Rock On Vinyl

W.O.C.K On Vinyl - Quantas : There's Music In The Air (1971)

2012-01-30T21:16:00.014+11:00

(Various Popular / Classical Artists 1971)
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Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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For this months WOCK on Vinyl, I am posting something completely different from the norm and consider this album to be very Obscure (and rare). Therefore, it fits the WOCK on Vinyl criteria perfectly. Firstly, a little bit of background information about the featured Boeing 747B Airliner and its association with the Australian airline Quantas
Qantas is Australia's largest airline and one of the oldest airlines in the world. Qantas was founded in Winton, Queensland on 16 November 1920 as Queensland and Northern Territory Aerial Services Limited by Paul McGinness, Hudson Fysh, Fergus McMaster and Arthur Baird.
In 1967 the airline placed orders for the Boeing 747. This aircraft could seat up to 350 passengers, a major improvement over the Boeing 707. Orders were placed for four aircraft with deliveries commencing in 1971. The later delivery date allowed Qantas to take advantage of the -200B version, which better suited its requirements. Also in 1967, Qantas Empire Airways changed its name to Qantas Airways, the name of the airline today (extract from Wikipedia).
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In 1969, the world saw a new giant of a plane: the Boeing 747. Airlines around the world bought the 747, in droves. Quantas however waited. waited because Boeing already had a new 747 on the drawing board: the 747B. Boeing and Quantas worked...planning for a bigger upstairs lounge, experimenting with seat designs, reducing the number of seats to make more room or shaver bars, extra washrooms, bassinets. coat closets.
Boeing found ways to make the 747B quieter throughout: they extended the upstairs lounge, added fourteen extra panoramic windows, and moved the main gallery below away from passengers, so passengers would be away from the noise. Of course, the Quantas 747B gives you feature movies and the choice of seven music channels (of which some of their standard music selections are contained on this record)
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The music on this album has certainly aged from the time of its release, and to be honest, it's not really my cup of tea. However, I would imagine that some of this music (a mixture of 50's - 60's classical and popular selections) might appeal to those of you who can remember flying in the first 747's and bring back some enjoyable memories.
If you think about it, air flight hasn't really changed that much since the first 747's got off the ground - there is still Business or Economy Class, Flight Hostesses still dress up in daggy outfits (although the profession is no longer limited to females) and we are all still completely amazed as to how these monsters actually get off the ground in the first place.
But one thing I do know... the In-Flight music selections in the current Jumbo Jets are a little more with the times !
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If you are a collector of music, then there is probably very little here for the taking (except perhaps for the original Hawaii Five-O theme music or the theme to the 'Aquarius' rockshow), but if you are looking for some real nostalgia - then this album is for you. Oh, and I really dig the custom record label on this album.
Post consists of mp3 ripped at 320kps, taken from Vinyl and includes full artwork, including a wonderful gatefold picture of the 747B in flight.
So please, take your seat, put on your seat belts, extinguish your cigarette.... and its Up, Up, and Away we go!
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Track Listing
01 - Mardis Gras (Manuel And His Music Of The Mountains)
02 - Sleepy Shores (John Keating And The London Symphony Orchestra)
03 - Hawaii Five-O (Harry Roche Constellation)
04 - Serenade To Summertime (Joe Loss And The Concertium)
05 - Aquarius / Freedom Come Freedom Go (Harry Stoneham)
06 - One Brief Summer (Roger Webb)
07 - Do You Know The Way To San Jose (Ron Goodwin & His Orchestra)
08 - Everybody's Talkin' (Harry Pitch)
09 - The Boy Friend (The Original Brasso Band)
10 - Dancing In The Sun (Pepe Jaramillo & His Latin American Rhythm)
11 - Pacific Paradise (Wout Steenhuis & The Kontikis)
12 - Gold And Silver Waltz (Semprini)
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Quantas 747B Link (88Mb)
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Megaupload Is Toast!

2012-01-29T04:18:00.025+11:00

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Well, it looks like Megaupload is history, going by the reports in the New York Times and Gizmodo

This means that all of the posts on this site no longer exist, so I'm afraid it's going to be some time before I can get these reloaded onto another host site.

This is a huge pain as Megaupload was great for not deleting files after 30 days, unlike other sites such as Rapidshare etc.

So please be patient. I will indicate when the link has been altered with the label "REPOST" in red, and will list them below as they are completed

* Jon Stevens - Are U Satisfied (1993)
* Deep Purple - Powerhouse (1977)
* Roxy Music - The High Road (1983) Mini LP
* WOCK On Vinyl - Farewell Aunty Jack / Doin' The Aunty Jack (1973)
* Jimi Hendrix - The Blues Project Outtakes (1968-70)
* Rick Wakeman - The Six Wives of Henry VIII (1973)
* Various CBS Artists - 20 Years Of No.1 Hits (1973)
* Juni & Too Much - Too Much (1971)
* Various Artists - The Casablanca File (1975)
* Various Artists - 20 Great Australian Hits Vol 1. (1977)
* Various Artists - 20 Great Australian Hits Vol 2. (1979)
* Tangerine Dream - Phaedra (1974)
* W.O.C.K on Vinyl - Brady Bunch (Christmas LP 1970)
* Chantoozies - Gild The Lily (1991)
* Mondo Rock - Aliens (Mini LP) 1987
* John Cougar Mellencamp - Unauthorised (1993)
* W.O.C.K On Vinyl - Cold Blue Hunger (E.P 1988)
* The Runaways - Rock Legends Series (1980)
* Lenny Kravitz - Live Unapproved (1990)
* W.O.C.K On Vinyl - Tiny Tim: Vancouver (1968)
* Skyhooks - The Skyhooks Tapes (1977) + Bonus Tracks
* Jimi Hendrix with John McLaughlin / Johnny Winter - Jam Sessions at The Record Plant (1969)
* The Angels - Live at El Mocambo (1980)
* W.O.C.K On Vinyl - Los Destellos (1971)
* Home - Long Long Way To Nowhere (1974)
* George Thorogood And The Destroyers - Selftitled (1977)
* Jimi Hendrix - Last American Concert (30-7-1970)
* Machinations - Esteem (1982) plus Bonus Tracks
* Gary Moore - We Want Moore (1985) + Bonus Tracks
* BTO - Live! Live! Live! (1986) with Bonus Tracks
* Radiators - Life's A Gamble (1984) plus Bonus Track
* Canned Heat - King Biscuit Flower Hour (1979) + Bonus E.P
* Kiss - Killers (1982)
* The Radiators - You Have The Right To Remain Silent (1980) - E.P
* U2 - Live Unapproved (The Joshua Tree Tour)
* Stevie Wright - Hard Road (1974) + Bonus Live Track
* Stevie Wright - Black Eyed Bruiser (1975) + Bonus Live Track
* The Monkees - Live (1967)
* Various Artists - Bearsville Finds A New Home - Sampler (1974-1980)
* Arlen Roth - Guitarist (1978)
* Budgie - Nightflight Into Guildford UK (1981)
* Various Artists - The Gull Files (1975)
* Shorrock, Birtles and Goble - Beginnings (1975)
* Ragnarok - Nooks / Live On 1ZM Radio - New Zealand (1976)
* Ragnarok - Selftitled (1975)
* Various Artists - A Reefer Derci (1976)
* Various Artists - Some Hard Some Hot 'N' Some Heavy (1974)
* W.O.C.K On Vinyl - Herman Munster Rap / The Munsters (1964)
* Redhouse - One More Squeeze (1976)
* Various Artists - Woodstock Two (1971)
* Carson - Blown / On The Air (1972/73)
* Sid Rumpo - First Offence (1974)
* Pat Travers - Live! Go For What You Know (1979)
* Ayers Rock - Big Red Rock (1974) + Bonus Tracks
* Jimmy Barnes - Waitin' For The Heartache 12" Single (1988)
* Bakery - Momento (1972) + Bonus Tracks
* Ayers Rock - Beyond (1976) + Bonus Tracks
* Jimi Hendrix - Isle Of Wight (1970)
* W.O.C.K On Vinyl - Meaningless Songs / 439 Golden Greats (Hee Bee Gee Bees - 1980)
* Eloy - Metromania (1984)
* W.O.C.K On Vinyl - Weird Al Yankovic: Eat It (1984)
* W.O.C.K On Vinyl - Weird Al Yankovic: Like A Surgeon (1985)
* Sherbet - Howzat (1976) + Bonus Live Track
* Sherbet - Can You Feel It Baby (1971) E.P
* Sherbet - Slipstream (1974)
* Richard Clapton - Past Hits & Previews (1978)
* Various Artists - Killer Watts (1980)
* Peter Cupples - Fear Of Thunder (1982) + Bonus Tracks
* Various HAVOC Artists - Australian Rock (1971-72)
* Fox - What The Hell Is Going On (1974) plus Bonus Tracks
* Freeway - Riding High (1975)
* Various Artists: Reading Rock - Volume One (1982) plus Bonus Tracks
* WOCK On Vinyl - Aussie Radio Jingles
* Jimi Hendrix & Eire Apparent - Stuttgart (1969)
* Jimi Hendrix - Guitar Hero (Bootleg, Ex SB)
* Andrew Pendlebury - Between the Horizon and the Dockyard (1987) / Tigerland (1988)
* Goanna Band - Selftitled E.P (1979)
* W.O.C.K On Vinyl - Norman Gunston: Kiss Army (1980)
* Pantha - Doway Do Doway Do (1975)
* Bandicoot - Selftitled (1976)
* Various Artists - Reading Festival (1973)
* Noiseworks - Selftitled (1987) + Bonus B-Sides
* Various Artists - Great Aussie Rock (1975)
* Can - Tago Mago (1971)
* Budgie - Live At The Marquee, London (1974) Bootleg
* Neil Young - Live Unapproved (1989) + Bonus Tracks
* Badger One - Live (1973)
* Truth And Janey - Erupts (Live 1976)
* The La De Das - Legend (1975)
* Captain Beyond - Selftitled (1972)
* Various Artists - The First Great Rock Festivals Of The 70's (Isle Of Wight / Atlanta Pop Festival)
* Shane Howard - River (1990) + Bonus Track
* Stylus - Where In The World (1975) + Bonus Track
* Various Artists - Garrison: The Final Blow Unit 1 and 2
* Pink Floyd - Festival Hall, Melbourne (1971) Bootleg
* Pink Floyd - BBC Archives 'The Dark Side Of The Moon' (1974) Ex SB
* Pink Floyd - Tennis Center, Melbourne (1988) Ex SB
* W.O.C.K On Vinyl - Happy Birthday Lisa (Michael Jackson)
* Robin Trower - Guitar Bandit (1973) Bootleg
* Robin Trower - For Earth Below (1975) + Bonus Tracks
* Moody Blues - Greatest Hits (1989)
* Madder Lake - Live in Studio 620 ABC Perth
* Eire Apparent - Sunrise (1969) + Bonus Track
* Lovin' Spoonful - The Very Best Of (1970) + Bonus Tracks
* Jeff St John - Live (1974)
*J. Geils Band - Nightmares...And Other Tales From The Vinyl Jungle (1974)
* Deep Purple - Last Concert In Japan (1977) + Bonus Tracks
* W.O.C.K On Vinyl - Safe Sex (Painters and Dockers - 1988)
*Mississippi - EP (1974)
* Mississippi - Selftitled (1972) + Bonus Tracks
* Rolling Stones - Palais Theatre, St. Kilda, Melbourne (1966)
* Crossfire - Direct To Disc (1978)
* The Stockley See Mason Band - Endless Love (1979) Maxi Single
* Carlos Santana & Buddy Miles - Live! (1972)
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Southern Sons - Selftitled (1990) + Bonus Tracks

2012-01-26T18:39:00.028+11:00

(Australian 1990-1995)
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On Australia Day we come together as a nation to celebrate what's great about Australia and being Australian. It's the day to reflect on what we have achieved and what we can be proud of in our great nation. It's the day for us to re-commit to making Australia an even better place for the future.
Australia Day, 26 January, is the anniversary of the arrival of the First Fleet of 11 convict ships from Great Britain, and the raising of the Union Jack at Sydney Cove by its commander Captain Arthur Phillip, in 1788.
Because Australia is often referred to as the great 'Southern Land', I have decided to post this great debut album by the Aussie band the 'Southern Sons' in recognition of this great nation that we live in.
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Southern Sons was created as a direct result of songwriter Phil Buckle's collaboration on six of the twelve songs on John Farnham's 'Chain Reaction' album (1990). Phil's group The State was signed to Farnham manager Glenn Wheatley's Wheatley Brothers records, and had released one album. Hearing John's treatment of his songs, Phil Buckley wanted to replace himself as lead vocalist and recruited John Farnham sound-a-like singer/guitarist Jack Jones, who had auditioned for the band previously but was considered too young.
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The new group changed its name to Southern Sons and made its public debut as support act for John's 'Chain Reaction Tour', Phil and Jack also having played on the album, doing double duty as members of John's backing band. 1990 saw the release of their debut album, 'Southern Sons' (which spawned three top ten hit singles) and a five-track EP, 'Train Tracks', released to coincide with Phil and Jack's return to Southern Sons duties after a European tour with Farnham.
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Their second album in 1992, 'Nothing But the Truth', came with the departure of guitarist Peter Bowman. After two singles, including "You Were There" one of three Phil Buckley songs in the Australian Ballet production of 'Beauty and the Beast', "Nothing But the Truth" was re-released, with different cover artwork featuring a new look Jack Jones, to include the single "Silent Witness". Southern Sons third and final album, 'Zone', was released in 1995, self-produced with former member Peter Bowman. Its lead single, "Don't Tell Me", featured vocals from Men At Work's Colin Hay.
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The individual members of the band have remained in the field. Now based in the US, Virgil Donati collaborated with Tommy Emmanuel on his album 'The Journey' album and toured as a member of Tina Arena's backing band for her 'In Deep Tour'. Peter Bowman co-wrote songs with Debra Byrne for her 'Sleeping Child' album and collaborated with Tommy Emmanuel on his albums 'The Journey' and 'The Journey Continues'. Jack Jones provided guitar for Debra Byrne on the 'Sleeping Child' album and for Bachelor Girl on their 'Waiting for the Day' album. He also toured as a member of Tina Arena's backing band for her 'In Deep Tour' as well as serving as a member of John Farnham's backing band for the 'I Can't Believe He's 50 Tour'. Jack is signed to Gotham Records and is currently recording his debut solo album. Phil Buckle co-wrote songs with John Farnham for the album '… Then Again' , with David Hirschfelder and David Hobson for their album 'In This Room' and with Rick Price for his album 'Another Place'. This latter album was also co-produced and co-performed by Phil. Most recently he was writing and performing as a member of a new band, Sneak. Jack Jones re-emerged in 2002 as Irwin Thomas. (Contributed by David Grills - extract from howlspace.com.au)
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Jack Jones
Born in New York City in 1971, Jack Jones arrived in Australia as a ten year old. Even as a youngster, Jack began showing an incredible talent with his guitar playing. At fourteen Jack was already playing professionally in both cover and original bands. At the same time, he was earning a reputation as a very accomplished and well respected studio musician.
After heading back to the United States for several years to further study his craft, Jack eventually returned to Australia and joined the successful 90's band ‘Southern Sons’ as lead singer/guitarist. With hits such as “Heart In Danger”, “Always & Ever”, “Hold Me In Your Arms”, “Waiting For That Train”, “I Can’t Wait Any Longer”, “Lead Me To Water”, “Silent Witnesses”, & “You Were There”. His vocal ability was highly praised by both fans and musical peers alike… He not only enjoyed success in Australia, but in Asia, Canada, Germany, and pockets throughout Europe. Confirming he was a major talent worthy of recognition.
He has toured and recorded as singer/guitarist with the likes of John Farnham, Glen Shorrock (Little River Band), Tina Arena, Tommy Emmanuel, James Reyne, Rick Price, Merryl Bainbridge, Graham Goble (Little River Band), Richard Clapton, Gary Garry Beers (INXS), Dweezil Zappa, Ahmet Zappa, Jeff Jacobs (Foriener), Schuyler Deale (Michael Bolton, Billy Joel), Crystal Talefiero (Billy Joel), Deb Byrne, Kylie Minogue, Doc Neeson, Stoolz Roachman & the Idiot Sevilles, Renee Geyer, Bachelor Girl, Anthony Warlow and countless others.
His solo acoustic shows accentuate both his vocal and guitar playing talents and have proven to be highly successful with audiences and organisers alike.
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Virgil Donati
Virgil had started his career in his mid teens during the 70's as drummer for the brilliant hard rock band Taste, which evolved from an earlier band Cloud 9. At age 19 Donati travelled to the U.S. to study with Philly Joe Jones, and at Dick Groves School in Los Angeles. He also took lessons from snare drum specialist Murray Spivack.
Donati returned to Australia at the age of 21 where his career finally took off. He played jazz with Allan Zavod and Brian Brown followed by a couple of years in the rock/soul influenced Peter Cupples Band during the early 80's. During the late 1980s Donati's drumming was a feature of the Melbourne-based jazz-rock fusion band 'Changes' (extract from Wikipedia)
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Phil Buckle
Phil Buckle's songwriting career began in the early 90's when he penned hits for his own band, the highly successful Southern Sons and Australian recording legend John Farnham.
In 1990 Phil was awarded the ARIA song of the Year for 'Burn for You'. During this period he achieved 3 top ten hits and a double platinum album with Southern Sons and a six times platinum album Chain Reaction with John Farnham.
In 1991 he was nominated again for the ARIA Song of the Year for "Always and Ever" and received the APRA most played song of the Year for "Heart in Danger". In this year he also received the highest Australian accolade of APRA Songwriter of the Year.
A prolific songwriter in the last couple of years Phil has also written tracks for Shannon Noll, Adam Harvey, Anthony Callea, Deni Hines, David Hobson, Belinda Emmett and Dean Geyer as well as contributing significantly to the Australian vocal Production Music label (extract from unippm.com.au)
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Album Review
This is a great release and well worth the listen if only for three songs that are the best on offer. "Heart in Danger" is an absolute monster AOR song, "Always and Ever" another great tune, but "Hold Me In Your Arms" is pure bliss, a truly wonderful ballad. It might be an album that may be a bit too soft for some but the quality is what makes it so good. Singer Jack Jones would've been an ideal replacement for Steve Perry (yes he is that good, and better than Augeri) and in some ways has a voice not too dissimilar to John Farnham.
This debut album is a true classic and a must for any collector of Aussie Rock.
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This post consists of a mp3 rip (320kps) taken from an out of print CD and full album artwork for both LP and CD. I have also included two bonus live tracks taken from their 'Train Tracks' E.P (thanks to Deutros at Friday On My Mind).
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Track Listing
01. - Always And Ever*
02. - Which Way
03. - Living This Way
04. - Heart In Danger
05. - Hold Me in Your Arms
06. - Something More
07. - Waiting For That Train
08. - More Than Enough
09. - Hold On To The Memory
10. - The World Is Mine
11. - What I See
12. - Make A Move (Bonus Live Track)
13. - Do You Want My Love (Bonus Live Track)
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Band Members:
Jack Jones (aka Irwin Thomas) - Guitars, Lead Vocals
Virgil Donati - Drums, Keyboards
Phil Buckle - Guitars, backing Vocals
Geoff Cain - BassPeter Bowman - Guitars, Backing Vocals
(Additional Artists)
Harmonica by Steve Williams
Keyboards by David Hirschfelder*
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Southern Sons Link (106Mb)

Jimi Hendrix - The Blues Project Outtakes (1968-70) Ex Bootleg

2012-01-20T08:56:00.002+11:00

(U.S 1967-1970)
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1994 saw the release of the Alan Douglas produced "Blues" album.
This was seen as one of his better efforts during his time managing Jimi's music. A cassette containing three outtakes was sent to a couple of high profile collectors shortly after. This tape contained "Villanova Junction Blues", "Hear My train A Comin'" and "Belly Button Window". For a while this tape was in very limited circulation amongst a few hard core collectors.
Later the tracks saw the first light of day on the bootleg "500000 Halos" which was named after line in a poem written by Jimi post Woodstock. However there were more outtakes than those three and more has leaked out over the years (albeit in limited circulation).
I am a little dubious about the generation of this material but it is nevertheless of extremely high quality. There is a certain amount of tape hiss present here and there but that could just be from the transfer to cassette.
The tracks in this post are taken from a set of 11 CDRS titled the Blues Project Outtakes.
"Hear My train A Comin' " is a composite made by Douglas of two different takes.
"New Rising Sun" and the 27 minute Band Of Gypsys "Villanova Junction Blues Jam" are not in general circulation as far as I know. "Country Blues" was released on the EH Box Set but this version of the straight mix is longer.
This is a great "bootleg" CD with 7 tracks on it. I have heard most of the tracks on other rare CDs, but the 27min rendition of "Villanova Junction Blues Jam" was new to me. This jam includes Buddy Miles and Billy Cox. It starts out slowly with Jimi playing a riff and then the other guys kick it in a couple of minutes later. It goes into a heavy jam which is in classic Band of Gypsys style. It gets really jazzy and then picks up again. A Fantastic track which makes this Bootleg a necessary addition to any Hendrix Collection.
This CD also has a killer version of "Belly Button Window", with a different vocal track and some really sweet guitar work. There's a heavy version of "Hear My Train a Comin' ", that I have already heard but it sounds a little better quality here. Definitely a great acquisition for the Hendrix fan.
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This post consists of mp3 (320kps) taken from FLACs which I sourced on the Internet some time ago. Some artwork is included. These recordings are of excellent quality.
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Track Listing
01 - New Rising Sun (8.26)
02 - Country Blues (straight mix) (8.37)
03 - Hear My train A Comin' (8.07)
04 - Belly Button Window (2.25)
05 - The Things That I Used To Do (5.45)
06 - Villanova Junction Blues Jam (27.34)
07 - 3 Little Bears/South Saturn Delta (12.44)
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Band Members:
Jimi Hendrix (Guitar & Vocals)
Billy Cox (Bass)
Buddy Miles (Drums)
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Jimi Hendrix Link (162Mb) REPOST
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Various Artists - 20 Years Of No.1 Hits (1973)

2012-01-15T17:21:00.044+11:00

(Various CBS Artists 1960's-1970's)
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Columbia Records is an American record label, owned by Japan's Sony Music Entertainment, operating under the Columbia Music Group with Aware Records. It was founded in 1888, evolving from an earlier enterprise, the American Graphophone Company — successor to the Volta Graphophone Company. Columbia is the oldest brand name in pre-recorded sound,being the first record company to produce pre-recorded records as opposed to blank cylinders. Columbia Records went on to release records by an array of notable singers, instrumentalists and groups. From 1961 to 1990, its recordings were released outside the U.S. and Canada on the CBS Records label (for Columbia Broadcasting System, its parent from 1938 to 1988) before adopting the Columbia name in most of the world.
Until 1989, Columbia Records had no connection to Columbia Pictures, which used various other names for record labels they owned, including Colpix and later Arista; rather, it was connected to the original owner, CBS, which stood for Columbia Broadcasting System. Though Arista was later sold to BMG, it is now a sister label to Columbia Records through Sony Music; both are connected to Columbia Pictures through Sony Corporation of America, worldwide parent of both the music and motion picture arms of Sony [extract from wikipedia]
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Twenty years of good music is exceptional.
The selections included in this set began their birth and aging process two decades ago with the original release of Johnnie Ray's "Cry." Growing a little less mellow, but perhaps more relevant, culminating in the rock realism of Janis Joplin. The trademark performances gathered here represent important turning points in the artists' careers. The records document the times and the changes.
During the 60's the emphasis shifted from the single artist like Tony Bennett and Johnny Mathis to the group sound. Witness the musicality of Blood, Sweat & Tears and The Byrds. A new style was adopted. Composers were recording their own tunes. Johnny Cash's country roots evolved into "A Boy Named Sue." The responsibility for the success or failure of a record now rested with the artists themselves. The new and the old, bobbie-socks or bell-bottom blues, those were the good old days and perhaps still are. There will always be a place for the pure entertainment and enjoyment of music whether it be the late 50's or the early 70's. Listen and span the last twenty years of American musical history.
These albums offer music you can dance to, remember with, and look forward to over and
over again. Grow old gracefully with Twenty Years of #1 Hits [Diane Hyaft, Linear Notes]
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The Byrds
The Byrds were an American rock band, formed in Los Angeles, California in 1964. The band underwent multiple line-up changes throughout its existence, with frontman Roger McGuinn (aka Jim McGuinn) remaining the sole consistent member until the group disbanded in 1973. The original five-piece line-up of The Byrds consisted of Jim McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals), David Crosby (rhythm guitar, vocals), Chris Hillman (bass guitar, vocals), and Michael Clarke (drums).
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The Byrds are today considered by critics to be one of the most influential bands of the 1960s. Initially, they pioneered the musical genre of folk rock, melding the influence of The Beatles and other British Invasion bands with contemporary and traditional folk music. As the 1960s progressed, the band was also influential in originating psychedelic rock, raga rock, and country rock.
"Turn! Turn! Turn!" was the third single by the American folk rock band The Byrds and was released on October 1, 1965 by Columbia Records. The song was also included on the band's second album, Turn! Turn! Turn!, which was released on December 6, 1965.
The Bob Dylan penned "Mr. Tambourine Man" single was released ahead of the album in April 1965, reaching #1 on both the Billboard Hot 100 and the UK Singles Chart.
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Janis Joplin
Janis Joplin (January 19, 1943 – October 4, 1970) was an American singer and songwriter from Port Arthur, Texas. She was dubbed the first queen of rock 'n' roll, and her voice is singular. She was rough around the edges, vulnerable and charismatic, and she paved the way for countless women in rock.
Joplin first rose to prominence in the late 1960s as the lead singer of the psychedelic-acid rock band Big Brother and the Holding Company, and later as a solo artist with her more soulful and bluesy backing groups, The Kozmic Blues Band and The Full Tilt Boogie Band.
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"Me and Bobby McGee" is a song
written by Kris Kristofferson and Fred Foster, originally performed by Roger Miller. Others performed the song later, including Kristofferson himself, and Janis Joplin who topped the U.S. singles chart with the song in 1971 after her death, making the song the second posthumous number-one single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding.
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Gary Young and the Union Gap
Gary Puckett & The Union Gap (initially credited as The Union Gap featuring Gary Puckett) was an American pop rock group operating in the late 1960s. Their biggest hits were "Woman, Woman," "Young Girl," and "Lady Willpower."
Although the band never had a #1 record in the United States, "Young Girl" reached #1 on the UK singles chart, and #6 when it was reissued in the UK six years later. Controversial at the time and later for its risqué lyrical references to underage romance, Allmusic labeled the groups lyrics "bizarrely pedophilic".
"Young Girl" was the second million selling disc for the band, which it reached less than two months after its issue
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Blood, Sweat & Tears
Blood, Sweat & Tears was an American music group, originally formed in 1967 in New York City. Since its beginnings in 1967, the band has gone through numerous iterations with varying personnel and has encompassed a multitude of musical styles. Founder Al Kooper conceived Blood, Sweat and Tears as an experiment in expanding the size and scope of the rock band with touches of jazz , blues , classical , and folk music. When Kooper was forced out of the band soon after its eclectic debut, Child Is Father to the Man, BS&T became increasingly identified as a "jazz-rock" group, although its music was essentially easy-listening rhythm and blues or rock with the addition of brass.
"And When I Die" is a song written by American singer Laura Nyro and is probably best known for its cover version by Blood, Sweat & Tears, which reached #2 on the U.S. Billboard Hot 100.
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Johnny Cash
John R. "Johnny" Cash (February 26, 1932 – September 12, 2003), A.K.A. "The Man In Black", was an American singer-songwriter, actor, and author, who has been called one of the most influential musicians of the 20th century. Although he is primarily remembered as a country music artist, his songs and sound spanned many other genres including rockabilly and rock and roll—especially early in his career—as well as blues, folk, and gospel.
Cash felt great compassion for prisoners. He began performing concerts at various prisons starting in the late 1950s. His first ever prison concert was held on January 1, 1958 at San Quentin State Prison. These performances led to a pair of highly successful live albums, Johnny Cash at Folsom Prison (1968) and Johnny Cash at San Quentin (1969).
The San Quentin record included the crossover hit single "A Boy Named Sue", a Shel Silverstein-penned novelty song that reached No. 1 on the country charts and No. 2 on the U.S. Top Ten pop charts. The AM versions contained a couple of profanities which were edited out. The modern CD versions are unedited and uncensored and thus also longer than the original vinyl albums, though they still retain the audience reaction overdubs of the originals.
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Here's another record sampler, this time from CBS records. The title implies that all 20 tracks were Number 1 Hits, however, I'm not sure if this is 100% accurate. For example, the Blood, Sweat & Tears hit "And When I Die" only reached #2 yet it was included in this compilation?
One notable oversight with this double album is the exclusion of any Simon & Garfunkel hits, yet they were one of CBS's most successful artist. Therefore, I have chosen to include their #1 hit "Sounds Of Silence" as a Bonus Track to fix this oversight. The post consists of a rip (320kps) taken from vinyl and includes full album artwork.
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Track Listing
01 - Cry (Johnny Ray)
02 - The Song From Moulin Rouge (Percy Faith)
03 - Hey There (Rosemary Clooney)
04 - Rags To Riches (Tony Bennett)
05 - Let Me Go Lover (Joan Weber)
06 - Chances Are (Johnny Mathis)
07 - Singing The Blues (Guy Mitchell)
08 - El Paso (Marty Robbins)
09 - The Battle Of New Orleans (Johnny Horton)
10 - Big Bad John (Jimmy Dean)
11 - The Theme From 'A Summer Place' (Percy Faith)
12 - Young Girl (Gary Puckett And The Union Gap)
13 - Mr Tamborine Man (The Byrds)
14 - A Boy Named Sue (Johnny Cash)
15 - Turn Turn Turn (The Byrds)
16 - Me And Bobby McGee (Janis Joplin)
17 - And When I Die (Blood, Sweat & Tears)
18 - Rose Garden (Lynn Anderson)
19 - Indian Reservation (The Raiders)
20 - Baby Don't Get Hooked On Me (Mac Davis)
21 - BONUS - Sounds Of Silence (Simon & Garfunkel)
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20 Years of No.1 Hits Link (146Mb) REPOST
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Jon Stevens - Are U Satisfied (1993)

2012-01-09T22:44:00.033+11:00

(Australian 1979-Present)
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Jon Stevens was born Jon Rangi Stevenson in 1963, and originated from the Upper Hutt, north of Wellington, New Zealand. He is the younger brother by 13 years of Frankie Stevens. After leaving school, Jon had a job, along with his sister at the EMI record plant, pressing vinyl. While working, he used to sing with his sister, and they decided to enter a talent quest. At the Upper Hutt talent quest was an EMI representative and liking what he saw, signed Jon up to a contract.
In October 1979, Jon entered Marmalade Studios to record his first single. It was "Jezebel"/"Rest Your Love On Me". When released, "Jezebel" raced up the charts, reaching the number one spot on December 2. It stayed in that spot until January 20, 1980, when it was knocked from that position by his own second single, "Montego Bay"/"Sha La La". "Montego Bay" was a cover of the Bobby Bloom song. These two hits were included on his first album released in 1980, called "Jezebel".
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In 1981 Jon relocated to Sydney where he signed a deal with the Big Time label. He recorded his second, self-titled album in Los Angeles with American session players. It yielded two singles in 1982, a reworking of "Jezebel" and "Lover My Love", but neither was successful.
Jon Stevens then formed The Change with guitarist Stuart Fraser (ex Feather and Smith). They played the occasional Sydney pub gig, and with the help of bass player Steve Balbi (on loan from the Kevin Borich Express), recorded an independent single "Forever Young"/"Out There" in 1984. By 1985, drummer Kevin Nicol (ex Dial X) had joined Stevens and Fraser, and they began to lay plans for a new band. They recruited Balbi as a permanent member, and added newcomer Justin Stanley on keyboards. He had been writing songs with Balbi. This new line-up, completed in 1986, was known as Noiseworks.
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Noiseworks built up a strong following on the Australian pub-rock circuit, and in 1987 were signed by CBS. Their self-titled debut album was released in July 1987 and peaked at number 2 on the Australian Albums chart, producing no less than 5 singles.
Noiseworks went on to release two more albums, while Jon commenced his stage career when he joined the Australian cast of the revived stage musical "Jesus Christ Superstar" in the role of Judas. Jon appeared alongside the rest of the cast on a CD and single from the show. The show ran for 84 nights and was performed across Australia to more than a million people, making Jon a household name.
This stint with the show basically put an end to Noiseworks. The band played its last gig at Selinas in Sydney during March 1992. That gig produced the band's final single, a cover of the Beatles "Let It Be" (Live). This song appeared on the Greatest Hits CD released in October 1992.
When the "Superstar" tour ended, Jon recorded his third solo album, "Are U Satisfied". Most people were unaware of his previous recording history and believed this to be his debut solo album. This was issued in October 1993 and three singles were released from it.

.During the 2000 Olympic Games in Sydney,Jon worked with INXS's Jon Farriss to record and release the single "Carry The Flame", which became the official theme for the Olympic Torch relay. It was through this work with Jon Farriss and previous backing vocal sessions with INXS that led to Jon joining INXS as a replacement singer for frontman Michael Hutchence. He toured with them for three years as their lead singer and in 2003 he quit the band, without recording a new album. There was only one song, "I Get Up" that was ever recorded with Jon and INXS.
In 2005, Jon released his much anticipated acoustic album titled. "The Works". The album comprises of an eclectic mix of Noiseworks favourites and some of his more recent releases.(extract from Sergent.com.au)
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This post consists of an mp3 rip (320kps) from CD, and includes full album artwork. My favourite tracks are "Love Makes No Sense" and "Say What Ya Mean", and the single "Going Down" which has a distinct 'Lenny Kravitz' feel about it with some soaring guitar riffs that really rock ya socks off. Although Jon has been a successful solo artist in his own right, his time as the frontman for Noiseworks was definitely the peak of his career in my opinion. If you are looking for more recent material from Jon, why not visit his website.
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Track Listing
01 - Hard As Stone
02 - Goin' Down
03 - Love Makes No Sense
04 - All I Need is You
05 - Stay
06 - Say What Ya Mean
07 - I'll be There
08 - Change Your Mind
09 - Burn So Bright
10 - Reflections
11 - Are U Satisfied?
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Band Members:
Jon Stevens (vocals)
Stuart Fraser (bass, guitar)
Nick Barker (guitar)
Virgil Donati (drums)
Paul Gray (keyboards)
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Jon Stevens Link (83Mb) REPOST
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Juni & Too Much - Too Much (1971)

2012-01-03T21:11:00.001+11:00

(Japanese 1970-1971)
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Often labelled as the Japanese Black Sabbath by blowhards and those who’ve not actually heard the music, the strangely named 'Too Much' hailed from the large city port of Kobe, where the band members grew up sucking in all kinds of western influences from the LPs and 7” singles that came in on the boats from the States and the UK. One member of the band – guitarist Junio Nakahara – had spent the late ‘60s in the blues group 'The Helpful Soul', whose sole LP features in this book’s Top 50 on account of its deeply inspired 10-minutes plus epic ‘Peace For Fools’. However, as its audience could never have perceived The Helpful Soul as anything more than another Group Sounds act, guitarist Nakahara decided to jump on the burgeoning New Rock bandwagon by forming the more appropriately named Too Much. Nakahara’s inspiration came from the Too Much concert that The Helpful Soul played with the newly-formed Blues Creation, in Kyoto at the end of February 1970.
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The hippy phrase ‘too much’ was already utterly cliched in the West by this time, but it was iconic and easily pronounceable to Japanese. In the process, Nakahara hooked up with hard rock singer Juni Lush, changed his own name to the more substantially New Rock-sounding Tsomu Ogawa!, and dragged high school mates Hideya Kobayashi and Masayuki Aoki along as the rhythm section. They signed a deal with Atlantic Records in the summer of 1970, and wrote a whole slew of mindless proto-metal anthems, including the excellent ‘Grease It Out’, ‘Love Is You’ and ‘Gonna Take You’. These were duly recorded and sounded mindlessly, monolithically, perfectly suited to the lowbrow audience Too Much was aiming to please.
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Unfortunately, the Atlantic businessmen saw in the be-afro’d Juni Rush another potential star in the mould of Flower Travellin’ Band’s Joe Yamanaka, and they pressured the band into adding several mawkishly sentimental ballads to the debut LP in order to widen their audience. The results were disastrous. No one needed yet another version of Bobby Dylan’s ‘I Shall Be Released’, particularly the Nipponashville abortion that Too Much delivered. Hey, but neither did they require ‘Song For My Lady’, the arduously phlegmatic 12-minute album closer which arrived replete with mega-string sections, Michel La Grande pianos, Moody Blues /Focus flute solos and not a six-string razor in sight. Too Much was just not enough, and they split soon after the album was released...
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Yet another Japanese hard rock band with their only one album. It opens with monstrous "Grease It Out" with typical Sabbath's riff and vocal style (but not with such voice) "like Plant". The second track is so funny - "Love That Blinds Me" - free cover "Since I've Been Loving You" (begins with the words "“Working from early in the morning Till late at night everyday...”) with similar melody. But if not keep in mind this curiosity the rest of material is not bad - and tuff songs ("Love Is You ? Gonna Take You") and power-ballads ("Reminiscence" ? "I Shall Be Released"). And the last composition that ends the album is brillant- a sympho-prog 12-minutes long "Song For My Lady (Now I Found)" with flute, acoustic and mellotron.
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Juni Rush also released a 7" single "Together" with b-side "She Is My lady" which produced by Miki Curtis of Samurai band fame (Mushroom Records – CD-147-Z. Picture Sleeve).
On bass guitar Mr. Curtis used Alan Merrill (future Vodka Collins founding member) and Yuji Harada (Samurai/PYG) on drums on both tracks as a rhythm section. The 45 rpm single was released on Kuni Murai's new label Mushroom records, and they were distributed by Denon-Columbia. This is a freakingly rare single only release by former Helpful Soul and Too Much front man Juni Rush before he sunk away in a deep abyss of alcohol and drug abuse, eventually resulting in him living on the streets. It hardly ever turns up for sale and if so it is usually in the $100's (extract from tiliqua records).
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The post consists of a mp3 rip (256kps) taken from a Japan SHM Remastered CD with full LP artwork included (Rip was sourced from ChrisGoesRock with thanks).
I really like this album and because of its obscurity, I wanted to share it with you. It comes highly recommended !
If anyone has the Juni Rush single, I would love to hear it, so please leave a comment.
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Track Listing
01. Grease It Out
02. Love That Binds Me
03. Love Is You
04. Reminiscence
05. I Shall Be Released
06. Gonna Take You
07. Song For My Lady (Now I Found)
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Band Members:
Juni Rush - Vocals
Tstomu Ogawa (Junio Nakahara) - Guitars
Masayuki Aoki - Bass
Hideya Kobayashi - Drums & Percussion
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Juni & Too Much Link (102Mb) REPOST
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Various Artists - 20 Great Australian Hits Vol 2. (1979)

2011-12-29T21:14:00.030+11:00

(Various Australian Artists Early 70's)
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Fable Records
Ron Tudor's Fable Records was the most successful Australian independent recording company of the early 1970s. It was also one of the most productive 'indie' labels of the period, issuing over 300 singles and dozens of EPs and LPs. Fable released a wide variety of music from rock groups to mainstream vocalists; its catalogue also included Christian gospel music by singing group The Proclaimers, comedy recordings by Frankie Davidson, and novelty items like Drummond's 'chipmunk' version of "Daddy Cool" and the quaint piano version of The Mixtures "In The Summertime." Fable was officially launched in April 1970 with a batch of five singles (all by Australian artists) and the success it enjoyed over its first nine months was nothing short of spectacular, seven of its first twelve singles made the national Top 40, and of the forty-one singles Fable released between April and December 1970, seventeen became hits, including two national #1s by The Mixtures' "In The Summertime" and "The Pushbike Song" and four other Top 10 hits by Hans Poulsen, Liv Maessen, Jigsaw and John Williamson. Fable won many industry awards during its fifteen year life. [extract from Milesago]
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Here is a short account of some of the more popular names that appear on this second Fable Records compilation, released by EMI in 1979.
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Brian Cadd
Brian Cadd (b.1946), singer/songwriter, had been a member of 1960s Melbourne band 'The Groop' before forming Axiom, the band for which he wrote the hits "Arkansas Grass" and "A Little Ray of Sunshine" at the dawn of the 1970s. Axiom recorded two very fine LPs, Fool’s Gold (Fable, 1969) and If Only (Warner-Reprise, 1971), the latter recorded in Los Angeles and produced by the legendary Shel Talmy.
After the break-up of Axiom in March 1971, Brian and fellow band member Don Mudie returned to Australia but they continued working together.
Brian began to establish his solo presence when he and Don Mudie issued the duo single "Show Me the Way", released on Ron Tudor’s Fable Records in December 1971. It was a very respectable success, reaching #17 in February 1972 and charting for 12 weeks. By this time, Brian had become Fable’s A&R manager and chief producer, and in this capacity went on to write, play on and produce Robin Jolley's 1972 hit "Marshall's Portable Music Machine" (a virtual Cadd solo single in all but name and lead vocal) and Robin’s subsequent solo album.
Brian also produced Hans Poulsen’s second solo album Lost and Found, Coming Home the Wrong Way Round (1972), the album 1972 AD for Frieze (Beeb Birtles and Daryl Cotton) and he produced and contributed to albums and singles for Stephen Foster, Fat Mamma, The Strangers, New Dream, Dutch Tilders, Bluestone, Kerrie Biddell and Daryl Somers.
In 1972, the year he founded record label 'Bootleg Records', Brian’s first fully solo recordings were "Sure Feels Good", "Making It on Your Own" and "Come With Me" and these appeared on the soundtrack album of Albie Falzon’s classic surf film 'Morning of the Earth' (Warner, May 1972) alongside tracks by Hannagan, Tamam Shud and G. Wayne Thomas.
That year also saw Cadd take out the composer's sections of the Hoadley's National Battle of the Sounds competition and the Tokyo World Popular Song Festival with"Don't You Know it's Magic", later released as a single by John Farnham.
In 1973, Cadd penned the music score for the film Alvin Purple, reprising the effort for the sequel Alvin Rides Again; he is shown here recording the soundtrack for the first film. In 1974, he became the first Australian artist to perform on the American music show Midnight Special. He remained in the USA until 1981, during which period his songs were covered by the likes of Glen Campbell and Gene Pitney and the Pointer Sisters. Back in Australia he continues to work as a singer songwriter and producer [extract from National Portrait Gallery]
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The Bootleg Family Band
Geoff Cox (drums)
Tony Naylor (guitar)
Gus Fenwick (bass)
Brian Fitzgerald (keyboards) 1973-75
Russell Smith (trumpet)
Penny Dyer (vocals)
Angela Jones (vocals)
Louise Lincoln (vocals)
Clive Harrison (bass) 1975
Ian Mason (keyboards) 1975
Aussie artist Brian Cadd originally put together The Bootleg Family Band as the house band for the independent rock label Bootleg, which Fable Music’s boss, Ron Tudor, had established with Brian in 1972. The idea was that the Bootleg house band would provide core musical backing for records and tours for Brian and the other artists signed to the label. Besides backing Cadd and other Bootleg artists, the Bootleg Family Band recorded four singles and scored two major hits under its own name. Their debut was a Top 5 hit, "Your Mama Don't Dance" (Feb. 1973) and featured Brian Cadd. The second single "Wake Up Australia", once again featuring Cadd (June 1973), failed to reach the Top 40 but the third single, a cover of Betty Everett's "Shoop Shoop Song" (July 1974), delivered another Top 10 hit.
The four single A-sides were combined for the four-track Bootleg Family Band EP alongside their fourth and last single "Green Door" (February 1975), which barely scraped into the Top 100.
By 1975 it was becoming increasingly difficult to keep the large band on the road, so in May the line-up was cut back to a four-piece comprising Naylor and Cox with new members Ian Mason replacing Fitzgerald (who moved to America) and Clive Harrison replacing Fenwick.
Renamed simply 'The Bootleg Band', this line-up was used for mostly for touring, although they issued a final single "How Do I Try?" / "Rockin' Hollywood" in October 1975, which scraped into the lower half of the Top 100. When Brian Cadd relocated to the States at the end of '75, Mason left the group (he subsequently joined Ariel) and the remaining members renamed themselves Avalanche [extract from Tom Music Mix and Milesago].
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Bobby & Laurie
Laurie Allen (vocals, guitar, keyboards)
Bobby Bright (vocals, guitar)
backed by The Rondells:
Dynamic vocal duo Bobby & Laurie was one of the leading acts in the first wave of Australian 'beat pop' 1964-67. They cut a series of fine recordings which rank alongside those of Billy Thorpe & The Aztecs, Ray Brown & The Whispers, The Easybeats, Normie Rowe and MPD Ltd as milestones of Australian pop in the mid-60s.
Although perhaps not as well remembered today as some of their contemporaries, they were one of the most popular and successful acts of their day, and deserve a lot more recognition for their contributions. Bobby, Laurie and the members of their regular backing band, The Rondells were all important figures in the development of the Melbourne rock scene, and their History is also a great illustration of the intricate (and sometimes confusing) interconnections between the many groups of the '60s and '70s.
Bobby & Laurie was one of the first Melbourne acts to adopt the new 'longhaired' image pioneered by The Beatles and the Stones, and they rapidly became a popular drawcard. Like several other important artists of the time, they became regulars The Go!! Show, and this led to a contract with the allied Go!! record label.
Their first single, released in August 1964, was a superb Laurie Allen original, "I Belong With You". One of the breakthrough songs of the Australian Beat Boom, the single is notable for many reasons. It was the inaugural release on the Go!! label (G-5001), and the first song by a Melbourne 'beat' act to break nationally and it was produced by the great Roger Savage, who had recently emigrated from the UK, where he had worked with Dusty Springfield and The Rolling Stones. The song's catchy, foot-stomping bridge (probably influenced by The Dave Clark Five hit "Bits & Pieces") helped propel it into the Top Ten in March 1965, and it became one of the most successful singles of the year, charting for 19 weeks. The song also won Laurie an Australian Record Award for 'Best Composition' in 1965. [extract from Milesago]
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The Cherokees
Billy Dale and Barry King (Guitars)
Peter Tindall (Bass)
Barry Windley (Drums)
Named after a popular ice cream of the time, the Melbourne based Cherokees were formed in 1961 from the remnants of Johnny Chester's backing band the Chessmen and began playing Shadows-styled music around Melbourne, Australia. Starting as a vocal and instrumental act, the group switched to vocals only in 1965 with great success. Signing with W&G Records, the Cherokees released two singles and the rare 'Here Come the Cherokees' album in 1965. They began playing pop reminiscent of the Beatles and moved to the short-lived Go! label. Several of their singles made the Top 40 in Melbourne.
Their first single coupled the U.S group The Five Whispers' track Moon In The Afternoon with a Doug Trevor original Running Wild. Trevor had been the lead guitarist with the Marksmen and later joined the Cherokees on bass and guitar. Lindsay Morrison (rhythm guitar), Peter 'Max' Bliney (drums), Marty van Wynk (guitar) and vocalists Mike McGuire and Kevin Smith were group members at various times. The group were selected to support the Monkees' 1968 tour, and continued into the 1970's. The single "Sally" was produced by Brian Poole, and probably recorded in England. The last single was produced by Keith Glass and Doug Trevor. A further album was listed in W&G catalogues (WG-B-1914) but not released.
By 1967, the Cherokees were playing swing-styled music and several more singles again made the Melbourne Top 40. An album followed, Oh Monah!, but with the collapse of Go!, the band was left without a deal. Despite releasing one more single on Festival records and supporting the Monkees during their tour of Australia in October 1968, the Cherokees broke up at the end of the year.
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This post consists of a 320kps rip (mp3) of my 'near mint' vinyl copy of this compilation LP and includes full album artwork. I hope you enjoy this 2nd great Fable Records compilation of Australian artists, a personnel favourite of mine.
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Track Listing
01 - Let Go (BRIAN CADD)
02 - Melanie Makes Me Smile (THE STRANGERS)
03 - Put Another Log on the Fire (BILL & BOYD)
04 - Your Mama Don't Dance (BOOTLEG FAMILY)
05 - She's My Kind of Woman (JOHNNY CHESTER)
06 - Mama's Little Girl (LINDA GEORGE)
07 - Madamoiselle Ninette (JIGSAW)
08 - Gwen - Congratulations (JOHNNY CHESTER)
09 - Show Me The Way (BRIAN CADD & DON MUDIE)
10 - It's Only Love (ARIEL)
11 - A Rose Has To Die (JIGSAW)
12 - I Belong With You (BOBBY & LAURIE)
13 - Boom Sha La-La-Lo (HANS POULSEN)
14 - Neither One Of Us (LINDA GEORGE)
15 - Through The Eyes Of Love (BOBBY & LAURIE)
16 - Ginger Man (BRIAN CADD)
17 - The Shoop Shoop Song (BOOTLEG FAMILY)
18 - The Love Moth (LIV MAESSEN)
19 - Oh Monah (CHEROKEES)
20 - My Girl Bill (CASH BACKMAN)
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20 Great Australian Hits Vol 2. Link (139Mb) REPOST
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Various Artists - 20 Great Australian Hits Vol 1. (1977)

2011-12-26T10:35:00.031+11:00

(Various Australian Artists Early 70's)
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Fable Records
Ron Tudor's Fable Records was the most successful Australian independent recording company of the early 1970s. It was also one of the most productive 'indie' labels of the period, issuing over 300 singles and dozens of EPs and LPs. Fable released a wide variety of music from rock groups to mainstream vocalists; its catalogue also included Christian gospel music by singing group The Proclaimers, comedy recordings by Frankie Davidson, and novelty items like Drummond's 'chipmunk' version of "Daddy Cool" and the quaint piano version of The Mixtures "In The Summertime." Fable was officially launched in April 1970 with a batch of five singles (all by Australian artists) and the success it enjoyed over its first nine months was nothing short of spectacular, seven of its first twelve singles made the national Top 40, and of the forty-one singles Fable released between April and December 1970, seventeen became hits, including two national #1s by The Mixtures' "In The Summertime" and "The Pushbike Song" and four other Top 10 hits by Hans Poulsen, Liv Maessen, Jigsaw and John Williamson. Fable won many industry awards during its fifteen year life. [extract from Milesago]
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Here is a short account of some of the more popular names that appear on this first Fable Records compilation, released by EMI in 1977.
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The Mixtures
Laurie Arthur (guitar, vocals, 1965-67), Greg Cook (drums, vocals, 1970-71), John Creech (drums, vocals, 1965-70), Rod De Clerk (bass, vocals 1965-67), Buddy England (vocals 1969-70), Mick Flinn (bass, 1967-72), Dennis Garcia (organ, 1967), Mick Holden (drums, 1971), Gary Howard (drums, 1970-71), Alan "Edgell" James (bass, 1966), Idris Jones (vocals, 1967-69 and 1970-71), Don Lebler (drums, 1971-76), Chris Spooner (bass, 1972-76), Fred Weiland (guitar, 1967), Peter Williams (vocals, guitar, 1971-76)
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Australian musicians Terry Dean and Rod De Clerk met in Tasmania in 1965. They then met Laurie Arthur, a member of The Strangers, and the three decided to form a band together after a jam session. They quickly signed to EMI that same year and released three singles. They went through several line-up changes over the following few years, then signed to CBS Records in 1969. A few further singles followed before transferring to Fable Records in 1970.
As a result of the 1970 radio ban, during which many Australian radio stations refused to play Australian and British music released by major labels, the Mixtures recorded a cover of Mungo Jerry's "In the Summertime" and received much more airplay than had initially been expected for a group on a small record label.
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The single went to #1 in Australia for six weeks. They followed up with "The Pushbike Song", which went to #1 in Australia for two weeks, hit #2 in the UK Singles Chart, and went to #44 on the Billboard Hot 100 in the U.S.
The Pushbike Song (1971)
This single is often mistakenly attributed to Mungo Jerry, as "The Pushbike Song", is reputed to be very Mungo Jerry-esque in style, but was in fact their own composition. Oddly enough, The Mixtures also have a song called "Henry Ford" on the same album as "The Pushbike Song". "The Pushbike Song" made the Top 10 in the U.K. and Australia in 1971.
Their next single "Henry Ford", only peaked at #43 but the followup single "Captain Zero" went to #5 in 1971, and was their last big hit. The group released material together for several more years before breaking up in 1976.

Bluestone
Terry Dean (vocals, guitar), Mike Burke (guitar, banjo), Edward Fry (bass), John Creech (drums, vocals), Gavan Anderson (lead guitar, vocals), Nigel Thompson (bass, vocals)
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Brian Cadd signed Bluestone to Bootleg Records which in time released eight singles and a self titled L.P. Terry Dean from Melbourne formed Bluestone after he had enjoyed a very successful solo career in the 60’s and 70's, recording a number of hit records, performing regularly in Melbourne and interstate and appearing nationally on TV shows including The ‘Go’ Show, and ‘Happening 70’.
‘Bluestone’ was heavily influenced by west coast American country rock including artists such as ‘The Byrds’, ‘The Flying Burrito Brothers’, ‘The Eagles’, Jackson Brown, Emmylou Harris and numerous other influential songwriters as well as performing and recording much of its own material.
Dean’s backing band around that time was the original Mixtures line up. Gavan Anderson (guitar and vocals) and Nigel Thompson (bass and vocals) joined the band in 1975 and this line up remained together until ‘Bluestone’ disbanded in 1984..

.The bands’ first album, self titled ‘Bluestone’, was released to excellent reviews in 1974 and helped to cement the band as a major force in Australian country music. The single from the album, ‘Wind and Rain’, was a hit across Australia in 1973.
By the 1980’s the band made the move into straight country releasing a 2nd L.P. for Avenue Records in 1982. 1st single was the chugging soft rocker "Single Again" (similar in style to Darryl Cotton's Same Old Girl), on which former Fraternity/Flying Circus member guests with some typically fine guitar work. It was perhaps the best chance at a hit in late 1981 but did not have the hoped for success. A 2nd single "Remember", was another excellent, commercial release that showed some almost new wave influences surprisingly. And yet it also failed as did this fine album which followed in April 1982. The album itself also showed more diversity than one might have expected after Bluestone's debut.
Since the mid 1980’s, the members of ‘Bluestone’ have gone on to pursue successful careers in the music industry. Terry Dean formed the successful duo ‘Dean & Carruthers’ with Garry Carruthers and they celebrated 25 years ‘on the road’ in July, 2010. Terry recently established ‘Terry Dean’s Guitars’ selling some of the world’s finest acoustic instruments. John Creech has continued his career as ‘drummer to the stars’ touring with ‘Kylie’ in the early 1990’s and with ‘Cotton, Keays & Morris’, Brian Cadd, Mike Brady and many others. Gavan Anderson has worked with numerous artists and bands including ‘Spot the Aussie’, Brian Cadd, Max Merritt and, most recently, Andy Cowan and has released a number of his own solo EP’s. Nigel Thompson continues to work with various bands including well known 60’s band ‘The Substitutes’ and various other bands and has continued his involvement in events management and promotion.
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Jigsaw
Dennis Tucker (Bass & Vocal), John Caldeerwood (Guitar & Vocal), Eddie Chappel (Drums & Vocal), Ron Gilbee (Rhythm Guitar & Vocal)
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Jigsaw were at one time Johnny Chesters backing band but eventually managed to forge a career of there own. Alas Jigsaw have never had their own studio LP release, only an EP and a multitude of singles, 13 in total. They did however share two albums with Johnny Chester, each having one side each, with Jigsaw also backing Johnny Chester on his tracks. The first collaborative album was selftitled (pictured below) and included such hits as "Yellow River", "Albert The Albatross", as well as Chester's singles - "Glory Glory" & "Shame And Scandal (In The Family)". The 2nd, entitled 'Going Places' featured "How Do You D"o and their last big hit "Mademoiselle Ninette".
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Johnny Chester
With a recording career that began in 1961 and continues even stronger today, Johnny Chester is one of Australia's most enduring recording artists.
His singing career started in 1959 when at the age of seventeen he began running a dance in the St Cecilia's Church Hall in Melbourne's suburban West Preston. With his mum selling tickets, his dad on the door and great support from the teenagers in the area the local dance soon grew too large for the venue and so was moved in late 1960 to the much larger Preston town hall.
Here with the enormous support of legendary radio disc jockey Stan 'The Man' Rofe the dance became the most successful of its time and Johnny soon came to the attention of W&G Records. This was all during the time in Melbourne when rock'n'roll was king.
During the 60s, whilst establishing himself as a recording artist and songwriter, he hosted two national television series for the ABC. He toured with a host of overseas stars including the Beatles, Roy Orbison, Dion and the Everly Brothers and worked as associate producer of the national 'Kommotion' Televison show and a disc jockey on Melbourne's number one radio station 3UZ as well as doing an entertainment tour of duty for the Australian and American forces in Vietnam.
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During the 70s we saw a major musical transition take place as Johnny Chester moved via a varied but well charted course in to Country Music.
Johnny Chester made records for Fable from 1970 until 1976. He recorded with both studio musicians and Jigsaw who became his permanent backing band while Johnny produced their records. In 1971 they released their first album for Fable titled Johnny Chester and Jigsaw, from which the single "Shame and Scandal in the Family" was released. It went to Number One in several states.
Winning along the way three consecutive Golden Guitars at the Australasian Country Music Awards for Male Vocalist of the Year and many other accolades as well both here and overseas. He continued to tour with his own show and with international acts like Kenny Rogers, Johnny Cash, Tammy Wynette, Roger Miller, Charlie Pride and Freddy Fender. He also hosted two more national television series for the ABC. From 1989 to 1991 he hosted several weekly radio programs including his 'Soundabout Club' and his 'World of Country Music' for Radio Australia, our international broadcaster. [taken from Johnny Chester's Website]
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Axiom
Brian Cadd (keyboards, vocals),Doug Lavery (drums) 1969,Don Lebler (drums) 1969-71,Don Mudie (bass),Glenn Shorrock (vocals),Chris Stockley (guitar)
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Formed in Melbourne in 1969, Axiom were arguably Australia's first true supergroup. Yet, in spite of a wealth of talent and promise, some notable chart successes and two superb Albums of original material, they failed to achieve lasting popularity, due in part to waning public support in Australia as they vainly tried to crack the fickle English market, and the band fizzled out after less than two years. Nevertheless, Axiom deserve to be recognised as an important musical bridge between Sixties pop and Seventies rock in Australia, as one of the first serious attempts to make Australian rock with international appeal, and as one of the finest bands of their time.
Axiom were touted as Australia's first supergroup, because it contained 5 seasoned musicians, rather than one or two gifted musicians in a band of 4 or 5 members. They had chart success with their first single, "Arkansas Grass", reaching number 1 only in Brisbane, but top 5 elsewhere, but to many its 2nd single, "A Little Ray of Sunshine" is probably more fondly remembered. (It's interesting to compare how the band's singles charted in different states. In three states, only three of their releases charted ("My Baby's Gone" was the third single to reach the charts, whereas in Adelaide, all five were represented. In two states "Arkansas Grass" was more popular than "Ray of Sunshine" whereas in Adelaide, "My Baby's Gone" was the highest charting of any of their releases there!)
The featured track here "Little Ray of Sunshine" shot to #5 in April 1970 and has since become a standard. Their first two Axiom singles are rightly considered classics, and the latter, a perennial favourite, has become one of Glenn Shorrock's trademark songs, and was even celebrated with its own stamp in Australia Post's 1998 'Australian Rock' stamp series. It was followed by Axiom's brilliant debut LP Fools Gold, which was both widely praised and a significant commercial success, reaching #18 on the album chart in June.
Fool's Gold unquestionably ranks as one of the best and most original Aussie albums of the period. It was also a significant step forward in creative control, being one of the very first Australian rock albums released on a major label that was produced by the artists themselves. Axiom was able to take advantage of the great improvement in sound provided by the new 8-track facilities at Armstrong's Studios, which showcased a selection of superb songs, brilliantly performed.
All members of Axiom went on to further their careers in the industry, but perhaps the better known of the group were Brian Cadd and Glenn Shorrock, both of whom have had enormous solo careers. Don Mudie who co-wrote most of the material on the band's two albums, did not pursue the limelight to the same extent. [extracts from Milesago and Howlspace]
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This post consists of a 320kps rip (mp3) of my 'near mint' vinyl copy of this compilation and includes full album artwork. I hope you enjoy this great Fable Records compilation (the first of two) and stay tuned for the second which I plan to post soon.
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Track Listing
01 - The Pushbike Song (THE MIXTURES)
02 - The World's Greatest Mum (JOHNNY CHESTER)
03 - Old Man Emu (JOHN WILLIAMSON)
04 - Santa Never Made It Into Darwin (BILL AND BOYD)
05 - Catfish John (HAWKING BROTHERS)
06 - Snowbird (LIV MAESSEN)
07 - Butterfly (MATT FLINDERS)
08 - Yellow River (JIGSAW)
09 - Glory Glory (JOHNNY CHESTER)
10 - Daddy Cool (DRUMMOND)
11 - Knock Knock Who's There (LIV MAESSEN)
12 - Shame And Scandal (JOHNNY CHESTER)
13 - Picking Up Pebbles (MATT FLINDERS)
14 - Wind And Rain (BLUESTONE)
15 - In The Summertime (THE MIXTURES)
16 - Carroll County Accident (BOBBY AND LAURIE)
17 - A Little Ray Of Sunshine (AXIOM)
18 - How Do You Do (JIGSAW)
19 - Cinderella Rockefella (ANNE AND JOHNNY HAWKER)
20 - Captain Zero (THE MIXTURES)
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20 Great Australian Hits Vol 1 Link (125Mb) REPOST
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W.O.C.K on Vinyl - Brady Bunch (Christmas LP 1970)

2011-12-23T22:40:00.033+11:00

Before things get too serious
here at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

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Christmas with The Brady Bunch (also known as 'Merry Christmas from The Brady Bunch') is an album released by Paramount Records in 1970. It was re-issued by MCA Records in 1995. As its title suggests, the album consists of Christmas standards performed by the children who played the kids on the sitcom 'The Brady Bunch' during the 70's. The Brady Bunch: Barry "Greg" Williams, Maureen "Marsha" McCormick, Chris "Peter" Knight, Eve "Jan" Plumb, Susan "Cindy" Olsen, Mike "Bobby" Lookinland (vocals). For those expecting the bell-bottomed fun of their hit single "It's a Sunshine Day," think again. On their 1970 debut, the Brady Bunch serve up traditional arrangements of such holiday fare as "The First Noel," "Silent Night" and "Frosty the Snowman."

The TV Series
The Brady Bunch was one of the last of the old-style fun-around-the-house situation comedies, full of well-scrubbed children, trivial adventures, and relentlessly middle-class parents. The premise here was a kind of conglomerate family, formed by a widow with three daughters who married a widower with three sons; a nutty housekeeper, Alice, thrown in to act as referee; plus, of course, the family cat and a shaggy dog, Tiger. All of these smiling faces lived in a four-bedroom, two-bathroom house in the Los Angeles suburbs, from which Dad pursued his nice, clean profession as a designer and architect.
Typical stories revolved around the children going steady, family camping trips, competition for the family telephone (at one point Dad installed a pay phone), and of course war in the bathroom. The children ranged in age from 7 to 14 at the series' start, and the oldest son, Greg, played by Barry Williams, soon became something of a teenage idol; he was receiving 6,500 fan letters per week during 1971. Barry and several of the others tried to parlay their TV success into recording careers in the early 1970s, but without notable success. Re-runs of The Brady Bunch were aired as part of ABC's weekday daytime lineup from July 1973 to August 1975, and an animated spinoff titled The Brady Kids ran Saturday mornings on ABC from September 1972 to August 1974.
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Did You Know? Trivia
464 girls and boys were interviewed by producer Sherwood Schwartz to find the Brady kids.

In addition to the albums recorded by the Brady kids, there was an album featuring only Maureen McCormick and Christopher Knight. It was a commercial failure.

'Reed, Robert' was written out of the final episode because he refused to appear in it. It was no secret that Reed hated his role of Mike Brady and it was not the only time he was written out of an episode.
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The theme song during the first season, unlike subsequent seasons, was not sung by the Brady kids, but by a group known as The Peppermint Trolley Company.

We saw the Brady's bathroom many times, but not once did we see a toilet. The popular joke was that the Bradys are so good, clean, and wholesome that didn't even go to the bathroom. The truth is, they had intended putting a toilet in the bathroom, but the network censors wouldn't allow them.

Sherwood Schwartz originally wanted Gene Hackman for the role of Mike Brady, but Hackman wasn't considered well-known enough at the time.

Tiger, the Bradys' dog disappeared after the second season of the show. In reality, Tiger ran away and supposedly got hit by a car. The reason the dog house remained was because one of the studio lights fell and burned a hole in their beloved Astro-turf, so they moved the dog house to cover up the burn hole.

Even though this show stayed on for five seasons, it never was a ratings hit. The highest it ever got was number 34 in the rating charts, but stayed on the air due to its popularity amongst children.

The Brady kids attended Westdale High School, Filmore Junior High and Clinton Elementary School.

The Brady's next door neighbors, the Ditmeyers, were talked about, but only Mr. Ditmeyer was seen on one occasion.

The girls originally had a cat named Fluffy, but it was only seen in the pilot. The cat was gone by the time the second episode aired.

Originally, both Mike and Carol were going to be divorcees. However, when the concept was announced, A.B.C. was very much against it. It was then decided to make Mike a widower and leave Carol the divorcee. Carol's last name from her previous marriage was Martin.

Even though Greg dated a lot, you never actually saw him kiss any of the girls he went out with. In fact, the only Brady kid to have a kissing scene was little Bobby.

(Did You Know Facts from The Internet Movie Database at Sitcom Online)

Like previous posts of past, I have chosen to post the December 'WOCK on Vinyl' a little earlier than normal, to coincide with the Festive Season. The rip supplied was found somewhere in cyberspace (probably close to the North Pole) and includes mp3's (192kps) and limited artwork. I have chosen to include the Brady Bunch TV Theme as a bonus track to make this a truly Korny post with a Christmas twist.
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I would like to take this opportunity to wish everyone a blessed and Merry Christmas, and in the very words of Jan Brady, I intend to continue Marsha! Marsha! Marsharing my vinyl with you all, in the new year.
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Track Listing
01 The First Noel
02 Away in a Manger
03 The Little Drummer Boy
04 O Come All Ye Faithful
05 O Holy Night
06 Silent Night
07 Jingle Bells
08 Frosty the Snowman
09 Silver Bells
10 Rudolph the Red-Nosed Reindeer
11 Santa Claus Is Coming to Town
12 We Wish You a Merry Christmas
13 The Brady Bunch 1970 TV theme (Bonus)
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Brady Bunch Christmas Link (32Mb) REPOST
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Tangerine Dream - Phaedra (1974)

2011-12-15T18:55:00.012+11:00

(German 1967–present)
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Tangerine Dream is a German electronic music group founded in 1967 by Edgar Froese. The band has undergone many personnel changes over the years, with Froese being the only continuous member. Drummer and composer Klaus Schulze was briefly a member of an early lineup, but the most stable version of the group, during their influential mid-1970s period, was as a keyboard trio with Froese, Christopher Franke, and Peter Baumann. Early in the 1980s, Johannes Schmoelling replaced Baumann, and this lineup, too, was stable and extremely productive.
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Tangerine Dream's early "Pink Years" albums had a pivotal role in the development of Krautrock. Their "Virgin Years" and later albums became a defining influence in the genre known as New Age music, although the band themselves disliked the term.
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Tangerine Dream released the album 'Phaedra' in 1974, an eerie soundscape that unexpectedly reached #15 in the United Kingdom album charts and became one of Virgin's first bona-fide hits. Phaedra was one of the first commercial albums to feature sequencers and came to define much more than just the band's own sound.
This album's name derives from Greek mythology and it was the opener for the band's international career in May 73. For most of the sequences, the Moog sequencer was used for the first time on a Rock & Pop record.
The creation of the album's title track was something of an accident; the band was experimenting in the studio with a recently acquired Moog synthesizer, and the tape happened to be rolling at the time. They kept the results and later added flute, bass-guitar and Mellotron performances. The cantankerous Moog, like many other early synthesizers, was so sensitive to changes in temperature that its oscillators would drift badly in tuning as the equipment warmed up, and this drift can easily be heard on the final recording. This album marked the beginning of the period known as the Virgin Years.[extract from wikipedia]
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Phaedra remains Tangerine Dream’s most recognized and best-selling album today. Despite this, it also thankfully remains a challenging work to absorb, to the extent that I’m somewhat surprised it enjoyed the commercial success that it apparently did. In any case, we’re talking indispensable stuff with this one. With the move to Virgin and improved production, Phaedra represents peak work from this band –a classic of ambient and electronic music that sounds just as great today as it did back then.
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Album Review
The watershed album for Tangerine Dream, 'Phaedra' was their first release for Virgin Records, . If 'Zeit' was music recorded on Jupiter, then this was music recorded on Pluto, it is icy, distant, alien. The beginning moments of the title track always manage to bring shivers up my spine, as we are gently blown by a jet stream from up above, until slowly descending down into a mechanical throbbing like something you'd imagine hearing in a mad scientist's lab or in the shadowy corridors of an H.R. Giger painting. Gradually, this throbbing speeds up, until an angelic mellotron choir parts the waters. Soon over this, enter a wavering mellotron string lead, swirling in and out like quicksilver, and in the hands of VCS3 manipulation, almost sounding like a Moog at times. This early climax, perhaps the most incredible section of the title track, then hangs a sharp left turn unexpectedly into a new terrain of pulsing sequencing that would become the band's signature for the remainder of the 1970s. This similarly builds slowly to a peak, before screeching to a halt altogether once it reaches its top limits. Then the listener is left alone on an immense, deserted beach, with only synth-gulls and lonely mellotron to provide companionship. The haunting disorientation of the children's playground in the distance is the icing on the cake. On my remastered CD, this is placed as the beginning of the next track, "Mysterious Semblance at the Strand of Nightmares," and as I never owned the original LP I assume that's where it should be — but for me it will always be the close of title track.
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"Mysterious Semblance" is pretty much Froese and one of the all-time classic mellotron tracks: ten minutes of pure, unadultered 'tron beauty. To date, the only other track I've heard yet that equals it as a mellotron showcase is Popol Vuh's "Aguirre." Despite its foreboding title, it is for the most part a soothing, peaceful piece, and one that can't help but evoke the blue and white upper-reaches of the sky, especially with the windy bursts of white noise that augment the mellotron's song. The two remaining tracks, "Movements of a Visionary" and the Baumann-composed, quiet-as-a-whisper "Sequent 'C'" are also quite strong.
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Phaedra remains Tangerine Dream's most recognized and best-selling album today. Despite this, it also thankfully remains a challenging work to absorb, to the extent that I'm somewhat surprised it enjoyed the commercial success that it apparently did. In any case, we're talking indispensable stuff with this one. With the move to Virgin and improved production, Phaedra represents peak work from this band--a classic of ambient and electronic music that sounds just as great today as it did back then. [review by Joe McGlinchey]
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I have vivid memories of hearing the haunting sounds of Phaedra for the first time while attending a mate's party in my teenage years, when the party had died down and everyone was too drunk to dance. The sounds that came out of his pseudo-surround sound system (read: wall mounted speakers in garage) were something I'd never heard before and the almost 17min trip to another galaxy was profound to say the least. Tangerine Dream (or any other German band to be exact) were unknowns in Australia at the time, but Phaedra definitely changed this for ever. Needless to say, I couldn't wait to get my hands on a copy of this now legendary LP, especially as it also featured the novel Virgin label logo, which I'd never seen before either.
I now share this album with you in this post, an mp3 rip (320kps) taken from that very same copy which I have nurtured over the years. I am also including artwork for both LP and CD along with some select photos of the original lineup. The above photo of Peter Baumann playing at the time of Phaedra's recording was sourced from TangerineMusic with thanks.
So sit back, relax, and let the mirage of Phaedra sounds take you on a journey to far away mythological places and times.
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Track Listing
01 - Phaedra (16:24)
02 - Mysterious Semblance at the Strand of Nightmares (9:33)
03 - Movements of a Visionary (7:42)
04 - Sequent C (2:10)
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Band Members:
Edgar Froese (Mellotron, Guitar-bass, vcs3 synth, organ)
Chris Franke (Moog Synthesier, keyboards, vcs3 sA)
Peter Baumann (Organ, e-piano, vcs3 synth, flute)
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Tangerine Dream Link (83Mb) REPOST
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Mondo Rock - Aliens (Mini LP) 1987

2011-12-09T23:53:00.006+11:00

(Australian 1977–1990, 2007-present)
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Mondo Rock formed in February 1977, the band’s first single ‘The Fugitive Kind’ making Top 30 nationally and their debut album Primal Park making Top 40. After line-up changes in 1980 Wilson was back within three months with a new band, a new record deal and brand a new sound. Standing alongside him were guitarist Eric McCusker, a songwriter of skill and focus, James Black on keyboards, Paul Christie on bass and J.J. Hackett on drums - the definitive Mondo Rock formation. The band rapidly became one of the most popular in Australia; a powerful draw card on the national touring circuit.

At the heart of Mondo Rock's chemistry were the exceptional songwriting talents of both vocalist Ross Wilson and guitarist Eric McCusker who brought to the group diverse, but complementary ideas, along with James Black's inventive & compelling keyboard lines and Paul Christies rock solid bass.

Ross Wilson has given us ‘Eagle Rock’, ‘Come Back Again’, ‘Living In The Land Of Oz’, ‘A Touch of Paradise’, ‘Cool World’ and ‘Bed Of Nails’, providing a strong creative contrast to the more precise, pop-based McCusker, who focussed on personal relationships with ‘State Of The Heart’, ‘No One Comes Close’ and ‘Come Said The Boy’.

Eric's ‘State Of The Heart’ and Ross's ‘Cool World’ were immediate Top 10 hits, while the ‘Chemistry’ album shot into the Top 3. Two more hits were forthcoming from this landmark album; the title track and ‘Summer Of '81’. ‘Nuovo Mondo’ was another Top 10 album in mid 1982, yielding three singles ‘No Time’, ‘The Queen and Me’ and ‘In Another Love’.

Their fourth album ‘The Modern Bop’ went Top 5 spawning the enduring McCusker-penned ‘Come Said The Boy’ (a national #2 smash) and the Wilson-Black co-write ‘Baby Wants To Rock’. By 1984 Mondo Rock were at the forefront of Australian music on equal footing with the likes of Cold Chisel, INXS, Australian Crawl, Angels and Divinyls. So much so that the 1985 ‘best of’ ‘Up To The Moment’ went straight into the Top 10.

’Boom Baby Boom’ was a hit album in 1986 & the single ‘Primitive Love Rites’ achieved the prominence the band had become accustomed to. After the 1988 Aliens EP, Ross recorded a successful solo album, ‘Dark Side Of The Man’, before reuniting with McCusker in 1990 for ‘Why Fight It’, the final Mondo Rock album, recorded with American producer Waddy Wachtel.
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Ross Wilson's most recent solo venture is his brilliant 'I Come In Peace' which was released in July, 2010. To have a listen to the title track, just pop over to his Website and slect the MUSIC link.

Alongside Wilson and McCusker, the latest lineup of Mondo Rock features the celebrated Mondo alumni: Paul Christie (who enjoyed a #1 national hit with ‘He's Gonna Step On You Again’ as leader of the Party Boys), original keyboardist James Black, now also known as the maestro extraordinaire leader of the RocKwiz Orchestra and drummer Kerry Jacobson, a chart topper in his own right as a founding member of Dragon. All members are at the top of their game & eager to demonstrate just what a kick-ass outfit this is.

Mondo Rock recently released a 30 year commemorative edition of Chemistry in 2011. All touring and release info for Mondo Rock can be found at their website

This post consists of a mp3 rip (320kps) taken from my vinyl 12" copy of this Mini LP. I have also included full album artwork along with select photos of the band and some of of their more popular albums.
I really like 5 track offering from Mondo Rock - the opening track kicks off with a rockin' / popin' original "A Woman Like You" collaboratively written by the three song writers in the band - McCusker, Hackett and Wilson. Next is an anthem type track (typical Wilson style) entitled 'Aliens', where the chorus spells out the word - A L I E N. Very catchy indeed.
The flip side of this Mini LP starts with a Stones cover "I'm Free" which the Rolling Stones performed in the mid-60's. Mondo's version is better in my opinion. Next is the better known track "Primitive Love Rites" which was released as a single in November, 1986, however the version on this Mini LP is a different mix to the single (commonly referred to as the L.A Rhythm Mix), and is therefore worth grabbing if you are a hardened Mondo Rock fan.
The final track on this powerful Mini LP is "Working My Way Back" which features some nice Sax overtones by Ross, who also joins Wilson and McCusker in the song writing credits.
Overall, a great release by the Mondo's but its shortness leaves you wanting more.

Track Listing
A1. A Woman Like You
A2. Aliens (Walk Among Us)
B1. I'm Free
B2. Primitive Love Rites (L.A. Rhythm Mix)
B3. Working My Way Back

Band Members:
Ross Wilson – Vocals
Eric McCusker – Guitar
James Gillard – Bass
Andrew Ross - Sax, Keyboards
John James Hackett – Drums
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Mondo Rock Link (49Mb) REPOST
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John Cougar Mellencamp - Unauthorised (1993)

2011-12-04T12:46:00.038+11:00

(U.S 1976 - Present)
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John Cougar Mellencamp started as the walking embodiment of heartland rock — the passionate, plain-spoken, and extremely popular Eighties branch of singer-songwriters — scoring early hits that showcased themes such as pink houses, chili dogs, and bloodied plows. However, Mellencamp continued to grow artistically well beyond his commercial peak, earning praise from critics and racking up a formidable list of Top 40 hits along the way.Mellencamp was born on October 7, 1951, in Seymour, Indiana, with a form of spina bifida, a potentially crippling neural tube defect that required surgery and a lengthy hospitalization. Coddled by his mother and encouraged by his father to excel, Mellencamp grew into a self-proclaimed rebel.

At 17 he eloped with his pregnant girlfriend, Priscilla Esterline, began attending community college and working a series of blue-collar jobs. He had written a number of songs before he moved to New York at age 24 to begin a music career. There he met David Bowie's manager, Tony DeFries, who christened Mellencamp "Johnny Cougar," helped get him what has been reported as a $1 million deal with the Mainman label, and oversaw the recording of his 1976 debut, Chestnut Street Incident. The album, which mostly consisted of cover tunes, failed to hit, and a second recording in 1977, The Kid Inside, wasn't even released initially. (Both were later reissued and summarily trashed by critics.)

MCA dropped Mellencamp, who, it has been reported, was not even aware that he had "adopted" the Cougar stage name until he saw the first album cover. That and other early experiences in the music business no doubt contributed to the sometimes jaundiced view of show business that Mellencamp has expressed repeatedly through the years.

Four years later Mellencamp signed (this time as the more mature-sounding John Cougar) with Riva Records and, working with Rod Stewart's manager, Billy Gaff, recorded two more albums, the latter of which, John Cougar (Number 64, 1979), included an original, "I Need a Lover," that had previously been a radio hit for Pat Benatar. The song also became a hit for Mellencamp, reaching Number 28 in the U.S. and topping the chart in Australia. Nothing Matters (Number 37, 1980), produced by Steve Cropper, sold 900,000 copies and contained the hits "This Time" (Number 27, 1980) and "Ain't Even Done with the Night" (Number 17, 1981). Cougar divorced his first wife in 1981, and that year married Vicky Granucci. (They would later divorce, too.)

Two years later came Mellencamp's commercial breakthrough, American Fool (Number One, 1982). The videos for its hit singles — the Grammy-winning "Hurts So Good" (Number Two, 1982), "Jack and Diane" (Number One, 1982) and "Hand To Hold On To" (Number 19, 1982) — quickly became MTV staples, and Cougar toured as an opening act for Heart.

The next year's Uh-Huh (Number Nine, 1983) came out with American Fool still on the charts and included "Crumblin' Down" (Number Nine, 1983), "Pink Houses" (Number Eight, 1983) and "Authority Song" (Number 15, 1984). That year Mellencamp, who by then had begun calling himself John "Cougar" Mellencamp, embarked on his first headlining tour.

With Scarecrow (Number Two, 1985) he stayed the hard-rock course, producing another string of hits: "Lonely Ol' Night" (Number Six, 1985), "Small Town" (Number Six, 1985), "R.O.C.K. In the U.S.A." (Number Two, 1986), and "Rumbleseat" (Number 28, 1986).

In 1985 Mellencamp, with Willie Nelson and Neil Young, was a co-organizer of Farm Aid. He appeared at Farm Aid concerts I through VI. Over the years, he also has given concerts to call attention to the American farmer's plight, and in 1987 he testified before a congressional subcommittee on the issue. In addition, he has been an outspoken critic of beer- and cigarette-company sponsorship of concert tours and refuses to allow his music to be used in commercials.

Mellencamp's style took a dramatic turn with The Lonesome Jubilee (Number Six, 1987), which blended traditional American folk instrumentation (for example, Lisa Germano's violin and accordions) in a number of songs that lamented rather than celebrated contemporary Middle America. Its hits were "Paper in the Fire" (Number Nine, 1987), "Cherry Bomb" (Number Eight, 1987), and "Check It Out" (Number 14, 1988).

His next albums, more deeply introspective in some ways, each sold about a million copies, but the hits were fewer and farther between than in previous years. Big Daddy (Number Seven, 1989) included the somewhat cynical semi-autobiographical "Pop Singer" (Number 15, 1989), and Whenever We Wanted (Number 17, 1991) — his first album as just John Mellencamp, without the "Cougar" — featured "Get a Leg Up" (Number Fourteen, 1991) and "Again Tonight" (Number 36, 1992). The "Get a Let Up" video featured model Elaine Irwin, who became his third wife.

Human Wheels (Number Seven, 1993) yielded no major hit singles. Dance Naked (Number 13, 1994) featured the Number Three hit cover of Van Morrison's "Wild Night," a duet with singer and bass player Meshell Ndeg éocello. Mellencamp's plans to embark on a large 1994 North American tour were scuttled after he was diagnosed with a heart condition. Although initial reports described Mellencamp's problem as an arterial blockage, he later admitted that he had suffered a heart attack.

As if to comment on his brush with mortality, Mellencamp titled his next album Mr. Happy Go Lucky (Number Nine, 1996) and sought out dance-mix specialist Junior Vasquez to put an urban spin on his signature heartland sound. Tony Toni Toné bassist Raphael Saadiq and North Mississippi diddley-bow player Lonnie Pitchford were among guest performers. "Key West Intermezzo (I Saw You First)" (Number 14, 1996) was a hit, and a second singel, "Just Another Day," reached Number 46. Not all was happy-go-lucky, however, as Mellencamp terminated his relationship with his label the following year.

Though he owed PolyGram/Mercury five albums, he was free to sign with Columbia after signing off on The Best That I Could Do: 1978-1988 (Number 33, 1997), a hits collection, and the acoustic Rough Harvest (Number 99, 1999). His emancipatory release was called John Mellencamp (Number 41, 1998), and featured guest appearances by ex-Guns n' Roses guitarist Izzy Stradlin and drummer Stan Lynch of Tom Petty and the Heartbreakers.

For his first album of the new millennium, Cuttin' Heads (Number 15, 2001), he enlisted Public Enemy front man Chuck D and acoustic soul singer India.Arie for a set of socially conscious songs including his duet with the latter on "Peaceful World," which reached Number 11 on the adult chart. He threw another curve ball with Trouble No More (Number 31, 2003), a gritty set of folk, blues and country covers including Robert Johnson's "Stones in My Passageway" and Woody Guthrie's "Johnny Hart."

After spending much of 2003 and 2004 politicking against President Bush — participating in the Vote For Change tour alongside the Dixie Chicks, Bruce Springsteen, Babyface and R.E.M., and actively supporting the John Edwards campaign — Mellencamp returned to the studio for Freedom's Road (Number Five, 2007). More typically Mellencamp, it included the rootsy, heartland anthem "Our Country" (Number 88), which found the singer going back on his anti-commercial stance when it appeared in a car advertisement. It also included a protest duet with Joan Baez, "Jim Crow."

Of all the left turns Mellencamp has made in his career, none could have been more radical than Life, Death, Love, Freedom (Number Seven, 2008), which stripped away the Mellencamp sheen and let the brooding songs about growing old float in a misty, atmospheric soundscape. It turned out to be one of the most critically acclaimed albums of his career. He followed it with a live album in 2009. Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001).

This post features a concert recorded live in Indiana, USA on the 4th July, 1992. Specifically, the concert was held in Deer Creek Music Center, Noblesville, Indianapolis, Indiana during Mellencamp's "Whenever We Wanted" tour. (The concert has been released under the title of 'John Cougar Mellencamp - Unauthorised' by JOKER records, 'Workingman's Rock & Roll' (see cover below) and 'John Mellencamp Live - Indiana 1992' by LSD records)
This series of live import CD's were only available in New Zealand for a short time and were then banned from entering the country. The stores

which had stocks were able to sell what they had left, but no more were able to be imported. The first run copy had a cover with no picture on it, however, this later release featured a more pleasing picture cover featuring Mellencamp himself.
The quality of the sound recording is A+ and no doubt comes from a Soundboard tape.
The rip consists of mp3 (320kps) taken from CD and includes full album artwork. I have also included the Johnny Cougar single "I Need A Lover" as a bonus track to complete the set.
I have not been able to locate any details regarding Mellencamp's tour band other than that his long standing drummer Kenny Aronoff was on board (see pictured right).
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Track Listing
01 Paper In Fire
02 Jack And Diane
03 Lonely Ol' Night
04 Check It Out
05 Rain On The Scarecrow
06 Get A Leg Up
07 Jackie Brown
08 Small Town
09 Pop Singer
10 Crumblin' Down
11 R.O.C.K. In The USA
12 Play Guitar
13 Hurts So Good
14 Pink Houses
15 Cherry Bomb
16 I Need A Lover (Bonus Single)
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John Cougar Mellencamp Link (149Mb) REPOST
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W.O.C.K On Vinyl - Cold Blue Hunger (E.P 1988)

2011-11-30T21:59:00.018+11:00

(Australian 1986-1988)
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Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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There's not much information available about this Obscure Melbourne band from the late 80's.
Cold Blue Hunger evolved out of the bands 'Particular Motion' & 'The Plastoids' which were heavily based on Synthesizers but as 'Cold Blue Hunger' they had a tougher edge without losing its modern 80's sound. They were a Melbourne band playing the pub circuit during the later part of the 80's but never really made the big time. They played at such venues as the Corner Hotel in Richmond, the Tankerville Arms Hotel in Fitzroy and the Prince of Wales Hotel St. Kilda.
While playing under the name of the Plastoids, they released an independent single called "Blue Cold Hunger", and was probably the inspiration for their name change. As Cold Blue Hunger, they released a single in 1987 entitled "Wasted Time" and a selftitled 4 track 12" E.P in 1988, as featured in this post.
The 'Who's Who of Australian Rock' cites this independently released E.P as being called "Finland Friends" but was probably derived from the first track on the E.P of the same name. It was recorded at the Sing Sing Recording Studios in Melbourne.
Band member details are also vague, as both the E.P and Who's Who Of Aust Rock only cite them by their first names: Paula (Vocals, Keyboards), Mal (Bass), T.C (Guitar, Vocals), Rocky (Drums), Nick (Guitar)
If I was forced to compare them with another band I would probably say 'Big Pig' or 'The Eurogliders', but in my opinion they didn't really have that 'X factor' which bands need to break into the charts.
Anyhow, if you are curious about this band, as I was, when I came across the E.P at my local trash & treasure, or you simply have a 'cold blue hunger' to hear another WOCK posting, why not download this post and have a listen.
The post contains mp3's ripped from vinyl at 320kps and includes full artwork and label scans
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Track listing
01 - Finland Friends (2:50)
02 - Oh So New (2:28)
03 - Get Out Get Up (3:07)
04 - Dollar (2:45)
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Band members:
Paula (vocals, keyboards)
Mal (Bass)
Rocky (Drums)
Nick (Guitar)
T.C (Guitar, Vocals)
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Cold Blue Hunger Link (27Mb) REPOST
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Roxy Music - The High Road (1983) Mini LP

2011-11-27T20:56:00.023+11:00

(U.K 1971–1976, 1978–1983, 2001–present)
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Roxy Music 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]
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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.
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.
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.
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.
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.
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.
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.
‘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.
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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.
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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.
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.
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.
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). 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.
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.
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.
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.
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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 Bryan Ferry's website]
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Album Review
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'.
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.
The show in Frejus France was filmed and released as 'The High Road' video in 1983 and the DVD version was released in 2001.
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.
The surprise addition to the set was the Neil Young song "Like A Hurricane" which Ferry nor Roxy had recorded before.
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.
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.
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This post consists of an mp3 (320kps) rip taken 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).
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.
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Track Listing
01. Can't Let Go (Ferry) 5:29
02. My Only Love (Ferry) 7:52
03. Like A Hurricane (Neil Young) 7:48
04. Jealous Guy (John Lennon) 6:40
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Band Members:
Bryan Ferry (Vocals, Keyboards)
Phil Manzanera (Lead Guitar)
Andy Mackay (Saxophone, Oboe)
Neil Hubbard (Guitar)
Andy Newmark (Drums)
Alan Spenner (Bass)
Jimmy Maelen (Percussion)
Guy Fletcher, Michelle Cobbs, Tawatha Agee (Backing Vocals)
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Roxy Music Link (67Mb) REPOST
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The Runaways - Rock Legends Series (1980)

2011-11-23T20:31:00.021+11:00

(U.S 1975–1979)
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For those of you who do not know, The Runaways were an American girl group who released their first album in 1976. They were all aged about 16. The band came together in '75 in L.A. (of course) under the watchful eye of veteran rock hypester/houdini Kim Fowley, who has garnered himself a reputation (and rightfully so) of being truly crazed, fashioned a group containing young girls, all sixteen and seventeen. The girls, on command, played raunchy, overtly sexual music. In short, it was jailbait with a back-beat. The little boys (and the big boys, for that matter) went wild as the leather-encased, open-shirted batch of girls-next-door hit the road. Seeing the Runaways on stage, wielding their instruments like St. Valentine's Day assassins, was truly stirring, in a variety of ways.
Now, legend has it the members were recruited in the car park of an L.A. glam rock disco's car park. I'd like to imagine this is true, that the girls were found sitting on car bonnets, drinking underage, and popping pills. The fact that The Runaways were a 'manufactured' group doesn't bother me that much. Some great groups - Public Enemy, The Supremes, Sex Pistols, Spice Girls - were put together this way. All that matters to me is the end result. And to me, both then and now, The Runaways are as authentic and valid as I need.
If you haven't heard them, The Runaways records sort of mixed a Suzy Quatroesque Glam thump with a pre-punk, almost Ramones type minimalism. The songs were snotty, bratty, and full of bravado, underlined with the vulnerability of being an adolescent. Key words in the song titles and lyrics were 'night', 'streets', 'wild', 'bomb', 'fire', 'wasted', and 'neon angels on the road to ruin'.
They were a profound mixture of hype and mascara, and were the first batch of girl rock and rollers really to capture the attention of the world at large. (Earlier, Fanny nearly made it, Isis didn't even come close, and Birtha bombed big). From the start, the music industry knew that if these kids made it, they'd make it big, with such show-stopping numbers as "Born to Be Bad", "I Love Playin' with Fire", "Cherry Bomb", and "You Drive Me Wild".
But, by the time their second album, 'Queens of Noise' was released, the girls were badmouthing Fowley and Fowley was responding in kind, each accused the other of having a profound lack of talent. However, a short separation proved that each needed the other and, as the group began to change members. Fowley finally returned to the fold, however, the damage was already done, and after making a couple of albums, The Runaways decided to play their last concert on New Year's Eve 1978, at the Cow Palace near San Francisco and officially broke up in April 1979.
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Life After The Runaways
Cherie Currie, the singer, went off to become a solo star and actress. I did see one film she did, 'Little Foxes'. In it she basically played herself, a no good, too fast to live pill popping wild girl who was born to lose. The film was pretty crappy. In real life, she did become a junkie, and after many years she kicked the habit, and now works as a drug counselor. Cherie wrote her biography a few years ago, and I have spent much time trying to track it down, to no avail.
The guitarist, Lita Ford, worked for years as a beautician, before launching herself as a sleek, cat-suited, heavy metal goddess. Her records were rubbish. She also married some tattooed Neanderthal from heavy metal grizzles W.A.S.P, and then I don't know what happened to her.
Joan Jett went on to be Joan Jett, Queen of Rock'n'Roll. I believe Joan to be (now bear with me on this one), in her purity and minimalism, as true an artist as John Cage or Yoko Ono, and in her tomboy leathers, to be as queer as Dennis Cooper or Kathy Acker. Her dedication to loud guitar music, hand claps and screaming choruses is so great, I think that if you were to cut Joan Jett in half, the words 'I love rock and roll' would run through her like a stick of seaside rock.
When people write about the birth of punk, they always talk about the same old stuff: The Velvets, The Stooges, The Dolls, etc. Well, for my money, The Runaways were just as radical, just as nihilistic, and just as suburbanly trashy [extracts taken from Lillian Roxon's Rock Encyclopedia, Angus & Robinson 1978, p435-436]
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I feel The Runaways should be remembered as the greatest 'chic band' of the century - but then again, I'm a male and I'm biased
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.This post consists of a rip (320kps) taken from my cassette tape version of this Rock Legends 'best of' compilation. Although the tape has been played relentlessly at many a party, it still plays true and the sound quality is still excellent. I have been able to source the artwork for the LP release, however, I suspect this compilation was never been released on CD. Select photos the band have also been included for your drooling !
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Track Listing
01. Cherry Bomb
02. You Drive Me Wild
03. I Love Playin' with Fire
04. Born to Be Bad
05. Queens of Noise
06. Neon Angels on the Road to Ruin
07. American Nights
08. School Days
09. Waitin' for the Night
10. Hollywood
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Band Members:
Joan Jett (Rhythm Guitar, Lead Vocals)
Lita Ford (Lead Guitar)
Cherie Currie (Piano, Vocals)
Jackie Fox (Bass, Vocals)
Sandy West (Drums, Vocals)
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Runaways Link (77Mb) REPOST
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The Angels - Live at El Mocambo (1980)

2011-11-19T22:04:00.018+11:00

(Australian 1974–2000, 2008–present)
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Since releasing their debut single ‘Am I Ever Gonna See Your Face Again’ in May 1976, The Angels have gone on to enjoy an extraordinary career – through the release of a vast catalogue of recorded music and performing thousands of gigs over more than three decades. Buoyed by the encouragement of Malcolm Young, Angus Young and Bon Scott they moved to Sydney in early 1976 and were signed by Harry Vanda and George Young to the Alberts label after successfully recording some demos of their material.
‘Face To Face’ unleashed a stash of classic songs, all written by the song-writing team of ‘John Brewster/Doc Neeson/Rick Brewster’. Typically driven by a high energy mix of muscular guitars underscored by a pile driving rhythm section and topped off by manic and emotive vocals of their charismatic and hyper singer, ‘Face to Face’ also established the unique audience bonding tribalism now integral to an Angels show. There was no holding back the juggernaut as the follow up album 'No Exit' (June 1979) presented another clutch of classics also written by the team who have recently been inducted onto the Australian Song writers Hall of Fame.
Their dynamic live show saw them selling out the country’s biggest venues as well as helping mentor a whole new generation of bands as part of pub rock movement which became the dominant Australian sound for years to come.
The release of their fourth album 'Dark Room' (June 1980) provided their first number one title ‘No Secrets’. Penned by Doc Neeson and Graham “Buzz” Bidstrup the track further consolidated their enormous success.
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'Going Down With The Angels' (by Andrew McMillan)
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The smoke gets in your eyes. Shot with blood, peering through the blue haze. I flecks of ash floating across cracked glasses of scotch. Doc Neeson grips the microphone, the black leather jacket hanging loosely from his narrow shoulders, it's all going down, depression sets in with the mandies and some kid collapses to the glass strewn floor, only to have the space engulfed by the bleary surge. (Have you been drinking Andrew? - editor). On stage, through the haze. The Angels are grinding through "Am I ever gonna see your face again". Eighteen months ago it was their first single, a bitter number about a friend of Doc's who killed herself. Yeah, everything's going down. Into the void with the blues. It's got a familiar feel, something reminiscent of the Stones circa '68 to '73. Those open guitar chords and the fairly straight rhythm section ploughing through the shade. And it's hot. Rhythm guitarist John Brewster picks up his harmonica, blows wildly. He took it up when he formed a jug band with his brother Rick and Doc some five years ago. Heavily influenced by the old black blues men, the shrill knifing notes waver and plummet into the gloom. He wishes that he could play like those guys. The harp is creeping back into their repertoire, adding to the lonesome feel. Going down. (Stop! Stop! Before I suicide - editor) Lead guitarist Rick Brewster stands, deadpan, to the left of the stage. Never moving, his shades just sit there and the expression never changes, it was he who took the band away from its jug band days when Doc was studying for his masters degree in drama, who kept the Keystone Angels on stage when they took up the electric instruments and learn't a repertoire of fifties material that eventually got them a place on the Chuck Berry tour of Australia. Gradually the style developed, fifties gave way to sixties and a predominance of original material which helped score a record contract with Alberts before Chris Bailey took up the bass. Three months passed before an album was recorded under the combined production skills of Vanda and Young. Finally released in late September, it's a moody album, though perhaps a trifle too clean, 'cos these guys are carcass-poundin' dirty as they drive through their latest single "You're A Lady Now". The album's cover was designed by Peter Hay-wood who has previously done art-work for such acts as Fleetwood Mac and The Eagles. That was the cause for the delay in release. Everything had to be just right. And it is! Immediately after the gig The Angels head down to the studio to put down some live demo tapes. Originally from Adelaide, the Angels are now based in Sydney playing up to ten gigs a week, working their butts off with brutally powerful but basically simple rhythm and blues. In the sleasiest of dives, going down. (Gaaaaaarg! - editor)
(Published in RAM Magazine #71 - November 18, 1977 - page 9)
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This post is an excellent Soundboard recording of The Angels (aka Angel City) when they toured the States and Canada in the early 80's, during their 'Darkroom Tour'. They were certainly on fire this evening while performing at the 'El Mocambo', one of Toronto, Ontario's oldest music venues. This historical concert venue has been at the heart of the Toronto Music Scene for over 100 years.
This is not my rip (192kps) and was sourced from the net while trawling for 'great aussie rock'. Full album artwork is included, along with a scan of the RAM newspaper article featured above.
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Track Listing
01. After The Rain
02. No Exit
03. No Secrets
04. Comin' Down
05. Marseilles
06. Ivory Stairs
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Band Members:
Doc Neeson (lead vocals)
John Brewster (rhythm guitar, vocals)
Rick Brewster (lead guitar, vocals)
Chris Bailey (bass)
Graham "Buzz" Bidstrup (drums, vocals)
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The Angels Link (45Mb) REPOST
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Lenny Kravitz - Live Unapproved (1990)

2011-11-15T21:43:00.014+11:00

(U.S 1988 - Present)
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Born in 1965, Lenny Kravitz is a US funk-rock singer/songwriter from New York, who taught himself piano and guitar (later drums too), before his parents moved to Los Angeles, where he joined the California Boys' Choir. Adopting the pseudonym Romeo Blue in the early 80's, he began work as a session musician, then booked a studio to write and record songs for his debut album 'Let Love Rule' (1989), which mixed soul, funk, blues and hard rock.
Rejected by virtually all major labels, he signed to Virgin and released the raw-sounding album without even remixing it. Dismissed by many as a mere Sixties revivalist, he nevertheless won a fervent following and was voted Best New Male Singer by Rolling Stone.
In 1985, Lenny's parents divorced - a fact that affected Lenny very deeply. A year later, Lenny moved to New York where his girlfriend, the actress Lisa Bonet, worked on The Cosby Show. There, Lenny met the recording engineer Henry Hirsch with whom he worked together on his debut album, Let Love Rule.
In November 1987, Lisa and Lenny got married in Las Vegas. A year later, their daughter Zoë was born. In 1989, Let Love Rule was ready to be released by Virgin Records; Lisa had contributed to the lyrics. The album encountered harsh words from critics but the public liked the mix of soul and rock which ended up in the charts (US#61, UK#56). Lenny said that he wanted to create an honest sound, which sounded outdated to some listeners. He played most of the instruments on the album.
Lenny co-wrote the lyrics and produced Madonna's video Justify My Love. Rumors about a love affair between him an Madonna and other infidelities by Lenny resulted in a schism between him and Bonet in 1991 and ended with a divorce in 1993.

In 1991, his second album, Mama Said (US#39, UK#8, Germany#20), was released. It was more introspective and sold platinum. Its single It Ain't Over 'Til It's Over was a hit (US#2, UK#11, Germany#43). In 1993, the third album, Are You Gonna Go My Way (US#12, UK#1, Germany#7), was the first to be acclaimed by critics. The title song won an MTV Video Award for Best Male Video.
In 1992, Lenny produced an album for the French singer Vanessa Paradis on which he played most of the instruments and wrote several lyrics. In 1993, Kravitz wrote "Line Up" for Steven Tyler from Aerosmith. Together with Mick Jagger, he recorded a new version of "Use Me" for Jagger's album 'Wandering Spirit'. Lenny also worked with Al Green and Curtis Mayfield.
In 1994, he released 'Spinning Around Over You', which included five live tracks from his 'Universal Love' Tour. His followup album, 'Circus', was influenced by emotions about his mother who was fighting cancer at the time. It was released in the summer of 1995; his mother died in the following December. Then, Lenny moved with his daughter and grandmother to the Bahamas.
Lenny's next album, '5', includes the hit singles "Fly Away", which earned him a Grammy for Best Male Rock Vocal Performance in 1999, "Thinking Of You", dedicated to his mother and "Little Girl's Eyes", written for his daughter.
After a successful European tour, Lenny's later editions of 5 included "American Woman", a song used in the film Austin Powers: 'The Spy Who Shagged Me'.
In 2000, Lenny Kravitz' Greatest Hits were released. The fifteen titles include "Are You Gonna Go My Way", the ballad "It Ain't Over 'Til It's Over", "American Woman" and "I Belong To You". The album's track "Again" won the 2001 Best Male Rock Vocal Performance Grammy Award.
Still tagged by some as an opportunistic chameleon who recycles Hendrix riffs, Kravitz is in fact a skilful stylist reshaping musical genres to fit his own progressive ideas [extract from Lenny Kravitz website]
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This post is another Live Bootleg released by Mojo, featuring tracks from Lenny's 1989-1990 club tour which covered the USA (New York, Boston, Chicago) and the UK (London). The songs on this particular bootleg were recorded live in the Town & Country Club, London, 24.5.1990
The post consists of a 320kps rip taken from CD and includes the usual generic artwork typical of the 'Live Unapproved' series. This bootleg (or parts of it) have been released under other names: 'Always On The Run (Volume 1)' - 'Cold Turkey' - 'Flower Child' and 'If 6 was 9'.
I have included the more appealing artwork for 'Flower Child' as an alternative cover.
In addition, I have also included 3 bonus live tracks taken from Lenny's more recent single "Again". They are "Fly Away", "Always On The Run" and the hit "Are You Gonna Go My Way".
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Track Listing
01 Mr. Cab Driver
02 Flower Child
03 Be
04 My Precious Love
05 Freedom Train
06 Cold Turkey
07 Fear
08 If Six Were Nine
09 Let Love Rule
Bonus Tracks
10 Fly Away*
11 Always On The Run+
12 Are You Gonna Go My Way+
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* Recorded Live at Brixton Academy 1998
+ Recorded Live at Musiqueplus 1999
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Lenny Kravitz Link (158Mb) REPOST
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Skyhooks - The Skyhooks Tapes (1977) + Bonus Tracks

2011-11-08T21:25:00.012+11:00

(Australian 1973-1980, 1983-84, 1990, 1994)
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When Cyclone Skyhooks (as they call her in the trade) appeared on the distant horizon in 1973, little was Australia aware that its entire bungling, struggling, apologetic little wader's pool of an industry was about to be swamped, revamped and exhilarated almost overnight.
Two years later Skyhooks, a band of unknowns with little more than a lot of lip, nerve, talent, imagination and several million dollar riffs with lyrics to match at their disposal, had completely revolutionised the face of Australian rock. They didn't have a manager till January '75, they still don't have a publicist.
The band was the basic conception of bass-player Greg Macainsh, who writes 90% of the repertoire, built upon by other Skyhooks Red Symons (aka Rocco Simone, guitar/vocals/odd compositions); Graeme Strachan (aka Shirley, vocals); Bob Starkie (aka Bongo Star, guitar) and Fred Strauks (aka Freddy Kaboodleschnitzer, drums/vocals).
They started out by winning over the bohemian grandchildren of Eltham, the theatrics of Carlton and the student intelligentsia of Melbourne's high schools, technical colleges and universities; picked up the sharpies and skinheads of St. Albans and Chelsea; did well interstate and ended up with the nation's Hot Sox and pimple-cure market on their hands - plus thicker wallets, gold record racks and more press clippings books than any Australian band had ever dreamed of. [extract from 'Million Dollar Riff', 1975, p6]

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So, how did Shirley join the band?
Sunbury '75 was Skyhooks' big chance to win over thousands in one foul swoop, thrill the press and maybe even steal the thunder of many bigger bands. But on the day it didn't work like that. It was a stinking hot day in late January, and the band's allotted time slot was lousy mid-afternoon on Saturday, when the sun was at its zenith and everyone still left in their right mind would be swimming in the Hunter river or sleeping someplace in a tent. Uncharacteristically, before the performance Skyhooks were nervous. "I never thought I'd see the day", swears Gudinski, "when that band would be affected at all, and they really were."
In the hazy heat the make-up was dripping off their faces even before they reached the stage and guitar strings wretched flat immediately they re-tuned. The sound didn't come together at all and when a few of the standard festival hecklers caterwauled a little abuse along the lines of "poofters!", Hill overreacted and got involved in a shouting mouth fight with some cat in the crowd . . Altogether, the thing was a mess.
Sunbury was later televised by Channel 0, and Steve Hill felt sickened watching himself jerk and writhe in miniature on the video replay. Already more than uneasy with his position, he decided to quit while he was ahead.
"The main reason why I left - let's get down to the crunch of the whole thing - was because I was having an identity problem. . . You get to that stage in life where you're wondering who you are and all that sort of stuff, and in the context of Skyhooks it was very difficult to play out this role of this mysterious, macho, menacing, aggro lead singer of a rock'n'roll band, which is not me at all you know, and at the same time solve all my identity problems.
"It was just starting to spin too much in my head, and I felt that if I didn't step out of it then, and get a chance to look at things in perspective . . . well, I'd blow it for myself and I'd blow it for the band."
Also in Hill's mind was the factor that Skyhooks were soon to sign a deal with Gudinski's indigenous Mushroom Records, and to change your lead singer after your first record could be a major drag. When Steve announced he wanted out, no-one hit the roof.
"I'd been used to guitarists coming and going", mutters Macainsh, "so when he reckoned he was gonna leave the band it was just another person leaving. He'd been with us for a while, so it kinda posed a problem. But the band wasn't on the verge of breaking up because of it."
Gudinski was thinking "oh-oh, the band's dipped out." The band said not to worry. "It didn't worry me!" says Wilson. "I could see that it was gonna be alright anyway. I just sat back and watched what happened. Asked Greg what they were gonna do, and he said, there's this guy . . . "
Yeah, there was this guy alright. Shirley Strachan had been hanging loose down at Phillip Island ever since Frame broke up. But it was February 74, the cold was coming on and his girlfriend was off to Perth, so Shirl jumped in his combi and headed for Melbourne to work the winter through carpentering for his dad. But as he sped up the coast road, Greg Macainsh and Freddy Strauks were driving down and they must have passed each other in transit. The two Hooks arrived at Strachan's Phillip Island pad only to find him gone, so they turned around and began the long drive home. Later that day they caught up with him at his parents' Mt. Waverly home, sat down, had a cup of tea and asked him if he'd join the band.

It didn't take Strachan long to make up his mind. Melbourne he could take or leave - he didn't particularly want it. Really it was just a matter of being able to work there, make some money and take it down to the surf beaches again. Skyhooks, he thought, would be a nice interest to pass away the time.
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*Ross Wilson actually considered joining Skyhooks around this stage, Mighty Kong having dipped out leaving time on his hands. "I thought it would be really neat to sing those songs and play with the really tough music . . . But I decided against it. I had to follow my own destiny through."
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Graeme's first gig was March 3, 1974 in Frankston, Melbourne. Right from the start, Macainsh had made it clear to him that Skyhooks were streets away from Fame, especially in their approach of an audience.
"Greg said you're gonna have to talk, you're gonna have to look at people . . . And the first night I did, you know. And I thought, oh fuck, that's not bad ..." He wore a blue satin outfit something like a sailor suit and white gym shoes, he was lean and very suntanned from all that surfing and swimming and his hair was so long it had to be pulled back off his face in a ponytail.
"Greg introduced me to this guy", reminisces Gudinski, " really straight, quiet, meek guy. He says oh, you're the one, meets me and shakes my hand . . . little did I know that I felt funny to him because he was replacing Steve, he was the new outsider ..." But it wasn't long before the two were getting on like a house on fire. Shirley (Macainsh insisted on that name in the press releases) became the new band rep in the office; a whiz with figures and a keen, hard-headed businessman; and as such worked hand in hand with Gudinski, whose interest in Skyhooks was rapidly expanding. He'd signed them to a recording contract with Mushroom, and the hottest buzz in the industry was that Ross Wilson, probably Australia's most legendary 70's rock songwriter and performer, had talked Skyhooks into letting him produce their first album.
[extract from 'Million Dollar Riff', 1975, p25-27].

Skyhook's Rise to Fame
OK you say, but just how have Skyhooks revolutionized Australian rockbiz? Here's some of the things they've done in the year October 74 - October 75.
They sold over 350,000 LP's and cassettes of their first two albums. 'Living in the 70's' and 'Ego Is Not A Dirty Word' (the first outside productions of the multi-talented Boss Wilson). 'Living in the 70's' alone sold around 200,000 LP's and cassettes by October '75; approximately four times the previous record sales for a locally-produced rock album in Australia (set by Daddy who? Daddy Cool in 71-72). This amounts to over thirteen gold records. Ego went gold several times in pre-release orders alone and continues to give its forerunner a run for its money. Both albums have sold gold cassettes, a first for Oz rock. "Horror Movie" was a gold single and both subsequent singles have been National Number 1.
Skyhooks national tours have smashed attendance records all over the country. Their third was the premier tour of an indigenous act ever taken by promoters Paul Dainty Corporation - who wised up to the fact that in Australia, Skyhooks could equal or surpass the draw of any given international star act, and do it from Sydney to the black stump (requiring only internal airfares to boot).
They also effected a complete upheaval of the media . . . playing banned number "Smut" on the now defunct Blind Date (Red Symons, "date" for the evening, sending the whole show sky high by wearing dark glasses and tapping a cane as he entered the set, playing possum throughout the questioning and finally biting the lucky contestant on the neck instead of kissing her) and on kids show Do It (also now defunct) and other banned numbers elsewhere; making a strict point of discussing camera work, lighting and sets with every video crew they worked with; refusing to grant unwarranted interviews tc the press and;, eventually working a miracle on the country's stuffy, traditionalist major pop radio network . . .
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For although FACB (Australian radio and TV's self-controlling body comprised of representatives from all over the nation) voted to ban six of ten tracks on 'Living in the 70's' something (perhaps the huge sales of that album) mysteriously moved them to leave 'Ego Is Not A Dirty Word' completely uncommented upon - with the result that "Smartarse Songwriters", "Saturday Night" (containing the word "dope") and "Love's No: Good Enough" ("The girls in the front row are or mandrax" - mandrax being a well-known soporiphic taken these days for kicks) are now being freely broadcast by at least one radio station reported to have large Catholic/Liberal Party interests. Not to mention "Love on the Radio", deliberately omitted from the first album because of the blatant way it rubbishes radio and its advertisers.
So Skyhooks have stretched all those limits we pessimistically imagined concrete beyond recognition In America, rock is close to the country's biggest industry In Australia it's still only a fraction of the national annual income, but increasing hundreds of percents every year giving our musical artists and everyone working around them a better chance for the right to decent conditions and a certain measure of respect.
In late 75, there were more rock and pop centered publications on the market than ever before and television gave us several hours o" rock-centered music every week.
Skyhooks have not been the sole cause of the uplifted state of Oz rockbiz of course . . . The Easybeats paved the way in the 60's, Daddy Cool gave it another great shove in the early 70's and Sherbet have been in there fighting for years, with considerable success - not to mention all those scores of bands and media fold who've given everything from a little inspiration to their all. But if the others put in the foreplay,it was Skyhooks who completed the act, and did it with such finality we were all left reeling.
So, having sold over Australia, $2,000,000 worth of recorded wares and with the best overseas deal yet clinched by an Australian act (one of the best offered to any new group around the world at the time, in fact), Skyhooks prospects are good..... [extract from 'Million Dollar Riff',1975. p145-147]

After completing their 1976 US tour, the band remained in San Francisco and recorded their third album with Wilson producing, Straight in a Gay Gay World—called Living in the 70's for US release with "Living in the 70's" replacing "The Girl Says She's Bored"—which appeared in August and peaked at #3 on the Australian album charts. In July, upon return to Australia they launched The Brats Are Back Tour with a single, "This is My City", which reached the Top 20. "Blue Jeans" followed in August and peaked at #13 on the singles chart. By October, Strachan provided his debut solo single, "Every Little Bit Hurts" (a cover of Brenda Holloway's 1964 hit), which reached #3. In February 1977, Symons left the band and was replaced on guitar by Bob Spencer (Finch later called Contraband). With Symons' departure the band dropped the glam rock look and used a more straight forward hard rock approach. During 1977 Skyhooks toured nationally three times, while their first single with Spencer, "Party to End All Parties", peaked into the top 30 in May. Strachan released his second solo single, a cover of Smokey Robinson's "Tracks of My Tears", which reached the top 20 in July. Meanwhile, Mushroom released a singles anthology, 'The Skyhooks Tapes', which entered the top 50 in September and is featured in this post. The band's mass popularity had declined although they still kept their live performances exciting and irreverent and played on until 1980, when they finally disbanded [extract from wikipedia]
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This post consists of a vinyl rip at 320kps taken from my treasured copy of 'The Skyhooks Tapes', which has rarely seen daylight. Full album artwork is also included along with a selection of B&W photos sourced from the 1975 biography 'Million Dollar Riff' by Jenny Brown (photos thanks to Carol Jerrems). As this compilation was a collection of A & B side singles, I have also chosen to include 2 tracks from a rare flexi disc which was only available with the 'Vault Magazine' Vol 1 #4 (sourced from Ozzie Music Man with thanks).
This album was not meant to be a definitive collection of 'hits' at the time of its release, but rather a compilation of singles and non-album tracks. I have also chosen to include a podcast of an interview with Greg Macainsh on a San Francisco radio show called 'The Rock 'n' Roll Geek show' and was sourced from the Midoztouch Forum with thanks to Jetboy. This is a wonderful 1/2 hour mixture of dialogue and music centered on Skyhooks invasion of America during their 1976 tour and well worth the listen.
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Track Listing
01 - All My Friends (Are Getting Married)
02 - Party To End All Parties
03 - Crazy Heart
04 - Ego Is Not A Dirty Word
05 - Hot Rod James
06 - Million Dollar Riff
07 - You're Like A Broken Gin Bottle Baby
08 - Let It Rock
09 - Revolution (US Version)
10 - Blue Jeans
11 - Living The The 70's
12 - You Just Like Me 'Cos I'm Good In Bed
13 - Forging Ahead
14 - Horror Movie
Bonus Tracks
15 - Sweet Sister (A-Side Flexi Single)
16 - Guitar Thunders In My Hand (B-Side Flexi Single)
17 - Greg Macainsh Radio Interview (Rock 'N' Roll Geek Show, 2007)

The Hooks were:
Shirley Strachan (Lead Vocals)
Red Symons (Guitar/Vocals)
Bob Starkie (Guitar)
Greg Macainsh (Bass/Vocals)
Freddy Strauks (Drums/Vocals)
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The Skyhooks Link (165Mb) REPOST
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George Thorogood And The Destroyers - Selftitled (1977)

2011-11-03T19:56:00.024+11:00

(U.S 1974 – Present)
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George Thorogood was born on December 31, 1950 and was raised in Naamans Gardens, Delaware, where his father worked for DuPont. He graduated from Brandywine High School in 1968. Thorogood played semi-professional baseball, but turned toward music after seeing John P. Hammond perform in 1970.
Thorogood formed the Delaware Destroyers in 1973, and moved the band to Boston where they became familiar faces on the East Coast blues circuit. During this time, Thorogood continued to play baseball, touring with the band during the off season. The band recorded a demo tape in 1974, which would later be released in 1979 as the 'Better Than The Rest' album.
Thorogood's scorched-earth live performances with the Destroyers brought the band to the attention of Rounder Records, which released the band's critically-acclaimed, self-titled debut in 1977 (Note: Stockade released this album in Australia).
The album sold extremely well for an independent release, leading to the 1978 release of Move It On Over, which I will post at a later date.
In the 34 years since the release of this debut album, George Thorogood and the Destroyers have forged a career of exceptional durability. Delivering guitar-driven roadhouse rock and houserockin' blues, the blueprint established by that debut has been followed by the band ever since, and songs from that album like "Madison Blues" and "One Bourbon, One Scotch, One Beer" are crowd-pleasers still played by Thorogood and the Destroyers to this day.
This basic blues-rock sound has brought Thorogood criticism from blues purists even while it's made Thorogood and the Destroyers one of the most popular blues-based bands on the road and in the studio. Over the course of 15 live and studio albums – two which have gone "Platinum" for a million units sold, and six that have been certified as "Gold" – the hard-working trio has become known for signature songs like "Bad To The Bone," "Move It On Over," "Born To Be Bad," "Get A Haircut," and their raucous cover of Bo Diddley's "Who Do You Love?" [ extract from wikipedia]
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Thorogood's asssociation with Chess Records
George Thorogood has been essaying the Chess repertoire since his 1977 debut album, which included songs by Elmore James and Bo Diddley that originated on the label. He has cut 18 Chess covers over the years; three appeared on his last studio release, 2009’s 'The Dirty Dozen'. On 2120 South Michigan Avenue, he offers a full-length homage to the label that bred his style with interpretations of 10 Chess classics.
Chess’ studio spawned timeless ‘50s and ‘60s recordings by Waters, Chuck Berry, Bo Diddley, and Howlin’ Wolf, which served as inspiration for the Stones and their blues-rocking brethren, and then lit a fire under their successors George Thorogood and the Destroyers.
Thorogood recalls:
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"I remember as a teenager reading about Mick Jagger meeting Keith Richards on a train. Jagger had a Chuck Berry record, and he said he wrote to Chess Records and got a catalog sent to him. Just out of curiosity, I took out one of my Chess records, got the address, and I wrote to Chess Records. And they sent me a catalog of the complete Chess library, and I started buying up these Chess records. I bought every single one of them I could possibly get.
“And I remember reading the backs of those Chess records and seeing the address, 2120 South Michigan Avenue, and I said, ‘That’s the same address as the Rolling Stones’ instrumental!’ And I started putting one and one together and coming up with a big two.”
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Over time, Chess’ catalog and artists became the sources of Thorogood’s higher education in music. “That was my school, the college that I had to learn my trade in,” he says. “I had to figure out how these people did these things.”
His latest album also celebrates the performers who shared stages with Thorogood and the Destroyers and encouraged them when they were just coming up on the East Coast blues scene.
He says, “The people who helped me out were all the guys in Muddy Waters’ band, all the guys in Howlin’ Wolf’s band. They were wonderful to me, and they wanted to help me. They saw what I was trying to do.” [extract from Thorogood's Website]
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Album Review
Break out the bottles of booze and crank up the volume... gritty guitarist George Thorogood and his tight backing Destroyers blow-out ten raucous, John Lee Hooker and Chuck Berry inspired songs to throw back shots into the early morning hours throughout the 1977 hard rockin', blooze-based LP. Opening with the quick-hittin' "You Got to Lose", the self-titled album rolls behind raw tracks that features the lengthy "One Bourbon, One Scotch, One Beer", plus the get-down stomp of "Madison Blues", "Can't Stop Lovin'", and set closer "Delaware Slide".
This is like the best bar band you've ever heard. People who talk smack about George Thorogood are really missing the point. By playing such cranked-up versions of their music, he has undoubtedly introduced more people to Bo Diddley, Chuck Berry, Elmore James, and John Lee Hooker than any SBS documentary ever will.
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If you want to collect Thorogood, his first two albums (this one and 'Move It On Over') are his best. He sold more copies later when he switched to EMI, but the records just aren't as consistent or fun. An unfortunate consequence of the label change is that both of the compilations put out by EMI miss out on classic material from the first two records, stuff like "Ride on Josephine", "You Got to Lose", and "It Wasn't Me".
This album was everything that I wanted it to be, high energy, raw and considering how long it took to record, amazing quality. No matter that it had only two George Thoroughgood written tracks, it transformed some of the other tunes into something I could relate to. Thus Bo Diddleys "Ride on Josephine" and Earl Hookers "You got to lose" were headed in a direction that I could understand. Some 35 years later I still get the buzz that I had then when I first heard the album played at a Uni party.
Surely that's the test of a great album?
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This rip was taken from my virgin vinyl (ripped at 320kps) and includes full album artwork. This 'Stockade pressing' is something special I can tell you - it sounds almost like a direct to disc recording. Crystal clear and super sharp acoustics make this a 'kick ass' blues and boogie album, So enjoy!
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Track Listing
01 You Got To Lose
02 Madison Blues
03 One Bourbon, One Scotch, One Beer
04 Kind Hearted Woman
05 Can't Stop Lovin'
06 Ride On Josephine
07 Homesick Boy
08 John Hardy
09 I'll Change My Style
10 Delaware Slide
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Band Members Are:
George Thorogood (electric and acoustic guitars, harmonica, lead vocals)
Jeff Smith (Drums)
Billy Blau (Bass)
Ron Smith (Second guitar on some tracks)
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George Thorogood Link (104Mb) REPOST
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W.O.C.K On Vinyl - Tiny Tim: Vancouver (1968)

2011-10-30T20:23:00.015+11:00

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Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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Tiny Tim can easily be one of the most peculiar of music figures. Considered a novelty by some (thanks to his unexpected smash "Tiptoe Through The Tulips"), to the rest of us he has one of the greatest voices (and styles) of the 20th century! Probably the most recognizable song and Tiny Tim lyrics were to "Tip Toe Through the Tulips." His signature rendition of "Tip-Toe Through the Tulips" became a hit, and the LP sold over 200,000 copies. Tiny Tim also gained notoriety for being wed with Miss Vicky on national TV. His other top recording was "God Bless Tiny Tim."
Sadly, on December 1, 1996, Tiny Tim passed away at the age of 64. For a full biography of Tiny Tim's musical career, see lownoise blog
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This is a Obscure, never-before circulated live recording of Tiny Tim at BC Pacific Coliseum, Vancouver - September 21st, 1968 at the peak of his commercial success. The tickets were $5.50 a piece, and also on the bill that night were Country Joe and the Fish, and popular local act The Collectors (later known as Chilliwack).
This is a mono soundboard recording, preserved on two 7" reel-to-reel tapes at 7.25 ips, so the quality is very good, considering the source and the age. The unfortunate thing was whoever recorded it had to change the reels in the middle of the show, and so one track, "Rock-A-Bye Baby Days" is incomplete. But otherwise, great for 1968!
The only short coming with this post is that it is a 128kps rip (sourced somewhere on the www some time ago), however, the reproduction is still quite acceptable. I have fond memories of seeing Tiny Tim perform on various T.V shows during the 70's (The Don Lane Show was one of these) and although I didn't really see him as a serious performer (more of a strange novelty act) at the time, I now realise that he was both a talented musician and showman. The mere fact that his bizarre hit single comes ringing to my ears every time I see a field of tulips, is testimony to the fact.
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Track Listing
01. Livin' In The Sunlight, Lovin' In The Moonlight
02. Save Your Sorrow
03. On The Old Front Porch
04. I Gave Her That
05. The Viper
06. Then I'd Be Satisfied With Life
07. As Time Goes By
08. On The Good Ship Lollipop
09. High In The Hills
10. I Got You Babe
11. Rock-A-Bye Baby Days (excerpt)
12. Tweedle Dee
13. I Love Me
14. Ever Since You Told Me That You Love Me (I'm A Nut)
15. Down Below
16. I Hold Your Hand in Mine / Earth Angel
17. Tiptoe Thru The Tulips
18. Fill Your Heart
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Tiny Tim Link (38Mb) REPOST

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Machinations - Esteem (1982) plus Bonus Tracks

2011-10-26T20:54:00.024+11:00

(Australian 1980- 1989, 1997)
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Machinations was a popular Sydney-based outfit working the mid-1980s independent Australian music scene. They toured Australia many times, appearing on every imaginable entertainment program and sold over 200,000 records in Australia.
Notable national hits included "Pressure Sway", "My Heart's On Fire" and "No Say In It". They also achieved indie prominence with the two versions of their first single, "Average Inadequacy". Machinations failed to achieve as much commercial success, either at home or abroad, as many of their peers. Nevertheless, the band had a cult following in dance clubs, by far their strongest supporters.
The band formed around Tim Doyle and Tony Starr, who started writing together around the end of 1979, using what electronic instruments they could find. Their school friend Fred Loneragan joined as singer and they played their first show at Garibaldi's in Darlinghurst, Sydney in early 1980. Another school friend, Nero (Nick) Swan, soon joined on bass.
In late 1980, with the assistance of radio Triple J, the band recorded some songs at Trafalgar Studios; in November 1980, the band entered the studio with producer Lobby Loyde. These recordings resulted in the band's debut single, "Average Inadequacy"/"Arabia" (released 26 August 1981), and the four-track debut self-titled EP (20 November 1981), both released on the independent Phantom Records label.
"Average Inadequacy" created enough interest for Mushroom's White Label to sign the band and reissue the single with a new B-side, "Machinations of Dance" in March 1982. A year later, Machinations issued a new single, "Jack"/"Be Double" in February 1983. The track "Jack" was about US writer Jack Kerouac, and due to lyrical reference to illegal drugs ('I wanna take some 1960s LSD'), "Jack" was often not played in live sets when audiences included minors.
This was followed by "Pressure Sway"/"Pushbike" in June 1983. "Pressure Sway" became the band's first national mainstream charting single when it peaked at #21 during July 1983. "Pressure Sway" also made an impact in the United States reaching #40 on Billboard's Club Play Singles chart. In April 1983, Machinations released their debut album, 'Esteeem', which peaked at #54 on the Australian album charts. The third single from the album was, "Jumping the Gap"/"Terminal Wharf", released in October 1983.
Following the album's release, and an Australian tour support slot with Joe Jackson, Machinations added Warren McLean on drums; prior to that the band used a drum machine (a Roland CR-78). The band entered Rhinoceros Studios with English producer Julian Mendelshon, emerging with the smoothest and most fully realised album of its career, Big Music, in July 1985. The album produced four hit singles. The first of these, "No Say in It"/"Man Overboard" pre-empted the album by nine months (it was released in September 1984) and ended up being the band’s highest charting single, peaking at #14 in October 1984. The second single, "My Heart's on Fire"/"Spark" followed in May 1985, it reached #27 in June 1985.The third single, "You Got Me Going Again"/"I Ain't Waiting for No Train" was released in August, 1985, making #39, however the fourth single, "Execution of Love"/"Dusted Down", released in December 1985 failed to chart. Naomi Star sang backing vocals on most of the album, although Inez Anthony was featured on "No Say in It". The album peaked at #20 on the national album charts, spending several weeks at that position. It was also released in the United States on the A&M label.
In 1985 Machinations performed the three national hit songs for the Oz for Africa concert (part of the global Live Aid program). It was broadcast in Australia (on both Seven Network and Nine Network) and on MTV in the US.
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In 1986, White Label issued the mini-album 'The Big Beat', a collection of dance remixes of singles like "No Say in It", "Execution of Love", "Pressure Sway" and "You Got Me Going Again", which reached #83 on the charts. That year, Warren McLean left Machinations to join Melbourne funk-pop outfit I'm Talking. Henry Downes took his place on drums. Downes was then replaced by John MacKay (ex-Sea Monsters) in early 1987. The band was back in the studios soon after with American producer Andy Wallace (Prince, Run DMC), recording a new album.
Machinations' third album, 'Uptown' was released in October 1988 and produced four singles spread out over eighteen months. The first single, "Do to You"/"Looking Out for You", was released in August 1987 and almost matched the highpoint of "No Say In It", reaching #15 in October 1987. The second single, "Intimacy"/"Hit by a Missile" (May 1988), reached #44[5], the third, "Do It to Me"/"Normal" (October 1988), peaked at #69 and the fourth, "Cars and Planes"/"Beats and Planes" (February 1989) failed to chart. The album was well received upon its release and reached #46 on the national album charts.
By that stage, Machinations had established themselves as a popular band on the Australian touring circuit. The band's activities were curtailed in early 1989 when a hit-and-run accident left Loneragan unconscious and with a broken back. He spent several months recuperating in hospital. Initially other band members intended to continue writing new material whilst Loneragan recovered from his injuries, but over time the various members left to pursue other projects. Swan toured with the James Freud's band and with MacKay performed with Absent Friends.
In early 1997, Machinations with Loneragan reconvened for some live appearances, which they hoped would lead to new recordings; however these plans never came to fruition.
In September 2006 US label, Almacantar Records reissued the band's original 1981 EP, with one additional track, "Average Inadequacy" [extract from wikipedia]
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This is a transcript of the Band's first official biography released by SCAM Management in 1981.
Scam Management comprised it's legendary founder Lobby Loyde, an accountant, receptionist and the various tour managers of the other bands it managed, Sunnyboys, TableWaiters and Local Product. MACHINATIONS Tim Doyle and Tony Starr first started writing together at the end of 79. Using varied 'electronic gadgetry', ie drum machines, synths, their initial musical ideas were realised. Upon the return of old school friend Fred Loneragan from overseas, lyrics were soon written, and they had a singer. This original nucleus of the band played their first gigs in the inner city of Sydney in early 1980. The band were not so concerned with commercial aspirations but with the desire to perform for an audience. Their first show was at Garibaldis, a punk venue disguised as a restaurant in Darlinghurst. This was followed by residencies at the Heritage Hotel in King's Cross and at the Rock Gardens down the road in William St They had played only a few shows in all before they were joined onstage by another enlisted schoolmate, Nero Swan on bass guitar, although their drummer remained a Roland CR-78 for the next couple of years * With the support of the then 2JJ radio station *, the band recorded some of their songs at Annandale's Trafalger Studios with Lobby Loyde at the helm in November 1980. These sessions produced the single "Average Inadequacy" and their debut selftitled EP. They were recorded essentially live in the studio with little production and released on the Phantom label, headed by Jules Normington ( soon to become a trusted friend). Again with the support of 2JJJ both releases received plenty of airplay and dramatically increased the bands following, the band were joined briefly around 1982 by drummer Henri Downes ( appears in the Jumping the Gap filmclip). Warren Maclean ( drums on Big Music ) joined in 1983 and remained till 1986 when he was headhunted by Kate Ceberanos outfit, I'm Talking. He went on to join Divinyls for their last few years together as a band.
Maclean was followed by kiwi John Mackay, late of Castles in Spain, Nick Conroys band. Mackay was the final addition to the Mach's line-up and remained till the end in 1989. The Mach's residency at the Rock Gardens proved fortuitous for the band. The venue was located across the road from JJJ's then studios on William St ( just down from the Coke sign). Any band that played more than once there was likely to be noticed ( particularly if they were any good ) It was an unofficial proving ground for many of Sydneys unsigned bands. Pel Mel, Laughing Clowns, JMM, Scapaflow, Surfside Six, the Thought Criminals all received JJJ attention. Average Inadequacy was a huge JJJ favourite. The song remained in their Hottest 100 well into the early 90's.

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This post consists of a rip (320kps) taken from a CD release of this album along with full album artwork. As a bonus, I have also chosen to include some rare dance mixes and extended plays of some of their most popular singles, all ripped from mint condition Vinyl 12" singles.
Although I wasn't really big on Dance music in the 80's - Machinations had a certain sound which made their music more appealing than some of the other Dance music at the time.
Not that I'm trying to 'Pressure Sway' you into listening to the album, but I reckon it is worth a listen if you haven't heard it yet.
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Track Listing
01 Esteem
02 Pressure Sway
03 Transient
04 Castle Hunting
05 Jack
06 Terminal Wharf
07 The Hunt
(Bonus Tracks)
08 Average Inadequacy (A-Side Single)
09 Arabia (B-Side Single)
10 No Say In It (Machinations cut mix)
11 No Say In It (Mendelsohn's played mix)
12 - Pressure Sway (Extended Club version)
13 - Pressure Sway (Instrumental version)
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Band Members:
Vocals – F. J. Loneragan
Bass – N. M. Swan
Guitar – T. J. Doyle
Keyboards – A. W. Starr
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Machinations Link (161Mb) REPOST
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BTO - Live! Live! Live! (1986) with Bonus Tracks

2011-10-21T23:07:00.033+11:00

(Canadian 1973-79, 1983-05, 2009-present)
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These tracks were recorded while BTO (Bachman-Turner-Overdrive) was on tour with Van Halen in the 1980's and originally released as the "Live, Live, Live!" album on Curb records. BTO had re-grouped with Randy Bachman, his brother Tim, Fred (C. F.) Turner and Guess Who drummer Gary Peterson to release a new studio album and this tour was to support that album. Sales were slim to none on the studio album, so Curb records released this album which features two new BTO tracks "Fragile Man" by Randy and "Bad News Travels Fast" by Fred to satisfy the contract with BTO. This album is not bad and features a great cover of Mountain's classic "Mississippi Queen." This album has also been re-released more recently under the title 'All Time Greatest Hits Live'.
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Biography
Randy Bachman left the Guess Who out of frustration with the band's decidedly non-Mormon lifestyle (Bachman himself was a convert), and formed a new band, Brave Belt, with fellow Canadian Chad Allan and Randy's brother Robbie (on drums).
Brave Belt's self-named album did not do especially well, despite the presence of two big Canadian names. Chad Allen left shortly after recording it to get married and go to school. Not having a replacement ready, Randy Bachman took Neil Young's advice and called Fred Turner, another Canadian who had been in a few bands.
Brave Belt's second album, in 1972, was still country rock, but C.F. Turner's influence started to make itself felt, and the heavy guitars that became BTO's trademark were clearly evident. A few years later (1975), this record was released using the "Bachman Turner Bachman" names to capitalize on the new band's success. That's the version most of us have seen, with "Bachman Turner Bachman" at the top and "as Brave Belt" underneath.
Brave Belt III was sent to 26 music publishers, but none was willing to sign it. Finally, Randy Bachman ran into Charley Fach at Mercury; it turned out he had been away when their tape arrived, and had not heard it. Fach agreed to sign the band, but only if they worked hard to promote it with a vigorous touring schedule, and used a new name that reflected both Bachman and Turner's fame. Their new name was inspired by the truckers' magazine Overdrive; Bachman-Turner Overdrive, the record formerly turned down by every record company they sent it to, was released in 1973 and did fairly well: it stayed on the charts for 68 weeks. Bachman-Turner Overdrive II followed soon afterwards; it was more polished and had their biggest hit, Takin' Care of Business, as well as the hit Let It Ride. Tim Bachman left the band shortly afterwards for personal reasons (not artistic differences).
BTO at the CapitalNot Fragile (1974) had two hits, "You Ain't Seen Nothin' Yet" and [Let It] "Roll On Down The Highway"; the first was propelled to radio by stuttering "n-n-n-othin'." Then came 'Head On' with its foldout poster and excellent songs.
Finally, the last "original" BTO album, 'Freeways', was released, with only one heavy-guitar-crunch tune, from Fred Turner, which was more reminisicent of Brave Belt than recent BTO. All the other tunes were written by Randy Bachman, reportedly because the other members of the band did not feel they had any songs good enough for recording; and all but Freeways were sung by Randy Bachman; C.F. Turner refused to have his photo taken head on for the cover. Their style was starting to dissipate, with the heavy sound of Fred Turner fading and the more country-rock side of Randy Bachman showing (this side was very evident in his solo 'Survivor' and nearly absent from his later solos 'Any Road and Merge').
In 1977, the Japan Tour album was released; a German version was available by special order in the US (1982), but it remains rare. Lacking in the sophistication of the studio albums, it had only one new song (Slow Down Boogie) and may not be worth the effort of tracking down.
In the same year, after some artistic disputes around Freeways and his control over pushing albums out, Randy Bachman left and formed Ironhorse. The band changed its name to BTO in 1978, under the impression that Randy Bachman owned the rights to the full name. Robbie Bachman, formerly the youngest member, was in charge, and Jim Clench was added to replace Randy Bachman (as Blair Thornton had replaced Tim Bachman some time before). Two records were released, neither successful and neither easily recognizable as BTO efforts: 'Rock n Roll Nights' and 'Street Action' (which had two long bluesy tunes possibly reflecting the band's reaction to their current straits). Both Jim Clench and Fred Turner sang lead. Rock n Roll Nights had a number of outside writers; Fred Turner's only song, "Heartaches", was interesting in its use of three different musical styles in alternation. The last track, "Amerlia Earhart", was later re-recorded by a different band, in 1982, with different words and identical music and, I suspect, no royalties.
The 1983 reunion included Gary Peterson from the Guess Who as a replacement for Rob Bachman, and Tim Bachman rather than Blair Thornton. They released a rather good, self-named studio record and two live recordings; Gary Peterson's drumming took some getting used to, but adds to the sound. The band toured as an opening act for the then-in-vogue Van Halen.
The members of the band dropped out except for Tim Bachman, who remained as manager and performer, with three younger musicians. While they were touring, the sorta-original lineup (with Blair Thornton) came back and played with Ringo Starr's tour. The new/old band lasted from 1988 through 1991, with no new recordings; without Randy Bachman (replaced by Randy Murray), they continued to tour, and are still playing now and then, and cranked out a new studio album, not widely available 'Trial by Fire' with five new songs and ten re-done classics.
They played good music in their comeback. They had energy, they had great new songs, they had no publicity and they just couldn't do it on their own. Times had changed. Simply touring and being good weren't enough without commercial backing and bucks for the DJs. So they disappeared back into obscurity.
Randy Bachman did a couple of solo albums, leaving the band in 1991, but they never really got any airplay despite a video with Neil Young. At least they had a little fun and we got a little music. BTO was still playing in 1993 as Randy Murray, Fred Turner, Robin Bachman, and Blair Thornton.
Randy Bachman's new band, Ironhorse, produced two records, then changed its name to Union and added Fred Turner for their final record. While these are certainly worth getting, they are very, very hard to find.

Various versions of Bachman-Turner Overdrive, BTO, and the Randy Bachman Band have been touring on and off through to the 21st century, even as Randy cranked out an autobiography and a bunch of country and jazz songs. Most recently, Randy Bachman produced an album with Burton Cummings, as well as his Jazz Thing CDs. In 2008, Bachman was on tour alone, presumably doing his jazz thing. The other members of the band do not appear to be active. [extract from allpar.com]
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This post consists of a rip taken from my cassette tape copy - which plays the same as the day I bought it. I really like this Live Recording, and their take on "Mississippi Queen" is as good as Mountain's version. Full album artwork is also included and I have taken the liberity of including a couple of live BTO standards "Give It Time" and "Let It Ride" to strengthen the song selection for this release. If you liked BTO in the 70's then you are going to like their 80's reformation, especially as their live material matches anything they could produce in the studio.
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Track Listing
01 - Hey You
02 - Mississippi Queen
03 - Sledgehammer
04 - Fragile Man
05 - Bad News Travels Fast
06 - You Ain't Seen Nothin' Yet
07 - Roll On Down The Highway
08 - Takin' Care Of Business
Bonus Tracks
09 - Give It Time (King Biscuit Flower Hour)
10 - Let It Ride (King Biscuit Flower Hour)
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Band Members:
C.F. Turner (Bass, Vocals)
Garry Peterson (Drums, Vocals)
Randy Bachman (Lead Guitar, Vocals)
Tim Bachman (Rhythm Guitar , Vocals)
Billy Chapman (Piano)
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BTO Live Link (90Mb) REPOST
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Radiators - Life's A Gamble (1984) plus Bonus Track

2011-10-16T20:26:00.027+11:00

(Australian 1978 - Present)
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Few survive the Rock ‘n Roll road to stardom but The Radiators (the Rads) are Rock’s greatest survivors! They are approaching 30 years of outstanding music, exciting and sometimes controversial lyrics, more than 4,000 electrifying live performances and platinum and gold album sales.
The Rads debuted late 1978. Their first album “Feel the Heat” was released late 1979 and by March 1980 these Aussie Rock Icons had achieved platinum status.
Little did they then know they would go on to forge a unique sound and influence thousands of music lovers throughout Australia.
Since 1978 The Rads have achieved many “firsts”
* First Australian Band to have advance/pre-sales on a debut album (6,000 copies of “Feel the Heat” had been sold before it was released);
* First Australian Band to achieve platinum status and a Top Ten position with their first two albums;
* First Australian Band to play more than 320 gigs in their first year of formation;
* One of very few Rock Bands worldwide to have survived so long with their original frontline intact [extract from The Radiators Website]
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Radiators Biography
Formed in Western Sydney in 1978, The Radiators were originally lumped in with the New Wave scene in Sydney but in reality were a pub rock band with a sense of humour. In their hey-day they were one of the hardest working bands in Australia, touring constantly and racking up over 2,500 gigs by the early 1990s.
Their first single (on WEA) was "Comin’ Home" which reached number 33 (and probably earned them their New Wave tag). "Fess’ Song" (“I take drugs, I like sex, I like looking at dirty pictures, I like lying in bed with Fess”) and the album 'Feel The Heat' followed and The Rads’ tyhen went on to support The Police on their Australian Tour in 1980.
'Hit And Run' was the third single lifted from their debut LP which went on to sell 90,000 copies. In 1981 they changed record labels and released Roomful Of Diamonds. 1982 brought the singles Up For Grabs and Nothing’s Changed. A new contract with EMI produced the album Scream Of The Real and the singles No Tragedy and You.
Another LP followed in 1984 'Life’s A Gamble' along with 3 singles; The Beatles’ "Revolution", "Life’s A Gamble" and "A Bit Of Pain Never Hurts". Long-serving drummer Chris Tagg left in June 1984 to be replaced by a string of others. The band with more record labels than hot dinners continued recording well into the 90s but by then their brand of boogie-influenced rock had been superseded by more alternative guitar bands. But, being the pub-rock warhorses that they were, The Radiators would not stop.
The Radiators (still one of the hardest working bands in the land) still play live in Australia today (I saw them in January 2003 actually, and despite the absence of as keyboard player these days, these guys still R.O.C.K). Of special note is the bands most (in)famous song (and solid live favourite), a charming little ditty entitled Give Me Head which is about, well . . . you work it out! [extract from Nostalgia Central]
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'Life's A Gamble' is a strange album - the first side of the album is a little disappointing with only the title track holding its own, however the flip side a completely different story. The B-Side tracks are much stronger with some great riffs and lyrics. In particular, "Scream Of The Real" which oddly enough was the title of their previous album, has some strange moments where you almost think that 'master reel' is running slow, however, it soon becomes apparent that the sound effects serve a purpose. The final track "Rock and Roll Carnivore" is the best track by far and closes the album on a real high.
However, don't expect any of their usual larakin songs amongst this lot - The Rads have finally grown up from their 'Gimme Head' days.
The post consists of a rip (320kps) taken from my 'virgin' vinyl (a Promo Copy) along with full album artwork, including an inner record jacket which is one of the best album artworks that I have come across - similar to Elton John's Yellow Brick Road.
I have also included a bonus single which was released in 1981 called "Room Full Of Diamonds" and a copy of a Publicity Photo (see B&W above) that was included with this Promo Album.
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Track Listing
01 - Life's A Gamble
02 - I'd Die For You
03 - Suddenly We're Strangers
04 - Getting Away From It All
05 - A Bit Of Pain Never Hurts
06 - Let's Do It Again
07 - Hollywood (The Love You Steal)
08 - Night Slave
09 - Scratch It Off
10 - Scream Of The Real
11 - Rock And Roll Carnivore
12 - Room Full Of Diamonds (Bonus Single 1981)
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Band Members:
Brian Nichol – Lead vocals
Mick Buckley – Drums & vocals
Brendan Callinan – Keyboards & vocals
Steven “Fess” Parker – Guitar
Geoff Turner – Bass & vocals
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The Radiators Link (115 Mb) REPOST
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Kiss - Killers (1982)

2011-10-13T20:48:00.005+11:00

(U.S 1973-Present)
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In the light of my previous post which featured the record label Casablanca, I thought I would dedicate this post to their most successful band Kiss.
Kiss was formed in New York City in January 1973. Well-known for its members' face paint and flamboyant stage outfits, the group rose to prominence in the mid to late 1970s on the basis of their elaborate live performances, which featured fire breathing, blood spitting, smoking guitars, shooting rockets, levitating drum kits and pyrotechnics. Kiss has been awarded 24 gold albums to date, the most of any American rock band.
The 1973–'80 classic lineup of Paul Stanley (vocals and rhythm guitar), Gene Simmons (vocals and bass guitar), Ace Frehley (lead guitar and vocals), and Peter Criss (drums, percussion and vocals) is the most successful. With their makeup and costumes, they took on the personas of comic book-style characters: Starchild (Stanley), The Demon (Simmons), Spaceman or Space Ace (Frehley) and Catman (Criss). The band explains that the fans were the ones who ultimately chose their makeup designs. Paul Stanley became the "Starchild" because of his tendency to be referred to as the "starry-eyed lover" and "hopeless romantic." The "Demon" makeup reflected Simmons's cynicism and dark sense of humor, as well as his affection for comic books. Ace Frehley's "Spaceman" makeup was a reflection of his fondness for science fiction and supposedly being from another planet. Peter Criss' "Catman" makeup was in accordance with the belief that Criss had nine lives because of his rough childhood in Brooklyn.
Because of creative differences, both Criss and Frehley were out of the group by 1982. The band's commercial fortunes had waned considerably by that point
The 1980's 'Unmasked' barely achieved gold certification, and the band toured exclusively outside the United States for the first time in their career that year. 1981's Music from "The Elder" fared even worse—it failed to gain any certification and the band did not tour behind it at all. The album, released in November 1981, was off the charts by February 1982.
That month, Phonogram Records (the parent company of Kiss's label, Casablanca Records) requested that Kiss record four new songs, to be included in an upcoming greatest hits album called 'Killers'. Phonogram requested hard rock songs specifically, in contrast to the progressive rock style of Music from 'The Elder'.
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Numerous outside songwriters and session musicians were employed for the writing and recording of the four new songs on 'Killers'. Songwriter and musician Mikel Japp, who co-wrote three songs on Paul Stanley's 1978 solo album, co-wrote "Down on Your Knees" with Stanley and Bryan Adams. Adam Mitchell, another outside songwriter, was brought in by producer Michael James Jackson.
Despite being pictured on the album's cover art (from the photo-session for "Music From The Elder"), lead guitarist and co-founder Ace Frehley did not participate at all in the production of 'Killers'. He had essentially ended his active involvement with Kiss in late 1981, although he would not officially leave the group until the end of 1982, after the release of this compilation. His replacement for the 'Killers' sessions was Bob Kulick, who had previously subbed for Frehley on a handful of studio tracks on 1977's 'Alive II'. However, whereas Kulick had been asked to mimic Frehley's playing style when recording for 'Alive II', he was permitted to employ his own techniques for Killers.
Due to the large volume of Kiss live albums and greatest hits albums already available domestically, Phonogram decided to issue the album outside the United States. The album sold in moderate numbers, reaching #21 and #27 in Australia and Japan, respectively. None of the singles released from the album, however, charted in any country [extract from wikipedia]
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Album Review
A superb collection of vintage 70s rockers from this glam metal quartet, includes "Nowhere To Run" and "Detroit Rock City."
1981's 'The Elder' was such a bomb worldwide that Kiss' record company outside the U.S., Casablanca/Phonogram, demanded that the band immediately assemble another greatest-hits package to prove to their befuddled fans that they were still a heavy metal group, not experimental prog rockers. Since a greatest-hits set was issued just four years prior in the form of the double LP Double Platinum, the band decided to include four brand-new tracks along with some hits, under the title of Killers (a single album). The new tracks ("I'm a Legend Tonight," "Down on Your Knees," "Nowhere to Run," "Partners in Crime") resembled the Kiss of old more than anything the band had released for a few years by this point (again, guitarist Bob "Alive II" Kulick subs for Ace Frehley). The only hits on Killers that hadn't already appeared on Double Platinum were "I Was Made for Loving You," "Sure Know Something," and "Rock and Roll All Nite (Live)"; the rest were repeats ("Love Gun," "Detroit Rock City," "God of Thunder," "Cold Gin," and "Shout It out Loud"). Killers didn't accomplish what the record company hoped it would -- re-establishing Kiss as chart-toppers -- but it did show their fans outside the U.S. that the band meant business again.
The Australian and Japanese versions of Killers include a slightly different track listing. The release in Japan featured two additional tracks not found on the LP as released in all other countries: "Escape from the Island" (Frehley, Eric Carr, Ezrin) and "Shandi" (Stanley, Poncia). Additionally, the version released in Australia (both LP and Tape) also included "Talk to Me" (Frehley), and "Shandi" (Stanley, Poncia). The version of "Shout It Out Loud" found on this release features the single mix that has all the vocals in the center channel, whereas the original Destroyer version features Paul Stanley on the right channel, and Gene Simmons on the left. It also fades about 10 seconds earlier than the album version [review by Greg Prato]
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This post consists of a rip (320kps) taken from Cassette Tape and is flawless. The tape itself is in brilliant condition considering its age and plays perfectly. As this is an Australian release, the two additional tracks "Talk To Me" and "Shandi" are included. However, when I first came across this compilation, I was a little disappointed that it did not include the live classic "Let Me Go Rock and Roll" which pairs nicely with the live version of "Rock And Roll All Nite" that was included.
So I have taken the liberty of including it as a bonus track and have altered the CD artwork accordingly. Full Artwork for Vinyl, CD and Cassette Tape has therefore been included.
This collection of Kiss tracks provides a good sample of their work spanning almost 10 years of their career but I must say that their first double live album is my all time favourite Kiss release.
Note: This particular compilation is a must for all Kiss fans as it contains 4 tracks previously unreleased on any of their studio albums.
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Track Listing
01. I'm a Legend Tonight
02. Down on Your Knees
03. Cold Gin
04. Love Gun
05. Shout It Out Loud
06. Talk To Me*
07. Sure Know Something
08. Nowhere to Run
09. Partners in Crime
10. Detroit Rock City
11. God of Thunder
12. I Was Made For Loving You
13. Shandi*
14. Rock & Roll All Nite (Live)
15. Let Me Go Rock and Roll (Bonus Live)
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Kiss were:
Gene Simmons – bass guitar, lead vocals
Paul Stanley – rhythm guitar, lead vocals
Ace Frehley – lead guitar, backing vocals
Peter Criss - drums
Bob Kulick – lead guitar on all new (1982) songs.
Eric Carr - drums on all new (1982) songs.
Anton Fig - drums on "I Was Made For Lovin' You" and "Sure Know Something"
* Track only included on Australian release
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Kiss Killers Link (128Mb) REPOST
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Various Artists - The Casablanca File (1975)

2011-10-10T21:33:00.044+11:00

(Various Casablanca Artists 1974-1975)
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Casablanca Records was an American record label started by Neil Bogart, who partnered with Cecil Holmes, Larry Harris, and Buck Reingold in 1973, and based in Los Angeles. The label was formed after all of them had left Buddah Records and secured financing by Warner Bros. Records to start the venture. Casablanca had become one of the most successful labels of the 1970s, signing and releasing albums by such acts as Kiss, Donna Summer, The Village People, Cher, and Parliament featuring George Clinton. The label's film division, Casablanca Filmworks, had hits with the movies 'The Deep' and 'Midnight Express'.
In 1977, PolyGram Records acquired a 50 percent stake of Casablanca for $15 million, and then in 1980 it purchased the other 50 percent. Also in 1980, one of the label's biggest acts, Donna Summer, left for another record company as she and Casablanca could not come to terms on her musical direction in the new decade. That same year, Polygram pushed Bogart out of Casablanca due to what it viewed as the label's overspending and accounting irregularities. In the early 80s, with Bogart no longer heading the label, Casablanca had hits with acts Lipps Inc and Irene Cara, but it did not have the same level of success it had in the 70s. The label was eventually shut down with some of the artist roster and catalog absorbed into sister label Mercury Records [extract from wikipedia]
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Kiss (Selftitled, Dressed To Kill, Hotter Than Hell)
In only four short years, Casablanca had become a blockbuster record company due to KISS, arguably the most sensational live act in rock music at the time. Ray D’Ariano, who was based in Casablanca’s New York office, noted: “The disco thing was so huge and at the same time, we had this phenomenon going on with KISS. Totally nothing to do with disco, totally nothing to do with anything”. The team behind KISS was instrumental in the innovative marketing of the group. Bill Aucoin, who managed KISS through his own Rock Steady management company, and Joyce Bogart-Trabulus, who co-managed the group with Aucoin, ensured that KISS was constantly breaking new ground. Aucoin even copyrighted the band’s make-up in the Library of Congress. 1978 brought a rock music “first” to fruition when each member of KISS released a solo album simultaneously (however, not very strong albums in my opinion).
Astor records (Astor radio corporation) became the sole distributor of Kiss in Australia at the time. Their first single release in Australia was from 'Hotter than Hell' LP: "Let Me Go Rock N Roll"/ "Hotter than Hell". Then came Australia's first Kiss LP release 'Hotter than Hell' and similar to the USA the blue boghart label (see pictured at the bottom of this post) was used for these early records.
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The second record was there selftitled album 'Kiss', sadly no singles were released from this LP in Oz. In that same year, 'Dressed to Kill' was released and featured singles "Rock N Roll All Nite"/"Getaway" and "C'mon Love Me"/"Getaway". All these singles and LPs didn't make the charts and did poorly in sales. Which is extremely tough to find for KISS collectors as they rarely appear at local garage sales and alike. In the same year, Kiss featured on this Australian Casablanca sampler compilation called 'The Casablanca File'.
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Greg Perry (One For The Road)
Greg was one of major staff writers for Invictus/Hot Wax and co wrote most of the hits of Chairmen of the Board, Freda Payne etc. This his first solo album was originally released on Casablanca in 1975.
Greg is one ot the most impressive new progressive soul talents to emerge in years," reads Cashbox and his debut album tor Casablanca 'One For The Road' was reviewed as a "stunning/perfectly tasteful, high voltage blend of the Shaft/Superfly and Philly sound breakthroughs."
Listen to "I'll Be Comin' Back" and "Variety Is The Spice Of Life" and you'll understand why these reviews are worthy. This album is now regarded as one the best soul albums of all time.
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James & Bobby Purify (You & Me Together)
They were an R&B singing duo and 'Bobby Purify' was actually two different singers. The first was James's cousin, Robert Lee Dickey, who adopted the Purify name for performing, and sang on their early records. The second Bobby, was vocalist Ben Moore, who replaced Dickey in 1971 when Dickey suffered health problems.
James and Bobby's new album 'You and me Together' produced by Don Schroeder and Tommy Gogbill for the Casablanca label, marked the first time the duo had recorded together since their earlier string of hits including the classic "I'm Your Puppet" and what an album to come back with; they've come up with a brand new hot disco sound that will knock you out, so be warned!
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Fanny (Rock And Roll Survivors)
When you ask people to name the very first all-female rock band ever, THE GOGO'S, THE BANGLES or THE RUNAWAYS might come close to the truth. But the real answer would be FANNY. Formed in the late sixties, led by the two sisters, June and Jean Millington, they sounded like a real rock band. From that moment on, it was cool and accepted for women to play rock music. As there was no competition back in these days, FANNY were quite unique and on their own, so to speak.
'Rock 'n' Roll Survivors' their fifth and latest album is unquestionably their best to date. With the addition of Patti Quatro (Suzi's sister) Fanny are, in their own words, much "harder", "heavier", "tighter" and "funkier" than any of the previous Fanny incarnations. Check out the hot single "Butter Boy" and the Jagger/Richard "Let's Spend The Night Together" and you'll see what they mean.
As a final album, Fanny's 'Rock & Roll Survivors' is not as bad as the reviews of the time made it out -- specifically in the United States (in the U.K. the album was received quite well, both critically and commercially). For instance, it does contain their most successful charting single with "Butter Boy," which reached number 29 in the Billboard Hot 100. That said, it does reveal a band struggling to maintain its identity in the midst of tremendous pressure. For starters, founding member and guitarist June Millington left before the album was recorded, as did drummer Alice de Buhr. Bassist Jean Millington replaced her sister with former Detroiter Patti Quatro, sister of Suzi, and drummer Brie Brandt (who left immediately after the recording and was replaced by Cam Davis for the band's final tour).
Patti began to take over the role as band leader. Although this didn't last too long. As Jean was one of the founding members of FANNY, she wasn't too happy with this situation of course. Early 1975, Cam left the band and Patti followed shortly thereafter. FANNY called it quits and the story was over.
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Parliament (Up For The Down Stroke, Chocolate City)
Parliament (aka Funkadelic) was a funk, soul and rock music collective headed by George Clinton. Their style has been dubbed P-Funk. Collectively the group has existed under various names since the 1960s and has been known for top-notch musicianship, politically charged lyrics, outlandish concept albums and memorable live performances. They had a large cult following.
Parliament first recorded for Invictus Records in 1970, and after a hiatus in which Clinton focused on Funkadelic, Parliament was signed to Casablanca Records and released its debut album 'Up for the Down Stroke' in 1974 and a followup LP 'Chocolate City' in 1975. Notable members to join during this period include keyboardist Bernie Worrell, bassist Bootsy Collins, guitarist Garry Shider, and The Horny Horns.
They have been lauded as America's top purveyors of a kind of Soul Music that picks up where Sly leaves off. A reviewer said of a recent concert "The group must have hit those special notes that Sly discovered in "Dance To The Music" because the effect was just that, you had to move." Listen to their two albums on Casablanca "Up For The Down Stroke" and their brand new L.P "Chocolate City" and you'll agree.
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Hugh Masekela (The Boy's Din' It)
Hugh Masekela has an extensive jazz background and credentials, but has enjoyed major success as one of the earliest leaders in the world fusion mode. Masekela's vibrant trumpet and flugelhorn solos have been featured in pop, R&B, disco, Afropop and jazz contexts. He's had American and international hits, worked with bands around the world, and played with African, African-American, European and various American musicians during a stellar career. His style, especially on flugelhorn, is a charismatic blend of striking upper register lines, half valve effects, repetitive figures and phrases, with some note bending, slurs and tonal colors. Though he's often simplified his playing to fit into restrictive pop formulas, Masekela's capable of outstanding ballad and bebop work.
One of the Superstars and vital spokesmen in our society, has come up with an absolute blockbuster of an album for his debut on Casablanca records; with 'The Boy's Doin' It', Hugh has returned to his roots. Produced by himself and Stewart Levine, the album was recorded in Lagos, Nigeria using local musicians to capture the ethnic feel — and it works, full of primeval rhythm, it is a beautiful musical experience and can only enhance Hugh's standing as a leading musical innovator.
No other work during Hugh Masekela's long and fruitful career blended all of his interests -- jazz, funk, pop, Afrobeat, and R&B, plus a little Latin and a lot of disco -- into such an exciting mixture as 1975's The Boy's Doin' It, his first record for Casablanca. Influenced by Kool & the Gang as well as the growing tendency for Latin artists (like Joe Bataan) to cross over toward contemporary dance trends (and labels), Masekela recruited a few veterans from the Ghanian high life band Hedzoleh Soundz -- with whom he'd worked with on one album before. Recorded in Lagos, Nigeria and dedicated to Fela Kuti, The Boy's Doin' It has six extended jams, each of which does an excellent job of playing off deep grooves against ensemble vocals and catchy hooks, with plenty of room for Masekela's own trumpet and every note polished to a fine '70s sheen. It didn't matter what type of music fan you were: pop, disco, funk, world music, and any but the most hidebound jazz purist could get into these tracks.
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Gloria Scott (What Am I Gonna Do)
"I really love to sing hearty songs — songs I can live and experiences I can identify with." says Gloria. Gloria Scott's debut album on the Casablanca is full of such songs and the title track "What Am I Gonna Do?" captures the feel perfectly. A glorious Barry White production which is bound to launch Gloria into stardom where she belongs.
One of the greatest soul records of all time, and an album that we'd never part with! Gloria Scott only ever recorded this one full LP, but that's more than enough, as the whole thing's a masterpiece, produced by Barry White with the best of his 70s approach, and featuring songs written by lesser-known White protege, Tom Brock! Nearly every single cut's a classic, a mixture of deep soul, mellow soul, and slight traces of funk, all gliding effortlessly together with White's stone cold production, and Gloria's instantly captivating vocals.
For newcomers to the album, this album was released in 1974 in limited quantities on vinyl, and to date is vocalist Gloria Scott's only album (no one knows what happened to her either). As the only album she recorded, it failed within the US, but for some reason developed a cult following in Europe, and strangely enough, in Japan. In fact, the Japanese audience was sizable enough that the first ever CD release of this happened only within Japan.
So what does the music sound like - well, think of some old school Diana Ross, slowed down even more and layered with a luscious jazz and blues ambiance. Its stripped down, almost acoustic, and yet every track manages to sound different and unique. My personal favorite is "Its Better to have no Love" which best exemplifies the kind of superb songwriting that was present back in the 1970s. "A Case of too Much Lovemakin" was actually a minor R&B hit within the US in 1974 - but ask anyone who followed music back in that year about Gloria Scott and they'd go "Who?"
I love obscure, rare releases such as this one. Gloria Scott created an instant classic, and it holds up just beautifully. I'd suggest you get your hands on this as soon as possible. I think Mary J Blige possibly has this album though, as almost EVERY song on this album sounds like it could have inspired almost all of the best songs in Blige's catalog. Either way, this LP is a must-have.
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This post consists of a mp3 (320kps) rip taken from my vinyl which I acquired when it was first released - and yes, it was the inclusion of the relatively unknown band Kiss that drew my attention to the album. Full album artwork is included.
The remaining tracks never really excited me at the time but on reflection, there are some good Disco and Funk tracks on this record sampler also.
And so, in the infamous words of that well known actor who put the city of Casablanca on the map - Play It Again Sam !
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Track Listing
01 - I'll Be Coming Back (Greg Perry)
02 - Do Your Thing (Bobby & James Purify)
03 - Ride On (Parliament)
04 - Strutter (Kiss)
05 - Two Timer (Kiss)
06 - Beggar Man (Fanny)
07 - Testify (Parliament)
08 - Hot Down In Chile (Danny Cox)
09 - Too Much Love Makin' (Gloria Scott)
10 - The Boy's Doin' It (Hugh Masekela)
11 - Let Me Go Rock 'N' Roll (Kiss)
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The Casablanca Link (84Mb) REPOST
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The Radiators - You Have The Right To Remain Silent (1980) - E.P

2011-10-07T10:59:00.029+11:00

(Australian 1978 - Present)
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' A Sure Bet' someone once said of The Radiators. Little did they know that 23 years later The Radiators would still be dominating the stages and airwaves of today. With trademark lyrics and gimmicks these guys have a history that debuting acts could only dream of.
The Radiators have carved themselves a niche in the annuls of Australian Rock History, headlining, and sharing the stage with other great oz acts such as Rose Tattoo, AC/DC, and INXS. Consistently delivering high quality shows (approaching the 3000 mark), the Rads have played to an estimated two million punters throughout Australia. Also under their rock n roll belt is over 100 original songs, 2 platinum album sales, 2 gold, and a host of other huge record sales.
The structure of The Radiators was formed from the remnants of rock bands 'Big Swifty' (Fess and Brian) and "Twister" (Geoff). Stardom just an itch. How were they to know then that they were to forge a unique sound and influence for thousands throughout Australia.
The rock and roll ride began way back in Sydney, September 1978, when they embarked on their first ever tour. It was a tour that formed the roots of Australia's longest surviving original pub rock band, The Radiators.
With the completion of over 12 months touring, and 320 shows, The Radiators signed their first record deal. The deal was with Warner Bros and was to be a great one. From here they have built the reputation as one of Australia's greatest live bands, influencing some of our new homegrown acts such as Frenzal Rhomb, Screaming Jets, The Fauves, and Nancy Vandall.
March 1980 bought the release of their highly anticipated first album 'Feel the Heat'. With pre sales reaching 6000 the band created history, as this was a first for a debut Australian band. A fine start to the 80's, and a fine start for a legendary rock band.
It should be noted that this LP did not contain their 'R-rated' hits "Fess' Song" and "Gimme Head" but rather were supplied as a bonus 45 (for a limited number of pressings).
Continually performing 6 nights a week, 40 to 50 weeks per year, The Radiators grew from strength to strength. Not only were they one of a select few of Australian acts to guarantee full venues, radio airplay was giving them a fine time with hits such as "17 (I Wish I Was)", "Comin' Home", and "Summer Holiday". With 'Feel the Heat' gaining platinum status and a Top 10 position.
The Radiators recorded the controversial EP 'You Have The Right To Remain Silent', notching up a second platinum achievement. This small but rocking E.P of five songs included their anthems "Fess' Song" and "Gimme Head'" and is available in this post.
Next album off the ranks for The Radiators was the empowering 'Up for Grabs'. The title track and other favourite tunes such as 'Room Full of Diamonds' climbed it to gold in an instant.
Another historical feat for the gents of The Radiators was performed with the release in 1983 of the album 'Scream of the Real', which sent Michael Jackson's 'Thriller' barreling off the Number One position, The Radiators becoming a household name. Another hit single emerges with "No Tragedy". This saw them with three albums and one EP in the Top 20 on the 2NX Album Charts at one time.
During a 3 month stay in LA in 1984, their fourth album 'Lifes a Gamble' was penned, suddenly the Top 40 was bombarded with not one but two hits, "A Bit of Pain Never Hurts" and title track "Lifes a Gamble". I plan to post this album at a later date.
Although the band was on the up, management problems started to surface and The Radiators found themselves skipping record company to record company with each album recorded. This was a difficult time for the guys, but determination made this a moral building experience.
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The bands fifth album, 'Nasty Habits in Nice Children' produced only minor hit singles with 'One Touch' and 'Bring on the Crazy'. This misfortune was due to radical image and directional changes, out of context with previous Rads material. With financial and business affairs becoming a burden, The Radiators moved to new management, and for a short time kept a low profile, performing live to raise funds for debts incurred from previous management. This time also bringing about the leaving of members Brendan Callinan and Mick Buckley.
With drummer Mark Lucas joining the band in 1989 The Rads maintained their popularity through the 90s and beyond. With many acts falling off the edge of the road in the ever changing music culture of today, these guys have come through relatively unscathed. They continued to record, tour, and please fans and venues alike with their everlasting vibrance.
Financed by the band early in 1991 the six track E.P 'Hard Core' was released independently, selling in excess of six thousand copies.
1991 saw the release of their self titled album 'The Radiators', opening the international eye to their talent with sales in Germany, Austria, Switzerland, Belgium, France and Italy. 1995 bought about the release of the 'Stone' EP, featuring the track "Skin Deep". Following soon after was 'In the Roar', a collection of classic live recordings, plus a few rare studio recordings.
From here on in the gents from The Radiators decided it was time to manage their own affairs.
Since 1997 the guys from The Radiators have been injecting a bit of yesterday into today, holding the honour of headlining the BOYS ARE BACK IN TOWN shows throughout Australia with other fave original oz rock outfits including Spy v Spy, Choirboys, Matt Finish, Cockroaches and more.
1998 saw The Rads in a series of dates in London, UK. A top finish for the closing of an old century.
The rigors of touring, recording and typically 'playing up' has not diminished the high energy of these 'Masters of Art'. Like fine wine, The Radiators have matured into fine musicians. Quality shows and recordings performed to their absolute perfection, a slice of living rock history. Twenty one years performing and producing quality hits for their dedicated and delighted fans, now forging into the second generation.
Constantly conquering new ground, and never ones to stay quiet, the year 2000 sees The Radiators emerge with not only one, but two brand new albums. The first being Warners released 'Radiology', a compilation of their grandest tunes. The second project off the ranks for 2000 is their action packed original album titled 'Smoke and Mirrors'.
Current band lineup is pretty much the same as it was in the 70's except for the occasional fill in by drummer 'Rick Turner' who is actually Geoff's son. It would seem that Rick was always destined to play in the band at some stage, as shown in the photo where Rick at the age of six is playing on Chris Tag's drum kit in the 80's (sourced from autobabes.com.au)
The Radiators appeared in the Countdown Spectacular 2 concert series in Australia between late-August and early-September 2007. They sang two songs including their classic "Comin' Home".
From humble beginnings, through years of success and hard times, through to the new millennium, The Radiators are living proof that pure, original music never dies, it just gets stronger [extract from Checkontouring]
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This post consists of a rip (320kps) taken from my 'near mint' vinyl copy of this 12" E.P. I also include full album artwork and label scans. This E.P is a great 'sampler' of early classics by the Rads, but their later material is as good and worthwhile hunting down.
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Track Listing
01 - 17 (I Wish I Was)
02 - Summer Holiday
03 - Comin' Home
04 - Fess' Song
05 - Gimme Head
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Band Members:
Brian Nichol - Vocals
Fess Parker - Lead Guitar
Geoff Turner - Bass Guitar
Chris Tag - Drums
Brendan Callinan - Keyboards
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Radiators Link (45Mb) REPOST
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Gary Moore - We Want Moore (1985) + Bonus Tracks

2011-10-03T23:15:00.024+11:00

(Irish 1969-2011)
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Gary Moore was undoubtedly one of the most underrated guitarists in rock, throughout his career he has dabbled in more music genres than you can shake a stick at and has excelled in creating some of the best guitar orientated rock music of all time.
Sadly, Moore passed way unexpectedly on 6th Feb, 2011 at the age of 58. Moore was on holiday in Spain at the time of his death.
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This post is in honor to the legacy he has left to rock music - RIP
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Brief background of Gary Moore’s early career:
His incredibly varied career as a musician dates back to the late 60’s when he joined the Irish blues-rock band Skid Row (not to be confused with the American band of the same name, fronted by Sebastian Bach). Following the release of Skid Row’s second album, '34 Hours', Moore left the band and went on to join Colosseum II. In 1979, he joined Thin Lizzy to record the album 'Black Rose: A Rock Legend', despite earlier collaborations with Phil Lynott and his band, this was the first time Moore had been credited as an official Thin Lizzy band member, and the album would prove to be his first and only studio album with the band.
Moore’s first solo album, 'Back On The Streets' emerged later that year although the guitarist had already released a solo album of sorts, 'Grinding Stone' (1973), under the name of The Gary Moore Band. 'Back On The Streets' was shortly followed by another solo album 1980’s 'G-Force'. Neither of the aforementioned albums were particularly successful but his next album would prove to be a breakthrough of sorts, at least musically if not commercially.
'Corridors of Power' was released in 1982 and added a much heavier, more metallic edge to the music featured on any of his previous albums. His next album 'Victims Of The Future (1983) did not disappoint either, and was perhaps even heavier than it’s predecessor.
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Album Review
'We Want Moore' brings together highlights from the rocker's "Victims Of The Future" World Tour in 1984. This was Gary Moore’s first official live album to be available worldwide and is not only a superb live album but also one of the strongest albums he has ever recorded. It is clear from the start that Moore is keen to show off his metallic side with album opener "Murder In The Skies", which was one of the standout tracks from his brilliant 'Victims Of The Future' album and remains one of the heaviest tracks he has ever recorded. Although the guitarist isn’t exactly a natural vocalist, his vocals are more than adequate for the job in hand and are reasonably consistent throughout this live album. In fact it wouldn’t be too much of a stretch to say that his vocals actually sound better at times here than they did on his two previous studio albums, however keyboard player and rhythm guitarist Neil Carter does take over on lead vocals on occasion.
Moore’s take on The Yardbirds classic "Shapes Of Things" follows on from the energy of the album’s opener and features a truly breathtaking extended guitar solo, which shows that Moore’s guitar skills are right up there with the greats.
Following a blistering performance of the title track from his previous album, "Victims Of The Future", "Cold Hearted" marks the albums first song from 1982’s 'Corridors Of Power' and is possibly one of the bluesiest tracks on the album and hints towards Moore’s later days as a blues guitarist/singer. This version of "Cold Hearted" also incorporates an extended version of the intro to the next song, the epic "End Of The World". "End Of The World", also from the 'Corridors Of Power' album is quite possibly one of the best songs he has ever recorded and features some truly jaw-dropping guitar playing particularly during the intro. This live version certainly does the song justice, there’s just one thing missing from the studio version; Jack Bruce’s vocals. Former Cream member Jack Bruce, who provided lead vocals for the original version of the song, unfortunately does not make a guest appearance on this album, however, between them, Gary Moore and Neil Carter manage to do a good job of the vocals and this version is energetic, dramatic and overall a fine performance of a truly great metal song.
"Back On The Streets", with it’s sing-a-long chorus, provides a bit of light-hearted relief following the darker, heavier sound of the previous song and is one of only two songs on the album not taken from either 'Corridors Of Power' or 'Victims Of The Future'. This is followed by the emotional ballad, "Empty Rooms", before Moore and his boys launch back into much heavier territory with the opening track from 'Corridors Of Power', "Don’t Take Me For A Loser". Closing track, "Rockin’ And Rollin" is the only track on the album taken from 1980’s 'G-Force' album and is a great way to close the album, the song features a surprising guest appearance from Jimmy Nail, who, in Gary Moore’s words, gives the crowd “a singing lesson”. All this leaves you and evidently the crowd wanting mo(o)re…
Overall this is an astonishingly good live album by a criminally underrated musician and like Moore himself, doesn’t get the recognition it deserves. 'We Want Moore' is the kind of live album that can leave you with a big smile on your face as well as leaving you awestruck by the band’s (and in this case particularly the guitarist’s) technical ability. It is possibly Gary Moore’s best and most consistent heavy metal album, and is a good place to start if you’re looking to get into early to mid 80’s era Gary Moore. This is one of those live albums that makes you wish that you could have been there, but if you weren’t, listening to this is a damn good compromise. [review by Jamie Twort 2010]
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This post consists of a rip taken from CD at 320kps and includes full album artwork and selection of photos of Moore during his 1984 World Tour.
Thanks to Paul Reynolds for the live shots (see above in red) of Moore playing at the SFX Centre in Dublin, Ireland in 1984. Deep Purple fans should take note that Ian Paice played drums for Moore on his 1984 World Tour. I have also chosen to include two additional live tracks which were also big hits for Moore - "Nuclear Attack" which was recorded at the 1982 Reading Festival, and the more recent track "Run For Cover" recorded at The Hammersmith Odeon in 1985 (released as the B-Side to his single to "Wild Frontier").
Moore the better I say!
Note: This album was released as a double vinyl set due to the length of the live recordings.
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Track Listing
01. Murder In The Skies
02. Shapes Of Things
03. Victims Of The Future
04. Cold Hearted
05. End Of The World
06. Back On The Streets
07. So Far Away
08. Empty Rooms
09. Don't Take Me For A Loser
10. Rockin' And Rollin'
Bonus
11. Run For Cover (Reading Festival 1982)
12. Nuclear Attack (Hammersmith Odeon 1985)
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Band Members:
Gary Moore - lead vocals, lead guitar
Neil Carter - keyboards, rhythm guitar, backing vocals
Craig Gruber - bass, backing vocals
Ian Paice - drums, percussion
Bobby Chouinard - drums on "Murder in the Skies" , "Shapes of Things to Come", "Victims of the Future" and "Don't Take Me for a Loser"
Jimmy Nail - backing vocals on "Rockin' and Rollin'"
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Gary Moore Link (143Mb) REPOST
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W.O.C.K On Vinyl - Los Destellos (1971)

2011-09-30T22:51:00.015+10:00

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Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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Found this track in cyberspace awhile back, while trawling the web for weird and wonderful music. As soon as I heard this song by Los Destellos I was taken back to my early childhood days when beatnik's and hippie's were prevalent influences in music and culture.
Beatniks evolved from the cool 50's youth culture. They wore berets and polo necks and hung out in coffee shops playing bongos and reciting poetry and experimenting with marijuana. They pre-dated the hippie movement by about 10-15 years. Dobie Gillis (aka. Bob Denver from Gillian's Island) was a beatnik on his own T.V show. Man, they were some cool cats!
Anyhow, this track entitled "Onsta La Yerbita" has some real crazy sounds and I just love the voice over by Enrique Delgado.
Under the direction of lead guitarist Enrique Delgado, Los Destellos (the sparkles, like a star) are pretty much known as the founders of Cumbia Peruana circa 1966. Now I am pretty sceptical about using the word chicha to define their genre of music. I feel that chicha is more associated with 70's and 80's transient Andean cumbia, a music that is probably rooted more in Amerindian sounds, beliefs and the harshness of the Amerindian experience (hardship, displacement, lament). Whether they influenced the chicha movement later on or became part of it by default, I’m not 100% sure.
However, Los Destellos appear to be more part of the Lima Mestizo culture (mixture of Indian/Spanish blood). And can be reflected in the way which their sounds fuse Latin boogaloo, psychedelic rock, soul, Colombian cumbia, tropical and indigenous music in a whole host of ways.
Apparently Los Destellos had a resurgence of popularity in the 80's that lasted until Enrique Delgado died in the early 90's. The band still performs today, but I believe it’s the widowed wife of Enrique who runs the band.
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Anyhow, if you are looking for something 'totally different' and 'just a little Weird', then you have a listen to this track. Now, where did I put my bongo set ?
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Los Destellos - Onsta La Yerbita (9Mb) 320kps REPOST
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U2 - Live Unapproved (The Joshua Tree Tour)

2011-09-27T21:57:00.021+10:00

(Irish 1976-Present)
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Here is another U2 bootleg on the MOJO label, probably recorded during the 'Joshua Tree Tour' of 1987.
The Joshua Tree Tour was a concert tour by the Irish rock band U2, which took place during 1987, in support of their album The Joshua Tree. The tour was depicted by the video and live album Live from Paris.
This tour's opening night was April 2 at Arizona State University's Activity Center in Tempe, Arizona. The first leg took place in American indoor arenas during April and May. The 29 concerts generated US$7,051,329 with a total of 465,452 tickets sold. 1,063 tickets from Las Vegas remained unsold equating to a 99.77% sellout for the 1st American leg. The first leg finished with 5 concerts at the Brendan Byrne Arena in East Rutherford between 11 and 16 May.
The second leg in European arenas and outdoor stadiums ran from late May through to early August, starting at the Stadio Flaminio in Rome on 27 May. The final show of the European leg is at Pairc Ui Chaoimh in Cork on 8 August.
The third leg returned to American and Canadian arenas and stadiums in the autumn. The tour ended on 20 December back where it started in Tempe, Arizona, but this time at Sun Devil Stadium.
On 30 April, the band played the Pontiac Silverdome, their first headlining stadium show in the United States. While the show's reviews were positive, they said that a video screen is necessary for people at the back. U2 production manager, Willie Williams, recalls the debate within the band about the use of screens and whether they would divide the audience's attention between the stage and the screen. A video screen was installed behind the lighting tower at the 20 September show at the RFK Stadium in Washington DC so the back half of the stadium could better see the band, and screens were used at most stadium shows for the rest of the tour.
The Joshua Tree Tour sold out stadiums around the world, the first time the band had consistently played venues of that size. The Joshua Tree and its singles had become huge hits and the band was at an apex of their popularity. Tickets for shows were often very hard to get, especially on the first American leg when they only played in arenas.
That first leg was also organised around multiple-night stands in centres of U2 fan-dome along the two U.S. coasts, with only a very few dates in the middle of the country. These multiple-night stands also featured an unusual set list twist. All but the last night would begin in conventional concert fashion with the rousing pair of "Where the Streets Have No Name" into "I Will Follow", but the last night in each city would begin with the house lights fully up and the band performing the early 1960s classic "Stand By Me", with The Edge singing one verse, all intended as a friendly, informal opening. The house lights would then stay up for "Pride (In the Name of Love)", only going off at the end of it; the rest of the set list would be consequently scrambled from the norm.
The new level of fame, exposure and the frantic nature of the tour put the U2 organisation under a large amount of stress.
The 79 North American shows on the tour sold over 2 million tickets and grossed $35 million.[extract from wikipedia]
The post consists of a mp3 rip (320kps) taken from CD and includes album artwork (plain as it might be) and various photos of the band relevant to the Joshua Tree Tour. The recording is excellent, probably a soundboard, and the tracks on this bootleg are as powerful as those on the official tour album 'Rattle and Hum'. "Bullet The Blue Sky" is my favourite track - just love it!
Note: The back cover of this CD has some typos. Bullet is misspelt 'Bullit', Unforgettable is spelt 'Unforgetable' and Track 12 is not listed at all.
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Track Listing
01 - I Will Follow
02 - The Unforgettable Fire
03 - M.L.K
04 - I Still Haven't Found What I'm Looking For
05 - God Part II
06 - Van Diemon's Land
07 - New Years Day
08 - Bullet The Blue Sky
09 - Running To Stand Still
10 - Pride (In The Name Of Love)
11 - With Or Without You
12 - 40
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Band Members:
Bono (vocals and guitar)
The Edge (guitar, keyboards and vocals)
Adam Clayton (bass guitar)
Larry Mullen, Jr. (drums and percussion)
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U2 Unapproved Live Link (103Mb) REPOST
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Home - Long Long Way To Nowhere (1974)

2011-09-22T20:43:00.024+10:00

(Australian 1972-1975)
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This album is one of the undiscovered gems of the 70's in my opinion.
Led by Glyn Mason following his departure from the famous Melbourne group Chain (and a short stint as leader of Copperwine when Jeff St. John left), this is what might be best described as country rock with some progressive elements. Mason went on to play with many other great Australian bands like Ariel, Richard Clapton and 'Stockley, See and Mason'.
Home had a connection to a variety of Oz and New Zealand Bands. The group members had been in several bands before producing their album 'Long Long Way To Nowhere' which featured the single “Bang, Bang, Bang”.
Mason's vocals sound very similar to Brian Cadd and Bob Dylan at times. Home played a sophisticated form of country rock, not dissimilar to the bands such as the Dingoes or early Little River Band or even the Savannah Silver Band.
The 4 minute single “Bang, Bang, Bang” is an edited version of the album release which is nearly 7 mins long and has the 3rd verse and other sections edited out.
Home released one other album in 1973, called 'At Last!' featuring a different bass player - Trevor Wilson and Mal Logan on keyboards.

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Phil Lawson originally played bass for SCRA and then Bakery (1973) and then finally took over from Trevor Wilson to play bass for Home in 1974. He eventually joined Richard Clapton in 1975 for a short stint with Sloppy Morris (on Blue Bay Blues) and eventually went on to play with Max Merrit & The Meteors in 1980.
Kevin 'Loppy' Morris played drums for Hot Cottage in 1970-71 and Richard Clapton in 1975 before joining Home,and then went on to play drums for the Deltoids (blues and rockabilly) in early 80's.
Ian 'Gunther' Gorman has been in many Australian bands - almost a Who's Who's of Aussie Rock. His first band was Reeb Revol in 1969 (consisting of Graham Patrick, Paul Reynolds, Digger Royal, Ron Shepherd, Peter Smith). He then joined Salty Dog in 1972 and eventually left to play with Australian icons Daddy Cool.
In January 1975, Daddy Cool appeared at the final Sunbury Festival, after which (Ian) Gunther Gorman was recruited to bolster the group's lineup, and although it was clear by this time that Daddy Cool was well and truly past its use-by date, they soldiered on for a few more months. He was eventually replaced by Wayne Burt before Daddy Cool called it quits.
Gunther Gorman played guitar on Goodbye Tiger for Clapton in 1976 and also filled in for Sherbet when Clive Shakespeare left the band but was eventually replaced by Harvey James.
He then formed the Gunther's G-Force in 1978-1979 with Don Miller-Robinson, and then joined forces with the 'The Fives' in 1982 alongside Frankie J. Holden, Rockpile Jones, Jim Manzie, Geoff Plummer and Wilbur Wilde.
For more info and a link to Gorman's one and only solo album, see Ozzie Music Man's website
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There's not one bad track on this album, the music is very laid back and really easy to listen to. It is almost mesmorizing at times with most tracks running between 5 to 10 minutes long - my favourite is Mr. Blue. All tracks are Australian compositions written by the band and the strong vocal harmonies of Mason and Lawson along with the technically perfect guitar work by Gorman make this album a true 'lost classic' from the 70's.
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This post consists of a 320kps rip of my 'near pristine' vinyl and includes full album artwork. I have also chosen to include the single version of "Bang, Bang, Bang" so you can compare it with the album version. Enjoy !
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Track Listing
01 - Westward Bound
02 - Long Long Way To Nowhere
03 - Mr Blue
04 - Same Old Feeling Again
05 - Bang, Bang, Bang
06 - Always Over
07 - Riverflow
08 - Bang, Bang, Bang (Bonus Single)
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Band Members:
'Loppy' Kevin Morris (Drums, Percussion)
Phil Lawson (Bass, Vocal Harmonies)
Glyn Mason (Vocals, Rhythmn Guitar)
'Gunther' Ian Gorman (Lead Guitar, Vocal Harmonies)
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Home Link (110Mb) REPOST
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The Monkees - Live (1967)

2011-09-17T23:17:00.043+10:00

(U.S 1966–1971, 1986–1989, 1993–1997, 2001–Current)
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The Monkees (Michael Nesmith, Davy Jones, Micky Dolenz and Peter Tork) were pulled together in order to star in a successful comedy television show first aired on NBC in 1966.
The music for the series had been created by Don Kirschner and throughout the life of the band, many more esteemed songwriters added their input to The Monkees phenomenon, including Neil Diamond ("A Little Bit Me, A Little Bit You") and Carole King ("Pleasant Valley Sunday"). As time progressed the members of the band addressed the criticism which was leveled at them and began to exert more of a creative contribution; initially they had only provided vocals, by the third album Headquarters they were writing and playing much of their own stuff.
Pressure mounted for the fictional Monkees to tour, and by the British tour in 1967, they were sufficiently proficient to do so.
The band began to fracture in 1968 when Tork quit, exacerbated by Nesmith leaving the group in 1970. Shortly after that Dolenz and Jones lost the rights to call themselves The Monkees although they continued to tour. The whole band toured and reformed off and on throughout the ongoing years to varying degrees of success as their previous fame ebbed and flowed. Their 11th album Justus (1996) was, at last, their chance to create a 100% Monkees product.
Dismissing them as 'manufactured', seems harsh. Many other bands and singers have performed other people's music, lacing it with their own efforts. The Monkees did so with a certain amount of charisma, energy and humor; as a result they are, most certainly, entertainers in their own right. They released six albums with the full line-up, four of which hit No.1 on the Billboard chart, and several of their singles have found their place in public affections including "I'm a Believer", "(I'm Not Your) Steppin' Stone", "Daydream Believer" and "Last Train to Clarksville" [extract from Sound Unwound].
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The 1967 Tour
The Monkees' 1967 summer tour commenced in Hollywood, California with a performance at the Hollywood Bowl. The instrumental lineup was similar to the first regional tour done a couple months earlier, with Micky on drums and tympani, Mike on lead guitar, Peter on bass guitar, keyboards and banjo, and Davy playing tambourine and the maracas. Davy would also occasionally play bass guitar when Peter moved to the keyboards and he would relieve Micky on drums during "Randy Scouse Git" and towards the end of “Mary, Mary.” Images of The Monkees performing and other selected footage were projected on large screens behind the band.
The 1967 concerts were critically acclaimed, and the crowds large and hysterical. The performances included a psychedelic light show, one of the first concert tours to feature such techniques. The last three North American dates (Seattle, Washington 25/8/67, Portland, Oregon 26/8/67 and Spokane, Washington 27/8/67) were recorded with the intent of releasing a live album. That album did not see the light of day until it was finally released as Live 1967 in 1987. The 12/8/67 performance at the Municipal Auditorium in Mobile, Alabama is a widely circulated bootleg recording. Summer 1967: The Complete U.S. Concert Recordings features four complete concerts from this tour, and was previously available as a limited edition release from Rhino Handmade.
The Jimi Hendrix Experience was the opening act for several American cities on the summer tour. Hendrix joined the Monkees' tour in progress on July 8, 1967 in Jacksonville, Florida, continuing through Miami on July 9, Charlotte, North Carolina on July 11 and Greensboro, North Carolina on July 12. He departed after three shows in Forest Hills, New York on July 14, 15 and 16, 1967 (see ticket stub above). Hendrix, a star in England but relatively unknown in his native United States, was trying to gain notoriety in America. As the New York Times noted in 2006, “The Monkees wanted respect, and Hendrix wanted publicity.”
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"The Jimi Hendrix Experience were the apotheosis of ’60s psychedelic ribbon shirts and tie-dye—they had pinwheels for eyes and their hair was out to here. I thought, “Man, I gotta see this thing live.” So that night I stood in front of the stage and listened to Hendrix at soundcheck. And I thought, “Well, this guy’s from Mars; he’s from some other planet, but whatever it is, thank heaven for this visitation.” And I listened to him play at the soundchecks and the concert. I thought, “This is some of the best music I’ve heard in my life.” [Michael Nesmith, speaking about Jimi Hendrix]
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Mike, when attending a dinner party in England with Paul McCartney, John Lennon and Eric Clapton, overheard a tape of Hendrix playing. Along with Micky and Peter, they became instant fans, and after watching Hendrix perform at the Monterey Pop Festival in June 1967, the Monkees pushed for Hendrix to open their U.S. summer concerts. With the Monkees on the road to dispel the critical notion that they couldn't play live, adding an act as cutting edge and theatrical as the Jimi Hendrix Experience would further prove the seriousness of the Monkees as musicians and entertainers.
The musical pairing was an odd one, and various Monkees have recounted in the years since that their audience was less than interested in the guitar virtuoso, often chanting 'Monkees!' or 'We want Davy!' while Hendrix performed. As the arrangement didn't work with the crowds coming to the concerts, Hendrix and company eventually left the tour amicably.
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It was reported that both the Monkees and the Experience got along and even jammed. The exposure of being on tour with the hottest act in America propelled Hendrix to the next level as his music began to be noticed in the United States. There is no truth to the urban legend (originally reported by Australian rock critic Lillian Roxon, who traveled with the tour, as a tongue-in-cheek explanation for Hendrix's sudden departure) that Hendrix was dismissed after a complaint by the Daughters of the American Revolution of "lewd and indecent" conduct during his performances.
Other opening acts included The Sundowners, who provided instrumental backup during the solo segments, and Lynn Randell. British star Lulu opened the concerts at Wembley in London, England, and Epifocal Phringe supplied backup during the solo performances.
The 1967 concerts were a critical and commercial coup for the Monkees. This, combined with the previous success of gaining complete artistic control over the making of their music, solidified the Monkees as a musical force in 1967. After the tour, the band channeled these accomplishments in the studio (recording the "Pleasant Valley Sunday" single and Pisces, Aquarius, Capricorn and Jones LTD) while also resuming filming of their Emmy award-winning television show, now ready to enter into its second season.
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Review
Apparently, the Monkees used to not only fake their existence on TV and in the studio; they had to take a more active part in it by going out on tour and making nice fresh bucks for their employers. This was rendered all the more encumbering by the fact that, as we all know, the Monkees were just a wee bit inexperienced about playing their own instruments. To be more exact, urged on by Mike Nesmith, Talented Monkee #1, they'd finally started getting acquainted with man's musical instrument legacy in the studio, but that's one thing; quite another one is to be able to harness these instruments in a live setting, where you're not allowed to do double takes unless you're a comedy act or something.
Hey, wait a minute. This is a comedy act we're talking about. And the only saving grace for the Monkees, once they were pushed onto the stage and the curtains behind them locked and barred tight until they'd played the entire setlist, was to push on with the comedy - and pray comedy would be comic enough for the audience so as to avoid the rotten tomatoes. I haven't counted exactly, but I have a naggin' feeling that the stage banter during this one hour occupies at least as much time as the actual playing, if not more. (And, for the record, this is the entire length of the show I'm talking here: the new CD release of Rhino's 1987 album adds four "solo" tracks to the former LP, which constitutes the entire setlist for the band's mid-'67 live show).
The actual tour has, of course, long since gone down in history as the infamous "Hendrix opening for the Monkees" event, arguably the most absurd pairing in the history of rock music, with poor Jimi as the main victim of the situation: people were coming to see the well-established Monkees, not the barely-known Hendrix, and, naturally, it was a bit unusual to accept stuff like 'Purple Haze' as a substitute, or even as an aperitif before 'Forget That Girl' and 'I'm A Believer'. Nevertheless, as far as I know, there was little conflict between Jimi and the Monkees themselves; in fact, they even used to jam together a little bit, which, for Nesmith and Co., must have looked like a God-sent gift. Curiously enough, the hard-rocking version of '(I'm Not Your) Steppin' Stone' which closes the concert definitely has some Hendrix overtones to it, with its use of feedback, noise, and almost free-form soloing at times; I do, however, suspect that most of the actual music on that particular track is played by one of their several other supporting bands that, for a few numbers, took the playing over from the Monkees to give them more room for singing. And save them at least some embarrassment.
Highlights include a rabble-rousing Dolenz performance on 'Randy Scouse Git' and, unbelievable as it seems, 'I Wanna Be Free', which, with added volume, bombastic rhythm section, and Jones' inability to play it subtle and suave in a live setting (he almost literally has to shout out the lyrics), suddenly becomes a good-time folk anthem, perfectly singalongable, particularly if you're busy hiding from bad weather somewhere in your log cabin in North Dakota. Of course, the songs that were previously interesting from a musical point of view are butchered fair and square ('Last Train To Clarksville', 'I'm A Believer'), and the formerly sparkling vocal harmonies are completely out of tune, but here we go complaining again.
By far the most interesting part for fans and collectors will be the four bonus tracks, an integral part of the show that was left out in the LP age - the band's "solo" spots. Tork's country-western sendup has already been mentioned; Nesmith also has one with the equally fun and simplistic, but far more long-winded (and long-titled) 'You Can't Judge A Book By Looking At The Cover'; Jones gets himself the cute bouncy ballad 'Gonna Build A Mountain'; and Dolenz kicks the most ass with the lightning-speed rave-up of 'I Got A Woman', finally showing why he really was the best singer in the band and a good candidate for intoxicating frontman as well.
In other words, Live 1967 hangs somewhere in between historical document and independent entertainment - it's a bit too "unimportant" to be recommended as the former, and way too messy to be recommended as the latter, but if you're hunting for unique experiences, don't pass it by. It sounds like nothing else in the world. [Review by George Starostin at Only Solitare]
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This post consists of a rip taken from CD (1987 - now deleted) and includes artwork for both CD and Vinyl. The CD release includes 4 bonus tracks (solo tracks by each of the four Monkees) which were not available on the vinyl release (due to length restraints).
Although this is not their best recording, the live renditions are quite good considering their age and the audience consisting primarily of 8 to 14 year old girls!
Note: The Monkees went on tour the following year in 1968, visiting Australia and Japan. For information regarding their tour 'Down Under', see the Monkees' official website
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Track Listing
01 - Last Train to Clarksville
02 - You May Be the One
03 - The Girl I Knew Somewhere
04 - I Wanna Be Free
05 - Sunny Girlfriend
06 - Your Auntie Grizelda
07 - Forget That Girl
08 - Sweet Young Thing
09 - Mary, Mary
10 - * Cripple Creek (Peter Tork solo spot)
11 - * You Can't Judge A Book By Looking At The Cover (Michael Nesmith solo spot)
12 - * Gonna Build A Mountain (Davy Jones solo spot)
13 - * I Got A Woman (Micky Dolenz solo spot)
14 - I'm a Believer
15 - Randy Scouse Git
16 - (I'm Not Your) Steppin' Stone
* Bonus tracks only on CD
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The Monkees:
Peter Tork - bass, vocals, keyboards
Davy Jones - vocals, guitars
Micky Dolenz - drums, vocals
Michael Nesmith - guitars, vocals
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The Monkees Live Link (115Mb) REPOST
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