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

Wednesday, 5 April 2017

Honeybus - Story 1970 (2008 Rev-Ola) Flac & mp3


Honeybus' sole album was recorded in 1969 and released in early 1970, by which time "I Can't Let Maggie Go" was fading from the memory of the British public, original leader Pete Dello was long gone, and the band itself had been inactive for months. It's therefore not entirely representative of what the group was about. Honeybus did show themselves to be one of the few bands that could emulate the lighter and quieter sides of the 1968-1969 Beatles with a degree of competence, although as is usual when the Beatles were imitated, the songs and execution were much more lightweight than what the Beatles themselves recorded. At times it sounds like Badfinger without the muscle or occasional outstanding songs that made Badfinger recall the Beatles without sounding like tepid wannabes. The Beatlesque harmonies are nice and the lyrics sometimes clever, and the arrangements are tasteful, sometimes employing substantial traces of country music and subtle orchestration. All of the songs are available on the 25-song compilation At Their Best (which also includes a B-side recorded around the same time, "The Right to Choose"), which is a far better alternative than finding a copy of the original album.(Richie Unterberger, allmusic.com)

The story of Honeybus is almost a cautionary tale. Considering that most have never heard of them, it's amazing to ponder that they came very close, in the eyes of the critics, to being Decca Records' answer to the Rubber Soul-era Beatles. The harmonies were there, along with some catchy, hook-laden songs and usually tastefully overdubbed brass and violins. The pop sensibilities of Honeybus' main resident composers, Pete Dello and Ray Cane, were astonishingly close in quality and content to those of Paul McCartney and the softer sides of John Lennon of that same era. What's more, the critics loved their records. Yet, somehow, Honeybus never got it right; they never had the right single out at the proper time, and only once in their history did they connect with the public for a major hit, in early 1968. Their best known lineup consisted of Pete Dello (vocals, keyboards, guitar), Ray Cane (vocals, bass, keyboards), Colin Hare (rhythm guitar, vocals), and Pete Kircher (drums, vocals), with Dello and Cane writing most of their songs.
Dello and Cane, songwriting partners and ex-members of various minor early-'60s rock bands, most notably Grant Tracy & the Sunsets, were the prime movers behind Honeybus. In 1966, they formed the Yum Yum Band with ex-Them drummer Terry Noon, which became popular in the London clubs and released five singles on the English Decca label. A collapsed lung put Dello out of action in early 1966, and it was during his recuperation that he began rethinking what the band and his music were about. He developed the notion of a new band that would become a canvas for him to work on as a songwriter -- they would avoid the clubs, working almost exclusively in the studio, recreating the sounds that he was hearing in his head. Those sounds mostly featured lush melodies and lyrics that suddenly blossomed with the upbeat radiance of flower power and the Summer of Love. It was a novel strategy, paralleling the approach to music-making by the Beatles in their post-concert period, and all the more daring for the fact that they were a new group, without the unique hitmaking history of the Liverpool quartet.
Out of this came Honeybus, with Noon stepping aside to manage the group and being replaced by Mike Kircher. The group was one of the best studio bands of the period, reveling in the perfection that could be achieved through multi-tracking and overdubbing, and an approach that also mimicked the Beatles' breadth, playing with either admirable taste or reckless abandon, depending on the song. They were duly signed to England's Decca Records and assigned to the company's newly organized Deram label, which was intended to represent their new generation of pop/rock acts, oriented toward sunshine pop, psychedelic, and what was later designated "freakbeat" sounds. Their debut single, "Delighted to See You," which was cut with the help of Roulettes members Bob Henrit and Russ Ballard, sounded more like the Beatles than anything heard in British pop/rock since the Searchers had faded from view in early 1966. The B-side, "The Breaking Up Scene," could have been the work of the Jimi Hendrix Experience or the Creation. Actually, if anything, they sounded a great deal like the Bee Gees, who had just begun establishing themselves as something more than Beatles sound-alikes -- the difference was that the Bee Gees were a performing band as well as a top-notch studio outfit, fully capable of doing (and willing to do) most of their output on-stage.

The critics were quick to praise the band and the record, but it never charted, and their second single was also unsuccessful. Then Honeybus hit with their third release, "I Can't Let Maggie Go," in March of 1968, which rode the British Top 50 for three months and peaked at number eight. One of the most fondly remembered examples of psychedelic pop/rock to come out of England in 1967, with a richly textured, reed-dominated arrangement (with a bassoon very prominent and a break played on oboes and clarinets) and a pleasant McCartney-esque lead vocal surrounded by gentle high harmonies, all wrapped up in a melody that wore well on repeated listening. The record should have made the group, but instead it shattered them.
Pete Dello resigned during the single's chart run. He had been willing to play live on radio appearances and the occasional television or special concert showcase -- during which the group used a Mellotron to replace the overdubbed strings and other backing instruments on their songs -- but he couldn't accept the physical or emotional stresses of performing live on a regular basis, or the idea of touring America, which would have been the inevitable result of a British hit of that size. Perhaps a Brian Wilson/Beach Boys-type solution, with an on-stage replacement, might have worked, but instead Dello left, and with him went his songs.(excerpt by allmusic.com)

This is a very fine album full of songs with a light psych touch, great melodies and good songs.
Give it a try if you don't know the album. With 11 bonus tracks.
Enjoy
          Frank            New Flac link
                               mp3@320
                               

Psychedelic Pop/Folk/Sunshine Pop - Paper Bubble - Scenery 1970 Flac

This obscure trio -- Terry Brake (guitar, vocals), Brian Crane (guitar, vocals), and Neil Mitchell (bass) -- made a little-known album of somewhat precious British folk-pop-rock, 1970's Scenery, dominated by Brake and Crane's vocal harmonies. The record was produced by Dave Cousins and Tony Hooper of the Strawbs, and engineered by Tom Allom, who later produced many Strawbs recordings.(allmusic.com)

This quite obscure British pop-folk-rock effort might hold some interest for intense fans of British folk-rock of the late 1960s and early '70s, if only because it was produced by two members of one of the major bands in that genre (Dave Cousins and Tony Hooper of the Strawbs). Compared to the Strawbs, however -- and, for that matter, most British folk-rock acts -- Paper Bubble were far more lightweight. Emphasizing the close, merry harmonies of guitarists Terry Brake and Brian Crane, many of the tracks have a bouncy, singalong feel that's too happy-go-lucky, in fact, if you're in the wrong mood, though there are occasional breaks into more wistful numbers. Though bassist Neil Mitchell was the only other member of the group, the sound is thickened with some piano, light orchestration, and vague psychedelic textures. Like much American sunshine pop of the period, however, it has an upbeat vibe that verges on the sappy at times, even if this particular record isn't too strongly related to the sunshine pop style, with an innocent childlike escapist quality found in much British psychedelia of the time. And like many such efforts, it has pleasant surface qualities, but lacks memorable depth or truly standout compositions.
In this context, the least characteristic track, "Mother Mother Mother," rocks like the devil, with berserk organ breaks, effective distorted electric guitar licks, a hard cheery folk-rockin' verve absolutely missing from the rest of the LP. It's the standout number on the record -- and was, in fact, anthologized in 1983 on the Broken Dreams, Vol. 3 compilation of psychedelic British rock rarities -- but, unfortunately, was the only hint of such brazen energy Paper Bubble ever displayed.

Very good Folk PopSunshine Pop with catchy melodies. It is a really good album and the compositions are maybe not standout but pretty good. I recommend it if you are in sunshine pop/british psychedelia.
Have fun
               Frank                   Flac1  You need...yes...both links!  Flac2

Cheap Trick: The Complete Epic Albums: Album 8) One On One (1982) Flac

This is the first album without Tom Peterson and the seventh of the band (i numbered it in the headline album 8 because of the ep) . For the first time with Jon Brant. The album begins strong with I Want You, followed by the title track rocker One On One. Track three works with beatlesque harmonies and  a very strong refrain. Very strong song in my humble opinion.
The album peaked at 39 and eventually going platinum.

Okay, tomorrow the next albums will follow. There are five more to come.
Hope you enjoy the Epic album line
Cheers
           Frank           Flac1   You need both links!   Flac2

Cheap Trick: The Complete Epic Albums: Album 7) All Shook Up 1980 Flac

All Shook Up was the last album with Tom Peterson for the next eight years. For this effort the band worked together with Beatles producer George Martin. The Single Stop this game failed the Top 40 in the US. Nevertheless the album cracked the Top 40 with peaking 24 and going for gold. Just Got Back is the first song on the album where (imho) the work of Martin became explicit. Also in World's Greatest Lover. And for sure the best songs here are the songs where the work of Martin is explicit.
I think with this album the band tried to jump in the next decade with their sound. It don't worked always well.
Okeydokey, here is album 8 for your pleasure,
enjoy it
            Frank         Flac 1   You need both links!     Flac 2

Cheap Trick: The Complete Epic Albums: Album 6) Found All The Parts (EP) 1979 Flac


Found All The Parts was an ep from 1979 with four tracks, two in the studio and two live tracks. One from the '78 Japan tour and the other track from the '79 US tour.


Have fun,
               Frank     Flac         

Power Pop Classic from 1979: The Sports - Don't Throw Stones (2014 Expanded Remaster) Flac

Bio:
Formed in Melbourne, Australia in 1976, the Sports featured Steve Cummings (lead vocals) Martin Armiger (guitar), Andrew Pendlebury (guitar), Jim Niven (keyboards/vocals), Robert Glover (bass) and Paul Hutchins (drums). Influenced by rock, rockabilly, country and new wave, the band recorded several exquisite pop songs in the new wave style which charted well, particularly in Melbourne. National success followed but as the original members left the band had less impact. After supporting Graham Parker on his tour of Australia during 1978, the Sports were invited to tour with him in Europe and England. Records were released but did not make a big impact in either Europe or the States. They undertook several large tours around Australia, released several more singles and the fourth album, but were no longer progressing. Personnel upheavals during the early 80s, saw Hutchins replaced in turn by Ian McLennan then Freddie Strauks (ex-Skyhooks). The Sports eventually broke-up at the end of 1981. After they disbanded Cummings ventured into a solo career, occasionally collaborating with Pendlebury who has also recorded three instrumental guitar albums. Armiger moved into production in television and stage as well as rock music.

The Album: 
 The U.S. version of an Australian hit, Don't Throw Stones took its impetus from the four-song EP released in the U.K. earlier in 1979, a veritable "best-of" digest that opened with what remains the Sports' finest hour, "Who Listens to the Radio?." Two further songs from the EP ("Suspicious Minds" and "So Obvious") reappear on the album, while Arista also chose to cull three songs from the Aussie release, and replace them with numbers from the band's debut, Reckless. The substitutions don't show. The Sports boasted a remarkably consistent sound throughout their career, with their earliest albums in particular snapping seamlessly into the box marked "new wave pop." It is unfair, however, to see them compared to Joe Jackson, when the Sports were sounding like this some time before Jackson really got going. Rather, they draw from the same wellspring of inspiration as he did: a little bit Costello, a little bit Graham Parker, a little bit Tom Petty (from the days when his Heartbreakers were still being marketed as a new wave act in their own right), and so on. But "Who Listens to the Radio" marks out the band's own strengths, with "Wedding Ring" and "Mailed It to Your Sister" both bringing up the rear in fine style. A word, too, for "Big Sleep," the album's closer and positively the most unexpectedly downbeat finale that any so-called pop album has ever employed. [An Australian version of the album was also released.


With ''Don't Throw Stones the australian band caught attention in the US and in the UK. But also other european countries were interested in the band. If you don't know the band and/or the album give it a try, you won't not regret it. This is the expanded edition from 2014 with 37 songs.

I want to say Thanks to Javier, a reader of this blog who contributed the album.
Enjoy it
             Frank            FLAC 1     You need both links!     FLAC 2

Cheap Trick: The Complete Epic Albums: Album 5) Dream Police [2006 Expanded Edition] (1979)


Here is the album that came in 1979 after the worldwide success of the Budokan live album. With Dream Police they tightened their reputation as one of the most successful pop bands in the world back then.
Enjoy it!
              Frank  Link 1  You need both links!   Link 2

Cheap Trick: The Complete Epic Albums: Album 4) At Budokan The Complete Concert (1998) Disc 4 & 5

Hello Folks and Friends here comes the complete 2 disc Budokan concert. After the release of the album in the seventies the band reached world wide fame. And i think they deserved that.
Kind regards
                     Frank            Disc 4  Disc 4-2 You need both links!   Disc 4-1
                                          Disc 5  Disc 5-1  You need both links! Disc 5-2