Psychedelic Pop/Rock: Octopus - Restless Night 1970 (2003 Air Mail Archive ) Flac & mp3

Octopus' origins lay in Hatfield, 30 miles from London, and a mid-'60s quartet called the Cortinas (the name came from an English Ford compact car), made up of Paul Griggs (guitar), Nigel Griggs (bass), Brian Glassock (drums), and Rick Williams (guitar). By 1967, the Cortinas had moved from Brit beat into pop-psychedelia and cut one single ("Phoebe's Flower Shop") for Polydor without success. The following year, the quartet renamed and redirected itself and Octopus was born. The band earned a support spot to Yes which was, itself, an up-and-coming group at the time. They also appeared on stage with acts like Status Quo and Humble Pie, and were discovered by Troggs bassist Tony Murray, who helped get them a record deal with independent producer Larry Page, who was the Troggs' manager.

Octopus was signed to Penny Farthing and released a single, "Laugh at the Poor Man" b/w "Girl Friend," in 1969. Midway through the recording of their debut album, Restless Night, Glassock and Williams quit the band, and it was a re-formed Octopus, with John Cook on keyboards and Malcolm Green on the drums, that finished the record with Murray producing. The resulting LP was popular in Hatfield but never found an audience anywhere else.
Restless Night was a surprisingly pop-oriented affair considering Murray's regular gig. The music is on the smooth, commercial pop side, with the psychedelic elements mostly in the fuzztone guitar and organ flourishes, mixed with the music's general melodic nature. The band was good enough to get booked into the Marquee Club in London in 1969, but their career arc was far more shallow than that of heavier weight contemporaries such as King Crimson. The group pressed on for another two years, including tours of Europe, but disbanded in 1972.

John Cook later joined Mungo Jerry, while Malcolm Green and Nigel Griggs later became members of Split Enz.
See for Miles reissued Restless Night with extra tracks off of their singles in the 1990s. This group has nothing to do with the band named Octopus that recorded for ESP at the end of the 1960s, or the more recent band of the same name.(allmusic.com)

This is a very good Psychedelic Pop/Rock album. Why the band don't reached more success is an enigma of its time then. The band had all what could bring them to the top. A strong album, a good company, management. Everything looked good but the band failed to chart. I think the album came two years to late. In 1970 the first glam bands made it in the charts and psychedelic pop was over its climax. Nevertheless a very good pop album with a lot catchy popsike melodies.

Enjoy it!
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Various Artists - Gerry Goffin & Carole King - Something Good From The Goffin & King Songbook (Ace Records 2012) Flac & mp3

Gerry Goffin and Carole King were such prolific songwriters (usually working as a team) throughout the 1960s, and so frequently interpreted, that you could probably fill up a lot more than three CDs of covers of their compositions. It was hard to predict how many volumes would be in this series when this CD was released in 2012, but the third volume of Ace Records' compilations of interpretations of material by Goffin & King is another mix of hits and (more often) rarities/obscurities, all recorded in the '60s.

There are a few big hits here (the Chiffons' "One Fine Day," Freddie Scott's "Hey Girl," the Drifters' "At the Club," the Cookies' "Don't Say Nothin' Bad About My Baby"), as well as a couple pretty famous recordings by the Byrds ("Goin' Back") and the Cookies' Earl-Jean ("I'm Into Something Good," a small 1964 hit made into a much bigger British Invasion one by Herman's Hermits). But much of the rest will be new even to the average dedicated record collector, even though plenty of the artists are famous.

Even some of the tracks that look familiar at first glance are not the hit versions, like Bobby Vee's "It Might as Well Rain Until September" (written for him but a hit for Carole King herself); Dion's "Take Good Care of My Baby" (actually recorded by him before Bobby Vee's hit rendition, without the introductory verse heard on Vee's single); and the Everly Brothers' "Chains" (recorded in 1962, but not issued until 1984).

The double-edged sword is that there's usually quite a gap in quality between the famous hits and the other tunes. Even though many of the cuts are by hitmakers like Rick Nelson, Skeeter Davis, Bobby Goldsboro, the Tokens, and Tony Orlando, in the company of genuine Goffin & King classics they'd come off as filler. Though versions of "The Loco-Motion" by Dee Dee Sharp and "Will You Love Me Tomorrow" by Bunny Sigler make for a change from yet another compilation to feature the ones done for huge hit singles by Little Eva and the Shirelles, in comparison to the originals, they're perfunctory. On a more interesting note, it's unusual that a couple songs made it onto British singles, one by U.K. star Billy Fury ("I'd Never Find Another You," which made the Top Five on the charts in his native country in 1961), though the Eccentrics' rare "What You Got" is a generic British Invasion throwaway.

In addition, a few little-known solid efforts are sprinkled throughout the set, like Lesley Gore's bouncy "The Old Crowd" (the B-side of her hit "She's a Fool"), and the Monkees' "Sweet Young Thing" proto-country-rock-psychedelia (written by Goffin & King with Mike Nesmith) is distinguished by its eccentricity if nothing else. In sum, the anthology might be more for the collector with a scholarly bent than the average '60s pop fan.

But such listeners will greatly appreciate the liner notes, which examine the origins of these mostly uncelebrated recordings in great detail, complemented by rare period photos and illustrations.(allmusic.com)

I said my opinion about the quality of the Goffin/King -Various Artists releases by Ace Records as i posted another Goffin/King collection here some days or weeks ago.
Have fun
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Psychedelic Rock By: Beacon Street Union - The Eyes Of The Beacon Street Union - The Clown Died In Marvin Gardens (1968)

With a moniker like the Beacon Street Union, potential consumers are readily assured that this quintet is one of the more overtly psychedelic contributions from the era of the Beantown/Bosstown Sound. In fact, it was little more than MGM Records' heavy and nationally hyped "Bosstown Sound" -- which was aimed at creating an East Coast version of the burgeoning San Francisco Bay Area scene -- that gave the band a platform to begin with. Ultimately, the overexposure backfired on the label, which eventually turned on the combo once the stunt had run its course. A similar fate also befell a number of long lost Boston-based groups such as Ultimate Spinach and Eden's Children. Armed with a savvy production staff including the likes of Wes Farrell and Val Valentin, much of the musicality is obscured with sonic non sequiturs.

These range from the rapid juxtaposition of brief spoken word vignettes -- perhaps inspired by Frank Zappa's musique concrète cum rock & roll -- to the more traditional excessively echoplexed music and vocals. Standout originals include the punkish attitude of "Sadie Said No" as well as the pseudo tripped-out ambling of "Mystic Morning." Those tunes come off much more convincingly than the hokey covers of Chuck Berry's "Beautiful Delilah" or Brownie McGhee's "Sportin' Life" -- which the BSU disturbingly credit as an original composition. The second LP unfortunately did not fare much better.

There are a few rays of brilliance such as the funky rocker "Now I Taste the Tears," which is offset by the campy narrative "May I Light Your Cigarette." The extended workout on the disc's closer, "Baby Please Don't Go," proves that the band had legitimate musical potential underneath the layers of hype, with a raw exhilaration akin to the Velvet Underground. This single-CD edition contains both BSU long-players -- The Eyes of the Beacon Street Union (1968) and The Clown Died in Marvin Gardens (1968). The original unit centered on the trio of John Lincoln Wright (vocals), Wayne Ulaky (bass/vocals), and Richard Weisburg (drums), all of whom contributed to the original material on both albums. The trifecta also scored an additional underground classic, Come Under Nancy's Tent (1970), under the moniker of the Eagle. All three LPs and related 45-only tracks are available on the three-CD State of the Union (2001) box set.(allmusic.com)

You will find on this two albums good songs and ideas and you will find weaker stuff. This is Psychedelic Rock and the both records are far better as the review say. You will not get popsike stuff like for instance Strawberry Alarm Clock here. But if you are in Psychedelic Rock from the last quarter of the sixties you will find some real nice stuff here. 'The Eyes Of The Beacon Street' is a very good album in my opinion. (f.i. 'Blue Avenue', South End Incident, Green Destroys The Gold, just to name a few songs). 'The Clown Died In Marvin Gardens' starts with three strong tracks and than... like from out of nowhere 'Blue Suede Shoes'...??? I confess for me hard to understand why this song is at this place of the playlist. Next one, 'A not very august afternoon' is an average song with the organ in the musical center. Followed by an (also average) blues theme called 'Now i taste the tears' with strings and a blues licks spreading electric guitar. 'Baby please don't go' a nearly 17 minutes lasting version of that old blues classic, sometimes ecstatic, followed by quiet parts but in my opinion not really needed on the album. First album 4 big stars out of 5 and for the second album 3 out of 5. All in all three quarter of this 'Two albums on one disc' release are very good and the last quarter is a weak story.

Enjoy it!
Cheers
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mp3 links added!

Hello Folks, i added the promised mp3 links for The Thanes and for The Tomcats in the posts from yesterday.

Have a nice day and a relaxed weekend,
kind regards
                   Frank

Second Album By The Great Essex Green: The Long Goodbye 2002

The Essex Green's second album continued in the Elephant 6 spirit of their debut: music highly reminiscent of pop-psychedelia of the last half of the 1960s, though not slavishly revivalist. It's the vibe of those times (and much more the pop than the psych) that informs the record, rather than the aping of specific formulas. At the same time, comparisons to those vintage days are going to be inevitable, and there's a little bit of a pastiche feel to the result, though it's brought off with upbeat wit. Certainly the arcing pop/rock harmonics of Badfinger and the Beach Boys are echoed in one of the better cuts, the opening "By the Sea." A Moe Tucker-type drum pattern helps make "The Late Great Cassiopia" sound a little like the Velvet Underground gone power pop, "Lazy May" has a little bit of Lee Hazlewood's oddball cowboy pop/rock, "Old Dominion" fuses late-'60s country-rock Byrds with the cheesy exotica of early-'60s Joe Meek productions, and "Berlin" sounds like it might have been cut after some intense listening to psych-folk-rockers Kaleidoscope's "Please." Indeed, there's a great deal of variety to the record, something that sets them apart from the vast majority of the bands that pay homage to the '60s, but also something that keeps them from developing a distinct identity. One way to do that might have been to give more emphasis to the lead vocals of Sasha Bell, whose confidently cheery style makes her by far the best singer in the group(allmusic.com)

If you want an album like the first EG longplayer you're wrong here. 'The Long Goodbye' is quite different compared to the debut album. You will not hear any fuzz guitars here or a sixties style vox organ. Nevertheless, this lady and the boys are great. Real great!

Enjoy
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Great Psychedelic Pop By: The Essex Green - The Essex Green EP 1999 Vinyl 24/96 Flac & mp3

Bands of the Elephant 6 collective usually fall into two categories: those who function simply as rock historians recreating the sounds of the '60s (Of Montreal anyone?) and those who are able to extrapolate those influences into originality (the brilliant Olivia Tremor Control, Elf Power).

From the first song on the EP, the effervescent "Fabulous Day," the Essex Green firmly place themselves into the second group. So while their pop is heavily indebted to the likes of the Kinks and the Strawberry Alarm Clock, they manage to measure in just enough originality to eclipse mimicry, making the Essex Green's music at once familiar and innovative, classic and fresh.

As with their full-length, The Essex Green is a consistent listen, with each of the five tracks possessing a definite hook and embodying a different variation on summer of love era pop.(allmusic.com)

Searched through my HDD's today and found some nice treasures. This is the first i ever heard by the Essex Green and it's nice to see allmusic.com have done a nice critic.

Enjoy
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Sorry but artwork is hard to find!

The Tomcats - Running At Shadows - The Spanish Recordings 1965-1966 (2016)

The Tomcats were a London-based quintet (originally named The Thoughts), who, in turn, were formed out of the remnants of a skiffle band called the Playboys. Among those passing through one early line-up of the Tomcats was John "Speedy" Keen, who played drums in the band. The group didn't have any significant success in England, but in 1966 they accepted an offer to perform in Spain with what proved to be their final line-up, which was drawn from a band called Second Thoughts. They were a hit in their live performances in Spain and suddenly found an eager audience for their music--the band charted four EPs of material that ranged from covers of contemporary hits ("Paint It Black" etc.) to Spanish language songs. The group returned to England in 1967, and, keeping the same line-up, altered their sound and their name to July. A 1997 CD called The Tomcats from the Essex label collects the best covers from their four Spanish EPs and fills it out with the contents of a 1964-vintage EP by the Second Thoughts.

Some days ago i posted here on the blog the psychedelic pop album by  July - July from 1968. This band here the Tomcats with the same line-up changed their name and voila...the psychedelic pop band July was born. The Tomcats sound is in a more garage kind of sound but also very well done.
Give it a try and listen. I will post the mp3 link tomorrow.
kind regards
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p.s.: Can someone help with the original RPM artwork?
p.p.s.: Take a look in the comments folks, Reader Jerry did an upgrade for the artwork.

The Thanes - Downbeat And Folked Up 2002 (Screaming Apple Records) Flac

2002 album of the Scottish beat legends the THANES, we can't hardly find the right words for it. The THANES have be around since 1987 and certainly belong to the very few really important bands of todays garage and beat scene. Hailing from Edinburgh, they have released tons of records on the coolest labels around, such as SUNDAZED, CORDUROY, MISTY LANE, LARSEN and DISTORTIONS to name but a few. The THANES of this ultra-modern age conjure up ever more new and always interesting twists and turns from their basic garage band vision. They are extending their collective antennae, reaching but further, sometimes bringing a new reaffirmation of a deeper folk-rock stance with evocative vocal harmonies and a jangling 12-string: to wit, there are covers by Bob Dylan, and The Beau Brummels, played out with true heart and soul.

A few choice examples of the group`s mega-fixation with groups that existed in Holland thirty-odd years ago have also been selected for inclusion. One of the best is their interpretation of "I`m A Fool" originally performed by The Sandy Coast. Stomping and gyrating is also encouraged with original beat-style creations such as "It Can Never Be", "The Next One", and the furious buzz of the LP opener "That`s The Story Of Your Life". No other current band is able to combine all these musical elements of the sixties in such a perfect way. "Downbeat & folked up" is masterpiece of modern beat music and will not just take the hearts of all the sixties-devotees by storm. One hell of an album! ( The Thanes LP review / Myspace)

This is a wonderful album full of jangle beat sounds. Great band!!! Don't miss it
Have fun
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Classic Power Pop: The Smithereens - Especially For You 1986 (1992 Capitol) Flac & mp3

The Smithereens' superb full-length debut Especially for You marries an unapologetically nostalgic affection for the melodic crunch of the British Invasion era with an equally unapologetic helping of postmodern melancholia.

 

In tandem with Don Dixon's moodily atmospheric production, Pat DiNizio's lovelorn lyrics and world-weary vocals reveal the dark underbelly of his otherwise crisply infectious songs, lending standout tracks like "Strangers When We Meet," "Behind the Wall of Sleep," and the minor hit "Blood and Roses," both a unique flavor and an immediate familiarity.

What can i say about this classic? I think ...highly recommend!

Have fun
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Finest Californian Pop Rock/Power Pop With A Dash Americana: The Popravinas - California Sonic (2017 Zesty Smile Records) Wav & mp3

The Popravinas is a band from California formed in 2003 by bassist, vocalist and songwriter Eddie Sill.
Since 2006 other members are producer and guitarist John Adair and guitarist Dean Lyons. Current man on the drums is David Rodgers.
The first album ''Nobody Fault But Ours'' was released in 2008 and received very good reviews and a lot of airplay in the media. I must confess that i don't know the first album and can't say anything about it. So i come to their latest album release from this year called ''California Sonic''.
The first song 'She's Going South' shows in what direction the album will go: Powerful Pop Rock/Power Pop with a good dash Americana. The Song is also together with 'I Gotta Hope' the first single of the new album. Both songs very strong melodic pop rock songs. I prefer 'I Gotta Hope', that song remembers me very much to the Stones in the eighties.

From now on the album become stronger and stronger. 'Wow' is a fine uptempo ballad in the style of 'Waiting on a friend' to stay a moment at the Stones comparison. Very good and tasteful guitar work here. 'Alone ain't so bad' starts with a nice rhythm variation of the second guitar. The song works with country elements here and have a charming americana feel. A modern country song is 'Great Western Fiasco' with little parts of impressive guitar work. It suits me how the band put these parts into the song(s). ''Top of the heartache' is a song which Jagger/Richards can't better do in their high times. 'California' is a very atmospheric number. 'Sent Callin'' finished the album with a relaxed pop rock number.

 My favourite songs on the album: I gotta hope, Wow, Santa Monica Moon, Alone ain't so bad, Top of the heartache, California.

'California Sonic' to me is a very american sounding pop rock album. The strengths of the album is the fantastic guitar work and the interplay of the both guitarists. The vocals are fantastic and give the songs the last missing piece (beside the fantastic lyrics) to make them complete. Some may say that it sounds like Jagger and sure the Stones come in mind if you listen to the band. But a band is more than just a similar voice. And if you listen to the Popravinas you will always hear the difference. And the difference makes the Popravinas.

 My rating for 'California Sonic' is: 4 Pilzköpfe out of possible 5 Pilzköpfe! (means 4 stars out of possible 5 stars for the album). :-)

Enjoy
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If you want to buy the album you find it here & here  & here  & here     

The Lemon Twigs - Do Hollywood (2016) Flac & mp3

Channeling the baroque rock of the '60s, Long Island brothers Brian and Michael D'Addario started the Lemon Twigs while they were still teenagers. Like their father, Ronnie D'Addario, the siblings played multiple instruments, counting guitar, keyboards, drums, horns, and strings on their list of proficiencies. In addition to Harry Nilsson, Todd Rundgren, Big Star, and Brian Wilson, the D'Addarios counted the Beatles, Wings, and the Zombies as major influences. Hints of contemporary artists like Sunflower Bean, Edward Sharpe & the Magnetic Zeros, and Methyl Ethel also come through on their debut single, "These Words" b/w "As Long as We're Together." The Lemon Twigs signed with 4AD in 2015 and released their debut, Do Hollywood, the following year. Produced by Foxygen's Jonathan Rado, Do Hollywood was supported by a tour that included Danny Ayala on keyboards and Megan Zeankowski on bass.(allmusic.com)

 This is highly recommend if you're really interested in a band full of ideas and a sound that surprised in every tone they play/create. It's by far not enough to say they use the baroque rock and popsounds of the sixties. Because they sound quite modern. As modern as a band can sound in 2017. To me the most innovative album in 2017 so far. They do no gimmicks they make music.
I highly recommend this album!

Have fun
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Susanna Hoffs - Susanna Hoffs 1996 (Polydor KK Japan) Flac & mp3

Delivered five years after her botched solo debut, Susanna Hoffs' eponymous second album is a remarkably accomplished and catchy collection of mature jangle-pop, power-pop and ballads. Combining originals with well-chosen covers like the Lightning Seeds' "All I Want," the album is an infectious and engaging set of melodic pop that also happens to be Hoffs' most introspective and personal record to date. The combination of sweet melodies and reflective songwriting makes Susanna Hoffs a remarkable artistic comeback from a performer that many would have thought was past her prime.(allmusic)

Susanna Hoffs was never the egyptian barbie girl. She is a great performer and musician with a special voice and yes she's looking very good. All things and skills an artist need (maybe except good lookin' but it could make some things easier) if he want to have success. And hard working. And Susanna Hoffs is a hard worker. All that are also the requirements to make an album like this. With very good songs. With catchy songs. With all the things a good pop album needs. And that is this album. Fine jangly Pop/Power Pop music.

Enjoy
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