Pop Rock; Fludd - Fludd 1971 (2010 Wounded Bird Records)

Brothers Brian and Ed Pilling, previous members of the Wages of the Sin, formed Fludd in 1969 with Jorn Anderson and Greg Godovitz. Peter Czankey was recruited in 1972 and Gord Waszek joined two years later. Though the band's first two singles were for Warner Brothers, they moved to Daffodil for the self-titled 1972 debut and On!, also in 1972.

Great Expectations was issued in 1976 for Attic, but the band broke up when Brian Pilling died of cancer in 1978. The greatest hits collection From the Attic '71 to '77 appeared in 1977. Greg Godovitz later formed Goddo. (John Bush, allmusic.com)

Fludd is an entertaining album with Beatles influences in some songs. The album conveys a relaxed pop atmosphere and is simply fun. I'm just a little irritated about the statement by allmusic that the album was released on Daffodil. But it is listed in most other sources as Warner Brothers release. Anyway - good album :-) Enjoy.(Frank)

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Marvelous U.S. Sunshine Pop; The Sundowners - Captain Nemo 1968 (2007 Rev-Ola)

The Sundowners' sole album suffers from the problems afflicting many similarly obscure late-'60s pop/rock LPs on major labels. One, the group can't really decide what they want to be, which though leading to some admirable versatility, also ensures a sort of anonymity. Two, there aren't any really good songs, though one or two come close.

It might be backhanded praise, but as those sort of records go, this is considerably above the average; the production's very good and full, the singing and harmonies are decent and committed, and the Sundowners play pretty well. Still, they almost sound like different groups from track to track, or at the very least like they're not quite sure whether to be all-out commercial, or try and slip some hipness in on the side.

There are some engaging near-Association-strength vocal harmonies and bouncy melodies that put them close to the sunshine pop camp at times, yet at other times they skirt mushy easy listening rock. "Dear Undecided," clearly the best track, is like a fusion of the Hollies and (if this isn't a contradiction in terms) Herman's Hermits at their toughest, and the one you're most likely to have heard before, since they played it onscreen in an episode of the popular late-'60s TV show It Takes a Thief.

Other passages indicate they might have been serious Byrds and Who fans -- "Ring Out Wild Bells" has heavy traces of both groups -- yet they don't pursue those inclinations as all-out as they could have, to their detriment. Then there's a mediocre soul-rock instrumental, slightly psychedelic pop/rock (the title cut), and forced blue-eyed soul. It's not that bad on the whole, but certainly not all it could have been. (Richie Unterberger, allmusic.com)

I'm not quite sure if I posted the album on the old blog, but it doesn't really matter. I love this kind of Sixties music and can only recommend it to everyone. Definitely
one of the best bands who played this kind of pop music. Wonderful vocal passages, great guitar work, very good arrangements and poppy melody lines. What more do you want? Of course assuming you like this kind of music, then this could be the right album for you. ;-) . 5 stars out of 5. Enjoy.(Frank)

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Garage-Power Pop From Norway: The Kwyet Kings - Cherrypie 1995 (Screaming Apple Records)

All good Kinks fans need not be told this band’s name is a play on the British group’s Kwyet Kinks EP, which was released in the fall of 1965. The Kwyet Kings were obviously dedicated followers of Kinks fashion, and such an influence is not only evident in their handle, but their cool music as well.
Based out of Norway, the band came together in the early 1990s and went onto spawn a rope of singles, three full-length albums and a compilation of 45s during their livelihood, which lasted until the end of the decade.

As far as I’m concerned, there are no duds clogging the Kwyet Kings catalog, but their second album, Cherrypie, is the one that especially turns my crank.
Surging forth with nimble and quick performances, accented by a fetching fusion of belly-rumbling power pop rhythms and sugar-fueled garage rock energy, every song on the disc chimes, crunches and crackles with vim and vigor.

 Tracks like “Twisting My Nerves,” “Walk You Home,” “Don’t Wanna Be In Love” and the title cut of the album cycle right in on the band’s grand gift for parenting airtight material. Fit as a marathon runner, there is not an ounce of fat or flab to be had here.
The tunes, which share tales of love and lack of love, are short, compact and dangerously infectious. Choppy guitar riffs sit knee to knee with strident drum fills, while the vocals and harmonies are spunky and excitable.

Along with the noted Kinks reference, Cherrypie (Screaming Apple Records) also pays ample tribute to the Ramones, the Romantics and the Records. Though the sound and structure of the songs on the disc tend to be highly similar, the band’s passion and determination is so contagious that you’re sure to develop a serious addiction to these hummable nuggets. Containing more hooks than a fly fisherman’s tackle box, the sparkly songs combine pop instincts with a punk attitude in a wildly appealing manner.
The Kwyet Kings were a great band, and Cherrypie documents them at the top of their game. (Beverly Paterson, somethingelsereviews.com)


All said. Enjoy. (Frank)

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                                pass: SB1

Southern, Folk, Country Rock: Lonnie Mack - The Hills Of Indiana 1971 (2003 Sundazed)

The third and last album that Lonnie Mack recorded for Elektra in his brief stint with the label in the late '60s and early '70s, The Hills of Indiana must have surprised quite a few listeners familiar with his earlier work. There were little of the blues-rock-R&B-oriented guitar fireworks that many of his earlier recordings had boasted. In contrast, it was a pretty laid-back affair with plenty of roots rock, country-rock, and early-'70s singer/songwriter influences.

Steel guitar and fiddle augmented the usual rock lineup, string and horn arrangements were devised by Norbert Putnam (who played bass on much of the record), and there were liberal touches of gospel in the songwriting, singing, and occasional background vocals. The set was divided between collaborative compositions between Mack and Don Nix (who sang lead vocal on "Three Angels") and covers of songs by Carole King, Bob Dylan, Mickey Newbury, Bill Monroe, and others. As with many early-'70s records -- including those of another early rock & roll guitar pioneer, Link Wray -- the influence of the Band's dignified Americana is substantial.

At times it sounds a little like the Band crossed with some of early Elton John's most American-influenced material, perhaps with a pinch of John Fogerty. While this type of stuff might not be Mack's forte, actually it's quite respectable, if low-key, and sung with endearing, earnest conviction.(Richie Unterberger, allmusic.com)

This album showed Lonnie Mack from a completely different musical side. But for him this was nothing new or unusual. He himself said: ''I've been doing this a long time, too but i haven't done it too much on record''.
The record shows another side of Lonnie Mack and the quality is in no way inferior to his other R&B and Blues style. Very recommendable. Enjoy.(Frank)

 Flac (zippy)                                                                       Flac (M)

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                                      pass: SB1

'60s California Sunshine Pop: The Mamas And The Papas - Creeque Alley: The History Of The Mamas And The Papas (1991 MCA Records) 2 CD Compilation

They weren't the most important folk-rock group of the mid-'60s; the Byrds and others produced more enduring music. Yet the Mamas & the Papas were undoubtedly the most commercially successful folk-rock group of their time, racking up an astonishing nine Top 30 hits in little more than a year and a half.

This 43-song double-CD is by far the most comprehensive document of their legacy. It draws most heavily from their two 1966 albums (nine songs originate from their debut album, If You Can Believe Your Eyes and Ears, alone), when John Phillips' songwriting talent had yet to exhaust itself. Beyond the hits, the material is variable.

Quite a few album tracks -- especially "Got a Feelin'," "Straight Shooter," "Go Where You Wanna Go," "Once Was a Time I Thought," and their cover of Lennon/McCartney's "I Call Your Name" -- were strong enough to have been hits under their own steam. Their slowed-down, California-ized versions of rock oldies were more problematic.

And there's no doubt that their later material is less spirited and memorable than their initial burst of glory. The set includes various late-'60s and '70s solo recordings by each of the group's members (including small hit singles by John Phillips and Cass Elliot). Perhaps the most intriguing rarities are from the members' pre-Mamas days. These include commercial folk by the Big Three (featuring Cass Elliot) and primitive pop-folk-rock by the Mugwumps (including Elliott, Denny Doherty, and future Lovin' Spoonful member Zal Yanovsky). (Richie Unterberger, allmusic.com)

Mr Unterberger hits the nail on the head. A good compilation that reflects the work of the band.  There's nothing more to say. Enjoy.(Frank)

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Garage, NeoPsychedelia, : The Asteroid No.4 - King Richard's Collectibles (2001 Rainbow Quartz International)

Introducing... may have represented Asteroid No. 4's trip into druggy space rock, but its sophomore release is the band's ode to '60s garage. The "Psychedelphia" quintet's rock is stripped down from its effects-laden guitars, drawing from the likes of the Kinks, Nick Drake, and the Who. Several tracks, such as the upbeat "Monday Morning Gloom," are closer to traditional rock & roll, while "Poor Man's Falls" avoids electric guitar altogether, opting for flute-assisted folk. Of course, there are still psychedelic elements in the band's agenda (perhaps encouraged by the production of the Lilys' Kurt Heasley). These constants come in the form of gleeful harmonies, Byrds-esque guitars, and Mellotron. Surely enough to fulfill the needs of the psychedelia enthusiast. (Kenyon Hopkin, allmusic.com)

One of my favourite albums (although i like nearly the whole work by the band) by The Asteroids. This album sounds very 60s psychedelicgaragepopfolkrock. To me it's very ''back to earth''. Catchy melodies, piano, acousitic guitars, flute. Damn good. Enjoy.(Frank)

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                                pass: SB1

'80s Power Pop; The Romantics - What I Like About You (& Other Romantic Hits) 1990 (Epic)

What I Like About You (& Other Romantic Hits) is a ten-track best-of including the classic "What I Like About You," as well as some other fondly remembered hits like "Talking In Your Sleep" and "One in a Million." While this is a good distillation of the band's best moments (especially from the later albums), nothing matches the debut for consistent quality and power-packed catchiness. (Chris Woodstra, allmusic.com)

 Surely the debut album is a great work but their best selling album came in 1983, called ''In Heat'' and going gold shortly after the release of the album. With later releases the band moved more and more away from their power pop roots. ''What I Like About You (& Other Romantic Hits)'' is a fine collection of ten classic Romantics power pop songs. Enjoy.
(Frank)

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Pop, Pop Rock: Denny Doherty - Waiting For A Song 1974 (2011 Fantastic Voyage)

After a lackadaisical country-rock album in 1971 and a Mamas & the Papas contract-fulfilling reunion disc later that year, Denny Doherty laid low for a couple years before issuing this obscure effort. Waiting for a Song is a rather depressing record, Doherty being mired in melancholia more or less from beginning to end.

The title of "Give Me Back That Old Familiar Feeling," paired with the album's title, provide the intertwined recurring lyrical themes: Doherty as the lost artist looking for a song to sing and a reason to live -- the concepts becoming interchangeable after a while -- and continually looking to the past for fear of looking forward. This motif is underscored by the presence of his former bandmates, Cass Elliot and Michelle Phillips, on backing vocals throughout the record.

Their harmonizing voices are in fine form, but the arrangements are far less novel than those from the group's heyday, and Doherty doesn't hit notes as brightly with his tenor as he once did. Less-than-stunning material and poor distribution rendered this album an instant obscurity, though collectors and Doherty fans were delighted by its reissue on the Varese Vintage imprint in 2001. In hindsight, the record is remarkable for its naked honesty, Doherty making little secret, either in the tunes or in the liner photos, of how much of a wreck he is, but on its own merits, Waiting for a Song is too much of a buzzkill to tout unreservedly. Highlights include the minor AC hit "You'll Never Know" and the Larry Weiss-penned ballad "Lay Me Down (Roll Me Out to Sea)." (Joseph McCombs, allmusic.com)

Arrrgh...this criticism from Mr McCombs really makes me very angry. The whole thing starts with the fact that he speaks of the '71 album as uninterested. Furthermore he talks about the dwindling quality of Denny Doherty's vocals compared to Mamas/Papas times. But he keeps silent that Doherty still delivers a more than convincing vocal performance on this album. He also talks about the bad 2001 distribution of Varese Vintage (I don't know the 2001 re-release). Which at first has nothing to do with the quality of the 1974 album. Furthermore he accuses him (Doherty) of being afraid of the future. In my opinion, I can say that I can also fantasize that the artist might want to process past lyrics. But McCombs doesn't even want to come up with this thought. And anyway, everything was better in Mamas/Papas times. At this point I might get the idea, McCombs is offended that Doherty didn't deliver the album that McCombs wanted: a mid-seventies Mamas and The Papas album. Maybe McCombs was the one who wanted to stay in the past? Anyway, this is one of the weakest (from a purely subjective point of view) written reviews I've read. That just had to come out now.So it's up to me to name the positive facts, lol. Of course from a purely subjective point of view ;-) .

To make a long story short: the album is full of really good songs. It has to be added that Doherty completely used foreign compositions here (except the composition ''It Can Only Happen In America'' together with Bud Fanton). And the selection can be described as extremely successful. In my opinion there is no weak song on the album. The really very good arrangements on the album are also convincing. After the already convincing '71 album Denny Doherty managed to present another really strong album. My favourite songs are ''Simone'', ''Together'' (both pretty Beatles inspired), ''Good Night And Good Morning''( Hall & Oates). But as I said, the whole album is more than convincing. Enjoy.(Frank)

Flac (zippy)                                                      Flac (M)

mp3@320 (zippy)                                           mp3@320 (M)

                                      pass: SB1

'60s, '70s pop, psychedelic pop from 2015: The Lemon Twigs - What We Know (2015 Wingspear) Cassette only release (100 published)

Sons of power pop songwriter/multi-instrumentalist Ronnie D'Addario, the Lemon Twigs were formed by brothers Brian and Michael D'Addario. Channeling some of the '70s singer/songwriter energy of their father's era with a healthy love of musical theater and an over-the-top performance display, the brothers began writing songs at young ages and delivered their 2016 debut album, Do Hollywood, on 4AD at the tail-end of their teenage years. Success came quickly for the band, with critical acclaim and a string of TV appearances as well as extensive touring. Their 2018 sophomore album, Go to School, was presented as a loosely conceptual musical and featured cameos by none other than Todd Rundgren and Big Star's Jody Stephens.

 Long Island brothers Brian and Michael D'Addario started the Lemon Twigs while they were still in their teens, each playing multiple instruments, counting guitar, keyboards, drums, horns, and strings among their proficiencies. The boys were raised in a musical home, sons of working musician parents. Along with an interest in theater, early musical influences like Harry Nilsson, Todd Rundgren, Wings, the Zombies, and other '60s and '70s Baroque pop figures played heavily into the band's sound at a formative time. In 2015 their earliest output arrived in the form of cassette-only album What We Know.

 Significant buzz had formed around the band even then, and they signed to indie superpower 4AD, releasing their "These Words" b/w "As Long as We're Together" single in 2016 and selling the 7" mostly while on a tour supporting Carseat Headrest. Their debut album, Do Hollywood, arrived later in the year, produced by Foxygen's Jonathan Rado. Lemon Twigs embarked on a tour in support of the album with a live version of the band that included Danny Ayala on keyboards and Megan Zeankowski on bass.

 They returned in September 2017 with Brothers of Destruction, a home-recorded EP written largely during the sessions for Do Hollywood featuring a handful of live staples from their touring set. In the summer of the next year, sophomore album Go to School arrived, a massive production conceptualized as a musical about a chimpanzee raised by human parents. The ambitious Broadway-inspired album included guest appearances by both of the D'Addario brothers' parents as well as power pop legends Todd Rundgren and Jody Stephens. (Neil Z. Yeung, allmusic.com)

After their debut album this is the second album (released on cassette only) i post here on the blog. This release is not as strong as their both later released official album releases of 2016 and 2018 but it will give you an idea about the creativity of this guys. I am a big fan of the brothers because they are the real stuff. Have fun(Frank)

Flac (zippy)                                                           Flac (M)

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                                 pass: SB1

Church Of The Cosmic Skull - Science Fiction (2018 Kozmic Artifactz)

As always i wanted put in a review for the album from a professional site/writer and i searched the web and found so much reviews and all nearly said the same. I don't write here what all of the reviews said. Just look here (https://youtu.be/7Yiq4ocwQJs) to this video by the band and you will know what kind of a band waits for you. Enjoy.(Frank)

Flac (zippy)                                   Flac (M)

mp3@320 (zippy)                         mp3@320 (M)

                                 pass: SB1