Sunday, 20 August 2017

US Garage: The Mourning Reign (USA) - Satisfaction Guaranteed (Vinyl 24/96) 1966-1967 (2013 Beat Rocket) Flac & mp3@320


Formed in San Jose, California, USA, the Mourning Reign were garage band peers of the Chocolate Watchband and the Harbinger Complex. Initially known as the English, they comprised Frank Beau Maggi (vocals), Johnnie Bell (lead guitar), Steve Canali (rhythm guitar), Charlie Garden (bass) and Craig Maggi (drums). They were highly popular in the suburbs of south and east San Francisco, playing punk-styled material derivative of the Rolling Stones and Yardbirds. The group recorded a cover version of ‘Evil Hearted You’ as their debut in 1966, before completing a compulsive original song, ‘Satisfaction’s Guaranteed’, as its follow-up. Thomas O’Bonsawin then replaced Bell, but although two further tracks were completed for a third single, it remained unissued as the Mourning Reign split up in 1968 when several members were drafted to Vietnam.(allmusic.com)

This San Jose band from the mid-1960s has had a cult following for quite some time based on a tiny handful of local sides that passed from one collector to another, enhancing their rep by word of mouth. This ten-song issue on Sundazed's vinyl only subsidiary label captures them raw 'n' nasty, blasting through some studio covers of Who, Cream and Yardbirds tunes and a brace of their own stuff. Lead singer Beau Maggi was one of the best garage-band Jagger soundalikes, and the band had that nether ground between British fuzztone band and coming psychedelia down pretty darn well; it's all here to enjoy.(Cub Koda, allmusic.com) 


A band who is also on the ''Garage Beat '66'' series. This guys played a very good style with different influences.

Have fun
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Harmony/Sunshine Pop by subsequently Bread members: The Pleasure Fair - The Pleasure Fair 1967 (1997 Universal Japan) Flac & mp3


Vocalist Michelle Cochrane, singer/keyboardist Robb Royer, bassist Tim Hallinan, and drummer Steve Cohn formed harmony pop quartet the Pleasure Fair in Los Angeles in 1966. The group signed to Uni Records the following year, and on the recommendation of session ace Leon Russell, pop maestro David Gates was installed to produce their self-titled debut LP, headlined by the single "Morning Glory Days." "(I'm Gonna Have To) Let You Go" followed in 1968, and the Pleasure Fair soon dissolved; Gates then recruited Royer to join his fledgling soft pop group Bread, and the rest is AM radio history -- Hallinan is also among the musicians credited on the first Bread album, and later enjoyed a career as a mystery novelist. (allmusic.com)

Short lived project of harmony pop with some very fine vocal arrangements. Maybe you give it a try if you like well arranged vocals with slight folk influences.

Have fun
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Various Artists - Garage Beat '66 Vol.4 ''I'm In Need'' (2006 Sundazed Records) Flac & mp3@320


Sundazed picks up its Garage Beat '66 series where it left off, with the fourth volume, subtitled I'm in Need!, following the same pattern as the first three, serving up 20 garage rock sides from the latter half of the '60s (1966 is ground zero for this comp, but it features tracks recorded between 1965 and 1970). While this series does have something to offer serious collectors -- primarily excellent sound quality and a handful of previously unreleased tracks -- it isn't intended for garage fanatics: it's designed as the next step for listeners who love Nuggets but don't have the time, inclination, or patience to sort through the various Pebbles and Rubble series.


It's also for listeners who have a fairly strict definition of garage, preferring American bands inspired by the Rolling Stones and Yardbirds bashing out blues-influenced primitive rockers, not the psychedelia that runs rampant through Nuggets, because there's precious little of that to be found here. Which isn't to say that Garage Beat is monotonous (well, no more than any other garage rock comp, but anybody interested in this music knows that going into the disc). There's a good variety of sounds and attitudes on I'm in Need!, from the snide, harmonica-fueled opener of the Haunted's "1-2-5" and Rob Kirk & the Word's minor-key, trippy "Girl Talk" to Nobody's Children's fuzzy, sneering "Good Times" and the Torquays' tense, Yardbirds-styled "Harmonica Man (From London Town)."




 There are three previously unissued cuts here, all noteworthy: the Counts IV's dense, wordy "Discussion of the Unorthodox Council," the Groupies' version of Willie Dixon's "Down in the Bottom," which is a rowdy barnstormer, and the Rahgoos' "Do the Rahgoo," an exhilarating manic two-minute blast of chaos. While there are no big hits here and a couple of cuts don't rise above the appealingly generic, this is a tight, compulsively listenable collection of some of the best second-tier garage rock singles.

Much of this can be found elsewhere or is well known to hardened collectors, but for those listeners who don't want to amass a large collection of garage comps, this volume of Garage Beat, like the others, is an excellent distillation of some of the best lesser-known sides of the genre.(allmusic.com)



Here we go with vol.4 and i hope you will have fun. The american garage bands were excellent back then in the sixties. Enjoy!

Cheers
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Psychedelic Rock: The Illusion - The Illusion (CD) 1969 & Together (As A Way Of Life) (vinyl) 1969 (TRC Records 1994) FLAC ONLY!



This Long Island quintet tried to simultaneously fly their freak flag and sweet-talk the teenyboppers, and the results were lopsided but strong enough to shine years later. The Illusion scored a Top 40 hit in 1969 with a truncated version of the opening track from this debut LP, "Did You See Her Eyes."

It's a tough, swaggering number with a simple theme (skirt watching) and a basic structure, but the album cut is expanded with an obtrusive drum solo, assorted echo/wah-wah effects, and an uncredited cop from Sly & the Family Stone's "Sing a Simple Song."
Such unnecessary tampering proves that the Illusion were hip to the new directions that rock was taking at the time and had grander plans for their music than mere hit singles. Regardless, these guys sound best when they get straight to the blue-eyed soul without any prog rock side trips. "Talkin' Sweet Talkin' Soul" should have been the hit, a rambunctious power pop number that bounces around the ears with an irresistible wordless vocal hook. The medley of "Run, Run Run" and "Willy Gee (Miss Holy Lady)" combines both tendencies, pairing the aggressive hard rock of the former ("I'm gonna get shot/This girl is hot!") with the bubblegummy singsong of the latter ("One, two, three/Push out Willy Gee/Four, five, six/Beat him with a stick"). Most of the remaining track time strives for a slightly more psychedelic soul sound, at times reminiscent of the Rationals or a bluesier Byrds. Of these songs, "I Love You, Yes I Do" and "Charlena" stand out, but all the material on this now-rare LP has serious spirit and period charm.(allmusic.com)


Hello Folks, yesterday or the day before yesterday i saw these both albums on the wonderful ''Down Underground'' blog ( link ) and i thought it could be a good idea to post them here in Flac. If you prefer mp3 please go to the Down Underground blog, i post it in this case only in Flac.
Hope you will enjoy
                                 SB1   The Illusion Flac p1        The Illusion Flac p2    & 

                                                Together Flac p1     -  Together Flac p2      


The Cribs - Men's Needs, Women's Needs, Whatever (2007 Warner Bros.) Flac & mp3@320


With each album, the Cribs have gotten a little sharper and more focused, and nowhere is this clearer than on the brilliantly named Men's Needs, Women's Needs, Whatever, the band's major-label debut. The Cribs enlisted Franz Ferdinand's Alex Kapranos as producer, and it's a good match: while he doesn't impose too much of Franz's clockwork precision on the band, Kapranos reins in the Cribs' more shambling tendencies just enough to make Men's Needs, Women's Needs, Whatever their most listenable, and diverse, work yet.


 The album kicks off with a slew of bouncy, angular songs about awkward relationships and killer crushes that sound like state-of-the-art British indie circa the late 2000s -- in particular, "Our Bovine Public"'s ridiculously catchy melody and punchy drums feel like the results of an experiment to fuse together Maxïmo Park, the Futureheads, and Good Shoes in some secret lab. "Girls Like Mystery" and "I'm a Realist" (which states, bluntly, "I'm an indecisive piece of sh*t") follow suit with more witty lyrics, sweet harmonies, and big, rousing choruses. As good as these songs are, they're so much in the template of this kind of British indie that they run the risk of sounding like caricatures. However, as Men's Needs, Women's Needs, Whatever unfolds, the Cribs expand their sound. Interestingly, they distinguish themselves from other like-minded British bands by adding influences from American acts like Weezer and the Strokes.


Ryan Jarman often sounds like a British Rivers Cuomo, especially on "Moving Pictures," while jaunty, vulnerable songs about emptiness like "I've Tried Everything" and "My Life Flashed Before My Eyes" would fit right in with the work of Julian Casablancas and company. "Be Safe" boasts a poetic rant by Sonic Youth's Lee Ranaldo and sounds, in the best possible way, like some great lost alt-rock song from 1995. It's easily the best song on the album, which is kind of a shame since the Cribs (probably) can't recruit Ranaldo to be their full-time frontman. Fortunately, the tracks that follow it -- especially "Shoot the Poets," the pretty, slightly twangy acoustic song that closes the album -- show that the Cribs' music can't be typecast quite as easily as earlier songs suggested. The Cribs aren't strikingly original -- yet -- but this album sums up where they've been, and where they could go, nicely.(allmusic.com)


2007's ''Men's needs...'' opened a lot new ways and possibilities for the cribs with their signing to major Warner. In front of this background it makes more sense (for Warner) that Johnny Marr came in the band in 2009. Back then i couldn't understand the decision of the band because everything was very well for the band. They were on the way to the top (at least in UK and other european countries). I don't think the band loved it really. Sure they were good pals with Marr but the guys had a lot of pals, lol. I believe it was more a label thing. And it don't really worked well. Not more record sales and a lot of the fan base thought ''why the hell is Marr in my favourite band now?'' In 2011 Marr left the band and everybody was happy again. The band and the fans as well.
Two words about the album: Grab it!
Have fun
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Saturday, 19 August 2017

Sunshine Pop by Wichita Falls - Life Is But A Dream 1968 (2011 Tune In Records) Flac & Mp3@320



Liberty Records evidently had great hopes for this obscure late 1968 LP, seeing it as an attempt to fuse classical and rock into a concept album that told, if obscurely, "the story of a life" (as guitarist/singer David Roush remembers in the liner notes to the 2011 CD reissue). The label even put $50,000 into the recording budget, a high sum by 1968 standards, using the string section of the Los Angeles Philharmonic Orchestra and arrangements by the respected Artie Butler. Heard many years later, you have to wonder what Liberty was thinking. For this album (a commercial flop, and the only one Wichita Fall would make) is a pretty tepid attempt at making an ambitious pop masterwork. Wichita Fall's songs were only average material to begin with, perhaps falling on the earthier side of the sunshine pop then in vogue among much of what was being produced in Hollywood.


However, the compositions are not just overwhelmed, but almost subsumed, by the dainty orchestration, which is more appropriate for links on a TV variety show than it is for an album with any connection to rock. It was too much for the original drummer, who left the band rather than play on the album, which made the Moody Blues' Days of Future Passed (a possible influence on Liberty taking this approach in the first place) sound evil and gritty in comparison. While you can hear a potentially decent harmony-oriented pop/rock group in the mix, their strengths are smothered by the settings, and by the time of the infuriatingly cloying closing title track (a variation on the "row row your boat" chant), you might be rolling your eyes at the excess.

[The CD reissue on Tune In adds two bonus tracks from a non-LP 45 that show their strengths as a fair pop-folk-rock group to much greater advantage, especially on the country-influenced "Ginger Blue," though the other side ("Lovely Love") is still a little overproduced. The reissue also has extensive historical liner notes, with quotes from bandmembers, that tell the fascinating story of the flawed album's creation well.](allmusic.com)

Digitally remastered and expanded edition of this achingly beautiful orchestrated 1968 pop Psych odyssey from Los Angeles. Wichita Fall's Life Is But a Dream takes the listener on a magical musical journey of 13 compositions, grouped into four suites, all lovingly arranged by renowned conductor Artie Butler. Taken from the original Liberty Records masters, this release also includes both sides of their final 45, along with the complete inside story behind the album in the liner notes with quotations from group members and rare photographs. This is a must hear for all fans of sunshine Psychedelia and orchestrated Pop. Tune In.(amazon)


This is a great sunshine pop work with fine orchestrations.
Have fun
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Various Artists - Garage Beat '66 Vol.3 ''Feeling Zero...'' (2006 Sundazed Records) Flac & mp3@320


The third volume in Sundazed's Garage Beat '66 follows the same format as the preceding installments, the 20 tracks hailing from all over North America, most of them quite rare, all of them sourced from the original masters. Mid-'60s garage rock is the main course here, but it does allow for some different shades than the stereotypical snarling fuzz-laden pounders, including some psychedelic and pop-influenced productions.


The Music Machine is the only group here that had a big hit (though they're represented by a non-charting 1968 single, "Mother Nature/Father Earth"), and while some of the other songs and artists will be fairly familiar to '60s collectors who specialize in this area, most listeners who've only just digested the Nuggets box set will find most of it virgin territory.


It occupies a somewhat peculiar niche, though, in that collectors who dig this stuff might be apt to already have the better cuts here -- Southwest F.O.B.'s pop-psychedelic "Smell of Incense," the first-rate harmonized pop/rock of the E-Types' "She Moves Me," the Preachers' fierce version of "Who Do You Love," the Brogues' Pretty Things-inspired "Don't Shoot Me Down" (with a couple of future members of Quicksilver Messenger Service), and the Mourning Reign's moody "Satisfaction Guaranteed."


The other songs are mostly below the standard of the aforementioned items, but a few goodies do lurk here, particularly the mix of stomping rhythms and tag-team harmonies in the Answer's "I'll Be In" and the Mile Ends' "Bottle Up and Go," a galvanizing slice of blues-pop-garage that's one of the best such efforts not to show up on too many compilations.(R. Unterberger, allmusic.com)

Hello Folks, i am a little late today but it was a very busy Saturday for me. Anyway, here is the third part of the ''Garage Beat '66'' series. Hope you have fun with the bands here.


Enjoy
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Friday, 18 August 2017

Psychedelic Pop Garage Folk Rock: The Blue Things - Let The Blue Things Blow Your Mind (1964-1967) 2007 Cicadelic Records Flac & mp3@320


Let the Blue Things Blow Your Mind is easily the biggest single-release Blue Things collection ever (or likely to be) compiled. The two-disc set contains no less than 65 tracks spread across two-and-a-half hours, including 16 unreleased cuts and three radio ads (for the Blue Things, not by the Blue Things). Since this does have everything from their sole album and all of their non-LP A-sides and B-sides, one hesitates to point out some relatively minor problems, especially since the LP and 45s comprise some of the finest obscure mid-'60s American folk-rock and early psychedelia.


Still, those flaws are the kind of things completists might want to know about. First, the unreleased versions of the outtakes "Desert Wind" and "Waiting for Changes" are distinctly inferior to the previously issued versions of these songs (which are not included on this anthology), missing some backup vocals in each case. While it's good for collectors to have the 45 version of "I Must Be Doing Something Wrong," with an oboe (missing from the LP version) that's alternately effective and irritating, ultimately it's not as good as the oboe-less one. The mix of "Now's the Time," a jangly folk-rock highlight of the group's LP, sounds oddly flat and unbalanced.


And while all the previously unreleased material is a boon for Blue Things fans, much of it's devoted to relatively slightly different versions of songs that have already seen the light of day elsewhere, either on official mid-'60s Blue Things releases or reissues that dug up some unissued stuff. The previously unheard tracks do include a good straight-out rock & roll number from a 1964 session ("Punkin' Doodle") and a nice version of "I Can't Have Yesterday" with a significantly different folk-rock arrangement than the official LP rendition, but the hit covers from a December 1966 session are fairly uninteresting.


And finally, though the 24-page booklet offers lengthy liner notes and lots of photos, it somehow fails to include songwriting credits anywhere. Do all these picky complaints mean you should avoid this release? Of course not; there's lots of fine music here that will appeal to both the general folk-rock/psychedelic/garage fan and the Blue Things devotee. Val Stecklein shines as one of the era's finest overlooked singers and songwriters throughout most of the program, and many listeners looking for something that crosses the Byrds, Beau Brummels, and early Beatles will be pleased and excited if they haven't yet come across the group.


Still, the general fan's better off trying to find the 2001 CD reissue of their sole LP (on Rewind, with non-LP bonus tracks from mid-'60s singles). Additionally, the completist should also know for all this two-CD set's generous length, it doesn't quite have everything, a few outtakes remaining available only on some earlier Blue Things LP and CD collections on the Cicadelic label.(allmusic.com)





Highly recommend. Great band from the mid sixties and in my opinion on the same level in songwriting and performance (on the recordings, never saw them live, lol) like some of the top bands in this genre at the time then. Completely overlooked.


Have fun
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 Flac p1 & Flac p2Flac p3         - mp3 part 1    mp3 part 2

At Request: Barry Ryan - Singing The Songs Of Paul Ryan 1968 - 1969 (2005 Rev-Ola Records) Flac & mp3@320


Barry Ryan was an odd figure on the late-'60s British pop landscape. He had a huge U.K. hit with "Eloise" in 1968, which went to number two on the charts, though he had no commercial success in the U.S. and was unable to land another big single in his native land. He did no original material, yet his songs were about as close to originals as they could get, written as they were by his identical twin brother, Paul Ryan (with whom he'd had some hits as part of a duo in 1965 and 1966).


While his kind of orchestrated pop had similarities to what was being issued at the time by the Bee Gees and Scott Walker, it wasn't as heavy or hip, relatively speaking, as the work of either of those acts. This CD couldn't be a more definitive compilation of his late-'60s output, including the 1968 album Barry Ryan Sings Paul Ryan (which contains "Eloise"), the 1969 album Barry Ryan, historical liner notes, rare period photos and graphics, and two bonus tracks ("Look to the Right, Look to the Left" and "Oh for the Love of Me") only issued in Brazil.


Not as dark and literate as Walker or as immediately pop-friendly as the Bee Gees, it does bear some casual similarities in the marriage of pop songs with orchestration, which to some might verge on the bombastic and bloated. Some of the songs (such as "Eloise") had an epic, quasi-operatic feel, though without leading toward profound revelations or fitting together to create something like an actual opera. In his lighter moments, Beach Boys and (more faintly) Beatles influences in the melodies and harmonies make this approachable for fans of U.S. sunshine pop, though the arrangements have a distinctly British cast in their tendency toward grandiose ballads.


Ryan's vocal delivery, both when he's daintily crooning and winding himself up into mild histrionics, seems like it could just possibly have influenced Freddie Mercury a bit. Ryan's work could be an acquired taste for curious listeners in the U.S. in particular, as many '60s pop/rock fans could find it simultaneously interesting and irritating in different degrees, though his greater success in the U.K. and some parts of Europe (especially Germany and the Benelux markets) might make him more accessible to fans in those regions.(R.Unterberger, allmusic.com)


Barry Ryan were a brilliant singer. But i think after the time when his brother passed away it was as well the end of the popstar Barry Ryan. His true obsession was the photography. Later he was a very successful photography artist.


Enjoy
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Second Part: Various Artists - Garage Beat '66 Vol.2 ''Chicks Are For Kids'' (2006 Sundazed Records) Flac & mp3@320


The second volume in Sundazed's Garage Beat '66 series follows much the same format as its predecessor: 20 garage rockers from all over America, though generally from the rawer end of the spectrum rather than the poppier side.


There's a slightly higher concentration of names that'll be at least somewhat known to some of the less specialized listeners, though, including the Guess Who (their 1966 single "Believe Me"), the Remains, the Barbarians (with their crude Merseybeat-influenced debut 45, "Hey Little Bird," which was their best recording), the Litter, the Five Americans (with their 1964 single "I'm Feeling O.K."), We the People, the Spiders (who evolved into Alice Cooper), the Ugly Ducklings (with a previously unreleased version of "I'm a Man"), and the Sonics.


That alone is enough to make it a better than average '60s garage compilation, and the sound quality (mastered, unusually for a garage anthology, from original sources) and detailed track-by-track annotation by Ugly Things publisher Mike Stax are other bonuses. As for the rarer, less-anthologized items here, some of these tend toward the more run-of-the-mill garage rock of the era, though the Bold's lewd "Gotta Get Some" (which recalls Paul Revere & the Raiders' toughest moments) and the weird ringing guitar of the Go-Betweens' "Have You for My Own" are ear-catching.


The Jynx's 1965 cover of Them's "Little Girl" isn't nearly as exciting as the original, but does possess historical interest for featuring future Big Star member Chris Bell on lead guitar.(R. Unterberger, allmusic.com)

Hello Folks, i start the day with the second part of the great ''Garage Beat '66'' series by Sundazed records. It is by the way one of my favourite Garage series because here are nearly all bands from the US and to hear how they worked out their garage style with the new influences of the british invasion is a big fun. Hope you will have the same fun with the music Sundazed present in great sound quality here in this series.

Enjoy
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Thursday, 17 August 2017

Various Artists - Garage Beat '66 Vol.1 ''Like What, Me Worry?!'' (2006 Sundazed Records) Flac & mp3@320


Hello Folks i want to start a new series today which is called ''Garage Beat '66'' from Sundazed Records. It's released in 2006. I will post everyday one volume for seven days because, you guess it, lol, the series includes seven volumes. You will love it if you are in sixties music because the bands present a wide range of  styles. Hope you will enjoy it like i do.
Have fun
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Sundazed's Garage Beat '66 series of mid-'60s garage rock takes much the same approach as hundreds, if not thousands, of such compilations that have been issued since the late '70s. Each volume has an assortment of tracks from all over North America, many of them rare, none of them national hits, and most of the acts known only within their region, if at all. The emphasis is on raw, fuzzy outrage, often inspired by (but not as polished as) the more R&B-aligned end of the British Invasion. It's not as good as the Nuggets box set (in part because it's lacking in pop hooks as strong as those that made many of the Nuggets selections actual hits), and not as good as the best of the many sub-Nuggets comps of '60s garage.


It's better than the average '60s garage rock anthology, though, in part because unlike virtually all other such animals, the tracks are mastered from the original sources, and the liner notes include copious commentary on each selection by garage rock authorities. So if you're the kind of fan likely to collect such stuff, although you may well already have items like 006's "Like What, Me Worry," the Fe-Fi-Four Plus 2's "I Wanna Come Back (From the World of LSD)," and the Sparkles' "Hipsville 29 B.C. (I Need Help)" elsewhere, you may well not have them in as good fidelity as they boast here.


While the songs do tend toward basic bluesy teen rants, there's room for some eclecticism, particularly in the inclusion of John Hammond's cover of Billy Boy Arnold's "I Wish You Would" from a 1966 single (with Bill Wyman on bass and Robbie Robertson on guitar, and a different version than the one that appears on his album So Many Roads); Matthew Moore Plus Four's garage-folk-rock cover of Buffy Sainte-Marie's "Codyne (She's Real)"; and Words of Luv's version of an obscure P.F. Sloan folk-rocker, "I'd Have to Be Outta My Mind."

The no-holds-barred absurdity of the aforementioned "I Wanna Come Back (From the World of LSD)" and the crunching soul-rock-pop of the Sparkles' "No Friend of Mine" stick out as the highlights, however.(R. Unterberger, allmusic.com)

                                                    Flac p1  &  Flac p2          mp3 @320