Thursday, October 16, 2014

Jimi Hendrix - The Best Of Hendrix (Bootleg)

(U.S 1967-70)
.
This bootleg release is a combination of four different sources and recording dates and has been released under many different names: 'Jimi Hendrix Live' (1990), 'Purple Haze' (On Stage 1993), 'Foxy Lady' (Algebra 1996), 'Fire' (Swingin' Pig 1989) and this release 'Best Of Hendrix' by Eclipse (date unknown)
The following are brief accounts from these four concerts (thanks to Tony Brown):
.
Studio 4/Radiohuset, Stockholm Swedish Radio
"Pop 67 Special"
September 5, 1967
(Tuesday)

- Sgt.Pepper's Lonely Hearts Club Band  
- Hey Joe
- The Wind Cries Mary    
- Foxy Lady  
- The Burning Of The Midnight Lamp
.
The Experience record a live radio recording at the Radiohuset, Studio 4 in Stockholm before a live audience.
The experience perform "Sgt. Pepper's", "Hey Joe", "I Don't Live Today" (not included here, but was released on Fire In Stockholm 67),"The Wind Cries Mary", "Foy Lady", "Fire", "Burning The Midnight Lamp" and "Purple Haze" in front of a live audience for Swedish Radio and are interviewed by Klaes Borlin. The show was broadcast on September 10 as 'Pop 67 Special'
The Experience open with 'Sergeant Pepper's Lonely Hearts Club Band'. "Yeah, thank you very much that was our own little thing. I'd like to do this song that really got us into something, a little song called 'Hey Joe.'"... "Thank you very much, now while your ears are still ringing, we'd like to go on and do another little tune called 'I Don't Live Today' dedicated to the American Indian."... "So right now we'd like to slow it down a little bit and do one of the tunes we recorded as a single. It's a little thing called 'The Wind Cries Mary'."... "Yeah okay than, we'd like to proceed on with a little tune from our LP... it's named 'Foxy Lady'." ... "Thank you very much, we'd like to go ahead on with this tune named 'Let Me Stand Next To Your Fire'."... "We'd like to do our latest release... it's a thing called 'The Burning of the Midnight Lamp'... it's the first time we ever did it in front of people."... "So right now we'd like to do our last number and say thanks a lot for coming and listening. It's a song named 'Purple Haze'." Jimi is now adding the wild feedback introduction to the song at almost all of his concerts around this time.
 .
L'Olympia,Paris 2nd show
January 29, 1968
(Monday)

- Red House   
- Fire
- Little Wing
.
The Experience fly from Heathrow to Paris for two shows at the Olympia supported by The Animals. Their set comprises: "Killing Floor", "Catfish Blues", "Foxy Lady", "Red House", "Driving South", "The Wind Cries Mary", "Fire", "Little Wing" and "Purple Haze".
After their introduction for the second show, Jimi opens with 'Killing Floor'. "Yeah, thank you very much... We'd like to go ahead... and do a song that goes like this, here." He continues with 'Catfish Blues'. At the end of the song, someone in the audience shouts out in French, "Alee pop pa". Jimi responds with, "Yeah, dig. We got this groovy tune man..." At that point, someone in the audience takes a photo of him; he comments: "They're taking my picture man, oh man. Anyway dig, we've got this groovy tune that's named 'Tune up time, tune up time", dig, we got this groovy tune'." Jimi tunes his guitar and asks Noel to play an A, which he sings in a high-pitched voice, before asking the audience: "Give me a P, give me a P, come on." The audience responds by singing the same note that Jimi is singing. He comments: "Yeah, yeah that's great, that's great. We've got this song that goes something like this here - you all have to quiet as bunnies. And it goes something like this here." Jimi continues with 'Foxy Lady'. Afterwards, he tells the audience, "Hey dig... we're gonna feature Noel Redding, you know, the bass player. He's gonna play guitar on this song named 'Red House'. Remember this one, the record named 'Red House'? Anyway we gonna do this song named 'Red House' and Noel Redding's gonna play guitar there. So [we'll] get tuned up..." After tuning their guitars, Jimi instructs Noel and Mitch: "Real slow, real slow."
When the song is over, Jimi announces: "Right, now what we'd like to try to do is a instrumental for you just for a second, you know, just see if we can get ourselves back together again." They continue with 'Drivin' South', the last known time they play the song. Noel comments: "We have just learn't that." Jimi continues: "You know that there's a certain song that we like to play between every other song that we play. It's called a tune up song, you know."
At this point someone in the audience screams, and Jimi responds, "Yeah, and all that kind of... Elvis Presley... stuff." The same person screams again and Jimi announces in his Elvis voice, "Yeah there baby, you just have to sit down in a big old rocker there, yeah." He starts playing a few bars of old-time 12 bar blues. "Thank you very much there, thank you very much, yeah we sold a million records on that one right there and all that bull. Yeah, we'd like to go and do a song called 'The Wind Cries Mary', all right?" Afterwards, he comments: "We'd like to keep on going with a song called 'Let Me Stand Next To Your Fire'. During the song, Mitch manages to break his snare drum skin and so he has to find a replacement. Jimi is deciding what to play next and Noel suggests 'You've Got Me Floating'. Jimi replies "You've Got Me Floating, wow I think I've forgot the words to that one." Mitch has located another snare drum and Jimi announces, "Yeah, we're having trouble with the drums. If you just hold on for a second, Mitchell over there, better known as Queen Bee, he's having slight trouble, so will you just hold on for a second there.


Konserthuset, Stockholm (2 shows)
January 9, 1969
(Thursday)

- Killing Floor
- Voodoo Child(slight return)   
- Purple Haze 
- The Star Spangled Banner
.
The Experience arrive in Stockholm at 14:25 and book into the Hotel Cariton. Jimi is interviewed by Ulla Lundstrom in his hotel room. They attend a press reception at 16:00 and are interviewed by Margareta Klinberg for Aftonbladet, published January 10, Peter Himmelstrand for Expressen,  published January 10, Dagens Nyheter, published January 10, and Benny Moller for Bildjoumalen, published January 10.
In the evening they play two shows at the Konserthuset at 19:00 and 21:30, supported by Jethro Tull.
During the first show The Experience perform 'Killing Floor', 'Spanish Castle Magic', 'Fire', 'Hey Joe', 'Voodoo Child', 'Red House' and 'Sunshine Of Your Love';
During the second, 'I Don't Live Today', 'Spanish Castle Magic', 'Hey Joe', 'Voodoo Child', 'Sunshine Of Your Love', 'Red House', 'Fire',  Purple Haze' and 'Star Spangled Banner'.
The second show is videotaped for Swedish TV Number 9 programme. Jimi is interviewed by Lennart Wretlind for Swedish radio, broadcast January 12 Pop 68 Special, Channel P3.
.
The Forum, Los Angeles
April 26, 1969
(Saturday)
 
- The Sunshine Of Your Love
.
The Experience play The Forum, Los Angeles, supported by Cat Mother and Chicago Transit Authority.
The Experience perform "Tax Free", "Foxy Lady", "Red House","Spanish Castle Magic","Star Spangled Banner","Purple Haze", "I Don't Live Today","Voodoo Child" and "Sunshine Of Your Love". Jimi plays the last two tracks together breaking into "Sunshine Of Your Love" during the middle of "Voodoo Chile". You can just hear him going back into "Voodoo Chile" as "Sunshine of Your Love" fades out on this release.
After the show, Jimi goes to the Wiskey A Go Go with Mama Cass Elliot and Billy Eckstine
[Extracts from Hendrix: The Visual Documentatary by Tony Brown: The Original Edition, Omnibus Press, 1992. & Jimi Hendrix: Concert Files by Tony Brown. Omnibus Press, 1999]
.
This post consists of MP3 (320kps) ripped from the Australian release Eclipse CD and includes full album artwork. You'll also see below that I have this bootleg on Cassette Tape. The recordings are pretty damn good and highlight some peak moments in Hendrix's concert recordings. The title says it all....Enjoy !
.
Track Listing
01 - The Wind Cries Mary
02 - Burning The Midnight Lamp
03 - Foxy Lady
04 - Voodoo Chile (Slight Return)
05 - Killing Floor
06 - Sgt Pepper's Lonely Hearts Club Band
07 - Hey Joe
08 - Sunshine Of Your Love
09 - Little Wing
10 - Fire
11 - Red House
12 - Purple Haze
13 - Star Spangled Banner (Not Listed)

.
The Jimi Hendrix Experience
Jimi Hendrix - Guitar / Vocals
Noel Redding - Bass
Mitch Mitchell - Drums
.
The Best Of Hendrix Link (119Mb)

.

Wednesday, October 8, 2014

Fraternity - Flaming Galah (1972)

(Australian 1970-75)
.
Original line-up: BON SCOTT (vocals); BRUCE HOWE (bass); MIC'KJURD (guitar); JOHN FREEMAN (drums); JOHN AYERS (harmonica); JOHN BISSET (keyboards).
Fraternity formed late in 1970 and based themselves in Adelaide. All the members had previously played with professional bands.
Before long they began recording for the Sweet Peach label and by June 1971, they had released three singles — 'Question', 'Why Did It Have To Be Me' and 'Seasons Of Change' (which was written originally for them by Blackfeather), along with their first LP 'Livestock'
In September Sammy Lee (ex-Flying Circus) joined to become their seventh member (playing slide guitar and piano). They went on to win the 1971 Hoadley's Battle of the Sounds. Meanwhile, they switched record companies to the Raven label. In October, although they had terminated their contract two months prior, Sweet Peach released 'The Race'. The band disagreed with its release as the sound on it was mechanical and not representative of their talents.
Also in October, came their first single for Raven, 'You Got It'. Then in March '72 (after Raven had been taken over by RCA), another single, 'Welfare Boogie' was released, followed by their second album Flaming Galah. But the band couldn't seem to produce hit records and eventually dissolved with Bon turning up later in AC/DC. [extract Noel McGrath's Australian Encyclopedia of Rock, Outback Press, 1978. p 120]

After their first LP 'Livestock' came out, Adelaide businessman Hamish Henry took over management of Fraternity and the group moved to Adelaide. Most of the band took up residence at Hemmings Farm in the Adelaide Hills, where they wrote and rehearsed communally (in the spirit of Traffic and The Band) while Bissett and his wife rented a flat above Henry's art gallery in North Adelaide. Vince Lovegrove reported on the group's new base in the June 1971 edition of Go-Set:

L-R Mick Jurd, John Freeman, 'Uncle' John Eyers, Bruce Howe, Bon Scott, Sam See, John Bisset
(Fraternity) live like no other band in Australia, in a house in the hills 17 miles from Adelaide. It's surrounded by seven acres of bushland. They're from everything but nature. What a buzz! Once a week they come into the city to have a meeting with their management and collect their pay. They only leave their pad to play gigs.

Bon Scott, vocalist, recorder and timbala player, is constantly in a dream world of his own but he's having a ball. He says: "The point is, the dollar sign is not the ultimate. We want to try and help each other develop and live. So that the thing inside of us, whether it be creative or not, is satisfied. Something makes us tick and it's up to people to satisfy that something. We are satisfying ourselves and others by creating an environment."

The group's next single "Livestock", "Why Did It Have To Be Me?" b/w "Cool Spot" was issued in January, but did not chart. Their second single became their only major hit -- it reached #1 in Adelaide and made the Top Ten in other cities, but for reasons beyond their control it faced strong competition from the original version by Blackfeather. As noted above, Fraternity had wanted to cover "Seasons of Change" for some time, and with the blessing of David Sinclair and John Robinson, they cut their own version, which was released in March 1971. It would probably have been a major national hit, because John Robinson had generously obtained an undertaking from Infinity not to release Blackfeather's version as a single. Predictably though, as soon as Fraternity's version became a hit in Adelaide, Festival reneged on its promise and rushed out the Blackfeather version as a single.

Two new members joined during 1971, expanding the band to a seven-piece. Harmonica player 'Uncle' John Ayers joined in May, and not long after that the group achieved another career peak, winning the 1971 Hoadley's Battle of the Sounds. Next on board was guitarist-pianist Sam See (ex Sherbet, Flying Circus) who was apparently approached to join Fraternity by Bruce Howe. Sam left Flying Circus at the completion of their Australian tour in September. Flying Circus had relocated to America earlier in the year and they were beginning to build up a following in Canada, where they recently toured, and they returned there after their Australian tour and it eventually became their permanent base.

Two more Singles were released after Sam joined -- "The Race" came out in October 1971 on Sweet Peach, and the same month their fourth single "If You Got It" came out on the Raven label (not to be confused with the present-day reissue company), evidently signalling the end of their relationship with Sweet Peach.




Now augmented by Ayers and See, Fraternity' cut their second album 'Flaming Galah', which came out on the RCA label in April 1972. It was a much rockier album that their debut and featured a distinctive twin-keyboard interplay between Bissett and See. Although songs like "Welfare Boogie", "If You Got It", "Hemming's Farm" and "Getting Off" showed the group moving into a bluesy hard rock style, there were only three new songs alongside re-recorded (albeit superior) versions of earlier songs.

By the time the album had been released, Fraternity were in the UK, having taken advantage of their Battle of the Sounds prize (a free trip to London). Unfortunately, like so many other Australian bands, the dream of 'making it' in the UK proved impossible to achieve. Basing themselves in Finchley, London the group slogged away in the UK and Europe from early 1972 to mid-1973, playing one-off gigs around England and one or two short tours of Germany.

As John Bissett recalled in an interview with the AC/DC website 'Back In Black', Fraternity's sojourn on the punishing UK music scene had the same effect on them as it did on so many other Australian bands:

John Bisset & Bon Scott
Our wealthy and benevolent manager, Hamish, transplanted the whole Fraternity community to London. My dog Clutch even joined us after six miserable months in quarantine. In all there were 17 people and a dog living in a house designed for maybe 6 people. It was very cramped and communal and there was a lot of bickering as you can imagine. Each band member had a girlfriend or wife and I also had a young child and a dog. There were also the two roadies, Bob and Rob, Bob's wife and our tour manager, Bruce King. Hamish had also shipped our Fraternity tour bus to London from Australia. The Finchley residents were bemused by the mini greyhound bus parked in the narrow London street.

I remember London rehearsals being very gloomy, unproductive affairs. We had very little money so the booze and drugs supply was severely limited. The whole mood of the band went downhill in London – hag-sub reality began to set in. The party was over. We were not up with the play as far as sound production went. Our PA was inadequate and we lacked the know-how and experience of the UK bands. We supported Status Quo at our first gig. The audience was appreciative and kind but we could not compete with the gear we had.

Other problems inherent in the band became prominent. We had too many members to get a clear sound definition of individual instruments and we lacked good original material. We also had not established a clear musical and cultural niche or direction for ourselves. We were a strange type of country-rock band by this stage. We all tried to write new and better songs but to no avail. I was unhappy on piano but felt like a passenger on a bus that no one in particular was driving, and clueless and powerless to change anything. Things were briefly better in Germany. We focused more on rock for the German audiences and went over quite well. Bon introduced a song or two in German, much to the delight of the audience.

I was the first to jump ship and Sam See followed soon after. The rest (Howe, Jurd, Ayers, Scott and Freeman) carried on for a time as Fang but soon returned to Australia.

John Bissett was hired and fired from Mungo Jerry then moved into computing for several years. Sam See was contacted by Doug Rowe and headed to Canada to rejoin Flying Circus. The rest of Fraternity returned to Australia and briefly changed their name to 'Fang', but not long after they got back Bon (whose daredevil exploits were already the stuff of legend) was severely injured in a motor-bike accident that almost claimed his life, and he was forced to leave the group and spent many months recuperating.  He collaborated with a group of Adelaide musos, dubbed The Mount Lofty Rangers.

In July 1974 Vince Lovegrove introduced Bon to AC/DC at an Adelaide gig, while the band was touring as support for Lou Reed. They were about to ditch vocalist Dave Evans and Bon was offered his place, but Bon wanted to be the drummer so he turned it down, although he did sign on as their roadie. During a residency in Perth in September Bon 'subbed' as singer when Evans refused to go on; soon after that he was sacked, and Bon was again offered the job. This time he accepted, and the rest is history.

Meanwhile, Howe, Ayers and Freeman had put together Fraternity II in 1974 with Mauri Berg (guitar), John "Swanee" Swan (vocals) and Peter Bersee (violin). Freeman left in mid-1975, so Swan switched to drums and his younger brother Jimmy Barnes briefly took over the new lead singer, but he left soon after, rejoined his earlier band, Cold Chisel and of course went on to become one of the biggest Australian rock stars of the 70s and 80s. Swan left to join Jim Keays' Southern Cross, and later fronted Feather and his own band Swanee.

By late 1975 Fraternity had been renamed 'Some Dream'. Ca. 1978 it was renamed Mickey Finn, which comprised Howe, Ayers, Berg and Joff Bateman. By 1980 John Freeman had rejoined and a second guitarist, Stan Koritini, had been added and this lineup cut a self-titled album for the Eureka label. Mickey Finn released two Singles in 1980 and 1981 before fading from the scene. [extract from Milesago]
.
OK - this post is special because it not only features high quality recordings in both MP3 (320kps) and FLAC, but was freshly ripped from my superb vinyl which I found at the local flee market last week and scored for two bucks!. The only disappointment is that the inside Gatefold was a little roached from moisture damage, but the vinyl is Oh so clean !  A copy of Flaming Galah recently sold on eBay for $1,293 (Aus) - so who's the Flaming Galah now !
Full album artwork is included (thanks to Mick from Midoz for this) along with label scans from my vinyl.
This is certainly an album not to be missed - especially if you are a fan of Bon Scott / ACDC.
.
Track Listing
01. Welfare Boogie 3:44
02. Annabelle 4:00
03. Seasons of Change 3:56
04. If You Got It 4:07
05. You Have a God 3:12
06. Hemming's Farm 3:49
07. Raglan's Folly 4:43

08. Getting Off 3:26
09. Sommerville R.I.P. 3:55
10. Canyon Suite 7:21


Fraternity are:
Bon Scott /Lead Vocals
Mick Jurd /Lead Guitar
John Freeman /Drums
John Bisset /Keyboards
Bruce Howe /Bass Guitar
"Uncle" John Eyers /Harmonica
Sam See /Slide Guitar, Piano

.
Fraternity MP3 Link (102Mb)
.
Fraternity FLAC Link (274Mb)
.

Saturday, October 4, 2014

U2 - Not Authorised Live Vol 3 (1993) Bootleg

(Irish 1976 - Present)
.
The following sources place this concert from the Lovetown Tour, 2nd Leg Europe, Dublin, 26th Dec 1989
* Recorded live Dublin, 26.12.89  (Part.2)
* U2 - 'Desire' (Vol. 2)

The Lovetown Tour was a concert tour by the Irish rock band U2, which took place in late 1989 and early 1990 following the release of their 'Rattle and Hum' album. It was documented by noted rock'n'roll film director Richard Lowenstein in the "LoveTown" documentary.
The tour's opening night was on 21 September 1989 at the Entertainment Centre in Perth, Australia. The first leg took place over the next 10 weeks in Australia, New Zealand, and Japan. A brief second leg hit four countries in Europe for four weeks, ending on 10 January 1990 at the Sport Paleis Ahoy in Rotterdam, Netherlands. Of the tour's 47 concerts, 23 were played in Australia.
Many songs performed on the tour would not be performed again for many years, if ever, as the band subsequently shifted its sound dramatically on the album Achtung Baby with tours in the 1990s that featured more choreographed performances and largely emphasized newer material. The tour marked the end of the band's long-time practice of concluding nearly every concert with the song "40", which featured the band leaving the stage one-by-one and the audience chanting the chorus. This practice was not resurrected until 15 years later, during the Vertigo Tour. Notably absent from the tour was the song Sunday Bloody Sunday, which had been a live staple and which would be featured in all subsequent tours.
The tour name, possibly a contraction of the Rattle and Hum song "When Love Comes to Town", was the first not to be named for the band's then-current album; as of 2009, all of their subsequent tours have also had different names from any album.
.

U2 played four concerts in Dublin towards the end of the tour, from 26th December until New Years Eve, 1989. The 31 December 1989 Dublin concert was broadcast on RTE and BBC radio around the world, giving many fans their only taste of the tour; it was widely bootlegged and ultimately officially released in digital form in 2004 as 'Live from the Point Depot'.
Therefore, I am a little skeptical about the origin of this bootleg being from the 26th Dec. It is more likely that it is a re-release of the Bootleg New Years Concert held on the 31st December. Perhaps someone might be able to clarify if this is the case. Unofficial releases from an artist’s beginnings and endings are the most interesting to hear.  It illuminates a band’s decision and U2 went through a major change in the beginning of the new decade.  Through the eighties they established an aesthetic based upon a dramatic interpretation of new wave tinged with overtly political themes.  It was by the time they hit the Lovetown tour that they decided a change in direction to their sound was necessary for the new decade.
The four shows in Dublin during the holiday season represent a swan song of sorts and, after four shows in Rotterdam in January, U2 would never be the same.  This is the ending of the serious U2 focused upon political themes in their hometown to a global awareness and a deeper address to other forms of media manipulation.
.
.
U2 & B.B King
Meeting veteran blues player B. B. King, a Memphis man whose recording career began before Elvis's, provided another opportunity for U2 to experiment with the blues.
The relationship between B.B. King and U2 began in Dublin back in the early part of 1986. They met up whilst B.B. King was working in Ireland, and had talked about doing some writing and recording together at some unspecified point in the future.
The band wrote "When Love Comes to Town" for him, Bono only finishing the lyrics an hour before he met him in Fort Worth, Texas.
.
B.B.'s response after reading the paper Bono had given him was to say "How old are you? They're heavy lyrics... heavy lyrics."
"Seeing him that close was great," says The Edge, newly an admirer of blues guitarists from Howlin'Wolf to Jimi Hendrix. "I loved his style and it was good to meet the man."
B.B. and his band opened for U2 in Texas, which U2 looked upon as a great honour. The sequence in the movie was filmed during soundcheck and the gig at the'Tarrant County Arena in Fort Worth, and on this one occasion only When "Love Comes to Town" was performed live by the two bands as a special encore.
"We discovered a common bond between us and some of these older artists like B.B.King. When we met him there was a whole world of understanding and nothing needed to be said. That has been the pay-off of working ten years to get into this position. We no longer have to prove ourselves. It's in the music and people can hear it." Adam. [extract from U2 Rattle & Hum, Pyramid by Peter Williams & Steve Turner, 1988. p31]
.
This post consists of MP3 (320kps) ripped from a 1993 Australian Bootleg CD and includes full album artwork, along with other bootleg covers for the same concert. The quality of the recording is exceptional which makes me even more adamant that this is the 2nd half of the RTE and BBC radio broadcast from the New Years Eve concert.  Either way, you won't be disappointed with this one.
.
Note:  Track 5 (Love Rescue Me) ends with 4 minutes of audience applause and screams of encore - so I have taken the liberty of including an edited version of this track which you can substitute for better enjoyment.
.
Track Listing 
01 - New Year's Day
02 - Pride (In The Name Of Love)
03 - Angel Of Harlem/Suspicious Minds
04 - When Love Comes To Town
05 - Love Rescue Me
06 - With Or Without You
07 - 40


Band Members:
Bono (vocals and guitar)
The Edge (guitar, keyboards and vocals)
Adam Clayton (bass guitar)
Larry Mullen, Jr. (drums and percussion)
Guest appearance by B.B King on "When Love Comes To Town"

.
U2 Live Vol 3 Link (100Mb)
.

Tuesday, September 30, 2014

W.O.C.K On Vinyl: Johnny Chester - My Ding-A-Ling (1974)


Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
.
I first heard this novelty single sung by Chuck Berry on his London Sessions album and always loved the humorous lyrics and innuendo's which it portrayed. I was also pleasantly surprised when I heard Johnny Chester's cover of this Berry classic and thought it was appropriate to share it with you for this month's WOCK on Vinyl post, being both Obscure and a just a little bit Korny.
Johnny Chester is an international entertainment phenomena and Australian artist. His highly successful careers embrace a wide range of activities in the entertainment industry. Johnny's careers include artistic performer, recording artist, songwriter, radio personality, television host, promoter and record producer.

.
Throughout all of these highly diverse careers Johnny has achieved the highest professional and ethical standards. The respect audiences and industry peers have for him is unsurpassed..

Johnny Chester in the 80's
His outstanding achievements include:
- More than eighty releases on vinyl, cassette and compact disc in Australia and many other countries.
- Hosted national television series including Teen Time, Teen Scene and Country Road.
- toured extensively throughout Australia, performed in the United States of America and for the allied troops in Vietnam.
- achieved outstanding success on the radio at 3UZ, 6PM, 7EX, 7HT, 3GL, 3MP, 3DB and Radio Australia which broadcast his shows to every corner of the world.
- shared the stage with an almost endless list of acclaimed international artists including the Beatles, Roy Orbison, the Everly Brothers, Connie Francis, Kenny Rogers, Johnny Cash, Charley Pride, Roger Miller, Tammy Wynette and Freddy Fender.

Johnny Chester's highly polished entertainment skills have been widely recognised by both audiences and the entertainment industry. This is evidenced by the many accolades Johnny has received including:

- Best selling record 1975 ( She's my kind of woman )
- Australian Country Music Male Vocalist of the Year in 1980, 1981, 1982.
- International Country Music Award for Entertainer of the Year for Australia in 1982 and 1983.
- Tamworth Songwriters Association Songmaker Award in 1994
 .
Track listing:
01 - My Ding-A-Ling
02 - Nowhere In Particular
.
Johnny Chester Link (MP3/320kps)
.

Saturday, September 27, 2014

Pseudo Echo - Desk Tape Live (1985) Soundboard

(Australian 1982-1990, 1999-2005, 2010-Present)
.
Formed in 1982 by school friends Brian Canham (vocals, guitars, and keyboards) and Pierre Gigliotti (bass, keyboards) the band completed its lineup with Anthony Argiro (drums) and Tony Lugton (guitars and keyboards).
Pseudo Echo's first album Autumnal Park was an Ultravox-influenced album that yielded the Australian singles "Listening" (produced by Peter Dawkins), "Stranger in Me", "Dancing Till Midnight", and "A Beat for You".
Their climb to success in the summer of 1984 was rapid, and they quickly became the second biggest band in Australia after INXS.
"His Eyes", a track from their first album, received exposure overseas as it was used in the movie Friday the 13th: A New Beginning.
There was a lineup change before their second album with Tony Lugton being replaced by James Leigh (real surname: Dingli) after a dispute between Lugton and Canham over money, and another lineup change during the making of the second album with Argiro being replaced by James's brother Vince.
Lugton went on to join synth rock band Talk That Walk.
Brian Canham joined as guest vocalist with The Incredible Penguins in 1985, for a cover of "Happy Xmas (War Is Over)", a charity project for research on Fairy penguins, which peaked at #10 on the Australian Kent Music Report in December.
Their second album, Love an Adventure (1986), was also a success with several singles from that album topping the Australian charts including the title track, "Don't Go", "Try", and "Living in a Dream".
The album was re-released the following year to include their remake of the Lipps, Inc. song "Funkytown", which brought the group their biggest international success, reaching No. 6 on the Billboard Hot 100 in the USA and No. 8 in the UK in July, 1987, as well as spending seven weeks at #1 in Australia from December 1986.
The overseas release of Love an Adventure featured a somewhat different track listing which included re-mixed versions of 3 singles from Autumnal Park: "Listening", "A Beat for You", and "Destination Unknown".
.
Pseudo Echo 1985
These were remixed to sound more rock-oriented, to better-match the other tracks on the album. Brian Canham even re-recorded the vocals for a slicker sound to compliment these rock remixes.
Once again, the overseas version of Love an Adventure was re-released to include the re-make of "Funkytown", replacing "Don't Go" in the original track list.
In 1987, the band re-released "Listening" for the movie North Shore starring Nia Peeples.
Their third album, Race (1989), went further in the direction of pop rock and metal.
The album featured the Australian singles "Fooled Again", "Over Tomorrow", "Eye of the Storm", and "Don't You Forget".
.
The album stopped at #32 on the ARIA chart and it seemed that the band's move to a more rock/metal genre had alienated a good portion of their established fanbase.
Pseudo Echo disbanded shortly after touring for Race in 1990.
The band reunited in 1999 to produce the EP Funkytown Y2K: RMX, which included 6 new remixes of "Funkytown".
A year later, they released the double-CD Teleporter (2000), which featured 4 all-new tracks, 5 re-mixed tracks, and a live performance in Melbourne.
The live performance featured all the tracks from Autumnal Park except for "From the Shore", along with a few tracks from Love an Adventure and a performance of the rare B-side "In Their Time".
Since reuniting in 1999, the band has been touring constantly in Australia, and were previously seen touring with the "Idols of the 80s" in 2005.
In April 2010 they played two sold out shows in Adelaide, South Australia, and they continue to tour nationwide, as indicated in the review listed below  [extract from wikipedia]
.
.

PSEUDO ECHO, ECHO, ECHO
[Interview by Matilda Heggie. Pearl Magazine Issue #31, Sept 2014]
Looking back in to Australia's musical past, we may not have produced the number of super stars as the US or the UK, but we certainly have our own trailblazers.
Bands like Pseudo Echo, who looked at popular pub rock scene and challenged it with synths, a crimping iron and a makeup brush. So, was the prospect of wielding a keytar in front of rock-loving pub crowds ever daunting for the lads?
"There were definitely moments where we had to have integrity and stand our ground" reflects front-man Brian Canham. "catching our big break meant Pseudo Echo was the opening act for many big pub rock bands of the time. These bands had a brawny, real 'aussie type' crowd. So we'd come out with our makeup on, done-up hair and outlandish clothing and it would be quite full on because we'd have these guys eye-balling us thinking 'what's going on?"
.Lucky for Pseudo Echo, the opportunity to dance with a dame seemed enough to break down barriers and have even the surliest of men busting a move or two at their live shows.
.

"The girls would get into it and start dancing and by the end of it everyone would be dancing," laughs Canham. "It always ended happy and I think it became a lure for guys to go to a Pseudo Echo gig really."
Pseudo Echo's biggest break came about after Molly Meldrum saw the new wave youths play live in Melbourne and invited them to appear on Countdown.
"Meeting Molly was incredible. We'd actually met him a few years prior to even having a band and later down the track when he came to see Pseudo Echo he remembered us as the guys that he'd met. He was surprised because I was a sort of shy introverted kid, yet as a young band we were quite professional. So he kind of took us under his wing and did what he could to help us on our way."
And on their merry way they went, with the band finding a ready-made audience among teenagers who fawned on their every move. Canham explains the 80s as a bit of a golden-era for musicians, suggesting that many bands found "exposure and success that they might not have enjoyed in another era.
"The 80s was very open-minded. It was all about the big pop stars, the sensationalism of it all. You're on the screen, in magazines, newspapers etc.. .the 90s saw the end of it though as it brought about the anti-hero."
The latter part of the 90s also saw a major stylistic shift in Pseudo Echo's sound, which can be partly attributed to a change in band members. The line-up has changed a few times over the years, yet Brian Canham has always been at the fore. Now with what he deems as the ultimate Pseudo Echo formation, Canham has penned and produced the band's first album In 15 years.

'Ultraviolet' was released in April this year, thanks to a successful Pledge Music crowd funding campaign. Both the success of the campaign and the album's reception-has been a testament to the band's dedicated fab base. "A lot of fans have said that we've stayed true to the Autumnal Park stuff with our sound and I think we have done that without being stagnant.
Touring the album for the past few months has brought both die-hard fans and new fans out of the woodwork, with Canham describing his audience as basically every band's dream.

"We connect with our audience on such a level that when we release something they nearly always like it. If I put my heart and soul into it, and am not swayed - like we were sometimes in the past by record companies or management - that seems to be the right formula. When you have that kind of relationship with your audience the pressure doesn't come from them, it comes from yourself. So I need to ask, is this really me? Is this really the best I can do this song or album? That's why it took me so long to release this album to be honest"

Pseudo Echo will be playing all their old hits and a mix of tracks from Ultraviolet when they take the stage at the Chelsea Heights Hotel (Melbourne) on Friday October 3, 2014.  For more information about Pseudo Echo, their latest release and up and coming gigs, see their Facebook page
.
This posting is a live desk recording of Pseudo Echo from sometime late in 1985, probably December and was sourced from Gruntrat's Live Preserver blog with thanks.  From his recollections, the recording can only be narrowed down to either The Palace in St Kilda or Monash University. It is believed that Aaron Chugg was the FOH engineer.

I first saw Pseudo Echo in the early 80's at 'Kramers' in Preston, when they were the support act for The Little Heroes, and was where I met my beautiful wife !
This recording (MP3/320kps) is really a great representation of the band in its heyday. I'm positive that fans of the Pseudo's will love this....the recording actually predates their release of Funky Town.
.
Track listing
01 Intro-Stranger In Me

02 I Ask You Why
03 Lies Are Nothing
04 Tell Me
05 Try

06 I Will Be You
07 Girl
08 Lonely Without You
09 Listening
10 Don't Go
11 Living In A Dream
12 A Beat For You
13 Love An Adventure
14 Destination Unknown
15 Funky Town
16 Let's Get Together

.
Band Members:
Brian Canham (Lead Vocals, Guitar)
Pierre Gigliotti (Bass, Vocals)
Vince Leigh (Drums, Vocals)
James Leigh (Keyboards, Vocals)
.
Pseudo Echo Link (157Mb)
.

Tuesday, September 23, 2014

Colin Hay Band - Wayfaring Sons (1990) + Bonus Track

(Australian 1987-1991)
.
Scottish-Australian singer Colin Hay (lead singer of Men At Work) released his second solo album, “Wayfaring Sons”, through MCA Records in 1990. The band was formed with Gerry Hale, Paul Gadsby and Robert Dillon. The single “Into My Life” was a huge hit in Brazil.
Even though Colin James Hay's solo debut sold acceptably in the States, the cost benefit ratio apparently wasn't high enough for Columbia Records which promptly dropped him from its recording roster.   Three years later Hay reappeared signed to MCA Records.  Billed as the Colin Hay Band, his sophomore album found Hay making some major changes to his sound.   The most immediate was Hay's decision to return to a band format - in this case drummer Robert Dillon, bassist Paul Gadsby, and violinist Gerry Hale.  Co-produced by Hay and Elliott Scheiner, "Wayfairing Sons" also found Hay trying to expand his sound beyond the pop/new wave sound that had made Hay a mega seller. While marketing pressures required the album include at least some pop and radio friendly material, exemplified by material like the title track, "Dreamtime In Glasgow" and "Dream On (In the Night)", about half of the set featured acoustic numbers that seemed to settle somewhere between Celtic folk and Mumford & Sons-styled folk-rock (I can already hear the shouts of protest over the latter comparison).
I'll be one of the first to admit those folkish numbers were surprisingly and somewhat jarring.  That said, given a chance, most f then grew on you.   As for the more conventional material, the single "Into My Life", the big pop ballad "Not So Lonely" and the jittery reggae-ish 'Don't Drink the Water'  were all worth hearing.
.
Colin Hay 1990
Album Review
Opening up with Gerry Hale's squealing violin, "Wayfaring Sons" came as quite a surprise.   It wasn't that the track didn't rock, rather the Irish bar band vibe took awhile to get acclimated to.  Personally I wasn't a major fan. 
Just speculation on my part, but I'd imagine MCA wanted at least a couple of commercial tunes - one of the results being "Into My Life".  Musically this bouncy pop number actually bore a mild comparison to his earlier Men At Work catalog, in the process sounded nothing like the rest of Hay's new-found acoustic orientation.  Naturally it was the track MCA tapped as a single though it did nothing commercially.  Shame since it was actually pretty good; better than almost anything on the debut LP.    For anyone interested, you can see the MTV promotional video here.
"Storm In My Heart" returned to Hay's acoustic folk orientation.  With support for keyboardist Robert Kilgore, the result was one of the album's prettier melodies, showcasing the band's nice harmony vocals. 
Built on a jangly melody, "Dream On (In the Night)" was also notable for showcasing what a nice voice Hay had - especially when he wasn't trying to sound cute.  Simply a happy and uplifting song that was great for rolling down the car windows while cruising on a warm Spring day. My favourite track on the album actually.
Into My Life Single
The first of two group-penned songs, "Not so Lonely" was another exception to the folk orientation - Hay and company apparently aiming for a Corrs-styled epic pop ballad.   I'm guessing the odd backing vocals were in Gaelic.  Surprisingly commercial and enjoyable.
With a full rock arrangement (kudos to bassist Paul Gadsby), "Don't Drink the Water" found Hay demonstrating his environmental credentials on what was the album's second overtly pop-oriented tune.  This one would not have sounded all that out of place on a Men At Work album.
"Help Me" was another radio friendly tune showcasing a full band arrangement and another pro- environmental message.   While "Don't Drink the Water" was at least clever, this one's a bit short on subtlety.  I suspect most of his fans are already pretty environmentally sensitive.  Nice title track chorus, though the song had kind of an anonymous AOR feel.  MCA coughed up for a promo video on this one also. "Dreamtime In Glasgow" is a rollicking tune with some nice power chords hiding in the background.
"Back In My Loving Arms" is the second group composition and was a breezy, radio-friendly pop tune.   Probably one of the songs I would have tapped as a single.
With the last track "Ya (Rest In Peace)" Hay and company decide they like mandolins ...I generally like mandolins, but was lukewarm to this one.
And as mentioned, the single was: "Into My Life" b/w "If You Want It All' (MCA catalog number 1408) and the B-Side did not appear on the album. But you are in luck here, as I'm  including this nice little ballad here as a Bonus Track.
The Colin Hay Band - 1990
Now, in MCA's defense, figuring out how to sell Hay in an early 90's market that embraced Wilson Phillips, Phil Collins, and Madonna must have been a  nightmare and in spite of some promotional efforts, including a  single, the company seemingly threw in the towel with the album quickly disappearing without a trace.
[review by RDTEN1 Jan 25, 2014]
.
This post consists of MP3 (320kps) ripped from virgin freshly pressed vinyl (yep, another shrink wrapped find at the market) and includes full album artwork for both LP and CD. As a bonus, I've also included the non-album B-Side single "If You Want It All" - a hard track to find indeed.
Note:  Track "Not So Lonely" is unfortunately distorted on the album and I suspect the pressing I have is either faulty or the production of the track is crap. Not much I could do with this I'm afraid 
.
Track Listing
01 - Wayfaring Sons
02 - Into My Life
03 - Storm On My Heart
04 - Dream On (Into The Night)
05 - Not So Lonely
06 - Don't Drink The Water
07 - Help Me
08 - Dreamtime In Glasgow
09 - Back In My Loving Arms
10 - Ya (Rest in Peace)
11 - If You Want It All (Bonus B-Side Single)
 .

Colin Hay Band were:
Colin Hay - vocals, acoustic 12-string guitar, acoustic 6-string guitar, electric guitar, E-Bow
Gerry Hale - violin, mandolin, background vocals
Paul Gadsby - bass guitar, background vocals
Robert Dillon - drums, percussion
Robby Kilgore - keyboards
Jann Karam - background vocals ("Not So Lonely")

.
Colin Hay Band Link (103Mb)
.

Saturday, September 13, 2014

Railroad Gin - A Matter Of Time (1974)


(Australian 1969 - 1976)
.
Anyone with an interest in rock music in Queensland in the early '70s will almost certainly be familiar with Railroad Gin. They formed in Brisbane in 1969 more as a jazz and blues outfit the band.
In the early days the band performed at venues such as "The Open Door", "The Red Orb" and "Quentins", a cellar disco opposite Centennial Park in Wickham Street Brisbane playing material like "Don't Let Me Be Misunderstood", the Beatles hit "You Can't Do That", and songs by Spooky Tooth, Santana, Albatross and Black Fox.
Geoffrey Fitzgibbon was the original lead singer with Railroad Gin. By day he was working at the same advertising agency as Carol Lloyd. Legend has it that he heard her around the office humming at about ten octaves above the average person and invited her to try out with the band. For the next few months she appeared on stage as backing vocalist for them every Sunday night at "The Red Orb", most times to an audience of 20 or so. On some of the slower nights they'd kill time with Dylan poetry readings and Carol, it seems, was quite fond getting out front to perform a noteworthy recitation of 'Rindercella'.  
September 1971 is flagged as the first major gig for the band with Carol taking center stage as lead vocalist. At an open air concert presented as part of Brisbane's Warana Festival, Carol, in her own words was 'petrified'.
         
Carol Lloyd and Railroal Gin, Gladstone 1970s
By the end of the following year the band was really showing signs of developing some direction. They had won the finals of the University Bands Contest at Festival Hall with a selection of songs which included the Rita Coolidge hit "Superstar"; they'd also taken up a performing residency at "Quentins"; played at the opening of the luxurious new Pacesetters Club at Lennons Plaza Hotel and more importantly gotten a taste of what they were capable of in a recording studio.
          Definitely one of the great triumphs in Railroad Gin's career is the incredible Rock Mass they performed with the Queensland Youth Orchestra in 1973 in front of 7000 people at St. John's Cathedral in Brisbane. Some weeks later they performed an interdenominational church service which packed a city fringe church in Brisbane's West End.
 

By late 1973 the band included Bob Brown (percussion), Gary Evans (Drums), Peter Evans (flute, brass), Dim Jansons (bass), Laurie Stone (keyboards) and Phil Shields (guitar). This line-up blazed many musical trails in their short time together. They were signed to an international record label, were pioneers of multi-track recording, performed Rock Masses, enjoyed number one singles and their Matter Of Time LP stands up as one of the great Australian releases of the era.
.
L-R: Dim Jansons (bass guitar) • Laurie Stone (keyboards, brass, percussion) • Gary Evans (drums) • Bob Brown (percussion, brass) • Phil Shields (lead guitar, brass, percussion) • Carol Lloyd (vocals) • Peter Evans (flute, brass, percussion)
Other memorable moments for the band would have to include the occasion of their support gig for rocker Suzi Quatro at Festival Hall in 1974. Suzi, as expected, performed in black leathers but allegedly made certain stipulations as to where and how Carol was to sing. Carol, suitably offended and very much the individual defiantly marched on stage clad in Chinese brocade knickerbockers, silver tights and platform shoes, topped off by some strategically placed sequins and an old red fox cape leaving a fuming Quatro to watch from the wings. Co-incidentally this particular evening was the public debut of the Gin song "Don't Rile Me" and given the imposing atmosphere was probably never a more appropriate inclusion.
This 1974 album captured the groove heavy rock that the group had become famous for while touring extensively throughout the East Coast and South Australia.
.
.
By September 1975 Carol, who had reportedly been having major throat problems, had decided to quit the band. Her replacement, if only by chance, was 19yr old session singer Judee Ford.  Not long afterwards Lloyd cut another great LP with the Carol Lloyd Band. It was released internationally and sold well in Europe and South East Asia.      
Gin's management had put an ad in the papers seeking a new vocalist but Judee didn't see it. Later, whilst she was talking to the drummer's brother over drinks, she mentioned that she had done some singing in a now defunct, straight rock 'n' roll band, Tramway. Gary Evans' brother took her phone number, the band rang her the next day, an audition was arranged and Judee Ford was consequently promoted into the band and stayed with them then until their demise in 1977.



 .
Press releases for November 1975 triumphantly announced the signing of a new 3 year recording contract with Phonogram giving them a budget of $10,000 to record, package and promote their next album. During subsequent recording sessions the album was given the working title of "69,000 Hours" but by the time it was released in November 1976 most of the key band members had quit and it was given the more ominus title of "Journey's End". Unable to match the success of the 'A Matter Of Time' album and with such upheaval within the group it was fairly obvious that the end was nigh. The band headed south to Sydney around December of that year and was managing to get up to 3 nights work a week around the booming Sydney disco-bistro scene. It is believed the group disbanded not too long after.
Railroad Gin have a plaque on Queensland’s Walk of Fame on Brunswick Street in the Fortitude Valley along with The Bee Gees, Savage Garden, Keith Urban and Powderfinger. [extracts from ABC.net.au and Railroadgin.tripod]
.
Carol Lloyd (left) with singer-songwriter Sue Ray
Sadly, Carol Lloyd, Queensland’s original “rock chick” may see a new irony in her most famous 1974 song, It’s Only a Matter of Time as she has been contemplating her own mortality for more than a year, after being diagnosed with a terminal lung disease in April, 2013.Let's hope this is just a play on words and she makes a full recovery.
Recently, Lloyd has thrown herself into her work as a mentor and producer for a number of younger artists, including Brisbane nouveau-classical band Topology and singer-songwriter Sue Ray (pictured above).
Lloyd is also 7000 words into a memoir about her time in the hedonistic rock world of the 70s and 80s, with Railroad Gin, The Carol Lloyd Band and other projects.
..
In an interview with Natalie Bochenski (reporter from the Sydney Morning Herald), Lloyd had this to say:  
“I’m certainly going to give people a little window into certain aspects of my life which they’d have no idea about,” she said. 

One aspect will be her drug and alcohol addiction, sparked by getting hooked on a bizarre drug cocktail in her early 20s.

“I had no idea what I was smoking ... it turned out to be mescaline-dipped, heroin-injected hash,” she recalled.
“I was doing this a couple of times a week for nearly a year, so yeah, I wasn’t in great nick.”

To withdraw, she turned to whiskey, consuming over two bottles a day.

“I didn’t expect to see 25, let alone 65, so I’ve done pretty well to be around this long.”
. 
This post consists of a vinyl rip in MP3 format (256kps) which was kindly supplied by blog follower Peter296 (thanks mate). I'm posting this  rip because of a request I received some time ago. Full album artwork for both LP and CD are included. This is certainly a lost gem that needs to be circulated again.

Track Listing
01 - Intro
02 - Turn To Me
03 - Once Or Twice
04 - A Matter Of Time
05 - Come Together
06 - Still Water
07 - African Queen
08 - Ruby Tuesday
09 - The End
10 - You Told The World (bonus track)

11 - Do Ya' Love Me (bonus track)
.
Railroad Gin Band Members:
• Bob Brown (percussion. 1971-1977)
• Carol Brown (backing vocals. 1974)
• Debbie Doak (drums. 1994-1997)
• Jim Dickson (bass. then with Deniz Tek from 1994)
• Gary Evans (drums. March? 1973-Oct 1976)
• Margie Evans (backing vocals. 1974)
• Peter Evans (harmonica.flute.sax. Sept? 1971-1977)
• Trevor Fielding (drums. 1971 - 1973
formerly with "The Theory")
• Geoffrey Fitzgibbon (lead vocals.multi-instrumentalist. 1970-1971)
• Judee Ford (lead vocals. Oct 1975-1977
formerly with "Paranova" and "Tramway")
• John Hunter (drums. 1969-early 1970's then with "The Wake"
and "Ash" and many others in Melbourne after that)
• Dim Jansons (bass guitar. 1969-Feb 1976)
• Sudz Jansons (keyboards.percussion. 1974
brother of bass player Dim Jansons)
• Carol Lloyd (vocals. 1971-1975)
• Frank Millward (cornet.piano. 1971-19….?
formerly with "Anthem")
• Paul Murphy (vocals. March? 1971 ...formerly
with the band "Thursday's Children")
• Glen Rickwood (guitar. 1970?-June 1971)
• Phil Shields (guitar. 1969-1977)
• Annie Stone (backing vocals. 1974)
• Laurie Stone (organ.sax. 1970-Oct 1976)
• Colin Wilson (drums. Oct 1976 formerly with "Wish")
• Selwyn Wright (drums. 1970 formerly with "Parade")
(thanks to railroadgin.tripod.com for this extensive listing)

Railroad Gin Link (90Mb)   New Improved Rip
.