Tuesday, 27 June 2017

Simon Dupree And The Big Sound - Part Of My Past - The Simon Dupree And The Big Sound Anthology 2 Disc ( EMI. 2005 ) Flac & mp3@320



There's a rule of human nature that applies here: just as when a letter arrives marked "important" or "urgent" and chances are good that it's anything but, any group using the adjective "big" in its name is probably not going anywhere. Such was the case of Simon Dupree & the Big Sound, who neither had a "Simon Dupree" nor a very big following for much of their existence. Not that they weren't good. But apart from Big Country and maybe the Big Bopper, not too many acts using the name "Big" have gone very far with the public.
"Simon Dupree" was vocalist Derek Shulman, one of a trio of brothers (Ray and Phil being the other two) from Portsmouth, England, who started out in music as R&B fanatics and first formed a group in 1964. Their musical interests can be glimpsed by the choices that the Shulman brothers made between 1964 and 1965 in naming their bands, which included the Howling Wolves and the Road Runners. Those names aside, their repertoire was focused a lot more on the songs of Wilson Pickett, Don Covay, and Otis Redding than on the Wolf or Bo Diddley. "Simon Dupree & the Big Sound" came about in the course of their search for a flashy name.



 
The name change worked locally, because the group prospered on the club scene, its earnings reaching £300 a night, split after expenses between Derek (vocals, bass, saxophone), Ray (bass, guitar, violin), and Phil (sax, trumpet) and their bandmates Tony Randell (drums) and Pete O'Flaherty (bass). Additionally, they were signed to EMI's Parlophone label, under producer Dave Paramor, and cut a pair of powerful R&B-style songs in 1966, "I See the Light" and "It Is Finished." Success on the club scene didn't necessarily result in serious record sales, however, and the group's debut, as well as its follow-up records, "Reservations" b/w "You Need a Man" and "Day Time, Night Time" b/w "I've Seen It All Before," didn't make much of an impression. Their debut album, Without Reservations, containing the first fragmentary examples of the group's original songwriting, was released in August of 1967, just in time to be overlooked as cheerfully irrelevant in the wake of Sgt. Pepper's, Magical Mystery Tour, et al.
 

Then, in October of 1967, the group's management and record label decided to try moving Simon Dupree & the Big Sound in the direction of psychedelia. It's entirely possible that they were looking at the huge sales and international recognition suddenly accruing to the Moody Blues, an R&B-turned-psychedelic outfit who had gone from near-oblivion to scoring a pair of hit albums and singles with their new sound.


The result was "Kites," a song recorded in the early fall of 1967 at Abbey Road. The bandmembers were unhappy with the new song and the sound they were being asked to create, but they tried to make the best of it -- they experimented with a Mellotron for the first time, and used it pretty much as impressively as the Moody Blues did. The melody was Asian-sounding, and the presence of actress Jackie Chan reciting some poetry over the music didn't detract from the single's "Eastern" sound. "Kites" wasn't R&B, but it was the right song at the right time, and it made the British Top Ten, a major commercial breakthrough for the group. Unfortunately, the band was never able to follow it up, and after several abortive attempts at another psychedelic-style single -- including the first songwriting efforts by the Shulman brothers -- Simon Dupree & the Big Sound called it quits in 1969.

By then, however, their thinking about music had changed. In 1970, the Shulmans were back at the core of a new group, having made the leap past psychedelia and far from R&B in the progressive rock group Gentle Giant.(allmusic)


Wonderful collection of sixties pop but the band was completely underrated.
Hope you have fun
                               SB1               mp3 p1 &  mp3 p2  & mp3 p3           Flac

Luke Haines - Off My Rocker At The Art School Bop 2006 Flac & mp3@320



One of the sharpest and most prolific British songwriters of his generation, Luke Haines -- who began modestly enough in a string of obscure '80s bands, including the Servants -- helmed the glam noir of the Auteurs, the broken funk of Baader Meinhof, and the (mostly) downbeat pop of Black Box Recorder, in addition to releasing material under his own name. During the last seven years of the '90s, Haines issued six albums that ranged from fine to spectacular, from the Mercury Prize-nominated New Wave (1993) to the sleek, bleak How I Learned to Love the Bootboys (1999). After the release of Black Box Recorder's second album, 2000's The Facts of Life (the title track hit the upper reaches of the U.K. singles chart), Haines issued his first true recordings.

Christie Malry's Own Double Entry and The Oliver Twist Manifesto were released within a couple months of each other in mid-2001 -- the former a soundtrack to the darkly comic film of the same name, and the latter a surprisingly effective fusion of Haines' typically snide and downcast melodies over springy hip-hop-oriented production. (The week the disc was released, Haines called for a weeklong National Pop Strike, a period in which any musician could turn in his or her wares and receive amnesty for any and all "crimes" committed against pop.) Two years later, Haines sidestepped a typical best-of release with Das Capital, a set of Auteurs material recorded with orchestral backing. Luke Haines Is Dead (2005), however, summarized Haines' career to that point across a wide span of three CDs containing highlights, B-sides, and radio sessions.



Haines' second proper solo album, Off My Rocker at the Art School Bop, came in 2006. A year later, he published Bad Vibes: Britpop and My Part in Its Downfall, a book that rankled former colleagues (he referred to Auteurs member James Banbury only as "the cellist") and longtime enemies alike. In 2012, Haines released the typically idiosyncratic (and self-explanatory) Nine and a Half Psychedelic Meditations on British Wresting of the 1970s and Early '80s and the career overview Outsider/In: The Collection, followed in 2013 by the conceptual adult fairy tale Rock and Roll Animals and, a year later, by New York in the 70's, another ambitious concept album. In the summer of 2014, he collaborated on a theatrical piece with artist Scott King called Adventures in Dementia: A Micro Opera, whose story centered around a Mark E. Smith (lead singer of the Fall) impersonator's caravan holiday. The brief six-song soundtrack was released in January 2015, with the electronics-driven new conceptual full-length British Nuclear Bunkers arriving that October. His sixth album in seven years, 2016's Smash the System, saw Haines ditching the conceptual architecture of past outings in favor of a more singles-oriented, though no less idiosyncratic, set of new material.(allmusic)


This guy always do interesting and astonishing things and that's what i like in his work.
Enjoy the album, very fine tracks here
                       
                             SB1     Flac p1Flac p2        mp3@320

DELETED-DELETED-DELETED-DELETED-DELETED-DELETED-DELETED-DELETED-DELETED-DELETED-DELETED-DELETED-

Hello Folks, a filehoster where i am a customer deleted this week two files from my account. I got a note ''Due to a complaint the files are deleted''. Until today if there was a problem with any posts the artists or the rightholder sended me a mail and i deleted immediately the posts. Everything okay. This is the first time somebody don't talk to me directly but give a complaint to the hoster anonym. I know things like this happen everyday but i ask myself amongst other things: Who was the person or company and, more interesting: Was the reason really a violation of copyrights in any kind or maybe there are other reasons?
I will see how this go on...

Kind regards to all who like what i am doing here...
                                                                                   Frank/SB1

Vanity Fare - The Sun The Wind And Other Things 1968-70 (1991 Repertoire) Flac & mp3@320


Best remembered in the U.S. for the classic "Hitchin' a Ride," harmony pop ensemble Vanity Fare formed in Kent, England in 1968. Comprising vocalist Trevor Brice, guitarist Tony Goulden, bassist Tony Jarrett, and drummer Dick Allix, the group originally dubbed themselves the Avengers; soon local entrepreneur Roger Easterby signed on as manager, orchestrating a contract with the Page One label and instructing the group to cover the Sunrays' "I Live for the Sun" for their debut single. With their sophisticated harmonies and clean-cut image, the Avengers needed a suitably genteel name, remixing the title of William Makepeace Thackeray's most famous novel to create Vanity Fare; "I Live for the Sun" cracked the U.K. Top 20 in the summer of 1968, although it would take the group a year to return to the charts, with "Early in the Morning" reaching the Top Ten on both sides of the Atlantic. Around this time, Vanity Fare jettisoned its tailored suits for neckerchiefs and fashions direct from Carnaby Street; more importantly, they also added keyboardist Barry Landeman,


previously a member of Kippington Lodge, alongside Nick Lowe and Brinsley Schwartz; Landeman would prove the dominant instrumental element in the group's biggest hit, 1969's infectious "Hitchin' a Ride," which sold over a million copies in the U.S. alone. A North American tour was met with little interest, however, and soon after Vanity Fare returned to Britain. Goulden quit, quickly followed by Allix; Candy Choir guitarist Eddie Wheeler and Canterbury Tales' drummer Mark Ellen signed on as their replacements. The new lineup scored a minor hit with 1972's ballad "Better by Far," and concentrated on touring the cabaret circuit, performing as many as 14 dates a week; the grind ultimately forced Jarrett to resign, with former Tranquility bassist Bernard Hagley signing on for "I'm in Love With the World," Vanity Fare's first single for new label Phillips.


In the wake of 1974's "Fast Running Out of World" their recording career screeched to a halt, but the group continued touring, including several passes through Scandinavia. During one trek to Denmark, Brice fell in love and quit the group, with singer Phil Kitto taking his place. Kitto also exited a few years later, with vocalist Kevin Thompson installed as frontman by the time Vanity Fare
recorded 1986's "Dreamer," its first single in over a decade. With 1993's "Rain," their recording career again went into mothballs, but the band continues touring, with singer Steve Oakman replacing Thompson in early 2002. (allmusic)


What i like here on this guys they had very different and good songs in my opinion. Carolina's Comin' Home in my opinion was a top pop song like many others here on the compilation.
Have fun
               SB1      Flac p1 & Flac p2 & Flac p3     -  mp3@320

Great Pop/Sunshine Pop by The Peppermint Rainbow - Will You Be Staying After Sunday 1969 (Rev-Ola 2008) mp3@320



Baltimore's the Peppermint Rainbow got their big break when Cass Elliot of the Mamas & the Papas caught their act at a club in Georgetown, VA, and was impressed enough to help them land a record contract and a management deal. The happy irony is that on their first and only album, Will You Be Staying After Sunday, the Peppermint Rainbow sound much less like the Mamas & the Papas than their rivals on the charts Spanky & Our Gang, right down to their fondness for songs about the first day of the week, and singer Bonnie Lamdin was a dead ringer for Elaine "Spanky" McFarlane. Paul Leka, the producer responsible for the Lemon Pipers' "Green Tambourine," was the man behind the controls for the Peppermint Rainbow's recordings, and his talent for top-shelf sunshine pop with just a hint of psychedelia is very much in evidence here; the group's two hit singles, "Will You Be Staying After Sunday" and "Don't Wake Me Up in the Morning, Michael," boast splendid harmonies and rich, dynamic arrangements that buoy the arrangements with strings, horns, and well-punctuated drumming. Those two songs are the best things on the album, but the rest of the tracks are more than just filler (except for a curious cover of "Green Tambourine" in which Leka appears to have recycled the backing track from the Lemon Pipers' original version). "Pink Lemonade" was the group's first single and should have enjoyed the same success as its siblings, the French-accented "Jamais" has a string arrangement the Left Banke would have been proud of, "Rosemary" features a curious "Asian"-flavored arrangement that melds well with the harmonies, and "Sierra (Chasin' My Dream)" is a welcome detour into folk-rock. Will You Be Staying After Sunday is a pleasant surprise, a solid and thoroughly enjoyable album from an all but forgotten band, and it suggests the Peppermint Rainbow might have had a few more hits in them if they'd lasted long enough to cut a second LP.(allmusic.com)


The Peppermint Rainbow were a project of real great talent and one of the finest bands at their time in this kind of music. What happened? There were a lot of lesser talented bands with big pop careers in that time. Whatever, enjoy this very fine album (only mp3, sorry) of sixties sunshine pop.

Cheers
           SB1         mp3@320