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

Various - Classic Rock - Rock Renaissance III (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:  1990
Genre:       Rock, Pop
Style:         Rock & Roll, Prog Rock, Garage Rock, Blues Rock, Southern Rock, Psychedelic Rock, Classic Rock
Location:   

Comments:

 

Notes:

Volume 26 of a 30 volume set.

Track duration obtained from software.

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

Produced in cooperation with Warner Special Products

CD mastering by Trutone Records, Haworth, N.J.

Back cover inlay:
Manufactured for Time-Life Music by Warner Special Products, a Time Warner Company
℗ 1990 Warner Special Products

Booklet:
Time Life Music:
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. © 1990 Time-Life Books Inc.
Printed in U.S.A. Time-Life is a trademark of Time Incorporated U.S.A.

Cover art by Jeff Wack © 1990 Time-Life Books Inc.

Manufactured for Time-Life Music by Warner Special Products,
a Time Warner Company
℗ 1990 Warner Special Products.

Disc:
Manufactured by Warner Special Products
℗ 1990 Warner Special Products
Made in U.S.A.

Complete liner notes:

Like a cultural Rand McNally, Chuck Berry put rock 'n' roll on the map, leaving no doubt in Sweet Little Sixteen that it flourished across America. Cats rockin' "deep in the heart of Texas" and "around the 'Frisco Bay" were all part of the picture. New bands sprouted faster than dandelions. By the early '60s, some regions had developed such important scenes that they were geographically linked to specific genres and sounds. 

One burgeoning hotbed was the Pacific Northwest, where the big-beat instrumentals of the Ventures, the Wailers and the Kingsmen ruled. Paul Revere and the Raiders, formed in Portland, Oregon, in 1962, combined musical toughness and Marx Brothers stage antics, with the guitarists hopping onto their amps, singer Mark Lindsay writhing on the floor blowing sax and Revere routinely torching his $50 pianos. Revere and his band were CBS's first rock act, and the label's pop mentality initially stalled their progress (the Kingsmen won the Louie Louie battle, even though the Raiders' version came out earlier).
 
Revere and Lindsay discovered their American Revolution image at a costume shop, renting colonial uniforms as a joke for a Lake Oswego Armory gig. The bluecoats had landed. In 1965 Dick Clark signed them up for his Where the Action Is TV show, whereupon the Raiders became stars. Steppin' Out was recorded a week after Action aired. Producer Terry Melcher smoothed the rough edges for a sound Revere described as "somewhere between the Beach Boys and the Rolling Stones." 

Few bands anywhere in the U.S. could match the wild-eyed fury of the Tacoma, Washington, quintet the Sonics, named after the sonic booms caused by jets flying over nearby McChord Air Force Base. While they envied the Wailers' cool professionalism, the Sonics excelled at pummeling R & B standards and their own material into shape. "We were just a slam-it-out band," said bassist Andy Parypa. "I mean get down and crank it out. Slam them against the wall." Producer and ex-Wailer Buck Ormsby captured the primal garage-rock scream of lead singer Gerry Roslie's Psycho in just two takes. 

California boasted purveyors of any rock style imaginable. San Jose's cult favorite, the Chocolate Watch Band, favored a psychedelic Stones approach to Let's Talk about Girls, originally cut by the Tongues of Truth. In Los Angeles, the Seeds (advocates of something called "flower-power") immortalized girls hung up on materialism in Can't Seem to Make You Mine, an L.A. hit in 1965 that broke nationally two years later. The Byrd's Roger McGuinn, steeped in John Coltrane jazz and Ravi Shankar ragas, gave folk-rock a parting shot in 1966 with 5-D. Steppenwolf's first album, recorded in four days for $9,000, included The Pusher by Hoyt Axton, who was part of the late '60s West Coast folk scene. Steppenwolf's front man, John Kay, caught Axton one night at the Troubadour and decided the song would work in a heavier context. The Pusher solidified Steppenwolf's biker image and gained new prominence later in the sound track to Easy Rider. 

The Lone Star State added pages to rock history throughout the '60s, thanks in part to El Paso's Bobby Fuller Four, who kept the spirit of Buddy Holly alive with their cover of Love's Made a Fool of You. Fuller had relocated to Hollywood and seemed on the brink of stardom when he was found dead in his car, presumably fingered by the Mob because of an illicit love interest. He was only 22, and, like Holly, never reached his full potential. Over in Tyler, Texas, the Five Americans recorded I See the Light at a homemade studio under the supervision of Dale (Susie-Q) Hawkins. For extra punch, they double tracked the bass drum by whacking it with a mallet to match the original part. 

On the East Coast, many of the metropolitan bands were as hip as garage bands in the other parts of the U.S. The Barbarians, veterans of Shindig and The T.A.M.I. Show, took a lowbrow Bostonian look at teenage androgyny in Are You a Boy or Are You a Girl. Nazz, "the first Philadelphia supergroup," according to leader Todd Rundgren, got their power-pop influences from the Who and their name from a Yardbirds B side, The Nazz Are Blue. Rundgren's 1969 ballad Hello It's Me was the B side to Open My Eyes; four years later his up-tempo remake reached No. 5. 

The rock 'n' brass fusion concept occurred on the coasts, the brainstorm of guitarist Mike Bloomfield and keyboard ace Al Kooper. Both musicians had backed Dylan on his Highway 61 Revisited album and when he "plugged in" for the first time at Newport in 1965 - Bloomfield as a member of Paul Butterfields' Blues Band, Kooper on leave from the Blues Project. Bloomfield struck first in San Francisco with the Electric Flag, who debuted at the Monterey Pop Festival. Groovln' Is Easy displays the myriad sources the Flag tried to compress into a conventional song format. For the more disciplined Blood, Sweat and Tears, Kooper recruited horns from the top New York jazz and studio bands. He noted that his I Can't Quit Her was "the only song in the history of pop music that has the word 'proselytized' in it." Having written half the material on the group's impressive first album, Kooper left, handing the lead singer duties to David Clayton-Thomas. 

In England, a wave of bands spilled out of the major cities as well as the provinces. With a certain arrogance in name and spirit, Cream defined the blues-rock power trio sound in London during the summer of 1966. Eric Clapton's heavy guitar licks, Jack Bruce's jazz bass lines and Ginger Baker's polyrhythmic drum excursions coalesced into a tight sound bespeaking a chemistry Baker called telepathic. I Feel Free represents Cream's bridled pop side - a far cry from the "just play" attitude of their live shows. Cream-Traffic-Family offshoot Blind Faith, conversely, never had time to jell. After one tour and album yielding Clapton's Presence of the Lord, they called it quits, soured by the supergroup hype. 

The British merger of classical music with rock found worthy proponents in the Moody Blues and Procol Harum. In the wake of Cream, Sgt. Pepper and Hendrix, the Moodies' survival depended on updating their musty R & B image. Pianist Mike Pinder bought a mellotron that electronically simulated orchestral instruments via keyboard-activated tapes. The group's Days of Future Passed LP, which used both real and canned strings, placed them at the vanguard of progressive rock in 1968. Ride My See-Saw, with its soaring harmonies and mellotron, continued this trend and achieved greater popularity as an FM staple in the '70s. Procol Harum's more purist classical leanings favored only real strings, which grace A Salty Dog. The song didn't spring from some ancient mariner confrontation, but was inspired by a wood carving in a Cleveland bar that read "Great God, Skipper, we done run aground." Lyricist Keith Reid even pulls off the unthinkable - rhyming "moon" with "June." 

For every sophisticated urbane British group, there were rustic English bands such as the Nashville Teens and the Troggs to keep rock honest and simple. The Teens began in 1962, backing Jerry Lee Lewis at the Star Club in Hamburg, and spent most of their seven-year career supporting U.S. artists touring England. Coincidentally, their one claim to fame, Tobacco Road, was penned by American songwriter John D. Loudermilk. The Troggs' With a Girl Like You outshone Wild Thing at home, soaring to No. 1. Once again they justified Graham Nash's assessment of the band: "They're so behind, they're in front." 

Van Morrison proved that life imitates art in his own peripatetic existence by moving to sleepy Woodstock before recording Caravan, a celebration of gypsy wandering, for his Moondance album. His brooding persona and refusal to discuss his songs confounded critics. "He wails as the jazz musicians speak of wailing, as the gypsies, as the Gaels and the old folks in every culture speak of it," gushed music critic Ralph J. Gleason. Fellow Woodstock resident and kindred spirit Robbie Robertson of the Band best summed up this enigmatic Celtic soul brother in the song 4% Pantomime with the nickname "Belfast Cowboy." 

- Charles McCardell

 

1. The Nashville Teens - Tobacco Road 2:28
2. Paul Revere & The Raiders - Steppin' Out 2:13
3. The Searchers - When You Walk In The Room 2:23
4. The Bobby Fuller Four - Love's Made A Fool Of You 2:01
5. The Troggs - With A Girl Like You 2:09
6. The Barbarians - Are You A Boy Or Are You A Girl 2:13
7. The Seeds - Can't Seem To Make You Mine 3:01
8. The Sonics - Psycho 2:18
9. The Byrds - 5 D (Fifth Dimension) 2:33
10. The Chocolate Watchband - Let's Talk About Girls 2:44
11. The Five Americans - I See The Light 2:09
12. Nazz - Hello It's Me 3:59
13. Procol Harum - A Salty Dog 4:39
14. The Moody Blues - Ride My See-Saw 3:37
15. Cream (2) - I Feel Free 2:53
16. Joe Cocker - Delta Lady 2:49
17. The Allman Brothers Band - Midnight Rider 2:58
18. Steppenwolf - The Pusher 5:50
19. Blood, Sweat And Tears - I Can't Quit Her 3:27
20. The Electric Flag - Groovin' Is Easy 3:03
21. Van Morrison - Caravan 4:58
22. Blind Faith (2) - Presence Of The Lord 4:46

 

Barcode and Other Identifiers:

Matrix / Runout 10 OPCD 2609-2 SRC=01 M1S30
Matrix / Runout 10 OPCD 2609-2 SRC**02 M1S2
Rights Society BMI
Rights Society ASCAP
Rights Society PRS

 

Record Company Time Warner
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
Mastered At Trutone Mastering Labs
Remastered At Hit And Run Studios
Glass Mastered At Specialty Records Corporation
Licensed From PolyGram Special Products
Licensed From CBS Records Inc.
Licensed From Castle Communications PLC
Licensed From Del-Fi Records
Licensed From Laurie Records
Licensed From GNP Crescendo Records (2)
Licensed From Etiquette Records (2)
Licensed From CEMA Special Markets
Licensed From Abnak Music Enterprises, Inc.
Licensed From Arista Records, Inc.
Licensed From A&M Records, Inc.
Licensed From MCA Records, Inc.
Licensed From Warner Bros. Records Inc.
Published By Cedarwood Pub. Co., Inc.
Published By Daywin Music, Inc.
Published By EMI Unart Music Catalog, Inc.
Published By MPL Communications Inc.
Published By Wren Music Co. Inc.
Published By Dick James Publishing, Inc.
Published By Screen Gems-EMI Music Inc.
Published By Neil Music Inc.
Published By Valet Publishing Company
Published By Tickson Music
Published By Equinox Music
Published By Jetstar Publ.
Published By Essex Music International, Inc.
Published By Felsted Music Corp.
Published By Palace Music Co. Ltd.
Published By Unichappell-Stigwood Music, Inc.
Published By Stuck On Music
Published By Unichappell Music
Published By Elijah Blue Music
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Published By Unichappell Supersongs Unlimited
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Published By Caldonia Production
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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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