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Old Melodies ...

Old Melodies ...

VA - Psych-Out (OST) 1968

Posted: 25 Apr 2018 12:51 PM PDT

Psych-Out [Original Motion Picture Soundtrack
Released on the Sidewalk imprint of Tower Records, manufactured by Capitol, this is an excellent '60s album from a Dick Clark/American International motion picture, Psych Out. There is only one track from Sky Saxon's Seeds, and their "Two Fingers Pointing on You" sounds exactly like, you guessed it, "Pushin' Too Hard." The band made a career out of reinventing that one tune, and they do not disappoint here, lifted from their Future album on GNP Crescendo. Although the Storybook actually have a photo on the back cover, they appear to be a vehicle for Ronald Stein who is credited on this Dean Stockwell/Susan Strasberg film for "Original Music and Adaptation." The first tune on the disc is by the Storybook, written by S.A.Clock (Strawberry Alarm Clock). It sounds very much like the Alarm Clock's "Barefoot in Baltimore." "Rainy Day Mushroom People" and "The World's on Fire," a three-minute-and-thirty-one-second version, are Strawberry Alarm Clock's other contributions to side one; these songs are also on their album Incense & Peppermints. A longer version of "The World's on Fire" ends side two of this soundtrack. In between is one song by a band called Boenzee Cryque. That tune lists five songwriters, but it is actually a whacked-out version of Jimi Hendrix's "Purple Haze" with the stop from Vanilla Fudge's "You Keep Me Hanging On." Very '60s and, actually, quite fun, despite the fact the Boenzee Cryque track is the weakest cut on this surprisingly good disc. Four more tracks by the Storybook lead off side two. Titles like "Psych-Out Sanctorum," "Beads of Innocence," "The Love Children," and "Psych-Out" -- the third time the film title is used in the name of a song -- all sound like their titles suggest -- either clones of the Strawberry Alarm Clock or the Clock itself under an assumed name. The epic eight-minute-plus version of "The World's on Fire" by the Strawberry Alarm Clock kicks in to end it all. Despite the cheesey cover, this is a far more listenable record than, say, For Children of All Ages by Peanut Butter Conspiracy, and that was a band that took itself seriously. The genre calls for a bit of irreverence. Psych Out delivers that with studied enthusiasm. 1.The Pretty Song From Psych-Out (The Storybook) 3:15
2.Rainy Day Mushroom Pillow (The Strawberry Alarm Clock) 3:04
3.Two Fingers Pointing On You (The Seeds) 3:12
4.Ashbury Wednesday (Boenzee Cryque) 2:55
5.The World's On Fire (The Strawberry Alarm Clock) 3:30
6.Psych-out Sanctorum (The Storybook) 3:25
7.Beads Of Innocence (The Storybook) 3:10
8.The Love Children (The Storybook) 2:24
9.Psych-out (The Storybook) 2:17
10.The World's On Fire (Long Version) (The Strawberry Alarm Clock) ****

VA - Beat For Beaters 2EP's DECCA

Posted: 25 Apr 2018 11:55 AM PDT


James Brown & His Famous Flames - Cold Sweat (1967)

Posted: 25 Apr 2018 11:49 AM PDT

If "Cold Sweat" was a revolutionary single in 1967, clearly pointing the way to funk music, the Cold Sweat LP at least promised to be something new in James Brown's catalog as well. Where Brown's albums had been collections containing his current single and miscellaneous older tracks, this one proclaimed on its cover, "All New," "Great Songs," "Never In," "An Album." This was not quite true. While half of the tracks had been recorded during the first half of 1967, the other half (though previously unreleased) dated from 1964. That wasn't the main problem with the album, though. Having taken a giant step forward with "Cold Sweat," Brown spent the rest of the album stepping back, covering standards such as "Nature Boy" and "Mona Lisa" (associated with Nat King Cole), "Fever" (Little Willie John), "Stagger Lee" (Lloyd Price), and other oddities, including "I Loves You Porgy" from Porgy & Bess. Brown was never anybody's idea of a smooth ballad singer, and this material was all the more incongruous when packaged with his most remarkable slab of funk yet. ****

Rock Archeologia 60-70

Rock Archeologia 60-70

Isis - Aint No Backin Up Now 1975 (USA, Jazz/Funk)

Posted: 24 Apr 2018 02:19 AM PDT

Исполнитель: Isis

Откуда: USA

Альбом: Aint No Backin Up Now

Год выхода: 1975

Жанр: Jazz/Funk

Формат: MP3 CBR 320

Размер архива: 76.2 МB
Продолжение темы. Второй альбом женской рок-группы из Нью-Йорка.


01. Aint No Backin Up Now 3:30

02. Icy Winds 3:06

03. Old Stories 4:19

04. Gold 3:08

05. Eat The Root 3:45

06. Bobbie & Maria 4:35

07. Lost Romeo 3:47

08. Come One, Come All 3:53

09. Sunshine Tree 2:44


Carol MacDonald lead vocals, rhythm guitar, producer (03, 06, 07)

Renate Ferrer lead guitar

Stella Bass bass, vocals

Jeanie Fineberg tenor saxophone, flute

Edith Dankowitz alto saxophone, flute, clariney, backing vocals

Lolly Bienenfeld trombone, vocals

Margo Lewis organ, piano, clavinet, synthesizer, backing vocals

Ellen Seeling trumpet

Liberty Mata congas

Ginger Bianco drums, percussion


Lewisa Solofski trumpet (06-09)

June Millington guitar & slide guitar (01-05)

Allen Toussaint producer (01, 03, 05, 08, 09)

Jeff Lane producer (02)


Запись Isis Aint No Backin Up Now 1975 (USA, Jazz/Funk) впервые появилась
Rock Archeologia 60-70.

Dorian Gray - Idahaho Transfer 1976 (Germany, Krautrock)

Posted: 24 Apr 2018 02:14 AM PDT

Исполнитель: Dorian Gray

Откуда: Germany

Альбом: Idahaho Transfer

Год выхода: 1976

Жанр: Krautrock

Формат: MP3 CBR 320

Размер архива: 75.2 МB
Одноальбомная группа из Meinerzhagen (земля Северный Рейн-Вестфалия).
Пластинка была записана в марте 1976 года и выпущена на собственные
средства музыкантов тиражом около 500 экземпляров.


01. Idahaho Transfer 4:14

02. Nighttime Is Colder Than Outside 5:21

03. The Mole 6:56

04. Extraordinary Exercises 0:56

05. Quasimodo Shuffle 11:56 including

a) Crusus

b) The Doombox

06. July, 13th 5:05


Claudia Schippel female vocals

Filler F. Müschenborn guitar, vocals

Herbert Jassmann bass

Rüdiger Brune keyboards

Kurt I. Pätzold drums


Запись Dorian Gray Idahaho Transfer 1976 (Germany, Krautrock) впервые
появилась Rock Archeologia 60-70.

Music 60-70


Mud - As You Like It 1979 (UK, Pop-Rock)

Posted: 25 Apr 2018 09:36 AM PDT

Исполнитель: Mud
Откуда: England
Альбом: As You Like It
Год выхода: 1979
Жанр: Pop-Rock
Длительность: 31:58
Формат: MP3 CBR 320 (Vinyl Rip)
Размер архива: 75,9 МБ (с 3% на восстановление)

Blackmayne - Blackmayne 1985 (UK, NWOBHM)

Posted: 25 Apr 2018 08:39 AM PDT

Исполнитель: Blackmayne
Откуда: England
Альбом: Blackmayne
Год выхода: 1985
Длительность: 44:49 (with bonuses)
Формат: MP3 CBR 320
Размер архива: 109,2 МБ (с 3% на восстановление)

Spock's Beard - The Kindness Of Strangers 1998 (USA, Symphonic Prog)

Posted: 25 Apr 2018 07:49 AM PDT

Исполнитель: Spock's Beard
Откуда: USA
Альбом: The Kindness Of Strangers
Год выхода: 1998
Жанр: Symphonic Prog
Длительность: 77:20 (with bonuses)
Формат: MP3 CBR 320
Размер архива: 184 МБ (с 3% на восстановление)

Waysted - The Good The Bad The Waysted (LP, 1985) & Waysted (EP, 1984) (UK,
Hard Rock, Hair Metal)

Posted: 25 Apr 2018 06:48 AM PDT

Исполнитель: Waysted
Откуда: England
Альбом: The Good The Bad The Waysted (LP, 1985) & Waysted (EP, 1984)
Год выхода: 1984, 1985
Жанр: Hard Rock, Hair Metal
Длительность: 69:30 (2 in 1, with bonus)
Формат: MP3 CBR 320
Размер архива: 163,8 МБ (с 3% на восстановление)

X-Caliber - Warriors Of The Night 1986 (USA, Heavy Metal)

Posted: 25 Apr 2018 05:32 AM PDT

Исполнитель: X-Caliber
Откуда: USA
Альбом: Warriors Of The Night
Год выхода: 1986
Жанр: Heavy Metal
Длительность: 39:39
Формат: MP3 CBR 320
Размер архива: 93,5 МБ (с 3% на восстановление)

Old Melodies ...

Old Melodies ...

The Banana Splits - We're The Banana Splits (1969)

Posted: 24 Apr 2018 01:03 PM PDT

The Banana Splits' bubblegum pop rock and roll was provided by studio
professionals, including Joey Levine ("I Enjoy Being a Boy", "It's a Good
Day for a Parade"); Al Kooper ("You're the Lovin' End"); Barry White
("Doin' the Banana Split"); Gene Pitney ("Two Ton Tessie") and Jimmy
Radcliffe provided his songs ("I'm Gonna Find A Cave", "Soul", "Don't Go
Away Go-Go Girl", "Adam Had 'Em" and "The Show Must Go On") but did not
contribute vocals to Splits recordings. ***

The Sugar Bears - Presenting The Sugar Bears (1970)

Posted: 24 Apr 2018 01:00 PM PDT

Kim Carnes, Michael McGinnis, Baker Knight, Mike Settle, Jimmy Bowen, Glen
Hardin, Pete Carpenter
The Sugar Bears were an early '70s bubblegum pop group that made only one
album, called, "Presenting The Sugar Bears" that features the pop hit, "You
Are The One". They are an answer to The Partridge Family. After that, the
group split up.


VA - Sugar Sugar...The Birth Of Bubblegum Pop

Posted: 24 Apr 2018 10:51 AM PDT

Without words. Enjoy music and good weather, amigos


Louise Cordet - The Sweet Beat of Louise Cordet (1962-1964)

Posted: 24 Apr 2018 09:40 AM PDT

Louise Cordet was a phenomenon in English pop/rock for about two years,
beginning when she reached number 13 on the charts with "I'm Just a Baby,"
released on English Decca in 1962. She was lucky enough to hit just as a
new wave of British rock & rollers were coming to the fore, even though her
sound was a little on the wimpy romantic side to fit in with British beat.
As the daughter of a major television personality (and god-daughter of
Prince Philip) with a convent school education, her origins were very
different from the working class origins of most British rock & rollers,
but she found an audience and held onto it, and for a time bidded fair to
be Decca Records's answer to Helen Shapiro. In 1963, Cordet appeared in two
movies, Just for You and Just for Fun; the latter, a follow-up to 1962's
It's Trad, Dad, was particularly notable, presenting Cordet
performing "Which Way the Wind Blows," which many onlookers regarded as the
best music clip in the movie and the highlight of the entire film. In some
ways, Cordet's career anticipated that of Marianne Faithfull, as it took
her from a convent school into a world of pop stars, London night spots,
and concert tours with the Beatles and Gerry & the Pacemakers. Indeed, she
is said to have taught Paul McCartney a dance or two on his arrival in
London, and Gerry Marsden originally wrote "Don't Let the Sun Catch You
Crying" as a number for Cordet, before his group recorded it. Her final
single, "Two Lovers," was a dazzling treatment of a Motown classic,
drenched in heavy guitars and a great beat, and nearly as alluring as the
Beatles' cover of "You've Really Got a Hold on Me." By 1965, however,
Cordet had stopped recording and, ironically, became part of the cadre of
hangers on surrounding Marianne Faithfull, serving as French pronunciation
advisor at Faithfull's May 11, 1965 Decca Records recording session, and
also doing her best in the press as a publicist for Faithfull during this

British singer Louise Cordet got a U.K. Top Twenty hit in 1962 as a
teenager with her first single, "I'm Just a Baby," but never made the hit
parade again despite issuing a couple dozen tracks between 1962 and 1964.
This exemplary compilation has all of them, including her six singles, a
1963 British EP, a couple songs from the 1963 Just for Fun soundtrack, and
nine tracks (all but one sung in French) released only in France. Cordet
had a mild voice that might have been more suited to straight adult pop
than the pop/rock she usually recorded, and was more a late relic of the
U.K. teen idol pre-Beatles pop years than she was a part of the British
Invasion. Combined with the ordinary and innocuous material she was given
to sing, that makes this something for British rock/early-'60s girl singer
completists, as well annotated and illustrated as it is. There are some
tracks of note, if more for their origins than Cordet's interpretations,
particularly "Don't Let the Sun Catch You Crying," which she released (and
which was a flop) in early 1964 shortly before Gerry & the Pacemakers
issued their famous international hit version. Her cover of "From Me to
You" from a May 1963 French EP is one of the earliest and most obscure
covers of a song by the Beatles (with whom she toured that year), and like
some of her other recordings, had a faint Twist rock/"yé-yé" sound. She
also made an unlikely venture into Cajun-flavored pop/rock on the 1963
single "Around and Around," and "Don't Let the Sun Catch You Crying"'s
flip, "Loving Baby" (written by producer and ex-Shadows drummer Tony
Meehan), has some eerie tones a little reminiscent of Joe Meek's work. She
was ill-equipped for harder stuff, however, and the sloppy arrangement of
Mary Wells' "Two Lovers" on her final single misses some chords key to the
classic original.


Dick Bartley Presents Collector's Essentials of the 60s

Posted: 24 Apr 2018 06:47 AM PDT


Dick Bartley Presents Classic Oldies (1965-1969)

Posted: 24 Apr 2018 06:45 AM PDT


Crispian St. Peters - Follow Me (1966)

Posted: 24 Apr 2018 06:43 AM PDT

Crispian St. Peters (5 April 1939 – 8 June 2010) was an English pop singer
and singer/songwriter best known for his work in the 1960s, particularly
his 1966 hits, "The Pied Piper" and "You Were on My Mind."

He was born Robin Peter Smith in Swanley, Kent and attended Swanley
Secondary Modern School. He learned guitar and left school in 1954 to
become an assistant cinema projectionist. As a young man, he performed in
several relatively unknown bands in England. In 1956, he gave his first
live performance, as a member of The Hard Travellers. Through the late
1950s and early 1960s, as well as undertaking National Service, he was a
member of The Country Gentlemen, Beat Formula Three, and Peter & The Wolves.

Decca label
While a member of Beat Formula Three in 1963, he was heard by David
Nicolson, an EMI publicist who became his manager. Nicholson suggested he
use a stage name, initially Crispin Blacke and subsequently Crispian St.
Peters, and deducted five years from his client's age for publicity
purposes. In 1964, as a member of Peter & The Wolves, St. Peters made his
first commercial recording. He was persuaded to turn solo by Nicolson, and
was signed to Decca Records in 1965. His first two singles on this record
label, "No No No" and "At This Moment", proved unsuccessful on the
charts.[1] He made two television UK appearances in February of that year,
featuring in the shows Scene At 6.30 and Ready Steady Go!

In 1966, St. Peters' career finally yielded a Top 10 hit in the UK Singles
Chart, with "You Were on My Mind," a song first recorded in 1964 by the
Canadian folk duo, Ian & Sylvia, and a hit in the United States for We Five
in 1965. St. Peters' single eventually hit #2 in the UK and was then
released in the US on the Philadelphia-based Jamie Records label. It did
not chart in the US until after his fourth release, "The Pied Piper",
became forever known as his signature song and a Top 10 hit on both sides
of the Atlantic.

Under manager David Nicolson's tutelage the shy star was momentarily
transformed into arrogance incarnate and astonished the conservative music
press of the period by his suggestion that he had written 80 songs of
better quality than those of The Beatles. Other stars were also waved aside
as St. Peters announced that he was better than Elvis Presley: "I'm going
to make Presley look like the Statue of Liberty . . . I am sexier than Dave
Berry and more exciting than Tom Jones . . . and the Beatles are past it".
Outraged readers denounced him in letters columns. However, St. Peters'
comments were meant to be tongue-in-cheek as he explained in an interview
by Douglas Antreassian entitled "Then and Now - Britain's Pied Piper Sets
The Record Straight." "The Pied Piper" had been recorded in 1965 by its
writers, Steve Duboff and Artie Kornfeld, as The Changin' Times, but it was
St. Peters' version in 1966 that was the hit, reaching #4 on the Billboard
Hot 100, and #5 in the UK. No subsequent release would ever match the
success of "The Pied Piper," although its success helped boost "You Were on
My Mind" into the US Top 40. Thereafter St. Peters was remembered more for
his idle boasts than his music.

Although his next single, a version of Phil Ochs' song "Changes," also
reached the charts in both the UK and US, it was much less successful. In
1967, St. Peters released his first LP, Follow Me, which included several
of his own songs. One of them, "I'll Give You Love," was recorded by Marty
Kristian in a version produced by St. Peters, and became a big hit in
Australia. St. Peters' album was followed by his first EP, Almost
Persuaded, yet by 1970, he was dropped by Decca.

"You Were on My Mind" was featured in the 1996 German film Jenseits Der

Crispian St. Peters never seemed to really find a style of his own, and his
rather low-key career has seen him release light rockabilly, pure pop,
country-rock, and folk-rock singles, one of which, 1966's "The Pied Piper,"
was an international hit and anchored Follow Me when it was originally
released that same year. That entire album is included here, along with six
period bonus tracks, including an interesting attempt from 1967 to make
Phil Ochs' "Changes" into a folk-rock anthem, an attempt that probably came
a year or two too late to really click with the public. Follow Me is a
pleasant enough folk-pop album, with a few standout tracks like the
Byrds-ish "So Long," the Buddy Holly-like "Jilly Honey," and St. Peters'
cover of Sylvia Tyson's "You Were on My Mind" (a much bigger hit in a
version by the We Five) achieving gentle grooves that work pretty much in
the vein of "The Pied Piper." Nothing to crow about here (even with
guitarist Jimmy Page on board), but it was to be St. Peters' high point,
and in retrospect, deserves to be.

VA - Pure 60s

Posted: 24 Apr 2018 06:25 AM PDT


VA - Soft Beat 1966

Posted: 24 Apr 2018 05:21 AM PDT


Willie & The Red Rubber Band - Willie And The Red Rubber Band (1968)

Posted: 24 Apr 2018 05:07 AM PDT

Willie et al came out of west Texas and remind me of a cross between a jug
band and the 13th Floor Elevators, or maybe Zappa if he went country, or,
The Fugs if they went country. They have nothing in their oeuvre to compare
to fellow Texan Roky and his 13th Floor Elevators but they are interesting
as a time capsule of the era and they were certainly "playing" in the
same "mind" park as Roky. Drums – Conley Bradford
Engineer [Recording] – Al Pachucki
Guitar – John Buck Wilken*, Lanny Fiel
Guitar, Bass – Glen Ballard (2)
Organ, Piano, Cello – Charles Addington
Photography By – Bill Berger
Piano – Begie Chruser
Producer – Chuck Sagle, Duke Niles (tracks: B6)
Vocals, Guitar – Willie ReddenThe band is off the wall with a melting pot
of styles which is slightly endearing. Willie et al came out of west Texas
and remind me of a cross between a jug band and the 13th Floor Elevators,
or maybe Zappa if he went country, or, The Fugs if they went country. They
have nothing in their oeuvre to compare to fellow Texan Roky and his 13th
Floor Elevators but they are interesting as a time capsule of the era and
they were certainly playing in the same mind park as Roky. Trying to find
anything on this band is near on impossible – but they must have had a
career as this is their second album and they are on a major label (RCA).
The music is a mix of rock, blues, country and soul with a dash of the
avant-garde underground. Mary Jane is their best song of their first album
and Chicky – Chicky Boom Boom their greatest acid dancing hit from their
second LP
John "Bucky” Wilkin, the son of Marijohn Wilkin (author of the country
classic “Long Black Veil”), is most noted as a session guitarist on
numerous country and rock records of the 1970s, particularly outlaw country
releases by Waylon Jennings, Kris Kristofferson, Kinky Friedman, and Jessi
Colter. He was also a songwriter and put out a little-known solo LP. Prior
to his solo album, Wilkin had been in Ronny & the Daytonas, famous for
their 1964 hot rod hit “Little GTO.” Wilkin was also in the American Eagles
(not to be confused with the much more famous Eagles), who also included
keyboardist Chuck Leavell, and put out a single in 1969.***

The Victors - Victorious (1964 - 1966)

Posted: 24 Apr 2018 04:20 AM PDT

By their own admission, the Victors were an ordinary teenage garage band
from Minnetonka, MN; as guitarist Ron Daily puts it, "I don't think we were
anything special, it was just a good time in our lives." However, the
Victors did have a few brushes with greatness -- the combo ended up backing
vocalist Pete Lokken on the fabled teen decadence anthem "Beer Bust Blues"
by the Scotsmen, organ player Terry Knutson got to hang out with the
Rolling Stones when Mick's boys played a poorly attended gig in Excelsior,
MN, on their first U.S. tour in 1964, and two members of the Victors, Jim
Kane and Denny Waite, later joined the Litter, one of the greatest
Minnesota bands of the 1960s. While the Victors never released a record in
their lifetime (except for the "Beer Bust Blues" single), Victorious
collects nearly 80 minutes of demos and live tapes the group left behind,
and if they aren't exactly revelatory, they are sure a lot of fun. The
Victors began life as a landlocked surf band in the manner of fellow
Minnesotans the Trashmen, and their takes on stuff like "Death of a
Gremmie" and "Shake 'n' Stomp" display an impressive command of cheap
reverb. But with time they began tackling R&B and British Invasion
material, and while the Victors didn't play "Wallking the Dog," "I Ain't
Gonna Eat Out My Heart Anymore," or "Midnight Hour" any better than a dozen
other bands of the era, there's a naive and engaging primitive sound to the
band that suggests you've walked into a time machine and ended up at a teen
dance in the Midwest before LSD came along to spoil everything. The
Victors' cover of "You're a Better Man Than I" also suggests they were
better informed than the average teenagers of their day, and their
misspelled version of "Gloria" is some sort of lost classic. Fans of
authentic teenage music will love this.


Rock Archeologia 60-70

Rock Archeologia 60-70

Brewer & Shipley - Tarkio 1970 (USA, Folk Rock)

Posted: 23 Apr 2018 11:37 PM PDT

Исполнитель: Brewer & Shipley

Откуда: USA

Альбом: Tarkio

Год выхода: 1970

Жанр: Folk Rock

Формат: MP3 CBR 320

Размер архива: 85.6 МB
Продолжение темы. Третий альбом дуэта. Сингл One Toke Over The Line достиг
# 10 в американском чарте (# 5 в Канаде) и стал самым известным хитом
группы. Песня Tarkio Road добралась до # 41 в Канаде.


01. One Toke Over The Line 3:16

02. Song From Platte River 3:15

03. The Light 3:09

04. Ruby On The Morning 2:15

05. Oh Mommy 3:03

06. Dont Want To Die In Georgia 3:45

07. Cant Go Home 2:29

08. Tarkio Road 4:30

09. Seems Like A Long Time 4:12

10. Fifty States Of Freedom 6:49


Mike Brewer vocals, acoustic guitar,

Tom Shipley vocals, acoustic guitar,


Fred Burton electric guitar

John Kahn bass

Jerry Garcia pedal steel guitar

Noel Jewkes flute

Mark Naftalin piano, organ

David LaFlamme electric violin

Bill Vitt, Bob Jones drums

Danny Cox, Diane Tribuno chorus

Nick Gravenites producer, chorus
Обложка сингла


Запись Brewer Shipley Tarkio 1970 (USA, Folk Rock) впервые появилась Rock
Archeologia 60-70.

The Next Morning - The Next Morning 1971 (USA, Psychedelic Rock/Soul)

Posted: 23 Apr 2018 11:27 PM PDT

Исполнитель: The Next Morning

Откуда: USA

Альбом: The Next Morning

Год выхода: 1971

Жанр: Psychedelic Rock/Soul

Формат: MP3 CBR 320

Размер архива: 89.2 МB
Единственный альбом группы, образованной в конце 60-х в Бруклине пятью
музыкантами, четверо из которых были выходцами из Тринидада и Тобаго, а Lou
Phillips с Виргинских островов. Недолгая карьера группы закончилась с
выходом альбома.


01. The Next Morning 4:55

02. Life 2:56

03. Changes Of The Mind 5:58

04. Life Is Love 5:30

05. Back To The Stone Age 5:25

06. Adelane 2:49

07. A Jam Of Love 6:28

08. Faces Are Smiling 4:24


Lou Phillips vocals

Bert Bailey guitar

Scipio Sargeant bass

Earl Arthur organ

Herbert Bailey drums


Dick Jacobs producer


Запись The Next Morning The Next Morning 1971 (USA, Psychedelic Rock/Soul)
впервые появилась Rock Archeologia 60-70.



LEVIATHAN - The Legendary Lost Elektra Album [1969 UK Psychedelic Rock]

Posted: 23 Apr 2018 07:08 PM PDT

*** Uma curiosidade sobra os caras que, se não é divertida, é um fato que
realmente aconteceu!! O guitarrista da banda morreu ao saltar de uma janela
de um prédio, tudo sob efeitos e influências do LSD!!! Depois disso os
caras fizeram um pacto de não usar mais drogas, mas isso, de virarem
caretões, é difícil de acreditar, pois suas músicas nos levam a uma
incursão ao mundo do LSD!!

Leviathan, known as the Mike Stuart Span prior to 1969, had everything
going for them. Yet their lone album was held back from release at the last
minute by Elektra president Jac Holzman, who supposedly wasn’t happy with
some of the songs and wanted them to go back into the studio to record
more. At that critical point, with their finances in dire straits and their
morale destroyed by this action after years of trying to make it, Leviathan
broke up.
The good news in all of this is that the music has survived in the vaults
and has now been newly remastered by the Cherry Red Records subsidiary
Grapefruit Records. It all sounds great! Although briefly available on
limited edition vinyl a few years ago, Leviathan is the long-awaited,
first-ever CD release of one of the legendary aborted projects of the late
1960s British psych/prog scene. Taken from the original Elektra master
tapes, this Grapefruit package adds three non-LP tracks, including a rare
remix of 'Remember The Times' that was only issued at the time in
Australia. With a lavish sixteen-page booklet that tells the band's story
and includes some priceless period photos and memorabilia, this release is
the final, tantalising missing piece in the Mike Stuart Span/Leviathan
*** The Fun Facts: Certainly not fun, but a fact … guitarist Langham fell
to his death after leaping through an upstairs window whilst under the
effects and influences of LSD. The band subsequently became a resolutely
drug-free zone, despite the blandishments of the encroaching psychedelic

*Stuart Hobday - Vocals
*Brian Bennett - Guitar
*Roger McCabe - Bass
*Gary Murphy - Drums
1. Remember The Times - 2:46
2. Second Production - 4:44
3. The War Machine - 5:19)
4. Through The Looking Glass - 5:45
5. Blue Day - 6:38
6. Time - 4:00
7. Flames - 4:47
8. World In My Head - 4:29
9. Evil Woman - 7:57
10.Flames (Single Version) - 3:48
11.Just Forget Tomorrow (Single) - 4:19
12.Remember The Times (Australian Single Version) - 2:41

Music 60-70


Breathless - Nobody Leaves This Song Alive... 1980 (USA, Melodic Hard

Posted: 24 Apr 2018 05:58 AM PDT

Исполнитель: Breathless
Откуда: USA
Альбом: Nobody Leaves This Song Alive...
Год выхода: 1980
Жанр: Melodic Hard Rock/AOR
Длительность: 31:42
Формат: MP3 CBR 320
Размер архива: 76,1 МБ (с 3% на восстановление)

Old Melodies ...

Old Melodies ...

Bern Elliott &The Fenmen - The Beat Years & Money

Posted: 23 Apr 2018 10:45 AM PDT

The Fenmen made just four rare singles under their own name in 1964-1966,
but were notable players in the British Invasion on a couple of counts. At
the beginning of their recording career, they operated as the backup group
in Bern Elliot & the Fenmen, who had U.K. hits in 1963 and 1964 with covers
of "Money" and "New Orleans." Not long after their final single, two of
their members became key components of the psychedelic lineup of the Pretty
Things. Their meager recording legacy as a self-contained outfit shows them
to be a good vocal harmony group strongly influenced by American stars the
Four Seasons and the Beach Boys, though they didn't start to record
original material until shortly before they broke up.

The Fenmen formed in early 1962 in a suburb in Kent, England, the act
originally getting billed as Bern Elliot & the Fenmen. With Elliot as
frontman, they had a number 14 British hit in late 1963 with the
oft-covered "Money," and a smaller one with their follow-up, a version of
Gary "U.S." Bonds' "New Orleans." They also did an EP and a couple live
tracks on the compilation At the Cavern, their recorded repertoire
dominated by covers of American rock and soul songs.

Elliot and the Fenmen separated in 1964, leaving the Fenmen to develop a
different style heavily derivative of American pop/rock vocal harmony
outfits. A couple flop Fenmen singles for Decca in 1964 and 1965 found the
Four Seasons flavor especially strong, including a cover of the Seasons'
smash "Rag Doll." The move to CBS for a couple of singles in 1966 was no
more successful, including a cover of the Mamas & the Papas' "California
Dreamin'" and, more impressively, the Wally Waller composition "Rejected,"
which showed the emergence of a more original style building off the
group's vocal harmony base.

The Fenmen ended, however, at the beginning of 1967, when rhythm
guitarist/singer Waller reconnected with childhood friend Phil May, lead
singer of the Pretty Things. After the two wrote "The Sun" together, May
invited Waller to join the Pretty Things, with Fenmen drummer/singer John
Povey also joining the Pretty Things lineup. "The Sun" would appear on the
Pretties' 1967 album Emotions, and Waller and Povey would be an important
part of the band's transition from an R&B-oriented group to a far more
psychedelic one in the late '60s and early '70s. The Fenmen's two Decca
singles can be found on the Bern Elliot & the Fenmen CD compilation The
Beat Years, while three of the four tracks they released on CBS (as well as
some BBC sessions and unreleased recordings) are on the Fenmen compilation

Band membersBern Elliott - lead vocalsAlan Judge - lead guitarJohn Povey -
drums Wally Allen - rhythm guitar Eric Willmer - bass guitar

Bern Elliot & The Fenmen - The Beat Years (1993)

Twenty-three songs from 1963-65, including everything Elliot and the Fenmen
recorded for Decca, together or separately: the Bern Elliot & the Fenmen
singles, their EP and compilation tracks, the sole Bern Elliot & the Klan
single, the Elliot solo efforts from 1965, and the first two singles the
Fenmen recorded without Elliot. It's quite impressive that See For Miles
went to all the trouble to tie up the loose ends for a band that was so
marginal, even in the eyes of British Invasion specialists. Elliot & the
Fenmen were a good rockin' combo, but one without any songwriting ambitions
whatsoever, which limits the interest of the material here considerably, as
it consists entirely of well-worn R&B/rock covers. Mildly unusual in this
context are Elliot & the Klan's "Good Times," awith a more-poppy-Animals
feel, and the Fenmen's "I've Got Everything You Need Babe," an obscure
number that Al Kooper co-wrote. Unfortunately this disc doesn't have the
Fenmen's 1966 CBS single "Rejected," the best thing they did, either with
Elliot or on their own.

Money by Bern Elliott & The Fenmen was written by Janie Bradford, Berry
Gordy and was first released by Barrett Strong in 1959

"Money" was a staple of the set of most British Invasion bands. Oddly, the
only group to have a U.K. hit single with the song was the obscure one-shot
outfit Bern Elliot & the Fenmen. Elliot's version entered the British Top
Twenty near the end of 1963; it wasn't a patch on the Beatles' rendition
(which had been released at about the same time on their second LP), but it
was actually a pretty decent, soulful interpretation. Elliot and his backup
group played in a sort of tough Merseybeat style (although they weren't
from the Mersey), and Bern was a pretty decent R&B-influenced singer,
somewhat along the lines of the Dave Clark Five's Mike Smith. Elliot & the
Fenmen made a few singles and an EP without any more notable success; their
reliance upon old R&B/rock tunes for the entirety of their repertoire made
them almost instantly passe, although the songs were executed pretty well.
Elliot fell out with the Fenmen in 1964, and briefly teamed up with the
Klan, as well as putting out some orchestrated pop solo singles in 1965.
the Fenmen went on their own and made a few singles for Decca and CBS in a
harmony pop/rock style, highlighted by the original minor-keyed
tune "Rejected." After the demise of the Fenmen, members Wally Allen and
John Povey joined the Pretty Things, in time for that group's psychedelic
Bern Elliott & The Fenmen - Money


The Dakotas - Meet The Dakotas

Posted: 23 Apr 2018 09:10 AM PDT

The Dakotas' four-track 1963 EP Meet the Dakotas combined the A-sides and
B-sides of their first two singles, "The Cruel Sea"/"The Millionaire"
and "Magic Carpet"/"Humdinger." All of the tracks (unlike the Merseybeat
ones they cut as the backup group to Billy J. Kramer) show them to be a
very accomplished instrumental group in the style of the Shadows, with
perhaps some Ventures influence, too. Easily the best of the four is the
taut and eerie "The Cruel Sea," which made number 18 on the British charts,
though American listeners might be more familiar with it via the Ventures'
cover version.


Billy J. Kramer & The Dakotas - Do You Want To Know A Secret (1963-1983)

Posted: 23 Apr 2018 09:09 AM PDT

Billy J. Kramer & The Dakotas Do You Want To Know A Secret (The EMI
Years 1963-1983)
One of the most popular Merseybeat singers, Billy J. Kramer (born Billy
Ashton) was one of the most mild-mannered rockers of the entire British
Invasion. He wasn't that noteworthy a singer, either, and more likely than
not would have never been heard outside of northern England if he hadn't
been fortunate enough to become a client of Beatles manager Brian Epstein.
Even more crucially, he was gifted with several Lennon-McCartney songs in
1963 and 1964, several of which the Beatles never ended up recording. That
gave him his entrance into the charts on both sides of the Atlantic, but
Kramer couldn't sustain his success after the supply of Lennon-McCartney
tunes dried up. Significant? No. Enjoyable? Yes. Even tossing aside the
considerable value of hearing otherwise unavailable Lennon-McCartney
compositions, his best singles were enjoyably wimpy, melodic pop/rock,
offering a guilty pleasure comparable to taking a break from Faulkner and
diving into some superhero comics.

It's been reported that George Martin was reluctant to produce Kramer
because of the latter's vocal deficiencies, making sure to hide the cracks
in his upper register with loud piano notes in Billy's cover of "Do You
Want to Know a Secret." No matter -- the song made it to number two in the
U.K. in mid-1963, followed by another Lennon-McCartney effort, "Bad to
Me." "I'll Keep You Satisfied" and "From a Window" were other gifts from
the Beatles camp that gave Kramer solid hits; one Beatles reject, "I'll Be
on My Way," was even relegated to a B-side (the Beatles' own BBC version
was finally released in 1994). All these tunes, it should be noted,
represented Lennon-McCartney at their lightest and most facile, which to a
large degree explains why they didn't record the numbers for their own
releases, deeming them more suitable for Kramer's fairly bland approach.

Billy J. actually landed his biggest hit, the corny pop ballad "Little
Children," without assistance from his benefactors; the single also broke
him, briefly, as a star in the United States, where it and its flip side
("Bad to Me") both made the Top Ten. He appeared in the legendary 1964 The
T.A.M.I. Show rockumentary film, and the Dakotas recorded some instrumental
rock on their own, getting a Top 20 British hit with the Ventures-ish "The
Cruel Sea." Early British guitar hero Mick Green, formerly with Johnny Kidd
& the Pirates, was even a Dakota briefly. But after 1965's cover of
Bacharach-David's "Trains and Boats and Planes," the hits ceased, as the
Beatles and Epstein's attention was lost. Kramer continued recording
throughout the '60s, even briefly venturing into hard psychedelic-tinged
rock, without much success, and subsequently toured often on the oldies

The Dakotas were most closely associated with Liverpool-born singer Billy
J. Kramer. They had a history before that, however, as well as a striking
lineup on their own, separate from the developments in Kramer's career. The
original group hailed from Manchester, and were put together as a backing
band for Pete MacLaine. At that time, from 1962 through January of 1963,
they were comprised of Mike Maxfield (lead guitar), Robin MacDonald (rhythm
guitar), Tony Mansfield (drums), and Ray Jones (bass). In early 1963, just
as the Beatles were finished with their second single, "Please Please Me,"
their manager, Brian Epstein, was looking for a backing band for his newest
discovery, Billy J. Kramer. He had been playing and singing part-time with
a band called the Coasters, but wanted to turn professional, at Epstein's
insistence. The Coasters declined to follow him, and a new band was needed.
Enter the Dakotas, who parted company with Pete MacLaine to sign with
Epstein. He was not yet renowned as a world-beating success, but he did
have two bands, the Beatles and Gerry & the Pacemakers, cutting records for
Parlophone, one of which, "Love Me Do," had already charted modestly. It
was an attractive offer, and they became Kramer's band. They were a very
solid group, well able to adapt to the requisite Merseybeat sound not only
as it had existed up to early 1963 but as the Beatles were altering it with
their records and their success -- rock & roll balladry, with room for
smooth vocals and even harmonies, became obligatory, along with a band
sound that left room for some elegance as well as a good attack. Kramer hit
with his first five singles, and in the process of becoming a star, the
Dakotas also got their chance in the spotlight. They scored a success with
their instrumental version of "The Cruel Sea," and also saw some action
on "Magic Carpet." In July of 1964, the first major lineup change took
place, as Ray Jones was pushed out on bass. Robin MacDonald, who had been
playing rhythm guitar, shifted over to bass, and the Dakotas added a second
lead guitarist in Mick Green. Green was a musician in a unique situation --
he had never inaugurated a band's sound, tending to come into lineups that
already existed; when he did so, however, as in the case of Johnny Kidd &
the Pirates, he inevitably boosted their sound by many decibels and punched
up the virtuosity. He was among the first of a new generation of hot
rocking British guitarists, separate from blues virtuosos like Eric
Clapton, and able to attack his instrument with distinctive riffs and
variations in several different idioms, all of which came out well in the
studio and even better in concert. His arrival in the Dakotas' lineup gave
the group a unique double-lead guitar configuration that made them a power
to contend with on-stage, although ironically, he only played on one hit
with Kramer, "Trains and Boats and Planes." Kramer's string of hits ended
in mid-1965, but he and the Dakotas were still a major live act, in England
and even more so in America, where "Trains and Boats and Planes" made the
Top Ten. In August of 1966, Tony Mansfield left the band, and ex-Pirate
Frank Farley joined on drums, lasting until September of 1967 playing the
cabaret circuit after concert work disappeared. By that time, Kramer's star
had faded, and the Dakotas split in late 1967. Robin MacDonald and Mick
Green became part of Engelbert Humperdinck's backing band, while Kramer
kept on working for a time with the Remo Four, a perennial replacement
band, having succeeded the Searchers as Johnny Sandon's backing band. In
the mid-'70s, Green and Farley became the core of a re-formed Pirates, who
continued to perform and record into the '90s.

The Merseybeats - I Think Of You (1963-196

Posted: 23 Apr 2018 09:07 AM PDT


Freddie & The Dreamers - The EP Collection

Posted: 23 Apr 2018 09:06 AM PDT

Freddie & the Dreamers were the clowns of the British Invasion, playing
their pop music for laughs while the other groups of the time were dead
serious. Lead singer Freddie Garrity began playing in skiffle groups in the
late '50s, switching to rock & roll in the early '60s. After the Beatles
broke the American market wide open, Freddie & the Dreamers followed in the
flood of acts that tried to duplicate the overwhelming success of the Fab
Four. The group's hits were more numerous in the U.K. than in America,
where they had only one Top Ten hit, the number one "I'm Telling You Now."
As 1965 turned into 1966, the group stopped charting in the U.S. and the
hits began to dwindle in the U.K.; by 1968 the original group disbanded.
Garrity later assembled new versions of the Dreamers, and the group toured
for two decades; however, Garrity's health began to decline and he became
acutely ill on a plane from New York to Britain in 2001, reportedly due to
emphysema. Subsequently often confined to a wheelchair, he died in Bangor,
Wales, on May 19, 2006 at the age of 69.


The Rockin' Berries-Life Is Just A Bowl Of Berries

Posted: 23 Apr 2018 09:05 AM PDT

The group decided to push their comic routines to the fore on their second
album, with fairly disastrous results. Their use of comedy in their live
act may have helped get them work at seaside resorts and cabarets, but it's
painfully corny on record. That's what you hear on about half of the
album--yuk-yuk run-throughs of hammy novelties like "I Know an Old
Lady," "When I'm Cleaning Windows," and "The Laughing Policeman."
Interspersed, with all the flavorful consistency of a licorice pizza, are
standards like "The Way You Look Tonight" and covers of Goffin-King's
soul-ballad "I Need You," the Dixie Cups' "Iko Iko," and
Bacharach-David's "My Little Red Book." The non-comedy material is
competent but unremarkable, and not as good as the straight rock and pop
stuff the Berries did on their first LP, In Town. If you must seek this
out, the painless way to do so is on Sequel's two-CD They're in Town, which
includes Life Is Just a Bowl in its entirety, surrounded by dozens of other
(usually superior) tracks recorded by the band in the 1960s.

VA - The British 60s

Posted: 23 Apr 2018 09:04 AM PDT


VA - Dawn Of The British Beat Boom

Posted: 23 Apr 2018 09:04 AM PDT


VA - Hits Of The 60s - Save The Last Dance

Posted: 23 Apr 2018 09:03 AM PDT


VA - British Beat In The 50s & 60s

Posted: 23 Apr 2018 09:02 AM PDT


VA - Best of 60's British Beat Vol.2 (Hallmark)

Posted: 23 Apr 2018 09:00 AM PDT


VA - Best of 60's British Beat Vol.1 (Hallmark)

Posted: 23 Apr 2018 09:00 AM PDT


VA - Ready Steady Go The Sixties

Posted: 23 Apr 2018 07:30 AM PDT

Ready Steady Go! was a pioneering 60s pop TV show known for its youthful
spontaneity, cool graphics, it’s memorable performances as well as its
championing of exciting emerging talent. Widely considered to be a major
force responsible for launching some of the Sixties biggest names including
The Beatles, the Rolling Stones and The Who. It broke all barriers in music
and fashion and it set the trends that changed the face of British music
forever. It was daring and it was innovative and set the tone that anything
was possible. The Sixties was a time of great hope, optimism and fun and
this clearly shows in the songs contained in this set. On Friday at 6pm,
Manfred Mann's 5-4-3-2-1 came crashing out of the TV and the screen
announced: "The weekend starts here!" For anyone interested in music or
fashion it was a must! In short Ready Steady Go! was a cultural landmark.
The Ready Steady Go! The Sixties is a special collection recreating that
magical era. It is a celebration of the greatest artists and songs of the
60’s including Manfred Mann - 5,4,3,2,1 (the show’s title song), The Who -
Anyway, Anyhow, Anywhere, The Kinks - Sunny Afternoon, The Small Faces -
Itchycoo Park, The Beach Boys - I Get Around and The Animals - House of The
Rising Sun.


V.A. - Guys Go Pop! Vol. 1 1965

Posted: 23 Apr 2018 07:14 AM PDT

A new (2016 year) release from Teensville records puts the spotlight on a
glorious year for music: 1965. Guys Go Pop! 1965 aims to showcase
obscurities from male singers trying to score a hit in the year where
anything seemed possible to top the Billboard charts. This collection
features rarities from the likes of prior hit-makers The Duprees and Jerry
Naylor (of The Crickets), future stars Cory Wells (pre-Three Dog Night) and
Kenny Rankin, as well as total unknowns such as Robbie & The Revelations.
26 tracks in total, each displaying a dynamic and exciting sound. They all
could have been hits! Featuring a 16 page full colour booklet with
annotation and information for each track and rare label scans and artist

V.A. - Guys Go Pop Volume Vol.2 (1966-1967)

Posted: 23 Apr 2018 07:09 AM PDT

Teensville Records presents the triumphant continuation of the lauded Guys
Go Pop! series - this second volume focusing on the timespan of 1966-1967.
Guys Go Pop! Volume 2 features rare and obscure tracks by artists such as
teen idols should-have-been Arnie Corrado, Jimmy Boyd, and Peter Courtney.
Also in the spotlight are more familiar artists with songs that haven't
been on CD by the likes of Gene Pitney, The Vogues, and Johnny Restivo. A
stunning 31 remastered tracks, including two first time in stereo,
complimented by a colour booklet featuring full liner notes, pictures, and
credits. POP! on in to Guys Go Pop! Volume 2!


V.A.- Guys Go Pop Vol.3 (1963-1965)

Posted: 23 Apr 2018 07:04 AM PDT

The third installment (2018) of Teensville's Guys Go Pop! series focuses on
the years 1963, 1964 and 1965. Listen as the males POP their way through 33
professionally written, ar-ranged and produced songs they all could have
been hits. 1963 was the last innocent year for music, but this release
proves to show that the sound continued into 1964 and 1965 despite the
British Invasion. Artists include Bobby Paris, Lee Brackett, Don Grady,
Tommy Sands (in his Snuff Garrett-Leon Russell supervised period), Buddy
Wayne, Bob Moline and so many more! Includes full 12 Page color booklet
with label information and track-by-track liner notes. POP on in!

01. Bobby Paris – Who Needs You (2:54)
02. Lee Brackett – I Said Hello To Shirley (2:50)
03. Tommy Sands – Love’s Funny (2:29)
04. Buddy Wayne – I Wish That Little Girl Was Mine (2:21)
05. Bob Moline – Forbidden (2:40)
06. Chuck Rondell – All’s Fair In Love And War (2:06)
07. Hilton James – Without You (And Your Love) (2:03)
08. Mark Thatcher – (A Girl Needs) To Love And Be Loved (2:33)
09. Allen Wayne – Walkin’ My Baby (2:22)
10. Brent Edwards – Pride (2:27)
11. Vinnie Monte – What’s The Matter With Marilyn (2:41)
12. Lee Brackett – My Baby The Cheat (2:21)
13. The Royal Lancers – Be My Girl (2:13)
14. Robert Loye Jr – I Just Stand Here (2:30)
15. Tommy Sands – Little Rosita (2:33)
16. Russ Damon – Someone Else (2:11)
17. Kenny Rossi – Everybody’s Baby (2:39)
18. Mickey Denton – The Other Side Of Betty (2:45)
19. Jeff Condon – (Walkin’ In) Freddy’s Footsteps (2:11)
20. The James Boys – Another Lori (2:15)
21. Don Grady – One Good Turn Deserves Another (2:14)
22. Bobby Vinton – Don’t Go Away Mad (2:09)
23. Glen Campbell – Prima Donna (2:25)
24. Jay – Little Sister (2:28)
25. Mark Thatcher – Feel So Lucky (2:32)
26. Hilton James – I Made An Angel Cry (2:02)
27. Lee Brackett – Steadies (2:14)
28. Bob Moline – There Is So Much (2:08)
29. Chuck Rondell – Speak For Yourself, John (2:50)
30. Buddy Wayne – I’d Fight For My Baby (2:09)
31. Tommy Sands – The Statue (2:21)
32. Pat Boone – Run To Me, Baby (2:37)
33. Joey Paige – Love Dances On (DEMO) (1:59)Without backcover****

VA - Lookin' For Boys! (Girl Pop & Girl Group Gems In Stereo 1962-1967)

Posted: 23 Apr 2018 06:58 AM PDT

Lookin' For Boys! is the newest compilation from awarded collector's-friend
label Teensville Records. The CD boasts 32 tracks, 29 of which are in
STEREO for the very first time. Alternate takes of girl favorites by The
Exciters and Lesley Gore plus dig the wide separation on
previously-mono-only tracks by the likes of Diane Christian, Marcie Blane,
Yvonne Carroll, The Pin-Ups, Marlina Mars and many more. Includes full
colour booklet with annotations and pictures.


VA - Marshmallow Skies (60s Pop Stars Flirt With Psychedelia)

Posted: 23 Apr 2018 06:16 AM PDT

"Turn the time machine back fifty years for a groovy 80 minute trip:
Marshmallow Skies is a turned-on look into established 60s pop artists’
forays and experiments with the psychedelic music scene. Listen as stars of
sixties flirt with psych instrumentation coupled with lyrics about peace
and love. It’ll blow your mind in 28 different pieces, man."Check out
Teensville Records in NSW, AU they have put together some great 60's


Rock Archeologia 60-70

Rock Archeologia 60-70

Galaxy - Day Without The Sun 1976 (USA, Space/Psychedelic/Progressive Rock)

Posted: 23 Apr 2018 09:06 AM PDT

Исполнитель: Galaxy

Откуда: USA

Альбом: Day Without The Sun

Год выхода: 1976

Жанр: Space/Psychedelic/Progressive Rock

Формат: MP3 CBR 320

Размер архива: 106 МB
Группа из Jacksonville (штат Флорида). Альбом был записан в декабре 1976
года в The Warehouse Recording Studio.


01. Space Mountain 4:08

02. Green Stuff 4:38

03. Look What You Done 3:59

04. Galaxy 6:11

05. Sky Queen 4:01

06. Day Without The Sun 14:27

07. Everybody Down 4:27

08. Woman Of Love 4:15


Frenzi Fabbri guitar, producer

Pepper Leonardy bass

Space Mama Geiger (Marylin Geiger) keyboards, producer

Miss Gunner Powell drums


Запись Galaxy Day Without The Sun 1976 (USA, Space/Psychedelic/Progressive
Rock) впервые появилась Rock Archeologia 60-70.

Syrinx - Syrinx 1970 (Canada, Electronic/Progressive/Jazz Rock)

Posted: 23 Apr 2018 12:28 AM PDT

Исполнитель: Syrinx

Откуда: Canada

Альбом: Syrinx

Год выхода: 1970

Жанр: Electronic/Progressive/Jazz Rock

Формат: MP3 CBR 320

Размер архива: 87.9 МB
Двухальбомная группа из Торонто, активная в 1970-72 годах. Первый альбом.


01. Melinas Torch 2:55

02. Journey Tree 4:48

03. Chant For Your Dragon King 10:21

04. Field Hymn 1:46

05. Hollywood Dream Trip 5:10

06. Father Of Light 2:13

07. Appalosa Pegasus 11:29


John Mills-Cockell Moog synthesizer, piano, organ, producer

Douglas Pringle electric saxophones

Alan Wells hand drums, gongs


Запись Syrinx Syrinx 1970 (Canada, Electronic/Progressive/Jazz Rock)
впервые появилась Rock Archeologia 60-70.

Syrinx - Long Lost Relatives 1971 (Canada, Electronic/Progressive/Jazz Rock)

Posted: 23 Apr 2018 12:23 AM PDT

Исполнитель: Syrinx

Откуда: Canada

Альбом: Long Lost Relatives

Год выхода: 1971

Жанр: Electronic/Progressive/Jazz Rock

Формат: MP3 CBR 320

Размер архива: 87.8 МB

Второй альбом.


01. Tumblers To The Vault 3:31

02. Syren 6:07

03. December Angel 8:54

04. Ibistix 8:04

05. Field Hymn (Epiloque) 2:52

06. Tillicum 1:50

07. Better Deaf And Dumb From The First 2:52

08. Aurora Spinray 3:27


John Mills-Cockell ARP synthesizer, Moog synthesizer, keyboards, producer

Douglas Pringle saxophones, bongos, bells, guiro

Alan Wells congas, timpani, gong, tambourine


Hohn Dembeck, Berul Sugarman, Stanley Solomon, Ronald Lurie, Sam Davis
string section

Vair Capper orchestral percussion

Russ Little vocal direction

Milton Barnes string section director

Eugene Martynec producer


Запись Syrinx Long Lost Relatives 1971 (Canada,
Electronic/Progressive/Jazz Rock) впервые появилась Rock Archeologia 60-70.