The Rubble Collection - Volume 05-08 (60's Rock-Psych-Beat Singles)

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Originally appearing on LP from the Bam Caruso label in the 1980s, and then on CD on the Past & Present imprint in 2003, these first ten volumes (boxed) in the Rubble Collection were conceived and collected by Phil Smee. For fans of the Nuggets series, both the two American volumes and the British Nuggets, you won't find a lot of overlap. The Nuggets comps were and are for people who want what was at least the stuff of legend, if not readily available. The collection here digs deep and are, for the most part, flawless in what they present. This set, and its companion volumes 11-20 (a separate box), are very different creatures. For starters, they dig a lot deeper into the hopelessly obscure 45s and tapes of Brit psychedelia, freakbeat, Mod, and pop. 

For every cut by Sharon Tandy & les Fleur de Lys, the Glass Menagerie, Pretty Things, and Flying Machine and the Clique, there is at least one to match from acts like Peter & the Blizzards, Skip Bifferty, Life 'N' Soul, and Factotums. You're getting the idea. This is for the listener who wants to dig down and get virtually everything. There are some things missing here (the second box picked up a lot of that slack), and like other series' that go down into the underbelly of the '60s, some of what's here is drek. 

But there are real gems, too -- ,check out the Sharon Tandy cuts like "Hold On," on disc nine, or the Velvett Fogg's "Lady Caroline," on disc ten, or Fairytale's "Lovely People" that kicks off volume six. Then there's the completely cracked and whacked, such as Dragonfly's "Celestial Empire," Orange Seaweed's "Pictures in the Sky," and Focus Three's "10,000 Years Behind My Mind." In addition to these ten handsome volumes in a single fold-in case, there is a 93-page booklet completely annotating tracks and offering discographies for artists who actually had them. In 2007, Fallout in the U.K. reissued this box again, in a limited numbered (on the bottom) limited license, limited edition of 1000 copies at a more reasonable price than the previous version. 

Dantalian's Chariot - UK Single 1967

The first volume was created in 1984, and the series was completed in 2002 (and later, the New Rubble series has begun). Rubble is one of the first series of compilation albums of psychedelic rock, freakbeat, rhythm and blues, garage rock and beat music of the mid to late 1960s in the United Kingdom. It predated similar compilation series, such as the English Freakbeat series, which AIP Records started in 1988.

The name "Rubble" is influenced by the title of the seminal Nuggets double LP, and resembles the titles of several similar compilation series, such as the Pebbles series, Boulders series and Rough Diamonds series. Most of the bands on these albums were not commercially successful, such as the Glass Menagerie, The Onyx, Wonderland and Wild Silk. However, the albums also include a few better-known bands, such as Tomorrow, The Poets, The Pretty Things, The Spencer Davis Group and The Crazy World of Arthur Brown.

PSYCHEDELIC POP:
Psychedelic pop is a psychedelic musical style inspired by the sounds of psychedelic folk and psychedelic rock, but applied to a pop music setting. It reached its peak during the late 1960s, declining rapidly in the early 1970s.

The origins of psychedelic music were in folk and rock music of the mid-1960s, particularly the work of The Beatles, The Byrds and bands like The Yardbirds and The Grateful Dead. As psychedelia emerged as a mainstream and commercial force it began to influence pop music, which incorporated hippie fashions, drug references, as well as the sounds of sitars, fuzz guitars, and tape effects, but often using the close harmonies of the California sound and applying these elements to concise and catchy pop songs.

Dream Police - Netherlands Single 1970

With The Beatles being the mainstream and commercial force during the psychedelic era; with albums such as Revolver (1966), The Beach Boys under the leadership of Brian Wilson also began to herald psychedelia into the mainstream with records such as Pet Sounds (1966) and the single "Good Vibrations", which made use of a Tannerin (an easier to manipulate version of a Theremin). American vocal group The Mamas & the Papas were also influenced by psychedelic music.

American pop-oriented rock bands that followed in this vein included Electric Prunes, Blues Magoos and Strawberry Alarm Clock; with their first and most famous hit "Incense and Peppermints". Pink Floyd's "Arnold Layne" and "See Emily Play", both written by Syd Barrett, helped set the pattern for psychedelic pop in Britain. Garage rock groups with pop leanings also moved into this territory, like The Beau Brummels with their album Triangle (1967). The Small Faces also began to embrace the genre with songs such as "Itchycoo Park" and "Lazy Sunday". Some sunshine pop bands like The Association and The Grass Roots with "Lets Live for Today" (1967) moved in a psychedelic direction. The Beatles early 1967 single "Penny Lane"/"Strawberry Fields Forever" became a prototype for psychedelic pop and has been regarded as one of the greatest double A-side ever released. Psychedelic sounds were also incorporated into the output of early bubblegum pop acts like The Monkees, particularly on their album Head (1968) and The Lemon Pipers with "Green Tambourine" (1968) and Tommy James and the Shondells with their number one "Crimson and Clover" (1969).

Life 'N' Soul - UK Single 1967

Scottish folk singer Donovan's transformation to 'electric' music gave him a series of pop hits, beginning with "Sunshine Superman", which reached number one in both Britain and the US, to be followed by "Mellow Yellow" (1966) and "Atlantis" (1968). Most British pop in this vein was less successful internationally, with manufactured group The Flower Pot Men with "Let's Go To San Francisco" and The Move with "I Can Hear the Grass Grow" and "Flowers in the Rain", all reaching the top five in the UK in 1967, but making little impact elsewhere. The Zombies produced some of the most highly regarded work in the genre with their album Odessey and Oracle (1968), but had already disbanded before one of the tracks, "Time of the Season", gave them their biggest hit in 1969, reaching number three in the Billboard 100.

Pop orientated psychedelia was popular among the emerging bands in Australia and New Zealand, including The Easybeats, formed in Sydney but who recorded their international hit "Friday on My Mind" (1966) in London and remained there for their forays into psychedelic-tinged pop until they disbanded in 1970. A similar path was pursued by the Bee Gees, formed in Brisbane, but whose first album Bee Gees 1st (1967), recorded in London, gave them three major hit singles and contained folk, rock and psychedelic elements, heavy influenced by the Beatles. The Twilights, formed in Adelaide, also made to trip to London, recording a series of minor hits, absorbing the psychedelic scene, to return home to produce covers of Beatles' songs, complete with sitar, and the concept album Once Upon a Twilight (1968). The most successful New Zealand band, The La De Das, produced the psychedelic pop concept album The Happy Prince (1968), based on the Oscar Wilde children's classic, but failed to break through in Britain and the wider world.

Mashmakhan - UK Single 1970

By the end of the 1960s psychedelic folk and rock were in retreat. Many surviving acts moved away from psychedelia into either more back-to-basics "roots rock", traditional-based, pastoral or whimsical folk, the wider experimentation of progressive rock, or riff-laden heavy rock. Psychedelic influences lasted a little longer in pop music, stretching into the early 1970s and playing a major part in the creation of bubblegum pop.

FREAK SCENE:
The freak scene was a term used by a slightly post-hippie and pre-punk style of bohemian subculture. It referred to overlaps between politicised pacifist post-hippies, generally non-political progressive rock fans, and non-political Psychedelic music and Psychedelia fans. The individuals moved between rock festivals, free festivals, happenings and alternative society gatherings of various kinds. The name comes, at least partly, from a tongue-in-cheek reference to the beat scene.

The hairstyles were mostly long and unkempt but people were experimenting with other possibilities. Rock stars of the era such as David Bowie and Roxy Music were trying shorter styles and hair dye. Roy Wood of the pop group Wizzard had hair down to his knees with odd colours dyed in. These musical icons were influential. Shaven heads were seen occasionally but were not yet as common as they would become when punk began. There was a reluctance to make hair too short, for fear of looking like skinheads, who were considered by many to be violent hooligans. The clothing of the freaks used elements of roleplay such as headbands, cloaks, frock coats, kaftans etc. which suggest either a romantic historical era or a distant place travelled to. These were combined with cheap, hardwearing clothes such as jeans and army surplus coats. The effect was to make a group of freaks look like a gathering of characters from a fantasy or science fiction novel, like time-warped refugees out of Middle-earth. All of these appearances were intentional and enjoyed by the participants of the freak scene.

Norman Conquest - UK Single 1968

Freak scene music was an eclectic mixture based around progressive rock and experimentalism. There were crossover bands bridging rock and jazz, rock and folk, rock and sci-fi (space rock). BBC radio presenter John Peel, presented a nightly show that featured music that freaks were mainly interested in. Love's 1967 album Forever Changes is a notable example of freak scene music.

The term freak appeared throughout the liner notes of the 1966 Mothers of Invention album, Freak Out!. In 1967, The Bonzo Dog Doo-Dah Band's album parodied the expression in the sleeve notes for the song "Cool Britannia", which said "Someone letta Freak-Out? What do you think Reader?" Another musical reference is in Joni Mitchell's 1971 song Carey: "A round for these freaks and these soldiers / A round for these friends of mine..." Ian Gillan of Deep Purple often referred to himself as a freak, such as in the song "Space Truckin'" (with the lyric "The Freaks said 'Man those cats could really swing'") and the song "No No No" (with the line "Looking at them all it feels good to be a freak"). Following the success of the 1978 smash hit "Le Freak" by Chic, the term enjoyed somewhat of a resurgence on the funk scene by the early 1980s, thanks to artists like Rick James, Whodini and Midnight Star. In 1981, Was (Not Was) released "Out Come the Freaks". The 1988 album Bug by Dinosaur Jr includes the song "Freak Scene".

The freak scene made inroads into the underground comix movement in the Fabulous Furry Freak Brothers by Gilbert Shelton in 1968.

Serendipity - UK Single 1968

PSYCHEDELIC ROCK:
Psychedelic rock is a style of rock music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of psychedelic drugs. It often uses new recording techniques and effects and draws on non-Western sources such as the ragas and drones of Indian music.

It was pioneered by musicians including The Beatles, The Byrds, and The Yardbirds, emerging as a genre during the mid-1960s among folk rock and blues rock bands in the United Kingdom and United States, such as Grateful Dead, Jefferson Airplane, The Jimi Hendrix Experience, Cream, The Doors and Pink Floyd. It reached a peak in between 1967 and 1969 with the Summer of Love and Woodstock Rock Festival, becoming an international musical movement and associated with a widespread counter-culture, before beginning a decline as changing attitudes, the loss of some key individuals and a back-to-basics movement, led surviving performers to move into new musical areas.

Psychedelic rock influenced the creation of psychedelic pop and psychedelic soul. It also bridged the transition from early blues- and folk music-based rock to progressive rock, glam rock, hard rock and as a result influenced the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia.

The Elastic Band - UK Single 1968

From the second half of the 1950s, Beat Generation writers like William Burroughs, Jack Kerouac and Allen Ginsberg wrote about and took drugs, including cannabis and Benzedrine, raising awareness and helping to popularise their use. In the same period Lysergic acid diethylamide, better known as LSD, or "acid" (at this point a legal drug), began to be used in the US and UK as an experimental treatment, initially promoted as a potential cure for mental illness.[19] In the early 1960s the use of LSD and other hallucinogens was advocated by proponents of the new "consciousness expansion", such as Timothy Leary, Alan Watts, Aldous Huxley and Arthur Koestler, their writings profoundly influenced the thinking of the new generation of youth. There had long been a culture of drug use among jazz and blues musicians, and, in the early 1960s, use of drugs (including cannabis, peyote, mescaline and LSD) had begun to grow among folk and rock musicians, who also began to include drug references in their songs.

Two of the most successful and influential acts of the era, Bob Dylan and the Beatles, were among the first to experiment with such references. Dylan's song "Subterranean Homesick Blues" (1965), which may have taken its title from a Kerouac novel, included the line, "Johnny's in the basement, mixing up the medicine", and his "Mr. Tambourine Man" (1965) requested "Take me on a trip upon your magic swirling ship". Whether this was intended as a drug reference was unclear, but the line would enter rock music when the song was a hit for the Byrds later in the year. Dylan indicated that he had taken cannabis, but has denied using hard drugs. 

The End - Italy Single 1968

Nevertheless, his lyrics would continue to contain apparent drug references. After being introduced to cannabis by Dylan, members of The Beatles began experimenting with LSD in 1965. The Beatles introduced audiences to many of the major elements of the psychedelic sound during this period, with guitar feedback in "I Feel Fine" (1964), "Norwegian Wood" from their 1965 Rubber Soul album using a sitar, and the employment of reversed audio tapes on their 1966 B-side "Rain". Drug references began to appear in their songs, in "Day Tripper" (1965), and more explicitly in "Tomorrow Never Knows" (1966), from their album Revolver.

By the mid-1960s, the psychedelic life-style had already developed in California. This was particularly true in San Francisco, due in part to the first major underground LSD factory, established there by Owsley Stanley. There was also an emerging music scene of folk clubs, coffee houses and independent radio stations catering to a population of students at nearby Berkeley, and to free thinkers that had gravitated to the city. From 1964, the Merry Pranksters, a loose group that developed around novelist Ken Kesey, sponsored the Acid Tests, a series of events based around the taking of LSD (supplied by Stanley), accompanied by light shows, film projection and discordant, improvised music known as the psychedelic symphony. The Pranksters helped popularize LSD use through their road trips across America in a psychedelically-decorated school bus, which involved distributing the drug and meeting with major figures of the beat movement, and through publications about their activities such as Tom Wolfe's The Electric Kool-Aid Acid Test (1968).

The New Formula - UK Single 1969

The Byrds, emerging from the Californian folk scene, and the Yardbirds from the British blues scene, have been seen as particularly influential on the development of the genre. Drug use and attempts at psychedelic music moved out of acoustic folk-based music towards rock soon after The Byrds "plugged in" to produce a chart topping version of Dylan's Mr. Tambourine Man in the summer of 1965, which became a folk rock standard. A number of Californian-based folk acts followed them into folk-rock, bringing their psychedelic influences with them, to produce the "San Francisco Sound". Particularly prominent products of the scene were The Grateful Dead (who had effectively become the house band of the Acid Tests), Country Joe and the Fish, The Great Society, Big Brother and the Holding Company, The Charlatans, Moby Grape, Quicksilver Messenger Service and Jefferson Airplane.[10] In 1966, The Byrds moved rapidly away from folk rock with their single "Eight Miles High", which made use of free jazz and Indian ragas, and the lyrics of which were widely taken to refer to drug use. The result of this directness was limited airplay, and there was a similar reaction when Dylan, who had also electrified to produce his own brand of folk rock, released "Rainy Day Women ? 12 & 35", with its repeating chorus of "Everybody must get stoned!". In Britain, the Yardbirds, with Jeff Beck as their guitarist, increasingly moved into psychedelic territory, adding up-tempo improvised "rave ups", Gregorian chant and world music (in particular Indian) influences to their songs, including "Still I'm Sad" (1965) and "Over Under Sideways Down" (1966), and singles such as "Heart Full of Soul" (1965), "Shapes of Things" (1966) and "Happenings Ten Years Time Ago" (1966). They were soon followed by bands such as Procol Harum, The Moody Blues and The Nice.

The Pudding - UK Single 1967

In the UK before 1967 media outlets for psychedelic culture were limited to stations like Radio Luxembourg and pirate radio like Radio London, particularly the programmes hosted by DJ John Peel.[54] The growth of underground culture was facilitated by the emergence of alternative weekly publications like IT (International Times) and OZ magazine which featured psychedelic and progressive music together with the counter culture lifestyle, which involved long hair, and the wearing of wild shirts from shops like Mr Fish, Granny Takes a Trip and old military uniforms from Carnaby Street (Soho) and Kings Road (Chelsea) boutiques. Soon psychedelic rock clubs like the UFO Club in Tottenham Court Road, Middle Earth Club in Covent Garden, The Roundhouse in Chalk Farm, the Country Club (Swiss Cottage) and the Art Lab (also in Covent Garden) were drawing capacity audiences with psychedelic rock and ground-breaking liquid light shows. A major figure in the development of British psychedelia was the American promoter and record producer Joe Boyd, who moved to London in 1966. He co-founded venues including the UFO Club, produced Pink Floyd's first single, "Arnold Layne", and went on to manage folk and folk rock acts including Nick Drake, the Incredible String Band and Fairport Convention.

British psychedelic rock, like its American counterpart, had roots in the folk scene. Blues, drugs, jazz and eastern influences had featured since 1964 in the work of Davy Graham and Bert Jansch. However, the largest strand was a series of bands that emerged from 1966 from the British blues scene, but influenced by folk, jazz and psychedelia, including Pink Floyd, Traffic, Soft Machine, Cream, and The Jimi Hendrix Experience (led by an American, but initially produced and managed in Britain by Chas Chandler of The Animals). 

Two And A Half - UK Single 1967

The Crazy World of Arthur Brown added surreal theatrical touches to its dark psychedelic sounds, such as the singer's flaming headdress. Existing "British Invasion" acts now joined the psychedelic revolution, including Eric Burdon (previously of The Animals), and The Small Faces and The Who whose The Who Sell Out (1967) included psychedelic influenced tracks "I Can See for Miles" and "Armenia City in the Sky". The Rolling Stones had drug references and psychedelic hints in their 1966 singles "19th Nervous Breakdown" and "Paint It, Black", the latter featuring drones and sitar.

In the later 1960s psychedelic scenes developed in a large number of countries in continental Europe, including the Netherlands with bands like The Outsiders, Denmark where it was pioneered by Steppeulvene, and Germany, where musicians began to fuse music of psychedelia and the electronic avant-garde. 1968 saw the first major German rock festival in Essen,[80] and the foundation of the Zodiak Free Arts Lab in Berlin by Hans-Joachim Roedelius, and Conrad Schnitzler, which helped bands like Tangerine Dream and Amon Düül achieve cult status.

The fledgling Australian and New Zealand rock scenes that formed in wake of Beatlemania were most influenced by British psychedelia, often with bands of first generation immigrants, who returned to further their musical careers. Among the most successful were The Easybeats, formed in Sydney but who recorded their international hit "Friday on My Mind" (1966) in London and remained there for their forays into psychedelic-tinged pop until they disbanded in 1970. A similar path was pursued by the Bee Gees, formed in Brisbane, but whose first album Bee Gees' 1st (1967), recorded in London, gave them three major hit singles and contained folk, rock and psychedelic elements, heavily influenced by the Beatles.

Yellow - UK Single 1970

The Twilights, formed in Adelaide, also made the trip to London, recording a series of minor hits, absorbing the psychedelic scene, to return home to produce covers of Beatles' songs, complete with sitar, and the concept album Once upon a Twilight (1968). The most successful New Zealand band, The La De Das, produced the psychedelic pop concept album The Happy Prince (1968), based on the Oscar Wilde children's classic, but failed to break through in Britain and the wider world. A thriving psychedelic music scene in Cambodia, influenced by psychedelic rock and soul broadcast by US forces radio in Vietnam, was pioneered by artists such as Sinn Sisamouth and Ros Sereysothea. In South Korea, Shin Jung-Hyeon, often considered the godfather of Korean rock, played very psychedelic-influenced music for the American soldiers stationed in the country. Following Shin Jung-Hyeon, the band San Ul Lim (Mountain Echo) often combined psychedelic rock with a more folk sound. In Turkey, Anatolian rock artist Erkin Koray blended classic Turkish music and Middle Eastern themes into his psychedelic-driven rock, helping to found the Turkish rock scene with artists such as Cem Karaca, Mogollar and Baris Manco.

Latin America proved a particularly fertile ground for psychedelic rock. The Brazilian psychedelic rock group Os Mutantes formed in 1966, although little known outside Brazil at the time, have since accrued a substantial international cult following.[91] In the late 1960s, a wave of Mexican rock heavily influenced by psychedelia and funk emerged, especially in several northern border Mexican states, in particular, Tijuana, Baja California. Among the most recognized bands from this "Chicano Wave" (Onda Chicana in Spanish) were Three Souls in my Mind, Love Army and El Ritual. In Chile, from 1967 to 1973, between the ending of the government of President Frei Montalva and the government of President Allende, a cultural movement was born from a few Chilean bands that emerged playing a unique fusion of folkloric music with heavy psychedelic influences. The 1967 release of Los Mac's album Kaleidoscope Men (1967) inspired bands such as Los Jaivas and Los Blops, the latter going on to collaborate with the iconic Chilean singer-songwriter Victor Jara on his 1971 album El derecho de vivir en paz. Meanwhile in the Argentinian capital Buenos Aires, a burgeoning psychedelic scene gave birth to three of the most important bands in Argentine rock: Los Gatos, Manal and Almendra.

The Poets - UK Single 1965

By the end of the 1960s, psychedelic rock was in retreat. LSD had been made illegal in the US and UK in 1966. In 1969, the murders of Sharon Tate and Leno and Rosemary LaBianca by Charles Manson and his "family" of followers, claiming to have been inspired by Beatles' songs such as "Helter Skelter", has been seen as contributing to an anti-hippie backlash. At the end of the same year, the Altamont Free Concert in California, headlined by The Rolling Stones, became notorious for the fatal stabbing of black teenager Meredith Hunter by Hells Angel security guards. Brian Wilson of the Beach Boys (whose much anticipated Smile project would not emerge until 2004), Brian Jones of the Rolling Stones, Peter Green of Fleetwood Mac and Syd Barrett of Pink Floyd were early "acid casualties", helping to shift the focus of the respective bands of which they had been leading figures. Some groups, such as the Jimi Hendrix Experience and Cream, broke up. Jimi Hendrix died in London in September 1970, shortly after recording Band of Gypsies (1970), Janis Joplin died of a heroin overdose in October 1970 and they were closely followed by Jim Morrison of the Doors, who died in Paris in July 1971. Many surviving acts moved away from psychedelia into either more back-to-basics "roots rock", traditional-based, pastoral or whimsical folk, the wider experimentation of progressive rock, or riff-based heavy rock.

In 1966, even while psychedelic rock was becoming dominant, Bob Dylan spearheaded the back-to-basics roots revival when he went to Nashville to record the album Blonde on Blonde. This, and the subsequent more clearly country-influenced albums, John Wesley Harding (1967) and Nashville Skyline (1969), have been seen as creating the genre of country folk. Dylan's lead was also followed by The Byrds, joined by Gram Parsons to record Sweetheart of the Rodeo (1968), helping to define the genre of country rock, which became a particularly popular style in the California music scene of the late 1960s, and was adopted by former folk rock artists including Hearts and Flowers, Poco and New Riders of the Purple Sage. Other acts that followed the back to basics trend in different ways were the Canadian group The Band and the Californian-based Creedence Clearwater Revival. The Grateful Dead also had major successes with the more reflective and stripped back Workingman's Dead and American Beauty in 1970. The super-group Crosby, Stills and Nash, formed in 1968 from members of The Byrds, Buffalo Springfield, and The Hollies, were joined by Neil Young for Deja Vu in 1970, which moved away from many of what had become the "clichés" of psychedelic rock and placed an emphasis on political commentary and vocal harmonies.

After the death of Brian Epstein and the unpopular surreal television film, Magical Mystery Tour, the Beatles returned to a more raw style with The Beatles (1968), Abbey Road (1969) and Let It Be (1970), before their eventual break up. The back to basics trend was also evident in The Rolling Stones' albums starting from Beggar's Banquet (1968) to Exile on Main St. (1972). Fairport Convention released Liege and Lief in 1969, turning away from American-influenced folk rock toward a sound based on traditional British music and founding the sub-genre of electric folk, to be followed by bands like Steeleye Span and Fotheringay. The psychedelic-influenced and whimsical strand of British folk continued into the 1970s with acts including Comus, Mellow Candle, Nick Drake, The Incredible String Band, Forest and Trees and with Syd Barrett's two solo albums

Many of the British musicians and bands that had embraced psychedelia went on to create progressive rock in the 1970s, including Pink Floyd, Soft Machine and members of Yes. King Crimson's album In the Court of the Crimson King (1969) has been seen as an important link between psychedelia and progressive rock. While bands such as Hawkwind maintained an explicitly psychedelic course into the 1970s, most dropped the psychedelic elements in favour of wider experimentation. The incorporation of jazz into the music of bands like Soft Machine and Can also contributed to the development of the jazz rock of bands like Colosseum. As they moved away from their psychedelic roots and placed increasing emphasis on electronic experimentation German bands like Kraftwerk, Tangerine Dream, Can and Faust developed a distinctive brand of electronic rock, known as kosmische musik, or in the British press as "Kraut rock". The adoption of electronic synthesisers, pioneered by Popol Vuh from 1970, together with the work of figures like Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent synth rock. In Japan, Osamu Kitajima's 1974 psychedelic rock album Benzaiten utilized electronic equipment such as a synthesizer and drum machine, and one of the record's contributors was Haruomi Hosono, who later started the electronic music band Yellow Magic Orchestra (as "Yellow Magic Band") in 1977.

Psychedelic rock, with its distorted guitar sound, extended solos and adventurous compositions, has been seen as an important bridge between blues-oriented rock and later heavy metal. American bands whose loud, repetitive psychedelic rock emerged as early heavy metal included Ted Nugent's Amboy Dukes and Steppenwolf. From England, two former guitarists with the Yardbirds, Jeff Beck and Jimmy Page, moved on to form key acts in the genre, The Jeff Beck Group and Led Zeppelin respectively. Other major pioneers of the genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO. Psychedelic music also contributed to the origins of glam rock, with Marc Bolan changing his psychedelic folk duo into rock band T. Rex and becoming the first glam rock star from 1970. From 1971 David Bowie moved on from his early psychedelic work to develop his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act.

Vol. 05
01. The Poets / That's The Way It's Gotta Be - 02:38
02. The Attack / Anymore Than I Do - 02:05
03. The Flies / I'm Not Your Stepping Stone - 02:41
04. The Game / Gotta Wait - 02:19
05. The Score / Please Please Me - 02:45
06. Mark Four / I'm Leaving - 03:36
07. Fire / Father's Name Is Dad - 02:35
08. Gene Latter / Mother's Little Helper - 02:43
09. The Game / Gonna Get Me Someone - 02:46
10. The Flies / House Of Love - 02:17
11. Keith Shields / Hey Gyp - 02:15
12. The Attack / Try It - 02:07
13. The Poets / I Love Her Still - 01:47
14. Dream Police / Living Is Easy - 03:37
15. The Fairytale / Run And Hide - 02:33
16. Mark Four / Hurt Me (If You Will) - 02:57

Vol. 06
01. The Fairytale / Lovely People - 03:38
02. The Kinsmen / Glasshouse Green Splinter Red - 03:18
03. The Poets / I Am So Blue - 02:45
04. Ice / Anniversary Of Love - 03:12
05. The End / Shades Of Orange - 02:38
06. Turquoise / Tales Of Flossie Fillet - 03:08
07. Pudding / The Magic Bus - 02:27
08. The Attack / Neville Thumbcatch - 03:02
09. The Accent / Red Sky At Night - 03:16
10. The Elastic Band / 8 And A Half Hours To Paradise - 03:59
11. The Attack / Created By Clive - 02:36
12. Two & A Half / Suburban Early Morning Station - 03:25
13. Life 'N' Soul / Peacefully Asleep - 03:49
14. The Poets / I'll Cry With The Moon - 02:56
15. Falling Leaves / Beggar's Parade - 02:54
16. Tinkerbells Fairydust / 20-10 - 02:44

Vol. 07
01. The Orange Seaweed / Pictures In The Sky - 03:00
02. The Glass Menagerie / You Didn't Have To Be So Nice - 02:26
03. Orange Machine / Real Life Permanent Dream - 03:17
04. Carnaby / Jump And Dance - 02:39
05. New Formula / Harekrishna - 04:14
06. The Onyx / So Sad Inside - 02:35
07. The Flying Machine / The Flying Machine - 02:38
08. The Primitives / You Said - 02:22
09. The Onyx / You Gotta Be With Me - 02:35
10. The Ivy League / My World Fell Down - 02:51
11. The Epics / Blue Turns To Grey - 02:54
12. Factotums / Cloudy - 01:55
13. Koobas / Better Make Up Your Mind - 02:30
14. Erky Grant & The Earwigs / I'm A Hog For You - 02:08
15. The Primitives / Help Me - 03:40
16. Velvett Fogg / Within The Night - 04:46

Vol. 08
01. Yellow / Living A Lie - 03:54
02. Sharon Tandy & Fleur De Lys / Hold On - 03:09
03. Eyes Of Blue / Prodigal Son - 05:26
04. Jason Crest / Here We Go 'Round The Lemon Tree - 03:00
05. Rick Price & Sheridan / Lamp Lighter Man - 02:52
06. Jigsaw / Tumblin' - 03:33
07. Skip Bifferty / On Love - 02:38
08. Methusalah / High In The Tower Of Coombe - 03:18
09. Norman Conquest / Upside Down - 02:40
10. Jason Crest / A Place In The Sun - 03:22
11. Dantalion's Chariot / The Madman Running Through The Fields - 04:08
12. Sharon Tandy & Fleur De Lys / Daughter Of The Moon - 03:48
13. Mashmakhan / Days When We Are Free - 03:05
14. Mike Stuart Span / Children Of Tomorrow - 03:14
15. Serendipity / I'm Flying - 02:24
16. Second Hand / The World Will End Yesterday - 03:47

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