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.
The Merry-Go-Round's Listen, Listen: The Definitive Collection
is a near-perfect example of doing a reissue the right way. Lovingly
put together by the folks at Rev-Ola, the package is a perfect blend of
enlightenment and entertainment, with insightful liner notes that
feature new interviews with many members of the group and their guiding
light, Emitt Rhodes, excellent photos, clean and crisp sound, and best of all, the wonderful music of the Merry-Go-Round and Emitt Rhodes. First, some bookkeeping. The opening half of the disc contains the group's lone album released on A&M in 1967, The Merry-Go-Round, the second half is the Emitt Rhodes
album released by A&M in 1970 (and also in '71 with a different
cover and an altered track listing) called The American Dream. The album
is made up of songs Rhodes
cut with studio pros in 1969 after the demise of the group, as well as
demos recorded in the latter days of the Merry-Go-Round. The package is
rounded out by four songs taken from singles released after The Merry-Go-Round,
the mono version with drums of "Time Will Show the Wiser," and as a
bonus, the band's recording of "Good Vibrations" with A&M honcho Herb Alpert on lead trumpet.
Now for the music. The Merry-Go-Round
is a breathtaking blend of chiming folk-rock guitars, British Invasion
harmony vocals, baroque pop arrangements, and pure pop songcraft that
sounds daisy fresh in 2005. The Beatles are a huge influence, there is plenty of Paul McCartney in Rhodes' sweet vocals and their vocal harmonies. You can hear the Byrds a bit, some Left Banke
(especially on the sweeping orchestral pop gem "You're a Very Lovely
Woman"), some L.A. garage on rockers like "Where Have You Been All My
Life" and "Lowdown"; the group definitely didn't exist in a vacuum.
There are some songs, though, that are quite unique and original like
"Time Will Show the Wiser" with its otherworldly sped-up and backwards
guitars and enchanting melody; the warm and bouncy hit single "Live,"
and "Had to Run Around" an exquisite ballad whose tender beauty
foreshadows Rhodes' classic 1970 Emitt Rhodes
These songs, and the overall quality of the songs and the
group's loose and earthy playing, help lift the album above the pack and
should lead to it being mentioned in the same breath as Love's first album or Buffalo Springfield's
first when talking about classic American debut albums of the '60s. The
singles included on the reissue show the band adding piano and a fuller
sound, not too surprising since many of the tracks on the album were
demos. They are fine songs, too; 1968's "Sgt. Pepper's Lonely Heart's
Club Band"-inspired "Listen, Listen" rocks harder than anything else
they recorded and has one of Rhodes'
most intense vocals; "She Laughed Loud" is a self-mocking tune with
some great background vocals, and "Missing You" incorporates some lovely
harpsichord and was unjustly buried as a B-side. The American Dream
album features some of Rhodes' best songs, like the rollicking Harry Nilsson-esque
"Holly Park," the catchy as the flu, should-have-been a hit "Let's All
Sing," and a couple of tracks that sound like the blueprint for the
sound of Rhodes'
first real solo album: the simple and beautiful "Saturday Night" and
It also features a couple of near-clunkers in the hokey
Appalachian narrative "Textile Factory," the overly dramatic "Someone
Died," and the calypso-inflected "Mary Will You Take My Hand." The use
of studio musicians also tends to drain most of the homespun charm of the MGR's
work and the grafted-on string and horn arrangements on some of the
songs can veer to the point of schmaltz ("Come Ride, Come Ride," "The
Man He Was"). When you strip away the excess sweetening, though, the
record is at its heart a solid pop record, not up to the standard of
what preceded it or what followed, but most certainly worth hearing. The
set is a must for fans of Rhodes, too, but more than that, the fact that it marks the first time the entire Merry-Go-Round
discography is available on CD makes it an absolute must for fans of
sophisticated '60s pop. In a world of botched reissues and pointless
collections, Rev-Ola gets it right here.(allmusic)
The Merry-Go-Round was a near perfect pop/psychedelic pop band with all the possibilities and skills a band need who wants to reach the top. But they failed. Why? I don't know because music is a mystery.
Hope you have fun
Frank Flac mp3@320 You need both mp3 links! mp3 link2
Hello Folks, i've just added the missing artwork for the ''The Leaves - The Leaves...Are Happening (2000 Sundazed) in the post from yesterday. Today a nice guy sends me the complete artwork.
(Thank you very much again for the contribution, Gerard!)
It's nice to see that people help each other.
Australian music writer Andy Bradley once called Young Modern
"the first power pop band from Down Under," and the band's bright,
energetic sound and ear-catching melodies were a clear precursor to the
skinny-tie pop sounds that would begin having a major impact on the
charts at the end of the 1970s. Unfortunately, Young Modern
was just a bit early to reap the benefits of power pop's brief moment
of commercial success, though their historical importance and influence
on the likes of the Hoodoo Gurus and the Sunnyboys is widely acknowledged. Young Modern was formed in 1977 by John Dowler, an Irish expatriate who had spent time in Europe, the Netherlands, and England before settling in Adelaide.
was previously the leader of Spare Change, a prescient band that
favored straightforward rock & roll with a pop touch, with Roxy Music, Mott the Hoople, the Velvet Underground, and Sparks cited by the group as key influences. After Spare Change broke up in 1976, Dowler began looking for like-minded musicians to form a new group, and in 1977, he met up with Andy Richards, whose older brother had gone to school with Dowler. Richards was playing bass in a band called Suggestion, who were going nowhere fast, and Dowler recruited Richards
and Suggestion guitarist Vic Yates to join his new group. After
schooling his new bandmates on his musical philosophy and his enthusiasm
for the Flamin' Groovies, Big Star, and the Byrds, Dowler, Richards, and Yates teamed with guitarist Michael Jones and drummer Mark Kohler, and the first edition of Young Modern (named after a pop fanzine of the '60s) was complete.
Young Modern played their first gig opening for Radio Birdman
in November 1977, and they quickly gained a sizable following in
Adelaide for their hooky, straightforward brand of rock & roll. Young Modern
were a hard-working band who were eager to play, and they hit the road,
playing club dates around Southeast Australian and learning to handle
all kinds of crowds. Dowler was friends with Steve Cummings of the pub rock band the Sports, and Cummings was impressed enough with Young Modern to help them make their first record. Cummings
produced the single "She's Got the Money" b/w "Automatic," which the
band released in 1978 on their own Top Gear label; it scored significant
airplay on Double J Radio in Sydney and Triple R in Melbourne and
spread word about Young Modern
nationwide. The success of "She's Got the Money" led to an offer from
Dirty Pool, a successful music management firm who handled two of
Australia's biggest hard rock outfits, Cold Chisel and the Angels.
Young Modern signed up with Dirty Pool and relocated to Sydney, though Mike Jones opted to stay in Adelaide and Mark Carroll took his place in the lineup. Despite Dirty Pool's success with other acts, they didn't seem to know what to do with Young Modern, and the band often found themselves booked into clubs that favored hard rock while pop bands that had sprung up in Young Modern's wake were enjoying greater success. With the group's momentum fading, Young Modern decided to break up in the summer of 1979; an album, Play Faster,
was released by the indie label Local Records that combined their
single with a number of unreleased demos, and the group briefly reunited
in 1980 to play a few shows in support. (Spare Change's unreleased
recordings would also be compiled into an album after Young Modern called it quits.)
Dowler went on to form the Glory Boys (who later became Talk Show), and enjoyed success in the late '80s with the Zimmermen. In 2006, Dowler reunited Young Modern
to cut a new album, How Insensitive, which was released the following
year; the band went on tour after the album's release, and another
reunion jaunt in 2010 resulted in a live album, Live at the Grace Emily 22.12.2010.(allmusic.com)
This is a wonderful Power Pop/Jangle album with strong sixties influences. If you love Garage Power Pop with sixties vibe, this is a must for you. Highly Recommended!
You can buy the album here
The Plimsouls were in the right place and time--Los Angeles just after
the Knack took skinny-tie power pop national--to score a major record
deal almost upon forming. With the instant credibility conferred by
leader Peter Case's membership in the legendary punk-pop Nerves, whose
"Hanging on the Telephone" Blondie had taken to the charts, the
Plimsouls were expected to become a very big deal. Sadly, the anti-Knack
backlash took down the entire L.A. power pop scene almost overnight,
and their self-titled debut disappeared immediately.
The excellent Rhino
reissue THE PLIMSOULS...PLUS collects that album, the rare ZERO HOUR
EP, a handful of b-sides including an early version of EVERYWHERE AT
ONCE's stellar "How Long Will It Take?" and an excellent previously
unreleased tune called "Memory." Case's rough-edged songs and the band's
noisy performances are almost unbearably exciting, and this is a true
power pop classic.
No need to say something more about this album. A true classic!
Frank The Flac link expire 2017-04-28 Flac mp3@320
Debuting in 1997 with the EP This Modern World, Dee Ranger imported
their vintage of 60's guitar romp to their home country of Sweden. With
their reflection towards the raw styling of The Sonics and The Kinks, Nicke Ohman (guitar), Johnny Elfstorm (bass), Uffe Pettersson
(drums) and Mike Eriksson (vocals) would release a series of
seven-inches various labels throughout 1997. This includes the Fall
Down, I Just Wanna Rock 'n' Roll and Don't EPs.
This is great Garage/Power Pop from swedish band Dee Rangers.
Five fat stars from possible six stars!
Frank mp3 Flac