Hello Folks, just for your information i will go to the sun this year from the 23rd of this month until around the 15th of october. I got the confirmation today. Hurray :-). hope we will meet here again after my holidays.
Having weathered the demise of its most recent American label, Sloan forges on, battered but unbroken and still delivering perfect pop records; Navy Blues
might just be the band's best yet, with the sheer consistency of its
infectious melodies, clever lyrics, and exuberant performances pushing
the group toward new creative peaks. Moving away from the ornately Beatlesesque production of the previous One Chord to Another, the sound on Navy Blues is more down and dirty, indicating a heavy Big Star
influence; a track like "Iggy & Angus" certainly isn't as raw as
the homages implicit in its title would suggest, but its fuzzed-out
guitars and lumbering drums are nevertheless emblematic of the sonic
shifts that characterize the entire record.
Truth be told, there's not a
weak track here, but "C'mon C'mon (We're Gonna Get It Started)," "Keep
On Thinkin,'" "Chester the Molester," and "I Wanna Thank You" all go
above and beyond the call of duty, each undeniably catchy and instantly
Navy Blues and ''One chord to another'' are my favourite albums by Sloan and i will post ''One chord...'' also in the next days.When there is more interesting in Sloan let me know and i can post more of the band.
SB1 Flac The link is limited till 2017-03-27
A far superior effort to Sloan's scattershot debut, 1994's Twice Removed
is a clever and varied collection of smart and catchy pop songs.
Without the grunge-era production that smothered some of the best songs
the sparkling wit of the lyrics and catchy directness of the melodies
shine through. All four members write and sing, which accounts for the
variation between songs like the punkish opener, "Penpals," and the
chiming guitars and "ba-ba-ba" chorus of the sublime "People of the
Sky," the highest of the album's high points.
Other goodies include the
puckish media slam "I Hate My Generation" and the dreamy, largely
acoustic closer, "I Can Feel It," with its harmonies by Jale's Jennifer Pierce. Not everything works quite so well -- the seven-minute "Before I Do" is at least two and a half minutes too long -- but Twice Removed was the first indication that Sloan was more than Canada's answer to the Lemonheads.(allmusic.com)
I always loved Sloan since the first song and if i listen to Sloan here and now it's still the same.
If you like drivin' guitars and a special kind of nineties power pop/alternative you are right here.
SB1 Flac Link is limited till 2017-03-28
The Secrets feat. Clifford T Ward - Infatuation: Singles & Demos 1966-1968
"Infatuation: Singles & Demos 1966-1968" by the Secrets, a young UK
combo largely relegated to footnotes and factual tidbits that mention
Clifford T. Ward's involvement as leader, and the fact that he wrote
future UK psych masterpiece "Path Through The Forest" (popularised by
The Factory) whilst a member of this group. Little that has been
previously written would suggest that further investigation was
necessary, yet this packed to the gills 28 track collection is a
compelling document of exceptionally well written sixties pop, which on
occasion suggests a poppier UK counterpoint to Arthur Lee's early
material, minus the political commentary. Ward's vocals are often a
dead-ringer for Lee's, and there are similarities in the minor key
jangle that can't be shaken off, once noticed.
Psych influences are mild here, but the flavour of the era is
inescapible and those with a thing for extremely melodic, well crafted
sixties guitar pop will swoon over this collection, which includes both
sides of each of their five singles, as well as a raft of unusually
worthy demos and studio outtakes, including two quite different takes of
Ward's classic "Path Through the Forest", which, despite its legendary
status, can't compete with the earworm immediacy of "Keeping My Head
Above Water" and "Naughty Boy". Exceptional.(review then back by active listener.com)
I don't understand why this guys didn't climb the charts back in the days of british pop psychedelia mid till end of the sixties. The songs got all a successful song must have but maybe they was not ''psychedelic'' enough. However this is a collection of really great british sixties pop music. 28 songs here and only little filler. You will have a lot of fun.
SB1 new link
Link expire 2017-04-06
The album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's
transformation from hippie folk-rockers into flamboyant avatars of
trashy rock & roll. There are a few vestiges of those early days
remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's
warm electric guitar. The music recalls not just the catchy simplicity
of early rock & roll, but also the implicit sexuality -- except that
gleefully hauls it to the surface, singing out loud what was once only
communicated through the shimmying beat. He takes obvious delight in
turning teenage bubblegum rock into campy sleaze, not to mention filling
it with pseudo-psychedelic hippie poetry.
In fact, Bolan
sounds just as obsessed with the heavens as he does with sex, whether
he's singing about spiritual mysticism or begging a flying saucer to
take him away. It's all done with the same theatrical flair, but Tony Visconti's spacious, echoing production makes it surprisingly convincing. Still, the real reason Electric Warrior
stands the test of time so well -- despite its intended disposability
-- is that it revels so freely in its own absurdity and willful lack of
substance. Not taking himself at all seriously, Bolan
is free to pursue whatever silly wordplay, cosmic fantasies, or non
sequitur imagery he feels like; his abandonment of any pretense to art
becomes, ironically, a statement in itself. Bolan's
lack of pomposity, back-to-basics songwriting, and elaborate theatrics
went on to influence everything from hard rock to punk to new wave. But
in the end, it's that sense of playfulness, combined with a raft of
irresistible hooks, that keeps Electric Warrior such an infectious, invigorating listen today.
The material on this album, heard by few until it
was issued on CD in the early 21st century, might have been built up as a
little weirder than it is by some of the collectors who've raved about
it. While it's not the most uplifting stuff in the world, much of it is
haunting but not all that out-there pop-folk. Susan Christie's
fairly strong, strident vocals and moody melodies, occasionally
embellished by strings, aren't the most uncommercial mixture that could
have been concocted, though apparently they were too uncommercial to
find release when they were originally recorded. What is unusual -- and
what sets it most apart from some singers she might bear the vaguest of
resemblance to at times, like Melanie, Tim Buckley, Sandy Denny, and Bobbie Gentry
-- are the unexpectedly forceful distorted guitars, near-hard rock
organ, and angular rhythms and mild dissonance used in some of the
In addition, for an eight-song, half-hour album, it's
certainly unpredictable in the wide territory it covers -- "No One Can
Hear You Cry," unlike anything else on the record, is close to sounding
like a fine lost Dionne Warwick
outtake, though even that gets set aside from the usual Bacharach/David
production by the insertion of off-the-wall exotic tinkles of
descending instrumental glissandos. If that's not odd enough in this
company, there's also a cut, "When Love Comes," that's not too far off
early Marianne Faithfull
at her best. In contrast, "Yesterday, Where's My Mind?" is freaky at
the outset, with its pummeling, tumbling drum breaks, creepy organ, and
trippy ominous whisper-to-a-scream recitation, but even that track
settles back into a relatively conventional song after three minutes.
"For the Love of a Soldier" is another standout, managing to mix
affecting antiwar folk-rock with a funky hard rock chorus quite
effectively. Though Christie's
not quite a major talent based on these relics, this is nicely dreamy
and varied folk-rock for the most part that shows a lot of sadly
unfulfilled potential, and if it's more downbeat than the norm for the
genre, it's hardly gloomy.
This is a fine album with some unusual sounds for a ''folk album'. To me it's not really a pure folk album because there are a lot other influences who gives the album a very good sound. Give it a try, it's really worth it.