W.O.C.K On Vinyl - Nova Express (KIKX - 1980)

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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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KIKX were an Obscure late 70's Geelong (Australian) based, new wave rock band influenced visually and musically by New York Dolls, Velvet Underground, Dead Boys and Stranglers, who self combusted in 1980 only months after the release of their one and only single "Nova Express"/ "I Get My Kicks" (from sticking pins in ya tits) which alienated the band from most alternative FM radio stations who failed to see the satirical agenda of the song.
I have vague memories of seeing them play at the Eureka Hotel sometime in 1978,79 and remember their stage show to be quite different to the average 'pub rock' band that played this venue. As they were an unknown band at the time, I didn't take much notice of them (and was probably too drunk to appreciate them anyhow), but I did pickup their single several years later from Missing Links record shop in Melbourne City. I think I was drawn to the record mainly because of the weird cover and then realised who the band were.
Band members were:
Monty Osewald (aka Monty Neo): Vocals, Guitar
Lee Beckworth: Bass, Vocals
Kerry Hunter: Vocals, Percussion
Chris Lawson: Drums, Electronic Percussion
John Phillips: Guitar, Vocals
Karl Nosek: Electric Violin, Electronic Percussion, Programming
Guest Musicians for Recordings: Bob Kretschmer: Guitar, Eric Gradman: Electric Violin
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John Phillips (guitar) gives us the following account of the band (on his recent YouTube posting of "Nova Express")
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I was asked to join Kikx immediately after my departure from Goanna. This was a complete "head stretch" to absorb and adopt. Kikx was soaked in a lot of previous history and styles yet it was extremely focussed and knew what it wanted to do. It stylised itself as a Post Punk, New Wave band integrating influences from Glam Rock, William S. Burroughs, European arts, fashion and design, the visual arts, experimental media and new music technology as well as traditional rock and roll instruments. The performances were provocative, cutting edge, sharp, sophisticated and had touches of Kabuki imagery. The band used mediums of recording, photography, graphics, video and performance with their original music and selective covers of other songs. Kikx were a reflection of minimalist electronic and "art school" bands at the time such as Kraftwork, Television, Gang of Four, The Slits, Stranglers, The Ramones, Ultravox and Devo. Previous influences came from The New York Dolls, Roxy Music, Lou Reed, Andy Warhol and The Velvet Underground. The band worked extensively, rehearsing, performing, experimenting, consistently recording and documenting and assessing their work. Played many shows in Geelong and inner city Melbourne venues such as the legendary Crystal Ballroom St Kilda, Exford Hotel, Hearts Carlton, The Tiger Room Richmond and the Eureka Hotel in Geelong.
The first single "Nova Express" / "I Get My Kicks" was recorded on 24 Track 2 inch format at Richmond Recorders with Eric Gradman producing, Tony Cohen engineering and a guest performance from Bob Kretschmer on guitar for Nova Express. 500 copies of the single were independenly pressed at Astor records and distributed through Au Go Go, Missing Link and Musicland records. It received extensive airplay and support from 3RRR and 3PBS radio and the music press. Astor's reaction to the single prompted negotiations to record and release an album. Astor was unexpectantly sold so the project didn't proceed. An unreleased demo album exists and was recorded at Greg Bee studios, Geelong during the negotiations with Astor records. The songs recorded capture a snapshot of the band at a peak in originality and creativity. This follow up album 'Bent Trax' never made it out of the recording studio. The band which had been at the forefront of experimental punk for four years split. Kikx played major supports with Midnight Oil, INXS, The Models, Radio Birdman, The Angels, The Birthday Party, Mi-Sex, Cold Chisel and The Reels. Musical differences, drugs and alcohol problems and sheer exhaustion from years of hitting the Wall saw the demise of the band in 1980.

Discography and Recordings
Nova Express / I Get My Kicks (Astor Records / Au Go Go Records): Single Recorded at Richmond Recorders, Melbourne:
Producer: Eric Gradman, Engineer: Tony Cohen Guest Musicians for Recordings Bob Kretschmer: Guitar Eric Gradman: Electric Violin "X-Picasso"
Demo Album for Astor Records / cassette format (Unreleased) Recorded at Greg Bee studios Geelong Live Recordings: The Crystal Ballroom, The Eureka Hotel & Deakin University. Film and Video 1981: Deakin University O'Week supporting Midnight Oil and The Models -- S/8mm 1981: Record Launch Geelong -- S/8mm
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This is a 320kps mp3 rip of their single (sides A/B) taken from my mint vinyl copy, along with scans of the cover and independent record label, plus a video clip of "Nova Express" which John Phillips has posted on YouTube (with thanks)
It's interesting to note the different many ways in which Newspapers, Pubs, Venues misspelt the band's name during their career - Kicks, Kixx, Kick ! - which must have frustrated them no end
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Kikx single (31Mb) Link removed at the request of a band member - sorry folks
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Larry Carlton- Selftitled (1978) + Bonus Live Track

(U.S 1962-Present)
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Larry Carlton began taking guitar lessons when he was six. His first professional gig was at a supper club in 1962. After hearing Joe Pass on the radio, he was inspired to play jazz and blues. Wes Montgomery and Barney Kessel became important influences soon after he discovered the jazz guitar stylings of Pass.

B.B. King and other blues guitarists had an impact on Carlton's style as well. He honed his guitar-playing skills in the clubs and studios of greater Los Angeles. He attended a local junior college and Long Beach State College for a year until the Vietnam War ended. Carlton toured with the Fifth Dimension in 1968 and began doing studio sessions in 1970. His early session work included studio dates with pop musicians like Vicki Carr, Andy Williams and the Partridge Family. In 1971, he was asked to join the Crusaders shortly after they'd decided to drop the word "Jazz'' from their name, and he remained with the group until 1976. In between tours with the Crusaders, he also did studio session work for hundreds of recordings in every genre. But it was while he with the Crusaders that he developed the highly rhythmic, often bluesy style he has now. His credits include performing on more than 100 gold albums. His theme music credits for TV and films include Against All Odds, Who's the Boss, and the theme for Hill Street Blues. The latter won a Grammy award in 1981 for Best Pop Instrumental Performance.

Carlton delivered his selftitled debut for Warner Bros. in 1978, shortly after he was recognized for his ground-breaking guitar playing on Steely Dan's Royal Scam album. (Carlton contributed the memorable guitar solo on "Kid Charlemagne.'') He released four more albums for Warner Bros., Strikes Twice (1980), Sleepwalk (1981), Eight Times Up (1982), and the Grammy-nominated Friends (1983), before being dropped from the label.

He continued studio session work and touring in between, emerging again in 1986 on MCA Records with an all-acoustic album, Discovery, which contained an instrumental remake of the Doobie Brother's hit, "Minute by Minute." The single won a Grammy Award for Best Pop Instrumental Performance in 1987. Carlton's live album, 'Last Nite', released in 1987, got him a Grammy nomination for Best Jazz Instrumental Performance.

While working on his next album for MCA, On Solid Ground, Carlton was the victim of random gun violence, and was shot in the throat by gun-wielding juveniles outside Room 335, his private studio near Burbank, California. The bullet shattered his vocal cord and caused significant nerve trauma, but through intensive therapy and a positive frame of mind, Carlton completed work on On Solid Ground in 1989. Carlton formed Helping Innocent People (HIP), a non-profit group to aid victims of random gun violence. [extract from playjazzguitar.com]
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From 1994 to 1997 Carlton participated in various tours (notably with Toto guitarist Steve Lukather) and released an album (Larry & Lee). In 1997, Carlton took Lee Ritenour's place in Fourplay.
In 2000, Carlton furthered his solo career with Fingerprints. His career received another boost the following year when his live performance with Lukather, No Substitutions: Live in Osaka, garnered his third Grammy. Carlton's more recent work included Deep Into It, Sapphire Blue, and Firewire.

At the beginning of 2007, Carlton released two CDs. A live recording together with blues guitarist Robben Ford, 'Live in Tokyo', and 'The Jazz King' album. The Jazz King record is the result of a composition Carlton wrote for H. M. King Bhumibol Adulyadej of Thailand. The Jazz King project was initiated to celebrate the 60th anniversary of King Bhumibol's accession to the throne as well as his 80th birthday in 2007. Carlton was commissioned to write this composition by the Royal Project Foundation and Rotary Club of Bangkok. These compositions were released on CD only in Thailand, the net proceeds of the CD will be used to support the indigenous hill-tribe children of Thailand. Carlton's compositions for this Jazz King project resulted in a concert held on January 28, 2007 at BEC-Tero Hall, Suan Lum Night Bazaar, Bangkok.
In July, August and September 2009, Carlton joined Steely Dan as guest guitarist for six dates in New York, Los Angeles and Chicago.

In June 2010 Carlton released Take Your Pick, an album made with Tak Matsumoto. [extract from wikipedia]
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Larry Carlton and the Yellowjackets
Although advances in instrumental technology have given their music a high-gloss polish, both Larry Carlton, the guitarist, and the quartet Yellowjackets, who shared the bill at the Beacon Theater on Thursday, fit firmly into the jazz-fusion category. The primary stylistic influence on both acts is pop-soul music. Mr. Carlton, a demure, supple guitarist, led a quintet of drums, bass, keyboards and saxophone in which Kirk Whelum's vigorous rhythm-and-blues horn solos helped to offset Mr. Carlton's tendency toward blandness.
The program included a well-manicured rendition of the 60's hit ''Knock On Wood,'' the theme from ''Hill Street Blues,'' a rework of "Room 335" and ''Kid Charlemagne,'' a flashback to the guitarist's days with Steely Dan. While very homogenized, the music maintained enough textural variation to avoid seeming formulaic.

The Yellowjackets - Russell Ferrante, keyboardist; Marc Russo, alto saxophonist; Jimmy Haslip, bassist, and William Kennedy, drummer -played a set that was more dramatically colored and technologically flashy. The quartet's music also maintained a solid rhythm-and-blues footing, but its instrumental tangents, especially those featuring synchronous electronic-acoustic rhythms and shifting textures generated by Mr. Kennedy and Mr. Ferrante, brought in tasty Brazilian and Caribbean inflections. A glowing light show underscored the music's upbeat lyricism. [review from the New York Times, 20 sept, 1987]

.This rip was taken from CD at 320kps and includes some artwork along with a bonus track recorded with the Yellow Jackets at the Montreau Jazz Festival in 1987. I remember buying this LP when it was first released and knew nothing about Larry Carlton or his involvement with the Crusaders. I was heavily into Al Di Meola at the time, so when I heard it being played at my local 'import store' in Carlton, I was intrigued to know who this new 'jazz rock guitarist' was. Thirty years later, I still get that buzz when I listen to this album. Enjoy!
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Track Listing
01  Room 335
02  Where Did You Come From
03  Nite Crawler
04  Point It Up
05  Rio Samba
06  I Apologize
07  Don´t Give It Up
08  (It Was) Only Yesterday
09  Room 335 (Bonus Live 1987)
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Band Members:
Electric Guitar, Vocals - Larry Carlton
Electric Bass - Abraham Laboriel
Drums - Jeff Porcaro
Keyboards - Greg Mathieson
Percussion - Paulinho Da Costa
Backing Vocals - William "Smitty" Smith
Producer - Larry Carlton
* Bonus Track with the Yellow Jackets
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.Larry Carlton (112Mb) New Link 24/12/2023
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Doug Ashdown - Winter In America (1974)

(Australian 1965-Present)
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Doug Ashdown was born 1942 in Adelaide, South Australia, at the age of 17 he travelled to England to play in a rock band. In 1961 he was back in Adelaide and played guitar alongside Bobby Bright as vocalist in The Bowmen. By 1965, as a solo singer-songwriter, he released his first album, This Is Doug Ashdown. His 1960s popular singles were "Something Strange" in 1968, and in 1969, "Whole Lotta Shakin' Goin On" (cover of the Jerry Lee Lewis' hit).
In 1970 he signed with the independent label, Sweet Peach, and issued "The Saddest Song of All" in August which peaked at No. 53 on the Australian Go-Set Singles Chart. The song was written by Ashdown and Jim Stewart, who became his long-term producer and co-writer. The associated album, The Age of Mouse, was the first double LP album of original material released by an Australian. Ashdown and Stewart relocated to the United States, living in Nashville. While in Nashville, the pair co-wrote "Just Thank Me", for David Rogers, who released it in 1973—it peaked at No. 17 on the US Country Music Singles Chart. They also co-wrote "Leave Love Enough Alone" which Ashdown released in 1974 upon relocation to Sydney. He had a minor hit with it when it was renamed as "Winter in America" and released in 1976, it peaked at No. 14 in Melbourne and No. 30 in Sydney. In 1977, his album, Trees won the TV Week, an Australian television entertainment magazine, King of Pop Award for 'Best Album Cover'. He continued to release singles and albums and had minor chart success into the 1980s. As from April 2010, his most recent album was The Folk Centre Concert in 2007 [extract from wikipedia].
For a more extensive coverage of Ashdown's musical career see both his website and Milesago.
To hear Doug talk about his early day's and recordings and his writing of country songs, and a song written for Marty Robbins, have a listen to the following podcast
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This album is one of my favourties although I also like 'Trees' and consider these two albums as a pigeon pair. From what I can gather, Ashdown writes the music while Jim Stewart provides the lyrics - a partnership not unlike that of Elton John and Bernie Taupin, where the lyricist stays very much in the background but provides just as an important role as the musician who delivers the goods.
The rip provided here was taken from Vinyl at 320kps and includes full album artwork and lyrics.
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Track Listing
01 - Leave Love Enough Alone (Winter In America) (4:08)
02 - Willie's Shades (4:14)
03 - (I Know You) You're The Song (2:40)
04 - Love Ain't Worth The Livin' When It Dies (2:45)
05 -The Flowers And The Wine (2:10)
06 - Skid Row (2:29)
07 - Sally Broome (3:36)
08 - You Are All I Need To Know Of Love (2:54)
09 - Jeannie (3:10)
10 - They Always Seem To Look Like Marianne (2:28)
11 - Tomorrow Is The Last Time (4:13)
12 - No Other Words (2:41 )
13 - Winter In America Reprise (2:00)
14 - The Saddest Song Of All (Bonus Track) (7:43)
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Band Members:
Acoustic Guitar - Troy Seals
Acoustic Guitar, Vocals, Producer - Doug Ashdown
Backing Vocals - David Cooper , Norma Stoneman
Bass - Joe Allan , Tim Partridge
Drums - Laurie London , Russell Dunlop
Electric Guitar - Mark Punch
Keyboards, Arranged By [Strings] - Wayne Findlay
Mellotron - Roy Ritchie
Percussion - Ian Bloxsom
Piano - David Briggs
Saxophone, Flute - Tony Buchanan
Steel Guitar - Pee Wee Clark , Stu BaseoreProducer - Jim Stewart
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.Doug Ashdown Link (99Mb) New Link 03/9/2015
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Jimi Hendrix - Cornerstones (1967-1970)

(U.S 1967-1970)
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Jimi Hendrix's early British recordings with Mitch Mitchell on drums and Noel Redding on bass apply super magnified tones to a mixture of musical styles never before heard. England's best rock musicians marveled at the novel effects of these songs.
In I968 Jimi's performances spanned a spectrum of genres which is probably the broadest reach in popular music for any guitarist/singer. His "Electric Ladyland' album encompassed rock, blues, tool, funk, R&B, folk-rock, psychedelic, ballads, heavy metal, as well as jazz and even a sci-fi symphony.

Throughout 1969 Jimi's songs expressed his determination to experiment and evolve. With Billy Cox providing throbbing funk bass backing, Mitch Michell and Buddy Miles take turns at the drum kit.
The 1970 songs feature highly concise and detailed arrangements with the Mitchell/Cox rhythm section. At the close of his career Jimi continued to draw freely and seemingly effortlessly from perhaps the widest array of musical styles and human emotions ever synthesized by a single Instrumentalist. [Michael Fairchild, 1990]
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HEY JOE - Recorded in London on 4-tracks at Kingsway Studios on 23rd October 1966. The Jimi Hendrix Experience formed on 6th October 1966 and the following week they were off on a four-date tour of France opening for pop singer Johnny Halliday. Five days after returning from France, Jimi, along with drummer Mitch Mitchell and bassist Noel Redding began making records at Kingsway Studios. HEY JOE reached No. 4 in the British charts on 4th February 1967.
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PURPLE HAZE - Recorded by the JHE in London on 4-tracks at CBS and Olympic Studios. Chas Chandler, producer of Jimi's first two albums, reports that PURPLE HAZE was written in the dressing room of the "Upper Cut" on Boxing Day (26th December) 1966. On 25th November 1966, Jimi was introduced to electronics wizard Roger Mayer. After a gig at the Bag O'Nails on 11th January 1967, Jimi invited Mayer to bring his sound effects devices to the first recording session for PURPLE HAZE. Recording continued at Olympic Studios on 3rd February. This became the second single from the JHE. Released on 18th March 1967, Purple Haze reached No. 4 in the British charts.
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THE WIND CRIES MARY - Recorded in London on 4-tracks at Olympic Studios on 3rd February, 1967. THE WIND CRIES MARY was actually intended as a quick demo take squeezed into the 20 minutes left over from the PURPLE HAZE sessions. But after a few guitar overdubs the Experience had their third hit single in the can. THE WIND CRIES MARY was released on 5th May 1967 and reached No. 6 in the British Charts.
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FOXY LADY - When the Jimi Hendrix Experience arrived at London's Olympic Studios on 3rd February 1967 their first single, HEY JOE, had just reached No. 4 in the British charts. The 3rd February Olympic session was the band's first as genuine stars. It was followed up with two more sessions at London's De Lane Lea Studios on 7th and 8th February.
This inspired recording cluster yielded a string of Experience classics, including PURPLE HAZE, FIRE, THE WIND CRIES MARY playing and FOXY LADY. Jimi later recalled, "On FOXY LADY we just started playing actually, and set up a microphone, and I had these words (laughs)". Although it was never released as a single during his lifetime, FOXY LADY became one of Jimi's most popular songs. In later concerts, where serious playing replaced the wild stage act, Jimi still reserved FOXY LADY as a showcase for his famous gyration. This song was also the opener for the JHE albumin Britain, ARE YOU EXPERIENCED?, which reached No.2 in the charts during June 1967.
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CROSSTOWN TRAFFIC was recorded by the JHE in London on 4-tracks at Olympic Studios on the 20th December, 1967. Additional tracks and overdubs were recorded in 1968 on 12-tracks at the Record Plant in New York. Dave Mason (of Traffic) joined Noel and Mitch for a "Crosstown Traffic" background chorus and Jimi is heard playing the piano overdubs. CROSSSTOWN TRAFFIC was included on the ELECTRIC LADYLAND album and it was released as the sixth JHE single in April, 1969.
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ALL ALONG THE WATCHTOWER - The basic tracks were recorded in London on 4-tracks at Olympic Studios on 20th January 1968. Additional tracks and sound effects were later recorded on 12-tracks at the Record Plant in New York. Jimi played bass for this cut and Dave Mason (of Traffic) played the 12 string acoustic guitar. ALL ALONG THE WATCHTOWER was the fifth JHE single. It reached No.6 in Britain and No.20 in the U.S in November 1968.
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VOODOO CHILE (SLIGHT RETURN) - Recorded by the JHE in New York on 12-tracks at the Record Plant on 3rd May, 1968. This cut was the last of eight takes performed before a camera crew. VOODOO CHILE (SLIGHT RETURN) closed the ELECTRIC LADYLAND album. It was also released in England as a posthumous single in October 1970 and remains the only Hendrix single to reach No. 1 in the charts.
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HAVE YOU EVER BEEN (TO ELECTRIC LADYLAND) - Recorded on 12-tracks at the Record Plant in New York on 14th June 1968. Jimi also played bass on this title track for his third album. Impressed with the results during the playback of Have You Ever Been Jimi exclaimed: "I can sing! I can sing!" The ELECTRIC LADYLAND album was released in late September 1968 and reached No. 1 in the U.S. during November.

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STAR SPANGLED BANNER - Recorded by Jimi playing multiple guitar parts on 16-tracks at the Record Plant on 18th March 1969. Along with 1983 (A Merman I should turn to be), the STAR SPANGLED BANNER is Jimi's most complex studio recording. It appeared on the second posthumous Hendrix album, RAINBOW BRIDGE, released on October 1971.
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STEPPING STONE - Recorded in New York on 16-tracks at the Record Plant on 15th September and 23rd September 1969 with Mitch Mitchell on drums and Billy Cox on bass. An unfinished version of STEPPING STONE was rush released as a single in March 197O to coincide with Jimi's "Cry of Love" tour. The record did not chart and was quickly withdrawn. STEPPING STONE was later re-mixed and it appeared on the fourth posthumous Hendrix album, WAR HEROES, released in September 1972.
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FULL OF MIRRORS - Recorded on 16-tracks at the Record Plant on 17th November 1969 with the Band of Gypsies - Buddy Miles on drums and Billy Cox on bass. ROOM FULL Of MiRRORS appeared on the posthumous RAINBOW BRIDGE album in October 1971 Along with ALL ALONG THE WATCHTOWER and MAY THIS BE LOVE, it is the only other Hendrix release to feature his bottleneck slide guitar playing, however, when recording ROOM FULL OF MIRRORS Jimi did not have a slide handy so he removed a ring from his finger and used that!
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EZY RYDER - Recorded on 16-tracks at the Record Plant on 18th December 1969 with the Band of Gypsies - Buddy Miles on drums and Billy Cox on bass. Steve Winwood and Chris Wood (both former members of Traffic) later overdubbed the vibe tracks. EZY RYDER appeared on the first posthumous Hendrix album THE CRY QF LOVE, released in February 1971.
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FREEDOM - Recorded in New York on 16-tracks at Electric Lady Studios during sessions on 15th May, 18th June and 25th June 1970. FREEDOM was among the firts songs recorded by the Cry Of Love Band (Jimi, Mitch Mitchell and Billy Cox) in Jimi's new studio - 'Electric Lady'. The Ghetto Fighters, Arthur and Albert Allen, sang backing vocals. FREEDOM appeared as the opener for the first posthumous Hendrix album THE CRY OF LOVE
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DRIFTING - Recorded with the Cry Of Love Band at Electric Lady Studios on 16-tracks on 25th June and 23rd July 1970. After Jimi's death, Mitch Mitchell invited Buzzy Linhart to overdub the vibe tracks. DRIFTING was released on THE CRY OF LOVE album.
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IN FROM THE STORM - Recorded with the Cry Of Love Band on 16-tracks at Electric Lady Studios on 21st-22nd July 1970. IN FROM THE STORM was among the last three songs (along with DOLLY DAGGER and MIDNIGHT LIGHTNING) that Jimi added to his concert repertoire during the summer of 1970. It was featured as the conclusion of a near two-hour set at the Isle of Wight in England, one of Jimi's last high-profile appearances. IN FROM THE STORM, with Emeretta Marks providing backing vocals, is another highlight of Jimi's CRY OF LOVE album.
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ANGEL - Recorded with the Cry Of Love Band on 16-tracks at Electric Lady Studios on 23rd July 1970. According to one account, Jimi wrote this song in January 1968 while awaiting trial for damaging a hotel in Sweden. Another source reports that ANGEL was inspired by a dream Jimi had about his mother. After Jimi's death Mitch Mitchell re-did the drum parts using a drum kit he had given Jimi for use in Electric Lady Studios. According to Mitch, ANGEL was "the most difficult and jigsaw-like track to put together and yet it became the most covered of Jimi's songs". It appeared on THE CRY OF LOVE album.
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FIRE (Live) - Recorded with the Cry of Love Band on 8-tracks at the Atlanta Pop Festival on July 4, 1970. Jimi appeared before the largest audience of his career at the Atlanta Pop Festival during a heatwave on the 4th July 1970. His performance at past festivals were always climactic events, but during this summer of revolutionary zeal, with the Woodstock movie and album topping the charts, along with the BAND OF GYPSY'S album. Jimi sounding the keynote for Atlanta Pop. His set commenced with this hot and humid FIRE.
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STONE FREE (Live) - Recorded with the Cry Of Love Band on 8-tracks at the Atlanta Pop Festival on July 4, 1970. Billy Cox played bass with Jimi in the south while they were in the Army. He provided the deep throb and stable swing that Jimi craved. There is no doubt that much of the inspired rejuvenation heard during the Cry Of Love tour was in response to Billy's solid accompaniment. Over 400,000 people were present when Jimi, Mitch and Billy peaked Atlanta Pop's three days of music on Saturday night. STONE FREE was the first of four encores from the band that night.
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The rip was taken from CD (now out of print) at 320kps and includes full album artwork along with inner booklet and select photos. This is not a bad compilation, although it does lack one essential track that belongs in every Hendrix collection - Redhouse, which could have been easily added to the CD release.
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Track Listing
01. - Hey Joe
02. - Purple Haze
03. - The Wind Cries Mary
04. - Foxy Lady
05. - Crosstown Traffic
06. - All Along The Watchtower
07. - Voodoo Chile (Slight Return)
08. - Have You Ever Been (To Electric
Ladyland)
09. - Star Spangled Banner
10. - Stepping Stone
11. - Room Full Of Mirrors
12. - Ezy Ryder
13. - Freedom
14. - Drifting
15. - In From The Storm
16. - Angel
17. - Fire (Live) CD release only
18. - Stone Free (Live) CD Release only
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Producers:
Chas Chandler (tracks: 1 to 4) ,
Eddie Kramer (tracks: 12 to 16) , Jimi Hendrix (tracks: 5 to 9, 11 to 16) ,
John Jansen (tracks: 9 to 11)
Tracks 17 & 18 from the Atlanta Pop Festival (live).

Cornerstones Link (131Mb) New Link 18/10/2024
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Daniel - Last Night In The City (1978) + Bonus Tracks

(Australian 1976-79)
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Originating in Newcastle (NSW) under the name 'Delta', the band moved to Sydney, then on to the Melbourne circuit as Daniel. A clean blend of R'n'B with country overtones and featuring three part harmonies, the band came to the attention of Mike Rudd (Spectrum and Ariel) who then produced this, their only album.
For me, Daniel sounded a lot like Stars (both vocally and instrumentally) but still retained their own distinct sound. Roger Pyke's voice is very similar to that of Mick Pealing, particularly in "Creep" and "Loves Loser", while Paul Trimble's guitar work (particularly his Steel Guitar licks) are reminiscent of the legendary Andy Durant.
I remember seeing Daniel at the Nightmoves Concerts in the late 70's, held at the St Kilda Palace and thinking how much they reminded me of the Stars who were big at the time.
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Their album was not released at this time but they did have a flexi-disk single give-away in a current edition of RAM Magazine, which featured their hit single "Last Night In The City" and a promotional B-side for Yamaha with Mike Rudd talking with the band about their sound and Yamaha equipment. For more information about their preferred sound equipment see the following Yamaha Webpage.
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During their three year career, they only released three singles and their debut album. As mentioned, their hit single was also captured live on a second Nighmoves Concert release, and "Two Wrongs" appeared later on the Nightmoves DVD release.
The album is easy to listen to and it is obvious that all band members were very talented musicians. It is a shame that they didn't stay together to record more material and were probably lacking the power of a Michael Gudisnski to promote them better.
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Thanks to Vinco at Midoztouch for the album rip and artwork, along with the bonus singles and live version of Two Wrongs, all at 256kps.
The Promo Flexi disk A & B Sides were ripped from my copy at 320kps. I have also included scans of the Flexi Disk and cover - my copy is yellow but I believe it was also released on blue flex. (Note: I have replaced the title track with another rip as Vinco's original skips somewhere in the middle)
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Track Listing
01 - Waiter Waiter
02 - Creep
03 - Go Underground
04 - Do The Whiteman
05 - Sad Sad Day
06 - Last Night In The City
07 - Moon-Go-Round
08 - Loves Loser
09 - Bon Voyage Australia
10 - The Wind
[Bonus Tracks]
11 - Are You Listening (Single-A)
12 - High Spot (Single-B)
13 - Last Night In The City (Live Nightmoves)
14 - Two Wrongs Don't Make A Right (Live Nightmoves)
15 - Flexi Promo-Last Night In The City (Single A)
16 - Flexi Promo-For Yamaha (Single B)
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Band Members:
Roger Pyke (Vocals, Guitar)
David Stewart (Drums, Vocals)
James Neal (Bass, Vocals)
Paul Trimble (Guitar)
Jose McLaughlin (Keyboards)
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Daniel Link (118Mb) New Link 16/11/2024
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Brainbox - Selftitled (1969) + Bonus Tracks

(Dutch 1968-1972)
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Brainbox was a Dutch rock group from the late 1960s / early 1970s. It was founded in Amsterdam by guitarist Jan Akkerman, drummer Pierre van der Linden and singer Kazimir Lux (Kaz). Their debut single was "Down Man", which established their progressive blues sound. They had several hit singles in the Netherlands, including "Between Alpha and Omega", "Doomsday Train", Reason to Believe and "Smile". Soon after they released their first album, Akkerman and van der Linden left the group to join Focus. After van der linden and Akkerman left, Brainbox bass player Cyril Havermans also followed to join Focus, replacing the original Focus bass player. They were replaced by guitarists Herman Meyer and Rudie de Quelijoe and drummer Frans Smit. Meyer was later replaced by John Schuursma. After Kaz Lux left the group in 1971, their popularity waned and they split up in 1972. In 2004, Kaz Lux reassembled the band (though without Jan Akkerman) and they performed in the Netherlands.
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The music of Brainbox is best described as progressive blues rock with a psychedelic vibe. The main attraction is of course the guitar playing of Jan Akkerman, but the soulful vocals of Kaz Lux are very distinctive for the music as well. Added with the powerful bass of Andre Reynen and the creative, jazzy drumming of Pierre van der Linden this is a great album.

It opens with one of their most progressive tracks, "Dark Rose". This is a sort of proto-Hocus Pocus (the Focus hit). There are some very fast and furious guitar breaks by Akkerman and a wonderful flute solo played by Solution member Tom Barlage. It takes some time to recover from this one, so the next song is a not so interesting cover of a Tim Hardin song. This is followed by a nice blues tune with some typical Akkerman chords. The adaptation of Scarborough Fair has again a progressive flavour. Akkerman plays acoustic guitar and Barlage again adds his beautiful flute. On the album is also a version of the classic Summertime. This is one of the better versions, with again a brilliant guitar solo. Sinner's Prayer is another typical blues song. The b-side of the album is occupied by the psychedelic Sea of Delight with long guitar, bass and drum solos. It starts and ends as an ordinary rock song, but the long middle part is truly a psychedelic trip. The best moments are occupied by Akkerman's guitar work, but there a also some tedious moments with the inevitable drum and bass solos. Overall a good track though.

On the CD release you can also find the a- and b-sides of their first two 45s. "Down Man" is a good original song, "Woman's Gone" is a sad blues song with the piano played by Rob Hoeke and bass by Akkerman, because at that time they didn't have a bass player. The second single is an edit of the long "Sea of Delight", paired with a rock song with a wah-wah drenched guitar.
I have also included a shorter version of "Dark Rose" which they released as a single and it is a more up beat version to the one found on the LP. In fact, it has an uncanny similarity to something that ZZTop would produce and therefore makes me wonder if this is where ZZTop got their sound.
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The rip provided was taken from CD at 192kps and includes full album artwork along with the additional bonus "Dark Rose" single track.
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Track Listing

01. Dark rose [5:20]
02. Reason to believe [2:23]
03. Baby, what you want me to do [2:36]
04. Scarborough fair [6:26]
05. Summertime [4:22]
06. Sinner's prayer [2:31]
07. Sea of delight [16:58]
Bonus Tracks
08. Down man [2:38]
09. Woman's gone [4:14]
10. Sea of delight (Try out) [1:05]
11. Sea of delight (Take 1) [2:51]
12. Amsterdam, the first days [3:11]13. Dark Rose (Single version) [2:53]

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Band Members:
Jan Akkerman - Guitar, organ, vibes, bass guitar (track 9)
Andre Reynen - Bass guitar
Pierre van der Linden - Drums
Kazimir Lux (Kaz) - Lead vocals, percussion
Guests:
Tom Barlage - Flute (tracks 1 & 4)
Rob Hoeke - Piano (track 9)
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Brainbox Link (82Mb) New Link 17/10/2024
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Stevie Wright - Black Eyed Bruiser (1975) + Bonus Live Track

(Australian 1964 - 1992)
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This is a good pop album. It has flash, it doesn't take itself seriously, the songs are strong, the production doesn't hide under a blanket. Mostly it stars one Stevie Weight, ex-Easybeat and sometime rock and roll vagabond — but producers / songwriters / guitarists Harry Vanda and George Young always make their presence felt and sometimes they step out and take right over.
The album has a theme to it: young Stevie is cast in the role of rock and roll fighter, struggling through the ranks of pop punkdom to some kind of Nirvana via attainment of big money and popularity.

The concept lays it on the line really. Vanda and Young and Wright aren't interested in layers of internal meaning, they're vitally concerned to make an immediate impact and they keep their riffs solid and memorable. They also recycle a lot. The Kink's "You Really Got Me" comes in for some revisiting on the title track "Black Eyed Bruiser". Fats Domino s "BlueBerry Hill" is re-serviced and refitted into "Twenty Dollar Bill", and so it goes on. But the re-conversion process happens with some taste and nothing is so blatant as to be embarrassing.

Stevie's voice holds up well throughout the album. His high notes are more and more sounding like strangled screams, but his range has deepened and he can get some awesome inflexions into his vocals that people like Dr. John would be proud to claim: "ev-uh-ree daaaeeaaaan ni-eeeet...."— that sort of thing.
Most important, its sustained flashy pop — except for where Stevie steps back to let massed choruses blow and guitars riff-on. It only happens on two songs "You" and "My Kind Of Music". "You" is some sort of distant relation to "Evie (parts I to 1.001)" but the exercise develops into something of an anti-climax when a female chorus takes over the chorus line. After the 25th honeyed rendition of "Aawl I waaaan is YOOOOOOOOOU", you really start longing for a strangled scream — anything — from Stevie. "My Kind Of Music" turns out to be a good cooking exercise for Warren Morgan, Johnny Dick and the rest of the (un-credited) band. (Review by Anthony O'Grady, RAM Magazine #14, Sept 6, 1975)
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Juke Magazine published the following article on Stevie Wright in their May 1975 edition, which focused on his then recent comeback to the music industry, and his soon to be released album 'Black Eyed Bruiser' .
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'One Of The Boys'

Stevie Wright lean't recently that when England's glitter band Mott The Hoople were undergoing their most recent change they had considered the former Easy beats vocalist to front them. Through the years since the mid sixties, there has always remained around the world a pronounced respect and nostalgia for the Easybeats, the Australian group made good internationally. Paul McCartney has often said that "Friday On My Mind" is one of his all-time favorite singles. But what the world Easybeats enthusiasts have never realised is that the group's most ordinal and worthy music was actually written and recorded in Australia.
."When we got to England", remembers a much older Stevie Wright, "we thought we had to change and we were taking all sorts of advice from all the people who were offering it. Even our manager wanted to have a hand in the group's songwriting. I couldn't take that". 'Little' Stevie intimated that this was a large part of the reason why, once the Easybeats landed in England, Stevie stopped co-writing the group's material, and Harry Vanda teamed with guitarist George Young instead. "Here in Australia our manager was like an older brother to us. We'd always be able to lean on him and twist his advice. But when we got to England we just couldn't respect his decisions anymore. We had as much to do with the running of the band as he did." 

In the end, this situation between the Easys and their management disintegrated the band. Mike Vaughn (the manager) was signing the group, to any record company silly enough to believe they were free and left the group to grapple with the crippling legalities he was shoving the group's way as he skipped from record company to record company. "That was really frustrating", says Stevie now. "By then we had Tony Cahill on drums and we were a much better band than we'd ever been". George Young and Harry Vanda turned their attentions to the tasks of being non-performing songwriters and record producers, finally returning to Australian soil a couple of years ago. Stevie Wright, on the other hand, drifted aimlessly on the perimeters of the Australian music business On his earlier return, finally gaining a semblance of recognition again with his role in the Sydney stage presentation of "Jesus Christ Superstar". This gave him the confidence to attempt a solo album of his own songs. "It just wasn't coming together", confesses Steve. After a long time I went to the boys (Vanda and Young) and they saw the basis of something good in what I'd done. They over-dubbed on the tracks I'd started and added some of their own songs. They played practically everything on the album between the two of them". The result of course was the 'Hard Road' album, which won Stevie Wright two gold records for its Australian sales.

Now, in the coming weeks, there's to be a second album, consisting this time totally of Vanda-Young songs. "I've had a dry spell with my songwriting", Stevie will say, dismissing with that the obvious question. One gets the impression however, that Stevie will "go along with anything, without much self determination". Turning out song after song for the likes of Johnny Farnham, William Shakespeare and John Young, as well as for Stevie Wright, the boys' have become some what of a songwriting machine. They also produce the records of AC/DC which includes two younger Young brothers. They've been back on stage only once, backing Stevie Wright in concert, after Stevie had gone through an endless chain of abortive attempts to keep a band together to help him perform the Stevie Wright sound on stage. There he was, with a nation-wide smash hit on his hands and unable to turn out a decent live performance. Stevie, it turns out, doesn't seem capable of keeping a band together. He shouldn't even have to pick its members. Stevie quite clearly just wants to sing. He doesn't even care a lot what it is he sings, just as long as he's having nearly a good time. So when Stevie's reputation was taking a dive due to his ugly live appearances, the Vanda-Young team moved in to give their companion the lift he needed back towards something like a professional sound. They hadn't performed in front of an audience for years. Stevie remembers with a smile, "It was like singing in front of a steam train. There was so much uncontrolled energy pounding out".

The Vanda-Young-Wright was joined on stage for these performances by former Aztecs, Johnny Dick and Warren Morgan. Although this handful of appearances probably brought back long forgotten Easybeat memories, Stevie much prefers singing with his current band, because it's obviously much less raw and more dynamic musically. Vanda and Young have been replaced by two former La De Das, Kevin Borich, and Ronnie Peel. A permanent group perhaps? "No", smiles Stevie again. "Those guys see me as a way to get to America." There is a look of resignation in his eyes. And amusement. Stevie Wright's Easybeat background, coupled with the outstanding success of his records since, has found Stevie with contracts for the release of his records in both England and America.

 A trip overseas seems more than likely. And that's what Stevie's sidemen are counting on, says Stevie, "I wonder why those guys are even content to call the band The Stevie Wright Band. They've got much more reputation than I have. They've even got me splitting my performance fee with them equally." Again one gets this impression of an infinitely easy-going Stevie Wright, allowing his side-men to make their demands on him. All he wants to do is sing.... and avoid undue hassle. I don't think Stevie is even ambitious enough to dream of Easybeats-like big time as the end result of his solo pursuit. Those times are probably more like youth that's been spent and unobtainable again. He just wants a band to sing in front of, some songs to sing with them, and just enough of an audience to make it worthwhile. The ambition he leaves to those around him. And they're looking after that department quite nicely thank you.

The boys wanted me to get some songs together for the album, but I'd rather not have a song there for the sake of it, if it's going to be a mediocre song. I'm writing more now, and there'll probably be some more of my songs on the album after this one. Songwriting seems to come very easily to Stevie's former Easybeats comrades....perhaps even a little too easy. One recipient song of a Vanda-Young song tells how the pair pieced together bits of things they had lying around to come up with a satisfactory song when it was requested. (Article by By Ed. Nirhmervoll, Juke Magazine page 10, May 14, 1975)

.This rip was taken from my Vinyl in MP3 (320kps) format  and includes full album artwork (thanks to Keith at Midoztouch). I have also included a rare live track of "My Kind Of Music" recorded at the Sydney Opera House in late 1974, and scans of both articles from RAM and Juke. 'Black Eyed Bruiser' was a great follow up LP to 'Hard Road' and includes one of my all time favourite Vanda-Young tracks "Guitar Band".

Track Listing
01 - Black Eyed Bruiser
02 - The Loser
03 - You
04 - My Kind Of Music
05 - Guitar Band
06 - The People And The Power
07 - Help Help
08 - Twenty Dollar Bill
09 - I've Got The Power
10 - My Kind Of Music (Bonus Live)
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Band Members:
Stevie Wright (Vocals)
Kevin Borich (guitar)
Ronnie Peel (bass)
Warren Morgan (keyboards)
Johnny Dick (drums)
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Stevie Wright (87Mb)   New Link 02/01/2024
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