Wednesday, 31 May 2017

The Olivia Tremor Control ‎– Music From The Unrealized Film Script Dusk At Cubist Castle (1996 Flydaddy Records) Flac & mp3

Not the Beatles, but an incredible facsimile: on their sprawling 27-song debut opus, Music From the Unrealized Film Script, Dusk at Cubist Castle, the Olivia Tremor Control manage to summon not only the sound of the White Album-era Fab Four, but also the unfettered creativity. The soundtrack to an unmade film about a pair of women named Olivia and Jacqueline and a massive earthquake dubbed the California Demise, the album incorporates a slew of influences and textures (including Beach Boys-flavored pop, psychedelia, Krautrock, noise, and folk-rock) and synthesizes them into a distinct homebrew of shimmering harmonies, guitar drones, backward tape loops, and inventive effects. As an added bonus, the first few thousand copies came with a bonus CD of ambient "dream sequences" -- titled Explanation II -- which, when played simultaneously with the first disc, realizes true quadraphonic sound. Amazing.(allmusic.com)




As much a concept as a band, the Olivia Tremor Control was one of the most visible and innovative members of the Elephant 6 collective, a coterie of like-minded, lo-fi indie groups -- including the Apples in Stereo, Neutral Milk Hotel, and Secret Square -- who shared musicians, ideas, and sensibilities. The Olivia Tremor Control was led by singers/songwriters/multi-instrumentalists Will Cullen Hart and Bill Doss, natives of the small, isolated town of Ruston, Louisiana, where they struck up friendships with fellow outsiders Robert Schneider (who went on to front the Apples) and Jeff Mangum (the auteur behind Neutral Milk Hotel).
Throughout high school, the aspiring musicians -- all influenced by the likes of the Beatles, the Beach Boys, the Zombies, Pink Floyd, and Sonic Youth -- exchanged home recordings and played in each other's bands. Hart and Doss later attended Louisiana Tech University together, where they tenured as college radio DJs and furthered their musical educations and ambitions. In 1990, Hart, Doss, and Mangum moved to Athens, Georgia, to form the group Cranberry Life Cycle; when Mangum exited, they enlisted John Fernandes and became Synthetic Flying Machine. After Doss' temporary defection to Chocolate USA, Synthetic Flying Machine mutated into the Olivia Tremor Control at much the same time both Schneider and Mangum relocated to Denver, Colorado, to start their own respective projects.

In 1995, the OTC (later fleshed out by "technical advisor" Eric Harris) debuted with the EP California Demise, the first chapter in an ongoing series of high-concept recordings built around the surreal plot of an imaginary film conceived by Hart and Doss. The follow-up 7", "The Giant Day," led directly into the group's 1996 debut double-LP, Music from the Unrealized Film Script "Dusk at Cubist Castle," a sprawling collection of Beatlesque psychedelia, popcraft, and tape loops culled from some 200 unrecorded songs. (The first few thousand copies of the album also included a bonus disc of ambient "dream sequences.") Keyboardist Pete Erchick officially joined prior to 1999's Black Foliage: Animation Music by the Olivia Tremor Control, another epic work that consolidated the group's underground popularity and widened the Elephant 6 cult.
However, breakup rumors swirled around the group during 2000, and it was confirmed that the OTC had gone on at least a temporary hiatus toward the end of the year. In the meantime, the group's earliest recordings -- including California Demise and "The Giant Day" -- were reissued on CD as Singles and Beyond. Bill Doss remained active, releasing an EP titled Future History of a Sunrise Fix with his new project, the Sunshine Fix. His fans were shocked and saddened by the news of his death on July 31, 2012; Bill Doss was 44 years old.(allmusic.com)


Six stars out of five possible stars...

Enjoy
         SB1     Flac p1   &  Flac p2   &  Flac p3   -  mp3@320   -  Art FrontBack

Jangle Pop from the UK: The Primitives - Lovely (RCA 1988)


British indie pop band the Primitives were formed in Coventry, England in mid-1985 by singer Kieron, guitarist Paul Court, bassist Steve Dullaghan, and drummer Pete Tweedie; after a handful of gigs Kieron was replaced by vocalist Tracy Tracy, a peroxide-blonde bombshell whose presence inspired a more melodic approach, which earned the group inevitable comparisons to Blondie. The Primitives' debut single, "Thru the Flowers," appeared on their own Lazy label in 1986 and was quickly followed by radio sessions for Janice Long, Andy Kershaw, and John Peel. Their second effort, "Really Stupid," preceded the band's first European tour, with "Stop Killing Me" appearing in early 1987. Tweedie was dismissed from the group (allegedly for mistreating Tracy's cats) prior to the Primitives' signing to major label RCA, and with new drummer Tig Williams the group recorded its 1988 debut LP, Lovely, scoring a major U.K. pop hit with the masterful "Crash."


After completing an American tour, Dullaghan exited the lineup, with bassist Paul Sampson stepping in for 1989's Pure; the album failed to re-create the success and excitement of its predecessor, however, and when 1991's Ian Broudie-produced Galore met a similar fate, the Primitives disbanded.

Tragedy brought the band back together in 2009 when bassist Steve Dullaghan passed away. Tracy, Court, and Williams re-formed the band (with Raph Moore on bass) to play a couple of shows in October of that year. Things went so well that they decided to make a true comeback, launching a 2010 tour of England and even a show in New York City. They returned to the studio with original producer Paul Sampson and soon released a four-song EP of newly written songs (Never Kill a Secret) in 2011 and an album of covers of obscure female-fronted songs from the '60s (Echoes and Rhymes) in 2012.
Both were released by Spanish label Elefant and showed that the band still had plenty of charm left, even after two decades. Not content to call it quits, the trio of Tracy, Court, and Williams began work on a new album with Sampson on bass guitar and in the producer's chair. Featuring all original material that harked back to their classic sound, their fourth LP, Spin-O-Rama, was released by Elefant in October of 2014; two songs from the album ("Purifying Tone" and "Lose the Reason") were remixed by the Argentinian group Modular in 2015. The four-song single New Thrills was released, again by Elefant, in 2017.


Nice british jangly pop music with female vocals. Good danceable pop songs with mega chartbreaker in Europe, 'Crash' in 1988.
Enjoy
         SB1   Flac p1   &   Flac p2       -  mp3@320

Psychedelic Pop from the sixties! Various Artists - With Love A Pot Of Flowers 1965-67 (2010 Big Beat Records) Flac & mp3



An eclectic time capsule -- its grooves enshrining four Bay Area bands of decidedly different stripes -- this compilation runs the gamut from mind-altering psychedelia to jangly folk to Anglophilic rock. Similarly, a wide range of talent is represented (from stellar to abysmal). Overall, however, With Love: A Pot of Flowers is a worthwhile addition to any '60s collection. The album's three highlights -- "I Think I'm Down," "Streetcar," and "Walking Down the Road" -- are among the best releases of 1966 (having previously appeared as singles for their respective bands).


With its Jagger-esque vocal, humorous lyric (the plaint of a long-limbed equestrian), and red-line fuzztone lead, "I Think I'm Down" is simply killer. "Streetcar" recalls the Who's "A Legal Matter" with electric piano effects; while "Walking Down the Road" is turbocharged Kingston Trio with the sounds of a psilocybic Keystone Kops paddy wagon in the bridge. Of the three remaining tracks by the Harbinger Complex, "When You Know You're in Love" easily outsparkles the others with its snappy syncopation. "Time to Kill" is wistful, anti-establishment wordplay on a theme of Vietnam.


Given lead singer Jim Hockstaff's habit of leaving girlfriends in the family way, "My Dear and Kind Sir" (a suitor's plea to a father for his daughter's hand) smacks of tongue-in-cheek irony. Its folksy musical stylings hark back to gold rush-era San Francisco. Meanwhile, two of Wildflower's offerings ("Wind Dream" and "Coffee Cup") suffer beneath the dead weight of bombastic lyricism.


The former is a dreary ballad; the latter meanders aimlessly through claves and bongos. This pair, with Euphoria's "No Me Tomorrow," are the album's low watermarks. "No Me Tomorrow" is reminiscent of the Third Bardo's "I'm Five Years Ahead of My Time," and wallows indulgently in self-pity (and advocates what? an OD?). Its best moment is its raga-rock fade, suggesting the singer's voyage across the River Styx.
To be fair, however, it must be said that Euphoria's other cut, "Hungry Women," is fair-to-middling psychedelia. With its start-stop raga complexities, it clearly anticipates Bubble Puppy's "Hot Smoke and Sassafras." The Wildflower track "Baby Dear," a curious leadoff for the album, is a sort of happy protest song that features an endless slow drum roll. On "Jump In," Wildflower finally get it together, rise above their lyrical handicap, generate some clever lines, and present an appealing tune. In any floral arrangement, some blooms wilt or become stale, but on the whole, this Pot of Flowers has aged well.(allmusic.com)


This is a great compilation with  a bunch of wonderful popsike songs. I love this kind of stuff.

Enjoy and Peace Folks
                                     SB1     Flac p1   &   Flac p2    -  mp3@320

Garage Pop From '66: Mouse And The Traps - The Fraternity Years 1997 (Big Beat Records) Flac & mp3


Fraternity Years is the first Mouse & the Traps compilation of a truly official nature, taken right from the master tapes. The 25 tracks do miss a few of their least essential cuts, like the awful country novelty "Would You Believe," their mediocre final single for Bell, and the "Psychotic Reaction" single they recorded under the pseudonym of Positively 13 O'Clock.


But everything else is here, with the neat bonuses of a 1967 single credited to another pseudonym (Chris St. John) and seven interesting, previously unreleased sides, including the moving folk-rock-protest number "Nobody Cares" and a you-gotta-hear-it-to-believe-it cover of "You Are My Sunshine" (set to the arrangement of James Brown's "I Got You"!).

The lengthy liner notes present the best history of the group ever written, capping an excellent reissue of a fine band who were probably too chameleon-like to find their niche in the national market.(allmusic.com)


This is a fine Big Beat collection who makes a lot of fun. Fine garage pop from the sixties.

Enjoy
         SB1     Flac p1   &  Flac p2     -  mp3@320

Tuesday, 30 May 2017

Mighty Baby - A Jug Of Love 1971 (2006 Sunbeam Records) Flac & mp3



The British psychedelic band Mighty Baby grew out of the Action, the North London-based R&B outfit signed to Parlophone by George Martin in 1965. Long considered one of Martin's best discoveries this side of the Beatles, the Action consisted of Reggie King (vocals), Alan King (guitar), Pete Watson (guitar), Mike Evans (bass), and Roger Powell (drums). After Watson left in 1967, he was succeeded by keyboardist Ian Whiteman and blues guitarist Martin Stone, a veteran of the Savoy Brown Blues Band. This new lineup evolved beyond the R&B/soul sound that the original Action had played and into a top-flight experimental group, incorporating the kinds of long jams and folk/blues influences that the West Coast bands were starting to export around the world.


They hooked up with ex-Yardbirds manager Giorgio Gomelsky in 1967 and recorded an album's worth of material that went unreleased. Reggie King was gone by early 1968 to record a solo album, and the remaining members went through a number of name changes, at one point calling themselves Azoth. In 1968, they hooked up with the managers who represented Pink Floyd and T. Rex and cut a new series of demo recordings featuring Whiteman (who wrote most of the songs) and Alan King on lead vocals. These demos were even more ambitious than the 1967 sides, extending the structure of the group's songs with long, beautiful guitar progressions and soaring choruses. Unlike a lot of R&B outfits that tried the psychedelic route and failed, they were suited to the new music by inclination and temperament
.


The president of the band's new record label, Head Records, for reasons best known to himself, chose "Mighty Baby" as the group's new name. The self-titled album that followed was a masterpiece of late psychedelic rock, with long, fluid guitar lines and radiant harmonies; still, Mighty Baby didn't sell very well, although the group continued to play live shows to enthusiastic audiences. Their record label folded in 1970, and the group eventually signed to the Blue Horizon label, where they released a respectable if not wholly successful second album, A Jug of Love.


It was clear by then, however, that their moment had passed, both personally and professionally. Mighty Baby broke up in 1971, although several of the members periodically played together on various projects -- Evans and Whiteman even played backup to Richard & Linda Thompson in the late '70s.(allmusic.com)

I think the band had have more success but the guys wasn't no rockstars and don't wanted to be.They were some friends, making music together, lived together and had too much other interests to concentrate on the rock business. But the band could play anything. Really good musicians. And for me this is a very relaxing album. Real hippies and a wonderful hippie record . Grab it or cut your hair, lol.

Enjoy
           SB1      Flac p1  &  Flac p2    -  mp3@320

Honey Ltd. - The Complete LHI Recordings (1968-69) 2013 mp3@320


The Complete LHI Recordings brings together all of Detroit girl group Honey Ltd.'s recordings for singer/songwriter Lee Hazlewood during the late '60s. Formed in Detroit in 1967 while all the members were attending Wayne State University, Honey Ltd. caught the ear of Hazlewood, who brought them to Los Angeles and produced their debut album, which also featured backing from the legendary studio group the Wrecking Crew.



These are melodic, lushly produced soul and sunshine pop-influenced cuts that showcase the group's romantic vocal harmonies. Included are such songs as "Silk 'n Honey," "The Warrior," "Come Down, " and "Eli's Coming."(allmusic.com)



Usually i don't like it to post an album only in mp3@320 but a) can't find the Flac file, b) can't find the disc, c) this is really a great Pop/Sunshine Pop effort by the Honey Ltd & Lee Hazlewood and d) i still don't find the flac and the disc :-)...but i found the artwork in my artwork folder :-) :-)....and that is really a very fine artwork.
I will post the lossless if i find it in my precious mess.


Enjoy
         SB1          mp3@320  

The Virgineers – “The Virgineers” (1999 Liquid Sound Records)


On first mention, The Virgineers sounds like the name of some folk revival group who would be playing Kingston Trio numbers at state fairs. One listen to their self-titled, and, so far, only album, though, reveals a group (“virgin ears,” get it?) that specializes in turning the way-back clock to the paisley summer of ’67. They sound like The Beatles during their Sgt. Pepper / Magical Mystery Tour period, along with Syd Barrett-era Pink Floyd, as filtered through XTC, especially in their Dukes of Stratosphear psychedelic guise. As a matter of fact, if you loved those two mid-‘80s Dukes platters (25 O’Clock and Psonic Psunspot), then you will flip your paisley wigs over this blotter of Owsley-drenched sunshine. Just like on those two albums, you get to have fun playing spot-the-‘60s-influence.
The first song, “Love Circus,” actually sounds like something that The Dukes would have conjured up from their acid-fried brainstems. It’s got all of the trappings, including an Andy Partridge-like vocal. From there, they pour on the Beatlesque touches, like the John Lennon-inspired “Sun,” which features a vocal effect that sounds just like the one George Harrison conjured up for “Blue Jay Way.” “Floating” bears a strong resemblance to “The Porpoise Song” by The Monkees during their psychedelic Head days, and is one of the highlights of the album.
Many of the songs reveal the more whimsical, English tea-garden variety of psychedelia, which bands like The Hollies and Village Green-era Kinks specialized in. The period production techniques are spot-on, and they have quite a flair for memorable melodies.
Some songs, like “How Far Does Space Go,” have more of a late-‘60s, early-‘70s Floydian space vibe (hence the title) – a little on the self-indulgent side, but then again, that’s partly what that era was all about.
The one song that really doesn’t sound like it belongs, but is a wonderful song nonetheless, is the ironically-titled “Be My Guru,” which reveals a strong Ziggy-era David Bowie glam rock feel. If anything, it shows that this band wasn’t just living in a 1960s time warp. Then again, rehashing 1972 is not exactly living in the modern world either. It does rock out more, though, and keeps the album from becoming too twee.
This band has remained a mystery to many. In fact, I had never heard of them until just the other day. This album came out a little more than a decade ago, though, and apparently is almost impossible to find these days. According to their website, where you can still purchase it as a download, they have also released a handful of singles since then, including one that just came out back in February, “Valentine,” which still carries on the ’60s vibe. If and when they are ever going to release a follow-up to this album, though, I haven’t a clue.
At times, the group comes across as more of a lighthearted pastiche than as a serious modern venture, but it’s all done with amazing skill, humor and love. If you were sad to see the 1960s end, or if you wish you had lived through that time, then The Virgineers will gladly bring on the flashbacks. As they used to say, “far out and groovy.”(beatpatrol.wordpress)

The Virgineers are pop psychedelic at its best. The album is from 1999. Are they retro? Who cares. 
They're good. They're quite good. Imho they're great.

You can buy the digital download here.

And that's the reason why i post this link only for 2 days. If you like it please support the artists.
Enjoy
          SB1    Link (will expire 2017-06-01)

 p.s. I found the physical disc for the cheapest price of around 340 CDN. I think it's time for a reissue, isn't it?

The Mojo Men - Sit Down...It's The Mojo Men (Unreleased songs, rare singles and songs from the unreleased Reprise album) (Sundazed 1995) - Flac & mp3


An 18-song compilation of material from their 1966-68 hitch with Reprise, combining several singles with five tracks from an unreleased album. This fully documents the second phase of the band, when they added drummer Jan Errico and changed from a second rate garage band into a better (but not fully first-rate) pop/folk-rock group. This isn't half bad for the genre, but you can see why they never really distinguished themselves from the San Francisco crowd. It's way too pop to be associated with the Haight-Ashbury scene, a little too weird to be compared to, say, the Association (with the occasional sudden blasts of psychedelic fuzz guitar and baroque production), not as accomplished as the Mamas & the Papas, and gussied up with too many conventional pop string arrangements.
Van Dyke Parks arranged a few of the singles, including their lone hit, "Sit Down, I Think I Love You" (which is here). Most of the material was written by Errico and bassist Jim Alaimo, and although it's a pleasantly worthwhile archival collection, it's not a major find.(allmusic.com)



Hello Folks, have a bad day today, so please excuse me if i should overshoot the mark with words.

Here is a further collection by The Mojo Men. It was released in 1995 by Sundazed and gathering some real nice and interesting songs here. It's a wonderful collection and i think you will like it if you are in pop/folk rock by a ''fully first-rate'' band. :-)


Enjoy
          SB1             Flac p1   &  Flac p2    -  mp3@320

Monday, 29 May 2017

Psychedelic Pop By The Pillbugs: The Pillbugs - Everybody Wants A Way Out 2008 Flac & mp3




The Pillbugs 'Everybody Wants A Way Out' (Rainbow Quartz, 2008)

Pills, thrills and bellyaches

There is always something a little disconcerting about a bunch of middle-aged rockers fiddling with delays and valve amps in search of that long lost Barrett melody or forgotten Kaleidoscope gem. It inevitably ends up in some sour psych stew of ill-fitting paisley shirts and greying sideburns. Yet, and I draw on the great Welsh zoom-rockers Man for hope here, it doesn’t have to be that way.

The Pillbugs, purveyors of all things psych-pop since the late 90s, are another band in question who manage to avoid that ever-alluring pastiche pound. Shrouded in sadness – founder member Mark Kelley passed away as the album was being made – 'Everybody Wants A Way Out' is nonetheless a joyous and incredibly uplifting record that will appeal to anyone whose favourite Saturday night in entails a bag of 'shrooms and the whole of Red Dwarf series 1. For me it’s music that's on the Walkman for those Camden market trips to Rhythm Records in search of the new Steppes record, those heady days when melody was king and the Rickenbacker beat shit out of Les Paul any day of the week. Given that through most of this record I am up out of my seat throwing shapes to an imaginary acid-fuelled throng, it’s far to say The Pillbugs are my new favourite old band (if that makes sense!).

It’s hard to make a case for a band that sounds straight out of ’65 in context with modern needs and concerns, yet, despite having nothing ‘modern’ about them whatsoever or indeed seemingly caring, The Pillbugs somehow don’t sound out of place. I guess great songs, soaring guitars, and songs about chicks called ‘Emily’ never date. A wholehearted, thumbs up for a record that has reignited my search for all those missing issues of Bucketful Of Brains I never got around to buying first time around. Fab! (bandcamp, review by Del Day)

Produced by Mark Mikel

Review:
Album Artwork: Mark Roland
Design: Bob Tibbitts
The Pillbugs: Dan Chalmers, Mark Kelley, Mark Mikel, David Murnen, Scott Tabner
Additional bass/guitar/vocals/production: Scott Hunt 

Enjoy this extraordinary psychedelic pop band
Have fun
                SB1    I killed the old links because the rip was not 100% okay. I will do new links later.
                           Please have a little patience, Folks.
                           Thanks for the sympathy,
                                                                  SB1

The Pearfishers - Open Up Your Colouring Book 2014 Flac & mp3



An ever-shifting Scottish group led by singer/songwriter David Scott, the only constant member, the Pearlfishers are a glorious soft pop band mixing acoustic-based music with subtle orchestral flourishes, rather like a Glasgow-based Prefab Sprout with a major Brian Wilson fixation. Since forming in 1989 the Pearlfishers have refined and broadened their sound while maintaining a steadily growing cult following.
Scott began writing songs while a teenager in Glasgow in the early '80s. In the summer of 1984, Scott played his earliest bedroom efforts to local musician Bobby Henry, who offered to put a pair of them on The Shift Compilation, an anthology of Glasgow bands released on Henry's own Shift Records. Released under the band name Chewy Raccoon, a joke name that stuck, the songs attracted enough attention that Scott and the band were signed to Shift's distributor, Phonogram, which released the group's sole single, "Don't Touch Me," in August 1985. The single flopped, Scott was dropped by Phonogram, and the Chewy Raccoon name was, thankfully, retired.
The following year, Scott hooked up with Australian-born drummer Jim Gash, keyboardist Robert McGinlay, bassist Chris Keenan, and backing vocalist Jeanette Burns to form the immediate precursors to the Pearlfishers, Hearts and Minds. Signed to CBS Records, the group released one single, the folksy "Turning Turtle," produced by Eric Stewart of 10cc, in September 1987. After that single followed the Chewy Raccoon disc to oblivion, internal dissension split the group, who left CBS in early 1988, permanently souring Scott on the major-label experience.
Scott and Gash quickly formed a new group, featuring Brian McAlpine on keyboards and Yugoslavian bassist Mil Stricevic. When an American group called Hearts and Minds signed with A&M Records, Scott and company changed their name to the Pearlfishers, after the Bizet opera. Twice burned by his previous experiences with record labels, Scott formed his own imprint, My Dark Star, which released the Pearlfishers' debut single, "Sacred," in late 1990. Sessions for an album tentatively titled The Flo'ers o' the Forest followed, but they were abandoned in the summer of 1991. An EP, Hurt, was fashioned from songs recorded in the abortive album sessions and released in November of that year, quickly followed in early 1992 by a cassette-only release of strictly acoustic songs called Woodenwire, which featured a musical setting of a Robert Burns poem and a pair of traditional Scottish folk songs.
Recorded in nearly a year's worth of off-and-on sessions, the Pearlfishers' debut album, Za Za's Garden (named after one of Scott's earliest pre-Chewy Raccoon songs), was released in August 1993. Produced by Scott and McAlpine, the album largely abandoned the rustic and folky elements of the Pearlfishers' early releases in favor of a newfound emphasis on crystalline arrangements and Beach Boys-inspired harmonies, anchored by McAlpine's delicate keyboards.
The first of several lineup changes took place after the release of Za Za's Garden. In fact, for the next several records, the Pearlfishers were simply Scott and McAlpine with a revolving door of rhythm sections, plus guests on various string and reed instruments. During an extended break between the first and second albums, Scott partnered with Duglas T. Stewart of the BMX Bandits to create and tour with two revues based on the music of Scott's two primary influences, Brian Wilson and French jazz-rock idol Serge Gainsbourg.

Signing with the German label Marina Records, Scott and McAlpine released possibly their finest album, 1997's The Strange Underworld of the Tall Poppies, an album that is to Pet Sounds what Za Za's Garden had been to The Beach Boys Today! Two stop-gap EPs followed, 1997's Even on a Sunday Afternoon and 1998's Banana Sandwich, while Scott and McAlpine labored over 1999's The Young Picnickers, another album of moody, semi-orchestral pop, this time featuring a collaboration with Stewart. Scott and Stewart collaborated two more times in 2000: on-stage with a tribute concert to the legendary Italian soundtrack composer Ennio Morricone and on records with the Marina tribute album Caroline Now!: The Songs of Brian Wilson and the Beach Boys, executive produced by the pair.
2001's Across the Milky Way introduced a new era in the Pearlfishers' career. McAlpine was gone, leaving Scott to handle keyboards along with his usual guitar and bass duties. The album is perhaps slightly less grand than its two predecessors, with a more intimate, live feel. Original Pearlfishers drummer Jim Gash returned, and bassist Lindsay L. Cooper (of avant-garde jazz trio Day & Taxi) is among the dozen guest musicians. The Strange Underworld of the Tall Poppies was re-released the following year.

I don't know how the line up is now but the 2014 album 'Open Up Your Colouring Book' is  one of their best.
This album is an absolutely favourite by me. The Pearlfishers are pop  geniuses. If you don't know the band give it a try.

Have Fun
                SB1    Flac p1  & Flac p2  &  Flac p3   -  mp3@320

Mexican Psychedelic Pop From 1970: The Spiders - Back


The Spiders were a band from Mexico and they played a really nice psychedelic pop. What i found out was the line up of the band but not really more. Give it a try if you like this kind of music.


Line Up:Manuel Olvera: bass, percussion
Reynaldo Diaz V.: guitar, harmonic
Antonio Vierling: guitar, vocals, tabla
Servando Ayala: piano, organ
Enrique Chaurand: drums, percusion, tabla


Have Fun
                 SB1             Flac p1  &  Flac p2        -  mp3@320

Kevin K once again!!! Kevin K And The Kool Kats - Allies (2013) & 13th Street (2001) Flac & mp3








Kevin K is Kevin Kalicki, one of the founders of Buffalo punk/new wave icons the Toys. Kevin started legendary bands Grim Reaper and Aunt Helen with his brother, Alan, in the mid- to late-1970s, with the later band releasing what is considered by some the first punk rock 45 in the Buffalo area. Kevin (going by Kevin K) and Alan (aka Rocky Starr) started the Toys with Doug (Mick) Tyler and Joel Slazyk (Meat Cleaver) in 1979.


Before long, their combination of high-energy original songs and outrageous stage show had them opening for bands ranging from the Ramones, Dead Boys and Romantics to Squeeze and Pat Benatar. Along the way, they released one (now) highly collectible single, "Livin' Fast"/"I'm Telling You Now" and the also rare album, "Say It." The latter was released after the band's name was changed to the New Toys. The band toured throughout the northeastern U.S., earning a rabid following, and eventually moving to New York City, working with the band Dirty Looks and befriending former New York Doll Johnny Thunders before disbanding in 1984.

After that, the Kalicki brothers formed a band called the Lone Cowboys (finally recording a legendary punk version of Debbie Boone's "You Light Up My Life" that had roots going back to Toys days. The brothers later collaborated again in the Road Vultures, a band that brought them to the attention New York's punk legends like Sylvain Sylvain, Jerry Nolan, Dee Dee Ramones and Cheetah Chrome. Alan Kalicki died in 1996, but Kevin K has kept on rocking. He regularly tours Europe, hitting France, Germany and Poland, and has been recording albums all along. His last appearance in Buffalo, though, was nearly 20 years ago. He'll be performing at the Gateway Gallery with a band of friends from the area, with a special appearance planned - if all goes well - by former Toy Mick Tyler. In opening the show, Cowboys of Scotland will play a set of classic punk and original songs, while Matt Smith will bring his own mix of Johnny Thunders-inspired rock 'n' roll for another set. (discogs)

Garage/Glam/Power Pop from a man who learned his musical handcraft on the roads of this world.

This are two albums on one disc and we have a lot of great songs here but it's a pity that 'Too Much Junkie Business' from 13th Street is missing here in this release. I assume it's for not enough space on the disc. :-(
However, if you like this kind of music grab it. And if you see the band is in your hometown go and visit the concert. You will get a full load of Rock'n'Roll.

Enjoy
         SB1  Flac p1  &  Flac p2  &  Flac p3     -  mp3@320     


      

Sunday, 28 May 2017

Glam/Power Pop by Kevin K & The Hollywood Stars 2007 Flac & mp3

Kevin K & The Hollywood Stars 2007

Today i read a review about this album where the critic talked about the album cover '' the cover looks like self made with corel draw and the frontman looks like a drug victim of 20 years drug abuse...but than i listened to the music and was positive surprised... Here i stopped reading further. I understand what he want to say about the artwork and i understand what he want to say about the look of Kevin K. But what have that to do with the music?
I don't need music critics like that. Bullshit! Excuse me i forgot my good breeding :-)


This is my review in a few words: If you like Power Pop with Glam and catchy songs with a punk attitude grab Kevin K & The Hollywood Stars.


Have fun
              SB1      Flac part1  &   Flac part2    -  mp3@320