Thursday, 27 April 2017
Tuesday, 25 April 2017
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
Flac part 1 & Flac part 2 & Flac part 3
Frank Flac part 1 & Flac part 2
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.
...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.
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 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.
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.
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 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
Monday, 24 April 2017
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.
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
Flac 1 & Flac 2 You need both Flac links!
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.
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
"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.(allmusic.com)
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
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).
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
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
Frank FLAC & mp3@320
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 know...you need both Flac links :-).
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.
Have fun and a nice weekend
Frank Flac1 & Flac2 You need both Flac links! mp3@320
Have fun and a nice weekend
Frank Flac1 & Flac2 You need both Flac links! mp3@320