Keith Moon - Two Sides Of The Moon 1975 (2007 2000 Fruitgum) Flac & mp3@320

Keith Moon's 1975 solo album Two Sides of the Moon has been described as "the most expensive karaoke album in history," and even as that, it was a colossal failure, the perfect expression of drunken self-indulgence, and it was so fascinatingly bad that it has assumed a certain cult status. But make no mistake, it was a horrible album on all counts made by a brilliant drummer who chose barely to play drums on it (he appears behind the kit on only three tracks) but instead chose to sing, even though he was tone deaf by his own admission. The presence of seemingly every musician then in L.A. at the sessions, an impressive list that included Dick Dale, Spencer Davis, Bobby Keys, Rick Nelson, Harry Nilsson, John Sebastian, Ringo Starr, Joe Walsh, and countless rumored others, failed to redeem Two Sides of the Moon. Even taken as kitsch, it sucked.

Now Castle Music has released an expanded two-disc deluxe version devoted to this travesty, and fascinating as the carnage is sometimes, an extra disc of outtakes, guide tracks, and studio chatter has simply compounded the blast site of this bomb. Included are two versions of Brian Wilson's "Don't Worry Baby," the single version with Moon singing high and the album version with Moon singing low. They're both awful. Wilson, then in his always-in-pajamas-in-bed phase, reportedly broke down sobbing when he heard Moon's single version of the song, and his tears weren't tears of joy. Moon also slaughters songs closer to home, turning in an ear-shuddering take on the Who's "The Kids Are Alright," then mangles the Beatles' "In My Life" beyond all recognition.

The bonus material includes the original Mal Evans mixes that were rejected by MCA (the only smart move MCA made in this whole affair), a handful of Steve Cropper-produced tracks intended for a wisely aborted second Keith Moon solo album, and a whole second disc of false starts, guide vocals (including an interesting John Sebastian guide for "Don't Worry Baby"), studio talk, and backing tracks. Halfway through this second disc there is a 59-second studio jam burst of "My Generation" which amounts to the best stretch of music on either disc. To be fair, Two Sides of the Moon has some historical importance, and serious collectors will no doubt scoop up this bloated double-disc testimonial to keep everything complete, but Moon's true legacy will always be his brilliant, kinetic, and eccentric role as the drummer on those great early Who records. Stick on The Who Sell Out and forgive Moon his solo record. Please.(Steve Leggett, allmusic)

Have fun
               Flac  &  mp3 p1  -  mp3 p2
Frank    

The Paramounts - At Abbey Road 1963-1970 (1998 EMI Records) Flac & mp3@320

The Paramounts are practically the embodiment of the up-and-down nature of the music business. Once hailed by the Rolling Stones as "the best R&B group in England," they toiled for years with only the most modest chart success, and that on their first single. They then disbanded, presumably to be forgotten; they would have been, had it not been for the subsequent success of band members in the psychedelic-cum-progressive rock band Procol Harum.
The origins of the Paramounts go back to a band contest at the Palace Hotel Dancehall in Southend. The organizer thought to get the best members of the competing groups together in a single band. He ended up managing a lineup of Gary Brooker on piano, then 14 years old, Robin Trower on guitar, Chris Copping on bass, Bob Scott as singer, and Mick Brownlee on drums. It turned out that, except for Scott, who was into Elvis Presley and Ricky Nelson, they were all huge R&B fans, which was reflected in their early repertory that was heavy on the songs of Carl Perkins, Chuck Berry, and Fats Domino. Ray Charles was another favorite of the bandmembers. Scott didn't last long with the group and when he failed to turn up for a gig one day, Brooker found himself pressed into service as a singer, which remained a quartet from then on.
In 1961, the Paramounts began playing the basement of a café owned by Trower's father, christening it the Shades and acquiring an audience of young mods, R&B enthusiasts all. They honed their sound during this period and became one of the better working bands of the time as their lineup evolved. By late 1962, Copping had left the band to attend college and was succeeded on bass by Diz Derrick; drummer Brownlee also exited the lineup, to be replaced by B.J. Wilson. By mid-1963, they were one of the more advanced R&B outfits in London, having abandoned Chuck Berry in favor of James Brown and Bobby Bland. The group felt they were ready to turn professional and their manager had them record a demo tape that included versions of the Coasters' "Poison Ivy" and Bland's "Farther on up the Road." They were signed to Parlophone Records in late 1963 and made their debut with "Poison Ivy," recorded under the auspices of producer Ron Richards. The single skirted the lower reaches of the sales listings with help from appearances on the television shows Ready! Steady! Go! and Thank Your Lucky Stars.
It was after appearing on the latter program with the Rolling Stones that the Paramounts received the aforementioned endorsement. The group was never able to capitalize on the publicity, however. A second single, "Bad Blood," failed to hit, and a third single, "I'm the One Who Loves You," was primarily notable for its B-side, "It Won't Be Long," which was the first track ever written by the group members. A Brooker/Trower composition, it didn't attract much attention, but it did open a new phase in Brooker's career as a composer. Despite their reputation as an R&B band, they somehow ended up doing records that went far afield from R&B in style, including the string-laden "Blue Ribbons," which didn't even sound like the group. According to Gary Brooker, their most representative recording was a B-side, "Don't Ya Like My Love," written by him and Trower. None of the group's releases after their first sold well enough to make the charts and in late 1966, the Paramounts broke up. Derrick left the music business, while Trower and Wilson joined other bands.
Brooker, however, began writing songs with lyricist Keith Reid. In 1967, they arranged to cut a song that they'd written, called "A Whiter Shade of Pale," which was recorded by a studio band credited as Procol Harum. When it became a hit, not only were new recordings needed, but there were demands for a tour. In the course of putting together a real live Procol Harum, Brooker rejoined Trower and Wilson, with Matthew Fisher on the organ and David Knights on bass. Two years later, Fisher and Knights were gone and Chris Copping was back with his former Paramounts bandmates in Procol Harum.

Often mentioned in the histories of Procol Harum, the Paramounts weren't much more than a footnote on '60s British rock in terms of their sales. In 1983, Edsel Records released a compilation album (Whiter Shades of R&B) of the band's singles, which subsequently appeared on CD. In 1998, EMI transferred all 22 known surviving Paramounts tracks on one CD, in 24-bit digital sound as part of its 100th anniversary reissue series (Abbey Road Decade 1963-1970). It was augmented with six tracks cut in 1970 as part of a series of demo recording sessions by the Brooker-Trower-Wilson-Copping lineup of Procol Harum that was working under the pseudonym Liquorice John Death & the All-Stars and playing like the Paramounts.

The Paramounts were a great R&B band and also they had a fine feeling for good pop songs. This is a fine collection by EMI of the bands work. But the big success came later with the band who gave us A Whiter Shade Of Pale.
Enjoy
         Frank      Flac p1  &  Flac p2  &  Flac p3         mp3@320

Seventies UK Glam Pop By The Glitter Band - Rock'n'Roll Dudes 1975 (2007 7T's) Flac & mp3@320

Playing hard-stomping glam rock with singalong choruses as well as more straightforward romantic pop, the Glitter Band were named for their association with glam idol Gary Glitter. The band originally came together in 1972, following Glitter's own breakthrough with the hit "Rock and Roll." With his first major concert tour looming, Glitter and producer/co-conspirator Mike Leander needed a full-time backing band for live work. Although the band was not physically present on any of Glitter's own hits (according to the singer, Mike Leander alone played every instrument himself), the Glitter Band not only accompanied Glitter on his tours and television appearances, they also racked up seven hits of their own, six of them making the Top Ten. Ultimately, the Glitter Band became almost as successful, and certainly as well-known, as Gary Glitter himself. And while the band's original sound was firmly cut in the style of their namesake, by the end of their career, they'd developed into a wholly original and utterly captivating act in their own right.

The Glitter Men, as the group was originally known, was built around an idea that Glitter and Leander had first experimented with during the mid-'60s: a sprawling combo whose sound and visuals were based upon a core of two drummers and two saxophonists. Their choice of bandleader also reached back to that earlier era -- baritone sax player John Rossall had previously played with Leander's own eponymous orchestra, and alongside Glitter in the subsequent Boston International.

The decision to launch the Glitter Band as a recording act in its own right was made in late 1973. Written by John Rossall and Gerry Sheppard, their debut single, "Angel Face," was an obvious close relation to the Glitter sound, a pounding, stomping number that raced to number four in Britain in March 1974, but it unquestionably possessed a charm all of its own. It was followed by "Just for You" and "Let's Get Together Again," both of which kept the group in the Top Ten, while their debut album, Hey, reached number 13 despite being comprised of little more than reprises of the hits. Evidence that the Glitter Band were capable of meeting greater challenges than the Glitter sound normally set was delivered in early 1975 with their fourth single, the soft rock ballad "Goodbye My Love." A major creative departure, "Goodbye My Love" climbed to number two, while the group's abilities as songwriters received another boost when labelmates Hello scored a European hit with a cover of the Glitter Band's own "Game's Up." (Hello also scored with another Hey-era staple, a cover of the Exciters' "Tell Him.")

Buoyed by the massive success of "Goodbye My Love," the Glitter Band selected another soft rocker for their next single, "The Tears I Cried," following through over the next 12 months with the similarly styled "Love in the Sun" and "People Like You, People Like Me." Two further albums, Rock 'n' Roll Dudes and Listen to the Band, were equally courageous, with the group's ambition now so pronounced that they even brushed aside the first signs that their invincibility was cracking: the chart failure of the singles "Alone Again" and "Don't Make Promises." In 1976, as Gary Glitter announced his retirement, the Glitter Band cut their last sonic links with the old sound. With John Rossall having quit for a solo career, the remaining members signed with CBS and, shortening their name to the G Band, set to work on their most ambitious collection yet, Paris Match. An utterly un-Glitter-like set, it was characterized by a truly audacious cover of the Rolling Stones' "Sympathy for the Devil." Unfortunately, though the band had moved on, their fans hadn't. In late 1977, the group transferred to Epic for one final single, a cover of the Bee Gees' "Gotta Get a Message to You," but by 1978, the band had all but fallen apart. 1979 saw Sheppard and drummer Pete Phipps hook up with former Sparks/Jet keyboard player Peter Oxendale for the album Put Your Money Where Your Mouth Is, credited to Oxendale & Sheppard and released in the U.S. only.

The Glitter Band regrouped under their old name in 1980, around the same time as Gary Glitter himself moved back into focus. In 1981, the group released a new single, "Until the Next Time," maintaining a steady stream of further releases over the next five years. A new album, recorded live at the London Marquee Club, appeared in 1985, while a succession of hits collections (several featuring newly re-recorded material) kept their name alive on the record shelves. In 2009, drummer Pete Phipps (who had taken ownership of the name "The Glitter Band") and original bassist and vocalist John Springate put together a new version of the group with the addition of Dominic Rodgers on guitar and vocals, and Eddie Spence on keyboards and vocals. This edition of the Glitter Band released a single in 2016 featuring new recordings of "Let's Get Together Again" and "People Like You and People Like Me."(allmusic)

I am a great fan of Glam Pop music and also bubblegum stuff. I was a 12 year old boy and had no clue where my musical trip would lead me in my life but i knew 100% that the most important thing in life is music and my acoustic guitar (i wished so much an electric guitar cause all the guys in TV played electric guitars and they sounded so damned different but nevertheless i loved my piece of wood) and all the cool guys with this very great sound. In this time the Glitter band had their heydays. Anyway it's around 45 years later and sometimes this kid in me want to hear the old songs.
I think this album assembled their strongest songs.

Enjoy
         Frank    Flac p1 & Flac p2  & Flac p3    -  mp3@320

The Poets - Scotland's No. 1 Group (2000 Dynovox) Flac & mp3@320

Although they only released half-a-dozen singles, these were enough to firmly establish the Poets' status as the best Scottish rock group of the mid-'60s. It's true that this is akin to being a big fish in a small pond -- not many Scottish bands recorded in the '60s, and not many of them were at all notable. But that shouldn't detract from the genuinely high quality of their records, which still remain known only to a relatively small band of collectors.
Although they only released half-a-dozen singles, these were enough to firmly establish
The Glasgow group differed from most other Scottish combos of the time in that they concentrated almost exclusively on original material, which alternated between mournful, almost fey ballads and storming mod rockers.

Critics have compared the melodic, minor feel of much of their work to the Zombies, a comparison that holds water to a certain point, although the Poets were far more guitar-based. A minor hit single right out of the gate and a management deal with Rolling Stones manager Andrew Oldham seemed to spell probable success. But the Poets fell victim both to subpar promotion and numerous personnel changes, which had gutted the core of the band by the late '60s.
Oldham came across the band by chance on a trip to Scotland in 1964, quickly signing them and arranging a recording deal with Decca. Their first single, a characteristically moody original called "Now We're Thru," made number 30 in the U.K. Yet that was to be their only taste of commercial success, despite a flurry of fine singles over the next couple of years.

The two-bass throb of the hard-rocking "That's the Way It's Got to Be," the exquisite acoustic ballad "I'll Cry with the Moon," a fiery cover of Marvin Gaye's "Baby Don't You Do It" -- all are worth hearing by British Invasion fans. Although some may find their slow numbers a bit on the maudlin side, the group had a knack for fine melodies, harmonies, and dense guitar arrangements that lifted these above the ordinary.
But the Poets were never given full opportunity to develop their unquestioned skills. Oldham took the group with him to his independent Immediate label in late 1965 for a couple of singles, but ultimately the Oldham association may have worked against them, as he was naturally inclined to focus most of his energies upon the Rolling Stones.

The Poets were getting lost in the shuffle and discouraged, and by 1967 not one original member remained from the lineup that had first recorded. They did marshal the energy for a superb 1967 single, the blue-eyed soul/psychedelic "Wooden Spoon," which indicated that the band was still progressing and maturing, even though their continuity with previous lineups was tenuous to say the least. The Poets straggled on until 1971, barely recording again; Poets alumni turned up in Scottish bands like Trash (who were briefly signed to Apple Records), Marmalade, and one of Alex Harvey's outfits.(allmusic)

The Poets were a fine band with great melodies and some real good songs. I think they had deserved more success. The demos here on the disc are in parts not in a good constitution and sound bad but i think they are an important part of the history. The first five are from early '64 and the last four from end of '63. Anyway give it a try, these guys have done some very fine music.
Have fun
               Frank       Flac p1 & Flac p2       - mp3@320

Sixties Psychedelia By The Pretty Things - S.F. Sorrow [Repertoire 2002] Flac

Who could ever have thought, going back to the Pretty Things' first recording session in 1965 -- which started out so disastrously that their original producer quit in frustration -- that it would come to this? The Pretty Things' early history in the studio featured the band with its amps seemingly turned up to 11, but for much of S.F. Sorrow the band is turned down to seven or four, or even two, or not amplified at all (except for Wally Allen's bass -- natch), and they're doing all kinds of folkish things here that are still bluesy enough so you never forget who they are, amid weird little digressions on percussion and chorus; harmony vocals that are spooky, trippy, strange, and delightful; sitars included in the array of stringed instruments; and an organ trying hard to sound like a Mellotron.

Sometimes one gets an echo of Pink Floyd's Piper at the Gates of Dawn or A Saucerful of Secrets, and it all straddles the worlds of British blues and British psychedelia better than almost any record you can name. The album, for those unfamiliar, tells the story of "S.F. Sorrow," a sort of British Everyman -- think of a working-class, luckless equivalent to the Kinks' Arthur, from cradle to grave. The tale and the songs are a bit downbeat and no amount of scrutiny can disguise the fact that the rock opera S.F. Sorrow is ultimately a bit of a confusing effort -- these boys were musicians, not authors or dramatists.

Although it may have helped inspire Tommy, it is, simply, not nearly as good. That said, it was first and has quite a few nifty ideas and production touches. And it does show a pathway between blues and psychedelia that the Rolling Stones, somewhere between Satanic Majesties, "We Love You," "Child of the Moon," and Beggars Banquet, missed entirely. [This CD reissue on Snapper adds four valuable songs from their 1967-1968 singles ("Defecting Grey," "Mr. Evasion," "Talkin' About the Good Times," and "Walking Through My Dreams"). This version of "Defecting Grey" is the original, long, uncut five-minute rendition, and not of trivial importance; it's superior to the shorter one used on the official single.](allmusic)

 To me it was never important if this is the first rock opera or not.Or if it at all was a ''rock opera''
To me it was always a fine piece of special psychedelic that sounds different to a lot of other psychedelic bands at the time.
Enjoy it
            Frank          Flac p1
                               Flac p2                      mp3@320

Sunshine/Bubblegum Pop by Yellow Balloon - Yellow Ballon 1967 (1998 Sundazed) Flac

Hello Folks, i posted this album around a half year earlier here. But now i post it once again, this time in Flac format. The album is a piece of sunshine surf bubblegum pop with some fine tracks on it if you like this kind of music.

The Yellow Balloon was Don Grady's (Robbie on TV's My Three Sons) rock & roll group, but even more important, the brainchild of California producer Gary Zekley. Not unlike a Gary Usher, Zekley could grab a bunch of musicians and -- filling in the needed holes with his own talent -- produce sessions that rivaled Phil Spector or Brian Wilson for big sound and teen spirit. Grady had already been recording for the same label with his own group, the Windupwatch Band, when Zekley started climbing the charts with "Yellow Balloon," creating a need for a new group to go with the hit.

Grady became the drummer and other members were recruited from various bands around the country, but in the studio, it was still Zekley's show all the way. This 20-track compilation brings together the 11 tracks from the Yellow Balloon's 1967 album, along with the Don Grady with the Windupwatch Band singles (also released on the same Canterbury label), a couple of unreleased demos, and an interview with the late Gary Zekley putting it all in perspective.(allmusic)

Enjoy it
            Frank    Flac p1  &  Flac p2

XTC - Homegrown - The Wasp Star Home Demos (Wasp Star: Apple Venus, Vol. 2) 2001 Flac & mp3@320

Anyone expecting Wasp Star: Apple Venus, Vol. 2 to continue the majestic acoustic-orchestral blends of Apple Venus will be disappointed, because it's a straightforward collection of sharp, witty, well-constructed pop songs. Directness is perhaps the oddest thing about Wasp Star - it's unassuming pop from a band that operated on a conceptual plain for nearly 20 years. It could be argued that all the songs that fit a dark, introspective mood went to Apple Venus, XTC's first album after seven years in exile, while Wasp Star wound up as a clearinghouse for everything else. If that is true, it ignores a basic fact -- XTC's leftovers are better than most band's keepers. "Leftovers" isn't quite an accurate term, either. These songs are orphans, tunes without a particular project, which may mean that Wasp Star is an album of moments, but there's plenty to cherish here.

Colin Moulding is in fine shape, with the spare "Boarded Up" and the clever "Standing in for Joe." Andy Partridge has a few tricks up his sleeve -- his compositions are heavy on electric guitars, he builds "Wounded Horse" around a blues riff, and "You and the Clouds Will Still Be Beautiful" is just about the breeziest thing he's ever written -- but for the most part, he's in pop craftsman mode, turning out expert, layered tunes that may not push his talents but certainly exploit his capabilities to their fullest. After all, most pop bands would give their eyeteeth to have songs as smart, melodic, and memorable as "Playground," "Stupidly Happy," "My Brown Guitar" and "I'm the Man Who Murdered Love" as their orphans -- and if these constitute an average XTC album, that's a testament to what a terrific band they are.(allmusic)

No reason to be disappointed. Sure the first volume of the Apple Venus demos kicked me somewhere into the universe but...Ladies and Gentleman here they are, the greatest pop band alive: XTC! Beside other wonderful stuff here is a lot of first class pop stuff and like it was said in the review, this is no ''Leftover'' stuff. Here are great pop songs in the demos. Vol.2 is another kind of ''popular'' music as Vol.1 but definitely top notch pop music and also highly recommended.

Have fun
              Frank           Flac p1  & Flac p2  &  Flac p3          - mp3@320

XTC - Homespun - The Apple Venus Volume I Home Demos (Limited Edition) 1999 Flac & mp3

Seven years is a long time between records, so it shouldn't come as a surprise that Apple Venus is a significant step forward from Nonsuch, but the sparse strings and circular arrangements of "River of Orchids" nevertheless come as a shock, especially since its slow build-up feels as ominous and intellectual as 20th century classical music. It provides the keynote for the album, setting the stage for an ambitious, unpredictable, and strangely beautiful record. Although there are similarities with the pastoral Skylarking or parts of Nonsuch, there is really no comparable record in XTC's canon, given its sustained mood, experimentalism, and glimpses of confession. Colin Moulding wrote the brightest tunes on the record, and while the bouncy "Frivolous Tonight" and "Fruit Nut" will be endearing to any longtime XTC fan, they don't fit the tone of Apple Venus, which feels like an Andy Partridge solo album -- not just a confessional, but a grand outpouring of ideas. Partridge insisted that Apple Venus be released in two parts -- Gregory left partially because he believed the album would be stronger if it was consolidated to one record -- presumably because all his songs on Pt. 1 are of a piece, sharing similar lyrical and musical themes. Split between orchestral and acoustic pop, Apple Venus is alternately lush and melancholy, sometimes within one song. Some of Partridge's darkest work is here, such as the vindictive "Your Dictionary," yet the album overall has a hopeful note -- the perfect aural encapsulation of their long, bitter struggle of the '90s. The strike was frustrating for the band and fans alike, but perhaps the extended layoff paid off in sharpening Partridge's focus, since Apple Venus, Pt. 1 easily ranks as one of XTC's greatest works.(allmusic)

Don't get me wrong, this is not the official album, these are home demos. And they are REALLY FANTASTIC. This band is maybe as great as the ......
Nearly 6 stars of possible 6 stars.
Anyway these demos are highly recommended. Grab it!

Have fun
               Frank      Flac p1  & Flac p2
                                       mp3@320

At Request: Lonnie Mack - Lonnie On The Move (1992 Ace Records, UK) Only Flac

These 19 Flying V-soaked sides pack the same punch and hail from the same mid-'60s timeframe as Mack's seminal LP Wham of That Memphis Man. He unleashes his vibrato-drenched axe on the torrid "Soul Express," "Lonnie on the Move," "Florence of Arabia," and an astonishing instrumental version of "Stand by Me" that'll send aspiring guitarists' jaws crashing to the floor. For a change of pace, "Men at Play" mines a jazzy walking groove to equally satisfying ends.(allmusic)

Believe me Folks, if you don't know this guy or this collection, this is really great and i love this very much. But usually this is not really a album for a blog like this. But it's a request and because i like this also i break my own rules :-) . Anyhow here it is and maybe some of you will like it, too. This post is only in Flac.

Cheers
           Frank                     Flac p1 &  Flac p2

Allah-Las - Worship The Sun 2014 Flac & mp3

L.A. garage psych revivalists the Allah-Las didn't mess around with their winning formula much on their second album, 2014's Worship the Sun. Working with retro-leaning producer Nick Waterhouse again, the quartet can still effortlessly crank out chiming ballads that sound worthy of a strong volume of Pebbles, dish out moody midtempo tracks that have the feel of classic West Coast bands like the Chocolate Watchband, and take the occasional instrumental detour that come off like surf music that's been dragged through some desert dust.

It definitely feels like an extension of their debut album, only instead of being a retread, it's an improvement. Stronger songs, vocals that lean a little less on the snotty side of the garage in favor of some nuance, and slightly softer focus production mean that the album is a slight bit of an improvement. The band's songcraft feels sharper and more focused, whether it's the near-rollicking "Artifact" (half borrowed from the Chocolate Watchband's "Are You Gonna Be There [At the Love-In]"), the slowly swaying ballad "Nothing to Hide," which anchors the middle of the record like a big fat teardrop, or the album's title track, which manages to make melancholy sound sun-kissed and peaceful. Along with this overall strengthening of their core, the group mixes in a couple off-speed pitches, like the countrified jangle pop gem "Better Than Mine" that beats the Beachwood Sparks at their own game, or the psychedelic bubblegum rocker "501-415," that give the album the little bit of growth and expansion it needed to sound fresh. No one will ever accuse the Allah-Las of being particularly original or exciting, but that's not really what they're aiming for.

If you were to call them revivalists who found a tiny niche of the garage rock scene that nobody else was exploiting, and revived it with a charmingly relaxed and assured style, then you'd be dead right. On Worship the Sun, their subtle excavation is even more impressive, richly rendered, and worth checking out than before.(allmusic)

Revivalists or not, retro or not this is a fantastic piece of psychedelic garage and there are not many bands in these days who do it so well like these guys.

Enjoy
         SB1   Flac p1   &  Flac p2    - mp3@320

If you like what you hear you can buy the album here

Psychedelic pop from Great Britain: Beaulieu Porch - We Are Beautiful (2013) vbr@232-265.rar

Beaulieu Porch is the work of one man and judging by this he’s some sort of twisted, psych pop genius…It’s a huge, kaleidoscopic album, with all the bells and whistles one would hope for from an ambitious piece of modern psychedelia, with plenty of memorable tunes at it’s core.
(active listener blogspot)

All the songs are written, produced and played by a man named Simon Berry. I know not much about this guy. You can listen and buy the works at bandcamp. I had listen to all the stuff on bandcamp and that all sounds very good. But it seems there are no physical cd copies to buy. It's only download files. Anyway this is real good psychedelic pop. Give it a try
Cheers
           SB1          mp3@232-265

Easy listening Pop by Gene And Debbe - Playboy The Best Of Gene And Debbe 1967-68 (2006 Sundazed) Flac & mp3

Gene Thomas and Debbe Neville were a fresh-scrubbed pop duo from Nashville, TN, who sounded something like a twangier Sonny & Cher, or as if Nancy Sinatra and Lee Hazlewood had been stripped of their eccentricities (particularly Hazlewood's tumescent ego). Gene & Debbe's sole Top 20 hit was "Playboy" in 1968, and this collection from Sundazed features that tune as well as 21 other sides from the short-lived duo. While these songs were obviously aimed for the pop charts, there's no avoiding the fact this stuff was recorded in Nashville (and released on TRX Records, an offshoot of the powerful Acuff-Rose publishing concern) -- the keening pedal steel on "Torch I Carry," the banjo on "Lovin' Season," and the cheatin' song ethos of "Rings of Gold" all point to the act's Music City heritage, and producer Don Gant (who later recorded with the Neon Philharmonic) was clearly shooting for lots of charm rather than a significant share of hipness (as if the presence of a Dean Martin cover wouldn't make that obvious).

Still, Thomas and Neville sang well together, and the former brought some good songs to the table, especially the Dylanesque "The Sun Won't Shine Again" and the heartfelt "I'll Come Running." Playboy: The Best of Gene & Debbie collects everything they released during their two-year lifespan along with four songs that have never been heard before, and frankly this is more Gene & Debbe than anyone but an obsessed fan would want to own. But if you want to hear Gene & Debbe, this is clearly the place to go, and the typically excellent remastering and packaging from Sundazed show this material more respect than they'd likely receive from anyone else.(allmusic)

Gene Thomas and Debbe Neville never had a reason to hide behind artists like Sonny &Cher or Sinatra/Hazlewood. They had excellent songs and the voice of Debbe Neville is just to melting away :-). Also Gene Thomas was a good interpret. He had a very strong expressive kind to sing the songs. They had another audition but that said nothing about the quality. In my opinion they deserved more attention and success. But that's how things work, right? Great compilation and i hope you enjoy it.
Have fun
               SB1   Flac p1 & Flac p2      - mp3@320