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.


Tuesday, 29 August 2017

Australian finest Pop Rock: Axiom - The Axiom Archive 1969 - 1971 (2004 Raven Records) Flac & mp3@320

Quite simply, Axiom was an Australian supergroup whose time was far too short-lived, due to a number of personal circumstances and career mishaps. The band was fronted by future Little River Band lead singer Glenn Shorrock, whose early roots and development of a distinctive vocal style are prominently on display here in full throttle, along with a band whose sound could easily appeal to fans of Traffic, Blind Faith, and the Faces. Much of this stuff has remained out of print or hard to find since the advent of the compact disc, so Raven had the good sense to compile nearly their entire released legacy onto one disc. Their debut album, Fool's Gold, the follow-up, If Only, and a scattering of B-sides provide not only a thorough and definitive look at a band whose fame never fully came to fruition, but an excellent resource for fans of this style to discover yet another one of Australia's long-lost rock gems.(

This guys released two very nice pop albums around the change of the centuries '69/'70 and if you haven't heard of this band now is the time.

Have fun
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Nederpop/Rock By The Bintangs - The Golden Years Of Dutch Pop Music (2016 Universal) Flac & mp3

The Bintangs (after the Bahasa Indonesia word for "star") were established in 1961 as an indorock band, performing covers at live venues in Beverwijk. The original lineup was Frank and Arti Kraaijeveld on bass and guitar, respectively (both performed vocals), Meine Fernhout on guitar, and Jimmy Jansen on drums. Frank, in a 1985 interview, mentioned how impressed he was when he first saw the Tielman Brothers play, and soon the band began mixing in R&B influences, in part inspired by The Rolling Stones and in part to differentiate their sound from that of the many bands playing in the vein of The Shadows.Blues on the Ceiling. Their greatest hits, "Ridin' on the L & N" and "Travelling in the U.S.A., were released in 1969 and 1970, respectively. By this time, the band had a steel guitar player as well, Rob van Donselaar. An album, Travelling in the U.S.A., was released in 1970 by Phonogram, and while another single from that album, "He Didn't Wanna Go Home", did not do as well as expected (though it did chart in the Netherlands), album sales were reported to be strong. In a 1970 interview with De Telegraaf the band characterized itself as "playing from the heart" and announced another single, "Lion Tamer".

In 1965 they recorded their first single, on Muziek Express, Willie Dixon's "You Can't Judge a Book by Looking at the Cover" (another song that was made famous by Bo Diddley and was also written by him, "I'm a Man", was the B-side), with Henk van Besu on drums, Jan Wijte on rhythm guitar, and Will Nimitsz on vocals and mouth harp.

A loyal fanbase had, by the mid-sixties, risked life and limb to paint the band's name on a gas holder in Beverwijk. By 1969 they had opened for The Rolling Stones and The Kinks and released several further singles (three with Muziek Express). In 1969 they signed with Phonogram Records, with whom they released their first album.

By 1969 Arti was not as active with the band, and in 1972 he and Frank created their own short-lived band, the Circus Kraaijeveld, which lasted "for a single and a half", according to Arti in a 1977 interview. Though Fernhout and Jansen continued the Bintangs, in 1973 they released only one recording, the album Hey Dupes. Genuine Bull, and guitarist Jaap (Japie) Castricum joined. Regarding Genuine Bull, producer Steve Verocca was quoted as saying that, after 20 years as a producer, he "heard ... a new approach to rock & roll" during the sessions. (excerpt from Wikipedia)

The album's title song was released as a single, with little success. By this time the band had two saxophone players; it consisted of Rob Kruisman on tenor saxophone and vocals; Aad Hooft on drums; Rob van Donselaar on guitar, steel guitar, and vocals; Rob ten Bokum on guitar; Ronald Krom on bass; and Charles van der Steeg on tenor saxophone.

Manager Henk Penseel mused that commercial success eluded the band since their old hits were still well-known but that their old "Rolling Stones sound" was gone, and audiences had not grown familiar with the new direction the band had taken. In 1974 Frank returned, without Arti. Three other men joined the band: singer Gus Pleines, guitarist Jack van Schie, and drummer Harry Schierbeek. The following year they released another album, Genuine Bull, and guitarist Jaap (Japie) Castricum joined. Regarding Genuine Bull, producer Steve Verocca was quoted as saying that, after 20 years as a producer, he "heard ... a new approach to rock & roll" during the sessions.

The Bintangs playing a wide range of rock and blues sounds. I love more the songs if they veer away from the straight blues and bluesrock. And here are a lot of different arranged songs the band offer on this double disc. Thanks Bert for contributing this album!
Attention: The links expire on  the 2nd of September

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

'60s Pop Sound From Sweden: Hep Stars - It's Been A Long Long Time 1968 (2013 RPM Records) Flac & mp3

The chances are that, had ABBA never come along making Benny Andersson (and his three partners in the group) into an international pop/rock star, no one outside of Sweden would ever have heard of the Hep Stars. They were the hottest rock band of the mid-to late '60s in Sweden, however, considered by some to be that country's answer to the Beatles. The Hep Stars also charted 20 singles in their own country and had hits in the Netherlands, as well as building a following in Germany -- and their CDs are exported around the world as a result of the ABBA connection. It also turns out that they were a pretty good band, too.
Andersson's interest in the keyboard manifested itself at age six, when he got his first accordion, and he began playing with his father and grandfather. At 10, he got his first piano and started lessons, but these didn't continue, and he basically became a self-taught musician.
He was playing in a band in 1964 when he chanced to be heard by Svenne Hedlund, a member of the Hep Stars, who had been formed in 1963 and already recorded one single, but had also just lost their organist, Hasse Ostlund. Anderson joined the band in October of 1964 -- the lineup also featured Janne Frisk on guitar and vocals, Hedlund on lead vocals, Lelle Hegland on bass, and Christer Pettersson on drums. Soon after Andersson joined, the Hep Stars recorded four songs: Geoff Goddard's "Tribute to Buddy Holly," which had been a hit in England for Mike Berry in the early '60s; the Premiers' then-current hit "Farmer John," and "Cadillac" (not the Bo Diddley song), that helped transform their careers.
By the middle of 1965, after getting a break on Swedish television, "Tribute to Buddy Holly," "Farmer John," and "Cadillac" had each topped the Swedish radio charts. "Cadillac," "Farmer John," and a cover of Shel Talmy's "Bald Headed Woman" also reached number one on the sales charts, while "Tribute to Buddy Holly" got to number five, all in less than a year.
"Cadillac" was a good representative of the group's sound during this period, a piece of lusty, bluesy garage rock. dominated by an agonized lead vocal, somewhere between Gene Vincent at his most quiet and menacing and David Aguilar of the Chocolate Watchband doing his best anguished teen emoting, and some very prominent organ riffs by Andersson. The group sounded sort of like a Swedish Paul Revere & the Raiders with a little more lyricism than that comparison implies.
Their version of "Farmer John" was a pale imitation of the Premiers' original, but it satisfied home-grown audiences. "Bald Headed Woman" was convincingly bluesy and threatening, and "Tribute to Buddy Holly" was a less dramatic rendition of the song than Mike Berry's version. They had a decent if slightly smooth garage band style, Andersson's organ and Frisk's guitar paired up very nicely on the breaks on numbers like "Should I," while Andersson's electric harpsichord was the dominant instrument on the folk-like "Young and Beautiful."

Their initial string of hits resulted in the release of two LPs in 1965, We and Our Cadillac, and The Hep Stars on Stage. Additionally, Benny Andersson began writing songs that year -- up to that point, the band had done nothing but covers of songs by American and British composers (they did rocking versions of "What'd I Say" and other rock & roll standards on stage), but "No Response," Andersson's debut as a songwriter, made it to number two on the charts. A year later, his "Sunny Girl" got to number one, and his "Wedding," released that same year, also topped the charts. For the next three years, his originals would compete with outside material for space on the A-sides of single releases by the band.

The group scored 20 hits in the Swedish Top Ten thru the summer of 1969, among them nine songs that topped the charts. They also released five more albums: The Hep Stars (1966), Jul Med Hep Stars (Christmas with the Hep Stars) (1967), Songs We Sang (1968), and Hep Stars Pa Svenska (1969). As those titles indicate, as the '60s progressed, the band began cutting their songs more and more often in Swedish, including covers of modern folk songs such as Ian Tyson's "Four Strong Winds" (done as "Mot Okant Land"). Shortly after hitting number one with "Wedding" in May of 1966, the Hep Stars were invited to a party by another popular Swedish group, the Hootenanny Singers. It was there that Andersson first met Bjorn Ulvaeus, who was a member of the other group. They began writing songs together later that year, with "It Isn't Easy to Say" -- that song, along with the Ulvaeus composition "No Time," showed up on the Hep Stars' self-titled third album, issued in December of that same year. At that time, their popularity was such that the album's sales broke all records, making it the first album by a Swedish band to reach the Top 20 album and singles charts.
Their string of hits continued with a Swedish version of "Last Night I Had the Strangest Dream," "Don't" (a cover of the Elvis Presley song), and Andersson's "Consolation." Everything seemed to be going extraordinarily well for the Hep Stars, but that all changed in 1967 when the band made a mistake astonishingly similar to one that the Beatles made that same year -- they decided to make a movie; additionally, the movie was to be financed by the band, and it had no script, which sounds a lot like The Magical Mystery Tour.
In contrast to the Beatles, who were earning enough money from record sales that they could've made two or three Magical Mystery Tours and not been seriously hurt, however, the Hep Stars were stricken financially by the project, which was never completed.
The one bright spot in the entire debacle was the song "Malaika," which they found while shooting in Africa, and which reached number one.
The group kept working, oblivious to the hole they'd put themselves in until they were hit with a bill for back taxes that drove them into bankruptcy. They soldiered on, the members working off their debts, and in the summer of 1968, there was a lineup change when Svenne Hedlund's fiancee Charlotte "Lotta" Walker joined as lead singer. The hits kept coming, though from 1968 onward the Hep Stars were no longer recording much rock music, preferring a softer MOR and folk-based style.
It was this change that led to the group's split. Andersson and Svenne and Lotta Hedlund wanted to keep moving in an MOR direction, while the rest of the band preferred going back into the rock 'n roll music with which they'd started out. Andersson, Hedlund, and Walker exited the line-up following the band's 1969 summer tour. The seeds that would spawn ABBA were already planted by that time -- Andersson met Anni-Frid Lyngstad during the Hep Stars' final weeks of performing, and their engagement, and his involvement with her music as producer of her new single (co-written by Andersson and Ulvaeus), followed soon after the Hep Stars split.
In more recent years, the Hep Stars have appeared as a reunited band (sans Andersson), and have made a serious effort at recording as well as performing in Sweden, where their music is still remembered by older audiences from the '60s. ABBA's success has seen to their reissue on CD, as well as to the international availability of their music.

Nothing more to say. Nice pop songs here and naturally fab four inspired.
Enjoy it
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VA - Fuzz, Flaykes & Shakes Vol.4 - Experiment In Color (2001 Bacchus Archives) Flac & mp3@320

More 1960s psych-punk-garage for the treadmill is found on volume four of this series, assembling 17 rare sides from 1965-1969 singles by American bands. There's not much to make you sit bolt-upright in delight or surprise; it's the expected melange of fuzz guitar, organ, and surly attitude, leavened by some poppy influences from folk-rock and British Invasion music (especially in the harmonies). The Primates' "She," the best cut, leaps out in this company almost as much as a high-quality Zombies single would, with its compelling, brooding minor-key melody. As for other tracks of above-average interest, the Canterbury Fair's "The Man" is not found on the Sundazed CD reissue of the band's material, and shows a possible Music Machine influence in the ominous circus-like fuzz guitar-organ riffing. The Soultans' "Rain Down Soul," if you're looking for more evidence that '60s cult bands actually exerted during the time they were around, has an obvious debt to Love's "Signed D.C.," though using a far fuller electric approach. The only musician here of some renown is a real misfit in this company: Joey Welz, once a member of Bill Haley's Comets, is backed by the Time Machine on the 1967 garage-psych ballad "Caught By Love," actually one of the better songs with its sad melody, harmonies, and eerie organ.(Richie Unterberger allmusic)

Volume four of the Fuzz, Flaykes & Shakes series. For sure not all songs can persuade me but all in all it's a nice volume with some very good songs.
Have fun
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Ringo Starr - Beaucoups Of Blues 1970 (1995 EMI Records) Flac & mp3@320

Ringo Starr had a demonstrated affinity for country music, as heard on such Beatles recordings as "Act Naturally," and he sounded as modestly comfortable on this Nashville-recorded session as in any other musical context.
The cream of the city's session players backed up the former Beatle on a set of newly written songs, and the result was a typical country effort, pleasant as long as you didn't expect too much. Of course, this was the second straight genre exercise for Starr, following his pop standards album Sentimental Journey, and now he had tackled two styles that depend on vocal stylists for much of their appeal. On both, Ringo was Ringo. But with the Beatles fading into history, his suddenly front-burner solo career was starting to look like a series of dabblings rather than a coherent follow-up to the group's success. What could be next, an album of Motown songs? Wisely, he returned to Beatles-style pop/rock in subsequent releases. [Beaucoups of Blues was reissued on August 1, 1995, by Captiol with two bonus tracks, "Coochy Coochy," which had been released as the B-side of the single "Beaucoups of Blues," and the six-and-a-half-minute impromptu instrumental "Nashville Jam," which was previously unreleased.](

Hello Folks, at first i want to say sorry because yesterday i haven't (as promised) post a further album
by Ringo. I was too busy yesterday (like all the weeks after our move to a new house). However here is ''Beaucoups Of Blues'' and it is in my opinion one of his best albums. It starts with an impressive country waltz, the title track followed by a fine country ballad. Some may say (as always in his career) that his voice is too weak. But he did a good job here with his voice because he knows what he can do and what better not. ''Without Her'' is the next wonderful song here followed by ''Woman Of The Night''. ''15 Dollar Draw'' a further highlight. What in my ears this album let sound so good is it sound like an album. All the songs conway a similar feeling. In my ears one of his most complete works.

Enjoy it
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