W.O.C.K On Vinyl: Johnny Chester - My Ding-A-Ling (1974)

Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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I first heard this novelty single sung by Chuck Berry on his London Sessions album and always loved the humorous lyrics and innuendo's which it portrayed. I was also pleasantly surprised when I heard Johnny Chester's cover of this Berry classic and thought it was appropriate to share it with you for this month's WOCK on Vinyl post, being both Obscure and a just a little bit Korny.
Johnny Chester is an international entertainment phenomena and Australian artist. His highly successful careers embrace a wide range of activities in the entertainment industry. Johnny's careers include artistic performer, recording artist, songwriter, radio personality, television host, promoter and record producer.

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Throughout all of these highly diverse careers Johnny has achieved the highest professional and ethical standards. The respect audiences and industry peers have for him is unsurpassed..

Johnny Chester in the 80's

His outstanding achievements include:
- More than eighty releases on vinyl, cassette and compact disc in Australia and many other countries.
- Hosted national television series including Teen Time, Teen Scene and Country Road.
- toured extensively throughout Australia, performed in the United States of America and for the allied troops in Vietnam.
- achieved outstanding success on the radio at 3UZ, 6PM, 7EX, 7HT, 3GL, 3MP, 3DB and Radio Australia which broadcast his shows to every corner of the world.
- shared the stage with an almost endless list of acclaimed international artists including the Beatles, Roy Orbison, the Everly Brothers, Connie Francis, Kenny Rogers, Johnny Cash, Charley Pride, Roger Miller, Tammy Wynette and Freddy Fender.

Johnny Chester's highly polished entertainment skills have been widely recognised by both audiences and the entertainment industry. This is evidenced by the many accolades Johnny has received including:
- Best selling record 1975 ( She's my kind of woman )
- Australian Country Music Male Vocalist of the Year in 1980, 1981, 1982.
- International Country Music Award for Entertainer of the Year for Australia in 1982 and 1983.
- Tamworth Songwriters Association Songmaker Award in 1994
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Track listing:
01 - My Ding-A-Ling
02 - Nowhere In Particular
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Johnny Chester Link (MP3/320kps)
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Pseudo Echo - Desk Tape Live (1985) Soundboard

(Australian 1982-1990, 1999-2005, 2010-Present)
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Formed in 1982 by school friends Brian Canham (vocals, guitars, and keyboards) and Pierre Gigliotti (bass, keyboards) the band completed its lineup with Anthony Argiro (drums) and Tony Lugton (guitars and keyboards).
Pseudo Echo's first album Autumnal Park was an Ultravox-influenced album that yielded the Australian singles "Listening" (produced by Peter Dawkins), "Stranger in Me", "Dancing Till Midnight", and "A Beat for You".
Their climb to success in the summer of 1984 was rapid, and they quickly became the second biggest band in Australia after INXS.
"His Eyes", a track from their first album, received exposure overseas as it was used in the movie Friday the 13th: A New Beginning.
There was a lineup change before their second album with Tony Lugton being replaced by James Leigh (real surname: Dingli) after a dispute between Lugton and Canham over money, and another lineup change during the making of the second album with Argiro being replaced by James's brother Vince.
Lugton went on to join synth rock band Talk That Walk.
Brian Canham joined as guest vocalist with The Incredible Penguins in 1985, for a cover of "Happy Xmas (War Is Over)", a charity project for research on Fairy penguins, which peaked at #10 on the Australian Kent Music Report in December.
Their second album, Love an Adventure (1986), was also a success with several singles from that album topping the Australian charts including the title track, "Don't Go", "Try", and "Living in a Dream".
The album was re-released the following year to include their remake of the Lipps, Inc. song "Funkytown", which brought the group their biggest international success, reaching No. 6 on the Billboard Hot 100 in the USA and No. 8 in the UK in July, 1987, as well as spending seven weeks at #1 in Australia from December 1986.
The overseas release of Love an Adventure featured a somewhat different track listing which included re-mixed versions of 3 singles from Autumnal Park: "Listening", "A Beat for You", and "Destination Unknown".
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Pseudo Echo 1985

These were remixed to sound more rock-oriented, to better-match the other tracks on the album. Brian Canham even re-recorded the vocals for a slicker sound to compliment these rock remixes.
Once again, the overseas version of Love an Adventure was re-released to include the re-make of "Funkytown", replacing "Don't Go" in the original track list.
In 1987, the band re-released "Listening" for the movie North Shore starring Nia Peeples.
Their third album, Race (1989), went further in the direction of pop rock and metal.
The album featured the Australian singles "Fooled Again", "Over Tomorrow", "Eye of the Storm", and "Don't You Forget".
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The album stopped at #32 on the ARIA chart and it seemed that the band's move to a more rock/metal genre had alienated a good portion of their established fanbase.
Pseudo Echo disbanded shortly after touring for Race in 1990.
The band reunited in 1999 to produce the EP Funkytown Y2K: RMX, which included 6 new remixes of "Funkytown".
A year later, they released the double-CD Teleporter (2000), which featured 4 all-new tracks, 5 re-mixed tracks, and a live performance in Melbourne.
The live performance featured all the tracks from Autumnal Park except for "From the Shore", along with a few tracks from Love an Adventure and a performance of the rare B-side "In Their Time".
Since reuniting in 1999, the band has been touring constantly in Australia, and were previously seen touring with the "Idols of the 80s" in 2005.
In April 2010 they played two sold out shows in Adelaide, South Australia, and they continue to tour nationwide, as indicated in the review listed below  [extract from wikipedia]
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PSEUDO ECHO, ECHO, ECHO
[Interview by Matilda Heggie. Pearl Magazine Issue #31, Sept 2014]
Looking back in to Australia's musical past, we may not have produced the number of super stars as the US or the UK, but we certainly have our own trailblazers.
Bands like Pseudo Echo, who looked at popular pub rock scene and challenged it with synths, a crimping iron and a makeup brush. So, was the prospect of wielding a keytar in front of rock-loving pub crowds ever daunting for the lads?
"There were definitely moments where we had to have integrity and stand our ground" reflects front-man Brian Canham. "catching our big break meant Pseudo Echo was the opening act for many big pub rock bands of the time. These bands had a brawny, real 'aussie type' crowd. So we'd come out with our makeup on, done-up hair and outlandish clothing and it would be quite full on because we'd have these guys eye-balling us thinking 'what's going on?"
.Lucky for Pseudo Echo, the opportunity to dance with a dame seemed enough to break down barriers and have even the surliest of men busting a move or two at their live shows.
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"The girls would get into it and start dancing and by the end of it everyone would be dancing," laughs Canham. "It always ended happy and I think it became a lure for guys to go to a Pseudo Echo gig really."
Pseudo Echo's biggest break came about after Molly Meldrum saw the new wave youths play live in Melbourne and invited them to appear on Countdown.
"Meeting Molly was incredible. We'd actually met him a few years prior to even having a band and later down the track when he came to see Pseudo Echo he remembered us as the guys that he'd met. He was surprised because I was a sort of shy introverted kid, yet as a young band we were quite professional. So he kind of took us under his wing and did what he could to help us on our way."
And on their merry way they went, with the band finding a ready-made audience among teenagers who fawned on their every move. Canham explains the 80s as a bit of a golden-era for musicians, suggesting that many bands found "exposure and success that they might not have enjoyed in another era.
"The 80s was very open-minded. It was all about the big pop stars, the sensationalism of it all. You're on the screen, in magazines, newspapers etc.. .the 90s saw the end of it though as it brought about the anti-hero."
The latter part of the 90s also saw a major stylistic shift in Pseudo Echo's sound, which can be partly attributed to a change in band members. The line-up has changed a few times over the years, yet Brian Canham has always been at the fore. Now with what he deems as the ultimate Pseudo Echo formation, Canham has penned and produced the band's first album In 15 years.

'Ultraviolet' was released in April this year, thanks to a successful Pledge Music crowd funding campaign. Both the success of the campaign and the album's reception-has been a testament to the band's dedicated fab base. "A lot of fans have said that we've stayed true to the Autumnal Park stuff with our sound and I think we have done that without being stagnant.
Touring the album for the past few months has brought both die-hard fans and new fans out of the woodwork, with Canham describing his audience as basically every band's dream.

"We connect with our audience on such a level that when we release something they nearly always like it. If I put my heart and soul into it, and am not swayed - like we were sometimes in the past by record companies or management - that seems to be the right formula. When you have that kind of relationship with your audience the pressure doesn't come from them, it comes from yourself. So I need to ask, is this really me? Is this really the best I can do this song or album? That's why it took me so long to release this album to be honest"

Pseudo Echo will be playing all their old hits and a mix of tracks from Ultraviolet when they take the stage at the Chelsea Heights Hotel (Melbourne) on Friday October 3, 2014.  For more information about Pseudo Echo, their latest release and up and coming gigs, see their Facebook page
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This posting is a live desk recording of Pseudo Echo from sometime late in 1985, probably December and was sourced from Gruntrat's Live Preserver blog with thanks.  From his recollections, the recording can only be narrowed down to either The Palace in St Kilda or Monash University. It is believed that Aaron Chugg was the FOH engineer.

I first saw Pseudo Echo in the early 80's at 'Kramers' in Preston, when they were the support act for The Little Heroes, and was where I met my beautiful wife !
This recording (MP3/320kps) is really a great representation of the band in its heyday. I'm positive that fans of the Pseudo's will love this....the recording actually predates their release of Funky Town.
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Track listing
01 Intro-Stranger In Me
02 I Ask You Why
03 Lies Are Nothing
04 Tell Me
05 Try
06 I Will Be You
07 Girl
08 Lonely Without You
09 Listening
10 Don't Go
11 Living In A Dream
12 A Beat For You
13 Love An Adventure
14 Destination Unknown
15 Funky Town
16 Let's Get Together
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Band Members:
Brian Canham (Lead Vocals, Guitar)
Pierre Gigliotti (Bass, Vocals)
Vince Leigh (Drums, Vocals)
James Leigh (Keyboards, Vocals)
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Pseudo Echo Link (157Mb)
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Colin Hay Band - Wayfaring Sons (1990) + Bonus Track

(Australian 1987-1991)
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Scottish-Australian singer Colin Hay (lead singer of Men At Work) released his second solo album, “Wayfaring Sons”, through MCA Records in 1990. The band was formed with Gerry Hale, Paul Gadsby and Robert Dillon. The single “Into My Life” was a huge hit in Brazil.
Even though Colin James Hay's solo debut sold acceptably in the States, the cost benefit ratio apparently wasn't high enough for Columbia Records which promptly dropped him from its recording roster.   Three years later Hay reappeared signed to MCA Records.  Billed as the Colin Hay Band, his sophomore album found Hay making some major changes to his sound.   The most immediate was Hay's decision to return to a band format - in this case drummer Robert Dillon, bassist Paul Gadsby, and violinist Gerry Hale.  Co-produced by Hay and Elliott Scheiner, "Wayfairing Sons" also found Hay trying to expand his sound beyond the pop/new wave sound that had made Hay a mega seller. While marketing pressures required the album include at least some pop and radio friendly material, exemplified by material like the title track, "Dreamtime In Glasgow" and "Dream On (In the Night)", about half of the set featured acoustic numbers that seemed to settle somewhere between Celtic folk and Mumford & Sons-styled folk-rock (I can already hear the shouts of protest over the latter comparison).
I'll be one of the first to admit those folkish numbers were surprisingly and somewhat jarring.  That said, given a chance, most f then grew on you.   As for the more conventional material, the single "Into My Life", the big pop ballad "Not So Lonely" and the jittery reggae-ish 'Don't Drink the Water'  were all worth hearing.
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Colin Hay 1990

Album Review
Opening up with Gerry Hale's squealing violin, "Wayfaring Sons" came as quite a surprise.   It wasn't that the track didn't rock, rather the Irish bar band vibe took awhile to get acclimated to.  Personally I wasn't a major fan. 
Just speculation on my part, but I'd imagine MCA wanted at least a couple of commercial tunes - one of the results being "Into My Life".  Musically this bouncy pop number actually bore a mild comparison to his earlier Men At Work catalog, in the process sounded nothing like the rest of Hay's new-found acoustic orientation.  Naturally it was the track MCA tapped as a single though it did nothing commercially.  Shame since it was actually pretty good; better than almost anything on the debut LP.    For anyone interested, you can see the MTV promotional video here.
"Storm In My Heart" returned to Hay's acoustic folk orientation.  With support for keyboardist Robert Kilgore, the result was one of the album's prettier melodies, showcasing the band's nice harmony vocals. 
Built on a jangly melody, "Dream On (In the Night)" was also notable for showcasing what a nice voice Hay had - especially when he wasn't trying to sound cute.  Simply a happy and uplifting song that was great for rolling down the car windows while cruising on a warm Spring day. My favourite track on the album actually.

Into My Life Single

The first of two group-penned songs, "Not so Lonely" was another exception to the folk orientation - Hay and company apparently aiming for a Corrs-styled epic pop ballad.   I'm guessing the odd backing vocals were in Gaelic.  Surprisingly commercial and enjoyable.
With a full rock arrangement (kudos to bassist Paul Gadsby), "Don't Drink the Water" found Hay demonstrating his environmental credentials on what was the album's second overtly pop-oriented tune.  This one would not have sounded all that out of place on a Men At Work album.
"Help Me" was another radio friendly tune showcasing a full band arrangement and another pro- environmental message.   While "Don't Drink the Water" was at least clever, this one's a bit short on subtlety.  I suspect most of his fans are already pretty environmentally sensitive.  Nice title track chorus, though the song had kind of an anonymous AOR feel.  MCA coughed up for a promo video on this one also. "Dreamtime In Glasgow" is a rollicking tune with some nice power chords hiding in the background.
"Back In My Loving Arms" is the second group composition and was a breezy, radio-friendly pop tune.   Probably one of the songs I would have tapped as a single.
With the last track "Ya (Rest In Peace)" Hay and company decide they like mandolins ...I generally like mandolins, but was lukewarm to this one.
And as mentioned, the single was: "Into My Life" b/w "If You Want It All' (MCA catalog number 1408) and the B-Side did not appear on the album. But you are in luck here, as I'm  including this nice little ballad here as a Bonus Track.

The Colin Hay Band - 1990

Now, in MCA's defense, figuring out how to sell Hay in an early 90's market that embraced Wilson Phillips, Phil Collins, and Madonna must have been a  nightmare and in spite of some promotional efforts, including a  single, the company seemingly threw in the towel with the album quickly disappearing without a trace.
[review by RDTEN1 Jan 25, 2014]
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This post consists of MP3 (320kps) ripped from virgin freshly pressed vinyl (yep, another shrink wrapped find at the market) and includes full album artwork for both LP and CD. As a bonus, I've also included the non-album B-Side single "If You Want It All" - a hard track to find indeed.
Note:  Track "Not So Lonely" is unfortunately distorted on the album and I suspect the pressing I have is either faulty or the production of the track is crap. Not much I could do with this I'm afraid 
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Track Listing

01 - Wayfaring Sons
02 - Into My Life
03 - Storm On My Heart
04 - Dream On (Into The Night)
05 - Not So Lonely
06 - Don't Drink The Water
07 - Help Me
08 - Dreamtime In Glasgow
09 - Back In My Loving Arms
10 - Ya (Rest in Peace)
11 - If You Want It All (Bonus B-Side Single) .

Colin Hay Band were:

Colin Hay - vocals, acoustic 12-string guitar, acoustic 6-string guitar, electric guitar, E-Bow
Gerry Hale - violin, mandolin, background vocals
Paul Gadsby - bass guitar, background vocals
Robert Dillon - drums, percussion
Robby Kilgore - keyboards
Jann Karam - background vocals ("Not So Lonely")
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Colin Hay Band Link (103Mb)  New Link 30/08/2015
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Rose Tattoo - Rare Blooms (78-82) Bootleg

(Australian 1976-1985)
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Rose Tattoo was formed in Sydney in 1976 with Leigh Johnston on rhythm guitar, Tony Lake on lead vocals and were led by slide guitarist Peter Wells—who had just departed as bass guitarist of heavy metal band Buffalo. Drummer Michael Vandersluys completed the line-up. Ian Rilen from Band of Light joined on bass guitar. He had taught himself to play while in prison and gave Wells' band the street-cred he was looking for. Rhythm guitarist Mick Cocks soon replaced Johnston; Lake and Vandersluys were substituted by former Buster Brown members Angry Anderson and Dallas "Digger" Royall respectively. Melbourne-based Buster Brown had enjoyed local notoriety, playing at the 1974 Sunbury Festival and had included future AC/DC drummer Phil Rudd. Rose Tattoo made their public debut on New Year's Eve at the rock club Chequers.
Chiefly inspired by The Rolling Stones, Faces and Billy Thorpe and his 1970s Aztecs, Rose Tattoo's hard-rocking sound quickly earned a devoted following in the Sydney area. Members of AC/DC were fans and recommended them to their label, Albert Productions. Their career simply took off from here.
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Rose Tattoo In The Media
When it came to the press, Rose Tattoo always made good copy, so writers were never short of fodder. Although he was living the wildest lifestyle, Angry had a social conscience even then. When rock writers came to talk to him, they'd ask him about the band, and he'd start talking to them about homelessness or street kids. Writers weren't interested, and it was a hard lesson for him to learn.
"After a few months of being newsworthy, magazines wanted to talk to us and photograph us, and you know, I was doing endless interviews," says Angry. "There's only so much you can say about the band, and then you've got to talk about other things. But basically, rock journos just want you to tell them that over the last month you were with so many women, took so many drugs, drank so much alcohol etc.
In other words, they want you to be what they think you are.
When I first started doing interviews, you know I loved the attention, but some of the best interviews I've ever done were cut down to about two paragraphs, and none of the issues were ever raised."
For writers, Rose Tattoo was the copy. Angry Anderson was the news. No one was interested in what he had to say about it.
In the Rose Tattoo years, stories about Angry grew and grew. As he says, if he'd done only half the things of which he was accused, he'd have been a monster. At one time, a newspaper reported that he'd been charged with carnal knowledge, which simply wasn't true. The newspaper did print a retraction many months later, but it was hidden toward the back pages. It hardly made up for the headline which basically screamed that Angry Anderson had taken sexual advantage of a fourteen-year-old girl.
Many articles also talked about Angry as a person who'd spent long periods of time in prison, when in fact Angry s only experiences in prison cells were for eight or twelve hour spells, usually for being drunk and disorderly. There was one night in Perth where Angry was arrested for using offensive language on stage, and another time in Kempsey where he was arrested for assault, but he was never the longtime ex-crim that people talked about. As Angry says, "The things I'm supposed to have done are unbelievable. I could have been locked up for most of them. You know, people come up and still say 'I heard this about you', or 'I heard that about you', and you say 'No, that didn't happen'. They just look at you. They want to believe it, but they look at you and they're saying, 'I know you did you bastard.' Even though you're saying no, they're saying they know you did. It's damned if you do, and damned if you don't."
Angry copped most of the flak without too much complaint, but he did get frustrated with the stereotypes. He didn't mind so much if someone met him, talked to him, and then decided he was a jerk, but he hated the articles that summed him up unfairly. Some writers would analyse him without ever meeting him, and others would arrive at the interview with such a definite preconceived idea of who Angry was, and of what he was about, that they may just as well have not turned up at all.
It was all part of being a rock and roller. There were just so many critics who weren't comfortable with Angry because he broke the mould. At one stage, a Juke Magazine article basically admitted the press was selling Angry short. The writer made what almost amounted to an apology: "The fifteen minutes allocated for the interview extended to a three hour yap session about everything from science and philosophy to the latest in porno movies. I left impressed with his courtesy and general knowledge, and somewhat sheepish that I'd dismissed him as a moronic jerk, simply for the way he looked."
Years later, when Angry s profile was big enough to earn him a complete feature article in Playboy magazine, the senior contributing editor Phil Jarratt made a similar observation. "There is no subject on which he will not offer a mouthful, and the work of the interviewer was essentially to keep him to one subject at a time. Although he looks like a midget wrestler, Angry is in fact a sensitive performer, a deep thinker, and a philosopher. [extract from Angry: Scarred For Life, by Karen Dewey. Ironbark Books, 1994. p98-100

 
Tattooed Terrors
"Angry" Anderson, Australia's original punk rocker, loves shocking little old ladies on buses.
"You see them staring out of the windows when you walk down the street. They're horrified" says the lead singer of Rose tattoo.
"We all love being outrageous".
The band's effect on elderly females is hardly surprising.
Angry - he answers to no other name - is bald, short and stocky.
His tall, gaunt partners sport flaming red hair, short cropped at the front with tails at the back.
and they all wear the band's trademark....anti-social tattoos.
This motley crew never wanted fame.
They originally formed a year ago as an underground punk band: Australia's answer to the likes of Johnny Rotten and The Sex Pistols.
"We thought it was highly unlikely that we'd get anywhere but it was possible that we might" said Angry.
"We just wanted to sing punk songs and have a nasty image".
For the first six months the band achieved its aim. People hated them.
"We were spat at, punched and abused. It didn't worry us at all". But something went wrong".
Bad Boy, a single the band recorded, suddenly sprung up the charts.
Rose tattoo became something it neither wanted nor expected - a well-known band.
But Angry and the boys have learned to live with this fact of life and to continue "freaking people out"
Their personalities have remained intact and they all live together in a room in Sydney were we breed cockroaches".
We've managed to remain anonymous" says Angry.
"People can't tell the band members apart, except for me of course".
"And we dig dropping clangers on stage and getting kicked out for playing too loud".
Angry is glad that Rose tattoo was the first punk rock band to make it big in Australia but doesn't think the musicians look all that unusual.
"You see more extravagant punks on the streets. There are a lot of sharp-looking guys around."
"Our stage act is really theatre but it's not contrived."
"We all had tattoos long before the band and we're playing ourselves".
"When I was young I was a larrikin. You don't grow out of something like that."
"Some people stay with us at concerts but others come once and never return. They're freaked out."
When he's not freaking out people, Angry travels incognito - he wears a hat to cover the bald pate.
"It's nice not to be recognised sometimes".
"I'm not a lair all the time"   [Newspaper article by Bryan Patterson]
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This post consists of MP3 (192kps) compilation taken from various sources (studio and live) and released as a Bootleg with full album artwork.  although the bit rate is not the greatest, the overall sound is pretty good - no distortion thankfully. This is a great anthology of the Tatts spanning over a 5 year period, and includes some of their best known hits such as "Bad Boy For Love", "Rock'n'Roll Outlaw" and "Snow Queen" to name but a few. So get out ya ol' denims, crank up ya amp and let the Tatts send a message to ya neighbours that you've had enough of their winging about ya loud music!
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Track Listing
01. Bad Boy For Love (BBC Session)
02. Nice Boys (BBC Session)
03. The Butcher & Fast Eddie (BBC Session)
04. Rock'n'Roll Outlaw (BBC Session)
05. All Hell Broke Loose (B-Side)
06. Fightin' Sons (B-Side)
07. Never Too Loud (B-Side)
08. Release Legalise (B-Side)
09. I Had You First (B-Side)
10. Snow Queen (B-Side)
11. Rock'n'Roll Is King (Single Version)
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Band Members
Angry Anderson (Vocals)
Pete Wells (Slide Guitar)
Mick Cocks (Guitar, Vocals)
Ian Rilen (Bass)
Dallas 'Digger' Royall (Drums)
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The Tatts Link (67Mb) New Link 16/01/2025

W.O.C.K On Vinyl: The Chaps - Rawhide (1982)

Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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In  1982, the Scottish band The Chaps (pronounced Shaps) released a parody of the 60's T.V series 'Rawhide'.
"Rawhide" is a Western song written by Ned Washington (lyrics) and composed by Dimitri Tiomkin in 1958. It was originally recorded by Frankie Laine. The song was used as the theme to Rawhide, the western television series that ran on CBS from 1959 to 1966. The song is about the job of a drover on a cattle drive.
Rawhide was an American Western series starring Eric Fleming and Clint Eastwood that aired for eight seasons on the CBS network on Friday nights, from January 9, 1959 to September 3, 1965, before moving to Tuesday nights from September 14, 1965 until January 4, 1966, with a total of 217 black-and-white episodes. The series was produced and sometimes directed by

Clint Eastwood  'Rowdy Yates'

Charles Marquis Warren, who also produced early episodes of Gunsmoke. It is often said that this series was the catapult that launched Clint Eastwood to stardom, first in Spaghetti Western Movies and then later moving onto more series Westerns and then into the role of Dirty Harry as a rough and tough cop.
Spanning seven and a half years, Rawhide was the fifth-longest-running American television Western, exceeded only by eight years of Wagon Train, nine years of The Virginian, fourteen years of Bonanza, and twenty years of Gunsmoke.
The typical Rawhide story involved drovers, portrayed by Eric Fleming (trail boss Gil Favor) and Clint Eastwood (ramrod Rowdy Yates), coming upon people on the trail and getting drawn into solving whatever problem they presented or were confronting. Sometimes one of the members of the cattle drive or some of the others would venture into a nearby town and encounter some trouble from which they needed to be rescued. Rowdy Yates was young and at times impetuous in the earliest episodes and Favor had to keep a tight rein on him. Favor was a savvy and strong leader who always played "square" with his fellow men. He was a tough customer who could handle the challenges and get the job done. 
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This single is certainly worth inclusion into the 'W.O.C.K on Vinyl' hall of fame, as its Scottish tones and Gaelic vocals are nothing short of being Weird  and Crazy. Featuring the traditional tune "Ghost Riders In The Sky" the B-Side has the better version in my opinion.  Apparently, the first pressings of the single were incorrectly labelled as McRAWHIDE and are probably collector items in their own right. Guess who's got a copy!
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Note: "Rawhide" is defined in Merriam-Webster's Collegiate as 
"1. a whip of untanned hide. 
2. untanned cattle skin".  
So it refers to the material, or the whip itself.
Chaps were and are normally made from leather; less expensive ones could possibly be made from rawhide, but they wouldn't be very durable. Therefore, I don't think "rawhide" is a slang for "chaps."
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Track Listing
01 - Rawhide (I Belong To Glasgow)
02 - 02 - Rawhide (Ghost Riders In The Sky)
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The Chaps Link (16Mb)
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The Who - Best Of (1993) - Bootleg

(U.K 1964–82, 1989, 1996–present)
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Note: Through a loophole in the law, the contents of this CD were sourced from a soundboard bootleg of the 09/29/69 Amsterdam, Netherlands, Concertgebouw concert. 

Four London Mods who smashed guitars, overturned drum kits, trashed hotels — and, at the same time created classic rock.
The Who began life in 1962 as a skiffle group known as the Detours, comprised of vocalist Roger Daltrey, bassist John Entwistle, guitarist Pete Townshend and drummer Doug Sandom. In 1964 Moon took over the drumstool and the band became the Who for a short time, before manager Peter Meaden suggested the High Numbers as a name and blatantly cultivated a Mod image. Purveying high-energy R&B, the band initially relied on covers for the bulk of their live set, which ranged from James Brown to Bo Diddley.

Written by Meaden, the High Numbers' sole single, I'm The Face' on the Fontana label, sank without trace. Film directors Kit Lambert and Chris Stamp who had been considering a documentary on the Mod phenomenon, saw the High Numbers in concert, however, and decided to manage them. They bought out Peter Meaden's interest for £500.
The image of the band destroying equipment originated at the Railway Hotel, Harrow, where the low ceiling was a constant source of impact for the top of Townshend's guitar. One night the guitar neck snapped clean off to the delight of the delirious crowd. Lambert and Stamp were quick to realize that repetition and exaggeration of this stunt would attract considerable publicity.

Lambert renamed them the Who and secured them a Tuesday night slot at London's famous Marquee Club. Townshend began writing original material as a vehicle to express his ideas on youth culture; alienation, confusion, amphetamine abuse and a disregard for authority all featured prominently in his lyrics. After some difficulty, including a rejection from EMI, they eventually secured a deal through Shel Talmy, an independent producer who negotiated a contract through Decca in the US. The band's debut 'I Can't Explain' in 1965 became a UK Top 10 hit following appearances on Ready Steady Go! and Top Of The Pops.
'Anyway, Anyhow, Anywhere' resulted in a further Top 10 success, even though the mod movement was beginning to lose its impetus.

'My Generation', the anti-establishment anthem, reached Number 2 in the UK charts and featured stuttered obscene innuendo's as well as Townshend's personal philosophy in the line "Hope I die, before I get old". In addition, the band's stage show became more outrageous; Townshend's windmill guitar antics and the total trashing of equipment became commonplace, especially if media moguls were in attendance.
December 1965 saw the release of the band's debut album 'My Generation', an angst-ridden statement that highlighted teenage frustrations and took them into the UK Top 5. Further single success ensued with 'Substitute' (UK Number 5), I'm A Boy' (UK Number 2) and 'Happy Jack', (UK Number 3, US Number 24) and saw Townshend widen his lyrical horizons with comments on awakening sexuality as well as society's eccentrics. In December 1966, 'A Quick One' became the band's second Top 5 album success and included the nine-minute, mini-rock opera 'A Quick One, While He's Away7, which pre-dates the Beatles' 'Sgt Pepper' and is a blueprint for Tommy'.

The US market became primed following the band's infamous equipment-wrecking show at the Monterey Pop Festival on 25 June 1967. 'I Can See For Miles' became a Top 10 hit on both sides of the Atlantic, while The Who Sell Out (1967) which featured tracks linked by commercial radio ads was a success in the album charts reaching Number 48 in the UK charts and Number 13 in the US. Townshend began work on an ambitious rock opera in the spring of 1968, which eventually materialized two years later as Tommy' (1969).

'Pinball Wizard', the advance single, went to the Top 5 in the UK and the Top 20 in the US, with the double concept album (a UK Number 2 and US Number 4) relating the story of a deaf, dumb and blind kid, whose only talent was playing pinball machines. He eventually becomes the guru-like reader of a new quasi-religious cult, based on pinball, but is finally rejected by his disenchanted disciples.
The band only performed Tommy' in its entirety twice, but in 1972 Townshend coordinated a new recording with the London Svmphony Orchestra, featuring guest appearances from Rod Stewart, Sandy Denny, Steve Winwood and others. In 1975, Ken Russell produced a film version of Tommy starring The Who, with Daltrey in the central role, arid featuring Tina Turner as the Acid Queen' and Elton John as the 'Pinball Wizard'. Controversial and violent performances at Woodstock and the Isle of Wight festival elevated the band to legendary status.
Following the studio labours of Tommy', in 1970 the band recorded 'Live At Leeds' (UK Number 3, US Number 4), a charged set of high-energy R&B, featuring screeching feedback and explosive guitar work from Townshend. This is considered by many as one of the greatest ever live recordings. Who's Next (1971) (UK Number 1, US Number 4) saw the band utilize synthesizers for the first time and achieve a more refined sound. Won't Get Fooled Again', released as a single, went to Number 9 in the UK and Number 15 in the US. A trio of new single releases ensued over the next eighteen months, to mark time until Townshend's second rock opera was fully completed; 'Let's See Action', 'Join Together' and 'Relay1 helped to maintain a high media profile during this period.
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The Who - Idols Of Swinging London

In November 1973, the ambitious 'Quadrophenia' went to Number 2 in both the UK and US and brought the inevitable comparisons with Tommy'. Another double concept album, this time based on the story of 'Jimmy', an adolescent mod searching for the true meaning of life. Although the album was a worldwide success, singles released from the project fared relatively poorly. In 1979, a film version was produced under the direction of Franc Roddam, featuring Sting of the Police in a minor role.
Following the release of 'Odds And Sods' (1974), a compilation of unreleased leftovers from the previous decade, The Who By Numbers' (1975) suggested that Townshend's lyrical and musical cutting edge had become less sharp. With the advent of punk, Townshend had to radically reassess his approach, and against the odds the band rediscovered themselves in 1978 with the more confident and aggressive Who Are You?' (UK Number 6, US Number 2). However, tragedy struck in September 1978 when Keith Moon died from an overdose of drugs; ironically, these had been prescribed to treat his alcoholism.
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Keith Moon - played the largest drum kit at that time

 After serious contemplation, the remaining trio decided to continue and recruited former Small Faces drummer Kenney Jones. Following the release of 'The Kids Are Alright' (1979), a double album retrospective, the long-delayed 'Face Dances' (1981) represented a creative nadir reaching Number 2 in the UK and Number 4 in the US which was further confirmed by 'It's Hard' (1982) (UK Number 11, US Number 8), the band's final studio release. In December 1982, the band split up following the last gig of a North American farewell tour. The event was filmed and recorded for subsequent video and album release.
The band re-formed for live Aid in 1985 and again in 1989 for a lucrative 25th-anniversary tour, which yielded Join Together', yet another live album. Although somewhat tarnished, the legend of the Who lives on; their flamboyant, aggressive style has influenced many generations of bands over the years and their-characteristic trademarks are still copied, but rarely equaled. [extract from The Ultimate Encyclopedia of Rock, edited by Michael Heatley, Carlton Books, 1994.p216-217]
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Townsend destroys another guitar

The Who's Tour 1969
The Who Tour 1969 was a series of performances and tours by The Who, partially in support of their Tommy album. 1969 was an extremely transitional year for the band, due almost entirely to Pete Townshend's rock opera Tommy, which they had begun recording the previous autumn. By the second half of the year, the success of Tommy began to elevate the status of the band, who continued to feature it as the focal point of their act.
Starting with the show at Fairfield Halls in Croydon, London on 21 September, the band added several songs to the Tommy set to present the rock opera in more complete form, while shows generally ended with long versions of "My Generation" that included reprised themes from Tommy, along with various other instrumental sections. A live FM radio broadcast from the Concertgebouw in Amsterdam followed shortly afterwards (from which this Bootleg probably originated), and the group returned to North America for another five-week tour in early October, highlighted by six nights at the Fillmore East in New York City.[extract from wikipedia]

Daltrey & Townsend 1969

About the recording
This recording was made by a Dutch radio/TV broadcast. It's not 100% certain who did it, but it was probably done by the VPRO, who also did the Pink Floyd recording the same year at the same venue. And just like that Pink Floyd recording, this one was also bootlegged a million times from various very good to very poor sources. All of these sources were originated from radio broadcast/s. Back then, and today still, the 'Concertgebouw' in Amsterdam was not a place for rock bands but for opera's and other classic music. Mixed directly to 2-tracks, this may been one of the reasons why the mixing engineer had a hard time finding the right balance. The mix changes often, and sometimes the drums or the guitar just disappear or get buried for a while. It also must have been hard for the band to hear each other, because of the extremely reverberating acoustics.

Remember, this was 1969 and sound monitoring on stage was still a thing for the future. When comparing this one to other Who shows from this period, this one probably isn't the best. Roger Daltrey has once said that he didn't think he sang very well this night. And playing the Tommy album on stage was obviously not a routine for the band yet. But, there is more than enough to enjoy here. It is the only complete soundboard recording from this year. It is also the only one with complete lineage, and it has the best sound. Beside that, all other Who '69 board tapes are far from complete and don't have most of Tommy. Somewhere around 2000, a Pre-FM source of this show was unearthed. Funny enough, the same thing happened with the aforementioned Pink Floyd recording, but that's another story. They may have come from the same person though. Read the quote below: "My source in Amsterdam worked on a Who anniversary special, for the same radio station that broadcast the show in 1969. He suggested that the DJ use some of this show, so a technician produced the original masters. He took the chance to make a copy on their professional reel-to-reel equipment. Our CD was transferred off his 1st generation reels. Although this show has been booted repeatedly, this is the REAL source. It sounds amazing, like it was taped off the radio yesterday, perfect except for a little tape hiss in the very quiet bits.
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First Hand Account Of The Concert
Did you know that Keith fell off the stage that night in Amsterdam? When the band came on stage, Keith came running up the stairs on the right side of the stage (which was a small one) and he forgot to stop. He tried to get his balance again, but he fell into the audience and took some speakers with him in his fall. I was standing maybe three feet away from where he fell and with some other people, we lifted him up onto the stage again. He shaked his head, which was covered with blood, jumped behind his drums and the show was on. This was my 1st WHO Concert and since than they are still the best band for me. [review by Henk Hulstkamp at thewholive.net]
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This post consists of MP3's (320kps) ripped from an AMCOS CD (Australian) release and includes full album artwork (plus several other bootleg covers for same concert).  The quality of this bootleg recording is pretty good for the period in which it was recorded, but don't expect another Live at Leeds !
The track listing is quite interesting and most of their well known songs are here, including a good slab of material from their rock opera Tommy and some of their classic standards like "Shakin' All Over" and "Substitute". The only bummer is that my favourite Who track "Magic Bus" wasn't on the playlist, but I guess I've got 'Live At Leeds' to console me.  Enjoy.
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Track Listing

01 - I Can't Explain
02 - Fortune Teller
03 - Tattoo
04 - Young Man Blues
05 - Pinball Wizard
06 - Substitute
07 - Happy Jack
08 - I'm Free
09 - 1921
10 - Summertime Blues
11 - See Me, Feel Me
12 - I'm A Boy
13 - Christmas
14 - The Acid Queen
15 - Shakin' All Over
16 - My Generation.

The Who Line Up:
Pete Townshend (guitars, vocal)
Roger Daltey (vocal)
John Entwistle (bass, vocal)
Keith Moon (drums, vocal)
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The Who Link (147Mb)  New Link 02/01/2024
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Men At Work - Two Hearts (1985) + Bonus Tracks

(1978–1986, 1996–2002)
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Men At Work were a success phenomena which comes along once in a decade — in any country. Early in 1983, not much more than three years after formation, they were holding down the number one single and album spot in both Britain and the United States — a grand slam only achieved in the past by the mega-star likes of Rod Stewart and Barbra Streisand. The group's debut album, Business As Usual, became the longest running number one debut LP in American chart history, displacing The Monkees. It remained at the summit for a staggering 15 weeks, shifting around 8 million copies during its stay. The Men's first two American single releases reached number one, as they had done in Australia.

These achievements had far greater significance than the dramatic international explosion of a hot new band. They represented a victory not just for Men At Work but for Australian music in general, For almost three decades this sort of breakthrough had been the ultimate wet dream of down under musicians — to develop a sound so irresistible, so unique that it would sweep the world and leave the titans and moguls goggle-eyed with disbelief. The Bee Gees had come close in the sixties but with Australia just a stepping stone for the three English-born singers, there was no real sense of national pride in their international exploits, The Easybeats, Sherbet, John Paul Young and Little River Band all made their mark but invariably it was short lived and not quite cataclysmic.

Men At Work 1985 (L-R): Ron Strykert, Colin Hay, Greg Ham

The Men At Work saga was truly breathtaking. Their second album, Cargo, followed Business As Usual into the high reaches of the American charts and sold well over 4 million units. They won a Grammy, a wall full of other awards and citations, and enormous radio popularity. At a time when the new British rock was sounding a little too left-of-centre and even Americans were finding their own mass-appeal rock tame and predictable, Men At Work sailed into the void brandishing a bright, quirky and moderately inventive sound which struck a surprisingly responsive chord with both consumers and programmers.
Being Australian was certainly no disadvantage. "Americans don't know much about Australia but they're fascinated by it," observed founding keyboards/reeds player Greg Ham after a North American tour. "There is this mystique, or at least a lack of knowledge and they have a thing about this being the Last Frontier. I think that a lot of Americans would like to feel that there is a last frontier around because they haven't got one of their own any more.

The irony of this American furore was that, as Colin Hay emphasises, "Americans were almost the last to be sold on us, they weren't quick off the mark at all". By the end of 1981, the band had notched up number one singles in Holland and Germany, a number two in France, and had scored a platinum album in Canada, but were still being passed over by CBS America, the company which would eventually present them with a plaque for generating $100 million worth of international record business.

"The A&R guy in New York turned the album down twice," wryly recalls Hay, "and the decision was overturned by the vice-president of the company. That was solely because Russell Deppler, our manager, used to sit in their offices from 8.30 a.m. to 6 p.m. wanting money. They finally decided to release the LP just to get rid of him, and that's no joke! Even then, at great cost to us, we hired an independent publicist to ring up the radio stations and sell them Men At Work. The first single was quirky and very different from what American radio played. The kids loved it, they thought it was a very cool sound, and it snowballed from there."
As the snowball grew almost ludicrously huge in the northern hemisphere, all was not well down south. As soon as international success became apparent, the heavily ingrained Tall Poppy Syndrome' began to manifest itself at home. As scores of sportsmen, politicians, artists and musicians have bitterly discovered, when the fiercely egalitarian Australians sense their own becoming 'too big for their boots' they set about cutting the tall poppies down to size. "That's why people leave this country," snarls Hay. "That's why they can't stand to be here any more. They have to go somewhere to just do their work and be appreciated for that, and nothing else. Americans are more positive, they put a priority on someone achieving what they can do, which I find is a quality which puts them apart from the rest. In its cleanest, purest form, it's the essence of 'I can achieve my dreams'. If I went to see a band in a New York club and I stood on the end of the queue, people would think I was a bit dumb because they like their star system. If I was in Melbourne and I pushed my way to the front of the queue, the reaction would be 'who the f**k does this bastard think he is'." Greg Ham concurs, "Every person in America is potentially a star, every cabby writes songs or has a friend who is in films. I get off on that sort of positive energy."

Air Supply had already become accustomed to being in the top three in America and the lower thirties at home, but for Men At Work the rejection was a cruel blow. Following their first triumphant US tour they flew home to play Narara, the huge outdoor rock festival, alongside such concert champions as the Angels and Dragon. The punters sat back smugly and said, 'O.K. big shots, show us your stuff. Tired and possibly intimidated, the Men turned in a lack lustre performance which generated derision and saw them widely dismissed as 'wimps'. Many arbiters of public taste were unashamed in their dismissal of the recent heroes as fabricated 'popstars', a venomous swear word. "What did upset us," admitted Ham, "was other bands who shot their mouths off about how they deserved success more than us. It was incredibly short-sighted because what we did helped every other Australian band trying to make it overseas.
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By 1983 the roller coaster ride was beginning to lose its sheen for the five flippant but talented musicians who had been lucky to earn $50 a show at the dank Cricketer's Arms pub in the working class Melbourne suburb of Richmond not much more than two years before. They were playing what Rees describes as "a cross between Emerson, Lake & Palmer on speed and hippie punk". Even the American media was running out of angles on the rags to riches story (or 'dags to riches' as the band liked to refer to it). Men At Work were simply running out of interest and the cracks, even if they were not yet showing, had begun to rent the one-inviolable unit. By the end of an arduous 70 city tour, according to Hay, "the group became the Men who didn't care if they ever worked again".

"When the 1983 tour finished, for all intents and purposes it wasn't really a band then," explains Hay. "We all just ran away. Basically, the original line-up did not have a common goal, and we were never a cohesive unit, socially, philosophically or musically. We'd played together for five years and it was just clear that the band had to reform if it was going to survive. When you've worked with people for that long it's like being married to five different people at the same time. There's bound to be a couple of divorces along the way."

"After a while, Greg, Ron and I drifted back together and started playing each other's tunes," says Hay. "It was then that we realised we should really keep going as Men At Work. We tossed around the idea of changing the name but then we thought that'd be really stupid because for the next two years everybody would be asking us why we changed the name. Members of bands change all the time."
The break gave Hay the precious opportunity to slowly craft an album. "We recorded the first album in three weeks. I just had one and a half days to do my guitar bits. We didn't have a clue how things were done. Looking back, that LP has a charm for me. Cargo had just three songs that I liked." American producer Peter Mclan, despite his magnificent success, was dispensed with. Rhett Davies said no to a trip to Australia so Jimmy Lovine was flown in for a week. "We needed somebody to pull a bit of soul from us. Jimmy just didn't work. You couldn't just say it was that we had no common ground, It was more a case of two different planets going whoosh!, whoosh!, completely missing each other."
Agreed on the perilous path of self-production, Hay and Ham, with undetermined input from the seemingly disinterested Strykert, set about recording the 'Two Hearts' album, their third in Australia. "There were no artistic restrictions," says Hay, "Greg would produce my vocals and I'd produce his sax. It was very exciting to work like that."

Unfortunately, the excitement did not rub off on the buying public. At a glittering Sydney launch party, CBS executives read a cable from head office enthusing over the album and predicting another mega-million sales performance. However, when it hit the shops in America, purchasers stayed away in droves. The album lurched to 50 on Billboard and then faded away gracelessly. Hay's reaction to this debacle differed according to his mood. To one interviewer he snapped, "Cargo was supposed to have flopped because it only got to number three in America! And with this one, people say 'ooh, it's a stiff, isn't it?'. And I say 'yea I guess it is, it's only sold 750,000 copies'. Any other band that sells that much would be over the moon." But in a less defensive mood he conceded, "It was disappointing though. I went into a deep and lasting depression about that. I take it to heart, I make no bones about that. I hate it. I want it one more time, thank you very much. That will happen, if not today, it will happen tomorrow. I'm not in any hurry, but when a two month American tour gets pulled out from under you, you feel distress. We could have done that American tour but we couldn't do it on the level we planned on... I think it's the best album. I don't feel it deserves to be forgotten."

Following an extended break in 1984, the band started to fall apart. By the time they recorded their third and final release, drummer Jerry Speiser and bass player Johnathan Rees were already gone, replaced by session players. This left three core members, Scottish-born singer Colin Hay, keyboard/sax player and occasional vocalist Greg Ham and guitarist Ron Strykert. It's possible that Strykert may have left during the recording sessions, as he doesn't appear at all on two of the ten tracks. Two Hearts spawned the minor hit "Everything I Need."
Greg Ham cooled his heels a little and at least waited until "Maria" and "Hard Luck Story" had been given a chance. Inevitably, he too shuffled off into the sunset, muttering something about working on film and television scores. Both musicians, with exceptionally healthy bank balances, no doubt viewed with some distaste the prospect of hauling their carcasses around the world once more trying to rekindle a flame that had quite obviously flickered and all but died.

Hay would have none of it. His own inner furnace was far from extinguished. He railed against headlines proclaiming 'Men At Work Split' following the announcement of Ham's departure, screaming loudly to all who would listen that Men At Work was very much alive and kicking. "We are not going away," he warned one reporter. "There are a lot of people who want to kill the band off. They say we've had the knife into these guys for a while, now let's twist it. A lot of people felt our success wasn't warranted, they didn't realise how much work we put into it and how many things we did right. It offended people who had been trying for so long and doing things wrong for so long." To another writer the resilient Scotsman who admits to warming slowly to strangers thundered, "Listen, I don't care, I don't give a f**k what people say about my band. It's no concern to me. I'm only concerned with creating quality and that's what I've done, I've got no problems with that."

Men At Work in the 90's

The fighting words continued until the critics backed off and then Hay came back warring with real ammunition. He handpicked a new Men At Work — drummer Chad Wackerman (ex-Frank Zappa), guitarist Colin Bayley (ex-Mi-Sex), bassist Jeremy Alsop, guitarist James Black (ex-Mondo Rock) and sax player Paul Williamson. When Sail To You, the fourth single from the Two Hearts album was issued, it almost arrogantly sported a jacket photo of the new (and then-unrecorded) line up. Toward the end of 1985 the new Men hit the brutal Australian pub rock circuit, where no excuses are ever accepted. All superstar trappings were eschewed, as the band rocked on in the manner of hopeful aspirants without a recording contract. Hay called the tour Back to Business, declared that it would include Japan, Malaysia and New Zealand, and having told the critics to go and get stuffed, basked in their praise. The shows were mostly sellouts and the punters' verdict unanimously affirmative. "We'd always seemed to play Australia at the end of a world tour, when we'd be really tired," said Hay, as if in apology for the Men's previous live reputation. "This time it's different, the audiences have been great. Now it's more relaxed and more musical, it's not as crazy as it was."  [extract from External Combustion by Glenn A Baker. 1990 p117-120]

Men at Work broke up shortly thereafter. Colin Hay and Greg Ham reformed the band for a reunion tour in 1996, with a live CD from the tour, Brazil, issued in 1998. In May 2001 "Down Under" was listed at No. 4 on the APRA Top 30 Australian songs and Business as Usual appeared in the book, 100 Best Australian Albums (October 2010). In February 2010 Larrikin Music Publishing won a case against Hay and Strykert, their record label (Sony BMG Music Entertainment) and music publishing company (EMI Songs Australia) arising from the uncredited appropriation of "Kookaburra" for the flute line in "Down Under". On 19 April 2012 Greg Ham's body was found at his home "in what police said were non-suspicious circumstances"
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I was a huge Men at Work fan in my early twenty's. I listened to those first two albums countless times. Amazingly, I still remembered all of their lyrics after all that time. When Two Hearts first came out, it didn't hit me the same way as their first two. It was different than what I was expecting. It was different than what anybody was expecting. The trademark quirky wit of their first two albums gave way to a seriousness and maturity that must have resulted from their overwhelming international success. Two Hearts is evidence of a more meaningful and intense Men at Work. It's a shame we didn't get to hear more.
This post consists of a MP3 rip taken from the CD release of this album, and includes full album artwork for both LP and CD. Also included are three bonus tracks:  12 inch single extended versions of "Down Under" and "Sail To You" (thanks to Ozzie Musicman) and a live track "Blue Heaven" recorded at the Sun Plaza Hall, Tokyo in 1985 (sourced from Colin Hay's Website with thanks). Hope you enjoy this week's post.
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Track Listing

01 - Man With Two Hearts
02 - Giving Up
03 - Everything I Need
04 - Sail To You
05 - Children On Parade
06 - Maria
07 - Stay At Home
08 - Hard Luck Story
09 - Snakes and Ladders
10 - Still Life
11 - Down Under (Extended Version)*
12 - Sail To You (Extended Version)*
13 - Blue Heaven (Bonus Live)+.
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Men At Work:
Colin Hay - Vocals, Guitar

Greg Ham - Vocals, Keyboards, Drum Programming
Ron Strykert - Guitar
Jeremy Alsop - Bass
Mark Kennedy - Drums
Guest artists:
James Black - Guitar
Paul Gadsby - Bass
Ian Hackett - Drums
Kate Ceberano, Renee Geyer - Backing vocals
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Men At Work Link (142Mb)  New Link 14/10/2023