Where Do We Go From Here? (1969)

The Hill band was established in 1969 by former members of The Thunderbirds shortly afterwards as Chris Farlowe disbanded his backing band (and moved no the U.S.). Initially, this LP was entirely composed and completed by the Hill (which included guitarist Steve Hammond from Fat Mattress, organist Peter Robinson from Quatermass and cellist Paul Buckmaster), but at the last minute Chris Farlowe has returned to the fold and his vocals were added to the instrumental background. As a result they created a great, soft-progressive album, sometimes reminiscent of works of Procol Harum, the earliest Elton John, but also The Crazy World Of Arthur Brown! Unfortunately, when the album was released (in September 1970) Chris Farlowe was already in Colosseum and the story was over.

American pop/jazz-rock group. One of the biggest-selling bands in U.S. history, hailing from the Windy City (Chicago, Illinois). Formed in 1967 as "The Big Thing", they were one of the first groups to successfully fuse rock with a horn section…

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits – the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" – both of which remained at the center of the group's live sets.

Lee Kerslake was the drummer for Uriah Heep from 1972 to 1979. Prior to that, he'd played with a band called Gods, releasing three albums with them. He also found the time, while still in Heep, to play on David Byron's and Ken Hensley's solo albums, among other efforts. In fact, in 1976, he recorded a final album with Gods. He eventually rejoined Heep, but not before recording with both Ozzy Osbourne and Black Sabbath. Lee Kerslake died on September 19, 2020 after a long battle with cancer; he was 73 years old. “ELEVENTEEN” is a collection of eight songs, seven of them written or co-written by Lee, and starts with CELIA SIENNA.

A four-hour, 90-track overview of the Los Angeles music scene between 1965 and 1968
Featuring a dazzling combination of major league LA players, enduring cult acts and ultra-rare garage punk 45s Housed in a stylish clamshell box, ‘Heroes and Villains’ is a fascinating four-hour trip into the heart of the late ‘60s LA music goldmine. After The Beatles captivated a generation with their appearance on the Ed Sullivan Show, the Los Angeles music scene moved beyond the previously-dominant surf, hot-rod and girl group discs to fashion a spirited response to the British Invasion.

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property.

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property.