Saturday, 10 June 2017
Sunny jangle Power pop from Perth: Jack and the Beanstalk - ...And Other Stories 1996 (Parasol) Flac & mp3@320
Jack and the Beanstalk first came together in 1994 in Perth, Australia, through the musical inspirations of the Beatles, Matthew Sweet, Teenage Fanclub and the Lemonheads. Vocalist/guitarist Joe Algeri gathered friends Shane Bender (bass) and Rick Pompino (drums) for the first lineup; by the time the group debuted for Spinning Top Records with an EP of demos, Gram Parsons, in 1994, the rhythm section consisted of Gerry McAvoy (bass/vocals) and Anthony Spinelli (drums).
The Parasol Records 7" "Angeline" followed two years later, and the group's debut full-length, ...And Other Stories, was also released in 1996 (on Spinning Top in Australia and Parasol in the U.S.). A slightly retooled version of the album was released in Europe by the Swedish label Torpedo under the title Serial; it excised one track and added three others, including "Gram Parsons." McAvoy left in 1997 and was replaced by bassist/organist Stuart Loasby; second guitarist Kevin Borruso (ex-Superscope) also joined up, after having played with Algeri in an acoustic duo called Starsky and Hutch.
Algeri released a solo album in 1999, titled Everything Under the Sun; the second proper Jack and the Beanstalk album, Cowboys in Sweden, was released in 2001, again by Parasol.(allmusic.com)
Very good power pop band with Lemonheads influences from Perth here.
Frank Flac p1 & Flac p2 - mp3@320
SurfGaragePower Pop from Australia/NZ: Danny McDonald - Fibrotones (2005 Off The Hip) Flac & mp3@320
Danny McDonald is best known in OZ but also in Europe, and the US, too. At least to pop/power pop lovers. This guy his musical career is running over around three decades and he had played with all the stars of australian rock and pop business. This album is from 2005 and is a very fine power pop effort with some little country influences. If you like catchy tunes you are right here.
Enjoy the twelve tunes and there is really no filler.
Frank Flac p1 & Flac p2 - mp3@320
Paul Jones - The Paul Jones Collection Vol. Two - Love Me Love My Friends 1967 (1996 RPM Records) mp3@224
An expanded version of Jones' 1967 album Love Me, Love My Friends, with ten bonus tracks. That 1967 LP was supposed to be a concept album of sorts, though not a very adventurous one, the idea being to base it around songs with names in the titles -- "Poor Jenny," "Charlie Brown," "Bony Moronie," etc. The results are as hackneyed as you'd expect, Jones compromising his strengths -- his excellent R&B and soul sensibilities, as demonstrated in Manfred Mann -- for weak material, anchored by Mike Leander's period-piece British orchestral-pop arrangements.
|Original Front Cover 1967|
Jones is at his best when he gets even a bit rootsy, as on "Nosher Burns" and "Little Sadie," though the juxtaposition of lame remakes of the Coasters and the Everly Brothers next to a folk-rock reading of Bob Dylan's "The Lonesome Death of Hattie Carroll" is somewhat ludicrous. The bonus cuts, aside from the "Sons & Lovers"/"Three Sisters" single, were all previously unissued. None are especially interesting, although it's a shock to hear him covering the Electric Prunes on "Sold to the Highest Bidder."(allmusic.com)
To me a classic effort in the british pop scene in the middle of the sixties. Full of creativity and fine melodies. This is never boring, often very surprising and the album can manage to hold the positive tension nearly over the whole running time. If you love colourful sixties pop music grab it.
p.s.: If there is somebody who got it in Lossless and would share it please email me :-) !!!
Very fine garage-mod style album.
WHY I JOINED A CULT LISTENING TO MARK JOHNSON
by Vincent Collazo
IN 1978 LYNN SAMUELS had a free-form radio show on WBAI called “Part of the Act”—between discursive monologues and lively discourse with her audience she played music, and the most-featured artist was an extraordinary talent named Mark Johnson.
It doesn’t take much to fall in love with his music—ethereal and familiar, Mark Johnson sings from and of the human heart: his lyrics describe love’s extensive permutations, with music to match these rich emotions. The music I heard on Lynn Samuels’ show was not available in record stores—at the time Mark Johnson had one album, Years, released in 1972 on Vanguard, that was out of print. I kinda freaked out, but recorded on cassette from the radio, eventually compiling about thirty minutes of his music.
When I went to see him in concert I found a wild man, a performer who sang each song as if his life depended on it. The experience of hearing Mark Johnson at Folk City, standing less than ten feet from me, in black pants, white shirt, tight cowboy boots, crying/screaming/spitting out the words to his song “Noreen,” gives me chills a quarter century later.
Lynn Samuels left WBAI, Folk City closed, and ultimately Mark Johnson stopped performing at The Other End, Kenny’s Castaways, and the Speakeasy. I lost track of him and was left with my half hour cassette, which began to deteriorate from overuse. I dubbed copies to play and kept the original as my “master tape.” Grateful to have these few gems, I despaired of ever getting more.
Mark Johnson resurfaced in 1992 with a CD, 12 in a Room, on his own label, Tabula Rasa Records. This is Mark at his best—in the “studio” (a small apartment above the Cornelia Street Café) with himself at virtually all the instruments and vocals—mixing and matching, using the musical genius RCA Records recognized when they offered him a contract as an artist and producer at age 20, when he walked in off the street with a homemade demo. (Years, the album from this time period, is a classic which holds up amazingly well some thirty-five years later—it is mind-boggling that this sophisticated music came from someone barely out of his teens).
After the spurt of activity that came with 12 in a Room, I once again lost touch with Mark and his music. Another decade passed before I came upon him in cyberspace through his website http://www.mark-johnson.com, where I discovered he had a new album, Last Night on the Roller Coaster. Is it better than 12 in a Room? Maybe, but mostly I’d say it’s different. 12 in a Room is a bunch of hits nicely strung together whereas Last Night feels more like a themed album, one song flowing into the next with musical logic. On this CD one can hear the many musical styles Johnson effortlessly embraces: to my ears “Suddenly Sunshine” evokes George Harrison, portions of “So Wonderful” are reminiscent of 50’s doo-wop, in “Coney Island Night” I hear shades of Billy Joel at his best, but all of the songs, whatever tradition/influence/homage they may suggest, have the distinct stamp of Mark Johnson. Throughout this musical journey Johnson’s voice changes with each song—he’s as comfortable with a sweet ballad as with a hard-rocking tune, and everything in between.
Johnson is currently working on a new CD, which must be a daunting task since he’s set the bar so high with his previous releases—there are no “throwaways” in any of his four major albums; even songs which might sound “lite” at first, gain depth upon repeated listens.
Recently Johnson has supplemented his oeuvre with songs for companion CD’s for the Disney movies Finding Nemo and Cars. His songs continue to be recorded by other artists—if he’s the best-kept secret in pop, he’s well known within the industry. Mark Johnson’s success, while substantial, has never matched his talent; he awaits “discovery” by a larger audience—meanwhile he has attained cult status, and I, for one, happily, giddily, ineluctably joined the cult.
This is one of the rare articles i found about Marc Johnson. This is also the only album i know by M.J.
Give it a try, this album souinds real interesting. Here are a lot of musical influences and this guy sounds real.
While the second volume of the Early Girls series is heavier on chart hits, the first collection offers more choice rarities (which, truth be told, is the real value in retrospectives of this kind). A handful of these 28 cuts are overly cloying (Earl-Jean's "I'm into Something Good" and Little Peggy March's "I Wish I Were a Princess" are almost sickeningly sweet),
but the good far outweighs the bad -- alongside familiar singles like Shirley Ellis' "The Name Game" and the Shirelles' "Dedicated to the One I Love" are forgotten classics like Toni Fisher's amazing "West of the Wall" (an echo-drenched ode to Cold War-era romance) and Dodie Stevens' delightfully goofy "Pink Shoe Laces"; early favorites from Phil Spector (the Paris Sisters' "I Love How You Love Me") and Carole King (the superb "It Might as Well Rain Until September," her lone solo hit before breaking through with Tapestry a decade later) round out this smartly compiled, well-annotated and consistently engaging set.(allmusic.com )
Good Day and a wonderful Saturday to all of you.
I want begin to post a series of five albums by ace records, that's called ''Early Girls''. There are five discs in the series. I don't post them all five today but one by one in the next days. I hope you will enjoy them.Okay here we go with Volume 1.
Frank Flac p1 & Flac p2 - mp3@320