David Essex was originally a drummer in the Everons. He turned to singing during the mid-60s, recording a series of singles for an array of labels. Manager Derek Bowman recommended that Essex switch to acting after a series of minor roles catapulted him into the lead part in the musical entitled Godspell.

The films That'll Be the Day and its sequel Stardust followed. That'll Be the Day revived Essex's recording career. The song that he composed for the film "Rock On" became a Top Ten hit in the United States and in the U.K.

Enjoy:http://rapidshare.com/files/163416808/David_Essex_-_Rock_On.rar

Oscar Brown Jr. - Between Heaven And Hell 1962

Oscar Brown Jr was the voice of blacks during the 1960s. In a way, a black Bob Dylan. However, Brown could actually sing as well as write important songs. He covered the Black experience and so much more. This is my favorite of all his albums. There are 4 songs in particular that just hit me hard when I first heard them. "Mr Kicks" is from a broadway style show about a demon who came to earth to collect souls. The song swings and the lyrics are so bitter and so true. "World Full of Gray" is a song that could have been written by many different people but only Oscar was able to capture the pain and longing of seeing one thing and desperately wanting something else. "Lucky Guy" is really bitter. Love his use of the catch phrase "and all of the true love that........money can buy". Finally, and really the only song here that is "only" about the Black experience, "Elegy". A summation of a life that is about the Black experience but could also be about anyone who lives, loves and experiences.

Enjoy:http://www.mediafire.com/?z622kw9dqws303y

Booker T. & the M.G.s-Soul Dressing (1965)

The first question that should be on everyone's mind when it comes to Booker T. & the M.G.s sophomore album, Soul Dressing is why the heck did it take them three years to come up with it? ...After all three years was practically an eternity in the days of early pop-rock. Only God can tell me how many bands were born and subsequently died in that period of time, and I don't think he cares. ...Ultimately, the answer to that burning question is that we shouldn't think of early '60s bands as album-oriented. Bands didn't start becoming album-oriented until a few years later. Naturally, Booker T. & the M.G.s were still active all those years not only acting as the backing band to legendary people like Otis Redding and ; they were just predominately singles oriented. (The Yardbirds are perhaps the most famous example of a singles-oriented band.) Thus, this isn't so much an “album” but rather a compilation of their singles from 1963-1965.

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Pucho & His Latin Soul Brothers - Super Freak

Full performer name: Pucho & His Latin Soul Brothers. Pucho & His Latin Soul Brothers include: Pucho (drums, timbales); Marilyn Johnson (vocals); Kenny Rodgers (saxophone, flute); Al Pazzant (trumpet); John Spruli (electric piano); Cornell Dupre (guitar, sitar); Ernie Adams (bass); George Michaels (drums). Producers include: George Patterson, George Tindley, George Williams. Engineers include: Tony May, Tony Bon Jovi, Michael De Lugg. Recorded at Media Sound and Generation Sound Studios, New York, New York.

Enjoy:https://rs413dt.rapidshare.com/#!download|413tg|164347572|Pucho_And_His_Latin_Soulbrothers_-_Superfreak.rar

Merry Clayton - "Gimme Shelter"(1970)
We've all heard those amazing backing vocals on the Rolling Stones' song "Gimme Shelter." Those backing vocals were from the great Merry Clayton. Merry has a long and storied career in pop music though. In the early 60's, she was one of Ray Charles' Raelettes. She recorded tracks with Elvis Presley, Joe Cocker, and the Superemes, among many others. She has made a handful of her own albums and appeared on many soundtracks, but her best work was from her own records in the early 70's.

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Julie London-With body&soul(liberty1970)

A sultry, smoky-voiced master of understatement, Julie London enjoyed considerable popularity during the cool era of the 1950s. London never had the range of Ella Fitzgerald or Sarah Vaughan, but often used restraint, softness, and subtlety to maximum advantage. An actress as well as a singer, London played with heavyweights like Gregory Peck and Rock Hudson in various films, and was married to Jack Webb of Dragnet fame for seven years before marrying songwriter Bobby Troup ("Route 66"). London performed her biggest hit, "Cry Me a River," in the Jayne Mansfield film The Girl Can't Help It.

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Huey "Piano" Smith was an important part of the great New Orleans piano tradition, following in the footsteps of Professor Longhair and Fats Domino to take his place among the Crescent City's R&B elite. He was also one of R&B's great comedians, his best singles matching the Coasters for genial, good-time humor, although his taste often ran more towards nonsense lyrics. Smith's sound was too earthy to match the pop crossover appeal of Domino or the Coasters, which limited his exposure, and he couldn't match the latter's amazing consistency, lacking their reliable supply of material. But at the peak of his game, Smith epitomized New Orleans R&B at its most infectious and rollicking, as showcased on his classic signature tune "Rockin' Pneumonia and the Boogie Woogie Flu."

Enjoy:https://rapidshare.com/files/2493694842/Huey_Smith.rar

The Stowaways were a promising quintet who managed to leave behind an album's worth of impressive material on Calvin Newton's Justice Records label, based in Winston-Salem, NC. Tim Tatum was the lead singer, equally adept at lyrical Beatles covers or harder punk sounds, and the rest of the band was Tommy O'Neal on lead guitar, Paul Quick on rhythm guitar, Ken Knight on bass, and Ken Tanner at the drums.

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At the time the Mamas & the Papas broke up in 1968, it was painfully obvious that Dunhill Records was placing all their bets on Elliot as far as a successful solo recording career.
Mama Cass-Dream a Little Dream(1968)

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Like many a late-'60s album pressed in extremely minute quantities, Hickory Wind's self-titled record is a mighty odd bird. It's not so much that any one song is weird. It's more the cumulative effect of the record, in which the band not only don't seem to be seriously pursuing one direction in particular, but don't seem to be particularly serious about pursuing anything. The nonchalant, naive, slightly off-key way they trundle through this mixture of garage rock, country-rock, and melodramatic teen pop almost gives the impression of B-grade session players recruited to record an exploitation album.

Enjoy:http://www.mediafire.com/?fe0w1998893tk8h

Experimental Psych/Rock/Pop album from 1967.

Featuring some very good garage, psych, and British Invasion sounds.

Enjoy:
part1:http://www.mediafire.com/?k0lf3remz14rgr7
part2:http://www.mediafire.com/?jfy3l25b5it1b58