Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada, and has experienced a series of subsequent revivals. The style is characterized by basic chord structures played on electric guitars and other instruments, sometimes distorted through a fuzzbox, as well as often unsophisticated and occasionally aggressive lyrics and delivery. Its name derives from the perception that groups were often made up of young amateurs who rehearsed in the family garage, although many were professional.
The Electric Prunes are an American psychedelic rock band, formed in Los Angeles, California, in 1965. Much of the band's music was, as music historian Richie Unterberger described it, possessed of "an eerie and sometimes anguished ambiance." It mainly consisted of material by songwriters Annette Tucker and Nancie Mantz, though the group also penned their own songs. Incorporating psychedelia and elements of embryonic electronic rock, the band's sound was marked by innovative recording techniques with fuzz-toned guitars and oscillating sound effects. In addition, guitarist Ken Williams' and singer James Lowe's concept of "free-form garage music" provided the band with a richer sonic palette and exploratory lyrical structure than many of their contemporaries.
Buffalo Springfield Again is the second album by Buffalo Springfield, released on Atco Records in November 1967. It peaked at #44 on the Billboard 200. In 2003, the album was ranked number 188 on Rolling Stone magazine's list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list. The album was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings—published in Christgau's Record Guide: Rock Albums of the Seventies (1981)—and in Robert Dimery's 1001 Albums You Must Hear Before You Die. It was voted number 165 in Colin Larkin's All Time Top 1000 Albums in 2000.
White Light/White Heat is the second studio album by American rock band the Velvet Underground. Released on January 30, 1968, on Verve Records, it was the band's last studio recording with multi-instrumentalist and founding member John Cale. Recorded after Reed fired Andy Warhol, who had produced their debut album The Velvet Underground & Nico, they hired Steve Sesnick as a manager and hired producer Tom Wilson who had worked on the band's debut. White Light/White Heat was engineered by Gary Kellgren.
The Beau Brummels was an American rock band. Formed in San Francisco in 1964, the band's original lineup included Sal Valentino, Ron Elliott, Ron Meagher, Declan Mulligan, and John Petersen (drums). They were discovered by local disc jockeys who were looking to sign acts to their new label, Autumn Records, where Sylvester Stewart—later known as Sly Stone—produced the group's early recording sessions. Initially, the band's musical style blended beat music and folk music and typically drew comparisons to the Beatles, while their later work incorporated other music genres such as psychedelic rock and country rock.
James Timothy Hardin was an American folk and blues musician and composer. As well as releasing his own material, several of his songs, including "If I Were a Carpenter" and "Reason to Believe", became hits for other artists.
The Music Machine was an American rock band formed in Los Angeles, California in 1966. Fronted by chief songwriter and lead vocalist Sean Bonniwell, the band cultivated a characteristically dark and rebellious image reflected in an untamed musical approach. Sometimes it made use of distorted guitar lines and hallucinogenic organ parts, punctuated by Bonniwell's distinctively throaty vocals. Although they managed to attain national chart success only briefly with two singles, the Music Machine is today considered by many critics to be one of the groundbreaking acts of the 1960s. Their style is now recognized as a pioneering force in proto-punk; yet within a relatively short period of time, they began to employ more complex lyrical and instrumental arrangements that went beyond the typical garage band format.
Psychedelic folk is a loosely defined form of psychedelia that originated in the 1960s. It retains the largely acoustic instrumentation of folk, but adds musical elements common to psychedelic music.
Mr. Tambourine Man is the debut studio album by the American rock band the Byrds and was released on June 21, 1965, by Columbia Records. The album is characterized by the Byrds' signature sound of Jim McGuinn's 12-string Rickenbacker guitar and the band's complex harmony singing. The material on the album mostly consists of cover versions of folk songs, primarily composed by Bob Dylan, and originals written or co-written by singer Gene Clark. Along with the Dylan-penned single of the same name, Mr. Tambourine Man established the band as an internationally successful act and is widely regarded by critics as representing the first effective American challenge to the chart dominance of the Beatles and other British Invasion bands during the mid-1960s.
Unhalfbricking is the third album by the British folk rock band Fairport Convention and their second album released in 1969. It is seen as a transitional album in their history and marked a further musical move away from American influences towards more traditional English folk songs that had begun on their previous album, What We Did on Our Holidays and reached its peak on the follow-up, Liege & Lief, released later the same year.
John Nicholas Shakespeare, known as John Carter, is an English singer, songwriter, and record producer.
The Electric Prunes, sometimes referred to as I Had Too Much to Dream , is the 1967 debut album by the American garage rock band, the Electric Prunes, released on Reprise Records. The first track, "I Had Too Much to Dream ", was a hit and became the band's signature tune. The album also contains another notable psychedelic rock composition, "Get Me to the World on Time". The album was listed in the book 1001 Albums You Must Hear Before You Die.
What's Shakin' is a compilation album released by Elektra Records in June 1966. It features the earliest studio recordings by the Lovin' Spoonful and the Paul Butterfield Blues Band, as well as the only released recordings by the ad hoc studio group Eric Clapton and the Powerhouse, until they were reissued years later.
"I Had Too Much to Dream " is a song written with music by Annette Tucker and lyrics by Nancie Mantz, which was recorded in late 1966 by the garage rock band The Electric Prunes. Released as the band's second single, it reached number 11 on the Billboard Hot 100 and number 49 in the UK in 1967.
Evergreen, Vol. 2 is the second album from the Stone Poneys, released five months after The Stone Poneys. It was the most commercially successful of the Stone Poneys' three studio albums.
Triangle is the fourth studio album by American rock band The Beau Brummels. Produced by Lenny Waronker and released in July 1967, it was the band's first album to include songs that vocalist Sal Valentino and guitarist Ron Elliott composed together. The band incorporated fantasy elements and surreal characters into the album's song titles and lyrics, and worked with a variety of session musicians to create Triangle's psychedelic musical style. The Beau Brummels were reduced to a trio—Valentino, Elliott, and Ron Meagher—at the time Triangle was recorded, as former group members Don Irving (guitars) and John Petersen (drums) left the band following the release of the group's previous album, Beau Brummels '66.
"Magic Hollow" is a song by American rock group The Beau Brummels, from the band's fourth album, 1967's Triangle. The song, written by guitarist Ron Elliott and lead singer Sal Valentino, was released as the album's first single. The song appeared on the band's 1987 compilation album The Best of the Beau Brummels 1964-1968, and "Magic Hollow" also served as the title of the band's 2005 four-disc box set.
Not to be confused with Styx (band)
"Bluebird" is a song recorded by the American rock group Buffalo Springfield. It was written and produced by Stephen Stills, with co-production by Ahmet Ertegun. In June 1967, Atco Records released it as a single to follow-up their hit "For What It's Worth" (1966).
The Bonniwell Music Machine is the second and final album by the American garage rock band, The Music Machine, recorded under the renamed moniker, The Bonniwell Music Machine, and released on Warner Bros. Records, on February 10, 1968. As with their debut LP, the album again saw the band blending garage and psychedelic rock influences, albeit with a greater emphasis on psychedelia than on their previous album release. Prior to completing its recording, all of the group's original members, except for its creative force, Sean Bonniwell, departed, though they would still appear on some of the album's tracks.
