WOCK On Vinyl - Aussie Radio Jingles (Coca Cola)

.

Before things get too serious at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be considered to be either Weird, Obscure, Crazy or just plain Korny.
.This WOCK posting comes under the 'Obscure' category and is Part 2 to an earlier posting, which included Coca Cola jingles by The Easybeats and the Bee Gees.

Music is a big seller of products and services and is an important part of advertising. In particular, well known bands and artists have been used to reproduce commercial jingles to sell their products (in this case that magic elixir we call Coca Cola).
.
This posting provides a sample of some more classic jingles from Aussie bands: Johnny Farnham, The Twilights, The Groove and The Executive.

.Coca-Cola was developed in 1886 by John Pemberton, a Pharmacist at the Eagle Drug & Chemical Company. Initially being sold as a patent medicine for a nickel, the first sale of Coca-Cola was on May 8, 1886 at a Pharmacy in Atlanta, Georgia. On May 29, 1886, Pemberton placed the first Coca-Cola ad in the Atlanta Journal. Coca-Cola was bought out by businessman Asa Griggs Candler who began to market it as a soft drink. The Coca-Cola Company produces extract not soda! They then sell the concentrate to licensed Coca-Cola bottlers who hold exclusive territory rights with The Coca-Cola Company. They in turn produce the final product in bottles and cans.

It was in 1963 that Coca-Cola started using the slogan "Things Go Better with Coke". Advertising agency McCann-Erickson worked with popular acts to create musical jingles utilising the slogan. The jingles became so popular that Coca-Cola eventually distributed 60,000 promotional "Let's Swing the Jingle for Coca-Cola" singles through their bottlers.

In these short radio spots, the original artists would rework their own popular songs to reflect the idea that "Things Go Better with Coke." What's amazing is that these short little reworkings are actually strangely compelling to listen to. In fact, even listening to several of them in a row is enjoyable, sometimes in a head-shaking kind of way. What's bizarre to me is that something that today would seem like such a crass sell-out was deemed not only acceptable, but was actually incredibly popular. What helps, I'm sure, is the earnestness that went into the production of these tracks. Clearly less cynical times, mind you.
.
An Aussie single was released in 1968 for Coke called "A Groovin' With Coca-Cola" b/w "Summerhill Road" (PRS-2028). The A side featured 4 one minute Coca-Cola jingles by The Executives, The Twilights, The Groove and Johnny Farnham. The Groove won the Hoadley’s National Battle Of The Sounds of that year. As a special bonus the B side featured the latest single by The Executives (at the time of its release) "Summerhill Road".
.
Thanks to Woodnet for supplying the FLAC rip of "A Groovin' With Coca Cola".  My favourite Coke Ad on this single in Farnham's, but be assured that all these jingles are worth the listen, cause - 'Things Go Better at WOCK on Vinyl' !
.
Aussie Coca Cola Jingles Link (64Mb)   New FLAC Link 30/03/2020
.

V. Spy V. Spy - Meet Us Inside (1984) Mini LP

(Australian 1981-1994)
.
Spy vs Spy is an Australian rock band from Sydney formed in 1981. They have been known as V.Spy V.Spy, Spy V Spy and quite simply 'The Spies'.
V. Spy V. Spy formed during high school in Newcastle, New South Wales, when bassist Craig Bloxom met guitarist Michael Weiley. Later they moved to Sydney where they met drummer Cliff Grigg. They started off as Spy vs Spy, but had to change their name just prior to releasing their first EP, 'Four Fresh Lemons' to prevent a lawsuit from Mad Magazine. The E.P was recorded for friends on an independent label, Green. The E.P's original pressing was a limited release of 1000 copies. They sold out in 5 days.
Originally the band oscillated between a kind of rocksteady-paced reggae and full tilt Oz rock. This was popular at the time that they formed - there was this whole ska/reggae thing that permeated the Australian music scene at the time, probably due to the influence of Madness and The Specials.
The Spies' music had this potent rhythmic reggae twist initially, no doubt thanks to the lovely skins work of Grigg. It wouldn't be long before some of their signature sounds started to emerge - particularly Grigg's drumming. Eventually their rock side would prevail over the reggae side.
Bloxom eventually became the lead vocalist, singing tales of inner suburban squalor. I read somewhere a tale of Grigg (I think) being busted for squatting illegally, which was probably fairly routine for inner suburban Australian musicians at the time.
They briefly broke up in early 1983 but thankfully were back together by July of that year - temporarily with a fourth member, Marcus Phelan.
Managed by Gary Morris of Midnight Oil fame, the Spies created an unique sound based around Craig Bloxom's driving bass, Michael Weiley on guitar & Cliff Grigg on percussion. Three piece bands often fight to achieve prominence, in the Spies case this was achieved by ear bleeding sound levels coupled with anthemic lyrics and Bloxom and Wieley's alternating vocals.
.
Anyway, to the Mini LP featured in this post. They still hadn't recorded a full length LP at the time, although 'Meet Us Inside' included not one but two bona fide rock epics in "One Of A Kind" and "Mugshot", which clocked in at 6:28 and 7:20 respectively. Not bad for a five track EP. I don't recall them ever doing a rock epic again.
"One Of A Kind" was released in truncated form as a single, but as always the E.P edit is far superior. The song itself starts with some nice rimshots by Grigg followed by the bass of Bloxom. Eventually the signature riff of Weiley's is sighted - an amazingly simple one at that.
Bloxom had this rather earnest vocal delivery which worked for a lot of their tunes and had progressed from the more weedy delivery on their earlier work. It would beef up further in years to come.
On this tune, as with some other Spies' tunes, Bloxom's vocals are punctuated by these little spoken rants delivered by Weiley, which could scared the poo out of anyone. Presumably, this is a tune about mental illness. Eventually, Weiley's signature digital delay pedal shows up. Weiley loved that pedal, and with good reason - nothing symbolised the Spies' sound more than that pedal. The Digital Delay was to the Spies what Robert Smith's Chorus pedal was to The Cure.

.The Spies went on to record a trilogy of extremely strong albums in 'Harry's Reasons?', 'A.O. Mod. T.V. Vers'. and 'Xenophobia [Why?]' before returning to their reggae roots a little with 'Trash The Planet' in 1989.
The Spies travelled to the UK to record 'Trash The Planet' but this album wasn't nearly as strong as the previous three, and the Spies found themselves without a label. Grigg left about this time to be replaced by Mark Cuffe.
Somehow along the way, they'd picked up the tag, "Poor Man's Midnight Oil", no doubt due to both the political content of their lyrics and the fact that they shared a manager with Midnight Oil.
.
They changed their name back to Spy vs Spy before recording Fossil, and around this time they discovered religion and became committed Christians. I didn't hear much from them after this, although I remember reading something where Cuffe moved out the front of the band to share lead vocals with Bloxom and Weiley and they got another drummer.
A 'best of' collection, 'The Spy File', was released in June 1992. Subsequent release Fossil was relatively ordinary and the band called it a day in 1994.
Bloxom appears to be a chef in Mexico, now, judging by his profile on Vuze.
In 2007, some of the former band members were touring as Spy - Spy and performing all of the classic hits. For a full discography of their albums, have a look at the following PDF
.
This post consists of a 320kps rip of this Mini LP taken from a cassette release (my vinyl copy has seen better days) and includes full album artwork and label scans. The reproduction is impressive and matches anything that could be produced from vinyl.
(band photos were sourced from The Spies Website with thanks)
.
Track Listing
01 - One Of A Kind (Full Version)
02 - Where Are We Going
03 - Voices Of The People
04 - Mugshots
05 - CES Limbo
.
Band members:
Craig Bloxom - Bass & Vocals
Mike Weily - Guitars
Cliff Grigg - Drums
Guest Artist: Sue Kempster - Cello
.
Spy V Spy Link (56Mb)
.

Free - Live! (1971)

(U.K 1968–1971, 1972–1973)
.
Free was an English rock band, formed in London in 1968 and had a somewhat turbulent history. Their best-known line-up was founder Rodgers (b.Middlesbrough, Dec 12, 1949), Kirke (b. Chelsea, London, July 28, 1948) and Kossoff (b. Hampstead, London, Sept 14, 1950 - d. Mar 19, 1976).
Kirke and Kossoff were playing together in a blues group, Black Cat Bones, when they saw Rodgers singing with the outfit Brown Sugar in a North London pub, The Fickle Pickle.
The three assembled their new band with the addition of Andy Fraser, 16-year old bass player from John Mayall's Bluesbreakers.
While still in their embryonic stage, they came to the attention of Alexis Korner, one of' 'founding fathers" of British blues, who suggested the name "Free", introduced them to Island Records boss Chris Blackwell (who wanted to call them The Heavy Metal Kids), provided early musical 'coaching', and even arranged group's debut gig in spring 1968.
Though the subject of some initial criticism - they were dubbed as ersatz Cream in certain quarters of British rock press - the band established a strong club following within a year of formation, playing a mix of original material and blues standards.

.Early albums (first in 1969) were only moderately received by press and public alike, until in 1970 their original composition, "All Right Now", went to #1 in British singles lists, and into American Top 5 in autumn of that year. Free followed up with their next big hit "My Brother Jake".
In early 1971, however, for a variety of reasons never fully explained, one of them being possibly their immaturity, the band split — for the first time.
Each member pursued various, though largely unsuccessful projects. Rodgers and Fraser formed own bands, Peace and Toby respectively; Kirke and Kossoff recorded album (Kossoff Kirke Tetsu Rabbit - Island, 1971) with Texan keyboards player John "Rabbit" Bundrick and Japanese bassist Tetsu Yamauchi.
Then in early 1972, the band regrouped with their original lineup to cut a disappointing 'Free At Last', plus the hit single "A Little Bit Of Love", and for a reunion tour.
Fraser departed towards end of that year, however, and Tetsu and "Rabbit" - from a fore mentioned album - came in to make Free a five-piece for only a short period of time before Paul Kossoff, suffering from drug addiction, also quit. Nevertheless, Kossoff appears on parts of the final Free album 'Heart-breaker' (1973).
Wendell Richardson, then with Osibisa was brought in as a temporary replacement for Free's early 1973 American tour, after which Tetsu quit to join The Faces.
Free disintegrated for second and last time in late 1973, allowing Rodgers and Kirke to form instantly successful Bad Company. Original bassist Fraser subsequently led own eponymous Andy Fraser Band with relatively little commercial success [extract from The Illustrated New Musical Express Encyclopedia of Rock, by Nick Logan & Bob Woffinden, 1977 - p89)
Due to the publicity caused by their breakup, a live album was rush-released by Island Records to commemorate the band.
Recorded in 1970 and comprising of tracks drawn from their 1st four studio albums (Tons of Sobs, Free, Fire and Water, Highway), this is a brilliant and powerful live album from one of the great blues rock bands ever...'
A fitting live document to a magnificent band who were sadly short-lived. At the time, Free was on the verge of becoming extremely big, they just couldn’t see it. These live tracks capture this feeling very well indeed. I would give my paycheck to see these guys play live if only I could. Alas, Free Live! is the next best thing [review from Amazon]
.
This post consists of a rip (320kps) taken from my vinyl copy which I bought as a teenager and represented my first introduction to this legendary band. Full album artwork for both CD and vinyl is included along with label scans. I consider this album to be one of the few classics that have stood the test of time and it is still an integral part of my general playlist. Hope you enjoy it!
.
Track Listing
01 - All Right Now
02 - I'm A Mover
03 - Be My Friend
04 - Fire And Water
05 - Ride On Pony
06 - Mr Big
07 - The Hunter
08 - Get Where I Belong (Studio Track)
..
Free were:
Paul Rodgers (vocals)
Paul Kossoff (guitar)
Andy Fraser (bass)
Simon Kirke (drums)
.
Free Live Link (95Mb)  New Link 23/10/2015
.

Crossfire - Selftitled (1975)

(Australian 1974 - 1982, Present)
.
The cover may have you expecting some prog-psych-rock nightmare, but this is actually a rare piece of Australian 70s jazz. This album is largely instrumental but does include a vocal or two. It was only after many years that vocals would again feature when Crossfire toured with Michael Frank out front.
Crossfire were my introduction to electric jazz - introduced to the funk via the radio and some Reneé Geyer shows, then this local band Crossfire appeared in 1975, with some funk guitar riffs, rhodes and various woodwinds and brass, often with several instruments played through wah-wah pedals.
Listening to it again now, more than thirty years later, I think I can hear what they might have been listening to - maybe some early pre-guitar wank 'Return to Forever', some wah-wah Eddie Henderson, and even the occasional MPS jazz artist?
Crossfire made seven albums, and often backed international jazz visitors like Randy Brecker, Ben Sidran and of course Michael Franks on a 1980 live album.


The following is an article published in the Dec 5 1975 edition of RAM magazine (editorial by Felicity Surtees)
.
Crossfire: The approach is serious
Ironical, that's what it turned out to be. Y'see there's this group in Sydney called Crossfire who've established something of a reputation for themselves around the biz. Stories of people standing on each other's shoulders and applauding till they came up in bruises were not uncommon.
So here's what happens, your scribe turns up at the waterings-hole of French's to see the marvel and sure nuff, a band is playing involving and spontaneous music that stirs the crowd into mighty enthusiasm. They are finally let from the stage after they plead, "We just don't know anything else to play."
Good group that Crossfire, heh?
What's that?
Well, turns out it wasn't Crossfire after all. Crossfire had had to cancel out of the gig and what had been blowing was a jamming outfit consisting of the rhythm section of Sydney group Rocket with a few footloose sax players, etc. thrown in.
Oh, I see.
So anyway, catching the real Crossfire the next Saturday arvo was something of an anticlimax. It turns out that Crossfire is a bunch of very competent musos with influences ranging far and wide — but somehow the afternoon seemed to be lacking in the uh ... high spirits dept. The audience was part of
Crossfire's dedicated following and there was polite applause after any particularly tasty solo etc. The approach was Serious.
Earlier, as I d stumbled past the sprawled bodies of French's stairs, I d noticed a large poster asking Crossfire—Jazz or Rock? So I put the question to bass player, Greg Lyons. He returned it with a polite frown, saying, "That is not our doing. What we play is contemporary music. We re influenced by everyone really ..." Which basically means that Crossfire are not about to confine, define or restrict themselves with labels. "It allows everyone to be creative," explains Greg. Which is what Crossfire is about. A band where its members can feel free to experiment without compromising. It was originally formed as a creative outlet outside their "day jobs". Day jobs that ranged from percussionist lan Bloxsom's stint with the Sydney Symphony Orchestra to the various session/studio work of the other members. But now their first album Crossfire has been released, and it's gone past the stage of being just a creative outlet and has become a major part of their lives. As the band's guitarist, Jim Kelly puts it, "It's more of an onwards and upwards kind of thing."
Oh, I see.......
.

 

Post consists of a 320kps rip from vinyl and includes full album artwork (thanks to Micko and the Midoztouch community for the vinyl rip and scans). I have also included a scan of the magazine article featured above, along with a bonus track featuring Jim Kelly playing live at a small music venue called 'Queens Head Cafe' in Tasmania, sometime in 2011. Unfortunately, the track is untitled and was sourced via YouTube.
Complete with Derek Smalls 'etching' cover art, this is pure punchy driving fusion goodness, straight from the top drawer. Shades of Mahavishnu Orchestra, Soft Machine and electric Miles and all bundled up in knat's-chaff-tight arrangements.
This 1975 album is their first and best album in my opinion and I regret the day I sold my copy at a record fair back in the 80's. Hope you enjoy it!
.
Track Listing
01. Remember The Trees (Jim Kelly)
02. Nobody Nose (Mick Kenny)
03. Freddie Funkbump (Jim Kelly)
04. Perverted Pavanne (Mick Kenny)
05. Inside Out (Mick Kenny, Don Reid)
06. Nada (Ian Bloxsom)
07. Stygian Night (Mick Kenny)
08. You Gotta Make It (Greg Lyon)
09. Bonus live track (Jim Kelly, Queen's Head Cafe, 2011)

Band Members:
Greg Lyon - bass, voice
Mick Kenny - keyboards, trumpet
Don Reid - Reeds
John Proud - drums
Ian Bloxsom - percussion
Jim Kelly - guitars
.
Crossfire Link (119Mb)