trax Vol 5:1. Color Me In - The Challengers 2. Groupie - The New Dream 3. Blue Monday - The Blue Marble Faun 4. Jet Song - The Design 5. Yesterday's Dream - The Ashes Of Dawn 6. Ain't It Babe - The United Fruit Co. 7. Did You Get Your Fun - The Bootiques 8. If You're Lookin' - The Tranquillity Base 9. Whenever I'm Lonely - The Byzantine Empire 10. Autumn - The Thomas Group 11. Time To Realize - Charley Roman's Seventh Plane 12. She's A Gemini - The Third House 13. Don't You Remember The Good Times - The Second Helping 14. My Mary (More Than Ever) - Jade 15. You - Los Vivos 16. Ways Of Love Are Strange - The Proposition 17. Feelings Before - The Madrigal 18. The Square - The Joint Effort 19. Yesterday, Where's My Mind - Mother's Worry 20. Country Club Affair - The Higher Elevation 21. Now I'm Missing You - The Roman Rebellion 22. Among The First To Know - The Gentle Touch 23. Come On Down To Earth - The Scott Free 24. Light My Fire - The Fantastics 25. Tell The People - Something Obviously Borrowed
26. Take My Hand - The Avengers 27. Hey Mom, Hey Dad - The 3½ 28. It 'll Make You That Much Stronger - The 4th Form 29. Love Transcends - Greg Todd & The Jacks
...many thanks to Frans for the upload, served by Gyro1966...
trax Vol 6:
1. Livin' Too Fast - The Fountain Of Youth 2. Land Of Rypap Papyr - The Joyride 3. Tear Down The Walls - Two Much 4. Threshold Of Love - The Visions 5. You Love Me - The 2 Of Clubs 6. High On A Rainbow - The Smoke Ring 7. I'm Glad - Calum Bryce 8. The Straight Life - The Lemonade Charade 9. Slow It Down - nePenthe 10. Waiting For Her - The New Hudson Exit 11. Good Time Sunshine - The Cherry Smash 12. Peculiar Situation - The Golden Haze 13. Dolly's Magic - The Chapter V 14. Shook Me Good - The Coronados 15. Hashishi - The Village Crusaders 16. Baby I Know It - The Zig Zag People 17. It's Too Late Baby - The Emergency Exit 18. Ring Around My Rosie - Protazoa 19. Stop & Think - Jonathan Cloud 20. Mad John Candy - Joe Deihl 21. If I Could Reach You - The Marshmallow Soup Group 22. You, Baby, You - The Tartans Of Lavendar Lane 23. You're My Girl I Say - The Mixed Bag 24. Frisco Bay - The Society Of Seven 25. Run To Me - The Montanas 26. 24 Hours In A Day - The Royal Groove 27. Streets Of Dusty Towns - Mouse 28. Angela - Professor Morrison's Lollipop 29. Image Of You - The Clockwork Orange 30. Love's Her That Way - Tin Tin
...many thanks to Frans for the upload, served by Gyro1966...
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14 comments:
"POP SIKE LITE" Vol. 5 (U-Spaces)
...many thanks to Frans for the upload, served by Gyro1966...
gitit! no pw
http://www65.zippyshare.com/v/CTMX7DhA/file.html
"POP SIKE LITE" Vol. 6 (U-Spaces)
...many thanks to Frans for the upload, served by Gyro1966...
gitit! no pw
http://www65.zippyshare.com/v/Kei7nM2S/file.html
BONUS 5 of 8
JUDEE SILL - Judee Sill '71 @320
Judee Sill's debut album (as well as the debut of the Asylum label) heralded a major new talent in the airy, contemporary folk world of the early '70s. The album employed the production skills of Sill's ex-husband Bob Harris, as well as ex-Turtle, ex-Leaves Jim Pons, and Graham Nash (on the album's sole single, "Jesus Was s Crossmaker"). Judee Sill featured all original compositions, many of which relied on Sill's own brand of cosmological Christian imagery to make their point. By turns spare and lavishly orchestrated, there is still a cohesive feel to all of the album; her lyrics are exceptionally poetic (to the point of being almost flowery) and her voice is smooth enough to bear heavy overdubbing with itself, giving every song a shimmery feel. The essence of the music is folk, the execution pop: the songs feel like a comfort blanket, a statement of hope from a troubled soul. (Allmusic)
http://www48.zippyshare.com/v/dTtgES3A/file.html
INFOhttp://www.allmusic.com/album/judee-sill-mw0000473134
BONUS 6 of 8
LOUDON WAINWRIGHT III – Album 1 '70 @320
This LP introduces the singer who carries one of the most misspelled names in the songwriting business. Either addressed as Louden Wainwright or Loudon Wainright on concert tickets and file cards in CD stores, it would eventually inspire him to come up with a very funny song on the subject: "T.S.M.N.W.A.," on 1993's Career Moves. After getting to know him better through listening to this superb live album, a logical next step would be to turn to his first two albums. At the time he released the first one under his seemingly awkward name, critics were standing in line to hail him as the new Bob Dylan. In 1970, Loudon Wainwright III (or Album 1, as it is also referred to) was a promising debut of a newly arrived songwriter, they all agreed. This kind of accolade earned him a spot at many a folk festival, but at the same time he would be criticized for not writing politically enough. Even to the amiable Wainwright, this must have seemed paradoxical for, like most beginning artists, he never asked to be called the new anything in the first place. Trying to make a comparison between him and any of his songwriting peers is pointless. His quality lies in the unique way he comments on ordinary events happening in -- and outside of -- his personal life. Depending on the mood of the song, he delivers them in a melancholic, at times even regretful, voice -- but he's also capable of being outright sarcastic.
On his first album, the content is still largely poetic. From the beautifully depressing "Hospital Lady" and "Central Square Song" to the uplifting protest song "Uptown," this is a songwriter at an early stage in his career and determined to make a difference. With album opener "School Days," he succeeds in a most charming way: It's an account of the promise of youth in which an adolescent Wainwright boasts of all the important things he accomplished during high school. Considering a line like "In the spring I had great hunger/I was Keats, I was Blake/My purple pencil pains I would bring/To frogs who sat entranced," who could possibly blame him? However, Wainwright's at his best when he's sardonically spitting (rather than singing) from the top of his toes, addressing people who think they know the answer or the way. Try "Four Is a Magic Number" or, even better, the exceptional "Glad to See You've Got Religion." Thankfully, this trademark delivery would accompany him on many more albums to come. (Allmusic)
http://www48.zippyshare.com/v/loeXycgA/file.html
INFO
http://www.allmusic.com/album/album-i-mw0000347994
BONUS 7 of 8
RODNEY CROWELL – The Houston Kid '01 @320
At least impressionistically, this is a soundtrack to a documentary about the life of Rodney Crowell, who grew up in East Houston (the same neighborhood as the Ghetto Boys, but 25 years earlier), a rough and rumble neighborhood lying in the shadows of downtown Houston. It also happens to be the finest record Crowell has recorded since Diamonds & Dirt, and it's better than that one by a mile. After being tossed off by the major labels, it took a big-time indie like Sugar Hill -- a label founded to showcase bluegrass artists (but also home to many fine singer/songwriters including Crowell's running mate and inspiration Guy Clark) -- to release The Houston Kid. The album comes off as a song cycle; first, in "Telephone Road," the atmosphere is painted onto a backdrop. Showcasing the dark underbelly's finest sights, smells, sounds, and tastes, it's a country shuffle that moves ahead straightforwardly offering the stage for the creation of a rounder. On "The Rock of My Soul," Crowell tells all about the boy growing up in such circumstances. Fact and fiction are interwoven in a moving narrative that has plenty of twang and punch. Steel guitars and acoustic Fenders carry the melody along until the story reaches its nadir. "Why Don't We Talk About It" is Crowell's "accept me as I am because this is the real me" narrative. The band sounds like Rockpile playing country music. Truly, the backing vocals and the mix could be pure Dave Edmunds and Nick Lowe. Crowell has always hidden his brashness under a sheen of Nashville style, which is why his songs always sounded truer coming out of other people's mouths. But that's not the case here. It feels raw and immediate, full of something he's never revealed before. "I Wish It Would Rain" is a folk/country song so down and out that it could have been written by deceased writers Townes Van Zandt or Blaze Foley (both Texans and both friends of Crowell). It's a confessional. There is no braggadocio, no posturing. It's a song of regret but not remorse. The guitars are spare, just enough of a skeleton to hang the lyric on, and as he spills his tale of woe, the listener becomes as haunted as the protagonist is hunted. The craziest moment is Crowell's rewiring of Johnny Cash's "I Walk the Line." With an electric country-blues shuffle (à la Merle Haggard), Crowell tells the story of how he first heard the song, and then Cash himself comes in on a completely rewritten narrative and chorus! Cash reportedly told Crowell he had a lot of nerve to rewrite his classic song, to which Crowell brazenly replied, "Yes sir." Though the record closes two songs later, "Banks of the Old Bandera" is where it could have -- and maybe should have -- the first song Crowell ever wrote. Author Tom Robbins told him he should write a bunch more songs and tour them in art galleries! Thank God he didn't. The Houston Kid offers listeners Rodney Crowell the performer in a way they've never heard before; the songwriter who has been been missing in Nashville for quite some time is back. (Tom Jurek, Allmusic)
http://www48.zippyshare.com/v/jjr7Zwyg/file.html
INFO
http://www.allmusic.com/album/the-houston-kid-mw0000114709
BONUS 8 of 8
TIM HARDIN – Tim Hardin 1 (1966) @320
Tim Hardin's debut album was something of a happy accident, a killer record at least a third of which was comprised of tracks intended as demos, while another half utilized a string orchestra that the artist knew nothing about. Whatever its origins, Tim Hardin 1 is one of the most powerful and compelling records of its era, encompassing deeply personal and compelling poetry, blues, rock, and folk in settings ranging from stripped-down Sun Records-style rock & roll to lightly orchestrated folk-rock. The beautiful, briskly paced "Don't Make Promises" -- which, along with "Reason to Believe," became one of the two huge songwriting hits here -- opens the album on an ambitious note, its sound mixing a small-band and string section behind a confessional lyric. "Green Rocky Road" and the rollicking "Smugglin' Man" are both more in a traditional folk-rock vein, showcasing the darker and rougher side of Hardin's singing, while "How Long" carries listeners into electric blues that is as raw and stripped down as anything coming out of the British blues boom of the same era, and which could've passed muster on Chess' Fathers & Sons blues showcase. Hardin wasn't happy about the presence of the blues-style demos on the finished album, but when they're placed alongside such startlingly original and personal songs as "Reason to Believe," "Misty Roses," "While You're on Your Way," "It'll Never Happen Again," and "Hang on to a Dream," they vividly show off the sheer range of Hardin's singing and his musical sensibilities. The string accompaniment on most of those songs reportedly wasn't to Hardin's liking, but Artie Butler's arrangements are models of restraint, and the bluesier cuts here keep the album from going too far in that direction. And so what if "Ain't Gonna Do Without" was Hardin's informal joke based on "Hi Heel Sneakers," never intended for release? It offered some of the best blues harmonica that John Sebastian ever laid down on a record. The result is a seminal folk-rock album, every bit as exciting and urgent as it was in 1966, and as important a creative effort as Bob Dylan's Bringing It All Back Home and Highway 61 Revisited. And this wasn't even Hardin's best album, though it set the pattern for everything he did after. (Bruce Eder, Allmusic)
http://www48.zippyshare.com/v/EUrpcQQl/file.html
INFO
http://www.allmusic.com/album/tim-hardin-1-mw0000274471
Thanks, Gyro. It's nice to see Loudon Wainwright III getting posted. His life story is an interesting and sometimes tragic one. And his father (LW Jr.) was an acclaimed Life Magazine writer whom I admired.
And at one point I owned the Tim Hardin album, although I'm sure I bought it sometime in the seventies. Don't know whatever happened to that album, though. There were a lot of people who came and went in my life during that time. Maybe one of them is enjoying that album right now. Who knows?
Tim Hardin I……..absolutely gorgeous. Classic songwriting. Desert Island Disk. Thanks Gyro.
Gyro,thank you for sharing,Tim Hardin 1...if he only wrote "Misty Roses" and quit,that would still have been plenty.
Big thanks for the Loudon, Gyro.
I love his 1st album most of his whole output.
cut 1 is inspired by his stint at st Andrews the prepschool setting for that old robin williams-ethan hawke film---it will be hard to feel the same re Loudon since reading Hetty MacLise's account of the dirty deed he was guilty of, driving crosscountry late '60s
with her & her unborn kid, getting busted for his dope that he promised he'd not bring...and he got off [rich granny] while she was imprisoned.
buried in this fascinating blog:
http://www.phantomlyoracula.com/
thanks Gyro for the Tim Hardin, Tim Hardin 2 would also be nice, the one with "Black Sheep Boy", a fave of mine.That Judee Sill album's got some crazy lyrics 'Crayon Angels" for example."Junkies" getting all cosmic religioso can sometimes lead to interesting art, see some Gene Clark "No Other" for example
Thanks everyone. Fantastic selection!
Tanx for the Pop Sikes!
I bought a copy of Judi Sill the first month of its release (after having seen her open for Crosby & Nash). I think it was late 1971 or early 72. She should have gone far!
Nice stuff today. I used to have that Judy Sill album but haven't heard it in years. Great share. Most of Tim Hardin is worth listening, especially the first 3 or so. And Wainwright, I like his cynical views. Saw him twice in Holland on tour opening for John Hiatt in 1986, where he introduced Hiatt and Hiatt introduced him and at the end of the show they sang a couple of songs together. Good memories.
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