Michael Head And The Strands - The Magical World Of The Strands (1997) 2015 Flac

Michael Head, former frontman of the Pale Fountains and current co-leader along with his brother John -- who is also a Strand -- of Brit pop outfit Shack, turns in a stellar chamber pop performance with Magical World of the Strands. Head, who is no stranger to either classy, baroque pop or neo-psychedelia, has composed an album of gorgeously illustrated songs that are lushly orchestrated by a standard rock quartet augmented by a flutist (Leslie Roberts) and a string quartet. The result is an album that, while little known, is a classic, a masterpiece of modern chamber pop. Released in 1997, this disc walks the line between the deep, darkly expressionistic chamber work of the Tindersticks and the airy, classically augmented breeze-laden pop of Nick Drake à la Five Leaves Left -- long before the millennial obsession with the latter's work was revived due to a Volkswagen commercial. The disc's first two tracks, "Queen Matilda" and "Something Like You," are striking in their seductive, velvety tenderness. The ghost of Drake is everywhere, floating in and hovering above the strings. In the refrain to "Something Like You," one can even hear his voice in Head's phrasing. The difference, however, is in how Head composes lyrics: he's more economical; he merely illustrates the essence of what he's communicating--be it image or emotion--and leaves the listener to fill in the blanks. The other huge influence on Head and the Strands is Pentangle, with slippery modal folk and rock.

This music could have been recorded in the early '70s, but what it conveys is timeless. What reverberates through this album on every track is musical savvy. It's in the lyrical reverie of "X Hits the Spot," with jangling guitars and subtle backbeat. "It's Harvest Time," recalls Dave Cousins and Strawbs with open, ringing 12 strings, and piping, echoplexed flute. The electric-acoustic guitar tradeoff between Michael and James in "Fontilan," contains a melancholic theme inside a spacious mix colored by swelling strings. Throughout this gem showcases compositional class and an aesthetic sensibility at once artful yet completely accessible to anyone with an interest in well-written, -played, -produced, and -sung pop. (allmusic.com)

A wonderful album full of soft psychedelia. Great!
Enjoy!
          Frank  Flac  Limited till March, 25th, 2017

The Deep Six - The Deep Six 1966 (2003 Rev-Ola) Flac

From Southern California, this obscure five-man, one-woman pop-folk-rock group issued a self-titled album on Liberty in 1966. From the sounds of things (and the look of the group on the cover), they were a pop-oriented folk group hastily adapting to the folk-rock craze, with their white bread folk roots showing far more strongly than any newfound rock sensibilities. In this sense, as well as the all-over-the-place repertoire of the LP, they recalled the We Five, although they weren't as good and there was a glossier Los Angeles sheen to the production. The harmonies and their bent toward bittersweet melodies also bore some similarities to the Mamas & the Papas and the Peanut Butter Conspiracy, though they weren't even remotely the same league as the Mamas & the Papas and not nearly as rock-oriented as the Peanut Butter Conspiracy. Their best song, the original "Rising Sun," had an uncharacteristically gutsy fuzz guitar line, played as if the guitarist was afraid of burning fingers if the tone was sustained too long, and saw some regional airplay.

The Deep Six started out as a San Diego folk trio, evolving into a bigger folk-rockish band after they became the house band for the La Mesa folk club the Land of Oden, co-owned by their co-manager, Ken Mansfield. "Rising Sun," according to the liner notes to the expanded Rev-Ola CD reissue of Deep Six, included a young Jim Messina on guitar, and made number three in Los Angeles, where the group based themselves for part of their short career. Much of the music on their records (which, in addition to the LP, included a few non-LP singles) was played by top Hollywood session musicians, including Glen Campbell, Carol Kaye, Mike Deasy, Al Casey, Larry Knechtel, Ray Pohlman, and Barney Kessel; David Gates contributed some arranging. Neither the album nor the follow-up singles to "Rising Sun" sold well, and the group disbanded shortly afterward, with Barry Kane (who had been in the New Christy Minstrels and a duo with Barry McGuire) joining the lineup as the replacement for original member Dave Gray near the end.

After Deep Six, Ken Mansfield went on to work for Capitol Records and served as the first U.S. manager of Apple Records. Bassist Dann Lottermoser joined Stone Country, which did one album for RCA, and included noted country-rock singe/-songwriter Steve Young. The Deep Six album was reissued on CD, with all five of their non-LP songs added as bonus tracks, by Rev-Ola in 2003.(allmusic.com)
Enjoy
         Frank  Flac  Limited time! March, 25th, 2017

The Hooters - Hooterization (A Retrospective (1996) Flac

Hooterization is a single-disc collection featuring all seven of the Hooters' charting singles, plus neglected album tracks and other obscurities. Since the bulk of the Hooters' best material -- "And We Danced," "Day by Day," "All You Zombies," and "Where Do the Children Go" -- is on their Nervous Night debut album, Hooterization is useful only for those collectors and listeners who want a compilation for the sake of having a compilation. Hooterization is too long and filled with too many bland tracks to make a consistently entertaining listen, which is not the case of Nervous Night, since it is shorter and contains all the hits.

Certainly, Hooterization does a fine job of selecting the highlights from One Way Home and Zig Zag, but most casual fans will be satisfied with Nervous Night.(allmusic.com)

I can't agre with the review of allmusic. First ''Nervous Night'' don't contains all the charting hits of the band. Second is that on the collection here are some very interesting songs that are not on Nervous Night and are in my opinion no fillers. I have a lot of music and a lot of collections. Sure here are no ''obscure, deep from the vault, never released songs'' on it but good pop songs, an interesting live version of Lucy in the sky with diamonds and a live version of ''Time after time'' which is written originally by Hooters members. All in all a very good collection of the Hooters best work. If you like the Folk Pop/Pop Folk of the Hooters, here they are.
Have fun
               Frank  Flac   Limited Time March, 25, 2017

The Marbles - The Marbles 1970 (2003 Repertoire) mp3

The Marbles are well known to serious Bee Gees fans for covering a number of Bee Gees compositions, as well as being produced by Barry Gibb. Those expecting a sort of Bee Gees Jr., however, will be sorely disappointed by the Marbles' sole, eponymous album, even if five of the 12 tracks were penned by the Brothers Gibb. It's a far more blustery, orchestral brand of pop/rock than the relatively tender one mastered by the Bee Gees in the late '60s, even when they're doing some songs the Bee Gees themselves recorded back then (like "I Can't See Nobody" and "To Love Somebody").

Most blustery of all is Graham Bonnet's overbearing voice, which sounds a bit like a cross between Tom Jones and the Righteous Brothers, painting mental pictures of some tuxedoed guy sweating it out on the northern England cabaret circuit, his bulging neck muscles turning red with the effort. The pop and soul covers -- including "A House Is Not a Home," "Storybook Children," and "Breaking Up Is Hard to Do" -- are rendered schmaltzy by both the vocals and arrangements.

The Marbles' few attempts at their own songwriting (numbering only three) are better though not great, convincingly emulating the bittersweet aspects of the early Bee Gees, though sometimes with even more ornate orchestration than the Bee Gees employed. It's of most interest to Bee Gees fans, though, for the inclusion of three Brothers Gibb compositions the Bee Gees didn't record at the time on their own records: "Only One Woman" (a number five British hit), "The Walls Fell Down," and "By the Light of a Burning Candle." They're characteristic of the Bee Gees' late-'60s style, but given such a bombastic treatment that you can't help wishing that the Bee Gees had done them instead. The 2003 CD reissue on Repertoire adds six bonus tracks, including mono single versions of four tracks from the LP and two 1969 B-sides.

Graham Bonnet shows here also what a great singer he is. The album is a mix of pop, soul, Bee Gees style and Righteous Brothers influences. It's like the reviewer describes the album. If you like this kind of music you are right here. To me it's a three stars out of five album.
Enjoy!
           Frank    mp3@320

Every Mother's Son - Come On Down The Complete MGM Recordings (2012) Flac

The typically nonsensical 1960s liner notes to this self-titled debut do mention that Dennis Larden and Larry Larden of Every Mother's Son were folk singers and met keyboardist Bruce Milner in Greenwich Village. But their Wes Farrell produced album has them looking more like a Monkees outtake than serious folkies, and their Farrell/Goldstein composed leadoff track, "Come and Take a Ride in My Boat," would hit the Top Ten in May of 1967, re-titled "Come on Down to My Boat." The two brothers certainly can sing, and they take the melody almost as far as Jay & The Americans did in 1964 with Farrell's "Come a Little Bit Closer." The focus of the big single is missing on the album, though, especially on "Allison Dozer," which sounds like a bad marriage between the Kinks' Kink Kontroversy and More of the Monkees -- with "Your Aunty Grizelda" beating up on "Till the End of the Day."

The one co-write by keyboardist Milner and Dennis Larden -- "Ain't No Use" -- is a nice slice of flower power on an album that simply doesn't know what it wants to be. Spanky & Our Gang could have covered "Come on Queenie," as could Tony Orlando & Dawn, but the musical experiments fail to identify with the red white and blue "all American boy" lettering on the front. Drummer Christopher Augustine seen reading Playboy Magazine on the back cover is more of an indication of image in turmoil. Had they stayed true to their folk/rock roots, the disc might have been a pleasant shocker to people picking up on it for the bright, sunshine pop hit single which starts things off.

The first song on Side Two, "Ain't It a Drag," sounds like Michael Nesmith & Company by way of Greenwich Village, but it totally fails to register the way "Come on Down to My Boat" does. The hit has bounce with a great keyboard intro and guitar hook that promises -- and delivers. The exuberant "make you happy in my little red boat" vibe is found only in the song that gave them a name. True one-hit wonders on a curious album of mild interest for '60s pop fans.

Different influences from musical pop styles who played a prominent role in the sixties you can hear in the work of Every Mother's son. To me they were a fine pop band and more than just a one hit wonder band. If you like it grab it and have fun.
Cheers
           Frank   New Link

Curt Boetcher - There's An Innocent Face 1972 (2002) Flac

A strange release from the much-loved producer and composer which sees him finding a place that mixes up varying degrees of soft rock, country-pop, and doo wop into a fine, if a bit uneven, listen. The best track on the album is "I Love You More Each Day," with its folk strumming and '70s melodic pop approach. Unsurprisingly, this song is one of the three tracks Boettcher is listed as actually having written on the album. To be sure, there is no shortage of the multi-layered harmonies Boettcher is renowned for. The strongest aspects of the record involve his distinctly sweet vocal approach and the thick harmonies. Other tracks, like "Such a Lady," focus on mid-tempo country-rock. Another track manages to briefly segue into Frankie Lymon's "Why Do Fools Fall in Love." Gary Usher is given an executive producer credit on the album and the musicianship is top-notch due to key studio players like Red Rhodes helping out. The adherence to country-rock and early-'70s AOR-type ballads might scare away some fans who know him mostly for his light psychedelia, but certainly for the diligent there are some fine songs to be found on this release.

To write the artist's name with only one ''T'' in Boetcher is no mistake, it is written on the cover in this way. This is really a very good Curt Boettcher album (i know i'm a big fan...) from 1972. It is not sixties pop psychedelia, but maybe this is one reason why you (and me) still better can see how good this guy really as a musician were. Great songs (three) by Boettcher and an great interpreter of an very american sounding album. Wufferton Frog is real funny.

A really good album but like i said(and the reviewer) this is no sixties Boettcher style.
Have fun
               Frank   Flac

NEW LINK! The Happenings - The Happenings('66) - Psycle('67) (2003 Rhino) Flac

Hello Friends, some people here asked for a new link for ''The Happenings - The Happenings ('66) & Psycle ('67) (2003Rhino) Flac''. I added a second link in the post here on the blog.
Enjoy
         Frank

Looks like everything runs well again!

Hello Friends and Folks, today i got the new motherboard and now the board is build in and it looks that everything is working fine again.
Some folks asked for a new link for The Happenings, i posted some days ago here on the blog. I will post the new link in a few minutes.
Cheers
           Frank

Machine is out of order! :-(

Hello Friends, i got bad news from my machine this morning. The computer get no power. I have tried different things but nothing works. I'm shure i know the reason why the computer get no power. Two days ago my sweetheart have let fall down a cup of coffee near at the place where the computer is standing. I believe some coffee came inside of the computer.Can't imagine no other reason. I'm in a bad mood at the moment.  I'm now on my lady's notebook. But that's no solution for longer time because she needs it for work and i hate this notebooks lol. However i will drive now to a friend who's a good expert in repair computers. If he cant help i must go to a service shop. I believe the next time there are no posts from here until the machine is fixed. I hope for your understanding and i will try to get the machine running as fast as possible.
Cheers
           Frank :-(

Richard X Heyman - Basic Glee (2002) & Rightovers (2003) mp3

Basic Glee was recorded at Tabby Road Studio, the living room of Richard X. Heyman and his wife, Nancy Leigh. The insert photo of the artist amidst his electronics, guitar, keyboards, and cat on a chair is real "underground rock" imagery. The liners state that the basics to more than double the songs on Basic Glee's 14 tracks were "cranked out at a 24-track studio over one blistering weekend...."

Heyman gives the world more of his over the top power pop on this outing, taking the majesty of a Flamin' Groovies "You Tore Me Down"-type tune and mixing it up with Roger McGuinn guitar chimes à la "Chestnut Mare," all intensified like a Beatles single sped up by George Martin -- with Heyman appearing to do it in real time. All the songs are pretty much in the three-and-a-half- to four-minute range, with only a couple straying from the formula. "Everywhere She Goes" opens up with Beach Boy vocals and Pete Townshend windmill guitar strums while "Pauline" borrows heavily from the vibe of Nick Lowe's "(What's So Funny 'Bout) Peace, Love and Understanding." Like Emitt Rhodes projects outside of the Merry-Go-Round and McCartney's first solo album, when artists shoulder projects of this complexity on their own, the projects are stamped indelibly and have few flavors from outside the artists' spheres.

For power pop, that's not necessarily a bad thing -- it's sometimes too much of a good thing. There's lots of frosting on "One Way Feeling" and "Let It Go," as well as lots of energy. Could Eric Carmen sustain this intensity releasing 14 tracks along the lines of "Hey, Deanie"? One suspects not, and it is a lot to absorb in one sitting. The upside is that any of these tunes could brighten up any radio show, so picking a single is extra difficult. There are hooks galore, and jangly guitars and vocals that really care. "When Evening Comes" might be a ballad, less heavy than much of the disc, but the tempo is up there with the rockers.

If you're sold on "Diminishing Her Return" and "Broken Umbrella," you're going to like "What in the World" with its irresistible chorus. That's not to say Basic Glee plays like a Ramones record; Heyman is much too clever to beat one riff into the ground. It's power pop heaven, especially on a slowed-up "Wishful Thinking." Heyman may want to consider teaming up with Joey Molland from Badfinger; they are both on the same wavelength with two albums that resonate with shimmering guitars and vocals: this CD and Molland's This Way Up. "Waterline" is deliciously elegant and would make a wonderful single backed with "What in the World." "My Lorraine Bow" is also nice with waves of guitars and pretty melodies, all adding up to another impressive effort from Richard X. Heyman.

Richard X. Heyman is an outstanding musician and in the pop/power pop field he enjoys an excellent reputation. And he earned that for every note he had ever played.
I put these two albums together because : "Rightovers" is, basically, "Basic Glee Part II". All right Mr Heyman!
Don't miss it. Grab it
Cheers
           Frank    Basic Glee
                                           Rightovers

Wyatt Funderburk - Novel And Profane (2013) Flac

Wyatt Funderburk is a Nashville musician, songwriter and producer. He’s been behind some of the best power pop of the past few years, producing and mixing for The Wellingtons, The Connection and Kurt Baker most recently. He’s also worked with Bowling For Soup, Linus of Hollywood and Silver Sun. But now Wyatt is on the other side of of the mixing booth crafting his first big solo album.

It’s pretty clear Wyatt has a knack for catchy hook-filled melodies and solid musicianship. Starting with the phrase “How was Your Summer?” we go on a melodic thrill ride with the song “Summer.” Next, “You Know What To Do” is a plea to girl to leave an abusive relationship, a mid-tempo slice of genius that recalls Roger Manning Jr. Each song is done with relatively restrained instrumentation and production, so the songwriting can stand out. Similar to Mike Viola or Adam Schlesinger, Wyatt twists those minor chords in each track, along with a ray of hope in each lyric. The lovely country beat and steel lap on “Feeling Good Tonight” is a welcome shift in tone, the epic “Nights Like This” gets to the heart of the album’s theme, and “Love Will Lead the Way” charms with its Tom Pettyesque rhythm and simple message.

Although I felt “Try To Be” really deserved a lush multi-layered treatment, each track is a gem and it easily gets a nod for my top ten of 2013 list. (powerpopaholic)

The album was released in 2013. As far i know only as digital download.
Wyatt Funderburk is a really great songwriter and musician in pop, power pop style. But i must admit i just know the efforts with Second Saturday (both albums are top notch power pop) and this marvelous album. I highly recommend this guy. Grab it if you like it. I purchased the album at Bandcamp (pay what  you want) and found the artwork all over the internet. If you like what you hear please support the artist and purchase his music. His works are really worth the money.
Have fun
               SB1  Flac
                                Limited till 2017/03/14

The Beau Brummels - Introducing (1965) & 12 Bonus Tracks (1998 Repertoire) Flac

A much stronger debut than the norm for the era. Ten of the 12 cuts are Ron Elliott originals, including the hits "Laugh Laugh," "Still in Love with You Baby," and "Just a Little." The hard-rocking numbers are the weakest, but "Stick Like Glue" and "I Would Be Happy" are fine Beatlesque numbers, and "They'll Make You Cry" is a first-rate moody folk-rocker. The CD reissue adds two bonus tracks, a demo of "Just a Little" and the single "Good Time Music." (allmusic.com)

This in example is the contrary to an album like the later released 'Triangle' . Both very nice in her own ways. This is the far more commercial work. As in the review noted the most songs are written here by Ron Elliott. I will later post his solo album from 1970.
Have fun
              Frank   New Flac link