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March 3rd, 2019

Rock Archeologia 60-70

Rock Archeologia 60-70

Antorcha - Antorcha 2006 (Mexico, Acid Psychedelic Rock)

Posted: 02 Mar 2019 07:43 AM PST

Исполнитель: Antorcha

Откуда: Mexico

Альбом: Antorcha

Год выхода: 2006 (recorded in 1970-1976)

Жанр: Acid Psychedelic Rock

Формат: MP3 CBR 320

Размер архива: 187 МB
Ранее известные как Los Antorchas, эти парни сменили название на Antorcha,
когда в 1969 году они перешли на более жесткое звучание. После нескольких
EP они, наконец, выпустили альбом в 1976 году. Диск, на самом деле,
представляет собой сборник всех их сорокапяток + Mira из их кассетного
релиза 1976 года.


01. Canción No. 1 4:16

02. Nada 6:30

03. Amiga 3:44

04. En El Jardín Del Edén 6:13

05. Grass 3:59

06. Going Down 2:03

07. La Tierra 5:58

08. Crisalida 6:50

09. Sodomáquina 5:21

10. Inconclusa 4:34

11. Mira 3:18

12. Bracero 5:17

13. Intento No. 2 2:51

14. Quiero Vivir 3:32


Guillermo Motta Aviles guitar, keyboards

Omar Cortés Gaviño bass, vocals

Mario Salazar Hernández keyboards & vocals (04-06)

Víctor Manuel Motta Aviles drums, vocals

Antonio Salcedo drums (07-10, 12, 13)


Запись Antorcha Antorcha 2006 (Mexico, Acid Psychedelic Rock) впервые
появилась Rock Archeologia 60-70.

Blackburn & Snow - Something Good For Your Head 2007 (USA, Folk Rock)

Posted: 02 Mar 2019 01:33 AM PST

Исполнитель: Blackburn & Snow

Откуда: USA

Альбом: Something Good For Your Head

Год выхода: 2007 (recorded in 1966-1967)

Жанр: Folk Rock

Формат: MP3 CBR 320

Размер архива: 119 МB
Дуэт был образован в 1964 году в Сан-Франциско. Дружили и жили в одном доме
с Jefferson Airplane и иногда выступали с ними на одной сцене. После
расставания с Блэкберном в 1967 году Sherry Snow присоединилась к Dan Hicks
And His Hot Licks. Прожив какое-то время в Индонезии, затем в Лондоне и
Шотландии, в 80-х вернулась в Калифорнию под именем Halimah Collingwood.
Jeff Blackburn в середине 70-х присоединился к Moby Grape, затем вместе с
Bob Mosley сформировал группу Jeff Blackburn Band. Летом 1977 года к ним
примкнули Neil Young и Johnny Craviotto. Назвавшись The Ducks, группа
сыграла серию импровизированных концертов в Santa Cruz (Калифорния).


01. Stranger In A Strange Land 2:27

02. Yes Today 3:25

03. Takin It Easy 3:24

04. Time 2:57

05. Its So Hard 3:08

06. Do You Realize 3:35

07. Sure Or Sorry 2:27

08. Unchain My Heart 1:48

09. Uptown-Downtown 2:13

10. Some Days I Feel Your Lovin 3:10

11. Post-War Baby 1:49

12. Think 2:18

13. No Kidding 1:58

14. I Recall The Day 2:51

15. Every Day Brings Better Things 3:19

16. Stand Here 2:41

17. I Dont Want You Back Babe 1:32

18. Stop Leanin On Me 2:16

19. Post-War Baby (Alternate Version) 1:46

20. Pass This Way (Backing Track) 3:13


Jeff Blackburn vocals, guitar

Sherry Snow vocals, percussion


Jerry McGee, Bob Jones, Bill Fulton guitar

Larry Taylor, Randy Steirling, Steve Talbot, Tom Sullivan bass

Will Scarlett harmonica

Bill Lewis, Gary Chicken Hirsh, John Chambers drums


Запись Blackburn Snow Something Good For Your Head 2007 (USA, Folk Rock)
впервые появилась Rock Archeologia 60-70.

Aguaturbia - Complete Tracks 2004 (Chile, Heavy Psychedelic Rock)

Posted: 01 Mar 2019 11:03 PM PST

Исполнитель: Aguaturbia

Откуда: Chile

Альбом: Complete Tracks

Год выхода: 2004 (recorded in 1969-1973)

Жанр: Heavy Psychedelic Rock

Формат: MP3 CBR 320

Размер архива: 186 МB


Aguaturbia (1969)

01. Baby 3:03

02. Erótica 3:50

03. Alguien Para Amar 3:01

04. Ah Ah Ah Ay 2:13

05. Rollin And Tumblin 3:08

06. Uno De Estos Dias 5:31

07. Carmesí Y Trébol 7:07

08. Eres Tú 2:50

Volume 2 (1970)

09. I Wonder Who 2:58

10. Heartbreaker 4:33

11. Blues On The West Side 6:17

12. Waterfall 3:45

13. Well All Right 3:47

14. Jailhouse Rock 2:44

15. E.V.O.L. 8:45

16. Aguaturbia 2:24

Bonuses (1973)

17. El Hombre De La Guittarra (Single A-Side) 3:34

18. Hermoso Domingo (Single B-Side) 3:18

19. Flaco 3:29


Denise (Climene Solís Puleghini) lead female vocals

Carlos Corales guitar, vocals

Ricardo Briones bass

Guillermo Willy Cavada drums


Запись Aguaturbia Complete Tracks 2004 (Chile, Heavy Psychedelic Rock)
впервые появилась Rock Archeologia 60-70.

Old Melodies ...

Old Melodies ...

The Great Scots - The Great Lost Great Scots Album !!!

Posted: 02 Mar 2019 03:00 PM PST

This actually has only five of the dozen cuts the Great Scots released
officially; the rest of the 16-song disc is filled out by unreleased tracks
recorded by the band in May 1966. It's tight mid-'60s rock with a wide
range, but not much personality, although executed fairly enjoyably. "Show
Me the Way" (included in the Pebbles series) is here and is an obvious
highlight, though they sound a lot like Manfred Mann on Goffin &
King's "Honey and Wine" and "What Am I to Do," and "Lord, I'm So Lonely"
(an obscure Billy Vera composition) is pretty fair blue-eyed soul in the
Animals mold. Barely any of the songs were written by the group members
themselves, which prevents this from being a notable effort even for '60s
collectors, although they most likely could have been stars if they'd been
picked up by big-time producers and given commercial material, à la Paul
Revere & the Raiders.


The Pink Finks - Louie Louie

Posted: 02 Mar 2019 01:48 PM PST

The Pink Finks was an Australian pop/R&B band of the mid-1960s. Based in
Melbourne, Victoria, the group is most notable for being the first in the
series of bands that featured Ross Wilson and Ross Hannaford, which
culminated in the hugely successful Daddy Cool


The Lions - Many Sides Of Lions (1965)

Posted: 02 Mar 2019 01:36 PM PST

Danish rock band founded 1962 as a The Shadows inspired quartet, later
roughened the sound and was nicknamed "The danish Rolling Stones".
Disbanded late 60's.


The Rayders - Platter-Rack Raid With The Rayders (1965)

Posted: 02 Mar 2019 01:19 PM PST

From 1965, the sole and rare LP by this New Zealand group is actually one
of the better imitation Merseybeat-style records from outside the U.K., and
still barely known even to most avid '60s rock collectors. "You and
Me," "If You Had Love," "I'm Telling You," "My Arms Want to Hold You,"
and "One Boy Too Late" -- all but the last of them original songs -- are
all pretty respectable, if fairly lightweight, tunes in the style,
sometimes with a hint of country or (in the guitar twang) the Shadows, and
sometimes a little close to the Searchers in flavor. The band fares less
well on the covers of songs by the likes of the aforementioned Searchers
("What Have They Done to the Rain," the Malvina Reynolds folk song the
Searchers made into a hit), the Mojos ("Everything's All Right"), and the
Beatles ("I Feel Fine"). These are competent but add nothing to the
superior originals, although at least the group manages to simulate, sort
of, the feedback intro of "I Feel Fine." A few other tracks indicate that,
like many bands of the time, they were making a conscious effort to project
all-around versatility, with an instrumental Shadows cover ("Theme for
Young Lovers") and a fairly mild R&B raver with a Bo Diddley rhythm ("Don't
You Touch That Girl").


The Missing Links - The Missing Links 7" (1979)

Posted: 02 Mar 2019 01:09 PM PST

"The Missing Links were a band without pretence or compromise. In 1965 when
they were billed as 'Australia's wildest group' it wasn't just the
usual 'industry' hyperbole or rhetoric - it was a statement of fact. And
it's a fact that still holds true today ... In early 1964 nothing
unbelievably wild, frenzied or manic had happened in the Australian music
scene. It was just about to." Peter Markmann
The Missing Links Mk I (early 1964 - March 1965) Peter Anson (guitar,
vocals) Dave Boyne (guitar) Bob Brady (vocals, percussion) Danny Cox
(drums) Ronnie Peel (bass, harmonica)
Transitional lineup, mid 1965 David Longmore (guitar) Frank Kennington
(vocals) Col Risby
The Missing Links Mk II: Doug Ford (guitar) Chris Gray (keyboards) Baden
Hutchins (drums) Andy James (Andy Anderson) (vocals, percussion) John Jones
(guitar, vocals) Ian Thomas (bass)


Het - Het (Collection of the band's 60s singles) 2001

Posted: 02 Mar 2019 01:00 PM PST


The Haigs - Never Die (1966-68)

Posted: 02 Mar 2019 12:51 PM PST

While there are many other Dutch '60s beat bands that are better known to
the international collecting community, the Haigs were one of the better
mid-'60s groups to emerge from Holland. This Dutch 10" vinyl reissue
assembles ten songs from both sides of all five of their 45s, amounting to
a neat document of their entire recorded output, though more details might
escape readers from outside the Netherlands, as the liner notes are
entirely in Dutch. Many Dutch bands took the R&B-based rock of the Pretty
Things and Yardbirds as a primary inspiration, but the Haigs were more on
the Beatles and Hollies side of things, though taking to the style with
more guts than most Merseybeat imitators. "Never Die" in particular, their
most famous track, is a pretty good blast of straightforward early
Beatlesque pop, down to the John Lennon-esque bleating harmonica. None of
the other songs here are quite as good, but they have their moments, with a
bit of the Zombies' minor-key brilliance seeping into "That's the Way She
Is," and quite good Beatles/Hollies-style harmonies come to the fore on a
number of songs. The later material has heavier traces of soul (especially
on a cover of Sam Cooke's "Another Saturday Night") and heavy rock, and
isn't as enjoyable as the earlier singles, though those earlier 45s were no
less derivative.


Raik's Progress - Sewer Rat Love Chant (1966)

Posted: 02 Mar 2019 12:33 PM PST

The Raik's Progress made just one garage-psychedelic single, "Why Did You
Rob Us, Tank?"/"Sewer Rat Love Chant," in 1966. Though the song titles
might lead you to believe the group dealt in weirdness along the lines of
early Mothers of Invention or the Red Krayola, actually the songs were not
as strange lyrically as the titles seemed to portend. The music, though,
was fairly strange for its time, with "Sewer Rat Love Chant" one of the
earlier examples of raga-rock to filter down into the garage substratum.
The less distinctive, but still worthy, flip side, "Why Did You Rob Us,
Tank?," had a similar approach, but bore a more audible folk-rock Byrds
influence. Both sides were reissued on the Sundazed CD Sewer Rat Love
Chant, which added ten previously unreleased live songs from a 1966
concert, most of them bearing a more standard British Invasion R&B
influence from the likes of Them and the Animals.The Raik's Progress might
be best known for including in their ranks the teenaged Steve Krikorian,
who in the late '70s and early '80s would become better known as Tonio K.
Back in the 1960s, however, he was a singer and bassist for this Fresno
band, which got a contract with Liberty Records through a connection with
Ross Bagdasarian (aka David Seville). Although they did some gigs in
Hollywood and played in the Fillmore Auditorium in San Francisco in 1966,
they petered out in early 1967. Aside from Krikorian/Tonio K., the member
of Raik's Progress to go on to the greatest subsequent visibility in the
music business was Duane Scott, who went on to work as a recording engineer.


The La De Das - How Is The Air Up There ? 1966-1967

Posted: 02 Mar 2019 12:27 PM PST

The La De Das New Zealand rock band of the 1960s and early 1970s. Formed
in New Zealand in 1963 as The Mergers, they enjoyed considerable success in
both New Zealand and Australia until their split in 1975.Aside from Ray
Columbus & the Invaders, the La De Das were New Zealand's most popular rock
group of the '60s.


The Allusions - Anthology (1966 - 1968)

Posted: 02 Mar 2019 12:09 PM PST

The Allusions were an Australian band that never made any impression
outside of their homeland but left behind some great Merseybeat-style
records. The quintet was formed out of the memberships of two previously
existing groups, the Leemen and the Delawares. Guitarist Terry Hearne,
already a five-year veteran of the music business at age 20, and an
ex-member of the surf instrumental groups the Dave Bridge Quartet and Dave
Bridge Trio, joined the Leemen in 1964 and began to move away from leader
Lonnie Lee's Bakersfield sound country repertory. With rhythm guitarist
Michael Morris, who had previously played in an outfit called Dennis
Williams & the Delawares, he split off from the Leemen. Hearne's ex-Dave
Bridge bandmate Terry Chapman came in on bass, and Kevin Hughes of the
Delawares took the drummer spot, with John Shaw, who also doubled in a very
limited way on organ, taking the lead vocals on the ballads. The new
group's influences and models came from the Beatles but also the early
Zombies and the Fortunes, Gerry & the Pacemakers, and other lighter,
pop-oriented rock & roll outfits being heard at the time in England.
When they made their debut at the end of 1965, they were a pure cover band,
performing nothing but established British acts' songs. They moved into
creating original material when they realized that it was the only way that
they would ever get to record. Morris became their in-house mainstay in
that regard, not because he was particularly good at it but because, in
Hearne's view, he was better than the other four. "We couldn't write a
shopping list," he remarked to David McLean in a 1994 article. They
developed a modified Merseybeat sound, almost reminiscent of Gerry & the
Pacemakers but with the harmonic subtleties of the Beatles and the
Searchers, and got a contract late in 1965 with EMI's Parlophone Records
imprint, by way of their production deal with Leopold Productions, for whom
their producer, Robert Iredale, worked.
From the beginning, they sounded more Merseybeat than the actual surviving
Merseybeat bands of 1966 did, in some ways paralleling the early Australian
work of the Easybeats — both had what was, essentially, a delightful
throwback sound to the slightly more innocent years of 1964-1965. Their
debut release of "Gypsy Woman" was a nationally charting Australian single
that reached the island nation's Top Ten in a nine-week chart run. They
sounded so English that it was a surprise when they discovered that the
Allusions were from Australia. By that time, Chapman, a co-founder, had
quit and was replaced by Bruce Davis, former lead guitarist of the
Delawares. Their second single, "The Dancer," did even better than its
predecessor, peaking at number eight on the charts. The sky seemed the
limit at that point — with the exception of the Easybeats, no Australian
band was doing anything like the Allusions' business, and they found
themselves something of cultural heroes to anyone under the age of 21; they
even rated a spot on the support bill to the Easybeats' final Australian
concert before the latter group set out for London. It was at that point
that their initial success fizzled out along with their third
single, "Looks Like Trouble." The latter was a bit derivative of "I Feel
Fine" in its opening and perhaps less than inspired in its beat and lyric,
except for a catchy chorus with an interesting modulation, and a cool
garage punk guitar break. The single's failure, coupled with
behind-the-scenes political maneuvers that kept them out of the best venues
in Sydney, also cost them some momentum.
Their fourth single, "Roundabout," made the Top 30 in early 1967, rescuing
the group from immediate decline — that single has been compared to Paul
McCartney's better ballad work, though it's closer to a really, really good
Monkees song (and one worthy of Micky Dolenz's vocal talents).
Davis's "I'll Be Home" is actually more interesting, with some offbeat
modulations and a curious mix of downbeat mood and catchy tune, all of it
recalling Ringo Starr's vocal performance on "Act Naturally," which fit
doubly since Hughes, the drummer, sang it. At this point, the group also
cut a self-titled album of covers, ranging from pleasant but unexceptional
renditions of American soul ("Shop Around") to a killer version of the
Kinks' "I Gotta Move."
Time was working against the group by then, however. Morris' songwriting
output was never fully adequate to keep them competitive in the singles
marketplace, and their inability to break through to the best clubs in
Sydney, or to get the best bookings elsewhere in Australia, coupled with
the bare trickle of money that they ever saw from their records (the
revenues from which went first to the production company), all wore on the
members. Attempts to crack Melbourne and Brisbane never paid off, and then
the sales of their records fell off and the group gave up along with the
record label. By the end of 1968, the Allusions were history, albeit a
history very much worth seeking out and discovering, based on the quality
of most of their records.

Fans of the early- and mid-'60s Merseybeat sound (the Beatles, Gerry & the
Pacemakers, the Searchers, etc.) will probably love this 21-song
compilation, which assembles the Allusions' complete recorded output over a
four-year period. At their best, as on "Gypsy Woman," they had a fresh,
original sound somewhere midway between the romanticism of the Beatles, the
dynamism of the Kinks, and the Who's early ballads, with a unique vocal
sound and good attack on their instruments. "Fever (Burns My Brain)" is a
strange, yet workable, mix of two seemingly conflicting themes, a harsh,
smooth farewell main lyric bridged by an achingly beautiful chorus
reminiscent of Gerry & the Pacemakers vocally and the Zombies
instrumentally. "The Dancer" is one of those odd low visibility numbers,
like "I'll Remember the Night" by the Roulettes (whom these guys also
resemble) that are such smooth and catchy examples of the Merseybeat sound
that they belong on any anthology of the era and the music. "Roller Coaster
Man" sounds like a Searchers outtake or a Gerry & the Pacemakers reject,
with a guitar part that resembles "You Can't Do That." "Looks Like Trouble"
owes a bit to "I Feel Fine" in its intro, although it also includes a
thoroughly American garage-band style guitar break. Some of the later
numbers, such as "Roundabout," are less interesting as songs, although even
this wimpy ballad offers a catchy chorus and, overall, resembles nothing
less than a decent Micky Dolenz-sung Monkees song. And "I'll Be Home" is
the kind of song with which Ringo Starr could have done wonders, especially
with the Beatlesque harmonies at the end of each line. The album's later
songs are an interesting mix of subdued, moody ballads and high-energy
rockers, such as "I Gotta Move," which may be the most Kinks-like cover of
a Kinks track that you will ever hear. This disc's sound quality is
excellent and the annotation extremely thorough.

The Four Pennies - 2 Sides Of The Four Pennies (1964)Mixed Bag (1966)

Posted: 02 Mar 2019 12:06 PM PST

This Blackburn, Lancaster beat group comprised Lionel Morton (14 August
1942, Blackburn, Lancashire, England; vocals/rhythm guitar), Fritz Fryer
(b. David Roderick Carnie Fryer, 6 December 1944, Oldham, England; lead
guitar), Mike Wilsh (b. 21 July 1945, Stoke-on-Trent, England; bass) and
Alan Buck (b. 7 April 1943, Brierfield, Lancashire, England; drums). They
scored a notable UK number 1 hit in 1964 with ‘Juliet’ - a Morton-penned
ballad that was originally the b-side of the less immediate ‘Tell Me Girl’,
which had a stark simplicity that enhanced its plaintive qualities. The
quartet enjoyed three further Top 20 entries with ‘I Found Out The Hard
Way’, ‘Black Girl’ (both 1964) and ‘Until It’s Time For You To Go’ (1965),
but were unable to sustain a long career. Fryer, having briefly fronted a
new act, Fritz, Mike and Mo, later became a successful record producer,
while Morton, who married actress Julia Foster, made frequent appearances
in children’s television programmes.


Cops 'n Robbers - Cops 'n Robbers (1964-65)

Posted: 02 Mar 2019 11:53 AM PST

All 14 songs known to exist by the band -- both sides of their three
singles, two tracks that only appeared on their French-only EP, and six
blues-rock covers rescued from a 1964 acetate. "You'll Never Do It Baby,"
and with its compelling, jerky riff, is the clear highlight (although the
Pretty Things cover is better); "There's Gotta Be a Reason" is also good
moody early British R&B, while "St. James Infirmary," with its gloomy deep
organ sound, is a worthy treatment of that covered-to-death standard.
Otherwise, it's uneven sailing: an original ("Just Keep Right On") that
sounds like Gerry & the Pacemakers trying to be an R&B band, the strange
R&B version of "I Could Have Danced All Night," and six pretty routine
covers of classics by Chuck Berry, Bo Diddley, and the like from a 1964
acetate. The album was remastered from singles and acetates, and the
fidelity is often dull (though obviously there were limitations on what
could be done with the acetates), yet this is still recommended to fans of
bands like the Pretty Things for its appealingly grimy British R&B stance.

A little-known but quality group from the R&B wing of the British Invasion,
the Cops 'n Robbers (named after a Bo Diddley song) issued just three
singles in the mid-'60s, as well as a French-only EP. Their chief claim to
fame is recording (and writing) the original version of "You'll Never Do It
Baby," a cool, nasty R&B-rock raver that was covered by the Pretty Things
on their second album. Cops 'n Robbers were indeed rather similar to the
Pretty Things in their punky R&B-rock approach, yet even punkier than the
Pretty Things (but not as sloppy as another sub-Pretties act, the
Downliners Sect). Singer Brian "Smudger" Smith had an unrefined, sullen
leer in his delivery, and the band was picked up by the same management
team that signed Donovan (a friend of Cops 'n Robbers). They issued a good
version of "St. James Infirmary" on Decca in late 1964, but after its
failure moved to Pye for the rest of their meager recorded output, which
included a bizarre, ill-chosen cover of the My Fair Lady standard "I Could
Have Danced All Night." Drummer Henry Harrison joined the New Vaudeville
Band ("Winchester Cathedral"), an act which could have been hardly any more
of a polar opposite from his previous group.

The Pleazers -Definitely Definitive (1965-1966)

Posted: 02 Mar 2019 11:44 AM PST

The Pleazers were an originally Australian-based rhythm & blues musical
group that was popular in New Zealand in the mid-1960s.The band began in
Brisbane as the G-Men, before moving to Sydney, changing their name and
going professional. In Sydney, they were noticed by Eldred Stebbing of
Zodiac Records, who brought them to New Zealand in 1964, where they soon
appeared on the Let's Go show. The initial release, "Last Night"/"Poor
Girl", did poorly but the followup release, a cover of Them's "Gloria"
broke into the national charts. The band eventually released seven singles,
one EP and one album, called Definitely Pleazers. The band went through
several personnel changes and in March 1965 moved back to Australia, only
to break up six months later.

In the mid-'60s, the Pleazers were one of the only New Zealand groups
competently playing tough, British Invasion/R&B-styled rock & roll; they
were probably only second to the La-De-Da's in their homeland in this
regard. They managed to record about half a dozen singles, an LP, and an
EP, gaining a few hits in New Zealand and playing some stints in Australia
during their brief life. Mixing typical covers of the time with fairly
strong original material, the Pleazers were not an extraordinary band; in
the United States or Britain, they would have been just another decent
regional act. Tough rock bands were still a rarity in New Zealand, though,
and so the Pleazers are still remembered there as trailblazers of sorts.
Originally an Australian band from Brisbane, known as 'Johnny Gray and The
G Men'. They were hired to as a backing band for 'The London Brothers',
Billy Bacon and Bob Cooper back in 1964. At that time the band cosisted of,
Jimmy Cerezo, lead guitar, Peter Newing, rhythm guitar, Bruce Robinson,
bass guitar and me on drums.They were joined by Bob Cooper and decided to
change their name to the Pleazers. They then went professional and at this
point Vince Lipton decided to leave and was replaced by Bruce Robinson
(Bass). The band moved to Sydney, losing Jim Cerezo on the way, so Robinson
moved to lead guitar and Ronnie Peel joined on bass.It was while playing in
Sydney that they were noticed by Zodiac owner, Eldred Stebbing, who brought
them to New Zealand in 1964, with a promise of guaranteed work and
unlimited studio time. They started playing at the Shiralee and also
appeared on the TV show Let's Go. They looked to be set to take the nation
by storm, but fell out with TV producers and were subsequently banned from
the airwaves. They started looking scruffier and seemed more comfortable
with this image.Their first single, 'Last Night'/'Poor Girl', got minor
response. It wasn't until they released their follow-up song, a cover of
Them's 'Gloria', with 'That Lonely Feeling' on the reverse, in February
1965, that saw them get any action on the charts. Seven singles, one EP
called 'Midnight Rave', and one album called 'Definitely Pleazers' were
released on the Zodiac label. The other singles were 'Like Columbus
Did', 'Sometimes', 'Is It Over Baby', 'Hurtin' All Over', 'Guilty', 'Can't
Pretend', 'Here Today', 'La La Lies' and 'Three Cool
Cats', 'Security'.Eldred Stebbing took over the Shiralee in 1966 and
renamed it the Galaxie. He installed as resident bands, two of the
raunchiest R&B groups around, The La De Da's and the Pleazers. The La De
Da's fitted in well with the image of the club, but the Pleazers wanted to
continue their rough looking image and Bob Cooper was soon replaced by
Shane Hales. Cooper showed up with Hubb Kapp and the Wheels. Ronnie Peel
left the group in 1966 and was replaced by Gus Fenwick from the Layabouts.
The Pleazers went back to Australia in June 1966, but returned in March
1967, without Peter Newing, only to split up 6 months later.They were one
of the premier groups on the New Zealand scene, but their behaviour was far
from acceptable in a staid New Zealand society. Peel spent a brief period
with The La De Da's before moving to the UK and a stint with Thunderclap
Newman. He later changed his name to Rockwell T James and performed well in
Australia. Gus Fenwick also continued his career in Australia, before
joining Shane Hales in the Shane Group, which evolved into the Apple. In
Australia Gus was a member of the Bootleg Family Band, Healing Force,
Nightflyer and Swanee.Shane Hales had a short stint with Jamestown Union,
before forming the Shane Group, and after that had a very successful solo
career, while Bruce Robinson went on to join Troubled Mind, then Flinders
and Rockinghorse.In 1988 Raven released an album that was named and looked
the same as the 1966 EP, but contained tracks made up of singles, the EP
and album tracks.

The E-Types & The Great Scots - Live At The Rainbow Ballroom - Arrive!

Posted: 02 Mar 2019 11:32 AM PST

The E-types
Bob Wence - Guitar,VocalsJody Wence - Keyboards,VocalsDon Sheppard -
Guitar,VocalsDanny Monigold - BassReggie Shaffer - DrumsFrom Salinas,CA.
The E-types were often referred to as the Salinas Beatles. Their tight
harmonies and excellent musicianship put them a level above the rest of the
local bands of the time. After they recorded their first record "I Can't Do
It"/"Long Before" on the Link label it started to get considerable regional
airplay and came to the attention of Los Angeles based Dot records who
released the single on their own label. On the strength of the recording
the band was signed by Green Grass Productions, home of The Standells.
Their next single, "She Moves Me", also received considerable airplay and
the band "performed" the song on Dick Clark's "Where The Action Is"
television show. The single was backed with an obscure Beatles tune
called "Love Of The Loved".
During this same time the band was performing constantly in the Monterey
and San Francisco bay areas headlining shows and sharing the bill with such
current heavyweights as Paul Revere and the Raiders, The Lovin' Spoonful, ?
And The Mysterians, Martha And The Vandellas, Roy Head, The Jefferson
Airplane, and The Yardbirds. In 1965 the band won 6 battle of the bands
contests including the huge KLIV contest that had 80 bands compete and took
4 months to complete. The E-types broke all the attendance records at the
Coconut Grove ballroom in Santa Cruz except for the Righteous
Brothers. . .only by a handful of votes. That's the all time attendence
record since the beginning of the Coconut Grove to present day.
Their next record "Put The Clock Back On The Wall"/"4th Street" became
their biggest single getting national airplay. One more single was
released,"Big City"/"Back To Me" but by this time the band was having
disagreements with their management and parted ways. Don Sheppard and Danny
Monigold left the band and were replaced by Terry Shehorn on guitar and
Larry Hosford on bass. They recorded one more single with this line up
calling themselves Charolette Wood. The two songs,"Friendly Indians"
and "Good Day" were written by Hosford and were also included on the
album "San Francisco International Pop Festival" on the COED label.
The Great Scots
Bass – Dave IsnerDrums – Gerry ArcherGuitar [Lead] – Bill SchnareLead
Vocals – Rick McNeilRhythm Guitar – Wayne Forrest
While determining just who was America's or Britain's greatest rock & roll
band will forever be in doubt, the list gets whittled down to one name when
figuring out who was the biggest group from Nova Scotia: the Great Scots.
From Halifax, the Scots cut three singles of wild punk music, loaded with
solid playing and great screaming vocals.
The group began officially in 1963 as the Shadows, changing their name to
the Beavers (all wearing Mohawk haircuts) the following year and finally
becoming the Great Scots by December 1964. The original lineup consisted of
guitarist Bill Schnare, singer Rick McNeil, bassist Dave Isnor, drummer
Gerry Archer and guitarist Wayne Forrest. Hailed in the Canadian press
as "Canada's answer to the Beatles," the group flew down to California in
1965, looking for bigger horizons to conquer. Working out of Hollywood
during that time period, the group capitalized on their Scottish heritage
and wore Nova Scotian tartan kilts onstage, causing quite a stir everywhere
they played. Hooking up with producer (and Challengers drummer) Richard
Delvey, the Scots hit the charts with "Run For Your Life," "The Light Hurts
My Eyes" and "Miracle Worker," also issuing sides under the name Free For
All. No teenage primitive fuzz box and Farfisa organ garage band, the Scots
sported solid harmonies and a wide musical palette that embraced everything
from blues to rock & roll to a smattering of jazz. Their fame in California
grew by leaps and bounds, doing guest shots on both American Bandstand and
Shindig!, being featured in various teen magazines, working big package
shows and receiving the key to the city from the mayor of Santa Barbara,
California. But the good times came to a quick end by 1967 because of the
Vietnam War. The members had permanent visas, meaning they were all
eligible for the draft. When Dave Isnor was plucked from the group and
spent two years in the American Armed Forces, the others members called it
a day and moved back to Canada. With all the members still living close to
each other, the band still reunites every Labor Day to play and reminisce
about their short-lived heyday. The Great Scots' ride on the show business
rocket may have been a short one, but for a self described "bunch of virgin
kids from Halifax," it was the ride of a lifetime.


The Gants - Gants Galore & Road Runner

Posted: 02 Mar 2019 11:00 AM PST

US American band formed 1963 in Greenwood, Mississippi. Members included:
Sid Herring, Johnny Freeman, Vince Montgomery, Don Wood, Johnny Sanders.
1-12 tracks from The LP "Road Runner"13-24 tracks from The LP "Gants
Galore" 25-28 tracks from The LP "Gants Again"29-31 Single Tracks


The Rolling Stones Decca Years Complete and more...

Posted: 02 Mar 2019 05:48 AM PST

Even though Dick Rowe may not be familiar to most music fans, his impact on
rock history is large.

In 1962, he was the head of A&R at Decca Records, and the man who
infamously turned down signing a promising new group called the Beatles to
his label. While lightening usually doesn't strike twice, Rowe was not
about to let this blunder happen again.On a recommendation by none other
than George Harrison, Rowe ventured out to catch another promising new act
called the Rolling Stones. On May 5, 1963, Rowe caught the band at the
Crawdaddy Club in London; within the week, the band was signed to the
label.The Stones were putting all their pieces in place. On May 1, Brian
Jones signed a management contract among the band, Andrew Loog Oldham and
Eric Easton's new company, Impact Sound. Next stop: image makeover."We went
with [Oldham] on the morning of May 4, 1963, to Carnaby Street," recalled
Stones bassist Bill Wyman in his Stone Alone autobiography. "He bought us
all these tight black jeans, black roll-neck sweaters and highly
fashionable Anello & Davide black Spanish boots with Cuban heels."The band
played the Crawdaddy the following night, caught the attention of Rowe and
the rest is history. Their debut single, a raw version of the Chuck Berry
rocker "Come On," was issued just a month later. '"The Beatles, who
recommended the Stones to Decca, may well live to rue the day," Don Nicholl
prophetically wrote in the weekly music paper Disc. "This group could be
challenging them for top places in the immediate future."

On the 16th of April, 1964, Decca Records released the first of what would
become many albums by the iconic rock band, The Rolling Stones.


Music 60-70


Rattleshake - Rattleshake 2012 (USA, Hard Rock)

Posted: 03 Mar 2019 08:25 AM PST

Исполнитель: Rattleshake
Откуда: USA
Альбом: Rattleshake
Год выхода: 2012 (recorded in 1989)
Жанр: Hard Rock
Длительность: 28:05
Формат: MP3 CBR 320
Размер архива: 68,7 МБ (с 3% на восстановление)

Pantera - Cowboys From Hell 1990 (USA, Groove Metal)

Posted: 03 Mar 2019 05:07 AM PST

Исполнитель: Pantera
Откуда: USA
Альбом: Cowboys From Hell
Год выхода: 1990
Жанр: Groove Metal
Длительность: 57:33
Формат: MP3 CBR 320
Размер архива: 137 МБ (с 3% на восстановление)

Skagarack - Skagarack 1986 (Denmark, Hard Rock/AOR)

Posted: 03 Mar 2019 03:33 AM PST

Исполнитель: Skagarack
Откуда: Denmark
Альбом: Skagarack
Год выхода: 1986
Жанр: Hard Rock/AOR
Длительность: 38:23
Формат: MP3 CBR 320
Размер архива: 91,9 МБ (с 3% на восстановление)

Paul Collins' Beat - The Kids Are The Same 1982 (USA, Power Pop)

Posted: 03 Mar 2019 02:05 AM PST

Исполнитель: Paul Collins' Beat (The Beat)
Откуда: USA
Альбом: The Kids Are The Same
Год выхода: 1982
Жанр: Power Pop
Длительность: 40:54 (with bonus)
Формат: MP3 CBR 320
Размер архива: 96,6 МБ (с 3% на восстановление)

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