Millenium The Third And Final

Hello Folks, here comes the last Millenium. Inside the discs 1, 3, 5, and 6. Hope you enjoy !
Greetings
               Frank
Here

Chris Jameson? Bobby Lucey? Protest? Anti Protest? mp3@320

                                                                                                                                                                                                                                                                                                                                                                                                                                                            

                      
Wie versprochen, poste ich hier das erste Bobby Jameson (aka Chris Lucey) Album. Das Album und seine Entstehung hat ja eine mehr oder weniger obskure Geschichte. Ich denke, jeder ist damit mitlerweile vertraut, so dass ich das hier nicht nochmal aufwärmen muss. Für mich ist es das beste seiner drei Alben. Mich hat überrascht, wie modern es für seine Zeit (1965) klingt, als ich es das erste Mal hörte. Für mich unglaublich, wie gut produziert es klingt, wenn man die äußeren Bedingungen für die Aufnahmen kennt. Jamesons gesanglicher Ausdruck ist 1a und auch die Songs sind klasse arrangiert. Glaubt man Jameson, so war er auch hieran (aufgrund der Umstände) beteiligt. Und warum sollte man ihm das nicht glauben? Jeder, der mit ihm gearbeitet hat und darüber sprach, bezeichnete Bobby als äußerst talentierten Musiker und Interpreten.

2002 hat Rev-Ola die Platte wiederveröffentlicht. Jameson erhielt nach eigenen Angaben 1000 U.S. Dollar dafür,wie er in seinem Blog schreibt. Er sagte, das wäre das einzigste Mal gewesen, dass er jemals für seine Musik bezahlt worden wäre. Und wirklich spricht vieles dafür, dass die Musikindustrie ihn ziemlich besch..... hat. Aber das ist zwar keine andere Geschichte, denn es ist die Geschichte von Bobby Jameson, aber wer möchte, kann diese Dinge in seinen eigenen Worten auf Jamesons Seite nachlesen ( link). Ach so, in England erschien das Album unter ''Bobby Jameson - Too Many Mornings'' mit anderem Titel, eigenem Namen und anderem Cover.

West Coast folk-rocker Bobby Jameson is best known -- or, perhaps, not known at all -- for Songs of Protest and Anti-Protest, the sought-after cult LP he recorded under the alias Chris Lucey. Born Robert Parker Jameson in Geneva, Illinois, Jameson cut his debut single, "I Wanna Love You," for the Talamo label in early 1964. The record was a regional hit, and even earned him an appearance on American Bandstand.

Although the follow-ups "Okey Fanokey Baby" and "All Alone" went nowhere, Jameson nevertheless captured the attention of Rolling Stones producer Andrew Loog Oldham, and in late 1964 he flew to London to record the Decca single "All I Want Is My Baby," co-written by Oldham and Stones guitarist Keith Richards.
(The B-side, "Each and Every Day of the Year," credits authorship to Richards and Mick Jagger.) After a 1956 one-off for the Brit imprint, "I Wanna Know," Jameson returned to Los Angeles, where he befriended producer Marshall Lieb.

At this time Lieb was in the midst of helming the debut Surrey Records release by folkie Chris Ducey, but with the album covers already printed and the disc ready to ship, contractual snafus forced the project into limbo. Lieb coerced Jameson into writing and recording a new batch of tunes based on Ducey's existing song titles, and after some creative tinkering with the cover art, Songs of Protest and Anti-Protest -- now credited to Chris Lucey and, for reasons unknown, featuring a photo of Rolling Stone Brian Jones -- finally hit retail. Promoted via what was then the most expensive and lavish Billboard advertising supplement ever printed, the album -- a deeply idiosyncratic psych-folk opus closely resembling the classic early LPs by Arthur Lee and Love -- nevertheless proved a commercial flop; in the U.K., it appeared under Jameson's own name and a different title, Too Many Mornings, but still stiffed.
Jameson did not resurface until mid-1966, releasing "Gotta Find My Roogalator" -- arranged by Frank Zappa, and recorded with L.A. session virtuosos including Carol Kaye on bass and Larry Knechtel on piano -- on Pat Boone's Penthouse label. He then signed to Verve, where the Our Productions team of Curt Boettcher, Jim Bell, and Steve Clark helmed his 1967 LP Color Him In.
That same year, Jameson also appeared in the infamous American International Pictures documentary Mondo Hollywood, sharing the screen with Zappa, sex goddess Jayne Mansfield, health-food pioneer Gypsy Boots, and Manson crony Bobby Beausoleil. A 1969 album for GRT, Working!, proved Jameson's swan song. allmusic.com

 Ich würde mich freuen, zu hören wie Euch die Scheibe gefällt. Also ran an's kommentieren.
Wir hören uns          Cheers!
                      Frank
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Second part of The Millenium - Disc 2, 4, 7

Hello music lovers, like promised the second part of the Millenium Box. And there is some fine music inside today. I think you will enjoy it. Today i post ''The Millenium - Pieces'', ''Curt Boettcher - Another Time'' and ''Sandy Salisbury - Do Unto Others''.
Okay see you later

Cheers
            Frank
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Part One - The Millenium At Last (8 Disc Box) Artwork & Lee Mallory - Many Are The Times mp3@320

Hello, i want post the Box of  the Curt Boettcher project ''The Millenium''. It's a 8 disc box, but now i will post only the complete box artwork (nearly 500mb) and the first of the eight discs. Today it is ''Lee Mallory - Many are the times''. That means not that i will upload every disc separate. I think two more posts and it will be done. I hope you will enjoy the box, because there is a lot of great stuff on it. Okay enough prated. Three cheers for you 'Mädele und Buben' and have fun.

Es grüsst
               Frank

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Piccadilly Line - The Huge World Of Emily Small (1967) FLAC

The Picadilly Line's sole album is one of the recordings that most epitomizes what has been retrospectively dubbed the "toytown" school of British psychedelia by collectors. That is, the songs bounce along daintily; the vocal emphasis is on high harmonies; the lyrics are sometimes populated with observations of British everyday life and characters, sprinkled with a coat of whimsy; and the arrangements benefit from touches of baroque orchestration. It's executed here, however, with a fey, twee touch that makes the Zombies' Odessey and Oracle, for instance, sound rough 'n' ready by comparison. It's thus going to be too light even for some British psychedelic pop enthusiasts, but it's not quite the most saccharine entry in the genre, though it's undeniably precious.

There's a folky lightness that keeps this from being too wide-eyed and childish, sometimes sounding a bit like Simon & Garfunkel gone toytown, though with some similarities to both the 1967-era Beatles and '60s California pop in the vocals and arrangements. The covers of Bob Dylan's "Visions of Johanna" and the Everly Brothers' "Gone, Gone, Gone," however, seem misplaced in these surroundings. The CD reissue adds ten bonus cuts of a similar nature (though they're sometimes marginally gutsier) and the same level of professionalism, including all three of their non-LP cuts that appeared on singles in 1968. Of these, the one of most interest is "Yellow Rainbow," as it was written by Graham Nash, then of the Hollies. Unsurprisingly, it sounds much like a Hollies song given a lighter treatment than the Hollies themselves would have; also unsurprisingly, to be a little uncharitable, it's by far the best track on the CD.(R.Unterberger)

Here is an earlier effort by Rod Edwards and Roger Hand.This is the cd reissue with the bonus tracks in flac.
Hope you will enjoy
                                Frank
FLAC

Edwards Hand - First Album 1969 (great psychedelic pop!) mp3@320

Because Edwards Hand were one of the few pop/rock acts other than the Beatles who were produced by George Martin in the late 1960s, their obscure self-titled debut album has generated some rough comparisons to the Beatles' own work. It's true that the harmonies, melodies, and orchestrations bear some similarity to those heard on the very most pop-oriented of the Beatles' productions, though in truth there's a stronger resemblance to the ornate pop-psychedelia of the late-'60s Bee Gees. Throwing those names into the hat so quickly, though, is a little misleading and might spark hopes for a buried treasure that's better than it is. For the actual songs are certainly coyer and more saccharine than the compositions of the Beatles, and even make the Bee Gees' late-'60s stuff sound melancholy and a little hard-edged. It's more something of a combination of Beatles/Bee Gees-lite with poppier, soaring, sometimes fruity orchestral arrangements -- most likely Martin's strongest contribution to the record -- and more of a middle of the road/sunshine pop/toytown psychedelic influence than the Bee Gees (and certainly the Beatles) admitted. Certainly some of the lyrics make one blanch a bit on the printed page, with their fey references to picture books, kings and queens, bringing flowers in the morning, walking down London's Charing Cross Road, magic cars, and the like. If you like those elements, of course, there are things to enjoy about this record. It has reasonably catchy though not stunning melodies, good duo vocal harmonies, and an ambience that captures something of the most innocuous side of the Swinging London/flower power era. It does sound best, however, when it gets most serious and Bee Gees-like, "If I Thought You'd Ever Change Your Mind" and "Orange Peel" being two examples.


For me this two guys was for around a little more than two years in the sixties the most impressive musicians/songwriters in the mid/late sixties psychedelic (baroque) pop scene. They was very ''light'', that's true, but that's it what i love in the sound of Edwards Hand. Enjoy it

Frank

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Rollercoaster - Rollercoaster (1999)

Rollercoaster were a band from Perth with members of musicians which were well known from popular bands in Australia.  Duane Smith (The Chevelles), Craig MacLean(Superscope), Grant Ferstat (Flavour Of The Month), and Dave Shaw (The Stems). The album was recorded around '97 and released 1999. It was released in Spain and is the one and only album by the band. The songs are written by Smith and MacLean as far i know. If you like australian power pop in the tradition of the Chevelles (but not only) you are right here. It's in mp3@320.
Good night girls and boys

Cheers
           Frank
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SB1
 

''Liverpool Express'' Three for one!

Today here are three albums from Liverpool Express. Liverpool Express was a successful pop/rock quartet that formed out of the remnants of Rockin' Horse, a short-lived early-'70s oldies-oriented band organized by '60s Liverpool music veterans Jimmy Campbell and Billy Kinsley. Kinsley restarted Rockin' Horse in 1975 with Tony Coates on guitar and vocals, Roger Scott Craig on keyboards, and Derek Cashin on drums, while Kinsley played bass. Signed to British Warner Bros., they had a slow start with the abortive debut single "Smile," but scored with their second record, "You Are My Love," which reached number 11. They became fixtures in the mid-level of the U.K. charts for more than five years, with the occasional run up to the Top Ten, and in later years Cashin was succeeded by Pete Kircher and Coates was replaced by Kenny Parry. Their history came to an end when Kinsley rejoined his '60s outfit the Merseybeats in the early '90s.allmusic.com

Their greatest success was found in South America where three of their singles ("You Are My Love", "Every Man Must Have A Dream", and "Dreamin'") reached No. 1 in the charts. They were the first band to do a major stadium tour there, playing to more than a quarter of a million people.
They appeared on British television quite frequently, including on Top of the Pops. Whilst away on tour, more TV appearances followed, recording their own TV specials in Brazil, Finland, and for the BBC in the UK.
Liverpool Express toured the UK and parts of Europe with Rod Stewart, and by personal request, played for Prince Charles at a Royal Gala show held in Liverpool.
All four band members had previously played with the band The Merseybeats, Billy Kinsley being a co-founding member in the 1960s. In the 1990s, Kinsley re-joined The Merseybeats. Pianist Roger Scott Craig, went on to join Fortune in 1982, and formed the bands Harlan Cage in 1996, and 101 South in 2000. He also played and recorded with German singer, Nina Hagen, in the mid-1980s. Their tour schedule included playing to hundreds of thousands of people at the Rock in Rio concert in Brazil.
When Cashin, Coates and Scott Craig left the group, Kinsley recruited musicians, Dave Goldberg (keyboards) and Kenny Parry (guitar). Kinsley, Goldberg and Parry have since remained the three core members of the band. The original line-up were reunited in mid-2002, when Scott Craig came up with the idea of compiling and releasing a 'Best Of' CD, due to fan interest. A year later, Scott Craig and Kinsley met in Liverpool to write and record new material for the album, Once Upon A Time. (wiki)

In this post are three albums: ''Tracks'' from 1976, ''The Best Of'' 2002 and ''Once Upon A Time'' from the reunited band in 2003. Once Upon...is very different compared to that seventies stuff. Some songs remember me to Alan Parsons Project but not because Ian Bairnson (guest) plays lead on two tracks.  But listen for yourself. ''Best Of'' is 192 ''Once'' and ''Tracks'' 320. If there is anybody with an upgrade, please email me.
 Greetings  Frank
              

mp3

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Martin Newell - The Off White Album (1995) mp3@320

One of the great eccentrics of modern English pop/rock, Martin Newell's songs are recommended listening for anyone who enjoys the peculiarly British eccentricities of Ray Davies, Andy Partridge, Syd Barrett, and the like. His grasp of the pop hook was second to few throughout the 1980s and '90s; his arrangements favor a guitar jangle but are usually infused with a whimsical eclecticism full of goofy sound effects and unusual garnishes of unexpected percussion and string instruments. His voice is winningly quizzical, but his chief assets are his compositions, which reflect contemporary English life with a wry combination of affection and cynicism.
For most of the 1980s, Newell was the mainstay of Cleaners from Venus, who recorded most of their albums at home for cassette-only self-release, although they eventually put out some vinyl product. After a short stint as head of the similar Brotherhood of Lizards, Martin started a solo career in the 1990s that was essentially a continuation of the territory he'd explored in the 1980s; sometimes he re-recorded songs from the previous decade. The difference, if any, was that he was concentrating on the proper official album market instead of the cassette underground, with somewhat higher (though not slick) production values.

Newell's most acclaimed album was 1993's The Greatest Living Englishman, which was produced by Andy Partridge of XTC. The Off White Album (1995) was a bit more baroque in approach, with occasional string arrangements. Spirit Cage was issued in fall 2000, and a collection of home-brewed recordings from 2010 through 2014, Teatime Assortment, appeared in 2015. Newell has co-written material with Captain Sensible and is a poet/humorist of some renown in Britain, publishing his own prose with a good deal of success and writing humorous pieces for the Independent newspaper. Ironically, his music is virtually unknown on his home turf, although he enjoys a considerable cult following in Germany, Japan, France, and on certain American college radio stations.(allmusic.com)

 Newell's second widely distributed album (he self-released some tapes under his own name in the 1980s) is a bit more precious and ornate than The Greatest Living Englishman, particularly when the songs employ string arrangements. At these times especially, this sounds a bit like Elvis Costello's unplugged/string quartet releases. Newell's phrasing, too, is getting more deliberate in a way that also faintly recalls Costello, though Newell doesn't sound as calculated in his delivery. As far as the songs go, it's largely more of the same: witty, affecting vignettes about British characters, simultaneously evoking a glorious past and a somewhat unsettling, frustrating present. It's not his best record, but it's still more inventive, intelligent British pop than what you hear from most other such artists that try to carry this kind of thing off.(Richie Unterberger)

My impressions of the album are in some points (Costello) different from Mr Unterberger's. But today is that kind of day i should better stay in bed anyway. Okay take a listen and enjoy.

Cheers
            Frank

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Manual Scan - All Night Stand Best Of 1980-1992 (2000) FLAC

Manual Scan were the champions of retro '60s-flavored rock & roll in the West Coast mod revival of the late 1970s. In many ways, they unified the movement between bands playing new material and those lovingly recreating '60s British pop styles. Manual Scan had it both ways, coming up with clever tunes that had overt '60s influences while still remaining new and fresh. This 21-track compilation brings together their very best from 1980 to 1992, bringing together impossibly rare tracks (some only previously available as flexi-discs) along with some previously unreleased material. Manual Scan

played catchy, edgy power-pop very much in the spirit of the Jam minus the political slant; the guitar work between leaders Bart Mendoza and Kevin Ring is as solid a two-guitar team in a small-combo format as you're likely to hear in this genre. Highlights include "Nothing You Can Do," "Bird," "I Want to Hold Your Hand," "And We Still Feel the Same" and nice covers of "Shapes of Things to Come," "I Can Only Give You Everything," and the Zombies' "It's Alright With Me," the latter group being a seminal influence. Some powerful power-pop music from a band that deserves a much wider hearing. (Cub Koda allmusic.com)

All said. A record full of energy and powerful pop hooks.
In FLAC

Cheers
           Frank

Here

Ted Mulry Gang - ''Here We Are'' & Bonus (1974)

  Born 2 September 1951, Oldham, Lancashire, England, died

1 September 2001, Sydney, Australia. Mulry emigrated to Australia in 1969 where he took a bulldozer driving job in the NSW Main Roads Department. His interest in songwriting prompted him to record a demo tape, leading to a recording contract with Parlophone Records. His debut single, the romantic ballad ‘Julia’, became a minor hit, following which he signed to the nascent Albert Records label and recorded Vanda And Young’s ‘Falling In Love Again’. Mulry also made a name for himself as a songwriter for other artists, and briefly returned to the UK to perform under the name of Steve Ryder. Back in Australia in 1972, Mulry began playing the bass and joined with Herman Kovacs (drums) and Les Hall (guitar) to form the Ted Mulry Gang. Shortly before the release of the band’s debut album, Here We Are, rhythm guitarist Gary Dixon was added to the line-up.

The Ted Mulry Gang marked a decisive change in musical direction for the singer, dumping his old balladeer image in favour of good-time rock ‘n’ roll. He revived old standards, such as ‘Darktown Strutters’ Ball’, wrote a hit, ‘Jump In My Car’, toured widely and appealed to young teenage fans. The band shortened their name to TMG after switching to the Mushroom Records label in 1977, but by the end of the decade the hits had begun to dry up. The band continued to perform as a popular act on the live circuit, without releasing any more records until the mid-80s, when Mulry retired to run a garage. The band re-formed for a 70s revival show in 1990 and continued playing despite Mulry’s other projects, including a slot on the televised Roy & HG Show. In 2000 Mulry was diagnosed with brain cancer, and succumbed to the disease the following September. (allmusic.com).

Wenn man sich das Cover anschaut und weiß die Band kommt aus Australien, dazu befinden wir uns in der Mitte der Siebziger, dann weiß man eigentlich schon was einen musikalisch ungefähr erwarten könnte. So gings mir jedenfalls und ich lag richtig damit...damals...aber das ist lange her. Vielleicht hat's mit Nostalgie zu tun, oder weil ich kürzlich gelesen habe, dass die Band in Originalbesetzung wieder auftritt (Natürlich nicht mit Ted, sondern mit seinem jüngeren Bruder, der den Gesang übernimmt), dass ich sie mal wieder rausgekramt habe.  Wie auch immer, für mich sind die besten Stücke der Platte die, welche eindeutige Bezüge zu den Beatles hören lassen. Einige Stücke (z.B. ''Only Love Can Make it) waren wohl ein Zugeständnis an die Plattenfirma (die Ted lieber weiterhin als Soloact mit Schmusecharakter gesehen hätte), die hier so gar nicht in das Gesamtkonzept der Platte passen wollen. Ansonsten gibt's Party Sunshine Rock'n'Roll der Siebziger wie ''Jump in my car''. ''Give it to me'' klingt ziemlich nach Bad Company. Alles in allem ein gutes Album, daß eindeutig in den Siebzigern zuhause ist, aber auch heute noch Spaß macht. Aber macht euch selbst ein Bild.
Mit 'nem lieben Gruss bis demnächst
Frank

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Salt Water Taffy (1968) Sunshine Bubblegum @320

This New York-based bubblegum group -- led by songwriter/producer Rod McBrien -- recorded their lone album for Buddah Records in 1968. Titled after their local New York hit "Finders Keepers" (which bubbled under Billboard's Hot 100 nationally at number 105 in May 1968), the album featured a vocal harmony sound that was supposed to be similar to what a white version of the 5th Dimension would sound like, according to McBrien. Several of the tracks were penned by McBrien and his songwriting partner, former Valrays saxophonist Johnny Giametta, while others included covers from the Anders & Poncia catalog ("Whence I Make Thee Mine") and one tune by the Mann/Weil team ("You Baby"). Lead vocals on the title track were actually handled by Tommy West (whose real name is Tommy Piccardo), who sang the one-off minor hit as a favor (West later penned hits for the Partridge Family, produced Jim Croce, and partnered with Terry Cashmen as the Buchanan Brothers). The song featured a chirpy chorus of taunting children and a vocal arrangement in the Jay & the Techniques vein. Additional songs featured Janie Brannan (whose husband penned the goofy liner notes) and Kathy Weisberg, recent transplants to New York who fell into the gig as Salt Water Taffy girls. A follow-up single with similar playground children chanting, "Sticks and Stones," failed to catch on, as did two additional singles pulled from the album. In 1970, the group transferred over to United for one single -- another Anders & Poncia cover, "Summertime Girl" -- which failed to chart, and shortly thereafter the Salt Water Taffy broke up.

 This record is a real gem in sixties pop music. And if you are a lover of sixties pop you can't resist these songs. Related to the 5th Dimension it is far more of a bubblegum pop feel here in the songs. The edition is full of 22 songs and i haven't found anything about a 22 track edition
(but i haven't search a lot because i was a little bit lazy). Track 13 and 14 are bonus tracks on the Rev-Ola CD from 2009. They are here, too. All in all a wonderful pop album and it had deserved
more attention than a no. 105 on Billboard charts. So, genug geschwätzt ! Enough said! I hope you like it like i do.

Three cheers
                    Frank

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