Yes - Tormato (1978) + Bonus Track

(U.K 1968 - 2004, 2008 - Present)

Tormato is the ninth studio album by YES. Issued as the follow-up to 1977’s acclaimed Going for the One, Tormato received less than charitable reviews upon release and its virtues are still a matter of debate for Yes fans and critics. Many fans and some band members – particularly Rick Wakeman – state that the production was faulty, resulting in compressed and dull sound.

It is the last album featuring singer Jon Anderson and keyboardist Wakeman before the band’s disbanding in 1981. However Anderson returned to Yes when the band reformed in 1983, and Wakeman returned in 1990. [extract from yesworld.com]

Following the ascendance of punk rock, Yes had an uphill battle in following the popular Going for the One. Before they even started working on the follow-up album, the decision to record in London had caused problems. Some of the band members wanted to go abroad again for tax reasons, preferably to Switzerland, where they had had such a good time making the last album – but, after heated debate, they all regrouped in London, to record at Advision and R.A.K. Studios in St. John’s Wood.

Seven months of writing, rehearsing and recording led to Tormato, released in September 1978. It was a big disappointment after Going for the One, which had captivated and delighted so many people – even the band members agreed that it was a messy, strained effort. Tormato hit the UK charts on 8 October for a stay of eleven weeks, reaching number eight at its highest point. The first reaction to the album from fans was one of disbelief, particularly at the sight of the cover, which they were not impressed by. Press reaction was mixed: ‘Arriving UFO‘ and ‘Circus of Heaven‘ were given a rough ride, whilst the Chris Squire-written ‘Onward‘ accompanied by a string section, ‘On the Silent Wings of Freedom‘ a longer more typical YES composition with a strong bass opening by Chris, and the mellow, classical Wakeman piece ‘Madrigal‘ were considered to be better tracks. US fans, more tolerant than their UK counterparts, were more appreciative of the album. But, for all its faults, Tormato‘s best tracks stand up to a contemporary listen. Yes showed their affection for ‘Onward‘ in 1996 by recording a live version for the Keys to Ascension album.

Rick summed it up by saying, “Tormato could have been tremendous but suffered from appalling production. If I could be given one album to remix and to get the guys to add a couple of extra bits to, it would be that one. If ever an album had unfulfilled potential it was Tormato, but totally our fault as it had probably the worst final production mix of anything I have ever been involved with.”

Jon Anderson

What started as a change of direction with 'Going For The One' continued with Tormato. It was a conscious effort to lighten the band’s material and increase the number of tracks on an album. Following the hit single "Wondrous Stories", which had been a pleasant surprise to everyone, Yes realised the potential of a wider audience for their music and the need for hit singles to make it happen. From this point, they would continue to record their albums with some tracks aimed at mass ­market appeal.

If the album had been a disappointment to some, then the 1978 shows on the Tormato tour more than made up for it! Touring from August to October, Yes absolutely blew the audiences away with the spectacular, unforgettable In-the-Round stage show, which topped all previous tours, something that seemed impossible beforehand. Whilst discussing the future presentation of the Yesshow in 1978, Chris Squire had suggested to Michael Tait that the band should play in the middle of an auditorium.

Once an auditorium was filled to capacity, the lights were dimmed and the overture music began (either a piece from Benjamin Britten’s Young Person’s Guide To The Orchestra, or the soundtrack from the film Close Encounters of the Third Kind by John Williams) as the band emerged from the side entrance of the arena. Picked out by spotlights, Yes would walk towards the stage. Once set up, they would open with the classic ‘Siberian Khatru‘. The stage slowly moved round at about two to three miles per hour, giving the crowd an unrestricted view of the band from all angles, bringing the audience much closer to them than ever before.

At one point, however, the audience got too close, as Rick Wakeman recalls. “I remember the second night in Chicago when we were on stage… when you’re moving, you tend to look at the audience; you don’t normally. There was a whole block in the front of about twenty seats that were empty and this was very strange because I knew the show was sold out. Now, with any show that is sold out with thousands of seats, there are going to be twenty to thirty no-shows, it’s a fact of life. But I thought this is really weird that there’s twenty to thirty no-shows, but they’re all in the front row – this is crazy! We came to the part of the show where Steve Howe played Clap and while he played we all used to disappear. I would jump off stage and go to where my road crew were. When I went under there… I’d never seen so many people in my life! And I said to my guy, “What on earth is going on?” He said, “The motor that turns the stage burned out. So we’ve taken twenty people from the front two rows.” And they were underneath pushing the stage around!’ [Excerpted from David Watkinson’s ‘Perpetual Change‘]

Yes On Round Stage (Tormato Tour)

Album Cover

The album cover was designed by the mighty Storm Thorgerson from Hipgnosis, who also did Dark Side of the Moon and nearly every other Pink Floyd cover, The Mars Volta’s first album covers, The Alan Parsons Project covers, Audioslave, some Black Sabbath, ELO, Dream Theater, Genesis, Peter Gabriel 1-3 etc.

This is not one of his best works though. The tomato was not his idea. According to Steve Howe’s autobiography one of the band members (don’t remember who) threw a tomato at it. Or was it an accident? I can’t recall.  

I think I read that at first they were going to call it 'Tor', and the landscape on the background is a place called 'Yes Tor', which is a high point in Devon, England. But then someone put that guy with the sticks on it, and everyone hated it. Someone threw a tomato at it (most likely Wakeman), and then they changed it to Tormato as a pun.

Roger Dean must have been on holiday!

This post consists of FLACs ripped from my vinyl copy and includes the usual artwork for both media types, along with label scans.  I'm pretty sure I purchased this back in the late 70's from the Melbourne University campus book shop using some of my precious boarding money, and was a little chuffed after listening to it as I was expecting more.  I have since grown to appreciate this Yes album more and am glad that I made the purchase at the time and sacrificed some other life necessity (probably food !)

I have also grown to appreciate the front cover, even though it is not a Roger Dean masterpiece.  I hope you enjoy consuming this album, especially as it comes with tomato sauce LOL

Track List

01 Future Times, Rejoice

02 Don't Kill The Whale

03 Madrigal

04 Release Release

05 Arriving UFO

06 Circus Of Heaven

07 Onward

08 On The Silent Wings Of Freedom

09 Madrigal (Bonus Alternate Version)

Jon Anderson - Vocals

Steve Howe - Guitars, Vocals

Chris Squire - Bass, Vocals

Rick Wakeman - Keyboards

Alan White - Percussion

Tormato Link (251Mb)

 

Flake - Reflections: The Festival File Volume Thirteen (1989)

(Australian 1968 - 1974, 1989 - 1991)

In those years between Normie/Billy/Stevie scream boom and the rise of the likes of Skyhooks and Sherbet, those wastleland years when Australian bands were treated as something less than vermin by Australian metropolitan (particularly Sydney) radio stations, Flake could be said to have had a dream run. In eighteen months they notched up four consecutive top forty hits and were given the opportunity to record a fairly inventive album.

The first formation of Flake came together on November 14, 1968, around a core of vocalists, Geoff Gray (ex Eli), Sharon Sims and Denise Caines, and irrepressible drummer Wayne Thomas (ex Reggie Norton & The Ideas, Plastic Tears). Two months after formation, Flake won 2UW';s 'Bands To Watch' competition and were soon joined by bassist Denis Moore (ex Him & The Others), lead guitarist John Russell (ex Amber, Plastic Tears) and rhythm guitarist Billy Taylor (ex Purple Vision).

Signed to Martin Erdmans's Du Monde label (home of King Fox, Erl Dalby & Pyramid, Damael Lilith, Elm Tree, Clapham Junction, the 69ers, Toby Jugg, Wheelbarrow and Ben Turpin), Flake went into the trusty World Of Sound Studio in Ramsgate in the first half of 1970 and laid down Jackie Lomax' "You've Got Me Thinking" and a more than competent version of the Julie Driscoll (with Brian Auger & The Trinity) version of Bob Dylan's "This Wheel's On Fire".

Flake - Spinning Wheel Disco 1969

Radio interest was initially minimal, but as luck would have it, the start of a seven month radio ban on British and major-label Australian records saw radio stations desperate for programmable material. 2 UW's Gary Jaeger snuck the B-side onto the station's playlist while programme director Ray Bean was on holidays and within weeks the single was in the Sydney top five (top twenty nationally). Radio 2SM later presented the band with an Australian Talent Award, in the form of a gold disc.

Given this unexpected opening, Flake covered another banned and passed-over British record - Marmalade's "Reflections Of My Life" - and reached No.11 in Sydney (top thirty nationally). The flipside featured one of four competing local versions of the Rotary Connection's "Teach Me How To Fly" (the others being done by Jeff St. John & Copperwine, Gene Pierson and Erl Dalby), with Sharon Sims and Shauna Jenson sharing lead vocals. By this stage, new bassist Greg Higgs (ex Stringers) had come on board and the group was firing on all cylinders as a confident, glossy hard-edged pop outfit with soulful overtones.

"Life Is Getting Better", a workmanlike Vanda/Young composition (the band also recorded the pair's steaming Quick Reaction) reached No.15 on the Sydney charts in the middle of 1971 (on Erdman's new Violet's Holiday label). By Christmas, they had their fourth and final hit (No.35) with "Under The Silent Tree". The album "How's Your Mother?" also made it to the market for the festive rush. A late 1972 single, "See The Light", was ignored by radio, Sharon Sims went off to record solo and that, for all intents and purposes was the end of Flake.

Not quite. The carcass of the faded unit was rolled over and infiltrated by three former members of Blackfeather - Neale Johns, Jim Penson and Warren Ward (also ex Flying Circus) - who, with John Russell, tried to wring some recognition factor out of the name. The single "Scotch On The Rocks / Breadalbane" might just as well have been issued under the name Blackfeather, for all that it had to do, musically, with the Flake that radio listeners knew.

This collection feature's all of Flake's hits, their better B-Sides and album cuts, a Sharon Sims solo side and a special bonus previously unreleased live track from a long-forgotten Rex Mossop-hosted television variety show. Let Flake not be forgotten. [Liner notes by Glenn A.Baker]

Sharon Sims

Flake reformed in 1989 with Thomas and Lindsay Askew joined by the latter's brother Rob Askew on bass guitar, Gordon Sheard on guitar and Anna Medley on lead vocals; in response to Festival issuing this compilation album 'Reflections'. The group continued on the Sydney pub and club circuit until 1991.

P.S This compilation album was dedicated to Wayne Thomas who, during his years behind the counter at Martha's Record Farm, turned more than a few naive young lads onto the sounds that mattered.

This 'New Years Day' post consists of FLACs ripped from vinyl (thanks to Mr. Purser) and includes full album artwork for both vinyl and CD media. Thanks to daveallen-flake for the Flake photos included in this post.

Track List

A1 This Wheel's On Fire

A2 Teach Me How To Fly

A3 Reflections Of My Life

A4 Life Is Getting Better

A5 Under The Silent Tree

A6 See The Light

A7 Take My Word

B1 Quick Reaction

B2 Story

B3 You've Got Me Thinking

B4 Where Are You

B5 Scotch On The Rocks

B6 To Be The One You Love

B7 Say Goodbye

Personnel:

Lindsay Askew – guitar (1968–69, 1989–91)

Mick Gaul – bass guitar (1968–69)

Geoff Gray – lead vocals, percussion (1968–73)

Sharon Sims – lead vocals, percussion (1968–72)

Rob Toth – keyboards (1968–70)

Wayne Thomas – drums, piano, vocals 

(1968–72, 1989–91)

Denise Caines – vocals (1969–70, 1973)

Shauna Jensen – vocals (1970)

Dave Allen – flute, sax (1969–70)

Ross Jeffries – guitar (1969)

John Russell – guitar, autoharp (1969–74)

Dennis Moore – bass guitar (1969–70)

Greg Higgs – bass guitar, vocals (1971–73)

Billy Taylor – guitar (1971–74)

Ted Atkinson – bass guitar (1973–74)

Mick Meehan – guitar (1973)

Jim Penson – drums (1973–74)

Royston Johnson; - vocals (1973-74)

Neale Johns – vocals (1973–74)

Warren Ward – bass guitar (1973–74)

Rob Askew – bass guitar (1989–91)

Gordon Sheard – guitar (1989–91)

Anna Medley – vocals (1989–91)

David Clouston – keyboards (1991)

Flake Link (379Mb) New Link 26/12/2024

REPOST: Trust - Selftitled / L'Elite (1979 / 1980)

(French 1977-1985, 1988-1989, 1996-1997, 2006-2011, 2016-Present)

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By far the most successful French Heavy Metal band of all, Nanterre based Trust produced some excellent albums chock full of aggression and lyrics that were unafraid of using social and political commentary. The group, founded by singer Bernie Bonvoisin, previously a drummer with 'Taxi' and 'Killerdrink', and guitarist Nono (a.k.a. Norbert Krief) even made it to UK shores, touring nationwide in a headlining capacity. Despite this, Trust had a quite stormy career, dogged by line-up changes that were allegedly due to frontman Bernie Bonvoison's dictatorial method of running the band. The band's very first stage performance, with Christian Cheffeu manning the drums, came on September 9th 1977 as support to 'Bang' at the Golf Drouot in Paris. Trust went through numerous band members in its formative stages, including drummer Omar Ben El Mabrouk and second guitarist 'Moho' (Mohammed Shemlok). 

The group's initial recording roster, cutting tracks for a 1977 demo called 'Prends Pas Ton Flingue', comprised Bonvoisin, Nono, bassist Raymond Manna and drummer Jean-Émile "Jeannot" Hanela. Two of these tracks saw issue as a 7" single, released that October by Pathé-Marconi. Another switch in drummers found Sherwin Rosman taking the role whilst Mann was substituted by ex-'Volcania' man 'Vivi' (Yves Brusco).

Trust famously provided the opening honours for AC/DC on October 24th 1978 at Le Stadium in Paris, here Bonvoisin forging a famous friendship with Bon Scott. It is reported that Bon hanged around the studio with the band sometimes helping with the translation of lyrics.
During a studio session on the 13th February 1980 Bon recorded a version of "Ride On" during a jam session with the band. This version has never been released officially but has cropped up on the bootleg market.
When Trust released their Repression album in 1980 they dedicated the album to the memory of Bon. The LP featured an insert which included a picture of Bon with the band along with a message from Trust.
Trust released their first selftitled album on CBS Records in May 1979, which was later re-released in 1980 under the title of  'L'Elite'.  Recorded in London with producer Herv Muller, it included a cover of AC/DC's 'Ride On'. A French tour to promote the album, which novelly included a concert at the Fleury-Merogis prison, saw many concerned local town authorities drafting in extra police, fearing Trust's political message would incite rioting. The group was an immediate hit, scoring platinum sales status and boasting a sell out crowd of 10,000 for a headline show at the Pavillon de Paris on January 12th 1980.

Trust rose to fame in 1979 and 1980 with a music mixing hard rock influences with acerbic social and political commentary with anarchist and anti-Soviet undertones, with a renegade attitude à la MC5. Trust's success was also due to Krief's stature as a French guitar hero and Bonvoisin's both sincere and mature lyrics as well as his raw energy. Their 1980 hit song 'Antisocial' (on the Répression album) criticized the frenetic, dehumanizing pace of modern life and work in large cities.
With the exception of the core pairing of Bonvoisin and Nono, Trust was unable to cement a solid roster of players, a curse which would dog the band throughout its entire lifespan.

I first heard Trust in the early 80's when I purchased a double heavy rock compilation called "Killer Watts" (see earlier post) which showcased their hit single 'L'Elite'. When I heard 'L'Elite', I was totally blown away. The French vocals of singer Bernie Bonvoisin along with the blistering guitar riffs by Nono Krief hooked me big time. I managed to track down Trust's entire catalogue from a range of import shops, but it was hard going as very few import outlets carried French releases. And when I did find them, they cost me big bucks. Now I'm laughing because good condition vinyl copies fetch high prices on eBay, and I've got the lot.

This new rip was taken from my pristine vinyl in FLAC format and includes full album artwork, with an inner sleeve that features complete lyrics of all songs and band photos.

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Track Listing

01 - Préfabriqués

02 - Palace

03 - Le Matteur

04 - Bosser Huit Heures

05 - Comme Une Damné

06 - Dialogue De Sourds

07 - L'Élite

08 - Police-Milice

09 - H&D

10 - Ride On

11 - Toujours Pas Une Tune

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Band Members:

Bernie Bonvoisin (Vocals)

Nono Krief (Guitar)

Raymond Manna (Bass)

Jean-Émile Hanela (Drums)

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NEW IMPROVED RIP

Trust Link (228Mb)   

New Link 29/12/2023

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W.O.C.K On Vinyl: Various Aussie Artists - The Spirit Of Christmas '96 (1996)

 

Before things get too serious

here at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

This year's Christmas WOCK post features a collection of popular festive tunes performed by a host of Aussie artists. This release was organised as a fund raiser for the Starlight Foundation (Australia) back in 1996, by Grace Bros.

In as much as the Christmas Season is a time to celebrate the birth of Christ, it is also a time for giving gifts to friends and family.  In light of this, I thought it appropriate to draw everyone's attention to this wonderful charity and perhaps sway your sense of giving to this foundation.

Starlight's Mission:

At Starlight we know that happiness matters to sick kids facing the pain, fear and stress of serious illness. That's why for over 30 years we've worked in partnership with health professionals to bring the fun, joy and laughter that helps sick kids be kids. We help kids of all ages regardless of disability, injury or illness because what happens in childhood lasts a lifetime.

We believe in happiness because it matters to sick kids’ health.

What Starlight Foundation does:

When a child is diagnosed with a serious illness, life can become consumed by hospital and treatment. It’s scary and overwhelming.  That's why Starlight exists. Through play, creativity, and social connection, we create the fun and happiness seriously ill children and their families need to get through their toughest times.  Starlight programs:

• Transform the hospital and healthcare experience of kids and young people across Australia.
• Connect kids, teens and families, helping to overcome the social isolation associated with serious illness.
• Entertain by providing moments of positive disruption which help to replace pain, boredom and stress, with joy, laughter and fun.

At Starlight we know what happens in childhood lasts a lifetime. Positive psychology research shows happiness is integral to our overall wellbeing and quality of life. It matters in the moment, and it matters long term.  As a vital partner in the healthcare system, we create moments of happiness every day in hospitals and communities across Australia. 

Happiness helps sick kids feel more positive about hospital and treatment. It boosts their resilience, helping them cope with pain, fear, isolation and stress.  So, when you give to Starlight, you’re helping to improve the lives of seriously ill children and young people, now, and into the future. 

'Starlight Wishes' help dreams come true

When you grant a Starlight Wish, you help sick kids and their families leave the pain of treatment behind and enjoy more of what matters most - fun, joy and shared happiness. It's a once-in-a lifetime gift that helps sick kids' dreams come true!

How Can You Help:    

Starlight Donation

Track Listing

01 God Rest ye Merry Gentlemen (CDB)

02 Mary's Boy Child (Christine Anu)

03 Santa Claus is Back In Town (The Badloves)

04 This Christmas (Deni Hines)

05 How to Make Gravy (Paul Kelly)

06 Silent Night (James Reyne)

07 The Little Boy that Santa Claus Forgot (John Farnham)

08 O Happy Day (Judith Durham)

09 Sleigh Ride (ABC Melbourne Symphony Orchestra)

10 Happy Christmas - War is Over (Tim Finn)

11 Away in a Manger (Gina Jeffreys)

12 Santa Claus is Coming to Town (Frankie J Holden)

13 Trim the Tree (Diesel & Wilson)

Rip from CD to FLACs wrapped in artwork. Merry Christmas Everyone  

REPOST: Hush - Aloud 'n' Live (1973)

(Australian 1971-1977)
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Hush: a funny name for a rock band that turned thousands of teenies on to hysterical weeping and screaming and which was once barred from entering a country town by the mayor who did not want them "interfering" with the local girls.
Band members were loud in every way: from their satiny costumes and fluffy mullets to their thrusting and wiggling, and their songs, which were mainly a celebration of sex, including "Glad All Over", "Get the Feeling" and their No.1 hit, "Boney Moroney".
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Biography
Hush started as a 5-piece local dance group in Sydney in '71. Musically they just weren't very good. But they were enthusiastic and their repertoire mostly consisted of instantly recognisable, very danceable rock classics (Rolling Stones, Free, and Who numbers). This early line-up of the group contained vocalist Keith Lamb, bassist Rick Lum and drummer Smiley Pailthorpe. They recorded one single for the Phonogram record company, a Keith Lamb original called "You". The flip side was a Neil-Sedaka song "Rainy Day Bells".
Guitarist Les Gock joined the group in August 1972 and the group made the NSW State Finals of a National Battle Of The Sounds competition. Another Sydney group, Sherbet, went on to win the NSW and National finals of that competition. — but Hush were mightily chuffed at even reaching a State final and just 2 years later they would release a single "C'mon We're Taking Over" that was specifically directed at Sherbet, who had gone on to consolidate their own position as Most Popular Group in Australia.

But back to '72. As soon as Les Gock joined the band and they'd made the State final, some internal chemistry within the band started working. Inside a few months the group were suddenly the biggest crowd drawers on the Sydney dance circuit. They certainly poured every erg of collective energy into every performance and large groups of young rock 'n' roll consumers suddenly found something better to do than loll around home on Friday and Saturday nights waiting for their parents to come back from the RSL - they went out to scream and dance and sweat to Hush.
But while promoters were only too anxious to book the group, the prevailing feeling was that Hush were a group of thrashers who were pulling the crowds but that the whole thing would pass away within the next six months.

They were in fact treated much as a novelty — a popular band with no lasting power. This attitude was pretty much reflected when the group signed to the Warner Bros. Record Company which put them in the studios to record an up tempo version of "White Christmas".
Bing Crosby's version of White Christmas is of course the biggest selling record ever made, it's something like 10,000,000 copies in various forms since its its release in late '49.
When set against this standard, Hush's version did particularly dismal business. It sold about 200 copies and got absolutely no airplay.
Well it was a pretty dire record anyway. The sort of record that, on reflection; a band hopes its fans never get to hear.

Having had no luck with record sessions, Hush concentrated on live work for most of '73. They toured interstate and investigated country areas of NSW. It was during this period of touring that the band gained themselves a reputation for sexual shenanigans. It became almost ritualised behaviour for girls to leap on stage and tear off their clothes while the band played Summertime Blues. In Perth, during one particularly high energy bracket, an overwrought female fan had an orgasm on stage.
"Untouched by human hand — all by herself," remembers Keith Lamb fondly.
In October of '73 the band went back into the studio to record their most popular original song, "Get The Feeling". They didn't adapt to studio conditions any better than on previous efforts, and in an attempt to get their on-stage energy onto record they next put down a live album in front of a few hundred selected fans packed into a Sydney studio. The album Aloud 'n' Alive, was released in December of '73, on the Warner Bros. label.

Hush 1973 Promo Shot

Once again the final sound on record conveyed practically none of the band's on stage energy, but the album still sold. The groups fans were able to bridge the gap between the group's live and recorded performances. Quite recently the album notched up enough sales to earn itself a gold record.
The success of the album and the band's vast popularity in country areas around NSW finally inspired airplay of the "Get The Feeling" single in 1974. Hush hit the road with a vengeance, extending their touring schedules to take in country areas throughout Australia. The move extended the concert popularity and got further airplay for "Get The Feeling". In March of '74 Hush moved to the Wizard Record Company and recorded the "Get Rocked album. On every level it was better than anything else they'd ever done in a studio. A single called "Walking" from the album scored them their first national hit and the album sold over 45,000 copies.

The band's third album, 'Cmon We're Taking Over' was made in the euphoria of having scored heavily with 'Get Rocked'.
As already related, the title track of C'mon was a calculated challenge to every other Australian band — especially the most popular, Sherbet.
The album and the single was also a calculated move towards musical sophistication. The band experimented with horn and string arrangements and threw in a couple of ballads for extra artistic effect.

It turned out to be too much too soon. As a single, "Cmon We're Taking Over" received near saturation airplay, but did not prove as popular as the mere basic, raunchier "Walking". The album sold well initially then faltered badly. Hush themselves were struggling with an identity crisis.

They were still regarded as a local dance band who could put on a good stage show and who had somehow fluked a hit record and brief national popularity. The group's attempts to update this image with an artistically credible album, i.e. C'num We're Taking Over, didn't work out as planned and the last straw was that their popularity in their home town at Sydney suddenly plummeted. A Sydney Hordern Pavilion concert in early '75 drew only a few-thousand instead of an expected 4,000.
At this time the band were also not having any joy with a new single, "Boney Moroney". It had been recorded under the direction of producer Robbie Porter but the band didn't like the song very much and when radio stations didn't play it the group felt very frustrated indeed.
They left Australia for a while, touring New Zealand and Noumea for six weeks. The tour on the whole was successful and spirit were further uplifted upon their return to find a few radio stations were actually playing Boney.

And then "Boney Moroney" took off. It gained airplay and high chart positions in state after state and ended up selling over 50,000 copies. It spread slowly all around Australia, staying on most national charts for most of '75 and it ended up being No.1 National Hit for '75 on the Countdown TV series pop charts.
The follow up single, "Glad All Over" was not as highly successful but it was successful enough, and it was also the single that attracted most interest from record companies in England and America — an interest that has resulted in the band being offered a tour of England in late '76. Hush's most recent album, Rough Tough 'N' Ready (released Dec '75) contained both Boney and Glad All Over singles and was a return to the raunchy rock format of the get Rocked era. It was also the closest yet studio approximation to the band's on stage excitement level. [extract from RAM magazine 1976]
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Molly handing over a Platinum Single for Boney Moroney on Countdown

This post consists of a vinyl rip in FLAC format along with album artwork and various band promo shots and photos (sourced from Hush's website with thanks).  Also included is a scan of the RAM Collection Centrefold feature on the band, as transcribed above.  I have also chosen to add a few rare bonus singles to the post - namely their 1972 reggae rendition of "White Christmas" (thanks to Ozzie Music man), their single "Get The Feelin'" and a special single-sided promo single for Colonial Jeans called "Get Flaired' (see below) which was a rework of their popular live track "Get Rocked".  Flaired jeans were certainly the flavour of the day when this promo single was released in 1974, and I reckon I might have had a pair or two myself !

NEW IMPROVED RIP

Track Listing
01 - Take Us Home
02 - Three Blind Mice
03 - Make luv to You
04 - Honky Tonk Woman

05 - Come On Up
06 - Summer Time Blues
07 - Green Skin Girl From Mars
08 - Come On Everybody
09 - Get The Feelin'
10 - Morning Dew
11 - Johnny B. Goode
12 - Long Tall Sally
13 - Black Skin Blue Eyed Boys
14 - Get The Feelin' (Bonus single)
15 - Get Flaired (Bonus Colonial Jeans Promo Single 1974)
16 - White Christmas (Bonus Single)
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Band members:
Keith Lamb (vocals)
Les Gock (guitar)
Rick Lum (bass)
Chris Paithorpe (drums)
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Hush Live Link (299Mb) New Link 22/12/2023
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REPOST: Nova - Vimana (1976)

(Italian 1975-78)
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.More active abroad than in Italy (where only one of their 4 albums was released), Nova was a unique case of an Italian progressive group that spent almost all of its career in foreign countries. After the split of Uno, former Osanna founders Elio D'Anna and Danilo Rustici stayed in London and formed another band called Nova with other well-known Italian musicians as Corrado Rustici from Cervello and Dede Lo Previte from Circus 2000.

The band, with a stronger jazz-rock influence than their previous groups, released their first album, Blink, in 1976, aided by such big names as Pete Townshend and with help from lyricist Nick J.Sedwick (who also wrote the lyrics for Uno). A usual Osanna feeling is still in the air, but the style is changing to a more commercial kind of music. Only two of the six tracks are instrumental, the singer role been taken by Corrado Rustici, and the album has some good moments.

Since the following LP their records never gained an Italian release, the band having now stably moved to England and, since 1978, to the USA.Second album, Vimana, saw the band reduced to a trio, original members Elio D'Anna and Corrado Rustici augmented by ex-New Trolls Atomic System's keyboardist Renato Rosset and with help from international stars like Percy Jones (bass), Narada Michael Walden (drums), Phil Collins (percussion). Though some of the typical Osanna/Cervello sound elements can still be heard (listen to Elio D'Anna's sax or Corrado Rustici's frantic guitar), the band's style is slowly approaching a mainstream jazz-rock with a funky edge, and the last two albums will go to a lower level.

.The fourth and last one, Sun city was recorded in the USA in 1978 and showed a harder sound with the magic guitar of Corrado Rustici (one of the most talented guitarists from that era) in great evidence.
D'Anna then returned to Italy for a career as producer, leaving the musical scene to completely disappear, while Corrado Rustici stayed in the USA, returning back to Italy where he's long collaborated with such artists as Zucchero and Elisa, both as musician and producer. During their early days in England with Nova, both Elio D’Anna and Corrado Rustici (credited on the cover as Carrado Rusticci!) appeared on the 1976 album Sunset wading by Caravan’s bass player John G.Perry. An Italian band influenced by the Mahavishnu Orchestra's acoustic stylings, Wayne Shorter's soprano sax attack, and British art rock vocalizing. The resultant fusion is airy and pleasant. Guest drummer Narada Michael Walden pushes things incisively and contributes the catchy number "Princess and the Frog".
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I first heard Nova while browsing in one of my favourite import shops in Melbourne and was totally mesmerized by the 'Jazz Fusion' experience that came through the tiny shops speakers. Needless to say, the LP was purchased immediately and their remaining 3 albums as soon as I was financial. My favourite track on the album would have to be "Night Games" although every track has something special about it. If you like bands like 'Mahavishnu Orchestra' or Australia's very own 'Crossfire', then you will really dig Nova. I have also posted their other 3 albums on the blog for your enjoyment!

But for now, here is a freshly ripped copy of my vinyl copy of Vimana in FLAC format and includes full album artwork from LP and CD.

NEW IMPROVED RIP

.Track Listing

01. Vimana (7:18)
02. Night Games (9:37)

03. Poesia (To a Brother gone) (5:11)

04. Thru the Silence (5:43)

05. Driftwood (10:03)

06. Princess and the Frog (7:44)

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Band Members:
Corrado Rustici (Lead guitar, 6 & 12 strings & acoustic guitar, marimba, lead vocals)
Elio D'Anna (Tenor & Soprano saxes, flute, synthesized flute)

Renato Rosset (Fender Rhodes piano, acoustic piano, Mini-Moog, strings ensemble, clavinet)

Guest Artists:

Percy Jones (Bass guitar)

Narrada Micheal Walden (Drums & Fender Rhodes piano)

Phil Collins (Percussion)

Zakir Hussain (Congas)

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Nova Link (229Mb) New Link 20/12/2023

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REPOST: Tears For Fears - The Seeds Of Love (1989) + Bonus Tracks

(U.K 1981-91)

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Before you dismiss Tears For Fears for their earlier pop hits like 'Mad World', 'Shout' and 'Everybody Wants to Rule the World', as popular as they may have been; their third album 'Seeds Of Love' contains a barrage of musical sounds and lyrics, unparalleled to anything they had released before. The Seeds of Love (on which Ian Stanley appeared for the last time as a TFF member), at a reported production cost of over a million pounds. The album was written largely by Orzabal along with keyboardist Nicky Holland, who had toured with the band on their global 1985 "Big Chair" tour. Moving from various studios and using various sets of producers over many months, the band ultimately decided to scrap that previous work and take the reins themselves with assistance from engineer David Bascombe. Much of the material was recorded in jam sessions and later edited down. The length of the production left the band with towering debt and a record company eager to cash in on lost earnings.

The songs on this album feature expansive melodies instead of blatant hooks, and the sound is more grounded in soul and gospel on songs like "Woman in Chains," the updated Philly-soul strain of "Advice for the Young at Heart" and "Badman's Song." Orazabal's passionate vocals are well matched by Oleta Adams' fervent contributions. The group even dabbles in jazz on "Standing on the Corner of the Third World," the fabulous "Swords and Knives," and the slow-burning "Year of the Knife", my personal favourite. As for the title track, it manages to be insanely intricate as well as catchy. Full of arcane references, lovely turns of phrase, and perfectly matched suite-like parts, it updates the orchestral grandiosity — and familiar sound — of the Beatles' psychedelic period.

The first time I heard this album, I couldn’t help but compare it with Sgt. Peppers Hearts Club Band with its psychedelic cover, diverse sounds and similar riffs (ie Sowing the Seeds and the Beatles 'I Am The Walrus').

After The Seeds of Love, Orzabal and Smith had an acrimonious falling out and parted company in 1991. The split was blamed on Orzabal's intricate but frustrating approach to production and Smith's desire to slow down the pace of their work. Alias, there was no follow up album to Seeds Of Love in the remaining time that Orzabal and Smith spent together, so this album therefore stands out as a classic by depole. If you haven't heard this album, then do yourself a favour - give it a go, you won't be disappointed.

The rip was taken from my vinyl in FLAC format and includes full album artwork.  I have also chosen to include the single release of the album's title track along with its non-album B-Side "Tears Roll Down".

NEW IMPROVED RIP

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Track Listing

01 - Woman in Chains

02 - Badman's Song

03 - Sowing the Seeds of Love

04 - Advice for the Young at Heart

05 - Standing on the Corner of the Third World

06 - Swords and Knives

07 - Year of the Knife

08 - Famous Last Words
[Bonus Tracks]
09 - Tears Roll Down (B-Side Single)
10 - Sowing The Seeds Of Love (A-Side Single Edit)

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Band Members:

Lead Vocals - Roland Ozabal, Curt Smith

Guitars - Roland Orzabal, Robbie McIntosh, Neil Taylor

Bass - Curt Smith, Pino Palladino

Keyboards - Nicky Holland, Roland Orzabal, Ian Stanely

Drums - Manu Katche, Phil Collins, Simon Phillips, Chris Hughes

Percussion - Carole Steele, Luis Jardim

Trumpet - Jon Hassell

Harmonica - Peter Hope-Evans

Backing Vocals - Nicky Holland, Tessa Niles, Carol Kenyon

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Tears For Fears Link (321Mb) New Link 30/09/2025
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