Jimi Hendrix - Last American Concert (30-7-1970) Ex Bootleg

(U.S 1967-1970)
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(Thursday July 30th 1970. Rainbow Bridge Vibratory Color Sound Experiment, Haleakala Crate, Island Of Maui, Hawaii. Jimi Hendrix was supported by Air)
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Jimi Hendrix (Cry Of Love) take the stage in the afternoon for the first of their performances. Jimi: "Glad to see you again, I hope everything's alright. Dig, give us about a minute, give us about a minute to set up and, er, yeah we'll forget about tomorrow and yesterday, get into... our own little world for a while, catch up to the wind." Someone offers Jimi something. He replies: "Er, I've had mine actually. Yeah I'd like to get into a thing called "Spanish Castle Magic" and, er, check out everything and see what's happening."

Afterwards: "Yeah, okay... we'd like to do another thing, go into another thing, if... the bass is working. Testing, testing, testing, testing, one, two, three." The crew has to come on stage to adjust the equipment. When they have finished, Jimi continues with "Here Comes Your Lover Man" and "The Land Of The New Rising Sun" and a completely new song, "In From The Storm". Then: "Yeah, thank you very much, thank you. I'd like to tune up one more time, okay? I'd like to do this tune that everybody here knows about, it's a thing called "Message To Love" - everybody knows about that. We'd like to just bathe in it for a second, for always actually." Jimi continues with "Message To Love".
Afterwards he announces: "I'd like to go into one of those other things, do a thing... dedicated to that little girl over there called Hartley, a thing called "Foxy Lady" — look out! Plug your ears, plug your ears, it's gonna be loud!" When the song is over, Jimi says: "Thank you very much, I'd like to do a slow blues right now.

It's a thing about a cat, you know, he gotta leave town because his old lady don't want him around, because, you know, nobody [wants] him in town and all the downs. You know, the cat's all low and everything, but then he's gonna get it together, 'cause he's going down the train station with his little baby and his little pack on his back. Come back and buy the town and maybe the girl does it to him one more time, might even marry her and give a piece to her. It's called "Get My Heart Back Together'" — I don't know whether it's about myself, I don't know." After this blues track, the set continues with "Voodoo Child (Slight Return)" and "Fire".
"Yeah we'd like to do another one, I think, er, a few of us might remember this one, some of us will never forget it, including me..." Jimi ends the first show with "Purple Haze", then tells the audience: "Thank you, thank you, peace with you man,thank you. We'd like to come back later on and we're bound to get it on again if we can, okay, [unless] anything stops us."
Cry Of Love return for their second performance. Jimi opens the show with another new song, "Dolly Dagger". He slows the song down at the ends and proceeds to play a very melodic version of "Villanova Junction", before continuing the set with "Ezy Ryder". He announces: "I'd like to do a little blues to the sun called "Red House". After this number, Cry of Love continue with "Freedom", "Beginnings" and "Straight Ahead" ending this last song with the introduction to "Land Of The New Rising Sun". After thanking the crowd, Jimi continues with "Land Of The New Rising Sun" and then plays "Keep On Grooving". Mitch plays an extended drum solo and Jimi returns to play "Stone Free". He ends the concert with a few bars of "Hey Joe" before revisiting the solo of' "Stone Free". Jimi says "Thank you very much, good night."
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Note from Chuck Wein: "Even though the album and video are called 'Rainbow Bridge', it was known as Rainbow Ridge because that's the name of the ridge on which the concert was held." [Transcript from Tony Brown's "Jimi Hendrix Concert Files" 1999, Omnibus Press]
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Ok - this is my last post for the 2010, and in fact the decade. To celebrate this I have decided to post my most treasured album. I purchased this bootleg in 1978 from Reading Records in Carlton, Melbourne for the pricely sum of $30 (a small fortune for a poor Uni student at the time).
It still has the shrink wrap on it and I reckon I've only played it half a dozen times in the past 32 years. I instead, transfered it to cassette tape and wore out several copies! It really is an awesome stereo recording (a soundboard for sure) and at the time was the best Hendrix 'bootleg' around. I have yet to see this exact bootleg available on any other website, so I am confident that this is the first time it has been posted. There are other bootlegs around with the same name (Last American Concert Vol 1 & 2) but are on different labels and have different track listings and covers. This bootleg was also released under a completely different name and cover design - 'Unknown Wellknown' (see cover above) but was only a mono pressing.

Also note that this Maui concert was not in fact Hendrix's last American Concert as he played at the Honolulu International Centre, Hawaii the following night on August 1st - which was the last time he played on American soil.
The rip has been made from a 'near mint' condition vinyl copy at 320kps and I have included full album artwork and a selection of photos taken at the concert by Tony Brown himself.
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Track Listing
01 - Interview: James Marshall Hendrix
02 - Hey Babe / In From The Storm
03 - Hear My Train A'Comin'
04 - Voodoo Child
05 - Maui Sunset
06 - Foxy Lady
07 - Red House
08 - Easy Rider
09 - Purple Haze . Released by Jupiter records, Jupiter S-444, California, US
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Cry Of Love Members:
Jimi Hendrix (Guitar, Vocals)
Billy Cox (Bass)
Mitch Mitchell (Drums)
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Last American Concert (96Mb)
New Link 23/12/2023
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Redgum - Brown Rice & Kerosine (1981) + Bonus Track

(Australian 1975-90)
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When Brian Medlin, convenor of the Politics and Art course in 1975, suggested that some people might like to co-operate on a music project, three people raised their hands.
John Schumann, Michael Atkinson and Verity Truman were as yet unacquainted. It came to light later that Michael thought John was a loudmouth, John thought Michael was wet, and neither of them had really noticed Verity because she was very quiet.
They immediately fell into a deep and meaningful relationship with each other and wrote about eight songs. They performed the songs to the class and met such a strong and positive reaction that Michael, John and Verity decided to accept some of the invitations that followed to play at various gatherings.
At a function held by the Progressive Art Movement, Chris Timms, a former student of Flinders University Philosophy, offered his services as a violinist. A friend from university, Steve Brown, suggested the name Redgum and for want of anything better the quartet adopted it.
Redgum started on the South Australian campus circuit. The strikingly original material and the uncompromising delivery won them a small but very supportive following. A campus tour of Melbourne was organised and during that hectic week, the ABC recorded some of their songs. Community radio 3CR taped the band and played the songs regularly to a responsive listenership.
The band returned to Melbourne several times during 1976 and 1977, sometimes sponsored by 3CR, sometimes by progressive groups, to play concerts, rallies, benefits and the odd pub. Redgum quickly established a sizeable and quite general audience.
Back in Adelaide, Redgum performed "live to air" for 5UV, the radio station attached to the University of Adelaide. At folk concerts, union nights, rallies and benefits, Redgum would appear sporadically in Adelaide until their self-produced show 'One more boring Thursday night in Adelaide' established them outside of campuses. This show was part of the Festival of Arts Focus program in 1978 and was listed by The National Times as an attraction not to be missed.
It was shortly after this, and numerous enquiries in Adelaide and Melbourne as to the availability of tapes, that 3CR asked Redgum's permission to run off tapes for the people who had asked for them. On hearing that there were two hundred people listed as wanting copies the band decided to make an album.
The sales of the album "If You Don't Fight, You Lose" surprised everyone concerned. It became Larrikin Records' best seller and received airplay on most on the non-commercial stations around the country.
On the strength of the album, Redgum ventured to Sydney and Newcastle. They played a number of shows for the Amalgamated Metal Workers and Shipwrights Union, a concert at the Balmain Town Hall and a couple of folk clubs.
It is interesting to note that all this time, Michael, John, Chris and Verity all held full time jobs in Adelaide. Michael was teaching part time and studying, Verity had disappeared into the bowels of the Public Service,
Chris was Academic assistant at the South Australian School of Art and John was an English and Drama teacher at Marion High School. Trips interstate were made on weekends and in school holidays. This madness persisted until December 1980.
The bands trip to Melbourne in 1980 saw Dave Flett playing bass and Gordon Mclean drumming. In Adelaide, Chris Boath played bass and Geoff Gifford played drums.
During the middle of 1980 Redgum began work on 'Virgin Ground', their second album. It was released late in 1980 and, like its predecessor, it met strong critical acclaim.
Michael, John, Chris, Verity and Chris Gunn made a number of important decisions regarding the bands future in 1981. The five friends decided to give up full time employment in favor of Redgum. Tom Stehlik, an Adelaide drummer was recruited and with Dave Flett Redgum passed the sixth month mark as a professional band.
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The band's third album, 'Brown Rice and Kerosene', introduced the single "100 Year On" / "Nuclear Cop". The title is taken from the first track on the LP, and the album was released around the time Redgum changed from a part-time band to a full-time job for its members.
As noted on a sticker on the cover, the song "Liberal Values" was to have been included on the album but was removed for legal reasons, and as far as I know still unavailable.
The Redgum Songbook 'Stubborn Words, Flagrant Vices' was also published in 1981.
In May 1982, long-serving member Chris Timms left the band to be replaced by Hugh McDonald (violin, guitar, vocals). The 12-inch EP 'Cut to the Quick' was released in September 1982 and contained four tracks.
By 1983 Redgum was one of the biggest crowd-pulling bands on the Australian scene. The live album 'Caught in the Act' produced the classic song "I was only Nineteen (A Walk in the Light Green)" which reached #1 and stayed in the top 40 for four months.
By 1984, the Redgum line-up comprised Schumann, Truman, Atkinson, McDonald, Stephen Cooney (bass,didgeridoo, mandolin, banjo), Michael Spicer (piano) and Brian Czempinski (drums).
Redgum's fifth album, Frontline, was released in August 1984. A compilation album 'Everything's Legal Anything Goes' was released in November 1984.
Redgum toured the UK and Europe in the latter half of 1985 and released a compilation album in a number of territories. The band was well received on the festival circuit and earned itself a strong and loyal following in London during its time there.
In may 1986, co-founder John Schumann surprised fans by leaving the band. He signed with CBS as a solo artist and he recorded the album 'Etched in Blue' at the Music Farm in Byron Bay in 1987. Schumann's touring band included Mal Logan, Louis McManus, David Dharamaesena, Mark Peters and a trio of backing vocalists Deborah Paul, Melinda Pike and Nicky Schultz.
In the meantime, Truman, Atkinson, McDonald and Spicer continued on as Redgum, recording the album Midnight Sun. Redgum's final single was 'Roll it on Robbie/Empty Page' which reached #34 in May 1987. Michael Atkinson left Redgum in 1987. His departure precipitated the bands' break-up soon thereafter [taken from http://www.schumann.com.au]
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Review
1981 was the year Redgum went full time as the band members gave up their day jobs to pursue the band. It was also the year that their 3rd Lp was recorded and released. I remember hearing about this during an interview on 4zzz, the album was just released it was a promotional thing and they played the single "100 years on".
I still love the song, a modern take on "Waltzing Matilda", it takes us to the heart of John Schumann's songwriting genius, his ability to tell a yarn. This is my favorite Redgum album, its the songs that do it and sure there's a bit on clumsy left rhetoric, but I can forgive it, the brilliance in some songs more than makes up.The sound is less folk like, introducing things like synthesizers, yet not sounding commercial.
The epic "Where you gonna run to now" exposes Schumann's fears for the future and a strong environmental stance that was unheard of at the time. And "The Federal Two Ring Circus" is and very funny take on our political system, but "Your OS Trip" seems a little too bitter.
The truly greatest track however is the Schumann penned "The Last Frontier." Here he captures a young man pilgrimage to the heart of Australia [review by Bob at Striped Sunlight Sound]
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The rip was taken from a long out of print CD at 320kps and includes full album artwork from both CD and LP (thanks to Grado at Midoztouch for Vinyl scans). The bonus track "I Was Only 19 (A Walk In The Green)" is also included (a recording taken from a radio broadcast, where John Schumann talks a little about his 'anti-war' anthem before the track is played - thanks to Sunshine at Midoztouch)
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Track listing
01. 100 Years On
02. Lear jets over Kulgera
03. Caught in the act
04. Yarralumla Wine
05. Where Ya Gonna Run To

06. Brown Rice and Kerosene
07. The Federal Two-Ring Circus
08. Your O.S Trip
09. The Last Frontier
10. Paramatta Gaol 1843
Bonus Track
11. I was Only 19 (Radio broadcast / Interview)
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Redgum were:
Michael Atkinson: Guitars, keyboards, vocals
John Schumann: Vocals, guitar
Chris Timms: Vocals, violin
Verity Truman: Vocals, flute, tin whistle, saxophone
David Flett: Bass
Trevor Courtney: Drums and percussion
Mark Gillespie: Guitar on "Last Frontier"
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Redgum Link (84Mb) New Link 04/12/2024
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Various HAVOC Artists - Australian Rock (1971-72)

(Australian 1971-72)
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Australian Rock has fought long and hard for recognition. The medium that has been directly responsible for Rock culture is radio. Most Australian radio is modeled on American and than anything else has shaped the audience and the criticism of Australian Rock.
To compete in the play list war, an Australian musical group has to deliver an American or English sounding rock number. This retarding condition is now beginning to change. Australian Rock has a high energy potential - the same high energy potential that was found in early Little Richard, Presley, Berry and Domino rock. The same high energy potential as early English rock by the Animals, Stones, Kinks and some Beatle Rockers. Other high energy potential groups were Cream, Hendrix, Yardbirds and Who.
American and English Rock differ in their high energy potential distribution and Australian Rock differs from both of these by its high energy rhythm sections with high density colour trips.
Australian Rock is at last becoming noticed by the Australian media and the Australian audience. Given time, Australian Rock will be heard and appreciated everywhere . So - "Watch out World"
[liner notes by Lobby Loyde - September 72]
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The Bands
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Aztecs Mk IV, 1970-72
Billy Thorpe (guitar, vocals)
Gil "Rathead" Matthews (drums, vocals)
Warren "Pig" Morgan (piano, vocals)
Steve Ninnis (drums)
Paul "Sheepdog" Wheeler (bass)
"The Dawn Song" was released in '71. A moderate hit, it displayed the musical diversity of The Aztecs at this time. There was the view that the band's live power could not be adequately captured on tape, hence studio recordings like "The Dawn Song", which leaned in other directions."Most People I Know (Think That I'm Crazy)" had as much impact in its moment as "She's So Fine", "The Real Thing", "I'll Be Gone" and "Eagle Rock", and it has become a definitive work of Australian rock. It was a huge hit for Thorpie and the new Aztecs, indubitably propelled to the top of charts by the band's triumphant appearance at the legendary 1972 Sunbury Festival.
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Carson Mk II 1971
Broderick Smith (Vocals, Harmonica)
Greg "Sleepy" Lawrie (guitar, slide guitar)
Ian "Willy" Winter (guitar)
Tony Lunt (drums)
Barry "Big Goose" Sullivan (Bass)
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. The second lineup recorded a single for the Havoc label, "Travelling South" / "Moonshine", which was issued in August 1971. Driven by its sonorous, dual guitar riff and Sleepy's stinging slide licks, the dynamic A-Side was one of the best Aussie songs of the year. An archetypal 'on the road' song, the lyrics featured Broderick pleading with the semi driver 'to place me up beside your load' to get home to that 'heavy chested woman' waiting just for him to show. It would seem that the lengthy track "Don't Worry" (spelt incorrectly on the overlay sticker) was a precursor to "Better Times Will Come Away" which was released in a shorter form on their Blown Album in 1972.
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Michael Turner In Session
Michael Turner (guitar, vocals)
Paul Olsen (Drums)
Phil Stone (Guitar)
Bill Sciater (Bass) Album cover credits list incorrectly as Bill 'Slater'
The Michael Turner In Session was a Brisbane based band in the early 70's, renowned for their loud hard rock act, Turner's voice reminiscent of Led Zeppelin's Plant and the their very talented guitar player (Phil Stone)
Considering Michael Turner beat, no less than the mighty Jeff St John (who finished in 2nd place) to take out best male vocalist at the 1972 Hoadley's Battle of The Sounds, it's a crying shame that he was never heard of again, let alone recorded anything else other than his single "Just Around Midnight / Pattern Of My Life"
However, the Michael Turner In Session did performed regularly on GTK-TV and at the 1972 Sunbury Rock Festival.
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Lobby Loyde (And The Coloured Balls)
Lobby Loyde (Guitar, Vocals)
See Aztec lineup
Lobby Loyde (who was a distant descendant of Oscar Wilde) is acknowledged as the godfather of heavy rock in Australia. With backing by the Aztecs and issued in August 1972, "Liberate Rock" was the debut record from Lobby's new band Coloured Balls. Although recorded before Loyde formulated the true lineup of Fordham, Miglans and Young, "Liberate Rock" became something of a mission statement for the veteran guitar player. The Aztecs sound is rather distinct, but Loyde leads the charge with his blazing guitar lines and relaxed vocal delivery. "Slowest guitar on Earth" was the flip side of the single and is another of those effortless studio jams that he was so good at creating.
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Wild Cherries Mk V (1971-72)
Lobby Loyde (guitar)
Teddy Toi (bass)
Johnny Dick (drums)
Lobby resurrected The Wild Cherries' as a three-piece in 1971 with the veteran rhythm section of Teddy Toi and Johnny Dick (both former members of Max Merritt & The Meteors, The Aztces and Fanny Adams) but this endured only long enough to produce a one-off single -- the environmentally-themed guitar tour-de-force "I Am The Sea" (anthologised on Raven's Golden Miles compilation in 1994) -- and to make a short round of touring, including an appearance at the inaugural Sunbury Festival in January 1972. They split In February 1972.
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Chook
Mick Sampson (Vocals)
Alex O'Hara (Guitar)
Ian Ryan (Bass)
Jeff Lowe (Drums) Album cover credits leave his name off listing
Chook were are short lived Mebourne band in 1971, who played a commercial brand of heavy progressive rock. Their sound was rather primitive when compared with The Aztecs, Chanin and Carson but were still respected by their followers. They only released one single "Cold Feet / Tables Turned" and disbanded soon after. Ryan went on to be the first bass player for Buster Brown in 1973, while O'Hara later played with the Keith Lamb Band (1978) (ex-Hush)
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This posting was ripped from my near-mint LP at 320kps and includes full album artwork.
It should be pointed out that the album cover was originally printed with 2 extra tracks listed - "Daily Planet" by Wild Cherries and "Regulation Puff" by The Aztecs, however these were never included due to constraints with track times. Although a sticker with an amended track listing was applied to the cover pre-sale, the original listing can now be seen after 40 years of ageing! This is clearly visible in the scans that I have made (see left)
I hope you enjoy these 2 bonus missing tracks - sourced from HAVOC's recent release "The Complete HAVOC Singles 1971-73", an excellent collection of early 70's Australian Rock / Pop which can still be purchased online
Note: The album cover refers this to be a Vol 1 release but there was never a Vol 2 released to my knowledge, as the record label folded shortly after in May, 1973.
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Track Listing
01 - Dawn Song (Aztecs)
02 - Travelling South (Carson)
03 - Pattern Of My Life (Michael Turner In Session)
04 - Time To Live (Aztecs)
05 - Moonshine (Carson)
06 - Slowest Guitar On Earth (Lobby Loyde)
07 - Most People I Know (Aztecs)
08 - Liberate Rock (Lobby Loyde and the Coloured Balls)
09 - Cold Feet (Chook)
10 - Don't Worry (Carson)
11 - I Am The Sea (Wild Cherries)
12 - Just Around Midnight (Michael Turner In Session)
[Bonus Missing Tracks]
13 - Daily Planet (Wild Cherries)
14 - Regulation Puff (Aztecs)
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Australian Rock 71-72 (130Mb) New Link 12/3/2018
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W.O.C.K On Vinyl - Bing Crosby (White Christmas - 1954)

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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.
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White Christmas is a popular 1954 Christmas album recorded by Bing Crosby. The single "White Christmas" was the top selling song of all time until 1998 and is still the best selling Christmas song. The hit song topped the Billboard charts for 10 years and inspired a film of the same name. "White Christmas" has appeared on over 60 albums.
Note: Three of the tracks have the Andrew Sisters providing backing vocals
This WOCK on Vinyl posting is a little early this month, for obvious reasons. Of course the C stands for Christmas this time around, although I'm sure some of you might still see it as C in Crazy !
Either way, I hope you all have a joyful and safe Christmas.
Don't forget to leave those comments

Track Listing
1. "Silent Night"
2. "Adeste Fideles"
3. "White Christmas"
4. "God Rest Ye Merry Gentlemen"
5. "Faith of our Fathers"
6. "I'll Be Home for Christmas"
7. "Jingle Bells" *
8. "Santa Claus is Coming to Town" *
9. "Silver Bells"
10. "It's Beginning To Look A Lot Like Christmas"
11. "Christmas in Killarney"
12. "Mele Kalikimaka" ** featuring the Andrew Sisters

Bing Crosby Fast Facts:
1. Full name: Harry Lillis Crosby
2. Born: May 3, 1903
3. Birthplace: Tacoma, Washington
4. Died: October 14, 1977
5. Place of death: Madrid, Spain
6. Married twice, to Dixie Lee, and Kathryn Grant
7. Children: Seven
8. Member of the National Association of Broadcasters Hall of Fame
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Album was ripped from clean vinyl at 320kps. Merry Xmas everyone !
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White Christmas (74Mb)  New Link  12/11/2024

Robin Trower - The Komedia Theatre, Bath UK (22-09-2010) Ex SB

(U.K 1973-Present)
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Concert Review (by Alan Howard)
I've attended good concerts and great concerts. My wife, Sylvia, and I, and others who I meet afterwards feel we have witnessed an outstanding one. A compelling performance from beginning to end; a triumph for Robin, Pete, Davey and Glenn (who astound with their energy, passion and musicianship) and for the audience an emotional, unbeatable, roller coaster ride.
I glance at Robin's set list and believe it is one of the strongest Robin has put together for recent tours in the UK. The strong riffs and rhythm of "Confessin' Midnight" followed by "Lady Love" will enable Robin to solo with a degree of aggression and passion right from the start and for the band to hit a tight rhythmic groove early in the show. I'm pleased a deep favourite of mine, "Daydream" is included in the set. The first time on this tour. The gods have fortuitously shone down on me once again. Somehow I feel this is the right place, one of the right gigs to be at.
As the number of people flocking into the auditorium grows I feel an increasing air of excitement, anticipation, and a slight electricity of whispering that occurs before such events. Just then Robin and his band appear on stage. The audience give them a warm, boisterous welcome.
"Confessin' Midnight" sounds razor sharp. The band come together and the song goes off like a flashbulb. Robin's guitar tone sounds amazing, especially when he hits the wah-wah pedal. Davey's vocals are superb and distinct tonight. In fact, his singing is a revelation and he wins many plaudits. Robin's soloing bites, twists and turns, and is pleasantly aggressive. A problem with a monitor is soon fixed by Laurie at the end of the song. Without losing ground the band launch into "Lady Love" which keeps the crowd energized. It says something about Robin's unique guitar style that songs from early in his career still retain a freshness and vitality on each hearing. Pete on drums and Glenn on bass combine to provide a sweeping, smoldering, strong rhythm which delights and catches hold of your spirit at the same time.
The hypnotic, funky rhythm of "Somebody Calling" is particularly noteworthy powered by Robin's lead guitar work. Combined with Davey's vocals and enthusiastic backing by Pete and Glenn this song sounds better live than I expected. Robin's vibrato is used to killer effect alongside beautiful rhythmic chording and chord changes.
It's obvious that Robin loves to continually write and record new music. The inclusion of three "new" songs in the 14 song set, "Find Me," "The Turning," and " Not Inside - Outside" are well received by the audience. "Find Me" really kicks in when Davey sings in sync with Robin's guitar. During the song Robin plays beautiful understated solos which rise to a crescendo. This should be an interesting composition to listen to on Robin's forthcoming CD as regards guitar parts and overdubs.
"Extermination Blues" has been dropped from tonight's show; a slow song which I believe can lose an audience no matter how great the guitar playing may be. I'm pleased it's been replaced by the classic "Daydream."
Tonight "Daydream is haunting and unforgettable due to Davey's outstanding vocal and Robin's graceful guitar playing and lush sound. The bass and drums sound just right and combine to make this one of the highlights of the show.
Robin's mastery of the guitar is highlighted to great affect on "Bridge of Sighs". He improvises with great feeling; moving from soulful tenderness to moving aggression. I'm glad this version was captured on film. Another new song, "The Turning" sounds excellent. The main riff, chord sequencing, rhythm - and the slow coda - make this a finely-crafted composition. The haunting beat from the outset creates an intoxicating sound. A truly memorable riff weaves its way through the song and make it impossible to remain still until the coda. A coda which is soft, beautiful, and gets large cheers from the audience.
The people I spoke to post-concert agreed this was one of the finest performances by Robin, Davey, Pete and Glenn they had witnessed. A great set list enabled Robin to play his exceptional monster bends, licks, and classic vibrato with incredible energy for the whole concert. At 65 he deserves high praise for continuing to create music and play guitar at a level second to no other living guitarist. Davey's singing was top notch and the sound mix was great for the audience. Pete's heart, soul and finesse shone in his drumming and Glenn's funky bass lines were a revelation. A truly superb performance by Robin and the band which produced many great musical moments to cherish. "Daydream" was the icing on the cake.
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The post contains a rip of the tape source (320kps) and includes full album artwork, along with photos taken by Alan Howard on the evening. He even managed to get hold of the 'set list' which the band used on the night (see photo below).
Thanks go to Alan for his excellent account of this first class concert and whoever made the sound recording which is A+ (definitely a soundboard source)
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Set List
01. Intros
02. Confessin' Midnight
03. Lady Love
04. Somebody Calling
05. Find Me
06. Twice Removed From Yesterday
07. Daydream / Day Of The Eagle
08. Bridge Of Sighs
09. Shame The Devil
10. The Turning
11. Too Rolling Stoned
12. Little Bit Of Sympathy
13. Rise Up Like The Sun
14. Not Inside - Outside
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Band Members:
Robin Trower (Guitar, Vocals)
Davey Pattison (Vocals)
Pete Thompson (Drums)
Glenn Letsch (Bass)
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.Robin Trower Link (176Mb) New Link 02/10/2013
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The Bee Gees - Live at Festival Hall, Melbourne (1971)

(Australian 1958-2003)
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In the summer of 1971, the Bee Gees undertook their first tour of Australia since they had left the country nearly five years before to achieve global fame. Their July 15, 1971 concert at Festival Hall in Melbourne was filmed for an Australian television special, and the hour-long black-and-white program is also available on DVD.
For this show, Robin Gibb, Barry Gibb, and Maurice Gibb -- Barry and Maurice playing guitar and piano, though Robin just sang -- were backed by a guitarist (Geoff Bridgeford) and drummer, as well as a full orchestra. This helped them create arrangements about as full as those heard on the Bee Gees' late-'60s/early-'70s records, and though the sound wasn't perfect (sometimes the vocals are softer than they should be), it's a pretty good performance that accents their most popular material of the era.

Every one of their big 1967-1971 hits ("New York Mining Disaster 1941," "To Love Somebody," "Holiday," "Words," "How Can You Mend a Broken Heart," "I Started a Joke," "Massachusetts," "I've Gotta Get a Message to You," and "Lonely Days") is here, lending the show something of a greatest-hits air. A few other songs from the era are included as well, "I Can't See Nobody" being a highlight, and the blue-eyed-soul tune "Lay It on Me" -- the only one to feature Maurice Gibb on lead vocals -- being the least impressive. Robin Gibb and Barry Gibb are the primary lead singers otherwise, though three-part harmonies are naturally often a feature. The on-stage patter and joking isn't very interesting or dynamic, but the performances are good. It's certainly a concert that should be issued officially as it's a good and representative encapsulation of the sound for which the Bee Gees first became internationally famous. [review by Richie Unterberger, Rovi]
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1971 TOUR DETAILS
Promoters:
Ron Blackmore, Paul Dainty & David Trew
Groups:
The Bee Gees
- Barry Gibb
- Robin Gibb
- Maurice Gibb
- Geoff Bridgeford (drums)
plus 16-piece orchestra, Bill Shepherd, musical director
with Russell Morris, support

Cities, Venues, Dates:
10 July 1971 - Brisbane, Festival Hall?
11 July 1971 - Sydney
12 July 1971 - Canberra, Canberra Theatre?
14 July 1971 - Hobart
15 July 1971 - Melbourne, Festival Hall
16 July 1971 - Adelaide
17 July 1971 - Perth
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"On the 9th of July the Bee Gees will arrive in Sydney to commence a one week tour of all capital cities. This is the first time the group as a whole has returned to Australia since they left for England 4½ years ago.
Accompanying them on their tour will be ten British musicians and their musical arranger, Australian born, Bill Shepherd. It is believed that the group will be backed by a thirty-piece orchestra."- Go-Set Magazine 19th June 1971
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"The Bee Gees were being considered for an Australian tour by several promoters, but all but one backed out because the risk was too high. Now the Bee Gees are here they have packed every concert and brought every audience to their feet for a standing ovation! In Sydney and Canberra the crowds leapt from their seats and yelled for more. Canberrites have rarely been known to show such overwhelming enthusiasm for a visiting act of any sort. In Sydney the applause was deafening almost ten minutes after the Bee Gees had left the theatre and were on their way to their hotel!
In Melbourne an extra concert was arranged to cope with the huge demand for tickets and crowd reaction was spectacular."
- Go-Set, 24 July 1971
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"The Bee Gees 1971 tour was one of the very few Australian sellout successes."  - SOUNDBLAST, January, 1972
The 1971 Melbourne Festival Hall concert was recorded and filmed in black and white.
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The rip was taken from CD in FLAC format. Limited album artwork is included along with select photos from the concert.
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Track Listing
01. NY Mining Disaster 1941
02. To Love Somebody
03. Band Intro / Really and Sincerely
04. Every Second, Every Minute
05. Lay It On Me
06. Jingle Jangle/Morning of My Life

07. Holiday
08. I Can't See Nobody
09. Words
10. How Can You Mend a Broken Heart
11. I Started a Joke
12. I've Gotta Get a Message to You
13. Massachusetts
14. Lonely Days
15. Encore: Spicks and Specks
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Bee Gees Live Link (235Mb) New Link 16/10/2022
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RIP Robin Gibb (May 21, 2012)

The Animals - The Most Of The Animals (1966) + Bonus Tracks

(U.K 1962-69, 1977, 198-84)
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Originally the Alan Price Combo (Burdon joined in 1962), the name The Animals is said to have been used first by local audiences as a reaction to their wild appearance and frenzied stage act.
All Newcastle born and bred, the group built up a solid local reputation before they were signed by the then-unknown Mickie Most and moved to London in 1964. With Most as producer, their first single, "Baby Let Me Take You Home", a reworking of an old blues standard on Bob Dylan's first album, was well-received and a fair-sized hit, but it was their classic version of "House Of The Rising Sun" - also from Dylan's debut album - in summer '64 that really established the group. The song was No. 1 on both sides of the Atlantic.
An uninterrupted sequence of hits followed, with much of The Animals' material being drawn from black R&B sources - e.g. John Lee Hooker's "Boom Boom", Nina Simone's "Don't Let Me Be Misunderstood" and Sam Cooke's "Bring It On Home To Me". The main ingredients of their enormous success were the exceptional power and emotion of Burdon's vocals and Price's inspired arrangements. The lyrics of their original songs were permeated with a gritty working-class realism. With a raw, genuinely distinctive sound, and their uncouth image they went over well in several tours of the U.S.

The boys appeared on The Ed Sullivan Show on October 18th 1964. With young girls screaming their lungs out, The Animals took the audience hostage as they played “I’m Crying” followed by their #1 hit “House of the Rising Sun.” The audience got so out of control that Sullivan had to shush them several times, which at the time was quite unheard of.

Pictured Right: The Animals circa 1964, left to right, Chas Chandler, Alan Price, Hilton Valentine, Eric Burdon, John Steel.

In 1966 Alan Price, whose views had often clashed with Burdon's, left the group, and the rot set in, although the band signed a new contract with Decca and continued to have more hits, such as "Inside Looking Out", a forceful prison song.
Price had been replaced by Dave Rowberry; Steel also left, and was succeeded by Barry Jenkins from the Nashville Teens, But the centrifugal tendencies inherent in the band finally caused it to fall apart. Chandler and Valentine left, Burdon and Jenkins remained to form Eric Burdon the New Animals. 

Hilton Valentine made one solo album for Capitol in 1969, All In Your Head, Chas Chandler successfully went into management with Jimi Hendrix, and Steel worked as his assistant.
The original Animals have reformed twice. In 1968 they played a special Christmas gig at City Hall, Newcastle; and at the beginning of 1976 they recorded an album together at Chandler's country residence. [extract from New Musical Express Encyclopedia of Rock 1977]
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The Most of Animals or The Most of The Animals is the title of a number of different compilation albums by Newcastle upon Tyne blues rock group The Animals. Although track listing varies, all feature only songs from 1964 and 1965. The title is derived from the name of their then producer Mickie Most (see also The Most of Herman's Hermits).
The first album was released in 1966 by Columbia (SX 6035) in mono. Most of the material had not featured on either of their previous two UK LPs. The album charted at #4 - their highest position so far on the UK album chart (both previous LPs having peaked at #6). It was their final album for EMI-owned Columbia before moving to Decca.
The album was also issued on EMI's budget Music for Pleasure label in 1971 (MFP 5218) and Axis label (AXIS 6004) with a different track listing and electronically enhanced for stereo effect. This version also charted, reaching #17. This is the version of the album that has spent the longest in print, being available on LP and cassette throughout the 1970s and 1980s and is still available in extended form on CD. It is also the basis for the 1997 release 'The Best of The Animals' (1997 album) [wikipedia]
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Because my vinyl copy has seen better days, I have ripped all of the tracks (MP3's / 320kps) from another compilation Animals CD, with the exception of the last track 'Talkin' 'Bout You' (original short version) which was ripped from my album. I have also included the following bonus tracks, because I believe they belong in this 'best of' compilation: "Roadrunner" (one of my all time favourite Animals tracks) and "Inside Looking Out" (another classic covered much later by Grand Funk Railroad).

To top it off, I have also added the extended version of 'Talkin' 'Bout You' which I believe is far superior to the original track released in 1966. As usual, full album artwork is included, along with the covers for the alternative releases made by EMI.
Note: The number 779 is written on the top left corner of the back cover, which leads me to believe that it is copy #779 (Australian Pressing)
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Track Listing
01 - We've Gotta Get Out Of This Place
02 - Don't Let Me be Misunderstood
03 - Boom Boom
04 - Baby Let Me Take You Home
05 - Bright Lights, Big City
06 - I'm Crying
07 - House Of The Rising Sun
08 - It's My Life
09 - Mess Around
10 - Dimples
11 - Bring It On Home
12 - Gonna Send You Back To Walker
13 - I'm Mad Again
14 - Talkin' About You
[Bonus Tracks]
15 - Roadrunner
16 - Inside Looking Out
17 - Talkin' About You (Extended Version)
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Band Members:
Eric Burdon (vocals)
Alan Price (keyboards)
Chas Chandler (bass)
Hilton Valentine (guitar)
John Steel (drums)
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Most Of The Animals FLACs Link  (226Mb)
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Jeff Beck - Live at the Palais Theatre, Melbourne (2009-01-26) Ex SB

(U.K 1965-Present)
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It was 1977, when Jeff Beck made his first trip to Australia, 32 long years ago for his legion of fans.
I am one of those fans and can proudly boast that I saw him play (alongside the Jan Hammer Group) when he performed at Festival Hall, Melbourne. I was 18 at the time and was heavily influenced by his 'Blow By Blow' and 'Wired' albums.
Finally, in 2009 guitar legend Jeff Beck returned to Australia for a series of rare and very special performances. Regrettably, I was unable to make the concert, but did managed to acquire a live recording of his concert played at the Palais Theatre in St.Kilda, Melbourne.

According to Guitar World Magazine "Beck and his group turned in rapturous performances on material that covers every portion of the guitarist’s career… Beck’s finger-picking technique, tone and touch have always been astounding, but this bootleg demonstrates that, some 40 years into his career, he is a peerless master of his craft".
Earlier this year in London, 64 year-old Beck was awarded the Blues Artist of the Year Award, and has been nominated for 2009 induction into the Rock and Rock Hall of Fame as a solo artist [http://wots-on.info]

.Jeff Beck last toured Australia half a lifetime ago. In 1977, Beck, one of the great electric guitar virtuosos, was a 32-year-old who was spending a year outside Britain to change his tax status. These days, the 64-year-old is happily ensconced in his homeland.
Most of the band that played at Ronnie Scott's will be joining Beck in Australia, most notably Tal Wilkenfeld, the 22-year-old Sydney bass prodigy who has rapidly built an international reputation. "She has the adult phrasing of a mature black funk bass player coming out of a child. It's bizarre," says Beck, who took it as a compliment when Wilkenfeld first started gigging with him and fans assumed she was his daughter.
"I never thought there would be anybody like her, this little figure standing around my kitchen just wanting to play." [Craig Mathieson, The Age, January 22, 2009]
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Concert Review:
The night started off with Australian guitar virtuoso Jeff Lang and his bass player, a fine choice of support for Jeff Beck. It’s easy to draw parallels between the two Jeffs, both possessing outstanding guitar technique and, of course, the same first name, but it’s more important than that. Both are songwriters and they use their virtuosity to enhance their songs. This shows through for Jeff Lang on tracks like "The Road is Not Your Only Friend", inspired by banjo players to the point where his guitar sounded like a banjo, and the nice steel lap guitar work on "Some Memories Never Die".

After Jeff (1) departed, Jeff (2) and his group took to the stage, opening with Jeff’s "Bolero" which made for a pretty fine opener. Speaking of Beck, for a guy in his sixties he’s in pretty good shape, but more importantly he plays just as good as ever. Speaking of his playing, it’s just like Eric – Captain Boring’ Clapton says; it’s all in his hands. In fact I even saw him continuing a solo while shaking out a cramp in his right hand. But the important difference between Beck and other so-called guitar virtuosos is that Beck knows when to show off and when to play melody, he doesn’t fill every second with a torrent of notes. When he does it’s not to excess, i.e. soloing with his teeth every five minutes. Such as in the cover of Goodbye Porkpie Hat , in which he took a solo with just his left hand, he had this big old happy grin which was just adorable. His band mates have the same mentality as Beck, they’re there mainly to entertain and have fun, not just to show off.

Of special note was bass player Tal Wilkenfeld, acting more like a rhythm guitarist that just a bassist on songs like "Led Boots"; although the drummer and keyboardist were both quite good, with the keyboardist playing a fine solo during "Blue Wind". Speaking of his band mates, he’s clearly enthralled by them; at one point getting down on his knees and faux-worshiping the bassist, and during the final bow out he stepped aside and applauded them.

Alas the night had to come to an end, and perhaps as a reference to Neil Young’s choice of ending song at BDO, Beck & Co. also finished with an amazing version of "A Day In The Life". After a standing ovation, and two encores with one song apiece, finally Beck and Co huddled together and took a bow, with Beck thanking the audience (the third time of the night in which he spoke, not that he needs to, he could probably order a cup of coffee using nothing but his guitar and left hand), and departed the stage.
In short and without so much of my verbose Jeff Beck ass-worshiping, he’s still got it.
To see some amateur video footage of the concert, have a look at this website
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The posting contains mp3's ripped at 320kps and includes full album artwork along with choice photos taken from the concert by Mandy-Pixels (with thanks)
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Track Listing
[Disk 1]
101 - Beck's Bolero
102 - The Pump
103 - Eternity's Breath
104 - You Never Know
105 - Cause We've Ended As Lovers
106 - Behind The Veil
107 - Blast From The East
108 - Stratus
109 - Angels (Footsteps)
110 - Drum Solo
111 - Led Boots
[Disk 2]
201 - Nadia
202 - Bass Solo
203 - Snake Oil
204 - Goodbye Pork Pie Hat
205 - Brush With The Blues
206 - Big Block
207 - Blue Wind
208 - A Day In The Life
209 - Scottish One
210 - Where Were You
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Band Members:
Jeff Beck - Guitar
Vinnie Colaiuta - Drums
Tal Wilkenfeld - Bass
David Sancious - Keyboards
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Jeff Beck Live In Melbourne (176Mb) New Link 12/11/2024
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Gary Brooker - No More Fear Of Flying (1979) + Bonus Tracks

(U.K 1960's- Present)
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Gary Brooker founded The Paramounts in 1962 with his guitarist friend Robin Trower. The band gained respect within the burgeoning 1960s British R&B scene, which yielded The Beatles, The Animals, The Spencer Davis Group, The Rolling Stones, and many others. The Rolling Stones, in particular, were Paramounts fans, giving them guest billing on several memorable shows in the early 1960s. In 1966, Brooker founded Procol Harum with his friend Keith Reid. "A Whiter Shade of Pale" is the worldwide hit that Procol Harum is best known for, but Brooker's melancholy vocals and emotive, eclectic piano playing were a key part of Procol's musical mix for the entire course of the band's career. In the early years Brooker, Hammond organist Matthew Fisher, and Trower were the guiding musical forces behind the band, but after disparities in style became too much and Fisher and Trower left, Brooker was the clear leader until the band broke up in 1977. Brooker started a solo career and released the album 'No More Fear of Flying' in 1979 [extract from wikipedia]

.Interview with Gary:
For former Procol Harum member, Gary Brooker, the first dazzling success of A Whiter Shade of Pale (sold some 2.5 million copies within weeks of its release) was a long time ago. A dozen years ago, in fact, and two years since the break-up of the English group which features the combination of piano and organ.
While sipping on Bass ale, in a lounge at the Parker House, he discussed his new album, and first solo venture - 'No More Fear of Flying', which had just been released by Chrysalis Records. He had just been globe trotting through some 12 countries, on a promotional tour, before touching down at Logan to initiate a swing through the States.
But not all had gone pleasantly. 'After all,' he said, between puffs at his pipe, 'I've come a long way just to be disappointed. I was up at 5 a.m., bright eyed and bushy tailed to go out and get the job done. Instead, I just sat in my room until in the afternoon, when I did a telephone interview with a fellow from Maine. I was supposed to do a phone-in for a radio show, as well, but when we rung up, they said, you were supposed to have called a half hour ago, sorry but we can't put you on now. I mean, at this rate, I could have rung up the guy from Maine, from England, and not gone through all this bloody trouble.'
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This kind of foul up, unfortunately, is nothing new for Brooker. While Procol Harum enjoyed two more hits and ten successful albums after A Whiter Shade of Pale, they never achieved the status that many people thought they should have had. In the sameness of British Blues that dominated the late 60s, they were noted for having a tastefully different sound. Their first hit, for instance, was based upon the melody of a Bach cantata.

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'Did we make any money?' he asked rhetorically. 'I should say not, we never made a cent. Touring eats up all the money, if you come out of a tour breaking even, you think you've done well indeed, and if you have a few bucks left over, all the better. I did make money on songwriting royalties, this I was smart enough not to lay my fingers on.'
Because he was a composer, pianist and lead singer for Procol Harum his solo album will immediately recall that group, for most listeners, but he is careful to delineate the extent to which he has broken from the past. After years or touring, he remains enthusiastic about performing but somewhat reluctant to go out in support of the album, unless it's successful.
'I'm the kind of guy, if they said, "We'll book you for a week in Iceland," I'd go. A lot of the lads would say the 'ell with it, there's no scene up there, but I'd say, sure, why not, this is a chance to see a different place. I've played a lot in Poland, for instance. They have their own music, but they are also very appreciative of an artist who takes the trouble to come to them. They are a wonderful people and a great audience.'
'On the other hand,' he continued, 'I'm reluctant to just get eaten up by going out there without the right kind of support. I'm not just going to let myself get thrown out there to sink or swim, I've been through all that before.'
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Judging from the album, he may just get the kind of support he's taking about. It was produced by George Martin, who is best remembered for having worked with the Beatles. They derived a novel manner of working together.
'Well I drew up a list of songs I wanted to do, and he made a list of what he wanted, then he said, "You can reject anything I suggest, if I can reject anything you present." That worked surprisingly well, as it avoided any argument and two heads were working on the project instead of one. He has really great taste, and a lot of times he'd say, "That's a fine song, but it just doesn't fit into our plans." It was a relief after dealing with all the different ideas that were contributed by different members of Procol Harum. It had gotten to the point where we couldn't agree on what to record, and frankly, I felt that we were burned out creatively, and I was personally quite ill and physically exhausted after all those years on the road.'

If Procol Harum was different, in 1967, Brooker is just as much an eccentric in today's music scene. 'If you hear my album on the radio,' he said, 'it wouldn't sound like anything else. Everybody sounds the same and it's absurd to see people jumping on the Disco bandwagon. I like some of the disco people like Donna Summer, but most of it's rubbish. It surprised me, for instance, that Elton John and Tom Robinson have collaborated to make a disco album. McCartney can do that sort of thing more successfully, but Tom Robinson is very much a political figure and I can't figure out why he would sell out like this, unless, of course, he and Elton John have fallen in love.'
Which led to asking what this album is all about. 'Me,' he said quite bluntly, 'this album's all about me that's all. It's really bloody simple, there's nothing complicated about it at all, just me doing a bunch of songs that I like. There are rockers, that I enjoy doing, and also some intense things that are full of mystery. We put the album together in about 28 days in the studio, at a cost of about $80,000. 

I wondered if that weren't a lot of time for a solo album. 'It's the same number of tracks as any other kind of album,' he said. 'Actually, that's pretty speedy and cheap to do an album. We had about two songs a day that we recorded, then mixed down and overdubbed with additional instrumental tracks and backing vocals. But it all went very smoothly, and the experience was quite refreshing compared to what I've been used to.
[taken from 'No More Fear of Pale Charles Giuliano: Rock and Roll Army Records']
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Review:
In short, if you love Procol Harum, then you'll love Gary's first solo effort for sure.
'No More Fear Of Flying' is an excellent album of top-notch, Harum-flavored piano pop/rock, spearheaded by Brooker's powerful voice and masterful playing on the keys. Great songs include the title track, my favourites "Say It Ain't So Joe" (written by Murray Head) and the powerful opener "Savannah" along with the catchy tunes "Give Me Something To Remember You By" and "Switchboard Susan." In short, Gary Brooker's "No More Fear Of Flying" is brilliant!
The CD release comes with two bonus tracks, the rare Brooker B-side "S.S. Blues" and the previously-unreleased fun of "Fat Cats." I have also added some additional live tracks which I have come across over the years, along with the haunting ballad "No News From The Western Frontier" and a collaborative track "Limelight" (which appeared on Alan Parson's Stereotomy LP in 1984).
The rip was taken from CD at 320kps and includes full album artwork, along with bonus studio and live tracks.

.Track Listing
1 Savannah 3:38
2 Pilot 3:55
3 (No More) Fear of Flying 4:46
4 Get Up and Dance 2:56
5 Give Me Something to Remember You By 4:21
6 Say It Ain't So Joe 3:52
7 Old Manhattan Melodies 3:41
8 Angelina 3:37
9 Let Me In 3:16
10 Switchboard Susan 4:25
[Bonus Tracks]
11 Fat Cats 3:05
12 S. S (Self-Sufficient) Blues 3:14
13 No News From The Western Frontier 5:41
14 Limelight 4:39
15 A Salty Dog (Live) 4:29
16 A Whiter Shade Of Pale (Live) 5:02
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Band members:
Gary Brooker – Keyboards, vocal
Tim Renwick – Guitar
Bruce Lynch – Bass
Dave Mattacks – Drums
Gonzales – Horns
Chris Smith – Harmonica
B.J.Cole – Pedal Steel Guitar
Stephanie De Sykes, Claire Torrey, Richard Myhill, Dave Reilly – Backing Vocals
Producer - George Martin
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Gary Brooker Link (133Mb) New Link 12/11/2024