Goldenbrown77

The Undertones - Teenage Kicks (Best Of) (ReUp)

2010-01-03T11:55:00.009-08:00

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Original Post

The Records - Smashes, Crashes and Near Misses (ReUp)

2009-12-09T12:43:00.010-08:00

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Original Post

The Dubrovniks - Medicine Wheel

2009-10-23T11:57:00.009-07:00

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Format: MP3 (320K)
Tracks: 12
Label: Normal Records
Year: 1994

The band were first established in August, 1986 when Radalj teamed up again with James Baker (by then ex-Beasts of Bourbon), together with Boris Sujdovic (ex-Rockets, The Scientists, Beasts of Bourbon) and Peter Simpson (Spectre's Revenge) as the Adorable Ones. Within a year the Adorable Ones had renamed themselves The Dubrovniks in honour of the fact that Radalj and Sujdovic were both born in the historical Croatian city of Dubrovnik. The band having to change names as there already was a Brisbane band with that name... -Wikipedia-

The Lovin' Spoonful - French 60's EP Collection

2009-10-09T07:44:00.009-07:00

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Format: MP3 (320K)
Tracks: 40 (20 + 20)
Label: Magic Records
Year: 1995

Right on the tails of the Beau Brummels and the Byrds, The Lovin' Spoonful were among the first American groups to challenge the domination of the British Invasion bands in the mid-'60s. Between mid-1965 and the end of 1967, the group was astonishingly successful, issuing one classic hit single after another, including "Do You Believe in Magic?," "You Didn't Have to Be So Nice," "Daydream," "Summer in the City," "Rain on the Roof," "Nashville Cats," and "Six O'Clock."
Like most of the folk-rockers, the Lovin' Spoonful were more pop and rock than folk, which didn't detract from their music at all. Much more than the Byrds, and even more than the Mamas & the Papas, the Spoonful exhibited a brand of unabashedly melodic, cheery, and good-time music, though their best single, "Summer in the City," was uncharacteristically riff-driven and hard-driving. More influenced by blues and jug bands than other folk-rock acts, their albums were spotty and their covers at times downright weak. As glorious as their singles were, they lacked the depth and innovation of the Byrds, their chief competitors for the crown of best folk-rock band, and their legacy hasn't been canonized with nearly as much reverence as their West Coast counterparts.-Allmusic-

The Music Explosion - Anthology

2009-10-02T08:37:00.011-07:00

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Format: MP3 (320K)
Tracks: 21
Label: One Way Records
Year: 1995

One-hit-wonder Ohio garage band that reached number two in 1967 with "Little Bit O'Soul," a great gutsy pop/rock number with a classic bass-organ riff. Whatever personality they may have had was coated in the studio by producers Jeffrey Katz and Jerry Kasenetz, who would soon help create bubblegum with acts like the 1910 Fruitgum Co. and the Ohio Express. The Music Explosion didn't have nearly as juvenile a sound as those groups, but they never latched onto another piece of material nearly as attention grabbing as "Little Bit O'Soul," entering the Top 100 only once more with the tiny hit "Sunshine Games." -Allmusic-

Pink Floyd - Relics Plus (1967-1971)

2009-09-25T06:37:00.011-07:00

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Format: MP3 (320K)
Tracks: 19
Label: Bootleg
Year: ????

While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands. -Allmusic-

This CD contain the LP "Relics" with 8 bonus tracks from singles (1967-1971)

The Blues Magoos - Kaleidoscopic Compendium (The Best Of)

2009-09-18T15:04:00.010-07:00

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Format: MP3 (320K)
Tracks: 23
Label: Mercury
Year: 1992

Bronx-based quintet, denizens of the Greenwich Village club scene, and originally known by the tres psychedelic moniker The Bloos Magoos, The Blues Magoos made their mark in 1967 with a rousing, full-throttle, sub-literate, psychedelic garage rock single, "(We Ain't Got) Nothin' Yet." It wasn't a spacy, pretentious song, nor did it contain vague attempts at hippie-era mysticism, but was rather the kind of simple, direct, infectious rock & roll you could imagine five guys from the Bronx making. With a snotty lead vocal from keyboardist Ralph Scala and some wild-eyed guitar playing courtesy of then-16-year-old Emil "Peppy" Thielheim, America made the Magoos' debut single a Top Ten hit, sending it to number five in January 1967. With this impetus, the band used all the trappings of marketable psychedelia to promote their second album, Psychedelic Lollipop, which, despite the title's obvious pandering, was a fairly cool chunk of psych-garage rock. The album featured trebly, crappy-sounding guitars, a whiny Farfisa organ, yelled vocals, and a rhythm section that shelved nuance for thudding simplicity. But as the psychedelic era gave way to the hippie era's extended raga-rock proclivities, by 1969, the Magoos seemed anachronistic. Amazingly, they released a third album, with an equally absurd title, Electric Comic Book, that wasn't nearly as bad as it sounds. The original Magoos split up in 1969, but Thielheim couldn't resist beating a dead horse and led a mediocre blues-rock version of the band into 1972. -Allmusic-

The Electric Prunes - I Had To Much To Dream & Underground

2009-09-11T04:42:00.010-07:00

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Format: MP3 (320K)
Tracks: 24
Label: Bootleg
Year: ????

Though they got considerable input from talented L.A. songwriters and producers, with their two big hits penned by outside sources, The Electric Prunes did by and large play the music on their records, their first lineup writing some respectable material of their own. On their initial group of recordings, they produced a few great psychedelic garage songs, especially the scintillating "I Had Too Much to Dream Last Night," which mixed distorted guitars and pop hooks with inventive, oscillating reverb. Songwriters Annette Tucker and Nancie Mantz wrote most of the Prunes' material, much of which in turn was crafted in the studio by Dave Hassinger, who had engineered some classic Rolling Stones sessions in the mid-'60s. "Too Much to Dream" was a big hit in 1967, and the psychedelized Bo Diddley follow-up, "Get Me to the World on Time," was just as good, and also a hit. Nothing else by the group made it big, and their initial pair of albums was quite erratic, although a few scattered tracks were nearly as good as those singles. Although they began to write more of their own material on their second album, their subsequent releases were apparently the products of personnel who had little to do with the original lineup. Their third LP, Mass in F Minor, was a quasi-religious concept album of psychedelic versions of prayers; a definitively excessive period piece, its best song ("Kyrie Eleison") was lifted for the Easy Rider soundtrack. None of the original Prunes were still in the lineup when the band dissolved, unnoticed, at the end of the '60s. -Allmusic-

This CD contain the two first discs of The Electric Prunes.

Downliners Sect - The Definitive (Singles A's & B's)

2009-09-02T03:44:00.010-07:00

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Format: MP3 (320K)
Tracks: 29
Label: See For Miles
Year: 1994

Of all the British R&B bands to follow the Rolling Stones' footsteps, the Downliners Sect were arguably the rawest. The Sect didn't as much interpret the sound of Chess Records as attack it, with a finesse that made the Pretty Things seem positively suave in comparison. Long on crude energy and hoarse vocals, but short on originality and songwriting talent, the band never had a British hit, although they had some sizable singles in other European countries. Despite their lack of commercial success or appeal, the band managed to record three albums and various EPs and singles between 1963 and 1966, with detours into country-rock and an EP of death-rock tunes. Although they recorded afterwards, it is the Sect's early work that continues to attract connoisseurs of '60s garage and punk. -Allmusic-

THE RETURN

2009-09-02T03:41:00.011-07:00

THANKS FOR ALL COMMENTS IN HOLIDAYS

TIME FOR HOLIDAYS

2009-07-15T12:08:00.011-07:00

Bonniwell Music Machine - Beyond The Garage

2009-07-15T11:44:00.011-07:00

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Format: MP3 (320K)
Tracks: 20
Label: Sundazed
Year: 1995

Most famous for "Talk Talk", a Top 20 single from 1966 that was one of the most manic '60s garage-punk hits, the Music Machine had much more depth and songwriting talent than the typical one-hit wonders of the day. Lead singer and songwriter Sean Bonniwell's strangled lyrics and dark, verbose vision paced the group's wiry psychedelic guitar lines and ominous, minor-key Farfisa organ. The San Jose, California-born Bonniwell had been inspired to form his first group in high school in the late 1950's, after hearing "Only You" by the Platters. -Allmusic-

The Standells - Try It & Why Pick On Me

2009-07-07T12:05:00.010-07:00

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Format: MP3 (320K)
Tracks: 20
Label: Revenge
Year: 1991
This CD contain the discs "Try It" and "Why Pick On Me"

The Standells - Dirty Water & The Hot Ones

2009-07-07T11:58:00.010-07:00

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Format: MP3 (320K)
Tracks: 19
Label: Eva
Year: 1990

The Standells made number 11 in 1966 with "Dirty Water," an archetypal garage rock hit with its Stonesish riff, lecherous vocal, and combination of raunchy guitar and organ. While they never again reached the Top Forty, they cut a number of strong, similar tunes in the 1966-67 era that have belated been recognized as '60s punk classics. "Garage rock" may not have been a really accurate term for them in the first place, as the production on their best material was full and polished, with some imaginative touches of period psychedelia and pop.

The Los Angeles band were actually hardly typical of the young suburban outfits across America who took their raw garage sound onto obscure singles recorded in small studios. They'd been playing L.A. clubs since the early '60s, with a repertoire that mostly consisted of covers of pre-Beatle rock hits. Drummer (and eventual lead singer) Dick Dodd had been a Mouseketeer on television, organist Larry Tamblyn was the brother of noted film actor Russ Tamblyn, and Tony Valentino was a recent immigrant from Italy. Gary Leeds (later to join the Walker Brothers) was an early member (though he was replaced by Dodd). -Allmusic-
This CD contain the discs "Dirty Water" and "The Hot Ones"

The Sonics - Psycho-Sonic

2009-06-29T06:41:00.011-07:00

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Format: MP3 (320K)
Tracks: 29
Label: Big Beat
Year: 1993

A rock & roll band from Tacoma, WA, The Sonics original members were Gerry Roslie (lead singer, piano, organ), Andy Parypa (guitar), Larry Parypa (bass), Bob Bennett (drums), and Rob Lind (saxophone). Forming in the wake of the early-'60s success of local favorites the Kingsmen and the Wailers (whose Etiquette label they recorded for), the Sonics combined classic Northwest-area teen band raunch with early English band grit (particularly influenced by the Kinks), relentless rhythmic drive, and unabashed '50s-style blues shouting for a combination that still makes their brand of rock & roll perhaps the raunchiest ever captured on wax.

Lead singer Gerry Roslie was no less than a white Little Richard, whose harrowing soul-screams were startling even to the Northwest teen audience, who liked their music powerful and driving with little regard to commercial subtleties. With hit after hit on the local charts (and influencing every local band that ever took the stage), the band inexplicably was never able to break out nationally, leaving its sound largely undiluted for mass consumption. Breaking up in the late '60s (after one ill-fated album attempt to water down their style for national attention), the Sonics continue today to be revered by '60s collectors the world over for their unique brand of rock & roll raunch. -Allmusic-

The Trashmen - Tube City (The Best Of)

2009-06-23T05:55:00.011-07:00

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Format: MP3 (320K)
Tracks: 20
Label: Sundazed
Year: 1992

The Trashmen, a Minneapolis rock & roll band, they evolved from Jim Thaxter & the Travelers, recording one single under that name ("Sally Jo"/"Cyclone"). The group comprises Tony Andreason (lead guitar), Dan Winslow (guitar/ vocals), Bob Reed (bass), and Steve Wahrer (drums/vocals). Unfairly depicted as a novelty act, the Trashmen were in actuality a top-notch rock & roll combo, enormously popular on the teen-club circuit, playing primarily surf music to a landlocked Minnesota audience. Drummer Steve Wahrer combined two songs by the Rivingtons ("The Bird's the Word" and "Pa Pa Ooh Mow Mow"), added freakish vocal effects and a pounding rhythm to the mix, and, by early 1964, the group was in the Top Ten nationwide with "Surfin' Bird." Though the group continued to release great follow-up singles and an excellent album, their moment in the sun had come and gone; they disbanded by late 1967/early 1968. They re-formed in the mid-'80s and continued to play locally until Wahrer's death. The Trashmen are revered by '60s collectors as one of the great American teen-band combos of all time, their lone hit exemplifying wild, unabashed rock & roll at its most demented, bare-bones-basic, lone-E-chord finest. -Allmusic-

The Bobby Fuller Four - I Fought The Law & KRLA

2009-06-20T12:32:00.011-07:00

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Format: MP3 (320K)
Tracks: 24
Label: Ace Records
Year: 1990

With his blatant reverence for Buddy Holly, fellow Texan Bobby Fuller was a bit of an anomaly in the mid-'60s. Wielding a Stratocaster guitar and a brash, full sound, at his best Fuller sounded like Holly might have, had he survived into the '60s. Cracking the Top 30 in 1966 with a cover of Holly's "Love's Made a Fool of You" and the Top Ten with "I Fought the Law" (written by one-time Cricket Sonny Curtis), Fuller had just become a star when he died in mysterious circumstances in a parked car in Hollywood (the police thought it was a suicide, but just about everyone who knew him disagreed). -Allmusic-

13th Floor Elevators - The Best Of

2009-06-13T04:58:00.011-07:00

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Format: MP3 (320K)
Tracks: 18
Label: Nectar
Year: 1995

Featuring the yelping vocals and visionary, occasionally demented lyrics of Roky Erickson, the 13th Floor Elevators were one of the original acid rock bands. Formed in Texas in the mid-'60s, the Elevators started as a garage rock outfit, scoring their one and only modest national hit with "You're Gonna Miss Me." While Erickson's loopy persona and Tommy Hall's odd "jug" percussion were the band's most distinguishing features, several members of the group's original lineup contributed strong material to their albums. Although these inconsistent efforts sometimes wander off into a cloudy haze, they also include sturdy folk-rock tunes and driving psychedelic rockers. Trips to San Francisco established the group as an up-and-coming underground favorite, but Erickson's problems with drugs and the police led to the singer's commission to a state mental hospital in the late '60s, an ordeal from which he has never fully recovered. The band was really only at full power for a couple of albums, although all of their releases for the legendary International Artists label -- produced by, of all people, Kenny Rogers' brother Leland -- are revered among psychedelic collectors. Live recordings and outtakes of the Elevators continue to surface, though a cogent domestic compilation of the best of these erratic pioneers' work remains overdue. -Allmusic-

The Chocolate Watch Band - Forty Four

2009-06-09T04:46:00.010-07:00

Format: MP3 (320K)
Tracks: 13
Label: Big Beat
Year: 1984

Back in the mid-'80s, the Chocolate Watchband were trapped in an odd paradox (which actually wasn't that bad a place to be for a band that didn't exist anymore). They hadn't played a note together in almost 15 years, but their original albums were changing hands for $100 apiece or more, and a series of vinyl reissues, first as bootlegs from France and later legit ones from Australia, were selling around the world, and in numbers that only increased as more people had a chance to hear them. What's more, the group's sound was starting to be emulated in the work of then-current bands, playing obscure clubs in places like New York's Chelsea district and other locales as far east as the District of Columbia, made up of teenagers who were too young ever to have seen or heard the Watchband play, and living 3500 miles east of where the Watchband played out its existence, and most of its gigs, two decades before. -Allmusic-

The Smoke - It's Smoke Time

2009-05-27T04:58:00.010-07:00

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Format: MP3 (320K)
Tracks: 26
Label: Repertoire
Year: 1993

More than any other band, The Smoke epitomized the groove of Swinging London — which was especially ironic when one considers that, at the height of their success, they sold more records in Europe than England. Their sound fell somewhere between mod and the Beatles — their instrumental attack was somewhat Who/Small Faces-like, yet they delighted in cheerful vocals and infectious harmonies and melodies. Only slightly popular on their home turf, and unknown in the U.S., their biggest success was in Germany (oddly enough, for such a British-sounding group). The band hailed from York, where bassist Zeke Lund and lead guitarist Mal Luker began playing together in a band called Tony Adams & the Viceroys, whose lineup eventually came to include drummer Geoff Gill. Though the band was successful locally, enjoying a decent fan base with a solid, basic rock & roll sound, built on early-'60s songs, Lund, Luker, and Gill could hear the changes going on around them in music, with the rise of Merseybeat and the blues, R&B, and soul-based music coming out of London. -Allmusic-

The Who - Rarities 1966-1972 (Vol.1 & 2)

2009-05-24T07:22:00.010-07:00

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Format: MP3 (320K)
Tracks: 25
Label: Polydor
Year: 1991

Few bands in the history of rock & roll were riddled with as many contradictions as The Who. All four members had wildly different personalities, as their notoriously intense live performances demonstrated. The group was a whirlwind of activity, as the wild Keith Moon fell over his drum kit and Pete Townshend leaped into the air with his guitar, spinning his right hand in exaggerated windmills. Vocalist Roger Daltrey strutted across the stage with a thuggish menace, as bassist John Entwistle stood silent, functioning as the eye of the hurricane. These divergent personalities frequently clashed, but these frictions also resulted in a decade's worth of remarkable music -- it took some five years to find their audience, but at the tail end of the 1960s they suddenly achieved a level of popularity rivaling the Rolling Stones, both as a live act and in album sales. -Allmusic-

The Artwoods - Art Gallery

2009-05-20T07:47:00.011-07:00

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Format: MP3 (320K)
Tracks: 26
Label: Repertoire
Year: 1995

The Artwoods were every bit the rivals of such bands as the Animals and the Spencer Davis Group, but never saw the success as a recording act that either of them enjoyed. Rather, their following was confined to the clubs they played, despite releasing a half-dozen singles and an LP during their four years together.
Art Wood, the older brother of Ron Wood, had been involved with the London blues scene almost from the beginning, as an original member of Blues Incorporated, the pioneering blues/R&B outfit founded by Alexis Korner and Cyril Davies. He was the backup rhythm singer in the band's early lineup, before the split between Davies and Korner (and prior to their recording their one and only album); he also had a group of his own that he fronted on the side, called the Art Woods Combo. They later became the Artwoods in 1963 and Jon Lord later joined along with guitarist Derek Griffiths, after their own earlier band, Red Bludd's Bluesicians, split up. The group's decision to turn professional in 1964 required a new drummer and Keef Hartley was recruited by way of an ad in Melody Maker magazine. For their bassist, they raided Malcolm Pool from the Roadrunners lineup. In the booming London music scene, getting a recording contract was relatively easy -- labels were signing everything in sight that could make a noise that sounded like music -- and they joined Decca Records' roster in 1964.-Allmusic-

The Merton Parkas - Face In The Crowd

2009-05-12T05:47:00.011-07:00

Format: MP3 (320K)
Tracks: 12
Label: Beggars Banquet
Year: 1988

The Merton Parkas, taking their name from their home in South London (Merton) and the classic mod-wear (the parka), are another footnote in the British mod revival of the late '70s (which itself was merely a footnote in music history). Formed by brothers Mick Talbot (keyboards) and Danny Talbot (vocals) along with Neil Wurrel (bass) and Simon Smith (drums) in 1978, they became one of the first third wave mod-revivalists to release an album, Face in the Crowd, which featured the hit single "You Need Wheels." While many of the movement's followers took a more serious approach, the Merton Parkas tapped into the novelty side of the genre, becoming something of a mod version of Madness, though less innovative (and less interesting). Mick Talbot later teamed up with Paul Weller to form The Style Council in 1983. -Allmusic-

The Specials - The Singles Collection

2009-05-05T05:45:00.011-07:00

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Format: MP3 (320K)
Tracks: 15
Label: Chrysalis
Year: 1991

True innovators of the punk era, The Specials began the British ska revival craze, combining the highly danceable ska and rocksteady beat with punk's energy and attitude, and taking on a more focused and informed political and social stance than their predecessors and peers. -Allmusic-

Madness - The Business

2009-04-28T04:32:00.011-07:00

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Format: MP3 (320K)
Tracks: 69 (24 + 22 + 23)
Label: Virgin
Year: 1993

Along with The Specials, Madness were one of the leading bands of the ska revival of the late '70s and early '80s. As their career progressed, Madness branched away from their trademark "nutty sound" and incorporated large elements of Motown, soul, and British pop. Although the band managed one crossover American hit in 1983, the band remained a British phenomenon, influencing several successive generations of musicians and becoming one of the most beloved groups the country produced during the '80s.
The origins of Madness lie in a ska group known as the Invaders, which was formed by Mike Barson, Chris Foreman, and Lee Thompson in 1976. By 1978, the band had changed their name to Morris and the Minors and had added Graham "Suggs" McPherson, Mark Bedford, Chas Smash, and Dan Woodgate to the group. Later in 1978, they changed their name to Madness, in homage to one of their favorite Prince Buster songs. The following year, Madness released their debut single, a tribute to Prince Buster entitled "The Prince," on Two-Tone. The song was a surprise success, reaching the British Top 20. Following its success, the band signed a record contract with Stiff Records and released another Prince Buster song, "One Step Beyond," which climbed to number seven. -Allmusic-
Definitive singles collection.