The Church - Of Skins And Hearts (1981) plus Bonus Single

 (Australian 1980 - Present)

In 1980, the smart money was on edgy new wave. If you looked like Blondie, sounded like the Knack, and wore those “energy dome” hats made popular by Devo, you’d be on the cover of Rolling Stone faster than you could say, “Skinny tie”. Even Billy Joel had a go via his new-wave-lite “It’s Still Rock and Roll to Me”. Strange days indeed, and yet, bizarrely, in various locations across the world, young musicians turned away from all that and toward a previously off-limits area for musical inspiration.

After the punk-inspired embargo on the 1960s was finally lifted, a new generation discovered the Byrds, Syd Barrett era Pink Floyd, and 1967-1968 Beatles. Love’s Forever Changes was spoken about in hushed whispers, and everybody coveted that fringed jacket that Neil Young wore in the Buffalo Springfield. New Wave was about black and white; the sound that these musicians wanted to make was Technicolor.

Early shot of The Church

If you could name more than five Australian artists in 1980, you were in the top 5% of pop music know-it-alls. Of course, music was happening on the island, but very rarely did it manage to escape the Antipodes. Does anyone remember The Divinyls? I thought not. This lack of international profile didn’t deter Steve Kilbey — a British-born musician who left the UK with his parents at the age of five — from making music. After a couple of false starts with “nearly-but-not-quite” outfits, he formed the Church in 1980 alongside long-time cohort Peter Koppes, drummer Nick Ward, and traveling Liverpool-born guitarist Marty Willson-Piper.

Bound by a love of jangle, paisley, and mind-altering substances, the band was signed to EMI after a four-track demo recorded in Kilbey’s bedroom caught the attention of a publishing company. Their debut record, Of Skins and Heart, came out in April 1981; the first single from it, the rather pedestrian “She Never Said”, was a flop. Luckily, it was followed quickly by “The Unguarded Moment”, a Top 30 single in Australia and New Zealand. Honestly, that’s where it should have ended, but it didn’t. Forty years later, the band has a unique place in popular music and a voracious and fiercely loyal fanbase. How did that happen?

European Release of The Unguarded Moment

Of Skins and Heart is a curious record. It plays lip service to the prevailing winds of new wave but still manages to contain the ringing Rickenbacker jangle of 1966. Across its original nine songs (the track listing was reconfigured in the US and again in the UK), you get Dylanesque balladry, quality pop-rock, a couple of brave attempts at grandeur, and a bonafide classic in “Bel-Air”. Produced by the unlikely pairing of Chris Gilbey (AC/DC) and Bob Clearmountain (Bruce Springsteen), it’s obvious that the band were not so gently nudged/shoved into making a record that sounded like the kind of thing the Cars would have recorded if they’d have been born a few thousand miles to the right of the map and fallen out with their keyboard player. Nevertheless, there’s just something in these songs that hints at great things to come.

It’s all about the guitars, really. Peter Koppes’ playing was built on classic lines—carefully structured solos and a neat, measured approach to rhythm work. In contrast, Willson-Piper jangled on his 12-string and had a slightly more blatantly “rock” style. Together, they meshed beautifully, like a classic Verlaine/Lloyd pairing for the new decade.

Although Of Skins and Hearts is a solid record, it does hold some weaknesses. The new-wave trappings imposed upon them suck a little life out of a few songs. Likewise, Nick Ward does an adequate job driving the band, but his meat-and-potatoes approach to drumming gives the band little room to breathe. The fact that he was replaced by Richard Ploog shortly after the recording says it all. As a hit single, “The Unguarded Moment” was both a blessing and a curse, as the band quickly tired of playing the song live. It’s easy to see why, too, since the arrangement lacks interest, and the whole piece is saved by some interesting guitar lines and Nick Ward’s mournful backing vocal.

It was a staple of the band’s live set for years, but it was often played perfunctorily as if the band was eager to move on to the next song. “Bel-Air”, however, is a gem. This is the first real example of Kilbey’s unique lyricism, combining a cinematic approach with an insightful, impressionistic touch. Throughout their career, the Church ensured that their words were always worth paying attention to (even if the rest of the tune was a little lackluster).

The centerpiece of Of Skins and Heart is “Is This Where You Live”. Written as an epic stage piece, it gets the full treatment, from the brooding synth and bass opening to the backward guitars and “Hey Jude” style chorus. Whereas the official studio version is a little stiff, the live renditions would take on a life of their own, ramping up the intensity and piling on the pressure. It was a joyous thing to behold.

I don’t think that Australian music television show Countdown could have picked a better backdrop for The Church to perform in front of for one of their most memorable songs—“The Unguarded Moment” from their 1981 album Of Skins and Heart—than a stage rigged with lighting that resembled church-style stained glass. This 40 year-old footage is really quite surreal

In his 2014 autobiography, 'Something Quite Peculiar', Church vocalist Steve Kilbey, (who also hosted Countdown himself a few times) recalls how that very performance on made such an impact overnight that people were turned away at the door of at their gig the following eveing, as the venue was quickly (and quite unexpectedly) packed to capacity. Kilbey also fondly refers to the early days of The Church’s career as his “halcyon days” thanks to the rather sudden fame the band experienced back in 1981 (as they had only formed the year before).

In 2011, the Church joined up with a 40 piece orchestra to breathe new life into their #1 hit 'The Unguarded Moment" and is brilliant!

In 2022, the Church appears to be thriving again (despite only Kilbey and Koppes surviving from the band that trooped into Studio 301 in 1980 to record Of Skins and Heart). Twenty-four albums later, the band is soon to embark on a short tour and a dedicated and loyal fanbase is rubbing their hands together in glee. They have had messy fallouts, critical acclaim, and critical damnation in the interim, not to mention a gold album with 1988’s Starfish (their breathtaking international breakthrough record). 

Of course, that first album turned 40 last year, which was cause for celebration. The band has carved out a unique place in popular music from an unlikely location and with the most unlikely set of influences. Long may they swim against the tide. [Extracts from Popmatters, By Ian Rushbury 21 April 2021] 

This post features FLACs ripped from my 'Orange Label' Parlophone vinyl and also includes full artwork for CD and vinyl media. As a bonus, I have also include the non-album B-Side to The Unguarded Moment single, "Bus Driver". In my opinion, this album deserves a place in the 'Top 10' Aussie albums of all time.

Tracklist

01 For A Moment We're Strangers 3:52

02 Chrome Injury 4:02

03 The Unguarded Moment 4:17

04 Memories In Future Tense 4:44

05 Bel-Air 3:56

06 Is This Where You Live    7:38

07 She Never Said 3:16

08 Fighter Pilot 4:23

09 Don't Open The Door To Strangers 3:24

10 Bus Driver (Bonus B-Side Single)   4:03

The Church were:

Steve Kilbey - Lead Vocals, Bass, Keyboards

Nick Ward - Drums, Percussion, Backing vocals

Marty Willson-Piper - Electric Guitar, Acoustic Guitar, Backing vocals

Peter Koppes - Lead Guitar, Slide Guitar, backing vocals

The Church Link (263Mb)

REPOST: Kevin Borich Express - Celebration (1977) + Bonus Tracks

(New Zealand/Australian 1969-Present)
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Kevin Borich is a New Zealand-born Australian guitarist and singer- songwriter. He was a founding member and of 'The La De Das', the leader of 'Kevin Borich Express', and a member of 'The Party Boys', as well as a session musician for numerous acts. Borich wrote "Gonna See My Baby Tonight", for The La De Das, which became a top 10 hit in 1971 on the Australian singles chart. He performed at some of Australia's biggest Rock events including the 1972 Sunbury Pop Festival and the late 1970s Rockarena tours with 60,000 people, featuring Fleetwood Mac, Santana and The Little River Band.
Australian rock music historian, Ian McFarlane has described Borich as "one of the most celebrated guitar players in the history of Australian rock. He also remains an underrated songwriter, and his live reputation has rarely been reflected in record sales".

Borich is now firmly entrenched as Australia's guitar hero supremo; his superb rendition of Jimi Hendrix's workout on Dylan's 'All Along the Watchtower' became a signature song, and his band was never allowed to finish a gig until they delivered it [extract from wikipedia]

After the La De Das folded, Borich formed his own band 'The Kevin Borich Express' in 1975 playing University's, pubs and other small venues and quickly established a following.

.I saw Borich play more times than I can remember while attending La Trobe University in 1977, and as a big fan of 'axemen' at the time, Borich's guitar work floored me every time.
He was the next best thing to Hendrix and his material at the time was taken from his then current album 'Celebration'. I can still remember sitting in the outside auditorium at lunchtimes listening to the thunderous wall of sound of "Snowball King" or his screeching guitar solos in "Celebration". In fact, Celebration follows the same formula that Robin Trower followed on his classic track "Too Rolling Stoned", where he starts of at a fast pace and then breaks into a slow guitar solo that simply blows your mind! (without the use of any illicit drugs).  Awesome stuff.
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RAM magazine ran the following article on Borich in their March edition (1977) around the time he released the Celebration album, entitled 'Burning Rubber'

Kevin Borich has just finished a gig with the Little River Band at the Haymarket, one of the 'Festival of Sydney' bashes. His roadie, who was acting as soundman for the band, got busted for having things 46-decibels too loud. That's emphatically beyond the legal limit of 92 dbs. Hang on, mumble mumble, 138 decibels ... that's louder than the one in the Guinness Book of Records. When Kevin says he likes volume, you'd better believe him. He's got a particular mad giggle reserved for the subject of aural power; it makes him look like a glamorous mad scientist, aged twelve. 

Right at the moment, Mr. Borich is weary. Not that he admits it, but the luggage lurking under his eyes gives him away. This interview is being dispensed in the comparative quiet of a banana yellow hire car; the tyres of Kevin's own elegant white Rover have fallen victim to the dreaded Hume Highway, that runs between The Express home base in Melbourne, and Sydney. "Starting to think it's me fuckin home", he mutters, "spend my life dodging fuckin semi-trailers ..." Back to band events. 

The Kevin Borich Express has had a population turnover as rapid as the staff of a trendy boutique, but the current bass player and drummer have been there for some months and look like staying that way. Tim Partridge, bass, and John Annis, drums, with Kevin and his guitar wardrobe have just finished an album. The band s solidified now, I guess because we've got a bit of product out. More things can be said about us over the airwaves. Kevin slips into his ten-years-on-the-road jive voice; "Something to sell. baby." 

The album was made over a period of three weeks at Armstrong studios in Melbourne. It's all original material; some of it Kevin has been playing for over a year now. The arrangements have stuck to the basic trio, with the exception of a moonlighting Wilbur Wilde playing sax on a beautiful track called "Mon Ami". "There's some lady backup singers on a few tracks — one of them was a beautiful blonde. They're the surprise. Among other things you also get what have become Borich classics; "Going Downtown", "Rainbows" and "Celebration". That last song has been released as a single. It's had some airplay in Melbourne but hardly any in Sydney. Which is a pity, because it's a ripper. 

"It's all very new, this recording." Kevin muses. "I've done two or three albums before (with the La De Das) but I've never been so involved in them as with this one. I'd just walk in and play, sit there and not say anything ... maybe curse later when I heard it back, because it was something I should have changed at the time. But there was no pressure on the shoulders with this one. Well, we had to get it finished quickly, which I suppose is pressure, but it didn't feel like it. If that sounds a trifle wandering, put it down to post-concert depression. The kind you get when you've just played in front of eight thousand people and your car needs new tyres, something to do with odd proportions. When you've been acknowledged as one of the best, and definitely the flashiest guitarist in the country for years and the goddam radio won't play your single you're entitled to feel fatigue now and then. Borich could be comfortably settled in someone else's band, earning a fat salary, but he's elected to take the risk of leading his own three piece. He says he still likes the edge work of it all being up to him. of having his head on the chopping block as lone guitarist. The risks, apparently, are worth the gratification. 

The album Kevin Borich Express, should be released by the end of this month. If it's as hot as their live playing can be. it'll burn your ears. Or whatever it is guitar freaks singe in the process of ecstatic expansion.... tyres, maybe [Article by Annie Burton, RAM #53 March 11, 1977]
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The rip was taken from my 'out of print' CD in glorious FLAC and includes both the CD artwork and scans from my vinyl album. The CD cover is very different to the original LP cover (see below), and I much prefer the original (as shown at the top and its associated back cover on the right). 

I have also included the instrumental B-side to "Goin' Somewhere" entitled "Scene From Star Crossed Lovers", the single (edit) release of "Goin' Downtown", and a scan of the RAM article. Play this one LOUD folks!

NEW FLAC RIP 

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Track Listing

01 - Snowball King
02 - Goin' Somewhere
03 - Mon Ami
04 - Celebration
05 - I Just Wanna Love You

06 - Rainbows
07 - Goin' Downtown
08 - Love My Love (Will Carry On)
[Bonus Tracks]
09 - Scene From Star Crossed Lovers (B-Side Single 1976)
10 - Goin' Downtown (Edit Single Release 1977)

Band Members:
Kevin Borich (Guitar, Flute, Vocals)
Tim Partridge (Bass)
John Annas (Drums, Timbales, Percussion, Vocals)Guest Artists: Wilbur Wilde (Saxes)
Larry Duryea (Congas)
Uncle (Harp)
Lou Lincoln, Shirley Reed (Backing Vocals)
Reuden San Fiansco (bass on Goin' Somewhere)
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Celebration (269Mb) New Link 17/09/2022
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Kevin Borich Express - Live (1979) + Bonus Track

 (New Zealand / Australian 1969 - Present)

Kevin Borich began his professional career with The La De Das in New Zealand where they experienced five top 10 hits during the 60s. They moved to Australia in 1968 and Kevin wrote their most successful hit, ‘Gonna See My Baby Tonight’ which was a Top 10 single in Australia in 1971. Kevin established quite a reputation as a ‘guitar virtuoso’ in Australia. During the 70s’ they played at most of Australia’s large rock events including the Sunbury Pop festival, the Rockarena tours to a crowd of 60,000 with Fleetwood Mac and Santana, and New Year’s eve celebrations at the Sydney Opera House to 70,000.

In 1976, The Kevin Borich Express formed and was a support act for many international artist tours such as, Elton John, Jeff Beck, Buddy Guy and Status Quo. The band was signed by Image Records and in October 1976 the first single "I'm Going Somewhere"/"Scene From Star Crossed Lovers" was released. The song was introduced by a train whistle sound and it became the band's signature tune. Tim Partridge took over from San Fiansco and the new line-up completed the debut album "Celebration". Released in March 1977, a second single "Goin' Down Town" was issued.

In July 1977 they recorded the "Lonely One" album. On its completion, Tim Partridge left the trio. He was initially replaced by Tim Ayers from the Renee Geyer Band and then Bob Jackson. The single "Tango Queen" was released in November. Bob only lasted until March 1978, when he was replaced by Paul Christie. Following a farewell concert in Melbourne late in May, the Kevin Borich Express headed for the US where they toured extensively. In the US, keyboardist Tim Schafer was added.

They toured the U.S. with AC/DC and Jeff Beck, and successfully toured Europe in their own shows. Kevin included session playing in his career, appearing on many artists’ albums including Renee Geyer, Dutch Tilders, Richard Clapton and Mark Hunter.

The bands last single for Image was "Tell Me Why" in February 1978 and their first for Mercury / Polygram was "No Turning Back" in November 1978, followed by an album of the same name in January 1979.

CD Cover

Early in 1979 the band returned to Australia. Tim Schafer returned to the US making the band a three piece again. Paul Christie also left (later to join Mondo Rock) and was replaced initially by Lindsay Osbourne before original member Tim Partridge returned. This line-up toured Europe and England and recorded the album "Live" before John Annas left upon their return. He was replaced by John Watson.

More singles were released during 1979 before moving to Festival, where the recorded album "Live" was released in November. Borich recorded 'Live!', using the 2JJ mobile studio equipment over performances in Melbourne and Wollongong. 'Live!' contains one of the most incendiary and atmospheric versions of Little Red Rooster ever recorded along with a number of Borich standards.

One of Kevin Borich's biggest moments was in 1979 when he jammed with Carlos Santana before 80,000 at the Rock Arena megashows in Sydney and Melbourne. Santana would say of the Australian, "He's amazing. He sounds so much like Jimi Hendrix yet has an individual style. He presents his music honestly and is one of the best guitarists I've heard."

Santana & Borich On Stage

The 80s’ saw Kevin join a side project, The Party Boys who had unexpected chart success with the number 1 single, ‘He’s Gonna Step On You Again,’ and ‘Hold Your Head Up’ and two Top 10 albums. Kevin left The Party Boys in 1989 and joined Jimmy Barnes on his 1990 Two Fires tour. Simultaneously, Kev continued to write and tour his own Kevin Borich Express.

Kevin has performed alongside many famous and wonderful musicians including Ray Charles, Bo Diddley, Richie Blackmore (Deep Purple), Ronny Wood (Rolling Stones), Taj Mahal, Living Colour, Joe Walsh (The Eagles), Carlos Santana, Tony Joe White, and John Mayall to name a few. The Kevin Borich Express has been thrilling ‘blues enthusiasts’ as well as winning new music fans, young and old at festivals around Australia. His current shows start off with cool, laid back acoustic blues on his beautiful 1930s Dobro steel guitar. Then then fires up with his ‘electric blues – rockin’ funk’ sets! The electric set displays his array of guitars from the classic custom Fender Strat to his gorgeous Gibson Firebird Slide Guitar. [extracts from sergent.com and flyingsaucerclub.com]

This post consists of FLACs ripped from my Avenue vinyl and includes full album artwork for both CD and Vinyl.  Another treasured release in my Borich collection, this album brings back fond memories of seeing him play live on many occasions during the 70's, in particular at La Trobe and Melbourne University and live music venues such as Bombay Rock and The Billboard. 

My favourite track is definitely "Little Red Rooster", although I have a soft spot for his classic La De Das track "Gonna See My Baby Tonight".   

As a bonus, I have included a scorching rendition of "Snowball King" which was recorded at the Parramatta Gaol in the same year of this live album (and was taken from the rare compilation album  Canned Rock)

This album was released on CD for a short time by Fable records.

Tracklist

01  Not Fade Away 4:58

02  The Place 4:41

03  Goin' Down Town 7:05

04  Little Red Rooster 6:34

05  Gonna See My Baby Tonight 4:16

06  Bellhop Blues 3:31

07  K.B's Boogie 5:03

08  Good To See You Again 5:59

09  Goin' Somewhere 5:15

10  Snowball King (Bonus Live at Parramatta Gaol)

Band Members:

Kevin Borich (Guitar, Lead Vocals)

Tim Partridge (Bass, Vocals)

John Annas (Drums, Vocals)

John Watson  (Drums)

Kevin Borich Live (355Mb)

Carol Lloyd Band - Mother Was Asleep At The Time (1976) plus Bonus Single

 (Australian 1976-1980, 2014)

Carol Lloyd was born on October 17, 1948 and had a successful career in both Australia and the United Kingdom either as a singer, creative director, producer, not only in the world of music but also in film, television, radio, or entertainment management. Endowed with a great voice, they called her 'Wild Woman of Rock'. She was part of the band Railroad Gin until the mid-seventies where she created her own combo, a mixture of funk rock and some psychedelia.

In 1969, she worked in London on television and radio. She returned to Queensland to work in advertising and began to sing professionally. She joined the band Railroad Gin created in 1968 in Brisbane and in 1973 was composed by Carol Lloyd (vocals), two bassists Dim Janson and Jim Dickson, Bob Brown (percussion), Gary Evans (drums), Peter Evans ( flute, brass, percussion), Phil Shields (guitar) and Laurie Stone (keyboards). They signed with Polydor and released a couple of singles  "Do Ya 'Love Me" or "A Matter Of Time", which also appeared on their first album entitled 'A Matter Of Time" (see previous post).

Carol Lloyd Band 1977

 In August 1975, Lloyd left Railroad Gin due to throat problems and to pursue her solo career. She was replaced by Judee Ford. By the end of the year she had formed Tonnage, which was soon renamed as The Carol Lloyd Band. The line-up was Lloyd on lead vocals and percussion, Gary Broadhurst on bass guitar, Peter Harvey on guitar and keyboards, Mark Moffatt on lead guitar and pedal steel guitar, and Danny Simpson on drums. They signed a worldwide recording contract with EMI Records - a first for an Australian artist. They had a hit in Queensland with "Storm in My Soul" and promptly commenced work on their debut album.

The album 'Mother Was Asleep At The Time', having taken only nine days to record, was released on Oct 18, 1976. Censors had a field day over-reacting to the original cover artwork for the album which showed a bowie knife severing the umbilical cord of an unborn foetus. The album was only permitted a release date once the offending knife was removed from the picture. Released in 17 countries the album sold quite well reaching #46 on the Australian Charts and it was therefore a huge surprise to everyone when less than a year later the band announced that it was splitting up.

Carol Lloyd (with Mark Moffatt in background)

Tony Catterall of The Canberra Times was impressed by Lloyd "[who] is a blues singer and, being part of the seventies, she's singing in the most acceptable blues style of today; the southern US sound pioneered by the Allman Brothers Band." The album was produced by Clive Shakespeare (ex-Sherbet), Catterall observed "on many of the 10 tracks – [Shakespeare is] refusing to let her be out front where a blues shouter belongs or by use of double tracking or echo chamber. The resultant sound isn't exactly displeasing, but it isn't true, either... her power and that of her band, has been too often diluted on 'Mother' by Shakespeare's wrong-headed approach."

A fan of Lloyd's (winifredatwellZ) recently wrote on Kimbo's blog:

The Carol Lloyd Band rocked my sleepy hometown of Coolangatta on New Year's Eve 1977, as the featured entertainer to herald the new year She and her band delivered a rip-roaring set that provoked the longest congo line I have ever seen as literally thousands con-joined to form a vast snaking mass that seemed to stretch up the southern beaches. She worked with in the musical television industry in Brisbane, where her gifts at writing catchy advertising jingles and copy set to music gave her a second lucrative career. When I met her, she was of very different appearance, and gave concerts that were musical cabaret reminiscent of 1930's Berlin. She was an honest, warm woman who gave audiences, especially here in Brisbane, unforgettable musical memories.

 

Carol Lloyd later issued a solo album, "Take It or Leave It", in 1980 on RCA, which provided the title track as its lead single in January of the following year.

After an extended hiatus of more than 30 years, Lloyd performed a series of shows at the Brisbane Powerhouse: "It Takes Two, Baby" with Sue Ray in January 2014, "It Takes Two Baby" with Pearly Black in July 2014, and "It's Time: the No.1 hits of Railroad Gin and The Carol Lloyd Band" in December 2014, at which the All The Good Things live album was recorded.

Sadly, Carol Lloyd [singer, former advertising executive and a long-time mentor to young singers] died in Feb 2017 in the Wesley Hospital, Queensland after a long illness with pulmonary fibrosis. The disease was first diagnosed in April 2013.

This post consists of FLACs ripped from Vinyl (thanks to Bondie) and includes full album artwork and label scans. As a bonus, I have included the single (edit) release of "All The Good Times" and the non-album B-Side "Don't Do Me Any Favours" (thanks to Sunshine) This post is my tribute to Australia's original 'rock chick' - I hope you enjoy the album.

Tracklist

01 All Up To You 3:12

02 In That Magazine 3:19

03 All The Good Things 3:59

04 Blue McKenzie 2:38

05 Storm In My Soul 2:52

06 Come And See Me After The Rain 3:45

07 Coast To Coast 3:46

08 Shotgun 2:42

09 Work 3:12

10 Cards And Letters 3:24

11 Don't Do Me Any Favours (Bonus B-Side Single)  3:13

12 All The Good Things [Bonus Single Edit]   3:33

Band Members:

Carol Lloyd (vocals) 

Mark Moffat (guitar) 

Danny Simpson (drums) 

Gary Broadhurst (bass)
Peter Harvey (guitar & keyboards)

Carol Lloyd Band Link (279Mb)

REPOST: Railroad Gin - A Matter Of Time (1974) + Bonus Tracks

(Australian 1969 - 1976)
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Anyone with an interest in rock music in Queensland in the early '70s will almost certainly be familiar with Railroad Gin. They formed in Brisbane in 1969 more as a jazz and blues outfit the band.
In the early days the band performed at venues such as "The Open Door", "The Red Orb" and "Quentins", a cellar disco opposite Centennial Park in Wickham Street Brisbane playing material like "Don't Let Me Be Misunderstood", the Beatles hit "You Can't Do That", and songs by Spooky Tooth, Santana, Albatross and Black Fox.
Geoffrey Fitzgibbon was the original lead singer with Railroad Gin. By day he was working at the same advertising agency as Carol Lloyd. Legend has it that he heard her around the office humming at about ten octaves above the average person and invited her to try out with the band. For the next few months she appeared on stage as backing vocalist for them every Sunday night at "The Red Orb", most times to an audience of 20 or so. On some of the slower nights they'd kill time with Dylan poetry readings and Carol, it seems, was quite fond getting out front to perform a noteworthy recitation of 'Rindercella'.  
September 1971 is flagged as the first major gig for the band with Carol taking center stage as lead vocalist. At an open air concert presented as part of Brisbane's Warana Festival, Carol, in her own words was 'petrified'.
         

Carol Lloyd and Railroal Gin, Gladstone 1970s

By the end of the following year the band was really showing signs of developing some direction. They had won the finals of the University Bands Contest at Festival Hall with a selection of songs which included the Rita Coolidge hit "Superstar"; they'd also taken up a performing residency at "Quentins"; played at the opening of the luxurious new Pacesetters Club at Lennons Plaza Hotel and more importantly gotten a taste of what they were capable of in a recording studio.
          Definitely one of the great triumphs in Railroad Gin's career is the incredible Rock Mass they performed with the Queensland Youth Orchestra in 1973 in front of 7000 people at St. John's Cathedral in Brisbane. Some weeks later they performed an interdenominational church service which packed a city fringe church in Brisbane's West End. 
By late 1973 the band included Bob Brown (percussion), Gary Evans (Drums), Peter Evans (flute, brass), Dim Jansons (bass), Laurie Stone (keyboards) and Phil Shields (guitar). This line-up blazed many musical trails in their short time together. They were signed to an international record label, were pioneers of multi-track recording, performed Rock Masses, enjoyed number one singles and their Matter Of Time LP stands up as one of the great Australian releases of the era.
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L-R: Dim Jansons (bass guitar) • Laurie Stone (keyboards, brass, percussion) • Gary Evans (drums) • Bob Brown (percussion, brass) • Phil Shields (lead guitar, brass, percussion) • Carol Lloyd (vocals) • Peter Evans (flute, brass, percussion)

Other memorable moments for the band would have to include the occasion of their support gig for rocker Suzi Quatro at Festival Hall in 1974. Suzi, as expected, performed in black leathers but allegedly made certain stipulations as to where and how Carol was to sing. Carol, suitably offended and very much the individual defiantly marched on stage clad in Chinese brocade knickerbockers, silver tights and platform shoes, topped off by some strategically placed sequins and an old red fox cape leaving a fuming Quatro to watch from the wings. Co-incidentally this particular evening was the public debut of the Gin song "Don't Rile Me" and given the imposing atmosphere was probably never a more appropriate inclusion.
This 1974 album captured the groove heavy rock that the group had become famous for while touring extensively throughout the East Coast and South Australia.
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By September 1975 Carol, who had reportedly been having major throat problems, had decided to quit the band. Her replacement, if only by chance, was 19yr old session singer Judee Ford.  Not long afterwards Lloyd cut another great LP with the Carol Lloyd Band. It was released internationally and sold well in Europe and South East Asia.      
Gin's management had put an ad in the papers seeking a new vocalist but Judee didn't see it. Later, whilst she was talking to the drummer's brother over drinks, she mentioned that she had done some singing in a now defunct, straight rock 'n' roll band, Tramway. Gary Evans' brother took her phone number, the band rang her the next day, an audition was arranged and Judee Ford was consequently promoted into the band and stayed with them then until their demise in 1977.

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Press releases for November 1975 triumphantly announced the signing of a new 3 year recording contract with Phonogram giving them a budget of $10,000 to record, package and promote their next album. During subsequent recording sessions the album was given the working title of "69,000 Hours" but by the time it was released in November 1976 most of the key band members had quit and it was given the more ominus title of "Journey's End". Unable to match the success of the 'A Matter Of Time' album and with such upheaval within the group it was fairly obvious that the end was nigh. The band headed south to Sydney around December of that year and was managing to get up to 3 nights work a week around the booming Sydney disco-bistro scene. It is believed the group disbanded not too long after.
Railroad Gin have a plaque on Queensland’s Walk of Fame on Brunswick Street in the Fortitude Valley along with The Bee Gees, Savage Garden, Keith Urban and Powderfinger. [extracts from ABC.net.au and Railroadgin.tripod]
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Carol Lloyd (left) with singer-songwriter Sue Ray

Carol Lloyd, Queensland’s original “rock chick” may see a new irony in her most famous 1974 song, It’s Only a Matter of Time as she has been contemplating her own mortality for more than a year, after being diagnosed with a terminal lung disease in April, 2013.Let's hope this is just a play on words and she makes a full recovery.

Lloyd has thrown herself into her work as a mentor and producer for a number of younger artists, including Brisbane nouveau-classical band Topology and singer-songwriter Sue Ray (pictured above).
Lloyd is also 7000 words into a memoir about her time in the hedonistic rock world of the 70s and 80s, with Railroad Gin, The Carol Lloyd Band and other projects.

In an interview with Natalie Bochenski (reporter from the Sydney Morning Herald), Lloyd had this to say:  
“I’m certainly going to give people a little window into certain aspects of my life which they’d have no idea about,” she said. 

One aspect will be her drug and alcohol addiction, sparked by getting hooked on a bizarre drug cocktail in her early 20s.

“I had no idea what I was smoking ... it turned out to be mescaline-dipped, heroin-injected hash,” she recalled.
“I was doing this a couple of times a week for nearly a year, so yeah, I wasn’t in great nick.”

To withdraw, she turned to whiskey, consuming over two bottles a day.

“I didn’t expect to see 25, let alone 65, so I’ve done pretty well to be around this long.”

Update:  Sadly, Carol Lloyd lost her battle with cystic fibrosis and chronic obstructive pulmonary disease, passing away on 13th February, 2017.  
..
This post consists of a CD rip in FLAC format which was kindly supplied by Stacky (thanks mate). I'm posting this rip because of a request I received some time ago. Full album artwork for both LP and CD are included. This is certainly a lost gem that needs to be circulated again.

**  Updated Post in FLAC  **

Track Listing

01 - Intro
02 - Turn To Me
03 - Once Or Twice
04 - A Matter Of Time
05 - Come Together
06 - Still Water
07 - African Queen
08 - Ruby Tuesday
09 - The End
10 - You Told The World (bonus track)
11 - Do Ya' Love Me (bonus track)
.
Railroad Gin Band Members:
• Bob Brown (percussion. 1971-1977)
• Carol Brown (backing vocals. 1974)
• Debbie Doak (drums. 1994-1997)
• Jim Dickson (bass. then with Deniz Tek from 1994)
• Gary Evans (drums. March? 1973-Oct 1976)
• Margie Evans (backing vocals. 1974)
• Peter Evans (harmonica.flute.sax. Sept? 1971-1977)
• Trevor Fielding (drums. 1971 - 1973
formerly with "The Theory")
• Geoffrey Fitzgibbon (lead vocals.multi-instrumentalist. 1970-1971)
• Judee Ford (lead vocals. Oct 1975-1977
formerly with "Paranova" and "Tramway")
• John Hunter (drums. 1969-early 1970's then with "The Wake"
and "Ash" and many others in Melbourne after that)
• Dim Jansons (bass guitar. 1969-Feb 1976)
• Sudz Jansons (keyboards.percussion. 1974
brother of bass player Dim Jansons)
• Carol Lloyd (vocals. 1971-1975)
• Frank Millward (cornet.piano. 1971-19….?
formerly with "Anthem")
• Paul Murphy (vocals. March? 1971 ...formerly
with the band "Thursday's Children")
• Glen Rickwood (guitar. 1970?-June 1971)
• Phil Shields (guitar. 1969-1977)
• Annie Stone (backing vocals. 1974)
• Laurie Stone (organ.sax. 1970-Oct 1976)
• Colin Wilson (drums. Oct 1976 formerly with "Wish")
• Selwyn Wright (drums. 1970 formerly with "Parade")
(thanks to railroadgin.tripod.com for this extensive listing)

Railroad Gin FLAC Link (306Mb)  New Link 03/09/2022

W.O.C.K On Vinyl: The Nutty Squirrels - A Hard Day's Night and other Smashes (1964)

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

The initial success of Alvin and the Chipmunks with "The Chipmunk Song (Christmas Don't Be Late)" in late 1958 led to several imitators trying to replicate the success of the helium-voiced trio, the most notable of which being The Nutty Squirrels.

This squirrel duo was the brainchild of jazz musicians Don Elliott and Alexander "Sascha" Burland. Amused by the Chipmunks concept, they decided to record a jazz scat album under the guise of a hip group of squirrels, recording their voices at 16 RPM and playing them back at 33 RPM just like Ross Bagdasarian did for his Chipmunks. Backing their altered vocals were some of the best New York session musicians of the late 1950's, including Cannonball Adderley on sax, Bobby Jaspar on flute and Sam Most on clarinet.

They received a Top 40 hit in late-1959 as the song "Uh! Oh!". They also preceded The Alvin Show in which they appeared on television in 1960 as The Nutty Squirrels Present, but the show's success was rather decreased.

Uh! Oh!

The group's first two albums, The Nutty Squirrels and Bird Watching, were released in 1959. The Nutty Squirrels' final album, The Nutty Squirrels Sing A Hard Day's Night and Other Smashes, marked a stylistic change from their first two albums, featuring covers of the Beatles songs.

This was the first Squirrels album to cover current pop hits (including three by The Beatles). Previous albums had featured jazz standards.

The Nutty Squirrels' First two Albums

It would be the last Nutty Squirrels album until 1978, when they reunited (without Elliot and Alexander) under the legal pseudonym Shirley & Squirrely.

In the 2007 live-action/animated movie Alvin and the Chipmunks, during the credits, Ian Hawke (David Cross) tries to get three squirrels to sing.

This post consists of MP3 (320kps) ripped from MGM vinyl which I found on the internet many years ago (thanks to the original uploader).  I am quite fascinated with novelty records like this one, especially those released in the 60's when musicians and sound engineers started experimenting with sounds and special effects on their analog recording equipment (eg. Beatles and George Martin / Pink Floyd). And so, this album with its high pitched 'chip monk' vocals ticks the Korny box for this month's WOCK on Vinyl post. 

Funnily enough, while working on this month's post, my wife asked me what was wrong with my record player while playing the album's "Can't Buy Me Love" and I casually replied  'Nuttin' 

Tracklist

01 - I Should Have Known Better  2:48

02 - GTO  2:38

03 - Everybody Knows 1:40

04 - Do Wah Diddy Diddy 2:19

05 - Needles & Pins 2:07

06 - Can't Buy Me Love  2:07

07 - Wishin' & Hopin' 2:36

08 - A Hard Day's Night  2:26

09 - A World Without Love  2:43

10 - Bread & Butter  1:53

11 - Oh, Pretty Woman 2:42

12 - Bingle Jells  2:33

Personnel:

Don Elliott: vocals, trumpet, vibraphone, possible other instruments

Granville Alexander "Sascha" Burland: vocals

Among the New York-based session musicians playing on these albums were Cannonball Adderley, (alto sax), Bobby Jaspar (flute), and Sam Most (clarinet)

The Nutty Squirrels Link (65Mb)

Double Post: Various Artists - Immortal Rock (1977) & Immortal Rock Vol.2 (1979)

 (Compilation - 60's / 70's)

Various Artists - Immortal Rock (1977)

The late 60's and early 70's was an era when rock came of age. This album features a collection of all time rock classics emphasising the strong influence of British and European musicians.

From Hendrix to Status Quo...the Who's Who of Rock's golden era are featured on this highly sort after compilation.
I have always considered this compilation (and it's follow up Vol.2 release) to be the best rock sampler albums to be released on Vinyl, representing the pinnacles of 60 and 70's rock. The only 'legendary' band not represented here are the Beatles, but then how many compilations have you seen with a Beatles track - none? Featured singles are:

 

The Crazy World Of Arthur Brown - Fire

Written by: Arthur Brown/Vincent Crane

Release Date: June, 1968

Highest Chart Position: #1 UK

Album Track: The Crazy World Of Arthur Brown

B-Side Single:  Rest Cure

During live performances and in the black and white promotional television clip, Brown performed the song wearing a burning helmet. The helmet was improvised with a leather skull cap onto which was bolted a metal dish that held lighter fluid or petrol. As the cap was not insulated, the heat from the burning fuel quickly conducted through the fixing bolt to the top of Brown's head, causing him considerable pain. The song is an example of the psychedelic rock of the period, though its lack of guitars or bass guitar distinguished it from many of its contemporaries. The lead instrument in this case was Vincent Crane's Hammond organ, augmented by an orchestral section featuring prominent brass. 

Pinball Wizard - The Who

Written by: Pete Townshend

Release Date: March, 1969

Highest Chart Position: #4 UK

Album Track: Tommy

B-Side Single:  Dogs part Two

In the first week of March 1969, Track released the first sampler from Tommy, a riveting new Townshend song entitled 'Pinball Wizard'. The song had actually been written for Nik Cohn, a journalist who was both a pinball fanatic and a close friend of Pete, Kit Lambert and Chris Stamp. It was by far The Who's best single release since 'I Can See For Miles' eighteen months earlier. "Pinball Wizard" opened with what is perhaps the best guitar part that Pete Townsend has ever written; following a slow, tension-filled build up through a series of unusual, rather melancholy chords, the rhythmic balance is secured with some furious strumming on acoustic guitar down an eight note sequence, each change enhanced by the deep cannon of John's bass guitar.

If there was any doubt that Pete Townsend is the finest rhythm guitarist in the whole of rock, 'Pinball Wizard' sets the record straight. The B-Side incidentally, was Keith Moon's jokey 'Dogs Part II', a throw away track with composition credited to 'Moon, Towser and Jason'. Towser was Pete's pet spaniel and Jason was John's favourite deerhound.

Thunderclap Newman - Something In The Air

Written by: Speedy Keen

Release Date: May, 1969

Highest Chart Position: #1 UK

Album Track: Hollywood Dream

B-Side Single: Wilhelmina

In 1969, Pete Townshend, The Who's guitarist, was the catalyst behind the formation of the band. The concept was to create a band to perform songs written by drummer and singer Speedy Keen, who had written "Armenia City in the Sky", the first track on The Who Sell Out. Townshend recruited jazz pianist Andy "Thunderclap" Newman (a friend from art college), and 15-year-old Glaswegian guitarist Jimmy McCulloch, who subsequently played lead guitar in Paul McCartney and Wings. Keen played the drums and sang the lead.

Jimi Hendrix – Hey Joe

Written by: Billy Roberts

Release Date: Dec, 1966 in UK

Highest Chart Position: #6 UK

Album Track: Are You Experienced?

B-Side: Stone Free (U.K), 51st Anniversary (US)

The lyrics tell of a man who is on the run and planning to head to Mexico after shooting his unfaithful wife. 

Listed at No. 201 on Rolling Stone magazine's The 500 Greatest Songs of All Time in 2010.

"Hey Joe" was the last song Hendrix performed at the Woodstock festival in 1969 and as such, it was also the final song of the whole festival. The song was performed after the crowd, comprising the 80,000 who had not yet left the festival, cheered for an encore

Derek And The Dominos - Layla

Written by: Eric Clapton/Jim Gordon

Release Date: March, 1971

Highest Chart Position: #7 UK

Album Track: Layla And Other Assorted Love Songs

B-Side Single: Bell Bottom Blues

Clapton originally wrote "Layla" as a ballad, with lyrics describing his unrequited love for Boyd, but the song became a "rocker" when, according to Clapton, Allman composed the song's signature riff. The song's length (7:04) proved prohibitive for radio airplay. As a result, a shortened version of the song, consisting of the first 2:43 of Part I, was released as a single in March 1971 by Atco Records in the United States. This version peaked at number 51 on the Billboard Hot 100 singles chart.

Rod Stewart - Maggie May

Written by: Rod Stewart/Mark Quittenton

Release Date: July, 1971

Highest Chart Position: #1 UK/US

Album Track: Every Picture Tells A Story

B-Side Single: Reason To Believe

Maggie May expresses the ambivalence and contradictory emotions of a boy involved in a relationship with an older woman and was written from Stewart's own experience. The song was released as the B-side of the single "Reason to Believe", but soon radio stations began playing the B-side and "Maggie May" became the more popular side. The song was Stewart's first substantial hit as a solo performer and launched his solo career. 

Eric Burdon And The Animals - Sky Pilot

Written by: Burdon/Briggs/Welder/Jenkins/McCulloch

Release Date: Jan, 1968 

Highest Chart Position: #14 US

Album Track: The Twain Shall Meet

B-Side Single: Sky Pilot Pt. 2

The sprawling single “Sky Pilot,” released at the dawn of that war-torn year, proved to be a game changer, one of rock’s first cinematic songs. At more than seven minutes, the number annexed both sides of the 45 record, its many sonic effects captured in true stereo. Even at that length, Eric Burdon’s song was a hit single, reaching No. 14 in the U.S. and remaining an FM radio staple over the decades. While the song’s subtle anti-war message surely concerned the Vietnam War, its shadowing invoked the two world wars.

The song is a balladic slice of life story about a chaplain who blesses a body of troops just before they set out on an overnight raid or patrol, and then retires to await their return.

Cream - White Room

Written by: Jack Bruce/Pete Brown

Release Date: Sept, 1968

Highest Chart Position: #6 US

Album Track: Wheels Of Fire

B-Side Single: Those Were Thee Days

Cream recorded White Room for the studio half of their 1968 double album Wheels of Fire. In September, a shorter US single edit (without the third verse) was released for AM radio stations, although album-oriented FM radio stations played the full album version. The subsequent UK single release in January 1969 used the full-length album version of the track.

Jack Bruce sang and played bass on the song, Eric Clapton overdubbed guitar parts, Ginger Baker played drums and timpani, and Felix Pappalardi – the group's producer – contributed violas. Clapton played his guitar through a wah-wah pedal to achieve a "talking-effect".

Focus - Hocus Pocus

Written by: Thijs Van Leer/Jan Akkerman

Release Date: July, 1971

Highest Chart Position: #9 US/Dutch

Album Track: Moving Waves

B-Side Single: Janis

An edited version was released as a single (with "Janis" as the B-side) on the Imperial, Polydor and Blue Horizon labels in Europe in 1971, but failed to chart outside of the Netherlands. A faster re-recording of the song (titled "Hocus Pocus 2" or "Hocus Pocus II" in some markets) was released in Europe in 1972. When performing live, Focus would play "Hocus Pocus" even faster. Supposedly the song was a bit of a joke by its authors, but if so, it was a very successful million-selling joke. 

Status Quo - Rain

Written by: Rick Parfitt

Release Date: Feb, 1976

Highest Chart Position: #7 UK

Album Track: Blue For You

B-Side Single: You Lost The Love

"Rain" was intended for Blue for You predecessor On the Level – but, at the time of the recording sessions, Parfitt had not completed the song and so it was held over. It in fact followed guitarist Francis Rossi's new introduction to speed; "That's why songs like 'Rain' were so edgy and fast," he explained.

John Mayall - Moving On

Written by: John Mayall

Release Date: 1973

Highest Chart Position: #116 US

Album Track: Moving On

B-Side Single: Keep Our Country Green

The single was lifted from "Moving On", a live album recorded at the Whiskey AGoGo, Los Angeles on the 10th of July 1972 with the aid of Wally Heider's Mobile Recording Truck. For this album, he reshuffled personnel, choosing Mitchell, Solomon, Larry Taylor, Victor Gaskin, Hartley, Robinson, Watts, flautist Charles Owen and baritone and tenor saxophonist Fred Jackson. The album and single, Moving On, was released in January, 1973.

Golden Earring - Radar Love

Written by: G.Kooyman/H.Hay

Release Date: Aug, 1973

Highest Chart Position: #10 US

Album Track: Moontan

B-Side Single: The Song Is Over

Radar Love is written from the point of view of a truck driver who says he has some sort of psychic connection with his girlfriend — "radar love". He senses that she urgently wants him to be with her, and it makes him reckless. His recklessness causes him to have a fatal accident, but even in the afterlife the song's narrator and his lover still have radar love.

Nazereth - Love Hurts

Written by: Boudleaux Bryant

Release Date: Nov, 1974

Highest Chart Position: #8 US

Album Track: Hair Of The Dog

B-Side Single: Down

Performed as a power ballad, the Nazareth version is the most popular version of the song and the only rendition of "Love Hurts" to become a hit single in the United States, reaching No. 8 on the Billboard Hot 100 in early 1976. Jim Capaladi released a 'more up beat' version of Love Hurts in early 1975 and at one stage both versions were on the same charts at the same time - I personally preferred Nazareth's version.  The album version runs 3:52, with a guitar solo by Manny Charlton that is not on the 3:03 single. The lyrics of the song were changed for Nazareth's 1975 recording, where the original line "love is like a stove/it burns you when it's hot" was changed to "love is like a flame/it burns you when it's hot".

Oh, by the way, did you know that Nazareth got their name from the first line of the Band's "The Weight" - "I pulled into Nazareth..."

Eric Clapton - I Shot The Sheriff

Written by: Bob Marley

Release Date: 1974

Highest Chart Position: #1 US

Album Track: 46 Ocean Boulevard

B-Side Single: Give Me Strength

With respect to the song title, Marley has explained his intention as "I wanted to say 'I shot the police' but the government would have made a fuss, so I said 'I shot the sheriff' instead… but it's the same idea: justice. Clapton kept the underlying reggae beat from Marley's original, but made it more of a rock song, with prominent organ and guitar. In America, reggae was big around this time - in 1972, "I Can See Clearly Now" by Johnny Nash became the first song of that genre to hit #1 in the States. For listeners craving just a touch of reggae with their rock, Clapton's "I Shot The Sheriff" hit the sweet spot.

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Various Artists - Immortal Rock Vol.2  (1979)

 In the tradition of the first Immortal Rock album (Polystar 2475 517) this collection features further examples of all time rock classics from the 60's and 70's. 

From Chuck Berry to Roger Daltrey....the Who's Who (no punn intended)  of Rock's Golden era are featured on this 2nd compilation.

Singles featured on this compilation are:

Jimi Hendrix - All Along The Watchtower 

Written by: Bob Dylan

Release Date: Sept, 1968 

Highest Chart Position: #20

Album Track: Electric Ladyland

B-Side Single: Long Hot Summer Night

Hendrix had been working on and off with the members of the band Traffic as he recorded Electric Ladyland. Traffic guitarist Dave Mason caught Hendrix at a party and the two discussed Bob Dylan's newest album, John Wesley Harding, containing "All Along The Watchtower." Hendrix, long fascinated with Dylan, decided to cover the song on the album. On the resulting track, Mason plays rhythm on a 12-string acoustic guitar.

Rare Bird - Sympathy

Written by: Rare Bird

Release Date: Feb 1970

Highest Chart Position: #27 UK

Album Track: Rare Bird

B-Side Single: Devil's High Concern

"Sympathy" is a song by the English progressive rock band Rare Bird. It became the band's only UK chart entry when it peaked at number 27 in the UK Singles Chart in 1970. The song reached No. 1 in Italy and in France, selling 500,000 copies in France and over one million globally.

Hollies - He Ain't Heavy, He's My Brother

Written by: Bob Russell/Bobby Scott

Release Date: Sept, 1969

Highest Chart Position: #3 UK

Album Track: Non-album Single

B-Side Single: 'Cos You Like to Love Me

The Hollies' recorded the song in June 1969 at the Abbey Road Studios, with Allan Clarke on lead vocals. Elton John, who was still called 'Reg' at the time and was working as a session musician at the time, played piano on the song. He got paid 12 pounds for his trouble. 

In the Guardian newspaper of February 24, 2006, Hollies guitarist Tony Hicks said: "In the 1960s when we were short of songs I used to hang around publishers in Denmark Street. One afternoon, I'd been there ages and wanted to get going but this bloke said: 'Well there's one more song. It's probably not for you.' He played me the demo by the writers [Bobby Scott and Bob Russell]. It sounded like a 45rpm record played at 33rpm, the singer was slurring, like he was drunk. But it had something about it. There were frowns when I took it to the band but we speeded it up and added an orchestra. The only things left recognizable were the lyrics.

Rod Stewart - Mandolin Wind

Written by: Rod Stewart

Release Date: June, 1971

Highest Chart Position: #66 Aust 

Album Track: Every Picture Tell's A Story

B-Side Single: (I Know) I'm Losing You

"Mandolin Wind" was first released on Stewart's 1971 album Every Picture Tells a Story and later as the b-side of a single from that album, his version of "(I Know) I'm Losing You.

"Mandolin Wind" has been highly praised by music critics. In his review of Every Picture Tells a Story in Rolling Stone, John Mendelsohn refers to the song as being "nearly as good" as the #1 single off the album, "Maggie May."

The identity of the mandolin player on "Mandolin Wind" is unclear. The liner notes state that "the mandolin was played by the mandolin player in Lindisfarne" but that Rod Stewart had forgotten his name. In 2003, Ray Jackson claimed to be the mandolin player on the album, at least for the song "Maggie May." Jackson is the mandolin player from English folk-rock band Lindisfarne.

Allman Brothers - Ramblin' Man

Written by: Dickey Betts

Release Date: Aug, 1973 in US

Highest Chart Position: #2 US

Album Track: Brothers and Sisters

B-Side: Pony Boy

It was one of the first songs, alongside "Wasted Words", recorded for Brothers and Sisters (1973). They went to the studio to record a demo of the song to send to a friend, which is where the long guitar jam near the finale of the song was created. It is considerably more inspired by country music than other Allman Brothers Band compositions, which made the group reluctant to record it initially.

James Brown - It's A Man's, Man's, Man's World

Written by: James Brown/Betty Jean Newsome

Release Date: April, 1966

Highest Chart Position: #1 US

Album Track: It's A Man's Man's Man's World

B-Side Single: Is It Yes or Is It No?

The song's title is a word play on the 1963 comedy film It's a Mad, Mad, Mad, Mad World. Brown's co-writer and onetime girlfriend, Betty Jean Newsome, wrote the lyrics based on her own observations of the relations between the sexes. Newsome claimed in later years that Brown did not write any part of the song, and she argued in court that he sometimes forgot to pay her royalties. Australian musician Renée Geyer recorded a version in 1974. The song was released in November 1974 as the second single from her second studio album, It's a Man's Man's World. The song peaked at number 44 on the Australian Kent Music Report, becoming her first Australian top 50 single.

Roger Daltrey - Walking The Dog

Written by: Rufus Thomas

Release Date: June, 1975

Highest Chart Position: #52 UK

Album Track: Ride A Rock Horse

B-Side Single: Proud

Walking The Dog was recorded during Daltrey's filming commitments for Ken Russell's film Lisztomania. Daltrey’s version of the regularly rendered song basically sticks to the original blueprint, with the exception of a rather hauntingly repetitious tone slipped into the stew. It is quite baffling that the album from which this single was taken from, Ride a Rock Horse drew mixed responses when initially released. No doubt expectations simply ran too high for the Who celeberity, as this is certainly a potent piece of work. Daltrey’s amazing vocals, combined with sympathetic and inspired instrumentation anchor each number. Had Daltrey been an unknown entity and Ride a Rock Horse marked his maiden vinyl voyage, critics would have probably penned rapturous reviews. Those who wrote this album off the first time around should seriously give it another listen, while those just being introduced to Ride a Rock Horse will be suitably impressed.

Bachman Turner Overdrive - You Ain't Seen Nothing Yet

Written by: Randy Bachman

Release Date: Sept, 1974

Highest Chart Position: #1 US

Album Track: Not Fragile

B-Side Single: Free Wheelin'

The chorus of the song includes the song's famous stutter, and speaks of a devil woman looking at a man with big brown eyes and saying, "You ain't seen nothin' yet. B-b-b-baby, you just ain't seen na-na-nothin' yet. Here's somethin' that you're never gonna forget. B-b-b-baby, you just ain't seen na-na-nothin' yet.

Randy Bachman insists that the song was performed as a joke for his brother, Gary, who had a stutter, with no intention of sounding like the Who's "My Generation" which featured a stuttered lyric.  They only intended to record it once with the stutter and send the only recording to Gary.

Cream - Sunshine Of Your Love

Written by: Jack Bruce/Pete Brown/Eric Clapton

Release Date: Dec, 1967

Highest Chart Position: 

Album Track: Disraeli Gears

B-Side Single: SWLABR

With elements of hard rock, psychedelia, and pop, this song is one of Cream's best known and most popular songs. Cream bassist and vocalist Jack Bruce based it on a distinctive bass riff he developed after attending a Jimi Hendrix concert. Guitarist Eric Clapton and lyricist Pete Brown later contributed to the song and drummer Ginger Baker plays a distinctive tom-tom drum rhythm.

Jon English - Turn The Page

Written by: Bob Seger

Release Date: 1974

Highest Chart Position: #20 Aust

Album Track: It's All A Game

B-Side Single: Just the Way I Am

Turn The page is about life on the road, and the rigors musicians face when they're touring. It presents the other side of fame which the public doesn't see - the loneliness and aggravation.

Lovin' Spoonful - Summer In The City

Written by: John & Mark Sebastian

Release Date: July, 1966

Highest Chart Position: #1 US

Album Track: Hums of the Lovin' Spoonful

B-Side Single: Butchie's Tune

The Lovin' Spoonful recorded "Summer in the City" in two sessions at Columbia Studios in New York in March 1966. The recording is an early instance in pop music of added sound effects, made up of car horns and a pneumatic drill to mimic city noises. The effects were among the first on a pop song to employ an overlapping crossfade, an effect that had typically only been used on comedy albums. 

Eric Burdon & The Animals - Monterey

Written by: Burdon/Briggs/Welder/Jenkins/McCulloch

Release Date: Dec, 1967

Highest Chart Position: #15 US

Album Track: The Twain Shall Meet

B-Side Single: Ain't That So

The song provides an oral account of the June 1967 Monterey Pop Festival, at which the Animals performed. Burdon namedrops several of the acts who performed at the festival such as The Byrds, Jefferson Airplane, the Who, the Grateful Dead, and Jimi Hendrix. Chart wise, the song reached number 9 in Australia and number 20 in New Zealand. It did not appear as a hit in the UK, where the image of the Monterey festival was not as strong.

Chuck Berry - No Particular Place To Go

Written by: Chuck Berry

Release Date: May, 1964

Highest Chart Position: #3 UK

Album Track: St. Louis To Liverpool

B-Side Single: You Two

The song is a comical four verse story. In the first verse, the narrator is riding in his car as his girlfriend drives, and they kiss. In the second, they start to cuddle, and drive slow. In the third, they decide to park and take a walk, but are unable to release the seat belt. In the last verse, they drive home, defeated by said recalcitrant seat belt.

Slade - Get Down & Get With It

Written by: Bobby Marchan

Release Date: May, 1971

Highest Chart Position:  #16 UK

Album Track: Sladest

B-Side Single: Gospel According To Rasputin

Prior to recording the song in the studio, the band had established "Get Down and Get with It" as a popular number in their live-set, based on Little Richard's version. 

Impressed by the general audience reception of the song, Chandler suggested recording the song as a single. The band entered Olympic Studios in Barnes to record it and Chandler told the band: "Just play it like you do on-stage. Blast it out like it's live, and pretend that there's an audience in there with you." Successfully recorded in a single take, the band included foot-stomping and hand-clapping in the recording to give the song a live feel.

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This post consists of FLACs ripped from my Vinyl copies of these two compilation albums. Quality of these records is excellent although some base enhancements have been made to some tracks.

Full album artwork and label scans are included for vinyl - as far as I can tell, neither of these compilations have been released on CD.

Tracklist - Immortal Rock (1977)

A1   The Crazy World Of Arthur Brown  – Fire

A2   The Who  –  Pinball Wizard

A3   Thunderclap Newman  –  Something In The Air

A4   Jimi Hendrix  –  Hey Joe

A5   Derek And The Dominos  –  Layla

A6   Rod Stewart  –  Maggie May

A7   Eric Burdon And The Animals  –  Sky Pilot

B1   Cream –  White Room

B2   Focus –  Hocus Pocus

B3   Status Quo  –  Rain

B4   John Mayall  –  Moving On

B5   Golden Earring  –  Radar Love

B6   Nazareth – Love Hurts

B7   Eric Clapton  –  I Shot The Sheriff

Immortal Rock Link (327Mb)

Tracklist - Immortal Rock Vol.2 (1979)

A1 Jimi Hendrix – All Along the Watchtower

A2 Rare Bird –   Sympathy

A3 The Hollies – He Ain't Heavy He's My Brother

A4 Rod Stewart – Mandolin Wind

A5 The Allman Brothers Band –   Ramblin' Man

A6 James Brown – It's A Man's Man's Man's World

A7 Roger Daltrey – Walking The Dog

B1 Bachman-Turner Overdrive –   You Ain't Seen Nothing Yet

B2 Cream – Sunshine Of Your Love

B3 Jon English – Turn The Page

B4 The Lovin' Spoonful – Summer In The City

B5 Eric Burdon & The Animals –  Monterey

B6 Chuck Berry – No Particular Place To Go

B7 Slade – Get Down & Get With It

Immortal Rock Vol.2 Link (307Mb)