June 2024 update: 2 new albums released from the SpaceArk recording vault.  

These recordings comprise the final group of unreleased masters, studio instrumental tracks, and rehearsal-songwriting demos never heard before, along with a few surprises included.  The recordings are over 50 years old, and were digitized from a series of old cassettes and 1/4" reel tapes discovered in 2004. Most of the recordings were made to assist with songwriting and band rehearsals. Many were made using a basic cassette recorder and cheap tape, and are not great sonic quality, but they are the only historical record that exists of these songs, which were also sometimes performed live. 


The complete collection of 32 tracks included on SpaceArk Diamonds & Demos Volume 6 (The Lost Album Tracks, Demos & Rehearsals) 


the 28 tracks included on SpaceArk Diamond & Demos Vol.7 (The Last Words) are available on SpaceAark's bandcamp.com website.  

The new albums are also available on Spotify, Apple Music, TikTok, Pandora, Amazon, YouTube, Tidal, iHeartRadio, Deezer, and other stores & streaming services world-wide.  On these websites, the albums are divided into two sections - Parts 1 and 2. 



April 2022 update:  The complete SpaceArk-Colorworld archive catalog is now available online, distributed by DistroKid, on Spotify, Apple Music, Pandora, Amazon, Instagram, YouTube, Tidal, iHeartRadio, Deezer, and numerous online stores & streaming services world-wide.

The SpaceArk-ColorWorld catalog is also available at spaceark.bandcamp.com


SpaceArk-ColorWorld albums: 

SpaceArk - 1st album 1975

SpaceArk Is - 2nd album 1978

Re-released on vinyl and CD by

Mr. Bongo Records, UK 2018

Diamonds & Demos, Vols.1 & 2

released May 2020 on spaceark.bandcamp.com; and

April 2022 by DistroKid world-wide

A collection of 21 tracks including extended versions, unreleased masters, and demo recordings

Diamonds & Demos, Vol.3 - Future Beginnings

released April 2022 by DistroKid world-wide, and spaceark.bandcamp.com

A collection of 18 tracks including demos, rehearsals, and the 1973 acoustic songwriting tape by Troy Raglin and Peter Alan Silberg, founding members of SpaceArk

Diamonds & Demos, Vol.4 & Vol.5 - Eternity Row I & II (EP)

released April 2022 by DistroKid world-wide, and spaceark.bandcamp.com

A collection of solo album demos featuring

Peter Alan Silberg, SpaceArk lead guitar and vocals, with lead vocals by Leigh Silberg, with guest vocalist B. Barboni.  


SpaceArk Diamonds & Demos Vol.6 - The Lost Album Tracks, Demos & Rehearsals

released June 2024 by DistroKid world-wide, and spaceark.bandcamp.com 


SpaceArk Diamond & Demos Vol.7 - The Last Words

released June 2024 by DistroKid world-wide, and spaceark.bandcamp.com





Peter Alan Silberg, Founder & Lead Guitar

Troy Raglin, Founder & Vocals / Rhythm Guitar

Bryan "Skip" Reed, Vocals / Percussion

Reggie Austin, Bass

Russell Greene, Keyboards


Mahlon Hawk, 2nd Bass, Alan Kenny Chavis, 3rd Bass, Jared Stewart, Keyboards; Dolores Hardy, Vocals

Thank you for landing at SpaceArk's website.  

Visit SpaceArk's Facebook page at:

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For licensing or general inquries:

In 2011, SpaceArk's original ColorWorld vinyl albums were re-released on CD by Creole Stream Records, Japan.  

In 2018, SpaceArk's original ColorWorld albums were re-released on CD and vinyl by Mr. Bongo Records UK, for world-wide distribution.  The albums are faithful sonic and visual recreations of the originals.

SpaceArk music is available on iTunes, Amazon, Spotify, Youtube, and other streaming websites around the world.  Listen to and download SpaceArk Music at




SpaceArk was a pioneering Los Angeles-based Soul/Rock group formed in 1973 and dissolved in 1979. The band's status is inactive.  New and original fans can listen to SpaceArk's music and learn about the group.  This website is maintained by Peter Alan Silberg, founding member and lead guitarist.   

Your comments and messages are welcome

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Listen to and download SpaceArk Music at  spaceark.bandcamp.com


"Welcome to My Door"

Peter Alan Silberg was born in London, England and his parents emigrated to Los Angeles, California when he was 6 years old.  He grew up in the beach city of Santa Monica, and took up guitar after seeing Dick Dale "King of the Surf Guitar" perform at the Santa Monica Civic Auditorium in 1961.  Peter was playing viola in the school orchestra but once exposed to the power of the electric guitar, it became his lifelong passion.

During high school, Peter was the lead guitarist for a San Fernando Valley surf band "The Intoxicators" (1963-65).  The group performed at school dances and local clubs, playing surf rock and 1950's R&B songs.  The Intoxicators won numerous battle of the band competitions, and secured a small recording contract with TJ Records.   They traveled to Tucson, AZ and recorded  backing tracks for TJ Records' solo artist, Mel Thompson. A 45rpm single was released - "Goin' Down That Lonesome Road" and "I Never Look For Trouble", both catchy folk-pop songs that went nowhere.

In 1965, Peter joined Epic Records recording artists "The Bad Boys" who released the first rock version of the classic song "River Deep Mountain High" (later made famous by Dick & Dee Dee, and Tina Turner).  The Bad Boys' records didn't chart and Epic dropped them, and live bookings dried up. 

Peter next joined the "The Black Watch" (1966-71).  One musician, keyboardist Mark Weitz, later joined "The Strawberry Alarm Clock" (Incense & Peppermints).  Peter would perform with this group for a few years. 

As music tastes changed, Peter joined "The Glass Menagerie", another San Fernando Valley band, whose members attended Notre Dame High School in Sherman Oaks, California.  They played songs by The Beatles, Rolling Stones, and other British Invasion groups who had taken over the radio.  The group performed at school dances and local clubs, playing British Invasion hits, and music by The Byrds, Arthur Lee & Love, The Grassroots, The Leaves, and The Doors.  The Glass Menagerie was a headlining group at the Hollywood Teenage Fair, and won Battle Of The Bands awards.  When some of the band members went to college out of state, the group fell apart.

In the late 1960s, Peter rejoined The Black Watch, now a quartet featuring Dolores Hardy, the wife of bass player John Jakus.  Dolores was a talented vocalist who could sing any style of music (and later performed with SpaceArk in the 1970s).  The Black Watch played local clubs,  private parties, and college stadiums in Southern California.  They shared the stage with The Challengers, The Bobby Fuller 4, Sam The Sham & The Pharoahs, The Coasters, The Standells, The Strawberry Alarm Clock, Ben E. King, and other bands from Los Angeles. 

Playing with The Black Watch provided steady weekend work, performing Top 40 radio hits.  Tiring of playing mostly pop music, Peter formed a backing band with bassist / vocalist Robert Fisch, and they supported an early 1970s R&B vocal group.  They performed at R&B clubs in Southern California for about a year.  Both Peter and Robert liked classic R&B as well as Rock & Roll.  After the R&B bookings slowed down, they decided to form a hard rock trio, and added a female vocalist.  As a quartet, they performed at local clubs, small stadiums, and US military base clubs through early 1973. Bassist Robert Fisch handled booking and promoting the group.

While playing hard rock was preferable to playing Top 40 pop or R&B hits, Peter was not playing original material and did not have any industry contacts.  As no opportunities had arisen in Los Angeles, he thought perhaps by returning to London his luck might change.


SpaceArk's Beginnings

A few weeks before Peter was to leave Los Angeles, the phone rang and songwriter/singer Troy Raglin introduced himself.  Troy was seeking a guitarist and songwriting collaborator, and had selected Peter's profile listing at the Musicians Contact Service in Hollywood.

They got together and Troy played songs he had recorded with Capitol Records in San Francisco, under the name of Troy Dodds.  Troy had relocated to Los Angeles to seek a new recording contract.  He mentioned he had industry contacts who would be interested in new material.  Peter liked Troy's energy and enthusiam, and decided to stay in Los Angeles. 

The duo spent the summer of 1973 writing songs and recording demos.  It was apparent something special was happening between the two musicians.  Troy had a natural gift for melody, composed song lyrics easily, and was a strong vocalist.

Their song demos were presented to Troy's industry contacts, but no offer resulted. So the next step was to form a group to perform live, and hopefully attract label interest.  Musicians were auditioned, and players with talent and compatible personalities were found, and the band came together.  They decided to call themselves SpaceArk, which was Troy's idea.

During the 1970s, opportunities to play original music in Los Angeles was almost non-existent, unless an artist was signed to a record label and their records were on the radio.  So up and coming bands performed "hits of the day" to secure club bookings.  SpaceArk's live sets included songs by Marvin Gaye, The OJay's, The Commodores, Earth, Wind & Fire, and other R&B acts of the early 1970's. 

During the first few months of performing at clubs, SpaceArk discovered audiences could be won over by playing radio dance hits and inserting original songs in the live sets.  It became apparent which original songs kept people on the floor dancing.  Most of SpaceArk's initial bookings were at soul music clubs, and audiences were quick to decide whether a band was in "the groove."  After a few months of playing live, the musicians honed their craft and were successful in getting enthusiastic audience response to their original compositions. 

Over the next few years, SpaceArk performed at R&B soul, rock and roll clubs, and especially military base clubs.  The enlisted mens' clubs provided a great opportunity to play for diverse audiences from all over the USA.  At the shows, SpaceArk gave away 45rpm singles, 8-track tapes, and albums to thank fans and promote the group.  The records would later make their way around the world -- like "messages in a bottle" as the military personnel took the records with them when they were deployed overseas. 

Years later, the original ColorWorld label records became highly valued collectibles in England, Europe, and the Far East, and were classified as "Northern Soul."   The ColorWorld label albums have sold for hundreds of dollars on eBay and other record collector websites around the globe. 


The Elusive Recording Contract.


SpaceArk was ahead of its time, were self-produced, and owned the rights to their music.  Unfortunately, SpaceArk was not successful in promoting their music beyond Southern California, and were not able to get signed to a major record label contract.

Record executives did not know how to market SpaceArk.  They agreed the group was unique and talented, but their music didn't fall into a comfortable category.  There also existed a divide between promoting rock and roll, and disco / rhythm & blues acts, and clubs tended to book specific styles of  acts. 

SpaceArk wasn't disco, or rock & roll, and were capable of multiple musical directions.  When they played live, they adjusted the set lists to match audience preferences.  They believed this musical diversity was a strength, but record company executives perceived it less so when contemplating a potential marketing strategy.

From 1974-79 SpaceArk worked diligently, rehearsed 5-6 days a week, and played hundreds of live dates, to fund their recording and promotion efforts.  Two full-length albums and a handful of 45rpm singles were released. 

Seeking to expand, Troy Raglin decided to sign other artists to ColorWorld, SpaceArk's independent record label.  Peter did not agree with this change in strategy, and believed SpaceArk should be the only focus until the group was economically successful.  But Troy decided he was now a self-proclaimed "record company president" and there was no going back.

Unfortunately, the times were not favorable, and after years of hard work and dedication by everyone involved, the lack of tangible economic success made it difficult to justify continuing the collective effort.  In 1979, Peter dissolved his partnership with Troy and left the group.  For a short time, Troy formed a new group to perform his songs, but they sounded nothing like SpaceArk.

Factors which led to the original band members leaving was Troy's sometimes hard-edged management style and refusal to compromise, his increasing  focus on other artists, and the overall lack of economic success as time progressed.

SpaceArk's Musicians

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 few years, SpaceArk added 2 female singers, Dolores Hardy (lead vocal on "Don't Stop"), and a second singer whose name has been forgotten.  

SpaceArk's band members came from different backgrounds, and brought unique ideas and skills to the group.  Peter contributed lead guitar, melodic chording, and was the band leader.  Troy was a prolific song writer, energetic vocalist, and an engaging stage performer.  Brian "Skip" Reed was a classic Pittsburgh soul drummer with subtle jazz leanings.  Russell Greene was a classically trained keyboardist, who loved playing barrelhouse rock-and-roll piano, and Reggie Austin anchored the group with his distinct and tasteful bass style. 

SpaceArk collectively created danceable, melodic compositions with meaningful lyrics.  SpaceArk's musical vision has not been sonically duplicated by any other act.  The band members' musicianship and dedication was of the highest level, and each player was passionate and brought skill and vision to the group.  They enjoyed playing together and hanging out during good times, and also the hard times all musicians are familiar with. 

SpaceArk was a high-energy live act, and achieved enthusiastic response to their  music.  They were full-time musicians, believed in themselves, and did everything they could to be successful.  Who knows what might have happened had a major record label marketed SpaceArk to a wider audience.

Spaceark's Recordings

During the mid-1970s, SpaceArk released 2 self-produced and promoted albums, and a handful of 45rpm singles on their private ColorWorld Records label.  SpaceArk recorded their first album at the legendary SunWest Recording Studios in Hollywood, engineered by Alan Sides in 1974.  Alan Sides' Ocean Way Studios in Santa Monica was subsequently used to record two singles, Don't Stop, and Big Locomotive On The Tracks of Love. 

SpaceArk's second  album was recorded in 1975 at Media Arts Studio in Hermosa Beach. with R. Erickson engineering.  Both albums were produced by Troy Raglin.

Studio recordings were financed by crowd-sourcing sales efforts, and earnings from live performances - a novel approach all those years ago.  SpaceArk albums were sold at Tower Records (the largest record store chain in Southern California) and many independent record stores.  Troy recruited and managed a small team of assistants to promote the group and create publicity. 

SpaceArk's first album was also released in Brazil on Pirate Records in 1974.  SpaceArk's album cuts and singles were played on AM and FM radio in Los Angeles, including the 2 most popular stations at the time, KRLA-AM and KMET-FM, which helped the band build a fan base. 

There were over 100 songs that SpaceArk composed over a 6-year span.  However, most of the songs were not professionally recorded.  Primitive demos of sessions from the beginning of the Raglin / Silberg duo survive, and a selection of post-SpaceArk solo compositions are included on the 2020 Diamonds & Demos digital release. 

In 2008, Peter was contacted by a musician who kindly provided a treasure-trove of photos, old cassettes and tape reels, documenting SpaceArk's history. These artifacts were rescued from being discarded after Troy Raglin passed sometime around 2003.  A special thank you to Randy & Lisa for their efforts in saving these items from oblivion - I am most grateful!  Memory can recall only a handful of unrecorded song ideas, but the cassette tapes contained fragments of rehearsal recordings. 

Fortunately, SpaceArk's studio albums survive along with a collection of photographs taken by Michael McAllister, our resident photographer and assistant roadie.

In 2011, Peter arranged for the SpaceArk albums to be re-released in Japan on CD format by Creole Stream Records.  In 2018, Peter arranged for the SpaceArk albums to be re-released in CD and vinyl format, by Mr. Bongo Records UK, for the European market and world-wide distribution.

SpaceArk I - Recording Notes

SpaceArk's albums were recorded on 16-track analog tape.  The master tapes were lost during the intervening years, and were in the possession of Troy Raglin.  It is likely the tapes were erased, and reused for other projects.  

The first SpaceArk album was recorded and mixed in 12 hours at SunWest Recording Studios in Hollywood.  Rhythm tracks were recorded live by the band in 4 hours.  Vocals and lead instruments were overdubbed in a second session, and mixdowns completed in a third session.  The first album was released May, 1974.

The SpaceArk 1 album re-release was digitally duplicated from the original vinyl album, and sourced from an early 2-track stereo mixdown tape in Peter's possession.  Troy is lead vocalist on all songs except "Do What You Can Do" and "I'm Only Me" which featured drummer Bryan "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  

The "Lost" SpaceArk II Album  

After the first album, new songs were composed and performed live.  Rhythm tracks were recorded by the group at Media Arts Studios in Hermosa Beach, California, but many of the songs would not be completed. 

After listening to the rhythm tracks, Troy decided to include new songs he had recently composed.  This unilateral decision, without discussing the decision with the group, was a major factor in original keyboardist, Russell Greene, leaving the group.  The songs for the original album concept were well-written, and the band members had contributed to the effort.  But Troy decided new songs were necessary to attract major record label attention.  Peter thought some of Troy's new compositions were well written and inspired, but he believed the album would be too heavily weighted in a pop direction, and excluded most of the funk and guitar-based song tracks that had previously been recorded for the album.

The original "lost album" compositions included:  

Beautiful Machine - music composed by Peter, lyrics by Troy.  Troy was so enthusiastic about this composition he pressed an in-studio acetate demo record and used it to promote the group without completing the recording. The demo was included on the Japanese CD release of SpaceArk Is, and is on the Diamonds & Demos digital collection.

Don't Stop (featuring vocalist Dolores Hardy was released as a 45rpm single under the pseudonym "Dollyway & SpaceShip Earth").  Music was composed by Peter, with lyrics by Troy.  One of 3 compositions recorded at Ocean Way Studios, Santa Monica, the band performance is SpaceArk augmented by a studio horn section.  Don't Stop was a featured song at live performances, and was included on the SpaceArk Is album re-release on Creole Stream Records, Japan.   An extended mix is included on the Diamonds & Demos digital collection.

Big Locomotive On The Tracks Of Love (the only song not composed by a SpaceArk group member) was recorded at OceanWay Studios, Santa Monica.  Featuring solo artist Charles Breckinridge Overton, SpaceArk recorded the instrumental tracks; and a studio horn section was later added.  Troy sang this song when SpaceArk performed live.  Big Locomotive was included on the album re-release on Creole Stream Records, Japan, and is on the Diamonds & Demos digital collection.

Sexy Lady - this composition was retained for inclusion on the SpaceArk Is album.  Music composed by Peter Silberg, lyrics by Troy Raglin.

======================================SpaceArk SpaceArk Is -- Recording Notes 

Troy Raglin selected the songs for the new second album, and directed the recording of  rhythm tracks without Peter's participation, at Media Arts Studios, Hermosa Beach.  Peter overdubbed lead guitar parts in a secondary session.  All vocals are by Troy Raglin, with the exception of "Take Her Out Dancing" featuring Bryan "Skip" Reed. 

The second ColorWorld label abum was released mid-1975.  The  album was re-released on the Creole Stream Japan label in 2013.  A secondary re-release was made available  on the Mr. Bongo, UK label in 2018 .  Both re-releases were digitized from the original vinyl record.  No master 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  


What happened to SpaceArk's band members?


In 1980, after Peter left SpaceArk, Troy formed his Fire Mountain record label to market other artists, and promote himself as a solo artist.  A few years later, he moved to the High Desert area of Southern California, and left the Los Angeles music scene, never to return. 

Peter joined "Poly", a 1980's power pop quartet, as a bassist.  Poly performed at Hollywood clubs, seeking to land a recording contract, but were not successful.  Peter then joined a country-rock group, again playing bass, and performed at local clubs for a few years.  When the bookings dried up, he started writing original music with his brother, but did not have success marketing their ideas to independent record labels.  It was apparent time had run out...

In the mid-1980s, Peter changed career directions and joined the computer industry, providing technical services to law firms and multi-national corporations.  Music and guitar continued as a life-long interest.

In 2008, while searching the internet, Peter discovered Troy Raglin, Russell Greene, and Michael McAllister (our photographer and 2nd roadie), had passed away some years prior.   In 2009, Peter learned Dolores Hardy had tragically lost her life in the mid-1980s, the victim of a vicious assault and robbery.

Allen "Kenny" Chavis, the 3rd bass player 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 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 who performed with SpaceArk in 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 wearing. 

RIP Rags... 

In 2009, Peter came across a YouTube video of Bryan "Skip" Reed's jazz group performing at a restaurant close to where he lived.  He surprised "Skip" with an unannounced visit, and brought original bassist Reggie Austin along.  Peter and Reggie had periodically stayed in touch over the last few years.  A joyous one-night reunion took place and Peter sounded the musicians out about getting together again, but there was no interest - everyone had moved on with their lives...


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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