Thursday, 2 February 2017

Candy - Demos 1986/1987 mp3


I had no clue this exists. Today i searched my HD for a completely different thing (a classic musicpiece) and i stumbled over this. This are twelve completely different tracks as the album i post a few days ago. As i found it i thought it will be demos for the only album they released but how it looks this are really twelve other songs. No clue from where i got it. Okay hope some of you will enjoy it. The soundquality is really good. The audioquality is mp3@vbr around 256.
If you listen to this don't waste to much hairspray lol. I'm just kidding.
Have fun
              Frank  link

Tracks: 1) Number One 2) The Girl I Love 3) Matinee 4) Champagne 5) Sound Of A Broken Heart
             6) Dance America 7) M.O.N.E.Y.  8) Every Day Is Saturday Night 9) Johnny Was An Angel
             10) Change The World 11) Goodbye Goodtimes 12) My Favorite Star

Crabby Appleton - Crabby Appleton 1970 (2002) Flac


After departing from Curt Boettcher's various studio-based groups -- the Millennium, Sagittarius, et al. -- guitarist/vocalist Michael Fennelly struck out on his own. In 1969, Fennelly went to Thee Experience, a Sunset Strip club, where he met the members of Stonehenge, a blues-oriented group whose lineup included Casey Foutz (keyboards), Hank Harvey (bass), Felix "Flaco" Falcon (percussion), Phil Jones (drums), and an unknown guitarist/lead vocalist. Stonehenge were, at the time, being scouted by a friend of their manager's, Elektra A&R man David Anderle, who had told the band that -- in order to get a record deal -- they would probably have to replace their lead singer, as he didn't write songs and clearly wasn't up to par with the rest of the band. Members of Stonehenge and Fennelly hit it off and, as Fennelly's "To Claudia on Thursday," a Millennium single, was getting airplay in L.A. at the time, the band thought he might be the perfect collaborator. They took the idea to Elektra, who agreed, and they formally invited Fennelly to join the band. They soon changed their name to Crabby Appleton (the name of a villain in a cartoon which aired during the Captain Kangaroo Show in the '50s and '60s) and began recording their first album.
The eponymous Crabby Appleton, produced by Elektra house producer Don Gallucci (from Don & the Good Times and Touch), was released in 1970. The band enjoyed some success with a hooky single, "Go Back," which peaked at number 36 in June 1970 after five weeks on the charts. Over the next two years, subsequent singles by the band failed to catch fire. The group's second album, Rotten to the Core, found the band stretching out in different directions, but it failed to connect with its intended audience, and the band decided to break up. In 1973, Fennelly moved to England and began to focus on a solo career. He released two solo albums -- 1974's Lane Changer, produced by ex-Zombies bassist Chris White (the album also featured another Zombie, Rod Argent, on synthesizer), and 1975's Stranger's Bed, produced by Denny Bruce -- though he never achieved the kind of success that everyone expected.

The debut was a great work by Fenelly and the band. I love it but this is a complete other sound as the things Michael Fenelly had done with Curt Boettcher and the projects in which he was involved.
This record have some real great songs and i recommend to give it a try.

Frank
Flac

Paul Cook & Steve Jones - Odds And Sods 1978 - 1980 (Demos (with friends)mp3@320


Don't be surprised folks, i know that's not really ''pop'' but since the first time i listened to the ''Pistols'' i loved her. Not the ''Pistols'' with Sid (sorry...) but the band in the early days with Matlock, Rotten, Jones and Cook. The ''Bollocks'' is a classic record and the band had a big stake in the record.
Anyway, we all know the end of the band and naturally Sid's. Sad story.
This are demos from nearly two years and they sound very well. A lot of friends play also here with the guys. Sham 69, Joan Jett, Phil Lynott, Chrissie Hynde... Okay if you like music like that grab it. It's in mp3@320 'cause i don't own the original cd.
Have fun
              Frank
mp3@320

The Zombies - The EP Collection( 6ep's) 1992 Flac

The Zombies EP Collection, from the See for Miles label, contains the British Invasion bands biggest hits from 1964 through 1966, including "Tell Her No," "Time of the Season," and, in both mono and stereo, "She's Not There." While this collection does an effective job chronicling the hits, Big Beat's 2000 release The Singles Collection: A's & B's, 1964-1969 is superior as it goes further into their catalog and contains "Care of Cell 44," "Beechwood Park," "Friends of Mine," and "Maybe After He's Gone" taken from their 1968 masterpiece Odessey and Oracle.

Hello folks, hope you have a nice day. Here are 26 songs from the most creative years of the band.
It is a nice collection and i can recommend it. Five of the ep's are ''Decca'' releases and the only one from ''RCA Victor'' is ''Bunny Lake A Disparu''with songs for a film by Otto Preminger. Okay, hope you will enjoy it and here we go.
Cheers
           Frank
Flac

Wednesday, 1 February 2017

The Loot

After hearing their complete output, the often used description of The Loot as “minor-league Troggs” seems ridiculous.
Though they do come from the same Andover, Hempshire, neighborhood and there are some undeniable similarities brought in by the ex-Troglodyte, Dave Wright, there are also a couple of tunes that The Troggs could’ve only dreamt of.
The sunny side of their 1966 debut single, graced with the freakbeat-ish r’n’b number Baby Come Closer, would’ve been enough to put them on the mod-beat map forever, but there was more goodies to come. On the b-side, there was a way calmer, jangly beat ballad Baby, a formula to which they return only once more, for the beautiful Save Me, another b-side, that was eventually withdrawn.
Unlike the title of the second single suggests, Whenever You’re Ready is not The Temptations cover, but it still IS an upbeat blue-eyed soul type, (almost) followed by an unreleased piece of mod-popsike stomp called I’ve Just Gotta Love You, and then came another freakbeat “creation” in the form of She’s A Winner, with Ronnie Bond behind the desk, bringing in more Trogg-relations.
On the musical side, what Wright brought in from his previous experience is most audible in I Got What I Want, and also in You Need Someone To Love, with just a dash of The Yardbirds too, as well as on the b-side of their last 1969 single, where they kinda recall the Troggs-goin-psychedelic with Radio City.
The a-side has them moving along with the times, offering a slightly heavier r’n’b “experience” of the Caleb Quaye-written (it’s rumored that he occasionally provided some guitar licks too) Try To Keep It A Secret.
The one single that doesn’t really live up to the standard (or it might be more correct to say that it’s a bit out of concept) is the bubblegummy popiske of Don’t Turn Around (could’ve been a perfect single for DDBM&T), backed with the pseudo sunshine pop of the appropriately titled You Are My Sunshine.
Oh, and did I mention that all of the singles came out on Larry Page’s, Page One label?
[Released by Radioactive 2004]

Fine sixties pop stuff related to the Troggs. But in my ears the Loot had more ''pop'' in her songs and more variety and range. Recommended!
Frank
mp3@320

What do you prefer? Mp3 or Flac?

Hello Folks, just a short question and i want asking you to give me a short comment which format do you prefer for the postings. I'm personally like Flac very much for different reasons. But it's for me more important what you like, because you are the users who have to handle it. For that reason once again my asking: please give a short comment about your preferred format. That's all i need from you :-)
Cheers
          Frank

The Who - The Singles 2011 (SHM Cd Japan) Flac

I think this band to introduce is not really necessary. Originally released in 1984. It was released worldwide except for North America. Why? No clue! It contains 16 tracks and had good sales worldwide. The 2011 Japan shm release contains 26 tracks.

For me it is a fine collection of songs by the band. Not in a ''best of'' way but in a historical. And for me it is more of a benefit than a disadvantage that several sources were used. Some people had criticized it. For me, i don't want listen to a rock song from 1965 i.e. in absolutely  highsuperstereoquadropower  hightechfidelity.
I need it more in line with the times and LOUD. But it's only my opinion.


 To me it's fine and   maybe also for  you.

Cheers
           Frank
New Flac

Power Pop Collection Vol.3

VOL.3

Here is the third Power Pop Collection made with heart & Fun. Hope you will like it like the first two collections. I tried to make it interesting but after a definite time my head turning around in circles lol. But like i said, it's also a lot of fun. Okay here is the tracklist:

01 Baby it's you - Phil Seymour
02 The Basement - Green Beetles
03 Plastic Moon Rain - The Moptops
04 Someone like you - Blue Shoes
05 What are we gonna do? - The Stanleys
06 The Great Persuader - Private Jets
07 I don't wanna lose the feeling - The Pranks
08 Baby don't let go - The Roulettes
09 Effortless Lee - The Tomorrows
10 This Time Around - Blue Cartoon
11 Burned - Walter & The Dairy Kings
12 Alright - Cast
13 Nothing Lasts Forever - Copperpot
14 All Of Our Crimes - Headset
15 Pretty Penny - The Solicitors
16 Tinnitus - The Rioteers
17 I'd Rather Be - Myracle Brah
18 Sonny Boy - Owsley
19 Penelope Wilde - Idle Jets
20 Radio - Superdrag
21 Walking Out On Love - Beat
22 Time Warp - Rosenbergs
23 The Better Part - Vegas With Randolph
24 Starfighter - Rock Bottom
25 Hanging On - The Vinyl Skyway
26 When The Lights Are Out - Slade               
 Except of four tracks all is mp3@320
 I hope you have fun
 Frank  

60's Psych pop from Down Under: Peculiar Hole in the Sky - Pop Psych from Down Under ('66 - '69) ('73) 2002


The Australian pop-psychedelia scene of the late '60s was more akin to the British pop-psych scene than the American one, though it borrowed from both of those cousins. Really, however, it wasn't as distinctive as either, nor did it have many tunes to rate on par with the best of those from the U.K. or U.S. Nonetheless, this 27-track anthology of Oz pop-psych from 1967-1970 does cover a scene that's rarely been noted by rock collectors or historians, particularly outside of Australia. Licensed from the Festival label (with the exception of a couple of tracks from Clarion Records), there aren't any names that will strike instant chords with the international pop connoisseur, though some of the writers and performers found wide fame in other contexts.
Foremost among those is Bon Scott, who, prior to joining AC/DC, sang on the Valentines' "Peculiar Hole in the Sky," which in turn was written by Harry Vanda and George Young of the Easybeats (who released their own version shortly afterward). Vanda-Young also wrote R. Black & the Rockin' V's' "Walking & Talking," never recorded by the Easybeats, though that song's just OK. Other noted writers are behind some of the better tracks. Mick Bower of the Masters Apprentices, one of the greatest Australian rock bands, wrote the Bucket's very Cream-styled "I Can't Help Thinking of You." Graham Gouldman penned his usually classy pop on Normie Rowe's "Going Home," produced by legendary British impresario Giorgio Gomelsky. Barry Gibb authored Jon's anxious "Upstairs, Downstairs," which sounds much like the Bee Gees' own circa-1966 recordings. Overall, though, the songs tend toward the ordinary with a touch of weirdness in material, sometimes with lingering British Invasion, mod rock, and sunshine pop influences. Once in a while a cut does jump out as worthy of attention, like the Executives' dreamy yet disquieting "Moving in a Circle" with its eerie organ and wispy vocal by Carole King (not that Carole King).(allmusic.com)

27 tracks from Down Under of the years 1966 - 1973( one song). More exactly actually '66 - '69 with one exception. Anyway this is a nice collection of the popsike and related styles bands of Oz from the middle to the late sixties. The songs show a wide range of the genre. And that means not ''a few good songs, a few average and some bad songs. This collection is on a high level of real good songs. But
folks...you know in the end it's all a question of taste. Give it a try and you will not regret it.

Cheers
           Frank   New mp3 link

Tuesday, 31 January 2017

The Lemon Pipers - Love Beads And Meditation '68 (both buddha albums) 2008 mp3@320

The band was formed in 1966 by student musicians from Oxford, Ohio, who had played the college bars with their previous groups that included The Wombats (Nave), Ivan and the Sabres (Browne) and Tony and the Bandits (Bartlett, Albaugh and Dudek). The band played a mixture of blues, hard rock and folk rock, with a few covers from Byrds and The Who. They gigged regularly in an Oxford bar called The Boar's Head, and Cincinnati underground rock venues, The Mug Club and later The Ludlow Garage, and released a single on the Carol Records label, "Quiet Please". The original band existed as a quartet, and then gained notoriety by reaching the finals in the Ohio Battle of the Bands at the Cleveland Public Auditorium in 1967, losing out to the James Gang.
The band then recruited Miami University student Browne as frontman, and also engaged Ohio music-industry impresario Mark Barger, who steered the Lemon Pipers to Buddah Records, then run by Neil Bogart. The Lemon Pipers, relying in part on advice from Barger, agreed to enter into a recording contract and music publishing deal with Buddah. The group began playing larger auditorium and concert hall venues around the US, including an appearance at Bill Graham's Fillmore West in San Francisco on the same bill with Traffic, Moby Grape and Spirit on March 21, 1968. Buddah's plans for the group focused on bubblegum pop rather than rock, and the Lemon Pipers joined a stable already containing Ohio Express and the 1910 Fruitgum Company. Paul Leka was assigned to be their record producer.
Buddah did not know how to handle the band at first and the group's debut on Buddah was a Bartlett composition, "Turn Around and Take a Look". When the song failed to make the charts, the label asked Leka and his songwriting partner, Shelley Pinz, who were working out of a Brill Building office on Broadway, to come up with a song. The pair wrote "Green Tambourine" and the band reluctantly recorded it. The song entered the Billboard Hot 100 at the end of 1967 and reached No. 1 in February 1968 on the Billboard and Cashbox charts. The song peaked at No. 7 in the UK Singles Chart, and was also a hit worldwide. It sold over two million copies, and was awarded a gold disc by the Recording Industry Association of America (R.I.A.A.) in February 1968.
The success of "Green Tambourine" caused the label to put pressure on the group to stay in the bubblegum genre, and in March 1968 the band released another Leka/Pinz song, "Rice Is Nice", which peaked at No. 46 on the US Billboard charts, No.42 on the US Cashbox charts and No. 41 in the UK in May. The band had little enthusiasm for either song, however, dubbing them "funny-money music" and recording them only because they knew they would be dropped by Buddah if they refused. "Ordinary Point of View", written by Eric Ehrmann and featuring a Bartlett country solo, was recorded, but rejected by Buddah. Disenchanted with Buddah and the music industry, Ehrmann stopped writing songs and went on to become one of the early contributors to Rolling Stone magazine. As is common with the music associated with the 1960s, a few copyright and royalties issues connected with the previous owner of Buddah Records inherited by current owners of the Kama Sutra music publishing catalog and Lemon Pipers songs remain unresolved.
The Lemon Pipers evolution from 1960s rock music into a gold-record bubblegum band created what Nave has described as "the duality of the Lemon Pipers": "We were a stand-up rock 'n' roll band, and then all of a sudden, we're in a studio, being told how to play and what to play."
The chasm between the label’s aspirations and the band’s own musical tastes became apparent on the Lemon Pipers’ debut album, Green Tambourine. Produced by Leka, the album contained five Leka/Pinz songs, as well as two extended tracks written by the band, "Fifty Year Void" and "Through With You" (the latter, written by Bartlett, bearing influences of The Byrds and, according to the original LP label, running 8:31 in length). "Ask Me If I Care" written by Ehrmann, was also featured. Like Lemon Pipers' members Nave and Albaugh, Ehrmann was a member of the Kappa chapter of Delta Kappa Epsilon fraternity. Writing in Bubblegum is the Naked Truth, Gary Pig Gold commented: "It was the Pipers’ way with a tough-pop gem in the under-four-minute category which was most impressive by far: "Rainbow Tree", "Shoeshine Boy" and especially "Blueberry Blue" each sported a taut, musical sophistication worthy of The Move and, dare I say it, even the Magical Mystery Beatles
The band recorded a second album for Buddah, Jungle Marmalade, which again showed both sides of the band – another Leka/Pinz bubblegum song, "Jelly Jungle", (released as a single and peaking at No. 51 on Billboard and No. 30 on Cashbox in the US), a version of the Carole King/Gerry Goffin penned song "I Was Not Born to Follow," and an 11 minute, 43 second epic, "Dead End Street"/"Half Light".
The band left the Buddah label in 1969 and later dissolved. Bartlett, Walmsley and Nave formed Starstruck, whose recording of a Lead Belly song, "Black Betty" was reworked by Super K Productions producers Jerry Kasenetz and Jeff Katz, and released in 1977 under the name of Ram Jam, featuring Bartlett. Browne moved to California to continue playing music, Walmsley played bass around Oxford. Bartlett became despondent and reclusive following the death of his wife Dee Dee. Nave became a jazz disc jockey and played organ occasionally with The Blues Merchants in southwestern Ohio venues.
Drummer Bill Albaugh died on January 20, 1999, at the age of 53.

Classical bubblegum/sunshine band/project. Really great songs here on both albums. If you're in BubbleSun you can't passing by at this.
Cheers
          Frank    mp3@320

.

Second and third album ! The Buckinghams - Time & Charges (1967) & Portraits (1968) 2011 (Reissue) Flac

Born and bred in Chicago, Illinois, the Buckinghams were one of the most successful groups of 1967. The band started the year off on a banner note, as they netted a No. 1 hit single with their first single “Kind of a Drag” — distributed by the regional USA label and appeared on their debut album of the same name.
By the time 1967 drew to a close, the Buckinghams scored 4 more Top 40 winners. And what an amazing feat that was, in light of the truckloads of incredible records arriving in the bins that fabled year. Revolution was in the air with acts like the Doors, the Jimi Hendrix Experience, Procol Harum, and Jefferson Airplane hawking psychedelic commodities. Although the Buckinghams traveled a different route than these bands, they were uniquely forward thinking in their own right.
Shortly after Kind of a Drag sent the band into orbit, they relocated to the Columbia label, where they cut a pair of excellent albums, Time and Charges and Portraits. Now, the always on-the-spot Sundazed Records has again reissued the platters as a solitary set, and here they are …
Released in the spring of 1967, Time and Charges opens up with “Don’t You Care,” which peaked at No. 6 on the national charts. Constructed of crooning horns, breezy boyish vocals and a plush finish, there was no way a tune this catchy could fail. The album also includes the band’s slinky, soul-drenched cover of Cannonball Adderley’s “Mercy, Mercy, Mercy” that seized the Top 5 that summer. Flooded with engaging tempos, complex movements, and a strict anti-war message, “Foreign Policy” is an elaborate progressive rock piece, and a beautiful version of John Lennon and Paul McCartney’s “I’ll Be Back” exerts a nip of a jazz feel.
The tail end of 1967 saw Portraits land on the shelves. Featured among the prizes on the collection are “Hey Baby (They’re Playing Our Song)” and “Susan,” which reached No. 12 and No. 11 respectively. Both these tasty tunes represented the sound and style the public came to know and love of the Buckinghams. Sweeping harmonies, reminiscent of the Beach Boys, combined with brassy horn arrangements and potent melodies were the magical ingredients directing the popularity of the band. But as their albums indicated, the band was adventurous and as daring as the best of the bunch. Rife with stinging guitar leads and rattling rhythms, “Just Because I’ve Fallen Down” is a particular mind-blower heard on Portraits while the rest of the record involves a nice balance of pure pop and horn rock.
Blessed with great vocals, solid chops and the tunes to match, the Buckinghams were an A-Grade band. Filled with songs that are fun, imaginative, arty, thought-provoking and just plain good, Time and Charges and Portraits are satisfying on every conceivable level.(Beverly Paterson)

Enjoy!
          SB1      Flac

The Kinks- You Really Got Me - The Best Of The Kinks (1980) 1999 Flac

The original release of this ''best of'' (the years '64-'67) was in 1980 by Pye records. This is the ''Castle Records'' release of 1999. What can i say? 20 songs from the first years of her career. I think most of you will have these songs but it is a good start if someone don't know the band.
I will post in a few days the ep's of the band with also a lot of strong stuff. Okay have fun and we
see (hear) later
Frank    Flac