Friday, 4 August 2017

Barnaby Bye - Touch 1974 (2010 Wounded Bird Records) Flac & mp3@320

This was the second album by Barnaby Bye. And it's perfect. It's different from the debut. Here the songs are more in a soul direction produced. Maybe the band tried this because the debut album was no success. The songwriting is first class and i think the band had tried to make an commercial album but it failed to reach the charts. I prefer the first album. Nevertheless this is a top notch album. What do you think?

          SB1     Flac p1  &  Flac p2    -  mp3@320

The Electric Prunes - Mass In F Minor 1968 (2013 Rhino Original Album Series ) Flac & mp3

For fans of the Electric Prunes, the 1968 Reprise album Mass in F Minor is a disaster, but for aficionados of failed and bizarre concept records of the late '60s, it's definitely worth investigating. The eight tracks on this religious-based rock opera (with lyrics sung in Latin!) were written, arranged, and conducted by classical composer David Axelrod and spurred on by then-Prunes manager Lenny Poncher and record producer Dave Hassinger. Evidently, all parties involved, including the band, agreed that this project would propel the Electric Prunes from minor-league garage rockers into a finely tuned psychedelic ensemble to be taken seriously as musicians and artists. Unfortunately, the Prunes were not prepared to tackle Axelrod's complex and involved arrangements without a major struggle. In order to keep the sessions from going into costly overtime, Hassinger brought in studio musicians to finish the project. The results were completely unlike the group's previous two releases, with the majority of the tracks being performed by ad hoc Prunes. Shortly after the album's release, the original lineup faded into obscurity, taking Mass in F Minor with them. However, an eerie version of "Kyrie Eleison" received fleeting attention when it was featured in the film Easy Rider.(allmusic)

Surely this album is different from other works by the Prunes but is it bad because of this ? No way.
It seems that the audience love this album more than some critics. By the way six tracks not eight! Anyway take it or leave it

           Frank   Flac   &  mp3@320

The Penthouse 5 - The World Is Love! (1966-1967) (1997 Collectables) mp3@256

The Penthouse 5 were one of dozens of unsung bands floating around Texas in the mid-'60s. Based on the recorded evidence, however, they were also one of the great ones; lots of acts claim the Beatles as inspiration, but the Penthouse 5 translated the Beatles (and, to some extent, the Byrds) influence into garage rock terms about as well as any of them. The mix of Beatles-like harmonies, crunchy guitars, and pumping, grinding Farfisa organ is compelling and always surprising in its details and nuances. Justin Brown (lead guitar), Rob Graham (vocals), Mark Porter (drums), Steve Wood (guitar, vocals, keyboards), and Bill Looney (bass) came out of Oak Cliff, not far from where Stevie Ray Vaughan hailed. They were part of an orbit of Beatles- and folk-rock-influenced musicians in the area that included songwriter Ron Price, who wrote "Don't Mess Around with My Dream, " the B-side of the Penthouse 5's debut single, "Bad Girl," and Jon Williams, who had been with a band called the By Fives and then with the WordD. By 1967, internal conflicts had driven Brown, Graham, and Porter out of the Penthouse 5's lineup, and they were succeeded by Jon Williams (vocals, keyboards, harmonica), Richard "Lurch" Keathley (lead guitar, vocals) -- who had both come from the Dallas-based the WordD -- and Mike Echart (drums). The new band, renamed the Penthouse, made another half-dozen records with producer Edward Greines; the Beatles influence was still discernable on songs like "You're Gonna Make Me," but the reconstituted Penthouse was more self-consciously heavy and serious, and cut singles for the Solar and Hawk labels.
By the end of 1967, however, the band had split up as Steve Wood moved to California, where he led a band called the New Life (who turn up on the soundtrack of The Sidehackers, a Gus Trikonis film that subsequently provided Mystery Science Theater 3000 with perhaps its funniest non-sci-fi moments), and played with Kenny Loggins. The rest of the group left the music business.(

I found this recently on the web unfortunately only in 256mp3 quality. This is a very fine collection by Collectables with 20 songs. And it's a lot of really good stuff here. Give it a try and enjoy.

Cheers Frank     mp3@256

Psychedelic Rock By Neon Pearl - 1967 Recordings (2004 ACME Lion) Flac & mp3@320

The Neon Pearl trio consisted of Peter Dunton (vocals/guitar/keyboards/drums), Bernard Jinks (bass/backing vocals), and Nick Spenser (guitar/harmonium/keyboards). In 1967 they recorded the material issued on 1967 Recordings, which is fair if somber period British psychedelia in its hazy riffs, mild guitar distortions, and vocal harmonies, though the songs aren't too imaginative or varied. Dunton was also in the marginally less obscure British psychedelic bands the Flies and Please, while Jinks would later play in Bulldog Breed and T2, the latter of which also included Dunton. (Richie Unterberger)

This collection of obscure British psychedelia has a pleasantly foggy, ethereal feel. There are steadily jangling guitars, accomplished subdued distortion and effects, pulsating riffs, dreamy lyrics ("Dream Scream" is one title), and attractive vocal harmonies, with occasional harmonium tossing in an unusual spice. It fits the cliché of being suitable background music for launching into a meditative doze, or for an altered state of consciousness using specific substances. There's also a serious-mindedness to the mood that, while sincere, would probably never be adapted by a post-20th century band unless it was done with a certain amount of irony totally missing here.

What's to complain about? Not much, but the songs themselves are on the monotonous and undeveloped side, sounding more like grooves to work off of than fully realized compositions. The tracks could be viewed as vague forerunners of a more modern form of Terrastock-era psychedelic-influenced ambient and trance rock. But the absence of better songs confines this to the realm of specialists, and excludes it from the upper reaches of the better obscure late-'60s British psychedelic music that might be considered for exploration by collectors.  (Richie Unterberger)

If you don't know this sixties psychedelia band give the record a try
and enjoy
           SB1     Flac p1    &   Flac p2      - mp3@320

Barnaby Bye - Room To Grow 1973 (2010 Wounded Birds) Flac & mp3@320

With the formidable combination of talent, good looks, and a world class producer, it is surprising that Barnaby Bye's debut album, Room to Grow, wasn't a runaway smash. The talented twin teen-heartthrobs Bobby and Billy Alessi, together with former Blues Magoos guitarist Peppi Castro (aka, Emil Thielhelm), and ex-Illusion drummer Michael Ricciardella released Room to Grow in 1973 on Atlantic with some success, but without the popularity they probably deserved.
Their combination of Beatles-inspired songwriting, Queen-like vocal harmonies, and predilection for camp actually worked because they were talented enough to pull it off without sounding completely derivative. Exemplified by tunes like the wonderfully Brit-sounding "Jessie Girl," and the Marc Bolan-meets-Roy Wood rocker "Marsha Mamaillia," the boys proved that they could pay homage to their heroes without quoting them directly. As a result, the album is surprisingly solid and cohesive, with ballads like Billy Alessi's "I Feel for You" and Bobby Alessi's "Laneya" providing just the right amount of breathing room for the more upbeat tracks.

Barnaby Bye's Long Island-take on Brit-pop was probably more of a template for later retro-rock outfits like Jellyfish and the Merrymakers than the original bands themselves. A solid, fun, and enjoyable effort, Room to Grow should find a comfortable spot in any serious collection of '70s pop/rock.(allmusic)

Wonderful album by a gang of gifted musicians. Why an album like this failed to jump in the charts of the first half seventies is a mistery to me. If you like pop rock at it's best you should give it a try.
I will post the album that the band released one year later as well.
Have fun
               SB1     Flac p1  & Flac p2     - mp3@320

Doc Thomas Group And The Silence - The Italian Job Shotgun Eyes 1967 (1998 Angel Air Records) Flac & mp3

From the very tangled tree of about a dozen '60s bands that fed into the eventual formation of Mott the Hoople, the Doc Thomas Group were one of the most important, chiefly because they actually released an album. Future Hoople guitarist Mick Ralphs and bassist Pete Watts were both on board when the group recorded their sole LP (released only in Italy, where they were based for a time) in late 1966.

Future Mott drummer Dale Griffin (aka Buffin) joined the band in the spring of 1967, although he doesn't appear on the album, which featured Stan Tippins as lead singer. The self-titled LP consisted entirely of R&B/soul covers, executed derivatively and just about competently, in the style of mod bands of the period such as the Small Faces.

The Doc Thomas Group struggled on until 1968, changing their name to Silence with the addition of organist Terry (soon to become Verden) Allen; from that point, it was only a matter of recruiting Ian Hunter to replace Tippins to create Mott the Hoople in 1969. The extremely rare Doc Thomas Group album was reissued on CD in 1998, on a disc that also included a Silence "reunion" session recorded in 1990. (

The story of Tippins was as the band was signed to Island the company said he don't fits in the new image of the band. Tippins hinself said to the band he want not stand in the way and would leave. That's how the business works...
         SB1              Flac p1Flac p2Flac p3      -  mp3 p1mp3 p2