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, 3 September 2017

A Classic Psychedelic Pop Album: The Asylum Choir - Look Inside 1968 (2007 Rev-Ola) Flac & mp3@320

A far out 420 friendly acid trip of a record that never gets old. Welcome To Hollywood, Henri The Clown, and Icicle Star Tree
are all first rate hooky tunes wrapped in psych production that was way ahead of its time. Leon Russell and Marc Benno join forces here and the result is a blissful creative record that never got the credit it deserves, even to this day. If you see one turn up in the dollar bin, grab it and run.(K.Liotti Allmusic user)

Super fun crazy record! Flamin' Groovies one second, New Riders Of The Purple Sage for a quick sec, then The Move! Genius magical mysterious pop trip!(L Hinkhouse, allmusic user)

I second that completely. And i see the readers here throw their hands up in horror if i say now that's the best work the both musicians have done in their careers...;-)...and naturaly that is just the half truth. My truth. Surely Leon Russell have done so much of music, on own albums, for other musicians in his life that no one can make such a statement. I know a lot of music by Leon Russel (not so much by Marc Benno) and i've heard very good songs by him but...never an entire album that impressed me so much like this. Anyway i love this album and i highly recommend it to the folks here who haven't heard it yet.

Have fun
              Frank                              Flac p1  &  Flac p2     -   mp3@320

Ex Strawbs Pop Rock: Hudson - Ford - Nickelodeon 1973 (2015 Big Pink Records) remastered Flac & mp3@320

Though best known for their membership in The Strawbs, the rhythm section of John Ford (bass) and Richard Husdon (drums) worked together both before and after their '70 - '73 stint with the folk-prog band. Previously with Elmer Gantry's Velvet Opera, and then The Velvet Opera, the duo moved on from the songwriting disputes of The Strawbs to form Hudson Ford in 1975. The two are well matched: in The Strawbs, Hudson would play low in the mix, often leaving the kit for entire songs to sing or play sitar, while Ford danced into the gap by playing a strongly precussive style of bass guitar. Their sound for Hudson Ford, though, ranged from McCartney-esque soft rock to glam, with a occasional nod to their electric folk past. Their roles broadened as well, with Hudson leaving the drums to others in order to focus on singing and lead guitar, and Ford expanding his vocal and acoustic guitar duties. The debut album "Nickolodeon" was bolstered by by the presence of Rick Wakeman and other studio sharpshooters, and the band scored a hit in the U.K. with the single "Pick Up the Pieces." Each successive album saw a dampening of their impact, though, and the two called it a day in 1977. Soon afterwards, though, the formed two more bands together: The Monks, and High Society (allmusic)

A nice album with different directions.Some very Beatlesque, some remembers to old Strawbs and between all this also funky guitars sometimes.It's a good mix and the album makes fun. My favourites are the Beatles influenced songs.

         Frank                               Flac p1  &  Flac p2      -  mp3@320


A Godfather of Rock: Little Richard - His 3 Original Specialty Albums 1957-1959 (1989 Ace Records) NOT REMASTERED! Flac & mp3@320

One of the most important musicians for the modern rock and pop music i can't often enough say that this guy was the number one performer who influenced the performances of rock and pop musicians until today. All the wild rock shows you've ever seen in your life and musicians have done all over the world go back to this man from the south of the US. Just one example; Townshend's windmill guitar playin' was the copy of Richards feet hammering triplets on the piano. Jagger once sang  ''What can a poor boy do...'' and yes what could this poor boy, this poor black boy, this poor black boy from the south of the US, this poor black boy who's gay from the south of the US with the friendly guys of the KKK in the neighbourhood do? Singin' rock'n'roll songs. And his performances was the hottest sexual charged shows teenager ever had seen. Sure there was Elvis without him the rock'n'roll maybe would have stay a black phenomenon. But the chief and master was definitely Little Richard in performance. Elvis was the good lookin' boy and way more important he was white. To make a long story short, i believe that this two guys from the south of the US made it possible that rock'n'roll came all over the whole world. This two guys definitely changed the world and not only in musical respect (or aspect? i'm not sure of the right word). Rock'n'Roll had so much impact also in social things of the society. It's still a phenomenon and i don't know if rock'n'roll will fade out of this world but i know that i am so grateful that it was and is a part of my life.

One of the original rock & roll greats, Little Richard merged the fire of gospel with New Orleans R&B, pounding the piano and wailing with gleeful abandon. While numerous other R&B greats of the early '50s had been moving in a similar direction, none of them matched the sheer electricity of Richard's vocals. With his bullet-speed deliveries, ecstatic trills, and the overjoyed force of personality in his singing, he was crucial in upping the voltage from high-powered R&B into the similar, yet different, guise of rock & roll. Although he was only a hitmaker for a couple of years or so, his influence upon both the soul and British Invasion stars of the 1960s was vast, and his early hits remain core classics of the rock repertoire.
Heavily steeped in gospel music while growing up in Georgia, when Little Richard began recording in the early '50s he played unexceptional jump blues/R&B that owed a lot to his early inspirations Billy Wright and Roy Brown. In 1955, at Lloyd Price's suggestion, Richard sent a demo tape to Specialty Records, who were impressed enough to sign him and arrange a session for him in New Orleans. That session, however, didn't get off the ground until Richard began fooling around with a slightly obscene ditty during a break. With slightly cleaned-up lyrics, "Tutti Frutti" was the record that gave birth to Little Richard as he is now known -- the gleeful "woo!"s, the furious piano playing, the sax-driven, pedal-to-the-metal rhythm section. It was also his first hit, although, ridiculous as it now seems, Pat Boone's cover version outdid Richard's on the hit parade.
Boone would also try to cover Richard's next hit, "Long Tall Sally," but by that time it was evident that audiences black and white much preferred the real deal. In 1956 and 1957, Richard reeled off a string of classic hits -- "Long Tall Sally," "Slippin' and "Slidin'," "Jenny, Jenny," "Keep a Knockin'," "Good Golly, Miss Molly," "The Girl Can't Help It" -- that remain the foundation of his fame.
While Richard's inimitable mania was the key to his best records, he also owed a lot of his success to the gutsy playing of ace New Orleans session players like Lee Allen (tenor sax), Alvin Tyler (baritone sax), and especially Earl Palmer (drummer), who usually accompanied the singer in both New Orleans and Los Angeles studios. Richard's unforgettable appearances in early rock & roll movies, especially The Girl Can't Help It, also did a lot to spread the rock & roll gospel to the masses.
Richard was at the height of his commercial and artistic powers when he suddenly quit the business during an Australian tour in late 1957, enrolling in a Bible college in Alabama shortly after returning to the States. Richard had actually been feeling the call of religion for a while before his announcement, but it was nonetheless a shock to both his fans and the music industry. Specialty drew on unreleased sessions for a few more hard-rocking singles in the late '50s, but Richard virtually vanished from the public eye for a few years. When he did return to recording, it was as a gospel singer, cutting a few little-heard sacred sides for End, Mercury, and Atlantic in the early '60s.
By 1962, though, Richard had returned to rock & roll, touring Britain to an enthusiastic reception. Among the groups that supported him on those jaunts were the Rolling Stones and the Beatles, whose vocals (Paul McCartney's especially) took a lot of inspiration from Richard's.
In 1964, the Beatles cut a knockout version of "Long Tall Sally," with McCartney on lead, that may have even outdone the original. It's been speculated that the success of the Beatles, and other British Invaders who idolized Richard, finally prompted the singer into making a full-scale comeback as an unapologetic rock & roller. Hooking up with Specialty once again, he had a small hit in 1964 with "Bama Lama Bama Loo." These and other sides were respectable efforts in the mold of his classic '50s sides, but tastes had changed too much for Richard to climb the charts again. He spent the rest of the '60s in a continual unsuccessful comeback, recording for Vee-Jay (accompanied on some sides by Jimi Hendrix, who was briefly in Richard's band), OKeh, and Modern (for whom he even tried recording in Memphis with Stax session musicians).
It was the rock & roll revival of the late '60s and early '70s, though, that really saved Richard's career, enabling him to play on the nostalgia circuit with great success (though he had a small hit, "Freedom Blues," in 1970).
He had always been a flamboyant performer, brandishing a six-inch pompadour and mascara, and constant entertaining appearances on television talk shows seemed to ensure his continuing success as a living legend. Yet by the late '70s, he'd returned to the church again. Somewhat predictably, he eased back into rock and show business by the mid-'80s. Since then, he's maintained his profile with a role in Down and Out in Beverly Hills (the movie's soundtrack also returned him to the charts, this time with "Great Gosh a-Mighty") and guest appearances on soundtracks, compilations, and children's rock records. At this point it's safe to assume that he never will get that much-hungered-for comeback hit, but he remains one of rock & roll's most colorful icons, still capable of turning on the charm and charisma in his infrequent appearances in the limelight.(

    Flac p1 & Flac p2  & Flac p3                         mp3@320 p1       mp3@320 p2