Sunday, July 20, 2014

Various Artists - Sunbury (1972)

(Various Australian Artists 1972)
Though not the first major music festival in Australia, the Sunbury Music Festival was the first to turn a profit and to run consecutively for several years. For 4 years from 1972, the festival was held on the Australia Day long weekend at a private farm on the outskirts of Sunbury near Melbourne, attracting around 35,000 punters of pop. Likened at the time to Woodstock, today Sunbury can be seen as a forerunner to big festivals like Big Day Out, Falls and Splendour in the Grass. Line-ups included home-grown acts such as Skyhooks, Billy Thorpe and the Aztecs, Sherbet, Daddy Cool and Captain Matchbox; with international guests like Queen and Deep Purple headlining in later festivals. However, it was Deep Purple who tolled the death knell for the Sunbury festival in 1975. Operating at a loss, organisers paid out the UK rock stars at the expense of the local acts who went home penniless.

Sunbury 72
 David Hill (a youthful ABC journalist) reported the pioneer festival culture at Sunbury '72 as a mix of hippies, yobbos, organic food stalls and makeshift tents and swags. The first Sunbury concert was held over the Long Weekend period from 29th to 31st January, 1972.
Tickets cost $6 for the 3 days and there was an estimated 35-40,000 in attendance. Gerry Humphreys (of the The Loves Ones) was the MC and the festival sported the largest number of bands of all the Sunbury concerts.  Bands playing at the festival were:

The Bushwackers and Bullockys Bush Band
Captain Matchbox Whoopee Band

Glenn Cardier
Company Caine
Healing Force
The La De Das
Mackenzie Theory
Phil Manning
Max Merritt and the Meteors
Wendy Saddington
Tamam Shud
Billy Thorpe & The Aztecs
Total Fire Band
The Wild Cherries
Greg Quill & Country Radio
Indelible Murtceps
The La De Das
Mulga Bill's Bicycle Band

Barry McCaskill & The Levi Smith Clefs

Because the site of Sunbury Music Festival was closer to Diggers Rest than Sunbury itself, many patrons travelling by train to the festival would get off at Diggers Rest station. However, the "Diggers Rest Pop Festival" just didn’t have the same zing to it. While the inaugural concert of 1972 is usually remember as being an all-Australian event, many of the performers actually hailed from New Zealand. But as we do, we’ll turn a blind eye to that and claim them as our own, especially Thorpie.
Sunbury '72 also exemplifies the male domination of the popular music scene at that time, although photographs indicate that the audience seems to have been fairly evenly split in gender terms, almost all the performers were male. Wendy Saddington was the only female headliner on the bill, and only one other band, Mackenzie Theory, featured a female member (violist Cleis Pearce).
The festival was organised in late 1971, when a company called Odessa Promotions was formed in Melbourne. Its principals were, according to Adrian Rawlins, "industry people" from the Melbourne television scene, including several TV floor managers and directors; it is likely that several had worked on Melbourne pop TV like Uptight. The principal of the company was John Fowler.
By this stage, five other major festivals had already been mounted, and the oft-repeated claim that Sunbury was Australia's first rock festival is quite untrue. Unfortunately, none of these earlier festivals was financially successful. Undeterred, Odessa Promotions organised and promoted a major rock festival with an all-Australasian line-up, although it's important to note that we don't know for sure whether this was a deliberate decision (or one merely dictated by financing) or whether or not Odessa considered bringing in overseas acts (or not).

The evidence suggests that Sunbury's success was a mixture of good luck and good timing, rather than careful planning and good organisation. Like Woodstock, Sunbury almost didn't take place, when they began looking for a site, the organisers discovered that few landowners were willing to allow their property to be used for a three-day rock festival that would attract tens of thousands. Fortunately, the festival was saved by a local landowner who offered Odessa the use of part of his property at Glencoe, just outside the township of Sunbury, about 35 km north-west of the city. The farmer, Mr George Duncan, was reportedly motivated to make the offer because he "believed in young people".

Opinions vary greatly about Sunbury's significance. Most commentators claim that it was a turning point in Australian rock, a symbolic coming-of-age for youth culture, and the birthplace of the pub-rock scene. These theses have been prosecuted by rock historian Ian McFarlane and the writers of  'Long Way To The Top', among others. As a result, the assertion that Sunbury was a defining moment in Australian music history has been accepted virtually without question, and without reference to any other evidence, and much of the information about it remains unconfirmed and anecdotal. As far as we know, no-one as yet has undertaken the tasks of recording a comprehensive oral history that includes performers, organisers and patrons.
However, the website used in the above account of Sunbury 72, probably boasts the most extensive accounts and photos of the four Sunbury concerts, and is worthwhile visiting.

Sunbury 72 (extract from The Real Thing)
According to Billy Thorpe, 'Australia was always about two years behind the States. They had Woodstock in 1969 and we had Sunbury in 1972.' Billy continues: 'I went to Sunbury for five days with my wife and we got a tent backstage and lived there while they built the site. It was a real community. And the vibe was just extraordinary.'
The first day of the Sunbury pop festival, 28 January 1972, marked the beginning of the modern era for Australian rock & roll. Held over three days on a 300-acre site just outside Melbourne, Sunbury was the biggest single rock event to be staged in Australia. The bill was largely home-grown and, as Thorpe points out, all the architects of the Successes  of the '70s  were  at that  festival— Michael  Browning, Michael  Chugg, Michael Gudinski, Sam Righi and Roger Davies. The acts were even more crucial. Max Merritt and The Meteors flew back to Australia from the UK for the gig, which also featured every major Australian artist with the exception of Daddy Cool. As with Woodstock (the film of which had recently been shown across Australia and which had done more to propagate the myth of the rock festival  than the event itself), Sunbury was  a celebration of youth culture.

Max Merritt And The Meteors

The Acacia River was the inevitable site for skinny-dippers, coverage of which was the most interesting phenomenon for the mass media. Two young men were arrested for public indecency after having sex with a sixteen-year-old girl, two babies were born, and the kids behaved well.
Nudity notwithstanding, the show really belonged to Thorpie. The Aztecs were then at their absolute prime and they blew the heads off most of the music fans with a two-hour set of relentless boogie. By the time they rocked into 'Most People I Know Think That I'm Crazy' it was clear that Thorpie was king and that the country had a new national anthem.

By early 1975 Billy Thorpe and The Aztes had become the loudest and heaviest band in the country. Their appearance at Sunbury '72 cemented their popularity with the yob crowd and resulted in the Live at Sunbury album. Also in 1972 the band released the single 'Most People I Know Think That I'm Crazy' which became Billy Thorpe's first Top 10 hit in seven years. The album More Arse Than Class followed in 1974 which found favour with the 'Suck More Piss' crowd. [extract from 'The Real Thing (1957-Now)', Toby Creswell & Martin Fabinyi, Random House 1999, p58-59]

This post consists of MP3 (320kps) and FLACs ripped from my treasured double vinyl set, which I acquired some years ago at a garage sale (and let it be known that the early bird does catch the worm).  I couldn't believe my luck when I found this gem tucked away in amongst some throw away titles and happily paid the $2 price tag.  When I discovered its immaculate condition, I knew it was the find of the century.
So here it is folks, in all its glory. No pops or crackles to be heard and full album artwork for both LP and CD are included (thanks to Micko for the CD Artwork).  I have also chosen to include the full rendition of Mamma (by Billy Thorpe And The Aztecs) released on their own Live At Subury album, which is 2 minutes longer than this release.  In addition, the bonus Sunbury 72 recording " I Wanna Make Love To You" by SCRA is also included to help fill out this resulting 2 CD set.
I would also like to acknowledge the use of photos sourced from the National Australian Library and others taken by Soc Hedditch.

Track Listing
01 - Morning Good Morning (The La De Das)
02 - Roundabout (The La De Das)

03 - Gonna See My Baby Tonight (The La De Das)
04 - Soul Sacrifice (Pirana)
05 - Some Good Advice (Spectrum)

06 - I'll Be Gone (Spectrum)
07 - We Are Indelible (The Indelible Murtceps)
08 - Be My Honey (The Indelible Murtceps)
09 - But That's Alright (The Indelible Murtceps)
10 - Try A Little Tenderness (Max Merritt And The Meteors)
11 - Fanny Mae (Max Merritt And The Meteors)
12 - You Touch Me (Max Merritt And The Meteors)
13 - Roly Poly (SCRA)
14 - Mamma (Billy Thorpe And The Aztecs)

Bonus Tracks
14 - Mamma (Billy Thorpe And The Aztecs - Full Version) *
15 - I Wanna Make Love To You (SCRA - Bonus Track) +

* Taken from The Aztecs Live At Sunbury
+ Sourced from YouTube

Sunbury 72 Link (MP3)
Sunbury 72 Part 1 (FLAC)
Sunbury 72 Part 2 (FLAC)

Tuesday, July 15, 2014

Various Artists - Wizards Of The Water (1981) Movie Soundtrack

(Various Australian Artists 1979-1981)
'Wizards of the Water' is a film for surfers of the 80's, featuring the Best Surf and the Best Surfers in the world. And it just so happens that the Best in the world are Australians and the Best Beaches are the Beaches they surf. The film follows the Wizards of Australian Surf. World Champion Mark Richards from Newcastle, runner up to Mark, Cheyne Horan from Bondi, Surfabout and Bells Champion Simon Anderson to name but a few. Wizards of the Water sees these surfers in locations and conditions that have to be seen to be believed: The Easter of '81 Bells Beach competition in Victoria where competitors surfed the biggest surf in 20 years, The Big Wave spots of Hawaii - Waimea Bay and Pipeline and then on to Indonesia. Here the Producer of the Film Alan Rich, with his crew of surfers half the honour of being the first surf film makers ever to be invited by the Indonesian Government to explore the Island of Lombok in hope of discovering potential Surf Beaches. What they found was far beyond expectation.
Wizards of the Water take you with them on this unique adventure of discovery. For his film, Rich wanted music equivalent to the energy of the Australian surfers. He knew there was only one choice. His Soundtrack for Wizards of the Water had to be Australian. The music from the film represents the best Australia has to offer....Australian Surf, Australian Surfers an, Australian Music. The Best in the World. Wizards of the Australian Film. [Cover Linear Notes]

'Wizards Of The Water' was released on 14 December, 1981 at the Sydney Opera House Music Room . The movie was directed by Alan Rich and the cover art was done by Phil Meatchem.  It's a great example of that period in Australian surfing with the surfing of Mark Richards and Cheyne Horan featured heavily throughout.  

Mark Richards
Richards was thought of as unstoppable during his world title years. In 1979 he skipped four of the scheduled 13 events (two in South Africa, two in Florida), and was ranked fourth going into the World Cup in Hawaii, the final event of the year. In what would turn out to be the decade’s most thrilling title finish, the three front-runners faltered one after the other, and the 22-year-old Richards won both the World Cup and the championship. He won four of 10 events in 1980 to easily defend the title. The 1981 and 1982 seasons were closer, but without the drama of 1979. Australian Cheyne Horan was Richards’s main rival, finishing runner-up to the championship in 1979, 1981, and 1982.

A key to Richards’s world tour success was his re-fashioning of the twin-fin surfboard. He’d been shaping his own boards since age 15 (in 1977 he had a two-month-long shaping seminar with Hawaiian board-making guru Dick Brewer, whom Richards credits as having inspired his designs for twin-fin boards that could be ridden in larger surf), but was struggling to keep up with smaller, lighter pros when the waves dropped below three feet—which happened often on the world tour. Richards took note in 1976 when Hawaiian surfer Reno Abellira came to Australia with a wide, blunt-nosed 5’3? board with two fins; the following year Richards produced a longer and more streamlined version of the twin-fin, saying later that the boards were “fast and maneuverable,” and that he “felt like he could do anything on them.” Twin-fin fever swept through the surf world in the late ’70s and early ’80s, then was stopped cold by the 1981 introduction of the tri-fin surfboard (see picture above)

Richards retired from full-time competition surfing at the end of the 1982 season. He’d won Rip Curl Pro at Bells Beach four times (1978–80, 1982), twice won the Stubbies Pro (1979 and 1981), twice won the Gunston 500 (1980 and 1982), been a four-time Duke Kahanamoku finalist (winning in 1979), and a four- time Pipeline Masters finalist (winning in 1980). In 1985 he entered and won the Billabong Pro, held at Waimea Bay and Sunset Beach, and in 1986 he defended his Billabong title—a competitive surfing career epilogue that has no equal. [extract from]


This post consists of MP3 (320kps) and FLAC files ripped  from my vinyl copy of this classic surf movie.  Not a pop or crackle to be heard here surfers - just pure, unadulterated 'Classic Aussie Music'.
Full album artwork is also included along with a selection of band photos from the era along with various promotional posters used for the movie.
So get ya wax out and unbolt ya board from ya roof rack surfers, cause' surfs up at Rock on Vinyl .......but careful you don't get caught in the rip!  LOL
Track Listing
01 - Khe Sanh (Cold Chisel)
02 - We Can Get Together (Icehouse)
03 - DC10 (Mental As Anything)
04 - Just Keep Walking (INXS)
05 - Devil's Gate (The Angels)
06 - The Nips Are Getting Bigger (Mental As Anything)
07 - Standing On The Outside (Cold Chisel)
08 - Paradise Lost (Icehouse)
09 - In Vain (INXS)
10 - Into The Heat (The Angels)

Wizards of the Waters Link (MP3)

Wizards of the Waters Link (FLAC)

Stop Press: Improved Rips Posted


Saturday, July 12, 2014

Canned Heat - Live At Topanga Corral (1970)

(U.S 1965 - Present)
Live at Topanga Corral is a 1970 live album by Canned Heat. The album is taken from a 1969 concert at the Kaleidoscope in Hollywood, California and not at the Topanga Corral as the title suggests. Canned Heat was under contract to Liberty Records at the time and Liberty did not want to do a live album, so manager Skip Taylor told Liberty that the album had been recorded in 1966 & 1967 at the Topanga Corral and released the record with Wand Records to avoid legal complications. The record has been bootlegged and reissued countless times, and is also known as Live at the Kaleidoscope. The band never actually received any money for this LP.
Canned Heat rose to fame because their knowledge and love of blues music was both wide and deep. Emerging in 1966, Canned Heat was founded by blues historians and record collectors Alan “Blind Owl” Wilson and Bob “The Bear” Hite. Hite took the name “Canned Heat” from a 1928 recording by Tommy Johnson. They were joined by Henry “The Sunflower” Vestine, another ardent record collector who was a former member of Frank Zappa’s Mothers of Invention. Rounding out the band in 1967 were Larry “The Mole” Taylor on bass, an experienced session musician who had played with Jerry Lee Lewis and The Monkees and Adolfo “Fito” de la Parra on drums who had played in two of the biggest Latin American bands, Los Sinners and Los Hooligans.
The band attained three worldwide hits, “On The Road Again” in 1968, “Let’s Work Together” in 1970 and “Going Up The Country” in 1969 became rock anthems throughout the world with the later being adopted as the unofficial theme song for the film Woodstock and the “Woodstock Generation.”

They secured their niche in the pages of rock ‘n roll history with their performances at the 1967 Monterey Pop Festival (along with Jimi Hendrix, Janis Joplin and The Who) and the headlining slot at the original Woodstock Festival in 1969. The band can boast of collaborations with John Mayall and Little Richard and later with blues icon, John Lee Hooker, the musician that they initially got much of their musical inspiration from in the first place. This union produced the spirit

ed and revered album, “Hooker ‘n Heat.” The band is also credited with bringing a number of other forgotten bluesmen to the forefront of modern blues including Sunnyland Slim, who they found driving a taxi in Chicago, Skip James, who they found in a hospital in Tunica, Mississippi and took to the Newport Festival, Memphis Slim and Clarence “Gatemouth” Brown with whom they recorded in France and Albert Collins.
On September 3rd, 1970, the band was shattered by the suicide of Alan Wilson. His death sparked reconstruction within the group and member changes have continued throughout the past three decades. On April 5th, 1981, at the Palamino in Los Angeles, gargantuan vocalist,Bob Hite, collapsed and died of a heart attack and on October 20th, 1997, Henry Vestine died in Paris, France following the final gig of a European tour. In 2008, singer/harmonica frontman Robert Lucas passed away from a drug overdose.
(L-R) Alan Wilson, Bob Hite, Adolfo de la Parra
Despite these untimely deaths and assorted musical trends, Canned Heat has survived. They have performed at world-renowned venues such as Paris’ Olympia, both Fillmore Auditoriums, The Kaleidoscope, Carnegie Hall (with John Lee Hooker), Madison Square Garden and even Royal Albert Hall and have played more biker festivals and charity events than any other band in the world. They and/or their music have been featured on television (In Concert, David Frost, Merv Griffin, Midnight Special, Playboy After Dark, etc.), and in films (“Woodstock,” “Flashback,” and “Forrest Gump”) etc. Their legend has recently been heard and felt in various television commercials (“On The Road Again” for Miller Beer, “Goin’ Up The Country” for Pepsi, Chevrolet and McDonalds, “Let’s Work Together” for Lloyd’s Bank, England’s Electric Company and for Target Stores along with other songs for 7-Up, Levi’s and Heineken Beer).

Now, more than forty-five years later and with thirty-eight albums to their credit, Canned Heat is still going strong. They have been anchored throughout the past forty years by the steady hand of drummer/band leader Adolfo “Fito” de la Parra. Joining “Fito” is original bassist Larry “The Mole” Taylor and New Orleans legend, Dale Spalding on harmonica, guitar and lead vocals. Chicago great Harvey Mandel is the regular guitarist but has been temporarily replaced by John “JP” Paulus while “The Snake” deals with serious health issues. [extract from]
Review - Live at Topanga Corral (aka Live at Kaleidoscope)
(The following review is contributed courtesy of music scholar Kyle Fosburgh. Please visit his website for more great reviews)
Fortunately for those like myself, who have never been able to see the original Canned Heat group with the “Blind Owl,” there is an assortment of good quality live recordings that we can always listen to at our leisure. 
This release was Canned Heat’s first attempt at a live record and it proved to be a musical success. They hold nothing back at this show. The album starts off with a bang as the group performs one of their live classics, “Bullfrog Blues.” This song is guitarist Henry Vestine’s time to shine. He flies on the guitar, grinding out the notes out and improvising at will in between verses and the vocal phrases. His guitar is loud and in your face, yet manages to stay out of the business of the rest of the band. Alan Wilson also performs an amazing, and rather fast guitar solo compared to the majority of his work. The ferocious Delta guitar finger picking displayed in this solo is perhaps similar to what had been last heard only by those who stood on the street corners of Greenwood, MS as Robert Johnson played his heart out way back when. “Bullfrog Blues” really exemplifies how the two drastically different styles of Alan Wilson and Henry Vestine could play off of each other so naturally. “Bullfrog Blues” is one of the many examples where Henry takes control of the lead guitar work while Alan backs him playing a classic Delta style rhythm guitar. It is a combination that was essential to the Canned Heat sound.
Another song from this album where Alan furthermore displays his incomparable Delta style, is on the groups version of “Dust My Broom.” For this song, Alan uses his slide and creates a certain aura which I like to call harsh smoothness. His guitar is loud and grinding, but at the same time, very melodic and not in your face. Canned Heat performed this song much slower in this performance than they had on the studio track and the version which they performed at the famous Monterey Pop Festival in 1967. This rendition has a deeper more bluesy sound, while their earlier versions produced more of a boogie sound. The Live at Topanga Corral version is a truly virtuosic performance and is perhaps one of the all time greatest live tracks from Canned Heat.
The last track on this release is a true gem called “When Things Go Wrong.” The studio cut of this song can be heard under the title “Sandy’s Blues” on the Living the Blues album from 1969. With a throwback horn arrangement, the studio track really takes you back, but if you know early blues, the live track just might take you back even further. Alan’s slide is piercing in this live performance, and the instruments create an amazing reverb throughout the Kaleidoscope club.
An interesting fact about this recorded show is that the classic boogie that Canned Heat used to end many of their shows, was in fact performed and recorded this night, but it wasn’t used on this album. It was actually used on the Living the Blues album from 1969 under the title “Refried Boogie.” The song is rather long, clocking in at around 40 minutes and taking up both sides of the original vinyl.
This post consists of MP3 (320kps) ripped from a CD release (my vinyl has seen better days) and includes full album artwork. The quality of the recording is not the greatest (recorded in 1969) but the music certainly makes up for this short coming.
So enjoy this classic Canned Heat recording and remember,  don't forget to Boogie, Boogie, Boogie....
Track Listing
01     Bullfrog Blues                      7:21
02     Sweet Sixteen                        10:57
03     I'd Rather Be The Devil       5:10
04     Dust My Broom                     5:46
05     Wish You Would                   8:03
06     When Things Go Wrong    9:08

Vocals – Bob Hite
Bass – Larry Taylor
Drums – Adolfo (Fito) de la Parra
Guitar – Henry Vestine
Harmonica, Vocals, Slide Guitar – Alan Wilson
Canned Heat Link (96Mb)

Tuesday, July 8, 2014

Various Artists - Nightmovin' Live (1977)

(Various Australian 1977)
One of the more famous rock concerts from the 70's, Nightmovin' Live was the first of two Nightmoves Concerts held in Melbourne , both held at the historical Palais Theatre in St.Kilda.  I was lucky enough to go to both concerts and have fond memories of seeing some amazing performances by some of the best Aussie acts in town at that time. Who could forget The Ferrets set, which consisted not only of a 10 piece band but also a 12 piece string and horn section and the National Boys Choir.  Kevin Borich was certainly a highlight, as was Mother Goose and The Stars, all with songs shooting up the charts and making headlines in the media.
RAM magazine did a cover feature on this concert and it has been transcribed for you below. But first, a little about the origin of this Nightmoves Concert.
If Countdown was AM radio with vision, Nightmoves could make a similar claim in FM terms. (Not surprisingly, Nightmoves compere Lee Simon was program director of Melbourne's EON-FM.) Billed as 'The Alternate Rock Show', Nightmoves emphasized the album market and it, too, broke new ground since starting in May 1977.

The Seven Network owned Australian rights to footage from overseas shows such as Midnight Express, material seized upon with relish by young would-be producer Andrew McVitty, who had big ideas about a late night rock show. More than four years on air proved just how correct those ideas were.
When footage ran low, Nightmoves started running and filming its own concerts and it did not limit itself to the rock scene. Jazz and classical music are shown on the program if the vision is 'interesting' enough; and other areas such as movies are covered. One of the show's best innovations has been the use of simulcasts in conjunction with FM radio stations, and a considerable amount of Nightmoves-produced material is seen on cable television in the United States and on the BBC in England. After their 1981 tour of Australia, American performers Hall and Oates used live footage from Nightmoves to help get "Kiss on My List" to the top of the US charts.

Nightmoves' biggest drawback was its time slot. Often it would not get to air until after midnight on Fridays, but the program's longevity was a strong statement about the following it has attracted.
Melbourne DJ Lee Simon had dreamy bedroom eyes and was just the right host for the late night rock show, Nightmoves, featuring videos, interviews and live performances on the Seven Network. Friday nights were very cool if you weren't going out. Viewers prepared to get by on a few hours' sleep on Friday nights could be up in time to catch the three-hour Sounds, with Donnie Sutherland, early Saturday Morning.
[extract from Australian Music Directory Edited by Peter Beilby and Michael Roberts. 1st Edition, 1982, p188]

Eventually, Channel7 and Simon had the idea to finance a series of Nightmoves Concerts in Melbourne, to showcase some of the homegrown talent that was appearing in local pubs and rock venues at the time. Consequently, the first of these concerts was held on September 22, 1977 at the Palais Theatre in St.Kilda and recorded for release.. 

The Ferrets (with compere Lee Simon middle top)
After seeing The Ferrets in their first concert situation, one; can only presume that lan Meldrum's and Michael Gudinski's involvement with the band will make them or break them.
All the good things have come too soon for the members of a band that have been around for a long time in years, but have a mental attitude which is quite pathetic.
A hit single first time around, thousands of dollars spent on them in the studios, lavish production and the works could have The Ferrets collapsing under pressure.
They spent hours rehearsing for the concert and yet when they came on stage they were as nervous as hell and fell apart at the seams.
About 80 extra people were on stage at various times to help them with the big production numbers—40 little cherubs from the National Boys' Choir, a 12 piece string and horn section, Ariel's Tony Slavich on keyboards plus another key tickler, a sax player and banjo man. They opened the show with "You Belong With Me", a romantic little song that highlights the girls, Pam and Jane Miller, on harmonies.

Kevin Borich Express
After a couple more songs came the big production numbers, first "Dreams Of A Love" which had the choir, the strings and the horns plus this wailing police siren. And that's when the big mess started.
Curtains were dropped incorrectly over half the choirs' heads, a little choir boy was supposed to sing a solo bit and through no fault of his own missed the cue and stood there quite embarrassed. The sound became a big botch as everything got tangled up.
Then in "Janie May" we had all their friends, members of The Wombats, girlfriends, drag queens and Geoff Duff with inflatable plastic doll dancing across the stage, squirting beer and singing. A song that had sounded so nice and sweet in the studios had been ruined. They have talented songwriters and a brilliant up front man cum lead singer cum their best guitarist in Bill Miller. They shouldn't detract from it.
Dragon headlined the show but it seemed that everyone was quite weary after going through five bands before. The sound was dreadful, the lighting bad, the theatre curtains again went bonkers and it was only thanks to Marc Hunter, their lead singer, that the show was redeemed.
Everybody said that Dragon and Mother Goose were the best acts of the day, and that's not surprising.
Mother Goose I had seen too many times to see again cos I know their stage routine well enough.
But back to Dragon—they were great.
Opening their set with their forthcoming single "April Sun In Cuba", they then stepped into "Blacktown Boogie", "Get That Jive", "Sunshine" and "This Time".
For the first time during the concert, more than 10 people were dancing in the aisles-more like three quarters of the 1000 odd people left their seats and the rest stomped feet and clapped hands urged on by Marc, who with a bit more tact in the tongue will slay his audiences even more in the future.
Lead guitarist Robert Taylor sang his "Bob's Budgie Boogie", a great little rocking number.
The band finished off with the amazing "Dance", which can run for anything between five and 15 minutes.
In this song we saw keyboards player Paul Hewson practice his ballet and do a country and western jig and a waltz with Hunter. One thinks they'd better stick to the keyboards and the singing.
Mother Goose
Dragon encored with a little punk rock number whose title was indistinguishable, but unlike many of the new wave bands, they are all excellent musos and the song came over reeking with class.
Dragon showed The Ferrets that you don't need all the lavishness to produce a great show. All you need is talent, good songs, a quick tongue and a rapport with the crowd.
Other bands on the show were Billy T, Stars, Mother Goose and Kevin Borich Express.
A double album will be released featuring the best bits on Mushroom Records, and the live footage can be seen on Nightmoves over the next couple of months.
(Reviewed by Diane Schubert. RAM. October 21, 1977. Page 31)

The Stars
This post consists of both MP3 (320kps) and FLAC rips from my 'near perfect' vinyl copy which I've proudly owned since its release in 1977.
Yep, another gem that I've looked after and only played a few times, recording it to tape for listening purposes.  Also included is full album artwork, along with customised artwork for CD (thanks to Mick at Midoztouch).  Label scans and a scan of the RAM article are also here for your perusal. I am also including a photo of the inside of the Palais Theatre, depicting where I was sitting - the best seat in the house in my opinion (see below).
Track Listing
01 - Chattanooga Choo Choo (Mother Goose)
02 - Great Balls Of Fire (Mother Goose)
03 - Your Song (Mother Goose)
04 - Winning Hand (The Stars)
05 - Red Neck Boogie (The Stars)
06 - I'll Be Creepin' (The Stars)
07 - My Old Dog (The Ferrets)
08 - Just Like The Stars (The Ferrets)
09 - Lies (The Ferrets)
10 - Blacktown Boogie (Dragon)
11 - White Light White Heat (Dragon)
12 - Who The Cap Fit (Billy T)
(Click To Enlarge)
13 - I Am What You Are (Billy T)
14 - Snowball King (Kevin Borich Express)
15 - She's A Lover (Kevin Borich Express)
16 - Going Downtown (Kevin Borich Express)

Compered by Lee Simon
Nightmoves FLAC Link (499Mb)
Nightmoves MP3 Link (191Mb)

Friday, July 4, 2014

Tredegar - Remix & Rebirth (UK 1986-91) plus Bonus Live Tracks

(U.K 1982-1991)
Based in Wales, TREDEGAR was formed in 1982 by the ex-BUDGIE duo of drummer Ray Phillips and guitarist Tony Bourge in collaboration with erstwhile ZORRO, DUMPYS RUSTY NUTS and GROUNDHOGS bass player Alan Fish, although he departed to join the GROUNDHOGS and then form AUTOLAND COMMAND before joining EGYPT. The bassist's position was taken by Tom Prince. TREDEGAR made a name for themselves by self financing their self-titled album and "Duma", single release. Finding themselves minus a vocalist prior to recording the first album in 1986, PERSIAN RISK and TOKYO BLADE frontman Carl Sentence performed vocal duties on the record. The first 500 copies of the album sleeve were coated in genuine gold leaf, making them much sought after collectors items. Sentence's career took him on through the GEEZER BUTLER BAND, PAUL CHAPMAN's GHOST and KROKUS.
TREDEGAR finally found a permanent vocalist in Russ North just before the album's release and the band would prove club regulars including many old BUDGIE numbers in their set. Guitarist Andy Wood bailed out in the Summer of 1987 but did cut a new demo utilising TREDEGAR frontman Russ North as session vocalist. Prince quit to join ex-ANGEL WITCH drummer Dave Dufort's act PHANTASM and was replaced by Mike Taylor.

1986 Lineup (L-R): Tony Bourge, Mike Taylor,  Russ North,  Ray Phillips, Andy Wood
North and Wood also quit as they joined Midlands act CLOVEN HOOF for the 'Dominator' album. Taylor also departed leaving TREDEGAR as a duo of Bourge and Phillips before the addition of guitarist Lee Jones in late 1987.
The band recorded a second album in 1991 with vocalist Trixie Thorne but this never saw the light of day until the 'Remix And Rebirth' CD in 1994. 'Remix And Rebirth', contained Tredegar's 1986 full-length debut in its entirety, their unreleased 1991 album in its entirety, and some extra tracks. All tracks were re-mastered.
Jones jumped ship joining HAMMERFIST for a brief period before TREDEGAR were resurrected by Phillips in 1993 retitled SIX TON BUDGIE, the pre-recording name of BUDGIE.
Tredegar: Mega Metal KERRANG! No. 3, 1986  (Interview by Malcolm Dome)   
TREDEGAR elicited this response when we received a package from the Welsh quintet containing not only their debut album, but also a letter from main man/drummer Ray Phillips. In this epistle, he explained how, when faced with total disinterest from the country's record labels, he had taken out a second mortgage of some $26,000 on his farmhouse in order to put out some product.
Thus, with our consciences severely pricked, 'twas decided 'm that a feature article had to be done on this most Welsh of bands and that's how Phillips and I recently came to be sharing a glass of pineapple juice plus a couple of straws on a brawny afternoon.
"The band (who take their name from a village in wales, wherein reside not only Phillips but also Michael Foot and Neil Kinnock, both members of the Gonzo Drood Da Da band) first came together about three years ago. It was formed by myself and guitarist Tony Bourge."
Now, at this point, lemme interrupts and explains that both men had initially made a name for themselves with Budgie, alongside Burke Shelley. To many, Budgie represented the epitome of the UK hard rockin' ethic during the mid-Seventies and although I could never stand'em, it cannot be denied that they did achieve a certain credibility. Anyway, after trying to put together his own post-birdie act called Ray Phillips Woman, the affable drummer eventually found his way back to Bourge and the notion for Tredegar.
"Tony had built a four-track studio at his house and we spent six months recording with Welsh session musicians and just took our time getting all the songs ready for the public to hear them. We then began yo audition for a long-term touring band and about two years ago set foot onto the road, initially doing local gigs and building from there. The current line-up (featuring lead vocalist and Paul Stanley freak Russ North, lead guitarist Andy Wood and bassist Mike Taylor) came together some time later.
So far, it's the usual local band tale. However, here's where things begin to enter new realms. Faced with total indifference from all record companies (The major ones weren't at all interested in hard rock and the smaller ones didn't wanna know 'cos we weren't a Trash Metal band), Phillips, Bourge and Scottish manager Jimmy Kelley went for broke and raised the money themselves to lay down the vinyl. They formed Aries Records and recorded 'Tredegar', the debut album I reviewed in Kerrangl #123
"We wanted to go beyond just putting out another independent LP, so I designed a gatefold sleeve with our logo embossed in gold on the cover and we've also put out a single "Duma", again with an expensive sleeve. To be honest, we've had so many problems along the way that at one time, I did wonder what was gonna come out of this but I think the records are ones we can all feel proud of"
Tredegar then hired a small video company to shoot a live version of "Duma" at the Hatfield Forum, using a 15-strong crew, one camera and just three-and-a-half hours of time and then, having persuaded PRT to distribute to opus in the UK, tried to garner some interest in the States.
"I'll never forget going up to see someone at Atlantic Records in New York. It amazed me how the guy could sit there only half listening to the music, taking phone calls all the time and then at the end of it all proclaim, "You'll never get any radio airplay with this'. But that's what happened. It really depressed us because it seemed as if our dream was being cut from under us, especially as the other companies were also unimpressed, but we persevered and got a really amazing response from the US radio/video stations.
We then took another chance and hired a stand at the recent Montreux Music Video Festival. We were the only independent company to do something like that and the response again was great. We got assurances of airplay from 'Sky Channel/Music Box/Much Music' of Canada and as a result of our presence we also got a recent slot of TV AM - quite a coup!"The money is starting to run out now for the band, but the job is done. Records are in the shops on both sides of the Atalantic ('Important' picked up the LP/Single in America for distribution) and touring plans are now being laid. It's far too early to tell whether or not the boys' heavy gamble has paid off (sales of some 60,000 worldwide are needed for the quintet merely to break even on this project), but I can't help but wish 'em well.
Any act who show the enterprise to do what they have done without any big-time aid, deserves all the success available to 'em.
The story of Tredegar is a salutatory lesson for us all.

This post consists of a MP3 rip (256kps) taken from a CD release, and includes full album artwork for both the CD and their LP release (debut album). I have also chosen to include some Budgie tribute tracks taken from a live concert at Chistlehurst Caves, London on 31 October 1983. I have also included a copy of the heavy metal magazine 'Kerrang123' interview with Tredegar, as transcribed above.
If you are a big fan of Budgie or any NWOBHM then you are really gonna like this release. Ray Phillips is one of the best drummers around and Tony Bourge does not disappoint with his great guitar licks and riff based compositions (although I'm not sure about his new 80's image)
Re-mix - Blended to Perfection (Tracks 1-9):
01. Duma
02. The Alchemist
03. Way Of The Warrior
04. Richard III
05. Battle Of Bosworth
06. The Jester
07. Which Way To Go
08. Wheels
09. Sabre Dance (previously unreleased version) 

Re-birth - The Pleasing Sounds (Tracks 10-19):
10. Love It Or Hate It
11. Burn In Hell
12. Dead To Rights
13. Love No Other
14. Talk
15. 521453D
16. Dirty
17. Heaven On Earth
18. No Surprises
19. 3.45 In the Morning

Budgie Tribute Tracks
01 - Parents
02 - Breadfan
03 - Napoleon Bona Parts One and Two
 (Performed live at Chistlehurst Caves, London on 31 October 1983)
Tredegar Link (168Mb)

Monday, June 30, 2014

W.O.C.K On Vinyl - Bruce Woodley: Friday Street Fantasy (1969) E.P

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.

I came across this E.P quite by accident in a pile of bits and pieces at the local flee market and it was only the name Woodley on the outside cover that caught my attention. When I realised it was a recording by Bruce Woodley (from the Seekers) I purchased it immediately,  not knowing that it was originally released inside a children's book.
The one sided record jacket did seem a little strange at the time, and didn't look like a normal 45 release.
After doing some research at home, I discovered that the 4 track E.P was released with Bruce Woodley's children book entitled 'Friday Street Fantasy'. The fact that the E.P was was in mint condition and cost me a gold coin was a win, win, but if I'd known about the book, I may have also found it in amongst the bric-n-brac.... the icing on the cake so to speak!
The book was published by Paul Hamlyn,Sydney, 1969. Aside from the party-in-an-ornamental-photo-lettering-catalog cover shown above, it's full of wonderful illustrations and mysterious music…
Basically, the story goes something like 'there was this little town called Friday Street (yes, a town called Street - just ask Bruce Woodley). It was full of sad children until one day…the "Friday Man" came to town with a rainbow in his hand!  And now everyone in town sings and plays and has fun. aaahh! a pink and orange town!
The next song "Little One" is a lullaby, followed by a song about "Captain Grumblepeg", and his lady Mary Morningstar, who presumably lived there also. Finally, a song of hope with "Little Miss Sorrow" with her beautiful  balloons, so I'm sure she’s not sad for long.
On the back cover, we meet Bruce, singer, songwriter and member of the seekers (a famous Australia folk group from the 60s). Apparently he was 26 when he made this album!  The creators of the colorful illustrations in the book were Paul Corley and Jeannette Spencer.
An appearance by Bruce Woodley performing "Friday Man" was broadcast on ABC-TV (Australia)'s "Hit Scene" on December 6, 1969 and repeated 39 years later on the overnight music show "Rage". To see Bruce Woodley perform "Friday Man" take a look at the following You Tube Clip. Bruce is also interviewed by "Hit Scene" host Dick Williams about his current projects at the time.
This month's WOCK on Vinyl post ticks all the boxes for being one of the most Obscure recordings I have come across so far, and I hope you enjoy it. I have included as much artwork as I could find, along with label scans. I have also chosen to include the Hit Scene Interview video clip as an extra bonus.  All tracks ripped to MP3 (320kps) from this crispy clean vinyl.
Track Listing:
01 - Friday Man
02 - Little one
03 - Captain Grumblepeg
04 - Little Miss Sorrow

Friday Street Fantasy Link (55Mb)

Thursday, June 26, 2014

Pearl Jam - Unlicensed Live Vol.1 (1993) Ex. Bootleg

(U.S  1990 - Present)
Pearl Jam is an American rock band, formed in Seattle, Washington in 1990. Since its inception, the band's line-up has included Stone Gossard (guitar), Jeff Ament (bass), Mike McCready (guitar), Dave Krusen (drums) and Eddie Vedder (vocals). The band's fifth and current drummer is Matt Cameron of Soundgarden, who has been with the band since 1998.
Along with Nirvana, Pearl Jam were initially known for popularizing grunge, the Seattle sound that exploded nationwide in the early Nineties. But the band became an American rock institution by broadening their heavy, Led Zeppelin-influenced sound while maintaining the emotional depth that made their songs so resonant in the first place. Leaping from obscurity to superstardom, the band sold more than 15 million copies of its first two albums, and after a couple of years during which they got mired in high-profile controversies, Pearl Jam recovered and were still filling arenas at the close of the 2000s.

They originally called themselves Mookie Blaylock, in honor of the basketball player, but changed the name to Pearl Jam, purportedly after a psychedelic confection made by Vedder's half-Native American great-grandmother, Pearl. (Vedder finally admitted the story was bogus in 2006).  The band was signed by Epic Records in 1991, releasing their debut album 'Ten' in 1992

The band toured extensively, headlining small halls and opening for the Red Hot Chili Peppers, Neil Young and U2. They headlined the 1992 Lollapalooza Tour and opened for Keith Richards on New Year's Eve 1992. Vedder, Gossard and Ament took time out to play Matt Dillon's backing band, Citizen Dick, in the 1992 Seattle-based movie Singles. By the end of 1992, Pearl Jam was among the biggest bands in the world. Vedder's intense, clenched-teeth delivery gave life to his personal travails ("Alive," "Black"), while songs like "Jeremy" and "Why Go" were easy rallying cries for teenagers seeking music they could call their own.

Pearl Jam embarked on their 1993 European / North America tour after completing the recording sessions for its second album, VS. The Europe leg included a few shows in which the band opened for U2 on the band's Zoo TV Tour, while both legs included several shows in which the band opened for Neil Young on his Harvest Moon tour. Guitarist Mike McCready said that when the band opened for U2 in Europe the crowds hated Pearl Jam. The short tour of North America focused on Canada and the West Coast of the United States. When the band opened for Neil Young, Young often brought the band out for encores to perform "Rockin' in the Free World". Bassist Jeff Ament said that playing with Neil Young was "the most inspiring thing that we've ever been involved in."

This bootleg was recorded at Brixton Academy, London, 07-14-93. It took me a while to work this one out, but once I matched up the track listing for this release (along with the listing for Vol.2) it became quickly apparent that this concert has been released under different titles (ie. Brixton, Live at Brixton Academy) and is renowned for some of Vedder's more colourful dialog with the crowd.
"Lookee here!" Eddie dangles a tampon before his Jim Morrisonian leer. "It's the personal gifts that mean the most, man," he cackles. "This song is called Blood, as a matter of fact"

One song in and the stage is already littered with the debris of feminine appreciation. Two songs in and it's time to take a couple of steps back so the idiots at the front can breath again.

Rock hysteria ripples through the steaming, tightly-packed, check-shirted flesh. This is one of the cool bands you're supposed to freak out to. I think I'll give that a miss and listen to the music instead.

Even Flow is staggering and, of course, there's that stuka dive-bomber of a voice roaring out of the sky. 'Even Flow' is stopped until someone in the crowd who is down gets back up. Ed starts counting the people in front to see if everyone is all right. 

The Rolling Stones' 'Beast of Burden' is covered briefly, with the lyrics modified to "... all I want from you is to make love to me" with Ed clarifying that those are just lyrics and they don't really mean it.

But it's not too long before Pearl Jam realise they've got an uncritical audience, and the grungey guitars and launchpad song structures start bleeding into one big musical hairball of yowls and fuzz. Alive is set up on the altar inscribed "Here's one ya all know," but sounds the way burning sugar smells.

Later on the dive bomber drops a few new songs, which sound good on the way down, but don't quite explode, except for Indifference, a comparative whisper of a song that transmits itself almost telepathically across the hushed auditorium - a ghost at this feast of over-cooked rock n' howl...

[extract from C.B.Liddell]

This post consists of MP3 (32kps) ripped from a rather unattractive Bootleg release by AMCOS (Australian label) but the quality of the recording is A+.  Full album artwork is included (plain as it might be) along with some alternative artwork from other bootleg releases of Brixton Academy, London, 07-14-93.
Vol 1 is the first half of the concert only. (Vol 2 contains the 2nd half of the concert which I have yet to source)
Full concert details are:
Brixton Academy: London, England (07-14-93)
Attendance: 6,426
Support act: Tribe After Tribe
Set List:
Release, Even Flow (song stops), Blood, Animal, Why Go, Deep, Jeremy, Rear View Mirror, Beast of Burden/(Suck You Dry), Alive, Black, Go, Daughter/(W.M.A.), Porch/(Tearing), Once, Garden, Blues Jam/State of Love and Trust
Encore 1: Leash, Fuckin’ Up, Sonic Reducer
Encore 2: Indifference
Track Listing (Vol 1)
01  - Release    
02  - Even Flow    
03  - Blood    
04  - Animal    
05  - Why Go    
06  - Deep    
07  - Jeremy    
08  - Rear View Mirror    
09  - Beast Of Burden (Suck You Dry) 
10  - Alive    
11  - Black    
12 -  Don't Go Under

Pearl Jam Link (125Mb)