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

Friday, 9 June 2017

V.A. SB's Power Pop Collection Vol.6 Mp3@320


Here is the sixth volume of my Power Pop Collection. i hope you will enjoy.

This is the tracklist:

1) Revisit The Past - The Bottle Kids
2) Across The Universe - Bill Lloyd
3)New York City's Not Alright - Supralux
4)Where Has Your Lover Gone - Wanderlust
5)Rebel Inside - Greg Pope
6)The Girl - The Rubinoos
7)Waste No Time - Glenn Robinson                   
8)Jeff Lynne - Paul Melancon
9)Helen Wheels - The Shazam
10)Livin' Thing - PFR
11)Wish I Had Her Picture - Propeller
12)Rock'n'Roll Love Letter - Gary & The Grip Weeds
13)Baby I Believe - The Galaxies
14)I Want You Back - The Hoodoo Gurus
15)Is It Any Wonder - The Cowsills
16)This One - Cliff Hills
17)Telephone Line - Jeffery Foskett
18)Think With Your Heart - Michael Shelley
19)Here Comes The Sun - Dave Rave with The Wretches
20)You get What You Give - The Merrymakers

Haver fun
                Frank          mp3@320




The Hollies - Distant Light 1971 (2013 Parlophone Japan, SHM- CD) Flac & mp3


The Hollies continued to tread water as the early '70s progressed. Distant Light offered nothing particularly new or unexpected, but the harmonies and songwriting remained at a high enough standard to refute any accusations of decline. Too pop for the album-oriented audience, and not light and frothy enough for the pop market, it would have been totally overlooked if not for the surprise success of the Creedence Clearwater Revival soundalike "Long Cool Woman in a Black Dress." Released in the States almost as an afterthought, it became (deservedly) their biggest American hit, reaching number two. It success inspired the return of Allan Clarke to the fold, after he had left the group to briefly pursue a solo career.(allmusic.com)


I'm sorry i forgot to add the booklet with the english/japanese lyrics. I will post it later for those who want to have it. Booklet link added!!!


This is a completely forgotten album and the last before Allan Clarke let sing Mikael Rickfors the next album 'Romaney' as leadsinger. I think this album is a little underrated. Some really good songs here (+ bonus tracks) and the most successful song for the Hollies in the states ever, Long Cool Woman... However, maybe you give it a listen and
enjoy,
          Frank          Flacmp3@320 p1   -  mp3@320 p2   
                                                                                                   Booklet link


VA - Scratch My Back ~ Pye Beat Girls 1963-1968 (2016) mp3@320





Ace dipped into the Decca vaults a couple of times but 2016's Scratch My Back! Pye Beat Girls 1963-1968 is the first time they've dug through the swinging sounds of Pye's female acts of the '60s. Dating as early as 1963 and as late as 1968 -- aka, the golden age of British pop -- this compilation feels like it's anchored in the mid-'60s, a place where the pop is heavily orchestrated but not stuffy; most of these 24 tracks contain a lightness of spirit and many are often clever.


Sometimes, things get plenty strange -- the weirdest moment is, of course, Glenda Collins' "It's Hard to Believe It," a 1967 recording beloved by Joe Meek cultists -- but usually this is bouncy, jubilant pop equal parts freakbeat, Beatles, Bacharach, and Motown, the kind of thing that's bound to bring joy to listeners of a certain stripe.(allmusic.com)




This is a very fine collection of female pop music in Britain in the sixties. Recommendable!
Very nice artwork with well done liner notes about the artists.
Have fun
               Frank   mp3@320  

If there is somebody who have this in lossless and would be so kind to share it, please email me. :-) 


 





Great American Sunshine Pop! The First Edition - The First Edition I & The First Edition 2nd 1967 & 1968 (2014 Friday Music) Flac & mp3



First album review
Ex-members of the New Christy Minstrels (with the exception of the drummer, Mickey Jones ) run the fun gamut on The First Edition, and had they disappeared after this effort it would have been a huge collector's item. The cardinal sin of Lenny Kaye's masterpiece Nuggets collection is that "Just Dropped In (To See What Condition My Condition Was In)" did not follow the Electric Prunes as the second track on volume one of that revered collection, or show up on it at all. The psychedelicized Top Five hit from the winter of 1968 produced by Mike Post and arranged by Al Capps might have a few lyrics that would make Bob Dylan blush, but the song's fuzz guitar, attitude, and hook are unstoppable. The rest of the album is top-notch as well, sounding like the Mamas & the Papas meets early Jefferson Airplane with Signe Anderson on vocals.


It's Thelma Camacho who never got the name change or the recognition she deserved, but she sounds great on "I Get a Funny Feeling" and "Hurry Up Love," and the album benefits from her presence. "Shadow in the Corner of Your Mind" may be a title that conjures up images of Bob Lind and Ted Nugent hammering out a song over the dinner table, maybe because they still look like the New Christy Minstrels on the cover, and Tom Smothers gushing on the liner notes is unique, but it was television that was instrumental in launching this group into the mainstream and the hit song does well surrounded by this musical environment. Tunes like Mike Post's co-write "Dream On" rock out much harder than "Green Green," "Saturday Night," and "Today," Christy Minstrel's hits prior to Rogers joining the group. "Home Made Lies" has that "someday I'll teach you real fine" riff from the Animals' "It's My Life," Mike Settle lifting from here and there, while "Marcia: 2 A.M. sounds like Peter, Paul & Mary jamming with Paul Kantner and "Hurry Up Love" wants desperately to be girl group. The album's one drawback is that the band and producer don't go all the way in exploring these different styles the way they did on the hit "Just Dropped In."


"Just Dropped In" not only made Kenny Rogers' voice the most familiar first, it's an all-out assault on the senses, its wild abandon necessary but absent from the other aspects of this disc. "Church Without a Name" explores -- or maybe toys with -- the blues, just adding to the feel of a band looking for a sound. They eventually found that sound during their run of hits from early 1968 to late 1970. But this debut is splendid and it is fun to hear them emulating Marty Balin right off the bat with the first track, "I Found a Reason." A lost gem worth rediscovering.(Allmusic.com)


2nd album review

A more focused '60s album than 1967's First Edition, what is missing from this follow-up LP is a hit single like "Just Dropped In (To See What Condition My Condition Was In)," though the group more than makes up for that with solid performances. This was again produced by Mike Post, with arrangements by veteran Al Capps, who brought so much to Johnny Mathis, Cher, and many others. "Charlie the Fer de Lance" is indicative of this effort, with phasing fuzz guitar and Kenny Rogers as a hippie delivering odd lyrics on an interesting tune which isn't as direct as the group's first hit. Mike Settle's voice leads the pack on the second track, the Rogers/Williams co-write "If I Could Only Change Your Mind," another nice period piece that works well in this setting but wasn't going to burn up the charts. This is the First Edition as a real group, a full band before Kenny Rogers would start exerting more control on the third outing, First Edition '69. Mike Settle's "A Patch of Clear" is yet another vague essay from this era -- as odd as the opening track. Settle sounds great on Bob Stone's "A Good Kind of Hurt" and Thelma Camacho (who they have listed on the back cover as "Comancho") is just wonderful on her own composition "I Passed You By."
The band works the Paul Williams/Roger Nichols little-known title "Only Me" to good effect to end side one. The song is chock-full of 1960s pop clichés and would have fit nicely on an album from the Monkees or maybe an airline commercial. Songwriter Mickey Newbury's "Are My Thoughts With You?" opens side two and features Kenny Rogers performing in the style which would bring him his eventual solo success, delivering the most commercial performance on this 11-song collection. Four members of the International Graphoanalysis Society give profiles of the four singers from the First Edition on the back cover, making for one of the more interesting sets of liner notes from any album released in 1968. It's not just the almost astrological look at the musician's personalities through their handwriting which makes this disc special, it -- like the Fifth Estate's Ding Dong the Witch Is Back -- is a very special album from a special time that '60s cultists have completely overlooked. The First Edition were an excellent psychedelic folk-pop group, and First Edition's Second should be a much-sought-after collectors' item. Like the aforementioned Fifth Estate, they were left off of Lenny Kaye's Nuggets collection, perhaps because they conquered the charts seven separate times.
Kenny Rogers and Mike Settle are the songwriters on the final four tracks, and they are all extraordinary journeys into the psyche of the '60s. Rogers' "Things Can't Be So Bad," followed by Mike Settles' "Rainbows on a Cloudy Day" and "The Sun Keeps on Rising," two songs about the weather, has that mood that fans of the genre adore. Mike Post's production brings it all home. Thelma Camacho and Terry Williams' voices helped make this group an underground Mamas & the Papas, and their vocals closing the disc out by embracing Kenny Rogers' wonderful "Look Around, I'll Be There" very well could have made it a sleeper hit and changed the band's history. Rogers would take over right after this, and as valuable as his contributions to country/pop would eventually turn out to be, the First Edition were more than just one person; The First Edition's Second proves that. It's by no means the lost Sgt. Pepper's, but it does have lots to offer and should be dusted off and given new life(allmusic.com)



This both albums are top notch sunshine pop of the decade then. Mike Post have done a great production here. Wonderful songs, top vocal arrangements, top musicians, the complete song arrangements are just fantastic in my ears. I listened to both albums this morning and the music catched me immediately. 6 suns out of 6 suns by me!
Cheers
          Frank       Flac p1Flac p2Flac p3      -  mp3@320



Various Artists - Destroy That Boy! More Girls With Guitars 1965-68 (2009 Ace Records) Flac & mp3



A sequel to the 2004 Ace CD Girls with Guitars, this likewise focuses on guitar-oriented, girl-sung 1960s rock from the '60s, though to be technical one 1970 cut sneaks in. These aren't all self-contained female groups who played their own instruments (although a few of them are); in fact, a number of these artists didn't play their own music, and some of them were solo acts, not bands. The common factor, however, is that all of them did play rougher, more guitar-heavy rock than the norm for woman rockers of the era.


There's a fairly narrow pool of discs to choose from when you're making an anthology like this (though not as narrow as many people realize), which makes it hard if not impossible to make an "all killer no filler" compilation. That's how it goes with Destroy That Boy! More Girls with Guitars, which is usually fun, and occasionally very good, but often more interesting for historical oddity and energy than for the quality of the songs or performers.


Still, there are some genuinely stand-out tracks here, none more so than Beverley Jones' "Hear You Talking," which is average Merseybeat musically, but has a vocal that's incredibly vicious by 1964 standards, and a chorus ("I'll cut you dead...if I hear you talking about her") that's downright gangsta in this company. Also very good is Sharon Tandy's "Hold On," justly hailed as a first-rate mod rocker long before its appearance on this compilation, and Ann-Margret's unlikely (and mighty strange) psychedelic Lee Hazlewood-written and produced 1968 rarity "You Turned My Head Around."


Nothing else on the CD galvanizes like these three items, but it does at least present a wide range, from Merseybeat (including Liverpool's self-contained Liverbirds) and Beatles novelties to She Trinity's "He Fought the Law" (reportedly the inspiration for the Clash's "I Fought the Law" cover, according to the liner notes); a folk-rocker co-written by Erik Darling of the Rooftop Singers (Project X's "Don't You Think It's Fine"); and a rocking Donovan song that Donovan himself never put on his records (Karen Verros' "You Just Gotta Know My Mind").


Also neat is the Girls' previously unreleased "Here I Am in Love Again," with backing by the Beau Brummels, which was written and produced by Sly Stone, even if the vocals are pretty shaky.


Really great collection of great women rock with pop, garage, psychedelic sounds.
Enjoy
        Frank   Flac p1 & Flac p2         - mp3@320