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, 5 September 2017

At Request: Sunshine Pop/AM Pop by Dino, Desi & Billy - The Rebel Kind (The Best Of) (1996 Sundazed) Flac & mp3@320

A Hollywood trio that were barely into their teens when they hit the charts in 1965, Dino, Desi & Billy anticipated the bubblegum fad with records that usually featured none of their own contributions, except their characterless vocals. That may be phrasing matters too kindly. The best bubblegum is far more distinctive and catchy than the lowest-common-denominator L.A. session pop/rock that they recorded. But they knew the right people, as they say in the business, which made them stars for a brief time, although they never had an ounce of credibility.

This mid-'60s trio were kind of a cross between the Monkees and Gary Lewis in a few key respects. Like Gary Lewis, their very opportunities to record came about primarily because of their distinguished Hollywood fathers. In the case of these guys, however, the nepotism was rather extreme: Dino was Dino Martin, son of singer/comedian Dean Martin, and Desi was the son of Lucille Ball and Desi Arnaz. Along with classmate Billy Hinsche, they began playing for fun. They'd barely gotten their equipment together when they auditioned for Dean Martin's buddy, Frank Sinatra -- who just happened to record for and run Martin's label, Reprise.

By the end of 1964, they'd released their first single for the label, although it was made clear to them that session musicians would handle the instruments.
Top producers and arrangers Lee Hazlewood, Billy Strange, and Jimmy Bowen would oversee the trio's recording dates over the next couple of years. "I'm a Fool" made the Top 20 in 1965; "Not the Lovin' Kind" got into the Top 30 a few months later. None of the group had reached the age of 15 yet, but there they were, playing to screaming crowds as a support act to a Beach Boys tour in 1965, and (for a few months) outselling Sinatra on his own label.

This despite (or because of?) the fact that their music was innocuously bland in the extreme, making the Monkees (who also used a pool of L.A. session players) sound positively innovative and hard-nosed in comparison.
Dino, Desi & Billy never got into the Top 40 after 1965, but they recorded singles and albums for years to come (perhaps it would have caused tensions among their families if they hadn't). They were the recipients of compositions by top pop/rock songwriters like Lee Hazlewood, David Gates, Boyce & Hart, Clint Ballard, Jr., and Bonner & Gordon.

But it seemed like these songsmiths took care not to give them anything too good, in the manner of Goffin-King's substandard leftovers for early-'60s teen idols.
Billy Hinsche's sister married Carl Wilson, which probably helped the band secure a Brian Wilson composition (which Hinsche helped finish off) for one of their final Reprise singles in 1970, "Lady Love." The group did start to get involved in their recording sessions, as players and composers, toward the end of the '60s. But the talent wasn't there, and in any case the results were much more pop than rock.

Perhaps it's being unduly touchy to come down on the band so hard; they had no aspirations towards anything but wholesome fun, apparently, and 98-percent of other kids their age would have taken advantage of the same connections given the same silver spoons. Keep in mind, though, that bands like Dino, Desi & Billy took away valuable air time and sales from much better groups that really needed it, in an era in which chart considerations were much more vital to ensure an ongoing career. And if you don't believe that, look at the nose dive experienced after the mid-'60s by the Kinks -- who, as it happened, were on Dino, Desi & Billy's U.S. label, and may have been competing for the same promotional budget.(

Some guys have all the luck...maybe. Nice sunshine pop from the studio cracks of the sixties. However some really nice songs here and the collection is well done. Very good sound and the whole package by Sundazed is very well done.

          Frank                                 Flac part 1  &  Flac part 2         mp3@320

Mickey Newbury - Harlequin Melodies 1968 (RCA Victor) LP, Flac & mp3

To paraphrase Marc Antony, the listener may not be able to decide whether to praise Mickey Newbury or bury him. This record hits one with the full Newbury experience, because, debut album or not, he comes across as a fully developed artist. His originality and talent is wonderfully evident in a series of songs that, whether brilliant or dreadful, always reveal an incredible amount of care being taken. Newbury never settled into any kind of standard arrangements or simple combo sound in his career, preferring to perform solo on acoustic guitar. But he and his producers went wild in the recording studio, baking in multiple layers that are likely to include any and all possible instruments, combined in a manner both audacitious and typical of the anything-goes '60s.
Newbury came out of the country and western scene, and no matter how far away he went the heritage was always evident in his vocal phrasing as well as his subject matter, frequently tragic, as is the C&W norm. There was also a Roy Orbison side to Newbury. His control of falsetto and penchant for heavy sentimentality and great dramatic moments will only appeal to listeners who enjoy Orbison. But he is gifted at many other types of material, and in the memorable "Just Dropped In" he created an absolute classic, undoubtedly the most perfect fusion of country and western and freaky psychedelic music ever recorded. The original Newbury version is really weird, even compared to the more well-known cover version by Kenny Rogers and the First Edition. Rogers' band had a hit with this song when the band was still considered a rock outfit, years before the leader emerged in his true colors as a country artist, all of which is very appropriate to the Newbury story. The sadness of the songs is deep, at times hard to take. "Here Comes the Rain, Baby" is a gorgeous bit of tragedy. Some of the tunes are just too much, though, such as the obnoxious, pretentious "Weeping Annaleah." Sitars, orchestras, backup singers, gospel piano licks, and the kitchen sink all share equal space in the arrangements. (

The review say it all.

           Frank      Flac  &  mp3@320

Mod Pop Psychedelia: The State Of Micky And Tommy - The State Of Micky And Tommy 1965-71 (2008 Magix Records) Flac & mp3@320

It's not well known, but long before he joined Foreigner -- and even before he was in Spooky Tooth -- Mick Jones made quite a few records with Tommy Brown, the pair working in France for much of the period. This French CD collects 24 tracks in which they were involved between 1965 and 1971, encompassing recordings billed to several different monikers, including the State of Mickey & Tommy, the Blackburds, Nimrod, the J&B, and Thomas F. Browne.

It may be that the singles they released as the State of Mickey & Tommy, obscure as those 45s are, are the best known of the lot, especially "With Love from One to Five," which has shown up on a few relatively high-profile U.K. psychedelia compilations. That does happen to be one of the better numbers, but generally this CD has fair, though not exceptional, music that reflects the British mod, pop/rock, and psychedelic trends of the time with occasional hints of French and Continental influences.
"With Love from One to Five" is typical if classy 1967 orchestrated psychedelic pop; "Nobody Knows Where You've Been" strongly recalls the arrangements on Sgt. Pepper's cuts like "Within You, Without You"; and "Frisco Bay" is nice dainty, dreamy pop with beatific Summer of Love lyrics and the lightest hints of raga-rock. All of those songs were found on singles credited to the State of Mickey & Tommy; the ones billed to the Blackburds are more like soul-flavored British mod rock that could serve as incidental film music, while Nimrod's 1969 single "The Bird" (previously included on several collector-oriented comps of rare British psychedelia) is a fairly strong relic bridging psychedelia with early progressive rock.

The best track, however, is the relatively unheralded 1966 single "There She Goes" by the J&B, a quite haunting, dramatic song that's a bit like a mini-soundtrack to a story of Swinging London heartbreak. As a whole, this will hardly qualify Jones and Brown as lost masters of mid- to late-'60s British rock, but there's pleasant period music of the genre to be heard, virtually all of it from extremely rare recordings (including soundtracks).(

Well done '60s pop music. Very good popsike songs here and you will love it. Catchy mod pop psychedelia.

Have fun
               Frank          Flac part 1 & Flac part 2  & Flac part 3             mp3@320