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.


Monday, 22 May 2017

Sixties Girl's Psychedelic Garage: She - Wants A Piece Of You 1999 Ace/Big Beat (from the Ace/Big Beat series 'Nuggets From The Golden State') Flac &mp3

SHE - WANTS A PIECE OF YOU (1964-1971)

In the litany of all-girl 1960s garage bands, there cannot be a more powerful and compelling entry than She.
 100% authentic, She played their own instruments, sang and wrote their own striking original material and copped one hell of a bad attitude that would put most self-proclaimed rebel boy bands to shame. Appealingly crude in their early incarnation as the Hairem, by their later years She was truly a force to be reckoned with, and as unusual and significant as any punk band, male or female, from the golden era of the mid-to-late 1960s.
The constants in She were Nancy Ross and her younger sister Sally. It was after attending a Beach Boys concert in Sacramento in 1964 that Nancy flashed on forming a band. Sally was only 13 but immediately elected to play bass. School friend Karen Kochie joined on rhythm guitar, Kathy Pennison became the drummer, and Piper Minas was added on lead guitar. The Hairem’s music was crude, forthright and remarkably original. The songs ‘Not For Me’ and ‘Like A Snake’ are pure insolence, while ‘Come On Along’ and ‘Hey You’ are alternately innocently childlike or spookily seductive.
Lp cover
By late 1967 the line-up had changed to the Ross sisters, guitarist Kathy Rice and drummer Ginny Revis. While they played occasional gigs at parks and love-ins, the band found more work on the club and college circuit. Joann Claudianos joined and duetted lead vocals with Nancy, adding an Airplane-ish element, as evidenced by a demo cut in early 1969 with new drummer Reesha Scarborough and Karen Luther on organ. The group were now known as She, after Henry Rider Haggard’s book. ‘Feel Like Giving Up’ and the outrageous ‘Bad Girl’ date from this period.
In 1970 She finally made a record, for Los Angeles’ Kent Records.

The single featured ‘Outta Reach’, a tour-de-force of femme-psych with Nancy’s defiant vocal, Karen’s weaving organ fills and an insistent chugging bassline from Sally. Shortly afterwards, the final She sessions showed considerable musical prowess without losing any of the rough edges that characterised the group as far back as the Hairem. ‘Roll On’ and ‘Piece Of You’ both have the assured arrogance of a female Stones, whereas the more introspective ‘Braids Of Hair’ demonstrates their versatility.
She finally came to a natural end in 1971 as the members got older and pursued other interests, although most of them continued in music in one form or another. When their recordings were first issued in 1999, girl garage aficionados marvelled at the intensity these young women had displayed in their youth. The interest coaxed a knowing smile from Nancy, who sadly died a few years ago. Her spirit, however, is very much alive with the remarkable sounds on this album.
Alec Palao

The words are from the ace site.

I have listened to the album very often the last weekend. To me this have a special feeling and atmosphere in the songs. I like the album very much. The ladies have done a very good job. I'm serious.

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Seth Swirsky - Circles & Squares 2016 Flac & mp3 ( + Flac files added in Seth Swirsky - ''Watercolor Day'' )

Sometimes you don’t need hyperbole or over-analysis to sum up an album.  This new album from Seth Swirsky, a 30-plus year veteran of MANY elements in the music industry, Circles And Squares can be summed up in one word: exquisite.  It’s that simple – considering the music is so detailed, intricate and complex.  Imagine all the best elements of what you love in pop:  Brian Wilson during that period from Pet Sounds to Sunflower; The Beatles from Rubber Soul and Revolver and most of Todd Rundgren from Something/Anything to Hermit Of Mink Hollow, plus everything by Emmit Rhodes for good measure.  I know that’s one hell of a build-up and you’re probably thinking “no way, no how”.  Well, it fucking is.
Just from the first piano bars of “Shine”, with the most perfect sound and arrangement – you know where it’s going and it’s only going to be more glorious; the title track is this wonderful, slightly quirky meld of Beatles and Beach Boys and the playing through the different movements of the song is beyond description – and it has to be noted that Mr. Swirsky played all the parts himself (save for one bass part and one horn part!) – if this is his McCartney, then roll on!  “Old Letter” is buoyant with its acoustic guitars – say Hollies meets Raspberries and layered tuanwhich makes the singing even warmer and personal and “Let’s Get Married” is one of the most charming pieces on the album with its quiet understatement and deft 12-string Ric riffage and orchestral arrangement on the instrumental break.  “Trying To Keep It Simple” is (in my mind) that kind of rhythm you found in the ’60’s with the diminished and open chords of the ’70’s – his mastery of song structuring is astounding; “Sonic Ferris Wheel” reminds me of XTC – not surprisingly, the arrangement and wry lyrical content reeks of Andy Partridge (and that’s said with great admiration); “Table” is the highlight of side two (even though this is a CD – work with me) – opening with a shimmering 12-string Ric and kicking it with a classic acoustic rhythm and worthy of Top Ten status if singles were still the order of the day and “Abyss” is sad, quiet and has a Zombies-like feel, tempered by a cello.  Heady, heady stuff.
I’ve been very fortunate in that I manage to hear/find so much incredible music to try and turn others on to after being turned on myself.  But this one – this one is an absolute necessity.  And there’s no point in my attempting to paint fancy word pictures about it.  One listen will tell you all you need to know.  Sixteen tracks and something familiar, beloved and yet different in each one, which makes it even more special.
(Rob Ross,  

Nothing more to say. Like i said earlier in other posts this guy is a complete artist and a gifted musician. A pop genius in my opinion. Enjoy it and

have fun
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You can buy the album here

p.s.: I added the Flac files in the 'Watercolor Day' post from some days ago. Reader robgronotte send me the files yesterday. Thanks a lot for your contribution, robgronotte. It's much appreciated!!!

Power Pop by The Smithereens - 11 (1989) Flac & Mp3

The third full-length album from the Smithereens, 11 (a title that refers to the classic 1960 Frank Sinatra film Ocean's Eleven), was something of a letdown after the solid, tough-pop perfection of their first two albums, Especially for You and Green Thoughts. While their previous sets boasted strong material from front to back, 11 is dotted with filler. And while "A Girl Like You," "Blue Period," and "William Wilson" are all great songs, many of the others sound like by-the-numbers pop tunes cranked out to pad the set to full length.
Producer Don Dixon made the most of the dark and mysterious undercurrents of Pat DiNizio's songs and Jim Babjak's guitar, but Ed Stasium gives the band a solid, professional sound that is sadly lacking in personality; there's nothing wrong with the way the album sounds, but there isn't anything terribly engaging about it, either. As a band, the Smithereens still sound rock-solid here, but as an album it was sadly indicative of the creative ups and downs that would mark their recording career from this point forward.(Mark Deming,

And this said Jeff Rosenberg: 
I couldn't disagree more with Mr. Deming's assessment. I actually prefer 11 to the first two Smithereens albums. The sound is fuller, thanks to producer Ed Stasium, and the songwriting is top-notch. To dismiss such tunes as "Maria Elena" - an ode to Buddy Holly's widow - and the beautiful "Cut Flowers" as mere filler suggests a cursory listen to the album, at best. Singling out "William Wilson" as a highlight is similarly bizarre; it doesn't suck, but it's not a standout song, either. Yes, "Baby Be Good" is something of a trifle, but in that, it recalls second-tier Beatles songs like "You Like Me Too Much" - not one for a best-of comp, perhaps, but tuneful and fun. 

I second that what Jeff Rosenberg said.

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