''The Move'' Founder Ace Kefford - Ace The Face 1968 (2003 Castle Music) mp3@320

Ace Kefford was a secondary member of the first lineup of the Move, playing and recording with the band through 1968, during the most pop-oriented phase of their career. Before the Move, Kefford had played with Carl Wayne & the Vikings, featuring future Move singer Wayne and future Move drummer Bev Bevan. With the Move, Kefford played bass (although he is also credited with guitar on the album sleeve for The Best of the Move), and sang some backup vocals. He did not write any of the band's material, and had just one lead vocal, on the Roy Wood composition "Yellow Rainbow" (featured on the Move's first album). According to Bev Bevan's liner notes for The Best of the Move, Kefford "functioned as the group's pouting glamour-man." He did write one quite Move-like song, the playfully pop-psychedelic "William Chalker's Time Machine," which was recorded on a 1968 single by the Lemon Tree.

Kefford left the Move in early 1968, after increasing instability resulting from depression and panic attacks. He recorded about an album's worth of unreleased material in mid-1968 with producer Tony Visconti (to become renowned for his work with David Bowie), but the project was abandoned, without production complete on many of the tracks, when Kefford had a breakdown. These sessions found Kefford writing much of the material and trying his hand at an assortment of late-'60s rock styles, as well as singing it in his soul-rock voice, which wasn't nearly as distinctive or capable as the vocals of, say, his old Move cohorts Carl Wayne and Roy Wood. Nine tracks from the unreleased album sessions, in their various states of (in)completion, were released in 2003 as part of the Ace Kefford CD compilation Ace the Face.

Kefford then became frontman for the short-lived Ace Kefford Stand, who did one single, "For Your Love" b/w "Gravy Booby Jam," for Atlantic in 1969. The A-side was a drawn-out, heavy, and fairly tedious cover of the Yardbirds classic; the flip, thrown together by the band the night before the session, was a forgettable psychedelic-progressive rock crossover effort with freaky guitar. The other members of the Ace Kefford Stand, incidentally, had been previously known as Young Blood, and did four singles for Pye; the Ace Kefford Stand's most illustrious member was drummer Cozy Powell. After the single, Dave McTavish of Tintern Abbey joined and the band changed their name to Big Bertha, which did one single. Its A-side, "This World's an Apple" was, according to Kefford (quoted in Record Collector) "crap"; the flipside was "Gravy Booby Jam," credited to Big Bertha Featuring Ace Kefford.

Kefford drifted in and out of music in the '70s, continuing to struggle with mental problems, at one time attempting suicide. Feelers put out to work with Ozzy Osbourne and Jeff Beck came to nothing, though he was briefly in the band Rockstar, who put out a 1976 single "Mummy"/"Over the Hill." Both of those sides were written by Kefford, with the A-side in particular showing a strong, early-'70s David Bowie influence. All of Kefford's post-Move odds and ends were compiled on the Ace the Face CD, including the unreleased 1968 album sessions; the Ace Kefford Stand single, and a few Ace Kefford Stand outtakes; Big Bertha's "This World's an Apple"; the Rockstar single; and the Lemon Tree's "William Chalker's Time Machine" single.(allmusic.com)

Unfortunately only in mp320. I'm glad that Ace Kefford added no instrumentation later in 2003 to the nine unreleased songs. Some little gems here and the whole collection make a lot of fun.
Enjoy
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Sandie Shaw - The EP Collection (1990 See For Miles Records) Flac & mp3

This 26-song Sandie Shaw collection is one of the better compilations of the singer's 1960s-vintage work, though it's also a bit strange in that it doesn't follow any chronological order that one can discern. Opening with 1967's "Tell the Boys," the tracks "advance" to 1964 and then back to 1967, and, in addition to obvious hits such as "Puppet on a String" and "There's Always Something There to Remind Me," listeners get a liberal smattering of French- and Italian-language sides by the singer, including "Viva l'Amore con Te." Despite the chronological acrobatics, this disc is one of the better compromises that one can choose in the event that the four-CD set Nothing Comes Easy is a bit out of one's reach. The sound is excellent for its age, although more recent reissues may have an edge for those to whom state-of-the-art digital transfers matter, and the thorough annotation by Spencer Leigh more than makes up for the age of the release.(allmusic.com)

 The collection is well done but one thing that in my ears don't work is the italian number ''Viva l'Amore con Te''. I'm sorry but Sandie Shaw sounds here real ''hard stuff'' in my ears. Apart from that it is a very fine collection. Also without the state-of-the-art bla digibla transblabla.
Have fun
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Beat Pop Mod from Scotland: The Beatstalkers - Scotland's No.1 Beat Group (1965-69) (2005 Ika Records remastered) Flac & mp3@320

Formed in Glasgow, Scotland, in 1962, the Beatstalkers originally comprised Davie Lennox (vocals), Eddie Campbell (guitar), Alan Mair (bass) and ‘Tudge’ Williamson (drums). Within weeks Ronnie Smith (rhythm guitar) had been added to the line-up. By 1964 the Beatstalkers had become a leading attraction, specializing in cover versions of hitherto obscure soul and R&B songs. Such was their popularity, the group was dubbed ‘Scotland’s Beatles’ and in 1965 an open-air concert in Glasgow’s George Square was abandoned when fans rioted.

The Beatstalkers then secured a recording contract with Decca Records. ‘Everybody’s Talkin’ ’Bout My Baby’, ‘Left Right Left’ and ‘A Love Like Yours’ followed in succession, but although worthwhile in their own right, these records failed to capture the group’s true mettle. The Beatstalkers moved to London in 1967 where they secured a residency at the famed Marquee Club. However, despite switching to CBS Records, the group was still unable to achieve a major breakthrough, in part because they relied on outside material.

Their new manager Ken Pitt suggested that the Beatstalkers record songs by his best-known charge, David Bowie. Three of his compositions, ‘Silver Tree Top School For Boys’, ‘Everything Is You’ and ‘When I’m Five’, were released in succession, although only the first title was issued as an a-side. The experiment was neither an artistic nor commercial success, and, as Alan Mair later recalled, ‘It was pitiful to watch Davie Lennox rehearse the songs in an English accent.’

The Beatstalkers split up in 1969 when their equipment was stolen. Late-period drummer Jeff Allen joined East Of Eden, while Mair was later a member of the critically acclaimed Only Ones.(allmusic.com)

This scottish guys had all what a band needed for the break through except... own songs. They sounded very modern and they were really great interpreters but they had not really much own songs. This collection is a very good one. You can hear their commercial abilities in their song recordings and a very good selection of songs. Maybe the audition missed an own special Beatstalkers sound.
I believe they never reached the charts.
However, have fun
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Ex Kaleidoscope (UK) Fairfield Parlour - From Home to Home 1970 (2004 Repertoire Records) Flac & mp3@320

The saga of Fairfield Parlour, though brief, is confusing because the group was really the same as Kaleidoscope (the British band called Kaleidoscope, not to be confused with the psychedelic band called Kaleidoscope from California who was active in the same era). Around 1970, Kaleidoscope changed their name to Fairfield Parlour, though the music was pretty much the same whimsical, fairy tale-ish blend of harmony pop/rock folk with late-'60s Beatles and Pink Floyd psychedelic flavors. They issued a 1970 LP on Vertigo, From Home to Home, which continued the directions they had staked out in Kaleidoscope, with slightly heavier rock arrangements. Shortly after its release, they worked on a double-LP concept album, White Faced Lady, based on the story of a troubled young woman who becomes a movie star, but descends into tragic death. Plans to join the RCA roster stalled when their contact at the label departed. The album was not issued at the time, though it finally appeared in the '90s. In 2000, the double-CD compilation The Fairfield Parlour Years -- billed, confusingly, as Kaleidoscope -- combined the From Home to Home and White Faced Lady albums, adding bonus tracks from non-LP releases and other sources.(allmusic)

Completely underrated at their times then. The name change made no sense in my opinion because they changed no other things. The White Faced Lady album was not released in the nineties under the Fairfield Parlour name. They released it 1990 under the Kaleidoscope flag.
Enjoy ''From Home To Home''
Cheers
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The Clash - London Calling 1979 (1999 Epic)

Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs -- particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" -- are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary.

But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded.(allmusic)

Whatever ''the greatest'' means in this context. I think it was an important album for the band back then. This album opened the commercial market for the Clash and it would skillful marketed. All that is absolutely okay and the album is really good but i can't agree with the term ''one of the greatest rock & roll albums ever''. To me it is a classical album because it stands for a particular time in music and an overall change in the music business. Okay folks enough blabla now,
enjoy the Clash
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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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