1967

En pleine période 1967-68, Johnny HALLYDAY suit la nouvelle génération de rockeurs-rêveurs chevelus, jusque sur ses pochettes. On avait pu remarquer l'évolution de la typographie à partir du live à l'Olympia sorti au début de l'année, ou alors les pochettes d'EP/singles avec des chemises bariolées, l'hommage aux BEATLES déjà sous LSD pour le dernier album studio… Le lieu change, en revanche. Même s'il la fréquente depuis ses débuts, Johnny fait des infidélités à Coquatrix, et la salle neuve du Palais des Sports dans le 15ème arrondissement de Paris devient sa favorite : l'acoustique est la meilleure de la capitale, tout comme la capacité d'accueil (5000 personnes). Il en sera ainsi pendant plus de quinze ans.

Unlike almost any of their peers, Pink Floyd played to both sides of the aisle: they were rooted in the blues but their heart belonged to the future, a dichotomy that made them a quintessentially modern 20th century band. That blues influence, quickly sublimated and only surfacing on the occasional Gilmour guitar solo, was the foundation for the band's very name, as the group decided to splice the names of two old bluesmen – Pink Anderson and Floyd Council – as a tribute to the American music they loved so. These members of the early Floyd – guitarist/singer Syd Barrett, bassist Roger Waters, keyboardist Rick Wright, and drummer Nick Mason – were all architecture students at London Polytechnic, with the exception of Barrett, who was an art student and a friend of Waters since childhood. This version of the band started gigging regularly in 1965, with Barrett becoming the group's lead singer quite quickly. During this time, the group relied on blues and R&B covers, not unlike many of their British peers, but they wound up extending the time of their sets through extended instrumental jams, planting the seeds of space rock that would come to fruition not much later. During 1966, the group's increasingly adventurous sets became something of a sensation in the London underground, leading to a contract with EMI early in 1967.

The Bee Gees, Live on Air 1967 - 1968 The Brothers Gibb arrived in the UK in February 1967, virtually penniless. They promptly signed with Robert Stigwood and together with bandmates Vince Melouney and Colin Petersen - soon became the hottest new property in pop, fuelled by their own unique songs.

A singing trio of brothers — Barry Gibb, Robin Gibb, and Maurice Gibb. They were born on the Isle of Man to English parents, lived in Chorlton-cum-Hardy, Manchester, England, UK and during their childhood years moved to Brisbane, Australia, where they began their musical careers. Their worldwide success came when they returned to the UK and signed with producer Robert Stigwood.

Radio and TV broadcasts from 1967. From the vaults… .for the connoisseurs. A TRIPLE-CD of amazing Jimi Hendrix Experience live action, recorded in a.o. Holland, Belgium, Sweden, Germany and the UK for various 1967 television and radio broadcasts. All the hits and faves from the era are there, plus some mind blowin' covers of a.o. The Beatles' 'Sergeant Peppers Lonely Hearts Club Band'.

Classic Radio Broadcasts: On their formation in April 1967 Traffic experienced instant success and rapidly expanding popularity. That they accomplished so much in such a short space of time attests to the talent of the band s particular blend of creative forces, but also might explain why the first few years were so tumultuous. Although Steve Winwood was already a widely respected figure due to his time with The Spencer Davis Group, the strength of Traffic s debut single, Paper Sun, took many observers by surprise. A number 5 hit in the UK, the song signaled that Winwood had matured into one of the most significant figures in British music and, as further material appeared over the course of 67, that Traffic were a major arrival on the scene - Dave Mason s Hole In My Shoe gave the band a UK number 2 in August and November s Here We Go Round The Mulberry Bush their third successive top ten hit.

Janis Joplin As well as being one of the finest rock singers of the 1960s, Janis Joplin was also a great blues singer, making her material her own with her wailing, raspy, supercharged emotional delivery. First rising to stardom as the frontwoman for San Francisco psychedelic band Big Brother & the Holding Company, she left the group in the late '60s for a brief and uneven (though commercially successful) career as a solo artist. Although she wasn't always supplied with the best material or most sympathetic musicians, her best recordings, with both Big Brother and on her own, are some of the most exciting performances of the era.