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.
Sixties soundtrack albums have always held a special
charm, especially those released on the Tower label, from Psych-Out to
Wild in the Streets to this classic, Riot on Sunset Strip. The Standells
open with the title song, and it would be a refreshing change of pace
to hear this clever little gem instead of "Dirty Water" for the nine
millionth time on oldies and classic hits stations. While the Sidewalk
Sounds come off like some bubblegum surf group, especially with the Gary Lewis
sound-alike "Make the Music Pretty," "Sunset Sally" from the Mugwumps
gives the album some serious credibility. Debra Travis adds a
folky/earthy stamp with her one track, "Old Country," but it's the
Mugwumps and songs by the Chocolate Watch Band and Standells which are
the collectors items.
The Standells make "Get Away From Here" sound vocally very Strawberry Alarm Clock,
while Drew delivers an above-average '60s filler tune, "Like My Baby."
It would fit nicely any time on some college radio retro show. Dave
Aguilar's Chocolate Watch Band gives the album real grit and attitude;
"Don't Need Your Lovin'" is fierce, and "Sitting There Standing" even
meaner. C.W.B. took this opportunity seriously and it shows. The guitar
fights the harp in this final tune, while the throbbing bass, drums, and
vocal are pure garage rock magic.
The novelty of the title track, "Riot
on Sunset Strip," is not to be lost because of Chocolate Watch Band's
over the top performance. Cool picture of the Standells on the back
makes this something to put on the wall. Mike Curb's
Sidewalk Productions, clearly on a mission here as the movie was hyped
as "the most shocking film of our generation!," delivers vintage sounds
of the day. He co-wrote the Drew title and composed the Sidewalk Sounds'
"The Sunset Theme" (the word "Sunset" appearing in three song titles!).
When comparing this to an early-'70s soundtrack like Zacahariah or the
inconsistent '80s music put to the film Soul Man, the Riot on Sunset Strip album delivers more bang for the buck. Definitely something you want in your collection.(allmusic)
Big Beat added 1993 11 rare and previously unissued tracks to the soundtrack. This is a piece of finest garage stuff. Link2
Have fun and turn up the volume Link1
Frank You need both links!
sole album was barely noticed upon its initial release in the late
'60s, it eventually attracted enough of a reputation among collectors to
warrant a CD reissue. Impressed and gratified by the surge of interest
in the record decades later, Gandalf's Peter Sando
dug up enough acetates, demos, and live tapes from 1968 to 1971 to fill
up this disc of largely previously unreleased material. While the
songs, performances, and sound are for the most part decent, the
stylistic range is so wide that it might surprise those expecting
something very similar to the Baroque-psychedelic pop on the Gandalf
LP that came out in the late '60s.
One thing it certainly does offer is
a greater concentration of original compositions by singer-guitarist Sando, who wrote just a couple songs on the Gandalf
album, but penned most of the material on this collection. Much of it's
nicely haunting, wistful period folk-rock-pop with an only very
slightly bittersweet tinge. The 13 tracks are so diverse, however, that
they almost sound like a compilation of different artists. There's the
mystical-classical aura, complete with flute, of "Days Are Only Here and
Gone" and "No Earth Can Be Won" (two of the cuts that most strongly
recall the Gandalf
record in flavor); rootsy, almost pastoral singer/songwriter folk that
occasionally verges on early-'70s mellowness; full-band gutsy rock with a
late-'60s underground feel; a creative rock arrangement of the forlorn
"Golden Earrings" (from a late-'40s Marlene Dietrich movie) that is, despite the demo-like recording quality, a highlight; and a six-minute live cover of Chuck Berry's
"Downbound Train" with raunchy fidelity (though the sound quality on
the rest of the CD is appreciably better).
There are also three tunes by
late-'60s hit songwriters Alan Gordon and Garry Bonner (most famous for "Happy Together") that Sando did with the group the Barracuda,
and which have a forceful pop/rock sound missing in the other tracks.
Individually, most of the disc's cuts are pleasant and impressive,
though not brilliant. Together, though, they add up to less than the sum
of the parts, and seem indicative of a talented singer/songwriter who
had yet to establish a firm direction, though passionate fans of the Gandalf album will appreciate the chance to hear more material from Gandalf's figurehead.
Very good songs here but in a lot tracks different to the first Gandalf album. All in all a very enjoyable album. Try it!
self-titled album has some attractive baroque-psychedelia with a spacey
air, though its quality depends very much on the standard of the
material. Generally they're better the more they rely on the slightly
weird and spacey production, as on "Scarlet Ribbons" and their cover of Tim Hardin's
"Hang on to a Dream." On tracks like "You Upset the Grace of Living"
there's a nice balance of melody and quasi-classical keyboards on the
cusp between pop, progressive rock and psychedelia.
"Can You Travel in
the Dark Alone," one of the few originals (by Peter Sando),
is nice, harmonic sunshine pop with a slightly experimental feel, along
the lines of some of the better things being done by Californian cult
figures like Gary Usher and Curt Boettcher at the time. Other selections are nothing special, however.(allmusic.com)
Very nice and relaxed pop psychedelia from 1969.
Gleeson - The very very best of.. is no best of album it's the debut album by the band in 2009. I would call them an Alternative Power Pop band because here are some more harder influences as in the common Power Pop. Nevertheless the band have great melodies and well written songs.
Originally spawned by Ty Chandler as a side project,
Gleeson was meant as an outlet for material that didn’t quite fit his other
bands. Releasing a few tracks here and there through compilation albums from
his own Almost There Records label, songs made it out to an audience - but not ideally
in the way he envisioned. It wasn’t until 2008 that Chandler joined forces with
Raul Vela III and IV from San Antonio, who provided lead guitar and drumming,
respectively. It was then that Gleeson, the full band, was born. In 2009,
Gleeson’s debut album The Very Very Best
of Gleeson was released.
The band’s second effort, the sprawling
double-album Gleeson II, made it on
plenty “Best Of” lists for 2013, including those by Goldmine Magazine, Powerpopaholic,
and Absolute Powerpop, and was rated one of the “Top 10 in Austin” by the Austin
Chronicle. Curse My
Lucky Stars, Gleeson's third and most ambitious record to date, is now available for streaming and download on most major
outlets, and the band is already working on an upcoming release for 2017.
Holland's the Golden Earrings
still sounded like a crack British Invasion-era outfit who had made a
wrong turn somewhere when they cut their second album, 1966's Winter Harvest, but they were inarguably a stronger and more ambitious group a year after releasing their debut. All 14 songs on Winter Harvest were originals (primarily written by bassist Rinus Gerritsen and guitarist George Kooymans),
and the stylistic range of this collection is noticeably wider, with
the Northern soul-influenced "Smoking Cigarettes," the darkly witty
character study "Lionel the Miser," and the spare but sophisticated "You
Break My Heart" all exploring sounds and styles the band had not
(They could also rock harder than ever before, as
evidenced by the swaggering "You've Got the Intention to Hurt Me.") The
Golden Earrings clearly had the confidence to try new things when they
recorded Winter Harvest, and with good reason -- they sounded good on Just Earrings,
but they're tighter and sharper here, hitting a more consistent groove
and making the most of the possibilities of the studio.
Gerritsen began playing keyboards as well as bass on these recordings, and the added tonal colors serve the material well, and vocalist Frans Krassenburg had picked up a lot of nuance after a year of steady recording and performing. If Just Earrings was the Golden Earrings' Please Please Me, Winter Harvest is their Rubber Soul,
an album that masterfully consolidates their old strengths while
revealing many new ones. This LP isn't quite up to the lofty level of the Fab Four's
early masterpiece, but it stands comfortably beside the work of most of
the better-known English acts of the period, and remains impressive
more than four decades after it was released. (allmusic.com)
A very excellent mid till late sixties version of the band. To me this album is maybe the best in the history of the band because to me they have the most strongest songs on one album and a sound they were up to date in the years back then. It's a brave statement i know but despite the fame around the world with big hits (Buddy Joe, Radar Love, Mad Loves Coming in her Hard Rock phase) and very well album sales they never had again an album with the strength of Winter Harvest. I know all the Hard Rock fans of the band will stone me to death for my words lol but in the end it's a question of taste, isn't it?! In my opinion one of the best Nederbeat albums i've heard.
Give it a try if you are in sixties Pop/Rock/Beat.
...and have fun
Frank Flac1 You need both links! Flac2
Something You Oughta Know doesn't stray far from the immaculate bubblegum/jangle pop assault of the Lolas' previous releases. The Alabama combo are high-scoring students of the genre, and each heady blend of tight Byrds-like harmonies and Cheap Trick swagger is instantly catchy and deliciously transparent -- in a good way. They've got enough Gary Glitter/ELO rave-ups ("Little Deedra"), Nuggets-infused
fist-pumpers ("Jungle Girl"), and sugary ballads ("Light Up Every
Doorway") to satisfy the rottenest of sweet tooths, and despite the
ultracompressed, a little too bright and radio-ready -- for 1977 that is
-- production, they all work. Sure, it's just retro power pop and it's
all been done before, but if hearing it filtered through the ears and
amps of a band whose heaviest lyric is "since you've been gone, my
guitar won't stay in tune" doesn't put a smile on your face, then you're
just plain jaded.
A further album with very fine Power Pop by the Lolas.