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Various - Classic Rock 1965 (CD, Comp) (Near Mint (NM or M-))

Various - Classic Rock 1965 (CD, Comp) (Near Mint (NM or M-))

Time Life Music,Warner Special Products

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Media Condition:  Near Mint (NM or M-)
Sleeve Condition: Near Mint (NM or M-)
Country:    US  
Released:  1987
Genre:       Rock, Funk / Soul
Style:         Rock & Roll, Pop Rock, Soul, Rhythm & Blues, Psychedelic Rock, Classic Rock
Location:   

Comments:

 

Notes:

Volume 1 of a 30 volume set.

Track durations obtained from software.

Issued with an 8 page booklet & no barcode
No mastering code or Specialty Records Corporation logo

Proprietary equipment and engineering, using AEG professional audio tape recorders

Produced in cooperation with Warner Special Products

Printed on back cover inlay:
Manufactured for Time-Life Music by Warner Special Products, a Warner Communications Company
℗ 1987 Warner Special Products

Booklet:
Time Life Music:
The Author:
Joe Sasfy is a regular contributor to "The Washington Post", and his articles have also appeared in "Musician, Country Music and Creem". He is chief consultant for both the Classic Rock and the Rock 'n' Roll Era series.

Time-Life Music wishes to thank William L. Schurk of the Music Library and Sound Recordings Archives, Bowling Green State University, Bowling Green, Ohio, for providing valuable reference material.

Time-Life Music is a division of Time-Life Books Inc. © 1987 Time-Life Books Inc.
Printed in U.S.A.
Time-Life is a trademark of Time Incorporated U.S.A.

Cover art by Steve Chorney © 1987 Time-Life Books Inc.

Manufactured for Time-Life Music by Warner Special Products,
a Warner Communications Company
℗ 1987 Warner Special Products.

Complete liner notes:

After a year of hits by the Beatles, the Rolling Stones, the Dave Clark Five and other British bands, Americans finally strapped on their electric guitars and answered. Beatlemania and the spectacle of all those screaming girls inspired rock 'n' roll fantasies in young musicians everywhere, even among those serious-minded folkies who had previously snubbed rock as "teeny-bopper" music. Roger McGuinn's terse account of why he formed the Byrds spoke for a thousand new American groups: "I saw the Beatles.... That was enough; it turned me on." 

In 1964 after a stint with the Chad Mitchell Trio, McGuinn bought a Rickenbacker 12-string electric guitar like the one he saw George Harrison play in the film A Hard Day's Night. He attracted a like-minded bunch of renegade folkies in Los Angeles, including former members of Les Baxter's Balladeers (David Crosby) and the New Christy Minstrels (Gene Clark), a bluegrass mandolinist (Chris Hillman) and a conga player (Michael Clarke). After one failed single as the Beefeaters, manager Jim Dickson brought the group a tape of an unreleased Bob Dylan song, the rambling, impressionistic Mr. Tambourine Man. 

With McGuinn's ringing 12-string and the Byrds' soaring harmonies, Mr. Tambourine Man codified a new style called folk-rock, which was unlike anything yet heard on either side of the Atlantic. Folk-rock was just one manifestation of an incredible renaissance in rock, as the committed lyricism and intellectualism of folk culture began to cohabit with the raw power of electric guitars. Mr. Tambourine Man also helped prompt Dylan's transformation from folk minstrel to rock poet in the summer of '65. Dylan earned boos from traditionalists at the annual Newport Folk Festival when he "plugged in." 

By the time Dylan released his first all-electric album, Highway 61 Revisited, in October, his brilliant expansion of rock's language and sound was influencing artists in both America and England. The Turtles (It Ain't Me Babe) and Cher (All I Really Want to Do) scored hits by rocking up Dylan songs. Cher met Salvatore (Sonny) Bono in 1963 when they were both working for Phil Spector. Their breakthrough came with I Got You Babe, a wall-of-sound-meets-folk-rock duet written and produced by Sonny. Throughout the '60s this outlandishly garbed duo served as L.A.'s hippest married couple, reeling off hits together and individually. 

While the Byrds are generally regarded as the folk-rock pioneers, San Francisco's Beau Brummels preceded them with a haunting synthesis or folk and Beatlesque pop called Laugh Laugh. The group's name - taken from the famous 19th-century British fop - and look capitalized on the rage for English bands (the Sir Douglas Quintet from San Antonio cast a similar illusion in 1965). Like Laugh Laugh, the plaintive Just a Llttle was produced by Sylvester Stewart, who organized his own ground-breaking act, Sly and the Family Stone, a year later. 

Folk-rock could be a somewhat portentous affair (e.g., Barry McGuire's apocalyptic Eve of Destruction), but the perfect antidote existed in the good timey folk 'n' roll of the Lovin' Spoonful. Both singer-songwriter John Sebastian and guitarist Zal Yanovsky had spent time in a Greenwich Village jug band named the Mugwumps (with future Mama Cass Elliot and Papa Denny Doherty) before forming the Spoonful. The group's sunny-day blend of guitar pop, jug-band blues, folk and country came to fruition in Do You Believe in Magic?, Sebastian's glowing tribute to the powers of rock 'n' roll. 

For all the comparatively sophisticated folk-rock artists blending American and British influences, there were hundreds of more primitive American bands drawing on R & B and the angry pulse of such groups as the Rolling Stones and the Animals. These local "garage" bands specialized in crude, three-chord rock 'n' roll (Louie Louie was the standard) centered on the cheesy sound of Vox or Farfisa organs. Typical were the Castaways, a quintet formed at the University of Minnesota to play fraternities. They managed one national hit, Liar, Liar, before fading into obscurity. 

A more enduring frat-house favorite was Sam the Sham and the Pharaohs, a Texas group that often appeared in Arab attire. Sam himself (Domingo Samudio in real life) preferred a turban and tuxedo. Named after Sam's cat and counted off with a bilingual "uno, dos, one, two, tres, quatro," Wooly Bully told a mostly indecipherable tale about Mattie and Hattie. The chugging rhythms and pumping organ were sufficient, however, to render it a party anthem. 

Another party classic, Hang On Sloopy, originally charted as My Girl Sloopy, a 1964 R & B hit for the Vibrations. The Strangeloves recorded the song in 1965 but delayed issuing it because of the popularity of their then-current hit, I Want Candy. With the Dave Clark Five about to release a version, the Strangeloves let Rick and the Raiders (who had opened for them at a concert in Dayton, Ohio) overdub their vocals on the recording. Almost overnight, Rick and the Raiders went from a small-town teen band to national stars as the McCoys. Lead guitarist Rick Zehringer changed his name to Derringer, and has remained one of rock's best hired guns. 

Few British bands achieved the lasting impact of the Yardbirds, who showcased in succession three of rock's greatest guitar heroes: Eric Clapton, Jeff Beck and Jimmy Page. The early Yardbirds with Clapton followed the Rolling Stones as the house band at London's Marquee Club, where they astonished fans with their frenzied blues rave-ups. Blues purist Clapton left in disgust after recording what became the group's first hit, For Your Love, a pop song dominated by harpsichord and bongos. Beck filled the lead guitar slot, making his presence felt immediately with searing, sitar-like guitar lines in Heart Full of Soul, the second top-10 song for the Yardbirds. 

The progressive-rock explosion headed by the Beatles and Dylan was also accompanied by a surge in soul music. At Motown, the song-writing and production team of Holland-Dozier-Holland (H-D-H) helped the Supremes secure their fifth consecutive No. 1 hit with Back in My Arms Again. The Supremes lost the top spot on the chart when another H-D-H collaboration, I Can't Help Myself by the Four Tops, replaced it. For the next few years, the driving productions of H-D-H would find their perfect foil in the urgent vocals of Levi Stubbs, the quartet's lead singer. 

In contrast to the percussion-heavy H-D-H efforts for Motown, Smokey Robinson favored an altogether subtler sound for his own Miracles, as well as for Motown's top stage act, the versatile and superbly choreographed Temptations. Robinson wrote and produced two sublimely romantic ballads in 1965, The Tracks of My Tears and My Girl. After featuring the smooth falsetto of Eddie Kendricks on earlier Temptations hits, Robinson decided that a song as sweet as My Girl would benefit from David Ruffin's rougher vocal style. It took Ruffin only the opening line - "I got sunshine on a cloudy day" - to convince the world. 

A more down-home soul sound was brewing in Memphis at Stax Records, which proudly hung up a "Soulsville U.S.A." sign (a takeoff on Motown's "Hitsville U.S.A." slogan). The growing success of this grittier approach encouraged Motown to sign some "more Southern" acts like Junior Walker and the All Stars, who scored with the scorching, sax-dominated Shotgun. When Atlantic Records sent Wilson Pickett to Stax for recording sessions backed by Booker T. and the MG's, he came up with In the Midnight Hour, a Memphis classic perfectly synchronized to the popular dance the jerk. 

The rise of soul music spawned a host of "blue-eyed" soul practitioners, most notably the Young Rascals, Mitch Ryder and the Detroit Wheels, and the Righteous Brothers. Attracted to the contrast between Bobby Hatfield's passionate tenor and Bill Medley's relaxed baritone, Phil Spector signed the Righteous Brothers to his Philles label and hired Barry Mann and Cynthia Weil to write a song especially for them. Spector cooked up perhaps his most dramatically orchestrated production to set off the Brothers' feverish call and response in You've Lost That Lovin' Feelin', which stands as one of the decade's monumental pop creations. 

In August of 1965, the Beatles and Elvis Presley met for the first and only time, spending four hours together at Presley's rented Bel Air villa. After some initial awkwardness, the Beatles jammed with Elvis, then discussed the pressures of mass stardom with him. John boldly asked Presley why he no longer recorded rock 'n' roll. The Beatles had just released Help, while the King was mired in yet another inane film, Paradise Hawaiian Style. In response, Elvis cited his heavy film schedule, but, he added, he just might do another rock record "for kicks." 

Still, it was obvious Presley had abdicated his throne, and a new rock royalty headed by the Beatles was emerging. Queen Elizabeth acknowledged the fact when she presented the group with M.B.E. awards, making each Beatle a Member of the Most Excellent Order of the British Empire. 

- Joe Sasfy

 

1. The Byrds - Mr. Tambourine Man 2:22
2. The Yardbirds - For Your Love 2:31
3. Wilson Pickett - In The Midnight Hour 2:28
4. The Miracles - The Tracks Of My Tears 2:56
5. The Beau Brummels - Just A Little 2:26
6. The Righteous Brothers - You've Lost That Lovin' Feelin' 3:43
7. The Temptations - My Girl 2:44
8. Sam The Sham & The Pharaohs - Wooly Bully 2:21
9. Billy Joe Royal - Down In The Boondocks 2:36
10. The Beach Boys - Help Me, Rhonda 2:47
11. Barbara Lewis - Baby, I'm Yours 2:32
12. The Lovin' Spoonful - Do You Believe In Magic? 2:06
13. Four Tops - I Can't Help Myself 2:43
14. The Kinks - Tired Of Waiting For You 2:34
15. The McCoys - Hang On Sloopy 3:04
16. The Yardbirds - Heart Full Of Soul 2:30
17. Junior Walker & The All Stars - Shotgun 3:04
18. Sonny & Cher - I Got You Babe 3:12
19. The Castaways - Liar, Liar 1:53
20. The Supremes - Back In My Arms Again 2:54
21. Gary Lewis & The Playboys - This Diamond Ring 2:10
22. The Toys - A Lover's Concerto 2:35

 

Barcode and Other Identifiers:

Matrix / Runout 10 OPCD 2556-2 SRC=07 M1 S7
Matrix / Runout 10 OPCD 2556-2 SRC=08 M5S7

 

Record Company Warner Communications
Record Company Time Inc.
Copyright (c) Time-Life Books Inc.
Phonographic Copyright (p) Warner Special Products
Manufactured For Time Life Music
Manufactured By Warner Special Products
Remastered At Masterdisk
Glass Mastered At Specialty Records Corporation
Engineered At Fry Systems
Licensed From CBS Special Products
Licensed From Charly Records International APS
Licensed From Atlantic Recording Corporation
Licensed From Motown Record Corporation
Licensed From Vault Records (3)
Licensed From PolyGram Special Projects
Licensed From Capitol Records, Inc.
Licensed From Buddah Records, Inc.
Licensed From Precision Records & Tapes Limited
Licensed From Dominion Entertainment, Inc.
Licensed From EMI AMERICA Records
Licensed From Roulette Records

Data provided by Discogs

In stock

There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.
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All items are meticulously serviced and restored to meet factory specifications

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We pack with precision and ship in brand new, appropriately sized, boxes.

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