REPOST: Madonna - Unlicensed Live Vol 1 & 2 (1990) Bootleg

(U.S 1979–present)
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In 1990, Madonna continued to explore and develop her own ideas about ambiguity in gender and sexuality, a feminist agenda in which a woman is in control of her body, her role and her life. Although she examined this theme in her "Like A Prayer" video, it was most fully expressed in her audacious four-month twenty-seven-city 'Blonde Ambition' tour, which established her as a modern-day Amazon, her erotic and exotic routines invariably ending with the woman on top. She strutted the stage in contemporary armor, Jean-Paui Gaultier's cone-shaped bustier, presenting an enduring image of Madonna at superwoman, her dancers playing musclebound slaves utterly subservient to her will. Yet the French designer's description of the garment that will be forever identified with the singer can also be applied to her own psychology; as he said, 'A tough outer shell protects hidden vulnerability.' [extract from 'Madonna' by Andrew Morton, Bantam Books, 2001. p164]
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Blond Ambition Tour
While riding high on her success in Dick Tracy, Madonna kicked off her third and most imaginative tour to date on 13 April 1990. When tickets went on sale, 2500 were sold in one minute-a new record in the entertainment industry. The Blond Ambition Tour opened at Chiba, Japan's new Marine Stadium, to enthusiastic reviews. The futuristic out-door venue at Chiba provided a fitting locale for the show, a highly theatrical extravaganza. The surrealistic atmosphere was heightened by the rain that began to fall just as the show opened. Adhering to the philosophy that 'the show must go on,' Madonna braved the downpour, and though the show had to be briefly interrupted a few times to sweep the rain from the stage, the audience was delighted that the singer was willing to carry on. Three years earlier high winds had forced Madonna to cancel her Tokyo show, and she wanted to avoid another cancellation at all costs.

The tour coincided with the release of Madonna's latest album, 'I'm Breathless', the title of which provides a clever tie-in with her starring role as Breathless Mahoney in Dick Tracy. Described on the album sleeve as 'music from and inspired by the film Dick Tracy,' I'm Breathless is a departure from what Madonna has done before With the notable exception of "Vogue",' which seems written specifically for the top 10, the music evokes the era of torch songs and swing tunes. Her voice, too, is different. The bright chirp of "Holiday" is now deeper and darker. Three songs from the album -"Sooner or Later," "Now I'm Following You," and "Hanky Panky" - were featured in the glitzy 'Blond Ambition' show.

Madonna's latest tour had been likened to a Broadway production, With the band relegated to the sidelines, the emphasis is indeed on the action that unfolds on the stage. The show brings to life her songs and videos. Her performance is an exercise in precision, a ballet, rather than a rock concert. With its sexy costumes and suggestive banter, it is also intended to shock. "Like A Virgin" found Madonna sprawled on a bright red bed. As  she rubbed her hands over her body, her two male companions massaged the fake, pointy breasts that were attached to their bare chests. As choreographer Vince  Paterson explained, '[Madonna] wanted to make statements about sexuality, cross-sexuality, the church and the like.' An essential part of the message was delivered by Madonna's exotic costumes, one of which was a pinstriped man's suit with cutouts for her breasts. 'I like the mixing of femininity and masculinity,' explained designer Jean-Paul Gaultier. 'Of course with Madonna, the femininity explodes through the masculinity. It's a little bit surrealistic. It's kind of an obsession in America, you know, the pointed breast.'

Madonna has always been known and even criticized for the blatant sexual imagery of her shows. Her image has invited criticism from feminists who believe that she portrays women in a negative light. Madonna, however. believes that her message is just the opposite. "People have this idea that if you're sexual and beautiful and provocative, then there's nothing else you could possibly offer. People have always had that image about women. And while it might have seemed like I was behaving in a stereotypical way, at the same time, I was also masterminding it I was in control of everything I was doing, and I think that when people realized that, it confused them. It's not like I was saying "Don't pay attention to the clothes-to the lingerie-I'm wearing." Actually the fact that I was wearing those clothes was meant to drive home a point that you can be sexy and strong at the same time. In a way, it was necessary to wear the clothes.'

In other words, the Boy Toy is not a sex object; she is the boss, the woman warrior, equipped with armored under-wear. Blond Ambition is about female power. She does after all, knock down her chorus line of men. 'It's a great feeling to be powerful. I've been striving for it all my life. I think that's just the quest of every human being: power.'

  The Japanese press concentrated on writing about Madonna's sexual shenanigans to the point of ignoring other aspects of the show, but the response in Japan was a decidedly positive one: Madonna reportedly earned $14 million for just nine shows. They may have loved her in Japan, but the welcome Madonna received elsewhere was far less cordial. In Toronto, police asked her to tone down her show. When she refused they set themselves up in the stadium with binoculars, presumably ready to rush to the stage and arrest her if she committed any illegal acts in the course of her performance. In Italy, Catholic groups in Rome and Turin called her show vulgar and blasphemous and demanded that Madonna's concerts be banned. Many church officials were especially disturbed by Madonna's routine use of a crucifix as an article of costume jewelry. The reaction was an intensified version of the controversy that had surrounded her 'Like A Prayer' video the year before. Protesters in Italy were successful in forcing the state-run television network to stop running the video.

As is her nature, Madonna held strong to her position. She called a press conference and invited the church leaders to 'Come and see my show and judge it for yourselves. My show is not a conventional rock concert, but a theatrical presentation of my music and, like the theater, it poses questions, provokes thought and it takes you on an emotional journey. This is what I call freedom of expression and thought. By preventing me from doing the show, you would be saying you do not believe in these freedoms.' Church leaders declined her invitation, but the show went on as scheduled.

Controversy goes hand-in-hand with being an artist. A work of art-be it a novel, a sculpture or a performance-challenges the intellect. As an artist who strives to be thought-provoking and entertaining, Madonna has never shied away from controversy, and will undoubtedly continue to do so with her future creative endeavors [extract from Madonna, by Marie Cahill, Bison Group, 1991. p84-88. See below]
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This updated post consists of MP3 (320kps) ripped from my Australian AMCOS CD Bootlegs and now presents the 'full show'.  It only took me 12 years to hunt down the second half of the show (Vol 2) !  
Full album artwork is provided, along with artwork for the Italian 'Maverick Bedtime' bootleg release which features the full show on one CD (see below). The recording itself comes from the 'Dallas Show at the Reunion Arena' in the USA, held on May 7, 1990.  The quality of the recording is very good with exceptional vocal clarity. (Please note that I have edited the opening track "Express Yourself" by removing a minute of annoying sound affects which would have supported the visual component of the shows introduction. I also chose to remove over 2 minutes of excessive audience applause at the end of "Holiday" to improve your listening experience and save your sanity).

** New Complete Concert **

Vol 1 Track Listing:
01. Express Yourself
02. Open Your Heart
03. Causing A Commotion
04. Where's The Party
05. Like A Virgin
06. Like A Prayer
07. Live To Tell
08. Oh Father
09. Papa Don't Preach

Vol 2 Track Listing:

01. (Sooner Or Later) I Always Get My Man
02. Hanky Panky
03. I'm Following You
04. Material Girl
05. Cherish
06. Into The Groove
07. Vogue
08. Holiday
09. Keep It Together

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.The Band:
Madonna - Vocals
Kevin Kendricks, Jai Winding - Keyboards
Carlos Rios, David williams - Guitar
Darryl Jones - Bass
Jonathan Moffet - Drums
Luis Conte - Percussion
Donna Delory, Niki Harris - Backing Vocals
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Madonna Link (219Mb) 

New Link  14/07/2026
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REPOST: Crawler - Selftitled (1977) + Snake, Rattle & Roll (1978)

(U.S 1976-1979)
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Crawler was a band created from the ashes of "Back Street Crawler", following the death of guitarist, Paul Kossoff. Atlantic Records suggested the band continue with another well-known guitarist, ex-Rolling Stone Mick Taylor or they'd be dropped. Despite being broke, they declined, instead recruiting Geoff Whitehorn, previously with the band "If".

The band abbreviated their name to Crawler, and the eponymous first album, 'Crawler,' was released in 1977 on Epic. Despite being well-written, superbly recorded, and receiving good reviews, it struggled in the year of disco, punk rock and new wave. Nevertheless, it did well in the USA, thanks to airplay of the track "Stone Cold Sober", on FM radio stations. The band concentrated on the American market. Working with producer Gary Lyons, they released a second album, 'Snake, Rattle & Roll'. A great album of classy bluesy melodic rock with good vocals and nice guitar work.

The band toured the UK with Boxer and Moon in a successful three-band package tour. Their distinctive live sound was dominated by Whitehorn's guitar and Rabbit's swirling keyboards.
An exhaustive series of live performances found Crawler as support band for Robin Trower, Cheap Trick, and Foreigner and a 54-date tour across the USA as support band for Kansas. At the end of a USA tour in December 1978, keyboard player John 'Rabbit' Bundrick left to work with The Who. The band folded soon after.

In recent years, a number of live albums, including Snakebite (2001) and Pastime Dreamer (2003), recorded during tours in 1977 and 1978, have been released from John Bundrick's private collection of recordings [extract from wikipedia]
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I bought their first album purely based on its 'eye grabbing cover' and hearing "Pastime Dreamer" blasting out of my local Import Record store's speakers, while thumbing through the C section. A few tracks later, "Stone Cold Sober" came blasting out and literally hit me right between the eyes. Needless to say, I didn't get to the D section in the racks - I'd already made my choice in 'record' time (punn intended).
Although I was familiar with Paul Kossoff's band 'Back Street Crawler', I didn't really make the connection between the two bands until many years later - sad hey!
..
This post consists of FLACs taken from my 'near mint' vinyl  copy of their selftitled album and an MP3 (320) rip of  'Snake, Rattle and Roll' taken from CD (not my rip). 

Sadly, I have yet to source a vinyl copy of their 2nd LP, but the hunt continues.

* New Improved Rips *

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Track Listing (Crawler)

01. Without You Baby - 3:29
02. You Got Money - 3:30
03. Sold On Down The Line - 3:47
04. One Too Many Lovers - 4:03
05. You Are My Saviour - 4:49
06. Pastime Dreamer - 4:33
07. Never Loved A Woman - 4:14
08. You And Me - 4:07
09. Stone Cold Sober - 5:38
[Bonus Track]
10. Stone Cold Sober (Single version) - 2:55
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Track Listing (Snake, Rattle & Roll)

01. Sail On – 3:59
02. Disc Heroes – 3:20
03. How Will You Break My Heart – 3:43
04. Muddy Water – 4:07
05. First Class Operator – 3:30
06. Where Is The Money – 4:24
07. Hold On – 1:43
08. Midnight Blues – 4:18
09. Liar – 3:40
10. One Way Street – 4:45
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Band Members:
Terry Slesser (Vocals)
Geoff Whitehorn (Guitar)
Tony Braunagel (Drums, Vocals)

John "Rabbit" Bundrick (Keyboards)
Terry Wilson (Bass) .
[additional support artists]
Ted Bunting (Saxophone)
Chris Wood (Flute)
Tony Carr (Percussion)
Stevie Lange (Backing Vocals)
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Crawler Link (251Mb) 
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Snake Rattle & Roll Link (114Mb)
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Geisha - Midnight To Dawn (1987) + Bonus Tracks

(Australian 1983–1988, 1998, 2007–2014)

Geisha was formed in the Melbourne, Australia in 1983 by songwriter, guitarist and frontman Chris Doheny.

Having grown up through the Sixties and Seventies, Chris had previously played in a number of bands, driven by his love of music and the inspiration he gained from listening to the Beatles and other popular acts of the that period. With the formation of Geisha, a distinct shift towards the "new romantic" movement so prevalent in the late Seventies and early Eighties helped shape the group's image and led to their popular success. Often compared to international acts such as Duran Duran and Spandau Ballet Geisha were to become hugely successful on the Australian music scene.

Geisha 1985

Soon after their formation, the band was signed by EMI and in April 1985 released their first single "Fool's Way". Buoyed by airplay of this and by their success on the Melbourne live circuit, two further singles followed in that same year with the releases of "Rainy Day" in July and "Kabuki" in September, the latter reaching number 1 on the Melbourne Charts towards the end of that same year. As well as the three singles, their first album (simply entitled "Geisha") was also released by EMI in 1985.

EMI released "repackaged" versions of "Rainy Day" in early 1986 but the band was busy producing their next single. In August, the hit single "Part Time Love Affair/Twilight Love" was released giving the band their first National Top 10 hit (peaking at #3 on the Melbourne charts). Constant touring and promotional tasks continued throughout the year.

In late 1986-early 1987, the band was undergoing some internal reorganization. The band changed its structure from a 5-piece outfit to a 3-piece outfit with Chris taking on the job of bass guitarist as well as vocalist. The change forced the band to try and break away from the "eighties" mold set by so many acts of the time allowing their new songs, which now were to be more guitar-based, to take on a harder, rock edge. Whilst enabling a different 'style' of music to emerge, the amended (and reduced) line-up made it somewhat difficult to deliver their entire Geisha repertoire in a live situation.

So, in 1987, Chris put together a completely revamped line-up comprising Rob Dean (guitar - formerly of the English group "Japan"), Laurence Maddy (keyboards), Chris Doheny (bass/vocalist) and Tom Hosie (drums) who had previously played with James Freud in the band Berlin. Again, success followed later that year with the release of the second Geisha album "Midnight To Dawn". Three singles were spawned from this album - "Calling Your Name/Don't Come Knocking After Midnight", "Normal People/Paranoid Street" and "Never Tell You Why/Shining Star" and further touring and media appearances ensued for the remainder of the year and into 1988.  However, Geisha eventually broke up in April 1988.

Geisha 1987
L-R: Ken Sheppard, Chris Doheny, Bret Luton 

Doheny continued shaping the musical landscape over the years, forming various bands with a who’s who of Melbourne’s elite musos. But it was in 1994 when his voice became etched into the national psyche with “More Than a Game,” the rousing theme for Nine’s The Footy Show, and has become an AFL football anthem.  It remains arguably the longest running unchanged theme for an Australian television show.

Doheny revived Geisha in various forms - including a 1998 compilation and a 2007 reboot - and remained a passionate performer and collaborator throughout his life. Chris Doheny carved a singular path through Australian music history, from Countdown-era chart success to the stadium-sized anthem that became the heartbeat of AFL culture.

RIP Chris Doheny 

Tragically, Chris Doheny (64) died in 2025 in a road accident on the Thiele Highway, near Kings Bridge Road, Kapunda. [Extracts from Wikipedia & Instagram]

This post consists of FLACs ripped from my CD copy of the album along with full album artwork for both vinyl and CD formats.  I am also including some B-Side Singles and Demo's that were not included on this album plus [Chris Doheny's single "More Than A Game" - thanks to Beergut at Ausrock], as bonus tracks.  Some of these bonus tracks have been ripped from vinyl and are flagged appropriately.   I am also including edited artwork to reflect these additions.

As a special treat, I am also including a 12" Single release of their single "Calling Your Name" which features a extended 'New York Dance Mix' and a 'Dub Mix'. [Thanks to Deutros at Ausrock]

Track Listing

01 - Normal People

02 - Take Aim And Fire

03 - Calling Your Name

04 - Beauty In Emotion

05 - Never Tell You Why

06 - No Heart

07 - Part Time Love Affair

08 - Midnight To Dawn

09 - Shining Star

10 - Anger

Bonus Tracks

11 - Don't Come Knocking After Midnight (B-Side Single)+

12 - Paranoid Street (Demo Version)*

13 - Slow Boat To Nowhere (Demo version)*

14 - Twilight Love (B-Side Single)+

15 - More Than A Game (Chris Doheny Solo Single)#

+ Ripped from Vinyl

* Taken from Geisha Demo Sessions 86-87 (2007)

# Taken from Unofficial National Anthems Vol II (2003)

Band Members:

Chris Doheny - Vocals, Acoustic Guitar, Bass & Keyboards

Ken Sheppard - Guitars, Keyboards, Programming & Vocals

Bret Luton - Drums & Percussion

Geisha Link (484Mb)

W.O.C.K On Vinyl: Air - Selftitled (1974)

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.

(Australian 1972-1974)

Firstly, let me advise that there is scant information available about Sydney soft rock band 'Air'.

Air was a very obscure Australian progressive and folk-rock band based in Sydney in the early 70's. Signed to the Philips label they released two singles, ''Crazy Lady / So Many People'' (1972) and ''Ted's Saloon / Super Situation'' (1973). Both singles failed to chart.

Very little is known about the band, only the name of the band  members and the fact that they released a self-titled, independent album on the Polydor label in 1974, which was produced by Freshwater's David Fookes. Featuring a blend of multiple guitars, ethereal flute lines, and male/female vocal harmonies, and a rhythmic section that gave them a feel similar to UK folk-psych bands like Trees or Tudor Lodge.

The highlight of the album are the vocals by "Jenny McGregor" who went on to become a successful opera soprano in Australia. [Limited info sourced from Milesago.com]

Band Members were:

Jenny McGregor (vocals), Philip "Pip" Owen (guitar, vocals), Steve Nicholas (guitar, vocals), Nicky Dunn (guitar, bass, vocals), Patrick Conroy (bass)

Jennifer McGregor

Born in Sydney, she is the sister of actress Julie McGregor. She was first heard on record with Sydney soft rock band Air. In 1974 they released a self-titled LP on the Polydor label produced by Freshwater's David Fookes. McGregor graduated from the Sydney Conservatorium Opera School and spent three years in music theater performing leading roles in The Sound of Music, A Funny Thing Happened on the Way to the Forum, Cabaret, The Venetian Twins and Candide.

She began her operatic career as one of Richard Bonynge’s protégés, singing Ophelia to Sherill Milne’s Hamlet. Her Lucia di Lammermoor was the first to be sung in Australia after Dame Joan Sutherland, with whom she worked in Die Fledermaus and Alcina. She left the opera in 1986. From 1988 to 1990 she was a principal with Germany's Heidelberg Opera. 

Her album 'The Jennifer McGregor Album', recorded with the West Australian Symphony Orchestra, was nominated for the 1988 ARIA Award for Best Classical Album. Together with Judi Connelli and Suzanne Johnston she formed the Three Divas. In 2000 they released a self-titled album. [ extract fromWomen of Aussie Music]

This post consists of MP3's (320kps) ripped from vinyl (thanks to Dusty from Midoztouch2) and includes low res artwork and label scans. This month's WOCK post certainly ticks the Obscure box and like many other short lived Aussie bands from the 70's, they were under recorded and often discarded by their record companies with little chance of developing their music and building their fan base. And so, Air simply vanished into thin air (punn intended) without leaving any real trail to follow.

Track Listing:

A1 Crazy Lady
A2 So Many People
A3 The Sea
A4 I Wonder Why
B1 Message
B2 Baby, It's The Way
B3 Ted's Saloon
B4 Super Situation


Band Members:
Vocals – Jenny McGregor, Steve Nicholas
Bass – Nicky Dunn, Patrick Conroy
Drums – Gary Hyde, Tony Bolton

Guitar – Nicky Dunn, Philip 'Pip' Owen, Steve Nicholas
Piano – Bobby Gebbert

Air Link (57Mb)

REPOST: Flying Emus - Postcards From Paradise (1989) + Bonus Tracks

(Australian 1985-91)
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The Flying Emus were formed in 1985 by guitarist John Kane, singer Genni Kane, banjo player Ian Simpson and fiddler Mike Kerin. The band recorded three studio albums, mixing skillful bluegrass instrumentals with songs about life on the land written by John and Genni.
Flying Emus were an Australian country/bluegrass band who won the 1988 ARIA Music Award for Best Country Album for their album This Town. They won CMAA Country Music Awards in 1986 (Instrumental of the Year and Vocal Group or Duo of the Year), 1987 (Instrumental of the Year and Vocal Group or Duo of the Year), 1988 (Instrumental of the Year) and 1991 (Instrumental of the Year). In total they received six Golden Guitars awards.
Between 1986 and 1991, members included Mike Kerin, Ian Simpson, John Kane, Genni Kane, Graham Thompson (ex-Stars and producer), Malcolm Wakeford, Hanuman Dass, Michael Vidale and Wayne Goodwin.
The group recorded four albums over a six-year reign as the hottest group in country music in the '80s [extract from Wikipedia]

.Discography
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* Look Out Below (1985) - Larrikin
* This Town (1987) - Flying Emu Productions / Festival
* Postcards From Paradise (1989) - Infinity/Festival
* Thank you and goodnight (1990) - Infinity/Festival
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Band Members Biographies
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Mike Kerin - fiddle, mandolin, guitar, vocals
Between Slim Dusty commitments, the Travelling Country Band in fact recorded three albums together, and Mike Kerin also recorded four albums with the Flying Emus during the band's six-year reign as the hottest group in country music during the 1980s, during which they took out three Golden Guitars.
Mike says he loved the years with the Emus, formed during a six-year period when Slim was off the road. The band was at the forefront of a new era in Australian country music, but Mike says they weren't trying to be trendsetters, they were just having fun [www.capitalnews.com.au]
Since 1978 Mike has been a quiet driving force in the country music scene, having played for 10 years with The Flying Emus, more than 20 years with Slim Dusty’s Traveling Country Band and is currently touring with Anne Kirkpatrick.
Mike was a 2007 Golden Guitar nominee and 2007 winner of a Victorian Country Music Award, toured as a soloist with Richard Tognetti and the Australian Chamber Orchestra in June 2007.
[extract from http://www.wheelersanddealers.com.au]
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Genni Kane - Vocals
Currently sings vocals in the country/bluegrass band "The Hip Replacements" along with Jon Wilby and Gavan Wickes.
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Malcohm Wakeford - Drums
He is best known as a drummer and singer in Australian bands since the 1970s. He is also a composer, producer and percussionist. Malcolm has played the drums in such bands as Rachette (with Stevie Wright, singer from the Easybeats) which later became the Stevie Wright Band and the Marcia Hines Band with whom he recorded a cover version of the Rolling Stones song “Jumping Jack Flash”. He has also performed with many other bands/artists including Normie Rowe, John Farnham, Little River Band, Redgum and of course the Flying Emus. [extract from Wikipedia]
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Ian Simpson - Guitar, Banjo, vocals
Ian is the winner of 6 Golden Guitars, an Aria Award with the band the Flying Emus, and is also 3 times Australian National Banjo Champion. Ian has recorded and toured with many leading Australian artists – such as the legendary Slim Dusty, Paul Kelly and Keith Urban. [www.haustralianbluegrass.com]

.John Kane - Guitar, Vocals
Currently produces recordings for the ABC Children Series and the Australian Broadcasting Corporation. He recently released a CD entitled "The Great Australian Songbook – celebrating 100 years of classic songs for Aussie kids" which also features his sister Genni on vocals.
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Graham Thompson - Bass
Born in New Zealand, Graham released his first recording at age 16, and has been in demand since then, playing for some of New Zealand's’ top bands until 1989 when he moved to Australia to continue his career in both recording and performing with many high level Australian acts. Graham played bass for the highly successful Australian band The Stars between 1975-76 but was replaced by Roger McLaughlin before they actually hit the big time with their single "Mighty Rock". He also played bass for Finch, the Ray Burgess Band, Avalanche and Russell Morris and the Rubes, and of course the Flying Emus. Today, Graham is the bass player for the 70's cover band 'Scandal' [www.rumours.net.au/Scandal]

 

This post consists of  FLACs ripped from CD and includes full album artwork. This album is nothing like what I first expected having not heard any of their material before. I was half expecting something between the Bushwackers and Redgum, but the Flying Emus music is more pop than Country/Bluegrass, sounding a lot like Linda Ronstadt and the Stone Ponys.

Most songs have been penned by Genni and John Kane and I would go as far to say that their writing skills are up there with the likes of Vanda and Young or the Finn Brothers. There is not one bad track on the whole album, and they include the hit single "Different Drum" (written by Michael Nesmith and originally performed by Linda Ronstadt).
As a bonus, I have also added their 1987 hit single "I'm In Love With Love" and a live version of "It's A Sunburnt Country" recorded at the 1988 Country Music Awards in Tamworth, N.S.W.

My favourite tracks are the very catchy "Broken Dreams (Southbound)" and of course "Different Drum" which emphasises how good Genni's voice really is.
As Molly Meldrum would say, 'do yourself a favour - go out and buy this album' - but seeing it is no longer available commercially, you can download it here.

* New Improved RIP *

Track Listing

01 - Common Ground
02 - Just The Opposite
03 - I Don't Know About That
04 - Some Days
05 - You Can Be Whatever You Want
06 - Postcards From Paradise
07 - Broken Dreams (Southbound)
08 - Different Drum
09 - Love Is Just A Loan
10 - Nightmares
11 - Seaside Fantasy #1 (I Don't Know You)
12 - I Just Want To Dance With You
Bonus Tracks
13 - I'm In Love With Love (Single)
14 - It's A Sunburnt Country (Live at the CMA Tamworth 1988)
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.The Flying Emus (331Mb) New Link 26/06/2026

Carl Jackson - Banjo Player (1973)

(U.S 1971- Present)

Carl Jackson, an accomplished bluegrass instrumentalist and songwriter, was born September 18, 1953, in Louisville, MS. While playing in his father's bluegrass band at the age of 14, he was approached by Jim & Jesse to join their backing group, the Virginia Boys. He accepted and spent most of his teenage years playing banjo for Jim & Jesse and other groups at the Grand Ole Opry. Jackson's talents earned him a contract with the independent Prize label, where he recorded the album 'Bluegrass Festival' in the late '60s.

In 1971, Jackson left to play with the Sullivan Family, but after less than a year, he moved to Ohio to form the Country Store with Keith Whitley and Jimmy Gaudreau. A short time later, he jumped at the chance to join Glen Campbell's backing band. He spent 12 years with Campbell from 1971-1984, but during that time he also recorded the albums 'Banjo Player' and 'Old Friend' for Capitol.

Carl was, apparently, a protege of country-politan star Glen Campbell, who lauds him in the liner notes on Banjo Player, plays guitar and produced this sleek, no-nonsense bluegrass set for his very, very talented 19-year-old sideman.

In 1981, Jackson signed with Sugar Hill and released his tribute to Earl Scruggs, 'Banjo Man'. The following year brought'Songs of the South', and in 1983 he joined with old friends Jim & Jesse for 'Banjo Hits'.

After signing with Columbia in 1984, Carl Jackson left Glen Campbell and began to hit the charts. His Lefty Frizzell cover "She's Gone, Gone, Gone" reached number 44 in 1984, though three later singles never matched its relative success. (Jackson did write the hit "(Love Always) Letter to Home," which peaked in the Top 15 for Campbell in May 1984.) 

During the late '80s, his rich harmony Vocals brightened recordings by Emmylou Harris, Ricky Skaggs, Vince Gill, Garth Brooks, Roger Miller, and many other acts. 

In the '90s, Carl Jackson began to be rewarded for his years of work. He earned the International Bluegrass Association's Song of the Year award in 1990 for "Little Mountain Church Home," recorded by Ricky Skaggs and the Nitty Gritty Dirt Band on Will the Circle Be Unbroken, Vol. 2, and won a Best Bluegrass Album Grammy the following year with John Starling & the Nash Ramblers for Spring Training. [extract from Rocky 52 website]

Lifetime Awards:

1990 - IBMA Song Of The Year: for Little Mountain Church House
1991 - Grammy: Best Bluegrass Album for Spring Training,
2003 - Grammy Best Country Album for Livin’, Lovin’, Losin’
2004 - IBMA Album Of The Year: for Celebration of Life: Musicians Against Childhood Cancer
2004 - IBMA Event Of The Year: for Livin’, Lovin’, Losin’

Carl Jackson Today

This album contains lots of standards -- "Foggy Mountain Breakdown," "Duelin' Banjos," etc. -- but also some nice originals from Jackson himself... and the picking is really spectacular, even if the overall vibe of the album is a little safe and controlled. Campbell gets in a few nice licks himself; if you like all-instrumental albums such as Jerry Douglas's Fluxology, this disc might be worth tracking down as well.

This post consists of FLACs ripped from my vinyl copy which is in excellent condition, and includes hi-res artwork and label scans.  I came across this record quite by accident at my local Trash & Treasure market, mixed in with a pile of other bluegrass albums, but what caught my eye with this LP was Carl's big smiling face on the front cover and the sidenote: "Featuring Duelin' Banjos" (from the film Deliverance)"

The deal breaker was the great condition of the Vinyl & Cover and its $1 bargain basement price. I'd always wanted to give Bluegrass a try and "Duelin' Banjos" was already familar to me, so when better to start than with Carl's album.
Even though this is one of the shortest LP's I own (19 mins to be exact), its shortcoming is negated by the quality of the music. The skill and speed of his pickin' is quite remarkable, and I highly recommend you give this LP a spin.

It should be noted that this album was re-released in 1976 under the title "Carl Jackson / Glen Campbell – Duelin' Banjos (Du Film..Delivrance..) Orange Blossom Special" and a different cover (see displayed above). The track list was exactly the same however. Go figure !

Track List:

01 - Duelin' Banjos
02 - C. J.'s Breakdown
03 - Song for Susan
04 - Ole Miss
05 - James Louis Henry (Brother of John)
06 - Orange Blossom Special
07 - Little Rock Getaway
08 - Ain't Got No Name
09 - Say Old Man
10 - Foggy Mountain Breakdown



Musicians: Hollywood, January 1973.

・Carl Jackson (Banjo, Guitar)
・Glen Campbell (Guitar)

・Bill Graham (Bass)
・Bob Felts (Drums)
・Donnie McCarthy (Piano)
・Glen Castleberry (Harmonica)


Banjo Player Link (125Mb)

Blue Swede - Hooked On A Feeling (1974) + Bonus Singles

(Swedish 1973 - 1979)

Blue Swede was first formed in 1973, when Björn Skifs, a top vocalist in Sweden, was looking for a band to accompany him during his concerts.

The band was originally called "Blåblus" (Swedish for "blue blouse" [could be made out of denim], a pun on the word "blues") and featured Skifs singing the lead vocals. The band got their international breakthrough in 1974 with their cover of the 1968 B. J. Thomas song "Hooked on a Feeling". Blue Swede recorded Thomas's song in 1973, but based its rendition of the song on a 1971 version released by British pop eccentric Jonathan King, which created the "ooga-chaka" introduction.

The producer at the recording sessions was Bengt Palmers. Blue Swede released "Hooked on a Feeling" in Sweden in May 1973 and in the United States in February 1974. The song reached number one in the U.S. for one week in April 1974 and stayed in the Billboard Hot 100 chart for 18 weeks. The track also topped charts in Australia, Canada, and the Netherlands, where it reached a peak chart #26. To capitalize on the success of the song, Blue Swede released the album 'Hooked on a Feeling' that same year.

Throughout the rest of 1974, two follow-up singles from the same LP were released: "Silly Milly", which peaked at #71 in the U.S., and a cover of The Association's "Never My Love", which made the Top Ten by peaking at #7. From the band's 1974 follow-up album, 'Out of the Blue', they recorded a medley of "Hush" by Deep Purple and "I'm Alive" by Tommy James and the Shondells (not The Hollies' song of the same name), peaking at #61 in the U.S., and achieving its greatest chart success in Scandinavia. Skifs left the band in 1975 and the band continued as Blåblus, releasing a further two albums. [extract from Wikipedia]

Note: The LP "Hooked On A Feeling" is basically an international version of the Sweden-only album 'Pinewood Rally', when the band still named themselves Björn Skifs & Blåblus.
The song "Gotta Have Your Love" is the only "new" song on this album (actually, the American B-side to the single "Hooked On A Feeling"). All other songs can be found on the Swedish released album.

The Song: Hooked On A Feeling

“Hooked on a Feeling” was Blue Swede’s first and only song that reached number one in the United States, where the song saw the most success. The tune remained on the Billboard chart for an impressive 18 weeks. The band, however, didn’t have the same longevity. 

This song was written in 1968 by Mark James and originally performed by B.J Thomas. But this version of the song, with the earwiggy “Ooga Chaka”, was actually based on a fairly successful 1971 cover by English performer Jonathan King where the intro was first created. Blue Swede’s version also had slight lyrical changes to remove even a hint of drug use.

Not only was it the main background music of the Dancing Baby meme (see above), which was a 3D animation of a… dancing baby, it was also used in the great Marvel film 'Guardians of the Galaxy'.

Furthermore, it is also used in Quentin Tarantino’s hit 1992 crime thriller “Reservoir Dogs”. The soundtrack for the film has selections of songs from the 1960s to ‘80s, therefore it is quite essential to include a classic such as “Hooked on a Feeling”.

The song was a US Billboard Hot 100 #1 hit and Billboard later ranked it as the #20 song for 1974. [extract from genius.com]

This post consists of MP3's (320) ripped from Vinyl (thanks to Ozrebel at Midoztouch) and includes full LP artwork and label scans. This release has been re-released on CD under the title of 'The Golden Classics of Blue Swede' which includes two bonus tracks "Dr. Rock and Roll" and "Hush / I'm Alive" which were both released as seperate singles in 1975. I have included these two tracks here for your "ooga-chaka" pleasure.

Track List:
01 Hooked On A Feeling 2:52
02 Pinewood Rally 2:53
03 Silly Milly 2:53
04 Lonely Sunday Afternoon 3:12
05 Gotta Have Your Love 3:26
06 Destiny 2:31
07 Something's Burning 3:42
08 Working In The Coal Mine 2:33
09 Never My Love 2:27
10 Always Something There To Remind Me 3:39
11 Dr. Rock And Roll [Bonus Track] 2:30
12 Hush / I'm Alive [Bonus Track] 3:28

Band Members:

Björn Skifs (lead vocals),
Anders Berglund (piano),  

Bosse Liljedahl (bass), 

Hinke Ekestubbe (saxophone), 

Jan Guldbäck (drums), 

Michael Areklew (guitar),

Tommy Berglund (trumpet)

Blue Swede Link (88Mb)