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, 16 July 2017

Part5 Of 5 - Cilla Black - Completely Cilla 1963-1973 Track 14 maybe corrupt!

Folks, maybe Track 14 of Disc 5 ''I hate Sunday'' is corrupt. I added a link in the post in case your track 14 should be corrupt.

Brendan Benson - Lapalco (2006 V2 Records) Flac & mp3

On Lapalco, Brendan Benson enlists help from like-minded popster Jason Falkner for a golden power pop record reminiscent of Matthew Sweet's best work on albums like Girlfriend. Five years in the making, Benson's sophomore effort was long-awaited by the devoted fans of his debut, One Mississippi, which Esquire writer Jeff Gordinier listed among "the greatest overlooked pop masterpieces of the decade." But it's on Lapalco that Benson really hones his jangly melodicism and crunchy bubblegum riffs, fusing influences like the Kinks, T. Rex, the Beatles, and Paul McCartney's solo work into something more meditative than his debut.

The album begins with the electronic keyboard gurgle of "Tiny Spark," an instant single that sounds upon first listen like you've heard it a thousand times before. And that's not all Benson can do. "Metarie" is wistfully repetitive. "Life in the D" plays John Lennon's solo career through Big Star's Third/Sister Lovers, and you half expect Benson to break into, "I'm just sittin' here watching the wheels go round and round...." The album has its moments of cringing goofiness, too, like, "I've been a little bit down on my luck, I think you know where I'm coming from.
I need a pickup and I don't mean truck, I think you know where to get some" ("You're Quiet"). But, it's forgivable, especially with the last three tracks, "Pleasure Seeker," "Just Like Me," and "Jet Lag," where Benson stakes claim on a sound all his own -- bittersweet, down-tempo, semi-acoustic, melancholy with a sense of humor and just a little bit psychedelic. .(allmusic)

Yes Folks i know it was a long run through the sixties without a power pop album here in the last days but i will post in the next days some (i hope you will like it) great power pop albums. Promised!!!
I post this album because Brendan Benson's pop to me always sounds like '' i will write a song play and record 'em and let's see what comes out at the end'' and that's the way i like very much. His songs never sound like ''I write now a power pop song who sounds like a power pop song''. His songs have more freedom in my ears and that gives the songs a particular effortlessness or laxness. Okay enough talked. Hope you have fun
         Frank    Flac p1  &  Flac p2     -  mp3@320

British Female Pop Of The Sixties: Billie Davis - Tell Him - The Decca Years (1963-1970) 2005 Flac & mp3

Carol Hedges was a 16-year-old aspiring singer when she was discovered as the result of a talent contest in 1962. Backed up in the competition by Cliff Bennett's support group, the Rebel Rousers, she won the contest and Bennett got her together with producer Joe Meek. Hedges was recorded by Meek with his resident group, the Tornados, without achieving success. Luckily, a neophyte music talent manager named Robert Stigwood had also seen her and liked what he heard, and he ultimately took her away from Meek.

He was impressed with Hedges' singing, a white soul sound similar to (though not as powerful as) Beryl Marsden's work, and also with the fact that her two musical inspirations were Billie Holiday and Sammy Davis Jr.. Stigwood renamed her Billie Davis and teamed her with Mike Sarne, another singer he had under contract, and the two scored a novelty hit in 1962 with "Will I What." For her solo debut, he gave her a song that he had heard on a visit to America. "Tell Him" had been recorded by the Exciters, but Davis' cover, released on English Decca, made the Top Ten in England in early 1963 despite the fact that the American original actually topped the U.K. charts at the same time.

Davis recorded for both English Decca and Pye Records during the early and mid-'60s without ever duplicating "Tell Him"'s success -- the closest she came to another hit was in 1968, with "I Want You to Be My Baby." Some of her work was reissued on compilation CDs, including her cover of Burt Bacharach's "The Last One to Be Loved," which appears on Sequel Records' Trains & Boats & Covers. Billie Davis is fondly remembered in England by her early pop/rock success in the pre-Beatles era.(allmusic)

Actually i don't understand why Billie Davis don't made it to the top. She had a real good voice, maybe not on a level like Lulu or Dusty Springfield but with a lot expression and she had good song material. And maybe one of the most important things she was under the wings of Decca. Regardless of all this it don't worked for Billie Davis.
This collection is a very well done work by Spectrum music.
         Frank   Flac p1  &  Flac p2      mp3@320

British Psychedelia by Kaleidoscope (UK) - Faintly Blowing 1969 (2005 Repertoire Records) Flac & mp3@320

For their second album, Kaleidoscope delivered something an awful lot like their debut, a body of pleasant, trippy, spacy raga-rock, with the main difference that they pushed the wattage a little harder on their instruments -- they'd also been performing pretty extensively by the time of their second long-player, and a lot of the music here was material that they'd worked out on-stage in very solid versions.
The result is a record just as pretty as their debut but a little punchier and more exciting within each song than their first album. The title track is also one of the more beautiful psychedelic effects pieces of its period, while "A Story from Tom Bitz" is crunchy folk-rock, "(Love Song) For Annie" represents a more lyrical brand of druggy folk-rock, and "If You So Wish" shifts over to Moody Blues-style ballad territory circa late 1968 and early 1969.(allmusic)

 Druggy folk rock ??? Druggy reviewers? lol I am just kiddin' but sometimes reading reviews can also be a funny thing. Anyway here is another great piece of british psychedelia and i hope you like it, too. ...Druggy listeners?

         Frank                     Flac p1  &  Flac p2         mp3@320

Dave Berry - This Strange Effect - The Decca Sessions 1963-1966 (2009 RPM) mp3@320 only

He never had a hit in the U.S., and he was only briefly a star in the U.K., but Dave Berry recorded a whole lot of material in the mid-'60s. This double CD only covers about the first half of his output for Decca between 1963-1970, yet contains no less than 57 tracks, making it likely to be the most definitive collection of his work during this era. Every one of his British hits (except 1966's "Mama") is here, along with all the non-hits, B-sides, LP tracks, and rarities from EPs. There are even five cuts that only appeared on either the Rhythm and Blues compilation LP or the live At the Cavern album, as well as two previously unissued April 1963 recordings ("Easy to Cry" and "Tongue Twistin'") produced by Mickie Most. Load on lengthy liner notes with firsthand quotes from Berry and many cool vintage period illustrations, and you have a package that's hard to beat for comprehensiveness. The quality of the music, it should be cautioned, is nonetheless pretty uneven. Along with the haunting ballads that were his greatest strength (including his big hit "The Crying Game" and the Ray Davies composition "This Strange Effect") and the odd first-rate R&B raver ("Don't Gimme No Lip Child," "I Love You Babe"), there are also a good number of so-so tracks. Berry wasn't the greatest R&B singer, and some of the covers are humdrum; some of the sentimental songs are gloppy; and in his effort to demonstrate his versatility, there were some unimpressive forays into country, folk, and easy listening. To be blunt, you could easily halve this down to a single disc that would be far better, though the specific songs chosen might vary widely according to listeners' personal tastes. Nonetheless, there are a good few fine off-the-beaten tracks that don't usually show up on Berry compilations, like the B-side "Hidden" (which strongly recalls the underrated Scottish group the Poets); the moody folkish "On the Other Side of Town"; the overlooked Gerry Goffin-Carole King tune "So Goes Love"; and the sullen, surprisingly tough "Don't Make Fun of Me." With such good value in terms of quantity and annotation, it's a sensible purchase for anyone with enough interest in Berry to want more than a best-of.(allmusic) 

As i said i post here the ''Decca Sessions 1963 - 1966''. I am sorry but i don't have it in lossless. Here are some fine tracks you don't usually don't see on ''Best off'' albums. There is a further RPM collection called '' Picture Me Gone The Decca Sessions 1966-1974'' released in 2010. I am very interested in this one . Maybe some of you gals and guys have this album. I would be very happy if one kind person would send me (if possible lossless) a copy. I would post it than here on the blog.
Okay hope you like it
Have fun
              Frank             mp3@320 p1    &    mp3@320 p2

Brit Invasion R&B - The V.I.P's - The Complete V.I.P.s (2006 Repertoire 2 CD) Flac & mp3@320

Modern mathematics isn't quite capable of counting how many R&B bands existed in Great Britain during the 1960s, but like a significant number of them, the V.I.P.s were destined to win greater recognition after they called it quits than while they were together. The final version of the V.I.P.s evolved into Spooky Tooth, who enjoyed chart success in both Europe and the United States during their late-'60s/early-'70s heyday, while guitarist Luther Grosvenor became a member of Mott the Hoople after changing his name to Ariel Bender (he also received some less than flattering reviews from several young women in the documentary Groupies, but that's another story).
Given their résumé and the obscurity of their catalog, one might not expect much from The Complete V.I.P.s, but this double-disc compilation makes it clear this band was better than the average gathering of blues-wailing Brits. Lead singer Mike Harrison's voice was strong and emotive enough to carry material like "Smokestack Lightning" and "Straight Down to the Bottom" with style, guitarists Frank Kenyon and Jimmy Henshaw (the latter of whom was later replaced by Grosvenor) played with tough, no-frills menace, and bassist Alf "Greg" Ridley and drummer Walter Johnstone (later replaced by Mike Kellie) held down the rhythm with a solid, potent groove.
The Complete V.I.P.s, true to its title, collects everything the band released between 1964 and 1967 -- one single each for RCA, CBS, and Phillips; two 45s for Island; two three-song EPs for French Fontana; and a pair of stereo mixes from a Fontana compilation -- along with an impressive live set recorded for German radio and two unreleased tracks.

If the V.I.P.s aren't enough to make anyone forget the Yardbirds or the Pretty Things based on this material, they could certainly hold their own in a contest with most of their other contemporaries, and the segue from the frantic rocker "Rosemarie" into a jazzy take on "In the Wee Wee Hours" (here called "Late Night Blues") shows they had impressive versatility. Anyone with a taste for Anglo R&B from the classic era would do well to give this a spin.(allmusic)

Surely the V.I.P's were one of the stronger bands in this genre. They did inventive versions of the classics and they did very very good own songs. In the end the band evolved in Spooky Tooth with temporary success nearly worldwide. This Repertoire release fulfill all you like about these guys.
Enjoy it
             Frank                   Flac p1  &  Flac p2  -  mp3 p1  -  mp3 p2