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

Monday, 20 March 2017

Australian Pop Beat Garage: The Allusions - Anthology 1966 - '68 (Canetoad Rec) Flac


The Allusions were an Australian band that never made any impression outside of their homeland but left behind some great Merseybeat-style records. The quintet was formed out of the memberships of two previously existing groups, the Leemen and the Delawares. Guitarist Terry Hearne, already a five-year veteran of the music business at age 20, and an ex-member of the surf instrumental groups the Dave Bridge Quartet and Dave Bridge Trio, joined the Leemen in 1964 and began to move away from leader Lonnie Lee's Bakersfield sound country repertory. With rhythm guitarist Michael Morris, who had previously played in an outfit called Dennis Williams & the Delawares, he split off from the Leemen. Hearne's ex-Dave Bridge bandmate Terry Chapman came in on bass, and Kevin Hughes of the Delawares took the drummer spot, with John Shaw, who also doubled in a very limited way on organ, taking the lead vocals on the ballads. The new group's influences and models came from the Beatles but also the early Zombies and the Fortunes, Gerry & the Pacemakers, and other lighter, pop-oriented rock & roll outfits being heard at the time in England.

When they made their debut at the end of 1965, they were a pure cover band, performing nothing but established British acts' songs. They moved into creating original material when they realized that it was the only way that they would ever get to record. Morris became their in-house mainstay in that regard, not because he was particularly good at it but because, in Hearne's view, he was better than the other four. "We couldn't write a shopping list," he remarked to David McLean in a 1994 article. They developed a modified Merseybeat sound, almost reminiscent of Gerry & the Pacemakers but with the harmonic subtleties of the Beatles and the Searchers, and got a contract late in 1965 with EMI's Parlophone Records imprint, by way of their production deal with Leopold Productions, for whom their producer, Robert Iredale, worked.
From the beginning, they sounded more Merseybeat than the actual surviving Merseybeat bands of 1966 did, in some ways paralleling the early Australian work of the Easybeats -- both had what was, essentially, a delightful throwback sound to the slightly more innocent years of 1964-1965. Their debut release of "Gypsy Woman" was a nationally charting Australian single that reached the island nation's Top Ten in a nine-week chart run. They sounded so English that it was a surprise when they discovered that the Allusions were from Australia. By that time, Chapman, a co-founder, had quit and was replaced by Bruce Davis, former lead guitarist of the Delawares. Their second single, "The Dancer," did even better than its predecessor, peaking at number eight on the charts. The sky seemed the limit at that point -- with the exception of the Easybeats, no Australian band was doing anything like the Allusions' business, and they found themselves something of cultural heroes to anyone under the age of 21; they even rated a spot on the support bill to the Easybeats' final Australian concert before the latter group set out for London. It was at that point that their initial success fizzled out along with their third single, "Looks Like Trouble." The latter was a bit derivative of "I Feel Fine" in its opening and perhaps less than inspired in its beat and lyric, except for a catchy chorus with an interesting modulation, and a cool garage punk guitar break. The single's failure, coupled with behind-the-scenes political maneuvers that kept them out of the best venues in Sydney, also cost them some momentum.
Their fourth single, "Roundabout," made the Top 30 in early 1967, rescuing the group from immediate decline -- that single has been compared to Paul McCartney's better ballad work, though it's closer to a really, really good Monkees song (and one worthy of Micky Dolenz's vocal talents). Davis's "I'll Be Home" is actually more interesting, with some offbeat modulations and a curious mix of downbeat mood and catchy tune, all of it recalling Ringo Starr's vocal performance on "Act Naturally," which fit doubly since Hughes, the drummer, sang it. At this point, the group also cut a self-titled album of covers, ranging from pleasant but unexceptional renditions of American soul ("Shop Around") to a killer version of the Kinks' "I Gotta Move."
Time was working against the group by then, however. Morris' songwriting output was never fully adequate to keep them competitive in the singles marketplace, and their inability to break through to the best clubs in Sydney, or to get the best bookings elsewhere in Australia, coupled with the bare trickle of money that they ever saw from their records (the revenues from which went first to the production company), all wore on the members. Attempts to crack Melbourne and Brisbane never paid off, and then the sales of their records fell off and the group gave up along with the record label. By the end of 1968, the Allusions were history, albeit a history very much worth seeking out and discovering, based on the quality of most of their records.

Fans of the early- and mid-'60s Merseybeat sound (the Beatles, Gerry & the Pacemakers, the Searchers, etc.) will probably love this 21-song compilation, which assembles the Allusions' complete recorded output over a four-year period. At their best, as on "Gypsy Woman," they had a fresh, original sound somewhere midway between the romanticism of the Beatles, the dynamism of the Kinks, and the Who's early ballads, with a unique vocal sound and good attack on their instruments. "Fever (Burns My Brain)" is a strange, yet workable, mix of two seemingly conflicting themes, a harsh, smooth farewell main lyric bridged by an achingly beautiful chorus reminiscent of Gerry & the Pacemakers vocally and the Zombies instrumentally. "The Dancer" is one of those odd low visibility numbers, like "I'll Remember the Night" by the Roulettes (whom these guys also resemble) that are such smooth and catchy examples of the Merseybeat sound that they belong on any anthology of the era and the music. "Roller Coaster Man" sounds like a Searchers outtake or a Gerry & the Pacemakers reject, with a guitar part that resembles "You Can't Do That." "Looks Like Trouble" owes a bit to "I Feel Fine" in its intro, although it also includes a thoroughly American garage-band style guitar break. Some of the later numbers, such as "Roundabout," are less interesting as songs, although even this wimpy ballad offers a catchy chorus and, overall, resembles nothing less than a decent Micky Dolenz-sung Monkees song. And "I'll Be Home" is the kind of song with which Ringo Starr could have done wonders, especially with the Beatlesque harmonies at the end of each line. The album's later songs are an interesting mix of subdued, moody ballads and high-energy rockers, such as "I Gotta Move," which may be the most Kinks-like cover of a Kinks track that you will ever hear. This disc's sound quality is excellent and the annotation extremely thorough.(allmusic.com)

The disc's sound is really amazing and the selection is great. Here are so much songs that are great. ''Mr. Love'' in example but there are so much more. I highly recommend this anthology. The Allusions were a lot better than some of their contemporaries from the UK or the US.
You will have fun
                            SB1    Link 1   You need both tracks!    Link 2

At Request: The Spongetones - Beat & Torn (1994) mp3

Now combined on one CD, Beat Music and Torn Apart represent the band's earliest recordings and some of their finest. These two albums are simply Southern power pop at its best, and this package is essential for fans of pure pop.(allmusic.com)

Yeah there is not much to say about it. The both first albums on one disc released in 1994.
Viel Spass mit Beat & Torn
                                            SB1    mp3

Hawks - Perfect World Radio (2003) mp3

Along with bands like the Knack and the Plimsouls, the Hawks combined the melodic songcraft of Badfinger with the angular immediacy of the bourgeoning '80s new wave sound. Despite being signed to Columbia and garnering a loyal cult following, the Iowa band never achieved great success with their 1980 self-titled debut and 1982 follow-up, 30 Seconds Over Otho, eventually fading into obscurity. Fortunately, Not Lame Recordings created a third Hawks album of sorts, proving the band had much more up its sleeve. Compiled with the assistance of the band, Perfect World Radio features various demos and unreleased tracks. Sounding something like Dwight Twilley meets Styx, the collection paints the picture of a talented band too quirky and intelligent for mainstream radio and conversely too slick for the underground of college rock.
What is also apparent is that lead vocalist/guitarist Dave Steen, vocalist/keyboardist Dave Hearn, vocalist/guitarist Kirk Kaufman, vocalist/bassist Frank Wiewel, and drummer Dolor Larry Adams knew how to craft an immaculate pop song. It's hard to believe that the driving "Only Love Is Real" couldn't have competed with any Cars classic and that one couldn't at least argue that Steen's Rupert Holmes-like "Roxanne" is as good a use of the name in a pop song as Sting's. The album also attempts to put to rest the argument that the band became too commercial on 30 Seconds while sacrificing their jangle pop roots. Here you find a band equally adept at 12-string Rickenbacker folk-isms as it is at synthesizer-laden stadium anthems and sounding great at both. If Wiewel's "Right Away" sounds better than anything Badfinger released in 1979, than Steen's "The Show Is Over" is the best Who song you never heard. Barring a complete reissue of the Hawks' studio albums, Perfect World Radio stands as long overdue pop justice.(allmusic.com)

Hawks have deserved more as they earned with their music. But that is the fate of musicians. Success as musician is not  dependent from the class and quality of the music. Mostly the success is dependent from things who got less or nothing to do with music. However these guys have real strong catchy songs and you should give them a try.
Have fun
               SB1  mp3

Hilly Michaels - Calling All Girls (1980) mp3


Still blazing hot following his stints alongside Ellen Foley and Hunter-Ronson, Hilly Michaels completed his transition from session drummer to solo superstar with the release of Calling All Girls, one of the signature hits of the early '80s, and one of the defining elements in the gestating new wave blueprint. Comparable to a superior revision of the Cars ' finest moments, "Calling All Girls" was notable, too, for a video that simply devoured the fledgling MTV, and the accompanying album proved that it's idiosyncratic brilliance was no fluke. With producer Roy Thomas Baker at the top of his game, and Michaels accompanied by an all-star line up of friends and admirers (Liza Minelli, Lorna Luft, Ellen Foley, G.E. Smith, Davey Johnstone, and Dan Hartman all appear), Calling All Girls delivered a non-stop diet of quirk, quizzicality, and often deliriously over-the-top pop drama, with the signature hit single just one of more highlights than many period artists shoehorned into their entire careers. That no further major hits spun off the disc is one of those mysteries that will never be solved, but the producers of Caddyshack saw the joy of "Something on Your Mind," and fresh listens to the whole thing retrieve new delights every time.

 Power Pop with a little New Wave influences and a LOT CANDY POP. ''U.S. Male'' in example works with Queen influences in a very lovely and funny way. This is an album with very big fun factor. Great!
(You will) Have fun
                                 SB1   mp3@320

Psychedelic Pop (opera?) Blackwood Apology - The House Of Leather (1969) 2010 Flac

The House Of Leather have a pretty obscure story about a whorehouse in the times of the american civil war. But listen yourself. To me the album needed a few spins but than it shows me its own charm.
If you give it a try take yourself a little time for the album. It is by far better as its reputation. In some moments it remembers me to the Association.
Hope you will enjoy
                                SB1 Flac

At Request: The Spongetones - Beat Music (1982) mp3

Here is the 1982 album ''Beat Music'' by the Spongetones who is heavily influenced of the british beat from the sixties. Wonderful album. 5 and a half stars out of 6.
Enjoy
          SB1 mp3@320



Beat Music, the Spongetones' debut album, features some of their finest music, drawing heavily on the Beatles, Dave Clark Five, and Hollies without shame. And while this is certainly derivative stuff, rarely is a nostalgia trip so well executed and enjoyable. Beat Music and its follow-up, Torn Apart, have been combined on a single disc, Beat & Torn, released on Black Vinyl Records.(allmusic.com)

At Request: Truth - Truth (1970) in Flac

Hello Friends and Folks at first i want all of you wish a nice day and easy start into the week.

This post is the Flac file for the album Truth - Truth (1970). I posted yesterday the mp3 version. I put the link of the Flac file also in the post of the mp3 from yesterday. You'll find it there.
Okay, cheers
                    SB1