Saturday, August 31, 2019

W.O.C.K On Vinyl: Chad Morgan - In Person (1962) EP

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Before things get too serious at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be considered to be either Weird, Obscure, Crazy or just plain Korny.....
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Chadwick William “Chad” Morgan was born in Wondai, Queensland in 1933 and raised by his grandparents. He was discovered through Australia’s Amateur Hour radio program and started recording with Regal Zonophone ( a subsidiary of EMI ).

Chad, known fondly as “The Sheik of Scrubby Creek”, released his first album in 1952 was renowned for his vaudeville style of comic country and western songs, and goofy stage persona. Chad is the ultimate comic of Australian country music. He was instantly recognisable with his unique trademark – Those Teeth!

Chad was awarded a Lifetime Achievement award at the 2010 CMAA Country Music Awards of Australia, the first person to be honoured with this award. A bronze bust of Morgan was unveiled in Tamworth's Bicentennial Park in 2017.

[Liner Notes: Eric Scott 7LA Radio Station, Tasmania]
Although it was no new experience to hear applause of the "roof lifting" calibre emanating from the National Theatre, Launceston, I was amazed at the reception given Chad Morgan, the "Sheik of Scrubby Creek", on his first visit to our city in August, 1961. It was Saturday the 26th, one-night that will be remembered well by the almost one thousand cheering, laughing fans being kept in stitches by the sheer roguishness of Australia's most well known country music comedian-showman.

As the theatre was filling, Chad Morgan was, to most, just a well known voice and name on radio and records; but the happy faces and bubbling chatter after the reluctant final curtain were a clear indication that to the entire audience, the "Sheik of Scrubby Creek" was now a living personality and more importantly, perhaps, a friend.

You weren't there? Ah, well, maybe you will be able to catch some of the enthusiasm of Chad and his fans as you listen to this live record, which is a small part of that memorable evening's show.
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This month's WOCK on Vinyl post is more of a tribute rather than an attempt to take the piss out of a Weird looking bloke. Yes, his buck teeth were not something you'd expect to see on a Country and Western artist, but they did make him a star as did his comical antics while performing on stage.
If you listen carefully to the audience on this live EP, they are constantly laughing throughout his performance and one can only imagine what mischief he was getting up to while singing some of his greatest hits, especially his #1 hit "Sheik Of Scrubby Creek".

So folks, I formally tip my hat to the 'Sheik Of Scrubby Creek' for ticking all of the boxes - for being Weird, Crazy, and Korny - and this EP most certainly being Obscure (not even Ebay has it for sale).  My copy came from that box of old 45's that was given to me by a mate (a collection of 45's that his late father had collected over his lifetime). Thanks Ian

Ripped to FLAC from vinyl, full album artwork and label scans included. Recorded in Launceston (Tasmania) during a performance of the Athol McCoy Show in 1961.

Track Listing
01 - The Sheik Of Scrubby Creek
02 - Since Dear Mother Died
03 - The Shotgun Wedding
04 - Here I Am


Chad Morgan In Person Link (58Mb)

Saturday, August 24, 2019

Pirana - Live On GTK

(Australian 1970-74)
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Today music shows on T.V are as common as bread and butter. But in 1969 the ABC made music and pop culture history with a groundbreaking, revolutionary music show called GTK that had never been seen before on T.V   Here for the first time for your enjoyment are the selected performance recordings of Sydney band 'Pirana'.
To those reliving the time of their lives I hope this brings back a flood of good food memories. To those who have discovered Pirana for the first time, enjoy the tracks and think of the absolute joy having your ears lead you to the front of the stage to experience the magic and explosive energy of one of Australia's premier group's from the 70's.
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The Pirana Story
The rise of Pirana paralleled the rise of bands such as Spectrum, Country Radio, The Aztecs, Taman Shud, Company Caine, Mackenzie Theory and the La De Da's. These were break out groups who turned their backs on the pop tradition of the previous decades and bought a new creativity, energy and great musicianship onto the live and recording landscapes in this country.


The Pirana story starts with the recruitment of Stan White In mid 1970 ending with the departure of Graeme Thomson in 1974. However, I will endeavour to fit in the whole history as well as fill In some of the gaps.

Graeme Thomson and Jim Duke Yonge who provided the powerhouse rhythm section of Sydney Pop and Scream band The Nomads, together with Tony Hamilton were looking for a keyboard player/singer to perform night after night at Sydney's Hawiian Eye. This was a venue run by the infamous John Harrigan. They were about to lose keyboard player and guitarist John Millyard (ex Nomads) and were told to check out a keyboard player from New Zealand called Stan White.
Stan, originally from Lake Tekapo, South Island played with a group in Christchurch called the "Chapta" a very successful recording group, before moving to Sydney where he ended up playing. Stan bought with him a flare for writing and arrangement complementing Tony's thirst for writing.

Pirana used their residency at the Hawaiian Eye in Castlereagh Street in the city to provide a great opportunity and space to map out the group's future.
Stan and Tony took the songwriting bit between their teeth, both highly creative and both with a passion for the new fusion between Progressive Rock and Latin Percussion. Stan with the perfect high register voice and flowing Hammond countered by Tony whose guitar could strip paint off any back wall, with vocals to match. Jim, one of the most innovative and progressive drummers this country had seen, took the rhythms apart, invoking the gods of the drum.

EMI Publicity Shot For First Album
Graeme for his part remained the soul of quiet musical discretion, commanding the FEEL like a general, always steady playing the bass guitar as well as percussion. He made it so easy for the others to ride on his powerful pulse.

Michael Barclay, the then newly appointed A & R Manager for E.M.I. and formally the A & R Manager of Decca Records U.K, showed no hesitation in signing Pirana (the first Australian Band on this label) to a long term contract to the newly created Harvest Label. Michael was formally the A & R Manager with Decca Records U.K. and had signed the Moody Blues to that label. Pirana began in
earnest to put together a set of songs for the album and for the live stage performances. Just before their recording the group played a wild set at Wallacia, this was a one-day festival west of Sydney.

This was the perfect time to test the new material out on a large gathering. They played along side another newcomer to the festival stage and to the Harvest Label, Greg Quill and Country Radio. The day was a roaring success and the well-known rock magazine "Go Set" was there who advertised the event and were highly impressed with Pirana's performance.

David Woodley Page and John Taylor engineered the first album, co produced by myself, with invaluable contributions from all four-band members, was recorded at E.M.I.'s 301 Sydney. In what seemed like whirlwind sessions it was finished and although done in what now would seem a minimum of time, the band members proved that the group were passionate and inventive.

I remember Tony directing the engineer Martin Benge of "Lady Madnona Fame", the engineer for the second LP, where to place several mics around the edge of the room to get the best live sound from his guitar solos. The finished album with cover notes supplied by Howard Page (Clair Bros. USA) who has toured with bands like INXS and. Paul McCartney provided the group with the perfect platform to launch themselves onto the national stage.

On Stage at Randwick Racecourse 1972
Just after the completion of the album in late 1971, Pirana went searching for greener pastures a new audience and the lure of a bigger circuit plus a wider fan base, the group moved to Melbourne. Melbourne was then and still is the city with more gigs.
Berties, Sebastians, Thumping Turn, a host of suburban pubs, the Unis and RMIT, not yet a uni but always a great venue for live bands at lunchtime, these were some of the places we played. There were always three gigs on any Saturday night and we played seven to eight gigs per week. Our booking agency, Sunrise, run by mercurial Michael Chugg, kept the work coming in.

On the Deep Purple/Free/Manfred Mann tour by the time the caravan reached Adelaide tempers were getting a little frayed. Graeme Thomson remembers at one point Sammy Lee the tour promoter, wielded a gun at Bob Jones who was Manfred Mann's manager in the lobby of the Adelaide Hotel after a dispute over non payment of monies as well as the order regarding who head lined the programme. Needless to say in the end no harm was done and everybody got paid when the tour completed. Another big highlight of that year was the "Pink Floyd" concert at Randwick Racecourse with over 50,000 in attendance.

On Stage at Randwick Racecourse 1972
For most of their Melbourne life the group stayed at the Majestic Hotel, St Kilda Road St Kilda. Next door, Graeme remembers the Cafe' Banff whose cook could rustle up great home cooked meals at all times of the night and day. The kindly Majestic doorman was a guy with a clubfoot called Tiger and he ensured hotel safety, security and easy hotel access for the group when they returned from late gigs every night. This was a necessary part of St Kilda in those days.

Sunbury 1972, the first of their three Sunbury's, with Stan still in the Hammond seat was a great experience on all levels except one. Pirana did their original set and finished with an encore of Soul Sacrifice. The whole set was recorded by E.M.I. Unfortunately, when the composite album was finally released only Soul Sacrifice (the Santana cover and the only cover they played) appeared and it had been edited very badly. The group was bitterly disappointed. Headlining at Sunbury that year were Queen but even they were overshadowed by the local contingent lead by Billy Thorpe and the Aztecs.



Stan White left the group on February 1972 but left a legacy of two songs released before the second album. "I Hope You don't Mind" and "Funny Games". He had an offer to join a studio group called the Going Thing, which was originally bought together as a promotional vehicle for the Ford Motor Company. This group was about to take off for the U.K. for a tour and recording commitments.
The seamless transition came about with Keith Greig. Keith was a fan of the band and came from the group called the "Cryin' Shame" who were located in Dubbo NSW. Keith played a Hammond organ, which was by now one of the quintessential sounds of Pirana. Within weeks the group was back on the rock trail.


By May 1972 the group was back into the studio and recording their second album, Pirana 11 with the ethereal "Thinking of You" as an example. From this second album the single "Love More Today" was released with moderate success reaching #10 in different parts of the country. But to this day Pirana will be remembered for not so much for their "commercial" success but for their "live" sets at
many a concert across the country.

Another single released from this album was "Here it Comes Again" written by Tony Hamilton. Bill Page, now A & R for Mushroom Publishing and then program manager for Adelaide station SAD will tell you that this song was the top ten Australian track played to this day. Although played on radio in every capital city, Adelaide was the only place where it made Top 10, this in spite of the success of the national tour with Manfred Mann, free and Deep Purple and also at a later date touring with Pink Floyd and Rod Stewart.



The single, which features Tony's incredibly powerful guitar, remains at the forefront of any iconic singles list from the 70's. The punters flocked to every performance of the group but radio by at large was not listening to Pirana and the new heartbeat of musk: by them and other groups was ignored. Subsequently the single fell through the cracks. To think that all of this happened and "Here it Comes Again" turned up on several Hit Compilations of the day.

Tony left in late 1972, moving to the Gold Coast and was replaced by Richard McEwen.

 1973 was once again a major event for Pirana drawing encores for their pounding Latin/Progressive Rock originals. In May 1973 the band performed at the Myer Music Bowl with the Victorian Youth Symphony Orchestra. They performed two songs both written by Keith Greig who wrote them especially for this occasion and for the next twelve months they ground out a musical living.

Eventually Keith Greig called it a day in October 1973. Life on the road does not equate with anywhere near a normal family environment. Andy James replaced him and Andy played the last Sunbury in 1974. Soon after this Graeme Thomson left as well, Phil Hitckcock, the percussionist and back up vocalist from the second album that switched to bass replaced him. Keith Greig left the band
in October 1973 and was replaced by Andy James along with new bass player Phil Hitchcock replacing Graeme Thomson. They played on until the band's natural end. [Liner Notes]
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The enclosed MP3's (320kps) were sourced from a now defunct blog called 'Friday On My Mind' (thanks to Deutros) and I am unsure if these recordings were ripped directly from YouTube clips or came from some other video source. Irrespective, the quality of the recordings are great and full album artwork is included, along with the above band biography and photos.
Pirana were always seen to be Australia's answer to Santana, and to some extent they were on par with their mentors but they also brought other sounds and melodies to the table that made them unique.  With only 2 albums under their belt, it is a shame that their output wasn't captured more in the studios, especially the later encapsulation of the band  So, I guess this post fills part of the gap that exists with this legendary Australian band.
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Track Listing
01 - Soul Sacrifice
02 - I'm A Man
03 - Elation
04 - I've Seen Sad Days
05 - Thinking Of You
06 - Gassing
07 - Pirana interview 1971
08 - Now
09 - Instrumental
10 - Dukes Mountain
11 - Standback
12 - Spirit Of Zambezi

Pirana were:
Graeme Thomson - Bass, Vocals, Percussion
Jim Duke Jonge - Drums, Percussion and vocals
Tom Hamilton - Guitar and Vocals
Stan White - Keyboard and Vocals
Keith Greig - Hammond Organ and Vocals
Phil Hitchcock - Percussion and vocals (for 2nd album)
Richard McEwan - Guitar and Vocals (fot 2nd album)
Andy James - Keyboards (for 2nd album)
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Pirana Live On GTK Link (155Mb)
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Monday, August 19, 2019

Various Artists - Australian Concert For Bangladesh (1975)

(Various Australian 1975)
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Concert Details
Concert For Bangladesh, organised by Freedom From Hunger
Sunday 20th April 1975: Sidney Myer Music Bowl - Melbourne.
Bill: La De Das, Jim Keays, AC/DC, Ayers Rock, Phil Manning, Daddy Cool, Hush, Toulouse & Too Tight, The Dingoes, Moir Sisters
Tickets: $2.50 / $3.50
Capacity: 10,000

Australia’s Daddy Cool scored a big home hit in 1971 with sub-Stones strut "Eagle Rock", which soon became a wedding party staple. Four years later when they headlined The Australian Concert For Bangladesh at Melbourne’s Sidney Myer Music Bowl. Daddy Cool were about to be consigned to the oldies bin by the band which was sixth on the bill that day,  AC/DC.

Sidney Myer Music Bowl, Melbourne
AC/DC had been propelled locally by teenage Sharpie fans, a group of whom are seen here stepping out with a mickey-taking version of the Eagle Rock boogie which mutates into their dance, The Melbourne Shuffle.  Bon arrived again dressed as a schoolgirl, seemingly unconcerned that his makeup would run in the rain that tumbled down that day. Though the attendance was affected by the poor weather, most waited until after AC/DC played before leaving.    AC/DC played a 45 minute set while on their 1975 "High Voltage" Australian Tour. Several tracks later aired on ABC's 'GTK.' but have yet to appear on YouTube. [As far as I know, there are no official or Bootleg recordings of their performance either].


Sharpies were the Australian mod-skinhead-casual hybrid from Melbourne’s working class suburbs with a tough and stylish look and an outsider stance. Check out the moves, the knits, the Connys (cardigans), the feather-cuts and the cinch-backed Oxford bags in the video clip above, during Daddy Cool's "Eagle Rock".

Australian Sharpies pre-dated American S.H.A.R.P.S. (probably by 10-15 years), but in the USA, a "S.H.A.R.P." is an acronym for "Skin Heads Against Racial Prejudice" (opposite of "neo-NAZI" skinhead). The Sharpies were working class and dedicated to their appearances and wild lifestyles. They also danced their own version of the Australian Stomp, a dance that originated in Australia in the surf clubs of the 60s and was developed into a more intensive form by the Sharpies. 
[extract from paulgormanis.com]
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Daddy Cool
Original line-up: Ross Wilson (vocals, guitar); Ross Hannaford (lead guitar); Gary Young (drums); Wayne Duncan (bass guitar).

The two Ross's started out in the Pink Finks in 1965. They formed a partnership that lasted until they formed Daddy Cool with Wayne and Gary, who had worked together in the Rondells.
Their first appearance was at the T.F Much Ballroom (aka Too Fucking Much Ballroomin Melbourne in November 1970. From there they took the dance and disco circuit by storm with their vintage rock'n'roll, outrageous acts and ostentatious outfits (which included a towel and bathing cap, Mickey Mouse ears and an Archie-style cap complete with a propeller).


In May 1971, they released their first single, 'Eagle Rock' (written by Ross Wilson), backed by 'Bom Bom' (written by Wilson & Hannaford).  The record entered the Melbourne charts at number twenty after only ten days in the shops. It went on to become the best selling Australian single of the year. On conquering Melbourne, the band set off on a hectic tour of all the capital cities. In July their debut album, Daddy Who? . .. Daddy Cool, was released.
The band was also voted Australia's best group of 1971 in the national Go-Set Pop Poll. This was quite an achievement when you consider they had only been on the scene for six months and had had to contend with competition like Chain, Zoot and Masters' Apprentices.

Meanwhile, their album was selling like wildfire, with radio stations programming all or most tracks. By August it had gone gold and, of course, the single had already achieved gold status within eleven weeks of its release. Also in August, the band took its first step toward international recognition when they set off for the US to play at the Whisky A Go Go in Hollywood. The gig was a success. As a result they were offered more concert dates later in the year. At the same time, 'Eagle Rock' was released in the US on Warner Brothers.

Disbanding in 1972, the band eventually reformed in 1974/75 to play at the Sunbury Festival, this Benefit Concert for Freedom from Hunger and finally at the Prahran Reefer Cabaret, before calling it quits again in September, 1975.

Phil Manning
Apart from Erol Flynn, Phil just may be the only truly notable export of Tasmania. He emerged from the Apple Isle as a gangly, youthful guitarist hopeful around 1966 and made his way to 'discotheque city' - Melbourne. There he became gainfully employed as a member of The Blue Jays and The Laurie Allen Revenue before being taken on as lead guitarist by ex-Brisbane blues outfit The Bay City Union. 

After one single, Manning linked up with Perth blues band The Beaten Track, late in 1968. This outfit evolved into Chain early in 1969, with the addition of ex-James Taylor Move vocalist Wendy Saddington.

Phil Manning remained the mainstay of Chain from 1969 to 1973, as some of Australia's finest rock/blues musicians passed through its ranks. Chain's January 1971 single, "Black and Blue" reached the top 20 on the Australian Kent Music Report Singles Chart. Manning co-wrote the song with fellow members Harvey, Sullivan and Taylor. They had a second top 40 hit with "Judgement" issued in July. Also in July, teen newspaper, Go-Set published its annual popularity poll and Manning was voted at No. 3 for 'Best Guitarist'. The related Chain album, 'Toward the Blues' followed in September and peaked in the top 10 on the Albums Chart. Manning has returned to Chain periodically for performances and further recordings, while contemporaneously maintaining his solo career.

His name became synonymous with BLUES, of the finest integrity and quality. A lucid, flowing style of blues guitar endeared him to serious rock fans and enabled him to win countless guitar polls throughout the late 60's and early 70's. When Muddy Waters Blues Band visited 

After Chain finally breathed its last, Manning passed through a variety of relatively unsatisfying formations, such as Pilgrimage, Friends, Might Mouse and Band Of Talabone. Signed to Mushroom Records as the Phil Manning Band in 1975, he began to re orientate his direction to a more straight forward rock vein and released his debut solo album, 'I Wish There Was a Way', on Mushroom Records and Festival Records. Australian music historian, Ian McFarlane, described the album as in a "mellow, reflective singer/songwriter mode". The album spawned two singles, "Love Is the Mender" in December and "I Wish There Was a Way" in March 1975. 


In May, he formed the Phil Manning Band with Greg Cook on guitar and synthesiser (ex-Cam-Pact, Mándu Band), Bruce Devenish on drums and Eddie McDonald on bass guitar (ex-Bakery). They recorded the pop single "Train to Ride" which was issued in October. However, in September the line-up had changed to Steve Cooney on guitar, Tony Doyle on drums and Paul Wheeler on bass guitar (ex-Billy Thorpe and the Aztecs, MacKenzie Theory). The group disbanded in March 1977 and Manning joined John Paul Young's backing band the Allstars for three months.

Ayers Rock
Ayers Rock was the leading Australian 'jazz-rock' group of the 70s, fusing rock with influences from soul, R&B, jazz and Latin music. 

The band was built on world-class standards of playing and complex arrangements, and inspired by overseas groups such as Traffic, Santana and Weather Report. The original members were all seasoned players, widely regarded as among the best musos in the country, and their musical connections were woven through a series of major bands of the 60s and early 70s.

Ayers Rock were one of the first groups signed to Michael Gudinski's newly established Mushroom label, and their debut single, "Rock'n'Roll Fight", was issued at the end of 1973. Ayers Rock's debut album Big Red Rock was taped live before an invited audience at Armstrong's Studios in Melbourne over two nights in September 1974. The live-in-the-studio approach worked extremely well for Ayers Rock, and the album clearly demonstrated why their awesome live 'chops' had made them such a popular concert attraction. But it also was something of a necessity for the cash-strapped label -- they took the same approach with another early signing, Mackenzie Theory. The Ayers Rock debut LP reportedly cost Mushroom a  mere $5,000 to record.


In January 1975, the group performed at the fourth Sunbury Pop Festival, and Big Red Rock and "Lady Montego" were released in the US on 28 February. On 20 April, they performed at a benefit Concert for Bangladesh at the Sidney Myer Music Bowl with the La De Das, Jim Keays, AC/DC, Phil Manning, Daddy Cool, Toulouse & Too Tight, the Dingoes, and the Moir Sisters.

L to R: Chris Brown, Duncan McGuire, Mark Kennedy, Jimmy Doyle, & Col Loughnan.
(Concert for Bangladesh 1975)
This post consists of MP'3 (320kps) ripped from DVD (thanks to Pete Power Pop at Midoztouch) and full album artwork (reworked from the DVD cover by WoodyNet with thanks). I've also taken the liberty of including the above video clip featuring Daddy Cool's rendition of Eagle Rock in MP4 format.
It was a little disappointing to discover while researching for this post, that there is precious little information regarding this epic concert on the web or in print (I couldn't even find how much money was raised for the Freedom From Hunger Campaign), and no other video/ audio releases exist for the remaining artists on the Bill, in particular ACDC.
Interesting to note that Jon English was chosen to MC the concert, rather than perform but I guess someone had to do the job and who better than ol' Dark Eyes.
Note: If you plan to burn this to CD, you'll need to spread it over 2 CD's 
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Track Listing
01 - Daddy Cool - Boogie Man
02 - Daddy Cool - Hi Honey Ho
03 - Daddy Cool - Duke Of Earl
04 - Daddy Cool - [Introduction to Daddy Cool]
05 - Daddy Cool - Daddy Cool
06 - Daddy Cool - Eagle Rock
07 - Daddy Cool - Good Golly Miss Molly
08 - Jon English - [Introduction to Phil Manning]
09 - Phil Manning - [Introduction]
10 - Phil Manning - I Love You Babe
11 - Phil Manning - Big Yellow Taxi
12 - Phil Manning - [Introduction to Aborigine Song]
13 - Phil Manning - Aborigine Song
14 - Phil Manning - [Introduction to Walking Blues]
15 - Phil Manning - Walking Blues
16 - Phil Manning - [Introduction to Gravel Road]
17 - Phil Manning - Gravel Road
18 - Jon English - [Introduction to Ayers Rock]
19 - Ayers Rock - [Setting up]
20 - Ayers Rock - Snoopy's Search / Red Baron
21 - Ayers Rock - Lady Montego
22 - Ayers Rock - Going Home
23 - Ayers Rock - Big Red Rock
24 - Ayers Rock - Little Kings
25 - Ayers Rock - Catchanemu
26 - Ayers Rock - Gimme Shelter
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Tuesday, August 13, 2019

Bakery - The Seven Inches (Mayfair Bonus LP) 2006

(Australian 1969 - 1975)
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'Bakery' was formed in 1969 when Hank Davis (drums) and Eddie McDonald (bass) from the New Zealand "Avengers" went to Perth, West Australia, with John Pugh (guitar) and Bernie Payne (sax) Bernie left to pin the Australian production of the musical "Hair" in Sydney, and was replaced by Peter Walker (guitar).
This was the core of the band for several years and arguably its most effective line-up. No recordings of that line-up exist though, and "Momento" was their only mainstream album although there was a previous album "The Rock Mass For Love". This was a live recording done in a Perth Cathedral during the hippie days when peace, love and religion were briefly intertwined.
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A few '7-Inch notes' from Peter Walker:
Bakery was never a "singles" band, our writing and playing was much more suited to longer arrangements, with extended solos etc At the time (and now?) singles were for "pop" music, which we tried hard to avoid. Record company and marketing pressure meant that we eventually had to do them (but only two!).

"Bloodsucker" was a Deep Purple cover, which always worked well on the Aussie pub-rock circuit. Purple's version wasn't very well known m Australia, so we felt OK about releasing it ourselves.
"Leave Scruffy Alone" was officially a "B" side with lyrics by Tom Davidson (our former singer) about the injustice of the "police state", and how it treated long-haired youths (like us!). Rex and I wrote most of the music in about half an hour but we rarely played it on stage.

"No Dying in the Dark" lyrics by Tom, music by Rex and I, was an attempt at a "heavy" single. It suffered in the recording, as the technology of the day (4 track) didn't capture much of the raw volume. Onstage it was quite successful, and contributed to our reputation as a "heavy" band.

I remember it very well because it was one of the few songs where I played an SG Gibson (solid-body), rather than the 335 Gibson I normally used. The SG also featured on 'The Gift", on the
Momento Album. The SG Gibson was a real pig to play unfortunately, but it had the right sound for these tracks.
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Album Foreword
The tracing down of band members is a very hard job ! Especially when they performed 35 years ago
and more or less disappeared after releasing two albums. So I was very happy when I found the correct Peter Walker (hence the "uncommon" name) over a couple of detours and I was even happier when Peter agreed to this re-release.
Work on the project began immediately Luckily I could get my hands on the very rare Singles from Bakery and the included songs are really an excellent enrichment.
Two of these tracks are quite long (for single-tracks) and therefore I had to change plans by adding a one-sided second LP instead of a Bonus-7" to the 'Momento' re-release.


Peter and Hank (Drummer of Bakery) also managed to send me some pictures from their vaults which also proved to be a hard task, since the Momento line-up was very short-lived so that there are not many photos in existence (to Peter's despair he was the one who took most of the photos and therefore he couldn't be seen in them).
But in the end everything worked out so please put the record on the turntable and listen to this brilliant album!
And don't believe Peter and Hank with their noble self-criticism in their notes...
They're old men now and don't know what they're talking about '
by Boris Jerschensky (Mayfair Music.Oktober 2006)

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This post consists of FLACS ripped from the Mayfair 12" Bonus LP  (Thanks to Sunshine) that accompanied Mayfair's re-release of the Momento LP.  Inner Artwork and label scans are included, along with label scans from the actual single releases. Note that the Mayfair Bonus LP did not feature the B-Side to "No Dying"" entitled "Trust In The Lord" (taken from their Rock Mass LP), so I have taken the liberty of including it here as a bonus track.  Once again, thanks to Sunshine for the rip and label scans.
If you are interested in hearing the Momento Album, you'll find it HERE on my blog.
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Track Listing
01 - Bloodsucker (released Feb, 1971)
02 - Leave Scruffy Alone (B-Side)
03 - No Dying In The Dark (released July, 1971)
04 - Trust In The Lord (B-Side)
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Mayfair Seven Inches Bonus LP Link (118Mb)
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Tuesday, August 6, 2019

Jimi Hendrix - Band Of Gypsys 2 (1986)

(U.S 1963 - 1970)
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'Band of Gypsys 2' is a posthumous live album by American rock musician Jimi Hendrix, released in October 1986 by Capitol Records. This was the second time producer Alan Douglas supervised a Hendrix record for the label, the first being the live mini LP Johnny B. Goode, which was released earlier the same year.

The first side of the recording (Tracks 1-3) is an extension of the first Band Of Gypys album, from the Fillmore East, New Year's Concerts of 1969-1970.

The second side (Tracks 4-6) covers two Gypys Concerts, Berkley Community Center, May 1970 and the Atlanta Pop Festival, July 1970. Take note of Jimi's solos on these recordings, no studio tricks, just Jimi live. He never ceases to amaze me.

Liner Notes
The first side off this recording is an extension of the first Band of Gypsys album, from the Fill-more East, New Year's Concerts off 1969-70. The second side covers two Gypsys concerts, Berkeley Community Center, May 1970 and the Atlanta Pop Festival, July 1970. Listen to Jimi's solos on this recording, no studio tricks, just Jimi live. He never ceases to amaze you.
[ by the THE PRODUCERS]

Jimi explained his concept of The Band of Gypsys, as follows:
"Buddy is more of a rock drummer, Mitch is more of a classic drummer—more off a funky, R&B type drummer.

It was always my plan to change the bass player. Billy has a more solid style, which suits me. I'm not saying that anyone is better than the other—just that today I want a more solid style.
Musically we try to keep it together. That's why we have to change. That's why personnel in groups change all the time.

L-R:  Buddy Miles, Jimi Hendrix, Billy Cox (Band Of Gypsys)
'Cause they're constantly searching'for that certain little thing. Calling it Band of Gypsys means it could even expand on personnel or so forth and so on. It's just going to be laying down what we see today. How we see things today. It's nothing but electronic blues. Electric blues and rock. It's all bottom. It's all rhythm. We're working on our voices. Buddy is getting all the voices together where that will be another instrument.

I haven't changed very much. My music is still pulsating, perhaps more varied. I either play very loud or very soft."   [by JIMI HENDRIX]


This post consists of FLACs ripped from my A+ Vinyl and includes full album artwork along with labels .
This album is rarer than the first Band Of Gypsys album because it wasn't as popular as the original, and only had a limited pressing run.
Only the first three tracks are the Band Of Gypsys. These first three tracks were also issued as bonus tracks on the old European Band Of Gypsys CD. The second side is from the Atlanta Pop & Berkeley shows with Mitch Mitchell on drums, and as such were not the Band Of Gypsys.
"Hear My Train A Comin" is great but "Foxy Lady" and "Stop" are a little shakey. Nice drum solo by Mitch Mitchell on "Ezy Ryder".

Track Listing
01. Hear My Train A Comin' ( Fillmore East 12/31/69 1st show) 
02. Foxy Lady (Fillmore East 1/1/70 1st show)
03. Stop ( Fillmore East 1/1/70 1st show)
04. Voodoo Child (S.R.) (Atlanta Pop 7/4/70)
05. Stone Free (Berkeley 5/30/70 2nd show)
06. Ezy Rider (Berkeley 5/30/70 1st show)
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