Wednesday, 22 February 2017

The Standells - Dirty Water (1966) 1994


The Standells made number 11 in 1966 with "Dirty Water," an archetypal garage rock hit with its Stones-ish riff, lecherous vocal, and combination of raunchy guitar and organ. While they never again reached the Top 40, they cut a number of strong, similar tunes in the 1966-1967 era that have belatedly been recognized as '60s punk classics. "Garage rock" may not have been a really accurate term for them in the first place, as the production on their best material was full and polished, with some imaginative touches of period psychedelia and pop.
The Los Angeles band was actually hardly typical of the young suburban outfits across America who took their raw garage sound onto obscure singles recorded in small studios. They'd been playing L.A. clubs since the early '60s, with a repertoire that mostly consisted of covers of pre-Beatles rock hits. Drummer (and eventual lead singer) Dick Dodd had been a Mouseketeer on television, organist Larry Tamblyn was the brother of noted film actor Russ Tamblyn, and Tony Valentino was a recent immigrant from Italy. Gary Leeds (later to join the Walker Brothers) was an early member (though he was replaced by Dodd).
The Standells' pre-"Dirty Water" history is a little vague and confusing; they recorded some ordinary albums and singles for Liberty, MGM, and Vee Jay, appeared in the movie Get Yourself a College Girl, and did a lot of television work (most notably a well-remembered guest appearance on The Munsters, where they did a woeful version of "I Want to Hold Your Hand"). There were flashes of gritty inspiration on early cuts like "Big Boss Man" and "Someday You'll Cry," but the group didn't really hit their stride until teaming up with producer Ed Cobb, formerly of the clean-cut vocal group the Four Preps. It was Cobb who wrote "Dirty Water," which marked quite a change of direction from their previous clean-cut image. In fact, the group didn't even like the song, which took about six months to break into a hit.
Considerably toughening their image, the group churned out four albums in 1966 and 1967, as well as appearing in (and contributing the theme song to) the psychedelic exploitation movie Riot on Sunset Strip. Cobb, in addition to writing "Dirty Water," also penned their other most enduring singles, including "Sometimes Good Guys Don't Wear White," "Why Pick on Me," and "Try It" (the last of which was widely banned for its suggestive delivery).
The group did write some decent material of their own, such as the tense "Riot on Sunset Strip" and the psychedelic "All Fall Down," which bears an interesting similarity to some of Pink Floyd's early work. Their albums were quite inconsistent -- in fact, one of them, consisting of covers of big, mid-'60s hits, was altogether dispensable -- which makes it advisable for all but the truly committed to look for greatest-hits compilations that selectively weed out the best stuff.
The Standells never had a stable lineup; bass players were constantly leaving (John Fleck, aka John Fleckenstein, who was briefly in an early version of Love, held the spot for a while), and Dick Dodd went solo in 1968, the year they released their last single. Tower, as was the case with most of its artists, didn't apply intelligent long-range planning to the band's career, issuing too many albums at once. The group didn't help their own cause by issuing an awful vaudeville-rock single, "Don't Tell Me What to Do," under the transparent pseudonym of the Sllednats. They didn't record after 1968, though the group dragged on in one form or another until the early '70s (Lowell George was even a member briefly).

Enjoy
         Frank   Flac

The Mystic Astrologic Crystal Band feat Steve Hoffman - Flowers Never Cry 1967- '68 (Flac)

A third-tier late-'60s L.A. psychedelic outfit, the Mystic Astrologic Crystal Band were not as weird as their name indicated. They were, more to the point, as trendy as their name led one to believe, recording common-denominator psychedelic pop for the GNP label that emulated much of the form, but delivered little in the way of lasting content.
Steve Hoffman wrote all of the group's material, which largely consisted of passable emulations of the Association, the Seeds, and much of the L.A. psychedelic pop that fell between these extremes. Their sound is so anonymous, in fact, that one suspects they were only playing psychedelic music because it was fashionable -- if it were 12 years later, they may have opted to wear skinny ties and sound like the Knack instead.
Perhaps that's too harsh an assessment, but there's not much to put your back against on their albums, despite their status as collector's items.(Richie Unterberger allmusic.com)

My opinion about this record/band is completely different from Richie's lol. This is fine psychedelic pop with good arrangements and a lot of good songs.If you like psychedelic pop around '67-'68 give it a try. Enjoy
                     Frank  Flac

Off Broadway - On 1979 (1996) Flac

Probably the most popular album by this power pop group, On contained Off Broadway U.S.A.'s most well-known songs. In fact, if you listened to rock radio when this disc was new, it was not uncommon to hear any of those songs ("Stay in Time," "Bad Indication," "Hang On for Love" or "Full Moon Turn My Head Around") played frequently. The group had a sound a bit like their more popular fellow Midwesterners Cheap Trick, but with a little more quirky, almost new wave sort of bent to it. This album really did a great job of both showing off that sound and entertaining listeners at the same time.

Here is the first full release ''On'' by the band.
Hope you have fun
                              Frank  Flac

Tuesday, 21 February 2017

Power Pop from 1980: Off Broadway - Quick Turns (1980) Flac

So the name Off Broadway screams N.Y.C., but these are Illinois boys, and one of the myriad skinny-tie bands (actually only a couple dudes sport ties) that should've hit the big time. The mileage Off Broadway gets from a cliché remains nothing less than extraordinary: "U.S. Girls" cops an age-old opening from the Beatles; "Eddie's Pals" delivers a power pop missive almost in a league with the Hollies' "Dear Eloise" (or maybe Rundgren's "We Gotta Get You a Woman," but at least REO's "In Your Letter"). "Boys Must Be Strong" pleads poignantly and painfully long before the Cure's "Boys Don't Cry." Even without Tom Werman on the boards (he guided Off Broadway's inaugural On, and also produced hometown heroes Cheap Trick before he transmogrified into a pop-metal maven), Quick Turns is a pleasing platter impossible to resist.(allmusic.com)

Old school Power Pop heroes Off Broadway with her second album is always a good choice. Not    that strong like ''On'' but nevertheless a strong effort for sure. Grab it you will like it.
Cheers

           Frank  Flac

Teenage Fanclub - Songs From Northern Britain (1997)

No longer the brash, slightly grungy flavor of the month they were in 1992, Songs From Northern Britain finds Teenage Fanclub's trio of singer/songwriters -- Gerard Love, Raymond McGinley, and Norman Blake -- addressing adulthood and responsibility with a bright optimism that sets them apart from many of their contemporaries. From the cheeky yet heartfelt title to the gorgeous cover photographs taken by the band with photographer David Milne in the Scottish Highlands, Songs From Northern Britain is ostensibly a concept album about home and love.
Much like the Byrds, the Eagles, and Crosby, Stills, Nash & Young identified themselves with Los Angeles and Topanga Canyon, Teenage Fanclub has become intrinsically linked to Glasgow and rural Scotland. On "Planets," Blake sings, "We're going over the country/And into the highlands/To look for a home." Similarly, on "I Don't Want Control of You," one of the most beautiful affirmations of fidelity in a relationship, Blake writes, "Everyday I look in a different face/Feelings getting stronger with every embrace."
The overall effect is a feeling that the members of Teenage Fanclub are happy with who they are and who they love and see these notions as universal ideals. Musically, the album is more arranged than past releases and delves further into a folky, acoustic sound that fleshes out their Big Star fascination with some sweet harmonies à la the Byrds. There is even a slight bit of country twang mixed into these eminently hummable songs. This isn't to say that Teenage Fanclub has gone completely acoustic, though, as "Planets" features the sonic rush of a Moog synthesizer and fuzzy electric guitars rock pleasantly throughout much of the album. While Songs From Northern Britain may be too gentle and subtle for those listeners not willing to give it more than one spin, it is a resolutely beautiful album that will most likely stand as Teenage Fanclub's masterpiece.

Hello Folks, there is not much more to say. You know them - i know them...the only words i have to say is: Enjoy it and have fun . Kindly Regards Frank       Flac

Monday, 20 February 2017

The High Dials - A New Devotion (2003) mp3

Canadian power pop group the High Dials were formed in 2003 by singer/songwriter Trevor Anderson and guitarist Robbie MacArthur. The band grew out of Anderson's former project, the Datsons, who essentially changed their name after a New Zealand group using the same moniker became popular in North America. Viewing it as a chance to wipe the slate clean, Anderson and his bandmates released what was to be the High Dials' debut LP, 2003's A New Devotion, on the Rainbow Quartz label. Initially associated with the garage revival, the High Dials' first release had a distinctly retro '60s British mod sound that they have slowly distanced themselves from over the intervening years. Their acclaimed 2005 follow-up, War of the Wakening Phantoms, added elements of psychedelia, folk, power pop, and even shoegaze. They continued to tour extensively, evolving their sound and honing their songcraft with 2008's Moon Country and 2010's Anthems for Doomed Youth. All the while, the lineup continued to shift, always revolving around the creative core of Anderson and MacArthur. They worked with former Rolling Stones manager Andrew Loog Oldham in 2011 on a cover of "She Smiles Sweetly," and in 2014 two of their songs were featured on the hit Netflix series House of Cards. Following a period of inactivity, the High Dials reconvened as a trio with producer Marc Bell and recorded their fifth album, In the A.M. Wilds, which was released in early 2015.(allmusic.com)

Great canadian band with a successful long lasting career. Over the years they changed the sound more and more from album to album. Maybe this is her best work. Sometimes i am not shure lol, because they had a lot good stuff. This is definitely a monster album influenced by the great bands and sounds of the sixties.
Have fun
               Frank  mp3@320

The Hudson Brothers - So You're A Star - The Best Of The Hudson Brothers (1995)mp3



Although they aren't as well-remembered by the general public as Donny Osmond or Leif Garrett, the Hudson Brothers were a major presence on the teen idol scene during the mid-'70s, thanks to a string of variety shows that made them fixtures of Saturday morning television. They also recorded albums for the teen idol market, but their style was radically different from the usual teen idol fare. Instead of emulating David Cassidy, the Hudson Brothers recorded classic pop in the style of the Beatles or the Beach Boys (they also wrote most of their own songs). As a result, the Hudson Brothers' recorded legacy is on a whole different plane from typical 1970s teen idol sounds, and the best of this work is captured on So You Are a Star: The Best of the Hudson Brothers. Their sound combines an array of classic pop influences with a lush 1970s production style, and produced a pair of notable hits in "So You Are a Star" and "Rendezvous." Both songs show off their incredible gift to create original tunes that sound like their heroes: "So You Are a Star" stunningly recreates the woozy, psychedelic feel of "Strawberry Fields Forever," while "Rendezvous" is a perfect Beach Boys pastiche, right down to the boogie-woogie organ and doo wop vocal harmonies. Despite this gift for mimicry (which may have hurt their ability to be taken seriously by the rock press), other tracks on this collection show the Hudson Brothers were more than mere imitators.
For instance, "Spinning the Wheel" is a piano-driven power pop tune with melodic and harmonic twists worthy of the Raspberries, and "Lonely School Year" effectively contrasts a languid, lovely vocal melody with some frenetic rhythm guitar work to create a tune that is energetic and beautiful all at once. The group also throws in some new tracks for this compilation, the best being "Sweet Cindy," a rollicking mid-tempo track with a surprising country-rock feel to it. All in all, So You Are a Star: The Best of the Hudson Brothers is an extremely potent collection of pop tunes that is begging for rediscovery by 1970s power pop fanatics. Anyone who enjoys groups like the Raspberries or Badfinger will find plenty to enjoy on this disc.

This was a wonderful Power Pop band from the '70ties. Very much influenced by the Beatles and Raspberries. Beach Boys, too. Musically they had nothing to do with the Osmonds or Leif Garrett except the popularity of her music to the '70s teenagers in the USA. However if you don't know the band give them a listen. They was wonderful!
Have fun
               Frank  mp3@320

Finest Power Pop from Secret Powers! Explorers Of The Polar Eclipse (2008) Flac


It was hard to find a review about this album but after a longer time i found this review from a guy from ''Melodic.net'. Thanks Pär.

Here is a damn cool band that plays a very cool mix of styles. Firing up a mix of Bleu, ELO, Ben Folds, Kevin Gilbert (listen to the song in the second song Jenny, for example) and an early Elton John groove. This CD have been lying around in the "Forthcoming review-box" at home for a while and when I picked it up a few days ago, I was really surprised by what met my ears. There are many good tunes such as "Awfully Nice" with a typical modern powerpop piano that takes you up to the chorus which is a really nice ELO-fragrant tune.
´Sunny Pasadena´ smells Jim Boggia and "Counting Stars" could be a song that Bleu, ELO (a´la 1977) and Kevin Gilbert could be cooked for dinner... (Listen to the arrangement in the chorus). The singer Shmedly who also is the guy behind all the songs and who also produced the CD has a rather special voice that´s more a Kevin Gilbert sort of voice rather than the traditional modern powerpopvocalists like Ben Folds, Jon Brion and the other boys, and this also gives another dimension to the band.(Pär Winberg, melodic.net).

How sounds the ''traditional modern powerpopvocalist'' ? Like the ''typical modern powerpop piano''?
I'm just kidding. I think you know what you can expect if you listen to an unknown song or album by Secret Powers: Great Power Pop! And nothing more you will get with this album.
Enjoy
         Frank  Flac

Paul McCartney & Wings - One Hand Clapping (Collector's Edition)1974 mp3

Hello folks and friends, i'm sorry  this don't comes in Flac like i said yesterday but in mp3@320. I don't know what happened...wrong...i know what happened...i sleeped with my eyes wide open lol. I know a lot of you are glad it's mp3 because a lot of you like it more. Next wrong information of yesterday is: This is not a 40 track double disc, it's 46 tracks. Okay that's all about my broken promises :-).
Enjoy Macca and Wings
Cheers
           SB1

link Disc 1

link Disc 2


Sunday, 19 February 2017

Psychedelic Garage Paisley Pop...The Marshmallow Overcoat - The Very Best Of (2014) Flac


The Marshmallow Overcoat (more recently known as The Overcoat) is a quartet formed at the height of the boom in the "paisley underground." Based in Tucscon, Arizona, the group made a convincing enough case for itself, with its Kinks and Yardbirds-influenced originals and covers, that it made it as far as stages across the United States, Canada, and western Europe, charting high on some college radio listings in the process. They recorded a series singles, EPs, and LPs for Dionysus Records in Los Angeles. (almusic.com)


Fronted by the charismatic energy of Timothy Gassen, Marshmallow Overcoat has been keeping the spirit of psychedelic garage rock alive and kicking since 1986. A brace of critically praised albums, scads of smashing singles, numerous compilation contributions, DVDs, and worldwide tours have allowed these paisley-hearted crusaders consistent visibility.
The latest gift from the hard-working Tucson, Arizona band is The Very Best Of (Garage Nation Records), which is available as either a digital download or a double gatefold vinyl album. As always, it’s the music that commands attention, but the package provides even more ground for the pound, with its inclusion of rare photographs and extensive liner notes, while the cyberspace edition adds a trio of videos to the party.
Play The Very Best Of to a someone not aware of Marshmallow Overcoat, and there is no doubt they would think they were hearing a long lost act from the 60s. From the scraggly fuzz guitars to the bell-toned riffs to the rumbling keyboards to the thrashing tub-thumping to the snagging hooks, the band revises all the applications of the genre they mine with remarkable perfection. Timothy’s growling snarl teases, taunts, and thrills the listener in the same manner howlers and hipsters such as Gerry Roslie of the Sonics, Sky Saxon from the Seeds, and the Music Machine’s Sean Bonniwell were known for doing. Churning out songs with animated determination, Marshmallow Overcoat has their fingers, toes, and ears on the pulse each beat of the way.
Accurately titled, The Very Best Of definitely does teem with ace pickings, and far too many to go into much detail about. But I will state I’m personally partial to the twinkling twelve-string action of “Suddenly Sunday,” with its breathtaking blend of wistful moodiness and blinding blue sky beauty, the spooky lure of “When It’s Dark,” the inspired moves and matter of “Beverly Pepper,” a cover of John Lennon and Paul McCartney’s acid-drenched “Tomorrow Never Knows” that offers a slower but no less freaky approach than the original version, and the romping wildness of “Santa Fuzz” and “The Knights Of Fuzz,” which needless to say both surge forth with bursts of buzzing fuzz.
Other tracks I dare not omit are “13 Ghosts,” “The Light Show,” “Spell I’m Under,” “Thee Hands Of Tyme,” “Psilocybin Explosion,” “The Beyond,” and a piping hot rendition of Tommy Jett’s “Groovy Little Trip,” that screams and stomps with insanity.
Kudos to Marshmallow Overcoat for never compromising their position. Sticking to sounds they believe in, the band is a ray of sunshine in a scene dominated by trends, fashion, and profit. Marshmallow Overcoat are the ultimate role models, having not only influenced a legion of fuzz heads and tambourine bashers, but Timothy has also been a staunch supporter of the garage rock community on a variety of levels.
Those with a taste for the raw and rousing, but hopelessly catchy missives of groups like the Wailers, the Shadows Of Knight, the Haunted, the Unrelated Segments, Zakary Thaks, and Blues Magoos, as well as the shimmery folk rock of the Byrds and the surrealistic aroma of the Doors and Love, are for  certain to adore the prizes contained within The Very Best Of and will applaud Marshmallow Overcoat for carrying the torch.


Dear friends, i post this only for limited two days. It will be gone Tuesday evening at Berlin/Germany time 23:00. If you like it please buy the vinyl record here  or as digital download you can buy it here
Grab it and try it!
                           Frank    (link expired)

The Strawberry Alarm Clock - Good Morning Starshine 1969 (2005) Flac

This is the fourth and final long-player of new material from Strawberry Alarm Clock (SAC). As with their previous discs, Good Morning Starshine is a mixed affair. Prior to recording the album, the band underwent a somewhat drastic personnel change -- replacing longtime members George Bunnell (bass/vocals) and Randy Seol (drums/vocals) with Jimmy Pitman (guitar/vocals) and Gene Gunnels (drums), respectively. Also of note is the fact that all of Bunnell's songwriting credits for material on this album actually belong to Gunnels. The music has shifted away from the mix of punky psychedelia such as "Love Me Again" and "The World Is on Fire," inheriting a much more aggressive, bluesy approach à la Grand Funk Railroad or even (gasp) MC5. Although there are sonic vestiges and remnants of the band's former self -- such as the disc's pseudo-hippie title track -- by all accounts this was the antithesis of what the band had been up until this point. The dichotomy in the material on Good Morning Starshine is indicative that SAC had pretty much run their course. With managerial and other behind-the-scenes issues continuing to plague them, there are no signs of cohesion within the grooves. The disc is certainly full of strong material, despite the decidedly aimless direction. "Small Package" is reminiscent of the band's sound, circa Wake Up...It's Tomorrow. Likewise, the song is a minor chord masterpiece in the same vein as their previous hit, "Tomorrow." The "California Girls" vocal tag is a nod to the Beach Boys, with whom SAC shared many a late-'60s performance stage. Additionally, either of the two versions of the mid-tempo rocker "Miss Attraction" would have been a welcome addition to their earlier releases.
The free-form jamming and lead guitar lines are definitely reminiscent of early Spirit and the highly underrated Bay Area band Kak. The heavier and blues-influenced "Me and the Township," "Off Ramp Road Tramp," and "Hog Child" recall Blue Cheer and even later-era Moby Grape as much as they do the electric British blues of, say, Fleetwood Mac.(allmusic.com)


 I also think the album is without any direction. A little bit of this and a little bit of that. In big parts a completely other affair as the albums before. Miss Attraction, Write your name in gold, (You put me on) standby, Dear Joy are the more stronger songs here. On the other hand i can understand that they want do the next step to the seventies. However, after the personnel change Strawberry Alarm Clock was over.
Greetz
          SB1  Flac

Paul McCartney And Wings - At Abbey Road 1974 mp3


This is not the unofficial album from Macca and Wings. This are recordings for the planned album ''One Hand Clapping''. It was recorded at Abbey Road in 1974. I also have the collector's edition double disc of ''One Hand Clapping'' with 40 tracks. If there is interest please comment and i will post it. The double disc is in flac. Okay let's go back to 1974.
Cheers
          Frank  mp3@320