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.


Tuesday, 4 July 2017

Boston Power Pop: Bleu - Four (2010) Flac & mp3@320

Being a power pop artist doesn’t have much commercial currency these days, but that hasn’t stopped Bleu from releasing a string of solid, hook-laden albums. Four is his first collection of new material in years -- A Watched Pot, although released in 2009, was recorded half-a-decade earlier -- and it takes its cues from 1970s AM radio pop, American trad rock, and the same singer/songwriter tradition championed by contemporary popsters like Butch Walker. With help from a rotating cast of musicians (including the Section Quartet and former L.E.O. bandmate Roger Joseph Manning, Jr.), Bleu cycles through pop tunes like he’s competing in the Tour de France, unveiling hook after hook with nary a gap in energy. Even the ballads, from the falsetto-laden "How Blue" to the Van Morrison-styled “In Love with My Lover," have enough sugared melody to maintain the pace. The album is irreverent, too, featuring one of Bleu's best vocal performances during “When the Shit Hits the Fan” (sample lyric: “You know, there’s a putrid wind about to blow”) and making room for everything from funk horns to girl group gospel harmonies on the zippy “Dead in the Mornin’.” In some alternate universe, Bleu would be topping the charts alongside Rooney, Butch Walker, and other torchbearers of classic pop/rock. In this world, though, he’s relegated to power pop cult royalty, and Four extends his reign a little bit longer.(allmusic)

Bleu to me seems a little underrated by the audition but maybe that is just my personal impression.
Give it a try
                  Frank      Flac p1  & Flac p2     - mp3@320

Paul Revere & the Raiders - The Legend of Paul Revere (Compilation Columbia 1990) Flac & mp3@320

This double-CD set presents a real conundrum, on a lot of levels. For starters, on its face, 55 songs may well seem like overkill to the casual fan who only knows or remembers (or thinks they only remember) five or six big hits by Paul Revere & the Raiders. And there are more modest single-CD collections to be found on this band that seem less daunting. But as it turns out -- for those who give this set a try -- Paul Revere & the Raiders did have just enough hits, when coupled with a sufficient number of respected album tracks and B-sides, to sustain a double-CD set. And that goes double for anyone who likes plain old rock & roll -- even when this band got ambitious and a little bit progressive and serious, they never lost sight of the value of a great beat and carefully placed vocal and instrumental hooks, and they were always fun.

The truth is, whether it was the classic lineup playing frat rock or an early-'70s version of the band delving into more complex songs, these guys delivered high-quality music across a decade, from 1964 through 1974, and it's all represented here. And amazingly, this was the first Raiders compilation to include "Indian Reservation," the group's only number one hit, or to place it alongside their earlier round of hits, so that one can hear their progression from Pacific Northwest dance rock to smoothly professional AM pop/rock, absorbing elements of the British Invasion, garage punk, and psychedelia along the way.

And the funny thing about this collection is that it came about through a series of accidents and misconceptions. Back when Columbia Records' U.S. division first got into the compact disc marketplace in the late '80s, it had reissued the 1967-vintage 11-song Raiders' Greatest Hits album as a budget CD (one of the first such low-priced releases in the digital format). The latter had sold well but also elicited a large number of letters, and vociferous articles in the music magazines of the time, complaining about both the sound quality on the CD and the fact that there were only those 11 Raiders' songs out on CD, which didn't really reflect the group's output or even their full range of hits.

During the period that followed, Columbia became Sony Music and the "Legacy" imprint, devised to exploit the company's vintage music holdings, was established. The Legend of Paul Revere was among their earliest releases on that line -- and, ironically enough, it never did sell the way it was anticipated; as it turned out, the hundreds of letters (so it was reported by someone close to the project) complaining about the budget Greatest Hits CD weren't the tip of an iceberg, as was assumed, but the whole iceberg; additionally, there were further complaints about the double-CD set's use of remixes on various single tracks that had only ever appeared in mono, and other instances of tampering with the group's classic recordings.

In the end, it seemed as though The Legend of Paul Revere was a failure -- except that it has kept selling across almost 20 years (and is still in print as of 2009), and remains the most comprehensive collection ever done on the band. And it did serve as something of a dry run for subsequent Legacy ventures involving the Byrds and other acts from Columbia's past, which were done differently and more to the satisfaction of fans, precisely because of what the company learned from this release. And even if you forget the back-story, this is still 150 minutes of big fun.(allmusic)

It's all said in the review. This is really a fine collection.
          Frank    Flac p1 & Flac p2 & Flac p3 & Flac p4 & Flac p5        - mp3@320 p1 - mp3@320 p2

Music by Ex Member Of 10cc! Eric Stewart - Do Not Bend (2003 Strawberry Soundtracks) Flac & mp3@320

During the first half of the 1970s, Eric Stewart was one of the stars of England's pop/rock scene, along with his bandmates from 10cc, Graham Gouldman, Kevin Godley, and Lol Creme. Born Eric Michael Stewart in early 1945, in Droylsden, near Manchester, he started out in music as a guitarist in the early '60s, initially as a member of Jerry Lee & the Staggerlees, who later became the Emperors of Rhythm. Stewart was busy on the music scene in Manchester for the next couple of years, when lightning suddenly struck in a most unexpected way. He was at the Oasis club in Manchester in early 1963 on a night when local singer Wayne Fontana had an audition scheduled with a record company representative, and his drummer and guitarist failed to appear. Stewart and drummer Ric Rothwell were asked to substitute, and Fontana passed the audition and was offered a recording contract -- provided that he worked with the musicians who'd played with him at that audition.

The group was to have been called the Jets, but that name was taken and all concerned -- taking their inspiration from the title of a British movie of the period -- chose the name the Mindbenders instead. Wayne Fontana & the Mindbenders struggled for a time to make an impression, but by their fourth single, "Stop, Look and Listen," they had started selling records, and with their fifth, "Um Um Um Um Um Um," they were in the Top Five. Their sixth single, "The Game of Love," reached number two in England and number one in America in the spring of 1965.
For Stewart, the band's success became a decidedly mixed blessing. He found the frenzied young fans who mobbed him and his bandmates on the U.S. tour to be harrowing, even terrifying; additionally, he and the other members had seen some success as songwriters on the B-sides of two of their singles, and he had become much more interested in pursuing that side of music than touring the world with a guitar or two in tow. He also resented the group's shift from its original R&B sound to pop ballads, which was the direction that Fontana and the record label wanted to go in. The Mindbenders parted company with Fontana in late 1965 and continued to work on their own, Stewart taking over as lead singer. But despite some great albums, plus an appearance in the hit movie To Sir with Love, they weren't able to sustain their career momentum, and by 1968 they were forced to accept offers to play the cabaret circuit, the last refuge of bands on the decline. He finally announced his intention to leave, which ended the group.

It was during the summer of 1968 that Stewart received an offer from producer/manager Peter Tattersall to invest in Inner City Studios, a small recording operation in Stockport, where Stewart had already been recording demos. He duly joined the company as a partner, and they soon took over larger quarters, which Stewart renamed Strawberry Studios, drawn from the Beatles song "Strawberry Fields Forever." A new partner joined later in the year when Graham Gouldman, a successful songwriter (and an ex-member of the Mockingbirds, as well as the last bassist for the Mindbenders), came aboard. It was soon after this that Stewart was contacted by producer Giorgio Gomelsky about playing lead guitar for a duo he was working with, consisting of Lol Creme and Kevin Godley. Stewart and Gouldman began offering the pair regular session work at Strawberry, and soon there were four musician/partners at work there.
In December of 1969, in order to generate some income and develop the studio's facilities, they signed a deal with American producers Jerry Kasenetz and Jeff Katz, whose Super K Productions specialized in pop-oriented "bubblegum" music. Stewart, Godley, Creme, and Gouldman worked for three months, writing and releasing songs as the Ohio Express, Crazy Elephant, and a brace of other names owned by Super K. Stewart, Godley, and Creme also subsequently generated a two-million-selling single ("Neanderthal Man") of their own under the alias Hotlegs, released by the Pye label. They also ended up touring with the Moody Blues which, unfortunately, led nowhere in terms of future work.

It was a series of sessions for Neil Sedaka that convinced the four -- Gouldman having rejoined after a stay in America working for Super K on his own -- that they had a special sound together as a band, and led to the formation of 10cc. They immediately took the rock press by storm and, over a period of four years, from 1972 through 1976, were among the most widely written-about pop/rock outfits in England, releasing a brace of hit singles and albums that sold around the world. The quartet didn't last past that point, Godley and Creme exiting in 1976, though Stewart and Gouldman became a very effective and successful songwriting team. Starting with the breakup of the group, he also established himself as a producer, working with Justin Hayward and John Lodge of the Moody Blues (most notably their single "Blue Guitar"), Neil Sedaka, and Agnetha Faltskog in her post-ABBA period. A car crash in early 1979 nearly derailed his fledgling solo career, though he did recover and has gone on, in between producing other artists' work, to release three solo albums in the 30 years since 10cc's demise. A fourth has reportedly been promised for sometime after 2008.(allmusic)

All four guys of 10cc are gifted musicians. After the end of 10cc Godley & Creme had huge success and also Graham Gouldman with his projects. Around Eric Stewart it was fairly quiet. But to me his work after 10cc sounds the most in the direction of the old band. Give yourself a listen
           Frank   Flac p1  & Flac p2Flac p3  -     mp3 p1  -  mp3 p2