Johnny Farnham - Sings Hits From The Movies (1974)

(Australian 1967 - Present)

By the mid-1970s, Johnny Farnham's recording career had begun to dwindle and he turned more to stage musicals and television.

Official; 'King Of Pop' from 1969 - 1973, personable, enthusiastic Farnham was regularly on the charts until 1974, when the likes opf Daryl Braithwaite, John Paul Young and Shirley Strachan displaced him as a premier teen figure. After his fevered poip popularity of the late sixities, he turned his hand to a remarkable array of activities, including lead roles in stage productions of Charlie Girl, Pippin and the pantomime Dick Whittington, the hosting of television shows Opportunity Knocks, Bobby Dazzler and Survival, and the capturing of a major award at the World Popular Song Festival in Tokoyo. In 1972, he was crowned 'King Of Moomba'.

In 1972, Farnham released the album 'Johnny Farnham Sings the Shows' which featured his recent hit 'Charlie Girl', and the following year released 'Hits Magic & Rock 'N Roll' featuring the Brian Cadd penned hit "Don't You Know It's Magic".

Farnham and 'Queen of Pop' for 1972–1973, Colleen Hewett, combined on the 1973–1974 stage musical, Pippin, and its associated show album released in 1974.

The original Australian production of Pippin opened in February 1974 at Her Majesty's Theatre in Melbourne. It starred John Farnham as Pippin, with Ronne Arnold as the Leading Player, Colleen Hewett as Catherine, Nancye Hayes as Fastrada, David Ravenswood as Charles and Jenny Howard as Berthe. The production transferred to Her Majesty's Theatre in Sydney in August 1974. A cast album was released.

Also in 1974, Farnham and Hewett were co-hosts of It's Magic, a children's TV series on Channel Ten.

Farnham released the 'featured' album 'Johnny Farnham Sings Hits From The Movies' in 1974, however it failed to chart at a time when more popular Australian artists were dominating the charts with glam and boogie rock.

Farnham's success continued virtually on the basis of his talent and personality alone and in the late to mid seventies his career was reduced to nightclub and cabaret performances trading on his past. Even his record company lost faith in him and eventually dropped him.

In 1980, changing from Johnny to the more mature John Farnham, he set about resurrecting his career. The trigger was a dramatically rearranged impassioned performance of the Beatles' "Help" on a nationally broadcast Royal Command TV concert. He reminded everyone what a fine singer he was, and in July released Uncovered, a well received comeback album recorded under the production eye of Little River Band's Graham Goble. In September 1982 long-time Farnham fan Goble was inspired to convince the rest of LRB they should take the radical move of removing Glenn Shorrock, singer of all the band's hits, and making Farnham their lead singer. The band's American record company was in shock. So were non-Australian fans. It was a hurdle Farnham could not overcome, and at the end of 1985 he left LRB and began work on a new make or break solo album.

The anthemic single "You're The Voice restored Farnham to #1 for the first time in 17 years. The carefully crafted adult contemporary October 1986 album 'Whispering Jack' was No.1 for 18 weeks, and became the biggest selling album in Australian history. "You're The Voice" sold a million copies in Europe and reached the top ten in England.

This post consists of FLACs ripped from my pristine vinyl copy and includes full album artwork and label scans.  As far as I can tell, this album has never been released digitally, so grab it while you can folks.

(Note: This is another blog follower's requested post - enjoy RSVL)

Track Listing

SIDE A

01 Cabaret

02 Speak Softly Love

03 Everybody's Talkin'

04 The Summer Knows

05 Carnival

06 Hi-Lili, Hi-Lo

SIDE B

07 Medley:  Raindrops Keep Fallin' On My Head / The Rain In Spain / Singing In The Rain

08 Theme From 'Love Story'

09 Where's The Birdie

10 The First Time Ever I Saw Your Face

11 Mrs Robinson

Johnny Farnham Link (205Mb)

REPOST: Machinations - The Big Beat (1986) Mini LP

(Australian 1980- 1989, 1997)
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The Machinations formed around Tim Doyle and Tony Starr, who started writing together around the end of 1979, using what electronic instruments they could find. Their school friend Fred Loneragan joined as singer and they played their first show at Garibaldi's in Darlinghurst, Sydney in early 1980. Another school friend, Nero (Nick) Swan, soon joined on bass.
In late 1980, with the assistance of radio Triple J, the band recorded some songs at Trafalgar Studios; in November 1980, the band entered the studio with producer Lobby Loyde. These recordings resulted in the band's debut single, "Average Inadequacy"/"Arabia" (released 26 August 1981), and the four-track debut self-titled EP (20 November 1981), both released on the independent Phantom Records label.

"Average Inadequacy" created enough interest for Mushroom's White Label to sign the band and reissue the single with a new B-side, "Machinations of Dance" in March 1982. A year later, Machinations issued a new single, "Jack"/"Be Double" in February 1983. This was followed by "Pressure Sway"/"Pushbike" in June 1983. "Pressure Sway" became the band's first national mainstream charting single when it peaked at #21 during July 1983. "Pressure Sway" also made an impact in the United States reaching #40 on Billboard's Club Play Singles chart. In April 1983, Machinations released their debut album, Esteeem, which peaked at #54 on the Australian album charts. The third single from the album was, "Jumping the Gap"/"Terminal Wharf", released in October 1983.
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Following the album's release, and an Australian tour support slot with Joe Jackson, Machinations added Warren McLean on drums; prior to that the band used a drum machine (a Roland CR-78). The band entered Rhinoceros Studios with English producer Julian Mendelshon, emerging with the smoothest and most fully realised album of its career, Big Music, in July 1985. The album produced four hit singles. The first of these, "No Say in It"/"Man Overboard" pre-empted the album by nine months (it was released in September 1984) and ended up being the band’s highest charting single, peaking at #14 in October 1984. The second single, "My Heart's on Fire"/"Spark" followed in May 1985, it reached #27 in June 1985. The third single, "You Got Me Going Again"/"I Ain't Waiting for No Train" was released in August, 1985, making #39, however the fourth single, "Execution of Love"/"Dusted Down", released in December 1985 failed to chart. Naomi Star sang backing vocals on most of the album, although Inez Anthony was featured on "No Say in It". The album peaked at #20 on the national album charts, spending several weeks at that position. It was also released in the United States on the A&M label.
In 1985 Machinations performed the three national hit songs for the Oz for Africa concert (part of the global Live Aid program). It was broadcast in Australia (on both Seven Network and Nine Network) and on MTV in the US.
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In 1986, White Label issued the mini-album The Big Beat (featured in this post), which is a collection of dance remixes of singles like "No Say in It", "Execution of Love", "Pressure Sway" and "You Got Me Going Again", which reached #83 on the charts.
That same year, Warren McLean left Machinations to join Melbourne funk-pop outfit I'm Talking. Henry Downes took his place on drums. Downes was then replaced by John MacKay (ex-Sea Monsters) in early 1987. The band was back in the studios soon after with American producer Andy Wallace (Prince, Run DMC), recording a new album.
Machinations' third album, 'Uptown' was released in October 1988 and produced four singles spread out over eighteen months. The first single, "Do to You"/"Looking Out for You", was released in August 1987 and almost matched the highpoint of "No Say In It", reaching #15 in October 1987. The second single, "Intimacy"/"Hit by a Missile" (May 1988), reached #44, the third, "Do It to Me"/"Normal" (October 1988), peaked at #69 and the fourth, "Cars and Planes"/"Beats and Planes" (February 1989) failed to chart. The album was well received upon its release and reached #46 on the national album charts.
By that stage, Machinations had established themselves as a popular band on the Australian touring circuit. The band's activities were curtailed in early 1989 when a hit-and-run accident left Loneragan unconscious and with a broken back. He spent several months recuperating in hospital. Initially other band members intended to continue writing new material whilst Loneragan recovered from his injuries, but over time the various members left to pursue other projects. Swan toured with the James Freud's band and with MacKay performed with Absent Friends.
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Machinations re-unite in 2012
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While the band reformed for some select dates in the 1990s their latest reunion will be the first chance to see the group in full swing since its 1980s heyday.
Swan said "band members had remained good friends ever since it disbanded in 1989 and when a friend approached them about the possibility of reforming for a few shows they jumped at the chance".
He and singer Fred Loneragan had remained prominent in the industry and had played a number of sets together on the Absolutely 80s variety tour but both missed the chemistry of the original band.
“The Absolutely 80s shows were a lot of fun, but at the same time, it was frustrating only doing six songs - playing with a backing band wasn’t the same,” he said.
The experience did give the pair a chance to revisit the band’s material and decide which songs had withstood the test of time and which songs needed some reworking.
The group has been rehearsing for the gigs since December and Swan said fans could expect all the classic hits such as Pressure Sway and My Heart’s On Fire. But the show will also feature a range of early post-punk and some rarities and B-sides.
“Some of the songs we hadn’t played since the mid-80s but when we revisited them we thought they are damn fine songs,” he said.
The line-up is the same as in 1989 - Fred Loneragan, Nero Swan (bass), Tony Starr (synthesizers), Tim Doyle (guitar) and John Mackay (drums).
The band is so excited for the reunion they have all spent money updating their rigs and gear and will look to book a few shows in Melbourne and maybe one more in Sydney following the Bridge Hotel gigs [as reported in the North Shore Times, Feb 2012]
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This post consists of FLACs ripped from my cassette tape release of this album which plays as good as the day it was purchased. I have included full album artwork from both the LP and cassette tape releases along with some select photos of the band from the 1980's.

Although a little dated in concept (with 12" dance mixes), this album is still entertaining to listen to - now where did I put my mirror ball ?

             New Improved Rip !
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Track Listing
01 One Closer Step
02 No Say In It
03 Execution Of Love
04 Pressure Sway
05 My Heart’s On Fire
06 Jumping The Gap
07 You Got Me Going Again
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Band Members:
Tim Doyle - guitar
Fred Loneragan - vocals
Warren McLean - drums
Tony Starr - keyboards
Nick (Nero) Swan - bass
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Machinations Link (305Mb) New Link 14/09/2025
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REPOST: Bachman-Turner Overdrive - Japan Tour '76 (1977)

(Canadian 1973-79, 1983-05, 2009-present)
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Leader Randy Bachman was founder-member of Canadian hit singles band Guess Who which he left in 1970 after illness and inter-group friction. Returning to native Canada, Bachman cut solo album Axe for RCA before forming outfit Brave Belt with brother Robbie, singer/bassist Fred Turner and erstwhile Guess Who founder Chad Allan. Originally with Reprise, for whom they recorded two albums, became BTO when Allan quit and third Bachman brother, Tim, joined line-up as additional guitarist. Band switched labels to Mercury for release of their first album, the riff-happy Bachman-Turner Overdrive.
Although it might be open to debate as being formula cash-register boogie, BTO's rock is at least dexterously played and arranged, with dynamics reminiscent of mid-period Led Zeppelin.
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Tim Bachman quit after second (gold) album to study engineering and production. He was replaced by Blair Thornton.

By now Canada's No. 1 band (supplanting Guess Who) had released 'Not Fragile' which provided a huge U.S. and U.K. single towards the end of 1974 with "You Ain't Seen Nuthin' Yet", a characteristically bombastic BTO title, and went on to become their first platinum album and the AOR favorite "Roll On Down the Highway". The band continued to steadily produce successful albums through the mid-1970s including 'Four Wheel Drive' and 'Head On' (both 1975). Each of these albums produced a hit single: "Hey You" (from Four Wheel Drive) and "Take It Like A Man" (from Head On). The latter song featured a guest appearance by Little Richard, who wailed away on his piano. Head On also featured the jazzy Randy Bachman composition "Lookin' Out for #1", which garnered considerable airplay on both traditional rock stations and also soft rock stations which normally did not play bands like B.T.O. In between the latter two albums, B.T.O. released their only non-album single "Down To The Line". This song would appear on some of the later compilation CD's, as well as on re-issues of the Head On album in CD format.
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The first B.T.O. compilation album, 'Best of BTO (So Far)', was released in 1976 and featured songs from each of the band's first five studio albums. A single—a re-release of "Gimme Your Money Please"—was put out from this album, and it also charted well keeping B.T.O. on both the AM & FM airwaves. This compilation album became the best-selling Bachman–Turner Overdrive album to date, reaching Double Platinum status in the U.S.
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Their only live album 'Japan Tour 1976' (as featured here) was only available in Canada and Japan for some strange reason. This is a shame as their sound on stage is as good as any studio recording they have made.
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The group gradually wound down after Randy's departure in 1977,Jim Clench replacing him for three more uneventful albums. Randy himself cut a second unsuccessful solo album, 'Survivor', in 1978 before forming BTO soundalikes Ironhorse. Randy also wrote songs with Beach Boy Carl Wilson, and spent part of the eighties re-forming Guess Who. Randy Bachman also knows his way around a production console.
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BTO's other claim to fame is that they are rock's best known Mormons (no alcohol, dope, tea, coffee, immorality etc) after The Osmonds. [extracts from The 'Illustrated New Musical Express Encyclopedia of Rock', Salamandar Books, 1977 p16 and 'The Ultimate Encyclopedia of Rock', Carlton Books, 1994. p134]
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Live In Japan
(Review by Pete Pardo)
Live-Japan Tour was the only ever official live release from those mighty Canadians Bachman-Turner Overdrive, better known by many as B.T.O. Documenting their 1976 tour of Japan (just a short time before acts like Peter Frampton and Cheap Trick made it commonplace to record live albums there), this spectacular, but short, live album shows just how powerful a live act the band were at this time. Ironically, B.T.O. Live-Japan Tour was only released in Canada and Japan at the time, which is surprising seeing as how popular the band were in the US and Australia.

As a representative live B.T.O. album goes, this one falls way short due to the very limited song selection. My guess is that the entire show is floating around there somewhere, or locked in some record label executives vaults, which is a shame because the 8 songs on display here are fiery and heavy rocking B.T.O. at their best. Classics like "Roll On Down the Highway", "Hold Back the Water", and "Takin' Care of Business" feature all the trademark heavy riffs and catchy hooks that the band were famous for, and "Welcome Home", "Four Wheel Drive", and "Don't Get Yourself in Trouble" are as heavy as any band going back in 1976. As good as these live versions are, "Slow Down Boogie" and "Thank You-Domo" are kind of throwaways, and I would have rather they included "Let It Ride" or "You Ain't Seen Nothing Yet" or any number of their excellent albums tracks instead, but as a 42 minute live album, it does rock, and rock hard. Imagine what a double album would have been like (like Frampton's Comes Alive)

If you've longed for an official B.T.O. live album from their heyday, this is it. The sound is pretty damn good. You'll wish there were more songs, but we can't have everything I guess. 
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This post consists of a FLACs taken from a CD release and includes full album artwork for both LP and CD. Thanks to Deutros for the rip.

           NEW IMPROVED RIP !
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Track Listing

01.  Roll on Down the Highway
02.  Hold Back the Water
03.  Welcome Home
04.  Don't Get Yourself in Trouble
05.  Four-Wheel Drive
06.  Takin' Care of Business
07.  Slow Down Boogie
08.  Thank You - Domo
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BTO were:
Randy Bachman - Lead Guitar, Vocals
C.F. "Fred" Turner - Bass, Vocals
Blair Thornton - Lead Guitar, Backing Vocals
Robbie Bachman - Drums
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BTO Japan Tour Link (94Mb) New Link 10/09/2025
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Nick Barker & The Reptiles - Goin' to Pieces (1989) plus Bonus Tracks

(Australian 1980 - Present)

Aussie rock icon Nick Barker is known for both his solo work and for being a member of the hit band Nick Barker & The Reptiles during the 80's and 90's.

Even though Barker has played in bands around Melbourne since he was 16 (ie. Melbourne bands The Wreckery and Cats Under Pressure), arguably the best and most well known band he was part of was Nick Barker & The Reptiles, with former bandmate Adrian Chynoweth on guitar, Drew Basford on bass guitar, and David Pinder on drums. Signed to Mushroom Records' prestigious 'White Label' imprint (created by Michael Gudinski as a condition imposed to get the signatures of Hunters & Collectors into his Mushroom stable), The Reptiles had a spectacular rise to fame with hits such as their cover "Make me Smile (Come Up And See Me)" and two Top 40 albums on the ARIA Charts, 'Goin' To Pieces' (1989) and 'After The Show' (1991), before disbanding in 1995.

Nick Barker & The Reptiles 1989

The band's cover version of Cockney Rebel's "Make Me Smile (Come Up and See Me)" reached the top 30 on the ARIA Singles Chart in November. They undertook a touring schedule with 200 performances a year on the national pub rock circuit, and were the support band for Jimmy Barnes Australain Tour in 1989. Australian musicologist, Ian McFarlane, described how "their sassy brand of commercial rock'n'blues found immediate acceptance by becoming one of the archetypal Oz Rock pub bands of the era." In 1990 Matthew Heydon joined on keyboards and Marc Scully (ex-Love Rodeo, Deadly Hume) replaced Basford on bass guitar.

Nick Barker MTV Interview (1989)  including "Make Me Smile" clip

Their second album, 'After The Show' was released in March 1991, was produced by Los Angeles-based, Joe Hardy (Steve Earle, Tom Cochrane), which peaked at #33. McFarlane opined, "it was a diverse collection of songs, ranging from tough rock'n'roll and bar-room boogies to ballads." The Canberra Times' John Lilley felt, "they have well and truly strayed from the norm by not only promptly releasing a second album but making it a worthy one as well... their sound has not been forcefully smoothed out beyond recognition in the recording studio. Their enthusiastic live sound has been allowed to seep through."

Nick Barker & The Reptiles On Stage in the 90's

After a period of hiatus and overseas travel, Barker returned to Melbourne, and pursued a solo career via labels within the Mushroom Records group (almost all the Reptiles' original material had been penned almost entirely by him). Barker moved into indie territory with his acclaimed solo albums Happy Man (1994), Damn Mermaids (1996), and Annie Get Your Guru (1999).

Nick Barker 1991

A prolific live touring performer, Barker has often performed solo and acoustic (or else accompanied by only a keyboardist or harmonica player) and has an excellent reputation for a charismatic stage presence, crowd interaction and banter. This led to the 2001 release of a live and acoustic album entitled Returned Service, with acoustic tracks culled from a number of live shows in different Australian cities. This was his first release outside the Mushroom Records umbrella, and coincided with the full sale of the Mushroom business to Rupert Murdoch's News Ltd by Michael Gudinski - a number of other prominent artists defected from Mushroom at this time including sometime Barker collaborator Paul Kelly. Barker signed to Croxton Records, an imprint co-founded by former Weddings Parties Anything frontman and now solo performer Michael (Mick) Thomas.

Barker remains very popular in Brazil (this is not altogether uncommon for Australian artists including Men at Work), and released a Brazil-only 'best of' entitled Sanctuary in 2002. In 2003 he released an album entitled Backyard Six which featured what is perhaps the finest Australian musical evocation of the Bali bombings yet, Plait Your Hair.

In 2005, Barker was invited to join a select group of distinguished Australian songwriters to re-do their own songs retrospectively as part of the Liberation Blue Acoustic Series, a group which also includes Stephen Cummings, Chris Bailey, Mark Seymour, Mick Thomas & Joe Camilleri.

Since 1997, Barker has also branched out into acting roles including appearances in Blue Heelers, and Pizza, leading up to a starring role opposite Rachel Griffiths in the 1998 Australian film Amy, created by the acclaimed team of David Parker & Nadia Tass. He also penned and performed a number of songs for the soundtrack, which also featured artists including Ed Kuepper, Lamb and Philip Judd, formerly of Split Enz.

In addition to his own recording and touring commitments, he is presently producing young Adelaide rock act Southpaw.

It should be noted that Barker's backing bands have been training grounds for future instrumentalists who have gone onto bigger acts such as Matt Heydon of the Reptiles who went onto join Jimmy Barnes’ band, Marc Scully (also of the Reptiles) who later joined Ratcat, and Tim Henwood of the eponymous ‘Barker’ who later joined the Superjesus and the Androids. [extracts from last.frm]

Album Review

This is a fairly straight forward blues-rock LP with raucous vocals, buzzing electric guitars and wailing harmonica. The Reptiles were a very decent pub band, no doubt, but the lack of the band's live presence on this studio album means that these rock songs occasionally tend to just go around and around in predictable circles. Verse, chorus, verse, chorus, lead break, bridge, verse, chorus, chorus... etc.

First two tracks "Sure Beats Goin' To Pieces" and "Hell Hole" both stick with this blues-rock pattern. "All Or Nothing" is the same kind of thing but slowed down, "Down Today" then restores the pacier feel, and "Show You The Scar" is fast, tough rockabilly. Side two has a fraction more variety happening, at track three is slow rocker "The Bells" with its tough but slow swaggering guitar and harmonica, quite decent. "Make Me Smile" is the highlight of course, sounding a lot like Paul Kelly, and almost captures the magic of the original by Steve Harley's Cockney Rebel.

This LP will appeal to those who like hard-fueled boozey blues-rock. Others, who prefer a bit more variety, may grow weary of the samey tunes. [Review thanks to Batfink, 2005]

This post consists of FLACs ripped from Vinyl (thanks to Klaatu at Ausrock) and full album artwork for both vinyl and CD media, along with label scans.  As a bonus, I am including the B-Side Singles  "Hell To Pay", an acoustic version of "Resurrection Time" and another great cover "Stay With Me" (by The Faces).  

Track Listing:

01 - (Sure Beats) Goin' to Pieces

02 - Hell Hole

03 - All Or Nothing

04 - Down Today

05 - Show You The Scar

06 - Resurrection Time

07 - Another Me

08 - The Bells

09 - Make Me Smile (Come Up And See Me)

10 - One man Tragedy

11 - Gutter Of Love

Bonus Tracks:

12 - Hell To Pay (B-Side Single)

13 - Resurrection Time [Acoustic Version] (B-Side Single)

14 - Stay With Me (B-Side Single)

Band members:

Nick Barker - Rhythm Guitar, Vocals

Adrian Chynoweth - Lead Guitar

David Pinder - Drum, Backing Vocals

Drew Basford - Bass

Chris Houndog Harris - Harmonica, Backing Vocals

Nick Barker & The Reptiles Link (385Mb)

REPOST: John Paul Young - All The Best (1977) plus extras

(Australian 1972 - Present)
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In 1972, John Paul Young put his fishing trips and his job at Clyde Engineering on hold because his single “Pasadena” was a massive hit.

Working in the company of the Vanda and Young team, John (JPY) became one of the biggest Australian stars of the 70’s and his career has progressed through the 80’s, 90’s and into the 21 Century.

There’s not much of John’s career that hasn’t already been documented: a string of hits spawned over 4 million record sales, a couple of King of Pop awards (The ARIA of their day), a Logie and a bunch of radio and TV awards from around the country and overseas.

JPY or 'Squeak'

When John released his fourth single, Jesus Christ Superstar had ended and Harry Vanda and George Young had returned to Australia as house songwriters and producers for Albert Production. The song they now wrote and produced for John Young was "Yesterday’s Hero", about someone who had once been famous. He performed the song on Countdown and by the time filming was finished he had convinced the audience he really was a star! "Yesterday’s Hero" was initially released as John Young, but became such a major hit, the singer became John Paul Young to avoid confusion with Sixties pop star, Johnny Young.

John Paul Young went on to became a Countdown regular, both as guest and performer, his easy going boyish personality making him a favourite with fans.  It was Countdown's compare Molly Meldrum who first introduced John as 'Squeak' and the name simply stuck.

JPY On Countdown

Squeak and Molly On Countdown

More major hits followed – namely "The Love Game", "I Hate The Music", "I Wanna Do It With You", "Standing In The Rain" (all Top 10 hits) and his June 1978 No. 1 song, "Love Is In The Air", also a huge hit internationally, leading to television performances on Britain’s ‘Top Of The Pops’ and in the US.

For his live performances John Paul Young gathered The Allstar Band, boasting some of the finest musicians in the land, testament to John’s standing with his contemporaries. Warren Morgan (Chain, Aztecs) and Ronnie Peel (La De Das) are The Allstar Band’s longest-serving members who together with Greg Plimmer, Juan Gonzalez and Michael Walker still make up the band today.



JPY’s music certainly was the soundtrack to the “Countdown” generation, and in 1992 a whole new generation fell in love with his music with a remixed version of "Love is in the Air" from the soundtrack to Baz Luhrmann’s Strictly Ballroom becoming a hit all over again.

JPY’s ability to vary from a light pop to an edgy rock pop voice and his sparkling personality gave a particular stamp to a special type of Australian pop – one that found hits throughout Europe and South Africa. As a performer John was hard to beat, and remains so. There are few people who enjoy playing music as much and who give the audience their all.

JPY Today

After featuring in the TV Series “Long Way To The Top” John and The Allstar Band climbed aboard for the 2002 National Tour of the same name in the company of the cream of Australian talent to celebrate the music and its Stars of the 60’s, 70’s & 80’s.

In 2003 and in 2005 “Leader of the Pack – The Ellie Greenwich Musical” has seen John beatin’ the boards in the character of fast talking record producer Gus Sharkey - a composite character based around the legendary team of Leiber & Stoller and later Phil Spector with whom Ellie worked and spawned massive worldwide hits with: Be my Baby and Baby I love You, Da Doo Ron Ron and Then He Kissed Me, Doo Wah Diddy and I Can Hear Music, River Deep, Mountain High and the title of the musical Leader of the Pack. This is John’s first musical since his roll in “Jesus Christ Superstar” and he’s relished the part in both the Sydney & Melbourne seasons.

He had an 18 months stint with the Popstars TV series; a return to the racing track in the 2005 Celebrity Race at the Melbourne F1 GP - another credible finish from a start back in the field - and in between, recording with his long time friend, producer and songwriter Harry Vanda, for the future album.

In 2006, JPY performed in the first Countdown Spectacular. This event was a reunion concert for many of the popular Aussie acts that had performed on Countdown over the years and it toured Australia over August-September of 2006. JPY was honored by being the first artist to open the show performing his hit single "Yesterday's Hero" and captured the theme of the event perfectly.

Three decades, two centuries and two millennium later - who’d have thought a little song like “Pasadena” could launch a career to last that time [extract fron John's website   and  Albert Records Website ]

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This post consists of FLACs ripped from my vinyl LP and includes full album artwork. I have chosen to include 3 bonus tracks to complete this collection.  "You Drive Me Crazy" was JPY's second single (1973) and is a bit of a rarity as it did not appear on any of his albums.  "St.Louis" was the B-Side of "The Love Game" (1975) but could have easily been an A-Side single in my opinion.
Although "Love Is In The Air" was released in 1978 (one year after this compilation was released), it needs to be included as it was the song that relaunched his career many years later when it was used in the highly successful movie 'Strictly Ballroom', reaching #3 in the Australian Charts.
JPY or Squeak was a wonderful ambassador and mentor for many of the 'new young' Australian musicians who appeared in the late 70's - early 80's and is still highly regarded in the music industry today. This post is a tribute to the legacy that JPY has provided Aussie Rock over the years.
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       New Improved RIP !

Track Listing
01 - Yesterday's hero
02 - The painting
03 - The love game
04 - Birmingham
05 - I wanna do it with you
06 - Standing in the rain
07 - I hate the music
08 - Pasadena
09 - Where the action is
10 - Here we go
11 - Keep on smilin'
12 - Gay time rock n' roll city
Bonus Tracks
13 - You Drive Me Crazy (A-Side Single 1973)
14 - St.Louis (B-Side Single 1975)
15 - Love Is In The Air (A-Side Single 1978)
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Musicians
Vocals - John Paul Young
Guitar - Harry Vanda, Ian Winter, Phil Manning, Ronnie Peel
Bass - George Young, Ronnie Peel, Dallas McDermott
Keyboards - George Young, Pig Morgan
Drums - George Young, John Proud, Johhny Dick, Spike Nimble
Saxophone - Tony Buchanan
Backing Vocals - Vanda & Young
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JPY Link  (383Mb) 
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W.O.C.K On Vinyl: Daddy Cool - D.C.E.P. The Daddy Cool EP (1971)

 Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

Although Daddy Cool were only around in their original incarnation for less than two years – from 1970 to 1972 – they packed a lot of music into that time. They released two brilliant studio albums, the first of which does for west coast R&B what the Stones were at the time doing for delta blues, the second of which adds a punkoid Mothers Of Invention-like freakishness to it. They farewelled their fans with a live album that shows how their delicious lightness of touch, perfect groove and inspired musical lunacy put them well ahead of anyone else treading the same ‘50s-inspired path.

In January 1971, when both The Sons of the Vegetal Mother and Daddy Cool played at one of Australia’s first outdoor rock festivals at Myponga in South Australia in January 1971, the rapturous crowd response to DC signalled time for the Vegetals. In March, just a couple of months later, Daddy Cool signed to the fledgling Melbourne label Sparmac. By June, “Eagle Rock” had begun a remarkable 17 week stretch atop the Melbourne charts. It was soon No.1 nationally, where it stayed for ten weeks. By July, the group’s amazing first album Daddy Who? Daddy Cool was No.1. and on its way to earning an unprecedented ten gold albums. By the end of August, Daddy Cool were on a plane to The Promised Land.

Daddy Cool 1971
L-R: Ross Wilson, Gary Young, Jerry Noone, Ross Hannford, Wayne Duncan

After returning from the States, they decided to release an EP titled D.C.E.P – which was more of the same, with each member taking the lead on a track. Wilson’s great teen lament “Long After The School Days Are Through” is maybe the pick of a riotous bunch that also included “Flip” and the most widely played track "Lollipop" with vocals by Hannaford, as well as Wayne Duncan taking his only ever lead vocal on The Kalin Twins’ “Three O’Clock Thrill”, and a hard-driven instrumental “Jerry’s Jump”, in honour of their new sax and keyboard player Jerry Noone, who’d previously played in The Vegetals and had made a name for himself in Company Caine. (Ross: “’Jerry’s Jump’ was for Jerry Noone on sax and we play the riff in unison – sax and harp – and there are solos. His name was actually Jeremy Kellock but he called himself Noone for ‘no one’ as it was conscription/call up Vietnam-era and he was dodging that at the time.”). 

The EP reached #12 in the Australian charts. One unique feature of the EP's cover was it's four flap foldout design, as shown above - something that had never been done before by a record company and has made this EP highly sort after by record collectors.

So this month's WOCK post features a rather rare release from an Australian iconic band, and so it ticks the Obscure box in my opinion. I have only seen one other copy in my 50 years of record collecting, and am very proud of my near mint copy.  The EP was ripped to FLAC and includes full Hi-Res Artwork and label scans.

Track Listing

01 - Flip [Vocals: Gary Young]

02 - Lollipop [Vocals: Ross Hannaford]

03 - Jerry's Jump [Sax: Jerry Noone]

04 - Long After Schools Days Are Through [Ross Wilson]

05 - Three O'Clock Thrill [Wayne Duncan]

Daddy Cool were:

Ross Wilson - Vocals, Guitar

Wayne Duncan - Bass, Vocals

Gary Young - Drums, Vocals

Ross Hannaford - Guitar, Vocals

Jerry Noone - Saxophone, Keyboards

D.C.E.P Link (81Mb)

Steve Harley & Cockney Rebel - The Best Years Of Our Lives (1975) + Bonus Tracks

(U.K 1972–1977, 1979–1984, 1989–2024)

Stephen Malcolm Ronald Nice (27 February 1951 – 17 March 2024), better known by his stage name Steve Harley, was an English singer and songwriter, best known as frontman of the glam rock group Cockney Rebel. He scored five UK hit singles with the band in the mid-1970s including "Judy Teen", "Mr. Soft" and the number one "Make Me Smile (Come Up and See Me)".

Steve Harley & Cockney Rebel were one of the great "Glam Rock" bands. Steve Harley was a superb songwriter, singer, and showman. His songs include "Make Me Smile", "Sebastian", "Mr. Raffles", "Mr. Soft", "The Best Years Of Our Lives", and "Psychomodo". These were all intelligent, well written songs, with great hooks, and Cockney Rebel had a very individual musical style. Without a doubt, they were one of the most talented bands to emerge in the seventies.

In November and December 1974, the band recorded 'The Best Years of Our Lives' at Abbey Road Studios and Air Studios in London. Speaking to Record & Popswop Mirror in November 1974, Harley said, "The best work I've done yet is on the new LP. I find that I'm not writing in such a surrealistic way anymore. I'm writing slightly more blatant, less subtle. The whole album is a theme. The whole story is a dialogue, almost between two people – or a group of people and the artist: questions and answers. It's kind of like a guy who goes through a metamorphosis and comes out of it in good shape – alive and kicking." He added to the magazine in 1975, "This album is something I believe in. It means so much to me than anything I have done before."

Harley recorded this album with a new Cockney Rebel lineup. His new band had a real identity, probably just as strong as it's illustrious predecessor, and the masterful guitar playing of Cregan and keyboard wizard Duncan Mackay underpinned by the funky as hell rhythm section of Stuart Elliot (from the first Cockney Rebel) and newcomer George Ford proved that Steve Harley And Cockney Rebel were one hell of a rock and roll band.

Steve Harley & Cockney Rebel 1975
L-R: George Ford, Jim Cregan, Steve Harley, Stuart Elliot, Duncan Mackay

"The Best Years Of Our Lives" was released March 1975 in the UK on EMI Records EMC 3068 and in the USA on EMI Records ST-11394. Produced by ALAN PARSONS and STEVE HARLEY - it peaked at No. 4 in the UK (but didn't chart in the USA strangely enough).

To promote the album, the band embarked on a UK and European tour from March 1975 onwards. On the tour, the band hired guitarist Snowy White to play rhythm guitar. In a January 1975 issue of Record & Popswop Mirror, it was announced that the upcoming tour would feature "a specially built set and lighting to reflect songs and images featured on the forthcoming album". Later in the year they toured America, as a support act for The Kinks.

The Album

After a minute-long fade in, the "Introducing" opening melts into a rapid-paced flirt song called "The Mad, Mad Moonlight" where a 'big girl' asks him upstairs who may or may not be concerned with his/her gender. That synth comes over better and the snarled lyrics kick just as much as they did back in the day. One of the Seventies great slick-willy songs - "Mr. Raffles (Man, It Was Mean)" lulls you into a false sense of 'walk on the wild side' almost easy listening suave when it's actually a tune about a shifty git who doesn't care who he hurts. Once again the keyboards float across your speakers during "It Wasn't Me" - taxis in the early hours - whiffs of withered flowers - accusations from she who has her suspicions about Steve's whereabouts earlier in the evening. Side 1 ends with guest vocalists Liza Strike, Linda Lewis, Tina Charles, Martin Jay and Yvonne Keeley aiding Harley on "Panorama" - a five and half minute opus about the coldness of city life - and with an edit could easily have been another single.

Side 2 opens with the magical "Make Me Smile (Come Up And See Me)" - a tune that feels so sophisticated even now - a genuine slice of Pop greatness and some 45 years after the event - probably played more times on oldies stations than any other Cockney Rebel song. It's rare that you'd call such an overtly pop beat 'beautiful' - but when that organ solo comes sailing in and the girls do their backing vocals magic once again - that was it's number one moment on the hit parade and has been so ever since.

"Back To The Farm" gives us six-minutes of paranoia - people listening in - the girls echoed vocals giving the song a Sensational Alex Harvey Band menace (power in those guitars). Things get clavinet funky with "49th Parallel" - probably the best Production on the album - dig that warm and clear Bass underpin. A slow six-minute event-lurch ends the album - "The Best Years Of Our Lives" talking about no room for laughter - changes twisting perceptions - it's an epic tune and the Remaster has lent it real muscle.

Bonus Tracks:
You are going to love "Another Journey" - a B-side that could easily have been on the album. Next is a 'Rough Mix' of "Make Me Smile..." where Harley's lead vocals seem too weak in the stew but that musical accompaniment is fantastic and the acoustic solo vs. keyboards crescendo still sounding awesome albeit a wee bit different (but not in a bad way).
The five and half-minute 'Acoustic' cut of the title track is great - bare and truthful lyrics you can now actually hear - Harley sounding not unlike Ray Davies of The Kinks.

This post consists of FLACs ripped from CD and includes full album artwork for both Vinyl & CD media.  I choose not to rip my vinyl as it has been played 'too many times' and a dodgey stylus has left its mark I'm afraid.   Bonus tracks were sourced from the 2018 reissue of the album.

Track Listing:

1. Introducing "The Best Years"

2. The Mad, Mad Moonlight 

3. Mr. Raffles (Man, It Was Mean) 

4. It Wasn't Me 

5. Panorama 

6. Make Me Smile (Come Up And See Me)

7. Back To The Farm 

8. 49th Parallel 

9. The Best Years Of Our Lives 

Bonus Tracks: 

10. Another Journey - 31 January 1975 UK 45-single on EMI Records 2263, Non-Album B-side of "Make Me Smile (Come Up And See Me)" 

11. Mr. Raffles (Man, It Was Mean) (Single Version) - 16 May 1975 UK 45-single on EMI Records 2299, A-side

12. Make Me Smile (Come Up And See Me) (Rough Mix) - previously unreleased *

13. The Best Years Of Our Lives (Acoustic Version) - previously unreleased *

* Sourced from the 2018 reissue of the album

Cockney Rebel were:

Steve Harley - Vocals

Jim Cregan - Guitar, Backing Vocals

Dunkan Mackay - Keyboards

George Ford - Bass, Backing Vocals

Stuart Elliot - Drums

Steve Harley Link (366Mb)