At request: Grapefruit - Deep Water 1969 (2005 Repertoire 6 bonus tracks) Flac

This is the second Grapefruit album and it is completely different from the first album. Most of the songs are blues rock, soul and only a little bit of  psychedlic pop. I don't know why the band changed the direction but most of the singles from the time of the first album didn't charted high.

Maybe this was one reason. The band disbanded at the end of '69. George Alexander tried in 1971 with the single ''Universal party''/ ''Sha Sha'' to revive the band but that was the last effort.

Cheers
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Greg Swann - Fever Dream (Bam Balam 1996) mp3

This guy is like a ghost. It's really hard to get some more infos as three, four sentences about him on the web. Is it Rock, is it Power Pop, is it both or is it ...? Howoever i like what he did here on this album. In some songs it remembers me to R.E.M. and in the next moment it's different.

This is for sure no party power pop album but to me it is a quality work of this musician. Most of his records are self released and i don't know why. Other albums by him are also pretty good. Okay, you decide.

Cheers
           Frank   mp3@320

Power Pop: Frisbie - The Subversive Sounds Of Love (2000) mp3

Heralded by many as the banner carriers of power pop for the 21st century, few bands have displayed such a mastery of pop songcraft on a debut release. Though not horribly adventurous with their sound, the unabashed reliance on sophisticated harmonic vocal arrangements, fuzzed out guitars, and occasional brass sections was seen as near revelatory in some critical circles. No doubt, the sweeping Big Star-inspired melodic progressions of tracks like "Shine" and "To See and Be Seen" more than deserved the accolades that The Subversive Sounds of Love garnered. When upping the tempo and volume on tracks like the galloping "Paid in Kind" or the punchy "Vertigogo," Frisbie can sound downright anthemic, though the more California-styled rock of "Disaster" probably fits their sound just as well. Still, it's hard to say that you ever get a real sense of the group dynamic that's at work in the process. And while that process delivers on an undeniably cohesive pop product, the personalities involved are never totally evident. An exception to this, the album closes with the theatrical whimsy of piano and banjo in "The Shuffle," proving the band can put a more pronounced face on their sound. Although artists like this emerge on a semi-frequent basis, and usually don't amount to very much in the long term, Frisbie gives hope to the power pop true believers.

Haven't heard this Power Pop guys in a long time. Today i listened to the whole album once again and thought it could be a good idea to post it here.
Hope you have fun
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Garage/Pop Rock: Terry Knight And The Pack - s/t & Reflections 1967-1968 mp3

This two-fer compiles the only two albums by Michigan's Terry Knight & the Pack; its self-titled 1966 debut and 1967's Reflections. Rock & roll collector's and Michigan rock aficionados have given these albums semi-legendary status simply because the lineup included the roots of Grand Funk Railroad -- Knight was the band's manager and producer until 1972, and both guitarist Mark Farner and drummer Don Brewer came from its ranks. These two recordings were originally issued on the Lucky Eleven imprint and were distributed by Cameo/Parkway who had scored a number one hit with "96 Tears" by ? and the Mysterians, another Michigan act.

Knight's gift wasn't so much as a singer, but as a songwriter capable of aping the hitmakers of the day, and he knew how to arrange. This is born out on the first album's covers of Sonny Bono's "Where Do You Go," "You're a Better Man Than I" (a hit for the Yardbirds), and a particularly strange reading of the Rolling Stones' "Lady Jane." The single from the album was a reading of the Leiber & Stoller nugget "I (Who Have Nothing)." Knight's own tunes include the fuzz guitar-drenched album-opener "Numbers" was reminiscent of the Seeds, while "What's on Your Mind" walked a line between Georgie Fame and the Zombies. The band's second album, Reflections, opens with the whitest cover of Joe Tex's "One Monkey (Don't Stop No Show)" ever. It also includes a direct steal of Donovan's songwriting style and vocal phrasing, in Knight's "Dirty Lady," and Bob Dylan's early electric sound on "Dimestore Debutante."

There are some real rockers here, too, in "Love, Love, Love, Love, Love," that's reminiscent of the Standells, the soul-inflected-cum-Association-influenced "This Train," and a unique garage psych cover of the Stones' "(I Can't No) Satisfaction." This may not be Michigan Rock at its finest, but it is an integral part of its history.(allmusic.com)

Two albums on one disc. If you don't know Knight, you will know for shure Mark Farner and Don Brewer of Grand funk fame. Grand Funk was never my thing but this here is of my taste.
Enjoy it
Cheers SB1    mp3@320

Them - The Story Of Them feat. Van Morrison (The Decca Anthology 64-66) (Deram) Flac

Them were a formidable, popular group in their own right before singer Van Morrison went on to even greater fame. This Belfast five only produced two LPs and a potful of 7" singles during its ascendance in the molten heat of the British Invasion. But they did manage two Top 40 hits in America in 1965 (the enduring number 24 "Here Comes the Night," later covered glam-style by David Bowie on Pin Ups, and number 33 "Mystic Eyes") and two Top Ten hits that same year in their native Britain ("Here Comes the Night" and a cover of Joe Williams' "Baby Please Don't Go"). And is there a single bar band in America that doesn't play "Gloria," shouting "G-L-O-R-I-A" just like the 19-year-old Morrison in 1964?

Moreover, the group's West Coast U.S. tour of arenas like the Fillmore in the spring of 1966 had the Ulster youths commanding bills that included such admiring support groups as the Doors, Captain Beefheart & the Magic Band, the Grass Roots, and the Association. At one of them, Frank Zappa even joined them on-stage. Clearly, Them's tough, heavily American blues captivated, a direct result of the vicious voice of Morrison. It was even more a weapon on this tougher-sounding material than it's been since he became a solo star. Although the band chose songs to cover by John Lee Hooker, Jimmy Reed (twice), T-Bone Walker, Ray Charles, Screamin' Jay Hawkins, and Fats Domino, as seen here (as well as others by Bob Dylan, Simon & Garfunkel, and Bobby Troup), the real precedent for the white-hot, gnashing growl in Morrison's teenage voice was Howlin' Wolf. Here's a red-throated snarl not even other great '60s English white soul singers -- such as the Small Faces' Steve Marriott or the singer for the Action -- could match, one even more unsettling than the Animals' Eric Burdon.

Talk about making the hairs on your neck stand up! It's actually a pity, then, that Them relied so heavily on others' material (as did everyone else circa 1964), for the two dozen originals stand up well. In addition to "Gloria," Morrison was well on the road to his later genius when he penned "Could You, Would You" and "Hey Girl." True, his material could stand to rock & roll more, just as the Yardbirds held fast to Chicago blues but made their beat stomp. But still he comes on like some swamp-dwelling, moonshine-drinking, big man on the prowl. Them were raw and ready, and digitally brought back kicking and screaming from the original analogue master tapes, they are an eerie thing of bluesy beauty.(allmusic.com)

In this nearly 50 tracks of this anthology you feel the pure energy of this band and the singer Van Morrison who put it with his vocal performance two levels higher than a lot of other bands of the genre back then. I saw him just for once in '83 and that was around 18, 19 years later than the stuff from this anthology, and he kicked ass the whole arena with his vocals. Great man!
Hope you like it
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The Spongetones - Too Clever By Half (2008) mp3

Jamie Hoover and company are back doing what they do best. One of the finest power pop bands of Beatlesque heritage, The Spongetones have influenced a whole new generation of musicians from James Deem, The Saving Graces, Frank Royster, Cool King Chris, Crisis, Analog Daze, The Dukes of Stratford, Carl Rosen, Lindy Dobbins, The Sammies, and The Everyday Things. And that’s just the tip of the iceberg. After we establish the triumphant Rickenbacker jangle of “Invisible Girl” it sets the tone here and then we get to the first great Spongetones classic in “I’d Love You” with it’s “Got To You Into My Life” guitar coda after the chorus. Hoover still has a McCartney-like sense of melody with the easy flowing “Man With No Skin.” And the band has evolved their Fab sound, not unlike the way XTC had done during it’s “Oranges and Lemons” era – the toe tapping “One More Day” is a great example of this. A huge amount of tracks here, eighteen – and it’s almost overwhelming. On the other hand, with a large majority of the music great, you can excuse a bit of indulgence here and there. Sometimes, the earnest romantic vibe strays into maudlin territory, with “Three Kisses For You” sounding like a Frodo Baggins-inspired love ballad.

But even among the really good tracks here, you get a true monster hit like “When it’s you” with an amazing hook that never lets go, and includes vocal harmonic gymnastics that would shame Lindsey Buckingham and chord changes guaranteed to give you goosebumps. This is why others bow to the genius of Mr. Hoover. Then again, Hoover tests the limits of the band, and it’s ability to make quirky pop a la Moe Berg or Andy Partridge. It does work well on “She’s Happenin'” and less so on “Easy with You.” Other worthy classics are comments on this crazy music business, “King Ampersand” and “Your Entourage” are wonderful songs that reflect the musicians’ life. Simple pleasures are found in the bossa nova-styled “Stalemates” and the matter of fact lyrics in “Must Be Lust.” You almost want the band to cut loose even more on “Elvis Doctor” with it’s Hound-Dog beat and guitar swing. Needless to say, this is super-recommended to everyone who loves great music.

One of the great bands who nothing left of her strenghts of writing and arranging wonderful power pop tunes.
Have fun
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Power Pop of Australia: The Stems - At First Sight Violets Are Blue 1987 Flac

History
THE STEMS epitomized 80’s indie rock, giving it a wider currency. They are one of only a handful of bands (among them the Hoodoo Gurus and The Sunnyboys) that cracked the mainstream charts with an indie approach in the 80s.
Making their debut in March 1984 playing alongside The Triffids and The Saints, THE STEMS released a series of independent records on Sydney’s Citadel Records. Each release made it to number one on the Australian alternative charts. But it was their 1987 debut album, “AT FIRST SIGHT VIOLETS ARE BLUE” that received national and international acclaim. It became one of the best-selling Australian albums of that year despite an almost total lack of commercial airplay in the corporate FM dominated 80’s. Rolling Stone named “AT FIRST SIGHT VIOLETS ARE BLUE” one of the top 100 releases of all time. It eventually went Gold and still continues to sell strongly today.
Appearances on Countdown, magazine covers, sold out shows – the world seemed at THE STEMS’ feet. However due to the pressures of non-stop touring and the usual “personality differences” THE STEMS mysteriously imploded on the eve of a massive European tour in late 1987, sealing the legend for all time.

Rebirth
Rising from the ashes of their 1980’s breakup, THE STEMS reformed in 1997 to perform a reunion show in their beloved hometown of Perth to an enthusiastic response. It is fair to say they were all surprised – even amazed - how popular they still were. They toured Australia, Europe and the USA including an incredible one-off show at the invitation of Bruce Springsteen’s guitarist (and Sopranos, Lillehammer TV star) Little Steven, who lists himself as one of THE STEMS’ biggest fans. At this show they shared the stage with The Stooges, Bo Diddley, Big Star, Nancy Sinatra..., and 60’s underground bands The Chocolate Watchband, The Pretty Things, Creation and the Electric Prunes who were an influence on their sound in their early days.
Things seemed to gain momentum. At the urging of Little Steven and a host of others the band made plans to record an album of new material ultimately titled “HEADS UP” – released on Shock Records in late 2007. Recorded in Perth on all analogue equipment and mixed in Cincinnati by producer John Curley (White Stripes, Afghan Wigs, Greenhornes and Ronnie Spector) the album was released to rave reviews and sold solidly around the world.
On the release of “HEADS UP” in late 2007, THE STEMS were invited on the “CLASH OF THE TITANS” tour with Radio Birdman and the Hoodoo Gurus.
Successful tours of Australia, Europe, Japan and Austin Texas’s SOUTH BY SOUTH WEST Festival soon followed to much acclaim. The band went off the road again in 2009 before reforming with a new line-up in 2013.

To me Dom (Dominic) Mariani is a living legend into the history of power pop. All the projects he have organized or where he was a member. But i let speak his biography here:

Biography

Born and raised in Fremantle, singer/songwriter Dom Mariani formed THE STEMS in the summer of 1983. The band debuted alongside the Triffids and the Saints in 1984 with a sound that fused underground 60’s garage rock with post-punk, R&B and classic pop. A succession of independent records all made number one on the Australian alternative charts and along with the Hoodoo Gurus and the Sunnyboys, THE STEMS were one of only a handful of bands that cracked the mainstream charts.Their 1987 debut album, “At First Sight Violets Are Blue” became one of the best-selling Australian albums of that year despite receiving virtually no commercial airplay in the corporate FM-dominated 80s. Rolling Stone named “At First Sight Violets Are Blue” one of the top 100 releases of all time. It eventually went Gold and still continues to sell strongly today.
After the demise of THE STEMS in 1987, Dom returned in 1990 with THE SOMELOVES. The band’s first and only LP of guitar-driven pop, “Something or Other”, won seven 1990 Western Australian Music (WAMI) Awards. Dom also collected the award for most outstanding songwriter that year.
The promise of THE SOMELOVES was short-lived and contractual problems would not see a new release from Dom for another three years. He returned to live gigging with a new outfit, DM3, which became one of Australia’s greatest exponents of what was dubbed ‘power pop’. DM3’s debut single, the Mariani-penned “Foolish”, was released in April ’93 and took out the most outstanding single at the WAMIs. 

DM3’s first LP “One Time Two Times Three Red Light” (1993), mixed by legendary American producer Mitch Easter (REM, PAVEMENT, SON VOLT, LETS ACTIVE, VELVET CRUSH), received widespread critical acclaim for its melodic pop hooks, cool vocals and high energy rock’n’roll guitar. It sold well in Australia, Europe and the US, and two Europeans tours followed.
Album number two, “Road To Rome”, was also mixed by Mitch Easter and lauded internationally as one of the best albums for ’96 of its genre. “Rippled Soul”, DM3’s third album, was more diversely structured and well received at home and overseas. DM3 eventually split at the end of ’99.
Fast forward to 2011 and a once-again reunited and reinvigorated DM3 performed at South by South West in Austin, Texas and toured Europe and the east coast. DM3’s best-of record “One Time, Two Times, Three Times More” and a live set “Live at Roskilde” have seen DM3 return to the live scene in 2014. Dom released his first solo album “Homespun Blues and Greens” in 2004. He continues to tour Europe where he is a popular drawcard, touring with the Stems in 2003 and as a solo artist on the release of his anthology “Popsided Guitar” in 2005.( Taken from the Dom Mariani Homepage)

Further projects are The Majestic Kelp ( Instrumental soundtracks that combine a love of surf guitar sounds, western themes, blues, exotica, and psychedelic fuzztones) and now he's working with Datura4, a psychedelic R'n'R band.

You will enjoy The Stems...and play it loud :-)
Kindly regards
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Australian Pop Beat Garage: The Allusions - Anthology 1966 - '68 (Canetoad Rec) Flac

The Allusions were an Australian band that never made any impression outside of their homeland but left behind some great Merseybeat-style records. The quintet was formed out of the memberships of two previously existing groups, the Leemen and the Delawares. Guitarist Terry Hearne, already a five-year veteran of the music business at age 20, and an ex-member of the surf instrumental groups the Dave Bridge Quartet and Dave Bridge Trio, joined the Leemen in 1964 and began to move away from leader Lonnie Lee's Bakersfield sound country repertory. With rhythm guitarist Michael Morris, who had previously played in an outfit called Dennis Williams & the Delawares, he split off from the Leemen. Hearne's ex-Dave Bridge bandmate Terry Chapman came in on bass, and Kevin Hughes of the Delawares took the drummer spot, with John Shaw, who also doubled in a very limited way on organ, taking the lead vocals on the ballads. The new group's influences and models came from the Beatles but also the early Zombies and the Fortunes, Gerry & the Pacemakers, and other lighter, pop-oriented rock & roll outfits being heard at the time in England.

When they made their debut at the end of 1965, they were a pure cover band, performing nothing but established British acts' songs. They moved into creating original material when they realized that it was the only way that they would ever get to record. Morris became their in-house mainstay in that regard, not because he was particularly good at it but because, in Hearne's view, he was better than the other four. "We couldn't write a shopping list," he remarked to David McLean in a 1994 article. They developed a modified Merseybeat sound, almost reminiscent of Gerry & the Pacemakers but with the harmonic subtleties of the Beatles and the Searchers, and got a contract late in 1965 with EMI's Parlophone Records imprint, by way of their production deal with Leopold Productions, for whom their producer, Robert Iredale, worked.

From the beginning, they sounded more Merseybeat than the actual surviving Merseybeat bands of 1966 did, in some ways paralleling the early Australian work of the Easybeats -- both had what was, essentially, a delightful throwback sound to the slightly more innocent years of 1964-1965. Their debut release of "Gypsy Woman" was a nationally charting Australian single that reached the island nation's Top Ten in a nine-week chart run. They sounded so English that it was a surprise when they discovered that the Allusions were from Australia. By that time, Chapman, a co-founder, had quit and was replaced by Bruce Davis, former lead guitarist of the Delawares. Their second single, "The Dancer," did even better than its predecessor, peaking at number eight on the charts. The sky seemed the limit at that point -- with the exception of the Easybeats, no Australian band was doing anything like the Allusions' business, and they found themselves something of cultural heroes to anyone under the age of 21; they even rated a spot on the support bill to the Easybeats' final Australian concert before the latter group set out for London. It was at that point that their initial success fizzled out along with their third single, "Looks Like Trouble." The latter was a bit derivative of "I Feel Fine" in its opening and perhaps less than inspired in its beat and lyric, except for a catchy chorus with an interesting modulation, and a cool garage punk guitar break. The single's failure, coupled with behind-the-scenes political maneuvers that kept them out of the best venues in Sydney, also cost them some momentum.

Their fourth single, "Roundabout," made the Top 30 in early 1967, rescuing the group from immediate decline -- that single has been compared to Paul McCartney's better ballad work, though it's closer to a really, really good Monkees song (and one worthy of Micky Dolenz's vocal talents). Davis's "I'll Be Home" is actually more interesting, with some offbeat modulations and a curious mix of downbeat mood and catchy tune, all of it recalling Ringo Starr's vocal performance on "Act Naturally," which fit doubly since Hughes, the drummer, sang it. At this point, the group also cut a self-titled album of covers, ranging from pleasant but unexceptional renditions of American soul ("Shop Around") to a killer version of the Kinks' "I Gotta Move."
Time was working against the group by then, however. Morris' songwriting output was never fully adequate to keep them competitive in the singles marketplace, and their inability to break through to the best clubs in Sydney, or to get the best bookings elsewhere in Australia, coupled with the bare trickle of money that they ever saw from their records (the revenues from which went first to the production company), all wore on the members. Attempts to crack Melbourne and Brisbane never paid off, and then the sales of their records fell off and the group gave up along with the record label. By the end of 1968, the Allusions were history, albeit a history very much worth seeking out and discovering, based on the quality of most of their records.

Fans of the early- and mid-'60s Merseybeat sound (the Beatles, Gerry & the Pacemakers, the Searchers, etc.) will probably love this 21-song compilation, which assembles the Allusions' complete recorded output over a four-year period. At their best, as on "Gypsy Woman," they had a fresh, original sound somewhere midway between the romanticism of the Beatles, the dynamism of the Kinks, and the Who's early ballads, with a unique vocal sound and good attack on their instruments. "Fever (Burns My Brain)" is a strange, yet workable, mix of two seemingly conflicting themes, a harsh, smooth farewell main lyric bridged by an achingly beautiful chorus reminiscent of Gerry & the Pacemakers vocally and the Zombies instrumentally. "The Dancer" is one of those odd low visibility numbers, like "I'll Remember the Night" by the Roulettes (whom these guys also resemble) that are such smooth and catchy examples of the Merseybeat sound that they belong on any anthology of the era and the music. "Roller Coaster Man" sounds like a Searchers outtake or a Gerry & the Pacemakers reject, with a guitar part that resembles "You Can't Do That." "Looks Like Trouble" owes a bit to "I Feel Fine" in its intro, although it also includes a thoroughly American garage-band style guitar break. Some of the later numbers, such as "Roundabout," are less interesting as songs, although even this wimpy ballad offers a catchy chorus and, overall, resembles nothing less than a decent Micky Dolenz-sung Monkees song. And "I'll Be Home" is the kind of song with which Ringo Starr could have done wonders, especially with the Beatlesque harmonies at the end of each line. The album's later songs are an interesting mix of subdued, moody ballads and high-energy rockers, such as "I Gotta Move," which may be the most Kinks-like cover of a Kinks track that you will ever hear. This disc's sound quality is excellent and the annotation extremely thorough.(allmusic.com)

The disc's sound is really amazing and the selection is great. Here are so much songs that are great. ''Mr. Love'' in example but there are so much more. I highly recommend this anthology. The Allusions were a lot better than some of their contemporaries from the UK or the US.
You will have fun
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At Request: The Spongetones - Beat & Torn (1994) mp3

Now combined on one CD, Beat Music and Torn Apart represent the band's earliest recordings and some of their finest. These two albums are simply Southern power pop at its best, and this package is essential for fans of pure pop.(allmusic.com)

Yeah there is not much to say about it. The both first albums on one disc released in 1994.
Viel Spass mit Beat & Torn
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Hawks - Perfect World Radio (2003) mp3

Along with bands like the Knack and the Plimsouls, the Hawks combined the melodic songcraft of Badfinger with the angular immediacy of the bourgeoning '80s new wave sound. Despite being signed to Columbia and garnering a loyal cult following, the Iowa band never achieved great success with their 1980 self-titled debut and 1982 follow-up, 30 Seconds Over Otho, eventually fading into obscurity. Fortunately, Not Lame Recordings created a third Hawks album of sorts, proving the band had much more up its sleeve. Compiled with the assistance of the band, Perfect World Radio features various demos and unreleased tracks. Sounding something like Dwight Twilley meets Styx, the collection paints the picture of a talented band too quirky and intelligent for mainstream radio and conversely too slick for the underground of college rock.

What is also apparent is that lead vocalist/guitarist Dave Steen, vocalist/keyboardist Dave Hearn, vocalist/guitarist Kirk Kaufman, vocalist/bassist Frank Wiewel, and drummer Dolor Larry Adams knew how to craft an immaculate pop song. It's hard to believe that the driving "Only Love Is Real" couldn't have competed with any Cars classic and that one couldn't at least argue that Steen's Rupert Holmes-like "Roxanne" is as good a use of the name in a pop song as Sting's. The album also attempts to put to rest the argument that the band became too commercial on 30 Seconds while sacrificing their jangle pop roots. Here you find a band equally adept at 12-string Rickenbacker folk-isms as it is at synthesizer-laden stadium anthems and sounding great at both. If Wiewel's "Right Away" sounds better than anything Badfinger released in 1979, than Steen's "The Show Is Over" is the best Who song you never heard. Barring a complete reissue of the Hawks' studio albums, Perfect World Radio stands as long overdue pop justice.(allmusic.com)

Hawks have deserved more as they earned with their music. But that is the fate of musicians. Success as musician is not  dependent from the class and quality of the music. Mostly the success is dependent from things who got less or nothing to do with music. However these guys have real strong catchy songs and you should give them a try.
Have fun
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Hilly Michaels - Calling All Girls (1980) mp3

Still blazing hot following his stints alongside Ellen Foley and Hunter-Ronson, Hilly Michaels completed his transition from session drummer to solo superstar with the release of Calling All Girls, one of the signature hits of the early '80s, and one of the defining elements in the gestating new wave blueprint. Comparable to a superior revision of the Cars ' finest moments, "Calling All Girls" was notable, too, for a video that simply devoured the fledgling MTV, and the accompanying album proved that it's idiosyncratic brilliance was no fluke. With producer Roy Thomas Baker at the top of his game, and Michaels accompanied by an all-star line up of friends and admirers (Liza Minelli, Lorna Luft, Ellen Foley, G.E. Smith, Davey Johnstone, and Dan Hartman all appear), Calling All Girls delivered a non-stop diet of quirk, quizzicality, and often deliriously over-the-top pop drama, with the signature hit single just one of more highlights than many period artists shoehorned into their entire careers. That no further major hits spun off the disc is one of those mysteries that will never be solved, but the producers of Caddyshack saw the joy of "Something on Your Mind," and fresh listens to the whole thing retrieve new delights every time.

 Power Pop with a little New Wave influences and a LOT CANDY POP. ''U.S. Male'' in example works with Queen influences in a very lovely and funny way. This is an album with very big fun factor. Great!
(You will) Have fun
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Psychedelic Pop (opera?) Blackwood Apology - The House Of Leather (1969) 2010 Flac

The House Of Leather have a pretty obscure story about a whorehouse in the times of the american civil war. But listen yourself. To me the album needed a few spins but than it shows me its own charm.

If you give it a try take yourself a little time for the album. It is by far better as its reputation. In some moments it remembers me to the Association.
Hope you will enjoy
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