Hello Folks, just for your information i will go to the sun this year from the 23rd of this month until around the 15th of october. I got the confirmation today. Hurray :-). hope we will meet here again after my holidays.


Sunday, 18 June 2017

Great Powerpop From Peru: We All Together - We All Together 1973 (1997 Lazarus Audio Products) Flac & mp3

No date of release is given in the liner notes of the CD reissue of We All Together's first album, which was reportedly issued in 1972 -- but since it has a cover of a song from Paul McCartney's 1973 Band on the Run ("Bluebird") and since their second album came out in 1974, we can assume this is probably from 1973 or 1974. The Beatles, and particularly McCartney, fixation is obvious; they also cover a couple of obscure numbers from Wings' Wildlife album ("Tomorrow" and "Some People Never Know"), and throw in Badfinger's "Carry on Till Tomorrow" for good measure. Most of the album consists of original material, though, which is quite accomplished, well arranged, and melodic. What sets them apart from the leagues of other Beatles wannabes is that their song structures are usually not obviously derivative of well-known tunes by the real deal, and executed with a pretty unforced, natural ease. McCartney isn't the only one subject to tribute; "Dear Sally" has an echoey Lennon-esque hard rock vocal right from his Phil Spector-produced era, while "Ozzy" has a mock-Harrison slide guitar part. No, it doesn't get high marks for originality. But if you like late-'60s Beatles, early-'70s Beatles solo albums, and Badfinger, you'd be a fool not to try this on for size.(

Yeah what had happened if these guys were from the US or UK? We'll never know.
This is great Pop/Power Pop.  It's a pity that these guys hadn't more success.

cheers Frank   Flac p1Flac p2      - mp3@320

The Oxford Circle - Live At The Avalon 1966 (1997 Big Beat) Flac & mp3

Although the Oxford Circle are remembered by hardcore psychedelic collectors as a San Francisco psychedelic band due to their shows on the city's ballroom circuit in 1966 and 1967, they actually formed in Davis, about an hour to the east. The group played energetic garage-psychedelia that was heavily derivative of British bands such as the Yardbirds and Them, and managed to release just one single, "Foolish Woman"/"Mind Destruction," for the tiny World United label.

The flipside was a feedback-drenched piece of raw psychedelia, but it would not be appropriate to place the Oxford Circle in such rarefied air as unheralded Northern California psychedelic legends like the Great Society or even the Final Solution. The group's original material was unexceptional, owing more to punkish blues-rock than groundbreaking psychedelic sounds. Drummer Paul Whaley joined Blue Cheer, which sowed the seeds of the Oxford Circle's breakup, though oddly enough, future blues star Joe Louis Walker played with the group briefly.
Gary Lee Yoder, the Oxford Circle's principal songwriter, formed Kak (which recorded for Epic) and also showed up in a late version of Blue Cheer. An entire 1966 concert, in surprisingly excellent fidelity, formed the basis for an Oxford Circle CD in 1997 that also included their single and a couple of unissued cuts.(allmusic)

Powerful garage rock psychedelia.
Have fun
               Frank   Flac p1  & Flac p2 &  Flac p3            mp3@320

Squeeze - Piccadilly Collection 1996 A&M Records Flac & mp3@320

It bills itself as a greatest hits compilation, but Piccadilly Collection doesn't quite fit that description. Granted, the 18-track disc features some of Squeeze's biggest hits -- including "Tempted," "Black Coffee In Bed," "Pulling Mussels (From a Shell)," and "Hourglass" -- but the majority of the album consists of songs that will be totally unfamiliar to casual fans.

Aside from that handful of hits, Piccadilly Collection alternates between album tracks from latter-day Squeeze albums like Frank and Some Fantastic Place, and B-sides that have never before appeared on compact disc. Certainly, dedicated fans will be delighted to have the B-sides on CD, but they would have been better served by a full-fledged rarities collection. Similarly, casual fans would have been better served by a straight singles collection, or a more thorough retrospective -- even though this features 18 tracks, it short-changes all of the group's early records, including such classic new wave albums as Cool for Cats, Argybargy and East Side Story, in favor of the interminable medley "Squabs on Forty Fab." That said, apart from "Squabs on Forty Fab," there's no weak tracks here, and it all adds up to an entertaining listen, even if its very existence is a little puzzling.(allmusic)

This is naturally no 'Greatest Hits' album but it's an album with a lot great songs. It's slightly more relaxed in some songs as usual.
They are for sure one of the greatest pop bands who ever comes from Britain.
Viel Spass
                 Frank                 Flac p1  & Flac p2  & Flac p3     - mp3@320 p1  - mp3@320 p2

Various - Thank You Friends: The Ardent Records Story (Big Beat/Ace Records 2008) Flac & mp3@320

Ardent Studios is renowned as a place where everyone from R.E.M. and the Replacements to ZZ Top and the White Stripes cut great albums, but for many pop fans the name Ardent is associated with the Memphis-based independent label from the 1960s and '70s, the one that put out the three beloved albums by power pop legends Big Star. Ardent has a history that stretches back far before Big Star, as they issued their first single in 1960, a full twelve years before #1 Record.

This history is chronicled on Ace's astounding double-disc set Thank You Friends: The Ardent Record Story, the first thorough document of Ardent and, along with it, the Memphis underground pop movement of the '60s and '70s.
Ardent functioned as the fulcrum for all the Memphis misfits obsessed with the British Invasion and thereby not part of the city's soul and blues-drenched music scene: this was as true at the start of the '60s as it was during the label's power pop heyday in the '70s.

In fact, Thank You Friends makes a convincing case that the power pop glory years couldn't have happened without the foundation that Ardent head honcho John Fry laid during that first stretch of the '60s, when he was cutting garage bands and folk-rock. After cutting the stomping, gleefully moronic "Geraldine" with the Ole Miss Downbeats, Fry let the label lie for several years, during which time he became obsessed with the British Invasion -- not the gritty blues of the Rolling Stones, which he disdained, but the sterling pop of the Beatles, the crunching camp of the Kinks, and the modern pop art of the Who and the Yardbirds.

Eventually, Fry found a fellow traveler in maverick producer Jim Dickinson, who helped jump start Ardent in 1966 with sneering singles by Lawson & Four More. These, along with the Avengers' trippy tremeloed "Batarang," the Bitter Ind's odd viola infused "Hands Are Only to See," and especially the Beatles-meets-Byrds treat of the Wallabies previously unreleased "White Doors" hinted at the tremulous, trebly pop of the Big Star heyday in its sound, but it was the songs recorded in the next few years -- the 18 songs that fill out the remainder of the first disc -- that truly established the Memphis pop sound and sensibility.

Of these 18, only four were released at the time, a startlingly low ratio that suggests the extent of how underground this scene really was. Fry tried to place these singles at larger labels, getting few bites, and soon the resident producer torch passed from Dickinson to Terry Manning, a pop guy who let other pop guys record late into the night in Ardent, learning how to navigate the studio and creating the signature sound of Memphis, where guitars rang and clanged in equal measure. This is a key to how isolated this scene was, not just from the rest of Memphis but the world at large; they were shut off in the studio, creating their own sound, the precursor to indie kids holed away in the basement with a guitar and four-track. This scene eventually wormed its way into such solipsistic navel-gazing in the form of the endless unfinished sessions for Big Star's 3rd -- its darkness brushed upon with the inclusion of an original mix of "Holocaust," but for the most part ignored as the Big Star-centric second disc focuses in their brilliant, blinding pop, often present in alternate mixes or demos, some of which are revelatory (Chilton's spoken asides during the original version of "Mod Lang" are disarming), all of which help their very familiar music seem fresh again.

Big Star is clearly central to the Ardent story and Thank You Friends, which is appropriate as they are at the core of the label's mythology and legacy, as there were countless bands in the next decade as indebted to them as they were to the Beatles. The band dominates this collection, via these alternate mixes and rarities from both Chris Bell and Alex Chilton (the original mixes of "Free Again" and "The EMI Song (Smile for Me)" are particular highlights). This may hook in the Big Star fanatics who may not realize the depth of the band's scene. They might not know the pre-history of Rock City and Icewater, they might know who their peers Cargoe & the Hot Dogs were, they might not know that Tommy Hoehn & the Scruffs carried on the tradition after the band splintered in the mid-'70s. All that evidence is here on this glorious and important reissue, one that makes a convincing case for the uniqueness of the Ardent-based pop scene -- not just through Big Star but beyond -- through its wealth of ageless power pop.(

I know most of the experts already will have this wonderful double disc. But, like the most music here, it's also meant for all the folks who don't know music by artists like here on the album or what i post here on the blog. For example younger people or people who are looking for another kind of music as presented in the so called 'Hot 100' or the mainstream media. Lol, what i want to say is if you don't know it grab it, it's a very nice piece of music and especially in american pop music a great piece of music history.

Enjoy it
             Frank     Flac p1Flac p2                mp3 p1   -   mp3 p2

Artwork added for ''Paul Jones - The Paul Jones Collection - Vol.1 My Way 1966/67 (1996 RPM Records) Flac & mp3''

Hello Folks i hope all of you have a nice weekend. Yesterday i posted the Paul Jones album My Way from the RPM Collection series. But i was too lazy yesterday scannning the artwork. But now it's ready and you can grab it. I put the link in the post of Paul Jones from yesterday.
Have fun and a nice day.