Wednesday, 19 July 2017

Norway Power Pop: The Kwyet Kings - Cherrypie 1995 (Screaming Apple Records) Flac & mp3@320

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.

Tracks like “Twisting My Nerves,” “Walk You Home,” “Don’t Wanna Be In Love” and the title cut of the album cycle right in on the band’s grand gift for parenting airtight material. Fit as a marathon runner, there is not an ounce of fat or flab to be had here.
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.
Along with the noted Kinks reference, Cherrypie (Screaming Apple Records) also pays ample tribute to the Ramones, the Romantics and the Records. Though the sound and structure of the songs on the disc tend to be highly similar, the band’s passion and determination is so contagious that you’re sure to develop a serious addiction to these hummable nuggets. Containing more hooks than a fly fisherman’s tackle box, the sparkly songs combine pop instincts with a punk attitude in a wildly appealing manner.
The Kwyet Kings were a great band, and Cherrypie documents them at the top of their game.(Beverly Paterson

Actually all said in the review. This is top notch power pop. Grab it
and enjoy
               Frank   Flac p1  & Flac p2    - mp3@320

...just a little information...

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
Kind regards

Australia Power Pop by The Chevelles - Girl God (2002 Zip Records) Flac & mp3@320

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.
Have fun
               SB1   Flac p1  & Flac p2       -  mp3@320

Power pop by The Poppees/The Boyfriends - Lost Treasures (2005 Vivid Sounds Japan) Flac & mp3@320

I found this on and i think that's a good info. It's from the year 2008.

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).
In 1975, Greg Shaw's Bomp label released the first of two Poppees singles. The A-side was a version of the Lennon-McCartney retread "Love of the Loved," which Scouse warbler Cilla Black brought to the U.K. hit parade in a brassy, adult version in 1963 and which the Poppees dragged back to its beat-group roots a dozen years later. However, the fake is more fully realized on the B-side, "If She Cries," a Waxman-Lorenzo original fittingly produced by label head Shaw in appropriate retrophonic sound. Lyrically, the song is a "swallow your pride or you'll lose that girl" advice song to a third party a la "She Loves You." Vocally, it nimbly employs all the Beatles' tricks from their harmony kit bag.
Poppeesa1_2 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.

Meanwhile, Alexander and Harris kept their false Fab Four flag flying with their new quartet, the Sorrows. They put out two top-drawer LPs of skinny-tie power pop on a CBS Records imprint during the early '80s that went not so much Gold as Pewter on the charts. (This author recalls seeing the Sorrows in concert around 1980 and can attest that their encore rendition of "A Hard Day's Night" was note-perfect.)
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.
Have fun
               SB1      Flac p1 &  Flac p2      -  mp3@320

Wave & Power Chords From Australia: The Angels - Face To Face 1978 (2008 Remaster) Flac & mp3@320

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.


In 1976, the Angels were discovered by AC/DC's Angus Young and Bon Scott, and soon entered the studio to record their debut single, "Am I Ever Gonna See Your Face Again," a major hit. With the addition of bassist Chris Bailey (not to be confused with the Saints' frontman), a tour opening for AC/DC followed, and in 1977, the Angels' eponymously titled debut LP appeared to enormous success.

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.)

After just three LPs, the Angels issued their first Greatest Hits collection in 1979; with their next studio album, 1980's moody Darkroom, they scored their first Australian number one hit, "No Secrets." The record also featured the track "Face the Day," later covered by Great White. At the end of the year, the Angels headlined a free concert at the Sydney Opera House that ended in rioting, prompting a government ban on outdoor concerts. Undaunted, the Angels opened in America for the Kinks, then returned home to begin work on their next album, Night Attack, their first outing with new drummer Brent Eccles. A subsequent tour exchanged Bailey for bassist Jim Hilbun, and was followed in 1983 by the odd, experimental Watch the Red. Two Minute Warning -- a concept record exploring nuclear devastation -- recorded in Los Angeles and issued a year later.

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.

However, record company problems kept the Angels from recording new material for several years; finally, in 1996, they issued their comeback single, "Call That Living," which returned them to the Top Ten. Skin & Bone followed in 1998. The group disbanded at the close of the '90s following Doc Neeson's injury in a car accident; however, Neeson joined a re-formed Angels in the spring of 2008, and the reunited group played a series of shows during the summer of that year. Neeson left the band again in 2011 to pursue a solo career and was replaced by Dave Gleeson, former lead singer of the Screaming Jets, a group who had toured with the Angels in 1991. His debut album with the group came in 2012 when Take It to the Streets arrived featuring the single "Waiting for the Sun." The band marked their 40th anniversary by releasing the album Talk the Talk
in 2014.

Very successful album at the end of the '70.
          SB1    Flac p1 & Flac p2 & Flac p3  - mp3@320