REPOST: Various Aussie Artists - A Hair Of The Dog (1974)

(Various Australian Artists)
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A 12 track sampler from EMI's top Australian pop albums, this is a very rare Australian Various Artists compilation album. Some of the artists featured on this album went onto bigger and better things (eg. Johnny Farnham, Ariel and Ross Ryan) while others simply disappeared off the grid (eg. Pirana, The Ormsby Brothers).  The following are brief bio's on the featured group, while the back cover of the album provides details about the albums from which these tracks were lifted.
The tracks themselves are not the singles that were officially released from the albums, which makes this sampler even more desirable from a collectors point of view.
Overall, there is a wide range of musical styles represented on this sampler, from cabaret, to popular to progressive rock. Not the greatest album cover which probably didn't help EMI in their venture to promote the artists showcased, but the title is quite cliche' and clever (hopefully when you hear one track from the album, you'll want more and consequently buy the LP)
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Ariel
(Both "Worm Turning Blues" and "And If It Wasn't For You" taken from LP 'A Strange Fantastic Dream)
Ariel formed in mid-1973, after the breakup of Spectrum. When Spectrum drummer Ray Arnott announced he was leaving to join Ross Wilson's new band Mighty Kong, Putt and Rudd decided to end the band rather than try to recruit a new member, feeling that it wouldn't be possible to recreate the special spirit of the group. Within a few months of Spectrums's farewell performance a new band (its name taken from the character in Shakespeare's "The Tempest") was up and running. Ironically, the two new members, Tim and Nigel, had originally come to Melbourne to work with Ross Wilson and Ross Hannaford on their new project (which became Mighty Kong) and it was after they departed that Ray Arnott was invited to join, thus precipitating the split of Spectrum!
Strong record company interest in Ariel quickly led to a contract with EMI's progressive Harvest imprint. Their superb debut single Jamaican Farewell looked set to repeat the early success of Spectrum but it managed to reach only No.34, its success hampered by lack of airplay, especially in Sydney. They toured as support to Gary Glitter November 1973 and released their excellent first LP 'Strange Fantastic Dream' in December, with writing credits split fairly evenly between Gaze and Rudd. According to Noel McGrath, the album was also the first use of Moog synthesizer on an Australian rock record. It fared very well commercially and critically, reaching No 12 in the LP charts in February 1974.
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Ross Ryan
("Goodbye Mitchy" was taken from LP 'A Poem You Can Keep', "There Is No Pain" was taken from LP 'My Name Means Horse')
Ross Ryan is one of Australia's most respected and successful singer-songwriters. Like his contemporaries Greg Quill and Mike McClellan, he emerged from the folk scene, and enjoyed brief chart prominence in the mid-70's with his 1974 hit single "I Am Pegasus", for which he is probably best remembered these days.
In March, 1973 he released his second album, 'A Poem You Can Keep', which got his career off to a flying start. Produced by Dawkins, engineered by former Abbey Rd chief Martin Benge, and arranged by Peter Martin, it spawned a hit single "I Don’t Want To Know About It", won 'Record Of The Year' at the Australian Record Federation Awards for 1973 and earned Ross a second gong as 'Best New Talent'.
In November '73, Ross supported Helen Reddy on her national tour, coinciding with the release of his new single, "I Am Pegasus" (b/w "Country Christine Waltz"). It was a runaway success, becoming one of the most successful Australian singles of the year, and the biggest hit of Ross's career, earning him the first of four first gold records. It went to #1 in Sydney, reached #9 nationally, and stayed on the top forty for an extraordinary twenty-three weeks. 
Ross made a memorable appearance at the 1974 Sunbury Festival in January, followed up by the release of his third album in January 1974 and the subsequent release of the single "Orchestra Ladies". Propelled by the huge success of the "Horse" single, the Horse LP was also a major hit -- it sold 15,000 copies within two weeks, in March it was declared "gold", and it peaked at #3 nationally in April 1974. It eventually earned Ross three gold record awards and stayed in the charts for 17 weeks. In March Ross made another short US trip, performing concert and clubs dates, after which he briefly returned home, when Prime Minister Gough Whitlam presented him with gold record awards for both the album My Name Means Horse and "I am Pegasus" [extract from Milesago]
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Pirana
("Then Came The Light" taken from LP Pirana II)
For anyone who is hopelessly hooked on progressive and classic rock of the 70s, Pirana is simply a must. "Pirana" was a short-lived act from the 70s, which was one of the major driving forces and attractions in Australian music scene in these years.
Pirana was formed in 1970 by Stan White (keyboards), Jim Duke-Yonge (drums), Tony Hamilton (vocals, guitar) and Graeme Thompson (bass) as a new musical venture for the latter three following their tenure in pop band Gus & The Nomads. Their first recording were as a backing band for a solo album by Greg Quill, but in 1971 they were signed by legendary record label Harvest and soon got busy making their debut album.
Pirana I hit the shops in 1971, and while their debut album didn't exactly set the world on fire the band quickly established themselves as a popular live act. For anyone who is hopelessly hooked on progressive and classic rock of the 70s, it's simply a must. Too often the description of their music is concentrated on the influence of Santana - yes, that's difficult to deny, but "Pirana" performed their own unique version of quite heavy prog rock balancing on the verge of acid/hard, not unlike their British peers, with powerful drumming, roaring guitars and lengthy Hammond solos. In my humble opinion the influence of Santana is grossly exaggerated. "Stand Back" from the first album is a true masterpiece featuring exceptional drumming solos, while the opening track from the second album - "Pirana" - is mesmerizing tune inspired by Maurice Ravel's "Bolero".

Pirana

Stan White left the band shortly after the release of their first album and was replaced by Keith Greig. And with White out of the band guitarist Hamilton had a more prominent place as a songwriter for Pirana's second effort Pirana II, issued late in 1972. A direct result of that was that the band started moving slightly away from their Latin-inspired sound. They never managed to hit the big time with their second LP unfortunately, not even a superb performance at 1972's Sunbury festival gave the band the true commercial breakthrough they required. Indeed, the latter actually cemented their reputation as a Santana-influenced act, and while their credibility as a live unit soared their merits, their studio efforts remained unrecognised.
Grieg left the band in 1972, and a flurry of line-up changes followed for the next couple of years, until Pirana fizzled out to disbandment in late 1974.
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The Ormsby Brothers
(Both "Da Doo Ron Ron" and "The Sun Ain't Gonna Shine Anymore" taken from their Selftitled LP)
The Ormsby Brothers were: Neville Ormsby, Michael Ormsby and Adrian Ormsby. Their sound was almost like the USA Osmond Brothers who were enjoying world-wide success at the time, and I'm sure these two groups have been confused at some stage by the unwarey.
The boys were born in New Zealand and began vocalising together as a group in 1967. In September, 1971 they moved to Australia. Their first single was 'I Saw Mommy Kissing Santa Claus' which was released just prior to Christmas, 1972. The following year they recorded Lesley Gore's 'You Don't Own Me' which became their first and only hit, making the top ten in all states. It reached #2 and stayed in the charts for 20 weeks. Music producer Peter Dawkins said he looked back on that single, engineered by former Beatles studio assistant and later Sherbet producer Richard Lush, as the best of his early Australian productions.
Following on from the single's success they released an album entitled The Ormsby Brothers which won for them the 1973 Easy Listening Vocal Award presented by the Australian Federation of Commercial Broadcasters.
The latter part of the year was crammed with television and live appearances all over Australia with the highlight being part of the first concert presented at the Sydney Opera House.
In December they released their next single, 'Sweet Virginia' which sold only moderately and since 1975 they've been singing in the Sydney club circuit. Although they were not contracted to a record company at the end of 1977, they had plans of putting together an album in the near future.
Strangely enough, Chris Spencer's Who's Who Of Australian rock makes no refernce to this group.
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Johnny Farnham
("My Love" from the LP 'Johnny Farnham sings the big hits of '73 Live' and "Don't You Know It's Magic" from the LP "Hits Magic & Rock 'N' Roll")
John Farnham, aka Farnsy, Johnny, Whispering Jack and The Voice is an iconic Australian entertainer whose career has spanned over four decades.
Farnham was born on the 1st July 1949 in England and moved to Melbourne at the age of 10 and has lived here ever since. This wannabe plumber took a break from his apprenticeship in order to pursue a music career which has seen him become one of Australia's best-loved performers with a career spanning over 40 years.
In 1967, Sadie (The Cleaning Lady) was his first hit which topped the Australian charts for six-weeks running.  Selling 180,000 copies in Australia, "Sadie" was the highest selling single by an Australian artist of the decade. Farnham's debut studio album, Sadie was issued in April 1968.
He later released a cover of BJ Thomas's "Raindrops Keep Falling On My Head" in 1969, which also reached the #1 position on the Australian charts.
Most of his early 70's material could be classified as being both Pop and Cabaret music, but he soon reinvented himself in the early 80's with the help of Glenn Wheatley to be labelled as one of the best voices in Australian rock.
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The Coloured Balls
("Whole Lotta Shakin" taken from the LP 'Ball Power')
Original line-up: Mick Hadley (vocals); Robbie Van Delft (lead guitar); Rob Dames (bass guitar); Peter Miles (drums); Sam Shannon (vocals).
The band was formed in Brisbane following the breakup of the Purple Hearts. Mick and Rob were from the Hearts; Robbie was from the Bowery Boys; and Peter and Sam had had a variety of experience.
In 1971, Lobby Lloyd took over on guitar and the group, all sporting 'skinhead' hair styles, gained a reputation as a loud band after the style of the Aztecs.
By August 1972, the line-up had changed totally and included Trevor Young (drums); Lobby Lloyd (guitar); John Miglands (bass guitar); and Bobsie Millar (guitar). The band's first notable single was "Liberate Rock", which was written by Lobby. Most of the backing was provided by the Aztecs prior to the hew Coloured Balls being formed. Although it didn't quite make the charts, the single did make history being the first in Australia to be advertised on radio.

The Coloured Balls

The follow-up was "Mr. Mean Mouth"/"Love Me Girl" in May '73. Then in September they enjoyed their first chart success with a revival of Elvis Presley's "Mess Of Blues". Later, in November, came a single called "Flash", and in December they released their best selling 'Ball Power' album.
Another single by the boys, "Love You Babe", charted midway through 1974, but unfortunately the group disbanded not long after. However, in May 1976, an album entitled The First Supper Last, which was recorded in 1972 with the line-up at that stage, was released on the Rainbird label.
Lobby initially went solo, recording for Bootleg Records. In 1976 he released an LP with the Southern Electric Band called Obsecration which was also on the Rainbird label. Then, in 1977 he left for England. Trevor Young turned up in popular band, Fingerprint, in 1977.
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Jeannie Lewis
("Fasten Your Wings With Love" taken from the LP 'Free Fall Through Featrherless Flight')
Jeannie Lewis is widely acknowedged as one of Australia's most accomplished, versatile and passionate vocal artists, and a performer whose work crosses many musical boundaries. Jeannie started her singing career on the Sydney folk and jazz circuit in the mid-1960's then moved into the rock scene in the early 70s, establishing a strong reputation through her dynamic performances and powerful interpretations of songs both on stage and on the outstanding recordings she made in those years. During the 80's and 90's she continued to develop and broaden her career, with roles in musical theatre and the unique one-woman cabaret shows that reflected her growing love of Latin music, and her commitment to the often-underrated role of women's voices in music. Jeannie can adapt her voice to a large and eclectic range of material -- folk, rock, blues, opera, torch songs, Broadway tunes, tango and jazz -- and she is recognised both here and overseas as a peerless interpreter, with a rare ability to make almost any material her own.

Jeannie Lewis

In 1973 EMI issued Jeannie's classic debut album, Free Fall Through Featherless Flight, arranged and directed by Carlos. Its cover was designed by renowned Australian artist Martin Sharp whose first record designs were the classic psychedelic covers for Cream's Disraeli Gears and Wheels of Fire LP's
Backing Jeannie on the album was an all-star lineup including Michael Carlos on Moog, organ and harpsichord, Mike Wade and Mike Reid (guitars), Ken Firth (bass; ex-Tully), Jamie McKinley (ex-Cool Bananas, piano), Greg Henson (drums), Alan Lee (percussion), Marcia Hines (backing vocals), Shayna Stewart (backing vocals, ex-Extradition, Tully), The Fidelio String Quartet and a wind section. The album won the Australian Radio Record Award for the Best Australian LP of 1974, despite receiving virtually no radio support whatsoever outside the ABC, although it was featured on Chris Winter's pioneering show Room To Move, and gained further airplay in the early days of radio station 2JJ (Double Jay) in Sydney.
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The La De Das
("The Place" taken from the LP 'Rock and Roll Sandwich')
Original line-up: Bryan Harris (drums); Trevor Wilson (bass); Bruce Howard (organ/sax); Phillip Key (lead vocals); Kevin Borich (lead guitar).
The band formed in New Zealand in 1965 and after reaching the top there (with their single, "Hey Baby" which made number one), they left for Sydney two years later.
On their arrival in Australia they received little attention from their recording company who at first refused to let them record. As a result they fell into a rut working steadily, but uneventfully, in Melbourne and Sydney. Then early in 1968 they decided to buy new instruments and develop a new act. The change brought with it a renewed interest in the band and in March, 1969 they released their highly acclaimed 'Happy Prince' album. Two months later they left Australia to try their luck in England. Other, more renowned groups, had tried before them without success and the La De Das found the going just as tough. They returned in April, 1970 minus Trevor and his place was taken by Reno Tehei (ex-Genesis and Compulsion). In the meantime their album had sold steadily during their absence, and later in the year Bryan left and he was replaced by Keith Barber.
More line-up changes occurred in January, 1971 when Bruce left to form a duo with Trevor, and Reno also moved out. The band added Peter Roberts and reformed as follows: Phil Keys (vocals and guitar); Peter Roberts (bass); Keith barber (drums); and Kevin Borich (vocals and guitar).
They consolidated with the new format and released a new single, "Sweet Girl"/"I Can't Find A Reason". Then in November, '71 came the breakthrough they had been waiting for when they made the charts with one of their biggest hits "Gonna See My Baby Tonight". Another hit was achieved six months later with "Morning Good Morning". But, just as they seemed destined to become the superstars they had tried so long to be, the band experienced another setback. In September, '72 Peter and Phil left to form the Band of Light. But not to be discouraged, the band took on Ronnie Peel (ex-One Ton Gypsy and Thunderclap Norman) to play bass and worked as a trio.
The new three piece format created a new vigour, with Kevin having to work harder on guitar, and in November, 72 they released an exciting single called "I'll Never Stop Loving You". From there they settled into a hectic pattern of work and in July, 1973 they issued their notorious Rock'n'Roll Sandwich album.
The following year was their last together, but included a single, "The Place" (May, 74), a tour with Gary Glitter (July, 74) and also a re-entry into the charts with Chuck Berry's old rocker "Too Pooped to Pop".
Kevin went on to form Kevin Borich Express while Ronnie recorded under the alias of Rockwell T. James as well as playing with John Paul Young's All Stars.
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This post consists of FLACs ripped from my vinyl copy of the EMI sampler, which I found at a flee market for the pricely sum of $2. Also included is full album artwork and label scans, plus all photos featured here. Please note that a majority of the band bio's were sourced from: Australian Encyclopedia of Rock (Noel McGrath, 1978. Outback Press) and the Milesago Website.

New Improved RIP

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Track Listing
01 - Worm Turning Blues (Ariel)
02 - Goodbye Mitchy (Ross Ryan)
03 - Then Came The Light (Pirana)
04 - My Love (Johnny Farnham)

05 - Da Doo Ron Ron (The Ormsby Brothers)
06 - Whole Lotta Shakin' (Coloured Balls)
07 - Don't You Know It's Magic (Johnny Farnham)
08 - The Sun Ain't Gonna Shine Anymore (The Ormsby Brothers)
09 - Fasten Your Wings With Love (Jeannie Lewis)
10 - The Place (The La De Da's)
11 - There Is No Pain (Ross Ryan)
12 - And If It Wasn't For You (Ariel)
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EMI Sampler Link (274Mb) New Link 11/08/2025
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Various Artists - Explosive Hits '75 EMI (1975)

 (EMI Compilation 1974/75)

This EMI compilation from the mid 70's has always been a long standing go to album of mine, partly because it features some of my favourite tunes, like ACDC's "Baby Please Don't Go", Ralph McTell's "Streets Of London", Steve Harley's "Make Me Smile " and Ross Ryan's "Blue Chevrolet Ballerina".  But for some reason, the album cover has also been an attraction to me - even though its nothing special - but maybe its the 3D masonry lettering on top of the vibrant red background that has always caught my attention.  

Of course, there are other great tracks featured on this album, like Pilot's "January", Sherbet's "Summer Love" and Pete Shelley's "Gee Baby", but even the obscure selections by Pepper Box, Al Martino and Gilbert Becaud eventually grow on you after lots of plays.

So, even if you haven't heard some of these tracks, I suggest you give this LP a spin, and hey; maybe this collection of tracks will become your Explosive Hits of 75' as well. And now, some light reading while you listen to this comp:

1. John Paul Young - Yesterday's Hero

John Paul Young became well known when working with producers/composers Harry Vanda and George Young. In March 1975 Alberts released John Paul Young’s recording of Vanda & Young's Yesterday's Hero, a song about the fleeting nature of pop stardom. The record hit the national charts in April, reaching #1 and staying at #1 on the Melbourne charts for six weeks. "Yesterday's Hero" sold strongly in the USA and reached #42 on the Cashbox top one hundred. A key factor to "Yesterday's Hero" success was the film clip made to promote it, which enabled the song to be given exposure on Countdown (following the official start of colour TV broadcasting March 1, 1975. The Hero LP reached #20 on the charts in November 1975 and became a gold record.

2. Bay City Rollers - Bye Bye Baby

The Bay City Rollers are a Scottish pop rock band known for their worldwide teen idol popularity in the 1970s. They have been called the "tartan teen sensations from Edinburgh" and are one of many acts heralded as the "biggest group since the Beatles". The group's line-up had many changes over the years, but the classic roster during its peak in popularity included guitarists Eric Faulkner and Stuart Wood, singer Les McKeown, bassist Alan Longmuir and drummer Derek Longmuir.

Their debut album, Rollin' debuted atop the UK Albums Charts and spent a combined total of fifty-eight weeks on the UK Albums Chart. Their follow album studio album Once Upon a Star continued this success, again, debuting a top the UK Albums Chart. The album yielded the successful singles "Bye, Bye, Baby", which topped the charts in the United Kingdom, Ireland and Australia, and "Keep On Dancing". "Bye, Bye, Baby" was the best selling single in the United Kingdom in 1975.

3. Peter Shelley - Gee Baby

Peter Shelley (alas Peter Southworth) was a British pop singer, songwriter, and music business executive. As a performer in the 1970s, he had UK hits with "Gee Baby" and "Love Me Love My Dog". He also originated the persona of Alvin Stardust, writing, singing and producing the first single released under that name, "My Coo Ca Choo".

Gee Baby is a well constructed, if not slow paced, ‘bubblegum pop’ track that was a hit in the U.K. in 1974.

This was easily the then 32 year old singer/songwriter’s most successful solo release in Australia and, in January 1975, it peaked at the national #3 position published by the ‘Kent Music Report’ (the forerunner of today’s ‘ARIA Charts’)

4. Gary Glitter - Goodbye My Love

Paul Francis Gadd, better known by his stage name 'Gary Glitter', was an English former singer who achieved fame and success during the 1970s and 1980s. He became known for his energetic live performances and glam rock persona of glitter suits, make-up, and platform boots.

The Glitter Band were a British glam rock band, who started out as a backing band for Gary Glitter from 1973.

The Glitter Band were: John Rossall (trombone and musical director), Gerry Shephard (lead guitar and vocals), Pete Phipps (drums and keyboards), Tony Leonard (drums), John Springate (bass and vocals) and Harvey Ellison (saxophone).

While backing Gary Glitter, they showcased their ability to create catchy, glam-infused rock 'n' roll that resonated with audiences around the world.

Their live shows were a spectacle to behold, featuring synchronised dance routines, flamboyant costumes, and an electric atmosphere that left fans begging for more.

But the Glitter Band's success wasn't just about the glitz and glamour. Behind the scenes, they were talented musicians, crafting their unique 'Glitterbeat' sound that blended pounding drums, catchy guitar riffs, and infectious melodies.

As they toured extensively, their fan base grew, and they became a household name in the glam rock scene. Their music and performances had an undeniable impact on the cultural landscape of the time.

"Goodbye My Love" was released in 1975 and was the band's highest charting single at number 2 in the UK Singles charts.

Interesting fact: Gerry Shephard did the lead vocals on "Goodbye My Love" and not Gary Glitter

5. Linda Ronstadt - You're No Good

Linda Ronstadt had her first hit single, “Different Drum,” in 1967 as a member of The Stone Poneys, then had a series of solo albums in the early 1970s following the group’s breakup. But it wasn’t until November 1974, 50 years ago this month, with the release of her album 'Heart Like a Wheel', produced by Peter Asher, and its lead-off single, “You’re No Good,” that the singer landed squarely at the top of the charts, a place she would find herself many times throughout the rest of her career.

"You're No Good" was originally sung by Dee Dee Warwick in 1963, however the song was made more popular by Linda Ronstadt in 1974.

Ronstadt began performing "You're No Good' to close her live shows in early 1973, after her band member Kenny Edwards suggested it to her. She first included it in her setlist while opening for Neil Young. Ronstadt gave an early televised performance of 'You're No Good' on an episode of The Midnight Special, broadcast Dec 21, 1973.

When finally recorded, Ronstadt's version went to number 1 in the United States, number 7 in Canada, number 15 in Australia, number 17 in the Netherlands and number 24 in New Zealand.

6. AC/DC - Baby Please Don't Go

"Baby, Please Don't Go" is a traditional blues song that was popularized by Delta blues musician Big Joe Williams in 1935. Many cover versions followed, leading to its description as "one of the most played, arranged, and rearranged pieces in blues history". In my opinion, the best cover was done by the UK heavy rock band 'Budgie' in 1973, however AC/DC's version comes a close second.

In November 1974, Angus Young, Malcolm Young, and Bon Scott recorded it for their 1975 Australian debut album, High Voltage but Albert Productions decided
to issue it as a B-side single. However, the A-side "Love Song (Oh Jene)" was largely ignored and "Baby, Please Don't Go" began receiving airplay. The single entered the chart at the end of March 1975 and peaked at number 10 in April. AllMusic critic Eduardo Rivadavia called the song "positively explosive", while music writer Dave Rubin described it as "primal blues rock".

On March 23, 1975, one month after drummer Phil Rudd and bassist Mark Evans joined AC/DC, the group performed the song for the first time on the Australian music program Countdown (this performance would also be repeated on April 6 and 27, which is why there is often conflicting dates for this performance)  And to this day, this performance remains as one of the most epic and most watched Countdown clips.

7. Al Martino - To The Door Of The Sun

"To the Door of the Sun (Alle porte del sole)" is a 1975 hit single by Al Martino and the title track of his LP.

Al’s renditiuon was an English language treatment of the Italian song “Alle porte del sole,” recorded in 1973 by Gigliola Cinquetti.

In early 1975, "To the Door of the Sun" reached number 17 on the U.S. Billboard Hot 100. It spent four months on the chart, equaling the chart run length of Martino's greatest hit, "I Love You Because" (#3, 1963).

It was Al Martino's biggest Top 40 hit in Australia, peaking at #2 in mid-1975, and also became his biggest hit of the 1970s.

Interesting fact: Apart from singing, Martino was also an actor and played the role of Johnny Fontane in the 1972 film The Godfather, as well as singing the film's theme, "Speak Softly Love". Martino had been told about the character by a friend who had read the eponymous novel and felt Martino represented the character of Johnny Fontane. Martino contacted producer Albert S. Ruddy, who initially gave him the part. Martino was stripped of the part, however, after Francis Ford Coppola came on board as director and awarded the role to singer Vic Damone. Martino, in turn, went to Russell Bufalino, his godfather and a crime boss, who then orchestrated the publication of various news articles that claimed Coppola had been unaware of Ruddy having given Martino the part.

Damone eventually dropped the role because he did not want to provoke the Bufalino crime family. Ultimately, the part of Johnny Fontane was given back to Martino. He played the same role in The Godfather Part III and The Godfather Trilogy: 1901–1980 (the television miniseries that combines The Godfather and The Godfather Part II into one film).

8. Peppers - Pepper box

The Peppers was a French male instrumental group who had a hit single in 1975 with "Pepper Box". The song reached number 6 in the UK Singles Chart, was a minor hit on the US Soul and Hot 100 charts and hit #25 in the Australian Charts.

As with several other pop hits of the early 70's, notably instrumentals, this mega hit started life as a TV commercial soundtrack. The producer Roger Tokarz, however, recognized it's potential early on and instead of the recording being given to the client, held back the tune for a commercial release. Taking inspiration from another 70's instrumental hit called "Popcorn", Tokarz recruited noted musicians Pierre Alain Dahan and Matt Camison (also to be found on Trunk Records recently released production library anthology) to expand on his theme at the Bagatelle Studios (home of the publishers of Serge Gainsbourg). Pepper Box went on to sell over 3.5 million units world wide! Not bad for a commercial jingle.

9. Pilot - January

"January" was sung by Scottish rock band Pilot. Written by the band's guitarist and singer David Paton and produced by Alan Parsons, it was released by EMI Records in January 1975 as the follow-up to the band's breakthrough single, "Magic". "January" gave Pilot their only number-one single in the UK, Ireland and Australia.

In 1973, Paton (singer and bass player), formed Pilot with a former Bay City Rollers member, keyboard player Billy Lyall and soon recruited drummer Stuart Tosh and, a few months later, guitarist Ian Bairnson. Their band name is derived from P(aton), I(an), L(yall) and T(osh) and added an O in for good measure and came up with Pilot.

"January" was actually released in the second week of January 1975, and two weeks later it was number one, had it been released a week earlier, it might have made number 1 whilst still in January, but, no, it peaked in the first week of February. It probably didn’t bother them at the time because it song wasn’t actually about a month.

“My wife was reading a book and the main character was called January, ” Paton explained. “She said, ‘January is a nice name for a girl don’t you think?’ and it just stayed in my head and I wrote the chorus with that in mind. The verse and the chorus are totally unrelated; the verse is about how I felt at the time with the success of our first single "Magic". I didn’t actually write the song in January, it was in October, just after the release of Magic. It was quickly recorded as the next single. We were recording the album, 'Second Flight', in Air Studios in London when January got to number one. I didn’t know the song was number one until I arrived at the studio where I was greeted with handshakes and congratulations.”

10. Ross Ryan - Blue Chevrolet Ballerina

Australian singer / songwriter (moved here from US as a young boy) grew up on a farm in Western Australia. He started writing songs at 14 eventually landing a record deal in 1970. His 1st major success was "I Am Pegasus" which made No. 2 in 1973. One of the most original singles of 1975, "Blue Chevrolet Ballerina" was released in March that year receiving widespread airplay but only charting at No. 38. The song appeared on Ryan's 'After The Applause' LP.

'Blue Chevrolet Ballerina' brings together the banjo feel of Neil Young's 'For The Turnstiles' (from 'On The Beach') and Jeanie C. O' Reilly's 60's hit, 'Ode To Billy Joe'.

I personally think that this is one of Ryan's best songs, and should have received the same success as his first hit "I Am Pegasus".

11. Guys and Dolls - There's A Whole Lot Of Loving

"There's a Whole Lot of Loving" is a song written by Christian Arnold with lyrics by David Martin and Geoff Morrow, released under the name of Guys 'n' Dolls. The song was a number-two hit in both the United Kingdom and Ireland and became the biggest hit for the group. The song also reached number 15 on the US Billboard Easy Listening chart and number 17 on Canada's RPM Pop Music Playlist. Elsewhere, the song reached the top 20 in Belgium, the Netherlands, and South Africa.

The song was originally recorded in 1974 by a group of session singers (including Tony Burrows and Clare Torry) for a TV advertisement for McVitie's biscuits. Guys 'n' Dolls were formed to cash in upon the popularity of the jingle and to present it as a single. However, the group was not ready in time to record an entirely new version for the single's hasty release, so the voices of the session singers remained on the single.

12. Steve Harley & Cockney Rebel - Make Me Smile (Come Up And See Me)

"Make Me Smile (Come Up and See Me)" is a song by British rock band Steve Harley & Cockney Rebel, released as the lead single from the band's 1975 album The Best Years of Our Lives. It was written by Harley, and produced by Harley and Alan Parsons. In February 1975, the song reached the number-one spot on the UK chart and received a UK Silver certification. It spent nine weeks in the Top 50. The track marked Harley’s first Number 1 hit single, entered the Top 10 in 15 countries and has sold around 1.5 million copies to date.

“People keep asking me, did I know at the time how successful Make Me Smile would become?,” Harley told Official Charts.com. “I was 23 years old and wouldn't have been considering the long-term future.

“But we all knew, in number two studio at Abbey Road, after we'd re-mixed it, that something special might just be in the air.”

“Alan Parsons, my co-producer and engineer, did a fantastic job,” he continued. “Which is why the record sounds so fresh and bright on the radio to this day, a full 40 years on!"

13. Ralph McTell - The Streets Of London

"Streets of London," was the third song that Ralph McTell ever wrote yet he deliberately left it off his debut album as he didn't think it was anything special. However, at his producer's insistence, he included it on his second album for Transatlantic, 'Spiral Staircase'. After the song was re-recorded in 1974 as a single for Reprise/Warner Bros it became a huge world-wide hit. The song reached number two on the British charts, and in Germany, there were four different versions of the song on the charts at one point, three by McTell and one by a German singer.

Produced by Gus Dudgeon and first released in the UK in 1969, "Streets of London" has become McTell's signature tune. I personally heard this track for the first time, having purchased 'Explosive Hits '75 when the single was re-released by EMI records (which earned him an Ivor Novello Award), and it has been my favourite Folk Song ever since.

14. Sherbet - Summer Of Love

Released in March, 1975, this was another pop classic by Sherbet and their first single to be released in England. It reached the National top five in Australia and became their first number-one hit on the Australian Kent Music Report Singles Chart.

Interestingly, it was their only release on EMI. Sherbet had signed a one-off deal for "Summer Love" with EMI – rival to their regular label Festival Records. This was a ploy to gain leverage when negotiating a more favourable contract. After "Summer Love" peaked at No. 1, Sherbet re-signed with Festival which issued their subsequent material on the group's own Razzle and Sherbet labels.

The song was promoted on the newly aired ABC TV pop series, Countdown, which gave it wide exposure. From early 1975, the group made more appearances on the show than any other band in the programme's history. Through late April and most of May of 1975, Sherbet’s Summer Love spent four weeks at the coveted No.1 spot, which meant that four consecutive Countdown episodes ended with the velvet tones of Gavin Wood declaring that our boys were the biggest and best in the land. For one whole month we had statistical proof that our love for Sherbet was like no other love.

In October, at the King of Pop Awards, "Summer Love" won the Most Popular Australian Single, the band won Most Popular Australian Group and their lead singer, Daryl Braithwaite, won the King of Pop award.

15. Franki Valli - My Eyes Adored You

"My Eyes Adored You" is a 1974 song written by Bob Crewe and Kenny Nolan. It was originally recorded by The Four Seasons in early 1974. After the Motown label balked at the idea of releasing it, the recording was sold to lead singer Frankie Valli for $4000. After rejections by Capitol and Atlantic Records, Valli succeeded in getting the recording released on Private Stock Records, but the owner /  founder of the label, Larry Uttal, wanted only Valli's name on the label. It is from the album Closeup. The single was released in the US in November 1974 and topped the Billboard Hot 100 in March 1975. "My Eyes Adored You" also went to number 2 on the Easy Listening chart. Billboard ranked it as the No. 5 song for 1975.

The single was Valli's first number 1 hit as a solo artist on the Billboard Hot 100, but only remained there for one week. Ironically, the success of "My Eyes Adored You" triggered a revival of interest in recordings by The Four Seasons. he band was subsequently signed to Warner Bros. Records as Valli's follow-up single "Swearin' to God" was climbing to number 6 on the Hot 100.

16. Gilbert Bécaud – A Little Love And Understanding

The closing track on this 1975 compilation, this cute little recording by French legend Gilbert Becaud actually starts to grow on you (His cute little 'he he' & 'ha ha's are what give this record its quaint charm). 'A little love and understanding' came half way through Gilbert's 50 year career, and provided his only British chart hit, and a number one selling single in Sydney; while strangely making only #19 nationally. Evidently Gilbert did not receive much airplay elsewhere Down Under!

1975 was a turning point in pop culture, as some of the balladeers and superstars of the era were about to be flung aside as disco and novelty pop records became the mainstay of the upper echelons of the hit parade. Around this time, hits by crooners like Joe Dolan, Al Martino, Telly Savalas and Gilbert Becaud were still hitting the charts, but not for long (thankfully).

This post consists of FLACs ripped from my Vinyl (I actually have 2 copies - this one's near mint condition) and includes full album artwork along with label scans.  This compilation is a must for your collection.

Track Listing:

A1 John Young – Yesterday's Hero 3:41

A2 Bay City Rollers – Bye Bye Baby 2:37

A3 Peter Shelley – Gee Baby 2:50

A4 The Glitter Band – Goodbye My Love 3:44

A5 Linda Ronstadt – You're No Good 3:25

A6 AC/DC – Baby Please Don't Go 4:50

A7 Al Martino – To The Door Of The Sun 3:18

A8 The Peppers – Pepper Box 2:18

B1 Pilot – January 3:28

B2 Ross Ryan – Blue Chevrolet Ballerina 3:56

B3 Guys & Dolls – There's A Whole Lot Of Loving 3:13

B4 Steve Harley & Cockney Rebel – Make Me Smile (Come Up And See Me) 3:30

B5 Ralph McTell – Streets Of London 4:20

B6 Sherbet – Summer Love 3:30

B7 Frankie Valli – My Eyes Adored You 3:09

B8 Gilbert Bécaud – A Little Love And Understanding 3:23

Explosive Hits 75' Link (368Mb)

Ross Ryan - I Thought This Might Happen (1973-1977)

(Australian 1968-Present)

American-born Ross Ryan (1950) emigrated with his family from Kansas (USA) to Western Australia in 1959, and took up residence on a 3,000-acre sheep property at Manypeaks near Albany in the south-west corner of the state. Ross gigged locally with several bands including The Sett and Saffron, and in 1969 he relocated to Perth and performed at Gramps Wine Bar, pubs and on university campuses, where he was compared to Cat Stevens, even though his inspirations were more closely aligned with Bob Dylan, Jackson Browne, and Joni Mitchell.

After completing an electronics course, he took a job as an audio operator at TVW 9, and in 1972 got his big break when he picked up the support act gig on Roy Orbison’s 1972 tour of Aust. At the end of that tour he relocated to Sydney and secured a recording contract with EMI via Peter Dawkins (above centre), who would produce his future records. He would emerge in the 1970’s as one of Australia’s foremost singer/songwriters along with such contemporaries as Kevin Johnson, Mike McClellan, Richard Clapton and Glenn Cardier.

Ryan’s debut album 'Homemovies' (1972) was recorded independently at Channel Nine’s studios in Perth, for a total cost of only $500 (Ross worked as a sound engineer for STW-9 so he had the contacts).

Ross distributed copies among his friends, and the LP finally came to the attention of Perth radio station 6PM, and manager Al Maricic.

In 1973, he released his second album 'A Poem You Can Keep' which charted well at #22, and went on to record his signature hits later in the same year. The haunting and poetic "I Am Pegasus" was the product of Ryan merging two previously separate compositions, one about a messy love affair with a female flight attendant, and another about the fact that he discovered his name Ross, is a German/Hebrew metonymic name for a horse breeder/ keeper, literally a horse.

The single was released in November, 1973 and went on to be his biggest hit. In 1974, Ross was presented with a gold record for Pegasus by then-Prime Minister, Gough Whitlam.

In November ’73, he also had success with the albums 'My Name Means Horse' (#3 in ’74) and 'After the Applause' (#35 in ‘75) and he continued to assemble a credible body of work over the next 20 years but never really rose to these heights again.


Album Tracks (as described by Ryan)

Track 1:  I Am Pegasus
From the album 'My Name Means Horse' 1974

As anyone who has heard me discuss this song will know, I have always had mixed feelings about the old 'Pegasus'. It would of course be churlish for me to slag off my (as I like to refer to it) 'albatross-foot-in-the-door-song' and I must admit that with the passage of time I've become rather fond of it.

My call is that "I Am Pegasus" was and still is a great record - and in this regard, the credit for its success should rightly go to producer Peter Dawkins (who alone picked it as a potential hit) and arranger Peter Martin. They took a quirky, almost comedic song that I'd written in my lounge room and turned it into an anthem. How cool is that?

I guess the turning point for me was about 20 years ago when I heard a muzak version of 'Pegasus' as I sat on a plane at Kununurra airport in northern WA. I realised then that the song didn't really belong to me any more. It had a life of its own. I was thrilled!

As a song, I've written better. But for a piece of music that was exactly in the right place at the right time; that was one of those songs that became part of the soundtrack to the lives of many folks I'll never know - I am truly grateful. The track features the legendary Eniruobmat (aka Tambourine)

Produced by Peter Dawkins
Arranged by Peter Martin
Engineered by Martin Benge
Additional Engineering: Richard Lush & Ernie Rose

Drums: Doug Gallacher
Bass: George Bruno
Keyboards: Tony Esterman
Acoustic Guitars: Peter Martin & RR
Domora: Keith Harris
Eniruobmat: Peter Dawkins

Track 2:  Empire lady
From the album 'A Poem You Can Keep' 1973

"Empire Lady" is a very '70s kind of track. Close your eyes and you'll see visions of flared jeans, cheesecloth shirts, unkempt beards and black and white TV. Sort of charming and scary all at the same time.

An early criticism of my recordings was that they were somewhat over-arranged. Maybe so, but I tend to think that arranger Peter Martin's orchestral approach worked well on this track. I hope you agree.

Produced by Peter Dawkins
Arranged by Peter Martin
Engineered by Martin Benge

Drums: Doug Gallacher
Bass: Dave Ellis
Piano: Tony Esterman
Acoustic Guitars: Peter Martin & RR
Tambourine: John Sangster
Backing Vocals: Terry Walker, Mike Leyton, Betty Lys & Bobbi Marchini

Track 3:  Blood On The Microphone
From the album 'My Name Means Horse' 1974

Shortly after the success of the Roy Orbison tour, I got to see the other side of show business when I was booked to play at the just opened Wrestpoint Casino in Hobart, supporting Shari Lewis and her loveable puppets - Hush Puppy, Charlie Horse and Lamb Chop (see above). 

Needless to say, it wasn't a great mix and I just died! Talk about seeing the other side of show business! And so it was an unsettling week-long experience immortalised by the song 'Blood On The Microphone'

Produced by Peter Dawkins
Arranged by Peter Martin
Engineered by Martin Benge
Additional Engineering: Richard Lush & Ernie Rose

Drums: Doug Gallacher
Bass: George Bruno
Keyboards: Tony Esterman
Acoustic Guitars: Peter Martin & RR
Domora: Keith Harris
Eniruobmat: Peter Dawkins

Track 4:  Orchestra Ladies
From the album 'My Name Means Horse' 1974

This song was an early attempt at writing a song sympathetic to the feminist cause. Unfortunately, due to a misguided attempt at humour, it totally missed its mark. So, to all the Australian university campuses that blacklisted me in the 70's because of this song, let me set the record straight. 'Orchestra Ladies' is satire. Not a putdown and certainly not autobiographical.

Putting all that aside; why is it that there are so many derogatory terms for women (and only for women I might add) who are attracted to musicians? Being a muso and having known quite a few, I agree there may be a case for saying these women are nuts - but not per se, sleazy or 'fallen'! Hell, I'm sure there are people with a penchant for plumbers or accountants or whatever - but no one slanders them!

I won't deny that being an entertainer is a great icebreaker and there are many (Bob Geldoff springs to mind) who openly admit they formed a band to get laid. Because it's not uncommon, after a gig, for a total stranger to come up and to start talking to you like they know you - and in a sense, they do. And if that person happens to be a member of the opposite sex and the chemistry and timing is right ... well it sure beats the pants off speed dating! Title courtesy of Maria Van Vljman.

Produced by Peter Dawkins
Arranged by Peter Martin
Engineered by Martin Benge

Drums: Doug Gallacher
Bass: Valda Hammick
Keyboards: Tony Esterman
Acoustic Guitars: Peter Martin & RR
Mandolins: Keith Harris
Accordion: Enzo Toppano

Track 5:  I Don't Want To Know About It

From the album 'A Poem You Can Keep' 1973

This was the opening track on the 'Poem' album and my first single. At the time I recall folks raving about the opening drum fill. I'm still not quite sure what to make of that.

The song was an exercise in writing for a band, any band - rather than something I'd play. However producer Peter Dawkins felt it was somewhat more commercial than most of the material I had at the time and would help balance the album.

As a single it charted in Queensland and in my home state of Western Australia - entering the Go-Set National Top 40 charts (attributed to Ross Egan) at number 38 before vanishing the following week. But hey - I'd made the top 40!

Interesting Note: The single was also released in the U.S Unfortunately, a St Louis radio station - the only station in America with the song on its playlist - was struck by lightning and burnt to the ground.

Produced by Peter Dawkins
Arranged by Peter Martin
Engineered by Martin Benge

Drums: Doug Gallacher
Bass: Dave Ellis
Keyboards: Tony Esterman
Acoustic Guitars: Peter Martin & RR
E. Guitar: Peter Martin
Backing Vocals: Terry Walker, Mike Leyton, Betty Lys & Bobbi Marchini

Track 6:  Goodbye Mitchie (Mitchy)

From the album 'Smiling For The Camera' 1977

Written (somewhat fatalistically and definitely prophetically) for my then girlfriend Jan Miller (now Henderson), 'Mitchy' materialised as a whole song whilst I was driving from Subiaco to my house in West Perth - a 10 minute journey. Ah - those were the days! Maybe it's my farm-boy background, but for some reason - with such lines as "you ain't gone yet" and "I done my best" - it sounds like it was composed by a toothless, Alabama sharecropper. Well, I was driving a Ford Ute at the time.

Sadly, I lost touch with Mitchy after she moved back to New Zealand. If there's anyone out there who knows her whereabouts, please ask her to give me an ahoy!

'Goodbye Mitchy' is not a track I would have necessarily chosen for a 'best of', because it features the worst rhyme of my writing career - "lady" with (ahem ..) "afraid-ee".

Note: 'Mitchy' has also been spelt 'Mitchie' on some pressings - including the cover of this album.

Produced by Peter Dawkins
Arranged by Peter Martin
Engineered by Martin Benge

Drums: Doug Gallacher
Bass: Dave Ellis
Piano: Tony Esterman
Acoustic Guitars: Peter Martin & RR
Handclaps: Peter Martin, Peter Dawkins & RR
Tambourine: Peter Dawkins
Backing Vocals: Terry Walker, Mike Leyton, Betty Lys & Bobbi Marchini

Track 7:  Blue Chevrolet Ballerina
From the album 'After The Applause' 1975

"Blue Chevrolet Ballerina" brings together the banjo feel of Neil Young's 'For The Turnstiles' (from 'On The Beach') and Jeanie C. O' Reilly's 60's hit, 'Ode To Billy Joe'. In fact I've just realised how similar these two songs are.
Another influence was Jackson Browne's 'The Late Show' from the album 'Late For The Sky'', a peerless piece of work that I highly recommend to anyone. From that song (and the album's cover) I grabbed 'Chevrolet'. I have little interest in cars but I loved the sound and romance of the word and somehow, and from somewhere, 'ballerina' seemed to fit too. All I had to do then was work out the car's colour!

From 'Billy Joe' came the idea of writing a mysterious, clue-laden short story song. A puzzle, that if you were inclined, you could look closely at and solve. For lots of reasons, I really enjoyed writing 'Blue Chev' and have never tired of performing it.

Produced by Peter Dawkins
Arranged by William Motzing
Engineered by Martin Benge

Drums: Will Dower
Bass: John Young
Guitars: Jimmy Kelly & RR
Piano: Ian Mawson

Fiddle: Paul Trenwith

Backing Vocals: Alison MacCallum, Ian Stewart, Sonny Egan

  

Track 8: Sedel (Never Smiled At Me)
From the album 'After The Applause' 1975

One night, at an after work staff party, some friends were teasing me about an attractive croupier who was sitting alone; encouraging me to go and talk to her. The notion quickly became academic as moments later her boyfriend arrived and whisked her away. This then became the running joke of the evening, creating enough source material for this song. And because I didn't even know the girl's name, I simply made one up. Sedel. I don't know .. it sounded French or something.

The punch line to all this is that over the years I've been contacted by a number of couples who actually named their daughters Sedel. One of these girls even wrote enquiring as to the name's origin. I can only imagine her horror when I told her the story!

Produced by Peter Dawkins
Arranged by William Motzing
Engineered by Martin Benge

Drums: Will Dower
Bass: John Bartlett
Guitars: Jimmy Kelly & RR
Synthesizer: Mike Carlos

Track 10:  Postcard From Berlin
From the album 'After The Applause' 1975

Boy meets girl. Girl already with another boy. Boy in first instance typically becomes depressive. For effect, writes love song set in Nazi Germany. Uses open G tuning - capo second fret.

"Postcard From Berlin" was written late one night in Melbourne after the final mixing session for "I Am Pegasus".

At the time I was 'seeing' (or to be more precise, I was trying to 'see') an air hostess named Kathy who was a major inspiration for the 'horse' song. For reasons that to this day escape me; and completely forgetting her involvement - I stupidly (not to mention tactlessly) invited her to the session at Armstrong Studios. Cue lead balloon metaphors.

My muse was unamused !

Unsurprisingly, I ended up alone in my hotel room. There, under the influence of Leonard Cohen and several bottles of red wine, I took the events of the day, superimposed them over a Nazi Germany scenario and somehow, blind drunk, managed to write 'Berlin'. Sometimes that's what it takes.

Produced by Peter Dawkins
Arranged by William Motzing
Engineered by Martin Benge

Drums: Russell Dunlop
Bass: Tim Partridge
Guitar: RR
Backing Vocals: Catherine Hastings, Lorraine Dalton & Bronwyn Macintosh

Track 9:  Dancing
The third single taken from the album 'Smile For The Camera'.

Track 11:  Who Am I?
This was the first single taken from the album 'Smile For The Camera'.

Track 12. Anthem
The B-Side to Dancing and also taken from the album 'Smiling For The Camera' 1977.

"Anthem" was an attempt at writing the 4 minute Great Australian Novel. Having immigrated to Australian from America back in the 50's as a young child, I ceased to be an American, which at such a young age didn't mean anything anyway - but at the same time I can't say I grew to feel Australian. To paraphrase this song, I've never really known what that meant; and in 1976 when I wrote 'Anthem', it seemed to me that a lot of Australians, in a sense, felt the same way.

Today Oz is a more confident nation; globalisation, the affordability of travel and the communication revolution having helped level the playing field. The cultural cringe hasn't entirely disappeared, but at the same time, despite the certainly cringe-worthy "Aussie, Aussie, Aussie" mentality of the sunburn set and the occasional 'Jumbuck Fascist', Australians have little regard for the kind of dangerously moronic patriotism often associated with the land of my birth.

Good on ya! This song was dedicated to Gough and Gunston.

Unfortunately, neither the album nor these singles charted, and the changing trends in music with the emergence of punk and New Wave saw the singer-songwriter 'genre' being perceived as "old hat" by record companies and radio programmers.

Produced & Arranged by Rick Formosa
Engineered by Michael Vidale

Drums: Jim Duke-Yonge
Bass: Les Young
Piano: Roger Frampton
E. Guitar: Rick Formosa
French Horn: Boof Thomsen
Tenor Sax: Tony Buchanan
Vocal Assistance: Mark Holden
Strings: Conducted by Riccardo Formosa, Section Leader: John Lyle
[Extracts from Ross Ryan's Website with thanks]

Ross Ryan Pinboard Collage

Ross's EMI contract came to an end after the release of 'Smiling for the Camera', and he consequently split with his manager 'Doug Henderson'.

Following his departure from the label, EMI released this compilation of Ross’ best tracks entitled 'I Thought This Might Happen 1973-77'. During 1977, Ryan supported U.S visitors Roberta Flack and   Dr Hook on their respective Australian tours. He then set off on an overseas holiday with his girlfriend (now wife) Helen covering Europe, England and the USA.

Ryan returned invigorated and would embark on a rich and varied second stage of his career that would see a greater emphasis on his comedic leanings, including the cult ABC-TV comedy series 'Give 'Em Heaps', two one-man audio visual shows 'Sing The One About The Horse' (1984-1985) and 'You Can Trust me, I'm A Musician' (1988). Two further singles "Chaplin & Harlow" / "Postmark Paradise" (Polygram) and "Hello Stranger" / "Ballad Of The Double Bay Batman" (Powderworks) failed to chart and apart from another EMI compilation (on CD) entitled 'The Greats Of Ross 1973-1990' (AXIS) all subsequent releases were self-released on his 'Coathanger' label.

Ross' landmark 1974 LP My Name Means Horse has been reissued on CD by Gil Matthews and Ted Lethborg's Aztec Music label. The CD includes two bonus tracks, "Blood On The Microphone" (1984 re-recording) and a live acoustic version of "I Am Pegasus" from GTK in 1973. (see AZTEC RECORDS)

This post consists of FLACs ripped from my vinyl (purchased from Brash Suttons in Geelong back in the late 70's) and includes full vinyl artwork and label scans. As far as I can tell, this compilation has never been released on CD.  Although there have been other 'best of' releases since, I think this one is the BEST !   I think I saw Ross play at La Trobe University in 1977 (but am only 50/50 on this as much of my first year at Uni was a blur  LOL )

Track Listing

01 I Am Pegasus  3:40

02 Empire Lady  4:45

03 Blood On The Microphone 4:10

04 Orchestra Ladies  2:50

05 I Don't Want To Know  3:10

06 Goodbye Mitchie 3:05

07 Blue Chevrolet Ballerina  4:00

08 Sedel (Never Smiled At Me)  4:15

09 Dancing 4:35

10 Postcard From Berlin  4:40

11 Who Am I?  3:00

12 Anthem 4:45

Ross Ryan Link (233Mb)