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, 10 September 2017

Sunshine Pop: Pickettywitch - Pickettywitch 1970 (2001 Victor Records, Japan 13 Bonus Tracks) Flac & mp3@320

Pickettywitch was a recording outfit that was very much of a piece with the Tremeloes, Edison Lighthouse, and Paper Lace, its history sandwiched directly between those renowned pop/rock outfits of the 1960s and 1970s. If they're not as well-known as those other outfits, then it's because they were never blessed with an international hit; but, in England, "That Same Old Feeling" -- a product of the Macaulay-Macleod songwriting team, best remembered for their work with the Foundations -- made the Top Five. Never really a "rock" band in the sense of having a terribly heavy or powerful sound, both the group and their records sounded like a cabaret act from the get-go. Their history dates back to 1969, with a disastrous effort at forming a mixed music-and-dance performing ensemble: vocalist Polly Browne (whose name is sometimes misspelled "Brown") and four of the other members of this outfit, guitarist Dave Martyr, bassist Martin Bridges, keyboardman Bob Brittain, and drummer Keith Hull, departed the rather Spartan and chaotic rehearsal conditions established by their would-be manager and decided to try and form a quintet. With a new manager aboard and vocalist Chris Warren added to the lineup, the sextet began months of rehearsals and auditions before potential record labels and producers, working out an act that included lots of highly choreographed moves. The name Pickettywitch came from a Cornish village through which Browne had passed with her sister.
Pickettywitch was signed by producer John Macleod to Pye Records and got out a single, "You've Got Me So I Don't Know" b/w "Solomon Grundy," in July of 1969. It never charted, but led to appearances on the radio and on the television showcase Opportunity Knocks. Soon after, Martyr departed and Bridges' switched to guitar, with Mike Tomich taking over on bass. It was their second single, a Foundations number called "That Same Old Feeling," issued in November of 1969, that led to their breakthrough. Overcoming the competition of a rival version by Françoise Hardy, the single by Pickettywitch hit number five in England in early 1970. The group recorded a follow-up album that didn't sell, which wasn't surprising given that, in the custom of the time in England, the hit was left off of the LP. They saw further chart success in England with "(It's Like A) Sad Old Kinda Movie" (number 16) and "Baby I Won't Let You Down" (number 27); but also underwent a lineup change, as Bridges and Tomich left to pursue more sophisticated and progressive sounds, and were succeeded by Peter Hawkins and Brian Stewart. These membership changes didn't really have a great deal of effect on the group's sound, as their music involved a fair number of session players embellishing the sound (guitarist Terry Clarke of the early-'60s U.K. band the Eagles was even a contributor at one point), and the latter was largely built on Browne's lead vocals. At her best, she sounded like a slightly more soulful Karen Carpenter, though she has maintained that the recordings don't properly represent her as a singer, as Macleod seldom allowed her to experiment with soul phrasings.
The group came close to a breakthrough in America -- where their music was released on the Janus Records label -- in 1970, when "Days I Remember" was picked up for radio play, but the single release never charted. Alas, by 1971, Pickettywitch had run out of steam as a hit-making outfit even in England. Further membership changes ensued, as Pete Hawkins and Brian Stewart left the group, to be succeeded by Paul Risi on guitar and Paul Riordan on bass. By that time, Polly Browne was under tremendous pressure, as the most popular member of the group (the sides with Chris Warren's lead vocals never having been as successful), to embark on a solo career, and this was precisely what she did in late 1972. The group hung on briefly in the studio, with Warren singing on one last release in 1973, but this was merely a final attempt to milk the group name.
Farron later gave up performing, while Browne went on to a form a duo called Sweet Dreams, in partnership with Tony Jackson, enjoying a British hit with her cover of the ABBA song "Honey Honey." She later went solo and racked up an international hit with "Up In a Puff of Smoke" in 1974, which reached number 43 in England and got to number 16 in America, and was well-known in England throughout the disco era and beyond. Meanwhile, her old group manifested itself briefly in the mid-'70s with a fake stand-in outfit dubbed "New Pickettywitch," which enjoyed a very brief recording career before it became clear that the British public wasn't buying it.(allmusic)

I don't know why but i always was a sucker for stuff like this. This is the debut album with 13 bonus tracks. A very good version of  ''Sound of Silence'' by Simon & Garfunkel the band recorded for the album. I'll Say Bye Bye sang by Chris Warren is a great song, too. A lot of the album is very good pop stuff and if you are in british sounding sunshine stuff grab it.

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

Tommy Boyce & Bobby Hart - The Anthology (1995 A&M Records) Flac & mp3@320

It might be cute to say that Boyce & Hart were the hand inside the Monkees' puppet head, if not for the fact that the Monkees had legitimate talent and have already caught enough grief over their prefabricated origins. Boyce & Hart had yet more talent, though, and not only plied the Monkees with hit songs but, in some cases, performed them, too. Tommy Boyce enjoyed minor teen idol success as a solo act with "I'll Remember Carol" in 1962 before teaming up with Bobby Hart to produce one Top Ten hit ("I Wonder What She's Doing Tonite") and a handful of lesser chart entries.
This Australian anthology, simply titled The Anthology, contains two of Boyce's solo recordings (including his hit), 18 A&M recordings from Boyce & Hart's prime (including all of their hits), and five songs the duo cut with the Monkees' Davy Jones and Micky Dolenz in the '70s. The Boyce & Hart recordings are the highlights, especially the bubblegum pop of songs such as "I Wonder What She's Doing Tonite" and "The Countess." Listeners already familiar with the Monkees' albums will experience déjá vu throughout as Boyce & Hart demonstrate again and again the extent to which they were the architects of the Monkees' sound.
Even the Monkees' detours into pop psychedelia are matched by Boyce & Hart on a trippy rendition of "Jumpin' Jack Flash." The theme song from the 1967 spy film The Ambushers (complete with gunshot sound effects) is campy fun, as are the mid-'70s cover versions of "Teenager in Love" and the Beach Boys' "Sail on Sailor," provided one doesn't approach them with high expectations. For those who want only the Boyce & Hart recordings, a more recent compilation on Rev-Ola titled I Wonder What She's Doing Tonite: The Best of Boyce & Hart limits its focus to recordings from the pair's late-'60s heyday(

Great pop songwriter and also fine recording artists. The anthology is a nice collction and is a must for those who are into this kind of pop music.

          Frank                    Flac part 1Flac part 2  & Flac part 3     - mp3@320

Earth Quake - Leveled 1977 (Vinyl, Beserkley Records) Flac & mp3@320

One of Earthquake's best, this record features some nice originals ("Lovin' Cup" and especially, "Upstairs") and a solid version of Mann & Weil's "Kicks." (Jim Worbois,allmusic)

I second that. ''Lovin' Cup'' starts the album followed by a great version of ''Emma'' by Hot Chocolate. In my opinion the best track of the album (and by the way also by Hot Chocolate).
The album have only eight tracks but we are in the '70s right?! Very fine rock album.
Have fun
               Frank     Flac part 1  &  Flac part 2        -  mp3@320

The Majic Ship - The Complete Recordings 1966-1970 (1997 Gear Fab Records) Flac & mp 3@320

'50s singer Johnny Mann discovered Majic Ship, and the Tokens produced their first single, so it would be logical to assume that the band gravitated toward straight pop, and, in fact, many of their earliest recordings did veer toward a sort of garage-pop hybrid that was, at best, pleasant. One Tokens-produced side, "Green Plant," on the other hand, hinted that the hearts of the members of the band lay in heavy rock grounded in the garage-psych aesthetic.

When it came time to record their self-titled debut album in 1969, the music was much more in that vein. This Gear Fab CD collects all of Majic Ship's official recordings, including early singles and demos, and, as such, stands as the band's definitive document. Majic Ship prominently featured Gus Riozzi's organ and Mike Garrigan's distinctive hard rock holler, and was only a few steps removed from fellow New Yorkers Vanilla Fudge. Like that band, Majic Ship also made use of popular songs by other artists, and although much of the material came from in-house, two of the most interesting songs on the collection are covers of the Bee Gees' "To Love Somebody" and a medley of Neil Young's "Down by the River" and Stephen Stills' "For What It's Worth."

The real starting point on the CD is "It's Over." It is here that the band began to display the heavy, nearly over-the-top rock sound that would characterize their only album. The music verges on bombast (and occasionally falls into it) but on the whole is held in check by the band's pumped-up energy. "Sioux City Blues" is a pure punker in the "Green Plant" mold, with buzzsaw fuzz guitars and shouted vocals, while "Life's Lonely Road" and "Free" are superb hard rockers.

The band also show a prevalent soul influence on songs such as "On the Edge" and "And When It's Over," spicing up the usual heaviness with some brass touches and a Rascals-like straightforwardness. The band even uncovers the soul inflections in "To Love Somebody." The brightest spot on the album, though, is the epic take on "Down by the River." They invest the song with a power that only begins to peter out around the nine-minute mark when it morphs into "For What It's Worth."

The collection, however, falters somewhat on the softer and slower songs and on the ballads, mostly because Majic Ship seems to only have one volume: loud and heavy. The songs that are supposed to (or should) be delicate are played as hard rock songs. Taken in bits and pieces, though, Majic Ship's heaviness can be invigorating.(

I have the impression as i have heard a nearly complete different album as the reviewer. However, if you are curious enough give it a try. The last title is a radio interview but who's not listed on the cover. The collection came with a very fine booklet.


     Flac part 1  &   Flac part 2  &  Flac part 3             mp3@320 part 1  -  mp3@320 part 2