Monday, June 29, 2009

W.O.C.K On Vinyl - Happy Birthday Lisa (Michael Jackson)

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Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

My first WOCK on Vinyl posting is also dedicated to Michael Jackson, who tragically passed away this week at the tender age of 50. May he now find true peace in his final resting place.
Michael Jackson made a cameo appearance in an episode of the Simpsons called "Stark Raveing Dad" and wrote/sings a birthday song for Lisa called "Happy Birthday Lisa"

Lisa wakes Bart up and reminds him that her birthday is coming up and that he neglects or forgets her birthday every year. Bart promises to get her the best present ever. Meanwhile, Bart washes his red hat with the white laundry, and Homer has no choice but to wear a pink shirt to work. As a result, Mr. Burns suspects Homer of being a "free thinking anarchist" and has him detained. Dr. Marvin Monroe administers a 20-question quiz that Homer has Bart fill out. The results cause Homer to be sent to a mental institution, resembling the institution from One Flew Over the Cuckoo's Nest, where he shares a cell with 'the big white guy who thinks he's the little black guy'. In his cell Homer meets a big white man who claims to be Michael Jackson and speaking with the artist's distinctive voice. Homer, who astonishingly enough has never even heard of the artist, believes him instantly.

Marge comes to visit Homer and convinces his doctors that Bart is the primary cause of Homer's problems. Homer gets an official certificate that says he is not insane and Michael reveals that he is only in the hospital voluntarily. Homer calls and tells Bart that he is bringing Michael Jackson to stay for a few days. Against Homer's wishes, Bart lets the word out and all of Springfield turns out to see Michael Jackson. All the town's excitement is deflated when the fake Michael is revealed by Homer.

Lisa is upset when she realizes that Bart has yet again failed to acknowledge her birthday, due to finding out that Michael was coming. After hearing Lisa writing an angry letter to Bart, Michael convinces Bart to let him help. Together they write and perform a song specifically for Lisa's birthday called "Happy Birthday Lisa". Lisa is thrilled and hugs her brother, saying that he has given her the best present ever. Suddenly, Michael reveals that he is Leon Kompowsky, a brick-layer from Paterson, New Jersey. He explains that he does his Michael voice due to the fact he felt angry for the majority of his life and that he earned people's respect when he did the vocal impersonation. With his confidence renewed after composing a good song, he soon bids farewell to the Simpsons, singing Lisa's birthday song to himself as he strolls off down the road.
For your pleasure, I am including both the YouTube video clip and the 320kps MP3.

Happy Birthday Lisa Link (9Mb) New Link 14/06/2015
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Sunday, June 28, 2009

Chain - Live (1970 / Live Again (1972)

(Australian 1968 - 1974, and beyond)
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Chain are an Australian blues band formed in Melbourne as The Chain in late 1968 with a lineup including guitarist, vocalist Phil Manning; they are sometimes known as Matt Taylor's Chain after lead singer-songwriter and harmonica player, Matt Taylor. The band was named by Australian Blues Singer, Wendy Saddington, after the song "Chain of Fools" by Aretha Franklin.
Their January 1971 single "Black 'n Blue", which became their only top twenty hit, was recorded by Chain line-up of Manning, Taylor, drummer Barry Harvey and bass guitarist Barry Sullivan. The related album, Toward the Blues followed in September and peaked in the top ten albums chart.
Chain had various line-ups until July 1974, they separated for several years then reformed in 1982 for a one-off concert and more permanently from 1983–1986. Further line-up changes occurred with some forms called Matt Taylor's Chain, from 1998 Chain members are Harvey, Manning, Taylor and Dirk Du Bois on bass guitar. Both Manning and Taylor have also had separate solo careers. In 2005 Chain released, Sweet Honey and continued touring irregularly; on 3 May 2009, they performed at the Cairns Blues Festival.
There is a stark contrast between both of these live albums. The first Live album, was recorded, rather primitively, at Sydney's Caesar's Palace Disco and resulted in a raw, basic slab of hard blues. It features more instrumental work by band members and at times could be mistaken for a jazz album. Note: Don't be confused - "Black and White" is not their hit single "Black 'n Blue" with a typo, but is still a good track anyhow with a strong jazz feel highlighting some great keyboard work by Warren Morgan interplaying with Phil Manning's guitar licks.
In 1972, the Morgan, Manning, Harvey, Sullivan and Mason line-up recorded a live-in-the-studio sequel to Chain Live, a collection of seamless heavy blues jamstitled Chain Live Again. While neither the critical nor sales success of its predecessor, and while perhaps not as cohesive as the first live album, Live Again showed the band stretching out and trading off each other, building the momentum of the jams with a more organic and progressive feel. Yet, typically for Chain, they disbanded soon after the sessions; and due to various setbacks the album didn’t appear until later in the year. For a more extensive history of chain, see milesago
Both Live albums have been ripped from Vinyl at 256kbs and include full album artwork.
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Tracklisting
(Live)
01-The World Is Waiting
02-Black and White
03-Pilgrimage
04-Gertrude Street Blues
05-Chaser
(Live Again)
01-Take Your Time
02-Pig's Blues
03-Seventeen
04-The World Is A Rocky Impression
05-Mr. President
06-Leaving
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Band Members:
Phil Manning (Guitar/Vocals)
Barry Sullivan (Bass)
Glyn Mason (Guitar/Vocals)
Warren Morgan (Electric Piano)
Barry Harvey (Drums)
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Chain Live (88Mb) Sorry, album just released by Aztec Records. Please support our local artists
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Chain Live Again (77Mb) New Link 31/07/2014
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Friday, June 26, 2009

Robin Trower - Guitar Bandit (1973) Bootleg

(U.K 1973 - Present)
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When I bought 'Guitar Bandit' (aka Live At The Record Plant) it was the late 70's and some of the record stands at the Victoria Market (Melbourne) would have a couple of bins of these type of boots by various artists. A lot of Zeppelin, Springsteen, Hendrix and Deep Purple, and every once in a while a gem like this one. These boots came in a plain white cardboard sleeve with an insert slid in between the plastic wrap and sleeve. Remembers? I played the crap out of this for years, but my copy still has its shrink wrap attached in one piece. Recorded Live at Record Plant Studios, Sausalito, California, this is an excellent sounding FM broadcast of Trower after the release of 'Twice Removed From Yesterday' but before 'Bridge Of Sighs' on the Amazing Kornyphone Records label. Like most of the boots produced in the 70's it lacks bass but the recording itself is crystal clear.
Trower first formed a group in 1962 that came to be known as The Paramounts, later including fellow Southend High School pupil Gary Brooker. The Paramounts disbanded in 1966 to pursue individual projects. Trower then joined Brooker's new band Procol Harum in 1967, with whom he remained until 1972. After going solo in 1973 (replaced in Procol Harum by Dave Ball), he found the individual identity and style that have brought him acclaim to this day.
Before launching his own eponymous band, he joined singer Frankie Miller, bass player James Dewar, and former Jethro Tull drummer Clive Bunker to form the short-lived combo Jude. Although this outfit played some well-received gigs, it did not record and soon split up.
Trower retained Dewar as a bassist, who took on lead vocals as well, and recruited drummer Reg Isidore (later replaced by Bill Lordan) to form the Robin Trower Band in 1973.
Perhaps Trower's most famous album and my personal favourite is
'Bridge of Sighs' (1974). This album, along with his first and third solo albums, was produced by his former Procol Harum bandmate, organist Matthew Fisher. Despite differences, Trower's early power trio work was noted for its Hendrix influences.
One other thing that attracted me to Trower's earlier albums are their distinctive album covers, the creative work of Funky Paul Olsen. I was lucky enough to see Trower play at Festival Hall, in Melbourne in 1975, when he toured Australia with his 'For Earth Below' show. The one thing that struck me the most at the time was how easy he made his guitar work look, yet was able to reproduce his album solos flawlessly.
In 1977, feeling he had already proven himself as a performer, Trower ventured into new musical realms, as demonstrated by the release of the 'In City Dreams' album. The 1978 release of 'Caravan to Midnight' was in a different style from the rest of his earlier work, symbolising a change in direction for him.
In the early 1980s, Trower teamed up with former Cream bassist Jack Bruce and his previous drummers Lordan and Isidore, for two albums, 'BLT' (Bruce, Lordan, Trower) and 'Truce' (Trower, Bruce, Isidore). To be honest, this is not my favourite era in the Trower evolution and feel that he seemed to loose direction with his music
Trower's album, 'Living Out of Time' (2003), featured the return of veteran band mates Dave Bronze on bass, vocalist Davey Pattison (formerly with Ronnie Montrose's band Gamma) and Pete Thompson on drums - the same lineup as the mid 1980s albums Passion and Take What You Need.
In 2007, Robin released a third recording with Jack Bruce, 'Seven Moons', featuring Gary Husband on drums. Trower toured the United States and Canada in the summer and autumn of 2006. A 2008 world tour began in Ft. Pierce, Florida on 16 January 2008. Joining Davey Pattison and Pete Thompson was Glenn Letsch (formerly of Gamma) playing bass (Extract from Wikipedia). Trower's latest release (2009) is called 'What Lies Beneath' and stands to be another classic. Well worth a listen!
The Guitar Bandit rip included here was taken from Vinyl at 320kbs.
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Track Listing:
01 - The Fool And Me
02 - Twice Removed From Yesterday
03 - Lady Love
04 - Daydream
05 - Day Of The Eagle
06 - I Can't Wait Much Longer
07 - Man Of The World
08 - Sinner's Song
09 - A Little Bit Of Sympathy
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Band Members:
Robin Trower: guitar/ vocals
James Dewar: bass/ vocals
Reg Isodore: drums/ vocals
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Robin Trower Link (94Mb) REPOST
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Saturday, June 20, 2009

Jimi Hendrix - Guitar Hero (Bootleg, Ex SB)

(U.K 1967-1970)
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Note: This is NOT the inferior Jimi Hendrix / Jim Morrison bootleg (Scene Club, New York City, NY 18.03.68) with same name (aka Woke Up In The Morning And Found Myself Dead / Uranus Rock / Sunshine Of Your Love / Skyhigh )
In the 1970s, there was an endless supply of Jimi-Hendrix bootlegs to choose from. Hendrix died in 1970, but long after his death, bootleggers continued to thrill collectors by unearthing all kinds of live recordings, rehearsals, demos, and broadcasts. Unfortunately, many of those 1970s bootlegs weren't exactly known for their great sound quality -- some of them sounded terrible. But poor sound isn't a problem on 'Guitar Hero', one of the 1970s bootlegs that focuses on Hendrix's performances for the BBC's Top Gear program in 1967. The sound quality is excellent, as are the performances.

Jimi Hendrix 'Guitar Hero' 12 inch vinyl bootleg, was made in the USA and released in 1978 by K&S Records, catalog number 011. It's a recording from the BBC, London, Top Gear, October 17, 1967 and October 26, 1967. Top Gear was the name of John Peel's late-night program on Radio One in 1967. Guitar Hero includes the Jimi Hendrix Experience's second BBC session of the season, a three-track cracker which paired them with Rhythm 'n' Bluesman and radio announcer Alexis Korner. The session featured live renditions of "Driving South," Dylan's "Can You Please Crawl Out Of Your Window," and that legendary version of "(I'm Your) Hoochie Coochie Man," truncated when Jimi broke a guitar string.
Fronting the trailblazing Jimi Hendrix Experience -- Hendrix on lead vocals and guitar, Noel Redding on bass, and Mitch Mitchell on drums -- Hendrix is in superb form on original songs (which include "Foxy Lady," "Spanish Castle Magic," "Little Miss Lover," "Wait Until Tomorrow," and "Stone Free") as well as inspired covers of the Beatles' "Day Tripper," Bob Dylan's "Can You Please Crawl Out Your Window," Leiber & Stoller's "Hound Dog," and Willie Dixon's "I'm Your Hoochie Coochie Man." If you're going to do a cover, it's important to bring something fresh and original to the song -- otherwise, what's the point? And Hendrix puts his own spin on all of the rock and blues songs that he embraces, making them harder and heavier. Hendrix's guitar playing is quite metallic for 1967 -- he was arguably the first heavy metal artist, and his innovations helped pave the way for everyone from Steve Vai to Robin Trower. Guitar Hero is a first-rate bootleg that collectors were thrilled to get their hands on in the late '70s.

When I first played this album I was totally blown away - it sounded as good as any of his official releases and the album artwork and record label are first rate. It has obviously been taken from the original masters used by the BBC in their broadcasts, and these tracks have more recently appeared on the "BBC Sessions CD" released in 1998.
This rip has been taken from Vinyl at 320 kbs and full Album Artwork is included.
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Track Listing
01 - Radio One Theme
02 - Experiencing The Blues
03 - Can You Please Crawl out Your Window
04 - I'm Your Hoochie Coochie Man
05 - Driving South
06 - Spanish Castle Magic
07 - Day Tripper
08 - Wait until Tomorrow
09 - Stone Free
10 - Foxy Lady
11 - Little Miss Lover
12 - Burning of the Midnight Lamp
13 - Hound Dog
14 - Hey Joe
15 - Getting My Heart Back Again

Band Members:
Jimi Hendrix (Guitar, Lead Vocals)
Noel Redding (Bass, Vocals)
Mitch Mitchell (Drums)

Guitar Hero Link (109Mb) New Link 24/04/2014
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Thursday, June 18, 2009

Captain Beyond - Selftitled (1972)

(U.S 1971-79)

... in the summer of 1972, standing in the record store, holding this album. Hmmm, Lee Dorman and Rhino. (I was an Iron Butterfly fanatic.) Hmmm, Rod Evans. (I was a Deep Purple fanatic.) And, who the heck was Bobby Caldwell? Johnny Winter had a drummer by that name. Was it the same one? I didn't buy the album that day, but about a week later, I did. I took it straight to a friend's house, and we had a listen. Needless to say, it just about took our faces off.
The album still has its effect. What an amazing display of power and finesse! Never before--and never again to my knowledge--has an array of diverse time signatures danced with such remarkable ease. Bobby Caldwell's highly aggressive but astoundingly tasteful drumming will stupefy you. I thought about mentioning a couple of specific spots on the album where he overwhelms me, but that's impossible because the guy never really stops overwhelming me! With today's preoccupation with trying to mimic a drum-machine (an ongoing trend for almost 20 years), I wonder if anybody knows how to play drums like this anymore.
Guitarist Larry Reinhardt (Rhino) is as tasteful a player as one could ask for. We got a dose of his alluring style on Iron Butterfly's METAMORPHOSIS (a much overlooked gem, by the way). His playing is firm, to the point, and power-ridden. But, it also contains cosmic elements, overtones of otherworldliness, that I find irresistible. Lee Dorman is much underrated on bass. The power aspect of this music does not afford him the freedom to embellish with the endless variety he gave us with Iron Butterfly, but he does give us plenty of motion, along with maintaining the solid bottom needed for these driving rhythms. I've always loved the work of vocalist Rod Evans when he was with Deep Purple. Here, he is given the opportunity to really show off. His vocals are as energized as the rest of the band.
Another review points out that most of the reviews on this product page are written by us old folks. Yes, there are indeed many of us who have owned this album for 30-some years, and who are still infatuated by its brilliance. Great music stands the test of time. It rises above mere nostalgia. CAPTAIN BEYOND packs a wallop. What a combination of energy and sophistication! The music is well thought out--it's classy, but tailored to knock your socks off. If you have any idea of what it takes to make a band jell, I can almost guarantee that after the first four songs, you and your friends will be looking at each other with blank stares. "Juggernaut" does not even begin to describe this album. [Reviewer:David Parker (Burlington, Vermont United States)]

LP  3D  Cover
What first attracted me to this album was the 3D album cover. I had never seen anything like it before and when I listened to the album for the first time, I was completely numbed by the awesome wall of sound that came from my BOSE speakers. This album remains as one of my all time favourite LP's - so have a listen.

Please Note: I'm posting this album as single side mp3 files for a good reason. Because most of the tracks run into one another, breaking up the original analogue experience would simply kill the magical experience. To enjoy this album the way it was originally recorded, it MUST be listened to as one long piece, without the pseudo breaks created by Digital reproductions. So ENJOY this truly mesmorising rock experience!
The first rip was taken from a Vinyl pressing at 320kbs but has no song separation (I prefer this rip) while the second rip was taken from CD at 256kps with song separation. Also included is full album artwork for both CD and LP releases. I am very proud of my Vinyl copy with it's 3D cover (see above) and consider this to be one of my prize possessions in my record collection. I never seen another copy like it in the 40+ years I've been collecting records.

Track Listing
01. Dancing Madly Backwards (On a Sea of Air)
02. Armworth
03. Myopic Void

04. Mesmerization Eclipse
05. Raging River of Fear
06. Thousand Days of Yesterdays (Intro)
07. Frozen Over
08. Thousand Days of Yesterdays (Time Since Come and Gone)
09. I Can't Feel Nothin', Pt. 1

10. As the Moon Speaks (To the Waves of the Sea)
11. Astral Lady
12. As the Moon Speaks (Return)

13. I Can't Feel Nothin', Pt. 2

Band Members:
Rod Evans (Vocals)
Larry 'Rino' Reinhardt (Guitar)
Lee Dorman (Bass)
Bobby Caldwell (Drums)
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Vinyl Pressing - Side A / B (82Mb) New Link 03/04/2015

CD Pressing with Song Separation (62Mb)

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Tuesday, June 16, 2009

Various Artists - Garrison: The Final Blow Unit 1 & 2

(Various Australian Artists 1973)
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The Garrison discotheque was a small two-storey building sandwiched between a chemist shop and a billiard parlour in High Street, Prahran (Melbourne). Thursday to Sunday nights it rocked through the early hours of the morning to the sounds of the best rock bands in Australia. Against strong opposition, the local council forced its closure in June 1973. Two albums were recorded over Garrison's last five nights - Wednesday 6th to Sunday 10th of June. The three groups featured on Unit (volume) 1 are "Ray Brown's One Ton Gypsy", "Madder Lake", and the group "Friends," who would later be known as "Ayers Rock". Friends contributed two songs, an early version of "Lady Montego" (as featured on Big Red Rock) and "Freedom Train", with it's incredibly long break / solo by drummer Mark Kennedy. "Boy You Shot Me Down" by Ray Brown is also worth a listen. Unit (volume) 2 is worth grabbing for the collection, but Unit 1 is the better complilation.

This four-piece version of Friends only lasted until the middle of the year. In early June 1973 they were one of the groups that played at the closing nights of the Garrison venue in Melbourne and the group folded soon after the Garrison farewell, with Burton Kennedy and McGuire all leaving to form their eponymous trio, which evolved into the original lineup of Ayers Rock, who re-recorded "Lady Montego" on their debut album.
This is a unique, live Australian rock'n'roll album that is certain to stand the test of time. Garrison has gone but because of this album the music will last forever - we had the final blow.
I've split the downloads into two (in case you have one or the other), rips were taken from a Vinyl pressing at a 320kbs and includes Album Artwork (sourced from Midoztouch with thanks)

Track Listing
Unit 1
01 - Madder Lake - Bumper Bar Song
02 - Madder Lake - When Is A Mouse
03 - Madder Lake - Rodneys Birthday
04 - Ray Brown - Covered Wagon
05 - Friends - Lady Montego
06 - Friends - Freedom Train
07 - Ray Brown 's One Ton Gypsy - Boy You Shot Me Down
Unit 2
01 - Chain With Matt Taylor - Grab A Snatch And Hold It
02 - Sid Rumpo - Now I`m Free
03 - Sid Rumpo - Forty Days And Forty Nights
04 - Dutch Tilders - Sweet Marie
05 - Chain - Do What You Wanna Do
06 - Matt Taylor - Roberta
07 - Alta Mira - My Soul`s On Fire

Garrison Unit 2 Link (95Mb) New Link 1/08/2014

Monday, June 15, 2009

VA - A Reefer Derci (1976)

(All Australian Artists)
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The Reefer Cabaret was the successor to the fabled TF Much / Much More Ballroom concert 'happenings' promoted by Bani McSpedden and John Pinder in 1971-72. The Much More events ended in December 1972, reportedly because of complaints from St Patrick's Cathedral (who owned Central Hall, where the shows were staged) about the type of music being performed and the use of drugs by audience and performers. During 1973 Pinder and McSpedden reportedly promoted similar events under the title "Stoned Again" (a name no doubt inspired by the famous Robert Crumb dope cartoon) but we've been unable to locate any details about these events as yet.
Like the Ballroom, the Reefer Cabaret was not the name of a venues per se (like Catcher or the Thumpin' Tum) but rather the title for a regular concert event held in one of the large community halls Melbourne that could be rented on a casual or regular basis for dances, meetings and similar functions -- in this case, the Dallas Brooks Hall in inner Melbourne, and built by the local chapter of the Order of Freemasons.
Like the Ballroom shows, the Reefer Cabaret events were usually held monthly and typically featured long concert-style performances, with multiple musical acts on the bill, interspersed with comedy, poetry readings, theatrical, dance or novelty performances.
The first Reefer Cabaret show was held on 3 August 1974 at the Dallas Brooks Hall. It starred The Dingoes, soul group Skylight, the avant garde group Wind and rising stars Skyhooks, with its charismatic new lead singer Graham "Shirley" Strahan. The night cost $1200 to stage, and attracted 850 people. Unfortunately the Freemasons, who owned the Hall, were not impressed by the type of music (or its volume), nor by the copious quantities of illicit substances which were consumed by the audience. Roberts was obliged to move the Reefer Cabaret to the Ormond Hall in Prahran, owned by the Blind Institute of Melboume, who apparently didn't have the same qualms about the moral dangers of loud music and dope-smoking. The shows were then presented on a monthly basis, with newer bands such as Madder Lake, Ayers Rock, Split Enz, The Renee Geyer Band and Ariel, who gained invaluable experience before a relatively discerning audience.
The Reefer Cabaret shows ran until sometime in 1976. As with the Garrison venue (which closed in 1974) the Reefer Cabaret gave considerable support to artists on the fledgling Mushroom label and (like the earlier Garrison: The Final Blow double album) Mushroom commemorated the Reefer Cabaret by recording the final concerts and compiling a selection of tracks on the valedictory 2LP set A-Reefer-Derci, (1976), which featured performances by Ariel, Ayers Rock, the Captain Matchbox Whoopee Band, the Renee Geyer Band, Skyhooks and Split Enz (Extract from Milesago).
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Standout tracks are Ayers Rocks cover versions of the Rolling Stone's 'Gimme Shelter' and Weather Report's 'Boogie Woogie Waltz'. Their live work is nothing short of spectacular. Another personal favourite is Split Enz's rendition of 'Time For A Change' which showcases the superb vocals of Tim Finn and the haunting keyboards of Eddie Rayner.
This rip was taken from a Vinyl pressing at a 320kbs and includes full album artwork (thanks to Micko at Midoztouch)

Track Listing
1. Intro/Welcome
2. Intro To Renee Geyer Band
3. Renee Geyer Band: It's A Man's Man's World
4. Intro to Split Enz
5. Split Enz: Amy
6. Split Enz: Lovey Dovey
7. Split Enz: Time For A Change
8. Ayers Rock: Boogie Woogie Waltz
9. Ayers Rock - Gimme Shelter
10. Ariel - I Can't Say What I Mean
11. Ariel - Rock 'n' Roll Scars
12. Captain Matchbox Whoopee Band - Roll That Reefer
13. Captain Matchbox Whoopee Band - The Prefect
14. Captain Matchbox Whoopee Band - Out In The Suburbs
15. Skyhooks - Revolution
16. Skyhooks - Smut
17. Skyhooks - Saturday Night

A Reefer Derci Link (122Mb) New Link 01/10/2013

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Thursday, June 11, 2009

Carson - Blown / On The Air (1972/73)

(Australian 1970-73)

Carson's career was relatively short -- almost exactly three years - but in that time the "Kings of Boogie" built a reputation as a powerful live act, and they were one of the most popular Australian blues bands of the early 70s. Together with Bulldog, Chain, The Aztecs, Company Caine and Pirana, Carson was part of the stable of acts handled by Consolidated Rock, the Melbourne agency founded by young entrepreneur Michael Gudinski. Carson was also an important stepping stone for several of its members, including singer Broderick Smith, and the group's original keyboard player John Capek.

The original four-piece lineup formed in in January 1970. Guitarist "Sleepy" Greg Lawrie (ex-The Creatures, Chocolate) was already considered one of the best slide players in the country; John Capek was ex-Leo De Castro and Friends; Ian "Fingers" Ferguson's career had started way back in 1961 with Shepparton rockers Tony & The Shantels, and completing the lineup was drummer Tony Lunt.
The group was originally called The Carson County Band, but they had dropped the "...County Band" part of the name by the end of 1970 because they were being mistakenly tagged as country rock group, and only their first single came out under that name. They were strongly influenced by Chicago blues, and by the emerging "boogie" style being popularised by bands like Canned Heat and, later, ZZ Top.
(According to Who's Who of Australian Rock, Paul Lever and Tony Enery were also members during this year, but details of their role in the band are not known at this stage.)


Their first single was 'On The Highway' / 'Resting Place', issued on the Rebel label around May 1970; at about the same time Lawrie and Capek got together with Matt Taylor, Tim Piper and Yuk Harrison from Genesis, plus Trevor Courtney (ex-Chants R&B, Cam-Pact) in a one-off recording project called The Meating. The single they recorded together, 'Bad Luck Feeling' / 'Back Home' was released on Rebel in August 1970.

John Capek left Carson in late 1970 or early 1971, moving on to King Harvest, Flite and Hannagan. To replace him, Carson recruited singer and harp player Broderick Smith, formerly of Adderly Smith Blues Band and Sundown, and second guitarist Ian "Willy" Winter (ex-Brothers Grimm, Five Just Men, Pigface).
A previously unpublished shot of Carson ca. 1971, performing at Melbourne's Thumpin' Tum disco, probably taken not long after Brod Smith joined. (Photo by Harley Parker.)
The new lineup recorded a single for the Havoc label, 'Travelling South' / 'Moonshine', which was issued in August 1971. Meanwhile, Ian Ferguson left in July to join Island, and he was replaced by ex-Chain bassist Barry "Big Goose" Sullivan. Sullivan left after about three months to join Flite so he was replaced by Garry Clarke (ex-King Harvest). In November they added a new keyboard player, Mal Logan (ex-Healing Force), and they also augmented the band even further for concerts, adding a three-piece horn section. Ian Winter left in March 1972 when he was invited to join Daddy Cool as second guitarist, but after Daddy Cool split in August he returned to Carson. Brod Smith also branched out during the year -- Carson's manager, Rhett Walker (who was also the program manager for Melbourne radio station 3AK) decided that Smith could be promoted as a solo artist (along similar lines to Rod Stewart's parallel solo career with his work with The Faces). Broderick cut two Singles for the Image label, and all four sides of which were written and produced by Brian Cadd.

Sometime during this period, Broderick was also called in to sing on the soundtrack to Albie Falzon's surfing movie Morning Of The Earth. Oddly enough, the track he appeared on, First Things First, was actually by Tamam Shud. Singer Lindsay Bjerre was having voice problems when they cut the song, so the original vocal was done by lead guitarist Tim Gaze. However, producer G. Wayne Thomas was evidently not satisfied with the result so he erased Tim's vocal, and he brought in Broderick Smith to lay down a new track. Although this has previously been reported as having been done without the Shud's knowledge or permission, recent information from Brod himself contradicts this.
This is at odds with Lindsay Bjerre's claim that Tamam Shud didn't find out about the substitution until the night of the film's premiere, later in the year, and they were understandably furious about it. (Bjerre acknowledged, however, that Brod's vocal was a good effort in its own right, despite the circumstances.)
By September 1972 Carson had signed with EMI's Harvest imprint. Their first single for the label, Boogie, Parts I & II gave them their first taste of chart success in September, going to #30 nationally, and it is now widely regarded as one of the classics Australian rock Singles of that period.


They followed up in November with their very successful debut album, Blown, produced by Rod Coe (former bass player with Freshwater and Country Radio). Its memorable cover was another fine design by Melbourne artist Ian McCausland. Blown fared even better than the single, reaching #14 nationally in December. Meanwhile, Havoc took advantage in on Carson's new prominence by reissuing 'Travelling South' the same month. Late in the year Carson expanded yet again, when sax player Mal Capewell (ex-Dr Kandy's Third Eye, Company Caine, Dada, Graham Bond's Holy Magick) joined the touring lineup. In January 1973 they appeared at the second Sunbury Festival over the Australia Day long weekend; their set was recorded and the song 'Friday Night Groove' was included on Mushroom's inaugural release, the ambitious triple-album The Great Australian Rock Festival: Sunbury 1973 (April 1973). Unfortunately, Sunbury was to be Carson's last major performance: Winter and Logan left just afterwards and in February it was announced that Carson had split up. Their final record was On The Air, the full recording of their Sunbury set, which was released in April 1973. (Extract from Milesago)
This rip was taken from a CD pressing at 320kbs and includes full Album Artwork.

Track Listing
01. Dingo
02. Laid-back Feel
03. Dust My Broom
04. Hey Joe
05. Boogie
06. Sunbury Jam
07. Rock'n'roll Games
08. Better Times Will Come About
09. Sunday in the City
10. Banana Power
11. Boogie
12. Let Me Sleep
13. Up In Queensland


Band Members:
John Capek (keyboards, vocals) 1970
Mal Capewell (sax) 1972-73
Gary Clarke (bass) 1971-73
Tony Enery (piano) 1970
Ian "Fingers" Ferguson (bass, vocals) 1970-71
'Sleepy' Greg Lawrie (guitar, slide guitar, dobro) 1970-73
Paul Lever (guitar. vocals, hamonica) 1970
Mal Logan (kbds) 1971-73
Tony Lunt (drums) 1970-73
Broderick Smith (vocals, harmonica) 1971-73
Barry Sullivan (bass) 1971
Ian "Willy" Winter (guitar) 1971-72

Carson On The Air / Blown (120Mb)

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Badger One - Live (1973)

(U.K 1972-1974)

Recorded 'live' at London's Rainbow Theatre in 1973, "One Live Badger" introduces one of the most interesting bands to emerge in the early 70's. Composed of former Yes keyboard man Tony Kaye, guitarist Brian Parrish (ex-Parrish & Gurvitz), former Ashton, Gardner & Dyke drummer Roy Dyke, and bassist David Foster. Badger promise much on the evidence of this first album which is full of fiery, dynamic playing, crisp vocal work (both lead and harmony) and excellent songs, mostly written by the whole group.The decision to make Badger's first album a 'live' one came about after a series of intensive rehearsals. Scheduled to appear in concert with Yes at the Rainbow, the band's early enthusiasm and vigour could only suitably be captured through a 'live' recording. Produced by 'Yes' Jon Anderson, Badger and Geoffrey Haslam, it's a triumph, combining the raucous, stomping atmosphere induced by Badger's music with precision and technical expertise, qualities possessed in no small measure by the group.
Most of the songs have a religious theme but stay well shy of being preachy. This is not complex progressive, but it is a very nice album with lots of energy, power, and emotion. It has recently been reissued on CD and sports the great cover work by Roger Dean. Formed in mid-'72, Badger was the idea of Tony Kaye and David Foster. Tony and David had been acquainted while the former had been a Yes member, David Foster helping to write (with Jon Anderson) two tracks for the bands second album, "Time And A Word". At the same time Tony and David had also got together to make an album of David's other songs. Never released, they began work on re-mixing it following Tony's decision to leave Yes.It was at this point in time that the decision came to form a group. Within a short time they had recruited Roy Dyke (who first made his name with Brian Epstein's protege Remo Four) who had just split with Ashton, Gardner & Dyke. The search for a guitarist halted soon, too, when Roy recommended Brian Parrish, whose work with Parrish & Gurvitz had attracted much critical acclaim, but little public reaction.
Their second album "White Lady", has Jackie Lomax taking center stage and was a shift from their progressive sound to a more soulful sound - a big disappointment in my opinion compared to their debut Live album, which I highly recommend. To read more, see the official badger website Badger

This rip was taken from a CD pressing at 320kbs and includes full Album Artwork
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Track Listing:
01. Wheel of Fortune 7:50
02. Fountain 7:22
03. Wind of Change 7:17
04. River 6:49
05. The Preacher 3:59
06. On the Way Home 7:39

Band Members:
Tony Kaye (Keyboards and Vocals)
David Foster (Bass and Lead Vocals)
Brian Parrish (Guitar)
Ron Dyke (Drums)

Badger Link (85Mb) Link Fixed 15/07/2013
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Monday, June 8, 2009

Truth And Janey - Erupts (Live 1976)

(U.S 1969 - 1976)
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Taking their name from the seminal Jeff Beck Group album and formed sometime in late ‘69 in a small city in Iowa , vocalist/guitarist Billy Janey, vocalist/bassist Steven Bock, and drummer Denis Bunce (original percussionist John Fillingsworth lasted less than a year) began penning original material, recorded a pair of singles in 1972/1973, and then evolved into Truth and Janey when informed that another band already held rights to the Truth moniker before them. Arduous roadwork in the neighboring states kept the band busy in years to come, but the absence of a major record deal eventually drove them to finance their own album — a fierce and bluesy hard rocker to be entitled 'No Rest for the Wicked' — at a studio in nearby Ames. They released this through a local independent label, and its 1,000-unit pressing quickly sold out among their dedicated fans in the region — but that was it. With no apparent career-advancing prospects in their near future, Truth and Janey disbanded the following year, with main man Janey turning to blues and adding a "Lee" to his name before recording several albums throughout the '80s and '90s.
However, the Truth and Janey sound is probably captured best on this live record. It's a mix of classic rock, psychedelic guitar rock reminiscent of Hendrix, and the progressive structures of a band like Budgie. Lots of jammy parts, some of them heavier than others of course. Some of it reminds me of the same kind of deep blues rooted 'Cream' material. Nice and heavy, but soulful and tastefully done. This Truth and Janey album shows that some things never change … even in almost 30 years. This masterful live recording from April 8, 1976 at the Col. Ballroom in Davenport, Iowa showcases why bands today should be paying homage to Truth and Janey. They were laying down the heavy, slugging it out on the circuit, rolling off riff after riff, tasteful extended solo after solo… doing things their way, while thumbing their noses to the era of disco. Sonically, this is the best kind of band sponsored live release. It sounds like a bootleg from an audience member, but a bootleg done off the soundboard after slipping the soundman a twenty. It’s clear, but it’s raw. Instruments are all at discernable levels, and vocals are spot on, but there’s a rough quality here that allows the listener to be taken back 28 years and dropped dead center in front of Bill Janey lighting up his stratocaster. I mean, if you like ‘live’ recordings that make you feel as if you were at the show, this one’s for you.
Musically, they take all the influences of the day (Hendrix, Cream, Captain Beyond, etc.) and manage to create their own sound and unique songs. Bill Janey is a guitarist extraordinaire. Steve Bock’s bass playing would turn lesser players’ fingers into pretzel knots. Dennis Bunce keeps time like a Rolex without the pretentiousness. Furthermore, I catch Marc Bolan/T. Rex warble in Janey’s vocals which is a plus in my book. All in all, an excellent live recording that engages the listener as close to the live experience as possible. If you like the obscure and enjoy digging into the past, then you will enjoy this (extract from ChrisGoesRock)
This rip was taken from a CD pressing at 256kbs and includes Album Artwork
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Track Listing:
01. No Rest for the Wicked
02. Birth of the Heart
03. Universal Light
04. A Child
05. Building Walls
06. Tunnel of Tomorrow
07. The Light
08. One Down One to Go
09. White Bread
10. My Mind
11. As I Am
12. Ain’t No Tellin
13. Hard Road
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Band Members
Bill Janey – Guitars, Vocals
Steve Bock – Bass, Vocals
Denis Bunce – Drums, Vocals
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Truth and Janey Link (134Mb) REPOST
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Sunday, June 7, 2009

Budgie - Live At The Marquee, London (1974) Bootleg

(UK 1971 - present)
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Late 1967 in Cardiff, Burke Shelley (bass/lead vocals) met up with Ray Phillips (drums) and guitarist Tony Bourge to form Budgie establishing a substantial following within the South Wales college and club circuit. After a journalist commented Budgie's sound was more akin to a 'Six Ton' Budgie, their name became as heavyweight as their delivery. In 1970, Roger Bain was impressed by their raw energy and promise and through his publishing company 'Hummingbird Productions', Dave Howels from MCA signed the band. Budgie were now back as Budgie with a five album deal. (Budgie On Stage In Cardiff - 1971) Many claim The MCA albums were arguably their finest work, with openers Budgie and Squawk providing the backbone of heavy riffs and melodic interludes which was to characterise the bands' style. Shelley's high-pitched vocals were first aired on the charmingly titled single 'Crash Course In Brain Surgery'. Their sense of humour was often reflected in their song titles, 'Hot As A Docker's Armpit' proving Budgie didn't take life too seriously. 1973's Never Turn Your Back On A Friend with its Roger Dean designed gatefold sleeve boasted some classic moments, from the thoughtful 11 minute epic 'Parents' to the blistering 'Breadfan', to be covered some 20 years later by Metallica. For me, this album is a classic in Budgie's catalogue, and I was so taken with it that I actually purchased 2 copies (one to play and the other to keep for prosperity !)
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Ray Phillips departed in late '73. Pete Boot was brought in quickly to honour a Spanish touring schedule and record 'In For The Kill', Budgie's first LP to chart. Once Steve Williams on Drums stepped in, Budgie were once again in full flight. In 1975 they provided their fans with the astounding Bandolier, considered by many to be the .........(Shelley, Bourge and Boot On Stage - 1974) pinnacle of their achievement. With additional Welsh guitarist ....... Myf Issacs touring with the band, their stage sound was also fuller.
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Retrospectively a bad decision, their management elected to take a deal offered by A&M rather than re-sign with MCA. The more melodic 'If I Were Britannia I'd Waive The Rules' followed, but it didn't chart. In 1977 Budgie re-located to Canada to crack the North American market and 'Impeckable' became their most mainstream effort. In 1978 after the 'Hide Your Pussy' tour and Tony Bourge quit. Back in Britain Budgie enlisted Rob Kendrick (ex-Trapeze) and flew out to Texas, a trip paid for by Don Smith who would later produce their final album. In 1979 John Thomas replaced Rob on Guitar. An ex-George Hatcher player, "JT" injected the band with a new lease of life. Signing to RCA, their momentum was accelerated by the birth of NWOBHM which lead many younger rock fans to discover their back catalogue. In the next 3 years, Budgie released an EP, 3 albums (Power Supply / Nightflight / Deliver Us From Evil), headlined the
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Reading Festival and took Poland by storm. Incredibly, 1983 saw the band without a record deal and without a live album to encapsulate their stage delivery. They soldiered on until our last gig in 1988 with Jim Simpson (ex-UFO), Williams having departed in late '86. Interest in Budgie continued as Iron Maiden, Soundgarden and Metallica covered songs and all their LPs became available on CD. In 1995, Shelley re-formed Budgie with Thomas and Robert 'Congo' Jones (ex-Love Sculpture) to headline the San Antonio music festival in front of 25,000 screaming Texans. Again, thanks to promoter Bill Lee, they returned to Texas in 1996 for another one-off show to celebrate 25 years since their first album. A lavish double CD anthology, An Ecstacy Of Fumbling came out in 1996. Via New Millennium Communications, a double live CD We Came, We Saw featuring the entire Reading Festival Performances from 1980 and 1982 was released. To be fair, this material should have come out as a live album at the time of their popularity in the early 80's. 1997 and 1998 was a period of inactivity touring wise, and many fans thought Burke had called it a day once more. However, Heavier Than Air was released, a double CD of rare live recordings spanning their career from 1972 to 1978. It gave fans the first official release of live guitar work by the hugely popular Tony Bourge.
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Thanks to promotion from Ray Cordell and Alan Howard and management from Paul Cox, Letchworth 1999 and featured their first UK live performance in 11 years and the return of Steve Williams on drums. This was a warm-up show for the annual rock festival held in Sweden, with Budgie headlining on 12th June 1999. The 80's classic reformed line-up then played San Antonio for the 3rd time in April 2000. Tragedy then struck with John Thomas suffering a cerebral aneurysm in June 2000. For a period, no one knew whether he would ever play guitar again. For those fans who were aware of John's illness, his return to the stage at the Legends of Welsh Rock was an emotional one. Budgie headlined this gig in Wales in September 2001. JT, whilst not back to 100% top form, played a great show considering the treatment and recuperation he'd gone through. At the start of 2002, Burke Shelley was in the mood to get back on the road once more and to engage the band into some serious touring. Andy Hart, a Birmingham based guitarist well known to JT was enlisted to replace JT. In 2002, Burke, Steve and Andy played over 30 dates, two of these being in the States. The show at San Antonio on 2nd August was recorded and released as a live CD entitled Life In San Antonio in November 2002. Due to commitments outside of Budgie, Andy Hart left the band in Feb 2003 to be replaced by Simon Lees who toured the US, Sweden, Holland, Poland and the UK with Budgie and also played on, and co wrote, much of the bands first studio album in over twenty years entitled 'You're All Living In Cuckoo Land.' Simon suddenly left in July 2007 and was replaced by guitarist Craig Goldy (axeman for Ronnie James Dio). If all goes well, I will be sitting in the front row during one of their Australian 09' concerts in November.
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Bootleg recordings of Budgie are rare - in particular those with the Budgie MkII lineup (featuring Pete Boot on drums) This audience recording is excellent for the era in which it was made and the concert captures Budgie while it was still developing songs for it's next album, 'In For The Kill'. In particular, Hammer and Tongs is still very much in it's infancy - just a very basic 12 bar riff. 'Breadfan' and 'Parents' are the standout tracks for me, but hey - aren't they everyones favorites! Judas Priest make a guest appearance at the end of the concert, as they were touring with Budgie at the time. This rip was taken from cassette at 320kbs and includes some artwork. Recorded at the Marquee, London 11-2-197. The three bonus tracks are in mp3 format also, but only 160kps.
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Track Listing
01. Introductions
02. Breadfan
03. Hammer and Tongs
04. You're The Biggest Thing Since Powdered Milk
05. Parents
06. Zoom Club
07. Running From My Soul
08. Rocking Man
09. The Stumble (Instrumental)
10. Running From My Soul (reprise, jam with Judas Priest)
[Bonus Tracks]
11. Rape of the locks (Rare Live 1973)
12. Rocking Man (Rare Live 1973)
13. Young is a world (Rare Live 1973)
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Band Members
Burke Shelley (Bass, Vocals)
Tony Bourge (Guitar, Vocals)
Pete Boot (Drums)
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Budgie Link (172Mb) REPOST


Link

Saturday, June 6, 2009

Sid Rumpo - First Offence (1974)

(Australian Band: 1971-74)

Sid Rumpo was a fairly polished pub-rock band which formed in Perth in 1971 and unfortunately disappeared into the mists of time in 1974. They are probably best remembered as one of a long line of Mick Elliot's bands. Mick is an accomplished blues-rock guitarist that has been around the Aussie blues & rock scene forever (in bands like Levi Smiths Clefs, Jim Keays' Southern Cross, They Accidentally Sued Themselves and Western Flyer), but rarely seemed to stay in a band long enough to record more than one album. 'First Offence' - Sid Rumpo's one and only offence as it turned out - features the twin guitar riffing of Elliot and Rob Searls on some very catchy boogie and blues-rock songs.
While there aren't any jaw-dropping "guitar hero" solos, all the songs pump along with the assistance of some tasty electric piano chops from Ken Wallace over the tight grooves laid down by Noel Herridge on drums and Owen Hughes on bass.
But for me, it's Rob Searls' bluesy vocals that stamp First Offence with it's appealing, distinctive 70's, Aussie Rock sound. I think though, that it's the songs themselves that are the real strength of this album. It is a cohesive album where nothing sounds out of place, and yet might be unpredictable enough in places to interest fans of progressive blues and rock (review courtesy of Midoztouch).

video
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( 'Spider Curry' with Sid Rumpo Photo Gallery)
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Sadly, Sid Rumpo didn't make another record. Why, is anybody's guess but after this First Offence - maybe Mick Elliot got time off for "good behaviour". He must have done something right, because mint vinyl copies of the album are fetching almost $200 at some online auctions. All the more reason to treasure my own mint copy - Ok, so I've played it a few hundred times but there's not a scratch on it and it still sounds as good as the day I bought it in the mid seventies. My favourite track would have to be 'Sailing' with its up tempo boogie beat, brilliant dueling guitar riffs, and memorizing piano licks by the talented Ken Wallace. This is truly a classic Aussie album which belongs in every rock collection.
This rip was taken from a CD pressing at a 320kps and includes Album Artwork. I have also included some live recordings from Sunbury 73 & 74 and The Garrison 73 plus the B-side single to The Riddle which was not included on the album. Thanks to George (Perth Bands 1960's-70's) for the photo of Sid Rumpo shown below. The CD release was reissued in 2013, however it is no longer available and currently out of print. 
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Track Listing
01. Spotlight
02. Breaking My Back
03. Spider Curry
04. Sailing
05. The Riddle
06. Don't Bug Me Boogie
07. Song With No Trees
08. Poor Mans Orange
[Bonus Tracks]
09. Wang Dang Doodle (Live Sunbury 74)
10. Sweet Home Chicago (Live Sunbury 74)
11. Sailing (Live at Sunbury 73)
12. Now I'm Free (Live at the Garrison 73)
13. Forty Days and Forty Nights (Live at the Garrison 73)
14. Jump Down, Step Aside (B-Side Single)

Band Members
Rob Searls (Guitar, Vocals)
Mick Elliott (Guitar, Vocals)
Owen Hughes (Bass)
Ken Wallace (Acoustic and Electric Piano, Percussion)
Noel Herridge (Drums, Congos)
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Sid Rump Link (150Mb)

Wednesday, June 3, 2009

Lee Michaels - Space And First Takes (1972)

(United States 1967-75)

Michaels started playing music in Southern California, where he was in a band with future members of Moby Grape, the Turtles, and Canned Heat. He first joined Barbata in the Strangers, a group led by Joel Scott Hill, before moving to San Francisco. In 1967, he signed a contract with A&M Records, releasing his debut, Carnival Of Life, later that year. As a session musician, he'd play with Jimi Hendrix, amongst others.

Michaels' choice of the Hammond organ as his primary instrument was unusual for the time, as was his bare-bones stage and studio accompaniment: usually just a single drummer, most often a musician known as 'Frosty' (Bartholomew Eugene Smith-Frost) member of the band 'Sweathog' or with Joel Larson of 'The Grass Roots'. This unorthodox approach attracted a following in San Francisco, and some critical notice, but Michaels did not achieve real commercial success until the release of his fifth album (Fifth), which produced a surprise U.S. Top 10 hit (#6 in the fall of 1971), "Do You Know What I Mean," and a Top 40 follow-up, a cover version of the Motown standard, "Can I Get A Witness".

I'll bet it surprised Lee Michaels when 'Space and First Takes', released in 1972, never took off commercially. This album followed his successful "Fifth", and Lee put together a hard rock delight. The album only consists of four songs, neatly divided into a short and an extended piece on each side of the vinyl. The late 1960's spawned the era of the opus, with many pioneering bands offering long-winded exposes, such as Iron Butterfly's 'In-a-Gadda-da-Vida' and the Chambers Brothers 'Time Has Come Today'. This phenomenon so gripped the times that many bands took Top 40 hits and expanded them into lengthy show topping excursions, such as The Byrds take on 'Eight Miles High', and Crosby, Stills, Nash and Young's epic 'Carry On'. So in 1971 it's no surprise that an aspiring artist like Lee Michaels would take a cue from everything happening around him, and produce his own extended works.

The instrumental variations on the basic themes are intriguing and deserving of the vinyl they displaced. In fact, for avid fans of lengthy guitar jams, the performances offered by Lee Michaels and former Paul Revere and the Raiders lead guitarist Drake Levin are nothing short of exquisite. They are hard rocking and varied, making the approximate quarter hour devoted to each tune a rewarding investment. The two shorter numbers are also strong guitar based compositions, the best being side two's 'Hold On To Freedom', which would appear as the opener on his 1973 album 'Live'. The live version is actually superior, as it is delivered on Michael's cherished and familiar B3 Hammond organ with great weight and energy. The studio version offered here is good, but the song is much better tendered on the B3 than guitar. If there is any explanation for why this album essentially became Lee Michael's swan song, it would have to be the lyrics. While Lee could at times be a compelling lyricist, he could also come up with some of the most mundane or confusing of lyrics. He offers a pertinent example of each on this disc. 'First Names', the extended piece offered on side one, delivers trite thoughts such as "First names, running around my brain. First names, they all sound the same". Sometimes I think Lee actually wrote songs, including his hit, "Do You Know What I Mean?" as Ecclesiastical statements on the meaninglessness of it all. On the other side of the coin, and the other side of the vinyl, we have the title track, the last extended piece. I'm really not sure what Lee is talking about in 'Space and First Takes', though it does seem to have to do with the musician's studio experiences. As on most of Lee's albums, however, the lyrics are certainly secondary to the instrumental prowess and captivating guitar performances churning throughout.

Michaels ultimately lost much of his hearing from his famous habit of walking out at the beginning of perfomances and running his hand across the dials on the huge amplifiers that ran to his organ. In the 1970's he was getting paid $20,000 a performance, an enormous amount for the day. Michaels finally dropped out of the music scene and moved to Hawaii in 1976.

The Lee Michaels catalog contains four albums that I consider essential to any musical collection, 'Live', 'Barrel', 'Fifth', and this release - his best in my opinion. I've always been attracted to extended guitar jams, and these make the half-hour listening time fly by swiftly, effortlessly, and with great aural gratification. So do yourself a favour, have a listen to 'Space and First Takes' and enjoy this psychedelic extravaganza from the early 70's.
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This rip was taken from a vinyl pressing at 320kbs and includes full Album artwork and label scans.
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.Track Listing
01. Own Special Way (As Long As)
02. First Names
03. Hold Onto Freedom
04. Space And First Takes

Band Members:
Lee Michaels: Organ, Bass, Guitar, Piano, Vocals
Joel Christie: Bass
Keith Knudsen: Drums
Drake Levin: Guitar

Lee Michaels MP3 Link (91Mb) New Links 26/10/2015
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Lee Michaels FLACs Link  (250Mb)

Tuesday, June 2, 2009

Bakery - Momento (1972) + Bonus Tracks

(Australian 1969-75)

Bakery was formed in Perth during 1969 when Peter Walkers' band 'The Jelly Roll Bakers' split. Regarded as one of the leading 'underground' groups of their day, they are remembered for their superb debut album Momento, the innovative Rock Mass for Love LP and the powerful single "No Dying In The Dark".
The original lineup was John Worrall, 'wild-haired guitarist' Peter Walker (ex-Jelly Roll Bakers), Mal Logan (ex-The Rebels), Eddie McDonald and Hank Davis. McDonald and Davis were both ex-members of the NZ Avengers. Bakery played a brand of progressive rock that combined elements of hard rock and country with strong jazz overtones. Their everchanging arrangements, gentle acoustic guitar passages and monstrous heavy progressive sections made them true innovators of the early 70's music scene.

Bakery released only two singles, but both were impressive heavy rock efforts. The first, released on the RCA label, was "Bloodsucker" / "Leave Scruffy Alone" (February 1971). By the time they released their second single in July 1971, Bakery had signed with the Melbourne-based Astor label, who issued "No Dying in the Dark'" / "Trust in the Lord".
Both singles displayed the band's main stylistic influences, primarily the new wave of 'heavy' bands spearheaded by British groups Black Sabbath, Led Zeppelin and Deep Purple. "Bloodsucker" was in fact a Deep Purple cover, sourced from their In Rock LP. "No Dying in the Dark" was very successful in Perth, peaking at #9 on the local chart, and it's the track for which they are now best remembered.

The B-side of the single was a track from their 'Rock Mass For Love' LP. This unusual project was a significant thematic departure from Bakery's usual progressive/hard rock style. Recorded live at a mass at St George's Cathedral, Perth on 21 March 1971, it was one of the first Australian musical musical works of its kind, preceding the first Australian production of Jesus Christ Superstar by almost a year.
Rock Mass For Love tapped into the current interest in what became known as 'God Rock' or 'Jesus Rock', in which composers sought to communicate the Christian message to young people by setting religious-oriented lyrics in rock or pop music arangements. In large measure, this movement was a direct reaction to the calamitous fall in church attendances that had begun in the Sixties, and the concurrent massive upsurge in the popularity of rock and pop music. Little is known at this stage about how this Bakery album came to be recorded, although some mention is made in an interview with band for the Australian music program GTK.

Bakery, meanwhile, was undergoing its first round of lineup changes. By mid-1971, both Worrall and Logan had departed, with Worrall briefly joining Ssarb before forming Fatty Lumpkin in 1972. They were replaced by Tom Davidson (vocals) and Rex Bullen (keyboards); Bullen had been a member of '60s Canberra beat group The Bitter Lemons.
Rock Mass for Love was issued in August 1971, narrowly missing the national Top 20, and it was also issued in the USA on the Decca label. After the LP came out, Mark Verschuer (ex-Barrelhouse) replaced Davidson on vocals. Verschuer sang lead vocals on their fantastic second album, the studio LP Momento released a year later in August 1972. Ian McFarlane lauds it as "a fine example of European-influenced, heavy progressive rock" and Vernon Joyson reserves particular praise for the track "The Gift", written by Peter Walker, which he describes as 'an eight-minute barrage of bombastic riffs, arse-kicking solos and swirling Hammond organ in the mould of acts like Deep Purple and Leaf Hound'. Regrettably, like most of Astor's locally-recorded output, neither of the Bakery albums has ever been officially reissed on CD in Australia, which is a great shame, as Momento certainly ranks as one of the strongest and most accomplished Australian rock albums of the period.
Line-up changes continued into 1972, with Steve Hogg (bass, vocals; ex-Juke, King Biscuit Company, Nostra Damus) and Paul Ewing (organ, vocals) replacing McDonald and Bullen respectively; Verschuer also left, with Davis, Walker, Hogg and Ewing sharing vocal duties. Bullen moved on to Natural Gas before reuniting with John Worrall in Fatty Lumpkin.
This four-piece version of Bakery is probably the best remembered incarnation of the group for fans in the eastern states. They gigged consistently, gaining a strong following on the east coast festival/concert circuit, playing alongside the other leading acts of the day like Billy Thorpe & The Aztecs, MacKenzie Theory, Chain, Carson, Madder Lake and Sid Rumpo. Bakery performed at the second Sunbury Festival in January 1973 and their live version of the jazz-tinged "Living with a Memory" (a track from Momento) was included on Mushroom's debut triple album set The Great Australian Rock Festival Sunbury 1973, released in April 1973.

In February 1973, just after their Sunbury appearance, Phil Lawson (bass) replaced Steve Hogg and renowned New Zealand-born vocalist Barry Leef (ex-Simple Image, Hunger) joined as lead singer. In August, (the late) Jackie Orszaczky (ex-Syrius) replaced Lawson on bass. When Frank Zappa toured Australia for the first time during June 1973, he spotted Leef fronting the band at Chequers in Sydney -- Bakery regularly played a cover of Zappa's "Road Ladies" in their live set at this time -- and FZ was so impressed with Barry's vocal talents that he invited him to audition for the Mothers. Barry performed as a guest vocalist on "Road Ladies" at two of Zappa's Hordern Pavilion concerts, but sadly, contractual problems prevented him from taking up Frank Zappa's invitation to join The Mothers in the USA, and he reluctantly had to turn down the offer of a lifetime.
Bakery continued gigging until their split in February 1975, but regrettably they made no more commercial recordings. (extract from www.milesago.com)
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I have posted Momento, as I consider it to be one of Australia's best progressive rock albums of all time and highly recommend you give it a listen. My favourite tracks are 'Holocaust' with its complex jazz structure, laced with mesmerizing sax, guitar and keyboard solos, and 'The Gift' which exhibits a strong Deep Purple influence with its strong hammond organ and guitar power riffs. "Living With A Memory" is another great track, but the live version from the Sunbury recording is far superior and is probably indicative of their uncanny ability to reproduce their studio sound on stage and then some. My biggest regret in life is that I never had the opportunity to see them play live.

This rip was taken from a Vinyl pressing at 320kbs and includes full album artwork. Bonus singles have also been included which were made available on the re-released CD of Momento, which is now out-of-print. The live Sunbury track was ripped from the CD entitled 'Highlights From Sunbury 73'
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Track Listing
1. Holocaust
2. Pete for Jennie
3. Living With a Memory
4. S.S. Bounce
5. The Gift
6. When I'm Feeling
7. Faith to Sing a Song
[Bonus Tracks]
8. No Dying In The Dark (Single)
9. Leave Scruffy Alone (Single)
10. Blood Sucker (Single)
11. Living With a Memory (Live At Sunbury 73')

Band Members:
Rex Bullen (keyboards) 1971-72
Tom Davidson (vocals) 1971
Hank Davis (drums) 1970-72
Paul Ewing (organ, vocals) 1972-75
Steve Hogg (bass, vocals) 1972-73
Phil Lawson (bass) Feb-Aug. 1973
Barry Leef (lead vocals) 1973-75
Mal Logan (keyboards) Jun. - Oct. 1970
Eddie McDonald (bass) 1970-72
Jackie Orszaczky (bass) Aug. 1973 - 1975
Mark Verschuer (vocals) 1971-73
Peter Walker (guitar) 1970-75
John Worrall (vocals, flute) 1970-72

Bakery Link (131Mb) New Link 04/10/2013
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