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.


Friday, 24 March 2017

Fountains Of Wayne - Fountains Of Wayne 1996 - Flac

Every so often, a band comes along that digs back into what pop music is all about -- good, fun tunes. Fountains of Wayne is one such band. The wonderful thing about the duo (singer Chris Collingwood and bassist Adam Schlesinger of Ivy) is that they manage not to be overtly retro -- the album is a wholly modern production. The only non-modern aspect of it is the fact that the songwriting is so straightforward and wonderful; nearly every song is a pop gem. The result is an album that's almost innovative, when you really think about it -- very few albums released in the '90s have been this pleasant, charming, and all-around likeable. The obvious reference points would be Teenage Fanclub, Big Star, and the Posies, but even these don't quite capture the duo's sound. Think of some of They Might Be Giants' best pop tunes and scrape away every trace of silliness, and you'll be a little closer.(allmusic)

 Although Fountains of Wayne didn't enjoy mainstream attention until the release of "Stacy's Mom" in 2003, the band had already established itself as one of America's strongest power pop acts. Based in New Jersey, the group first appeared in 1996 with a mix of British-influenced pop songs, lo-fi production, and wry lyrics about dead-end jobs and biker boyfriends. Fountains of Wayne expanded their lineup and polished up their sound during the following years, eventually hitting gold with 2003's Welcome Interstate Managers. While that album proved to be something of a fluke success, the band continued releasing well-crafted records throughout the subsequent years. Meanwhile, co-founder Adam Schlesinger enjoyed a separate career as a producer and ghostwriter for other artists.
Schlesinger first crossed paths with Chris Collingwood in 1986, while both were studying at Massachusetts' Williams College. Sharing a mutual affection for melodic British pop, the two formed a series of short-lived bands before recording an LP under the name Pinwheel. The duo split up after legal hassles blocked the album's release, with Schlesinger resurfacing as part of the indie pop band Ivy and Collingwood joining a Boston-based country group named the Mercy Buckets. The two musicians eventually reunited in 1996 as Fountains of Wayne, christening their band after a lawn ornament store in Wayne, NJ. Atlantic Records released the duo's self-titled LP that same year, and Schlesinger helped create some more buzz by authoring the title song to the movie That Thing You Do!

Schlesinger's contributions to the film's soundtrack garnered a Grammy nomination and an RIAA gold certification in 1997. Fountains of Wayne's own album only enjoyed a sliver of that success, though, selling roughly 125,000 copies in America. Despite a lack of mainstream attention, the band toured the world alongside the Lemonheads and the Smashing Pumpkins. The addition of two touring musicians -- guitarist Jody Porter and former Posies drummer Brian Young -- helped round out the band's sound, and both became official members during the recording of Utopia Parkway. Released in 1999, the album expanded the band's catalog with slicker production, beefier harmonies, and Porter's muscled guitar work. Despite the popularity of "Denise" at college radio, Utopia Parkway sold poorly. Frustrations grew between Fountains of Wayne and Atlantic Records, who neglected to promote the song "Trouble Times" as a single, and the band was dropped from Atlantic's roster in late 1999. A long hiatus followed, during which Schlesinger co-wrote several songs for the Josie and the Pussycats film, released a third album with Ivy, and produced albums for the Verve Pipe, David Mead, and They Might Be Giants. The musicians reconvened four years later, funneling their own money into the creation of Welcome Interstate Managers. Released in 2003 on the newly minted S-Curve label, the album gave Fountains of Wayne its first taste of Billboard-certified success with "Stacy's Mom," a hit across several charts and the band's first Top 40 entry. The accompanying music video featured Rachel Hunter as the song's voluptuous title character; perhaps predictably so, it became a staple at MTV. The subsequent singles "Mexican Wine" and "Hey Julie" fared less well, but Welcome Interstate Managers nevertheless went gold, whetting the public's appetite for future Fountains of Wayne releases.

The double-disc compilation album Out-of-State Plates arrived in 2005, sporting two new songs (including the single "Maureen"), several live cuts, and a wealth of rarities. Fountains of Wayne launched a limited tour before returning home, where Schlesinger kept up his songwriting chops by penning four tracks for the soundtrack to the 2007 film Music & Lyrics.
That same year also saw the release of another FOW album, Traffic and Weather, which continued the band's tradition of fusing power pop with lyrics about travel, relationships, and workplace boredom. While working on a follow-up album, Schlesinger found time to play alongside Taylor Hanson, James Iha, and Bun E. Carlos in the pop supergroup Tinted Windows, whose debut album appeared in 2009. Later that year, Schlesinger joined Fountains of Wayne on a full-band acoustic tour, using the opportunity to play a handful of new songs in front of a live audience. Most of the new material found its way onto the band's next album, Sky Full of Holes, which doubled as their first release for Yep Roc in 2011.(allmusic)

One of the great bands of the last 20 years in Power Pop. Hat off  to their musical works and skills. They sound to me as if nothing is missing in the song. All sounds one hundred percent perfect on an emotional flat to me. But enough Bla.
Have fun
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mp3 & Flac; Tommy James & The Shondells - Crimson And Clover & Cellophane '69/'69 (Rev-Ola 2009)Flac & mp3

Tommy James & the Shondells -- the very mention of their name, even to someone who doesn't really know their music, evokes images of dances and the kind of fun that rock & roll represented before it redefined itself on more serious terms. And between 1966 and 1969, the group enjoyed 14 Top 40 hits, most of which remain among the most eminently listenable (if not always respected) examples of pop/rock. The group was almost as much of a Top 40 radio institution of the time as Creedence Clearwater Revival, but because they weren't completely self-contained (they wrote some, but not all, or their own hits) and were more rooted in pop/rock than basic rock & roll, it took decades for writers and pop historians to look with favor on Tommy James & the Shondells.
Tommy James was born Thomas Jackson on April 20, 1947, in Dayton, OH. He was introduced to music at age three, when he was given a ukulele by his grandfather. He was an attractive child and was working as a model at age four, which gave him something of a taste for performing. By age nine he'd moved to the next step in music, taking up the guitar, and by 1958, when he was 11, James began playing the electric guitar. In 1960, with his family now living in Niles, MI, 13-year-old James and a group of four friends from junior high school -- Larry Coverdale on guitar, Larry Wright on bass, Craig Villeneuve on piano, and Jim Payne on drums -- got together to play dances and parties. This was the original lineup of the Shondells, and they became good enough to earn decent money locally, and even got noticed by an outfit called Northway Sound Records, who recorded the quintet in a Tommy James original entitled "Judy" in 1962. That single didn't make much noise beyond their immediate locale, but in late 1963, the group came to the notice of a local disc jockey starting up a new label called Snap Records. They cut four sides, two of which were issued and disappeared without a trace on their first Snap single.
The second Snap label release, "Hanky Panky," was golden, at least in the area around Niles. A Jeff Barry/Ellie Greenwich song that the couple had already recorded under their nom de plume, the Raindrops, as a B-side that James and company had heard done by a rival band, "Hanky Panky," had become part of James' group's stage act. It was enormously popular on-stage, and the Snap single took off locally in Niles and the surrounding area, but it never got heard any further away. James and company picked up their marbles and went home, abandoning aspirations for a recording career in favor of pursuing music part time -- the singer/guitarist took a day job at a record store and confined his music efforts to the nighttime hours. The two years that ensued, from early 1964 until 1966, saw the original Shondells break up, as members left music or were drafted. This didn't seem to make much difference until a day came when James got an urgent request from a promoter to do a concert in Pittsburgh, PA.
Considering that the group had never even played there, he was puzzled. He soon found that the Snap Records single "Hanky Panky," recorded back in 1963 and overlooked in Chicago and Detroit at the time, had suddenly broken out in Pittsburgh. A promoter, having found a copy of the Snap single in a used-record bin, had liked what he heard and gotten the record played locally at dances. In one of those fluky instances that made the record business in those days a complete marvel, people suddenly started requesting "Hanky Panky," and in response to the demand, bootleggers began producing it, attributed to various labels -- some sources estimate that as many as 80,000 copies were sold in Pittsburgh before the smoke cleared.
James saw what he had to do, but he no longer had a band and was forced to recruit a new group of Shondells. The lucky winners were the Raconteurs, a local Pittsburgh quintet. They became the Shondells, with Joe Kessler on guitar, Ron Rosman on keyboards, George Magura on sax, Mike Vale on bass, and Vinnie Pietropaoli on drums; Peter Lucia and Eddie Gray, respectively, replaced Pietropaoli and Kessler, and Magura and his saxophone didn't last long in the lineup.
From near-total obscurity, this version of Tommy James & the Shondells went to playing to audiences numbering in the thousands, and were being courted by Columbia Records and RCA-Victor. It was Morris Levy and Roulette Records, however, who outbid everybody and won the group's contract, and got a number one national hit with "Hanky Panky," in the version cut by the original group nearly three years earlier.
Tommy James & the Shondells, revamped, revised, and reactivated, spent the next three and a half years trying to keep up with their own success. "Say Am I," their second Roulette single and the first by the extant group, only got to number 21, but it was accompanied by a pretty fair Hanky Panky LP, showing off the group's prowess at covering current soul hits by the likes of the Impressions, James Brown, and Junior Walker & the All-Stars. A third single, "It's Only Love," reached number 31, but the fourth, "I Think We're Alone Now," issued in early 1967, got to number four, and the fifth, "Mirage," was another Top Ten release. The latter record was truly a spin-off of the previous hit in the most bizarre way -- according to James, "Mirage" was initially devised by playing the master of "I Think We're Alone Now" backwards. Those recordings were the work of songwriter and producer Ritchie Cordell, who became a rich source of material for the group for the remainder of their history.
Tommy James & the Shondells were lucky enough to be making pop-oriented rock & roll in an era when most of the rest of the rock music world was trying to make more serious records and even create art (often even when the act in question had no capacity for that kind of activity). They were at a label who recognized the need to spend money in order to make money, and didn't mind the expense of issuing a new LP with each major single, despite the fact that Roulette was mostly a singles label where everything but jazz was concerned. The group members themselves were having the time of their lives playing concerts, making personal appearances, and experimenting with advancing their sound in the studio. Audiences loved their work and their records, and it only seemed to get better.
Their songs ran almost counter to the trend among serious rock artists. "Mony Mony," a number three hit coming out in the midst of Vietnam, the psychedelic boom, and just as rock music was supposed to be turning toward higher, more serious forms, was a result of the group looking for a perfect party record and dance tune; even the name was sheer, dumb luck, a result of James spotting the Mutual of New York (MONY) illuminated sign atop their building in mid-town Manhattan at a key moment in the creative process. The group did grab a piece of the prevailing style in late 1968 with "Crimson and Clover," an original by James and drummer Peter Lucia that utilized some creative sound distortion techniques. A number one hit that sold five million copies, it was the biggest single of the group's history and yielded a highly successful follow-up LP as well -- ironically, the latter album included liner notes by Vice President Hubert Humphrey, who had gotten to know the band in the course of their performing at some of his campaign events during his 1968 run for the presidency.
James and company were among the top pop/rock performers in the world during 1969, with two more major hits, "Sweet Cherry Wine" and "Crystal Blue Persuasion," to their credit. Indeed, their presence on the Crimson and Clover album, in addition to the title cut, helped loft that record to a 35-week run on the charts, an extraordinary achievement not only in the history of the band but also -- for a non-greatest hits album -- for Roulette Records, who weren't known as a strong album label. They also began experimenting more with new sounds during this period, most notably on their next album, Cellophane Symphony. The latter record, whose release was delayed for four months because of the extraordinary sales of Crimson and Clover, had its share of basic rock & roll sounds but also plunged into progressive/psychedelic music with a vengeance, most notably on "Cellophane Symphony," a Moog-dominated track that sounds closer to Pink Floyd than anyone ever imagined possible. Cellophane Symphony sold well without breaking any records by its predecessor, and proved in the process that Tommy James & the Shondells could compete in virtually any rock genre.
The only miscalculation made by the band was their declining an invitation to perform at Woodstock; the mere credit, coupled with perhaps an appearance in the movie or on the album, might have enhanced their credibility with the counterculture audience.
The end of the Shondells' history came not from any real decision, but simply their desire to take a break in 1970, after four years of hard work and a lot of great times. The moment also seemed right -- James was getting involved in other projects and moving in other directions, including writing and producing records for acts like the Brooklyn-based band Alive and Kicking, whose "Tighter and Tighter" got to number seven, and his own solo recordings. The Shondells continued working together for a time as well, under the name Hog Heaven, cutting one album for Roulette before withdrawing back to the Pittsburgh area where they'd started.
James went through a lot of different sounds on his own records, including country (My Head, My Bed, & My Red Guitar) and Christian music (Christian of the World), and charted in the Top Ten one last time in 1971 with "Draggin' the Line," although he also saw more limited success for another two years with records such as "I'm Comin' Home" and "Celebration."
In the mid-'70s, he made a jump from Roulette Records, where he'd based his career for nearly a decade, to Fantasy Records, and he later recorded for Millennium Records. Following his 1980 Top 20 hit, "Three Times in Love," he resurfaced as a concert artist playing his old hits as well as new songs, although some of these shows were marred by reports of late arrivals and less-than-ideal performances; he has since reestablished a record as a serious crowd-pleasing act, cutting records anew with Cordell and even releasing a live hits collection in 1998.

Tommy James & the Shondells have even achieved something that they saw relatively little of in their own time -- respect. In the years 1966-1970, they were regarded as a bubblegum act and part of the scenery by the few discerning critical voices around, but in the '80s, their music revealed its staying power in fresh recordings (and hits) by Joan Jett, Billy Idol, and Tiffany, with "Crimson and Clover," "Mony Mony," and "I Think We're Alone Now," respectively; indeed, in one of those odd chart events that would have seemed more likely in the '60s, in 1987, Tiffany's version of "I Think We're Alone Now" was replaced at the number one spot after two weeks by Billy Idol's rendition of "Mony Mony." Rhino Records' reissue of the Crimson and Clover and Cellophane Symphony albums, in addition to greatest hits collections and a survey of James' solo recordings from the decade 1970-1980, also seemed to speak for the group's credibility, and a 1997 Westside Records double CD, It's a New Vibration, offering unreleased songs from the '60s as well as all of the key single tracks, confirmed the level of seriousness with which the group was perceived. Tommy James was no Mick Jagger or Jim Morrison, to be sure, and his songwriting -- which was usually not solo, in any case -- lacked the downbeat, serious tone or the little mystical touches of John Fogerty. He's usually put more comfortably in the company of such figures as Paul Revere & the Raiders' Mark Lindsay, or with Johnny Rivers or Tommy Roe, in the middle or early part of the '60s. But from 1968 through 1970, when artists like Jagger, Fogerty, and Morrison were in their heyday, Tommy James & the Shondells sold more singles than any other pop act in the world, many of them written, co-written, or at least chosen by James. The mere fact that he released a concert DVD in the fall of 2000 is loud testament to the power and impact of his work four decades into his career. (allmusic)

I don't think i must say anything about TJ & TS. Okay the biography is a little No, the only thing i want say is i thought ''2 albums on one disc, so i will do two links for one disc. Flac and mp3.
Have fun
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Sir Douglas Quintet - Mendocino 1969 (2006 Sundazed) Flac

Chart success for the title song led to a hurried release for this band's second album, although perhaps the most famous song, "She's About a Mover, originated a few years prior with another version. Listeners will probably be more familiar with the version heard here, the one with the freaky feedback guitar solo and fake fadeout that oldies disc jockeys like to yabber over. This and "Mendocino" are only two of the many nearly perfect tracks on this record, some of which give off the illusion (perhaps an accurate one) that they were simply tossed off without a whole lot of preperation. "Texas Me" is genius on triple levels: there is the poetry of the lyrics, the soulful delivery from the singer, and finally the haunting recording fat with echoey, multitracked vocal and fiddle. When the listener reaches the end, "Baby It Just Don't Matter" it is as if one has strolled through an old neighborhood searching for a lost sound in the air, only to find a good, friendly rock band is jamming in a garage right down the block. The players are the classic Sir Douglas Quintet line-up including Augie Meyer.

This is not really pop in a conventionally way. I think this was a  deep american popcountrygarager'n'r album in its time back then with a little (musical) anarchy and a friendly twinkle in its eye. Puuh, hope you understand what i try to wrote down here,lol. Hope you will have fun with the album.Sahm, Meyer and the other boys were in good shape here. Sunday Sunny Mill Valley Groove Day is just great but one and a half minute to short. Five of six stars for the album. Wonderful.
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Don & The Goodtimes - So Good (1967) 2006 Rev-Ola (with bonus tracks) Flac

Don & the Goodtimes were a Pacific Northwest group formed in 1965 by Don Gallucci (keyboards) and Bobby Holden (drums), veterans of the band scene in Portland and the surrounding area. They cut records for Scepter Records' Wand label and for the Jerden label, and had some local success with the latter. The group didn't find a national audience, however, until Dick Clark chose them as the house band on his 1967 ABC afternoon program Where the Action Is.
They made the move to Los Angeles and a contract with Epic Records followed that year, along with a single and an album. Their debut single, "I Could Be So Good to You," only got to number 56 nationally, although it did better in several key markets, ascending to number 15 in Los Angeles and reaching the Top 40 in New York, indicating that its impact was far greater on the two coasts than in the middle of the country. The group lasted for another year, issuing three more singles that didn't do nearly as well. Holden and bassist-singer Ron "Buzz" Overman quit in 1968, and Gallucci and the other members, Jeff Hawks (lead vocals) and Joey Newman (guitar), organized a new group called Touch, with Bruce Hauser (bass, vocals) and John Bordonaro (drums, vocals), a psychedelic band that got one self-titled LP out in 1969 before breaking up.

Nice pop band from the mid to late sixties that looking for fame in L.A. Give them a try if you don't know them.
See you later
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Power Pop: The Last will be the first; L.A. Explosion 1979 Flac

Perhaps the least known of the late-'70s L.A. pop acts, the Last rose from the ashes of the Los Angeles club scene alongside bands like 20/20, the Knack, the Nerves, the Plimsouls, et al. Releasing their debut album on a small, albeit influential, indie label didn't help them gain exposure outside of California, but the music contained on this platter is as brilliant as anything that came from that era. Led by Joe Nolte and featuring his brothers Mike and David amongst its members, the Last's secret weapon was the keyboard/flute-playing Vitus Matare, who added extra texture and flair to Joe's engaging songs. Heavily influenced by '60s pop, this album has it all: pure pop ("This Kind of Feeling," "Someone's Laughing"), sunny beach pop ("Every Summer Day"), punk-pop ("I Don't Wanna Be In Love," "Slavedriver"), psych-pop ("She Don't Know Why I'm Here"), etc. Thinly produced, this album has a charm and innocence to it that not many other artists have been able to match.

Influenced by '60s surf, psychedelia, and folk-rock, brothers Joe (guitar), Mike (vocals), and David Nolte (bass) of Los Angeles formed the Last in 1976, along with associates Jack Reynolds (drums) and Vitus Matare (keyboards). The Last might be considered a seminal indie band, having released early singles on their own label, Backlash. Their first album, L.A. Explosion, released in 1979 on the Bomp! label, has been lauded as a powerful and nearly perfect first effort.

The Last recorded a second album, Look Again, in 1980 on Backlash and distributed it privately. In 1982, they returned to Bomp! for the EP Fade to Black, and then completed Painting Smiles on a Dead Man for Lolita Records before disbanding in 1985.
David Nolte left to join Wednesday Week and eventually ended up in Lucky. The band reformed in 1988 with Luk Lohnes on guitar and vocals, Missy Buettner on bass, and Robbie Rist on drums joining Joe and Mike Nolte from the original lineup. That year they toured outside of California for the first time and released Confessions on the SST label. Two more releases on SST have followed -- Awakenings in 1989 and Gin & Innuendo in 1996. Dave Nazworthy replaced Rist on drums during the recording of Awakenings, and David Nolte has a cameo appearance on that album as well. Nazworthy also plays for the Chemical People. Through the personnel changes, the Last have maintained a consistent style of potent power-pop, heavily influenced by the local music they grew up listening to in Southern California.

Classic Power Pop album by the Last and highly recommended if you are in Power Pop. Turn up the volume and sing hello to the weekend.
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@ Request: Gerry Beckley - Horizontal Fall 2006 Flac

Even more impressive than America’s new CD, Here & Now, is Beckley’s new solo effort, Horizontal Fall, which preceded the band’s project by a few months. A melodic, atmospheric masterpiece, Horizontal Fall was some six years in the making, Beckley says, but it sounds like it was recorded in its entirety in one late-night surge of creative melancholy.
From the instrumental keyboard opener, “3am”, a stunning cinematic piece that sounds like something from Ennio Morricone’s Cinema Paradiso score, to “With Me Always”, which wears Beckley’s undeniable Beatles influences comfortably, this record showcases Gerry’s genius for creating perfect pop songs. Every song fits together poetically, but the standout is the closing track, “Somewhere Somehow”, an ethereal, longing tune with a kind of Burt Bacharach vibe, complete with French horn reminiscent of the instrumentation in “What the World Needs Now (is Love) ”.

Beckley, who owns a bunch of Taylors, puts all of them to very good use on both the America record and the solo outing, which he appropriately chose to illustrate with a hazy, taken-at-dusk photo of an unidentified beachside amusement park roller coaster. It’s a moody, poignant cover shot that perfectly represents what’s inside.

If you set aside a half hour or so and listen to Horizontal Fall from start to finish, you will be dazzled by the melodic artistry that is Gerry Beckley. If you’re a true fan of America, it won’t surprise you. If you’re not, it may. Those expecting “Sister Golden Hair” may be disappointed with Beckley’s solo disc, but anyone who’s actually been paying attention and listening to America’s records over the last 36 years won’t.

Beckley is a masterful singer-songwriter whose songs have always been wonderfully conflicted, with elements of sadness and joy, self-doubt and cockiness, cynicism and innocence and, ultimately, hope. There’s a reason why his band once attracted the services of legendary Beatles producer George Martin. What a comforting, reassuring feeling to know that, so late in the game, Beckley and his band are making some of the best music of their careers. 

@request the 2006 album by Songwriter, singer, guitarist of America fame Gerry Beckley.
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