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 Aussie Artists - 12 x 12 (1972)

(Australian 1972)

Another interesting Infinity records compilation, mainly famous for featuring some great singles that were never on an album at the time. It is still the only LP where you can find Blackfeather's delicate, acoustic "Find Somebody To Love", or the marvelous "Song For A Blindman" by cult Sydney outfit 'Stafford Bridge'.

The Glyn Mason (ex-Chain) led version of 'Copperwine' is also here. Other tracks are duplicates of "The Stars Of Sunbury" LP (eg Warren Morgan, Country Radio, Billy Thorpe), but this is still a fine colection of rare/rare-ish classy Oz artists of the early 1970's. It retailed for $3.99 back in 1972.

It's a pity about the cheap, slapdash generic cover which has no relevance to the music whatsoever. But, as the saying goes: 'Never judge a book by its cover'.  This is a great compilation of early 1970's Aussie Rock, I hope you enjoy it.

Blackfeather

Blackfeather were an Australian rock group which formed in April 1970. The band has had numerous line-ups, mostly fronted by founding lead singer, Neale Johns. An early heavy rock version recorded their debut album, At the Mountains of Madness (April 1971), which peaked at number seven on the Go-Set Top 20 Albums chart. It provided the single, "Seasons of Change" (May 1971), which was co-written by Johns with lead guitarist, John Robinson. In July 1972 a piano-based line-up led by Johns issued an Australian number-one single, "Boppin' the Blues"/"Find Somebody To Love", which is a cover version of the Carl Perkins' 1956 single.

Blackfeather formed in April 1970 in Sydney by Leith Corbett on bass guitar, Mike McCormack on drums, and John Robinson on lead guitar (all from the Dave Miller Set), plus lead vocalist, Neale Johns. Robinson recalled meeting Johns, "a small guy with a huge voice, Neale was very taciturn. He was into the blues and had excellent range." Their name was derived from two found suggested in a book, "Whitefeather" and "Heavyfeather". Corbett and McCormack left soon after, replaced by Robert Fortesque on bass guitar and Alexander Kash on drums. Corbett subsequently reunited with singer Dave Miller to record a duo album, Reflections of a Pioneer. Johns and Robinson wrote or co-wrote the band's original material.

Glyn Mason

Copperwine

Following the departures of first Wendy Saddington, then Jeff St John, the remaining members of Copperwine recruited former Chain/Rebels singer/guitarist Glyn Mason to join as new front man All seemed to be business as usual when the band issued this fine debut single in 1972, a pioneering effort in the then emerging country rock field. Glyn did have mighty big shoes to fill & judged on talent alone, he certainly had the song writing ability & the voice but sales were not as might have been expected so the band disbanded soon after. 

Glyn went onto become one of our most respected journeyman musos, returning to Chain briefly for a 2nd live album before forming his own band Home who issued to fine country/blues LPs.

From there he joined Mike Rudd in Ariel, the combination of their songs working a treat, with Glyn writing one of their most popular songs "It's Only Love". Later on Glyn lent his name to the popular Stockley See Mason Band alongside two other great Aussie journeymen Sam See & Chris Stockley, and to this day Glyn can still be seen around Melbourne with Sam, now calling themselves The Pardners.

Meantime bassist Harry Brus, has gone on to forge a sterling career of his own, being the bassist of choice for both Kevin Borich & Renee Geyer, both of whom he has worked with for many years, as well as a who's who of Australian music.

Phil Manning (Pilgrimage)

Philip John "Phil" Manning (born 1948) is an Australian blues singer-songwriter and guitarist. Manning has been a member of various groups including Chain and has had a solo career. As a member of Chain, Manning co-wrote their January 1971 single "Black and Blue" which became number one on the Melbourne charts and also Judgement, which reached number two in Sydney. The related album, Toward the Blues followed in September and peaked in the top 10 albums chart.

Manning left Chain in July 1971 to work with Warren Morgan (ex-Chain, Billy Thorpe & the Aztecs) on keyboards in a band called 'Pilgrimage'. They issued a single, "Just For You / Walk In The Light" in November 1971 and supported United Kingdom progressive rock group, Pink Floyd, in September and pop artist, Elton John, in October. The B-Side "Walk In The Light" was written by Manning and you can see him performing it below.

Sherbet

Sherbet were Australia's most popular pop group of the 70s with 20 consecutive hit records and 17 album, accounting for 10 platinum and 14 gold disc awards. In 1969 the Sydney entertainment scene was almost totally geared towards satisfying the money-rich comfort-starved American Vietnam troops who came for official Rest And Recreation.

Sydney's nightclubs gave them what they wanted - R&B, soul, funk, good-time rock - and these influences spilled over into the pop group Sherbet, formed without singer Daryl Braithwaite, but completed by his falsetto-capable vocals.

In January 1972, Sherbet's 'classic line-up' was in place when Tony Mitchell replaced Worrall on bass guitar: the band now consisted of lead vocalist Braithwaite, keyboardist Porter, drummer Sandow, bassist Mitchell and guitarist Shakespeare.

They were the archetypical 70's girl fodder pop band - groomed hair, colourful satin stage outfits. "You're All Woman" b/w "Back Home" charting at #13 was a single taken from their debut 1972 album 'Time Change... A Natural Progression' which also charted reaching #66 on the Kent Music Report.

Also that year the band were voted 'Most Popular Australian Group' by readers of Go-Set in their annual pop poll and were also the winners of The Battle Of The Sounds.

Billy Thorpe and the Aztecs

Billy Thorpe and the Aztecs were an Australian pop and rock group dating from the mid-1960s. The group enjoyed success in the mid-1960s, but split in 1967. They re-emerged in the early 1970s to become one of the most popular Australian hard-rock bands of the period.

Billy Thorpe openly acknowledged that his new 1970's 'heavy' version of the Aztecs owed much to 'guitar hero' Lobby Lloyde. Lloyde had a cult following due to his stints in two of the most original Australian bands of the Sixties, The Purple Hearts and Wild Cherries. This track "Good Morning Little School Girl" is from 1970 and certainly features the beginnings of that heavier sound that was to 'boom' throughout the 70's.

It's a blues-rock interpretation of the classic blues standard originally written by John Lee "Sonny Boy" Williamson in 1937.

The song features a bluesy harmonica, resonant bass lines, and a hard rock edge, drawing inspiration from other interpretations by artists like Ten Years After and the Yardbirds.

These changes also extended into Thorpe’s physical appearance as he grew his hair that was sported into a braided tail. He also fashioned a more casual wardrobe than what he used to wear previously.

Stafford Bridge

"Song For A Blind Man" was an obscure Australian progressive rock/pop from 1972 by Stafford Bridge. The band's only released material were two singles on the infinity label. A Sydney band Stafford Bridge made the grand-finals representing NSW Country in Hoadley's National Battle Of The Sounds.

Band members were Peter Gordon - Sax and Flute, David Kay - Guitar and Flute, Gary Riley - Drums, Terry Riley - Organ, Guitar, Ross Sanders - bass and Jim Willebrandt - Vocals. Jim Willebrandt fronted a number of bands including Daisy Roots, Clapham Juntion, Toby Jug and Hot Cottage.

The only footage of Stafford Bridge that I know of can be seen HERE. (Right at the end of this clip - last 20secs ! )

Stafford Bridge

Country Radio

Greg Quill formed the original line-up of Country Radio (also seen as Greg Quill's Country Radio or Greg Quill and Country Radio) in June 1970. Other members were Agostino, Blanchflower, Walsh and Dave Hannagan on percussion and backing vocals. The group started as an acoustic act but from 1970 to 1971 its musical style evolved into electric country rock, a style then gaining popularity through the influence of albums like The Band's Music from Big Pink (1968), The Byrds' Sweetheart of the Rodeo (1968), and Bob Dylan's Nashville Skyline (1969). 1971 saw the release of "Listen to the Children" b/w "Last Time Around" on Infinity .

With the "classic" line-up of Quill, Tolhurst, Bird, Bois, Bolton and Blanchflower, Country Radio recorded their second and most successful single, "Gyspy Queen", with producer John French, in Melbourne in April 1972. It was co-written by Quill and Tolhurst, and featured a string arrangement by session musician, Peter Jones (who later worked on Quill's solo album, The Outlaw's Reply). Released in August, the single spent 13 weeks in the Go-Set National Top 40 and peaked at No. 12.

Greg Quill & Country Radio

Warren Morgan (Pilgrimage)

Warren Morgan was a bit of a journeyman spending a lot of his early years moving between 2 bands Chain and the Aztecs he started out in his first band the Beat 'n' Tracks along with future Chain member Phil Manning. Beat 'n' Tracks eventually morphed into Chain who recorded "Chain Live"(1970) from there Warren would be asked by Billy Thorpe to join the Aztecs he wold feature on the ground breaking "The Hoax Is Over" (1970) album.

After a falling out with Billy, Warren moved on to form Pilgrimage which he formed with Phil Manning and they released "Just For You / Walk In The Light" in Nov, 1971. After not making much money, they decided to split Phil going on to Band of Talabene and Warren reforming Chain and recording "Chain Live Again" (1971). The A-Side "Just For You" was written by Morgan.

After the Aztecs played Sunbury, Warren was again asked to join them and accepted. In 1973 he and Billy would record "Thump'n Pig and Puff'n Billy" a guest on the album would be Chain alumnus Phil Manning. He would later go on to be a member of Gerry and The Joy Band and also a member of the All Stars who backed Stevie Wright and then later John Paul Young.

Jeff St John & Copperwine

Jeff St John unveiled his new band, Copperwine (aka Jeff St John's Copperwine), in early 1969 with low-key dates in Perth, before returning to Sydney. Copperwine soon commanded a rabid following in that city's fast-developing 'head' scene.

Around the time of the new band's formation, guitarist Ross East was also invited to join the revised Masters Apprentices line-up by Jim Keays, but he turned it down, opting to stay with Jeff. Aided by East and Peter Figures, plus Alan Ingram on bass and keyboardist Barry Kelly (from Marty Rhone's Soul Agents), St John wowed punters at the Ourimbah "Pilgrimage For Pop", Australia's first major outdoor rock festival, hedl at Ourimbah, NSW at the end of January 1970.

The band's dynamic repertoire mixed quality prog-flavoured group originals with powerful renditions of Sly & the Family Stone's funk classic "Sing A Simple Song" (a stage fave for many Australian acts of the time including Southern Comfort and The Affair), a storming version of The Temptations' psych-soul masterpiece "Cloud Nine" and Blind Faith's "Can't Find My Way Home."

Another single, issued on Spin in November 1970, fared extremely well. The smoothly confident, organ-led cover of Rotary Connection's "Teach Me How To Fly" (featuring a berserk guitar solo from East, and some very tasty bass-drums interplay) propelled the band to #12 in Melbourne and a very encouraging #3 Sydney chart placement. St John's dazzling vocal performance on this record is probably the main reason why. The band toured relentlessly during 1971 and appeared with the Melbourne Symphony Orchestra plus they supported The Hollies on their Australian tour in 1971. 

They also released another single, the delicate "Hummingbird"/"Keep On Growing". By late 1971 friction had emerged between Jeff St. John and Copperwine. He left them early in 1972 to form his own band and pursue a solo career.

Glenn Cardier

Sydney singer/songwriter Glenn Cardier was a popular solo performer on the early 1970s scene. In much the same vein as James Taylor, Doug Ashdown and Ross Ryan, Cardier played a brand of gentle and reflective acoustic folk and soft rock that gained him a strong cult following.

Cardier actually started out playing lead guitar in Brisbane acid-rock band The Revolution before taking to the road as a folkie. He signed to Festival's progressive Infinity label, with which he issued two albums and four singles: `Every Wounded Bird'/`The Juggler' (July 1972), `Ulysses'/`Minstrel' (February 1973), `Oh Dear Saint Peter'/`I Am the Day' (July 1973) and `I See a Comedy'/`Lovers Alias Fools' (June 1974).

Never content to be seen as just a sensitive folkie, Cardier toured with rock bands like La De Das, Country Radio, Sherbet and Daddy Cool.

He also made an appearance at the 1972 Sunbury Festival, and supported overseas visitors Frank Zappa and Manfred Mann's Earth Band. In 1974, Cardier became one of the first musicians in Australia (along with Rob MacKenzie from MacKenzie Theory and Greg Quill from Country Radio) to receive a travel grant from the Australia Council for the Arts (under the auspices of Gough Whitlam's Labor government). He travelled to England where he toured for several years, recording the Glenn Cardier album and a single `Till the Fire Dies'/`Christopher Columbus' (June 1976) for Interfusion along the way.

On his return to Australia in late 1978, Cardier recorded `Establishment Blues' under the psuedonym of Sydney Hill. The song appeared as the B-side to the Mojo Singers' #1 hit `C'mon Aussie C'mon'. Cardier's 1979 band, the Bel-Aires, comprised Brad Alick (lead guitar), Eddie Parise (bass, who later joined Baby Animals) and Vince Crae (drums). Cardier issued the single `Expectations'/`I Saved Annette from Drowning' in February 1980. He has also recorded the Christmas track `Reindeers on the Rooftops' under the alias Riff Raff.

* It should be noted that the B-side "I Am The Day" included on this compilation was lifted from Glenn's first LP "Days Of Wilderness" which was released in 1972.

Wendy Saddington

Wendy Saddington was one of Australia's premier soul/blues singers of the late 1960s/early 1970s (in the Etta James/Aretha Franklin mould). Because she was under-recorded, however, Saddington can only claim one single and one album to her credit.

Saddington first came to prominence in soul/psychedelic bands like The Revolution and the James Taylor Move, and the original version of blues band Chain. In May 1969, she joined pop paper Go-Set as a staff writer and later joined Copperwine as co-vocalist with Jeff St John. Her stay of ten months (March 1970–February 1971) motivated many changes in Copperwine's musical direction, with much of the soul-copying being replaced by a more purist blues-oriented sound.

That change was heard on the album Wendy Saddington and the Copperwine Live which had been recorded at the Wallacia Festival during January 1971. Saddington scored her only hit single when the Warren Morgan-penned and Billy Thorpe/ Morgan-produced `Looking Through a Window'/ `We Need a Song' reached #22 in September 1971. In 1972, Festival reissued the live album, retitled it Looking Through a Window and simply added the track `Looking Through a Window'. The single was reissued in 1977 but was not successful.

In March 1973, Saddington appeared as the Nurse in the local stage production of The Who's rock opera Tommy. Other cast members included Billy Thorpe, Daryl Braithwaite, Colleen Hewett, Broderick Smith, Doug Parkinson, Jim Keays, Ross Wilson and Keith Moon. Saddington worked with a variety of bands during the mid-1970s, including Shango and Blues Assembly.

She worked with the Jeffrey Crozier Band in New York during the late 1970s. In 1983, she formed the Wendy Saddington Band which initially comprised jazz pianist Bobby Gebert, Harvey James (guitar; ex-Ariel, Sherbet, Swanee), Billy Rylands (bass) and Chris Sweeney (drums). The 1987 line-up comprised Rose Bygrave (keyboards; ex-Goanna), Mick Liber (guitar; ex-Python Lee Jackson), Angelica Booth (bass) and Des McKenna (drums).

Chain 1972

Chain

Chain recorded 'Toward The Blues' at Melbourne's TCS Studios with engineer/producer John Sayers. The album announced, upon its release in late '71, the matured essence of Chain in its acknowledged classic configuration of Phil, Matt and the two Goose-Barrys. The album made the number 6 position on the national album charts and remained a strong Top 40 seller for four months (it still sells in respectable quantities to this day!).

It was supported by significant and valuable airplay, mainly on "alternative" radio programs like future Double-J presenter Chris Winter's seminal national ABC radio show, Room To Move. It was the sort of record that seemed to already be on the turntable whenever you stepped into a Saturday night party in those days. In short, it was one of those albums, along with Spectrum's Milesago or Tamam Shud's first, or maybe Co. Caine's debut opus, that any self-respecting aficionado of quality Oz Rock would consider essential for a well-rounded record collection!

Led by the single "Judgement", an aggressive, multi-faceted bluesy showcase for each band member, and notable for Phil's singular wah-wah guitar filigrees, 'Towards The Blues' proved an early pinnacle that Chain struggled to surpass later in their career, if, indeed, they themselves ever wanted or needed to.

Chain's credo, like that of most of their contemporaries, generally eschewed such crass or quaint notions of career longevity or quick riches. Instead, Aussie punters were presented with one of the finest and most well-rounded LPs of the era. Other gems include an inspired version of Robert Johnson's "32/20", followed by the supreme swing and swagger of their version of Junior Wells' "Snatch It Back And Hold It", delightfully re-appropriated here in true Aussie ratbag fashion as "Grab A Snatch And Hold It!"

Many other highlights abound, such as "Albert Goose's Gonna Turn The Blues Looses", a vehicle for Harvey to unleash a fierce drum solo. Side Two ends with Taylor's wailing blues harmonica featuring on the signature tune, the full version of "Black & Blue", which became Chain's most iconic and requested song at live gigs.

* Note - the featured tack "32 / 20" was never released as a single, and was lifted off their 'Towards The Blues' LP.

This post consists of FLACS ripped from Vinyl (thanks to Sunshine) and includes full album artwork and label scans. Although a majority of the tracks present on this compilation were released as B-Side singles, they could just have easily been A-Sides. 

This is one of my favourite Go-To Aussie Compilation Albums and my copy has been played more times than I can remember.  

Track List:

1. Blackfeather - Find Somebody to Love

2. Copperwine - Golden Angels

3. Phil Manning - Walk In The Light

4. Sherbet - Back Home

5. Billy Thorpe - Good Mornin' Little School Girl

6. Stafford Bridge - Song For A Blind Man

7. Country Radio - Last Time Around

8. Warren Morgan - Just For You

9. Jeff St. John & Copperwine - Keep On Growing

10. Glenn Cardier - I Am The Day

11. Wendy Saddington & Copperwine - Backlash Blues (Live)

12. Chain - 32／20

12 x 12 Link (273Mb)

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)