Thursday, 29 June 2017

Flac links added! Various Artists - Children Of Nuggets - Original Artyfacts From The ll Psychedelic Era 1976-1996 (2005 Rhino) Full artwork Flac & mp3@320



                          Okay Folks, i added the Flac links for the ''Children Of Nuggets''.
                          Have fun
                                        SB1

The Spongetones - Beat Music 1982 (2008 Air Mail Records) Flac



One of the most underrated power pop bands of the '80s, the Spongetones released several albums of effortlessly catchy guitar pop that captured the feel of '60s British Invasion pop with remarkable accuracy and innocent charm. While they never received much critical or commercial attention, their music has aged much better than most power pop of the era (late '70s and early '80s), and among specialists they're highly revered not only for their studio prowess but also for their spirited live shows.

They are one of the few bands that gracefully carried on past the "skinny tie" fad into the '90s and beyond -- not as strict revivalists but as something unique. The band, comprised of Steve Stoeckel (vocals, bass), Pat Walters (vocals, guitar), Jamie Hoover (vocals, guitar), and Rob Thorne (drums), began as a covers band in Charlotte, NC in the early '80s. They signed to the Ripete label in 1982 and released their first full-length, Beat Music, the same year, following with the Torn Apart EP in 1984 -- the latter featuring esteemed guests Don Dixon, Mitch Easter, and R.E.M. on handclaps. Stoeckel temporarily left the band, returning in 1991.

By 1987, it seemed the Spongetones wanted to distance themselves from their revivalist reputation, leaving Ripete in favor of the independent Triapore and recording probably their most experimental and most un-Spongetones album, Where-Ever-Land. The album, produced by Don Dixon, flirted with garage rock, psychedelia, and the more fashionable jangle pop -- all in all it marked a more muscular and harder-edged approach. The experiment failed for the most part and was short-lived. The band signed to Black Vinyl Records (owned by power pop icons Shoes) and found a true home in 1991. There they created, in the mold of their first two releases, possibly their most focused Mersey pastiche, Oh Yeah! Textural Drone Thing followed in 1995. In addition to regular band activities, Jamie Hoover released a solo album, Coupons Questions and Comments, for Triapore in 1990, and also formed the Van Delecki's with Bryan Shumate, releasing Letters from the Desk of Count S. Van Delecki on Permanent Press in 1996. After a five-year band silence, the Spongetones finally returned in 2000 with the album Odd Fellows. Number 9 followed in 2005.(allmusic)



I posted the album some time ago imp3. Here is now the album in Flac.
Enjoy
         SB1    Flac part 1   &   Flac part 2

Various Artists - Children Of Nuggets - Original Artyfacts From The ll Psychedelic Era 1976-1996 (2005 Rhino) Full artwork Flac & mp3@320


As its title makes clear, Children of Nuggets is the first Nuggets release to stretch beyond the '60s heyday of garage rock and psychedelic music. Instead of once again returning to that seemingly bottomless well -- which has not only brought the original 1972 double LP, Nuggets, but such imitators as the Pebbles and Rubble series, plus Rhino's expanded four-disc 1998 box set and its 2001 sequel, which focused on singles from the U.K. and around the world -- the four-disc box Children of Nuggets is devoted to bands from the '70s, '80s, and '90s (but primarily the '80s) that were inspired by the original Nuggets LP, along with other trashy, intoxicating rock and guitar pop from the '60s. They weren't just inspired by this music -- they patterned themselves after it, from the sound to the look of classic garage psych.


This might seem like a dodgy proposition, either as music or for the subject of an exhaustive retrospective like this, but the garage and psych revival of the '80s -- which also encompassed such diverse but related movements as power pop, British C-86 indie pop, the paisley underground, punk-blues, cowpunk, and surf rock -- was a surprisingly fertile scene, as this absolutely terrific box set proves. Far from sounding monotonous, Children of Nuggets has a tremendous variety of sounds, styles, and attitudes. As producer Alec Palao states in his introductory liner notes, the idea was to adhere to Lenny Kaye's idea for the original Nuggets LP, which was to "compile together the good tracks from all those albums that only have one good track," not caring whether the featured songs adhered to a strict definition of what was or was not garage or psych.


Of course, Palao and his co-producer, Gary Stewart, and their assistants on this project do have a template to follow and not just because there are bands that were tagged at the time as '60s revivalists. They have Kaye's work to guide them; plus they have the work of Greg Shaw, the journalist and record label head who championed this music at first in his fanzine, Who Put the Bomp, and then on his Bomp and Voxx labels. Stewart salutes Shaw at the conclusion of the booklet for Children of Nuggets, and in a way, this set does function as a tribute to the music Shaw helped shepherd during the '80s, since it celebrates all kinds of '60s-inspired guitar pop made in the post-punk years -- music that arguably wouldn't have existed without Shaw's input.



Yet, as the best music should, the music on Children of Nuggets transcends such behind-the-scenes particulars and exists simply as flat-out great music. Sure, there are some bands that faithfully re-create the sounds of the '60s, but most of the groups are inspired by the '60s, picking up their favorite elements -- whether it's dirty, raunchy guitars, jangling 12-strings, sweet harmonies, trippy swirling guitars, or catchy choruses -- and assembling them in a manner that sounds fresh, new, and invigorating.

Yes, some of the production sounds a little tied to its time, but no more than the singles from the first two Nuggets boxes. What matters is that this box crackles with energy and is filled with great songs, whether they're hard rock & roll, tongue-in-cheek neo-psychedelia, Beatles and Byrds homages, dreamy, mysterious indie pop, or straight-up power pop. There are a handful of big names here, but only the La's are represented with anything close to their best-known song -- not only that, but "There She Goes" is the only thing here that could be called well known.
The other big names are represented by some of their earliest and, in many cases, best songs: there's "(I Thought) You Wanted to Know" and "If and When" by Chris Stamey & the dB's, the Smithereens have "Strangers When We Meet" and "Beauty and Sadness," Primal Scream are captured in their pre-Screamadelica incarnation with "Gentle Tuesday," the Posies show a strong British Invasion bent on "I May Hate You Sometimes," Teenage Fanclub's "Metal Baby" is pulled from their cult classic, Bandwagonesque, while the Bangles show up with their earliest songs, "The Real World" and "Getting out of Hand," which was released under the name the Bangs.

A few songs here show up regularly on '80s comps -- the Hoodoo Gurus' "I Want You Back," the Lyres' "Help You Ann," the Spongetones' "She Goes out with Everybody," the Church's "The Unguarded Moment" -- but most of this is devoted to bands that had one or two songs that were staples on college radio and are now forgotten to all but the die-hard underground garage rock fans. Now that they're part of this compulsively listenable set, they help define the canon of underground rock and pop of the post-punk years: surrounded by other bands of a similar mind and vision, these songs sound like forgotten classics. And that's why Children of Nuggets is such a resounding success -- it not only shines a light on the bands that carried the torch for this kind of music in the '80s, this box, like the original double LP, helps rescue worthy bands from the scrap heap of history and, in the process, becomes an essential piece of rock history itself.


Fantastic box full of great bands and songs.
Enjoy
         SB1
mp3 p1
mp3 p2
mp3 p3
mp3 p4
mp3 p5
mp3 p6

                    Flac part 1  &   Flac part 2  & Flac part 3

Alternative Flac download links:   Alt link 1  &  Alt link 2  &  Alt link 3 & Alt link 4

In case the bigger Flac links make problems use the alternative links please.

Byrds influenced jangle pop country americana sound: Kontiki Sound - The Greatest Show On Earth



The Byrds’ wingspan of influence stretched across three full decades and flew through the sounds made by some of the most important bands in the history of rock, including Big Star, the Jayhawks, R.E.M., Matthew Sweet, Hüsker Dü, Echo and the Bunnymen and countless others. For a time it was de rigueur – if not downright cliché – to see the Byrds name-checked in almost any band’s bio. They were part of the holy trinity of influential B-named bands: Beatles, Beach Boys, and Byrds.

But to everything there is a season, and an apparent decline in the band’s influence on popular music seemed to coincide with the deaths of two of its original members, Gene Clark (in 1991) and Michael Clarke (1993). Notwithstanding this decline, the Byrds have always flown high and commanded serious respect among certain pockets of fans and bands alike – folks in Northern England especially, for some reason. Since 1990, we’ve seen the likes of the La’s, the Stone Roses, the Coral and Shack flying the jangle-pop flag. Since 2007, Kontiki Suite, a talented sextet from England’s Lake District, has continued in this tradition, evidence of which can be readily found on their sophomore release, "The Greatest Show On Earth".

As with their debut release (2013’s "On Sunset Lake"), Kontiki Suite proudly flies its Byrds banner via some obvious stylistic hat-tips to 1968’s "The Notorious Byrd Brothers". This time out, the band boasts a batch of impressive new Rickenbacker-based janglers (mainly from the pen of guitarist Ben Singh) and a tougher sound from the rest of the band (Jonny Singh, lap steel guitar; Marcus Dodds, guitar; Mario Renucci, bass; Chris Brown and Craig Bright on drums and percussion respectively). The result is a cohesive, 50-minute flight high above exquisitely atmospheric psych/country-rock/chamber pop soundscapes.

The opening moments of guitar/rim shots in the rousing, Golden Smog-like opener “Bring Our Empire Down” recall David Crosby’s serene “Dolphin’s Smile,” after which some Neil Young-like crunch is thrown in as the song gathers steam. “My Own Little World” features the kind of textured ‘n’ trippy triple-guitar interplay (including lap steel and 12-string Rickenbacker) that characterizes the overall tone of the album – tone that is often upended by deliciously abrupt shifts in tempo: the lads in Kontiki Suite are more than happy to jolt you out of the hypnotized state in which they deftly placed you. Occasional, judiciously chosen blasts of harmonica tug on the same heartstrings as in Big Star’s “Life is White.”

“Free From Sound” and “Here for You Now” are tremendous pop songs, the kind of tracks that, back in the day, would’ve jumped out of an AM radio and grabbed you by the throat. The former features a keening pedal steel hook that’s hell-bent on becoming your next earworm. The latter blends a “Ticket To Ride” beat with power-poppy rhythm reminiscent of Gene Clark’s evergreen “I’ll Feel A Whole Lot Better.”

Elsewhere, the band flexes its muscle on two lengthy guitar workouts, “Burned” (with its nod to Younger Than Yesterday’s “Renaissance Fair”) and the slow-burning “Under the Rug,” while “All I Can Say” shows the effortlessness with which Singh’s vocals can reconcile an ostensibly bouncy rhythm with a melancholic melody. In places he sounds uncannily like Gary Louris. Fans of "Sound of Lies"-era Jayhawks would feel right at home with this release.

Ultimately, "The Greatest Show On Earth" reveals increased depth, both in Ben Singh’s writing and the band’s collective vision. Kontiki Suite has created much more than a simple paean to the legacy of the Byrds; they have taken vital steps in forging a legacy of their own. (The Active Listener)

                         
Great album by the band. If you like what you hear you can buy the album here

Enjoy it
            SB1     Flac p1Flac p2   -  mp3@320

Sparks & Franz Ferdinand together! FFS - FFS (Deluxe Edition, Domino 2015) Flac & mp3


A long time in the making as well as a complete surprise on its arrival, the self-titled debut from FFS -- the collaboration between Franz Ferdinand and Sparks -- is the work of two great, and distinctive, acts at the top of their game. In fact, FFS works so well because these groups aren't carbon copies of each other. Over the years, Sparks brainy shape-shifting has touched on glam and new wave, two of the styles that were most influential on Franz Ferdinand's suave dance-rock, but that's just the tip of their musical iceberg. What the bands do share -- jaunty wit and a flair for indelible choruses -- gives FFS plenty of fertile common ground. These songs are inspired, even-handed combinations of all of their strengths, whether Ron and Russell Mael lend a dash of weirdness to Franz Ferdinand's spiky hooks, as on "Call Girl," or the Glaswegian outfit adds some heft to Sparks' flights of fancy on the satirical "Police Encounters" or the hyperactive "So Desu Ne." FFS' strongest moments bring passion to its abundant cleverness. Somewhat perversely and sometimes poignantly, the supergroup is at its best when singing about different kinds of solitude. "Piss Off," the first song Sparks sent Franz Ferdinand back in 2004 after the release of their debut album, is a cheerfully antisocial anthem for those who'd rather be alone. "Collaborations Don't Work"'s self-referential duet turns into a duel, with Alex Kapranos and Russell Mael trading barbs like "I don't need your navel gazing/I don't like your way of phrasing." However, the best showcase for their vocals is the brilliant opening track "Johnny Delusional." At once grandiose and self-deprecating, it's a vivid portrait of unrequited love that combines Kapranos' smooth baritone and Mael's anxious counter tenor like a juxtaposition of fantasy and reality. Similarly, FFS boasts so much personality that character sketches like "Dictator's Son," which tells the story of a despot's offspring who is more into creature comforts than tyranny, also rank among the standouts. A near-perfect blend of Sparks and Franz Ferdinand's skills, FFS is a collaboration that works very well and offers just about everything a fan of either band could want.(allmusic)


As i heard about the collaboration of Sparks and Franz Ferdinand i couldn't believe that. But it was true and that's good. To me as a long time fan of Sparks the album remembers me partly to their finest works of the seventies and eighties. I am not really familiar with Franz Ferdinand. I knew the first album but that was it. To me the album sounds sometimes like an Sparks album with the production done by the FF band. I know that this is not the case. It would be interesting for me to know what a Franz Ferdinand fan, who's not familiar with the Sparks, think about the album. For me it is a very nice surprise how strong the album is. If you haven't heard it give it a try.

Cheers
           SB1   Flac p1Flac p2Flac 3          mp3@320

Glam Pop!!! Foxy Shazam - Foxy Shazam (2010)


With a love for the musical excess of Meat Loaf and Queen, Foxy Shazam storm flamboyantly into the night with their third album, the eponymously titled Foxy Shazam. While the band is incredibly talented (especially the piano playing of Sky White), the show is really all about mustachioed frontman Eric Nally. Over the course of the album, Nally’s performance is an homage to the theatrical bombast of charismatic greats like Freddie Mercury and Russell Mael (with Nally bearing an eerie resemblance to the former). Backing up his big voice is the rest of the band, consisting of the standard rock setup plus piano and horns. The music combines the relentless drive and positivity of Andrew W.K. with the dramatic flair of Jim Steinman, with sweeping guitar riffs pushing the songs forward while the piano brings a pop sensibility to the whole thing. Given how big the presence of the music is, it’s really a testament to Nally’s over the top persona that he’s able to stand out among everything that’s happening in the background while somehow never feeling forced. Nally sings like a pop hero on songs like “Killin’ It” and “Wanna-Be Angel,” as if he’s confident he’s a superstar and whether or not anyone else knows it is inconsequential. With such a classic combination of pop and rock, this is an album that’s just dripping with crossover appeal, with big hooks for the radio and enough rock and emotion for the post-emo crowd to sink its teeth into.(allmusic.com)



At first: here are great musicians at work. The whole album is a musically hommage to Rock'n'Roll, to rock heros, to R'n'R lifestyle and always with a wink. You think automatically to the guys with long curly hair, too tight glittering pants, guitar pose, screaming girls and aftershow parties where no one gets out alive, except he or she is a real rock'n'roller.
The band plays a kind of glam rock/pop (what else..) and they do it really good. The voice of Nally often recall to Freddie Mercury. This album not only makes a lot of fun, here are also very good songs on the album.
Enjoy it!
             SB1  Flac p1  & Flac p2          - mp3@320