The Innocence - The Innocence 1966/67 (2010) Flac

When it comes to records on which they were the performers, prolific songwriters, singers, and producers Pete Andreoli and Vinnie Poncia, Jr. might be best known for their discs as the Tradewinds. Lesser known is this 1967 self-titled album by the Innocence, which is pop/rock at its bounciest and frothiest.

It's an apt title for both album and band, considering it's from a time when much rock was getting decidedly less innocent by the minute. In contrast, the Innocence offered perky, well-crafted to the point of well-scrubbed tunes with the slightest of influences from folk-rock and psychedelia. Some of the songs -- including the Top 40 hit "There's Got to Be a Word (Beyond the Meaning of Love)" and the smaller hit "Mairzy Doats" -- could have been relics from the Tin Pin Alley/music hall era, though dressed up with harmonies and arrangements that could have only been possible in the sunshine pop era.

This might be too sweet even for big fans of this sort of stuff, though it does vary the pace a little with bits of folk-rockish balladry ("Someone Got Caught in My Eye"), Motown ("All I Ask"), bossa nova ("Your Show Is Over"), and labelmates the Lovin' Spoonful (slightly recalled by "It's Not Gonna Take Too Long," and covered to unnotable effect on "Do You Believe in Magic"). The CD reissue on Rev-Ola has basic historical liner notes and two bonus tracks: the single versions of "There's Got to Be a Word (Beyond the Meaning of Love)" and "I Don't Wanna Be Around You."

This is a fine album of sunshine/psychedelic pop. Have fun

Cheers Frank  Flac

The Happenings - The Happenings('66) - Psycle('67) (2003 Rhino) Flac

The '60s pop outfit the Happenings enjoyed a three-year run of several hit singles late in the decade. Formed in 1961 in Patterson, NJ, the group has seen their lineup change from time to time, but founding member/lead singer Bob Miranda has been a constant member through it all. Soon after, the Happenings began scoring hit singles, including such number ones as "See You in September" and "I Got Rhythm," as well as other moderate hits ("Go Away Little Girl," "My Mammy," and "Girl on a Swing," among others). In addition to their singles, the Happenings issued several full-length recordings, including 1966's self-titled debut, 1967's Psycle, and 1969's Piece of Mind, performed on such popular TV shows as The Tonight Show With Johnny Carson, The Smothers Brothers Show, and The Merv Griffin Show, and shared the concert stage alongside such notables as the Beach Boys, Roy Orbison, Joan Rivers, John Denver, the Drifters, and the Kingston Trio, among others. In the '90s, Miranda formed a new version of the Happenings, playing out live alongside members Bob Kulik and George Rizzi.

These guys had a string of pop hits in the sixties. Here are 24 songs of great sixties radio pop.
Cheers
          Frank  Flac
                               and Here
The MEGA link is limited till March, 17th, 2017

The 13th Floor Elevators - Easter Everywhere 1967 (1991) Flac

On their groundbreaking debut album, the 13th Floor Elevators sometimes sounded as if they were still learning how to work with the strange beast of their own creation known as psychedelic rock. But their second set, 1967's Easter Everywhere, found them a great deal more comfortable and confident with their loose and hypnotically trippy approach. Easter Everywhere doesn't have an out-of-the-box classic cut like "You're Gonna Miss Me" or "Fire Engine" from The Psychedelic Sounds of the 13th Floor Elevators, but in many ways it's a more cohesive and consistent work, and the subtle but effective structures of the longer tracks grow and develop through repeated listenings, while rockers like "She Lives (In a Time of Her Own)" and "Levitation" pack a surprisingly visceral punch. Stacy Sutherland was never a blazing guitar hero, but his concise aural punctuations on the epochal "Slip Inside This House" and a superb cover of Dylan's "It's All Over Now, Baby Blue" are perfectly suited to the material. In addition, the rhythm section of Dan Galindo on bass and Danny Thomas on drums locks these songs into place with confidence and skill. The strange patterns of Tommy Hall's electric jug playing are as gloriously bewildering as ever, merging the music of the spheres with an alien attack, and Roky Erickson's vocals make even the most acid-damaged poesy sound passionate, graceful, and wildly alive.

And Roky and the Elevators never sounded sweeter and saner than they did on the penultimate tune, "I Had to Tell You," with Roky seemingly offering a postscript to his many sad years to follow with the words "If you fear I'll lose my spirit/Like a drunkard's wasted wine/Don't you even think about it/I'm feeling fine."

Even if less influential than The Psychedelic Sounds of the 13th Floor Elevators, Easter Everywhere is every bit as compelling and a true benchmark of early psychedelic rock -- not bad for an album produced by Kenny Rogers' brother. (allmusic.com)

Hope you will enjoy
                              Frank   Flac

Classic album! The Kinks - Kinks Part One (Lola Versus Powerman and the Moneygoround) 1970 (2004 Sanctuary) Flac

"Lola" gave the Kinks an unexpected hit and its crisp, muscular sound, pitched halfway between acoustic folk and hard rock, provided a new style for the band. However, the song only hinted at what its accompanying album Lola Versus the Powerman and the Moneygoround, Part One was all about. It didn't matter that Ray Davies just had his first hit in years -- he had suffered greatly at the hands of the music industry and he wanted to tell the story in song.

Hence, Lola -- a loose concept album about Ray Davies' own psychosis and bitter feelings toward the music industry. Davies never really delivers a cohesive story, but the record holds together because it's one of his strongest set of songs. Dave Davies contributes the lovely "Strangers" and the appropriately paranoid "Rats," but this is truly Ray's show, as he lashes out at ex-managers (the boisterous vaudevillian "The Moneygoround"), publishers ("Denmark Street"), TV and music journalists (the hard-hitting "Top of the Pops"), label executives ("Powerman"), and, hell, just society in general ("Apeman," "Got to Be Free"). If his wit wasn't sharp, the entire project would be insufferable, but the album is as funny as it is angry.

Furthermore, he balances his bile with three of his best melancholy ballads: "This Time Tomorrow," "A Long Way from Home," and the anti-welfare and union "Get Back in Line," which captures working-class angst better than any other rock song. These songs provide the spine for a wildly unfocused but nonetheless dazzling tour de force that reveals Ray's artistic strengths and endearing character flaws in equal measure.(allmusic.com)

One of the five best albums by the Kinks and for the retirement pension Ray Davies had prevented with just one song, yes naturally Lola an alltime classic since nearly fifty years. But the album have a lot more strong songs. I love it and maybe you will, too. Try it.
Cheers
           Frank Flac 

The Glass Family - Electric band 1967 (2010) Flac

An Excellent album of psychedelic rock, and certainly a defining statement of West Coast Psychedelia. Part of its appeal is the lyricism that is perfectly explained song after song. Some subject matter may have been typical of its time, but songs about impotence are never expected. Musically it's solid with great ballads a psychic madness. Stand outs include:
Once Again
Elements of Complex Variables
Guess I'll Let You Go
Passage #17
However the entire ensamble fits in great together which is ultimately why it is such a wonderful album making it a true hidden masterpiece.(Gibran Guerrero, reader, allmusic.com)

Being the perpetual opening band, The Glass Family, displaying an invitingly harmonic surf and garage sound, nearly channeling the likes of Spirit, this good natured band of eccentrics, who opened for groups such as The Doors, The Grateful Dead, Gram Parsons, Vanilla Fudge, and Love, have more backstage stories than you could ever imagine.  Perhaps one of the best being the time Owsley Stanley was walking around in the shadows dosing tiny paper cups of punch laced with LSD, handing them out to the band, and then disappearing into the audience with a tray of the same, setting minds on fire, melting walls, and increasing the intensity of the music ten fold.

The Glass Family weren’t alway called The Glass Family, they began their career on a lark, as a way of making money for beer and surfboard wax, often playing the same venue and parties under a different name, mere days apart ... using monikers such as The Carpet Baggers and The Soul Survivors.  It was an ideal time to young and idealistic in L.A. back in 1967, where they experimented with instrumentation, fuzzed out guitars, and vocal arrangements emphasizing the softer side of psychedelic rock.

And though they were never a hit, and received nearly no radio airplay, this assemblage of talent set the pace for many bands to follow, and anyone who saw them live stumbled home with hallucinogenic musical imagery dancing in their heads ... sounds that were interwoven with groups like Country Joe & The Fish’s “Death Sound Blues,” or The Beatles with “Do You Remember,”  along with sustained and much better 13th Floor Elevator grooves.

I personally didn’t discover the magic found here until I was knee deep in the mud of Vietnam, where the music of The Glass Family rode on a breeze from the east, so thickly laced with distant memories that I could nearly smell America and hear muffled voices along with dancing feet ... hoping for all the world that I would find my way home, and that a bit of the magic I imagined, and so deeply needed, would be there waiting for me on my return.  And now, nearly fifty years out, as these songs filter from my speakers, I find that I can taste the times, and still long for those heady days and electrifying nights.(streetmouse, reader, ''rate your music'')

Original LP Back

I believe in 2015 Maplewood released it with the first version of the album as bonus tracks. If you like light psychedelic music from the US (and influenced a little by The Doors) from the mid sixties you're right here.
Have fun
              Frank  Flac

The Effection- Soundtrack To A Moment 2012 (mp3)

"Soundtrack to a Moment is, top to bottom, one the finest power pop albums to come out in years. Bouchard and his pals are unabashed pigs for harmonizing, which, when welded to the chassis of their punk background, makes for some pretty cathartic stuff. Forget all the buzzwords like genuine and sincerity that are tossed around to keep power pop down in its cult ghetto, and you'll more likely than not find yourself wondering why a song like "Agony" shouldn't be on the charts. Here's to hoping for better days."
--- John O'Neill, San Francisco Bay Guardian

Very good Power Pop album from a top notch band of the genre. Great arrangements and songs who remember me sometimes to the Knack. You should give them a try if you never heard this guys.
Cheers
          Frank  mp3@320

The Artwoods - Jazz In Jeans 1966 (2010) Flac

The Artwoods - Jazz in Jeans from 1966 is the original ep with four tracks plus 14 bonus tracks. The 14 bonus tracks are 7 7''singles from the Artwoods from the sixties. If you like the Artwoods, grab it.

Have fun
             Frank  Flac 

Problems with Bigfile? Problems with yourself?

Hello folks, i will give here a short instruction how to download free files in Bigfiles. I know that some people have problems to download by Bigfile. As far i know it is no problem in the most countries to reach Bigfile.
Okay i want try to give an easy guidance/instruction:

1) You follow my download link
2)The browser leads you to the site of bigfile where the file is.
3)You must scroll the site a little down. (If any windows pop up close them)
4)If you have scroll down a little there is a window: Left side: premium user  Right side: free user.
5)Push the free user button
6) a counter countdown 60 seconds to zero
7)If the minute is expired the site jumps automatically up. There is a captcha.
8)Fill in the captcha
9)If you fill in the captcha right you can push the download button. That's it.

It's important to close the pop up windows than there is no problem to download.
You can also make an account for free.The downloads run more faster than.

I write this here because i got impolite emails and comments about my choice for bigfile. I don't understand peoples like this. The music is for free and if some things not work as i like i can be nevertheless always polite if i talk to someone. I believe that's the base for a good communication. Just my two cents...
I hope i could help with Bigfile

Frank

The Hollies - At Abbey Road 1963 - 1966 (Remastered 1997)

Here comes a short biography of the band by Allmusic.com:

When the Hollies -- one of the best and most commercially successful pop/rock acts of the British Invasion -- began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style featuring three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially future 10cc member Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a similar capacity for artistic growth. They tried, though, easing into somewhat more sophisticated folk-rock and mildly psychedelic sounds as the decade wore on, especially on their albums (which contain quite a few overlooked highlights).

Allan Clarke (lead singer) and Graham Nash (vocals, guitar) had been friends since childhood in Manchester, and they formed the nucleus of the Hollies in the early '60s with bassist Eric Haydock. In early 1963, EMI producer Ron Richards signed the group after seeing them at the famous Cavern Club in Liverpool. Guitarist Vic Steele left before the first session, to be replaced by 17-year-old Tony Hicks. Drummer Don Rathbone only lasted for a couple of singles before being replaced by Bobby Elliott, who had played with Hicks in his pre-Hollies group, the Dolphins. The lineup changes were most fortuitous: Hicks contributed a lot to the group with his ringing guitar work and songwriting, and Elliott was one of the very finest drummers in all of pop/rock. Although their first singles were R&B covers, the Hollies were no match for the Rolling Stones (or, for that matter, the Beatles) in this department, and they sounded much more at home with pop/rock material that provided a sympathetic complement to their glittering harmonies. They ran off an awesome series of hits in the U.K. in the '60s, making the Top 20 almost 20 times. Some of their best mid-'60s singles, like "Here I Go Again," "We're Through," and the British number one "I'm Alive," passed virtually unnoticed in the United States, where they didn't make the Top 40 until early 1966, when Graham Gouldman's "Look Through Any Window" did the trick. In 1966, Eric Haydock left the group under cloudy circumstances, replaced by Bernie Calvert.

The Hollies really didn't break in America in a big way until "Bus Stop" (1966), their first Stateside Top Tenner; "On a Carousel," "Carrie Ann," and "Stop Stop Stop" were also big hits. Here the Hollies were providing something of a satisfying option for pop-oriented listeners that found the increasingly experimental outings of groups like the Beatles and Kinks too difficult to follow. At the same time, the production and harmonies were sophisticated enough to maintain a broader audience than more teen- and bubblegum-oriented British Invasion acts like Herman's Hermits. Their albums showed a more serious and ambitious side, particularly on the part of Graham Nash, without ever escaping the truth that their forte was well-executed pop/rock, not serious statements. Nash, however, itched to make an impression as a more serious artist, particularly on the "King Midas in Reverse" single (1967). Its relatively modest commercial success didn't augur well for his influence over the band's direction, and their next 45s were solidly in the more tried-and-true romantic tradition. By 1968, though, Nash really felt constrained by the band's commercial orientation, and by the end of the year he was gone, left for the States to help found Crosby, Stills, & Nash. His departure really marked the end of the group's peak era.
In 1969, the band tried to have its cake and eat it too by doing a whole album of Hollie-ized Dylan songs, which was received poorly by some critics, although it was a decent seller in Britain. Nash was replaced by Terry Sylvester (formerly of Liverpool bands the Escorts and Swinging Blue Jeans), and the hit streak continued for a while. "He Ain't Heavy, He's My Brother," in fact, was one of their biggest international singles. But the group was really reaching a cul de sac; they'd managed a remarkably long run at the top considering that they hadn't changed their formula much since the mid-'60s, adding enough sophistication to the lyrics and arrangements to avoid sounding markedly dated. It was apparent they really weren't capable of producing long-playing works striking enough to appeal to the album audience, though, and their singles, though still hits on occasion, weren't as memorable as their best '60s work. A modest slide in the early '70s was arrested by "Long Cool Woman in a Black Dress," a Creedence Clearwater Revival-type rocker that made number two in the States in 1972. The timing wasn't ideal; by the time it became a smash, Clarke, who had sung lead on the single, had left to go solo, to be replaced by Swedish vocalist Mikael Rickfors. Clarke rejoined in mid-1973, and the group had one last international monster, "The Air That I Breathe," which made number six in the U.S. in 1974. The group went on to record a string of further albums in the second half of the 1970s.

Curiously, mostly thanks to Clarke, they did pick up on Bruce Springsteen's work as a songwriter earlier than a lot of other acts, but not even their beautiful rendition of "Sandy" could avert their slide from the public's consciousness. Most of their late-'70s releases were heavily influenced by the prevailing disco and dance-rock sounds of the era, although they never entirely abandoned their harmony vocal sound. Under other circumstances they might have pulled off a career conversion similar to that achieved by the Bee Gees after 1974, but luck wasn't with them and their output in this period was ignored, passed over by fans of their old sound and the disco audience alike. This coincided with a decision by their American label, Epic Records -- apparently conceding that the Hollies would never sell large numbers of LPs regardless of how big their hits ever were -- to minimize the marketing efforts invested in the band's records, essentially running out the clock on their contract. Ironically, the label ended up passing on the one LP the group issued in the late '70s that would have reached out to old and new audiences, the concert album originally titled Hollies Live. It ended up getting reviewed enthusiastically in numerous American magazines and newspapers as a Canadian import. The group seemed to reach a dead end in the early '80s, with Sylvester and Calvert exiting suddenly during that period.

The Hollies received a boost in press interest in America during 1983, however, when Graham Nash rejoined for one LP (What Goes Around... on Atlantic Records), but even this proved a false start. A new generation of rock music critics, accustomed to looking askance at longtime acts such as the Hollies attempting to bring their sound into the 1980s, proved especially hostile to the group's British invasion-style gambit of re-interpreting a Motown standard like "Stop! In the Name of Love," which became the single off the album. In a sad piece of irony, What Goes Around... received more press attention than any long-player they'd ever released in America, but most of the reviews were lukewarm or outright negative; worse still, this was a dozen years past Crosby, Stills & Nash's heyday, and even Graham Nash's star had faded considerably by then. Additionally, it turned out that a lot of his remaining American CSN fans were simply not prepared to accept -- or, at least, get excited by -- the idea of his returning to the Hollies. They got lots of print and radio exposure, but the public just didn't care that much; as an example, an autograph signing at Tower Records in New York's East Village was ended an hour earlier than its scheduled 90 minutes when hardly anyone showed up to meet the band. And the tour by this lineup had to be hastily rebooked into smaller halls when ticket sales didn't meet promoter expectations.

The group continued to play concerts and make beautiful records, but there was no public demand for new releases, and by the '90s they'd ceased making new studio recordings. As the 21st century beckoned, Allan Clarke -- after nearly 40 years as the lead vocalist for the band -- found that his singing didn't come to him as strongly or as well as he was used to, and he decided to retire, leaving Hicks and Elliott as the last two core members of the group. Clarke's first successor was Carl Wayne, the onetime lead singer of the 1960s Birmingham-spawned band the Move, who fronted the band on-stage for the next couple of years. In 2003, EMI Records recognized the Hollies' musical significance with a huge (and hugely satisfying) six-CD box set, The Long Road Home: 1963-2003, covering every era and major lineup in the group's history, and containing a huge number of previously unreleased and unanthologized tracks.

Wayne's death in 2004 led to another shift in their lineup, but in 2006 the group bounced back with its first new studio album in 23 years, appropriately entitled Staying Power, which featured Hicks and Elliott at the core of a lineup that included Peter Howarth on lead vocals, with Ian Parker on keyboards, Steve Laurie on guitar, and Ray Stiles on bass. Although not widely distributed outside of England, the record -- ironically, their first CD-original studio album -- proved to be a very fine updating of the group's sound, retaining enough of their traditional pop/harmony elements to satisfy longtime listeners. A live DVD derived from a December 2006 concert in Belgium was issued in 2007, a year that also saw a big chunk of their vintage catalog get further CD re-releases, principally through EMI. In 2009, the Hollies returned with a new album, Then, Now, and Always, and the following year, they received one of the greatest accolades of their career when the Hollies were inducted into the Rock & Roll Hall of Fame. The group continued to tour in the U.K. and Europe, and their 2012 road trip resulted in a live album, 2013's Hollies Live Hits: We Got the Tunes! And in 2014, as the band celebrated their 50th anniversary as a recording act, they released a special three-disc collection, 50 at Fifty, a set that covered the group's history in 50 songs, and included a new track, "Skylarks." (allmusic.com)

This is a fine collection of Hollies songs from the early years of the band where they build the cadre of her pop songwriting skills. The 28 songs are well selected and gathered.
Enjoy
         Frank  Flac
                              Mega

The Seeds - A Web Of Sounds 1966 (2010, Hayabusa Landings)

Recorded in the midst of 1966, naturally after the spring release of their debut but before "Pushin' Too Hard" climbed into the national charts in the spring of 1967, A Web of Sound finds the Seeds pushing their sound into new dimensions, happily keeping pace with their Los Angeles contemporaries Love and the Doors. That the Seeds never received the respect accorded to their peers, either then or now, may be partially due to their lack of lyrical ambition, or it could be due to the Hollywood teenage sleaze that seeped out of this quartet led by garage rock icon Sky Saxon. Whatever the Seeds did, it sounded somewhat dirty, a maxim that applies to A Web of Sound even if it lacks singles as hard and filthy as "Pushin' Too Hard." Instead, this is a proto-psychedelic trip, kicked off by the cheerful, swirling "Mr. Farmer" -- the Kinks transplanted to a Middle American fable as refracted through the prism of the West Coast -- and "Pictures & Designs," which falls into the "Pushin' Too Hard" progression by its chorus.

Thing is, A Web of Sound was cut long before that single turned into a hit, so neither "Pictures & Designs" in specific or the album as a whole functions as a cash-in. Rather, it's an expansion, downplaying grit and grunge in favor of expansive organ-fueled pop fantasias, minor-chord stomps, an elastic blues burner ("A Faded Picture"), and veiled odes to drugs and sex, all wrapped up via the monumental live-in-the-studio workout "Up in Her Room," nearly 15 minutes of sneering tension and release. "Up in Her Room" compares favorably to Love, and Saxon and Arthur Lee did run in the same circles, but decades later Saxon's downscale aspirations are blindingly apparent; he wasn't seeking transcendence, he was exploiting the moment. As such, A Web of Sound

feels more thoroughly tied to 1966 than most of the Los Angeles rock of that year and that's both its blessing and its curse: it brings the era rushing back but it doesn't suggest any of the future. And yet, that transience is precisely why the album is so enjoyable. All the organs, all the minor-key riffs, all the desperate desire to be a star coalesce into a quintessentially L.A. trip, a harbinger of all the wasted good times that could be found on the Sunset Strip.(allmusic.com)
Very good second album by the band .
Cheers
           Frank 
             Flac

The March Collection: SB's Power Pop Collection Vol.4 (mp3@320)

Hello friends and folks, here is the fourth volume of my homemade collection of popsongs. It takes several hours and cigarettes (that's not political correct hmmm...?...but i've never said this is a drug free blog..i'm just kidding!), a lot diggin' through my music and in the end the hardest part, to choose the songs. 25 this month and i hope you will enjoy. Here is the tracklist:


1 Rainbows-Ross
2 I've been waiting-Matthew Sweet
3 Get down-Jay Gonzales
4 I miss you-Shoes
5 Hazel eyes-Redd Kross        
6 Heard enough-Danny Wilde
7 Up,up and away-Big Hello
8 That someone-Matt Bruno
9 Princess Needy-Sparkle Jets UK
10 God only knows-Timmy Sean
11 It all comes down-Nick Piunti
12 Her stars are my stars-John Wicks
13 Hey Deanie-Shaun Cassidy
14 Solar sister-The Posies
15 Rest up-Jim Basnight
16 Rock'n'Roll Love Letter-The Bay City Rollers
17 Reasons-The Rooks
18 Girl of my dreams-Bram Tchaikovsky
19 Staying out for the summer-Dodgy
20 This can't go on-The Scruffs
21 Nobody knows-Scott McCarl
22 Strawberry afternoon-Double Naught Spies
23 Chance to get away-The Bottle Kids
24 Honest guy-The Popdogs
25 This soul is not for sale-The Jangle Band    

Viel Spass
               Frank    mp3@320

The Seeds - The Seeds 1966 (2010) Flac

Of the great garage punk bands of the 1960s, some were louder (the Sonics), some were angrier (the Music Machine), and some were trippier (the 13th Floor Elevators), but few seemed like a bad influence on so many levels as the Seeds. The Seeds had long hair, a gloriously lamentable fashion sense, an attitude that was at once petulant and lackadaisical, and music that sounded aimless, horny, agitated, and stoned all at once. Is it any wonder America's delinquent youth loved them? The Seeds' aural signature was as distinctive as any band of their era, and they got a bit fancier with their formula as they went along, but they never captured their essential seediness with more impressive concision than they did on their self-titled debut album from 1966. Dominated by the fierce, drawling yelp of Sky Saxon's vocals and Daryl Hooper's hypnotically repetitive keyboard patterns, and supported by the snarling report of Jan Savage's guitar and Rick Andridge's implacable drumming, the Seeds had a limited bag of melodic tricks, but they hardly seemed to care that roughly half their songs sounded identical, as Saxon bellowed about people who had done him wrong in some way or another (usually women) and the band locked into cyclical grooves that picked up impressive momentum when they gained enough traction (especially "Evil Hoodoo," "You Can't Be Trusted," and the Seeds' signature tune "Pushin' Too Hard").

On their second album, A Web of Sound, the Seeds would become more blatant in their celebrations of sex and drugs, but the glorious primitivism and narrower focus of their debut ultimately works to their advantage; there are few albums of the era that mirror the delicious arrogance of a beer-sodden teenage misfit with the effortless simplicity of the Seeds, and it's justly celebrated as a classic of first-wave garage punk.(allmusic.com)

A classic album and a role model for uncounted garage bands of later times. This is the 2010 Japan release of Hayabusa Landings. It's from a series of five albums by the Seeds. Hope you have fun
Cheers
           SB1  Flac