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.


Saturday, 10 June 2017

Sunny jangle Power pop from Perth: Jack and the Beanstalk - ...And Other Stories 1996 (Parasol) Flac & mp3@320

Jack and the Beanstalk first came together in 1994 in Perth, Australia, through the musical inspirations of the Beatles, Matthew Sweet, Teenage Fanclub and the Lemonheads. Vocalist/guitarist Joe Algeri gathered friends Shane Bender (bass) and Rick Pompino (drums) for the first lineup; by the time the group debuted for Spinning Top Records with an EP of demos, Gram Parsons, in 1994, the rhythm section consisted of Gerry McAvoy (bass/vocals) and Anthony Spinelli (drums).

The Parasol Records 7" "Angeline" followed two years later, and the group's debut full-length, ...And Other Stories, was also released in 1996 (on Spinning Top in Australia and Parasol in the U.S.). A slightly retooled version of the album was released in Europe by the Swedish label Torpedo under the title Serial; it excised one track and added three others, including "Gram Parsons." McAvoy left in 1997 and was replaced by bassist/organist Stuart Loasby; second guitarist Kevin Borruso (ex-Superscope) also joined up, after having played with Algeri in an acoustic duo called Starsky and Hutch.

Algeri released a solo album in 1999, titled Everything Under the Sun; the second proper Jack and the Beanstalk album, Cowboys in Sweden, was released in 2001, again by Parasol.(

Very good power pop band with Lemonheads influences from Perth here.
          Frank              Flac p1Flac p2     -  mp3@320

SurfGaragePower Pop from Australia/NZ: Danny McDonald - Fibrotones (2005 Off The Hip) Flac & mp3@320

Danny McDonald is best  known in OZ but also in Europe, and the US, too. At least to pop/power pop lovers. This guy his musical career is running over around three decades and he had played with all the stars of australian rock and pop business. This album is from 2005 and is a very fine power pop effort with some little country influences. If you like catchy tunes you are right here.
Enjoy the twelve tunes and there is really no filler.

Have fun
               Frank      Flac p1  &  Flac p2      - mp3@320

Paul Jones - The Paul Jones Collection Vol. Two - Love Me Love My Friends 1967 (1996 RPM Records) mp3@224

An expanded version of Jones' 1967 album Love Me, Love My Friends, with ten bonus tracks. That 1967 LP was supposed to be a concept album of sorts, though not a very adventurous one, the idea being to base it around songs with names in the titles -- "Poor Jenny," "Charlie Brown," "Bony Moronie," etc. The results are as hackneyed as you'd expect, Jones compromising his strengths -- his excellent R&B and soul sensibilities, as demonstrated in Manfred Mann -- for weak material, anchored by Mike Leander's period-piece British orchestral-pop arrangements.

Original Front Cover 1967

Jones is at his best when he gets even a bit rootsy, as on "Nosher Burns" and "Little Sadie," though the juxtaposition of lame remakes of the Coasters and the Everly Brothers next to a folk-rock reading of Bob Dylan's "The Lonesome Death of Hattie Carroll" is somewhat ludicrous. The bonus cuts, aside from the "Sons & Lovers"/"Three Sisters" single, were all previously unissued. None are especially interesting, although it's a shock to hear him covering the Electric Prunes on "Sold to the Highest Bidder."(

To me a classic effort in the british pop scene in the middle of the sixties. Full of creativity and fine melodies. This is never boring, often very surprising and the album can manage to hold the positive tension nearly over the whole running time. If you love colourful sixties pop music grab it.

Enjoy it,
             Frank         mp3@224   

p.s.: If there is somebody who got it in Lossless and would share it please email me :-) !!!

The Purple Hearts - Beat That 1980 (2003 Captain Mod) mp3@320

The story of London, England mod revivalists the Purple Hearts begins in 1977 when teenagers Jeff Shadbolt, Simon Stebbing, Bob Manton, and Nicky Lake dubbed themselves the Sockets to sneak their way onto a bill opening for the Buzzcocks, even though none of the four had the ability to play an instrument. Each member of the quartet chose an instrument -- Shadbolt chose the bass, Stebbing the guitar, Manton stuck with just vocals, and Lake picked up drumsticks -- and they feverishly threw together a set of original songs while trying to learn their instruments. A matter of weeks certainly isn't enough time to master a musical instrument, but the Sockets played their gig anyway, much to the amusement of the Buzzcocks and the audience, and the bandmembers found that they very much enjoyed performing. They enjoyed it so much that they continued to play a handful of gigs as the Sockets, but in May of 1978 both the name changed (to the Purple Hearts) and the lineup changed when drummer Gary Sparks replaced Lake.

By 1979, the Purple Hearts began to enjoy some success touring with contemporaries Secret Affair and Back to Zero, and directly afterward they signed with the Polydor Records subsidiary Fiction. Fiction released their debut single, titled "Millions Like Us," and it charted in the U.K., peaking at number 57 -- their highest charting single. It was followed by two more charting singles in 1979 and then the release of their first full-length album, Beat That!, in early 1980, but that proved to be a high point for the band as the mod revival fad burned out and Fiction dropped the Purple Hearts midway through the year. A few other 45s were released via different small labels, but the bandmembers decided to take some time off and didn't resurface until 1985 with the live album Head on Collision Time, followed a year later by Pop-ish Frenzy, after which they split up for good.(

Very fine garage-mod style album.
Have fun
              Frank          mp3@320     

Radio Stars ‎– Holiday Album 1978 (2006 Chiswick Records) mp3@320

Radio Stars' second album was released well over a year after its debut, and during a period when the first fires of the punk storm that brought the band to prominence had been utterly quenched and musicians were again thrown back upon their own musical devices. For songwriter Martin Gordon, that entailed tracking back to the grandiose pop of his earlier bands Sparks and Jet, and the ensuing shock to the band's system certainly derailed the manic joy that characterized their first album. Holiday Album lacks little in the actual songwriting department -- "I'm Down" is one of the finest romantic break-up songs ever written, while "The Real Me" and the anthemic "Radio Stars" could both have slipped into the band's primal canon. But there was still something missing from Holiday Album, namely the sense of innocent fun that permeated Songs for Swinging Lovers. Much of this recording has a downbeat bleakness wholly out of keeping with Radio Stars' traditional concerns, while the moments of comedy that do surface are so over-stated that they completely swamp the music. "Baffin Island" and "Sex in Chains Blues" are both horribly clumsy by Gordon's normally high standards, but it was only later that fans discovered such clunkers were merely symptomatic of his declining interest in the band. Indeed, Gordon quit the band soon after Holiday Album was released. Much of its audience had already left.(

Not as strong as the first album. But nevertheless are some real great songs here.
Have fun
               Frank      mp3@320

Pop/Power Pop/Country/Doo- Wop ??? Mark Johnson - Mark Johnson & The Wild Alligators 2005 mp3@320

 by Vincent Collazo
IN 1978 LYNN SAMUELS had a free-form radio show on WBAI called “Part of the Act”—between discursive monologues and lively discourse with her audience she played music, and the most-featured artist was an extraordinary talent named Mark Johnson.
It doesn’t take much to fall in love with his music—ethereal and familiar, Mark Johnson sings from and of the human heart: his lyrics describe love’s extensive permutations, with music to match these rich emotions. The music I heard on Lynn Samuels’ show was not available in record stores—at the time Mark Johnson had one album, Years, released in 1972 on Vanguard, that was out of print. I kinda freaked out, but recorded on cassette from the radio, eventually compiling about thirty minutes of his music.
When I went to see him in concert I found a wild man, a performer who sang each song as if his life depended on it. The experience of hearing Mark Johnson at Folk City, standing less than ten feet from me, in black pants, white shirt, tight cowboy boots, crying/screaming/spitting out the words to his song “Noreen,” gives me chills a quarter century later.
After the show I asked him if he had any plans to make another record and he mumbled something about working on some tapes, but he didn’t sound particularly serious, and I was furious with him for depriving the world (and me, mostly me) of his music. He clearly had lots of songs, and while I used a little Panasonic walkman to tape his live shows on the sly, the clinking of drinks and bar chatter ruined the listening experience.
Lynn Samuels left WBAI, Folk City closed, and ultimately Mark Johnson stopped performing at The Other End, Kenny’s Castaways, and the Speakeasy. I lost track of him and was left with my half hour cassette, which began to deteriorate from overuse. I dubbed copies to play and kept the original as my “master tape.” Grateful to have these few gems, I despaired of ever getting more.
Mark Johnson resurfaced in 1992 with a CD, 12 in a Room, on his own label, Tabula Rasa Records. This is Mark at his best—in the “studio” (a small apartment above the Cornelia Street Café) with himself at virtually all the instruments and vocals—mixing and matching, using the musical genius RCA Records recognized when they offered him a contract as an artist and producer at age 20, when he walked in off the street with a homemade demo. (Years, the album from this time period, is a classic which holds up amazingly well some thirty-five years later—it is mind-boggling that this sophisticated music came from someone barely out of his teens).
12 in a Room is brilliant, containing songs I already loved and others I soon would. “Cold Weather” is the down-and-out-in-the-Village masterpiece after which Mark’s music publishing company is named; “Desperate” is a musical exegesis of the heart-wrenching experience of trying to regain a relationship lost to petty misunderstanding. The album also includes “Larry Stein,” a reworking from the RCA demo. Yes, Dave Edmunds recorded “King of Love,” and the Roches covered “Love Radiates Around,” but no one sings these songs like Mark. Naturally, one must hear this music to appreciate it, but I’d describe it as the work of a folk-rock singer-songwriter pop music troubadour, with melodies as gorgeous as his words.
After the spurt of activity that came with 12 in a Room, I once again lost touch with Mark and his music. Another decade passed before I came upon him in cyberspace through his website, where I discovered he had a new album, Last Night on the Roller Coaster. Is it better than 12 in a Room? Maybe, but mostly I’d say it’s different. 12 in a Room is a bunch of hits nicely strung together whereas Last Night feels more like a themed album, one song flowing into the next with musical logic. On this CD one can hear the many musical styles Johnson effortlessly embraces: to my ears “Suddenly Sunshine” evokes George Harrison, portions of “So Wonderful” are reminiscent of 50’s doo-wop, in “Coney Island Night” I hear shades of Billy Joel at his best, but all of the songs, whatever tradition/influence/homage they may suggest, have the distinct stamp of Mark Johnson. Throughout this musical journey Johnson’s voice changes with each song—he’s as comfortable with a sweet ballad as with a hard-rocking tune, and everything in between.

Johnson has since released Mark Johnson and the Wild Alligators, which documents the collaboration with his rock band in the early eighties, when I was hearing him live on a semi-regular basis. The immediacy of the performances on this CD gives it the feel of a live recording, with the sound quality of a studio album. I was surprised to find that a few of the songs such as “Precious Love,” “Bad Love” and “Six Nine One,” were actually by Mark Johnson—I was sure they were covers of top-forty radio hits until I checked the credits. These songs weren’t on my “bootlegged” cassette, but were so engrained in my memory that I could easily sing along with them some twenty years later.
Johnson is currently working on a new CD, which must be a daunting task since he’s set the bar so high with his previous releases—there are no “throwaways” in any of his four major albums; even songs which might sound “lite” at first, gain depth upon repeated listens.
Recently Johnson has supplemented his oeuvre with songs for companion CD’s for the Disney movies Finding Nemo and Cars. His songs continue to be recorded by other artists—if he’s the best-kept secret in pop, he’s well known within the industry. Mark Johnson’s success, while substantial, has never matched his talent; he awaits “discovery” by a larger audience—meanwhile he has attained cult status, and I, for one, happily, giddily, ineluctably joined the cult.

This is one of the rare articles i found about Marc Johnson. This is also the only album i know by M.J.
Give it a try, this album souinds real interesting. Here are a lot of musical influences and this guy sounds real.
           Frank           mp3@320  

Various Artists - Early Girls - Popsicles And Icicles - Volume 1 (1995 Ace Records) Flac & mp3@320

While the second volume of the Early Girls series is heavier on chart hits, the first collection offers more choice rarities (which, truth be told, is the real value in retrospectives of this kind). A handful of these 28 cuts are overly cloying (Earl-Jean's "I'm into Something Good" and Little Peggy March's "I Wish I Were a Princess" are almost sickeningly sweet),

but the good far outweighs the bad -- alongside familiar singles like Shirley Ellis' "The Name Game" and the Shirelles' "Dedicated to the One I Love" are forgotten classics like Toni Fisher's amazing "West of the Wall" (an echo-drenched ode to Cold War-era romance) and Dodie Stevens' delightfully goofy "Pink Shoe Laces"; early favorites from Phil Spector (the Paris Sisters' "I Love How You Love Me") and Carole King (the superb "It Might as Well Rain Until September," her lone solo hit before breaking through with Tapestry a decade later) round out this smartly compiled, well-annotated and consistently engaging set.( )

Good Day and a wonderful Saturday to all of you.
I want begin to post a series of five albums by ace records, that's called ''Early Girls''. There are five discs in the series. I don't post them all five today but one by one in the next days. I hope you will enjoy them.Okay here we go with Volume 1.

           Frank          Flac p1  &  Flac p2        -  mp3@320