HOLIDAYS IN THE SUN!!!




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.

Frank

Wednesday, 15 March 2017

Graham Gouldman - And Another Thing (2000) Flac

Despite having maintained his position among Britain's finest ever songwriters since his emergence in 1964, Graham Gouldman has remained surprisingly silent on the solo front, with only one full album to his credit (the early-'80s Animalympics soundtrack) since 1968 brought his debut, The Graham Gouldman Thing. Of course, he's never had any shortage of outlets for his work, whether it's the string of hits he composed during the 1960s, the effortless brilliance of his 10cc years, or latter-day collaborations with the likes of Andrew Gold and the late Kirsty MacColl. But still, And Another Thing was long overdue, all the more so since its casual blend of warmth, sincerity, and deathless melodicism remains as captivating as he ever has. The bulk of the album is comprised of newly composed material, penned with partners as varied as Claudio Guidetti, Gary Barlow (ex-British boy band Take That), Chris Difford (Squeeze), and Suggs (Madness), and highlighted by two bona fide classics, the delightful "Can Anybody See You?" and the self-confessedly Beatles-influenced "Walking With Angels."
The most immediate point of entry for older fans, however, surely lies in the three reprises that also punctuate the set: "Heartful of Soul" revisits a song he penned for the Yardbirds back in the mid-'60s; "You Stole My Love," first cut by his own band, the Mockingbirds, is revised to include the chorus from another oldie, the Mindbenders' once controversial "Schoolgirl"; and "Ready to Go Home" is plucked from the comparative obscurity of the last 10cc reunion. And Another Thing cannot, of course, begin to be compared with The Graham Gouldman Thing -- that album's contents, after all, stand as a virtual "best-of" for the entire 1960s. As a bookend to the three decades between the two albums, however, And Another Thing presents the portrait of a songwriter whom time has only tightened.

I'm a huge, real huge Beatles fan and maybe this is lese-majesty but to me Graham Gouldman is at eye level with Macca as pop songwriter and musician. Everything where this guy was involved, he makes it to gold in my ears. Graham Gouldman is and was always on an above-average level with
his musical works.
Enjoy
         Frank  New Link

Graham Gouldman - Love And Work (2012) Flac

Biography of Graham Gouldman

Graham Gouldman's songs provide the soundtrack to so many teenage memories. From his first songwriting hit 'For Your Love' recorded by The Yardbirds in 1965, through memorable tunes and lyrics for The Hollies and Herman's Hermits in the '60s, a decade of hits with 10cc in the '70s and early '80s, songwriting partnerships with Kirsty MacColl, Suggs from Madness, Andrew Gold, Gary Burr, Tim Rice and – still contributing to those teenage soundtracks – co-writing with McFly on their Number One album Wonderland.
Graham released a solo album in August 2012, Love and Work; his first in 12 years. That's in addition to touring with the third incarnation of 10cc, with Rick Fenn and Paul Burgess from the mid-'70s line-up. Graham has taken the music of 10cc around the world. A UK tour in the early part of 2012 included a date at The Royal Albert Hall. There was a break for the launch of the solo album before a more extensive tour with 10cc in autumn 2012.
Graham's earliest ambition, aged 8, was to be a drummer. After a few tentative lessons he realized that wielding a pair of drumsticks was not quite what he had in mind. Then, when he was 11, a cousin returned from Spain with a cheap acoustic guitar. 'As soon as I held it,' he remembers, 'I was gone'.
Graham left school in his hometown of Manchester as soon as was legally possible, and before long was playing lead guitar with The Whirlwinds. This was the '60s, the most exciting time in the history of Western music when the Beatles were happening. Liverpool was the new capital of the world, Elvis was king, Motown was the coolest, and Britain was spawning bands by the ton: The Hollies, Herman's Hermits, Gerry and the Pacemakers, The Yardbirds, Georgie Fame, The Rolling Stones, Manfred Mann, The Springfields and the Mockingbirds.
The Mockingbirds were formed after Graham tired of the Whirlwinds. Working by day in a Gentlemen's outfitters and writing songs and playing by night didn't pan out, and Graham was soon fired from his day job. It was a blessing in disguise. He'd already caught the attention of Harvey Lisberg, the energetic manager of one of the biggest acts to break out of Manchester, Herman's Hermits. Harvey offered Graham a small retainer to sit in his office and write songs all day – a dream come true.
Within months The Mockingbirds signed to the Columbia (UK) division of EMI and were booked as the warm-up band at the taping of the Manchester-based BBC TV show, Top of the Pops. And, as if that wasn't enough, Graham had his first Top 10 hit at the age of 19, with the haunting 'For Your Love', recorded by The Yardbirds. Graham's songwriting career was off with a flourish.
He penned two more big hits for The Yardbirds, 'Heartful of Soul' and 'Evil Hearted You' and had his next Top 10 hit with 'Look Through Any Window', which he wrote for The Hollies. 'Bus Stop' followed – another Hollies' hit – and, although Graham was still recording with and without The Mockingbirds, the songwriting hits continued. 'Pamela Pamela' was ex-Mindbenders' Wayne Fontana's biggest solo hit. Herman's Hermits hit the Top 10 with 'No Milk Today', which featured the unforgettable suburban comment, 'the bottle stands forlorn, a symbol of the dawn', and 'East West', which was covered in 1991 by fellow Mancunian Morrissey.
In the late '60s, in between writing more hot songs for the likes of Jeff Beck, The Mindbenders, The Hollies et al, Graham spent time in New York writing and recording for Kasenetz-Katz hit factory and invested, with Eric Stewart, in Strawberry Studios, Stockport.
Back in the UK, after his spell in New York, Graham decided to get Eric Stewart, Kevin Godley and Lol Creme together to complete the Kasenetz-Katz recordings. The four of them went on to produce and play on two Neil Sedaka albums: The Tra La Days Are Over and Solitaire (both of which were recorded and produced at Strawberry Studios).
Then, in 1972, 10cc was born, keeping Graham occupied for the next decade.
Songwriting partnerships followed with Tim Rice, Kirsty MacColl, and Suggs from Madness, to name but a few. Graham also went to Nashville and wrote with, among others, Country Songwriter of the Year Gary Burr.
Graham Gouldman is the complete musician; it's what he's always done, it's what he'll always do. And he loves it, 'I just can't imagine doing anything else,' he says. 'I love working with new, sometimes unsigned artistes. I know I benefit from their fresh perspective, I can only hope they then benefit from my experience.'
Graham Gouldman's catchy tunes and lyrical messages have been entertaining music-lovers around the world for decades, and there's much more to come. (taken from Mr Gouldman's homepage)

The first time i listened to these magic acoustic guitars and the spoken line ...big boys don't cry big boys... this man never ever leave my musical life until today. With his earlier work i would familiar later and it's like all he had done just awesome. I think i don't must tell you something about this album.
Enjoy
         Frank   Flac
                               Link expire 2017-03-29

The Who - Who's Next 1971 (Mini LP Platinum SHM-CD Universal Japan 2013)

The Who - Who's Next released in 1971 was the first studio album in the new century. And what a start in the seventies for the band. Is a more perfect rock album possibly? I think not. All is here on the creative peak for the band. Powerful in the rockers, emotional in the ballads. Not one weak song. Together with ''The Who Sells Out'' the strongest work of the band. Listening to the work of Moon and Entwhistle they maybe never played with this urgency and emotionality like here. Townshend veryfied here that he was one of the most important personalities in rock'n'roll of the sixties and seventies. End.
...pick up my guitar and play
just like yesterday
and i get on my knees and pray
we.....
Have fun
               SB1   Flac
Link expire 2017-03-29

Taos - Taos (1969) 2012 Flac

The following review is by reader Nik of a site who is called ''therisingstorm.net''. It's an interesting site in the case of Taos because in the comments ex members of Taos talk about the times then and of the process to bring the album on CD. If you're interested you find it here  . Okay, here is the review of Nik:

Here’s an unusual jewel, released on Mercury Records in 1971. The band Taos was actually a quintet pieced together by a group of young men who had moved to the legendary Taos commune in the early 1970s, namely: Jeff Baker on guitar and vocals, Steve Oppenheim on keyboards and vocals, Albie Ciappa on drums, Burt Levine on guitar and banjo, and Kit Bedford on bass, with the occasional intermixing of instruments going on in between cuts. If the band’s commune connection leads you into expecting some sort of stoned, improvisational musical meanderings, however, you’re in for a surprise: their sole, self-titled record is pop music all the way.
Indeed, the band itself is surprisingly together, tempering mildly eccentric diversions into psychedelia and country music with a solid foundation in 1960s rock and roll. If there’s one band to which Taos owes its biggest debt, I’d say it would have to be The Beatles. Kit Bedford’s warm, melodic bass work channels Paul McCartney all the way, while the group’s vocal harmonies show a tendency to lean more towards the ragged schoolboy charm of the Four than the choirboy constructions of American groups such as the Byrds, or the Mamas and Papas. This influence is not to say that Taos lacks an identity of its own, however. On the contrary, they manage to take this influence in surprising directions, whether it’s the lonesome cosmic cowboy pastiche “After So Long” or the phased psychedelic boogie of “Twenty Thousand Miles In the Air Again”.
Despite the general cohesiveness of the album, however, there are the occasional faults, such as the unnecessary, repeating theme “The Day Begins,” which should have simply been turned into a full-fledged song rather than left as fragmentary interruptions in the tracklist. Every now and again the musicians also reveal a slight weakness in the vocal department, as the slightly squirrely lead on “Morning Sun” illustrates. Lastly, the song lyrics aren’t really worth shedding too much ink over – there’s certainly no metaphysical contemplation or social commentary going on here, whatever other Sixties sensibilities the record may boast. These latter complaints border on quibbling, though, because the music here is almost too much fun to criticize. Again, this is pop music, and should be enjoyed for what it is. I think that Taos is certainly consistent enough that, if you’re digging the tracks below, you’re gonna like what you hear the rest of the way through.
Unfortunately, Taos is currently unavailable digitally. Yeah, there had to be a bum note at the end of all this. It looks as if you all are going to have to search this one out on vinyl, though at the time of writing this article it looks as though there are at least a few copies haunting eBay for around ten or fifteen dollars apiece, which certainly ain’t bad. And speaking of the vinyl, this record comes adorned in a really great gatefold sleeve, with pictures of the band rehearsing and bumming around Taos. I’m almost tempted to imagine the psychedelic, southwestern Hard Day’s Night bouncing around in these kids’ heads. (Nik)

Maybe i'm wrong but in my ears the band already took the way where pop music would go in the future early seventies with this '69 album. You hear here in the beginning a lot of things what makes the Eagles later in the seventies to the best selling pop rock band in the States and big parts of the western world. With this album the band says Hello to the seventies. Absolutely underrated album of it's kind. ( i hope you understand my not so well english speaking)
Have fun
              SB1  Flac
                                 File expire at 2017-03-29