Saturday, 10 March 2018

Breezy soft psychedelic harmony pop: The Match - A New Light 1969 (2012 Sony + Bonus (Blu-Spec CD)


The Match 1969 album according to Time Lag Records, is a nice collection of “obscure breezy soft psych harmony pop for fans of Free Design, Small Circle Of Friends, Millennium etc.”, and to my ears is one of the best examples of the genre, with lovely vocal harmony arrangements backed by some beautiful string arrangements.

The group consisted of four vocalists and a drummer, (last names unknown, save for one) Richard (bass voice), Bjorn (baritone), Marshall (high tenor), Pat Valentino (vocal arrangements-second tenor) and Tony (drummer).

The album features a mix of popular movie and musical themes and songs of the time, including “A Time For Us” from “Romeo And Juliet”, “Where Do I Go” from the musical “Hair” and a great vocal arrangement of “Alfie” from the movie of the same name, and “Through Sprayed Colored Glasses” which was from “Follow Me” and was originally performed by Dino, Desi & Billy on that lp’s soundtrack. There’s also a wonderful version of Simon & Garfunkel’s “Scarborough Fair/Canticle”.( wingsofdream.blogspot.lu)


Wonderful album with great multi-harmonic vocals and very well arranged orchestral sounds. Who loves this kind of music (as I do) is well advised with this album. And it have two bonus tracks (''Mirror Maze Lady'' + ''Time''). (Frank)



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The John Schroeder Orchestra Featuring Sounds Orchestral ‎– Space Age Soul (1996 Sequel)



Sounds Orchestral was a British studio-based easy listening group, assembled by John Schroeder with Johnny Pearson in 1964.


John Schroeder had worked with Johnny Pearson previously over at Oriole Records, producing Johnny Pearson's first solo album. Moving to Pye, Schroeder was quick to assemble the line-up which would become Sounds Orchestral, intended to be a competitor group to EMI's successful Sounds Incorporated. Johnny Pearson (piano), Kenny Clare (drums and percussion), and Tony Reeves (bassist, who later played with Curved Air) filled out the group. Other members included Peter McGurk on bass, who died in June 1968. McGurk's position was assumed by Frank Clark. Generally in the studio, there would be a trio, backed by other instruments led by Tony Gilbert, who would play violin on many of the tracks. On the second last album in 1975, members had changed to Johnny Pearson on piano, Ronnie Verrell on drums, and Russ Stapleford on bass guitar.

Sounds Orchestral's version of Vince Guaraldi's 1962 instrumental "Cast Your Fate to the Wind" hit No. 1 on the 1–15 May 1965 US Adult Contemporary charts and No. 10 on 8 May 1965 Hot 100.[1] With Sound Orchestral's peak that week, the British Commonwealth came closer than it ever had or would to a clean sweep of a weekly Hot 100's Top 10, lacking only a hit at number two instead of "Count Me In" by the US group Gary Lewis & the Playboys.[2][3] "Cast Your Fate to the Wind" sold over one million copies and achieved gold disc status.[4] The track peaked at No. 5 in the UK Singles Chart some three months earlier. The follow-up, "Moonglow" (1965) reached No. 43 in the UK.[5]

Sounds Orchestral made one last original album, in 1977 for K-tel, featuring 20 of the most current and popular television and movie themes. By the close of 1977, Sounds Orchestral had released sixteen different record albums, twelve vinyl 7" singles and three vinyl EPs, besides those in the United Kingdom, which had many differently packaged versions of the latter, particularly singles.

Pianist Johnny Pearson is featured on all the Sounds Orchestral albums. When Sounds Orchestral had effectively come to an end in 1977, Pearson had already established a successful solo career on other record labels. He was also music arranger on the UK BBC television programme, Top of the Pops.

At the end of the late 1980s, the CD era arrived. A number of Sounds Orchestral albums were re-released for the first time on compact disc. Most notable was the reissue in 1991, of the fourth 1966 Sounds Orchestral album, Sounds Orchestral Play Favourite Classical Melodies. Retitled Classical Classics, but with eight new tracks by Schroeder and Pearson, the album was dedicated to the memory of Sounds Orchestral members who had died, including McGurk, Clare, and Gilbert. Pearson himself died on 20 March 2011.

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West Coast Legend's Last Work: John Phillips - John Phillips 66 (2001Eagle Records)


John Phillips may easily be called one of the best pop songwriters of the later 20th century. He honed his songwriting and arranging skills with singing groups that gained a modicum of success. But his crowning musical achievement was the work he did with his '60s group the Mamas and the Papas. Their popularity helped to stem the tide of the "British Invasion" of the 1960s, and bring attention back to American popular music. After a stunningly successful three-year run, the band collapsed under the weight of personal tensions, and seemingly so did Phillips. His later challenges involved battling years of substance addiction and recovering his health and creativity. John Edmund Andrew Phillips was born on August 30, 1935 on Parris Island, SC. He was the son of a career military man, and a homemaker. Phillips' upbringing was troubling and often lonely.
Phillips formed several bands while in high school, in Alexandria, VA, and again, after he returned home from an abortive try at college life. He had a minor hit, "Softly," in the late '50s with his group, the Smoothies. Phillips had arranged his songs with Four Freshmen style harmonies, to sing with friends Phil Blondheim (who later changed his name to Scott McKenzie), Bill Cleary, and Mike Boran. In the early '60s, Phillips formed a folk group called the Journeymen with McKenzie, and talented banjo player Dick Weissman. The Journeymen fared well, touring extensively on the folk club and college circuit. The stress of touring strained his first marriage to socialite Susan Adams, mother of his two eldest children, Jeffrey and Laura MacKenzie. (As a teenager Laura, known as MacKenzie Phillips, would become an actress, best known for her role in the 1970s sitcom One Day at a Time.) But the breaking point came when Phillips met an attractive 17-year old blond named Michelle Gilliam during an engagement at the San Francisco coffee house the Hungry i. Phillips eventually divorced Adams and married Gilliam in 1962. When Scott McKenzie and Dick Weissman left the Journeymen in 1964, Phillips formed the New Journeymen, performing with Michelle and banjo player Marshall Brickman. In 1965, Brickman left the group. John had met Denny Doherty, a strong voiced tenor, on the road, and they had become good friends. Doherty filled in at a New Journeymen gig, and he, John, and Michelle developed a distinctive blend of voices.
The popularity of folk music was dwindling, and Doherty encouraged his friend to write pop/rock material in the vein of groups like the Beatles. As Phillips began to do that, Doherty suggested they include his friend, Cass Elliot, in their group. Elliot was already a well-established folk singer, having performed with groups like the Mugwumps (with Doherty) and the Big Three. However, John resisted the idea of including Elliot in the act. John, Michelle, and Denny decided to stay in the Virgin Islands, to escape the autumn chill of New York, and to work on a new band sound. Elliot traveled there to be near Doherty. Fueled by the growing quadrangle of romantic tensions in the group (Elliot had a longstanding unrequited love for Doherty, Doherty and Michelle began a flirtation there which would later culminate in an affair), John wrote sensitive yet stirring songs such as "Straight Shooter" and " I Saw Her Again," which allude to his feelings about Michelle's relationship with Doherty. These songs, along with others he wrote that year, would be the first hits for the group, which would be named the Mamas and the Papas. When they returned to the states, John, Michelle, and Doherty drove to L.A., where Elliot was already staying. Bending to her immense vocal talent, John officially made Elliot a part of the group. He got them a live audition with producer Lou Adler, at the time the head of Dunhill Records. Adler was so bowled over that he offered them a deal immediately.
Dunhill released their first album, If You Can Believe Your Eyes and Ears, at the start of 1966. In 1966, the group had their big hit with "California Dreamin'," a song about the cold and alienation of a New York winter that eventually topped out at #4. Another cut from the album, "Monday, Monday," soon followed up the charts and reached #1. Huge popularity and financial success followed. John also scored a huge hit with his friend Scott McKenzie's rendition of John's song "San Francisco" in 1967. Another achievement of John's that year was helping to organize the Monterey Pop Festival, one of the cultural highlights of the 60's and the place where Jimi Hendrix burst onto the American scene. Several more albums followed, filled with John's trademark blend of pop, rock, and tin-pan alley influences, and accented by his precise arrangements of stunning harmonies. But personal animosities overwhelmed the Mamas and the Papas, and they broke up in 1968. Two years after after the birth of their daughter, Chynna, in 1968, John and Michelle divorced. (Chynna would be part of the '90s pop group Wilson Phillips). Phillips released his first solo album, John, the Wolf King of LA, in 1970. Self conscious about what he believed to be his limited vocal talents, he intentionally hid his voice in the mix.
In spite of the inclusion of several excellent new songs, the album was not a success. Phillips married film actress Genevieve Waite in 1972. The couple had two children together, a son, Tamerlane, and a daughter, Bijou, (who became a model and actress). In the early '70s, Phillips wrote music for a few films (Myra Breckenridge, Brewster McCloud) and created a stage musical called Space, as a vehicle for Waite. However, control of the project was wrestled from him by the producers, who changed much of the material and the name of the show, to Man on the Moon. After opening on Broadway, the production closed after a couple of performances, amidst horrible reviews. This disappointment propelled Phillips further into drug addiction. For years, he made only an occasional foray into work (such as the musical score for Nicolas Roeg's film The Man Who Fell to Earth). In 1977, encouraged by his friend Mick Jagger, Phillips began to write and record a new solo album which Jagger and Keith Richards would produce. But the project was derailed by Phillips' and Richards' increasing use of heroin, and ultimately shelved. Nearly a decade of drug abuse (and some drug dealing) culminated in a narcotics trafficking conviction for Phillips in 1981. After spending a month in jail, he went through rehabilitation, and entered a much more productive phase. He re-formed the Mamas and the Papas, with his daughter Mackenzie Phillips, Spanky McFarlane (of the group Spanky and Our Gang), and Denny Doherty. Throughout the '80s and '90s, John toured with various versions of the group.
In 1986, he published his highly candid autobiography, Papa John. He was divorced from Waite in the 1980s. He co-wrote a song for the Beach Boys, "Kokomo," which became a number one hit in 1989. In spite of his sobriety, years of alcohol and drug abuse had damaged Phillips health, and in 1992 he received a liver transplant. In 1995, Phillips married his fourth wife, Farnaz. In 1998, as the Mamas and Papas were inducted into the Rock and Roll Hall of Fame, John Phillips appeared with Michelle and Denny Doherty to sing "California Dreamin'" (Elliot having passed away in the 1974 of a heart attack). Phillips suffered other health problems in the late '90s. However, in the year or so before his death, Phillips had a surge of recording activity. He finished the album he had begun with Jagger and Richards, years before. Titled Pay Pack and Follow, it was released in May 2001. He also completed a new solo album called Phillips 66 which was released posthumously in August of 2001. John Phillips died on March 18, 2001, in Los Angeles, CA, of heart failure.(allmusic.com)

The most important sentence about this man and his musical work is the first one at the beginning of the critic:

''John Phillips may easily be called one of the best pop songwriters of the later 20th century.''
I hope he had made peace with his demons and had some really great time in his life. And i don't talk about L.A. pop stars partys here. Have fun with the music of John Phillips.(Frank)

Flac 

Tuesday, 6 March 2018

The Pretty Things - The Sweet Pretty Things (Are In Bed Now, Of Course) 2015 DigiPack Repertoire


They were the bad boys of the early beat era, more infamous than the ROLLING STONES, musically at eye level with THE WHO. But to the great fame beyond their loyal fan community it was unfortunately never enough for THE PRETTY THINGS, named after a Bo-Diddley song, in their 52 years of band history.


Nevertheless, singer Phil May and guitarist Dick Taylor never let themselves be distracted by their passion, neither on stage nor in the studio, from which the new, dylanesk titled album' The Sweet Pretty Things (Are In Bed Now, Of Course)' originated seven years after' Balboa Island'.



Ten live recorded songs between hard blues (' And I Do'), good-humoured jerks (' Turn My Head'), Mellotron dyed psychedelic rock (' Dark Days') and acoustic dreams (' Hell, Here And Nowhere'), The whole thing is garnished with tastefully interpreted cover versions of' Renaissance Fair' (THE BYRDS) and' You Took Me By Surprise' (SEEDS) - an offer that no historically conscious rock' n' roll friend should unheard of. Dino-Sound at it's very best!(streetclip.tv)



The Pretty Things can't go wrong. They always do and have done the right things. Enjoy!(Frank)

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Monday, 5 March 2018

Early Seventies Pop/Power Pop: The Wackers - Hot Wacks 1972 (2005 Collector's Choice)


Though the Los Angeles-based Wackers had founded their career on an appealing Beatles-based prototype power pop, their second album finds them reaching farther afield, adding CSNY-style harmonies to their sonic palette in "Do You Know the Reason" and "Time Will Carry On." In addition, there are post-psychedelic outings on both the title track and the album's three-song finale, climaxing in the mantra-like "Time Will Carry On."
But despite their frequent experimentation, the Wackers sound most confident on the "Dear Prudence"-influenced "We Can Be," also managing an assured tribute to the post-Fabs John Lennon in their version of IMAGINE's "Oh My Love." HOT WACKS is an appealing mish-mash of early-1970s rock styles performed by an increasingly self-possessed band that knows what it wants, even if it's not quite sure how to get it.(allmusic.com)


Good pop album, maybe with a little too much quotes by other bands and artists. Nevertheless the album is great fun and is full of good pop music.(Frank)

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The Apple Pie Motherhood Band - The Apple Pie Motherhood Band 1968 (2016 Estrella)



The Apple Pie Motherhood Band were a Boston-based aggregate combining a formative heavy blues base with equally earthy elements of psychedelia. With Atlantic Records staff producer Felix Pappalardi behind the console, the results were a reflection of the ever-changing pop/rock soundscape. Although the band' s lineup would remain in a constant state of flux, the ensemble credited here includes Dick Barnaby (bass), Jack Bruno (drums), Joe Castagno (guitar), Ted Demos (guitar), and Jeff Labes (organ/piano). Although Anne Tanzey, their original "chick" (à la Janis Joplin) singer had already split by the time they were recording this -- their self-titled debut album -- Marilyn Lundquist (vocal) was temporarily filling the vocalist's void. Her dulcet tones grace several songs -- particularly notable is the Baroque-flavored update of David Blue's "I'd Like to Know" and the trippy "Ice," which Lundquist co-wrote alongside Demos. The thoroughly explored reading of Albert King's "Born Under a Bad Sign" is an obvious homage to British supergroup trio Cream who had previously reworked it into a blues-fused jam. Listeners can even catch Barnaby's note-for-note recitation of Jack Bruce's foreboding bassline during the waning moments of the fade. Labes' "Yesterday's New Song" is a minor-chord masterwork.
The gentle and understated melody perfectly supports some of the Apple Pie Motherhood Band's best vocal harmonies -- recalling the Association or Spanky & Our Gang at their affective best. Barnaby contributes the catchy and concise "Barnaby's Madness," and while the psych-meets-punk vibe is an earmark of the unit's Bosstown Sound roots, to a certain degree, the best of the band can be heard on the seven-plus minute slice of psych medley that links the group-penned instrumental "The Ultimate" to a blue-eyed soulful interpretation of Garry Bonner and Alan Gordon's "Contact." The number was a return to the Apple Pie Motherhood Band's prototype C.C. & the Chasers -- whose single "Put the Clock Back on the Wall" b/w "Two & Twenty" were both from the Bonner/Gordon songbook. Labes' quirky "The Way It Feels" may well have been inspired by Sopwith Camel's vintage sounding "Hello, Hello," while his upbeat "Apple Pie" is layered in sweet, harmony-laden sunshine pop. Labes likewise penned the closer "Variations on a Fingernail" that propels forward with tricky rhythmic syncopation reminiscent of early Mothers of Invention melodies such as "Mother People" and "Oh No." The Apple Pie Motherhood Band would continue with a revolving door personnel for another year and release their swan song Apple Pie (1970) shortly before breaking up at the dawn of the following decade.(allmusic.com)


On the band's first album the psychedelic and pop elements clearly predominate. The album opened with the blues classic'' Born Under A Bad Sign'' but with that almost everything was said. All other songs go in the psychedelic pop direction. And that made the band really good. Good songwriting was excellently implemented on the album and the band presented themselves from their best side on the album. A very good record full of ideas, which made the sound very individual and independent. For fans of psychedelic pop.(Frank)

Sunday, 4 March 2018

Pop Prodigy John Carters ''Beach Babys'': The First Class - The First Class - SST...Plus 1996 ( See For Miles Records) (2 Albums On 1 Disc)


Best remembered for the smash "Beach Baby," '70s pop group First Class was the studio creation of British singer/songwriter John Carter, who had previously enjoyed success with Ken Lewis under the guises of the Flowerpot Men, Carter-Lewis & the Southerners, and the Ivy League. For "Beach Baby" -- a slice of richly harmonic pop in the mold of classic Beach Boys -- Carter enlisted the services of singer Tony Burrows, the voice of other pre-fab hitmakers including the Edison Lighthouse ("Love Grows [Where My Rosemary Goes]"), White Plains ("My Baby Loves Lovin'"), the Brotherhood of Man ("United We Stand"), and the Pipkins ("Gimme Dat Ding"); upon its release in 1974, the single reached the Top Five on the U.S. pop charts and also scored in the U.K.
A self-titled album and follow-up singles including "Dreams Are Ten a Penny" and "Funny How Love Can Be" tanked, however, and after releasing a second LP, The First Class SST, Carter dissolved the project in 1976.(allmusic.com)


Those who loved John Carter's work from the 1960s will not be disappointed with his songs and productions, which he delivered in the 1970s. Carter has always attached great importance to quality. His pop compositions do not need to fear comparisons with works by other pop prodigies of that time. Carter always produced his songs with fantastic arrangements. Everything was worked out down to the last detail, but it conveyed a lightness that was simply fun. Many of the songs were written in collaboration with wife Jill Shakespeare, including the 1974 song' Beach Baby', which climbed to the top 3 of the U. S. charts, conquered all of Europe and made it to 12th place in the UK. Those who like John Carter's pop music and don't own these two albums shouldn't miss them, and it might be interesting to note that the John Carter Anthology only contains four songs from these two albums. So this is a really a fine extension. I would like to mention here once again that I consider John Carter to be one of the most talented pop musicians of his time. :-) (Frank)




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Bobbie & Laurie - Go!! & Hitch Hiker (Cum Sunt Ambulant) 1965-1966 Vinyl (2001 Rock-In-Beat)


Sort of a mishmash of the Beatles, Peter & Gordon, and the Everly Brothers, Bobby & Laurie were one of Australia's first and best responses to the British Invasion. Comprised of Bobby Bright and Laurie Allan (who were both guys), they released no less than eight singles and three albums in Australia in 1965 and 1966. Writing much of their own material, they were quite popular in their day down under, although they made no impact whatsoever on the international scene.
Featuring close harmonies in the Beatles' style, they were actually one of the better British Invasion-inspired acts, outclassing many U.K. groups following in the Fab Four's footsteps. Leaning toward the tougher rather than the wimpier side of Merseybeat, they also roamed fairly far afield for their cover material, choosing relatively obscure U.S. R&B numbers and British beat B-sides and flops. They pursued an increasingly country & western-oriented direction before splitting at the end of 1966.(allmusic.com)


If you like artists like Beatles, The Everly Bros., Peter & Gordon, you can't go wrong here. Both albums are great fun.(Frank)


Flac (zippy)



Psychedelic Garage Sounds: The Human Expression - Love At Psychedelic Velocity 1965-1968 (2010 Collectables) Flac + mp3 & 1994 Version mp3


The Human Expression were a band from suburban Los Angeles whose music lurked somewhere in between garage rock and psychedelia. They're celebrated by garage rock fans for their second single, 1967's "Optical Sound" b/w "Calm Me Down" -- the loopy A-side was a celebration of inner space that appeared on the Nuggets box set, but the flip was a tough, sneering rocker, and the Human Expression clearly knew how to work both sides of the formula. The group also had something like a brush with fame when Scott Seely, owner of Accent Records, introduced them to a songwriter who had a pair of tunes he believed had potential; the writer was Mars Bonfire, and while the Human Expression ended up recording "Sweet Child of Nothingness," they turned down his other song, "Born to Be Wild," and Steppenwolf made the proto-biker anthem a hit a year later. During their 1965 to 1968 lifetime, the Human Expression released three singles, and Love at Psychedelic Velocity combines the six sides they cut for Accent as well as some unreleased tunes, demos, and early recordings by Jim Quarles, the group's lead singer. Judging from what's here, the Human Expression were certainly better than the average band on the California rock scene at the time; Quarles and guitarist Jim Foster were imaginative songwriters with a clever, slightly bent approach, and Foster's guitar style was an interesting mixture of traditional folk-rock jangle, tough fuzzy leads, and a willingness to play with reverb tanks and pickup switches to come up with unusual sounds. But Love at Psychedelic Velocity also tries to make an album out of a band that didn't have an album's worth of recordings; "Calm Me Down" is a great tune, but not so great that this album needs three versions of it, and the demo of "Every Night" doesn't reveal much except that the group's early recordings were done in a really crummy-sounding studio.
And while Quarles' pre-Human Expression tapes are interesting, they also capture a teenage kid working out ideas that he'd handle with greater skill later on. For garage/psych fanatics who wonder if there's more where "Optical Sound" comes from, Love at Psychedelic Velocity offers up all there is, but even though the bits and pieces are worth hearing, this never plays like any sort of proper album, and an EP of the singles might have been more satisfying.(allmusic.com)



Sure it's an exaggeration to use'' Calm Me Down'' more than once, but I don't think it was a decision of the band that was a single band. Nevertheless, a very good compilation has succeeded here, which is fun. For me, there is one question that remains unanswered. Would'' The Human Expression'' have been the band that could have made'' Born To Be Wild'' such a world hit that the song eventually became? Anyway, the songs here are fun and that's what matters to me.(Frank)
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Wednesday, 28 February 2018

New Zealand Pop Of The Sixties: The Simple Image - Spinning Spinning Spinning (The Complete Simple Image) (2001 His Master's Voice)


This album gathers together for the first time on CD this quintessential Kiwi band’s entire output for HMV. Their first single ‘Two Kinds Of Lover' made it to the Top 20 in 1968, while the second single ‘Spinning, Spinning, Spinning’ made it to Number 1 and stayed there for a month.All the singles and their B-sides are included, as well as their last single on Columbia EMI. The original album art has been retained as it is considered by many to be a true classic for the period.
To cap it off two unreleased songs are included.
Spinning Spinning Spinning shot to number one in June, 1968, with a unique new sound producer Howard Gable had created in using a phasing technique in the chorus. The record spent a month at the top, fighting off competition from The Small Faces and The Rolling Stones.The Little Bell That Cried, reached number nine in October, 1968, and The Grooviest Girl In The World charted top three in March, 1969. The Simple Image were awarded the group award for Entertainer Of The Year in 1969.
 With their mod image of navy blue capes with pink lining, floral shirts, bell bottom trousers and cuban heeled boots, they remained teenybopper favourites but Michael and the Slipper Tree would be the groups final success when it peaked at number seven in September of 1969.(newzealandcds.com)


The album can't really be called'' psychedelic'', although of course some songs of the sixties are popsike of the time back then. For the most part, there is a lot of sixties pop that is fun and catapulted the band to the top of the charts at that time.(Frank)


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