Wednesday, 5 July 2017

The Heavy Metal Kids - By Appointment...Best of the Old Bollocks (2004 KFC Studio)



One of the most spectacular, if sadly neglected, British bands of the mid-'70s, the Heavy Metal Kids straddled the eras of glam and punk with such effortless ease that neither genre has ever seemed entirely comfortable with them. Not for the Kids the succession of compilations and tributes with which the CD age has gifted so many of their peers; not for the Kids the awed accolades of a generation of future stars, raised on their high energy rock and dazzling visual flash. But for anybody who is in on the secret, the three albums which the Heavy Metal Kids unleashed between 1974-1977 represent the missing link in the story of Brit-pop, the bridge which links the Small Faces to Oasis, the Action to the Jam, and any other two points you care to mention.


As an accomplished child actor, vocalist Gary Holton first came to attention as a protégé of the Sadlers Well Opera Company during the early '60s and also played the Artful Dodger in an acclaimed production of Charles Dickens' Oliver. From there, he moved on to regular performances with the Old Vic Theatre Company and the Royal Shakespeare Company, before joining the touring company of Hair in 1972, aged 17. It was during this period that he began making the contacts which would lead him to form the Heavy Metal Kids two years later, with Mickey Waller (guitar, and no relation to the Jeff Beck/Rod Stewart drummer of the same name), Argentinean-born Danny Peyronel (keyboards), Ronnie Thomas (bass, vocals), and Keith Boyce (drums). The group's name, incidentally, was taken from William Burroughs -- naively or otherwise, the band members never dreamed people might draw other, musical, conclusions from it.



Fronted by Holton's raucous Cockney accent and visually steeped in the paraphernalia of his theatrical upbringing, the Heavy Metal Kids made an immediate impact. Singer/songwriter TV Smith, whose punk-era band the Adverts would play several gigs with the Kids, recalled, "they cared about their look, wearing makeup on stage, dressing up special for gigs, which was the kind of stuff we were looking for before punk.


Silly lyrics, funny, energetic on-stage." Guitarist Brian James (the Damned/Lords of the New Church) agreed. "The Heavy Metal Kids were great fun. Gary used to take the piss out of himself so much and they kinda filled a little bit of a gap, amongst all that pomp of the early '70s. You had the hippy side, you had the glam thing that was taking itself so very seriously, and then there was Gary and his boys, just being silly." He, too, was adamant, "they were ahead of their time."

Discovered by former Dave Dee, Dozy, Beaky, Mick & Tich frontman Dave Dee, the Kids were signed by Atlantic Records and went immediately into the studio to record their debut album, Heavy Metal Kids. It was well received, but did little, a fate which many observers put down to the conflicting signals sent out by the band's name. Heading out for their first American tour in early 1975, the group dropped the Heavy Metal from their name, and gigged as the Kids alone. Recorded with new guitarist Cosmo replacing Waller, Anvil Chorus, their sophomore album, also appeared under this abbreviated name. It fared no better than its predecessor and, following a U.K. tour with Alice Cooper, the Kids parted company with Atlantic towards the end of the year. Further personnel changes included the departures of Peyronel and Cosmo, to be replaced by John Sinclair (keyboards) and Barry Paul, guitarist on the group's original demos two years earlier. 
 

 
In December, 1975, the Kids signed with producer Mickie Most's RAK label, but before work could begin on their next album, Holton was loudly sacked from the lineup amid a storm of drink- and drug-related headlines. Plans for the remaining members to continue on without him, however, came to naught and, in late 1977, Holton rejoined the band for a handful of live shows and the long-delayed third album, Kitsch. But by mid-1978, he had departed once again and, this time, the band broke up. Returning to acting, Holton landed roles in the disco movie Music Machine, the Who's Quadrophenia, and alongside Hazel O'Connor in the hit Breaking Glass. He also starred in the British TV movie Bloody Kids. His musical endeavors were now confined to strict one-offs: in December, 1978, Holton stood in for Damned vocalist Dave Vanian on a short Scottish tour, he also recorded a solo single, a stunning punk-country version of Kenny Rogers' "Ruby, Don't Take Your Love to Town" with the Boys' guitarist Casino Steel. But even the opportunity to replace the late Bon Scott in AC/DC could not lure him back to full-time rock & roll.
In 1983, Holton landed a starring role in British television's Auf Weidersehn, Pet, a light drama conceived by Quadrophenia director Francis Roddam and one of the surprise hits of the 1983-1984 season. He followed up with a memorable role in a Pilsner lager commercial and, in September, 1984, Holton returned to theater, appearing in the London cast of the 1950s Americana musical Pump Boys and Dinettes.
The following summer, he traveled to Spain to work on the long-awaited second series of Auf Weidersehn, Pet. It was there that he died, on October 25, 1985, the victim of a heroin habit which even the gossip-ridden London underground scarcely remembered.(allmusic)


I am sorry but no artwork here. Maybe some kind person can help...:-)
But this is a very fine collection and i think you will enjoy
Have fun
               Frank    Flac p1Flac p2  & Flac p3     -  mp3@320    

Nancy Sinatra - Movin' with Nancy (1967) (1996 Sundazed) Flac & mp3@320







Sundazed released a 1996 CD version of the original Movin' With Nancy album, adding three bonus tracks to the 1968 soundtrack from her television special, and it earns high marks for documenting more of the fun and campy escapades of Frank Sinatra's daughter. Without the opportunity to surpass her dad the way Mira Sorvino or Charlie Sheen may have moved beyond Paul Sorvino and Martin Sheen in terms of popularity, Nancy Sinatra deserves credit for a sultry, hip image and the ability to hit a few home runs. It's easy to hit a home run, of course, when your father owns a piece of the record label, Reprise, and a Rodgers & Hammerstein composition makes its way onto track four, like "Younger Than Springtime," sung by "a very close relative." The uncredited Frank Sinatra performance is great, of course, and is followed by a Dean Martin/Nancy Sinatra "duet" on the Bobby Darin song "Things."


It sure sounds like dad called up Martin and asked if he wouldn't mind Nancy overdubbing her voice on a pre-existing Martin track -- this was, of course, before the days of putting Natalie Cole on a Nat "King" Cole master. Despite the awkwardness of it, there is a certain charm that adds to the festivities. Make no mistake, this is a festive album. Heck, some kids go to the circus with their folks, Nancy Sinatra got to play at the record company. Her vocal style is on par with Claudine Longet and Jo Jo Laine, not the kind of singing to give Whitney Houston or Jackie DeShannon sleepless nights, but charming nonetheless.


Where this Sinatra really shines is when she and producer Lee Hazlewood do the Sonny & Cher routine on the previous hit, "Jackson," and the real gem here, "Some Velvet Morning." When Nancy Sinatra has Hazlewood as her foil, she is outstanding. Though "Some Velvet Morning" was number nine out of her Top Ten hits as far as chart action goes, it is her strongest performance here, and proves she had more of a voice than maybe she even realized. She walks through Jimmy Webb's "Up, Up and Away," but it works, as does, surprisingly enough, the cover of Ray Charles' "What I'd Say," which closes the vinyl version of this project. Do the math: two hit singles, a duet with Dean Martin, an appearance by the Chairman of the Board (the legend, not the band), and superb production by Lee Hazlewood all make for a highly entertaining disc. Yes, she was lucky to have those doors open for her, but while other showbiz kids fell by the wayside, Movin' With Nancy delivered the goods. You can't help but like her.(allmusic)

To me the second half of the disc is the better one. Listen yourself,
and have fun
                    Frank   Flac p1Flac p2         -  mp3@320


Fox - Fox 1975 (Cherry Red 2002) Flac & mp3@320









A few days ago i saw on a site a box set of the band and that gave me the idea to post the first album from 1975. Cherry Red released it in 2002 with some bonus tracks.
Enjoy
         Frank  Flac p1  &Flac p2     -   mp3@320



Pop-Mod-Beat! David Bowie - Early On 1964-1966 (1991 Rhino Records) Flac & mp3@320


Before landing his first commercial success with 1969's "Space Oddity," David Bowie released a number of flop records in a variety of styles. He first emerged in the mid-1960s as a mod following the paths of The Who, Kinks, and Rolling Stones. The 17-cut CD Early On (1964-66) is by far the most comprehensive anthology of his first works, gathering all six of his first singles and adding five previously unreleased demos from 1965. Fans of Bowie's famous work may be nonplussed by this material, in which the singer shifts from sub-Stones R&B to Who/Kinkish power chords to trendy Swinging London pop in search of his own style.


He didn't establish his own identity on these fairly derivative recordings, but that's not to say they aren't without their enjoyable aspects. The 1965 single "You've Got A Habit Of Leaving" has some fierce Who-styled feedback, "Can't Help Thinking About Me" is an uneasily introspective number that foreshadows his later lyrics, and the acoustic demos find him groping closer toward a more familiar and distinctive vocal style. Several of the tunes on this collection were produced by the legendary Shel Talmy, who also handled sessions for The Who and Kinks in the mid-'60s.(allmusic)


The definitely best collection of pre fame Bowie. This collection is not for Bowie fans only. I think it's interesting to everyone who loves the british music of the sixties.
Enjoy
         Frank        Flac
                          mp3@320



Eric Stewart - Viva La Difference (2009 Strawberry Soundtracks) Flac & mp3@320

Eric Michael Stewart (born 20 January 1945, Droylsden, Lancashire, England) is an English musician, songwriter and record producer most known for his tenure with The Mindbenders in the 1960s, and 10cc from 1972 to 1995.
In 1968, he became a co-owner of Strawberry Studios in Stockport, England, where he developed skills as a recording engineer and record producer. His involvement in Strawberry was instrumental in the eventual formation of 10cc.
Stewart has collaborated with Paul McCartney on three of his albums recorded between 1982 and 1986, has recorded three solo albums and released Viva La Difference in 2009.(wiki)


That is a very short story of the musical life by Eric Stewart. Here is another short note about this album:
He began a fourth solo album – Viva la Difference, – in 2006, describing it as "more 10cc in style than Do Not Bend", but in January 2007 announced recording would continue sporadically while he carried out renovations on his home and construction of a studio in France. His online store was subsequently closed, with an announcement made that the album would be released in January 2009, which duly came about.

This album is much more in the 10cc sound in the most songs and Stewart shows here his incredible skills on guitar again. This means not this is a ''guitar album''. But listen yourself. In my opinion this album was his strongest work since a very long time.

Enjoy
         Frank    Flac p1  & Flac p2  & Flac p3     - mp3 p1 - mp3 p2
 

Pilot - The Craighall Demos 1971 - 1976 (Flac & mp3@320)


Found this somewhere a long time ago in the web and here are some interesting song demos of well known songs by the band. Some have a very different feeling compared to the oficial versions. Listen yourself and


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

Micky of the Monkees: Micky Dolenz - King For A Day (2010 Gigatone) Flac & mp3


King for a Day is not a boast from Mickey Dolenz -- nor is it a collection of XTC covers -- it’s an album-length salute to Carole King, one of the great pop songwriters of the 20th Century. Dolenz isn’t necessarily such a skilled singer that he redefines or reinterpret these songs but these songs aren’t designed for showboating: these are songs that belong to everyone, songs where anyone can sing along, so they lend themselves to Mickey’s cheerful readings.
He’s so friendly it’s possible to hear him smile as he sings even on songs that perhaps should have a bittersweet bent (“Will You Love Me Tomorrow”) or are just downright sweetly sad (“Crying in the Rain”), but this is unabashed, unapologetic nostalgia tainted only by an unintentionally creepy duet with Emily Osment on “I Feel the Earth Move.”(allmusic, Mr. Erlewine!)


Thank you so much Mr. Erlewine for your very helpful information about this are no XTC covers.
What would i do without your helping hand...


Hello Folks, if you don't know this work of Micky Dolenz you maybe want give it a try.
Have fun
               Frank    Flac p1  &  Flac p1     -  mp3@320