D L Byron - This Day And Age (1980, Vinyl) Flac & mp3

Raised by his adoptive parents in southern New Jersey, D.L. Byron (born David Byron) became enamored with the Beatles, the Byrds, and Bob Dylan at an early age. When he wasn't busy getting thrown out of a string of exclusive prep schools, Byron formed several teenage garage bands and won a number of poetry competitions. Deciding to pursue his music career in earnest, Byron moved to New York City in February of 1971. After working briefly at the Colony Record shop (located on the ground floor of the Brill Building) and living in a $45 per week fleabag hotel, Byron managed to catch the tail-end of Tin pan alley, procuring a $75-a-week job as a staff writer for E.H. Morris. While there, he met and was influenced by greats like Harold Arlen, and began to perform at open mike nights around New York. In 1979, Clive Davis and Arista discovered Byron and signed him, hoping to find success with an American version of Elvis Costello or Graham Parker. In 1980, Byron released This Day and Age, which became an instant power pop classic.

Produced by Jimmy Iovine and featuring members of Billy Joel's band, the record contained ten tracks of energetic pop/punk in the vein of the Jam's In the City and Elvis Costello's Armed Forces. The album spawned a Top 40 hit and popular MTV video with the first single, "Listen to the Heartbeat." Byron toured the U.S. heavily in support of This Day and Age, both as a headliner and as an opening act for Bob Seger (on his Against the Wind tour) and the Boomtown Rats (on their Fine Art of Surfacing tour). Shortly afterwards, Byron recorded a version of "You Can't Hurry Love" for the R.S.O. Records soundtrack to the Tim Curry vehicle Times Square, which also included songs from the Cure, XTC, Joe Jackson, Suzi Quatro, Lou Reed, the Ramones, Roxy Music, and others. Arista also released a 12" single version of Byron's remake of "Down in the Boondocks," which featured Billy Joel on backing vocals. Soon afterwards, Byron began recording demos for his second Arista album. One of these songs, which he planned to use as the lead single for the album, was "Shadows of the Night." Arista, however, told Byron that "Shadows of the Night" and the other songs were not commercial enough and promptly put him on suspension for a year. Later, several other artists recorded "Shadows of the Night," the most famous of whom was Pat Benatar. Benatar used the song as the opening track on her 1982 Get Nervous LP, which went on to sell over four million copies. "Shadows of the Night" won the 1982 Grammy Award for Record of the Year and has since been included on several compilations and greatest-hits packages. Disillusioned by Arista's lack of foresight, Byron asked to be released from his contract and the label complied. He then decided to concentrate on his writing and, although plagued by personal problems and drug abuse, managed to place songs on Never Run, Never Hide by Benny Mardones (a gold record), Lights On by Price-Sulton, the self-titled record by Drive She Said, and others.

In the early '90s, Byron completely renounced drugs, delved seriously into various forms of spirituality and successfully located his birth mother (interestingly enough, Byron found that his real grandfather had owned the music store where he bought his first guitar). He then began performing and recording again, releasing Exploding Plastic Inevitable on Zen Archer/Fountainbleu Records in 1998. The new album had a much folkier slant than This Day and Age (drawing critical comparisons to Marshall Crenshaw and Tom Petty), although Byron's pop songwriting chops were fully intact. In 1999, Byron undertook a U.S. tour co-headlining with two other Fountainbleu artists, began writing material for a new album, and recorded a song for a Gene Clark.(allmusic.com)

Classical early 80's Power Pop album. This is the vinyl edition.
Enjoy
          Frank  Flac
                     mp3

Army Navy - The Wilderness Inside (2014) Flac & mp3

Los Angeles trio Army Navy's third full-length album, 2014's The Wilderness Inside, is a nuanced, lyrical work informed by the group's longstanding love of '70s power pop, folk, and country. Showcasing the talents of lead singer/guitarist Justin Kennedy, along with guitarist/vocalist Louie Schultz and drummer/vocalist Douglas Randall, the album follows up the group's equally melodic 2011 sophomore effort, The Last Place. As with that album, here Army Navy and longtime producer/engineer Adam Lasus (Clap Your Hands Say Yeah, Dawn Landes, Ben Harper) strike a balance between bittersweet, often melancholic lyrics and bright, catchy pop hooks.

To these ends, cuts like the jangly, languid folk-rock-infused "Birdy" and ruminative, early-'80s soft rock-influenced "Dumb Luck" bring to mind the vintage rock sound of bands like America and the Raspberries. Elsewhere, cuts including the ascendant "The Mistakes" and romantically epic "Crushed Like the Car" are blissful, guitar-based anthems that set them justifiably next to such contemporaries as Canada's Sloan, Scotland's Teenage Fanclub, and Albuquerque's the Shins. Clearly, based on the level of tangible musical touchstones on The Wilderness Inside, Army Navy have great taste in music. Thankfully, they know how to turn these influences into moving pop/rock metaphor. As they sing on the ebullient "Spinning on the Record," "Somehow I just know your songs have changed me/Your music is the air I breathe tonight/No one ever knows the words to save me/Maybe all your gibberish was right." With The Wilderness Inside, Army Navy's melodic message rings clear.(allmusic.com)

Power Pop, Jangle, a little shoegaze, it's all inside here. And it's a very melodic album full of catchy melodies with a clever arrangement.
Have fun
               Frank    Flac1
                            Flac2
                            mp3

Squeeze - East Side Story (1981) (US 1998 Mobile Fidelity Sound Lab) Flac & mp3

Roundly regarded as Squeeze's grand masterpiece, in its planned incarnation East Side Story was going to be much grander: it was designed as a double-album with each side produced by a different musician, all a forefather of a different aspect of Squeeze. Dave Edmunds and his Rockpile cohort Nick Lowe were both contracted, as was Lowe's main producing success story Elvis Costello, and then Paul McCartney was slated for a side, but as the sessions started all but Elvis and Edmunds pulled out, with Dave only contributing one track. Costello was enough to make a big, big difference, helping to highlight a band in flux. Jools Holland left the group after Argybargy, taking with him a penchant for boogie-woogie novelty tunes. His replacement was Paul Carrack, veteran of pub rockers Ace who gave Squeeze another lead singer with true commercial potential -- something that Costello exploited by having Carrack sing lead for the brilliant piece of blue-eyed soul, "Tempted" (Costello and Glenn Tilbrook sneak in for the second verse). "Tempted" was a misleading hit -- at least it was a hit in America, where it turned into a '80s standard -- in that it suggested Carrack was a larger presence in the band than he really was, yet it also suggested the richness of East Side Story, and in how the band's music deepened and found a sympathetic producer in Costello. Far from reprising his skeletal, nervy production for The Specials, Costello smoothes out the lingering rough edges in the band, giving them a hint of gloss that has more to do with its new wave era than commercial considerations. One thing that is missing is the frenzied beat that had been Squeeze's signature throughout their first three albums: despite the echoey rockabilly of "Messed Around" -- if you didn't check the credits, you'd be sure this is Edmunds' production, but he was responsible for tightening up the almost ideal opener "In Quintessence," which strangely enough sounds like Costello's 1981 album, Trust (it really was an incestuous scene) -- this isn't a rock & roll album, it's a pop album through and through, from its sounds to its songs.

It's bright, colorful, immediate even when things get ambitious, as they do on the dense, grandly psychedelic "F-Hole," which is cleverly deflated -- musically and lyrically -- by its juxtaposition with "Labelled with Love," a lazy country-rock stroll that doesn't seem out of place among the rest of the clever, immaculately constructed pop songs. Instead, it acts as further proof that Difford and Tilbrook could write and play almost anything at this point: they perfected their barbed, bouncy pop -- best heard on the single "Is That Love," but also "Someone Else's Heart" and terrific, percolating "Piccadilly" -- but they also slowed down to a hazy crawl on "There's No Tomorrow," turned intimate and sensitive on the jangly "Woman's World," and crafted the remarkably fragile, Baroque "Vanity Fair." All this variety gave East Side Story the feel of the double-album it was originally intended to be and it stands as Squeeze's tour de force, the best pop band of their time stretching every one of its muscles. [The 1998 U.K. reissue contained two bonus tracks: "The Axe Has Now Fallen," whose bright beat can't mask its bitterness, and a pretty good cover of the pop-soul standard "Looking for a Love"].(allmusic.com)

Nearly all what Squeeze have written is top notch pop. Maybe the second best ban.., no i better stop here :-).
Enjoy
         Frank         Flac1    You need both flac links!   Flac 2
                                                     mp3@320

J.K. & Co - Suddenly One Summer 1969 (AMR Archive, Japan 2006)

The history of J.K. & Co. was little known, the details etched in admirably by Sundazed's CD reissue of their only album. The group was led by Jay Kaye, who was only 15 when he assembled J.K. & Co. in early 1968. With assistance from arranger Robert Buckley (also still in his teens), producer Robin Spurgin, and session musicians, he recorded a little-known album, Suddenly One Summer, for White Whale in Vancouver (to where he had briefly relocated from Las Vegas). His florid, melodic songwriting betrayed obvious debts to Donovan and George Harrison; his low-key vocals also recall George's late Beatle efforts. The sappier excesses of his lyrics haven't dated well, but his soothing arrangements (with low-key organs and saxes), beguiling melodies, and good-hearted, meditative ambience make him one of the worthier obscurities of the late '60s.
As a band, J.K. & Co. didn't really exist until after the album was completed, and Kaye formed a group to play the material live that included his cousin John Kaye on bass. Although the LP got a little bit of exposure on Californian underground radio stations, it was not well-promoted and remains barely known, even by many psych-heads. Their career was not aided by the label's bizarre decision to pull a 36-second-long track, the instrumental introductory piece "Break of Dawn," as the single. While they did play live in California, they broke up around the end of the 1960s, without releasing any more recordings. The rare album was reissued on CD by Sundazed/BeatRocket in 2001. (allmusic.com)

 This sounds like the solo album that George Harrison might have made before he left the Beatles, as several songs have that solemn, spiritual, forlorn quality Harrison perfected on cuts like "Long, Long, Long." With its languid guitars, organ, and somber mood, "Nobody" is so reminiscent of All Things Must Pass tracks like "Let It Roll" that one is surprised to find that this album was done well before the release of All Things Must Pass in the early '70s. Although the lyrics are blatantly hippie-ish, the music itself sets a dignified, almost stately mood with its intimacy and tasteful restraint. "Fly" and "Nobody" are genuine lost treasures of low-key late-'60s late psychedelia, and alone make the album worth investigating. But it's inspired and pleasurable the whole way through, down to the super-brief links and intros dotted throughout the record.

Very fine psychedelic pop album from '69. If you don't know it give it a try
                   
and enjoy
Cheers
           Frank   Flac
                       mp3@320 

Australian Power Pop(e) Carpenter's Project ''The Supahip - Seize The World (2005)'' (Not Lame) Flac & mp3

For years, the US-based label Not Lame has been delivering the voice of Australian pop musician Michael Carpenter to the world.  But while the pop underground scene has elevated his work to contemporary genius status, he still remains a relatively obscure figure outside those circles.  Heralded as a brilliant combination of Paul McCartney and the Finn Brothers, with a healthy amount of requisite references to Brian Wilson on the side, in theory Carpenter has the kind of pop chops that equal stardom—in the mythical world where pure pop is still busting the charts.
In recent years, Carpenter has been stretching into new territory.  His earliest releases were primarily one-man affairs, with all songs written by Carpenter, all instruments performed by Carpenter, and all vox sung by Carpenter.  But in 2003 he surprised fans by releasing his first album with a full backing band, Kings Rd.  And now, with the Supahip, Carpenter is once more branching off into new territory.  Joining together with friend and fellow musician Mark Moldre of Hitchcock’s Regret, the pair combined their individual talents to write and record in a manner that challenged both musicians as songwriters and musicians.
Coming together in the studio once a month for just over a year, all 12 tracks on Seize the World were recorded in as spontaneous a manner as possible, and all within the span of a day.  With no prior collaboration, Carpenter and Moldre entered the studio in the morning with a rough idea, sketched out the track between them, and recorded it all in one sitting, repeating this process once a month.  In the end the whole process wound up inspiring the songwriters—both of whom were more or less used to being the sole songwriter on their respective projects—and infused the songs with a simplified vitality and immediacy that the pair felt tied them back to “the good old days” or early rock music.
Of additional interest to audiophiles is the fact that Seize the World was recorded to emulate the ‘60s pop recordings of yore, or, as the duo calls it, in the “hyperRETROsonic” process.  This essentially means that the instruments are all hard-panned right or left to give it a wide stereo sound.  Unfortunately, this takes away from the impact of some of the tracks by creating a noticeable empty space in the sound, and there are some songs, for example “Everything’s Alright”, that would benefit from a richer mix.  The Supahip make up for it somewhat by offering a straight mono recording of ten of the twelve tracks following the stereo versions, which gives the songs a very direct, garage-recording punch.

Regardless of songwriting or recording process, the songs that Carpenter and Moldre deliver here are almost all top notch, and while there’s nothing here that truly breaks the mold to invent something new, Seize the World offers 12 mature, developed tunes whose rushed birth is completely masked by skilled musicians.  The leadoff track “Like Love” has all the hallmarks of a McCartney ballad, even down to the falsetto harmony and “ahhhh” backing vocals.  Shifting gears, one of the real stand-out tracks here is “Tulsa”, which surprisingly seems to mine the kind of mellow groove and rolling lyrical rhythms of Beck with shades of Beach Boys exotica, all the while filling the track with an amalgam of instruments.  Meanwhile, “Something’s Gotta Give”, “Satellite”, and “Ultra Black Light” have the kind of assured pop-rock vibe that artists like Dada and Matthew Sweet make seem so effortless.  And I’d be remiss not to mention the cover of Nik Kershaw’s “Wouldn’t It Be Good”.  In place of the original’s techno-effects-processed vocal intro and ‘80s synths, a warbling guitar and bare-bones bass line pick the song out, which evolves into a shuffling guitar pop song peppered with organs and electro effects pedals.
With its mix of low-key rockers and pure pop balladry, Seize the World proves the Supahip to be a fruitful and fortuitous side-project.  Neither the Bens nor the Finns, it’s probably not going to help break Carpenter or Moldre into the big time, but it’s proof that setting new challenges for yourself as an artist can be great creative exercise with excellent results. (popmatters.com)

One further side project of australian pop musician Michael Carpenter.
Have fun
               Frank    New link Flac
                           mp3@320
The Flac link expire 2017-04-28 

The Peep Show - Mazy: The Secret World of The Peep Show (2007 Castle)

The Peep Show were purveyors of very decent psych fare indeed. Decidedly darker in tone and far less acid-driven than many of their contemporaries, the band remain something of an enigma. Songs such as Your Servant Stephen and Esprit De Corps marked them out as oddballs even then; but then with the former dealing with a man’s plea to his pregnant girlfriend’s father and the latter with the inadequacy felt when comparing oneself to a Battle Of Britain pilot, it’s not overly surprising.

Although not necessarily in-tune with the kids, The Peep Show, in the space of no-more than a year, recorded a series of solid psych tracks, one of which, Mazy, is now rightly regarded as a classic. It’s for songs such as Do Not Wait for Better Times, Morning and the wonderful What A Funny Name, however, that the band should be remembered.

Satirical, pessimistic and peculiarly English, The Peep Show are in a fine tradition that stretches from The Kinks to The Smiths. The wilful difference of much of the material here will surprise those expecting another just another psych reissue. These guys were genuine mavericks and, 40 years on, they still sound refreshingly different.(excerpt of recordcollectormag.com)

Highly recommended! If there is any interest in mp3 i will upload it tomorrow.
Cheers
           Frank     The Flac link expire 2017-04-29     Flac
                                                                                   mp3 link1
                                                                                   mp3 link2
                            You need both mp3 links!

The Merry-Go-Round - Listen, Listen - The Definitive Collection (2005 Rev-Ola)

The Merry-Go-Round's Listen, Listen: The Definitive Collection is a near-perfect example of doing a reissue the right way. Lovingly put together by the folks at Rev-Ola, the package is a perfect blend of enlightenment and entertainment, with insightful liner notes that feature new interviews with many members of the group and their guiding light, Emitt Rhodes, excellent photos, clean and crisp sound, and best of all, the wonderful music of the Merry-Go-Round and Emitt Rhodes. First, some bookkeeping. The opening half of the disc contains the group's lone album released on A&M in 1967, The Merry-Go-Round, the second half is the Emitt Rhodes album released by A&M in 1970 (and also in '71 with a different cover and an altered track listing) called The American Dream. The album is made up of songs Rhodes cut with studio pros in 1969 after the demise of the group, as well as demos recorded in the latter days of the Merry-Go-Round. The package is rounded out by four songs taken from singles released after The Merry-Go-Round, the mono version with drums of "Time Will Show the Wiser," and as a bonus, the band's recording of "Good Vibrations" with A&M honcho Herb Alpert on lead trumpet.

Now for the music. The Merry-Go-Round is a breathtaking blend of chiming folk-rock guitars, British Invasion harmony vocals, baroque pop arrangements, and pure pop songcraft that sounds daisy fresh in 2005. The Beatles are a huge influence, there is plenty of Paul McCartney in Rhodes' sweet vocals and their vocal harmonies. You can hear the Byrds a bit, some Left Banke (especially on the sweeping orchestral pop gem "You're a Very Lovely Woman"), some L.A. garage on rockers like "Where Have You Been All My Life" and "Lowdown"; the group definitely didn't exist in a vacuum. There are some songs, though, that are quite unique and original like "Time Will Show the Wiser" with its otherworldly sped-up and backwards guitars and enchanting melody; the warm and bouncy hit single "Live," and "Had to Run Around" an exquisite ballad whose tender beauty foreshadows Rhodes' classic 1970 Emitt Rhodes album.

These songs, and the overall quality of the songs and the group's loose and earthy playing, help lift the album above the pack and should lead to it being mentioned in the same breath as Love's first album or Buffalo Springfield's first when talking about classic American debut albums of the '60s. The singles included on the reissue show the band adding piano and a fuller sound, not too surprising since many of the tracks on the album were demos. They are fine songs, too; 1968's "Sgt. Pepper's Lonely Heart's Club Band"-inspired "Listen, Listen" rocks harder than anything else they recorded and has one of Rhodes' most intense vocals; "She Laughed Loud" is a self-mocking tune with some great background vocals, and "Missing You" incorporates some lovely harpsichord and was unjustly buried as a B-side. The American Dream album features some of Rhodes' best songs, like the rollicking Harry Nilsson-esque "Holly Park," the catchy as the flu, should-have-been a hit "Let's All Sing," and a couple of tracks that sound like the blueprint for the sound of Rhodes' first real solo album: the simple and beautiful "Saturday Night" and "Pardon Me."

It also features a couple of near-clunkers in the hokey Appalachian narrative "Textile Factory," the overly dramatic "Someone Died," and the calypso-inflected "Mary Will You Take My Hand." The use of studio musicians also tends to drain most of the homespun charm of the MGR's work and the grafted-on string and horn arrangements on some of the songs can veer to the point of schmaltz ("Come Ride, Come Ride," "The Man He Was"). When you strip away the excess sweetening, though, the record is at its heart a solid pop record, not up to the standard of what preceded it or what followed, but most certainly worth hearing. The set is a must for fans of Rhodes, too, but more than that, the fact that it marks the first time the entire Merry-Go-Round discography is available on CD makes it an absolute must for fans of sophisticated '60s pop. In a world of botched reissues and pointless collections, Rev-Ola gets it right here.(allmusic)

The Merry-Go-Round was a near perfect pop/psychedelic pop band with all the possibilities and skills a band need who wants to reach the top. But they failed. Why? I don't know because music is a mystery.
Hope you have fun
cheers
          Frank     Flac
                        mp3@320                You need both mp3 links!    mp3 link2

Artwork (complete) The Leaves - The Leaves...Are Happening (2000 Sundazed) added!

Hello Folks, i've just added the missing artwork for the ''The Leaves - The Leaves...Are Happening (2000 Sundazed) in the post from yesterday. Today a nice guy sends me the complete artwork.
(Thank you very much again for the contribution, Gerard!)

It's nice to see that people help each other.
Cheers
           Frank

Australian Power Pop: Young Modern - Play Faster 1980 (25th Anniversary Edition) Flac & mp3

Australian music writer Andy Bradley once called Young Modern "the first power pop band from Down Under," and the band's bright, energetic sound and ear-catching melodies were a clear precursor to the skinny-tie pop sounds that would begin having a major impact on the charts at the end of the 1970s. Unfortunately, Young Modern was just a bit early to reap the benefits of power pop's brief moment of commercial success, though their historical importance and influence on the likes of the Hoodoo Gurus and the Sunnyboys is widely acknowledged. Young Modern was formed in 1977 by John Dowler, an Irish expatriate who had spent time in Europe, the Netherlands, and England before settling in Adelaide.

Dowler was previously the leader of Spare Change, a prescient band that favored straightforward rock & roll with a pop touch, with Roxy Music, Mott the Hoople, the Velvet Underground, and Sparks cited by the group as key influences. After Spare Change broke up in 1976, Dowler began looking for like-minded musicians to form a new group, and in 1977, he met up with Andy Richards, whose older brother had gone to school with Dowler. Richards was playing bass in a band called Suggestion, who were going nowhere fast, and Dowler recruited Richards and Suggestion guitarist Vic Yates to join his new group. After schooling his new bandmates on his musical philosophy and his enthusiasm for the Flamin' Groovies, Big Star, and the Byrds, Dowler, Richards, and Yates teamed with guitarist Michael Jones and drummer Mark Kohler, and the first edition of Young Modern (named after a pop fanzine of the '60s) was complete.

Young Modern played their first gig opening for Radio Birdman in November 1977, and they quickly gained a sizable following in Adelaide for their hooky, straightforward brand of rock & roll. Young Modern were a hard-working band who were eager to play, and they hit the road, playing club dates around Southeast Australian and learning to handle all kinds of crowds. Dowler was friends with Steve Cummings of the pub rock band the Sports, and Cummings was impressed enough with Young Modern to help them make their first record. Cummings produced the single "She's Got the Money" b/w "Automatic," which the band released in 1978 on their own Top Gear label; it scored significant airplay on Double J Radio in Sydney and Triple R in Melbourne and spread word about Young Modern nationwide. The success of "She's Got the Money" led to an offer from Dirty Pool, a successful music management firm who handled two of Australia's biggest hard rock outfits, Cold Chisel and the Angels.

Young Modern signed up with Dirty Pool and relocated to Sydney, though Mike Jones opted to stay in Adelaide and Mark Carroll took his place in the lineup. Despite Dirty Pool's success with other acts, they didn't seem to know what to do with Young Modern, and the band often found themselves booked into clubs that favored hard rock while pop bands that had sprung up in Young Modern's wake were enjoying greater success. With the group's momentum fading, Young Modern decided to break up in the summer of 1979; an album, Play Faster, was released by the indie label Local Records that combined their single with a number of unreleased demos, and the group briefly reunited in 1980 to play a few shows in support. (Spare Change's unreleased recordings would also be compiled into an album after Young Modern called it quits.)

Dowler went on to form the Glory Boys (who later became Talk Show), and enjoyed success in the late '80s with the Zimmermen. In 2006, Dowler reunited Young Modern to cut a new album, How Insensitive, which was released the following year; the band went on tour after the album's release, and another reunion jaunt in 2010 resulted in a live album, Live at the Grace Emily 22.12.2010.(allmusic.com)

This is a wonderful Power Pop/Jangle album with strong sixties influences. If you love Garage Power Pop with sixties vibe, this is a must for you. Highly Recommended!
You can buy the album here

You will enjoy and you
will have fun
Cheers
           Frank       Flac     mp3@320

New Flac ''The Plimsouls: Everywhere At Once 1983'' link is up !

I added a new link in the Plimsouls post from yesterday. Please give me a comment if it works. Thanks and sorry for the inconvenience again.
Cheers
           Frank

Classic Power Pop: The Plimsouls - The Plimsouls...Plus 1981 (1992 Rhino) Flac & mp3

The Plimsouls were in the right place and time--Los Angeles just after the Knack took skinny-tie power pop national--to score a major record deal almost upon forming. With the instant credibility conferred by leader Peter Case's membership in the legendary punk-pop Nerves, whose "Hanging on the Telephone" Blondie had taken to the charts, the Plimsouls were expected to become a very big deal. Sadly, the anti-Knack backlash took down the entire L.A. power pop scene almost overnight, and their self-titled debut disappeared immediately.

The excellent Rhino reissue THE PLIMSOULS...PLUS collects that album, the rare ZERO HOUR EP, a handful of b-sides including an early version of EVERYWHERE AT ONCE's stellar "How Long Will It Take?" and an excellent previously unreleased tune called "Memory." Case's rough-edged songs and the band's noisy performances are almost unbearably exciting, and this is a true power pop classic.

No need to say something more about this album. A true classic!
Enjoy
          Frank                                                               New Flac
                                                                                  mp3@320

Wish all of you Happy Easter days!

Garage/Power Pop: Dee Rangers - Blue Swedes 2007 (Vinyl) Flac & mp3

Debuting in 1997 with the EP This Modern World, Dee Ranger imported their vintage of 60's guitar romp to their home country of Sweden. With their reflection towards the raw styling of The Sonics and The Kinks, Nicke Ohman (guitar), Johnny Elfstorm (bass), Uffe Pettersson (drums) and Mike Eriksson (vocals) would release a series of seven-inches various labels throughout 1997. This includes the Fall Down, I Just Wanna Rock 'n' Roll and Don't EPs.

This is great Garage/Power Pop from swedish band Dee Rangers.
Five fat stars from possible six stars!
Enjoy,
          Frank    mp3
                      Flac