Saturday, September 30, 2023

W.O.C.K On Vinyl: James Freud And The Reserves - One Tony Lockett (1999)

 

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.

With the 2023 AFL Grand Final taking place today (Collingwood v's Brisbane Lions), I thought it was fitting to share yet another 'football related' Obscurity for this month's 'WOCK on Vinyl'  post.  I also thought it fitting that in light of the great Swan's / Hawthorn full forward & goal kicker - Buddy Franklin retiring this season, I would post this 1999 tribute release for another legendary full forward, goal kicker - Tony Lockett.

Anthony 'Tony' Howard Lockett (born 9 March 1966) is a former Australian rules footballer who played for the St Kilda Football Club and Sydney Swans in the Australian Football League (AFL). Nicknamed "Plugger", he is considered one of the greatest full forwards and players in the game's history.

Inducted into the Australian Football Hall of Fame in 2006 and upgraded to Legend status in 2015, he is the most prolific goalkicker in VFL/AFL history, breaking Gordon Coventry's 62-year record in 1999 and eventually finishing with 1,360 goals from 281 games. He became the first full-forward to be awarded the Brownlow Medal in 1987, won the Coleman Medal four times, and kicked more than 100 goals in a season on six occasions (an AFL record he shares with Jason Dunstall of Hawthorn).

Lockett playing for St. Kilda
Lockett's father, Howard, inherited the nickname "Plugger" from his own father who used to "plug around" in the garden. Howard Lockett, who himself played 500 games of country football, then saw it fit to pass down the nickname once more to his son, and it became synonymous with his large size.

Locket playing for the Sydney Swans
Lockett became a cult figure in Sydney. He was a massive drawcard for the struggling Sydney Swans, who had previously found it difficult to attract large support in New South Wales's rugby league heartland. At the height of his popularity, the song "One Tony Lockett" was released (sung to the tune of "Guantanamera"), performed by James Freud.


Track Listing:
01 - One Tony Lockett (Guantanamera)  (03:23)
02 - One Tony Lockett (Footy Club Mix)  (03:23)
03 - That's Football  (03:48)

[Released: April 26, 1999 (ARIA Report #478); Festival CD Single D1867 (3tracks; UPC: 9399600186728) 

This single debuted at #92 (w/c May 24, 1999; AR #482) and peaked at #56 (w/c June 21, 1999; AR #486) charting for 5 weeks, before dropping out w/c July 5, 1999; AR #488)

Thanks to Mustang for the FLAC rip and scans. I personally like the Footy Club Mix more than the Guantanamera Mix.


Wednesday, September 27, 2023

David Gilmour - Selftitled (1978) + Bonus Live Tracks

(U.K 1963 - Present)

David Gilmour was asked to join Pink Floyd in January 1968 making Pink Floyd briefly a five-piece again. He was used to fill in for Barrett's guitar parts when the front man was unable to take a consistent part in Floyd's live performances. Gilmour immediately went out and bought a custom-made yellow Fender Stratocaster, and the guitar became one of his favorites throughout his career. When Syd Barrett "left" the group (the band chose not to pick him up one night for a gig due to his erratic behaviour), Gilmour by default assumed the role of the band's lead guitarist and shared lead vocal duties with Roger Waters and Richard Wright in Barrett's stead.

Gilmour's guitar playing and song writing became major factors of Pink Floyd's world-wide success during the 1970s. However, after the back-to-back successes of first Dark Side of the Moon and then Wish You Were Here, Waters took more and more control over the band, writing most of Animals and The Wall by himself. Wright was fired during The Wall sessions and the relationship between Gilmour and Waters would further deteriorate during the making of The Wall film and the 1983 Pink Floyd album The Final Cut.

In 1985, Waters declared that Pink Floyd was "A spent force creatively ". However, in 1986, Gilmour and drummer Nick Mason issued a press release saying that Waters had quit the band and they intended to continue on without Waters. Gilmour assumed full control of the group and created A Momentary Lapse of Reason in 1987 with some contributions from Mason. Wright rejoined the band for a lengthy world tour and helped create 1994's 'The Division Bell' as well.

Musical style

Gilmour has a very precise solo style, rooted in blues and notable for expressive note bends and sustain, indeed his use of 'multiple bends,' where he bends a note to pitch, sustains it, then bends the note to a higher pitch before releasing it, is very characteristic of his style and a useful way of identifying him in recordings. His solos are noted for being well-composed, economical, lyrical and emotional often favouring the minor pentatonic (1 b3 4 5 b7), blues(1 b3 4 b5 5 b7) and natural minor (1 2 b3 4 5 b6 b7) scales . In interviews, Gilmour has explained that what he sees as his lack of technique led him to concentrate on melody and mood over speed and 'virtuosity', and this is borne out by the enduring appeal of his solos.

During many of his solos he would switch the guitar to the rhythm (or neck) pick-up. This, switching pick-up, produced a fatter, stronger "liquid" sound to a "cut through" sound all in the same solo and is featured in "Shine On You Crazy Diamond" and "Echoes". This is part of what gives Gilmour's playing such a distinctive sound and tone.


In his early career with Pink Floyd Gilmour played a multitude of Fender Stratocasters. He employs a Fender pedal steel guitar for the re-formed Pink Floyd's rendition of the classic "One of These Days". During both the Momentary Lapse and Division tours he almost exclusively played a Red '57 reissue with a set of EMG active pick-ups. In his solo career he employs a wide assortment of guitars, favouring none. Indeed, one of his most famous solos ("Another Brick in the Wall Part 2") was played on a Gibson Les Paul

Although mainly known for his guitar work, Gilmour is also a proficient multi-instrumentalist. He also plays bass guitar (which he did on some Pink Floyd tracks), keyboards, harmonica, drums (as heard on the Syd Barrett solo track "Dominoes", and other songs where he opted to play all the instruments) and lately, the saxophone.

In 1996, Gilmour was inducted into the Rock and Roll Hall of Fame as a member of Pink Floyd.

In August 2006, Gilmour's solo on "Comfortably Numb" was voted the greatest guitar solo of all time in a poll by listeners of the digital radio station Planet Rock. [extracts from the pink floyd experience]

Why a solo album?

In a recent interview with Uncut Magazine, David explained his motive for doing a solo album in 1978 “I don’t think it was a counteract to some sort of frustration I was feeling within Floyd. If anything, I thought it would be nice to have a bunch a guys in a room, play some tunes, knock ’em down and put out record”.

David Gilmour solo album


This might very well be one of the reasons for doing the album, but there definitely was a lot of tension within Pink Floyd at that point – both during and after the Animals tour, which ended in July 1977. They were sick and tired of each other and from touring.

Roger, especially, went through a tough time and didn’t feel comfortable with the exposure and the rabid fans. His pissy mood was a stark contrast to David, who, according to himself in later interviews, enjoyed the tour.

There might also have been a financial motive for doing a solo album. By 1978 it was evident that although Pink Floyd was one of the biggest selling bands of all time, their investments had failed and they were now also subject to massive taxation. In short – they were broke.

Both Rick and David recorded solo albums in early 1978 and they did it in France to avoid taxes. Roger started writing what eventually ended up as The Wall (and Pros of Cons of Hitch Hiking) and although having a great idea for the band’s next album album, he also knew that he needed to create a success that could save the them financially.

The Recording Sessions

David Gilmour was largely written between November 1977 and January 1978 and recorded and mixed at Super Bear Studios in Nice, France, during a few weeks in February 1978. The album was released in May to fairly good reviews and it charted decent in both US and UK.

There are very few sources from the sessions. David has stated in several interviews that everything went really fast, which was, and still is, quite unusual for him. Sadly, there was also a fire that burned Super Bear Studio to the ground in 1986, and with it all the documents, reels and pictures from the sessions.

Album Press Release (select to read)
Interestingly, the guys David chose for his project, was his old band mates Rick Wills (bass) and Willie Wilson (drums). Both from Joker’s Wild and Bullitt – the bands David played in before joining Pink Floyd. The power trio rehearsed and recorded all of the songs together and additional session musicians were hired for piano, backing vocals and other overdubs.

Using close friends and old band mates seems to be a pattern in David’s musical career. Willie Wilson continued to work with Pink Floyd as the drummer in the Surrogate Band during the The Wall tour. Snowy White, who played rhythm guitar during both the Animals and Wall tours, is an old friend of David’s. So is Dick Parry, who played saxophone on Dark Side, WYWH, Division Bell and On an Island. [extract from gilmourish.com Thanks to Bjørn Riis]


The album found success on the U.K. charts, landing at No. 17. But from that point forward, Gilmour focused mainly on his work with Pink Floyd. In 1979, Floyd released The Wall, their double-album opus. Gilmour's next solo album, About Face, wouldn't arrive until 1984.

Gilmour's self-titled debut is probably destined to be forever compared with Animals and then The Wall, the two Waters-heavy Pink Floyd releases on either side of it. But David Gilmour holds up better when considered as a smaller, personal statement."  This album was important to me in terms of self-respect," Gilmour told Circus in 1978. "Being in a group for so long can be a bit claustrophobic, and I needed to step out from behind Pink Floyd's shadow." 


Loose and collaborative with some interesting instrumentals, David Gilmour succeeds on its terms by not trying too hard to sound like Pink Floyd – and that's a mistake Gilmour was prone to during the band's third act. Instead, everything feels familiar and comfortable. Credit goes in part to his backing band, a group of old buddies who had been members of his earlier solo group Bullitt. Together, they construct what stands as Gilmour's most varied offering.

On May 26th - 1978, David Gilmour's eponymous, first solo album was released. The cover was designed by the team at Hipgnosis, and by David as well. It also reached number 17 in the Australian charts in late September and is still very popular with Floyd fans. Below is a picture taken from the cover photo sessions...


This post consists of FLACs ripped from my 'near mint' LP.  This album literally got me through my second year at Uni and was a favourite amongst my College friends. Full album artwork and label scans are included, along with all photos featured above. I have also decided to include a few live tracks taken from Gilmour's Berkley concert, held on the 29th June in 1984.

Track List
01 Mihalis 5:42
02 There's No Way Out Of Here 5:05
03 Cry From The Street 5:08
04 So Far Away 5:49
05 Short And Sweet 5:28
06 Raise My Rent 5:30
07 No Way 5:31
08 Deafinitely 3:26
09 I Can't Breathe Anymore 3:06
10 Mihalis (Bonus Live) *    9:18
11 Short & Sweet (Bonus Live) *   7:17

* Bonus tracks recorded live at Berkley, 29th June, 1984


The Band:
David Gilmour - Guitars,. Keyboards, Vocals
Rick Wills - Bass, Vocals
Willie Wilson - Drums, Percussion



Monday, September 25, 2023

REPOST: Jimmy James and the Blue Flames - Bright Lights, Big City (7" E.P)

(U.S 1966)
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Jimmy James and the Blue Flames was an American rock band that formed in New York City in 1966. Comprising guitarists Jimi Hendrix and Randy California, bassist Randy Texas (occasionally replaced by Jeff Baxter) and drummer Danny Palmer, the band was together for three months before Hendrix left the country to form The Jimi Hendrix Experience in September.
Hendrix, under the name Jimmy James, formed The Blue Flames (originally as The Rainflowers) in June 1966. In doing so, he recruited 15-year-old guitarist Randy Wolfe after seeing him playing in Manny's Music Store on 48th Street. Hendrix was excited when he heard Wolfe playing, and so invited him to play with him at the Cafe Wha? that night. At the Cafe, the guitarists spent fifteen minutes in the boiler room, where Jimi taught Wolfe a few songs, namely "Hey Joe", "Like a Rolling Stone", "Wild Thing" and "Shotgun".
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The Blue Flames' bass player was someone called Randy, who was from Texas. As the second Randy in the band, Jimmy dubbed him Randy Texas, and Wolfe adopted the name Randy California, which he held until his death. The drummer was one of Texas' friends, known as Danny Palmer. 

Jeff Baxter (of Steely Dan and The Doobie Brothers fame) was also known to play bass for The Blue Flames on a few occasions.

The band ended up playing six nights a week at the Cafe Wha?, earning a secure spot on the bill. California recalls that "the band made about $60 a night and Jimmy split it equally four ways", though Carol Shiroky (Jimi's girlfriend at the time) thinks differently, claiming the band used to get paid only $7 per night. The band split as Jimi was approached by Chas Chandler, who eventually formed The Jimi Hendrix Experience in England. Jimi apparently tried to bring California to England with him to form The Experience, but Chandler was against the idea as he believed Hendrix could be the only guitarist in the band, and California was too young anyway.
The rip was taken from Vinyl (Blue Flames Records) in FLAC format and includes the EP cover and label scans

NEW IMPROVED RIP
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Track Listing
01 - Bright Lights Big City

02 - I'm A Man
03 - No Such Animal Part 1
04 - No Such Animal Part 2
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Band members
Jimmy James (aka Jimi Hendrix) – guitar
Randy California – guitar
Randy Texas – bass
Danny Palmer – drums
Jeff Baxter – bass (part-time
)
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Jimmy James And The Blue Flames Link (72Mb)
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Thursday, September 21, 2023

The Runaways - Live In Japan (1977)

(U.S 1975 - 1979)

For those of you who do not know, The Runaways were an American girl group who released their first album in 1976. They were all aged about 16. The band came together in '75 in L.A. (of course) under the watchful eye of veteran rock hypester / houdini Kim Fowley, who has garnered himself a reputation (and rightfully so) of being truly crazed, fashioned a group containing young girls, all sixteen and seventeen. The girls, on command, played raunchy, overtly sexual music. In short, it was jailbait with a back-beat. The little boys (and the big boys, for that matter) went wild as the leather-encased, open-shirted batch of girls-next-door hit the road. Seeing the Runaways on stage, wielding their instruments like St. Valentine's Day assassins, was truly stirring, in a variety of ways.

The Runaways, though never a major success in the United States, became a sensation overseas, especially in Japan, thanks to the hit single "Cherry Bomb". As the Runaways were much better known in Japan than the U.S., it stands to reason that their only live album was recorded in that country and is the focus of this post.

Except for a handful of bootlegs, Live in Japan is the only documentation of the Runaways on stage. The album was never released in the United States. Consequently, the live LP was only available in the U.S. as a Japanese import and sold for around ten to 12 dollars, which was a lot to pay for vinyl in the late '70s. Luckily, the LP was released in Australia (sporting a different cover to the Japanese pressing) and of course I purchased a copy. Sadly, I sold it sometime later at the Camberwell Market back in the 90's.

But American Runaways fans who were willing to make that investment found a lot to admire about the album, which boasted superior sound quality (by '70s standards) and explosive, uninhibited versions of "You Drive Me Wild," "Cherry Bomb," "California Paradise," and other hard rock pearls. The original Runaways lineup (Joan Jett, Cherie Currie, Lita Ford, Jackie Fox, and Sandy West) was still in place, and the rockers' primary focus is on material from The Runaways and Queens of Noise.

Album Review

"Tokyo. Good evening. Please welcome from Hollywood and California. The Queens Of Noise....The Runways!"

It ain't exactly the most riot inciting kill tape plunder and destroy them hype up but as soon as the band crashes into a raging version of Queen Of Noise you know it's just gotta be good. They're spunky sheilas after all. They gotta be good mite.

It's hard rock 'n' roll and this band has got (sorry, had) balls. Hardly feminine dear. But if it's sexy purring heavy breaths that you're after then forget it, cos Cherie Currie sounds like a rusty can opener.

Sandy West handles the vocals department on Wild Thing and comes across as hard and fast as her drumming does which is mixed up front. Lita Ford's lead guitar work has certainly improved since that debut album last year.

Lou Reed's Rock 'n' Roll is virtually unrecognisable; the Runaways tearing it apart with raw cracking precision. I Wanna Be Where The Boys Are is great. Lita soars above Joan Jett's grinding guitar and bassist Jackie Fox as Cherrie screams "I am the bitch with the hot guitar...I wanna fight where the boys fight." No wonder she quit.


Their first single Cherry Bomb is even raunchier than their original version but what, one wonders, did the Japanese (for that is where it went down) think of this raw L.A noise. They screamed just like any Sherbet audience did. They even shouted for "More More.." before the Runaways returned sounding like Quo, to do C'Mon.

Okay, so this is the last recording by the Runaways with Jackie Fox and Cherie Currie. If you claim to be into raunchy rock 'n' roll then get into this - at full volume nothing less - cos this is about as raunchy as it gets. Plus it's one of the few live recordings that I think works.

Oh yeah, when you get the album you'll find a note at the bottom with their fan club address - and they want you to send your photo so they can see what you look like. Cute huh. Hardly.

[Review by Andrew McMillan, RAM Magazine October 21, 1977 p17]


This post consists of FLACs ripped from CD and includes full album artwork for both CD and vinyl media. I have to agree with Andrew McMillan's critique of this 'live' album, it is well produced/recorded and has captured the true rock 'n' roll essence of these Queens Of Noise.  Enjoy!

Tracklist
01 Queens Of Noise
02 California Paradise
03 All Right You Guys
04 Wild Thing
05 Gettin' Hot
06 Rock-n-Roll
07 You Drive Me Wild
08 Neon Angels On The Road To Ruin
09 I Wanna Be Where The Boys Are
10 Cherry Bomb
11 American Nights
12 C'mon


Recorded at the Tokyo Koseinenkin Kaikan and the Sibuya Kokaido 5 / 6 / 12 Jun 1977

Band Members:
Joan Jett (Rhythm Guitar, Lead Vocals)
Lita Ford (Lead Guitar)
Cherie Currie (Piano, Vocals)
Jackie Fox (Bass, Vocals)
Sandy West (Drums, Vocals)


Monday, September 18, 2023

Yes - Live In Sydney (1973-03-26) FLACs Bootleg

(U.K 1968 - 2004, 2008 - Present)

Yes brought their Close To The Edge tour to Australia in early 1973, commencing in Brisbane on the 19th of March, then playing in Adelaide on the 21st, Melbourne on the 23rd, and then finishing up in Sydney on the 26th and 27th. Unfortunately, there is no known recording of the 2nd concert in Sydney - held on the 27th, while only half of the concert held on the 26th is available (thanks to the forgotten-yesterdays.com website).

In an attempt to make this bootleg complete, I chose to fill the gaps using recordings available from their Brisbane and Adelaide concerts. I have also produced my own custom artwork based on the artwork from the incomplete bootleg 'I Feel Lost In The City'. I have also managed to source two interesting reviews written for the Sydney concerts.

YES Deja Vu Sydney 1973
(taken from RAM Magazine, Dec 3 1976, by Anthony O'Grady)

'Yes remember it as one of their best concerts ever. Anthony O'Grady remembers it as a night that was near magic'

It was one of those warm nights when a vibe sweeps through a city like a pervading breeze, catching you up in it, whether you're ready or not. Sure we knew Yes were doing their second Sydney concert. But we'd just moved up from Melbourne, and unpacking was first priority until the third all-vibed up person entered blowing with near-translucent excitement. "Hey man, aren't you going to see Yes?? Yeah, to hell with the 55 unpacked cases, let's go".

Steve Howe
The morning and unpacking are only worth mentioning because it's a simple fact that only the promise or eventuality of a 'mutha of a concert' can liberate you from the press of mundane matters.

Not that I'm the greatest Yes fan stalking the city. It requires a suspension of natural prejudices, a certain rare tranquility and mental latitude. I'll put on one of their best records and not find moments of musical blah, techno overkill and lyrical tweeness amongst the soaring grandeur and honest statements of high ideals and cosmic beliefs. But I'll attest to this: the band, on its merits, can burn with incandescent energy, inflaming both body and imagination with cleaning Apollonian fervor.

And that's a feeling that's rare in rock. The vast majority of rock music, when it really works and isn't just being played by rote as another gig, another pay cheque, produces an overwhelming feeling of exuberance. A feeling that comes from the melding into a glorious , violently active one with the band, the music, the rest of the audience. It's a process that can be accelerated and heightened by drugs and the sexualised wildness of dancing.

Jon Anderson
And my God you couldn't get much higher than the Sunshine Brilliance at the second Sydney concert. The details of what they played, in what order are , at this stage, minor details in the wider scheme of what the feeling was. But it was a propitious time to see them. Their career had taken them through the five albums: Yes, Time and a Word, The Yes Album, Fragile and Close To The Edge. The last three showed them in the full bloom of their reactivity after a rather messy and over bloated lift off with the first two.

This concert lifted into overdrive from the opening moments. There was a sense of Wonder, a palpable feeling that the musicians were getting to grips with their instruments and music like pilgrims beating down the last straight to clutch the Holy Grail. There was beaty, hot excitement sure, but there was more - there was mind stretching. One was led into increasingly detailed , increasingly subtle patterns of fantastic detail - it was a gradual entry into a different time-zone, with a steadily intensifying golden glow spreading out from the edges.

Chris Squire
Sounds like someone had spiked the ice-creams sure, but it happened. And not just to me, but to everyone around us, as far as we could see. There was a bond of communion between everyone in that hall that night. And surely I wasn't the only one to feel a stream of cosmic particles pass through me when Jon Anderson opened wide and launched his pure soprano into "Heart Of The Sunrise". Like everyone else I whirled up and down the steel stringed filigree of guitarist Steve Howe and bass player Chris Squire weaving through "The Clap", and was taken into a different time-zone altogether with Howe's magnificence on "Starship Trooper". I was lifted to the heights by Rick Wakeman on keyboards and kept there by the piston-like solidness of Alan White's drumming.

At times it seems that Yes have indeed blasted off and currently inhabit their own private child-like dream state. I've been waiting these past three years for a night as uplifting as that Yes concert, and haven't found one in rock music yet.

Brian Draper Concert Review
(taken from forgotten-yesterdays.com)
Tuesday, August 20, 2013

A number of contributors to NFTE from downunder have commented on the 26 year drought that we have endured since the one and only Yes tour in 1973. I was fortunate to see them in Sydney - not that I was a Yes fan at the time. I was really only aware of I've Seen All Good People as it had received limited airplay and modest chart success a few years earlier.

In the early seventies I was a uni student willing to try most things once -- and that was my attitude towards music. Touring bands from overseas were not common so along with my friends I tried to see as many acts as possible. Jethro Tull, Focus, Santana, Joe Cocker, Cat Stevens and Lou Reed featured amongst the eclectic array of performers. So my decision to see Yes was based on that attitude and the recommendations of friends. When they arrived in Sydney they were featured on the evening news and I remember most attention was given to Rick Wakeman's police siren that was used in his solo at the time.

Rick Wakeman
The concert was held on a balmy March evening - early Fall in Australia. It was held in the Hordern Pavilion, a converted agricultural show pavilion that was the main indoor rock concert venue in Sydney in the seventies. At the time the Musician's union in Australia had an edict that every overseas act had to have an Australian performer on the program. So the opening act was a relatively unknown group called Mother Earth that subsequently split up and would have disappeared into complete obscurity except that their lead singer, Renee Geyer, has since become an icon of Australian R&B. She sang exceptionally well and I recall that Jon Anderson commented on her favourably in the local media.

Hordern Pivilion
The interval seemed to stretch for nearly an hour -- the audience were getting restless. Suddenly the lights started to dim and the strains of the 'Firebird Suite' were heard as we fled back to our seats. I was so naïve that I thought perhaps this was a Yes recording! Anyway all was revealed within minutes as that spectacular opening to their show unfolded with Wakeman playing the last chords under a spot with his long blonde hair cascading over his golden cape. Then suddenly the full stage lights came on as the group erupted into Siberian Khatru. Of course all of this has been so brilliantly captured on Yessongs and to this day just listening to that opening track brings back floods of memories along with a tingle down my spine.

Alan White
The concert stunned me. Never before had I been so enthralled by the intensity of performance, musicianship, stagecraft and music itself. Only knowing one of their songs was no impediment. I was amazed at the length and complexity of their songs, yet at no time did they seem too long. The interaction with the lights added another dimension with each sequence being accompanied by the appropriate colours, creating an ambience that at the time had not been seen before in Australia. All commonplace now but not then. Rick Wakeman particularly caught my attention. At the time I regarded keyboards as largely an accessory to a rock group. For the first time I could see how they could be vital to a groups performance, sharing the limelight with guitars and vocals. The range of keyboards that he played simultaneously was new to Australia. He influenced many budding keyboard players.


The audience was won over early and by concert's end nobody wanted to leave. We sat in the car park for quite a while later trying to summon courage to drive away as I was so emotionally drained by the experience. Needless to say they received rave reviews. I purchased Close To The Edge and played it constantly.

This post consists of FLACs (Thanks to the taper and Dave for sharing) recorded at Sydney, Brisbane and Adelaide. Custom artwork is also included along with a scan of the RAM article.
It was also interesting to note that a Union Strike led by the Theatrical and Amusement Association at the time, nearly prevented the Sydney Yes concerts from taking place. Thankfully, the strike action was averted in time. See article below

Track List
1.1 Firebird Suite (0.51)
1.2 Siberian Khatru (8.48)
1.3 Heart Of The Sunrise (11.12)
1.4 I've Seen All Good People (7.26)
1.5 Mood For A Day - The Clap -
      Tie Me Kangaroo Down Sport (7.06)
1.6 And You And I (10.35)
2.1 Close To The Edge [Brisbane] (19.16)
2.2 Wakeman Solo [Adelaide] (8.14)
2.3 Roundabout [Adelaide] (8.22)
2.4 Yours Is No Disgrace [Brisbane] (8.43)
2.4 Starship Trooper [Adelaide] (9.54)

Date : Monday, March 26, 1973 
City : Sydney, Australia 
Venue : Hordern Pavilion 
Capacity : 5,000 
Backing Band: Mother Earth (Featuring Renee Geyer)
Lineup : Jon Anderson  (Vocals) 
Steve Howe  (Guitars) 
Chris Squire  (Bass) 
Rick Wakeman  (Keyboards) 
Alan White  (Drums)    

Yes Link (633Mb) New Link 12/10/2023

Thursday, September 14, 2023

REPOST: Foghat - Selftitled (1972)

(UK 1968-Present)
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Before forming Foghat, guitarist / vocalist "Lonesome" Dave Peverett, bassist Tony Stevens and drummer Roger Earl spent three years with the British Blues band Savoy Brown. In early 1971, the trio decided it was time to strike out on their own and recruited guitarist Rod Price to form a new group. As they began to stir interest in their hometown of London, England, Bearsville Records founder Albert Grossman brought the still-unnamed band into a recording studio to lay down some initial tracks with producer Todd Rundgren. Unfortunately, the pairing didn't pan out and the effort was scrapped, although some of the tracks that Rundgren recorded with the group were included on their debut album. 


Musician / producer Dave Edmunds ultimately headed up the band's first LP in 1972. On the eve of the album's completion, the band still hadn't decided on a name. Brandywine, Track and Hootch had been considered and rejected. Finally, Foghat, a nonsense word that Dave Peverett had made when playing scrabble as a child, was chosen. Foghat's self-titled debut LP reached #127 on the US album charts, with the single "I Just Want To Make Love To You" gaining them limited air play. The band quickly followed this up by recording and releasing "What A Shame", which got as far #82 on the Billboard Hot 100. Produced by Edmunds, "What A Shame" would later be included in remixed form on their second album, "Foghat" (aka "Rock & Roll"). The "Rock & Roll" LP was produced by Tom Dawes, following several disappointing sessions with Edmunds. Formerly with The Cyrkle (of "Red Rubber Ball" fame), Dawes brought a more mainstream touch to Foghat's studio approach. The album's cover, dreamed up by filmmaker Robert Downey, featured a photo of a rock and a roll in place of a title. It proved to be a visual pun that not everyone understood. 

(L-R Roger Earl, Rod Price, Tony Stephens, Lonesome Dave Peverett)
Dawes was also hired to produce Foghat's 1974 album, "Energized", which included an R&B-flavored remake of Buddy Holly's "That'll Be The Day". Though "Energized" went on to reach gold status in the U.S., the band was never happy with its production. "Tom Dawes was really talented, but his musical tastes differed from ours," Peverett said "We wanted someone who understood the feeling of our music a little more." The band found such a producer in Nick Jameson, who had joined the Bearsville staff when Todd Rundgren worked with Nick's band American Dream. From there, Jameson became an engineer, remixing some tracks on the "Foghat" album. He returned to produce and engineer the group's "Rock And Roll Outlaws" LP, which produced the track "Dreamer" in 1974. At this point in their career, Foghat had a fairly spotty track record. The success of "Energized" was not matched by "Rock And Roll Outlaws", leaving the band with doubts about their future. Foghat continued to tour the US, mostly as an opening act. With four albums under their belts, they found themselves a mid-level band playing Rock / Blues to an audience that had moved away from such earthy sounds. Foghat's fortunes began to turn around with the 1975 LP "Fool For the City", which was their first album to go platinum and introduced them to US Top 40 radio with the #20 hit, "Slow Ride".

Later that year, bassist Tony Stevens was replaced by Nick Jameson, who used his guitar skills to master bass after several weeks of intensive practice. The revamped Foghat had finally reached the big leagues, though not without some artistic sacrifices. "I think we started painting ourselves into a corner with "Fool For The City", Peverett would later say. "There was pressure to come up with another 'Slow Ride". After the '75 tour, Nick Jameson left the group to pursue a solo career, which later evolved into acting. He went on to well over 100 film credits, including The Critic, 24, Lost and was the voice of Palpatine in Star Wars: Clone Wars. He was replaced in 1976 by veteran bassist Craig MacGregor, whose hard-driving approach to playing bass reflected Foghat's increased emphasis on simple, aggressive Boogie-Rock numbers. "Slow Ride became a trademark song for us, and that was where the music headed," Peverett said. "The band's sound got bigger. We were playing larger venues and that sort of influenced our stuff. We wanted songs that would work in front of big audiences." The 1976 LP "Night Shift" spawned the #34 hit "Drivin' Wheel", as well as "I'll Be Standing", which stalled at #67. The album was produced by ex-Edgar Winter Group member Dan Hartman, who helped to steer Foghat even further in a commercial, airplay-oriented direction. The band's biggest commercial success came in the form of 1977's "Foghat Live", which sold over two million copies. The Nick Jameson effort captured the band at the height of their Boogie Monster phase. From the lofty intro to "Fool For The City" to an extended version of "Slow Ride", the album became the band's biggest seller. The live version of "I Just Want To Make Love To You" was released as a single and reached #33 on the Billboard chart. A 1972 studio version had only reached #83. "Foghat Live" went on to earn double platinum status. "I thought a live album would do well," says Peverett. "It pushed us even further. That was as big as we ever got." The band's next studio album, 1978's "Stone Blue" saw them paired with producer Eddie Cramer, who had previously engineered recordings for Jimi Hendrix and Led Zeppelin. The Cramer / Foghat mix was a tension filled partnership that may have helped to give the album an added edge. The album's title track reached #36 in the US and a cover version of Robert Johnson's "Sweet Home Chicago" reasserted the band's Blues credentials. "Stone Blue" went Gold, as did the band's 1979 LP "Boogie Motel", which included their second highest charting single, "Third Time Lucky", which reached Billboard's #23 spot. The 1980 album "Tight Shoes", recorded in more of a Punk and New Wave style, featured a single called "Stranger In My Home Town", which could only manage to reach #81. Despite the band's earlier success, Rod Price had grown unhappy with the group's constant touring schedule and their shift towards a more New Wave influenced Pop direction. He left the band in November 1980, and after months of auditions, was replaced by guitarist Erik Cartwright in February 1981.

Cartwright came on board just in time to record on "Girls To Chat & Boys To Bounce", which was produced by Nick Jameson. Unfortunately, tracks like "Live Now - Pay Later", failed to win Foghat many new converts. Craig MacGregor quit the band in 1982 and Nick Jameson returned to play on "In the Mood For Something Rude", an album of mostly R&B covers that failed to impress anybody but the most die hard Foghat fans. The band's record sales had begun to slip and their last album for the Bearsville label, "Zig-Zag Walk" in 1983, could only manage a brief stay on the Billboard Hot 200 album chart and peaked at #192. Nick Jameson was replaced by Kenny Aaronson in 1983, but he was forced to leave after a brief stay for medical reasons. Aaronson was replaced by Rob Alter, former guitarist for the Ian Hunter Group, who also had to leave for medical reasons the following year. Alter was replaced by returning alumni Craig Macgregor who brought along multi instrumentalist Jason "Bakko" Bakken. Foghat continued to tour until early 1985, when Lonesome Dave retired to England after some 16 years on the road. The remaining members, Roger Earl, Erik Cartwright and Craig MacGregor took a brief break and along with Jim Robarge on organ and piano, reunited as The Kneetremblers. Billed as "formerly Foghat", The Kneetremblers played R&B until 1986 when Robarge left the group and was replaced by Eric "EJ" Burgeson on guitars. A few months later, The Kneetremblers, citing both fan pressure and Burgeson's knowledge of the material, began touring as Foghat. This band later became commonly known as "Roger Earl's Foghat." Roger Earl's Foghat went through a revolving door of players over the next few years. Craig MacGregor continued until the end of '86, when he departed for a solo career. He was replaced by Erik's brother Brett Cartwright, who stayed until 1989 and was subsequently replaced by Jeff Howell.


Also departing in 1989 was Eric "EJ" Burgeson, who left to join Craig MacGregor's band. Burgeson was replaced by Phil Nudelman who in turn left in 1990 and was replaced by Billy Davis. The final replacement being Dave Crigger, who replaced Jeff Howell on Bass in 1992. In 1990, Dave Peverett reactivated his own version of Foghat known as "Lonesome Dave's Foghat" with all new players including original Wild Cherry guitarist Brian Bassett, former Hall and Oates members, drummer Eddie Zyne and bassist Stephen Dees and later, bassist Riff West, who had played for Molly Hatchet for ten years. Lonesome Dave's Foghat also included some performances by Rod Price. The two versions of Foghat toured separately from 1990 until 1993, when the original Foghat was reformed after Tony Stevens and Rod Price rejoined and things were patched up between Dave Peverett and Roger Earl. Rod Price, Tony Stevens, Roger Earl and Lonesome Dave Peverett, the original founding band members, toured in support of their studio CD, "Return Of The Boogie Men" and a follow-up live CD "Road Cases" (with Bryan Basset replacing Rod Price in 1999) until Lonesome Dave's untimely death from cancer on February 7th, 2000. After some time spent mourning, the band soldiered on with a new line-up, adding Charlie Huhn on vocals and after two years of touring released "Family Joules" in 2002.


Foghat toured for the next few years and issued "The Official Bootleg DVD, Volume 1" in 2004. Rod Price died on March 22, 2005 from a head injury sustained in a fall down a flight of stairs precipitated by a massive heart attack. Later that year, Tony Stevens was replaced again by Craig MacGregor. In 2006, a follow up to the best-selling "Live" album was released - "Live II" and in 2008, Foghat was still criss-crossing the United States with a full touring schedule.
(Extract from http://www.classicbands.com/ Photos from Lonesome Dave's Archives & Bob Savage - http://www.foghat.com/)
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I picked up this album 2nd hand while browsing the record racks at a small outlet in Geelong (Australia) back in the early 70's. Knowing very little about the band Foghat at the time I was first drawn to the LP by its distinctive "Bearsville Record Label". Upon closer inspection, I noted the inclusion of the Chuck Berry classic 'Maybellene', so this was good enough for me to part with my hard earned cash. Of course, when I heard Foghat's legendary rock classic 'I Just Want To Make Love To You' come thumping out of my Onkyo stereo speakers for the first time, I was totally blown away! Every track on this album is a winner, 'Sarah Lee' been a particular favourite of mine. I gotta say, this album has been played at more parties than I can remember and still remains as one of my prize possessions. Best $2.99 I ever spent !

This Rip was taken from CD in FLAC format and includes full album artwork plus band photos.

NEW IMPROVED RIP
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Track Listing
01 - I Just Want To Make Love To You
02 - Trouble, Trouble
03 - Leavin' Again (Again!)
04 - Fool's Hall Of Fame
05 - Sarah Lee
06 - Highway (Killing Me)
07 - Maybellene
08 - A Hole To Hide In
09 - Gotta Get To Know You
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Band Members
'Lonesome Dave' Peverett (Guitars, Vocals)
Rod Price (Guitar)
Tony Stevens (Bass)
Roger Earl (Drums)
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Foghat Link (252Mb) New Link 25/02/2024
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Sunday, September 10, 2023

REPOST: Jo Jo Zep & The Falcons - Live, Loud & Clear (1978)

(Australian 1975-84)
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Jo Jo Zep and the Falcons is the group which started one of Australia's most talented musicians, Joe Camilleri, making music of his own. It didn't happen straight away, but it did happen.
By the time Jo Jo Zep and the Falcons was formed in 1975 Maltese-born Joe had already spent some ten years in the Melbourne music scene, and become one of its mainstays, well-known and admired amongst his peers. From mid-sixties R&B group the King Bees he moved to blues purists the Adderly Smith Blues Band, who sacked him for sounding too much like Mick Jagger and for being too much of a showman, neither of which he could help. Joe was just doing what came naturally, but Adderly Smith took themselves very seriously, priding themselves on educating audiences on where the songs the Rolling Stones were recording originally came from. Joe spent the early seventies in more innovative, even eccentric bands like Lipp and the Double Dekker Brothers, the Sharks and the Pelaco Brothers (the latter with Stephen Cummings of the Sports).
In late 1975, Ross Wilson was still waiting out his Daddy Cool/Mighty Kong recording contract, keeping himself busy by producing Skyhooks. He also decided to produce a version of Chuck Berry's 'Run Rudolph Run', the kind of retro rocker Daddy Cool used to record, as a one-of Christmas single for Mushroom Records.

Since contractually he couldn't perform the vocals himself, Ross asked musician around town Joe Camilleri to sing and play on the record, and front it. In Maltese "Joe" is "Zep". The name put on the single was Jo Jo Zep and his Little Helpers. To promote the single it seemed a good idea to put together a scratch band comprising some of the other people who had worked on the record, more Ross Wilson cohorts. On stage they called themselves Jo Jo Zep and The Falcons. The single wasn't a hit, but the band stayed together. When Ross Wilson formed his own Oz label, he signed the band and produced their records. The first Falcons single 'Beating Around The Bush' was one of the tracks on the Ross Wilson soundtrack for a movie, also called 'Oz'. The band had become an outlet for another of Ross Wilson's songwriting proteges, Wayne Burt, who wrote great songs in that r&b/soul idiom that was the Falcons' stock and trade in the beginning (extract from Howlspace)

After recording the albums 'Don't Waste It' (which contained their hit single "Security") and 'Whip It Out', the mini-albums 'Live, Loud and Clear' (which managed to reach #53 nationally in August 1978, with lead track "The Honeydripper" receiving most of the airplay) and 'So Young' (the title of which was covered by Elvis Costello) for Oz Records, the band and its shifting cast of players - found themselves at Mushroom Records. By this stage Wayne Burt had left - to be replaced by Tony Faehse (who had played in Alvin Stardust's band) - and the composing duties were thrown over to Camilleri and his colleagues. Soon afterwards, the ebullient Wilbur Wilde, who had been an integral member of Ol' 55, also joined the band, although he had already played on previous albums as a sessions player.

But by this stage the sound of the band was changing and by 1982's sophisticated 'Cha' album and its hit single 'Taxi Mary' it was just called Jo Jo Zep, minus the Falcons and plus Jane Clifton, Joe Creighton and others. Even a tour of America (which by all accounts was a disaster) failed to stop the eventual demise of the group. Ironically, Camilleri soon got back to his roots and went on to form the even more successful Black Sorrows. A brief national tour to support the 1984 compilation saw the Camilleri/Wilde/Burstin / Faehse/Power/Young line-up appear for the last time until that famed reunion in 2001 and the brand new album! (Extract from Joe Camilleri's Website)

Jo Jo Zep and the Falcons were added to the list of acts to be inducted into the 2007 ARIA Hall of Fame. [Quote: The announcement of the new inductees follows last month's initial list featuring the Hoodoo Gurus, Marcia Hines and Frank Ifield
"I'm chuffed. I think the Falcons did play a part in the Australian music explosion," Jo Jo Zep and the Falcons frontman Joe Camilleri told news.com.au.
"I'm happy it's been acknowledged. The Falcons were a band out of time. What we played wasn't what was being played. It was an R&B/reggae sound in the time of flares and funk and pop music. Somehow we slotted in." The Hall Of Fame inductions will take place in the Plaza Ballroom at Melbourne’s Regent Theatre on 18 July.]

The 'Live, Loud and Clear' 12" EP was recorded at Martini's in Carlton on 22nd/23rd Dec, 1977.
Standout tracks for me are "Ain't Got No Money" and "Girl Across The Street (just turned 18)". I have fond memories of seeing Jo Jo Zep play these tracks, along with many of their other hits such as "Security" and "So Young", on many ocassions at La Trobe Uni, Bundoora back in 1977. They were a big favourite with the Uni crowds at the time and always produced an exciting stage show. I also got to see them play at other venues such as Bombay Rock and Martini's but alas, cannot claim to be in the crowd on the nights which this recording was made.
This Rip was taken from Vinyl in FLAC format and includes full album artwork and label scans.

NEW IMPROVED RIP
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Track Listing
01 - Honey Dripper
02 - Young Girl
03 - Ain't Got No Money
04 - Girl Across The Street
05 - Riding In The Moonlight

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Band Members
Jo Camilleri (Vocals, Sax)
Jeff Burstin (Guitar)
Tony Faehse (Guitar)
John Power (Bass, Vocals)
Gary Young (Drums)
Wilber Wilde (Sax)
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Jo Jo Zep & The Falcons Link (117Mb) New Link 13/10/2023

Wednesday, September 6, 2023

Gary Wright - The Dream Weaver (1975)

(U.S 1960 - 2017)

Gary Wright is an American singer, songwriter and musician, best known for his 1976 hit songs "Dream Weaver" and "Love Is Alive", and for his role in helping establish the synthesizer as a leading instrument in rock and pop music. Wright's breakthrough album, The Dream Weaver (1975), came after he had spent seven years in London as, alternately, a member of the British heavy rock band Spooky Tooth and a solo artist on A&M Records.

Sadly Gary Wright, the musician best known for his hit singles “Dream Weaver” and “Love Is Alive,” has died (4th Sept, 2023). He was 80. This post pays tribute to a highly talented and much loved musician who brought such wonderful music to our airwaves during the 60's, 70's and 80's while playing keyboards in various groups and as a session / solo artist. His mega hit "Dream Weaver" was the song that first brought my attention to his music during my teenager years back in the 70's, and consequently sourced as much of his output that I could find or afford. 



A powerfully soulful singer and a versatile keyboardist, Wright was a founding member of the U.K.-based band Spooky Tooth and was an in-demand session player from the late ’60s on, playing on all of George Harrison’s solo albums — including his epochal 1970 debut, “All Things Must Pass” — and Ringo Starr’s early singles (and, much later, with Starr’s All-Starr Band) as well as songs by Nilsson, Tim Rose, B.B. King and many others. Yet he will be best remembered for the mid-1970s hits mentioned above, which were part of a vaguely mystical, synthesizer-driven style of hit single of the era — Steve Miller’s “Fly Like an Eagle” is another example — and which saw him appearing on many music shows, wearing satin gear and rocking a keytar.

A native of New Jersey, Wright was a child actor who appeared on Broadway in a version of “Fanny.” He later decided to become a doctor and traveled to Berlin to study medicine, but continued playing with bands, including one called the New York Times. While that group was on a 1967 tour of Europe with Traffic, Wright met Chris Blackwell, founder of Traffic’s label, Island Records. The two had a mutual friend in Traffic/Rolling Stones producer Jimmy Miller, and Blackwell, impressed with the young musician’s talent, convinced him to come to London. There, Blackwell teamed him up with pianist Mike Harrison and drummer Mike Kellie and, with Wright as singer and organist, Spooky Tooth was formed.

Gary Wright (Centre)

The band’s first two albums, “It’s All About” and 1969’s “Spooky Two,” ‘”Spooky Two,” both of which were produced by Miller and featured Wright cowriting every song, were not chart successes but created a major buzz in musicians’ circles. The members were all recruited for session work and their songs were covered by many artists, with the Three Dog Night rendering “I’ve Got Enough Heartache,” the Move performing “Sunshine Help Me” regularly and Judas Priest covering “Better by You, Better Than Me.” However, the group’s third album, “Ceremony,” was a creative misstep and Wright left the band in 1970.


He signed with A&M Records and released a strong solo album, “Extraction,” in 1970, and two players on that albums — drummer Alan White and bassist Klaus Voorman — brought Wright into the Beatles’ orbit. While Harrison was recording “All Things Must Pass” with producer Phil Spector, the latter characteristically called for more musicians. Voorman suggested Wright, who happened to be playing a different session across town — upon getting the call, Wright canceled that session and dashed over to EMI’s storied Abbey Road studios, where he began a friendship with Harrison that was to endure for the rest of their lives. He played on all of Harrison’s solo albums and multiple related projects, including Ringo Starr’s early singles “It Don’t Come Easy” and “Back Off Boogaloo”; Harrison even backed Wright during an appearance on American TV’s “Dick Cavett Show” in 1971.

The following year he reformed Spooky Tooth and released two albums while continuing to work with Harrison, with whom he shared an interest in Eastern religions; the two traveled to India together in 1974.

After the reformed group split again, Wright relocated to New York and united with power manager Dee Anthony (who managed Humble Pie and soon-to-be superstar Peter Frampton) and signed with Warner Bros. Records. His first album for the label, “The Dream Weaver” was released in 1975, and while the single was a slow builder, by the following spring it was a major hit and Wright had become a major star.
The song "Dream Weaver" was inspired by Autobiography of a Yogi, which was given to him by George Harrison. His musical association with Harrison endured until shortly before the latter’s death in 2001.The expression “Dream Weaver” was popularized by John Lennon in 1970 in his song “God“.
It was nearly two years before he followed with “The Light of Smiles,” and his subsequent efforts did not approach his previous success. His last charting single was 1981’s “Really Wanna Know You.”

In the following years, Wright specialized in instrumental and soundtrack work — although he made a surprise appearance in the 1992 film “Wayne’s World,” singing a re-recorded version of “Dream Weaver” — but he returned to more conventional rock music and issued a series of albums, with the last one, “Connected,” being released in 2010. He reformed Spooky Tooth again in 2004, and toured frequently, as a solo act and with Ringo’s All-Starr Band.

Over the years, his songs have continued to be covered — Chaka Khan recorded a blazing version of “Love Is Alive” for her 1984 smash album “I Feel for You” — and sampled by artists ranging from Jay-Z to Tone-Loc. [extract from variety.com]


This post consists of FLACs ripped from my priceless 'mint' vinyl and includes full album artwork for both vinyl and CD. My favourite tracks are the album's opener "Love Is Alive", the funky "Power Of Love" (with its powerful Stevie Wonder like riff), the beautiful "Blind Feeling" and of course his infamous "Dream Weaver".  As a bonus, I have decided to include the remix of this hit, taken from the Soundtrack 'Wayne's World'.

RIP  Gary Wright 

Track Listing
01. Love Is Alive
02. Let It Out
03. Can't Find The Judge
04. Made To Love You
05. Power Of Love
06. Dream Weaver
07. Blind Feeling
08. Much Higher
09. Feel For Me
10. Dream Weaver [Bonus 1992 Remix]

Musicians:
Gary Wright - Moog Bass, clavinet, Hammond organ, Fender Rhodes, Arp strings, Moog brass, woodwinds and special affects, Vocals
Andy Newmark and Jim Keltner - Drums
David Foster - Fender Rhodes, Hammion organ, amd Arp strings
Bobby Lyle - Clavinet and Fender Rhodes
Ronnie Montrose - guitar on "Power of Love"
Backing Vocals - Lorna Wright, Betty Sweet, David Pomeranz and Gary Wright

The Dream Weaver (255Mb) New Link 13/10/2023