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, 23 June 2017

Dot Dash-Dot Dash-Dot Dash...All for one!!!





Hello Folks, as you maybe know i love the power pop/punk heroes from Dot Dash. The guys released five real great catchy albums of fine power pop/punk in the last five years. yesterday i saw a great offer on bandcamp. You can get all five download albums if you buy the last album 'Searchlight' as CD Digipak for 11 US bucks/14 Can Dollars. Take a look here . The offer is underneath the playable songs. Not to confuse with the offer for the digital discography.




Support The Artists!!!

The Hollies - Confessions Of The Mind 1970 (2013 Parlophone Japan SHM CD ''British Beat 50th Paper Sleeve Collection'') Flac & mp3@320


The Hollies' first album of original material following Graham Nash's departure was an attempt to regain the edge they'd had on Butterfly and Evolution albums, after the digression of the album of Dylan songs, the regrouping with Terry Sylvester in the lineup, and the unexpected hit achieved with "He Ain't Heavy, He's My Brother." It's a surprisingly strong album, not only in the songwriting (which includes the last Clark/Hicks/Nash song ever recorded, "Survival of the Fittest"), but also in the production, which isn't too far removed from what was heard on Butterfly and Evolution. There's no sitar here, but Tony Hicks -- who is the real star of the group on this album -- employs at least a half-dozen different guitars in uniquely fine voicings, and there is also some very striking use of orchestra, producer John Burgess making particularly fine employment of a string section as a lead instrument on the Allan Clarke/Terry Sylvester-authored "Man Without a Heart."


Indeed, at least nine of the songs on Confession of the Mind could rate among the better songs the group has ever recorded. Tony Hicks' "Little Girl" sounds almost like a conscious attempt to emulate the harmonies and overall sound of Crosby, Stills & Nash, proving that as singers Clarke, Hicks, and Sylvester could have competed in that arena, musically if not in image. They also try for a heavier sound on "Perfect Lady Housewife," which offers a thumping bassline and some of the most prominent organ playing ever heard on one of their records. By this time, the songwriting partnership between Allan Clarke and Tony Hicks had dissolved, and several of the latter's solo songwriting ventures on this album retain some lingering elements of the psychedelic sound heard on Evolution and Butterfly, with great hooks and solid, pleasing, memorable riffs.


Hicks gets a little too self-consciously out there with the volume pedal on "Confessions of a Mind," but it's all worth hearing, and "Lady Please," which follows, is a gorgeous country-ish rock ballad that could've been picked up by Poco, the Eagles, or Manassas. "Frightened Lady" is another brilliant acoustic/electric guitar and harmony workout, while Hicks' "Too Young to Be Married" gives equal play to his guitar and an orchestra. His playing is the best part of Allan Clarke's "Separated," several layers of acoustic guitars being a joy to listen to, especially in the 1999 EMI remastering.
Unfortunately, the Hollies were now becoming an anachronism in a world of progressive album-oriented rock, not because they actually were, but because their credibility had been wrecked by the Dylan song album and the hit "He Ain't Heavy, He's My Brother." Confessions of the Mind was originally issued in the U.S. in edited and reshuffled form on the Epic LP Moving Finger, with "Separated" and "I Wanna Shout" replaced by "Marigold Gloria Swansong" from Hollies Sing Hollies and the single "Gasoline Alley Bred."(allmusic)
Click here for the tracks!

At the time Nash was gone, this was the most important effort for the band. The band had a lucky hand with Terry Sylvester who not only was a fantastic singer and vocals arranger also he was a good songwriter.
I think here the band had pointed that the Hollies is one of the real great british bands.
It's a real good album and this edition provides some fine bonus tracks.
Viel Spass
                  Frank   mp3 part 1 password correctedmp3 part 2 password corrected         - Flac

The Vogues - The Vogues' Greatest Hits (1988 Rhino Records) Flac & mp3@320

A doo wop vocal group from the Pittsburgh area, the Vogues started well in the mid-'60s with "You're the One," an infectious bit of folk-rock with enough of a British Invasion feel to earn it heavy play on AM radio. "Five O'Clock World" was an even better single, a two-minute blast of timeless release, chronicling the feel of getting off work with the whole night still ahead, that one instant when everything is a possibility and the future has not yet arrived with its schedule of deadlines and pressures. Few pop songs have ever caught that moment with more élan or conviction. Unfortunately "Five O'Clock World" was to be a high-water mark for the Vogues, and although they enjoyed more chart success during the 1960s, particularly with their biggest seller, the ultraromantic "No, Not Much," they never really built a distinctive body of work. This set from Rhino combines their early singles for Co & Ce Records with the later work from Warner Brothers Records in an effective overview of the band's history. It's the best single disc of the Vogues out there, and really has everything you need, including that little miracle of a song, "Five O'Clock World."



Harmony-pop vocal group the Vogues were formed in 1960 by lead baritone Bill Burkette, baritone Don Miller, first tenor Hugh Geyer, and second tenor Chuck Blasko, who were all high school friends from Turtle Creek, PA. Originally dubbed the Val-Aires, the foursome eventually signed to the tiny Co & Ce label, reaching the number four spot in the autumn of 1965 with "You're the One"; the Vogues' most memorable hit, the classic "Five O'Clock World," cracked the Top Five before the year ended as well. Two more Top 40 entries, "Magic Town" and "The Land of Milk and Honey," followed in 1966, and when the group resurfaced in 1968 with the Top Ten smash "Turn Around, Look at Me," they had jumped to major label Reprise. The single, the Vogues' lone million-seller, anticipated the lighter, more sophisticated approach of subsequent hits like "My Special Angel," "Till," and "No, Not Much." Despite no further chart action from 1970 onward, various Vogues lineups continued touring oldies circuits for years to come.(allmusic.com)


Very strong Rhino collection of the Vogues finest works. Highly recommend.
5 Doo's of 5 possible Wop's.

Enjoy it
            Frank     Flac p1Flac p2     - mp3@320

 

Peanut Butter Conspiracy - For Children Of All Ages 1969 (2008 Rev-Ola) Flac & mp3@320



Ralph Schuckett, who played keyboard with Todd Rundgren, the Monkees, Hall & Oates, and others, adds a Vanilla Fudge sound to For Children of All Ages by Peanut Butter Conspiracy, and it is a shame more of that appealing, made-for-radio production Vanilla Fudge made famous is absent from this set. Alan Brackett's vocals sound straight out of Boston band Ultimate Spinach, and that is the downside here. The vocal pretension and bleached lyrics put a damper on this party. Still, it has its moments. Barbara Robison's voice on "Try Again" is hardly Grace Slick, but it adds a hippy vibe one expects, interrupted by strange sound effects which make the listener think the tone arm has lifted off the disc prematurely.

Robison's contribution to "It's Alright" puts this group closer to New Colony Six meets Spanky & Our Gang, and an intuitive producer would've known that that was the way to go. For pomposity it's hard to beat "The Loudness of Your Silence," which would make even Paul Simon cringe.


The classic West Coast sound that "Now" boasts is neutralized by the showy, ostentatious playing. "Out in the Cold Again" would have worked better had Barbra Robison sang lead; her sincerity is at constant odds with the vocal work of bassist Alan Brackett and guitarist John Merrill. When she's not singing, this band sounds like the guys taking over on Big Brother & the Holding Company's first album for Mainstream -- a recording only Janis Joplin could salvage. Here is an example of too much creative control working against an artist.(allmusic)



Naturally we can suppose particular songs may have better sound if Barbara Robison had done the vocals here and there but who will knows that. Some would like it some not. This is how the album sounds and the band have done a good job in my opinion. And by the way the band never sound that helpless if Barbara Robison don't perform the song like Big Brother had done without Janis Joplin. The album have weak moments but all in all an end sixties album that sounds more to the beginning seventies. ''Show you the way'' is musically definitely seventies pop and you hear it in many moments of the album. Well done.
Enjoy it
             Frank  Flac p1  & Flac p2      - mp3@320





The Honeycombs - All Systems Go 1965 (1990 Repertoire Records) Flac & mp3@320



Mostly renowned for their 1964 Top Five hit "Have I the Right," the Honeycombs in their hit-making years were pretty much a vehicle for producer Joe Meek and the songwriting-management team of Ken Howard and Alan Blaikley. The group was originally formed in Hackney during November of 1963 by guitarist Martin Murray. His day job was managing a hair salon, and when he formed the band, he brought along his assistant, Anne Margot Lantree, who was nicknamed "Honey" and used that on-stage -- she played drums, a true rarity among female musicians in those days, and, with her good looks, was a double attention-getter. Her brother John Lantree joined on bass, and Alan Ward played lead guitar. And for a lead vocalist, they had Dennis D'Ell (born Denis Dalziel). Their original name was the Sheratons (some sources list it as the Sherabons) -- something Murray remembered seeing on the side of a van -- and they got a three-times weekly gig at a pub called the Mild May Tavern, on Balls Pond Road in London's East End.
Visually, the group was highlighted by Lantree's presence at the drums, her good looks topped by a then-fashionable beehive hairdo. Rhythm guitarist and leader Murray also added to the appealing eccentricity of the band's look with his bespectacled presence -- to see him on the cover of their albums, one would think he was the group's accountant, but what made the picture even better was that he was a great player in his own right. At that time, their music consisted entirely of R&B and rock & roll standards interspersed with instrumentals.
They were lucky enough to be spotted at the Mild May Tavern by Alan Blaikley, then a BBC employee and one half of an aspiring songwriting team. Blaikley and his partner Ken Howard had written a song called "Have I the Right" that they were trying to get recorded by the right group. And he was most impressed with the Sheratons' sound, and by the size and enthusiasm of the teenage crowds that they drew. And it was soon after that producer Joe Meek entered the picture. A "mad genius" in the recording field, Meek already had a pair of major successes to his credit with "Tribute to Buddy Holly" by Mike Berry & the Outlaws, and the international hit "Telstar," by the Tornados -- he was always on the lookout for songwriters and for groups that could benefit from his expertise. The Sheratons auditioned for Meek and he liked both the group and the Blaikley/Howard song -- or, more properly, what he thought he could do with them. He found the Sheratons' sound something he could work with and shape his own way -- equally important, the bandmembers themselves were willing to play along with his sometimes wild and unorthodox recording techniques; they even added their collective footstomps to a key rhythm phrase on the finished version of "Have I the Right," recorded in multiple overdubs as the five members pounded their feet in unison on the staircase in the residential building where Meek kept his home studio. The record was released on the Pye label, but not before the quintet changed its name.
Sources differ as to whether it was Meek, Pye Records managing director Louis Benjamin, or the bandmembers who brought about the name change to the Honeycombs. But one consequence of the new name was to reinforce the attention paid to their most unusual visual asset, Honey Lantree at the drums. After an initial stall midway in the charts, the single was picked up by the renowned pirate station Radio Caroline, and "Have I the Right" reached number one in England (and also, subsequently, in Australia, South Africa, and Japan as well) and number four in America. With bee-sting guitar leads and D'Ell's wobbling vocals, which sounded like a Gene Pitney unable to hold notes, "Have I the Right" was a single that one either loved or hated, but couldn't forget. The relatively faceless group afforded Meek perhaps his fullest artistic expression in the studio; all the Honeycombs' singles and albums feature variable-speed vocals, ghostly organ, unpredictable runs, majestically thudding drums, and super-compressed sonics. A self-titled album, all but one of the songs written by Blaikley and Howard, followed in October of 1964, and in between the single and the LP's release there was a frantic ten months of international touring, television appearances, and shooting spots in jukebox movies, made more complicated when Murray broke his leg. And amid that flurry of work, the group managed a couple more minor American hits -- "Is It Because" and "I Can't Stop," the latter a killer little pop/rock number -- but their fortunes in their own country soon began to fade. "Is It Because" and their rendition of the Ray Davies-authored ballad "Something Better Beginning" barely made it into the Top 40, although the Honey Lantree-sung "That's the Way" reached number 12.
The Honeycombs weren't exactly one-hit wonders, though they never found anything to match "Have I the Right" in sheer impact on listeners and radio around the world. But as a result of that single, their debut album attracted enough interest to get released outside of England. The American version, identical except in title to its U.K. counterpart, was released in the United States by Vee-Jay Records -- which had scored big by licensing the Beatles' early singles in 1963 -- on its newly created Interphon imprint, and, in fact, was the only LP ever issued on that label. The group's sound was a strange combination of influences -- Ward's ringing, stinging lead guitar, paired with John Lantree's bass, Murray's driving rhythm guitar, and Honey Lantree's drumming (all displaying a larger-than-life sound) generating a thumping beat, combined to form a sonic texture strongly reminiscent of the Tornados, Meek's previous resident band. And placed behind D'Ell's weirdly quavering yet impassioned vocals, and all of that often ornamented with what sounded like an outsized roller-rink organ, the effect was sonically mesmerizing.
The Honeycombs' records all seemed to possess an almost manic emotional edge, even by the standards of the British Invasion. Between the outsized sound of the musicians and D'Ell's vocals, "Color Slide" and "Once You Know" seemed to embody the kind of passionate desperation that characterized many a teen crush, and each was a frantic, crisply metallic-sounding pop-symphony paean to romance as only the young seem to rush into and drown in it -- like Phil Spector in steel. The ballad "Without You It Is Night" treaded on Roy Orbison's quasi-operatic territory, while "That's the Way" -- offering Honey Lantree's singing -- gave a slightly more cheerful, upbeat outlook on romance. And all of it, with Meek's trademarked sound compression, hit the listener subliminally like a punch in the chest.

As rapidly as their success came, so the band began to fall apart after less than a year. Frustrated by their inability to repeat their debut success, Martin Murray quit the group he'd organized and led in November of 1964 and started a new band, the Lemmings, who managed to get out one single on Pye before disappearing. He then went solo with one 45 release to his credit. His replacement, Peter Pye, who'd previously sat in on the band's sessions during Murray's convalescence, joined as a permanent member in late 1964 and the group continued, cutting quite a few singles and two albums before Meek's death in early 1967 effectively finished the group as well. Their fortunes had faded long before that in England and America -- by 1965, rock & roll had moved past the sound that the Honeycombs were known for, but it was just then that their popularity soared in northern Europe, Germany, and, especially, Japan and the Far East. They toured to rousing audience response and their records were soon aimed at those markets as well. This shift coincided with Howard and Blaikley's decision to move Honey Lantree out from behind the drum kit and into center stage (Viv Prince of the Pretty Things stepped into the drummer's spot on-stage). It was a long time to their second album, All Systems Go, which didn't see the light of day until November of 1965; by that time, Blaikley was doing most of the songwriting solo and had only four compositions represented; and that same month, in Japan, an album called Honeycombs in Tokyo was issued.
All Systems Go included a cover of one Ray Davies' song, "Emptiness," which was apparently never recorded by anyone else. And Honeycombs in Tokyo featured several rarities, including the group's recordings of "I'll Go Crazy," "She's About a Mover," "Wipe Out," "Lucille," "Kansas City," "Goldfinger" and "What'd I Say," most of which seemed to represent their original stage act more accurately than the content of their two more widely circulated albums did. The group's fortunes declined considerably after 1965, however, and Howard and Blaikley -- who would later place songs with Lulu and Elvis Presley, amongst others -- by then had turned their attentions to a new discovery, Dave Dee, Dozy, Beaky, Mick & Tich, who were more in synch with the post-Merseybeat taste of the times. From 1966 onward, Honey Lantree and her brother, still comprising the rhythm section, were leading a version of the group called the "New Honeycombs," whose lineup included Rod Butler (lead guitar, vocals), Colin Boyd (vocals, guitar), and Eddie Spence (keyboards, vocals). and ended up playing the cabaret circuit, the last refuge of past-their-prime rock & roll acts. Meek's suicide in 1967 closed the door to chances of any further recording success, and they disbanded, though D'Ell released a pair of 45s for British CBS and Decca that same year. D'Ell (who passed away from cancer in 2005) later worked with bluesier, less pop-oriented bands, and also fronted several latter-day versions of the Honeycombs into the '90s, a time when Murray also resumed using the name (sometimes as "Martin Murray's Honeycombs") in cabaret settings. Murray eventually secured his rights to the name and reorganized a version of the Honeycombs in 2004, though later in the second half of the decade there was an ongoing dispute between him and several other interim members, who were using the name the "New Honeycombs.

Was Joe Meek overrated or was he an underrated genius? I think he was a music lover with some different ideas to produce records.
Have fun
              Frank     Flac p1Flac p2           mp3@320

Part Five! Various Artists - Decca Originals - The Beat Scene (1998 Decca Records) Flac & mp3


Here comes ''The Beat Scene'' from the Decca series ''Decca Originals - The Scene''. And like all volumes so far this one is wonderful, too. It's a good cross section of the Decca Beat artists at the time then. The whole series have 9 volumes as far as i know. I'm sorry i have only seven volumes,
because i wasn't real interested in ''The Blues Scene'' and ''The Rock'n'Roll Scene'' in the past. Maybe there is a kind soul who have the missing two volumes in lossless and would share them with us. If so, please send me an email and i will post it here. That would be very much appreciated.
Aaaawwwright... here comes ''The Beat Scene''!





Enjoy it,
            Frank    Flac p1Flac p2     -  mp3@320

Fourth and last part of the Rhino series: Various Artists - One Kiss Can Lead to Another: Girl Group Sounds Lost and Found Vol.4 (2005 Rhino) Flac & mp3@320


Hello Folks the weekend is near and i am hope for a relaxed one. The last week was rather stressful for me. All i need now is a slightly swingin' hammock, some cool drinks, sweet swet music and than close my eyes and dive into my fantasies. Here come some sweet sweet music by the nice Rhino series ''One Kiss Can Lead To Another''. It's the last volume of the four disc box.

If you have the first three discs this one won't disappoint you, too. 30 great tracks by fantastic female artists from the sixties. I also put the artwork in this post (except the booklet). Hope you will have fun,
cheers
          Frank    Flac p1Flac p2    -  mp3@320      Artwork all 4 discs   



All 4 Volumes