Tuesday, October 27, 2009

WOCK On Vinyl - Farewell Aunty Jack / Doin' The Aunty Jack (1973)

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Before things get too serious at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be considered to be either Weird, Obscure, Crazy or just plain Korny.
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This WOCK posting comes under the 'crazy' category. As a young teenager, I have fond memories of tuning in to the ABC on a Sunday night to watch one of my favourite shows 'The Aunty Jack Show'.

The Aunty Jack Show was one of Australia's earliest and best loved TV comedy series in the 70's. Australian comedy changed forever the night that Aunty Jack (a motor-cycling transvestite boxer) roared into Australian living rooms on his/her Harley-Davidson. The Logie-winning series ran from 1972 to 1973 on ABC-TV and attained an instant cult status that persists to this day. Under threat of having their "bloody arms ripped off" if they didn't, Australians of the early seventies had little option but to tune in each week to their favourite Aunt, or pay the consequences!
Aunty Jack was a unique comic creation, an obese, moustachioed, gravel-voiced tranvestite, part truckie, part pantomime-dame, who habitually solved any problem by knocking someone out or ripping their arms off. Visually, she was unmistakeable: she wore a huge, tent-like blue velvet dress, football boots, and a golden boxing glove on one hand. She rode everywhere on a Harley-Davidson and referred to everyone as "me little lovelies" -- unless of course she was uttering her familiar threat: "I'll rip yer bloody arms orf!", a phrase which immediately passed into the vernacular.

The character of Aunty Jack was devised and played by the multi-talented Grahame Bond and was partly inspired by an overbearing uncle of Grahame's whom he had disliked as a child.
Aunty Jack alternated one-off sketches with segments featuring a regular and semi-regular characters. As well as Aunty Jack and her sidekicks -- blonde bombshell Flange Desire, the tremulous Thin Arthur and snobby Narrator Neville, there were semi-regular appearances by nervy folk-singing duo Errol and Neil (Grahame & Rory) and extrovert rock'n'roll butcher Kev Kavanagh (Grahame), the obnoxious Kid Eager (McDonald), a parodic amalgam of characters like Dennis the Menace and Ginger Meggs, and towards the end of the second series, Wollongong TV presenter and super-dag Norman Gunston (McDonald) for whom some bright spark at the ABC recognised the potential in this character, and he was offered a tonight show of his own on ABC television in the mid-70s. Somewhere along the line, he was christened with the sobriquet ‘The Little Aussie Bleeder’, and the rest of course is history.
The theme song ‘Farewell Aunty Jack’ was written by Graham Bond & Rory O'Donoghue, reaching number one on the Australian charts in 1974. I was lucky enough to acquire a Picture Disc copy of the single from my local newsagency/record outlet, and it was acquired for the pricely sum of $1.25. The attraction of the song lies with the bizarre lyrics which threatens the listener with having their arms ripped off through the radio. Part comedy song, part signature sign off for the closest Australia has ever come to producing something as good as Monty Python's Flying Circus, "Farewell Aunty Jack" has all the hallmarks of a Phil Spector or Roy Orbison mini-rock-opera. There are quiet bits, loud bits, moments where love and hope, sadness and solitude are counterbalanced with motorcycles and a fat transvestite with a golden glove.
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This was the biggest selling song in Australia in 1974 (8 weeks at number one and 22 weeks in the charts) and it's very easy for me to put on those gruff tones of Aunty jack and recite "I'm really off this time...like a piece of cheese".

The B Side is pretty good also and rocks on nicely with the catchy phrase "Doin' The Aunty Jack".

I am including both A and B sides of the single (ripped at 256kps), a sample sound clip of Aunty Jack's threat to Rip Ya Bloody Arms Off ! and several video clips taken from the show. Full artwork and selected pictures are also included.

Finally, in the infamous words of Aunty Jack, if you don't leave a comment after downloading this WOCK selection, I'm gonna come out of your computer screen and Rip Ya' Bloody Mouse Off ! LOL
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Aunty Jack Link (30Mb) REPOST
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Monday, October 26, 2009

Journey - Live at Diamond Head Crater, Hawaii (1973) Ex SB

(US 1973-Present)
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One of Journey's earliest gigs recorded on New Years Eve 1973 at the Sunshine Festival, Diamond Head Crater, Hawaii. It was recorded by Don Amick with a Sony 126 casssette deck and two mics mounted on poles, 20 feet apart. This live recording was where Journey began and where its reputation was made. This rip comes from a 1st Gen. reel copy of this amazing performance! Note that there was no 'remastering' done to this recording apart from a 6.9 gain boost, cleaning up the cut from original tape flip and adding beginning and ending fades. There was no re-encoding or compression added. There is some light tape crackle in the left channel on tracks 4, 5 and 6 that was on taperpat's original reel. This, to me, does not affect the overall quality of the recording, which again is excellent! I personally feel the sound quality is superior to all other complete and incomplete versions of this show out there (see Charge Of The Light Brigade). This is a nice, warm mix with excellent stereo separation. Neal is on FIRE and the rest of the band really cook.
This early incarnation of Journey was definately into heavy rock and had yet to develop its distinctive fusion feel that was later evident in their first three albums.
If you took away the vocals in 'Your My Girl' you could easily mistaken the band for Mountain, as their style and sound is very similar. The start to Voodoo Chile is alittle clumsy and I'm sure I felt 'Hendrix' stir in his grave when I first heard this track, but it still rocks never the less. Most of the tracks on this album exceed 10mins in length and contain extended guitar and keyboard interplays with underlining bass runs. The inclusion of 'Black Magic Woman' to close the show confirms that Neal Schon and Gregg Rolie were still under the influence of their recent association with Santana. This recording also trades under the name 'Happy Birthday' - indicative of the birth of a powerhouse band that is still producing great music today.
As promised in an earlier Journey post, here is the rip of their infamous live debut, taken from tape at 320kps and includes limited artwork.
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Track Listing
01. You're My Girl
02. Voodoo Child (Slight Return)
03. Tonight
04. Storm
05. Pirates of the Caribbean
06. Black Magic Woman
.Band Members:
Neal Schon (Guitar)
Pete Sears (Bass)
Gregg Rolie (Keyboards / Vocals)
Greg Errico (Drums)
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Journey Link (126Mb) New Link 04/10/2013
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Saturday, October 24, 2009

Space Farm - Space Farm (1972)

(New Zealand 1971-73)
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This is a very rare recording by a great Kiwi psychedelic rock / blues band from the early 70's.
In February 1971, when the Underdogs, whom at that time consisted of Harvey Mann, Glen Absolum and Neil Edwards, released their "Wasting My Time" album, and it failed to sell in great numbers, Neil Edwards decided to leave the group and join Human Instinct. (see Midotouch for Underdog's LP)
Harvey and Glen added a new bass guitarist, Billy Williams, and to beef up the sound, Bob Gillett was added on saxophone. Also required was a new name, so they became the Australasian Rock Squad.
Bob Gillett had been playing with Breeze prior to joining. Billy Williams came from Classic Affair.
In September 1971, Bob Gillett decided to become a part-time member of the group, so they rechristened themselves Space Farm.
Space Farm only recorded one album for Zodiac. It was self-titled and released in 1972. This album was re-issued on the Little Wing label in 1989 under the name "Going Back To Eternity".

The album was largely ignored by the public, but Space Farm continued to pull crowds and they remained at the forefront of the underground movement until their demise in 1973. Towards the end of the band, there had been drastic changes within. Harvey began to forego drugs and alcohol and these changes were reflected in his song writing and performances. After the group ended, Harvey took a sabbatical and when he returned to the scene it was as a member of the Krishna faith. He later joined Living Force with Glen.
Billy Williams joined Ticket and Blerta before heading to Australia and great success in a number of Australian groups. In 2000 Ascension Records released their original album on CD.
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Interesting if not wholly convincing. Space Farm were a trio of likely Kiwi pot heads from the early seventies. This album has some great moments. The musicianship in places is quite superb, Harvey Mann was an obvious talent and his guitar playing gets right out there in places. At times, you can hear a distinct 'Hendrix' influence in his playing and the production affects in the title track liken themselves to those found on 'Electric Ladyland'. In fact, 'Flying' has a riff very similar to Hendrix's 'Ezy Rider'. My favourite track is by far the excellent live blues track 'Gypsy Queen' and one can't help but compare Harvey's blues work to that of Stevie Ray Vaughan and L.J Hooker. Simply magical stuff here.
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However, whoever the singer was (Harvey perhaps?), tends to let down the group somewhat. I felt slight twinges of awkwardness listening to the singer at times and the psychedelic lyrical content is a little weak at times. That being said though, I still kinda dig this band and highly recommend you have a listen. OK, they're no Split Enz or La De Das but they certainly deserve more recognition than what they have received (or should or say not received) in the past. Pity they didn't get a chance to record more material.
Rip included here was taken from remastered CD at 256kps and includes full album artwork, including the German 'Going Back To Eternity' alternative cover.
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Track Listing
01. Space Farm
02. Homeward Bound
03. Infinity Way
04. Waking Dream
05. On The Loose
06. Flying
07. Gypsy Queen (Live)
08. Wheel
09. Lover Not A Dancer
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Band Members:
Harvey Mann (Guitar)
Billy Williams (Bass Guitar)
Glen Absolum (Drums)
Bob Gillett (Saxophone)
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Space Farm Link (90Mb) New Link 01/10/2013
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Friday, October 23, 2009

Finch - Beyond Expression (1976)

(Dutch 1974-78)
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Foundation of Dutch progrock band Finch was laid by bass player Peter Vink and drummer Beer Klaasse (both ex-Q65 and The Kjoe). They were eager to play progressive music: Peter was impressed by the symphonic rock of Yes and Beer by the improvised rock of Mahavishnu Orchestra and Cream. After some sessions and failed efforts to find a good singer, the new band switched to instrumental music with this line-up: Peter Vink, Beer Klaasse, the 19 year old "guitar virtuoso" Joop van Nimwegen and keyboard player Paul Vink. With two Vink’s in the band the name became Finch, the English translation from this Dutch name. The EMI sub-label Negram was willing to invest in the new progrock band, in ’75 this resulted in the debut-album "Glory of the Inner Force" (worldwide sold 20,000 copies). New keyboard player Cleem Determeijer’s interplay with guitarist Joop sounded captivating and the first album was hailed by the music press. The single "Colossus" (’75) wasn’t successful but it’s now a hugh collector’s item. In ’76 the second album "Beyond Expression" was released, it was acclaimed as Album of the week by radio and the broadcasting company Veronica and known music magazines were very positive. The future looked bright for Finch: sold out concerts, worldwide sales (15,000 copies) and in Japan Finch became almost as popular as other Dutch progrock bands Focus and Earth & Fire! Unfortunately Cleem was no longer able to combine the music with his classical study, he was replaced by Ad Wammes and, due to musical disagreement, Hans Borsboom replaced Beer Klaasse. This new Finch line-up released the third album entitled "Galleons of Passion" in ’77, it was not received very well though the sales flagged around the 11,000 copies. It turned out to be the band’s swansong until in ’99 the Dutch record company Pseudonym Records released a 2-CD, including fine demos of the "Galleons of Passion" album and exciting live material from ’76.Slightly less frantic and a bit more challenging,
Finch’s second album rounds off some of the sharp edges, but it’s no less adventurous than the debut.The 20-minute “A Passion Condensed” will probably stand for all time as their defining masterpiece, its mood changes and structural layers revealing themselves after many attentive listens. Each passage merges easily into the next, showing Finch at the top of their game, each member completely dialed-in and making this huge piece work. The are times when one is almost tricked into thinking that it is Focus playing rather than Finch, so and so their Dutch counterparts have obviously been a big influence. In particular the interplay between Joop’s complex guitar work and Cleem’s keyboard runs is very reminiscent of work of Jan Akerman and This Van Leer.“Scars On The Ego” smashes through next, standing as their heaviest-ever track. Based around a riff that feels like pure epic metal, the middle of the song settles into a hypnotic cosmic caress before erupting in a fury of sparks and fire (thanks to the wailing punishment keyboardist Cleem Determeijer and guitarist JoopVan Nimwegen dish out to their instruments).While the title of third track “Beyond The Bizarre” would seem to indicate a wilder ride ahead, it is simply 14 minutes of typical Finch. It bounces between mellow and manic, highlighted by a joyous lightning-speed workout from the stringed instrumentalists. About 2/3 of the way through the song they break into a cosmic interlude which sounds so much like a section from Yes’s ‘Close To The Edge’ that you’d swear you were at a Yes concert. But credit to Finch – 'Yes' are a band that anyone would like to be mistaken for. Beyond Expression is not as direct as their first album, nor as refined as their third, but this second album can probably be considered the most challenging and diverse of the three Finch albums. I intend to post the other two albums when time allows.
The only disappointment is the albums front cover – what were they thinking of. A fiery heart attached to what looks like an umbilical cord is not what I would describe as Beyond Expression – perhaps they should have called it Beyond Belief !
The rip included here was taken from Vinyl at 320kps and full album artwork is included.
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Track List :
01. A Passion Condensed - 20:08
02. Scars On The Ego - 8:54
03. Beyond The Bizarre - 14:24
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Band Members:
Cleem Determeijer (keyboards)
Beer Klaasse (drums)
Joop Van Nimwegen (guitars)
Peter Vink (bass)
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Finch Link (84Mb) REPOST
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Saturday, October 17, 2009

Nova - Vimana (1976)

(Italian 1975-78)
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.More active abroad than in Italy (where only one of their 4 albums was released), Nova are a unique case of an Italian progressive group that spent almost all of its career in foreign countries. After the split of Uno, former Osanna founders Elio D'Anna and Danilo Rustici stayed in London and formed another band called Nova with other well-known Italian musicians as Corrado Rustici from Cervello and Dede Lo Previte from Circus 2000.
The band, with a stronger jazz-rock influence than their previous groups, released their first album, Blink, in 1976, aided by such big names as Pete Townshend and with help from lyricist Nick J.Sedwick (who also wrote the lyrics for Uno). A usual Osanna feeling is still in the air, but the style is changing to a more commercial kind of music. Only two of the six tracks are instrumental, the singer role been taken by Corrado Rustici, and the album has some good moments.
Since the following LP their records never gained an Italian release, the band having now stably moved to England and, since 1978, to the USA.Second album, Vimana, saw the band reduced to a trio, original members Elio D'Anna and Corrado Rustici augmented by ex-New Trolls Atomic System's keyboardist Renato Rosset and with help from international stars like Percy Jones (bass), Narada Michael Walden (drums), Phil Collins (percussion). Though some of the typical Osanna/Cervello sound elements can still be heard (listen to Elio D'Anna's sax or Corrado Rustici's frantic guitar), the band's style is slowly approaching a mainstream jazz-rock with a funky edge, and the last two albums will go to a lower level.

.The fourth and last one, Sun city was recorded in the USA in 1978 and showed a harder sound with the magic guitar of Corrado Rustici (one of the most talented guitarists from that era) in great evidence.
D'Anna then returned to Italy for a career as producer, leaving the musical scene to completely disappear, while Corrado Rustici stayed in the USA, returning back to Italy where he's long collaborated with such artists as Zucchero and Elisa, both as musician and producer. During their early days in England with Nova, both Elio D’Anna and Corrado Rustici (credited on the cover as Carrado Rusticci!) appeared on the 1976 album Sunset wading by Caravan’s bass player John G.Perry. An Italian band infuenced by the Mahavishnu Orchestra's acoustic stylings, Wayne Shorter's soprano sax attack, and British art rock vocalizing. The resultant fusion is airy and pleasant. Guest drummer Narada Michael Walden pushes things incisively and contributes the catchy number "Princess and the Frog".
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I first heard Nova while browsing in one of my favourite import shops in Melbourne and was totally mesmorized by the 'Jazz Fusion' experience that came through the tiny shops speakers. Needless to say, the LP was purchased immediately and their remaining 3 albums as soon as I was financial. My favourite track on the album would have to be "Night Games" although every track has something special about it. If you like bands like 'Mahavishnu Orchestra' or Australia's very own 'Crossfire', then you will really dig Nova. I plan to post all 4 albums eventually, so stay tuned!
But for now, here is a freshly ripped copy of my vinyl copy of Vimana at 256kps and includes full album artwork from LP and CD.
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Track Listing
01. Vimana (7:18)
02. Night Games (9:37)
03. Poesia (To a Brother gone) (5:11)
04. Thru the Silence (5:43)
05. Driftwood (10:03)
06. Princess and the Frog (7:44)
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Band Members:
Corrado Rustici (Lead guitar, 6 & 12 strings & acoustic guitar, marimba, lead vocals)
Elio D'Anna (Tenor & Soprano saxes, flute, synthesized flute)
Renato Rosset (Fender Rhodes piano, acoustic piano, Mini-Moog, strings ensemble, clavinet)
Guest Artists:
Percy Jones (Bass guitar)
Narrada Micheal Walden (Drums & Fender Rhodes piano)
Phil Collins (Percussion)
Zakir Hussain (Congas)
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Nova Link (95Mb) Link Fixed 27/09/2015
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Tuesday, October 13, 2009

Electric Sun - Earthquake (1979)

(German 1978-1986)
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Uli Jon Roth (a.k.a. Ulrich Roth) is a German-born virtuoso guitarist who has been in bands such as Scorpions, Electric Sun, and Sky of Avalon. While maintaining a cult status, he has influenced and inspired the likes of other great guitarists such as "Eddie Van Halen" and "Yngwie Malmsteen". He played with Scorpions in the mid-70's for 5 years, recording 4 studio albums and 1 live album. After departing from Scorpions, he went to form his own band Electric Sun and recorded three albums. Then he disappeared from the music scene for more than 10 years before coming back with a new band called Sky of Avalon, which resulted in Roth's departure from Rock N' Roll and embracing more of a classically-oriented sound. In 2000 he released the unique album Transcendental Sky Guitar, which displays his virtuosity and appreciation for both rock and classical music. He continued his classical experiments with his rendition of Vivaldi's Four Seasons, titled Metamorphosis and then followed up with Symphonic Legend Volume Number I - Under A Dark Sky.
Being a huge fan of the "Master of the Stratocaster" Jimi Hendrix, I easily gravitated to the sounds of Robin Trower & Frank Marino in the early-mid 70's to fill the void. They were the closest thing to Jimi's spirit as you could get. Enter Uli Jon Roth, Scorpions axe man (first heard him on the track 'Speed Is Coming') and felt the Hendrix vibes throughout and then was taken to the max on "Fly to the Rainbow".
I picked up the "Earthquake" Electric Sun album back in the late 70's from an import shop in city central (Melbourne) and was stunned by some of the best virtuoso and technical guitar playing I have heard in awhile. If you love that Hendrix sound, Uli delivers the goods and puts a smile in your ears. From the opening track "Electric Sun" to the closing title track of "Earthquake" Uli Jon Roth paints a melodic soundscape of guitar "meisterwerk" that would influence the next crop of rock guitarists to come in the 80's. This album is an instant guitar hero classic and it takes you to another level. Favourite tracks are 'Sundown' and of course the epic title track 'Earthquake' where Uli pulls out all of the stops on his amplifier and puts his guitar through a masterful workout.
The only downside are the vocals but they'll grow on you after awhile and don't take away from his monster guitarwork. Keep your rap and alternative crap.....just give me a real musician, a stratocaster and a stack of Marshalls and I'm one happy rock 'n' roll camper!

The rip included here was taken from CD at 192kps and includes album artwork.
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Track Listing
01 - Electric Sun
02 - Lilac
03 - Burning Wheels Turning
04 - Japanese Dream
05 - Sundown
06 - Winterdays
07 - Still So Many Lives Away
08 - Earthquake
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Band Members
Uli Jon Roth (Guitar, Vocals)
Ule Ritgen (Bass)
Clive Edwards (Drums)
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Electric Sun Link (54Mb) New Link 04/10/2013
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Monday, October 12, 2009

Cold Chisel - Live In Sydney (1978) Ex SB

(Australian 1973-84)
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This was a Cold Chisel concert that was broadcast on JJJ Radio, Australia as part of the "Impossible Music Festival" Weekend - 19th-21st September 2008. (ABC)
The exact date of the concert wasn't mentioned and research indicates that there are two possible dates/venues (Innercity Sounds) - Penrith Leagues Club Sydney (28-5-1978) or St Leonards Park Sydney (18-11-1978).
Looking for the exact date has brought up a few Red Herrings. Firstly, one would normally trust JJJ to give the correct date and leave it at that. But there seem to be a few leads that say it 'may' not be correct. According to the Cold Chisel Biography, Khe Sanh wasn't released until May 1978. (see Cold Chisel History)
Jimmy Barnes mentions that JJJ were the only station playing the song at the time. If it was released at the start of the month, that would mean only one month of "possible" airplay. Fair enough, I suppose, in an era that relied a lot on radio. BUT, the 'unsuitable for radio' classification about Khe Sanh didn't happen till August 1978 (see website link above), which point more to
the fact that it was possibly recorded at a show later in the year.
On the Cold Chisel OFFICIAL site the venue for the date of 28th May 1978 is listed as 2JJ Concert - Penrith Leagues Club Sydney (see Cold Chisel History)
However, there is no St Leonards Park in Penrith - therefore we must assume the one that they were talking about is in North Sydney. (see Google Maps)
So, who's telling the truth - JJJ or the Cold Chisel official website? The Cold Chisel official site has no shows listed at St Leonards Park in 1978.
Truth be told - it was a long time ago. Either source could be slightly wrong. We're dealing with either fans/management who didn't realise they'd be writing down tour dates for people to look at in 30 years time or a reel-to-reel tape left in an ABC archive (labelled by the 15 year old work experience kid) 30 years ago. Sure, it would've been transferred a few times to various formats over the years - and it may have been mis-labbled then. According to the official website they also played a 2JJ show at the Regent Theatre, Sydney on the 4th October 1978 - perhaps it was this show??? DJ's are just told to read what they are told - and then they still get things wrong - Rosie Beaton mentioned before the Crowded House set that it contained their hit "Six Months in a Leaky Boat" - nice one....
Here's even more info pointing towards the date and/or venue being incorrect. A reference to a Midnight Oil show in September 1978 at St Leonards Park with Cold Chisel (Innercity Sounds)
A reference to a show at St. Leonards Park with The Angels in 1978 - "In the early days a string of free outdoor concerts were held in various areas in Sydney. Skyhooks played at Dawes Point under the harbour bridge; a great day in the sun. At St Leonards Park, a new band from SA called 'Cold Chisel' still new to the scene and greeted with polite applause and another band from the same state who wound up the afternoon 'The Angels', not a single soul was sitting down for their set and as we all know both bands went on to make their mark and bring pleasure too many."
"In 1978, following a recorded 2JJ concert at St Leonard's Park, ‘The Angels’ released their landmark album ‘Face to Face’, which remained in the charts for 76 weeks. Their popularity exploded throughout Australia with sell-out shows and stadium tours with Meatloaf and David Bowie."
From the Angels official website. The guestbook has quite a few references to Cold Chisel (Guestbook Central) - either St Leonards Park or the Bondi Lifesaver - but what date? They
played at the Bondi Lifesaver a heap of times over those two years.
.The Artwork for this posting was provided by Woodynet at Midoztouch, who by the way is of the opinion that the concert was recorded at St Leonards Park in Penrith, and not Sydney Park due to the 'non stadium' sound of the recording. Good one Woody - simple logic prevails over long winded research and I agree.
The rip was taken from tape at 256kps (thanks to the Mixingdesk.blogspot.com) and includes album artwork (thanks to Woodynet)
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Track Listing
01 Home and Broken Hearted
02 I'm Gonna Roll Ya
03 The Door
04 One Long Day
05 Breakfast At Sweethearts
06 Mona and The Preacher
07 Khe Sanh
08 Presenter Outro
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Band Members
Jimmy Barnes (Lead Vocals)
Ian Moss (Guitar, Vocals)
Phil Small (Bass)
Don Walker (Keyboards, Vocals)
Steve Preswitch (Drums)
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Cold Chisel Link (62Mb) New Link 31/10/2015
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The Church - Live At The Palace Melbourne (1991) Ex SB

(Australian 1980-Present)
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The Church is an Australian rock band formed in Canberra in 1980. Initially associated with New Wave and the neo-psychedelic sound of the mid 1980s, their music later became more reminiscent of "progressive rock," featuring long instrumental jams and complex guitar interplay.
The Church's debut album, Of Skins and Heart (1981), earned them their first radio hit "The Unguarded Moment." They were signed to major labels in Australia, Europe and the U.S. However, the U.S. label was dissatisfied with their second album and dropped the band without releasing the album. This put a dent in their commercial success, but they made a comeback in 1988, with the album Starfish and the American Top 40 hit "Under the Milky Way" which is one of my all time favourite songs. Subsequent commercial success proved elusive, however, and the band weathered several line-up changes in the 1990s. The last decade has seen them settle on their current lineup, which features the original three founding members plus drummer Tim Powles. (wikipedia.com).
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Recorded at The Palace, Melbourne, April 25, 1991, this is a stereo soundboard recording. Also goes under the title of 'Postcard'.
A great sounding bootleg... much better than I expected. Plays loud and full in the car. Turn it up, and it almost feels like you're there. The master tape is suffering from some age (there is some subtle playback "wow" and "flutter" on the CD, and a bad glitch in the middle of "When You Were Mine"). Still, it is a worthwhile document of a time when the band was on the cusp of undergoing some monumental lineup changes. A "must-have" if you are a Church fanatic.
The rip was taken from CD at 192kps and includes full artwork.
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Track Listing
01 When You Were Mine
02 Tristesse
03 North South East and West
04 Almost With You
05 Hotel Womb
06 An Interlude
07 Fading Away
08 Under The Milky Way
09 Grind
10 Destination
11 Myrrh
12 Reptile
13 Is This Where You Live (Encore 1)
14 You're Still Beautiful (Encore 2)
15 Friction (Television song)
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Band Members:
Steve Kilbey - Bass, Lead Vocals
Peter Koppes - Guitar
Marty Willson-Piper - Guitar, Vocals
Jay Dee Daugherty - Drums
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The Church Link (108Mb) New Link 27/08/2015
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Wednesday, October 7, 2009

Trust - L'Elite (1979)

(French 1977-1988)
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By far the most successful French Heavy Metal band of all, Nanterre based Trust produced some excellent albums chock full of aggression and lyrics that were unafraid of using social and political commentary. The group, founded by singer Bernie Bonvoisin, previously a drummer with 'Taxi' and 'Killerdrink', and guitarist Nono (a.k.a. Norbert Krief) even made it to UK shores, touring nationwide in a headlining capacity. Despite this, Trust had a quite stormy career, dogged by line-up changes that were allegedly due to frontman Bernie Bonvoison's dictatorial method of running the band. The band's very first stage performance, with Christian Cheffeu manning the drums, came on September 9th 1977 as support to 'Bang' at the Golf Drouot in Paris. Trust went through numerous band members in its formative stages, including drummer Omar Ben El Mabrouk and second guitarist 'Moho' (Mohammed Shemlok). 
The group's initial recording roster, cutting tracks for a 1977 demo called 'Prends Pas Ton Flingue', comprised Bonvoisin, Nono, bassist Raymond Manna and drummer Jean-Émile "Jeannot" Hanela. Two of these tracks saw issue as a 7" single, released that October by Pathé-Marconi. Another switch in drummers found Sherwin Rosman taking the role whilst Mann was substituted by ex-'Volcania' man 'Vivi' (Yves Brusco).
Trust famously provided the opening honours for AC/DC on October 24th 1978 at Le Stadium in Paris, here Bonvoisin forging a famous friendship with Bon Scott.It is reported that Bon hanged around the studio with the band sometimes helping with the translation of lyrics.
During a studio session on the 13th Feburary 1980 Bon recorded a version of "Ride On" during a jam session with the band. This version has never been released officially but has cropped up on the bootleg market.
When Trust released their Repression album in 1980 they dedicated the album to the memory of Bon. The LP featured an insert which included a picture of Bon with the band along with a message from Trust.
Trust released their first album on CBS Records in May 1979. 'L'Elite', recorded in London with producer Herv Muller, included a cover of AC/DC's 'Ride On'. A French tour to promote the album, which novelly included a concert at the Fleury-Merogis prison, saw many concerned local town authorities drafting in extra police, fearing Trust's political message would incite rioting. The group was an immediate hit, scoring platinum sales status and boasting a sell out crowd of 10,000 for a headline show at the Pavillon de Paris on January 12th 1980.
Trust rose to fame in 1979 and 1980 with a music mixing hard rock influences with acerbic social and political commentary with anarchist and anti-Soviet undertones, with a renegade attitude à la MC5. Trust's success was also due to Krief's stature as a French guitar hero and Bonvoisin's both sincere and mature lyrics as well as his raw energy. Their 1980 hit song 'Antisocial' (on the Répression album) criticized the frenetic, dehumanizing pace of modern life and work in large cities.
With the exception of the core pairing of Bonvoisin and Nono, Trust was unable to cement a solid roster of players, a curse which would dog the band throughout its entire lifespan.
I first heard Trust in the early 80's when I purchased a double heavy rock compilation called "Killer Watts" (see later post) which showcased their hit single 'L'Elite'. When I heard 'L'Elite', I was totally blown away. The French vocals of singer Bernie Bonvoisin along with the blistering guitar riffs by Nono Krief hooked me big time. I managed to track down Trust's entire catalogue from a range of import shops, but it was hard going as very few import outlets carried French releases. And when I did find them, they cost me big bucks. Now I'm laughing because good condition vinyl copies fetch high prices on eBay, and I've got the lot.
The rip here was taken from CD at 256kps and includes full album artwork (plus original custom inner sleeve with album details, complete lyrics of all songs by and photos).
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Track Listing
01 - Préfabriqués
02 - Palace
03 - Le Matteur
04 - Bosser Huit Heures
05 - Comme Une Damné
06 - Dialogue De Sourds
07 - L'Élite
08 - Police-Milice
09 - H&D
10 - Ride On
11 - Toujours Pas Une Tune
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Band Members
Bernie Bonvoisin (Vocals)
Nono Krief (Guitar)
Raymond Manna (Bass)
Jean-Émile Hanela (Drums)
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Trust Link (75Mb) New Link 14/06/2015
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Monday, October 5, 2009

Deep Purple - Wild Drifters (Live In Sydney 1975) - Bootleg

(UK 1968-1976, 1984-Present)
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It was Deep Purple’s fifth concert performance (20-11-1975) with the new line-up (Mark 4) and the lack of hard roadwork showed. There were patches of uncertainty, hesitancy, sometimes they approached disarray.
More than a few trademarks of previous line-ups are also missing. Gone are the swirling mists of dry ice (presumably guitarist Ritchie Blackmore took the machines with him as part of his divorce settlement !) Gone also is most of the material Purple fans are familiar with. The new line-up did "Burn", they did "Stormbringer", they did "Smoke On The Water" and ""Lazy from the 'Machine Head' album. They introduced just about all of the LP ‘Come Taste The Band’
But the noo choons are fine. There’s more than a few that will work out to be standards in the band’s future repertoire especially the soulful – "You Keep On Moving" and the staccato rocker "Comin’ Home".
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But for the most part, the new stuff was received with slightly strained applause. The old stuff was greeted with fervent and relived cries-of acclaim.
But, as it turned out, the new repertoire worked out better than old faves. Certainly new guitarist Tommy Bolin seemed happier and more forceful playing the new material. It seems the band and he haven’t yet worked out an entirely satisfactory system for the old.
Bolin (quite rightly for his own self-esteem) is more into interpreting Blackmore’s riffs than playing them note for note. And the rest of the band, having been firmly indoctrinated into the ways of The Riff According To Ritchie, haven’t quite worked out how to handle that one yet.
Result: some confusion and a fair bit of fumbling.
It’s the new material one should look to to provide some insight into the future well being of Purple.
Basically it’s fine stuff. And it will no doubt get finer once the band have road tested it further. It provides much scope for the microphone bending dramatics of vocalist David Coverdale. And singer Glenn Hughes is starting to take a real role in the running of the show. He lopes around the stage, muzzles into Bolin or Coverdale (whichever is nearest). He pushes his rock tenor voice into high reaching screams that threaten to dislodge tooth fillings (so piercing are they), and which stretch past most vocal ranges in rock to near sonic breakthru point.
“Super”, says Glenn, as the audience applauds out of sheer admiration and amazement. “Spiffing”, he adds.
The night of the concert was bloody hot and the atmosphere was clammy with humidity and undissolved perspiration. David Coverdale seemed affected by the heat and he spent much time away from the action line – being revived by an oxygen machine.
But when he was on stage, he dominated. A cheerful goliath from sturdy English mining stock with a righteous beer belly, he strides the stage exhorting himself, the band, and the audience. His singing is powerful and near faultless. His stage speciality is snapping microphone stands in two. (There’s a roadie who’s only job during the show is to try and bend ‘em back into shape).
Ian Paice, one of the two original members of the band, provides the rhythm section with a mains source of power. He’s a joy to hear really. Never falters, never strains. Just hits bloody hard and accurately all night. His partnership with Glenn Hughes is a delight to anyone who wants to hear a rilly good thudda-thunda underneath the guitar solos and keyboard chunga-chunga.
Taking of keyboards, Jon Lord remains an enigma. His ability is not in doubt, but for much of the concert he was playing fills and frills, or providing a rhythm under Bolin’s scorching solos. He was pretty laidback in fact. He reminded one more of an avuncular guardian than anything else…he was there to keep a friendly eye on the new boys, to see they were working out okay.
His organ solo was brief and good humoured. The only time he really stretched out was on his co-composition (with Glenn Hughes), "This Time Around" (off the ‘Come Taste The Band’ album).
Verdict: an interesting enough training session. Purple show all the signs of retaining their status as The Leviathans Of Heavy Rock once they reach full match fitness (Review by Anthony O’Grady: RAM Magazine No.21)
The Rip was taken from CD at 256kps and includes album artwork. Note: This bootleg is a VG audience recording. The first track "Burn" starts off distant but the recorder finally gets his recording levels sorted out with improved sound. Note: The closing interview with Tommy Bolin was recorded 6 days later by a Melbourne Radio station.
All stage photos from the 1975 'Come Taste The Band' tour were taken from http://www.deep-purple.net/ with thanks.
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Track Listing
CD1
01 - Burn
02 - Lady Luck
03 - Love Child
04 - Gettin' Tighter
05 - Smoke On The Water
06 - Wild Dogs
CD2
01 - I Need Love / Lazy
02 - This Time Around / Owed To 'G'
03 - Tommy Bolin Solo / Drifter
04 - You Keep On Moving
05 - Tommy Bolin Radio Interview (Melbourne 26-11-75).
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Band Members
David Coverdale (Lead Vocals)
Tommy Bolin (Guitar)
Glen Hughes (Bass, Vocals)
Jon Lord (Keyboards)
Ian Paice (Drums)
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Deep Purple Link (187 Mb) New Link 1\09\2014
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Sunday, October 4, 2009

Arthur Brown's Kingdom Come - Journey (1973)

(UK 1970-73)
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If you've been brought up on 1960s psychedelic rock, you've probably heard "Fire", the 1968 classic from The Crazy World of Arthur Brown. That band featured Arthur Brown, of course on vocals, as organist Vincent Crane (later of Atomic Rooster) and drummer Carl Palmer (later briefly of Atomic Rooster before joining Emerson, Lake & Palmer, one of the biggest names in prog rock). By 1969, the Crazy World of Arthur Brown was no more. A second album was recorded and scrapped (but later surfaced years later).
So Arthur Brown formed a new band called Kingdom Come (not to be confused with the hard rock band from the 1980s), in which he explored more spacy progressive rock. Kingdom Come released two albums, Galactic Zoo Dossier (1971) and Kingdom Come (1972) before releasing Journey. I have these two albums, which were OK, but 'Journey' really took me by surprise. Brown stated in an interview with an English music magazine that the three albums were intended to present a thematic progression. The first focused on the state of humankind in the present, the second on the human animal itself and the dichotomy between the body and mind, and the third focusing on cosmic and spiritual matters.
.While the Hammond organ dominated the Crazy World of Arthur Brown, the dominant instruments on Journey were the Mellotron, ARP 2600 and VCS-3 synthesizers, with some great guitar work, and no real drums. Arthur Brown uses the Bentley Rhythm Ace drum machine on this album, which sounds like a cheap piece of crap toy (no wonder it took until the 1980s before drum machines were used regularly in recordings), but the totally amazing music makes up for the drum machine being used.
The album opens with "Time Captives" which starts off with the sound of Brown's drum machine, before eventually all the strange electronic effects come in. By the time the vocals come in, the music is totally in progressive space rock territory. The next cut is the instrumental "Triangles", not the most remarkable cut on the album, but the following cut, "Gypsy" totally makes up for that, because it's simply one of the best cuts on the album.
"Supernatural Roadblocks" starts off with some totally amazing use of Mellotron, of the type the Moody Blues could only dream of, before the the music starts. The next cut, "Conception" is largely instrumental, but you get treated with Arthur Brown's terrifying screams from time to time. "Spirit of Joy" is the closest thing to a hit on this album, and, unsurprisingly, the song was released as a single prior to the album's release. The last song, "Come Alive" continues in the same synthesizer dominater prog rock territory, with a great bluesy middle passage with vocals that oddly remind me of Frank Zappa.

A number of factors contributed to the end of Kingdom Come, including mediocre album sales, critical disdain, the revolving door membership of the band, and Brown's frustration with the music business in general. The band dissolved rather than officially breaking up, with Brown citing a desire to play simpler music and opt for a simpler lifestyle in general in later interviews. However, the music that Kingdom Come left behind is certainly worth exploration for progressive rock and psychedelic rock enthusiasts, and stands up well as a part of Arthur Brown's 40-plus year legacy.
After Kingdom Come broke up, Arthur Brown recorded again under his own name. I have his 1975 album 'Dance', but it was a real disappointment (except for a cover of "We've Gotta Get Out of This Place"). So, surprisingly, Arthur Brown gave us much more than The Crazy World of Arthur Brown and "Fire", as 1973's Journey proves. 'Journey' is another classic album, in my book (Some extracts were taken from a review by Ben Miller).
This rip was taken from CD remaster at 192kps and includes full album artwork, along with some publicity photos of Arthur Brown and Kingdom Come. I personally owned  the album back in the 70's but stupidly traded it in for cash - something I've always regretted.
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Track Listing
01 - Time Captives
02 - Triangles
03 - Gypsy
04 - Superficial Roadblocks-Lost Time-Corpora Supercelestia
05 - Conception
06 - Spirit of Joy
07 - Come Alive
08 - Spirit of Joy [Bonus - Alternate Take]
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Band Members
Arthur Brown: Bentley drum machine, lead vocals
Andy Dalby: Guitar, vocals
Victor Peraino: Mellotron, ARP 2600 and VCS-3 synthesizers, Theramin, piano, percussion, vocals
Phil Shutt: Bass, percussion, vocals
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Arthur Brown Kingdom Come Link (78Mb) Link Fixed 04/09/2015
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