Thursday, October 8, 2015

The Beatles - Unauthorised: Twist & Shout (1994) Bootleg

(U.K 1960-70)
Beatles in Indianapolis - September 3, 1964

I was in the fourth grade when The Beatles came to Indianapolis on their first ever North American tour. I did not attend the show but remember the hype and the folklore (urban legends) very well and thought I should write a posting on my memories of these days. I tell the story of their first trip to the US and the events in Indianapolis often as the city has changed much and many don't even remember the Coliseum where concerts were played and the Indiana Pacers had their first home some 40 years ago.

The Beatles traveled from Philadelphia to Indianapolis, playing 2 shows on September 3rd at the Indiana State Fairgrounds. They had played one show at 8:00 pm on Wednesday, September 2 at Conventions Hall. After a fun and entertaining chat with the press, and a quick meet-and-greet with a group of lucky locals, the Beatles took to the stage.

Beatles arrive at Indianapolis Airport
According to motor racing writer Bob Jennings who was one of the teenagers in attendance that day: "There was an afternoon show in the fairgrounds Coliseum before a packed house of something like 10,000 screaming fans. Ticket demand was so hot, an evening show was hastily scheduled in front of the grandstand on the one mile dirt race track because the Coliseum was already booked for another State Fair event. I was able to get tickets to the evening show... a couple hundred yards from the stage. There was an electricity that's hard to describe... about the only thing I can compare it to is the start of the Indianapolis 500."

Following their two performances that day in Indianapolis, the Beatles departed for Milwaukee Wisconsin, the next stop along their frantically paced 1964 North American Tour.

I remember most of the "hype" centered around where the Beatles stayed during their visit to Indianapolis. As a young boy at the time, I recall every news report speculated they were staying at the now demolished "Essex House", an upscale hotel in downtown Indianapolis which sat on the east side of Pennsylvania Street across from University Park; the actual address of the Essex House was 407 N. Pennsylvania Street. Various plans have been reported through the years for former Essex House site.

Crowds camped out by the hotel in hope of viewing the "mop tops" who were the sensation of the world at this time. Also fans made their way inside the hotel ripping off wallpaper, removing door nobs and other artifacts. The promoters then moved the Fab Four to the Speedway Motel.

The Fab Four on stage in Indianapolis
The Speedway Motel (on the site of the Indianapolis 500 race track), is still at this location and in use; it is literally the same as it was during the Beatles visit with some minor innovation renovation of the rooms, but no structural changes to the building. The Beatles stayed in rooms 228, 230, 232 and 234. These rooms are virtually the same as when the band stayed in them with the exception on new carpet, wall paper, etc.

The Speedway Motel was built in 1963 and renovated in 1981. It is now called the Brickyard Crossing Resort & Inn which includes a complete renovation of the former "Speedway Golf Course" by local Indiana golf course architect Pete Dye. By visiting the pro shop, you can view a photo on the wall of the Beatles in 1964 just off turn 2 putting golf balls; on what was at that time the location of the practice putting green.[recollections by David Steele]
Concert Review

The Indiana State Fair's finest moment was the booking of the Beatles. For two shows, one at 6 p.m. in the Coliseum, the second at 9:30 in the Grandstand. It was Sept. 3, 1964. (The Fair was held later in the summer then.)

David Humphrey was one of the some 15,000 people who saw the second show, sort of. He watched at a distance, through a fence, with his parents. "We were on Paul's side of the stage," Humphrey said. "We could see the Beatles."  Humphrey was 8. He and his parents were not paying customers, but his two teenage sisters and cousin were. They were in the Grandstand.

Some parents were lukewarm on the four long-haired English musicians who were cutting such a swath through the culture, but Humphrey's parents liked the Beatles, and for the next few years Beatles music pulsed through the Humphrey house, which was in Anderson.
Humphrey grew up and became a freelance writer and photographer (his work has appeared in The Indianapolis Star), and now he has written a book about the historic Hoosier night, "All Those Years Ago: Fifty Years Later, Beatles Fans Still Remember" ($19.95, Butler

The book is illustrated with 10 pages of photos and photocopies of some hilarious letters from fans seeking tickets. For example: "Dear Congressman Brademas: Could you please use all the influence you can possibly muster to obtain these Beatles tickets for me?".
The bulk of the 84-page paperback is made up of interviews with some of the 30,000 people who were at one of the concerts. There are 40 interviews in all.

Twist & Shout
Among the people who saw the Beatles perform at the Indiana State Fair on Sept 3, 1964, were two boys who'd grow up to figure prominently in Indiana politics: Mike McDaniel, a lobbyist and former Republican state chairman, and Democrat John Gregg, a former House Speaker in the Indiana General Assembly and the 2012 Democratic candidate for governor.
Humphrey interviewed them both. McDaniel noted that he "rubbed against the car the Beatles arrived in and got a good look at all of them." He said his favorite Beatles were Paul and Ringo.
Gregg also had a thing for Ringo. "We were seated near the back of the stage, just to the left of Ringo Starr," he says in Humphrey's book. "I'll never forget when Ringo was introduced to the crowd. He was kind and gracious enough to stand and wave to the fans seated behind the stage. Ringo waved in our direction too, and the crowd went wild."

Fans packed the State Fairgrounds Coliseum for one of the two concerts by the Beatles on Sept. 3, 1964.
Despite the mania surrounding the bands' visit, 1964 was still a simpler time, as evidenced by the Beatles' contract rider, the portion that details musicians' hospitality needs.

In 1964, the Beatles were very easy to please. In his letter to Robert Weedon at the Indiana State Fair, dated Aug. 10, three weeks before their historic appearance, Beatles' handler Ira Sidelle of General Artists Corp. wrote that "we would appreciate it very much" if the lads' dressing room could be equipped with "a supply of clean towels, chairs, a case of cold Coca Cola, and if at all possible, a portable TV set." [extract from beatlesmagazine]

.This post consists of MP3's (320kps) ripped from my Grapefruit CD Bootleg and includes the usual 'red' CD artwork. I have also included some covers for other releases of this show and select photos from the concert.  Please note that the 2nd set on this bootleg is not from their 2nd Indianapolis show but rather from their Philadelphia concert held the night before on the 2nd of September, 1964.  Both concerts are crystal clear on this release and free from the distraction of the screaming masses normally associated with their concerts.
01. – Intro (1:21)
02. – Twist and Shout (1:22)
03. – You Can’t Do That (3:10)
04. – All My Loving (2:18)
05. – She Loves You (2:41)
06. – Things We Said Today (2:16)
07. – Roll Over Beethoven (3:15)
08. – Can’t By Me Love (2:41)
09. – If I Fell (2:13)
10. – I Want To Hold Your Hand (3:13)
11. – Boys (2:29)
12.– A Hard Day’s Night (3:04)
13. – Long Tall Sally (0:53)

14. – Intro (0:30)

15. – Twist and Shout (1:19)
16. – You Can’t Do That (3:14)
17. – All My Loving (2:21)
18. – She Loves You (2:34)
19. – Things We Said Today (2:10)
20. – Roll Over Beethoven (3:09)
21. – Can’t By Me Love (2:39)
22. – If I Fell (2:10)
23. – I Want To Hold Your Hand (2:59)
24. – Boys (2:30)
25. – A Hard Day’s Night (2:52)
26. – Long Tall Sally (1:59)  

The Beatles:
John Lennon: vocals, electric guitar, acoustic guitar
Paul McCartney: vocals, bass guitar
George Harrison: vocals, electric guitar, acoustic guitar
Ringo Starr: vocals, drums

 The Beatles Unauthorised Link (115Mb)

Sunday, October 4, 2015

Glenn Shorrock - The First 20 Years (1985)

(Australian 1962 - Present)
Glenn Shorrock has been in colours most of his life. Drafted as an adolescent, he re-enlisted so many times that he became a career soldier, a lifer before he realised it. He served with valor in Australian English European and American campaigns. His name has passed into legend, synonymous with unstinting
dedication and stirring achievement.
As he enters his third decade of performing and recording, this battle scarred veteran observes that "Circles close up ten years or more after they begin". Early influences become recent influences. Old incidents become new songs.   Glenn has traversed a series of circuitous routes during the past twenty years and, although he has worked and recorded all over the planet, there is a familiar thread of honesty and excellence to all he has done.

This anthology is a powerful testament, not just to Glenn's fine talent, but to his own belief in that talent His tenacity, which sent him knocking on international doors many times before they were opened to him was shared by only a few other Australian rock principals of the sixties — Terry Britten, Barry Gibb Steve Kipner and George Young among them.

Born in Rochester Kent in 1944, Glenn arrived in Australia with his family a decade later as an assisted-passage immigrant. Blessed with the legacy of good humour from his Yorkshire father and Londoner mother he saw the sea journey to the far southern land as "a hell of an adventure". As he recalls clearly, "We saw a future in Australia but not in England, where post-war rationing was still in force. Australia was like a colour movie not a bit like grey old England."
"We were booked through to Melbourne but after Perth they said they were short on their Adelaide quota and wanted volunteers. So dad said, What the hell, let's go to Adelaide. The first sight of the city was horrific it was like Changi Prison. The seaport was a long tin shed set in a mangrove swamp. Mother cried for nine months straight; I went to sleep with her crying and woke up to her crying. But dad dug his heels in and got a job at the Weapons Research Establishment in Salisbury and found us a house there."
Glenn's mother took her son and daughter back to England for nine months, then decided to return and give it another chance. In time, the family prospered and moved to the Adelaide suburb of Elizabeth populated heavily by British immigrants. Glenn, by this stage, was obsessed by rock'n'roll. Back in England he had
listened to Frankie Laine and Johnnie Ray records on his Aunty's radiogram but his trembling conversion came at the Elder Park Migrant Hostel (on the site of the present Festival Theatre). "I was laying on my bunk It was a hot day and I had nothing to do, so I was just listening to the sound of somebody else's radio Heartbreak Hotel came on and I almost fell off my bunk. Nothing had ever sounded like that before."

The Checkmates
Glenn's first job was as a junior draftsman at the Mines Department. A workmate was a member of a local hot-shot vocal quartet and when a member quit, Glenn was invited to audition. He was accepted and was in the process of having his stage clothes made when the member decided to come back. Undaunted Glenn decided that he was good enough to be accepted by the Four Tones, he was good enough to lead his own vocal group "I had some friends and we'd sing in the car, drive-in or wherever. There was Mike Sykes, Cklem 'Paddy' McCartney and bass singer Billy Volraat. We worked engagement parties as The Checkmates and then, when Billy left became The Twilights. We worked a-cappella a lot. We couldn't do rock'n'roll because we didn't have a backing band, but if we were at a party where there was a band we'd always get up and sing.
"Then the Beatles broke and everything went crazy. Some friends had a band called the Vector-Men, which included Alan Tarney, and we worked with them for a while. Then we started singing with The Hurricanes which was Kevin Peek, Peter Bridecake, John Bywaters, Frank Barnard and lead vocalist John Perry, who went to the Vibrants and is now Kerry Packer's chauffeur. Perry got edged out, we dropped Mike Sykes, and all became The Twilights. Kevin Peek left to join Alan Tarney in Johnny Broome & The Handels and we got his number one admirer, Terry Britten, in to replace him. Before very much longer we were resident at the Oxford Club, there were lines around the block, and Carry Spry flew over from Melbourne to ask if he could manage us. There were a lot of bands in Adelaide then and the rivalry and jealousy was pretty fierce. All of them seemed to have at least a couple of British members, to make them authentic. This was a way for us to get back at those who saw us as 'dirty poms'; it was a chance to feel better about ourselves."

Twilights - 1964 Lineup
The Twilights existed from 1964 to 1969, recorded 13 singles and 2 albums, scored 8 consecutive hits (some double-sided), won the 1966 Hoadley's National Battle of the Sounds, recorded and performed in England, and set new standards for live performance in Australia. The Twilights live were an awesome spectacle, capable of creating note-perfect renditions of any song by the Beatles, Stones, Move, Who et al. They were Australia's international music barometer. Absolutely and irrevocably in, they anticipated and introduced audiences to each new phase of rock music and culture. In time, they outgrew their own market and joined the lemmings' rush to London in September 1966. They fared no better than Normie Rowe, Johnny Young, MPD Ltd., Groove or The La De Das but did get to record with Rubber Soul engineer Norman 'Hurricane' Smith and perform at Liverpool's Cavern.

Twilights- 1969 (Glenn far right)
The Twilights came back from London replete with new influences, droopy moustaches, sitars, trendy beards and Carnaby Street clobber. They took to playing 15 minute versions of Hendrix' Purple Haze (during which Glenn would climb into a gorilla suit and chase faint-hearted ladies through the audience) and cutting increasingly complex singles which enjoyed progressively less radio support. When Laurie Pryor refused to have another crack at England in December 1968 and decided to take his leave instead, The Twilights suddenly ceased to exist.
"The breakup of the Twilights was not something that we planned. It all happened in three days" Glenn reveals. "I didn't know what to do with myself, so Carry Spry gave me a job as a band booker in the AMBO agency. That's how I met the Brisbane Avengers, who wanted me to manage them. I gave it a shot for about three months; got Terry to write them some songs and pushed all the work I could their way. But it never felt right. I'd rehearse with them, take them to gigs, get them on the stage and then have to stop there. I never did have the chance to prove if I was a good manager or not, because after about three months, I ran into Brian Cadd at a party."

Cadd, leader of the defunct Groop, had written songs for the Master's Apprentices, The Zoot and Paul Jones, and was keen to develop an outlet for his collaborations with Don Mudie. The three enlisted Cam-Pact guitarist Chris Stockley and Valentines drummer Doug Lavery and were, not surprisingly, labelled as a 'Supergroup' in the same manner as The Groove (Spry's post-Twilights hit act). With an old roadie mate (the late) Wayne DeGruchy, Axiom hid out at Don's mother's place in Nathalia for a couple of weeks and furiously emulated The Band and Traffic by rehearsing at the local football club in rural isolation.
Axiom's success was almost a forgone conclusion. Manager DeGruchy had no difficulty finding them work; they were immediately offered a recording contract and found instant radio acceptance for a Christmas 1969 single, the unashamedly American Arkansas Grass. Fool's Gold, the first album, was the soundtrack to a 20 minute film starring Happening '70 personality Tony Healey and dealing with the release of an elderly man from prison. It was also the first truly important and accomplished Australian rock album, offering an honest antipodean sound (Glenn played some didgeridoo) without descending to kangaroo and cork hat kitsch. A second single, A Little Ray of Sunshine, was, in Glenn's own words, "pure schmaltz". But the poorly recorded track possessed a certain magic which propelled it into both the national top five and innumerable sentimental hearts.

Recording the beautiful Fool's Gold album was "unadulterated joy" for Glenn, as the superb title track and Ford's Bridge attest. But the euphoria was short-lived. In April 1970, Axiom arrived in a creatively exhausted England, still spending the money flowing in from the British Invasion but offering little more to the world than burned-out hippies and heavy metal hammerheads. There were advances to be had and Axiom landed one large enough to keep them alive for a year, along with a three year Warner Bros recording contract. Handed to ill producer, Shel Talmy, of Kinks, Who and Easybeats fame (who by that stage was suffering from failing eyesight and hearing) cut a second album under engineer Glyn Johns. The title, If Only . . . , said it all. The harsh, uncomfortable album yielded up one minor hit in My Baby's Gone and is not remembered fondly by any of the participants or purchasers.

"My confidence was pretty low" says Glenn. "When the band decided to go back to Australia tor the second time, I said 'goodbye, I'm staying here'. Like a lot of other people at the time, I was trying to find myself. marriage had broken up and I was heavily into meditation, macrobiotic food and all that. I was looking for something to do and Carry Spry, who was over there with The Groove (Eureka Stockade), came to again. At that time I was hanging out with other Australians, like the Master's Apprentices, and that's relationship with Glenn Wheatley began. Carry managed to get me a deal with the management  recoil company MAM, which was owned by Gordon Mills, the manager of Tom Jones, Englebert Humperdinck and Gilbert O'Sullivan. I negotiated a good contract which paid me a weekly wage rather than a big advance-Signed to MAM's publishing arm (which was to eventually prove rather profitable for them), Clem a considerable number of demos but only three singles. Into the picture had stepped Twilights producer McKay, who was also based in London; and the Decca group Quartet, which comprised former Adelaide comrades Terry Britten, Kevin Peek (now leader of Sky), Alan Tarney and Trevor Spencer.

The first singled cut by this collective under Glenn's name, "Let's Get The Band Together", stiffed (perhaps because he didn't have a live band together) but the second, Mann and Weil's lovely "Rock'n'Roll Lullaby", at least picked up reasonable airplay. Glenn describes the flip, When God Plays His Guitar, as "a pretty good indication of where my head was at around that time." Another Shorrock MAM single, the mock-French "Purple Umbrella", was recorded under the alias of Andre L'Escargot & His Society Syncopaters.
The most important event in Glenn's career at this point was his move, at the very end of the Axiom days, into serious songwriting. It stands as extraordinary that a number of his very first compositions are today considered as among his best. Writing gave a new dimension to the accomplished singer, enabling him to achieve the sort of soulful, heartfelt expression which would reach its zenith with "Cool Change" and "Home On A Monday".
"Statue Of Liberty was inspired by the closing scenes of the film Planet Of The Apes. I wrote it at a time when America was looking decidedly shaky and in danger of real anarchy. Kent State seemed like just a beginning. I had this vision of the Statue of Liberty crumbling." The song, recorded only as a demo for MAM, found release (for the first time) in 1973, via another David McKay project.

"David told me he had a new project that he wanted me to front — classical rock band that would be much more avant-garde than ELO. He played me some tapes and it was really left-of-field stuff. But it was a challenge and A&M was right behind it, so I went in boots and all. "Esperanto was billed as 'the world s first international rock orchestra'. An unwieldy 12 piece outfit, it boasted members from Italy, Belgium, Australia, New Zealand, England and Hawaii. The antipodean contingent was Glenn, Janice Slater, Brian Holloway (from Somebody's Image) and Maori singer Joy Yates. Glenn sang and co-wrote two songs with Belgian leader Raymond Vincent and contributed his own Statue Of Liberty. Unfortunately, despite all the hype, the public just didn't buy Esperanto, and by the second album, Glenn was credited only with 'lyrics, backing vocals and ideas'; by the third he was gone completely. "They made me manager for a while because they wanted to go completely avant-garde and then instrumental. But it was a complete mess, half the band lived in London and half in Brussels and I couldn't even get them together for a meeting.

Esperanto  (Glenn 2nd left)
So that last year in England I was really depressed. My hair was falling out and I decided to quit. I was still getting my weekly wage from MAM and Terry Britten got me some vocal sessions and a couple of months live work with Cliff Richard. I made good money working at the London Palladium with Cliff, eight shows a week. After the first night they came to me and said 'you were great Glenn, in fact you were too good, cool it'. I was making an amazing (for me) £100 a week for that, so I decided to stash it away and buy a ticket back to Australia.

Glenn & Graham Goble
"I booked a seat for October, 1974. 1 had no idea what I was going to do here. I though Id get involved in agency or management work. I didn't know what my musical credibility would be after five years away. About a month before I left England, I got a call from Beeb Birtles, who was living in a house in London with the remnants of Mississippi, who I'd never head of. He said they wanted to talk to me about starting a new group and I said, 'no thanks, I've had enough, I need to get out of this business for a while'. But they were very persuasive and they had some great songs, so I jutted my jaw, gritted my teeth and said I'd get involved, if they'd give me a couple of months to go home and be with my family. We all agreed to meet in Melbourne early in 1975."
Mississippi had grown out of Graham Coble's Adelaide soft-rock group Allison Gros (who had scored the 1971 hit Daddy Cool as Drummond). Floundering in England, members Goble, Birtles and Derek Pellici had begun to formulate ambitious plans for world musical domination with Master's Apprentices bassist Glenn Wheatley, who was proving to be more interested in the business side of music. They saw Shorrock as a proven and respected singer. What they were not to know was that he had a head full of completed songs, such as Seine City, Emma and Statue Of Liberty, all of which would be cut by Little River Band in their first year of recording.

Named after a signpost on the road from Melbourne to Geelong, Little River Band snared classically-trained guitarist arranger Rick Formosa and bassist Roger McLachlan from the Australian Godspell cast. Their aim, as highly competent adult rock musicians, was to create a textured, harmony-dominant, mass-appeal sound. Within an eight month period, LRB had 3 top twenty singles, 2 top ten albums, and a collective eye firmly set upon the lucrative American market. This assault, Glenn's third, had all the pieces in the right places. In November 1976, an edited version of "It's A Long Way There" made its way into the American top thirty and Dutch top ten. The following year, Glenn's powerful "Help Is On Its Way" broke worldwide, made the U.S. top twenty and cracked AM playlists. The third album, Diamantina Cocktail, sold over half a million units stateside, earning LRB their first gold disc, the first to be awarded to an Australian-based entity.
American hits flowed regularly and by 1982, Billboard had given LRB the honour, along with Olivia Newton John, of being the only act to score an American top ten hit every year consecutively for the previous five years. This was in addition to a string of gold and platinum albums. American acceptance of the sophisticated LRB sound was immediate; surprising Glenn, who admits, "International success may have been the stated aim of Wheatley, Goble and Birtles but Glenn Shorrock went along for the ride. I'd been disappointed too many times ... I'm always suspicious of happiness. But the first American performance was definitely an eye opener. We supported the Average White Band in the college town of Harrisburg, Virginia and the crowd went nuts. They gave us two encores. That was amazing, but none of us then realised the enormity of the market."

In February 1982, Glenn took his leave from Little River Band and was replaced by fellow English-born Adelaide singer John Farnharn. His departure was something less than a surprise for those who had observed the band during his seven year tenure. For Glenn it was, in many ways, a blessed release. "I had a strong feeling that it was not going to be peaches and cream from my first rehearsal in 1975. After two weeks we knew just three songs — we knew them bloody well but we still only knew three. I thought we should have known 23, so we could be out there working, honing our technique live. Graham and Beeb worked obsessively on points of detail, they wanted to dismember everything and put it back together, piece by piece. That frustrated me, I wanted to move, move, move. It led to a bit of a blue in rehearsal and they said, 'Glenn, back off, this is our baby and this is how we're gonna do the thing'. I backed off and I seemed to keep backing off all the way through. Graham always worked harder at getting his songs recorded than I did and I don't think I exerted as much influence on the band as I should have. I left it to fate, because that's the way I am. But then it got to the stage where I had to fight to get Cool Change on an album."

Glenn had enjoyed moderate success in 1979 with a solo rendition of Bobby Darin's "Dream Lover"; and the 1981 LRB single, "Long Jumping Jeweller" (never released outside of Australia) was very much a Shorrock initiated and promoted project. So the move from LRB frontman to individual entity was a relatively effortless one. Glenn enthusiastically embarked upon a number ol projects, starting with a superb solo album Villain Of The Peace; recorded in Los Angeles under LRB producer and close friend John Boylan, and featuring contributions from three members of the Eagles, Bill Payne (Little Feat), Jeff Baxter (Steely Dan/The Doobies), Garth Hudson (The Band), Jimmy Fadden (Dirt Band), Andrew Gold and Tom Scott. The American release featured three newly recorded songs, one of which (Don't Girls Get Lonely?) is included herein. From those sessions, "The Duchess Is Returning" emerged as a single B side and "Big Smoke" was, until now, unreleased.

To support the album's release in Australia, Glenn undertook a short tour with his own hot road band. He also joined Renee Geyer on stage at Sydney's Tivoli in December 1982 for a soaring rendition of the Coffin/ King masterpiece "Goin' Back", which achieved some chart success when released as a single. Having previously supplied a title song to the television documentary Australian Music To The World, Glenn was approached to provide themes for the films We're Coming To Get You and World Safari II, both of which are featured on this album; along with a lovely treatment of Paperback Writer (cut at the Dream Lover session) and the very first (unreleased) Little River Band recording, the Everly Brothers' "When Will I Be Loved" (featuring guitarist-for-a-day Graham Davidge).

Glenn 1980's
Three years of work under his own auspices may not have brought Glenn as much commercial success as he enjoyed with LRB, but his personal satisfaction is considerably greater. "When I made my own album" he confides, "there was just two of us making decisions, instead of six or eight. Instead of compromise, I now have the freedom to feel my way around. I've always thought of myself as a very versatile singer and now I have the chance to prove it."

Listening to Glenn's major contributions to Little River Band, it is appropriate to view him as the soul of the outfit, the true artist within its ranks. His voice then, as now, can be a plaintive cry or a surging energy charge - always imbued with integrity and an earthy passion. Asked to summarise his own career, he thoughtfully offers, "I think I've done things fairly quietly, never made a big noise. I may have lost a few career chances as a result but I can say that I don t have any major hang-ups and I don't lose sleep over my frustrations. I still have a fairly happy disposition."  [Linear notes by Glenn A. Baker]
This post consists of FLACs and MP3's (320kps) ripped from my mint condition double vinyl set, released by J&B Records. Full album artwork for LP and CD are included along with label scans. As an added bonus, I have chosen to include a super rare single that Glenn released back in 1975 on Playboy records "Daydream Sunday" / " I Have Seen the Universe" which was only released in the states from what I can gather (thanks to Garethofox at Midoztouch for this rarity).
This is a brilliant anthology of Glenn's musical achievements between 1965 and 1985 and is a must for any serious collector of Aussie Rock.

Track Listing
01 Needle In A Haystack (Twilights)
02 Bad  Boy (Twilights)
03 If She Finds Out (Twilights)
04 9-50 (Twilights)
05 Young Girl (Twilights)
06 What's Wrong With The Way I Live (Twilights)
07 Cathy Come Home (Twilights)
08 My Generation (Twilights)
09 Ford's Bridge (Axiom)
10 Fool's Gold (Axiom)
11 Arkansas Grass (Axiom)
12 A Little Ray Of Sunshine (Axiom)
13 My Baby's Gone (Axiom)
14 Rock 'n' Roll Lullaby (Solo)
15 Let's Get The Band Together (Solo)

16 Statue Of Liberty (Solo)
17 Seine City (Little River Band)
18 When Will I Be Loved (Little River Band)
01 Cool Change (Little River Band)
02 Home On A Monday (Little River Band)
03 Shut Down, Turn Off (Little River Band)
04 Help Is On Its Way (Little River Band)
05 Man On Your Mind (Little River Band)
06 Long Jumping Jeweller (Little River Band)
07 Goin' Back (with Renee Geyer)
08 We're Coming To Get You (with The Bushwackers)
09 Paperback Writer (Solo)
10 Dream Lover (Solo)
11 Restless (Solo)
12 Don't Let Girls Get Lonely (Solo)
13 Big Smoke (Solo)
14 Will You Stand With Me (Solo)
15 The Duchess Is Returning (Solo)
16 Rock 'n' Roll Soldier (Solo)

Bonus Single
01 - Daydream Sunday
02 - I Have Seen the Universe

Glenn Shorrock FLACs LP1  (353Mb)
Glenn Shorrock FLACs LP2 (388Mb)
Glenn Shorrock MP3's  LP1&2  (165Mb)

Tuesday, September 29, 2015

W.O.C.K On Vinyl - Pauline Pantsdown: I Don't Like It (1998)

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.
Born in Brisbane, Australia on the 27th May 1954, Pauline Hanson became the face of "Racists" in Australia with her maiden Parliamentary speech on the 10 September 1996. Originally running a fish 'n' chip shop she became the independent member for Oxley, Queensland and held the seat until the next election in 1998. She started the "One Nation" which for a time had some support from a small minority of xenophobic Australians, especially in Queensland.

During her time as a politician she was also famous for the 60 Minutes interview with Tracey Curro who asked "Are you Xenophobic" to which she replied "Please Explain?" in a nasally voice. In the same interview she was asked her opinion on the Gay and Lesbian Mardi Gras in Sydney, to which she replied "I don't like it, because it’s promoting something that's not natural". The catch phrases "Please explain?" and "I don't like it" went on to become her trade marks and were used in television commercials and parodies (just like this month's W.O.C.K on Vinyl posting)

After the downfall of One Nation, her political career and a stint in jail she shot back onto our TV screens on Dancing with the Stars. A makeover and some dancing lessons didn't help her to a win but then again, she wasn't the first voted off. Rumors have it that Todd McKenney was heard back stage ranting "I Don't Like It" during rehearsals [extract from wikipedia]
In 1997, Simon Hunt (a lecturer in sound and film at the College of Fine Arts in Sydney) as Pauline Pantsdown released a song called "Backdoor Man", which had received a cult following and been played on Triple J, the youth network of the Australian Broadcasting Corporation (ABC). Hanson won an injunction to stop the ABC playing it, and in response to that, Hunt recorded another single titled "I Don't Like It".
The song features unauthorised vocals from Pauline Hanson, the former independent MP and later founder of One Nation, sampled from interviews and media clips. It peaked at number 10 on the Australian ARIA Charts and was ranked number 58 in the 1998 Triple J Hottest 100 countdown.
On 3 October 1998, Hunt, dressed as Pauline Pantsdown, campaigned on the streets of Sydney in an attempt to entice voters away from Pauline Hanson and the One Nation Party in the 1998 Australian federal election. On 7 March 2013 Hanson announced that she would stand in the 2013 federal election and Pantsdown reappeared with "I Don't Like It".
For your pleasure I have posted the funny and somewhat catchy parody "I Don't Like It" for this month's W.O.C.K posting.
Please Explain?
Well - it's Wacky and Korny to start with and "I Just Like It".  LOL
I Don't Like It Link (MP3/320kps)

Friday, September 25, 2015

Deep Purple - Prisoners Of Rock (1971) Bootleg

(U.K 1968 - 1976, 1984 - Present)
When Deep Purple took the stage at the rock festival in Aachen, Germany on July 11 1970 an enterprising individual(s) had managed to run an extra line into the soundboard and a recorder was running out of sight. The resulting recording became the first DP bootleg:

Some information about the bootleg origin:
The first pressing was titled simply “Space” and was available in late 1970, either as a double (two discs in a single cover) or as two single discs. “Mandrake Root” was split over two sides of the second disc. The second pressing was called “H-Bomb”, which a more professionally produced single album which lacked “Mandrake Root” and also had slight edits to the other songs. “Kustom Records” (ASC 001) was the (Bootleg-) Label which distributed the disc across Europe and UK in early 1971.”

From what I have gathered so far, Kustom Records seems to have been a US bootleg label, so the above comment is perhaps a little exaggerated. Meanwhile in the US, the decent quality – for the time – made it an easy target for copying

The band officially released this title, mastered from a bootleg source, in 2001 as Space Vol. 1 & 2 – on the Sonic Zoom label no less, so CBM got a nod as well – and again in 2006 as Live in Aachen with a cover showing all the bootleg LP’s this appeared on earlier.  However, this release is no longer available.

The Recording
In 1970 bootlegging was still a relatively new phenomena in rock music. With the often imperfect PA systems and the limitations of tape machines, many recordings from the era are of poor quality. However, Aachen is in a different league altogether. History has it that the tapes were taken direct from a feed on the stage and recorded on a basic stereo machine hidden inside a Volkswagen camper van (which certainly accounts for the overloaded vocals). In some places the sound is actually panned from one channel to another, so they may even have mixed it live.
The first 1970/71 vinyl releases were digitally transferred and speed fluctuations evened out, before the best version of each number was cleaned up in the studio with levels tweaked where possible.

Concert Review
(by Martin Ashberry)
I know Aachen 1970 quite well, but throughout the opening few minutes of  'Wring That Neck' alone, I can pick out so much more of Jon's deft organ work that it might as well be a completely different show.
Jon and Ritchie are really battling throughout this. Jon's second solo is a lengthy affair, the usual expected combination of classic / humorous snippets, where the audience can be detected in the background applauding wildly. Blackmore's second solo then follows another burst of the riff, and again you can detect stuff that was clearly inaudible (hey, my first oxymoron!) on the original boots (to my cloth ears). And then, before you know it, it's over. Twenty minutes or so over in the blink of an eye. 
'Black Night' next, pumping with energy and enthusiasm, then 'Paint It Black' shambles in, the chaotic, almost anarchic beginning we're used to from this era quickly sharpening up, before Paice starts beating seven shades out of his drum kit.

Closer 'Mandrake Root' is a diabolically rude blast of sheer power, the vocals overloaded (as they are throughout the set), but when the musical performance is this good and the quality this unexpectedly sharp, you just have to sit back and let it all down to your knees. Clocking in at over 33 minutes, it's the expected musical tour de force that anyone with other recordings from the era will be familiar with, Ritchie exercising a restraint over his backing where you feel he is plotting to unleash something spectacular when he gets the chance, and eventually when his tremolo arm does come in for some heavy abuse, coupled with the thundering bass and pounding drums, signalling the beginning of the end. Things really do reach a caustic peak, willing you to visualize it in your mind's eye (and I can). A quick "thank you " and that's your lot.

Deep Purple 1970
Breathtaking! As soon as Ian Gillan starts to speak, you know that you're in for a good one. Clear, crisp and completely unmuffled, the sound restoration alone makes the purchase essential. I have six different boots of this show and wasn't expecting anything amazing, but I have to say that I'd arrest anyone on sight who claimed they were a Purple fan and didn't own a copy of this. Amazing, essential, brilliant. "Do you feel alright?". Most certainly! [extract from]

Deep Purple Bootlegs
Undaunted by their overground popularity in 1970, Deep Purple continued courting the underground, their credos taking a major boost when a recording of a German festival performance, at the Aachen Reichstadion on July 11, was immortalized as the first ever Deep Purple bootleg, the appropriately titled 'H-Bombs', Bootlegging was still a novelty at that time. Barely two years had elapsed since Bob Dylan's 'Great White Wonder' first introduced the concept of illegally produced LP records to the rock industry (such things had long existed in the classical and jazz arenas), and only a mere handful of the heaviest hitters had thus far been honored — Dylan was followed by the Beatles, the Rolling Stones, The Who . . . and Deep Purple? Within weeks of H-Bombs' appearance on the record racks that catered for such releases, the album was nestling at the top of the bestselling bootleg chart that accompanied a Melody Maker investigation into the phenomenon, and Deep Purple were bracing to become one of the most-bootlegged bands in rock history.

Looking back in 1998, Roger Glover professed himself firmly in favor of such recordings, legitimacy be damned. "I could never understand our success," he said. "I could never understand why so many people bought our records, because they were so full of flaws! And then I started listening to bootlegs and to what we really were, and I came to reassess the whole thing. Listening to bootlegs from [the early 19705], I realized what a dangerous band we were, and how exciting it was not to know what was going to happen next. We walked a very thin line between chaos and order, and that was the magic, that was why people bought our records. I came from a pop band, and when you're a pop band you learn the song and you play it the same way every night. And now there's this band veering off and suddenly the solo's in E when it should be ... 'Hey, what's happening here?' That's the magic."

Neither did the traditional music-industry complaints against bootlegging hold any water for him: "I had a meeting with some bootleggers many years ago in Germany; we had a big discussion about bootlegs, and they said, 'Listen, bootleggers are not ripping you off, you're not losing money because of bootleggers. The fact that other people are making money from your music is indisputable, but you're not losing money, it's
not money out of your pocket. In fact, the people who buy these things have already bought your albums probably two or three times already.'

"It was a potent argument," Glover continued, "and I sympathize with that. Besides, they presented me with something I'd not heard in years, which was a recording of us doing [something] for a BBC session. It was
a song that was written on the spur of the moment, just a blues, very fast, and it's great, I love it. But it was never formally written and recorded, that's the only version of it, and I said, 'Wow, it's so wonderful to hear this, I'd forgotten all about it!' So it's through bootlegs, or at least bootleggers, that things like that even exist."
[extract from Smoke On The Water: The Deep Purple Story. By Dave Thompson. ECW Press - 2004, p102-103]
This post consists  of MP3s (320kps) ripped from my near perfect vinyl bootleg which I bought as an impressionable teenager and have treasured ever since.  The cover is typical of the 'Amazing Kornyfone Label' with record labels exhibiting no distinguishable markings other than Side 1 to .
Although limited artwork can be provided, I have sourced covers for all of the other titles which this bootleg has been released under, including the official 2001 CD release.
For anyone who loves their live set Made In Japan, this bootleg is a great insight into how Deep Purple's developed their stage act.
Track Listing

Side 1. Mandrake root (16.18)
Side 2. Mandrake root (17.02)
Side 3. Wring That Neck (19.31)

Side 4. Black Night (5:38) / Paint it black (10:59)
Deep Purple were:
Vocals – Ian Gillan
Bass – Roger Glover
Drums – Ian Paice
Guitar – Ritchie Blackmore
Keyboards – Jon Lord

Deep Purple Link (163Mb)

Monday, September 21, 2015

Mark Gillespie - Ring Of Truth (1983) plus Bonus Tracks

(Australian 1977 - 1983, 1992)
If you've never heard of Mark Gillespie, you owe it to yourself to hunt down an album of his and experience what contemporary musical genius is all about.

Melbournites may best remember Mark Gillespie as the singer/songwriter/guitarist who enjoyed a cult following in the Victorian capital throughout the late 1970's. It was his emotive roots-rock style, incorporating soul, rhythm and blues, funk, and a dash of reggae that endeared him to fans of the Melbourne scene at the time.

Gillespie's first recordings appeared on a various artist's compilation called 'The Debutantes', released by the Oz label. The compilation featured two of his tracks, 'I'm A Kite (Won't You Be My Hurricane)' and 'The Joke's On You'. Around the same time Gillespie published a collection of prose and poetry through the small publishing company Outback Press.

In 1978 Mark Gillespie and the Victims released 'Savanorola', his first single. The Victims included Mick 'The Reverend' O'Connor on keyboards, Peter Reed on drums, and Bruno DeStanisio on bass.

Gillespie's big break was just around the corner. He signed to the Festival label and released the single 'Coming Back For More' in 1979. It was this release and his new label that scored Mark support slots for Tom Waits, Rodriguez and Maria Muldaur on their respective national tours of Australia. Gillespie and his touring band, Broderick Smith, Stephen Cooney, Clive Harrison, Trevor Courtney, Stewart Watson, and Pat and Gay L'Nane showed the rest of the nation the heart-felt performances Melbourne fans had been enjoying for the past few years.

The stage was set and Mark Gillespie, now signed to EMI, went into the studio with Joe Creighton, Mark Meyer, Ross Hannaford, Rex Bullen, Lisa Bade and a swag of other guest artists (some of whom went on to enjoy national stardom) to record his debut long player 'Only Human'. Four singles and countless performances to his expanding appreciative audience, Gillespie needed a break.

He traveled throughout Asia for a year or so before heading back to record the follow-up to 'Only Human'. In 1982 his second album 'Sweet Nothing' was released on the Glenn Wheatley's label through EMI. The album featured friends from his debut, Ross Hannaford, Mark Meyer and Lisa Bade, with the addition of saxophonist Andrew Thompson, bassist Tim Partridge, and Gary Lyon (not the ex-AFL player) and Nikki Nicholls on backing vocals.

The album produced three singles, 'Nothing Special', 'Traveller in the Night', and 'Night and Day'. On the Melbourne charts Gillespie's second album reached Number 9, but more importantly, it peaked at Number 32 on the national charts, the first time a Mark Gillespie release had featured in the national Top 40. Fans and critics alike lauded his releases and Gillespie was fast becoming recognised as Australia's premier songwriter. He followed up the success of 'Sweet Nothing' with his third album, a self-titled effort in 1983 that soon became more widely known as 'Ring of Truth' after the lead single. 'You' and 'Letting Go' were the other singles from the album that featured ex-Bee Gees and Groove drummer, Geoff Bridgeford and vocalist Renee Geyer.

Mark Gillespie, for whatever reason, had had enough. He returned to Asia where he set up an orphanage in Bangladesh, a gesture that was indicative of the heart and soul of Mark Gillespie. In the mean time Glenn Wheatley and EMI made the most of their signing when they released 'Best of Mark Gillespie (Small Mercies)' in 1985. It appeared Gillespie's contribution to Australian music was done when nothing was heard from him until 1992 when he returned to Australia to record and release 'Flame' in 1992 Gudinski's Mushroom label tied up with Festival, the label who had given Gillespie his first big break 13 years earlier. At this time he also released the CD single 'Long Time' and EP 'Don't Wait'. Old friends and musicians who'd long admired Gillespie's work gathered to record these comeback efforts. The artists involved included Joe Creighton and Ross Hannaford, along with ex-Mondo Rock keys man James Black, John Farnham band drummer Angus Burchill, ex-Aussie Crawl and Kevin Borich Express drummer John Watson, former Stephen Cummings Band guitarist Shane O'Mara, and Deborah Conway Band bassist Bill McDonald, among others.

But, so far, that's all she wrote as far as Mark Gillespie's contribution to Australian music is concerned. Since '92 Gillespie has had no further involvement. According to another Australian music legend, Broderick Smith, Mark is happy living with his wife north of Benalla in Victoria. Brod told us this week that Mark is "staying away from the scene and enjoys spending more time with farm animals than people".

Mark Gillespie's story truly is a humbling one for all us musicians. He seems to be a man who cares more about humanity, happiness, and music for music's sake than swimming through the sharks to "make it" in the business of music [sourced from a song facts forum]
Joe Creighton (ex-band member) recalls:

Around 1978 I met Mark Gillespie, singer songwriter, the man in black! 
Mark came across as a tortured soul and with an air of mystery around him; he was fast gaining a solid reputation for himself as a songwriter/poet and developing a good fan base in the live pub circuit.
He came to my flat one day and asked me if I would play bass for him. He was also trying to recruit Hannaford. I was confused that another artist would want me to play the bass for them as I had a picture of myself as a singer/songwriter who happened to play the bass and not as 'BASS PLAYER'. I said to him 'Why don't you get a real bass player'. He said 'I want your bass playing in my band'. I said 'OK' and little did I realise that I had made a fairly serious career decision. I became a 'hired gun' for the first time.

I did Mark's first album 'Only Human' up at The Music Farm in Coorabell, near Mullumbimby, in 1980. That album gave me much kudos as a musician. Mark's songs were always great for creating good grooves and dynamic bass lines in. I always had a lot of fun recording with him. I was able to have quite a bit creative input in his music; I played bass, sung backing vocals and helped with the arrangements.

When that album came out my phone didn't stop ringing everybody seemed to want me on their albums. It was an exciting time as it was rewarding but it did distract me a bit from my fundamental purpose as a singer/songwriter. I did however learn a great deal from all those artists I worked with.
Zev Eizik who, with Michael Coppel, promoted a lot of overseas artists in Australia managed Mark. We got to do the support for many of those acts i.e. Jackson Browne, Maria Muldaur, Tom Waits, Rodriguez, Joe Cocker, to name a few. This elevated us to the Concert stage which helped me hone my craft even more.
[taken from Joe Creighton's website]
This post consists of FLACs and MP3's (320kps) ripped from a newly acquired vinyl pressing which I picked up from a local second hand record shop 'bargin bin'. Just gotta love finds like this one - mint, mint condition for $5.  Full album artwork is included as usual along with Wheatley Records label scans.
To sweeten the deal, I'm also including some hard to get singles as bonus tracks - 3 tracks from his 1980 "Deep As You" E.P, the B-side to Ring Of Truth  "All Your Love" and his 1978 single "Comin' Back For More"  (thanks to Unc at Midoztouch for the E.P tracks)
If you're looking for Mark's two signature albums 'Only Human' and 'Sweet Nothing' you'll find them at Aztec Records.
Track Listing
01 - Ring Of Truth
02 - Thanks
03 - You
04 - Letting Go
05 - Look What You Got
06 - Lost In Wonder
07 - Here And Now
08 - Not Diamonds
09 - Scars
10 - Easy
11 - Deep As You (Bonus A-Side)
12 - Stronger Together (Bonus B-Side)
13 - Falling (Bonus B-Side)
14 - All Your Love (Bonus B-Side Single)
15 - Comin' Back For More (Bonus A-Side Single) 

All instruments by Mark Gillespie except
Drum & Percussion - Geoff Bridgeford

Backing Vocals - Renee Geyer, Vanetta Fields, Lisa Bade
Mark Gillespie FLAC's (331Mb)
Mark Gillespie MP3's (140Mb)

Thursday, September 17, 2015

Genesis - I Know What I Like (1992) On Stage Bootleg

(U.K 1967-1999, 2006-Present)
(Article from New Musical Express, Feb 1976)
Genesis haven't bothered to recruit a replacement for Peter Gabriel when he left the band last year - they've just brought Phil Collins out from behind the drum kit to handle the vocals on their new album, 'Trick Of The Tail'.
Casual fans might find it difficult to notice the difference. Collins' voice is unnervingly like Gabriel's. But critics have found the new album more accessible than the complex 'Lamb Lies Down On Broadway'.
'I think there was less friction between vocals and instrumentals,' explains Mike Rutherford. Peter's going has made us more of a band.'
They've also nailed the misconception that Gabriel wrote all Genesis' material. Rutherford and Tony Banks now have their contributions individually credited instead of being under the group banner. And they've already got a pile of material prepared for another album.
But first they'll be going on the road, adding ex-Yes and King Crimson drummer Bill Bruford, so that Collins can divide his time between drumming and singing.
Marketed under the title 'I Know What I Like', this CD is a bootlegged release of Seconds Out minus the tracks "Supper's Ready" and "Cinema Show." Most likely, the two were not included in order to accommodate a single-disc package (Seconds Out is a double disc). Released in 1992 on the Italian 'On Stage' label, I Know What I Like has superb sound quality. The performances, recorded in Paris in 1976 and 1977, feature Collins in the role of lead vocalist for the first time on a live tour. While his voice excels on "Afterglow" and even on Gabriel's "Musical Box," it is barely adequate on other Gabriel classics, most notably "The Carpet Crawl" and the title cut. Despite these shortcomings, the music is always majestic. Chester Thompson, a one-man powerhouse, handles drum duty throughout. He and Collins double up on "Firth of Fifth," "The Musical Box," and, of course, "Los Endos." Collins also performs a keyboard solo on "Robbery, Assault and Battery." As always, Tony Banks' keyboards are the dominant force in the music, the backbone of the Genesis sound. The compositions on "I Know What I Like" are superior to anything the band accomplished thereafter.
The post consists of MP3's (320kps) ripped from CD and includes full album artwork. I have also included a scan of the 'The Lamb Stands Up Again' article and the NME chronicle from which it was taken.
I must admit that when Gabriel left Genesis back in 1975 I lost a little interest in Genesis, and focused more on his solo efforts, but one still has to give credit to Phil Collins for being able to pick up the pieces with the lead vocals and kept the band alive well into the 90's before leaving the band himself.
01     Firth Of Fifth    
02     The Carpet Crawl    
03     Afterglow    

04     I Know What I Like    
05    Robbery, Assault And Battery    
06     Squonk

07     The Lamb Lies Down On Broadway
08     The Musical Box (Closing Section)
09     Dance On A Volcano 
10     Los Endos

Genesis were:
Tony Banks – keyboards, guitar, backing vocals
Mike Rutherford – bass, guitar, backing vocals
Steve Hackett – guitar
Phil Collins – vocals, drums, percussion

Bill Bruford – drums, percussion (supporting)

Genesis Link (139Mb)  Mediafire

Genesis Link (139Mb)  Sendspace