Monday, September 26, 2016

Phil Collins - Live at the Entertainment Centre, Melbourne (1985)

(U.K 1968 – 2011, 2015 – Present)
Phil Collins' ascent to the status of one of the most successful pop and adult contemporary singers of the '80s and beyond was probably as much a surprise to him as it was to many others. Balding and diminutive, the Genesis drummer-turned-vocalist was almost 30 years old when his first solo single, "In the Air Tonight," became a number two hit in his native U.K. (the song was a Top 20 hit in the U.S.).

He got his first break in music in his late teens, when he was chosen to be a replacement drummer in the British art rock band Genesis in 1970. (Collins maintained a separate jazz career with the band Brand X as well.)

...And Then There Were Three...Genesis was fronted by singer Peter Gabriel. They had achieved a moderate level of success in the U.K. and the U.S. with elaborate concept albums, before Gabriel abruptly left in 1974. Genesis auditioned 400 singers without success, then decided to let Collins have a go. The result was a gradual simplifying of Genesis' sound and an increasing focus on Collins' expressive, throaty voice. And Then There Were Three... went gold in 1978, and Duke was even more successful.

Collins made his debut solo album, 'Face Value', in 1981, which turned out to be a bigger hit than any Genesis album. It concentrated on Collins' voice, often in stark, haunting contexts such as the piano-and-drum dirge "In the Air Tonight," which sounded like something from John Lennon's debut solo album, John Lennon/Plastic Ono Band.

During the '80s, Collins was enormously successful in balancing his continuing solo work with his membership in Genesis. In 1992, Genesis released We Can't Dance and began an extensive tour. Upon its completion, Collins released Both Sides in 1993, and the record became his first album not to produce a major hit single or go multi-platinum. In 1995, he announced that he was leaving Genesis permanently, and has continued to nurture his solo career ever since.  [extract from]
The following concert recording made in Melbourne (Australia) was made during Phil's big time 'The No Jacket Required World Tour' which took place between February 1985 to July 1985, in support of his 1985 album, 'No Jacket Required'. The album had been a big international success and the tour concluded with Collins performing "Against All Odds" and Long Long Way To Go at both Live Aid concerts, in London and Philadelphia, on 13 July 1985. the latter, Sting played guitar and sang backing vocals.

A television special was recorded in Dallas and aired on HBO, entitled No Jacket Required... Sold Out. The broadcast was released as a VHS in 1985 with extended footage and the title changed to Phil Collins: No Ticket Required.

Melbourne Concert Review
Recorded At the Entertainment Centre in Melbourne, this bootleg is a nice complete soundboard recording from  the second night show (13th April). What makes this show a stand out is that Collins actually visited Australia before Genesis did! Phil is in fine form, using a lot of the same old gags on the song intros that he had used on the Mama tour, right down to the whole "fugitive from justice" bit that he sticks before "Don't Lose My Number." There is even a presage of his "Throwing It All Away" dee-dah-day singing in "Hand in Hand." The quality is great; the mix sounds a little weird to me, the lead vocals in particular, but sometimes the drums.

It seems in Australia bands performing live have to be backed by a string section for at least a few songs. Phil's band, he explains, is the hot tubs, so the strings are the "nine warm jets." The band introduction track, you'll notice, is incredibly long--but I also found it hilarious.

It is the complete and unedited show in a superb soundboard quality. This tour has no official complete material. This show from Melbourne is the best documentation of this tour which there is currently. I hope you like it [comments by Steve Genzano @]
This post consists of MP3's (320kps) taken from a soundboard feed and has been labelled as a Hussey Remaster. (thanks to the original uploader - Cina Najcler). A selection of artwork is included for the various releases for this bootleg recording, all released as a double CD set.  Quality of the recording is a close 10 out of 10.
Track Listing
CD 1
01.  I Don't Care Anymore 6:25
02.  Only You Know and I Know 5:59
03.  I Cannot Believe It's True 4:30
04.  This Must Be Love 5:47
05.  Against All Odds 3:37
06.  Inside Out 5:18
07.  Who Said I Would 5:11
08.  You Know What I Mean 4:42
09.  If Leaving Me Is Easy 8:24
10.  Sussudio 5:05
11.  Behind the Lines 4:49
12.  Don't Lose My Number 4:28

CD 2
01.  The West Side 8:24

02.  One More Night 5:49
03.  In the Air Tonight 7:45
04.  Band Introductions 8:58
05.  Like China 5:29
06.  You Can't Hurry love 3:01
07.  It Don't Matter to Me 4:23
08.  Hand in Hand 11:01
09.  Take Me Home 8:15
10.  People Get Ready 3:29
11.  It's Alright 2:43 

Phil Collins : vocals, drums, piano
Peter Robinson : keyboards

Leland Sklar : bass
Daryl Stuermer : guitar

Chester Thompson : drums

The Phenix Horns :
Rhamlee Michael Davis : trumpet
Michael Harris : trumpet
Don Myrick : sax
Louis Satterfield : trombone

Phil Collins Link (237Mb)

Tuesday, September 20, 2016

Budgie - Radio Sessions 1974 & 1978

(Welsh 1969 - Present)
Looking back to 1970's most major rock bands released at least one live album in order to capture the excitement and spontaneity of a live performance. It therefore seems unusual that Budgie or their record companies of the period did not pursue this avenue to the fullest extent. Budgie were essentially a live act and the studio albums did not truly capture the same excitement as a live concert.The only official live recordings from the period appear to be concerts broadcast by radio.

In 1974 the original drummer Ray Phillips had left the band and a replacement was needed to fulfill tour commitments. Pete Boot was drafted in and due to an album being required by the record company he ended up staying to record the album. As Burke has said of the period " it was chaotic, we were trying to rehearse the live set, do the shows and write and record new material for the new album".

One of the shows from that time was broadcast from Global Village, London in March 1974, a few weeks before the new album In For The Kill was released. It subsequently went on to enter the top 30 album chart.This show contains early versions of Hammer and Tongs and Zoom Club from the 'In For The Kill' album.The recording quality of I974's radio is a long way from recordings that are done with today's technology however due to so much interest in the band in it's early days this show is now presented in it's entirety and contains previously unreleased tracks.

In 1977 and 1978, now with Steve Williams on drums, Budgie spent long periods of time in America and Canada where they toured and recorded the Impeckable album. In May 1978 a live show was broadcast from Los Angeles.This concert contained material from the new album Impeckable and featured Myf Issac on second guitar.This show was to be one of Tony Bourge's last with the band and whilst the recording is far superior to the broadcast from London in 1974 it also shows that the band had progressed musically and the performance was a lot more polished.Tony's departure led to a short period of decline for Budgie when musical tastes were changing in Britain and it was to be two years before they regained their status as a major act.

Enjoy these recordings for what they are, with such a shortage of live Budgie material from the 70's, they are a piece of history.
I bought the older "Heavier Than Air / Rarest Eggs" release some time ago and wasn't sure whether to buy this one to get the few extra 1974 tracks, but I'm glad I did. The 1978 gig serves as the live album Budgie never released at the time - a well recorded great performance which no Budgie fan could be disappointed by, other than missing the odd classic tune such as 'Napoleon Bona-Parts 1 & 2', while 'Breaking All the House Rules' takes on a slightly over-enthusiastic tempo. Being 'remastered' has not made a revolutionary change in sound compared to the previous release however.

The 1974 tracks sound much better than the two tracks included on Rarest Eggs. The recording meets the quality of a very good bootleg: it's from a good desk mix but is hissy and with occasional tape dropout. This latter causes the odd unscheduled drift in panning & the occasional increase in background noise. There are fades in the applause and announcements between some tracks and 'Hammer and Tongs' fades just before the end. However, it's a fantastic performance, it flows from track to track and has real atmosphere and energy. The only problem is that it is now out of print (as stated on Budgie's website), so if you are after the real deal, then you'll have to source it on eBay or alike.

Budgie 1978 - Tony Bourge, Myf Issac, Steve Williams, Shelley Bourke
This post consists of  FLACs and MP3's (320kps) ripped from my CD double set and includes full album artwork. Although I normally avoid publishing CD only releases, the fact that these recordings were made in the 70's but never released until recently (2005), and have been referred to as an 'official bootleg' release; I will make the exception here. Likewise, this CD set is no longer available for sale from Budgie's website.
Track Listing
CD 1 (London 1974)
01 - Breadfan
02 - You are The Biggest Thing Since Powdered Milk
03 - Hammer and Tongs
04 - Zoom Club
05 - Parents
06 - Rocking Man

Budgie were:
Burke Shelley- Vocals, Bass
Tony Bourge - Guitar, Vocals
Pete Boot - Drums  

CD 2 (Los Angeles 1978)
01 - Melt The Ice Away
02 - In The Grip Of A Tyrefitters Hand03 - Smile Boy Smile
04 - In For The Kill / You Are The Biggest Thing Since Powdered Milk
05 - Love For You And Me
06 - Parents
07 - Who Do You Want For Your Love
08 - Don’t Dilute The Water
09 - Breaking All The House Rules
10 - Breadfan

Budgie were:
Burke Shelley- Vocals, Bass
Tony Bourge - Guitar, Vocals
Myf Issac - Lead Guitar
Steve Williams - Drums

Budgie Radio Sessions MP3's (270Mb)
Budgie Radio Sessions CD1 FLACs (367Mb)
Budgie Radio Sessions CD2 FLACs (413Mb)

Wednesday, September 14, 2016

Kevin Borich - Lonely One (1977) + Bonus Tracks

(New Zealand/Australian 1969-Present)
With a professional career spanning more than 40 years, Kevin Borich has done it all.
Beginning with the La-De-Das's in New Zealand, writing the classic hit `Gonna See My Baby Tonight’, to his Kevin Borich Express and he Party Boys, Kevin has performed at some of the biggest Rock events Australia has seen.

Sunbury and the Rockarenas in the 70’s with 60,000 people, featuring Fleetwood Mac, Santana (with whom he was invited onstage to play with Carlos) and The Little River Band. Two New Years Eve celebrations at the Sydney Opera House with 70,000 people, telecast live, nationally and internationally to Japan, at that time, a first! Numerous support shows for international acts, Elton John, Status Quo, Jeff Beck and Buddy Guy to name a few.

From your local to the big events, Kevin has carved out a revered reputation in the Australian Music Industry, performing his music with a youthful exuberance – giving extra meaning to the word Longevity.
Kevin has played and recorded with artists such as Renee’ Geyer `Blues License’ – Dutch Tilders `The Blues Had a Baby ‘- Richard Clapton `Prussian Blue’, Joe Walsh and The Party Boys, of which Kevin was a founding member.

Jammed with Carlos Santana on two of his tours, also with Bo Didley, Richie Blackmore (Deep Purple), Ron Wood (Rolling Stones), John Mayall, Taj Mahal, Living Colour.
Overseas tours and tours with Jimmy Barnes, Renee’ Geyer and Mark Hunter, have added spice to his career.

Kevin is well known for his high energy electric guitar style. At the Gimme Ted Benefit Concert for Ted Mulry, Kevin’s performance was hailed throughout the music industry as world class. A Borich show leaves his audience pleading for more, as seen at the Eastcoast Roots & Blues Music Festival Byron Bay, Thredbo Blues Festival and dozens more.

Kevin starred in the hugely successful 18 ‘Sold Out’ Australia wide ‘Long Way To The Top’ 2002 arena concerts. 2003 and Kevin, alongside Tony Joe White, John Mayall and Ray Charles (in that order) performed the Melbourne International Music & Blues Festival. In recognition of Kevin’s contribution to Australian music and blues culture he was inducted into the Australian Blues Foundation Hall of Fame. 2004 saw more gigs, more touring, more festivals and a new CD – Nomad.

Kevin Borich Plays Rockarena in 1977
Kevin included a 1930’s National Steel acoustic guitar in his show. This “laid-back” acoustic style was a very well received addition to Kevin’s performance on a selection of electric guitars, including his Fender Stratocaster and Gibson Firebird slide guitar.

Kevin continues to tour with his Express, playing material from his extensive catalogue. Some of which was re-released on CD by Festival (Kevin Borich – Collection) and EMI (Kevin Borich – Goin Down Town, a double pack of the Kevin Borich Express first two albums, `Celebration’ and `Lonely One’, now sadly out of print).

Due to popular demand, Kevin has independently produced and released his CDs:
- `Live at the Big Kahuna’ – a blues-based double live CD which shows Kevin’s versatile guitar style.
- ’Heart Starter’ – strong powerful and sensitive playing from guys who have tons of cred, Harry Brus (bass) and John Annas (drums) and on 2 tracks Kevin’s son Lucius Borich (drums).
- ‘Nomad’ – a mighty experience of the combined musical talents of Kevin and his son Lucius Borich (drums and bass) and Mark Kennedy (drums and percussion) and Harry Brus (bass). [extract from sindynurpratami.blogspot]

Kevin Borich Jams With Carlos Santana
Kevin Borich is finally getting some of the breaks he deserves. He has always been acknowledged for his guitar playing. In Australia, over the past year, no poll has been held without awarding Kevin the place of top Australian guitarist. In the last 'Ram' poll, Kevin and his drummer John Annis, won top positions in their respective categories with votes totally more than double their nearest competitor.

The 'Kevin Borich Express' was also one of the two Australian bands (Little River Band being the other) who were asked to play on 'Rockarena' this year with Santana and Fleetwood Mac. Apart from the obvious benefit of playing at the largest concerts Australia has seen for a long time, there was the bonus for Kevin and John of playing on the same stage as Carlos Santana whose music had inspired them both for a long time. Little did they both realise that they would be playing on the same stage 'at the same time' as Santana. During Santana's encore of "Evil Ways" Carlos gestured to Kevin and John to join them on stage for a jam. John played timbalis and Kevin played one of Carlos' spare Gibson guitars through a Boogie amplifier. Kevin was struck by the power Carlos exuded on stage. Carlos was very content and in control, ruling the band by his unspoken commands.

Kevin commented later, "It was an honour for me that he liked my playing enough to invite me on the stage". It was also rewarding for Kevin to have his playing and musical direction affirmed, for in spite of the rave reviews that have greeted the release of his two albums "Celebration" and "Lonely One" radio have not been very generous in their allocation of airwave time to Kevin's records. Kevin's first album is nearly gold (sales of 20,000) and the latest release "Lonely One" is selling steadily. But without radio support a record cannot expect large sales. 2SM have recently been playing "Tell Me Why" and in response to this possibly good omen Astor have rushed released the track as the follow up single to "Tango Queen".

Bill Graham (manager of Santana and promoter of such famed venues as the Fillmore, Winterland and A Day On The Green) was very impressed with the Kevin Borich Express and offered them work at his venues when they go to the States. Michael Chugg (KBE Manager) is currently in America looking at venues and record companies with an eye to touring there later in'78.  [by Keith Jennings, JAMM Magazine, Feb 1978, p9]
This post proudly presents FLACs and MP3's (320kps) freshly ripped from my almost 40year old vinyl. Full album artwork and label scans are included along with a scan of the JAMM  feature article on Kevin.
This album was a fantastic follow up to his debut album 'Celebration' which I posted on this blog some time ago. Along with the title track "Lonely One", my favourite tracks on this album are "Need Your Love", "Good To See Ya" and "White Ship".  Interesting to see Renee Geyer singing background vocals. This is another album that must be played with the volume cranked up and the windows wide open (in case they shatter). Enjoy
01 -  Need Your Love    
02 -  Tell Me Why    
03 -   Lonely One    
04  -  Six Million Dollar Role    
05  -  White Ship    
06  -  Tango Queen    
07  -  Good To See You    
08  -  By The Light    
09  -  Rescue Dream    
10  -  Acropolis
11  -  The End Of Me (Bonus First Release)
12  -  Lonely One (Bonus Live At The Forth Valley Blues Festival, Tasmania 2013)

Kevin Borich - Guitar, Vocals
John Annas - drums, vocals
Tim Partridge - bass
Larry 'Light Fingers' Duryea - Congas
Tony Buchanan - flute, sax
Ian Bloxom - percussion
Bruce McLean - steel drums
Cahoots, Renee Geyer, Sheryl Black - backing vocals

Kevin Borich MP3 Link (113Mb)
Kevin Borich FLAC Link (298Mb)

Friday, September 9, 2016

The Small Faces - Selftitled (1967)

(U.K 1965-1969, 1975-1978)
Within weeks of Small Faces' stage debut in 1965, this ultimate Mod group entered the UK Top 20 with 'Whatcha Gonna Do About It' - featuring Marriott's strangled and passionate vocals. The follow-up, Marriott and Lane's 'I Got Mine', missed the mark but, replacing Winston with lan McLagan, the outfit got back on course in 1966 with 'Sha-La-La-La-Lee', 'Hey Girl' and, their only UK Number 1, 'All Or Nothing'.

"My Mind's Eye' and 'I Can't Make It' marked time before a switch to Immediate in 1967 facilitated an intensely creative phase. 'Here Come The Nice', 'Itchycoo Park', Tin Soldier' and 'Lazy Sunday Afternoon' were all late Sixties hits and characterized Small Faces' particularly English style, merging R&B with cockney chirpiness and psychedelia. 'Itchycoo Park' was also the band's only significant US hit.

After the 'Ogden's Nut Gone Flake' album (1968) was followed by two moderate-selling singles 'The Universal' and 'Afterglow', Marriott left to form Humble Pie in 1969. Jones, Lane and McLagen continued as the Faces, recruiting Ron Wood and Rod Stewart from the Jeff Beck Group. Although successful, both Humble Pie and the Faces disbanded in the mid-Seventies.

Two subsequent Small Faces re-formation albums failed to chart. Lane's career was cut short by multiple sclerosis and Marriott's death in 1991 put paid to any further reunions.
[Taken from The Encyclopedia Of Rock by Michael Heatley, RD Press 1996.  p42]
The Demise Of The Small Faces
A January 1968 Tour of Australia with The Who sowed the seeds of the Small Faces demise.
Road-rusty after a year in and out of the studio, the Small Faces’ poor performances created tension and resentment in the group, specifically between fiery singer-guitarist Steve Marriott and the more spiritually-inclined bassist-singer Ronnie Lane. In Australia Marriott cornered record exec Tony Calder.

“He said, ‘I’m not gonna give any more of my f***ing songwriting to Ronnie Lane,” Calder tells MOJO’s Mark Paytress. “I’d never realised there was a problem until then, or that Steve had been writing most of the [hit] songs.”

The tragedy was that in the studio the group were at the top of their game, with their first album on Andrew Loog Oldham’s Immediate Records – their third in total – yielding the astonishing (Tell Me) Have You Ever Seen Me and Show Me The Way, and the ardently loved Ogden’s Nut Gone Flake in the pipeline. Yet the Australia trip had broken something in the band, and it preyed on Marriott’s mind when a potentially make-or-break US tour was mooted.

“He wouldn’t go because he couldn’t face failure,” says Marriott’s mum Kay. “If they went there and weren’t accepted, it would have been dreadful for him. He was a coward in that way, bless him.”

Calder says it was also during the Australian tour that Marriott first came up with the idea of introducing Peter Frampton, the rising ‘Face Of ’68’ and guitarist/singer with The Herd, into a five-piece Small Faces. “Stevie said, ‘Go back to London and call him. I want him out of his contract.’ But it took time, maybe a year or more.”

“I love Pete,” says Small Faces organ maestro Ian McLagan, “but it wasn’t the right move for us. Maybe we should’ve got a trumpeter, not another guitarist!”

“Lazy Sunday messed things up for us. Just like Sha-La-La-La-Lee had done.”

While Ogden’s Nut Gone Flake was to reveal the copious creative life that remained in the group, MOJO’s cover story reveals surprising disharmony over its mix of psychedelic whimsy, searing soul-rock and daft cockney gurning. When managers Calder and Andrew Loog Oldham (still in recovery after his 1967 nervous breakdown) released the ebullient but polarizing Lazy Sunday as Ogden’s…’ first single in April 1968, another nail was knocked into the group’s coffin.

“We were all pissed off with that, because it messed things up for us,” McLagan tells MOJO. “Just like Sha-La-La-La-Lee had done.”

On New Year’s Eve 1968, Steve Marriott walked off stage mid-gig and broke up the Small Faces early the following year. Marriott and Frampton formed heavy rockers Humble Pie, while the rump of the band found another path to success, recruiting Ron Wood and Rod Stewart to constitute The Faces. But a quality that belonged to the Small Faces exclusively was lost.

“I wish we could have stayed together,” Faces/Small Faces drummer Kenney Jones sadly concludes, “but Steve was gung ho.” [Article from MOJO Magazine, #244 March 2014]
This post consists of MP3's (320kps) ripped from my prized $tateside vinyl and includes full album artwork along with label scans.  Although this album is a mono pressing it still has that nice 60's feel about it and all of the tracks (although not major hits) are enjoyable to listen to. So grab this album 'Immediately' (pun intended) while you can.
Track Listing
01 - (Tell Me) Have You Ever Seen Me    2:15
02 - Something I Want To Tell You    2:06
03 - Feeling Lonely            1:30
04 - Happy Boys Happy            1:35
05 - Things Are Going To Get Better    2:36
06 - My Way Of Giving            1:38
07 - Green Circles            2:34
08 - Become Like You            1:55
09 - Get Yourself Together        2:17
10 - All Of Our Yesterdays        1:47
11 - Talk To You            2:05
12 - Show Me The Way            2:00
13 - Up The Wooden Hills To Bedfordshire    2:05
14 - Eddie's Dreaming            2:50


The Small Faces were:
Steve Marriott (vocals, guitar)
Ronnie Lane (Bass, vocals)
Jimmy Winston (keyboards)
Kenney Jones (drums)

The Small Faces Link (71Mb)

Sunday, September 4, 2016

It Flew Away - Pull Out All The Stops (1972)

(Australian 1971 - 1973)
Rare Australian progressive / psychedelic rock from Melbourne-based group It Flew Away, taken from their only album 'The Lounge Room Tapes', which was recorded in 1972 but privately released in 1987 as a double LP in a small run of 250 copies.

Finally the music of this great Melbourne band is available on CD!  Previously some of this material was released on a totally independent 2LP set in the late 80's, however this has been remastered from the original tapes recorded in 1972. Great keyboard/guitar interplay throughout makes this an essential addition to every Aussie 70's progressive rock collection. These guys were certainly the unluckiest band of the era in that, with all the abundant talent on show they never got to release any records at the time.

It Flew Away was a band whose story seems to sum up the hopes and aspirations of so many outfits who played their guts out to very little critical acclaim. This was in an era when simply being able to express one's musical ideas in a public forum was considered by many to be reward enough to make the long hours of rehearsal and equipment lugging seem worthwhile!

Early in 1971 Ian Clarke (keyboards), Barend du Preez (bass, vocals and harmonica) and John Reid (guitar) were living in a defunct private hospital in Prahran, writing songs and thinking only half seriously about forming a band. John's brother, Rob, took the initiative and put an ad in the Source Bookshop in Melbourne... Wanted - Creative Drummer. Guitarist, bass player and organist, writing own music, seek sincere musician to develop a group from embryonic stages to something satisfying.

In August, Shane Cleary turned up, and on a cold grey day, over a bowl of hot millet, It Flew Away was born. The band's first gig was in early December, supporting Carson at Ocean Grove, a coastal town on the outskirts of Melbourne. Then followed an appearance at Evolution ("Australia's biggest holiday dance in the heart of swinging Rosebud"). At about this time an American promoter was developing the Regent Theatre in South Yarra as a Fillmore-style concert hall Billed as a 'mixed-media palace', it promised to be an exciting new venue for rock music in Melbourne.

The Regent wanted new talent, and It Flew Away wanted a place to play, so a short, but exciting association was formed. On New Years Eve they played The Regent for the first time with Spectrum, Friends, Carl & Janie Myriad, Blackfeather and The Joy Band. With earnest expressions they presented their collection of lengthy and extravagant musical images, in front of the Stargate Corridor light show.

Throughout 1972, It Flew Away took their music wherever they could. Bookings through the Let It Be agency led the band to play at such venues as Sebastians, Q Club, Much More Ballroom, various Universities and tertiary institutions, suburban dances, and also as far afield as Adelaide, Sydney and Newcastle. Whilst in Sydney the band visited the ABC (government funded TV channel) studios, to record 'Candy Meets The Vibrator', 'Aimless Pasture' and one other song for an airing on the popular music show of the day known as "G.T.K.'.

They won a Battle of the Bands at Buronga on the Murray River near Mildura, and seemed to be achieving some recognition among informed writers in the music press. But all was not well. The Regent burned down and the Much More Ballroom closed. Taking note of these events, the band invested in a custom built PA. system that became endearingly known as the 'D.S.H.', and after a couple of live engagements, the 'D.S.H.' blew up! At least one band member believed that music could save the world, but despite this idealism, by early 1973 they were silting on the floor of Phil Dwyer's panel shop cum studio, tearing strips off each other.

Sympathetic audiences were scarce, and efforts to support It Flew Away with a theatrical rock and roll band called Thicket Ducks, and later, a straight outfit called The Pub Band had failed. Idealism was no match for a lack of equipment, and with poverty lurking just around the corner, It Flew Away would fly no more. It Flew Away really had it all, ambitious keyboard passages combined with a great guitar sound and tough rhythm section making their sound far more memorable than most symphonic rock outfits of the day.

The almost six minute opening track 'On My Way Home' has classy guitar/keyboard interplay and practically sets the tone for all the material on this release. From the epic 'Good Times' with its fantastic guitar lines, soaring keyboards and interesting lyrical content (du Preez even managed to incorporate some Tolkien imagery), to the wildness of 'Candy...' or the last track 'Pull Out All The Stops Mother', everything here is played with 100% confidence by a band on the brink of greatness, but nonetheless, one whose members never saw the door of opportunity open for them.

It had been a creative period in four peoples lives, at times joyful and positive, at others turbulent and difficult. And so to the passage of time... Fortunately for the band, they had loyal friends in Carl Hartung and Ross Williams, to whom a great debt is owed for the existence of a cache of well recorded tapes containing a number of versions of different songs, without which this music would inevitably have faded with time and memory. It was always Hartung's ambition to make an album using this material which had been hidden away in dark cupboards for many years, with only the occasional airing.

In 1987 he and Reid worked together to create a compilation reflecting various facets of the band's songwriting. Eventually, after a great deal of effort everything fell into place, and a 2LP set was produced, primarily for fans and friends in a limited edition of 250 copies. It Flew Away The Lounge Room Tapes finally saw the  light of day, sold-out and  disappeared! [by Carl Hartung and Glenn Terry - CD Booklet]
This post consists of FLACs and MP3's (320kps)  ripped from the Vicious Sloth re-issue CD (now out of print) thanks to Marios.  Full album and booklet artwork is included.
This album would have to be be one of the hidden treasures of the 70's, and probably one of the rarest progressive Aussie rock albums ever released because it literally flew away !
Track Listing
01.  On My Way Home (B.du Preez) - 5:54
02.  Good Times (B.du Preez) - 9:16

03.  Raggin'MyBin (I. Clarke, B.du Preez, J.Reid) - 2:44
04.  Aimless Pasture (I. Clarke) - 7:09
05.  Candy Meets The Vibrator (J. Reid) - 2:52
06.  Mighty Harvest (take 1) (J. Reid, B. du Preez, I. Clarke) - 5:05
07.  Beach (B.du Preez) - 6:03
08.  Crab Apple Jelly Jam (J. Reid, B. du Preez) - 3:15
09.  Watch Out (R.Reid, J.Reid, B.du Preez) - 4:37
10.  Open Spaces (B. du Preez) - 6:21
11.  Pull Out All The Stops Mother (I. Clarke, B. du Preez) - 15:23

It Flew Away were:
Ian Clarke - Keyboards
Barend du Preez - Bass, Vocals, Harmonica
John Reid - Guitar
Shane Cleary - Drums

It Flew Away FLACs Link (489Mb)
It Flew Away MP3 Link (198Mb)

Wednesday, August 31, 2016

W.O.C.K On Vinyl - Clint Eastwood Sings Cowboy Favourites (1962)

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.
Perhaps the icon of macho movie stars, and a living legend, Clint Eastwood has become a standard in international cinema. Born May 31, 1930 in San Francisco, the elder of two children in a middle-class family, Eastwood finished high school at the comparatively late age of 19 and worked odd jobs for several years before enrolling at Los Angeles City College, from which he dropped out after two semesters to pursue acting. He found unaccredited bit parts in such nondescript B-films as Revenge of the Creature (1955) and Tarantula (1955) during the mid-'50s while simultaneously digging swimming pools for a living, until he got his first breakthrough in the long-running TV series Rawhide (1959) with Eric Fleming. Though only a secondary player in the first season, Clint made the show his own by end of its run and became a household name around the country.

Eastwood found even bigger and better things in Italy with the excellent spaghetti westerns A Fistful of Dollars (1964) and For a Few Dollars More (1965), but it was the third installment in the trilogy where he found one of his signature roles: The Good, the Bad and the Ugly (1966). The movie was a big hit and he became an instant international star. Clint's first American-made western, Hang 'Em High (1968), was yet again a success. [extract from]

With the rusty door-hinge of a voice he possesses today, it's hard to imagine a time when Clint Eastwood could have been groomed as a singing star, but in the early ‘60s, when he came to fame as the rebellious Rowdy in the hit Western TV series Rawhide, it wasn't such a crazy idea. In 1963, playing off the popularity of the show, Cameo-Parkway released an album featuring Eastwood's versions of classic cowboy-style tunes. While Eastwood is admittedly not an exceptional vocalist, he's not at all bad; this is by no means some Golden Throats-style celebrity train wreck. At the time, there were plenty of equally photogenic young men with no greater vocal ability than Eastwood being promoted as country singers, many with less of an actual musical background than the jazz-schooled actor.

Eastwood's soft, somewhat laconic croon might not possess the commanding quality that was de rigueur for the era's country stars, but he never strays off-key, and his style is a kind of cross between legendary cowboy singer Roy Rogers and Dean Martin. Most of the tunes he tackles here were already well-known in hit versions by other artists -- the Sons of the Pioneers' "Tumbling Tumbleweeds," Bob Wills' "San Antonio Rose," Gene Autry's "Mexicali Rose," etc. The loping rhythms, lonesome harmonica, lazy guitar licks, and male backing-vocal choruses are all in keeping with the production conventions of the day for cowboy artists.

While Cowboy Favorites didn't make Eastwood a C&W star, it wasn't his country music swan song -- years later he would record with Merle Haggard and sing in the films 'Paint Your Wagon' and 'Honky Tonk Man' [extract from]
Now, let's be really honest folks.  This album doesn't really fit my usual criteria for inclusion into the WOCK on Vinyl Hall of Fame - it's not really Wacky, nor is it Crazy or Korny, and having been released on CD, its not really Obscure either. But folks, it's all about Cowboys and Westerns and that's just good enough for me.
So here it is partners. A nice round up of rootin, tootin tunes that any city slicker would love to have in their personal corral, ripped from vinyl in MP3 (192kps) format.  Note: There is some discrepancy as to when this album was released - some sources saying 1962 while others state 1963. So if you know for certain, then 'go ahead and make my day' LOL by leaving a comment.
Track Listing
01. Bouquet Of Roses
02. Along The Santa Fe Trail
03. The Last Round Up
04. Sierra Nevada
05. Mexicali Rose
06. Searching For Somewhere
07. I'll Love You More
08. Tumbling Tumbleweeds
09. Twilight On The Trail
10. San Antonio Rose
11. Don't Fence Me In
12. Are You Satisfied

Clint Eastwood Link (45Mb)

Friday, August 26, 2016

Jimi Hendrix - Atlanta Pop Festival, 4 July 1970 (Ex. Bootleg)

(U.S 1963-1970)
July 4, 1970. Middle Georgia Raceway - Byron, Georgia. 400,000 sunburned bodies. Jimi Hendrix headlines the Atlanta Pop Festival, a monster stop near the end of his last American Tour. With him are Experience drummer Mitch Mitchell and Band of Gypsys bassist Billy Cox. Jimi and Billy were army buddies stationed in the South in '61. Nine years later they return as the Cry of Love Band. Their 'Band Of Gypsys' album is  in the US Top 5, and the tour yields some of Jimi's best playing. His combined Mitchell/Cox rhythm section defines the ultimate power trio.

It is the Summer of '70. Rock festivals are the height of fashion. Independence day is on a Saturday. Jimi hits Atlanta's stage in the evening and faces the largest crowd of his life. [extract taken from DVD Cover - Jimi At The Atlanta Pop Festival]

Cry Of Love are supported by B.B. King, John Sebastian, Mountain, Procol Harum, Poco, Jethro Tull, Johnny Winter and The Allman Brothers. Randy California attends the festival and jams with Jimi in his dressing room, just before he goes on stage. A french TV film crew film part of Jimi's set.

 Cry Of Love take the stage for their 02:30 (Sunday) performance. Jimi announces: "Thank you for waiting, I can't hear nothing, testing one, two three, testing, testing. I'd like to introduce the new members of the group, this is Billy Cox on bass and Mitch Mitchell on drums and yours truly on public saxophone." Jimi starts the show off with 'Fire'. "Thank you, we really hope it isn't too loud for you, because if it is we can always turn it up. I'd like to do another thing goes something like this here. Hey dig, there's a whole lot of girls running around loose because [their] old man's in the army and so forth, and when he comes back he's gonna find you up there with your other man and somebody's gonna get [it]. It's called 'Here Comes Your Lover Man'." Following this number, and without any introduction, Jimi continues with 'Spanish Castle Magic'. Then: "Yeah we'd like to slow it down a little bit and quiet it down and... do a slow blues for the evening, a thing called 'Red House'."

There are more tuning problems, and Jimi addresses the audience: "Sorry for the tuning, it'll only take a second. I'd like to do a thing that, er, we're gonna have on our new LP, a thing called 'Room Full Of Mirrors'." After this song, Jimi continues the set with 'Getting My Heart Back Together Again', 'Message To Love', All Along The Watch tower' and 'Freedom'. He then says: "Thank you very much for the last four years... [this is] dedicated to the girl over there with the purple underwear on." Jimi continues with 'Foxy Lady".

Then: "I want everybody to stand up and get off... your thing and stand up on your feet because we'd like to do a happy birthday song to America. Thing goes something like... the thing they used to brainwash [us with]... at school. Well let's all, everybody stand up and sing it together with feeling." Jimi proceeds to play the introduction to 'Star Spangled Banner', but quickly changes it to 'Purple Haze'. During the song there is a huge firework display behind the stage which lights up the night sky.
After 'Purple Haze', Jimi comments: "Thank you very much for staying with us, thank you... and... I'd like to see you again soon." Jimi continues the set with 'Hey Joe'.

Next, the band play 'Voodoo Child (Slight Return)'. Afterwards he announces: "Thank you very much for staying with us, thank you. Thank you very much, you're all really, really kind. You know, if I could see you we could get it together, but that light is blinding me, man, it's hard to play when you can't see nobody, you know." The offending spotlight is switched off and Jimi comments: "Now I can see you, yeah, right. I'd like to do a thing called 'Stone Free' - we hope you remember that one." Jimi then continues with 'Star Spangled Banner' and 'Straight Ahead'. He closes the show with a very out-of-tune version of' Land Of The New Rising Sun' [extract from Jimi Hendrix Concert Files by Tony Brown, Omnibus Press, 1999. p162]

The Cry Of Love - Atlanta, 4th July 1970
About 100 miles south of Atlanta, next to a field on the outer fringes of the town Byron, in Georgia, is a plaque erected by the Georgia Historical Society marking the location of the second Atlanta International Pop Festival, which ran from July 3-5, 1970. It reads: "Over 30 musical acts performed, including rock icon Jimi Hendrix playing to the largest American audience of this career." Despite the overwhelming attendance—which some estimates actually put as high as 400,000—the festival, and Hendrix's performance in particular, have not received their due until now.
This post consists of MP3's (320kps) which were found on the web many years ago, and includes full album artwork and photos taken at the festival. This bootleg is one of the better sources on offer for this iconic concert, and includes all bar 2 tracks performed by Hendrix and The Cry Of Love on the night (Freedom & Foxy Lady missing). Unlike the official 2015 release, entitled 'Freedom' (which by the way incorrectly credits the recording to The Jimi Hendrix Experience), this bootleg includes the closing track on Jimi's setlist, a very out-of-tune version of' 'Land Of The New Rising Sun.  Whether Hendrix was suffering from the effects of drugs at the end of his performance or he simply couldn't hear due to the poor acoustics, it was common practice by Hendrix at the time to close his performances with this very solemn piece, yet the track is missing from the official release making it incomplete also. So, even if you have purchased Freedom, you still need to grab this Bootleg to hear the full concert. Quality of the recording is an 8/10.
Track Listing:
01  - Fire   
02 -  Lover Man   
03 -  Spanish Castle Magic   
04 -  Red House   
05 -  Room Full Of Mirrors   
06 -  Hear My Train A Comin'   
07 -  Message Of Love   
08 -  All Along The Watchtower   
(Note:  Tracks missing are Freedom & Foxey Lady)
09 -  Purple Haze   
10 -  Hey Joe   
11 -  Voodoo Child (Slight Return)   
12 -  Stone Free
13 -  Straight Ahead   
14 -  Star Spangled Banner   
15 -  Hey Baby

Jimi Hendrix (Guitar, Vocals)
Billy Cox (Bass)
Mitch Mitchell (Drums)

Jimi Hendrix Atlanta Link (173Mb)