Mark Wirtz - Lost Pets 2 (2011 PoppyDisc/Rev-Ola Records) Flac &mp3

"Easy listening" isn't really an appropriate classification for Mark Wirtz; "instrumental pop" may suit him better. An EMI staff producer in the late '60s, Wirtz's most enduring contributions to contemporary music were as producer of Tomorrow, one of the finest overlooked British psychedelic groups (featuring guitarist Steve Howe in his pre-Yes days). (It's also been reported that Wirtz turned down a chance to work with Pink Floyd in the Syd Barrett days.) Wirtz also made some "mood music" albums on his own, the most ambitious of which was a "Teenage Opera" song cycle of sorts that he began working on in 1967. Tomorrow lead singer Keith West was enlisted as lyricist, and one piece developed into West's 1967 "Excerpt from a Teenage Opera" single. A grandiose, multi-part orchestrated narrative, it became an unexpectedly huge (number two) hit in Britain in the summer of 1967.

This led to reports that an entire "Teenage Opera" was in the works, and indeed West did record a marginally successful follow-up ("Sam") in the same vein. The entire opera, however, never appeared, partly because West wasn't entirely keen on the project, and was far more eager to continue playing underground psychedelic rock with Tomorrow (which would break up in 1968 anyway) than to sing far more pop-oriented material as a solo act. Wirtz continued to work as a producer and issue more rock-influenced easy listening albums; dribs and drabs of songs that may have been earmarked for the "Teenage Opera" project would appear under the names of both himself and non-entities like Sweetshop and Zion de Gallier. While the "Teenage Opera" and "Sam" singles sound as much like kiddie rock as grand concepts in the making, it's possible that their suite-like construction influenced the Who's Tommy and the Pretty Things' S.F. Sorrow, both of which are usually referred to as the first full-blown rock concept albums that followed a storyline. In 1996, a mock-up of what the "Teenage Opera" album may have sounded like was built from tracks by Wirtz, West, Tomorrow, and others, and issued on the RPM label.(allmusic.com)

That's just the story until 1997. However, Lost Pets 2 is as far as i know the latest album by Mark Wirtz and it's a really strong one. A lot of different kind of pop songs and not one weak track in my opinion. I got my copy today around two hours ago and ripped it immediately. And it was only the second time i heard the album. I had it only heard once before by a friend. Believe me it's a real strong album by Mark Wirtz. Beatlesque melodies, Bubblegum, psychedelic things and always this particular sixties feel that i always hear in his music. To me this man is in a row with Brian Wilson, George Martin, Phil Spector of the great pop producers. As entire album this is the best work he have delivered in the last 30 years. In parts there is only ''The Fantastic Story Of Mark Wirtz...from year 2001 on this level.

Enjoy it
            SB1    Flac part1  &  Flac part2    -  mp3@320

The Rationals - Think Rational - I added the new mp3 links in the post.

Hello folks, the corrected mp3 links are also now added to The Rationals - Think Rational post.
Sorry for the inconvenience

Kind regards
                    Frank

July - July 1968 + Four Bonus Tracks (2008 Rev-Ola Remaster ) Flac & mp3

July has come to be highly prized, mainly for the presence of "My Clown," which is considered to be one of the great psychedelic singles of all time. Tom Newman, who went on to glory as the engineer of choice for Mike Oldfield, handles the vocals for the majority of the album (the exception being Chris Jackson's "Crying Is for Writers"), as well as the majority of the songwriting. Tony Duhig, who later moved on to start Jade Warrior and Assagai, provides guitars and a strong sense of Indian music, although the greater part of his participation is via warbling and groaning guitars, and a fortunately blazing solo in the midst of the otherwise painful "Crying Is for Writers."

Very good psychedelia, for the most part, but a bit dated in places and heavily influenced by much of the music coming from the direction of San Francisco at that time. The first six cuts are perhaps the most essential, going by the original vinyl release: "My Clown" and "Dandelion Seeds" are delightful, while "Jolly Mary" is simply good fun.

[Originally released in 1968, July was reissued on an import-only Japanese CD in 2005. The 2008 CD reissue on Rev-Ola adds four bonus tracks, including the non-LP 1968 single "Hello, Who's There?" and the 45 versions of three songs from the album, "My Clown," "Dandelion Seeds," and "The Way." It also has lengthy historical liner notes from British psychedelia expert David Wells.]

I got this Rev-Ola release some days ago and i thought it could be a good idea to post it here, also because the four bonus tracks and Rev-Ola had done a great job here again. Very nice artwork with great liner notes. To talk about this fantastic popsike album is ''wie Eulen nach Athen tragen''. (it's a german figure of speech and means in this case and sense 'to talk about something what everybody anyway knows') I love the album since my first listen. For all the people here that never heard it i highly recommend it.

Have fun
              SB1

Flac part1   &   Flac part2    - mp3@320

Evan Dando - Baby I'm Bored 2003 Flac & mp3

After the Lemonheads' Car Button Cloth, Evan Dando disbanded the group and took a long, long break, sobering up and marrying, slowly resurfacing after over five years of inactivity. First, he played some gigs, commemorated on the U.K.-only live album Live at the Brattle Theatre, before he finally released his first official solo album, Baby I'm Bored, in the spring of 2003, a full seven years after the last Lemonheads album. It's unmistakably a Dando album -- lots of low-key, three-chord songs, sung in his achingly lovely voice, and lasting not a second more than need be -- not much different than a Lemonheads album, apart from the lack of fast songs, loud electric guitars, and a general sense of maturity that permeates the album.

So, there are no surprises, but that's a comfort, really, because Dando sounds comfortable and relaxed, lending Baby I'm Bored a cohesion unheard on his records since It's a Shame About Ray. While the schizophrenia, marked by unexpected noise detours, aren't missed, this cohesion does mean that he doesn't hit dazzling heights, so there isn't anything as immediately indelible as "If I Could Talk I'd Tell You" or even "The Outdoor Life." That said, there is something to be said for consistency.

Even if it seems unassuming and underwhelming upon its first listen, Baby I'm Bored with each spin reveals the uniform strength of the songs and the sweet, understated charms of Dando as a performer, since he makes the covers -- several of which are written by Ben Lee -- sound of piece with his own work. Make no mistake, this is a laid-back affair and it's a grower, which may lead some listeners to dismiss it out of hand, but anybody that has longed for Dando to finally return to music will surely find much to enjoy here.(allmusic.com)

Evan Dando and his music was and is always loved by me. He can write songs with all what a pop song need. His distinctive kind to emphasize the words in his songs and only put things in the songs who are needed makes a lot of his magic that works to me. This album catched me immediately as i heard it the first time. 5 big stars out of 6. This year a deluxe reissue will be released with 24 songs on the 2nd of june 2017. All infos and where you can buy (and get the best price) here.
If you like what you hear from Evan please support the artist.

Enjoy it
             SB1   Flac part1    & Flac part 2
                                       mp3@320

The West Coast Pop Art Experimental Band - Volume Two: Break Through 1967 (Sundazed 2001) Flac & mp3

The West Coast Pop Art Experimental Band, no strangers to weirdness on their prior 1967 album Part One, had still often stuck to relatively straightforward, concise, and pop-flavored songs on that LP. Here they stretched out into less structured, more avowedly psychedelic (and indeed experimental) territory, with mixed results. "Smell of Incense" (covered for a small hit by Southwest FOB) was sublime psych-pop.

Yet "Suppose They Give a War and No One Comes" was just some fool -- actually the band's chief investor, lyricist, and tambourine player, Bob Markley -- grafting silly, self-consciously freaky recitation of a vintage 1936 Franklin Roosevelt speech onto an ominous fuzz guitar backup. Other cuts like "In the Arena" and "Overture -- WCPAEB Part II" were free-form psychedelic creepiness without the strong content of, say, likely influence Frank Zappa. Yet some of the strangest efforts exert their own strange charm, like "Buddha," with its unfathomable delineation of a garden of delights set against chimes, tinkles, and gongs. Interspersed with all this was some generic country-folk-rock (although the wavering backup bagpipes on "Delicate Fawn" give even that a weird sheen), fair harmony soft rock ("Queen Nymphet"), and unhinged garage-psych-fuzz madness.

There's half a decent (if screwy) psychedelic album here, and half incoherence, particularly when so many disparate tracks and styles are slung against each other. The CD reissue on Sundazed adds mono single mixes of "Smell of Incense" and "Unfree Child."(allmusic.com)

As i promised here comes more by TWCPAEB. Attention: This is Volume 2 not Part Two. I note this because the band have both used for different albums in their career. Okay Folks, more albums of the band will follow.

Enjoy
         SB1    Flac part1   &  Flac part2     - mp3@320

If You Are One Of The Guys Or Girls Who have ....

...if you are one of the guys or girls who have sleep since you downloaded ''The Rationals - Think Rational 1965-68'' here, please look in your folders and check the disc files. Disc 2 is the same as Disc 1. I posted new Flac links and tomorrow the new mp3 links will follow. I confess i have sleep, too. Reader FRANCK was so kind to send a comment. Thanks for that FRANCK.

All waked up now?  :-)  

Have a nice day all together folks
Cheers
           SB1

2 Albums on 1 Disc: The Flames (The Flame) - Burning Soul '68 & Soulfire '69 (2010) Flac & mp3

As musicians, the Flames broke the mold in almost every way. Of East Indian extraction, they were the only non-African soul group performing in South Africa; they lived in Durban, not Jo-burg; recorded albums, rather than attempting the singles market; and they covered pre-existing songs rather then writing their own material.

In spite, or perhaps because, of this unorthodoxy, they were wildly successful. Two group members subsequently emigrated to the States where they joined the Beach Boys in 1972.

The Flames changed their name with the next album to ''The Flame'' and with the album of the same name they had a little success in psychedelic pop circles. Two of the members later go into the US and worked also as studio musicians and hired hands. In 1972 Ricky Fataar and Blondie joined the Beach Boys (i think for three albums).

These two albums are before ''The Flame'' and the sound is more in a pop & soul direction. If you hear the albums of the Flames from the middle of the sixties until the early seventies there is a continuous developement in their sound despite the fact they played so much songs by other artists.
But you also can see in these covers how strong this band were.

Enjoy
          SB1    Flac part1   &  Flac part2  &  Flac part3      -  mp3@320

Great westcoast pop psychedelic album by Merrell Fankhauser and H.M.S. Bounty - Things 1968 (1997 Sundazed) Flac & mp3

After cutting some fine folk-rock and psychedelia on ultra-rare records with his group the Exiles, guitarist, singer, and songwriter Merrell Fankhauser moved to Los Angeles, retitled his backing group H.M.S. Bounty, and recorded a fine, if obscure, slice of pop-psychedelia in 1968, Things. The diverse offerings on the group's sole LP recalled such fellow Californian heavyweights as the Byrds, Buffalo Springfield, Moby Grape, and even Captain Beefheart. They weren't quite in the same league as those legends, but the album has a light and enigmatic air all its own, and is well worth investigation by fans of late-'60s West Coast psychedelia. The group evolved into the interesting mystical avant-garde/blues/progressive rock group Mu in the early '70s.

Fine, tuneful '60s psychedelia with a pop edge, featuring Fankhauser's first-rate songwriting and warm vocals. About half of the tunes are excellent, especially the country-rocker "Your Painted Lives," and the folk-rock ballad "Ice Cube Island," and "A Visit with Ashiya," one of the best raga-rock songs ever cut. (allmusic.com)

Hello Folks, this is a historical day to me. I can't remember that i could second a review by Richie Unterberger(critic from allmusic.com, music journalist, author) for nearly hundred percent. Today it have happened. And that's really nice because this album earns every word of a good critic. Nice psychedelic pop songs with a very own note. Nearly the whole album is a giant enjoyment. If you don't know the man and his band i recommend this album to give it try.

Enjoy it
             SB1   Flac part1  &  Flac part2          -  mp3@320

Sunshine/Baroque/Popsike: Margo Guryan - 25 Demos (Anthology) Flac & mp3

As a companion to Oglio's excellent reissue of Margo Guryan's sole album, 1968's Take a Picture, 25 Demos is useful primarily to die-hard fans, the musical equivalent of the "suggested outside reading" list in AP English classes: potentially enlightening, but not at all essential. Hearing Guryan's own demos of excellent songs like "Think of Rain" and "Sunday Morning" is interesting on the trainspotter level, because it becomes possible to see how much of the better-known versions was there from the beginning. It's also nice to hear previously unknown songs like the delicate acoustic folk-rock of "Most of My Life" and the playful, electric piano-driven "I'd Like to See the Bad Guys Win," which by itself shows why no less a songwriting talent than Harry Nilsson was a fan of Guryan.

But still, this is just a collection of demos, many of them solo voice and keyboards performances, and some of them suffering from less than ideal sound, so fans of the lush, ornate arrangements of Take a Picture may be disappointed. This is strictly for the fans, but for those fans, it's a treat (allmusic.com)

I can't agree with the opinion of the writer of the review, because in my ears this is far more than ''only demos strictly to the fans''. Naturally the songs don't had the possibilities a record studio could offer (also in that time then!). But nearly all what you can hear here is working well with a spare arrangement. I don't want talk too much about it but the songs and the songwriting here works great.
To me it's not ''strictly for the fans'',to me it's a treat for everybody with an open mind and two open ears.

Enjoy
         SB1   Flac part1  &  Flac part2       - mp3@320

Sixties Girl's Psychedelic Garage: She - Wants A Piece Of You 1999 Ace/Big Beat (from the Ace/Big Beat series 'Nuggets From The Golden State') Flac &mp3

SHE - WANTS A PIECE OF YOU (1964-1971)

In the litany of all-girl 1960s garage bands, there cannot be a more powerful and compelling entry than She.
 100% authentic, She played their own instruments, sang and wrote their own striking original material and copped one hell of a bad attitude that would put most self-proclaimed rebel boy bands to shame. Appealingly crude in their early incarnation as the Hairem, by their later years She was truly a force to be reckoned with, and as unusual and significant as any punk band, male or female, from the golden era of the mid-to-late 1960s.
The constants in She were Nancy Ross and her younger sister Sally. It was after attending a Beach Boys concert in Sacramento in 1964 that Nancy flashed on forming a band. Sally was only 13 but immediately elected to play bass. School friend Karen Kochie joined on rhythm guitar, Kathy Pennison became the drummer, and Piper Minas was added on lead guitar. The Hairem’s music was crude, forthright and remarkably original. The songs ‘Not For Me’ and ‘Like A Snake’ are pure insolence, while ‘Come On Along’ and ‘Hey You’ are alternately innocently childlike or spookily seductive.

Lp cover

By late 1967 the line-up had changed to the Ross sisters, guitarist Kathy Rice and drummer Ginny Revis. While they played occasional gigs at parks and love-ins, the band found more work on the club and college circuit. Joann Claudianos joined and duetted lead vocals with Nancy, adding an Airplane-ish element, as evidenced by a demo cut in early 1969 with new drummer Reesha Scarborough and Karen Luther on organ. The group were now known as She, after Henry Rider Haggard’s book. ‘Feel Like Giving Up’ and the outrageous ‘Bad Girl’ date from this period.
In 1970 She finally made a record, for Los Angeles’ Kent Records.

The single featured ‘Outta Reach’, a tour-de-force of femme-psych with Nancy’s defiant vocal, Karen’s weaving organ fills and an insistent chugging bassline from Sally. Shortly afterwards, the final She sessions showed considerable musical prowess without losing any of the rough edges that characterised the group as far back as the Hairem. ‘Roll On’ and ‘Piece Of You’ both have the assured arrogance of a female Stones, whereas the more introspective ‘Braids Of Hair’ demonstrates their versatility.

She finally came to a natural end in 1971 as the members got older and pursued other interests, although most of them continued in music in one form or another. When their recordings were first issued in 1999, girl garage aficionados marvelled at the intensity these young women had displayed in their youth. The interest coaxed a knowing smile from Nancy, who sadly died a few years ago. Her spirit, however, is very much alive with the remarkable sounds on this album.
Alec Palao

The words are from the ace records.co.uk site.

I have listened to the album very often the last weekend. To me this have a special feeling and atmosphere in the songs. I like the album very much. The ladies have done a very good job. I'm serious.

Enjoy
          SB1    Flac part1  &  Flac part2    -  mp3@320

Seth Swirsky - Circles & Squares 2016 Flac & mp3 ( + Flac files added in Seth Swirsky - ''Watercolor Day'' )

Sometimes you don’t need hyperbole or over-analysis to sum up an album.  This new album from Seth Swirsky, a 30-plus year veteran of MANY elements in the music industry, Circles And Squares can be summed up in one word: exquisite.  It’s that simple – considering the music is so detailed, intricate and complex.  Imagine all the best elements of what you love in pop:  Brian Wilson during that period from Pet Sounds to Sunflower; The Beatles from Rubber Soul and Revolver and most of Todd Rundgren from Something/Anything to Hermit Of Mink Hollow, plus everything by Emmit Rhodes for good measure.  I know that’s one hell of a build-up and you’re probably thinking “no way, no how”.  Well, it fucking is.

Just from the first piano bars of “Shine”, with the most perfect sound and arrangement – you know where it’s going and it’s only going to be more glorious; the title track is this wonderful, slightly quirky meld of Beatles and Beach Boys and the playing through the different movements of the song is beyond description – and it has to be noted that Mr. Swirsky played all the parts himself (save for one bass part and one horn part!) – if this is his McCartney, then roll on!  “Old Letter” is buoyant with its acoustic guitars – say Hollies meets Raspberries and layered tuanwhich makes the singing even warmer and personal and “Let’s Get Married” is one of the most charming pieces on the album with its quiet understatement and deft 12-string Ric riffage and orchestral arrangement on the instrumental break.  “Trying To Keep It Simple” is (in my mind) that kind of rhythm you found in the ’60’s with the diminished and open chords of the ’70’s – his mastery of song structuring is astounding; “Sonic Ferris Wheel” reminds me of XTC – not surprisingly, the arrangement and wry lyrical content reeks of Andy Partridge (and that’s said with great admiration); “Table” is the highlight of side two (even though this is a CD – work with me) – opening with a shimmering 12-string Ric and kicking it with a classic acoustic rhythm and worthy of Top Ten status if singles were still the order of the day and “Abyss” is sad, quiet and has a Zombies-like feel, tempered by a cello.  Heady, heady stuff.

I’ve been very fortunate in that I manage to hear/find so much incredible music to try and turn others on to after being turned on myself.  But this one – this one is an absolute necessity.  And there’s no point in my attempting to paint fancy word pictures about it.  One listen will tell you all you need to know.  Sixteen tracks and something familiar, beloved and yet different in each one, which makes it even more special.
HIGHLY RECOMMENDED – a must!
(Rob Ross,popdose.com)  

Nothing more to say. Like i said earlier in other posts this guy is a complete artist and a gifted musician. A pop genius in my opinion. Enjoy it and

have fun
             SB1   Flac part1  &  Flac part2         -  mp3@320

You can buy the album here

p.s.: I added the Flac files in the 'Watercolor Day' post from some days ago. Reader robgronotte send me the files yesterday. Thanks a lot for your contribution, robgronotte. It's much appreciated!!!

Power Pop by The Smithereens - 11 (1989) Flac & Mp3

The third full-length album from the Smithereens, 11 (a title that refers to the classic 1960 Frank Sinatra film Ocean's Eleven), was something of a letdown after the solid, tough-pop perfection of their first two albums, Especially for You and Green Thoughts. While their previous sets boasted strong material from front to back, 11 is dotted with filler. And while "A Girl Like You," "Blue Period," and "William Wilson" are all great songs, many of the others sound like by-the-numbers pop tunes cranked out to pad the set to full length.

Producer Don Dixon made the most of the dark and mysterious undercurrents of Pat DiNizio's songs and Jim Babjak's guitar, but Ed Stasium gives the band a solid, professional sound that is sadly lacking in personality; there's nothing wrong with the way the album sounds, but there isn't anything terribly engaging about it, either. As a band, the Smithereens still sound rock-solid here, but as an album it was sadly indicative of the creative ups and downs that would mark their recording career from this point forward.(Mark Deming, allmusic.com)

And this said Jeff Rosenberg: 
I couldn't disagree more with Mr. Deming's assessment. I actually prefer 11 to the first two Smithereens albums. The sound is fuller, thanks to producer Ed Stasium, and the songwriting is top-notch. To dismiss such tunes as "Maria Elena" - an ode to Buddy Holly's widow - and the beautiful "Cut Flowers" as mere filler suggests a cursory listen to the album, at best. Singling out "William Wilson" as a highlight is similarly bizarre; it doesn't suck, but it's not a standout song, either. Yes, "Baby Be Good" is something of a trifle, but in that, it recalls second-tier Beatles songs like "You Like Me Too Much" - not one for a best-of comp, perhaps, but tuneful and fun. 

I second that what Jeff Rosenberg said.

Enjoy
          SB1    Flac part1   &  Flac part2   -   mp3@320