Tom Robinson Band - Power In The Darkness (1978) 2004 EMI Remastered (mp3)

This is the album by which Tom Robinson's works have been measured; its consistency is all the more remarkable, since he'd written several keynote tracks while toiling in the go-nowhere folk trio Café Society (such as Robinson's defining anthem, "Glad to Be Gay"). Power in the Darkness is proudly defiant as the era that inspired "Up Against the Wall," "Ain't Gonna Take It," "Long Hot Summer," or "The Winter of '79," which level fierce disdain for social hypocrisy. So does the nearly five-minute title track and funk-rock tour de force, while Chris Thomas' production is as razor sharp as the band itself. Guitarist Danny Kustow's go-for-the-throat style is the driving force; it's storming on the rockers yet suitably restrained on quieter fare like "Too Good to Be True," Robinson's lament for oft-delayed social change. Keyboardist Mark Ambler is equally assertive on colorful Hammond organ swashes, while Robinson plunks down simple, legato basslines, and Brian "Dolpin" Taylor keeps the beat pouncing, where others might let it loiter.

The live/studio bonus EP, Rising Free, demonstrates the band's explosive nature. The Ambler-Kustow interplay works to thunderous effect on "Don't Take No for an Answer," Robinson's bittersweet account of a soured publishing deal with the Kinks' Ray Davies; the hit "2-4-6-8 Motorway," one of rock's great drive-all-night numbers; and a searing rearrangement of Bob Dylan's plea for a wrongly accused inmate, "I Shall Be Released." The forceful tone is sometimes undermined by a strident sloganeering streak, as typified by "Right On Sister" or "Better Decide Which Side You're On," but that's a minor complaint amid the music's unflagging strength. Think music and politics don't mix? Listen to this album, and then decide.(allmusic.com)

Definitely the strongest album by Tom Robinson and he never reached musically the power of this album. Highly recommended!
Enjoy
         Frank   mp3@320

Colours - Love Heals The Complete Recordings (1968- 1969) 2008 Flac & mp3

Among the many unmemorable late '60s psychedelic bands that put out a record or two, Colours do stand out from the pack a bit for a couple of reasons. One is that they were among the relatively few American bands to adopt a very British orchestrated pop-psychedelic style, which must have been honed by incessant listening to every track the Beatles did in 1967. The other is that their bassist was Carl Radle, who soon went on to play in Delaney & Bonnie and, shortly afterward, Derek & the Dominoes, as well as with J.J. Cale and Eric Clapton the solo artist. Colours drummer Chuck Blackwell also achieved some renown in the early '70s by playing with Leon Russell, Joe Cocker, Taj Mahal, Freddie King, and other artists.

However, the prime architects of Colours' sound were songwriters Jack Dalton and Gary Montgomery. They wrote all of the material on Colours' 1968 self-titled debut album on Dot, a competent if unexciting derivation of the sort of florid, bouncy, multi-textured songs the Beatles did on their 1967 LPs and singles. The problems? The songs weren't one-tenth as memorable, and the arrangements not nearly as clever or intricate, even if there was obvious attention paid to detail, with full harmonies and varying overlays of horns, strings, and even a sitar. Colours did make one further album, 1969's Atmosphere, on which no musicians other than Dalton and Montgomery are credited.

I post this in both, Flac and mp3@320.

A very strong piece of psychedelic pop here. All is very heavy influenced by the Fab Four but very tasteful. Maybe the songs are not as memorable as that what the Beatles had done but if you listen to it it's a lot of fun.And that's no contradiction. If you don't know the band and you like british pop psychedelia you should grab this.

Viel Spass wünscht
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Andrew Gold - Whirlwind (1980) 2005 Collector's Choice - Flac

Best remembered for his mid-'70s smashes "Lonely Boy" and "Thank You for Being a Friend," pop singer/songwriter Andrew Gold was born in Burbank, California on August 2, 1951. The son of composer Ernest Gold (who won an Academy Award for his score to the film Exodus) and vocalist Marni Nixon (the singing voice of Natalie Wood in West Side Story and Audrey Hepburn in My Fair Lady), he first attracted attention as a member of the Los Angeles band Bryndle alongside Kenny Edwards, Wendy Waldman, and Karla Bonoff; in 1973, both Gold and Edwards joined Linda Ronstadt, appearing on classic albums including 1974's Heart Like a Wheel and 1975's Prisoner in Disguise. A noted arranger as well as a skilled multi-instrumentalist, Gold swiftly emerged as one of the most sought-after session musicians on the West Coast scene, and his résumé -- including dates with James Taylor, Carly Simon, Loudon Wainwright III, and J.D. Souther -- reads like a who's-who of the singer/songwriter movement.

In 1975, Gold released his self-titled solo debut; its follow-up, What's Wrong with This Picture?, was his commercial breakthrough, notching an international hit with "Lonely Boy." "Never Let Her Slip Away, " from 1978's All This and Heaven Too, also reached the British Top Five, but the album's most enduring moment remains "Thank You for Being a Friend, " the blockbuster ballad later remade as the theme song for the hit sitcom The Golden Girls.

However, 1980's Whirlwind stiffed, and Gold was cut loose from his contract with Asylum. After spending the early part of the decade touring with Ronstadt, he teamed with 10cc alumnus Graham Gouldman to form Common Knowledge, recording a self-titled LP in 1984. Gold and Goldman then rechristened their duo project Wax UK, notching a minor hit in 1986 with "Right Between the Eyes." "Bridge to Your Heart" was a British smash in 1987, but after 1989's A Hundred Thousand in Fresh Notes, Wax UK disbanded.

Returning to his solo career in 1991, Gold issued his first effort in over a decade, Home Is Where the Heart Is, before immersing himself in production work for artists ranging from Nicolette Larsen to Stephen Bishop to Eikichi Yazawa. In 1995, he reunited with Bonoff, Edwards, and Waldman in a new incarnation of Bryndle, releasing an eponymous LP before Gold's move to Connecticut forced him to leave the group soon after.

1996 saw the release of a new solo effort, ...Since 1951, as well as Halloween Howls, a record for children. Leftovers, a collection of unreleased material, followed in 1998. After producing country singer Lisa Angelle's self-titled debut in 2000, Gold released his own collection of country songs, The Spence Manor Suite. 2003's Wax Bikini collected rare material from Gold's days in Wax, and in 2005, Collectors' Choice Music reissued his first four solo albums with bonus tracks. The 2008 album Copy Cat was a new recording but heavy on covers (especially Lennon/McCartney). Copy Cat would be the last solo album released during his lifetime. After battling cancer. Andrew Gold died in his sleep at his home in Encino, California on June 3, 2011. He was 59 years old.

Andrew Gold was a very gifted musician and he's also one of my favourite songwriters. I post this album because it got no good reviews after it's release. I really don't no why. Sure he had stronger albums but nevertheless this is a good pop album with some strong songs (i.e. Stranded on the edge, Gambler - a fine Blues Rock rocker).
I hope you will like it too
Greetz
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New Wave Power Pop from Australia 1980 - The Radiators

The Radiators - Feel The Heat (1980) Flac

The radiators debuted late 1978. Their first album "Feel the Heat" was released late 1979 and by march 1980 these aussie rock icons had achieved platinum status. Little did they then know they would go on to forge a unique sound and influence thousands of music lovers throughout Australia.

 This was one of my favourite albums during the early 80's and is still a blast to listen to today. This album forged the way for the Rads to be part of Australian muscic folk law. A fun party band with the powerful vocals of Brian Nichol and the musical influence of Geoff Turner and Fess Parker makes this one of there best. If you had to have one Rads album this would be one to have.(amazon customer)

I was to lazy for searching an review over the web. To me it is a nice new wave power pop album and the best of the band in my opinion. I listened yesterday evening after a very long time once again and thought i will post it here today. Hope you enjoy
Cheers
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The American Dream - The American Dream (1970) 2011 Kismet (Flac)

Todd Rundgren produced this lost Philadelphia band’s only album back in 1970 off the Ampex record label. The American Dream’s album blends power pop, lite psychedelia, blazing hard rockers, folk-rock and roots music effectively throughout its 12 songs (almost 50 minutes of good music!).
Key influences are not a surprise, as listeners may hear strands of Crosby Stills Nash and Young, the Nazz, and the Beatles. The playing is full of youthful energy and the band manages to balance out hard rockers with attractive folk-rock power ballads. Raspberries has a slight psychedelic hangover, as it begins with a phased drum intro and showcases some wigged out guitar playing. Other quality songs like the Other Side, Storm (full of great Beatles-like melodies), I Ain’t Searchin’ and I Am You are predominately acoustic, tastefully arranged and have some great hook laden CSNY harmonies.

Good News, a song that begins with a telephone conversation, eventually segues into some pretty country-rock harmonies. It’s a typical relationship hard rocker in which the band humorously shouts out “don’t be a jerkoff” at the end of the chorus. The third track of the original lp is the real highlight of this very solid collection. Big Brother has classic late 60’s psych lyrics (“listen to the words he is saying, conjuring the games he is playing”) and intense early Who power chords (it really sounds like an excellent Nazz outtake) that make it a real killer and a treat for fans of British rock.
The American Dream stood out from the local crowd with their strong, exciting songwriting and 3 guitar lineup. From this point, my knowledge of the American Dream ends. Can anyone provide further info on this great lost American band? Were there prior or post American Dream bands and did they release any singles or albums? (Jason of ''therisingstorm.net'')

I haven't known that Rundgren produced the album. Anyhow, fine blend of psychedelic pop, rock and other popular musical influences of the time back then.
Enjoy
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I used another Front cover because can't find the original Kismet scan on my machine.

The Cowsills - 20th Century Masters - The Millenium Collection (2001) Flac

The Cowsills' volume of 20th Century Masters -- The Millennium Collection: The Best of the Cowsills contains nearly all of the group's biggest hits and best songs, including "The Rain, The Park, & Other Things," "Hair," and "Love American Style." Over the course of 12 songs, almost all of their hits are presented, along with Bill Cowsill's "When Everybody's Here," which means this will satisfy nearly all of their casual fans. Some diehards could use a longer collection, but the rest will find this to be a fine, entertaining collection.(allmusic.com)

Not much to say about this pop family. Finest sunshine pop from the mid sixties until to the seventies.

Have fun
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A Passing Fancy - A Passing Fancy (1968) 2008 Flac

A Passing Fancy was born out of Toronto's Yorkville Village scene in the mid-'60s. In 1967 the band released its debut single, "I'm Losing Tonight," which immediately became a hit and scored high on the east coast charts. In 1968, A Passing Fancy released a self-titled album on the independent Boo Records label that was well received and garnered good reviews. The Boo label, formed by two record store owners, only released the album in the Toronto area, so national fame and exposure eluded the band. A Passing Fancy was British-influenced pop with elements of psychedelia and an American garage sound. The band went through a couple of lineup changes while recording the album, but all musicians were credited in the album liner notes. The main songwriters in the band were Jay Telfer and brothers Fergus and Greg Hambleton. The songs were well written and the music was well played. Shortly after the release of the album, one more single followed, "I Believe in Sunshine," which was also a hit.

This single broke out across Canada and attracted interest south of the border, as well as with some major labels, but unfortunately it was too late and the band folded. Telfer and the Hambletons, in particular Fergus (as he went by for a time) went on to write more songs and record with other bands in the '70s. They also made a couple of solo albums that were well received and are still active today on the Canadian music scene. Greg Hambleton went on to form Axe Records while Fergus Hambleton continued to perform with his reggae band the Satellites. This reissue of the original Boo Records album by Pacemaker Records in association with the U.S. reissue label Timothy's Brain, is housed in a beautiful digipack case with original album artwork. Although this album contains no bonus tracks (as none were available) or additional liner notes, the sound quality is superb and is taken from the original master tapes. An exciting and long-lost piece of the early Canadian music scene that has thankfully been restored and made available once again for all to hear and a new generation to discover.

A fine album of british pop psychedelia with a light garage sound.
Have fun
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Fastball - All The Pain Money Can Buy 1998 (Flac)

When compared to their previous album (the 1996 debut Make Your Mama Proud), Fastball's All the Pain Money Can Buy shows that the group was steadily improving and honing its AAA/roots rock sound. The biggest difference between All the Pain Money Can Buy and their debut is that by spicing up their songs with horns and classic synthesizer sounds, Fastball created an album with greater musical variety. Produced by Julian Raymond and the band, the disc recalls the sound and approach of classic '70s rock, with the group stressing feel over precision.

That doesn't stop the band from updating its vintage rock with '90s technology and sounds, however, as proven by the presence of a beatbox in the album's opener, "The Way." One of the best tracks, the laid-back and groovy "Which Way to the Top?," is a duet between Fastball's Miles Zuniga and female solo artist Poe. The horn section featured on the upbeat "G.O.D. (Good Old Days)" recalls early-period Chicago, while the band tackles the singer/songwriter genre of days past on "Out of My Head" with a mellow organ sound and introspective lyrics. If you like your classic rock with a little more grit and experimentation, Fastball are wholeheartedly recommended.

Everywhere i go in 1998 all the pubs played Fastball's ''The Way''. All the radio stations played Fastball. On every tv channel you could see the faces of Fastball and then suddenly...nothing. All the hype was gone (i come from a pop musical developing country). Some years later i heard for the first time the album and i liked it. For that reason i post it now here. Sometimes it just needs a little, lol.
Enjoy
          Frank  Link 1
                     new 2nd link

Lannie Flowers - Circles 2010 (Flac)

Lannie Flowers – Circles

I will readily admit it: I’m a slave to the jangle. Give me a dose of high-energy, upbeat powerpop and I’m yours (musically speaking). And that’s precisely what happened when I popped Circles — the latest CD from Lannie Flowers – into my CD player. Double-tracked lead vocals, trebly Rickenbacker-toned bass lines, Revolver-era musical arrangement and a grab bag (in the best sense of the phrase) of sonic elements make Circles a fun, engaging listen.
Melodically Circles doesn’t trade in a groundbreaking approach, but then that aesthetic is one best left to progressive rock. The melodies on this album all have a whiff of familiarity, and that’s not a bad thing. Shades of 70s powerpop (The Nerves, Van Duren, Shoes) are all over the disc, but the more classic antecedents (the too-oft mentioned early 70s triumvirate) are clear influences too. At times Flowers sounds a tiny bit like a delightful cross between the late (Will) Owsley and fellow Texans Fastball, too.

Lyrical messages like “Turn Up Your Radio” generally force listeners into one of to camps. Either they groan and roll their eyes, or they agree and comply with the sentiment. When it’s delivered as well as Lannie Flowers does here, I fall happily into the latter category. Anybody who enjoys the Spongetones or Tommy Keene (to name two) will find themselves nodding along with these songs.
If you dig this style, by the fourth track (“Not in Love”) you might well wonder if this is a best-of collection; the exuberant tracks are that consistently infectious. Throughout the disc Flowers shows that he understands that the right amount of repetition is an essential component of pop. So while his songs never once beat a melody or hook into the ground, the do sink that hook into the listener’s psyche. And that’s a neat trick that’s harder to pull off than it might seem. On Circles, Lannie Flowers makes it sound easy.

With the exception of drums and a bit of background vocal work, every sound you’ll hear on Circles comes from Flowers himself. Yet the songs have that elusive live-in-the-studio feel, tempered with a careful (yet never fussy) attention to detail. “Around the World” deserves hit status, but then so do most of the tracks on the disc. It’s not all upbeat pop; “Just Like You” is more of a moody midtempo ballad, but it’s on less catchy than the poppier stuff. But more typical is the very Beatlesque “Looking For You,” which sounds like a John Lennon spotlight number. And for equal time, the disc closes with the early 70-Stonesy “Rusty Circles.”(Bill Kopp from musoscribe.com)

Lannie Flowers, power pop legend here with his 2010 album ''Circles'' will not disappoint you with this work. And i adopt two sentences from Bill Kopp about this album: For power pop connoisseurs, Lannie Flowers’ Circles is recommended in the strongest terms. The rest of you simply have no idea what you’re missing.
Have fun, Folks
                          Frank  New Flac Link  

The Sevens - The Sevens 1965/66 (2005)

The Sevens, a Swiss quintet that formed in Basel in 1964 and worked on into 1968, cast themselves firmly in the mold of the then ongoing British Invasion -- the Animals, the Kinks, and the Pretty Things all take a bow in their sound, while their eponymous 1965 debut album included covers of the Newcastle band's "I'm Crying" and Ray Davies' "Don't You Fret." There, however, comparisons run into a brick wall, as the Sevens reveal themselves to be several steps removed from even the craziest import beat boomer. In bassist Michael Boway, the band boasted a songwriter who was at least the equal of his Anglo counterparts, and in vocalist Pierre Aeblascher was a frontman of almost breathtaking style.

Together, they collide with an electricity that is as eccentric as it is spellbinding -- there are moments, most notably "The Love of a Bird," where Aeblascher slurs so heavily and bellows so loudly that you wonder whether he was even in the studio when the record was recorded. He could easily have been singing drunkenly along later. But that is a part of this remarkable album's charm. "Seven," the band's first single, clashes brooding organ with metallic crashes, beneath Aeblascher's foreboding recitation of the things that happened "on the seventh day of the seventh month...." In contrast, "You Should Know" is a brutal R&B stomp, wherein the singer sounds almost completely removed from the band (and some bizarre stereo separation adds to the dislocation), while a brokenhearted drawl through "I'm Gonna Dress in Black" could be a lost Doors demo, as vocals and organ melt together into one slurring liquid blob.

This compilation rounds up the Sevens' full 1965 output -- their 12-track LP along with seven non-album A- and B-sides, and it's safe to say there's not a clunker in sight. The gatefold packaging, meanwhile, rounds up 11 picture sleeve singles, a crop of band and hysterical fan photographs, and an all-too-brief band history. All told, the whole package explodes with a freakbeat craziness that is irresistible.

This is a very impressive and intensive garage band from Swiss. If you don't know the band give it a try.

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Graham Gouldman - And Another Thing (2000) Flac

Despite having maintained his position among Britain's finest ever songwriters since his emergence in 1964, Graham Gouldman has remained surprisingly silent on the solo front, with only one full album to his credit (the early-'80s Animalympics soundtrack) since 1968 brought his debut, The Graham Gouldman Thing. Of course, he's never had any shortage of outlets for his work, whether it's the string of hits he composed during the 1960s, the effortless brilliance of his 10cc years, or latter-day collaborations with the likes of Andrew Gold and the late Kirsty MacColl. But still, And Another Thing was long overdue, all the more so since its casual blend of warmth, sincerity, and deathless melodicism remains as captivating as he ever has. The bulk of the album is comprised of newly composed material, penned with partners as varied as Claudio Guidetti, Gary Barlow (ex-British boy band Take That), Chris Difford (Squeeze), and Suggs (Madness), and highlighted by two bona fide classics, the delightful "Can Anybody See You?" and the self-confessedly Beatles-influenced "Walking With Angels."

The most immediate point of entry for older fans, however, surely lies in the three reprises that also punctuate the set: "Heartful of Soul" revisits a song he penned for the Yardbirds back in the mid-'60s; "You Stole My Love," first cut by his own band, the Mockingbirds, is revised to include the chorus from another oldie, the Mindbenders' once controversial "Schoolgirl"; and "Ready to Go Home" is plucked from the comparative obscurity of the last 10cc reunion. And Another Thing cannot, of course, begin to be compared with The Graham Gouldman Thing -- that album's contents, after all, stand as a virtual "best-of" for the entire 1960s. As a bookend to the three decades between the two albums, however, And Another Thing presents the portrait of a songwriter whom time has only tightened.

I'm a huge, real huge Beatles fan and maybe this is lese-majesty but to me Graham Gouldman is at eye level with Macca as pop songwriter and musician. Everything where this guy was involved, he makes it to gold in my ears. Graham Gouldman is and was always on an above-average level with
his musical works.
Enjoy
         Frank  New Link

Graham Gouldman - Love And Work (2012) Flac

Biography of Graham Gouldman

Graham Gouldman's songs provide the soundtrack to so many teenage memories. From his first songwriting hit 'For Your Love' recorded by The Yardbirds in 1965, through memorable tunes and lyrics for The Hollies and Herman's Hermits in the '60s, a decade of hits with 10cc in the '70s and early '80s, songwriting partnerships with Kirsty MacColl, Suggs from Madness, Andrew Gold, Gary Burr, Tim Rice and – still contributing to those teenage soundtracks – co-writing with McFly on their Number One album Wonderland.
Graham released a solo album in August 2012, Love and Work; his first in 12 years. That's in addition to touring with the third incarnation of 10cc, with Rick Fenn and Paul Burgess from the mid-'70s line-up. Graham has taken the music of 10cc around the world. A UK tour in the early part of 2012 included a date at The Royal Albert Hall. There was a break for the launch of the solo album before a more extensive tour with 10cc in autumn 2012.

Graham's earliest ambition, aged 8, was to be a drummer. After a few tentative lessons he realized that wielding a pair of drumsticks was not quite what he had in mind. Then, when he was 11, a cousin returned from Spain with a cheap acoustic guitar. 'As soon as I held it,' he remembers, 'I was gone'.
Graham left school in his hometown of Manchester as soon as was legally possible, and before long was playing lead guitar with The Whirlwinds. This was the '60s, the most exciting time in the history of Western music when the Beatles were happening. Liverpool was the new capital of the world, Elvis was king, Motown was the coolest, and Britain was spawning bands by the ton: The Hollies, Herman's Hermits, Gerry and the Pacemakers, The Yardbirds, Georgie Fame, The Rolling Stones, Manfred Mann, The Springfields and the Mockingbirds.
The Mockingbirds were formed after Graham tired of the Whirlwinds. Working by day in a Gentlemen's outfitters and writing songs and playing by night didn't pan out, and Graham was soon fired from his day job. It was a blessing in disguise. He'd already caught the attention of Harvey Lisberg, the energetic manager of one of the biggest acts to break out of Manchester, Herman's Hermits. Harvey offered Graham a small retainer to sit in his office and write songs all day – a dream come true.
Within months The Mockingbirds signed to the Columbia (UK) division of EMI and were booked as the warm-up band at the taping of the Manchester-based BBC TV show, Top of the Pops. And, as if that wasn't enough, Graham had his first Top 10 hit at the age of 19, with the haunting 'For Your Love', recorded by The Yardbirds. Graham's songwriting career was off with a flourish.

He penned two more big hits for The Yardbirds, 'Heartful of Soul' and 'Evil Hearted You' and had his next Top 10 hit with 'Look Through Any Window', which he wrote for The Hollies. 'Bus Stop' followed – another Hollies' hit – and, although Graham was still recording with and without The Mockingbirds, the songwriting hits continued. 'Pamela Pamela' was ex-Mindbenders' Wayne Fontana's biggest solo hit. Herman's Hermits hit the Top 10 with 'No Milk Today', which featured the unforgettable suburban comment, 'the bottle stands forlorn, a symbol of the dawn', and 'East West', which was covered in 1991 by fellow Mancunian Morrissey.
In the late '60s, in between writing more hot songs for the likes of Jeff Beck, The Mindbenders, The Hollies et al, Graham spent time in New York writing and recording for Kasenetz-Katz hit factory and invested, with Eric Stewart, in Strawberry Studios, Stockport.
Back in the UK, after his spell in New York, Graham decided to get Eric Stewart, Kevin Godley and Lol Creme together to complete the Kasenetz-Katz recordings. The four of them went on to produce and play on two Neil Sedaka albums: The Tra La Days Are Over and Solitaire (both of which were recorded and produced at Strawberry Studios).
Then, in 1972, 10cc was born, keeping Graham occupied for the next decade.
Songwriting partnerships followed with Tim Rice, Kirsty MacColl, and Suggs from Madness, to name but a few. Graham also went to Nashville and wrote with, among others, Country Songwriter of the Year Gary Burr.

Graham Gouldman is the complete musician; it's what he's always done, it's what he'll always do. And he loves it, 'I just can't imagine doing anything else,' he says. 'I love working with new, sometimes unsigned artistes. I know I benefit from their fresh perspective, I can only hope they then benefit from my experience.'
Graham Gouldman's catchy tunes and lyrical messages have been entertaining music-lovers around the world for decades, and there's much more to come. (taken from Mr Gouldman's homepage)

The first time i listened to these magic acoustic guitars and the spoken line ...big boys don't cry big boys... this man never ever leave my musical life until today. With his earlier work i would familiar later and it's like all he had done just awesome. I think i don't must tell you something about this album.
Enjoy
         Frank   Flac
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