Hello, thank you for visiting SpaceArk's website.  

You can visit SpaceArk's Facebook page at:
https://www.facebook.com/SpaceArk.lasoul

and view a photo slideshow

 https://www.facebook.com/photo.php?v=10201081497943977&l=7620446419698531718

or Youtube http://youtu.be/GeNx

For licensing or general inquries:
spaceark@mail.com

SpaceArk's albums were digitally remastered amd released in CD format in Japan by Creole Stream Records in 2011.  In 2018, CD and vinyl re-releases were licensed to Mr. Bongo Records UK.  The releases are faithful sonic and visual recreations of the original Colorworld vinyl albums.

SpaceArk music is available on iTunes, Amazon, Spotify, and other streaming websites around the world.

iTunes
SpaceArk I http://itunes.apple.com/us/album/spaceark-i/id428998362
SpaceArk IS http://itunes.apple.com/us/album/spaceark-is/id431720913

Amazon US
SpaceArk I
SpaceArk IS
http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Ddigital-music&field-keywords=spaceark&x=0&y=0

Amazon UK
SpaceArk I
SpaceArk IS
http://www.amazon.co.uk/gp/product/B004U3QRCS/ref=dm_dp_adp

Historical

Biography

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SpaceArk was a pioneering 1970s Los Angeles-based Soul/Rock group formed in 1973 and dissolved in 1979. The band's status is inactive. 

This website exists so original and new fans can discover SpaceArk's music, and learn about the group's history.

The website is maintained by Peter Alan Silberg, founding member and lead guitarist.   

Your comments and messages are welcome on Facebook, or send email to spaceark@mail.com. 

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"Welcome to My Door"
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Peter Alan Silberg was born in London, England and emigrated to California at age 6.  His parents settled in Los Angeles, and Peter grew up in the beach city of Santa Monica. He took up guitar after seeing Dick Dale "King of the Surf Guitar" perform live at the Santa Monica Civic Auditorium in 1961 when he was 13.  Peter had played the viola in the school orchestra but once he was exposed to the power of the electric guitar in the hands of Dick Dale, the viola was left behind and guitar became Peter's lifelong passion.

During high school, Peter was the lead guitarist for a local San Fernando Valley surf band "The Intoxicators" (1963-65).  They played school dances and local clubs, focused on instrumental surf rock and 1950s R&B songs.  The Intoxicators won numerous battle of the band competitions, and landed a small recording contract with TJ Records, a small record label in 1963.   They traveled to Tucson, AZ and recorded  backing tracks for solo artist, Mel Thompson. The 45rpm single release was "Goin' Down That Lonesome Road" and "I Never Look For Trouble", both catchy pop songs that did not chart.

Peter left the Intoxicators surf band and joined Epic recording artists, "The Bad Boys" (1965), as their lead guitarist.  The Bad Boys' first single release was a rock version of "River Deep Mountain High" - later made famous by Dick & DeeDee and Tina Turner.  After the Bad Boys didn't chart and stopped playing live gigs for a period of time, Peter joined another local band "The Black Watch" (1966-71).  This band included former members of The Intoxicators.   One of the musicians who joined The Black Watch was keyboard player, Mark Weitz, who went on to later fame as a member of the Strawberry Alarm Clock ("Incense & Peppermints").

The Black Watch played all over Southern California and and shared stages with The Challengers, Bobby Fuller 4, Sam The Sham & The Pharoahs, The Coasters, The Standells, The Strawberry Alarm Clock, Ben E. King, and other groups of the day.

Peter left the Black Watch, and joined another local group, The Glass Menagerie.  The musical focus was playing music of the Beatles and British Invasion groups which had taken over AM radio.  The Glass Menagerie  performed hits by The Byrds, Arthur Lee & Love, The Grassroots, The Leaves, The Doors, Yardbirds, Kinks, Rolling Stones, Animals, Searchers, and the Hollies, Spencer Davis, and others, and won Battle Of The Bands awards. 

Peter then went solo and formed a guitar power trio featuring female lead singers.  He performed live at local clubs, college stadiums, and US military base clubs up until late 1972.

All of these local groups were playing non-original music, and Peter wanted to join a group that was composing and playing original music but no opportunities came up.  After not advancing career-wise in Los Angeles, Peter decided it might be advantageous to go to England and check out the music scene in London in early 1973. 

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SpaceArk's Beginnings
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Two weeks before Peter was to leave Los Angeles, the phone rang early one morning and songwriter/singer Troy Raglin introduced himself, and explained he was seeking a guitarist and collaborator for a songwriting partnership.  Peter had been listed in a local musicans registry which is where Troy obtained his contact information.  When the two met Troy played his song demos which had been professionally recorded at Capital Records in San Francisco.  Troy had come to Los Angeles to seek a recording contract, and had some well-known industry contacts. This fortuitous meeting appeared to be a promising opportunity, so Peter decided to stay in Los Angeles, and not go to London. 

Peter and Troy spent the summer of 1973 composing numerous original songs, and recorded them on a 2-track reel-to-reel tape machine.  It was apparent something special was happening music-wise.  Troy had a natural gift of melody, could compose lyrics off the top of his head, and had a strong voice, vocal style, and was a very energetic partner, full of enthusiasm and ideas.  Along with Peter's guitar expertise, they became a songwriting team.

The duo shopped their songwriting demos to Troy's industry contacts, hoping to be signed to a songwriting contract.  When a contract wasn't offered, they decided the next step was to put together a group to play their musical compositions live.  Musicians were auditioned and after a few months, they found the players with the talent and personalities that jelled together, and the group SpaceArk was born. 

SpaceArk's songs were arranged with all of the band members' input, though the initial song ideas might come from a single band member, or from songs written by Troy or Peter.  After an initial series of live performances, the musicians honed their skills with a view to recording original material in a studio.

During the 1970s opportunities to play original music did not exist in Los Angeles (unless you were a successful group and on the radio).  So bands played the "hits of the day," to get club bookings.   SpaceArk's sets consisted of popular hits by Marvin Gaye, the OJay's, Commodores, Earth, Wind & Fire, among many other contemporary R&B acts of the time. 

SpaceArk learned the way to success was to play music the audiences were familiar with, and inserted their original songs into live sets.  When they played originals, they closely watched audience reaction, and gauged which songs worked and which did not. 

Over the next 4 years, SpaceArk performed extensively at Southern California music clubs in the Los Angeles area.  They also performed at military service bases (Army, Marines, Air Force and Navy) in Southern California, and played for service members that came from all over the USA, exposing them to varied audiences. 

At live performances, SpaceArk also gave away their 45rpm singles, 8-track tapes, and LP albums as promotional tools, and as a thank you to fans.  These records eventually made their way around the world -- like "messages in a bottle."  Interestingly, many years later, SpaceArk vinyl albums became highly sought-after collectibles in England, Europe, and the Far East, and were classified as "Northern Soul."   The original Colorworld albums sold for hundreds of dollars on Ebay and other record/vinyl collector websites around the globe.  

SpaceArk was ahead of the times, both in musical ideas, were self-produced, promoted, and owned the rights to their songs.  Unfortunately, SpaceArk was not successful in bringing their music to a wider audience beyond Southern California as they were not signed by a major record label. 

Record companies did not know how to market SpaceArk.  The group's music could not be classified as soul, rock, disco, or pop, and contained many styles, as represented by individual songs.  Record company A&R personnel agreed the group was very talented but SpaceArk's music didn't fall into a comfortable marketing category.  This uniqueness was the major factor that caused record company executives to pass over signing the group even though they all enjoyed SpaceArk's music and live performances.

Given no other alternative, SpaceArk soldiered forward and continued to self-finance their record and promotion company.  From 1974-1979 SpaceArk worked diligently, rehearsing, recording and playing live.  They self-produced 2 full length albums and released 45rpm singles.  Troy Raglin also managed other artists he signed to Colorworld, SpaceArk's independent record label.

Unfortunately, the times were not favorable, and after years of dedicated effort (and with some personnel changes along the way), in early 1979 Peter Alan Silberg decided to leave SpaceArk and the group ceased to exist. 

For a short time Troy assembled another group of musicians who performed his solo compositions, but the group sounded nothing like the original SpaceArk ensemble.  No recordings were released, and the spin-off group didn't last long.

Factors which led to some of the original group members leaving SpaceArk were Troy's sometime hard-edged management style, his efforts to market other artists at the same time as SpaceArk, and a general lack of monetary success.  In 1979, after a lengthy period of not performing live Peter left and dissolved his partnership with Troy.  SpaceArk's dream was over...

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SpaceArk's Musicians
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SpaceArk's founding members were Peter Alan Silberg (lead guitar) and Troy "Troiel" Raglin (lead vocals).  Original band members were Reggie Austin (bass), Bryan "Skip" Reed (drums), and Russell Greene (keyboards). 

Subsequent band members were Mahlon Hawk (bass2), Allen "Kenny" Chavis (bass3), and Jared Stewart (keyboards2).  During the last couple of years SpaceArk performed live, they added 2 female singers, Dolores Hardy (who sang the vocal lead on "Don't Stop"), and another talented singer whose name Peter has unfortunately forgotten.  

SpaceArk band members came from different musical backgrounds and each brought a unique playing style and unique ideas to the group.  Peter contributed lead guitar and melodic chording textures, and Troy had a strong interest in pop songs, R&B classics, and was a engaging stage performance personality.  Brian Skip Reed was a classic Pittsburgh soul drummer with subtle jazz leanings, Russell Greene was a classically trained pianist, and played barrelhouse rock-and-roll piano, and Reggie Austin anchored the group with his distinctive, in-the-pocket bass style. 

SpaceArk collectively created danceable, melodic compositions with meaningful lyrics.  To this day SpaceArk's sound and unique vision have not been duplicated.  The band members' musicianship and dedication was of the highest level, and each person was passionate and brought skill and vision to the group.  They enjoyed playing and hanging out together through good times, and also went through the hard times all musicians are familiar with. 

SpaceArk was a high-energy live act, and achieved enthusiastic audience response to their music.  They were full-time musicians, believed in themselves, and did everything they could to be successful. 

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Spaceark's Music
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During the mid-1970s, SpaceArk released 2 independently produced and promoted albums, and 45rpm singles released on their private Colorworld Records label.  SpaceArk recorded at the legendary Sunset Sound Studios in Hollywood, and at Ocean Way Studios in Santa Monica and Hermosa Beach, California. 

They financed recordings through individual investors (similar to crowd-sourcing), supplemented by earnings from live performances - a novel approach some 30 years ago.  SpaceArk records were stocked at Tower Records (the largest record store chain in Southern California at the time) and many small record chain stores.  Troy Raglin assembled and managed a small dedicated team of assistants to promote the group and create publicity. 

SpaceArk's first album was licensed for release in Brazil by Pirate Records.  SpaceArk's album tracks and singles were played on AM and FM radio in Los Angeles, including the 2 biggest stations at the time, KRLA-AM and KMET-FM, and helped the band get bookings and build a fan base. 

There were over 100 songs SpaceArk wrote and performed over a 6-year span.  Unfortunately, most were not professionally recorded, with the exception of the 2 LPs, and a few singles. Primitive demos of songwriting sessions from the beginning of the Raglin/Silberg duo survived, and recordings of other songs composed by Peter and Troy independently were released in May, 2020. 

Over the years, attempts was made to find other recordings of the group.  In 2008, Peter received an email from a musician who subsequently provided a treasure-trove of photos, old cassette and tape reels, which documented SpaceArk's history. The items had been rescued from being discarded after Troy Raglin passed away sometime around 2003.  

A special thank you to Randy & Lisa for their generous efforts and saving these items from oblivion - I am most grateful!  Lastly, memory can recall only a handful of unrecorded song ideas, but some of the old cassette tapes contained song fragments of rehearsal recordings. 

Fortunately, SpaceArk's primary studio recordings survived along with a collection of photographs taken by Michael McAllister, our second roadie and professional photographer.

In 2011, Peter arranged for the SpaceArk albums to be re-released in CD format in Japan on Creole Stream Records.

In 2018, Peter arranged for the first SpaceArk album to be re-released by Mr. Bongo Records UK, in CD and vinyl format, for the European market and world-wide distribution.  The 2nd album, SpaceArk  Is, was released by Mr. Bongo UK in February, 2019. 

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SpaceArk I - Recording Notes
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SpaceArk's albums were recorded on 16-track analog 2-inch tape machines.  The original master tapes were lost during the intervening years, and they were in the possession of Troy Raglin.  It is likely the 16-track tapes were erased to record other projects.  

The first album was recorded and mixed in 12 hours at Sunset Sound Studios.  The SpaceArk 1 album re-release by Creole Stream Records for the Japanese market in 2013 was digitally duplicated from the original vinyl album, and also sourced from an earlier 2-track stereo R/R master mixdown tape in Peter's possession. 

The main difference between the two mixdown sources is that after the first mixing session, Troy Raglin decided to VSO (speed up) the songs, and these versions were mastered and pressed to vinyl.  Song versions from the original mix on the reel-to-reel mix tape were true to the original tempo/feel of the songs as performed live.  

Troy is lead vocalist on all songs except "Do What You Can Do" and "I'm Only Me" which featured drummer Skip Reed on lead vocals.

Song credits - lyrics and music as noted:

Everybody's Trying - Raglin
Understand - Silberg/Raglin
Fever Pitch - Silberg/Raglin/Greene
I'm Only Me - Reed/Greene/Silberg/Raglin
Jr. Blaster - Austin/Raglin
Welcome To My Door - Silberg/Raglin
Our Love Will Last - Raglin/Greene
I'm Walking - Silberg/Raglin
Do What You Can Do - Reed/Greene
This World - Austin/Raglin  

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The "Lost" SpaceArk II Album  
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After Spaceark's first album, a new group of songs were composed, rehearsed, and performed before live audiences.  The rhythm tracks were recorded by the entire group at Ocean Way Studios in Hermosa Beach, California, for a second album but these songs would not be completed. 

Troy Raglin decided the songs weren't commercial enough, and he wanted to record additional potential pop hits that he had composed.  This decision distressed the group members, and was a key factor in original keyboardist, Russell Greene, leaving the group.  

The original set of compositions for the second album concept were group-composed and had been performed and tested live for months.  The songs were inspiring, well-written, and the band members had all contributed to this effort.  But Troy decided SpaceArk needed to focus on more pop songs in an effort to try to attract a record label and gain greater success.  Consequently, the album SpaceArk Is, contained a new group of songs.

As far as the original "lost album" songs, they included:   Beautiful Machine (demo) - music composed by Peter Silberg; and Troy dubbed a guide vocal.  Troy was so enthusiastic about this song he pressed an in-studio acetate to promote without even completing the recording. This song was not released until made available on the Japanese CD release (and on the Diamonds & Demos collection).

Don't Stop (featuring Dolores Hardy - released as a 45 single under the pseudonym "Dollyway & SpaceShip Earth").  Dolores Hardy sometimes performed with SpaceArk.  The music was composed by Peter, lyrics by Troy.  Musicians on the session were SpaceArk augmented by a studio horn section.  Don't Stop was a featured song at SpaceArk live performances.  This song was included on the 2013 re-release of the SpaceArk Is album on Creole Stream Records, Japan.   It has also been released in an extended version on the Diamonds & Demos collection.

Big Locomotive On The Tracks Of Love - the only composition SpaceArk performed, written by an outside writer.  This song featured vocalist and percussionist, Charles Breckinridge Overton, who sometimes performed live with SpaceArk, playing congas.  SpaceArk recorded all the tracks and played this song live, with Troy singing lead.  This song was included on the SpaceArk first album release on Creole Stream Records, Japan.  It is also found on the Diamonds & Demos collection.

Sexy Lady - included on the SpaceArk Is album.  Music by Peter Silberg, lyrics by Troy Raglin.

======================================SpaceArk SpaceArk Is -- Recording Notes 
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Troy Raglin independently selected the songs for the album, and recorded the rhythm tracks in approximately 24 hours' studio time at Ocean Way Studios. 

Troy Raglin composed the majority of the songs and directed the recording efforts.   Peter overdubbed guitar parts in a subsequent recording session.  Drummer Skip Reed is featured as lead vocalist on "Take Her Out Dancing."

The CD album re-release was digitized from the original vinyl record.  No master recording tapes survived. 

Song credits - all lyrics and music by Troy Raglin, except as noted:
Sweet Hitchiker - Raglin
Take Her Out Dancing - Raglin/McAllister
Sexy Lady - Silberg/Raglin
Ja More Mon A More (I Love My Love) - Raglin/Silberg
Phantom Lover - Raglin/McAllister
Each Song - Raglin  

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What happened to SpaceArk's members after the group ceased to exist?

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After Peter left SpaceArk, in 1980 Troy Raglin formed his Fire Mountain record label and marketed other artists.  A few years later, he subsequently moved to the High Desert area of Southern California and left the Los Angeles music scene, never to re-appear again. 

After SpaceArk, Peter joined Poly, an 80's power pop group, and played bass guitar.  Poly performed at club venues in Hollywood and sought a recording contract but were not successful.  Peter then joined a country-rock group again playing bass, and performed at clubs for a few years.  Peter subsequently left the group and devoted the next few years to writing and recording new material with his brother, but didn't have any success marketing those efforts to record labels.  Time had run out...

In the mid-1980s, Peter changed career directions and became involved in the growing computer industry, eventually providing information technology management services to major law firms and multi-national corporations.  Music and guitar continues as a life-long interest.

In 2008, while searching the internet Peter discovered that Troy Raglin, Russell Greene, and Michael McAllister, the group photographer and second roadie, had unfortunately passed away.   In 2009, Peter received an email from Dolores Hardy's daughter, who informed him Dolores had tragically lost her life in the mid-1980s attempting to help an assault victim in Hollywood.  Peter was able to provide Dolores' daughter with photographs and recordings of the time Dolores spent working with SpaceArk.

Allen "Kenny" Chavis, the 3rd bass player still resides in the Southern California area.  An internet search revealed 2nd bass player Mahlon Hawk resides in the Phoenix area, and Jared Stewart, 2nd keyboardist also resides in the LA area. 

Unknown are the whereabouts of Jerry Horton, SpaceArk's faithful roadie and record promo man, and the second female singer (name forgotten)  who performed with SpaceArk during the late 1970s. 

Reflecting back all these years later, "Rip" was the nickname Troy gave Peter for playing fast and aggressive guitar.  Troy's self-moniker was "Rags" for the patchwork jeans he had a habit of always wearing.  RIP Rags... 

Once Peter left the group he didn't have any contact with the band members until 2009.  By chance, Peter came across a YouTube video of Brian "Skip" Reed's jazz group performing at a restaurant close to where he lived.  He surprised Skip with an uannounced visit, and brought Reggie Austin to the meeting.  A joyous one-night reunion took place.  Peter sounded the musicians out about potentially getting together again but there was no real interest - everyone had moved on with their lives...

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For general inquiries including licensing of SpaceArk compositions email spaceark@mail.com

Peace to all,

Peter Alan Silberg, founder and lead guitarist of SpaceArk
May, 2020

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IMPORTANT LEGAL NOTICE -- MP3s ON THIS WEBSITE ARE NOT TO BE REPACKAGED AND SOLD FOR PROFIT, AND ARE PROVIDED SOLELY FOR MUSICAL ENJOYMENT.

ALL LEGAL RIGHTS RETAINED AND RESERVED BY SPACEARK-COLORWORD MUSIC ASCAP ©  UNDER U.S. & UK COPYRIGHT LAWS.