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.


Saturday, 25 March 2017

Eric Burdon & The Animals - Wind Of Change 1967 (2003 Repertoire) Flac

Winds of Change opened the psychedelic era in the history of Eric Burdon & the Animals -- although Burdon's drug experiences had taken a great leap forward months earlier with his first acid trip, and he and the group had generated some startlingly fresh-sounding singles in the intervening time, it was Winds of Change that plunged the group headfirst into the new music. The record was more or less divided into two distinctly different sides, the first more conceptual and ambitious psychedelic mood pieces and the second comprised of more conventionally structured songs, although even these were hard, mostly bluesy and blues-based rock, their jumping-off point closer to Jimi Hendrix than Sonny Boy Williamson. The band's new era opened with waves washing over the title track, which included sitar and electric violin, while Burdon's voice, awash in reverb, calmly recited a lyric that dropped a lot of major names from blues, jazz, and rock. "Poem by the Sea" was a recitation by Burdon, amid a swirl of echo-drenched instruments, and it led into one of the group's handful of memorable covers from this period, "Paint It Black" -- driven by John Weider's electric violin and Vic Briggs' guitar, and featuring an extended vocal improvisation by Burdon, their approach to the song was good enough to make it part of the group's set at the Monterey International Pop Festival that June, and also to get a spot in the documentary movie that followed.
"The Black Plague" opens with a Gregorian chant structure that recalls "Still I'm Sad" by the Yardbirds, and was another vehicle for Burdon's surreal spoken contributions. There were also, as with most of the group's work from this period, a few easily accessible tracks that could make good singles, in this instance "Good Times" and "San Franciscan Nights," a Top Ten record in various countries around the world in the last quarter of 1967, although, as Alan Clayson points out in his notes, the latter song was overlooked in England for nearly 12 months after its release elsewhere, and then appeared as the B-side to the relatively straightforward, brooding, moody rocker "Anywhere." Burdon was so inspired by Jimi Hendrix's music that he wrote one of the psychedelic era's rare "answer" songs, "Yes I Am Experienced," as an homage to the guitarist; the latter's influence could also be heard in "It's All Meat," the LP's closing track, and a song that calls to mind an aspect of this band that a lot of scholars in earlier years overlooked -- the fact that Briggs, Weider, et al. had the skills to make music in that style that was convincing and that worked on record, on their terms.

Eric Burdon & The Animals's Wind Of Change was released nearly at the height of the psychedelic wave late 1967. To me it's a pretty intensily album in many parts. Paint It Black, an favourite song of Burdon here in a version that later would excelled by himself with the band War on the Black Man's Burdon album. If you are on psychedelic stuff and i don't mean ''sugared psychedelic'', here are some good songs on it. But also pop Burdon hadn't forgotten. Good Times, San Franciscan Nights were hits in the charts back then. Anything is a very nice song that i like. But listen yourself. The Repertoire edition have a very very good artwork here.
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Pop/Psychedelic Pop: Tommy James & The Shondells - Anthology (Rhino 1989) Flac

Another great example of what Rhino does so well, Anthology brings together no less than 27 of Tommy James and the Shondells' nuggets on one disc. Along with good liner notes from Parke Puterbaugh, who interviewed James extensively (James himself contributes a slew of fun and informative anecdotes about many of the songs) and the usual skilled remastering job, it makes for one heck of a collection.
James himself sums up his own appeal best of all: "We were really having fun, and you can hear it in the grooves." "Hanky Panky" understandably kicks things off, but the collection really doesn't take off until the just-plain-irresistible "I Think We're Alone Now," notably (and some would argue memorably) covered by Tiffany in the late '80s. The original is barely two minutes long, but packs in everything from a killer opening bassline and dramatic pauses to a totally killer chorus, James and company transforming Ritchie Cordell's song into a glistening gem. The fact that so many of his hits were beneficiaries of later remakes -- "Mony Mony" by Billy Idol, "Crimson and Clover" by Joan Jett and the Blackhearts, "Draggin' the Line" by R.E.M. -- is even better testimony to their appeal, and hearing the originals all in place confirms why they were smashes.
If a number of selections are paler shadows of some of these greats, the arrangements are rarely less than anything but pure pop fun -- the almost delirious addition of swirling strings, flutes, and even harp to many songs gives them even more cheery flair.
The fact that they were able to make woozy, psych-influenced delights like "Crimson and Clover" and still maintain their status as major hit artists on the charts is testament enough to their appeal.(

Really good review. Nothing more must said about these pop heroes and the songs who James and the Shondells had done.
Viiiiiiel Spass
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Power Pop! Gary Ritchie - Hum, Sing, ...Repeat (2011) mp3

Gary's "real" instrument would be drums. But, he is a full, fledged Pop guy. Plays most of the instruments & vocals on his albums. A former Chicagoan now living in Austin, Texas. Loves a melody with a Big-Beat behind it. With 4 full length solo cd's behind him, he's loving the freedom of recording what and when he wants. So enjoy!(bandcamp liner notes)

What was originally a download-only digital five-track record (in 2008) has evolved into an eighteen-song download album by Gary Ritchie who effortlessly (re-)creates Merseybeat (power)pop as if the 1960's had never ceased to be.
2001's 'Pop! Radio' was a fantastic offering and 'Hum, Sing...Repeat' confirms Gary Ritchie's talent.(rateyourmusic, reader popphil)

The album was released by Fancy Two/ Tone Records, Wimberley, TX. You can buy it here
You can it also buy as a digital download at Bandcamp.
This is power pop with a lot influences of the sixties and i love it.
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Fountains of Wayne - Traffic and Weather 2007 Flac

Fountains of Wayne finally managed to score that big hit single their fans always knew they had in them when "Stacy's Mom" became a fluke hit a few months after the release of their third album, 2003's Welcome Interstate Mangers. Anybody worried that success had spoiled the power pop quartet shouldn't find their long-awaited fourth album, Traffic and Weather -- its title song a nifty ploy to get drive-time radio plugs, but also fitting right into the Jersey roadside themes of the titles -- a disappointment, nor should it offer much in way of surprises. Perhaps the slight traces of a disco-rock beat on the opening track/lead single, "Someone to Love," shows some evidence of copping to modern trends, but Fountains of Wayne still remain devotees of classic pop -- usually guitar-driven power pop, but they'll spike that with some Bacharach horns or country-rock if the mood strikes them. If the sound is unabashedly, even defiantly classicist, that's balanced by Adam Schlesinger's obsession with chronicling the weird incidental byroads of modern America in his lyrics. He packs odd, telling details into each of his songs, whether it's how the disaffected, lonely photo retoucher in "Someone to Love" spends her Thursdays watching King of Queens or how the jealous narrator in "This Better Be Good" notices the light blue Dockers on the guy who is holding the hand of his girlfriend.
Even if they're often used in the service of joke setups or punch lines, such details give the songs weight and help Fountains of Wayne seem contemporary when their music is grounded in the '60s and '70s and could have been released anytime in the last 20 years; the dance beats underpinning the title song sound like new wave, while the synths and phased vocals on the quite wonderful on-the-run-from-loan-sharks tale "Strapped for Cash" brings to mind early-'80s AOR (a fact underscored by the "heart attack-ack-ack-ack" reference to Billy Joel's "Movin' Out"). Such lyrical and musical flourishes keep Traffic and Weather from sounding too similar to previous FOW platters, but there is something missing here: a truly knockout single, along the lines of "Radiation Vibe," "Stacey's Mom," or even "Maureen" from their B-sides comp, Out of State Plates (or for that matter, "Pop Goes My Heart," the Schlesinger-written Wham! homage for Music and Lyrics that was on the charts at the time of the release of Traffic and Weather). It's sturdy, well-written power pop, but it falls prey to some of the faults of craftsmanlike pop -- mainly, it's possible to hear the craft behind the pop instead of just getting sucked into the sugar rush of the melodies. Even so, Traffic and Weather is hardly a bad record, and should satisfy anyone who has loved Fountains of Wayne
before, even if it doesn't quite excite them.(

Whatever any critics write they can't stop my obsession for the music of FOW. Somewhere in the past the band infected me with her music (and lyrics). And the same with Traffic And Weather. Great Power pop/rock.
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