Thursday, 27 July 2017

Sixties Garage/Psychedelic Pop: The Velvet Illusions - Acid Head (1967) (2011 Cherry Red) Flac & mp3@320



The group originated from a jam session between Randy "Jimmie James" Bowles (lead guitar, vocals) and Chuck Funk (rhythm guitar) in 1965. Funk recommended rehearsing with neighbor George Radford (saxophone) at his parents' upholstery shop, with the resulting session encouraging the trio to form a band Randy Bowles named the Illusions. Radford's father elected to manage the group, supplying them with  equipment and velvet outfits. Upon discovering that another band was known as the Illusions, the band changed their moniker to the Velvet Illusions to emphasize their unusual gimmick. The band added to their personnel when they recruited Steve Weed (keyboards, vocals), formerly of the local group the Shy Guys, Larry “Lurch” Linse (bass guitar), and Danny Wagner (drums).

The expanded lineup continued to hone their skills and develop a chemistry as an ensemble at Radford Sr.'s upholstery shop. The Velvet Illusions achieved a sizable regional fanbase by renting a music hall called Nob Hill Grange where the group held several battles of the bands, most typically with rival group the Fluorescents. With a live repertoire encompassing covers of material by the Rolling Stones, the Beatles, and the Monkees, as well as novelty songs such as "Snoopy vs. the Red Baron", "Mellow Yellow", and "Winchester Cathedral", the Velvet Illusions were what Bowles explains as their manager's desire to make the group "clean cut alternatives to other bands of the period". In addition to the usual array of gigs, the band also appeared on KIMA TV to promote their Vox instruments. The group strenuously denies that the company sponsored them during their existence.

In early 1966, the band made the acquisitions of guitarists Danny Wohl and Dewayne Russell. Also during this time, the Velvet Illusions began recording at Audio Recorders in Seattle. In mid-1966, the band released their debut single "Acid Head", a composition about a woman suffering from a drug addiction, coupled with the Weed-penned "She Was the Only Girl", on Tell International Records. However, the single failed to reach a national audience when radio stations refused to promote "Acid Head" for its drug references. Two more singles, "Town of Fools" and the psychedelia-tinged group theme song "Velvet Illusions", were recorded in Audio Recorders, and released in rapid succession on Radford Sr.'s self-produced record label Metro Media. "Town of Fools" was particularly successful in the Northwest region; however, the band was limited by the small market and sought to relocate to another more prominent music scene.

In June 1967, the Velvet Illusions concluded a tour of the Northwest, and moved to Los Angeles in hopes of promoting their music on a national scale. Linse left the group before the transition to keep commitments to the United States Army Reserve, and Russell departed over disagreements in musical direction. Former Shy Guy bassist Dale Larrison was recruited by Weed, as was his brother Gene Weed, who withheld duties as the band's co-manager. The group worked persistently at promoting their music, particularly "Acid Head", which the Velvet Illusions performed on the Yakima television program Summer Wild Thing in a failed effort to lift the radio ban. Still, the song's removal from the airways earned the band notoriety in Los Angeles and the Northwest where they soon became a popular live attraction. Reflecting on the radio ban, Bowles said its "fine, because today, 'Acid Head' is collected all over the planet, is well-represented on compilation LP’s and CD’s, and is all over YouTube and internet radio. So we did fine with that song!".
However, Radford Sr.'s controlling managing style caused disgruntlement within the group, resulting in Bowles and Wagner returning to Yakima. The final lineup of the Velvet Illusions saw the additions of drummer Jon Juette, and future Earth, Wind, and Fire guitarist Roland Bautista. Internal debate between Radford Sr. and the band minimized the group's willingness to continue performing. An additional two singles, "Lazy" and a song about the group's perspective on the hippie scene called "Hippy Town", were recorded in Sunset Recorders and released in November 1967. With the final releases credited to Georgy and the Velvet Illusions without the group's consent, the band members decided to disband the Velvet Illusions in December 1967. Upon returning to Yakima, former Velvet Illusions Weed, Larrison, Wagner, Wohl, and Bowles reconvened as a group known as the Peppermint Tea, and finally enjoyed the freedoms of managing themselves. The band was short-lived, considering the small market they were situated in, and broke up by the end of 1967.
Despite never receiving much promotion outside Los Angeles, the Velvet Illusions' music has since been featured on several compilation albums, and the band itself is considered within collector circles as "The great lost California psychedelic band" (despite not being native to the state). The group first appeared on Acid Dreams, and have also been included on Acid Dreams Testament, Pebbles, Volume 9, Garagelands, Volume 2, Sixties Archive, Volume 8, and Where the Action Is! Los Angeles Nuggets 1965–1968. In 2011, the Velvet Illusions' material spanning across their five singles was compiled on the album Acid Head, on Cherry Red Records. Overtime, it has been revealed the Velvet Illusions recorded the unreleased songs "Grow Up Young Man", "Lonely Girl", and "Bigfoot". The tune "Bigfoot", the most peculiar of the three songs, was composed in 1966 in response to the Bigfoot craze in the Northwest.


In 2015, Moi J'Connais Records released Velvet Illusions, another compilation album that features all of the group's material. It was particularly successful, selling out its initial press run.

Very interesting band with a different sound in their self penned songs compared to the most of the bands then.
Enjoy
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Hoodoo Gurus - Stoneage Romeos 1984 (Big Time Records) Flac &mp3@320


"Shake some action/Psychotic reaction/No satisfaction/Sky pilot, Sky Saxon/That's what I like/Blitzkrieg bop/To the jailhouse rock/Stop stop, at the hop/Do the bluejean bop/That's what I like!" In the first verse of "(Let's All) Turn On," Hoodoo Guru's frontman Dave Faulkner summed up the band's aesthetic so well that elaborating almost seems pointless, but while it's obvious that Faulkner and his friends had a healthy appreciation of rock & roll's past, one listen to their debut album, Stoneage Romeos, made clear they thought music was having a pretty good present, too.


The Hoodoo Gurus played power pop with the force and enthusiasm of a full-bore rock band, and while they loved '60s garage rock (as if "(Let's All) Turn On" and "In the Echo Chamber" would permit any doubt on the subject), there was a lot more going on than that -- check out the pop rock of "I Want You Back," the neo-exotica of "Zanzibar," the psychobilly of "Dig It Up," the heartbroken lament of "My Girl," and the straight-ahead rock of "I Was a Kamikaze Pilot." Faulkner, guitarist Brad Shepherd, bassist Clyde Bramley, and drummer James Baker loaded their songs with catchy melodies and killer pop hooks and played 'em with the sweaty enthusiasm of a crack rock & roll band that knew the value of a great tune. And Stoneage Romeos is funny as hell without sounding like the work of a joke band; the Gurus loved a good laugh, but they loved a good tune even more. Stoneage Romeos ranks with the most solid debut albums of the 1980s, and if you don't like the Hoodoo Gurus, I suspect you don't like rock & roll very much.(allmusic.com)


I can't remember there were a better album than this in 1984 to me. I never had heard before of the band but the songs all sounds more interesting as all the bands who tried to play rock'n'roll in that time then. People in '84 preferred more the synthesizer bands. For rock'n'roll the eighties were not a good decade. But these guys were loud, they were fun and they had an album i played around the clock day by day that year. If i listen today to the Hoodoos some of their songs haven't aged only one day.
Play loud and
have fun
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Wednesday, 26 July 2017

The Buffoons - The Golden Years Of Dutch Music (2015 Universal Music) Flac & mp3@320


It's hard to get some information about the band except on a few dutch sites. The band was founded as The White Rockets in 1966 with Hilco ter Heide vocals, Gerard van Tongeren guitar & vocals, Ely van Tongeren lead guitar & vocals, Maarten Assink drums& vocals, Bob Luiten bass & vocals and Benny de Groot keyboards & vocals. The band was very successful in the netherlands and other european countries. But in 1973 they had their last charting song. 1979 the band call it quits.
 I love the band for their fantastic harmony vocals and their fine slightly psychedelic sound.

This fine compilation is contributed by Bert a very friendly guy who follows this blog. Thank you very much!

Hope you have fun
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Tuesday, 25 July 2017

The Troggs - The Trogg Tapes 1976 (2008 Repertoire Records)









Don't mistake the title of this album, The Trogg Tapes, for that 12-minute talking studio digression New Rose Records released (with no track listing) on The Troggs on 45's EP. Perhaps cashing in on that fun debacle's underground buzz, the band releases 11 tracks that are pure Troggs. With singer Reg Presley and late drummer Ronnie Bond on board, original producer/manager Larry Page puts together an exciting 1976 album which has a simple raw sound, perfect for the new wave.


As Larry Uttal's Private Stock label couldn't do much with Blondie, this innovative disc went nowhere as well and the shame of it is that there's some great rock & roll in these grooves. Bassist Tony Murray and co-guitarist Colin Fletcher come up with a decent pop ballad in "After the Rain," while Rufus Thomas' "Walking the Dog" is so primitive that it is too bad the Rolling Stones and Aerosmith didn't get to hear it before they tracked the tune for their respective debut albums.


The snarling guitars of Fletcher and Richard Moore create a wonderful platform for Reg Presley's distinctive grunts and growls. Sure, Marc Bolan was the visionary that Reg Presley is not, but with the Troggs having three Top 30 hits to Bolan's one in America, and with quality underground stuff like this, the band should have been able to do more than issue discs for a cult following. Producer Larry Page and guitarist Colin Fletcher come up with a great track in "Gonna Make You," while sea effects on "I'll Buy You an Island," courtesy of the English Channel, is the cool, earthy stuff that made the Troggs such an important fringe band. The back of the LP has a tape box à la the Velvet Underground's Peel Slowly and See, while the front has the group sitting in a mini-mountain of unspooled recording tape.


Drummer Ronnie Bond is no longer with us, but he gets to sing the vocal on "Rolling Stone," one of two titles he co-writes with Tony Murray. There are only two Reg Presley originals here, but his attitude is everywhere, from the punk of "Rock 'N' Roll Lady" to the fine leadoff track "Get You Tonight." Had Private Stock saturated college radio with a collector's-item disc, say a colored vinyl 45 of "Get You Tonight," this excellent artifact would have had a fighting chance. It doesn't have the angst or abandon of the Sex Pistols' Never Mind the Bullocks nor does it have the pretension of some of the Clash's material; it's a consistent recording of a band doing what they do very well, and on that level it works just fine.(allmusic.com)


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One of my absolute favourite 60/70ties band. This is a really great rock'n'roll band.
Have fun
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Pre 10cc: Hotlegs - You Didn't Like It Because You Didn't Think Of It-The Complete Sessions 1970/1971 (2012 Grapefruit Records) Flac & mp3


One of the finest archive products of the pre-CD age, You Didn't Like It was released in the U.K. in 1975, at the height of 10cc's success, as a reminder that there was more, so much more, to the members' past incarnation as Hotlegs than the hit "Neanderthal Man." Rounding up every track that the ultimately ill-starred combo cut -- that is, the entire Thinks: School Stinks album, plus four additional performances -- You Didn't Like It not only took the edge off an increasingly desperate collectors market (copies of that original album were impossible to come by), it also reminded listeners just how much of Hotlegs' legacy had been bequeathed to the members' next project. "Fly Away," itself re-recorded from a Godley-Creme contribution to a 1969 Marmalade label sampler, offers the prototype for any number of subsequent ballads -- innocent vocal, innocent song, but a deceptive beast of a lyric.


"How Many Times" (the doomed U.S. follow-up to the hit "Neanderthal Man"), "Take Me Back," and "All God's Children" each had a close relation lurking within the 10cc catalog, while "You Didn't Like It" itself had already been pressed back into surface, as the first 10cc album's closing "Fresh Air for My Mama." "You Didn't Like It" is one of four songs appended to the original Thinks album. Of the remainder, "Lady Sadie" was released as a single in 1971 and went absolutely nowhere, while "Today" and "The Loser" saw service on the "second" Hotlegs album, Songs. Despite such generosity, however, You Didn't Like It fared no better than either of its predecessors, and, bitterly, one remembers why.


10cc at the time were universally regarded among the most creative bands on the planet. Hotlegs, on the other hand, were good for one thing and one thing only. "I'm a Neanderthal man -- CRASH; you're a Neanderthal girl -- CRASH...." And collectors notwithstanding, that was never going to change. (allmusic.com)


Great like a lot of the stuff the band or its members released over the years, excuse me...over the decades. If you like what these guys have done in the past you will love this, too.

Enjoy
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John Squire's The Seahorses - Do It Yourself 1997 Flac & mp3@320


When John Squire (b. 24 November 1962, Broadheath, Greater Manchester, England; guitar) announced his departure from the Stone Roses in March 1996, inevitable press speculation followed regarding what he would do next. The usually taciturn Squire stated: ‘I’ve always been into the idea of a group... I don’t want to be a solo artist, I want to contribute to a band.’ Still contracted to Geffen Records, Squire chose three unknown musicians to join him in what constituted a fresh start after the friction of his final months in the Stone Roses.


Chris Helme (b. 22 July 1971, York, England; vocals/acoustic guitar) was approached while he was busking outside his local Woolworths, while Stuart Fletcher (b. 16 January 1976, York, England; bass) was standing in on bass for local band the Blueflies, when Squire happened to be drinking in the pub where they were playing that night. Squire, Helme and Fletcher rehearsed for several months before recruiting Andy Watts (b. 1970, London, England; drums/vocals) to complete the line-up.


After playing a low-key debut performance in Scotland, the band decamped to Los Angeles to record their debut album with Tony Visconti (David Bowie, T. Rex). Featuring songs by both Squire and Helme, Do It Yourself was released in May 1997 on the back of an excellent Top 10 single, ‘Love Is The Law’. The album eschewed the sub- Led Zeppelin riffing that weighed down the Stone Roses’ The Second Coming, opting for a more melodic and playful style of Britpop. Helme’s folk-influenced vocals were a welcome contrast to Squire’s distinctive guitar work, while his string-laden ballad ‘Blinded By The Sun’ stood out as one of the album’s highlights.


Diverse enough to appeal to both old Stone Roses fans and new listeners, Do It Yourself justified Squire’s faith in his new band by entering the UK album charts at number 2. Watts left the band in September 1997 and was replaced by Toby Drummond (b. 1976, Hastings, Sussex, England).

Expectations for a second album were quashed when the band announced they were splitting-up in early 1999. Squire released his debut solo album, Time Changes Everything, three years later. Helme went on to record with the Yards.

An email conversation with a very nice guy i know (Hello Bert :-) ) gave me the inspiration to post this album here today. I ask myself what went wrong if a band hits the charts at number two with their first album and the single is a success too. After the album release four months later the drummer left the band. And around one and a half year the band was history. The music? Ah yes the music. The Seahorses made a very good brit pop album with very good songs, strong hooks, jangly guitars and a slightly psychedelic feel. Squire and the band have done an album way better than the most of the million brit pop copies at the time then.
Have fun
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Monday, 24 July 2017

Pop Garage from '65: The Gentrys - Keep On Dancing 1965 ( 1995 Collectables) Flac & mp3@320


The Gentrys didn't take the prize when they competed on The Ted Mack Amateur Hour, but the resulting exposure led to the group's signing with the local Youngstown label. The evergreen "Keep on Dancing," their second single, hit the Top Five in 1965 after MGM picked it up for national distribution. The song was a cover of a 1963 recording by the Avantis and, in the Gentrys' hands, exemplified the stripped-down, three-chord rock & roll of the garage band revolution. Keep on Dancing is a reissue of the group's MGM album of the same name, the first of two long-players they recorded for the label and the only one to chart.
The album contains the their big hit, one side of their first Youngtown single ("Sometimes"), and an assortment of ballads and garage band standards such as "Hang on Sloopy," most of which are based on the same basic chord progression. The influence of the British Invasion -- particularly early Beatles -- is apparent, as are flashes of soft pop vocal harmonies and Byrds-y arpeggiated guitars. Two bonus tracks round up the group's remaining Top 100 hits for MGM: the unvarnished rock & roll of "Spread It on Thick" and a cover of Arthur Alexander's more nuanced "Everyday I Have to Cry."(allmusic)



In 1965 they can't go wrong with this sound. Fine pop album.
Enjoy!
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Band of Brothers: The Rugbys - The Lost Sessions 1966-1972 (2007 Gear Fab Records) Flac & mp3@320


The band was formed in 1965 in Louisville, doing mostly covers. But as competition among Louisville groups to write and record original music increased, the Rugbys recorded and released two singles in 1968, "Walking the Streets Tonight", written by Doug Sahm of the Sir Douglas Quintet, later included on the compilation album Highs in the Mid-Sixties, Volume 8, and "Stay with Me", written by Steve McNicol. Both songs were released locally and played on Louisville radio stations WAKY and WKLO.
The band found success later in 1968, when they decided to release the B-side of "Stay with Me", a song called "You, I", also written by McNicol. "You, I" climbed to #1 on both local radio stations. They were then signed to Shelby Singleton's Nashville, Tennessee, record label, Amazon Records, which re-released the single "You, I" in 1969, and the song became a national hit, climbing to #24 on the Billboard Hot 100 and #22 on the Cash Box magazine charts. "You, I" was also released worldwide on labels from Spain (Exit Records), Italy (Akarma Records), England (Polydor Records) and Thailand (Thai Records). Akarma also released the album "Hot Cargo" on CD in a limited edition, which is very rare and hard to find on the internet. The song " You, I " was also covered by a couple of other international groups (The Pepper Smelter Group, from Peru, and the Climax, from Belgium).
Band Of Brothers
The latter part of 1969 and all of 1970 were spent touring the midwest and northeast, playing on the same bill with artists like Bob Seger, Grand Funk Railroad, the James Gang, and many others. Later that year, the band released their only album, Hot Cargo, which received only mild success due to a complete lack of national promotion and a failure by Shelby Singleton in 1969–70 to recognize the upsurge of FM radio. "Wendegahl the Warlock" was the follow-up single to "You, I", but it did not chart. Hot Cargo would later be released on CD along with an album by a group named Lazarus on the same disc, called The Rugbys meet Lazarus. More recently, in 2007, Gear Fab Records released an anthology album with McNicol and the Rugby's previously unreleased original material called The Lost Sessions.(wiki)

I think the band lost their direction at the end of '68. They had done a very good style of jangle pop with three part vocals.''You, I'' hit the charts but had nothing to do with the earlier stuff here on the disc.
Have fun
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''The Move'' Founder Ace Kefford - Ace The Face 1968 (2003 Castle Music) mp3@320


Ace Kefford was a secondary member of the first lineup of the Move, playing and recording with the band through 1968, during the most pop-oriented phase of their career. Before the Move, Kefford had played with Carl Wayne & the Vikings, featuring future Move singer Wayne and future Move drummer Bev Bevan. With the Move, Kefford played bass (although he is also credited with guitar on the album sleeve for The Best of the Move), and sang some backup vocals. He did not write any of the band's material, and had just one lead vocal, on the Roy Wood composition "Yellow Rainbow" (featured on the Move's first album). According to Bev Bevan's liner notes for The Best of the Move, Kefford "functioned as the group's pouting glamour-man." He did write one quite Move-like song, the playfully pop-psychedelic "William Chalker's Time Machine," which was recorded on a 1968 single by the Lemon Tree.



Kefford left the Move in early 1968, after increasing instability resulting from depression and panic attacks. He recorded about an album's worth of unreleased material in mid-1968 with producer Tony Visconti (to become renowned for his work with David Bowie), but the project was abandoned, without production complete on many of the tracks, when Kefford had a breakdown. These sessions found Kefford writing much of the material and trying his hand at an assortment of late-'60s rock styles, as well as singing it in his soul-rock voice, which wasn't nearly as distinctive or capable as the vocals of, say, his old Move cohorts Carl Wayne and Roy Wood. Nine tracks from the unreleased album sessions, in their various states of (in)completion, were released in 2003 as part of the Ace Kefford CD compilation Ace the Face.

Kefford then became frontman for the short-lived Ace Kefford Stand, who did one single, "For Your Love" b/w "Gravy Booby Jam," for Atlantic in 1969. The A-side was a drawn-out, heavy, and fairly tedious cover of the Yardbirds classic; the flip, thrown together by the band the night before the session, was a forgettable psychedelic-progressive rock crossover effort with freaky guitar. The other members of the Ace Kefford Stand, incidentally, had been previously known as Young Blood, and did four singles for Pye; the Ace Kefford Stand's most illustrious member was drummer Cozy Powell. After the single, Dave McTavish of Tintern Abbey joined and the band changed their name to Big Bertha, which did one single. Its A-side, "This World's an Apple" was, according to Kefford (quoted in Record Collector) "crap"; the flipside was "Gravy Booby Jam," credited to Big Bertha Featuring Ace Kefford.
Kefford drifted in and out of music in the '70s, continuing to struggle with mental problems, at one time attempting suicide. Feelers put out to work with Ozzy Osbourne and Jeff Beck came to nothing, though he was briefly in the band Rockstar, who put out a 1976 single "Mummy"/"Over the Hill." Both of those sides were written by Kefford, with the A-side in particular showing a strong, early-'70s David Bowie influence. All of Kefford's post-Move odds and ends were compiled on the Ace the Face CD, including the unreleased 1968 album sessions; the Ace Kefford Stand single, and a few Ace Kefford Stand outtakes; Big Bertha's "This World's an Apple"; the Rockstar single; and the Lemon Tree's "William Chalker's Time Machine" single.(allmusic.com)


Unfortunately only in mp320. I'm glad that Ace Kefford added no instrumentation later in 2003 to the nine unreleased songs. Some little gems here and the whole collection make a lot of fun.
Enjoy
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Sandie Shaw - The EP Collection (1990 See For Miles Records) Flac & mp3


This 26-song Sandie Shaw collection is one of the better compilations of the singer's 1960s-vintage work, though it's also a bit strange in that it doesn't follow any chronological order that one can discern. Opening with 1967's "Tell the Boys," the tracks "advance" to 1964 and then back to 1967, and, in addition to obvious hits such as "Puppet on a String" and "There's Always Something There to Remind Me," listeners get a liberal smattering of French- and Italian-language sides by the singer, including "Viva l'Amore con Te." Despite the chronological acrobatics, this disc is one of the better compromises that one can choose in the event that the four-CD set Nothing Comes Easy is a bit out of one's reach. The sound is excellent for its age, although more recent reissues may have an edge for those to whom state-of-the-art digital transfers matter, and the thorough annotation by Spencer Leigh more than makes up for the age of the release.(allmusic.com)


 The collection is well done but one thing that in my ears don't work is the italian number ''Viva l'Amore con Te''. I'm sorry but Sandie Shaw sounds here real ''hard stuff'' in my ears. Apart from that it is a very fine collection. Also without the state-of-the-art bla digibla transblabla.
Have fun
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Beat Pop Mod from Scotland: The Beatstalkers - Scotland's No.1 Beat Group (1965-69) (2005 Ika Records remastered) Flac & mp3@320


Formed in Glasgow, Scotland, in 1962, the Beatstalkers originally comprised Davie Lennox (vocals), Eddie Campbell (guitar), Alan Mair (bass) and ‘Tudge’ Williamson (drums). Within weeks Ronnie Smith (rhythm guitar) had been added to the line-up. By 1964 the Beatstalkers had become a leading attraction, specializing in cover versions of hitherto obscure soul and R&B songs. Such was their popularity, the group was dubbed ‘Scotland’s Beatles’ and in 1965 an open-air concert in Glasgow’s George Square was abandoned when fans rioted.


The Beatstalkers then secured a recording contract with Decca Records. ‘Everybody’s Talkin’ ’Bout My Baby’, ‘Left Right Left’ and ‘A Love Like Yours’ followed in succession, but although worthwhile in their own right, these records failed to capture the group’s true mettle. The Beatstalkers moved to London in 1967 where they secured a residency at the famed Marquee Club. However, despite switching to CBS Records, the group was still unable to achieve a major breakthrough, in part because they relied on outside material.

Their new manager Ken Pitt suggested that the Beatstalkers record songs by his best-known charge, David Bowie. Three of his compositions, ‘Silver Tree Top School For Boys’, ‘Everything Is You’ and ‘When I’m Five’, were released in succession, although only the first title was issued as an a-side. The experiment was neither an artistic nor commercial success, and, as Alan Mair later recalled, ‘It was pitiful to watch Davie Lennox rehearse the songs in an English accent.’


The Beatstalkers split up in 1969 when their equipment was stolen. Late-period drummer Jeff Allen joined East Of Eden, while Mair was later a member of the critically acclaimed Only Ones.(allmusic.com)


This scottish guys had all what a band needed for the break through except... own songs. They sounded very modern and they were really great interpreters but they had not really much own songs. This collection is a very good one. You can hear their commercial abilities in their song recordings and a very good selection of songs. Maybe the audition missed an own special Beatstalkers sound.
I believe they never reached the charts.
However, have fun
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Sunday, 23 July 2017

Ex Kaleidoscope (UK) Fairfield Parlour - From Home to Home 1970 (2004 Repertoire Records) Flac & mp3@320

The saga of Fairfield Parlour, though brief, is confusing because the group was really the same as Kaleidoscope (the British band called Kaleidoscope, not to be confused with the psychedelic band called Kaleidoscope from California who was active in the same era). Around 1970, Kaleidoscope changed their name to Fairfield Parlour, though the music was pretty much the same whimsical, fairy tale-ish blend of harmony pop/rock folk with late-'60s Beatles and Pink Floyd psychedelic flavors. They issued a 1970 LP on Vertigo, From Home to Home, which continued the directions they had staked out in Kaleidoscope, with slightly heavier rock arrangements. Shortly after its release, they worked on a double-LP concept album, White Faced Lady, based on the story of a troubled young woman who becomes a movie star, but descends into tragic death. Plans to join the RCA roster stalled when their contact at the label departed. The album was not issued at the time, though it finally appeared in the '90s. In 2000, the double-CD compilation The Fairfield Parlour Years -- billed, confusingly, as Kaleidoscope -- combined the From Home to Home and White Faced Lady albums, adding bonus tracks from non-LP releases and other sources.(allmusic)


Completely underrated at their times then. The name change made no sense in my opinion because they changed no other things. The White Faced Lady album was not released in the nineties under the Fairfield Parlour name. They released it 1990 under the Kaleidoscope flag.
Enjoy ''From Home To Home''
Cheers
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The Clash - London Calling 1979 (1999 Epic)


Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs -- particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" -- are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary.



But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded.(allmusic)


Whatever ''the greatest'' means in this context. I think it was an important album for the band back then. This album opened the commercial market for the Clash and it would skillful marketed. All that is absolutely okay and the album is really good but i can't agree with the term ''one of the greatest rock & roll albums ever''. To me it is a classical album because it stands for a particular time in music and an overall change in the music business. Okay folks enough blabla now,
enjoy the Clash
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