Paul McCartney And Wings - At Abbey Road 1974 mp3

This is not the unofficial album from Macca and Wings. This are recordings for the planned album ''One Hand Clapping''. It was recorded at Abbey Road in 1974. I also have the collector's edition double disc of ''One Hand Clapping'' with 40 tracks. If there is interest please comment and i will post it. The double disc is in flac. Okay let's go back to 1974.
Cheers
          Frank  mp3@320

The Feelies/The Bongos/Winter Hours Are East Of Venus!

East Of Venus - Memory Box 2016
This is the album of members/ex members of bands like the Feelies, Winter Hours, The Bongos. But you should read the article underneath. I just want to say that this is a wonderful record and you should give it a try. The link is here. I'll let it just up for the next three days.If you like it please purchase the album. I believe this will help the family in this bad times. You can buy it here and at amazon, itunes and the common places.
Cheers
           Frank

The joy in arrival of indie rock supergroup East of Venus’ Memory Box is tempered significantly by the knowledge that this will be the band’s only release. Guitarist/vocalist Michael Carlucci died of a heart attack in October 2015, a shock to the broad indie music community and one felt especially deep within the New Jersey scene of which he’d been a part since the exceptional run of his band  Winter Hours in the 80s. That said, though, there is much to celebrate in the existence of this release.
Carlucci is joined here by Stanley Demeski, who had been Winter Hours’ drummer before joining the reconstituted Feelies to record The Good Earth in 1986. Fellow Feelie Glenn Mercer shares guitar duties and ex-Bongo Rob Norris provides bass. Again, “indie-rock supergroup” is hardly an overstatement here.
Fragmentary, characteristic elements of the primary source bands are evident throughout, but East of Venus stands as its own unit with its own distinct blend of sound. Mercer’s languid, ringing guitar playing dominates songs like “You Started Something” and “Who’s to Know” while his whispered talk-singing is central to the sweet, Lou Reed-inspired “Jane September”. Norris carves intricate bass patterns below the lead guitars and around Demeski’s solid drumming, adding a deeper sonic complexity to even the album’s slower songs. But, from start to finish, this is Carlucci’s record. He composed six of the ten songs here, collaborated on a seventh, and sings lead on all but one track. Even the three covers reflect his spirit.
If a little thin on first listen, the raspy sincerity of Carlucci’s voice adds an endearing intimacy to these performances after repeated plays. Having travelled around central Georgia with this disc on repeat for a couple weeks now, I can’t imagine them sung any other way. “Faded Pictures”, a previously unrecorded Winter Hours song, makes the most of this characteristic. “Have you been wondering”, he sings, “what to say? / Have you been wondering where all the happy people play?” The repeated refrain of “Where do they play?” is heartbreakingly beautiful.
The band’s upbeat performance of Tim Hardin’s “Reason to Believe”, turns this classic bitter pill of a song into a folk-rock singalong, without softening its sting. The dark mood continues in “Wishing Well”, a song depicting the stubborn refusal to accept a relationship’s end and which gives the album its title: “The memory box it’s full of pain / Ten years later we remain the same.” A Byrds-like, twisting guitar run drives “Who’s to Know?” then gives way to a solo straight out of Crazy Horse. One of the album’s gems is the already-mentioned “Jane September”, a track composed by Richard Mason and Kristen Yiengst for their early ‘80s band Red Buckets, a group of significant potential that toured the Boston to Philadelphia corridor before imploding, as so many do.
Three of the four members of East of Venus—Carlucci, Mercer, and Demeski—were members of Red Buckets during that band’s brief period of promise. All moved on to their better-known bands, while Yiengst became an art director of note, working with a diverse collection of artists from Melissa Etheridge and Jon Bon Jovi to Jay Z and Kanye West. Mason, though, that band’s brilliant and troubled leader, never rose to the heights his talent promised and died of diabetes-related complications. It was a direct result of a 2004 tribute show for Mason that Carlucci, Mercer, Demeski, and Norris formed East of Venus. The excellent Tapewrecks blog has published a fascinating oral history of Red Buckets including commentary from all band members, save Mason, and scene contemporaries such as Yo La Tengo’s Ira Kaplan.
This Memory Box, despite the tragedy at its heart, is not “filled with pain”. This aptly titled album is a tribute to the memory of Michael Carlucci and to the ever-pulsing beat of a true believer.(popmatters.com)

The Movements - Grains Of Oats (2006) Flac

“Yes, Yes and thrice Yes!! This bunch are a Swedish group and if you liked Sweden’s The Strollers then you will want this disc without doubt. The Movements have a strong affinity to the ‘Paint It Black’ school of minor key modal scale lead lines, but played on farfisa organ rather than guitar. Add some strong fuzztone guitar, well mixed back, leaving the keyboard to carry the melody and add a confident vocal, cleanly recorded and you have a perfect modern ’60s album.
 ~ Paul Martin (Shindig magazine)

It is also not unduly reminsent of Sean Bonniwell’s Music Machine at times, and that’s no small compliment! This is a blinding set from start to finish. The Swedes and the Spanish (see Winnerys review further on) seem to be the global hubs for inventively modern 60s rooted music. From the opener ‘It Starts With A Whisper’, you know you will be on this ride until the end. The end comes 11 songs later with ‘Space Autopsy’ which is a great whirlwind of a number coloured by bleeps and various noises which conjure up a late 60s episode of the popular British science programme Tomorrow’s World take on what the future will sound like. I recommend this one very strongly and you can find out how to get it via their website, don’t hesitate!”

Hello Folks wish you a relaxed nice sunday all out there wherever you are. To this band Paul Martin of Shindig magazine have all said. If you love psychedelic pop with minor scales and all what a nice sixties psychedelic pop sound needs you are right here. I only can recommend it. You can buy it here.

Viel Spass wünscht Euch der
Superbillie1   Flac

Australian Power Pop; Ice Cream Hands - Travelling...Made Easy (1993) Flac

The Australian power-pop band Ice Cream Hands comprised singer/guitarist Charles Jenkins, guitarist Dominic Larizza, bassist Douglas Lee Robertson and drummer Derek Smiley. Debuting in late 1992 with a self-titled EP, the group issued their first full-length release Travelling...Made Easy a year later. After 1994's Supermarket Scene EP, Ice Cream Hands issued another stop-gap single release, Olive, before finally resurfacing with their sophomore LP Memory Lane Traffic Jam in 1997.

For a debut album, Australia's Ice Cream Hands' Travelling... Made Easy is quite an accomplished and ambitious effort. Instead of ever taking the easy road and resorting to guitar-drenched rockers or ballad schlock, Travelling... Made Easy immediately set up the blueprint of Ice Cream Hands' sound. While the tracks are not quite as strong or memorable as later material (especially that found on Memory Lane Traffic Jam), most of it is excellent nonetheless.

The sing-along opener "Let's Take a Look Inside" could almost be considered the band's mission statement; the lines "To blaze higher, endlessly -- that won't impress me/You can glow like a superpower/I'd rather have a wallflower/Let's take a look inside" clearly state the kind of pop that Ice Cream Hands create. There's no flash or bravado to this music, it's just pure, honest, catchy power pop, and that's part of this band's true far-reaching appeal. Since it is a debut, Travelling... Made Easy is a bit all over the place in terms of tempo changes and production, but that doesn't stop the full-throttle rocker "The Way She Drives" or the ultra-catchy pop of "Poor and Unknown" and "You Can Smile Now" from being any less enjoyable. With a debut like this, it's amazing this band continues to live in relative obscurity. (The German import release includes four B-sides as bonus tracks to make a total of 18. These are well worth seeking out as most are more raw than what is found on the album, and they also include a cover of the Replacements' "Swingin' Party.") (allmusic.com)

Wonderful band wonderful debut. Very strong piece of power pop. The complete album makes a lot of fun. I sometimes can't understand why bands like these don't get a little piece of fame. I highly recommend these guys. Grab it and enjoy
Good night
                  Frank  Flac

You will find the album ''Broken UFO'' here

GLAM!!! Alistair Riddell - Space Waltz (The Original Album)1975 (2005 EMI) Flac

Alistair Riddell - Space Waltz (The Original Album)1975 (2005 EMI)

Make no mistake about it -- this record would have not existed had it not been for David Bowie. It's not just that Alistair Riddell himself affected an androgynous look rather like Bowie's early-'70s visage. This New Zealander also sounded very much like Bowie in the 1970-1972 period, with catchy pop melodies, glam inflections to the rhythm and vocal phrasing, and even the frequent allusions to science fiction in the lyrics. Bowie himself had passed through that phase by the time this was issued in Riddell's native New Zealand in 1975, but given how slowly trends traveled to that part of the world in those days, it might well have seemed pretty cutting edge.

There's no getting past its blatant imitativeness, but if you are the kind who likes the early David Bowie sound enough to be satisfied by unoriginal approximations of the real thing, this is pretty good for what it is. Riddell goes through a gamut of glam affectations with convincing confidence, and if he's not the singer Bowie is, he's still okay. Nor is he on Bowie's level as a songwriter, but "Seabird" has the druggy, drawn-out downerisms of Bowie's bleaker side down pretty well, and both the 1974 New Zealand hit single "Out on the Street" and the melodramatically arching "Love the Way He Smiles" have a fairly authentic Ziggy Stardust outtake aura. According to the historical liner notes of the 2005 CD reissue on RPM, "most of the tracks were based on the Tellurians, a genetically engineered race from the planet Telluria whose inhabitants use sex purely as a reproductive process where no emotional love is involved." Well, you can't really tell without having read whatever book(s) sparked this brainstorm, but this doesn't mean this isn't a modestly enjoyable curio, little known internationally before its 2005 CD reissue in the U.K. (allmusic.com)

This is for sure hardly influenced by Bowie but this is a real strong glam album with a very very good gang of musicians. Very well done songs over the whole record. And this is a lot better than many of the 1990/00 years clones who raised up to pop stardom with the retro glam wave. If you have a faible for glam rock ''oldschool'' don't pass by here. I have added the original front/back artwork to the post.
Enjoy
          SB1  Flac

The Strawberry Alarm Clock - Incense And Peppermints 1967 (2011) Flac

This is the debut long-player from the southern California-based Strawberry Alarm Clock -- the title track of this album topped national singles charts in December of 1967. As the cover art might suggest, their image practically defined both the musical as well as peripheral aspects of the pseudo-psychedelic counterculture. However, below that mostly visual veneer, Strawberry Alarm Clock actually have more in common with other "Summer of Love" bands such as Love and Kak than the bubblegum acts they have long been associated with. Prior to Strawberry Alarm Clock, the band was initially named Thee Sixpence and issued a 45 -- "In the Building" b/w "Hey Joe" -- in the spring of 1966. As legend has it, none of the actual bandmembers sang lead on the hit single; the singer was in fact a vocalist named Greg Munford, who was attending the session as a visitor. The track was originally issued by Thee Sixpence on the regional All-American label. By the second pressing, however, the band's name had changed to Strawberry Alarm Clock. Sensing the possibility of a national hit, they were scooped up by the MCA Records subsidiary Uni and given the go-ahead to commence recording this, their debut LP.

Much of the band's sound is due at least in part to the writing styles of George Bunnell (bass/vocals) and the uncredited Steve Bartok (flute/vocals). The edgy fuzz-toned guitar sound of "Birds in My Tree" and the Los Angeles freeway-inspired "Paxton's Back Street Carnival" exude a garage rock flavor similar in style to that of Spirit's self-titled debut long-player. Another distinguishing factor is Strawberry Alarm Clock's multi-layered vocals. "Hummin' Happy" and "Rainy Day Mushroom Pillow" are precursors to the sophisticated harmonies that would also inform "Tomorrow" and "Pretty Song From Psych-Out," from their follow-up long-player, Wake Up...It's Tomorrow.

These guys made some wonderful albums in the sixties and the relaxed psychedelic pop was always a favourite of mine. Hope you have fun
Cheers
           Frank    Flac

You will find The Strawberry Alarm Clock - Wake up...It's Tomorrow 1968 (2005) Flac here

The Creation - How Does It Feel To Feel 1964 - 1968 (flac)

Unquestionably the best of the several Creation repackages floating around. Includes virtually all of their 1966-1968 singles and a few other stray tracks of interest from the same period.(allmusic.com)

Definitely the best review by Richie Unterberger lol. And rightly so. So i will not say more about the album/compilation. Here only a short bio about the band lol:

They could've been contenders -- hell, they should've been contenders! That's the first thought that passes through one's head as one hears the early singles by the Creation -- and, indeed, how they weren't contenders is astonishing. They had it all, the in-house songwriting, the production, the voices, and the sound that should've put them right up there with the Who and ahead of the Move and Jimmy Page, among others. Their lead guitarist, Eddie Phillips, was even asked by Pete Townshend to join the Who as their second guitarist. But thanks to an unaccountable weakness in their British sales -- as opposed to their German chart action, which was downright robust -- and some instability in their lineup, they were never to enjoy any of the recognition they deserved, and a right turn from psychedelia into soul at the wrong moment took whatever wind they had out of their sails (and sales). And the final few months of their history, filled out by the work of a revived band that never quite got it together in the studio, and singles derived from early outtakes, did nothing but confuse fans and admirers, who couldn't be sure "which" Creation they were dealing with on record.
The band's history began in 1963 with a group called the Blue Jacks in Cheshunt, Hertfordshire, to the north of London. The band had just gotten a new lead singer, Kenny Pickett (who'd previously driven the van for Neil Christian & the Crusaders), and with the addition of a new lead guitarist, Eddie Phillips, they changed their name to the Mark Four. The latter band got signed to Mercury Records' British division in 1964 but the resulting two singles failed to sell. Even as British audiences were finding their work quite resistible, however, German audiences were greeting their performances at the Big Ben Club in Wilhelmshaven with rousing enthusiasm. It was during their extended residence in Germany that the band chanced to cross paths with a local band called the Roadrunners, who had attracted amazing local club attendance with their use of guitar feedback in their songs. Eddie Phillips made note of the effect and started working out how he might assimilate it into his playing.
The Mark Four got a second crack at recording success with Decca Records, which resulted in a single of "Hurt Me (If You Will)" b/w "I'm Leaving." It also failed to sell, but it did establish the beginning of a new sound; on that record, Phillips introduced his own approach to guitar feedback. It was all a little too wild for Decca, which stuck the song on the B-side, but it was a beginning, of sorts. It also coincided with an ending, as the band's rhythm guitarist, Mick Thompson, and their bassist, John Dalton -- soon to join the Kinks, replacing Peter Quaife -- quit. The Mark Four finished their history with a temporary lineup and one last single in early 1966. During the weeks that followed, Pickett and Phillips, along with drummer Jack Jones, held the group together and began rethinking their precise image and direction -- for a brief time, future superstar bassist Herbie Flowers even sat in with them. By the spring of that year, the group had evolved into the Creation, with ex-Merseybeats bassist Bob Garner filling out the lineup, and they had also signed with an ambitious young Australian-born manager -- then closely associated with Brian Epstein -- named Robert Stigwood.

The Creation burst on the British pop/rock scene that June with "Making Time," a single that seemed to have everything going for it -- a killer beat after a brief (but catchy) stop-and-go intro, a great chorus, and a flashy, slashy, crunchy lead guitar part by Eddie Phillips that intersected very neatly with and expanded on the kind of sound that the Who were carrying high onto the charts at the time. The parallel was no accident, as that single was produced by Shel Talmy, who'd also worked on all of those early Who sides. In an eerie and inexplicable portent of their future, however, "Making Time" soared to number five in Germany but peaked at an anemic number 49 in England, this at a time when they were getting amazing press for their stage performances, which included paintings being lit afire and, in anticipation of what Jimmy Page would one day be doing with the Yardbirds, among others, Phillips began playing his electric guitar with a violin bow.
The group finally saw some slightly significant chart action at home in the fall of 1966 with "Painter Man," a cheerfully trippy pop anthem -- with a feedback-oozing guitar break -- that made the Top 40; predictably (and one can see where this story is going), the same record hit number one in Germany. The B-side, "Biff Bang Boom," opened with a "My Generation" guitar riff and jumped into a pop/rock idiom with a psychedelic edge that could have earned it airplay on its own.
By the start of 1967, however, the Creation had hit a crisis point, as Kenny Pickett quit over creative differences and frustration at the need to continue touring in Europe, where their audience was seemingly rooted. He was eventually replaced by Kim Gardner, late of the group the Birds. Their sound at that point was still intact -- Phillips was still there on guitar, which was a huge part of what they were about musically and sonically. At this point, with whatever momentum they'd built up in jeopardy, the group took a totally unexpected turn into blue-eyed soul with "If I Stay Too Long," which was a good enough showcase for Gardner (supported by some reverb-soaked backing vocals and an organ) but offered little from Phillips except some emphatically played chords; it was as though the Who, having established themselves on the charts and the radio with "My Generation" and "Anyway Anyhow Anywhere," had suddenly issued their version of "Please, Please, Please" as a 45 rpm -- it confused people who knew the Creation, and was mostly ignored by established fans. Much more like their established sound were "Can I Join Your Band," which somehow only got issued in France, and the U.K. single's B-side, "Nightmares."

They were still struggling for a commercial foothold in England, despite being one of the most widely touted live acts of the time, when the group's German label decided it was time to release a Creation LP. The latter, entitled We Are Paintermen, ended up being better than anyone could have anticipated, highlighted by the previous hit plus a surprisingly good, crunchy, at times almost Byrds-like rendition of "Like a Rolling Stone," and a version of "Hey Joe" that had the temerity to take Jimi Hendrix's slow tempo and treat its jagged guitar line even more harshly. There was also a rousing rendition of "Cool Jerk" for anyone who cared, though a lot else of what was there was either off-point or represented the earlier lineup. One more single, "Life Is Just Beginning" b/w "Through My Eyes," showed up in the fall of 1967 -- the A-side was a rousing psychedelic showcase, with elements of Indian raga and a catchy, chant-like main body, plus jagged guitar and a string orchestra with the cellos sawing away in the best "King Midas in Reverse" manner; "Through My Eyes" was no throwaway, either, with a lean, crunchy guitar, beautiful choruses, and a great central tune, with three-minutes-and-change of spacy sensibilities ending in a feedback crescendo. Evidently, Eddie Phillips felt that the single was as good a showcase as he would ever get, and in October of 1967 he quit. His departure was followed by Kim Gardner's decision to exit the group for a team-up with Ron Wood, Jon Lord, and Twink, in what became known as Santa Barbara Machinehead. The Creation was kept "alive" into the spring of 1968 when their U.K. label, Polydor, released a single of "How Does It Feel" b/w "Tom Tom" on both sides of the Atlantic, with the U.S. version tarted up in all sorts of dubbed-on psychedelic effects. They were both good sides but never charted, and that might've been the end of the group, but for the sudden re-emergence of Kenny Pickett, who got Gardner and Jones back together to form the core of a new "Creation." That band went through a couple of lineup changes, played around Europe for a bit with Ron Wood as a member, and then dissolved, and somewhere in the midst of all of those lineup changes a new album was started and abandoned (and forgotten for 36 years). Oddly enough, the new group at its best didn't sound bad, or all that much different from the classic lineup, although they lacked Phillips' knack for brushing up right against the edge of chaos with his guitar breaks.

That might've been the end, once and for all, of the group's history, but for four excellent (and very early) sides, probably demos by the Pickett/Phillips lineup, with Herbie Flowers sitting in on bass -- including a fine soul side, "Mercy, Mercy, Mercy," and a killer rendition of "Bonie Maronie," kitted out in a manner not that different from "Hey Joe" or "Biff Bam Boom" -- that turned up in Germany in 1968. This time, however, the group was really gone, the members going their separate ways -- Phillips into soul singer P.P. Arnold's band, among other activities; Gardner became part of Ashton, Gardner & Dyke ("Resurrection Shuffle") and Tony Kaye's group Badger; Dalton and Thompson tried reuniting under the name Passtime, and Kenny Pickett, after enjoying some success as a songwriter and performing in a variety of contexts, returned to being a roadie, this time for Led Zeppelin and other bands; and he eventually re-formed the Creation in the first half of the '90s.

His reactivation of the Creation was a response to a long series of events belatedly recognizing the band. In the early '80s, Eva Records of France released an LP that combined the singles by the Mark Four and some of the key sides of the Creation, while England's Edsel Records released How Does It Feel to Feel?, the definitive LP collection of the Creation. The group gained a reputation as one of the great lost missing links of '60s rock, sort of England's answer to Moby Grape in terms of massive talent unaccountably caught in a dead-end. The latter day group enjoyed three years of success before Pickett's death from a heart attack in 1996 ended their history. Since then, Demon Records in England has issued a slightly fuller, better mastered compilation (Our Music Is Red -- With Purple Flashes), and Retroactive Records released two CD's of their work, complete with outtakes, alternate mixes, and television performances, all amazing for a band that couldn't get a proper LP recorded in their own time.

Enjoy and cheers,
                            Frank   Flac

Badfinger - Badfinger 1973 (2014 MiniLP SHM-CD) Flac

Badfinger is a direct and concise attempt at a pure pop album. All four members of the group composed songs, starting with Pete Ham’s ballad “I Miss You”, a mainly solo piece that doesn’t contain much in sonic arrangement or lyrical depth, but is beautiful in its simplicity. In sharp contrast to the opener, “Shine On” is a bright, acoustic-folk-influenced track with great melodies and hooks. Seeming ready made for product placement, “Shine On” falls almost too perfectly into early seventies “have a nice day”, feel-good, sing-songy song. “Love Is Easy” was written by guitarist Joey Molland and is beat-driven and one of the few tracks to be released as a single from either of the 1974 albums.
Ham’s “Song For a Lost Friend” is the first song on album that is not a direct, front and center pop tune. This measured composition is the first song on Badfinger that reaches the level of excellence Badfinger was able to traverse. A great guitar lead follows philosophical lament that, in retrospect, could sum up Badfinger’s career as a whole;

You had a goal, you know you aimed so high, you had a soul, you knew you had to try
You’re just a victim of the time of day no matter what you say or do, you saw your dream and you just took a play and for a while your dream came true – what could you do?”

Taking about a minute for a clever intro of someone entering their house and turning on the radio to a distant rendition of the very song we’re about to hear, Tom Evans‘s “Why Don’t We Talk?” is a very John Lennon-ish type of song in its approach. Molland’s “Island” is the most hard rock based on the first side, built on rudimental riffs, driving rhythm sections, and potent guitar lead.
Badfinger‘s second original side is far superior to the first, with each band member composing some unheralded gems. These four tracks are sandwiched between a couple of unique tracks which bookmark the side. “Matted Spam” is a full-fledged funk n’ soul, complete with driving bass, a full horn section and a later saxophone solo. This song of optimism is infectiously bouncy and catchy with an almost Gospel feel of revival. The closer “Andy Norris” straddles the line between old time rock of the fifties and an early prototype for upcoming acts like The Ramones.
The four standout tracks that are the heart of quality on Badfinger start with “Where Do We Go from Here?” by Evans. It is excellent, melodic, and driven by a cool Wurli piano with tactical guitar licks music and vocals desperate but controlled. Evans’s bass has a bit of Caribbean feel in its beat, which is confirmed later with a short steel drum lead. “My Heart Goes Out” is a British-flavored-folk track with unique arrangement, composed by drummer Mike Gibbins. The chorus of string instruments including mandolin, dobro, and acoustic guitars gives a special melancholy vibe that keeps things interesting.

“Lonely You” is one of the truly best power ballads of the early seventies as Ham advances the McCartney-esque strain of soft pop to the next level. This may be a bit sappy for some, but there is not a flaw in this song compositionally or sonically as musically the blend of piano and acoustic are exquisite and guitar leads are potent and the arrangement has long outro to absorb the overall feel as it dissolves. Molland’s “Give It Up” seems to have tapped into nineties grunge about two decades early. This track is very dynamic with an eerie, quiet beginning and verse before it launches into strong part with blended, distorted guitars and a long coda contains wild, lead guitars which pushed the sonic limits of the early seventies. These four powerful, Side B tracks really preserve Badfinger as a relevant rock album four decades later, in spite of its poor reviews and weak sales upon its original 1974 release.(Thanks to ''classicrockreviews''.com)

It's a pity that this album and the other '74 release ''Wish You Were Here'' was more or less the albums who turned it all for the band to a cruel fate. All seems looking good and one year later all was broken in a sad way.
Enjoy the music and have fun, these guys was a truly great band.
Greetz
          Frank  Flac

Power PopPopPopPopPopPopPop...Secret Powers - Secret Powers & The Electric Family Choir (2009) Flac

Secret Powers - Secret Powers & The Electric Family Choir (2009) Flac

2009 effort 'The Electric Family Choir' of Secret Powers is another really great album. A lot of wonderful ideas, the songs wonderful arranged. You see all is WONDERFUL lol. Serious, this is a great band and a great album. Enough said. Grab it.

Have fun
               Frank  Flac

Rest in Peace David Stroughter - Majesty Crush - Love 15 (1993) mp3

I did not know until 10 minutes ago, that David Stroughter died untimely in a police shooting in the night to the first of February. I don't know what happened just read the headline of metrotimes.com  randomly. For that reason and for condolence i want remember to his music here.

 R.I.P. David Stroughter  1966 - 2017

Majesty Crush - Love 15 (1993)
link

Power Pop Pop Pop Pop Pop Pop Pop Pop: Secret Powers....

Secret Powers - What Every Rose-Grower Should Know 2011 (Flac)

I searched a review for the 2011 work of the Secret Powers but can't find anything. So i will do three, four sentences about the album. At first: It's a really great album full of top notch songs.-stop- Here are very gifted musicians at work.-stop-

I believe it was her fourth album then in 2011 and all what they did before this album was great.-stop- I'm a big power pop fan and i don't wanna do more small talk about the album.-stop- All what's important for power pop fans is:-stop- This is a top notch album!-stop-

Don't miss it, enjoy it
Cheers
           Frank   Flac

Psychedelic Rock & Pop of the sixties released in 2006! The Sidetrack - Baby (1969)2006 CD flac

The New York band Sidetrack recorded a demo album in the late '60s that never found release until finally getting issued in 2006 on CD. Many such relics from the time did not find release, at least in part, because of substandard production and sound quality. This is not the case with this would-be LP, which is quite professionally recorded and performed. One imagines that little or no extra work would have been required to ready it for commercial availability, and it's been reported that Elektra was indeed interested in adding the band to its roster, though nothing by Sidetrack appeared on the label. That doesn't necessarily mean, however, that Elektra should have released it, or that the album's failure to surface was such a great loss. The material's in a middling if largely non-indulgent psychedelic vein, chiefly distinguished from many other such average outfits by varied keyboards (piano, organ, and electric harpsichord) with a touch of classical influence. Perhaps there's a bit of Left Banke to some of the arrangements, though with heavier instrumentation, far less pop hooks, and rather wan or absent vocal harmonies (the greatest deficiency in terms of the production). Untypical of the record, which largely sticks to tracks between two and four minutes in length, is an 11-minute psychedelic instrumental that almost sounds like a baroque derivation of the kind of mood the Paul Butterfield Blues Band created on their classic "East West." Not quite as untypical, though one of the better tracks, is the short acoustic ballad "Blues for Matthew," which closes the record. (allmusic.com)

Limited reissue of scarce privately pressed album from 1969. Little is known of the band, and the album appeared as a test pressing with no jacket. Includes 'Wild eyes' which has appeared on a couple of compilations of rare American psychedelia/rock. Tracks are written in the wrong order on the CD. Correct order is written on this release page.(discogs)

Hello friends and folks, sisters and brothers. Wish all of you a wonderful start into the weekend. Today at first i post a little obscurity. The Sidetrack released her album in 2006, nearly 40 years after the recordings. As far as i know the band paid the whole production and nearly all the things needed for a complete product by themself then. They also make the 2006 release possible privately.
What makes me a little confused is that Mr Unterberger in his review say ''Blues for Matthew'' closes the disc. But ''Knowing What You Hold So Dear'' is the last song on the disc. Like discogs also noted on their page here. And that's also the running order on the vinyl release here. ''Blues for Matthew'' only closes side one of the vinyl record.  Maybe he owns a different disc... Okay however, the album is a mix of psychedelic pop, baroque pop and progressive rock. If you don't know give it a try. There are some really good songs on it. Enjoy!
With kind regards
                             Frank  Flac