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.


Tuesday, 21 March 2017

Power Pop: Frisbie - The Subversive Sounds Of Love (2000) mp3

Heralded by many as the banner carriers of power pop for the 21st century, few bands have displayed such a mastery of pop songcraft on a debut release. Though not horribly adventurous with their sound, the unabashed reliance on sophisticated harmonic vocal arrangements, fuzzed out guitars, and occasional brass sections was seen as near revelatory in some critical circles. No doubt, the sweeping Big Star-inspired melodic progressions of tracks like "Shine" and "To See and Be Seen" more than deserved the accolades that The Subversive Sounds of Love garnered. When upping the tempo and volume on tracks like the galloping "Paid in Kind" or the punchy "Vertigogo," Frisbie can sound downright anthemic, though the more California-styled rock of "Disaster" probably fits their sound just as well. Still, it's hard to say that you ever get a real sense of the group dynamic that's at work in the process. And while that process delivers on an undeniably cohesive pop product, the personalities involved are never totally evident. An exception to this, the album closes with the theatrical whimsy of piano and banjo in "The Shuffle," proving the band can put a more pronounced face on their sound. Although artists like this emerge on a semi-frequent basis, and usually don't amount to very much in the long term, Frisbie gives hope to the power pop true believers.

Haven't heard this Power Pop guys in a long time. Today i listened to the whole album once again and thought it could be a good idea to post it here.
Hope you have fun
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Garage/Pop Rock: Terry Knight And The Pack - s/t & Reflections 1967-1968 mp3

This two-fer compiles the only two albums by Michigan's Terry Knight & the Pack; its self-titled 1966 debut and 1967's Reflections. Rock & roll collector's and Michigan rock aficionados have given these albums semi-legendary status simply because the lineup included the roots of Grand Funk Railroad -- Knight was the band's manager and producer until 1972, and both guitarist Mark Farner and drummer Don Brewer came from its ranks. These two recordings were originally issued on the Lucky Eleven imprint and were distributed by Cameo/Parkway who had scored a number one hit with "96 Tears" by ? and the Mysterians, another Michigan act.
Knight's gift wasn't so much as a singer, but as a songwriter capable of aping the hitmakers of the day, and he knew how to arrange. This is born out on the first album's covers of Sonny Bono's "Where Do You Go," "You're a Better Man Than I" (a hit for the Yardbirds), and a particularly strange reading of the Rolling Stones' "Lady Jane." The single from the album was a reading of the Leiber & Stoller nugget "I (Who Have Nothing)." Knight's own tunes include the fuzz guitar-drenched album-opener "Numbers" was reminiscent of the Seeds, while "What's on Your Mind" walked a line between Georgie Fame and the Zombies. The band's second album, Reflections, opens with the whitest cover of Joe Tex's "One Monkey (Don't Stop No Show)" ever. It also includes a direct steal of Donovan's songwriting style and vocal phrasing, in Knight's "Dirty Lady," and Bob Dylan's early electric sound on "Dimestore Debutante."
There are some real rockers here, too, in "Love, Love, Love, Love, Love," that's reminiscent of the Standells, the soul-inflected-cum-Association-influenced "This Train," and a unique garage psych cover of the Stones' "(I Can't No) Satisfaction." This may not be Michigan Rock at its finest, but it is an integral part of its history.(

Two albums on one disc. If you don't know Knight, you will know for shure Mark Farner and Don Brewer of Grand funk fame. Grand Funk was never my thing but this here is of my taste.
Enjoy it
Cheers SB1    mp3@320

Them - The Story Of Them feat. Van Morrison (The Decca Anthology 64-66) (Deram) Flac

Them were a formidable, popular group in their own right before singer Van Morrison went on to even greater fame. This Belfast five only produced two LPs and a potful of 7" singles during its ascendance in the molten heat of the British Invasion. But they did manage two Top 40 hits in America in 1965 (the enduring number 24 "Here Comes the Night," later covered glam-style by David Bowie on Pin Ups, and number 33 "Mystic Eyes") and two Top Ten hits that same year in their native Britain ("Here Comes the Night" and a cover of Joe Williams' "Baby Please Don't Go"). And is there a single bar band in America that doesn't play "Gloria," shouting "G-L-O-R-I-A" just like the 19-year-old Morrison in 1964?
Moreover, the group's West Coast U.S. tour of arenas like the Fillmore in the spring of 1966 had the Ulster youths commanding bills that included such admiring support groups as the Doors, Captain Beefheart & the Magic Band, the Grass Roots, and the Association. At one of them, Frank Zappa even joined them on-stage. Clearly, Them's tough, heavily American blues captivated, a direct result of the vicious voice of Morrison. It was even more a weapon on this tougher-sounding material than it's been since he became a solo star. Although the band chose songs to cover by John Lee Hooker, Jimmy Reed (twice), T-Bone Walker, Ray Charles, Screamin' Jay Hawkins, and Fats Domino, as seen here (as well as others by Bob Dylan, Simon & Garfunkel, and Bobby Troup), the real precedent for the white-hot, gnashing growl in Morrison's teenage voice was Howlin' Wolf. Here's a red-throated snarl not even other great '60s English white soul singers -- such as the Small Faces' Steve Marriott or the singer for the Action -- could match, one even more unsettling than the Animals' Eric Burdon.
Talk about making the hairs on your neck stand up! It's actually a pity, then, that Them relied so heavily on others' material (as did everyone else circa 1964), for the two dozen originals stand up well. In addition to "Gloria," Morrison was well on the road to his later genius when he penned "Could You, Would You" and "Hey Girl." True, his material could stand to rock & roll more, just as the Yardbirds held fast to Chicago blues but made their beat stomp. But still he comes on like some swamp-dwelling, moonshine-drinking, big man on the prowl. Them were raw and ready, and digitally brought back kicking and screaming from the original analogue master tapes, they are an eerie thing of bluesy beauty.(

In this nearly 50 tracks of this anthology you feel the pure energy of this band and the singer Van Morrison who put it with his vocal performance two levels higher than a lot of other bands of the genre back then. I saw him just for once in '83 and that was around 18, 19 years later than the stuff from this anthology, and he kicked ass the whole arena with his vocals. Great man!
Hope you like it
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The Spongetones - Too Clever By Half (2008) mp3

Jamie Hoover and company are back doing what they do best. One of the finest power pop bands of Beatlesque heritage, The Spongetones have influenced a whole new generation of musicians from James Deem, The Saving Graces, Frank Royster, Cool King Chris, Crisis, Analog Daze, The Dukes of Stratford, Carl Rosen, Lindy Dobbins, The Sammies, and The Everyday Things. And that’s just the tip of the iceberg. After we establish the triumphant Rickenbacker jangle of “Invisible Girl” it sets the tone here and then we get to the first great Spongetones classic in “I’d Love You” with it’s “Got To You Into My Life” guitar coda after the chorus. Hoover still has a McCartney-like sense of melody with the easy flowing “Man With No Skin.” And the band has evolved their Fab sound, not unlike the way XTC had done during it’s “Oranges and Lemons” era – the toe tapping “One More Day” is a great example of this. A huge amount of tracks here, eighteen – and it’s almost overwhelming. On the other hand, with a large majority of the music great, you can excuse a bit of indulgence here and there. Sometimes, the earnest romantic vibe strays into maudlin territory, with “Three Kisses For You” sounding like a Frodo Baggins-inspired love ballad.
But even among the really good tracks here, you get a true monster hit like “When it’s you” with an amazing hook that never lets go, and includes vocal harmonic gymnastics that would shame Lindsey Buckingham and chord changes guaranteed to give you goosebumps. This is why others bow to the genius of Mr. Hoover. Then again, Hoover tests the limits of the band, and it’s ability to make quirky pop a la Moe Berg or Andy Partridge. It does work well on “She’s Happenin'” and less so on “Easy with You.” Other worthy classics are comments on this crazy music business, “King Ampersand” and “Your Entourage” are wonderful songs that reflect the musicians’ life. Simple pleasures are found in the bossa nova-styled “Stalemates” and the matter of fact lyrics in “Must Be Lust.” You almost want the band to cut loose even more on “Elvis Doctor” with it’s Hound-Dog beat and guitar swing. Needless to say, this is super-recommended to everyone who loves great music.

One of the great bands who nothing left of her strenghts of writing and arranging wonderful power pop tunes.
Have fun
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Power Pop of Australia: The Stems - At First Sight Violets Are Blue 1987 Flac

THE STEMS epitomized 80’s indie rock, giving it a wider currency. They are one of only a handful of bands (among them the Hoodoo Gurus and The Sunnyboys) that cracked the mainstream charts with an indie approach in the 80s.
Making their debut in March 1984 playing alongside The Triffids and The Saints, THE STEMS released a series of independent records on Sydney’s Citadel Records. Each release made it to number one on the Australian alternative charts. But it was their 1987 debut album, “AT FIRST SIGHT VIOLETS ARE BLUE” that received national and international acclaim. It became one of the best-selling Australian albums of that year despite an almost total lack of commercial airplay in the corporate FM dominated 80’s. Rolling Stone named “AT FIRST SIGHT VIOLETS ARE BLUE” one of the top 100 releases of all time. It eventually went Gold and still continues to sell strongly today.
Appearances on Countdown, magazine covers, sold out shows – the world seemed at THE STEMS’ feet. However due to the pressures of non-stop touring and the usual “personality differences” THE STEMS mysteriously imploded on the eve of a massive European tour in late 1987, sealing the legend for all time.

Rising from the ashes of their 1980’s breakup, THE STEMS reformed in 1997 to perform a reunion show in their beloved hometown of Perth to an enthusiastic response. It is fair to say they were all surprised – even amazed - how popular they still were. They toured Australia, Europe and the USA including an incredible one-off show at the invitation of Bruce Springsteen’s guitarist (and Sopranos, Lillehammer TV star) Little Steven, who lists himself as one of THE STEMS’ biggest fans. At this show they shared the stage with The Stooges, Bo Diddley, Big Star, Nancy Sinatra..., and 60’s underground bands The Chocolate Watchband, The Pretty Things, Creation and the Electric Prunes who were an influence on their sound in their early days.
Things seemed to gain momentum. At the urging of Little Steven and a host of others the band made plans to record an album of new material ultimately titled “HEADS UP” – released on Shock Records in late 2007. Recorded in Perth on all analogue equipment and mixed in Cincinnati by producer John Curley (White Stripes, Afghan Wigs, Greenhornes and Ronnie Spector) the album was released to rave reviews and sold solidly around the world.
On the release of “HEADS UP” in late 2007, THE STEMS were invited on the “CLASH OF THE TITANS” tour with Radio Birdman and the Hoodoo Gurus.
Successful tours of Australia, Europe, Japan and Austin Texas’s SOUTH BY SOUTH WEST Festival soon followed to much acclaim. The band went off the road again in 2009 before reforming with a new line-up in 2013.

To me Dom (Dominic) Mariani is a living legend into the history of power pop. All the projects he have organized or where he was a member. But i let speak his biography here:


Born and raised in Fremantle, singer/songwriter Dom Mariani formed THE STEMS in the summer of 1983. The band debuted alongside the Triffids and the Saints in 1984 with a sound that fused underground 60’s garage rock with post-punk, R&B and classic pop. A succession of independent records all made number one on the Australian alternative charts and along with the Hoodoo Gurus and the Sunnyboys, THE STEMS were one of only a handful of bands that cracked the mainstream charts.Their 1987 debut album, “At First Sight Violets Are Blue” became one of the best-selling Australian albums of that year despite receiving virtually no commercial airplay in the corporate FM-dominated 80s. Rolling Stone named “At First Sight Violets Are Blue” one of the top 100 releases of all time. It eventually went Gold and still continues to sell strongly today.
After the demise of THE STEMS in 1987, Dom returned in 1990 with THE SOMELOVES. The band’s first and only LP of guitar-driven pop, “Something or Other”, won seven 1990 Western Australian Music (WAMI) Awards. Dom also collected the award for most outstanding songwriter that year.
The promise of THE SOMELOVES was short-lived and contractual problems would not see a new release from Dom for another three years. He returned to live gigging with a new outfit, DM3, which became one of Australia’s greatest exponents of what was dubbed ‘power pop’. DM3’s debut single, the Mariani-penned “Foolish”, was released in April ’93 and took out the most outstanding single at the WAMIs. 

DM3’s first LP “One Time Two Times Three Red Light” (1993), mixed by legendary American producer Mitch Easter (REM, PAVEMENT, SON VOLT, LETS ACTIVE, VELVET CRUSH), received widespread critical acclaim for its melodic pop hooks, cool vocals and high energy rock’n’roll guitar. It sold well in Australia, Europe and the US, and two Europeans tours followed.
Album number two, “Road To Rome”, was also mixed by Mitch Easter and lauded internationally as one of the best albums for ’96 of its genre. “Rippled Soul”, DM3’s third album, was more diversely structured and well received at home and overseas. DM3 eventually split at the end of ’99.
Fast forward to 2011 and a once-again reunited and reinvigorated DM3 performed at South by South West in Austin, Texas and toured Europe and the east coast. DM3’s best-of record “One Time, Two Times, Three Times More” and a live set “Live at Roskilde” have seen DM3 return to the live scene in 2014. Dom released his first solo album “Homespun Blues and Greens” in 2004. He continues to tour Europe where he is a popular drawcard, touring with the Stems in 2003 and as a solo artist on the release of his anthology “Popsided Guitar” in 2005.( Taken from the Dom Mariani Homepage)

Further projects are The Majestic Kelp ( Instrumental soundtracks that combine a love of surf guitar sounds, western themes, blues, exotica, and psychedelic fuzztones) and now he's working with Datura4, a psychedelic R'n'R band.

You will enjoy The Stems...and play it loud :-)
Kindly regards
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