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.


Monday, 11 September 2017

Ringo Starr - Time Takes Time (1992 BMG Victor) Flac & mp3@320

On his first new studio album to be released in the U.S. in 11 years, Ringo Starr made a neo-'60s-sounding record that, if it didn't feature his Beatle-mates, certainly evoked them. Don Was, the king of creative retro, produced half the album, bringing in bands like Jellyfish and the Posies, who devote their careers to trying to sound like the Beatles of 1965-66. Here, with a real Beatle on drums and vocals, they came much closer. Of course, it's always a little weird when a veteran star makes what is essentially clone music meant to resemble the sound of his glory days.

But Ringo remains a distinctive drummer and an engaging singer, so even when he was singing something called "Golden Blunders," it was hard to blame him. Besides, there are worse things to copy than the Beatles. (

The Ringo Starr discography will be continued. Now! :-)  It seems i was a little lazy in the last few days... ''Time Takes Time'' were released in 1992 and as far as i remember it don't get to much good critics. Surely sometimes it sounds a little like the sound of his producers in some songs, but all in all they try to sound like their own role models. And we all know who are these role models, right?! Good work good pop album, Mr Starr...and fans...sorry, friends. :-)

          Frank                              Flac part 1  &  Flac part 2         new mp3 link

The Kitchen Cinq - When the Rainbow Disappears An Anthology 1965-68 (2015 Light In The Attic) Flac & mp3@320

It’s not exactly a secret, but the musical history of the 1960s is loaded with bands. A few got famous, some are still remembered, and many more hang in the purgatory of obscurity. From Los Angeles via Amarillo, TX, The Kitchen Cinq fell short of stardom but they definitely haven’t been forgotten; helping to insure their placement in the cultural memory is the most recent volume in Light in the Attic’s Lee Hazelwood Archive Series, When the Rainbow Disappears: An Anthology 1965-68. Collecting their LHI sessions, rare material as The Illusions and The Y’alls, and superb notes by Alec Palao, it’s out now on compact disc and double vinyl.
When the Rainbow Disappears carefully compiles the output of a worthwhile outfit, with The Kitchen Cinq’s background also shedding light on one of the decade’s more idiosyncratic pop artists in Lee Hazelwood. The set’s liners detail the Cinq’s struggles as the inaugural act on Lee Hazelwood Industries, the story providing supporting roles to vocalist Suzi Jane Hokom and fellow Amarillo scenester and future songwriter of note J.D. Souther.
Consisting of Dale Gardner on lead vocals, Mark Creamer on lead guitar, Jim Parker on rhythm guitar, Dallas Smith on bass, and Johnny Stark on drums, The Kitchen Cinq’s early Amarillo days were spent as The Illusions. Taken from two sessions, the five glimpses of these origins are amongst When the Rainbow Disappears’ best attributes

Divided between three originals and two covers, these entries simultaneously illuminate the infancy of The Kitchen Cinq and present the fruits of a perfectly sturdy mid-‘60s rock ‘n’ roll band. More to the point, they got work; The Illusions’ ’65 date offers “Young Boy,” a solid beat-combo-styled number from Parker with harmonica and appealing tandem vocals and a surprisingly non-rote cover of “Searchin’” by The Coasters that surely went down a storm during gigs.

The strategic covers extend to their garage-angled Baldwin organ-sporting ’66 recordings, as the Them cornerstone “Gloria” gets a spirited reading. More interesting is the growing assurance in the Stark/Creamer-written “Try” and Parker’s “Figareux Figareux,” an ambitious non-embarrassing excursion with creamer’s dad on flute.

No doubt The Illusions would’ve sounded boss on a Saturday night deep in the guts of ’65. Really, their main weakness was a generic name. The Kitchen Cinq is distinctively zany, but honestly it’s still no great shakes. However, the crummiest moniker these gents were ever briefly saddled with, courtesy of Amarillo R&R mover and shaker Ray Ruff, was The Y’alls, the group issuing one 45 under the unfortunate handle.
The byproduct of a more economical visit to Ruff’s 3-track studio, the influence of the Brit Invasion is palpable. The a-side is an echo-laden cover of The Beatles’ “Run for Your Life,” while the Stark/Creamer flip “Please Come Back to Me” ups the fuzz guitar; Palao mentions The Yardbirds, and that’s certainly observable, but the vocal harmonies suggest the impact of acts such as The Hollies and forecast movements westward.
It was through the relationship of Hazelwood and Texas transplant Tom Thacker that brought the unit to LA in ’66. They were promptly signed to LHI, renamed The Kitchen Cinq, and hooked up with Hazelwood’s singing partner Suzi Jane Hokom, her wish to work as producer being granted through the band’s debut for the label.

Based on “You’ll Be Sorry Someday,” she did a bang-up job. The increase in resources is immediately evident, the song’s robust sound spotlighting The Kitchen Cinq’s instrumental acumen (complete with surf-inclined guitar) and vocal dexterity in roughly equal measure, but perhaps the cut’s most curious aspect is a repeated “dead air” pause that might’ve limited its radio play. B-side rocker “Determination” finds those Texas roots showing as Gardner exclaims “Now get ‘em hoss!”
Before their single was even released The Kitchen Cinq had cut a full album; issued in April of ’67 as Everything But, it’s a highly likeable hodgepodge including redone Illusions material and a bunch of covers. Since few outside of Texas had heard The Illusions, the fresh readings of “Young Boy” and “Please Come Back to Me” make total sense, and the folk-rocking versions of Neil Diamond’s “Solitary Man” and Buffy Sainte-Marie’s “Codeine” are more than adequate, especially the latter with its Lenny Bruce namedrop at the end.
“Last Chance to Turn Around” was waxed earlier by Gene Pitney, the Cinq’s take stripped down and rocking, but its “Still in Love with You Baby,” a gleaning from The Beau Brummels and “I Can’t Let Go,” a borrowing from The Hollies, that really highlight the ability to thrive under pressure. “If I Think…” is by LHI house writers, and it’s maybe the most polished tune from this period; “Need All the Help I Can Get,” a Hazelwood composition previously recorded by Hokom, kinda sounds like The Association crossed with Bobby Fuller.

Though it appeared in ’68, Palao identifies “Good Lovin’ (So Hard to Find)” b/w “For We Never Met” as deriving from the recordings that shaped Everything But. The brisk plug side was written by Souther (who later performed with the Cinq) and dates back to his Amarillo group the Cinders, and the flip is a Stark/Creamer collab seemingly designed for slow dancing. I like the duo’s “(Ellen’s Fancies) Ride the Wind” better; dating from November of ’66, it and “When the Rainbow Disappears” are progressive yet restrained.
Later recordings utilize the members on vocals only. Stark had left, replaced by Walter Sparman for shows, and the records weren’t selling; Hokom tapped arranger-producer Tandyn Almer (also writer of “Along Comes Mary”) and The Wrecking Crew to try a fresh approach. The resulting cover of Al Kooper’s “The Street Song” is a gem of ornately assembled ‘60s baroque pop, and if less bold, “I Want You” is nearly as strong an example of this tricky style.
Arranger Don Randi was involved in subsequent sessions. The uptempo “Wasn’t it You” bails on the baroque for the climes of inoffensive production pop (it’s a Goffin-King ditty best known by Petula Clark). While essentially a demo, “I Am You” improves the situation with regal horns at the close. And due to a change in distributors from Decca to ABC, December ‘67’s “Does Anybody Know” b/w “Dying Daffodil Incident” was issued as A Handful.

The result of another Randi outing, the energetic a-side is a pleasant surprise. There’s simply no way the flip’s going to live up to its title, but the mid-tempo brandishes an utterly mersh sitar and saunters around like a later Turtles single. Bluntly, it’s not bad for a band whose window of opportunity was rapidly closing, and Light in the Attic’s latest retrieval effort is unexpectedly cohesive.
The Texas stuff is exciting, the Everything But-era underscores versatility, and the late selections, if not as successful overall, don’t falter. Those pegging The Kitchen Cinq as a mere exponent of Lee Hazelwood’s floundering aspirations should find When the Rainbow Disappears: An Anthology 1965-68 an enlightening listen. (

The first eleven tracks are from the ''Everything But'' album. I added the booklet from the vinyl release. By the way a nice review with some interesting facts (at least for me :-) ).

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

The Tages - Fantasy Island: The Complete Recordings, Vol.3, 1967-1968 (1994 EMI Svenska) Flac & mp3@320

The final of the three volumes on EMI (the others being Don't Turn Your Back and In My Dreams) covering Tages' entire 1960s discography is wholly devoted to 1967-1968 recordings, jamming 32 tracks onto one CD. As Tages were always one of the most Anglophile of '60s Continental bands (and one of the best such outfits), it's no surprise that this finds them evolving from their more Merseybeat/mod-oriented origins toward more ornately produced, at times baroque pop-psychedelia that was quite similar in many respects to records made in that style in the U.K. during the same period. As with their earlier efforts, these aren't quite satisfying on the whole, but are dotted with quite a few good-to-respectable songs, even if the highlights aren't as high as the best tracks they managed on their previous discs.

If there's an overriding criticism, it's that while Tages were as adept as any European band from outside the U.K. in emulating British rock trends, they did so in such a concerted and eclectic manner that they didn't project nearly as strong a unique personality as those groups that served as their inspirations. Their spring 1967 album, Contrast (contained here in its entirety), for instance, is all too apt a title, containing bouncy soulful pop ("Every Raindrop Means a Lot," one of their most popular songs, and "I'm Going Out"); bad American soul interpretation ("Sister's Got a Boyfriend"); appealing if wimpy melodic pop balladry ("Wanting"); "One Day," which almost sounds like a Zombies outtake if not for the strange accordion solo during the instrumental break; and spooky Zombies-ish near-psychedelia ("Hear My Lamentation"), among other things.

Elsewhere there's a weird song apparently about a transvestite, "She Is a Man," and from their dedicated attempt to crack the British market, a cover of a song co-written by the young Peter Frampton, "Halcyon Days." Yet if you do have the stamina to make it through all three of these compilations surveying the entire Tages discography -- admittedly something few listeners outside Scandinavia are likely to do -- the group's very willingness to try so many approaches with so much professionalism does grow on you, even if Tages lacked the finishing touches to put themselves into the international big leagues.(

The Tages was naturally one of the strongest european bands outside of britain and their songmaterial is partly very impressive as well as their arrangements were quite good . I post all three volumes of the complete recordings. If you wonder why i start with vol.3 it's because i listen at the moment to vol.3 and thought, why not begin with the third part. Vol.1 and 2 will follow tomorrow. Hope you like it

Viel Spass
               Frank    Flac part 1 &  Flac part 2  & Flac part 3       mp3@320

VA - The Golden Years Of Dutch Pop Music - The Sixties Nuggets Singles A & B Sides (Universal Records) Flac & mp3@320

Hello Folks, as i announced some days ago i post today ''The Sixties Nuggets - Singles A & B Sides'' from the great ''Golden Years Of Dutch Pop Music'' series by Universal. I recommend to buy the record if you like it. Support the artists you like. You can buy the album here and naturally wherever you prefer to buy. The links will expire next saturday 16th of september. 

 Really the most of the songs presented here are fine sixties stuff of pop, beat, psychedelia, garage music made by dutch musicians of the time then. Also the b sides of the singles offer truly good stuff.
In my opinion the dutch rock and pop music of the sixties was way ahead of the other european countries except... naturally the british. I think you will have a lot of fun to detect interesting bands or also enjoy what you already knows. However, i really love it and hope you will have fun as well.

          Frank   Flac part 1  & Flac part 2Flac part 3Flac part 4    

                      mp3@320 part 1mp3@320 part 2