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.


Sunday, 19 March 2017

Truth - Truth 1970 (2012) mp3

Can't find no review of the band and so i take the liner notes of the 2012 release by Relics.

''This lost hippie-rock gem originally appeared in 1970, and features musicians who backed Bob Smith on his classic album 'The Visit'. Produced by Motown heavyweights Mickey Stevenson, Clarence Paul and Leon Ware, its sound touches on harmony pop, country rock, acid folk and psychedelia, earning it comparisons to Jefferson Airplane and the Mamas & the Papas. It makes its CD debut here, complete with background notes.''

To me the biggest influence to this guys was Jefferson Airplane. I think they were a little late with this album in 1970 but nevertheless it's a good one. Take a listen. If someone is interested i will post it tomorrow in Flac.
         SB1  mp3@320
Here is the Flac link. It's limited till 2017-03-27  Flac

Dave Berry - The Singles (2001) mp3

Briefly a big star in Britain in the mid-'60s, Dave Berry faced the same dilemma as several other British teen idols of the era: R&B was obviously nearest and dearest to his heart, but he needed to record blatantly pop material to make the hit parade. It was also obvious that Berry was in fact much more suited toward pop ballads than rough-and-tumble R&B, regardless of his personal preferences. At his peak, his output was divided between hard R&B/rockers and straight pop. Help from ace session players like Jimmy Page and John Paul Jones notwithstanding, his smooth voice was frankly ill-equipped to deliver the goods with anything close to the same panache as Mick Jagger or Eric Burdon on the bluesier items. He made a rather good go of it, on the other hand, with romantic pop/rock ballads, hitting the British Top Ten with "The Crying Game" (1964), Bobby Goldsboro's "Little Things" (1965), and the excruciatingly sentimental "Mama" (1966). "This Strange Effect," written by Ray Davies (though not released by the Kinks), was a huge European hit for him in 1965 as well.
Berry's voice was not exactly teeming with character and he never made the slightest impression on the U.S. market, but the best of his material is quite pleasant period fare. He remains well regarded in his homeland, where the Sex Pistols unexpectedly covered his toughest track, "Don't Gimme No Lip Child." Even more unexpectedly, "The Crying Game" brought Berry's voice to his biggest international audience ever in 1992, when it was used as the theme song for one of the year's most successful films.

As i listened the first time conscious to Dave Berry i was surprised how many songs i knew. If you don't know him and you have a faible for sixties pop songs give it a try. I love this kind of sixties pop. A few songs are pretty corny but only around three or four in my opinion, lol. Listen yourself :-)
Have fun
              SB1 mp3@320

Creation of Sunlight - Creation of Sunlight 196? mp3 & Flac

Southern Californian band Creation of Sunlight made one rare, self-titled album in the late 1960s that seriously echoed the kind of trippy pop psychedelia of Strawberry Alarm Clock, without a song on par with "Incense and Peppermints." More pleasing and lighter in both its lead singing and harmony vocals than most albums of its type, the record seemed indecisive as to whether to move in the direction of psychedelia-influenced pop or heavier, stranger sounds, though it has some fair moments.

 Creation of Sunlight's sole album is a second- or third-division piece of late-'60s southern California psychedelia, although it's not unenjoyable in places. Certainly it will recall the Strawberry Alarm Clock to many seasoned psychedelic listeners, as this too has a combination of thick organ and fuzz guitar, as well as material and vocal harmonies that are a rather lighter shade than the arrangements. It really helps that the lead singing is breezier and a bit higher than that of many similar groups. The background harmonies have a fullness that smacks not just of the Strawberry Alarm Clock, but of a few other bands of their time and place, like Clear Light and (at its poppiest) the Association; the material can also bring to mind some aspects of the West Coast Pop Art Experimental Band. And then there's that part of "Second Thoughts" where it veers off from a fairly sunny harmony number and suddenly sounds like the organ player's trying to imitate Ray no, it's not the most individual of albums, even among obscure cult psychedelic ones. But even in the absence of truly fine songs, it's considerably better t
han the normal such derivative record of its time and place, with a likable trippy-if-safe optimism that's too heavy to be sunshine pop, though too lightweight to qualify as serious underground boldness. (Richie Unterberger,

To me the album have both, a nice sunshine feeling nearly over the whole album and some real good progressive and light trippy sounds. Both together with the really good vocals here makes this a real good psychedelic pop album with some proggy moments.
I post it in both mp3 and flac.
Have fun
              SB1  mp3@320

Chad & Jeremy - The Ark (1968) 2006 (Sony Japan) Flac

Here is the last one of the by me so-called  ''Trilogy'' of the three albums who had a different sound to other releases by Chad & Jeremy. The Ark from 1968. It was the time in the sixties where everything sounds ''psychedelic''. At least nearly all sounds psychedelic, lol :-) . The Ark is one of three works where Chad & Jeremy had worked with that influence. It was a light psychedelic pop sound with parts of Folk. The other two i have post here before are Of Cabbages And Kings and (OST) Three In The Attic.

Enjoy it
            SB1   Flac

U.S. Power Pop By Adam Daniel - Blue Pop 1999 (mp3)

Blue Pop stands among the best guitar-pop albums of the '90s with swirling melodies, unforgettable hooks, and heartbreaking sincerity. With its release, Adam Daniel establishes himself as another gifted, though commercially overlooked, songwriter in the vein of Tommy Keene and Marshall Crenshaw. Ranging from spiteful ("Breaking Up") to unabashedly optimistic ("Simple Things"), Daniel hits every point on the romantic spectrum. Though he deals with typical subject matter, he manages to inject enough personality into his songs to make them unique. "Her Shake" is an energetic attack of punchy guitars and singalong harmonies that will leave any true pop fan reeling, while "Cured twists and turns until it's completely embedded into your brain. Other highlights include the tragically sad "Why I Can't Be Beside You" and the dreamy "Battle Song."

Like many professionals in the music business, Adam Daniel started playing a musical instrument early in life. When he was six years old, he took up the piano. The guitar followed three years later, and songwriting was soon a skill that the young musician was doing well enough to perform tunes in hometown bands. Upon his graduation from high school, Daniel headed to California to become a student at UCLA. He juggled his classes with time spent as a producer and session musician. After obtaining his degree in 1995, Daniel started to put together some new songs for a demo. Independent label APG Music offered him a recording contract, and Daniel's demo evolved into Blue Pop, his first album. APG, an East Coast company, issued the debut in 1999. The mix of pop and dreamy ballads stirred some interest, and Daniel's album landed among the Top 100 on college radio, where it remained for two months. Television, too, discovered Daniel's music. "Cured," which was featured on Blue Pop, made an appearance early in 2001 on Jack and Jill, a program aired by the WB network. That same year, Jenifer, a movie aired by CBS, included "Her Shake." Both "Cured" and "Her Shake" landed in the WB network's Felicity late in 2001, while the following year saw "Who'll Hold On (To My Heart)" used in NBC's The Matthew Shepard Story in 2002. "Cured" also returned to Felicity in 2002. Daniel performs with his group, the Adam Daniel Frequency, for which he provides piano, guitar, and vocals. The lineup also includes drummer Scott Sadlon, and bass player and vocalist Brian Nussle.
If you don't know this guy give him and the album a try. Very good work!
                  SB1  mp3@320

SunshineFolkPopRock! Daughters Of Albion - Daughters Of Albion 1968 (2008)Flac

Inspired by the Beatles' Sgt. Pepper's Lonely Hearts Club Band, Daughters of Albion took a hook-laden, harmony-filled approach to late-'60s rock. Representing the combined efforts of vocalist/guitarist/songwriter Greg Dempsey and vocalist Kathy Yesse, Daughters of Albion failed to match critical expectations. Billboard described the duo as "a striking voice but uneven material."
Featuring original songs by Dempsey, some written with Dave Luff, Daughters of Albion's sole self-titled album was produced and arranged by Leon Russell.
After the duo's breakup, Yesse went to record a solo album, Boogie Bands & One Night Stands, as Kathy Dalton, in 1973. Produced by Dempsey, and featuring accompaniment by Van Dyke Parks, Carl Wilson, and members of Little Feat, the album was later renamed Amazing and reissued, with one different track by Frank Zappa's Discreet label.

Daughters of Albion is happy Californian pop/rock music, imbued with streaks of the kind of weirdness that only cropped up in otherwise normal pop/rock records in the late 1960s. Some of the harmonies are good, if a little on the super-sweet and high side. The odd interjections of orchestration and weird little effects -- most likely producer Leon Russell was a strong contributor in this regard -- make this more interesting than you might expect from the basis of the songs alone. If you're looking for rough ballpark cult figures that might indicate whether you should seek this out, it's kind of between the albums of the era by Millennium and the Judy Henske-Jerry Yester duo. With its frequent good-time bounce, it's closer to Millennium than the darker and more resonant Henske-Yester collaboration, though it doesn't sound extremely close to either act, and isn't as good as either. Still, the better tracks, like "Candle Songs," conjure an appealing never-never fairyland, far more innocent than those devised by psychedelic peers like the Jefferson Airplane on "White Rabbit."

A fine sunny album of it's time that makes a lot of fun.
Viel Spass wünscht
                              SB1 Flac

FIXED!!! The Second Link of Chad & Jeremy - Sing For You - A Golden Classics Edition [Collectables] 1993 Flac is FIXED!!!

FIXED!!! The Second Link of  Chad & Jeremy - Sing For You - A Golden Classics Edition [Collectables] 1993 Flac is FIXED!!!

Have a nice Sunday Friends and Folkies.
Kind regards

The Spongetones - Oh Yeah (1991) mp3

One of the most underrated power pop bands of the '80s, the Spongetones released several albums of effortlessly catchy guitar pop that captured the feel of '60s British Invasion pop with remarkable accuracy and innocent charm. While they never received much critical or commercial attention, their music has aged much better than most power pop of the era (late '70s and early '80s), and among specialists they're highly revered not only for their studio prowess but also for their spirited live shows. They are one of the few bands that gracefully carried on past the "skinny tie" fad into the '90s and beyond -- not as strict revivalists but as something unique. The band, comprised of Steve Stoeckel (vocals, bass), Pat Walters (vocals, guitar), Jamie Hoover (vocals, guitar), and Rob Thorne (drums), began as a covers band in Charlotte, NC in the early '80s. They signed to the Ripete label in 1982 and released their first full-length, Beat Music, the same year, following with the Torn Apart EP in 1984 -- the latter featuring esteemed guests Don Dixon, Mitch Easter, and R.E.M. on handclaps. Stoeckel temporarily left the band, returning in 1991.

By 1987, it seemed the Spongetones wanted to distance themselves from their revivalist reputation, leaving Ripete in favor of the independent Triapore and recording probably their most experimental and most un-Spongetones album, Where-Ever-Land. The album, produced by Don Dixon, flirted with garage rock, psychedelia, and the more fashionable jangle pop -- all in all it marked a more muscular and harder-edged approach. The experiment failed for the most part and was short-lived. The band signed to Black Vinyl Records (owned by power pop icons Shoes) and found a true home in 1991.
There they created, in the mold of their first two releases, possibly their most focused Mersey pastiche, Oh Yeah! Textural Drone Thing followed in 1995. In addition to regular band activities, Jamie Hoover released a solo album, Coupons Questions and Comments, for Triapore in 1990, and also formed the Van Delecki's with Bryan Shumate, releasing Letters from the Desk of Count S. Van Delecki on Permanent Press in 1996. After a five-year band silence, the Spongetones finally returned in 2000 with the album Odd Fellows. Number 9 followed in 2005. (allmusic. com)

 The Spongetones return after a long absence with 1991's Oh Yeah! They effectively pick up where they left off in the '80s with their infectious Beatlesque power pop. Easily their best songwriting, and a good place to get acquainted with the band.

         SB1  mp3@320