Seven years after the failed comeback Serious Fun, the Knack reunited with new drummer Terry Bozzio in tow and recorded Zoom. Sounding like a re-energized and de-sleazed version of Get the Knack, Zoom is the best album the maligned power pop band has recorded since their debut. Doug Fieger's
songwriting is sharp and melodic and the band delivers the tunes with
vigor. A few cuts are a little undistinguished, but there are more
solid, memorable songs here than on most of their albums, and that alone
makes it a successful comeback.
This is the expanded edition with 19 songs. This is in mp3 but i will post it also tomorrow in Flac.
Too lazy this evening :-).
Power pop maestro Tim Boykin has done it again. The Lolas are a band
that just keeps getting better with age. “Like The Sun” takes some
tracks from 2006’s “Doctor Apache” and added a few newer songs to give
the listener a whopping 20 tracks. So it’s almost like a double album.
It opens with “Eye Eye” a touch of ELO, Byrds and Beatles that will ring
through your head, and stay there. This is followed by the title track,
which adds the right about of jangle and harmonies that lead you up the
next song “The Laurie Song” – an awesome “Rain”-inspired psyche-pop
masterpiece. And the relentless hooks keep on comin’ with the roaring
guitars of “Me and Barbara Stanwyck” Fans of their previous
incarnation,The Shame Idols will enjoy the great guitar work and indie
power on “Going all the Way” – the solo is just awesome. The song “Blue
Shadows” has a Beatlesque charm and “Watch The Movie” has Weezers
innocent pop sweetness with Brian May styled guitar. Some songs get a
bit more rough and garage-y, like “Action Woman” and “Ramon Ghetto
Chef.” Toward the ends of album it even has a Sweet cover (“Wig Wham
Bam”) and a very Mod-sounding Rolling Stones meet Early Who tune with “I
Can Only Give Everything.” The songs go through every incarnation of
great power pop from ballad to high powered riff machine and everything
in between. With so much here and barely a miscue, it’s an easy choice
to nominate this album for my Top Ten of 2008 so far. This album is
essential listening – so don’t miss this one. Thanks for the music, Tim.(taken from power popaholic march, 2008)
This is a favourite album by the Lolas to me because it have a special feel. Fine rock guitar sounds here and some fine guitar leads makes this album very special to me. Next are the very fine hooks here. What can i say...Great album by the Lolas(maybe their best?) and i recommend it to all of you. I will post it tomorrow also in Flac. But here at first the mp3@320.
The sole album by the Moving Sidewalks is as fascinating as it is unremarkable. As the birthing ground for legendary blues-rock guitarist Billy Gibbons, one would expect at least a taste of what would later make ZZ Top
one of the best touring and recording bands on the planet; sadly, the
album offers little in the way of revelation in its 15 tracks.
Admittedly, at the time of ZZ Top's 1970 debut, Gibbons'
transformation from a journeyman bandleader into a boogie-blues demigod
was still not fully realized, but his chops were miles away from what
is heard here. Part of that lies in the fact that ZZ Top
was less about psychedelia than straight blues; whatever psychedelic
touches made their way onto the studio albums were largely an accessory.
(They would eventually fully integrate on 1979's Deguello.)
Sidewalks, on the other hand, were psychedelic rockers whose songs
hinted at the blues without fully diving in. The songs show little of Gibbons'
future promise, and in fact are so thoroughly mediocre (both in writing
and playing) that it's amazing to think he was only a few years away
from international success. "Pluto-Sept. 31st" shows a clear Hendrix
influence (the two guitarists openly admired each other), and as a
bonus, Akarma's reissue includes five bonus singles that are some of the
strongest material on the album, especially "Need Me," "I Want to Hold
Your Hand," and the legendary single "99th Floor."(allmusic.com)
I was never a big ZZ Top fan but Gibbons is for shure a great Blues guitarist. Here this album is a fine '68 psychedelic album i like very much. Most of you will know it but if not give it a listen. This is definitely no ZZ Top thing.
Enjoy Frank Flac
Game Theory leader Scott Miller never made a secret of his fondness for Big Star, and while Real Nighttime favored the lush but direct sound of #1 Record, and The Big Shot Chronicles suggested the harder-edged tone of Radio City, Lolita Nation plays like Game Theory's variation on the themes of Big Star's masterfully damaged swan song, Third/Sister Lovers. Certainly Game Theory's most ambitious album, Lolita Nation was a two-LP set that combined some of Miller's
most user-friendly power pop squared off against dark, moody
ruminations on betrayal, failed love, and mortality, all of it
punctuated with bursts of avant-garde noise and unclassifiable studio
doodling, and finally thrown into a sonic Cuisinart through Miller's aggressive use of aural montage. Game Theory's most challenging work, Lolita Nation
is a bit disorienting on first listen, though it finds the band playing
at the very top of its form on demanding material.
New guitarist Donnette Thayer made an impressive debut, and drummer Gil Ray and keyboardist Shelley LaFreniere
delivered outstanding performances. There are more than a few flat-out
brilliant tracks, such as "Chardonnay," "The Waist and the Knees," and
"The Real Sheila," alongside such head-scratchers as "Turn Me on Dead
Man," "Watch Who You're Calling Space Garbage Meteor Mouth," and the
22nd track (which stubbornly defies titling). Lolita Nation was the point where the many ideas and approaches Miller had experimented with on Game Theory's
earlier albums finally came together in a (pardon the expression) blaze
of glory, and if the album is a bit much to absorb on first listen, few
rock albums of the '80s reward repeated listening more than this one. Miller was one of the few rock musicians who often (and fittingly) cited James Joyce as an influence, and Lolita Nation is his Ulysses, a dense, profoundly idiosyncratic masterpiece. (allmusic.com)
This is a request for the Flac version and it will be up just for a limited time. It's also up in mp3 here on the blog.
Scott Miller had made a lot of great music in his too short lifetime and i agree with that people who say this album was his masterwork. I don't agree with the author of the review or other people who say this is no good album to start with Game Theory if you never heard them before. This is as good as any other Game Theory album. Maybe even the best. To all the Game Theory newbies here: I highly recommend this album and this band for maximum fun in listening music. Take it
You need both links!!! It is limited until 10th March 2017!
When it comes to records on which they were the performers, prolific songwriters, singers, and producers Pete Andreoli and Vinnie Poncia, Jr. might be best known for their discs as the Tradewinds. Lesser known is this 1967 self-titled album by the Innocence,
which is pop/rock at its bounciest and frothiest.
It's an apt title for
both album and band, considering it's from a time when much rock was
getting decidedly less innocent by the minute. In contrast, the Innocence
offered perky, well-crafted to the point of well-scrubbed tunes with
the slightest of influences from folk-rock and psychedelia. Some of the
songs -- including the Top 40 hit "There's Got to Be a Word (Beyond the
Meaning of Love)" and the smaller hit "Mairzy Doats" -- could have been
relics from the Tin Pin Alley/music hall era, though dressed up with
harmonies and arrangements that could have only been possible in the
sunshine pop era.
This might be too sweet even for big fans of this sort
of stuff, though it does vary the pace a little with bits of
folk-rockish balladry ("Someone Got Caught in My Eye"), Motown ("All I
Ask"), bossa nova ("Your Show Is Over"), and labelmates the Lovin' Spoonful
(slightly recalled by "It's Not Gonna Take Too Long," and covered to
unnotable effect on "Do You Believe in Magic"). The CD reissue on
Rev-Ola has basic historical liner notes and two bonus tracks: the
single versions of "There's Got to Be a Word (Beyond the Meaning of
Love)" and "I Don't Wanna Be Around You."
This is a fine album of sunshine/psychedelic pop. Have fun
The '60s pop outfit the Happenings
enjoyed a three-year run of several hit singles late in the decade.
Formed in 1961 in Patterson, NJ, the group has seen their lineup change
from time to time, but founding member/lead singer Bob Miranda has been a constant member through it all. Soon after, the Happenings
began scoring hit singles, including such number ones as "See You in
September" and "I Got Rhythm," as well as other moderate hits ("Go Away
Little Girl," "My Mammy," and "Girl on a Swing," among others). In
addition to their singles, the Happenings issued several full-length recordings, including 1966's self-titled debut, 1967's Psycle, and 1969's Piece of Mind,
performed on such popular TV shows as The Tonight Show With Johnny
Carson, The Smothers Brothers Show, and The Merv Griffin Show, and
shared the concert stage alongside such notables as the Beach Boys, Roy Orbison, Joan Rivers, John Denver, the Drifters, and the Kingston Trio, among others. In the '90s, Miranda formed a new version of the Happenings, playing out live alongside members Bob Kulik and George Rizzi.
These guys had a string of pop hits in the sixties. Here are 24 songs of great sixties radio pop.
Frank Flac and Here The MEGA link is limited till March, 17th, 2017
On their groundbreaking debut album, the 13th Floor Elevators
sometimes sounded as if they were still learning how to work with the
strange beast of their own creation known as psychedelic rock. But their
second set, 1967's Easter Everywhere, found them a great deal more comfortable and confident with their loose and hypnotically trippy approach. Easter Everywhere doesn't have an out-of-the-box classic cut like "You're Gonna Miss Me" or "Fire Engine" from The Psychedelic Sounds of the 13th Floor Elevators,
but in many ways it's a more cohesive and consistent work, and the
subtle but effective structures of the longer tracks grow and develop
through repeated listenings, while rockers like "She Lives (In a Time of
Her Own)" and "Levitation" pack a surprisingly visceral punch. Stacy Sutherland
was never a blazing guitar hero, but his concise aural punctuations on
the epochal "Slip Inside This House" and a superb cover of Dylan's "It's All Over Now, Baby Blue" are perfectly suited to the material. In addition, the rhythm section of Dan Galindo on bass and Danny Thomas on drums locks these songs into place with confidence and skill. The strange patterns of Tommy Hall's electric jug playing are as gloriously bewildering as ever, merging the music of the spheres with an alien attack, and Roky Erickson's vocals make even the most acid-damaged poesy sound passionate, graceful, and wildly alive.
And Roky and the Elevators never sounded sweeter and saner than they did on the penultimate tune, "I Had to Tell You," with Roky
seemingly offering a postscript to his many sad years to follow with
the words "If you fear I'll lose my spirit/Like a drunkard's wasted
wine/Don't you even think about it/I'm feeling fine."
Even if less
influential than The Psychedelic Sounds of the 13th Floor Elevators, Easter Everywhere is every bit as compelling and a true benchmark of early psychedelic rock -- not bad for an album produced by Kenny Rogers' brother. (allmusic.com)
"Lola" gave the Kinks
an unexpected hit and its crisp, muscular sound, pitched halfway
between acoustic folk and hard rock, provided a new style for the band.
However, the song only hinted at what its accompanying album Lola Versus the Powerman and the Moneygoround, Part One was all about. It didn't matter that Ray Davies
just had his first hit in years -- he had suffered greatly at the hands
of the music industry and he wanted to tell the story in song.
Hence, Lola -- a loose concept album about Ray Davies' own psychosis and bitter feelings toward the music industry. Davies never really delivers a cohesive story, but the record holds together because it's one of his strongest set of songs. Dave Davies contributes the lovely "Strangers" and the appropriately paranoid "Rats," but this is truly Ray's
show, as he lashes out at ex-managers (the boisterous vaudevillian "The
Moneygoround"), publishers ("Denmark Street"), TV and music journalists
(the hard-hitting "Top of the Pops"), label executives ("Powerman"),
and, hell, just society in general ("Apeman," "Got to Be Free"). If his
wit wasn't sharp, the entire project would be insufferable, but the
album is as funny as it is angry.
Furthermore, he balances his bile with
three of his best melancholy ballads: "This Time Tomorrow," "A Long Way
from Home," and the anti-welfare and union "Get Back in Line," which
captures working-class angst better than any other rock song. These
songs provide the spine for a wildly unfocused but nonetheless dazzling
tour de force that reveals Ray's artistic strengths and endearing character flaws in equal measure.(allmusic.com)
One of the five best albums by the Kinks and for the retirement pension Ray Davies had prevented with just one song, yes naturally Lola an alltime classic since nearly fifty years. But the album have a lot more strong songs. I love it and maybe you will, too. Try it.
An Excellent album of psychedelic rock, and certainly a defining
statement of West Coast Psychedelia. Part of its appeal is the lyricism
that is perfectly explained song after song. Some subject matter may
have been typical of its time, but songs about impotence are never
expected. Musically it's solid with great ballads a psychic madness.
Stand outs include: Once Again Elements of Complex Variables Guess I'll Let You Go Passage #17 However
the entire ensamble fits in great together which is ultimately why it
is such a wonderful album making it a true hidden masterpiece.(Gibran Guerrero, reader, allmusic.com)
Being the perpetual opening band, The Glass Family,
displaying an invitingly harmonic surf and garage sound, nearly
channeling the likes of Spirit, this good natured band of eccentrics,
who opened for groups such as The Doors, The Grateful Dead, Gram
Parsons, Vanilla Fudge, and Love, have more backstage stories than you
could ever imagine. Perhaps one of the best being the time Owsley
Stanley was walking around in the shadows dosing tiny paper cups of
punch laced with LSD, handing them out to the band, and then
disappearing into the audience with a tray of the same, setting minds on
fire, melting walls, and increasing the intensity of the music ten
The Glass Family weren’t alway called The Glass Family,
they began their career on a lark, as a way of making money for beer
and surfboard wax, often playing the same venue and parties under a
different name, mere days apart ... using monikers such as The Carpet
Baggers and The Soul Survivors. It was an ideal time to young and
idealistic in L.A. back in 1967, where they experimented with
instrumentation, fuzzed out guitars, and vocal arrangements emphasizing
the softer side of psychedelic rock.
And though they were never a
hit, and received nearly no radio airplay, this assemblage of talent
set the pace for many bands to follow, and anyone who saw them live
stumbled home with hallucinogenic musical imagery dancing in their heads
... sounds that were interwoven with groups like Country Joe & The
Fish’s “Death Sound Blues,” or The Beatles with “Do You Remember,”
along with sustained and much better 13th Floor Elevator grooves.
I personally didn’t discover the magic found here until I was knee deep in the mud of Vietnam, where the music of The Glass Family
rode on a breeze from the east, so thickly laced with distant memories
that I could nearly smell America and hear muffled voices along with
dancing feet ... hoping for all the world that I would find my way home,
and that a bit of the magic I imagined, and so deeply needed, would be
there waiting for me on my return. And now, nearly fifty years out, as
these songs filter from my speakers, I find that I can taste the times,
and still long for those heady days and electrifying nights.(streetmouse, reader, ''rate your music'')
Original LP Back
I believe in 2015 Maplewood released it with the first version of the album as bonus tracks. If you like light psychedelic music from the US (and influenced a little by The Doors) from the mid sixties you're right here. Have fun Frank Flac