Terry Callier's first album - recorded in 1964 when he was a wee teen hanging around Chicago's folk scene! As the title indicates, the album's definitely got a folk-styled sound - but also as the "new" implies, it's got a sound all it's own, fresh and free - and that sound is the genius that is Terry Callier! This is very stripped down material, very dark and brooding - a good chance to hear Terry before he hit the Chess studios and they backed him up with a lot of orchestrations (although we love the orchestrations, too.) The material has a soulful spiritual feel, and is sung with a lot of passion over acoustic guitar. Think of Nina Simone's folksier stuff from the same time, if you need a reference.

The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well)…

Simon & Garfunkel's second album, Sounds of Silence, was recorded 18 months after their debut long-player, Wednesday Morning, 3 AM – but even though the two albums shared one song (actually, one-and-a-half songs) in common, the sound here seemed a million miles away from the gentle harmonizing and unassuming acoustic accompaniment on the first record. In between, there had been a minor earthquake in the pop/rock world called "folk-rock," which resulted in the transformation of their acoustic rendition of "The Sound of Silence" into a classic of the new genre, complete with jangling electric guitars and an amplified beat that helped carry it to the top of the charts.

The Fugs First Album (1965). A loping, ridiculous, and scabrous release, the Fugs' debut mashed everything from folk and beat poetry to rock and rhythm & blues - all with a casual disregard for sounding note perfect, though not without definite goals in mind. Actually compiled from two separate sessions originally done for Folkways Records, and with slightly different lineups as a result, it's a short but utterly worthy release that pushed any number of 1964-era buttons at once (and could still tick off plenty of people). Sanders produced the sessions in collaboration with the legendary Harry Smith, who was able to sneak the collective onto Folkways' accounts by describing them as a "jug band," and it's not a far-off description. A number of songs sound like calm-enough folk-boom fare, at least on casual listening, though often with odd extra touches like weirdly muffled drums or out of nowhere whistles and chimes…

This five-CD box set collects all five of the Dave Brubeck Quartet's Time series recordings: Time Out, Time Further Out, Countdown: Time in Outer Space, Time Changes, and Time In, with bonus material attached to three of the discs. Of this quintet of recordings, the latter three have never been available on CD in the United States. Recorded between 1959 and 1965, each of these titles has a distinct relationship to "time travel" in the context of jazz. Brubeck, Paul Desmond, and company were consciously trying to extend the time-space continuum in jazz, and erase the boundaries of imposed four/four signatures in the idiom. Time Out was the first jazz album on which every tune was in a different tempo, and it charted all over the world…

Blues Breakers with Eric Clapton was Eric Clapton's first fully realized album as a blues guitarist - more than that, it was a seminal blues album of the 1960s, perhaps the best British blues album ever cut, and the best LP ever recorded by John Mayall's Bluesbreakers. Standing midway between Clapton's stint with the Yardbirds and the formation of Cream, this album featured the new guitar hero on a series of stripped-down blues standards, Mayall pieces, and one Mayall/Clapton composition, all of which had him stretching out in the idiom for the first time in the studio. This album was the culmination of a very successful year of playing with John Mayall, a fully realized blues creation, featuring sounds very close to the group's stage performances, and with no compromises…

This deluxe reissue boasts the superlative, punchy mono mix, heretofore unavailable on CD, along with ten bonus tracks – seven of which are previously unissued - thereby doubling the length of the original album. The 36-page booklet examines the Seeds’ early career in unprecedented detail, based on fresh research and interviews with the surviving participants. Keyboard player Daryl Hooper - the true architect of the Seeds sound - opened his files to share a swathe of incredible, rarely seen illustrations.
Of the great garage punk bands of the 1960s, some were louder (the Sonics), some were angrier (the Music Machine), and some were trippier (the 13th Floor Elevators), but few seemed like a bad influence on so many levels as the Seeds…

Recorded in the midst of 1966, naturally after the spring release of their debut but before "Pushin' Too Hard" climbed into the national charts in the spring of 1967, A Web of Sound finds the Seeds pushing their sound into new dimensions, happily keeping pace with their Los Angeles contemporaries Love and the Doors. That the Seeds never received the respect accorded to their peers, either then or now, may be partially due to their lack of lyrical ambition, or it could be due to the Hollywood teenage sleaze that seeped out of this quartet led by garage rock icon Sky Saxon. Whatever the Seeds did, it sounded somewhat dirty, a maxim that applies to A Web of Sound even if it lacks singles as hard and filthy as "Pushin' Too Hard"…

The Who's second album is a less impressive outing than their debut, primarily because, at the urging of their managers, all four members penned original material (though Pete Townshend wrote more than anyone else). The pure adrenaline of My Generation also subsided somewhat as the band began to grapple with more complex melodic and lyrical themes, especially on the erratic mini-opera "A Quick One While He's Away." Still, there's some great madness on Keith Moon's instrumental "Cobwebs and Strange," and Townshend delivered some solid mod pop with "Run Run Run" and "So Sad About Us." John Entwistle was also revealed to be a writer of considerable talent (and a morbid bent) on "Whiskey Man" and "Boris the Spider." The CD reissue adds an acoustic version of "Happy Jack."

Pink Floyd - Bootleg Mega Collection [202 Releases] (1966-2005)
MP3 320 Kbps | Run Time: 15:14:29:33 | 41.6 GB
Genre: Progressive rock, art rock, psychedelic rock | Label: Unofficial Release

Pink Floyd were an English rock band formed in London in 1965. Gaining an early following as one of the first British psychedelic groups, they were distinguished for their extended compositions, sonic experimentation, philosophical lyrics and elaborate live shows, and became a leading band of the progressive rock genre.
Pink Floyd were founded by students Syd Barrett (guitar, lead vocals), Nick Mason (drums), Roger Waters (bass guitar, vocals), and Richard Wright (keyboards, vocals). Under Barrett's leadership, they released two charting singles and a successful debut album, The Piper at the Gates of Dawn (1967). Guitarist and vocalist David Gilmour joined in December 1967; Barrett left in April 1968 due to deteriorating mental health. Waters became the primary lyricist and thematic leader, devising the concepts behind the band's peak of critical and commercial success with the albums The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), and The Wall (1979). The Waters-written musical film based on The Wall album, Pink Floyd – The Wall (1982), won two BAFTA Awards.

Wes Montgomery's last album for Verve (other than an exciting collaboration with Jimmy Smith) is a so-so orchestral date featuring arrangements by Don Sebesky. The material (which includes "Sunny" and "California Dreaming") is strictly pop fluff of the era and the great guitarist has little opportunity to do much other than state the melody in his trademark octaves. This record was perfect for AM radio of the period.