Although Andwella's Dream were a versatile psychedelic group, they were nonetheless generic no matter what angle they were taking. On Love & Poetry, you get sustained guitar that walks the line between freakbeat and heaviness, some swirling organ and husky vocals that betray the influence of Traffic and Procol Harum, pastoral acoustic folky tunes in the Donovan style, airy-fairy dabs of phased guitars and storybook lyrics, etc. Eclecticism is to be commended, and since late-'60s British psychedelia is an interesting genre in and of itself, generic music in the subgenre is more interesting than some other generic music in other styles…

Eternal Rhythm is a masterpiece on several levels. It was one of the earliest major examples of the idea that it was possible for any and all musical cultures to exist simultaneously, a philosophy that rejected any innate musical hierarchy and had no trouble placing the earthiest blues alongside the most delicate gamelan. It was also a summit meeting between representatives of the American and European jazz avant-garde, black and white, dismissing as meaningless both the cautious attitude of American jazz musicians toward Europeans edging onto their turf and the tentative stance of Europeans playing a music that was not "theirs." More importantly, Eternal Rhythm exists as an utterly spectacular, movingly beautiful musical performance, one of the rare occasions where the listener has a visceral sense of borders falling and vast expanses of territory being revealed for the first time…

Starting out as a typical U.K. club soul band, and then turning toward psychedelia and prog rock in the latter half of the '60s, it wasn't until Pesky Gee! changed their name in 1970 to Black Widow, transformed, and released the satanic Sacrifice that they reached the public eye. If not singular in any particular way, the prog-edged Pesky Gee! album, released on Pye in 1969, has enough cool Hammond organ flourishes and late psych-intoned vocals (male and female) to cause interest. Much is aimless, relies too much on the blues-rock boom, or is downright bad ("Born to Be Wild"), but when they got the mix right they were superb, as on their original psych/soul/prog numbers: on "A Place of Heartbreak" there is a superb male/female vocal, a soulful beat, and some haunting changes…

Stand! is the pinnacle of Sly & the Family Stone's early work, a record that represents a culmination of the group's musical vision and accomplishment. Life hinted at this record's boundless enthusiasm and blurred stylistic boundaries, yet everything simply gels here, resulting in no separation between the astounding funk, effervescent irresistible melodies, psychedelicized guitars, and deep rhythms…

Wool's sole, self-titled LP has kernels of a promising pop-psychedelic band, but is too derivative and ordinary for even the collector's world to make much of a fuss about. Part of the problem is an over-reliance on cover material; only three of the nine tracks are originals…

Mind Garage was an American psychedelic rock and roll band from Morgantown, West Virginia, and a progenitor of Christian rock music. Their "Electric Liturgy" performed in 1968 was the first documented Christian rock worship service, and their 1969 eponymous debut RCA album was one of the earliest Christian rock albums released…

'' 1000 Original Hits '' is the title of a compilation series published by EMI Plus (Europe). This release contains portions of this series, released in 2001, containing works performed from 1960 to 1969.

An apocryphal tale says Juilliard Music Conservatory-trained musicians Michael Kamen, Marty Fulterman, and Dorian Rudnytsky decided in the late '60s in New York that they could make bigger bucks as rock stars than as classical musicians. The results of this legendary experiment were inconclusive. Forming the New York Rock and Roll Ensemble, they broke with tradition on their first two albums – 1968's self-titled debut and Faithful Friends the next year – by using classical music instruments in rock songs and using rock instruments on classical pieces…

The weakest studio album recorded with Jim Morrison in the group, partially because their experiments with brass and strings on about half the tracks weren't entirely successful. More to the point, though, this was their weakest set of material, low lights including filler like "Do It" and "Runnin' Blue," a strange bluegrass-soul blend that was a small hit…

Though it's not obvious from the cover, this 22-track CD compilation is basically a reissue of the New Colony Six's third and fourth LPs (1968's Revelations and 1969's Attacking a Straw Man), presenting the albums one after the other with their original track sequences. This was the era in which the Chicago band, which started off with a rawer garage pop sound, softened its approach considerably and found some modest national commercial success. Those who swear by the group's earlier work (particularly the excellent 1966 debut, Breakthrough) are likely to be disappointed by the far more mainstream harmony pop/rock of these records, though on the other hand, fans of groups like the Association might favor this era more than the previous one…