(Various Australian Artists 1970-75)
A continuation of Raven’s overview of the formative years of one of the world’s most highly acclaimed musical forces – Oz Rock. This volume, dealing with the first half of the 1970s, brings together 19 exceptional performances – not novelty chart hits but bands and records of credibility and consequence – Chain, Healing Force, Daddy Cool, Jeff St John & Copperwine, Spectrum, Country Radio, Billy Thorpe & the Aztecs, Axiom, Blackfeather, La De Das, Carson, Skyhooks, AC/DC and others. With an extensively annotated colour booklet, this is one of Raven’s most impressive and essential releases.
Liner Notes (by Glenn A Baker)The infectious insanity which began with The Beatles just couldn't last. lt wasn't allowed to. The established order of the music industry had been bowled-for-six in 1964, and for three years, rock music galloped unfettered, unashamedly innocent, naive and enjoyable. But by 1967 the 'moguls' of showbiz raised their ugly heads and the adrenalin ride was over. The clumsy but sympathetic rock TV shows were castrated, radio banished the last traces of raw R&B rock from the airwaves and, in a final blow, record companies, managers and promoters bought sufficient consolidated pressure to bear on groups to make them follow a new version of the established order.
The screaming died because the fun died, music took upon itself a dreaded element of seriousness. Records were no longer made for fun, those few groups not dumped by their record companies saw recording as a 'new art'. The age of psychedelic and progressive music was upon us and under those labels was created some of the most intelligently complex and, alternatively, appallingly self-indulgent music imaginable.
The entire fabric of 'fandom' had undergone drastic change as well. Fans were split into two camps: teenyboppers and 'heads'. The boppers supported The New Dream, Zoot and bubblegum, while the heads (prodominatly male) got off on a level of musical snobbery, which decreed that the universe revolved around a stoned, hirsute guitarist gazing at his sandalled feet during a twenty minute solo. The newly emerged drug culture can be held responsible for the latter group ('mind expansion' failed because of the poor quality of raw material it had to work upon).
The change in Australian music and society between 1967 and 1970 was drastic and severe. Music moved out of Melbourne's (the new pop capital) steamy discos into Sydney's thriving dances and finalty on to open acreage. We intently watched Monterey and Woodstock and then (following a fine tradition of aping the rest of the world) tried rock festivals ourselves. Off we trooped to Ourimbah, covering ourselves with flowers and professing undying love for fellow man. A few years later we tired of sitting in muddy fields dodging beer cans and gave the whole thing up as a bad joke.
Protest went down much the same path, as the fine and just cause of anti-war activity became little more
than a trendy 'be-in'. We didn't change the world much, as hard as we tried.
The music made in this country after the end of the 60s certainly reflected the indulgence and the uncertainty but some of it also, as the selections herein doth attest, began to display a startling innovation born of both isolation and the distillation of myriad influences. This collection picks up the story of Oz Rock from 1970 and takes us through its final half-decade in the international wilderness.
From 1975 on, thanks to Little River Band, Rick Springfield, AC/DC, John Paul Young and others (and to a change in focus from England to America), it was no longer a one-off or fluke to have Australian music on the charts of the world.
Assembled here is a breathtaking array of styles - soul, blues, country-rock, heavy metal, rock'n'roll, progressive hippy rock, unashamedly commercial pop and more. If you listen carefully enough you can discern a thread running through it all - a thread that inevitably led up to Men At Work, Split Enz, Cold Chisel and INXS. After this period though, Oz Rock was a little more calculated, a little less starry-eyed.
Now, for those interested in details.....
Max Merritt & The Meteors
Beloved soul/r&b masters Max Merritt & the Meteors had been in Australia (from NZ) for five years before scoring their first national hit, with a storming version of The Impressions' U.S. charter, "Western Union Man", from their self-titled top ten album. By this stage, Max was the only Kiwi still on board, the other slots being filled by rotund drummer Stewie Spears, bassist Yuk Harrison and saxophonist Bob Bertles. By the mid 70s, Max was recording in England for Arista and had scored a number one hit in Australia with "Slipping Away".
Jeff St. John & Copperwine The soaring, soulful voice of Jeff St John had first been heard in 1967 when The Id made top ten with "Big Time Operator". By the end of that year he was recording with the unsuccessful Yama and, in 1969, returned to the airwaves as leader of Copperwine, a sturdy outfit comprising of Harry Brus, Barry Kelly, Peter Figures, Ross East and fellow vocalist Wendy Saddington. This cover of the Rotary
Connection's "Teach Me How To Fly" reached top twenty in Sydney in January 1971, by which time Saddington had split. A year later, Jeff did the same thing and Copperwine recorded under their own steam.
Axiom
With Glenn Shorrock from the Twilights, Brian Cadd and Don Mudie from the Groop, Chris Stockleigh from Cam-pact and Don Lebler from the Avengers, Axiom was fairly hailed as Australia's first 'Supergroup'. After cracking the top ten first out in late 1969 with "Arkansas Grass", the unit made top five in April 1970 with Cadd's hymn to his newborn daughter, "A Litte Ray Of Sunshine".
Although they turned out a superlative album with 'Fools Gold' and then left to work in Britain, the momentum (to say nothing of the artistry) evaporated and disbandment occurred in March 1971. A few years later, Shorrock was leading the Little River Band.
Like Shorrock, Ross Wilson is an incredible survivor, his chart career beginning in 1965 with the Pink Finks and continuing to this day with Mondo Rock and solo ventures. Daddy Cool, the merging of the Party Machine and the Rondells, took shape in the first half of 1970 as a rollicking, good- time band amid a sea of hairy heavyweights. Mixing covers of obscure, vintage r&r and r&b with clever appealing originals, Daddy Cool offered a joyous celebration of rock'n'roll which took them to number one for eight weeks with their debut single, "Eagle Rock".
Carson
Carson, formed in 1970 as Carson County, deftly cashed in on the Canned Heat boogie climate to become rock festival staples. By 1972, when "Boogie" became a top thirty hit, the lineup included vocalist Broderick Smith, guitarist Greg Lawrie, Healing Force pianist Mal Logan and Chain bassist Barry Sullivan. After a chart album with 'Blown', Carson dissolved, early in 1973.
Spectrum
Some months before Ross Wilson got his new band to number one, his Party Machine partner Mike Rudd had already done just that with the bluesy, shuffling, "l'll Be Gone". Spectrum did not enjoy any further singles success but did make a series of albums which are amongst the most adventurous 'art rock' works to come out of Australia, Rudd later led Ariel and the Heaters.
Healing Force
The airy, seductive "Golden Miles" was the only hit for the band which formed in Adelaide late in 1970 (at the hands of Twilights drummer Laurie Pryor) and always seemed a shadowy, semi- permanent entity. Signed to the same label as Daddy Cool (Sparmac), Healing Force recorded no albums and had a sole hit. Vocalist Charlie Tumahai turned up in England in 1975 as a member of Be Bop Deluxe.
Blackfeather
Like Golden Miles, "Seasons of Change" was an intriguing, compelling piece, though in this case the inspiration seemed to be the gothic/medieval oveltones favoured by the British progressive/heavy metal bands of the day. Written by Blackfeathers's resident guitar wizard, John Robinson, for Bon Scott's Adelaide band Fraternity, it proved to be a far bigger hit for its originators.
The highlight cut from the 1971 album 'Mountains of Madness', it was sung with great power and distinction by Neale Johns.
Masters' Apprentices
"Because I Love You" was the peak of the writing and conceptual prowess of Masters' Apprentices guitarist Doug Ford and vocalist Jim Keays, who, with bassist Glenn Wheatley and drummer Colin Burgess, had given yet another dimension to one of the most venerable names in Oz Rock history. Recorded at Abbey Road Studio 2 in London (at the same time John Lennon was recording Working Class Hero in Studio 1), this splendid, shifting piece, with predominating acoustic guitar, became a hit all over again at the end of the 80s when it was rerecorded and reissued after being used in a television commercial.
The Zoot
Like many bubblegum bands trapped by a profitable image, Thc Zoot had a heavyweight heart just begging to be exposed. Their crashing, thunderous treatment of the Beatles' "Eleanor Rigby" was as impressive as it was unexpected and gave them their only top five hit, at the beginning of 1971 .
This unit proved to be a useful stepping stone - guitarist Rick Springfield was in the U.S. charts as a sole heartthrob a year later, bassist Beeb Birtles followed him there in 1976 as a member of Little River Band, vocalist Daryl Cotton recorded Stateside with Cotton, Lloyd & Christian, and drummer Rick Brewer was at number one on the Austalian charts in 1977 as a member of the Ferrets.
Chain
A tad heavier and immeasurably more credible was the grunting, grinding Chain and their 1971 Melbourne number one, "Black And Blue". Formed in 1967 and originally featuring the mighty Wendy Saddington, Chain hit its commercial stride in 1970 with the compact lineup of vocalist Matt Taylor, guitarist Phil Manning, drummer Barry Harvey and bassist Barry Sullivan. There seems to have been, on and off, in some format or another, a version of Chain in operation ever since, rendering the name synonymous with quality rock blues.
La De Das
The La De Das had as many musical lives as the Masters Apprentices. Beginning life in New Zealand as a down-down-under Blues Magoos in the mid 60s, they ended up as a high-powered Sydney-based hard rock quartet (then trio) in the early 70s, led by guitar hero Kevin Borich. A major concert and festival drawcard, they enjoyed only occasional radio support; the strongest being for the elastic, athletic "Gonna See My Baby Tonight", which made top ten in November 1971.
Billy Thorpe & The Aztecs By 1972, rock chameleon Billy Thorpe probably thought that his popchart topping days were over. By then he was a wild rock warrior - pony tail flying, vocal chords quavering, decibels mounting. There was a new Aztecs and a new attitude but Thorpie could never suppress his inherent commerciality. Even a humorous piece of self-deprecation like "Most People I Know (Think That I'm Crazy)" was able to strike a responsive chord with the crowds.
Country Radio
Greg Quill was a writer for Go-Set magazine who happened to possess as much talent as most of the people he wrote about. A quality folk/country singer-songwriter, he recorded an album for EMI ('Fleetwood Plain') before signing up with Festival as Country Radio.
Although members came and went with peak hour railway frequency, the band managed to score a substantial hit in August 1972with its second single, "Gypsy Queen", written by Greg and guitarist KerrynTolhurst. A 'live' studio album fared reasonably well but by the end of 1973 it was all over. Greg cut an impressive solo album, 'The Outlaw's Reply', before moving to Toronto, Canada, where a full circle turned and he became a leading rock journalist.
The Dingoes
Canada also proved to be a receptive market for the band Broderick Smith formed after Carson. The Dingoes, featuring Chris Stockleigh from Axiom and Kerryn Tolhurst from Country Radio, played a meaty version of country-rock overlaid with a blues sensibility. After a top thirty 1974 hit with the evocative "Way Out West", they headed way up north and spent most of the next five years flogging themselves across North America seeking a big break that sadly never came.
Uncompromising white bluesman MattTaylor recorded three solo albums for Mushroom Records between 1973 and 1975, one of which ('Straight As A Die'), sold almost as well as his Chain album. Originally not on his LP (but later added to CD reissues as a bonus track) the sprightly and disarmingly honest "I Remember When I Was Young", gave him a top thirty Melbourne hit.
When Vanda & Young returned from Britain in 1973, their first project was to restore the chart prominence of their Easybeats comrade Stevie Wright, a vocalist who had been asked to front Mott The Hoople. In 1974, they appeared live with him at the Sydney Opera House and wrote/produced the extraordinary epic "Evie", the only 11 minute plus single to go to number one anywhere in the world.
This renewed association lasted for three hits and two fine albums.
Australian rock has given us few finer experiences than Skyhooks, an underground-cult politico Carlton rabble which tore the country apart with a glam rock parody built upon pithy, smart-arse lyrics that provided a long overdue observation of the contemporary Australian experience. No kangaroos or elderly emus but dreary Melbourne suburbs and unrestrained adolescent lust. "Living ln The Seventies", the title track to the band's debut album (which instantly became the biggest domestic selling Australian album in history) is as close to an anthem as we had in that era.
ACDC
And talking about anthems.....Like the resuscitation of Stevie Wright, the rise of hard rock powerhouse AC/DC was the work of Vanda & Young, who shaped the raw energy of the young band to fill an international vacuum they were convinced existed. The double-punch of Bon Scott's leering, lascivious and decidedly tongue-in-cheek vocal assault and Angus Young's brash, exuberantand bluesy guitar work proved irresistible in a country where no-frills working-class rock'n'roll had ahrvays been warmly embraced. "It's A Long Way To The Top" was AC/DCs third hit, reaching the top five at the end of 1975.
This post consists of FLACs ripped from CD and includes full album artwork. In my opinion, this is one of the best Aussie Rock compilations from the Seventies. It should also be noted that Raven's follow up release was titled "Do Y'self A Favour! The Countdown Years 1975-79 (
Seventies Downunder Vol. 2) which was released in 1993.
Track Listing:
1. WESTERN UNION MAN – Max Merritt & the Meteors
2. TEACH ME HOW TO FLY – Jeff St John & Copperwine
3. A LITTLE RAY OF SUNSHINE – Axiom
4. EAGLE ROCK – Daddy Cool 5. BOOGIE PART I – Carson
6. I’LL BE GONE – Spectrum
7. GOLDEN MILES – Healing Force
8. SEASONS OF CHANGE – Blackfeather
9. BECAUSE I LOVE YOU – The Master’s Apprentices
10. ELEANOR RIGBY – The Zoot
11. BLACK AND BLUE – Chain
12. GONNA SEE MY BABY TONIGHT – La De Das
13. MOST PEOPLE I KNOW, THINK THAT I'M CRAZY - Billy Thorpe & The Aztecs
14. GYPSY QUEEN – Country Radio
15. WAY OUT WEST – The Dingoes
16. I REMEMBER WHEN I WAS YOUNG – Matt Taylor
17. EVIE PART 2 – Stevie Wright
18. LIVING IN THE 70’s – Skyhooks
19. IT’S A LONG WAY TO THE TOP – AC/DC
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01. Money Maker (4:31)
Baxter wrote much of the band's early live set, although he left six months after its formation. Seventeen-year-old Bruce Cumming replaced Baxter on guitar. Alongside the likes of Finch, The Angels, Kevin Borich Express, Rose Tattoo and Chariot, Southern Cross swiftly became one of the most popular hard rock bands on the Sydney scene. Southern Cross signed to the independent Living Sound/Laser label and issued its debut single, `Stormy Lady'/`Queen of Rock'n'Roll', at the end of 1976.
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