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.
At last, a legitimate and well-distributed reissue of everything the Leaves released on Mira between 1965 and 1966: the entire Hey Joe
album, all of the non-LP songs from their singles, the single version
of "Too Many People," and three versions of "Hey Joe" (from the hit
single and two previous 45s which used slightly different arrangements).
This is not the complete work of the Leaves, as it doesn't include anything from their 1967 Capitol LP All the Good That's Happening, but this is no loss, as that album was pretty lousy. (Two covers of unspecified origin from the compilation 1966 are also missing.) Although the Leaves were erratic, at their best they were a fine band who drew from the Byrds' folk-rock, the Beatles' melodicism, and the hard rock of the Rolling Stones,
as best heard on "Hey Joe" and the less celebrated "Too Many People,"
"Be With You," "Just a Memory," "Dr. Stone," "Funny Little World," and
"Words." The reissue is enhanced by the detailed history in the
accompanying 16-page booklet.(allmusic.com)
The band was far better than her reputation under music critics. The Sundazed compilation shows that.
Sorry no booklet. Maybe some kind soul have it and could post it...:-)
Frank Flac mp3@320 Complete Artwork Here
After their eponymous Planet Records debut full-length, the Plimsouls took the major-label bait and signed on with Geffen Records. Everywhere at Once,
their first Geffen album, has mixed results. While the change to a
major label did have a profound impact on the band, it wasn't always for
the best. While Jeff Eyrich's
somewhat heavy-handed production did take a little air out of their
performance, the end result is far less clinical than other major-label
mainstream rock records of the day. Everywhere at Once does contain the Plimsouls' greatest recorded achievement, "A Million Miles Away," which packs all of the passion and punch of some of John Lennon's finest recordings with a wonderful power-driven Byrds-like
arrangement. Other standouts on this record include "Play the Breaks"
which, while not quite as awesome as it is in a live performance (they
were possibly the finest live band in Los Angeles in this period), still
Formed in Los Angeles in 1978, the Plimsouls merged roots, retro and guitar rock with a ramshackle punk aesthetic. At a time when rock music was shifting gears, the Plimsouls'
brand of soul-punk -- a modern take on '60s soul, British Invasion and
garage rock sounds -- fit right in with the '80s post-punk American
guitar band movement. Known for their kinetic live performances, the Plimsouls had an exceptional frontman in singer/songwriter Peter Case
whose decision to pursue a solo career effectively ended their '80s
run, but whose songs have kept the group's slight catalog and legacy in
the public eye.
Case came to the Plimsouls with experience, having previously collaborated with Jack Lee and Paul Collins in the Nerves, a precursor-to-punk D.I.Y. group with a 1976 single, "Hangin' on the Telephone" (later recorded by Blondie). Living in L.A., Case started to play with locals Louie Ramírez (drums) and Dave Pahoa (bass) in 1979, and within the year Eddie Muñoz (of Austin's the Skunks) joined them on guitar. After recording one EP, Zero Hour
in 1980, and a self-titled album in 1981 that contained the now classic
power pop anthems "Zero Hour" and "Hush, Hush," the group self-financed
a single, "A Million Miles Away." The jangling guitar song was picked
up by influential FM station KROQ and thanks to trend-setting DJ Rodney Bingenheimer, the song became a local smash, catapulting the Plimsouls toward wider recognition. The inclusion of "A Million Miles Away" on the soundtrack to the cult film Valley Girl cemented the band's reputation as power pop icons and remains a timeless classic.
An album for Geffen, Everywhere at Once, followed in 1983 but ultimately, the liaison with the label was not a lasting one and the Plimsouls broke up shortly after its release. A testament to the band's stage power is the live document, One Night in America, released in 1988. Following the group's dissolution, Case
went on to record a solo album for Geffen; he remains a critically
admired and influential artist with a large folk, blues and rock
repertoire. In 1995-1996, the band, sans Ramírez, re-formed and played a few reunion dates with former Blondie drummer Clem Burke and released a new studio LP Kool Trash in 1998. In 2005, Oglio Records reissued One Night in America; the original lineup (with Bryan Head
on drums) remains together and continues to perform wherever and
whenever there's a demand for their unique soul-punk sound.