No Anonymous!

Hi folks, i'm sorry but i won't answer any more comments or requests from people who don't use a nickname but write anonymously. Yesterday i got a comment from'' Anonymous'' saying if i didn't change my hoster I would get only a few download requests. I'm really tired of discussing this topic further and I wrote back that I don't feel like listening to comments like ''less downloads, too slow downloads, change hoster and so on''. Today I looked at my other hoster (who everyone likes) and what do you think happened? A lot of my files were deleted. What do you think what happened?
I don't know what the point is, but it certainly won't get anyone else to decide how I will act. I ask you to understand that.
If these people know how to do it, I wonder why they don't start a blog themselves. But that costs time and money. And they are probably not willing to invest either. It is a pity that we have to waste our time with such things instead of making life pleasant.
I'll see how things develop over the next few days. Then I'll think about how and if it will continue.  I'm really sorry for the people who have to suffer because of this although they can't help it. Right now, I don't know what else to say about it.

Frank

Last Album: The Yardbirds - Little Games 1967 ( 2015 Parlophone, Vinyl) Flac 24/96 & mp3@320

The 1967 album by this British guitar-university band was its only studio LP with final graduate Jimmy Page — and he sounds ripe to start Led Zeppelin. His whirlpool-folk instrumental "White Summer" went into that group's early shows, and Page road-tested his bowed-guitar groan in the slow bridge of the high-speed "Tinker, Tailor, Soldier, Sailor." But for a band nearing its end, the Yardbirds summoned strong psychedelic nerve here: the title song's go-go pop; the wild-raga turmoil of "Glimpses"; singer Keith Relf's plaintive ballad "Only the Black Rose." Little Games, back in its rare mono form, is a mixed bag — but, man, what a bag.(Rolling Stone)

No album got so different comments from the critics like this one, the last Yardbirds album. Beck had left and so Page was supposed to lead the band. Certainly a difficult situation for the band but in my opinion they managed the recordings and the songwriting very well. A lot of critics had written it would have been wrong to work with a pop producer (Mickie Most) but in my opinion it was worth the ''risk''. Sure ''Little Games'' is not their strongest album but in my opinion it could not compared to the other works of the band. I think they tried to go in a new direction and they have done it very well. In example, the Stones started in a new direction already in '65. I think the band wanted to change some things but when Page was gone it all come to an end. Anyway in my opinion a very good album - of course in a different musical way as before - with some nice pop harmonies and psychedelic sounds. What had happened if Page stayed in the band? Interesting thought, isn't it?
Hope you will like it
and enjoy
                Frank

                                                Flac  &  mp3@320 

Sixties Garage by The Alarm Clocks - Yeah! 1966 (2000 Norton Records)Flac & mp3@320

"Louie Louie," "Money," "It's All Over Now," "Wipeout" -- the law of averages demands at least a few mediocre hitherto-unsung regional garage bands to counterbalance the blazing gems, and Ohio's Alarm Clocks fill that gap. There is nothing terribly wrong with the 4,092 nationwide renditions of all the above, though, plus the lads had the mischievousness to throw on the Rolling Stones' "It's Alright," credited with a smirk to that band's old collective pseudonym, "Nanker Phelge."

Raucous, cascading rhythms jostle snootier-than-you singing straight from the Jagger playbook; but nothing soars beyond, or through, these three guys in a garage to form immortal mojo clawing at posterity's eardrums. So history's richest prize here belongs to that splay-legged, bermuda-shorted fellow on the back cover, in the back yard, dancing the frug unto ecstasy and consummate un-self-consciousness.(allmusic.com)

Surely the band didn't reinvent the wheel. But in my ears they had a powerful enthusiastic sound.
Have fun
               Frank

                                                                    Flac  &  mp3@320

West Coast Psychedelic: The Plastic Cloud - The Plastic Cloud 1968 (1990 Laser's Edge) Flac &mp3@320

The Plastic Cloud's self-titled album is a strangely compelling and overall delightful mix of West Coast '60s sounds, without any two songs sounding exactly alike, or even displaying the same attributes. Not that any fan of that era will mind any of it, and especially not the Byrds-like harmonies on the opening number, "Epistle to Paradise," which sounds like a more ornate and trippier follow-up to "Renaissance Fair" coupled with "Here Without You."

But on "Shadows of Your Mind" the fuzztone guitar cuts in, along withRandy Umphrey's drumming -- which recalls John Densmore's work with the Doors -- for a kind of Buffalo Springfield homage. And "Art's a Happy Man" comes off like a weird-ass amalgam of the early Jefferson Airplane and Spanky & Our Gang. But the ten-minute "You Don't Care" may well bring to mind Big Brother & the Holding Company instrumentally, and the Notorious Byrd Brothers album vocally and psychically. And "Bridge Under the Sky" evokes memories of the Youngbloods. It's all enjoyable and full of pleasant surprises.(allmusic.com)

Sometimes pop sometimes more rock with fuzz guitars and sometimes a little prog. I love the most the more pop oriented songs but also the other stuff here is really good. Give it a try
and have fun
                     Frank

               
                                                    Flac part1  & Flac part2   &    mp3@320

New Post Today... Popsounds From Sweden: The Hounds - The Lion Sleeps Tonight 1966 - 1968 (2003 Universal) Flac & mp3@320

Hello folks and friends, i was very touched as i read the comments of yesterday. Thanks to all who find these kind words. Something like that means a lot to me. It's really great.Thanks again. :-)

Okay, here comes a '60s band from the north of Europe. The band came from Sweden and their name was The Hounds. Here is a short review by allmusic.

''Chances are that the Hounds (also referred to as "the Hound" in some accounts) are an unknown quantity to most listeners, except for those who spent time in Sweden in second half of the 1960s. Fact is, though, that they're well worth hearing as a light pop/rock outfit with some less often glimpsed, slightly heavier sides -- they even managed to dip a toe into what would later be called "freakbeat" near the end of their history. The Hounds never released an album, but they enjoyed enough charting singles in Sweden that this CD could qualify as a greatest-hits as well as a best-of collection, representing everything they ever succeeded with and other things that didn't sell as well (but arguably should have). From harmony vocal pop/rock ("Exodus," "Sealed with a Kiss") to folk-rock ("The Times They Are A-Changin'") to some solid originals and a little venture into psychedelic pop ("Hi-Ho Silver Lining"), they do well by the music and the listener across 18 songs. Among many other virtues, the bandmembers seem to have understood the notion of less being more, which makes their harmony-driven cover of Dylan's "The Times They Are A-Changin'" a lot more successful than, say, the Hollies' rendition. In all, this is an enjoyable if not earth-shattering or revelatory overview of a band with lots of talent, some ambition, and good to excellent results in its short three-year history.''(allmusic.com)

I like the sound and the songs of the band. If you haven't heard about this guys, maybe you give them a try.
Enjoy
          Frank

                                                               Flac  &  mp3@320

No Posts today...

Hello Folks and friends, no posts and re-ups today because my Sweetheart has birthday today and we celebrate this wonderful day with the whole family. Thanks for your understanding.
From tomorrow there will be more new posts again and I hope that I can do also more re-ups from expired or removed links. I wish you all a very nice day

cheers
           Frank

VA - Psychedelia - A Herbal Mixture Of Psychedelic Remedies And Freakbeat Fantoms (5 Disc Box) Part 4 & 5 Flac & mp3@320

Hello all out there, i hope everything is well to all of you and you will enjoy the weekend. Here now come the last two parts of the five disc box. I hope you enjoy the music of this box and there is nothing more to say about it.

Have fun
               Frank

 Flac Disc 4  &   mp3@320 Disc 4

      Flac Disc 5   &   mp3@320 Disc 5

Sixties Pop; The Bee Gees - Brilliant From Birth 1963 - 1966 (1998 Spin, Festival Records) (2 disc, 63 Songs) Flac & mp3@320

At last, a comprehensive collection of everything the group recorded in their "Australian years," from 1963 to 1966, before their move to England and rapid ascent to international stardom. These two CDs -- an entirely different package from the similarly titled, but much shorter, compilation 1963-1966: Birth of Brilliance -- include 63 songs, some of which are quite familiar to Bee Gees fans via numerous reissues, but some of which were hard to find outside of Australia, or indeed anywhere.

Actually, this turns out to be a mixed blessing, since the rarer tracks are usually way less interesting than the numerous fine Beatlesque ones (such as "Peace of Mind," "Wine and Women," "I Want Home," "All of My Life") that have been pretty easy to acquire on U.S. repackages. There are, for instance, a bunch of fairly horrible MOR pop and country covers, presumably dating from circa 1963. Although it has sometimes been claimed that the Bee Gees sounded like the Beatles by coincidence because they grew up in Manchester, on the basis of this evidence, it seems unquestionable that they deliberately revamped their sound into a Fab Four vein after the Beatles became huge. There are some cool rarities like the moody, folk-rockish "Lonely Winter" and good quality TV broadcasts of Beatles, Lovin' Spoonful, and Dave Clark Five covers (their take on the DC5's "Can't You See That She's Mine" is surprisingly good).

It's also good to have comprehensive (and typo-filled) liner notes covering the Australian period, but the utter lack of specific recording/release dates and sources for any of the tracks is exasperating.

A fine, interesting compilation of the Bee Gees with a lot really special stuff. The collection shows a slightly different view of the band's first years. Hope you will enjoy it, too.

Have fun
               Frank

       Flac &  mp3@320

Psychedelic Pop by Dantalian's Chariot - Chariot Rising 1967 (1996 Woodenhill Records) Flac & mp3@320

A close facsimile of what Dantalian's Chariot's unreleased album would have sounded like, taken from ten tracks recorded in 1967, several of which were previously unissued. "Madman Running Through the Fields" is essential listening for anyone who likes Pink Floyd, with its happy-go-mad lyrics, astral organ, Syd Barrett-esque guitar, and sudden quiet breaks into pastoral flute passages. Nothing else here is nearly as striking, but it's decent, somewhat prototypical early underground British psychedelia, though the songwriting can be kind of forced. The wistfully ebullient "Sun Came Bursting Through My Clouds" (the B-side of "Madman") is probably their best secondary effort; instrumentally oriented explorations like "Soma" and "This Island" get freakier.(Richie Unterberger, allmusic.com)

A wonderful collection of psychedelic songs and highly recommended. If you don't know and/or haven't got the album yet, grab it.
Enjoy
         Frank

                                                          Flac   &  mp3@320

Sixties Garage-Pop/Rock/Beat/: The Liverpool Five - Arrive & Out Of Sight 1964 - 1967 (2000 Rock-In-Beat Records) Flac & mp3@320

The Liverpool Five is one 1960s band that is ripe for rediscovery. The fact that they've slipped through a few cracks may have to do with their odd history -- after starting out in England, the quintet spent most of a year in Germany and touring the Far East and effectively became an American group just as their recording history began in a serious way. Formed in Liverpool, England, in 1963, the original Liverpool Five lineup was Steve Laine on vocals, Ken Cox on guitar, Ron Henley on keyboards, Dave Burgess on bass, and Jimmy May on drums and vocals. They cut one single, "Lum D' Lum D' High" b/w "Good Golly Miss Molly," for the Pye Records budget Piccadilly label that was released in England, but their main base of activity in 1964 and 1965 appears to have been Germany and Asia, where their German-based manager kept them touring. They managed to release a single of their own on German CBS in 1964 under the name of the 5 Liverpools, but otherwise were largely invisible as a recording act. After an extended tour of Asia, the group made their way to Los Angeles in 1965 and eventually ended up in Spokane, Washington. Ironically, it was on the far coast of the United States, far from their home, that they were finally signed to a major label in 1965 and got a contract with RCA-Victor Records.

The Liverpool Five released a half-a-dozen singles over the next two years and a pair of LPs, all of which displayed an extraordinary degree of musical dexterity -- they could sound as American as the Remains or the Standells in their approach to playing, -- a solid garage punk sound with some unusual melodic touches -- and then turn around and cut cockney novelties like "What a Crazy World (We're Living In)" or romantic rock ballads like their version of Curtis Mayfield's "That's What Love Will Do," where they sound like the Roulettes, and follow that with a shouter like "Just a Little Bit." Dave Burgess exited the group to get married in 1967 and was replaced by future Kingsmen member Freddie Dennis; Ron Henley left and was replaced first by Mark Gage and then by Gary Milkie, but the group soldiered on, scarcely skipping a beat. The band charted nationally only once, with a version of Chip Taylor's "Any Way That You Want Me," and left behind some other superb white soul sides that managed to embrace both American punk and British beat elements, before they finally called it a day in 1970. The Liverpool Five Arrive is one of the best garage punk albums of 1966, with a startlingly honest and vivid, soulful edge (highlighted by a beautiful handful of Curtis Mayfield covers) amid the fuzztone guitars and pounding, roaring rhythm section. Its follow-up, Out of Sight, is even better, with harder playing and better singing, laced with some unexpected lyricism.(allmusic.com)

Both albums are here on one disc. Like the most bands who played in Germany or other european countries with a permanent engagement for several months they must played a lot of cover versions. These bands were the replacement for the originals and their hits in the dancehalls.I think that is the main reason why they played also cover songs. I agree with the review - the second album is the stronger one but that's only my opinion. They were a real good band and maybe you give it a try.

Have fun
               Frank

                                                            Flac    &    mp3@320

VA - Psychedelia - A Herbal Mixture Of Psychedelic Remedies And Freakbeat Fantoms (5 Disc Box) Part 2 & 3 Flac & mp3@320

Hello Folks,
i hope you have fun with the first part of this fine 5 disc box. Here comes now part 2 & 3. I can say really every disc is very strong and the whole box make a lot of fun. I think all of you who downloaded the first part and the artwork yesterday know what great bands awaits you.
Enjoy your day
                        Frank

                 Disc 2 Flac  &  disc 2 mp3@320  -  Disc 3 Flac  &   Disc 2 mp3@320

Sixties Folk/PopRock by Thoughts And Words - Thoughts And Words 1969 (2005 Radioactive Records) Flac & mp3@320

This self-titled release was the sole album issued by Thoughts & Words, the duo of Bob Ponton and Martin Curtis, though they did record an unreleased Shel Talmy-produced LP slightly afterward that was put out as The Unreleased Album about 35 years later. Thoughts and Words itself is by and large pleasant folk-rock, but lacked either the identity or strong material necessary to make a strong impression on the late-'60s British rock scene.

Certainly they were a versatile group, as "Morning Sky" was about as close as any U.K. act came to approximating the sounds of the Byrds circa 1967. On the next track ("And the Tears Fall Like Rain"), however, they're in a wholly acoustic harmonizing folk-pop mode; on the next ("Friends"), a less satisfyingly bluesy upbeat stomp. So it goes throughout the album, finding its most pleasant groove on dreamy acoustic songs with fingerpicked guitar in the style of Donovan and Paul McCartney at his lightest. They stumble when they try to get a little harder, and recall a much poppier Incredible String Band on tracks embellished by non-guitar instrumentation. Speaking of Donovan, "Father and Son" has a tune uncomfortably close to that used by Don on his early acoustic standout track "Try for the Sun." The rest of the record isn't nearly as derivative, the orchestrated "Charlie Gates" sounding, whether intentionally or not, like an attempt to bend their approach more toward the commercial psychedelic pop market.(Richie Unterberger,allmusic.com)

If you like popmusic from the sixties with light psychedelic influences give it a try. Mike Batt produced here and he make a nice record out of the songs.

Enjoy
          Frank

                                                Flac part1 & Flac part2 &   mp3@320