W.O.C.K On Vinyl - Leonard Nimoy: Mr. Spock's Music From Outer Space (1967)

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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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It was September 8, 1966.
On the surface, a day like any other, but in fact it was the day when the beloved character, Mr. Spock, first appeared on T.V screens. And with that appearance, a love affair was sparked between the public and the man who portrayed him, Leonard Nimoy.

In December of 1966, Dot record executives approached the producers of Star Trek with the idea of releasing a Star Trek themed album. There were already Star Trek toys, cereal prizes, model kits and every other kind of product that a kid would want, so why not a record? Desilu Studios executive, Herbert F. Solow, responded to the Dot proposal with the following memo:

"I think we should push any record company that wants to do an outer space or Vulcan or any other single record or album, be it straight dramatic music, weird music, Nichelle Nichols singing, William Shatner doing bird calls or even the sound of Gene Roddenberry polishing a semi-precious stone on his grinder."

For Nimoy this resulted in the release of five LPs on Dot Records, a subsidiary of Paramount Pictures, from 1967 to 1970.

'Leonard Nimoy Presents Mr. Spock's Music From Outer Space' was his debut album, recorded in his Mr. Spock persona. It was released in June, 1967 by Dot Records. The album capitalized on the popularity of the Spock character on Star Trek. The songs also contain many outer-space elements along with science fiction-themed narrations, and space sound effects. Nimoy co-wrote track six with arranger and producer Charles Grean, who is largely responsible for the high quality of this record.
 
The album utilizes the popularity of the Spock character on Star Trek and it seems likely that the main audience is children who where fans of the television series. The songs contain many outer-space elements complete with science fiction-themed narrations. The album was also heavily promoted, and fans by the thousands flocked to his autograph signings and appearances. There was a single released and contests appeared in popular magazines. Nimoy was quickly becoming a teen idol.

The record is extremely enjoyable on an adult level as well. Many of the tracks are done in the 60s Space Age lounge style adopted by many of the performers and conductors of the era. Stand out tracks: Theme From 'Star Trek', Alien, and Twinkle, Twinkle, Little Earth.
 Nimoy's second album 'Two Sides Of Leonard Nimoy' was released shortly after Mr. Spock's Music From Outer Space, only this time Nimoy was allowed to perform songs that may be considered unfitting for a Vulcan.

 This months W.O.C.K on Vinyl post features a 1995 CD release of Nimoy's debut album and also includes side one from his 2nd album. Files are in MP3 format (320kps) and full album artwork is included for both LP and CD releases. I guess this album not only fits the Weird category but also adds an Out of this World flavour as well.  I'll let you be the judge, if you choose to go where no man has gone before.....  LOL.
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                      Track Listing
                      01. Theme From Star Trek
                      02. Alien
                      03. Where Is Love
                      04. Music To Watch Space Girls By
                      05. Beyond Antares
                      06. Twinkle, Twinkle Little Earth
                      07. Mission Impossible
                      08. Lost In The Stars
                      09. Where No Man Has Gone Before
                      10. You Are Not Alone
                      11. A Visit To A Sad Planet
 
Bonus Tracks
12. Highly Illogical
13. The Difference Between Us
14. Once I Smiled
15. Spock Thoughts
16. By Myself
17. Follow Your Star
18. Amphibious Assault
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Mr. Spock's Music From Outer Space (42Mb) New Link 14/10/2015
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Emerson, Lake & Palmer - Fanfare For The Common Man (1992) Bootleg

(U.K 1970-1979, 1991-1998, 2010-Present)
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E.L.P (Emerson, Lake & Palmer)  Keith Emerson keyboards, Greg Lake bass, guitar, vocals, Carl Palmer drums.

One of the first big super groups, formed by ex-members of Nice, King Crimson and Atomic Rooster in 1970. Characterized by their fusion of classical music with rock and noted for their spectacular live performances they were an archetypal progressive-rock band of the early Seventies.
An early plan to link up with Jimi Hendrix and Mitch Mitchell proved abortive (in fact Emerson, Lake aborted it themselves when a "wigged-out" Mitchell came to see them with two bodyguards) and Carl Palmer, ex of Atomic Rooster, completed the trio. As such, they made debut at Isle of Wight Festival 1970.

Keith Emerson had already established unique reputation as organist supreme, coupling natural ability with daring acrobatics involving flung daggers, organ-vaulting, Hammond-raping and general musical sadism towards his equipment - all of which made him the most spectacular rock showman since Hendrix.
Greg Lake, from Bournemouth, a sedate South England coastal resort, had cut his vocal teeth with Crimson, while Palmer had played with Chris Farlowe's Thunder-birds at the age of 16, subsequently joining Crazy World Of Arthur Brown and Atomic Rooster.
All were beginning to stagnate in previous roles and the new partnership gelled immediately into a unique and dynamic trio, firmly dedicated to musical finesse and showmanship. From beginning, they established a reputation as furiously active trio of unsurpassed technical ability - though some critics felt their music as evidenced on debut 1970 album didn't compensate for a certain lack of feeling exacerbated on successive collections.
Signed to Island Records, their self-titled debut album was an immediate success, making the Top 5 in the UK and the Top 20 in the US, while their live rendition of Mussorgsky's 'Pictures At An Exhibition' made the Top 10 on both sides of the Atlantic in 1971.

ELP 1992

Nevertheless, there were signs that a change of style was necessary, however, when the 1972 set Trilogy failed to equal success of predecessors (though, like Pictures, it did eventually go gold in U.S.). Experiments with effects machinery, including trial of a fully-portable stage, failed to lift group out of musical rut which - with hindsight - was inevitable from beginnings of band.
After the successful 'Brain Salad Surgery' (1974) overlong, self-indulgent solos became commonplace especially on 'Welcome Back My Friends To The Show That Never Ends', a triple album recorded on their 1973-4 US tour.
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A three-year gap ensued, Lake and Emerson scoring surprise solo chart placings with 'I Believe In Father Christmas' and 'Honky Tonk Train Blues' in 1975 and 1976 respectively. Regrouping in 1977 with 'Works Volume 1', they found it increasingly difficult to recapture their former glory, and disbanded in 1978 following the poorly received 'Love Beach' album. Unsuccessful re-formations occurred in the late Eighties: 1992 finally saw the trio touring again and releasing their best album in years, 'Black Moon'. It is this tour from which this Bootleg recording has been made, taking place at the Jones Beach Amphitheater, Jones Beach, Wantaugh, NY on July 25th, 1992.
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 Concert Details 
This AMCOS bootleg is from Jones Beach in Nassau County, Wantaugh, NY, on the summer evening of July 25th, 1992.  This is the second night of the tour and is sourced from a very good audience recording.  It was previously available unofficially on Carillon (RPCD 1104) and Live At Jones Beach (Continental Sounds SIAE CS.CD5-511) both issued soon after the event. The short “Karn Evil 9 - Part 2" reference starts the show.  It lasts only ninety seconds, just enough to sing “welcome back my friends to the show that never ends” before segueing into the “Tarkus” snippet.  The new songs sound magnificent against the older songs.  

Of particular note is “Black Moon” which crawls upon the stage much like “Tarkus” did in the early days of the band.Missing on this release, Emerson begins but then stops “Creole Dance.”  'Sorry, I have to reconnect my midi' he explains bring shades of the rehearsal in Philly a couple nights before.  This segues into his own solo tune “Close To Home” (also missing from this release) which in turn serves as an introduction to “From The Beginning” which emphasizes Greg Lake.“Lucky Man” sounds beautiful in this recording with Palmer underlying the soft ballad nature of the piece.  The show ends with “Pictures At An Exhibition” which lasts almost twenty minutes and includes Palmer’s drum solo in the middle.  The encore is a medley of “Fanfare For The Common Man,” “America” and “Rondo” with references to Bach thrown in all lasting about fifteen minutes long [extract from collectorsmusicreviews]
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This post consists of MP3's (320kps) ripped from my AMCOS CD release and includes full album artwork for both CD and Cassette Tape (which I also own).  As mentioned above, four tracks from the full concert have not been included (see left), I assume because AMCOS wanted to restrict this to a single CD release due to length constraints. Determining the source of this concert was not easy, but both Bootleg Zone  and Covers At An Exhibition confirm my conclusion with track lengths matching those listed by these sites.
The equivalent vinyl release for this concert was called 'Jones Beach 25th July 1992' released by Sanctuary Records (see cover below).
The recording on this bootleg is excellent - so get it now !
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Tracklisting
01 - Karn Evil 9 (First Impression)
02 - Tarkus
03 - Knife Edge
04 - Paper Blood
05 - Black Moon
06 - From The Beginning
07 - Affairs Of The Heart
08 - Romeo & Juliet
09 - Lucky Man
10 - Pictures At An Exhibition
11 - Fanfare For The Common Man, America, Rondo
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Band Members:
Keith Emerson (Keyboards)
Greg Lake (Bass, Guitar, Vocals)
Carl Palmer (Drums, Percussion)
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Emerson, Lake and Palmer (175Mb) New Link 15/11/2024
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Mark Edwards - Land Of The Living (1986) plus Bonus Tracks

(Australian 1981 - 1987)
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Following the split of 'The Runners', Mark Edwards signed with WEA Records and released one album in 1986 entitled ‘Land Of The Living’. His only foray into the Australian singles chart was with the advance single ‘Worlds Away’ (#70, early ‘86). Several other singles were released including the title track and my favourite tracks from the album "Somebody Like You" and "World's Away". Also featured on these brilliant tracks were acclaimed session man Ricki Fataar and legendary backing singer Venetta Fields (ex-Boz Scaggs, John Farnham). Sadly, the album failed to sell well and Edwards never recorded a follow up. [extract from rqsretrouniverse]
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Album Review
"Polished Pop By Edwards"
With Land Of The Living, his debut solo album, former Runner's front man Mark Edwards lays himself a solid foundation for an enduring career as a songwriter and performer.
Edwards, now a resident of Newport Beach, spent two years writing, performing, and producing Land Of The Living with collaborator Michael Hegerty.
Land Of The Living is a collection of fine pop songs showcased well by production that is clean and polished.
The songs, while impressive from the first spin, insinuate themselves with each successive hearing. But they really come to life live where their most positive aspects are given a chance to shine. Paul Berton's guitar is prominent throughout and often gives a distinctly surfy feel.  [Review taken from Morning Sydney Herald, Entertainment Section, Dec 4, 1986]
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This post consists of FLAC's and MP3's (320kps) ripped from my virgin vinyl and comes with album artwork for both LP and CD releases. I've also managed to source cover artwork and labels for all single releases taken from this album, as well as rips of the non-album tracks "Back in the Land of the Living" and newly arrived "Moonbeam" (thanks to Rainman at Midoztouch2).
In my opinion, this album is OK but lacks the magic and dynamics that Hitting The Wall captured when Edwards was singing upfront for the Runners.
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Tracklist

01. Land of the Living
02. World's Away
03. So Listen
04. Something New
05. Candy Baby
06. Wedding Ring
07. Only a Love
08. Life and Times
09. Time Goes By
10. Somebody Like You
11. Back in the Land of the Living (Bonus Track)
12. Moonbeam (Bonus Track)

Band members were:

Mark Edwards - vocals, keyboards, guitars, bass, drum programming
Peter Bondy - keyboards
Mathew Sloggett - keyboards
James Morrison - trumpet
Tony Buchanan - saxophone
Paul Berton - guitars
Michael Hegerty - bass, keyboards, piano, drum programming, backing vocals
John Pryor - drums
Ricky Fataar - drums
Mark Kennedy - drums, percussion

Hanuman Dass - additional drum programming
Rick Chadwick - programming, keyboards
Vanetta Fields - backing vocals
Sharon O'Neill - backing vocals
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Sorry, but this album is now available at the following website

 MRC

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The Executives - Now ! (1968)

(Australian 1966 - 1978)
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Original line-up: Carole King (vocals); Brian King (piano, organ); Keith Leslie (vocals, saxophone); Garry King (saxophone, vocals); Dudley Hood (guitar); Rhys Clark (drums).
Sydney based group The Executives formed in the latter half of 1966 and quickly became Sydney's most highly rated band. Their musical expertise was unequaled. Between them they could play a total of thirty one instruments — anything from violin to harpsichord.
The band began releasing singles virtually straight away with 'You're Bad' and 'Wonder Boy' (which sold well in Sydney). Meanwhile, changes were taking place in the line-up. The most important being Ray Burton replacing Dudley on guitar, and Gino Cunico replacing Keith. (Other membership changes included Brian Patterson.) In July 1967, they experienced their first national hit with "My Aim Is To Please You". It was followed by "Sit Down I Think I Love You".

L-R Carole King, Rhys Clarke, Brian King (seated)
 Gary King, Ray Burton, Gino Cunico

They soon became known as Australia's top sophisticated rock band, and in 1968 they left for the US to have a crack at the American market. Whilst in the US, they scored a recording contract with the Buddah label. Back home, they continued to record. By mid '69, they had released six singles, three EPs and one album. Unfortunately, most of their chart success was primarily in Sydney (one of the bigger latter hits being 'Windy Day').
In the spring of '69 they returned to the US and changed their name to Inner Sense, but they became bogged down. By the following year, the group had disbanded. Ray joined Ayers Rock (and co-wrote 'I Am Woman' with Helen Reddy); Gary and Rhys stayed in America and worked as session musicians; Gino went on to work solo (he later released an album); and Carole and Brian formed a new group called Transition. The new group was just that — a transition. In other words, it was an interim band until they could find the right combination of musicians to reform the Executives.

Finally, in June 1974, they hit on the right line-up with Alan Oldman (bass); Ron Smith (guitar); Brian Kirby (drums); Jonne Sands (vocals); Carole (vocals); Brian (keyboards). They signed with Polydor and subsequent releases included "On The Road Back" (July 74); "Let The World Go Round" (April 76); and "Tinker Tailor" (October 76). By the end of 1977, they were still working solidly at hotels and clubs.
After The Executive's folded for good in 1978, Brian and Carole King continued to team for studio sessions. Sands resumed a moderately successful solo career, mainly as a club performer. Bassist-guitarist Alan Oldman (formerly a member of legendary Lithgow band The Black Diamonds) continued with session work, contributing to Nuclear and wrote the music for the 1979 film Alison's Birthday. [extract from Noel McGrath's 'Australian Encyclopedia of Rock', Outback Press, 1978, p106-107]
The Executives left behind a body of fine records that are highly sought after by collectors of quality sixties Aussie pop, although it has to be said that they have been lamentably overlooked in terms of CD reissues. Nevertheless, The Executive should be remembered for their sophisticated and inventive sound, those gorgeous vocal harmonies, their accomplished musicianship and their mastery of the three-minute pop single idiom. [extract from Milesago Website]

Album Linear Notes:
The Executives are the top pop group in Australia today.
The group has had great success at dances, discotheques and store promotions all around the country. They have appeared on many of Australia's top television shows and their records have done very well, especially in the eastern states, where "My Aim Is To Please You" and "Sit Down I Think I Love You" (both included on the record) reached positions two and three respectively.
They are a dedicated group of true musicians, each with long.family traditions of musical lore, and each with personal backgrounds of intensive training and rare instrumental techniques . . a highly individual and dramatic sound has been developed by this talented combination.

 The members are...
Carole King-a very attractive brunette, has been singing as long as she can remember. Was in her school drama club and opera group, and training in singing was evident throughout her school career. With her sister and other girls formed her own singing group. Has been singing with The Executives since their inception and sees her musical career bound up with the group's success. Gino Cunico-lead male vocal, is the youngest and latest member to join The Executives. Born of Italian parents, he commenced his musical career as a boy vocalist and appeared on most of Australia's pop television programmes, including the top rated show "Bandstand"
Brian King—started musical training at the age of five, and gave his first public recital at the age of eight. Was playing professionally when only 13, later played through hotel circuits and night clubs— hard going that develops concentration, stamina and experimental techniques as well.
Ray Burton-lead guitar. Ray has been in Australian show business for around six years. His first professional engagements were with a very successful group, The Delltones, later he joined The Executives and has appeared with the group during the past eight months.
Gary King-bass guitar is Gary's specialty, and his free approach and versatility make a solid contribution to the distinctive 'Executive' sound and quality.

From: Tomorrow Is Today - Australia In The Psychedelic Era 1966 - 1970

Rhys Clark-like the Trapp Family all Rhys' family are musical, helped along with a strong streak of Welsh ancestry. Rhys' musical quota is rhythm, drums all the time, heightened with a boyhood period spent on Cooke Island, north of New Zealand, where native rhythms and drum techniques provided a unique background-for his later adventures in sound. Bought his first full drum kit at 13 and soon formed a youthful group of piano, trumpet, sax and of course his own drums. Securing professional engagements while still at school. Then followed years of engagements at ballrooms, night clubs, coffee lounges—years in which techniques in drumming and additionally in singing were polished to recording standards —for Rhys already has successful records to his name.

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This post consists of FLACs ripped from my trusty vinyl copy and includes full LP artwork, along with label scans. Although a low budget album release (typical of the Summit record label), I really like the tracks on this album, in particular the tribute medleys to the Mamas & Papas and the Hair Soundtrack. Sure, the music is dated but they still sound good to me.
(Thanks to Jae and Woodynet for the two B&W photos above)
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Side 1
1.     Mamas And Papas Medley:
(A)    Monday, Monday
(B)    Dream A Little Dream Of Me
(C)    Dedicated To The One I Love
(D)   Creeque Alley
2.    Hair Medley:
(A)    Hair
(B)    Air
(C)    Walking In Space
(D)    Aquarius
(E)    Let The Sunshine In
Side 2
1.     It's A Happening World
2.     Bad Reputation
3.     Sit Down I Think I Love You
4.     Wander Boy

5.     My Aim Is To Please You
6.     Moving In A Circle (Aust. Comp.)
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The Executives were:
Dennis Allgood (bass, vocals)
Ray Burton (guitar, vocals)
Rhys Clark (drums)
Gino Cunnico (vocals)
Brian King (keyboards)
Carole King (vocals)
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The Executives FLACs (200Mb) New Link 17/10/2015
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U2 Live - Not Authorised Vol 1 (1993) Bootleg

(Irish 1976 - Present)
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This Bootleg CD released by AMCOS captures U2 live at the Hammersmith Palais on December 6, 1982, during the very limited “Pre-War” tour. All of the classic early U2 live staples are present, as well as some of the best tracks from their soon-to-be-released War album at the time. The encore even contained a very rare live performance of the 1982 single “A Celebration,” and that alone makes this bootleg a must for any U2 fan. Note: I sourced this additional track from the web, as it was not included on this AMCOS release.
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Concert Review
This was the first gig I went to - a gangly 14 year old clutching a ticket that says "over 18s only". I put on a jacket that made me look, oh, 15 easily, but they never even gave me a glance at the door. I was in.
I'd not heard of support act 'The Alarm' - a dreary band playing to an indifferent crowd. After an interminable wait, U2 appeared (or at least I thought) and the place erupted like the Brixton riots. I was getting trashed in the mosh pit, mostly facing the wrong way... eventually I realised that I didn't even recognise the song, and they looked and sounded different. Escaping upstairs to the balcony, I eventually figured it out - THIS was The Alarm (already with a mysteriously huge fanbase) and the dreary band before had been the unbilled Zerra 1.
"If this is how the crowd are for The Alarm", I thought, "what on earth are U2 gonna be like?"

Eventually I got my answer. It was indescribable (he said, before trying to describe it). From the balcony, the entire floor below bounced as one from the first note to the last. I remember New Year's Day for the first time, the spotlight on The Edge for his solo. Gloria... I Will Follow... no, it's no good I can't describe it. For a first gig, for a 14 year old, it was complete overload.

Needless to say, it was the best gig I'd ever seen, as time has subsequently proved. Nothing beats the first time, I guess, but even so. I saw U2 again a few months later at the Odeon, 5 minutes walk away, and it was a pale imitation, with its raked seating. The Hammersmith Palais remains holy ground to me, despite all the clear evidence to the contrary.

Footnote 1: The gig was recorded and broadcast by Radio 1 for their In Session series. Radio London used to simulcast Radio 1 in the evenings, so I got a good quality stereo recording (fantastic mix too, really captured it), which I played to death until I left my bag on the train one day losing both Walkman (whatever) and Cassette (nooooo!). A few tracks made their way onto the October Special Edition CD... one day I might get hold of the full hour again, you never know.

Footnote 2: 18 years later I was working for the BBC on Top Of The Pops. U2 were on in the studio, the first time since I'd worked there, playing Beautiful Day. I couldn't help myself. I hung around and managed to barge in for a quick chat with Bono. I told him about the first and greatest gig of my life - he asked the date and venue, and said "oh YEAH, that was rockin'!" Who knows if he really remembered, but it was enough for me. Incidentally, Bono had asked me who else was on the show that day and I told him - Doves "Oh wow!" and a new band called Coldplay (I'd played Yellow obsessively) - "oh, Edge really likes them", he said. Later I told Chris Martin, who was watching U2 rehearse... he looked at me bug eyed and blurted out "you're shitting me?!!!".

Always been proud to have been the person that told Coldplay that U2 liked them. Sorta. [Review by Guy Rowland]
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The full set list for this concert was:
    -Out Of Control
   - Twilight
    -Surrender
    -I Threw A Brick Through A Window
   - A Day Without Me
    -An Cat Dubh
    -Into The Heart
    -Sunday Bloody Sunday
    -The Cry
    -The Electric Co. / Send In The Clowns
    -I Fall Down
    -October
    -New Year's Day
    -Gloria
    -I Will Follo
    encore(s):
    -Fire
    -A Celebration
    -11 O'Clock Tick Tock / We Wish You A Merry Christmas (snippet)
    -The Ocean
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This post consists of MP3 (320kps) ripped from an AMCOS CD release and includes full album artwork for both Vinyl and CD releases of this bootleg.  Note: Golden Stars (Italian bootleg) released this concert on vinyl (with a distinctive red cover) in 1991 as a double LP set and copies of this bootleg have recently fetched $150 +
This concert has also been released under the title of 'Live At Hammersmith 1981 - Bloody London ' with an obvious 'year release' error in its title, and by Mainline Music under the title 'U2 Live Unlicensed'.
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Track Listing
01. Surrender
02. I Threw A Brick Through A Window
03. A Day Without Me
04. An Cat Dubh
05. Sunday Bloody Sunday
06. I Fall Down *
07. The Electric Co
08. October
09. New Year's Day
10. Gloria
11. I Will Follow
12. Fire
13. A Celebration (Bonus Track)
* Track 6 is mislabeled "I'm A Believer" on the cover
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U2 Live Not Authorised Vol.1 (135Mb)  New Link 12/12/2019
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Chain - Top of the Cross (2001) Bootleg

(Australian 1968 - 1974, and beyond)
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Chain are an Australian blues band formed in Melbourne as The Chain in late 1968 with a lineup including guitarist, vocalist Phil Manning; they are sometimes known as Matt Taylor's Chain after lead singer-songwriter and harmonica player, Matt Taylor. Their January 1971 single "Black and Blue", which became their only top twenty hit, was recorded by Chain line-up of Manning, Taylor, drummer Barry Harvey and bass guitarist Barry Sullivan. The related album, 'Toward the Blues' followed in September and peaked in the top ten albums chart.

Chain had various line-ups until July 1974, they separated for several years then reformed in 1982 for a one-off concert and more permanently from 1983–1986. Further line-up changes occurred with some forms called Matt Taylor's Chain, from 1998 Chain members are Harvey, Manning, Taylor and Dirk Du Bois on bass guitar. Both Manning and Taylor have also had separate solo careers. In 2005, Chain released, 'Sweet Honey' and continued touring irregularly; on 3 May 2009, they performed at the Cairns Blues Festival.
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Chain 1999

Full Biography
The highly acclaimed band formed originally in 1967 and early members included Wendy Saddington, Claude Papesch and Tim Piper. As is the case with many super groups, they were plagued with membership changes and featured over thirteen different line-ups.
Throughout 1969 they established themselves as Australia's top blues band and, in October, they released a single called 'Mr. Time'. Then, early in 1970, they added Glyn Mason (ex-Rebels - guitar, vocals) and recorded their amazing Chain . . . Live album. Before the album was released they announced that they had split up, with Glyn going to London and Warren joining the Aztecs.
However, Phil and the two Barrys went to Brisbane. By the time the album was released in September, they had reformed with Matt Taylor (ex-Genesis — harmonica, vocals). The new Chain was quick to record a heavy blues song called "We're Groaning", which was released early in 1971 under the title of "Black And Blue". It became their biggest single. The record was snubbed by radio stations, but sold mainly as a result of audience reaction to their live performances of the song. It was also released in the US on United Artists' Avalanche label.
A follow-up single, "Judgement", came in July 1971 accompanied by more rumours of a split. The reports proved to be well founded as Phil departed to be replaced by Charlie Tumahal. The following month Barry Harvey dropped out and Lindsay Wells took over.
The new format didn't seem to click and finally disbanded in October 1971.
However, just like the cat with nine lives, in January 1972 a new Chain surfaced as a trio featuring Warren Morgan, Laurie Pryor and Barry Sullivan. They relied on dominant piano as a substitute for guitar. Then, early in '72, another album, 'Chain Live Again', was recorded, but it actually featured a re-union of old Chain members (Glyn Mason, Warren Morgan, Phil Manning, Barry Sullivan and Barry Harvey). Due to mixing difficulties, the album was not released until later in the year. Meanwhile Chain's quorum formed a group called Mighty Mouse. This new band was not successful. Yet again, in early 1973, another Chain surfaced with the two Barrys, Ian Clyne, Mal Capwell and Phil Manning.
In its '73 form, the band released singles including "I Thought You Were My Friend" (August), "Gonna Miss You Babe" (December), and the 'Two Of A Kind' album (December).
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Then, in January 1974, whilst the group were touring Queensland, Barry Harvey decided to leave and stay put. He was replaced by Tony Lunt (organ, moog). The following month both Mal Capwell and lan Clyne left and, although Chain again regrouped, the band met its final death midway through 1974.
Phil went on to work solo and formed the Phil Manning Band in 1975. Then, in 1977, Phil formed a new band called, simply, Manning.
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This post consists of MP3's (320kps) ripped from a bootleg taped recording and includes custom artwork (thanks to WoodyNet from Midoztouch). Appropriately titled - 'Chain Live at Top of The Cross' this recording was made during the Toward The Blues 30th Anniversary Tour in 2001, but the exact date is unknown. Because it is an audience recording, there was a lot of digital noise on the last 2 tracks which  really detracted from the whole gig, so this post is short by 2 tracks. Otherwise, this is a historic recording that has captured Chain making a huge come back in the 21st Century.
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Track Listing
01 - Run With Willy           (6:11)

02 - Magic Zipper         (5:12)
03 - Boogie             (12:15)
04 - Albert Goose         (5:21)
05 - Eternal Heart Attack     (5:13)
06 - Booze Is Bad News Blues     (4:28)
07 - Spring Hill         (6:17)
08 - Band Introductions         (1:18)
09 - I Remember When I Was Young (9:27)

Line up for this Gig:
Matt Taylor - Vox / Harp
Phil Manning - Guitar
Barry 'little goose' Harvey - Drums
Barry 'big goose' Sullivan - Bass
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Chain Link (127Mb)
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