REPOST: Doobie Brothers - Selftitled (1971)

(U.S 1970–1982, 1987–present)
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As one of the most popular Californian pop/rock bands of the '70s, the Doobie Brothers evolved from a mellow, post-hippie boogie band to a slick, soul-inflected pop band by the end of the decade. Along the way, the group racked up a string of gold and platinum albums in the U.S., along with a number of radio hits like "Listen to the Music," "Black Water," and "China Grove."
Originally a trio called Pud formed in California in 1970 and comprising Johnston, Hartmann and bassist Greg Murph, the latter quickly replaced by Dave Shogrer.. Started out as a hard rock band, toyed for a spell with gospel-oriented material using horns before return to rock roots. Expanded to four-piece with addition of Pat Simmons, a native of Sar. Jose.

Signed to Warner Bros, this lineup appeared on 1971 debut album although Shogren left soon after. Tiran Porter and Mike Hossack (percussion) were enlisted to bring Doobies up to quintet. This use of two guitarists and two percussionists was later to draw comparisons with similarly boogie-oriented Allman Brothers, although Doobies have always professed a closer affinity to San Francisco band Moby Grape. Indeed, the Grape's Skip Spence had been instrumental in bringing original Doobies together.
The Doobie Brothers honed their chops by performing live all over northern California in 1970. They attracted a particularly strong following among local chapters of the Hells Angels and scored a recurring gig at one of the bikers' favorite venues, the rustic Chateau Liberte in the Santa Cruz Mountains. An energetic set of demos (some of which were briefly released on Pickwick Records in 1980 under the title Introducing the Doobie Brothers), showcased fuzz-toned, dual lead electric guitars, three-part harmonies and Hartman's frenetic drumming and earned the rock group a contract at Warner Bros. Records. (with Tiran Porter on Bass). At this point in their history, the band's image reflected that of their biggest fans - leather jackets and motorcycles.

However, the group's 1971 self-titled debut album departed significantly from that image and their live sound of the period. The album, which failed to chart, emphasized acoustic guitars and frequently reflected country influences.
Their second album, the gold-seller 'Toulouse Street' (1972) found the band experimenting with horns on certain tracks and moving further in direction of hard rock, results being a high placing on U.S. album lists and a hit single "Listen To The Music". The 1973 set, 'The Captain And Me', repeated the process with gold status and a hit single, "Long Train Running" - and by now the Doobies were a substantial concert attraction in the U.S. Attracting cult attention in U.K., they managed to sell-out two London Rainbow gigs on their British debut early in 1974 with very little pre-publicity.

Later that year the group's instrumental prowess was boosted by the talents of former Steely Dan's slide guitarist Jeff 'Skunk' Baxter (though many critics interpreted the move as a backward one on Baxter's part). The guitarist had, however, already appeared in session role on earlier Doobies albums.
More personnel changes occurred in the following year: Hossack departed to be replaced by Keith Knudsen, formerly with Lee Michaels, with line-up boosted to six by addition of keyboards player Michael McDonald - like Baxter before him, a recruit from Steely Dan [extract from 'The New Musical Express Encyclopedia of Rock', by Logan & Woffinden, Salamander 1977]

The new sound was showcased on 1976's 'Takin' It to the Streets', a collection of light funk and jazzy pop that resulted in a platinum album. Later that year, the group released the hits compilation 'The Best of the Doobies'. In 1977, the group released 'Livin' on the Fault Line', which was successful without producing any big hits. Johnston left the band after the album's release to pursue an unsuccessful solo career. Following his departure, the Doobies released their most successful album, 'Minute by Minute' (1978), which spent five weeks at number one on the strength of the number one single "What a Fool Believes." Hartman and Baxter left the group after the album's supporting tour, leaving the Doobie Brothers as McDonald's backing band.

Following a year of audition, the Doobies hired ex-Clover guitarist John McFee, session drummer Chet McCracken, and former Moby Grape saxophonist Cornelius Bumpus and released One Step Closer (1980), a platinum album that produced the Top Ten hit "Real Love." During the tour for One Step Closer, McCracken was replaced by Andy Newmark. Early in 1982, the Doobie Brothers announced they were breaking up after a farewell tour, which was documented on the 1983 live album Farewell Tour. After the band's split, McDonald pursued a successful solo career, while Simmons released one unsuccessful solo record. In 1987, the Doobies reunited for a concert at the Hollywood Bowl, which quickly became a brief reunion tour; McDonald declined to participate in the tour.

By 1989, the early-'70s lineup of Johnston, Simmons, Hartman, Porter, and Hossack, augmented by percussionist and former Doobies roadie Bobby LaKind, had signed a contract with Capitol Records. Their reunion album, Cycles, went gold upon its summer release in 1989, spawning the Top Ten hit "The Doctor." Brotherhood followed two years later, but it failed to generate much interest. For the remainder of the '90s, the group toured the U.S., playing the oldies circuit and '70s revival concerts. By 1995, McDonald had joined the group again, and the following year saw the release of 'Rockin' Down the Highway'. But the lineup had once again shifted by the turn of the new millennium. 2000 saw the band — Hossack, Johnston, Knudsen, McFee, and Simmons — issue Sibling Rivalry, which featured touring members Guy Allison on keyboards, Marc Russo on saxophone, and Skylark on bass [extract from Wikipedia]
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Album Review
One of the most inauspicious debuts by a major rock group, this subdued slice of country boogie might be called the missing link between Moby Grape and the later, revved-up Doobies of "Listen to the Music." Only a handful of West Coast hippies bought this record originally, but it lays the blueprint for the Doobies' future radio-friendly sound: chugging rhythm guitar, stretched-out harmonies, Tom Johnston's joyful R&B vocals, and Patrick Simmons' acoustic picking. A muffled mixing job helped keep this album in the morgue, which is sad, because "Nobody" and "Greenwood Creek" rate with some of Johnston's best tunes, and they both deserve issuance on a definitive Doobie Brothers compilation. [reviewed by Peter Kurtz, All Music Guide]
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I personally like this first release as it demonstrates the roots from where the Doobies latter music would spring from. For example, if you listen closely to the track "Beehive State", you can definitely hear some Doobie riffs that were indicative of greater things to come.
This post consists of FLACs ripped from my vinyl copy which I bought 2nd hand for the pricely sum of $1.99 back in the late 70's and includes full album artwork for both CD and Vinyl plus label scans. My copy exhibits the newer Warner Bros record label and is a 1974 re-release - probably made in response to the popularity of the Doobie Brothers at that time. If you haven't listened to the Doobie's earlier material, then you really haven't 'Listened To The Music' (pun intended !)

NEW IMPROVED RIP!

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Track listing

01 - Nobody (Johnston) – 3:42
02 - Slippery St. Paul (Simmons, Johnston) – 2:14
03 - Greenwood Creek (Johnston) – 3:04
04 - It Won't Be Right (Johnston) – 2:38
05 - Travelin' Man (Johnston) – 4:25
06 - Feelin' Down Farther (Johnston) – 4:20
07 - The Master (Johnston) – 3:30
08 - Growin' a Little Each Day (Johnston) – 3:20
09 - Beehive State (Randy Newman) – 2:42
10 - Closer Every Day (Simmons) – 4:19
11 - Chicago (Simmons) – 1:40
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Band Members:
Tom Johnston - guitar, harmonica, piano, harp, vocals
Patrick Simmons - guitar, vocals
Dave Shogren - bass, organ, keyboards, vocals
John Hartman - drums
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The Doobies Link (213Mb)  New Link 16/01/2025
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REPOST: Paul Norton - Let It Fly (1992)

(Australian 1980 - 1994)
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Paul Norton (aka McNaughton) started playing bass in various bands in his teens, which led to the formation of Melbourne band The Runners. After a couple of years of constant live work The Runners were signed to Mushroom records in 1981 and released their first single "Sure Fire Thing" in 1982 followed by The album 'Hitting the Wall' and the single "Endlessly". The Runners toured constantly throughout the early eighties and went through many line up changes before disbanding in 1985.
Paul spent the next couple of years playing with various bands (Wendy and the Rocketts, Steve Hoy and the Hoy Boys) before launching a solo career in 1988. Again signed to Mushroom Records, Paul released his first single "Stuck On You" which received immediate airplay and got to number two on the Australian charts. Paul then went to London to work with producers Paul Muggleton and Mike Paxman on the next single "I Got You" (#34) and the album 'Under a Southern Sky' (the song "Southern Sky" (#32) was later chosen for Australia Day Celebrations at the 2000 Olympics in Sydney).

Paul worked live with his band for the next couple of years before teaming up with American musician/producer T-Bone Wolk (Hall and Oates Carly Simon) to work on his second album 'Let It Fly' which was recorded at Metropolis studios in Melbourne and mixed in New York at Electric Lady and Bearsville studios. Let It Fly was released in 1992 with the singles "When We Were Young" and "Lil Red Riding Hood". Paul worked live with his band over the next couple of years touring extensively throughout Australia including many aboriginal communities and Arnhem Land.
In 1994, Paul met Peter Wells RIP (Rose Tattoo) and Cletis Carr and together they formed Hillbilly Moon and later that year released the album 'Hillbilly Moon Volume One' with the song "She Left Me" receiving solid airplay on Country Music Television.
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Paul was Musical Director and wrote the score for The Australian Shakespeare’s production of Much Ado About Nothing and the finale for the critically acclaimed comedy Certified Male. Paul has written for and with some of Australia’s finest performers including Debra Byrne, Gerry Hale, Wendy Stapleton, Donna Fisk and Michael Cristian, Dobe Newton and Colleen  Hewitt. In the last few years Paul has divided his time between writing producing and working live and is currently working on a new album.
2006 saw Paul tour Australia with The Countdown Spectacular, featuring 27 of Australia's top rock acts of the 70's and 80's performing to 100,000 people nationwide. [extract from Paul's Website]
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Album Review
This album is easily the equal of 'Under A Southern Sky' and it's excellent lead single "When We Were Young" combined the cruisy, catchy feel of his earlier hit "Stuck On You" with a nostalgic lyric that teenagers young and old could relate to.
And yet for some inexplicable reason, radio stations ignored it, bar a few scattered plays in Melbourne, resulting in neither the album nor the single taking off. As a follow up single Paul issued the old Sam The Sham hit "Lil' Red Riding Hood", the album's only cover/remake. It probably seemed like a good idea at the time in that it was a nicely rockin' little version, it had recognition factor and Paul and the band, with Nick Barker guesting on vocals, sound like they're having fun too. But another of Paul's originals would have been a much better option.

With his gritty voice, the occasional use of fiddle on some tracks and the music's hybrid of country and rock styles, Paul does at times remind me of John "Cougar" Mellencamp (especially in the track "What Are We waiting For"). Without slavishly copying of course. In fact there's a downright Stones-like blues-rock swagger on a couple of my favourite tracks like "Little Miss Understood" and "Lie To Me". Elsewhere there's a stomping soul style feel on "Nothing She Can't Do" featuring some nice blues harp and the down-home country stylings of "Too Many Angels", with an incongruous but strangely befitting sax solo by Joe Camilleri
All up a great album to be sure, not a synthsizer to be found anywhere and it should have made him huge. The backing cast is also of major note as first of all, it was helmed by noted US producer T Bone Wolk (Hall & Oates/Carly Simon/Elvis Costello/Billy Joel/Wendy Matthews/UK Squeeze etc).
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His band on the album is top notch too and includes his ex-Runners band mate Mark Greig on guitar, wife Wendy Stapleton on backing vocals and drummer John Watson (Kevin Borich/Renee Geyer/Aussie Crawl). Plus guest appearances by the aforementioned Nick Barker and Joe Camilleri, with drummer Freddie Strauks (Skyhooks/Jo Jo Zep), Jen Anderson (Black Sorrows) on violin and finally Mike Brady providing backing vocals on a track or two.
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Paul went on to form Hillbilly Moon with Peter Wells RIP (Rose Tattoo) who issued one acclaimed album as well as writing for and with the likes of Debra Byrne, Gerry Hale, Wendy Stapleton, Donna Fisk and Michael Cristian, Dobe Newton and Colleen Hewett.  [thanks to Micko at the Midoztouch forum for this great album review].
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This post consists of FLACs ripped from my CD copy and includes full album artwork. A great album and well worth the listen, even if you haven't heard any of Paul's solo material. The more you listen to it, the more it grows on ya. Perhaps the radio stations should have given it a better listen.

NEW IMPROVED RIP !

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Track Listing

01.  When We Were Young
02.  When The Kingdom Comes
03.  Too Far Gone
04.  Fly Away
05.  Star
06.  Lil’ Red Ridin' Hood
07.  Too Many Angels
08.  Getting Away With Murder
09.  Little Miss Understood
10.  What Are We Waiting For
11.  Lie To Me
12.  How Great It Is
13.  Nothin’ She Can’t Do
14.  Ain’t That The Truth

Band Members:
Paul Norton (Bass, Guitar Vocals)
Mark Greig (Guitar)
T-Bone Wolk (Bass, Keyboards, Vocals)
Tim Millikan (Percussion and Drums)
John Watson (Drums)
Dino Baptiste  (Harmonica)
Backing Vocals: Wendy Stapleton/Mike Brady/Nick Barker/Nikki Nicholls/Bobby Mayo/Kasim Sultan/Mark Rivera
Additional Drums: Peter Luscomb/Freddie Strauks/Michael Braun/Doug Bradly
Keyboards: Bobby Mayo
Violin: Jen Anderson
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Paul Norton Link (431Mb) New Link 14/01/2025
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REPOST: John Farnham - Time Brings Change (1988)

(Australian 1967-Present)
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In a country of 20 million people John Farnham is the one Australian artist who stages arena sized concerts whenever he tours to satisfy the demand. He is without challenge Australia's most successful solo artist, on stage and on record. His Whispering Jack album was the first album to sell over a million copies in Australia alone. John got his first big break singing the now famous Susan Jones TV ad commercials. Not long after this he was to record his first hit Sadie in 1967. Sadie was a big gamble – it was commercial, sure but it was also corny. The radio stations wouldn’t play it. It was only after a Four Corners TV segment on how a record company promoted an unknown, which featured the song, that they were willing to play it at all! 

After John made an appearance on Uptight singing his song, the station’s switchboards were, however, inundated with calls requesting a repeat of the song. Sadie ended up being the biggest selling Australian hit of the 60’s. John was on his way!
.What fans were responding to was "Johnny" Farnham's bright boy-next-door personality. He was someone teenage girls and the mothers could both like. Farnham was also a fine singer and survived "Sadie" to release a long string of pop hits between 1967 and 1973, including the local hit versions of Three Dog Night's "One," B J Thomas' "Raindrops Keep Falling On My Head" (#1) and David Cassidy's "Rock Me Baby. He also starred in the stage musicals Dick Whittington And His Cat, Charlie Girl and Pippin. His schedule denied Farnham trying his luck internationally or developing on record. Success continued virtually on the basis of his talent and that personality alone and in the late to mid seventies his career was reduced to nightclub and cabaret performances trading on his past. Even his record company lost faith in him and dropped him.

In 1980, changing from Johnny to the more mature John Farnham, he set about resurrecting his career. The trigger was a dramatically rearranged impassioned performance of the Beatles' "Help" on a nationally broadcast Royal Command TV concert. He reminded everyone what a fine singer he was, and in July released Uncovered, a well received comeback album recorded under the production eye of Little River Band's Graham Goble. In September 1982 long-time Farnham fan Goble was inspired to convince the rest of LRB they should take the radical move of removing Glenn Shorrock, singer of all the band's hits, and making Farnham their lead singer. The band's American record company was in shock. So were non-Australian fans. It was a hurdle Farnham could not overcome, and at the end of 1985 he left LRB and began work on a new make or break solo album.
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The anthemic single "You're The Voice restored Farnham to #1 for the first time in 17 years. The carefully crafted adult contemporary October 1986 album Whispering Jack was No.1 for 18 weeks, and became the biggest selling album in Australian history. "You're The Voice" sold a million copies in Europe and reached the top ten in England. A consummate singer and performer since 1986 Farnham has been Australia's No.1 attraction, with successive big selling albums and sold out concert tours. International interest has continued to beckon but the dedicated family man is happy with his career as it is [extract from blue.desert]
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This post consists of  FLACs ripped from my CD copy of this album. Full album artwork is included for CD only.  This is not your usual compilation of early material by Farnham (no "Sadie" or "Raindrops Keep Falling" on this one), but rather some of his lesser known cabaret tracks which in their own right, are just as good. My favourites are his: Elton John cover "Take Me Back To The Pilot" and his renditions of the stage classics "Hair" and "Day By Day".

One point of contention regarding this album, however, is that it should be credited to 'Johnny' Farnham and not 'John' Farnham. This is because all tracks on this compilation predate 1980, which is when Farnham changed his stage name from Johnny to John. This album was no doubt released by EMI to cash in on the success that Farnham was having during his Whispering Jack era. If you haven't heard his early 70's material, then this album is a nice introduction to his Cabaret years.
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        New Improved Rip !

  
Track Listing
01 - Charlie Girl (1972)
02 - Who Can I Turn To (1972)

03 - Hair (1972)
04 - Saturday Dance (1974)
05 - For Once In My Life (1971)
06 - Take Me To The Pilot (1971)
07 - Diana (1973)
08 - Memphis Tennessee (1973)
09 - Rag Mama Rag (1971)
10 - Things To Do (1974)
11 - Band Of Gold (1971)
12 - Day By Day (1972)
13 - White Christmas (1970)
14 - Till Time Brings Change (1974)
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Johnny Farnham (270Mb) New Link 10/01/2025
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REPOST: Carlos Santana & Buddy Miles - Live! (1972)

(U.S 1966–present, U.S 1967–2008)
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I purchased Carlos Santana and Buddy Miles Live on vinyl in 1972 when it was first released, and I still consider it one of my favorite live music albums. The brass sound that was popular in the early 1970's adds energy and pop to this live recording. I first heard the fast version of Evil Ways on this live album, and still prefer it to the slower studio recording that is on the Santana Greatest Hits album. In fact, the first five cuts on this live album are a wild ride. If I have a possible complaint about Carlos Santana and Buddy Miles live, it would be that it is too short. If this album were only the first half, I'd love it. The combination of Carlos Santana's blistering guitar solos (and those of Neal Schon) and his Latin-rock-based band with the heavy, heavy gut drumming of Buddy Miles (soon to be a member of Jimi Hendrix's second great group, A Band of Gypsies, made for great, continually exciting music. "Lava," "Them Changes" (much better than on Buddy Miles's own group recording of the same time). 

The first half of the album is as exciting music as you could find at the time. The second half is a long, meandering piece entitled "Free Form Funkafide Filth", and the piece is about as good, and as dated, as its title. It's somewhat boring, heavy, and it doesn't go anywhere. But that doesn't matter because the first half is so good!
I wish this group had played together longer.
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Live Album or Studio Scam?
There seem to be all sorts of urban legends surrounding this 1972 Top Ten album from Carlos Santana and Buddy Miles. Some people claim that the concert never took place (see topix.com) which seems unlikely, since Santana and Miles toured together extensively in late 1971 and early 1972. Others suggest that Carlos played little on the album, and while I respect the six-string talents of Neal Schon (who legend also says turned down an invitation from Eric Clapton to flesh out Derek and the Dominos to play with Santana's band, and who built a great reputation for himself as lead guitarist for Journey), there are numerous guitar runs on 'Live!' that have Carlos Santana written all over them. I think many of the myth-makers are deluded by the overly-engineered master tapes. It was common practice in the early seventies to modulate the amplitude of the crowd noise and this seems to be what was done with 'Live!'. While it sounds hokey at times (with what sounds like looped audience applause at times), that doesn't mean the performances didn't happen.
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Perhaps also lending to the controversy is the liner notes listing the recording date as 'January 0, 1972', a non-existent date, suggesting the concert never happened. But the concert actually took place in Hawaii, in the center of the Diamond Head volcanic crater, on January 1, 1972 during the 'Sunshine '72 Festival', so the bogus date on the linear notes is probably a typo or was done as a joke.
Supporting that fact is a collage of about fourteen photographs from the concert itself. One can see Carlos playing guitar in several of them, and there's a number of Hawaiian-looking people standing around as well. That's proof enough for me. I guess this one doesn't rise to the level of the McCartney death hoax!
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Fortunately, the music does rise to the occasion. I first acquired a copy of this album as one of my 12 "free" records when I joined the Columbia Record Club. I wasn't sure if I would like it, but in 1972 most people were convinced you couldn't go wrong with Carlos Santana, and I was one of them. I wasn't disappointed. While it may take a little time and a few listens for the 25 minute plus "Free Form Funkafide Filth" to grow on you... it does. I'm not sure how 'free form' this filth is (it's credited to Miles, Santana, drummer Gregg Errico, and bassist Ron Johnson), but it manages to hit a funk groove on several occasions and passes the ample running time (especially for a vinyl record) admirably.
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The real gems, however, are on side one. While the track listing lists five separate tracks, tracks one and two ("Marbles" and "Lava") and tracks four and five ("Faith Interlude" and Mile's best known composition, "Them Changes") segue seamlessly into one another, creating a musical suite. Only an upbeat, horn augmented version of "Evil Ways" stands alone, almost as a centerpiece. All of these tracks, save "Faith Interlude", which is perfectly titled given it's buoyant strains, are funky tomes of dynamite. Robert Hogins on organ and Coke Escovedo on timbales, along with a trio of conga players, do yoeman's work keeping up with Santana, Schon, and Miles. Over the years these tracks have merged in my mind, and belong together as one piece of work every bit as much as the flip side of the original vinyl disc.
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This album has been reissued on CD several times, having been remastered in 1994 and then reissued in 2005 and 2008. The pressed copies of the 2008 release must have gone quickly, explaining why it is no longer available. Sadly, no additional tracks have ever been added to any of the reissues, suggesting that no additional quality recordings from the concert exist. That's a little hard to believe, but what else could explain it? If additional material comparable to what is being offered here is ever released, criminal negligence charges should be levied against Bob Irwin, the "Reissue Producer", for keeping it under wraps for so long. [Don Schmittdiel 2008]
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The rip was taken from CD in FLAC format and includes artwork from both CD and LP. Photos taken at the Sunshine '72 Festival inside the Diamond Head volcano, Honolulu Hawaii are also included. I have also chosen to include an alternative rip of Side 1 as a single FLAC file (riiped from my vinyl), to retain the continuity of the tracks as heard on the LP, where one song runs into the other.
I personally enjoy this alternative, as the continuity of the concert atmosphere is retained.
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Track Listing
SIDE 1
01. "Marbles" (McLaughlin) – 4:18
02. "Lava" (Miles) – 2:10
03. "Evil Ways" (Henry) – 6:36
04. "Faith Interlude" (Miles, Santana) – 2:13
05. "Them Changes" (Miles) – 5:50
SIDE 2
06. "Free Form Funkafide Filth" (Errico, Johnson, Miles) – 24:54
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Band Members:
Carlos Santana - guitar, vocals
Neal Schon - guitar
Buddy Miles - Drums, percussion, congas, vocals
Ron Johnson - Bass
Bob Hogins - Organ, Electric Piano
Greg Errico - drums
Richard Clark - drums, percussion, congas
Coke Escovedo - percussion, tímbales.
Mingo Lewis - percussion
Mike Carabello - percussion, congas
Victor Pantoja - percussion, congas
Hadley Caliman - flute, saxophone
Luis Gasca - trumpet

NEW IMPROVED RIP !

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Santana and Miles Link (455Mb)
New Link 6/01/2025

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Galapagus Duck - The Voyage Of The Beagle (1983)

 (Australian 1969  - Present)

Based in Sydney back in the 70's, Galapagos Duck was an integral part of the foundation and success of the Jazz Club 'The Basement'. The band continuously performed in the club as it's primary 'house band' for 16 years - during which time 'The Basement' became known as one of the greatest Jazz Clubs in Australia and around the world. 'The Duck' also toured extensively all throughout Australia, visiting the capital cities and - on many occasions - performed in country areas including the remote areas of Western Australia and the Northern Territory.

In the period until Voyage of the Beagle, released in 1983, they made an astonishing 9 albums starting with Ebony Quill in 1974-- bear in mind that these are stuffed with cover versions and sometimes jazzed-up of really obnoxious songs like Grazing in the Grass.

'Voyage of the Beagle is of great interest to me as it's a thoughtfully composed concept album about Charles Darwin's explorations, so you can certainly imagine the creative and evocative potential of the subject matter that went into its creation. Note also the dramatic difference in CD and LP covers as shown above and below.

By 1983, Tom Hare was the only founding band member from Galapagos Duck's first line-up with Greg Foster the next in line. Other band members were John Conley, Bob Egger, Mal Morgan and Mick Jackman (who does most of the vocals).  Irrespective, all band members are accomplished jazz musicians, each skilled in multiple instruments and song writing. 

The Voyage Of The Beagle

(Album Liner Notes)

The origin of the species known as the Galapagos Duck has little real relevance to Charles Darwin or his theories but rather is related to the writings of another eminent, more contemporary Englishman, Mr Spike Milligan.

One steamy night many years ago in the heart of deeper Sydney-town the members of a certain jazz band wailed away the hours with Spike, a long-time friend, drinking and joking in the tavern where the band performed. It was this late-night session which prompted the adoption of the band's curious name, now a household word among jazz followers, the Galapagos Duck.

Apart from its name and the fact that it features very significantly in the evolution of the jazz idiom in Australia, the Galapagos Duck has little to do with the life and work of the father of Evolution. However, because of the name the members of the band feel a certain empathy with Darwin and have more particularly developed a fascination with his epic voyage which took him through that part of the world from which the basis of many jazz forms and indeed most of modern popular music finds its roots.

This recording, which is a selection of original compositions by the members of the band, attempts in musical terms to trace the Beagle's voyage.

After having been twice driven back by heavy south western gales, Her Majesty's ship Beagle, a ten-gun brig, under the command of Captain Fitzroy, RN, sailed from Devonport on the 27th of December, 1831.' And so The Voyage Begins

Its primary mission was to survey the poorly known coastal areas of South America. On board was a young naturalist, Charles Darwin, who undertook the voyage without pay partly to put off his intended vocation. His father felt it was high time his son settled into some suitable career such as the ministry.

The outstanding outcome of this five-year voyage was the most revolutionary change that has ever occurred in man's view of himself . In 1837, Darwin began developing a theory to explain how species evolve and after almost twenty years of thoroughly working through his ideas he produced his masterpiece 'Origin of Species'.

It was Darwin's visit to the Galapagos Islands in the Pacific west of Ecuador, and his examinations of gigantic fossil bones at Punta Alta in Argentina, that chiefly stimulated his speculations as to how the diverse species of the earth might have come about.

'The Archipelago is a little world within itself . . . the different islands to a considerable extent are inhabited by a different set of beings.' Life on the Archipelago

At Punta Alta in Argentina Darwin wrote, '...the remains of these nine great quadrupeds and many detached bones were found embedded on the beach, within the space of about 200 yards square. It is a remarkable circumstance that so many different species should be found together.' The Skeletons of Punta Alta

In July of 1832 somewhere off the coast of Uruguay, Darwin observed a natural phenomenon which has been experienced by many sea travellers down through the ages. He found it worthy of note in his diary'...we witnessed a splendid scene of natural fireworks; the masthead and yardarm-ends shone with St Elmo's light... St Elmo's Fire

He was fascinated by the life in the lush forests of South America: 'the elegance of the grasses, the novelty of the parasitical plants, the beauty of the flowers, the glossy green of the foliage, but above all the general luxuriance of the vegetation, filled me with admiration.' In a Brazilian Forest

Throughout Darwin's diary during his South American travels there are many references to the splendour of the Cordillera range'... From some high land we hailed with joy the white summits of the Cordillera, as they were seen occasionally peeping through their dusky envelope of clouds'. Cordillera

After leaving the Galapagos Archipelago the Beagle travelled to Tahiti and then on to New Zealand and in his writings Darwin compares two races of Polynesians, the civilized, peaceful Tahitians and the savage, ferocious New Zealanders. The Tattooed Warriors: 'I should think more warlike race of inhabitants could not be found in any part of the world.'

From New Zealand the voyage continued on to Australia where Darwin observed some of the traditional dances of the Aborigines. 'The natives . . . were persuaded to hold a 'corroboree' or great dancing party .. .

The dancing consisted in their running either sideways or in Indian file into an open space, and stamping the ground with great force as they marched together . . .

there was one called the Emu dance, in which each man extended his arm in a bent manner, like the neck of that bird . . .' The Emu Dance

The Beagle left Australia for the Keeling Islands, the coral atolls in the Indian Ocean nearly one thousand kilometres from Sumatra. Darwin described the idyllic setting of one of these: 'Excepting near the lagoon, where there is some sand, the land is entirely composed of rounded fragments of coral . . .' Coral Island

On October 2 the voyage came to end upon the Beagle's arrival back in England. '. . . and at Falmouth I left the Beagle, having lived on board the good little vessel nearly five years.' The Voyage Ends

This post consists of FLACs ripped from my newly acquired vinyl. Although the outer cover is ripped the vinyl is in excellent condition and still has its original liner note insert, which outlines the story of the Beagle's Voyage (as above).  Label scans and artwork are also included for both vinyl and CD releases. 

As mentioned above, the CD release comes with a totally different cover (see right) which in my opinion is horrible and I much prefer the more relevant and colourful vinyl cover, but I'll let you be the judge.  Anyhow, enjoy this masterpiece folks.

Track Listing:

A1 The Voyage Begins (Leaving England 1831)  4:04

A2 St Elmo's Fire (Uruguay) 3:54

A3 The Skeletons Of Punta Alta 4:15

A4 In A Brazilian Forest (Brazil) 3:55

A5 Cordillera (Chile) 5:27

A6 Life On The Archipelago (Galapagos Islands)  3:36

B1 Latin Doll (Leaving South America) 5:00

B2 Tattooed Warriors (New Zealand) 3:45

B3 The Emu Dance (Australia) 6:23

B4 Coral Island (Keeling Islands) 4:14

B5 The Voyage Ends (Return To England) 4:15

B6 Epilogue 'Origins-The Beginning' 1:50

Members:

Bass Guitar, Guitar, Didgeridoo – John Conley

Flute, Trumpet, Flugelhorn, Saxophone – Tom Hare

Keyboards – Bob Egger

Keyboards, Vibraphone, Marimba – Mick Jackman

Trombone, Harmonica, Didgeridoo – Greg Foster

Drums – Mal Morgan

The Voyage Of The Beagle Link (262Mb)

REPOST: Ayers Rock - Big Red Rock (1974) + Bonus Tracks

(Australian 1973-81)

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Ayers Rock was the leading Australian 'jazz-rock' group of the 70s, fusing rock with influences from soul, R&B, jazz and Latin music. The band was built on world-class standards of playing and complex arrangements, and inspired by overseas groups such as Traffic, Santana and Weather Report. The original members were all seasoned players, widely regarded as among the best musos in the country, and their musical connections were woven through a series of major bands of the 60s and early 70s.

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Ayers Rock were one of the first groups signed to Michael Gudinski's newly established Mushroom label, and their debut single, "Rock'n'Roll Fight", was issued at the end of 1973. Ayers Rock's debut album Big Red Rock was taped live before an invited audience at Armstrong's Studios in Melbourne over two nights in September 1974. The live-in-the-studio approach worked extremely well for Ayers Rock, and the album clearly demonstrated why their awesome live 'chops' had made them such a popular concert attraction. But it also was something of a necessity for the cash-strapped label -- they took the same approach with another early signing, Mackenzie Theory. The Ayers Rock LP reportedly cost Mushroom a mere $5,000 to record.
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Chris Brown

Big Red Rock was a commercial success for Mushroom, showcasing the band's considerable prowess and the material was a good balance between the more commercial song-based material of McGuire and Brown and the more adventurous instrumentals. The LP features three songs by McGuire, including their memorable second single, the Latin-flavored "Lady Montego", a song that dated back to McGuire's stint in Friends; an earlier, slower version appears (in a live recording) on the Garrison: The Final Blow LP (see earlier posting)
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Big Red Rock also features two excellent pieces by Loughnan, two songs by Chris Brown, and a dazzling cover of Joe Zawinul's "Boogie Woogie Waltz", originally recorded by Weather Report (who were at that time virtually unknown in Australia). Loughnan's power-jam "Crazy Boys" is also worth hearing for its hilarious intro; dedicated to an unnamed Sydney hamburger joint, it includes a sly reference to a "Gudinski burger" and very funny joke about "Dr Hopontopovus, the Greek gynecologists'".

Duncan McGuire and Mark Kennedy

As Vernon Joyson has noted, Ayers Rock's recordings suggest that there was some dilemma about whether they should pursue a more expansive instrumental-based approach or opt for a more song-based commercial sound. From the evidence of Big Red Rock, its arguable that its the instrumental tracks -- "Crazy Boys", "Big Red Rock" and the brilliant cover of "Boogie Woogie Waltz -- that stand up best today, but the demands of radio airplay and gigging meant that this dilemma was never satisfactorily resolved, and the group's relatively short lifespan and small catalogue meant that they never really got the chance to reach their full potential.

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In the late 1975, Ayers Rock performed at the final gigs at Melbourne's fabled Reefer Cabaret. Live versions of the Stones "Gimme Shelter" and "Boogie Woogie Waltz" were included on the double-album A-Reefer-Derci, culled from performances from the last two nights on 30 and 31 December 1975, and released by Mushroom in 1976. Like Mushroom's earlier Garrison: The Final Blow set, it commemorated the closure of the venue and was a means of thanking the Reefer Cabaret for supporting Mushroom's artists during 1974-75 [extract from Milesago]

Col Loughnan

Big Red Rock is one of my favourite jazz-rock albums (in amongst greats such as Al Di Meola, Mahavishna Orchestra and Weather Report) and should be recognised as one of the finest albums produced by an Australian band. I particularly like the B-Side of this album, as it showcases some spectacular jazz riffs ands solos that blow my mind every time I listen to it. Of course the A-Side highlight is their hit single 'Lady Montego' which was a true innovation at the time, as it was the first 'hit single' release in Australia that had a live recording atmosphere associated with it.

James Doyle

The rip provided here was taken from CD in FLAC and includes full album artwork plus bonus live tracks taken from GTK, and Reefer Derci / Sunbury concerts. There are also photos included taken from their performance at the "Australian Concert for Bangladesh in 1975"

New Improved Rip

Track Listing

01 - Lady Montego
02 - Talkin' About You
03 - Goin' Home
04 - Crazy Boys (The Hamburger Song)
05 - Nostalgic Blues
06 - Big Red Rock
07 - Boogie Woogie Waltz
08 - Get Out Of The Country
[Bonus Tracks]
09 - Boogie Woogie Waltz (Live at the Reefer)
10 - Gimme Shelter (Live at the Reefer)
11 - Morning Magic (Live at Sunbury)

12 - Heavy Soul Slinger (GTK May 1974)

Band Members:
Chris Brown (Electric & Acoustic 12-string Guitars / Lead Vocals)
Col Loughnan (Tenor, baritone, electric soprano saxes / Vocals / Flute / Electric piano / Percussion)
James Doyle (Electric and Acoustic 6-string Guitars / Percussion / Multron guitar)
Duncan McGuire (Fender jazz and fretless basses)
Mark Kennedy (Drums / Percussion)
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Ayers Rock Link (514Mb) New Link 30/12/2024

REPOST: W.O.C.K On Vinyl - Beatles - Christmas Singles (1963-69)

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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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The Beatles' Christmas records was a composition of melodies interpreting love and support during the holidays from the English rock group The Beatles that were posted out on flexi disc at Christmas time to members of their official fan-clubs in the United Kingdom and the United States. One such record was issued each year from 1963 to 1969 and an LP compilation of all seven in 1970.

Conceived as a means to appease fan-club members whose letters, due to their sheer volume, were not always being answered in a timely manner, the records included the Beatles' messages of thanks to "loyal Beatles people", along with skits, Christmas carols, and original compositions.

None of the original recordings has ever been subject to general release though a version of "Christmas Time (Is Here Again)", an original composition which appeared in edited form on the 1967 record, eventually gained an official release in 1995, as part of the The Beatles Anthology project.

1963: The Beatles' Christmas Record

    Recorded: 17 October 1963

    Location: Studio Two, EMI Studios, Abbey Road

    Writer: Tony Barrow

    Producer: Tony Barrow

    Issued: 6 December 1963

    Label: Lyntone, LYN 492

    Flexi disc: 7", 1 side, 331/3 RPM

    Total time: 5:00

The first Christmas recording from the Beatles featured several renditions of the traditional carol "Good King Wenceslas" and individual messages from the four, ending with a closing chorus of "Rudolph the Red-Nosed Ringo". This offering, as well as 1964's, was scripted by Beatles' press officer Tony Barrow, who had instigated the Christmas message programme.

An edited version of this recording was sent to members of the Beatles' American fan-club in December 1964.

1964: Another Beatles Christmas Record

    Recorded: 26 October 1964

    Location: Studio Two Abbey Road

    Writer: Tony Barrow

    Producer: Tony Barrow

    Issued: 18 December 1964

    Label: Lyntone, LYN 757

    Flexi disc: 7", 1 side, 45 RPM

    Total time: 3:58

The song "Jingle Bells" is sung, followed by individual messages to the fans. John mocks the prepared statement, doing an imitation of Paul Harvey and includes his own pseudo-words and ad-libbing. When Paul asks him if he wrote this himself, he says, "No it's somebody's bad hand-wroter. It's been a busy year Beople peadles, one way and another, but it's been a great year too. You fans have seen to that. Page two ... Thanks a lot folks and a happy-er Christmas and a Merry Grew Year. Crimble* maybe." (The statement is apparently handwritten as at various points in the recording, Paul reads "making them" as "melting them" before correcting himself and George reads "quite a time" as "quiet time" before correcting himself with "great time" as well.) Finishing up the record is a brief rendition of the traditional song "Oh Can You Wash Your Father's Shirt?"

Another Beatles' Christmas Record was not sent to American fans. Rather, at Christmas time 1964, US fans received an edited version of The Beatles' Christmas Record, which had been sent to British fan-club members in 1963. Also, as opposed to using flexi-discs, the US fan-club sent the message in a tri-fold cardboard mailer, with the "record" embedded in one of the flaps of cardboard.

* Crimble or Krimble is a slang term for Christmas coined by The Beatles as part of their 1963 Christmas record issued via the Beatles Fan Club

1965: The Beatles' Third Christmas Record

    Recorded: 8 November 1965

    Location: Studio Two, EMI Studios, Abbey Road

    Writer: Tony Barrow, The Beatles

    Producer: Tony Barrow

    Issued: 17 December 1965

    Label: Lyntone, LYN 948

    Flexi disc: 7", 1 side, 331/3 RPM

    Total time: 6:20

Several off-key, a cappella versions of "Yesterday" are dispersed throughout the record, alongside Lennon's "Happy Christmas to Ya List'nas", "Auld Lang Syne", a one-and-a-half-line version of the Four Tops' "It's the Same Old Song" (which they quickly stop before they violate the copyright) and an original poem titled "Christmas Comes But Once a Year".

Members of the Beatles' US fan-club did not receive this (or any) Christmas flexi-disc in 1965. Rather, they received a black and white postcard, with a photo of the Fab Four and the message "Season's Greetings – Paul, Ringo, George, John." The Beatles Bulletin, the publication of the US fan-club, explained in its April 1966 edition that the tape arrived too late to prepare the record in time for Christmas.

1966: The Beatles' Fourth Christmas Record – Pantomime: Everywhere It's Christmas

    Recorded: 25 November 1966

    Location: Dick James Music

    Writer: The Beatles

    Producer: George Martin

    Issued: 16 December 1966

    Label: Lyntone, LYN 1145

    Flexi disc: 7", 1 side, 33 RPM

    Total time: 6:36

Recorded between sessions for "Strawberry Fields Forever", for the 1966 offering, the usual greetings and thanks gave way to a 'Pantomime'-themed collection of original songs and dramatic skits. The songs include "Everywhere It's Christmas", "Orowainya", and "Please Don't Bring Your Banjo Back". Paul McCartney plays the piano. The sketches performed include "Podgy the Bear and Jasper" and "Felpin Mansions."

Once again, the US fan-club members did not get a flexi-disc. Instead, they received a postcard with the message on one side and a short version of The Beatles Bulletin on the other, with enough room for a mailing label and postage.

1967: Christmas Time is Here Again! 

    Recorded: 28 November 1967

    Location: Studio Three EMI Studios, London

    Writer: The Beatles

    Producer: George Martin

    Issued: 15 December 1967

    Label: Lyntone, LYN 1360

    Flexi disc: 7", 1 side, 331/3 RPM

    Total time: 6:06

An elaborate production, Christmas Time is Here Again! was developed around the concept of several groups auditioning for a BBC radio show. The title song serves as a refrain throughout the record. The Beatles portray a multitude of characters, including game show contestants, aspiring musicians ("Plenty of Jam Jars", by the Ravellers), and actors in a radio drama ("Theatre Hour"). At the end John reads a poem, "When Christmas Time Is Over." This offering was likely a deliberate homage to/continuation of the broadly similar "Craig Torso" specials produced for BBC Radio 1 that same year by the Beatles' friends and collaborators the Bonzo Dog Doo Dah Band, and also shares much in common with their then-unreleased track "You Know My Name (Look Up the Number)", recorded six months previously.

While British fans received a flexi-disc in an elaborate sleeve, American fans received a postcard similar to that of 1966.

1968: The Beatles' 1968 Christmas Record

    Recorded: November–December 1968

    Location: various

    Writer: The Beatles

    Producer: Kenny Everett

    Issued: 20 December 1968

    Label: Lyntone, LYN 1743/4

    Flexi disc: 7", 2 sides, 331/3 RPM

    Total time: 7:48

The first Beatles Christmas fan-club disc to be recorded separately, the 1968 offering is a collage of odd noises, musical snippets, and individual messages. McCartney's song "Happy Christmas, Happy New Year" is featured, along with John's poems "Jock and Yono" and "Once Upon a Pool Table." Also notable is a rendition of "Nowhere Man" by the ukulele-playing Tiny Tim. Also included is a sped-up snippet of the Beatles' own "Helter Skelter" and a brief snippet of Perrey & Kingsley's "Baroque Hoedown" which was used three years later in Disneyland's Main Street Electrical Parade. "Ob-La-Di, Ob-La-Da," "Yer Blues," and "Birthday" are also heard in the background for part of the message. The dialogue and songs for the flexi-disc were organised and edited together by DJ and friend of the Beatles, Kenny Everett.

Finally, the US fans got a flexi-disc for Christmas in 1968, but it came in a modified version of the 1967 UK sleeve.

1969: The Beatles' Seventh Christmas Record: Happy Christmas 

    Recorded: November–December 1969

    Location: various

    Writer: The Beatles

    Producer: Maurice Cole

    Issued: 19 December 1969

    Label: Lyntone, LYN 1970/1971

    Flexi disc: 7", 2 sides, 331/3 RPM

    Total time: 7:39

The final Beatles Christmas offering was also recorded separately, as the band had effectively split by this point. It features an extensive visit with John and Yoko at their Tittenhurst Park estate, where they play "what will Santa bring me?" games. Harrison appears only briefly, and Starr only shows up to plug his recent film, The Magic Christian. Paul sings his original ad-lib, "This is to Wish You a Merry, Merry Christmas." Starting at 1:30, at the tail-end of Ringo's song, the guitar solos from "The End" are heard, followed by Yoko interviewing John.

For the only time, the American and British jackets were identical. The US version of the flexi-disc had an elaborate drawing of the Beatles' faces on it. Drawings were credited to Richard Starkey & Zak Starkey.

For extensive accounts of each Christmas release, I highly recommend you take a look at the following Rolling Stones Magazine review

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This post consists of FLACs ripped from the Yellowdog Bootleg and was sourced on the internet earlier this year (thanks to the original uploader). Full album artwork and label scans are included. The original Fan club flexi 45's are super rare, and individual flexi's in good condition sell for nearly $300 each on eBay.

And so these Beatles Christmas Records fit the WOCK on Vinyl charter - they are super Obscure and of course fill the Christmas spirit.

May I take this opportunity to wish all my blog followers a Joyful and Merry Christmas and a New Year full of wonderful music and cheer.

** NEW IMPROVED RIP **

Beatles Christmas Singles  (167Mb)

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