Showing posts with label Band Of Light. Show all posts
Showing posts with label Band Of Light. Show all posts

Saturday, March 23, 2013

Various Artists - Sunbury 73

(Various Australian Artists 1973)
.
The word 'Sunbury' has etched itself into Australian rock music folklore. Forty years ago it was a farming town just 40 'miles' (70s speak) north of Melbourne, an hour's drive from suburbia into a gently rolling rural landscape. In 1972 and for the three subsequent years, during the late January Australia Day weekend the word 'Sunbury' became associated with a rock music festival on a farm out of the Sunbury township. Today suburbia lurks so close to the Sunbury Pop Festival site if you turned up Billy Thorpe's amp to its obligatory '11' you'd get complaints from the neighbours on the hill. But the site is still there, identified only by the rusted wire fence surrounding the area where the stage stood, and the foundations of the toilet block nearby, in front of Jackson's Creek. Behind the creek a steep incline, in front a gently rising hill, a natural amphitheatre. 

 There had been rock festivals before and there have been rock festivals since. But Sunbury looms large as 'Australia's Woodstock' - erroneously. It could just as easily be called the first 'Big Day Out' -- held during the same weekend. Or a prototype of Meredith. Australia's real 'Woodstock' was held at Ourimbah in NSW on the Australia Day weekend in 1970. During the intervening two years 'the Woodstock nation' had been replaced by another generation of teenagers, another generation of music, another set of values The Beatles had been replaced by Led Zeppelin. But for the media those Woodstock images lingered. That's what they went to Sunbury looking for. That's what they came away with. That's what sticks in people's minds as 'Sunbury'. Those who were there remember the 'bonged out' sitting next to the underage drinkers and bikers collapsed in their own vomit after a night of shouting 'suck more piss' from the hill. The similarity between Sunbury and all festivals is the freedom to be young and free, to the soundtrack of the day's music.

Australian music had shifted dramatically during those two years between 1970 and 1972, between Ourimbah and the year of the first Sunbury in 1972. In 1970 Australian music had struggled to be 'progressive' like the rest of the world. Our record companies weren't interested. Then during the last half of that year a record ban forced the Australian music released by the major record companies off radio airwaves, retiring many of the pop stars of the day. Music fans had to go 'out' to get their music fix. In Melbourne they found Daddy Cool and Spectrum north of the river. Chain and Billy Thorpe's 'new' Aztecs south of the river. In Sydney the music retreated to the Kings Cross nightclubs entertaining servicemen on 'r and r'. The first Sunbury festival tapped into that still very alive thirst for live music. Somehow Australian music had forgotten to look over its shoulders at overseas trends and musicians and their audience were happily following their own path. In January 1972 it led to Sunbury.
.
The festival had been organized by an unlikely 'hero', John Fowler, a middle-aged Channel Nine employee. While their children were smoking dope and drinking and dipping nude in Jackson's Creek elder Australians were watching John Fowler lighting the soundstage for their own addiction, 'In Melbourne Tonight'. Fowler and his advisers thought that the popular acts of the day weren't quite enough and for that first Sunbury Festival organised for the return of Max Merritt and the Meteors after just over a year in England. Ever competitive, Billy Thorpe would have made conquering the Sunbury hill his goal anyway. Having old rival Max top of the bill was an added incentive. Billy Thorpe and the Aztecs turned up the volume and made Sunbury 72 theirs'. Within weeks Billy released 'Most People I Know' and later that year a live album of the Aztecs at Sunbury became a national top ten. The only other Australian-made top ten album that year had been Daddy Cool's 'difficult' second album 'Sex Dope And Rock'N'Roll'


Sunbury 73 was set up as the most important event on the Australian music calendar. Clearly. whoever won the hill at Sunbury 73 was set up for the rest of the year. You had to be there.
A lot of people get the four Sunbury's confused. In their minds they've become one. But 1973 was THE one. In bygone years there had been a thing called the Hoadley's Battle Of The Sounds, where the bands of the day allowed themselves to be judged. The winners were kings for the year. Often the losers broke up to think of a way of winning the following year. That was the mood with which Australian music entered Sunbury 73. You had to be there. It was important to make an impression. It was the year the Sydney acts - Sherbet, Country Radio - descended on the festival, and Mississippi performed with a 35-piece orchestra. It was so important to be there, even pre-70s rock legend Johnny O'Keefe came, determined to stay in the game. And Michael Gudinski was there to record it for his just-formed Mushroom Records.
Of course Billy Thorpe was also there, returning just in time to top the bill after trying his luck in the UK. This was our chance to celebrate his return. There was no clear winning at Sunbury '73 but the points decision probably went to Thorpe. There were a lot of winners, a lot of sets went back to the traditional venues and found keen audiences for the rest of the year. [written by Ed Nimmervoli]


While Sunbury '72 was widely touted as the beginning of a new era, Sunbury '73 was the one that consolidated the festival's success. However it also marked a changing of the guard, with a number of notable bands -- Carson, Country Radio, Friends, Healing Force -- all splitting for good in the months following their Sunbury appearances. It was also the final Australian performance by Flying Circus, who had already been in Canada for some time. They returned specially for the festival, but were coolly received, and returned to Canada immediately after Sunbury, where they remained until they split some years later.
The Aztecs headlined again, reprising their huge success of the previous year and Max Merritt & The Meteors again returned from the UK to perform. One of the surprise hits of the festival was rock'n'roll legend Johnny O'Keefe; he was cheekily introduced as a "newcomer" by MC Paul Hogan, but despite an initially derisory reception, he won the crowd over and by the end of his set, as Ian McFarlane notes, he "had the audience of hippies eating out of the palm of his hand".

"Sunbury 1972 was the first, but the 1973 festival is often remembered as the best. It has a place in our music history, just like the vintage clips of the Easybeats performing 'Friday On My Mind' and AC/DC travelling down Melbourne city streets on the back of a tray truck while belting out 'It's A Long Way To The Top'."  - Steve Waldon, The Age


Like Sunbury '72, the performances were taped using a mobile multi-track facility; it is presumed that some film or video footage was made but it is not known how much of that (if any) still exists. The sound recordings were edited to become the inaugural release for the newly established Mushroom Records label, founded by Michael Gudinski and Ray Evans. With commendable hubris, it was the first Australian triple-album set ever released.
The fine performance by Carson (which would prove to be their last major concert appearance) was also released by EMI as the On The AirLP; this has long been out of print but it is scheduled for re-release on CD by Aztec Music. The other major recording culled from the festival was the extended early-morning jam session between The Aztecs, Lobby Loyde's Coloured Balls and Leo De Castro, which was released on the Havoc LP Summer Jam. This has recently been reissued on CD by Aztec Music. [extract from milesago.com]



SUNBURY - THE VENUE
Owned by George Duncan, he generously offered the use of his property at no cost to the organisers, even going so far as allowing toilet facilities and rubbish bins to be installed on the property in later years of the festival. Which really makes sense, considering he’d have had as many as 40,000 people in his “backyard”. You don’t have to be a mathematician to know a crowd like that plus three days of food and booze equals a mess that would make even Keith Moon blush.

With the Duncans’ farmland providing a natural amphitheatre, the scene of the Sunbury festivals has since become an isolated area, far from the bustling hub it was during one of music history’s most famed events. Residential subdivision in the area has since limited public access to the site and redeveloped the landscape.

According to a document on the website of Hume City Council, little remains there now but there are still the remnants of the toilet facilities and bins, along with echoes of the event that linger to this day with “small artifacts such as items of footwear and drink can pull-rings” scattered over the area.
.
For more information on the Sunbury 73 concert, refer to the following websites:

hume.vic.gov.au
nla.gov.au
onlymelbourne.com.au
wikipedia.org
theage.com.au
.
It was the Sunbury 73 that got me first hooked on 'Aussie Rock'. My brother owned the triple album set originally (having being lucky enough to attend the festival) but I soon managed to talk him into selling it for a bargain basement price.  Being a young teenager at the time, I was listening to overseas artists like Robin Trower, Alice Cooper and Grand Funk Railroad. However, the bands and the infectious aussie rock that they played at this famous festival was the turning point in my life. I suddenly realised that there was 'real talent' in my own back yard.  And I've never looked back.
Bands like Madderlake, Chain, Carson, Blackfeather and the Aztecs have been a huge part of my passion for music and I owe it all to this wonderful recording, released on the legendary Mushroom label (thanks Gudinski)

My only regret is that I was too young to attend the 73 Festival although I did manage to fulfill my long life dream to a point, by attending the 2010 Sunbury Backroad Festival, featuring Madderlake, Spectrum and Chain. See my review
If you haven't heard this Sunbury 73 recording, then you have really missed out on a vital chunk of Aussie Rock. Need I say more?
.
The post consists of an MP3 rip (320kps) taken from my cherrished vinyl copy, which is in relatively good condition considering the number of plays it has had. The artwork included (with CD2 and as a separate link) was taken from a CD release that was circulating on the web at one stage (possibiliy C/- of the Midoztouch Forum).
Some choice photos of the venue and crowd are also included.
As a bonus, I have included a recording of Mississippi's "Kings Of The World" which was also recorded at the Sunbury 73 festival but never made it onto the triple set (sourced through YouTube)

Note: There was also a promotional E.P released featuring 6 tracks taken from the triple Sunbury album set and is one of the items on my Holy Grail List of wants. I have yet to see it turn up on ebay, and can only dream of the day when I might find it! (see pictures below bottom)
.
Tracklist
CD1
01 Johnny O'Keefe – High Rollin' Man 2:57
02 Friends – Bird On A Wire / La La Song 6:58
03 69ers – Harry Rag 6:58
04 Coloured Balls – Johnny B. Goode 4:51
05 Madder Lake – Down The River / 12lb. Toothbrush 14:40
06 Band Of Light – Messin' With The Kid
07 Aztecs – Going Back Home 13:31
08 Blackfeather – I'm Gonna Love You 9:53
CD2
01 Carson – Friday Night Groove 4:53
02 Mighty Mouse – Sunset Song 10:05
03 Healing Force – Erection 6:47
04 Country Radio – Silver Spurs 4:51
05 Matt Taylor – From Brisbane To Beachworth 8:50
06 Sid Rumpo – Sailing 8:38
07 Mackenzie Theory – New Song And 8:47
08 Glenn Cardier – Australia 2:28
09 Bakery – Living With A Memory 12:12 

10 Mississippi - Kings Of The World BONUS 2:38
 
.
Sunbury 1 mp3  Link (156Mb) New Link 20/12/2022

Sunbury 2 mp3 Link (183Mb)

Sunbury Artwork & Photos (20Mb)

Sunbury 1&2 in FLAC (897Mb) New Link 06/09/2024

Friday, January 14, 2011

Band Of Light - Selftitled EP (1974)

(Australian 1972-74)
.
Band Of Light were formed in October 1972 by Phil Key (vocalist and rhythm guitarist from legendary New Zealand band The La De Da’s). Ian Rilen (later a key member of both Rose Tattoo and X) replaced Peter Roberts (also ex-Freshwater and La De Da’s) on bass after just 3 gigs. Master slide guitarist Norm Roue (who had come from Sydney band Gutbucket) and experienced drummer Tony Buettel (from Bay City Union, Levi Smith's Clefs, Fraternity and Band Of Talabene) completed the line-up.
The music that band Of Light recorded in 1972-4 is clearly typical of its time - heavy blues and boogie embellished by lashings of slide guitar (C/- Norm Roue). Lyrically, the band (or more precisely Phil Key and his song writing partner wife) explored a quasi-religious philosophy that embraced racial equality, social justice, spiritual harmony and cosmic enlightenment. Similar I guess to the Flower Power - Hippy movement that occurred in the states.
.
To this end, Band Of Light was the first local band to use a symbol to represent a set of basic ideals in their music. This was not dissimilar to Led Zeppelin's symbol used on their 4th album.
Key chose a collective symbol for Band Of Light which comprised of a divided circle (like the Yin and Yang) set within two contrasting triangles (see pictured right).
In their short existence (1972-74) Band Of Light managed to release 4 singles, 2 albums and an E.P. Their first hit single released in April, 1973 "The Destiny Song" b/w "Over B" (Warner Bros. WBA 4035) immediately drew strong airplay in hometown Sydney, eventually peaking at #10. Melbourne radio was slow on the uptake, taking until June before airing the track and within a month hit #7 on the 3XY chart. As a recognised hit record "The Destiny Song" remains a classic of its type. In line with the band's basic principles, Warner Bros. had the band's symbol (logo) printed on the "The Destiny Song" single labels - including this EP [Ian MacFarlane]
.
As 1974 arrived, Warner Bros combined the tracks "The Destiny Song", "Moonstruck", "If", and "Free Them From Hunger" (edit) for release as part of the rare 'Band Of Light' EP (Warner Bros. EPW 261). The last two tracks were from their 'Total Union' album, although the version of "Free Them From Hunger" is a heavily edited version (2:45) of the full-length album cut with the second half of the song simply lopped off after Roue's first slide solo. This edited version does not appear on the recent Aztec music release of 'Total Union' even though it features a range of bonus tracks, including the "Destiny Song".
.
The rip was taken from my vinyl copy of the EP which is in excellent condition (320kps). I have also included scans of the covers (although the back cover is only a generic listing of other EP titles) and both of the labels. As mentioned previously, the track "Free Them From Hunger' is the edited version and has never been released on CD.
.
Track Listing
01 - The Destiny Song

02 - If
03 - Moonstruck

04 - Free Them From Hunger

.
Band Members:
Robin Andrews (drums) 1973-74

Tony Buettel (drums) 1972-73

Dannie Davidson (drums) 1974-75

Eddie Hanson (guitar) 1974-75

Phil Key (guitar, vocals) 1972-75

Ian Rilen (bass) 1972-74

Peter Roberts (bass, vocals) 1972

Norm Roue (guitar) 1972-74

Bill Williams (bass) 1974

.
Band Of Light EP Link (34Mb)
.

Friday, July 3, 2009

Band Of Light - The Archer (1974) + Bonus Tracks

(Australian 1972-74)
.
Band Of Light were formed in October 1972 by Phil Key (vocalist and rhythm guitarist from legendary New Zealand band The La De Da’s). Ian Rilen (later a key member of both Rose Tattoo and X) replaced Peter Roberts (also ex-Freshwater and La De Da’s) on bass after just 3 gigs. Master slide guitarist Norm Roue (who had come from Sydney band Gutbucket) and experienced drummer Tony Buettel (from Bay City Union, Levi Smith's Clefs, Fraternity and Band Of Talabene) completed the line-up.

Key’s first mission was to ensure that Roue’s stinging slide technique was put to good use. If you ever wondered what a nascent Rose Tattoo may have sounded like then this is a good place to start: on a good night, Roue could be matched with the likes of ‘Sleepy’ Greg Lawrie from Carson and La De Das’ Kevin Borich as one of the best slide players in the country, and at the bottom end, Rilen and Buettel always kept the rhythm firm and funky. Band Of Light immediately established a slow, heavy blues style dominated by Roue's stinging slide work. Key also introduced a quasi-religious philosophy into the band's lyrics that espoused racial equality, social justice and spiritual harmony.

The band worked consistently on the Sydney and Melbourne pub/festival/dance circuits, alongside other staple acts of the day like Billy Thorpe and the Aztecs, Carson, Coloured Balls, Chain, Madder Lake and Buffalo.
The band scored a national number 18 hit single in July 1973 with the infectious boogie rocker "Destiny Song"/"Over B" and later released their first album on the WEA label “Total Union”. The album was mostly standard hard rock, slow 12-bar blues and boogie, but the best tracks revealed Band Of Light to be an energetic and funky rock band. The second single "Free Them From Hunger"/"The Cat" in August and the non-album “Moonstruck"/"If" in November failed to chart. Roue, Rilen and Buettel all left Band Of Light in mid-1974. Roue went on to join Buffalo, Rilen helped form Rose Tattoo in 1976 and Buettel went into production work. Key was ready to record the band's second album and called in Billy Williams, previously from Classic Affair, to play bass and Danny Davidson, from Tamam Shud and Kahvas Jute, to play drums, in order to complete the album.

Released in 1974, the album "The Archer" had a much drier sound than the debut and failed to chart. The single "The Archer, A Sagittarian Rhapsody"/"Silus The Sun" was not successful. Ray Vanderby on keyboards and Eddie Hansen, from Ticket, on lead guitar, filled out the basic three piece line-up for live dates, but by the end of 1974 the band had broken up.
Although “Total Union” has been re-released on CD by Aztec music, “The Archer” has remained as a long lost Aussie classic album from the 70’s and therefore deserves a place here at Rock On Vinyl.
.
"The Archer" has been ripped from Vinyl at 256kps and includes full album artwork and 3 bonus tracks.
.
Tracklisting:
01 - The Archer
02 - Our Reason For Being
03 - Silis, The Sun
04 - The Seeker
05 - The Invitation
06 - My Black Swan
07 - Indiogo Heavens
08 - Bread and Wine
Bonus Tracks
09 - Messin' With The Kid (Live at Sunbury)
10 - The Destiny Song (GTK 1973)
11 - Over B (Instrumental B-Side Single)

Band Members
Robin Andrews (drums) 1973-74
Tony Buettel (drums) 1972-73
Dannie Davidson (drums) 1974-75
Eddie Hanson (guitar) 1974-75
Phil Key (guitar, vocals) 1972-75
Ian Rilen (bass) 1972-74
Peter Roberts (bass, vocals) 1972
Norm Roue (guitar) 1972-74
Bill Williams (bass) 1974

.