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 JJ Cale (also J.J. Cale), is a Grammy Award-winning American singer-songwriter and musician. Cale is one of the originators of the Tulsa Sound, a loose genre drawing on blues, rockabilly, country, and jazz influences. Cale's personal style has often been described as "laid back". His only U.S. hit single, Crazy Mama, peaked at #22 on the U.S. Billboard Hot 100 chart in 1972. During the 2006 documentary film To Tulsa and Back Cale recounts the story of being offered the opportunity to appear on Dick Clark's American Bandstand to promote the song, which would have moved the song higher on the charts. Cale declined when told he could not bring his band to the taping and would be required to lip-sync the words to the song. His songs have been performed by a number of other musicians including "After Midnight" and "Cocaine" by Eric Clapton, "Bringing It Back" by Kansas, "Call Me the Breeze" and "I Got the Same Old Blues" by Lynyrd Skynyrd, "Travelin' Light" and "Ride Me High" by Widespread Panic. Naturally is the debut album by J. J. Cale. First released in 1971, it includes his song "After Midnight" which was first recorded by Eric Clapton in 1970. Cale, who was languishing in obscurity at the time, had no knowledge of Clapton's recording of "After Midnight" until it became a radio hit in 1970. Cale's friend and producer, Audie Ashworth, encouraged Cale to record a full album in order to capitalize on the success of his song. Naturally was recorded independently, "on spec", the musicians being paid demo fees. Some songs, such as "Call Me the Breeze", were recorded with primitive drum machine accompaniment and sound almost like demos.01 - Call Me The Breeze02 - Call The Doctor03 - Don't Go To Strangers04 - Woman I Have05 - Magnolia06 - Clyde07 - Crazy Mama08 - Nowhere To Run09 - After Midnight10 - River Runs Deep11 - Bring It Back12 - Crying EyesLINK |
 Sgt. Pepper's Lonely Hearts Club Band was a multi-platinum double album produced by George Martin, featuring covers of songs by The Beatles and was released in July 1978, as the soundtrack to the film Sgt. Pepper's Lonely Hearts Club Band. It starred the Bee Gees, Peter Frampton and Steve Martin. The project was managed by The Robert Stigwood Organisation. In 1975 the original plans for the album were suspended due to a dispute between Columbia and RSO. RSO invested $12 million into this soundtrack and the profit offset set against costs such as $1 million for promotion. Although the Sgt. Pepper's Lonely Hearts Club Band debuted at #5 in the U.S. Billboard album charts and stayed there for six weeks, becoming a multi-platinum album, there was reported resistance to the interpretation of The Beatles' songs, such as Martin's comedic take on "Maxwell's Silver Hammer". However Earth, Wind & Fire's version of "Got To Get You Into My Life" became a million selling single and Aerosmith's "Come Together" charted in the top 40 and later appeared on the soundtrack for Armageddon. Radio airplay trailed off when the film was released with poor reviews, only five weeks later. The album immediately dropped out of the top 100 and pre-sale shipments to USA failed to sell in the quantities predicted. Owing to low box office receipts the film failed to make back its production costs, but profits from the sound track album and the successful singles it spawned later covered those losses.Disc 101 - Sgt. Pepper's Lonely Heats Club Band - With A Little Help From My Friends02 - Here Comes The Sun03 - Getting Better04 - Lucy In The Sky With Diamonds05 - I Want You She's So Heavy06 - Good Morning, Good Morning07 - She's Leaving Home08 - You Never Give Me Your Money09 - Oh! Darling10 - Maxwell's Silver Hammer11 - Polythene Pam - She Came In Through The Bathroom Window - Nowhere Man - Sgt. Pepper's Lonely Hearts Club Band RepriseDisc 201 - Got To Get You Into My Life02 - Strawberry Fields Forever03 - When I'm Sixty - Four04 - Mean Mr. Mustard05 - Fixing A Hole06 - Because07 - Golden Slumbers - Carry The Weight08 - Come Together09 - Being For The Benefit Of Mr. Kite10 - The Long And Winding Road11 - Nowhere Man Medley12 - Get Back13 - Sgt. Pepper's Lonely Hearts Club Band FinaleLINK |
 This single was recorded by some of the same folks who created Crazy Elephant. It is a Kasenetz-Katz production with the help of Ritchie Cordell and the same session players who graced much of the Crazy Elephant LP. Side a is Captain Groovy And His Bubblegum Army, which was intended to be the theme song for an animated TV series which never happened. Side b is Dark Part Of My Mind (Part 1), part 2 of which was released on a Crazy Elephant single. Dark Part is in my opinion the most psychedelic music produced by The Super K folks, and it really is groovy.(AC)01 - Captain Groovy & His Bubblegum Army 02 - Dark Part Of My Mind (Part 1)LINK |
 Greenslade is an English progressive rock band. It was originally formed in the autumn of 1972 (making its live debut at Frankfurt's Zoom Club in November) with the following line-up: Dave Greenslade - keyboards and vocals, Tony Reeves - bass guitar, Dave Lawson - keyboards and vocals and Andrew McCulloch - drums. Longtime musical associates, with a common background in jazz, Greenslade and Reeves had been original members of Colosseum. Lawson was previously a member of The Alan Bown Set, Web and Samurai, whilst McCulloch was briefly a member of King Crimson, playing drums on that band's third album, Lizard (1970), and Fields, the band formed by ex-Rare Bird keyboardist Graham Field. Spyglass Guest is the third studio album from Greenslade, released in 1974.01 - Spirit Of The Dance02 - Little Red Fry-Up03 - Rainbow04 - Siam Seesaw05 - Joie De Vivre06 - Red Light07 - Melancholic Race08 - Theme Of An Imaginary WesternLINK |
 Damin Eih - guitars, lead vocals, synthesizer, piano, A.L.K. (A.L. Katzner) - percussion, piano, vocals, guitar, Brother Clark (Clark Dircz) - bass, guitar, piano, chinese chimes. Who are Damien Eih, A.l.k and Brother Clark you may ask yourself and so do I. Hardly anything is known about these lads, but their only LP, a private pressing from 1973 is something you should not miss.Mostly acoustic and gentle, but highly trippy and mystic this is the real collector's stuff. I really love this record and i am sure you will too...so download, "Take Off Your Eyes" and fly.More information welcome!(Note: the tracks on the LP go into one another, so the parted tracks often don't have a clearly defined beginning or end. This effect will disappear if you hear it as a whole) One of those elaborate Midwestern headtrips that will send you into aural space you didn't even know exitsted, like CA Quintet of side 1 of Yezda Urfa. The longer suites are particularly impressive, while the shorter tunes less so. A unique mix of multi-layered acoustic guitars, treated vocals and extensive use of cymbals creates a piercing yet enjoyable high frequency soundscape that demands your attention, while soom moog and fuzz bass round out the bottom. Someone spent a lot of money on this one and I would deem it largely successful, with parts that are truly spellbinding, even though the 'message' remains obscure. Pretentious and rather Euro-proggish in its sensibility, yet playful and exotic enough to appeal to more adventerous psych fans. The bands ridiculously unwieldy moniker and the lack of a high profile reissue keeps this one buried.'(Acid Archives) One of a kind album from a truly warped, unique sensibility. It's a tough to describe mix of acoustic guitars, pop melodies, folk, prog, and just plain weirdness. Often brilliant (i.e. the truly classic "Thundermice") but just as often impenetrable. Those who "get it" seem to instantly place this in their personal all-time top tens. I can't say I'm one of those privileged ones, but on every listen I do discover something new and enjoy bits and pieces of it. The album is constructed to feel like one continuous whole rather than a collection of songs, which actually makes it harder to enjoy-other than "Thundermice" the individual songs don't really distinguish themselves. It reminds me of the better Gong albums, where you wade through a couple of minutes of forgettable jamming, and hit a great 20 seconds or so, thinking "wow... if they just developed that into a complete song rather than noodling around so much this would be an amazing record." The problem, though, is that they really don't have enough focus or fully-formed ideas to do so even if they wanted to, and my instinct is that Eih (whoever he really is) has the same problem. The good moments make you want to forgive the dull spots, thinking they're over your head, but I suspect they're just Eih rambling rather than Eih in the midst of inspiration. Of course, those chosen few who "get it" would certainly say I'm wrong about this. [AM]01 - Tourniquet02 - Sing A Different Song03 - Take Off Your Eyes04 - Soft Margins05 - Thundermice06 - Monday Morning Prayer07 - Gone08 - Marching Together09 - Kathryn At Night10 - Party Hats & Olive Spats11 - Return NakedLINK |
 Based in Houston, Texas and originally known as The Bloontz All Star Blues Band, the group featured the talents of drummer Tony Braunagel, singer Andy Chapman, lead guitarist David Kealey, keyboardist Mike Montgomery, and former Blackwell bassist Terry Wilson. They relocated to New York in 1972 and shortened their name to Bloontz, scoring a contract with the Evolution label. Produced by Ron Johnsen, 1973's cleverly-titled "Bloontz" wasn't half bad. Mind you, none of the nine tracks was going to win an award for originality, but in the AOR genre the songs (with three of the five members contributing material), were quite varied and the performances were virtually all enjoyable. As lead singer Chapman had a voice that was near perfect for album oriented rockers - tough, rugged, but quite commercial. Imagine Paul Rodgers had he been born and raised in Texas. The rest of the band were also quite good with guitarist Kealey deserving special notice for his tasteful solos. (RDTEN) Zenobia (choir), Tony Braunagel (drums), Andy Chapman (vocals), Jimmy Don (guitar), Margaret Dorn (choir), Mike Montgomery (keyboards), Terry Wilson (bass), Sharon Redd (choir), David L. Kealey (guitar), Steve Radney (guitar) and Lynda Lawley (choir)01 - The Joke's On You02 - Jason Blue03 - You Ain't Your Body04 - Arena05 - Long Way Down06 - Prodigal07 - Sunshine Masquarade08 - Ramon09 - Light Up The WorldLINK |
 Bobby Goldsboro is an American country and pop singer-songwriter. He had a string of Pop and Country hits during the 1960s and 1970s, including his signature #1 classic, "Honey" which sold well over one million copies in the United States. It also became his first country hit, and marked a career transition, as his songs became more successful on the country chart than on the pop side. Goldsboro's last Top 40 hit on the Hot 100 came in late 1973, but he remained a fixture in the country top 40 into the early 1980s.01 - Come Back Home02 - And I Love You So03 - Saturdays Only04 - Throwback05 - A Poem For My Little Lady06 - The Gentle Of A Man07 - It's Up To Us08 - Gold Hill Hotel09 - Danny Is A Mirror To Me10 - Your Song11 - The Next Girl That I Marry12 - I`ll Remember YouLINK |
 The Hollies are an English pop and rock group, formed in Manchester in the early 1960s, though most of the band members are from throughout East Lancashire. Known for their distinctive vocal harmony style, they became one of the leading British groups of the 1960s and 1970s. They enjoyed considerable popularity in many countries, although they did not achieve major US chart success until 1966. Along with The Rolling Stones and The Searchers, they are one of the few British pop groups of the early 1960s that have never officially broken up and that continue to record and perform. The Hollies were inducted to the Rock and Roll Hall of Fame in 2010. The original lineup included Allan Clarke as lead vocalist, Graham Nash as guitarist and vocalist, Vic Steele on guitar, with Eric Haydock on bass guitar and Don Rathbone on drums. Steele left in April 1963, shortly before they signed to Parlophone as label-mates of The Beatles. Tony Hicks, who replaced Steele, and Bobby Elliott, who replaced Don Rathbone, joined the band in quick succession in 1963; both had played in a Nelson-based band, The Dolphins. Bernie Calvert, who replaced Haydock in 1966, was also a member of The Dolphins. Graham Nash was replaced in December 1968 by guitarist-singer Terry Sylvester, formerly of The Escorts, a second generation Merseybeat group, and The Swinging Blue Jeans. Hollies Sing Hollies is the second album by The Hollies to feature Terry Sylvester, on rhythm guitar and first to feature Terry Sylvester, compositions as well as an instrumental composition by bassist Bernie Calvert. The U.S. version, titled "He Ain't Heavy, He's My Brother", included the hit single by the same name, while omitting the tracks "Soldiers Dilemma" and "Marigold: Gloria Swansong". The UK album did not chart, but its U.S. version peaked at #32.01 - Why Didn´t You Believe02 - Don´t Give Up Easily03 - Look At Life04 - Please Sign Your Letters05 - My Life Is Over With You06 - Please Let Me Please07 - Do You Believe In Love08 - Soldiers Dilemma09 - Marigold Gloria Swansong10 - You Love ´cos You Like It11 - Reflections Of A Time Long Past12 - Goodbye TomorrowLINK |
 Hollies Sing Dylan is a 1969 cover album where the Hollies sing Bob Dylan songs. It was also released in the U.S. as Words and Music by Bob Dylan with a different cover but using the same band image and track order. First released on compact disc in Germany in the late 1980s, it wasn't released in that format in Europe until 1993.01 - When The Ship Comes In02 - I´ll Be Your Baby Tonight03 - I Want You04 - Wheels On Fire05 - I Shall Be Released06 - Blowin´ In The Wind07 - Quit Your Low Down Ways08 - Just Like A Woman09 - The Times They Are A´changin´10 - All I Really Want To Do11 - My Back Pages12 - Mighty QuinnLINK |
 Evolution is the first of two 1967 albums by The Hollies. The album peaked at number 13 in the UK album chart. Like its predecessor, For Certain Because, this album features only songs written by group members Allan Clarke, Graham Nash, and Tony Hicks. None of the songs on the album were selected for single or EP release in the UK. The album cover artwork was created by The Fool, with the psychedelic cover photo by Karl Ferris, who is credited with creating the first truly psychedelic photograph for an album cover.01 - Then The Heartaches Begin02 - Stop Right There03 - Water On The Brain04 - Lullaby To Tim05 - Have You Ever Loved Somebody06 - You Need Love07 - Rain On The Window08 - Heading For A Fall09 - Ye Olde Toffee Shoppe10 - When Your Light´s Turned On11 - Leave Me12 - The Games We PlayLINK |
The U.S. edition of Butterfly, retitled Dear Eloise/King Midas in Reverse, was released via Epic Records on November 27, 1967, with different tracklist.01 - Dear Eloise02 - Away Away Away03 - Maker04 - Pegasus05 - Would You Believe06 - Wishyouawish07 - Post Card08 - Charlie & Fred09 - Try It10 - Elevated Observations 11 - Step Inside12 - Butterfly13 - King Midas In Reverse14 - Leave Me15 - Do The Best You Can LINK |
 Butterfly is the second studio album released by The Hollies in 1967, their seventh in England overall. It was also the last new Hollies album to feature Graham Nash until 1983's What Goes Around. This, like its predecessors For Certain Because and Evolution, featured songs written solely by Allan Clarke, Graham Nash, and Tony Hicks. This album was really a Graham Nash-led project, and he featured as lead vocal more than on any prior album.01 - Dear Eloise02 - Away, Away, Away03 - Maker04 - Pegasus05 - Would You Believe06 - Wishyouawish07 - Postcard08 - Charlie & Fred09 - Try It10 - Elevated Observations11 - Step Inside12 - ButterflyLINK |
 Would You Believe? is an album by the Hollies, released in 1966. It features a cover of Simon and Garfunkel's "I Am a Rock," which displayed progression for the band at the time—the rising folk-rock nascent was on the horizon. However, Would You Believe also features a cover of Chuck Berry's "Sweet Little Sixteen" - by 1966, R&B and blues covers were becoming passe. Another sign of growth for the band on Would You Believe includes the Chip Taylor cover "I Can't Let Go," a major hit for the band.01 - I Take What I Want02 - Hard, Hard Year03 - That´s How Strong My Love Is04 - Sweet Little Sixteen05 - Oriental Sadness06 - I Am A Rock07 - Take Your Time08 - Don´t You Even Care09 - Fifi The Flea10 - Stewball11 - I´ve Got A Way Of My Own12 - I Can´t Let GoLINK |
 The Byrds were an American rock band that were formed in Los Angeles, California in 1964.Although the band were only able to attain the huge success of contemporaries like The Beatles or The Beach Boys for a short period of time (1965–1966), they are today considered one of the most influential bands of the 1960s. In particular, the band were pivotal in originating the musical styles of folk rock, psychedelic rock, raga rock, and country rock. The Byrds underwent several line-up changes throughout their career, with frontman Roger McGuinn remaining the sole consistent member of the group until their disbandment in 1973. Rare Studio Outtakes & Sessions 1965-1967 is a fan compilated bootleg of rarities and alternate takes & mixes.Disc 101 - Bound To Fall (Instrumental Bonus)02 - Mae Jean Goes To Hollywood03 - Goin' Back (Version One Bonus)04 - Draft Morning (Alternate End Bonus)05 - Fiddler A Dram (Moog Experiment)06 - Ballad Of Easy Rider07 - Build It Up08 - It Happens Each Day09 - Lay Lady Lay [Alternate Version]10 - Don't Make Waves11 - I'll Feel A Whole Lot Better [Alternate Version]12 - Medley My Back Pages; B.J. Blues; Baby What You Want Me To Do [Alternate Version-Take I]13 - It's No Use [Alternate Version]14 - Mind Gardens [Alternate Version]15 - Lady Friend16 - All I Really Want To Do [Single Version]Disc201 - Moog Raga (Instrumental Bonus)02 - Way Beyond The Sun03 - Oil In My Lamp04 - Triad (Bonus)05 - Tulsa County06 - Universal Mind Decoder (Instrumental Bonus)07 - Stanley's Song08 - She Has A Way [Previously Unissued Version]09 - This Wheel's On Fire [Version One]10 - My Back Pages [Alternate Version]11 - You Won't Heave To Cry [Alternate Version]12 - Old John Robertson [Single Version]13 - You And Me [Instrumental]LINK |
 A studio-quality tape of the Byrds performing on Swedish radio in early 1967. Includes live-in-the-studio versions of "Mr. Tambourine Man," "He Was a Friend of Mine," "Hey Joe," "So You Want to Be a Rock'N'Roll Star," "My Back Pages," and "Roll Over Beethoven." It's decently done, though not too different from the studio versions.(101G)01 - Introduction02 - Hey Joe03 - Introduction04 - My Back Pages05 - Introduction06 - Mr. Tambourine Man07 - Introduction08 - He Was A Friend Of Mine09 - Introduction10 - So You Want To Be A Rock11 - Introduction12 - Roll Over BeethovenLINK |
 Fifth Dimension is the third album by The Byrds and was released in July 1966 on Columbia Records. Most of the album was recorded following the February 1966 departure of the band's principal songwriter Gene Clark. In an attempt to compensate for Clark's absence, guitarists Jim McGuinn and David Crosby stepped into the breach and increased their songwriting output. In spite of this, the loss of Clark resulted in an uneven album that included a total of four cover versions and an instrumental. However, the album is notable for being the first by The Byrds not to include any songs written by Bob Dylan, whose material had previously been a mainstay of the band's repertoire. 01 - 5D (Fifth Dimension)02 - Wild Mountain Thyme03 - Mr. Spaceman04 - I See You05 - What's Happening_!_!06 - I Come And Stand At Every Door07 - Eight Miles High08 - Hey Joe (Where You Gonna Go)09 - Captain Soul10 - John Riley11 - 2-4-2 Fox TrotLINK |
 Turn! Turn! Turn! is the second album by The Byrds and was released in December 1965 on Columbia Records. Like its predecessor, Mr. Tambourine Man, the album epitomized the folk rock genre and continued the band's successful mix of vocal harmony and jangly twelve-string Rickenbacker guitar. The album's lead single and title track, "Turn! Turn! Turn!", was a Pete Seeger adaptation of text from the Book of Ecclesiastes that had previously been arranged in a chamber-folk style by the band's lead guitarist Jim McGuinn, while working with folksinger Judy Collins. The arrangement that McGuinn used for The Byrds' version utilized the same strident folk rock style as the band's previous hit singles. 01 - Turn! Turn! Turn!02 - It Won't Be Wrong03 - Set You Free This Time04 - Lay Down Your Weary Tune05 - He Was A Friend Of Mine06 - World Turns All Around Her (the)07 - Satisfied Mind08 - If You're Gone09 - Times They Are A-Changin' (the)10 - Wait And See11 - Oh! SusannahLINK |
 Mr. Tambourine Man is the debut album by The Byrds and was released in June 1965 on Columbia Records. The album, along with the single of the same name, established the band as an internationally successful rock act and was also influential in originating the musical style known as folk rock. The term "folk rock" was, in fact, first coined by the U.S. music press to describe the band's sound in mid-1965, at around the same time that the "Mr. Tambourine Man" single reached the top of the Billboard chart. The single and album also represented the first effective American challenge to the dominance of The Beatles and the British Invasion during the mid-1960s.01 - Mr. Tambourine Man02 - I'll Feel A Whole Lot Better03 - Spanish Harlem Incident04 - You Won't Heave To Cry05 - Here Without You06 - Bells Of Rhymney (the)07 - All I Really Want To Do08 - I Knew I'd Want You09 - It's No Use10 - Don't Doubt Yourself Babe11 - Chimes Of Freedom12 - We'll Meet AgainLINK |
 Preflyte is a compilation album by The Byrds and was released in July 1969 on Together Records. The album is a collection of demos recorded by The Byrds (then named The Jet Set) at World Pacific Studios in Los Angeles during 1964, before the band had signed to Columbia Records. As such, the music on the album predates the release of The Byrds' debut single for Columbia, a cover version of Bob Dylan's "Mr. Tambourine Man", which topped the charts in America and the United Kingdom during 1965. The album's title is a deliberate misspelling of pre-flight, meant to emulate the misspelling of "birds" that the band had used for their name. In 2001, Sundazed Records released an expanded, double CD compilation of tracks from the World Pacific era, titled The Preflyte Sessions.01 - You Showed Me02 - Here Without You03 - She Has a Way04 - The Reason Why05 - For Me Again06 - Boston07 - You Movin' 08 - The Airport Song 09 - You Won't Have to Cry 10 - I Knew I'd Want You11 - Mr Tambourine Man LINK |
 20/20 is the sole 1969 album release by The Beach Boys, and their last studio album to be released with Capitol Records for the next seventeen years. 20/20 got its name from its distinction of being The Beach Boys' 20th official album release (counting the three "Best of..." packages and Stack-O-Tracks). Brian Wilson poked fun at the title by hiding behind an eye examination chart inside the gatefold cover's photo. Otherwise, Wilson's involvement in the album was far less than perceived at the time. With increasing emotional problems, Brian Wilson began to withdraw from the band's recording sessions. He did participate on over half of the songs, but Wilson's only "new" contributions to 20/20 was a soothing waltz entitled (rather prophetically) "I Went to Sleep" and his and Mike Love's "Do It Again". It had been a hit in the summer of 1968, and was added on as commercial insurance, although a small snatch of the Smile-era "Workshop" session was hidden at the track's fade-out.01 - Do It Again02 - I Can Hear Music03 - Bluebirds Over The Mountain04 - Be With Me05 - All I Want To Do06 - The Nearest Faraway Place07 - Cotton Fields (The Cotton Song)08 - I Went To Sleep09 - Time To Get Alone10 - Never Learn Not To Love11 - Our Prayer12 - Cabin EssenceLINK |
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