Sunshine/Harmony Pop The New Colony Six - Treat Her Groovy 1968/69 (2005 El Records) Flac & mp3@320

Though it's not obvious from the cover, this 22-track CD compilation is basically a reissue of the New Colony Six's third and fourth LPs (1968's Revelations and 1969's Attacking a Straw Man), presenting the albums one after the other with their original track sequences. This was the era in which the Chicago band, which started off with a rawer garage pop sound, softened its approach considerably and found some modest national commercial success.

Those who swear by the group's earlier work (particularly the excellent 1966 debut, Breakthrough) are likely to be disappointed by the far more mainstream harmony pop/rock of these records, though on the other hand, fans of groups like the Association might favor this era more than the previous one. Including the hits "I Will Always Think About You," "Can't You See Me Cry," "Things I'd Like to Say," "I Want You to Know," "Barbara, I Love You," and "I Could Never Lie to You," it's on the mild and indistinctive side of the style, sometimes incorporating light orchestration and brass, and making an unlikely venture into country on "Just Feel Worse." 

On Revelations, there's perhaps a slightly brasher, less slickly produced feel than numerous somewhat similar California sunshine pop acts had, as well as a greater British Invasion influence, though the baroque touches common to much late-'60s baroque rock are present. The British rock elements recede and jazzier ones (especially "Ride the Wicked Wind") rise more to the fore on the more middle-of-the-road Attacking a Straw Man, concluding with the maudlin recitation "Prairie Grey."(allmusic.com)

Although I like the band's first album very much, I am more a fan of the band's more pop-oriented stuff. This is also due to the fact that the later works of the band were arranged much more sophisticated than the early stuff. In any case it is undisputed that there was a band at work here with an environment who knew exactly what they wanted. I really like this compilation very much and all of you who are into sixties pop music should give it a listen.

Have fun
               Frank

                                                           Flac  &  mp3@320

British Invasion From The Netherlands: The Golden Earrings - Just Ear-Rings 1965 (2009 RPM) Flac & mp3@320

Golden Earring were hailed as one of the hottest new bands in America when the song "Radar Love" from their album Moontan was released in 1973. Funny thing was, Golden Earring were hardly a new band; while they weren't well known outside the Netherlands, in their native Holland they were major stars who had been scoring hits for eight years. 

Just Earrings was their first LP, recorded in 1965 when they were still billed as the Golden Earrings, and it's fine British Invasion-style beat music that suggests the group was still formulating a sound of its own, but had absorbed the influences of the Who, the Rolling Stones, the Kinks, the Zombies, and the Hollies and had fashioned the bits and pieces into a sound that was powerfully tuneful and engaging. The Golden Earrings wrote nearly all their own material at a time when even the U.K. bands they modeled themselves on performed a fair percentage of covers, and "Now I Have" and "Lonely Everyday" show they knew how put together a potent rock & roll number, while "I Am a Fool" and "When People Talk" are effectively moody downbeat tunes and "I Hate Saying These Words" is a light but effervescent pop song. George Kooymans and Peter De Ronde were a great guitar team, bassist Rinus Gerritsen and drummer Jaap Eggermont push the music forward with energy and imagination, and Frans Krassenburg's vocals show both attitude and aptitude, especially since he's singing in English (though the lyrics don't always survive close scrutiny).

If Just Earrings had been recorded by a British band, chances are good the group could have scored that first hit in America a lot sooner -- the album is certainly on a par with the work of most of the U.K. bands that were storming the U.S charts at the time, and if it took longer for America to warm to rock & roll from Holland, this is fun stuff that swings in any time zone.(allmusic.com)

The music on this album is completely different from what the later renamed Golden Earring played. This is a really strong album of so called ''british invasion'' sounds. You hear the influence of the Beatles, the Hollies, Kinks and all the british big bands of the time then. And the Ear-Rings have done it very well and i recommend this album to all of you who loved and love the british sounds of the mid sixties.
Have fun
              Frank

                                                                               New Flac   &  mp3@320

Psychedelic Pop of the '70s - Michael Angelo - Michael Angelo 1977 (2009 Big Pink Records, Japan) Flac & mp3@320

Michael Angelo’s self-titled 1977 LP is an earnest fusion of post-Beatles psychedelia and “out there” lyrical incantations, but reflecting on its 2015 re-release by Anthology Recordings, the Kansas City songwriter would like to clear up one popular misconception: “To this day, people hear the album and they say, ‘Were you doing LSD?’ And no, I didn’t do LSD. I don’t do any of that stuff. No really — I was absolutely straight on that record. A couple of beers and that was it,” Angelo says with a chuckle. 

It’s not hard to hear why inquisitive heads might wonder. In addition to the album’s prominent placement in the late Acid Archives editor Patrick Lundborg’s favorite private-issue albums list, Angelo does have a penchant for fantastical sounds – hear the swirling synths of “Field of Lonely Eyes” and cosmic folk of “Flight of the Pegasus” and “Oceans of Fantasy. But it’s not just the trippy textures that make Michael Angelo a rewarding listen 38 years after its release — it’s the songcraft, the Beatles-esque chord progressions of “Lost in the Pain,” the cresting lo-fi power pop of “The World to Be,” and the strident piano pop of “Checkout.” 

The album was recorded at the Liberty Recording studio in Kansas City, Missouri, where Angelo worked as a session musician. He and drummer Frank Gautieri cut the album, during off-hours when the studio wasn’t booked throughout 1976. “The studio itself was in, believe it or not, inside of a cave,” Angelo says. “This cave had been cut out and they had put in these offices. You’d drive through this cave and you’d get to this one door and that was Liberty Recording.” 

Upon completion, it became clear that Liberty wasn’t going to release the unmixed album, so Angelo took the recordings to another Kansas City record company studio, Big-K Records, to see about mixing there. “One thing led to another and before I knew it I was a studio musician up there, too,” Angelo says. He completed the self-titled album at Big-K, which released it via its Guinn Records label in 1977 in the limited quantity of 500 copies. 

Angelo cites standard rock influences on the album’s fuzzy, tuneful sound — Beatles, Cream, Beethoven, the Moody Blues – but says that the lyrics, about disenfranchised youth and mystical headspaces, were drawn from his own mind. “I was getting into Greek mythology, The Iliad, that affected me a lot,” Angelo says. “But a lot of it was just my own imagination. At the time I just didn’t want to be boxed in to “She loves you, yeah, yeah, yeah.” That was too earthbound. I wanted to be somewhere else in my head, to some sort of magical place. It’s kind of hard to describe, but when I got there I got some pretty far out lyrics and music, I know that.” 

After years of bootleg pressings, the Anthology Recordings’ reissue finds Michael Angelo finally benefiting from its sales, and while he’s not complaining about the money, it’s the recognition of the record that excites him the most, a sort of validation of his lifelong dedication to playing music. “This whole thing’s been a weird ride. I’ve probably written a thousand songs in my life, and I’ve done a bunch of albums under different bands, different names,” Angelo says. 

The debut marked the start of his musical career, capturing a youthful spirit that was present in the caves of Liberty Recording. “I remember sitting at the grand piano, and above me there was these cave walls, and the whole atmosphere of the thing, and I’m sitting there playing ‘Checkout’ and I’m going, ‘This is just way too cool,’” Angelo says. “To this day I remember the feeling of that. There was something magical going on, something up there in the ether. It was nice for sure.” words …………..The Aquarium Drunkard Interview…………. 

A very very nice album and i hope you will enjoy. Sorry, no artwork :-(

Have fun

               Frank

         Flac   &  mp3@320      

Two powerpop/pop rock albums by John Dowler's The Zimmermen - Rivers Of Corn (1986)mp3@224 & Way To Casual (1989) Flac &mp3@320

A pun on Bob Dylan's real name, Robert Zimmermen, John Dowler's Australian country-rock outfit Zimmermen are best remembered for their standout hit "Don't Go to Sydney." After working with several bands during the late '70s and early '80s, John Dowler formed Zimmermen in June 1983. They found immediate success on the Melbourne pub-circuit where they supported such acts as the Hoodoo Gurus and the Sunnyboys.
By the end of 1984, bandmembers Steve Connolly and Michael Barclay had left to join the Paul Kelly Band (which became the Coloured Girls the following year). Guitarist Peter Tulloch and drummer Graeme Perry replaced them for the group's debut single, "Don't Go to Sydney," released in January 1985. It became one of the most successful Australian independent singles of 1986 and, after Neil Osborn joined the band as permanent drummer, the band released their debut album, Rivers of Corn, which contained the single "Ordinary Man."

The recording of their follow-up stalled in 1987 when Peter "Pedro" Bull was replaced by Alan Brooker and Neil Osborn by former drummer Graeme Perry. Unsatisfied with the recording by the former lineup, Dowler took the band back into the studio in November 1988. The single "What Really Hurts" was released in February 1989, followed by the album Way Too Casual in April. A final national tour followed before Zimmermen disbanded in 1990. Dowler went on to release a solo album in 1993 titled Low Society.(allmusic.com)

Some of you will know John Dowler from the fantastic band Young Modern. Here awaits you catchy pop songs with a feel of eighties power pop and fine pop rock.

Enjoy .
        Frank          Rivers Of Corn @224        &  Way To Casual Flac   -  Way To Casual@320

Teenage Fanclub - Grand Prix (1995 Creation Records) Flac & mp3@320

For all of the brilliance of records like Bandwagonesque and the underrated Thirteen, at times Teenage Fanclub seemed little more than a showcase for the laconic melodic genius of Norman Blake -- fairly or not, the songwriting contributions of bandmates Gerard Love and Raymond McGinley suffered mightily by comparison, mere filler when stacked alongside Blake-penned marvels like "The Concept" and "Norman 3."

That said, the superb Grand Prix is perhaps the truest group effort in the Fannies' catalog -- more than ever before, their democratic approach truly bears fruit, and it's indicative of the disc's uniform excellence that the first Blake composition, the lovely "Mellow Doubt," doesn't even surface until track three, by which time McGinley's "About You" and Love's harmony-rich "Sparky's Dream" have already firmly established the set's ragged-but-right tenor. While new drummer Paul Quinn fails to recreate the buoyantly reckless abandon of the sacked Brendan O'Hare, Grand Prix otherwise captures complete creative synergy -- in particular, "Don't Look Back" is Love's watershed moment, a gorgeously wistful love song highlighted by wittily lovelorn lyrics like "I'd steal a car to drive you home," as good a pick-up line as anything in the annals of rock & roll. Not everything works (McGinley's "Verisimilitude" goes nowhere fast) and Blake's contributions are still the highlights ("Neil Jung" and "I'll Make It Clear" are simply perfect pop songs), but Grand Prix is ultimately the product of a band at the peak of its collective powers, not as much a landmark as Bandwagonesque but every bit as good on its own terms.(allmusic.com)

A brilliant album from a brilliant band. And those of you who know the band also know it was not the only one brilliant album by the Teenage Fanclub. Just wonderful!

Enjoy
         Frank

Flac  &   mp3@320

 

At Request! The Sweet - First Recordings 1968 - 1971 (1991 Repertoire Records) Flac & mp3@320

Sweet's earliest recordings -- the clutch of 45s issued in the U.K. and Europe between 1968 and 1971 -- made it out in a variety of forms in the years following the band's initial breakthrough. Strangely, however, it was not until 1991 -- a full 20 years after "Funny Funny" gave them their long-awaited first hit -- that the entire canon was pulled together, as Repertoire raided the vaults not only of Fontana and Parlophone, the band's first two labels, but also visited some less-familiar directions as well. The bulk of First Recordings 1968-1971 -- tracks one through eight -- comprises all four original singles, a mixed bag that ran from the unadulterated pop of "Lollipop Man" and "Slow Motion" to the convincing harder rock of "The Juicer." None have much in common with anything that Sweet would become -- Andy Scott had still to join the band at this time, leaving guitar duties on the first three singles to predecessors Frank Torpey and Mick Stewart.

The enjoyably lightweight "Get on the Line," meanwhile, was the first band release on which Connolly's vocal was accompanied by sessionmen. Of course, it would not be the last. Of the remainder, the quintessentially late-'60s bubblegum pop of "The Spider," "I'm on My Way," and "My Little Girl From Kentucky" also feature Connolly alone, having been recorded as mere guide vocals for a now-forgotten band he met in the studio around 1968, while "Question" dates back to Connolly and Tucker's stint with Wainwright's Gentlemen and is most notable for its songwriting credits.

Connolly's predecessor in the band, Ian Gillan, composed the song with bandmate (and fellow future Deep Purple stalwart) Roger Glover (under the pseudonym R David). It's an intriguing collection, then, and a grand value for the committed Sweet collector. Less-specialized tastes, however, will probably find a lot more interesting collections to pick up before turning their attention to First Recordings 1968-1971.(allmusic.com)

Some really enjoyable stuff here if you like Bubbleglam.
Have fun
               Frank

                                         Flac    &   mp3@320

Terry Knight And The Pack - Terry Knight And The Pack/Reflections 1966/1967 (2010 Ace Records) Flac

This two-fer compiles the only two albums by Michigan's Terry Knight & the Pack; its self-titled 1966 debut and 1967's Reflections. Rock & roll collector's and Michigan rock aficionados have given these albums semi-legendary status simply because the lineup included the roots of Grand Funk Railroad -- Knight was the band's manager and producer until 1972, and both guitarist Mark Farner and drummer Don Brewer came from its ranks.

These two recordings were originally issued on the Lucky Eleven imprint and were distributed by Cameo/Parkway who had scored a number one hit with "96 Tears" by ? and the Mysterians, another Michigan act. Knight's gift wasn't so much as a singer, but as a songwriter capable of aping the hitmakers of the day, and he knew how to arrange. This is born out on the first album's covers of Sonny Bono's "Where Do You Go," "You're a Better Man Than I" (a hit for the Yardbirds), and a particularly strange reading of the Rolling Stones' "Lady Jane."

The single from the album was a reading of the Leiber & Stoller nugget "I (Who Have Nothing)." Knight's own tunes include the fuzz guitar-drenched album-opener "Numbers" was reminiscent of the Seeds, while "What's on Your Mind" walked a line between Georgie Fame and the Zombies. The band's second album, Reflections, opens with the whitest cover of Joe Tex's "One Monkey (Don't Stop No Show)" ever. It also includes a direct steal of Donovan's songwriting style and vocal phrasing, in Knight's "Dirty Lady," and Bob Dylan's early electric sound on "Dimestore Debutante."

There are some real rockers here, too, in "Love, Love, Love, Love, Love," that's reminiscent of the Standells, the soul-inflected-cum-Association-influenced "This Train," and a unique garage psych cover of the Stones' "(I Can't No) Satisfaction." This may not be Michigan Rock at its finest, but it is an integral part of its history.(allmusic.com)

Around seven or eight months ago i posted this two-fer as mp3. Here now follows the Flac files.
Have fun
              Frank

Flac

Sixties Australia ModPop/Rock: The Loved Ones - Magic Box 1967 (1995 Karussell, Australasia) Flac & mp3@320

Of all the Australian rock groups of the '60s, there's none that lives on as brightly in the memories of those who saw them or heard them as the Loved Ones. They had "it," that unquantifiable quality that transcends the fashions of the day, that "something" that's more than a great record or two, or frequent memorable live performances that grow larger than reality in people's memories. You can still hear "it" in some of their earliest records, still see "it" on the little video evidence left behind. The Loved Ones were exciting.
When the British group quake hit in the globe in the mid-'60s, most of the new bands inspired to start up started from scratch, made up of musicians who had only just picked up their instruments, more driven by their ambition to do it than their ability to do it. That's where the Loved Ones, like England's Animals or America's Paul Butterfield Blues Band, were different and unique. These were experienced musicians. They came from that time space between '50s rock and '60s rock when youth descended into jazz clubs, listenened to the blues, and watched it spawn folk music. They were already seasoned musicians. When the Rolling Stones came out of the London jazz scene playing their version of the blues, the Melbourne musicians who became the Loved Ones understood not just its excitement value, but how it was done.

The Loved Ones were formed in 1965 by three members of the Red Onions Jazz Band (Gerry Humphries, Ian Clyne, and Kim Lynch) and two members of Wild Cherries (Rob Lovett and Gavin Anderson), a jazz group at that time which later also turned to rock. Singer Gerry Humphries seems to have been the instigator, already an agitator for change and adventure, ruffling feathers inside the Red Onions. A Red Onions session was turned into the first recording by the Loved Ones, a group named after Evelyn Waugh's dark comic book of the day.

Their first single carried the same name.
Two things marked that landmark recording: the unique double rhythm, a complex musical achievement made accessible by a clever use of hand clapping, and Gerry Humphries' sometimes bluesy, sometimes soaring voice. "The Loved One" was like nothing anyone had ever heard before, from Australia or from anywhere else in the world. 15 years later, early in their career, INXS would record a faithful copy, and then, seven more years on, at the height of their powers, INXS recorded it AGAIN and still couldn't dare a dramatic overhaul.

The Loved Ones' own version had an immediate impact in Australia. Attracted by the song, audiences found an enigmatic singer with sunken cheeks and outstretched arms as exciting as any singer they'd ever seen or heard before, surrounded by an obviously more than competent band of not just pretty faces, but pretty enough to attract fans of their own. They followed "The Loved One" with "Ever Loving Man," showing off Humphries' voice more than the first single, and another interesting but less complicated arrangement. Third came the compelling "Sad Dark Eyes." As the band careened headlong into the pop stardom tunnel they had never imagined for themselves, their keyboard player did an "Eric Clapton" and jumped off. With him left part of the band's songwriting power.

The Loved Ones' records were released by an independent record company which had made its name as a boutique label recording cover versions of American hits by local Melbourne performers and made a significant contribution recording Melbourne jazz and folk -- hence the Red Onions Jazz Band connection. What W&G Records wasn't ready for, and had never had to deal with before, was a national pop hit... and then a second... and a third. By the time hometown Melbourne was ready for a second hit, the first was only taking off in another part of Australia; and when the third was released, a different area finally had enough stock of the first. The band was sent whirling around the country chasing their hits. In the middle of it all they quickly ducked into the studio and recorded a jazz standard they could play with their eyes closed. The "Blueberry Hill" EP was a hit too.

It took a year before the band was able to return to the studio properly to complete enough songs for an album. By then another original member had left, replaced by an American. The dynamics of the band had completely changed. An album, Magic Box, was hobbled around the singles. But the Loved Ones were exhausted and spent and broke up in October 1967, just two years after they were formed with so much promise.

Singer Gerry Humphries rattled around the music scene, tried management, formed the anything-goes fun-and-nonsense Jerry and the Joy Boys, and in 1977, returned to London in an unsuccessful attempt to save a failing marriage, giving up music for the life of a hospital orderly. One suspects there could have been so much more.(allmusic.com)

I hope you enjoy
                          Frank

FLAC
mp3@320

Bob Lind - Elusive Butterfly; The complete Jack Nitzsche sessions 1966/67 (2007 Big Beat Records) Flac & mp3

 The name of arranger/producer Jack Nitzsche is prominent in the title of this reissue, possibly because Big Beat's parent label, Ace, had done a couple of various-artists compilations of Nitzsche productions shortly before this Bob Lind anthology was released. Actually, however, it comes close to serving not only as a best-of, but also as a document of almost everything Lind recorded for his mid-'60s label, World Pacific. All 22 of the tracks from his two World Pacific LPs (Don't Be Concerned and Photographs of Feeling, both from 1966) are here, as well as an unedited version of "I Can't Walk Roads of Anger" (which first came out on the 1993 collection The Best of Bob Lind: You Might Have Heard My Footsteps) and two previously unissued acoustic demos, "Whose Is the Funeral" and "Bring It All Down." Though nothing else he did was as successful or memorable as the big hit track on the disc, "Elusive Butterfly," it does include quite a few other recordings in a similarly pioneering orchestrated folk-rock style, some of which were covered by other artists ("Mr. Zero" by Yardbirds singer Keith Relf, "Counting" by Marianne Faithfull, "Cheryl's Goin' Home" by the Blues Project, and "Drifter's Sunrise" by the Gants).

If you're trying to choose between Elusive Butterfly: The Complete Jack Nitzsche Sessions and The Best of Bob Lind: You Might Have Heard My Footsteps, it's a pretty close call, as 22 of the same songs appear on each CD. In its favor, You Might Have Heard My Footsteps has three songs not on Elusive Butterfly, including the 1967 single "It's Just My Love" and two 1967 outtakes, "I Fall to You" and "English Afternoon" -- the latter of which is a baroque-folk-rocker that's, unlike many such things added to CD reissues, one of the best things Lind ever cut. The two acoustic demos exclusive to Elusive Butterfly aren't so essential, though it's interesting that one of them, "Bring It All Down," was written for (but not recorded by) Cher. The annotation on both CDs is excellent, with plenty of quotes from Lind.(allmusic.com)

Hope you will enjoy
                                Frank

       Flac    &   mp3@320

Surf the gravitation waves with: Man Or Astro-Man - Is It Man Or Astro-Man? 1993 Estrus Records Flac & mp3@320

Escapist treats abound from this mysterious, tongue-in-cheek collective from the Southern United States. Man or Astro-man? have an ear for yesterday's sounds of tomorrow, as they decorate their mostly instrumental tracks with obscure sound bytes from out-of-date sci-fi movies and forgotten TV shows. Silly, dangerous, occasionally sloppy, but never boring, their album Is It Man...or Astro-Man? is the answer for everyone running low on laser gun/go-go/surf/spy/cowboy/drag racing/'60s/bullfighter/Mars-invasion/motorbike music. Songs like "Taxidermist Surf," "Invasion of the Dragonmen," and "Journey to the Stars" (originally by the Ventures) gallop along with the energy of a dozen wild stallions headed for Neptune. "Nitrous Burn Out" is a fantastic bit of racetrack romp, liberally mixed with roaring pistons and accident bulletins along the way. With anything so aggressively "up" in nature, there are a couple moments that inevitably droop a bit in exhaustion, like the novelty filler of "Organ Smash" and the uncharacteristically long "Alien Visitors," that tiredly meanders through some of the very same clichÈs that at other times serve the band best.

This being said, how can you turn your back on musicians that insist on the sheer fun of it all, when bandmates have memorable names like Star Crunch, Dr. Delecto & His Invisible Vaportron, Coco, the Electronic Monkey Wizard, Birdstuff, and Grand Master Useless? It's been said that listeners must see this band in concert in order to get a better sense of their uniqueness. After all, it's just your typical laser gun/go-go/surf/spy/cowboy/drag racing/'60s/bullfighter/Mars-invasion/motorbike music, but in person they are known to be one of the more memorable bands to see, as the floor show packs a Devo-esque punch for anyone interested in space exploration. This would be the soundtrack if Quentin Tarantino directed the old Flash Gordon serials. Isn't that worth a listen? (allmusic.com)

Nearly all said...except listen LOUD or better LOOOUUUDDDDERRRRRR....and surf the gravitation waves with Man or Astro-man?.

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

Lou Christie - Original Sinner the very best of the MGM recordings (1965/66) (2004 RPM Records) Flac & mp3@320

Lou Christie's stay with MGM Records was pretty short, lasting only a little more than one year starting in late 1965. It did take in quite a bit of recording, however, including two albums and a bunch of singles, among them his chart-topping "Lightnin' Strikes." This collection assembles 22 MGM tracks, though it's likely that only "Lightnin' Strikes" and, perhaps, the controversial Top Twenty hit "Rhapsody in the Rain" (present here in both its censored and uncensored versions) will be familiar if you're not a Christie buff. As is so often the case when you go deeper than the obvious hits, not only is there nothing else here on the level of those two songs, but there's nothing else particularly striking, to make a bad pun. Most of the tunes are typical generic New York AM radio-ready pop/rock (well, they would have been ready for AM radio if they had hooks as strong as those in "Lightnin' Strikes"), heavy on the falsetto vocals by both Christie and shrill female backup singers, showing a debt or at least similarity to some of the mid-'60s work by the Four Seasons. Occasionally it departs a little from the formula, like on the lush '50s doo wop-inflected ballad "Diary"; the positively weird gypsy-rock hybrid of a few songs (including one, "Lita," represented by both the officially released version and a previously unissued alternate mix); and a few Jack Nitzsche-produced cuts with expectedly Phil Spector-esque orchestrations. The first-class packaging and liner notes make this a good investment for Christie fans, though lesser admirers will have all they want of his MGM recordings on greatest-hits collections.(R Unterberger allmusic.com)

Exceptionally (lol), I totally agree with the review, so if you like this kind of sugar pop, grab it and have fun  . Sorry, no booklet, only covers :-(   
              Frank     

 
Flac part 1                                  mp3@320
Flac part 2                        

New links for all the deleted links now up!

Hi Folks,
i hope the links will not share the same destiny like the deleted links before. I upped now all what was deleted. Be fast if you want your preferred band/artist/music. The industry could be faster...

Right now, all this isn't fun anymore. And I think that's what it should do. This is also one of the main reasons why I am not very active here on Blogger at the moment. I am simply has to deal with too many things that have nothing to do with music, but rather with conspiracy theories, playing police and even accusing people by name without being able to prove anything. So read a few days ago on a big blog. The bad thing about it was in my opinion that only very few dissenting voices could be heard from the community. In my opinion, the accused person was only suspected because he probably annoyed the community or parts of it with his comments in the past, but of course his music was gladly taken. It's always the same. I better stop now writing more about things like that and like i think about it.

Frank