Ex Kaleidoscope (UK) Fairfield Parlour - From Home to Home 1970 (2004 Repertoire Records) Flac & mp3@320

The saga of Fairfield Parlour, though brief, is confusing because the group was really the same as Kaleidoscope (the British band called Kaleidoscope, not to be confused with the psychedelic band called Kaleidoscope from California who was active in the same era). Around 1970, Kaleidoscope changed their name to Fairfield Parlour, though the music was pretty much the same whimsical, fairy tale-ish blend of harmony pop/rock folk with late-'60s Beatles and Pink Floyd psychedelic flavors. They issued a 1970 LP on Vertigo, From Home to Home, which continued the directions they had staked out in Kaleidoscope, with slightly heavier rock arrangements. Shortly after its release, they worked on a double-LP concept album, White Faced Lady, based on the story of a troubled young woman who becomes a movie star, but descends into tragic death. Plans to join the RCA roster stalled when their contact at the label departed. The album was not issued at the time, though it finally appeared in the '90s. In 2000, the double-CD compilation The Fairfield Parlour Years -- billed, confusingly, as Kaleidoscope -- combined the From Home to Home and White Faced Lady albums, adding bonus tracks from non-LP releases and other sources.(allmusic)

Completely underrated at their times then. The name change made no sense in my opinion because they changed no other things. The White Faced Lady album was not released in the nineties under the Fairfield Parlour name. They released it 1990 under the Kaleidoscope flag.
Enjoy ''From Home To Home''
Cheers
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The Clash - London Calling 1979 (1999 Epic)

Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs -- particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" -- are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary.

But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded.(allmusic)

Whatever ''the greatest'' means in this context. I think it was an important album for the band back then. This album opened the commercial market for the Clash and it would skillful marketed. All that is absolutely okay and the album is really good but i can't agree with the term ''one of the greatest rock & roll albums ever''. To me it is a classical album because it stands for a particular time in music and an overall change in the music business. Okay folks enough blabla now,
enjoy the Clash
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Petula Clark - Downtown - The Pye Anthology 2 CD (1999 Sequel Records) Flac & mp3

The most commercially successful female singer in British chart history, Petula Clark was born November 15, 1932 in Epsom, England. Trained to sing by her soprano mother, Clark embarked on a stage career at the age of seven; soon she was a fixture on British radio programs, and began hosting her own regular show, Pet's Parlour -- a series spotlighting patriotic songs designed to boost the morale of wartime audiences -- at the tender age of 11.
After entertaining British troops alongside fellow child stars Julie Andrews and Anthony Newley, Clark made her film debut with A Medal for the General in 1944. By the dawn of the '50s she was a superstar throughout the U.K., with a résumé of close to two-dozen films; 1954's "The Little Shoemaker" was her first Top 20 single, while 1960's "Sailor" was her first chart-topper. Still, Clark struggled with her inability to shed her adolescent image. After selling over a million copies of 1961's "Romeo," she married and relocated to France, establishing a strong fan base there on the strength of hits including "Ya-Ya Twist," "Chariot," and "Monsieur," which spotlighted a new, more sophisticated pop sound anchored by her crystalline vocals.

Riding the wave of the British Invasion, Clark was finally able to penetrate the U.S. market in 1964 with the Grammy-winning "Downtown," the first single by a British woman ever to reach number one on the American pop charts. It was also the first in a series of American Top Ten hits (most written and arranged by Tony Hatch) that also included 1965's "I Know a Place" and 1966's "I Couldn't Live Without Your Love," and the number one smash "My Love." At the same time, she remained a huge star throughout Europe, topping the British charts in 1967 with "This Is My Song," taken from the film A Countess from Hong Kong. In addition to hosting her own BBC series, she also starred in the 1968 NBC television special Petula, which triggered controversy when sponsors requested that a segment with guest Harry Belafonte be cut in deference to Southern affiliates; ultimately, the show aired in its intended form.

As the '60s drew to a close, Clark's commercial stature slipped, although singles like "Don't Sleep on the Subway," "The Other Man's Grass Is Always Greener," and "Kiss Me Goodbye" still charted on both sides of the Atlantic. In 1968, she revived her film career by starring in Finian's Rainbow, followed a year later by Goodbye, Mr. Chips. In later years, Clark focused primarily on international touring, headlining the 1981 London revival of Rodgers & Hammerstein's The Sound of Music; after starring in the 1990 musical Someone Like You, which she also co-wrote, she made her Broadway debut in Blood Brothers in 1993. Additionally, in 1988, an acid house remix of "Downtown" reached the U.K. Top Ten, another honor for the female singer awarded the most gold records in British pop history.

Throughout the 2000s Clark toured fairly steadily across the globe. Her 2002 shows in France at the Olympia were recorded and released on CD and DVD, but no new studio recordings were forthcoming until she teamed with Irish band the Saw Doctors for a new version of "Downtown" in 2011. Soon after, she began working with producer John Williams on an album. Made up of newly written songs and covers, as well as a new take on "Downtown," Lost in You was issued in early 2013. Just three years later, Clark returned with another new studio album, From Now On, which featured several new compositions as well as covers of classic numbers by the Beatles, Steve Winwood, and Peggy Lee. In October 2016, Clark set out on a U.K. tour in support of the album. That same year also saw the release of Natural Love: The Scotti Brothers Recordings, a collection of country and pop-oriented material Clark cut in the '80s.(allmusic)

A lot of stops at different stations of her giant career. A well done anthology by Sequel with a lot of her most important songs.
Enjoy
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Nederbeat From Mid To Late Sixties: Les Baroques - The Golden Years Of Dutch Pop Music (2016) mp3@320

One of the strangest and best Dutch bands of the mid-'60s, Les Baroques always seemed out of sync with the real world. They had a French name, a lead singer with an obviously anglicized pseudonym (Gary O'Shannon, real name Gerard Schoenaker), and played R&B-tinged pop/rock with odd streaks of European folk tunes and corny orchestral arrangements. Their reputation hinges chiefly upon their first four singles and self-titled 1966 LP, all recorded with O'Shannon before the singer left the group at the end of 1966. At his best, O'Shannon could sound like a less polished, neurotic version of Van Morrison, delivering songs that, like much Dutch beat of the mid-'60s, were sullen and minor-keyed.

Les Baroques took this moodiness to extremes, however, in cuts like "Silky" and "Summer Beach," which had a dreamlike sheen and forlorn, doomed atmosphere. At other times, they espoused an earthier, R&B-based sound more in line with some British groups of the time, especially in the sharp organ riffs; "She's Mine" closely approximates Them's ballads, while "O, O, Baby Give Me That Show" is a good Animals clone.

"Such a Cad," a weird punky number that was, like several of their 45s, embellished with bassoon fills, was a big Dutch hit in 1966. But after one more fine single, the typically inscrutable "I'll Send You to the Moon," O'Shannon had to leave the band for military service. Les Baroques did continue for five more singles and a second LP with Michael Van Dijk as lead singer, but it wasn't the same, although the first two singles with this lineup, "Working on a Tsing Tsang" and "Bottle Party," were acceptably twisted pop numbers.(allmusic.com)

I found this double disc release some days ago somewhere into the web. Unfortunately only in mp3@320. But i decide to post it here on the blog because they were a real good psychedelic pop band of the sixties. After several listenings to the songs here i can second that what the reviewer said about the leaving of singer. The band sounded not the same -or better, that strong- as before the departure of O'Shannon. All in all in their career they were one of the best european psychedelic pop bands then who not came from the UK. ( Thanks to the original uploader!)
Have fun
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