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Thread: The 60's and 70's, what you liked and disliked

  1. #26
    That's Mr. to you, Sir!! Trane's Avatar
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    Quote Originally Posted by Enid View Post
    I hope to hear from you. I've been following your posts for the purpose of getting educated and I must say that I am very impressed with your offerings . I would love to meet the majority of people on P.E. in person at a Prog gathering and listen to their stories , their personal history on Prog. Although I am more likely to be brave when typing on a keyboard than conversing in public, I am overwhelmed by the information rendered by everyone on here. Sometimes in public I feel like a beach ball sweating inside a furnace
    Enough of that!! Your check is in the mail, so stop pestering me
    my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.

  2. #27
    Quote Originally Posted by Trane View Post
    Enough of that!! Your check is in the mail, so stop pestering me

    I know....I know....but I get very depressed not having one single person to hang out with occasionally and share a common interest in music with. I live in a area where most people haven't a clue about these bands. RIO or Symphonic whatever?? It becomes so private that it's ignorant. Just sitting and witnessing another human talk about Rational Diet or Univers Zero would be a hell of a revelation for me. I sit on a beach chair in the backyard listening to Julverne, Art Zoyd, and Far Corner alone, year after year and never having the opportunity to converse with anyone. I'm not ashamed to admit that I am depressed about that. "Rune Blackwings" is a very cool person to talk to and she lives not far from me....but she is very busy . I assume many people join this site for that reason.......but one time I had the opportunity to attend a Prog concert at The War Memorial in Trenton N.J. to see Nektar and Mostly Autumn. I was simply standing off to the side and listening to people's conversation about Jade Warrior, Art Bears, Guru, Guru and I felt like I was transported to another world literally and I have definitely been deprived of that the whole of my life. So I value being in the presence of others who enjoy this music. I live in an area where that environment is completely non existent for the most part. I value other people's opinions

  3. #28
    Member Sputnik's Avatar
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    I was born in 1963. In some sense, I missed most of the 60s stuff, though growing up in a small town with a big state university, plus several other colleges, I was certainly exposed to 60s culture and have Kodachrome-like memories of that time in my head. I remember my dad hating all that, although he was politically very liberal. In retrospect, I can sort of see his point. The long hair, the loud music. Just a completely different ethos, even though he agreed with much of their political agenda – civil rights, opposition to Vietnam, etc. But he didn’t like the approach, and in many ways it does now seem naïve and sensationalistic.

    Likewise drug culture. For all its “mind expanding” characteristics, I’m not sure drugs overall have had a very positive impact on society – though certain drugs probably account of most of the problem while others are more, though not totally, benign. As much as I love the music, this is one aspect of the scene I’ve never reconciled. By the late 70s when I was in junior high and high school, it wasn’t pot and LSD anymore, it was moving toward coke. I saw a lot of kids have problems, and I completely avoided it (still never taken any “recreational” drug other than alcohol to this day).

    In the early 1970s I got into The Beatles, oddly encouraged by my dad buying me a really nice Beatles anthology, which I played until the grooves wore out. When we visited England for a month in 1972, I was Beatles crazy. Funny that I was there when Prog was at its peak, and all I cared about was Beatles stuff.

    The 70s, when I really grew up, was a weird time. It was like there were two cultures, the “hang-ons” from the 1950s and the “heads.” I was somewhere in the middle, though really there was no “middle.” When I was with certain people, I have to be a certain way, and I had to try and be cool around the heads, which I wasn’t and knew it. Maybe that’s what got me into music in 78/79. I saw a dude playing a bass in my photography class and said, “that’s for me!” Credit again to my dad for getting me a bass and amp. Having these let me be a part of the “cool” group, but I was still something of an outsider; and was OK with that.

    It was around this time that we visited my cousins in Atlanta, and I witnessed their crazy situation with too many drugs and a truly out-of-control environment. It’s like “rebellion” had become obligatory, but what were these kids really rebelling against? I think they were just doing it to fit in to that “cool” ethos. In some ways I don’t blame them, but they really dug themselves a hole that one cousin will never get herself out of, and another barely. Some of their friends died.

    So my memories of the 60s and 70s are kind of ambiguous. At one level, I appreciate the artistic, cultural and intellectual achievements of the Counterculture. Some things needed to change, and they wiped away a lot of useless cultural accretion and opened new ways of thinking. But there was a cost, the process was messy, and in a sense we’re still living with a lot of the unintended consequences of that period, even while benefiting from the good aspects.

    I guess that’s the way it always is. Since you can’t really pick what generation you’re born into, I have no real regrets living through that time (though I wish I’d caught a couple more cool bands). But I’m not sure I’d want to go through a period like that again.

    Bill

  4. #29
    Quote Originally Posted by Sputnik View Post
    I was born in 1963. In some sense, I missed most of the 60s stuff, though growing up in a small town with a big state university, plus several other colleges, I was certainly exposed to 60s culture and have Kodachrome-like memories of that time in my head. I remember my dad hating all that, although he was politically very liberal. In retrospect, I can sort of see his point. The long hair, the loud music. Just a completely different ethos, even though he agreed with much of their political agenda – civil rights, opposition to Vietnam, etc. But he didn’t like the approach, and in many ways it does now seem naïve and sensationalistic.

    Likewise drug culture. For all its “mind expanding” characteristics, I’m not sure drugs overall have had a very positive impact on society – though certain drugs probably account of most of the problem while others are more, though not totally, benign. As much as I love the music, this is one aspect of the scene I’ve never reconciled. By the late 70s when I was in junior high and high school, it wasn’t pot and LSD anymore, it was moving toward coke. I saw a lot of kids have problems, and I completely avoided it (still never taken any “recreational” drug other than alcohol to this day).

    In the early 1970s I got into The Beatles, oddly encouraged by my dad buying me a really nice Beatles anthology, which I played until the grooves wore out. When we visited England for a month in 1972, I was Beatles crazy. Funny that I was there when Prog was at its peak, and all I cared about was Beatles stuff.

    The 70s, when I really grew up, was a weird time. It was like there were two cultures, the “hang-ons” from the 1950s and the “heads.” I was somewhere in the middle, though really there was no “middle.” When I was with certain people, I have to be a certain way, and I had to try and be cool around the heads, which I wasn’t and knew it. Maybe that’s what got me into music in 78/79. I saw a dude playing a bass in my photography class and said, “that’s for me!” Credit again to my dad for getting me a bass and amp. Having these let me be a part of the “cool” group, but I was still something of an outsider; and was OK with that.

    It was around this time that we visited my cousins in Atlanta, and I witnessed their crazy situation with too many drugs and a truly out-of-control environment. It’s like “rebellion” had become obligatory, but what were these kids really rebelling against? I think they were just doing it to fit in to that “cool” ethos. In some ways I don’t blame them, but they really dug themselves a hole that one cousin will never get herself out of, and another barely. Some of their friends died.

    So my memories of the 60s and 70s are kind of ambiguous. At one level, I appreciate the artistic, cultural and intellectual achievements of the Counterculture. Some things needed to change, and they wiped away a lot of useless cultural accretion and opened new ways of thinking. But there was a cost, the process was messy, and in a sense we’re still living with a lot of the unintended consequences of that period, even while benefiting from the good aspects.

    I guess that’s the way it always is. Since you can’t really pick what generation you’re born into, I have no real regrets living through that time (though I wish I’d caught a couple more cool bands). But I’m not sure I’d want to go through a period like that again.

    Bill
    Just absolutely fascinating! Thank you for your story.

  5. #30
    Quote Originally Posted by Enid View Post
    I know....I know....but I get very depressed not having one single person to hang out with occasionally and share a common interest in music with. I live in a area where most people haven't a clue about these bands. RIO or Symphonic whatever?? It becomes so private that it's ignorant. Just sitting and witnessing another human talk about Rational Diet or Univers Zero would be a hell of a revelation for me. I sit on a beach chair in the backyard listening to Julverne, Art Zoyd, and Far Corner alone, year after year and never having the opportunity to converse with anyone. I'm not ashamed to admit that I am depressed about that. "Rune Blackwings" is a very cool person to talk to and she lives not far from me....but she is very busy . I assume many people join this site for that reason.......but one time I had the opportunity to attend a Prog concert at The War Memorial in Trenton N.J. to see Nektar and Mostly Autumn. I was simply standing off to the side and listening to people's conversation about Jade Warrior, Art Bears, Guru, Guru and I felt like I was transported to another world literally and I have definitely been deprived of that the whole of my life. So I value being in the presence of others who enjoy this music. I live in an area where that environment is completely non existent for the most part. I value other people's opinions
    For me it is better to be proactive than sit around dismally contemplating such things as "what the hell happened?"
    Last year I started a classic vinyl night at a local cafe' which quickly became a big hit. I went 59 weeks in a row playing four classic vinyl records on a quality sound system with people coming down every Thursday night from 7 to 10 pm. People hanging out, eating, drinking tea or coffee, and many deep discussions about all the great music from the proper vinyl era.
    I say proper because this was the era of direct transfers from tape machines and before computers got involved. In my opinion computers have been absolutely dreadful to music and the industry that surrounds it. I don't care about the convenient aspect, it's been a travesty in my opinion... but that is another topic.

    Second, I put together a jazz fusion band and we secured a weekly residency last year, and we play all improvised music off of a basic skeleton laid down by me the drummer or the bassist. Pick a meter, often odd meter and work from there. It's amazing how many people would come out to see us and that the venue was actually pay us to do it!

    From this I secured the booking agent position for a local venue and it's quite a good thing. I probably have more influence on the local music scene that anyone around here. I just don't book crap bands and do my best to keep laptops etc off the stage. I support art bands or interesting bands of all genres. The feel appreciated and I make sure the bands are treated with respect and feel good when they leave. I encourage them to branch out and be more adventurous or experimental in their live playing if or when they ask my opinion. All these little things make a difference.

    I grew up in the 70's being born in 64. Fortunately I had an older sister (10 years older) who was always bringing home interesting music that I didn't hear on the radio. Mom would often send me out on her high school dates etc to make sure "nothing happened". One memory that really embedded on my brain was a drive to Malibu beach on a winding road through the mountains and the radio DJ announced a new song from Steely Dan "Rickie Don't Lose that Number". It had a sound and feel to it that was unlike anything I had heard. I also remember sneaking into my sister's bedroom and putting on her headphones and dropping the needle on "Lucy in the Sky with Diamonds". It was just so fantastical. Another day I listened to side one of Led Zeppelin ll. That was astounding. It was all so different than what my parents were listening to... mostly big band stuff and show tunes mixed with the occasional classical record. Dad did have a killer sound system in the house with huge speakers, tube amps, customized JBL's, Fisher all that great stuff. I think sound was a lot better then than anything we have now in the digital age. It's affecting music not in a positive way in my opinion.

    I didn't really get into progressive rock until I started messing around with drums in college. This was 81 and prog was already gone. I'm still waiting for it to come back. I don't like metal infused prog, and don't care for electronica programming fused with prog. I didn't like what the prog bands were doing in the 80's, I knew then it wasn't good, and in hindsight it's still not as good. The 80's was just an awful decade for music, the 90's was worse, and the 2000's even worse. Now in the 2010's it's just too far away from the 70's and younger folk just have no idea what happened or what it felt like. I don't think it's a matter of nostalgia like 50's music. There was a creative element in the air, a lot of fantastic musicians playing in the rock and jazz genres, but with both creativity and tastefulness. The lack of technological crutches were a blessing in disguise.

  6. #31
    Quote Originally Posted by Tributary Records View Post
    For me it is better to be proactive than sit around dismally contemplating such things as "what the hell happened?"
    Last year I started a classic vinyl night at a local cafe' which quickly became a big hit. I went 59 weeks in a row playing four classic vinyl records on a quality sound system with people coming down every Thursday night from 7 to 10 pm. People hanging out, eating, drinking tea or coffee, and many deep discussions about all the great music from the proper vinyl era.
    I say proper because this was the era of direct transfers from tape machines and before computers got involved. In my opinion computers have been absolutely dreadful to music and the industry that surrounds it. I don't care about the convenient aspect, it's been a travesty in my opinion... but that is another topic.

    Second, I put together a jazz fusion band and we secured a weekly residency last year, and we play all improvised music off of a basic skeleton laid down by me the drummer or the bassist. Pick a meter, often odd meter and work from there. It's amazing how many people would come out to see us and that the venue was actually pay us to do it!

    From this I secured the booking agent position for a local venue and it's quite a good thing. I probably have more influence on the local music scene that anyone around here. I just don't book crap bands and do my best to keep laptops etc off the stage. I support art bands or interesting bands of all genres. The feel appreciated and I make sure the bands are treated with respect and feel good when they leave. I encourage them to branch out and be more adventurous or experimental in their live playing if or when they ask my opinion. All these little things make a difference.

    I grew up in the 70's being born in 64. Fortunately I had an older sister (10 years older) who was always bringing home interesting music that I didn't hear on the radio. Mom would often send me out on her high school dates etc to make sure "nothing happened". One memory that really embedded on my brain was a drive to Malibu beach on a winding road through the mountains and the radio DJ announced a new song from Steely Dan "Rickie Don't Lose that Number". It had a sound and feel to it that was unlike anything I had heard. I also remember sneaking into my sister's bedroom and putting on her headphones and dropping the needle on "Lucy in the Sky with Diamonds". It was just so fantastical. Another day I listened to side one of Led Zeppelin ll. That was astounding. It was all so different than what my parents were listening to... mostly big band stuff and show tunes mixed with the occasional classical record. Dad did have a killer sound system in the house with huge speakers, tube amps, customized JBL's, Fisher all that great stuff. I think sound was a lot better then than anything we have now in the digital age. It's affecting music not in a positive way in my opinion.

    I didn't really get into progressive rock until I started messing around with drums in college. This was 81 and prog was already gone. I'm still waiting for it to come back. I don't like metal infused prog, and don't care for electronica programming fused with prog. I didn't like what the prog bands were doing in the 80's, I knew then it wasn't good, and in hindsight it's still not as good. The 80's was just an awful decade for music, the 90's was worse, and the 2000's even worse. Now in the 2010's it's just too far away from the 70's and younger folk just have no idea what happened or what it felt like. I don't think it's a matter of nostalgia like 50's music. There was a creative element in the air, a lot of fantastic musicians playing in the rock and jazz genres, but with both creativity and tastefulness. The lack of technological crutches were a blessing in disguise.
    I must agree with all points rendered by you and gracefully appreciate hearing/reading them. In retrospect of music development I strongly believe that the flesh of the hands and fingers on strings and keys is more closely connected to the human mind and heart producing real art on an instrument. Where the push of a button or a sample has been programmed to take on the role of a substitution of sorts that has unfortunately increased in demand over time.


    In recent years of being booked 6 months in advance and truly plunging into a commitment of hard work, I have observed the consistent reaction of people around me who are confused over the fact that I can play an instrument. They don't desire to work long hours to master one...but instead have interests in pushing a button or sequencing the bulk of the performance for the night. My initial response was fear and concern that society may be honoring technology for a solution to hear honest work. When it comes down to mastering an instrument....being lazy and taking the easy way out is a means to squandering your talent , your real life developmental stages, and much less acceptable to mastering an instrument.

  7. #32
    Pendulumswingingdoomsday Rune Blackwings's Avatar
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    the 60's: sat most of it out....arrived on the scene late...sucked cuz I had to wear diapers...
    "Alienated-so alien I go!"

  8. #33
    Disliked:

    I was just a small child in the '70s but I always wondered what the hell those jello casseroles at family gatherings were all about. It was such a fake-out. Kids love jello, so you can imagine the disappointment when you learn that the jello is being used to encase cottage cheese, tuna fish, or some other god-awful pairing. By the early '80s this disgusting food idea had largely disappeared.

  9. #34
    Pendulumswingingdoomsday Rune Blackwings's Avatar
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    Quote Originally Posted by Enid View Post
    I know....I know....but I get very depressed not having one single person to hang out with occasionally and share a common interest in music with. I live in a area where most people haven't a clue about these bands. RIO or Symphonic whatever?? It becomes so private that it's ignorant. Just sitting and witnessing another human talk about Rational Diet or Univers Zero would be a hell of a revelation for me. I sit on a beach chair in the backyard listening to Julverne, Art Zoyd, and Far Corner alone, year after year and never having the opportunity to converse with anyone. I'm not ashamed to admit that I am depressed about that. "Rune Blackwings" is a very cool person to talk to and she lives not far from me....but she is very busy . I assume many people join this site for that reason.......but one time I had the opportunity to attend a Prog concert at The War Memorial in Trenton N.J. to see Nektar and Mostly Autumn. I was simply standing off to the side and listening to people's conversation about Jade Warrior, Art Bears, Guru, Guru and I felt like I was transported to another world literally and I have definitely been deprived of that the whole of my life. So I value being in the presence of others who enjoy this music. I live in an area where that environment is completely non existent for the most part. I value other people's opinions
    Thanks! Maybe we could hook up some time and talk music
    "Alienated-so alien I go!"

  10. #35
    Quote Originally Posted by Rune Blackwings View Post
    Thanks! Maybe we could hook up some time and talk music
    Wow....that would be great!

  11. #36
    Member rcarlberg's Avatar
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    Back in the early seventies -- '73 to '77 or so -- there was a small underground devoted to innovative progressive rock (Krautrock, French, Japanese, Eastern European, American, etc.) A big part of it was Eurock Magazine of course but also Music Millennium in Portland, Exotique Imports in Seattle, Moby Disc and Amoeba Music in L.A. and others (Wayside started in 1980). Distributors Greenworld and Intergalactic Trading Company sprang out of Millennium in the latter part of the decade. Now and then "our music" was mentioned in NME New Musical Express or Trouser Press or Melody Maker, which always sent us in a frenzy to find the new discoveries. Later on publications like Thom Holmes "Recordings of Experimental Music" and John Foster's OP Magazine and SYNEX and Syne and Synapse and Polyphony tried to cover the emerging field too. In those pre-Internet days it was much harder to hear about and locate our music, but the effort kept us nimble and every discovery led to a dozen more.
    Last edited by rcarlberg; 08-31-2016 at 07:03 PM.

  12. #37
    cunning linguist 3LockBox's Avatar
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    I was born late in '64 so I didn't really experience the '60s the way others did, but then again the '60s happened mostly in the '70s anyway.

    Both decades had its share of great music, OK music, and manufactured schlock. TV sitcoms we're pretty much a waste land in both decades though each decade did have one or two great ones. The '60s were great for TV if you like westerns. Remember when the networks had a made for TV movie of the week? There were some great ones. Speaking of the occult, didn't every TV drama and cop show in the '70s seem to always include a storyline about devil worshippers?

    Movies were better for both decades. Remember when movies did not have to end on a happy note with no loose ends? Remember when a movie ending was allowed to leave the audience wondering or angry or shocked or sad?

  13. #38
    cunning linguist 3LockBox's Avatar
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    One thing I really disliked about the 1970s growing up in the south was how integrated the radio stations were mixing country hits with the pop and rock hits. Very little if any progressive rock or art rock was played on Southern radio stations. What little I ever did hear concerning progressive rock art rock I heard while visiting family in Michigan. Much of the Progressive and art-rock that many of you are so nostalgic about I didn't hear until my thirties

  14. #39
    Oh No! Bass Solo! klothos's Avatar
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    Quote Originally Posted by 3LockBox View Post
    One thing I really disliked about the 1970s growing up in the south was how integrated the radio stations were mixing country hits with the pop and rock hits. Very little if any progressive rock or art rock was played on Southern radio stations. What little I ever did hear concerning progressive rock art rock I heard while visiting family in Michigan. Much of the Progressive and art-rock that many of you are so nostalgic about I didn't hear until my thirties
    hmmmm....i was only a lil brat in the 70s but I grew up in the South also and I was very appreciative of the five TV stations and three radio stations I got ....some kids only got three TV stations

  15. #40
    Quote Originally Posted by rcarlberg View Post
    Back in the early seventies -- '73 to '77 or so -- there was a small underground devoted to innovative progressive rock (Krautrock, French, Japanese, Eastern European, American, etc.) A big part of it was Eurock Magazine of course but also Music Millennium in Portland, Exotique Imports in Seattle, Moby Disc and Amoeba Music in L.A. and others (Wayside started in 1980). Distributors Greenworld and Intergalactic Trading Company sprang out of Millennium in the latter part of the decade. Now and then "our music" was mentioned in NME New Musical Express or Trouser Press or Melody Maker, which always sent us in a frenzy to find the new discoveries. Later on publications like Thom Holmes "Recordings of Experimental Music" and John Foster's OP Magazine and SYNEX and Syne and Synapse and Polyphony tried to cover the emerging field too. In those pre-Internet days it was much harder to hear about and locate our music, but the effort kept us nimble and every discovery led to a dozen more.
    Archie Patterson was a great pioneer/promoter of Progressive Rock and Electronic Music for decades. He was a vital person for the times. He went the distance with his articles and interviews. He was also a real character with a great sense of sarcastic humour. I attribute most of my awareness of Prog and Electronic to him and he did bust his ass to make the music circulate in the U.S. during a time when it was most difficult to discover it. He reminded me of a Brian Epstein type because of his strong belief in something that deserved to reach the public. I don't know what's become of him in recent years, but I have wondered if he realizes just how important he was to people in general. He deserves a lot of credit for working so hard all those decades .

  16. #41
    Sometime in the early 80's a friend stopped over my house to show me the Wayside Music catalog. I remember he said..."Now we can order Univers Zero albums through Wayside !" Once we sat and browsed through that catalog we were literally like little kids in a candy store. We had been checking out college radio and after hour programs on WXPN....out of Philadelphia and when we visited shops that sold imports of underground Prog, there was always the possibilty of not finding the titles we wanted. But with Wayside Music our prayers had definitely been answered.


    David Bedford's albums were difficult to find back then and sometimes Wayside would stock a certain amount which was very overwhelming to us at a time when tracking down these releases was just too involved . We were traveling musicians and so I'd place a huge order that would arrive to my house and not physically see it until I had a break from the road. The details/descriptions of artists in the Wayside catalog were a fantastic educational introduction to the music and we were literally overwhelmed by that. Everything that went into the Wayside business was exciting to people who loved the music. I really appreciated the fact that Wayside Music existed. Some people have a different perspective and attribute it's mark on JUST being a business and additionally thought we were taking it too seriously...but no....Wayside was a foundation for us. It created a entire different reality for us.

  17. #42
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    Quote Originally Posted by Enid View Post
    . I would love to meet the majority of people on P.E. in person at a Prog gathering and listen to their stories , their personal history on Prog. Although I am more likely to be brave when typing on a keyboard than conversing in public, I am overwhelmed by the information rendered by everyone on here. Sometimes in public I feel like a beach ball sweating inside a furnace
    Do you ever go to any of the festivals? By far the best place to meet people on this board. The majority of the people here I have met in person have either been at NEARfest, ProgDay or ROSfest. In fact I am heading to ProgDay this afternoon.

  18. #43
    In America during the early 70's information about underground imported albums of Prog seemed to be passed on through people you'd meet at a concert or in school. One character in school had the King Crimson Earthbound album and I just flipped! I asked him how on earth did he obtain it and he gave me an address of Brian Gatland in England.. It took about a month and a half to receive it and I was totally disappointment in the albums production and couldn't understand why it had been released...as I was a stickler for the production methods of Ken Scott and Alan Parsons. Nevertheless I continued to order from Brian Gatland .


    "Goldmine" magazine was a source for locating imports in the early 70's. It was unlikely you'd find something as strange as Captain Lockheed and the Starfighters by Robert Calvert on the east coast and more likely that someone had gotten there before you and picked up the remaining sole copy of it prior to your arrival. Internet solved that mess of a reality and we never had to deal with those measures of disappointment again. Finding an album like "Guru, Guru Mani and some Friends" on the Atlantic Records import label was like literally searching for something non-existent in the majority of cases. The same applied to finding "Soon Over Babaluma by Can.


    When I collected every one of the Brian Eno Obscure label series, I took an endless journey from shop to shop, state to state while traveling the road in the music business. It was utterly ridiculous....but I was determined to have everything I desired even if it meant not sleeping. I was a total fanatic and completely out of control. I remember Jem Records on Kennedy Blvd in North or South Plainfield N.J. where many owners of independent shops visited there on Sundays to purchase items at retail price. A entire scene from a completely different lifetime. Greenslade, Gong, Hatfield and the North, Adrian Wagner, Klaus Schulze ........it was all there! It was a revelation for collectors.

  19. #44
    Quote Originally Posted by SteveSly View Post
    Do you ever go to any of the festivals? By far the best place to meet people on this board. The majority of the people here I have met in person have either been at NEARfest, ProgDay or ROSfest. In fact I am heading to ProgDay this afternoon.
    Thank you for that tip and I most certainly will

  20. #45
    Quote Originally Posted by Rune Blackwings View Post
    the 60's: sat most of it out....arrived on the scene late...sucked cuz I had to wear diapers...
    But your mind has always been open to it regarding your personal interest in bands like Eloy and Hawkwind.....that alone has opened up more perspective on the history of Syd Barrett's experimentation to create Space Rock . I always got the impression that you were very informative on the development of Rock music in many areas. You are a fine conversationalist when it comes to music in general. I know I have learned a lot from you over decades. I appreciate your knowledge.

  21. #46
    Quote Originally Posted by Enid View Post
    I don't know what's become of him in recent years, but I have wondered if he realizes just how important he was to people in general. He deserves a lot of credit for working so hard all those decades .
    He was a pioneer for collecting and unifying all this load of info and spreading it out on the world. Eurock had been a bible for most of us in the years of limited information. Last thing I know is that some 5 years ago he sold a big part of his record collection through an intermediary eBay seller; I managed to get hold of around 20 albums at this specific sale.
    Macht das ohr auf!

    COSMIC EYE RECORDS

  22. #47
    Member rcarlberg's Avatar
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    Quote Originally Posted by Enid View Post
    I don't know what's become of him in recent years, but I have wondered if he realizes just how important he was to people in general. He deserves a lot of credit for working so hard all those decades .
    He's still plugging along.
    Www.eurock.com
    I went down to see him about a month ago -- he hasn't changed a bit!

  23. #48
    Quote Originally Posted by rcarlberg View Post
    He's still plugging along.
    Www.eurock.com
    I went down to see him about a month ago -- he hasn't changed a bit!

    Thanks for posting this! Archie is a great, great writer too!

  24. #49
    There was a great music scene in Vineland N.J. during the 60's and 70's. The guitarists from Vineland and Millville N.J. were outstanding for their age and they were becoming diverse in different styles quickly. I discovered them at age 13 and I used to sneak out of my parents house and walk to Landis Ave where music was in the air. There was a building called "Stage One" and this fantastic guitarist named Steve Laury played there in the evenings. He seemed to be ahead of all the other guitarists in the area. The others were brilliant players particularly Steve Girardi and Rob Champion. By age 15 Steve Laury was my mentor and whenever he would turn up at my rehearsals ....I would hand him the guitar. He went on to become an internationally known Jazz artist. He was influenced by Wes Montgomery and he has a vid on Y.T. titled "Shut Up And Listen".....



    On Landis Ave....hippies would stand on street corners in groups. I remember being heavily into Mike Bloomfield and everyone I approached seemed to know everything about him. They knew he had played with The Paul Butterfield Blues Band ....They knew about Super Session. He was very popular amongst the hippie culture . I believe between '71 and '72 the guy who had been the original drummer for The Four Seasons...(yuk), had a very large venue on Delsea Drive in Vineland called "A Place In The Sun". The James Gang played there and several internationally known 60's and 70's bands until he simply closed one day and vanished himself.


    Steve Laury had an older brother Bob and ....Bob was good friends with Todd Rundgren during the period of his life when he played in "Woody's Truckstop" Bob and Todd used to cruise Landis Ave and sometimes they would both hang together in Philadelphia. At the Vineland High School were these great concerts with bands like "White Rabbit" and the music was forever expanding. Even though my exposure to this 60's music scene was a gift...I was too young to be accepted.


    By the time I hit the road it was all about Robin Trower.....Thin Lizzy...and Deep Purple...which I liked their music..but because of being spoiled by the 60's environment I felt cheated . I wanted to hear Peter Green again and people were more interested in "Stadium Rock" by then. And Glam Rock as well. All the drugs people were doing forced me into a very private life. I wanted to visit Tibet .
    Last edited by Enid; 09-01-2016 at 08:33 PM.

  25. #50
    Liked - Jonny Quest and Gumby

    Didn't Like - Falling asleep watching horror movies on Saturday night

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