Tuesday, 8 August 2017

The Beach Boys - Summer Days (And Summer Nights) 1965 Mono (Mini LP PT-SHM Universal Japan 2014) Flac & mp3

Summer Days (And Summer Nights!!) was a bit of a regression from the success of Today!, lapsing back into that distressing division between first-rate cuts and lightweight also-rans that characterized their pre-1965 albums. The difference is that the very best tracks were operating on a more sophisticated level than the 1962-1964 classics. "Help Me, Rhonda" was a number one single and would be their last Top 40 exercise in sheer fun for a while. More impressive was "California Girls," with its symphonic arrangement, glorious harmonies, and archetypal statement of Californian lifestyle. Subpar efforts like "Amusement Park U.S.A." and "Salt Lake City," throwbacks to the empty-headed summer filler of previous days, will disappoint.

The answer song, "The Girl from New York City," and the cover, "Then I Kissed Her," are well done but don't break new ground. Yet a couple of cuts are among their most essential LP-only efforts. "Let Him Run Wild" is a soulful ballad with a great Brian Wilson falsetto vocal. "Girl Don't Tell Me," with its gorgeous melody, fine lead vocal debut from Carl Wilson, and subtle depiction of romantic rejection and disappointment, may be the best obscure pre-Pet Sounds Beach Boys track.(allmusic.com)

This is the first Beach Boys post here on the blog. And not a bad one :-). It's in original mono and i wish you fun
           Frank    Flac p1  & Flac p2          mp3@320

Sixties Garage By The Music Explosion - Little Bit O' Soul The Best of the Music Explosion 1966 -1968 (2002 Sundazed) Flac & mp3@320

One-hit-wonder Ohio garage band that reached number two in 1967 with "Little Bit O'Soul," a great gutsy pop/rock number with a classic bass-organ riff. Whatever personality they may have had was coated in the studio by producers Jeffrey Katz and Jerry Kasenetz, who would soon help create bubblegum with acts like the 1910 Fruitgum Co. and the Ohio Express.

The Music Explosion didn't have nearly as juvenile a sound as those groups, but they never latched onto another piece of material nearly as attention grabbing as "Little Bit O'Soul," entering the Top 100 only once more with the tiny hit "Sunshine Games."(allmusic.com)

Fine psychedelic garage act from the mid sixties with different influences like soul, pop, rock, and psychedelia. The band was better as some critics wrote.

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At Request: Irish Punk Giants: The Undertones - The Undertones 1979 (2004 Sanctuary Midline, remastered) Flac & mp3

What is a perfect album? One could make an argument that a perfect album is one that sets out a specific set of artistic criteria and then fulfills them flawlessly. In that respect, and many others, the Undertones' 1979 debut is a perfect album. The Northern Ireland quintet's brief story is no different than that of literally dozens of other bands to form in the wake of the Clash and, more importantly, the Buzzcocks, but the group infuses so much unabashed joy in their two-minute three-chord pop songs, and there's so little pretension in their unapologetically teenage worldview, that even the darker hints of life in songs like the suicide-themed "Jimmy Jimmy" are delivered with a sense of optimism at odds with so many of their contemporaries.

There's no fewer than three all-time punk-pop classics here; besides that song, the singles "Teenage Kicks" and "Get Over You" are simple declarations of teenage hormonal lust that somehow manage to be cute instead of Neanderthal; perhaps it's Feargal Sharkey's endearingly adenoidal whine, or the chipper way the O'Neill brothers pitch in on schoolboy harmonies, like a teenage Irish Kinks. All of the other 13 songs, even the 47-second blip "Casbah Rock," are nearly to that level of brilliance, with the frenetic "Girls Don't Like It" a particular standout. (excerpt from allmusic.com)

Top notch punk album. But not just a punk album, maybe it is yet more a pop album that connect the best of both worlds punk and pop. Anyway a real great album.
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At Request: The Sugar Stems - Only Come Out At Night 2014 (Dirtnap Records) Flac & mp3

Playing an engaging and energetic fusion of '70s style power pop and '60s garage rock, the Sugar Stems formed in Milwaukee, Wisconsin in 2007. The group features several veterans of the local music scene: lead vocalist and rhythm guitarist Betsy Heibler and bassist Stephanie Conard had both been members of the Flips, while drummer Jon Heibler had played with the Teenage Rejects, the Catholic Boys, Tuff Bananas, and Sticks 'n' Stones. After a handful of low-key acoustic gigs, the Sugar Stems played their first proper show in May 2008, with Zach Byrne (ex-Goodnight Loving) on lead guitar. Byrne soon left the group, and the guitar spot was taken over by Drew Fredrichsen (a veteran of the Leg Hounds and the Jetty Boys), completing the Sugar Stems' definitive lineup.

In 2009, the Sugar Stems made their recorded debut with a single for Bachelor Records, "Beat Beat Beat" b/w "Crybaby," and the band's first full-length release, The Sweet Sounds Of, followed in 2010. In 2012, the band completed their second album, Can't Wait; it was originally released in Germany by Screaming Apple Records and in Japan by Dream On, while in 2013 it made its American debut via Dirtnap. The Sugar Stems introduced keyboard player Andy Harris on their third studio effort, 2014's Only Come Out at Night (once again released in America by Dirtnap), while a live LP, Sugar Stems 'n' Friends, came out through Dusty's Medical Records.(allmusic.com)

In some songs the band can't persuade me. For me it's too sweet (Baby Teeth) but without good candy if you know what i mean. Songs like ''Tell the Truth'' go in the right direction in my opinion. Also ''Elm Tree Eulogy''. All in all to me it's an average album. But tastes are different.

Have fun
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At Request: The Merrymakers - Bubblegun 1997 (1999 Big Deal Records 2 Disc US Version) Flac & mp3

By this point in their career, it seems as if the duo of Anders Hellgren and David Myhr should have four or five acclaimed releases under their belts and be household names in the world of pop music. Bubblegun, however, is only the Merrymakers' second full-length album (and their first in the U.S.), though they have been making unabashedly joyous and pretty pop since 1991. Their first album, No Sleep 'til Famous, brought the comparatively innocent and clear-eyed pop of the '60s into the '90s via a sophisticated and clean production. The band does the same on Bubblegun, crafting a set of songs that sound as if they could all be singles.
Undoubtedly, many of them would have been hits in the era from which they glean their influences, but the Merrymakers are not a retro act; they simply write gorgeous, catchy pop songs that are universal, transcending both time and place. Very rarely anymore do choruses explode out of speakers and simply envelop the listener with pure pleasure as do songs such as "Saltwater Drinks," "Troubled Times" and "Superstar." The songs, though they are incredibly melodic and crisply produced, are not in the least vapid. There is an edginess to many of the tracks, and lyrically, the Merrymakers do not shy away from difficult themes: "Monkey in the Middle" and "Superstar" deal with fading fame while the theme of lost love is all over the album ("April's Fool," "Sad," "Ms. Demeanour"). Never, though, does this cause the music or listening experience to drag or grate. Former Jellyfish frontman Andy Sturmer helps out on production on a few songs (and co-wrote a couple cuts), and he is a perfect match for the band
Since this is the band's first American release, Big Deal has added a bonus to the package: a second CD containing five songs from their first album. Those songs have a slightly more trippy feel to them but shine just as brightly as the songs on the first CD. It makes for a virtually flawless pop album: in a perfect world, Bubblegun would make the Merrymakers a household name.(allmusic.com)

This is the US release with the bonus disc for the US market with five songs from their first album. Some big names involved here in the production and songwriting. It's a fine Power pop album with '60s influences.
Have fun
              SB1    Flac p1  &  Flac p2  &  Flac p3           mp3@320