Wednesday, 19 July 2017
All good Kinks fans need not be told this band’s name is a play on the British group’s Kwyet Kinks EP, which was released in the fall of 1965. The Kwyet Kings were obviously dedicated followers of Kinks fashion, and such an influence is not only evident in their handle, but their cool music as well.
Based out of Norway, the band came together in the early 1990s and went onto spawn a rope of singles, three full-length albums and a compilation of 45s during their livelihood, which lasted until the end of the decade.
As far as I’m concerned, there are no duds clogging the Kwyet Kings catalog, but their second album, Cherrypie, is the one that especially turns my crank.
Surging forth with nimble and quick performances, accented by a fetching fusion of belly-rumbling power pop rhythms and sugar-fueled garage rock energy, every song on the disc chimes, crunches and crackles with vim and vigor.
The tunes, which share tales of love and lack of love, are short, compact and dangerously infectious. Choppy guitar riffs sit knee to knee with strident drum fills, while the vocals and harmonies are spunky and excitable.
The Kwyet Kings were a great band, and Cherrypie documents them at the top of their game.(Beverly Paterson somethingelsereviews.com)
Actually all said in the review. This is top notch power pop. Grab it
Frank Flac p1 & Flac p2 - mp3@320
Dear Folks, i am very busy in the last days. In my job and here at home, too. It's a little bit difficult at the moment to re-up expired links (currently a big amount of requests) and posting new stuff with that little time. I want to ask you for the next two weeks please don't request for re-ups of expired links. After that i will do my best again to re-up all you need, want, like, must have or whatever :-).
Thanks for your understanding
Thanks for your understanding
Sharing the writing duties, lead singers Adrian Allen and Duane Smith come across as the Fastball from down under. Sweet guitar hooks steering a tight rhythm section kick off "Every Moment," and from there on, every moment on this album brims with power pop ideal for long car rides in the summer. "Make It Happen" relies more on the melody and makes small use of either a xylophone or triangle, something Smith opts for throughout the record. On the other hand, Allen uses more guitar for a slightly harder, edgier sound, such as "First Time -- Last Time."
The first few songs are all possible singles, and there is no hint of filler, but the title track seems to have the finest single quality. "C'Mon Everybody" is one of the weaker tunes here and sounds a bit like the Beach Boys. One of the best tracks is "Round and Round." It's one of the few times drummer David Huck Shaw gets to show his chops. "Goodbye Sally" is another stellar power pop song and has a hint of a string section near its conclusion.
If there's one negative to the album, it's perhaps how interchangeable the songs are. While all very strong, none particularly stand out, but "Angelina Jolie" has far more urgency and intensity than the other songs. The same could be said for the adorable "Sleeper," with its great guitar finish. "Sunshine" has a melody similar to Wet Wet Wet's hit "Love Is All Around."(allmusic)
Great Power Pop album by an often underrated band of this genre. If you like Power Pop you will like this.
SB1 Flac p1 & Flac p2 - mp3@320
In the mid-'70s, the punk sound sprang forth in the seedy downtown New York dives CBGB and Max's Kansas City, the fetid spawning ground of the cream of the crud, including the Ramones and Suicide and the Voidoids and Wayne (soon to be Jayne) County. Among their leather-jacketed, ripped-T-shirt number in that music scene were four fellows in dark mohair suits and crisp white collared shirts and skinny black ties, shaking their heads whilst crowding around one microphone to emit a high-pitch "woooooo" in unison. After all, what would be more punk at that time than being in the Poppees — a band that emulated the early Beatles, from their moptops to their Cuban heels?
The Poppees cropped up in the early '70s, begun by rhythm guitarist Bob (Bobby Dee) Waxman and bass player Pat Lorenzo. The Fab Four of the Bowery were rounded out by lead guitarist Arthur Alexander (not the singer/songwriter who recorded the originals of Beatles standards "Anna," "Soldier of Love" and "A Shot of Rhythm and Blues") and, later, drummer Jett Harris (not the original bassist for pre-Beatles British rock combo the Shadows).
Three years later, the group's second single forced its way out: The topside, "Jealousy" (a favorite John Lennon topic) is a great single to play "spot-the-reference" to. Cleverly quoting several songs in the Beatles oeuvre, most notably their version of Smokey Robinson's "You Really Got a Hold on Me," this springy tune from the Waxman-Lorenzo songbook (as well as the flip, a Macca-esque "Long Tall Sally" take on Little Richard's "She's Got It") was produced by Cyril Jordan of the Flamin' Groovies, a band that could teach a master's seminar on faking Beatles.
Right after "Jealousy," the Poppees split into two: Songwriters Waxman and Lorenzo succumbed to their punky peers, figuring, "If you can't Beatle 'em, join, em!" They kept the Fake but ditched the Beatles with their new group, the Johnny Thunders/Heartbreakers-inspired Boyfriends, which released a couple of swell singles in '78 and '81, respectively.
A CD of released and unreleased Boyfriends sides issued by a Japanese label also include slightly different mixes of the two Poppees originals, along with a previously unissued song titled "I Love Her." While this lovely beat ballad is not identified as a Poppees track per se, its Fake Beatle-tude clearly marks it as F-A-B rather than "L.A.M.F."
These guys were one of the best power pop bands of that time and also the projects where the Poppees musicians played, too. ''Jealousy'' and ''If She Cries'' are by the Poppees here, the other songs by the Boyfriends.
Delivering raucous hard rock in the tradition of contemporaries like AC/DC and Rose Tattoo, the Angels are among the longest-lasting and most beloved bands ever to emerge from the Australian pub circuit. Their roots date back to 1973, when singer Doc Neeson and guitarist Rick Brewster first teamed up at university in an eccentric acoustic covers group dubbed the Moonshine Jug and String Band; by the following year they had begun adopting a more straightforward and electric approach, rechristening themselves the Keystone Angels in the process. Soon abbreviated to simply the Angels, their original lineup consisted of Neeson (nicknamed the "Mad Irishman" in honor of his crazed behavior on- and off-stage) and Brewster, along with the latter's brother John on guitar and drummer Graham "Buzz Throckman" Bidstrup.
A second album, Face to Face, appeared in 1978 and preceded a national headlining tour; after 1979's No Exit became an even bigger hit, the group toured the U.S. and Canada; they renamed themselves Angel City in the Northern Hemisphere to avoid confusion with the glam band Angel. (To further complicate matters, a handful of releases later appeared credited to "the Angels from Angel City," the constant fluctuations no doubt contributing to their lack of success overseas.)
Upon returning to Australia, founding member John Brewster exited, and was replaced by ex-Skyhooks guitarist Bob Spencer. Howling followed in 1986, launching the hit singles "Don't Waste My Time" and "Nature of the Beast." In support of the record, the Angels mounted a 16-month tour that yielded the double-concert LP Liveline in 1988. With new bassist James Morley, they next traveled to Memphis to record 1990's chart-topping Beyond Salvation, which notched four Top Ten singles: "Let the Night Roll On," "Back Street Pick-Up," "Rhythm Rude Girl," and "Dogs Are Talking." After 1991's Red Back Fever, both Spencer and Morley departed for solo careers late the next year, opening the door for the return of Hilbun and John Brewster.
Very successful album at the end of the '70.
SB1 Flac p1 & Flac p2 & Flac p3 - mp3@320