Frosted (Jane Weidlin of Go-Go's) - Cold 1996 Flac

Unfortunately lost somewhere along the way amidst sporadic Go-Go's reunions (though Charlotte Caffey does help write a slew of the songs) and less-worthy commercial alternative big-hitters, Frosted's debut and sole album was a near-perfect pop-punk treat. Jane Weidlin assembled a great crew to back her up, which they do with enthusiasm, while she herself does some of her best non-Go-Go's work to date: sharp, bratty, and smart all at once. Vocally, she favors the high end throughout -- almost squeaky if one's being uncharitable -- but she controls and uses it so well that such would be a bad judgment. Her lyrics wryly and wisely touch on everything from female role playing to emotionally useless males. She's also canny enough to vary the musical mix from the start; opener "Dis-Integrated" kicks right along in perfect shout-along style, but has a lovely break right in the middle -- just sweet, wordless vocals and a soft bed of ambience.

Co-producer Marc Waterman, who also engineered, really helps bring out the full impact of the quartet; everything is bright, chunky, and radio-friendly without being gooey mainstream glop. The other three members do a fine job throughout, providing some great shout-along backing vocals as well as punching out the songs. Drummer Lance Porter is especially noteworthy, with a good ear for a crisp, danceable rhythm (check out his tight work on "Never," as well as the handclaps, soaring chorus, and great guitar solo). The lyrics are a scream as well: "You can't turn dogsh*t into art/I would never write a song -- about you." More than once some of the music suggests what might have happened for the Cranberries if they had avoided MOR swill and pumped up the feedback some more -- a good example being the way Weidlin stretches out the title of "Call Me Crazy."

 Very good pop rock album by Jane Wiedlin and the band.
Enjoy
         Frank  Flac

The Growing Concern - The Growing Concern (1969) 2004 Flac

This self-titled album by The Growing Concern curiously first saw the light of day in 1969 on Bob Shad's Mainstream label, an imprint more familiar to jazz and blues fans than devotees of psych/pop. Shad, who had worked as an A&R man for Mercury, Savoy and Emarcy in the '50s, working with the likes of Sarah Vaughan, Blue Mitchell and Curtis Fuller, had the fortune to sign the then-unknown Big Brother And The Holding Company, whose contract, along with that of the band's vocalist Janis Joplin, Shad wisely sold for a not-insignificant sum to Columbia. Perhaps Shad thought he was going to repeat his commercial triumph with The Growing Concern. However, the band was a different proposition altogether with its emphasis on beautiful vocal harmonies and fantastic guitar and organ work rather than the Joplin-dominated R&B of Big Brother. Consequently, Shad only allowed the group into the studio on a single occasion, dropping them from the label after this, their eponymous debut. All in all, this is a fine album.

The support of vocalists Bonnie MacDonald and Mary Garstki are an intrinsic part of the band's distinctive sound, and the songs contributed by organist Dan Passaglia, bassist John Pedley and guitarist Ralph Toms are more than equal to the offerings from more illustrious contemporaries such as Mike Hugg ("Mister You're A Better Man Than I") or Stephen Stills ("Sit Down I Think I Love You"). The album, which is brilliantly recorded, is of a consistently high musical quality and the band surely deserved a better fate than the obscurity that Shad's indifference consigned them to.(forcedexposure.com)

Psychedelic/Sunshine pop with some darker lyrics as usual for this kind of music.
Enjoy!
          Frank  Flac 

Bert Sommer - The Road To Travel 1968 (2006 Rev-Ola) Flac

Bert Sommer is often referred to as the lost star from Woodstock. Those who have only seen the documentary film, or heard the two sets released from the 1969 festival can be forgiven, however, if they are utterly unfamiliar with his name. Sommer was one of a tiny handful of performers who played the festival but never accrued career success, much less fame and fortune, coming out of it. Sommer was born in 1949, and grew up on Long Island. He was drawn to folk music as well as to pop and rock, and became part of the orbit of musicians that coalesced around that New York suburb's music scene. He was a natural musician who was self-taught on the guitar and piano, and who also wrote songs. By his mid-teens, he had become close to Michael Brown, later of the Left Banke, with whom he frequently performed in the early years. But he also traveled in circles that included Leslie West's much harder rocking band the Vagrants, for whom he wrote several songs.

His first moment of potential fame as a performer came amid the tumultuous first year or so the Left Banke's fame, when Sommer replaced original lead singer Steve Martin on the single "And Suddenly." But the original lineup was back together soon after that, and that single -- which, thanks to the controversy (including a lawsuit) over the lineup and the use of the name, was never on any of their albums -- was more of a curio in their output than one of its highlights. Sommer was drawn to acting, as well, and by 1968 he had landed the role of "Woof" in the musical Hair, replacing Steve Curry, who had originated the role -- with his frizzed-out Afro, wide, open features, and gentle, cheerful demeanor, he seemed the epitome of genial hippie-dom in the prime days of the counter-culture.

He also landed a recording contract with Capitol Records in 1968 which led to the recording of an album, The Road to Travel, with Artie Kornfeld. That release, like so many other folk-cum-singer/songwriter recordings tried by Capitol in those years (records by Jake Holmes and Hilton Valentine come to mind), died on the vine. But his relationship with Kornfeld, who later became one of the prime movers behind the Woodstock Festival, seemed to pay off with interest on August 15, 1969 when Sommer took the stage in front of several hundred thousand people to perform.

Based on the recorded evidence, his performance was a match for much of the rest of the music displayed that day and that weekend. Sommer performed 10 songs at Woodstock, and the audience enjoyed what he did, though through a combination of technical malfunctions and record-company politics, until 2009 he was never included in any of the commercial releases, on film or record, to come out of the event. Warner Bros. ended up grabbing the rights to everything out of Woodstock, and Sommer, as a Capitol artist, would never gain a spot even on either of the album sets, not even on Woodstock 2, which was used to tie up loose ends (he was aced out of the movie on technical grounds, and by the time Woodstock 2 appeared, he -- unlike his fellow hippie/folkie Melanie -- had faded into obscurity, so he lost out twice).

Artie Kornfeld recorded him a second time on his own Eleuthera Records, but Inside Bert Sommer never sold. Sommer seemed to take all of this in stride, and during the mid-'70s returned to acting, this time on television as part of the Kroft Supershow. He cut more music later in the decade, and subsequently moved to upstate New York, where he continued to perform and write songs until his death, from a chronic respiratory illness, in 1990. He has retained a cult following across the decades, similar to other prematurely departed singer/songwriters of his era, such as Tim Hardin and Tim Buckley. In 2009, as part of the releases to mark the 40th anniversary of Woodstock, the first official release of Sommer's performance at the festival could be heard on the six-CD Woodstock: 40 Years On: Back to Yasgur's Farm. (allmusic.com)

Bert Sommer was a gifted musician with great voice and his marvelous songwriting skills. I don't understand until today why he don't rose to fame. To stay at the example of Woodstock: If i see which average performers (i'm serious) rose to lifelong fame, the more i can't understand the deafness of audiences. I highly recommend this guy and his music.
Enjoy it
             Frank  Flac

The Standells - Dirty Water (1966) 1994

The Standells made number 11 in 1966 with "Dirty Water," an archetypal garage rock hit with its Stones-ish riff, lecherous vocal, and combination of raunchy guitar and organ. While they never again reached the Top 40, they cut a number of strong, similar tunes in the 1966-1967 era that have belatedly been recognized as '60s punk classics. "Garage rock" may not have been a really accurate term for them in the first place, as the production on their best material was full and polished, with some imaginative touches of period psychedelia and pop.
The Los Angeles band was actually hardly typical of the young suburban outfits across America who took their raw garage sound onto obscure singles recorded in small studios. They'd been playing L.A. clubs since the early '60s, with a repertoire that mostly consisted of covers of pre-Beatles rock hits. Drummer (and eventual lead singer) Dick Dodd had been a Mouseketeer on television, organist Larry Tamblyn was the brother of noted film actor Russ Tamblyn, and Tony Valentino was a recent immigrant from Italy. Gary Leeds (later to join the Walker Brothers) was an early member (though he was replaced by Dodd).

The Standells' pre-"Dirty Water" history is a little vague and confusing; they recorded some ordinary albums and singles for Liberty, MGM, and Vee Jay, appeared in the movie Get Yourself a College Girl, and did a lot of television work (most notably a well-remembered guest appearance on The Munsters, where they did a woeful version of "I Want to Hold Your Hand"). There were flashes of gritty inspiration on early cuts like "Big Boss Man" and "Someday You'll Cry," but the group didn't really hit their stride until teaming up with producer Ed Cobb, formerly of the clean-cut vocal group the Four Preps. It was Cobb who wrote "Dirty Water," which marked quite a change of direction from their previous clean-cut image. In fact, the group didn't even like the song, which took about six months to break into a hit.
Considerably toughening their image, the group churned out four albums in 1966 and 1967, as well as appearing in (and contributing the theme song to) the psychedelic exploitation movie Riot on Sunset Strip. Cobb, in addition to writing "Dirty Water," also penned their other most enduring singles, including "Sometimes Good Guys Don't Wear White," "Why Pick on Me," and "Try It" (the last of which was widely banned for its suggestive delivery).

The group did write some decent material of their own, such as the tense "Riot on Sunset Strip" and the psychedelic "All Fall Down," which bears an interesting similarity to some of Pink Floyd's early work. Their albums were quite inconsistent -- in fact, one of them, consisting of covers of big, mid-'60s hits, was altogether dispensable -- which makes it advisable for all but the truly committed to look for greatest-hits compilations that selectively weed out the best stuff.
The Standells never had a stable lineup; bass players were constantly leaving (John Fleck, aka John Fleckenstein, who was briefly in an early version of Love, held the spot for a while), and Dick Dodd went solo in 1968, the year they released their last single. Tower, as was the case with most of its artists, didn't apply intelligent long-range planning to the band's career, issuing too many albums at once. The group didn't help their own cause by issuing an awful vaudeville-rock single, "Don't Tell Me What to Do," under the transparent pseudonym of the Sllednats. They didn't record after 1968, though the group dragged on in one form or another until the early '70s (Lowell George was even a member briefly).

Enjoy
         Frank   Flac

The Mystic Astrologic Crystal Band feat Steve Hoffman - Flowers Never Cry 1967- '68 (Flac)

A third-tier late-'60s L.A. psychedelic outfit, the Mystic Astrologic Crystal Band were not as weird as their name indicated. They were, more to the point, as trendy as their name led one to believe, recording common-denominator psychedelic pop for the GNP label that emulated much of the form, but delivered little in the way of lasting content.

Steve Hoffman wrote all of the group's material, which largely consisted of passable emulations of the Association, the Seeds, and much of the L.A. psychedelic pop that fell between these extremes. Their sound is so anonymous, in fact, that one suspects they were only playing psychedelic music because it was fashionable -- if it were 12 years later, they may have opted to wear skinny ties and sound like the Knack instead.

Perhaps that's too harsh an assessment, but there's not much to put your back against on their albums, despite their status as collector's items.(Richie Unterberger allmusic.com)

My opinion about this record/band is completely different from Richie's lol. This is fine psychedelic pop with good arrangements and a lot of good songs.If you like psychedelic pop around '67-'68 give it a try. Enjoy
                     Frank  Flac

Off Broadway - On 1979 (1996) Flac

Probably the most popular album by this power pop group, On contained Off Broadway U.S.A.'s most well-known songs. In fact, if you listened to rock radio when this disc was new, it was not uncommon to hear any of those songs ("Stay in Time," "Bad Indication," "Hang On for Love" or "Full Moon Turn My Head Around") played frequently. The group had a sound a bit like their more popular fellow Midwesterners Cheap Trick, but with a little more quirky, almost new wave sort of bent to it. This album really did a great job of both showing off that sound and entertaining listeners at the same time.

Here is the first full release ''On'' by the band.
Hope you have fun
                              Frank  Flac

Power Pop from 1980: Off Broadway - Quick Turns (1980) Flac

So the name Off Broadway screams N.Y.C., but these are Illinois boys, and one of the myriad skinny-tie bands (actually only a couple dudes sport ties) that should've hit the big time. The mileage Off Broadway gets from a cliché remains nothing less than extraordinary: "U.S. Girls" cops an age-old opening from the Beatles; "Eddie's Pals" delivers a power pop missive almost in a league with the Hollies' "Dear Eloise" (or maybe Rundgren's "We Gotta Get You a Woman," but at least REO's "In Your Letter"). "Boys Must Be Strong" pleads poignantly and painfully long before the Cure's "Boys Don't Cry." Even without Tom Werman on the boards (he guided Off Broadway's inaugural On, and also produced hometown heroes Cheap Trick before he transmogrified into a pop-metal maven), Quick Turns is a pleasing platter impossible to resist.(allmusic.com)

Old school Power Pop heroes Off Broadway with her second album is always a good choice. Not    that strong like ''On'' but nevertheless a strong effort for sure. Grab it you will like it.
Cheers

           Frank  Flac

Teenage Fanclub - Songs From Northern Britain (1997)

No longer the brash, slightly grungy flavor of the month they were in 1992, Songs From Northern Britain finds Teenage Fanclub's trio of singer/songwriters -- Gerard Love, Raymond McGinley, and Norman Blake -- addressing adulthood and responsibility with a bright optimism that sets them apart from many of their contemporaries. From the cheeky yet heartfelt title to the gorgeous cover photographs taken by the band with photographer David Milne in the Scottish Highlands, Songs From Northern Britain is ostensibly a concept album about home and love.

Much like the Byrds, the Eagles, and Crosby, Stills, Nash & Young identified themselves with Los Angeles and Topanga Canyon, Teenage Fanclub has become intrinsically linked to Glasgow and rural Scotland. On "Planets," Blake sings, "We're going over the country/And into the highlands/To look for a home." Similarly, on "I Don't Want Control of You," one of the most beautiful affirmations of fidelity in a relationship, Blake writes, "Everyday I look in a different face/Feelings getting stronger with every embrace."

The overall effect is a feeling that the members of Teenage Fanclub are happy with who they are and who they love and see these notions as universal ideals. Musically, the album is more arranged than past releases and delves further into a folky, acoustic sound that fleshes out their Big Star fascination with some sweet harmonies à la the Byrds. There is even a slight bit of country twang mixed into these eminently hummable songs. This isn't to say that Teenage Fanclub has gone completely acoustic, though, as "Planets" features the sonic rush of a Moog synthesizer and fuzzy electric guitars rock pleasantly throughout much of the album. While Songs From Northern Britain may be too gentle and subtle for those listeners not willing to give it more than one spin, it is a resolutely beautiful album that will most likely stand as Teenage Fanclub's masterpiece.

Hello Folks, there is not much more to say. You know them - i know them...the only words i have to say is: Enjoy it and have fun . Kindly Regards Frank       Flac

The High Dials - A New Devotion (2003) mp3

Canadian power pop group the High Dials were formed in 2003 by singer/songwriter Trevor Anderson and guitarist Robbie MacArthur. The band grew out of Anderson's former project, the Datsons, who essentially changed their name after a New Zealand group using the same moniker became popular in North America. Viewing it as a chance to wipe the slate clean, Anderson and his bandmates released what was to be the High Dials' debut LP, 2003's A New Devotion, on the Rainbow Quartz label. Initially associated with the garage revival, the High Dials' first release had a distinctly retro '60s British mod sound that they have slowly distanced themselves from over the intervening years. Their acclaimed 2005 follow-up, War of the Wakening Phantoms, added elements of psychedelia, folk, power pop, and even shoegaze. They continued to tour extensively, evolving their sound and honing their songcraft with 2008's Moon Country and 2010's Anthems for Doomed Youth. All the while, the lineup continued to shift, always revolving around the creative core of Anderson and MacArthur. They worked with former Rolling Stones manager Andrew Loog Oldham in 2011 on a cover of "She Smiles Sweetly," and in 2014 two of their songs were featured on the hit Netflix series House of Cards. Following a period of inactivity, the High Dials reconvened as a trio with producer Marc Bell and recorded their fifth album, In the A.M. Wilds, which was released in early 2015.(allmusic.com)

Great canadian band with a successful long lasting career. Over the years they changed the sound more and more from album to album. Maybe this is her best work. Sometimes i am not shure lol, because they had a lot good stuff. This is definitely a monster album influenced by the great bands and sounds of the sixties.
Have fun
               Frank  mp3@320

The Hudson Brothers - So You're A Star - The Best Of The Hudson Brothers (1995)mp3

Although they aren't as well-remembered by the general public as Donny Osmond or Leif Garrett, the Hudson Brothers were a major presence on the teen idol scene during the mid-'70s, thanks to a string of variety shows that made them fixtures of Saturday morning television. They also recorded albums for the teen idol market, but their style was radically different from the usual teen idol fare. Instead of emulating David Cassidy, the Hudson Brothers recorded classic pop in the style of the Beatles or the Beach Boys (they also wrote most of their own songs). As a result, the Hudson Brothers' recorded legacy is on a whole different plane from typical 1970s teen idol sounds, and the best of this work is captured on So You Are a Star: The Best of the Hudson Brothers. Their sound combines an array of classic pop influences with a lush 1970s production style, and produced a pair of notable hits in "So You Are a Star" and "Rendezvous." Both songs show off their incredible gift to create original tunes that sound like their heroes: "So You Are a Star" stunningly recreates the woozy, psychedelic feel of "Strawberry Fields Forever," while "Rendezvous" is a perfect Beach Boys pastiche, right down to the boogie-woogie organ and doo wop vocal harmonies. Despite this gift for mimicry (which may have hurt their ability to be taken seriously by the rock press), other tracks on this collection show the Hudson Brothers were more than mere imitators.

For instance, "Spinning the Wheel" is a piano-driven power pop tune with melodic and harmonic twists worthy of the Raspberries, and "Lonely School Year" effectively contrasts a languid, lovely vocal melody with some frenetic rhythm guitar work to create a tune that is energetic and beautiful all at once. The group also throws in some new tracks for this compilation, the best being "Sweet Cindy," a rollicking mid-tempo track with a surprising country-rock feel to it. All in all, So You Are a Star: The Best of the Hudson Brothers is an extremely potent collection of pop tunes that is begging for rediscovery by 1970s power pop fanatics. Anyone who enjoys groups like the Raspberries or Badfinger will find plenty to enjoy on this disc.

This was a wonderful Power Pop band from the '70ties. Very much influenced by the Beatles and Raspberries. Beach Boys, too. Musically they had nothing to do with the Osmonds or Leif Garrett except the popularity of her music to the '70s teenagers in the USA. However if you don't know the band give them a listen. They was wonderful!
Have fun
               Frank  mp3@320

Finest Power Pop from Secret Powers! Explorers Of The Polar Eclipse (2008) Flac

It was hard to find a review about this album but after a longer time i found this review from a guy from ''Melodic.net'. Thanks Pär.

Here is a damn cool band that plays a very cool mix of styles. Firing up a mix of Bleu, ELO, Ben Folds, Kevin Gilbert (listen to the song in the second song Jenny, for example) and an early Elton John groove. This CD have been lying around in the "Forthcoming review-box" at home for a while and when I picked it up a few days ago, I was really surprised by what met my ears. There are many good tunes such as "Awfully Nice" with a typical modern powerpop piano that takes you up to the chorus which is a really nice ELO-fragrant tune.

´Sunny Pasadena´ smells Jim Boggia and "Counting Stars" could be a song that Bleu, ELO (a´la 1977) and Kevin Gilbert could be cooked for dinner... (Listen to the arrangement in the chorus). The singer Shmedly who also is the guy behind all the songs and who also produced the CD has a rather special voice that´s more a Kevin Gilbert sort of voice rather than the traditional modern powerpopvocalists like Ben Folds, Jon Brion and the other boys, and this also gives another dimension to the band.(Pär Winberg, melodic.net).

How sounds the ''traditional modern powerpopvocalist'' ? Like the ''typical modern powerpop piano''?
I'm just kidding. I think you know what you can expect if you listen to an unknown song or album by Secret Powers: Great Power Pop! And nothing more you will get with this album.
Enjoy
         Frank  Flac

Paul McCartney & Wings - One Hand Clapping (Collector's Edition)1974 mp3

Hello folks and friends, i'm sorry  this don't comes in Flac like i said yesterday but in mp3@320. I don't know what happened...wrong...i know what happened...i sleeped with my eyes wide open lol. I know a lot of you are glad it's mp3 because a lot of you like it more. Next wrong information of yesterday is: This is not a 40 track double disc, it's 46 tracks. Okay that's all about my broken promises :-).
Enjoy Macca and Wings
Cheers
           SB1

link Disc 1

link Disc 2