Petula Clark - Downtown - The Pye Anthology 2 CD (1999 Sequel Records) Flac & mp3

The most commercially successful female singer in British chart history, Petula Clark was born November 15, 1932 in Epsom, England. Trained to sing by her soprano mother, Clark embarked on a stage career at the age of seven; soon she was a fixture on British radio programs, and began hosting her own regular show, Pet's Parlour -- a series spotlighting patriotic songs designed to boost the morale of wartime audiences -- at the tender age of 11.
After entertaining British troops alongside fellow child stars Julie Andrews and Anthony Newley, Clark made her film debut with A Medal for the General in 1944. By the dawn of the '50s she was a superstar throughout the U.K., with a résumé of close to two-dozen films; 1954's "The Little Shoemaker" was her first Top 20 single, while 1960's "Sailor" was her first chart-topper. Still, Clark struggled with her inability to shed her adolescent image. After selling over a million copies of 1961's "Romeo," she married and relocated to France, establishing a strong fan base there on the strength of hits including "Ya-Ya Twist," "Chariot," and "Monsieur," which spotlighted a new, more sophisticated pop sound anchored by her crystalline vocals.

Riding the wave of the British Invasion, Clark was finally able to penetrate the U.S. market in 1964 with the Grammy-winning "Downtown," the first single by a British woman ever to reach number one on the American pop charts. It was also the first in a series of American Top Ten hits (most written and arranged by Tony Hatch) that also included 1965's "I Know a Place" and 1966's "I Couldn't Live Without Your Love," and the number one smash "My Love." At the same time, she remained a huge star throughout Europe, topping the British charts in 1967 with "This Is My Song," taken from the film A Countess from Hong Kong. In addition to hosting her own BBC series, she also starred in the 1968 NBC television special Petula, which triggered controversy when sponsors requested that a segment with guest Harry Belafonte be cut in deference to Southern affiliates; ultimately, the show aired in its intended form.

As the '60s drew to a close, Clark's commercial stature slipped, although singles like "Don't Sleep on the Subway," "The Other Man's Grass Is Always Greener," and "Kiss Me Goodbye" still charted on both sides of the Atlantic. In 1968, she revived her film career by starring in Finian's Rainbow, followed a year later by Goodbye, Mr. Chips. In later years, Clark focused primarily on international touring, headlining the 1981 London revival of Rodgers & Hammerstein's The Sound of Music; after starring in the 1990 musical Someone Like You, which she also co-wrote, she made her Broadway debut in Blood Brothers in 1993. Additionally, in 1988, an acid house remix of "Downtown" reached the U.K. Top Ten, another honor for the female singer awarded the most gold records in British pop history.

Throughout the 2000s Clark toured fairly steadily across the globe. Her 2002 shows in France at the Olympia were recorded and released on CD and DVD, but no new studio recordings were forthcoming until she teamed with Irish band the Saw Doctors for a new version of "Downtown" in 2011. Soon after, she began working with producer John Williams on an album. Made up of newly written songs and covers, as well as a new take on "Downtown," Lost in You was issued in early 2013. Just three years later, Clark returned with another new studio album, From Now On, which featured several new compositions as well as covers of classic numbers by the Beatles, Steve Winwood, and Peggy Lee. In October 2016, Clark set out on a U.K. tour in support of the album. That same year also saw the release of Natural Love: The Scotti Brothers Recordings, a collection of country and pop-oriented material Clark cut in the '80s.(allmusic)

A lot of stops at different stations of her giant career. A well done anthology by Sequel with a lot of her most important songs.
Enjoy
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Nederbeat From Mid To Late Sixties: Les Baroques - The Golden Years Of Dutch Pop Music (2016) mp3@320

One of the strangest and best Dutch bands of the mid-'60s, Les Baroques always seemed out of sync with the real world. They had a French name, a lead singer with an obviously anglicized pseudonym (Gary O'Shannon, real name Gerard Schoenaker), and played R&B-tinged pop/rock with odd streaks of European folk tunes and corny orchestral arrangements. Their reputation hinges chiefly upon their first four singles and self-titled 1966 LP, all recorded with O'Shannon before the singer left the group at the end of 1966. At his best, O'Shannon could sound like a less polished, neurotic version of Van Morrison, delivering songs that, like much Dutch beat of the mid-'60s, were sullen and minor-keyed.

Les Baroques took this moodiness to extremes, however, in cuts like "Silky" and "Summer Beach," which had a dreamlike sheen and forlorn, doomed atmosphere. At other times, they espoused an earthier, R&B-based sound more in line with some British groups of the time, especially in the sharp organ riffs; "She's Mine" closely approximates Them's ballads, while "O, O, Baby Give Me That Show" is a good Animals clone.

"Such a Cad," a weird punky number that was, like several of their 45s, embellished with bassoon fills, was a big Dutch hit in 1966. But after one more fine single, the typically inscrutable "I'll Send You to the Moon," O'Shannon had to leave the band for military service. Les Baroques did continue for five more singles and a second LP with Michael Van Dijk as lead singer, but it wasn't the same, although the first two singles with this lineup, "Working on a Tsing Tsang" and "Bottle Party," were acceptably twisted pop numbers.(allmusic.com)

I found this double disc release some days ago somewhere into the web. Unfortunately only in mp3@320. But i decide to post it here on the blog because they were a real good psychedelic pop band of the sixties. After several listenings to the songs here i can second that what the reviewer said about the leaving of singer. The band sounded not the same -or better, that strong- as before the departure of O'Shannon. All in all in their career they were one of the best european psychedelic pop bands then who not came from the UK. ( Thanks to the original uploader!)
Have fun
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The Pandamonium - The Unreleased Album 1970 unreleased then (2004 Radioactive Records) Flac & mp3@320

A little confusingly, the core duo of Pandamonium, singer/songwriter-guitarists Bob Ponton and Martin Curtis, recorded as the figureheads of two different groups in the late '60s and early '70s. At first, with a few other musicians, they did some mid- to late-'60s singles for CBS; then, as Thoughts & Words, they did a 1969 album for Liberty. After that obscure LP, they recorded a 1970 album that went unreleased at the time.

That 1970 LP was belatedly released in 2004 in the form of this CD, titled The Unreleased Album, and credited to Pandamonium, though it's not clear whether it would have been billed to Pandamonium had it come out in 1970. Certainly Ponton and Curtis were supported by several notable figures on these sessions, including Gerry Conway, Jerry Donahue, and Pat Donaldson from Fotheringay; guitarist Albert Lee; bassist Chas Hodges, later part of hitmaking duo Chas & Dave; top British session drummer Clem Cattini (that is, assuming the "Clem Katiny" credited on this CD is the same guy); engineer John Wood, who worked on numerous major British folk-rock albums of the period by the likes of Fairport Convention and Nick Drake; and Shel Talmy, who's credited as co-producer. For all that, however, the failure of this material to gain release is no mystery. It's affable, diverse, but rather nondescript circa-1970 British rock that doesn't fit comfortably into either the folk-rock or pop/rock categories.

Ponton and Curtis put together some fair minor-keyed, introspective numbers like "It's a Long Time" (which is very slightly reminiscent of the Moody Blues) and "I Am What I Am" (which is in turn very slightly reminiscent of the psychedelic Byrds), with touches of folk-rock, orchestrated pop/rock, and singer/songwriter influences, but the songs aren't exceptionally memorable. At other times, like "Sunrise" and the peppy "Sit and Watch the Sunshine," they seem to be gearing toward a more conventionally uplifting single, though the breezier "Waiting for Summer" is a more successful effort along those lines; the country-rock-influenced "Baby I'll Be Yours" is rather like the most lighthearted moments of late-'60s Fairport Convention with the Sandy Denny lineup. There's certainly no harm done that this album's finally available, of course, but it's only recommended to very deep collectors of British rock of the period, or specific fans of Ponton and Curtis.(allmusic.com)

Different musical directions here. Some very good early seventies pop, Folk Rock, Country Rock, Pop Ballads. Maybe because the different musical directions had made it difficult to find an audition for the recordings. I prefer the more ''pop'' sounding songs here. The names of the musicians here speaks for themself. Top notch session crowd of the early seventies.

Have fun
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Joe South - Introspect & Don't It Make You Want To Go Home 1968/1969 ( 2003 Raven Records) Flac & mp3@320

Introspect (1968):

Joe South's debut LP was deleted almost too quickly for most listeners to find it, much less hear it. Now regarded as a country-soul classic (and, perhaps, the first country-soul album), Introspect anticipated the sound that Elvis Presley and Tony Joe White would both bring to the fore in the following year, except that it was even more ambitious than Presley or White, mixing and bending genres in new and exciting ways. Country, Eastern raga, gutbucket soul, and pop all brush up against each other within the same songs, some of which sound like Elvis singing with a backing band that included James Burton and Ravi Shankar. And thanks to South's use of various electronic devices in association with the considerable virtuosity in the playing, and his exceptional singing, this is still a bracing album four decades later.

"Games People Play" was the hit off the record, and literally overwhelmed the album (which was pulled, reshuffled, and reissued as Games People Play the following year). But also worth hearing are "Birds of a Feather," "Rose Garden" (which would become a huge hit for Lynn Anderson three years later), "All My Hard Times," and "Mirror of Your Mind," along with most of what's here.(allmusic)

Don't It Make You Want To Go Home (1969):

Joe South's second proper album was perhaps just a tad less impressive than the more well-known Introspect, if only because that earlier LP had included "Games People Play," "Rose Garden," and some other songs that would be among the singer/songwriter's most enduring. Don't It Make You Want to Go Home? is a worthy follow-up, however, that also adeptly combines rootsy rock, pop, country, soul, gospel, and psychedelia into South's thoughtful songs, which ooze both interior reflection and empathetic concern for the world at large. The soulful, cheering "Walk a Mile in My Shoes" was the album's hit single, but there are other songs here of similar quality, like the bittersweet "Clock Up on the Wall," the straight-ahead soul love song "Shelter," and "Be a Believer," which has the anthemic exhortatory chin-up feel typical of much of South's work of the period.

It's definitely an album of its time, as the occasional segues between tracks and trippy studio effects make clear. Indeed, there's one downright experimental track, "A Million Miles Away," a nearly instrumental gutbucket psychedelic blues groove under which some radio-like voices can just about be detected. Somehow the trendy accoutrements fit the mood fairly well instead of sounding like jarring misfires, though they might have ensured that South remained a little bit too idiosyncratic to maintain his short-lived commercial success. (allmusic)

To talk about ''short-lived commercial success'' in conjunction to the name Joe South is quite inapt. Surely if commercial success means to sing, play or acting in any kind in front of a crowd of screaming teens than... yes than!!! This artist wrote more than two hands full of hits which charted around the world. And not only at the end of the sixties. He was a busy studio musician, well known for his skills of a guitar player, arranger and producer. In 1979 he has been take up in the Nashville Songwriters Hall Of Fame.
 This are two very good pop albums with a lot of influences and to me the music of South had always an original american sound.
Enjoy
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Various Artists - You Got Yours! East Bay Garage 1965 - 1967 (Big Beat) Flac & mp3@320

In the mid-'60s, Los Angeles was home to tough garage rock that rattled the city's teen clubs, while San Francisco acts tended to lean more towards the folk-rock and blues that would evolve into psychedelia. The bands that called Northern California's East Bay home seemed to be stuck somewhere in the middle -- tougher than the acts in the city Tony Bennett made famous, but no match for the L.A. bands.

The East Bay had a thriving garage rock scene in the days before acid changed the game, and You Got Yours! East Bay Garage 1965-1967 features 24 songs from some of the scene's best acts. Most of these tunes hardly represent teen angst at its most thunderous, but there's a surprising degree of professionalism on display, and the best acts here -- the Baytovens, the Harbinger Complex, Peter Wheat & the Breadmen, and the Spyders -- display chops far beyond what one would expect from teen bands.

There are a few doses of full-bore fuzztone on this set (most notably from the Just Six and Blue Lite Conspiracy), and the Soul Vendors and the Epics aren't afraid to show off the right teenage attitude. Fans of goofiness in rock will want to cue up "Dynosuar" by the Flintrocks and "Who Stole the Batmobile" by the Gotham City Crime Fighters (the latter group used to perform in bootleg Caped Crusader outfits, and featured future Tower of Power horn man Emilio Castillo on sax and keyboards), and the Shillings certainly get a prize for Best British Invasion Influenced Name, even if their music isn't quite so remarkable.

If none of the bands on You Got Yours! rival the thunder of the Remains or the Sonics, this disc documents a lively garage scene that produced some top-caliber bands, and it's well worth a spin; points added for Alec Palao's excellent and informative liner notes.

Top collection of garage bands from the sixties. Highly recommend!
Have fun
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Fastball - Make Your Mama Proud 1996 Flac & mp3@320

Make Your Mama Proud may not be the most innovative album on earth, but it certainly isn't lacking when it comes to being free-spirited and inspired and having a healthy sense of fun. Greatly influenced by punk and new wave's reckless aggression, as well as power-pop's love of memorable hooks, Fastball is a band that rocks intensely but isn't without a strong melodic sense. A variety of comparisons can be made -- everyone from the Knack, Elvis Costello and Generation X to the Beatles -- but freewheeling numbers like "Knock It Down," "Human Torch" and "Back Door" show that these natives of Austin, Texas have an appealing energy of their own.

At times, Fastball combines punk-ish sensibilities with early- to mid-1960s touches, two examples being "Are You Ready for the Fallout" and "Altamont." For those who like their power-pop with lots of bite, Make Your Mama Proud merits close attention.(allmusic)

Another fine album by power pop band Fastball.
Enjoy
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Sixties Psychedelic Pop: Eyes Of Blue - Crossroads Of Time 1968 (2012 Flawed Gems) Flac & mp3@320

By rights, the Eyes of Blue should have an exalted place in the pantheon of art rock and progressive rock bands. They were around before almost all of them, and doing film work and making music in a jazz-rock fusion idiom before the latter had been understood, and they were signed to two major labels in succession, Deram and Mercury. Instead, except for drummer John Weathers, who later joined Gentle Giant, the Eyes of Blue are scarcely remembered at all. The Eyes of Blue started out as a jazz and rhythm & blues-oriented outfit (Graham Bond wrote the notes for their first album), doing songs in that vein as well as less well-suited material such as "Yesterday."

They were initially signed to Decca's progressive rock imprint Deram Records, and cut a series of excellent but neglected singles, and then moved to Mercury, where they concentrated on albums, enjoying their greatest musical if not commercial success. They were taken seriously enough to collaborate with Quincy Jones on the score of the movie Toy Grabbers, and the group actually managed to appear in the movie Connecting Rooms. Their early strength lay in R&B-based material, including Bond's "Love Is the Law," "Crossroads of Time," and "7 and 7 Is," but even on their first album, the Eyes of Blue showed some Eastern influences. Their second album had some tracks from the first film score as well as one Graham Bond song, but is more experimental, with extended instrumental passages and some classical music influences.

In late 1968, the Eyes of Blue backed Buzzy Linhart on a self-titled album, and they rated a supporting act spot at the Marquee Club in London in 1969, but their days were numbered given their lack of success as a recording outfit. Phil Ryan later played in Man, and John Weathers joined Pete Brown and Piblokto! on the Harvest label, before jumping to Gentle Giant.(allmusic)

Enjoy
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Norway Power Pop: The Kwyet Kings - Cherrypie 1995 (Screaming Apple Records) Flac & mp3@320

All good Kinks fans need not be told this band’s name is a play on the British group’s Kwyet Kinks EP, which was released in the fall of 1965. The Kwyet Kings were obviously dedicated followers of Kinks fashion, and such an influence is not only evident in their handle, but their cool music as well.
Based out of Norway, the band came together in the early 1990s and went onto spawn a rope of singles, three full-length albums and a compilation of 45s during their livelihood, which lasted until the end of the decade.
As far as I’m concerned, there are no duds clogging the Kwyet Kings catalog, but their second album, Cherrypie, is the one that especially turns my crank.
Surging forth with nimble and quick performances, accented by a fetching fusion of belly-rumbling power pop rhythms and sugar-fueled garage rock energy, every song on the disc chimes, crunches and crackles with vim and vigor.

Tracks like “Twisting My Nerves,” “Walk You Home,” “Don’t Wanna Be In Love” and the title cut of the album cycle right in on the band’s grand gift for parenting airtight material. Fit as a marathon runner, there is not an ounce of fat or flab to be had here.
The tunes, which share tales of love and lack of love, are short, compact and dangerously infectious. Choppy guitar riffs sit knee to knee with strident drum fills, while the vocals and harmonies are spunky and excitable.

Along with the noted Kinks reference, Cherrypie (Screaming Apple Records) also pays ample tribute to the Ramones, the Romantics and the Records. Though the sound and structure of the songs on the disc tend to be highly similar, the band’s passion and determination is so contagious that you’re sure to develop a serious addiction to these hummable nuggets. Containing more hooks than a fly fisherman’s tackle box, the sparkly songs combine pop instincts with a punk attitude in a wildly appealing manner.
The Kwyet Kings were a great band, and Cherrypie documents them at the top of their game.(Beverly Paterson somethingelsereviews.com)

Actually all said in the review. This is top notch power pop. Grab it
and enjoy
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...just a little information...

Dear Folks, i am very busy in the last days. In my job and here at home, too. It's a little bit difficult at the moment to re-up expired links (currently a big amount of requests) and posting new stuff with that little time. I want to ask you for the next two weeks please don't request for re-ups of expired links. After that i will do my best again to re-up all you need, want, like, must have or whatever :-).
Thanks for your understanding
Kind regards
                    Frank

Australia Power Pop by The Chevelles - Girl God (2002 Zip Records) Flac & mp3@320

Sharing the writing duties, lead singers Adrian Allen and Duane Smith come across as the Fastball from down under. Sweet guitar hooks steering a tight rhythm section kick off "Every Moment," and from there on, every moment on this album brims with power pop ideal for long car rides in the summer. "Make It Happen" relies more on the melody and makes small use of either a xylophone or triangle, something Smith opts for throughout the record. On the other hand, Allen uses more guitar for a slightly harder, edgier sound, such as "First Time -- Last Time."

The first few songs are all possible singles, and there is no hint of filler, but the title track seems to have the finest single quality. "C'Mon Everybody" is one of the weaker tunes here and sounds a bit like the Beach Boys. One of the best tracks is "Round and Round." It's one of the few times drummer David Huck Shaw gets to show his chops. "Goodbye Sally" is another stellar power pop song and has a hint of a string section near its conclusion.

If there's one negative to the album, it's perhaps how interchangeable the songs are. While all very strong, none particularly stand out, but "Angelina Jolie" has far more urgency and intensity than the other songs. The same could be said for the adorable "Sleeper," with its great guitar finish. "Sunshine" has a melody similar to Wet Wet Wet's hit "Love Is All Around."(allmusic)

Great Power Pop album by an often underrated band of this genre. If you like Power Pop you will like this.
Have fun
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Power pop by The Poppees/The Boyfriends - Lost Treasures (2005 Vivid Sounds Japan) Flac & mp3@320

I found this on wfmu.org and i think that's a good info. It's from the year 2008.

In the mid-'70s, the punk sound sprang forth in the seedy downtown New York dives CBGB and Max's Kansas City, the fetid spawning ground of the cream of the crud, including the Ramones and Suicide and the Voidoids and Wayne (soon to be Jayne) County. Among their leather-jacketed, ripped-T-shirt number in that music scene were four fellows in dark mohair suits and crisp white collared shirts and skinny black ties, shaking their heads whilst crowding around one microphone to emit a high-pitch "woooooo" in unison. After all, what would be more punk at that time than being in the Poppees — a band that emulated the early Beatles, from their moptops to their Cuban heels?
The Poppees cropped up in the early '70s, begun by rhythm guitarist Bob (Bobby Dee) Waxman and bass player Pat Lorenzo. The Fab Four of the Bowery were rounded out by lead guitarist Arthur Alexander (not the singer/songwriter who recorded the originals of Beatles standards "Anna," "Soldier of Love" and "A Shot of Rhythm and Blues") and, later, drummer Jett Harris (not the original bassist for pre-Beatles British rock combo the Shadows).

In 1975, Greg Shaw's Bomp label released the first of two Poppees singles. The A-side was a version of the Lennon-McCartney retread "Love of the Loved," which Scouse warbler Cilla Black brought to the U.K. hit parade in a brassy, adult version in 1963 and which the Poppees dragged back to its beat-group roots a dozen years later. However, the fake is more fully realized on the B-side, "If She Cries," a Waxman-Lorenzo original fittingly produced by label head Shaw in appropriate retrophonic sound. Lyrically, the song is a "swallow your pride or you'll lose that girl" advice song to a third party a la "She Loves You." Vocally, it nimbly employs all the Beatles' tricks from their harmony kit bag.
Three years later, the group's second single forced its way out: The topside, "Jealousy" (a favorite John Lennon topic) is a great single to play "spot-the-reference" to. Cleverly quoting several songs in the Beatles oeuvre, most notably their version of Smokey Robinson's "You Really Got a Hold on Me," this springy tune from the Waxman-Lorenzo songbook (as well as the flip, a Macca-esque "Long Tall Sally" take on Little Richard's "She's Got It") was produced by Cyril Jordan of the Flamin' Groovies, a band that could teach a master's seminar on faking Beatles.

Right after "Jealousy," the Poppees split into two: Songwriters Waxman and Lorenzo succumbed to their punky peers, figuring, "If you can't Beatle 'em, join, em!" They kept the Fake but ditched the Beatles with their new group, the Johnny Thunders/Heartbreakers-inspired Boyfriends, which released a couple of swell singles in '78 and '81, respectively.

Meanwhile, Alexander and Harris kept their false Fab Four flag flying with their new quartet, the Sorrows. They put out two top-drawer LPs of skinny-tie power pop on a CBS Records imprint during the early '80s that went not so much Gold as Pewter on the charts. (This author recalls seeing the Sorrows in concert around 1980 and can attest that their encore rendition of "A Hard Day's Night" was note-perfect.)
A CD of released and unreleased Boyfriends sides issued by a Japanese label also include slightly different mixes of the two Poppees originals, along with a previously unissued song titled "I Love Her." While this lovely beat ballad is not identified as a Poppees track per se, its Fake Beatle-tude clearly marks it as F-A-B rather than "L.A.M.F."

These guys were one of the best power pop bands of that time and also the projects where the Poppees musicians played, too. ''Jealousy'' and ''If She Cries'' are by the Poppees here, the other songs by the Boyfriends.
Have fun

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Wave & Power Chords From Australia: The Angels - Face To Face 1978 (2008 Remaster) Flac & mp3@320

Delivering raucous hard rock in the tradition of contemporaries like AC/DC and Rose Tattoo, the Angels are among the longest-lasting and most beloved bands ever to emerge from the Australian pub circuit. Their roots date back to 1973, when singer Doc Neeson and guitarist Rick Brewster first teamed up at university in an eccentric acoustic covers group dubbed the Moonshine Jug and String Band; by the following year they had begun adopting a more straightforward and electric approach, rechristening themselves the Keystone Angels in the process. Soon abbreviated to simply the Angels, their original lineup consisted of Neeson (nicknamed the "Mad Irishman" in honor of his crazed behavior on- and off-stage) and Brewster, along with the latter's brother John on guitar and drummer Graham "Buzz Throckman" Bidstrup.

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In 1976, the Angels were discovered by AC/DC's Angus Young and Bon Scott, and soon entered the studio to record their debut single, "Am I Ever Gonna See Your Face Again," a major hit. With the addition of bassist Chris Bailey (not to be confused with the Saints' frontman), a tour opening for AC/DC followed, and in 1977, the Angels' eponymously titled debut LP appeared to enormous success.

A second album, Face to Face, appeared in 1978 and preceded a national headlining tour; after 1979's No Exit became an even bigger hit, the group toured the U.S. and Canada; they renamed themselves Angel City in the Northern Hemisphere to avoid confusion with the glam band Angel. (To further complicate matters, a handful of releases later appeared credited to "the Angels from Angel City," the constant fluctuations no doubt contributing to their lack of success overseas.)

After just three LPs, the Angels issued their first Greatest Hits collection in 1979; with their next studio album, 1980's moody Darkroom, they scored their first Australian number one hit, "No Secrets." The record also featured the track "Face the Day," later covered by Great White. At the end of the year, the Angels headlined a free concert at the Sydney Opera House that ended in rioting, prompting a government ban on outdoor concerts. Undaunted, the Angels opened in America for the Kinks, then returned home to begin work on their next album, Night Attack, their first outing with new drummer Brent Eccles. A subsequent tour exchanged Bailey for bassist Jim Hilbun, and was followed in 1983 by the odd, experimental Watch the Red. Two Minute Warning -- a concept record exploring nuclear devastation -- recorded in Los Angeles and issued a year later.

Upon returning to Australia, founding member John Brewster exited, and was replaced by ex-Skyhooks guitarist Bob Spencer. Howling followed in 1986, launching the hit singles "Don't Waste My Time" and "Nature of the Beast." In support of the record, the Angels mounted a 16-month tour that yielded the double-concert LP Liveline in 1988. With new bassist James Morley, they next traveled to Memphis to record 1990's chart-topping Beyond Salvation, which notched four Top Ten singles: "Let the Night Roll On," "Back Street Pick-Up," "Rhythm Rude Girl," and "Dogs Are Talking." After 1991's Red Back Fever, both Spencer and Morley departed for solo careers late the next year, opening the door for the return of Hilbun and John Brewster.

However, record company problems kept the Angels from recording new material for several years; finally, in 1996, they issued their comeback single, "Call That Living," which returned them to the Top Ten. Skin & Bone followed in 1998. The group disbanded at the close of the '90s following Doc Neeson's injury in a car accident; however, Neeson joined a re-formed Angels in the spring of 2008, and the reunited group played a series of shows during the summer of that year. Neeson left the band again in 2011 to pursue a solo career and was replaced by Dave Gleeson, former lead singer of the Screaming Jets, a group who had toured with the Angels in 1991. His debut album with the group came in 2012 when Take It to the Streets arrived featuring the single "Waiting for the Sun." The band marked their 40th anniversary by releasing the album Talk the Talk

in 2014.

Very successful album at the end of the '70.
Enjoy!
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