HOLIDAYS IN THE SUN!!!




Hello Folks, just for your information i will go to the sun this year from the 23rd of this month until around the 15th of october. I got the confirmation today. Hurray :-). hope we will meet here again after my holidays.

Frank

Monday, 31 July 2017

Randy & The Radiants ‎– Memphis Beat - The Sun Recordings 1964-1966 (2007 Big Beat) Flac & mp3@320


Randy Haspel was a 16-year-old kid whose band the Radiants played dances and frat parties in Memphis, TN when one day, a fan at a show offered to introduce the band to his father. The fan was Knox Phillips, and his father, Sam Phillips, happened to run Sun Records, the legendary independent label that gave the world Elvis Presley, Johnny Cash, Jerry Lee Lewis, Carl Perkins, and many other trailblazing acts. Randy & the Radiants recorded for Sun during the label's waning days in the mid-'60s, with Sam Phillips producing most of their sessions, and Memphis Beat, which collects two dozen of the band's Sun sides, documents a curious time and place where the influences of the British Invasion and the garage rock explosion were being felt at the house that rockabilly built.


On record, Randy & the Radiants sounded significantly tighter and more professional than the average teenage band of the era, and they had an outstanding songwriter in guitarist Bob Simon, though Phillips occasionally prodded them to cover the likes of "Boppin' the Blues" and "Blue Suede Shoes," and they also tackled a few blues numbers and British Invasion hits.


 Haspel and his bandmates had a strong knack for harmonies, and there are moments on Memphis Beat where the Radiants sound like the lost middle ground between blue-eyed soul and the Hollies, but oddly enough Phillips' production, for which the band is best remembered today, doesn't often suit the band especially well, making them sound looser and less disciplined than they really were and sometimes making the group vocals sound mushy.

Still, as a document of Memphis' Anglophile underground in its infancy, this is fascinating stuff, and the best tunes -- the local hits "My Way of Thinking" and "Truth from My Eyes" -- suggest they could have matured into one of the great bands of the garage era if college and the draft hadn't stalled their progress in 1966.(allmusic)


These guys were really great. A lot fine stuff on this recordings. ''Nobody Walks Out On Me'', Be Good While I'm Gone'', To Seek And Then Find'' just to name three of a bunch of songs who shows what had could be. Highly recommend!
Enjoy
          Frank   Flac p1   &  Flac p2     - mp3@320

Tim Buckley - Greetings from L.A. 1972 (1990 Rhino) Flac & mp3@320



Stepping back from the swooping avant-garde touches of Starsailor for a fairly greasy, funky, honky tonk set of songs, the opening lines of Greetings from L.A. set the tone: "I went down to the meat rack tavern/And I found myself a big ol' healthy girl." Sassy backing vocalists, honking sax, and more add to the atmosphere, while Tim Buckley himself blends his vocal acrobatics with touches not unfamiliar to fans of Mick Jagger or Jim Morrison. The studio band backing him up might not be the equal to, say, War, but in their own way they do the business; extra touches like the string arrangement on "Sweet Surrender" help all the more. The argument that this was all somehow a compromise or sellout doesn't seem to entirely wash. While no doubt there were commercial pressures at play, given Buckley's constant change from album to album it seems like he simply found something else to try, which he did with gusto.


"Get On Top," one of his best numbers, certainly doesn't sound like something aimed for the charts. The music may have a solid groove to it (Kevin Kelly's organ is worth a mention), but Buckley's frank lyrics and improv scatting both show it as him following his own muse.(allmusic)


Surely one or maybe that most commercial album of his career. But what it means to use the word ''commercial'' together with the name of Tim Buckley? Anyway it's one of my three favourite albums by Tim Buckley.
Enjoy
          Frank   Flac p1  & Flac p2    - mp3@320

Jacqueline Taieb - Jacqueline Taieb LP 1967 (Debut album RCA Victor France) Flac & mp3@320


Taïeb arrived in France with her parents at age eight. She began composing songs with her guitar at 12 and in 1966 was discovered by a talent scout while Taïeb was singing with friends. After arriving in Paris, she was signed to Impact Records and released the song "7 heures du matin" in 1967, which became her biggest French hit. She was subsequently voted Best Newcomer at the inaugural Midem music festival in Cannes for the song. The song was about a teenage girl who fantasizes about Paul McCartney.
In the early 1970s, Taïeb took a break from recording. In 1988, she penned the song "Ready to Follow You", which became an international hit for American singer Dana Dawson. The single sold more than 500,000 copies, and the album sold 300,000 in France alone.


The album is very fine french female pop from the sixties. If you like sounds like this
grab it.
Enjoy
         Frank                  Flac p1  & Flac p2    -   mp3@320

Sixties Psychedelic by The Electric Prunes - Underground 1967 ( 2013 Rhino) Flac & mp3@320


According to Electric Prunes members Jim Lowe and Mark Tulin, producer Dave Hassinger enjoyed enough success as a result of the group's early hit singles and their subsequent debut album that he was too busy to spend much time with them as they were recording the follow up, and that was arguably a good thing for the band. While Underground didn't feature any hit singles along the lines of "I Had to Much to Dream (Last Night)," it's a significantly more consistent work than the debut, and this time out the group was allowed to write five of the disc's twelve songs, allowing their musical voice to be heard with greater clarity. As on their first LP, the Electric Prunes' strongest asset was the guitar interplay of Jim Lowe, Ken Williams and James "Weasel" Spagnola, and while they became a bit more restrained in their use of fuzztone, wah-wah and tremolo effects, there's a unity in their attack on Underground that's impressive, and the waves of sound on "Antique Doll," "Big City" and " "Children of Rain" reveal a new level creative maturity (though they could make with a wicked, rattling fuzz on "Dr. Do-Good"). If Underground ultimately isn't as memorable as the Electric Prunes' first album, it's a matter of material -- while the outside material that dominated the debut was sometimes ill-fitting, it also gave them some stone classic tunes like "I Had Too Much to Dream" and "Get Me to the World on Time," and the band themselves didn't have quite that level of songwriting chops, while the hired hands didn't deliver the same sort of material for Underground. Still, the album shows that the Electric Prunes had the talent to grow into something more mature and imaginative than their reputation suggested, and it's all the more unfortunate that the group's identity would be stripped from them for the next album released under their name, Mass in F Minor.


The album is from the Rhino original albums series box released in 2013. I will post more albums from the box in the next days if there is any interest.
Have fun
              Frank                       Flac p1  & Flac p2          mp3@320




Sunday, 30 July 2017

The Jam - Direction Reaction Creation (1997 Polydor 5 Disc Collection) Disc 1 Flac & mp3@320


Okay folks, here comes the last disc. With disc one the collection is complete. I hope you will have fun with the box. Unfortunately i can't find the booklet neither on the web nor my own. But i will search furthermore in my boxes here at home. If i find it i will post it. It's really a very fine book.


Have fun
              Frank               Flac p1  &  Flac p2  & Flac p3         mp3@320

The Jam - Direction Reaction Creation (1997 Polydor 5 Disc Collection) Disc 2 Flac & mp3@320



Disc 2 of the Jam collection and as always: Listen LOUD!
Have fun with the Jam



Frank   Flac p1 & Flac p2Flac p3     - mp3@320


The Jam - Direction Reaction Creation (1997 Polydor 5 Disc Collection) Disc 3 Flac & mp3@320


Here is disc three of the great five disc collection by british mods The Jam.


Have fun
               Frank        Flac p1Flac p2Flac p3    -   mp3@320





CHANGED !!! The Jam - Direction Reaction Creation: Disc 4 link is wrong !!! CHANGED !!!


Hello folks, Chris from Australia send a comment that the links for mp3 disc four and five have the same songs. I changed the link for mp3 disc 4 in the post from yesterday. You can dowmload now the correct mp3 disc 4. Sorry for that folks! And thank you Chris!

Kind regards
                    Frank

Saturday, 29 July 2017

The Jam - Direction Reaction Creation (1997 Polydor 5 Disc Collection) Disc 4 Flac & mp3@320



Here comes the next disc by british mod heros The Jam. Disc four of the five disc box ''Direction Reaction Creation'' from the year 1997. Have fun and pump up the volume.


Cheers
           Frank       Flac p1Flac p2Flac p3       new mp3@320 link

The Jam - Direction Reaction Creation (1997 Polydor 5 Disc Collection) Disc 5 Flac & mp3@320


Direction Reaction Creation is the ultimate Jam package, offering 117 tracks over five discs -- essentially the band's complete studio recordings. With a strict adherence to chronological order, the box presents each single followed by its B-side(s) (six of which appear on CD for the first time, including the brilliant "See Saw"), followed by the proper album tracks -- oddly, though, the album versions of the singles are chosen in most places. Unfortunately, this approach sometimes disrupts the flow of the albums, especially in the case of All Mod Cons, which loses three tracks to the treatment, and Setting Sons, which loses "Eton Rifles" to a separate disc. This is a small point for purists to debate -- the difference is really unnoticeable in light of the truly great music found on the discs.
In addition to the regular studio tracks, disc five offers over an hour of studio demos -- 22 previously unreleased tracks of considerably different takes of better-known material, a few never-before-heard Weller and Foxton originals, and some interesting covers like "Rain," "Dead End Street," and "Every Little Bit Hurts." The Jam, simply put, were one the finest bands in rock & roll history, and Direction Reaction Creation offers the proof, showing both their remarkably rapid growth and their incredible consistency.(excerpt, allmusic.com)

I want post this 5 disc collection in the next days. Today i begin with disc 5. Nothing extraordinary to say about it except (In addition to the regular studio tracks, disc five offers over an hour of studio demos); Like all the other discs from this compilation extraordinary great. One of the ten finest british bands in rock'n'roll history in my opinion. Hope you will enjoy!
Have fun
               Frank                       Flac p1Flac p2Flac p3       mp3@320


Sixties French Mod & R'n'R Sound By Ronnie Bird - Twistin' The Rock " 2 CD 1964-1968 (2002 Mercury France) Flac & mp3



During the mid-'60s, Ronnie Bird was the only French artist to successfully emulate the sounds of the British Invasion across the channel. Bird was one of the few French singers with a facility for singing rock & roll in French without sounding strained or embarrassing.


His first few discs were crafted with the help of expatriate guitarist Mickey Baker, the same Mickey Baker who was half of Mickey & Sylvia and responsible for great session work on numerous rock and R&B songs in the '50s. Baker played on Bird's discs and actually wrote a few tracks with him, although most of Bird's records were French covers of songs by British giants like the Stones, the Who, the Pretty Things, and the Hollies. For a time, Bird's band included guitarist Mick Jones, who went on to fame with Foreigner in the '70s.


Although extremely derivative of the tougher side of the British Invasion, Bird's covers and originals were respectably hard-driving and well-executed. Dabbling in soul and psychedelia at times as the '60s progressed, Bird eased out of the music business and emigrated to New York in the '70s.(allmusic.com)


This guy was a very talented performer and musician. I love his kind of mod style rock'n'roll. I prefer a little bit more his later works but nearly all of what i know from this guy is very good. Hope you will enjoy it, too.

Cheers
           Frank    Flac p1    &   Flac p2         mp3@320


At Request: The Motels! The Motels - All Four One/Little Robbers 1982/83 (2009 BGO Records) Flac & mp3@320

All Four One:

The Motels' third album All 4 One finds the group working the fine line between mainstream arena-rock and quirky new wave pop. Their roots lie in the sleek, polished Californian hard rock that dominated late-'70s and early-'80s album-oriented radio, but All Four One has a shiny new wave production, complete with keyboards and processed guitars.


Still, it plays like arena rock, especially since Martha Davis oversings each track, but its best moments -- "Take the L" (out of lover and it's over) and the single "Only the Lonely" -- are embarrassingly catchy guilty pleasures that make the album an entertaining nostalgia piece. [One Way's CD reissue is even more attractive, since it adds the group's two other big singles, "Suddenly Last Summer" and "Shame," as bonus tracks.]


Little Robots:

Little Robbers, the follow-up to the Motels' commercial breakthrough All 4 One, is nearly as consistent as its predecessor, finding the perfect balance between mainstream rock conventions and quirky new wave flourishes. Again, the singles are the best parts of the record, with the hazy "Suddenly Last Summer" deservedly reaching the Top Ten and "Remember the Nights" being a fine AOR workout, but the remainder of the album suffers from undistinguished material and a distinct lack of hooks.



I was never a big fan of the Motels but they had some very strong songs. And a good looking singer :-) .
Enjoy it
            Frank            Flac p1 & Flac p2Flac p3   -  mp3 p1   -  mp3 p2 


Friday, 28 July 2017

Slade - Slade In Flame 1974 (2006 Air Mail Archive Japan) Flac & mp3@320

Slade in Flame is a tough album to judge. It marks the end of Slade's rule over the British charts -- the album went to number six (the band's previous four LPs reached number one), but it would be nearly ten years before the band would return to the top of the pops. Made as an accompanying piece to the movie of the same name, Slade in Flame was different than the group's other records. It's an artistic tour de force for a band that was looked on as "just a good time." Although Slade was that, the band had a lot more in its bag of tricks, and this album shows it.
Most folks (if not all) were expecting Slade to come out with a Monkees-type movie: lots of slapstick and a funny, lighthearted good time. Instead, the band delivered a much more reality-based film and album. Don't worry, though, because it's still pure Slade. The album stretches the band's stylistic universe to include brass and more keyboards than before. The lyrics are a little more serious than you might expect -- the album is about what a bummer it can be to be famous, as well as the all of the advantages (girls). From the opening number, "How Does It Feel," Slade sets a different tone. A piano and vocal intro greets the listener. Of course, by the end of the song the full band is rocking furiously. They don't let up on the classic "Them Kinda Monkeys Can't Swing," which features great drumming by Don Powell.


"So Far So Good" is a beautiful rocker, and was covered by Alice Cooper songwriter Mike Bruce on his first solo album. On "OK Yesterday Was Yesterday," Noddy gives his lungs a big-time workout. [The British and American versions of this album differ slightly. The U.S. version added two British A-sides, "Bangin' Man" and "Thanks for the Memories," while deleting a couple of tracks. "Bangin' Man" is definitely one of Slade's best, and worth seeking out on a greatest-hits CD.]

The tracks:
1 How Does It Feel? 5:58
2 Them Kinda Monkeys Can't Swing 3:27
3 So Far So Good 3:02
4 Summer Song (Wishing You Were Here) 3:36 
5 O.K. Yesterday Was Yesterday 3:58
6 Far Far Away 3:37
7 This Girl 3:32
8 Lay It Down 4:09
9 Heaven Knows 3:56
10 Standin' On The Corner 4:55

Bonus Tracks
11 Thanks For The Memory 4:34
12 Raining In My Champagne 4:07


A great pop album from the seventies. Really great songwriting. This band was completely disesteemed from the ''serious'' rock audience.
Don't be serious
have fun
              Frank                  Flac p1  & Flac p2      -  mp3@320   -   artwork 2   

Thursday, 27 July 2017

The Jam - Sound Affects 1980 (Polydor Records) Flac & mp3


Unhappy with the slicker approach of Setting Sons, the Jam got back to basics, using the direct, economic playing of All Mod Cons and "Going Underground," the simply brilliant single which preceded Sound Affects by a few months. Thematically, though, Paul Weller explored a more indirect path, leaving behind (for the most part) the story-song narratives in favor of more abstract dealings in spirituality and perception -- the approach stemming from his recent readings of Blake and Shelley (who was quoted on the sleeve), but more specifically Geoffrey Ash, whose Camelot and the Vision of Albion made a strong impression.


Musically, Weller drew upon Revolver-era Beatles as a primary source (the bassline on "Start," which comes directly from "Taxman," being the most obvious occurrence), incorporating the occasional odd sound and echoed vocal, which implied psychedelia without succumbing to its excesses. From beginning to end, the songs are pure, clever, infectious pop -- probably their catchiest -- with "That's Entertainment" and the should-have-been-a-single "Man in the Corner Shop" standing out.



I want post some more of the Jam in the next days. With this album The Jam jumped in the eighties. And they took with them real mod rock'n' roll. This is one of very few real rock'n'roll albums from a decade who suffered from bad digital synthesizer sounds. This is surely one of their best works. Hope you like it.
Have fun
              Frank   Flac p1  &  Flac p2      -  mp3@320

At Request: Dennis Yost And The Classics IV - The Best Of Dennis Yost And The Classics IV (2002 Taragon Records) Flac & mp3@320

The Classics IV is a band formed in Jacksonville, Florida, United States, in 1965. The band is often credited for establishing the "soft southern rock" sound. The band, led by singer Dennis Yost, is known mainly for the hits "Spooky", "Stormy" and "Traces", released 1967 to 1969, which have become cover standards.
The band was discovered performing in Daytona Beach by talent agent Paul Cochran, who became the band's manager in partnership with Buie. The pair had formed an alliance with manager-publisher Bill Lowery and urged the band to relocate to Atlanta. With the help of Lowery, they quickly snagged the group a singles deal with Capitol Records. The Classics' debut single was "Pollyanna", a song written by Lowery client Joe South. Its style was starkly similar to that of the Four Seasons. Shortly after that they received a letter informing them that there was already a recording act named 'the Classics', who had a single titled "Till Then". In an effort to differentiate themselves, Yost and company added "IV" to the name because there were (at that time) four members.
The Classics IV performed "Pollyanna" on Dick Clark's TV Show Where the Action Is! and "Pollyanna" was a regional hit. But when WABC (AM) radio in New York started playing it they received a call from the Four Seasons' manager saying to stop playing "Pollyanna" or they would no longer get exclusives on future Four Seasons recordings. The group landed a deal with Imperial Records. Guitarists Cobb and Buie added lyrics to a jazz instrumental titled "Spooky", a regional hit for Atlanta saxophonist Mike Sharpe. The single made it to No. 3 on the Billboard Hot 100 in the U.S. and No.  46 in the UK.
Drummer Kim Venable (born 5 May 1944, died 12 June 2016) was brought in so Yost could move freely out front (Robert Nix and Terry Walters were the drummers on their studio recordings). Daughtry replaced Wilson. The band changed its name to 'the Classics IV featuring Dennis Yost' and enjoyed two more top-10 hits, "Stormy" (1968, Hot 100 No. 5) and "Traces" (1969, Hot 100 No. 2, Easy Listening No. 2). Cobb and Buie borrowed heavily from 1936's "Everyday with Jesus" by Robert C. and Wendell P. Loveless to pen the top 20 follow-up "Everyday with You Girl" (1969, Hot 100 No. 19, Easy Listening No. 12). In 1971 Michael Huey became the drummer after working for other Lowery artists Tommy Roe and the Swingin' Medallions. During this period Huey also became the staff drummer for Lowery Studios, and later moved to L.A.
"Spooky", "Stormy", and "Traces" each sold more than one million units, and all were awarded gold discs by the R.I.A.A. Those three hits plus "Everyday With You Girl" also appeared in the 1977 film The Chicken Chronicles.
They changed their name again, to "Dennis Yost and the Classics IV," and had one last top 40 hit, "What Am I Crying for?" (1972, No. 39) on MGM South.
In 1975 Yost began performing solely under his own name, and eventually he lost the rights to the Classics IV name. During the 1990s, without the trademark, he used many backup bands including Steve "Stevie G" Guettler (guitar, vocals), Jeff "JT" Strickler (bass guitar, vocals), Steve Farrell (guitar, vocals), Mike Wilson (keyboards, vocals) and Wes Armstrong (drums, vocals) of the Atlanta-based group The Rockerz. He also used Nashville-based Steve Jarrell and The Sons of the Beach Band, as well as the Hitts out of Virginia Beach, Virginia, with Ed Hutchison (guitar, backing vocals) Ramon Gonzalez (keyboards, backing vocals) Andy Crosswell (drums) and David Voss.
In 2001 Yost underwent successful throat surgery for a condition that had severely impaired his singing voice. He also won a trademark dispute which gave him exclusive rights to the name The Classics IV for both performing and recording purposes.


On July 11, 2006, Yost fell down a flight of stairs and suffered serious brain trauma.
After Yost's accident, he chose Tom Garrett to replace him as lead singer for the Classics IV. The plan was for Yost to make a few yearly "special appearances", and gradually have Garrett take over as the leader of the band. However, Yost was able to perform with them for only one appearance in 2008. Garrett and Yost worked closely together to develop the current lineup. He chose Garrett to help him keep the Classics IV music going in the Classics IV tradition. Yost would listen to the band on recorded CDs, and during that time Garrett and Yost became close friends. The band Yost chose in 2007 to continue his legacy with the Classics IV trademark consisted of Garrett as lead vocalist, Kevin Lloyd on bass, Tim Ridgeway on drums, Joe Sadler on guitar, Garard Montague III on flute and saxophone, and James Yoder on keyboards. In early 2012, due to health issues Montague was replaced on saxophone and flute by Paul Weddle.
Yost died at the age of 65 from respiratory failure on December 7, 2008, the 40th anniversary of the entrance of "Stormy" into the Hot 100's top 10.
Since Yost's death, the current Classics IV lineup is Tom Garrett (vocals), Kevin Lloyd (bass), James Yoder (keyboards), Paul Weddle (sax and flute), John Kerner (guitar) and Shawn White (drums).(from Wiki, excerpts)




This is a great collection by the band and i highly recommend to give it a listen.
Enjoy
         SB1    Flac p1  &  Flac p2  &  Flac p3        - mp3@320


Sixties Garage/Psychedelic Pop: The Velvet Illusions - Acid Head (1967) (2011 Cherry Red) Flac & mp3@320



The group originated from a jam session between Randy "Jimmie James" Bowles (lead guitar, vocals) and Chuck Funk (rhythm guitar) in 1965. Funk recommended rehearsing with neighbor George Radford (saxophone) at his parents' upholstery shop, with the resulting session encouraging the trio to form a band Randy Bowles named the Illusions. Radford's father elected to manage the group, supplying them with  equipment and velvet outfits. Upon discovering that another band was known as the Illusions, the band changed their moniker to the Velvet Illusions to emphasize their unusual gimmick. The band added to their personnel when they recruited Steve Weed (keyboards, vocals), formerly of the local group the Shy Guys, Larry “Lurch” Linse (bass guitar), and Danny Wagner (drums).

The expanded lineup continued to hone their skills and develop a chemistry as an ensemble at Radford Sr.'s upholstery shop. The Velvet Illusions achieved a sizable regional fanbase by renting a music hall called Nob Hill Grange where the group held several battles of the bands, most typically with rival group the Fluorescents. With a live repertoire encompassing covers of material by the Rolling Stones, the Beatles, and the Monkees, as well as novelty songs such as "Snoopy vs. the Red Baron", "Mellow Yellow", and "Winchester Cathedral", the Velvet Illusions were what Bowles explains as their manager's desire to make the group "clean cut alternatives to other bands of the period". In addition to the usual array of gigs, the band also appeared on KIMA TV to promote their Vox instruments. The group strenuously denies that the company sponsored them during their existence.

In early 1966, the band made the acquisitions of guitarists Danny Wohl and Dewayne Russell. Also during this time, the Velvet Illusions began recording at Audio Recorders in Seattle. In mid-1966, the band released their debut single "Acid Head", a composition about a woman suffering from a drug addiction, coupled with the Weed-penned "She Was the Only Girl", on Tell International Records. However, the single failed to reach a national audience when radio stations refused to promote "Acid Head" for its drug references. Two more singles, "Town of Fools" and the psychedelia-tinged group theme song "Velvet Illusions", were recorded in Audio Recorders, and released in rapid succession on Radford Sr.'s self-produced record label Metro Media. "Town of Fools" was particularly successful in the Northwest region; however, the band was limited by the small market and sought to relocate to another more prominent music scene.

In June 1967, the Velvet Illusions concluded a tour of the Northwest, and moved to Los Angeles in hopes of promoting their music on a national scale. Linse left the group before the transition to keep commitments to the United States Army Reserve, and Russell departed over disagreements in musical direction. Former Shy Guy bassist Dale Larrison was recruited by Weed, as was his brother Gene Weed, who withheld duties as the band's co-manager. The group worked persistently at promoting their music, particularly "Acid Head", which the Velvet Illusions performed on the Yakima television program Summer Wild Thing in a failed effort to lift the radio ban. Still, the song's removal from the airways earned the band notoriety in Los Angeles and the Northwest where they soon became a popular live attraction. Reflecting on the radio ban, Bowles said its "fine, because today, 'Acid Head' is collected all over the planet, is well-represented on compilation LP’s and CD’s, and is all over YouTube and internet radio. So we did fine with that song!".
However, Radford Sr.'s controlling managing style caused disgruntlement within the group, resulting in Bowles and Wagner returning to Yakima. The final lineup of the Velvet Illusions saw the additions of drummer Jon Juette, and future Earth, Wind, and Fire guitarist Roland Bautista. Internal debate between Radford Sr. and the band minimized the group's willingness to continue performing. An additional two singles, "Lazy" and a song about the group's perspective on the hippie scene called "Hippy Town", were recorded in Sunset Recorders and released in November 1967. With the final releases credited to Georgy and the Velvet Illusions without the group's consent, the band members decided to disband the Velvet Illusions in December 1967. Upon returning to Yakima, former Velvet Illusions Weed, Larrison, Wagner, Wohl, and Bowles reconvened as a group known as the Peppermint Tea, and finally enjoyed the freedoms of managing themselves. The band was short-lived, considering the small market they were situated in, and broke up by the end of 1967.
Despite never receiving much promotion outside Los Angeles, the Velvet Illusions' music has since been featured on several compilation albums, and the band itself is considered within collector circles as "The great lost California psychedelic band" (despite not being native to the state). The group first appeared on Acid Dreams, and have also been included on Acid Dreams Testament, Pebbles, Volume 9, Garagelands, Volume 2, Sixties Archive, Volume 8, and Where the Action Is! Los Angeles Nuggets 1965–1968. In 2011, the Velvet Illusions' material spanning across their five singles was compiled on the album Acid Head, on Cherry Red Records. Overtime, it has been revealed the Velvet Illusions recorded the unreleased songs "Grow Up Young Man", "Lonely Girl", and "Bigfoot". The tune "Bigfoot", the most peculiar of the three songs, was composed in 1966 in response to the Bigfoot craze in the Northwest.


In 2015, Moi J'Connais Records released Velvet Illusions, another compilation album that features all of the group's material. It was particularly successful, selling out its initial press run.

Very interesting band with a different sound in their self penned songs compared to the most of the bands then.
Enjoy
          SB1   Flac  &  mp3@320