In 1964 The Impressions released the "Keep On Pushing" single, which hit #10 on the pop chart. This song was one of the first to reflect an increasing social and political awareness in Curtis Mayfield's writing, and came to be seen as something of a black pride anthem. The album of the same name, released the same year, was their most successful to date, itself charting in the Top 10 and featuring several other hits. Indeed 1964 was a good year for The Impressions, with four singles getting into the Top 20 on the pop chart.

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Second album by the farm community also known as the Farm Band. From Tennessee, a perfect hippie combo that lies somewhere Second album by the farm community also known as the Farm Band. From Tennessee, a perfect hippie combo that lies somewhere between the Grateful Dead and Jethro Tull, performing long psycho blues suites with flute and violin solos. Featuring the original artwork which a poster and inlay notes about the history of the community.

between the Grateful Dead and Jethro Tull, performing long psycho blues suites with flute and violin solos. Featuring the original artwork which a poster and inlay notes about the history of the community.
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Enjoy

Colosseum are a great band to listen to if you want to hear a quintet of brilliant blues and jazz musicians stumbling around to create nascent progressive rock (not that that's likely to be a term that ever occurred to them at the time). Formed by Graham Bond Organisation and John Mayall's Bluesbreakers veterans Jon Hiseman (drums) and Dick Heckstall-Smith (Saxes), Colosseum also included lead vocalist/guitarist James Litherland, bassist Tony Reeves and organist Dave Greenslade.

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Anne Briggs is a folk album released in 1971 by Anne Briggs. The songs are traditional apart from two Briggs originals, "Go Your Way" and "Living By The Water".

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It is strange to realize that drummer Pete La Roca only led two albums during the prime years of his career, for this album reissue of his initial date is a classic. La Roca's three originals ("Basra," which holds one's interest despite staying on one chord throughout, the blues "Candu," and the complex "Tears Come From Heaven") are stimulating but it is the other three songs that really bring out the best playing in the quartet (which is comprised of tenor saxophonist Joe Henderson, pianist Steve Kuhn, and bassist Steve Swallow in addition to La Roca). "Malaguena" is given a great deal of passion, Swallow's "Eiderdown" (heard in its initial recording) receives definitive treatment, and the ballad "Lazy Afternoon" is both haunting and very memorable; Henderson's tone perfectly fits that piece.

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The Soul Survivors' only giant hit, "Expressway to Your Heart," was one of the first notable productions by Philadelphia wizards Kenny Gamble and Leon Huff in 1967. Although they were white, The Soul Survivors adopted a convincing R&B sound for their early singles on Crimson. Gamble and Huff loaded "Expressway to Your Heart" with honking horns and other automotive sound effects, but the record's principal strength lay in its soulful vocals and pounding beat. After a less successful follow-up, "Explosion in Your Soul," the band faded but returned for one more hit in 1974.
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The country-rock group known as the Lewis & Clarke Expedition evolved out of several folk bands operating around Los Angeles during the mid-'60s. Formed by Dallas songwriter Michael Martin Murphey (under the guise of Travis Lewis) with Owen Castleman (performing as Boomer Clarke), the band recorded one LP in late 1967 for the Colgems label then making pots of money off sales of the first two Monkees albums. Not quite a coincidence then, that Lewis, Clarke, and bassist John London were all old friends of country-minded Monkee Michael Nesmith (London even worked as Nesmith's stand-in on the television show).
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Make Hart
Great singer who had a 1969 album "Mike Hart Bleeds" on John Peel's Dandelion label.

This was Brian Auger's proper solo debut album. It's billed to Brian Auger & the Trinity, but Julie Driscoll, who sang with Brian Auger & the Trinity on the act's most popular and best late-'60s recordings, is not present. Auger dominates the record not just with his organ, but also as composer of most of the original material, and as the vocalist. Auger was a good organ player, but not up to the level of the best British rock electric keyboardists of the 1960s, like Alan Price, Rod Argent, Graham Bond, and Vincent Crane.

He's also no more than adequate as a singer and songwriter, and the record is only adequate, sounding like a more progressive-minded Georgie Fame. Auger's principal influences are obvious in the songs he covers by Booker T. & the MG's, Wes Montgomery, and Mose Allison, although there's also an odd version of "A Day in the Life" that is bolstered by an orchestra's worth of horns and strings.

 
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Non-Stop was the third album in two years to be released under the Box Tops name. Like its predecessors, it was in reality mostly a product of the staff at Chips Moman's American Sound Studio in Memphis, produced by Dan Penn and featuring the studio's experienced session musicians (mostly guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrisman and keyboard men Spooner Oldham and Bobby Emmons). Alex Chilton was the lead singer, but the rest of the band were practically nowhere to be found as they were busy touring.

Like the other Box Tops albums, it was a brilliant showcase of the sounds and songs of the American team, mixing rock, pop, blues, soul and country. It included covers of Hank Snow's "I'm Movin' On", BB King's "Rock Me" and Mac Gayden's "She Shot A Hole In My Soul", along with some good new originals.

 

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He didn't retire though, as in L.A. he met a Danish harmonica player called Lee Oskar. They got on well, and started performing together whilst looking for musicians to put a new group together with. They came to the attention of producer Jerry Goldstein, who helped them in their search by directing them towards a black R&B group known as The Nightshift. They were an eclectic group of musicians, with a great deal of jazz and latin influences which made them stand out from the average R&B band. They joined with Burdon and Oskar, and adopted the unusual and memorable name War. The full lineup consisted of Burdon (lead vocals), Oskar (harmonica), Lonnie Jordon (keyboards), Howard Scott (guitar), B.B. Dickerson (bass), Charles Miller (sax & flute), Harold Brown (drums) and Papa Dee Allen (percussion). An eight-piece, multi-racial, multi-cultural group, with a shared background in rock, pop, blues, R&B, jazz and latin music, they were destined to be something different from the start.

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Joe Simon was born in Simmesport, Louisiana in 1943. His family moved to California in the late 50s, when he joined gospel group The Golden West Gospel Singers, with whom he subsequently moved into secular music in 1959. In the early 60s he attemped to find success as a solo artist, his first break coming on the Vee-Jay label, when he scored a #13 R&B hit in 1965 with "Let's Do It Over".However he was left without a label again when Vee-Jay folded the same year.

He was then discovered by Nashville radio DJ John Richbourg, who signed him to the Sound Stage 7 label and became both his manager and producer. He quickly scored another hit, "Teenager's Prayer" getting to #11 on the R&B chart. His debut album came out in 1966 - Pure Soul introduced him as one of the great singers of southern soul. Being produced in Nashville, some interesting country music influences crept in with the strings and backing vocals. Simon would soon become known for his blending of soul and country music..

 

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Following the arrival of keyboard player Zoot Money, bassist Danny McCulloch left The Animals. Guitarist Vic Briggs was also replaced by Andy Summers, who had been with Money in British psychedelic group Dantalian's Chariot. This new lineup (Eric Burdon, Money, Summers, John Weider and Barry Jenkins) thus had no bassist - Money handled it in the studio, and on stage it was passed around between guitarists Summers and Weider.

They released a new album in 1968, the group's third from that year. Love Is was a double album, and consisted almost entirely of covers. There was also an excellent original song from Burdon, and a twenty-minute medley of two Dantalian's Chariot numbers written by Summers and Money. The album's sound was big and powerful, and the result was surely the masterpiece of the latter-day Animals. It even generated one final minor hit, as "Ring Of Fire" got to #35 in the UK.

 

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from the LP "Pride" Warner Bros WS 1848 (1970)

"Do You Believe In Magic" had given The Lovin' Spoonful a massive hit in 1965, and they were quick to follow up with more. "You Didn't Have To Be So Nice" reached #10 in early 1966, followed by two which got to #2 - "Daydream" and "Did You Ever Have To Make Up Your Mind" (the latter had originally featured on their debut album). These singles secured their place as a hit-making pop group, not only in the US but also the UK (the last two singles getting to #2 and #3 on the UK charts).

Their second album came out in 1966, featuring both "Daydream" and "You Didn't Have To Be So Nice". It was a fine example of their upbeat blend of pop and jug band music. Whilst their debut album had featured covers of traditional folk songs, Daydream was notable for all the songs save one being written or co-written by frontman John Sebastian.

 

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Dion DiMucci had seen success with a number of hits in the early 60s. However the mid 60s were a period of commercial decline for him, as changing public tastes rendered his brand of pop music obsolete. His last Top 10 hit was in 1963, and for the next four years he did not trouble the charts. The singles he did release during this time saw him experimenting with both blues and folk-rock, as he tried to find a new direction. In 1967 he re-united for one album with his original group The Belmonts, but that too failed to produce any hits.

1968 was the year of his comeback. Citing a religious experience as inspiration, he kicked his heroin addiction and resigned with Laurie Records, with whom he had released most of his original hits. He recorded a recent song by Dick Hollier which was a tribute to the memory of four assassinated Americans - Abraham Lincoln, John F. Kennedy, Martin Luther King and Robert F. Kennedy (the last two having both been killed just earlier that year). "Abraham, Martin & John" was a beautiful record, a completely new sound for Dion, set to a folk-rock backing with lush, swirling orchestration (including some notable harp flourishes). It suited his supple, soulful voice perfectly, and became a huge hit, getting to #4 on the pop chart and effectively relaunching his career.

 

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Van Morrison-Saint Dominic’s Preview(1972)

Is there a more perfect album than this from the rock era? I can't think of one. This album takes you on a journey. It is the most well-rounded LP of Van Morrison's career. Whereas most of his albums choose a specific genre to mine, this is one of the few that gives you a taste of his different favorite styles: Punchy AM-radio pop-soul (Jackie Wilson Said), a fabulous, no holds barred soul-blues number (I Will Be There), a gorgeous, sentimental hippie anthem (Redwood Tree), two rewarding and never boring stretch-out/space out explorations (Listen to the Lion, Independence Day), and to top it all off, one of his most affecting major compositions, in the title track. The remastering is terrific, putting Van's still-youthful, roaring voice up front. This album has the same air of mystery as Astral Weeks, but with a more solid grounding in classic musical forms, its a mystery you can hum and tap your toes to. This was Van's artistic peak, and it's a joy.


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Forever Amber-The love cycle(1969)

Forever Amber's only "The Love Cycle" album musically represents "psych" (i.e. the well-known psychedelic Rock music). "A cross between early Pink Floyd and Zombies" (this is already a quotation). All tracks written by John M. Hudson.

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New Riders of the Purple Sage - New Riders of the Purple Sage

 Country Rock, Psychedelic Rock(1971)


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Apple Pie Motherhood Band -  Apple Pie(USA 1969)

Psychedelic Rock

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Faron's Flamingos" were one of the most promising groups of Liverpool, never imevsih of one-hit, EVEN at a local levels, and This despite the fact that her What musicians came from some much more famous and uspesnyh kollektivov. Original in 1959 year poavilis? the Name "The Ravens" (or "Robin & The Ravens"); staff in bands vhodili Nicky Crouch (guitar, vocals), Billy Jones (guitar, vocals), Eric London (bass) and Trevor Morais (drums).


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Here's a far out record from '67 or '68 (?) by the Beethoven Soul. I really can't find any info on this group, but this disc is cooooool. Kind of garage-ish stuff mixed with classical elements like flute, violin and lots of harpsichord.

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Forever is a Dream, the one and only album by Food, is a classic. Recorded in Chicago in 1969, it is one of the "Capitol 3," the three groups who released only one album with the world renounced Capitol Records before disappearing into psychedelic obscurity (the others were Gandalf by Gandalf and Common People by the Commone People, all in 1969). Starting with the cover, a great shot of the group, who all appear to be in their mid 20s to early 30s, and a nice far off shot of the band, with the Shakespearean quote, "If music be the food of love, then play on." That right there drove me to the album. When listening, your ears are in for a treat. They are smothered by the astonishingly grand production and orchestration of a rock group who never went anywhere. The first song and the title track of the album is a great introduction for what is next to come. As a matter of fact, it may be too soft and gentle for the ears, for at the end of its 6:57 comes the hard and distorted rocking of "Naive Prayers," which is where the essence of psychedelia comes in. The rest of side 1 is fantastic, with a horn section coming in, making the band sound extremely similar to Blood, Sweat, and Tears. It has glimpses of soft accoustic folk as in "Lady Miss Ann" and spacey experimentation in the song "Fountains of my Mind."
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Just another San Francisco band, ya know. Unfortunately, in the public eye Quicksilver Messenger Service aren't really notorious for anything but the name. They never made history like the Jefferson Airplane, never created a world religion like the Grateful Dead, and never even made it onto the official alternative list of "weird lost treasures" like Moby Grape. They were there at the time, made up some music, smoked some pot, played some shows, stayed together for a bit too long, and ended up in complete obscurity. Sort of like, uh, well, you know, the average mediocre fate of the average mediocre band.Fact is, QMS may be "average", but they're anything but mediocre. The band revolved around a couple of really talented guitarists, capable of adjusting to a lot of different styles, from typical "acid guitar" to blues-rock and jazz. One of the main forces behind it was songwriter Dino Valenti (Valente), also known as Chet Powers, Jesse Oris Farrow, and under a couple thousand other names - a guy with his own flaws but also with creative ideas a-plenty. And at one time, the band could even boast the inclusion of none other than the fabulous pianist Nicky Hopkins as an official member, an honour that neither the Kinks nor the Rolling Stones nor any of the countless bands Nicky had played with could ever garner.John Cipollina (guitar, vocals); Gary Duncan (guitar, vocals); David Freiberg (bass, vocals); Greg Elmore (drums). Nicky Hopkins added on keyboards, 1970. Dino Valenti (vocals, guitar, flute) added, late 1970. Cipollina, Freiberg, and Hopkins all quit, 1971, replaced by Mark Ryan (bass), Mark Naftalin (keyboards), Chuck Steaks (keyboards). Naftalin quit, 1972, band collapsed soon afterwards.

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It’s one of the lost classics of the ‘60s, a psychedelic masterpiece drenched in colour and inspired by life, love, poverty, rebellion. The album is Cold Fact, and what’s more intriguing is that its maker – a shadowy figure known as Rodriguez – was, for many years, lost too. A decade ago, he was rediscovered working as a day laborer in Detroit, Michigan. He was unaware that his defining album had become not only a cult classic, but for the people of South Africa, a beacon of revolution.
Rodriguez recorded Cold Fact – his debut album – in 1969, and released it in March 1970. It’s crushingly good stuff, filled with tales of bad drugs, lost love, and itchy-footed songs about life in late ’60s inner-city America. “Gun sales are soaring/Housewives find life boring/Divorce the only answer/Smoking causes cancer,” says the Dylan-esque Establishment Blues.

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The story of how Austin, Texas was transformed from a sleepy little college town into a world- renowned mecca for rock and country music has been told many times. It's a neat hippie saga with heroes and martyrs, a few emblematic anecdotes and no loose ends… or so it seems.

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 (us 1969)
Mega rare album from the Dartmouth, Massachusetts fivepiece outfit which was released originally on the Laurel label (Laurel 331098) in 1969. Up-Down is an album of largely self-penned material (only 2 covers, one of which is a strong version of The Spencer Davis Group's hit, 'Gimme Some Lovin') with The Leaves Are Turning Brown, complete with cheesy psych organ and wonderful earnest vocals, is the stand out track. Up-Down is a beat-garage concept album detailing the highs and lows of a summer vacation romance, with, as you would expect, loads of moody teenage angst and lashings of self pity. The songs are all catchy, and there's a couple of good ballads.

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Rare private MI moody folk psych. (1969)
Pac Three - PA 88206 yellow labels with black print - matrix PA 882062  GB
Features future Takoma solo artist Rick Ruskin on lead guitar.

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This throat-lump-inducing psychedelic pop masterpiece effects such a flawlessly dewy eyed demeanor, you'd have to be made of stone to not get some sorta frisson from having this caress your ear canals. Countrymates Ame Son could be considered a touchstone for the breed of psych pop into low-key acid rock perfected by Total Issue and so too could the whole school of sanguinely playful methodologies that Gong ushered in with their presence in the French scene. One of the lost classics of France's early 70's underground.
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(1968)

One of the earliest and finest jazz-rock flutists, Jeremy Steig is an outstanding soloist. He's mastered the entire flute family, including bass, and also plays piccolo well. He has a similarly rich, classically pure tone and timbre as James Newton or Hubert Laws, and uses almost as many devices, such as tongue fluttering, humming, and swirling lines. But he's not as blues- or swing-oriented, and his associations include working in the early '60s with Richie Havens and heading Jeremy and the Satyrs in 1967.

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The group used slightly fuller and more pop-savvy arrangements on their second LP, without tinkering much with their basic approach. This is especially apparent on the album's two hit singles (the title track and "Look What You've Done"), which sound like attempts to invest coffeehouse folk with the grandiose pop-rock structure of "You've Lost That Lovin' Feelin'." The similarity of both tracks to that Righteous Brothers classic is really too evident to escape comment, especially given that the trio had covered the song on their previous album. Elsewhere they opted for more up-to-date cover material than they had for their debut LP, offering versions of songs by Phil Ochs, Tim Hardin, and Gordon Lightfoot. (1967)

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The Artwoods’ only album was an enjoyable mixture of club-oriented soul, R&B, and jazz with a strong organ spice, although it found them falling seriously behind their contemporaries in the British R&B scene in a crucial respect. Art Gallery album Not one of the dozen tracks was a group original, and their vocal and interpretive ability was not so strong as to make that shortfall an irrelevance.(1966)

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Black Merda were a funky rock combo with a significant debt to Jimi Hendrix, mixing fuzz-toned, psychedelic blues-rock with folky acoustic passages and contemporary late-'60s soul.

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HARVEY MANDEL -- SHANGRENADE -- 1973 (US) jazzy funky rock
One of his most brilliant and most original creation since leaving Canned Heat.
There are original licks and riffs there, which were copied, immitated or inspired many other greats from Jeff Beck, to Al Di Meola, to Jan Hammer.

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