Monday, February 28, 2011

W.O.C.K On Vinyl - Doctorin' The Tardis (The Tmelords / KLF - 1988)

.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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"Doctorin' the Tardis" is a 1988 electronic novelty pop single by The Timelords ("Time Boy" and "Lord Rock", aliases of Bill Drummond and Jimmy Cauty, better known as The KLF). The song is predominantly a mash-up of the Doctor Who theme music, Gary Glitter's "Rock and Roll (Part Two)" with sections from "Blockbuster!" by Sweet and "Let's Get Together Tonite" by Steve Walsh. The single was panned by critics but became a commercial success, reaching number 1 in the UK Singles Chart and charting in the Top 10 in Australia and Norway. In promotional material for the single, credit for the talent behind the song (inspiration and authorship) was attributed not to Time Boy and Lord Rock but to "Ford Timelord," Cauty's 1968 Ford Galaxie American police car reg plate "WGU 18G", formerly known as the JAMsmobile.
The car, which had previ
ously appeared on the cover of The JAMs' album Who Killed The JAMs?, was thematically tailored to The JAMs, depicting their 'pyramid blaster' emblem on its doors and the number 23 on its roof. Drummond and Cauty claimed the car spoke to them, giving its name as Ford Timelord, and advising the duo to become "The Timelords".
Ford featured prominently on the sleeve of "Doctorin' the Tardis", where it is quoted as saying:
 
Dear Punter
The name is Ford Timelord and I'm the leader of the group. You're probably wondering how me, a yank cop car, is now a local Essex boy making records. I was born in Detroit in 1968, my father worked for the car people there, but in 1970 he got promotion. it meant the family relocating to the Dagenham plant in Essex, England. I grew up always being the odd one out in the junior parking lot and on the runs to Southend, but my looks got me cameo and character parts in movies that were being filmed over here. Superman 3 was my biggest break. I fancied my chances in the music game cause I know what people want to hear. So I mixed and matched some tunes we all know and love, got some mates down and made this record. Sounds like a hit to me. Success and fame? I can handle it. I've got more going for me than most of the cardboard cut out excuses for pop stars around at the moment.. After this I reckon I could be an all round show biz personality, host my own chat show, something like that. Yours Ford


The "Timelord" component of Ford's name is derived from the Time Lords, a fictional alien race from the planet Gallifrey in Doctor Who. The car was obviously inspired by the Blues Brother 'Bluesmobile'. The "Doctorin' the Tardis" music video features Ford Timelord driving around the countryside in pursuit of some rather crudely designed Daleks, his wailing siren audible throughout. The video was filmed in part at the now defunct RAF Yatesbury, a Royal Air Force base in Wiltshire, and - according to The Timelords - cost in the region of £8,000 to make.

KLF are probably Britian's Craziest yet Cleverest Pop duo ever. Anyone who can get a car to have a number one hit single, Doctorin’ The Tardis by 'The Timelords" sold nearly one million copies in 1988, and then write a book about it titled 'How To Have A Number One The Easy Way' knows exactly what they are doing.


Crazy or not - I like this song (particular the cameo voices of the Daleks and their '
Exterminate' cries) and it deserves a place in this month's W.O.C.K on Vinyl post. I have included both A and B sides of the single "Doctorin' the Tardis" / "Doctorin' The Tardis - Minimal Mix" (ripped to mp3 at 320kps) along with covers.
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Doctorin' The Tardis Link (18Mb)
New Link 03/11/2014

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Saturday, February 26, 2011

Skyhooks - Guilty Until Proven Insane (1978) + Bonus Tracks

(Australian 1973-1980, 1983-1984, 1990)
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In February 1977, Red Symons left the band and was replaced on guitar by Bob Spencer (Finch later called Contraband). With Symons' departure the band dropped the glam rock look and used a more straight forward hard rock approach.
Shirley Strachan introduced Red's replacement at a gig during a surfing contest at Phillip Island on March 27, 1977: "He doesn't drink, he doesn't smoke, he's into the ecology and he's a shit-hot little @unt"
The new guitarist was Bob Spencer. Greg had contacted Spencer on February 21 - the day before Red's departure was announced. Rumoured to replace Red had been ACDC's Malcolm Young, Sherbet's Clive Shakespeare, and Phil Manning, who had fronted his own band. But Greg settled on Spencer, a 19-year-old vegetarian, who he had spotted in the Sydney hard rock band Finch - they supported the Hooks in Wyong in 1976.
Greg told juke that "Spencer is almost as energetic as Shirl". Spencer said of Greg: "He's a nifty human being ... I had a jam with the band and it was great. H.A.P.P.Y! My mind was made up." Spencer's first Skyhook bio called him "a real spunkrat, astonishingly talented, an overbubbling extrovert with a 25-inch bum".
Spencer recalls: "Before we saw them, Finch didn't like the Skyhooks. They dress up too much, blah, blah, blah'. But then I saw them under Harbour Bridge and I was converted. I knew all the records, my girlfriend had them." Spencer had been the guitarist in Finch since he was 15. Out front was Owen Orford (now a successful booking agent), and bass player Mark Evans joined after he left ACDC.
The band released the album Thunderbird in 1976. "We made the dreaded mistake of moving to Melbourne and living together," Spencer recalls. "We were living with a couple of wives and kids, and we became very disenchanted. Living separately in Sydney had been much better, Greg contacted me and said: 'Well, what do you think, do you want to join the Skyhooks?' I went to Sydney with Greg and spoke to my Parents about it." They were happy about him joining but one mate of Spencer's criticised his decision to join the Hooks - non other than the legendary ACDC frontman Bon Scott!
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Guilty Until Proven Insane was released on March 13, 1978 (the first 5000 copies appeared on red vinyl - and I have one !)
Symons:- "By that stage, I no longer listened to the record to have an opinion. I looked at the 3XY chart. I was no longer perceiving success on my own terms."
At first, Red was worried. The album rose to No. 6 on the national charts. In Melbourne, it got to No. 2, but it couldn't dislodge "Saturday Night Fever" from top spot. But then it dropped back. The set did not contain another "Women In Uniform". Only one more single was released off the album — "Megalomania" (which was backed by "BBBBBBB Boogie" — Freddy Strauks' Skyhooks songwriting debut). It failed to chart.
"It's a weird album this one," Greg said of 'Guilty Until Proven Insane' in Rolling Stone. Ads proclaimed that it contained "Australia's new national anthem" — "Why Dontcha All Get *ucked". The album was to have been called either "Bill And Pam Go To The Supermarket" or "Bill And Pam Go To The Races". But Gudinski freaked when he heard the options. The band thanked "Bill And Pam" on the album's credits.
Macainsh:- "They were just imaginary characters. Bill and Pam were characters that appeared in a song we demoed around this time, 'The Great Australian Male'. Gudinski said no to the title straight away. In many ways, it was put up to annoy him."
A Juke cover story on April 1,1978 was headed: "A Sense of Humor Is Very Important In Rock And Roll — Greg Macainsh On The New Hooks LP". Calling Guilty Until Proven Insane a "comeback album", Al Webb wrote that the "Skyhooks camp is aglow with confidence . . . Macainsh is uncharacteristically enthused".
Greg spoke about the tracks. "Women In Uniform", he said, was "a fetish song. I have known a few women in uniform. It's part real life experience, part fantasy." The track had been inspired by a security guard Greg had seen in Atlanta, Georgia. "She wore a mini-skirt, she had a beehive hairdo. She was swaggering around this plaza. She had a Colt .45, baton, handcuffs, walkie-talkie, the whole trip ... an incredible symbol of, you know, sexuality and power. I thought it was great! I just watched her wiggle her arse around the plaza for a while and kept it in the back of my mind." Back in Australia, Greg saw a photo in a fashion mag of "chicks in khaki leaning against tanks". Remembering that one of the Hooks crew had once gotten off with a policewoman, Greg had his song.
"Hotel Hell" (which featured Wilbur Wilde on sax) was vaguely based on Melbourne's larger suburban pubs like the Matthew Flinders in Chadstone, and the Manhattan in Ringwood. It was not overly positive about the punter's pub-going pursuit: "Hotel/Hotel hell/bad place to visit and a rotten place to dwell/ Hotel/Hotel hell/ain't nothing like, there ain't no parallel".
Of Freddy's songwriting debut, Greg said: "Freddy writes a lot of pornographic songs. He's got quite a few songs, usually either pornographic or very philosophical — not a great deal in between which is sort of like Fred, I guess."
Strauks "The pornographic songs were only comedy songs, they were never meant to be pure porn. I thought that all these people were writing love songs, but they only allude to doing it, they never actually talk about doing it. So I wrote a couple of dirty ditties and everyone who listens to them has a laugh. One day I might release them, but the time has to be right.
"BBBBBBBBBBBBBBoogie started life as "The Businessman Boogie", but Eddie Leonetti persuaded me to rewrite the lyric in the studio. To make it interesting, I made it "BBBBBBBBBBBBB (13 Bs) Boogie"."
Both Ram and Juke continued to support the band. Anthony O'Grady wrote: "The idea is to present the band roaring and raging. And they are a Powerhouse. In the Hooks overall scheme of things, 'Guilty Until Proven Insane' is an affirmation of their status as a rock band who can deliver the goods in forthright fashion".
Al Webb concluded: "Ain't no doubt about it, this is a very strong album from what's become a very solid band . . . the musical quality is all there and the lyrics are still well ahead of most Australian writers, so theoretically this should be a successful album for the Hooks. Whether the public can adapt to the band's move towards riffy American rock is another question."
Ross Wilson remembers Greg invited him to his house in Hampton to listen to the record.
"I thought 'Women In Uniform' was great, so I was really looking forward to it," Wilson recalls. "But the rest of the album for me just didn't measure up. My opinion was the songs just weren't there. I remember feeling quite disappointed because I still wished them well."
.Skyhooks at Nambassa 3 Day Music Festival (1978) - Photo thanks to Jeff O'Donnell
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Lyrically the album showed Greg was tiring of his Mr Serious image. On "Twisted Innocence", he revealed his unhappiness with being a deep thinker: "Taxi driver with the science degree/He says he's got it rough. But he can daydream while driving around/I wish him half the luck". (This might even have been a cryptic reference to Red Symons. Red has a science degree, and he also had a taxi licence, but he never drove a taxi). The lyrics lacked his local references (Leonetti decided against releasing songs such as "Daughters Of Brighton" and "Sitting In A Bar In Adelaide"). Greg defended "Why Dontcha All Get *ucked": "I don't think it's sensational for the sake of being sensational. To me, it's a pretty definitive statement, a very commonly used expression. It's like that scene in Network: 'I'm as mad as hell and I'm not going to take it any more!' There's something of that in it."
The song did attract attention. Shirley and Fred appeared on the Mike Walsh Show, where they were treated with contempt by guest host Brian Bury. He called Fred "Greg" and then asked how they wrote their songs. Freddy freaked Bury out by writing the song's title on a piece of paper and asking him to read it out. During the same month, Melbourne public radio station RRR was threatened with losing its licence after one of its DJs played the unedited version on air. The DJ was none other than Red Symons. On ya Red! [taken from Ego Is Not A Dirty Word: The Skyhooks Story by Jeff Jenkins p125, 130-131]
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Album Review
Guilty Until Proven Insane opens with one of the finest rock tracks you’re likely to hear and possibly the only track on the album familiar to people who are not aware of the band: "Women In Uniform". Familiar as a D’Anno-era Iron Maiden single, the track was written by, and was a huge hit for Skyhooks from this album and features a great vocal from Graeme “Shirley” Strachan with the rest of the band providing one of their heaviest backing tracks. Women In Uniform has all the ingredients of a great rock track as will be apparent from the video clip below and the funky intro which is returned to mid-way through makes for a more multi-dimensional track than other versions!
"Life In The Modern World" is a slow burner of a bluesy rock track with a good use of the twin guitars of Spencer and Starkie and some well-crafted observational lyrics. The latter half of the track also features a good guitar solo not in the shredding vain but more akin to mid-70s Thin Lizzy style which continues over a repeat of the opening verse at the close.
"Trouble With The Computer" opens with a frantic computer ‘conversation’ through which fades-in drums and then into the main riff which is again of strong blues-rock origin. As the title suggests, the track identifies troublesome issues in various scenarios with computers which, considering the year of release, was very contemporary thinking and somewhat prophetic as the same problems are still experienced today: “the computer’s lost its logic and has started to erase” – for a pre-Windows generation that’s some foresight!
Moving into a heavier style, "Bbbbbbbbbbbbboogie", as the name suggests, is a hard-rocking boogie shuffle with a hint of Rose Tattoo who, I’m certain, would have been influenced by their countrymen. Graeme Strachan really spits out the lyrics here with some venom and there’s plenty of guitar breaks throughout making for a very solid track and demonstrating the musical skill of the band members to good effect.
Suddenly, the heavy blues-rock fades and "Twisted Innocence" opens which is a funky almost new-wave track and, as with the majority of the Skyhooks’ tracks, examines the troubles of urban 70s Australian society with in this instance through the eyes of the young and their largely inability to perceive the problems around them. Twisted innocence referring to the blinkered enthusiasm of youth blinding the young to social ills.
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"Hotel Hell" moves back to more traditional hard rock territory for a mid-paced track telling the tale of trying to find a good night out but only coming across ‘Hotel Hell’: “if you think the beer is rotten, you should see the clientele”! The track also features a sax solo in the mid-section (C/- Wilder Wilde - photo above) where the track drops to bass and cymbals over which Strachan further describes the scene at the bar and paints a picture that is so well described you can almost be there.
Slow bass and guitar harmonics open "Point In The Distance" with a spoken word intro accompanied by some high wailing backing vocals and then the track kicks-in with a funky guitar and heavily echoed vocals with Strachan singing more smoothly than on the rockier tracks. As with "Twisted Innocence" the sound is somewhere around early 10CC and early Thin Lizzy but, whilst not one of the stronger tracks on the album, certainly shows another side to Skyhooks and a side that they exploit to a high standard here. The undistorted guitar solo is also a highlight.
A calypso intro to "Meglomania" continues the shift in direction begun by "Point In the Distance" and the overall sound is rather ’sweet’ but if you tune-in to the lyrical content, it’s far from it! Quite cleverly, one of the hardest hitting tracks lyrically is backed by the mellowest, poppiest musical backing tracks – as with previous tracks, however, the guitar solo adds some balls with a new riff taking over in the mid-section to boot!
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Closing the album is the ‘classic’ Skyhooks anthem Why Don’tcha All Get *ucked? Originally released on their debut album, in censored form, here it is in all its glory. It features a series of lyrical ‘vignettes’ about various disaffected characters where Strachan paints the picture of their reasoning for their eventual nihilistic attitude and cry of "Why Don’tcha All Get *ucked?" “there’s one thing that you got to do and I suggest you do it today, stand up in your office, school or street and this is what you’ve got to say . . . Why Don’tcha All Get *ucked?”. Pre-dating Rage Against the Machine’s “*uck you I won’t do what you tell me” battle-cry by some 10 years, it’s a sentiment I’m sure we can all relate to from time to time today as much as back in the 70s!
All-in-all this is an awesome album from a great band who should have gone on to globally great things . . . but sadly it was not to be. To compound matters, the album is really hard to come-by on CD but is definitely worth purchasing should you find a copy [ review by Andy Doherty-2009 ]
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This album has always been a favourite of mine as I believe that Skyhooks had finally grown up and were producing songs that were suitable for a broader audience. My red vinyl copy of the LP is another prized possession in my record collection, but I play my CD copy to maintain the condition of the vinyl.
Rip was taken from a long deleted CD release of the album (320kps) and I have provided both CD and LP cover scans along with select photos of the Skyhooks band mkII. I have also included as bonus tracks, the two songs that were rejected by Leonetti for this album, "Daughters of Brighton" and "Sitting In A Bar In Adelaide" (taken from 'Demos and Dialogue' thanks to Bluecent at Midoztouch).
Finally, thanks to Mushroom Records, Peter Green and the Skyhooks Fanclub and Jeff O'Donnell for the various photos displayed in this post.
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Hint: I suggest you listen to this album using headphones, to avoid any conflict with your neighbours, who might take the last track the wrong way!
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Track Listing
01 - Woman in Uniform
02 - Life in the Modern World
03 - Trouble With the Computer
04 - BBBBBboogie
05 - Twisted Innocence
06 - Hotel Hell
07 - Point in the Distance
08 - Meglomania
09 - Why Dontcha All Get Fucked

10 - Daughters Of Brighton (Bonus Track)
11 - Sitting In A Bar In Adelaide (Bonus Track)


Band Members:
Graeme “Shirley” Strachan – Vocals

Bob Spencer – Guitar

Bob “Bongo” Starkie – Guitar

Greg Macainsh – Bass

Imants “Freddy” Strauks – Drums

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Skyhooks Link (96Mb) REPOST
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Monday, February 21, 2011

Guns N' Roses - Unauthorised LIVE Vol.2

(US 1985-Present)
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Guns N' Roses (sometimes abbreviated as G N' R or GnR) is an American hard rock band. The band formed in Hollywood, Los Angeles, California in 1985. Led by frontman and co-founder Axl Rose, the band has released six studio albums, three EPs, and one live album while going through numerous line-up changes and controversies since its formation.
Rose is the only consistent member of Guns N' Roses. The band has sold more than 100 million albums worldwide, including shipments of 43.5 million in the United States. The band's 1987 major label debut album,' Appetite for Destruction', has sold in excess of 28 million copies worldwide and reached No. 1 on the US Billboard 200 and is also the highest selling debut album of all time both in the US and worldwide. In addition, the album charted three Top 10 hits on the Billboard Hot 100, including "Sweet Child o' Mine" which reached No.1 [extract from wikipedia]
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I bought this Guns N' Roses 'Unauthorised Live' recording a while back, when they were really popular in Australia, as few bootlegs existed on CD format at the time and the series is no longer available. In fact, I've found quite a few other titles since at garage sales and flea markets.
This is a classic example of 'don't judge a book by it's cover' - the cover might look pretty average but the recording is very good nonetheless. There are some drop outs, but overall the sound is clear and crowd chants in the background indicate that this is a soundboard recording.
The cover makes no mention of the origin of the recordings (although the Joker pressing was released in 1993), but thanks to the excellent website Guns n' Roses Bootlegs , I have been able to establish that the recordings were made in Pasadena, California in 1987. One hint about its origin is when Axl introduces the band and makes mention of the drummer 'Freddy Coury' filling in for Steven Adler that night, as Adler was unwell. This is clearly documented with the Pasadena concert.
The full concert has been released previously under various names: 'Stoned In Pasadena', ' GnR Unlicensed' and 'Bad Boys, Great Noize'.
This recording was taken from their concert held on Wednesday, Dec 30th (1987) at Perkins Palace, Pasadena, in California (see below)
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Axl is in full swing during this concert, dropping the F word just about every chance he can get and even introduces the first song in this set as "Welcome to the F*cking Jungle".
Unauthorised Vol 2. is the second half of this concert but unfortunately I have yet to source the Vol 1 CD release.
This post comes from a CD rip taken at 320kps and includes artwork from not only this release, but also the other bootleg releases. I have also managed to source 'Sweet Child Of Mine' from 'Stoned in Pasadena' to give this post a bonus it deserves. Let's face it, a GnR concert without "Sweet Child o' Mine" wouldn't be very sweet at all, now would it?
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Track Listing
01 - Welcome To The Jungle

02 - Band Introductions
03 - You're Crazy / Blues Jam
04 - Nightrain
05 - Paradise City
06 - Patience
07 - Mama Kin
08 - Sweet Child o' Mine (bonus)

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Guns N' Roses are:
W. Axl Rose: vocals

Slash: lead guitar

Izzy Stradlin': rhythm guitar

Duff McKagan: bass

Freddy Coury: drums (Replacing Steven Adler)

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Guns 'n' Roses Link (92Mb) New Link 02/10/2013
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Wednesday, February 16, 2011

Jimi Hendrix - Baltimore Civic Centre (1970) Ex Bootleg

(U.S 1967-1970)
.Jimi Hendrix and the 'Cry of Love' band
Live at the Civic Centre, Baltimore
13th June, 1970
Supported by Ballin' Jack and Cactus
Jimi Hendrix appeared, resplendent in a purple ruffled shirt, green bellbottoms, a silver-spangled vest that ended at the shoulder blades, a multicoloured headband that trailed down
his neck, a bright silk scarf tied to his left arm, and a fringe belt that hung down his right leg, A white guitar with a leopard-skin strap completed the ensemble. The Yorkstown Light Show paled in comparison. For the Civic Center show, Hendrix brought with him bassist (Billy) Cox from the Gypsy band and drummer Mitch Mitchell, from the original Experience. Both are thoroughly supportive musicians (let's face it, no one is going to upstage Hendrix anyway, musically or visually - he's got the brightest clothes and most of the speakers) and Mitchell's drumming is a delight : quick, crisp and swinging. "The group was all business, starting out with a blues, and pausing only long enough at its conclusion for Hendrix to acknowledge the beginning of the applause before saying rapidly into the microphone "Hello, Baltimore, how are you" before moving on to the next number. They followed in rapid succession., "Machine Gun" from the 'Band Of Gypsys' album with Hendrix drumming out chords on his guitar and Mitchell answering with rapid fire rolls from the snare, "Hey Joe," "Foxy Lady," and a dozen or so others. Hendrix seems to have given up the sideshow antics, except for a brief few bars near the end of the concert when he played the guitar with his teeth, and such relatively subtle devices, for him anyway, as falling suggestively on the wah-wah pedal. Perhaps he doesn't need them anymore. Suggestion has replaced overstatement. That doesn't mean that Hendrix isn't still able to conjure up, with a slight turn of his wrist, awesome, searing audial power through his wraparound speaker set-up and then shut it off with a shrug of the shoulder. He is still able with the sullen unsmiling look - heavy business - to draw the fans down in front of the stage as he did at the end of the show at the Civic Center. It's just that music is now at the center of the group's presentation which is, of course, where it should be. And regardless what you might think of it, Hendrix's music, a combination of tough, bluesy vocal and instrumental delivery mixed with speaker feedback, is unlike any sound to be heard in contemporary rock. Hendrix concluded the concert with a tortured instrumental version of the "Star Spangled Banner" the like of which, it's safe to say, has never been witnessed in the birthplace of the national anthem. The audience, for what it's worth, exhibited a good deal more interest in the song than the usual Civic Center crowd waiting none too patiently for the basketball game to start. (Again , it may be that Hendrix is turning more political now.)
After a final number, one fist raised in the symbol of rebellion, the other giving the peace sign, Hendrix was off the stage as quickly as he had appeared.
"Right on" shouted several people in the crowd. Nobody's Going To Upstage Hendrix ! [by James Dilts, Baltimore Sun, 21-6-1970]
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The source of the post is an excellent audience recording captured on a Panasonic portable reel to reel tape recorder and has been ripped to mp3 (320kps). This bootleg has been released under a variety titles and artwork which I am also including in this post. I have also sourced some photos (thanks to Mike - Wilsonmcphert) and the Baltimore Civic Programme used to advertise the event.
Normally, audience recordings are fairly poor quality, but this one is an exception. Although there are some crowd noises the clarity of the music is first class and this bootleg is a must for any Hendrix collection. I particularly like his renditions of Machine Gun, Red House and Hear My Train A'Comin. It is sad to think that Jimi would be deceased some 3 months later - such a waste!
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Track Listing

01. Pass It On
02. Lover Man

03. Machine
Gun
04. Ezy Ryder

05. Red House

06. Message To Love

07. Hey Joe

08. Freedom

09. Hear My Train A Comin'

10. Room Full Of Mirrors

11. Foxy Lady

12. Purple Haze

13. Star Spangled Banner

14. Voodoo Child (Slight Return) / Keep On Groovin'

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Band Members:
Jimi Hendrix (Guitar, Vocals)

Billy Cox (Bass)
Mitch Mitchell (Drums)
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Baltimore Link (204Mb) REPOSTED 4/11/2012
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Sunday, February 13, 2011

Be Bop Deluxe - Live! In The Air Age (1977)

(U.K 1972-1979)
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Be Bop Deluxe were sequined glam rock heroes, led by Bill Nelson’s blistering virtuoso guitar work, seemingly beamed down from an impossibly glamorous forgotten future-world. Equal parts Roxy Music, Bowie, and Queen, Be Bop Deluxe were an intoxicating ‘70s phenomena filled with lipstick posturing, surrealistic lyrics and searing, melodic guitar solos that sounded exorcised from Bill Nelson’s semi-acoustic, cherry sunburst Gibson 345.
In Be Bop Deluxe, Nelson proved himself one of the most technically accomplished British guitarists of the 70s. Bill Nelson’s started out playing what he calls “psychedelic blues music” in various ad hoc bands during the 60s. But it wasn’t until the ‘70s that his career began in earnest with the solo LP Northern Dream. Financed by the owner of a Wakefield record shop, it was originally limited to 250 copies. One of them found its way to John Peel who began playing it regularly on Radio One, prompting executives from Harvest to seek Bill out. Their intention was for him to revisit Northern Dream with better recording equipment but, having just formed the first line-up of Be Bop Deluxe, Bill had other ideas. A single, “Teenage Archangel” b/w “Jets at Dawn” was recorded before the Harvest deal was signed and sold at concerts (both tracks are included on Postcards From The Future).
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Bebop Deluxe’s debut album, 'Axe Victim', appeared in summer 1974, showcasing Bill’s fluid style, jazz-tinged chops and thin but confident tenor vocals. There was a change of line-up for Futurama, on which Bill’s vision was given full rein by the kitchen sink approach of Queen producer Roy Thomas Baker. Heavy with layered guitars and melodic ideas pursued on a whim and quickly abandoned, it featured two of the best singles never to hit the charts: “Maid In Heaven” and “Sister Seagull.” Be Bop toured with Cockney Rebel and as headliners, finally notching a hit single with the ambitious “Ships In The Night” from the Sunburst Finish LP, which led to their only appearance on Top Of The Pops and a US record deal.
The next long player, Modern Music, dealt with Bill’s disillusionment with that experience while reflecting on his science fiction fixation. The title track, a dreamy pop concoction that takes in every established guitar style and a few new ones besides, is particularly impressive. A break from their punishing schedule was plugged by the concert album 'Live! In the Air Age' before Drastic Plastic completed the band’s natural life span. Recorded in the south of France in the Rolling Stone’s mobile studio, Bill’s guitar plays second fiddle, as it were, to synthesizers as he tried to assimilate electronics into his work. Be Bop Deluxe’s live album showcased the band running through stunning versions of their hits and became a UK Top Ten hit.Throughout Be Bop Deluxe’s short lifespan the band has been a keen influence, inspiring many a New Romantic band in the ‘80s including Duran Duran and Gary Numan. In fact, the story goes that upon seeing Be Bop Deluxe in concert, David Sylvian and friends decided to form the group Japan. Having far too long being name-checked yet seldom heard, Be Bop Deluxe are now ripe for rediscovery.
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'Live in the Air Age' (not "Life") is the finest live album produced by this amazing group. Although ignored by the press and most music fans, Be Bop is an outstanding example of progressive rock in the late 70's. If you have any appreciation of Mick Ronson, Phil Manzanera, Jeff Beck, Bill Spooner and Roger Stein, or Frank Zappa, you owe it to yourself to become one with Be Bop's Bill Nelson. Sadly, the 70's was a period of transition for music listeners..
As a side note: the White Vinyl edition of 'Live in the Air Age' is much softer than the black vinyl edition, and as a result is subject to more damage from normal use than the black vinyl. SO STOP PLAYING THE WHITE VINYL VERSION, if you have it! When there are no more vinyl pressings (within the next ten years or so), this album will be as sought-after as the Dead Sea Scrolls!
'Live in the Air Age' is one of the best Be Bop Deluxe albums ever (oh by the way, it’s a two-record set).. Bill is in terrific form, on the guitar, and the rest of the band is as tight as The Tubes. If you are looking for a Bill Nelson spectacular, this is his best live recording with Be Bop. Also check out his solo work ('On a Blue Wing', et al).
The rip was taken from CD at 320kps and includes full album artwork for both CD and LP.
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Track Listing
01. Life In The Air Age
02. Ships In The Night
03. Piece Of Mine
04. Fair Exchange
05. Mill Street Junction
06. Adventures In A Yorkshire Landscape
07. Blazing Apostles
08. Shine
09. Sister Seagull
10. Maid In Heaven
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Band Members
Bill Nelson (vocals, electric guitar)
Andrew Clark (vocals, keyboards)
Charles Tumahai (vocals, bass guitar, percussion)
Simon Fox (drums)
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Be Bop Deluxe Link (130Mb) REPOST
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The Loved Ones - Magic Box (1967)

(Australian 1965-67)
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In 1965 three members of the Red Onions -- Ian Clyne (keyboards), Kim Lynch (bass) and Gerry Humphries (vocals, clarinet) -- joined forces with guitarist Rob Lovett and drummer Gavin Anderson from fellow jazz/blues stalwarts, The Wild Cherries, a band that itself would likewise transmute into a rock band not long after. These were seasoned, highly-skilled musos for whom the move from jazz to pop was considered something of a retrograde step. Led by the charismatic, dynamic Gerry Humphreys -- unquestionably one of the best rock singers this country has ever produced -- the new band immediately blew the pundits away with their unique sound, a repertoire that mixed tough rhythm & blues with appealing, quirky original pop tunes.
The Loved Ones announced their arrival in in early 1966 with their inimitable debut single "Everlovin' Man". A bluesy swing waltz that showed off Gerry's astonishing vocal range and Ian's inspired Hohner electric piano foundations, this single remarkably failed to chart until it was re-released in July on W&G’s pop imprint, In Records. But it certainly attracted attention, paving the way for the follow-up, "The Loved One", a raggedly driving, jiving rocker -- again inn 3/4 time -- that sorched up the charts to #2 in Sydney and #15 in Melbourne soon after its May 1966 release. In its wake, "Everlovin’ Man" hit #9 in Sydney and #2 in Melbourne when it was re-issued, dominating the upper reaches of the charts for 19 weeks.

The band sported a hip, stylish Mod image and they soon built up a solid following in Melbourne and further afield. In early 1967 they consolidated their reputation with its third single, the baroque, brooding "Sad Dark Eyes". Another song that has been lovingly covered in recent times by another respected Aussie rock performer, Ed Kuepper, formerly of seminal Brisbane punk outfit The Saints. This song was a moderate hit for The Loved Ones (respectable top forty placings in the capital city charts), but it was the first without the contributions of Clyne, who quit the band in late ‘66, to be replaced on keyboard duties by Treva Richards.The Loved Ones secured the support slot on the 1967 national tour by The Animals and The Hollies, which coincided with their last charting single, a complex and the final brace of tracks that completed the marvellous, seminal, solitary Loved Ones studio album, Magic Box, and a couple intriguing pop ditties called "A Love Like Ours". Kim Lynch departed soon after, and Rob Lovett switched to bass to make way for American guitarist Danny Delacy. This line-up lasted until the group’s break-up in November 1967, but was able to record and add more fine Singles (extract from Milesago)
This rip was taken from Vinyl at 320kps and includes full album artwork for both CD and LP
There has been much contention about whether the CD release of this album was stereo or mono. Be assured that this rip was taken from a stereo pressing of the LP - see label scan below
(Thanks to Deutros for the bonus track)
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* This is an updated post with STEREO recording, additional artwork and a bonus track.
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Track Listing
01 - The Magic Box
02 - Shake, Rattle And Roll
03 - More Than Love
04 - Ever Lovin' Man
05 - Blueberry Hill
06 - Love Song
07 - A Love Like Ours
08 - The Woman I Love
09 - I Want You To Love Me
10 - The Loverly Car
11 - Sad Dark Eyes
12 - The Loved One
13 - This Is Love (Bonus track from EP)
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Band members
Gavin Anderson (drums)
Ian Clyne (piano)1965-66
Danny Delacy (guitar)
Gerry Humphreys (vocals)
Terry Knott (drums) 1965
Rob Lovett (guitar)
Kim Lynch (bass)
Treva (aka Reg)
Richards (piano) 1966-67
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The Magic Box (69Mb)  New Link 27/10/2015
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Friday, February 11, 2011

Pink Floyd - Tennis Center, Melbourne (1988) Ex SB

(U.K 1965 - 1996, 2005)
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Pink Floyd is one of those bands that rouse strong opinions. In the pantheon of great bands they rate pretty highly, and their advocates are generally a pretty passionate lot. I would include myself in that number, and have for many years had a very particular view of what Pink Floyd was.
The history of the band can be divided into three stages. The first is Syd Barrett, the legendary frontman who led the band through the late sixties when they were an art rock, psychedelic band. He’s more famous now for his drug taking and subsequent mental problems, but as a musician he had a profound impact on many muso’s. In the end his mental problems led to him stepping down from the band to become a virtual recluse before dying a few years ago. He remains an enigmatic character.
Dave Gilmour replaced Barrett and while he had a major influence on the band with his distinctive and virtuoso guitar play and vocals, this became the era of Roger Waters. The other band members may dispute that, perhaps with good reason, but it was also an admitted cause of their eventual split. It became too much Roger Waters, and not enough Pink Floyd.
I can understand that argument. Every member of the band was a talented musician, and every one of them contributed something of real substance, most notably on what is their most famous and successful album 'Dark Side of the Moon'.
Regardless there is no doubt that Waters became their guiding force. He was a highly intelligent and intense man capable of writing lyrics that were both poetic and scarifying and sometimes bitter. At the same time he was capable of coming up with absolutely compelling hooks. Listen to Money and the absolutely classic bass line that drives it relentlessly forward (Waters was the bass player).
This is their classic era, filled with great albums and fantastic songs. Albums 'Dark Side of the Moon', 'Wish You Were Here', 'The Wall', even 'The Final Cut', are some of the best ever made. This is the Pink Floyd most people know, an era and generation defined by their distinctive music. For mine their two greatest songs are "Money" (great lyrics as well as great hook), and "Comfortably Numb", which I think is one of the great songs, with potentially the greatest guitar solo in history Dave Gilmour playing his trade. But then there are songs like "Wish You Were Here", "Shine On You Crazy Diamond" (both inspired by Barrett), "Us and Them", "Welcome to the Machine", "Eclipse", even "Another Brick In The Wall" (not really one of my favourites, but still an iconic song).
More and more as time went on the band’s music came to reflect Roger Water’s personal psyche. Like many artists his art reflected his personal journey through which recurring themes of betrayal, the controlling state, independence, and the death of his father in the war would emerge again and again. 'The Final Cut' was a deeply felt, intense album, but the real culmination of this expression came with the release of 'The Wall'.
'The Wall' was a blockbuster any way you look at it. It told the tale of Pink in his rise from obscurity to stardom, his paranoia, his neurosis. The title song was a huge hit, and later a movie was made of the album staring Bob Geldof. It’s worth seeing if only for the fantasy scenes depicting a fascist state and the great animated cartoons of Ralph Steadman, but it’s heavy going.
'The Final Cut' came out in 1983, but the band split acrimoniously soon after that. Roger Waters went solo while the rest of the band continued to tour as Pink Floyd, despite court battles.
Thus began the third incarnation of Pink Floyd, with Dave Gilmour out front.
For many years I dismissed this phase of the band. 'When A Momentary Lapse of Reason' came out in 1987 and got good airplay I thought it was perfectly inoffensive, but not a Floyd album. It’s easy to be that dogmatic when you’re a rock fan. I’m less so now. In my mind I’ll always associate Pink Floyd with the great era led by Roger Waters, but if I am to be fair I must acknowledge Syd Barret before him, and his quite different music, and if I am to do that then I have to accept the Dave Gilmour phase. Which one's the real Pink?
Being all snooty about it never stopped me from watching Pink Floyd in ’88 thrillingly play all those great songs without Waters (though I saw Waters in concert alone probably 10 years later – also good, not as spectacular). I’m sympathetic towards Waters when he claims Pink Floyd are playing his songs – in most cases they are. For many years he was the driving, creative force behind the band and the songs the product of his personal life and history. It’s like someone going around claiming another person’s autobiography as his own. Yet this is music. The songs, written by Waters, were released by Pink Floyd the band and regardless of their origin really become the property of the listener as they enter popular culture.
Some kind of reconciliation occurred for a benefit concert in 2005, and it’s good to see the members of such a legendary band come together again. That’s it though; they each have their solo careers and projects now. What remains of Pink Floyd is their rich musical legacy and a premier position in the annals of rock history.
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Concert Review
It was 1988 or late 1987 when I heard the news I had been waiting around 16 years for. Pink Floyd to tour Australia. I hadn't seen them since 1971 and I was going to make the most of this tour.
The day the tickets went on sale I arrived at what I thought was a very early hour. It was about 5.30am and I thought I was going to be one of the first in line. No way, when I arrived several hundred people were in the queue in front of me!
As one does when waiting in a queue for a long time, I turned around and started talking to the people who were just behind me. They asked if I had ever seen Floyd before and the second I mentioned I had seen them with both Roger & Syd up front, I had a crowd of around 30 people all wanting to hear about the early days! I think this was the first time I realised that I had witnessed something special in the early years of Floyd and that people wanted to know about it. The tickets went on sale at 9am and the crowd in front of me were getting ever closer to the ticket booth. I was the next person in line to get my tickets when the attendant shouted out "Sorry, sold out". I nearly died on the spot but figured that Floyd were going to do at least one other show. So I waited around and come to think of it so did everybody else!
About 45 minutes later the attendant shouted out the news "Pink Floyd have agreed to do another show" the cheer went up from everybody. I was now first in the queue for tickets to the second show and was expecting to get front row seats but the system was set up so that people phoning in got first pick. However I did manage to get some very good seats just on the right of the stage and about 30 rows back. The first show was set for 13 February and the show I got tickets for was for 14 February (Valentines Day).
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Later that week it was announced that Floyd were going to do a lot more shows in Melbourne (8 in all) and I managed to get tickets to the last show (20 Feb 1988) without too much of a problem, however they were back row seats! I waited in eager anticipation for what seemed like months. The day was getting closer and closer and I couldn't think of anything else. Floyd was getting flogged to death in my house and the neighbours were threatening to move out!
The day before the show I was working in my garden, dreaming about Floyd doing their first gig that night and I was going to miss it! However I consoled myself knowing that I would be seeing them real soon. Boy was I in for a surprise, at around 6.30pm a friend of my wife was on the phone and asked to speak to me. Funny I thought to myself, I wonder what she wants. I then I heard the sweetest words "Hi mate, a friend of mine can't come to the Floyd concert with me tonight, how would you like to go for free" I couldn't believe my luck!! So I quickly jumped into the shower and raced around as fast as I could.
The show was due to start at 8pm and I was over an hours drive from the venue. I sped to Sharon's house (my wife's friend) picked her up and put the foot down on the way in to town.
(Note: At this point I should explain that I saw three of the 1988 shows, namely 13, 14, 20 February. However as the three shows were all very similar I have chosen just to describe the first one).
As we got closer to the venue the traffic really started to build up. We managed to get a park some way from where we had to go and sprinted the last mile or so. We got into the venue (Melbourne Tennis Centre) at exactly 8pm and as we were trying to locate what door to enter I heard the first strains of 'Shine On You Crazy Diamond'.
I must admit that I had tears in my eyes as we found our way to our seats. We were seated to the left of the stage about 25 rows away and almost directly opposite where I would be sitting the next night. The intro seemed to go on forever, the stage was still in darkness but the auditorium was lit by a fantastic array of lights.
Then as if by magic Rick appeared in a cloud of smoke and ultra violet light. I was on my feet clapping and shouting but so were a lot of other people! The pulsating tones of the organ were being taken to new heights and then Dave's guitar reverberated at an astonishing volume that shook my very soul. The crowd were on their feet as the intro sadly finished all too quickly.
This was ultra Floyd, I had not heard anything so beautiful since Floyd performed The Embryo at Hyde Park in 1970.
Floyd then deftly switched the pace by gliding into 'Signs Of Life' and I got my first real look at how far the band had come in the 21 or 22 years since I had first seen them.
A huge screen was now evident, where Floyd were showing this guy rowing a canoe as they
performed a faultless version of the song live. I remember the original light show as being printers ink between two slides in a projector!
I won't dwell on each song, if you watch the video 'The Delicate Sound Of Thunder' you will get a really good appreciation as to what this concert was like.
I must admit to being impressed by the pig that hung overhead with it's eyes glowing during 'One Of These Days'. Likewise the bed that crashed into the stage and exploded was also worthy of mention!
As for the light show, well all I can say is, it was the best I have ever seen and believe me I have been to a lot of concerts over the years. But when I really start to think about it, in my opinion the heart of this Floyd extravaganza (or any Floyd show for that matter) was the incredible sweet music. They performed superlatively all night, with one heart stopping moment when they appeared to have gone off the rails. It was coming towards the end of 'Money' (Which isn't on the PAL video version BTW) when suddenly it appeared to me, or one brief second, that they had lost their way.
What had happened is that they had started a 'jam' and it took me by surprise. Up until
then they had followed what they had recorded down to the last note (well almost).
Now here was something a bit different (the jam differed slightly each of the 3 nights I saw them). I can't say it was a highlight because some of it sounded a bit off key. But it took me back a few years to when Syd would go off and do his own thing. I felt that this little segment (the jam) was included by Dave, Rick & Nick as a sort of 'throwback' to when they were an experimental band.
I thought Scott Page fitted in really well playing his sax and Guy Pratt seemed to have slipped into Roger's role without any detrimental effect on the overall sound. Tim Renwick also played a valuable part as did Gary Wallis and I must not forget the 3 female singers who I think were Margaret Taylor, Durga McBroom and Rachel Fury. (I could be wrong on that score and don't have the programme handy to check).
Anyway these ladies blew me away with their rendition of 'Great Gig In The Sky' which was as good as the original in my opinion.
My ears were ringing as we left the tennis centre. What a night! What a concert! and to think I got to do it all again the following night!
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The post is a soundboard recording in mp3 format (320kps) taken from one of eight concerts held at the Tennis Centre in Melbourne (19th Feb 1988) and was sourced from Bootleg Tunz Radio with thanks. This bootleg is available under many titles 'Anything Can Happen', 'Lapse Of Memory', 'Melbourne Soundboard' and of course' Live At The Tennis Centre, Melbourne'. I have included artwork from all of these titles for your interest along with a range of photos associated with their Momentary Lapse Tour in 1987/88 (with thanks to PinkFloydz.com)
Quite frankly the quality of this soundboard is outstanding
and could easily be released commercially along with other Pink Floyd official live releases. The only disappointment is that "Comfortably Numb" is not the best version I've heard (some strained vocals at the start take away some of the magic) but I guess I should cut Gilmour a bit of slack because his guitar solos are simply out of this world - pure magic!
So I guess the 'balls in your court' - if you want another great Floyd boot in your collection then have a listen to this 'serve by Floyd'. Thanks players, linesmen and ball kids......
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Track Listing
CD1
101 Shine On You Crazy Diamond I-V
102 Signs Of Life
103 Learning To Fly
104 Yet Another Movie ~ Round And Around
105 A New Machine I
106 Terminal Frost
107 A New Machine II
108 Sorrow
109 The Dogs Of War
110 On The Turning Away
CD2

201 One Of These Days
202 Time
203 On The Run
204 Wish You Were Here
205 Welcome To The Machine
206 Us And Them
207 Money
208 Another Brick In The Wall II
209 Comfortably Numb


Band Members:
David Gilmour (Guitar, Vocals)
Nick Mason (Drums)
Richard Wright (Keyboards, Vocals)
Backing Artists
Jon Carin (Keyboards, Vocals)
Rachel Fury (Backing Vocals)
Durga McBroom
(Backing Vocals)
Scott Page (Saxophone, Guitar)
Guy Pratt (Bass, Vocals)
Tim Renwick (Guitar, Vocals)
Margaret Taylor
(Backing Vocals)
Gary Wallis (Percussion)

Pink Floyd Live (297Mb) Link Fixed 26/10/2015
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Tuesday, February 8, 2011

Fraternity - Livestock (1971) featuring Bon Scott

(Australian 1970-75)
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Once over-hyped as potential superstars of Aussie progressive rock, early-'70s hippie collective Fraternity failed to live up to expectations and might have been entirely forgotten to history had their singer not been one Ronald Belford "Bon" Scott -- future legendary frontman for AC/DC.
Formed in 1970 by bassist and de facto band leader Bruce Howe, guitarist Mick Jurd, keyboardist John Bisset, and drummer Tony Buettel, all of the recently disbanded Levi Smith's Clefs, Fraternity were conceived to be Australia's answer to the Band, and, as such, they initially didn't even feel the need to draft a true lead singer for their first trip into the studio to record a single ("Why Did It Have to Be Me?") financed by local independent label Sweet Peach. But they soon changed their minds when Bon Scott became available following the demise of his popular bubblegum group, the Valentines, inviting him to join them at their communal house in Sydney, along with drummer John Freeman (another Levi Smith's Clefs alum), who replaced Buettel. Interestingly, although their lineup was just coalescing at home and on-stage, Fraternity were already seen as a hot commodity based solely on the reputation and experience of the band members, and as they shifted out of blues-rock into art rock, under the influence of groundbreaking foreign bands like King Crimson, the Moody Blues, and Deep Purple (plus countless mind-altering substances, besides), their shows began drawing rave reviews from the excitable Aussie press.
Fraternity was soon ushered into the studio to record the songs for its debut album, 'Livestock', and though Sweet Peach wouldn't get around to releasing it until nearly a year later, the hype surrounding Fraternity continued to grow unabated as they scored repeat TV appearances throughout late '70, and even toured the country behind American rock & roll godfather Jerry Lee Lewis. That tour took them through the south central town of Adelaide, where they were welcomed like returning prodigal sons by fans and press alike, and quickly taken under the wing of one Hamish Henry. The scion of a well-to-do local family and a self-appointed patron of the arts, Henry offered Fraternity unqualified financial support if they only agreed to set down roots in Adelaide permanently, and local boys Howe and Freeman, at least, were more than happy to oblige. This decision altered the course of Fraternity's career forever and for the worse, unfortunately, as they would become increasingly isolated from the Aussie music business hotbeds of Melbourne and Sydney in what was then still a pretty sleepy and geographically remote outpost.
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Nevertheless, after performing at Sydney's Odyssey and Adelaide's own Myponga festivals (two of the largest Australian festivals in the post-Woodstock era), the members of Fraternity settled into a sheltered property outside of Adelaide named Hemmings Farm, which they intended to make into their own "Big Pink," diving headlong into their music and mounds of magic mushrooms. The group also recorded a new single entitled "Seasons of Change" in April of 1971, then welcomed harmonica player "Uncle" John Ayers, who, in the true spirit of the Age of Aquarius, stopped by for a visit and simply never left. Their long-awaited first album, the aforementioned Livestock, would finally emerge that June but impressed few with its bloated art rock meanderings -- even after Fraternity hit the road for a series of gigs across Australia. Even more worrisome, the reality was that, despite this show of activity, Fraternity's members -- now augmented with erstwhile Flying Circus guitarist/keyboardist Sam See -- had frankly grown lazy and unfocused in their entitled seclusion, spending more time communing with the trees in the idyllic surroundings of their Adelaide fiefdom than composing new material or performing local gigs.
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In the end, all this was more peace and quiet than even Bon, Howe, and Bisset could stand, and they duly vacated the farm for downtown Adelaide in late 1971, where they attempted to rekindle Fraternity's fires after being dropped by Sweet Peach. Naturally, it was Hamish Henry who would come to the rescue, dipping once again into his bottomless pockets to finance the recording of a second Fraternity album, named Flaming Galah (that being the aboriginal name for the rose-breasted cockatoo), eventually released through RCA in April of 1972.
Now mostly cured of their ponderous proggyness, the band seemed bent on exploring a bluesier, more boogie-oriented direction, but many of the songs featured were in fact quite old, or re-recorded fare, leaving room for just a handful of new compositions. Meanwhile, Fraternity had tellingly been shunned by Australia's biggest festival ever, Sunbury, so, as a last-ditch effort to make something of their ailing career, they were packed off to England by the ever-faithful Hamish (wives and dog in tow!), where their unshakable self-confidence would finally be put to the ultimate test.
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However, 18 tortuous months later, that test had resoundingly failed. Fraternity had to wait nearly six months before scoring the first of several two-bit gigs, lost Sam See to his old band, Flying Circus, and even changed their name to Fang during the desperate winter of 1972-1973 -- all to no avail. At the last, even Hamish decided that time had come to cash out, and by the early months of 1974, most of the band members had also limped home to Australia, each in his own time, signaling Fraternity's probable demise.
Shortly after his return, Bon Scott miraculously survived a motorcycle accident and then expeditiously joined AC/DC, thus sparing himself involvement in Fraternity's unexpected (and largely unheralded) reunion in early 1975. This produced no further recordings but ironically served to kick-start the career of future Cold Chisel singer Jimmy Barnes, during his lone year with the group as Bon's replacement. By 1976, Barnes was gone and Fraternity had changed their name to Some Dream, then morphed into Mickey Finn between 1978 and 1981, at which time they released a pair of singles before vanishing for good [bio by Eduardo Rivadavia, Rovi]
For some in-depth insight into the band and Bon Scott see the John Bisset Interview
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The rip was taken from a deleted CD re-release of the original LP (see cover below) at 192kps and also includes two additional single tracks - "The Race Part I & II" and their hit single "Seasons Of Change". Full album artwork for the CD release is also included along with select photos of the band. This album was quite exceptional for its time and is an essential addition for both AC/DC fans and collectors of Progressive Australian Rock.
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Tracks Listing
01. The Race Part One (Non-Album Single) 2:57
02. Seasons of Change (Single Version) 3:37

03. Livestock 3:40

04. Summerville 4:22

05. Raglan's Folly 6:02

06. Cool Spot 4:54

07. Grand Canyon Suites 4:54

08. Jupiter's Landscape 2:47

09. You Have a God 2:26

10. It 8:23

11. The Race Part Two (B-Side of track 1) 4:13

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Band Members:
Bon Scott (Lead Vocals, Recorder)
Mick Jurd (Lead Guitar)
John Freeman (Drums)
John Bisset (Keyboards)
Bruce Howe (Bass Guitar)
Uncle" John Eyers (Harmonica On Tracks 1 & 11)

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Fraternity Link (66Mb) New Link 26/09/2015
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