Fanny - First Time in a Long Time: The Reprise Recordings (1969-1973 us female rock and pop rock - Rhino handmade boxset - MP3 320K and FLAC)

It's amazing that this four-CD box set exists in the first place, considering not only that Fanny never had a Top 100 album, but that they've never had a particularly big cult following either.

But here it is, albeit in a limited edition of 5,000 (sold in North America only). And all the stops were certainly pulled to assemble material, including not only all four of their early-'70s Reprise albums, but dozens of extras, many of them unreleased.

Non-LP singles, single-only versions, home and studio demos (the earliest of them dating from July 1969, when they were still known as Wild Honey), alternate versions, outtakes: they're all here.

Plus there's more: the tracks on the Canadian version of their debut album (which included three alternate versions never released elsewhere, as well as some cuts that only came out in the U.S. as non-LP singles) that didn't make it onto the U.S. configuration; seven songs from an April 1973 Philadelphia concert; four tracks from a live April 1972 Cleveland performance; six cuts from a demo session for the Mother's Pride album; even four Reprise radio commercials.

Not to mention a 52-page booklet with extensive interview quotes from June Millington, Jean Millington, and Alice de Buhr. By definition any serious fan of any act is going to be pleased with such thoroughness. But all the bells and whistles don't act as convincing evidence that Fanny were any more than an ordinary, at times mundane, early-'70s rock band, leaving aside their pioneering status as an all-woman group on a major label that played their own instruments and wrote most of their material.

The loads of non-LP and unreleased material aren't all that different than from what ended up on the four proper albums, though sometimes they show a more explicitly soul direction, as on the cover of Maxine Brown's "One Step at a Time" and the unreleased take of the Supremes' "Back in My Arms Again."

The live recordings do prove that the band could rock convincingly and tightly on stage, and the fidelity on those is decent, though on the Cleveland cuts in particular it probably wouldn't have been judged up to release standard.

Some of the demos are a mite folkier and more singer/songwriter-oriented than the albums, though that might be due more to the more basic arrangements than the material.

Note that this doesn't include absolutely everything Fanny did; there's nothing from their post-Reprise album for Casablanca, and an archival live album of 1972 stuff done in Cleveland contains music not on this box (by Richie Unterberger).


Fanny - Blind Alley (1971):


Disc 1:
01.Come and Hold Me 2:46
02.I Just Realized 4:00
03.Candlelighter Man 3:35
04.Conversation With a Cop 3:09
05.Badge 3:01
06.Changing Horses 3:48
07.Bitter Wine 3:17
08.Take a Message to the Captain 3:31
09.It Takes a Lot of Good Lovin' 4:25
10.Shade Me 4:39
11.Seven Roads First Version 4:19
12.Charity Ball First Version 2:52
13.Place in the Country First Version 3:34
14.Changes 2:16
15.One Step at a Time 3:03
16.Nowhere to Run 3:20
17.Seven Roads Second Version 3:47
18.Lady's Choice 2:47
19.New Day 3:43
20.I Find Myself Demo Version 4:04
21.Queen Aretha Demo Version 4:20
22.Flame Tree Demo Version 3:11
23.Fanny Reprise Records Promo One 0:23
24.Fanny Reprise Records Promo Two 0:23
25.Fanny Reprise Records Promo Three 0:32

Disc 2:
01.Charity Ball Second Version 2:29
02.What Kind of Lover 2:58
03.Cat Fever 3:23
04.A Person Like You 2:58
05.Special Care 4:23
06.What's Wrong With Me? 1:43
07.Soul Child 3:51
08.You're the One 4:10
09.Thinking of You 3:25
10.Place in the Country Second Version 3:08
11.A Little While Later 5:40
12.Charity Ball Single Version 2:29
13.True Blue 1:03
14.Candlelighter Man 2:54
15.Summer Song 4:07
16.Tomorrow 2:15
17.Rock Bottom Blues Instrumental 3:08
18.Ain't That Peculiar 4:05
19.Knock on My Door 3:19
20.Blind Alley 4:35
21.You've Got a Home 3:47
22.Wonderful Feeling 3:18
23.Borrowed Time 3:26

Disc 3:
01.Hey Bulldog 3:55
02.Think About the Children 4:10
03.Rock Bottom Blues 3:08
04.Sound and the Fury 3:04
05.The First Time 4:57
06.Rock Bottom Blues Original Vocal 3:14
07.Wonderful Feeling Single Version 3:16
08.Young and Dumb 3:33
09.Hey Bulldog Live 4:41
10.Summer Song Live 4:44
11.It Takes a Lot of Good Lovin' 3:52
12.Badge Live 3:31
13.Young and Dumb Live 4:53
14.Last Night I Had a Dream Live 4:57
15.Ain't That Peculiar Live 4:35
16.Borrowed Time Live 3:30
17.Place in the Country Live 3:38
18.Knock on My Door Live 5:05
19.Charity Ball Live 5:46

Disc 4:
01.Lonesome Pine 4:43
02.Beside Myself 4:05
03.I'll Never Be the Same 4:08
04.All Mine 4:25
05.Old Milwaukee 3:12
06.Long Road Home Demo Version 3:29
07.Back in My Arms Again previously unreleased 3:43
08.No Deposit, No Return previously unreleased 2:27
09.Last Night I Had a Dream 3:55
10.Long Road Home 2:55
11.Old Hat 4:14
12.Solid Gold 2:54
13.Is Otvreally You? 5:23
14.All Mine 3:24
15.Summer Song 3:11
16.Polecat Blues 3:14
17.Beside Myself 3:54
18.Regular Guy 2:25
19.I Need You Need Me 4:55
20.Feelings 1:58
21.I'm Satisfied 3:08
22.Fanny Reprise Records Promo Four 1:03
23.'Till Then Demo Version 0:18

Fanny:
*Jean Millington (vocals, bass)
*June Millington (vocals, guitar)
*Alice de Buhr (vocals, drums)
*Nickey Barclay (vocals, keyboards)


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Wichita Fall - Life Is But A Dream (68 us pop and well orchestrated soft-rock - MP3 320K and FLAC)

Liberty Records evidently had great hopes for this obscure late 1968 LP, seeing it as an attempt to fuse classical and rock into a concept album that told, if obscurely, "the story of a life" (as guitarist/singer David Roush remembers in the liner notes to the 2011 CD reissue).
The label even put $50,000 into the recording budget, a high sum by 1968 standards, using the string section of the Los Angeles Philharmonic Orchestra and arrangements by the respected Artie Butler.
Heard many years later, you have to wonder what Liberty was thinking.

For this album (a commercial flop, and the only one Wichita Fall would make) is a pretty tepid attempt at making an ambitious pop masterwork.
Wichita Fall's songs were only average material to begin with, perhaps falling on the earthier side of the sunshine pop then in vogue among much of what was being produced in Hollywood.

However, the compositions are not just overwhelmed, but almost subsumed, by the dainty orchestration, which is more appropriate for links on a TV variety show than it is for an album with any connection to rock.
It was too much for the original drummer, who left the band rather than play on the album, which made the Moody Blues' Days of Future Passed (a possible influence on Liberty taking this approach in the first place) sound evil and gritty in comparison.

While you can hear a potentially decent harmony-oriented pop/rock group in the mix, their strengths are smothered by the settings, and by the time of the infuriatingly cloying closing title track (a variation on the "row row your boat" chant), you might be rolling your eyes at the excess.

[The CD reissue on Tune In adds two bonus tracks from a non-LP 45 that show their strengths as a fair pop-folk-rock group to much greater advantage, especially on the country-influenced "Ginger Blue", though the other side ("Lovely Love") is still a little overproduced.
The reissue also has extensive historical liner notes, with quotes from bandmembers, that tell the fascinating story of the flawed album's creation well]. (by Richie Unterberger from amg)

Tracklist:
01.Morning Song
02.Once In The Morning
03.Sunny Road
04.Going To Ohio
05.Playground
06.Ornamental Sideshow
07.Poor Mr. Drake's Afternoon Show
08.Crystal Rain
09.Hectivity
10.Schubert's Theme
11.Night Time Suite
12.Are You Sleeping?
13.Life Is But A Dream

Bonus Tracks :
14.Lovely Love
15.Ginger Blue

Personnel :
*Philip Black - guitar, vocals
*Larry Watson - bass
*Len Feigin - drums
*David Roush - rhythm guitar, vocals

Heya PHRockers, this is the last COR's post, in this community ... for those, who want to find him :

- http://gbyf.forumotion.net/
- http://www.funkamper.eu/phpBB3/viewforum.php?f=173

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Sleepy Hollow - Sleepy Hollow (72, us beatlesque/badfinger style, well-orchestrated pop and rock, vinyl rip - FLAC)

Slapping an album with a Beatles comparison is usually the equivalent of an artistic and commercial kiss of death.

Luckily, this was one of those rare cases where the comparison actually had some basis.



Recorded at Philadelphia International's Philly-based Sigma Studios, 1972's "Sleepy Hollow" was co-produced by John Madara and the late Tom Sellers (of Assembled Multitude fame).

The limited liner notes indicated Sleepy Hollow was a trio featuring the talents of singer/guitarist Richard Billay, bass player Richie Bremen and drummer Joe Zucca.

With Billay responsible for all nine tracks, material like 'One Time' and 'Lay It On the Line' did have a late-inning Beatles flavor, though to my ears a better overall comparison would be Badfinger ('Take Me Back'), Emmit Rhodes ('Love Minus You'), or perhaps even a mid-1970s Lennon solo album ('Lady').

The trio's sound wasn't particularly original, but Billay had an impressive chameleon-like voice that managed to recall both Lennon's tougher sound ('Sincerely Yours' would not have been out of place on "Walls and Bridges") and McCartney's more pop-oriented material ('One Time' complete with great backing vocals).

Artistically this may not have been a major statement, but made for one fun album and was simply miles ahead of most of the Beatlesque competition.



- An engaging mid-tempo rocker, "Sincerely Yours" sported an early solo John Lennon sound.

Say what you will about the album's lack of originality, but on this one Billay nailed Lennon right down to his take-no-prisoners snarling delivery.



- The up-tempo "One Time" sounded like something pulled off an early Badfinger album.

Extremely commercial and radio ready, if would have made a nice single.



- Another radio friendly effort, the ballad "Take Me Back" sounded like Badfinger channeling Paul McCartney.

Billay even managed to mimic the Badfinger harmony vocals and Pete Ham's instantly recognizable slide guitar sound.



- Kicked along by a nice slide guitar, "Talking Out Of Turn" was a straightforward rocker that momentarily managed to breakaway from the Beatles/Badfinger influences.

One of my favorite performances.



- Another pretty ballad, "Lay It On The Line" showcased Billay's best McCartney impression.

If you like McCartney, you'll like this one.

If you think he's shallow and saccharine, then stay away.



- "Love Minus You" started out side two with an Emmit Rhodes-does-McCartney pop number.

The results were extremely catchy, but likely to put some folks into a diabetic coma.

Bremen turned in some great bass work on this one.



- The first real disappointment, "Lady" was a pretty, but instantly forgettable ballad.

Imagine something lifted off of an early Eric Carmen solo album ...



- Complete with punchy horns the rocker "Roller Coaster Man" sounded like an early Raspberries track with a Beach Boys segment thrown in the middle.

Those comparisons where meant as compliments.



- "Hades" ended the album with another Lennon-esque ballad.

Heavily orchestrated (courtesy of Tom Sellers), this one was apparently meant to be the album's big statement.

Complete with stark piano, echo treated vocals (which served to underscore the comparison to Lennon's voice), Christmas bells and a big backing chorus, the results were a little over-the-top for me, but so what ...



Elsewhere Family pulled a single from the album:

- 1972's "Hades" b/w "Sincerely Yours" (Family catalog number 0916).



All told one of the better Beatlesque releases I've heard.

I'd love to know what happened to front man Billay. (by RDTEN1, from RYM ... many thanks mate)

Tracklist :

01.Sincerely Yours

02.One Time

03.Take Me Back

04.Talking Out Of Turn

05.Lay It On The Line

06.Love Minus You

07.Lady

08.Roller Coaster Man

09.Hades



Personnel :

*Richard Billay - guitar, piano, vocals

*Richie Bremen - bass

*Joe Zucca - drums



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The Monkees - The Birds, The Bees & The Monkees (1968 us mix of pop, rock and psychedelic - Rhino Handmade Release - MP3 320K and FLAC)

This is a really finely crafted album, with lots of different types of songs--psychedelic, schmaltzy Davy ballads, Mike's country-western-type music, and the peppy pop The Monkees got famous for.

As other reviewers have pointed out, it's kind of like their White Album, and even more out there than PAC&J, which plays like The Monkees on acid.

It's one of those albums that, while great, isn't ideal for a new fan, one that even for an old fan like myself (I've been a fan since their 1986 revival) needs multiple playings for it to really sink in and grow to appreciate and really really love.

I have a 1996 vinyl reissue with two bonus tracks, the first two bonus tracks on the CD remaster.

My faves on here are "Dream World" (Davy has been my favourite since I first got into them at six years old; otherwise I might very well not think that highly of the schmaltzy songs he's usually stuck singing!), "We Were Made for Each Other," "Tapioca Tundra" (it reached #34 on the charts), "Daydream Believer" of course, "Writing Wrongs" (I seem to be in the minority of people who like this weird trippy song, but then again, I also love the weird Beatles' sound collage "Revolution No. 9"), "I'll Be Back Up on My Feet," "P.O. Box 9847," "Valleri," and "Zor and Zam."

The lattermost always gives me chills; the ending line is just as eerie and pertinent today, considering what's going on in the world now. It was played during the last episode of their tv show as well.

The two bonus tracks I have are an alternate version of "P.O. Box 9847" with a synth instead of strings, and a cute schmaltzy co-written Davy number, "I'm Gonna Try."

I got into The Monkees for their upbeat happy pop songs, songs which I would probably hate were they coming from most other bands or groups, but even these more mature, introspective, and trippy songs are happy and fun.

The Monkees are known for their fun pop, which makes it harder for a new fan or a non-fan to appreciate the beauty and genius on this album (by Anyechka).

Disc 1 - The Original Stereo Album & More
01.Dream World
02.Auntie's Municipal Court
03.We Were Made For Each Other
04.Tapioca Tundra
05.Daydream Believer
06.Writing Wrongs
07.I'll Be Back Up On My Feet
08.The Poster
09.P.O. Box 9847
10.Magnolia Simms
11.Valleri
12.Zor And Zam
13.Through The Looking Glass (1968 Stereo Mix)
14.Long Title: Do I Have To Do This All Over Again (Alternate Mix)
15.D.W. Washburn (1968 Stereo Mix)
16.It's Nice To Be With You (1968 Stereo Mix)
17.Carlisle Wheeling (1967 Stereo Mix)
18.Rosemarie (1968 Stereo Mix)
19.My Share Of The Sidewalk (1968 Stereo Mix)
20.Alvin (Alternate Take)
21.We Were Made For Each Other (Alternate Backing Track)
22.The Girl I Left Behind Me (1967 Stereo Mix)
23.Little Red Rider (Acoustic Version)
24.Lady's Baby (1968 Stereo Mix)
25.Ceiling In My Room (1967 Stereo Mix)
26.I'm A Man (Backing Track)
27.Me Without You (1968 Stereo Mix)


Disc 2 - The Original Mono Album & More
01.Dream World
02.Auntie's Municipal Court
03.We Were Made For Each Other
04.Tapioca Tundra
05.Daydream Believer
06.Writing Wrongs
07.I'll Be Back Up On My Feet
08.The Poster
09.P.O. Box 9847
10.Magnolia Simms
11.Valleri
12.Zor And Zam
13.Alvin (1968 Mono Mix)
14.While I Cry (1968 Mono Mix)
15.D.W. Washburn (Mono Single Mix)
16.It's Nice To Be With You (Mono Single Mix)
17.Come On In (1968 Mono Mix)
18.Carlisle Wheeling (1968 Mono Mix)
19.Rosemarie (1968 Mono Mix)
20.The Girl I Left Behind Me (1967 Mono Mix)
21.Seeger's Theme (Alternate Version)
22.Tear The Top Right Off my Head (Micky's Vocal)
23.My Share Of The Sidewalk (1968 Mono Mix)
24.Lady's Baby (1968 Mono Mix)
25.Ceiling In My Room (1967 Mono Mix)
26.Merry Go Round (1968 Mono Mix)
27.Don't Listen To Linda (1968 Mono Mix)
28.Me Without You (1968 Mono Mix)
29.Zor And Zam (TV Version)
30.Teen Radio Spot

Disc 3 - The Birds, The Bees & The Raritees
01.Monkees Adult Stereo 8 Spot
02.Tear The Top Right Off My Head (Peter's Vocal)
03.Auntie's Municipal Court (Mike's Vocal)
04.P.O. Box 9847 (1968 Alternate Stereo Mix)
05.War Games (Version One)
06.Lady's Baby
07.Tapioca Tundra (1967 Alternate Stereo Mix)
08.D.W. Washburn (Alternate Mix With Bass Vocal)
09.Nine Times Blue (Version Two - Davy's Vocal)
10.Lady's Baby (Acoustic Version)
11.While I Cry (Alternate Mono Mix)
12.Shorty Blackwell (Rehearsal)
13.Laurel And Hardy
14.Seeger's Theme (Acoustic Version)
15.Tapioca Tundra (Acoustic Version)
16.Don't Say Nothin' Bad (About My Baby)
17.War Games (Version Two)
18.(I Prithee) Do Not Ask For Love (Second Recorded Version)
19.My Share Of The Sidewalk (Mike's Vocal Version)
20.Shake 'Em Up And Let 'Em Roll (Alternate Vocal Version)
21.Changes (2009 Mix)
22.Merry Go Round (Version One)
23.Magnolia Simms (Acoustic Version)
24.I'm Gonna Try
25.Seeger's Theme (Electric Version)
26.Magnolia Simms (Stereo Remix)
27.The Girl I Left Behind Me (Third Recorded Version)
28.Merry Go Round (Third Recorded Version)
29.Nine Times Blue (Version Two - Mike's Vocal)
30.The Party (2009 Mix)
31.I Wasn't Born To Follow (Backing Track)


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The Association - Just The Right Sound Antology (1965-1972+1981 us folk and pop rock - compilation with 2 CDs and 51 tracks - MP3 320K and FLAC)

The Association turned the pop world on its ear with spine-tingling harmonies, a big California folk-pop sound, and top-notch original material.

Founded in 1965 by Russ Giguere, Jules Gary Alexander, Ted Bluechel, Terry Kirkman, Jim Yester, and Brian Cole, the band broke into the national spotlight in 1966 with “Along Comes Mary” and “Cherish.”

The follow-up album was a hit later that year, prompting Warner Bros. to sign them and release their third album, 1967’s Insight Out, which featured another #1 hit in “Windy.”

Though The Association’s glory days were the late ’60s and early ’70s, they continued to record and perform sporadically throughout the ’80s. Back on the scene during the ’90s, a revamped band once again hit the road for the benefit of its worldwide legion of fans.

Just The Right Sound: The Association Anthology is the definitive collection of hits, album tracks, and rarities.

It features 51 tracks (33 on CD for the first time!) on two CDs, including the previously unreleased “The Machine” and “Better Times,” plus hard-to-find single mixes of their greatest hits. Booklet includes liner notes, rare photos, and track notes from the band members (Rhino).


Along Comes Mary:


Disc: 1
01.The Machine
02.Babe I'm Gonna Leave You
03.One Too Many Mornings
04.Forty Times
05.Along Comes Mary
06.Your Own Love
07.Don't Blame It On Me
08.Cherish
09.Standing Still
10.I'll Be Your Man
11.Remember
12.Enter The Young (Original Version)
13.Better Times
14.It'll Take A Litlle Time - Larry Ramos
15.You Hear Me Call Your Name
16.Memories Of You
17.Pandora's Golden Heebie Jeebies
18.Looking For Glass (Single Version)
19.No Fair At All
20.Windy
21.On A Quiet Night
22.We Love Us
23.When Love Comes To Me
24.Never My Love (Single version)
25.Happiness Is
26.Requiem For The Masses

Disc: 2
01.Come On In
02.Everything That Touches You
03.Barefoot Gentleman
04.Time For Livin'
05.Birthday Morning
06.Like Always
07.The Time It Is Today
08.Six Man Band (Single Version)
09.Goodbye, Columbus
10.Under Branches
11.Yes, I Will
12.Look At Me, Look At You (Single Version)
13.Goodbye Forever
14.What Were The Words
15.Just About The Same
16.Along The Way (Single Version)
17.P.F. Sloan
18.Pegasus - Russ Giguere
19.Darling Be Home Soon
20.Names, Tags, Numbers & Labels
21.Carry On - Bijou
22.One Sunday Morning
23.Dreamer
24.Small Town Lovers
25.Across the Persian Gulf


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The Tubes - Remote Control / The Completion Backward Principle / Outside Inside (1979, 1981, 1983 us mix of arena rock and pop - MP3 320K and Wave)

The Completion Backward Principle was the first release on EMI/Capitol by San Francisco-based the Tubes. It found the outrageous septet working with producer David Foster, who gives the record a high-gloss sheen.

It’s a pairing that, while possibly surprising to fans of the band’s earlier releases, actually works quite nicely.

The ballads (the Top 40 hit “Don’t Want to Wait Anymore” and the Toto-esque “Amnesia”) don’t suit the band, but most everything else does.

There’s a pair of catchy new wavish rockers in “Talk to Ya Later” and “Think About Me,” the wacky “Sushi Girl,” and the R&B-flavored “A Matter of Pride.”

The Completion Backward Principle rightfully earned the Tubes new fans and set the table for their commercial breakthrough, Outside/Inside, two years later.

The Tubes were arch satirists of popular culture whose outrageous performance art concepts -- which swung wildly from softcore pornography to suit-and-tie conservatism -- frequently eclipsed their elusive musical identity.

The beginnings of the group originate in Phoenix, AZ in the late ‘60s, where guitarist Bill Spooner, keyboardist Vince Welnick, and bassist Rick Anderson formed as the Beans (alternately billing themselves as the Radar Men from Uranus).

After moving to San Francisco in 1972, the Beans recruited guitarist Roger Steen and drummer Prairie Prince (from Red, White & Blues), and later became the Tubes with the addition of Michael Cotten on keyboards and former roadie Fee Waybill on lead vocals.

Over the course of the next few years, the Tubes earned a devoted cult following on the strength of Spooner’s parodic songs and the group’s surreal live shows, which featured Waybill adopting a variety of personae including the “crippled Nazi” Dr. Strangekiss, country singer Hugh Heifer, and Quay Lewd, a drug-addled British pop star.

After signing to A&M in 1975, they released their self-titled debut, followed a year later by Young and Rich; while both failed to transfer the manic energy and theatrical complexity of their live set onto record, the single “White Punks on Dope” became a minor hit and a radio staple.

After 1977’s failed concept record The Tubes Now, the group toured England, where a series of banned performances made them a media sensation.

However, during the recording of the concert LP What Do You Want from Live?, Waybill broke his leg on-stage while acting out his punk character Johnny Bugger; the remainder of the tour was canceled, and with it died the band’s chart momentum.

After returning to the U.S., they recruited producer Todd Rundgren and recorded 1979’s Remote Control, a concept album exploring the influence of television; when it met a similar commercial fate as its predecessors, the Tubes were dropped by A&M.

After signing to Capitol, they recorded 1981’s Completion Backwards Principle, an album based on an actual sales training instruction manual; both “Talk to You Later” and “Don’t Want to Wait Anymore” earned significant radio play, and the LP became the Tubes’ first Top 40 hit.

Thanks to its provocative video, the single “She’s a Beauty” reached the Top Ten, and pushed the 1983 LP Outside/Inside into the Top 20 Albums chart; after 1985’s Love Bomb stiffed, however, the Tubes disbanded, and Welnick later joined the Grateful Dead.

In 1993, the Tubes reunited; consisting of Waybill, Steen, Anderson, Prince, and new keyboardist Gary Cambra, they toured the U.S. and Europe before releasing a new LP, Genius of America, in 1996.

Spooner also issued his own solo record, Mall to Mars. In 2000, the Tubes embarked on another extensive tour, issuing the greatest-hits-live album Tubes World Tour to commemorate the event (AMG).

Sushi Girl:


Remote Control (1979):
01."Turn Me On" – 4:10
02."T.V. Is King" – 3:08
03."Prime Time" – 3:15
04."I Want It All Now" – 4:27
05."No Way Out" – 3:22
06."Getoverture" – 3:23
07."No Mercy" – 3:27
08."Only the Strong Survive" – 3:54
09."Be Mine Tonight" – 3:30
10."Love's a Mystery (I Don't Understand)" – 3:27
11."Telecide" – 5:41

The Completion Backward Principle(1981):
01.Talk To Ya Later
02.Let's Make Some Noise
03.Matter Of Pride
04.Mr. Hate
05.Attack Of The Fifty Foot Woman
06.Think About Me
07.Sushi Girl
08.Don't Want To Wait Anymore
09.Power Tools
10.Amnesia


Outside Inside (1983):
01.She's A Beauty - 4:00
02.No Not Again - 3:27
03.Out Of The Business - 3:29
04.The Monkey Time - 3:53
05.Glass House - 3:30
06.Wild Women Of Wongo - 3:56
07.Tip Of My Tongue - 3:57
08.Fantastic Delusion - 3:54
09.Drums - 2:20
10.Theme Park - 3:12
11.Outside Lookin' Inside - 0:56


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Tai Phong - Windows (1976 france symphonic progressive rock - FLAC)

This French progressive rock band has 2 Asiatic members: they give the music a unique, charming and original style.

The intensely floating keyboards and the miscellaneous acoustic guitars parts of a couples of tracks remind the Gandalf's "Imaginary voyage" album.

There are some excellent, melancholic, expressive and melodic electric guitar solos.

This progressive record contains many delicate and ethereal bits, although at a slightly lower level if you compare to the previous album.

Some bits have excellent piano parts. Like on the first album, there are still many AWESOME, androgynous & catchy backing vocals; it seems there are more acoustic guitars than on the previous album.

There is also an omnipresent densely floating combination of organ and more modern keyboards, which gives an overall ambient mood to this record.

The rhythm is rather slow, so the tracks are often relaxing. There are a couples of acoustic Oriental ambiences.

If you like their first album, then you should like this one too (by greenback from progarchives.com).


When It's The Season:


Track List:
01.When It's The Season (Jean-Jacques Goldman) - 8:12
02.Games (Khanh Maï) - 4:07
03.St. John's Avenue (Khanh Maï, Taï Sinh) - 7:44
04.Circle (Jean Alain Gardet) - 5:29
05.Last Chance (Taï Sinh) - 3:45
06.The Gulf Of Knowledge (Taï Sinh) - 9:54

Bonus:
07.Dance - 4:26
08.Back Again - 4:15
09.Cherry - 4:24

Tai Phong:
*Khanh Maï - vocals, guitars
*Taï Sihn - vocals, bass, acoustic guitar, keyboards
*Jean-Jacques Goldman - vocals, guitars
*Jean Alain Gardet - keyboards
*Stephan Caussarieu - percussion, drums


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CODE: 52986

Tai Phong - Tai Phong (1976 france symphonic and melodious progressive - japan remaster edition - FLAC)

I discovered this band when the LP came out (75) and quite liked it at the time. There was of course not yet a word said about JJ Goldman who will later be one the most successfull French songwriter.

Their influence is obviously Yes (but without being too close to be considered as a clone). For this time being "Goin' Away" is a very nice opener : lots of keys and ferocious guitar.

Next track "Sister Jane" was their only hit number (you like it or not but it is a very melodious and passionate moment of music - nice piece to dance with your beloved one...).

"Crest" is a good rocking number but the less interesting one so of the album. Side 1 finishes with "For Years & Years" which is very good : nice intro, then a very powerful instrumental middle section (savage guitar & keys) before returning to a more relaxed lyric part. Very pleasant.

B side is really good. Only two long numbers. "Fields of Gold" is spacey at times: it is a quiet song. A true & melodious prog track.

Some might be irritated though by JJ vocals (like in other numbers). Closing track on the vinyl album was "Out of the Night" : this is my favorite of the band and one of their very few epics.

These 11'33" are a great moment. Good vocals, great keyboards, nice melody and a crescendo building which I really like. I guess that's all prog is about (by ZowieZiggy).

Goin' Away:


Track List:
01. Goin' Away
02. Sister Jane
03. Crest
04. For Years And Years (Cathy)
05. Fields Of Gold
06. Out Of The Night
07. (If You're Headed) North For Winter
08. Let Us Play
09. Sister Jane (Single Version)*

Tai Phong:
*Khanh Mai / electric, acoustic & slide guitar, vocals
*Tai Sihn / vocal, bass, acoustic guitar, Moog
*Jean-Jacques Goldmnan / vocals, electric, acoustic guitar, violin
*Jean Alain Gardet / piano, organ, Moog, keyboards
*Stephan Caussarieu / drums, percussion


[ Thank you WAJORAMA for links posted in chat ]
Rip and scans made by torrents
CODE: 52284

The Grass Roots - Move Along / Alotta' Mileage (1972-1973 us pop rock mixed rhythm & blues - 2 x 1 edition with 01 medley bonus - MP3 320K and Wave)

These were a couple of solid latter day releases (1972-1973) for the Grass Roots that are long overdue for CD release.

"MOVE ALONG" is probably the best album, cut for cut, that the post 1967 version of the group ever did.

Only "Glory Bound" (ironically one of the singles) sounds subpar, like a re-cycled "Two Divided by Love"

There are several top-notch songs beyond the hits. Especially "Only One"(Provisor sings his heart out!) "One Word", "Runnin' Just To Get Her Home" and the title song.

*A strange footnote about this album: Vocalist/Keyboardist/Songwriter Dennis Provisor got totally hosed.

During his membership with the band, this release showcases his talents and influence more than any other. He's all over it singing, playing and writing or co-writing over half the songs.

Yet he's not shown on the cover or even mentioned in the credits! You'd think that a little common courtesy would have at least garnered an acknowledgment, even though he left the group shortly after it was recorded.

"ALOTTA MILEAGE" is a keeper (even though it barely charted) but it's a notch down in quality from Move Along. Without Provisor's songs and soulful pipes in the mix, the Grass Roots weren't quite the same and lost a little of their R&B luster and energy.

Longtime & original member Warren Enter gets back on the mic for 3 lead vocals here including a superb cover of the Free song "Little Bit of Love" that comes close to surpassing the original!

Other highlights include "Where There's Smoke There's Fire" and "Ain't No Way To Go Home" (by Charlie bear's).


From "MOVE ALONG" album:
1.The runway
2.Monday love
3.Anyway the wind blows
4.Runnin' just to get her home again
5.Two divided by love
6.Someone to love
7.Face the music
8.Move along
9.One word
10.Only love
11.Glory bound

From "ALOTTA MILEAGE"album:
12.Where there's smoke there's fire
13.Pick up your feet
14.You've got to bend with the breeze
15.Just a little tear
16.Ain't no way to go home
17.Claudia
18.Love is what you make it
19.Look but don't touch
20.Ballad of Billy Joe
21.We almost made it together
22.Little bit of love

BONUS TRACK:
23.Medley:I'd wait a million years/Midnight confessions/Let's live for today/Temptation eyes.


[ Thank you LARRY for sending this post ]
CODE: 52203

The Good Rats - Birth Comes To Us All (1978 us mix of hard rock, jazz and pop rock - MP3 320K and Wave audio format)

The Good Rats were like a NYC, more refined version of Slade, with touches a la Queen, and the always enjoyable songwriting of main man and vocalist Peppi Marchello; "Birth comes to us all" is just another example of this under-rated band's sound, right before their classic line up would change, with the incorporation of lead guitarist Bruce Kulick (later rock star of KISS fame).

This "Birth comes to us all"s production (Stephan Galfas) it's especially remarkable, technically outstanding, its musical style is versatile, the vocal harmonies are pretty elegant, and the band shows a fine musicianship, commanded by the jazzy guitar of John "The Cat" Gatto, a bit different to their heavy sound, perhaps closer to the pop/rock.

Highlights, like the upbeat 'City liners', the orchestrated 'Man on a fish' or the closing title track make the disc meritorious, though I still find more interesting "From rats to riches", issued that same year, 1978.

Track List:
01.School Days (3:44)
02.City Liners (3:30)
03.Cherry River (3:27)
04.Gino (2:41)
05.Ordinary Man (4:07)
06.Man On A Fish (3:42)
07.You're Still Doing It (4:00)
08.Juvenile Song (2:27)
09.Bed And A Bottle (2:20)
10.Birth Comes To Us All (2:49)

The Good Rats:
*Joe Franco: Drums
*John Gatto: Guitar
*Lenny Kotke: Bass (Vocal)
*Mickey Marchello: Guitar, Vocals
*Peppi Marchello: Composer, Vocals


[ Thank you LARRY for sending this post ]
CODE: 51906

The Good Rats - Ratcity In Blue (1976 us mix of hard rock, jazz and pop - MP3 320K and Wave audio format)

Throughout the 70s some of America’s greatest bands could be seen dragging their wares through the local bar circuit. Many of these bands gained deserved success, due to the resulting air-tight musicianship. And some, of course, did not.

Maybe it was the non-commerciality of the facial hair, or the inclusion of sub-jazz workouts in the middle of perfect pop, but Long Island’s The Good Rats never saw the shiny side of the business, and continued to trudge a thankless track in the mire of obscurity.

Although a crowd favourite on the well-trodden boards of New York and New Jersey, word about this stunningly inventive and awesomely talented band never quite made a buzz outside of the West Coast. Which is a sad loss to the rest of the world when taking in the quality of The Good Rats recorded output in 70’s.

Gravel-piped Peppi Marchello, some ten years after first putting the band together, finally settled upon the classic line-up of Peppi, brother Mickey, John (the cat) Gatto, Joe Franco and Lenny Kotke which, between 1974 and 1979, put out four inspirational studio albums (‘Tasty’, ‘Ratcity In Blue’, From Rats To Riches’ and ‘Birth Comes To Us All’) that seamlessly blended hard rock, jazz, pop and vaudeville/classic songwriting with an edgy streak of menace unlike anything that came before or since.

And amongst these four delicious chunks of sonic whimsy, ‘Ratcity In Blue’ stands out at the defining moment in this band’s criminally unappreciated career.

Owing as much to the grand musical approach of Queen as the pop/rock chops of Cheap Trick, The Good Rats cut an intimidating figure. As fully at home with the jazz swing, largely-instrumental-with-barbershop – interlude title track ‘Ratcity In Blue’ as they were with the Bacharach/Gershwin stylings of lost in New York lament ‘Advertisement In The Voice’.

The frantic frission of Joe Franco (drums) and Lenny Kotke (bass) melds the strength on which The Good Rats’ foundation is effortlessly built, with guitar mastermind John (the cat) Gatto’s incredibly in-depth solo work perfectly complimented by the capable second lead guitar work of Mickey Marchello.

The icing on this multi-layered cake is the vocal delivery. Intelligent, thought-provoking lyrics are given lush treatment in the form of breathtaking harmony work to rival that of Mercury & co. In fact ‘Yellow Flower’ and ‘Almost Anything Goes’ wouldn’t sound unwelcome on ‘Night At The Opera’.

Elsewhere, however, the Rats get to flex a little more hard rock muscle on the likes of ‘Does It Make You Feel Good?’, ‘Tough Guys’ and ‘Hour Glass’. And yet it is the superlative ‘Board Walk Slasher’ that steals the show in this instance.

Built around on a story about a local serial killer, the song illustrates the sheer injustice of this band’s paltry achievements in an industry where the far, far less talented have garnered more reward.

‘Boardwalk Slasher’ is nothing short of amazing. Gorgeous duelling guitar work nestles alongside foreboding lyrics wrapped in timeless melody complimented with sublime harmony work. It really doesn’t get much better than this.

Ratcity In Blue is that rare breed of animal one should stand in silent awe of so as not to disrupt the magical, otherworldly scene it instills in our heart. We are in the presence of sheer class here, ladies and gentlemen.

Peppi would continue using the band name with various different players from 80s onward, as he had in the 60s, but no collection of players matched the quality of this line-up.

Proof that chemistry involves much more than simply the sum of a few parts. While The Good Rats of the 70s made contemporary music revelatory, they also managed celebrate world class musicianship with tongue-in-grizzled-cheek and a sense of devil-may-care experimentalism, free of cliche and self importance.

The world will never again see bands of this ilk, but future generations can still return to revel in its mastery.

Common men making distinctly uncommon music? Fewer things could be more beautiful.

Come back next week for more selections from Ginger’s record collection (by Terrybezer from classicrockmagazine.com).

Ratcity In Blue:



Track List:
01.Does It Make You Feel Good (3:29)
02.Boardwalk Slasher (3:53)
03.Ratcity In Blue (4:53)
04.Almost Anything Goes (2:33)
05.The Room (4:00)
06.Writing The Pages (3:00)
07.Reason To Kill (4:56)
08.Advertisement In The Voice (3:20)
09.Yellow Flower (2:38)
10.Tough Guys (2:33)
11.Hour Glass (3:09)
12.Mean Mother (2:34)


[ Thank you LARRY for sending this post ]
CODE: 51771

Mouse And Traps - The Fraternity Years (1966-1968 us garage, psychedelic, folk, blues and pop rock - rare Big Beat records compilation - FLAC)

This Tyler, TX band achieved their greatest international fame a half-decade after they first laid down the Dylanesque "A Public Execution" in the mid-60s.

The exposure came from the song's inclusion on Lenny Kaye's legendary "Nuggets" double LP and revitalized interest in the group's entire catalog of singles.

The resulting interest spawned early vinyl-mastered reissues on New Rose, and finally, this authoritative CD release drawn from the original master tapes.

Mouse is Ronnie Weiss, a singer whose normal singing voice is a dead-ringer for Dylan's nasal delivery.

"A Public Execution," Weiss' 1966 kiss-off to an ex-girlfriend, found the sort of disjointed regional radio success that never gained the critical mass needed to chart nationally.

The band developed fans in Texas, Louisiana, Arkansas, Ohio and Kentucky, but never graduated beyond their contract with the Cincinnati-based Fraternity Records.

The single's B-side, the horn-lined "All for You" is perhaps more indicative of the R&B material the band turned out in live performances across oil patch towns in East Texas. Still, this was the mid-60s, and like Jim Sohns of The Shadows of Knight, Mouse lent a cocky edge to the band's blues.

The follow-up single, "Maid of Sugar, Maid of Spice," sounds even more like the Shadows of Knight, with bedspring-twangs of fuzz guitar punctuating the mile-a-minute vocals and R&B band rave-up.

It's a truly sweltering piece of mid-60s garage rock. The flipside, "I Am the One" introduced the band's proclivity for folk-rock, which also included the Byrds styled buzz and jangle of "I've Got Her Love" and the Dylanesque "Like I Know You Do."

The latter was the flipside of a novelty (written by one of the label's investors) "Would You Believe," that's been omitted from this collection (and by all reports, to everyone's advantage).

Mouse tackled other styles, including the baroquely styled "Hand in Hand" and "As Far as the Sea," and the twangy production pop of "Promises, Promises."

Even further afield, the record company's search for commercially viable sides resulted in the bubblegum "L.O.V.E. Love," the wistful "Sometimes You Just Can't Win" (also recorded by the band's studio mate, John Fred of Playboy band fame), and the 1968 organ-led psych sides "I Satisfy" and "Look at the Sun."

None had much sales impact, but they did provide space for infectious B-sides like the rocking "Lie, Beg, Borrow and Steal" and the harmony laden "Requiem for Sarah."

Big Beat's 25-track collection sports seven previously unreleased tracks, including a ripping cover of The Yardbirds "I'm a Man," a funky, James Brown styled take on "You Are My Sunshine," the party-time arrangement of Dallas Fazer's "Mohair Sam," and the original protest folk-rocker "Nobody Cares."

One might have hoped for the band's non-Fraternity sides (originally released on Hanna-Barbara and Epic), or the novelty "Would You Believe," but their absence is a nit.

An introductory essay from the band's producer and detailed liner notes from reissue producer Alec Palao round out a solid package documenting a mid-60s Texas garage band that should have been more widely known in their own time. [©2006 hyperbolium dot com].

I Satisfy:


Track List:
01.A Public Execution
02.Maid Of Sugar, Maid Of Spice
03.Nobody Cares
04.Cryin' Inside
05.I'm A Man
06.Lie Beg Borrow And Steal
07.I Got Her Love
08.I Am The One
09.Like I Know You Do
10.Sometimes You Just Can't Win
11.All For You
12.Do The Best You Can
13.Look At The Sun
14.You Don't Love Me (You Don't Care)
15.Promises Promises
16.I Satisfy
17.Requiem For Sarah
18.L.O.V.E. Love
19.Ya Ya
20.Good Times
21.Hand In Hand
22.You Are My Sunshine
23.I Wonder Where The Birds Fly
24.Mohair Sam
25.As Far As The Sea

Mouse And Traps:
*Dave Stanley (bass guitar)
*Jerry Howell (keyboards)
*Ken "Nardo" Murray (drums)
*Bugs Henderson (lead guitar)
*Ronny "Mouse" Weiss (guitar, vocals)
*Doug Rhone (guitar)


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CODE: 51042

The David Clark Five - The Complete History (1964-1968 uk beat and pop rock - boxset with 7 CDs - MP3 320K and FLAC)

For a very brief time in 1964, it seemed that the biggest challenger to the Beatles' phenomenon was the Dave Clark Five.

From the Tottenham area of London, the quintet had the fortune to knock "I Want to Hold Your Hand" off the top of the British charts with "Glad All Over," and were championed (for about 15 minutes) by the British press as the Beatles' most serious threat.

They were the first British Invasion band to break in a big way in the States after the Beatles, though the Rolling Stones and others quickly supplanted the DC5 as the Fab Four's most serious rivals.

The Dave Clark Five reached the Top 40 17 times between 1964 and 1967 with memorable hits like "Glad All Over," "Bits and Pieces," "Because," and a remake of Bobby Day's "Over and Over," as well as making more appearances on The Ed Sullivan Show than any other English act.

The DC5 were distinguished from their British contemporaries by their larger-than-life production, Clark's loud stomping drum sound, and Mike Smith's leathery vocals.

Though accused by detractors of lacking finesse and hipness, they had a solid ear for melodies and harmonies and wrote much of their early material, the best of which endured quite well.

Interestingly, and unusually for that era, bandleader Dave Clark managed and produced the band himself, negotiating a much higher royalty rate than artists of that period usually received.

After a couple years of superstardom, the group proved unable to either keep up with the changing times or maintain a high standard of original compositions, and called it quits in 1970 (by Richie Unterberger).



CD1:
01.Glad All Over
02.All Of The Time
03.Stay
04.Chaquita (2nd Version)
05.Do You Love Me
06.Bits And Pieces
07.I Know You
08.No Time To Lose
09.Doo Dah
10.Time
11.She's All Mine
12.Can't You See That She's Mine
13.I Need You. I Love You
14.I Love You No More
15.Rumble
16.Funny
17.Zip-A-Dee-Doo-Dah
18.Can I Trust You
19.Forever And A Day
20.Theme Without A Name
21.On Broadway
22.Because
23.Who Does He Think He Is (Live)
24.Move On (Live)
25.Whenever You're Around (Live)
26.I Want You Still (Live)
27.Long Ago (Live)
28.Come On Over (Live)
29.Blue Monday (Live)
30.Sometimes (Live)
31.Any Time You Want Love (Live)
32.I Cried Over You (Live)
33.Ol' Sol (Live)


CD2:
01.Any Way You Want It
02.Give Me Love
03.I Can't Stand It
04.I'm Left Without You
05.Everybody Knows (I Still Love You)
06.Crying Over You
07.Say You Want Me
08.When
09.Don't You Know
10.To Me
11.It's Not True
12.Come Home
13.We'll Be Running
14.Blue Suede Shoes
15.Hurting Inside
16.I'll Never Know
17.'Til The Right One Comes Along
18.I'm Thinking
19.Your Turn To Cry
20.Little Bitty Pretty One
21.Remember. It's Me
22.Mighty Good Loving
23.Having A Wild Weekend
24.New Kind Of Love
25.Dum-Dee-Dee-Dum
26.I Said I Was Sorry
27.No Stopping
28.Don't Be Taken In
29.Catch Us If You Can
30.When I'm Alone
31.If You Come Back
32.Sweet Memories
33.Don't You Realize
34.On The Move


CD3:
01.I Like It Like That
02.Pumping
03.I Need Love
04.Maybe It's You
05.That's How Long Our Love Will Last
06.A Little Bit Of Love
07.I'll Be Yours My Love
08.Please Love Me
09.Goodbye My Friends
10.I Am On My Own
11.She's A Loving Girl
12.You Know You're Lying
13.Try Too Hard
14.Today
15.I Never Will
16.Looking In
17.Ever Since You've Been Away
18.Somebody Find A New Love
19.I Really Love You
20.It Don't Feel Good
21.Scared Of Falling In Love
22.I Know
23.Satisfied With You
24.Go On
25.Do You Still Love Me
26.I Meant You
27.Look Before You Leap
28.Please Tell Me Why
29.You Never Listen
30.I Still Need You
31.It'll Only Hurt For A Little While
32.Good Lovin'


CD4:
01.Nineteen Days
02.Something I've Always Wanted
03.Little Bit Strong
04.Bernedette
05.Sitting Here Baby
06.You Don't Want My Loving
07.How Can I Tell You
08.Picture Of You
09.Small Talk
10.Pick Up Your Phone
11.You Got What It Takes
12.I've Got To Have A Reason
13.You Don't Play Me Around
14.Thinking Of You Baby
15.Lovin' So Good
16.Doctor Rhythm
17.Play With Me
18.Let Me Be
19.Blueberry Hill
20.Tabatha Twitchit
21.Everybody Knows
22.A Little Bit Now
23.At The Place
24.Inside And Out
25.Red And Blue
26.You Must Have Been A Beautiful Baby
27.Good Love Is Hard To Find
28.Lost In His Dreams
29.Concentration Baby
30.Hold On Tight
31.I'll Do The Best I Can


CD5:
01.Just A Little Bit Now
02.Maze Of Love
03.Return My Love
04.Best Day's Work
05.Who Do You Think You're Talking To
06.Got Love If You Want It
07.The Red Balloon
08.Please Stay
09.Devoted To Me
10.34-06
11.Away From The Noises
12.When I Am Alone
13.I Still Need You
14.No One Can Break A Heart Like You
15.If Somebody Loves You
16.It Aint' What You Do
17.Live In The Sky
18.Five By Five
19.Here Comes Summer
20.How Do You Get To Heaven
21.Everybody Get Together
22.Julia
23.Break Down And Cry
24.I'm On My Own
25.Red And Blue
26.If You Wanna See Me Cry
27.Worried Times
28.Darling I Love You


CD6:
01.Good Old Rock 'n' Roll
02.Raining In My Heart
03.Lucille
04.Reelin' And Rockin'
05.More Good Old Rock 'n' Roll
06.Loving You
07.Memphis. Tennessee
08.One Night
09.Lawdy Miss Clawdy
10.Southern Man
11.Bring It On Home To Me
12.Signs
13.Won't You Be My Lady
14.The Time Has Come
15.If You've Got A Little Love To Give
16.Officer McKirk
17.Paradise Is Half As Nice
18.Draggin' The Line
19.Think Of Me
20.One-Eyed. Blue-Suited. Gun-Totin' Man
21.Right Or Wrong
22.I Don't Know
23.Put A Little Love In Your Heart


CD7:
01.Chaquita (first version)
02.In Your Heart
03.First Love
04.I Walk The Line
05.That's What I Said
06.I Knew It All The Time
07.The Mulberry Bush
08.Poison Ivy
09.Over And Over
10.At The Scene
11.I Miss You
12.All Night Long
13.Don't Let Me Down
14.Man In A Pin-Striped Suit
15.Good Time Woman
16.Forget
17.Children
18.The Mulberry Tree
19.Into Your Life
20.Always Me
21.Rub It In
22.I'm Sorry Baby
23.Sweet City Woman
24.Love Comes But Once
25.Sha-Na-Na-Na


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Rip and scans made by torrents
CODE: 49667

The Grass Roots - Lovin' Things & Leaving It All Behind (1969 us sunshine pop and pop rock - 2 x 1 edition with 05 bonus tracks - MP3 320K and Wave)

Lovin' Things (1969):
This was it, I've always thought. The last album from the real Grass Roots, the last time with their Rob Grill-Warren Entner-Creed Bratton-Rick Coonce lineup going back to 1967's "Let's Live For Today," and the last time -- 1969, appropriately -- that they recorded anything of real '60s-era rock 'n' roll value.

Even the cover photo had quality to it, with weird lighting and Grill's so cool, sunglassed mug.

Sure, the horns horned in with full fury here, especially on the title tune. But its crisp pace always attracted me, especially with Coonce's furious drumming. (And to this day, I'm struggling to understand all of the "Lovin' Things" lyrics thanks to Grill's sloppy enunciating; what I find on the Web doesn't jive with my ears.)

Other songs maintained some semblance of less-than-full-bore bubblegumness, a malady that plagued every LP to come. "The River Is Wide" roars with great studio sound effects. "City Women," written by P.F. Sloan, evokes the harder-charging early-day Grass Roots, and rightly so since Sloan was their key songwriter then.

Even "What Love Is Made Of," with its sappy-sounding harpsichord and Coonce's drums silent, works with Entner's nasally voice reaching levels of emotion not heard on the earlier LPs.

Alas, things went downhill fast for the 'Roots after this one, so enjoy it. And go no farther forward. This was the final act in quality Grass Roots music (by Billy O).


Leavin It All Behind (1969):
It was here on this album that the formerly folkie/pop group completed the transition to punchy pop. Given the full Jimmie Haskell horn treatment and radio friendly pop production fourishes, Steve Barri turns The Grass Roots into an irresistable hit making machine.

And it's not just the 3 Top 40 hits that shine here. (1. I'd Wait a Million Years 2. Heaven Knows 3. Walkin' Thru The Country) There are other delights that could easily have been hits, like "Out Of This World" and "Back To Dreamin' Again."

New keyboardist Dennis Provisor makes his debut and his contributions are noteworthy, although he would become more of a presence later.

He's got 2 songs here but on the next project "More Golden Grass" he would write or co-write about half the album. Provisor's soulful pipes added a new dimension to the group on both lead and shadow vocals.

Any one of which could have been another hit. This is feel good sunshine pop at it's best (by DL Masters).

Track List:
01.Lovin' Things
02.The River Is Wide
03.(You Gotta) Live For Love
04.City Woman
05.What Love Is Made Of
06.Pain
07.I Get So Excited
08.Days Of Pearly Spencer
09.Baby You Do It So Well
10.I Can't Help But Wonder, Elizabeth
11.Fly Me To Havana
12.I'm Living For You Girl
13.Back To Dreaming Again
14.Out Of This World
15.Melinda Love
16.Don't Remind Me
17.Take Him While You Can
18.Heaven Know
19.Walking Through The Country
20.Something's Coming Over Me
21.Truck Driving Man
22.I'd Wait A Million Years
23.Let's Live For Today.'68 Remix
24.The Rive Is Wide.Single Mix
25.Glory Bound.Single Remix
26.Midnight Confessions.'86 Remix
27.Let's Live For Today.'86 Remix


[ Thank you LARRY for sending this post ]
CODE: 49233