VA - Gwiazdy polskiego big beatu

Tajfuny - Gwiazdy polskiego big beatu

Chocholy - Gwiazdy polskiego big beatu

http://en.wikipedia.org/wiki/Polish_rock

Edwards Hand - Edwards Hand (1969)

Rod Edwards: vocals and keyboards

Roger Hand: vocals and acoustic guitar

Drums: Barry Morgan, Ronnie Verrall, Clem Cattini

String Bass: Danny Thompson

Bass: Herbie Flowers, Mo Foster, Brian Hodges

Guitars: Vic Flick, Big Jim Sullivan, Colin Green, Alan Parker

Keyboards: Nicky Hopkins, Roger Coulam, Alan Hawkshaw, Mike Moran

Organ: Harry Stoneham

Because Edwards Hand were one of the few pop/rock acts other than the Beatles who were produced by George Martin in the late 1960s, their obscure self-titled debut album has generated some rough comparisons to the Beatles' own work. It's true that the harmonies, melodies, and orchestrations bear some similarity to those heard on the very most pop-oriented of the Beatles' productions, though in truth there's a stronger resemblance to the ornate pop-psychedelia of the late-'60s Bee Gees. Throwing those names into the hat so quickly, though, is a little misleading and might spark hopes for a buried treasure that's better than it is. For the actual songs are certainly coyer and more saccharine than the compositions of the Beatles, and even make the Bee Gees' late-'60s stuff sound melancholy and a little hard-edged. It's more something of a combination of Beatles/Bee Gees-lite with poppier, soaring, sometimes fruity orchestral arrangements -- most likely Martin's strongest contribution to the record -- and more of a middle of the road/sunshine pop/toytown psychedelic influence than the Bee Gees (and certainly the Beatles) admitted. Certainly some of the lyrics make one blanch a bit on the printed page, with their fey references to picture books, kings and queens, bringing flowers in the morning, walking down London's Charing Cross Road, magic cars, and the like. If you like those elements, of course, there are things to enjoy about this record. It has reasonably catchy though not stunning melodies, good duo vocal harmonies, and an ambience that captures something of the most innocuous side of the Swinging London/flower power era. It does sound best, however, when it gets most serious and Bee Gees-like, "If I Thought You'd Ever Change Your Mind" and "Orange Peel" being two examples.

Группа была сформирована в Лондоне в 1967 году как Picadilly Line и выпустила в 1968 году альбом The Huge World of Emily Small  Альбом не получил большой известности, и хотя в группе начали свой творческий путь известные в будущем музыканты Danny Thompson, Alan Hawkshaw, Jan Barber, Herbie Flowers и Harold McNair, группа распалась. Её основатели Rod Edwards и Roger Hand собрали новый состав (это был первый более-менее стабильный состав в котором появился John Wetton). Самым впечатляющим в группе было даже не их творчество, а то что они были одной из немногих в то время групп с которой работал сам George Martin. Причём работать с ними он начал в перерывах записи White Album The Beatles. Первый альбом вышел в 1969 году и был благожелательно встречен и публикой и критикой. Естественно в отзывах присутствовало сравнение с Beatles мелодизмом, оркестровыми аранжировками, но местами музыка была более похожа на поп-психоделию Bee Gees конца 60-х. Джордж Мартин продюсировал и последние два альбома группы. Все творчество группы пришлось как раз на закат эры flower power.В середине 70-х группа прекратила свое существование после многочисленных смен состава. Одновременно с работой в EDWARDS HAND Rod Edwards работал с Jade, Gordon Giltrap, Ashman Reynolds. Hand и Edwards вместе с Jon Miller основали продюсерскую компанию Triumvirate Productions, которая работала со многими артистами. И если Hand переключился полностью на продюсерскую деятельность, то Edwards продолжал играть с Gordon Giltrap и другими музыкантами, а также писал мюзиклы.

http://en.wikipedia.org/wiki/Edwards_Hand

Picadilly Line - The Huge World Of Emily Small (1967)

Originally formed in 1967 as Picadilly Line by Rod Edwards and Roger Hand, English psychedelic pop group Edwards Hand released three albums before disbanding in the mid-'70s (1968's The Huge World of Emily Small [as Picadilly Line] featured the talents of Danny Thompson, Alan Hawkshaw, Jan Barber, Herbie Flowers, and Harold McNair). The group's highly collectible eponymous debut was produced by George Martin, who worked with very few pop acts outside of the Beatles. The record received its share of critical acclaim, earning comparisons to the Bee Gees, as well as the aforementioned Fab Four. Stranded (1970) and Rainshine (1973) were also produced by Martin.

"Picadilly Line's The Huge World Of Emily Small is one of those albums that just seems to have slipped under the radar of most UK pop psych collectors. As such, it has never been re-issued in any form! The band (essentially a duo led by Rod Edwards and Roger Hand, who would later record as Edwards Hand) flourished briefly in the late '60s releasing this one album. With them is the cream of UK session men including Danny Thompson (bass), Alan Hawkshaw (keys), Herbie Flowers (bass) and Harold McNair (flute). The Picadilly Line even managed an appearance at The Middle Earth club in London, the then hallowed centre of the UK psychedelic scene.

The album is breezy post-Sgt. Pepper psychedelic pop with plenty of swinging London vibes, orchestration and evocative whimsical lyrics. Reference points are a psychedelic The Hollies, Chad and Jeremy (circa Of Cabbages and Kings) Nirvana, Kaleidoscope (UK), World Of Oz, Donovan and The Bee Gees. Filled with beautiful dreamy vocal harmonies and elaborate electric and acoustic arrangements, this is a real trip back to the height of UK Flower Power. All material is original except for a great version of Dylan's 'Visions of Johanna' and The Everly Brothers' 'Gone, Gone Gone.'

Features ten unreleased bonus tracks exclusive to this CD, including their non-album singles 'Yellow Rainbow'/'Evenings with Corinna' and 'Evening with Corinna'/'My Best Friend,' both from 1968. Digitally re-mastered from the original master tapes and re-released with full consent of the producer and band. Booklet includes unseen photos from the period and band biography and the CD features ten bonus tracks."

The Picadilly Line's sole album is one of the recordings that most epitomizes what has been retrospectively dubbed the "toytown" school of British psychedelia by collectors. That is, the songs bounce along daintily; the vocal emphasis is on high harmonies; the lyrics are sometimes populated with observations of British everyday life and characters, sprinkled with a coat of whimsy; and the arrangements benefit from touches of baroque orchestration. It's executed here, however, with a fey, twee touch that makes the Zombies' Odessey and Oracle, for instance, sound rough 'n' ready by comparison. It's thus going to be too light even for some British psychedelic pop enthusiasts, but it's not quite the most saccharine entry in the genre, though it's undeniably precious. There's a folky lightness that keeps this from being too wide-eyed and childish, sometimes sounding a bit like Simon & Garfunkel gone toytown, though with some similarities to both the 1967-era Beatles and '60s California pop in the vocals and arrangements. The covers of Bob Dylan's "Visions of Johanna" and the Everly Brothers' "Gone, Gone, Gone," however, seem misplaced in these surroundings. The CD reissue adds ten bonus cuts of a similar nature (though they're sometimes marginally gutsier) and the same level of professionalism, including all three of their non-LP cuts that appeared on singles in 1968. Of these, the one of most interest is "Yellow Rainbow," as it was written by Graham Nash, then of the Hollies. Unsurprisingly, it sounds much like a Hollies song given a lighter treatment than the Hollies themselves would have; also unsurprisingly, to be a little uncharitable, it's by far the best track on the CD.

Beauregard Ajax - Deaf Priscilla (1968)

David Ferguson - vocals, guitar

Charlie Hendrix - vocals, pipe, recorder

Clint Williams - electric bass

John Boutell - vocals, guitars

Leo Hartshorn – drums

In 1966 David Ferguson (Guitar & Vocals), his neighbour John Boutell (Rhythm Guitar) and a schoolmate of David?s, Dennis Margeson (Bass), formed the Poets. By 1967 they had added another neighbour to the group, vocalist Charlie Hendricks. David and Charlie immediately began writing original music for the group, both separately and in collaboration. Soon after the introduction of Charlie into the band Dennis Margeson was replaced with bassist Clint Williams. Charlie and Clint had previously played in several bands together. The group was still shy a drummer until Patrick Landreville, a mutual friend, introduced drummer Leo Hartshorn to the band.Completing the band roster was the catalyst that David and Charlie needed to begin writing in earnest, rapidly increasing their repertoire. The Poets soon began playing in any venue that would have them and they quickly became one of the most popular bands in the area. Capitalising on the Poets rapid rise in popularity Patrick introduced the band to his friend, concert promoter Jim Salzer. Salzer was suitably impressed with the bands sound and appearance and began booking them as an opening act at his concerts as well as at his nightclub, the Starlight Lounge. Jim Salzer was at the time one of the top two concert promoters in southern California, the other being Avalon Attractions.

By this time Charlie had persuaded the band to change the name of the band from the Poets to the Dumplings. Mike Cullen, another local favourite, approached David with the idea of playing a double bill with Mike?s band. David was receptive to the idea and Mike secured several performances at local venues. At one of these shows Barbara Haskell, the wife of famed music arranger Jimmie Haskell, saw the Dumplings and offered to introduce the band to one of her husband?s associates in the music industry. Patrick contacted Barbara and she subsequently contacted Bob Keane of Del-fi Records. Bob immediately called Patrick saying he had gotten a glowing recommendation from the Haskell?s concerning the Dumplings and he was indeed interested in hearing the band. Patrick then forwarded this information to David and Charlie. A meeting at Del-fi was set up, a contract was offered and after a brief battle between Averill C. Pasarow, the band?s attorney and J. Cooper, Keane?s attorney, a contract was signed. Keane thought the Dumplings was a terrible name and strongly suggested the band change it. As it happens the band members, with the exception of Charlie, also hated the name. After the band considered a great many names and rejected them all, Patrick suggested naming the band as if it were a person rather than traditional band type names, they liked the idea and settled on one from Patrick?s list, Beauregarde Ajax. Bob Keane subsequently misspelled the name as Beauregard Ajax which is how it appears on ?Deaf Priscilla? the only record commercially released by the band. Bob Keane personally produced the majority of the tracks then handed the project off to Paul Politi to finish the recordings.

All tracks recorded for Del-fi were done at Bob Keane?s Stereo-fi Studio on Selma Avenue in Hollywood, a stones throw from the Capitol records building on Vine Street. The tracks were recorded on his Scully Dictaphone eight track machine which at the time was state of the art. Most recordings at that time were done on four track machines, eight track machines did not become standard until the early 1970s and were shortly replaced by sixteen and twenty-four track machines.Del-Fi Records never released the Beauregard Ajax recordings as the master tapes were lost when Bob Keane had a falling out with his partner in the Stereo-Fi Studio. The band arrived at Stereo-Fi for the final recording sessions and found the doors chained with a notice from the sheriff?s office.The Deaf Priscilla album eventually released by German label, Shadok Records, is from a cassette duplication of the original masters.The band underwent another name change while on the Del-fi label, Beauregard Ajax was changed to Sleep. With the name change from Beauregard Ajax to Sleep Charlie Hendricks left the band and was replaced by Bruce (no known surname), David had met Bruce while attending Los Angeles City College.

Info by Psych Spaniolos

ALSO

How did it all get started ?

It's Psychedelic Baby Magazine

Rewiev by Bart Bealmear

Southern California's Beauregard Ajax recorded Deaf Priscilla in late 1967 and early 1968, with legendary Del-Fi Records founder, Bob Keane producing, but the record was shelved when the group disbanded. Decades later a vinyl pressing was issued, and in 2006 Shadoks Music released it on CD for the first time, with four bonus tracks. As was the case for countless aspiring American rock collectives, the British Invasion from a few years earlier heavily influenced the five-piece (the singer even picked up an accent along the way), but as this was psychedelic age, the songs are augmented with slightly fuzzed-out blues licks. The actual tunes possess pleasing melodies, resulting in an overall light psych sound. Lyrically, the tone is usually pretty heavy, though, with such darker subject matters as loneliness, depression, failed relationships, and boredom. The group shows a whimsical side on "Kaleidoscope," and the bubblegummy "Happy Brontosaurus," but they are at their best when embracing the melancholic aspects of day-to-day life on such numbers as "Loneliness Is a Sometime Thing," "Goodbye Again," and "Blue Violins." One of the best and more bizarre tracks, "Deaf Priscilla," is the mysterious tale of a horrific domestic dispute, which the protagonist can partly ignore due to loss of one of her senses. As a band, Beauregard Ajax is competent but largely unremarkable, and the vocalist isn't distinctive, leaving this an interesting, but unessential curio. As for the sonic experience, the master tape has deteriorated some, which is often distracting (especially if listening on headphones). As for the bonus tracks, they are useless, consisting of "alternate" versions that hardly differ from the final mixes.

Fugitives-On The Run With Fugitives ( 1966)

Fugitives were from Richmond, Virginia and were formed by "Joe Russell" (organ, vocals), "Richard Donlavey" (lead singer, saxophone), "Mick Russell" (lead guitar, vocals), "Tommy Sickal" (rhythm guitar), "Jimmy Sickal" (bass guitar, vocals) and "Buster Byard" (drums).

They recorded one album "On The Run With The Fugitives" (JPL 141) in 1966 with the 'infamous' Carolina-based label "Justice Records" 

Fugitives paid "Justice Records" roughly $1,000 for four hours of studio time at "Justice Records"'s Winston-Salem Studios and the label pressed 500 or 1,000 copies of their "On The Run With The Fugitives".

In musical terms it isn't radically different from most of the "Justice Records" catalog. 

But Fugitives were in top 5 of "Justice Records" catalog in terms of talent and enthusiasm. 

First, overlooking a couple of the lame top-40 covers (a painfully out of tune "Until" and yet another needless cover of "Ebb Tide"), Fugitives plays with considerable enthusiasm which usually makes up for their limited technical skills.

Blown notes and off-key vocals abound, but on material such as "Turn On Your Love Light" and "Bo Diddley" it just sounds like these guys were having FUN. 

The other winning factor is the album's high self-penned content.

Four of "On The Run With The Fugitives"' twelve selections are originals, with the roaring Fuzz-propelled title track "On The Run" (which was apparently intended as a never-to-be-released single), and "Kidding Around" standing out among the most impressive performances. ~ info by Psychedelic-Rock'n'roll  

http://badcatrecords.com/BadCat/FUGITIVES.htm

The Silver Beatles - Original Decca Tapes & Cavern Club Rehearsals

http://www.bootlegzone.com/album.php?name=yd011&section=1

 Yellow Dog YD 011 - sb6

Compilation, released in 1991

Track List

01 Like dreamers do

02 Money

03 Till there was you

04 The Sheik of Araby

05 To know her is to love her

06 Take good care of my Baby

07 Memphis Tennessee

08 Sure to fall

09 Hello little Girl

10 Three cool Cats

11 Crying, waiting, hoping

12 Love of the Loved

13 September in the Rain

14 Besame mucho

15 Searchin'

16 I saw her standing there

17 The one after 909

18 The one after 909(alternate Take)

19 Catswalk

20 Catswalk(alternate Take)

Tracks 1-15: Monday, January 1, 1962, Decca Studios, London

Tracks 16-20: Rehearsal, early 1962, Cavern Club, Mathew Street, Liverpool

New Rules - Новые правила

Announcement: New hosting model

2012.11.08

In the future RapidShare will use a classic hosting model which means that not only the storage space but also the traffic created will be paid solely by the owner of the file. The prices will not change. With RapidPro you automatically have unlimited traffic for your own downloads of your files and the downloads by your contacts. Additionally you have 50 GB public traffic per day. The recipients of your files have no download limitations whatsoever regardless of if they have RapidPro, a free account or no account at all! The new system will be released on 27.11. At the same time we will release the final version of RapidDrive 1.0 for Windows and we will present you with a completely revised website, which will make it even easier for you to manage your files and contacts. So, for saving backups and for daily distribution of big files, RapidShare is the best solution! 

Traffic updated every day at 00:00 GMT. and is 50 GB.

I'm not sure that is very much , but these rules are devised Rapidshare.

Downloading is very intense with equal chances for all ,draw conclusions

For example: 

Now 1 am GMT and balance the traffic already is 9 GB .

And while the old links are alive, I will not make REupload,sorry.

Only - really not working

 Теперь по-русски:

Объявление: Новая модель хостинга!

2012.11.08

В будущем RapidShare будет использовать классическую модель размещения, что означает, что не только место для хранения, но и трафик, создаваемый будет выплачиваться исключительно за счет владельца файла.Цены не изменятся. С RapidPro вы aвтоматически получаете неограниченный трафик для Вашего собственного скачиваний ваших файлов и загрузки вашим контактам. Кроме того, у вас есть 50 Гб общественного транспорта в сутки.Получателей ваших файлов не имеют ограничений скачивать бы то ни было, независимо от того, если у них есть RapidPro, создав бесплатный аккаунт, или ни в коем случае на всех! Новая система будет выпущен на 27.11. В то же время мы выпустим финальную версию RapidDrive 1.0 для Windows, и мы представляем вам полностью переработан сайт, который будет еще проще для вас, чтобы управлять файлами и 

контактами. Таким образом, для сохранения резервных копий и для ежедневного распределения больших файлов, RapidShare является лучшим решением!

Владелец файлов платит не только за место, 

но и за вызванный всякими нуждающимися  трафик.

Качающие файлы не имеют никаких ограничений, 

т.е. им не нужно иметь RapidPro или free account

Трафик обновляется каждые сутки в 00:00 GMT и равен 50 Gb !!!

(К примеру. Сейчас "по-московскому" 13.00 и осталось  9 Gb.Т.е. скачивание идёт достаточно интенсивно.Причем,качается по всему шарику)

Нужно просто уложится в эти 50 Gb. Не знаю,много это,или мало...,но здесь,как в большой семье - "кто раньше встал того и валенки..."

И по этой причине,я не буду перезаливать старые,но живые ссылки. 

Только те,которые по разным причинам уже действительно удалены. 

HO.... 

В любом случае меня такой расклад (платить за скачивающих) тоже не устраивает.

И скорее всего,в ближайшее время новые архивы,я не исключаю, будут размещаться на Народе.

Мой совет - завести аккаунт Яндекс ,поставить их панель и не иметь никаких проблем - скачивание происходит автоматически,без ввода капч

On future...

Study rulles Narod.RU  

or  

How to download from Narod.ru

"Enter CAPTCHA number into the text field and press “Скачать” button. Then wait for 10 seconds – your download will start automatically. Or just press the link under the counter (after “Если файл не начал скачиваться или вам надоело ждать, нажмите на ссылку:")

or

http://link.ac/910

http://link.ac/849

http://link.ac/a810

http://link.ac/b64

or
JDownloader

Andy Tielman &The Indonesians - Non Stop Party Live (1969)

http://en.wikipedia.org/wiki/Andy_Tielman

http://andytielman.nl/

VA - Rare Mod Vol.4 : Underground Rhythm'N'Blues, Psych & Soul

http://allmusic-wingsofdream.blogspot.ru/2010/11/va-rare-mod-collection-of-60s.html

http://allmusic-wingsofdream.blogspot.ru/2011/06/va-va-rare-mod-collection-of-60s.html

West Coast Consortium - Mr. Umbrella Man

West Coast Consortium - Mr. Umbrella Man 2009

This bounty from Cor...

Thank you !!!

Philwit & Pegasus - Philwit and Pegasus( A Mark Wirtz Production) 1970

Philwit & Pegasus were not an actual group, but an odd one-off studio project by producer Mark Wirtz. In the late '60s, Wirtz was known primarily as the creator of rock-influenced easy listening mood music albums, and also as the producer of the fine British psychedelic pop band Tomorrow. Wirtz was co-writer and producer of Tomorrow's huge British 1967 hit, "Excerpt from a Teenage Opera," and at the time there was speculation that it was indeed a prelude to an entire concept album/rock opera. That opera was never completed. But Wirtz did get a chance to devise a concept album of sorts in 1970 with Philwit & Pegasus' self-titled album for Chapter One Records.

Wirtz's idea was to make a sort of movie-on-record LP, and he wrote a song cycle of sorts with his girlfriend of the time, Maria Feltham. There really wasn't a plot or narrative to the album, though Wirtz has said (in the liner notes to the CD reissue) that the theme was "struggle, fear, and fantasized happiness." It would not be quite accurate to say that Wirtz and Feltham were the two members of Philwit & Pegasus, for neither of them actually played or sang on the album. The vocal parts were taken by John Carter (himself a noted hit songwriter of the era), Peter Lee Stirling, Chas Mills, Guy Fletcher, and Roger Greenaway (another songwriter involved in the writing of numerous British pop hits). Among the session musicians were noted players such as guitarists Chris Spedding (listed in the credits as Chris Bedding) and Joe Moretti, and drummers Clem Cattini and Terry Cox (the latter of the folk-rock group Pentangle).

The conception and ambition behind Philwit & Pegasus were more interesting than its reality. It in fact consisted of mediocre pop songs that drew from both easy listening and rock, though the arrangements were lush and varied, at times influenced by folk-rock harmonies, at others by histrionic Tom Jones-styled crooning, theatrical musicals, and the Beach Boys. The album flopped, and Wirtz moved to Hollywood the following year. Philwit & Pegasus was reissued on CD in 2003, with a non-LP single and a couple of previously unreleased demos added as bonus tracks.

Mark Wirtz Orchestra & Chorus - Latin a Go Go (1966)

The Matchmakers - Bubble Gum A Go Go (1970) + unknown album

PLUS UNKNOWN ALBUM

Titled as :

MARK WIRTZ AND THE MATCHMAKERS (POPWORKS VOL.2 )

Without covers and tracklist...

Source WEB

Thanks for any information on this riddle

Tomorrow featuring Keith West

In the early days of British psychedelia, three bands were consistently cited as first-generation figureheads of the London-based underground sound: Pink Floyd, the Soft Machine, and Tomorrow. Pink Floyd became superstars and the Soft Machine influential cult legends, but Tomorrow is mostly remembered (if at all) for featuring Steve Howe as their lead guitarist in his pre-Yes days. Actually, Tomorrow was nearly the equal of the two more celebrated outfits. Along with the early Floyd and Soft Machine, they shared a propensity for flower-power whimsy. Though they were less recklessly innovative and imaginative, their songwriting was accomplished, with adroit harmonies, psychedelic guitar work, and adventurous structures and tempo changes. They never succumbed to mindless indulgence or jamming; indeed, their tracks were rather short and tightly woven in comparison with most psychedelic bands. A couple singles (especially "My White Bicycle") were underground favorites, but the group only managed to record one album before breaking up in 1968. Lead singer Keith West, even before the breakup, had a number two British hit with "Excerpt From a Teenage Opera," which helped inspire Pete Townshend's Tommy. Drummer Twink joined the Pretty Things and, later, the Pink Fairies.

Tomorrow's sole album was a solid effort, with quite a few first-rate tracks. "My White Bicycle" was one of the first songs to prominently feature backward guitar phasing, "Real Life Permanent Dream" has engaging English harmonies and sitar riffs, "Revolution" is an infectious hippie anthem, and "Now Your Time Has Come" features intricate riffing from Steve Howe. "Hallucinations," with its irresistible melody, gentle harmonies, and affectingly trippy lyrics, was perhaps their best track. The more self-conscious English whimsy -- populated by jolly little dwarfs, Auntie Mary's dress shop, colonels, and the like -- is less successful, although the band's craftsmanship is strong enough to avoid embarassment. [The 1986 reissue of this album features detailed liner notes and the worthy B-side "Claremont Lake," though unfortunately Keith West's sappy but influential "Excerpt from a Teenage Opera" was deleted.]

Maybe Tomorrow

REPOST

Keith... Wirtz ...

REPOST

 

- а кто же такой Марк Вирц?

- он написал "Teenage opera"...

- хм...

- ну, там ещё пел Кейт Вест...

- хм...

- ну, он ещё пел в "Туморроу"...

- ага... хм...

- ну, там ещё играл на гитаре Стив Хоу...

- да-да-да...

- ну, который играл в "Йес"...

- а!!!

- вот, кто такой Марк Вирц... ))

Марк Филипп Вирц (впоследствие - также Мишель Синклер) родился в Страсбурге (Эльзас/Лотарингия). Детство своё он провёл в Кёльне, в начале 60-ых он приезжает в Лондон, где учится в Лондонском Фэрфильд колледже искусств и наук и Королевском Колледже Драмматических Искуств.

с 1964 года Марк Вирц - сотрудник EMI Records, сперва - сессионный музыкант (пианист), затем - аранжировщик и продюсер. Он работает бок о бок с Битлз, выпускает записи множества групп, в том числе Пинк Флойд, Ин Кроуд и т.п.

в 1967 году - он сотрудничает с группой Туморроу (продюсер и клавишник), тогда же он задумывает проект "Teenage Opera", первые синглы которого (вокал - Кейт Вест) выходят в 1967 году ("Excerpt from A Teenage Opera" и "Shy Boy").

в том же году он получает премию "Ivor Novello" как автор и продюсер первой в мире рок-оперы.

в 1968г. Марк Вирц женится на Розе Хэннаман (певица, её голос можно услышать в композиции "Barefoot & Tiptoe" - "Teenage Opera").

в конце 60-ых он пишет песни и продюсирует множество исполнителей, создаёт совмество с Шэз Милз Chas-Mark Productions, а в 1969 году уходит из EMI Records. в 1970 в соавторстве с Марией Фэлтам записывает диск "Philwit & Pegasus".

Merry Christmas and Happy New Year !!!

Brian Wilson - What I Realy Want For Christmas

Dion-Rock 'n' Roll Christmas

Eagles - Please Come Home For Christmas (Single) 

Emerson &Lake and Palmer - I Believe In Father Christmas EP

Jimi Hendrix - Merry Christmas and Happy New Year 

Kenny Rogers & Dolly Parton  - Once upon a Christmas

Petula Clark - Merry Christmas-Joyeux Noel

BEST WISHES FOR ALL !!!

Jancy and Dmitrich