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.


Monday, 14 August 2017

At Request: Sagittarius - The Blue Marble 1969 (2008 Sundazed DigiPack + 4 Bonus Tracks) Flac & mp3

Although it only reached number 70 in the national charts, Sagittarius' 1967 single "My World Fell Down" is one of the great experimental psychedelic pop gems of the era. Sounding very much like a lost Beach Boys classic from the "Good Vibrations"/SMiLE era, the record had beautiful California pop harmonies, exquisite symphonic orchestration, and a downright avant-garde middle section of carnival and bullfight noises.
It was perhaps too weird to become the Top 40 smash it deserved to be, but in any case, Sagittarius would have had a difficult time launching a successful career, as the group didn't really exist. It was a studio project of noted producer Gary Usher, who wrote several great Beach Boys songs with Brian Wilson and produced classic albums by the Byrds.

Usher made the recordings that came out under the Sagittarius name in his spare time, with help from such prominent friends as Beach Boy Bruce Johnston and Glen Campbell (who sings lead on the "My World Fell Down" single).

The most important of Usher's associates, however, was fellow songwriter/producer/singer Curt Boettcher, who has a cult following of his own for the sunshiny California pop with a touch of psychedelia that he produced during the era, especially as part of the Millennium. Boettcher wrote and sang much of the material that ended up on Sagittarius' 1968 Columbia album, Present Tense.

Unlike the "My World Fell Down" single (included on the LP in a brutally edited version), the album wasn't reminiscent of the Beach Boys at their best and most progressive. It was California good-time pop with a mild dab of psychedelia, relentlessly and sometimes annoyingly cheerful, although immaculately crafted and produced, particularly in the layered harmony vocals. Not as commercial as the Association (with whom Boettcher also worked), it still had a lot more in common with the Turtles and the Mamas & the Papas than Pet Sounds or the Byrds.

Although it only sold in the neighborhood of 40,000 to 50,000 copies, the record has a cult following, and has been reissued several times, usually with numerous bonus tracks (Richie Unterberger

It was the second album by Boettcher/Usher project Sagittarius and in my ears it is a very good album way better as a lot of contemporaries. Surely it is not that strong as the first album ''Present Tense'' but it is one of the better psychedelic pop albums of the late sixties.
Enjoy it
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Psychedelic Pop: The Mystery Trend - So Glad I Found You 1966-67 (1999 Big Beat Records) Flac & mp3@320

The Mystery Trend's name has proved appropriate in defining their fate. They were a band that lots of rock music scholars have heard of -- mentioned in lots of essays about San Francisco in the mid-'60s -- but never heard. Even the Charlatans, another Bay Area band that barely made it out of the starting gate where records were concerned, are better known, by virtue of their music having bounced in and out of print from various sources over the past 34 years. The Mystery Trend never recorded much professionally, and a lot of what they did was in the realm of works-in-progress, rather than finished pieces of music.
The group's other big problem was that their sound wasn't too much in sync with the music most people associate with mid-'60s San Francisco. They started out doing R&B based dance music, then gravitated toward the Beatles, the Kinks, the Zombies, and Bob Dylan, but they never really sounded like any other band. In contrast to the Charlatans, the Grateful Dead, and the Jefferson Airplane, they preferred tight song structures.

For all of their associations with San Francisco in the '60s, the Mystery Trend had their roots in old-style rock & roll, R&B, and dance music. Ron Nagle hailed from the city by the bay and was a serious R&B enthusiast, especially where Ray Charles was concerned -- he played the piano and was heavily influenced by everything that he heard in Charles' early-'60s sound. While studying at San Francisco State College in the early '60s, he hooked up with Larry Bennett, who shared the same interests. Nagle -- who'd majored in art -- was teaching at the San Francisco Art Institute when the British Invasion hit America, and while he was serious enough about R&B to keep the Beatles at arm's length, he did see an opportunity. The British rock & roll boom restored rock bands to their rightful place at the center of music, and jump-started some long-held ambitions that he and Bennett shared about forming a band. They hooked up with students Bob Cuff (guitar), Mike Daly (bass) and John Luby (drums), and after jamming a couple of times on songs like "Woolly Bully," the group became the Terrazzo Brothers (named for an Italian masonry style), with Bennett as lead singer.
After about a year, a lineup change took place, as Mike Daly became their manager, Larry Bennett made a lateral move to take over on bass, and Larry West came aboard on lead guitar while Bob Cuff stayed on rhythm.

By that time they were writing their own material together as a group effort, and coming up with some unusual and very fresh ideas.
And there was the name change. "The Terrazzo Brothers" didn't seem to be doing anything for them, and then the bandmembers misunderstood the line about the "Mystery Tramp" in Bob Dylan's "Like a Rolling Stone": the result was the Mystery Trend.
They had a special sound and a following, at least locally. The Mystery Trend were the first band to play the Matrix Club after the original Jefferson Airplane, and regularly gigged with the Great Society. They also joined the Airplane in Bill Graham's first effort at rock music promotion, the Mime Troup Benefit. Along with the Airplane, the Great Society, and the Charlatans, the Mystery Trend seemed to be on the cutting edge of what music was about in San Francisco.
Part of their secret was the sheer range of influences within the lineup, and their ability to pull them together. Bennett was an unbelievably good singer for an unsigned band, and had formidable intuitive skill in handling a song. Nagle and Cuff were master rock & rollers, and Nagle, in particular, could analyze practically any song on the radio and break down what was happening in it, and why a line, lick or riff worked, or why they didn't.

West was a serious beat, and a folk musician with prodigious guitar skills which meshed perfectly with Cuff's rhythm playing. And Luby was a very solid drummer, holding it all together no matter where their songs took them.
If anything, the Mystery Trend more resembled the small group units that grew out of the big-band era that Benny Goodman and Duke Ellington, among others, participated in. Those small groups, made up of top soloists and true virtuosi, had lots of room for the members to maneuver and express themselves, but were also highly disciplined. Some of the Mystery Trend's music sounded ripe for jamming, with soaring guitar solos and rippling keyboard parts, and folk-like melodies that lent themselves to experimentation, but they limited their experimentation to clean, precise three-minute-plus structures, without ever leaving the listener feeling cheated. Listening to the Mystery Trend's best work, amid the odd beats and time signatures, strange key changes and modulations, and harmonies filled with the unexpected, was, indeed, like listening to the very best of the big bands, playing the guts out of a piece in three-and-a-half minutes.

It was too good to last, and it didn't last long. West exited in early 1966 in grand style, smashing his guitar on-stage in the midst of a duel with the Great Society's Darby Slick at a show in Sausalito. He nearly joined the Great Society, while the Mystery Trend continued with Bob Cuff playing what lead guitar was required on record. Eventually he left, and was succeeded by John Gregory, a very talented lead player; by that time, however, the Mystery Trend's days were numbered.
The San Francisco music scene was exploding. The Beau Brummels had already scored hits on the Autumn label, a ton of other acts were getting recorded on one-off singles and, in some instances, getting local airplay; the Jefferson Airplane and the Great Society had done album-length releases, and the Grateful Dead and even the Charlatans were getting scouted by high-powered recording outfits; and late in 1966 the best thing that the Great Society had going for it, Grace Slick, had linked up with the Airplane.
It was happening for every act of any note except, that is, the Mystery Trend. They'd gotten one barely representative single, "Johnny Was a Good Boy" b/w "House on the Hill" out on Verve Records through Frank Werber, the manager of the Kingston Trio, and Trident Productions, who were riding high at around that time with the work of the We Five. Werber did try hard with the group but their sound, spellbinding as it was on-stage, seemed impossible to capture adequately on record -- they covered songs by the Who and did R&B standards, and worked on a ton of originals, all to no avail. The group stuck to its own way of making music, which wasn't much like the We Five, but also avoided the kind of long, aimless jams that were becoming the rule among their Bay Area colleagues. The Mystery Trend didn't sound like anyone else, and somehow they never nailed down a second single, much less an album.
By 1968, it was over. Nagle returned to studio art, which he'd never stopped entirely, and became a successful ceramic artist, and later wrote some songs for the Tubes and Barbra Streisand, among others. Apart from Larry Bennett, who passed on in the '90s, the others (including Larry West) remained in music. The Mystery Trend passed into history and the true depths of tantalizing obscurity -- their name was alluring when coupled with their obscurity, and the fact that they seemed to rate mentions in any serious books or articles about San Francisco's music roots. Nothing apart from the rare copies of that old Verve single, which told us virtually nothing about the band, was around to hear, however. In 1999, a comprehensive collection of the best surviving tracks by the Mystery Trend were released by Ace Records on its Big Beat imprint(

Great psychedelic pop from the mid sixties. It's a pity that the band not reached more attention. They are really a lost band of the sixties.
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At Request John Fred & His Playboy Band - (With Glasses) The Very Best Of John Fred 1964 - 1969 - The Jewel & Paula Recordings (2001 Demon Westside) Flac & mp3@320

John Fred wrote the song "Judy in Disguise (With Glasses)" partly as a parody/tribute to the Beatles' "Lucy in the Sky with Diamonds" and partly as a commentary on the short-lived fad of young women wearing huge sunglasses that obscured the fact they weren't all that good looking. While Fred and his band originally considered the song a throwaway, it ended up being far and away their biggest hit, and their only single to make its way to the Top Ten (even knocking the Fab Four's "Hello Goodbye" off the top of the charts). On the basis of that single, John Fred earned a reputation as a goofy pop act that he was never able to shake, but the Louisiana-bred singer was actually a fine blue-eyed soul shouter who cut a handful of regional hits in the Deep South and earned up to $1,250 a night (in 1965 dollars) on the frat house circuit before "Judy in Disguise" spoiled his R&B cred forever.

With Glasses: The Very Best of John Fred and His Playboy Band is an excellent collection that delivers 28 solid tracks from Fred's back catalog and offers a representative sampling of his early soul-influenced singles and his later forays into psychedelic-tinged pop that followed the success of "Judy in Disguise." Cuts like "Love Comes in Time," "Doin' the Best I Can," and "Make You Love Me" show Fred was a potent white soul singer who could give Eddie Brigati and Box Tops-era Alex Chilton a run for their money, and his Playboys were a top-notch show band with an excellent horn section. Fred's post-"Judy in Disguise" work was a good bit more polished and sometimes more adventurous than it needed to be, but "Sad Story" showed he hadn't lost his blues chops, "Little Dum Dum" is a tough bit of pop psychedelia with a vicious guitar solo, and "Agnes English" is a slyly wary tale of a mysterious proto-hippie.

John Fred was a great rock and soul singer who may not have been as hip as he hoped to be, but was a lot hipper than you probably expect, and With Glasses is an excellent summary of his golden half-decade.(

 This is a very fine collection of John Fred and from ''Agnes English'' and ''Permanently Stated'' (my favourite albums and surely his best works) alone are 12 tracks here.
Have fun
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The Beach Boys - The Beach Boys Today PT-SHM 1965 Mono (2014 Universal Japan, Marketed & Distributed)

Brian Wilson's retirement from performing to concentrate on studio recording and production reaped immediate dividends with Today!, the first Beach Boys album that is strong almost from start to finish. "Dance, Dance, Dance" and "Do You Wanna Dance" were upbeat hits with Spector-influenced arrangements, but Wilson began to deal with more sophisticated themes on another smash 45, "When I Grow Up," on which these eternal teenagers looked forward to the advancing years with fear and uncertainty.

Surf/hot rod/beach themes were permanently retired in favor of late-adolescent, early-adult romance on this album, which included such decent outings in this vein as "She Knows Me Too Well," "Kiss Me Baby," and "In the Back of My Mind." The true gem is "Please Let Me Wonder," one of the group's most delicate mid-'60s works, with heartbreaking melodies and harmonies.

Be aware that the version of "Help Me, Rhonda" found here is an inferior, earlier, and slower rendition; the familiar hit single take was included on their next album, Summer Days (And Summer Nights!!). [Today!/Summer Days (And Summer Nights!!), a Capitol two-fer CD, combines this and Summer Days (And Summer Nights!!) onto one disc, adding alternate takes of "Dance, Dance, Dance," "I'm So Young," and "Let Him Run Wild," as well as a previously unreleased studio version of "Graduation Day." Most significantly, it also adds the non-LP single from late 1965, "The Little Girl I Once Knew," which looked forward to Pet Sounds in its studio experimentation and lyrical themes.](Richie Unterberger,

From all albums the Beach Boys released before Pet Sounds this is probably the strongest.
Have fun
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