Saturday, October 12, 2024

Uriah Heep - Wonderworld (1974) plus Bonus Tracks

(U.K 1969 - Present)

Since the June 1970 release of their debut album Very 'Eavy, Very 'Umble, Uriah Heep had been on a treadmill. Less than half a decade later, the UK-based hard rock band already had no less than six studio albums and a million-selling double concert set to their name. ln January 1974, just four months after the release of previous offering Sweet Freedom, they were about to commence their seventh full-length album.

The collection of songs that became Wonderworld was once again recorded by the same grouping of vocalist David Byron, guitarist Mick Box, keyboard player/guitarist Ken Hensley, bassist Gary Thain and drummer Lee Kerslake that had worked upon their last three studio records. Little did anybody know at the time but it would be the last album to feature Thain, who would tragically die of a heroin overdose.

From the most modest of beginnings, Uriah Heep had worked hard to build up a considerable empire. To outside observers their organisation looked distinctly palatial, but beneath the surface its foundations were becoming increasingly rotten. The performers were remaining consistent, and producer/manager/Bronze Records boss Gerry Bron was once again manning the production helm.

L - R: Thain, Hensley, Bryon, Kerslake, Box
This time, however, there were more arguments than ever before. Byron and Hensley were locked in a feud, each seemingly jealous of the attention that the other was receiving. Exasperated at the amount of time spent waiting around, David was drinking more and more Chivas Regal whiskey, while Ken's cocaine addiction had begun to spiral out of control.

"David was difficult at the best of times. He was always creating these impossible situations, but Ken was no angel either," revealed Bron. "Those facts were more apparent than ever on the Wonderworld album."

For tax purposes, the band had begun recording outside of the UK. The Sweet Freedom album had been cut at the Chateau d'Herouville near Paris. While they had come away with more than satisfactory results, the studio's facilities had not exactly been all that the band had hoped for. This time they went to Musicland in Munich, a famed facility owned by disco legend Giorgio Moroder that had previously been used by Ritchie Blackmore's Rainbow, the Rolling stones and the Electric Light orchestra among many others. This time the studio, in which Led Zeppelin would record their Presence album the following year, wasn't the problem; instead it was the group's personal demons that intervened.

"The whole thing was a bloody nightmare, Mick Box recalled years later. "Ken spent most of the time in his room crying and David was just on this unbelievable bender. one of my most vivid memories was tryin' to get him across a dual carriageway that separated the studio from the hotel. Cars were just whizzing by, but all David could think about was not spilling the champagne cocktails he was carrying in each hand. When we got there, Ken was nowhere to be found and I spent most days like that.


Trying to hold it all together was almost impossible. Hensley had a role in all but one of the original album's nine tracks, composing three of them on his own. The keyboard player's dominance continued to ruffle feathers in the group, some of their personnel feeling that Gerry Bron was guilty of favouritism. Yet although he was increasingly drug-impeded, Ken could still write quality material. Years later, however, Mick Box still feels strongly that he and the other members of Heep were not afforded the respect that their own contributions were due.

"Our strength at the time was that we could make anything sound great," the guitarist told me in late 2000. "Ken could bring in a bare-boned idea on acoustic guitar, we'd give it the Heep treatment and it'd take on a life of its own. We felt indestructible. It's something that we still say today; give us a stage to perform on and nobody can beat us.

Due to their manifold problems, Wonderworld wasn't one of Uriah Heep's all-time greatest albums. Which isn't to say that it didn't boast moments of out standing quality such as "Wonderworld", "So Tired", "The Easy Road" and "Something Or Nothing".

"We were still capable of producing great music, but the great songs were becoming fewer and farther between," acknowledged Ken, adding: " I don't know if Wonderworld was ahead of its time, but it had some very interesting possibilities and proved that we could still experiment. I like parts of that record.

Circumstances were certainly difficult and there were a whole range of demons that we were wrestling with. We suffered from burnout, perhaps without realizing it.

Certainly, it was hard to keep the creative flow going when the demand was so intense."

"We should have taken some time off," agrees Box.

"We were pushed to the hilt and when things are moving at breakneck speed you start looking for other areas of recreation. We were experiencing more in just one month than some find in a lifetime. I honestly believe that's why some of the band are no longer here."

The Wonderworld album was released in June 1974.

Its artwork was certainly unique, though neither Hensley nor Box can recall whose brainwave it was to cake the band in cement and stand them as statues on plinths. Mick is also the only one posing shirtless, having supplied just a pair of jeans to be concreted up. "The idea was a pretty good one", Mick told me late last year. " But they could have chosen a better shot of Lee, who looks so gnome-like you'd expect to find him at the end of my garden."

Hensley disagreed, stating: "I thought it was weird then, and I hate it now. The absolute end for me was arriving in Los Angeles and on the way to the Riot House, the infamous Hyatt Hotel on Sunset Boulevard, we passed a giant billboard of that cover - uggghhhh!"


It was at a concert in Dallas on the same 1974 tour of America - during which they were being supported by Aerosmith - that Heep experienced a nastier surprise altogether. Thain received a nasty electric shock that left him unconscious. Gary later recalled: "David rushed over and pulled the bass from my hands. At first he thought I was dead because I wasn't breathing and I was lying there stiff as a board."

Thain's body was already ravaged by heroin usage, and he was becoming troublesome, sometimes refusing to attend photo-sessions or soundchecks. To allow Heep to continue touring, he was removed from the line-up and replaced with former Family/King Crimson/Roxy Music (and future Asia) bassist John Wetton. On 8th December 1975, Gary was found dead in his south London home.

"We were pushed back out there for the almighty dollar," reflected Mick Box many years afterwards. Even after Thain's passing, the penny still didn't drop with Ken Hensley. " On the day I found out about him I went out and did cocaine," he later admitted. " I thank God for destroying that addiction."

[Interview with Uriah Heep by Dave Ling: writer for Classic Rock magazine and the author of the Uriah Heep book 'Wizards And Demons']

Bonus Tracks

Today, both Mick Box and Ken Hensley feel that recording away from their home turf of England was contrary to the well being of the band. The album was released originally containing nine tracks (out of twelve tracks actually committed to tape while recording at Musicland). One of the extra tracks, "What Can I Do?" was set aside as the B-Side for the "Something or Nothing" single which was released just prior to the album release.

Two other studio tracks, "Love, Hate And Fear" and "Stone's Throw" were to rest in the vaults untouched and unmixed for inclusion on the bands penultimate box set 'Time Revelation'.

This post is the full 'Wonderworld album' in its original running order. Extra tracks included are "What Can I Do" (B-Side), a previously unreleased version of "Dreams" from the 'Wonderworld' sessions and two previously unreleased live versions of "The Easy Road" and "Something or Nothing" (both recorded live at Shepperton Film Studios in 1974). Both of these live versions were mixed for the first time in 1995. These live recordings were the last known live recordings that exist with Gary Thain playing bass. He later died of a drug overdose in December, 1974 - he was only 27 years old.

Although Wonderworld may not have been the best album Uriah Heep recorded it does contain some truly excellent moments. My personal favourites are the LP's title track, "Suicidal Man" and "Dreams". It was a shame that this classic line-up didn't last. But fame and fortune were beginning to take its' toll.


With John Wetton now in place, Uriah Heep rapidly commenced work on their next album entitled 'Return To Fantasy' which was released in November 1975 and went on to become their biggest selling album to date, reaching number seven in the charts. If I get time, I will try to post this album as well but not before I post their classic 'Demons And Wizards', so stay tuned folks.

This post consists of FLACs ripped from CD and includes full album artwork for both vinyl and CD. Label scans and all featured photos are included.

Tracklist:
 01 - Wonderworld
 02 - Suicidal Man
 03 - The Shadows And The wind
 04 - So Tired
 05 - The Easy Road
 06 - Something Or Nothing
 07 - I Won't Mind
 08 - We Got We
 09 - Dreams
10 - What Can I Do (B-Side To Single) [Bonus]
11 - Dreams (Previously Unreleased version) [Bonus]
12 - Something Or Nothing (Live/Previously Unreleased version) [Bonus]
13 - The Easy Road (Live/Previously Unreleased version) [Bonus]

Uriah Heep is:
David Byron ................... Vocals
Mick Box ........................Guitars
Lee Kerslake ....................Drums
Ken Hensley .....................Keyboards
Gary Thain ................................. Bass


Saturday, October 5, 2024

REPOST: Rick Wakeman - The Six Wives of Henry VIII (1973) + Bonus Live Tracks

(U.K 1969–present)
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Rick Wakeman is an English keyboard player, composer and songwriter best known for his involvement with the progressive rock band Yes. Wakeman joined the folk group Strawbs in 1969 and played on three of their albums. He first joined Yes in 1971 to replace Tony Kaye, and left the group in 1974 to work on his solo career.

Wakeman began his solo career during his first run with Yes. His perhaps most known records being his first three, 'The Six Wives of Henry VIII' (1973), 'Journey to the Centre of the Earth' (1974) and 'The Myths and Legends of King Arthur and the Knights of the Round Table' (1975).

His debut studio album 'The Six Wives of Henry VIII' was released in January 1973 on A&M Records, prior to the release of YES's 'Close to the Edge'. It is an instrumental progressive rock album with its concept based on his interpretations of the musical characteristics of the six wives of Henry VIII. Wakeman decided on the concept in 1972 while he toured the United States with the rock band Yes. As he read a book about the wives on his travels, melodies he wrote the previous year came to him and were noted down. Wakeman plays a variety of keyboard instruments including piano, Minimoog synthesiser, Mellotron, harpsichord and organ. Musicians from Yes and Strawbs, who he performed with prior to Yes, also play on the album [extracts from Wikipedia]
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Review
Not only did this album help pave the way for progressive rock, but it also introduced the unbridled energy and overall effectiveness of the synthesizer as a bona-fide instrument. Many experts credit Six Wives of Henry VIII as being one of the first albums to bring keyboards to the forefront in an art-rock setting. Rick did get a little help from some of his Yes-mates, but essentially this album was his brainchild.

'Six Wives' gave Wakeman his chance to break away from the other instrumental complexities that made up Yes and allowed him to prove what a driving force the keyboard could truly be, especially in full album form. More than just synthesized wandering, Wakeman astoundingly conjures up a separate musical persona by way of an instrumental ode to each of Henry VIII's wives through his dazzling use of the Mellotron, Moog, and Hammond C-3 organ. For example, Wakeman's fiery runs and fortissimo thwarting of the synthesizer throughout "Anne Boleyn" is a tribute to her feisty temper and valiant courage that she maintained while standing up to her husband. 

With "Jane Seymour," on the other hand, Wakeman's playing is somewhat subdued and gentle, which coincides with her legendary meekness and frailty, as well as her willingness to cater to Henry VIII. Wakeman's masterful use of his synthesizers is instrumentally stunning, as is his talent of magically shaping the notes to represent behavioral idiosyncrasies of his characters. Yes bassist Chris Squire lends a hand on "Catherine of Aragon," while guitarist Steve Howe and drummer Bill Bruford appear on a few tracks as well, as does former Strawbs member Dave Cousins, playing the electric banjo. The Six Wives of Henry VIII unleashes the unyielding power of the keyboard as a dominant instrument, but also displays Wakeman at the beginning of an extremely resplendent career as a solo musician.
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I have been a big fan of Rick Wakeman's since hearing his "Six Wives" album, buying most of his earlier 70s and 80s work and he was, along with Keith Emerson, one of my keyboard heroes, as a teenager. I found his music technically excellent and when playing with Yes his keyboard wizardry often complemented Yes’ more serious style with refreshing solos and inspired magical touches weaving their way through Yes' works.
 
This post consists of a fresh rip taken from my 'treasured vinyl' in brilliant FLAC format and includes full album artwork and label scans (with full inner gatefold depicting Rick's keyboards). 
I have also chosen to include rips of his Excerpts from Six Wives featured on Yes's triple live 'Yessongs' and live renditions of  "Catherine Howard", "Anne Boleyn" and "Catherine Parr" from his King Biscuit Flower Hour (KBFH) concert held in 1995 - absolutely brilliant.
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Below is a YouTube clip performance by Wakeman playing excerpts from 'The Six Wives Of Henry VIII' from Yessongs, 1973.


New Improved Rip!
Track Listing
01. Catherine of Aragon (3:45)
02. Anne of Cleves (7:50)
03. Catherine Howard (6:36)
04. Jane Seymour (4:44)
05. Anne Boleyn (Inc. "The day thou gavest Lord is ended") (6:31)
06. Catherine Parr (7:00)
Bonus Track
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07. Excerpts From The Six Wives of Henry VIII (Yessongs 1973)
08. Catherine Howard (Live KBFH)
09. Anne Boleyn (Live KBFH)
10. Catherine Parr (Live KBFH)

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Band Members:
Rick Wakeman (keyboards)
Judith Powell, Sylvia McNeill, Laura Lee, Liza Strike, Barry St. John (vocals)
Dave Lambert, Mike Egan, Steve Howe (guitar)
Chas Cronk, Les Hurdle, Dave Winter, Chris Squire (bass)
Barry DeSouza, Alan White , Bill Bruford (drums)
Frank Ricotti, Frank Riccotti, Ray Cooper (percussion)
Dave Cousins (banjo)
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Six Wives Link (434Mb) 
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Monday, September 30, 2024

W.O.C.K On Vinyl: Ayers Rock - Rock 'n' Roll Fight / Sorrowful Eyes (1973) & Lies / Feel The Heat (1981)

 

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.

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

Ayers Rock were one of the first groups signed to Michael Gudinski's newly established Mushroom label, and their debut single, "Rock'n'Roll Fight" / "Sorrowful Eyes", was issued at the end of 1973. Neither tracks were included on their debut album 'Big Red Rock', which was taped live before an invited audience at Armstrong's Studios in Melbourne over two nights in September 1974. 

The live-in-the-studio approach worked extremely well for Ayers Rock, and the album clearly demonstrated why their awesome live 'chops' had made them such a popular concert attraction. But it also was something of a necessity for the cash-strapped label -- they took the same approach with another early signing, Mackenzie Theory. The Ayers Rock LP reportedly cost Mushroom a mere $5,000 to record.

Ayers Rock's second LP 'Beyond' was not quite as successful sales-wise, but no less impressive musically.

After parting with Mushroom in 1976, the band broke up for about three years, but it was reformed by Brown, Doyle, Stuart and Cowan in 1979 and they established their own label, Red Rock. A new single, "On The Avenue" was released at the end of 1979, followed by "Lies" in early 1980, both issued through Polydor. Only the single "On The Avenue" was included on their third and final LP 'Hotspell', distributed by RCA, making their final single "Lies" / "Feel The Heat" somewhat of a collector's item.

And so, it seems that both Ayers Rock's beginning and their final demise have something in common -  two singles that did not appear on any of their albums, making them super rare.  And so, in my opinion, they tick the Obscure box for this months WOCK on Vinyl post.

For your pleasure, these two singles have been posted in glorious FLAC format and include full artwork and label scans.

Mushroom Single (1973)
01  Rock 'N' Roll Fight (Going On)  [3:20]
02  Sorrowful Eyes   [4:58]

Polydor Single  (1981)
01  Lies  [2:56]
02  Feel The Heat [2:56]


Tuesday, September 24, 2024

Ted Mulry Gang - Here We Are (1974)

(Australian 1972-1989, 1998)

When the Ted Mulry Gang formed in 1972, Ted Mulry was already a well-known pop balladeer. After getting tired of being backed by different backing bands, in 1972 he switched from acoustic guitar to bass and formed his own band, “Ted Mulry Gang”, with guitarist Les Hall & drummer Herman Kovacs. The band signed a recording deal with Albert Records in 1974 and released their first album “Here We Are”. Guitarist Gary Dixon joined around this time to complete the foursome. With his own band behind him, Ted adopted a more hard-rockin’ style. (Note: Re-issues of the album contained a band photo insert with Gary Dixon included).

In 1975, the album's second single, "Jump in My Car," unexpectedly rose to the top of the charts and remained there for over a month. A video was filmed showing the band playing a live show on a barge in front of the Sydney Opera House. That year they released two more albums in quick succession, Struttin' and Steppin' Out, both of which sold well.


The Mushroom Records label, who had not long before achieved success with the Skyhooks, snapped up the Ted Mulry Gang in 1977 and they changed their name to TMG to mark the occasion. They released The TMG Album that year and followed it with Disturbing the Peace a year later. By 1980's, their love affair with the charts had faded, though they remained popular in concert and continued touring for much of the '80s. Their eventual breakup was followed by the inevitable Reunion album, Re-Union, in 1989.

Ted Mulry Gang On Countdown
Late in the '90s Mulry returned for one last hurrah as a solo performer with his album This Time, featuring songs co-written by his brother Steve Mulry. Steve went on to replace his brother in TMG for their last performance at a concert to pay tribute to Ted after he was diagnosed with terminal brain cancer. Among the other performers were Sherbet, John Paul Young, and Tim Freedman of the Whitlams. Ted Mulry died a day before his 54th birthday in 2001.

Ted Mulry Gang Playing on GTK
 In 2006, "Jump in My Car" became a hit again after being recorded by David Hasselhoff (aka The Hoff) to promote his Australian tour, featuring a video in which he sang the song while driving the car from Knight Rider (See below)


This post consists of FLACs ripped from CD (thanks to Sunshine) and includes full album artwork for both vinyl and CD. I have the vinyl, but the rip provide is far better than what I could produce from my well played album.  If you haven't listened to this album, then why not Jump In and let the music take you back Home, to a time when pop songs were just good fun.

Tracks:
All songs written by Ted Mulry.
01. Circles - 3:27
02. All The Headaches Came Today - 2:38
03. Sunday Evenings - 1:56
04. Here We Are - 2:38
05. My Temperature's High - 3:04
06. Only Love Can Make It - 3:13
07. Come Back Home - 3:41
08. You Made A Fool Of Me - 2:51
09. I'm On Fire - 2:59
10. Move On - 2:50
11. Give It To Me - 3:54
12. Jump In My Car - 3:07


Personnel:
- Edward "Ted" Mulry - lead vocals, bass, piano, guitar
- Les Hall - lead guitar 
- Herman "Herm" Kovacs - drums




Wednesday, September 18, 2024

REPOST: Be Bop Deluxe - Live! In The Air Age (1977)

(U.K 1972-1979)
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Be Bop Deluxe were sequined glam rock heroes, led by Bill Nelson’s blistering virtuoso guitar work, seemingly beamed down from an impossibly glamorous forgotten future-world. Equal parts Roxy Music, Bowie, and Queen, Be Bop Deluxe were an intoxicating ‘70s phenomena filled with lipstick posturing, surrealistic lyrics and searing, melodic guitar solos that sounded exorcised from Bill Nelson’s semi-acoustic, cherry sunburst Gibson 345. In Be Bop Deluxe, Nelson proved himself one of the most technically accomplished British guitarists of the 70s. Bill Nelson’s started out playing what he calls “psychedelic blues music” in various ad hoc bands during the 60s. But it wasn’t until the ‘70s that his career began in earnest with the solo LP Northern Dream. Financed by the owner of a Wakefield record shop, it was originally limited to 250 copies. One of them found its way to John Peel who began playing it regularly on Radio One, prompting executives from Harvest to seek Bill out. Their intention was for him to revisit Northern Dream with better recording equipment but, having just formed the first line-up of Be Bop Deluxe, Bill had other ideas. A single, “Teenage Archangel” b/w “Jets at Dawn” was recorded before the Harvest deal was signed and sold at concerts (both tracks are included on Postcards From The Future). 

. Be Bop Deluxe’s debut album, 'Axe Victim', appeared in summer 1974, showcasing Bill’s fluid style, jazz-tinged chops and thin but confident tenor vocals. There was a change of line-up for Futurama, on which Bill’s vision was given full rein by the kitchen sink approach of Queen producer Roy Thomas Baker. Heavy with layered guitars and melodic ideas pursued on a whim and quickly abandoned, it featured two of the best singles never to hit the charts: “Maid In Heaven” and “Sister Seagull.” 

Be Bop toured with Cockney Rebel and as headliners, finally notching a hit single with the ambitious “Ships In The Night” from the Sunburst Finish LP, which led to their only appearance on Top Of The Pops and a US record deal. The next long player, Modern Music, dealt with Bill’s disillusionment with that experience while reflecting on his science fiction fixation. The title track, a dreamy pop concoction that takes in every established guitar style and a few new ones besides, is particularly impressive. A break from their punishing schedule was plugged by the concert album 'Live! In the Air Age' before Drastic Plastic completed the band’s natural life span. Recorded in the south of France in the Rolling Stone’s mobile studio, Bill’s guitar plays second fiddle, as it were, to synthesizers as he tried to assimilate electronics into his work. Be Bop Deluxe’s live album showcased the band running through stunning versions of their hits and became a UK Top Ten hit.Throughout Be Bop Deluxe’s short lifespan the band has been a keen influence, inspiring many a New Romantic band in the ‘80s including Duran Duran and Gary Numan. In fact, the story goes that upon seeing Be Bop Deluxe in concert, David Sylvian and friends decided to form the group Japan. Having far too long being name-checked yet seldom heard, Be Bop Deluxe are now ripe for rediscovery.
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'Live in the Air Age' (not "Life") is the finest live album produced by this amazing group. Although ignored by the press and most music fans, Be Bop is an outstanding example of progressive rock in the late 70's. If you have any appreciation of Mick Ronson, Phil Manzanera, Jeff Beck, Bill Spooner and Roger Stein, or Frank Zappa, you owe it to yourself to become one with Be Bop's Bill Nelson. Sadly, the 70's was a period of transition for music listeners. 

As a side note: the White Vinyl edition of 'Live in the Air Age' is much softer than the black vinyl edition, and as a result is subject to more damage from normal use than the black vinyl. SO STOP PLAYING THE WHITE VINYL VERSION, if you have it! When there are no more vinyl pressings (within the next ten years or so), this album will be as sought-after like the Dead Sea Scrolls! 

'Live in the Air Age' is one of the best Be Bop Deluxe albums ever (oh by the way, it’s a two-record set). Bill is in terrific form, on the guitar, and the rest of the band is as tight as The Tubes. If you are looking for a Bill Nelson spectacular, this is his best live recording with Be Bop. Also check out his solo work ('On a Blue Wing', et al).

This rip was taken from CD in FLAC format and includes full album artwork for both CD and Vinyl.
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New Improved Rip !

Track Listing
01. Life In The Air Age
02. Ships In The Night
03. Piece Of Mine
04. Fair Exchange
05. Mill Street Junction
06. Adventures In A Yorkshire Landscape
07. Blazing Apostles
08. Shine
09. Sister Seagull
10. Maid In Heaven
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Band Members
Bill Nelson (vocals, electric guitar)
Andrew Clark (vocals, keyboards)
Charles Tumahai (vocals, bass guitar, percussion)
Simon Fox (drums)
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Thursday, September 12, 2024

Richard Clapton - Goodbye Tiger (1977) plus bonus tracks

 (Australian 1972 - Current)

Richard Clapton took his name from his two greatest inspirations — Keith Richard and Eric Clapton. In the early '70s he spent time playing avant-garde rock in Berlin and recorded his debut album 'Prussian Blue' but eventually returned to Sydney to record his next album with Festival Records.

In 1975, Clapton had the critics on side, but Festival Records insisted on a hit single. However, it was the song they picked as a B-side called “Girls On the Avenue” that reached #1 on the national charts and put Clapton at the top of his class. Like Americans Jackson Browne and Bruce Springsteen, Richard Clapton developed a sound based on melodic rock while his lyrics were poetic musings on his state of mind or the state of the nation.

These two came together on the 'Goodbye Tiger album'; at that time Clapton’s most successful to date. The record was a new highpoint and as a result there was significant international interest in Richard as a recording artist. 'Goodbye Tiger' was described by music historian Ian McFarlane as “his most celebrated work, an album full of rich, melodic and accessible rock with a distinctly Australian flavour. It established Clapton’s reputation as one of the most important Australian songwriters of the 1970s….

The Making of the Goodbye Tiger LP

In 1976, Richard Clapton decided to return to Germany using money he had acquired via an Arts Council grant, having just finished working on the soundtrack to an Australian surfing movie called 'Highway One' with David Elphick and Steve Otton. It was during this time that he conceived the lyrics and song structure for "Deep Water". The album also featured his next single "Capricorn Dancer".

The bizarre thing about the Australia Council grant, as he soon found out, was that recipient's weren't required to account for anything. He was finally asked for a report of the work he had produced in 1976 - in 1996. Fortunately for the Australia Council he wrote the set of songs for Goodbye Tiger with his grant.

Richard managed to find board with best friend Volker and his girl friend Andrea in their new apartment on Kaiser Wiolhem Strasse, in Berlin. It was here where he commenced work on his next album.

In Richard's biography, he recalls:

"When we arrived back at the apartment, I sat down and wrote 'Goodbye Tiger' all in one go. Dr Pepper called me 'Tiger', an old 'ocker expression of endearment. It's a real blokey nickname. The lyrics may sound fictitious and poetic but the words are virtually literal, and journalistic in their own way. The lyric was pretty much a transcript of our conversation back in David's hotel room a few nights before, my itching to be 'chasing those dolce vita times'." [The Dr Pepper that Richard refers to was a good friend from Australia, a true Beat Writer who opened a record store in Melbourne called Archie and Jugheads. Writing as Doctor Pepper, he was the most feared and loathed music critic in all Australia, but a great writer who wrote for Juke magazine]

"I already had the basic idea for "Deep Water", an invented story about Michael Hegerty's sister, Christine, down on Bondi Beach back in Sydney. Christine was a real ham, hence all the stuff about doing the foxtrot on the beach at night with the fireflies dancing in the promenade lights. I decided to marry that part of the song to an incident that had recently occurred on Palm Beach Road, after a drinking and pot smoking binge. I'd been toying with the idea of writing an opus that would encapsulate Sydney life within that seven minutes and it all just fell into place.

"Lucky Country" was next, another quick and painless birth. The first time I went out in the snow [after visiting Norre Nebel, the northernmost tip of Denmark], I walked down to the frozen beach; it all struck me as incredibly weird. There I was, up near the North Pole, writing songs about the Antipodes. And yet it was so easy. I'll die happy knowing that I wrote three of my best songs - 'Tiger', 'Deep Water', and 'Lucky Country - in just a few days. Bang, bang, bang!

Richard was keen to stay in Europe, but back in Australia "Capricorn Dancer", which came out as a single in early 1977, looked like it was going to be a big hit. Festival's Phil Matthews implored him to come home and promote "Capricorn Dancer" and record one more album for the label. Clapton made it very clear that Richard Batchens and other people at Festival wouldn't mess with his music ever again. He was really starting to assert his independence at this time. Phil, an all-round great guy, kept sending Richard reassurances by telegram.

After a short stint in America, where he meet up with the Dingoes who were recording an album with Garth Hudson from The Band, Clapton finally decided to return to Australia and studio time was booked for him to start work on Goodbye Tiger.

Richard also recalls:

"We were to record "Deep Water" first up. I went into the studio with Michael Hegerty on bass, Kirk Lorange on guitar and a funny Greek drummer called Jimmy Penson. He'd played in a very successful blue/boogie band called Blackfeather, he was a damned good drummer and all round nice guy. Jimmy was like a hilarious parody of an archetypical Greek. He wasn't dumb, but he would ham it up just for everyone's amusement.

In between sessions, we were playing at the Station in Melbourne to a more than packed house. The gig was going really well but a grumpy Kirk Lorange kept screaming at Jimmy to 'lay back', musician talk for 'slow down the beat'. Jimmy had the dopiest look on his face as if he didn't understand. Every time Kirk would scream 'lay back', Jimmy would lean further and further back on his drum stool until he was on the verge of falling off the stage. Michael and I were laughing so hard we could hardly play. That's Jimmy playing drums on 'Deep Water' and 'Capricorn Dancer'.


Also in the studio with me were Cleis Pearce (on viola) and drummer Greg Sheehan, who'd both played in an 'acid jazz' outfit called Mackenzie Theory. It didn't seem likely, but they were a good fit. Diane also rejoined what was to become the notorious 'Goodbye Tiger' band.

Feuding erupted almost immediately between Richard Batchens and the band. Kirk and Michael joined together in one of several factions; they regarded themselves as the 'sane' members of the band. Greg and Cleis were Balmain hippies who survived on macrobiotic food and LSD. Richard Batchens's main ally was John Frolich, the engineer, a Palm Beach hippie and original New Age guy. I was just the pivot for everyone else to cling on to.

The project lapsed into an orgy of booze and drugs. Half the band was tripping, the rest were stoned. I was still not much of a druggie, and as usual found the drug taking irritating, but tried to remain tolerant for the sake of the album. My album. Soon enough, though, I became a complete drunk, unable to cope with the relentless tension. I kept waiting for the next bomb to go off.

I was totally miserable. I desperately wanted to quit the album because I really didn't believe that we'd ever finish it-or survive. But I knew I'd relinquished the opportunity to relocate to America or to Europe, and was damned if I was going to let this bring me down.

How on earth we managed to record that album in that state still amazes me. Because I was short of material, I came up with an idea. 'Let's get totally trashed,' I announced, 'and I'll write a song "while-u-wait".' Why not?

Kirk was stoned and late for the session. By now Batchens and I were drunk; we started calling Kirk a 'pussy' and a 'wimp'. After threatening to quit there and then, Kirk reluctantly plugged into the powerful amp that I'd hired for him, a 100-watt Marshall. I sat in an isolation booth utterly wasted, and just started playing. I was so drunk, I started doing a Captain Beefheart impersonation, growling rather than singing. You can hear me bursting into laughter throughout the track, which was called 'I Can Talk to You'.

The intensity was incredible. Kirk detested Cleis and vice versa; the dogfight between these two for solos I think created one of the best moments in Australian recording history.

Kirk Lorange, Richard Clapton & Richard Batchens
 during 'Tiger' recording session, 1977

As the album progressed, things worsened, if that was possible. Batchens stayed drunk; I was either stressed or depressed. Batchens still insisted on humming 'hook' lines to Kirk Lorange, which caused enormous friction between them. Ironically, the guitar hooks' on 'Deep Water' and 'Lucky Country' were actually Richard Batchens's, so maybe his ideas weren't that bad.

Kirk and Richard's war climaxed during a night at the 'Pyrmont Hilton', where a scuflle broke out. Richard had to be restrained from wanting to seriously bash Kirk; he may have even landed a couple of punches. Kirk quit the album and I went to meet Jim White, the general manager of Festival.

'I can't work with Batchens,' I told him. I felt really awful, because I loved Richard in a very odd sort of way, but he was so out of control that he was sidelined. I set to work producing most of Kirk's guitar parts myself but Richard produced Kirk's solo on 'Deep Water', which he played while he was perched right up against the brand new $10,000 speakers in Festival's control room, his guitar literally five centimetres from the speaker cone. I shudder to think of the consequences had we blown up their new speakers. Sounds great, though.


Richard Batchens eventually talked his way back onto the project, and we closed off the studio from the outside world, including the band. We eventually brought in session players to apply the finishing touches.

The last stages of the album were intensely emotional.

Richard and I were still reeling from all the earlier dramas. I must say, in all fairness, that Richard did an excellent job with recording my vocals; no longer did he demand repeated takes.

I would never concede that those vocals are my best, but this is where I really learnt to sing in a recording studio. We ended the album as we'd begun: drunk. We'd drink in the afternoons and watch the sun go down over Pyrmont-and then we'd walk down to the studio and work until early morning.

I have always been frustrated about the lack of real insanity or 'pushing the envelope' in Australian recordings. My theory about the enduring popularity of Goodbye Tiger is that it was the first homegrown album that captured a journey to the outer stratosphere. All the anger and bitterness actually manifested itself into something quite passionate and beautiful. Don't ask me why; it just worked. It was worth the pain.

There was a lot going on elsewhere in my life during the few months of recording Goodbye Tiger (a marathon by local standards, incidentally. I was befriended by the legendary radio DJ Billy Pinnell, who introduced me to Stan 'the Man' Rofe, the music guru of 3XY. Billy so passionately believed in 'Capricorn Dancer' that together we gatecrashed the pub where Rofe drank in private.


Stan the Man was Melbourne radio; quite frankly, this little stunt could have seriously damaged both our careers. It was a very risky punt. But we managed to get Stan on side, and he single handedly made 'Capricorn Dancer' a big hit and set up the Goodbye Tiger album nicely. Even before the album appeared in October 1977, pre-orders had exceeded 35,000 copies, gold' status, a first for me." 

[extracts taken from Richard Clapton's autobiography 'The Best Years Of Our Lives', Published by Allen & Unwin, 2014, p138-143].



Richard Clapton - A Star Is Born
by Anthony O'Grady.
(RAM Magazine Nov 18th, 1977 p.9)

Well, here we are at a record company reception for Richard Clapton's new album 'Goodbye Tiger', You can tell the record company have a lot of faith in Richard these days because the PR boys are pouring out the company scotch like profligates, and there are platters piled high with cold cuts and cheeses. Not only that, there's hints that hot dishes will be served later, plus actual champagne while the album is being previewed.

You can tell Richard is in high esteem with the nabobs of the music bizz too, 'cos they're all here. Receptions are similar in a way to concerts - the more people who turn up, the higher the standing of the artist. The throng have now reached that delicate point where they're just lubricated enough to be cheerful, but haven't yet tipped over the edge into frantic oblivion and wild partying. With a good sense of timing, the managing director asks everyone to down whiskey glasses and move around to the studio for champagne and Goodbye Tiger.

They've done out the studio a treat. What looks like a big tiger skin {but isn't} is pinned to the wall. Posters and pix of Rich abound - Two gargantuan speakers point down at waiting rows of blue chairs. Two projectors aim cocked and loaded slide mounts at white screens. Richard Clapton is in the studio control room guzzling a tube - He's not nervous mind you, he always jangles up and down on the spot. Well, maybe a little nervous.

Ritchie Batchens his producer is hurling himself around the room and seems slightly more controlled, and Suzie (Richard's dark-haired, vivacious, slender girlfriend) is smiling like she's actually relaxed- "Tell 'em to piss off," say's Richard as the throng gather outside. "Clear the studio, wipe the tape. - I want to redo the vocals."

"This album was recorded totally alcoholically" proffers Batchens peeling another tube. "That's the problem with bands today," says Richard. "They can't keep up with the drinking". It's very quiet in the control room, you can hear the gurgle of emptying cans. On the other side of the blanked out sound proofed glass though, a champagne party is starting to build momentum. Suddenly blam! the tape starts twirling and the speakers roar, drowning out anything softer than a Concorde Sonic Boom.

Goodbye Tiger has eight tracks: "Down In The Lucky Country", "Wild Child", "Goodbye Tiger", "I Can Talk To You", "Deep Water", "Out On The Edge Again", "Hiding From The Light" and "Wintertime in Amsterdam". The ones that blare forth most memorably are the songs I can remember from concert performances - "Down in the Lucky Country", "Wild Child" and "Deepwater". "Deepwater", the single, has a strange, stop-flow rhythm - a smooth melody interrupted with guitar slashes and sultry solo piano notes. "Lucky Country" is a foot tapper the whole way through and "Wild Child" is a sort of reggae/funk/country hybrid.

There's lot's of variation and change of pace on the album: "Goodbye Tiger" and "Wintertime in Amsterdam" flow slow and thick as foam from a chilled beercan. "I Can Talk To You" is a grunting, heavy-metalloid rocker conversation stopper, and "Out On The Edge Again" has the abrasive rasp and edge of a sandpaper throat, post-hangover.

No doubt there are lots of um.. lyrical implications under the initial effect of the music, but it's hard to get 'em on one high volume listen. Love the part in "Deepwater" though where Richard screams "sitting on the Palm Beach Road / I'm so drunk and the car won't go." Don't know its deeper meaning though. [Ed - Clapton later relates the story in his 2014 autobiography, p124-126] 

The tape finishes and people actually down their champagne to clap and cheer. The throng bustles upstairs for hot eats and more drinks, the partying starts in earnest. Surrounded by happy drunks Clapton looks a lot happy and relaxed himself.

"Are we confident his album won't be lost in the Christmas rush?" answers a Record Company PR person. "We're confident it'll go gold in a few weeks - Richard Clapton is heading our entire Christmas promotion."

That's how it is at receptions; 'A Star Is Born every time'.

Especially if it's your fourth album and you've just spent nine months on the road. But a good nosh-up always helps. "Especially if you like drinking" says Richard.

This post consists of FLACs ripped from CD (my vinyl is a little worn) and includes full album artwork for both media, including label scans (thanks to Beergut for the rip).
Bonus tracks were sourced from the 'Highway One' soundtrack that Clapton contributed to in 1976, just before he worked on his Goodbye Tiger album. 

Track Listing
01 Down In The Lucky Country 3:42
02 Wild Child  3:32
03 Goodbye Tiger 5:42
04 I Can Talk To You 6:15
05 Deep Water  5:26
06 Out On The Edge Again 3:10
07 Hiding From The Light 4:36
08 Wintertime In Amsterdam 6:10
09  Highway One [Bonus Track]   3:47
10 Highway One #2 (Children Of The Sun) [Bonus Track]  5:15
11 Longshore Rider [Bonus Track]  2:55
12 Babe Rainbow [Bonus Track]  4:54
13 Capricorn Dancer [Bonus Track]   3:50

Band Members:
Guitar and Vocals - Richard Clapton
Bass Guitar – Michael Hegerty
Drums, Percussion – Greg Sheehan
Lead Guitar – Kirk Lorange
Viola – Cleis Pearce
Backing Vocals – Diane McLennan
Guest, Backing Vocals – Dalvanius
Guest, Guitar – Gunther Gorman
Guest, Keyboards – Tony Ansell
Guest, Saxophone – Tony Buchanan
Producer – Richard Batchens

Goodbye Tiger Link  (421Mb)

Thursday, September 5, 2024

REPOST: Ayers Rock - Beyond (1976)

(Australian 1973-81)
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Ayers Rock was a jazz-rock group formed in Melbourne, Australia, in 1973. Members included drummer Mark Kennedy, Ray Burton, Russell Dunlop, Chris Brown, James Doyle, Doug Gallagher, Col Loughman, and Duncan McGuire and the band toured the U.S. in 1975-1976. During '75-76, Kennedy began working with Marcia Hines and they later became engaged, which led to him leaving Ayers Rock in 1976. He was replaced for a time by Russell Dunlop, who, like Kennedy, was a seasoned veteran, and a respected session player and producer, but his permanent replacement was hotshot young drummer Hamish Stuart, who has since become a mainstay of the Sydney music scene and one of the most respected drummers in the country. At this point the group also added a permanent keyboard player, Andy Cowan (ex Madder Lake).

Ayers Rock's second LP Beyond was not quite as successful sales-wise, but no less impressive musically. By this time the emphasis had shifted to longer works that allowed the band to showcase its considerable improvisational skills, and the LP consists of just six tracks, three each by Col Loughnan and Chris Brown. One of Brown's songs, "Little Kings", was lifted to become their third single.


Recorded in Los Angeles, the album was vastly more expensive to record than its predecessor, reportedly costing Mushroom a whacking $60,000, but by this time Mushroom's coffers had been swelled by the massive success of Skyhooks. The LP was also released in the USA, with different cover art. Their fourth and final single for Mushroom, "Song For Darwin" (May 1976) was inspired by the Cyclone Tracy disaster that had devastated the city on Christmas Day 1975.

After parting with Mushroom, the band broke up for about three years, but it was reformed by Brown, Doyle, Stuart and Cowan in 1979 and they established their own label, Red Rock. A new single, "On The Avenue" was released at the end of 1979, followed by "Lies" in early 1980, both issued through Polydor. Only the single "On The Avenue" was included on their third and final LP Hotspell, distributed by RCA, making their final single "Lies" somewhat of  a collector's item. Unfortunately, the album was not successful and the band broke up in 1981. Founding members James Doyle and Duncan McGuire have, sadly, both since passed away; Duncan died in 1986 from a brain tumor and Jimmy died in May 2006 from liver cancer.

However, it is great to see that Mark Kennedy, Col Loughnan and Ray Burton are all still going strong. Ray has his own website, featuring great information and images of his career, past and present. Col has recently released a new CD, Ellen St, and his earlier collaboration with guitarist Steve Murphy, entitled Feel The Breeze, is also highly recommended. Both are available from Col's website

Alt U.S Cover

The U.S release of the album by A&M featured a different cover.
It depicts an outback scene when upright and the head of an Australian aboriginal man when the cover is rotated 90° to the right (cover design by Ian McCausland).

The rip of Beyond was taken from CD in FLAC format and includes full album artwork along with select photos of the band. 


IMPROVED RIP !.



Track Listing
01 - Moondah (Beyond)
02 - A Place To Go
03 - Catchanemu
04 - Song for Darwin
05 - Angel in Disguise
06 - Little Kings




Band Members
Chris Brown (guitar, vocals)
James Doyle (guitar, vocals)
Mark Kennedy (drums)
Col Loughnan (saxes, clarinet, flute, keyboards, vocals)
Duncan McGuire (bass)
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Link