Alice Cooper - The Alice Cooper Show (1977)

 (U.S 1964 - Present)

His first live album, 'The Alice Cooper Show' (1977) was recorded with several musicians from his original Alice Cooper Band, plus new members Prakash John, Steve Hunter & Dick Wagner, who had played on Lou Reed’s brilliant live album, 'Rock N Roll Animal'. 

While they bring top-notch musicianship to the 11 tracks included here (two of which are medleys, so a total of 13 songs were performed) and everything is delivered professionally, it’s lacking a certain punch…especially on the 7 songs first recorded by the original Alice Cooper Band. 

While there are no particular standout tracks, it was nice to hear earlier songs like “Under My Wheels,” “I’m Eighteen,” “Is It My Body” and “Billion Dollar Babies.” I know when it comes to an Alice Cooper concert that the music is only part of the appeal, and although it’s a pleasant listen one can't help thinking that there's something missing: the visual aspect of the show.

'The Alice Cooper Show’ was recorded live on August 19th – 20th 1977 at The Aladdin Hotel, Las Vegas, USA, during Cooper’s ‘King Of The Silver Screen’ tour (‘King Of The Sliver Screen’ is a track from the preceding ‘Lace And Whiskey’ album). 

Released in December 1977 on the Warner Brothers label, the record was produced by Brian Christian and Bob Ezrin and clocks in at a compact 39 minutes and 38 seconds. It wasn’t a huge commercial success, reaching only number 131 on the 1978 Billboard chart, but is a fantastic atmospheric record capturing some of the energy and charisma of Alice Cooper, featuring some of the best songs from the album’s which preceded the tour.

I should also point out that by the 1977 tour, Cooper was in dire need of help with alcoholism (at the peak of the disease, the Coop was downing two cases of Bud and a bottle of whiskey a day). After the tour was over, Alice had himself hospitalised in a sanatorium, leading to the writing of next album ‘From The Inside’. 

Alice has said that he won’t listen to ‘The Alice Cooper Show’ album because it reminds him of the period when the demon drink was killing him…

Bassist Dennis Dunaway describes Alice’s late night routine:   ”He couldn’t go to bed unless he made sure he had a beer sitting next to the bed , because that was the first thing that he did in the morning…”

Alice remembers: ”Before I opened my eyes, I’d have three or four hits of beer and then I’d wake up, turn on the cartoons and then throw up. It’s okay, I’m ready for the day…Let’s go!”

The Show

The full setlist for the tour also included ‘Unfinished Sweet’ (from ‘Billion Dollar Babies’), ‘Escape’ (from ‘Welcome To My Nightmare’) and ‘It’s Hot Tonight’, ‘Lace and Whiskey’ and ‘King of the Silver Screen’ (from the ‘Lace And Whiskey’ album),  which are not included on this release.

Axe-chopping of bloodied baby dolls, execution by hanging at the gallows, an androgynous stage persona wrapped in snakes (usually boa constrictors) – all part of the Alice Cooper stage act…A new addition to the show at this time was an eight-foot tall furry Cyclops, which the Coop decapitated and killed!

Alice taunting the 8 Foot tall Cyclops

Alice describes his stage persona: “When I assume the character, I have no idea what it’s gonna do, because it’s not me!”

Interviewed on ‘Kidsworld’ in 1977, A young Alice without makeup, dressed in white vest and jeans, describes the tour:

”This show that we’re doing now is about three months of rehearsals, eight or nine hours a day. Our show is a total spoof on TV. It’s a rock…it’s like a rock opera kinda thing…but I mean the whole stage looks like a television set…and we have commercials, and it’s all done to rock music and everything…it’s the first real attempt at rock theatre that really works…”

The ‘show’ starts with huge audience reaction, frantic telephone ringing and the build-up of the band, an intro for up-tempo rocker, opener to the ‘Killer’ album ‘Under My Wheels’, a perfect mood-setter…’

Love It To Death’’s expression of teenage angst ‘I’m Eighteen’ is next, then a great sequence – the psycho-sickness of ‘Sick Things’ (as Alice would have it – this could only be a Cooper track), from the snakeskin-wrapped ‘Billion Dollar Babies’ album, then the rocker ‘Is It My Body’ and a slow number ‘I Never Cry’.

The familiar drum riffs introduce the amazing title track from ‘Billion Dollar Babies’ – an enjoyable rendition with Alice handling all vocal duties, unlike, of course, the stunning original hit recording, which featured mystical singer-songwriter Donovan.

In a recent interview, Donovan cast his mind back to London, 1973:

"Alice was downstairs and I was upstairs in Morgan studios when he was doing ‘Billion Dollar Babies’ and he came in and said hello, and I went down and said hello to him, and I had heard this track and he said ‘Do you want to put a vocal on it?’ I said ‘sure’ but there’s…so big and so bouncy and so loud, I think I’m gonna have to get into a falsetto (sings ‘Billion Dollar Babies’ high part) so I did that. Nobody believed it was me, then it went to number one, didn’t it…so me and Alice are fast friends now!”

Alice remembers in a recent interview:

”The first time I met Donovan, we were recording ‘Billion Dollar Babies’ at Morgan Studios and we realised that we needed a British voice that was going to mimic my voice and I said ‘Who’s here in the studio?’ and they said ‘Donovan’s next door’ and I went ‘Oh, this’ll be great!’ ‘cause he’s got that great British voice you know, and I went into the studio, walked right into the studio and he was doing something and I said ‘Donovan, I’m Alice Cooper’…’Oh, Hi..’ and I said ‘C’mon’…’What?’…I said ‘It’s time to sing rock’n’roll…” 

He did the talking part (adopts ‘British’ accent) ‘we go dancing nightly in the attic in the…’ He had so much fun doing that song, and then I said ‘now you gotta sing it and I’ll do the talking, you know’…That record went right to number one…It’s really fun to have Donovan on that. I like the idea of taking somebody out of their comfort zone and putting them in a place where they didn’t normally go to, you know. And since then, every time we see each other, we always talk about that thing…”

A cut-down version of ‘Devil’s Food’ from ‘Welcome To My Nightmare’ is an intro to ‘Black Widow’. Another first for Alice was hiring the theatrical talents of Vincent Price to narrate on a rock track – eight years before Michael Jackson’s extended video for ‘Thriller’ (with Price voiceover in the ‘graveyard’ section) – the famous horror actor speaks the monologue at the beginning of the song as ‘The spirit of the nightmare’ in which Cooper is trapped, for the mini-movie ‘Alice Cooper: Welcome To My Nightmare’. 

Brilliant in its conception, the narration casts Price as a museum curator, describing the live ‘exhibits’ in the arachnid section, The recorded narration became a feature of Cooper’s live shows, after which Alice exclaims:

”These words he speaks are true
We’re all humanary stew
If we don’t pledge allegiance to…
The Black Widow!’ (in this rare case, a male of the arachnid species…)

There are three ballads on this live album, all co-written by Alice and Dick Wagner, and beautifully crafted songs they are, evidencing the sensitive lyrical side of the man:

"Only Women Bleed", from ‘Welcome To My Nightmare’, also a hit for British actress/singer Julie Covington in 1977, is a classic, but quite dark in its subject matter, dealing with a husband’s overpowering of his wife, leading to domestic violence.

"I Never Cry" from the ‘Alice Cooper Goes To Hell’ album is a tear jerker and there’s more than a touch of autobiography about it, if you listen to the lyrics carefully.

"You And Me" was the single from ‘Lace And Whiskey’. On stage, Alice sings "You And Me" to a mannequin (in some ‘70s shows, his wife Sheryl), at first looking into her eyes, then dragging ‘her’ over his shoulder by the hair, holding her up by the hair, then throwing ‘her’ across the stage (in a fit of faked domestic violence?).   I don't think this segment would go down well in current day concerts!

The live versions are spirited and sound great, although obviously not as polished and produced as the studio recordings. They do work very well in breaking up the set of rock and upbeat funkier tracks.

The medley ‘I Love The Dead’ (Alice’s homage to his necrophilia, as only he can do), ‘Go To Hell’ (Alice telling himself off for his misdemeanor's over a funk backbeat) and ‘Wish You Were Here’ (instrumental sections of the track only) works well as a set closer…

Of course, the ‘night’ ends with the encore ‘School’s Out’! delivering the lines in his trademark snarl and wagging his finger at the delirious audience… ”Well we got no class, and we got no principles, we ain’t got no intelligence, we can’t even think of a word that rhymes!” [Extract from eddiesrockmusic.wordpress.com]

Australian Tour

Australia was lucky enough to witness the beginnings of the Alice Cooper Show, when Copper's band toured Down Under in March of 1977. At the time it was billed as 'Welcome To My Nightmare - The Alice Cooper Show'.

They played at all major capital cities in Australia, including four concerts in Melbourne, at Festival Hall on March, 21st - 24th.  I was lucky enough to see the show at Festival Hall, but can't for the life of me remember which of the 4 dates it was and much of the concert is a vague memory. As I was attending my first year at Uni at the time, I suspect my brain cells were somewhat impaired on the night by too many beers and perhaps other recreational substances! 

Australian Tour Dates:

(1977 March)

14: Australia - Entertainment Centre, Perth

15: Australia - Entertainment Centre, Perth

18: Australia - Westlakes Football Stadium, Adelaide

21: Australia - Festival Hall, Melbourne

22: Australia - Festival Hall, Melbourne

23: Australia - Festival Hall, Melbourne

(Apparently there is an Audio Recording in circulation)

24: Australia - Festival Hall, Melbourne

26: Australia - Showground Arena, Sydney (40,000 people were in attendance, breaking the Australian record at this time)

29: Australia - Festival Hall, Brisbane

30: Australia - Festival Hall, Brisbane

31: Australia - Festival Hall, Brisbane

Thanks to alicecooperechive.com for the above Australian Dates and Press Release document

This post consists of FLACS ripped from CD and comes with full album artwork for both vinyl and CD media, plus label scans.  My original intention for this post was to provide a vinyl rip, rather than a CD rip. However, I was not happy with the quality of the recording that was coming from my vinyl, in comparison with that from CD media.  The left channel on my vinyl was significantly softer and less vibrant than that of the right channel and consequently decided to ditch this inferior recording.  I suspect the pressing or mastering on my vinyl copy is poor compared to the newer release on CD, and so am providing it instead.  I'd be interested in hearing if others have experienced this, if they own the vinyl.

Thanks to sickthingsuk.co.uk for the Alice Cooper Show posters, ticket stubs, adverts featured in this post.

One reason why I purchased this album back in the late 70's was because it featured guitarists "Steve Hunter' and 'Dick Wagner" (see left) , who I admired at the time, stemming from their past association with Lou Reed.  I do remember being really disappointed with the sound quality of the guitar work when I heard this record for the first time, probably a consequence of the inferior pressing/mastering of the LP. 

This appears to have been partly rectified on CD releases.

Track Listing:

01 Under My Wheels 2:30

02 Eighteen 4:58

03 Only Women Bleed 5:47

04 Sick Things 1:01

05 Is It My Body 2:28

06 I Never Cry 2:51

07 Billion Dollar Babies  3:13

08 Devil's Food / The Black Widow  5:41

09 You And Me 2:19

10 I Love The Dead / Go To Hell / Wish You Were Here 6:31

11 School's Out 2:19

Tracks:

from ‘Love It To Death’: 2, 5

from ‘Killer’: 1

from ‘Schools Out’: 11

from ‘Billion Dollar Babies’: 4, 7, 10a

from ‘Welcome To My Nightmare’: 3, 8

from ‘Alice Cooper Goes To Hell’: 6, 10b, 10c

from ‘Lace And Whiskey’: 9

Alice Cooper: vocals

Steve Hunter: guitar

Dick Wagner: guitar, vocals

Prakash John: bass, vocals

Fred Mandel: keyboards

Pentti ‘Whitey’ Glan: drums

Alice Cooper Show Link (251Mb)

Various Artists - Explosive Hits '75 EMI (1975)

 (EMI Compilation 1974/75)

This EMI compilation from the mid 70's has always been a long standing go to album of mine, partly because it features some of my favourite tunes, like ACDC's "Baby Please Don't Go", Ralph McTell's "Streets Of London", Steve Harley's "Make Me Smile " and Ross Ryan's "Blue Chevrolet Ballerina".  But for some reason, the album cover has also been an attraction to me - even though its nothing special - but maybe its the 3D masonry lettering on top of the vibrant red background that has always caught my attention.  

Of course, there are other great tracks featured on this album, like Pilot's "January", Sherbet's "Summer Love" and Pete Shelley's "Gee Baby", but even the obscure selections by Pepper Box, Al Martino and Gilbert Becaud eventually grow on you after lots of plays.

So, even if you haven't heard some of these tracks, I suggest you give this LP a spin, and hey; maybe this collection of tracks will become your Explosive Hits of 75' as well. And now, some light reading while you listen to this comp:

1. John Paul Young - Yesterday's Hero

John Paul Young became well known when working with producers/composers Harry Vanda and George Young. In March 1975 Alberts released John Paul Young’s recording of Vanda & Young's Yesterday's Hero, a song about the fleeting nature of pop stardom. The record hit the national charts in April, reaching #1 and staying at #1 on the Melbourne charts for six weeks. "Yesterday's Hero" sold strongly in the USA and reached #42 on the Cashbox top one hundred. A key factor to "Yesterday's Hero" success was the film clip made to promote it, which enabled the song to be given exposure on Countdown (following the official start of colour TV broadcasting March 1, 1975. The Hero LP reached #20 on the charts in November 1975 and became a gold record.

2. Bay City Rollers - Bye Bye Baby

The Bay City Rollers are a Scottish pop rock band known for their worldwide teen idol popularity in the 1970s. They have been called the "tartan teen sensations from Edinburgh" and are one of many acts heralded as the "biggest group since the Beatles". The group's line-up had many changes over the years, but the classic roster during its peak in popularity included guitarists Eric Faulkner and Stuart Wood, singer Les McKeown, bassist Alan Longmuir and drummer Derek Longmuir.

Their debut album, Rollin' debuted atop the UK Albums Charts and spent a combined total of fifty-eight weeks on the UK Albums Chart. Their follow album studio album Once Upon a Star continued this success, again, debuting a top the UK Albums Chart. The album yielded the successful singles "Bye, Bye, Baby", which topped the charts in the United Kingdom, Ireland and Australia, and "Keep On Dancing". "Bye, Bye, Baby" was the best selling single in the United Kingdom in 1975.

3. Peter Shelley - Gee Baby

Peter Shelley (alas Peter Southworth) was a British pop singer, songwriter, and music business executive. As a performer in the 1970s, he had UK hits with "Gee Baby" and "Love Me Love My Dog". He also originated the persona of Alvin Stardust, writing, singing and producing the first single released under that name, "My Coo Ca Choo".

Gee Baby is a well constructed, if not slow paced, ‘bubblegum pop’ track that was a hit in the U.K. in 1974.

This was easily the then 32 year old singer/songwriter’s most successful solo release in Australia and, in January 1975, it peaked at the national #3 position published by the ‘Kent Music Report’ (the forerunner of today’s ‘ARIA Charts’)

4. Gary Glitter - Goodbye My Love

Paul Francis Gadd, better known by his stage name 'Gary Glitter', was an English former singer who achieved fame and success during the 1970s and 1980s. He became known for his energetic live performances and glam rock persona of glitter suits, make-up, and platform boots.

The Glitter Band were a British glam rock band, who started out as a backing band for Gary Glitter from 1973.

The Glitter Band were: John Rossall (trombone and musical director), Gerry Shephard (lead guitar and vocals), Pete Phipps (drums and keyboards), Tony Leonard (drums), John Springate (bass and vocals) and Harvey Ellison (saxophone).

While backing Gary Glitter, they showcased their ability to create catchy, glam-infused rock 'n' roll that resonated with audiences around the world.

Their live shows were a spectacle to behold, featuring synchronised dance routines, flamboyant costumes, and an electric atmosphere that left fans begging for more.

But the Glitter Band's success wasn't just about the glitz and glamour. Behind the scenes, they were talented musicians, crafting their unique 'Glitterbeat' sound that blended pounding drums, catchy guitar riffs, and infectious melodies.

As they toured extensively, their fan base grew, and they became a household name in the glam rock scene. Their music and performances had an undeniable impact on the cultural landscape of the time.

"Goodbye My Love" was released in 1975 and was the band's highest charting single at number 2 in the UK Singles charts.

Interesting fact: Gerry Shephard did the lead vocals on "Goodbye My Love" and not Gary Glitter

5. Linda Ronstadt - You're No Good

Linda Ronstadt had her first hit single, “Different Drum,” in 1967 as a member of The Stone Poneys, then had a series of solo albums in the early 1970s following the group’s breakup. But it wasn’t until November 1974, 50 years ago this month, with the release of her album 'Heart Like a Wheel', produced by Peter Asher, and its lead-off single, “You’re No Good,” that the singer landed squarely at the top of the charts, a place she would find herself many times throughout the rest of her career.

"You're No Good" was originally sung by Dee Dee Warwick in 1963, however the song was made more popular by Linda Ronstadt in 1974.

Ronstadt began performing "You're No Good' to close her live shows in early 1973, after her band member Kenny Edwards suggested it to her. She first included it in her setlist while opening for Neil Young. Ronstadt gave an early televised performance of 'You're No Good' on an episode of The Midnight Special, broadcast Dec 21, 1973.

When finally recorded, Ronstadt's version went to number 1 in the United States, number 7 in Canada, number 15 in Australia, number 17 in the Netherlands and number 24 in New Zealand.

6. AC/DC - Baby Please Don't Go

"Baby, Please Don't Go" is a traditional blues song that was popularized by Delta blues musician Big Joe Williams in 1935. Many cover versions followed, leading to its description as "one of the most played, arranged, and rearranged pieces in blues history". In my opinion, the best cover was done by the UK heavy rock band 'Budgie' in 1973, however AC/DC's version comes a close second.

In November 1974, Angus Young, Malcolm Young, and Bon Scott recorded it for their 1975 Australian debut album, High Voltage but Albert Productions decided
to issue it as a B-side single. However, the A-side "Love Song (Oh Jene)" was largely ignored and "Baby, Please Don't Go" began receiving airplay. The single entered the chart at the end of March 1975 and peaked at number 10 in April. AllMusic critic Eduardo Rivadavia called the song "positively explosive", while music writer Dave Rubin described it as "primal blues rock".

On March 23, 1975, one month after drummer Phil Rudd and bassist Mark Evans joined AC/DC, the group performed the song for the first time on the Australian music program Countdown (this performance would also be repeated on April 6 and 27, which is why there is often conflicting dates for this performance)  And to this day, this performance remains as one of the most epic and most watched Countdown clips.

7. Al Martino - To The Door Of The Sun

"To the Door of the Sun (Alle porte del sole)" is a 1975 hit single by Al Martino and the title track of his LP.

Al’s renditiuon was an English language treatment of the Italian song “Alle porte del sole,” recorded in 1973 by Gigliola Cinquetti.

In early 1975, "To the Door of the Sun" reached number 17 on the U.S. Billboard Hot 100. It spent four months on the chart, equaling the chart run length of Martino's greatest hit, "I Love You Because" (#3, 1963).

It was Al Martino's biggest Top 40 hit in Australia, peaking at #2 in mid-1975, and also became his biggest hit of the 1970s.

Interesting fact: Apart from singing, Martino was also an actor and played the role of Johnny Fontane in the 1972 film The Godfather, as well as singing the film's theme, "Speak Softly Love". Martino had been told about the character by a friend who had read the eponymous novel and felt Martino represented the character of Johnny Fontane. Martino contacted producer Albert S. Ruddy, who initially gave him the part. Martino was stripped of the part, however, after Francis Ford Coppola came on board as director and awarded the role to singer Vic Damone. Martino, in turn, went to Russell Bufalino, his godfather and a crime boss, who then orchestrated the publication of various news articles that claimed Coppola had been unaware of Ruddy having given Martino the part.

Damone eventually dropped the role because he did not want to provoke the Bufalino crime family. Ultimately, the part of Johnny Fontane was given back to Martino. He played the same role in The Godfather Part III and The Godfather Trilogy: 1901–1980 (the television miniseries that combines The Godfather and The Godfather Part II into one film).

8. Peppers - Pepper box

The Peppers was a French male instrumental group who had a hit single in 1975 with "Pepper Box". The song reached number 6 in the UK Singles Chart, was a minor hit on the US Soul and Hot 100 charts and hit #25 in the Australian Charts.

As with several other pop hits of the early 70's, notably instrumentals, this mega hit started life as a TV commercial soundtrack. The producer Roger Tokarz, however, recognized it's potential early on and instead of the recording being given to the client, held back the tune for a commercial release. Taking inspiration from another 70's instrumental hit called "Popcorn", Tokarz recruited noted musicians Pierre Alain Dahan and Matt Camison (also to be found on Trunk Records recently released production library anthology) to expand on his theme at the Bagatelle Studios (home of the publishers of Serge Gainsbourg). Pepper Box went on to sell over 3.5 million units world wide! Not bad for a commercial jingle.

9. Pilot - January

"January" was sung by Scottish rock band Pilot. Written by the band's guitarist and singer David Paton and produced by Alan Parsons, it was released by EMI Records in January 1975 as the follow-up to the band's breakthrough single, "Magic". "January" gave Pilot their only number-one single in the UK, Ireland and Australia.

In 1973, Paton (singer and bass player), formed Pilot with a former Bay City Rollers member, keyboard player Billy Lyall and soon recruited drummer Stuart Tosh and, a few months later, guitarist Ian Bairnson. Their band name is derived from P(aton), I(an), L(yall) and T(osh) and added an O in for good measure and came up with Pilot.

"January" was actually released in the second week of January 1975, and two weeks later it was number one, had it been released a week earlier, it might have made number 1 whilst still in January, but, no, it peaked in the first week of February. It probably didn’t bother them at the time because it song wasn’t actually about a month.

“My wife was reading a book and the main character was called January, ” Paton explained. “She said, ‘January is a nice name for a girl don’t you think?’ and it just stayed in my head and I wrote the chorus with that in mind. The verse and the chorus are totally unrelated; the verse is about how I felt at the time with the success of our first single "Magic". I didn’t actually write the song in January, it was in October, just after the release of Magic. It was quickly recorded as the next single. We were recording the album, 'Second Flight', in Air Studios in London when January got to number one. I didn’t know the song was number one until I arrived at the studio where I was greeted with handshakes and congratulations.”

10. Ross Ryan - Blue Chevrolet Ballerina

Australian singer / songwriter (moved here from US as a young boy) grew up on a farm in Western Australia. He started writing songs at 14 eventually landing a record deal in 1970. His 1st major success was "I Am Pegasus" which made No. 2 in 1973. One of the most original singles of 1975, "Blue Chevrolet Ballerina" was released in March that year receiving widespread airplay but only charting at No. 38. The song appeared on Ryan's 'After The Applause' LP.

'Blue Chevrolet Ballerina' brings together the banjo feel of Neil Young's 'For The Turnstiles' (from 'On The Beach') and Jeanie C. O' Reilly's 60's hit, 'Ode To Billy Joe'.

I personally think that this is one of Ryan's best songs, and should have received the same success as his first hit "I Am Pegasus".

11. Guys and Dolls - There's A Whole Lot Of Loving

"There's a Whole Lot of Loving" is a song written by Christian Arnold with lyrics by David Martin and Geoff Morrow, released under the name of Guys 'n' Dolls. The song was a number-two hit in both the United Kingdom and Ireland and became the biggest hit for the group. The song also reached number 15 on the US Billboard Easy Listening chart and number 17 on Canada's RPM Pop Music Playlist. Elsewhere, the song reached the top 20 in Belgium, the Netherlands, and South Africa.

The song was originally recorded in 1974 by a group of session singers (including Tony Burrows and Clare Torry) for a TV advertisement for McVitie's biscuits. Guys 'n' Dolls were formed to cash in upon the popularity of the jingle and to present it as a single. However, the group was not ready in time to record an entirely new version for the single's hasty release, so the voices of the session singers remained on the single.

12. Steve Harley & Cockney Rebel - Make Me Smile (Come Up And See Me)

"Make Me Smile (Come Up and See Me)" is a song by British rock band Steve Harley & Cockney Rebel, released as the lead single from the band's 1975 album The Best Years of Our Lives. It was written by Harley, and produced by Harley and Alan Parsons. In February 1975, the song reached the number-one spot on the UK chart and received a UK Silver certification. It spent nine weeks in the Top 50. The track marked Harley’s first Number 1 hit single, entered the Top 10 in 15 countries and has sold around 1.5 million copies to date.

“People keep asking me, did I know at the time how successful Make Me Smile would become?,” Harley told Official Charts.com. “I was 23 years old and wouldn't have been considering the long-term future.

“But we all knew, in number two studio at Abbey Road, after we'd re-mixed it, that something special might just be in the air.”

“Alan Parsons, my co-producer and engineer, did a fantastic job,” he continued. “Which is why the record sounds so fresh and bright on the radio to this day, a full 40 years on!"

13. Ralph McTell - The Streets Of London

"Streets of London," was the third song that Ralph McTell ever wrote yet he deliberately left it off his debut album as he didn't think it was anything special. However, at his producer's insistence, he included it on his second album for Transatlantic, 'Spiral Staircase'. After the song was re-recorded in 1974 as a single for Reprise/Warner Bros it became a huge world-wide hit. The song reached number two on the British charts, and in Germany, there were four different versions of the song on the charts at one point, three by McTell and one by a German singer.

Produced by Gus Dudgeon and first released in the UK in 1969, "Streets of London" has become McTell's signature tune. I personally heard this track for the first time, having purchased 'Explosive Hits '75 when the single was re-released by EMI records (which earned him an Ivor Novello Award), and it has been my favourite Folk Song ever since.

14. Sherbet - Summer Of Love

Released in March, 1975, this was another pop classic by Sherbet and their first single to be released in England. It reached the National top five in Australia and became their first number-one hit on the Australian Kent Music Report Singles Chart.

Interestingly, it was their only release on EMI. Sherbet had signed a one-off deal for "Summer Love" with EMI – rival to their regular label Festival Records. This was a ploy to gain leverage when negotiating a more favourable contract. After "Summer Love" peaked at No. 1, Sherbet re-signed with Festival which issued their subsequent material on the group's own Razzle and Sherbet labels.

The song was promoted on the newly aired ABC TV pop series, Countdown, which gave it wide exposure. From early 1975, the group made more appearances on the show than any other band in the programme's history. Through late April and most of May of 1975, Sherbet’s Summer Love spent four weeks at the coveted No.1 spot, which meant that four consecutive Countdown episodes ended with the velvet tones of Gavin Wood declaring that our boys were the biggest and best in the land. For one whole month we had statistical proof that our love for Sherbet was like no other love.

In October, at the King of Pop Awards, "Summer Love" won the Most Popular Australian Single, the band won Most Popular Australian Group and their lead singer, Daryl Braithwaite, won the King of Pop award.

15. Franki Valli - My Eyes Adored You

"My Eyes Adored You" is a 1974 song written by Bob Crewe and Kenny Nolan. It was originally recorded by The Four Seasons in early 1974. After the Motown label balked at the idea of releasing it, the recording was sold to lead singer Frankie Valli for $4000. After rejections by Capitol and Atlantic Records, Valli succeeded in getting the recording released on Private Stock Records, but the owner /  founder of the label, Larry Uttal, wanted only Valli's name on the label. It is from the album Closeup. The single was released in the US in November 1974 and topped the Billboard Hot 100 in March 1975. "My Eyes Adored You" also went to number 2 on the Easy Listening chart. Billboard ranked it as the No. 5 song for 1975.

The single was Valli's first number 1 hit as a solo artist on the Billboard Hot 100, but only remained there for one week. Ironically, the success of "My Eyes Adored You" triggered a revival of interest in recordings by The Four Seasons. he band was subsequently signed to Warner Bros. Records as Valli's follow-up single "Swearin' to God" was climbing to number 6 on the Hot 100.

16. Gilbert Bécaud – A Little Love And Understanding

The closing track on this 1975 compilation, this cute little recording by French legend Gilbert Becaud actually starts to grow on you (His cute little 'he he' & 'ha ha's are what give this record its quaint charm). 'A little love and understanding' came half way through Gilbert's 50 year career, and provided his only British chart hit, and a number one selling single in Sydney; while strangely making only #19 nationally. Evidently Gilbert did not receive much airplay elsewhere Down Under!

1975 was a turning point in pop culture, as some of the balladeers and superstars of the era were about to be flung aside as disco and novelty pop records became the mainstay of the upper echelons of the hit parade. Around this time, hits by crooners like Joe Dolan, Al Martino, Telly Savalas and Gilbert Becaud were still hitting the charts, but not for long (thankfully).

This post consists of FLACs ripped from my Vinyl (I actually have 2 copies - this one's near mint condition) and includes full album artwork along with label scans.  This compilation is a must for your collection.

Track Listing:

A1 John Young – Yesterday's Hero 3:41

A2 Bay City Rollers – Bye Bye Baby 2:37

A3 Peter Shelley – Gee Baby 2:50

A4 The Glitter Band – Goodbye My Love 3:44

A5 Linda Ronstadt – You're No Good 3:25

A6 AC/DC – Baby Please Don't Go 4:50

A7 Al Martino – To The Door Of The Sun 3:18

A8 The Peppers – Pepper Box 2:18

B1 Pilot – January 3:28

B2 Ross Ryan – Blue Chevrolet Ballerina 3:56

B3 Guys & Dolls – There's A Whole Lot Of Loving 3:13

B4 Steve Harley & Cockney Rebel – Make Me Smile (Come Up And See Me) 3:30

B5 Ralph McTell – Streets Of London 4:20

B6 Sherbet – Summer Love 3:30

B7 Frankie Valli – My Eyes Adored You 3:09

B8 Gilbert Bécaud – A Little Love And Understanding 3:23

Explosive Hits 75' Link (368Mb)

W.O.C.K On Vinyl: Gene Moss And His Monsters - Draculas Greatest Hits (1964)

 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.

With Halloween slowly etching it's way into Aussie life, I thought it appropriate to share this Korny album of blood thirsty parodies for this month's WOCK on Vinyl post.

Gene Moss is definitely the Weird Al Yankovic on this album. Moss wrote all the song parodies for "Dracula's Greatest Hits" along with a few original offerings and provides the vocals in a Bela Lugosi exaggerated style. Pretty funny, as well as a fun spin. The musicians ('His Monsters') were all established studio rats and as silly as the songs may be, the rats didn't short-change the music. All are pretty good.

The album artwork was created by Jack Davis of the bent Mad Magazine fame. Davis also did the artwork for albums as diverse as Homer and Jethro to The Guess Who. And it was this recognizable artwork that caused me to pause in the first place to have a better look.

Favorites include "I Want To Bite Your Hand." and "Drac The Knife", while "The New Frankenstein And Johnny Song" and "Little Black Bag" (a song about Jack The Ripper) are quite clever. Of course, all the songs on the album follow the Drac theme.

I picked this album up probably 3 or 4 years ago on a lark. I am just now checking it out. The cover looked great, plus the Beatles were getting their first big hit in America cracked on in spectacular ...Dracu-lized...style. This was 1964 after all, and everybody was trying to get their shots. The album was supposed to include 15 monster trading cards, but mine was long-gone missing. I imagine kids grabbed them up pretty quick and are pretty hard to come by. [Extract from thecollegecrowddigsme.com]

Reviews

- DRACULA'S GREATEST HITS is a delightful collection of song parodies with titles like DRAC THE KNIFE and I WANT TO BITE YOUR HAND. 'Waltzing Matilda' becomes 'Waltzing Godzilla' in "MONSTER HOOTENANNY". The Monster band is excellent. The LP was released by RCA VICTOR in 1964. Unfortunately, this wonderful album has been out of print for years and is now very hard to locate. Gene Moss made a career of his impression of The Count. He could out-Lugosi Lugosi any day!

- A fun album of monster related novelty songs released in the wake of "Monster Mash" becoming a surprise hit. These are parodies of popular songs plus a few original songs. Gene Moss does a good Bela Lugosi impersonation, with an occasional Boris Karloff impersonation thrown in for good measure.

- I had this album as a kid. It came out just after the Beatles had their hit "I want to hold your hand."

- A lovely Lugosi impersonator talk-sings horror parodies of popular songs, from the Beatles to surf music. It's a lovely piece very much in the vein of Weird Al, and anyone who loves Halloween or song parodies really needs to grab it now.  

TRACKS:                                                                                                                BITE ME !

A1  "I Want To Bite Your Hand"  2:21

A2  "Drack The Knife"  2:39

A3  "King Kong Stomp"  2:34

A4  "Monster Hootenanny"  2:13

A5  "Ghoul Days"  2:11                                           

A6  "Frankenstein"  1:49

B1  "The New Frankenstein And Johnny Song"  2:56             

B2  "Monster Goose Rhymes"  2:28

B3  "Surf Monster"  1:47  

B4  "Monster Bossa Nova"  2:07

B5  "Carry Me Back To Transylvania"  2:28

B6  "Little Black Bag"  1:57

Uriah Heep - Demons & Wizards (1972) + Bonus Tracks

(U.K 1969 - Present)

Few groups have minted as much critical derision as Uriah Heep. This veteran British band's style includes elements of progressive rock, jazz, and even country but their essential nature was perfectly summed up by the UK title of their debut album. 'Very 'Eavy, Very 'umble' (1970). The album was eponymous in the United States, where it led Rolling Stone's Mellissa Mills to famous pronounce, "If this group makes it I'll have to commit suicide." Other writers have decided Uriah Heep as "The worst music I've ever heard in my life" and likened them to a foul odor.

Nonetheless, Heep - named after a character in Charles Dickens' David Copperfield - did indeed make it particularly with album 'Demons And Wizards', released in May 1972 and considered their masterpiece by those whose nostrils aren't so sensitive. 'Innocent Victim' came out in 1977, a period that saw the band temper their indulgences and even nod toward pop - which didn't stop another journo opining, "I've always loathed them and thought... Innocent Victim... was the nadir of a worthless career."

Since relegated to cult status in America and Britain, the band remain popular in Europe, Japan, and even Russia, where stadium shows are a regular proposition. All the discouraging words and innumerable line-up changes - guitarist Mick Box has been the only ever-present - haven't hobbled a band whose continued existence perhaps owes a debt to that shopworn saying, "Bad publicity beats none at all."
(by Ralph Heibutzki from 'Defining Moments in Music', Cassell Illustrated Publishers, 2007 p423)

Ken Hensley Speaks about Demons And Wizards

I know I have said this before, but this is still one of my favourite albums and when people ask me that terrible question..."Which is your favourite Heep record?" I have to name it...along with a bunch of others, of course. Like most of the records I did with Heep, I can remember details of the sessions very clearly, such as David and I doing the choir parts for "Paradise/The Spell", spending hours and hours in a little booth in the studio while Gerry and Peter recorded, sub-mixed and re-recorded the parts.

 

It was always long, hard work, but the end result made it all worthwhile I think. I also remember not being told that the photographer was coming to shoot the inside shots which is why I have that feeble attempt at a beard in some of them, but let's not mention that. I still think it's the best of Roger's many great covers, but what I like about this record more than anything else is that itnall "fits"...if you know what I mean!! This was definitely a milestone in the band's musical history and it's nice to have a new slant and a fresh slant on it like this. Hope you enjoy it...again !
(Ken Hensley - February 2003)

Mick Box Speaks about Demons And Wizards

This was a really important album for us, as it really did put us on the world stage. It has since taken us to over 47 countries and with songs like Easy Livin', written by Ken, it made a huge impact and is requested everywhere we have travelled since its release. This album was our first visit into the world of fantasy lyrics and this seemed to capture everyone's imagination. 

Along with the Roger Dean inspired artwork, we felt for the first time we really had the total package, with the music and artwork totally in synch. We felt on completion of this album a lot of excitement and that things were going to explode for us in a big way; this proved to be correct as we constantly toured places we had previously only dreamed of. This re-mastered CD version is a must for fans old and new and I am still very proud of it. (Mick Box, on tour in Germany, 23.09.95)

Regarded By Most As The Glittering Jewel

All these years later, the reasons why Demons And wizards became such an important and influential record are totally unmistakable - just play the bloody thing. Besides enhancing their growing status in the United States, songs like "The Wizard" and "Easy Livin", also turned Heep into superstars around the globe, including the UK where it spent 11 weeks, peaking at No.20.

Demons And Wizards was once again produced by Gerry Bron, whose growing importance within the Heep camp was mirroring the group's own fortunes. However, it also caused problems with their de facto manager, Paul Newton Senior. The bassist's father had worked long and hard on the fledgling act's behalf. It was Newton who'd invited Bron to check out his young charges at the Blues Loft in High Wycombe, though Bronze Records were only just beginning to see a financial return for their costly investment in studio time.

In Uriah Heep's crown, 'Demons And Wizards' was originally released back in May 1972. The quintet's fourth album transpired to be the cornerstone of their most commercially successful era, bringing them more Gold discs and maintaining the swift upward surge that had begun just seven months earlier with 'Look At yourself'.

The fall-out eventually cost both Newtons their roles in the band, and by the time that keyboard player/guitarist Ken Hensley, frontman David Byron and guitarist Mick Box returned to London's Lansdowne Studios for the Demons And Wizards sessions - their very first l6-track recordings - three further personnel changes had taken place.

The role of bassist briefly fell to Mark Clarke, though within just three months the ex- Colosseum/Tempest man had willingly stepped aside to accommodate New Zealand-born Gary Thain (see right). Clarke knew he was unsuited to Heep's non-stop workload - he later realised that he was on the verge of a nervous breakdown - though he sportingly agreed to stay on and teach former Keef Hartley four-stringer Thain the ropes during a US tour. Before he took his leave, Mark also had the honour of co-writing and singing a section of arguably the band's finest song, 'The Wizard', which was recorded as a single prior to the album.

"That one was written in the back of a van on our way to a gig," relates Box. "Kenny [Hensley] had his acoustic guitar out and we started playing around. Mark had an idea for the middle-eight. So he and Kenny went to the studio the next day and knocked down the riff, and it slotted in perfectly.

"Starting a song with an acoustic guitar was quite something in those days," Mick continues, before revealing another fascinating secret. "We had the studio door open, which led into the kitchen. While we were listening to the playback, this old fashioned kettle with a whistle went off. ln those days of peace and love, man, we thought the whistle sounded right with the track. So we recorded it and tracked it about six times, then varispeeded it to the right pitch. Not many people know that the high pitched note that sounds like a string note is actually the whistle of a kettle!"
Adds Clarke: "l'm also singing the part that goes, 'Why don't we listen to the voices in our hearts?' Dave Byron said, 'Does it have to be so high?' so Gerry Bron said, 'Why don't you sing it?' And that's what I did."

Once ensconced in the Heep ranks, Gary Thain proved to be a valuable new recruit. The likeable Kiwi could write good songs and his wandering bass lines added to the group's already enviable levels of musicianship, which were further enhanced still by the arrival of Lee Kerslake (see left). 

Due to his loyalty to The National Head Band, the band's latest drummer had turned down previous overtures to join Heep. However, Lee knew Hensley (and Pau! Newton) via their shared days in The Gods, and from the moment Kerslake met the rest of the band at Jubilee Studios in November of 1971, he immediately became part of the furniture.
"Lee joining really steadied the ship musically," comments Box. "At last we were getting the right kind of people in."

The Album Cover

The album's fantasy-based sleeve was equally inspirational. Breaking with tradition, artist Roger Dean, who'd previously worked with Yes and Osibisa, was invited to hear Heep's new music before submitting his original gatefold illustration. lndeed, Hensley recently claimed that what Dean eventually delivered scarily matched a scene from a recurring dream he'd been experiencing at the time. "It wouldn't go away until one day I decided to write it down - after which I never had the dream again," he said.

'Demons And Wizards' was an odd cover for me because it was primarily painted with elements of collage, says Dean now. "The butterfly wings on the wizard are real butterfly wings. l'm still rather proud of it."

The Album

'Easy Livin", the album's second single, failed to trouble the British charts, though it turned out to be a monster hit in Holland, Germany and Scandinavia. Box recalls the track's legendary power- shuffle taking on a life of its own after "a pint or two" had been consumed in an adjacent public house, and it remains in Heep's live set to the present day, as well as a perennial highlight of Hensley's solo performances. In recent years, Demons And Wizards tracks like, "Circle Of Hands", "Rainbow Demon" and the "Paradise"/"The Spell" medley have all found their way back into the Heep repertoire, confirming the disc's profound and lasting appeal.

"The band was really focused," Hensley later remarked of the era. "We all wanted the same thing, we were all willing to make the same sacrifices to achieve it, and we were all very committed."

Heep had at last found a settled and fully motivated line-up, but they were rightly unhappy at being forced to rush their next album, 'The Magician's Birthday', into the shops just six months later. Indeed, as fruitful as the 'Demons And Wizards' sessions turned out to be, the busy days and nights spent at Lansdowne Studios in March and April of '72 weren't always what you'd call stress-free. If Uriah Heep had been an iceberg, then drug usage, alcohol dependence and inter-band squabbles
were busy eating away at them beneath the water's surface. Furthermore, their highly crucial relationship with Gerry Bron was turning sour.

"He never pooh-poohed any of our ideas [in the studio] at first, but later on he wasn't quite so good in that regard." Mick Box told me years later. "As instrumental as Gerry Bron was in building up Uriah Heep, he was equally guilty in bringing it down"
(Dave Ling writes for classic Rock magazine and is the author of the Uriah Heep book wizards)

Bonus Tracks

10. WHY (Box/Byron/Hensley /Nemon) (10:34) - previously unreleased extended '72'version, EMI Music Publishing Ltd. 2003 Sanctuary Records Group Ltd.

A version of Why was recorded during the Look At Yourself sessions a year prior to this recording although that version had remained unreleased until 1993. Why had appeared as a B-side in 1972 in a number of countries and this was edited from a version recorded during the Demons And Wizards sessions. The full-blown track was unearthed in 1991 and several versions were mixed down. This extended version is probably the most exciting of the lot. There has been much debate as to whether this is Gary Thain! or Mark Clarke's stunning bass featured on this vastly underrated track. Laced with Mick fantastic guitar work (some of the best I have ever heard him do) and Ken's Hammond and Lee Kerslake's riveting drumming make this one of the best Heep tracks ever. The build up and climax to the ending is just pure seventies Heep. Stunning stuff, and it needs to be heard to be believed. This is a track that still knocks my socks off every time I listen to it! Play it for your
neighbours!

11.  RAINBOW DEMON (Hensley) (3:36) - previously unreleased single edit. EMI Music Publishing Ltd. 2003 Sanctuary Records Group Ltd.

If this had ever been released as a single it would have made for interesting listening especially if it had ever got to 'Top of the Pops'.

12.  PROUD WORDS ON A DUSTY SHELF (Hensley) (2:51) - Demons And Wizards out-take. EMI Music Publishing Ltd. 1995 Sanctuary Records Group Ltd.
Unearthed and mixed in 1991 this version of Prouds Words On A Dusty Shelf (or as Mick Box and Co. jokingly call it: 'Brown Turds On A Rusty Elf) was included previously on the 'Time O{ Revelation' box set. Several versions were recorded during the Demons and Wizards sessions but it was eventually Ken Hensley's debut solo project.

13. HOME AGAIN TO YOU (copyright control) (5:36) previously unreleased version. EMI Music Publishing Ltd. 1995 Sanctuary Records Group Ltd.

Also located in 1991, several versions of this track existed on multi-track which does give some indication that the band were attempting to 'make it work'. A version of the track first appeared on the DW re-master from 1995.

14. GREEN EYE (copyright control) (3:46) - previously unreleased demo. EMI Music Publishing Ltd. 2003 Sanctuary Records Group Ltd.

Clearly only a demo that was recorded during the Demons And Wizards sessions, this track is certainly 'a heavy little Hammond number'. It is surprising this was not re-recorded at a later date, however it appears to have been forgotten. Although mixed in 1991, I then too forgot about it until Jeff Perkins who is currently writing a book on the life and times of David Byron visited me at home. He had requested to hear a few of the rare gems that we have tucked away that are still unreleased (yes, there are still a few more). Beer in hand (waving wildly, but not spilling the beer) he excitedly convinced me to include it on this remaster.

This post consists of FLACs ripped from my CD and includes album artwork for both vinyl and CD media, plus label scans.  Having been collecting records for 50+ years, there are a handful of albums that I consider to be exceptional in my collection. 'Demons and Wizards' is one of them.  

My older brother first introduced me to Uriah Heep when he would play his copy of  Very 'Eavy, Very 'umble from his adjacent bedroom on a daily basis - I was 14 at the time. I was immediately mesmerized by the sounds I heard and eventually bought the album off him when he finally grew tired of it. I also acquired 'Look At Yourself' from him, but I still wanted more. So I visited my local K-Mart and luckily stumbled upon their latest release 'Demons and Wizards'.  The Roger Dean album cover was a huge draw card and made the $5.99 purchase price even more attractive.  Needless to say, I was 'blown away' by the sounds I heard when I first played the album. I literately played the album to death for the next 6 months until I discovered that the Heep had released a follow up album entitled 'The Magican's Birthday'. 

Of course, this was the start of my life long relationship with Uriah Heep and I have acquired all of their vinyl releases to date. 

I have decided to post a CD rip this time as my vinyl is somewhat tired and worn, and I want to ensure that you get a high quality recording. The bonus tracks have come from the expanded CD edition of the album, which was released 20 years ago. If you haven't heard this album before, then don't wait a second longer - download a copy and listen to this brilliant / ground breaking album. You won't be disappointed. 

Track Listing:

01 The Wizard 3:00

02 Traveller In Time 3:25

03 Easy Livin' 2:37

04 Poet's Justice 4:15

05 Circle Of Hands 6:25

06 Rainbow Demon 4:25

07 All My Life 2:44

08 Paradise 5:10

09 The Spell 7:31

Bonus Tracks:

10 Why (Previously Unreleased Extended Version) 10:34

11 Rainbow Demon (Previously Unreleased Single Edit) 3:36

12 Proud Words On A Dusty Shelf (Out-Take) 2:51

13 Home Again To You (Demo - Previously Unreleased Version) 5:36

14 Green Eye (Demo - Previously Unreleased) 3:46

Uriah Heep were:

Vocals – David Byron

Bass – Gary Thain

Guitar – Mick Box

Keyboards, Guitar, Percussion – Ken Hensley

Drums, Percussion – Lee Kerslake

Demons and Wizards Link (480Mb)

Alternative Link (480Mb)