Paul McCartney - Run Devil Run (1999 Parlophone) Flac & mp3@320

When Paul McCartney returned to the studio a year after his wife Linda's death, he wanted to cut loose and have a good time. He gathered a bunch of friends, most notably guitarist David Gilmour, with the intention of cutting a collection of rock & roll oldies with minimal rehearsal and a handful of takes.

On the surface, that makes Run Devil Run like Choba B CCCP, but there are subtle differences that make Devil a far superior effort. This time around, there's a real freshness to the performances. Gilmour, in particular, amazes, turning in some of his finest playing in years. Similarly, McCartney is invigorated, leaving behind his vocal schtick, laying back and rocking out with a set of fairly unfamiliar oldies.

Only three songs -- "All Shook Up," "Lonesome Town," and "Brown Eyed Handsome Man" -- are radio staples; and while "I Got Stung," "Blue Jean Bop," "She Said Yeah," "Honey Hush," and "Movie Magg" are known by aficionados, they're not ubiquitous standards.

This leaves room for a few more obscure numbers, such as Little Richard's "Shake a Hand," the Vipers' "No Other Baby," and the Fats Domino B-side "Coquette," plus three terrific new songs from McCartney: "Run Devil Run," a fantastic Chuck Berry-styled narrative; "Try Not to Cry," a strong bluesy pop number; and "What It Is," a catchy up-tempo shuffle.

Best of all, McCartney and co-producer Chris Thomas create an appealingly out-of-time production -- heavily compressed sound, yes, but cleaner than '50s recordings and livelier, grittier than most '90s albums. It all adds up to a dynamic, loose, carefree, and utterly infectious record, one of his best solo albums.(allmusic.com)

Even today, in 2017 it is still one of his best solo albums for me. Without doing hero worship here (and the danger is always given to me by Beatles musicians) Macca presented a very expressive album here. The choice of songs is brilliant and his vocals almost become the yardstick for his other solo productions. And by the way he delivered  probably the best rock' n' roll album of 1999. Absolutely recommendable and not only for Beatles fans. 5 stars out of 5. Hope you like it like i do.
Enjoy
         Frank  



Flac part 1  & Flac part 2          mp3@320

Garage Pop Of The 60's: The E-Types Introducing...The E-Types 1965/66 (1995 Sundazed) Flac & mp3@320

Twenty-two tracks, including both sides of their four singles and previously unissued demos, outtakes, and live performances. The four singles are legimitately fine finds if you collect obscure '60s pop-garage. "Long Before," "I Can't Do It," and "Put the Clock Back on the Wall" are outstanding, and the cover of Lennon-McCartney's "Love of the Loved" (which the Beatles never officially released themselves) rates as one of the best unknown Beatle covers of the '60s. Most of the rest of this archival compilation is padding, though, consisting largely of faithful British Invasion covers and some outtakes that are markedly inferior to their singles. It's an enjoyable listen for collectors of mid-'60s rock, boasting considerably more pop-oriented material and accomplished production than the garage norm. But it couldn't be considered in the top drawer of this sort of thing.(allmusic.com)

 The band had a great weakness which prevented the big success with a lot of other talented bands: They didn't have enough convincing songs of their own. They had a good performance and very well arranged titles but remained a footnote in the history of pop music. This Sundazed collection make a lot of fun if you like 60s jangle pop music with a light garage feel.

Enjoy   Frank

New Flac part 1 &  New Flac link part 2         - New mp3@320 link

Psychedelic Pop Of The Sixties: Blossom Toes - We Are Ever So Clean 1967 (2007 Sunbeam Records) Flac & mp3@320

Imagine the late-'60s Kinks crossed with a touch of the absurdist British wit of the Bonzo Dog Band, and you have an idea of the droll charm of Blossom Toes' debut album. Songwriters Brian Godding and Jim Cregan were the chief architects of the Toes' whimsical and melodic vision, which conjured images of a sun-drenched Summer of Love, London style.

With its references to royal parks, tea time, watchmakers, intrepid balloon makers, "Mrs. Murphy's Budgerigar," and the like, it's a distinctly British brand of whimsy.

It has since been revealed that sessionmen performed a lot of these orchestral arrangements, which embellished the band's sparkling harmonies and (semi-buried) guitars. But the cello, brass, flute, and tinkling piano have a delicate beauty that serves as an effective counterpoint. The group sings and plays as though they have wide grins on their faces, and the result is one of the happiest, most underappreciated relics of British psychedelia. [Ten bonus tracks were added to the 2007 Sunbeam edition.] (allmusic.com)

Certainly one of the most extraordinary works of 1967 in the field of psychedelic sweetened pop music. And one of the best of the year as well. The band had really good musicians in their rows. Jim Cregan, for example, who later accompanied Rod Stewart as a sideman to his rise to pop stardom and played a not inconsiderable musical part in it. But that's another story. Have fun with the great album of the Blossom Toes.
cheers
            Frank

                              New Flac link 1 & New Link Flac part 2   & New Link Flac part 3            - New mp3@320 link

Link for ''If Only For A Moment''

Australian Normie Rowe - Shakin All Over - 30 Of The Best 1965 - 1973 (1999 Raven Records) Flac & mp3@320

Normie Rowe is one of those perennially popular figures on the Australia music scene--given that his career has carried him from covering rock 'n roll standards like "Shakin' All Over" to playing Valjean in the Australian cast of Les Miserables, he might be most easily compared to Tommy Steele or Joe Brown in England, except that his music has crossed several rock genres, even brushing up against psychedelia during the late 1960's.
Rowe was a part-time singer who never intended to become a full-time entertainer until he was fired from his day job because of the length of his hair. A white soul-style singer in the manner of Fred Heath, aka Johnny Kidd of Johnny Kidd & The Pirates, emerged as a popular figure in Australia fronting a band called the Thunderbirds, who managed to compete effectively with the English bands that dominated the island-nation's charts during the mid-1960's. He became popular on local television in the mid-1960's, and in 1965, with his group the Playboys, he hit the charts for the first time with a version of "It Ain't Necessarily So." Later that year, Normie Rowe and the Playboys were responsible for the biggest Australian rock 'n roll hit of 1965, a version of "Que Sera Sera" done in the style of "Louie, Louie" and the manner of "Hang On Sloopy." The whole record was knocked off on the fly, in a quick session that even resulted in a whistled cue ending up on the finished track, but it outsold every other homegrown piece of rock 'n roll released that year.

In the wake of the success of "Que Sera Sera," he left Australia for England. The Playboys, known in England as the Australian Playboys and featuring Kevin Peacock in their line-up with Rowe, released an extraordinary 45 r.p.m. single in 1967 on the Immediate label--"Black Sheep RIP" b/w "Sad" was a classic and bold piece of psychedelic pop featuring some memorable guitar behind Rowe's singing, but like most Immediate singles it never sold, and is a seriously collectable record. Rowe later toured Canada and America before returning home, where he was drafted and served in Vietnam. Rowe's career never regained the prominence and momentum that he'd had in the mid-1960's. Like a lot of other early '60s rockers, he moved to the cabaret circuit and gradually regained some of his popularity. He later emerged as an all-around entertainer and singer, most notably taking the part of Jean Valjean in the Ausatralian cast of Les Miserables. In recent years, he has also taken up an anti-drug crusade, partly because of his daughter's life-threatening experiences with heroin. Rowe remains a fondly remembered icon from early Australian rock 'n roll, and a much-loved musical figure.(allmusic.com)

Normie Rowe is certainly one of the most underrated Australian artists in Europe and the United States. His songs always had a convincing urgency in his kind of performance. And he was certainly not the worst singer either. On the contrary, as his musical works prove. Raven has put together a really good compilation and Normie Rowe should not be missing in any good collection of  Australian pop music.
 Have fun
                   Frank

New Flac Link 

New mp3 link

Four Track Single: The Shotgun Express - I Could Feel The Whole World Turn Around (1966 Columbia EMI) mp3@256

Here is the four track single by The Shotgun Express with members Rod Stewart, Beryl Marsden, Peter Green, Peter Bardens and Mick Fleetwood.

New mp3@256 link

Sixties Pop By Beryl Marsden - The Story Of Beryl Marsden (2012 RPM Records) Flac & mp3@320

Hello friends and folks,
First of all, I would like to thank you again for your kind comments about my return to Blogger land.
At first i want to post Beryl Marsden today. For me, Beryl Marsden is and was actually the woman of the British 1960s women's pop scene, who deserved a career similar to that of Cilla Black.
Okay, I hope you have just as much fun with this really fine compilation. For those who are interested i will post the Shotgun Express single also later but i have it only in mp3. Below you can read a review from allmusic.com about the album. It's a little different to my opinion about Beryl Marsdens skills, haha.

Have fun and enjoy
                                 Frank

And to stay in comparison with Cilla Black for a while; in my opinion Beryl had the better songs, the better performance and the better vocal expression. Which I don't mean that Cilla Black doesn't deserve to be in the limelight like that. But in my opinion, Beryl Marsden was not only Black's toughest competitor, she was the real number 1 in the then popular girls' pop scene. ''Gonna Make Him My Baby'','' Who You Gonna Hurt'' show only two sides of an artist who was extremely versatile in her musical expression.

New Flac Link                     new mp3 part1    new mp3 part 2

Beryl Marsden is one of those names that diligent British Invasion scholars are likely to be aware of, but unlikely to actually have heard much or at all. She has footnotes in some history books as being one of the most popular woman vocalists in Liverpool in the early to mid-'60s, as well as for singing on a 1966 single by the early quasi-supergroup the Shotgun Express (who also included Rod Stewart and Peter Green). This has all dozen of the tracks she issued on Decca and Columbia from 1963-1966, as well as, less interestingly, three 1979-1981 recordings, and eight done just a few years prior to this 2012 compilation. It's one of those anthologies that doesn't really live up to the reputation of the artist, frankly, as Marsden was an OK singer, but not superb. Her '60s singles (there's also a live track from the At the Cavern LP) had serviceable covers of American soul and girl group-type songs that didn't match the originals, as well as some more Merseybeat-influenced pop tunes (including "Love Is Going to Happen to Me," co-written by a young Lesley Duncan with her brother).

The orchestrated pop of the Shotgun Express single "I Could Feel the Whole World Turn Around," though not typical of her style, is actually the best song (a previously unreleased alternate take of the subsequent Shotgun Express track "Funny 'Cos Neither Could I" including her voice is also here, though the issued 45 did not include her vocals). The recordings of a more modern vintage are way too synth pop-heavy (even on the '60s soul/girl group covers) to be of much if any interest to those who are curious about her British Invasion-era recordings,

though her voice remained in good shape. The compilation's for a specialized audience even by British Invasion collector standards, but the packaging's excellent, the lengthy liner notes including many recollections by Marsden herself.(Richie Unterberger, allmusic)

At Request! Shane - Saint Paul - The Very Best of Shane (1969-1973) (2001 EMI Music NZ Ltd.) Flac & mp3@320

Hey Folks,
i'm back from vacation with my family and I think now I have to come back to earth, lol. We are already a few days back and I also used it to

Various Artists - Love Hit Me! Decca Beat Girls 1962 - 1970 (2016 Ace Records) Flac & mp3@320

Once the British pop boom took hold in the wake of the Beatles in 1962, Decca compensated for their Fab fumble by signing a lot of acts, including a bunch of female singers. Ace's 2016 compilation Love Hit Me! Decca Beat Girls 1962-1970 chronicles a lot of these signings, including such stars as Lulu, Marianne Faithfull, and Twinkle (the latter's "Golden Lights," later covered by the Smiths, is featured here), but the fun of the collection is how it rounds up singers who didn't enter the history books even if they happened to have hits at the time. There are some sonic constants -- big beats, blasts of brass, swirls of strings, tambourines out of Tamla, fuzz guitars, a transatlantic dilution of the Wall of Sound that remains potent -- so this holds together, but what's fun is digging out particular favorites. Beverley's "Where the Good Times Are" contains an insistent blissed-out R&B rush, the Orchids bring the Ronettes to Britain for "Love Hit Me," the Vernons Girls' "Dat's Love" is a bizarre sendup, and Sandra Barry & the Boys' "Really Gonna Shake" is an absolute raver, a single that's worth the price of admission. Other songs provide a similar kind of buzz, and the reason why Love Hit Me! is worth a listen is how the whole package provides a vivid flashback anchored by enduring pop 45s.(allmusic.com)

24 songs from the sixties presented by exclusively female artists, including Marianne Faithfull, Billie Davis, The Satin Bells with a strong song, Beryl Marsden, Twinkle, Sandra Barry and a lot more. Ace presents once again a really great compilation of British female pop music from the sixties.

Have fun
                     Frank                 Flac part 1  &  Flac part 2         mp3@320

Classic Debut: Moby Grape - Moby Grape 1967 (2007 Sundazed Remaster) Flac & mp3@320

Moby Grape's career was a long, sad series of minor disasters, in which nearly anything that could have gone wrong did (poor handling by their record company, a variety of legal problems, a truly regrettable deal with their manager, creative and personal differences among the bandmembers, and the tragic breakdown of guitarist and songwriter Skip Spence), but their self-titled debut album was their one moment of unqualified triumph. Moby Grape is one of the finest (perhaps the finest) album to come out of the San Francisco psychedelic scene, brimming with great songs and fresh ideas while blessedly avoiding the pitfalls that pockmarked the work of their contemporaries -- no long, unfocused jams, no self-indulgent philosophy, and no attempts to sonically re-create the sound of an acid trip.

Instead, Moby Grape built their sound around the brilliantly interwoven guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the clear, bright harmonies of all five members (drummer Don Stevenson and bassist Bob Mosely sang just as well as they held down the backbeat). As songwriters, Moby Grape blended straight-ahead rock & roll, smart pop, blues, country, and folk accents into a flavorful brew that was all their own, with a clever melodic sense that reflected the lysergic energy surrounding them without drowning in it. And producer David Rubinson got it all on tape in a manner that captured the band's infectious energy and soaring melodies with uncluttered clarity, while subtly exploring the possibilities of the stereo mixing process.

"Omaha," "Fall on You," "Hey Grandma," and "8:05" sound like obvious hits (and might have been if Columbia hadn't released them as singles all at once), but the truth is there isn't a dud track to be found here, and time has been extremely kind to this record. Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America's great bands. While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good.(allmusic.com)

It certainly corresponds to the audible facts that neither GD nor JA ever made a better album, that's because the Dead were never an album band but clearly a live band. Jefferson Airplane offered good songs in my opinion, but they didn't manage to do a consistently strong album on this level as Moby Grape did here. In my opinion a classic of American pop music of the sixties. Highly recommended!

Have fun
                    Frank                     Flac part 1  &  Flac part 2        mp3@320

Garage Rock Of The Sixties: The Skeptics - The Complete Early Years 1965-1969 (2012 Gear Fab Records) Flac & mp3@320

Finally, on compact disc and in digipak format, the great and legendary garage band from Bartlesville, Oklahoma were released in 2012. Featuring all their 45s, alternate takes, and a rare unreleased bonus track. Many collectors and enthusiasts of this period consider them to be the forerunners of the American Garage Sound of the 1960s!! These are the complete recordings featuring their lead singer Jerry Waugh.(unknown source)

While vocal harmony was not an integral component of the Skeptics’ overall mission statement (although they did demonstrate considerable acumen in that respect in Certain Kind Of Girl), the band nonetheless amassed an impressive repertoire in short order by focusing primarily on diverse and well constructed original material. Their capabilities in that respect were in evidence at the onset with the early 1965 release of It’s A New Thing To Me (Thrush 1001), for which author and front man Waugh received top billing. A contemporary of Dino, Desi & Billy’s like minded I’m A Fool (Reprise 0367), It’s A New Thing To Me also sports a trace of the savoir-faire that frequently graced the work of such duly inspired bands as the Quests and the New Colony Six. The Skeptics further asserted their commitment to originality with the Maynard Helmuth-penned Not Another Cloudy Day on the B-side, in which guest vocalist Nedra Price (who had worked with the Moonglows on their 1964 cover of Wanda Jackson’s Let’s Have A Party on Ponca 101) paints a curious and haunting tale of colliding Honda motorcycles and 1956 Chevrolets with a nonetheless happy ending, over a template that is best described as a customized reinterpretation of the Sonny James / Tab Hunter monster classic, Young Love.

From there, the Skeptics (with Waugh again receiving top billing) wrapped up their affiliation with the Thrush label with the release of two Waugh originals, For My Own / I Told Her Goodbye (Thrush 1002). Both sides find the band maturing remarkably in terms of interpretive skills, with Waugh’s capabilities as a first rate composer of high drama garage rock becoming increasingly evident. The B-side also suggests traces of the inspiration of Herbie Mann’s definitive rendition of Comin’ Home Baby, which speaks well for the band’s commitment to musical diversity.
A move to Kampus Records (which inadvertently reaffirmed the allegiance of both band and label to the basic tenets of rock and roll, given the latter’s striking similarity in layout and design to that of the vaunted Dore label) found the Skeptics taking sole billing, with the resultant Ride Child / Apple Candy single (Kampus K-814) demonstrating the continued camaraderie between Waugh as principal songwriter and the band as articulate statesmen in true garage / blues rock fashion (complete with a somewhat cavalier cold ending on the B-side not unlike that mastered in 1966 by the aforementioned New Colony Six in A Heart Is Made Of Many Things).
With the release of Stripes / Certain Kind Of Girl (Kampus K-815), the Skeptics had at last refined their own focus to perfection. Not only do both sides (again from the pen of Waugh) rank among the best of first generation garage rock overall, the A-side successfully ventures into that rare territory of chronicling the lowest depths of the human condition from a third person perspective with first person conviction. To their considerable credit, the band reaffirmed their commitment to the foundations of rock and roll with the Jimmy McCracklin / Little Walter Jacobs-inspired Certain Kind Of Girl (which in turn is reflected in the work of the Chicago Loop with their similarly inclined 1966 cover of the Coasters’ She Comes To Me on DynoVoice 226).

That most engaging of B-sides comes complete with the aforementioned tight vocal interplay that is equal parts Barbershop and Everly Brothers, and is rounded out by sympathetic and majestic keyboard work from Gary Shivel and a brief, Steppin’ Out-inspired rave up fade. Interestingly enough, the Kampus label followed suit with a basic color change from teal blue to dark red, which in turn suggested solidarity with the legendary Ribbon label (recording home of the Fireflies, the Scott Brothers, Frank Gari and others).
Upon switching their affiliations to the Scratch label, the increasingly self-assured Skeptics enlisted the services of legendary songwriter and Denver, Colorado native Wayne Carson Thompson, whose numerous writing credits include such venerable classics as Eddy Arnold’s Somebody Like Me (RCA Victor 47-8965), the Box Tops’ The Letter (Mala 565) and Neon Rainbow (Mala 580), and the late, great Donald Eugene “Johnny Paycheck” Lytle’s Slide Off Of Your Satin Sheets (Epic 8-50334). Thompson brought to the Skeptics the wry Bit O’ Honey (Scratch S-7823), which enabled the band to celebrate the unique (and yet familiar) metaphor based upon the popular candy bar of the same name, with a musical persona that embraced the increasingly ambitious side of first generation garage rock before it imploded in the onslaught of the self-indulgent bands that were championed by the FM contingent in the increasingly hostile AM/FM wars. Thankfully, the Skeptics were well prepared to weather the storm, evidenced by their solid interpretation of Thompson’s Box Tops/Joe South-flavored tale of woe, East Side Tennemant House (sic erat scriptum) on the flip side.
To their considerable credit, the Skeptics maintained their artistic integrity in that hostile environment with She’s A Gas / Turn It On (Sho-Boat 106). Thompson was again commissioned as composer for both sides, each of which finds the band reasserting their commitment to garage rock. They do so in Turn It On with a sublimely smug proclamation of self-assurance from Waugh, with the band once again rising to the occasion handsomely. That they were not averse to revisiting the relentless optimism of their 1965 Thrush label debut in She’s A Gas also speaks well for their unwavering commitment to their principles.

But by 1969, the aforementioned hostile forces were in full swing, with the surviving protagonists of basic rock frequently put on the defensive as a result. For some, the answer was compromise, while for others, the only feasible option was a reluctant sabbatical in anticipation of the tide once again turning in their favor with the advent of the so-called punk/new wave movement in the mid-1970s. The Skeptics bravely chose to meet the challenge head on with the aptly titled group composition, Down To The Bone, which firmly embraces the horn-driven rock concurrently embraced by such fellow garage rock survivors as Mandala, the Paupers, the New Colony Six, the Rugbys, and the I’des Of March. True to form, the Skeptics delivered with their usual intensity and rounded out that phase of their career with their scruples intact.
The Complete Early Years 1965-1969 is not only one of the highlights of the vaunted Gear Fab catalog to date, it is also certain to be one of the definitive reissues of the genre overall. Don’t miss it.(Excerpts by Gear Fab Records)

The Skeptics were really an outstanding band of the Sixties Garage Rock. I hope you like it.

Enjoy
         Frank    Flac   &   mp3@320

The Fantastic Baggys - Anywhere The Girls Are! 1964-66 (2000 Sundazed) Flac &mp3@320

Along with the entire Tell 'Em I'm Surfin' LP, this CD adds a heap o' extras: the 1964 non-LP single "Debbie Be True"/"Anywhere the Girls Are," a couple of songs that showed up on a 1966 South African LP, the 1965 non-LP single "It Was I," and nine alternate/instrumental/vocal overdub/variations versions, most of them previously unreleased. "Debbie Be True," complete with "Don't Worry Baby"-type guitar chording, would have been pretty fair Beach Boys album filler; "It Was I" is a not-bad update of the old Skip & Flip hit rockaballad; and "(Goes to Show) Just How Wrong You Can Be," which would be re-recorded by P.F. Sloan in the mid-'60s as a solo artist, shows Sloan and Steve Barri's growth into more serious directions. To be honest, though, most of those extras are nothing more than very modest variations from the official tracks. But what the heck, if you're bothering to hunt down a Fantastic Baggys compilation in the first place, you might as well have everything you can, right? In addition there are lengthy liner notes, even including first-hand quotes from Sloan and Barri. It remains about the best Jan & Dean album you could track down that is not, in fact, Jan & Dean.(Richie Unterberger, allmusic.com)

As the preview already says, this is clearly going in the direction of Jan And Dean. The band is really good, the arrangements are cleverly done, just like you need it in this kind of music. Most of the songs are written by Sloan and Barri, who were real hit guarantees at that time. The songs are well done and imho this is a recommendable fun. If you like Jan & Dean and similar artists you will like this, too.

Enjoy
        Frank                 Flac part 1  &  Flac part 2   &  Flac part 3       -   mp3@320

 

 

 

 

 

 

 

 

 

 

 

The Kingsmen - On Campus 1965 (1994 Sundazed) Flac & mp3@320

The third album by the Kingsmen (if you don't count the soundtrack to How to Stuff a Wild Bikini). There are 12 tracks on the Wand vinyl release and three bonus cuts on the Sundazed CD version. The minor hit written by Lynn Easton, "Annie Fanny," starts off the album with a suitably Animal House-style vocal, but that annoying crowd noise which permeated some of the Wand releases is a definite distraction here. For a band that could have reigned as garage rock rulers, this album holds almost no revelations and is not as exciting or original as early discs by the Seeds, the Blues Magoos, or the Electric Prunes. When Big Brother & the Holding Company proceeded without Janis Joplin, they at least had their original cosmic sound and a little help from their friends.

With both Don Gallucci and Jack Ely gone, renditions of "Shotgun," the Beatles' "A Hard Day's Night," "Stand By Me," "I Like It Like That," and Henry Mancini's "Peter Gunn" do nothing for the group, or for those classic copyrights. Another Lynn Easton composition, "The Climb," sounds like a rewrite of "Twist & Shout" by the Isley Brothers, and with their eventual Top Five hit "Jolly Green Giant"(not on this album) and its borrowing from the Olympics, it is obvious the band loved classic R&B. Too bad they couldn't inject it into their performances on record. Despite the lack of passion, "The Climb" ranks with "Annie Fanny" as the best two tracks to be found in the grooves of The Kingsmen on Campus. The five preppies in different colored sweaters on the front cover put things into perspective; this is the Grass Roots without Rob Grill or Warren Entner, and the record has little heart and less soul.

But the album cover is a bizarre prediction of the success their biggest hit would have in the film Animal House and the frat rock label fits them perfectly. It isn't that "A Hard Day's Night" is the worst Beatles cover ever, it's just plain boring, as uninviting as a performance by some generic wedding band with Lynn Easton's sax going back and forth with the organ on the melody. The band had the potential to bang out some memorable garage sounds, but rather than give us jangly guitars and Jack Ely-style vocals, everything sounds so...pedestrian. For the real thing, pick up the Barbarians' first record.(allmusic,com)

In the case of the Kingsmen it's hard enough to find an album without Louie Louie on it, lol. I think it's different to listen to the record in 1965 or lets say 2017. If you listen to a record the first time in these days but you have often read about it i believe you will rate the album different as if you have heard it in 1965, the year of it's release. What i try to say is this album is way better as its reputation. Surely it's no groundbeaking album but it has its moments.

Have fun
               Frank                        Flac part 1  &  Flac part 2           mp3@320