REPOST: Various Aussie Artists - A Hair Of The Dog (1974)

(Various Australian Artists)
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A 12 track sampler from EMI's top Australian pop albums, this is a very rare Australian Various Artists compilation album. Some of the artists featured on this album went onto bigger and better things (eg. Johnny Farnham, Ariel and Ross Ryan) while others simply disappeared off the grid (eg. Pirana, The Ormsby Brothers).  The following are brief bio's on the featured group, while the back cover of the album provides details about the albums from which these tracks were lifted.
The tracks themselves are not the singles that were officially released from the albums, which makes this sampler even more desirable from a collectors point of view.
Overall, there is a wide range of musical styles represented on this sampler, from cabaret, to popular to progressive rock. Not the greatest album cover which probably didn't help EMI in their venture to promote the artists showcased, but the title is quite cliche' and clever (hopefully when you hear one track from the album, you'll want more and consequently buy the LP)
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Ariel
(Both "Worm Turning Blues" and "And If It Wasn't For You" taken from LP 'A Strange Fantastic Dream)
Ariel formed in mid-1973, after the breakup of Spectrum. When Spectrum drummer Ray Arnott announced he was leaving to join Ross Wilson's new band Mighty Kong, Putt and Rudd decided to end the band rather than try to recruit a new member, feeling that it wouldn't be possible to recreate the special spirit of the group. Within a few months of Spectrums's farewell performance a new band (its name taken from the character in Shakespeare's "The Tempest") was up and running. Ironically, the two new members, Tim and Nigel, had originally come to Melbourne to work with Ross Wilson and Ross Hannaford on their new project (which became Mighty Kong) and it was after they departed that Ray Arnott was invited to join, thus precipitating the split of Spectrum!
Strong record company interest in Ariel quickly led to a contract with EMI's progressive Harvest imprint. Their superb debut single Jamaican Farewell looked set to repeat the early success of Spectrum but it managed to reach only No.34, its success hampered by lack of airplay, especially in Sydney. They toured as support to Gary Glitter November 1973 and released their excellent first LP 'Strange Fantastic Dream' in December, with writing credits split fairly evenly between Gaze and Rudd. According to Noel McGrath, the album was also the first use of Moog synthesizer on an Australian rock record. It fared very well commercially and critically, reaching No 12 in the LP charts in February 1974.
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Ross Ryan
("Goodbye Mitchy" was taken from LP 'A Poem You Can Keep', "There Is No Pain" was taken from LP 'My Name Means Horse')
Ross Ryan is one of Australia's most respected and successful singer-songwriters. Like his contemporaries Greg Quill and Mike McClellan, he emerged from the folk scene, and enjoyed brief chart prominence in the mid-70's with his 1974 hit single "I Am Pegasus", for which he is probably best remembered these days.
In March, 1973 he released his second album, 'A Poem You Can Keep', which got his career off to a flying start. Produced by Dawkins, engineered by former Abbey Rd chief Martin Benge, and arranged by Peter Martin, it spawned a hit single "I Don’t Want To Know About It", won 'Record Of The Year' at the Australian Record Federation Awards for 1973 and earned Ross a second gong as 'Best New Talent'.
In November '73, Ross supported Helen Reddy on her national tour, coinciding with the release of his new single, "I Am Pegasus" (b/w "Country Christine Waltz"). It was a runaway success, becoming one of the most successful Australian singles of the year, and the biggest hit of Ross's career, earning him the first of four first gold records. It went to #1 in Sydney, reached #9 nationally, and stayed on the top forty for an extraordinary twenty-three weeks. 
Ross made a memorable appearance at the 1974 Sunbury Festival in January, followed up by the release of his third album in January 1974 and the subsequent release of the single "Orchestra Ladies". Propelled by the huge success of the "Horse" single, the Horse LP was also a major hit -- it sold 15,000 copies within two weeks, in March it was declared "gold", and it peaked at #3 nationally in April 1974. It eventually earned Ross three gold record awards and stayed in the charts for 17 weeks. In March Ross made another short US trip, performing concert and clubs dates, after which he briefly returned home, when Prime Minister Gough Whitlam presented him with gold record awards for both the album My Name Means Horse and "I am Pegasus" [extract from Milesago]
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Pirana
("Then Came The Light" taken from LP Pirana II)
For anyone who is hopelessly hooked on progressive and classic rock of the 70s, Pirana is simply a must. "Pirana" was a short-lived act from the 70s, which was one of the major driving forces and attractions in Australian music scene in these years.
Pirana was formed in 1970 by Stan White (keyboards), Jim Duke-Yonge (drums), Tony Hamilton (vocals, guitar) and Graeme Thompson (bass) as a new musical venture for the latter three following their tenure in pop band Gus & The Nomads. Their first recording were as a backing band for a solo album by Greg Quill, but in 1971 they were signed by legendary record label Harvest and soon got busy making their debut album.
Pirana I hit the shops in 1971, and while their debut album didn't exactly set the world on fire the band quickly established themselves as a popular live act. For anyone who is hopelessly hooked on progressive and classic rock of the 70s, it's simply a must. Too often the description of their music is concentrated on the influence of Santana - yes, that's difficult to deny, but "Pirana" performed their own unique version of quite heavy prog rock balancing on the verge of acid/hard, not unlike their British peers, with powerful drumming, roaring guitars and lengthy Hammond solos. In my humble opinion the influence of Santana is grossly exaggerated. "Stand Back" from the first album is a true masterpiece featuring exceptional drumming solos, while the opening track from the second album - "Pirana" - is mesmerizing tune inspired by Maurice Ravel's "Bolero".

Pirana

Stan White left the band shortly after the release of their first album and was replaced by Keith Greig. And with White out of the band guitarist Hamilton had a more prominent place as a songwriter for Pirana's second effort Pirana II, issued late in 1972. A direct result of that was that the band started moving slightly away from their Latin-inspired sound. They never managed to hit the big time with their second LP unfortunately, not even a superb performance at 1972's Sunbury festival gave the band the true commercial breakthrough they required. Indeed, the latter actually cemented their reputation as a Santana-influenced act, and while their credibility as a live unit soared their merits, their studio efforts remained unrecognised.
Grieg left the band in 1972, and a flurry of line-up changes followed for the next couple of years, until Pirana fizzled out to disbandment in late 1974.
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The Ormsby Brothers
(Both "Da Doo Ron Ron" and "The Sun Ain't Gonna Shine Anymore" taken from their Selftitled LP)
The Ormsby Brothers were: Neville Ormsby, Michael Ormsby and Adrian Ormsby. Their sound was almost like the USA Osmond Brothers who were enjoying world-wide success at the time, and I'm sure these two groups have been confused at some stage by the unwarey.
The boys were born in New Zealand and began vocalising together as a group in 1967. In September, 1971 they moved to Australia. Their first single was 'I Saw Mommy Kissing Santa Claus' which was released just prior to Christmas, 1972. The following year they recorded Lesley Gore's 'You Don't Own Me' which became their first and only hit, making the top ten in all states. It reached #2 and stayed in the charts for 20 weeks. Music producer Peter Dawkins said he looked back on that single, engineered by former Beatles studio assistant and later Sherbet producer Richard Lush, as the best of his early Australian productions.
Following on from the single's success they released an album entitled The Ormsby Brothers which won for them the 1973 Easy Listening Vocal Award presented by the Australian Federation of Commercial Broadcasters.
The latter part of the year was crammed with television and live appearances all over Australia with the highlight being part of the first concert presented at the Sydney Opera House.
In December they released their next single, 'Sweet Virginia' which sold only moderately and since 1975 they've been singing in the Sydney club circuit. Although they were not contracted to a record company at the end of 1977, they had plans of putting together an album in the near future.
Strangely enough, Chris Spencer's Who's Who Of Australian rock makes no refernce to this group.
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Johnny Farnham
("My Love" from the LP 'Johnny Farnham sings the big hits of '73 Live' and "Don't You Know It's Magic" from the LP "Hits Magic & Rock 'N' Roll")
John Farnham, aka Farnsy, Johnny, Whispering Jack and The Voice is an iconic Australian entertainer whose career has spanned over four decades.
Farnham was born on the 1st July 1949 in England and moved to Melbourne at the age of 10 and has lived here ever since. This wannabe plumber took a break from his apprenticeship in order to pursue a music career which has seen him become one of Australia's best-loved performers with a career spanning over 40 years.
In 1967, Sadie (The Cleaning Lady) was his first hit which topped the Australian charts for six-weeks running.  Selling 180,000 copies in Australia, "Sadie" was the highest selling single by an Australian artist of the decade. Farnham's debut studio album, Sadie was issued in April 1968.
He later released a cover of BJ Thomas's "Raindrops Keep Falling On My Head" in 1969, which also reached the #1 position on the Australian charts.
Most of his early 70's material could be classified as being both Pop and Cabaret music, but he soon reinvented himself in the early 80's with the help of Glenn Wheatley to be labelled as one of the best voices in Australian rock.
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The Coloured Balls
("Whole Lotta Shakin" taken from the LP 'Ball Power')
Original line-up: Mick Hadley (vocals); Robbie Van Delft (lead guitar); Rob Dames (bass guitar); Peter Miles (drums); Sam Shannon (vocals).
The band was formed in Brisbane following the breakup of the Purple Hearts. Mick and Rob were from the Hearts; Robbie was from the Bowery Boys; and Peter and Sam had had a variety of experience.
In 1971, Lobby Lloyd took over on guitar and the group, all sporting 'skinhead' hair styles, gained a reputation as a loud band after the style of the Aztecs.
By August 1972, the line-up had changed totally and included Trevor Young (drums); Lobby Lloyd (guitar); John Miglands (bass guitar); and Bobsie Millar (guitar). The band's first notable single was "Liberate Rock", which was written by Lobby. Most of the backing was provided by the Aztecs prior to the hew Coloured Balls being formed. Although it didn't quite make the charts, the single did make history being the first in Australia to be advertised on radio.

The Coloured Balls

The follow-up was "Mr. Mean Mouth"/"Love Me Girl" in May '73. Then in September they enjoyed their first chart success with a revival of Elvis Presley's "Mess Of Blues". Later, in November, came a single called "Flash", and in December they released their best selling 'Ball Power' album.
Another single by the boys, "Love You Babe", charted midway through 1974, but unfortunately the group disbanded not long after. However, in May 1976, an album entitled The First Supper Last, which was recorded in 1972 with the line-up at that stage, was released on the Rainbird label.
Lobby initially went solo, recording for Bootleg Records. In 1976 he released an LP with the Southern Electric Band called Obsecration which was also on the Rainbird label. Then, in 1977 he left for England. Trevor Young turned up in popular band, Fingerprint, in 1977.
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Jeannie Lewis
("Fasten Your Wings With Love" taken from the LP 'Free Fall Through Featrherless Flight')
Jeannie Lewis is widely acknowedged as one of Australia's most accomplished, versatile and passionate vocal artists, and a performer whose work crosses many musical boundaries. Jeannie started her singing career on the Sydney folk and jazz circuit in the mid-1960's then moved into the rock scene in the early 70s, establishing a strong reputation through her dynamic performances and powerful interpretations of songs both on stage and on the outstanding recordings she made in those years. During the 80's and 90's she continued to develop and broaden her career, with roles in musical theatre and the unique one-woman cabaret shows that reflected her growing love of Latin music, and her commitment to the often-underrated role of women's voices in music. Jeannie can adapt her voice to a large and eclectic range of material -- folk, rock, blues, opera, torch songs, Broadway tunes, tango and jazz -- and she is recognised both here and overseas as a peerless interpreter, with a rare ability to make almost any material her own.

Jeannie Lewis

In 1973 EMI issued Jeannie's classic debut album, Free Fall Through Featherless Flight, arranged and directed by Carlos. Its cover was designed by renowned Australian artist Martin Sharp whose first record designs were the classic psychedelic covers for Cream's Disraeli Gears and Wheels of Fire LP's
Backing Jeannie on the album was an all-star lineup including Michael Carlos on Moog, organ and harpsichord, Mike Wade and Mike Reid (guitars), Ken Firth (bass; ex-Tully), Jamie McKinley (ex-Cool Bananas, piano), Greg Henson (drums), Alan Lee (percussion), Marcia Hines (backing vocals), Shayna Stewart (backing vocals, ex-Extradition, Tully), The Fidelio String Quartet and a wind section. The album won the Australian Radio Record Award for the Best Australian LP of 1974, despite receiving virtually no radio support whatsoever outside the ABC, although it was featured on Chris Winter's pioneering show Room To Move, and gained further airplay in the early days of radio station 2JJ (Double Jay) in Sydney.
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The La De Das
("The Place" taken from the LP 'Rock and Roll Sandwich')
Original line-up: Bryan Harris (drums); Trevor Wilson (bass); Bruce Howard (organ/sax); Phillip Key (lead vocals); Kevin Borich (lead guitar).
The band formed in New Zealand in 1965 and after reaching the top there (with their single, "Hey Baby" which made number one), they left for Sydney two years later.
On their arrival in Australia they received little attention from their recording company who at first refused to let them record. As a result they fell into a rut working steadily, but uneventfully, in Melbourne and Sydney. Then early in 1968 they decided to buy new instruments and develop a new act. The change brought with it a renewed interest in the band and in March, 1969 they released their highly acclaimed 'Happy Prince' album. Two months later they left Australia to try their luck in England. Other, more renowned groups, had tried before them without success and the La De Das found the going just as tough. They returned in April, 1970 minus Trevor and his place was taken by Reno Tehei (ex-Genesis and Compulsion). In the meantime their album had sold steadily during their absence, and later in the year Bryan left and he was replaced by Keith Barber.
More line-up changes occurred in January, 1971 when Bruce left to form a duo with Trevor, and Reno also moved out. The band added Peter Roberts and reformed as follows: Phil Keys (vocals and guitar); Peter Roberts (bass); Keith barber (drums); and Kevin Borich (vocals and guitar).
They consolidated with the new format and released a new single, "Sweet Girl"/"I Can't Find A Reason". Then in November, '71 came the breakthrough they had been waiting for when they made the charts with one of their biggest hits "Gonna See My Baby Tonight". Another hit was achieved six months later with "Morning Good Morning". But, just as they seemed destined to become the superstars they had tried so long to be, the band experienced another setback. In September, '72 Peter and Phil left to form the Band of Light. But not to be discouraged, the band took on Ronnie Peel (ex-One Ton Gypsy and Thunderclap Norman) to play bass and worked as a trio.
The new three piece format created a new vigour, with Kevin having to work harder on guitar, and in November, 72 they released an exciting single called "I'll Never Stop Loving You". From there they settled into a hectic pattern of work and in July, 1973 they issued their notorious Rock'n'Roll Sandwich album.
The following year was their last together, but included a single, "The Place" (May, 74), a tour with Gary Glitter (July, 74) and also a re-entry into the charts with Chuck Berry's old rocker "Too Pooped to Pop".
Kevin went on to form Kevin Borich Express while Ronnie recorded under the alias of Rockwell T. James as well as playing with John Paul Young's All Stars.
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This post consists of FLACs ripped from my vinyl copy of the EMI sampler, which I found at a flee market for the pricely sum of $2. Also included is full album artwork and label scans, plus all photos featured here. Please note that a majority of the band bio's were sourced from: Australian Encyclopedia of Rock (Noel McGrath, 1978. Outback Press) and the Milesago Website.

New Improved RIP

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Track Listing
01 - Worm Turning Blues (Ariel)
02 - Goodbye Mitchy (Ross Ryan)
03 - Then Came The Light (Pirana)
04 - My Love (Johnny Farnham)

05 - Da Doo Ron Ron (The Ormsby Brothers)
06 - Whole Lotta Shakin' (Coloured Balls)
07 - Don't You Know It's Magic (Johnny Farnham)
08 - The Sun Ain't Gonna Shine Anymore (The Ormsby Brothers)
09 - Fasten Your Wings With Love (Jeannie Lewis)
10 - The Place (The La De Da's)
11 - There Is No Pain (Ross Ryan)
12 - And If It Wasn't For You (Ariel)
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EMI Sampler Link (274Mb) New Link 11/08/2025
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Janus - Gravedigger (1972) + Bonus Single

 (U.K 1972-1974,  80's, 90's, 00's)

Janus were a legendary band that produced a solitary inventive 1972 album that has achieved cult status as a Krautrock classic becoming a coveted collector's item.

Janus was born as a progressive rock band made up of English musicians in Krefeld in Germany in 1970, retired broke and unknown in 1973, despite being signed to the prestigious EMI "Harvest" label, alongside such bands as Deep Purple, Pink Floyd, and Edgar Broughton. Re-born in 1990, and just achieving success in 2001.

 

The original band, were Colin Orr (Guitar/Keyboards), Roy Yates (Classical Guitar), Bruno Lord (Vocals), Derek Hyett (Vocals), Mick Peberdy (Bass) and Keith Bonthrone (Drums). Style was truly original, and it has been said that Janus were the originators of the genre that became "acoustic rock". That probably misses the fact, that like the name, the band had two very distinct, schizophrenic, sides. Capable of soft, beautiful melodies, they also cranked out some mega-decibel material, which a few years later would have had them tagged as a punk band.

 

Signed to EMI Harvest in 1970, in 1971 they recorded the classic "Gravedigger" album. Remarkably, the whole album, including mixing was put together in 24 hours of studio time, and eventually released in 1972.

For two years, the band lived in Holland, partied on - making the "summer of love" a 36 month event - and managed very few live appearances. Their second album, which should have been made in 1972/3 included some dramatic concept pieces, and a 25 minute track "Under the Shadow of the Moon", which included elements that other artists would not make popular until the 1980's. Sadly, EMI never took up the option on the contract, due to the disappointing sales of "Gravedigger", so the album never got further than the rehearsal studio. 

 

At the tail of 1973 Janus came to England, and managed to perform to one or two appreciative university audiences, before becoming the only band in history to be thrown out of the Cavern Club in Liverpool (too heavy.... read loud). By 1974 it was time to call it a day, so that was the first end of Janus.  

 

Gravedigger

There are many one album wonders that emerged from the heady days of the summer of love social phenomenom of the late sixties. Some bands even lost concept of time and prolonged it well into the '70s and to quote a line from 'This Is Spinal Tap' ended up in the "where are they now? file". Janus was one such band and their 1972 album entitled 'Gravedigger' was one of those wonder albums. Though it may not be up there with the Beatle's Butcher Album, it has been known to fetch ridiculous prices (as much as $350) at record conventions and internet record trading sites. The early misadventures of Janus even rival the ficticious rock 'n' roll catastrophes of Spinal Tap. 

In 1972, Janus were the first band to be recorded at EMI Electrola Maarweg studios in Cologne. They knew very little about the process, so turned up with full staage gear for the session, only to find that their sound levels overwhelmed the studio monitoring. 

Guitar solos, and other "overdubs" were recorded without the musicians being able to hear backing tracks clearly - that's why the guitar solo on "Red Sun" has such strange timing. Orr explains: "I'm standing in the studio with Bruno behind me clamping the headphones over me ears, and Keith in front of me at the other end of the studio clapping in time. But I was pretty much guessing things at the time!"

"We couldn't even play "I Wanna Scream", so the original album featured a version we had from an earlier demo session. And the whole album was recorded in 16 hours of studio time.

'Gravediggers' original production created a Janus sound, very unlike their stage presence. In reality, they were loud and aggresive, or classical and angry or mournful, never psychedelic. Most of the band hated the finished product, and in Orr's case never listened to the album after their initial shock and disappointment. 

Some members of the band regrouped again in the 80's, 90's and OO's to perform and re-record their wonder album, resulting in a remastered & expanded remix being released by Harvest in 2013.  

I have however, chosen to post their original album release here, along with an accompanying single which the released in the same year and bonus tracks. 

Note: A second pressing run of the original Gravedigger album was made by SPM records in 1988, so I am also including the label scans from this pressing, which feature a more interesting picture label (see below).

This post consists of MP3's (320kps) ripped from vinyl and includes full album artwork for both CD (customised) and vinyl media, along with label scans. As a bonus, I am also including the non-album tracks "I'm Moving On / I Don't Believe You" which were released as a single in 1972. I suspect they were not included due to time restrictions with vinyl at the time.

Track Listing:

01. Red Sun   8:56

02. Bubbles    3:54

03. Watcha' Trying To Do   3:56

04. I Wanna Scream   2:43

05. Gravedigger   20:51  

06. I'm Moving On (Bonus A-Side Single)   3:17

07. I Don't Believe You (Bonus B-Side Single)   3:19

Janus were:

Bruno Lord - Vocals

Derek Hyett - Vocals

Colin Orr - Lead Guitar, Keyboards

Roy Yates - Acoustic Guitar

Mick Peberdy - Bass

Keith Bonthrone - Drums, Percussion & Backing Vocals 

Gravedigger Link (116Mb)

REPOST: George Thorogood & The Destroyers - Haircut (1993) + Bonus Tracks

(U.S 1974–present)
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To call George Thorogood a mere devotee of 1950s electric blues does the man a disservice. He lives and breathes the stuff. Thorogood's catalog is saturated with John Lee Hooker boogies, Chuck Berry rockers, and Elmore James shuffles, and he peels off slashing licks, both with slide and without, just like those of his hallowed heroes. 

When George writes a swaggering one-chord anthem like 1982's Bad To The Bone, it comes out sounding a lot like vintage Bo Diddley or Muddy Waters, full of piss and vinegar and voodoo vibes. Inspired by seeing John Hammond in a 1970 concert performance, Thorogood, born February 24, 1950 in Wilmington, Delaware, placed his dreams of playing major league baseball on the back burner to concentrate on playing big league guitar.  

George Thorogood 1993

He put together his original Destroyers in 1973, and then relocated his crew to Boston. An impressive cache of demos got Thorogood and the Destroyers signed to Rounder Records, a Cambridge, Massachusetts based indie label specializing in all forms of roots music from folk to bluegrass to blues but hardly geared to breaking hit records. 

Yet George's rocking 1978 revival of Hank Williams' "Move It On Over", from his second LP of the same name earned so many FM spins nationwide that the album actually went gold—an amazing accomplishment for everyone concerned. With bassist Billy Blough, drummer Jeff Simon, and saxist Hank ‘Hurricane' Carter comprising his Destroyers (they've been a remarkably consistent lineup; Simon arrived in 1974 and Blough in '77, and they're both still with George to this day; Carter stayed from 1980 to 2003), Thorogood continued to bang out ballsy three-chord rockers, most of them culled directly from ‘50s blues and rock and roll. 

Billy Blough

'Bad To The Bone' was an exception, a Thorogood original that provided the title track for his first album on EMI America after the guitarist completed his Rounder stay. The album, which cast Rolling Stones keyboardist Ian Stewart as a guest, sported the usual Hooker, Berry, and Jimmy Reed covers alongside the Isley Brothers' rocker Nobody But Me, but MTV played the hell out of the video of Bad To The Bone, exposing its legion of youthful viewers to its seething, blues-drenched rhythmic throb and Thorogood's snarling axework and vocal. It quickly became his signature theme.  Thorogood scored a chart single for EMI America in 1985 with a revival of the Johnny Otis Show's Willie And The Hand Jive, and Get A Haircut did well for him in 1993. George and his Destroyers are still rocking houses wherever they travel.   [by Bill Dahl]

You wouldn't expect any changes from George Thorogood, whose pile-driving rocking-blues and boogie have maintained their appeal despite the emergence of numerous similar-sounding ensembles. Thorogood's rough-hewn singing and always tantalizing playing on 'Haircut' are on target through the usual mix of originals and covers (this time including Bo Diddley and Willie Dixon). Besides the bonus of major label engineering and production, Thorogood's work has never lost its edge because he avoids becoming indulgent or a parody, and continues to sound genuinely interested in and a fan of the tunes he's doing.

Jeff Simon

Get a Haircut and Get a Real Job

At the mid-point in his career, now 40 years strong, George Thorogood released an unlikely hit - "Haircut".

In 1993, during an era dominated by grunge, with plaid flannel shirts and long, greasy hair the signifiers of a new rock generation the same way paisley print and bell-bottom pants (and long, greasy hair) had been that of the ’60s, there was little room for a blues-rock anthem.

Yet, "Get A Haircut" became Thorogood’s new calling card, a tune as beloved now as the other big hits in his catalogue — Bad To The Bone, and his classic reboot of Bo Diddley’s House Rent Blues/One Bourbon, One Scotch, One Beer — and one that, unlike many of his hits, he penned himself.

“We just got incredibly lucky with the timing,” Thorogood said in a recent phone interview. “The grunge rock/garage thing was big at that time. I said, ‘Eventually, Neil Young is going to write a song like this. And he’s going to give it to Nirvana or Alice In Chains or someone like that.

“Actually, the song is the same song as Crosby, Stills, Nash and Young when they sang, ‘I almost cut my hair.’ Sometimes, something is so old it’s new. But what really thrilled me is that when we did it, the song went to No. 1 requested and No. 1 most played song in Canada on FM radio. Not in sales, but you take a No. 1 for what it is. ‘Well, Canada is our place! We’re going to play Haircut for the rest of our lives up there.’”

Although the song has been part of his live arsenal for decades, there is a good reason why Thorogood hadn’t recorded the song until now.

“I’ve been singing it since 1970,” he said with a laugh. “But I’m not a flat-picker, that style that Hubert Sumlin and Eric Clapton play. I’m a finger picker — I can never get that lick down. Actually, it’s a variation of the Whole Lotta Love lick. I could never play that.

“But next to Howlin’ Wolf, nobody can do Howlin’ Wolf like I can.”

Although Thorogood is slinging an unlikely golden Gibson Les Paul on the ICON album cover, on the back he is showing off a classic semi-hollow body Gibson ES-125, the guitar on which he built his signature sound. (Thorogood has two of these that have become legend, White Fang and Blacktooth.)

“There I am looking like a tough inner-city rock punk,” he said with a chuckle. “That was the energy I was trying to portray anyway. That’s the rock thing, isn’t it?” [extract from George's Website]

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This post consists of FLACs ripped from my CD copy of his 1993 album, and includes full album artwork for both CD and Vinyl.  Although this is not his best release (just love his first two releases from the late 70's) this is still an impressive collection of hard to the bone tracks that have his trademark boogie/blues signature clearly evident.  As a bonus for this repost, I'm also including some radio promo edits of  "Get A Haircut" along with a '92 remix of their hit from 1978 "Who Do You Love".
Oh, on a final note, the title track brings back 'fond' memories when my ol' man would say to me "Get a haircut son, and get a real job".

Improved RIP and Bonus Tracks

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Tracklist

1. Get A Haircut (4:10)

2. Howlin' For My Baby (5:11)

3. Killer's Bluze (6:07)

4. Down In The Bottom (4:00)

5. I'm Ready (3:35)

6. Cops And Robbers (4:47)

7. Gone Dead Train (4:05)

8. Want Ad Blues (5:03)

9. My Friend Robert (2:27)

10. Baby Don't Go (3:24)

11. Get A Haircut [Bonus Radio Edit]  (3:39)

12. Get A Haircut [Bonus Shorter Radio Edit]  (3:24)

13. Who Do You Love [Bonus '92 Mix]  (4:19)

The Destroyers were:

George Thorogood (Guitar & Vocals)

Bill Blough (Bass)

Hank Carter (Keyboards, Sax & Backing Vocals)

Jeff Simon (Drums)

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Haircut Link (415Mb) New Link 04/08/2025

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W.O.C.K On Vinyl: The Hollies - He Ain't Heavy, He's My Brother E.P (1970)

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.

Some 55 years ago, The Hollies recorded 'He Ain’t Heavy, He’s My Brother' in Studio Two at Abbey Roads Studios, London.

… On arriving The Hollies were greeted by a session pianist - Reg Dwight, hired for just £12, who had just released his debut album under the name of Elton John. Drummer, Bobby Elliott, recounts setting up his kit next to Elton with Allan Clarke sitting on a stool nearby and the band nailing the track in the first or second take.

"He Ain’t Heavy…" became one of The Hollies’ most iconic and heartfelt tracks.
The song was originally written by Bobby Scott and Bob Russell and first recorded by Kelly Gordon.
Released in September of 1969, the song climbed to No. 3 in the UK charts and reached No. 7 in the US, resonating deeply with listeners on both sides of the Atlantic.

This was the second single The Hollies released after Graham Nash left the group to form Crosby, Stills, and Nash; the first was "Sorry Suzanne." Nash was replaced by Terry Sylvester.

The title came from the motto for Boys Town, a community formed in 1917 by a Catholic priest named Father Edward Flanagan. Located in Omaha, Nebraska, it was a place where troubled or homeless boys could come for help. In 1941, Father Flanagan was looking at a magazine called The Messenger when he came across a drawing of a boy carrying a younger boy on his back, with the caption, "He ain't heavy Mr., he's my brother." Father Flanagan thought the image and phrase captured the spirit of Boys Town, so he got permission and commissioned a statue of the drawing with the inscription, "He ain't heavy Father, he's my brother." The statue and phrase became the logo for Boys Town.

Boys Town Statue

In the Guardian newspaper of February 24, 2006, Hollies guitarist Tony Hicks said: "In the 1960s when we were short of songs, I used to root around publishers in Denmark Street. One afternoon, I'd been there for ages and wanted to get going, but this bloke said: 'Well there's one more song. It's probably not for you.' He played me the demo by the writers [Bobby Scott and Bob Russell]. It sounded like a 45rpm record played at 33rpm, the singer was slurring, like he was drunk. But it had something about it. There were frowns when I took it to the band but we speeded it up and added an orchestra. The only things left recognizable were the lyrics. There'd been this old film called Boys Town about a children's home in America, and the statue outside showed a child being carried aloft and the motto He Ain't Heavy, He's My Brother. Bob Russell had been dying of cancer while writing. We never got, or asked for, royalties.

 Joe Cocker was offered this song before The Hollies after it had been played first to his producer Denny Cordell. The General Professional Manager for Cyril Shane Music Ltd & Pedro Music Ltd in England at the time explains: "Tony Hicks was in our office looking for songs for the Hollies (our office was not on Denmark Street, it was in Baker Street). Denny called from New York to say 'Joe didn't see the song.' As Tony said in The Guardian, he liked the song and asked for an exclusive the following day. The version he heard was Kelly Gordon, who apart from being a successful producer, also wrote a little song entitled 'That's Life.' His version was slow and soulful which is why I had thought of Joe Cocker to record it. Bobby Russell wrote this song while dying of cancer in Los Angeles.

L-R Terry Sylvester, Tony Hicks, Allan Clarke and 
drummer Bobby Elliott - London, October 1969

We picked up the British rights to 'He Ain't Heavy' from an American publisher Larry Shayne. The song was on a Kelly Gordon album called 'Defunked'. The version was slow and soulful and had Joe Cocker written all over it. Joe turned it down, to his producer's surprise. We had a hit with The Hollies previously called 'I'm Alive,' so we had a relationship with them. Also, we had a great working relationship with the Air London production team, of which their producer Ron Richards was a partner. We never considered playing the song for The Hollies when Tony Hicks was in the office. We were playing songs like 'Sorry Suzanne.' It was only at the end of the meeting I suggested playing Tony this wonderful song, not because it was for them, but just to share the song. We were surprised when he said 'That's the one.'" [extracts from songfacts.com & Wikipedia]

This month's WOCK post comes from a recent find I made at my local flee market - an almost perfect copy of the Hollies 1970 E.P.   The nice thing about this EP is that it features two of my favourite Hollies hit singles:  "Sorry Suzanne" and of course "He Ain't Heavy....He's My Brother". 

Because this EP is now 55 years old, and I have never seen a copy before, I consider it to be Obscure and extremely rare. But the C box can also be ticked this month, not because it's Crazy but because Joe Cocker missed out adding the song to his long list of hits and Kelly Gordon wrote the song while dying from Cancer in 1969 (so sad).   This post consists of FLACs and full artwork with label scans.

Track Listing

A1 He Ain't Heavy, He's My Brother

A2 Mad Professor Blyth

B1 Sorry Suzanne

B2 I Can't Tell The Bottom From The Top

The Hollies were:

Allan Clarke - Vocals

Tony Hicks - Guitar, Backing Vocals

Terry Sylvester - Guitar, Vocals

Bernie Calvert - Bass

Bobby Elliot - Drums

The Hollies EP (71Mb)

REPOST: Golden Earring - Moontan (1973) plus Bonus Singles

 (Netherland 1961 - Present)

Moontan is generally considered by fans and critics alike to be Golden Earring's greatest album. Credit for this popularity is largely owed to the hit single "Radar Love;" a track that has become as much of a radio staple as it has a fan favorite song. 

The original Dutch album on Polydor differs from the American version (released a year later) on MCA (other than the controversial cover), because it doesn't feature "Big Tree, Blue Sea". In it's place are two rather embarrassing songs, "Suzy Lunacy" and "Just Like Vince Taylor".

"Radar Love", good as it is, is only the beginning. Melodic, progressive heavy rock, absolutely cooking, literally from the very first chord to the very last. My Australian pressing, purchased in 1975, with the original sleeve featuring their hit single, has the following track listing: "Radar Love", "Candy's Going Bad", "The Vanilla Queen", "Big Tree, Blue Sea", "Are You Receiving Me". This is the album I am presenting here, and I accept no substitutes!

Golden Earring 1973

Moontan is the utterly fantastic Dutch Progressive Rock band Golden Earring's best album, by far. A lot of what makes the album so awesome are the really excellent and complex compositions of Lead Guitarist. Vocalists are George Kooymans and Flautist Barry Hay, along with the insanely great Basslines of Rinus Gerritsen. The album is full of long multi-part Prog excellence like "Candy's Going Bad", "Big Tree Blue Sea" and "The Vanilla Queen" And brain bashing stompers like the incredible "Radar Love". Moontan is a true Heavy Progressive Rock classic.

With their roots going back as far as the early 60s, many still overlook Golden Earring when considering the most enduring European rock acts. Initially a four piece beat combo, by the early 70s they were an accomplished psych-prog act, complete with a drummer who would mark the climax of every gig by launching himself over his kit. Since 1965, Golden Earring have released 25 studio albums, but by far and away their most successful was 1973's Moontan, an album of shamelessly groovy rock music, and home to one of the greatest road anthems of all time.

Released three years after Golden Earring had finally settled into the stable line up that heave remained the core of the band to this day, Moontan delivers pretty much what most people want from an early 70s guitar rock album, namely big riffs, musical pyrotechnics, extended song structures, killer choruses, and no small amount of virtuosity, without sounding like they were just demonstrating how many notes they could play in a set amount of time. Moontan never loses sight of the fact that rock music should be fun and entertaining, and as a result each of the six tracks on it is absolutely vital to the balance and general vibe of one of the frequently forgotten gems of the era.

On the first side of Moontan's vinyl, the album opens with the long version of "Radar Love" (6:21).  "Radar Love" isn't just a great rock song, it's possibly one the 'greatest' rock songs. With a killer bass line combining with an irresistible driving drum beat to create a relentless rhythm, an immense chorus and a classic theme of love over long distance with the songwriter listening to the radio as he journeys back to the arms of his lover, it's oddly timeless and utterly charming. It's a song that seems to pay homage to the entire history of rock and roll up to that date, yet still sounds utterly its own beast. Hell, even the mini drum solo sounds great. Oh, and the tinny brass used through the chorus evokes listening to shitty 70s AM car stereos like nothing else. If Golden Earring had never recorded another note of music, "Radar Love" would still have left them made men.

Side 1 of Moontan continues with 'Candy's Going Bad' rocks hard. The riff rolls over everything like a steamroller, bluesy in its simplicity. The chorus is awesome, very catchy and full sounding. Beautiful bass and keyboards really bolster the sound. "Vanilla Queen" then closes the side, a final demonstration of their ability to lay down a rock epic where the changes in pace are kept as smooth and un-clunky as possible. Where most bands often get lost in extended song structures by falling back on formless jams, the Golden Earring approach is beautifully structured and never loses sight of the song. It's what makes Moontan, an album of five songs, sound like it's been carefully considered, rather than a group of songs dragged out to lengthier durations because they just didn't have enough material.

Flip the album, and we are now presented with two more killer tracks, each clocking in at 8 and 9 mins respectively.  The first, "Big Tree Blue Sea" makes the Australian release different to its European counterparts (replacing 'Suzy Lunacy' and 'Just Like Vince Taylor'), and it was only very recently that I learnt this fact. "Big Tree Blue Sea" sounds like a cross between Jethro Tull and Yes. The album closer "Are You Receiving Me" which prances through campy choruses, playful horns, trippy guitars and stellar drum/bass interplay over 9+ minutes.

All things aside the hideously dated and off colour artwork considered, Moontan is a legitimately great album, and it certainly retains its charm today, particularly for those of us that are partial to classic rock. While Golden Earring are not a band who are name dropped with any regularity, many of their albums, and particularly Moontan, deserve to be reassessed as rock classics.

Note: America didn't allow the Roxy Music influenced European cover artwork, because it was considered too risque for their people.

Rolling Stone reviewed the album in June, 1974 (see right) and journalist Ken Barnes found most of the tracks on the album to be somewhat 'crippling pretentious'.

He also comments "Most of Side two's effectiveness is diluted by long, tedious stretches of instrumental meandering".

How wrong was he, and obviously he couldn't see past the commercial single 'Radar Love'. I just love it when they get it wrong.

I'm posting freshly ripped FLACs taken from my prized vinyl and includes the usual album artwork and label scans. I am also including a rip of my 'treasured' Radar Love' 45 (an edited version that was released to accommodate the 5min length limit imposed by most radio stations at the time) and its non-album B-Side called "The Song Is Over". Note that the Polydor label incorrectly states that the track was taken from the Moontan LP. To sweeten the deal, I am also including the single "Instant Poetry / From Heaven, From Hell" which was released in 1974.

RIP George Kooymans  [ 25.07.2025 ]

As a tribute to the passing of George Kooymans, I am reposting this iconic album with a link to the Remastered Deluxe 2CD Edition (for a short time only)

For more information on the sad passing of this amazing and talented guitarist, I refer you to the following news release 

Original LP Release

Track Listing

01 - Radar Love
02 - Candy's Going Bad
03 - The Vanilla Queen
04 - Big Tree Blue Sea

05 - Are You Receiving Me
Bonus Tracks
06 - Radar Love (Single Edit)
07 - The Song Is Over (B-Side Single)
08 - Instant Poetry (A-Side Single)
09 - From Heaven, From Hell (B-Side Single)

Guitar, Backing Vocals – George Kooymans
Bass, Synthesizer [Moog], Keyboards – Rinus Gerritsen
Drums, Percussion – Cesar Zuiderwijk
Guest, Saxophone – Bertus Borgers
Guest, Slide Guitar – Eelco Gelling
Guest, Vocals – Patricia Paay

Moontan Link (390Mb)

Moontan Deluxe Edition (818Mb)

Frankie Goes To Hollywood - Welcome To The Pleasuredome (1984) plus 5 x Bonus 12" Singles

(U.K 1980-1987, 2004-2007, 2023)

Frankie Goes to Hollywood (FGTH) were a British band formed in Liverpool, England, in 1980. The group was fronted by Holly Johnson (vocals), with Paul Rutherford (vocals), Peter Gill (drums, percussion), Mark O'Toole (bass guitar), and Brian Nash (guitar).

Four years later, FGTH unleashed a recording on an unsuspecting world that was so epic, so massive, so seismic; that a publicity tsunami finally washed ashore down here in Australia and the existence of Frankie was made known. Despite Frankie's heavy British flamboyance, the act was still irresistible and, for a time, resistance was futile. Yes, Frankie was all the rage with the arrival of the aptly titled mammoth seller of pure, unadulterated, shameless, unapologetic pop pleasure, 'Welcome To The Pleasuredome'.

The group's 1983 debut single "Relax" was banned by the BBC in 1984 while at number six in the charts and subsequently topped the UK Singles Chart for five consecutive weeks, going on to enjoy prolonged chart success throughout that year and ultimately becoming the seventh best-selling UK single of all time. It also won the 1985 Brit Award for Best British Single. Their debut album, 'Welcome to the Pleasuredome', reached number one in the UK in 1984 with advanced sales of over one million.

After the follow-up success of "Two Tribes" and "The Power of Love", the group became only the second act in the history of the UK charts to reach number one with their first three singles; the first being fellow Liverpudlians Gerry and the Pacemakers. This record remained unbeaten until the Spice Girls achieved a six-single streak in 1996–97. In 1985 the band won the Brit Award for Best British Newcomer, and also received Grammy Award and MTV Video Music Award nominations for Best New Artist.

Frankie Goes To Hollywood with Gene Kelly - 1984

Songwriters Johnson, Gill and O'Toole received the 1984 Ivor Novello Award from the British Academy for Best Song Musically and Lyrically for "Two Tribes". In 2015, the song was voted by the British public as the nation's 14th favourite 1980s number one in a poll for ITV.

Today, I still listen to this indulgent gem of a recording that seemed to tap into the zeitgeist of the mid-80s. To dub Frankie a one-hit wonder on the basis of Relax is entirely unfair as they were clearly a one-album wonder. If there was ever an act that dominated the global music scene in 1984 it had to be Frankie. Nowhere had sadomasochism mixed with pleasure pop and fashion more seamlessly than through the quintet of Frankie's Holly Johnson [vocals], Paul Rutherford [vocals, keyboards, dancing], Peter Gill [drums], Mark O'Toole [bass] and Brian Nash [guitar].

FGTH Promo Shot

Of course, in many respects, the true mastermind behind the outfit was then producer extraordinaire Trevor Horn. Horn churned out sterling production after production effortlessly for years particularly during the 1980s. Frankie was his greatest studio experiment and the act seemed to capture the look and sound of a decade of excess through excessively good fun in well-executed and cleverly crafted pop.

Trevor Horn 1984

Horn's credentials are worth mentioning too. He was a supreme master of sound and mixing. Horn's trademark is perhaps best known through his personal stamp on The Buggles' Adventures In Modern Recording [1981] especially Video Killed The Radio Star [best remembered as the first MTV music video], and Yes' 90125 album [1983] [a recording of pure resurrection by commercial standards for the progressive rock band]

Analyzing it today, I'm still blown away by the epic thirteen minute odyssey that is the title track, a personal favorite for my money. The opening seconds is like a stroll through the jungle is a bit like a walk through the local zoo before engaging in a persistent, tight and magnificent groove. As you might imagine, "Welcome To The Pleasuredome" never plays it safe. There's nothing typical about its weave through funky rhythms complemented by ad-libbed verse in the hands of Rutherford's fabulous foil. It is a powerful pop tribute to the long and winding epics of the progressive rock era, yet positively bold and ambitious in its own pop construction. It's positively major. It remains a stunner.

"Relax", arguably one of the biggest pop songs of the 1980s, even if it only barely scratched the top ten in America. Relax is an over-the-top salute to sex. It bursts, it spews and it absolutely explodes with a kind orgasmic energy. One instantly recalls Rutherford and Johnson parading through the laser beam light show in the music video. That, of course, replaced the Brian DePalma [Body Double] production that replaced the banned S&M parlor number complete with leather bondage and drag queens, a clip befitting the track. Still, time and distance has been kind to these songs. I defy anyone to scoff at these selections as anything less than some of the most brilliantly crafted pop numbers ever made. This is bad ass pop music, a culmination of talent and studio experimentation that makes Britney Spears sound positively robotic.

"Two Tribes" tapped into the zeitgeist of a globe dominated by American/ Soviet Cold War politics. Ronald Reagan pressed the Soviet Union to the economic brink inevitably bringing about its eventual dissolution in 1991. That standoff is dramatically captured through a video brawl between Reagan and then Soviet leader Konstantin Chernenko. Chernenko would die in 1985. It represented the ongoing political struggle between two nations and two ideologies with Holly Johnson as the circus ringmaster. It also symbolized the stranglehold those political winds had on nations across the globe. The geopolitical front changed dramatically thereafter.

Frankie Goes To Hollywood on Stage 1984

The remainder of the album is topped with the gorgeous ballad "The Power Of Love", which was accompanied by the controversial nativity-themed religious video. The track further emphasized the band's complete immersion into taboo subjects of politics and religion, heaven and hell, sex and love. The act artfully engineers such risks into a complete canvas of originals and reinventions. Remakes of "Ferry", "War", "Born To Run" and "San Jose" are delightful treats exhibiting Frankie's absolute balls to audaciously cover everything from Gerry Marsden to Bruce Springsteen to the Burt Bacharach-penned Dionne Warwick number. Frankie had the audacity to break all the rules.
[extracts from MUSINGS OF A SCI-FI FANATIC and VALVULADO]

FGHT Profiles

This post consists of FLACs ripped from CD / Vinyl and includes full album artwork for both media types.  I bought Pleasuredome on vinyl when it was first released in Australia along with the 12" single releases of  Relax & Power Of Love.  Over the years, I have been able to track down the remaining 12"single releases of Two Tribes & War. For your pleasure, I am also making these 12" Singles available here as separate links (incase you already have Pleasuredome).   Please note that the front cover (see left) for the double LP release of Pleasuredome is different to the CD release.

Track Listing:
      F - Pray Frankie Pray
01 The World Is My Oyster / Snatch Of Fury (Stay) 1:57
02 Welcome To The Pleasure Dome 13:40
     G - Say Frankie Say
03 Relax (Come Fighting) 3:56
04 War (...And Hide) 6:14
05 Two Tribes (For The Victims Of Ravishment) 3:28
     T - Stay Frankie Stay
06 The Last Voice 0:35
07 Ferry 1:49
08 Born To Run 3:59
09 San Jose (The Way) 3:10
10 Wish (The Lads Were Here) 2:48

11 The Ballad Of 32 4:49
     H - Play Frankie Play
12 Krisco Kisses 2:58
13 Black Night White Light 4:08
14 The Only Star In Heaven 4:16
15 The Power Of Love 5:32
16 Bang... 1:07

Pleasuredome Link (368Mb)

RELAX 12" Single

01 - Relax (Sex Mix)   8:03

02 - Ferry Cross The Mersey   4:11

03 - Relax   4:38

Relax Link (99Mb)

POWER OF LOVE 12" Single

01 - The Power Of Love (Extended Version)   9:45

02 - The World Is My Oyster / Scapped & Trapped / Holier Than Thou   12:14

Power Of Love Link (110Mb)

TWO TRIBES (Carnage) 12" Single

01 - Two Tribes (Carnage mix)    7:56

02 - War! (Hide Yourself)   4:14

03 - One February Friday    1:45

04 - Two Tribes (Surrender)   3:44

05 - The Last Voice   1:14

* Thanks to Deutros at Ausrock for this rip

Two Tibes (Carnage) Link (119Mb)

TWO TRIBES (Annililation) 12" Single

01 - Two Tribes (Annihilation)   9:28

02 - War (Hide Yourself)   4:14

03 - Two Tribes (Surrender)   4:14

04 - One February Friday   4:57

Two Tribes (Annililation) Link (119Mb)

WAR (Hidden) 12" Single

01 - War (Hidden)  8:26

02 - Two Tribes (Carnage) / One February Friday   9:38

War (Hidden)  Link (96Mb)

On A Final Note:  Frankie Say No More War !   

Why you ask ?     

Take a look at this 'Nuclear War Impact Chart' from the back cover of 'Two Tribes (Carnage)'