Lost & Found - Everybody's Here 1968 (2009 13 Track Edition) mp3

The 13th Floor Elevators were the biggest thing on the Texas psychedelic scene in 1967, and far and away the most successful act on International Artists Records, so it's no great shock that Houston's Lost & Found, who were signed to IA in the wake of the Elevators' hit single "You're Gonna Miss Me," bore a certain resemblance to Roky Erickson's crew of inner space explorers. It didn't hurt that the Elevators befriended Lost & Found during their early days as the Misfits (thank the fates they changed their name, leaving the moniker open for Glenn Danzig a decade later), or that they were persuaded to cover the Elevators' "Don't Look Down" during the sessions for their first (and only) album, Everybody's Here. However, this album suggests the band was best served when they were trying to clear a musical trail of their own. Vocalist Peter Black was woefully incapable of replicating Erickson's feral howl no matter how hard he tried (and his attempt to mimic Bob Dylan on the title track was no better), but on poppier tunes like "I Realize" and "Forever Lasting Plastic Words," he summons up a fine folk-rock croon, and at its best, the guitar interplay between Black and Jimmy Frost suggests John Lennon and George Harrison as much as anyone in the psychedelic Southwest.

The extended blues workout "Zig Zag Blues" takes six minutes to go nowhere in particular, and the trippy final cut, "Living Eye" (named for a hip Houston nightspot of the day), is only a bit more interesting, but there was a great folk-rock band lurking within Lost & Found that rises to the surface for a few pleasing moments on Everybody's Here -- too bad no one was around to encourage them in that direction back in the day, especially since the band called it quits by mid-1968, with Peter Black and bassist James Harrell going on to form another act beloved by fans of Texas psychedelia, Endle St. Cloud.(allmusic.com)

Glenn Danzig, John Lennon, George Harrison? ...whatever, this is psychedelic garage with an interesting sound. Sure they are heavily influenced by the 13th Floor Elevators, but nevertheless they have a selfhood in her songs. You decide! Take it or...
Have fun
               Frank
mp3@320

The Strawberry Alarm Clock - The World In A Sea Shell 1968 (2005) Flac

The third long-player from Strawberry Alarm Clock runs the gamut of pop music. This unfortunately detracts from the album's cohesion instead of unifying it. As with their previous release Wake Up...It's Tomorrow, The World in a Sea Shell offers a few criminally overlooked tracks. However, for the most part, the contents vacillate between the saccharine sweetness of the mid-tempo opening track "Sea Shell" and the overly orchestrated "An Angry Young Man" and "Home Sweet Home." Any cohesive momentum from the first two LPs has seemingly been discarded for the external input of different writers. Increasingly, the band began to turn externally for material. This was partially due to pressures from producers Bill Holmes and Frank Slay, who brought in Roy Freeman to write lyrics for the band because -- in the words of bassist and composer George Bunnell -- "they thought we were awful at it." Contributions also come from the somewhat unlikely team of Carole King and Toni Stern. "Blues for a Young Girl Gone" and "Lady of the Lake" are akin to the stuff the pair was concurrently writing for the likes of the Monkees. Both suffer the double-edged sword of having such a strong voice written into them. They end up sounding more like the Mike Curb Congregation than any of the other material on the disc. Saving the album are the kitschy "Barefoot in Baltimore," as well as the lost rock & roll masterpiece "Love Me Again" -- a spirited number that could easily be mistaken for a discarded Buffalo Springfield track. The latter features the return of the classic Strawberry Alarm Clock noir vibe -- replete with haunting vocal harmonies, over-amped fuzz guitar leads, and harpsichord-drenched accents that drive the tune front to back. The fitting "Eulogy" is a final group effort and draws on the same strengths as "Pretty Song from Psych-Out" and "The Curse of the Witches" from Wake Up...It's Tomorrow.

Nice album of the Clock. Hope you enjoy.
Good Night
                  Frank  Flac
 

Ryan Hamilton - Hell Of A Day 2015 Flac

Ryan Hamilton of People on Vacation and Smile Smile fame has crafted himself an impressive début solo album, though one that rarely strays from what he’s best at. The album is packed with impressive hooks, big choruses and of course Ryan’s distinctive floaty, melancholic vocal style.
Hell of a Day starts off strong with “Be Kind, Rewind,” an absolute summer anthem. It’s a shame that Hell of a Day is released so late in the season, because “Be Kind, Rewind” is the kind of tune that sounds even better in a hazy, sun soaked atmosphere. This songs’ trumpets suit Hamilton’s voice perfectly and its a shame they aren’t utilised more heavily throughout the rest of the album.

Other highlights include “Four Letter Verb”, an emotional ode to a relationship growing stale. The lyrics tell a brilliant, believable tale that is backed up by upbeat guitar power chords twinned with twinkling background riffs. Hamilton’s voice fits these reflective, downbeat lyrics perfectly yet the positive pop style of the song almost make you forget what he’s actually singing. “Freak Flag” is another high point, featuring one of the best choruses on the release.
Hell of a Day is a very nostalgic album and that is never more obvious than on “Records and Needles”, an unabashed lyrical tribute to Hamilton’s rock n roll heroes included Elvis, John Lennon and Tom Petty. The song itself has an old fashioned sound to it with a brilliant, bluesy guitar riff and a  simple “Ba Ba Da” element to the chorus to boot. “Medicine” is another song with a rock ‘n’ roll feel to it featuring again a blusey, Chuck Berry inspired riff alongside a fun, cheerleader style chorus.
Most of the songs on Hell Of A Day are based around relationships; there are three references to love in the ten song titles alone. Though it’s a decent theme and Hamilton is capable of crafting some interesting lyrics around it, by the end of the album it does get a little draining, like a pop rock Ed Sheeran.

The only problems with Hell Of A Day are that it’s not really distinctive enough from People on Vacation to warrant being a separate project; add in some of his part time bandmate Jaret Reddick’s vocals and many of these songs could be Vacation releases. “Respond to my Email” is a particularly Reddick-ian song, with lines including “respond to my email you bitch,” “unfriended and blocked” and “I know you can check it you’ve got an iPhone and a MacBook Pro.” This comes off as childish and unsuitable for an album that is otherwise a fairly mature project.
Plus, whilst the highlights are very strong, the album does have several weaker points, like “Take It On The Run” and “I Love You A Lot;” these songs aren’t terrible, they’re just quite boring. They’re not innovative, there’s nothing interesting in the musicianship and whilst distinctive, Hamilton’s voice alone isn’t enough to carry a song with no other plus points.

Still, these aren’t massive criticisms of an album that is at the end of the day a very strong collection of well crafted pop rock tunes by a seasoned pro. Fans of any of Hamilton’s other work will find plenty to love on Hell of a Day as will any fan of emotional lyrics or big choruses.(rocksins.com)

Power pop catchy as hell..like ''Hell Of A Day'' by Ryan Hamilton. This is his first solo album and it's
a real fine pop album. Don't miss it if you like wonderful melodies and good working songs.
Have fun
              Frank    Flac

Old Manchester...Inspiral Carpets - The Singles (US Release) 1995 Flac

After the Stone Roses and Happy Mondays, Inspiral Carpets were arguably the third most popular band to emerge from the late-'80s/early-'90s Madchester scene. Like the Charlatans UK, they weren't quite as innovative as the city's two standard-bearers, relying less on the contemporary dance club beats that became Madchester pop's identifying signature. They did, however, share a fascination with trippy psychedelia, particularly the Farfisa organ-drenched sound of Nuggets-style garage rock from the '60s, which set them apart from their peers. It also enabled them to tinker with their sound once the Madchester fad had passed, and the group continued to score hits right up to their mid-'90s breakup.
Inspiral Carpets were formed in the Greater Manchester town of Oldham by guitarist Graham Lambert -- who'd been playing around the area since 1982 -- and vocalist Stephen Holt, who soon both recruited drummer, Craig Gill. The group began to settle on a permanent lineup in 1986 when Farfisa organist Clint Boon joined up, before bassist Dave Swift came into the fold the following year. '60s-influenced garage punk-style demo tapes, recorded at Boon's studio, helped to get the band noticed in Manchester, as did local support slots with the Bodines and Spacemen 3. Clever merchandising also helped the band out financially; they sold T-shirts featuring their smoking-cow logo and their slogan "Cool as F*ck," which got them media attention when a student wearing the shirt was arrested for violating obscenity laws. Their first national release came in 1988 with the Plane Crash EP on Playtime Records, but when that label's distributor went out of business later that year, the band set up their own imprint, Cow Records, which was financed mostly by T-shirt sales. The first release on Cow was the 1989 EP Trainsurfing, which got the band even more national attention. At this point, Holt and Swift -- not keen on professional careers involving lots of time and travel -- decided to leave, and were replaced by vocalist Tom Hingley (ex-Too Much Texas) and bassist Martyn Walsh. With their arrival, the band's Madchester-compatible style began to crystallize, as evidenced on the new lineup's first release, the swirling, organ-driven psychedelic tune "Joe" (May 1989). The single caused a stir in the indie underground that only intensified with the follow-ups "Find Out Why" and "Move," and after being courted by several major labels, the band wound up signing with the large London-based indie Mute.

Inspiral Carpets' debut album, Life, was released in the spring of 1990. Their first single for Mute, "This Is How It Feels," hit the British Top 20 and landed them a TV appearance on Top of the Pops; the follow-up, "She Comes in the Fall," reached the Top 30. The band recorded sessions with DJ John Peel and appeared at that year's Reading Festival, helping make Life a sizable hit. After releasing the Island Head EP late in the year, the band completed its next full-length, the darker The Beast Inside, which appeared in the spring of 1991. For the supporting tour, the band hired future Oasis mastermind Noel Gallagher as a roadie. Inspiral Carpets scored their biggest chart hit in the spring of 1992 with "Dragging Me Down," which appeared on their third album, Revenge of the Goldfish, released later that fall. Although it produced three more Top 40 singles and got the band a bigger overseas audience, the album was issued when the Manchester scene's moment was perceived to have passed. Next, the group returned to a more basic garage/psychedelic sound for 1994's Devil Hopping. It was generally well received, with the singles "Saturn 5" and "I Want You" (the latter a duet with the Fall's Mark E. Smith, who did not appear on the album version) returning them to the Top 20. In late 1995, Mute released a compilation called The Singles, and soon after, it was announced that label and band were parting ways. Inspiral Carpets split not long after; Boon formed the Clint Boon Experience, while Hingley formed a group called the Lovers with Jerry Kelly of the Lotus Eaters. Hingley went solo in late 2000, issuing the acoustic album Keep Britain Untidy.

After an eight-year hiatus, the band re-formed for two well-received sold-out tours in 2003, and this reappearance also brought the appropriately titled single, "Come Back Tomorrow," a recording culled from a 1995 session. Also issued that year was the three-disc compilation Cool As, which brought together all of the band's singles and promo videos to date, plus a selection of B-sides. A DVD of an April 2003 show, Live at Brixton Academy, appeared in early 2004. Although Inspiral Carpets continued to be a going concern over the next few years, its members also furthered their careers outside the band, with Gill founding Manchester Music Tours, Lambert pursuing concert promotion, Boon DJing on XFM Manchester, Walsh providing music marketing advice, and Hingley teaching performance art. The years 2007 and 2008 brought further tours after the release of a digital-only rarities compilation, Keep the Circle.

Following a rather public split on social media, by the end of February 2011 Hingley was no longer part of the band, and that August it was announced that Holt was returning to front Inspiral Carpets for the first time in 23 years. Sporadic international live shows were announced before the band issued the single "You're So Good for Me" on Record Store Day in April 2012, and they followed this a year later with "Fix Your Smile." In April 2014, Cherry Red Records re-released the Holt-fronted, 1987-recorded demo album Dung 4, which had previously only been available on cassette for a short while in the late '80s. The greater news was the band's decision to expand its reunion to the studio, which meant that the original lineup featuring Stephen Holt recorded their first-ever studio album two decades after forming. This record, naturally called Inspiral Carpets, appeared to strong reviews in the fall of 2014.(allmusic.com)

The Inspiral Carpets were a great band in her heydays. I can't remember another band who sounded so '60's stylish and psychedelic and are not retro. It was her naturally sound in the early to mid nineties. In this time to me they were maybe the best british band on the isle. ...than came Oasis...but that's another story. Enjoy the fantastic Inspiral Carpets
Greetz
          Frank   Flac

Frosted (Jane Weidlin of Go-Go's) - Cold 1996 Flac

Unfortunately lost somewhere along the way amidst sporadic Go-Go's reunions (though Charlotte Caffey does help write a slew of the songs) and less-worthy commercial alternative big-hitters, Frosted's debut and sole album was a near-perfect pop-punk treat. Jane Weidlin assembled a great crew to back her up, which they do with enthusiasm, while she herself does some of her best non-Go-Go's work to date: sharp, bratty, and smart all at once. Vocally, she favors the high end throughout -- almost squeaky if one's being uncharitable -- but she controls and uses it so well that such would be a bad judgment. Her lyrics wryly and wisely touch on everything from female role playing to emotionally useless males. She's also canny enough to vary the musical mix from the start; opener "Dis-Integrated" kicks right along in perfect shout-along style, but has a lovely break right in the middle -- just sweet, wordless vocals and a soft bed of ambience.

Co-producer Marc Waterman, who also engineered, really helps bring out the full impact of the quartet; everything is bright, chunky, and radio-friendly without being gooey mainstream glop. The other three members do a fine job throughout, providing some great shout-along backing vocals as well as punching out the songs. Drummer Lance Porter is especially noteworthy, with a good ear for a crisp, danceable rhythm (check out his tight work on "Never," as well as the handclaps, soaring chorus, and great guitar solo). The lyrics are a scream as well: "You can't turn dogsh*t into art/I would never write a song -- about you." More than once some of the music suggests what might have happened for the Cranberries if they had avoided MOR swill and pumped up the feedback some more -- a good example being the way Weidlin stretches out the title of "Call Me Crazy."

 Very good pop rock album by Jane Wiedlin and the band.
Enjoy
         Frank  Flac

The Growing Concern - The Growing Concern (1969) 2004 Flac

This self-titled album by The Growing Concern curiously first saw the light of day in 1969 on Bob Shad's Mainstream label, an imprint more familiar to jazz and blues fans than devotees of psych/pop. Shad, who had worked as an A&R man for Mercury, Savoy and Emarcy in the '50s, working with the likes of Sarah Vaughan, Blue Mitchell and Curtis Fuller, had the fortune to sign the then-unknown Big Brother And The Holding Company, whose contract, along with that of the band's vocalist Janis Joplin, Shad wisely sold for a not-insignificant sum to Columbia. Perhaps Shad thought he was going to repeat his commercial triumph with The Growing Concern. However, the band was a different proposition altogether with its emphasis on beautiful vocal harmonies and fantastic guitar and organ work rather than the Joplin-dominated R&B of Big Brother. Consequently, Shad only allowed the group into the studio on a single occasion, dropping them from the label after this, their eponymous debut. All in all, this is a fine album.

The support of vocalists Bonnie MacDonald and Mary Garstki are an intrinsic part of the band's distinctive sound, and the songs contributed by organist Dan Passaglia, bassist John Pedley and guitarist Ralph Toms are more than equal to the offerings from more illustrious contemporaries such as Mike Hugg ("Mister You're A Better Man Than I") or Stephen Stills ("Sit Down I Think I Love You"). The album, which is brilliantly recorded, is of a consistently high musical quality and the band surely deserved a better fate than the obscurity that Shad's indifference consigned them to.(forcedexposure.com)

Psychedelic/Sunshine pop with some darker lyrics as usual for this kind of music.
Enjoy!
          Frank  Flac 

Bert Sommer - The Road To Travel 1968 (2006 Rev-Ola) Flac

Bert Sommer is often referred to as the lost star from Woodstock. Those who have only seen the documentary film, or heard the two sets released from the 1969 festival can be forgiven, however, if they are utterly unfamiliar with his name. Sommer was one of a tiny handful of performers who played the festival but never accrued career success, much less fame and fortune, coming out of it. Sommer was born in 1949, and grew up on Long Island. He was drawn to folk music as well as to pop and rock, and became part of the orbit of musicians that coalesced around that New York suburb's music scene. He was a natural musician who was self-taught on the guitar and piano, and who also wrote songs. By his mid-teens, he had become close to Michael Brown, later of the Left Banke, with whom he frequently performed in the early years. But he also traveled in circles that included Leslie West's much harder rocking band the Vagrants, for whom he wrote several songs.

His first moment of potential fame as a performer came amid the tumultuous first year or so the Left Banke's fame, when Sommer replaced original lead singer Steve Martin on the single "And Suddenly." But the original lineup was back together soon after that, and that single -- which, thanks to the controversy (including a lawsuit) over the lineup and the use of the name, was never on any of their albums -- was more of a curio in their output than one of its highlights. Sommer was drawn to acting, as well, and by 1968 he had landed the role of "Woof" in the musical Hair, replacing Steve Curry, who had originated the role -- with his frizzed-out Afro, wide, open features, and gentle, cheerful demeanor, he seemed the epitome of genial hippie-dom in the prime days of the counter-culture.

He also landed a recording contract with Capitol Records in 1968 which led to the recording of an album, The Road to Travel, with Artie Kornfeld. That release, like so many other folk-cum-singer/songwriter recordings tried by Capitol in those years (records by Jake Holmes and Hilton Valentine come to mind), died on the vine. But his relationship with Kornfeld, who later became one of the prime movers behind the Woodstock Festival, seemed to pay off with interest on August 15, 1969 when Sommer took the stage in front of several hundred thousand people to perform.

Based on the recorded evidence, his performance was a match for much of the rest of the music displayed that day and that weekend. Sommer performed 10 songs at Woodstock, and the audience enjoyed what he did, though through a combination of technical malfunctions and record-company politics, until 2009 he was never included in any of the commercial releases, on film or record, to come out of the event. Warner Bros. ended up grabbing the rights to everything out of Woodstock, and Sommer, as a Capitol artist, would never gain a spot even on either of the album sets, not even on Woodstock 2, which was used to tie up loose ends (he was aced out of the movie on technical grounds, and by the time Woodstock 2 appeared, he -- unlike his fellow hippie/folkie Melanie -- had faded into obscurity, so he lost out twice).

Artie Kornfeld recorded him a second time on his own Eleuthera Records, but Inside Bert Sommer never sold. Sommer seemed to take all of this in stride, and during the mid-'70s returned to acting, this time on television as part of the Kroft Supershow. He cut more music later in the decade, and subsequently moved to upstate New York, where he continued to perform and write songs until his death, from a chronic respiratory illness, in 1990. He has retained a cult following across the decades, similar to other prematurely departed singer/songwriters of his era, such as Tim Hardin and Tim Buckley. In 2009, as part of the releases to mark the 40th anniversary of Woodstock, the first official release of Sommer's performance at the festival could be heard on the six-CD Woodstock: 40 Years On: Back to Yasgur's Farm. (allmusic.com)

Bert Sommer was a gifted musician with great voice and his marvelous songwriting skills. I don't understand until today why he don't rose to fame. To stay at the example of Woodstock: If i see which average performers (i'm serious) rose to lifelong fame, the more i can't understand the deafness of audiences. I highly recommend this guy and his music.
Enjoy it
             Frank  Flac

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

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