Thursday, May 30, 2013

W.O.C.K On Vinyl - Redgum: Roll It On Robbie (1987)

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Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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Formed in Adelaide, Australia in 1975, the success of Redgum’s brand of folk/rock political satire has since been regarded as an anomaly, albeit thoroughly deserved. The core members comprised university students John Schumann (vocals/guitar), Verity Truman (vocals/tin whistle/saxophone), Michael Atkinson (vocals/guitar/mandolin), and have in the past included 15 other musicians.
After going professional the band built up their support base by constant touring featuring an excellent live show, with stage wit provided by Schumann, whose droll voice was the antithesis of the traditional rock hero. Their debut album provides some of their best material, comprising typically astute observations on the rich, the hypocritical, politicians and the plight of the under privileged, but it was only originally available on a small independent label. National mainstream success was not achieved until the release of ‘I Was Only 19’, in 1983, a song written about a survivor of the Vietnam war, which compares favourably with three other poignant anti-war songs by fellow Australians - ‘Jungle Green’ by Broderick Smith, ‘The Band Played Waltzing Matilda’ by Eric Bogle and ‘Khe Sahn’ by Cold Chisel. A second hit single, the reggae-flavoured ‘I’ve Been To Bali Too’ (1984) hit home with many Australian tourists. As the band lost more original members, they began to lack their characteristic bite even though their albums became better produced.
This, their third Australian chart single from 1987, ‘Roll It On Robbie’, caused outrage amongst the conservative elements of the country because it encouraged the use of condoms to promote safe-sex. A non-LP single, it was intended as a humorous promotion for the use of condoms and the fight against the spread od AIDS.  It was Redgum's final single release and it entered the Top 40 Charts, but the now-rare single was regarded more as a novelty song than a serious piece of social advice. Composer John Schuman now reportedly considers the song "an embarrassment" which is a shame, as the intentions behind this single were quite honourable in my opinion.[extract from
John Schumanns's Website]
Below is an article from Juke 1987 regarding this single, which refers to Ansell's intention to provide one free condom with each single sold. It would seem however, that Redgum's record company CBS were not comfortable with this proposal as the company feared it might be liable for any malfunction in the condom provided.
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So, whether this month's entry into the 'WOCK on Vinyl' Hall of Fame is the O for Obscure (there's one copy selling on eBay at the moment for $50) or simply the C in Condom, I reckon  "Roll It On Robbie" deserves another 'stretch' in the limelight.
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Track Listing

01 - Roll It On Robbie
02 - Empty Page
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Redgum Were:
Hugh McDonald - lead vocals, guitar
Verity Truman -vocals
Michael Spicer - keyboard, vocals
Darren Deland - bass, vocals
Malcolm Wakeford - drums, vocals

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Redgum Link (20Mb)
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Monday, May 27, 2013

John Paul Young - The Singer (1981)

(Australian 1972 - Present)
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When John Paul Young (JPY) was a boy his family moved from Scotland to Australia, where he quickly learned to imitate the local accent to avoid being teased by his classmates. It was with this newly learned voice that he started singing, joining a production of Jesus Christ Superstar and becoming the lead singer for rock band Elm Tree in the 1970s. During one of their performances he was spotted by manager and sometimes-producer Simon Napier-Bell, who asked him to record an overdub for a song called "Pasadena." That song was written by Harry Vanda and George Young of the Easybeats, who were impressed enough with him to become John Paul Young's songwriters, penning a string of pop songs that gave him chart success in Australia as well as Europe and Asia. It wasn't until the late '70s that he became world-famous, first for the disco song "Standing in the Rain," and then for the biggest hit of his career, "Love Is in the Air." John Paul Young attributed the song's success to the direction of George Young, who had told him to make the song casual by singing it as if it were a conversation. Subsequent singles either unsuccessfully attempted to re-create the disco formula of "Standing in the Rain" or turned towards rock, which gave him several more hits within Australia in the early '80s.

In 1981, Young recorded an album of 1960s rock and pop favourites called 'The Singer', again for the budget label Hammard and his cover of The Stones/Chris Farlowe classic "Out of Time" came out as a single in September 1981. Despite its budget price, the album featured top-shelf session musos including guitarists Jimmy Doyle (ex-Ayers Rock), and Stuart Fraser (ex-Feather), Rex Bullen (keyboards; ex-Bakery), Ralph White (trumpet; ex-Fugitives), Les Young (bass; ex-Chessmen) and Russell Dunlop (drums, percussion, synthesiser; ex-Levi Smiths Clefs, SCRA, Johnny Rocco Band, Ayers Rock).
Young eventually retired from singing to become a radio DJ, but came out of retirement in 1992 when a version of "Love Is in the Air" was used on the soundtrack to Baz Luhrmann's film Strictly Ballroom and the song became a hit once again. After performing his old hits at live concerts for another decade, including a performance at the 2000 Sydney Olympics, he returned to the studio with Harry Vanda's Flashpoint Music in 2006 to record a new album, In Too Deep. [extract from iTunes]

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Interview with John Paul Young when he celebrated 40 years in the Australian Music Industry 
(Transcript taken from the Herald Sun with thanks)

In 2012, John Paul Young celebrated 40 years in the Australian music industry with both a solo tour and another turn in the massive Long Way To The Top concert production.To viewers at home, he looked and sounded convincing. A real star. But that's not how John Paul Young remembers the first time he sang Yesterday's Hero on ABC's Countdown, in front of an ecstatic studio audience.
"I was a scared little rabbit," Young says. "And I had every reason to feel scared because Molly Meldrum had teed everybody up in that studio to yank me down off the stage and to go crazy. I was the only one who wasn't in on the gag. To me, it wasn't a gag.
"Anyway, during the song, I did get yanked off the rostrum and I'm on the floor with a microphone without a cord and I'm telling the floor manager there's no sound and he's saying, 'I don't care, get back up'. In the end, he threw me back up and I'm there, trying to finish the song with no shirt . . . just two cuffs. So embarrassing."

Did he think about quitting pop music, right then and there?

"Nah. I thought, 'At least something might happen out of this'."

His instincts were right. Yesterday's Hero might have been about the fleeting nature of pop stardom but when Harry Vanda and George Young's song became a chart-busting smash in 1975, Young's world turned upside down. Suddenly, the former sheet metal worker from Sydney's west was known everywhere as JPY or Squeak. He became a sailor-suited regular on Countdown, he powered a stack of monster radio hits (The Love Game, I Hate The Music, Standing in the Rain) and he was the subject of teenage frenzies at Festival Hall.

"Did I feel like king of the world? Yeah, I did," he says now. "I actually enjoyed the transformation."


Next month, Young marks four decades in showbiz with anniversary concerts. "It's going to be a real celebration," he says, cupping a candle-lit cake for our photographer. "Forty years since I met my wife (Lynette), 40 years since I met Meldrum and 40 years as a professional performer. Amazing."
The Allstar Band that has backed Young down the years will pound out those hummable hits. And being a nimble storyteller, with a knack for funny accents, he's sure to take a stroll down memory lane. Get ready to hear about the time Young first heard Pasadena on a car radio, the night he played to "diamonds and furs" in Johannesburg, and the day he finished recording Vanda and Young's Love is in the Air in 1978: "I remember thinking, 'Oh, yeah ... this is good'. But I was cautioned. (Music publisher) Ted Albert called me into his office - which didn't happen very often - and put the record on. 'Whaddya think?' I said, 'I think it's a hit'. And he said, 'Don't ever say that. This is too funny a business ... but you're right, it is good'. Still is."


"Love is in the Air" opened doors for Young in Europe and North America but instead of settling in Los Angeles, "where people wanted to turn me into the next David Cassidy", he flew back to Australia.

"Looking back on it, yeah, I suppose it was gutsy. In a weird way, I knew what I didn't want."

Young has always been the plain-speaking type. It's to do with his Scottish upbringing ("Seven of us living in a one-room apartment in Glasgow") and those hard-scrabble years in the mid-'60s when he was living on Sydney's outskirts and hiding his accent so he didn't get bullied. His passport to acceptance was music. Fronting a local band (Elm Tree) when he wasn't welding, he got noticed and landed a lead role in Jesus Christ Superstar. Then Countdown happened.

"I do have a determination in me but it's not really an ambition," he says. "I just want to be safe."

When Young's son Danny announced he wanted to be a singer, he tried to talk him out of it "because this is not an easy business. It can break your heart".
With albums fizzing and lawsuits flying, Young "retired" in 1984. Breakfast radio put him back in the spotlight. So did Baz Luhrmann's Strictly Ballroom (1992), which recycled Love is in the Air. Young sealed the deal by singing the song to his biggest audience at the Sydney Olympics.

"The royalties? Oh, they're OK. They allow me to say, 'No' every now and again, which is a nice luxury."

JPY Today
For our interview, Young slips into a smart suit with grey pinstripes. He wears it well, but there's no hiding his origins. This nuggety bloke with the salt-and-pepper mop is a survivor, an authentic Australian who has never taken his successes for granted.

"We arrived here on Australia Day, 1962," he says, "and the place was absolutely deserted. No flags, nothin'. Now it's huge. I've been to Australia Day events and told a version of my life story and about what it's like to be an immigrant."


So, Australia is home ...
"If you were to say to me you can live anywhere you like in this country, I couldn't give you an answer. It's everything to me."

Young swallows hard and his eyes mist over.

"Sorry. It's because my old man and my mum, they were brave ... you know."

Yesterday's heroes?

"Yep."      [article by
Simon Plant, Herald Sun, April 21, 2012]
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This post consists of an MP3 (320kps) rip from my trusty vinyl LP which has held the test of time and cost me a whopping $1.98 when I bought it from K-Mart way back in the early eighties.  Of course full album artwork (with the price tag still attached) is included, along with label scans for the inquisitive.
Over all, I quite like this album as it highlights JPY's ability to sing cover songs as good, if not better, than the original artists themselves. For most of his early career, JPY had been singing songs specially written for him by the Australian powerhouse songwriting duo 'Vanda & Young' (no relation by the way). From the Beatles' "Fool On The Hill" to Steppenwolf's "Magic Carpet Ride", to the Kink's "You Really Got Me", he delivers each song on this album as if it were his own. 
The only hiccup is "All Along The Watchtower" which doesn't quite reach the mark in my opinion, but then again, Dylan and Hendrix are big shoes to fill.  
Although released on a budget label, at a time in JPY's career when he was trying to distance himself from his pop idol image, this album is worth a listen and as the title states, he is A Singer, and a good one at that.
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Track Listing
01 - Hold Me

02 - Summer In The City
03 - Good Lovin'
04 - Fool On The Hill
05 - All Along The Watchtower
06 - For Your Love
07 - It's Too Late
08 - Out Of Time
09 - Magic Carpet Ride
10 - 1, 2, 3,
11 - Groovin
12 - You Really Got Me
13 - Soul Sister
14 - Please Don't Let Me Be Misunderstood

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The Band:

John Paul Young (Vocals)
Jim Doyle, Stuart Frazer (Guitar)
Les Young (Bass)
Rex Bullen (Keyboards)
Russell Dunlop (Drums, Percussion & Synthesiser)
Ralph White (Horns)
Geoff Oates (Sax)
Karen Smith, Russell Dunlop (Backing Vocals)

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JPY Link (95Mb)
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Saturday, May 25, 2013

Captain Beyond - Frozen Over (Live In Arlington, Texas 1973) Bootleg

(U.S 1971-79, 1998-2003)
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'Far Beyond a Distant Sun - Live in Arlington Texas' is the best Captain Beyond live bootleg album to date. It was recorded in 1973 (but wasn't officially released until 2002), after the release of their 2nd LP Sufficiently Breathless, with the four original member reuniting for a brief tour before Rod Evans leaves. The album was recorded at the University of Texas at Arlington in support of King Crimson.
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With the original line-up, this live album features all classic Captain Beyond tracks like "Dancing Madly Backwards", "Distant Sun", "Mypopic Void" etc. plus an excellent guitar solo from Rhino and a fantastic drum solo by Bobby Caldwell and lastly, a rendition of Jimi Hendrix's "Stone Free". This is definitive Captain Beyond live in concert and by far, the best sounding live bootleg by them (there's no official live album of Captain Beyond). Rod Evans reaps through this set while Rhino and Bobby Caldwell are consistent as ever. This gig shows the real dynamics of the band and proves how great they were in live settings. What a combination of energy and sophistication! The music is well thought out--it's classy, but tailored... knock your socks off. Sad that Captain Beyond didn't last long, but their impact on today's heavy prog/stoner rock revivalists is evident..
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Captain Beyond 1973
After leaving Deep Purple, Rod Evans recorded a solo single for Capitol, then went on to form Captain Beyond, along with former Johnny Winter drummer Bobby Caldwell, former Iron Butterfly bassist Lee Dorman and guitarist Larry "Rhino" Reinhardt, who also was part of the last incarnation of Iron Butterfly. This band proved to be very influential, but sales never reflected their musical achievements. Lack of commercial success ended the group after three albums.
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The original line-up for Captain Beyond were singer Rod Evans (ex-Deep Purple), drummer Bobby Caldwell (ex-Johnny Winter), guitarist Larry "Rhino" Reinhardt (ex-Iron Butterfly), bassist Lee Dorman (ex-Iron Butterfly) and keyboardist Lewie Gold. Gold left due to personal reasons before the first album was recorded. The remaining line-up recorded the self-titled debut album, released in 1972. Following this album Caldwell left the band to join Derringer and was replaced by drummer Brian Glascock. Also joining the band around this time were Reese Wynans on keyboards and Guille Garcia on congas. The record company's chosen producer, Giorgio Gomelsky, did not like Glascock's drumming and requested a new drummer. Glascock was released and Marty Rodriguez was brought in on drums on the recommendation of Garcia. This six man lineup recorded the group's second album, Sufficiently Breathless. Tension during the recording led to Evans quitting. The original lineup reformed later in 1973 for a US tour but the band split up at the end of the year.
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Live on stage at Arlington, Texas
The band reformed in 1976 with Willy Daffern on vocals, and Bobby Caldwell, Rhino and Lee Dorman completing the line-up. They recorded the band's third album Dawn Explosion on Warner Bros., but broke up in 1978.
Reinhardt and Caldwell reformed Captain Beyond in 1998 with Jimi Interval on vocals, Dan Frye on keyboards, and Jeff Artabasy on bass. Since then they have been performing at shows and have released a four track EP. In 1999, Swedish record label Record Heaven released a tribute to Captain Beyond entitled Thousand Days of Yesterday. The album features fellow 1970s rockers Pentagram playing "Dancing Madly Backwards".
Captain Beyond once again disbanded in 2003 when lead guitarist Larry Reinhardt developed cancer. Following treatment, Reinhardt continued to perform music until late 2011, when he again fell ill. He died on January 2, 2012. Bassist Lee Dorman died on December 21, 2012.
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There have been two releases for this Live Texas show, this bootleg entitled 'Frozen Over' and another later release called 'Far Beyond A Distant Sun - Live in Texas' by Dream Clinic records. The difference between these two releases is the track listing with this release been more complete.
The post consists of an MP3 rip (256kps) and includes full album artwork. I have also included the artwork for the alternative release for comparison (see below). This is a great bootleg, and although there is some background hiss, the recording isn't bad.
So sit back, crank up the volume, and prepare to be Frozen All Over !
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Tracklist
01 Taped Intro / Distant Sun – 6:33
02 Dancing Madly Backwards On A Sea Of Air – 5:52
03 Armworth – 1:46
04 Myopic Void – 5:02
05 Drifting In Space – 3:02
06 Pandora's Box (It's War) – 8:50
07 Thousand Days Of Yesterdays - 1:34
08 Frozen Over - 4:31
09 Butterfly Bleu (Rhino Guitar jam) - 6:40
10 Mesmerization Eclipse / Drum Solo - 18:44
11 Stone Free - 5:43

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Captain Beyond are:
Rod Evans – Lead vocals, Tambourine 
Larry 'Rhino' Reinhardt – Lead guitar, Backing vocals 
Lee Dorman – Bass guitar, Backing vocals 
Bobby Caldwell – Drums
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Captain Beyond Live Link (126Mb)

Tuesday, May 21, 2013

Hush - Aloud 'n' Live (1973)

(Australian 1971-1977)
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Hush: a funny name for a rock band that turned thousands of teenies on to hysterical weeping and screaming and which was once barred from entering a country town by the mayor who did not want them "interfering" with the local girls.
Band members were loud in every way: from their satiny costumes and fluffy mullets to their thrusting and wiggling, and their songs, which were mainly a celebration of sex, including "Glad All Over", "Get the Feeling" and their No.1 hit, "Boney Moroney".
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Biography
Hush started as a 5-piece local dance group in Sydney in '71. Musically they just weren't very good. But they were enthusiastic and their repertoire mostly consisted of instantly recognisable, very danceable rock classics (Rolling Stones, Free, and Who numbers). This early line-up of the group contained vocalist Keith Lamb, bassist Rick Lum and drummer Smiley Pailthorpe. They recorded one single for the Phonogram record company, a Keith Lamb original called "You". The flip side was a Neil-Sedaka song "Rainy Day Bells".
Guitarist Les Gock joined the group in August 1972 and the group made the NSW State Finals of a National Battle Of The Sounds competition. Another Sydney group, Sherbet, went on to win the NSW and National finals of that competition. — but Hush were mightily chuffed at even reaching a State final and just 2 years later they would release a single "C'mon We're Taking Over" that was specifically directed at Sherbet, who had gone on to consolidate their own position as Most Popular Group in Australia.
But back to '72. As soon as Les Gock joined the band and they'd made the State final, some internal chemistry within the band started working. Inside a few months the group were suddenly the biggest crowd drawers on the Sydney dance circuit. They certainly poured every erg of collective energy into every performance and large groups of young rock 'n' roll consumers suddenly found something better to do than loll around home on Friday and Saturday nights waiting for their parents to come back from the RSL - they went out to scream and dance and sweat to Hush.
But while promoters were only too anxious to book the group, the prevailing feeling was that Hush were a group of thrashers who were pulling the crowds but that the whole thing would pass away within the next six months.
They were in fact treated much as a novelty — a popular band with no lasting power. This attitude was pretty much reflected when the group signed to the Warner Bros. Record Company which put them in the studios to record an uptempo version of "White Christmas".
Bing Crosby's version of White Christmas is of course the biggest selling record ever made, it's something like 10,000,000 copies in various forms since its its release in late '49.
When set against this standard, Hush's version did particularly dismal business. It sold about 200 copies and got absolutely no airplay.
Well it was a pretty dire record anyway. The sort of record that, on reflection; a band hopes its fans never get to hear.
Having had no luck with record sessions, Hush concentrated on live work for most of '73. They toured interstate and investigated country areas of NSW. It was during this period of touring that the band gained themselves a reputation for sexual shenanigans. It became almost ritualised behaviour for girls to leap on stage and tear off their clothes while the band played Summertime Blues. In Perth, during one particularly high energy bracket, an overwrought female fan had an orgasm on stage.
"Untouched by human hand — all by herself," remembers Keith Lamb fondly.
In October of '73 the band went back into the studio to record their most popular original song, "Get The Feeling". They didn't adapt to studio conditions any better than on previous efforts, and in an attempt to get their on-stage energy onto record they next put down a live album in front of a few hundred selected fans packed into a Sydney studio. The album Aloud 'n' Alive, was released in December of '73, on the Warner Bros. label.
Hush 1973 Promo Shot
Once again the final sound on record conveyed practically none of the band's on stage energy, but the album still sold. The groups fans were able to bridge the gap between the group's live and recorded performances. Quite recently the album notched up enough sales to earn itself a gold record.
The success of the album and the band's vast popularity in country areas around NSW finally inspired airplay of the "Get The Feeling" single in 1974. Hush hit the road with a vengeance, extending their touring schedules to take in country areas throughout Australia. The move extended the concert popularity and got further airplay for "Get The Feeling". In March of '74 Hush moved to the Wizard Record Company and recorded the "Get Rocked album. On every level it was better than anything else they'd ever done in a studio. A single called "Walking" from the album scored them their first national hit and the album sold over 45,000 copies.
The band's third album, 'Cmon We're Taking Over' was made in the euphoria of having scored heavily with 'Get Rocked'.
As already related, the title track of C'mon was a calculated challenge to every other Australian band — especially the most popular, Sherbet.
The album and the single was also a calculated move towards musical sophistication. The band experimented with horn and string arrangements and threw in a couple of ballads for extra artistic effect.
It turned out to be too much too soon. As a single, "Cmon We're Taking Over" received near saturation airplay, but did not prove as popular as the mere basic, raunchier "Walking". The album sold well initially then faltered badly. Hush themselves were struggling with an identity crisis.
They were still regarded as a local dance band who could put on a good stage show and who had somehow fluked a hit record and brief national popularity. The group's attempts to update this image with an artistically credible album, i.e. C'num We're Taking Over, didn't work out as planned and the last straw was that their popularity in their home town at Sydney suddenly plummeted. A Sydney Hordern Pavilion concert in early '75 drew only a few-thousand instead of an expected 4,000.
At this time the band were also not having any joy with a new single, "Boney Moroney". It had been recorded under the direction of producer Robbie Porter but the band didn't like the song very much and when radio stations didn't play it the group felt very frustrated indeed.
They left Australia for a while, touring New Zealand and Noumea for six weeks. The tour on the whole was successful and spirit were further uplifted upon their return to find a few radio stations were actually playing Boney.


And then "Boney Moroney" took off. It gained airplay and high chart positions in state after state and ended up selling over 50,000 copies. It spread slowly all around Australia, staying on most national charts for most of '75 and it ended up being No.1 National Hit for '75 on the Countdown TV series pop charts.
The follow up single, "Glad All Over" was not as highly successful but it was successful enough, and it was also the single that attracted most interest from record companies in England and America — an interest that has resulted in the band being offered a tour of England in late '76. Hush's most recent album, Rough Tough 'N' Ready (released Dec '75) contained both Boney and Glad All Over singles and was a return to the raunchy rock format of the get Rocked era. It was also the closest yet studio approximation to the band's on stage excitement level. [extract from RAM magazine 1976]
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Molly handing over a Platinum Single for Boney Moroney on Countdown
This post consists of a vinyl rip in MP3 (320kps) format along with album artwork and various band promo shots and photos (sourced from Hush's website with thanks).  Also included is a scan of the RAM Collection Centrefold feature on the band, as transcribed above.  I have also chosen to add a few rare bonus singles to the post - namely their 1972 reggae rendition of "White Christmas" (thanks to Ozzie Music man), their single "Get The Feelin'" and a special single-sided promo single for Colonial Jeans called "Get Flaired' (see below) which was a rework of their popular live track "Get Rocked".  Flaired jeans were certainly the flavour of the day when this promo single was released in 1974, and I reckon I might have had a pair or two myself !


Track Listing
01 - Take Us Home
02 - Three Blind Mice
03 - Make luv to You
04 - Honky Tonk Woman


05 - Come On Up
06 - Summer Time Blues
07 - Green Skin Girl From Mars
08 - Come On Everybody
09 - Get The Feelin'
10 - Morning Dew
11 - Johnny B. Goode
12 - Long Tall Sally
13 - Black Skin Blue Eyed Boys
14 - Get The Feelin' (Bonus single)
15 - Get Flaired (Bonus Colonial Jeans Promo Single 1974)
16 - White Christmas (Bonus Single)

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Band members:
Keith Lamb (vocals)
Les Gock (guitar)
Rick Lum (bass)
Chris Paithorpe (drums)

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Hush Live Link (138Mb)
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Monday, May 20, 2013

Hush - Rough, Tough 'N' Ready (1975) - REPOST -

(Australian 1971-1977)
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Hush's most succesful line-up included Keith Lamb (vocals), Les Gock (guitar), Rick Lum (bass) and Chris Paithorpe (drums). The band came to public notice when they made the final of the 1972 'Battle Of The Bands' and won a recording contract with WEA. But their careers didn't immediately take off and it was only with 'Loud'n' Live' in 1973 that they began to move up the charts. In 1974 they moved to Wizard Records and charted with the single "Walking". Then in 1975 they did a heavy cover of "Bony Maroney", which went to No.1 and their album 'Rough Tough 'n' Ready' went platinum (see picture with Molly presenting the award to Hush)
Countdown changed the career of Hush by exposing them to a much wider audience than they had ever played to while touring. Hush were perfect for television and perfect for Countdown - glitz, glamour, spectacle and catchy riffs. 
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Interview with Hush (RAM Magazine - Jan 2, 1976)
"The Further Dragon Flight Adventures of Hush"

 - Rough 'n' Ready Road Crews and Bad Thoughts for Tasmanian Politicians -

As you know, one of the legends about Chinese restaurants is that the food they serve up to their countrymen is different, richer, more succulent and delicious.
In the kitchens (so the legend goes), there are two pots. One boils and bubbles with rich, secret aromas. This is The Real Thing.
The other contains but a taste test of The Real Thing, this is the stuff they give to Australian diners.
So anyway, there we were in a Chinese restaurant and Les Gock of Hush is ordering in actual, Chinese. He is conversing with the waiter at some length about every dish being ordered. The waiter, his head bent over the menu is shaking his head at some entries, guiding Us through, the maze of listings — pointing to where the secret taste delights are concealed from western eyes.
Keith Lamb who has stepped off a return flight from London a few hours before is sitting back, re-gathering his vitality. And Hush manager Peter Rix, wearing an incongruous denim hat Lamb had brought him as a present, casts an avuncular, friendly eye over the proceedings.
The restaurant, which some years ago used to be a student hang-out with laminex tables and lino floor, but which of recent times has changed over to carpet, piped musak and higher prices, takes some time to deliver the specialities to the table. And ... mmmmmm ... munch, chew, swallow ... jeeze, it's no different from the stuff you get if you order in English,
Ah well, another Oriental Legend hits the scrap heap.
By the way Les 'n' Keith, are the Chinese and Occidental factions in Hush still struggling for supremacy?   
"I'm sick of 'avin' all those bloody dragons and Chinese symbols on stage," mutters Lamb. "The only thing is, Smiley (Pailthorpe, Hush's drummer) and me can't get it together to get something happening".
"Like he wants an Australian flag on stage, but ah'm British mate, an' I want the Union Jack."
"These Westerners are too disorganised to even get close to superior Chinese intelligence," grins Les Gock.
"They're crafty bastards,admits Lamb. "We try not to stay at the same motel with them any more ...."
"Mind you," he adds, "that especially applies to Queensland, where they sometimes try and run Les and Rick (Rick Lum, Hush bass player) out of town at 2.00am in the morning."
"Nothing personal, he assures us. "But I'm a growing pop star with a reputation for wild behaviour to maintain. And I need me sleep."
"The elected member for Bass in the Tasmanian parliament got up in the House and asked why this pop group Hush were allowed into Tasmania since their sexual behaviour on stage had caused them to be banned in many mainland states of Australia," says Peter Rix.
"That's great," says Lamb. "I love all that.., they're such fools aren't they ....
"Nah, I confess all ... I've gotta dirty mind, that's wot it's all about... everything I do on stage is planned to give policemen and Tasmanian politicians bad thoughts.
"'But the group hasn't been banned anyway...er, has it? I mean, we've got this new album to promote y'see ....
"By the way," he asks. "How do I explain to me old mum in England about that press clipping in the album with me masturbating on stage in Adelaide? She'll come over 'ere and drag me back 'ome to England."
Hush On Countdown
"Anyway, Merry Christmas to all politicians in Tasmania and all policemen in Queensland and Adelaide.'
"The Chinese people don't really have Christmas," says Les. "We save on presents to each other. Though sometimes we have to give something to these Westerners, to keep them happy."
"The new Hush album is a good Christmas present," he adds.
Ok lads, tell us about the new album. Try not to be bashful now.
"It represents a return to form for Hush," says Les seriously.
"We really put a lot work into it. It's really a whole different direction to 'We're Taking Over' which is where we tried to experiment in the studio.
"This time we tried to get the band's stage sound onto record and it's worked pretty well I think. Like it's lot more straightforward than 'We're Taking Over'. But on the other hand, the playing is a lot more controlled and better judged.
"And it's much better recorded than the 'Get Rocked' album."
"I'd buy the album," opines Keith Lamb. "I only heard how it finished for the first time this morning, and I really liked it."
"Like I wasn't so hot for 'We're Taking Over' in the end, but this one's hot, and saucy and juicy ... cor!! ...."
Yeah, but everyone says that about their new album.
"Yeah, but not everyone's had the ups and downs we've had over the past year," offers Les. "Like this is our first album for nearly a year and we knew it had to be something special. We really sweated over every detail of it. We worked out exactly what we wanted to do on it, how we wanted it to sound, what sort of energy level we wanted on it."
"And we spent a lot of time getting what we were after. It's a positive direction for the group ...."
Getting down to specifics, the album showcases a strong Hush obsession with life on the road and other forms of rock and roll existences.
"Like Grand Prix," says Les. "That was written watching the Bathurst 500 Motor Race on TV. We had the riff some time before, but that's how we got the words. There's no storyline really, it's a collection of racing images thrown together for a speed kind of effect. We reckoned the life racing car drivers lead is pretty much what happens with rock bands. Lots of moving from one place to another, lots of gearing up for the main event ... a stage show or a big race or whatever.
Les Gock
"The racing circuit has its own groupies too ... women that are really turned on by the idea of speed and the atmosphere ....
'The title track. Rough Tough 'N' Ready is about the road too ... "but it's about our road crew. People think pop groups are rough 'n' ready but we're pampered softies compared to the road crews... if you ever want to find out what really happens on the road ... they're who you should speak to ...."
Hmmmm. That's the Hush road crew whose more boisterous moments on the Tasmanian tour caused official, wrath to fall on the next group coming through ... which just happened to be Sherbet ....
"Yeah, that's them," admits Les.
"What's that?" says Lamb who, having being in England for the past month or so, hadn't heard about that sequence of events in Tas.
"Cor blimey," he gasps when all has been explained. "Can we get back to something a bit lighter now?"
"Anyway," finishes Les. "A road crew lives rougher and tougher than anyone I've ever come across, and we thought it was worth writing about"
And the road theme keeps on featuring throughout the album. Another track, China Doll was written on a stretch of road in the furtherest northern reaches of Queensland.
"It's a fantasy," explains Les. "We were doing about 400 miles a day on that tour and you just don't want to know about reality. It's all flogging down dust roads at 80 mph and running cars into the ground. So you fantasize like mad about something more pleasant. That's the difference between us and the road crew. They handle the reality."
It turns out that another song. Spitfire, is about a recent New Zealand trip.
"New Zealand's very into the 60's and all that psychedelic music," says Keith. "It's our peace, love and light show song ...."




And so it goes. Another track, 9 to 5'er is a look back to the band's life of 3 years ago.
"Working 9-5 and leading very boring lives," says Les. "Nowadays when we meet old friends who are still leading boring lives as clerks or whatever, it's sort of sad. 'Cos they sometimes start apologising for the fact they're still working 9 to 5 ... and they've worked themselves into it so they know they'll be doing the same thing for the next 20 years.
"With us, we don't know what'll be happening to us in two years time, which is a different sort of pressure I suppose ...."
Of the three non -originals on the album, Glad All Over and Boney Moroney have already been released as singles. However the album version of Boney Moroney features some changes from the single version. There's a new mix and a new guitar solo.
Glad All Over also features a new guitar solo and a new-improved mix from the first pressing of the single.
The other non-original on the album, the Beatles' song You Really Got A Hold On Me was found by accident. Keith Lamb was looking for a song (he can't remember the title, but he'd know the tune if he ever heard it again) and came across You Really Got A Hold which Smiley Pailthorpe thought would be good for the band to do.
The other Hush original on the album, How Do You Feel? Alright! started off as an intro for Hush shows some years ago. When rehearsing for the Rough 'n' Ready album it was dusted off and developed from a 10-bar opening into something longer.
And for the last word: "I'm still not hot for Boney Moroney" says Les firmly. "It was a successful single all right. But I just don't feel comfortable with the song ... we gave it the, Hush- treatment, but the song has more to do with Robbie Porter, our producer, than the group. 
It just doesn't fit in with anything the band grew up with."
Still slagging your top 10 hits, eh lads?
"We've got an image to maintain," sighs Keith Lamb.
[by Anthony O'Grady, RAM Magazine #22 Jan 2, 1976 p19]

Keith Lamb (Photo thanks to Greg Noakes)
Irrespective of Les Gock's opinion about the single, "Boney Moroney" took off. It gained airplay and high chart positions in state after state and ended up selling over 50,000 copies. It spread slowly all around Australia, staying on most national charts for most of '75 and it ended up being No.1 National Hit for '75 on the Countdown TV series pop charts.
The follow up single, "Glad All Over" was not as highly successful but it was successful enough, and it was also the single that attracted most interest from record companies in England and America — an interest that has resulted in the band being offered a tour of England in late '76.
Hush's album (released Dec '75) was a return to the raunch rock format of the get Rocked era. It was also the closest yet studio approximation to the band's on stage excitement level.


This post consists of an MP3 rip (320kps) of my vinyl copy along with full album artwork. In addition, I have included a scan of the interview featured above, published in RAM Vol #22, 1976. Also included are 2 bonus tracks, the first being a non-album track entitled "Get What" (B-Side to Glad All Over) which was often played at live gigs, with the audience altering the lyrics by one word ! Need I say more. The second bonus track "Glad All Over" is a live redition lifted from Mushroom's 1980 Concert of the Decade.
So get ya flairs out, let your hair down, and let yourself be entertained by a band that really knew how to rock. For more information on Hush, why not check out their website.
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Track Listing
01 - Grand Prix
02 - Rough Tough 'N' Ready
03 - China Doll
04 - Spitfire
05 - Gladd All Over
06 - 9 to 5'er
07 - You Really Gotta Hold On Me
08 - How Do You Feel? Alright!
09 - Boney Moroney
10 - Get What (Bonus B-Side Single)

11 - Glad All Over (Bonus Live - Evolution Concert)

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Band members:

Keith Lamb (vocals)
Les Gock (guitar)

Rick Lum (bass)
Chris Paithorpe (drums)

Hush Link (107MbREPOST

Friday, May 17, 2013

The Angels - Out Of The Blue (1979) E.P

(Australian 1970-present)
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The Angels were formed in December 1974 by Doc Neeson, the Brewster brothers John and Rick after a barmaid name call Angel at Adelaide, South Australia. Bon Scott reply to Doc, John, Rick “The Angels is catchy name”. After adopting electric instruments Charlie King joined the band on drums.
Doc Neeson added Keystone to avoid confusing with Red Angel Panic and become The Keystone Angels. The line-up were bass player, vocals Doc Neeson, rhythm guitarists, vocals John Brewster, lead guitarists Rick Brewster and drummer Charlie King. Began playing 50s rock and roll on the pub circuit and released first single, “Keep On Dancing” with John Brewster on lead vocals.
The Keystone Angels were added to Sunbury Music Festival '75 in Victoria. Backing band for Chuck Berry on his Australian tour. Support act for AC/DC on High Voltage Tour at Port Augusta at Mount Gambier in South Australia. Bon Scott, Malcolm Young recommended them to George Young, Harry Vanda and were signed to Albert Production as The Angels. They recorded a demo of “Am I Ever Gonna See Your Face Again” in 1974 the song was issued on Rocka compilation album in 1975.



"We did a tour of South Australia with the Angels, I think they were the Keystone Angels at the time, and were doing 50's rock 'n' roll covers and around about the same time Cold Chisel had just started, so there were bands emerging" - Angus Young
Albert Production issued first single, “Am I Ever Gonna See Your Face” in April 1976. The Angels made their debut TV appearances on Countdown. Charlie King left the band and was replaced by Graham “Buzz” Bidstrup a former member of Fahrenheit 451 on drums in August 1976.
Chris Bailey a former member of Tattered Soul, Red Angel Panic, Headband, Mount Lofty Rangers with Bon Scott in 1974. They released “Round and Round”, later remixed and produced by Ted Yanni as “Round and Round and Round” in 1996.

Chris Bailey joined the band on bass in January 1977, to allow Doc Neeson to concentrate on vocals. The move to frontman allowed the band to develop an energetic and theatrical live presence. Rick Brewster would remain motionless, his head remained still to one side, for the entire performance. Performed at Bondi Lifesaver in Sydney with support act Gerry Joe Weise and Gary Conlon.
Albert Production issued first album The Angels in August 1977, for which the band re-recorded the single tracks, followed a nationwide support tour to AC/DC and was an enormous seller in Australia. The re-issued and re-mastered from the original source tapes and features the award winning artwork in a digipak format along with an 8 page booklet and bonus rare and live recordings.
Performed at Bombay Rock in Brunswick with support acts Skyhooks and Kevin Borich. Performed at 2JJ Open Air Concert at St. Leonard's Park in Sydney with Cold Chisel and Madder Lake. Performed at Bananas in Melbourne with support acts The Boys Next Door and X-Ray-Z. Support act for Meat Loaf Australian tour at Pavilion in Sydney, Festival Hall Melbourne, Bombay Rock in Brunswick, Tiger Lounge in Melbourne, Commodore Sandringham, Festival Hall Melbourne. Performed at Tiger Lounge in Richmond with support act The Boys Next Door.
Albert Production issued Face to Face album on 12 August 1978, reached #16 in November and stayed on the Australian charts for 79 weeks. Mark Opitz engineered, produced the album with The Angels. Includes a live version of “Live It Up” was recorded in April by 2JJ. Live at La Trobe version of “Straight Jacket” is the same version as overseas re-recorded for Dark Room. Peter Ledger, who designed the cover, won Best Australian Album Cover Design Award.

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Face to Face was originally released in August 1978. This seminal album featured Australian rock classics including “Straightjacket” “Take A Long Line” “Marseilles” and “Comin' Down”. Albert Production re-issued is coincide with the 30th anniversary. This release has been re-mastered from the original source tapes and features the award winning artwork in a digipak format along with an 8 page booklet and 5 bonus live recordings.
Performed at ANU Refectory in Canberra with support act Midnight Oil. Rehearsals for David Bowie on Low And Hereos World Tour of Australia. Support act for David Bowie at Sydney Hordern Pavillion, Adelaide Oval, Perth Entertainment Centre, Melbourne Cricket Ground, Lang Park in Brisbane, Sydney Showground, Queen Elizabeth II Park in Christchurch, Western Springs Stadium in Auckland.
Albert Production issued The Tour EP on 7 November 1978, in coincide with their national tour as 'Special Guests' to David Bowie. The lyric “who pays for paradise” appeared in the song “After the Rain”. It was backed by live versions of “Who Rings the Bell” and “Comin' Down”.
In Early January 1979, performed at Royal Antler with INXS. Performed at Manhattan Hotel in Vermont Melbourne with support acts The Boys Next Door and Fast Buck. 2SM radio station held a free concert their performed in front of 60,000 at Victoria Park with Dragon, Split Enz, Kevin Borich and Sports in Sydney. Doc Neeson climbing up and around the stage scaffolding by a flying beer can and damage to the park. Special Award at TV Week Countdown Awards.

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Albert Production issued No Exit album on 23 June 1979, entered the Australian album chart at #8 upon its release and again at #15 in September. George Young contributed as a backing vocalist to “Out of The Blue”.
No Exit kept the ball rolling with hits like “Shadow Boxer” and “Mr Damage”. The reputation for the Angels had grown and this album showcases their power that the band had in their live shows. The release has been re-mastered from the original source tapes and featuresthe award winning artwork in a digipak format along with an 8 page booklet and 6 bonus live recordings.
Performed at La Trobe University in Melbourne and recorded songs “No Exit”, “Am I Ever Gonna See You Face Again”, “Waiting For The World”, “After Dark”, "Straightjacket”, “After The Rain”, “Out Of The Blue”, “Save Me”, “Dawn Is Breaking”, “Be With You”, “Shadow Boxer”, “Ivory Stairs”, “Can't Shake It", “Marseilles” on 13 September 1979.
Alberts Production issued Out Of The Blue EP on 29 September 1979, if you listen to the song you will hear 'baby' by George Young on vocals. A re-recorded version of “Am I Ever Gonna See Your Face Again” and two live version of “Mr Damage” and “Save Me” were recorded at 2SM Elizabeth Theatre. [sourced from aussiebands.com.au]
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E.P Review
The four track Out Of The Blue EP is actually just a single track on side one, "Out Of The Blue", with three tracks on side two. So it's kind of like a single with three B sides. Of those B sides there's two belting live tracks, "Mr Damage" and "Save Me", which the sleeve says were "live recordings from 2SM Elizabethan Concerts". The final track is the spruced-up and re-released version of "Am I Ever Gonna See Your Face Again". I must confess, I never really thought much of the song "Out Of The Blue" being single material. I still find it somewhat surprising that someone in the decision making process thought it merited being pressed as the A side of a single and EP.

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It is most definitely the B sides here that make this record worth owning. The live rendition of "Mr Damage" is intense and brutal, for those few seconds just before the song starts Doc Neeson monotonically talks at the crowd in that creepily cryptic on-stage persona he'd adopted back then: "rest easy if you think you can, this is a warning! be ready! stand by! prepare for eventuality!" The song "Save Me" also makes an excellent live track, it comes off slightly quicker and more raw and frantic than the studio version on No Exit. Doc's once-again cryptic and muffled intro going something like "some roll dice, and spun coin..." (whatever that means) before some mug in the crowd near the mic yells out "Rick Brewster!"

The final track is the very familiar re-vamped version of the old Angels standard anthem "Am I Ever Gonna See Your Face Again" (yes, I can hear you all out there right now retorting with "no way! get *ucked! *uck off!"). Yes, this is the version with that wailing electric guitar in the intro and in the bridge, the bit that is sorely lacking from the original version on the 1977 album The Angels. One presumes that it was this B side track that captured the record buyer back in 1979, rather than the somewhat pedestrian "Out Of The Blue". No way, get *ucked, *uck off. (review by batfink).
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Post consists of MP3 rip (320kps) from mint vinyl and includes full album artwork. My copy still has the original colour poster inside, which has never been mounted - it's as new as the day I originally purchased the E.P in 1979.  Enjoy !
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Track Listing
01 - Out Of The Blue
02 - Mr Damage (* Live)
03 - Save Me (* Live)
04 - Am I Ever Gonna See Your Face Again (Alternative Version)
* Live recordings from 2SM Elizabeth Theatre Concerts

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The Angels were:
Doc Neeson - Vocals
John Brewster - Guitar, Vocals
Rick Brewster - Guitar
Graham Bidstrup - Drums
Chris Bailey - Bass, Vocals


R.I.P  Doc Neeson  (04/06/2014) - One of Australia's finest
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The Angels EP Link (36Mb)  New Link 25/10/2015
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Wednesday, May 15, 2013

Budgie - Reading Festival (1982) FM Broadcast

(UK 1971 - present)
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For some, Budgie will bring back memories of first gigs, joss sticks, greatcoats, haircut angst and heavy drinking. The combination of Burke Shelley's bass notes and a mix of cider and cheap wine was pleasantly lethal, but it all somehow made sense at the time. Hey, it was part of growing up.

The Welsh trio made some impact with their eponymous debut album in 1971 which set the blueprint for subsequent outings but in truth they never really bettered the combination of Shelley's thumping bass and screaming vocals and Tony Bourge's riffola, pinned down by Ray Phillips' solid drumming.

Titles like 'Nude Disintegrating Parachutist Woman' and 'Hot As A Docker's Armpit' added a certain novelty value and spice to the setlist. The first two album efforts were produced by Rodger Bain who had worked with Sabbath on their first album and later produced Judas Priest, the band's style had echoes of Sabbath and Zeppelin, with a nod to sixties beat (and Beatle-esque) music.

Budgie also showed their sensitive side with slower tracks like 'Parents' giving a welcome respite. But the next bout of no-nonsense, heads-down, wig-out was thankfully never far away.

After the debut came a thrusty succession of classic hard rock albums some with distinctive cover art by Roger Dean and, invariably, our seed-sucker in any manner of different guises adding a strong visual element to the mix. On 1973's 'Never Turn Your Back On A Friend' there was the track 'Breadfan', later covered by Metallica. They also covered 'Crash Course In Brain Surgery', Budgie's first single and now a bonus track on the 2005 first album reissue.

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In the late seventies, like so many others, Budgie struggled with the onset of punk and several line-up changes provided further instability. By 1978 Bourge and drummers Phillips and Pete Boot, had gone. The band became increasingly more polished and their later work less distinctive. They even added a keyboard player.
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The band soldiered on in the eighties buoyed by the resurgence of interest in things metal, with an appearance at the Reading Festival in 1982 and cult popularity in the States, boosted by Metallica's patronage.  While any denim wearing Budgie fan will tell you that Budgie’s last few albums didn't quite compare to their earlier work, the material still sounds great when the boys played it live. particularly at the Reading 82 Festival. Just listen to the lukewarm reception “Truth Drug,” gets when introduced by Shelley, then the massive ovation after the boys pummel it through the crowd. Other later material like “Superstar,” and “I Turned to Stone,” all sound great when blasted through the Reading speakers.
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They also built a particular following in Poland, where they played as the first heavy metal band behind the Iron Curtain in 1982. Also notable was their tour support of Ozzy Osbourne in 1984..
The band stopped gigging in 1988, members went into studio production, occasionally guesting on other projects; Thomas most notably worked on the Phenomena CD with Glenn Hughes out of the Black Sabbath studios. Thomas left the band in 2001 after headlining the "Welsh Legends Of Rock" outdoor festival.


Budgie are still gigging albeit with Bourke Shelley (vocals, Bass) and Steve Williams (Drums) as the mainstayers with Craig Goldy on Guitar. (see my previous post and review)
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This post consists of an MP3 rip (192kps) probably taken from a tape recording of this FM Radio Broadcast (source unknown) and includes limited artwork. There is radio commentary at the start and finish of the broadcast.
The quality of the recording is damn good and probably originated from the BBC Recordings of this festival. My favourite track is of course "I Turn To Stone" (John Thomas's masterpiece and best known track). For more information about the 1982 Reading Festival and the other bands who played along side Budgie, see another previous post.

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Track Listing
01 - Forearm Smash
02 - Crimes Against The World
03 - I Turn To Stone
04 - Truth Drug
05 - Superstar

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Budgie are:
Bourke Shelley (Vocals, Bass)
John Thomas (Guitar)
Steve Williams (Drums)
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Budgie Link (40Mb)

Saturday, May 11, 2013

Various Artists - Living In The 60's (1979)

(Various Australian, Bristish and American artists from the 60's)
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The 60s decade produced some of the best music of all time. Even today it is listened to not only by the 60s generation but by our children and grandchildren.  Oldies stations playing the 60s are popping up everywhere.  The music is popular today as it was when we were kids. The music of the 60s generation had rock, instrumentals, love songs, surfing music, songs of protest,  hillarious and crazy songs. The 60s generation of music set the stage for music to come.  Countless songs from the 60s generation have been remade by others.  Television commercials used the recordings to sell their products. Movies such as Dirty Dancing and American Grafitti immortalized a period of our history.
Australian music charts in the 1960s were dominated by American and British music, and local acts were strongly influenced by overseas trends. Some Australian musicians enjoyed international success. Folk outfit the Seekers were extremely popular in America and Britain, becoming the first Australian group to sell over a million records.
By the late 1960s, the American psychedelic and acid rock movements had filtered into Australia. This music was prompted by, among other factors, Vietnam War protests and the new drug and counter-culture scene. Lyrics from this music style spoke of peace, love, freedom, social protest and civil rights - the social revolution had arrived.
Most of the artists on this compilation are representative of the 'popular music' being produced in Australia, Britian and the States at that time.

Band Profiles: (mostly sourced from discogs.com and wikipedia)

Gerry And The Pacemakers
Gerry and the Pacemakers were a British beat group prominent during the 1960s. Like The Beatles, they came from Liverpool and were managed by Brian Epstein. The group was comprised of Gerry Marsden, Freddie Marsden, Les Chadwick, and Arthur McMahon (aka Arthur Mack), who was replaced on piano by Les Maguire in 1961. They are the second most successful group from Liverpool to hit the U.S. pop charts behind the Beatles.
Their first big hit, "How Do You Do It" was released 14/03/1963 and spent 18 weeks in the charts reaching No. 1 for 3 weeks.

The Hollies
The Hollies are an English pop group formed in Manchester in the early 1960s. Most of the band members are from throughout East Lancashire. Known for their distinctive vocal harmony style, they became one of the leading British groups of the 1960s and early-1970s. They enjoyed considerable
popularity in many countries, although they did not achieve major US chart success until 1966. Along with the Rolling Stones and the Searchers, they are one of the few British pop groups of the early 1960s that have never officially broken up and that continue to record and perform. The Hollies were inducted to the Rock and Roll Hall of Fame in 2010.
"Bus Stop" is a song about a couple who meet one rainy day at a bus stop. Love blooms when they share an umbrella. In a Manchester newspaper, Graham Gouldman said he wrote this whilst riding on the No. 95 bus. It ran from East Didsbury - the route went through Manchester city centre, to Sedgeley Park, Cheetham Hill, Prestwich, and on to Whitefield near Bury. Graham was living with his family on this route in Broughton Park Salford at the time.  It reached number five on the UK chart and on the US pop chart in 1966. It was The Hollies 12th UK hit but only their 4th US hit.

The Easybeats
The Easybeats, are one of Australia's greatest pop bands of the 60's. Formed in Sydney in 1964, they were the first Australian rock n roll act to have an international hit with 'Friday On My Mind'.
Lead singer Stevie Wright originally came from England (although he'd been in Australia for some years), and bassist Dick Diamonde hailed from the Netherlands, as did guitarist Harry Vanda, while the others, guitarists George Young and drummer Gordon "Snowy" Fleet, were recent arrivals from Scotland and England -- most significantly, Fleet was Liverpool born and raised, and had been a member of the Mojos, one of that city's more promising bands of 1963 and 1964. They all had talent, but he had a sense of style and an idea of what worked in rock & roll; it was Snowy Fleet who came up with the name "The Easybeats," and the sharp image for the early group, which made them a piece of authentic Brit-beat right in the heart of Sydney, 13,000 miles from Liverpool and as precious there as water on a desert. By the time "Friday On My Mind" was released in Australia, The Easybeats had already had half a dozen Top 10 hits in Australia, including four at #1. "Easyfever" may have engulfed the Aussie pop scene, but in London the pressure was on them to come up with something fresh for their new British producer, Shel Talmy. One of the results, Harry Vanda and George Young’s Friday On My Mind, was their fifth Australian #1, but this time it was an international hit as well. It rose to the Top Ten not only in England but across Europe and much of the rest of the world, and reached the Top 20 in the United States as well where, for the first time, Americans became aware of The Easybeats.

Cilla Black
Cilla Black is an English singer, actress, entertainer and media personality. She began her career as a singer in 1963, and is most famous in the UK for her singles "Anyone Who Had a Heart" (1964) and "You're My World" (1964), both of which reached number one. Black had eleven Top Ten hits on the British charts between 1964 and 1971.
She was a close friend of The Beatles, and was a hat-check girl at the Cavern during their formative years as a group. John Lennon and Paul McCartney wrote songs for her to launch her career as a singer and her manager was Brian Epstein.
In May 2010, new research published by BBC Radio 2 claimed that her version of "Anyone Who Had a Heart" was the UK's biggest selling single by a female artist in the 1960s."You're My World" was also a modest hit in the United States, peaking at No.26 on the Billboard Hot 100.
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The Monkees
Unlike most bands of the time, the Monkees were not formed by its members, but rather by TV producers: they were a fictional band in the TV show of the same name.
TV producers, Bert Schneider and Bob Rafelson, formulated an idea for a show about a Beatles-like band, then put ads in newspapers, seeking musicians to star in the series.
The band was composed of Mike Nesmith, Mickey Dolenz, Davy Jones, and Peter Tork. All of the members had some musical experience.
The Monkees' principle audience consisted of young teenagers and children. Nonetheless, singles like 'I'm a Believer' became Top 10 hits, and the 'Prefab Four' became media icons. By 1967 the Monkees were the most popular band in the US, their records outselling the Beatles and The Rolling Stones. Other top hits included 'I'm a Believer' (1966), 'A Little Bit Me A Little Bit You' (1967), 'Mary Mary' (1968) and 'I'm Not Your Stepping Stone', with the group selling over 65 million records worldwide.

Peter & Gordon
Peter and Gordon were a British pop duo, comprising Peter Asher (b.1944) and Gordon Waller (1945-2009), who achieved international fame in 1964 with their first single, the million-selling transatlantic No.1 smash "A World Without Love". The duo had several subsequent hits in the so-called British Invasion-era.
Peter Asher and his sister, actress Jane Asher, were child actors in the 1950s. They played brother and sister in a 1955 episode of the television series The Adventures of Robin Hood. Jane Asher dated The Beatles' Paul McCartney between 1963 and 1968, and Peter and Gordon recorded several songs written by McCartney but credited to Lennon–McCartney, including "A World Without Love" which reached No.1 on the US & UK charts.
Peter Asher and Gordon Waller were often called "the Everly Brothers of the British Invasion." They harmonized in ear-pleasing intervals, strummed acoustic guitars in tandem and recorded an impressively consistent string of hit songs. Blending folk, blues and rock 'n' roll with their own pop-flavored English sensibility, their sound and vocal work powerfully influenced the Byrds and others that followed in the wake of the Invasion.

Manfred Mann
Manfred Mann was a British beat, rhythm and blues and pop band (with a strong jazz foundation) of the 1960s, named after their South African keyboardist, Manfred Mann, who later led the successful 1970s group Manfred Mann's Earth Band.
A 5-piece group led by Keyboardist/vocalist Manfred Mann, they signed a record deal with EMI in 1963, under the HMV label. From 1964 to 1969 they had a succession of hit records: ("Do Wah Diddy Diddy", "Sha La La", "Pretty Flamingo", and "Mighty Quinn"). Both Do Wah Diddy Diddy and Pretty Flamingo reached No.1 on the UK and US charts.
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The Animals
The Animals were part of the budding, homegrown U.K. blues scene of the early Sixties and one of the most noteworthy bands of the British Invasion. Comprised of Eric Burdon (vocals), Chas Chandler (bass), Alan Price (keyboards), John Steel (drums) and Hilton Valentine (guitar).
Originally known as the Alan Price Combo, the group changed its name to the Animals when Burdon joined in 1962. In 1963, they performed a monthlong residency (much like the Beatles did) in Hamburg, Germany. They also served as the U.K. backing band for visiting bluesmen, including John Lee Hooker and Sonny Boy Williamson. Their career took off with their move to London in January 1964. Less than a year later, on September 5, 1964, “House of the Rising Sun” became the Number One single in America. Their brooding arrangement of “House of the Rising Sun” - a traditional folk song recorded by Josh White and Bob Dylan - became an early milestone in the British Invasion. Despite the song's unconventional lyrics (it was about a house of prostitution in New Orleans), “House of the Rising Sun” topped the American and British charts. In fact, it stayed at Number One in the U.S. for three weeks.The Animals followed “House of the Rising Sun” with seven more Top 40 hits (and six more Top 40 hits as Eric Burdon and the Animals), at least four of which – “Don’t Let Me Be Misunderstood” (Number 15), “We Gotta Get Out of This Place” (Number 13), “It’s My Life” (Number 23) and “Don’t Bring Me Down” (Number 12) – are bonafide classics of the British Invasion era.

Johnny Farnham
John Farnham, aka Farnsy, Johnny, Whispering Jack and The Voice is an iconic Australian entertainer whose career has spanned over four decades.
Farnham was born on the 1st July 1949 in England and moved to Melbourne at the age of 10 and has lived here ever since. This wannabe plumber took a break from his apprenticeship in order to pursue a music career which has seen him become one of Australia's best-loved performers with a career spanning over 40 years.
In 1967, Sadie (The Cleaning Lady) was his first hit which topped the Australian charts for six-weeks running.  Selling 180 000 copies in Australia, "Sadie" was the highest selling single by an Australian artist of the decade. Farnham's debut studio album, Sadie was issued in April 1968.
He later released a cover of BJ Thomas's "Raindrops Keep Falling On My Head" in 1969, which also reached the #1 position on the Australian charts.

The Beach Boys
The Beach Boys are an American rock band, formed in 1961 in Hawthorne, California. The group was initially composed of brothers Brian, Dennis and Carl Wilson, their cousin Mike Love, and friend Al Jardine. Managed by the Wilsons' father Murry, the Beach Boys signed to Capitol Records in 1962. The band's early music gained popularity across the United States for its close vocal harmonies and lyrics reflecting a Southern California youth culture of surfing, cars, and romance.
"Good Vibrations", which Brian described as a "pocket symphony" became the Beach Boys' biggest hit to date and a US and UK number one single in 1966; many critics consider it to be one of the best rock singles of all time. It was one of the most complex pop productions ever undertaken, and was reputed to have been the most expensive American single ever recorded at that time. The song's innovative instrumentation included drums, Hammond organ, piano, tack piano, two basses, guitars, electro-theremin, harmonica, and cello. The group members recall the "Good Vibrations" vocal sessions as among the most demanding of their career.
"I Can Hear Music" was released in 1969 (from the 20/20 album) but was not the mega hit that Good Vibrations was.

The Twilights
One of the better Australian groups of the '60s, the Twilights were not especially innovative, but played competent, harmony-driven British Invasion-styled rock, strongly recalling both the "beat" and pseudo-psychedelic era Hollies. Relying largely on the original material of guitarist Terry Britten, they recorded over a dozen singles, as well as a couple albums, between 1965 and 1968, chalking up a few large Australian hits such as "If She Finds Out", "Young Girl", and "Cathy Come Home", as well as cover versions such as The Velvelettes' "Needle In A Haystack", and Sam Cooke's "You Got Soul".
Popular in Adelaide from 1964, The Twilights expanded their national audience when they relocated to Melbourne in 1965. As part of their prize in winning the national Hoadley's Battle of the Sounds in July 1966, The Twilights were produced by Beatles engineer Norman "Hurricane" Smith at Abbey Road
Twilights vocalist Glenn Shorrock and guitarist Terry Britten have followed long and diverse careers: Shorrock was famously with Axiom and Little River Band, and Britten's compositions have been widely recorded, including We Don't Need Another Hero and What's Love Got To Do With It? by Tina Turner

Russell Morris
Originally a member of Melbourne's Somebody's Image between 1966-68, guitarist and vocalist Russell Morris struck out on his own in 1969. Morris' career started in September 1966 with the formation of the Melbourne group Somebody's Image, which rose to prominence with a local hit version of the Joe South song "Hush." He then achieved a No. 1 hit in 1969 with the Johnny Young song "The Real Thing" which was pruduced by the guru of Aussie Rock 'Ian Molly Meldrum'. "Real Thing" remained at No. 1 for weeks and was the largest selling Australian single in 1969. The song itself was a seven-minute epic moving from a gentle beginning through full-on psychedelia with sound effects and phasing (ending with a 'Zeig Heil' and a nuclear explosion!).
As well as its amazing chart success in Australia, and Without any promotional support from Morris, "The Real Thing" became a hit in several American cities, reaching #1 in Chicago, Houston, and New York.

Kathy Kirby
Vocalist. Nicknamed "The Golden Girl of Pop", she was one of the most successful female singers to hail from Great Britain during the 1960s. Born Kathleen O'Rourke, she received a Christian School education and was in possession of a voice with operatic range at an early age. In 1956 she was brought to the attention of bandleader Bert Ambrose (whom she would perform with), and he served as her manager during the peak of her career in the mid-1960s. Kirby, would adopt the "blonde bombshell" look with her hairstyle which was compared to that of Marilyn Monroe and after signing with the Decca record label, she was voted Top British Female Singer (1963), as she scored five Top-40 hits on the UK Charts which included her cover of the Doris Day hit "Secret Love" (1963) and "I Belong" (1965). Her popularity reached across the Atlantic, as she appeared on a 1965 episode of "The Ed Sullivan Show", and back in England she hosted her own TV series "The Kathy Kirby Show" (1964 to 1965). By the late-1960s, she was recording with Columbia Records and remained with the label until the early 1970s. At that period, her career was on the decline and with the exception of sporadic performances in public, she was no longer associated with the entertainment industry.

Billy Thorpe
Rock musician born in Manchester, England. Family moved to Australia in the 1950s. Billy Thorpe is one of the enigmas of Australian music, a man of many careers. It began in Brisbane when the young Thorpe was overheard by a television producer playing his guitar and singing at the back of his parents' Brisbane store. At the age of ten he was appearing regularly on Queensland television and appearing on the same stage as many of the top artists of the day.
When he was 17 he moved to Sydney as a solo country/pop singer just as the Beatles were breaking. Always one to recognize opportunity knocking, Thorpe teamed up with instrumental band the Aztecs and together they became one of the first Australian groups to contribute to the new '60s era of pop, in June 1964 scoring a huge national hit with their version of the Rolling Stones' version of "Poison Ivy." After a couple more era-influenced hits, Billy Thorpe & the Aztecs gravitated toward releasing songs that showed off Thorpe's fine singing voice and scored another major hit with a straight ballad version of "Over the Rainbow" from the film The Wizard of Oz, and in July 1965 a version of the Platters' "Twilight Time." By now the original Aztecs had been replaced by other musicians. Thorpe also became the star of his own national TV show, 'It's All Happening' in 1966. In the space of two years he had scored nine major hits.  By early 1967 the band had broken up.
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This post is an MP3 rip (320kps) taken from almost virgin vinyl and includes album artwork and all photos depicted.  This is probably my favourite compilation album of 60's music, with all songs being No.1 Hits that have lasted the test of time. Hope you enjoy it.
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Track Listing
01 - How Do You Do It (Gerry and the Pacemakers)
02 - Bus Stop (The Hollies)
03 - Friday on My Mind (The Easybeats)
04 - You're My World (Cilla Black)
05 - A Little Bit Of Me, A Little Bit Of You (The Monkees)
06 - World Without Love (Peter and Gordon)

07 - Pretty Flamingo (Manfred Mann)
08 - House Of The Rising Sun (The Animals)
09 - Raindrops Keep Falling On My Head (Johnny Farnham)
10 - Good Vibrations (The Beach Boys)
11 - I'm A Believer (The Monkees)
12 - Do Wah Diddy Diddy (Manfred Mann)
13 - Needle In A Haystack (The Twilights)
14 - Look Through Any Window (The Hollies)
15 - Don't Let Me Be Misunderstood (The Animals)
16 - The Real Thing (Russell Morris)
17 - Secret Love (Kathy Kirby)
18 - I Can Hear Music (The Beach Boys)
19 - Over The Rainbow (Billy Thorpe)
20 - I Like It (Gerry and the Pacemakers)

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Hits of the 60's Link (145Mb)  Link Fixed 25/10/2015
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