Wednesday, 30 August 2017
The third studio album from the dreamy English psych pop outfit, the Dellorso-issued Once, Forever and Again arrives just months after the See See's 2014 U.S. introduction compilation, Days Nights & Late Morning Lights. Preceded by a pair of infectious singles, "Featherman" and "The Rain & the Snow" (both of which appear here), the 13-track set of new originals neatly draws from '60s psych rock and '70s power pop, invoking names like the Byrds, Syd Barrett, Badfinger, and Big Star.(allmusic.com)
Very nice psych pop sounds from The See See.
Hope you like it
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The Smoking Trees' 2014 album, TST, was a near-brilliant psychedelic pop trip that matched vintage sounds with spaced-out vocals and 12 very catchy songs. Concocted in a cotton-candy dream by Sir Psych and L.A. AL, the sessions for the album proved productive enough to spawn another album. Though L.A. AL bailed before it could be completed, Sir Psych polished up songs that didn't make the final cut for TST and The Archer and the Bull was born. Many times when a second album is built from leftovers, it really sounds like it. The songs are weaker, the ideas are flimsy, and it's very clear why the songs didn't make the grade. That's not really the case here at all. The songs on TST may be a little sharper and there are a few moments here that sound a little bit filler-ish, but Sir Psych's talents as a producer, vocalist, and creator are so strong that his castoffs are other people's gold. The lo-fi sound here isn't polished much, but the layers of gently strummed guitars, punchy basslines, echoing keys, and rich vocal harmonies fit together so perfectly, and the sounds he gets are so good, the songs could have been forgettable and it would still be worth a listen or two on a lost summer weekend. They aren't, though -- tracks like the harpsichord-heavy "High Horse," the insistent jangle popper "My Last Catastrophe," and the shimmering Beach-Boys-at-the-bottom-of-a-pool-sounding "Summer Sun" all stick like glue. They and a couple others, especially the dreamlike "Leslie Echo's," could have made it on TST and not brought the quality level down at all. Even the tunes that feel like throwaways have their charms. In the wrong hands "She's Got a Kazoo" could have been silly; in Sir Psych's magic fingers it comes off like a lost Tomorrow song. He truly is a craftsman and if he's not exactly a visionary, he is someone with a clear vision and the wherewithal to make the Smoking Trees' psych-pop dreams a very enjoyable reality.(allmusic.com)
I second that, the 2015 album TST is a brilliant up to date pop psychedelic album. In my ears this guys understood to develope the sixties popsike into 2015. And it sounds absolutely effortless. It's hard to make an album after TST. And honestly, this is not as strong as the predecessor. Nevertheless it is by far stronger as the most bands try to do and it sounds effortless again. I highly recommend it, because it is a great psychedelic pop album. And nearly as strong as their 2015 work. Unfortunately i don't have TST in lossless otherwise i would posted both. Maybe someone of you folks have it and would be so kind to contribute it here :-)
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Psychedelic Rock From Boston: The Freeborne - Peak Impressions 1967 (bonus tracks) (2007 Second Harvest) Flac &mp@320
This obscure late-'60s band was typical of many young Boston groups of the era in their eclectic blend of psychedelic influences, with a sound heavy on electric keyboards and wailing guitar. They were also typical, it must be said, in how their eclecticism nonetheless sounded pedestrian due to their relatively undistinguished original material and their ambitious mishmash of ingredients. Their sole album, 1967's Peak Impression, was heavy on minor melodies and haunting harmonies, and a little unusual for the time in its wide array of instruments (all played by the band), including cello, recorder, harpsichord, and trumpet in addition to the standard guitars, keyboard, bass, and drum.
The record was reissued on CD by Distortions more than 30 years later. The Freeborne's lead guitarist, Bob Margolin, went on to make a bigger mark in blues and rock playing with Muddy Waters and Johnny Winter.(R Unterberger, allmusic)
Very impressive and idiosyncratic album by the Bostton band The Freeborne. This album works with all that's useful to create a psychedelic mood. And here it works very well. But this no psychedelic pop, this is rock. It's a shame they don't used the original cover artwork. This is really no creative front & back cover.
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The fifth volume of this 1960s garage-psychedelic compilation series is above-average when judged against the other installments, with a slightly better standard of material, although it's usually in the same generic '60s punk mold. As such generic workouts go, though, the Continentals' "Sick and Tired" is tastier than usual, if only for the supremely confident vocal. Other items that are enjoyable, though not brilliant, include the Noblemen's "She Still Thinks I Love Her" with its full harmonies, organ-driven arrangement, and nice double-time break; the Insects' "Girl That Sits There," with another good organ part, and welcome pop harmony influence; and the Creatures' "Letter of Love," which bears traces of the sort of minor-key melodies Ray Davies used on many early Kinks songs. The cut most deserving of the "killer" adjective is "Baby Show the World" by the Sons of Adam, one of the best obscure Los Angeles psych-punk bands. While this, the B-side of their third single, was done after guitarist Randy Holden (the Other Half, Blue Cheer) and drummer Michael Stuart (Love) departed, it still has some fine distorted sustain/feedback-laden guitar and raw, tense psychedelic dynamics.(R. Unterberger, allmusic.com)
Hello Folks, what more can i tell you as this is the fifth volume and hoping you have the same fun
with the series like me. :-)
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NederPop/Rock: Q65 - Revolution 1966 - 1967 (with bonus tracks released by Decca sometimes after 1999)
This album found Q 65 at their peak, and this reissue adds six strong bonus tracks to the original 12, including their first two singles, "You're the Victor" and "The Life I Live." Q 65 were among only a handful of non-English speaking bands of the mid-'60s whose talent rivaled second-tier groups such as the Pretty Things in the search for a rock-oriented update of Chicago blues. What set them apart, and what makes Revolution very reminiscent of Back Door Men by the Shadows of Knight, is the broad range of music performed above and beyond the basic R&B. The band played acoustic as well as hard psych numbers along with the standards, and experimented with harmonium and other instruments to make Revolution more interesting than the average garage release. Despite the eclecticism, their blues interpretations work best, from the nice take of "Spoonful" to the groundbreaking 13-minute cover of "Bring It on Home," the real missing link between the rave-ups of the Yardbirds and the post-Cream jam bands of the late-'60s. Not every move is successful, as a few numbers are derivative, and vocalist William Bieler's language barrier sounds clumsy at times. Like many great bands of that era, Q 65 peaked in 1966-1967, and then fell into disarray after Bieler was drafted, never again reaching the heights of Revolution. Start with this, or the harder-to-find Complete Collection (1966-1969), for a surprisingly consistent set of songs by a group you may have assumed to have only been one-hit wonders. (allmusic.com)
The band was at their climax in 1966/67 definitely. This album is a very strong effort and the bonus tracks (all single releases from '66 & '67) are on the same level. If this band had come from the UK they had reached way more success as they have reached under this conditions back then. Also they worked later with a wider range of styles for their songs. Certainly they were in '66/67 one of the strongest dutch pop and rock bands in the so called Benelux states (Belgium, Netherlands, Luxembourg) and Germany.
I will post later this week a nearly complete compilation of their work.
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