministry, most of them previously unreleased, though it did include both sides of their 1966 single.(

Enjoy this british pop psychedelia
                                                     Frank   mp3 link1     &   mp3 link2       You need both mp3 links!                 The Flac link expire 2017-05-06     Flac

Saturday, 22 April 2017

The First Ever With Dolby NR Recorded Album Is A Great Psychedelic Pop Work Of 1967!

Psychedelic pop band the Nova Local formed on the Chapel Hill campus of the University of North Carolina in 1965, comprising singer Randy Winburn, guitarists Joe Mendyk (formerly of the Warlocks) and Phil Lambeth, bassist Jim Opton, keyboardist Cam Schinhan, and drummer Bill Levasseur. The group honed its sound on the Chapel Hill fraternity circuit, and when Opton's Phi Mu Alpha house booked Chad & Jeremy for its annual charity concert, he suggested the Nova Local open the show. William Morris Agency representative Rob Heller accompanied Chad & Jeremy to the gig, and was so impressed by the Nova Local that he offered them a contract on the spot -- Heller soon negotiated a deal with Decca, and minus Lambeth (who resigned his duties to attend law school), the band traveled to New York City to record their lone LP, 1967's Nova I.
According to an interview Opton gave to U-Spaces, the album was the first ever recorded via the Dolby NR System -- two singles were released ("Games" and "Other Girls"), and the record was also issued in the U.K., but in April 1967 the Nova Local dissolved. When Levasseur's son Jason's band covered the Nova Local track "If You Only Had the Time" with his band, Life in General, on their 2000 album The Lovely, Lovely Singing, Bill played drums on the recording(

Nova 1 is a very strong piece of psychedelic garage pop. It's not the kind of album which plays one nice clean pop song after another. Here you have to listen and suddenly out of all the things that happen on the record you find one pop gem after the next and the next . Here are some great pop candies gathered. But Attention: This are not the Spoonful or the Monkees (and god knows i love these bands)...this are the Nova Local.

         Frank                 FLAC     &     mp3@320

American Power Pop : Ed James - Meet Ed James (2000) Flac & mp3

Ed James...just a guy on a mission to write the perfect song. The son of classical and jazz musicians, Ed was exposed to various genres of music throughout his childhood, but it was rock that would ultimately attract him. Drums became his instrument of choice at a very early age. Ed says, "I can't remember a time in my life when I didn't play drums."

Soon, Ed became interested in composing his own rock and pop music, and began learning how to play the various instruments (guitar, keyboards, vocals, etc.) required to record his songs without the help of outside musicians. At the same time, Ed was studying the songwriting of the Beatles, as well as more contemporary pop & rock artists. Although he enjoyed performing in numerous cover bands throughout his high school and college years, Ed discovered that there was "something magical about writing and recording original songs - creating something from nothing."

After earning a degree in music, Ed relocated to North Carolina, where he began his musical career in earnest. Since arriving to the Charlotte area, Ed has appeared on numerous compilation and tribute CDs, including The Bam Balam Explosion IV USA Power Pop Compilation (Bam Balam Records), Pop Under The Surface (Yesterday Girl Records), Browser Barbarians (DMR Diversions), Unsound Series Volume 1: Pop! (To M'Lou Music), Burnt Marshmallows & Teeny Bikinis (Optional Art), Around The Universe In 80 Minutes - A Tribute To Klaatu (Bullseye Records), A Tribute To The Left Banke (Brobdingnagian Records), and Men In Plaid - A Tribute To The Bay City Rollers (Bullseye Records).

And now, Jam Records and Ed James Music have just released Meet Ed James...the very first solo CD by Ed James, featuring 13 power pop tunes, and displaying Ed's wide variety of musical influences and talents. Written, performed, and produced by Ed alone, but never sounding that way, Meet Ed James is a solo album in its truest sense.(cdbaby)


Ed's "Party At Joes" is is one of those great songs that used to make cruising in the car with the AM radio blaring a fun thing to do in the '70s. Probably the best song about partying since Brownsville Station sang "Kings Of The Party" many moons ago. Ed can also produce a great pop song. He shows his serious side with "Turn It Around," which has a chorus that would have made Queen (circa "Killer Queen") proud. Now folks, Ed recorded this pop masterpiece in his bedroom --- and he not only handled the vocals, but played all the instruments himself!(power pop music news)
This guy is a very talented pop wizard and this is really Power Pop of the highest order, lol. 
Enjoy and you need both Flac links :-).

  Flac1  & Flac 2          mp3@320

Irish Power Pop by Pugwash: Pugwash - Play This Intimately (As If Among Friends) 2015

At request by some people who want to see more of Pugwash stuff here i post today their 2015 album Play This Intimately As If Among Friends. To me personally it's one of her best...but...seriously i never heard a bad album by this guys :-) 4 1/2 Sterne von möglichen 5 für die Sternchenjäger aus Irland.

Next time someone tells you they don't make pop records like they used to, prove them wrong and point them in the direction of Irish pop celebrants Pugwash. Thomas Walsh and his bandmates have mastered the fine art of approximating classic pop and gentle psychedelia of the '60s and early '70s, and Walsh writes songs good enough to pass for covers of classic British acts of the era in dim light, mirroring their melodic splendor rather than reworking familiar cliches.
The group's sixth studio album, Play This Intimately (As If Among Friends), is not as rich in guest appearances from pop universe luminaries as some of Pugwash's previous album (of course, having Andy Partridge and Ray Davies pop by to do backing vocals is nothing to sneeze at), but in the truest sense this demonstrates just how talented this band is. By their lonesome, Walsh (on vocals, guitars, and various keyboards), Tosh Flood (guitars and keys), Shaun McGee (bass), and Joe Fitzgerald (drums and percussion) are capable of re-creating a number of musical worlds, from the clean but swaggering rock of "Kicking and Screaming" and the languid psychedelia of "We Are Everywhere" to the faux-exotica of "Clouds" and the country-folk charm of "Oh Happy Days," and while nearly everything here harkens back to another time and place, Pugwash make it sound fresh, immediate, and directly from the heart.
(And the production from Walsh and Flood is ideal and unobtrusive.) Some bands trade in second-hand nostalgia, but Pugwash have used myriad reference points from the '60s and '70s to create pop music that's beautifully crafted, fresh and thoughtful, and best of all, lots of fun. Play This Intimately (As If Among Friends) could use a few more uptempo rockers, but considering how good these 12 songs are, there's little real room to complain, and Pugwash prove that yes, some folks really are making 'em like they used to, and with the same skill and honest love of a good melody.(

Have fun and a nice weekend
                                               Frank    Flac1  & Flac2  You need both Flac links!    mp3@320