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

Saturday, 15 April 2017

Squeeze - East Side Story (1981) (US 1998 Mobile Fidelity Sound Lab) Flac & mp3


Roundly regarded as Squeeze's grand masterpiece, in its planned incarnation East Side Story was going to be much grander: it was designed as a double-album with each side produced by a different musician, all a forefather of a different aspect of Squeeze. Dave Edmunds and his Rockpile cohort Nick Lowe were both contracted, as was Lowe's main producing success story Elvis Costello, and then Paul McCartney was slated for a side, but as the sessions started all but Elvis and Edmunds pulled out, with Dave only contributing one track. Costello was enough to make a big, big difference, helping to highlight a band in flux. Jools Holland left the group after Argybargy, taking with him a penchant for boogie-woogie novelty tunes. His replacement was Paul Carrack, veteran of pub rockers Ace who gave Squeeze another lead singer with true commercial potential -- something that Costello exploited by having Carrack sing lead for the brilliant piece of blue-eyed soul, "Tempted" (Costello and Glenn Tilbrook sneak in for the second verse). "Tempted" was a misleading hit -- at least it was a hit in America, where it turned into a '80s standard -- in that it suggested Carrack was a larger presence in the band than he really was, yet it also suggested the richness of East Side Story, and in how the band's music deepened and found a sympathetic producer in Costello. Far from reprising his skeletal, nervy production for The Specials, Costello smoothes out the lingering rough edges in the band, giving them a hint of gloss that has more to do with its new wave era than commercial considerations. One thing that is missing is the frenzied beat that had been Squeeze's signature throughout their first three albums: despite the echoey rockabilly of "Messed Around" -- if you didn't check the credits, you'd be sure this is Edmunds' production, but he was responsible for tightening up the almost ideal opener "In Quintessence," which strangely enough sounds like Costello's 1981 album, Trust (it really was an incestuous scene) -- this isn't a rock & roll album, it's a pop album through and through, from its sounds to its songs.
It's bright, colorful, immediate even when things get ambitious, as they do on the dense, grandly psychedelic "F-Hole," which is cleverly deflated -- musically and lyrically -- by its juxtaposition with "Labelled with Love," a lazy country-rock stroll that doesn't seem out of place among the rest of the clever, immaculately constructed pop songs. Instead, it acts as further proof that Difford and Tilbrook could write and play almost anything at this point: they perfected their barbed, bouncy pop -- best heard on the single "Is That Love," but also "Someone Else's Heart" and terrific, percolating "Piccadilly" -- but they also slowed down to a hazy crawl on "There's No Tomorrow," turned intimate and sensitive on the jangly "Woman's World," and crafted the remarkably fragile, Baroque "Vanity Fair." All this variety gave East Side Story the feel of the double-album it was originally intended to be and it stands as Squeeze's tour de force, the best pop band of their time stretching every one of its muscles. [The 1998 U.K. reissue contained two bonus tracks: "The Axe Has Now Fallen," whose bright beat can't mask its bitterness, and a pretty good cover of the pop-soul standard "Looking for a Love"].(allmusic.com)

Nearly all what Squeeze have written is top notch pop. Maybe the second best ban.., no i better stop here :-).
Enjoy
         Frank         Flac1    You need both flac links!   Flac 2
                                                     mp3@320

J.K. & Co - Suddenly One Summer 1969 (AMR Archive, Japan 2006)

The history of J.K. & Co. was little known, the details etched in admirably by Sundazed's CD reissue of their only album. The group was led by Jay Kaye, who was only 15 when he assembled J.K. & Co. in early 1968. With assistance from arranger Robert Buckley (also still in his teens), producer Robin Spurgin, and session musicians, he recorded a little-known album, Suddenly One Summer, for White Whale in Vancouver (to where he had briefly relocated from Las Vegas). His florid, melodic songwriting betrayed obvious debts to Donovan and George Harrison; his low-key vocals also recall George's late Beatle efforts. The sappier excesses of his lyrics haven't dated well, but his soothing arrangements (with low-key organs and saxes), beguiling melodies, and good-hearted, meditative ambience make him one of the worthier obscurities of the late '60s.
As a band, J.K. & Co. didn't really exist until after the album was completed, and Kaye formed a group to play the material live that included his cousin John Kaye on bass. Although the LP got a little bit of exposure on Californian underground radio stations, it was not well-promoted and remains barely known, even by many psych-heads. Their career was not aided by the label's bizarre decision to pull a 36-second-long track, the instrumental introductory piece "Break of Dawn," as the single. While they did play live in California, they broke up around the end of the 1960s, without releasing any more recordings. The rare album was reissued on CD by Sundazed/BeatRocket in 2001. (allmusic.com)

 This sounds like the solo album that George Harrison might have made before he left the Beatles, as several songs have that solemn, spiritual, forlorn quality Harrison perfected on cuts like "Long, Long, Long." With its languid guitars, organ, and somber mood, "Nobody" is so reminiscent of All Things Must Pass tracks like "Let It Roll" that one is surprised to find that this album was done well before the release of All Things Must Pass in the early '70s. Although the lyrics are blatantly hippie-ish, the music itself sets a dignified, almost stately mood with its intimacy and tasteful restraint. "Fly" and "Nobody" are genuine lost treasures of low-key late-'60s late psychedelia, and alone make the album worth investigating. But it's inspired and pleasurable the whole way through, down to the super-brief links and intros dotted throughout the record.

Very fine psychedelic pop album from '69. If you don't know it give it a try
                   
and enjoy
Cheers
           Frank   Flac
                       mp3@320 

Australian Power Pop(e) Carpenter's Project ''The Supahip - Seize The World (2005)'' (Not Lame) Flac & mp3

For years, the US-based label Not Lame has been delivering the voice of Australian pop musician Michael Carpenter to the world.  But while the pop underground scene has elevated his work to contemporary genius status, he still remains a relatively obscure figure outside those circles.  Heralded as a brilliant combination of Paul McCartney and the Finn Brothers, with a healthy amount of requisite references to Brian Wilson on the side, in theory Carpenter has the kind of pop chops that equal stardom—in the mythical world where pure pop is still busting the charts.
In recent years, Carpenter has been stretching into new territory.  His earliest releases were primarily one-man affairs, with all songs written by Carpenter, all instruments performed by Carpenter, and all vox sung by Carpenter.  But in 2003 he surprised fans by releasing his first album with a full backing band, Kings Rd.  And now, with the Supahip, Carpenter is once more branching off into new territory.  Joining together with friend and fellow musician Mark Moldre of Hitchcock’s Regret, the pair combined their individual talents to write and record in a manner that challenged both musicians as songwriters and musicians.
Coming together in the studio once a month for just over a year, all 12 tracks on Seize the World were recorded in as spontaneous a manner as possible, and all within the span of a day.  With no prior collaboration, Carpenter and Moldre entered the studio in the morning with a rough idea, sketched out the track between them, and recorded it all in one sitting, repeating this process once a month.  In the end the whole process wound up inspiring the songwriters—both of whom were more or less used to being the sole songwriter on their respective projects—and infused the songs with a simplified vitality and immediacy that the pair felt tied them back to “the good old days” or early rock music.
Of additional interest to audiophiles is the fact that Seize the World was recorded to emulate the ‘60s pop recordings of yore, or, as the duo calls it, in the “hyperRETROsonic” process.  This essentially means that the instruments are all hard-panned right or left to give it a wide stereo sound.  Unfortunately, this takes away from the impact of some of the tracks by creating a noticeable empty space in the sound, and there are some songs, for example “Everything’s Alright”, that would benefit from a richer mix.  The Supahip make up for it somewhat by offering a straight mono recording of ten of the twelve tracks following the stereo versions, which gives the songs a very direct, garage-recording punch.
Regardless of songwriting or recording process, the songs that Carpenter and Moldre deliver here are almost all top notch, and while there’s nothing here that truly breaks the mold to invent something new, Seize the World offers 12 mature, developed tunes whose rushed birth is completely masked by skilled musicians.  The leadoff track “Like Love” has all the hallmarks of a McCartney ballad, even down to the falsetto harmony and “ahhhh” backing vocals.  Shifting gears, one of the real stand-out tracks here is “Tulsa”, which surprisingly seems to mine the kind of mellow groove and rolling lyrical rhythms of Beck with shades of Beach Boys exotica, all the while filling the track with an amalgam of instruments.  Meanwhile, “Something’s Gotta Give”, “Satellite”, and “Ultra Black Light” have the kind of assured pop-rock vibe that artists like Dada and Matthew Sweet make seem so effortless.  And I’d be remiss not to mention the cover of Nik Kershaw’s “Wouldn’t It Be Good”.  In place of the original’s techno-effects-processed vocal intro and ‘80s synths, a warbling guitar and bare-bones bass line pick the song out, which evolves into a shuffling guitar pop song peppered with organs and electro effects pedals.
With its mix of low-key rockers and pure pop balladry, Seize the World proves the Supahip to be a fruitful and fortuitous side-project.  Neither the Bens nor the Finns, it’s probably not going to help break Carpenter or Moldre into the big time, but it’s proof that setting new challenges for yourself as an artist can be great creative exercise with excellent results. (popmatters.com)


One further side project of australian pop musician Michael Carpenter.
Have fun
               Frank    New link Flac
                           mp3@320
The Flac link expire 2017-04-28 

The Peep Show - Mazy: The Secret World of The Peep Show (2007 Castle)

The Peep Show were purveyors of very decent psych fare indeed. Decidedly darker in tone and far less acid-driven than many of their contemporaries, the band remain something of an enigma. Songs such as Your Servant Stephen and Esprit De Corps marked them out as oddballs even then; but then with the former dealing with a man’s plea to his pregnant girlfriend’s father and the latter with the inadequacy felt when comparing oneself to a Battle Of Britain pilot, it’s not overly surprising.
Although not necessarily in-tune with the kids, The Peep Show, in the space of no-more than a year, recorded a series of solid psych tracks, one of which, Mazy, is now rightly regarded as a classic. It’s for songs such as Do Not Wait for Better Times, Morning and the wonderful What A Funny Name, however, that the band should be remembered.
Satirical, pessimistic and peculiarly English, The Peep Show are in a fine tradition that stretches from The Kinks to The Smiths. The wilful difference of much of the material here will surprise those expecting another just another psych reissue. These guys were genuine mavericks and, 40 years on, they still sound refreshingly different.(excerpt of recordcollectormag.com)


Highly recommended! If there is any interest in mp3 i will upload it tomorrow.
Cheers
           Frank     The Flac link expire 2017-04-29     Flac
                                                                                   mp3 link1
                                                                                   mp3 link2
                            You need both mp3 links!