tag:blogger.com,1999:blog-40472343333109755062024-03-19T19:47:32.234+11:00Rock On VinylCounter Account - AussieRock
Password as usualAussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.comBlogger1121125tag:blogger.com,1999:blog-4047234333310975506.post-79270831091597851842024-03-15T01:00:00.001+11:002024-03-15T01:00:00.156+11:00Yes - 9012Live: The Solos (1985) + Bonus Tracks(U.K 1968 - 2004, 2009 - Present)<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA2K9fAQYUFWCKlA0qmtyjlg0ThK8KoheGQYHeDUZu14PmHHcPrTzKga5iKO_NjFSS6IF5Q4uRvVpNDd3jB7wbLjEcar2hTDAM6zwtyXyRIdF1xyQaDAlmuo9y7suCmjllHQJJgw8OS8r_P2BTy6phy4JSv0hM6ogOIKEqKHFFT7NFYDEC-MQRzPPHrsY/s900/Front.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="900" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA2K9fAQYUFWCKlA0qmtyjlg0ThK8KoheGQYHeDUZu14PmHHcPrTzKga5iKO_NjFSS6IF5Q4uRvVpNDd3jB7wbLjEcar2hTDAM6zwtyXyRIdF1xyQaDAlmuo9y7suCmjllHQJJgw8OS8r_P2BTy6phy4JSv0hM6ogOIKEqKHFFT7NFYDEC-MQRzPPHrsY/w274-h274/Front.jpg" width="274" /></a></div>9012Live: The Solos is the third live album by English rock band <b>Yes,</b> released as a mini-LP on 7 November 1985 by Atco Records. <div>Recorded during their 1984 world tour in support of their eleventh studio album, 90125 (1983), the album features a selection of solo tracks performed by each of the five band members [Jon Anderson, Chris Squire, Trevor Rabin, Alan White and Tony Kaye], plus live versions of two songs from 90125. The album was an accompany release to the band's 1985 concert film, 9012Live. <br /><br />In March of 1984, the long overdue show went on the road. Aside from seeing three continents, three tour managers, one small army of Argentinean security, encountering numerous threats, one ticket office bombing, some minor bickering and moaning, one squadron of flying saucers over Denver, lots of vodka and surviving two international escapes, the tour went smoothly and without incident. In spite of, or perhaps as a result of this, what ensued was a series of shows that delighted audiences everywhere.<div><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUAvfzjgOvwLOktTbHmHCP7guH4HehCAQ2sCIphgzhrWMeCDBXLgq4LN14slvhJgGYzWvZ57uEtsBa89xTwXaRzc2sk9K1ZhOINL_mACpkaJWhyphenhyphenYpEloQqQoaEI-_OsjrZBrKGQ3sv2IqgBmR9cZJhZt1aJLGvfjOR9qHu23Zh5h9bNNZ-XSug6RuPZCg/s1316/Yes%201985.jpg" imageanchor="1"><img border="0" data-original-height="455" data-original-width="1316" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUAvfzjgOvwLOktTbHmHCP7guH4HehCAQ2sCIphgzhrWMeCDBXLgq4LN14slvhJgGYzWvZ57uEtsBa89xTwXaRzc2sk9K1ZhOINL_mACpkaJWhyphenhyphenYpEloQqQoaEI-_OsjrZBrKGQ3sv2IqgBmR9cZJhZt1aJLGvfjOR9qHu23Zh5h9bNNZ-XSug6RuPZCg/w400-h139/Yes%201985.jpg" width="400" /></a></div><br /><div>Yes chose to redefine their image: dispensing, for the second time, with Roger Dean, and embracing a new design style based on computer graphics. The 1980s Yes utilised a new updated YES logo and released only their second promotional video in sixteen years, a live recording of their tour. The young filmmaker Steve Gottenburg produced 9012Live for the Charlex Company, using state-of-the-art video technology – incorporating over 60 stunning visual effects. Nominated for various awards, 9012Live provides an accurate portrait of the reformed band.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ohxq2m7HSvm80UQPA-RU83CsR4Hysoyy66K1c1omw_b0jidVbpu1LjnE3szVcNaqy78H_x8A0N4mZuBSwxwXucbZnnFn9RSWrKhm0dBXrsunTyzJnRJ73unVHdLAFJE-7axUu2VLorFZLlglIrkU0N4fW7d8IoTG-Xm_8Dj4YPkmhg4qYGClCdT9CIM/s400/YesLive1984.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="400" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ohxq2m7HSvm80UQPA-RU83CsR4Hysoyy66K1c1omw_b0jidVbpu1LjnE3szVcNaqy78H_x8A0N4mZuBSwxwXucbZnnFn9RSWrKhm0dBXrsunTyzJnRJ73unVHdLAFJE-7axUu2VLorFZLlglIrkU0N4fW7d8IoTG-Xm_8Dj4YPkmhg4qYGClCdT9CIM/w400-h266/YesLive1984.jpg" width="400" /></a></div><br /><div><div><div class="separator" style="clear: both; text-align: left;">With a massive hit album and a number one single, the finances were available to put on a big show. To complement their new sound, Roger Dean’s eerie landscapes were replaced by starker, but still spectacular lasers and computer graphics. Playing only in large arenas on this tour, the stage was multi-levelled, and sparse, its high-tech design reflecting the new album cover. The front of the stage sloped down to the audience while the rear sloped upwards, all band members on the same level except for Alan, whose drum pedestal was raised above the rest.</div></div><div><br /><b><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOAKWVSis0LLHCr72An8F6qISYlDCaDwL_Fzq0xSsnmNUZ7eJJX9Mwsb9TdBANOMMhDqZ6fOCVwyUAtDtmHNe6l14xdtY4RQ8u20v8XYMyRAae040Bx-A_YvGtMPV9OfVfBeE6O64TxzF1JqBiYo7TEHpkM5YTsoO6ppFo9wf8l6diTehUuCCmJblbCE/s394/Rabin,%20Anderson,%20Squire.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="340" data-original-width="394" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOAKWVSis0LLHCr72An8F6qISYlDCaDwL_Fzq0xSsnmNUZ7eJJX9Mwsb9TdBANOMMhDqZ6fOCVwyUAtDtmHNe6l14xdtY4RQ8u20v8XYMyRAae040Bx-A_YvGtMPV9OfVfBeE6O64TxzF1JqBiYo7TEHpkM5YTsoO6ppFo9wf8l6diTehUuCCmJblbCE/w271-h234/Rabin,%20Anderson,%20Squire.jpg" width="271" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rabin, Anderson, Squire</td></tr></tbody></table>The Album</b><br />This album (or mini-LP) was released to promote the then forthcoming VHS video called "9012LIVE". </div><div><br /></div><div>This album could have been better if it was released with more songs played by the entire band and not with the solo performances by each member of the band which were omitted in the video. <br /><br />"Hold on" is a good live version, but Tony Kaye`s keyboards are more in the background. The other song performed by the whole band is "Changes", with very good keyboards by Tony Kaye (with brief additional keyboards by Jon Anderson, as seen in the video) and better mix. <br /><br />The other tracks are performed as solos by each member. Tony Kaye`s solo is brief and it seems that he doesn`t like very much to do this kind of performances on stage. He plays with Trevor Rabin in Rabin`s acoustic guitar solo called "Solly`s Beard", the best of the solos. Jon Anderson`s solo is the "Soon" part of "The Gates of Delirium", played differently with Tony Kaye on keyboards. Chris Squire`s solo is a brief and distorted bass guitar and bass pedals version of "Amazing Grace", followed by "White Fish", which has Chris Squire and Alan White playing their "solos" in a medley of fragments of songs like "The Fish", "Tempus Fugit", "Sound Chaser" and others. <br /><br /><div class="separator" style="clear: both; text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBICcO4zqniSGeOyqrvQ3A5B-tm7SPeMKnQhza8s2BBi4IwowK2QXvTaEzk86gpI4ggxcbhJ4LkvhU_5tibfXY-DmCBSznajYiJ-ojsXswXNZD87FZcwJq2AJuHjjSr2ZjcsYsHul2-UEbYgWX7nzBYzHxrQKA-u42ZSlLnN2QacVI7fUd_MCM0wN1VKQ/s400/Rabin%20and%20Squire.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="400" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBICcO4zqniSGeOyqrvQ3A5B-tm7SPeMKnQhza8s2BBi4IwowK2QXvTaEzk86gpI4ggxcbhJ4LkvhU_5tibfXY-DmCBSznajYiJ-ojsXswXNZD87FZcwJq2AJuHjjSr2ZjcsYsHul2-UEbYgWX7nzBYzHxrQKA-u42ZSlLnN2QacVI7fUd_MCM0wN1VKQ/w272-h217/Rabin%20and%20Squire.jpg" width="272" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rabin and Squire</td></tr></tbody></table>In 2009, the album was reissued in Japan by Isao Kikuchi for Warner Music Japan, with two bonus tracks. These two additional songs had both been previously released:</div><br />"It Can Happen" - as the B-side of the studio version "It Can Happen" (Atlanta 4/16/84)</div><div><br />"City of Love" - as the B-side of "Rhythm of Love" (from 9012Live - Edmonton '84)<br /><br />...and they're nice to have, certainly, but I think it would have been possible and also desirable to include something from that tour which technically had never been released before, such as a recording of "Hearts." We know there is audio of complete shows in the archives, even though it's very likely it will simply remain there. I also think it's entirely reasonable to state that "Cinema" should have been included as the first track as it represents a collective solo set piece of sorts and makes for a nice overture.<br /><br /><b><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfqTj10x-GRD0OFBk-v9W0mkPfLC4S2ssVvze5E7D_EazKlABMcO1np4X3WZhubDJ_II6I50DEw4ZfWHdTjMAb3bLeF-h7PgyI9dBfCqGE8sUi0jJH52-_bFZO8qQmQcnD4yMwRbt6kd53N1aZ4qzMwEuWxzilaJNRGhbuH3aj_JWc9js0pneGBUaoDjU/s2048/Tour%20T-Shirt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfqTj10x-GRD0OFBk-v9W0mkPfLC4S2ssVvze5E7D_EazKlABMcO1np4X3WZhubDJ_II6I50DEw4ZfWHdTjMAb3bLeF-h7PgyI9dBfCqGE8sUi0jJH52-_bFZO8qQmQcnD4yMwRbt6kd53N1aZ4qzMwEuWxzilaJNRGhbuH3aj_JWc9js0pneGBUaoDjU/w400-h300/Tour%20T-Shirt.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1984 Tour T-Shirt</td></tr></tbody></table>Final Say</b><br />I recall when the LP was first released back in the mid 80s and having purchased it in good faith, was somewhat pissed to discover that it was a 30 minute album selling at full price. It really is a pity they didn’t include more of the live 90125 tracks they played on that tour on this vinyl release. The two additional tracks included on the CD release come across well (and could have fitted on the original vinyl release) but it is a real shame this is the only official release from this tour.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmMugE5NhuiZId5nRDs8dx-CE8YvT0BQF-MZnO6T0JKXb08YC5N-Jw_nzQXs_MP57srcdCkXHjFI3d0q68J0iLyIJ0PZ5v1irj-D6pxqM592WPreyl5dMaDePwTVCYF9CPbBOig0nqzM3D0JyHGA73Qtupkh8pBikurQYsj88rj5t-NFun5O5-HrtGZuc/s701/Tour%20Program%20Booklet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="701" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmMugE5NhuiZId5nRDs8dx-CE8YvT0BQF-MZnO6T0JKXb08YC5N-Jw_nzQXs_MP57srcdCkXHjFI3d0q68J0iLyIJ0PZ5v1irj-D6pxqM592WPreyl5dMaDePwTVCYF9CPbBOig0nqzM3D0JyHGA73Qtupkh8pBikurQYsj88rj5t-NFun5O5-HrtGZuc/w400-h285/Tour%20Program%20Booklet.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1984 Tour Programme Booklet</td></tr></tbody></table><div>To me this is such low hanging fruit - a full live recording would be the perfect accompaniment to the popular film (released on Video) and would be a nice way to celebrate their best selling studio album. I know there are probably good boots available but the Rabin era deserves more official live releases than the solos album and the handful of songs on the Word is Live . I guess if I'm shooting for the stars, I'd also want an official BG, and Talk tour release, but I suspect those are less appealing from a commercial standpoint.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEFTBtwrtsDHCFc_yQh1AjTPrXym4ZxJj3p_V-V41lOGopj5XtFpqjvhribdkolw_Q2HDMOV-gmNovpQNGfPNyTpApQKkFU0CajY7Aej-YBvg4YiWg15YaZaQnyhcGfTplG1_zzxn-wCD21xbIC0hsVL7U3QnNrvlb4Q3vXDNdSkQEsZBznKjShEdtSQ/s400/Tony%20Kaye.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="400" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigEFTBtwrtsDHCFc_yQh1AjTPrXym4ZxJj3p_V-V41lOGopj5XtFpqjvhribdkolw_Q2HDMOV-gmNovpQNGfPNyTpApQKkFU0CajY7Aej-YBvg4YiWg15YaZaQnyhcGfTplG1_zzxn-wCD21xbIC0hsVL7U3QnNrvlb4Q3vXDNdSkQEsZBznKjShEdtSQ/w400-h300/Tony%20Kaye.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tony Kaye</td></tr></tbody></table><div><b>Side Note </b><div>On their 1984 World Tour, Tony Kaye was using a bank of synths and samplers hidden under the stage, all triggered from a pair of Yamaha remote MIDI control keyboards (KX-76 or KX-88 would be the model). Well, this was still the early days of MIDI, and sometimes the keyboard sends a note on but forgets to send the note off message. Thus, there's a couple bits where the instrument is sustaining notes that it's not supposed to, and during Tony's solo no less! So you see him reaching over and trying to retrigger the "stuck" notes, so that they'll silence. He must have been thinking, "Bollocks to all of this high tech MIDI gear!".</div><div><div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfX3wSWssimC7CjE-e2jVGWsNH6LFxpyXHpVdzVcdUsTassPU2eGmH6LRTgOL-CYaMQvGg6mvdWfUjhR3J2bIj4j_9VMqpI6eJErtRFxvyRSyj4KXfOjVxIzVNbIHusx__HZxRAo_-snKXTFiWWJ-DdfcZAE8KEpyGq3MlmEa7cGZE1kP7nZwrojOfIaA/s1204/Ticket.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="1204" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfX3wSWssimC7CjE-e2jVGWsNH6LFxpyXHpVdzVcdUsTassPU2eGmH6LRTgOL-CYaMQvGg6mvdWfUjhR3J2bIj4j_9VMqpI6eJErtRFxvyRSyj4KXfOjVxIzVNbIHusx__HZxRAo_-snKXTFiWWJ-DdfcZAE8KEpyGq3MlmEa7cGZE1kP7nZwrojOfIaA/w400-h215/Ticket.jpg" width="400" /></a></div><br />On the 9012Live album, an extra credit is found for keyboardist Casey Young. It was revealed that while Kaye played keyboards on stage for the tour, Young played additional keyboards backstage, while remaining unseen from the audience. This is not surprising given the technology of the time and the demands placed on the keyboards by the intricate 90125 songs.</div></div></div></div></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDuFXRQKUINUUTmJpleWT-KF9PMTjN6U_YtoQ2vSY_26K5S203CeE5kNdZznDvYqZG0IbIIKGyTrw9rMlL60cvnWnFMg29WmX-X_zsUlv0jD0JPcaeqjx4zqMxwAV6UfEcM2ymr-K8ojLbS6V9XddwNVl2F-W_StF6A5hxB0XTRjcK4tN36yGa_Moa0c/s1280/Jon%20Anderson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDuFXRQKUINUUTmJpleWT-KF9PMTjN6U_YtoQ2vSY_26K5S203CeE5kNdZznDvYqZG0IbIIKGyTrw9rMlL60cvnWnFMg29WmX-X_zsUlv0jD0JPcaeqjx4zqMxwAV6UfEcM2ymr-K8ojLbS6V9XddwNVl2F-W_StF6A5hxB0XTRjcK4tN36yGa_Moa0c/w400-h225/Jon%20Anderson.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jon Anderson</td></tr></tbody></table><div>This post consists of FLACs ripped from my mint condition vinyl which I purchased from a pop up record stall at the Victoria Market in Melbourne, back in the mid eighties. It is an import pressing as it features a trademark hole punch in the top corner of its cover. Even though I felt cheated when I bought it (due to the short play time), I still enjoy the recordings - although I think Jon Anderson's edited rendition of "Soon" was far too short, and does no justice for this beautiful song. </div><div>Full album artwork for both vinyl and CD media are included along with the usual obligatory label scans. I have also decided to include those two additional tracks from the CD release (as listed above), as bonus tracks. </div><div><span style="color: red;"><br /></span></div><div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBtU72uOwOqISY9s01NRFf6pMQLAcF2vE-iFPxkVPDjCN84OTfY1TeoDL9RsjjQsfheVihaFB7g1W_0dgyhvTEdJjShO5W9RIPPYJtE6dvzLYlXAE_7t-bjkQ0nj7uIswQ_DJTzJQ7T3U-yHZdzL-Z2JZTPtjy8gRbIVujmfcq3hkTgbNxp9Dto_iTT5I/s1205/Label_Side1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1205" data-original-width="1199" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBtU72uOwOqISY9s01NRFf6pMQLAcF2vE-iFPxkVPDjCN84OTfY1TeoDL9RsjjQsfheVihaFB7g1W_0dgyhvTEdJjShO5W9RIPPYJtE6dvzLYlXAE_7t-bjkQ0nj7uIswQ_DJTzJQ7T3U-yHZdzL-Z2JZTPtjy8gRbIVujmfcq3hkTgbNxp9Dto_iTT5I/w199-h200/Label_Side1.jpg" width="199" /></a></div><b><span style="color: red; font-size: x-small;"><div><b><span style="color: red; font-size: x-small;"><br /></span></b></div><div><b><span style="color: red; font-size: x-small;"><br /></span></b></div>Tracks Listing:</span></b></div><div><b><span style="font-size: x-small;">1. Hold On (6:57)</span></b></div><div><b><span style="font-size: x-small;">2. Si (2:40)</span></b></div><div><b><span style="font-size: x-small;">3. Solly's Beard (4:39)</span></b></div><div><b><span style="font-size: x-small;">4. Soon (2:18)</span></b></div><div><b><span style="font-size: x-small;">5. Changes (7:00)</span></b></div><div><b><span style="font-size: x-small;">6. Amazing Grace (2:10)</span></b></div><div><b><span style="font-size: x-small;">7. Whitefish (8:40)</span></b></div><div><b><span style="color: red; font-size: x-small;">Bonus tracks</span></b></div><div><b><span style="font-size: x-small;">8. City of Love (6:31)</span></b></div><div><b><span style="font-size: x-small;">9. It Can Happen (6:29)</span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxvjzCPCmw1rSMbNVO5wr3hcTW1UXi5Pye8BjAc8467FFI4HCVC9qOxrDGyenyGuIoVqQnrMOLy7iyKmwLnVe8aPZOa_1ZqzaleBiNxLYsOlst75YC-e2uNBSFSSOaId4DuL3NrzHb4xkldsnv9h2JX1mcxQNEYf1a0ZdcB6YH03ILT3oaI8_owmgJsYg/s1207/Label_Side2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1195" data-original-width="1207" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxvjzCPCmw1rSMbNVO5wr3hcTW1UXi5Pye8BjAc8467FFI4HCVC9qOxrDGyenyGuIoVqQnrMOLy7iyKmwLnVe8aPZOa_1ZqzaleBiNxLYsOlst75YC-e2uNBSFSSOaId4DuL3NrzHb4xkldsnv9h2JX1mcxQNEYf1a0ZdcB6YH03ILT3oaI8_owmgJsYg/w200-h198/Label_Side2.jpg" width="200" /></a></div><br /></div><div><i>Line-up / Musicians:</i></div><div><i>- Jon Anderson / vocals</i></div><div><i>- Chris Squire / bass, vocals</i></div><div><i>- Tony Kaye / keyboards</i></div><div><i>- Alan White / drums</i></div><div><i>- Trevor Rabin / guitars, vocals</i></div></div><div> </div><div><br /></div><div><a href="https://bestfile.io/rlPOs1eGdrmC7gb/file" target="_blank">9012 Live Link</a> (294Mb)</div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com0tag:blogger.com,1999:blog-4047234333310975506.post-19017827677345323082024-03-12T21:03:00.000+11:002024-03-12T21:03:40.476+11:00REPOST: Contraband - Selftitled (1979) + Bonus Single(Australian 1973-1979)<br />
<span style="color: yellow;">.</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-_4jvG5VX0WIpYqY-rbWU8wOJCLozI5FoNIaQc1GqqMjkylk9Qop1VMknxEdgzG7YfoPX2ViV2w9iB0M_JbH5f9VoGmU4ztyae3oOkWR8GzeBINUd9dG0q1U9QBqTGpNet8h5Dt0gcE/s1600/Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-_4jvG5VX0WIpYqY-rbWU8wOJCLozI5FoNIaQc1GqqMjkylk9Qop1VMknxEdgzG7YfoPX2ViV2w9iB0M_JbH5f9VoGmU4ztyae3oOkWR8GzeBINUd9dG0q1U9QBqTGpNet8h5Dt0gcE/w253-h253/Cover.jpg" width="253" /></a> Initially formed in Sydney and originally called Stillwater, the band changed its name to <b>Finch</b> in 1973 and then, in mid-1978, they changed their name to to <b>Contraband</b>. Owen Orford was the only remaining member of the original 1973 line-up.<br />
The band didn't work fulltime until 1976 when, as Finch, they recorded their first album, <a href="http://rockonvinyl.blogspot.com.au/2012/04/finch-thunderbird-1976-bonus-tracks.html" target="_blank">'Thunderbird'</a>. They produced and financed the recording themselves and its release, on the <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuqdzqx2zINpJiN2LXkQTerCQ6jjqeu9rYwffm0SXWAcf2WNqhnC25EubY1RuelKAdx__hI3pE-UpaCMv3BYZ2KT8DI9oc4sTwYvd_Ig0Qtt4cIJVhDGm2v0xHdtIuPi6_eSSd64pSNASS/s1600/Finch+-+Roses_45.jpg" target="_blank">Eagle label</a>, coincided with an upsurge in their popularity.<br />
Originally Sydney-based, they toured Melbourne, Adelaide, Brisbane and country areas of New South Wales. At the end of 1976, they moved to Melbourne and released a single, 'Short Changed Again'. The disc enjoyed moderate success, but its release was followed by a major upheaval. BOB SPENCER (guitar) left to join Skyhooks; then the group split completely leaving only PETER McFARLANE (drums) and Owen. The two of them spent the next three months (April '77 to July '77) auditioning new members. Eventually they came up with David Hinds, who replaced CHRIS JONES as second guitarist, Mark Evans (ex-AC/DC), and an old school friend of Mark's, Graham Kennedy.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOMMQti-L0rFA486IH29zGX9CRhmF3clS5SZRoQKSpHXNHukq2HGnH_nmvDdLns-IakXoLLwQiF3IcV3eEtRD_aAbzlRxe5CtIUBUlvNzx5U1b5jMq1x-lkmdI7W5SfOVq_xSBWYKI0Js/s1600/Contraband3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOMMQti-L0rFA486IH29zGX9CRhmF3clS5SZRoQKSpHXNHukq2HGnH_nmvDdLns-IakXoLLwQiF3IcV3eEtRD_aAbzlRxe5CtIUBUlvNzx5U1b5jMq1x-lkmdI7W5SfOVq_xSBWYKI0Js/s400/Contraband3.jpg" width="400" /></a></div>
<br />
Meanwhile the band was signed by CBS. In February 1978, their 'Nothing to Hide' album was released. A single, 'Where Were You', was lifted from it and, in March, became their first national hit.<br />
The band's big break coincided with the album's release — they were picked up for worldwide distribution by American label Portrait. However, as there was already a Dutch band called Finch, Portrait recommended a change of name (to Contraband). Until October '78 the group used both the old and new names to help fans adjust.<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFAWpvSv3vvMgnyC6Aogg382MtosMsRRQcKD8vFHV_0bvVj4s2yfgpyohTbNBHPO5yvRYcidS0z7oGm9ny7p15UCeKtzlPbM_5_svqdtX7DWqDp_ImnTrbbSjKVnyXQanN2rsoacz_PyA/s1600/Contraband2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFAWpvSv3vvMgnyC6Aogg382MtosMsRRQcKD8vFHV_0bvVj4s2yfgpyohTbNBHPO5yvRYcidS0z7oGm9ny7p15UCeKtzlPbM_5_svqdtX7DWqDp_ImnTrbbSjKVnyXQanN2rsoacz_PyA/s320/Contraband2.jpg" width="320" /></a></div>
<span style="color: yellow;">.</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb13P36fh8p0XMfYMn0GloYHgn7abJKxxIQthBde6e4PP1C5-0_z3xyeXhGPz9rODHvFwNRxvJhXll8Qc0rYqDJozYCRcxm-_McMcB0MiLHXeKl-Hmg7_kdU-Nm1ap0fArbWNOZunD2XU/s1600/Contraband+-+Rainin%27+Again%29_45.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>In March, Contraband set off on a national ten week tour with Dragon and, nearing the tour's end, released a re-mixed, edited version of 'Nothing To Hide' as a single. The band then headlined its own tour and, in July, supported Status Quo on its Australian jaunt. The same month, Contraband's album was released in the US. Apart from receiving favourable reviews, the LP got airplay on some of the major FM stations.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb13P36fh8p0XMfYMn0GloYHgn7abJKxxIQthBde6e4PP1C5-0_z3xyeXhGPz9rODHvFwNRxvJhXll8Qc0rYqDJozYCRcxm-_McMcB0MiLHXeKl-Hmg7_kdU-Nm1ap0fArbWNOZunD2XU/s1600/Contraband+-+Rainin%27+Again%29_45.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb13P36fh8p0XMfYMn0GloYHgn7abJKxxIQthBde6e4PP1C5-0_z3xyeXhGPz9rODHvFwNRxvJhXll8Qc0rYqDJozYCRcxm-_McMcB0MiLHXeKl-Hmg7_kdU-Nm1ap0fArbWNOZunD2XU/s200/Contraband+-+Rainin%27+Again%29_45.jpg" width="200" /></a>In October '78, Peter McFarlane left the band, basically over differing musical taste. He was replaced by <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb13P36fh8p0XMfYMn0GloYHgn7abJKxxIQthBde6e4PP1C5-0_z3xyeXhGPz9rODHvFwNRxvJhXll8Qc0rYqDJozYCRcxm-_McMcB0MiLHXeKl-Hmg7_kdU-Nm1ap0fArbWNOZunD2XU/s1600/Contraband+-+Rainin%27+Again%29_45.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb13P36fh8p0XMfYMn0GloYHgn7abJKxxIQthBde6e4PP1C5-0_z3xyeXhGPz9rODHvFwNRxvJhXll8Qc0rYqDJozYCRcxm-_McMcB0MiLHXeKl-Hmg7_kdU-Nm1ap0fArbWNOZunD2XU/s1600/Contraband+-+Rainin%27+Again%29_45.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Barry Cram (ex-Front Page and Russell Morris Band). Coinciding with the split they released another single, 'That's Your Way' (also a re-mix).<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb13P36fh8p0XMfYMn0GloYHgn7abJKxxIQthBde6e4PP1C5-0_z3xyeXhGPz9rODHvFwNRxvJhXll8Qc0rYqDJozYCRcxm-_McMcB0MiLHXeKl-Hmg7_kdU-Nm1ap0fArbWNOZunD2XU/s1600/Contraband+-+Rainin%27+Again%29_45.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><br />
Contraband was scheduled to leave for the US in January '79 to record an album. However Portrait, which was financing the project, pulled out at the last minute without explanation. Undaunted, the band decided to go ahead on its own, record the album at Albert Studios in Sydney and aim at getting to the US later in the year. This selftitled album is the final LP that they recorded before splitting total later in 1979. [extract from Noel McGrath's Australian Encyclopedia of Rock 1978-79 Yearbook, p14-16].<br />
<span style="color: yellow;">.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUBefslRSH6XwbcNvl7Gjcg9phi6KtyfUdh4qRAuje6gcT97CXZsw6QErHF_80ftGWS1WE2_09Q4Mo1ngn_ntkcNaWbP8GyV-nHJSRz9Lthv1fxmEcNTEvkQxq5UqTun_XfFI_RXswwVQ/s400/Finch-Contraband.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finch (Contraband) On Countdown 1979</td></tr>
</tbody></table>
This post consists of FLACs ripped from my cassette tape (plays just fine) and includes full album artwork (which was sourced from Midoztouch with thanks). Also included is the non-album B-Side single from Rainin' Again.<br />
Not a bad collection of tracks - probably their best songs musically, but I still preferred their heavier rock material from their early Finch days (see <a href="https://rockonvinyl.blogspot.com/2012/04/finch-thunderbird-1976-bonus-tracks.html" target="_blank">previous post</a>)<div><br /></div><div><span style="color: red; font-size: medium;">NEW IMPROVED RIP</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzO6Zct4zklflBfocFoTrOlYO0ma6LJA0N9-PANGzVVhx-m3CMMXrRqfCmYkHFYa986HlHgg57od7myeHcrY4DvhV51wJdoWP4ERCEOmHcANzWRMbDviqzZK0cd8J66YHZnW7xqyDHBhg/s1600/Contraband_Vinyl.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzO6Zct4zklflBfocFoTrOlYO0ma6LJA0N9-PANGzVVhx-m3CMMXrRqfCmYkHFYa986HlHgg57od7myeHcrY4DvhV51wJdoWP4ERCEOmHcANzWRMbDviqzZK0cd8J66YHZnW7xqyDHBhg/s200/Contraband_Vinyl.jpg" width="200" /></a><span style="color: yellow;">.</span><br />
<span style="color: red;"><span style="font-size: x-small;"><b>Track Listing</b></span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjifNabf-6hzeHwNrmkZUIbITDdZcG6xTp0fFSqXhMcpa4WpHShs37LzXsCO6rEfGr9UpYJFYeAIUIYJ1uzAEmoc8SZK3c0-hrFTX0qz7bZiuaLMNvU0k80SdB_KhR986LWp-UZOKMOqpE/s1600/Contraband+-+Cassette+Cover2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjifNabf-6hzeHwNrmkZUIbITDdZcG6xTp0fFSqXhMcpa4WpHShs37LzXsCO6rEfGr9UpYJFYeAIUIYJ1uzAEmoc8SZK3c0-hrFTX0qz7bZiuaLMNvU0k80SdB_KhR986LWp-UZOKMOqpE/s200/Contraband+-+Cassette+Cover2.jpg" width="117" /></a><span style="font-size: x-small;"><b>01. Lead Me to the Slaughter<br />02. C-61<br />03. Rainin' Again<br />04. Twisted<br />05. Shot Down in Flames<br />06. Gimme Some Lovin'<br />07. Only a Fool<br />08. Jodie on the Break<br />09. Sittin' Pretty<br />10. I Want La-Huv<br />11. Too Drunk To Know (B-Side Single)</b></span><br />
<span style="color: yellow;">.</span><br />
<i>Band Members:</i><br />
<i>Barry Cram (drums)</i><br />
<i>Owen Orford (vocals)</i><br />
<i>David Hinds (guitar)</i><br />
<i>Graham Kennedy (guitar)</i><br />
<i>Mark Evans (bass)</i><br />
<span style="color: yellow;">.</span><br />
<a href="https://bestfile.io/en/V2pCwmRkgABkXCe/file" target="_blank">Contraband Link</a> (304Mb)<br /><span style="color: red; font-size: x-small;">New Link 12/03/2024</span><div><br /></div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com8tag:blogger.com,1999:blog-4047234333310975506.post-72661077047247687132024-03-08T00:30:00.001+11:002024-03-08T00:30:00.149+11:00Sherbet - The Sherbet Phenomenon (1981) + Bonus Tracks(Australian 1969-1984)<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqA8kCUHfWY4uY3Dp4N3JCWusR-wHiKOmAYgFMFqUFz48fiMLdoWiEjojsDtiMyGlE-8NcDAXBwG9Hna5G3y4dq1cN6Wcb-MY5iyHWd0CWPnLZffRQEzMRVvBXRcHCV4WK2jv2oNGzKtBMDmeZp4456YduaOAl8AVCk7Go790V3uerjR-Oo8SE_mxLZxc/s600/Cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="597" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqA8kCUHfWY4uY3Dp4N3JCWusR-wHiKOmAYgFMFqUFz48fiMLdoWiEjojsDtiMyGlE-8NcDAXBwG9Hna5G3y4dq1cN6Wcb-MY5iyHWd0CWPnLZffRQEzMRVvBXRcHCV4WK2jv2oNGzKtBMDmeZp4456YduaOAl8AVCk7Go790V3uerjR-Oo8SE_mxLZxc/w282-h284/Cover.jpg" width="282" /></a></div>'The Sherbet Phenomenon' - How else might one explain a run of twenty consecutive hit singles (to say nothing of five for Daryl), twelve albums yielding ten platinum and eight gold discs, every possible Australian music award of the seventies and the honor of being not only the biggest domestic record sellers of all but the first act to sell a million dollars worth of records in Australia.<br /><b><br /></b><div><b>Sherbet</b> were the first Australian band to insist on taking their music to the people - all the people - on long, tedious national tours.<br /><br />Lugging seven tons of equipment, they would set out in Greyhound coaches for up to three months - poking their noses into dark corners of the continent which had not seen a rock band since The Easybeats in 1965. They did this not once or twice ... the figure is more like twenty.<br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6nONz2tBbLlSUsmQ7DZYmbYHb4OoVjUd7xFpb-M2UmaK83rG92g1JNAxZhSxCo9rSClT8dmTXhfco8KSBIpL2q_LIYN-l0d4hY3u7QF9zvF4DpQR57PCSMeeriV1pPlpXg9uji1aKI7PFP2SId5rfqdALfZqiLXE3jbkvHUf-OIyOVQw3BMc5tNn83AM/s1000/Sherbet_banner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="290" data-original-width="1000" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6nONz2tBbLlSUsmQ7DZYmbYHb4OoVjUd7xFpb-M2UmaK83rG92g1JNAxZhSxCo9rSClT8dmTXhfco8KSBIpL2q_LIYN-l0d4hY3u7QF9zvF4DpQR57PCSMeeriV1pPlpXg9uji1aKI7PFP2SId5rfqdALfZqiLXE3jbkvHUf-OIyOVQw3BMc5tNn83AM/w400-h116/Sherbet_banner.jpg" width="400" /></a></div><br /><div>Those who were a part of those intense and exciting spectacles called 'Sherbet concerts' will always remember not just the carefully orchestrated visual majesty or the powerfully constructed music, they will also recall the extraordinary warmth and rapport which existed between the stage and the stalls; from the Hordern Pavilion to remote North Queensland council halls.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVrvy8eH85MiAB4PLBaBjxRIuGWLhX1bn-jmxajN5L_JP10hwxkVbpXaE_h9dz8GgtJ-F6WVBdD2esI8982gTwovsw5Y-t3YoeEm85o4-myI3Nc1Sp7-bbl_X9TKhEcbg9Dusd4fXb_UjW24hKw3sptDEjPvS7hMMRp6cTDTM1_L78L_qM3Z1KgoAT18E/s625/Sherbet%20on%20stage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="310" data-original-width="625" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVrvy8eH85MiAB4PLBaBjxRIuGWLhX1bn-jmxajN5L_JP10hwxkVbpXaE_h9dz8GgtJ-F6WVBdD2esI8982gTwovsw5Y-t3YoeEm85o4-myI3Nc1Sp7-bbl_X9TKhEcbg9Dusd4fXb_UjW24hKw3sptDEjPvS7hMMRp6cTDTM1_L78L_qM3Z1KgoAT18E/w400-h199/Sherbet%20on%20stage.jpg" width="400" /></a></div><div><br />This release is as close to the perfect Sherbet collection as one might wish to possess on a single vinyl album. Nineteen pieces of carefully crafted and executed pop music from five guys who understood it better than any other Australian band before or after them. Listen to the music ... remember the magic.<div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyShx2gczanwbtTifLQ91dNku-tx-0BAZi8mPRSOWTFD5IgRv13lsmOKzI5etitQNh0HCOc9JKGVibSieTYThsbwhyphenhyphenFYBSUgS0y-DxtcINK2X0P5PIm1mh7PS3PuT8U1kwkqFs_Drubw2NLjetAg7iJ9MhteIJtyxIe8WS04l-XljwTYQ6G9bNMyNxPyk/s1022/sherbet1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1022" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyShx2gczanwbtTifLQ91dNku-tx-0BAZi8mPRSOWTFD5IgRv13lsmOKzI5etitQNh0HCOc9JKGVibSieTYThsbwhyphenhyphenFYBSUgS0y-DxtcINK2X0P5PIm1mh7PS3PuT8U1kwkqFs_Drubw2NLjetAg7iJ9MhteIJtyxIe8WS04l-XljwTYQ6G9bNMyNxPyk/s320/sherbet1.jpg" width="151" /></a></div><div><br /></div><div><br /></div>FREE THE PEOPLE <br />The third single and second hit Number five in Sydney in November, l971. A Delaney ond Bonnie track featuring original bassist Bruce Worrall on tuba.<br /><br />YOU'RE ALL WOMAN <br />Written by old mate (and later touring companion) Ted Mulry, this was the first track to feature Tony Mitchell, and the first hit to crack the Melbourne top twenty (thirteen), in August 1972.<br /><br />HOUND DOG <br />A raucous version of the Lieber/Staller rock classic which found its way on to tape in around three hours. Top thirty in July, 1973 For many years this was the obligatory Sherbet show closer.<br /><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sOhZFSt0iHmmQaKwyazRHq74SaF_mpf_I2FWg3fuaGVg2Lwqi4Kb0lBhihaRT9ilfwzYROlmbmLgnVZ_zfnojzN7tNmuVBGeveJpUsJB1X908KUFYYAW5uZXyY4iIEpshlbs_If9R4RycjZcfnLjrWYJvMz8QIOBtBN05S05PbzYT-cX09H8cljMOTI/s1023/sherbet3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1023" data-original-width="428" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sOhZFSt0iHmmQaKwyazRHq74SaF_mpf_I2FWg3fuaGVg2Lwqi4Kb0lBhihaRT9ilfwzYROlmbmLgnVZ_zfnojzN7tNmuVBGeveJpUsJB1X908KUFYYAW5uZXyY4iIEpshlbs_If9R4RycjZcfnLjrWYJvMz8QIOBtBN05S05PbzYT-cX09H8cljMOTI/s320/sherbet3.jpg" width="134" /></a></div>CASSANDRA <br />The first indication of the pop masterpieces that were to come and a perfect national top five summer hit, in October, 1973<br /><br /></div><div>SLIPSTREAM <br />The extremely ambitious title track to their third album and possibly the first truly expensive track to be cut in this country. A national top ten single in July 1974.<br /><br />SILVERY MOON <br />Also from 'Slipstream', a highly commercial ballad and another national top ten hit in September 1974.<br /><br /><br /></div><div>YOU'RE MY WORLD <br />Daryl Braithwaite's first solo hit and what a hit! A double platinum national number one (before Sherbet had had done it) over Christmas 1974 and the key to breaking Sherbet in the mass market.<br /><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGxx-F5YdEEJD4yPDVWrj59WCgQwCJ56er4A-_G5FoaDvBoAM22zdJjPyQ_UQGgm6skeF3NCLbl-fyZgJQ4mWLIYGmb4Z7X8YfYxkrIZHSg9eKgGaPlXPom8vGqFvNfsThbEY2sLs6Ss6Ykj4ve8GAERabGcI094vO-THoQguGm7D84HvEvmz7cSSqUaE/s326/Summer%20Love%201975.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="306" data-original-width="326" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGxx-F5YdEEJD4yPDVWrj59WCgQwCJ56er4A-_G5FoaDvBoAM22zdJjPyQ_UQGgm6skeF3NCLbl-fyZgJQ4mWLIYGmb4Z7X8YfYxkrIZHSg9eKgGaPlXPom8vGqFvNfsThbEY2sLs6Ss6Ykj4ve8GAERabGcI094vO-THoQguGm7D84HvEvmz7cSSqUaE/w200-h188/Summer%20Love%201975.jpg" width="200" /></a></div>SUMMER LOVE <br />Another pop classic and the first single to be released in England. National top five. From this point there was really no looking back - March 1975.<br /><br />LIFE <br />The dramatic title cut to the 'Life ... Is For Living' album, featuring Clive Shakespeare on acoustic classical guitar. As a single, number seven nationally in August 1975.<br /><br />ONLY ONE YOU/MATTER OF TIME <br />A powerful double sided hit from the 'Life' album, One side a weepy ballad, the other a rolling rocker featuring Garth Porter on lead vocals. National top ten in November 1975.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjFfamlVOsFEblC0I5TZtBHO2qJ1RaMa9Wod7RRjfE5UTwugCJq0beWRtLpIXI5to1IdtoTLSPSb4PtXTKKtnG4zU4aGVDdVXpUtMnJoVQamGlwmoR2e4Anhrsdkc8wAv8w2cBUWTRgLSdiH1oDBbhCI_YvCjQmNe5CmlgBGaGr6cDX0AKOEAb6it9LkA/s472/sherbet_1976.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="347" data-original-width="472" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjFfamlVOsFEblC0I5TZtBHO2qJ1RaMa9Wod7RRjfE5UTwugCJq0beWRtLpIXI5to1IdtoTLSPSb4PtXTKKtnG4zU4aGVDdVXpUtMnJoVQamGlwmoR2e4Anhrsdkc8wAv8w2cBUWTRgLSdiH1oDBbhCI_YvCjQmNe5CmlgBGaGr6cDX0AKOEAb6it9LkA/w400-h294/sherbet_1976.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sherbet 'Howzat Era' 1976<br />(L-R) Tony Mitchell, Alan Sandow, Daryl Braithwaite, Harvey James, Garth Porter</td></tr></tbody></table><br /><div>CHILD'S PLAY <br />A top ten single in February, 1976 and marked Clive Shakespeare's final recording with Sherbet.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXUCsK2akBhnWw1wonBn3_fXcXxqca8yq0j3hUIiaZr7gN1ZqrrMUc_fZdbRu5fbdK0CqAvCGAo-UDEmkeScZuUvgsn2fgcFLqKgk8gdIlotreu0rX6wHdqvc7FhDeFvwQy3bO0cO2aixlwHqGS5-CnPizp90yzsXFjnsYi4oSDew7ES53w91SdEqZ4E/s600/Howzat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="592" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXUCsK2akBhnWw1wonBn3_fXcXxqca8yq0j3hUIiaZr7gN1ZqrrMUc_fZdbRu5fbdK0CqAvCGAo-UDEmkeScZuUvgsn2fgcFLqKgk8gdIlotreu0rX6wHdqvc7FhDeFvwQy3bO0cO2aixlwHqGS5-CnPizp90yzsXFjnsYi4oSDew7ES53w91SdEqZ4E/w188-h190/Howzat.jpg" width="188" /></a></div>HOWZAT! <br />From the rubble of turmoil arose - an even stronger Sherbet, with new guitarist Harvey James and a first single that rose to number one in Australia, Thailand and many parts of Europe, and number two in England. From the 'Howzat' album in May, 1976. This was the beginning of Sherbet as an international entity.<br /><br />ROCK ME GENTLY<br />A pleasant, soft rocker which had the unfortunate task of following a gorilla like 'Howzat'. It made top ten in October 1976.<br /><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDavW6h3-_ym1-DOIjuAWQAWA4H3932SX2F8nM8agg1Wu_JnHDG8wPIhj44Qm7XuHWDmO1U9UtVC9c2a2IxDzoLoo9hYtED633GpM5etZEPDM_9AXZUybLG5erdzDV9tNsInot15OjPuNFWHJcUqUrXhWZ694uTrmBRutRBEVkhejRjWe6QRvouKpQa4/s599/You've%20Got%20The%20Gun.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="586" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDavW6h3-_ym1-DOIjuAWQAWA4H3932SX2F8nM8agg1Wu_JnHDG8wPIhj44Qm7XuHWDmO1U9UtVC9c2a2IxDzoLoo9hYtED633GpM5etZEPDM_9AXZUybLG5erdzDV9tNsInot15OjPuNFWHJcUqUrXhWZ694uTrmBRutRBEVkhejRjWe6QRvouKpQa4/w191-h195/You've%20Got%20The%20Gun.jpg" width="191" /></a></div>YOU'VE GOT THE GUN <br />Featured as a 'double A side' with 'Rock Me Gently', this was a rather more sophisticated reworking of their original 1972 single.<br /><br />LOVE HAS NO PRIDE <br />Daryl's fourth solo single, a quality version of Eric Koz's classic ballad. A hit in April 1977.<br /><br />MAGAZINE MADONNA <br />The first single from the 'Photoplay' album which, like 'Howzat', was released all over the world. A top 5 national hit in June 1977.</div><div><br /><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJm-St2akCxs5iJLpZ_MbResHSgzFGmUSwRkC5HAX-MsGPPWkunhEYi_A0dqcGk5IsYRsD53Uwaa4lvUrqDtQIvDl-Kq4W-AlqB3nsYmvgT4irZYuPlL6Z6a6KCUTNDNsqNNErJPT84M8moJmCcVPNocIT0mVo8jmFf6rNyTlGqoXBR_9mrJXlqL1808E/s449/Sherbet's%20Australian%20Tour%201975.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="449" data-original-width="323" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJm-St2akCxs5iJLpZ_MbResHSgzFGmUSwRkC5HAX-MsGPPWkunhEYi_A0dqcGk5IsYRsD53Uwaa4lvUrqDtQIvDl-Kq4W-AlqB3nsYmvgT4irZYuPlL6Z6a6KCUTNDNsqNNErJPT84M8moJmCcVPNocIT0mVo8jmFf6rNyTlGqoXBR_9mrJXlqL1808E/w193-h266/Sherbet's%20Australian%20Tour%201975.jpg" width="193" /></a></div>SLIPPIN' AWAY</div>The mature and imaginative opening track from the eleventh album titled simply 'Sherbet'. This album was recorded at United Western Studios in Los Angeles. A number 22 hit in March 1978.<br /><br />ANOTHER NIGHT ON THE ROAD <br />A second song from the 'Sherbet' album and a band favourite which tells the story of their decade of touring, recording and playing a game so very few people ever really understand. A number 17 hit in August 1978. [Taken from album Liner Notes]<br /><br />Glenn A Baker.<br />Australian Editor Billboard November, 1980</div></div></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vivW_BxHnn2xBz-PoVhSkdkQDaprsq-2c9voejLCIFjgmaxicO__yedBXe0_yV1XvMeo4MGOq_YhsbO1FdycXV8wzS-CeYBtQaZLLljND8lplLt3iGtjRpuNEb5HSYEzPk7l1sJKCD2GyO2_mrP74BI0G1h3iXj8ZzCojfEAp3Z7axTLXPDNpy806uI/s469/Sherbet-Hurstville-Civic-Centre-Concert-Poster-1976-Aound-Australia-In-80-Days.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="469" data-original-width="347" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vivW_BxHnn2xBz-PoVhSkdkQDaprsq-2c9voejLCIFjgmaxicO__yedBXe0_yV1XvMeo4MGOq_YhsbO1FdycXV8wzS-CeYBtQaZLLljND8lplLt3iGtjRpuNEb5HSYEzPk7l1sJKCD2GyO2_mrP74BI0G1h3iXj8ZzCojfEAp3Z7axTLXPDNpy806uI/s320/Sherbet-Hurstville-Civic-Centre-Concert-Poster-1976-Aound-Australia-In-80-Days.jpg" width="237" /></a></div>This post consists of FLACs ripped from my 'Hammard' vinyl and includes full album artwork and label scans. Because Hammard Records were a low budget label that released a variety of music genre during the 70's and 80's, I usually tended to avoid them due to their poor sound quality (similar to K-Tel records). However, in this case I made an exception due to the great 'bang for bucks' that this compilation offered - over 60 minutes of music.</div><div>Of course, the compromise is the lack of bass that exists with these type of releases, however I have applied some minor bass enhancement to this rip to improve the sound. </div><div><br /></div><div>One other gripe that I have with this release is the inclusion of two of Daryl Braithwaite's solo releases, at the expense of excluding some classic Sherbet tracks; such as "Freedom", "Wishing Well" and a personnel favourite "Wild Love" (from their Slipstream album, with its heavy, funky bass line). I have therefore added these as Bonus Tracks.</div><div><br /></div><div><div><b><span style="color: red; font-size: x-small;">Tracklist<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHYJj8cUiCjuipNUXJfflDHsMhTn21yyHtBHOSw7MDMYga_gCXNu_4Lcq48VfZPem1OUH7yXWMQFYD8mi3nPn1VFmXRQfNoR0N28SPcym5HwYaabH27uJ5KrkaLjt15h6PmpRYyxbg_RzGh1HFAh_7NTPqTdPC5-8Rf9eGgbY5-ZqN4i0-roRjO_qXB6o/s600/Label_Side1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHYJj8cUiCjuipNUXJfflDHsMhTn21yyHtBHOSw7MDMYga_gCXNu_4Lcq48VfZPem1OUH7yXWMQFYD8mi3nPn1VFmXRQfNoR0N28SPcym5HwYaabH27uJ5KrkaLjt15h6PmpRYyxbg_RzGh1HFAh_7NTPqTdPC5-8Rf9eGgbY5-ZqN4i0-roRjO_qXB6o/w200-h200/Label_Side1.jpg" width="200" /></a></div></span></b></div><div><b><span style="font-size: x-small;">01<span style="white-space: pre;"> </span>Sherbet–Free The People 2:37</span></b></div><div><b><span style="font-size: x-small;">02<span style="white-space: pre;"> </span>Sherbet–You're All Woman 2:52</span></b></div><div><b><span style="font-size: x-small;">03<span style="white-space: pre;"> </span>Sherbet–Hound Dog 2:24</span></b></div><div><b><span style="font-size: x-small;">04<span style="white-space: pre;"> </span>Sherbet–Cassandra<span style="white-space: pre;"> </span>3:15</span></b></div><div><b><span style="font-size: x-small;">05<span style="white-space: pre;"> </span>Sherbet–Slipstream<span style="white-space: pre;"> </span>2:57</span></b></div><div><b><span style="font-size: x-small;">06<span style="white-space: pre;"> </span>Sherbet–Silvery Moon<span style="white-space: pre;"> </span>3:21</span></b></div><div><b><span style="font-size: x-small;">07<span style="white-space: pre;"> </span>Daryl Braithwaite–You're My World 3:06</span></b></div><div><b><span style="font-size: x-small;">08<span style="white-space: pre;"> </span>Sherbet–Summer Love<span style="white-space: pre;"> </span>3:34</span></b></div><div><b><span style="font-size: x-small;">09<span style="white-space: pre;"> </span>Sherbet–Life 3:26</span></b></div><div><b><span style="font-size: x-small;">10<span style="white-space: pre;"> </span>Sherbet–Only One You<span style="white-space: pre;"> </span>3:27</span></b></div><div><b><span style="font-size: x-small;">11<span style="white-space: pre;"> </span>Sherbet–Matter Of Time 2:57</span></b></div><div><b><span style="font-size: x-small;">12<span style="white-space: pre;"> </span>Sherbet–Child's Play<span style="white-space: pre;"> </span>3:17</span></b></div><div><b><span style="font-size: x-small;">13<span style="white-space: pre;"> </span>Sherbet–Howzat!<span style="white-space: pre;"> </span>3:42</span></b></div><div><b><span style="font-size: x-small;">14<span style="white-space: pre;"> </span>Sherbet–Rock Me Gently 3:34</span></b></div><div><b><span style="font-size: x-small;">15<span style="white-space: pre;"> </span>Sherbet–You've Got The Gun<span style="white-space: pre;"> </span>3:30</span></b></div><div><b><span style="font-size: x-small;">16<span style="white-space: pre;"> </span>Daryl Braithwaite– Love Has No Pride 3:18</span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQd5bqYUVfvSTbxG5wIGs5Qr9GoGXRWXva31ENkbeAPFssPnCwOf2lgLF2AOy6H8GzskM6nkPbDWF6dne4OintQVEhm92Lesd54qmfg_e4JLt7v8y0GafvDc6JVIERIBDQdD-CQ_cSLvFHYRlIugbamaHKw2mcwXfeeQ59ECQexQTY4n1E-U3MCgQQiNU/s600/Label_Side2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="597" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQd5bqYUVfvSTbxG5wIGs5Qr9GoGXRWXva31ENkbeAPFssPnCwOf2lgLF2AOy6H8GzskM6nkPbDWF6dne4OintQVEhm92Lesd54qmfg_e4JLt7v8y0GafvDc6JVIERIBDQdD-CQ_cSLvFHYRlIugbamaHKw2mcwXfeeQ59ECQexQTY4n1E-U3MCgQQiNU/w199-h200/Label_Side2.jpg" width="199" /></a></div><b><span style="font-size: x-small;">17<span style="white-space: pre;"> </span>Sherbet–Magazine Madonna<span style="white-space: pre;"> </span>4:05</span></b></div><div><b><span style="font-size: x-small;">18<span style="white-space: pre;"> </span>Sherbet–(Feel Like It's) Slippin' Away 3:21</span></b></div><div><b><span style="font-size: x-small;">19<span style="white-space: pre;"> </span>Sherbet–Another Night On The Road 3:46</span></b></div><div><b><span style="font-size: x-small;">20 Sherbet-Wild Love (Bonus Track) 3:19</span></b></div><div><b><span style="font-size: x-small;">21<span style="white-space: pre;"> </span>Sherbet-Freedom (Bonus Track) 3:48</span></b></div><div><b><span style="font-size: x-small;">22<span style="white-space: pre;"> </span>Sherbet-Wishing Well (Bonus Live) 3:54</span></b></div></div><div><br /></div><div><div><i>Sherbet Were:</i></div><div><i>Daryl Braithwaite (vocals) 1969-84</i></div><div><i>Gunther Gorman (guitar) 1976</i></div><div><i>Harvey James (guitar, vocals) 1976-84</i></div><div><i>Dennis Laughlin (lead vocals) 1969</i></div><div><i>Tony Mitchell (bass) 1972-84</i></div><div><i>Garth Porter (keyboards, vcls) 1970-84</i></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnuA6Neaq0Qha3128eXYlIHegtk46OChZFt55zDwNtN5hhQLnjQ0bvZ129TlA1vMJmywHUNmaowBmoxvOpVSJjGtp1heY2TecMdWMbDsrJkzxgw63zKXNgkoFQsjd9zB53-vVcYEuQZ1MdG6NXHFyHhJ1lEKXXFNubj1k6G4k6_Ul1e0zqV821aJpokRI/s500/Vinyl.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnuA6Neaq0Qha3128eXYlIHegtk46OChZFt55zDwNtN5hhQLnjQ0bvZ129TlA1vMJmywHUNmaowBmoxvOpVSJjGtp1heY2TecMdWMbDsrJkzxgw63zKXNgkoFQsjd9zB53-vVcYEuQZ1MdG6NXHFyHhJ1lEKXXFNubj1k6G4k6_Ul1e0zqV821aJpokRI/w200-h150/Vinyl.jpg" width="200" /></a></div><i>Doug Rae (bass) 1969</i></div><div><i>Alan Sandow (drums) 1969-84</i></div><div><i>Sam See (keyboards) 1969-70</i></div><div><i>Clive Shakespeare (guitar, vocals) 1969-76</i></div><div><i>Danny Taylor (drums) 1969</i></div><div><i>Bruce Worrall (bass) 1969-72</i></div></div><div><br /></div><div><a href="https://bestfile.io/DB5clRTylF3uXNz/file" target="_blank">The Sherbet Phenomenon Link</a> (372Mb)</div><div><br /></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com2tag:blogger.com,1999:blog-4047234333310975506.post-58278836204797518382024-03-05T09:41:00.001+11:002024-03-05T09:41:54.222+11:00REPOST: Billy T - No Definitions (1977) + Bonus Tracks/Video(Australian 1975-78)<br />
<span style="color: #ffff66;">.</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlUTXSuDgw5BPDZLCHPUPJn5sn9Lnz42V_35urTCa2IwrTcQs0zh4lelODZ0oKGNpooG9ZTfoX8bNSH5tOfyW3-nCYM3zwllnbB0rjNc2F9V5Di2Vl7UFDWy5rmjXpFrI3zLijiaGZyh70/s1600/Billy+T+-+No+Definitions+-+Front.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5523039655096577634" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlUTXSuDgw5BPDZLCHPUPJn5sn9Lnz42V_35urTCa2IwrTcQs0zh4lelODZ0oKGNpooG9ZTfoX8bNSH5tOfyW3-nCYM3zwllnbB0rjNc2F9V5Di2Vl7UFDWy5rmjXpFrI3zLijiaGZyh70/s320/Billy+T+-+No+Definitions+-+Front.jpg" style="cursor: pointer; float: left; height: 228px; margin: 0pt 10px 10px 0pt; width: 228px;" /></a>After the demise of Daddy Cool & Mighty Kong, Ross Hannaford formed <span style="font-weight: bold;">Billy T</span> with Joe Creighton in Queensland, and later joined up with<span style="font-style: italic;"> </span>Russell Smith (Company Caine) and Mick Holden (The Mixtures), playing a mixture of Reggae, Soul, Funk and Rock in Melbourne.<br />
They released 3 singles and their debut LP 'No Definitions'.<div><br />
As their bass player 'Joe Creighton' recalls on <a href="http://www.joecreighton.com/content/view/35/68/">his blog</a>:<br />
A<span style="font-style: italic;">round 1975, I hooked up with Ross Hannaford and we formed Billy T. </span><span style="font-style: italic;">Billy T was a unique band in that it broke the mold of </span><span style="font-style: italic;">standard A</span><span style="font-style: italic;">ussie rock in pubs. With our own brand of blue-eyed soul and reggae we had quite a successful run in the Australian pub circuit.</span><span style="font-style: italic;"><br /></span>Our tour support with legendary US band 'Little Feat' cemented our profile as the band most likely to do it in 76. Unfortunately Ross and I kept floating off to the US and Europe to play for Maharaj Ji and Billy T suffered the consequences of our absences. The rest of the band basically got jack of it and I can't remember if we got sacked or if we called it quits. But whatever, the band eventually dissolved.</div><div><br />
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L to R: Geoff Bridgford (ex Bee Gee),<br />
Joe Creighton, Ross Hannaford</div>
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<span style="font-style: italic;">I don't think Ross was ever all that ha</span><span style="font-style: italic;">p</span><span style="font-style: italic;">py in the band. It is often difficult having two dynam</span><span style="font-style: italic;">ic guitarists in one band and Russel Smith was and still is a great guitarist. I think he and Ross always had trouble defining their roll with each other musically. Maybe they should have taken heed of the title of our only album 'No Definitions'! Having said that, there were many many moments where they rose to gr</span><span style="font-style: italic;">eat heights and complime</span><span style="font-style: italic;">nted each other superbly. Billy T was a great live band and with a bit more focus probably would have made a bigger imprint on the industry than it did.</span><br />
<br />
<span style="font-style: italic;"><span style="color: #ffff66;">.</span></span>The following is a transcript of an interview conducted by Peter Olszewski of RAM magazine with the members of Billy T (#37 <span style="font-style: italic;">- 30th July 1976):</span><br />
<span style="font-style: italic;"><b>Get up and Guru?<br />Do the Funky Electric Meditation?<br />There's this new band around called BILLY T<br />who...... well, read on ...</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDUXaejmqQApro4Ss_egO9ObIMUhtvPH_4XB8Dx1NmydRNpTOrR8oK0DV27-8Hml3coAwu5FZUNUZSJDPHUiDtPfy-piuJbprVQqaCkTnm75QzjPnbwhn5o6Oo4StkcF4KQOEp_0l2uOIY/s1600/BillyT+at+The+Last+Laugh_1976+3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><span style="font-style: italic;"> </span><br />
<span style="font-style: italic;"><br /></span>
<span style="font-style: italic;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDUXaejmqQApro4Ss_egO9ObIMUhtvPH_4XB8Dx1NmydRNpTOrR8oK0DV27-8Hml3coAwu5FZUNUZSJDPHUiDtPfy-piuJbprVQqaCkTnm75QzjPnbwhn5o6Oo4StkcF4KQOEp_0l2uOIY/s1600/BillyT+at+The+Last+Laugh_1976+3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5523046905261596434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDUXaejmqQApro4Ss_egO9ObIMUhtvPH_4XB8Dx1NmydRNpTOrR8oK0DV27-8Hml3coAwu5FZUNUZSJDPHUiDtPfy-piuJbprVQqaCkTnm75QzjPnbwhn5o6Oo4StkcF4KQOEp_0l2uOIY/s320/BillyT+at+The+Last+Laugh_1976+3.jpg" style="float: left; height: 234px; margin: 0pt 10px 10px 0pt; width: 320px;" /></a>Take a large tin, throw in a hot city bump, </span><span style="font-style: italic;">one only of Mighty Kong's nose hairs, a smid</span><span style="font-style: italic;">geon of cocaine, some dried angels </span><span style="font-style: italic;">wings, boil it all up. and waddya got? Billy T.<br />And what exactly is Billy</span><span style="font-style: italic;"> T? It's a</span><span style="font-style: italic;"> new band in Melbourne, comprised of exiles from Hot City Bump Band, Company-Caine, Band of Angels and Daddy Cool / Mighty Kong.</span></div><div><span style="font-style: italic;"><br />The band's just one of the many newbies poppin up in Melbourne town, all in accordance with Parkinson's Law of Rock Bandz:— Following a period of n</span><span style="font-style: italic;">umerous band break-ups, personnel reshuffle and form a series of new bands which is approximately equal to the number of old bands that have just broken up.</span></div><div><span style="font-style: italic;">However, what sets Billy T apart from the o</span><span style="font-style: italic;">ther 'newbies is their unusual fusion of rock, regg</span><span style="font-style: italic;">ae and soul (Roul? Sock?) Looking at the line-up you find, on the rock side. R</span><span style="font-style: italic;">ussell Smith — guitar (ex-Co</span><span style="font-style: italic;">.Caine) and Ross Hannaford — guitar (ex-Daddy Cool — Mighty Kong). On the soul side you've got Joe Creighton — bass & vocals and Geoff Maling — percussion (both ex-Band of Angels) and Mick Holden ~ drums (ex-Hot City Bump Band).</span></div><div><span style="font-style: italic;"><br />The obvious thing to do of course, is to weigh in with the heavy ques</span><span style="font-style: italic;">tion of how did this come about.<br />Says Ross Hannaford: "It's my taste. I've had my fill of rock and roll so we're moving into the kind of music we like to play. We don't want to brand ourselves as a soul group, and I want to incorporate a lot of rock and roll because you find people, especially in Melbourne, can't really dance to soul.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMAWaL_2z_UjpaK07idwu6LHQiiyRn04kzf5c_OUAOSWsHeyFjFtwR2ukh4l2Eusvff0SK-ovBTrUlROoQHjLwmLKzJ6XYZy2bb3neU5aeqLppA4u3ArUiOCqz4aBdTQZ-BMUW1Pc99M4x/s1600/BillyT+at+The+Last+Laugh_1976+%28photo+by+Chris+Lofven%29.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5523047697912982066" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMAWaL_2z_UjpaK07idwu6LHQiiyRn04kzf5c_OUAOSWsHeyFjFtwR2ukh4l2Eusvff0SK-ovBTrUlROoQHjLwmLKzJ6XYZy2bb3neU5aeqLppA4u3ArUiOCqz4aBdTQZ-BMUW1Pc99M4x/s320/BillyT+at+The+Last+Laugh_1976+(photo+by+Chris+Lofven).jpg" style="cursor: pointer; float: right; height: 235px; margin: 0pt 0pt 10px 10px; width: 320px;" /></a><br />
<span style="font-style: italic;">"I notice people nowadays have got a c</span><span style="font-style: italic;">oncept of what dancing is all about, and we want to really encourage it because we're simply setting ourselves up as a dance band."</span><br />
<span style="font-style: italic;">Which of course is fair enough. If you're a dance band and no-one can dance to you then. uh, it's time to hang up dem geetars.</span></div><div><i><br /></i>
<span style="font-style: italic;">The two founders of the band are Hannaford and Joe</span><span style="font-style: italic;"> Creighton who started to play music together through their affiliation with the Divine Light Mission. Ross and Joe first played together professionally on Jim Keays reggae cum anti-drug song "Give It Up", which presumably wasn't the right message at the right time because it did absolutely nothing sales wise, but that's another story ... or is it?</span><br />
<span style="font-style: italic;">Ross explains the further development </span><span style="font-style: italic;">of the band: "I started the band off sort of. Joe had a gig lined up at The Patch in Coolangatta and I went with him. Ever since I left Daddy Cool ... well, at first I wanted a break and then I wanted to get a band going ..."</span></div><div><span style="font-style: italic;">Joe steps into the conversation ...<br />"Yes, and we started putting a band together in a really relaxed sort of way and we started writing some songs up there in the sun and the surf and what have you ..."<br />Mick Holden weighs in with the sound effects: "Tweet, tweet, tweet."</span></div><div><span style="font-style: italic;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAnUi8IZ55KipgVQ_xl5RHXUIM6JjlJHnbdTH6FIqSfK69-cRy1IrCpWN7-zWDxie5vrYHg71Ws903y9ZaetLem1DX5tFcK0mInpaCackbbU3RK_CdHFakvpd45Y2BS6fTei0TBehsfZpTKBP6GzIL5-0jnmK2znQIdClK8Pa1jIz2lTpFRUIikVYgq4/s464/BillyT%20at%20The%20Last%20Laugh_1976%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="464" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAnUi8IZ55KipgVQ_xl5RHXUIM6JjlJHnbdTH6FIqSfK69-cRy1IrCpWN7-zWDxie5vrYHg71Ws903y9ZaetLem1DX5tFcK0mInpaCackbbU3RK_CdHFakvpd45Y2BS6fTei0TBehsfZpTKBP6GzIL5-0jnmK2znQIdClK8Pa1jIz2lTpFRUIikVYgq4/s320/BillyT%20at%20The%20Last%20Laugh_1976%202.jpg" width="320" /></a></div>Back to Joe: "Then we came back to Melbo</span><span style="font-style: italic;">urne and we just started talking to a few</span><span style="font-style: italic;"> guys Mick was one of the first guys we had a blow with. We dug the feel and then Geoff came along ... it was all very relaxed you know. Russell came over one day and had a blow. Then we started blowing together with this group of guys and one day we had a look at each other and said what do y</span><span style="font-style: italic;">ou reckon?"</span><br />
<span style="font-style: italic;">And on the subject of the rather strange name?<br />Mick: "It means whatever you want it to,</span><br />
<span style="font-style: italic;">Uh uh, well I had this immediate association with Billy Tea?<br />"Yeah, it kinda gives us tha</span><span style="font-style: italic;">t Australiana type of thing. Although Mark Barnes at the Station Hotel (Melb's supposedly legendary rock pub of which Barnes is the founder) said: 'Isn't it really a rip off of Billy Thorpe?'</span></div><div><span style="font-style: italic;"><br />Listening to the band s music and talking to the band, one picks up this continuous ongoing concern about relaxation and detachment. Joe</span><span style="font-style: italic;"> kindly explains: "We've all found that the detached attitude makes for really good music. Mick's found that he's detached when he's playing for the Dingoes. (Mick Holden is filling in on drums for the Dingoes until they leave for the States and rejoin with John Lee. their original drummer). It s not the type of thing he's planning for, nor is he worrying about the future; he gets into a real groove because he's just playing. Naturalism is the key. "</span><span style="font-style: italic;">Talking about this naturalism, relaxation. soul etc brings us to the area of meditation, which brings us to the Divine Light Mission. </span></div><div><span style="font-style: italic;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifF6eboLYVHq_Nx6sZXyBuhXahp1wCruaVW_vMJRANSV_Lm0w05-g4PKe4y1GonneYDejYx92KFuSzaiLwEe2XWvNKn8p_Uk4EVzz-YEVaIaUjaKBw22HbSZHtXFKin_dg9zaVzeNgVciplmROsuzCZ3XrC7wzSNuHeqmy2ZHYEE7pUusRgUazsRjmM-8/s776/BillyT%20RAM%20%2353%201977.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="684" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifF6eboLYVHq_Nx6sZXyBuhXahp1wCruaVW_vMJRANSV_Lm0w05-g4PKe4y1GonneYDejYx92KFuSzaiLwEe2XWvNKn8p_Uk4EVzz-YEVaIaUjaKBw22HbSZHtXFKin_dg9zaVzeNgVciplmROsuzCZ3XrC7wzSNuHeqmy2ZHYEE7pUusRgUazsRjmM-8/w353-h400/BillyT%20RAM%20%2353%201977.jpg" width="353" /></a></div><span style="font-style: italic;"><div><span style="font-style: italic;"><br /></span></div>In Melbourne there's quite a strong group of musicians who belong lo this' religious outfit'</span></div><div>
<span style="font-style: italic;">From Billy T, Creighton, Mating and Hannaford belong to this organisation but following what you could safely say was a period of bad publicity for the Mission (it was accused of brainwashing devotees), it s very difficult to actually pin down any Divine Lighter into discussing the uh, lighter side of that religion.<br />I collared Creighton on this subject and he was somewhat </span><span style="font-style: italic;">evasive, not wanting lo refer to the Divine Light Mission, preferring to call it "this form of meditation.'</span><br />
<span style="font-style: italic;">I first saw Creighton's ex-band, the Band of Angels, performing at the Guru<br />Margarines Melbourne public appearance I was not at all impressed with the little fat man. nor with the music that Band of Angels played, which was mostly recycled Simon and Garfunkel and early melodic Beatles. I was under the</span><span style="font-style: italic;"> impression that the Band of Angels was sort of a Divine Light house band but Creighton corrected me.<br /><span style="color: #ffff66;">.</span></span><br />
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<span style="font-style: italic;">"</span><span style="font-style: italic;">What happened was that the people who wer</span><span style="font-style: italic;">e in that band were into doing meditation and they were all musicians. We came from completely different backgrounds and the thing that united us was meditation rather than musical taste. We went from there, created some music, went as far as we could go together, then broke up."</span><br />
<span style="font-style: italic;">"Ross and Geoff and I still do this meditation and as far</span><span style="font-style: italic;"> as ... well, meditation gives you stillness right, a calmness m your mind, and that's happening, and that s part of the influence in the band, and that's as far as the influence goes, right? Were not a Divine Light band or anything like that, it s just that three of the guys do this meditation."<br />Is there am coincidence that most of the musicians who uh. do this meditation, usually end up in soul bands?</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLugZV-l7a_59ZjGSI9Kw7KxwgPhwzDXf3Gmhy4_Pqesj6844peYiIJzYi4Acnmntb_fXlb7BgXc1pkBiid0WmdE7ogxsG-ebdJqeDeHEclYT-4VYTN5jZ0_yldUOP7L7FzzMcnH3UR7Y/s1600/Billy+T+-+The+Station+Pub_1976_small.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLugZV-l7a_59ZjGSI9Kw7KxwgPhwzDXf3Gmhy4_Pqesj6844peYiIJzYi4Acnmntb_fXlb7BgXc1pkBiid0WmdE7ogxsG-ebdJqeDeHEclYT-4VYTN5jZ0_yldUOP7L7FzzMcnH3UR7Y/s1600/Billy+T+-+The+Station+Pub_1976_small.jpg" width="400" /></a></div>
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<span style="font-style: italic;"> I think because soul music expresses that feeling most of all the thing is that everybody in this band has a really nice spiritual awareness. We're not trying to create any image, were just doing what were doing. I think it's a nice high feeling and it'll be like that all the time as long as the band can be left to just relax and play. Praise the Lord and pass me the meditation mat!<br /><span style="color: #ffff66;">.</span></span><br />
The rip of 'No Defintions' was taken from vinyl in FLAC format (thanks to Tarago) and includes full album artwork and label scans.</div><div>I have also included 2 bonus live tracks from the 1977 "Nightmoves Concert" (my rip), a scan of the RAM article transcribed above and a Video Clip (mp4) of their single "Gotta Keep On Dancing"</div><div><br /></div><div><div style="text-align: center;"><span style="color: red; font-size: large;">NEW IMPROVED RIP</span></div>
<span style="color: #ffff66;">.</span><span style="font-size: x-small;"><span style="color: red; font-weight: bold;">Track Listing</span></span><br />
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<span style="font-size: x-small;"><span style="color: red; font-weight: bold;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiltS59o4ALd2a9ZE2CFggkypl-AT1jcAJEqFd6eazQVJFgAJiaU_YSgwrQ29VWMy9xgXIjEu8vN9MInCQ7K6_Nee8TAD7G82XIIQsk2twJClOMpgz4cuP69QO3GCaUKEom4PASxGOUPoo/s1600/CBS_Label1.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiltS59o4ALd2a9ZE2CFggkypl-AT1jcAJEqFd6eazQVJFgAJiaU_YSgwrQ29VWMy9xgXIjEu8vN9MInCQ7K6_Nee8TAD7G82XIIQsk2twJClOMpgz4cuP69QO3GCaUKEom4PASxGOUPoo/s1600/CBS_Label1.JPG" width="200" /></a></span></span></div>
<span style="font-size: x-small;"><span style="font-weight: bold;">01 You Saved Me</span><br /><span style="font-weight: bold;">02 I Am What You Are</span><br /><span style="font-weight: bold;">03 Just Like Soul Music</span><br /><span style="font-weight: bold;">04 Soul Power</span><br /><span style="font-weight: bold;">05 Keep On Dancing</span><br /><span style="font-weight: bold;">06 Baby I Need Your Lovin'</span><br /><span style="font-weight: bold;">07 Live Together</span><br /><span style="font-weight: bold;">08 Everything I Own</span><br /><span style="font-weight: bold;">09 I'm In A Dancing Mood<br /><span style="color: red;">Bonus Tracks</span><br />10 Who The Cap Fit (Live 1977)<br />11 I Am What You Are (Live 1977)</span><span style="color: #ffff66;">.</span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhIOUojppaG77e7ySAa1CtKvBWkrSlZl-stv6jTkTYyxNz8PM2E-5dwB2AC4zHr8kr6p-rbHtGaYspB0dSs-ByZtVglW6jH0ut2O3Id_NOaCwAuS22PbiES14KNO50cy46HIEphSfBiok/s1600/CBS_Label2.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhIOUojppaG77e7ySAa1CtKvBWkrSlZl-stv6jTkTYyxNz8PM2E-5dwB2AC4zHr8kr6p-rbHtGaYspB0dSs-ByZtVglW6jH0ut2O3Id_NOaCwAuS22PbiES14KNO50cy46HIEphSfBiok/s1600/CBS_Label2.JPG" width="200" /></a><span style="color: #ffff66;">.</span></div><div><span style="color: #ffff66;"><br /></span>
<span style="font-style: italic;">Band Members:</span><br />
<span style="font-style: italic;">Ross Hannaford (Guitar, Vocals)</span><br />
<span style="font-style: italic;">Joe Creighton (Bass, Vocals)</span><br />
<span style="font-style: italic;">Mick Holden (Drums, Vocals)</span><br />
<span style="font-style: italic;">Geoff Maling (Percussion)</span><br />
<span style="font-style: italic;">Russell Smith (Guitar, Vocals)</span><br />
<span style="font-style: italic;">Neal McPherson (Keyboards)</span><br />
<span style="color: #ffff66;">.</span></div><div><span style="color: #ffff66;"><br /></span>
<a href="https://bestfile.io/en/ToMHAUotqWEABee/file" target="_blank">Billy T Link</a> (314Mb) <span style="color: red;"> </span><br /><br /></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com5tag:blogger.com,1999:blog-4047234333310975506.post-24774054602464370702024-02-29T00:25:00.022+11:002024-02-29T08:31:20.701+11:00W.O.C.K On Vinyl: Phyllis Diller – Are You Ready For Phyllis Diller? (1962)<p> </p><p><span face="Georgia, "Times New Roman", sans-serif" style="background-color: #fff3db; color: #29303b; font-size: 13px;"><b><span face="Georgia, Times New Roman, sans-serif">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 </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">W</span><span face="Georgia, Times New Roman, sans-serif">eird, </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">O</span><span face="Georgia, Times New Roman, sans-serif">bscure, </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">C</span><span face="Georgia, Times New Roman, sans-serif">razy or just plain </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">K</span><span face="Georgia, Times New Roman, sans-serif">orny.</span></b></span></p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsFIoUKUw6-2QTxzkGaW9Zf0gfy5jOHnlln9QMyda-SMIcDY32CptuXU6yayx5tdECCtBN_URQPqkRGjHwKm5Ph66AHt-wlOVlX7tLkknfz71XN0cWr87QPTNxUgjRRXtcNBMPN44TcB3U6JwXA1km-YY6u-8JPwJbLgIHdxTeR_XA8bfXEl93Qqs05iw/s357/cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="353" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsFIoUKUw6-2QTxzkGaW9Zf0gfy5jOHnlln9QMyda-SMIcDY32CptuXU6yayx5tdECCtBN_URQPqkRGjHwKm5Ph66AHt-wlOVlX7tLkknfz71XN0cWr87QPTNxUgjRRXtcNBMPN44TcB3U6JwXA1km-YY6u-8JPwJbLgIHdxTeR_XA8bfXEl93Qqs05iw/w260-h263/cover.jpg" width="260" /></a></div><b>Phyllis Diller </b>(1917-2012) began her comedy career in the 1950s at the age of 37 and broke barriers in the comedy world to become the first solo female comic to be a household name. Diller was also an actress, author and musician. She developed a stage persona of an incompetent housewife and dressed in outlandish outfits with wild hair and exaggerated, crackling laugh. Her material focused on self-deprecating jokes that tackled the idealized image of American mothers and homemakers. She also created many mythical personas for her stage act including her “husband” Fang, her “neighbor” Mrs. Clean, and her “mother-in-law” Moby Dick.</div><div><br /></div><div>Diller was one of the first female comics to become a household name in the U.S., credited as an influence by Joan Rivers, Roseanne Barr, and Ellen DeGeneres, among others. She had a large gay following and is considered a gay icon. She was also one of the first celebrities to openly champion plastic surgery, for which she was recognized by the cosmetic surgery industry.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1r9WwH68yhUzFfYkJp2gzBwTpmkbO0nRaa53FXxvvsHSEWPB6uq2o7sp30pV2IvTAr3FapO8MGoSTRqWNNOjGNsw5FqCe6ZhNFcdOcJuCbQRKSEwxhCaubcEhJk9OteqcK6bE3H5HlZJaxvDRipGIsXSOd08qumgWHzNVBIJNsKeYx9K-nI_3VUaRGiU/s1476/phyllis_diller.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1188" data-original-width="1476" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1r9WwH68yhUzFfYkJp2gzBwTpmkbO0nRaa53FXxvvsHSEWPB6uq2o7sp30pV2IvTAr3FapO8MGoSTRqWNNOjGNsw5FqCe6ZhNFcdOcJuCbQRKSEwxhCaubcEhJk9OteqcK6bE3H5HlZJaxvDRipGIsXSOd08qumgWHzNVBIJNsKeYx9K-nI_3VUaRGiU/w270-h218/phyllis_diller.jpg" width="270" /></a></div>They said it couldn't be done back then (to be a successful lady comic, that is) but the doyenne of female stand-up did just that -- opened the doors for other odd-duck funny girls who dared to intrude on what was considered a man's profession. Initially, the comedienne whipped up an alter-ego that could have only been created with the aid of hallucinogens. Boldly facing the world as a scrawny, witchy-faced, flyaway haired, outlandishly costumed, cigarette-holding, magpie-cackling version of "Auntie Mame", Diller made a virtue out of her weird looks and cashed in on her wifely horror tales and her own idiosyncratic tendencies.</div><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie1SC0_E3_PEDkPcghULZQEDZvjz-6r8grwymBis25ynzvNi1tRe0HtpFN0tCjHTULifqR20jX0Bk2PaGkggLdlMtPP2i4ND-pDFAxHhhFQ-rBH8NxNZsqXJisGCnj06HQnJNMYpXT-ipTUfPW8vfgsff4BlLz-XehN6Fec8SG046EDHP-n9BVGweMHmU/s600/Phyllis%20Diller's%20Gag%20File%20containing%20over%2050,000%20joke%20cards.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="436" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie1SC0_E3_PEDkPcghULZQEDZvjz-6r8grwymBis25ynzvNi1tRe0HtpFN0tCjHTULifqR20jX0Bk2PaGkggLdlMtPP2i4ND-pDFAxHhhFQ-rBH8NxNZsqXJisGCnj06HQnJNMYpXT-ipTUfPW8vfgsff4BlLz-XehN6Fec8SG046EDHP-n9BVGweMHmU/s320/Phyllis%20Diller's%20Gag%20File%20containing%20over%2050,000%20joke%20cards.jpg" width="233" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Phyllis Diller's Gag File containing <br />over 50,000 joke cards</span></td></tr></tbody></table>Starting in 1959 and throughout the 1960s, Diller released multiple comedy albums, including the titles 'Wet Toe in a Hot Socket!', 'Laughs', 'The Beautiful Phyllis Diller' and the featured LP 'Are You Ready for Phyllis Diller?'<div><br />For an in-depth discussion and appraisal of this comedy album, I highly recommend you listen to Jason Klamm's Podscast with Riley Silverman at <a href="https://stolendress.com/comedyonvinyl/episode-193-riley-silverman-on-phyllis-diller-are-you-ready-for-phyllis-diller/" target="_blank">The Comedy On Vinyl Podcast</a> </div><div><br /></div><div>And so, this month's WOCK on Vinyl post is not only a big tick for <b><span style="color: red;">C</span></b>razy but also for <b><span style="color: red;">C</span></b>omedy, because you are really gonna have some laughs with this one. Note: a bonus song has been included on this recording - Diller singing the Rolling Stones hit "(I Can't Get No) Satisfaction" which originally appeared on Side-1 of a 1970 Columbia Records Label LP titled 'Born to Sing'.</div><div><br /></div><div>I have fond memories as a youngster, seeing Phyllis Diller appear on the T.V comedy show 'Laugh In' back in the early 70's and although her gags probably went straight over my head, her voice and appearance was enough to make me laugh and admire her greatly. </div><div><br /></div><div><div><b><span style="font-size: x-small;"><span style="color: red;">Tracklist:</span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8iJkP3npzELHE52lkYctEp5f0l3cYYdPk2Ch3Nyc6FpJlOd06Z6HqD_klZkXDcWuMFtPijNhGbYPs0J5uNbV_ApM5U5ELR9u49QCUcweZgyQLrzzzPw4gsA3_FGIv4dSGxD4QgcVHRe1RraGKS6W51oU82K5VlXQG57NmkLyPcMAXsORYNSAxmIiw6Ao/s600/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="592" data-original-width="600" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8iJkP3npzELHE52lkYctEp5f0l3cYYdPk2Ch3Nyc6FpJlOd06Z6HqD_klZkXDcWuMFtPijNhGbYPs0J5uNbV_ApM5U5ELR9u49QCUcweZgyQLrzzzPw4gsA3_FGIv4dSGxD4QgcVHRe1RraGKS6W51oU82K5VlXQG57NmkLyPcMAXsORYNSAxmIiw6Ao/w200-h198/Label_Side1.jpg" width="200" /></a></div></span></b></div><div><b><span style="font-size: x-small;">Satisfaction (song) 2:55</span></b></div><div><b><span style="font-size: x-small;">Don't Eat Here<span style="white-space: pre;"> </span>1:08</span></b></div><div><b><span style="font-size: x-small;">The Way I Dress<span style="white-space: pre;"> </span>2:55</span></b></div><div><b><span style="font-size: x-small;">Beadcraft<span style="white-space: pre;"> </span>1:47</span></b></div><div><b><span style="font-size: x-small;">Hypochondriac<span style="white-space: pre;"> </span>2:05</span></b></div><div><b><span style="font-size: x-small;">Cook Book<span style="white-space: pre;"> </span>5:57</span></b></div><div><b><span style="font-size: x-small;">Household Hints<span style="white-space: pre;"> </span>2:48</span></b></div><div><b><span style="font-size: x-small;">Cheese And Turkey<span style="white-space: pre;"> </span>5:38</span></b></div><div><b><span style="font-size: x-small;">Tightwad Airlines<span style="white-space: pre;"> </span>11:50</span></b></div><div><b><span style="font-size: x-small;">Small Chest Condition<span style="white-space: pre;"> </span>4:15</span></b></div><div><b><span style="font-size: x-small;">Labor Day<span style="white-space: pre;"> </span>1:00</span></b></div></div><div><br /></div><div><a href="https://bestfile.io/Fw6uNIdwIwrGM0K/file" target="_blank">Phyllis Diller Link</a> (88Mb)</div><div><br /></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com3tag:blogger.com,1999:blog-4047234333310975506.post-3010510889569472292024-02-24T23:12:00.007+11:002024-02-24T23:15:43.159+11:00Roberta Flack - Feel Like Makin' Love (1975) + Bonus Live Tracks<p> (U.S 1968 - 2022)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6TiLBsQcfj45R42LLvmQU8q9rHUZFDQGgtH2GtJX4FnU_1uq8QA-GB21WxucKIbgc-2fmxnyjbtLgIPf-4VVSjHo8wg-8S4SftSM2ruvOBLta_23OW7cYIjAkjHMvq7y4yoQBljn4YO3ouR2el4ktQn8t_fMfTlivHaParMpVDgc1a-akYH72o1jB0Co/s600/Front.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="600" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6TiLBsQcfj45R42LLvmQU8q9rHUZFDQGgtH2GtJX4FnU_1uq8QA-GB21WxucKIbgc-2fmxnyjbtLgIPf-4VVSjHo8wg-8S4SftSM2ruvOBLta_23OW7cYIjAkjHMvq7y4yoQBljn4YO3ouR2el4ktQn8t_fMfTlivHaParMpVDgc1a-akYH72o1jB0Co/w251-h250/Front.jpg" width="251" /></a></div>Classy, urbane, reserved, smooth, and sophisticated -- all of these terms have been used to describe the music of <b>Roberta Flack</b>, particularly her string of romantic, light jazz ballad hits in the 1970s, which continue to enjoy popularity on MOR-oriented adult contemporary stations. Flack was the daughter of a church organist and started playing piano early enough to get a music scholarship and eventual degree from Howard University. After a period of student teaching, Flack was discovered singing at a club by jazz musician Les McCann and signed to Atlantic.<br /><br />Some of legendary singer Roberta Flack’s most popular albums include her debut "First Take" and later "Killing Me Softly", gospel-leaning soul albums with immortal ballads like “The First Time Ever I Saw Your Face” and the latter album’s famously Fugees-covered title track. But my favorite is the under-appreciated 'Feel Like Makin’ Love', a lush and sensual foray into the Adult Contemporary sound that defined many hits of the mid-70s.<div><br /><div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5QhDPIiQT9gjd9eACVDXVIgWnsv90VI6wKWgdQ12FR7mQzWrAzqmkmfsrjwkgKGb04-ACEW6Mb58Rp52PYXF7E1AavTzyd4Yz_8HhBpiy2JMlES3BlVepGX4jwvt0qp7bspYp31YWl557Q7Of5WXIhSNawuWt_gPf97VDApxli2RmUtW_tXdrtnlEHI/s400/Roberta-Flack.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="400" data-original-width="400" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5QhDPIiQT9gjd9eACVDXVIgWnsv90VI6wKWgdQ12FR7mQzWrAzqmkmfsrjwkgKGb04-ACEW6Mb58Rp52PYXF7E1AavTzyd4Yz_8HhBpiy2JMlES3BlVepGX4jwvt0qp7bspYp31YWl557Q7Of5WXIhSNawuWt_gPf97VDApxli2RmUtW_tXdrtnlEHI/w257-h257/Roberta-Flack.jpg" width="257" /></a></div>The Album</b></div>Musically, 'Feel Like Makin’ Love' is a little like Carol King, its breezy title track earning a #1 spot on Billboard’s Hot 100 as well as three Grammy nominations including Song of the Year.<br /><br />The vibe here is resolutely mellow and sexy, with a much larger band than previous Flack recordings, including but not limited to jazz legends Bob James (keyboards), Idris Muhammad and Alphonse Mouzon (drums), and Joe Farrell (oboe). Though quite accessible, the record is expertly arranged and performed, with an early highlight in “I Can See the Sun in Late December”.<br /><br />“I Can See the Sun” was penned by Stevie Wonder, who was at a career peak around this time. It shows: the nearly 13-minute epic feels less than half that length, with Flack carrying the soaring melody and the band filling out the sound like sunlight shining into the forest of the album cover. It’s a wonderful song on an album full of them.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDUzhO696r5nVILIQ3RtvCQgO68b_Pmx7am6D279ANYM9slbwvBYCKjZB2WWiLmivZe2uiikI9jgbBiho1F0k9VVunCZZMVlM1fzF4nfGYNaq8kPS3pfKYD3bQpysehdTSzQaHN_jA8PPVmEDYVj4e1DHl2qFj6Ykkay_Kcv52z5juMbLlK-xFuQvIJ0s/s500/Feel%20Like%20Makin'%20Love_45.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="500" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDUzhO696r5nVILIQ3RtvCQgO68b_Pmx7am6D279ANYM9slbwvBYCKjZB2WWiLmivZe2uiikI9jgbBiho1F0k9VVunCZZMVlM1fzF4nfGYNaq8kPS3pfKYD3bQpysehdTSzQaHN_jA8PPVmEDYVj4e1DHl2qFj6Ykkay_Kcv52z5juMbLlK-xFuQvIJ0s/w238-h237/Feel%20Like%20Makin'%20Love_45.jpg" width="238" /></a></div>This album did not come easily however. Her producer of five years, Joel Dorn, departed the album's sessions before they had started, in a flurry of dissension with Atlantic brass. "I didn't know nothing about nothing," Flack stated in the Aquarian. "I had nobody to help me finish the album, so I did it myself. It was one of my worst experiences."<br /><br />Dubbing herself Rubina Flake, she admitted she was not exactly a whiz at the job. "I knew what I wanted musically but I didn't know a lot of technical things or the business aspects of producing. I learned the hard way," she admitted in the Washington Post. Despite their misgivings, Atlantic Records allowed her free reign, though she "spent a fortune" and took eight months to finish. "If you know what you're doing you can't spend too much time on a album, though you can certainly spend too much money," she defended in the Aquarian.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5SdVG5z8Ya1EQGh40LJoLc1xkBMnxZGKqq-o0n7msYbAPvXgWCIxkcUiYvtFJjiZjgGHSKp1W1GYZHvNQpnHX9_eXNEOKE4ePiYBaFVoGTzbox7pJ-DUXsVzITLuZUVB7qf6_1hCz8zFBKklSV1z-JXpJ_T4PH7ScA4tba7WJl-UjrVp7UmlTLvV79W4/s575/Roberta%20Flack.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="575" data-original-width="306" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5SdVG5z8Ya1EQGh40LJoLc1xkBMnxZGKqq-o0n7msYbAPvXgWCIxkcUiYvtFJjiZjgGHSKp1W1GYZHvNQpnHX9_eXNEOKE4ePiYBaFVoGTzbox7pJ-DUXsVzITLuZUVB7qf6_1hCz8zFBKklSV1z-JXpJ_T4PH7ScA4tba7WJl-UjrVp7UmlTLvV79W4/s320/Roberta%20Flack.jpg" width="170" /></a></div>However, the final product is an outstanding collection of smooth soul, ideal for summer days and nights.<br /><br />Roberta Flack scored her third No. 1 hit in 1974 with "Feel Like Makin' Love," also her sixth Billboard Top 40 hit. Co-written by Flack and Eugene McDaniels, the single first charted on July 6, 1974, and spent a total of 13 weeks on the chart. It was the title track from Flack's sixth album, "Feel Like Makin' Love", which first charted Mar. 29, 1975, peaking at No. 24 on the Hot 200 album chart and remaining on the chart for 26 weeks.</div></div><div><br /></div><div>This post consists of FLACs ripped from my prized vinyl and includes full album artwork for both vinyl and CD media. Although the title track is certainly the pinnacle track on this album, I also think that “I Can See the Sun in Late December” is a standout track, with some wonderful instrumental music by her backing band, as reviewed above. </div><div>As a bonus, I have decided to include live recordings of three of her best known hits, taken from the 1992 Newport Jazz Festival and a concert held in Tokyo, Japan in 1993.</div><div><br /></div><div><div><b><span style="color: red; font-size: x-small;">Track List:<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuMpkR8SrN6REN2w4K57CzKaeztdvlnftrPQQ-t5rNmm95GjATV-sRF_o1w1LgmpnTfKfu4HobDB26jRXh-PPbZjcGUtbkTj78wTqkc69OfW_cV3-v3W2pynErCnKmiZknaXpkFHIafBBEsXBT_s_kOPl5jqi9aO3AmH7phjcv92wTvqhkntmXHHXHMA/s599/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="599" data-original-width="599" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMuMpkR8SrN6REN2w4K57CzKaeztdvlnftrPQQ-t5rNmm95GjATV-sRF_o1w1LgmpnTfKfu4HobDB26jRXh-PPbZjcGUtbkTj78wTqkc69OfW_cV3-v3W2pynErCnKmiZknaXpkFHIafBBEsXBT_s_kOPl5jqi9aO3AmH7phjcv92wTvqhkntmXHHXHMA/w200-h200/Label_Side1.jpg" width="200" /></a></div></span></b></div><div><b><span style="font-size: x-small;">01 Feelin' That Glow<span style="white-space: pre;"> </span>5:48</span></b></div><div><b><span style="font-size: x-small;">02 I Wanted It Too<span style="white-space: pre;"> </span>2:51</span></b></div><div><b><span style="font-size: x-small;">03 I Can See The Sun In Late December<span style="white-space: pre;"> </span>12:48</span></b></div><div><b><span style="font-size: x-small;">04 Some Gospel According To Matthew<span style="white-space: pre;"> </span>2:37</span></b></div><div><b><span style="font-size: x-small;">05 Feel Like Makin' Love<span style="white-space: pre;"> </span>2:55</span></b></div><div><b><span style="font-size: x-small;">06 Mr. Magic<span style="white-space: pre;"> </span>3:55</span></b></div><div><b><span style="font-size: x-small;">07 Early Ev'ry Midnite<span style="white-space: pre;"> </span>5:54</span></b></div><div><b><span style="font-size: x-small;">08 Old Heartbreak Top Ten<span style="white-space: pre;"> </span>4:22</span></b></div><div><b><span style="font-size: x-small;">09 She's Not Blind<span style="white-space: pre;"> </span>5:24</span></b></div><div><b><span style="color: red; font-size: x-small;">BONUS TRACKS</span></b></div><div><b><span style="font-size: x-small;">10 Killing Me Softly with His Song (Live At Newport Jazz Festival, 1992)</span></b></div><div><b><span style="font-size: x-small;">11 Feel Like Makin' Love (Live At Newport Jazz Festival, 1992)</span></b></div><div><b><span style="font-size: x-small;">12 The First Time Ever I Saw Your Face (Live in Tokyo, 1993)</span></b></div></div><div><br /></div><div><a href="https://krakenfiles.com/view/60UzxabBms/file.html" target="_blank">Roberta Flack Link</a> (275Mb)</div><div><br /></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com2tag:blogger.com,1999:blog-4047234333310975506.post-49194255933587818772024-02-20T10:20:00.011+11:002024-02-21T10:30:45.530+11:00Various Artists - Andrew Durant Memorial Concert (1980) <p> (Australian 1980)</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3YQML4cNEfc2qXYUtUyE07nxgxNGcsFc2FYurSFBwNjJ_BhojQ_3mop5sCvpzgdDcurPNlQEHu6i1sdjC83wNAp-TYFWScFrWj_MflVj7xD4Yus6inYt5PfIMbguxEsKstqMG1wVa_hATmVWwajwUunCKfvnpUA-NbYevovSny4V1bkegCgLcvapIic/s4691/Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4586" data-original-width="4691" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3YQML4cNEfc2qXYUtUyE07nxgxNGcsFc2FYurSFBwNjJ_BhojQ_3mop5sCvpzgdDcurPNlQEHu6i1sdjC83wNAp-TYFWScFrWj_MflVj7xD4Yus6inYt5PfIMbguxEsKstqMG1wVa_hATmVWwajwUunCKfvnpUA-NbYevovSny4V1bkegCgLcvapIic/w274-h268/Cover.jpg" width="274" /></a></div>Andrew MacLeish Durant (2 October 1954 – 6 May 1980) was an Australian musician-songwriter. He was a member of country rock group Stars (1976–79) providing guitar, harmonica, and backing vocals. He was also a session and backing musician for a range of artists. He died of cancer, aged 25. On 19 August 1980 a tribute performance was held in his honour, with a live double-album recorded by various artists, <b>Andrew Durant Memorial Concert</b>, which was released on 9 March 1981. All but three tracks were written by Durant. It peaked at No. 8 on the Australian Kent Music Report Albums Chart and reached No. 40 on the End of Year Top 100 Albums Chart for 1981...R.I.P<p></p><p><b>Andy's Story</b></p>Andrew was born in Adelaide on 2nd October, 1954, the youngest of six children. Four of his five brothers and sisters played guitar at various times, and this influence, together with the blues and folk records they brought home during their teenage years induced Andy to show a musical interest at a very early age. He taught himself to play guitar around the time he started High School, and developed to the point where he performed solo at school concerts. At the age of fifteen he bought his first electric guitar and started jamming with other beginners in the area; playing material from the Beatles, The Band, Cream and Grand Funk Railroad. <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKrsqtLTzW-SZkw4uT1qKtj8aCmhX_ITwLpl66NdAJEenLqTc2PKzeysFh66qqMXDwazGl1eHk4Yg6RADSBoe31bMJhKRUvoao3xyUHfitcH33suGpfcp_q1hl1B3mxTgOGgbP5jpeuKhhyphenhyphen4hf8ONscfx-AhIrZLb-upcVbq0E57neY11nLSS8d0WqWA/s222/Andy%20Durant3.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="210" data-original-width="222" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKrsqtLTzW-SZkw4uT1qKtj8aCmhX_ITwLpl66NdAJEenLqTc2PKzeysFh66qqMXDwazGl1eHk4Yg6RADSBoe31bMJhKRUvoao3xyUHfitcH33suGpfcp_q1hl1B3mxTgOGgbP5jpeuKhhyphenhyphen4hf8ONscfx-AhIrZLb-upcVbq0E57neY11nLSS8d0WqWA/w252-h238/Andy%20Durant3.jpg" width="252" /></a></div>He quickly earned respect as the best local musician, showing a strong talent for guitar, harmonica and vocals. Songwriting ideas were also starting to come through at this time.<br /><br />His friends also remember him for his performances at parties. playing accurate renditions of Dylan songs such as "Love Minus Zero - No Limit", "George Jackson", and "Knockin' on Heaven's Door".<br /><br />In late 1972 Andy, Glyn Dowding and I formed a band called Astrakhan, with the intent of developing a career- Towards the end of the band's 18 month life Andy introduced his first original song to our repertoire of material by groups such as Free and Deep Purple. He left Astrakhan just before it disbanded, and formed a band called Mirrormere, to play more experimental music under the influence of bands such as King Crimson.<br /><br />In 1975, I formed Stars with Glyn. Mick Pealing and Graham Thompson. and after working for a year and earning ourselves a record contract in Melbourne, we asked Andy to rejoin us as rhythm guitarist/ harmony vocalist. He accepted, expressing an interest in developing his songwriting. Within only a few months he became the major writing force in the band, producing some ten songs, most of which were recorded for the Stars '<a href="https://rockonvinyl.blogspot.com/2020/11/stars-paradise-1977-plus-bonus-singles.html">Paradise'</a> album released in January 1978. These songs, which were to earn Andy his reputation as a songwriter, were his first serious works.<div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKAjylibjKGKwnvzpm7UFwVYhNya6dSdsnXk70NukN3m0LD_KSyURtR9WhpJWBsKZAO56CAqRWyLOGBnUNoixJN2o9mzupbIWiIaP-ic6kZmx5FXMacPxF7DwNkWzD6n007IFeFkbCcObiKcbmGCpipZtPKaw_XYqJHODWLtMk5wvE7n4AlTNkmp0YFmA/s780/Andy%20with%20the%20Stars.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="439" data-original-width="780" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKAjylibjKGKwnvzpm7UFwVYhNya6dSdsnXk70NukN3m0LD_KSyURtR9WhpJWBsKZAO56CAqRWyLOGBnUNoixJN2o9mzupbIWiIaP-ic6kZmx5FXMacPxF7DwNkWzD6n007IFeFkbCcObiKcbmGCpipZtPKaw_XYqJHODWLtMk5wvE7n4AlTNkmp0YFmA/w400-h225/Andy%20with%20the%20Stars.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Stars -1978</td></tr></tbody></table>The success of Paradise led to a consistent national touring schedule for Stars. which, together with line-up changes, detained the release of the follow-up album 'Land of Fortune' till June 1979. ln August 1979, after months of hesitation. Andy submitted himself for medical tests to investigate the unusual growth of a mole on his back. The tests confirmed that the mole had become malignant. This form of cancer is called melanoma. Stars fulfilled their September commitments with a replacement guitarist while Andy recuperated after a removal operation. He resumed live performances with the band in October after further tests indicated an "all clear" on his health.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiy9SXuBwmj9VMevYsuR3WLQTOAZ9hQwFCFOY4HxklQJ-Via3A0xtb8FrXekgL7aR_nwWfpU-oe9yeZnUvEr88JvWtVNMfxNs_ZkQVjG_3Z8xMT7QAKO4zs_EnvamlheuHLyoC3l8DQXPKsgL9AGhJWbzjjbjhqxmU23GxUzTDSYQMASOdVldSezBeI68/s417/Andy%20Durant%20Playing.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="301" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiy9SXuBwmj9VMevYsuR3WLQTOAZ9hQwFCFOY4HxklQJ-Via3A0xtb8FrXekgL7aR_nwWfpU-oe9yeZnUvEr88JvWtVNMfxNs_ZkQVjG_3Z8xMT7QAKO4zs_EnvamlheuHLyoC3l8DQXPKsgL9AGhJWbzjjbjhqxmU23GxUzTDSYQMASOdVldSezBeI68/s320/Andy%20Durant%20Playing.jpg" width="231" /></a></div>In November, Stars disbanded due to disappointing sales of the 'Land of Fortune' album, coupled with the need for new direction and a change of pace after four years of constant touring.<br /><br />Andy was invited to Sydney in December to play guitar on Richard Clapton's current album, 'Dark Spaces', but had to abandon the project before completion due to the discomfort of severe back pains. He returned to Melbourne and after extensive medical tests at the Peter MacCallum Hospital, was diagnosed as having "secondary's" in the form of bone cancer. Extensive chemotherapy and ray treatment were prescribed immediately, but by February 1980, Andy was bedridden. To enable him to remain at home with his family regular ambulance transport was provided to and from the hospital.<br /><br />Andy made clear his wish that his condition be kept secret, for the entitlement of his privacy, and to avoid the pain it would cause his many friends. He had great determination to win his battle and despite his illness, his talent and love for song writing continued to grow. The small group of family and friends who surrounded him encouraged him to further the musical statement he had already made. Andrew Durant died on Tuesday, May 6th. 1980, aged 25.<br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRhrZUQOO8D75ZFFv3N66dYzjCVX3FW0sgg96fRTCM68fEqga-yGciiUKlLnrUNLYme9HLSYt05cyKPEoPvsZWgoUM3ENq-NAd7oLvPsO4MID02ID4yWcXuVvTaRy5TGql7GWfO8DzLP7bDxSBQ7dY15NNeglqqP611VcGPbrgJw1M1ZPA22wHeS_rgW4/s2289/Andy%20Durant.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2254" data-original-width="2289" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRhrZUQOO8D75ZFFv3N66dYzjCVX3FW0sgg96fRTCM68fEqga-yGciiUKlLnrUNLYme9HLSYt05cyKPEoPvsZWgoUM3ENq-NAd7oLvPsO4MID02ID4yWcXuVvTaRy5TGql7GWfO8DzLP7bDxSBQ7dY15NNeglqqP611VcGPbrgJw1M1ZPA22wHeS_rgW4/w306-h301/Andy%20Durant.jpg" width="306" /></a></div>This Memorial Concert was conceived as a gesture of love and respect from Andy's friends and peers. The full potential of his talent may never be realized, but his music remains and it is befitting that it be performed in its entirety. Showtime will realise the magnitude of the entire entertainment industry pulling together to make this unique event possible.<br /><br /><div>The plan commenced with the intention of using proceeds of the concert to establish the annual "Andrew Durant Songwriter's Award". Sponsorship since received now enables us to direct the majority of the proceeds to the Peter MacCallum Hospital for further research into the drugs used in Andrew's treatment.<br /><br />A copy of the Hospital's letter acknowledging the proposal is included below for your reference.</div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEUY2iSkPYalRXRuE_iDc4ESMUngjtHEvlt4EhRkUKy6ivBf99r8JxPWO_g9o-fwvrhOYwfLGhI1aq-12MS3rmbhnZQnvBNkVHl3-gokD5AjvN9FaB4KRcQPp1Om2wHuBUgQQMJRoEPamgLenNyYFAgR9h6fzJMziCqgK_NaHhmaSS7YtNgN3vScHLDMI/s1927/Letter%20From%20'The%20Cancer%20Institute'.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1927" data-original-width="1233" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEUY2iSkPYalRXRuE_iDc4ESMUngjtHEvlt4EhRkUKy6ivBf99r8JxPWO_g9o-fwvrhOYwfLGhI1aq-12MS3rmbhnZQnvBNkVHl3-gokD5AjvN9FaB4KRcQPp1Om2wHuBUgQQMJRoEPamgLenNyYFAgR9h6fzJMziCqgK_NaHhmaSS7YtNgN3vScHLDMI/s320/Letter%20From%20'The%20Cancer%20Institute'.jpg" width="205" /></a></div><p>This post consists of FLACs ripped from both Vinyl (original 2LP release) and CD (bonus tracks) and includes full album artwork for both media, along with label scans</p><p>I saw Andy Durant playing with Stars back in 1977, during the '<a href="https://rockonvinyl.blogspot.com/2014/07/various-artists-nightmovin-live-1977.html" target="_blank">Nightmovies Concerts</a>' and was a huge fan of his guitar playing. His passing was a huge shock to the Australian Music Industry and fan community and his legacy will never be forgotten. This post is a tribute to both his amazing contributions to the Australian Music Scene and the strength he demonstrated as a Cancer patient.</p>Artists who contributed to this memorial concert were: Mick Pealing, Malcolm Eastick, Glyn Dowding, Renee Geyer, Broderick Smith, Ian Moss, Don Walker, Graham Thompson, Kerryn Tolhurst, Jimmy Barnes, Richard Clapton, Rick Formosa, John-James Hackett, Glyn Mason, Mick O'Connor, Billy Rogers<div><b><span style="font-size: x-small;"><span style="color: red;"><br /></span></span></b></div><div><b><span style="font-size: x-small;"><span style="color: red;">LP Track List<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhId7vQwOmUEc7lGiOYf4OOIjiB6x84erZBu705M1G1GAXM3Ye5T2RsyWajfvD49QnOdewvl5psId8Z2D9-H8MdtCD4-HEbz-fYm3_AEFfNY6Ik11TIRC5J6X3rj1VhHLdJme7hpy_KRY_BoNuCU5941v317qxH7wiaY3mU77HSfzsHB7WeOQn3Pdk87IE/s1897/Andy%20Durant4.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1897" data-original-width="995" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhId7vQwOmUEc7lGiOYf4OOIjiB6x84erZBu705M1G1GAXM3Ye5T2RsyWajfvD49QnOdewvl5psId8Z2D9-H8MdtCD4-HEbz-fYm3_AEFfNY6Ik11TIRC5J6X3rj1VhHLdJme7hpy_KRY_BoNuCU5941v317qxH7wiaY3mU77HSfzsHB7WeOQn3Pdk87IE/s320/Andy%20Durant4.jpg" width="168" /></a></div></span>A1 Back Again 4:35<br />A2 Pick Up The Pieces 5:42<br />A3 Paradise 3:48<br />A4 Jive Town 3:51<br />A5 Good Times 1:17<br />B1 Last Of The Riverboats 4:03<br />B2 Jupiter Creek 4:19<br />B3 Ocean Deep 5:31<br />B4 Look After Yourself 4:03<br />C1 Innocent Bystanders 4:02<br />C2 Iceman 6:15<br />C3 Solitaire 6:02<br />C4 Wasted Words 5:22<br />D1 Song For The Road 4:55<br />D2 Mighty Rock 7:17<br />D3 Knockin' On Heavens Door 9:41</span></b><div><b><span style="color: red; font-size: x-small;">Bonus Tracks</span></b></div><div><b><span style="font-size: x-small;">01 - Let's Get Moving</span></b></div><div><b><span style="font-size: x-small;">02 - Living A Lie</span></b></div><div><b><span style="font-size: x-small;">03 - Red Neck Boogie</span></b></div><div><b><span style="font-size: x-small;">04 - West Is The Way</span></b></div><div><br /></div><div><a href="https://bestfile.io/en/VogWwysEENNCxuh/file" target="_blank">Andy Durant Memorial Concert Link</a> (726Mb) <span style="color: red;">Link Fixed</span></div></div><div><span style="color: red;"><br /></span></div><div><a href="https://mega.nz/file/8HBQWLwA#dBDcv1e2y-Ux5mZg606wfKkj_7ZY4wXbh7Y2dC5VAPQ" target="_blank">Bonus Tracks Only</a> (106Mb) <span style="color: red;">* If you downloaded this post on the 20/02/2024 with faulty bonus tracks</span></div><div><br /></div></div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com10tag:blogger.com,1999:blog-4047234333310975506.post-77047202531699726672024-02-14T23:16:00.002+11:002024-02-17T09:39:12.030+11:00Rick Springfield - Success Hasn't Spoiled Me Yet (1982) + Bonus E.P 'Jessie's Girl'(Australian 1962 - Present)<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkOutC8-4mQyBUvOH1Ou5VFL3Zafg2vo0nm0orFHcZ2tXZDfNtXF-hJ_VGfTLQ9UcOD4LRUT9_hc_-KqP4lEIOa9OLQgBdzH-lZSNBlop85oap8QoxPzIwYLmcurcx18YQWDPBw56cgr6SsxLv-1JvonWqz-Qul2_bD1myeE7N8ifyQ0vZJwBme4U6CF4/s600/Front.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="597" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkOutC8-4mQyBUvOH1Ou5VFL3Zafg2vo0nm0orFHcZ2tXZDfNtXF-hJ_VGfTLQ9UcOD4LRUT9_hc_-KqP4lEIOa9OLQgBdzH-lZSNBlop85oap8QoxPzIwYLmcurcx18YQWDPBw56cgr6SsxLv-1JvonWqz-Qul2_bD1myeE7N8ifyQ0vZJwBme4U6CF4/w251-h253/Front.jpg" width="251" /></a></div>To the uninitiated, the name <b>Rick Springfield </b>conjures up everything 1980s: Jessie’s Girl, General Hospital , Polo shirts and Converse tennis shoes. Dig a little deeper and you’ll find that Rick Springfield is much more than the mistakenly categorized “actor turned musician”. A songwriter and guitar player to rival the greats, Rick Springfield is an Aussie musician that has stood the test of time and the decades since his surge of fame starting in 1981.<br /><br />He was a member of the pop rock group Zoot from 1969 to 1971, then started his solo career with his debut single, “Speak to the Sky”, which reached the top 10 in Australia in mid-1972. When he moved to the United States, he had a No. 1 hit with “Jessie’s Girl” in 1981 in both Australia and the US, for which he received the Grammy Award for Best Male Rock Vocal Performance. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURmlcwqGF45hoo0VcE7PNtRbu9r31aAjPz2sxn884M9Z97XZqyu5v8djvVAiKAWtPVoir_wKA-XOdoifkyHlwXRl3bq_NHgZiVCxVe_iNTCtmugZJvxJ-vXuIlHXv02n3ZdCFNPum6Gz35g6d62TsD7TiwLtdzonEjOtD_XxyeP1OUOIYSTKDn4Cm8DI/s486/Rick%20Springfield2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="486" data-original-width="350" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURmlcwqGF45hoo0VcE7PNtRbu9r31aAjPz2sxn884M9Z97XZqyu5v8djvVAiKAWtPVoir_wKA-XOdoifkyHlwXRl3bq_NHgZiVCxVe_iNTCtmugZJvxJ-vXuIlHXv02n3ZdCFNPum6Gz35g6d62TsD7TiwLtdzonEjOtD_XxyeP1OUOIYSTKDn4Cm8DI/w202-h282/Rick%20Springfield2.jpg" width="202" /></a></div>Rick recorded his next album, "Success Hasn't Spoiled Me Yet" during his off hours on General Hospital and toured in the same way. "I have never seen anyone work that hard," recalled drummer Jack White on VH-1's Behind the Music. While critics still didn't quite trust a rocker with such a pretty face and huge teen following, many were beginning to come around to see Rick's talent as a rocker. <br /><br />'Success Hasn’t Spoiled Me Yet' was released by RCA Records in 1982. The album was certified Platinum in the United States, and produced three top 40 singles; “Don’t Talk to Strangers” (#2 – for four weeks), “What Kind of Fool Am I” (#21, not the show tune of the same name) and “I Get Excited” (#32). “Don’t Talk to Strangers” and “Calling All Girls” also received considerable Album Rock airplay, charting at #11 and #4 respectively. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSMw2b6a4r68DwPVBtlAUFEbhnPlcmfc1gQwNt-HYAuu7O9EH1uEmeYcGtm_PxbK34fGzOXN9150WwjH5h8GQSKdECm9G6DWQGWG8-okPGaymYiI41GWg2WB9j3JPlMPnVFvjXZyAgUPQAKoFQw703vjMBxeDFWKbVzyICicM_7GhgOUtysLKYAh2Ezug/s598/Don't%20Talk%20To%20Strangers.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="586" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSMw2b6a4r68DwPVBtlAUFEbhnPlcmfc1gQwNt-HYAuu7O9EH1uEmeYcGtm_PxbK34fGzOXN9150WwjH5h8GQSKdECm9G6DWQGWG8-okPGaymYiI41GWg2WB9j3JPlMPnVFvjXZyAgUPQAKoFQw703vjMBxeDFWKbVzyICicM_7GhgOUtysLKYAh2Ezug/w239-h244/Don't%20Talk%20To%20Strangers.jpg" width="239" /></a></div>In an interview with Songfacts, Springfield explained that “Don’t Talk to Strangers” was about his paranoia that his girlfriend was being unfaithful when he was away. The song melody is actually from the earlier recording called “Spanish Eyes”, found on Rick’s “Sound City Recordings” from 1978. “Kristina” is a remake of the Bachman–Turner Overdrive song “Jamaica”, using different lyrics, while "I Get Excited" is a reworking of his 1981 Mega hit "Jessie's Girl" which I think is a bit of a cop out and I find myself asking 'why would you do this?'.<br /><br />The album’s name is a play on the question Will Success Spoil Rock Hunter?, the name used for a 1955 play and a 1957 film that were mostly unrelated to each other.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXufJ8wxA9LwmR5FNiwVja0A90KJvet8uomC-VIFqKmCsIPWs06lI8bpG4plKtC3gZDgCUznhJv15pL1DoKRZypUfNjo-EHTDzTy4Mx4aG5Yt18665KFoif_ilY_FP7RmfunRKUyThWoolcPCHZlTpm0b1m_Rb16Brp75NRrdZN-i_dvgX2iDl3das1Yc/s900/Grammy%20Awards%201982.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="900" data-original-width="637" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXufJ8wxA9LwmR5FNiwVja0A90KJvet8uomC-VIFqKmCsIPWs06lI8bpG4plKtC3gZDgCUznhJv15pL1DoKRZypUfNjo-EHTDzTy4Mx4aG5Yt18665KFoif_ilY_FP7RmfunRKUyThWoolcPCHZlTpm0b1m_Rb16Brp75NRrdZN-i_dvgX2iDl3das1Yc/s320/Grammy%20Awards%201982.jpg" width="226" /></a></div>In 1982, Rick was awarded a Grammy Award for Best Male Vocal. MTV played his videos in heavy rotation, and Showtime aired a live special, "Live and Kicking." Rick Springfield was here to stay.<div><br /></div><div><div><b>Album Review</b></div><div><br /></div><div>'Success Hasn’t Spoiled Me Yet', which was slapped together practically a year after the popular 1981 Working Class Dog, is clearly aimed to replicate the success of its predecessor, despite the ironic statement in the title. Besides the short gap between the two albums this goal is also confirmed by the cover: it has the same cute dog that this time has come up in the world from the working class and the grateful driver Springfield who serves it champagne. A very strong sense of repetition follows for the duration of listening to the record. It has the same anthemic wanna be hit songs about girls and relationships with straightforward and measured rhythms, slick guitars, and a generous helping of the then-current studio polish. The feeling of déja vu (or impression that you listen to Side 2 of the 1981 LP) intensifies when one hears "I Get Excited", which recalls the superhit under the same number on the previous album to a fault. And this unabashed exploitation of the same approach continues until the end.</div><div><br /></div><div>One interesting track on the album is Rick's cover of a 70's classic entitled "Black Is Black". Written and first performed by Los Bravos, "Black Is Black" was also covered by French vocal trio La Belle Epoque and released as a 1976 single, and peaked at number two in the UK, and reached number one in Australia the following year. His interpretation of this mega hit is interesting and somewhat refreshing.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglUqXOdNAnzR4-s-dCRUHehu1vgsdelO0BrWIh6KXqXEaKp8tZNnosbcDmUQFEFua8zXW7AJsO_gxeDshnJcI1pCbnFhU2xFPgQ5RiRfQ-P6gEMhjbBWMldobmMLTwulM3aKXfKEFmuF8Snw9qPNCVBSI-mICq0Kh_rG6XfEtHnwQWXifm08bormcn1Y4/s400/Seat%20For%20Success%20Tour%20Program%20Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="343" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglUqXOdNAnzR4-s-dCRUHehu1vgsdelO0BrWIh6KXqXEaKp8tZNnosbcDmUQFEFua8zXW7AJsO_gxeDshnJcI1pCbnFhU2xFPgQ5RiRfQ-P6gEMhjbBWMldobmMLTwulM3aKXfKEFmuF8Snw9qPNCVBSI-mICq0Kh_rG6XfEtHnwQWXifm08bormcn1Y4/w249-h291/Seat%20For%20Success%20Tour%20Program%20Cover.jpg" width="249" /></a></div>Certainly there are occasional solid songs, primarily ballads, like "Don’t Talk to Strangers", despite its clear ties to the time period, or "Still Crazy for You", which is surprisingly moving and possessing a somewhat timeless quality. But these instances do not save the LP from sinking in the flow that overtook many musicians and was only getting stronger at the time.</div><div><br /></div><div>In the end, Rick Springfield managed to step into the same waters again, bringing joy to the fans of the previous album, but failed to add anything worthy to the bank of his artistic legacy. The record is recommended to those with nostalgia for the 80s, since it effectively translates the vibe and the spirit of the time. As for the other music fans, they can either rewind back to the good old rock or try going forward with a hope for a miracle, at one’s own risk. [Review by Batareziz, Sputnik Music - Aug, 2017]</div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUId9fiCZHyFk91bXz-4eJX2OeT5xwvoIs6nwq5_ysqZIQnQQ5d7iyt7O5iKlv4d05WG3KWFl6G2k7K8GAgUPh1sRC9VnK1W_UizJA-5nplL66OuIusfL9-se5gV5diyKqVpXIyXa_ETbZOI4QsBQRDO-yCtymM44yJswjvXQQN0ExM_CW9YWFahQP2V8/s1213/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1205" data-original-width="1213" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUId9fiCZHyFk91bXz-4eJX2OeT5xwvoIs6nwq5_ysqZIQnQQ5d7iyt7O5iKlv4d05WG3KWFl6G2k7K8GAgUPh1sRC9VnK1W_UizJA-5nplL66OuIusfL9-se5gV5diyKqVpXIyXa_ETbZOI4QsBQRDO-yCtymM44yJswjvXQQN0ExM_CW9YWFahQP2V8/w200-h199/Label_Side1.jpg" width="200" /></a></div>This post consists of FLACs ripped from my vinyl and includes full album artwork for both Vinyl and CD formats, plus label scans.</div><div>As as added bonus, I am also including a rip of his 1981 E.P release entitled 'Jessie's Girl', also ripped to FLAC format. Originally released at the same time as his 'Working Class Dog' LP, the E.P is not easy to find, and as such should put icing on the cake for this post. Artwork for the E.P is also included.</div><div><br /></div><div><b><span style="color: red; font-size: x-small;">Track Listing</span></b></div><div><b><span style="font-size: x-small;">01<span style="white-space: pre;"> </span>Don't Talk To Strangers<span style="white-space: pre;"> </span>3:00</span></b></div><div><b><span style="font-size: x-small;">02<span style="white-space: pre;"> </span>Calling All Girls<span style="white-space: pre;"> </span>3:19</span></b></div><div><b><span style="font-size: x-small;">03<span style="white-space: pre;"> </span>I Get Excited<span style="white-space: pre;"> </span>2:32</span></b></div><div><b><span style="font-size: x-small;">04<span style="white-space: pre;"> </span>What Kind Of Fool Am I<span style="white-space: pre;"> </span>3:20<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJfagTCz3elyQeIz4xH8mH39MkTesD51ypokggoG5fSP-y1fgk4Ku3q_nesZ7GVHjTiAu-fO23m6UzvfPX7w7Xx5RsFqMMQ0v6EBI-jhwbktu9fZfdygcak4NpaXZ0Q5xZQxF-GM1g6p3tnju2zuQ-MzLZlrqzY8nAwz8BbWnB04gdUuMwm3O6NXXxyU/s1219/Label_Side2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1201" data-original-width="1219" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJfagTCz3elyQeIz4xH8mH39MkTesD51ypokggoG5fSP-y1fgk4Ku3q_nesZ7GVHjTiAu-fO23m6UzvfPX7w7Xx5RsFqMMQ0v6EBI-jhwbktu9fZfdygcak4NpaXZ0Q5xZQxF-GM1g6p3tnju2zuQ-MzLZlrqzY8nAwz8BbWnB04gdUuMwm3O6NXXxyU/w200-h197/Label_Side2.jpg" width="200" /></a></div></span></b></div><div><b><span style="font-size: x-small;">05<span style="white-space: pre;"> </span>Kristina<span style="white-space: pre;"> </span>3:00</span></b></div><div><b><span style="font-size: x-small;">06<span style="white-space: pre;"> </span>Tonight<span style="white-space: pre;"> </span>3:16</span></b></div><div><b><span style="font-size: x-small;">07<span style="white-space: pre;"> </span>How Do You Talk To Girls<span style="white-space: pre;"> </span>3:18</span></b></div><div><b><span style="font-size: x-small;">08<span style="white-space: pre;"> </span>Still Crazy For You 3:46</span></b></div><div><b><span style="font-size: x-small;">09<span style="white-space: pre;"> </span>The American Girl<span style="white-space: pre;"> </span>3:10</span></b></div><div><b><span style="font-size: x-small;">10<span style="white-space: pre;"> </span>Just One Kiss 3:10</span></b></div><div><b><span style="font-size: x-small;">11<span style="white-space: pre;"> </span>Black Is Black 2:52</span></b></div><div><b><span style="font-size: x-small;">12<span style="white-space: pre;"> </span>April 24, 1981<span style="white-space: pre;"> </span>1:32</span></b></div><div><i><br /></i></div><div><i>Band Members:</i></div><div><i>Lead Vocals - Rick Springfield</i></div><div><i>Backing Vocals – Richard Page, Tom Kelly, Tom Funderburk</i></div><div><i>Bass – Dennis Belfield</i></div><div><i>Drums – Mike Baird<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLy4Wpp96DhbBTlBew1Nz4AQVinWQqrKsnvfEiUPGz8MWUVz-kd53fWl00MmTQUam3odUbfDvmZ-ba276nVdvISwsqfFy6HCIRR10huukX6gaLwNsRjf1iJ2ppumzF9sJ2j1YD5-ICW3hibong-FGNb2BJl46Px_af_YawaNqUtS9CbeT8gMGfAnUgioc/s1472/Front.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1460" data-original-width="1472" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLy4Wpp96DhbBTlBew1Nz4AQVinWQqrKsnvfEiUPGz8MWUVz-kd53fWl00MmTQUam3odUbfDvmZ-ba276nVdvISwsqfFy6HCIRR10huukX6gaLwNsRjf1iJ2ppumzF9sJ2j1YD5-ICW3hibong-FGNb2BJl46Px_af_YawaNqUtS9CbeT8gMGfAnUgioc/w200-h198/Front.jpg" width="200" /></a></div></i></div><div><i>Guitar – Charles Sandford, Rick Springfield, Tim Pierce</i></div><div><i>Keyboards – Alan Pasqua, Gabriel Katona</i></div><div><br /></div><div><b><span style="color: red; font-size: x-small;">BONUS: Jessie's Girl E.P </span></b></div><div><b><span style="font-size: x-small;">01 - Jessie's Girl</span></b></div><div><b><span style="font-size: x-small;">02 - Carry Me Away</span></b></div><div><b><span style="font-size: x-small;">03 - I've Done Everything For You</span></b></div><div><b><span style="font-size: x-small;">04 - Everybody's Girl</span></b></div><div><br /></div><div><a href="https://bestfile.io/AD5SYtCNRRPZjOY/file" target="_blank">Rick Springfield LP & EP Link</a> (288Mb)</div><div> </div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com3tag:blogger.com,1999:blog-4047234333310975506.post-54990470512219842582024-02-09T20:05:00.001+11:002024-02-11T00:19:56.497+11:00REPOST: Cybotron - Colossus (1978) + Bonus Single(Australian 1975-81)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcxE08GJf2WH3JoU_W6sqiC_5acRMnKMckAfIPaeDxSe-lq0GxUCtKMQboNKKg203X-z3gtjiZv5oNh7bQ6uJBG5RJbBlC7mvIc9_f6zUPzmEvnhF-KL9i-aItv_K7Mq-LWrc-rbKff3c/s1600-h/Cybotron.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5363092820213504834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcxE08GJf2WH3JoU_W6sqiC_5acRMnKMckAfIPaeDxSe-lq0GxUCtKMQboNKKg203X-z3gtjiZv5oNh7bQ6uJBG5RJbBlC7mvIc9_f6zUPzmEvnhF-KL9i-aItv_K7Mq-LWrc-rbKff3c/s320/Cybotron.jpg" style="cursor: hand; float: left; height: 268px; margin: 0px 10px 10px 0px; width: 249px;" /></a>The pioneering electronic outfit Cybotron deserves its posting on Rock On Vinyl, since it one of the first (if not the first) Australian examples of pure electronic rock, a genre that later blossomed with the likes of Ollie Olsen's various projects. Here was the blueprint. Synthesizer fanatic Steve Maxwell Von Braund teamed in the mid-70s with Geoff Green to form Cybotron in 1976, but Von Braund had already caused a considerable stir by releasing what is largely regarded as Australia's first fully electronic album, Monster Planet (Clear Light Of Jupiter, 1975).<br />
Influenced by contemporary "Krautrock" electronic outfits like Can, Amon Duul, Faust and Tangerine Dream (not surprisingly, the German-born Von Braund had been an associate/friend of some of these musicians) the ambitious suite impressed with its rich layers of synths, treated sax and electro-percussion. Former Masters Apprentices singer Jim Keays contributed vocals to the title track, while Aztecs drummer, producer and long-time collaborator Gil Matthews engineered and provided bass and drums support, with Henry Vynhal on treated violin.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2wClxn_r54RB8ohfZUdgw6NL1dyzHRMG7ynbwsgJjyjHan1ogZJavGb4rD2Jm_PZ1Szpqp1DTefsX7uw_q9q_616sNH9Tw3dj1XMF2XfCHQUiGPVoqoVvP5rtnO-00Kh6abVjZd9FHt_Z3jU4q8NYF12Tf0Z2NuwEnzrjOY1NyjDR9PTvwDe0bcG0Vg/s2134/cybotron%20single_a.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2085" data-original-width="2134" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2wClxn_r54RB8ohfZUdgw6NL1dyzHRMG7ynbwsgJjyjHan1ogZJavGb4rD2Jm_PZ1Szpqp1DTefsX7uw_q9q_616sNH9Tw3dj1XMF2XfCHQUiGPVoqoVvP5rtnO-00Kh6abVjZd9FHt_Z3jU4q8NYF12Tf0Z2NuwEnzrjOY1NyjDR9PTvwDe0bcG0Vg/w252-h247/cybotron%20single_a.jpg" width="252" /></a></div>The “mind-expanding brain food” offered by that debut release continued with the official formation of Cybotron during 1976, and the ensemble went on to create some marvelously inventive aural soundscapes. Their self-titled debut LP (1976) has been described as "a cross between late 60's Stockhausen and Kraftwerk's Autobahn album ... disco melodies warped with hypnotic synth fusion".</div><div> <br />It was followed by a bootlegged live radio performance, 'Sunday Night Live' (1977), and two further official albums. 'Colossus' (1978) featured "a more progressive edge backed by a massive symphonic sound" and included contributions by Colin Butcher (drums, percussion, synthesiser). Mark Jones (bass, guitar, keyboards) joined for 'Implosion' (1980) with Gil Matthews again playing drums and keyboards. 'Implosion' was recently released on CD by <a href="https://www.aztecrecords.com.au/collections/cybotron-1/products/avscd008" target="_blank">Aztec Music </a>but I personally prefer their earlier albums, their 2nd LP posted here for your enjoyment.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0nHmgfivjlzSAwGne_b_9os_mIpxqsJDUBY_SBCKsgoUcRwY_cbTUcmGyRC9URjfDVwEhOYTQLAX19Wn1Rm8mmdFsLM8WAaoQuiimRb9TA0jXuc-c3Rl51X505fFFdWoU_YukTP08Mdf6evFPWRBuT4R9oGNPn6HbUnxzcJgRA2WNhwp4jphEMlB-Wko/s600/Inner%20Sleeve1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="600" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0nHmgfivjlzSAwGne_b_9os_mIpxqsJDUBY_SBCKsgoUcRwY_cbTUcmGyRC9URjfDVwEhOYTQLAX19Wn1Rm8mmdFsLM8WAaoQuiimRb9TA0jXuc-c3Rl51X505fFFdWoU_YukTP08Mdf6evFPWRBuT4R9oGNPn6HbUnxzcJgRA2WNhwp4jphEMlB-Wko/w250-h249/Inner%20Sleeve1.jpg" width="250" /></a></div>In more recent times an American electronic group has appropriated the name but has no other connection with the Aussie Cybotron. Von Braund and Green are still about, making "far-out music and vibes". In early 2002 Geoff Green reported that Cybotron is back in action and recording with Gil Mathews. He also announced that their old albums will be released on CD, along with a new live CD recorded when they supported Split Enz.</div>
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This rip was taken from CD in FLAC format (thanks to Deutros) and comes with 2 bonus tracks from their 1979 single 'Ride To Infinity' (thanks to Sunshine)</div><br /><div style="text-align: center;"><span style="color: red; font-size: large;">NEW IMPROVED RIP</span></div><br /><div><b style="text-align: left;"><span style="color: red; font-size: 85%;">Track Listing:</span></b></div>
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<b><span style="font-size: 85%;">01 - Colossus</span></b></div>
<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlER7YcdEddkf4zl5MsOUUUwvij_PGN3ubuqnxdkm9Y-rNo0vuye9rtpmjlyeOMjRyJRDvaus5S2nA35tOVJy203M3y91tLGtamQSUYcaabLgGnyT59XLWUrtzPDiX6aAFDSpuyhAHScHoZX2AWIjSkjwcjVbn3Mj-UW2h2R-f8KPjAM3EIkHw-5l03hE/s600/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="592" data-original-width="600" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlER7YcdEddkf4zl5MsOUUUwvij_PGN3ubuqnxdkm9Y-rNo0vuye9rtpmjlyeOMjRyJRDvaus5S2nA35tOVJy203M3y91tLGtamQSUYcaabLgGnyT59XLWUrtzPDiX6aAFDSpuyhAHScHoZX2AWIjSkjwcjVbn3Mj-UW2h2R-f8KPjAM3EIkHw-5l03hE/w200-h198/Label_Side1.jpg" width="200" /></a></div>
<b><span style="font-size: 85%;">02 - Eclipse</span></b></div>
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<b><span style="font-size: 85%;">03 - Medusa<br /></span></b></div>
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<b><span style="font-size: 85%;">04 - Raga</span></b></div>
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<b><span style="font-size: 85%;">05 - Colossus (Short Mix)</span></b></div>
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<b><span style="font-size: 85%;">06 - Ride To Infinity</span></b></div>
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<b><span style="font-size: 85%;">07 - Xmas Hills (Live Christmas Hills Festival 1978 Bonus B-Side Single)</span></b> </div>
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<i>Band Members</i></div>
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<i>Steve Maxwell Von Braund (keyboards, synthesisers, sax, percussion) </i></div>
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<i>Geoff Green (keyboards, synthesisers) </i></div>
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<i>Gil Matthews (drums, percussion, engineering) </i></div>
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<a href="https://workupload.com/file/WNxM3aHXxBq" target="_blank">Cybotron Link</a> (345Mb) <i><span style="color: red; font-size: x-small;">New Link 09/02/2024</span></i></div>
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AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com11tag:blogger.com,1999:blog-4047234333310975506.post-32048823794975482662024-02-03T22:02:00.008+11:002024-02-04T15:19:15.418+11:00Ross Ryan - I Thought This Might Happen (1973-1977)(Australian 1968-Present)<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYm4p7qB3EhavXv48jEhBqk8_a03fuihbMgK4SrLkil9cCYwSi3R-wL3e378n9is2ftrUnYdy0h9I92yZFq1zUKsl7DpxHEMmC8jgImGXAo8MUvy3yiVukphUBcsX_EigkKqj9eQL4m-5blMdtVegDtlaEpLgsZS5WvH2vxknlf657MyJmoZ2rgfVFNbE/s1071/Front.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1071" data-original-width="1067" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYm4p7qB3EhavXv48jEhBqk8_a03fuihbMgK4SrLkil9cCYwSi3R-wL3e378n9is2ftrUnYdy0h9I92yZFq1zUKsl7DpxHEMmC8jgImGXAo8MUvy3yiVukphUBcsX_EigkKqj9eQL4m-5blMdtVegDtlaEpLgsZS5WvH2vxknlf657MyJmoZ2rgfVFNbE/w260-h261/Front.jpg" width="260" /></a></div>American-born <b>Ross Ryan</b> (1950) emigrated with his family from Kansas (USA) to Western Australia in 1959, and took up residence on a 3,000-acre sheep property at Manypeaks near Albany in the south-west corner of the state. Ross gigged locally with several bands including The Sett and Saffron, and in 1969 he relocated to Perth and performed at Gramps Wine Bar, pubs and on university campuses, where he was compared to Cat Stevens, even though his inspirations were more closely aligned with Bob Dylan, Jackson Browne, and Joni Mitchell.<br /><br />After completing an electronics course, he took a job as an audio operator at TVW 9, and in 1972 got his big break when he picked up the support act gig on Roy Orbison’s 1972 tour of Aust. At the end of that tour he relocated to Sydney and secured a recording contract with EMI via Peter Dawkins (above centre), who would produce his future records. He would emerge in the 1970’s as one of Australia’s foremost singer/songwriters along with such contemporaries as Kevin Johnson, Mike McClellan, Richard Clapton and Glenn Cardier. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9xABZzp-zj3xmpY5jvaSrdywlI7y6ttnD6l1nkN1-tRTuUwmKjGZMlESPcGh4U7ta_8Xqvx8HdLbfkSpqrP3K1gaUFQYR6ksbcnLR70e4jSMAREnbHYzcbVuq7yfh6K482Mcpf1xocTUU5pH28gjGtwoh6re6fe4nEag34AVuzfa23HWLYeE1uh20Tg/s600/Homemovies%20LP.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="598" data-original-width="600" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9xABZzp-zj3xmpY5jvaSrdywlI7y6ttnD6l1nkN1-tRTuUwmKjGZMlESPcGh4U7ta_8Xqvx8HdLbfkSpqrP3K1gaUFQYR6ksbcnLR70e4jSMAREnbHYzcbVuq7yfh6K482Mcpf1xocTUU5pH28gjGtwoh6re6fe4nEag34AVuzfa23HWLYeE1uh20Tg/w252-h251/Homemovies%20LP.jpg" width="252" /></a></div>Ryan’s debut album 'Homemovies' (1972) was recorded independently at Channel Nine’s studios in Perth, for a total cost of only $500 (Ross worked as a sound engineer for STW-9 so he had the contacts).<br /><br />Ross distributed copies among his friends, and the LP finally came to the attention of Perth radio station 6PM, and manager Al Maricic.<br /><br />In 1973, he released his second album 'A Poem You Can Keep' which charted well at #22, and went on to record his signature hits later in the same year. The haunting and poetic "I Am Pegasus" was the product of Ryan merging two previously separate compositions, one about a messy love affair with a female flight attendant, and another about the fact that he discovered his name Ross, is a German/Hebrew metonymic name for a horse breeder/ keeper, literally a horse.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLLg5NHGu9P-l_jw0GO6gO-uBZcn2NsTPrCKuRlq-UiET5PhacyzO4XnJ4_pEy0wL-UeYux0hlby7mVASeU8fpR2dcgjPpajv64zSWOvYDsxHgSsNZjRJM2tJhyUlUgOps4D70frdNVdVpkwkAeBbT9eAx0PfNWFnPjBTJ18bAOvBuJvI1n-L6E-cNe_U/s203/Ross%20&%20Gough%20Whitlam.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="203" data-original-width="161" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLLg5NHGu9P-l_jw0GO6gO-uBZcn2NsTPrCKuRlq-UiET5PhacyzO4XnJ4_pEy0wL-UeYux0hlby7mVASeU8fpR2dcgjPpajv64zSWOvYDsxHgSsNZjRJM2tJhyUlUgOps4D70frdNVdVpkwkAeBbT9eAx0PfNWFnPjBTJ18bAOvBuJvI1n-L6E-cNe_U/w212-h267/Ross%20&%20Gough%20Whitlam.jpg" width="212" /></a></div>The single was released in November, 1973 and went on to be his biggest hit. In 1974, Ross was presented with a gold record for Pegasus by then-Prime Minister, Gough Whitlam.<br /><br />In November ’73, he also had success with the albums 'My Name Means Horse' (#3 in ’74) and 'After the Applause' (#35 in ‘75) and he continued to assemble a credible body of work over the next 20 years but never really rose to these heights again.<br /><br /><br /><b><span style="font-size: medium;">Album Tracks (as described by Ryan)</span></b><br /><br /><div><b>Track 1: I Am Pegasus</b><br /><i>From the album 'My Name Means Horse' 1974</i><br /><br />As anyone who has heard me discuss this song will know, I have always had mixed feelings about the old 'Pegasus'. It would of course be churlish for me to slag off my (as I like to refer to it) 'albatross-foot-in-the-door-song' and I must admit that with the passage of time I've become rather fond of it.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8K8lzS9_9cP3UWfMi1jyH9M1AmDUJJfwfXpqkfabQdKKtPXTtcVzXfbFaQDUusRzS5U6CDyJdusg3GAjG_kd2yheRmnipWQvuUecDsV-AmTeZbczhMJBUrNWsgtv3Yy8B_lpATSVD8sdWNafambIY85Qqg6hR7CStmjxL2cEHCFdq-Q-lqMWJQ4y0Tec/s300/I_am_Pegasus_(single).jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="300" data-original-width="299" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8K8lzS9_9cP3UWfMi1jyH9M1AmDUJJfwfXpqkfabQdKKtPXTtcVzXfbFaQDUusRzS5U6CDyJdusg3GAjG_kd2yheRmnipWQvuUecDsV-AmTeZbczhMJBUrNWsgtv3Yy8B_lpATSVD8sdWNafambIY85Qqg6hR7CStmjxL2cEHCFdq-Q-lqMWJQ4y0Tec/w228-h229/I_am_Pegasus_(single).jpg" width="228" /></a></div>My call is that "I Am Pegasus" was and still is a great record - and in this regard, the credit for its success should rightly go to producer Peter Dawkins (who alone picked it as a potential hit) and arranger Peter Martin. They took a quirky, almost comedic song that I'd written in my lounge room and turned it into an anthem. How cool is that?<br /><br /></div><div>I guess the turning point for me was about 20 years ago when I heard a muzak version of 'Pegasus' as I sat on a plane at Kununurra airport in northern WA. I realised then that the song didn't really belong to me any more. It had a life of its own. I was thrilled!<br /><br />As a song, I've written better. But for a piece of music that was exactly in the right place at the right time; that was one of those songs that became part of the soundtrack to the lives of many folks I'll never know - I am truly grateful. The track features the legendary Eniruobmat (aka Tambourine)<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by Peter Martin<br />Engineered by Martin Benge<br />Additional Engineering: Richard Lush & Ernie Rose<br /><br />Drums: Doug Gallacher<br />Bass: George Bruno<br />Keyboards: Tony Esterman<br />Acoustic Guitars: Peter Martin & RR<br />Domora: Keith Harris<br />Eniruobmat: Peter Dawkins</span><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjYUwyVym0hOMprfUkNzual6zEcejJIHHmZC7MjReJoQA9HuW5GjWszEM0RsU3QlJYVbkun7HD0oMGVbq8YEN4CCGHFP6AgPeABQ96CRHcRy6NUwdiZcDVcbgqSpf2AvyPmOGN1NUYPuIvJBt3ayWWTmXQ7IBWaoLiKMs6hDvTrWjpXRyva31KDIYztIk/s516/A%20Poem%20You%20Can%20Keep.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="516" data-original-width="511" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjYUwyVym0hOMprfUkNzual6zEcejJIHHmZC7MjReJoQA9HuW5GjWszEM0RsU3QlJYVbkun7HD0oMGVbq8YEN4CCGHFP6AgPeABQ96CRHcRy6NUwdiZcDVcbgqSpf2AvyPmOGN1NUYPuIvJBt3ayWWTmXQ7IBWaoLiKMs6hDvTrWjpXRyva31KDIYztIk/w245-h247/A%20Poem%20You%20Can%20Keep.jpg" width="245" /></a></div>Track 2: Empire lady</b><br /><i>From the album 'A Poem You Can Keep' 1973<br /></i><br />"Empire Lady" is a very '70s kind of track. Close your eyes and you'll see visions of flared jeans, cheesecloth shirts, unkempt beards and black and white TV. Sort of charming and scary all at the same time.</div><div><br />An early criticism of my recordings was that they were somewhat over-arranged. Maybe so, but I tend to think that arranger Peter Martin's orchestral approach worked well on this track. I hope you agree.<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by Peter Martin<br />Engineered by Martin Benge<br /><br />Drums: Doug Gallacher<br />Bass: Dave Ellis<br />Piano: Tony Esterman<br />Acoustic Guitars: Peter Martin & RR<br />Tambourine: John Sangster<br />Backing Vocals: Terry Walker, Mike Leyton, Betty Lys & Bobbi Marchini</span><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRcCuokocCgxSRdseDqYIhaCmAzVu7XSZleTxmY5sQEhWAp8bOS7F0z6BCZ6FsY_wTbPOOJhyphenhyphen5WLjNUFvPXDjIvcv_Mx0I6IzJDpOQNZ2O-26On75_2Ww5N6ZGp8F2v8BR59pcF17hAVA22BM0DC2Ht7995YA12WShksWFwMfUIY-Rafkgi-fShgBO40/s1200/Shari%20Lewis%20and%20Lamb%20Chop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRcCuokocCgxSRdseDqYIhaCmAzVu7XSZleTxmY5sQEhWAp8bOS7F0z6BCZ6FsY_wTbPOOJhyphenhyphen5WLjNUFvPXDjIvcv_Mx0I6IzJDpOQNZ2O-26On75_2Ww5N6ZGp8F2v8BR59pcF17hAVA22BM0DC2Ht7995YA12WShksWFwMfUIY-Rafkgi-fShgBO40/w400-h225/Shari%20Lewis%20and%20Lamb%20Chop.jpg" width="400" /></a></div><div><b><br /></b></div>Track 3: Blood On The Microphone<br /></b><i>From the album 'My Name Means Horse' 1974</i><br /><br />Shortly after the success of the Roy Orbison tour, I got to see the other side of show business when I was booked to play at the just opened Wrestpoint Casino in Hobart, supporting Shari Lewis and her loveable puppets - Hush Puppy, Charlie Horse and Lamb Chop (see above). </div><div>Needless to say, it wasn't a great mix and I just died! Talk about seeing the other side of show business! And so it was an unsettling week-long experience immortalised by the song 'Blood On The Microphone'<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by Peter Martin<br />Engineered by Martin Benge<br />Additional Engineering: Richard Lush & Ernie Rose</span></div><div><span style="font-size: x-small;"><br />Drums: Doug Gallacher<br />Bass: George Bruno<br />Keyboards: Tony Esterman<br />Acoustic Guitars: Peter Martin & RR<br />Domora: Keith Harris<br />Eniruobmat: Peter Dawkins</span><br /><br /><b>Track 4: Orchestra Ladies</b><br /><i>From the album 'My Name Means Horse' 1974<br /></i><br />This song was an early attempt at writing a song sympathetic to the feminist cause. Unfortunately, due to a misguided attempt at humour, it totally missed its mark. So, to all the Australian university campuses that blacklisted me in the 70's because of this song, let me set the record straight. 'Orchestra Ladies' is satire. Not a putdown and certainly not autobiographical.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX0W9bxv3aczxY1AFTHBoSCe2rihVZeN6-YL4wfz5lC3B8O0YKoWsR4a_bHhyxAGvtcfvXayV4BN14qUXtrKTVN_8_zBx7QYSH-BZGZSOdTOSCfEJmGrVUsTjdgLMPg4c2zzXUEw3xTM11Op6lF8XjjcexTt7juQVbyj-d6pYlCPZL1ndxS_eS9L8kfnI/s1026/Orchestra%20Ladies.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1026" data-original-width="1020" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX0W9bxv3aczxY1AFTHBoSCe2rihVZeN6-YL4wfz5lC3B8O0YKoWsR4a_bHhyxAGvtcfvXayV4BN14qUXtrKTVN_8_zBx7QYSH-BZGZSOdTOSCfEJmGrVUsTjdgLMPg4c2zzXUEw3xTM11Op6lF8XjjcexTt7juQVbyj-d6pYlCPZL1ndxS_eS9L8kfnI/w240-h242/Orchestra%20Ladies.jpg" width="240" /></a></div>Putting all that aside; why is it that there are so many derogatory terms for women (and only for women I might add) who are attracted to musicians? Being a muso and having known quite a few, I agree there may be a case for saying these women are nuts - but not per se, sleazy or 'fallen'! Hell, I'm sure there are people with a penchant for plumbers or accountants or whatever - but no one slanders them!<br /><br />I won't deny that being an entertainer is a great icebreaker and there are many (Bob Geldoff springs to mind) who openly admit they formed a band to get laid. Because it's not uncommon, after a gig, for a total stranger to come up and to start talking to you like they know you - and in a sense, they do. And if that person happens to be a member of the opposite sex and the chemistry and timing is right ... well it sure beats the pants off speed dating! Title courtesy of Maria Van Vljman.<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by Peter Martin<br />Engineered by Martin Benge<br /><br />Drums: Doug Gallacher<br />Bass: Valda Hammick<br />Keyboards: Tony Esterman<br />Acoustic Guitars: Peter Martin & RR<br />Mandolins: Keith Harris<br />Accordion: Enzo Toppano<br /></span><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgmJFxIoQZeEDr223m1l7kKtFFewHWuGklvGAqRz7AeO6JfBt6WFlZmOBqF5CVYin2mtfqtkp60gD1LAYVc3WRW3Mx99UH6ouvAK1LdkW34wFd7ZBbc-6rqy7LpV3UpN9ekBgmIDvup4gR5CstIR6_iq5pFUKY07tyj2Y8ovl0IVrfakHvSysnc9hxPx8/s1315/EMI%20Publicity%20Photo.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1315" data-original-width="821" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgmJFxIoQZeEDr223m1l7kKtFFewHWuGklvGAqRz7AeO6JfBt6WFlZmOBqF5CVYin2mtfqtkp60gD1LAYVc3WRW3Mx99UH6ouvAK1LdkW34wFd7ZBbc-6rqy7LpV3UpN9ekBgmIDvup4gR5CstIR6_iq5pFUKY07tyj2Y8ovl0IVrfakHvSysnc9hxPx8/s320/EMI%20Publicity%20Photo.jpg" width="200" /></a></div></b><b>Track 5: I Don't Want To Know About It</b></div><div><i>From the album 'A Poem You Can Keep' 1973<br /></i><br />This was the opening track on the 'Poem' album and my first single. At the time I recall folks raving about the opening drum fill. I'm still not quite sure what to make of that.<br /><br />The song was an exercise in writing for a band, any band - rather than something I'd play. However producer Peter Dawkins felt it was somewhat more commercial than most of the material I had at the time and would help balance the album.<br /><br />As a single it charted in Queensland and in my home state of Western Australia - entering the Go-Set National Top 40 charts (attributed to Ross Egan) at number 38 before vanishing the following week. But hey - I'd made the top 40!<br /><br />Interesting Note: The single was also released in the U.S Unfortunately, a St Louis radio station - the only station in America with the song on its playlist - was struck by lightning and burnt to the ground.<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by Peter Martin<br />Engineered by Martin Benge<br /><br />Drums: Doug Gallacher<br />Bass: Dave Ellis<br />Keyboards: Tony Esterman<br />Acoustic Guitars: Peter Martin & RR<br />E. Guitar: Peter Martin<br />Backing Vocals: Terry Walker, Mike Leyton, Betty Lys & Bobbi Marchini<br /></span><b><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: left;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLcLqbPvVDFMKI41g4xUWIUcA6CRIVVI1dje6dlwMyLkP72tlEb9JPslTf-htLX97MV65vWWm8MkgXqfyG3PIE09M1kdijjZEQmih55Hwh1b2flwGaB1N2Smsmk4M-U8znvni2EmRVVpSJo-qz4unwDahLIof66-N5soZU2R5759jrGPyglfRefCg3H6U/s1280/Smiling%20For%20The%20Camera.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1280" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLcLqbPvVDFMKI41g4xUWIUcA6CRIVVI1dje6dlwMyLkP72tlEb9JPslTf-htLX97MV65vWWm8MkgXqfyG3PIE09M1kdijjZEQmih55Hwh1b2flwGaB1N2Smsmk4M-U8znvni2EmRVVpSJo-qz4unwDahLIof66-N5soZU2R5759jrGPyglfRefCg3H6U/w262-h262/Smiling%20For%20The%20Camera.jpg" width="262" /></a></div>Track 6: Goodbye Mitchie (Mitchy)</b></div></b><i>From the album 'Smiling For The Camera' 1977</i><br /><br />Written (somewhat fatalistically and definitely prophetically) for my then girlfriend Jan Miller (now Henderson), 'Mitchy' materialised as a whole song whilst I was driving from Subiaco to my house in West Perth - a 10 minute journey. Ah - those were the days! Maybe it's my farm-boy background, but for some reason - with such lines as "you ain't gone yet" and "I done my best" - it sounds like it was composed by a toothless, Alabama sharecropper. Well, I was driving a Ford Ute at the time.<br /><br />Sadly, I lost touch with Mitchy after she moved back to New Zealand. If there's anyone out there who knows her whereabouts, please ask her to give me an ahoy!<br /><br />'Goodbye Mitchy' is not a track I would have necessarily chosen for a 'best of', because it features the worst rhyme of my writing career - "lady" with (ahem ..) "afraid-ee".</div><div><br /></div><div>Note: 'Mitchy' has also been spelt 'Mitchie' on some pressings - including the cover of this album.<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by Peter Martin<br />Engineered by Martin Benge<br /><br />Drums: Doug Gallacher<br />Bass: Dave Ellis<br />Piano: Tony Esterman<br />Acoustic Guitars: Peter Martin & RR<br />Handclaps: Peter Martin, Peter Dawkins & RR<br />Tambourine: Peter Dawkins<br />Backing Vocals: Terry Walker, Mike Leyton, Betty Lys & Bobbi Marchini</span><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXh_73e_IUtnstQuaf4NGEK4c2GHMNRu7XpmlXA5lyLLx3TE69yWMW1D16SYN_amOU0GLLXNMIVgmpLQil5tzcjgBXIHH0EeQILL7KD3SLU3VF4Btl8NMpXVCGDsXX6GZV-qAtnYfh00HgCZy-9lr1DRSYld415o4SaY18etLArq2BgOX4-paVJl4A16I/s887/After%20The%20Applause.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="861" data-original-width="887" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXh_73e_IUtnstQuaf4NGEK4c2GHMNRu7XpmlXA5lyLLx3TE69yWMW1D16SYN_amOU0GLLXNMIVgmpLQil5tzcjgBXIHH0EeQILL7KD3SLU3VF4Btl8NMpXVCGDsXX6GZV-qAtnYfh00HgCZy-9lr1DRSYld415o4SaY18etLArq2BgOX4-paVJl4A16I/w262-h254/After%20The%20Applause.jpg" width="262" /></a></div>Track 7: Blue Chevrolet Ballerina</b><br /><i>From the album 'After The Applause' 1975</i><br /><br />"Blue Chevrolet Ballerina" brings together the banjo feel of Neil Young's 'For The Turnstiles' (from 'On The Beach') and Jeanie C. O' Reilly's 60's hit, 'Ode To Billy Joe'. In fact I've just realised how similar these two songs are.<br />Another influence was Jackson Browne's 'The Late Show' from the album 'Late For The Sky'', a peerless piece of work that I highly recommend to anyone. From that song (and the album's cover) I grabbed 'Chevrolet'. I have little interest in cars but I loved the sound and romance of the word and somehow, and from somewhere, 'ballerina' seemed to fit too. All I had to do then was work out the car's colour!<br /><br />From 'Billy Joe' came the idea of writing a mysterious, clue-laden short story song. A puzzle, that if you were inclined, you could look closely at and solve. For lots of reasons, I really enjoyed writing 'Blue Chev' and have never tired of performing it.</div><div><br /></div><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by William Motzing<br />Engineered by Martin Benge<br /><br />Drums: Will Dower<br />Bass: John Young<br />Guitars: Jimmy Kelly & RR<br />Piano: Ian Mawson</span><div><span style="font-size: x-small;">Fiddle: Paul Trenwith</span></div><div><span style="font-size: x-small;">Backing Vocals: Alison MacCallum, Ian Stewart, Sonny Egan<br /></span><div> <br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUMgb3OyPqVqQ4O4_U1Kgrz2jm0auS1jOz-IlBuqKIXJgBzWt-5MuojyulBJWFjuJWBfPXcbMGezasSHkhxhu48jHKSPO05CIgORsuY9Kmaumzspo77hsZ9R5uh34prxpPGMYDCFvhZvaiyfKphd_jNu-B-co7fXO3_8PzLCh2oeI1mQEJuPrNsxvVINI/s1759/Ross%20Playing.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1759" data-original-width="814" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUMgb3OyPqVqQ4O4_U1Kgrz2jm0auS1jOz-IlBuqKIXJgBzWt-5MuojyulBJWFjuJWBfPXcbMGezasSHkhxhu48jHKSPO05CIgORsuY9Kmaumzspo77hsZ9R5uh34prxpPGMYDCFvhZvaiyfKphd_jNu-B-co7fXO3_8PzLCh2oeI1mQEJuPrNsxvVINI/w179-h387/Ross%20Playing.jpg" width="179" /></a></div>Track 8: Sedel (Never Smiled At Me)</b><br /><i>From the album 'After The Applause' 1975</i><br /><br />One night, at an after work staff party, some friends were teasing me about an attractive croupier who was sitting alone; encouraging me to go and talk to her. The notion quickly became academic as moments later her boyfriend arrived and whisked her away. This then became the running joke of the evening, creating enough source material for this song. And because I didn't even know the girl's name, I simply made one up. Sedel. I don't know .. it sounded French or something.<br /><br />The punch line to all this is that over the years I've been contacted by a number of couples who actually named their daughters Sedel. One of these girls even wrote enquiring as to the name's origin. I can only imagine her horror when I told her the story!<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by William Motzing<br />Engineered by Martin Benge<br /><br />Drums: Will Dower<br />Bass: John Bartlett<br />Guitars: Jimmy Kelly & RR<br />Synthesizer: Mike Carlos<br /></span><b><br />Track 10: Postcard From Berlin</b><br /><i>From the album 'After The Applause' 1975<br /></i><br />Boy meets girl. Girl already with another boy. Boy in first instance typically becomes depressive. For effect, writes love song set in Nazi Germany. Uses open G tuning - capo second fret.<br /><br />"Postcard From Berlin" was written late one night in Melbourne after the final mixing session for "I Am Pegasus".</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixCsY5htbgMLH7SCBFOu4ABiViHcLQxV9vTdJA4eveiQhoBCOc_wuwSpU2-YS5vTGHKKuaRC_a9VbJ6FdERbndCN0qYWQHoTdVuOnaBAKo9uX-rw1eS02feowYOf6RXATgBvCUDSTbfF2tdhzSCTOHXjA6dhgFMCSajQ-zZ6mvJnTMcKa_LT2YTSXwiOU/s817/Ross%20Recording%20For%20EMI.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="551" data-original-width="817" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixCsY5htbgMLH7SCBFOu4ABiViHcLQxV9vTdJA4eveiQhoBCOc_wuwSpU2-YS5vTGHKKuaRC_a9VbJ6FdERbndCN0qYWQHoTdVuOnaBAKo9uX-rw1eS02feowYOf6RXATgBvCUDSTbfF2tdhzSCTOHXjA6dhgFMCSajQ-zZ6mvJnTMcKa_LT2YTSXwiOU/w400-h270/Ross%20Recording%20For%20EMI.jpg" width="400" /></a></div><br /><div>At the time I was 'seeing' (or to be more precise, I was trying to 'see') an air hostess named Kathy who was a major inspiration for the 'horse' song. For reasons that to this day escape me; and completely forgetting her involvement - I stupidly (not to mention tactlessly) invited her to the session at Armstrong Studios. Cue lead balloon metaphors.<br /><br />My muse was unamused !<br /><br />Unsurprisingly, I ended up alone in my hotel room. There, under the influence of Leonard Cohen and several bottles of red wine, I took the events of the day, superimposed them over a Nazi Germany scenario and somehow, blind drunk, managed to write 'Berlin'. Sometimes that's what it takes.<br /><br /><span style="font-size: x-small;">Produced by Peter Dawkins<br />Arranged by William Motzing<br />Engineered by Martin Benge<br /><br />Drums: Russell Dunlop<br />Bass: Tim Partridge<br />Guitar: RR<br />Backing Vocals: Catherine Hastings, Lorraine Dalton & Bronwyn Macintosh</span></div><div><br /><b>Track 9: Dancing</b><br /><i>The third single taken from the album 'Smile For The Camera'.</i><br /><br /><b>Track 11: Who Am I?</b><br /><i>This was the first single taken from the album 'Smile For The Camera'.</i><br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1gl0DRJaiRYvZhTLcTqtQVvhcmp_NFBFWySevMccBH9qCMEsr5ejrluRTq45S58bqmT-svwFAiMPClD_nO5C9zDQYH5v72vAIjfrWU967z1gjgZYiFGTSwQnCMyb-9GjijEWhM2LZH58T6AtFgrEjAyGdbe9J52S7f-EmQRms_QLWSlhWoHV9td1u06o/s553/Anthem.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="553" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1gl0DRJaiRYvZhTLcTqtQVvhcmp_NFBFWySevMccBH9qCMEsr5ejrluRTq45S58bqmT-svwFAiMPClD_nO5C9zDQYH5v72vAIjfrWU967z1gjgZYiFGTSwQnCMyb-9GjijEWhM2LZH58T6AtFgrEjAyGdbe9J52S7f-EmQRms_QLWSlhWoHV9td1u06o/w248-h246/Anthem.jpg" width="248" /></a></div>Track 12. Anthem</b><br /><i>The B-Side to Dancing and also taken from the album 'Smiling For The Camera' 1977.</i><br /><br />"Anthem" was an attempt at writing the 4 minute Great Australian Novel. Having immigrated to Australian from America back in the 50's as a young child, I ceased to be an American, which at such a young age didn't mean anything anyway - but at the same time I can't say I grew to feel Australian. To paraphrase this song, I've never really known what that meant; and in 1976 when I wrote 'Anthem', it seemed to me that a lot of Australians, in a sense, felt the same way.<br /><br />Today Oz is a more confident nation; globalisation, the affordability of travel and the communication revolution having helped level the playing field. The cultural cringe hasn't entirely disappeared, but at the same time, despite the certainly cringe-worthy "Aussie, Aussie, Aussie" mentality of the sunburn set and the occasional 'Jumbuck Fascist', Australians have little regard for the kind of dangerously moronic patriotism often associated with the land of my birth.<br /><br />Good on ya! This song was dedicated to Gough and Gunston. <br /><br />Unfortunately, neither the album nor these singles charted, and the changing trends in music with the emergence of punk and New Wave saw the singer-songwriter 'genre' being perceived as "old hat" by record companies and radio programmers. <br /><br /><span style="font-size: x-small;">Produced & Arranged by Rick Formosa<br />Engineered by Michael Vidale<br /><br />Drums: Jim Duke-Yonge<br />Bass: Les Young<br />Piano: Roger Frampton<br />E. Guitar: Rick Formosa<br />French Horn: Boof Thomsen<br />Tenor Sax: Tony Buchanan<br />Vocal Assistance: Mark Holden<br />Strings: Conducted by Riccardo Formosa, Section Leader: John Lyle<br /></span>[Extracts from <a href="http://www.coathanger.com.au/" target="_blank">Ross Ryan's Website</a> with thanks]</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoY7YzXcIhKVJmlMNhsecLBQJWiIjTaXstfsaYh4JixYmTRGHVJhyphenhyphenyfDWuvdE48nSBrr0XNLBxSVXqrobYYSaTJYwM78BpwgkBqEAyRBlb58Hrpiw0Sw-OVcKW1zS8m5s89LcgXmpvYfIrkSSmzvq4vBCr3MUpykxleZUcqvQ7AALtk_7BMOxXU7pgp4U/s755/Pinboard%20Collage.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="739" data-original-width="755" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoY7YzXcIhKVJmlMNhsecLBQJWiIjTaXstfsaYh4JixYmTRGHVJhyphenhyphenyfDWuvdE48nSBrr0XNLBxSVXqrobYYSaTJYwM78BpwgkBqEAyRBlb58Hrpiw0Sw-OVcKW1zS8m5s89LcgXmpvYfIrkSSmzvq4vBCr3MUpykxleZUcqvQ7AALtk_7BMOxXU7pgp4U/w400-h391/Pinboard%20Collage.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ross Ryan Pinboard Collage</td></tr></tbody></table><div>Ross's EMI contract came to an end after the release of 'Smiling for the Camera', and he consequently split with his manager 'Doug Henderson'.</div><div><br />Following his departure from the label, EMI released this compilation of Ross’ best tracks entitled 'I Thought This Might Happen 1973-77'. During 1977, Ryan supported U.S visitors Roberta Flack and Dr Hook on their respective Australian tours. He then set off on an overseas holiday with his girlfriend (now wife) Helen covering Europe, England and the USA. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgoO2m6KjaU4d-F4mt8xNL1BIrU5Sr9-dp8V216D6LLmztGa-oZl5mskIaaJpX4alx5n83gxZpcs7k3Bu1O09UK_78oGJGQLQLAD09mjE8obu3Kk3x9A6IZy0cDNQ_VzSikcz3MerUDOWJx9Dn5nfoU_ZmtdkZMrttYtuCkHp9_NaAzqlCvKAH65gneeY/s600/Ross%20Today.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgoO2m6KjaU4d-F4mt8xNL1BIrU5Sr9-dp8V216D6LLmztGa-oZl5mskIaaJpX4alx5n83gxZpcs7k3Bu1O09UK_78oGJGQLQLAD09mjE8obu3Kk3x9A6IZy0cDNQ_VzSikcz3MerUDOWJx9Dn5nfoU_ZmtdkZMrttYtuCkHp9_NaAzqlCvKAH65gneeY/s320/Ross%20Today.jpg" width="213" /></a></div>Ryan returned invigorated and would embark on a rich and varied second stage of his career that would see a greater emphasis on his comedic leanings, including the cult ABC-TV comedy series 'Give 'Em Heaps', two one-man audio visual shows 'Sing The One About The Horse' (1984-1985) and 'You Can Trust me, I'm A Musician' (1988). Two further singles "Chaplin & Harlow" / "Postmark Paradise" (Polygram) and "Hello Stranger" / "Ballad Of The Double Bay Batman" (Powderworks) failed to chart and apart from another EMI compilation (on CD) entitled 'The Greats Of Ross 1973-1990' (AXIS) all subsequent releases were self-released on his 'Coathanger' label.<br /><br />Ross' landmark 1974 LP My Name Means Horse has been reissued on CD by Gil Matthews and Ted Lethborg's Aztec Music label. The CD includes two bonus tracks, "Blood On The Microphone" (1984 re-recording) and a live acoustic version of "I Am Pegasus" from GTK in 1973. (see <a href="https://www.aztecrecords.com.au/products/ross-ryan-my-name-means-horse" target="_blank">AZTEC RECORDS</a>)</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZf722Zmc0ztke2AVqtnMLizRo5Nfi6Vy7EZ7WCIafnflQt6GpiU10HiKLm9R6FBh97HtoEW9tO811_pCH5RMSAhXKOcK_zkF3_5oJeycYh7y66gsFUz7qT03z9vtu3cUNyY7DNxnCyhQ5fowHu-T_7ny7m2Wqwb9x2Opp4MJEJ8fIaqp7cYwU4j5j-qQ/s599/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="599" data-original-width="593" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZf722Zmc0ztke2AVqtnMLizRo5Nfi6Vy7EZ7WCIafnflQt6GpiU10HiKLm9R6FBh97HtoEW9tO811_pCH5RMSAhXKOcK_zkF3_5oJeycYh7y66gsFUz7qT03z9vtu3cUNyY7DNxnCyhQ5fowHu-T_7ny7m2Wqwb9x2Opp4MJEJ8fIaqp7cYwU4j5j-qQ/w198-h200/Label_Side1.jpg" width="198" /></a></div>This post consists of FLACs ripped from my vinyl (purchased from Brash Suttons in Geelong back in the late 70's) and includes full vinyl artwork and label scans. As far as I can tell, this compilation has never been released on CD. Although there have been other 'best of' releases since, I think this one is the BEST ! I think I saw Ross play at La Trobe University in 1977 (but am only 50/50 on this as much of my first year at Uni was a blur LOL )</div><div><br /></div><div><div><b><span style="color: red; font-size: x-small;">Track Listing</span></b></div><div><b><span style="font-size: x-small;">01<span style="white-space: pre;"> </span>I Am Pegasus 3:40</span></b></div><div><b><span style="font-size: x-small;">02<span style="white-space: pre;"> </span>Empire Lady 4:45</span></b></div><div><b><span style="font-size: x-small;">03<span style="white-space: pre;"> </span>Blood On The Microphone<span style="white-space: pre;"> </span>4:10</span></b></div><div><b><span style="font-size: x-small;">04<span style="white-space: pre;"> </span>Orchestra Ladies 2:50</span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib9gahyg9Xp8W8Jf8Wsff67XV2lzhnAVY1c5UTroMPMSFbJWkYjCHEyXoeU91d1_-V4ghaNRNJhwhZpgjuMp_0CxEz5oJGgUG_BCp34qTcTR8O_9KlX-cDzTRSljmBrZco9cUaoeUIgWCsV_Q8OB7LzQP5CpBQxEVpq5TeqKC6Q_HStxy8bIZffdvMDoQ/s599/Label_Side2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="592" data-original-width="599" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib9gahyg9Xp8W8Jf8Wsff67XV2lzhnAVY1c5UTroMPMSFbJWkYjCHEyXoeU91d1_-V4ghaNRNJhwhZpgjuMp_0CxEz5oJGgUG_BCp34qTcTR8O_9KlX-cDzTRSljmBrZco9cUaoeUIgWCsV_Q8OB7LzQP5CpBQxEVpq5TeqKC6Q_HStxy8bIZffdvMDoQ/w200-h198/Label_Side2.jpg" width="200" /></a></div><b><span style="font-size: x-small;">05<span style="white-space: pre;"> </span>I Don't Want To Know 3:10</span></b></div><div><b><span style="font-size: x-small;">06<span style="white-space: pre;"> </span>Goodbye Mitchie<span style="white-space: pre;"> </span>3:05</span></b></div><div><b><span style="font-size: x-small;">07<span style="white-space: pre;"> </span>Blue Chevrolet Ballerina 4:00</span></b></div><div><b><span style="font-size: x-small;">08<span style="white-space: pre;"> </span>Sedel (Never Smiled At Me) 4:15</span></b></div><div><b><span style="font-size: x-small;">09<span style="white-space: pre;"> </span>Dancing<span style="white-space: pre;"> </span> 4:35</span></b></div><div><b><span style="font-size: x-small;">10<span style="white-space: pre;"> </span>Postcard From Berlin 4:40</span></b></div><div><b><span style="font-size: x-small;">11<span style="white-space: pre;"> </span>Who Am I? 3:00</span></b></div><div><b><span style="font-size: x-small;">12<span style="white-space: pre;"> </span>Anthem<span style="white-space: pre;"> </span>4:45</span></b></div></div><div><b><span style="font-size: x-small;"><br /></span></b></div><div><br /></div><div><br /></div><div><a href="https://krakenfiles.com/view/WyiVPRYcvA/file.html" target="_blank">Ross Ryan Link</a> (233Mb)</div><div><br /></div><div><br /><br /><div><br /></div></div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com0tag:blogger.com,1999:blog-4047234333310975506.post-68824264924385933432024-01-31T09:43:00.000+11:002024-01-31T09:43:18.533+11:00REPOST: WOCK On Vinyl - Farewell Aunty Jack / Doin' The Aunty Jack (1973)<strong><span style="color: #ffff66;">.</span></strong><br /><strong>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 <span style="color: red;">W</span>eird, <span style="color: red;">O</span>bscure, <span style="color: red;">C</span>razy or just plain <span style="color: red;">K</span>orny.</strong><br /><div><span style="color: #ffff66;"><strong>.</strong> </span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdrwJidqGdhOmVsOmMGsIODI5rCVtaRybnGLTnoj5YCnZfnTebZCdIO8pthpQM3St1rxuZ9uMDyGCLs59x1zNbqLr2Qkw40kSv3BljjNhFBdTDtyXeoHWDI_n4bNKKyzSVKF6MCKc_NXM/s1600-h/Aunty_Jack_Sings_Wollongong.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5396876038813122546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdrwJidqGdhOmVsOmMGsIODI5rCVtaRybnGLTnoj5YCnZfnTebZCdIO8pthpQM3St1rxuZ9uMDyGCLs59x1zNbqLr2Qkw40kSv3BljjNhFBdTDtyXeoHWDI_n4bNKKyzSVKF6MCKc_NXM/s320/Aunty_Jack_Sings_Wollongong.jpg" style="cursor: hand; float: left; height: 302px; margin: 0px 10px 10px 0px; width: 255px;" /></a>This <span style="color: red;">WOCK posting</span> comes under the '<span style="color: red;"><b>C</b></span>razy' category. As a young teenager, I have fond memories of tuning in to the ABC on a Sunday night to watch one of my favourite shows 'The Aunty Jack Show'. </div><br /><div>The Aunty Jack Show was one of Australia's earliest and best loved TV comedy series in the 70's. Australian comedy changed forever the night that Aunty Jack (a motor-cycling transvestite boxer) roared into Australian living rooms on his/her Harley-Davidson. The Logie-winning series ran from 1972 to 1973 on ABC-TV and attained an instant cult status that persists to this day. Under threat of having their "bloody arms ripped off" if they didn't, Australians of the early seventies had little option but to tune in each week to their favourite Aunt, or pay the consequences!</div><div><span style="color: #0000ee;"><br /></span></div><div><img alt="" border="0" id="BLOGGER_PHOTO_ID_5396876246928176882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCRAFIo8pO4MkTo6dQQg8FGSwoRuZiCyP813OBk8dBa_atbRaezr08VPqM-je4xyuaRL5upq5G0yrrlY_KS7u68QrsbBZnesIg3QS9_RwlBOpuBQmdOQ7iayCQb_ahZKc-2NrIJrXPvoBU/s320/Aunty+Jack+On+Motorcycle.jpg" style="cursor: hand; float: right; height: 200px; margin: 0px 0px 10px 10px; width: 270px;" />Aunty Jack was a unique comic creation, an obese, moustachioed, gravel-voiced tranvestite, part truckie, part pantomime-dame, who habitually solved any problem by knocking someone out or ripping their arms off. Visually, she was unmistakable: she wore a huge, tent-like blue velvet dress, football boots, and a golden boxing glove on one hand. She rode everywhere on a Harley-Davidson and referred to everyone as "me little lovelies" -- unless of course she was uttering her familiar threat: "I'll rip yer bloody arms orf!", a phrase which immediately passed into the vernacular. </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxTQJsVOJMpLfjrkXA56IadeuZ5JyTZvLAtTT1yemOwb4WTrAtwHTFFv1NhaSR2r71OeSg61PoPjN7d2P5JeYqy8eGQWua4cC7X-XCfyVCX_Bgk_8H_EuHLDaAjPRO0f40Y_b13n49QRXIVUI61SyHJl_VMzOLGqVF-WFxi2ltfQPAKBA6cbmQ6-sBrk/s415/Aunty%20Jack%20Cast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="228" data-original-width="415" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxTQJsVOJMpLfjrkXA56IadeuZ5JyTZvLAtTT1yemOwb4WTrAtwHTFFv1NhaSR2r71OeSg61PoPjN7d2P5JeYqy8eGQWua4cC7X-XCfyVCX_Bgk_8H_EuHLDaAjPRO0f40Y_b13n49QRXIVUI61SyHJl_VMzOLGqVF-WFxi2ltfQPAKBA6cbmQ6-sBrk/w400-h220/Aunty%20Jack%20Cast.jpg" width="400" /></a></div><br />The character of Aunty Jack was devised and played by the multi-talented Grahame Bond and was partly inspired by an overbearing uncle of Grahame's whom he had disliked as a child.<br />Aunty Jack alternated one-off sketches with segments featuring a regular and semi-regular characters. As well as Aunty Jack and her sidekicks -- blonde bombshell Flange Desire, the tremulous Thin Arthur and snobby Narrator Neville, there were semi-regular appearances by nervy folk-singing duo Errol and Neil (Grahame & Rory) and extrovert rock'n'roll butcher Kev Kavanagh (Grahame), the obnoxious Kid Eager (McDonald), a parodic amalgam of characters like Dennis the Menace and Ginger Meggs, and towards the end of the second series, Wollongong TV presenter and super-dag Norman Gunston (McDonald) for whom some bright spark at the ABC recognised the potential in this character, and he was offered a tonight show of his own on ABC television in the mid-70s. Somewhere along the line, he was christened with the sobriquet ‘The Little Aussie Bleeder’, and the rest of course is history.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHFj-GO_9dgxIiMgBmLB1TKQw2C4hwMS2C1AmXHhAqhhYN1R4cZsgrqVZW3mB4FDgboTjgs8XOtHk_C7R45Bj602U4bkn-X0J7tRfRbtpUazYA91HKuvB5-gxvw5c2qk5oJKuUlcz1ZbOeRSNH2eL18ck1Qp_Mcl92FTvowHORhTJNyInttA_pwNnLNRk/s570/Farewell%20Aunty%20Jack%20-%20EP%20Picture%20Disc%20Side-A.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="570" data-original-width="570" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHFj-GO_9dgxIiMgBmLB1TKQw2C4hwMS2C1AmXHhAqhhYN1R4cZsgrqVZW3mB4FDgboTjgs8XOtHk_C7R45Bj602U4bkn-X0J7tRfRbtpUazYA91HKuvB5-gxvw5c2qk5oJKuUlcz1ZbOeRSNH2eL18ck1Qp_Mcl92FTvowHORhTJNyInttA_pwNnLNRk/w234-h234/Farewell%20Aunty%20Jack%20-%20EP%20Picture%20Disc%20Side-A.jpg" width="234" /></a></div>The theme song ‘Farewell Aunty Jack’ was written by Graham Bond & Rory O'Donoghue, reaching number one on the Australian charts in 1974. I was lucky enough to acquire a Picture Disc copy of the single from my local newsagency/record outlet, and it was acquired for the pricely sum of $1.25. The attraction of the song lies with the bizarre lyrics which threatens the listener with having their arms ripped off through the radio. Part comedy song, part signature sign off for the closest Australia has ever come to producing something as good as Monty Python's Flying Circus, "Farewell Aunty Jack" has all the hallmarks of a Phil Spector or Roy Orbison mini-rock-opera. There are quiet bits, loud bits, moments where love and hope, sadness and solitude are counterbalanced with motorcycles and a fat transvestite with a golden glove.</div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_8g9Zke4yCg9QYzVpmxQ0IZpPUfotBhxtNxJv3x5WmU2XNKt5P9m0rG2EyNNHlKbkghEuyHAWDkMmyIi8mLhqCoSHoDf9idflq1ITHeQ8RCT-MxmuzDhd1jP9Ja1uO64PaEVoc_jk2iwyfAevs-lI5ih6UET2Et3UU_7fguOcUgpHQoknUUt7FRHXY4g/s570/Farewell%20Aunty%20Jack%20-%20EP%20Picture%20Disc%20Side-B.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="570" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_8g9Zke4yCg9QYzVpmxQ0IZpPUfotBhxtNxJv3x5WmU2XNKt5P9m0rG2EyNNHlKbkghEuyHAWDkMmyIi8mLhqCoSHoDf9idflq1ITHeQ8RCT-MxmuzDhd1jP9Ja1uO64PaEVoc_jk2iwyfAevs-lI5ih6UET2Et3UU_7fguOcUgpHQoknUUt7FRHXY4g/w239-h239/Farewell%20Aunty%20Jack%20-%20EP%20Picture%20Disc%20Side-B.jpg" width="239" /></a></div>This was the biggest selling song in Australia in 1974 (8 weeks at number one and 22 weeks in the charts) and it's very easy for me to put on those gruff tones of Aunty Jack and recite "I'm really off this time...like a piece of cheese". The B Side is pretty good also and rocks on nicely with the catchy phrase "Doin' The Aunty Jack".<br /><br />I am including both A and B sides of the single (now freshly ripped to FLAC), a sample sound clip of Aunty Jack's threat to Rip Ya Bloody Arms Off ! and several video clips taken from the show. Full artwork and selected pictures are also included.<br /><br />Finally, in the infamous words of Aunty Jack, if you don't leave a comment after downloading this WOCK selection, I'm gonna come out of your computer screen and Rip Ya' Bloody Mouse Off ! LOL </div><div><span style="color: #ffff66;">.</span></div><div><a href="http://depositfiles.com/files/up3vhlact"></a><a href="https://www.mediafire.com/file/eg7vl5l2qhkuet7/Aunty+Jack+-+Doin'+The+Aunty+Jack+(1973)+FLACs.rar/file" target="_blank">Aunty Jack Link</a> (52Mb) <b><span style="color: red; font-size: medium;">NEW IMPROVED RIP !</span></b><br /></div><div><span style="color: #ffff66;">.</span></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com8tag:blogger.com,1999:blog-4047234333310975506.post-28539509557225212102024-01-25T00:04:00.005+11:002024-01-25T08:01:33.440+11:00Various Artists - Rocktober 3XY: 20 Years Of Australian Rock (1981)(Various Australian Artists 1960-1980)<br /><br /><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic0xbpQb46c0HeI0CxGoaEoH77YZ7tk5BPo-FA_xk7-avk7ciFaqgWbVf5t6rHwEjgqvesU93wDxbKgXQEJszL1hVpthkc4g6rNeFJIRSLh-0kiIMjpAJSNbsHQfzb_9gfzlLHXLj8Wj6JOLjNJzl7BY-QkLl5xUFtrF6OJ3BJXgRrWkxjJW_QRa5bs-E/s1432/Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1376" data-original-width="1432" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic0xbpQb46c0HeI0CxGoaEoH77YZ7tk5BPo-FA_xk7-avk7ciFaqgWbVf5t6rHwEjgqvesU93wDxbKgXQEJszL1hVpthkc4g6rNeFJIRSLh-0kiIMjpAJSNbsHQfzb_9gfzlLHXLj8Wj6JOLjNJzl7BY-QkLl5xUFtrF6OJ3BJXgRrWkxjJW_QRa5bs-E/w266-h255/Cover.jpg" width="266" /></a></div>Radio's Rocktober</b><br /><div>Those who grew up in the ’70s listening to Top 40 radio stations like 2SM, 3XY, 6PM and 2NX will remember the annual 'Rocktober' promotion that began in 1974. Those stations were soon followed by 4IP and 2CC.<br /><br />Rocktober was the brainchild of Jaan Torv (aka John Torv), former creative director of the Digamae programming consultancy that gave those stations their distinctive Top 40 sound. The Rocktober concept has since been copied by stations around the world. Torv’s distinctive voice was heard on the original Rocktober promos heard coast to coast in the ’70s.<br />During Rocktober, the stations featured live concerts, on-air music specials, and competitions and promotions.</div><div><br />For one in particular: Rocktober 1979, 2SM presented a mega-concert on the steps of the Sydney Opera House called 'The Concert of the Decade'. It featured acts like Stevie Wright, Skyhooks, Richard Clapton, Hush, Dragon, Jim Keays, Jon English, Sherbet, OL’ 55, Ted Mulry Gang, Colleen Hewett, Russell Morris, Billy Thorpe, Brian Cadd, Marcia Hines, Doug Parkinson and Blackfeather. <div><i>(I have the Mushroom double album taken from this concert and it is my intention to post it in the near future).</i></div><div><i><br /></i></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xf4AOe8YcgqYG4ZlDqw-scfOGPWeJUR9rMt7AcIbkhD6zrgPZ6r-4j2JKPHNHRQ7ZbrX68sQzxqzAiZEhjkqhIikYuocBLDINnukR0ohuaQHUbU_cGtzrWpwae7OKfOPHwPHur00bKLcHQCDjESvXzwWSleIvtno_tKEZVvvxfHvsMx7yVILu9ymNhY/s4204/Decade%20Of%20Rocktober%20'84%20Banner.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="4204" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xf4AOe8YcgqYG4ZlDqw-scfOGPWeJUR9rMt7AcIbkhD6zrgPZ6r-4j2JKPHNHRQ7ZbrX68sQzxqzAiZEhjkqhIikYuocBLDINnukR0ohuaQHUbU_cGtzrWpwae7OKfOPHwPHur00bKLcHQCDjESvXzwWSleIvtno_tKEZVvvxfHvsMx7yVILu9ymNhY/w400-h95/Decade%20Of%20Rocktober%20'84%20Banner.jpg" width="400" /></a></div><br />The original official Rocktober stations were: 2SM Sydney, 3XY Melbourne, 4IP Brisbane, 6PM Perth, 2CC Canberra and 2NX Newcastle. Others copied later.<br /><br />3XY was Melbourne's dominant music radio station during the 1970s and early 1980s with a Top 40 music radio format.</div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZmqgVYoL1rZkifn5HAy-pN_XgeESBg8g_Ah2J3a0vn9oXgqDOCJMHF8VantDMwfof1dwxxBnTo0_yz2kutWPOr_8H8xoqPQhrA-KAA3wzN-us2Jv9-TOMfUEi99vVzzv956HeQKd_Q_sXyE4nfj5YDL5K9rhVbVzRTT7KxcP_6tcGqc_qoOQ4SxnXxsc/s515/3XY%20Rocktober.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="515" data-original-width="515" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZmqgVYoL1rZkifn5HAy-pN_XgeESBg8g_Ah2J3a0vn9oXgqDOCJMHF8VantDMwfof1dwxxBnTo0_yz2kutWPOr_8H8xoqPQhrA-KAA3wzN-us2Jv9-TOMfUEi99vVzzv956HeQKd_Q_sXyE4nfj5YDL5K9rhVbVzRTT7KxcP_6tcGqc_qoOQ4SxnXxsc/w238-h238/3XY%20Rocktober.jpg" width="238" /></a></div>Every week commencing December 24th 1971 until December 31st 1988, they produced their 3XY Music Survey which was available from all major record stores in Victoria. The album featured here was released in 1981 by Mushroom records and 3XY to celebrate 20 years of Australian Rock. Strangely enough, it was subtitled 1981 Volume 1 however I don't think a Volume 2 was ever released.</div><div>[by GREG ALLEN-PRETTY October 1, 2023]</div><div><br /></div><div><b>Album Liner Notes</b></div><div>In the words of GLENN A.BAKER, Australian Editor for Billboard: </div><div><br /></div><div><i>It is now startlingly evident that there was an Australian 'sound' long before there was an Australian music industry sufficiently mature to exploit it fully.</i></div><div><i>That sound is now something we accept without question as our music regularly penetrates international charts.</i></div><div><i><br /></i></div><div><i>But it wasn't always like that; the global acceptance wasn't always so instantly forthcoming. Up until the mid seventies Australian music had to overcome all manner of daunting hurdles from inadequate studios, to inexperienced producers, to poorly paid and often humiliating live bookings, to the great Australian inferiority complex.</i></div><div><i><br /></i></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvqdjCGebW8bUomAgHsdxK9ut7y5X2GDfSU1YBDYuSC3q8zpBlyOfJkITmWGjtgnkkAzCs3gX54omb5KfV2Ri7qX5Se9DuZfmJS2jRA8kTAu0RU9k1iYudVXZV-OpDRnFN_w8Z9AxGl_iImjD6PHjmGCRrKEuWC6mQSXPmXomlIuxhQlt_UJxhrLzogo/s1024/3XY%20Survey%20Label.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvqdjCGebW8bUomAgHsdxK9ut7y5X2GDfSU1YBDYuSC3q8zpBlyOfJkITmWGjtgnkkAzCs3gX54omb5KfV2Ri7qX5Se9DuZfmJS2jRA8kTAu0RU9k1iYudVXZV-OpDRnFN_w8Z9AxGl_iImjD6PHjmGCRrKEuWC6mQSXPmXomlIuxhQlt_UJxhrLzogo/w400-h225/3XY%20Survey%20Label.jpg" width="400" /></a></div><i><div><i><br /></i></div>Through the many lean periods it seemed that the only friend it had was Australian radio. Certainly there were years when the confidence and support may have been a little strained but, no matter what the prevailing attitude, the cream always rose to the top and that which was worthy of becoming a hit usually did become a hit. Before the world opened its doors, the small, self-contained antipodean rock scene worked hand in hand with commercial radio in this country to bring to our ears works of enduring quality and charm.</i></div><div><i><br /></i></div><div><i>In this vast continent we are witnessing a degree of creative endeavor quite disproportionate to our meagre population. Diverse, rich and intelligent, Australian music has affected us all. This album is but a humble sampling of the depth from 20 years. </i></div><div> <br /><div style="text-align: center;"><b>Album Artists and Tracks</b></div></div></div><div><br /></div><div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTUoVJ8WFnFKm5AlR1TOTEt0_vNHLvqJvKsuQLfeKUISQHTnzrIkJxNfW1_sf52wp0mWxNt3fYTW7YqR2gS5rsRxC2kQf2h1tJt09gpVSEnS7fPp8Vg6Zljgoc5v0nKGjKcwfjayFao7JSsolH7sONJrbmSPO5E4FLdXNu205IPC-8Fq1vp8-xqrWEWLY/s599/Johnny%20O'Keefe%20-%20She's%20My%20Baby.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="599" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTUoVJ8WFnFKm5AlR1TOTEt0_vNHLvqJvKsuQLfeKUISQHTnzrIkJxNfW1_sf52wp0mWxNt3fYTW7YqR2gS5rsRxC2kQf2h1tJt09gpVSEnS7fPp8Vg6Zljgoc5v0nKGjKcwfjayFao7JSsolH7sONJrbmSPO5E4FLdXNu205IPC-8Fq1vp8-xqrWEWLY/w238-h237/Johnny%20O'Keefe%20-%20She's%20My%20Baby.jpg" width="238" /></a></div>JOHNNY O'KEEFE</div><div><i>She's My Baby (1960)</i></div><div>After l0 smash hits beginning in 1958 (when Bill Haley personally recommended that he be given a recording contract with Festival Records), Johnny O'Keefe kicked off the sixties with the first Australian hit of the decade. Released on January 7th, as the first Australian issue on the Lee Gordon label (though it was recorded in Los Angeles), this classic hit streaked to number one, returning to the charts in 1969.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdhm8_6yN9lHaqE3S3H9SvVrQEAyIVEOlIO2XjE3n3r9TO-bYYICXRH6wh7BkTFWj4iPpL0nLGAmkCqmipgsk0cHZJwJXImF2GoxohaF039VU4kVs4LPZEFextci_if7HxQ8JzG-k7OSNjPalYa3KE6VLrnK-cood0D-xav4mxemOF7qzoplEdl9RL_DU/s479/Billy%20Thorpe%20&%20The%20Aztecs%20-%20Poison%20Ivy.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="479" data-original-width="477" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdhm8_6yN9lHaqE3S3H9SvVrQEAyIVEOlIO2XjE3n3r9TO-bYYICXRH6wh7BkTFWj4iPpL0nLGAmkCqmipgsk0cHZJwJXImF2GoxohaF039VU4kVs4LPZEFextci_if7HxQ8JzG-k7OSNjPalYa3KE6VLrnK-cood0D-xav4mxemOF7qzoplEdl9RL_DU/w245-h246/Billy%20Thorpe%20&%20The%20Aztecs%20-%20Poison%20Ivy.jpg" width="245" /></a></div>BILLY THORPE AND THE AZTECS</div><div><i>Poison Ivy (1964)</i></div><div>Not only the first Australian 'beat' recording but the first single to break through the very real wall which separated Sydney and Melbourne to become an actual national hit (Melbourne started playing it because they thought the group were from England)</div><div>The Aztecs started life as crack instrumental group, The Sierras, with British born Thorpe switching over from amateur yodelling in Queensland. The band's songwriter, Tony Barbos (later Barber) swiped the arrangement from the Rolling Stones' first EP.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSgzLSfn6QSNgvZKe8J1DEc2QC468_a1OD2RIKmMG0gjaTvSFrIelLf_voky2frJ9elElAzf7RqXbUVnGqqxSqEELW9xUIq30qUaEmF4Tt5LjtufzsJN8s84X9Wje1qKblVzNmTK1oAduPwLLzOewGFbzAx8m2tOu6k67KdJyVCfwVQjwNTG-CdkGt8lI/s592/The%20Easybeats%20-%20She's%20So%20Fine.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="592" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSgzLSfn6QSNgvZKe8J1DEc2QC468_a1OD2RIKmMG0gjaTvSFrIelLf_voky2frJ9elElAzf7RqXbUVnGqqxSqEELW9xUIq30qUaEmF4Tt5LjtufzsJN8s84X9Wje1qKblVzNmTK1oAduPwLLzOewGFbzAx8m2tOu6k67KdJyVCfwVQjwNTG-CdkGt8lI/w247-h244/The%20Easybeats%20-%20She's%20So%20Fine.jpg" width="247" /></a></div>THE EASYBEATS</div><div><i>She's So Fine (1965)</i></div><div>This second single propelled the dynamic determined Easys from the Villawood migrant hostel, Havana Village, The Bowl and Beatle Village to a degree of unprecedented teen idol status, kicking off a string of eight huge hits within eighteen months. We lost our beloved heroes to England at the end of 1966 but the world gained a rock anthem with "Friday On My Mind". George Young and Harry Vanda endure as the patron saints of Oz rock 'n' roll, later performing as Flash & The Pan.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvib8KGK4B-Uo6d6RrY0Xp-DGNG_z_F4hy5Jr-Or6zUyPRpo7iR7DNnRtgmRhAwfYljReW__x4mso_IXxmpc2yDE25EKJdyYOex3e71UARnGMeSn4ITEYfuaPmCXJnXv9k7pNfU9nj4iPKOQmDa5Hwh29Cbn6FTnXNxVdt-uBp2wWTzOUaSYnRDbmKAM/s355/Ray-Brown-and-the-Whispers-Fool,%20Fool.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="355" data-original-width="355" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHvib8KGK4B-Uo6d6RrY0Xp-DGNG_z_F4hy5Jr-Or6zUyPRpo7iR7DNnRtgmRhAwfYljReW__x4mso_IXxmpc2yDE25EKJdyYOex3e71UARnGMeSn4ITEYfuaPmCXJnXv9k7pNfU9nj4iPKOQmDa5Hwh29Cbn6FTnXNxVdt-uBp2wWTzOUaSYnRDbmKAM/w247-h247/Ray-Brown-and-the-Whispers-Fool,%20Fool.jpg" width="247" /></a></div>RAY BROWN AND THE WHISPERS</div><div><i>Fool Fool Fool (1965)</i></div><div>Ray Brown and the Whispers replaced Thorpie as resident band at Sydney's Surf City and Beach House late in 1964. Ray was a young footballing customs clerk who happened to climb up on stage one fateful night. The Whispers had been recording instrumentally for some time as the Nocturnes. The group scored three consecutive number one Sydney hits within four months, an achievement yet to be equaled. This was the third.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1OyTM0SWlu8L59ub06hk788ilTfmUdRkrZtnUEaBWemAbXkx7ipJ2O-Z8FoN_stBI0z9KXcyWisMRe_F5t8stxHVNaSFegFXdSC7p5s8IDL1d6mF700fE66ACkIye8_w2kHUcbsiT2qBv3foPp39HzMIlmv8H9jCqZ2Gf60eWQts2WypwzRnxNyRiqNY/s400/Jeff%20St.John+The+Id-Big+Time+Operators+1967.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="392" data-original-width="400" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1OyTM0SWlu8L59ub06hk788ilTfmUdRkrZtnUEaBWemAbXkx7ipJ2O-Z8FoN_stBI0z9KXcyWisMRe_F5t8stxHVNaSFegFXdSC7p5s8IDL1d6mF700fE66ACkIye8_w2kHUcbsiT2qBv3foPp39HzMIlmv8H9jCqZ2Gf60eWQts2WypwzRnxNyRiqNY/w243-h238/Jeff%20St.John+The+Id-Big+Time+Operators+1967.jpg" width="243" /></a></div>JEFF ST. JOHN AND THE ID</div><div><i>Big Time Operator (1967)</i></div><div>Jeff St. John (Jeff Newton) and the Blueswailing ID were Australia's first notable discotheque band resident for most of 1965 at the legendary Here disco in North Sydney. Zoot Money's "Big Time Operator" was the group's fourth single and was broken by the exposure it received when they opened for the Yardbirds, Walker Brothers and Roy Orbison tour around Australia. Jeff remains a highly respected figure in Australian music, with a voice which grows more stunning with the passage of time.</div><div><br /></div><div><br /></div><div>JOHNNY FARNHAM<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijo18sB64kfXpIGkjuod87xKii5GJLD20hla7tSMjEfD9ZnpdFsOwW7wD7zdshdOq6KjS3fxupu1LIi0S_JXHPQ9GUVon8EgLFMLkeyWVkJy9uNAeO9_l6Vgm-Rg1Ycg6FISuHaXSkeGBbeTVo3OnF98v87482To93gWnf9zj3UY2_euDfIq40kHWbck8/s500/Johnny%20Farnham%20-%20One.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijo18sB64kfXpIGkjuod87xKii5GJLD20hla7tSMjEfD9ZnpdFsOwW7wD7zdshdOq6KjS3fxupu1LIi0S_JXHPQ9GUVon8EgLFMLkeyWVkJy9uNAeO9_l6Vgm-Rg1Ycg6FISuHaXSkeGBbeTVo3OnF98v87482To93gWnf9zj3UY2_euDfIq40kHWbck8/w241-h241/Johnny%20Farnham%20-%20One.jpg" width="241" /></a></div></div><div><i>One (1969)</i></div><div>British born Farnham began singing at 16 with Melbourne's, The Mavericks, moving onto Strings Unlimited in 1965. ln 1967, he came to the attention of EMI house producer, David McKay via appearances on the Kommotion TV show and a TAA commercial. By Christmas of that year he had become a household name with the novelty hit "Sadie The Cleaning Lady".</div><div>Harry Nilsson's "One" was Johnny's fifth hit, a top five smash in August 1959. Like Jeff his voice gets better as it gets older.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQfTG02ggEzsrAVw1vKc9545Flgf2gz3v6RTcVH1cSvD85R4sW5K5tFTdvjUpsVzWVICpY9zePmwmSALDFwjxlhZaPoAVTp3a8PHcg6f0rsIelFtsN474izX1kDzr-Emswbjxx-Qvd9QnpggHZzJbK9E9R6GTuPs8gedMFjypnMhmTqRbRoBrch9wkMM/s1228/Chain%20-%20Black%20&%20Blue.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1228" data-original-width="955" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQfTG02ggEzsrAVw1vKc9545Flgf2gz3v6RTcVH1cSvD85R4sW5K5tFTdvjUpsVzWVICpY9zePmwmSALDFwjxlhZaPoAVTp3a8PHcg6f0rsIelFtsN474izX1kDzr-Emswbjxx-Qvd9QnpggHZzJbK9E9R6GTuPs8gedMFjypnMhmTqRbRoBrch9wkMM/w227-h291/Chain%20-%20Black%20&%20Blue.jpg" width="227" /></a></div>CHAIN</div><div><i>Black And Blue (1971)</i></div><div>Originating in Perth in 1968 as The Beaten Tracks, Chain became leaders of the 'heavy' music movement which challenged the supremacy of commercial pop.</div><div>A functional utility name for whatever group the musician's guitarist, Phil Manning had gathered around himself from I968 to 1973, Chain was synonymous with blues of the highest quality and integrity. Chain Mark lll, featuring the raw voice of the Bay City Union's Matt Taylor brought the underground to street level in 1971 when the tortured "Black and Blue" hit #1 in Melbourne.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs0oOM-KcPTFa_IzpmVoQr1L_c0QtE7M3e6OewN9hivnL1n92291BtvEzjRJqXgAaRg3YwOfCt3se5D52V5GBdEgkf_jzTVLU9wfHzxsxrzpzcxa4GzXxRPqgaB0foYf58_9-SoiCT4MQqfg0wFyEzKXkY0nYt0E-qup1ALKOggEejexUR4YOqqhVqylE/s652/Blackfeather%20-%20Boppin'%20The%20Blues.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="652" data-original-width="500" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs0oOM-KcPTFa_IzpmVoQr1L_c0QtE7M3e6OewN9hivnL1n92291BtvEzjRJqXgAaRg3YwOfCt3se5D52V5GBdEgkf_jzTVLU9wfHzxsxrzpzcxa4GzXxRPqgaB0foYf58_9-SoiCT4MQqfg0wFyEzKXkY0nYt0E-qup1ALKOggEejexUR4YOqqhVqylE/w221-h289/Blackfeather%20-%20Boppin'%20The%20Blues.jpg" width="221" /></a></div>BLACK FEATHER</div><div><i>Boppin' The Blues (1972)</i></div><div>Blackfeather surfaced in 1970 as a highly regarded unit under the control of ace guitarist, John Robinson. They turned heads with the extraordinary "Seasons Of Change" hit in 1971, caped by Neale Johns ethereal voice. Within a few months, Robinson had departed and Neale carried on with a more rock 'n' roll orientated direction. A year later, a radical reworking of Carl Perkins' "Boppin' The Blues", driven along by Paul Wyldes acoustic piano, became a national number one hit, charting for 20 weeks.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9nMp9MHmJcN0tQ5LERYGVh9MvVxwf4MJs_vpemjdL6-RIsysm3E8GBDV9RhBOOgEDG9QQjBbBoMRvgA15JEUAUcYnjbxqaWtSvSVeBEYuB6nmzKQD4iLS-Wp5rDMTUP56B5N9dEoq07xpnFulEgn5CjBQBV0VgldtywnaVJMT6pIB7kZSd6NPOCPVOkE/s700/Madder%20Lake.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9nMp9MHmJcN0tQ5LERYGVh9MvVxwf4MJs_vpemjdL6-RIsysm3E8GBDV9RhBOOgEDG9QQjBbBoMRvgA15JEUAUcYnjbxqaWtSvSVeBEYuB6nmzKQD4iLS-Wp5rDMTUP56B5N9dEoq07xpnFulEgn5CjBQBV0VgldtywnaVJMT6pIB7kZSd6NPOCPVOkE/w250-h250/Madder%20Lake.jpg" width="250" /></a></div>MADDER LAKE</div><div><i>Goodbye Lollypop (1973)</i></div><div>Formed in 1971 by students of Melbourne's Swinburne Tech, Madder Lake impressed Sunbury'72 and were one of the very first signings to the new Mushroom Records label in 1973, becoming one of this country's very first album oriented bands. "Goodbye Lollypop" was one of two hits from the gold LP 'Stillpoint'. Leader, Mick Fettes turned up in Bandicoots in 1976, sometime later.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDuYEngP0Kx8usT_-B77CX9cYOECHKkh8zF02rEPbpNq3r9tsLFy8TpkExtZEX-epRT7Tm7f-TGEXix07G9Pk7vws7m661XBoUv36psHVunKyaoZk2QYWQ4qXddq0DfwUhnGF3unpNzO8ZyxxHYpdi3lvAB48bN6HDYo-JnMr9qqGAUpUhA3GDyOR_Gms/s472/Sherbet.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="347" data-original-width="472" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDuYEngP0Kx8usT_-B77CX9cYOECHKkh8zF02rEPbpNq3r9tsLFy8TpkExtZEX-epRT7Tm7f-TGEXix07G9Pk7vws7m661XBoUv36psHVunKyaoZk2QYWQ4qXddq0DfwUhnGF3unpNzO8ZyxxHYpdi3lvAB48bN6HDYo-JnMr9qqGAUpUhA3GDyOR_Gms/w272-h200/Sherbet.jpg" width="272" /></a></div>SHERBET</div><div><i>Cassandra ( 1973)</i></div><div>Sherbet are still a yardstick for success in Australian music. Formed in 1969, they racked up 20 consecutive hit singles, 12 albums yielding 10 platinum and 8 gold discs, every possible Australian music award of the 70's and the honour of being not only the biggest domestic record sellers of all time but also the first local act to sell a million dollars worth of records in Australia. Sherbet concerts were always intense and exciting spectacles. Following hot on the heels of "Hound Dog", "Casandra" was a Sherbet classic that maintained their enormity throughout 1973.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmJAn1LpF9XAa0n6qaPyPihK0IuzTWh3z8DlUubVpdGf8UaBQBVJ3IdIFShnnpOgAwv6XZYUwIXCHZx6Oo1BSthARK1YGZrjH_I5yJcH1VnsJae_fv62K8epVbk2Woi4mm8CDLIDL7q9EFCwHrJR3B36hqjpIHdpHLy-C4LuyCZwFXs00K79tfGXi3aFk/s221/The%20Dingoes.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="221" data-original-width="220" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmJAn1LpF9XAa0n6qaPyPihK0IuzTWh3z8DlUubVpdGf8UaBQBVJ3IdIFShnnpOgAwv6XZYUwIXCHZx6Oo1BSthARK1YGZrjH_I5yJcH1VnsJae_fv62K8epVbk2Woi4mm8CDLIDL7q9EFCwHrJR3B36hqjpIHdpHLy-C4LuyCZwFXs00K79tfGXi3aFk/s1600/The%20Dingoes.jpg" width="220" /></a></div>THE DINGOES</div><div><i>Way Out West (1974)</i></div><div>Assembled from the ashes of Country Radio and Axiom, The Dingoes incorporated the country rock leanings of these two outfits into a raunchy rock backdrop.</div><div>The self-titled debut album, named best album of the year by the Federation of Australian Broadcasters, yielded the warm and textured "Way Out West", a national hit which was followed by "Boy On The Run".</div><div>ln 1976 the band moved base to America at the request of Rolling Stones' stateside manager, Peter Rudge. Their strife ridden stay resulted in just one album, the overlooked 'Five Times The Sun'. The sumptuous lead voice of Broderick Smith has been put to good use of late out front of the Big Combo.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxAYoMV77RmjpfTyYdrBsHoTLcPIEwA46wIpSr1L8KiFa1J1h4TQkB1NsSjjHw444-kQhRvH95D0eW2ub-r3a0HbBzwMLHZq8VUBu2UsS2WVwTEY3Aa8h0vLNIYOnR1TfFXOOjdiMv8TkXGpKHxyTlO5ZUCWHwMcaAf1VuXBN3z-UAi4bEmlogbKCA11o/s362/Richard%20Clapton.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="362" data-original-width="263" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxAYoMV77RmjpfTyYdrBsHoTLcPIEwA46wIpSr1L8KiFa1J1h4TQkB1NsSjjHw444-kQhRvH95D0eW2ub-r3a0HbBzwMLHZq8VUBu2UsS2WVwTEY3Aa8h0vLNIYOnR1TfFXOOjdiMv8TkXGpKHxyTlO5ZUCWHwMcaAf1VuXBN3z-UAi4bEmlogbKCA11o/w218-h300/Richard%20Clapton.jpg" width="218" /></a></div>RICHARD CLAPTON</div><div><i>Girls On The Avenue (1975)</i></div><div>Richard began playing with bands in Australia, England and Germany around 1967 but did not record until 1972 when he layed down the sensitive 'Prussian Blue' album for Festival Records. With each successive LP, Richard gained confidence and vision until he was able to deliver the finest east coast surfing album imaginable with 1977's 'Goodbye Tiger'. </div><div>"Girls On The Avenue" was an unexpected national number two smash in 1975, a hit which served to swing him toward a slightly harder edge in his music.</div><div><br /></div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEToxtvnOtFNtBF6CQFmowAe0KFKoog7yH4Ax9Fb-XGEUu_tG46593TWae6IeauxuTwmhjMnke8Cu44JKLJwKTDeZx8J8zX35YkaLvp7uwoNxBltkwoLkKqz-cjUu5ATW_dd9vCF7XBlfZXKc3IWrOBPbWjo10_29E61Zb9kgf4pOxVj83uKiKBo9hPOc/s320/Renee%20Geyer.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="320" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEToxtvnOtFNtBF6CQFmowAe0KFKoog7yH4Ax9Fb-XGEUu_tG46593TWae6IeauxuTwmhjMnke8Cu44JKLJwKTDeZx8J8zX35YkaLvp7uwoNxBltkwoLkKqz-cjUu5ATW_dd9vCF7XBlfZXKc3IWrOBPbWjo10_29E61Zb9kgf4pOxVj83uKiKBo9hPOc/w238-h238/Renee%20Geyer.jpg" width="238" /></a></div>RENEE GEYER</div><div><i>Heading ln The Right Direction (1975)</i></div><div>From the early 70's, bluesy Renee fronted a series of makeshift 'blow bands' such as Dry Red, Sun and Mother Earth. She began recording as a solo entity in l973, the exceptional quality of her voice attracting the nations most discriminating musicians to her side. Always respected and supported by Australian radio, Renee has maintained a high profile over the past years which has culminated with the l98l gold single "Say I Love You". "Heading ln The Right Direction" was her second hit from the 'Ready To Deal' album.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrV7lvCeSBzzAq8mF2RZrelfV7LRMle_3-RuNaz-Qwr-HusCA7ljij6JNBqjn6gT8d4RzS0MRYtcpUQkiTuGKb64yTptt900Y1LMy0Py36k8L-uAzFo1ZtFn2OIqKfKnxYJbBpHluvfxJT4RPxILXAkcBG6vvPKsGOHmRrTCeNTMJwtLs6zpX7Syzrpdo/s1309/Skyhooks%20-%20Blue%20Jeans.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1309" data-original-width="1041" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrV7lvCeSBzzAq8mF2RZrelfV7LRMle_3-RuNaz-Qwr-HusCA7ljij6JNBqjn6gT8d4RzS0MRYtcpUQkiTuGKb64yTptt900Y1LMy0Py36k8L-uAzFo1ZtFn2OIqKfKnxYJbBpHluvfxJT4RPxILXAkcBG6vvPKsGOHmRrTCeNTMJwtLs6zpX7Syzrpdo/w225-h283/Skyhooks%20-%20Blue%20Jeans.jpg" width="225" /></a></div>SKYHOOKS</div><div><i>Blue Jeans (1976)</i></div><div>In Greg Macainsh's pithy, smart arse lyrics we found an element which had alluded most domestic rock .... observations of the contemporary Australian experience. No kangaroos or elderly emus but dreary Melbourne suburbs and unrestrained adolescent lust.</div><div>Given the perspective of time, it is plain that it was this factor above all which facilitated the terrifyingly rapid rise of this underground cult politico Carlton rabble, propelling them to a level of condensed commercial success that is yet to be surpassed. "Blue Jeans" was their eighth consecutive top 20 hit.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTV837IdOaCQpQJR0uGtyqnBQwfGjdPF73uJZlEHi57qIdUcRbKRtgpPYGMR6dJb9JO89WG_Oyv_CApG8sbh-6DIRt2lWm_MjBUqIca-EtwAqiWBqA9D1R7q52jUSUZpuKJUeUMhWJYUPBxD0MqBOau3AzDWZR2KPBm6ubtaRKKU7p-2XaQqwKXTsx5As/s800/OL'55.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTV837IdOaCQpQJR0uGtyqnBQwfGjdPF73uJZlEHi57qIdUcRbKRtgpPYGMR6dJb9JO89WG_Oyv_CApG8sbh-6DIRt2lWm_MjBUqIca-EtwAqiWBqA9D1R7q52jUSUZpuKJUeUMhWJYUPBxD0MqBOau3AzDWZR2KPBm6ubtaRKKU7p-2XaQqwKXTsx5As/w271-h204/OL'55.jpg" width="271" /></a></div>OL'55</div><div><i>C'mon Let's Do It (1977)</i></div><div>It was easy to dismiss OL' 55 as a nostalgic cash in until you saw them. On stage they could steal the glory from any Australian band of the era with their finely controlled chaos, an expert grasp of a music they had taken beyond tribute into parody. Their debut album, 'Take It Greasy', streaked to number one in 1976 finally displacing 'Best Of Abba' and going on</div><div>to attain triple platinum status. After their initial burst their fifties stance was relaxed, allowing them to produce some high quality original pop rock, of which "C'mon Let's Do It" is a fine example. </div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyg-XwneWFFp2uQbWyIJp2Sm_F5c0QzEw3Nusixz_4_LGAqgM9zgg1SYgb6H8JwEjj6ikyYo5ZQiF6Sh7C0_D-rd-ZH2U2bYMQoJYexGuy15_bE3kVNpmvNnnXFMHQXxRzXUe801bUUsSNscDGLtVqHBchgJx0mYG_fmpMhhJ9KyQigX1dMidtEJ4OhLo/s780/The%20Stars.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="439" data-original-width="780" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyg-XwneWFFp2uQbWyIJp2Sm_F5c0QzEw3Nusixz_4_LGAqgM9zgg1SYgb6H8JwEjj6ikyYo5ZQiF6Sh7C0_D-rd-ZH2U2bYMQoJYexGuy15_bE3kVNpmvNnnXFMHQXxRzXUe801bUUsSNscDGLtVqHBchgJx0mYG_fmpMhhJ9KyQigX1dMidtEJ4OhLo/w287-h170/The%20Stars.jpg" width="287" /></a></div>STARS</div><div><i>Mighty Rock (1977)</i></div><div>Starting life in Adelaide as a bopper of the Eagles, Stars evolved into a mature challenging entity striving to give a contemporary voice to the Australian ethos. Their remarkable 1979 album 'Land Of Fortune' sadly neglected at time of its issue, will one day be acclaimed as the masterpiece it is. Much of their real quality as a band came from deceased songwriter, Andy Durant who came closer than most to capturing the spirit of this country. "Mighty Rock" was their third and biggest hit.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY61Dv1WjtUJDLFunKeS5-VoJJ_x8oP8gSdpGRcSXvWz56Nhe01dd67kYxdBqOxeg2Pf9vp3vd7h4bZgkZwsrK8sjAH5-QoNKStQXoM7AlwrAmCsShFAbUl2KqRj96LBk6wVkSx6kyRxyqILMgUOo8DtRJ_Li-Ns2NwDvwwMNkOUwyf1ctOLoMk_64_BI/s640/The%20Ferrets.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY61Dv1WjtUJDLFunKeS5-VoJJ_x8oP8gSdpGRcSXvWz56Nhe01dd67kYxdBqOxeg2Pf9vp3vd7h4bZgkZwsrK8sjAH5-QoNKStQXoM7AlwrAmCsShFAbUl2KqRj96LBk6wVkSx6kyRxyqILMgUOo8DtRJ_Li-Ns2NwDvwwMNkOUwyf1ctOLoMk_64_BI/w247-h247/The%20Ferrets.jpg" width="247" /></a></div>THE FERRETS</div><div><i>Don't Fall ln Love (1977)</i></div><div>A bizarre potpourri of talent from sources as diverse as Tully, Zoot and Superstar. The Ferrets first assembled in Sydney around 1974, moving to Melbourne two years later. Armed with an ambitious tape, recorded with the aid of 2JJ they captured the attention of Ian Meldrum, who in turn introduced them to Mushroom Records and produced the single "Robin Hood". This single stiffed, but a second release. "Don't Fall ln Love" hit Top 3 nationally creating strong sales for the ambitious 'Dreams Of A Love' album.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXN6ndZt7kjQmMX1MtU4hIEafoHAXtAdn1KOLSxTDAyEA1UdOcYPr8BSGeIezQ0oJxyspa4yusaFZpYVW3zzlx7I-uVpjW4V9jwRFcv1yZnywlEAdMnyJEdHCO4isuMBEjWv0qJI0AS5TbyBzzWrH-3ZsLf5RwR6gIvlAgnDaD8MhXbHAdQdz31Tz3HuI/s280/Split%20Enz%20-%20My%20Mistake.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="271" data-original-width="280" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXN6ndZt7kjQmMX1MtU4hIEafoHAXtAdn1KOLSxTDAyEA1UdOcYPr8BSGeIezQ0oJxyspa4yusaFZpYVW3zzlx7I-uVpjW4V9jwRFcv1yZnywlEAdMnyJEdHCO4isuMBEjWv0qJI0AS5TbyBzzWrH-3ZsLf5RwR6gIvlAgnDaD8MhXbHAdQdz31Tz3HuI/w226-h219/Split%20Enz%20-%20My%20Mistake.jpg" width="226" /></a></div>SPLIT ENZ</div><div><i>My Mistake (1977)</i></div><div>The Enz did not suddenly start producing commercial music with the 'True Colours' album. That very same conceptual music was evident as far back as 1977 with such irresistible hits as "My Mistake" and "I See Red". Bizarre, quirky, idiosyncratic, almost extra-terrestrial The Enz have a sense of themselves that puts them outside rock standard playground. As misfits and oddballs kneading a distorted view of existence into complex musical pieces which swirl about the far reaches of the cranium, their path to meaningful level of success has been frustratingly slow.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcZvdlLJHE61pDvBsxDqbedhyjtO0-R7KmLFI7IXsvcCSLivpcvDStHxeLcmHmJphHbQYQfVs7ueDRD4ygiyXe7S2wpz0bqcGLXbMNCoLPsHwgFYibTReSADnqL0nWIyzSefPgw5F4KScjWviYHqchvw0Sv72FXkQGFlBOf6S-1N9KGnREgNkGoF4Llgc/s600/The%20Sports%20-%20Who%20Listens%20To%20The%20Radio.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="600" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcZvdlLJHE61pDvBsxDqbedhyjtO0-R7KmLFI7IXsvcCSLivpcvDStHxeLcmHmJphHbQYQfVs7ueDRD4ygiyXe7S2wpz0bqcGLXbMNCoLPsHwgFYibTReSADnqL0nWIyzSefPgw5F4KScjWviYHqchvw0Sv72FXkQGFlBOf6S-1N9KGnREgNkGoF4Llgc/w252-h251/The%20Sports%20-%20Who%20Listens%20To%20The%20Radio.jpg" width="252" /></a></div>THE SPORTS</div><div><i>Who Listens To The Radio (1979)</i></div><div>Beginning life in Melbourne's sleezy dives as the hottest rockabilly /rhythm's soul outfit this country had ever produced, The Sports pursued a more main stream rock direction with the addition of legendary guitarist Martin Armiger in 1979. The group toured England with Graham Parker and the Rumour skirting the US top 40 with "Who Listens To The Radio". Lead vocalist, Steve Cummings remains one of Australia's arresting singers.</div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnpfGlLqubU9YaL1HBwOvt2JBegeSRgB2vTEQNq2FmThn58B04NlgbihSCG3GmeWAekZUObX_LlP-chxe4wja1l1QS6JjKqJAgzWoTFVnIgOav8ejGAeidm98VXqQtodS4YAxW84oloeSIvg4uLrEPDNj1NstjzdLh_qR-lcZzVKfMeFWg60CYnrKr8_I/s400/Russell%20Morris%20&%20The%20Rubes.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="400" data-original-width="400" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnpfGlLqubU9YaL1HBwOvt2JBegeSRgB2vTEQNq2FmThn58B04NlgbihSCG3GmeWAekZUObX_LlP-chxe4wja1l1QS6JjKqJAgzWoTFVnIgOav8ejGAeidm98VXqQtodS4YAxW84oloeSIvg4uLrEPDNj1NstjzdLh_qR-lcZzVKfMeFWg60CYnrKr8_I/w235-h235/Russell%20Morris%20&%20The%20Rubes.jpg" width="235" /></a></div>RUSSELL MORRIS AND THE RUBES</div><div><i>Hush (1980)</i></div><div>ln 1967, 17 year old Russell Morris was eagerly climbing up on stage with The Groop at Melbourne beach clubs. A year later he was in the national to 20 with his group, Somebody's Image and a cover of the Joe South song which had been a US hit for Deep Purple called "Hush". ln 1980, Russell returned to the charts with that very same song, this time in the company of his latest backing group, The Rubes.</div><div><br /></div><div>Somewhere in the middle of 1968 and 1980 Russell became a teen pop sensation of enormous proportion recorded the groundbreaking 'Bloodstone' LP and spent four years working in England and America on two more albums. The man's breathy, nasally whine with its compellingly romantic charm has become a familiar aspect of Australian music.</div><div>[taken from album Liner Notes Insert Sheet]</div></div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5sJyziq2e8-hPC-lyESeM-EE1Yu2dfBa-hdGTicblonJkqRBBMAj3rS01hhCrX4uIrM7GT9rkoRfwkmdzYXA8FfxIVJe6Ga0cfjAL9UwfEU0_LH0O7HT1oa4I-DHz6_m5jO6x3sM26YqccAnVTzJD4BcRZshgILVsLC6f4uNsP1fX1Yf97UEEu1BFaM/s2176/3XY%20Rocktober%20'81%20Concert.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1988" data-original-width="2176" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt5sJyziq2e8-hPC-lyESeM-EE1Yu2dfBa-hdGTicblonJkqRBBMAj3rS01hhCrX4uIrM7GT9rkoRfwkmdzYXA8FfxIVJe6Ga0cfjAL9UwfEU0_LH0O7HT1oa4I-DHz6_m5jO6x3sM26YqccAnVTzJD4BcRZshgILVsLC6f4uNsP1fX1Yf97UEEu1BFaM/w234-h213/3XY%20Rocktober%20'81%20Concert.jpg" width="234" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">3XY Rocktober '81 Concert</td></tr></tbody></table>This post consists of FLACs ripped from my vinyl (purchased 2nd hand back in the 80's - probably from Batman Records in Melbourne) and includes full album artwork, along with an insert sheet and label scans. </div><div><br /></div><div>As a bonus, I am also including scans of some of my prized 3XY Rocktober Music Surveys (back scans which advertised the Rocktober concerts for 1975-1984).</div><div><br /></div><div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9PlxSSdabFyVD5bHZFGEL3cMX68HPp-bDlSocZ7PURHT7f2a_bNE_X4BVw2d7JrmklTmt3KKN2F4ZGbOvjSjut2cmgfJTA9x6f3j9wA31WtvntW1mD7hufmNN6Suj5tcCjNfwdUETFqMMZ_7RveeX4sBM0F6m0Nqolbkz7ycX8WeIMLGcXVS8mHu4p50/s1217/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1209" data-original-width="1217" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9PlxSSdabFyVD5bHZFGEL3cMX68HPp-bDlSocZ7PURHT7f2a_bNE_X4BVw2d7JrmklTmt3KKN2F4ZGbOvjSjut2cmgfJTA9x6f3j9wA31WtvntW1mD7hufmNN6Suj5tcCjNfwdUETFqMMZ_7RveeX4sBM0F6m0Nqolbkz7ycX8WeIMLGcXVS8mHu4p50/w200-h199/Label_Side1.jpg" width="200" /></a></div><b><span style="color: red; font-size: x-small;">Track Listing</span></b></div><div><b><span style="font-size: x-small;">01<span style="white-space: pre;"> </span>Johnny O'Keefe – She's My Baby</span></b></div><div><b><span style="font-size: x-small;">02<span style="white-space: pre;"> </span>Billy Thorpe And The Aztecs – Poison Ivy</span></b></div><div><b><span style="font-size: x-small;">03<span style="white-space: pre;"> </span>The Easybeats – She's So Fine</span></b></div><div><b><span style="font-size: x-small;">04<span style="white-space: pre;"> </span>Ray Brown & The Whispers – Fool, Fool, Fool</span></b></div><div><b><span style="font-size: x-small;">05<span style="white-space: pre;"> </span>Jeff St.John And The Id – Big Time Operator</span></b></div><div><b><span style="font-size: x-small;">06<span style="white-space: pre;"> </span>John Farnham – One</span></b></div><div><b><span style="font-size: x-small;">07<span style="white-space: pre;"> </span>Chain – Black And Blue</span></b></div><div><b><span style="font-size: x-small;">08<span style="white-space: pre;"> </span>Blackfeather – Boppin The Blues</span></b></div><div><b><span style="font-size: x-small;">09<span style="white-space: pre;"> </span>Madder Lake –Goodbye Lollypop</span></b></div><div><b><span style="font-size: x-small;">10<span style="white-space: pre;"> </span>Sherbet – Cassandra</span></b></div><div><b><span style="font-size: x-small;">11<span style="white-space: pre;"> </span>The Dingoes – Way Out West</span></b></div><div><b><span style="font-size: x-small;">12<span style="white-space: pre;"> </span>Richard Clapton – Girls On The Avenue</span></b></div><div><b><span style="font-size: x-small;">13<span style="white-space: pre;"> </span>Renee Geyer – Heading In The Right Direction</span></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVnjwS0o5cwTwShJ62fWMmjKex9XoP6ultyEO0PqkK0PDaG5LLT2HIT9MF5T0OEIgLFuITYm0TH7SDUuccEcvx1L6qUuH1fIPEJVE8cH96WVDDT4XqDM-upR4A3ib-UB61sCRDWEbzDRfW7vpNKWBAmwdwH_HJ4MDezhcJuLu2whW4Hd_LIFGTBXes2w/s1217/Label_Side2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1217" data-original-width="1207" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVnjwS0o5cwTwShJ62fWMmjKex9XoP6ultyEO0PqkK0PDaG5LLT2HIT9MF5T0OEIgLFuITYm0TH7SDUuccEcvx1L6qUuH1fIPEJVE8cH96WVDDT4XqDM-upR4A3ib-UB61sCRDWEbzDRfW7vpNKWBAmwdwH_HJ4MDezhcJuLu2whW4Hd_LIFGTBXes2w/w198-h200/Label_Side2.jpg" width="198" /></a></div><b><span style="font-size: x-small;">14<span style="white-space: pre;"> </span>Skyhooks – Blue Jeans</span></b></div><div><b><span style="font-size: x-small;">15<span style="white-space: pre;"> </span>Ol'55 –<span style="white-space: pre;"> </span>C'mon Let's Do It</span></b></div><div><b><span style="font-size: x-small;">16<span style="white-space: pre;"> </span>Stars – Mighty Rock</span></b></div><div><b><span style="font-size: x-small;">17<span style="white-space: pre;"> </span>The Ferrets – Don't Fall In Love</span></b></div><div><b><span style="font-size: x-small;">18<span style="white-space: pre;"> </span>Split Enz – My Mistake</span></b></div><div><b><span style="font-size: x-small;">19<span style="white-space: pre;"> </span>The Sports – Who Listens To The Radio</span></b></div><div><b><span style="font-size: x-small;">20<span style="white-space: pre;"> </span>Russell Morris And The Rubes – Hush</span></b></div></div><div><br /></div><div><br /></div><div><a href="https://bestfile.io/4jpY4R71QFxyXB4/file" target="_blank">3XY Rocktober Link</a> (337Mb)</div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com1tag:blogger.com,1999:blog-4047234333310975506.post-42729185139036151032024-01-21T12:53:00.002+11:002024-01-21T12:54:06.526+11:00Rick Wakeman - Myths & Legends Of King Arthur and The Knights Of The Round Table (1975)(U.K 1969 - Present)<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7GiZLCyJJ2kAS18ZB_hRwI85AxI26P9BHlmFtumkwBz5iyCuLXFbXHKQx3hXukXsDq5xyoHcg37bNSJFGBvw9u0EeVYukwY9tcrL9sYfiKoKaEwwzf5rA9_ab8wi2MXyEQr8s9SFJtz37MR9nlBVnz8DJBOnlFjey4ANoyxRLbiihzgFkV5M9r8ZdkWY/s600/Front.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="595" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7GiZLCyJJ2kAS18ZB_hRwI85AxI26P9BHlmFtumkwBz5iyCuLXFbXHKQx3hXukXsDq5xyoHcg37bNSJFGBvw9u0EeVYukwY9tcrL9sYfiKoKaEwwzf5rA9_ab8wi2MXyEQr8s9SFJtz37MR9nlBVnz8DJBOnlFjey4ANoyxRLbiihzgFkV5M9r8ZdkWY/w269-h272/Front.jpg" width="269" /></a></div>In January 1973, <b>Rick Wakeman</b> released his sophomore album 'The Six Wives Of Henry VIII'. It was a groundbreaking album, one that would forever change prog rock. 'The Six Wives Of Henry VIII' was the album that legitimized synths in prog rock. This was a game-changer. <br /><br />Following the success of 'The Six Wives Of Henry VIII', synths became commonplace in prog rock. However, without Rick Wakeman and The Six Wives Of Henry VIII, maybe, the history of prog rock would’ve been very different? Two years later, and Rick Wakeman, prog rock pioneer’s life was turned upside down. However, before that, Rick Wakeman would enjoy further success with another concept album, 'Journey To The Centre Of The Earth'.<br /><br />It was based on Jules Vernes’ science fiction novel Journey To The Centre Of The Earth, which was published in 1864. It inspired Rick to write and record another prog rock opus.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_pxGDJKebzfrxpy5FeXP9_dy3VJjMUUKgFA-7xCk3kdshHHpIUZTCK9kEUvZWu7ROBOZn-n_DdLJmUdhIAcQV3sddhsVw8gd7KNWf6wlwcDewSPS8L3Jl7O9S8v88CCUTr1HKckSq2ut7CLQC5L7KJLkv-jeHtuQGjsS_OnuSO_uwpzg9Tz4XK5xFa4/s1200/Album%20Collage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="930" data-original-width="1200" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_pxGDJKebzfrxpy5FeXP9_dy3VJjMUUKgFA-7xCk3kdshHHpIUZTCK9kEUvZWu7ROBOZn-n_DdLJmUdhIAcQV3sddhsVw8gd7KNWf6wlwcDewSPS8L3Jl7O9S8v88CCUTr1HKckSq2ut7CLQC5L7KJLkv-jeHtuQGjsS_OnuSO_uwpzg9Tz4XK5xFa4/w400-h310/Album%20Collage.jpg" width="400" /></a></div><br />'Journey To The Centre Of The Earth' featured two lengthy tracks written by Rick Wakeman. The Journey/Recollection, which lasted twenty-one minutes, would fill side one of Journey To The Centre Of The Earth. Side two featured The Battle/The Forest, which lasted nearly nineteen minutes.<br /><br />Following the release of Journey To The Centre Of The Earth, Rick Wakeman was getting ready to begin work on his fourth album. Then disaster struck. Rick had the first of three minor heart attacks. He was taken to Wexham Park Hospital, near Slough, in Berkshire. That’s where Rick recuperated and began writing The Myths and Legends Of King Arthur and The Knights Of The Round Table, which was recently rereleased as a double album by Universal Music Group.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXIpCUJUs3_WSjdjgD4rTncYnT_J2FtAti3wHXoUiPKg3dtergnefdzFmSA1Mk2os4xs2cNfDi_uDnJlh0rZZTCM0HXHafG2EsPFg_OWjHYNWlbPu_2KyC5agm-9v75kt0Pj2ZIPLl27p8NWNKzqYcyE4lxrtmy07eED9W_F-THv4BUeA6j-IJ2Q2gHtM/s474/Rick's%20Keyboards.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="322" data-original-width="474" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXIpCUJUs3_WSjdjgD4rTncYnT_J2FtAti3wHXoUiPKg3dtergnefdzFmSA1Mk2os4xs2cNfDi_uDnJlh0rZZTCM0HXHafG2EsPFg_OWjHYNWlbPu_2KyC5agm-9v75kt0Pj2ZIPLl27p8NWNKzqYcyE4lxrtmy07eED9W_F-THv4BUeA6j-IJ2Q2gHtM/w400-h271/Rick's%20Keyboards.jpg" width="400" /></a></div><br /><div><br />When Rick was admitted to the Wrexham Park Hospital, the prognosis wasn’t good. Far from it. The doctor advised Rick to stop playing and touring. If he retired, his health might improve. Rick wasn’t amenable to this suggestion. So, that night, he penned The Last Battle, the track which would eventually, close The Myths and Legends Of King Arthur and The Knights Of The Round Table. This was the start of Rick Wakeman’s recovery.<br /><br />The suggestion that Rick Wakeman retired seemed to inspire him. So, whilst recovering from the heart attack, Rick wrote most of The Myths and Legends Of King Arthur and The Knights Of The Round Table at Wrexham Park Hospital. Before long, his health had improved and he was ready to record The Myths and Legends Of King Arthur and The Knights Of The Round Table.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEity_TL9F-eaTvNtDvsrPtlNLM0ndSXY4PqHpLzLVEm63Fy1r0yWc4D_3D2oedp0F5rDoWY6UyOh2Yeqe1J3LLl2TcNSySp9nUUyR4jtqmVCSgkqR6mnr_ql18awlVkhX-T1C_UEVZCHAqutM42DL7ei6fr2ainhXBHySCf2iQFfqKh3PFUSnwRI11s5PE/s500/Rick%20Wakeman3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="500" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEity_TL9F-eaTvNtDvsrPtlNLM0ndSXY4PqHpLzLVEm63Fy1r0yWc4D_3D2oedp0F5rDoWY6UyOh2Yeqe1J3LLl2TcNSySp9nUUyR4jtqmVCSgkqR6mnr_ql18awlVkhX-T1C_UEVZCHAqutM42DL7ei6fr2ainhXBHySCf2iQFfqKh3PFUSnwRI11s5PE/w400-h266/Rick%20Wakeman3.jpg" width="400" /></a></div><br /><div>Recording of the album began at Morgan Studios, London, on 16th October 1974. Right through to the 10th January 1975, Rick and his band recorded the seven tracks that became The Myths and Legends Of King Arthur and The Knights Of The Round Table. Rick’s band included the rhythm section of drummer Barney James, bassist Roger Newell and Geoff Crampton on lead and acoustic guitar. They were joined by percussionist John Hodgson and The English Chamber Choir. Taking charge of the lead vocals were Gary Pickford-Hopkins and Geoff Crampton. Rick who produced The Myths and Legends Of King Arthur, played synths, keyboards and grand piano. <br /><br />Once recording was completed on 10th January 1975, the album was released in April 1975 and it reached number two in Britain and number twenty-one on the US Billboard 200 charts. This resulted in Rick’s third consecutive gold disc in America. The Myths and Legends Of King Arthur and The Knights Of The Round Table also was certified gold in Japan, Australia and Brazil. Things were indeed, looking up for Rick Wakeman. However, according to the musical rumour mill, there was a problem.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLshHJBZFyWZNb3ro5o1Pi2nbvTCwI-MI5KNa6nizdaB1T97liHEovlg8fNGtJTzSuB7fLW9KdKniaYDSVhtKB_Lr6HAw55rg4F1rfacs3cnXUs9UfTNow-hN-49OZwP5zoF_tKvdljuCZwRItSgr4qO29EIEIXCtzOCbwChTZfMDPI6P37QyFuSrlTXo/s612/King%20Arthur%20On%20Ice-Wembley%20Arena%201975.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="407" data-original-width="612" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLshHJBZFyWZNb3ro5o1Pi2nbvTCwI-MI5KNa6nizdaB1T97liHEovlg8fNGtJTzSuB7fLW9KdKniaYDSVhtKB_Lr6HAw55rg4F1rfacs3cnXUs9UfTNow-hN-49OZwP5zoF_tKvdljuCZwRItSgr4qO29EIEIXCtzOCbwChTZfMDPI6P37QyFuSrlTXo/w400-h266/King%20Arthur%20On%20Ice-Wembley%20Arena%201975.jpg" width="400" /></a></div><br />Rick had decided to tour The Myths and Legends Of King Arthur and The Knights Of The Round Table, to support the album. This included three nights at Wembley, which was billed as King Arthur On Ice. Although these nights sold out, rumours persisted that Rick Wakeman had taken a large financial hit. Some rumour mongers went as far as to suggest that Rick had been declared bankrupt. That was far from the truth.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYWpY-P65ut-Hm7GdgDqp-hs7fSFit5QLnMOWHAIp4um63_jWk09PAmMONmEnZH70twcB-q7jft8Tad1GLLFj2764VUdinflBHj2szKYJrvC_R7LDQM9pk_T2DfkzQQ_iVCM8C7Nay-xXtgPZjTIg0oZvrMD62Vz0zPEoQa-Jet1om8rAEwBO9fKgNWLo/s612/King%20Arthur%20On%20Ice.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="411" data-original-width="612" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYWpY-P65ut-Hm7GdgDqp-hs7fSFit5QLnMOWHAIp4um63_jWk09PAmMONmEnZH70twcB-q7jft8Tad1GLLFj2764VUdinflBHj2szKYJrvC_R7LDQM9pk_T2DfkzQQ_iVCM8C7Nay-xXtgPZjTIg0oZvrMD62Vz0zPEoQa-Jet1om8rAEwBO9fKgNWLo/w400-h269/King%20Arthur%20On%20Ice.jpg" width="400" /></a></div><div> <br />Later, it became apparent that Rick never lost money on the tour that accompanied The Myths and Legends Of King Arthur and The Knights Of The Round Table. Indeed, the tour and album had been a profitable venture, selling over twelve million copies worldwide. Not bad for an album Rick Wakeman wrote in his hospital bed, and released forty years ago, when prog rock, like Arthur was King? Has The Myths and Legends Of King Arthur and The Knights Of The Round Table stood the test of time though?<b><br /></b></div><div><b><br /></b></div><div><b>The Album</b><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6U3R4bzlW9y34CqMUiLeoBDGfUqyDNBE4oJgAiUEnFcp3Jtl7b3XTvDUP3a9KDP8wwWZL6BDbSkuR9Pls4yIW5A3U4Ay8fYF8W-2JsErgy-P_zcfeKOBOhyQwMu5Qy_0uJ_n7DT98j_mPh8hNJ3lY3kt7ADeKC4qy7VKdpksz81xfJUUXoq7oVbwhsEg/s600/Booklet3.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="596" data-original-width="600" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6U3R4bzlW9y34CqMUiLeoBDGfUqyDNBE4oJgAiUEnFcp3Jtl7b3XTvDUP3a9KDP8wwWZL6BDbSkuR9Pls4yIW5A3U4Ay8fYF8W-2JsErgy-P_zcfeKOBOhyQwMu5Qy_0uJ_n7DT98j_mPh8hNJ3lY3kt7ADeKC4qy7VKdpksz81xfJUUXoq7oVbwhsEg/w253-h251/Booklet3.jpg" width="253" /></a></div>Opening the album is the track "Arthur". From the spoken word introduction, the drama unfolds. Horns sound, drums roll and strings sweep. They add a dramatic, theatrical backdrop. Soon, a harpsichord plays, and then synths. They’re the polar opposite of the harpsichord. They work though. Especially, as horns sound, stabs of piano punctuate the arrangement, while the lushest of strings sweep. Only then, is it time for the vocal to enter. Everything has been leading up to this moment, when he tells the story of the 'bravest knight' and his quest. From there, slowly, and dramatically, they provide the backdrop for his story. Eventually, as the choir sing, strings cascade, drums pound, a piano plays and Rick’s bank of synths are prevalent, as “his quest for the sword complete…Arthur is the king of all this land.” Dramatic and stirring, with a sense of theatre, Rick Wakeman brings to life the Arthur’s quest.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVzzBTr8asRge1OoJ1wdHiAJHKkyNzT029SR8P7cpmBlwQ5_VK73z_Q5VKkI758tlqyZuOU1ePpZYytjoo8YNJLGoVOqp-0DUG2W5F0AQl7_Rm0RXNU8pqv2IVsXaVnaShvxRYF2ZCzU0KrZsx5RyBWuvYzgGPdFXMIRoNBsYavLEKgyu-v6h-Q0ER7M/s599/Booklet4.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="599" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVzzBTr8asRge1OoJ1wdHiAJHKkyNzT029SR8P7cpmBlwQ5_VK73z_Q5VKkI758tlqyZuOU1ePpZYytjoo8YNJLGoVOqp-0DUG2W5F0AQl7_Rm0RXNU8pqv2IVsXaVnaShvxRYF2ZCzU0KrZsx5RyBWuvYzgGPdFXMIRoNBsYavLEKgyu-v6h-Q0ER7M/w293-h292/Booklet4.jpg" width="293" /></a></div>"Lady Of The Lake" is just a short track, lasting less than a minute. However, it features a heartfelt delivery from The English Chamber Choir. Unaccompanied, they sing: “I am the lady of the lake, come take my sword, wear it by your side.” <br /><br />Seamlessly, "Lady Of The Lake" melts into "Guinevere" . Rick’s lone, wistful piano plays. It’s a scene setter. When it drops out, shimmer, almost sci-fi synths are sprinkled across the arrangement. They’re then joined by flourishes of piano. Although unlikely bedfellows, they’re like yin and yan, providing the perfect backdrop for a needy, hopeful vocal. Swathes of strings float above the arrangement, adding another contrast. So do bells that ring out, and harmonies from The English Chamber Choir. With flamboyant flourishes of Rick’s piano and his bubbling, squeaking, synths for company, the arrangement seamlessly comes together, taking on a joyous, celebratory sound. Adding the finishing touch to the now jaunty arrangement, are searing, blistering guitars and a masterclass from Rick on piano, on what’s a beautiful, dramatic marriage of prog rock and neo classical.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNpG9hsgkaxPfmH5d_c07AoXFydq4zhqZa7ru-Tz9a29Kiy3EYKpbJmg7Fq5ykzcGWSDzWk0keBr4NpMS9wd0SxJyHUZqAaGblcBXlHDyfrSvUIsuexbOdSOM-AhNrEHyIwWS7ySeTBbO7Alb2V4YYNz__S-zdXTfPxalttIaA2Wf6Zj6uFrYkn7rnM8/s600/Booklet6.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="598" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNpG9hsgkaxPfmH5d_c07AoXFydq4zhqZa7ru-Tz9a29Kiy3EYKpbJmg7Fq5ykzcGWSDzWk0keBr4NpMS9wd0SxJyHUZqAaGblcBXlHDyfrSvUIsuexbOdSOM-AhNrEHyIwWS7ySeTBbO7Alb2V4YYNz__S-zdXTfPxalttIaA2Wf6Zj6uFrYkn7rnM8/w292-h293/Booklet6.jpg" width="292" /></a></div>Straight away, "Sir Lancelot and the Black Knight" sounds like a soundtrack. String sweep and cascade urgently. Horns sound, and The English Chamber Choir interject urgently and dramatically. Then adding to the drama, are Rick’s synths and a powerhouse of a vocal. It’s a mixture of urgency, drama and emotion. Especially, with The English Chamber Choir answering its call. Drums pound, strings cascade and horns sound. Synths add to the drama, as music’s past, present and future unite. Together, they provide a timeless, cinematic sounding track.<br /><br />The English Chamber Choir open "Merlin The Magician". They sing unaccompanied, adding to the sense of theatre and drama. So, does the piano and drama. In their own wistful way, they help paint pictures. That’s also the case with the strings and the dreamy washes of synths. Their lysergic sound floats above the arrangement, before the rhythm section and percussion interject. They add urgency and drama, as they add a glorious rocky sound. Later, it’s time for some of Rick’s sci-fi synths. Along with flourishes of piano, they help drive this near nine minute epic along. Quite simply, it’s beautiful, captivating, dramatic, elegiacal, graceful and urgent. <br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxdyORUW5K2wzw5C-ReWV1GCY4i0YzeQ6piTQ30869a2N6mg-KnnTI0AHTyrNVfyeEMBytYsWJrH3RSfZl8ZJj8usKbWJRzdBu8ru3aih6-INSJcW4DMZG8eHTcnEQcQLUnM1vZ0P1xPYSZuz0nwmvdOJuaoco_TMmKkqJyhlai2R9je5ksFx9JlGNUY/s599/Booklet8.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="597" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxdyORUW5K2wzw5C-ReWV1GCY4i0YzeQ6piTQ30869a2N6mg-KnnTI0AHTyrNVfyeEMBytYsWJrH3RSfZl8ZJj8usKbWJRzdBu8ru3aih6-INSJcW4DMZG8eHTcnEQcQLUnM1vZ0P1xPYSZuz0nwmvdOJuaoco_TMmKkqJyhlai2R9je5ksFx9JlGNUY/w274-h275/Booklet8.jpg" width="274" /></a></div>Just like the previous track, The English Chamber Choir open "Sir Galahad". It’s a case of closing your eyes and letting their collected voices wash over you. That’s also the case with Rick’s lone, melancholy piano and lush synths. Then he throws a curveballs. The arrangement literally explodes, heading in the direction of rock opera. With a powerful, emotive vocal at the heart of the arrangement, the rhythm section, synths and percussion frantically drive the arrangement along. Then midway through the track, a sense of calm is restored. Just the vocal and flourishes of piano combine. However, it’s apparent that the arrangement is about to explode back into life. When it does, it references rock, funk, prog rock and choral music. Seamlessly, this genre-melting track makes sense and is one of the highlights of the album.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKPs_0ntJlH3qeZzo4y2FaaQBgdldj80ySc9M73vmxWjetA8XvpbBpHbFous95i7ySMGl5wlfWklQchHWV5I1T0xSbDhYzLDKBCJG9yGqLMRLAN6QsvfsrBRhcA1LzpJV7Alu92sKWZXk0vrEr6NF9MYmoi9iwGMz0OCnlQy2c0Agw3rIiOm78JeM5Kc/s600/Booklet9.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="599" data-original-width="600" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKPs_0ntJlH3qeZzo4y2FaaQBgdldj80ySc9M73vmxWjetA8XvpbBpHbFous95i7ySMGl5wlfWklQchHWV5I1T0xSbDhYzLDKBCJG9yGqLMRLAN6QsvfsrBRhcA1LzpJV7Alu92sKWZXk0vrEr6NF9MYmoi9iwGMz0OCnlQy2c0Agw3rIiOm78JeM5Kc/w285-h284/Booklet9.jpg" width="285" /></a></div>Closing The Myths and Legends Of King Arthur is "The Last Battle". It’s another epic track, one that lasts nearly ten minutes. The arrangement is understated washes of synths, hissing hi-hats and bells subtly ringing out. As the arrangement makes a cooing sound, an impassioned vocal takes centre-stage. It’s accompanied by a bass, and soon, banks of synths, drums and percussion. They’re responsible for building the arrangement. So are The English Chamber Choir and horns that sound triumphantly. Later, strings cascade and the synths skip along, accompanied by a bounding bass. Percussion and bursts of piano interject, as Rick Wakeman and his multi-talented band have save the best until last. It’s a triumphant way to end any prog rock album, never mind a timeless genre classic, like The Myths and Legends Of King Arthur and The Knights Of The Round Table.<br /><br />Forty years have passed since Rick Wakeman released The Myths and Legends Of King Arthur. It’s an album that’s stood the test of time. I’ll go much further than that. The Myths and Legends Of King Arthur and The Knights Of The Round Table is a stonewall, prog rock classic. <br />[Extract from <a href="https://dereksmusicblog.com/2015/03/04/rick-wakeman-the-myths-and-legends-of-king-arthur-and-the-knights-of-the-round-table/" target="_blank">dereksmusicblog.com</a>]<div><br /></div></div><div class="separator" style="clear: both;">This post consists of FLACs ripped from my CD copy (my vinyl is a little rough) and includes album artwork for both media. I have always regarded Wakeman's first 3 albums as his best and never grow tired of playing them. I should be honest in saying that Six Wives of Henry VIII was his best release (see my previous <a href="https://rockonvinyl.blogspot.com/2011/08/rick-wakeman-six-wives-of-henry-viii.html" target="_blank">posting</a>) however King Arthur certainly has its highlights and I highly recommend you give it a listen if you haven't done so already.<br /></div><div class="separator" style="clear: both;"><br /><b><span style="color: red; font-size: x-small;">Track Listing</span></b></div><div class="separator" style="clear: both;"><b><span style="font-size: x-small;">01 Arthur 7:24</span></b></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXx3q-ZhJFH4uiRiVQE-lHtG-FA5iqe-418Awe2-KIXxBCD06d_Rs9IwmET5sUPCQd6O6DgUZh8sZ8d_5B-O2CnSke_mfytsVyK4iXoD9ZE2eXfVKTDuTkew-GxGcCB3oYq9woQXblV_DedpH3MuBU_aTgQDSebR0Lkgd9yn2R8EQcDjdcq3YMGCqrRY/s600/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="598" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXx3q-ZhJFH4uiRiVQE-lHtG-FA5iqe-418Awe2-KIXxBCD06d_Rs9IwmET5sUPCQd6O6DgUZh8sZ8d_5B-O2CnSke_mfytsVyK4iXoD9ZE2eXfVKTDuTkew-GxGcCB3oYq9woQXblV_DedpH3MuBU_aTgQDSebR0Lkgd9yn2R8EQcDjdcq3YMGCqrRY/w199-h200/Label_Side1.jpg" width="199" /></a></div><b><span style="font-size: x-small;">02 Lady Of The Lake 0:44<br />03 Guinevere 6:30<br />04 Sir Lancelot And The Black Knight 5:18<br />05 Merlin The Magician 7:49<br />06 Sir Galahad 6:54<br />07 The Last Battle 8:19</span></b><br /><br /><i>Band Members:<br />Bass Guitar – Roger Newell<br />Drums – Barney James<br />Guitar – Jeffrey Crampton<br />Narrator – Terry Taplin<br />Percussion – John Hodgson<br />Vocals – Ashley Holt, Gary Pickford-Hopkins<br />All Keyboards – Rick Wakeman</i><br /><div><br /></div><div><a href="https://workupload.com/file/SZxYTenZdgq" target="_blank">King Arthur Link</a> (279Mb)</div></div><br />AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com1tag:blogger.com,1999:blog-4047234333310975506.post-46966152217836136642024-01-15T07:12:00.001+11:002024-01-15T07:20:49.540+11:00REPOST: Captain Beyond - Sufficiently Breathless (1973)(U.S Band 1971-79)<br />
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<span style="color: #ffff66;">.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtWUgACV0gorvzi-HjC_lQPep5P9KpKRB9YSCS2b8kJdNXK_1X3sFzV4VA98xEze6cVPb5vllhoi8VeEuMTRJei4CkI-Pj2AXVNX9Rf4GVrsNPJs6R68Ps30vzYF3hdiBXI-6knECVmBhY/s1600-h/sufficiently-breathless-1973.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5355335767981549154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtWUgACV0gorvzi-HjC_lQPep5P9KpKRB9YSCS2b8kJdNXK_1X3sFzV4VA98xEze6cVPb5vllhoi8VeEuMTRJei4CkI-Pj2AXVNX9Rf4GVrsNPJs6R68Ps30vzYF3hdiBXI-6knECVmBhY/s320/sufficiently-breathless-1973.jpg" style="cursor: hand; float: left; height: 250px; margin: 0px 10px 10px 0px; width: 246px;" /></a>They are now a sextet of more diversified, Latin-flavored proficiency, and their refreshed method of attack is more than well-presented by <b>Captain Beyond'</b>s newest effort, Sufficiently Breathless. "We like to call Captian Beyond's new sound 'space Latin-rock' " explains drummer and new member Marty Rodriguez. "There's a unique fusion of the two styles within the band now, and it feels great"<br />
Self-produced, Sufficiently Breathless was completed in the relaxed confines of the Record Plant in Sausalito after the basic tracks had been laid down at macon's Capricorn Sound Studios.<br />
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The direction towards new ground began several months ago with the addition of timbales and congas ace Guille Garcia. An overwhelming successful attempt at supplementing Captain Beyond's percussion section, vocalist Rod Evans and lead guitarist Rhino had decided that the group was long-overdue for some spirited Latin-rhythms. "I was playing around Miami," Guille recalls his early days, "in a lot of Latin-soul groups and doing sessions here and there for people like Stephen Stills and Stevie Wonder. That was before I came out to LA as part of Claudia Lennear's band and met everyone in Captain Beyond. I had always wanted to be in a group I felt a part of and not just a back-up musician. So when they asked me if I wanted to join their band, I said I would because I know it would be just that. A band." <br />
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Prior to the date Captain Beyond was to begin work on Sufficiently Breathless, drummer Bobby Caldwell, and original member, amicably parted company with the band. Says Rhino, "We had to take time out apart from each other." A hasty replacement with an English drummer named Brian (They can't recall his last name) provided inadequate when his services fell far short of meeting Captain Beyond's exacting studio recording standards. Guille wasted no time in calling up from Miami veteran drummer and buddy nonetheless, Marty Rodriguez. Needless to say, Marty's style meshed perfectly with his fellow group-members and Sufficiently Breathless began its production. <br />
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5355337349995060130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_akK3HYv-aIye3WJg6eh7QFodLg-v1wVysdjoxP8u4F6MF57EIsLKD_xARjX_Qw3hNOhlUo-0vOCEm0gmHuRSgqfYeE2nEg-O4_nS22l3_rlxGy7UNJvgvshH19Ei0PIiyxnnv1piev2c/s400/Captain+Beyond+1973.jpg" style="cursor: hand; display: block; height: 317px; margin: 0px auto 10px; text-align: center; width: 369px;" /><span style="font-size: 78%;"><i>Captain Beyond 1973 (Promo Photo), from left to right: Rhino, Lee Dorman, Reese Wynans, Rod Evans, Marty Rodriguez and Guille Garcia</i> </span></div>
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The third new Captain Beyond member is pianist Reese Wynans, formerly part of Boz Scagg's group. A good friend of Rhino's, when Reese heard that the band was cutting tracks in Macon, he visited the studios as a crony and ended up part of the group. Reese couldn't be more happy and content. "While I was there," Reese remembers, "they asked me to play keyboards on one song and it worked out well. I went back to my home in Sarasota and they called me to ask if I would finish the LP with them. We all liked the way it turned out, so here I am. I'm glad to be a part of the band".</div><div><br /></div><div><span style="clear: left; float: left; font-size: x-small; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUyhauZzUBMc6iui_WQBkwAi1TYr3xOKqOE7ggqEykK9Ryx5tjTv0krP7DEiW7uTQg_94Ps1oCxyr9CHQvMk-AUVHH5tcU7yjFLCGiqqoEfc5sAQSFl5J5mU8JVmrVyhf1QrkWKfkNfHII/s200/Sufficiently+Breathless_Vinyl.JPG" width="200" /></span>Reese Wynans remembers: "Captain Beyond was a great band to play with, but from the management side it was terribly organized... I was very poor at that time, living in somebody´s else garage, so I needed to work and had to quit. I played on all the songs on "Sufficiently Breathless", except the title track. I only played one show with them..." (extract taken from a 1973 Press Release C/- tinpan.fortunecity.com) <br />
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Although I own the LP, this rip was taken from CD in FLAC format with full album artwork. Enjoy</div>
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<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZbEBqtrvFZxOPcco2XxAA2v2DdxhuE71tRfNdh5t4h6oCqVzMyt1arafC3-kp3vGk7wxbgEuq8lu-Qnwf6bAPUu_x-FYHtIH1AxZywQDy648owhyphenhyphen9ajC5RRyqScqE3A6uGYEG6d9cule1-4Sk6W7Z347SfR2TDrvkW5rk477WNzdydFYi_WnrM9qAVoc/s1215/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1215" data-original-width="1205" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZbEBqtrvFZxOPcco2XxAA2v2DdxhuE71tRfNdh5t4h6oCqVzMyt1arafC3-kp3vGk7wxbgEuq8lu-Qnwf6bAPUu_x-FYHtIH1AxZywQDy648owhyphenhyphen9ajC5RRyqScqE3A6uGYEG6d9cule1-4Sk6W7Z347SfR2TDrvkW5rk477WNzdydFYi_WnrM9qAVoc/w198-h200/Label_Side1.jpg" width="198" /></a></div>
<span style="color: red; font-size: x-small;"><b>Track Listings</b></span></div><div><b><span style="font-size: x-small;">01 - Sufficiently Breathless</span></b></div>
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<b><span style="font-size: x-small;">02 - Bright, Blue Tango</span></b></div>
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<b><span style="font-size: x-small;">03 - Drifting In Space</span></b></div>
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<b><span style="font-size: x-small;">04 - Evil Men</span></b></div>
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<b><span style="font-size: x-small;">05 - Starglow Energy</span></b></div>
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<b><span style="font-size: x-small;">06 - Distant Sun</span></b></div>
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<b><span style="font-size: x-small;">07 - Voyages Of Past Travelers</span></b></div>
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<b><span style="font-size: x-small;">08 - Everything's A Circle</span></b></div>
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<i>Band Members<br />Rod Evans (Vocals)<br />Larry 'Rino' Reinhardt (Guitar)<br />Lee Dorman (Bass)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjce4xEB0m2uSzhxc0V9chWuglCoz-9-ZcOEwef3GiXXv4sTpGar05J4D4Nt5gt1Dk5d2lMEsTmF0L7wY8PD-yR168qk2HndwYEvfgrNiC_yEBEtSiXpRFQx0K8gKwpl7zDZdlkviZ_67q7NBVtPD316Vhmer51QEtxabiNChgWIOsfOg51kAMfLw02iSE/s1217/Label_Side2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1217" data-original-width="1203" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjce4xEB0m2uSzhxc0V9chWuglCoz-9-ZcOEwef3GiXXv4sTpGar05J4D4Nt5gt1Dk5d2lMEsTmF0L7wY8PD-yR168qk2HndwYEvfgrNiC_yEBEtSiXpRFQx0K8gKwpl7zDZdlkviZ_67q7NBVtPD316Vhmer51QEtxabiNChgWIOsfOg51kAMfLw02iSE/w198-h200/Label_Side2.jpg" width="198" /></a></div>Marty Rodriguez (Drums)</i></div><div>
<i>Reese Wynans (Keyboards)</i></div>
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<i>Guille Garcia (Timbales and Congas)</i></div><div><i><br /></i></div><div><i><br /></i></div><div><i> <span style="color: red; font-size: medium;">NEW IMPROVED RIP</span></i></div><div><i><span style="color: red; font-size: medium;"><br /></span></i></div>
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<a href="https://workupload.com/file/dR73GV9J6QQ" target="_blank">Sufficiently Breathless Link</a><i> (232Mb)</i> <span style="color: red;"><i><span style="font-size: x-small;">New Link 15/01/2024</span></i></span></div>
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AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com8tag:blogger.com,1999:blog-4047234333310975506.post-48788173458110151032024-01-11T07:00:00.001+11:002024-01-11T07:00:00.133+11:00REPOST: Roxy Music - The High Road (1983) Mini LP(U.K 1971–1976, 1978–1983, 2001–present)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFiDhN3D-YZMxOBzu0cF-bIjIQwmtjXw0FcjkKz2oHT_u4GzkJjIHx_b9uqUIqvNclWaMNCbuRns_PONOqzFLDmQxJVrTYOUfBa7Xnq5l-EVNNyUOV-SmGKvN1kr9Hg1W3qTglPeY733L/s1600/Cover.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679614817907846386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiFiDhN3D-YZMxOBzu0cF-bIjIQwmtjXw0FcjkKz2oHT_u4GzkJjIHx_b9uqUIqvNclWaMNCbuRns_PONOqzFLDmQxJVrTYOUfBa7Xnq5l-EVNNyUOV-SmGKvN1kr9Hg1W3qTglPeY733L/s400/Cover.jpg" style="cursor: pointer; float: left; height: 262px; margin: 0pt 10px 10px 0pt; width: 263px;" /></a><span style="font-weight: bold;">Roxy Music</span> are a British art rock band formed in 1971 by Bryan Ferry, who became the group's lead vocalist and chief songwriter, and bassist Graham Simpson. The other members are Phil Manzanera (guitar), Andy Mackay (saxophone and oboe) and Paul Thompson (drums and percussion). Former members include Brian Eno (synthesizer and "treatments"), and Eddie Jobson (synthesizer and violin). Although the band took a break from group activities in 1983, they reunited for a concert tour in 2001, and have toured together intermittently since [extract from wikipedia]<br />
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When Roxy Music first appeared on ‘Top of The Pops’ in 1972, performing their debut single, ‘Virginia Plain’, their impact was instantaneous. For here was a group which appeared to have taken the history of modern popular music, from Elvis to progressive rock by way of soul and the avant-garde, and fused the different inspirations into a seamless, glittering pure pop moment.<br />
So assured was the Roxy Music sound, that the group seemed to have been born fully formed, with no false starts or creative timidity. Rather, their first television appearance was a flawless display of musical virtuosity, lyrical brilliance and breathtaking style. Above all, Roxy Music seemed to have combined the energy of complex rock music with the sheer emotional rush of a three minute pop single. More or less overnight, their audience was secured – from screaming teenage fans to serious students of modern music.<div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIOMgy2IO1hYVn3n0qTBvoX1Eixb7Sc0y5u-NLrIRaQ7BIGK3sZZ9GdJ0821TrFTqOkKmiXp4QBksr0DoUPBk4T_9gFCsf5YXAY2tjmKbYR_lyyspVx9eguQbCzrQBjU2MjjNsm96N77aP/s1600/Roxy+Music.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679615103694533202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIOMgy2IO1hYVn3n0qTBvoX1Eixb7Sc0y5u-NLrIRaQ7BIGK3sZZ9GdJ0821TrFTqOkKmiXp4QBksr0DoUPBk4T_9gFCsf5YXAY2tjmKbYR_lyyspVx9eguQbCzrQBjU2MjjNsm96N77aP/s400/Roxy+Music.jpg" style="cursor: pointer; float: right; height: 240px; margin: 0pt 0pt 10px 10px; width: 287px;" /></a></div><div>It was typical of Roxy Music’s originality, grand gesture and rejection of pop conventions, that they should have released their first album – ‘Roxy Music’ – before their first single rather than after. The first ‘Roxy Music’ album has now been acclaimed by successive generations of critics as one of the most important records in the history of pop and rock – an album whose influence would be compared to that of ‘The Velvet Underground and Nico’ and ‘Pet Sounds’ by the Beach Boys. As founded by Bryan Ferry, the group would be comprised of some of the strongest and most original musicians working in modern music – all of whom have gone on to pursue highly distinguished solo careers, in addition to their work with Roxy Music.</div><div><br />
In many ways, Ferry’s creation of Roxy Music is one of the great statements of Pop art – with all the musicians combining to make an extraordinary, intoxicating montage of musical styles. As the group’s singer, lyricist and principal composer, Bryan Ferry defined the Roxy Music style in a way which was at once iconic and artistically profound.<br />
The revolutionary electronic treatments developed by Brian Eno for the first two Roxy Music albums, would join with Andy Mackay’s mesmeric sax and woodwind playing to provide the haunting, futuristic, filmic ambience of the Roxy Music sound. Added to this was the dazzling virtuosity of Phil Manzanera’s guitar playing and the sheer dexterity and power of Paul Thompson’s drumming. The combined effect was a musical energy and eclecticism which more or less described the potential futures of popular music.</div><div><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWaoDnjHndcJtmhU_2BwLrZOMXHdfzR4HkLQBFavV2kThluk2lN0ivOi2H1MYnCLF1GhtvN3OR79H8gU9K4Zh08xLfA_3fi04FWkAO1Nk9mvM1RSix_W1yRSOkhDw6oyxNG0ulipA8Zmi/s1600/Early+Roxy+Music.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679617190251035698" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWaoDnjHndcJtmhU_2BwLrZOMXHdfzR4HkLQBFavV2kThluk2lN0ivOi2H1MYnCLF1GhtvN3OR79H8gU9K4Zh08xLfA_3fi04FWkAO1Nk9mvM1RSix_W1yRSOkhDw6oyxNG0ulipA8Zmi/s400/Early+Roxy+Music.jpg" style="cursor: pointer; float: left; height: 256px; margin: 0pt 10px 10px 0pt; width: 425px;" /></a>Success for Bryan Ferry (as a solo artist) and Roxy Music had been immediate and triumphant. For the rest of their careers the group were always at the top of the charts, with both their albums and their singles. Roxy Music concerts became legendary as rally-like gatherings of their vast, devoted fan base – many of whom, obsessed by the high romantic glamour conjured up by the group, would treat these occasions as full dress affairs – arriving in elegant costumes of their own, inspired by the Golden Age of Hollywood as much as Weimar decadence.</div><div><br />
This would also be a time of change for the group. As Brian Eno had left after the recording of ‘For Your Pleasure’ to commence his own career as a supremely successful pioneer of electronic music, electronic arts and producer, Eddie Jobson became the new group member on keyboards and violin – an instrument well suited to Roxy Music’s unique brand of artistic time travel between musical styles. As ‘Roxy Music’ and ‘For Your Pleasure’ had explored filmic soundscapes as much as futuristic rock and roll, so the third Roxy Music album – the phenomenally successful ‘Stranded’ – would consolidate the group’s musical style. At once deeply urban and richly romantic, there was a bewitching, elegaic romance to even Roxy Music’s most energised and soaring tracks. ‘Street Life’ had all the pulse and pose of Roxy Music’s avant-cocktail classic sound – a track which brought to mind the adrenalin rush of the city.</div><div><br />
‘Stranded’s successor, the richly textured, erotically charged ‘Country Life’ would also deliver two of Roxy Music’s most intoxicating tracks, ‘All I Want Is You’ and ‘The Thrill of It All’. These were compositions which became immediate classics in Roxy Music’s legendary live performances – whirlwinds of sound, through which the high romance of Ferry’s lyrics and vocal style could dip and soar with operatic effect.<br />
<span style="color: #ffff66;">.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcOcJyMt00ouKvMIIj_7P7L5LR9GtKJ7wmDoo5d6SmcP03IHQ6B-iQGZGKL1cRhQGh7S2XzC1DWjBRFbds7ZcL9k0dePgZqdmD1mJrT1PNeQ0dlePOyPqcQEJbaJI_GD1ErTtw0J5aDQzq/s1600/RoxyMusic+1979.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679618466212753746" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcOcJyMt00ouKvMIIj_7P7L5LR9GtKJ7wmDoo5d6SmcP03IHQ6B-iQGZGKL1cRhQGh7S2XzC1DWjBRFbds7ZcL9k0dePgZqdmD1mJrT1PNeQ0dlePOyPqcQEJbaJI_GD1ErTtw0J5aDQzq/s400/RoxyMusic+1979.jpg" style="cursor: pointer; display: block; height: 258px; margin: 0px auto 10px; text-align: center; width: 425px;" /></a><span style="color: #ffff66;">.</span><br />
The group’s following was always fanatical in the big northern industrial cities of Britain, such as Glasgow and Newcastle, where some of the tracks for ‘Viva’ – the first ‘live’ Roxy Music album – were recorded in 1974. ‘Out Of The Blue’, from ‘Viva’, captures the heady excitement of these shows, with Andy Mackay’s swirling woodwind seeming to add a layer of enchantment to the surging drama of the performance. Here too, the impressive physicality of Paul Thompson’s drumming can be heard to spectacular effect.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yGbn1G3Bmxe6SAKafka69CanAAkUgfPcBGpR7rn2Sie533Z3LUsAmrOrfxYlq67oMa2c3-dKI_BdjzAnN7g75oXB8I1MWFrVOcn31pv7mHYU176O7e9WSX4kZEIEWGkNnLWkiQ5A7PqR/s1600/roxy_music_-_country_life-front.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679621956067748786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yGbn1G3Bmxe6SAKafka69CanAAkUgfPcBGpR7rn2Sie533Z3LUsAmrOrfxYlq67oMa2c3-dKI_BdjzAnN7g75oXB8I1MWFrVOcn31pv7mHYU176O7e9WSX4kZEIEWGkNnLWkiQ5A7PqR/s400/roxy_music_-_country_life-front.jpg" style="cursor: pointer; float: left; height: 266px; margin: 0pt 10px 10px 0pt; width: 266px;" /></a>The release of Roxy Music and Bryan Ferry solo albums has always been regarded as a major event in terms of the artwork and packaging of the records, as much as for the music. Bryan Ferry’s vision as a musician has always encompassed the notion that a record brings to life an entire world – the spirit and excitement of which is also communicated through the visual elements of the record. In the case of ‘Country Life’, with its two barely clad cover stars, photographed in harsh, paparazzi style close-up, the record’s packaging became as immediately iconic as it was controversial – earning a ban in America, but also the status of a classic rock sleeve.</div><div><br />
In October 1975, one of Roxy ‘s best loved tracks ‘Love Is The Drug’ – the opening track on ‘Siren’ – became an immediate hit. With its suave yet mechanistic sound, the track was instantly seized upon as a pronouncement of high cool. Describing romantic and sexual obsession, the song was a further exploration of the urban underworld – a place of dark bars and addictive predatory romance. ‘Siren’ was a bravura statement of Roxy Music’s endlessly intensifying musical and stylistic ethos. At once swirling and vertiginous, filled with a nervous, exhilarating rush, it was a record which seemed to sum up an epoch. As the American novelist F.Scott Fitzgerald had described the ‘wild spree’ of the 1920s, prior to a sudden crack-up, so ‘Siren’ seemed to catch and define the mood of hedonism in the zeitgeist, as the moment tilted towards darker moods and a colder sensibility.</div><div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjgoNNKGjUNlzivl3MDVG0nRj9-6JjnQcUFlIFVfu_Py9r4EXmIDdZZbk-8kgufrQmGnK1IIWiFB__9dCzbSnBVVnBgJKc6yIsFPZulIrn6uMpe8HMvIn2xasi4X18NMDrLBbdCWL87TAP/s1600/Brian+Ferry.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679622260494242706" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjgoNNKGjUNlzivl3MDVG0nRj9-6JjnQcUFlIFVfu_Py9r4EXmIDdZZbk-8kgufrQmGnK1IIWiFB__9dCzbSnBVVnBgJKc6yIsFPZulIrn6uMpe8HMvIn2xasi4X18NMDrLBbdCWL87TAP/s400/Brian+Ferry.jpg" style="cursor: pointer; float: right; height: 239px; margin: 0pt 0pt 10px 10px; width: 425px;" /></a>The late 1970s would also see a fundamental maturing of Roxy Music’s sound, moving the group nearer to the high gloss, musical perfectionism of their later recordings such as ‘Flesh & Blood’ and ‘Avalon’. In this creative process, ‘Manifesto’, released in 1979, would be pivotal, with ‘Ain’t That So’ and ‘Dance Away’ marking the shift towards a slick, dark style which was at once luxuriant and melancholy. ‘Dance Away’ would be a huge hit for Roxy Music, and would seem like the soundtrack to the flamboyant New York disco decadence which had flourished around such art stars as Andy Warhol and Truman Capote at Studio 54.<br />
As a lyricist, Ferry combines the language and proportions of classic pop songs with a modern, angular imagery which exactly mirrors his flawless style as a vocalist. Throughout the 1980s and early 1990s, he would hone and perfect the pared down, high gloss refinement of his recordings – producing some of his greatest work in the three solo albums, ‘Boys and Girls’ (1985), ‘Bete Noire’ (1987) and ‘Mamouna’ (1994). </div><div><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-VB2mZ1Qm8uJ8oR4KXrK9SJy6TsgafuLPMBlHe2m2D3hUYHNGeZtIFb0GilIN8zmrPoZbqALdDsx_9B-rRl16HC569_uem_ELQcMGvLx-gXUstpaV_4Eg7PfUIjDka5tlqKAiZXQLmrs/s1600/Roxy+Music+Avalon+Promo.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679622775041700882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-VB2mZ1Qm8uJ8oR4KXrK9SJy6TsgafuLPMBlHe2m2D3hUYHNGeZtIFb0GilIN8zmrPoZbqALdDsx_9B-rRl16HC569_uem_ELQcMGvLx-gXUstpaV_4Eg7PfUIjDka5tlqKAiZXQLmrs/s400/Roxy+Music+Avalon+Promo.jpg" style="cursor: pointer; float: left; height: 337px; margin: 0pt 10px 10px 0pt; width: 238px;" /></a><div>With their high gloss surfaces and dark folds of sound, these albums might almost be seen to comprise a great triptych of recordings – a musical statement about Bryan Ferry’s founding themes as a lyricist and singer, which describe as well as invoke the timeless capacity of romance and glamour to shape destiny.<br />
In many ways, ‘Boys and Girls’ is one of Bryan Ferry’s greatest achievements as a singer and song writer. The album enfolds the listener like a carefully lit film set; and there appears to be a seamless sequencing to the tracks, in which both ‘Slave To Love’ and ‘Don’t Stop The Dance’, take their place as mesmeric, richly romantic classics – steeped in a bewitching filmic ambience. Equally, ‘Boys and Girls’ became a defining soundtrack of the 1980s, its musical sophistication marking the consolidation of Ferry’s achievements to date.<br />
Its successor, ‘Bete Noire’ is an album steeped in an eerie yet sensual atmosphere. Featuring a veritable ‘Who’s Who’ of contemporary musicians, its sophistication lies once again in its refinement of absolute minimal effects – a record which seems so taut with feeling, that the slightest inflection of music or mood appears massively amplified. ‘Limbo’ is a track which sums up ‘Bete Noire’ – a heady cocktail of voodoo rhythms, calling up steamy night club scenes which are caught between eroticism and the supernatural.</div><div><br />
Bryan Ferry and Roxy Music have always transcended fashionability, setting trends rather than following them, and often predicting the various shifts in popular culture. ‘Flesh + Blood’ would be an album that more or less invented the sleak, deep sheen of new music in the 1980s. But true to the founding style of Roxy Music, the album would also mingle classic love songs – ‘Same Old Scene’ being a great example – with the airbrush perfection of the arrangements. Thus ‘Flesh + Blood’ ushered in the design conscious opulence of the 1980s, with irresistible, enchanting love songs which could count amongst the group’s finest work.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_xs5K30DxR-FnXuBS41edJguONkLONq1Yzu1yde3-d-6eW0o8OHDUBcd2wBToibIs4Z6UX7xDPqMeu5Qofxe_yT2sb0dtG064RIAaiJHzBkLtTeVr9f2bd4Hqgq2j3S0BBRaKdesI7qIH/s1600/Roxy_Music_Today.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679619947868746034" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_xs5K30DxR-FnXuBS41edJguONkLONq1Yzu1yde3-d-6eW0o8OHDUBcd2wBToibIs4Z6UX7xDPqMeu5Qofxe_yT2sb0dtG064RIAaiJHzBkLtTeVr9f2bd4Hqgq2j3S0BBRaKdesI7qIH/s400/Roxy_Music_Today.jpg" style="cursor: pointer; float: left; height: 235px; margin: 0pt 10px 10px 0pt; width: 427px;" /></a>Roxy Music would produce their last studio album (to date) in 1983 – the triple platinum ‘Avalon’, which sealed their reputation as musical pioneers and as a global super-group. Seldom had a group seemed more musically and stylistically assured, delivering such classic tracks as ‘More Than This’, and ‘The Main Thing’, as though with effortless ease. And seldom had a group not only maintained the extraordinary promise of their debut recordings, but exceeded their initial burst of brilliance. As their sold out reunion world tour of 2001 went to prove, Bryan Ferry and Roxy Music have always been possessed of a restless musical genius, forever refining their astonishing merger of cutting edge modernism and classic pop languor. [extract from <a href="http://www.bryanferry.com/history">Bryan Ferry's website</a>]<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj73Ty64x5LJfrObWQ1JzbzOrG1_tmoIzQwiR7RFXDJccT402fkHTdaB1b0pl8nGgjavZaYw3b0h-EPU47oFfKeTsT2YYIidxzR5pe3sV5a-KvQSZ8w8tyHrQehSpAGDHrjRJyP4ydr9NMf/s1600/Roxy+Music+Collage2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679620381242444994" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj73Ty64x5LJfrObWQ1JzbzOrG1_tmoIzQwiR7RFXDJccT402fkHTdaB1b0pl8nGgjavZaYw3b0h-EPU47oFfKeTsT2YYIidxzR5pe3sV5a-KvQSZ8w8tyHrQehSpAGDHrjRJyP4ydr9NMf/s400/Roxy+Music+Collage2.jpg" style="cursor: pointer; display: block; height: 319px; margin: 0px auto 10px; text-align: center; width: 427px;" /></a><span style="color: #ffff66;">.</span><br />
<span style="font-weight: bold;">Album Review</span><br />
The High Road is Roxy Music's second live release with only four over-five minute tracks, two of them cover songs and one a Ferry solo effort originally released on 'The Bride Stripped Bare'.<br />
Roxy Music toured the world in 1982 and into 1983 to promote what was their most successful album, 'Avalon'. The tour took in Europe, Australia, Japan and finished in USA on 28th May 1983. It was to be 18 years later before the band worked together again.<br />
The show in Frejus France was filmed and released as 'The High Road' video in 1983 and the DVD version was released in 2001.</div><div><br />
The set list remained fairly consistent throughout the tour but in the early shows in Ireland they played "More Than This" but it was dropped after the Ireland dates. The Space Between & Eight Miles High and a version of The Doors Light My Fire were also rehearsed for the tour but were not used.<br />
The surprise addition to the set was the Neil Young song "Like A Hurricane" which Ferry nor Roxy had recorded before.</div><div><br />
A live album 'Heart Still Beating' and a mini album 'The High Road' (featured in this post) were released using live cuts from this tour.<br />
The support band for the European dates was King Crimson with Mari Wilson on some of the UK dates. A Glasgow band, The Young Ones were the support at the Apollo show as King Crimson could not make that show. Berlin were the support in USA.<br />
<span style="color: #ffff66;">.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8XJyaTLM2Ec9tj7Y0mbmiJTXeqrt_q00OchCAuy3nNGVA8bV4kAAczvSZ2bWVedy0fwXraqp_WUVN84U_2OzvZ3unulYikxlesvpYWi5KFyPgo4udwI-qw-wqp9h0Qzrvqw-kaNrWa3Hf/s1600/Roxy+Music+Collage1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679620785287811042" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8XJyaTLM2Ec9tj7Y0mbmiJTXeqrt_q00OchCAuy3nNGVA8bV4kAAczvSZ2bWVedy0fwXraqp_WUVN84U_2OzvZ3unulYikxlesvpYWi5KFyPgo4udwI-qw-wqp9h0Qzrvqw-kaNrWa3Hf/s400/Roxy+Music+Collage1.jpg" style="cursor: pointer; display: block; height: 305px; margin: 0px auto 10px; text-align: center; width: 421px;" /></a><span style="color: #ffff66;">.</span><br />
This post consists of FLAC's freshly ripped from my near mint vinyl copy of this Mini LP along with full album artwork. As a bonus, I have also included full artwork from Roxy's 1982 'World Tour Booklet' which focused on their 'Avalon' album (their best studio album by far).<br />
This live album is nothing short of awesome and their renditions of Neil Young's "Like A Hurricane" and John Lennon's "Jealous Guy" leave me breathless every time I hear them.<br />
<span style="color: #ffff66;">.</span></div><div style="text-align: center;"><span><span style="color: red; font-size: medium; font-weight: bold;">NEW IMPROVED RIP</span></span></div><div><span style="font-size: 85%;"><span style="color: red; font-weight: bold;"><br /></span></span></div><div><span style="font-size: 85%;"><span style="color: red; font-weight: bold;">Track Listing</span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWwoxqm4bi1B86KgK2jZADNX96HYPtMUlyRz-u5OULWHS2yWHj0scZnLSeB3a56PBqtriCi9WY52XEWQY0v1TX4ud6OxXzypzC5Yxkz3ivQmo08rjYLwKqKng6If8K5svFMjrb0vQfStj/s1600/Roxy+Music+-+The+High+Road_Vinyl.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5679625192248343666" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVWwoxqm4bi1B86KgK2jZADNX96HYPtMUlyRz-u5OULWHS2yWHj0scZnLSeB3a56PBqtriCi9WY52XEWQY0v1TX4ud6OxXzypzC5Yxkz3ivQmo08rjYLwKqKng6If8K5svFMjrb0vQfStj/s400/Roxy+Music+-+The+High+Road_Vinyl.jpg" style="cursor: pointer; float: right; height: 198px; margin: 0pt 0pt 10px 10px; width: 281px;" /></a><span style="font-size: 85%;"> <span style="font-weight: bold;"><br />01. Can't Let Go (Ferry) 5:29</span></span><span style="font-size: 85%;"> <span style="font-weight: bold;"><br />02. My Only Love (Ferry) 7:52</span> <span style="font-weight: bold;"><br />03. Like A Hurricane (Neil Young) 7:48</span> <span style="font-weight: bold;"><br />04. Jealous Guy (John Lennon) 6:40</span></span><br />
<span style="color: #ffff66;">.</span><br />
<span style="font-style: italic;">Band Members:</span> <span style="font-style: italic;"><br />Bryan Ferry (Vocals, Keyboards)</span> <span style="font-style: italic;"><br />Phil Manzanera (Lead Guitar)</span> <span style="font-style: italic;"><br />Andy Mackay (Saxophone, Oboe)</span> <span style="font-style: italic;"><br />Neil Hubbard (Guitar)</span> <span style="font-style: italic;"><br />Andy Newmark (Drums)</span> <span style="font-style: italic;"><br />Alan Spenner (Bass)</span> <span style="font-style: italic;"><br />Jimmy Maelen (Percussion)</span> <span style="font-style: italic;"><br />Guy Fletcher, Michelle Cobbs, Tawatha Agee (Backing Voc</span>als)<br />
<span style="color: #ffff66;">.</span><br />
<a href="https://bestfile.io/kruJNFoJ4prmy8M/file" target="_blank">Roxy Music Link</a> (164Mb) <span style="color: red;"><span style="font-size: x-small;"><i>New Link 10/01/2024</i></span></span><br />
<span style="color: #ffff66;">.</span></div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com11tag:blogger.com,1999:blog-4047234333310975506.post-55053615275394923802024-01-07T09:00:00.004+11:002024-01-07T09:03:46.291+11:00Yes - Tormato (1978) + Bonus Track (U.K 1968 - 2004, 2008 - Present)<div><br /></div><div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqZos1XMJuu1omZpBD0eVXUEY3cKmiwneUIIQRcYrgbXmekbZdraISc-qh8d_TIu-0sfb6IMS1x7wKpgCWaczTiqaFgSVsOg4y1s0csXeZfbmK5uCo3OR8jGJ218M18qmSYS02mSUYkqGGxLZ1KhSDM3LNII9SGC0gaiUxjLrUQaexd70WunPoGE-d-Y/s2349/Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2300" data-original-width="2349" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqZos1XMJuu1omZpBD0eVXUEY3cKmiwneUIIQRcYrgbXmekbZdraISc-qh8d_TIu-0sfb6IMS1x7wKpgCWaczTiqaFgSVsOg4y1s0csXeZfbmK5uCo3OR8jGJ218M18qmSYS02mSUYkqGGxLZ1KhSDM3LNII9SGC0gaiUxjLrUQaexd70WunPoGE-d-Y/w266-h260/Cover.jpg" width="266" /></a></div>Tormato is the ninth studio album by <b>YES</b>. Issued as the follow-up to 1977’s acclaimed Going for the One, Tormato received less than charitable reviews upon release and its virtues are still a matter of debate for Yes fans and critics. Many fans and some band members – particularly Rick Wakeman – state that the production was faulty, resulting in compressed and dull sound.</div><div>It is the last album featuring singer Jon Anderson and keyboardist Wakeman before the band’s disbanding in 1981. However Anderson returned to Yes when the band reformed in 1983, and Wakeman returned in 1990. [extract from <a href="https://www.yesworld.com/discography/tormato/" target="_blank">yesworld.com</a>]</div></div><div><br /></div><div><div>Following the ascendance of punk rock, Yes had an uphill battle in following the popular Going for the One. Before they even started working on the follow-up album, the decision to record in London had caused problems. Some of the band members wanted to go abroad again for tax reasons, preferably to Switzerland, where they had had such a good time making the last album – but, after heated debate, they all regrouped in London, to record at Advision and R.A.K. Studios in St. John’s Wood.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKe7mweB9-nCoda7Vo1kKtXyBreAVhz4jQC4-5FwxxwhbL1f4GRGOuM_YyZZVY_KOqXL7rLPs8Bb6kR1tXSuZOCsOOHlR4VO2Bk14NC4mH8kSE3FMiwwT6OCZd4poNKDzRspPNlt-bie2GEhlvfVkDBunD_inFtn8bJmv49vMEFsBDJn_nBhw5f0IEyTs/s300/Yes%201978.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="212" data-original-width="300" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKe7mweB9-nCoda7Vo1kKtXyBreAVhz4jQC4-5FwxxwhbL1f4GRGOuM_YyZZVY_KOqXL7rLPs8Bb6kR1tXSuZOCsOOHlR4VO2Bk14NC4mH8kSE3FMiwwT6OCZd4poNKDzRspPNlt-bie2GEhlvfVkDBunD_inFtn8bJmv49vMEFsBDJn_nBhw5f0IEyTs/s1600/Yes%201978.jpg" width="300" /></a></div>Seven months of writing, rehearsing and recording led to Tormato, released in September 1978. It was a big disappointment after Going for the One, which had captivated and delighted so many people – even the band members agreed that it was a messy, strained effort. Tormato hit the UK charts on 8 October for a stay of eleven weeks, reaching number eight at its highest point. The first reaction to the album from fans was one of disbelief, particularly at the sight of the cover, which they were not impressed by. Press reaction was mixed: ‘Arriving UFO‘ and ‘Circus of Heaven‘ were given a rough ride, whilst the Chris Squire-written ‘Onward‘ accompanied by a string section, ‘On the Silent Wings of Freedom‘ a longer more typical YES composition with a strong bass opening by Chris, and the mellow, classical Wakeman piece ‘Madrigal‘ were considered to be better tracks. US fans, more tolerant than their UK counterparts, were more appreciative of the album. But, for all its faults, Tormato‘s best tracks stand up to a contemporary listen. Yes showed their affection for ‘Onward‘ in 1996 by recording a live version for the Keys to Ascension album.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK99WcycSTAb8z1DKB-1q58FG7-11WVV6g1EuHzNCtKzyzZDQp19cQ_Ry52WrLE7pA7NqI-tmBSKgy1KU4HII10vMGF_zN3Lftowh1h-uDxz4LCUbQi6HsRZjCOkg1Jvck1KJRl_Qh4xKoN9Sc6GxWCGSC2Y1FVUhC1aLhz9jluEMUtvO9qTut2-88RTI/s1016/Yes%20Members%201978.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="336" data-original-width="1016" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK99WcycSTAb8z1DKB-1q58FG7-11WVV6g1EuHzNCtKzyzZDQp19cQ_Ry52WrLE7pA7NqI-tmBSKgy1KU4HII10vMGF_zN3Lftowh1h-uDxz4LCUbQi6HsRZjCOkg1Jvck1KJRl_Qh4xKoN9Sc6GxWCGSC2Y1FVUhC1aLhz9jluEMUtvO9qTut2-88RTI/w400-h133/Yes%20Members%201978.jpg" width="400" /></a></div><br /><div>Rick summed it up by saying, “Tormato could have been tremendous but suffered from appalling production. If I could be given one album to remix and to get the guys to add a couple of extra bits to, it would be that one. If ever an album had unfulfilled potential it was Tormato, but totally our fault as it had probably the worst final production mix of anything I have ever been involved with.”</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhubriBLkwyJ_QTdWBZmRGf79zjO-hFB1byywj-S2FJX1iFS5KIUY0ITQ9a6y5R0oT4eHc7msoqbikNIk8L9tEL3XDh6VZ_1WJPKMkvxAQR0ARg5b03Ep4OjyElzbUnW7ynqZ11Rq4X4qeXOGuPCqge-StnXj_px8B7eyhRN7_KLbI1Tz0EKH7jWUgIXh4/s435/Jon%20Anderson.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="435" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhubriBLkwyJ_QTdWBZmRGf79zjO-hFB1byywj-S2FJX1iFS5KIUY0ITQ9a6y5R0oT4eHc7msoqbikNIk8L9tEL3XDh6VZ_1WJPKMkvxAQR0ARg5b03Ep4OjyElzbUnW7ynqZ11Rq4X4qeXOGuPCqge-StnXj_px8B7eyhRN7_KLbI1Tz0EKH7jWUgIXh4/s320/Jon%20Anderson.jpg" width="221" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jon Anderson</td></tr></tbody></table>What started as a change of direction with 'Going For The One' continued with Tormato. It was a conscious effort to lighten the band’s material and increase the number of tracks on an album. Following the hit single "Wondrous Stories", which had been a pleasant surprise to everyone, Yes realised the potential of a wider audience for their music and the need for hit singles to make it happen. From this point, they would continue to record their albums with some tracks aimed at mass market appeal.</div><div><br /></div><div>If the album had been a disappointment to some, then the 1978 shows on the Tormato tour more than made up for it! Touring from August to October, Yes absolutely blew the audiences away with the spectacular, unforgettable In-the-Round stage show, which topped all previous tours, something that seemed impossible beforehand. Whilst discussing the future presentation of the Yesshow in 1978, Chris Squire had suggested to Michael Tait that the band should play in the middle of an auditorium.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_CNUQmmeFT4mF0gm-aEUGc3MtIx25s-UbB2lzdXFVAUpQ1Ro_wkt-yageTATSvZsPHF-RqHQCSg2bz_I_ngHQwHVaESfa64Fa4QMLkWtHNibrEfPr7ze0PjloYAX0wbUO3JDCZTF645eEDW-ZzTP63znL7UzqSrQJRCRwsBjTUT9dKvrAtMHYhNUEw8/s335/Steve%20Howe.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="335" data-original-width="200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn_CNUQmmeFT4mF0gm-aEUGc3MtIx25s-UbB2lzdXFVAUpQ1Ro_wkt-yageTATSvZsPHF-RqHQCSg2bz_I_ngHQwHVaESfa64Fa4QMLkWtHNibrEfPr7ze0PjloYAX0wbUO3JDCZTF645eEDW-ZzTP63znL7UzqSrQJRCRwsBjTUT9dKvrAtMHYhNUEw8/s320/Steve%20Howe.jpg" width="191" /></a></div>Once an auditorium was filled to capacity, the lights were dimmed and the overture music began (either a piece from Benjamin Britten’s Young Person’s Guide To The Orchestra, or the soundtrack from the film Close Encounters of the Third Kind by John Williams) as the band emerged from the side entrance of the arena. Picked out by spotlights, Yes would walk towards the stage. Once set up, they would open with the classic ‘Siberian Khatru‘. The stage slowly moved round at about two to three miles per hour, giving the crowd an unrestricted view of the band from all angles, bringing the audience much closer to them than ever before.</div><div><br /></div><div>At one point, however, the audience got too close, as Rick Wakeman recalls. “I remember the second night in Chicago when we were on stage… when you’re moving, you tend to look at the audience; you don’t normally. There was a whole block in the front of about twenty seats that were empty and this was very strange because I knew the show was sold out. Now, with any show that is sold out with thousands of seats, there are going to be twenty to thirty no-shows, it’s a fact of life. But I thought this is really weird that there’s twenty to thirty no-shows, but they’re all in the front row – this is crazy! We came to the part of the show where Steve Howe played Clap and while he played we all used to disappear. I would jump off stage and go to where my road crew were. When I went under there… I’d never seen so many people in my life! And I said to my guy, “What on earth is going on?” He said, “The motor that turns the stage burned out. So we’ve taken twenty people from the front two rows.” And they were underneath pushing the stage around!’ [Excerpted from David Watkinson’s ‘Perpetual Change‘]</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzL-MAx59hqLUA2TeSXMet8ppu-9ZEPfFwKkBnJz68XBH9UzUYTT_yoKhY3ml-1lFvpCZGguIikro9hvMOURX68Iu4SiI56MrFo9zUDdbDjEwnDA3JkHV_lVfckZ9wzFPhL7jKHPpa5scQPyNJg_8x8e3YhN6qlcfh6CU0cNz8FgNYYbN3ESqa3M1Qm6Y/s736/Yes%20On%20Round%20Stage%20(Tormato%20Tour).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="736" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzL-MAx59hqLUA2TeSXMet8ppu-9ZEPfFwKkBnJz68XBH9UzUYTT_yoKhY3ml-1lFvpCZGguIikro9hvMOURX68Iu4SiI56MrFo9zUDdbDjEwnDA3JkHV_lVfckZ9wzFPhL7jKHPpa5scQPyNJg_8x8e3YhN6qlcfh6CU0cNz8FgNYYbN3ESqa3M1Qm6Y/w400-h271/Yes%20On%20Round%20Stage%20(Tormato%20Tour).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Yes On Round Stage (Tormato Tour)</td></tr></tbody></table><div><b>Album Cover</b></div><div><br /></div><div>The album cover was designed by the mighty Storm Thorgerson from Hipgnosis, who also did Dark Side of the Moon and nearly every other Pink Floyd cover, The Mars Volta’s first album covers, The Alan Parsons Project covers, Audioslave, some Black Sabbath, ELO, Dream Theater, Genesis, Peter Gabriel 1-3 etc.</div><div>This is not one of his best works though. The tomato was not his idea. According to Steve Howe’s autobiography one of the band members (don’t remember who) threw a tomato at it. Or was it an accident? I can’t recall. </div><div><br /></div><div>I think I read that at first they were going to call it 'Tor', and the landscape on the background is a place called 'Yes Tor', which is a high point in Devon, England. But then someone put that guy with the sticks on it, and everyone hated it. Someone threw a tomato at it (most likely Wakeman), and then they changed it to Tormato as a pun.</div><div><br /></div><div>Roger Dean must have been on holiday!</div><div><br /></div></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuodSwzNDu_7RmIRB3uF9CBROqLG78mY8Oa7ZcLECV0STPBk4AQFKzu-aOol8uXXr2ykPuqt38BjTNduQ-riGRet84xjBeEsp1YOEE8_EXdhFDYEPBf2E520vqyeRaBL1FDwGGF4ImSVRW0H8G-51Eb8CT_Cv7zsQCy46ce6WP7xTRZlgw4th7gnYhBY/s580/Vinyl.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="580" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuodSwzNDu_7RmIRB3uF9CBROqLG78mY8Oa7ZcLECV0STPBk4AQFKzu-aOol8uXXr2ykPuqt38BjTNduQ-riGRet84xjBeEsp1YOEE8_EXdhFDYEPBf2E520vqyeRaBL1FDwGGF4ImSVRW0H8G-51Eb8CT_Cv7zsQCy46ce6WP7xTRZlgw4th7gnYhBY/w200-h121/Vinyl.jpg" width="200" /></a></div>This post consists of FLACs ripped from my vinyl copy and includes the usual artwork for both media types, along with label scans. I'm pretty sure I purchased this back in the late 70's from the Melbourne University campus book shop using some of my precious boarding money, and was a little chuffed after listening to it as I was expecting more. I have since grown to appreciate this Yes album more and am glad that I made the purchase at the time and sacrificed some other life necessity (probably food !)</div><div>I have also grown to appreciate the front cover, even though it is not a Roger Dean masterpiece. I hope you enjoy consuming this album, especially as it comes with tomato sauce LOL</div><div><br /></div><div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggGm5WHtvTZSSMR3ppSTPMFaK3tmHWac1IRAVKZtqWAN9d5zmnEYZ31_tBh7G9jvJII8wt61V6ZxD5JwZuBjDphXK13-s3lHpaw2u-kvxyD26UH5ILAZSyZROZm1GFa21SbyEE85yIFjEkmLON1O4sdjZhFkE0PjgyHi_kgHAs7gR55pw41CzDVdQtH-s/s1213/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1201" data-original-width="1213" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggGm5WHtvTZSSMR3ppSTPMFaK3tmHWac1IRAVKZtqWAN9d5zmnEYZ31_tBh7G9jvJII8wt61V6ZxD5JwZuBjDphXK13-s3lHpaw2u-kvxyD26UH5ILAZSyZROZm1GFa21SbyEE85yIFjEkmLON1O4sdjZhFkE0PjgyHi_kgHAs7gR55pw41CzDVdQtH-s/w200-h198/Label_Side1.jpg" width="200" /></a></div><b><span style="color: red; font-size: x-small;">Track List</span></b></div><div><b><span style="font-size: x-small;">01 Future Times, Rejoice</span></b></div><div><b><span style="font-size: x-small;">02 Don't Kill The Whale</span></b></div><div><b><span style="font-size: x-small;">03 Madrigal</span></b></div><div><b><span style="font-size: x-small;">04 Release Release</span></b></div><div><b><span style="font-size: x-small;">05 Arriving UFO</span></b></div><div><b><span style="font-size: x-small;">06 Circus Of Heaven</span></b></div><div><b><span style="font-size: x-small;">07 Onward</span></b></div><div><b><span style="font-size: x-small;">08 On The Silent Wings Of Freedom</span></b></div><div><b><span style="font-size: x-small;">09 Madrigal (Bonus Alternate Version)</span></b></div><div><br /></div><div><i><br /></i></div><div><i>Jon Anderson - Vocals</i></div><div><i>Steve Howe - Guitars, Vocals</i></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwdFAu2XAw-IjmXQ5kA12gkbUWxomvYc5nC1OvQ4XZ9Ai2CRgv6IfxukGW7_Q7-gVHV_rZ1TlqhCmOThuf_6ggoaxIKyMkGpeLgDXZ7_tsLpNQpxuEFFTunMafqg_v9iLiIZhMPG6BrnwbNPNN2fpUxYuk9O-tvfn4zdqAiqFRvvN9CQLUOVhJNPGwn70/s1207/Label_Side2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1207" data-original-width="1205" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwdFAu2XAw-IjmXQ5kA12gkbUWxomvYc5nC1OvQ4XZ9Ai2CRgv6IfxukGW7_Q7-gVHV_rZ1TlqhCmOThuf_6ggoaxIKyMkGpeLgDXZ7_tsLpNQpxuEFFTunMafqg_v9iLiIZhMPG6BrnwbNPNN2fpUxYuk9O-tvfn4zdqAiqFRvvN9CQLUOVhJNPGwn70/w199-h200/Label_Side2.jpg" width="199" /></a></div><i>Chris Squire - Bass, Vocals</i></div><div><i>Rick Wakeman - Keyboards</i></div><div><i>Alan White - Percussion</i></div></div><div><br /></div><div><br /></div><div><a href="https://bestfile.io/scfd9I3Xw1qDO01/file" target="_blank">Tormato Link</a> (251Mb)</div><div> </div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com0tag:blogger.com,1999:blog-4047234333310975506.post-90699148551709005562024-01-01T08:00:00.002+11:002024-01-01T08:39:41.552+11:00Flake - Reflections: The Festival File Volume Thirteen (1989)(Australian 1968 - 1974, 1989 - 1991)<br /><br /> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4hefRntTrOY-xNgYFE9F8SWOVXeTXFMeqvMOFhSl5rbSsCHFizEB1lADARKYKbuVXyy_-4rNrzycd4Mt8BpCEdgS7KFPRi0PXv2er-B0HE0xszKUw24af-Ip5QFmv6zUm3xpd9vBrgcHHXm32E3eveRoeiv-rraBHOu-Yax5sC7-ECaOn_mGbtrHEHDg/s600/Front.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="600" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4hefRntTrOY-xNgYFE9F8SWOVXeTXFMeqvMOFhSl5rbSsCHFizEB1lADARKYKbuVXyy_-4rNrzycd4Mt8BpCEdgS7KFPRi0PXv2er-B0HE0xszKUw24af-Ip5QFmv6zUm3xpd9vBrgcHHXm32E3eveRoeiv-rraBHOu-Yax5sC7-ECaOn_mGbtrHEHDg/w241-h238/Front.jpg" width="241" /></a></div>In those years between Normie/Billy/Stevie scream boom and the rise of the likes of Skyhooks and Sherbet, those wastleland years when Australian bands were treated as something less than vermin by Australian metropolitan (particularly Sydney) radio stations, <b>Flake</b> could be said to have had a dream run. In eighteen months they notched up four consecutive top forty hits and were given the opportunity to record a fairly inventive album.<br /><br />The first formation of Flake came together on November 14, 1968, around a core of vocalists, Geoff Gray (ex Eli), Sharon Sims and Denise Caines, and irrepressible drummer Wayne Thomas (ex Reggie Norton & The Ideas, Plastic Tears). Two months after formation, Flake won 2UW';s 'Bands To Watch' competition and were soon joined by bassist Denis Moore (ex Him & The Others), lead guitarist John Russell (ex Amber, Plastic Tears) and rhythm guitarist Billy Taylor (ex Purple Vision).<br /><br /><div class="separator" style="clear: both; text-align: left;">Signed to Martin Erdmans's Du Monde label (home of King Fox, Erl Dalby & Pyramid, Damael Lilith, Elm Tree, Clapham Junction, the 69ers, Toby Jugg, Wheelbarrow and Ben Turpin), Flake went into the trusty World Of Sound Studio in Ramsgate in the first half of 1970 and laid down Jackie Lomax' "You've Got Me Thinking" and a more than competent version of the Julie Driscoll (with Brian Auger & The Trinity) version of Bob Dylan's "This Wheel's On Fire".</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FA8wtJMJM1aidRXpzxq0L5RPs7sC99cNmN8CwWt4mqFsEp6CWJKMRqz3Kuzx2RkQ4fR50SxVqU5pPDNKwh3QjKk-gBhYDjeN4HtjtfyY21aoC_vmZyOWDV3jA4KqtoU9SPwhAIJ9Js1yzrpHUudMrynVrCEdxpsSQnwh0I4Zy26YwheVvZc_a5p_Fzw/s934/Flake_1969_Spinning_Wheel_Disco.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="602" data-original-width="934" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FA8wtJMJM1aidRXpzxq0L5RPs7sC99cNmN8CwWt4mqFsEp6CWJKMRqz3Kuzx2RkQ4fR50SxVqU5pPDNKwh3QjKk-gBhYDjeN4HtjtfyY21aoC_vmZyOWDV3jA4KqtoU9SPwhAIJ9Js1yzrpHUudMrynVrCEdxpsSQnwh0I4Zy26YwheVvZc_a5p_Fzw/w400-h258/Flake_1969_Spinning_Wheel_Disco.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Flake - Spinning Wheel Disco 1969</td></tr></tbody></table><div><br /></div>Radio interest was initially minimal, but as luck would have it, the start of a seven month radio ban on British and major-label Australian records saw radio stations desperate for programmable material. 2 UW's Gary Jaeger snuck the B-side onto the station's playlist while programme director Ray Bean was on holidays and within weeks the single was in the Sydney top five (top twenty nationally). Radio 2SM later presented the band with an Australian Talent Award, in the form of a gold disc.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwC91wZizRAu6mwvgTFza8pPsKIgvmS9_kNwbMQEf8nr-NnrgEAPT4YNnX9JKJhly0OjBQ2kdyhWkic5aQT3cLkyntmc0Rgf99TMVOpTXGTsYZb91nx1EQdnVaqk2SiPs1lC6WfrHTo9wGcTvwOHLTRdBd4sJpZklUxKfBJz4wmUMMzs0IqDYAJb-xWJw/s1024/Flake2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1024" data-original-width="779" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwC91wZizRAu6mwvgTFza8pPsKIgvmS9_kNwbMQEf8nr-NnrgEAPT4YNnX9JKJhly0OjBQ2kdyhWkic5aQT3cLkyntmc0Rgf99TMVOpTXGTsYZb91nx1EQdnVaqk2SiPs1lC6WfrHTo9wGcTvwOHLTRdBd4sJpZklUxKfBJz4wmUMMzs0IqDYAJb-xWJw/s320/Flake2.jpg" width="243" /></a></div>Given this unexpected opening, Flake covered another banned and passed-over British record - Marmalade's "Reflections Of My Life" - and reached No.11 in Sydney (top thirty nationally). The flipside featured one of four competing local versions of the Rotary Connection's "Teach Me How To Fly" (the others being done by Jeff St. John & Copperwine, Gene Pierson and Erl Dalby), with Sharon Sims and Shauna Jenson sharing lead vocals. By this stage, new bassist Greg Higgs (ex Stringers) had come on board and the group was firing on all cylinders as a confident, glossy hard-edged pop outfit with soulful overtones.</div><div><br /></div><div>"Life Is Getting Better", a workmanlike Vanda/Young composition (the band also recorded the pair's steaming Quick Reaction) reached No.15 on the Sydney charts in the middle of 1971 (on Erdman's new Violet's Holiday label). By Christmas, they had their fourth and final hit (No.35) with "Under The Silent Tree". The album "How's Your Mother?" also made it to the market for the festive rush. A late 1972 single, "See The Light", was ignored by radio, Sharon Sims went off to record solo and that, for all intents and purposes was the end of Flake.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPBFq18jJfvJq9DZkI6LdgIdF0BeL5DqoR45fwnRMlQWNqoLkx_Cc9dVVBfcfYR1t0X0xmZFP9X4aly6E60ekofkaO9wfgRmHqA8XdDB9e8lWPFmRGS88GG0OKxIcJAxYc0wFE77lzj4BZoMqghPeqoIA_CHT_0K42fwz14A8hzgiwal2QscRr68V33jU/s1024/Newspaper%20Article.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="957" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPBFq18jJfvJq9DZkI6LdgIdF0BeL5DqoR45fwnRMlQWNqoLkx_Cc9dVVBfcfYR1t0X0xmZFP9X4aly6E60ekofkaO9wfgRmHqA8XdDB9e8lWPFmRGS88GG0OKxIcJAxYc0wFE77lzj4BZoMqghPeqoIA_CHT_0K42fwz14A8hzgiwal2QscRr68V33jU/w271-h290/Newspaper%20Article.jpg" width="271" /></a></div>Not quite. The carcass of the faded unit was rolled over and infiltrated by three former members of Blackfeather - Neale Johns, Jim Penson and Warren Ward (also ex Flying Circus) - who, with John Russell, tried to wring some recognition factor out of the name. The single "Scotch On The Rocks / Breadalbane" might just as well have been issued under the name Blackfeather, for all that it had to do, musically, with the Flake that radio listeners knew.<br /><br />This collection feature's all of Flake's hits, their better B-Sides and album cuts, a Sharon Sims solo side and a special bonus previously unreleased live track from a long-forgotten Rex Mossop-hosted television variety show. Let Flake not be forgotten. [Liner notes by Glenn A.Baker]<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-dMsRwD2V7xzjnDjlCXpeneYpj17fOyJmlbszQQVcBDciLOltBkfrLgQH37ufdh-4yPwXhM0cpkK2dEjPt9gP44xVoU64zEeo5MYzg4mNGH_vTPGNdN59YMb3wc3JlHqEii6OO8ZzN9b-CrNZs_joMHVZiRlGoM2qkpafz2SiVMLAvNUtM0wbGVWU5E/s150/Sharon%20Kims.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="150" data-original-width="150" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-dMsRwD2V7xzjnDjlCXpeneYpj17fOyJmlbszQQVcBDciLOltBkfrLgQH37ufdh-4yPwXhM0cpkK2dEjPt9gP44xVoU64zEeo5MYzg4mNGH_vTPGNdN59YMb3wc3JlHqEii6OO8ZzN9b-CrNZs_joMHVZiRlGoM2qkpafz2SiVMLAvNUtM0wbGVWU5E/w217-h217/Sharon%20Kims.jpg" width="217" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sharon Sims</td></tr></tbody></table>Flake reformed in 1989 with Thomas and Lindsay Askew joined by the latter's brother Rob Askew on bass guitar, Gordon Sheard on guitar and Anna Medley on lead vocals; in response to Festival issuing this compilation album 'Reflections'. The group continued on the Sydney pub and club circuit until 1991.<br /><br /><div>P.S This compilation album was dedicated to Wayne Thomas who, during his years behind the counter at Martha's Record Farm, turned more than a few naive young lads onto the sounds that mattered.</div><div><br /></div><div>This 'New Years Day' post consists of FLACs ripped from vinyl (thanks to Mr. Purser) and includes full album artwork for both vinyl and CD media. Thanks to <a href="https://daveallen-flake.blogspot.com/2006/09/" target="_blank">daveallen-flake</a> for the Flake photos included in this post.</div><div><br /></div><div><div><b><span style="color: red; font-size: x-small;">Track List<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNdYF8V8bfetDYe002sfGwOHM1-e5k-if_YtgMhq29XrBh8QIK5Yqj6N9wao0xPWYREvksOpvtFsvkgJjt99BKa07V_5kkfwH1N3ED8sh4tvpgNAWZOxaz4CMfN_Qtslt1CCKWa-aObU4zmOICqq-HZu4qmRBNFW4dZV7y8RTtuUS_re3rKXzSSm78w8/s600/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNdYF8V8bfetDYe002sfGwOHM1-e5k-if_YtgMhq29XrBh8QIK5Yqj6N9wao0xPWYREvksOpvtFsvkgJjt99BKa07V_5kkfwH1N3ED8sh4tvpgNAWZOxaz4CMfN_Qtslt1CCKWa-aObU4zmOICqq-HZu4qmRBNFW4dZV7y8RTtuUS_re3rKXzSSm78w8/w200-h200/Label_Side1.jpg" width="200" /></a></div></span></b></div><div><b><span style="font-size: x-small;">A1 This Wheel's On Fire</span></b></div><div><b><span style="font-size: x-small;">A2 Teach Me How To Fly</span></b></div><div><b><span style="font-size: x-small;">A3 Reflections Of My Life</span></b></div><div><b><span style="font-size: x-small;">A4 Life Is Getting Better</span></b></div><div><b><span style="font-size: x-small;">A5 Under The Silent Tree</span></b></div><div><b><span style="font-size: x-small;">A6 See The Light</span></b></div><div><b><span style="font-size: x-small;">A7 Take My Word</span></b></div><div><b><span style="font-size: x-small;">B1 Quick Reaction</span></b></div><div><b><span style="font-size: x-small;">B2 Story</span></b></div><div><b><span style="font-size: x-small;">B3 You've Got Me Thinking</span></b></div><div><b><span style="font-size: x-small;">B4 Where Are You</span></b></div><div><b><span style="font-size: x-small;">B5 Scotch On The Rocks</span></b></div><div><b><span style="font-size: x-small;">B6 To Be The One You Love</span></b></div><div><b><span style="font-size: x-small;">B7 Say Goodbye</span></b></div><div><br /></div><div><i>Personnel:</i></div><div><i>Lindsay Askew – guitar (1968–69, 1989–91)</i></div><div><i>Mick Gaul – bass guitar (1968–69)</i></div><div><i>Geoff Gray – lead vocals, percussion (1968–73)</i></div><div><i>Sharon Sims – lead vocals, percussion (1968–72)</i></div><div><i>Rob Toth – keyboards (1968–70)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEQC_bXRpwjUT8OsaR6SBn6BxomXJ_-XRDo9iI8gNCGh0QGIW_MD0iQjP7EU9jeYOVUfE2YnyQx6TBZ9EmQtAVnzJ9Zep6hSIgzM2uLeZBY8COoPudaavffNVmlK02Npk4N91iO4yq1YyrwT4YBrbzOtMMnMEjXnGg9ySe382WEimyIRnlvmUjglDk8yE/s600/Label_Side2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="598" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEQC_bXRpwjUT8OsaR6SBn6BxomXJ_-XRDo9iI8gNCGh0QGIW_MD0iQjP7EU9jeYOVUfE2YnyQx6TBZ9EmQtAVnzJ9Zep6hSIgzM2uLeZBY8COoPudaavffNVmlK02Npk4N91iO4yq1YyrwT4YBrbzOtMMnMEjXnGg9ySe382WEimyIRnlvmUjglDk8yE/w199-h200/Label_Side2.jpg" width="199" /></a></div></i></div><div><i>Wayne Thomas – drums, piano, vocals </i></div><div><i>(1968–72, 1989–91)</i></div><div><i>Denise Caines – vocals (1969–70, 1973)</i></div><div><i>Shauna Jensen – vocals (1970)</i></div><div><i>Dave Allen – flute, sax (1969–70)</i></div><div><i>Ross Jeffries – guitar (1969)</i></div><div><i>John Russell – guitar, autoharp (1969–74)</i></div><div><i>Dennis Moore – bass guitar (1969–70)</i></div><div><i>Greg Higgs – bass guitar, vocals (1971–73)</i></div><div><i>Billy Taylor – guitar (1971–74)</i></div><div><i>Ted Atkinson – bass guitar (1973–74)</i></div><div><i>Mick Meehan – guitar (1973)</i></div><div><i>Jim Penson – drums (1973–74)</i></div><div><i>Royston Johnson; - vocals (1973-74)</i></div><div><i>Neale Johns – vocals (1973–74)</i></div><div><i>Warren Ward – bass guitar (1973–74)</i></div><div><i>Rob Askew – bass guitar (1989–91)</i></div><div><i>Gordon Sheard – guitar (1989–91)</i></div><div><i>Anna Medley – vocals (1989–91)</i></div><div><i>David Clouston – keyboards (1991)</i></div><div><br /></div><a href="https://workupload.com/file/VNWa2a386c5" target="_blank">Flake Link</a> (379Mb)<br /><br /></div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com0tag:blogger.com,1999:blog-4047234333310975506.post-20044781007380893702023-12-29T11:45:00.005+11:002024-01-01T08:46:48.287+11:00REPOST: Trust - Selftitled / L'Elite (1979 / 1980)(French 1977-1985, 1988-1989, 1996-1997, 2006-2011, 2016-Present)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiofE41jJEYQGZjcTCCK49dpkqed89b9OoUyTcAc-5p7us0eW-EyksITrbgZdZzoNEmizCMOLCd-YSrFHi7s4rv3YHBcpErYoLEF-Is-HNREa31qMQU3eJVWHlvt2WGFPupo4sBSVHgOjEy/s1600-h/front.jpg"><img alt="" border="0" height="218" id="BLOGGER_PHOTO_ID_5389838961162510802" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiofE41jJEYQGZjcTCCK49dpkqed89b9OoUyTcAc-5p7us0eW-EyksITrbgZdZzoNEmizCMOLCd-YSrFHi7s4rv3YHBcpErYoLEF-Is-HNREa31qMQU3eJVWHlvt2WGFPupo4sBSVHgOjEy/w233-h218/front.jpg" style="cursor: hand; float: left; height: 232px; margin: 0px 10px 10px 0px; width: 248px;" width="233" /></a>By far the most successful French Heavy Metal band of all, Nanterre based <b>Trust</b> produced some excellent albums chock full of aggression and lyrics that were unafraid of using social and political commentary. The group, founded by singer Bernie Bonvoisin, previously a drummer with 'Taxi' and 'Killerdrink', and guitarist Nono (a.k.a. Norbert Krief) even made it to UK shores, touring nationwide in a headlining capacity. Despite this, Trust had a quite stormy career, dogged by line-up changes that were allegedly due to frontman Bernie Bonvoison's dictatorial method of running the band. The band's very first stage performance, with Christian Cheffeu manning the drums, came on September 9th 1977 as support to 'Bang' at the Golf Drouot in Paris. Trust went through numerous band members in its formative stages, including drummer Omar Ben El Mabrouk and second guitarist 'Moho' (Mohammed Shemlok). </div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWp1oe2Pdnml387kT8xZ_MyVCpnvdTJlaRH9YN6MGbc8Wwl3cRy9yxsuCO3PxPhmfeMKAFfYrXvcho3zLoDMc6J5PR9lY2xJRSEuGkk3Pri94zyCvXQ0-fGhb_VsWM_LdPBBM7RRWdHiXp/s1600-h/The+Band.jpg"></a><br />
The group's initial recording roster, cutting tracks for a 1977 demo called 'Prends Pas Ton Flingue', comprised Bonvoisin, Nono, bassist Raymond Manna and drummer Jean-Émile "Jeannot" Hanela. Two of these tracks saw issue as a 7" single, released that October by Pathé-Marconi. Another switch in drummers found Sherwin Rosman taking the role whilst Mann was substituted by ex-'Volcania' man 'Vivi' (Yves Brusco).<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWp1oe2Pdnml387kT8xZ_MyVCpnvdTJlaRH9YN6MGbc8Wwl3cRy9yxsuCO3PxPhmfeMKAFfYrXvcho3zLoDMc6J5PR9lY2xJRSEuGkk3Pri94zyCvXQ0-fGhb_VsWM_LdPBBM7RRWdHiXp/s1600-h/The+Band.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5389839357358383042" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWp1oe2Pdnml387kT8xZ_MyVCpnvdTJlaRH9YN6MGbc8Wwl3cRy9yxsuCO3PxPhmfeMKAFfYrXvcho3zLoDMc6J5PR9lY2xJRSEuGkk3Pri94zyCvXQ0-fGhb_VsWM_LdPBBM7RRWdHiXp/s320/The+Band.jpg" style="float: right; height: 239px; margin: 0px 0px 10px 10px; width: 285px;" /></a>Trust famously provided the opening honours for AC/DC on October 24th 1978 at Le Stadium in Paris, here Bonvoisin forging a famous friendship with Bon Scott. It is reported that Bon hanged around the studio with the band sometimes helping with the translation of lyrics.<br />
During a studio session on the 13th February 1980 Bon recorded a version of "Ride On" during a jam session with the band. This version has never been released officially but has cropped up on the bootleg market.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLeP1McP9ojrg3eS3mNAl7W8spK44gnar22iy4k4iA_sBWpogpeX8tbYodXySFa1YZ0JPwLPs2ZlfYoKuVmpiv6a3BOUOke51Xjqt-JPtjdRF64emd9_a92UW89occqIkznxlIdgC71dWr/s1600-h/trustelite1.jpg"></a>When Trust released their Repression album in 1980 they dedicated the album to the memory of Bon. The LP featured an insert which included a picture of Bon with the band along with a message from Trust.<br />
Trust released their first selftitled album on CBS Records in May 1979, which was later re-released in 1980 under the title of 'L'Elite'. Recorded in London with producer Herv Muller, it included a cover of AC/DC's 'Ride On'. A French tour to promote the album, which novelly included a concert at the Fleury-Merogis prison, saw many concerned local town authorities drafting in extra police, fearing Trust's political message would incite rioting. The group was an immediate hit, scoring platinum sales status and boasting a sell out crowd of 10,000 for a headline show at the Pavillon de Paris on January 12th 1980.</div><div><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLeP1McP9ojrg3eS3mNAl7W8spK44gnar22iy4k4iA_sBWpogpeX8tbYodXySFa1YZ0JPwLPs2ZlfYoKuVmpiv6a3BOUOke51Xjqt-JPtjdRF64emd9_a92UW89occqIkznxlIdgC71dWr/s1600-h/trustelite1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5389839720441859554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLeP1McP9ojrg3eS3mNAl7W8spK44gnar22iy4k4iA_sBWpogpeX8tbYodXySFa1YZ0JPwLPs2ZlfYoKuVmpiv6a3BOUOke51Xjqt-JPtjdRF64emd9_a92UW89occqIkznxlIdgC71dWr/s320/trustelite1.jpg" style="float: left; height: 249px; margin: 0px 10px 10px 0px; width: 281px;" /></a>Trust rose to fame in 1979 and 1980 with a music mixing hard rock influences with acerbic social and political commentary with anarchist and anti-Soviet undertones, with a renegade attitude à la MC5. Trust's success was also due to Krief's stature as a French guitar hero and Bonvoisin's both sincere and mature lyrics as well as his raw energy. Their 1980 hit song 'Antisocial' (on the Répression album) criticized the frenetic, dehumanizing pace of modern life and work in large cities.<br />
With the exception of the core pairing of Bonvoisin and Nono, Trust was unable to cement a solid roster of players, a curse which would dog the band throughout its entire lifespan. </div><div><br /></div>
<div>
I first heard Trust in the early 80's when I purchased a double heavy rock compilation called "<a href="http://rockonvinyl.blogspot.com.au/2011/07/various-artists-killer-watts-1980.html" target="_blank">Killer Watts</a>" (see later post) which showcased their hit single 'L'Elite'. When I heard 'L'Elite', I was totally blown away. The French vocals of singer Bernie Bonvoisin along with the blistering guitar riffs by Nono Krief hooked me big time. I managed to track down Trust's entire catalogue from a range of import shops, but it was hard going as very few import outlets carried French releases. And when I did find them, they cost me big bucks. Now I'm laughing because good condition vinyl copies fetch high prices on eBay, and I've got the lot.</div><div><br /></div>
<div>
This new rip was taken from my pristine vinyl in FLAC format and includes full album artwork, with an inner sleeve that features complete lyrics of all songs and band photos.</div>
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<span style="color: #ffff66;">.</span></div>
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<span style="font-size: x-small;"><b><span style="color: red;">Track Listing</span></b></span></div>
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<span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr4Fglc4BlvJ7OV3V63z2WM-TomHTylOBwIgZgy838xz5iVHCKSqAAnvcYRnHxkPsjGnh4RwIGfvh-jVpDeY44Rsv5sDS2Sj9VEjGKYzthObWKurSPLtIifHttEQ5mdsjiU89L1ZA8hTQ/s1600/L%2527Elite+45.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr4Fglc4BlvJ7OV3V63z2WM-TomHTylOBwIgZgy838xz5iVHCKSqAAnvcYRnHxkPsjGnh4RwIGfvh-jVpDeY44Rsv5sDS2Sj9VEjGKYzthObWKurSPLtIifHttEQ5mdsjiU89L1ZA8hTQ/w263-h142/L%2527Elite+45.JPG" width="263" /></a><b>01 - Préfabriqués</b></span></div>
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<span style="font-size: x-small;"><b>02 - Palace</b></span></div>
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<span style="font-size: x-small;"><b>03 - Le Matteur</b></span></div>
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<span style="font-size: x-small;"><b>04 - Bosser Huit Heures</b></span></div>
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<span style="font-size: x-small;"><b>05 - Comme Une Damné</b></span></div>
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<span style="font-size: x-small;"><b>06 - Dialogue De Sourds</b></span></div>
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<span style="font-size: x-small;"><b>07 - L'Élite</b></span></div>
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<span style="font-size: x-small;"><b>08 - Police-Milice</b></span></div>
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<span style="font-size: x-small;"><b>09 - H&D</b></span></div>
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<span style="font-size: x-small;"><b>10 - Ride On</b></span></div>
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<span style="font-size: x-small;"><b>11 - Toujours Pas Une Tune</b></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrFryh14hKhDsi9SKljYvgJUstgyMLAMVWdTUX7tgDFCy4FbCYjM8XphHLs1nwZk2f6Tt6zCAOXMtItQk5D8pY5G8S5NJn-7uF9jGbR9OBmAFeHu_4nozxlgR6oZ7bg5EXRzpki_IaGs/s1600/Vinyl.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrFryh14hKhDsi9SKljYvgJUstgyMLAMVWdTUX7tgDFCy4FbCYjM8XphHLs1nwZk2f6Tt6zCAOXMtItQk5D8pY5G8S5NJn-7uF9jGbR9OBmAFeHu_4nozxlgR6oZ7bg5EXRzpki_IaGs/w263-h161/Vinyl.JPG" width="263" /></a></div>
<span style="color: #ffff66;">.</span></div>
<div>
<i>Band Members:</i></div>
<div>
<i>Bernie Bonvoisin (Vocals)</i></div>
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<i>Nono Krief (Guitar)</i></div>
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<i>Raymond Manna (Bass)</i></div>
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<i>Jean-Émile Hanela (Drums)</i></div>
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<span style="color: #ffff66;">.</span></div><div style="text-align: center;"><span style="color: red; font-size: medium;">NEW IMPROVED RIP</span></div>
<div><br /></div><div>
<a href="https://krakenfiles.com/view/UCI7Al0QyI/file.html" target="_blank">Trust Link</a> (228Mb) </div><div><span style="color: red; font-size: x-small;">New Link 29/12/2023</span></div>
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<span style="color: #ffff66;">.</span></div>
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AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com5tag:blogger.com,1999:blog-4047234333310975506.post-37011195226126185572023-12-24T09:12:00.003+11:002024-02-25T08:44:00.908+11:00W.O.C.K On Vinyl: Various Aussie Artists - The Spirit Of Christmas '96 (1996)<p> </p><div style="background-color: #fff3db; color: #29303b; font-family: Georgia, "Times New Roman", sans-serif; font-size: 13px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaw0x8zwyfEDxzuFJ-ZQyIVGYlkolUhxpbmrgZjow6IPlDezOKEVPrSQKI6v8sU4mFuegbSm4cyN2ssfPX7whq4lAYuM_oGka3PF2za821lJ_FoGyW-6Z-LBkXIGpeMGVzziZl8Ap3hWYv/s1600/Sanata+Rocks.jpg" style="color: #473624;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5689289281541454962" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaw0x8zwyfEDxzuFJ-ZQyIVGYlkolUhxpbmrgZjow6IPlDezOKEVPrSQKI6v8sU4mFuegbSm4cyN2ssfPX7whq4lAYuM_oGka3PF2za821lJ_FoGyW-6Z-LBkXIGpeMGVzziZl8Ap3hWYv/s320/Sanata+Rocks.jpg" style="border: 0px; cursor: pointer; float: right; height: 129px; margin: 0pt 0pt 10px 10px; width: 107px;" /></a><span style="color: #473624;"><span style="border-color: initial; border-image: initial; border-style: initial; margin-left: 0pt; margin-top: 0pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoqUpPvx1jx-zg2cTZ7OB5jifKfiCYn2HmxCS1fw5t8TGosQyz6YOTh0qdcaAuqMD8tZypTHAredLtbWSopyXJO7TYV61sT_vQ_qt-fLxcVN1dI6F92Qmtb7bEPHxqe3BiOK1jjrFi8NJu/s1600/Rock+N+Roll+Santa.JPG" style="color: #473624;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5689289144149952530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoqUpPvx1jx-zg2cTZ7OB5jifKfiCYn2HmxCS1fw5t8TGosQyz6YOTh0qdcaAuqMD8tZypTHAredLtbWSopyXJO7TYV61sT_vQ_qt-fLxcVN1dI6F92Qmtb7bEPHxqe3BiOK1jjrFi8NJu/s320/Rock+N+Roll+Santa.JPG" style="border: 0px; cursor: pointer; float: left; height: 119px; margin: 0pt 10px 10px 0pt; width: 97px;" /></a></span></span><b>Before things get too </b><b>serious</b></div><div style="background-color: #fff3db; color: #29303b; font-family: Georgia, "Times New Roman", sans-serif; font-size: 13px; text-align: center;"><b>here at Rock On Vinyl, </b><b>I </b><b>thought it might be fun to post a song at the end of each month, that could be categorized </b><b>as being either <span style="color: red;">W</span>ei</b><b>rd, <span style="color: red;">O</span>bscure, <span style="color: red;">C</span>razy or just plain <span style="color: red;">K</span>orny.</b></div><b style="background-color: #fff3db; color: #29303b; font-family: Georgia, "Times New Roman", sans-serif; font-size: 13px;"></b><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDx4MUKJpVLczpSZTFncmRAMXvvHQPBfreF4QQqzRdk6EmVeUTC5e7liWTTdARXQwadzLX3k3VXxZOii70ykWmG3A2HGk80P-TwFm5eYntGbA79ilpB0b4Zqj26TewD4UnvBvdVuS-wlzQnpqgrH086ctLXNpGOfiLglk4B5WYpH_OdEiOcCDlckWL2ko/s250/Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="245" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDx4MUKJpVLczpSZTFncmRAMXvvHQPBfreF4QQqzRdk6EmVeUTC5e7liWTTdARXQwadzLX3k3VXxZOii70ykWmG3A2HGk80P-TwFm5eYntGbA79ilpB0b4Zqj26TewD4UnvBvdVuS-wlzQnpqgrH086ctLXNpGOfiLglk4B5WYpH_OdEiOcCDlckWL2ko/w221-h226/Cover.jpg" width="221" /></a></div>This year's <b><span style="color: red;">C</span></b>hristmas WO<b><span style="color: red;">C</span></b>K post features a collection of popular festive tunes performed by a host of Aussie artists. This release was organised as a fund raiser for the Starlight Foundation (Australia) back in 1996, by Grace Bros.<div><br /></div><div>In as much as the Christmas Season is a time to celebrate the birth of Christ, it is also a time for giving gifts to friends and family. In light of this, I thought it appropriate to draw everyone's attention to this wonderful charity and perhaps sway your sense of giving to this foundation.<br /><div><br /></div><div><div><b>Starlight's Mission:</b></div><div><br /></div><div>At Starlight we know that happiness matters to sick kids facing the pain, fear and stress of serious illness. That's why for over 30 years we've worked in partnership with health professionals to bring the fun, joy and laughter that helps sick kids be kids. We help kids of all ages regardless of disability, injury or illness because what happens in childhood lasts a lifetime.</div><div><br /></div><div>We believe in happiness because it matters to sick kids’ health.</div><div><br /></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwFaXj_1oddC7EsOA4Y4wH27pP64Zr7ARIjgON39hWmCyHHKv-Eca_VAvu85d9gFuE-IWlcymQwLZtS2jKtrGIXnwKp0DTOYjYy4RMeMxpCgr-G0DfuTbMO5ziVv5tRCGClJsUQtY2mkfi7NYmwp-Sgr7sNTzr4wJfDmNwlvbCEQsIXapT34Wp5JZUdi8/s286/starlight.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="286" data-original-width="176" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwFaXj_1oddC7EsOA4Y4wH27pP64Zr7ARIjgON39hWmCyHHKv-Eca_VAvu85d9gFuE-IWlcymQwLZtS2jKtrGIXnwKp0DTOYjYy4RMeMxpCgr-G0DfuTbMO5ziVv5tRCGClJsUQtY2mkfi7NYmwp-Sgr7sNTzr4wJfDmNwlvbCEQsIXapT34Wp5JZUdi8/s1600/starlight.png" width="176" /></a></div>What Starlight Foundation does:</b></div><div><br /></div><div>When a child is diagnosed with a serious illness, life can become consumed by hospital and treatment. It’s scary and overwhelming. That's why Starlight exists. Through play, creativity, and social connection, we create the fun and happiness seriously ill children and their families need to get through their toughest times. Starlight programs:</div><div><br /></div><div><ul style="text-align: left;"><li>Transform the hospital and healthcare experience of kids and young people across Australia.</li><li>Connect kids, teens and families, helping to overcome the social isolation associated with serious illness.</li><li>Entertain by providing moments of positive disruption which help to replace pain, boredom and stress, with joy, laughter and fun.</li></ul></div><div>At Starlight we know what happens in childhood lasts a lifetime. Positive psychology research shows happiness is integral to our overall wellbeing and quality of life. It matters in the moment, and it matters long term. As a vital partner in the healthcare system, we create moments of happiness every day in hospitals and communities across Australia. </div><div><br /></div><div>Happiness helps sick kids feel more positive about hospital and treatment. It boosts their resilience, helping them cope with pain, fear, isolation and stress. So, when you give to Starlight, you’re helping to improve the lives of seriously ill children and young people, now, and into the future. </div><div><br /></div><div>'Starlight Wishes' help dreams come true</div><div><br /></div><div>When you grant a Starlight Wish, you help sick kids and their families leave the pain of treatment behind and enjoy more of what matters most - fun, joy and shared happiness. It's a once-in-a lifetime gift that helps sick kids' dreams come true!</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkEppURPrbjRAeu9j8ztuVhf8as1FPODdcETsWJgggqhuwUIMoHCGv4ztt-asM60aLbpNw49drUue7fRfSFIKS2a7OoLLTE_yM7ei8KbpwlIicVAz-0cUIgtfD-IFh6bWwigEVXfra31Uoc5dwGjx0DkLxoJbqrtn0OD_Qwk4P8JKR8GIvY6xgRSh3zKI/s1920/Starlight_Banner.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="439" data-original-width="1920" height="73" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkEppURPrbjRAeu9j8ztuVhf8as1FPODdcETsWJgggqhuwUIMoHCGv4ztt-asM60aLbpNw49drUue7fRfSFIKS2a7OoLLTE_yM7ei8KbpwlIicVAz-0cUIgtfD-IFh6bWwigEVXfra31Uoc5dwGjx0DkLxoJbqrtn0OD_Qwk4P8JKR8GIvY6xgRSh3zKI/s320/Starlight_Banner.png" width="320" /></a></div><b>How Can You Help: </b> <br /></div><div><br /></div><div><a href="https://www.starlight.org.au/support-us/donate-to-starlight/donate-to-bring-happiness-to-sick-kids"><span style="font-size: medium;">Starlight Donation</span></a></div><div><br /></div><div><br /><div><span style="color: red; font-size: x-small;"><b>Track Listing</b></span></div></div></div></div><div><span style="font-size: x-small;"><b>01 God Rest ye Merry Gentlemen (CDB)</b></span></div><div><span style="font-size: x-small;"><b>02 Mary's Boy Child (Christine Anu)</b></span></div><div><span style="font-size: x-small;"><b>03 Santa Claus is Back In Town (The Badloves)</b></span></div><div><span style="font-size: x-small;"><b>04 This Christmas (Deni Hines)</b></span></div><div><span style="font-size: x-small;"><b>05 How to Make Gravy (Paul Kelly)</b></span></div><div><span style="font-size: x-small;"><b>06 Silent Night (James Reyne)</b></span></div><div><span style="font-size: x-small;"><b>07 The Little Boy that Santa Claus Forgot (John Farnham)</b></span></div><div><span style="font-size: x-small;"><b>08 O Happy Day (Judith Durham)</b></span></div><div><span style="font-size: x-small;"><b>09 Sleigh Ride (ABC Melbourne Symphony Orchestra)</b></span></div><div><span style="font-size: x-small;"><b>10 Happy Christmas - War is Over (Tim Finn)</b></span></div><div><span style="font-size: x-small;"><b>11 Away in a Manger (Gina Jeffreys)</b></span></div><div><span style="font-size: x-small;"><b>12 Santa Claus is Coming to Town (Frankie J Holden)</b></span></div><div><span style="font-size: x-small;"><b>13 Trim the Tree (Diesel & Wilson)</b></span></div><div><br /></div><div>Rip from CD to FLACs wrapped in artwork. <a href="https://workupload.com/file/zhr7gzEk8cM" target="_blank">Merry Christmas Everyone</a> </div><div><br /></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com0tag:blogger.com,1999:blog-4047234333310975506.post-19139238465132021562023-12-22T22:07:00.001+11:002023-12-23T18:40:20.999+11:00REPOST: Hush - Aloud 'n' Live (1973)(Australian 1971-1977)<br />
<span style="color: yellow;">.</span><br />
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKYs8gAQ_8LgZn5NS6GBN82STwIKhst7z3ikiuS_b1j6o1wXPOC_HfTzWfQh76uRLarv5f5sreZ5E5BdQ01HqKoRqRbHDULTSzEz0xEQ6wV6ML8GtpyMGX0mbS5wbFEHuPN8IjDy_OXEE/s1600/Front+Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKYs8gAQ_8LgZn5NS6GBN82STwIKhst7z3ikiuS_b1j6o1wXPOC_HfTzWfQh76uRLarv5f5sreZ5E5BdQ01HqKoRqRbHDULTSzEz0xEQ6wV6ML8GtpyMGX0mbS5wbFEHuPN8IjDy_OXEE/w248-h251/Front+Cover.jpg" width="248" /></a>Hush</b>: a funny name for a rock band that turned thousands of
teenies on to hysterical weeping and screaming and which was once barred
from entering a country town by the mayor who did not want them
"interfering" with the local girls.<br />
Band members were loud in
every way: from their satiny costumes and fluffy mullets to their
thrusting and wiggling, and their songs, which were mainly a celebration
of sex, including <i>"Glad All Over"</i>, <i>"Get the Feeling"</i> and their No.1 hit, <i>"</i><i>Boney Moroney"</i>.<br />
<span style="color: yellow;">.</span><br />
<b>Biography </b><br />
Hush started as a 5-piece local dance group in Sydney in '71. Musically they just weren't very good. But they were enthusiastic and their repertoire mostly consisted of instantly recognisable, very danceable rock classics (Rolling Stones, Free, and Who numbers). This early line-up of the group contained vocalist Keith Lamb, bassist Rick Lum and drummer Smiley Pailthorpe. They recorded one single for the Phonogram record company, a Keith Lamb original called "You". The flip side was a Neil-Sedaka song "Rainy Day Bells".<br />
Guitarist Les Gock joined the group in August 1972 and the group made the NSW State Finals of a National Battle Of The Sounds competition. Another Sydney group, Sherbet, went on to win the NSW and National finals of that competition. — but Hush were mightily chuffed at even reaching a State final and just 2 years later they would release a single "C'mon We're Taking Over" that was specifically directed at Sherbet, who had gone on to consolidate their own position as Most Popular Group in Australia.<div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqgoaQPE88rx66H2fFuRczEVW_80rh0PA4BKsSznvBCns2xtBmrFpsFfWZFah6ZMx_gzkC4gZzUHfFpxM0arywapQ0x-8MbhAXC00iiqt3BO8fsDBnpegHAjUhrp6V_4ipKl4rCthbuyg/s1600/Hush.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqgoaQPE88rx66H2fFuRczEVW_80rh0PA4BKsSznvBCns2xtBmrFpsFfWZFah6ZMx_gzkC4gZzUHfFpxM0arywapQ0x-8MbhAXC00iiqt3BO8fsDBnpegHAjUhrp6V_4ipKl4rCthbuyg/s320/Hush.jpg" width="320" /></a>But back to '72. As soon as Les Gock joined the band and they'd made the State final, some internal chemistry within the band started working. Inside a few months the group were suddenly the biggest crowd drawers on the Sydney dance circuit. They certainly poured every erg of collective energy into every performance and large groups of young rock 'n' roll consumers suddenly found something better to do than loll around home on Friday and Saturday nights waiting for their parents to come back from the RSL - they went out to scream and dance and sweat to Hush.<br />
But while promoters were only too anxious to book the group, the prevailing feeling was that Hush were a group of thrashers who were pulling the crowds but that the whole thing would pass away within the next six months.</div><div><br />
They were in fact treated much as a novelty — a popular band with no lasting power. This attitude was pretty much reflected when the group signed to the Warner Bros. Record Company which put them in the studios to record an up tempo version of "White Christmas".<br />
Bing Crosby's version of White Christmas is of course the biggest selling record ever made, it's something like 10,000,000 copies in various forms since its its release in late '49.<br />
When set against this standard, Hush's version did particularly dismal business. It sold about 200 copies and got absolutely no airplay.<br />
Well it was a pretty dire record anyway. The sort of record that, on reflection; a band hopes its fans never get to hear.</div><div><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ2G3p5IIiKwDWYpqRBztAMm7uyLlkbpEHm2Ye24BAhoVN8YD1txc9sy7dKUIZaeYTJzAvvuTw4XT9ie3K78qGc32rEjHLN5s_mMExK8Udkfx17oeimabCVX0-hejgItMMf7wTUZzWrTI/s1600/Hush_B&W.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ2G3p5IIiKwDWYpqRBztAMm7uyLlkbpEHm2Ye24BAhoVN8YD1txc9sy7dKUIZaeYTJzAvvuTw4XT9ie3K78qGc32rEjHLN5s_mMExK8Udkfx17oeimabCVX0-hejgItMMf7wTUZzWrTI/s400/Hush_B&W.jpg" width="400" /></a></div><div><br /></div>
Having had no luck with record sessions, Hush concentrated on live work for most of '73. They toured interstate and investigated country areas of NSW. It was during this period of touring that the band gained themselves a reputation for sexual shenanigans. It became almost ritualised behaviour for girls to leap on stage and tear off their clothes while the band played Summertime Blues. In Perth, during one particularly high energy bracket, an overwrought female fan had an orgasm on stage.<br />
"Untouched by human hand — all by herself," remembers Keith Lamb fondly.<br />
In October of '73 the band went back into the studio to record their most popular original song, "Get The Feeling". They didn't adapt to studio conditions any better than on previous efforts, and in an attempt to get their on-stage energy onto record they next put down a live album in front of a few hundred selected fans packed into a Sydney studio. The album <b>Aloud 'n' Alive</b>, was released in December of '73, on the Warner Bros. label.</div><div><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipp2ZNVZ4L3NUQ28utBtdIuGIGh8u3p7m5d5yg7Jq98ybvS3qVrKyKl8teFtGi44hJJI059u_Nv-JJnSHpGpL5zmxzI8wDl0D6siX9r1liki6uKKp7o2y3B1yTKwC_7870c5w9K8XzzT8/s1600/Hush+Colour+Photo.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipp2ZNVZ4L3NUQ28utBtdIuGIGh8u3p7m5d5yg7Jq98ybvS3qVrKyKl8teFtGi44hJJI059u_Nv-JJnSHpGpL5zmxzI8wDl0D6siX9r1liki6uKKp7o2y3B1yTKwC_7870c5w9K8XzzT8/s320/Hush+Colour+Photo.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hush 1973 Promo Shot</td></tr>
</tbody></table>
Once again the final sound on record conveyed practically none of the band's on stage energy, but the album still sold. The groups fans were able to bridge the gap between the group's live and recorded performances. Quite recently the album notched up enough sales to earn itself a gold record.<br />
The success of the album and the band's vast popularity in country areas around NSW finally inspired airplay of the "Get The Feeling" single in 1974. Hush hit the road with a vengeance, extending their touring schedules to take in country areas throughout Australia. The move extended the concert popularity and got further airplay for "Get The Feeling". In March of '74 Hush moved to the Wizard Record Company and recorded the "Get Rocked album. On every level it was better than anything else they'd ever done in a studio. A single called "Walking" from the album scored them their first national hit and the album sold over 45,000 copies.</div><div><br />
The band's third album, 'Cmon We're Taking Over' was made in the euphoria of having scored heavily with 'Get Rocked'.<br />
As already related, the title track of C'mon was a calculated challenge to every other Australian band — especially the most popular, Sherbet.<br />
The album and the single was also a calculated move towards musical sophistication. The band experimented with horn and string arrangements and threw in a couple of ballads for extra artistic effect.</div><div><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjulkt-M3kJt69G0VDm-i6xgLgfVYBfc9Geai03jdJO24RJpFt6PbQmzeH8PIZb14Q9JV32cpZkNsEX6pAmlWOYWuvo1nsIRnXQayPnv-L-IF_U3yq4AOqqFK-PWhsoWsqsnzpocZLaS1g/s1600/Hush_Montage.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjulkt-M3kJt69G0VDm-i6xgLgfVYBfc9Geai03jdJO24RJpFt6PbQmzeH8PIZb14Q9JV32cpZkNsEX6pAmlWOYWuvo1nsIRnXQayPnv-L-IF_U3yq4AOqqFK-PWhsoWsqsnzpocZLaS1g/s320/Hush_Montage.jpg" width="220" /></a></div>
It turned out to be too much too soon. As a single, "Cmon We're Taking Over" received near saturation airplay, but did not prove as popular as the mere basic, raunchier "Walking". The album sold well initially then faltered badly. Hush themselves were struggling with an identity crisis.</div><div>
They were still regarded as a local dance band who could put on a good stage show and who had somehow fluked a hit record and brief national popularity. The group's attempts to update this image with an artistically credible album, i.e. C'num We're Taking Over, didn't work out as planned and the last straw was that their popularity in their home town at Sydney suddenly plummeted. A Sydney Hordern Pavilion concert in early '75 drew only a few-thousand instead of an expected 4,000.<br />
At this time the band were also not having any joy with a new single, "Boney Moroney". It had been recorded under the direction of producer Robbie Porter but the band didn't like the song very much and when radio stations didn't play it the group felt very frustrated indeed.<br />
They left Australia for a while, touring New Zealand and Noumea for six weeks. The tour on the whole was successful and spirit were further uplifted upon their return to find a few radio stations were actually playing Boney.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbkMcPTLFkR9lrg-UK-tI2dxeAXZA2YJaQURrGfPI6ANFosx8l0paDbzoQJ5_b11w_SIEl6Ta4sWffWM84OnJcugnlcohc-qLA62X9wEsC5L4DRxIZSCae7ZBN1PfH8-ZEDmuwEeqhpPc/s1600/RAM+Collection+No.28+Hus-sml.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbkMcPTLFkR9lrg-UK-tI2dxeAXZA2YJaQURrGfPI6ANFosx8l0paDbzoQJ5_b11w_SIEl6Ta4sWffWM84OnJcugnlcohc-qLA62X9wEsC5L4DRxIZSCae7ZBN1PfH8-ZEDmuwEeqhpPc/s400/RAM+Collection+No.28+Hus-sml.jpg" width="400" /></a></div>
<br />
And then "Boney Moroney" took off. It gained airplay and high chart positions in state after state and ended up selling over 50,000 copies. It spread slowly all around Australia, staying on most national charts for most of '75 and it ended up being No.1 National Hit for '75 on the Countdown TV series pop charts.<br />
The follow up single, "Glad All Over" was not as highly successful but it was successful enough, and it was also the single that attracted most interest from record companies in England and America — an interest that has resulted in the band being offered a tour of England in late '76. Hush's most recent album, Rough Tough 'N' Ready (released Dec '75) contained both Boney and Glad All Over singles and was a return to the raunchy rock format of the get Rocked era. It was also the closest yet studio approximation to the band's on stage excitement level. [extract from RAM magazine 1976]<br />
<span style="color: yellow;">.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDBNq4MGbcgaycOcr6c7JMoskpnMSF-ItxBc2cwBEGOerCmPX3ItliLA-c5WrGT63Ot5Wyf-YaTGPY9buVBrS0GGxVQb0xRymfnesgKSEE7iO8C9WAe-i7wMrvJR77UjyKAVKC730oofo/s1600/Molly+Meldrum+Handing+Over+A+Platinum+Album+To+Hush.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDBNq4MGbcgaycOcr6c7JMoskpnMSF-ItxBc2cwBEGOerCmPX3ItliLA-c5WrGT63Ot5Wyf-YaTGPY9buVBrS0GGxVQb0xRymfnesgKSEE7iO8C9WAe-i7wMrvJR77UjyKAVKC730oofo/s400/Molly+Meldrum+Handing+Over+A+Platinum+Album+To+Hush.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Molly handing over a Platinum Single for Boney Moroney on Countdown</td></tr>
</tbody></table><br /></div><div>
This post consists of a vinyl rip in FLAC format along with album artwork and various band promo shots and photos (sourced from <a href="http://www.hushmusic.com.au/home.html">Hush's website</a> with thanks). Also included is a scan of the RAM Collection Centrefold feature on the band, as transcribed above. I have also chosen to add a few rare bonus singles to the post - namely their 1972 reggae rendition of "White Christmas" (thanks to Ozzie Music man), their single "Get The Feelin'" and a special single-sided promo single for Colonial Jeans called "Get Flaired' (see below) which was a rework of their popular live track "Get Rocked". Flaired jeans were certainly the flavour of the day when this promo single was released in 1974, and I reckon I might have had a pair or two myself !<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVLQAnTVkWEouIdLDdShNJzrVkKs_-ZVLE1bnjVivOopjmzcObiRMQ_hBq1A2C-qyTUI96X5Tie1tDEjttSX0KV5Rj-oVnvMpXxVbQ27gw2JLuZUnTJTsIppy5ZcE_dCznydZCWU6KSk/s1600/Hush+-+TV+Week+Oct,+1975.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVLQAnTVkWEouIdLDdShNJzrVkKs_-ZVLE1bnjVivOopjmzcObiRMQ_hBq1A2C-qyTUI96X5Tie1tDEjttSX0KV5Rj-oVnvMpXxVbQ27gw2JLuZUnTJTsIppy5ZcE_dCznydZCWU6KSk/s400/Hush+-+TV+Week+Oct,+1975.jpg" width="400" /></a></div>
<br /><div style="text-align: center;"><b><span style="color: red; font-size: medium;">NEW IMPROVED RIP</span></b></div>
<span style="color: yellow;"></span></div><div><span style="font-size: x-small;"><b><span style="color: red;"><br /></span></b></span></div><div><span style="font-size: x-small;"><b><span style="color: red;">Track Listing</span><br />01 - Take Us Home<br />02 - Three Blind Mice<br />03 - Make luv to You<br />04 - Honky Tonk Woman</b></span><br />
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<span style="font-size: x-small;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzFh6Jf5TOfNPxQX1vRtddXoCs8epqVlFoX8E_ixzQpSAybtipIB3sRWAQJNBc09JwCg4_QVkYG09NJDqDQhDKYiVSfz8AeXERe3Y3Hk5a_WtDalXQBakD6cSIlVi6-YOY-i6W6whDB8/s1600/Get+Flaired_45.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzFh6Jf5TOfNPxQX1vRtddXoCs8epqVlFoX8E_ixzQpSAybtipIB3sRWAQJNBc09JwCg4_QVkYG09NJDqDQhDKYiVSfz8AeXERe3Y3Hk5a_WtDalXQBakD6cSIlVi6-YOY-i6W6whDB8/s200/Get+Flaired_45.jpg" width="198" /></a></b></span></div>
<span style="font-size: x-small;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkOCi9itvwKHWdlr2iQkCNEVtqjmAK60-6HvNR5FNtHnnrMG3oCzT3aEYwRdyWmPtxz4__K-TMOXRxUz0SwJQusKJ3pJtkkD_DPQ_O854kbN0x9dCKA2ALAn5F2Go7NIVSuZB2OZIye9A/s1600/Get+Flaired_45.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a>05 - Come On Up<br />06 - Summer Time Blues<br />07 - Green Skin Girl From Mars<br />08 - Come On Everybody<br />09 - Get The Feelin'<br />10 - Morning Dew<br />11 - Johnny B. Goode<br />12 - Long Tall Sally<br />13 - Black Skin Blue Eyed Boys<br />14 - Get The Feelin' (Bonus single)<br />15 - Get Flaired (Bonus Colonial Jeans Promo Single 1974)<br />16 - White Christmas (Bonus Single)</b></span><br />
<span style="font-size: x-small;"><b><span style="color: yellow;">. </span></b></span><br />
<i>Band members:<br />Keith Lamb (vocals)<br />Les Gock (guitar)<br />Rick Lum (bass)<br />Chris Paithorpe (drums)</i><br />
<span style="color: yellow;">.</span><br />
<a href="https://www.mediafire.com/file/hqmsrs5xgh4bpic/Hush+-+Aloud+'n'+Live+(1973)+FLACS.rar/file" target="_blank">Hush Live Link</a> (299Mb) <span style="color: red; font-size: x-small;">New Link 22/12/2023</span><br />
<span style="color: yellow;">.</span></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com7tag:blogger.com,1999:blog-4047234333310975506.post-61533046452374036032023-12-20T07:38:00.000+11:002023-12-20T07:38:33.266+11:00REPOST: Nova - Vimana (1976)(Italian 1975-78)<br />
<span style="color: yellow;">. </span><br />
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<span style="color: #ffff66;">.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyjyDRS5o3kLVEP_04d58J745-T2nwHBdfavl5kRVjAbtlSUXVTrRxFxH9lGbDkppHgJWkv5pHyvck1zUGxV73g7GBkzy0tNxZZfErrPlmGWFFwx42gRG9WsTMn3lV1ZkcSYYT_dUrp76e/s1600-h/nova+-+vimana+-+front-cd.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5393394069448428098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyjyDRS5o3kLVEP_04d58J745-T2nwHBdfavl5kRVjAbtlSUXVTrRxFxH9lGbDkppHgJWkv5pHyvck1zUGxV73g7GBkzy0tNxZZfErrPlmGWFFwx42gRG9WsTMn3lV1ZkcSYYT_dUrp76e/s320/nova+-+vimana+-+front-cd.jpg" style="float: left; height: 268px; margin: 0px 10px 10px 0px; width: 278px;" /></a>More active abroad than in Italy (where only one of their 4 albums was released), <b>Nova</b> was a unique case of an Italian progressive group that spent almost all of its career in foreign countries. After the split of Uno, former Osanna founders Elio D'Anna and Danilo Rustici stayed in London and formed another band called Nova with other well-known Italian musicians as Corrado Rustici from Cervello and Dede Lo Previte from Circus 2000.</div><div>
The band, with a stronger jazz-rock influence than their previous groups, released their first album, Blink, in 1976, aided by such big names as Pete Townshend and with help from lyricist Nick J.Sedwick (who also wrote the lyrics for Uno). A usual Osanna feeling is still in the air, but the style is changing to a more commercial kind of music. Only two of the six tracks are instrumental, the singer role been taken by Corrado Rustici, and the album has some good moments.</div><div><br />
Since the following LP their records never gained an Italian release, the band having now stably moved to England and, since 1978, to the USA.Second album, Vimana, saw the band reduced to a trio, original members Elio D'Anna and Corrado Rustici augmented by ex-New Trolls Atomic System's keyboardist Renato Rosset and with help from international stars like Percy Jones (bass), Narada Michael Walden (drums), Phil Collins (percussion). Though some of the typical Osanna/Cervello sound elements can still be heard (listen to Elio D'Anna's sax or Corrado Rustici's frantic guitar), the band's style is slowly approaching a mainstream jazz-rock with a funky edge, and the last two albums will go to a lower level.<br />
<br />
<span style="color: #ffff66;">.</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Av9KpwXz0UFaZREtOIAJYwa7uxcEVUQZIA5EEicC1wSukBCupH9Cq_m3pDA01dmsUztYZ_4Tx9HLiGJwOKm5O0Ycb13DI_5mJ5Cs_4l1wKSAUj-i3nYngIyCmWwIWQQgaNhRgaU2hqkx/s1600/Nova+Band+Members.jpg" style="color: #ffff66;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5705263023972606546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Av9KpwXz0UFaZREtOIAJYwa7uxcEVUQZIA5EEicC1wSukBCupH9Cq_m3pDA01dmsUztYZ_4Tx9HLiGJwOKm5O0Ycb13DI_5mJ5Cs_4l1wKSAUj-i3nYngIyCmWwIWQQgaNhRgaU2hqkx/s320/Nova+Band+Members.jpg" style="cursor: pointer; float: right; height: 273px; margin: 0pt 0pt 10px 10px; width: 303px;" /></a>The fourth and last one, Sun city was recorded in the USA in 1978 and showed a harder sound with the magic guitar of Corrado Rustici (one of the most talented guitarists from that era) in great evidence.<br />
D'Anna then returned to Italy for a career as producer, leaving the musical scene to completely disappear, while Corrado Rustici stayed in the USA, returning back to Italy where he's long collaborated with such artists as Zucchero and Elisa, both as musician and producer. During their early days in England with Nova, both Elio D’Anna and Corrado Rustici (credited on the cover as Carrado Rusticci!) appeared on the 1976 album Sunset wading by Caravan’s bass player John G.Perry. An Italian band influenced by the Mahavishnu Orchestra's acoustic stylings, Wayne Shorter's soprano sax attack, and British art rock vocalizing. The resultant fusion is airy and pleasant. Guest drummer Narada Michael Walden pushes things incisively and contributes the catchy number "Princess and the Frog".<br />
<span style="color: #ffff66;">.</span><span style="color: #ffff66;">.</span></div>
<div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcRW6fD00dqixwiSCT72f6Q_Jsau19CBszce9XYs9hQonxQjGQw-8zAUJtG6BxZqnKNS_7die0cKyNgTAIB75GHNxH8ddxTbqMztBH-uKbffA0Tx2LVSsIvMaGQyk06ZyR_-WCZ_CWwNj/s1600-h/The+Band+-+1976.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5420981470291791346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcRW6fD00dqixwiSCT72f6Q_Jsau19CBszce9XYs9hQonxQjGQw-8zAUJtG6BxZqnKNS_7die0cKyNgTAIB75GHNxH8ddxTbqMztBH-uKbffA0Tx2LVSsIvMaGQyk06ZyR_-WCZ_CWwNj/s320/The+Band+-+1976.jpg" style="cursor: pointer; float: left; height: 247px; margin: 0pt 10px 10px 0pt; width: 323px;" /></a>I first heard Nova while browsing in one of my favourite import shops in Melbourne and was totally mesmerized by the 'Jazz Fusion' experience that came through the tiny shops speakers. Needless to say, the LP was purchased immediately and their remaining 3 albums as soon as I was financial. My favourite track on the album would have to be "Night Games" although every track has something special about it. If you like bands like 'Mahavishnu Orchestra' or Australia's very own 'Crossfire', then you will really dig Nova. I have also posted their other 3 albums on the blog for your enjoyment!</div>
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But for now, here is a freshly ripped copy of my vinyl copy of Vimana in FLAC format and includes full album artwork from LP and CD.</div><div><br /></div><div><span style="color: red; font-size: medium;"><b>NEW IMPROVED RIP<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibmxXvvJ6AfKN4PbjXqFgI4JUsmmB2aPq_zhg1YqHKLf852d6VGWGA8kYqpsPN_omD1sf0iVLUzSMMrLKLh07UT3_1_WiJVxclQ2olXZSmAC5GgOJ19aOUfs8ua9QsOhKajqpu7ER4r_HRyPNg5tzjtQrJGRScEHaHWVbte-MMHNvmgHFMrsa9NhKvkiQ/s1217/Label_Side1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1215" data-original-width="1217" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibmxXvvJ6AfKN4PbjXqFgI4JUsmmB2aPq_zhg1YqHKLf852d6VGWGA8kYqpsPN_omD1sf0iVLUzSMMrLKLh07UT3_1_WiJVxclQ2olXZSmAC5GgOJ19aOUfs8ua9QsOhKajqpu7ER4r_HRyPNg5tzjtQrJGRScEHaHWVbte-MMHNvmgHFMrsa9NhKvkiQ/w200-h199/Label_Side1.jpg" width="200" /></a></div><br /></b></span></div>
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<span style="color: #ffff66;">.</span><b style="font-size: small;"><span style="color: red;">Track Listing</span></b></div>
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<span style="font-size: x-small;"><b>01. Vimana (7:18)</b></span><br />
<span style="font-size: x-small;"><b>02. Night Games (9:37) </b></span></div>
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<span style="font-size: x-small;"><b>03. Poesia (To a Brother gone) (5:11)</b></span></div>
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<span style="font-size: x-small;"><b>04. Thru the Silence (5:43) </b></span></div>
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<span style="font-size: x-small;"><b>05. Driftwood (10:03) </b></span></div>
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<span style="font-size: x-small;"><b>06. Princess and the Frog (7:44)</b></span></div>
<span style="color: #ffff66; font-size: x-small;">.</span><br />
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<i>Band Members:</i><br />
<i>Corrado Rustici (Lead guitar, 6 & 12 strings & acoustic guitar, marimba, lead vocals)</i><br />
<i>Elio D'Anna (Tenor & Soprano saxes, flute, synthesized flute)</i></div>
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<i>Renato Rosset (Fender Rhodes piano, acoustic piano, Mini-Moog, strings ensemble, clavinet)</i></div>
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<i>Guest Artists:<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm0bIRCBkS9wkGasatQxST52YATOZmpsKjFesLu5hlzKSK1ATde_ciJHdmj4Lfbg9LOeo2P6sdSdAECrg96Q7k5IMViYM19IpC2m_d3A5z-HUFboSH80qpyfERCC9_dR3Zy-JASkpGffiimyuco6u2ZHEdCG46ZE9ykOnwD3s2re85gaHDZzF1NFf0hfM/s1209/Label_Side2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1209" data-original-width="1205" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm0bIRCBkS9wkGasatQxST52YATOZmpsKjFesLu5hlzKSK1ATde_ciJHdmj4Lfbg9LOeo2P6sdSdAECrg96Q7k5IMViYM19IpC2m_d3A5z-HUFboSH80qpyfERCC9_dR3Zy-JASkpGffiimyuco6u2ZHEdCG46ZE9ykOnwD3s2re85gaHDZzF1NFf0hfM/w199-h200/Label_Side2.jpg" width="199" /></a></div></i></div><div><i>Percy Jones (Bass guitar)</i></div>
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<i>Narrada Micheal Walden (Drums & Fender Rhodes piano)</i></div>
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<i>Phil Collins (Percussion)</i></div>
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<i>Zakir Hussain (Congas)</i></div>
<span style="color: #ffff66;">.</span><div><span style="color: #ffff66;"><br /></span>
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<a href="https://filecat.net/f/d2SgpF" target="_blank">Nova Link</a> (229Mb) <span style="color: red; font-size: x-small;">New <span><span>Link 20/12/2023</span></span></span></div>
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<span style="color: #ffff66;">..</span></div><div><span style="color: #ffff66;"><br /></span></div><div><span style="color: #ffff66;"><br /></span></div>
</div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com4tag:blogger.com,1999:blog-4047234333310975506.post-92102518680751550822023-12-17T14:39:00.001+11:002023-12-17T14:39:24.061+11:00REPOST: Tears For Fears - The Seeds Of Love (1989) + Bonus Tracks(U.K 1981-91)<br />
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<span style="color: #ffff66;">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcKdYemEOVG0lsAZx6sA626USaom-pDLQkdPgMfm3ZScXmxi4rh_6wtRX_BcQ-PvWOVV_b-I1AJU6vGmZBrn2yiLwVIzU04TXaoWFsd6a5-bAim84E4XcE5qstTykhKtBPWYZ3ngZgoGj/s1600-h/Tears_for_fears_the_seeds_of_love_1989_front.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5374966944424368706" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcKdYemEOVG0lsAZx6sA626USaom-pDLQkdPgMfm3ZScXmxi4rh_6wtRX_BcQ-PvWOVV_b-I1AJU6vGmZBrn2yiLwVIzU04TXaoWFsd6a5-bAim84E4XcE5qstTykhKtBPWYZ3ngZgoGj/s320/Tears_for_fears_the_seeds_of_love_1989_front.jpg" style="cursor: hand; float: left; height: 259px; margin: 0px 10px 10px 0px; width: 256px;" /></a>Before you dismiss <b>Tears For Fears</b> for their earlier pop hits like 'Mad World', 'Shout' and 'Everybody Wants to Rule the World', as popular as they may have been; their third album <b>'Seeds Of Love'</b> contains a barrage of musical sounds and lyrics, unparalleled to anything they had released before. The Seeds of Love (on which Ian Stanley appeared for the last time as a TFF member), at a reported production cost of over a million pounds. The album was written largely by Orzabal along with keyboardist Nicky Holland, who had toured with the band on their global 1985 "Big Chair" tour. Moving from various studios and using various sets of producers over many months, the band ultimately decided to scrap that previous work and take the reins themselves with assistance from engineer David Bascombe. Much of the material was recorded in jam sessions and later edited down. The length of the production left the band with towering debt and a record company eager to cash in on lost earnings.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3eI_P48mgQcGi0qAgn659dVjedVEQjl-g8bIga59rIQnDoBNwcnHz8FJEzrfcftAxwxCDm4-mGpDflrjRL6ISGIfPuGaLPTC1Ac5oBvvhU2ehbrPEFYMwGT7UWzzxyVbOxehKaQM14tc0/s1600-h/Tears+For+Fears.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5374967321770894418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3eI_P48mgQcGi0qAgn659dVjedVEQjl-g8bIga59rIQnDoBNwcnHz8FJEzrfcftAxwxCDm4-mGpDflrjRL6ISGIfPuGaLPTC1Ac5oBvvhU2ehbrPEFYMwGT7UWzzxyVbOxehKaQM14tc0/s320/Tears+For+Fears.jpg" style="float: right; height: 223px; margin: 0px 0px 10px 10px; width: 221px;" /></a> </div>
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The songs on this album feature expansive melodies instead of blatant hooks, and the sound is more grounded in soul and gospel on songs like "Woman in Chains," the updated Philly-soul strain of "Advice for the Young at Heart" and "Badman's Song." Orazabal's passionate vocals are well matched by Oleta Adams' fervent contributions. The group even dabbles in jazz on "Standing on the Corner of the Third World," the fabulous "Swords and Knives," and the slow-burning "Year of the Knife", my personal favourite. As for the title track, it manages to be insanely intricate as well as catchy. Full of arcane references, lovely turns of phrase, and perfectly matched suite-like parts, it updates the orchestral grandiosity — and familiar sound — of the Beatles' psychedelic period. </div>
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The first time I heard this album, I couldn’t help but compare it with Sgt Peppers Hearts Club Band with its psychedelic cover, diverse sounds and similar riffs (ie Sowing the Seeds and the Beatles 'I Am The Walrus').</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIbQELfVRb13rP76ugxM89HV2Pc-N4YKkfNjnymyuReTx3oUE3_Z7FxOw0-absFhINGu_npqXmhZPPtqUvaVmzQLvZYyIRoTRZut4FYQqxrLfrkZiY7GNIkrTpCzIgcsZmGL_pZC6XZ0a/s1600-h/Tears+For+Fears+Live.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5374968072031795474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIbQELfVRb13rP76ugxM89HV2Pc-N4YKkfNjnymyuReTx3oUE3_Z7FxOw0-absFhINGu_npqXmhZPPtqUvaVmzQLvZYyIRoTRZut4FYQqxrLfrkZiY7GNIkrTpCzIgcsZmGL_pZC6XZ0a/s320/Tears+For+Fears+Live.jpg" style="cursor: hand; float: left; height: 243px; margin: 0px 10px 10px 0px; width: 320px;" /></a>After The Seeds of Love, Orzabal and Smith had an acrimonious falling out and parted company in 1991. The split was blamed on Orzabal's intricate but frustrating approach to production and Smith's desire to slow down the pace of their work. Alias, there was no follow up album to Seeds Of Love in the remaining time that Orzabal and Smith spent together, so this album therefore stands out as a classic by depole. If you haven't heard this album, then do yourself a favour - give it a go, you won't be disappointed.</div><div><br /></div>
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The rip was taken from my vinyl in FLAC format and includes full album artwork. I have also chosen to include the single release of the album's title track along with its non-album B-Side "Tears Roll Down".</div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjhkz8NOwK4T7PoTH8Mor-Kz2wX5pFVaep8S6zCd0bvjMK-xLjRU1FZIaTB6yRoNMZAPk4gG622KBeAoj7k80aFMaXbL2uxSm8rPdA4ETkN0t9dXidTEz8LFj0tbcjY6oLV9Sur0Llb4Cd/s1600/Tears_For_Fears_-_The_Seeds_Of_Love_45.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5738987781265273058" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjhkz8NOwK4T7PoTH8Mor-Kz2wX5pFVaep8S6zCd0bvjMK-xLjRU1FZIaTB6yRoNMZAPk4gG622KBeAoj7k80aFMaXbL2uxSm8rPdA4ETkN0t9dXidTEz8LFj0tbcjY6oLV9Sur0Llb4Cd/s400/Tears_For_Fears_-_The_Seeds_Of_Love_45.jpg" style="cursor: pointer; float: right; height: 203px; margin: 0pt 0pt 10px 10px; width: 199px;" /></a><br /></div><div style="text-align: center;"><span style="color: red;"><b>NEW IMPROVED RIP</b></span></div>
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<span style="color: #ffff66;">.</span></div>
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<b><span style="color: red; font-size: 85%;">Track Listing</span></b></div>
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<b><span style="font-size: 85%;">01 - Woman in Chains</span></b></div>
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<b><span style="font-size: 85%;">02 - Badman's Song</span></b></div>
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<b><span style="font-size: 85%;">03 - Sowing the Seeds of Love</span></b></div>
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<b><span style="font-size: 85%;">04 - Advice for the Young at Heart</span></b></div>
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<b><span style="font-size: 85%;">05 - Standing on the Corner of the Third World</span></b></div>
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<b><span style="font-size: 85%;">06 - Swords and Knives</span></b></div>
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<b><span style="font-size: 85%;">07 - Year of the Knife</span></b></div>
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<b><span style="font-size: 85%;">08 - Famous Last Words<br /><span style="color: red;">[Bonus Tracks]</span><br />09 - Tears Roll Down (B-Side Single)<br />10 - Sowing The Seeds Of Love (A-Side Single Edit)</span></b></div>
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<span style="color: #ffff66;">.</span></div>
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<i>Band Members:<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbH1xi_8FyqXwbZ8cExT45ZLMxt98BhdXTlI4kM7k2WIpMoMUjwMZNIqMoU0a6xN0YqjHUdcU42P6rSg8PPobmEGsrX79xBZFA0yu2AowpuSGLXDBFZwhyfm8_gVxP92viiRTtNcXM8uhaowH6EarBUhb6tN7pz-PkP7Hws7t-w-4WTWvMru8DeK1M3fE/s1213/Label_Side1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1210" data-original-width="1213" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbH1xi_8FyqXwbZ8cExT45ZLMxt98BhdXTlI4kM7k2WIpMoMUjwMZNIqMoU0a6xN0YqjHUdcU42P6rSg8PPobmEGsrX79xBZFA0yu2AowpuSGLXDBFZwhyfm8_gVxP92viiRTtNcXM8uhaowH6EarBUhb6tN7pz-PkP7Hws7t-w-4WTWvMru8DeK1M3fE/w200-h199/Label_Side1.jpg" width="200" /></a></div></i></div><div><i>Lead Vocals - Roland Ozabal, Curt Smith</i></div>
<div>
<i>Guitars - Roland Orzabal, Robbie McIntosh, Neil Taylor</i></div>
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<i>Bass - Curt Smith, Pino Palladino</i></div>
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<i>Keyboards - Nicky Holland, Roland Orzabal, Ian Stanely</i></div>
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<i>Drums - Manu Katche, Phil Collins, Simon Phillips, Chris Hughes</i></div>
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<i>Percussion - Carole Steele, Luis jardim</i></div>
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<i>Trumpet - Jon Hassell</i></div>
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<i>Harmonica - Peter Hope-Evans</i></div>
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<i>Backing Vocals - Nicky Holland, Tessa Niles, Carol Kenyon</i></div>
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<span style="color: #ffff66;">.</span></div>
<div>
<a href="https://workupload.com/file/QnSTxF9tbxa" target="_blank">Tears For Fears Link</a> (321Mb) <span style="font-size: x-small;"><span style="color: red;">New Link 17/12/2023</span></span><br />
<span style="color: #ffff66;">.</span></div>
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AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com3tag:blogger.com,1999:blog-4047234333310975506.post-76360754797247949592023-12-14T23:33:00.001+11:002023-12-14T23:33:37.771+11:00REPOST: Deep Purple - Made In Europe (1976)(U.K 1968 - 1976, 1984 - Present)<br />
<span style="color: yellow;">.</span><br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpLTJqejE9uR-oho1innhQNdaP9KWDgIptAbu8KEzOqq8kG7VBdfMZmsXzpf8o2uiRhfZatI80kR0s5PmRhZiEX2mGJUqMZitQARvPlEIjb56kZwFdnvPl6BWQ581l8SUaundireWk3Yo/s1600/Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpLTJqejE9uR-oho1innhQNdaP9KWDgIptAbu8KEzOqq8kG7VBdfMZmsXzpf8o2uiRhfZatI80kR0s5PmRhZiEX2mGJUqMZitQARvPlEIjb56kZwFdnvPl6BWQ581l8SUaundireWk3Yo/s200/Cover.jpg" width="200" /></a></div>
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This live recording, made in 1975, comes from Ritchie Blackmore's last three concerts with the band before leaving to form Rainbow. In support of Burn and Stormbringer, Deep Purple took to the road for many sell out shows over the next several years & recorded the final album of their long run with Warner Bros.</div>
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<br /></div>
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It features Deep Purple Mark III, with David Coverdale on vocals and Glenn Hughes on bass and vocals. Coverdale is a convincing hard rock singer, though he lacks the winning quirkiness of Ian Gillan, while Hughes is a busier and more up-front player than Roger Glover. While "Burn" and "Mistreated" are worthy successors to previous Deep Purple tunes, the remaining material is weaker, and overall, this stuff is definitely a couple of notches below the glory days of Made in Japan. But Blackmore, for his swan song, still manages to inject a good deal of excitement, and his invention and fire raise the proceedings up somewhat.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTUJzijHN2GrNq_ZrRWxklycTYBOyoapW6C5lG6OqrHItcLkIgdCezEhBFMhLGMD8HGQ6stPcXXovZTHwP5lOFUTAsIykioMg12BrNryKJAILYY1pVCm0zhOzlgyqO69IFVdaVhyphenhyphenUUGEw/s1600/Deep+Purple%25E2%2580%2599s+Mark+III.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="267" data-original-width="400" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTUJzijHN2GrNq_ZrRWxklycTYBOyoapW6C5lG6OqrHItcLkIgdCezEhBFMhLGMD8HGQ6stPcXXovZTHwP5lOFUTAsIykioMg12BrNryKJAILYY1pVCm0zhOzlgyqO69IFVdaVhyphenhyphenUUGEw/s400/Deep+Purple%25E2%2580%2599s+Mark+III.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Deep Purple - MKIII</td></tr>
</tbody></table>
<div>
<b>Review</b></div>
<div>
In 1976, Deep Purple ended with a thud.</div>
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<div>
With no desire to carry on, the band split in 1976 after the ill-received addition of Tommy Bolin on lead guitar. David Coverdale was eager to start a solo career where he could sing, and not “scream his balls off”. Everybody else was just plain tired of it all. Dutifully, the record company trotted out live albums and compilations, to keep the cash flowing. Made in Europe, intended as a followup to Made in Japan, came first. It was followed by Power House, When We Rock We Rock, Deepest Purple, Last Concert in Japan, Live in London, and many more. The goal was not to provide fans with good quality unreleased music for them to enjoy. The purpose was to make more money.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHToYqWCHh36x3URZYrzLHoullcTg1Rz4vz6lSggpQSxrV0WionH8_mTTl9klDxJLfZ7Ju-KeNM2YyPsvE65zjDabjjg7ZSIDOrcRrqY7GEVNpiD1qNf4l0hVUp9toasCCBXpc9Gl5_w/s1600/Deep+Purple+MKIII+LIVE+onstage+in+Europe+1975.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="720" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHToYqWCHh36x3URZYrzLHoullcTg1Rz4vz6lSggpQSxrV0WionH8_mTTl9klDxJLfZ7Ju-KeNM2YyPsvE65zjDabjjg7ZSIDOrcRrqY7GEVNpiD1qNf4l0hVUp9toasCCBXpc9Gl5_w/s400/Deep+Purple+MKIII+LIVE+onstage+in+Europe+1975.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Live on their 1975 Tour</td></tr>
</tbody></table>
<div>
Made in Europe has since been superseded by better releases. MkIII: The Final Concerts expanded and remixed this material, sourced from their last shows with Ritchie Blackmore. He had already made the decision to quit, unbeknown to his bandmates. More recently, the Official Deep Purple (Overseas) Live Series released full shows of two concerts, Graz and Paris. It is always preferable to have the full show, rather than a song here or there sloppy edited and mixed into a live album. Don’t you agree?</div>
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<br /></div>
<div>
With only five songs, Made in Europe was hardly representative of Purple’s set at the time, but it seems a single LP was all that EMI were willing to invest in. Producer Martin Birch was unable to get the same heavy, crisp sound that he got on Made in Japan. This one is heavy, but that crisp sound is muffled under a blanket.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkI4QnW3XvUsENTMZ_dg9PvlrmiIXrJDMGu8amwEt2dUegD51R9r2Fy6OolIY03ZXNlnELA_ThgJu0Ga9qz8NChGTW3O4fz7oDQ1dzWTmeEm_jIF2JQs3i6CzFAPH0KjAYasvZk6tXnOA/s1600/1974-04-Deep-Purple-POP-Superposter.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="740" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkI4QnW3XvUsENTMZ_dg9PvlrmiIXrJDMGu8amwEt2dUegD51R9r2Fy6OolIY03ZXNlnELA_ThgJu0Ga9qz8NChGTW3O4fz7oDQ1dzWTmeEm_jIF2JQs3i6CzFAPH0KjAYasvZk6tXnOA/s400/1974-04-Deep-Purple-POP-Superposter.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Live on their 1975 Tour</td></tr>
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“Burn” is an apt opener, and both David and Glenn Hughes were in fine form that night. Blackmore, Paice and Lord always are. Yet Deep Purple sound almost…bored? Playing by rote? Blackmore’s guitar is also too buried in the mix. The first of two jams is up next: “Mistreated (Interpolating ‘Rock Me Baby’)”. While no one questions that this is one of the greatest songs in the Deep Purple MkIII catalogue, the live jam has always dragged. Ritchie’s playing is still a delight, but they could have trimmed two or three minutes from the song. That’s followed by a frantic “Lady Double Dealer”, never one of Purple’s finest. Birch applies an irritating echo to the chorus, but that’s all for the first side.</div>
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The second side is dominated by 16 minutes of “You Fool No One”, the second jam. Jon Lord takes center stage for the organ solo intro, but if you dig cowbell, this song is for you! Could Ian Paice be the #1 cowbell player on the planet? “You Fool No One” testifies to that. He is absolutely the MVP on this track (for his drumming, too)! Finally, the full gale force of “Stormbringer” brings the proceedings to an end, easily the best track on the disc.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdIDHzQwzuntI061rtKbyBEGGYpBRANyXxp-ub3_LHhi-__2iwVHoTzV8msb9sECc53PMMvGvD9amD-mjaOcEQcAjB1BSPw4yDs4iXS3VPNxyOkFmSe9eW6egibAYLTVF0IbtMxL9ygMM/s1600/deep-purple-markIII.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="648" data-original-width="960" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdIDHzQwzuntI061rtKbyBEGGYpBRANyXxp-ub3_LHhi-__2iwVHoTzV8msb9sECc53PMMvGvD9amD-mjaOcEQcAjB1BSPw4yDs4iXS3VPNxyOkFmSe9eW6egibAYLTVF0IbtMxL9ygMM/s400/deep-purple-markIII.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">L-R: Hughes, Blackmoore, Paice, Lord, Coverdale</td></tr>
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<div>
What you say, no “Smoke on the Water”? No “Highway Star”? It appears EMI wanted to avoid song overlap with Made in Japan, so you get MkIII material and only MkIII material! Nevertheless, this is a pretty good follow up to their 1972 epic. [extract from mikeladano.com]</div>
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<span style="color: yellow;">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1ydJBXP8zt64esmTD8iEEua59S3EVX_2SgcCmArMfoANx7wVTEg7UELhn75KYQIKj_LUPHkggyYkO3JUo6_3_Ei9qWAdI1pDTChdct7l8pBxGpUvVXXOvNSHb5vixmOmyOHoqMCa-hk/s1600/Vinyl.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="177" data-original-width="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1ydJBXP8zt64esmTD8iEEua59S3EVX_2SgcCmArMfoANx7wVTEg7UELhn75KYQIKj_LUPHkggyYkO3JUo6_3_Ei9qWAdI1pDTChdct7l8pBxGpUvVXXOvNSHb5vixmOmyOHoqMCa-hk/s1600/Vinyl.jpg" /></a></div>
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This post consists of FLACs ripped from CD and includes full artwork for both CD and Vinyl, along with label scans from my vinyl. It is interesting to note that the band depicted on the picture label for the UK vinyl release is inaccurate, depicting Tommy Bolin's face rather than Ritchie Blackmoore. Bolin did not join the band until after their 1975 Tour, when Blackmoore left to form Rainbow - so poor effort on the part of their record company (see below)</div><div style="text-align: center;"><span style="color: red;"><b>NEW IMPROVED RIP</b></span></div><div><b><span style="color: red; font-size: x-small;">Track Listing</span></b></div>
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<b><span style="font-size: x-small;">01 - Burn<span style="white-space: pre;"> </span>7:32</span></b></div>
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<b><span style="font-size: x-small;">02 - Mistreated (Interpolating Rock Me Baby)<span style="white-space: pre;"> </span>11:40</span></b></div>
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<b><span style="font-size: x-small;">03 - Lady Double Dealer<span style="white-space: pre;"> </span>4:15</span></b></div>
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<b><span style="font-size: x-small;">04 - You Fool No One<span style="white-space: pre;"> </span>16:42</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqpHBxLpbQL-mcH5mpKsrncVH2m8Y18FoQm-n499oUEkEkxupmzZAADh5P7QjJ8XQeViMDz6GPru7tLcEpOQObOZxAdWDMB4yJJJNtH3n869OLKAid9-TnhebDvQTBgpVMiKKri3ZJfI/s1600/Picture+Label.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="656" data-original-width="656" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqpHBxLpbQL-mcH5mpKsrncVH2m8Y18FoQm-n499oUEkEkxupmzZAADh5P7QjJ8XQeViMDz6GPru7tLcEpOQObOZxAdWDMB4yJJJNtH3n869OLKAid9-TnhebDvQTBgpVMiKKri3ZJfI/s200/Picture+Label.jpg" width="200" /></a><b><span style="font-size: x-small;">05 - Stormbringer<span style="white-space: pre;"> </span>5:38</span></b></div>
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<i>Vocals – David Coverdale</i></div>
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<i>Bass Guitar, Vocals – Glenn Hughes</i></div>
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<i>Drums – Ian Paice</i></div>
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<i>Lead Guitar – Ritchie Blackmore</i></div>
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<i>Organ [Hammond], Keyboards – Jon Lord</i></div>
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<span style="font-size: x-small;">All titles recorded at:-</span></div>
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<span style="font-size: x-small;">Graz in Austria on the 4th April 1975</span></div>
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<span style="font-size: x-small;">Saarbrucken in Germany on 5th April 1975</span></div>
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<span style="font-size: x-small;">Paris in France on the 7th April 1975</span></div>
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<a href="https://workupload.com/file/tyVs8bTZP5s" target="_blank">Deep Purple Made In Europe Link</a> (255Mb) <span style="color: red; font-size: x-small;">New Link 14/12/2023</span></div>
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AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com4tag:blogger.com,1999:blog-4047234333310975506.post-28259179659477552522023-12-09T12:06:00.001+11:002023-12-09T12:06:07.172+11:00Stephen Stills Manassas - Down The Road (1973)<p> (U.S 1971-1973)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQehQ93B1obXRwS-iryDHYfax_MEGS9tIYuRCAt3Tg1IDMo_DSRzYb0bxDdPl4n4rVi5mee2PI5DCj7EHUw5gxEHkyIp0d8_cKWn2pydzIqmOO_HRLhYFaAsSWG_ujbVyriDKJJy7GLb7Grirj_WQyRaTFdnglbdzz7nvIlCYnzV785RuL1o-o6J0yzA/s1192/Cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1151" data-original-width="1192" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQehQ93B1obXRwS-iryDHYfax_MEGS9tIYuRCAt3Tg1IDMo_DSRzYb0bxDdPl4n4rVi5mee2PI5DCj7EHUw5gxEHkyIp0d8_cKWn2pydzIqmOO_HRLhYFaAsSWG_ujbVyriDKJJy7GLb7Grirj_WQyRaTFdnglbdzz7nvIlCYnzV785RuL1o-o6J0yzA/w257-h248/Cover.jpg" width="257" /></a></div><b>Manassas</b> was an American rock band formed by Stephen Stills in 1971. Predominantly a vehicle for Stills’ artistic vision, the band released two albums during its active tenure, 1972’s Manassas and 1973’s Down the Road. The band dissolved in October 1973.<br /><br />Manassas was formed in the fall of 1971, following Stills' concert tour to support his album Stephen Stills 2 (1971). While Stephen Stills 2 was Stills’ second solo album, it was his first completed following the acrimonious 1970 break up of Crosby, Stills, Nash & Young (CSNY), and was not critically well-received. After a chance meeting with Flying Burrito Brothers singer/multi-instrumentalist Chris Hillman in Cleveland, where Stills’ tour schedule crossed paths with that of the Burritos – a band that, by late 1971, had undergone multiple personnel changes and was in financial trouble – Stills saw an opportunity to change his artistic direction. He subsequently contacted Hillman, asking him, along with Burritos’ guitarist Al Perkins and fiddler Byron Berline, to join him in Miami at Criteria Studios to jam. Stills also invited several members of his touring band – drummer Dallas Taylor, bassist Calvin “Fuzzy” Samuels, keyboardist Paul Harris and vocalist/percussionist Joe Lala – to play at the session.<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7T3oDPDRJccV7e0HgBcXAHcj9uEH5JEtFr458Jv5eXxahLr4kPez3mWgZyC4Oazc_tCZX-2ZCWVXYHF7PLo1nO1CE2cPd76ajfRU5IngMN93qvjGIc_dAAv7PQ9TxYFnAwIIRGiwAXehMmN8k3Hzjtut0nwN_hBdGSMRkURyC_bjyhyphenhyphenlios3nezyVK2w/s736/Manassas%20Band.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="736" height="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7T3oDPDRJccV7e0HgBcXAHcj9uEH5JEtFr458Jv5eXxahLr4kPez3mWgZyC4Oazc_tCZX-2ZCWVXYHF7PLo1nO1CE2cPd76ajfRU5IngMN93qvjGIc_dAAv7PQ9TxYFnAwIIRGiwAXehMmN8k3Hzjtut0nwN_hBdGSMRkURyC_bjyhyphenhyphenlios3nezyVK2w/w400-h349/Manassas%20Band.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The musicians quickly gelled in the studio, and within several weeks had recorded enough material at Criteria to fill a double-LP album release. The band was capable of a wide musical range, with a repertoire including blues, folk, country, latin, and rock songs. Rolling Stones bassist Bill Wyman, a friend of both Hillman and Stills who visited Criteria during the sessions, was an early fan of the band, at one point expressing an interest in joining. The band christened itself Manassas after Stills, who had an interest in American Civil War history, orchestrated a photo shoot for them in Manassas, Virginia, the site of the First and Second Battles of Bull Run (1861 and 1862, respectively).</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWctgJhktc8mmEzLdhsDvljop82KPpi7soeWnozNcuEvkFB0NcuJ9SD8Nz50KSgQ5JrvD9hzAXaOOhI2smcpGmLPkXNU6U_z0HE9qU2J117ecne5OFKOZmNcC4nSikS8JEniP6BTcIWnrl9L65JnP2qtyEZhe79-EeiKmyBQKxw22vuzusOjpKHWyIxf0/s800/stephen-stills-manassas-collage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWctgJhktc8mmEzLdhsDvljop82KPpi7soeWnozNcuEvkFB0NcuJ9SD8Nz50KSgQ5JrvD9hzAXaOOhI2smcpGmLPkXNU6U_z0HE9qU2J117ecne5OFKOZmNcC4nSikS8JEniP6BTcIWnrl9L65JnP2qtyEZhe79-EeiKmyBQKxw22vuzusOjpKHWyIxf0/s320/stephen-stills-manassas-collage.jpg" width="320" /></a></div><br /><div>Down The Road is the second and last album by Stephen Stills' band Manassas. It was released in 1973. The album was not very well received. Rolling Stone was especially critical, saying "it would be sad to think the people involved put this record out not because of business pressures but because they were proud of it." It only made it to #26 on the Billboard album charts and its single, "Isn't It About Time", only made it to #56 on the Billboard singles charts.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf7gRGC9wpbj5OxNAM9Q_fFQKmaTojuHj2asESr0fcFI8tfJWW4HYMwxIChb5nHg8xRQys1WaqkZffQvaDVhAF_UaugAbnD1CvAFD8y4iIEv0JAFoCZxu43F3Y5k2pync_TpjQXMtzdq5lD6lVFlJQlisaG_KOOGEUZ0K03mNdoUuJqCDRLSNNuoPDsDw/s500/Stephen%20Still's%20Manassas%20On%20Stage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="262" data-original-width="500" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf7gRGC9wpbj5OxNAM9Q_fFQKmaTojuHj2asESr0fcFI8tfJWW4HYMwxIChb5nHg8xRQys1WaqkZffQvaDVhAF_UaugAbnD1CvAFD8y4iIEv0JAFoCZxu43F3Y5k2pync_TpjQXMtzdq5lD6lVFlJQlisaG_KOOGEUZ0K03mNdoUuJqCDRLSNNuoPDsDw/w400-h210/Stephen%20Still's%20Manassas%20On%20Stage.jpg" width="400" /></a></div><br /><div><div><b><span style="font-size: medium;">Album Reviews</span></b></div><div><br /></div><div><div><b>by DAVE CONNOLLY (progrography.com)</b></div><div>The second Manassas record sounded a lot like Stephen Stills 2 with better playing behind it, which wasn’t good enough for critics, most of whom panned Down The Road as second rate. It’s really not a bad record, a good half of which can hold its own with the material on the first Manassas record. Highlights include “Isn’t It About Time” (which features some blistering slide work), Chris Hillman’s pretty “So Many Times,” a pair of winning south-of-the-border songs and the closing “Rollin’ My Stone.” Unfortunately, about half of the album could be accurately described as filler, including an apparently unconscious rewrite of The Rolling Stones’ “Let’s Spend The Night Together” as “City Junkies.”</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzz3lnQblMKIMO6cLiD6LAfrg4bLrjMoJc7i-pBnX5UlBFeulmA0ZcVyHfZtoROo08oBXmKqUzi36TaFlMq2BZNjKnUjRF_AgOta4SwA9td_7K-rI-XXVNxzou5XsZdApfxfHKthqaPmeTWTwNNUOdk_9EFy4Tclc5anCfp9Lf9hWC8xTkV8Qz5sZpxdg/s900/stephen-stills2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="716" data-original-width="900" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzz3lnQblMKIMO6cLiD6LAfrg4bLrjMoJc7i-pBnX5UlBFeulmA0ZcVyHfZtoROo08oBXmKqUzi36TaFlMq2BZNjKnUjRF_AgOta4SwA9td_7K-rI-XXVNxzou5XsZdApfxfHKthqaPmeTWTwNNUOdk_9EFy4Tclc5anCfp9Lf9hWC8xTkV8Qz5sZpxdg/w277-h220/stephen-stills2.jpg" width="277" /></a></div>For Stephen Stills fans, 'Down The Road' is still a worthwhile purchase. There’s no question that the man sounds better with a good working band behind him, especially when it includes extra piano, guitar and percussion. After listening to the lovely “Guaguancó de Veró,” which references his new relationship with Veronique Sanson (the pair married shortly before the release of this album), I’m convinced that Stills should pay a bongo player to follow him around everywhere.</div><div><br /></div><div>The undoing of Manassas wasn’t an uncertain future, but the pull of the past. Stills and Hillman would soon reunite with their former bands (CSN, The Byrds), and Manassas would be remembered as a felicitous, ephemeral alignment like Derek and the Dominos. Both bands deserved an encore, Manassas got theirs, only to find that half of their audience had left in the interim. The fault doesn’t lie with the musicians but the material, which spends too much time in the middle of the road.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrNLBlRO1dK93uTHIOmBZO2d-W4VQ9Ft6HxShBjo7UEEgMDzEiehIP35syqUd1sM6xBX6lzLoIZGF3_1-JpSVYZj2DKj9M7fXTzFmOENNBpCOH1EJKc3L2gRej8zX5ylNJVa84Xl6RshKTVooQ76_mdtwqIRVa5Eg1P5z-nc9XLhhgM5kqGGgdSi14OEc/s600/Manassas-at-Stephen's-house.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="597" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrNLBlRO1dK93uTHIOmBZO2d-W4VQ9Ft6HxShBjo7UEEgMDzEiehIP35syqUd1sM6xBX6lzLoIZGF3_1-JpSVYZj2DKj9M7fXTzFmOENNBpCOH1EJKc3L2gRej8zX5ylNJVa84Xl6RshKTVooQ76_mdtwqIRVa5Eg1P5z-nc9XLhhgM5kqGGgdSi14OEc/w398-h400/Manassas-at-Stephen's-house.jpg" width="398" /></a></div><br /><div><b>A More Favourable Review by FRAN COOMBS (AllMusic)</b></div><div>A hugely underrated album, 'Down The Road' is every bit as good as Manassas' debut double record. The same mix of folk, country and Latin is featured throughout.</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOHoEI5WOpt5xxVR3xCxkeMWPQoPkoDwmVau2jwYZbNHQX3lhuGc_jfrfmAi8vTLiIFimx_zpbjKw4IPwfrYWAe7c9i8hhRVs7i6CdvUI1739_cNhoSab-mwW6EC5fVXy2KiMOrohFJthlBrPrr8W-w5gdswd7v4cL5yk8V8i5z5hfoa-3OODToVuqU_M/s298/Hillman%20and%20Stills.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="234" data-original-width="298" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOHoEI5WOpt5xxVR3xCxkeMWPQoPkoDwmVau2jwYZbNHQX3lhuGc_jfrfmAi8vTLiIFimx_zpbjKw4IPwfrYWAe7c9i8hhRVs7i6CdvUI1739_cNhoSab-mwW6EC5fVXy2KiMOrohFJthlBrPrr8W-w5gdswd7v4cL5yk8V8i5z5hfoa-3OODToVuqU_M/s1600/Hillman%20and%20Stills.jpg" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hillman and Stills</td></tr></tbody></table>"Isn't It About Time", "Lies", "So Many Times", "Do You Remember The Americans" and "Rollin' My Stone" are gems, and Manassas/Stills/Hillman fans will be hooked throughout. Don't believe the doubters.</div><div><br /></div><div>I think if Stephen Stills hadn't lost interest in the group/went back with CSNY in 1973 and '74, and if Chris Hillman developed/was allowed a more satisfying songwriting/musical role for himself (which the quality alone deserves), AND if keeping the collection of guys like Al Perkins, Joe Lala, Dallas Taylor, all together wasn't difficult... Manassas could have continued longer. But it's pretty cool they did something together anyhow. A really fantastic period of time for all of these artists.</div></div><div><br /></div></div><div>This post consists of FLACs ripped from my 50year old vinyl, which was purchased from Batman Records back in the late 70's and is in pretty good condition for its age. Full album artwork and label scans are included.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiufk68xGyB57MTlBt5aRcWKVHaYLEW2AyVdA_h6eR9QE1wbXS3m5pUPpInl4SvIWxO7AOOXOhS4dLvOoNUtb5tZ9WPH2PXLJ-RF3V3O1KsXuua9x75eKwmBScB5uFP8sQMjwJT0ik1S033WAf2VHHYf3jRyMv7ugFE9GHjNZW0nQT4YWHTiZl-qaKoH4w/s1219/Label_Side1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1219" data-original-width="1213" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiufk68xGyB57MTlBt5aRcWKVHaYLEW2AyVdA_h6eR9QE1wbXS3m5pUPpInl4SvIWxO7AOOXOhS4dLvOoNUtb5tZ9WPH2PXLJ-RF3V3O1KsXuua9x75eKwmBScB5uFP8sQMjwJT0ik1S033WAf2VHHYf3jRyMv7ugFE9GHjNZW0nQT4YWHTiZl-qaKoH4w/w199-h200/Label_Side1.jpg" width="199" /></a></div><div><b style="color: red; font-size: small;">Track Listing</b></div><div><div><span style="font-size: x-small;"><b>01. Isn't It About Time 3:02</b></span></div><div><span style="font-size: x-small;"><b>02. Lies [Hillman] 2:55</b></span></div><div><span style="font-size: x-small;"><b>03. Pensamiento [Stills-Nelson Escoto] 2:36</b></span></div><div><span style="font-size: x-small;"><b>04. So Many Times [Hillman-Stills] 3:30</b></span></div><div><span style="font-size: x-small;"><b>05. Business On The Street 2:55</b></span></div><div><span style="font-size: x-small;"><b>06. Do You Remember The Americans 2:05</b></span></div><div><span style="font-size: x-small;"><b>07. Down The Road 3:16</b></span></div><div><span style="font-size: x-small;"><b>08. City Junkies 2:50</b></span></div><div><span style="font-size: x-small;"><b>09. Guaguanco De Vero 2:51</b></span></div><div><span style="font-size: x-small;"><b>10. Rollin' My Stone [Stills-Samuels] 4:50</b></span></div><div><br /></div><div><i>Personnel:</i></div><div><i>Stephen Stills - guitar, piano, bass, vocals</i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS65rYJI76npUrKJjPJStX8eH5ySYYux0mE-R91pxCUNdKE8cRKcEsYHOtYeX4O7dkq5_PoGR5Sex8NqCnka1FbmStCE3vNTS6MkGng0EzJAE6x07iUrakqoW-GC4yn2DVxUTdmegujGEVhlYcUbILixnRzEmo5vTfKsDcI2LwxvoEk20ehexkWhRs2dE/s1221/Label_Side2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a></div></div><div><i>Dallas Taylor - drums</i></div><div><i>Chris Hillman - guitar, bass, mandolin, vocals</i></div><div><i>Joe Lala - percussion, vocals<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKv7ljDRSb4I2xuZM5aPa3CHl_5XPNf9Htv7J2fsO-HfO3BzOiUaSR9Zoy0sgpEn69bfq5O2QJwh4y0iwAV6yHzSqi6zigyYGyy1FeIxTLx5RLcyzciZHH1wpe8VZYhItfd7B7nIu72DLCEAnfXz91Rvk6gT0SAsHf02bifZAqQ24YjLRHf0nYV_zf76c/s1221/Label_Side2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1221" data-original-width="1219" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKv7ljDRSb4I2xuZM5aPa3CHl_5XPNf9Htv7J2fsO-HfO3BzOiUaSR9Zoy0sgpEn69bfq5O2QJwh4y0iwAV6yHzSqi6zigyYGyy1FeIxTLx5RLcyzciZHH1wpe8VZYhItfd7B7nIu72DLCEAnfXz91Rvk6gT0SAsHf02bifZAqQ24YjLRHf0nYV_zf76c/w199-h200/Label_Side2.jpg" width="199" /></a></div></i></div><div><i>Al Perkins - guitar, pedal steel guitar, banjo</i></div><div><i>Calvin "Fuzzy" Samuel - bass, vocals</i></div><div><i>Guest Artists:</i></div><div><i>Paul Harris - piano</i></div><div><i>Joe Walsh - slide guitar</i></div><div><i>Bobby Whitlock - keyboards</i></div><div><i>Sydney George - flute</i></div><div><i>Jerry Aiello - organ</i></div><div><i>Charlie Grimes - guitar</i></div><div><i>Guille Garcia - percussion</i></div><div><i>Lachy Espinol - percussion</i></div><div><i>Pat Arnold - vocals</i></div></div><div><i><br /></i></div><div><a href="https://krakenfiles.com/view/rSXf4eix9O/file.html" target="_blank">Manassas Link </a>(182Mb)</div><div><br /></div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com1tag:blogger.com,1999:blog-4047234333310975506.post-58793726949090187842023-11-30T19:50:00.004+11:002023-11-30T22:07:09.566+11:00W.O.C.K On Vinyl: Goldie Hawn - Goldie (1972)<p> <b style="background-color: #fff3db; color: #29303b; font-family: Georgia, "Times New Roman", sans-serif; font-size: 13px;"><span face="Georgia, Times New Roman, sans-serif">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 </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">W</span><span face="Georgia, Times New Roman, sans-serif">eird, </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">O</span><span face="Georgia, Times New Roman, sans-serif">bscure, </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">C</span><span face="Georgia, Times New Roman, sans-serif">razy or just plain </span><span face="Georgia, "Times New Roman", sans-serif" style="color: red;">K</span><span face="Georgia, Times New Roman, sans-serif">orny.</span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC2kdioKigMd4TQq1yYJHcVPP9jBdHzcjNoSy0eMnI4W4Ep7KWdDn3k2NOk0PO2KlW7rFxrow8zl0mQeYTaNFeJHoCSyD35Lbb0REIlPCTCdKiWfB4taUffE2clMFD6N1qTV7GA-39e9fQOPjDdnaEteCcW1PbC77ycTck2Akd2aX0jeeQKblRnjhbCvA/s1165/Cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1146" data-original-width="1165" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC2kdioKigMd4TQq1yYJHcVPP9jBdHzcjNoSy0eMnI4W4Ep7KWdDn3k2NOk0PO2KlW7rFxrow8zl0mQeYTaNFeJHoCSyD35Lbb0REIlPCTCdKiWfB4taUffE2clMFD6N1qTV7GA-39e9fQOPjDdnaEteCcW1PbC77ycTck2Akd2aX0jeeQKblRnjhbCvA/w277-h273/Cover.jpg" width="277" /></a></div><b>Goldie Hawn</b> is an American actress who rose to fame on the NBC sketch comedy program Rowan & Martin's Laugh-In (1968–1970), before going on to receive the Academy Award and Golden Globe Award for Best Supporting Actress for her performance in Cactus Flower (1969). She later appeared in a string of successful films during the 70's, 80's and 90's - but my favourite is her starring role with Kurt Russell (who she later married) in the 1987 Comedy 'Overboard'.<br /><br />My first recollections of seeing her on T.V was watching her Go Go Dancing on Laugh In. Being an impressionable and young hormonal teenager at the time, her skimpy bikini and body paint was the highlight of the show, and it was 'lust at first sight'. <div><br /><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXeRrRK-_BsF7eZ658EDnvdoE50mQ_WMq2iR5vjv8mohvnK7FGrRoQFHRpMecF7UeoRWSMxt4Z2eWyqBKvXqnxNozYAn1nYzsEXyyPLgvEONodTtlxX8yf9j6Y0KCgrh7MSl3bKGe2EBNfDloScB9x0GHCKN27PBHUCj0fIAzOIh06by9t6U4DquAXNTw/s768/Laugh%20In%20Bikini%20Girl.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="768" data-original-width="565" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXeRrRK-_BsF7eZ658EDnvdoE50mQ_WMq2iR5vjv8mohvnK7FGrRoQFHRpMecF7UeoRWSMxt4Z2eWyqBKvXqnxNozYAn1nYzsEXyyPLgvEONodTtlxX8yf9j6Y0KCgrh7MSl3bKGe2EBNfDloScB9x0GHCKN27PBHUCj0fIAzOIh06by9t6U4DquAXNTw/s320/Laugh%20In%20Bikini%20Girl.jpg" width="235" /></a></div>And then later, what a hidden talent - who would have guessed that Goldie could sing?<br />In 1972, Reprise Records released a country album from Goldie Hawn. The album is country tinged folk pop (Buck Owen's band The Buckaroos play on a few tracks (I'll Be Your Baby Tonight), rounded out by session musicians.)<div><br /></div><div><div><b>Review by Stewart Mason (AllMusic Review)</b></div><div>It's a tragedy of pop culture in the new millennium that starlets don't rush willy-nilly into the recording studio anywhere near as much as they used to. Goldie Hawn's sole foray into pop music -- originally released in 1972 on Warner Bros. after Laugh-In but before her appearance in Steven Spielberg's Sugarland Express revealed her dramatic range as an actress -- isn't Golden Throats-level bad, surely to the disappointment of hipsters everywhere. Although Hawn's helium-pitched voice is a trifle thin and limited, the selection of material wisely plays to her strengths, with Dolly Parton's "My Blue Tears" and -- believe it or not -- Joni Mitchell's "Carey" both well-suited to her soprano vocals.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyVP1Y26QNmX7L-KdrIlgAzufCqYNkdxfzfBV_f_BJKW9Pnal_tVLrgTy_gNjRajJX92oN7EbpYzAB4itWZ3iVIWhmHZhcyuELNhpuz9vn_k-wHJXF5-RypDqq-nGmW1p1QfJSPocFHMDcXTmgDSO9ZDng848IEtmhI_Yu3uA6aof9kql7f8iJ1awCVdc/s431/Golden%20throats.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="431" data-original-width="428" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyVP1Y26QNmX7L-KdrIlgAzufCqYNkdxfzfBV_f_BJKW9Pnal_tVLrgTy_gNjRajJX92oN7EbpYzAB4itWZ3iVIWhmHZhcyuELNhpuz9vn_k-wHJXF5-RypDqq-nGmW1p1QfJSPocFHMDcXTmgDSO9ZDng848IEtmhI_Yu3uA6aof9kql7f8iJ1awCVdc/w264-h266/Golden%20throats.jpg" width="264" /></a></div>In fact, the only really egregious errors aren't really her fault: the Frenchified "Butterfly," with its absurdly cheesy choral backing, wouldn't have sounded good sung by anybody, and the countrified take on Van Morrison's "I Wanna Roo You" has a botched arrangement that slaps on a vaguely oompah-style waltz-time arrangement that suits neither singer nor song. Other than that, though, Goldie is a sweetly endearing country-tinged middle of the road pop record of a style that just isn't being made anymore.</div></div><div><br /></div><div>Sidenote: "Golden Throats 3, Sweethearts of Rodeo Drive" was the third Golden Throats collection released by Rhino, this time featuring clueless celebrities warbling country songs. The cover image was based on the cover of the Byrd's country-rock album "Sweetheart of the Rodeo", and features Goldie Hawn sporting her Laugh-In tattoos.</div><div><br /></div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURxgiJdvtlDdszoA3pgZLK_BP8H6VLwsEEfWFx-CzI6ZAG889X7pSDxqR9mHZJIlKonOFWSAAMFi4cGh7I6-_ZHecO47qxHAceG8D1ZXtk40MbLfjM6Vsnm92hCkN3f6O7Fa0K5KwshJWwaM7WkcRBOUNxNMCW47TjjccPcd-rJinSYDN4i8zQXk2Xnc/s640/Laugh%20In%20Bikini%20Girl2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURxgiJdvtlDdszoA3pgZLK_BP8H6VLwsEEfWFx-CzI6ZAG889X7pSDxqR9mHZJIlKonOFWSAAMFi4cGh7I6-_ZHecO47qxHAceG8D1ZXtk40MbLfjM6Vsnm92hCkN3f6O7Fa0K5KwshJWwaM7WkcRBOUNxNMCW47TjjccPcd-rJinSYDN4i8zQXk2Xnc/w282-h282/Laugh%20In%20Bikini%20Girl2.jpg" width="282" /></a></div>And Now For Something Weird</b><br />Goldie Hawn has recalled being "touched" by aliens.<br />The 77-year-old Hollywood star suddenly remembered hearing a "high pitched sound" outside of her window and claimed that a few extraterrestrial beings came forward to feel her face in a move she likened to being touched by God.<br />Speaking on Apple+ 'Time to Walk' audio experience, she said: “It was kind of like regression therapy or something. I am, like, almost in a trance. And suddenly I remembered something.<br />"They touched my face, and it felt like the finger of God. I got this high-pitched sound in my ear. It was this high, high frequency. And I looked out the window, and I saw these two or three triangular-shaped heads. It was the most benevolent, loving feeling. This was powerful. It was filled with light."[<a href="https://www.gjsentinel.com/lifestyle/entertainment/goldie-hawn-claims-she-was-touched-by-aliens-it-was-like-the-finger-of-god/article_1074e1ba-2685-53b2-a38b-563d3f9ec803.html" target="_blank">Extract from The Daily Sentinel</a>]<div><div><br /></div></div><div>This month's WOCK on Vinyl post started off fitting into the <b><span style="color: red;">O</span></b>bscure box (thanks to Tony Angel for this rare rip) however after reading the above article from The Daily Sentinel, I've decided to tick the <b><span style="color: red;">W</span></b>eird Box as well. I'm starting to think that Goldie may have been using more than paint with her body during her 'Laugh In Days' - but then, didn't we all? Say no more. Hope you enjoy her album. Ripped to MP3 (320kps) and includes album artwork.</div><div><br /></div><div><div><b style="color: red; font-size: small;">Track List</b></div><div><span style="color: red; font-size: x-small;"><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkwxISYRK0Pod3f6OCz0IV7V63fLUU-nTuVu4GITch9Y1PDGELfhW7QXluTWmVpvf6xXWtSPmGvEdKdwpGPZafWPTl9aJv_AJkfTU5bupVqBPsNaSB2RqBL-ppPMf307tBUh5bUeYfLUvYDfxJN7x9pQpkZp0hQ5MUfMbrRh-gQi0GRdmDD-WaZUL2PbY/s599/Label_Side1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="599" data-original-width="594" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkwxISYRK0Pod3f6OCz0IV7V63fLUU-nTuVu4GITch9Y1PDGELfhW7QXluTWmVpvf6xXWtSPmGvEdKdwpGPZafWPTl9aJv_AJkfTU5bupVqBPsNaSB2RqBL-ppPMf307tBUh5bUeYfLUvYDfxJN7x9pQpkZp0hQ5MUfMbrRh-gQi0GRdmDD-WaZUL2PbY/w198-h200/Label_Side1.jpg" width="198" /></a></div></b></span></div><div><span style="font-size: x-small;"><b>A1<span style="white-space: pre;"> </span>- My Blue Tears 2:14</b></span></div><div><span style="font-size: x-small;">Written-By – Dolly Parton</span></div><div><span style="font-size: x-small;"><b>A2<span style="white-space: pre;"> </span>- Wynken, Blynken And Nod 2:32</b></span></div><div><span style="font-size: x-small;">Written-By – Donovan Leitch, Eugene Field</span></div><div><span style="font-size: x-small;"><b>A3<span style="white-space: pre;"> </span>- Butterfly 3:20</b></span></div><div><span style="font-size: x-small;">Written-By – Danyel Gérard</span></div><div><span style="font-size: x-small;"><b>A4<span style="white-space: pre;"> </span>- Uncle Pen 2:40</b></span></div><div><span style="font-size: x-small;">Written-By – Bill Monroe</span></div><div><span style="font-size: x-small;"><b>A5<span style="white-space: pre;"> </span>- The House Song 4:02</b></span></div><div><span style="font-size: x-small;">Written-By – Paul Stookey, Robert Bannard</span></div><div><span style="font-size: x-small;"><b>A6<span style="white-space: pre;"> </span>- I'll Be Your Baby Tonight 3:00</b></span></div><div><span style="font-size: x-small;">Written-By – Bob Dylan</span></div><div><span style="font-size: x-small;"><b>B1<span style="white-space: pre;"> </span>- Carey 2:46</b></span></div><div><span style="font-size: x-small;">Written-By – Joni Mitchell</span></div><div><span style="font-size: x-small;"><b>B2<span style="white-space: pre;"> </span>- Cloudy Summer Afternoon 2:45<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAlAtSoB7XUKVnnfFIDKl3agxl3751Pe-WBy46LN6JvJ-ggFBK1Ic9hSuYcZ-cVBiferfpALIRLjFpCMtX01ZMjLXBLAzkBzyRaW2p2o28s2EGpL4fa0EqF3zEM_lbG93TG2VXlXI_-FeyqVvvumKH2gLeWe5DOxU7CQo86bPo17KE3SSEAimQ7KyQ-0I/s599/Label_Side2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="599" data-original-width="594" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAlAtSoB7XUKVnnfFIDKl3agxl3751Pe-WBy46LN6JvJ-ggFBK1Ic9hSuYcZ-cVBiferfpALIRLjFpCMtX01ZMjLXBLAzkBzyRaW2p2o28s2EGpL4fa0EqF3zEM_lbG93TG2VXlXI_-FeyqVvvumKH2gLeWe5DOxU7CQo86bPo17KE3SSEAimQ7KyQ-0I/w198-h200/Label_Side2.jpg" width="198" /></a></div></b></span></div><div><span style="font-size: x-small;">Written-By – Travis Edmonson</span></div><div><span style="font-size: x-small;"><b>B3<span style="white-space: pre;"> </span>- Ring Bell 3:00</b></span></div><div><span style="font-size: x-small;">Written-By – George David Weiss, Jerry Ragovoy</span></div><div><span style="font-size: x-small;"><b>B4<span style="white-space: pre;"> </span>- I Wanna Woo You 2:30</b></span></div><div><span style="font-size: x-small;">Written-By – Van Morrison</span></div><div><span style="font-size: x-small;"><b>B5<span style="white-space: pre;"> </span>- Pasadena 2:45</b></span></div><div><span style="font-size: x-small;">Written-By – Edgar Leslie, Grant Clarke, Harry Warren</span></div></div><div><br /></div><div><br /></div><div><a href="https://mega.nz/file/mlMx1aID#ntPhWDsgTS7AvqW9CUY5fX5mLA1W3v1bm_kRHESfrVA" target="_blank">Goldie Link </a>(83Mb)</div><div><br /></div><div><br /></div><div><br /></div></div></div>AussieRockhttp://www.blogger.com/profile/17984668558021295355noreply@blogger.com1