2011 has been an excellent year for Power Pop releases, there is no top 100, 50, 25 or 10 here, 2011 has been a great year for Power Pop, there have been loads and loads of great releases, but the one stand out album of the year, which I know has taken blood, passion, pain and tears to produce.....and it didn't just stop at an album, no, there was a fantastic film to accompany it as well! Ladies and gentleman I give you.............................................
THE TURNBACK - DRAWN IN CHALK.
A debut album to accompany a wonderful, moving film with the title "Drawing In Chalk", a film that will resonate with anyone who has ever tried....and failed, it is a little bit me and a little bit you, a little bit of each and everyone one of us, it is real life, and the soundtrack album is brilliant, a perfect piece of Power Pop with tunes to get your blood pumping, your heart pounding and your feet tapping, check the album out and also check the film out.....you are not the only one that has ever failed, but you will also discover that you can achieve if you believe!
Many congratulations to The Turnback, thank you for such an inspiring album and film, we at "Ice Cream Man Power Pop and More" look forward to hearing more from you in the coming year!
You can buy the album here: Here and you can get the film: Here
Hot on the heels of Alive's first-ever formal reissue of the Nerves EP and a rare live set, comes this volume of demos cut by Peter Case and Paul Collins in between the demise of the Nerves and the formation of their respective bands, the Plimsouls and the Beat. As with the Nerves, Collins started out on drums and Case on bass, with various guitarists pressed into action for cassette- and home-made reel-to-reel recording sessions. Case and Collins handled the vocals and eventually took on guitar duties as well. The recordings vary in quality, but the enthusiasm of power-pop pals playing and singing their hearts out easily transcends moments of mono muddiness and under-mixed vocals.
The thirteen songs include a few that had been recorded by the Nerves such as "One Way Ticket" and "Working Too Hard," as well as originals that would become staples for the Plimsouls ("Everyday Things") and Beat ("I Don't Fit In," "Let Me Into Your Life," "USA" and "Walking Out on Love"). Even more interesting to fans are the originals that didn't make it past these rough demos. "Radio Station" features the deep reverb guitar and impassioned vocal Case would perfect with the Plimsouls, "Will You Come Through?" has the ringing guitar of a P.F. Sloan folk rocker, and "House on the Hill" shows off Case's rock `n' soul sound.
“They could've been contenders had they stayed together long enough, but the Nerves, despite their brief existence, were one of the most exciting bands in power pop. Formed by Jack Lee, Peter Case, and Paul Collins in 1975, their career was over by 1978, but they produced a great EP that featured the power pop classic "Hanging on the Telephone," which was later recorded (and wonderfully so) by Blondie. Ultimately, having three talented songwriters in one band hurried the demise of the Nerves, and all three principals found greater happiness and success with their new bands; although Jack Lee (arguably the most talented songwriter of the three) had the shortest career and eventually dropped out of sight after a fine solo record (Jack Lee's Greatest Hits, Vol. 1) in 1981. Case went on to form the Plimsouls, who recorded two good records and a transcendent pop song, "A Million Miles Away." After breaking up in 1984, Case recorded as a roots rock solo act for the rest of the decade and into the '90s. Collins formed the Beat (later Paul Collins' Beat), who were merely OK, and has done little since the mid-'80s.” (From AllMusicGuide).
Another great band from Spain, playing Psyche, Garage, Freakbeat sounds. I am unable to find out much more information about them, but you can download all their songs for free over at bandcamp.
Volume 1 in the series, filled with more great sixties garage punk, these albums along with the High's In The Mid Sixties set are absolutely indispensable to the garage connoisseur!
“In later years, the Chords were often cursorily dismissed as little more than Jam copyists, and while there's no denying that the two groups travelled in very similar musical waters, both drawing from the British beat and Northern soul that filled their youths and sending it soaring through the prism of punk, it's there that the comparisons end. While Paul Weller coyly played footsy with both the punk and mod scenes, refusing to commit to either, there was no doubt that his soul lay with the latter, and regardless of the trio's aggressive punk-fueled delivery, his lyrics lacked punk's burning fury. Regardless of the class warfare related in "Eton Rifles," the racism reflected in "Down in the Tube Station," or the alienation of "Strange Town," no matter his country's evident flaws (and Weller etched them vividly), he still couldn't shake his love of his homeland and optimistic hope that her problems would eventually be solved. Guitarist and songwriter Chris Pope refused to see the world through the Jam's English rose-colored glasses, turning his own equally eloquent pen to scathing vignettes virtually the flip of Weller's own. In this respect, the Jam comparisons are red herrings, for if anything, Pope played the snottier, rebellious younger brother to Weller's more respectful good son.
This was apparent from the start with the Chords' debut 45, "Now It's Gone," where the group's dream of love is trampled underfoot, and driven home by its follow-up, "Maybe Tomorrow," which firmly puts the boot into the Jam's sanguine vision of Britain and turns it into a fascist horror. That single would kick off the group's sole album, So Far Away, 12 fierce tracks that defined mod's potential as punk's successor. Filled with fire and fury, the set skips from affairs of the heart to the pitiful state of the nation. Musically it's a revelation; the band's two guitarists give the group much more scope for aural assault than a trio, and with a much more aggressive rhythm section in tow, Far is as vociferous as many of its punk contemporaries. In fact, reviews threw bands like the Buzzcocks and the Undertones into the brew of the Chords' notable inspirations. For while the Chords' melodies were shaped by the '60s, their delivery was forged in punk, with even Sham 69's anthemic stomp stirred into the mix.” (From AllMusicGuide).
Velvet Crush's first and best album was mistakenly lumped in with the then- predominant shoegazer aesthetic upon its release in 1991, thanks to its British release on the shoegazer-central Creation label and the occasional washes of sparkly electric feedback and creamy-smooth harmonies that settle over some of the songs. However, this album, produced by the band and Matthew Sweet (who also added lead guitar and harmonies), is actually a straight-up piece of '90s power pop. Considerably more electric and driving than Paul Chastain and Ric Menck's '80s recordings under a variety of band names (collected on the albums Hey Wimpus! and The Ballad of Ric Menck), thanks in large part to the contributions of guitarist Jeffrey Borchardt (confusingly known as Jeffrey Underhill when leading his own concurrent band Honeybunch) and Sweet, In the Presence of Greatness sounds like Big Star's #1 Record updated for a new decade. The general air of mildly anguished wistfulness is the same, as are the jangly guitars and high harmonies, but Velvet Crush plays with a post-punk sprightliness and a less overtly British Invasion-inspired melodic sense. -
Back in Mid October I travelled back home to the UK to visit family, when I make these trips home I try to combine them with some live music and this time it was the brilliant The Len Price 3 who always put on a great show, however, I was not prepared to be equally blown away by the brilliant act opening for them and they came in the form of The Past Tense.
The Past Tense are a Mod/Power Pop band from Worcester Park in Surrey, they put on a fantastic live show, filled with an energy more suited to a band of twenty somethings, which by their own admission, they are not! This makes no difference whatsoever to the show, it is great!
After the show I met Andy (vocals) and he very kindly bestowed upon me the bands two CD singles.
After returning home I found myself playing the singles on constant repeat and wondered what else the band had planned, so I got in touch with Andy and had a chat.
The Past Tense are: Andy - Guitar/Vocals Ken - Bass/Vocals/Keys and Nuts (Warren) - Drums.
ICM: The band have known each other since school, is this the first band the three of you have played together in?
Andy: Oh no,warren (drummer) and me were in "No Control" a two piece punk band at school, Ken joined later ,in the "Hideous Mushrooms!" It was the early 80's and the threat of war was real in our eyes. Warren and I are original members of the Anarcho Punk band "Lost Cherrees" we had a real blast for 4 years releasing records and being played by John Peel on a couple of occasions, this list goes on throughout the 80's and 90's in various bands with the same core, namely Warren ,Ken and I.
ICM: So when did you get together as we know you today, The Past Tense, and why the change in musical direction from that of Anarcho Punk?
ANDY: The Past Tense was originally just Ken and I, we always had a love for all types of music and from early 2004 we found ourselves going to lots of Garage/mod gigs at The Dirty Water Club ,The Solarflares in particular,as I never saw the Prisoners in their day and they are a big influence along with Billy Childish, Armitage Shanks and The Stabilisers. We saw the Secret Affair reunion in 2002 and were totally blown away by the music and the really nice people we met .This influence along with other revival bands grew over the next 5/6 years,Squire are a big favourite along with the Purple Hearts.
We just wanted to do a bunch of songs that showed our love for garage/mod/powerpop whatever you want to call it. we had our first rehearsal /jam around Christmas 2009!
ICM: You very kindly gave me a couple of CD's when we met, how do you find the process of making and releasing music now as opposed to back in the "Lost Cherrees" days, is it easier or harder now for bands?
Andy: We are in a really great position,thanks to Warren. He has a little studio in his basement, so we rehearse and record everything there, there is no outlay for the band so it's real easy to put our stuff onto cd. Back in the early 80's The Lost Cherrees rehearsed in member, Steve's (bass) garage, much to the annoyance of the neighbours, but it was Punk rock! We were also very priviliged to know some big players in the scene, Subhumans and Confilct to name the two main bands who we associated with and Riot/Clone who gave us our first gig and put out our first 7inch EP.
ICM: You have just recorded your debut album, was this recorded in Warrens studio?
Andy: Yes, all the way, we just wouldn't be able to put it out if it wasn't for the basement!
ICM: How are you planning to release the album, CD, Vinyl, Digital and when can we expect it?
Andy: Well, originally we were just going to do it D.I.Y in the true spirit of independence, but we may have a certain, well known small independent, mod revival label interested in a short run release on CD. Nothing solid as of yet but it is very promising. We hope to have it out there by March if at all possible. Fingers crossed!
ICM: You have just had a track released on the excellent, "Keep Off the Grass" compilation of Psycahdelic type songs, can you tell me a bit more about that?
Andy: Yes, it's been released by Fruits De Mer, a brilliant collectable label who have released an amazing collection of Psychedelic type records, vinyl only releases. This one amazingly sold out in two weeks, so its rare already. Our track is a cover of The Good Feelin's - Shattered, an amazing track from the 60's which I have kept in my head for many years and by a stroke of luck I found it on an old compilation tape early this year, so I suggested the band do a cover of it and because Ken is an avid collector of the label he decided to send it to them to see if they would be interested in a release. Yes, was the answer and so its now out and we are really chuffed to bits to be on such a great compilation.
ICM; Back to your own album, the two Cds I have, The Optimist and Wolfman are slightly different in as much as Wolfman is more 60's Garage and The Optimist is a bit more Mod Revival/Power Pop, what can we expect from the album?
Andy: Exactly the same, there are six power pop/mod tracks and six garage/60"s. If you look at the cover for The Optimist there is the negative of the front cover photo on the reverse, this might be a theme for the album, the two sides of The Past Tense!
ICM: Now, I know you guys really love playing live, what have you got planned in the way of gigs to promote the album when it comes out?
Andy: We are going to look at this over Christmas, get the feelers out there a bit, we might possibly be working with "Heavy Ears Promotions" in the new year, so some mod type gigs happening there, we are going to keep in touch with the garage crowd as well, we also have a regular gig in Kingston every couple of months with the mighty "Witchdoktors;" which is always a good night, hopefully The Fallen Leaves will play the next one too.
Playing live is where it all happens for us, we do not confess to being polished musicians, but personally i try to put as much into a live performance as I can, sometimes it is bloody hard trying to sing and play guitar at the same time, but you'll always get passion and honesty at our gigs!
ICM: Is there anything else you would like to tell us?
Andy: Could I just say thanks to all the people who so far have encouraged us by giving sound advice and support, there are too many to name them all but Joel Rodgers, Dan (Fiddlers elbow) Albert, Carl, Paul Manchester, also to the excellent friends we have made from bands like Len Price 3 (top blokes), The fallen leaves ,Long Tall shorty, Pope, Steve Diggle and Mr Bridger.
Ice Cream Man Power Pop and More would like to thank Andy for taking the time to talk to us and wish himself and the band, the very best of luck with the album release, we really look forward to hearing it.
Listen to more of The Past Tense here: The Past Tense four four (You can also purchase the excellent "The Optimist" and "Wolfman" singles here!)
Probably the best collection of sixties garage music out there, this compilation features some excellent songs....some? No. They are all excellent! Enjoy, very loudly!
1. The Jades - I'm All Right
2. The Oxford Circus - 4th Street Carnival
3. The Bluethings - Twist And Shout
4. Jimmy Rabbit With Ron & Dea - Pushover
5. Wally & The Rights - Hey Now Little Girl
6. The Boys - You Deceived Me
7. The One Way Street - Joy And Sorrow
8. The Twilighters - Nothing Can Bring Me Down
9. The Outcasts - I'm In Pittsburgh (And It's Raining)
10. S.J. & The Crossroads - Get Out Of My Life Woman
11. The Iguanas - I Can Only Give You Everything
13. The Runaways - 18th Floor Girl
14. The Chevelle V - Come Back Bird
14. The Six Pents - She Lied
15. The Knight's Bridge - C.J. Smith
16. The Knight's Bridge - Make Me Some Love
Roger Joseph Manning Jr. features on Finnish artist Esa Linna's just released solo single and upcoming debut album "She's Not a Human Being" ready to listen to at: http://soundcloud.com/esalinna/shesnotahumanbeing
Roger Joseph Manning Jr. (of The Jellyfish, Moog Cookbook, TV Eyes, Imperial Drag) sings backing vocals and plays keyboards on both the debut album and debut single "She's Not a Human Being" by Esa Linna, from Finland.
"She's Not A Human Being" is a straight-forward power pop song, like a combination of The Buzzcocks and The Beatles. The single is released as digital download, and will be released in CD format next year. The song is mastered by Ty Tabor of King's X.
Ice Cream Man Power Pop and More was placed at Number 6 in this list, which really is a great honour, especially as the blog has only been going for 3 months! Please take a look at the list and visit some of the other great sites that are listed as they all have some really excellent content and are well worth a visit. I would also like to suggest a visit to Powerpop Overdose which isn't on the list but is an absolute goldmine of Power Pop and one of my inspirations for starting a blog.
Kon-Tiki is one can't-get-it-out-of-your-skull pop song after another, interspersed with bursts of tape collage and random studio noise. "Vegetable Row," for example, sounds like a hard-candy circa-'66 Dylan outtake before it ends with a few seconds' splice of a completely different song, which is rudely chopped off in time for the organ-driven "Aurora Bori Alice." Variety is the watchword on Kon-Tiki. The wildly overdriven feedback-fest "Church of Wilson" leads straight into the gently swirling keyboards and acoustic guitars of "Lily Dreams On," which immediately makes way for the classic harmony-filled jangle pop "Password." The amazing thing is that, despite the wild mood and style shifts, the album doesn't sound fragmentary in the least; the pieces all fall into place. Brad Jones' production features studio chatter, audible edits, remarkably loud clicks, and yet the overall sound is enormous, filled with amazing sonic depth. Lo-fi this ain't. Song titles like "Camp Hill Rail Operator" or "Animal Show Drinking Song" might recall Guided By Voices, and the audio-verite "Prophecy for the Golden Age" wouldn't have sounded out of place on Pavement's Westing (By Musket and Sextant), but neither band could possibly come up with a song like the instant classic "My Before and After," three minutes worth of non-stop hooks grounded with a percussive low-register piano part that makes it sound like a lost outtake from Revolver. In an album's worth of non-stop pop delights, "My Before and After" is a clear masterpiece. -AMG
Third album from The Solarflares who feature ex The Prisoners and Prime Movers members. Recorded and mixed on the band's own eight-track machine in vocalist / guitarist Graham Day's garage.
Everything you would expect from music that has anything to do with Graham Day, the man with the golden touch when it comes to writing and delivering a classic piece of pop!
A web review:
This is the third offering The Solarflares, now with Parsley full time on organ duty and where the first album (Psychadelic Tantrum) was brilliant, the second (That was then and so is this) even better, this belter blows them both out of the water.
The album kicks off with 'State of mind', think of the Fleur de Lys or Fire and you approach the power of this song, superb! This is followed by 'Feet the wrong way round' a wry look at one mans feelings about the embarrasment of trying to dance. The other highlight on side 1 (I have the vinyl copy not c.d.!) is Girl In A Briefcase (think Man in a Suitcase and you'll get it) an excellent instrumental for a 60's spy show which never existed outside Graham Days mind.
Side 2 starts with 'You Want Blood', the current single, again the power of the vocals and musicans shines through, these really are men on top of their game. Highlights on this side include You Hear Drums & Reflections. There really isn't a poor song on this album. No fans of the Prisoners or Prime Movers who are unfamiliar with The Solarflares will be disappointed. The same musical influences are there, The Who, Small Faces, Doors and a plethora of 60's punk outfits, even Pink Floyds Piper at the Gates of Dawn album can be sensed in a couple of numbers. Big Beat could've given a money back guarantee on this. My advice buy two copies in case you lose one!
Taking cues primarily from early Cheap Trick and Electric Light Orchestra, The Shazam mold hard rock that, initially, sounds out of place on the Not Lame label, which focuses entirely on power pop. However, on repeat listens it becomes obvious why this group is so often lumped in with fine pop acts; their hooks are remarkably strong and melodic. While they're clearly out of step with the times (The music here is entirely steeped in the late '70s, and while it may have sold millions then, it is unlikely to go past "cult" status now), Godspeed the Shazam is an excellent hard rock pleasure. Many of these songs sound like lost classics, especially the excellent "Super Tuesday" (an anthemic rocker on the lament of the loser of a presidential election) and "Gonna Miss Yer Train." The Shazam also occasionally dip into glam, especially on "Sunshine Tonight" and "The Stranded Stars" and, not surprisingly, they make that work too. It all amounts to yet another gem on the Not Lame label.
Jason Damas
01. Super Tuesday
02. Sunshine Tonight
03. The Stranded Stars
04. Sparkleroom
05. Some Other Time
06. RU Receiving
07. Chipper Cherry Daylily
08. Calling Sydney
09. City Smasher
10. Sweet Bitch
11. A Better World
12. Gonna Miss Your Train
The Highs in the Mid-Sixties series is a group of 23 compilation albums of garage rock and psychedelic rock recordings that were issued by Archive International Productions Records in the mid-1980's. This series is a companion to the Pebbles series of similar music; the title is technically preceded by "Pebbles Presents:". The title sounds like it might have come from a weather report, although "Highs" intends to mean "the best" (and is also an apparent drug reference), while the recordings on these albums were originally released in the mid-1960's.
Unlike the Pebbles series – which has been released over an extended period of time by several record labels and in a variety of formats – the 23 albums in the Highs in the Mid-Sixties series were released only as LPs and in a short time span of 1983 to 1986.
Los Angeles based surf band, famed for the best selling surf album of all time SURFBEAT[sold 200.000 copies]. One of the first that brought surf from California to the rest of the world. Formed by drummer Richard Delvy after he left the Bel-Airs, who had recorded one of the first surf singles, "Mr. Moto." A classic 60's surf group with hits like K-39, Mr.Rebel, Channel 9, Tidal Wave, Kami-Kaze. They also did some fine covers of instro. classics Telstar, Wipe out, Pipeline, Out of limits.
Sunday nights 7pm to 9pm GMT, a great show of music from 60's Mod to revival Mod, all details here and a link to listen too! Get into the friendly chat room and chat with like minded folks too!
Small Faces was the second LP of that name issued by the band in the space of a year, a fact that -- coupled with its release a year later in America in somewhat modified form as There Are But Four Small Faces -- has always confused fans of the group's work. This particular album was the Small Faces' Immediate Records debut, and caught the group in the transition from an R&B-based mod band into a psychedelic-oriented outfit. They were still finding their way along the trail from sweaty, soul-drenched James Brown- and Otis Redding-inspired covers and originals to flower-power trippiness, and the short running time and the relative lack of Steve Marriott lead vocals (Ronnie Lane is out front on three of the 14 numbers, in addition to the presence of an instrumental) reveal that they were still laboring to find a sound and a collective voice with which they were comfortable, amid other activities (lots of gigs plus playing on other artists' work as the unofficial Immediate Records house band). The short running time didn't prevent this from being a pretty imposing album, however, especially in its original British edition. "(Tell Me) Have You Ever Seen Me" would probably have been a single but for the fact that Steve Marriott and producer Andrew Oldham gave it away to a quartet of Small Faces admirers called the Apostolic Intervention -- no matter, for it made a strong album opener and a great lead-in to "Something I Want to Tell You" and the ballad "Feeling Lonely," which slides into the heavier-weight instrumental rocker "Happy Boys Happy," which showcases Ian McLagan's keyboards and Kenney Jones' drums. "My Way of Giving" was a superb soul shouter that could have been a B-side in the group's earlier phase, but the real treat is the bejeweled, soaring, spaced-out dream account of "Green Circles," with its beautiful lead piano and exquisitely spacy choruses, leading to a tough, crunchy-textured bridge and finale. Side two opened with "Become Like You," a trippy acoustic guitar-dominated psychedelic ballad, leading to the elegant opening strains of the punchy "Get Yourself Together" and the funny, Cockney-flavored "All Our Yesterdays," with its heavy brass and trumpet embellishment. "Talk to You" was another Marriott soul belter, and "Show Me the Way" was a superb harpsichord workout for McLagan, who got an even better break on "Up the Wooden Hills to Bedfordshire" amid Marriott's acoustic guitar strumming, all closing on the delightfully trippy, upbeat "Eddie's Dreaming" (which featured Georgie Fame's band supporting the quartet). Some of the music lacks the kind of polish that the group would bring to subsequent projects, but Small Faces was still a major leap forward for the group, as far in front of their 1966 album of the same name as, say, Rubber Soul was from Help! in the Beatles' output. Not everything on it worked perfectly, but as a complete LP it was one of the great psychedelic/freakbeat documents of its era, only eclipsed in their output by their next album, Ogden's Nut Gone Flake.
1. (Tell Me) Hove You Ever Seen Me
2. Something I Want To Tell You
3. Feeling Lonely
4. Happy Boys Happy
5. Things Are Going To Get Better
6. My Way Of Giving
7. Green Circles
8. Become Like You
9. Get Yourself Together
10. All Our Yesterdays
11. Talk To You
12. Show Me The Way
13. Up The Wooden Hills To Bedfordshire
14. Eddies Dreaming
Not an awful lot to say about this, but some excellent bands with their own take on the style of the British Invasion. Some bands you will know like Q65, others you may not, but what I do know is that is an excellent bit of output from our friends in the Netherlands!
Disc 1
1. The Chums - She'll Marry Me
2. The Skope - Wanna Dance
3. The First Move - My Love Has Gone
4. Chapter II - East Of My Place
5. George Cash - The Phantom Of My Past
6. The Shane - Lady Bountiful
7. You And Me - Take Me Or Break Me
8. Johnny & His Cellar Rockers - I Love You (Yes I Do)
9. The Sharons - Turn On The Coloured Light
10. Disillusion '21 - Think Of The Good Times
11. The Dukes - Blue Revelations
12. 4PK - As Tears Go By
13. The Mods - Moef Ga Ga
14. Linda Van Dyck - Sunday Kind Of Feelin'
15. The Tower - Captain Decker
16. Attention! - I Can't Help Myself
17. Dragonfly - Celestial Empire
18. Group Gloria - So Good To Dance
19. The Nicols - Delighted To See You
20. The Caps - When You're Feelin' Blue
21. Het - She'll Stay
22. Short '66 - Going My Way
23. The First Move - He Looks Like A Swine
24. Roek Williams & The Fighting Cats - I Know What I Want
25. Q65 - Feel Her Still
Disc 2
1. The Chums - You're The Sweetest Girl
2. The Skope - Stop Quarreling Now
3. The First Move - A Hard Night's Fight
4. Chapter II - She Sends Me Away
5. George Cash - Long Hard And Dry
6. The Shane - Gotta Hold On
7. You And Me - Oh The Way She Held Me Tight
8. Johnny & His Cellar Rockers - Why
9. The Sharons - That's My World
10. Disillusion '21 - Distance
11. The Dukes - Join-In
12. 4PK - I Laugh At You
13. The Mods - Land Of 1000 Dances
14. Linda Van Dyck - You Don't Love Me
15. The Tower - Steps Into Space
16. Attention! - Picture Me Fool
17. Dragonfly - Prince Of Amboyna
18. Group Gloria - So It Goes
19. The Nicols - It's Easy To Say
20. The Caps - Enough For Two
21. Het - I Got You (I Feel Good)
22. Short '66 - Come The Day
23. The First Move - There Is More
24. Roek Williams & The Fighting Cats - Let's Forget
25. Ro-d-ys - Flowers Everywhere
Get it here: http://www.filestube.com/d14da732d42181ac03e9,g/Various-Nederbeat-1-63-69-CD-1.html
Put this in your CD player and you'll be set for the night. The album is like a time machine, sending you back to 60s London, during the height of the mod scene. Unless you were a fixture at mod clubs in the 60s or are somewhat of an expert, there's a very, very good chance you've only heard two or three songs on here. Another great thing about the album is that it's no niche album; the great tunes, Hammond organ, and Northern Soul beat throughout are universal. It's catchy and dancable, and I guarantee that when you play it people will come up to you and beg to borrow it. There are no low points on this album, in terms of tempo (there's nothing you can't dance to) or quality (not a single clunker to be found).
1. Bert's Apple Crumble – The Quick
2. Blow up a Go-Go! - James Clarke
3. Somebody Stole My Thunder - Georgie Fame
4. Sweet Pea - Soul Hooligan
5. Love Potion No. 9 - The Coasters
6. Breakaway – Johnny Otis So Watts
7. I'm the Man - The Spencer Davis Group,
8. Cloud Nine - Mongo Santamaria
9. Bongolia - Incredible Bongo Band
10. Sahara 72 - The Bobby Hughes Experience
11. Exploration – The Karmisnky Experience
12. Beat Goes On - Buddy Rich
13. House of Bamboo - Andy Williams
14. Psychedelic Sally - Eddie Jefferson
15. Twenty-Five Miles - Edwin Starr
16. Soul Time - Shirley Ellis
17. Responsable - Jacques Dutronc
18. She's Got Everything - The Kinks
19. Shake - Shadows of Knight
20. Humanize - The Big Boss Man
"Ducktales" is a reissue of some 45's and unreleased material plus some tracks from their sole lp-"Somewhere Outside".These are the Ugly Ducklings of GARAGE band fame,from 1965-1968,out of Toronto,Canada.Highly sought after by fans of garage-beat-punk from around the world.The reason for their popularity is primarily be-cause of their solid garage-punk material and raw delivery.Lots of influences are evident,but mainly early Stones,Yardbirds and Kinks plus a definite Pretty Things appreciation.
Buy either of these cds,"Somewhere Outside"or "Ducktales" NOW!You won't be disappointed.These boys rock! And, the folks at Unidisc did a great remastering job on both cds.
"Powder, led by guitarist/vocalist Rich Martin and bassist/vocalist brother Tom Martin, were a fiery Who/Small Faces influenced mod band hailing from CA. Unlike many of their contemporaries, Powder didn't play the typical jangly guitar pop psych of the day, 1967-69, but rather a power chord style rock.
The first 16 tracks on this 77 minute disc are the complete recordings of Powder proper. Obviously influenced by the fiery style of the Who, Powder rock hard. Even the song titles, especially "Magical Jack" are reminiscent of the Who (Happy Jack). These tracks are followed by a single released by vocalist Ray Columbus & The Art Collection (Powder) with "Kick Me" paired with "Snap Crackle & Pop).
Can we say Biff, Bang, Pow! Then come five tracks recorded by Powder under the moniker The Art Collection sans Mr. Columbus. Among these tracks is a great cover of The Who's "So Sad About Us." The disc ends with four tracks recorded by the Brothers Martin under the pseudonym Thomas & Richard Frost. In total, 27 tracks, 77 minutes, of mod style power pop. If you enjoy British mod rock, you'll love the music on this disc. Released on the wonderful Distortions Records label which recently announced it was discontinuing cd production, this cd may soon become extinct.
Don't miss out on a real treat. This is heavy mod rock American style. At its best. Act now, don't delay lest you miss the boat. This disc was compiled by none other than 60s rock expert Alec Palao, compiler of many fine Ace Records' Big Beat releases. In other words, big time 60s hard-edged mod rock compiled by the master himself.
It is essential for fans of mod rock, and an absolute necessity for fans of The Who and The Small Faces.
