 genre: power pop
state: us
quality: lossless (flac, cue, log, covers, 197 mb)
time: 32'02"
wikipedia:
Rhodes recorded the album in his home studio. At the time, union rules required that recordings released on major labels must be recorded in proper studios, so the fact that this was a home recording could not be mentioned on the cover. The runout groove of the original LP release on Dunhill Records contained a decorative banner proclaiming, "Recorded at Home." Rhodes wanted to call the album Homecooking, but Dunhill decided to title it Emitt Rhodes.
Rhodes recorded the instruments on a four-track recorder and then approached Dunhill, who gave him a contract. He transferred the four-track instrumental recordings to an eight-track recorder to add the vocals on the four additional channels (and using a better microphone).
The album reached number 29 on the Billboard album chart. The single "Fresh as a Daisy" reached number 54 on the Hot 100. Billboard later called the album one of the "best albums of the decade".
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 genre: r'n'blues
state: uk
quality: lossless (flac, cue, log, covers, 390 mb)
time: 59'08"
Tapestry of Delights:
An early to mid-sixties outfit from Liverpool. They sometimes backed singers Johnny Sandon and Tommy Quickly (indeed it was Brian Epstein who recruited them as his backing band). Their main significance was probably the inclusion of Tony Ashton and Roy Dyke who formed Ashton, Gardner and Dyke in the late sixties. Later still Ashton was in Family. Ashton's earlier bands included The Mastersounds, Chris Farlowe's Thunderbirds, Tony Ashton Trio and Liverpool's Executives and College Boys.
They spent much of their time in Germany and had an album, Smile (Starclub 158 034) released there in 1967. It's up there among the better British R'n'B records of the era. Highlights include covers of Mose Allison's Seventh Son, Chuck Berry's No Money Down, Dean Parrish's The Skate and Stevie Wonder's Nothing's Too Good For My Baby. This reissue comes with eight bonus tracks, of which four are previously unissued. Some of them also played on George Harrison's Wonderwall Music album.
In 1991 the German-based Repertoire label compiled a 22 track CD compilation of their 45s for Pye circa 1963/64, The Pye Singles (Repertoire REP 4186-WZ), most of which were supporting other vocalists like Tommy Quickly, Gregory Phillips and Johnny Sandon.
Their German-only album, Smile, full of R&B and soul covers - they must have been a good live act in their heyday.
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 genre: folk, psych
state: us
quality: lossless (flac, cue, log, covers, 195 mb)
time: 33'24"
Fuzz Acid & Flowers:
Former Beat Of The Earth leader Phil Pearlman assembled this band in the early seventies and eventually recorded this magnificent rural rock album in 1975. The Relatively Clean Rivers album stands with the very best albums of the era, possessing a purely American sound and walking confidently past the shadow of its previous incarnation. Amazingly well produced for a private pressing, it is the very antithesis of his earlier releases that could be classified as garage (at a stretch, perhaps - they are not without a certain tangible sophistication). No measurable degree of time or expense was spared in the creation of the Relatively Clean Rivers album, which took over a year to assemble and is the most flawless snapshot of the California seventies underground scene you will ever hear.
While it should be easy to describe the sound the band produced, it most definitely is not. There are moments where they sound like The Grateful Dead at their most ethereal, for example like Box Of Rain from American Beauty; but other tracks on 'Rivers are utterly psychedelic in the Damin Eih way (although this album smells more like thai stick than acid). The Persian Caravan is as Eastern as the title suggests; Pearlman's collection of ethnic instruments used by the band to good effect.
Famed poster artist Jim Evans was enlisted for the cover, which must be seen to be believed. Imagine a cross between The Chocolate Watchband's No Way Out and one of those dayglo head shop posters and you'll have some idea. (Some of Evans' other rock-orientated commissions include The Cosmic Travelers LP cover, the movie poster for A Sea For Yourself, and The Allman Brothers' Wipe The Windows LP cover.)
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 genre: psych
state: uk
quality: lossless (flac, cue, log, covers, 351 mb)
time: 55'36"
wikipedia
AllMuscic:
Bang, Bang introduced a hard rocker whose eclecticism was both impressive and unnervingly inconsistent. The covers of "Season of the Witch" and "Summertime Blues" are overlong and dated, but the frenetic version of Cher's "Bang, Bang" is inspired, and the rendition of Gene Pitney's "Something's Gotten Hold of My Heart" shows his poppier roots. Over half of the material was penned by Reid, and while these compositions are sometimes generic, late-'60s hard rockers, he also shows a facility for Donavonesque folk-rock "("Sweater") and impressive soul-rock vocalizing ("When I Get Home"). Originally not released in the U.K., it's ironically only available now as a U.K. import. ~ Review by Richie Unterberger
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 genre: beat
state: germany
quality: lossless (flac, cue, log, covers, 877 mb)
time: 1:13'57" + 1:11'45"
wikipedia:
The Rattles are a rock band (initially beat group) from Germany. Their biggest selling record was their 1970 recorded song, "The Witch", which sold over one million copies globally.
The Rattles performed in Hamburg, and played at the same venues as The Beatles on several occasions in 1962. In 1964 the group recorded "Zip-A-Dee-Doo-Dah", which charted in the UK. In 1968 they recorded their first version of "The Witch", with vocals by Henner Hoier. The band's records sold well in Germany during the 1960s.
Their second version of "The Witch" in 1970, this time with vocals by Edna Bejarano, became their only international hit. "The Witch" appeared in the Top 10 on the UK Singles Chart, the top 20 in Austria, and reached the Billboard Hot 100 in the U.S., the first German record to reach that chart. It eventually sold over one million copies.
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 genre: power pop
state: us
quality: lossless (flac, cue, log, covers, 220 mb)
time: 35'21"
wikipedia
"Go All the Way" (Carmen) – 3:19 / Lead vocal: Carmen
"Come Around and See Me" (Bryson) – 3:00 / Lead vocal: Bryson
"I Saw the Light" (Carmen, Bryson) – 2:40 / Lead vocal: Carmen
"Rock & Roll Mama" (Smalley) – 4:35 / Lead vocal: Smalley
"Waiting" (Carmen) – 2:43 / Lead vocal: Carmen
"Don't Want to Say Goodbye" (Carmen, Bryson) – 5:00 / Lead vocal: Carmen and Bryson
"With You in My Life" (Bryson) – 2:45 / Lead vocal: Bryson
"Get It Moving" (Smalley) – 2:25 / Lead vocal: Smalley
"I Can Remember" (Carmen) – 8:00 / Lead vocal: Carmen
Eric Carmen - vocals, bass, piano
Wally Bryson - vocals, lead guitar
Dave Smalley - vocals, rhythm guitar
Jim Bonfanti - drums
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 genre: rock, white soul
state: us
quality: lossless (flac, cue, log, covers, 274 mb)
time: 42'14"
Fuzz Acid & Flowers:
Arguably a marginal case for inclusion here since they are really remembered for playing a crowd-pulling brand of rock'n'roll and R&B. They came together in New York in early 1965 when Cavaliere, Brigati and Cornish all left Joey Dee's Starlighters at the same time. They played their first gig at the Choo Choo Club in Garfield, New Jersey. Their music was soul-based, danceable and immediate and after their debut single, I Ain't Gonna Eat My Heart Out Anymore met with some initial success, the follow-up Good Lovin' made No. 1 and set them on the road to further success. They were the first white rock act to be signed by Atlantic and their music had a wide appeal to both black and white audiences. Groovin', their second No. 1 and possibly their magnum opus, marked a definite change of style. Depicting a long, ecstatic afternoon in the sun it superbly captured the vibes of the Summer of 1967 and is of far more relevance to this book than what had gone before. Other notable slices of superb pop-rock were How Can l Be Sure?, A Girl Like You and It's Wonderful, which made use of sound effects. After the last mentioned the 'Young' was omitted from their title and they increasingly veered towards a sort of good vibe jazzy rock. People Got To Be Free gave them their third and final U.S. No. 1 after which they underwent a changed line-up (from 'A' to 'B') and changed labels to Columbia. Among the newcomers was Buzzy Feiten who'd previously played with Paul Butterfield.
The new line-up cut two albums which aroused some interest but little excitement, and they disbanded in 1972. Felix Cavaliere later went solo recording two critically acclaimed if commercially unsuccessful albums for Bearsville. Robert Popwell joined The Crusaders in 1976 and Cornish and Danelli fronted Bulldog and Fotomaker.
Clearly an extremely successful act commercially. They enjoyed three No. 1 45s and three other Top Ten hits. Their Greatest Hits album topped the U.S. Album Charts. Groovin', Once Upon A Dream, Collections, The Young Rascals and Freedom Suite all made the Top Twenty, peaking at Nos 5, 9, 14, 15 and 17 respectively. Even their later albums made some impression on the charts. ~ (Vernon Joynson / Pierangelo Valenti / Stephane Rebeschini)
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 genre: r'n'blues
state: uk
quality: lossless (flac, cue, log, covers, 288 mb)
time: 45'14"
Tapestry of Delights:
A short-lived blues-rock quintet. The album sleeve depicts the band holding a black mass ceremony. The vinyl inside was a successful blend of originals and covers of compositions by blues kings like Otis Spann and B.B. King. It is now a significant collectable.
The group also recorded a very gutsy mono album at Central Sound in Denmark Street on 4-track. Polydor then decided to re-make the album in 8-track for stereo, and the released LP (regarded by the band as bland!) was recorded at IBC studios in Portland Place, over the course of a few days. In fact they were slotted in the somewhat ridiculous hours of between 8.00am and 12 noon, as The Who were recording Tommy from noon to midnight, at the time!
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 genre: prog related
state: uk
quality: lossless (flac, cue, log, covers, 318 mb)
time: 48'01"
01. Body And Soul 3:10
02. Live For Each Other 2:56
03. Diamonds 4:08
04. Reaching You 3:31
05. All That I Need 3:58
06. Redman 3:43
07. Peace Of Mind 5:24
08. Harlem 3:23
09. Lonely Street 3:13
10. Last Tabgo In Belulah 6:27
bonus:
11. Don't Be Afraid 3:38
12. Passin Through 4:29
Kevin Lamb / organ, vocals, harmony vocals
Steve Gould / bass, guitar, piano (electric), saxophone, vocals, overdubs
Dave Kaffinetti / synthesizer, piano, keyboards, organ (Hammond), piano (electric), clavinet, harmony vocals
Fred Kelly / percussion, drums, vocals, harmony vocals
Andy Rae / bass, guitar
Peter Rice / percussion
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 genre: prog folk
state: uk
quality: lossless (ape, cue, log, covers, 380 mb)
time: 1:11'14"
wikipedia:
Ramases was the creation and alter-ego of Kimberley Barrington Frost, born Late 1930's in Sheffield, UK. Formerly an army PT instructor, whilst involved in a central heating business in Scotland, was inspired to assume the mantle of the Egyptian Pharaoh of whom he believed himself a reincarnation, and take up a musical career. Early singles (recorded with his wife, Dorothy Frost aka Selket) failed to make any impact, Space Hymns was recorded at Strawberry Studios in Stockport with soon-to-be members of 10cc. It has the most expansive artwork Roger Dean was ever allowed to produce with a 6-page fold out on printing card of a Cathredral Steeple lifting off into the cosmos. On the other side in infra red style colour Ramases and Sel stride forward holding aloft wheat in a Demeter like pose from the Eleusinian Mysteries. When illuminated from behind the coverart comes together as a divinised humanity mystically steps out and over an outmoded religious establishment into cosmic/life affirming destiny in this tour de force of album design. The lyrics deliver the same confident message.
Glass Top Coffin was recorded in London, following Ramases and Selket relocating to Felixstowe, and they never produced another album. He died in 1976 but his death was not widely reported in musical circles until the early 1990s.
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 genre: psych
state: uk
quality: lossless (flac, cue, log, covers, 241 mb)
time: 40'51"
Tapestry of Delights:
Obviously influenced by labelmates The Beatles, the sole album of Rainbow Ffolly is a psychedelic delight of the first order. Lush, inventive arrangements and sharp winning melodies are presented in a truly wide range of styles at once sophisticated and witty. It can be said without exaggeration that this album exceeds on musical grounds the period piece value of many of its contemporaries. Great use of sound-effects contributes to its excellence, while the feeling is so thoroughly English as on few other albums. A single with Drive My Car on the flip, which is not the Lennon/McCartney song, sank without a trace and no further recordings were made. The vast diversity and the great accessibility make it hard to understand why this album was completely ignored, but it makes completely clear why it is as sought-after as it is. ~ (Marcel Koopman)
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 genre: hard
state: uk
quality: lossless (flac, cue, log, covers, 242 mb)
time: 37'20"
wikipedia
Side one
1. "Man on the Silver Mountain" 4:42
2. "Self Portrait" 3:17
3. "Black Sheep of the Family" (Quatermass cover) Steve Hammond 3:22
4. "Catch the Rainbow" 6:27
Side two
5. "Snake Charmer" 4:33
6. "The Temple of the King" 4:45
7. "If You Don't Like Rock 'n' Roll" 2:38
8. "Sixteenth Century Greensleeves" 3:31
9. "Still I'm Sad" (The Yardbirds cover) Paul Samwell-Smith, Jim McCarty 3:51
All music written by Ritchie Blackmore and Ronnie James Dio except where noted
Ronnie James Dio – lead vocals
Ritchie Blackmore – guitar
Micky Lee Soule – piano, mellotron, clavinet, organ
Craig Gruber – bass
Gary Driscoll – drums
with
Shoshana – backing vocals
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