Various Australian Artists - Building Bridges (1989)

(Various Australian Artists 1980's)
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The Building Bridges mob came together in February 1988. The following, after months on the telephone, was the result:
It was their inspiration to gather some of Australia's most influential acts together for an album that would draw attention to the plight of the original inhabitants of this country — the people who have an understanding of this land that few of us can comprehend — and provide an insight into the visions enjoyed by some of our premier artists.
The aim of this project was to provide funds to the National Coalition of Aboriginal Organisations (NCAO), a group representative of Aboriginal people throughout Australia. Funds raised through this record and other projects were used for peaceful projects aimed at enabling the NCAO to represent the Aboriginal peoples in consultation and negotiation with Australian governments in the pursuit of a just settlement. Funds were also set aside to seed projects aimed at bringing understanding and harmony to relations between Aboriginal and non-Aboriginal people in Australia.
The response to the proposal was overwhelming, evidence of the notion that our contemporary artists are concerned about the treatment of Aboriginal people and, along with their support personnel, were prepared to donate their time and talent to repairing the damage of the past.
This album marked the desire for a fair and equitable settlement with the indigenous peoples of Australia. If Australia is to move forward with any dignity, the time to act is now. If non-Aboriginal Australians take this opportunity to consult, listen and change, we will be taking those first vital steps toward the creation of an Australian society we can all be proud of. This was a voluntary project all the way through.

Building Bridges was the theme of a concert held at Sydney's Bondi Pavilion on January 24,1988. Organised as an expression of solidarity and support for Black Australia in our struggle for recognition during White Australia's bicentenary, the concert was a great success as thousands of Australians of all nationalities rocked on in a spirit of harmony, unity, friendship, happiness and mutual respect.
It is to that spirit of peace, harmony and mutual cooperation and respect that this album is dedicated. On the day of the Building Bridges concert, both myself, co-compere Peter Garrett, and the many great Aboriginal musicians and performers who appeared that day, all expressed the hope that one day perhaps all of Australia would be like that magical moment at Bondi. Those sentiments were echoed two days later when Australia's biggest ever march and rally of Aboriginal people and their supporters gathered again peacefully, harmoniously and with a sense of unity and purpose. Again Aboriginal leaders from all over the country expressed the desire to build a better Australia for all women, children and men, where the scourges of racism, sexism and exploitation would not exist. A dream? I don't think so. I have seen many apparently impossible dreams come true in my last 20 years in the Aboriginal peoples' struggle for justice, but we all have a long way to go. This album is an attempt by both Black and White Australians to "bridge" the gulf between us. It is only through better mutual understanding that we can proceed with the task of creating a more tolerant, compassionate, humane and equal Australian society. I hope this album inspires you to join with us who believe it can be done, or if not then be a mindless, apathetic bastard and at least enjoy the music!   Yours in the struggle - Gary Foley (Project Co-ordinator).

Paul Kelly

PAUL KELLY: "SPECIAL TREATMENT" - Written after a visit to Aboriginal communities in the Kimberleys region of Western Australia, "Special Treatment" makes its vinyl debut here. This live recording comes from the ABC program 'Blah Blah Blah'.Says Paul,"Complaints I've heard about special treatment given to Aboriginal people in this country gave me the idea for this song." And yes, it's a tongue in cheek song.

LES SHILLINGSWORTH &. FRIENDS: "JUSTICE WILL BE DONE" - Les comes from the northern N.S.W. town of Brewarrina. Money raised from the original independent cassette release of this song (recorded at 4AK Toowoomba) went to the Committee To Defend Black Rights and towards the creation of a Lloyd James Boney Memorial Park in Brewarrina. Lloyd James Boney died in police custody in Brewarrina on August 6,1987.

Goanna

GOANNA: "SOLID ROCK" - One of the first mainstream songs to deal with the plight of Aboriginal people, this was a major hit in 1982. Songwriter Shane Howard, who spends his time in Melbourne and Kuranda and points in between, maintains a strong connection with Aboriginal people, one that's evident on his latest album, 'Back To The Track'.

HUNTERS & COLLECTORS: "BREAKNECK ROAD" — Inspired by the New Zealand government's declaration that no ships of the U.S. navy would be permitted to dock in N.Z. ports without first indicating whether or not they were carrying nuclear weapons. (The Yanks refused to confirm or deny and the Kiwis are now nuclear-free.) Says singer Mark Seymour, "Although Breakneck Road is not specific to the overall theme of this album, it touches on the idea that politics can be affected by the beliefs of a society determined to survive. Building Bridges is, above all, about changing the perception that blacks and whites have of each other ... because we are part of the same nation and our freedom can only be secure if we understand the effect that political power has on our lives ... how it moulds our understanding and our prejudice."

CAL' CALLAGHAN: "DO IT RITE" - Former Riptides and GANGajang vocalist Mark 'Cal' Callaghan addresses the question of our relationship with the traditional owners of this country with this, his first solo outing. Released in late "88, it's taken from his debut solo album, Sailors and Mermaids. "Most Australians," says Cal of his reasons for writing the song, "feel there's not a lot they can do about it — they have no power because they feel this is an historical problem. I recognise that and this is why this issue has to be resolved, because young white Australians feel very distant from the cause of this problem. It's a difficult issue, but it must be settled."

Peter Garrett with  Midnight Oil

MIDNIGHT OIL: "WARAKURNA" - In 1986 the Oils embarked on the "Blackfella-Whitefella" tour, a four week journey through the Aboriginal communities of the Northern Territory. Aspects of that tour were encapsulated in the album "Diesel & Dust". This song
was written after a visit to the Ngaanyatjarra community of Warakurna in the Western Desert, a land of open spaces, sacred places and strict rules.

JOE GEIA: "YIL LULL" - Originally from Palm Island, Joe Geia was an early member of seminal Aboriginal band No Fixed Address. The Pacific-flavoured "Yil Lull" is the title track of his first solo album. Dedicated to Paul Pryor, a brother who played didgeridoo on this track and died in the struggle last year, Yil Lull was among the best independent releases of 1988.


SCRAP METAL: "BROKEN DOWN MAN" - Scrap Metal are a hybrid child of the ever-fertile Broome music scene. A coastal town with a rich multicultural heritage, Broome's idyllic lifestyle has yielded some of the pearls of Australasian reggae. From the roots of that strange tropical plant have emerged the diverse styles of Scrap Metal. "Broken Down Man" is the title track of their second album. Recorded in Subiaco, it's been released by the infant Broome independent Jigil Records.

Do Re Mi

DO RE MI: "THAT HANGING BUSINESS" ... "1988 celebrated 200 years of white rule in Australia, but 1988 did not acknowledge 200 years of black repression. A sad bi-product is the many young Aboriginal deaths in jail even in the midst of a royal commission into their deaths. Awareness is half the battle and we must act now. Our donation to this record is a belief that projects like these prompt people to ask the pertinent questions."

THE GRAVY: "SPIRIT OF THE LAND" - Originally recorded by Jo Jo Zep, this passionate version of the Martin Kellock composition was recorded last year by Gravy for his first solo album. A passionate supporter of the Aboriginal cause who worked in the Melbourne rock scene as a roadie and manager, the Gravy died in a car accident in October '88. Ross Hannaford did the mix. 

V. SPY V. SPY: "INJUSTICE" - In their early days, the Spys toured the Aboriginal communities of western New South Wales with Gil Weaver's Roadshow. Their observations were subsequently encapsulated in this song.

CROWDED HOUSE: "MANSION IN THE SLUMS"-It was drummer Paul Hester who made the initial connection. Upon hearing about the Building Bridges project he was keen to become involved. Hence the donation of this Neil Finn song from one of the world's most popular acts.

INXS

INXS: "ORIGINAL SIN" - This one topped the Australian charts in January '84. It was subsequently banned in parts of the U.S.A. because it infringed on the moral boundaries of traditional racial segregation. INXS responded to such ignorance by becoming one of the world's most popular acts.

GONDWAN ALAND: "BULL ANT" - Gondwanaland's didjeridoo player Charlie McMahon has spent a lot of time working with the Luritja and Pintupi people of the Western Desert, sinking bores and establishing outstations for the traditional owners of those lands.

Dragon

 DRAGON: "SPEAK NO EVIL" - A band with more hits than Jeff Fenech, this one, says songwriter Johanna Pigott, "is about Australia's loss of innocence". After years of racist and derogatory talk about Aborigines, it's time we treated these indigenous peoples with the respect and humanity they deserve.

SWAMP JOCKEYS: "STRYCHNINE" - A dynamic act from delightful Darwin, the Swamp Jockeys have spent much of their time working with Aboriginal people across the Top End. Strychnine, from the mini-album Bones Of Contention, deals with the poisoning of Aboriginal people in Alice Springs in the mid '80s.

The Saints

THE SAINTS: "SWING FOR THE CRIME"-Originally released on The Saints 1978 album Prehistoric Sounds is one of the most progressive post-punk elpees, Chris insisted on its inclusion because his new brother-in-law is a blackfella "and in some respects so am I."

ROSS WILSON: "LIVING IN THE LAND OF OZ"-An Australian classic from one of the country's most respected songwriters, musicians, vocalists and producers, Living In The Land Of Oz was first released in October '76. "This song articulates the sentiment of the Building Bridges project."

No Fixed Address

NO FIXED ADDRESS: "WE HAVE SURVIVED" -Coming out of South Australia, No Fixed Address were among the prime movers of contemporary Aboriginal music. With the release of Wrong Side Of The Road, a film that dealt with the racism faced by touring Aboriginal bands, they established the essential political direction of Aboriginal rock. This version of "We Have Survived" is taken from the film soundtrack.

The National Coalition Of Aboriginal Organisations
The National Coalition of Aboriginal Organisations (N.C.A.O.) was formed in April 1986 to provide a strong voice at the national level for Aboriginal community-based organisations. It is a collective organisation respecting the autonomy of its member organisations. Its membership now includes national Aboriginal organisations in such areas as Health, Land Rights, the Law, Child Care and Community Administration. Membership is open to all Aboriginal organisations which are community, rather than government, initiated and controlled.
By donating their songs to this project, the artists have waived their standard performance and songwriting royalties. In a show of solidarity, their record companies and publishing firms have also waived their mechanical royalties. The results of their generosity will, no doubt, be evident in the years to come.
For further information on the N.C. A.O. write to P.O. Box 229, Glebe, N.S.W. 2037.

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This post consists of FLACs ripped from my CD copy of this double album (have the vinyl also) and includes full artwork from both media types. This compilation of White Australian and Indigenous artists is a who's who of Aussie musicians that have played a key role in building not only the Australian Music Industry but also highlighting the importance of our cultural heritage.
I trust you will appreciate the significance of this release when you listen to it and acknowledge the importance of our Indigenous music.
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Track Listing

01 - Special Treatment (Paul Kelly)
02 - Justice Will be Done (Shillingsworth)
03 - Solid Rock (Goanna)
04 - Breakneck Road (Hunters & Collectors)
05 - Yil Lull (Joe Geia)
06 - Warakurna (Midnight Oil)
07 - Strychnine (Swamp Jockeys)
08 - That Hanging Business (Do Re Mi)
09 - Injustice (V. Spy V. Spy)
10 - Do It Rite (Cal Callaghan)
11 - Original Sin (INXS)
12 - Broken Down Man (Scrap Metal)
13 - Speak No Evil (Dragon)
14 - Mansion In The Slums (Crowded House)
15 - Spirit Of The Land (The Gravy)

16 - Bullant (Gondwanaland)
17 - Swing For The Crime (The Saints)
18 - Living InThe Land Of Oz (Ross Wilson)
19 - We Have Survived (No Fixed Address)
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Building Bridges FLACs (480Mb)
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Mountain - The Best Of (1973) plus Bonus Track

(U.S 1969–74, 1981–85, 1992–98, 2001– present)
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The Best of Mountain is the first compilation by American hard rock band Mountain. It consists of material recorded throughout 1970-1971, culled from their first three LPs. On April 15, 2003, the album was remastered and reissued in an expanded edition with new liner notes and four bonus tracks, two of which are taken from Leslie West's first solo album, 1969's Felix Pappalardi-produced "Mountain", the project which eventually led to the formation of the band.
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LOUD and PROUD
Between 1969 and 1971, when the US spawned a wave of bands playing in the loud and proud mould of blues rock/psychedelic hard rock/proto-heavy metal - Grand Funk Railroad, the James Gang, Iron Butterfly, Steppenwolf, Blue Cheer, Alice Cooper, the Amboy Dukes, Cactus etc - it was Mountain that stood loudest and proudest. For a start the band boasted the mighty Leslie West (born Leslie Weinstein, 1945, in Queens New York), owner of a roaring, barrel house vocal bawl and a phenomenal guitar style that allowed him to switch with ease from heavy riffs and rampaging power chords to passages of remarkable grace and melodic flair.

The second part of the equation was multi-instrumentalist, composer, arranger and producer Felix Pappalardi (born 1939. m the Bronx New York) who not only contributed a thick, cranked-up bass sound but also co-wrote (with his wife Gail Collins) and sang in a conventional, tuneful voice the band's more sensitive and complex songs. Thirdly, drummer Corky Laing (born 1948, in Montreal Canada) laid down a titanic beat that also relied on an adroit sense of time change and polyphonic rhythm to help set the band apart. With added keyboard colouration from Steve Knight, West and Pappalardi were able to combine all these elements into a unique whole. The band's studio work was tightly focused while in the live situation their forte was the extended improvisation that could see a song like 'Nantucket Sleighride' extrapolated beyond 30 minutes as the mood arose.

The classically trained Pappalardi initially worked as an arranger and session musician around the Greenwich Village folk scene before finding fame as producer of the Youngbloods' 'Get Together' and finally international recognition as producer for Cream on their Disraeli Gears (1967), Wheels Of Fire (1968) and Goodbye (1969) albums. Pappalardi had also produced the final (flop) single for West's soul/R&B band the Vagrants in late 1967. By 1968, West had fallen under the spell of Eric Clapton having seen Cream play at the Fillmore East (then still known as the Village Theater).

Ironically, as Cream broke up and Clapton eschewed the heavy blues rock route. West was determined to maintain the tradition. Pappalardi recognised West's vast talents and agreed to produce and play on his debut album, Leslie West - Mountain. Issued in September 1969, it boasted many fine examples of Cream inspired blues rock. West and Pappalardi had already decided to form a band, their fourth gig being an appearance at Woodstock that August. Straight after that, original drummer Norman D. Smart was replaced by Laing in time to record Climbing!  Laing immediately hit his stride by not only delivering in the drumming department but also contributing lyrics for 'Mississippi Queen', 'Silver Paper', 'Never in My Life' and 'For Yasgur's Farm'.

Pappalardi & West

The    band    entered    New   York's Record Plant towards the end of the   year.  Ever   the   perfectionist, Pappalardi   would  rehearse   them for ten hours a day, forcing them to   complete   multiple   takes   in order to get the best out of the songs. For such a relatively new band, 'Climbing!' proved to be an   incredibly   mature   and   cohesive   album. Released in March 1970, it reached #17 on the Billboard album chart, going on to sell over 500,000 copies.
"Mississippi Queen" kicked off the album in a blaze of hard rock fireworks. Featuring an instantly recognizable cow-bell intro leading into a driving, heavy beat which is matched by one of the great gonzo guitar riffs of all time, it peaked at #21 on the Billboard chart when issued as a single. A prime slice of loud, raucous blues rock, the song secured Mountain's position at the forefront of the American hard rock tradition. "Mississippi Queen" further attained cultural immortality when heard in the classic Simpsons' episode Homerpalooza (1996).

"Theme For an Imaginary Western" was a cover from Jack Bruce's recent solo album Songs for a Tailor (produced by Pappalardi), with Pappalardi taking the lead vocal. Although originally listed on each album as 'Theme For an Imaginary Western', this song has subsequently often been billed as 'Theme From an Imaginary Western'. Whatever the case, lyricist Pete Brown has been quoted as saying the song "was a romantic soundscape of music, full of longing and sadness", and indeed Mountain do justice to its beguiling and elegiac tone.

In a similar vein is "For Yasgur's Farm", a kind of tribute to Max Yasgur (whose farm provided the setting for Woodstock), framed in a universal message to love with a strong English traditional feel.

In the heavy rock corner, Mountain turned over more slabs of riff-rock in the shape of 'Silver Paper','Siting on a Rainbow'/Boys in the Band' and in particular the magnificent 'Never in My Life'. This is the kind of rampaging rocker that Mountain did best, full of West's huge downbeat riffs and crashing open chords. Furthermore, it comes on like a runaway steam train with Laing's driving double bass-drum kick and ingenious Latin feel. Like 'Mississippi Queen' and 'Nantucket Sleighride' it remained in the Mountain live set for years to come, and there's a particularly crushing version featured on the double live album Twin Peaks (1974).

With Mountain's tame arid popularity spreading fast, and a heavy year of touring out of the way, they were back at the Record Plant in early 1971 for their next album, Nantucket Sleighride did even better than the debut by reaching # 16 on the Billboard chart and approaching a million sales; it's probably the highpoint of the band's career. Monumental tracks such as "Don't Look Around", "Travelin' in the Dark (To E.M.P.)" and 'Nantucket Sleighride (For Owen Coffin)' - the epic tale of searching "for the mighty sperm whale" - were Pappalardi masterstrokes, with lyrics by his wife. They boasted odd melodies, jazz-like syncopated rhythms, a massive drum sound, Pappalardi's innovative and propulsive bass lines and West's trademark riffagc in equal measure.

'Nantucket Sleighride' was heard extensively in the UK as the theme tune for ITV's long running World in Action series, Nantucket Sleighride was almost an album of two halves, with West taking control on tracks like 'You Can't Get Away!', 'The Animal Trainer and The Toad' and the slide guitar showpiece 'The Great Train Robbery'. 'The Animal Trainer and The Toad' is how Rolling Stone magazine described the relationship between Pappalardi and West at the time.

Flowers Of Evil, the second 1971 album, was notable for its terrific ride track which I've added as a bonus cut. It's one of the band's great rock and roll tracks, with Pappalardi's vocals in the chorus fed through a Leslie cabinet which gives the whole a distinctly psychedelic edge.

In 1972, Mountain split for the first time; they reformed and then split again in late 1974.There are many more tales of high adventure to be told about Mountain - reformations, more albums, continual touring, alcohol and drug abuse - but we'll leave the history for now. West and Laing have continued to work together as Mountain periodically over the ensuing years. Sadly, Gail Collins shot Felix Pappalardi to death on 17 April, 1983. The music world lost one of its true visionaries. As West has said, "Felix changed the face of rock, alright". [lan McFarlane - Melbourne]
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This post consists of FLACs ripped from my Australian Pressing (Image Records) which I bought as a teenager when the album was first released. Since then I have accumulated most of their albums on the Windfall and CBS labels, but my trusty Image Labels are still the best !
Full album artwork for both Vinyl and CD are included. I was in two minds whether to keep the track listing true to the original release, but the absence of "Flowers of Evil" was too much to endure so I've added it as a Bonus Track.  The live version of Nantucket Sleighride on their live set 'The Road Goes Ever On' (1972) is probably one of the best recordings Mountain ever made, and it is my intention to post this album in the near future, so stay tuned.

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Track Listing

01 - Never In My Life
02 - Taunta (Sammy's Tune)
03 - Nantucket Sleighride
04 - Roll Over Beethoven
05 - For Yasgur's Farm
06 - The Animal Trainer And The Toad
07 - Mississippi Queen
08 - King's Chorale
09 - Boys In The Band
10 - Don't Look Around
11 - Theme From An Imaginary Western
12 - Crossroader
13 - (Bonus Track) Flowers Of Evil 

Mountain are:

Leslie West - Guitar, Vocals

Felix Pappalardi - Bass, Vocals
Corky Laing - Drums
Steve Knight - Keyboards

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Mountain FLACs link  (284Mb)
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Jon English - Some People (1983) plus Bonus Track

(Australian 1972-Present)
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Jon English migrated to Australia from Essex, England, with his family in the 1960s. He launched his career with a garage band of schoolmates while still attending Cabramatta High in Sydney.

In 1972, he leapt from virtual obscurity when he joined the Australian stage production of Jesus Christ Superstar. He won the part of Judas over 2,000 other hopefuls and completed three separate stints in the role – In 1972, 1975 and 1978. He also appeared on the Original Cast album of 1972.

Jon performed with the studio band Duck on the soundtrack to the rock opera Ned Kelly, and released his debut album 'Wine Dark Sea'. His next album, 'It’s All A Game', yielded his first hit single – a cover version of the Bob Seger song "Turn the Page" – which peaked at #7 in Australia in February 1975. He then joined a new production of Jesus Christ Superstar and released his third album, 'Hollywood Seven'.

'Minutes to Midnight' followed and Jon toured with his recently formed Jon English Band. His next album, 'Words Are Not Enough', scored hits with "Words Are Not Enough", which peaked at #5 in July 1978 and "Nights in Paradise" which peaked at #21 in October.

English then starred in the Australian television mini-series Against The Wind as Jonathan Garrett – a transported convict freshly arrived in Sydney. He also composed, produced, and recorded the soundtrack album with Mario Millo, and the theme to the series – "Six Ribbons" – was released as a single and became the best-selling male pop single in Australia in 1979, peaking at #5 in January.

He won Best New Talent at the 1979 Logie Awards and Against The Wind later became a hit TV series in both Scandinavia and the UK.

A double compilation album, 'English History', peaked at #4 in August 1979, and Jon toured Australia and overseas with his new band, Baxter Funk. Two albums followed: 'Calm Before The Storm' (1980) and 'Inroads' (1981). He then undertook a sold-out tour of Scandinavia where the soundtrack to Against The Wind had sold over 100,000 copies.

A live double album, 'Beating the Boards', was released in 1982, followed by 'Jokers and Queens' – a mini-album with Marcia Hines. 'Some People', featuring John Dallimore on guitar and Jon's new backing band 'The Foster Brothers', was his next solo outing in 1983. Two singles "Some People" and "Tempted" were taken from the album in 1983 while a duet single with Renee Geyer, "Every Beat of My Heart", was released in 1984.

In the same year, English joined the stage production The Pirates of Penzance as the Pirate King. Several stage musicals followed over the next decade, including Rasputin (1987), The Mikado, and HMS Pinafore. Several singles were released during this time, as was the album 'Dark Horses' (1987).

In 1990, English released another album, 'Always the Busker'. An adaptation of Homer’s Iliad was released by WEA in the same year under the title of 'Paris' – a collaboration between English and producer David McKay that won the 1990 Australian Record Industry Association (ARIA) Award for Best Original Soundtrack or Cast Recording.

In 1993, English performed in the popular Australian comedy TV series All Together Now as Bobby Rivers, a washed-up rock relic. "All Together Now" was released as a single, as was the 'Best of Jon English' 20th Anniversary Album in the same year [extract from nostalgiacentral.com]
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This post consists of both FLACs ripped from my vinyl and includes full album for LP.
I have also chosen to include the bonus non-album track "Beating The Boards" which was the B-side to the single "Some People". Although this album didn't chart well and failed to produce a hit single, it is still a good all rounder and "Oh, Paris" on the flip side is the highlight for me. What really caught my attention when I first saw this album was the presence of John Dallimore (Redhouse), playing guitar and adding backing vocals. Along with the other members of the Foster Brothers, they provide Jon with a great sound and add value to Jon's powerful vocals and song writing capabilities.
Note: this album was also released in the States on the Frituna label in 1982, but with the track "The Leader" included instead of  "Coming Up" (see cover below)

I'm in shock and close to tears - Jon's passing, only hours after I had created this post has saddened me deeply. This post was meant to be a celebration of Jon's talent, and not a  'tribute'. RIP Jon English and condolences to his family and friends
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Track Listing

01 - Straight Ahead  (5:15)
02 - Some People  (3:51)
03 - Hell Or High Water  (4:56)
04 - Coming Up  (3:01)
05 - Waterloo  (4:40)
06 - Oh, Paris  (3:40)
07 - Tempted (3:00)
08 - I'm Yours  (3:09)
09 - She Was Real  (7:10)
10 - Given Time  (3:46)
11 - Beating The Boards (Bonus B-Side Single) (3:55)

Jon & The Foster Brothers: 
Jon English   - Vocals
Peter Deacon  - Keyboards, Vocals

Keith Kerwin  - Guitar, Vocals
John Dallimore  - Guitar, Vocals, Flute
Greg Henson   - Drums
John Coker  -  Bass, Vocals
Produced By David Mackay
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Jon English FLAC Link  (284Mb)

David Bowie - Love You Til Tuesday (1984)

(U.K 1962–2016)
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On January 10th, the world mourned the loss of music innovator David Bowie, who lost the battle to liver cancer at the age of 69. Born and raised in Brixton, South London as David ("Davie") Jones, he changed his name to Bowie early in his career to avoid confusion with Davy Jones of The Monkees. From singer, songwriter, multi-instrumentalist, record producer, arranger, painter and actor, Bowie was a trailblazing figure in pop culture for over four decades, and a pioneer of glam rock in the 1970s.

Bowie had been struggling for years to achieve some semblance of commercial and artistic success as a musician, a journey that included stints as a blues-singer for mod-rock groups such as The King Bees and The Mannish Boys, a campy dance-hall dandy with a taste for Anthony Newley, and a Dylan-esque folksinger. While all of these musical incarnations failed miserably, it was, strangely enough, Bowie's participation in an avant-garde mime troupe that put him on the pathway to the kind of success he so badly craved. In 1968, now a solo mime artist, Bowie opened a show for Marc Bolan's Tyrannosaurus Rex, and in the process, ended up crossing paths with Bolan's producer Tony Visconti.

Bowie in early 60's

Visconti's account of their initial meeting: "I met David about a month after Marc [Bolan] and I remember the weather. It was a nice day, I was in David Platz’s office at 68 Oxford Street and he played me Bowie’s first Deram album, saying, 'What do you think of this kid?' I said, he’s all over the map.' You know that album, 'Uncle Arthur,' 'Mr Gravedigger' and so on, crazy songs, 'Laughing Gnome'? I said, he’s great but so unfocused.' And he said, 'Come and meet him, he’s in the next room.' David was about 19 at the time, very nervous sitting there. He knew he was going to meet me, it had all been set up, and David Platz left us after five minutes. We got on very well, we shared a love of Andy Warhol, underground music, a group called The Fugs, which few British people were aware of. He was obviously in love with American music and I loved him, he was a singer songwriter, had this great English accent and now we were going to work together. So we took a long walk down Oxford Street, on this nice day, we continued to talk the whole day and about three hours later ended up on King’s Road near a film theatre where Roman Polanski’s Knife In The Water was playing. We’d been talking about foreign films and Truffaut, specifically black and white and scratchy films, so we went in there and we said goodbye at about 7 in the evening. We’d struck up a great friendship."

To say this was a fortuitous encounter would be a vast understatement because Visconti proved to be instrumental in shaping the careers of both Bolan and Bowie, as well as helping to foster the birth of the glam-rock movement that would make them both superstars by 1972. At the time of their meeting in 1968, Bowie had managed to record an album for Deram the previous year, but it had failed to chart. As Visconti noted when he first heard the LP, David Bowie is an unfocused pastiche of an album, touching on dance hall numbers, show tunes, British invasion and even novelty songs. What was conspicuously absent was any significant reference to rock music, a much better forum for Bowie's growing avant-garde inclinations. This and the inconsistent songwriting all but sealed its fate with the public. As a result, his days at the label were numbered, and he was unceremoniously dropped in early 1968. However, just before his exit from Deram, Bowie had composed and recorded "Space Oddity," a song destined to eventually bring him his first taste of commercial success, and he had collaborated on a song with Visconti, "Let Me Sleep Beside You," which is arguably his first successful attempt at writing a rock song and a harbinger of what was to come next. Bowie had written a good deal of new material by the time he entered the studio again in 1969, this time on the dime of Mercury Records, to record his second album, now with Visconti as his producer. Among the songs to be recorded was a new version of "Space Oddity," which was obviously influenced by the Stanley Kubrick film, 2001: A Space Odyssey and the impending Apollo 11 moon landing. Bowie had originally written and recorded the song for a promotional film for Deram called 'Love You Till Tuesday', which ended up staying in the can until 1984, when it was eventually released on vinyl by Deram, and then Pickwick on CD in 1992.

"Space Oddity" was his his first Top-5 UK hit in the late '60s. Released as a single in July 1969, the title and subject matter were inspired by Stanley Kubrick's 2001: A Space Odyssey and introduced the character of Major Tom. The United States' Apollo 11 mission would launch five days later, and would become the first manned moon landing another five days later. Written by Bowie for his promotional film 'Love You Till Tuesday', a longer re-recorded version of the song was included as the opening song for the 1969 album David Bowie (released that November). Upon its re-release as a single in 1973, the song reached #15 on the Billboard chart and became Bowie's first hit single in the US. Still one of his best-known songs, "Space Oddity" was a largely acoustic number augmented by the eerie tones of the Stylophone, a pocket electronic organ played by Bowie.
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This post consists of MP3's ripped from CD and features artwork for both the Deram Vinyl release and my Pickwick CD release.  I've also taken the liberty of including as a bonus track, the original Demo release of Space Oddity, which is nearly 1min shorter than the 1969 album release.
Although I grew up listening to Bowie during his Ziggy Stardust glam era it is interesting to hear his earlier works and gives one a full appreciation of  Bowie's musical talent and the legacy that he has left behind.
Goodbye Major Tom.......The stars are very different today without you.

Track Listing 
01 Space Oddity (Original LP Release)
02 Love You Til Tuesday
03 When I'm Five
04 Ching-A-Ling
05 The Laughing Gnome
06 Rubber Band
07 Sell Me A Coat
08 Liza Jane
09 When I Live My Dream
10 Let Me Sleep Beside You
11 The London Boys
12 Space Oddity (Bonus Original Demo)


Musicians:
David Bowie: vocals, guitar
Derek Boyes: organ
Dek Fearnley: bass
John Eager: drums


David Bowie Link (89Mb) New Link 23/12/21

Original Bushwhackers - The Shearers Dream (1974)

(Australian 1971 - Present)
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The Bushwhackers formed as a result of one long afternoon session at the South Morang Pub, then taking  off through the La Trobe Uni Folk Club.
Dave made the  point that with the 'Colonials' band there was a desire to be proud of their Australianness and to look in keeping with the era from where the songs had derived, from that golden age before World War1 and where the lyrics were all about the Bushmen–shearers, bushwhackers, drovers and so on. They bought the finest made moleskins, long leather boots and the best vests.

The new Bushwackers Band (without the h – The Original Bushwackers & Bullockies Band) had formed in Melbourne in 1971. Shirley Andrews related to me these new ‘bushwackers’ had individually been either members or attendants of the Bush Music Club or Victorian Folk Music Club (VFMC). Jan Wositzky clarified this point by saying Dave Isom had been a member of Captain Matchbox and ran the La Trobe Uni Folk Club, but neither Dave nor Bert Kahanoff, the third initial founder with himself, were hanging out with the VFMC. As far as he knew he was the only one who went there, though all were associated with the VFMC via the Nariel Creek folk festival. Jan learn't the dances at VFMC dances and at Nariel Creek, and so became the band's dance caller. Through the VFMC Shirley Andrews work shopped and taught the folk dances she had profiled through ‘The Tradition’ and Take Your Partners so Jan certainly had good experience with dancing and then calling.
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After the Bushwackers formed they published ‘The Bushwackers Band Song Book’ in 1978’ and ‘The Bushwackers Band Dance Book’ in 1980. Both were excellent publications and although ‘bush dance’ doesn’t seem a term they then used, the connotation was certainly there in well-presented illustrations with Australian themes and bush style settings. [extract from 'Evolution of ‘Bush Dance’ part 5' ]
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The Bushies
Perhaps it's because we're a young country that appreciation of our folk heritage has been slow to develop. The emergence of groups playing "bush music" over the last few years has led to a greater awareness of the rich legacy brought here by our primarily English, Irish and Scots ancestors and the distinctly Australian bush ballads developed by succeeding generations.

The Bushies have been instrumental in keeping this tradition alive and developing on it — this album was recorded in 1974 and is full of the excitement and vigor of accomplished young musicians drawing on a rich cultural stream. Surprisingly and shamefully Australian folk albums are not numerous and this one can lay claim to being important for its influence.
Rollicking and brash, the line-up features bush bass — extremely hard to record but certainly more authentic than acoustic or electric bass. Soon after recording the album the band toured Europe to great success and the LP release was delayed until their return. Originally pressed on a picture record (now a collectors item - Picture Records PRF 1007) it has been through several mutations and has at various stages been hard to obtain.
The Bushies have themselves changed line-up, name and sound; recording the music for TV's "Cash & Company" and a further album — "The Band Played Waltzing Matilda".  They have toured Australia and returned to Europe to spread the word on our music. "The Shearers' Dream" is a landmark album which will be kept in print as part of our efforts to record Australian music [Linear Notes by Keith Gisss]
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This post consists of both FLACs ripped from my 2nd hand vinyl copy. Having found it at my local flee market, it was not in the greatest state and restoring this classic album to a listenable state was no mean feat. After many hours of removing pops and crackles, this album is finally ready for your next 'bush dance' in the comfort of your own home.  Full album artwork provided (including alternative release by Rainbow Records shown below) along with a multitude of band photos thanks to Dave Isom, sourced from his Blog
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Track Listing

01 - South Australia
02 - Red Hot Woodstove
03 - Maranoa Drovers
04 - Ned Kelly Was Born in a Ramshackle Hut
05 - Swagless Swaggie
06 - Drops of Brandy
07 - Rye Buck Shearer
08 - Woolloomooloo Lair
09 - Holy Dan
10 - Bullocky Oh
11 - Jim Jones At Botany Bay
12 - Bush Girl
13 - Denis O'Reilly
14 - Shearers' Dream

At the time of recording the Bushwhackers were:
Davs Isom: Guitar, Five string banjo, vocaJs.
Mick Slocum: Accordions, Angla, Concertina, vocals.
Tony Hunt. Fiddle, Viola, Five string banjo.
Jan Wositzky: Harmonica, Bodhran, Bush bass, vocals, spoons.
Dobs Newton: Lagerphone (or Murrumbidgee River Rattler), whistle, vocals.
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The Original Bushwhackers FLAC Link (269Mb)
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W.O.C.K On Vinyl - Various Artists: Stairways To Heaven (1992)

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Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
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'Stairways to Heaven' is one of the wackiest albums ever released. Every song on here is "Stairway to Heaven," but all performed in very different styles. To even get a grasp on the range of styles contained within, is almost mind-boggling. For instance, Rolf Harris, best known for his novelty Australian hit "Tie Me Kangaroo Down, Sport," essentially re-does that song with the lyrics for "Stairway to Heaven" as the basis. John Paul Young puts in a straightforward ballroom rendition, mirror balls and all! Other versions include a B-52's cover band, an Elvis impersonator, a Doors tribute band, and two Beatles groups (one early period, one late) all doing the cut in the styles of those groups. There is even a crooner-style rendition (watch out, Pat Boone, you've got competition) and a classically tinged operatic. The liner notes on this one, with their fabricated tale of the making of the album, are even hilarious (preface by Gary Hill)

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These 13 cover versions are not so much a tribute to the Led Zep song but a wooden dagger driven through its heart by tongue-in-cheek sarcasm. Once you listen through all 13 tracks, the song has been well-n-truly killed. You'll be waking in a cold sweat at night with nightmares of a dystopic Orwellian world where the only song is "Stairway". The original won't ever sound the same again.

The concept comes from Australian TV compere Andrew Denton. Every week on his early 90s tonight show "The Money Or The Gun" a different artist would come on and slaughter "Stairway" in a different style. This album compiles some of the more memorable. Not only do you get Rolf singing it "Tie Me Kangaroo Down Sport" style, you also get: John Paul Young singing it "Love Is In The Air" style; The Rock Lobsters (B52s cover band) singing it "Rock Lobster" style; The Beatnix

These tracks are by no means an exhaustive collection, there were  more versions from what I recall (after seeing all of them played back-to-back on late night music show Rage). Lamentably, one of my favourites, the Castanet Club's "toora loora loora lie" sea shanty version is missing. And a great opportunity was missed not to kick it off with the Hard-Ons own demolition of the song (from their Yummy album) where, after trying (and failing) to pick the opening guitar piece, guitarist Blackie swears and smashes his guitar instead. I guess putting Rolf Harris, Barry Crocker and the Hard-Ons on the same album would have been just a tad too surreal.

(Beatles cover band) singing it "I Wanna Hold Your Hand" style; Elvis impersonator Neil Pepper superbly singing it "Viva Las Vegas" style; Barry "Neighbours" Crocker singing it Barry Crocker style; and Doors cover band The Australian Doors Show singing it "When The Music's Over" style, sounding as though this song was always supposed to be done by Jim Morrison! The one that had Radio One listeners the most up in arms in 1995 when it broke through in the UK was the version by actor Leonard Teale. His droll poetic recitation of the lyrics, sounding like a smooth-talking used car salesman, was just too much for some to bear -- the BBC's switchboard was jammed by complaints from irate Led Zep fans!
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So this month's WOCK on Vinyl not only pays tribute to the truly Wacky and Korny of all releases, but may also bring you closer to Heaven, 13 times over. Ripped from CD, this post consists of MP3's (320kps) and full album artwork
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Artist Listing
01 - Kate Ceberano And The Ministry Of Fun 

02 - John Paul Young
03 - Pardon Me Boys
04 - Rolf Harris
05 - The Australian Doors Show
06 - Sandra Hahn And Michael Turkic
07 - Robyn Dunn
08 - Neil Pepper (Elvis)
09 - The Rock Lobsters
10 - The Beatnix
11 - Vegemite Reggae
12 - Leonard Teale
13 - Barry Crocker & The Doug Anthony Allstars 
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Stairways To Heaven Link (85Mb) New Link 21/04/2026
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