(Australian 1967-1969)
's discotheque in Melbourne, Victoria.
History making, because they recorded the first stereophonic 'Live' performance album ever produced in Australia.
With the rapid advancement of modern recording equipment and techniques, live performance recording no longer presents any major technical problems - as Bill Armstrong and his associates have so capably demonstrated on this album.
However, under this technical 'magnifying-glass', the highest degree of artistry and professionalism is demanded from the performer. Anyone who hears this album or who was present that night will agree that no Australian group could be better equipped for this challenge than Procession.
My personal involvement with Procession began just six months ago when I was associated with presenting their first Australian performance. Having heard them in rehearsal I was impressed with their musicianship and originality, but was greatly concerned that they were too advanced for the general public.
I needn't have worried. In six months they have established themselves as leaders in the conte2mprary music field. It is most rewarding for all of us associated with Procession's early days, to see them so highly respected and so widely accepted by audiences and musicians alike.
It's pointless for me to discuss the individual tracks on this album - I believe they speak for themselves, and demonstrate conclusively why this group is so enormously popular at Sebastians. It only remains for me to say how honoured we are that Procession chose Sebastian's for recording this magnificent album. [Liner Notes by Anthony Knight]
One memorable bulletin declared: "You must prepare yourself appropriately, before you are ready for THE PROCESSION! Clear you mind of all the little thoughts and interruptions - and listen intently to their single 'Anthem'. A new sound, unique, untried before in the whole of the pop world. Intricate, involved, ingeniously devised". Of course Sydney (indeed the rest of the country) responded to this with a brick wall of indifference; which was a great shame, given the bard's undeniable excellence.
Unfortunately, apart from one Melbourne station, pop radio claimed 'Anthem' was too long (read: too revolutionary) for airplay and the miffed group, describing Australia as being "not a country for the young" headed off for London, having landed a remarkably large (for the time) advance from Philips/Mercury Records. ln London they had the good fortune to be sent into the studio with Manfred Mann's resident musical genius, Hike Hugg. By this stage, Peacock (who had penned the fine Normie Rowe hit 'Penelope') had truly found his feet as a songwriter and handed Hugg an impressive array of original works to fashion.
Despite the band's growing live prowess, there never was the promised third album. There were some more (Procession-produced) singles, such as 'Wigwam City', but the initial creative surge had been dampened by disinterest. In a desperate move, Peacock summoned to England the leader of his favourite Australian band, The Party Machine. But not even six months sterling service by the immensely talented Ross Wilson (without recordings) could rescue the situation. Ross went back home to put together Sons Of A Vegetal Mother and come up with the Daddy Cool brainstorm, and Procession fell apart.
Brian Peacock, for all intents and purposes, dropped from sight and at one stage was apparently running a Melbourne health food store (the 70s equivalent of the car wash). He received some reward for his diligence and undeniable anceptual talent in 1978 when the David Joseph-managed New Seekers made the U.K. top twenty with Anthem (One Day ln Every Week), the song that Procession had recorded three times, in three different ways, with consistent lack of success. By that time, Brian had
History making, because they recorded the first stereophonic 'Live' performance album ever produced in Australia.
With the rapid advancement of modern recording equipment and techniques, live performance recording no longer presents any major technical problems - as Bill Armstrong and his associates have so capably demonstrated on this album.
However, under this technical 'magnifying-glass', the highest degree of artistry and professionalism is demanded from the performer. Anyone who hears this album or who was present that night will agree that no Australian group could be better equipped for this challenge than Procession.
My personal involvement with Procession began just six months ago when I was associated with presenting their first Australian performance. Having heard them in rehearsal I was impressed with their musicianship and originality, but was greatly concerned that they were too advanced for the general public.
I needn't have worried. In six months they have established themselves as leaders in the conte2mprary music field. It is most rewarding for all of us associated with Procession's early days, to see them so highly respected and so widely accepted by audiences and musicians alike.
It's pointless for me to discuss the individual tracks on this album - I believe they speak for themselves, and demonstrate conclusively why this group is so enormously popular at Sebastians. It only remains for me to say how honoured we are that Procession chose Sebastian's for recording this magnificent album. [Liner Notes by Anthony Knight]
A PRECIS OF PROCESSION
The Procession saga is long and wonderous and should one day be covered in a book (I've left myself a note). However, at this point in time I shall confine my outpourings to a skeletal outline which may help place the music herein in some sort of useful perspective.
Procession was very likely the most publicly ambitious (some may say pompous) of all Australian late sixties rock ensembles. But then, coming from Melbourne, that is understandable. Their launch and every action thereafter was treated with gushin reverence by Yarra scribes and, for a time, it seemed as if Go-Set magazine had been taken over as the official journal of their fan club.
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| Source: Go-Set, October 1969 |
The saga begins in New Zealand, where songwriter/guitarist Brian Peacock and drummer Craig Collinge formed The Librettos, a Beatle-era chart act which never quite connected in this country (despite a superior cover of Paul Revere & The Raiders' Kicks). Late in 1966 Peacock joined Normie Rowe's 'new' Playboys while Collinge fronted Brisbane's The Knack, one of Australia's first psychedelic trios (a la Cream, Jimi Hendrix Experience).
By the end of 1967, Peacock and Collinge were back together, in the company of Englishmen Trevor Griffin (from London group The Question Marks) and former Adam Faith sideman Mick Rodgers, both of whom had drifted into the Playboys and been inspired by Peacock's vision of a totally original and progressive recording unit. That all four happened to harbour leanings toward modern jazz was not necessarily a coincidence.
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| Procession: Wakefield-Express-14-Sept-1968 |
Procession came about through the recording of a stunning Sunshine label power pop single called 'Sad', by The Playboys (sans Normie). Although the song was not a hit, the musical configuration made sense and, on December 17, 1967 (see advert below), the newly-named Procession commenced a three week season at Sebastians and Berties disco. The just-unveiled national four hour Saturday morning rock TV show Uptight (which just happened to be produced by their manager, David Joseph) featured them in a special spot each week, the Lily Brett-Ian (Molly) Meldrum-Go Set PR machine swung into action, and by the beginning of 1968 the country was well aware of the quartet.
Procession's gameplan was to make everything they did a 'first'. Thus their debut single, 'Anthem', was recorded acapella, while their debut album was recorded Live at Sebastians on April 3, 1968 (still the first live debut album in Australian rock history). Their first TV appearance had seen them backed by a 40-voice choir. Their second single, 'Listen', was the first to be recorded on an 8 track recording machine in this country (Armstrong's much-touted Scully unit).
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| Source: Go-Set-June-15-1968 |
The result was a sophisticated, innovative, jazz-tinged album - certainly the most impressive by an Australian act at that time. But, in a repeat of the Australian scenario, British radio showed scant interest in the group and the single 'Every American Citizen', although advertised on the front cover of New Musical Express, sunk without a trace. Not even Mick Rodger's pop idol good looks staring out of the scream rags of the day could get Procession into the charts.
Bassist/guitarist Hick Rodgers, the possessor of a magnificent set of rock vocal chords, drifted back to Australia to front the hit-less Bulldog and in 1972 rejoined drummer Craig Collinge in Manfred Mann's Chapter Three/ Earth Band, becoming Manfred's lead singer for a half dozen or so albums. He also was a recording member of Greenslade and Aviator. Collinge achieved certain rock infamy by being part of the 'bogus' Fleetwood Mac formed by manager Clifford Davis which toured America in the early 70s until stopped by the legal efforts of Messer's Fleetwood and McVie. He was also a recording member of Shoot and Third World War. Keyboard player Trevor Griffin became road manager for The Sweet.
returned to music as co-leader of Perth blues band Western Flyer, with Matt Taylor. He then moved into artist management via The Dugites and by the early 80s was guiding Perth's Eurogliders to national prominence.
And that, until I get around to the book version, is about all I have to say about the Mind Magicians of Australia's Summer (and a few other seasons) of Love. [Notes by Glenn A. Baker]
This post (requested by blog follower RSVL) consists of FLACs ripped from vinyl (thanks to Deutros for rip) and includes full album artwork and label scans. All photos (thanks to Nick Warburton) and Glenn's notes are also included.
Although I found Procession's material to be a bit dated and pedestrian, I really enjoyed their closing number "Hear Me Calling Your Name" with the band pulling out all the stops and showing a more heavier sound. Note that the bonus ' Live Uptight' tracks suffer from tape derogation and speed issues making the listening experience a little frustrating.
One final note, if you are interested in knowing where Procession performed during their three year reign, I suggest you pop over to Nick's website
Tracklist
01 - Anthem 4:15
02 - Take Time 2:28
03 - Once Was A Time I Thought 1:51
04 - Penelope 3:06
05 - Signature Tune 4:06
06 - Nobody Knows When You're Down And Out 3:28
07 - With A Little Help From My Friends 3:32
08 - Cloudburst 2:09
09 - Minuet For Moderns 2:26
10 - Sitting In The Park 4:12
11 - Hear Me Calling Your Name 7:38
Bonus Tracks
12 - Intro, Up And Away, Ruby (from 'Uptight' TV Show) 4:24
13 - Once Was A Time I Thought (from 'Uptight' TV Show) 1:31
14 - Interview (from 'Uptight' TV Show) 4:51
15 - Anthem (from 'Uptight' TV Show) 3:20
16 - Penelope (from 'Uptight' TV Show) 2:56
17 - AMBO Agency Ad (from 'Uptight' TV Show) 0:41
18 - God Rest Ye Merry Gentlemen (from 'Uptight' TV Show) 2:14
Procession Are:
Mick Rodgers - Guitar, Vocals
Trevor Griffin - Keyboards
Brian Peacock - Bass, Vocals
Craig Collinge - Drums
Procession Link (297Mb)
thanks AussieRock for the upload
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