St. Louis to Liverpool is a rock and roll album by Chuck Berry, released in 1964 on Chess Records, catalogue 1488. It peaked at #124 on the Billboard album chart.

Can在1969年带着他们制作粗糙却令人鼓舞的专辑《Monster Movie》初次登场，这也是唯一一张由来自美国本土的歌手Malcolm Mooney主唱所有歌曲的专辑。 Can's debut is the only full-length, proper release to feature original vocalist Malcolm Mooney

1967年9月25日，乐队推出第二张专辑Strange Days，借着第一张专辑的气势，这张专辑在2周后就上升Billboard榜的第4位，在以后几周内，The Doors的两张专辑都在排行榜的前10位。这张专辑中仍延续了第一张专辑的风格。充满幻想意味的Moonlight Drive以阴沉介绍式的低呤开头，节奏明快的Love Me Two Times，都是The Doors的名曲，最后一首又是长达11分钟的歌曲When the Music´s Over 。Jim Morrison幽暗地唱到，当音乐结束时，一切都已结束。不再有宏大的舞台，不再有欢呼的人群。不再有诗歌，不再有迈阿密姑娘。不再有凯鲁亚克和金斯伯格，不再有兰波和魏伯伦。不再吸毒，不再酗酒，不再乱交。因为我已进入死亡之门。通过这首歌曲就可以看出对于Jim Morrison来说摇滚代表的就是诗歌，而诗歌却与生命相连。

Forever Changes is the third album by American rock band Love, released by Elektra Records in November 1967. In 2003, Rolling Stone magazine ranked Forever Changes 40th in its list of the 500 greatest albums of all time.The album was inducted into the Grammy Hall of Fame in 2008. It was entered into the National Recording Registry in May 2012.

The Blues Project supuso un gran paso hacia el cambio en algo tan conciso como el blues.Dirigiendo el proyecto se encontraba Al Kooper un teclista ínnovador que queria reestructurar los cánones rígidos del blues y dotarle de una aureola mas experi mental. Antes de que estallase la psicodelia,los Blues Project se atrevieron con ciertos desajustes sonoros provocados y eso les valió como carta de presentación ante los atónitos oídos de la prensa,que no daban crédito ante la amenaza de destrozar supuestamente una música excitante pero estática.Ellos fueron la antesale de Blood,Sweat & Tears e hicieron comprensible esos arreglos que caminaban entre los tres baluartes de la música juvenil americana por aquellos días, el rock, el blues y el jazz, aunque este último en menor medída.Rodados en ínfínidad de conciertos,Blues Project tomaban cláslcos del blues y composiciones propias y dejaban claro que la libertad de lenguaje sonoro eran lo que perseguian.Con este segundo Lp,el único que tendría el privilegio de aunar todo el grupo semínal al completo, consi- guieron deslumbrar en "I Can't Keep From Cryín' Sometimes", “Steve’s Song” y la estratégica "Fly Away",la labor de mentes vivaces como Danny Kalb,Steve Katz y el propio Kooper eran de nivel superior.

First CD reissue of the album. Sgt. Pepper's Lonely Hearts Club Band (often referred to simply as Sgt. Pepper) is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. Critics lauded the album for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. «Before Sgt. Pepper, no one seriously thought of rock music as actual art. That all changed in 1967, though, when John, Paul, George and Ringo (with "A Little Help" from their friend, producer George Martin) created an undeniable work of art which remains, after 30-plus years, one of the most influential albums of all time. From Lennon's evocative word/sound pictures (the trippy "Lucy in the Sky With Diamonds," the carnival-like "Being for the Benefit of Mr. Kite") and McCartney's music hall-styled "When I'm 64," to Harrison's Eastern-leaning "Within You Without You," and the avant-garde mini-suite, "A Day in the Life," Sgt. Pepper was a milestone for both '60s music and popular culture. --Billy Altman» Credits: Phonographic Copyright ℗ – EMI Records Ltd. Copyright © – EMI Records Ltd. Artwork [Cover Staged By] – Jann Haworth, Peter Blake (4) Artwork [Cover] – M C Productions, The Apple Artwork [Wax Figures] – Madame Tussauds Design – Paul Wilkinson (3) Design Concept [Cd Packaging Design Idea] – Kathryn Varley Engineer [Recording] – Geoff Emerick Engineer [Second] – Richard Lush (tracks: 1 to 8, 10 to 13) Liner Notes – Peter Blake (4) Liner Notes [Quote] – George Martin Liner Notes [Words] – Mark Lewisohn Photography By [Cover] – Michael Cooper (8) Producer – George Martin Written-By – Lennon/McCartney* (tracks: 1 to 7, 9 to 13) ℗ 1967 Original Sound Recordings made by EMI Records Ltd. © 1967 EMI Records Ltd. © 1987 EMI Records Ltd. Made in the U.K. (on back cover). Made in Italy (on CD). Comes in a jewel case enclosed in a cardboard box with a 28 page booklet including Sgt. Pepper's cut-outs. Track 1 recording started in studio 2 at Abbey Road on February 1, 1967. Album version mixed from take 10. Track 2 recording started in studio 2 at Abbey Road on March 29, 1967. Album version mixed from take 11. Track 3 recording started in studio 2 at Abbey Road on March 1, 1967. Album version mixed from take 8. Track 4 recording started in studio 2 at abbey Road on March 9, 1967. Album version mixed from take 15. Track 5 recording started at Regent Sound Studio, Tottemham Court Road, London on February 21, 1967 and later completed at Abbey Road. Album version mixed from take 3. Track 6 recording started in studio 2 at Abbey Road on March 17, 1967. Album version mixed from take 9. Track 7 recording started in studio 2 at Abbey Road on February 17, 1967. Album version mixed from take 9. Track 8 recording started in studio 2 at Abbey Road on March 22, 1967. Album version mixed from take 2. Track 9 recording started in studio 2 at Abbey Road on December 6, 1966. Album version mixed from take 4. Track 10 recording started in studio 2 at Abbey road on February 23, 1967. Album version mixed from take 11. Track 11 recording started in studio 2 at Abbey Road on February 8, 1967. Album version mixed from take 11. Track 12 recording started in studio 1 at Abbey Road on April 1, 1967. Album version mixed from take 9. Track 13 recording started in studio 2 at Abbey Road on January 19, 1967. Album version mixed from takes 6 & 7. Black and white photograph courtesy of the Michael Cooper Collection. The rear of the booklet states all tracks except 8 are by Lennon/McCartney, but the liner notes are more specific.

这是The Sonics不是Sonic Youth（音速青年）。但是个人以为The Sonics的成就和名气绝对不 应该比Sonic Youth低。相信很多人一定听过那首“Ha ha ha ha,Yeahh-ah-oh,Cubba cubba cubba ”打头的《Don't you just know it》。很奇怪The Sonics居然没有任何中文资料。俺自己来山寨一 个介绍。 The Sonics是来自于美国华盛顿的经典车库摇滚乐队，活跃于1960年至1968年。他们的声音比 同时代的其他乐队明显更粗放、更不加修饰。某种意义上来说The Sonics可以被认为是史上第 一支朋克摇滚乐团，虽然朋克运动早在1970年就开始了。尽管他们具备一支当时的标准乐器配 备，但是The Sonics不甘于平庸，创造了他们独特狂野的声音，在歌曲中他们总是重新编排歌 词、尖叫咆哮、用扩音器把电吉他的声音搞到非常粗糙。可以说他们的成功得益于当时Gibson 的第一台电吉他模糊音装置（Fuzz box）的出世，但The Sonics的独特嗓音却是他们自己最伟 大的创造。（原文 ）

This 14-track CD reissue By Sundazed brings together the original Capitol tracks from that album along with two live bonus tracks 'This Ol' Heart' and 'Act Naturally.' 1995.

The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in 1963. The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements

Bob Dyla的影响力主要体现在60年代，如果没有迪伦，无疑摇滚乐将走一段弯路，将不会有“披头士”（BGEATLES，THE）的《佩珀军士》（Sgt.Pepper），不会有“滚石”的《乞丐的宴会》（Beggar’s Banquet），也不会有“乐队”的《来自大平克的音乐》（Music form Big Pink），这就是他的影响程度。他对音乐的最主要的贡献，这点也影响了列农和麦卡特尼之后的很多歌手，那就是歌词的深刻寓意与音乐成为同等重要的一部分，从他一开始的抗议歌曲，就展示了他的歌词比他的音乐更浪漫、更激动人心。他对工业国家整个一代人的敏感性的形成起了很大的作用，他的音乐对理解和分析60年代是至关重要的。

One of two classic records (the other being Waltz for Debby) culled from perfectionist pianist Bill Evans' stand at the Village Vanguard in 1961. The album cover features the by-line "featuring Scott LaFaro", the bass player whose accidental death soon after highlighted his immense contributions to jazz. Absolutely timeless.

Genre: Oldies Sub Genre: Rock 'N' Roll Release Date: 02/05/2005 Original Release Year: 1961 Label / Distributor: Collector's Choice / RSK/Arvato Services Studio / Live: Studio Stereo: Stereo Format: Performer --

Miriam Makeba is a self-titled, debut album by Miriam Makeba. It was released in 1960 on the RCA Victor label.

Elvis Is Back! is the tenth album by Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 2231, in April 1960. Recording sessions took place on March 20 and April 3, 1960, at RCA Studio B in Nashville, Tennessee. It was Presley's first album to be released in true stereo. It peaked at number two on the Top Pop Albums chart and is listed, along with his debut and From Elvis in Memphis, in the book 1001 Albums You Must Hear Before You Die. It was certified Gold on July 15, 1999, by the RIAA