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.


Tuesday, 25 April 2017

Pugwash - The Olympus Sound (2012) Flac & mp3

Following a UK top 40 album with The Duckworth Lewis Method, Thomas Walsh reactivated his old band Pugwash with new members Tosh Flood and Joe Fitzgerald, got Andy Partridge and Dave Gregory of XTC in to lend a hand and hit the Irish charts in style. The Olympus Sound is without question the most commercial and polished record of Walsh's career - and the best tracks are as good as anything in the Pugwash back catalogue.
There's even some modern synths, samples and loops to offset the chiming Beatlesque guitars and retro keyboards. All in all with songs as immediate and strong as There You Are, Be My Friend Awhile, Fall Down, Here We Go Round Again and terrific closer Four Days this is just about perfect. Yes Pugwash sound a lot like ELO, The Beatles and of course Partridge's Swindon mob, but they do it so well that only the hardest heart could fail to love them. Pugwash newbies should start here.(Chris

This is for sure the most commercial work but i love the band for that because it's one more great album. That's what count, commercial or not. And i think if the music is good why the band shouldn't earn some bucks? Hope you will like it
and have fun
                    Frank   Flac part 1  &  Flac part 2   &  Flac part 3

Pop/Rock/Power Pop from Australia: Header On High Street (1996)

Header a band from Australia makes an interesting mixture of Pop, Rock and Power Pop with pleasant result. A lot of real nice songs and always with catchy lines. What is missing is a clear direction where the band want go. But as i said good songs and also good arrangements.

Enjoy it
            Frank   Flac part 1   &   Flac part 2

Paul Westerberg - 14 Songs (1993) Flac & mp3 (Read the review here)

Paul Westerberg's second solo LP (we all know the Replacements' final All Shook Down was really not a band LP) is a damn sight better than his first, with a batch of really nice tunes and some renewed enthusiasm (it's not as much of a downer); still, it's hard to resist the belief that he's capable of more than this. The fault is two-fold: One, fire co-producer Matt Wallace, who is more and more looming as the villain on Paul's last three LPs. The most convincing recordings here are the two crude demos Westerberg set down alone in the kitchen of his house.
His voice and tune devastate or kindle one's inner emotions by themselves. Compare these naked pathos with the somewhat rote "Knockin' on Mine" (a rip-off of Don't Tell a Soul's "Talent Show") or the just-tossed-off "Things," and it appears the lack of warmth in Wallace's familiar sound is pulling Paul's otherwise tremendous fervor down. Secondly, the first six Replacements' LPs all had more convincing material than this, culminating in the terrific Pleased to Meet Me. When inspired, he can still recall some of those heights: "Dice Behind Your Shades" remembers that former intimacy and sharp hooks, as do bits of "First Glimmer," "Runaway Wind," and the attempts at old raucous pounders, "Silver Naked Ladies" and "World Class Fad."
But they all still fall short of his former one-in-a-zillion singer/songwriter greatness. In fact, what really saves him on this record is his singing -- since the melodies and riffs are just good, not great, it takes a vocalist of his throaty gifts to deliver the pleasure. At times tender, sometimes who-gives-a-crap, other times amused or mildly sad and pensive, Westerberg makes us shower singers jealous over how much he can convey with just his pipes.
All the more reason to record future albums by himself in his kitchen? Or how about Westerberg "unplugged" from his living room? Talent like this is always best raw, whether "Kids Won't Follow" or "Never Mind" or "Kiss Me on the Bus." He'll never get that from Wallace, but he'll still shine through anyway.(Jack Rabid,

...and here is what Mr. Wallace said to the review of Rabid...:-)

 I just found Jack Rabid's review of Paul Westerberg’s 14 Songs here on AllMusic and I’m sorry that the music Paul made during specific points of his artistic development didn't jibe with what Jack's brain demanded it should have been. It’s possible that he believes that his opinion is more ‘right’ or ‘correct’ than what Paul’s personal experience, intention and inspiration dictated and, unfortunately, he comes off as being mired in the past, overly critical and a bit arrogant.

As much as it appears that Jack wants artists to stay within the confines of his own perception (generally lauding their younger days) and not allowing them to grow older gracefully, life does move forward. Artists can start off with bluster, anger, speed, and a yearning for the world to change but, in time, they learn to express themselves in subtler and, one could argue, more mature ways that take into account years of genuine experience that changes their minds, hearts and perspective. Paul Westerberg knows how disingenuous it is for an older artist to attempt to recapture the piss and vinegar and agitated momentum of his former glory. He was acutely aware of his quieter and more introspective approach as he was making records over the years and he attempted to age gracefully while working and living within a noticeably younger man’s field. Yes, even artists grow up, they have children, they buy houses, they become responsible (often reluctantly, just like us producers) as is normal and natural but they can still write and sing with power and ferocity without his music always having to be loud and fast.

Along with Jack Rabid's unfortunately misguided review he is also incorrect in stating that I was “the villain on Paul’s last three LPs” because I only worked on two albums with him (Don’t Tell A Soul and 14 Songs). Jack also erroneously stated that “the first six Replacements’ LPs all had more convincing material than this, culminating in the terrific Pleased to Meet Me” when, in fact, Pleased to Meet Me is the fifth Replacement’s LP after Sorry Ma, Forgot to Take Out the Trash (1981), Hootenanny (1983), Let It Be (1984), and Tim (1985). Album #6 would actually be Don’t Tell A Soul (1989). Stink, released in 1982, was an EP.

I genuinely hope that Jack finds a sense of peace and contentment as well as some empathy and understanding within his own life so that he might be able to see the world in general and, specifically the world of musicians struggling to create, from a different, possibly more humanist, perspective.

Matt Wallace
Record Producer/Mixer/Engineer/Remedial Musician

It exists things, i really love. And what Mr Wallace say (and that he have say it) is one of those little things.
          Frank    Flac part 1   &   Flac part 2

The Foundations - The Greatest Hits (1996) Flac & mp3

The Foundations were a surprisingly obscure late-'60s outfit, considering that they managed to reach the tops of the both the British and American charts more than once in the space of a year and had a solid three years of recordings. At the time of their debut in mid-1967, they were hailed as being among the most authentic makers of soul music ever to emerge from England -- the best practitioners of the Motown sound to be found on the far side of the Atlantic -- and were also accepted in jazz circles as well. "Baby Now That I've Found You," "Build Me Up Buttercup," and "In the Bad, Bad Old Days" were the biggest hits for this multi-racial octet, made up of Londoners and West Indians.
The Foundations were formed in January 1967 in the basement of a local coffee bar in Bayswater, gathered together through advertisements in Melody Maker. Lead singer Clem Curtis was a former boxer from Trinidad, while lead guitarist Alan Warner had been making his living in the printing trade in London while waiting for music to pay off. Flutist/saxman Pat Burke hailed from Jamaica, tenor saxman Mike Elliott had played with Colin Hicks (brother of Tommy Steele) in his band the Cabin Boys, as well as in several jazz bands, and trombonist Eric Allan Dale was another jazz veteran. Tony Gomez (keyboards), Peter Macbeth (bass), and Tim Harris (drums) rounded out the lineup. They selected the name Foundations based on their surroundings, a rehearsal space in the basement of a building.
The group made very little headway during their first few months together, although they did manage to get an audition at the Marquee Club. It was at their regular spot at a much smaller club called the Butterfly -- where they played one legendary gig on the last night of the Stax/Volt European tour -- that led to their breakthrough. They were spotted by record dealer Barry Class, who was impressed enough with what he heard to become their manager. He arranged a meeting with Pye Records producer/songwriter Tony Macaulay, who was working with Long John Baldry with some success, but also was desperately looking for a new act to break for the label. He'd written a song with his partner John Macleod called "Baby Now That I've Found You," which seemed to suit the Foundations.
The resulting single, issued in the summer of 1967, got no reaction from the public or on the airwaves until it got picked up by the BBC's newly founded Radio 1, by a stroke of pure luck. The station wanted to avoid any records being played by the pirate radio broadcasters, and looked back at recent releases that the pirates had missed. "Baby Now That I've Found You" was the immediate beneficiary, along with the group -- by November, the single held the number one spot on the British charts. The group's timing was as perfect as the song -- there had been a soul boom in England since late 1965, and the subsequent Motown and Stax/Volt tours by American R&B stars only heightened the public's interest.
The Foundations were hailed for being the first British band to come up with an authentic soul sound, and the fact that they were first multiracial band to top the British charts only made their success that much more impressive (at a time when England was beginning to come to grips with its own racial attitudes). What's more, the group had the goods to back up the press' accolades. Their performances revealed a seasoned, well-rehearsed, exciting stage presence and a bold, hard soul sound that most British bands managed to imitate only in the palest manner, if at all.
Meanwhile, their debut single got to number 11 on the American charts in the hands of MCA's Uni label, and it was equally well received in the rest of the world, selling something more than three and a half million copies. Suddenly, the Foundations were a British phenomenon and had a worldwide following.

An album, From the Foundations, was duly recorded and featured some superb material, embracing both current soul and the then-popular discotheque sounds. The covers included everything from Joe Tex ("Show Me") to Tony Hatch ("Call Me," in a version worthy of Motown), as well as some new Macaulay/Macleod numbers. The debut album never made the British charts, but it remained in print for years, a perennial seller that held up well over time. Unfortunately, a follow-up single, "Back on My Feet Again," didn't crack the British Top Ten, despite very heavy airplay and promotion, and barely made the U.S. Top 50. In retrospect, it may have been too similar to "Baby Now That I've Found You," which had sold in enormous numbers. Its relative failure led to the beginnings of a split between the group and Macaulay, as both songwriter and producer, exacerbated by the latter's decision -- as their producer -- not to permit the group to record any of their own songs, even as B-sides. Additionally, they felt that Macaulay reined in their "real" sound, making them seem more pop-oriented than they were.
These disagreements occurred at just about the same time that the group itself began experiencing internal fractures. It seemed to Curtis, in particular, that some of the other members, having topped the charts and chalked up an international hit, weren't putting out the same effort they'd been giving to the group when they were still struggling.
Curtis was persuaded to pursue a solo career, ironically right after he'd recorded perhaps the best track he ever cut with the group, a killer rendition of "It's All Right," a number they'd been knocking crowds dead with on-stage all along. (They also released a live album, Rocking the Foundations.) Additionally, saxman Elliott quit as well, and was never replaced. Curtis was succeeded by Colin Young, a good singer in his own right who fit in perfectly with the group's sound, and the reconstituted group hit once more in early 1969 with "Build Me Up Buttercup," written by Macaulay with Mike D'Abo, which reached number two in England and number one in America. "In the Bad, Bad Old Days (Before You Loved Me)" was yet another hit, reaching the U.K. Top Ten and the U.S. Top 30.
The band's success finally faltered when Macaulay exited Pye Records. As he later revealed, he was still being paid solely as a producer and he received no royalties for his songs, despite millions of copies sold. With his departure, the group was cut off from the only composer who'd written all of their hits. Additionally, the sounds of soul were changing faster than the group could assimilate it all -- they tried for a funkier, James Brown-type sound on their last recordings together in 1970 but failed to attract any attention.
The Foundations split in 1970, and by the middle of the decade that followed, Curtis revived the band -- but so had Young, and both outfits were called the Foundations. A lawsuit resulted in Curtis getting the rights to the original name, while Young was allowed to use the New Foundations. The group remains fondly remembered, if not often written about, in England, and it achieved some fresh international recognition in 1998 when "Build Me Up Buttercup" appeared prominently in the hit movie There's Something About Mary. Curtis continues to perform in a revived version of the group, and he and Warner have recorded new versions of the Foundations' classic numbers. Various versions of the Foundations continued to tour into the first decade of the 21st century, including Curtis as Clem Curtis & the Foundations and Warner as Alan Warner's Foundations.

The Foundations were a fine Soul, R'n'B Pop band mid till the end of the sixties. This are their greatest hits and this post is to remember the legacy of Clem Curtis, leadsinger, born November 28 1940 who passed away on March 27th 2017. May he rest in peace
Frank        Flac part1
                 Flac part2