John Kay And The Sparrow - Collector's Item (1966)

Pre Steppenwolf

Mp3 256\100 Mb\Coves

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Steppenwolf leader/founder John Kay is perhaps the most overlooked early contributor to the musical style that would become heavy metal and hard rock. Kay was the first rocker to use the phrase heavy metal in a song, in one of metal's first great anthems: Steppenwolf's 1968 classic "Born to Be Wild." Born Joachim Fritz Krauledat on April 12, 1944, in the section of Germany that was once known as East Prussia, it was the American rock & roll that he heard on U.S. Armed Forces radio after his family moved to East Germany that fueled his interest in music. After relocating to Toronto, Canada, in 1958, Kay became even more transfixed by rock & roll -- leading to Kay picking up the guitar, writing songs, and playing in local bands. In the '60s, Kay founded the Sparrow, a rock outfit who played both Canada and the U.S., but received little attention. The group had fallen apart by 1967, but with a new, harder-edged style of rock beginning to conquer the charts and airwaves (Cream, Jimi Hendrix, and the Yardbirds), Kay decided to pursue this direction with his next band, Steppenwolf (titled after Hermann Hesse's novel of the same name). After moving to Los Angeles, the fledgling band was signed to Dunhill and recorded their self-titled debut, issued in 1968. The album became a sizeable hit, as "Born to Be Wild" was unleashed on an unsuspecting record-buying public, becoming one of rock's most instantly identifiable and enduring hits of all time. After the track was used in the 1969 cult classic movie Easy Rider, it subsequently appeared in countless other movies and TV commercials over the years and was covered by numerous other bands (Blue Oyster Cult, Slade, Crowded House, and the Cult). Steppenwolf continued to crank out hit albums (1968's The Second, 1969's At Your Birthday Party, and 1969's Monster, singles ("Magic Carpet Ride," "Rock Me"), and tours on a regular basis, with Kay being the only constant member among a revolving door of other musicians. By 1972, Kay decided to end the group, issuing his first solo albums around the same time: Forgotten Songs & Unsung Heroes and My Sportin' Life. Steppenwolfs retirement didn't last for long, however, as Kay alternated between the band and his solo career throughout the '70s, '80s, and '90s. He even took a few former members of the band to court when they, too, began touring behind the name Steppenwolf. In 1994, Kay penned an autobiography, Magic Carpet Ride, and four years later, Steppenwolf and Kay were the subject of an interesting Behind the Music episode for VH1. ~ Greg Prato, All Music Guide

John Kay & the Sparrow

Jack London & The Sparrows - 1965 (Garage Music )

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1. Twisted

2. Goin' To California

3. Baby Please Don't Go

4. Down Goes Your Love Life

5. Bright Lights Big City

6. Can't Make Love By Yourself

7. Good Morning Little School Girl

8. King Pin

9. Square Headed People

10. Chasin' Shadows

11. Green Bottle Lover

12. Isn't It Strange

13. Tomorrow's Ship (bonus track)

14. Twisted (bonus track)

15. Goin' To California (bonus track)

16. Hoochie Coochie Man (bonus track)

17. Pusher (bonus track)

18. Goin' Upstairs (bonus track)

19. Tighten Up Your Wig (bonus track)

20. Too Late (bonus track)

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LINK 1 :

LINK 2 :

Spooky Tooth-It's All About (1968)

Mp3 256\70 Mb\Covers

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Where does a group of people, working as a family team, begin to find a collective name that they shall be known to the world by? Each has his own imagination and, hopefully, vision.
This is where ART found themselves. Many suggestions were put forward; notably a couple from Guy Stevens, "Frosted Moses" and "Mott the Hoople" neither of which drew much enthusiasm from Messrs. Harrison, Ridley, Grosvenor, Wright and Kellie. They didn't know what they wanted, but definitely knew what they didn't want!
At a weekly meeting with Chris Blackwell at the office in Oxford Street, Gary produced a letter from a pal of his studying psychology at Harvard University, which included a list of possible band names. Gary had obviously mentioned the crisis in a recent letter to his friend. With the passage of time it is not clear what the selection included, but after much thought and discussion it became clear that both Gary and Blackwell thought "Spooky Tooth" was suitably unusual as to be a solution. NEXT AND MORE :

Good stuff! It's no AC/DC, sure, but Britain definitely hadn't seen a similar band at the time even if it already was 1968. Spooky Tooth begin on a humble note, stuffing about half of their debut album with covers, but then again, so did the Beatles. The Spooksters always followed their own style, not somebody else's, but at the same time were careful enough to look around, and It's All About is, as stupid as it sounds, actually a transitional album, even if it's their first. The album cover greets us with a typically psychedelic hazy blurry foreground, the band name is written in typically psychedelic shiny blossomy fashion, and the band members are walking through the field in typically psychedelic outfits, as if Pete Townshend had offered them his last year wardrobe for the photo sessions.Yet the music is not really psychedelic, not much of it, at least. Okay, so the best song on the album, the one with the best riff and the most catchiness, 'Sunshine Help Me', a true classic of British art-pop, definitely recalls psychedelic experiences, what with the druggy harpsichord and everything. The Move liked the song so much they even made it their own live staple (you can find their version among the bonus tracks to the current CD edition of Shazam, formerly an independent live EP called Something Else). And the album closer 'Bubbles' is certainly one hundred percent psychedelic, in a way you'd recognize from hearing Cream's 'Anyone For Tennis' - a kiddie diddie with goofy, but charming vocal harmonies and actual BUBBLES. So I guess you can call the album a BUBBLE GUM product. NEXT AND MORE :

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Track list;

01 - Society's Child. 4:31

02 - Love Really Changed Me. 3:34

03 - Here I Lived So Well. 5:07

04 - Too Much of Nothing. 3:58

05 - Sunshine Help Me. 3:03

06 - It's All About a Roundabout. 2:44

07 - Tobacco Road. 5:34

08 - It Hurts You So. 3:04

09 - Forget It, I Got It. 3:27

10 - Bubbles. 2:50

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LINK :

Art - Supernaturally Fairy Tales (1967)

Pre Spooky Tooth

Mp3 256\ 69 Mb\Covers

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Chris Blackwell was by now concerned that the group needed a new identity and a new name. Guy Stevens, part of the SUE/ISLAND family was brought in to produce an album of songs by the unit, now called "ART". The album would be titled "Supernatural Fairytales". NEXT :

THIS IS NOT SPOOKY TOOTH! AAARRGH! I actually should have created an appendix for this one or something. But see, what's in a name? The lack of Gary Wright. The witty American guru still had to come and steer the band in their soulful/rootsy direction. And before that? Before that, the band, fronted by Mike Harrison, was defiantly calling itself Art, and was swinging to the hot'n'excitin' sounds of the London psychedelia. It took Gary's serious efforts and songwriting talents to steer them away from that direction, yet the psychedelic vibe had only been entirely abandoned by the time of Spooky Two.Still, it's a wonderful album in many respects, and well worth seeking out - maybe not exactly a 'forgotten gem' of the times like Odyssey And Oracle or Forever Changes or whatever, but then again that hierarchy is so damn fragile I'm afraid to pronounce a final judgement. The album possesses all that a good psychedelic album of the times should have possessed. A vague wavery shiny flowery Indian-influenced album cover; a pretentious trippy title (which, oddly enough, was later exploited by Rhino Records when they were issuing their notorious boxset on progressive rock - granted, Art never were progressive rock in my understanding, but could have been in Rhino's vast understanding); and, of course, the music, all awash in phasing, echoing, 'mystical' vocals and other gimmicks. MORE :

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Luther Grosvenor – guitars

Mike Harrison – vocals, keyboards

Mike Kellie – drums, percussion

Greg Ridley – bass, guitar

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1. I Think I'm Going Weird2. What's That Sound (For What It's Worth)3. African Thing4. Room WIth A View5. Flying Anchors6. Supernatural Fairy Tale7. Love Is Real8. Come On Up9. Brothers, Dads, And Mothers10. Talkin' To Myself11. Alive Not Dead12. Rome Take Away Three

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LINK

The VIP'S - I Wanna Be free (1966)

Pre Art ----> Spooky Tooth

Mp3 320\150 Mb\Covers

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"THE STORY SO FAR"

FROM VIP's to ART

The VIP's had begun great things since coming to London in autumn '65 - a year earlier. Having conquered Carlisle and the north the only way forward was to enter the "eye of the storm", London, and see what happened. They had driven the blue Commer van, with Albert Heaton at the wheel, to London and somehow moved in. In the beginning accommodation had ranged from a shared cellar, somewhere in Berwick Street to a cosy bed in anybody's flat.
Mike Harrison, Greg Ridley, Jim Henshaw, Frank Kenyon and Walter Johnstone made up a soul/blues based group, with a deep, round sound wrapped in a great amount of confidence. They played at all the popular clubs, and became the band that other bands went to see. They also began to visit The Star Club in Hamburg, where their whole sound and image really did take over where the Beatles had left off. The first adjustment to the line-up came in 1966 when, disillusioned by the life they were leading, and homesick, drummer Walter Johnstone left the group. A very subtle, and important link had already been formed with Birmingham, due to the fact that the manager of The Spencer Davis Group, impressed by the VIP's sound ( & not least) their attitude, had signed the group to a management and recording contract. His name was Chris Blackwell, and he was to play a very important role in the events that led to the creation of Spooky Tooth. At this time Chris's greatest asset, apart from Millie Small and her recording of "My Boy Lollipop", was the singer with The Spencer Davis Group, 17 year old Steve Winwood, who, it was already clear, was more than just lucky! The Elbow Room, in Birmingham was where Steve spent much of his social time, often in the company of Jim Capaldi, Chris Wood and Mike Kellie. Jim was the leader of Worcestershire band," Deep Feeling ", who had a strong following at The Elbow and included in their line-up Gordon Jackson, Polli Palmer, and a young, intense guitarist named Luther Grosvenor. Chris Wood for his part was playing tenor saxophone and flute in a group called "Locomotive", with Mike Kellie on drums. At the suggestion of Winwood, Paul Medcalf { later Mr Fantasy, on the cover of the first Traffic album} telephoned Kellie at the sawmill in Olton, where he had a daytime job, and told him of Steve's idea that he may like to come to London to join a group called The VIP's. They needed someone fast as they were due in France the "day after tomorrow " and then on to Germany for another Star Club appearance. That evening Steve gave Kellie a lift home to Marston Green where they proceeded to explain the great plan to Kellie's father, Peter. A slightly concerned Mr Kellie said," OK, if that's what you want to do I don't mind ", gave him a fiver and the party broke up! The following day, Kellie and his Ludwig drums were met at Paddington Station by Albert Heaton. In the blue Commer van they drove to Blackwell's offices in Oxford Street. There he met Blackwell, secretaries Penny Hansen and Penny Massot and the first two members of The VIP's......Mike Harrison and Greg Ridley, then on to meet the rest of the group. Kellie remembers Jim Henshaw's reaction on meeting him; " 's'this t'new drummer then?, ur, yud betta' be good........" It was now Autumn '66, a year later. NEXT :

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Discography
"She's So Good"/"Don't Keep Shouting At Me" (UK RCA, 1964)

"Mercy Mercy" / "That's My Woman" (US only single, produced by Derek Lawrence)

"Wintertime" / "Anyone" (as The Vipps, CBS)

"I Wanna Be Free"/"Don't Let It Go" Island Records

"Straight Down To The Bottom"/"In A Dream" Island Records CD Compilation: The Complete V.I.P.s (2 CD, 28 tracks) (Repertoire Records)

Mike Harrison – vocals, piano

Greg Ridley – bass, guitar

Frank Kenyon - guitar

Walter Johnstone-drums

James Henshaw - piano,guitar

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I Wanna Be Free

Don’t Let It Go

Wintertime / Anyone

Mercy Mercy

That’s My Woman

Fannie Mae

Smockestack Lightning

Straight Down To The Bottom

In A Dream

Blue Feeling

Sad Story

I Got A Woman

Back Into My Life Again

Every Girl I See

You Don’t Know Like I Know

Stagger Lee

Rosemarie

My Babe

Late Night Blues (Wee Wee Hours)

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LINK 1 :

LINK 2 :

(Now LINK 2 it`s OK - corrected. )

The Iveys- Maybe Tomorrow- 1969

Pre Badfinger

NEW LINK

Jimmy Page And His Heavy Friends - Hip Young Guitar Slinger

Mp 3 320\275 Mb

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Before reaching Rock God status with Led Zeppelin, Jimmy Page (James Patrick Page) was the ultimate Session Man, writing, producing and playing on dozens of records. This double-CD set traces his work from humble beginnings as a teenager in the early 60s through to his in-house work at Immediate Records and onto jams in his front room with other would-be legends of the electric guitar like Eric Clapton and Jeff Beck.

Hip Young Guitar Slinger is a compilation of Jimmy Page's pre-Led Zeppelin studio sessions, recorded between 1962 and 1966.

It is not certain whether Page actually played on every track. For instance, the history section of the Lancastrians' official website specifically states that he did not play on "We'll Sing in the Sunshine" – although he did play on the B-side, "Was She Tall".

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Disc 1
1. Carter-Lewis and The Southerners - Who Told You?

2. Gregory Phillips - Angie

3. Gregory Phillips - Please Believe Me

4. Carter-Lewis and The Southerners - Somebody Told My Girl

5. Carter-Lewis and The Southerners - Skinny Minnie

6. Wayne Gibson and Dynamic Sounds - Kelly

7. Wayne Gibson and Dynamic Sounds - See You Later, Alligator

8. The Kinks - Revenge

9. The Kinks - Bald-Headed Woman

10. The First Gear - A Certain Girl

11. The First Gear - Leave My Kitten Alone

12. The Primitives - Help Me

13. The Primitives - Let Them Talk

14. The Lancastrians - We'll Sing In The Sunshine

15. The Lancastrians - Was She Tall

16. The Primitives - You Said

17. The Primitives - How Do You Feel

18. The First Gear - The "In" Crowd

19. The First Gear - Gotta Make Their Future Bright

20. The Fifth Avenue - The Bells Of Rhymney

21. The Fifth Avenue - Just Like Anyone Would Do

22. Nico - I'm Not Saying (Germany)

23. Nico - The Last Mile (Germany)

24. Gregory Phillips - Down In The Boondocks

25. Gregory Phillips - That's The One

26. The Masterminds - She Belongs To Me

27. The Masterminds - Taken My Love

Disc 2
1. John Mayall's Bluesbreakers - I'm Your Witchdoctor

2. John Mayall's Bluesbreakers - Telephone Blues

3. John Mayall and The Bluesbreakers With Eric Clapton - On Top Of The World

4. Les Fleur De Lys - Moondreams

5. Les Fleur De Lys - Wait For Me

6. The Lancastrians - The World Keeps Going Round

7. The Lancastrians - Not The Same Anymore

8. The Factotums - Can't Go Home Anymore My Love

9. Les Fleur De Lys - Circles

10. Les Fleur De Lys - So Come On

11. Twice As Much - Sittin' On A Fence

12. Twice As Much - Step Out Of Line

13. Chris Farlowe - Moanin'

14. Eric Clapton and Jimmy Page - Choker

15. Eric Clapton and Jimmy Page - Freight Loader

16. Eric Clapton and Jimmy Page - Miles Road

17. Eric Clapton and Jimmy Page - Draggin' My Tail

18. All Stars Featuring Jimmy Page - L.A. Breakdown

19. All Stars Featuring Jimmy Page - Down In The Boots

20. Eric Clapton - Snake Drive

21. Eric Clapton - West Coast Idea

22. Eric Clapton - Tribute To Elmore

23. The All Stars With Jeff Beck - Chuckles

24. The All Stars With Jeff Beck - Steelin'

25. The All Stars With Nicky Hopkins - Piano Shuffle

26. Cyril Davies and The All Stars - Not Fade Away

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LIMK 1 :

LINK 2 :

LINK 3 :

LINK 4 :

Brian Poole & The Tremeloes

Twist And Shout & It's About Time

Mp3 192\ 121 Mb

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Brian Poole - vocals (born November 2nd 1941, Barking)
Ricky West - lead guitar (born Richard Westwood, May 7th 1943, Dagenham)
Alan Blakely - rhythm guitar (born April 1st 1942, Bromley)
Alan Howard - bass guitar (born October 17th 1941, Dagenham)
Dave Munden - drums (born December 12th 1943, Dagenham)

Brian Poole founded the group in 1959 in Dagenham, Essex. They began their career as Buddy Holly mimics, Poole going so far as to wear spectacles of the type worn by Holly.
The band built up a following playing at US airbases and dancehalls. Their first big break came in '61 when they turned professional and were booked by the BBC for the popular radio show "Saturday Club" that summer. That appearance led to them becoming regulars on radio. Towards the end of that year, they were offered an audition by Decca. The audition was held on New Year's Day 1962. The producer of the session was informed that he could sign one of the two groups who were vying for a contract that day. He chose Brian Poole & The Tremeloes. The band to miss out was The Beatles.
They scored several hit records between 1963 and 1965, beginning with a cover of The Isley Brothers' "Twist And Shout", which, ironically, had also been covered by The Beatles on their debut album. This was followed with another "dance" song, a version of The Contours' "Do You Love Me", which went to the top of the charts and outsold a rival version by the Dave Clark Five. Other notable covers included Roy Orbison's "Candy Man"and the Strangeloves' "I Want Candy".
After the hits dried up Poole left in 1966 for a solo career which was to prove unsuccessful and he soon retired to work in the family's butcher business.
Contrary to expectations, The Tremeloes prospered without him and carried on making successful records until 1971.

Brian Poole And The Tremeloes

BRIAN POOLE & THE TREMELOES

The Tremeloes

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Disc 1

1. Twist and Shout

2. Twenty Miles

3. If You Gotta Make a Fool of Somebody

4. You Don't Love Me Anymore (And I Can Tell)

5. Meet Me Where We Used to Meet

6. Don't Be Afraid Little Darlin'

7. We Know

8. Alley Oop

9. Baby Workout

10. Over the Mountain, Across the Sea

11. Twist Little Sister

12. Doo Ron Ron (When He Walked Me Home)

13. Run Back Home

14. South Street

15. Peanuts

16. Keep On Dancing [From Just for Fun]
17. Twenty Miles

18. Come On In

19. Swinging On a Star

20. Yakety Yak

Disc 2

1. Time Is On My Side

2. Someone, Someone

3. You Can't Sit Down

4. I Could Make You Love Me

5. Rag Doll6. After a While

7. Chills

8. Times Have Changed

9. Hands Off

10. Uncle Willie

11. Michael Row the Boat Ashore

12. What Do You Want With My Baby?

13. Song of a Broken Heart

14. Heard It All Before

15. Well Who's That?
16. Time Is On My Side

17. Sho' Miss You Baby

18. It's All Right

19. You Don't Own Me

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LINK 1 :

LINK 2 :

Tommy James And The Shondells - Anthology

Mp3 320\170 Mb

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Tommy James and the Shondells was a popular 1960s American rock and roll group. They had two number one singles in the U.S. — "Hanky Panky" (1966) and "Crimson and Clover" (1968) — but also released five other top ten hits, including "I Think We're Alone Now," "Mony Mony," and "Crystal Blue Persuasion."

The band initially formed in 1959 as Tom and the Tornadoes, with the then only 12-year-old Tommy James as lead singer. In 1963, he re-named the band The Shondells after one of James' idols, guitarist Troy Shondell. The same year, they recorded the Jeff Barry/Ellie Greenwich song, "Hanky Panky" (originally a B-side by The Raindrops) [1]. James' version sold respectably in Michigan, Indiana and Illinois, but the record label, Snap Records, had no national distribution. The single failed to chart, and the Shondells disbanded. MORE :

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1. Hanky Panky

2. Say I Am (What I Am)

3. It's Only Love

4. I Think We're Alone Now

5. (Baby, Baby) I Can't Take It No More

6. Mirage

7. I Like The Way

8. Run, Run, Baby, Run

9. Gettin' Together

10. Real Girl

11. Love's Closin' In On Me

12. Out Of The Blue

13. Get Out Now

14. (I'm) Taken

15. One Two Three And I Fell

16. Mony Mony

17. Somebody Cares

18. Do Something To Me

19. Crimson and Clover

20. Sugar On Sunday

21. Crystal Blue Persuasion

22. Sweet Cherry Wine

23. Loved One

24. Ball Of Fire

25. She

26. Gotta Get Back To You

27. Draggin' the Line

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LINK 1 :

LINK 2 :

Тне Rattles - Die deutschen Singles A&B (2CD)

Mp3 320\ 335 Mb

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Personel:

Achim Reichel, * 28. Januar 1944 in Wentorf, Gesang, Gitarre

1966 ersetzt durch Frank Dostal

1969 ersetzt durch Edna Bejarano

Herbert Hildebrandt, * 1943 in Hamburg, Bass

1969 ersetzt durch Zappo Lungen

Hans Joachim Kreuzfeld, * 1944 in Hamburg, Gitarre

ersetzt 1969 durch Frank Mille

Reinhard "Dickie" Tarrach, * 1944 in Hamburg, Schlagzeug

ersetzt 1968 durch Herbert Bornhold

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One of the most successful, and certainly one of the most prolific, German rock groups of the '60s, the Rattles enjoyed reasonable success in their native land without making much of an impression elsewhere (though some of their material was released in other countries). Starting out in the same Star Club-based Hamburg scene as the Liverpool groups of the early '60s, their early repertoire was built upon a similar base of '50s rock and soul/R&B. They released about 30 singles during the '60s (some on the Star-Club label itself), as well as almost ten albums, eventually making the transition to original material, and marching on well into the 1970s. ~ Richie Unterberger, All Music Guide

                              It`s a fantstic, great beat and sixtieteen music materials !!!!

PART 1

PART 2

The Monks - Black Monk Time (1966)

Mp3 320\98 Mb

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Major Members: Dave Day, Eddie Shaw, Roger Johnston, Larry Clark, Gary Burger

One of the strangest stories in rock history, the Monks were formed in the early '60s by American G.I.s stationed in Germany. After their discharge, the group stayed on in Germany as the Torquays, a fairly standard beat band. After changing their name to the Monks in the mid-'60s, they also changed their music, attitude, and appearance radically. Gone were standard oldie covers, replaced by furious, minimalist original material that anticipated the blunt, harsh commentary of the punk era. Their insistent rhythms recalled martial beats and polkas as much as garage rock, and the weirdness quotient was heightened by electric banjo, berserk organ runs, and occasional bursts of feedback guitar. To prove that they meant business, the Monks shaved the top of their heads and performed their songs -- crude diatribes about the Vietnam war, dehumanized society, and love/hate affairs with girls -- in actual monks' clothing.This was pretty strong stuff for 1966 Germany, and their shocking repertoire and attire were received with more confusion than hostility or warm praise. Well known in Germany as a live act, their sole album and several singles didn't take off in a big way and were never released in the U.S., it was rumored, because the lyrical content was deemed too shocking. They disbanded in confusion around 1967, but their album -- one of the most oddball constructions in all of rock -- gained a cult following among collectors, and has ironically made them much more popular and influential on an international level than they were during their lifetime. Bassist Eddie Shaw's 1994 autobiography, Black Monk Time, is a fascinating narrative of the Monks' stranger-than-fiction story. ~ Richie Unterberger, All Music Guide

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"Monk Time" – 2:42

"Shut Up" – 3:11

"Boys Are Boys and Girls Are Choice" – 1:23

"Higgle-Dy-Piggle-Dy" – 2:28

"I Hate You" – 3:32

"Oh, How to Do Now" – 3:14

"Complication" – 2:21

"We Do Wie Du" – 2:09

"Drunken Maria" – 1:44

"Love Came Tumblin' Down" – 2:28

"Blast Off!" – 2:12

"That's My Girl" – 2:24

"I Can't Get Over You" – 2:42

"Cuckoo" – 2:41

"Love Can Tame the Wild" – 2:38

"He Went Down to the Sea" – 3:03

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LINK :

THE GUILLOTEENS - ACTION! ACTION! ACTION!

Mp3 256\88 Mb

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Despite making fans of Elvis Presley and Phil Spector as well as getting a big local hit in Memphis, the Guilloteens are not too well remembered in the pantheon of mid-'60s garage bands. That's unfortunate, because they were one of the better ones, and certainly one of the best from the South, an area that produced fewer garage bands per capita than the leading regional hotbeds of the sound. Perhaps some of the attention given to other regional garage bands of the era has eluded them because they were more versatile than the usual such act, putting fair quotients of blue-eyed soul, pop, and folk-rock into their sound, as well as the more expected British Invasion and raucous frat rock ingredients. The Guilloteens formed in 1964 when Lewis Paul, Laddie Hutcherson, and Joe Davis were members of the touring version of the Mar-Keys (who were by no means the same as the musicians who played on the Mar-Keys' records). When the horn section and singers of the band didn't show up one night, the three played on their own, leading them to decide to form their own group. Local popularity built a fan base that included Elvis Presley, who according to Paul would sneak into Memphis clubs to watch the Guilloteens. It was also Elvis who got the Guilloteens a gig in early 1965 at the Red Velvet Club in Hollywood, where the group briefly relocated. Phil Spector saw the Guilloteens and was impressed enough to start working on producing their original song "I Don't Believe" in the studio. But for reasons that remain obscure, while Spector was out of town, Guilloteens' manager Jerry Williams signed a deal with the newly launched Hanna Barbera label (an off-shoot of the company responsible for popular children's TV cartoons). Still, the Guilloteens' debut single, "I Don't Believe" sans Spector production, was a strong effort mixing British Invasion pop harmony, Searchers-like guitar, and Paul's unusually thick blue-eyed soul vocals. It was a big hit in Memphis, backed with the Kinks knock-off "Hey You," another group original. Paul took vocals on three of the four songs on the band's first two singles, with "For My Own" an impressive follow-up that similarly mixed folk-rock with garage-pop, though it wasn't the same regional hit that "I Don't Believe" had been. Paul quit the Guilloteens, however, after that release, unhappy with their manager. By this time the band had returned to Memphis from Los Angeles, and replaced Paul with Buddy Delaney. Another decent single followed, one side of which ("Crying All Over My Time") was co-written by Hutcherson and Jim Dickinson, the latter later to become famous as a sideman and producer. That was their third and last release on Hanna Barbera, as a southern tour on which they opened for Paul Revere & the Raiders helped get them a deal with Columbia Records. A Revere & the Raiders influence can be heard, in fact, on their first Columbia 45, "Wild Child," a really good slice of tough garage pop-punk that rates as one of the raunchiest garage singles issued on a major label. It couldn't break the Guilloteens nationally, however, and after a final. disappointing, uncharacteristically pop Columbia single in 1967, the group split up. Delaney made a rare single shortly afterward, "Girl," as frontman for Buddy Delaney & the Candy Soupe, though it was nothing more than a slightly reworked version of the old Guilloteens B-side "Hey You." All ten songs from the Guilloteens' singles (as well as Buddy Delaney & the Candy Soupe's "Hey You") were collected for the Misty Lane Guilloteens compilation For My Own. ~ Richie Unterberger, All Music Guide

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LINK :

The Outcasts - The Outcasts

Mp3 320\92 Mb

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One of the best groups to emerge from the 60's Texas garage scene were The Outcasts. This prolific group released a number of singles on the Askell label of San Angelo 1966-1967. This compilation collects all their singles plus many unreleased songs. As an added bonus trakcs previously unreleased in 1984 have been newly remixed from the original masters.

LINK :

The Stillroven - Cast Thy Burden Upon (1966)

Mp3 192\ 67 Mb

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The band known as the Stillroven began in the Minneapolis suburb of Robbinsdale, MN. It was 1965, and their original name was "the Syndicate," a name they thought should be changed when original guitarist Mark Moorhead left the band in 1966. The original lineup also consisted of bassist Rock Peterson, guitarist John Howarth, keyboardist Dave Dean, and drummer Phil Berdahl. When Moorhead left, they recruited Dan Kane to take his spot and changed their name, eventually recording "She's My Woman"/"(I'm Not Your) Stepping Stone" for Falcoln that year. There were only 50 copies printed for radio stations, but their next single was the first one that the public had access to. "Hey Joe"/"Sunny Day" was a hit in their hometown, but that was not enough for Peterson and Kane, who departed the same year. The band found a new bassist and guitarist in Dave Berget and Jim Larkin respectively, and soon was recording their next singles. "Little Picture Playhouse"/"Cast Thy Burden Upon the Stone" was hailed as a hallucinogenic masterpiece by garage rock enthusiasts, but the average music fan did not catch on to the regional popularity they enjoyed in Minneapolis. Their manager moved to Tucson, AZ, where he continued to guide their career from a distance. Larkin and Berget left the band as quickly as they came, being replaced by bassist Mike Flaherty and guitarist Mike O'Gara. They recorded a fourth single under this lineup, "Come in the Morning"/"Necessary Person," but after the first 100 copies printed there was enough internal dissension to have "Come in the Morning" pulled from the single and replaced with a cover of the Small Faces' "Tell Me Have You Ever Seen Me." This would be the last release from the band, as they quietly broke up toward the end of 1968. A career retrospective, Cast Thy Burden Upon the Stillroven, was released in 1996 to appease garage band enthusiasts who had been waiting for more material from the group. The album included many unreleased songs, as well as a few tracks that were originally on compilations. Rumor has it that the band has an entire album recorded from 1968 that has never seen the light of day, and Sundazed Records has even promised a release of the album. ~ Bradley Torreano, All Music Guide

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THE BOB SEGER SYSTEM - Ramblin' Gamblin' Man (1968)

Mp3 192\50 Mb

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Personnel
Bob Seger - organ, guitar, piano, vocals
Dan Honaker - bass, guitar, vocals
Pep Perrine - drums, vocals
Bob Schultz - organ, keyboard, saxophone, vocals
Additional personnel
Michael Erlewine - harmonica
Glenn Frey - Backing vocals on "Ramblin' Gamblin' Man"

Bob Seger started his musical career in the 1960s in his native Detroit as a singer and as the leader of the Bob Seger System. He is best known for his work with the Silver Bullet Band, a group he formed in 1974. Seger is known as a workhorse Midwestern roots-rocker who dealt with blue-collar themes and toured constantly in support of his frequent album releases. As such he is often dismissed as a poor man's Bruce Springsteen, though this is an unfair comparison since Seger's career as a professional musician predates Springsteen's by five years. Seger's successes paved the way for other heartland rockers including John Mellencamp and the Michael Stanley Band. MORE :

Before The Silver Bullet there was The System. Bob Seger, a roots rocker began his long career as a regional favourite in Detroit, Michigan in the mid 60's. It was in 1968 when The Bob Seger System was formed and their signing with Capital that his career really broke out of the motor-city.The release of the single 'Ramblin' Gamblin' Man' paved the way for the album which reached #62 on U.S.Billboard.
This early Seger, although being markedly different from what was to follow in the 70's contains glimpses of the fame to come. Listening, from the title track, blues driven and earthy you'll also find a plenty of the psychedelic sounds of the time,particually in songs like 'Tales of Lucy Blue', the 'B' side of 'Ramblin Gamblin Man', and the hauntingly beautiful melody 'Gone' as well as 'Train Man'. Take a gamble on this one and a good time is guaranteed! ***************

01 - Ramblin' Gamblin Man 02 - Tales Of Lucy Blue 03 - Ivory04 - Gone 05 - Down Home 06 - Train Man 07 - White Wall 08 - Black Eyed Girl 09 - 2+2 10 - Doctor Fine 11 - The Last Song (Love Needs To Be Loved)

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Kim Fowley - Outrageous&Good Clean Fun

Mp3 320\ 160 Mb

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This is Kim Fowley doing his spoken/screamed word stream-of-consciousness cartoonish and paranoid hippie rants over the music of a pretty decent jam band -- kind of like "The Trip," but more 1968. The guitarist uses fuzz-tone and wah-wah, but the musical backing is pretty conventional for the most part- they even resort to Chuck Berry licks on one number. Another, the second on the album, reminds me of "T.B. Sheets," of all things, with the slow funky rhythm the band sets down and the paranoid ranting and stuttering by the vocalist. Things only get really, um, outrageous, when the guitarist steals a lick from the Easybeats "Who'll be the one" and the whole thing goes into a kind of free-form space-rock jam with Fowley spouting some nonsense about an invasion of America by the "short hairs" in the year 1987. Truthfully, Fowley is often funny as he screams, chokes, burps, and coughs his way through songs, although the references to "short hairs" and "negroes" kind of dates the humor. The c.d. also comes with two cool radio commercials for the album at the end. I'd recommend this to someone who has a special interest in psychedelic rock of the 60's, or someone who just likes weird stuff, but don't expect something like "We're only in it for the money." .....

In the mid-1960s, Fowley became immersed in the Los Angeles counter-culture, befriending Frank Zappa and his band the Mothers of Invention and later appearing on their Freak Out! LP. A prolific songwriter, he also composed material for the Byrds, the Beach Boys, Soft Machine, Cat Stevens and Them, and produced the likes of Gene Vincent, Warren Zevon and Helen Reddy. Finally, in 1967 Fowley issued his own solo debut, Love Is Alive and Well, a record which found him closely aligned with the flower-power movement. A series of solo records followed, including 1968's Born to Be Wild, 1970's The Day the Earth Stood Still and 1973's International Heroes, but none garnered the commercial success of so many of his other projects....MORE :

Kim Fowley

Outrageous

1. Animal Man

2. Wildlife

3. Hide And Seek

4. Chinese Water Torture

5. Nightrider

6. Bubble Gum

7. Inner Space Discovery

8. Barefoot Country Boy

9. Up

10. Caught In The Middle

11. Down

12. California Hayride

Good Clean Fun

13. One Man Band

14. Ode To Sweet Sixteen

15. Good Clean Fun

16. Search For A Teenage Woman

17. Energy

18. Baby Rocked Her Dolly

19. Motorcycle - HA!!! It`s crazy frog !!!

20. Kangaroo

21. Lights The Blind And Lame Can See

22. Good To Be Around

23. Great Telephone Robbery

24. I'm Not Young Anymore

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The Doc Thomas Group - ltanian Job

NEW POST

The British North American Act - In The Beginning...

Mp3 256\ 52 Mb

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Reissue of one and only album by Canadian 60's legends. Psychedelic flowery pop-syk with good FUZZ guitars and Farfisa organ. Excellent songs and vocal harmonies.

The British North American Act were a 1960's psychedelic band based out of Montreal, Quebec. The group featured five members from various areas of the world -- Hungary, England and Canada. Their only album, 'In The Beginning' (1968), featured sunshine pop elements of The Association and The Turtles along with more roots oriented songs a la Buffalo Springfield.

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The British North-American Act (not to be confused with the British North America Acts) were a garage band with a mildly psychedelic edge that operated out of Montreal during the late '60's. I couldn't really unearth anything about the band or its members, but the liner notes do at least provide us with a list of the group's lineup: "The BNA Act individually... Andy Bator, organ and piano, born in Hungary, February 20, 1947. Bob Allen, lead guitar, born in Montreal, July 3, 1946. Dave McCall, drums, born in Suffolk, England, November 11, 1948. Rick Elger, lead singer, rhythm guitar and harmonica, born in Liverpool, England. Kirk Armstrong, bass, born in Montreal, June 20, 1946. As a group... The British North-American Act works out of Montreal. The amount of time and effort spent is quite evident when you listen to IN THE BEGINNING. Everything they record is original. To date they have more than twenty songs written. Hold onto your seats, here comes the BRITISH NORTH-AMERICAN ACT! In The Beginning is a short but sweet set of songs heavily influenced by the usual suspects of the period. "See How Free" kicks the album off with a mix of harmonizing and twangy guitars somewhat reminicent of The Byrds. "Only A Dream," my favourite track on the record, is a melancholic ballad with a tuneful chorus, while "If You're Looking For Honey" is a more straightfoward blues-based tune with nice work by lead singer Rick Elger on the high "ooo"'s. Lastly, "All The World Is In Your Eyes" closes out the record with a dash of Kinks-inspired whimsy

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1. See How Free

2. Baby Jane Days and Nights

3. Only a Dream

4. Joe Cool

5. World Would Understand

6. I'll Find a Way

7. Just How You Feel

8. Corduroy Coat

9. Give Yourself a Ride

10. If You're Looking for Honey

11. Don't Run Away

12. All the World Is in Your Eyes

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The Big Three - At The Cavern (1963-1964)

Mp 3 \79 MB

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Brian "Griff" Griffiths - guitar/vocals

Johnny "Gus" Gustafson - bass/vocals

Johnny "Hutch" Huthinson - drums

The Big Three were possibly the most highly respected musicians of all the Liverpool groups. They evolved from a group called Cass & The Cassanovas which were formed in the late 50's by Brian Casser. Although originally a four-piece outfit, by 1959 they had slimmed down to a trio comprising of Casser (guitar/vocals), Adrian Barber (guitar) and Johnny Hutchinson (drums). In need of a bass guitarist, Hutchinson brought in Johnny Gustafson. At that time Gustafson didn't have a proper bass guitar so Barber converted an acoustic for him. Late in 1960, Casser left the group and moved to London reducing them to a trio again. In January 1961 the Cassanovas re-emerged as the Big Three. Despite being a three-piece they were one of the loudest bands in Liverpool due to Barber's talents in the electronics field. He built the band giant amps, standing over five feet high, which were nicknamed "coffins". Brian Epstein signed them to his sable and sent them over to Hamburg. It was during that trip that Brian Griffiths joined the group, Barber left, and the best-known line-up of the Big Three was established. Their musicianship and attack were legendary and they exerted a considerable influence on their contemporaries. Epstein arranged for them to audition for Decca Records and they recorded "Some Other Guy". The group were not happy with the recording and appalled when they were told that Decca would be releasing it and wouldn't allow them a proper recording session so they could perform the song they way they wished it to be played. Instead of understanding why the Big Three were so popular - because of their aggressive sound, their wildness, their casual appearance on stage - he put them into suits and began to dilute their sound, choosing lightweight pop numbers and insisting, against their wishes, that they record them. The Big Three and Epstein terminated their partnership in July 1963, but the damage had been done. Gustafson and Griffiths quit, and with drummer Ian Broad from Rory Storm & the Hurricanes formed the Seniors and left for Germany. Hutchinson replaced them with Faron and Paddy Chambers from Faron's Flamingo's. By mid-'64 their days were numbered. Paddy Chambers left and was replaced by Paul Pilnick from the All Stars. Pilnick only stayed a short time before moving on to Tony Jackson & the Vibrations. Hutchinson received an offer to join Kingsixe Taylor & the Dominoes but declined, opting insted to hang up his drumsticks.
Their best memorial is probably the E.P. "Live At The Cavern", actually recorded in 1963 and featuring the class

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1 Some other guy 1:51

2 Let true love begin 2:38

3 By the way 2:13

4 Cavern stomp 1:38

5 I' m with you 1:46

6 Peanut butter 2:07

7 Bring it on home to me 2:21

8 You've gotta keep her under hand 2:54

9 High scool confindential 2:23

10 What' I say 3:37

11 Don't start running away 1:48

12 Zip-a-dee-doo-dah 2:31

13 Reelin' and rockin' 2:10

14 Bring it on home to me 1:54

15 Bring it on home to me 2:03

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The Zakary Thaks - Face To Face

Mp3 256\74 Mb

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One of the best garage bands of the '60s, and one of the best teenage rock groups of all time, Zakary Thaks released a half-dozen regionally distributed singles in 1966 and 1967; some were hits in their hometown of Corpus Christi, TX, but none were heard elsewhere until they achieved renown among '60s collectors. Heavily indebted (as were so many bands) to R&B-influenced British heavyweights like the Stones, the Kinks, and the Yardbirds, the group added a thick dollop of Texas raunch to their fuzzy, distorted guitars and hell-bent energy. Most importantly, they were first-rate songwriters, with the breakneck "Bad Girl" (later compiled on Pebbles, Vol. 2), "Won't Come Back," the smoking "Face to Face," "Can't You Hear Your Daddy's Footsteps," and the folk-rock/Merseybeat hybrid "Please" ranking among the top echelon of American '60s garage rock. Their 1967 singles found the group moving into psychedelic territory; some songs betrayed a Moby Grape influence, and some good melodic numbers were diluted by poppy arrangements that recalled the Buckinghams and Grass Roots. Lead singer Chris Gerniottis, only 15 when Zakary Thaks began making records, joined another interesting Corpus Christi garage/psychedelic group, the Liberty Bell.

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1. Mirror Of Yesterday

2. Please

3. Face To Face

4. Bad Girl

5. I Need You

6. Won't Come Back

7. Weekdays Blues

8. Can't You Hear Your Daddy's Footsteps

9. Green Crystal Ties

10. My Door

11. Outprint

12. Everybody Wants To Be Somebody

13. Footsteps Jam

14. The Mirrors Reflection
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Remo Four (1963-1964) The Pye Singles & Other Singles

Mp3 320\90 Mb

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The Remo Four were a 1950s-1960s rock band from Liverpool, England. They were contemporaries of The Beatles, and later had the same manager, Brian Epstein. Its members were Colin Manley (born 16 April 1942, in Liverpool, Lancashire died 9 April 1999) (lead guitar/vocals), Philip Rogers (rhythm guitar/bass guitar/vocals), Don Andrews (born Donald Andrews, in 1942, in Liverpool) (bass guitar/vocals), and Roy Dyke (drums) (born 13 February1945, in Liverpool).
Manley and Andrews formed the Remo Quartet in 1958, with singer/guitarist Keith Stokes and drummer Harry Prytherch. They progressed from playing local parties and contests to regular hall appearances, and turned professional, changing their name to the Remo Four in summer 1959. They played a mix of vocal harmony material (a la The Everly Brothers), and instrumental numbers in the manner of The Shadows, The Ventures, and Chet Atkins.
The Remo Four were voted Number Three Group in a 1961 Mersey Beat poll, and among their fans were The Beatles, fresh from a season in Hamburg, Germany. Both groups were among the regulars at the Cavern Club during 1961 and 1962. While The Beatles travelled back and forth to Hamburg, the Remo Four began playing American Air Force bases in France, building their stage and musical experience. A highlight of their early career was sharing the stage with the Shadows, in the latter's only Cavern Club appearance. Johnny Sandon joined the Remos as vocalist in 1962, and stayed for two years.
In early 1963, Prytherch decided to get married and find a regular job, and Roy Dyke took his place in the band. That year the band signed up with Epstein's NEMS Enterprises and acquired a new lead singer, Tommy Quickly, and a recording contract with Piccadilly Records, backing Quickly on "Tip of My Tongue" and other songs. The band also released instrumentals, including a driving rendition of Henry Mancini's Peter Gunn theme.
Different members came and went, including songwriters Wayne Bickerton and Tony Waddington (who later joined Pete Best in a group, that moved to America), and Tony Ashton (keyboards/vocals), who replaced Don Andrews, with Rogers moving to bass. Another NEMS artist, Billy J. Kramer, became a frontman for the band, which adopted the name "The New Dakotas" while backing him. Despite their talent and track record, the band's success in the record market was limited, and most of their work came as backing musicians, or as the house band in German clubs, including the Star-Club in Hamburg. They released an album, Smile!, on the Star-Club's own label in 1967, featuring elements of rock and jazz

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The Chocolate Watchband - At The Love In Live!

Mp3 224\82 Mb

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Originally formed in San Jose, CA in 1964 and officially breaking up in March 1970, Chocolate Watchband is back. Today C.W.B. are considered both internationally and historically amongst the foremost of all American garage bands from that era. Releasing only 3 albums altogether under the supervision of producer/songwriter guru Ed Cobb in 1967, 1968 and 1969, C.W.B. are more popular and collectible today than ever.

This Southern California punk powerhouse were one of the finest exponents of English influenced R & B, and on a good day, even gave The Rolling Stones a run for their money. The sneering vocals of Dave Aguilar were complemented by Mark Loomis (guitar), Sean Tolby (guitar), Bill Flores (bass) and Gary Andrijasevich (drums). Spotted by legendary producer and songwriter Ed Cobb, the man who also developed The Standells sound, their first release was a cover of Davie Allen's Blue's Theme, released under the name The Hogs. The first release under their own name was a classic slice of Ed Cobb. Sweet Young Thing (1966) was a searing, evil slab of raw, powerful R & B, with Aguilar's vocals a stand-out. Their debut album No Way Out featured the soon-to-be garage standard, Let's Talk About Girl's (1967), though Cobb decided to replace Aguilar's raw vocal track with the more dulcet tones of session singer Don Bennett. This kind of producer and label involvement caused disharmony in the group and soon members were coming and going with increased regularity. However, Cobb kept the group's name alive, releasing the album The Inner Mystique (1968), featuring a whole slew of studio musicians, though the album did contain excellent versions of The Kinks' I'm Not Like Everybody Else and Bob Dylan's It's All Over Now Baby Blue. A final album One Step Beyond (1969) again seemed to be the producer's vehicle though it did feature Aguilar's terrific track Don't Need Your Lovin'. The groups influence seemed to grow and grow as the years passed, finding new audience's and fans generation after

This album - great live work !!!!!!

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1. Blues Theme

2. Gone And Passes By

3. Don't Need Your Lovin'

4. Are You Gonna' Be There?

5. It's All Over Now Baby Blue

6. I'm Not Like Everybody Else

7. Sittin' There Standin'

8. She Weaves A Tender Trap

9. Misty Lane

10. Sweet Young Thing

11. Let's Talk About Girls

12. I Just Want To Make Love To You

13. I'm Movin' On 14. An Inspiration Message

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Chocolate WatchBand - No way out (1967)

Mp3 256\70Mb

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The Chocolate Watchband's debut album, No Way Out was also their most heavily Rolling Stones-influenced album, but appreciating the album and what's on it (and what's not) requires some explanation — especially as an original vinyl copy could set you back $100 or more. Released in September of 1967, No Way Out came at the end of the band's first 15 months of existence, a period that encompassed the recording and release of four singles of generally extraordinary quality, and as good as anything heard from any garage band anywhere during that period. Just two of those single tracks, "Are You Gonna Be There (At the Love-In)" and "No Way Out," ended up on the original ten-track LP, but even they could (and should) have been the core of an immensely powerful LP. Instead, out of the remaining songs, only two — the group's nicely cranked-up version of Chuck Berry's "Come On" (obviously influenced by the Rolling Stones' debut single, which was, itself, a good trick, since the latter had never seen a U.S. release in any form) and the psychedelic Bo Diddley-based "Gone and Passes By" — were recorded by the entire group and released in the form intended. The other six tracks included Watchband recordings, such as "Let's Talk About Girls," "In the Midnight Hour," and "Hot Dusty Road," on which lead singer David Aguilar's vocals had been replaced by those of session singer Don Bennett (co-author of the band's single "Are You Gonna Be There (At the Love-In)") and also embellished with extra instrumental overdubs; two instrumentals, "Expo 2000" and "Dark Side of the Mushroom," recorded by a group of studio musicians put together by engineer Richie Podolor; and, finally, the bizarre "Gossamer Wings," a psychedelic digression by Bennett and company that used the band's basic track from the 1966 single B-side "Loose Lip Sync Ship" as its jumping-off point. So what's here is not really representative of the Chocolate Watchband that was seen in the movie Riot on Sunset Strip, or heard on those four killer singles in 1966 and early 1967. All of that said, No Way Out is still an extremely impressive and enduring album that nicely straddles the garage punk and psychedelic genres; the Watchband's "Come On" still gets this reviewer's pulse bouncing to Chuck Berry's beat, and it and the other three finished band cuts are still highly potent, slashing, exciting, clever pieces of music. "Gone and Passes By" and "No Way Out" are sharp works of psychedelic punk music, the former mixing sitar music with a shimmering Bo Diddley beat to superbly seductive effect, while the latter is built on a twisting, jagged blues- and raga-based lead guitar line that recalls the late-1966 vintage Jefferson Airplane's work. And "Are You Gonna Be There (At the Love-In)" is a stirring, even threatening anthem to youthful defiance. Of the rest, "Let's Talk About Girls" is still a very good track and a killer opener for the album, despite the tampering by the producers, and "In the Midnight Hour" and "Hot Dusty Road" are not too far behind. As for the instrumentals, "Dark Side of the Mushroom" and "Expo 2000" are decent filler, even if they have nothing to do with the band. So the record, though flawed from day one of its release history, is still an essential '60s album in any collection, in its vinyl version or either of two expanded reissues on CD, from Sundazed and Big Beat, respectively.

Selected Discography
Sweet Young Thing 7" Uptown 1967
No Way Out LP Tower 1967
Are You Gonna Be There (At The Love In)? 7" Uptown 1967
Misty Love 7" Uptown 1967
The Inner Mystique LP Tower 1968
One Step Beyond LP Tower 1967

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The Chocolate Watchband never charted a record nationally. Indeed, ask most casual 1960s rock fans about them and you'll probably get little more than a blank stare. Most will remember their AVI Records labelmates the Standells more clearly, because they actually managed to chart a few singles. Alas, the Watchband had the disadvantage of being a punkier band than the Standells, and suffering continual lineup changes. The Chocolate Watchband was a mod-outfitted garage punk unit par excellence, their sound founded on English-style R&B with a special fixation on the Rolling Stones at their most sneering. After hooking up with producer Ed Cobb, a former member of the 1950s vocal ensemble the Four Preps, the group released No Way Out in mid-1967, though the Watchband had already begun breaking up. A new incarnation carried them through 1967, though the band's existence as a viable performing unit were all but over. The group's producers had other ideas, however, releasing two more albums (The Inner Mystique, One Step Beyond) in 1968 and 1969 , sporting the band's name but not too much else associated with the group. That would probably have been the end of the group's story, but in the early '80s, record buyers and, more particularly, young musicians discovered the Watchband. A set of Australian reissues of the group's albums quickly found a market in America and Europe. Thus, it was no surprise when, in 1994, Sundazed Records reissued the complete Watchband catalog on compact disc. ~ Bruce Eder, All Music Guide

The official Chocolate Watchband website.

The Chocolate Watchband

Wikipedia

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1. Let's Talk About Girls2. In the Midnight Hour3. Come On4. Dark Side of the Mushroom5. Hot Dusty Road6. Are You Gonna Be There (At the Love-In)7. Gone and Passes By8. No Way Out9. Expo 200010. Gossamer Wings
BONUS TRACKS:
11. In the Midnight Hour (previously unissued version)12. Milk Cow Blues13. Psychedelic Trip (previously unissued

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St.John Green - St.John Green (1968)

Mp3\62 Mb

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“‘St. John Green’ is one of the great lost records…Somebody will reissue it someday and people will start crying and jacking off and smoking dope to it. It’s a great record. There’s only a handful of records that I’ve made that are great.”-Kim Fowley to Mike Stax (“Ugly Things” magazine issue #19, 2001)

A rare jewel of 60’s classic psychedelic rock.

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Through mutual associations in Topanga Canyon, St. John Green connected with Fowley sometime in 1968, and he in turn spurred them on to outdo or to die all over what would be their sole album. They wound up doing both. “St. John Green” is by turns frightening, dark, funny and stupid as it reeks of bad trip freak outs in matte black painted rooms with no furniture lit only by a single red bulb and burning cigarette ends. What emanates forth immediately from this darkness are the mystic incantations of vocalist/bassist Ed Bissot who is mean, moody, magnificent AND for his sins is stuck in a garage of sick creep psychedelia for all eternity. His delivery is so full of promises and not threats you begin to feel that this guy exists precariously balanced over a yawning chasm between Jim Morrison and Arthur Brown without trying at all really MEANS IT. And he is shored up all the way by a fine-tuned band in total sync with his visions of the four D’s --death, doom, damnation and dread -- in a weirdly accomplished album that runs a gamut of styles from supernatural ruminations to the cheapest of goofball noveltie NEXT :

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Sweet Smoke - 1970

Artist: Sweet Smoke
Album: Just A Poke
Original Release Date: : 1970
Genre: Rock\EarlyProgressive

Mp3\МИК(320-240 kbs)\56 Mb

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"To Sweet Smoke music was not simply a collection of songs that the audience would sit back and listen to, but rather it was a living vehicle through which they could share with everyone their vision and joy of life.To Sweet Smoke music was magic, their concerts were an interaction between them and their audiences, and their group was like a Cosmic Space Ship forever exploring the unknown regions of our musical universe."

Musicians:

Michael Paris: Sax, Flute, Vocal

Marvin Kaminowitz: Guitar, Vocal

Steve Rosenstein: Guitar, Vocals

Rochus Kuhn: Violin, Cello

Jeffrey Dershin: Piano, Percussion, Vocals

Andrew Dershin: Bass

Jay Dorfman: Drums

Sweet Smoke responsible for all manner of percussion
Sweet Smoke was an American music group living and playing in Europe from 1970 till 1974. Originally from N.Y. the group moved to Germany where they lived as a family commune.

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1. Baby Night (Sweet Smoke) (16:24)

2. Silly Sally (Sweet Smoke) (16:22)

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The Guess Who - It's Time (1966)

Mp3\320 kbs\68 Mb

Who that does not know? Then here...

The Guess Who - It's Time (1966)

01-All Right

02-And She's Mine

03-As

04-You Know He Did

05-Baby Feelin'

06-Clock On The Wall

07-Don't Act So Bad

08-Believe Me

09-Seven Long Years

10-One Day

11-Gonna Search

12-Guess I'll Find A Place

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