Chad Stuart And Jeremy Clyde - Of Cabbages And Kings 1967 2006 Sony, Japan (Flac)

Chad and Jeremy had done three albums who sound different to their common folk sound. I will post these albums here in the next days. The first s here OF Cabbages And Kings, the second one is called The Ark and the third one is called 3 In The Attic. All three albums were produced by Gary Usher and reflect the more pop oriented psychedelicism of the duo. Hope you will have fun with the albums. First here comes Of Kings And Cabbages.

I will later post ''Sing for you - A golden classics edition'' who shows the more folk sound of the guys.
Enjoy
         Frank   Flac

Cheepskates - It Wings Above (1988) 1989 Music Maniac (Flac)

Led by singer/guitarist Shane Faubert, the Cheepskates were a big part of the '80s revival of the garage rock scene on the East Coast. They released two albums with their first lineup, a four-piece that concentrated more on the retro side of the sound. By 1987, Faubert was ready for a new direction and scaled the band down to a three piece for the power pop releases Remember and It Wings Above.

After a live album and a covers EP, they returned to the studio for one last time. The result, 1990's Confessional, was disappointing to listeners and the band alike, leading to the eventual dissolving of the group. A post-breakup album of Residents' songs found its way onto shelves in 1992, while Faubert continued in the same musical vein on his solo material.

 The Cheepskates' fourth album is rooted in some of the same 1960s rock that informed their early work, but also has a somewhat more modern power pop and alt-rock sensibility. One of the chief traits distinguishing this from other retro-sounding groups is the light and winsome tonality of Shane Faubert's lead vocals, which contrasts heavily with the generic snot-brat garage attitude many revivalist-style combos adopt. There's a little bit of a surf thrust to the tempo and percussive drive of some of the tunes, which are generally airy and peppy love tunes. It's not a major accomplishment, but it's fairly pleasant pop-rock that's neither insipid nor crude. The CD version includes an extra track, the "electric version" of "Everytime You Change Your Mind."

Shane Faubert is a culpable underrated musician of the last 30 years in pop music. This album is in my opinion the best of the Cheepskates.
Have fun
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The Shakers (Los Shakers) - Por Favor (1965 - 1968) 2000 Big Beat mp3

Los Shakers: Por Favor (Big Beat). No doubt this will stand as the most definitive single-disc compilation of Uruguay's Shakers (referred to as "the Shakers" on some releases and "Los Shakers" on others, including this one). There are 32 tracks, and 79 minutes, taken from all three of the LPs they issued in South America between 1965-68, along with three cuts from 1966 singles, almost everything sung in English. It cements, as if any further proof were necessary, their well-deserved reputation as the top Beatlesque '60s band from South America, and indeed one of the most uncannily Beatlesque bands from anywhere, at any time.

Does that mean that this is as good as, or nearly as good as, the Beatles themselves?

No, but it's good fun all the same, even if much of the disc sounds like inverted, or at times barely altered, ideas from Beatles riffs and arrangements. They were at their best, perhaps, when mimicking the A Hard Day's Night-era fab four, as they did on their 1965 debut LP Los Shakers, most of which is here. They did, however, evolve to some degree artistically, albeit rather in tandem with how the Beatles' own records changed in 1965-67, adding some (but not much) native rhythmic styles and riffs here and there; putting Revolver-type vocals and meters into cuts like "Picking Up Troubles" and "Got Any Money?"; putting some downbeat jazzy riffs into the fine "Too Late"; using freaky backwards guitar and drones in "I Hope You'll Like It," their most advanced cut; and adopting the march-beat midtempo and sunny harmonies of many 1967 Beatles tunes on numbers like "On a Tuesday I Watch Channel 36."

This anthology is not, incidentally, the last word on the Shakers' output: there are no tracks from their US-only 1966 LP Break It All (which featured re-recordings of their early South American sides), and a handful of other numbers show up on the Brazilian EMI CD All the Best.(Richie Unterberger)

Try it if you like the Liverpool sound (this came from Uruguay lol) and you will not regret it
Have fun
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The Shambles - Reviving Spark 1996 (Japan Release) (mp3@320)

The Shambles are a Power Pop band with a garage style and mod influences. ''A common love of 60's pop music and culture served as a unifying influence and this diverse mix of mod, garage, power pop -- and even a touch of folk -- would become The Shambles' own unique sound.''(taken from the band's page). Thats what the band says about themself.

Reviving Spark is a compilation of the band and shows the band from the best side.
Enjoy
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More mp3! A little more of mp3 files

Hello Friends and Folks , first i wish all of you a good morning and a relaxed free weekend.
I want to announce that i will post a little more of mp3 files in the future because a lot people wrote me they would love to see more mp3 here on the blog. Also i see there are a big number of downloads at the mp3's i posted in the past. I am very surprised by myself about that. I thought always people like more the ''lossless'' files. I know there are a lot of arguments and reasons 'pro' Flac and 'against' mp3 and reverse. I think we don't must discuss it here once again. But if it possible for me i don't want to ignore a part of the blog audience. I  share music for the reason of spreading this music that we all love.
It won't change a lot and i will post the Flac files furthermore. But the amount of mp3 postings will get a little more. In some cases it will make it a little easier for me because it is no fun to make two or three archives for one album. I love what i do here with the blog and i hope you like it, too. Because this only can be functional with you, the listeners. Okay, no panic because just a little will change and i hope you all understand it.

Kind regards
                     Frank

Classic Power Pop From Ohio: Blue Ash - No More No Less 1973 (2008 Collector's Choice) Flac

Hailing from Ohio just like the Raspberries, Blue Ash are the great forgotten power pop band of the early '70s. Actually, "forgotten" may be too strong a word, for any power pop fan worth their salt knows of Blue Ash even if they've never to score either of their two LPs, whether in their original pressing or traded on cassette or CD-R. They were known as one of the key early power pop bands, standing alongside the Raspberries and Badfinger in how they drew equally from the Beatles and the Who. If anything, Blue Ash leaned on that Who influence harder than the Raspberries, rocking a vigor rarely heard in power pop and also opening themselves up to the lyrical vistas of Bob Dylan by covering the rarity "Dusty Old Fairgrounds," a move rarely made by power poppers. All this indicates that Blue Ash were a rock band first and foremost, placing the sheer rush of sound over hooks, something that a lot of their progeny never did. That's what gives their debut No More No Less -- finally reissued by Collectors Choice in 2008, a full 35 years after its release -- such a punch: they are one of the few groups that truly put some power in their pop.

This much is evident by the raucous album-opener "Abracadabra (Have You Seen Her)," a song with all the melodic rush of "Go All the Way" but leaner and meaner. Not all of the album keeps up at this same furious pace, as the guitars jangle as much as they roar and the group occasionally dips into a loping country-rock groove -- not on the Dylan cover, which again sounds a bit like the Who, but on "Just Another Game" -- and they do get sunbleached and mellow on "What More Can I Do." But most of No More No Less filters old-time rock & roll (the big-time boogie "Let There Be Rock") and '60s guitar pop ("Plain to See" evokes the Searchers, "I Remember a Time" the Byrds, and "Anytime at All" is a Beatles cover) through the outsized amplification of '70s hard rock. It's an addictive sound -- and one that hinted at the power pop that was to come even if it didn't directly influence it -- and it still carries a mighty punch all these years later.

I think most of you know the album and the band. The reason why i post it is to show it people that don't know the band. It is for sure an important album for the development of Power Pop in the first half of the seventies. Hope you like it and wish you a lot fun
Cheers
           Frank  Link 1   You need both links!  Link 2

The Dandy Warhols - Thirteen Tales From Urban Suburbia (2000) Flac

Though they still tend towards pastiche, the Dandy Warhols' third full-length, Thirteen Tales From Urban Bohemia, presents a bakers' dozen of their most focused and cohesive songs. Where their earlier albums were eclectic to the point of being scattershot, this release manages to limit the band's style-switching to dreamy, sweeping epics like "Godless" and "Nietzsche," sussed, sleazy power pop like "Horse Pills" and "Cool Scene," and country and gospel ventures like "Country Leaver" and "The Gospel."

The group's increasingly strong songwriting makes most of these experiments successful and distinctive, though the Dandys fall into their old habit of appropriating sounds they like wholesale with "Shakin'," a "tribute" to Elastica's uptight yet sexy riffs and rhythms. Not surprisingly, the most successful songs on Thirteen Tales From Urban Bohemia are the least derivative ones, such as anxious pop songs like "Solid," "Get Off," and the delicate, lovelorn ballad "Sleep."

On those tracks, as well as the satirical single "Bohemian Like You" -- this year's model of their hit "Not If You Were the Last Junkie on Earth" -- the Dandys reveal themselves as a savvy pop band with a voice of their own. Though they're not all the way there yet, Tales From Urban Bohemia is a worthwhile step in their developing creativity.

I'm a fan of these guys and girl since i saw them on her first german visit. Great band !
Enjoy
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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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                                       Link 2 mp3@320     You need both mp3 links!
This is the link for Flac NEW Flac link  The Flac link expire 2017-03-31

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.