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)

Jim Keays - The Boy From The Stars (1974) + Bonus Tracks

(Australian 1964 - 2014)

Jim Keays fronted the successful Master's Apprentices until they broke up in the U.K. 1971. This marked a career change and he returned to Australia, where he worked for Go-Set magazine, formed the Rock On Agency, and appeared at the Mulwala Rock Festival in April 1972. In March 1973, he starred in the Australian version of the Who's Tommy and in January 1974, Keays participated in the third annual Sunbury Festival.

Keays then returned to music, recording his debut solo album, 'The Boy From the Stars', a concept album about an extraterrestrial visitor who attempts to warn people of the earth's imminent destruction. Keays, playing the role of the boy from the stars, wrote most of the music and all of the lyrics. "Kid's Blues"/"Inter-Planetary Boogie" (December 1974) and "The Boy From the Stars"/"Take It on Easy" were released as singles and Keays undertook an ambitious tour in support of the album, but due to the size of the show, only three concerts were staged. The anti-drug song "Give It Up (Cocainut)"/"Love Is" was released in June 1975. 

Keays and his fellow Master's Apprentices bandmembers were inducted into the Australian Record Industry Association (ARIA) Hall of Fame in 1998. In 1999, Keays published his first book, His Master's Voice, which told the story of the Masters Apprentices. In January 2000, Raven Records reissued Keays' 1974 solo album, The Boy From the Stars, with five bonus tracks. The Mavis's contributed a cover of "The Boy From the Stars" to the original soundtrack of the Australian film Sample People in May 2000 [by Brendan Swift]

Jim Keays talks about The Boy From The Stars

At some stage in our lives most of us embark on a search to look for the meaning of life in general and/or our own lives in particular: where are we from, why are we here and where are we going? 

For some, the search lasts a few days, for others weeks, months or years. For a few it is a lifetime's pursuit.

During my career with The Master's Apprentices there was no time for searching: the pace was far too hectic for any kind of introspection. But as soon as it was all over I began to ponder these universal questions. At the same time the 'hippie' movement had begun to force the world into realising that the planet was in some danger, and many changes needed to be made to save it from destruction socially, politically and environmentally. I researched everything from astrology, tarot, alchemy, UFO's and homeopathy to eastern and western religions, science, philosophy, physics, eastern and western medicine, politics and everything inbetween.

All this searching seemed to synthesis itself into a concept in my mind that eventually manifested itself into a batch of songs with a thread of a story that incorporated many of the things that I had learned and absorbed.

And so, 'The Boy From The Stars' was born. Simply, the story of a visitor from an advanced but belevolent civilisation somewhere in the cosmos, who tries to alert us to our impeding fate in an effort to help us avert it. (all in a positive way I might add. This is not a doom and gloom senario!).

After writing the songs, came the job of assembling the players for the recording sessions. I wanted the best there were for my grandiose project, and one by one I set about matching the player with the song. I heard sounds in my head that hadn't been invented yet, so somehow I had to create them, or cause them to be created, from musicians at the cutting edge of the newly emerging technology of the time (a time that preceded the electronic explosion of the mid-seventies).

'The Boy From The Stars' Photo Collage

The late Steve Dunstan, Bruce 'Wings' Bryan, Mal Logan, Peter Robinson and Andrew Vance were experimenting with new sounds from the earliest forms of the synthesiser. In the case of Steve Dunstan, he was inventing new electronic musical instruments and giving them such bizarre names like the 'zapophone'. These musicians supplied the sounds, and together they attempted to create the cosmic soundscapes that I had in mind.

Long standing friends, such as Phil Manning and Barry 'Big Goose' Sullivan from Chain, the late Duncan McGuire, Mark Kennedy and Col Loughnan from Ayers Rock, Lobby Loyde, Ross Wilson, Marcia Hines, Billy Green and many others that have since become stalwarts of Australian music history, all took part in creating what was probably one of the first 'concept' albums produced in this country.

Because of the intricacy of the recording, live versions of the show were both complicated and costly. Consequently I only ever staged three performances. The first was at the Sunbury Music Festival in Jan, 1975, the second was the Dallas Brookes Hall in Melbourne and the third was a Freedom from Hunger benefit concert at the Myer Music Bowl in Melbourne. The Myer Music Bowl concert was almost totally rained out and my performance was severly cut back in production value and length to accomodate the large bill which also included ACDC, Daddy Cool and Hush among others. The whole concert was something of a disaster, played out to a scant crowd in very bleak conditions, and for me, was quite forgettable. The Dallas Brookes Hall show was a sell-out and, despite a few production hiccups, was a great success.

The highlight (or lowlight, depending on how you look at it!) happened at the very opening of the show. I'd had a perspex space capsule constructed which was suspended from the ceiling, with me inside, and during the first song it gradually descended onto the stage.

Unfortunately it toppled over on landing, rolled across the stage and trapped me inside so that I couldn't get out through the door! The roadies had to run onto the stage and roll the capsule around so that I could clumsily stumble out. 'Spinal Tap' style !  But despite this rather comical interlude, we continued on and ended up with a standing ovation.

Jim Keays Lineup For Sunbury 75'

It was the debut performance at Sunbury, however, that really worked to perfection. It was a balmy Friday night (before the torrential rain that marred the Saturday and Sunday nights) and the usually rowdy audience sat hushed and transfixed through the entire show. It entailed three acts, elaborate sets and props and several costume changes (Renee Geyer was my backstage dresser). On stage was a 14-piece band incorporating most of the players from the album sessions, plus Glenn Wheatley who had just returned from overseas and pleaded to be part of the action.

When the capsule was lowered from the stage roof, the audience gasped - it was totally unexpected and certainly not the style of performance for which the 'suck more piss' Sunbury crowd was ready. I had a feeling that it may have been a bit too cerebral in this type of setting. During the second act, as the lights dimmed over suitable cosmic sounds, a gang of roadies brought out about 40 small trees that I'd hired from a nursery to create a forest on stage.

The show climaxed with a rousing rendition of "Reason To Be Living", and I came off to complete silence. I thought that they must have hated it; there wasn't a sound for what seemed an eternity. Then suddenly the audience erupted into rapturous applause - it had taken them that long for it to sink in, but it turned out to be a great personal triumph and one of the highlights of the festival.

The headlining act that year, Deep Purple, were paid an enormous sum and, other than for myself, they were the only act to get paid. Luckily, I had the foresight to do a deal with a sponsor who paid for the whole show up front. Sadly all of the other artists that appeared that year ended up doing it for nothing.

I conceived 'The Boy From The Stars' in every detail: the songs, the players, the album cover, the sponsorship, the costumes (with help from Richard Tyler - now an internationally famous fashion designer), the photography, even the lettering. Every aspect from top to bottom. It was something I was totally passionate about, a two-year labour of love but in the final analysis it was worth every day.

The album and the two singles lifted from it all charted at the time, but as is the case with many albums, they seem to generate more interest, momentum and importance the older they get. Maybe, as many have suggested, this album was ahead of its time, for it now seems that 'The Boy From The Stars' has gained a cult following and has become quite sought after in the collectors market. The title track has now been brillantly covered by The Mavis's to be featured in the movie 'Sample People'.

Jim Keays passed away on June 13, 2014.
He had been suffering from Multiple Myeloma for seven years.

Included on this special 25th Anniversary CD Edition are a couple of bonus tracks that weren't part of the Boy concept (with the exception of "Inter-Planetary Boogie", a studio jam that was relegated to the B-Side of the "Kid's Blues" single). Nevertheless, they are songs recorded around the same period and previously unavailable on album. Ian McFarlane from 'Raven Records' recently tracked down the long-lost master tapes of the complete, unreleased Sunbury 1975 concert. Two of the tracks, "Nothing Much Left" and "Urantia", have been added for curiosity value. Despite the rough-hewn sound quality, I'm sure you'll  agree that the performances stand up remarkably well.

I hope you enjoy the album for what it is - an historical document from an important period of development in Australian popular music. 

[Liner notes by Jim Keays - July 1999] 

Jim Keays Costume

Below is the original EMI Globe promotional sheet for the LP, capturing the theatrical vision of the project. Jim fully embraced a dramatic, futuristic persona during this period, including the now-iconic helmet, which he famously wore performing at the final Sunbury Pop Festival.

The striking costume and helmet were created by his then wife Vicki Keays, and today they are proudly displayed at the Melbourne Music Vault - preserving an unforgettable chapter of Australian rock history.

This post consists of FLACs ripped from the 25th Anniversary CD Edition of the album (thanks to Deutros) and includes full artwork for both CD and Vinyl.  (I have a secondhand copy of the LP, however the vinyl is in rough condition and was not conducive to ripping).

All photos displayed in this post are also included.  I would like to give special thanks to Instagram's themastersapprentices for the EMI Globe promotional sheet and picture of Keay's helmet dsiplayed above.

Track Listing:

01. The Boy From The Stars - 5:45

02. Take It On Easy (Jim Keays, John Brownrigg) - 4:36

03. Nothing Much Left (Jim Keays, John Brownrigg) - 5:05

04. Space Brothers - 9:07

05. Alchemical Takeover - 4:45

06. Urantia (Jim Keays, John Brownrigg) - 5:50

07. Kids' Blues - 3:28

08. The Right Way To Go - 5:24

09. Reason To Be Living - 7:52

10. Inter-Planetary Boogie [Bonus Track] - 4:06

11. Give It Up (Cocainut) [Bonus Track] - 4:10

12. For Someone [Bonus Track] - 5:40

13. Interview With John O'Donnell 3XY [Bonus Track] - 1:34

14. Nothing Much Left / Urantia (Jim Keays, John Brownrigg) [Bonus Track] - 11:04

All compositions by Jim Keays except where stated

Bonus Tracks 10-14

Tracks 10-12 from Singles releases

Tracks 13-14 Live At Sunbury 1975

Musicians

*Jim Keays - Lead Vocals

*Phil Manning - Guitars

*Peter Jones - String Arrangement

*Duncan McGuire - 4 String Fretless Bass

*Mark Kennedy - Drums

*Chris Brown - Acoustic Guitar

*Peter Robinson - Synthesizer

*Greg Cook - 12 String Acoustic Guitar

*Mal Logan - Synthesizer

*Marcia Hines - Backing Vocals

*Tony Buettel - Drums

*Barry Sullivan - 4 String Electric Bass

*Billy Green - Guitars

*John Brownrigg - Harmony Vocals

*Mark Kennedy - Drums, Timpani, Percussion

*Peter Sullivan - Piano

*Lobby Loyde - Electric Guitar

*Ross Wilson - Electric Guitar

*Bruce (Wings) Bryan - Synthesizer

*Andrew Vance - Organ

*Antonio Rodrigues - Congas

*Trevor Courtney - Drums

*Col Loughnan - Baritone Saxophone

*Tony Buettel - Drums

*Mick Elliot - Electric Guitar

*Geoff Skewes - Electric Piano

*Steve Dunston - Zapophone

*Joe Creighton - Bass

*Geoff Bridgeford – Drums

*Ross Hannaford – Electric Guitar

*Peter Laffy - Acoustic Guitar

*George Cross – Bass

*Rick Brewer – Drums

*Rex Bullen – Piano, Organ

The Boy From The Stars Link (568Mb)

Steve Winwood - Keep On Running (1991) + Bonus Tracks

(UK 1961 - Present)

Few artists have contributed so much to the modern face of music as Steve Winwood. 

But besides the extraordinary musical versatility there's always been his indelible trademark - that voice. Britain has, simply, never produced a better singer.

Steve Winwood was 15-years-old when he was discovered by Island founder, Chris Blackwell. The band was called the Spencer Davis Group but Steve was always the mainman. Blackwell was astonished to find a young English singer who sounded a little like Ray Charles but, most of all, could cut the blue notes with his own distinctive voice.

The Spencer Davis Group made their debut with "Dimples", a John Lee Hooker cover. Three more sides were released before the group strung together a remarkable series of classic tunes. Consider: "Keep On Running" with its distinctive fuzzed guitar intro, "Somebody Help Me", the Hammond organ swirl of "Gimme Some Lovin' " and the pounding, pleading "I'm A Man". Classics? And then some.

The Spencer Davis Group 1966

Nevertheless, as 1967 kicked off, Steve was already planning the next phase which would involve the creation of a new band to accommodate his widening musical horizons. That group was Traffic. Together with Chris Wood, Dave Mason and Jim Capaldi, Steve intended to create a new musical synthesis. A uniquely British musical idiom that would fuse jazz with the traditional, classics amalgamated with folk & rock. 

Traffic opened their account with a top five success, "Paper Sun" and a first album that, after near enough twenty-five years, has truly stood the test of time. 'Mr. Fantasy' was one of a rare breed at the time, an album that was conceived as an album, not simply a collection of tunes hung around a couple of hit singles.

Traffic 1968

A second, simply called 'Traffic', was released in the summer of '68 but, by the start of the next year, Winwood's creativity was being channelled elsewhere. Renewing a friendship, he started work on a new project with Eric Clapton which would also involve Rich Grech (bass) and Ginger Baker (drums). The new band was called 'BlindFaith'. Despite a welter of good intentions, Blind Faith was at once labelled the world's first supergroup, a tag that the members found difficult to shrug off. After one hugely successful album, a British debut to 100,000 people in London's Hyde Park and a lengthy American tour the pressures finally told. Blind Faith, inevitably, fell to bits.

Blind Faith 1969

Winwood ensconced himself in the studios with producer Guy Stevens, busying himself with sessions for a solo record that had the working title of Mad Shadows. Midway through the sessions, however, Winwood again enlisted the talents of Wood and Capaldi.

The resulting record was re-titled 'John Barleycorn Must Die', possibly the most enduring Traffic album and the one closest to Winwood's original blueprint. His r&b roots were evident, but so too were his increasing fascination with English melodies; a combination that has long since been a distinctive element of his work.

Traffic's musical hybrid continued apace. The 'Low Spark Of High Heeled Boys' in 1971 was quickly followed by 'Shoot Out At The Fantasy Factory' and the group, with its original three-man nucleus, had swollen to almost big band proportions with the addition of the Muscle Shoals sidemen. The endless round of touring, however, began to take their toll. A final album, 'When The Eagle Flies', was recorded with a slimmed down version before Traffic's swansong, headlining the Reading Festival on August Bank Holiday weekend 1974.

The next three years were spent cloistered away from the demands of the previous years. Steve's antidote was to build his own studio - Netherturkdonic - at home in Gloucestershire which would enable him to work at his own, unhurried pace. During this time he also collaborated on Japanese percussionist Stomu Yamash'ta's acclaimed 'Go' project, recorded with George Harrison and appeared as guest guitarist with the definitive salsa group, 'The Fania All Stars' at London's Lyceum Ballroom.

By 1976, Steve was ready to make the first moves in his solo career. His studio band included The Wailers' Junior Marvin on guitar, Andy Newmark and Willie Weeks as rhythm section, as well as Jim Capaldi. Eponymously titled, the album epitomised all the spirit and verve that had long characterised Winwood's work and, one track in particular, clearly signposted the future. The closing cut on Side 1 of Steve Winwood was "Midland Maniac" - written, played, engineered, produced, and sung by - a bonafide solo cut. In short, pure Winwood.

By 1980, Steve was planning a further instalment in his career after a three year gap of working on outside projects that include a sizable contribution to Marianne Faithfull's Grammy nominated Broken English LP. Working very much at his own pace and responsible for every facet of the recording process himself, he began what was to become 'Arc of a Diver', a landmark record in his career. The record, which was released on the last day of the year, returned Winwood's talents to the limelight and nestled among the top sellers around the world for much of 1981. Buoyed by the success, Steve considered the idea of touring again but embroiled himself in a further LP before that idea took firm hold.

The third solo effort was 'Talking Back To The Night', but this time there was little delay in between releases. That album consolidated the success of its predecessor and Steve toured Britain and Europe the following year - the first time he'd been on the road for nearly a decade.

In 1986, Steve released the 'Back In The Highlife album'. The self imposed truly solo recordings mould had been broken. In conjunction with Russ Titleman, Steve gathered around him a stellar list of players - Nile Rogers, Steve Ferrone, Randy Brecker, Chaka Khan, Joe Walsh and James Taylor and forsook the English countryside to record the album in New York.

Back In The Highlife' was Winwood's biggest solo success to date. Its first single, "Higher Love" (featuring a duet with Chaka Khan) reached number three in the U. S. charts; indeed, the album was nominated for several Grammy Awards.

It was also Winwood's last album for IsIand Records, after more than twenty years he severed his connexions with the company, leaving behind a rich legacy of music that still sounds vital and fresh: the sure sign of an enduring talent. [Liner Notes]

This post consists of FLACs ripped from my CD copy of the album and includes full artwork for both Vinyl and CD releases. Although a strong and brief anthology of Steve Winwood's recording highlights, there were still a couple of essential tracks missing which I felt compelled to add as Bonus Tracks (and still fit into the running time constraints for the CD).

Firstly, the opening track from his 'Arc Of A Diver' LP - "While You See A Chance" and his mega hit single "Higher Love" from the 'Back In The Highlife' album.

Track List:

01 Spencer Davis Group – Keep On Running 2:42
02 Spencer Davis Group – Gimme Some Lovin' 2:52
03 Spencer Davis Group – Somebody Help Me 1:58
04 Spencer Davis Group – I'm A Man 2:48
05 Spencer Davis Group – Every Little Bit Hurts 3:28
06 Traffic – Paper Sun 4:14
07 Traffic – Smiling Phases 2:39
08 Traffic – Heaven Is In Your Mind 4:15
09 Traffic – Here We Go Round The Mulberry Bush 2:39
10 Traffic – No Face, No Name, No Number 3:31
11 Blind Faith – Well Alright 4:24
12 Traffic – Empty Pages 4:33
13 Traffic – John Barleycorn (Must Die) 6:20
14 Kabaka/Amao/Winwood – Happy Vibes 4:57

15 Traffic – Something New 3:13
16 Steve Winwood – Time Is Running Out (Long Version) 6:28
17 Steve Winwood – Hold On 4:27
18 Steve Winwood - While You See A Chance - 5:13 [Bonus Track]
19 Steve Winwood - Higher Love 4:10 [Bonus Track]

Keep On Running Link (484Mb)

W.O.C.K On Vinyl: Puffing Billy - Whistles In The Hills EP (1964) / Alan Rowe - The Puffing Billy Song [Single] (1975)

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.

"The Puffing Billy" song, published by Allan's Music, is about  Victoria's famous narrow-gauge railway train, fondly called "Puffying Billy", which runs through the beautiful Dandenong Ranges some twenty-six miles (41km) from Melbourne. The winding track joins the picturess mountain areas of Belgrave and Emerald.

This tourist attraction is wholly maintained by the 'Puffing Billy ' Preservation Society, a dedicated group of enthusiasts, who keep the train running, much to the delight of thousands children and adults each year. 'Puffing Billy' would undoubtedly be on of the most photographed trains in the world.

Alan Rowe, himself a keen railway enthusiast, wrote this song because of  "Billy's" fame and popularity.  On this recording you can hear the train's familar "puff, puff" and "whoo, whoo" in addition to the music and lyrics.  

WHISTLES IN THE HILLS

During the first years of this century, the Victorian Government was engaged in a large scale expansion of its railway system as it attempted to open up the state for settlement, As part of- this expansion four narrow (2 foot 6 inch) gauge lines were built, this being an inexpensive way of bringing rail service to outlying communities - particularly those in mountainous terrain.

Of the four lines, two captured the imagination of the people of Victoria. The Upper Ferntree Gully-Gembrook line in the Dandenong Ranges near Melbourne (known to all as "Puffing Billy") and the Colac-Beech Forest line in the Otway Ranges, known affectionately as "The Beechie". Of these, only a portion of one remains to remind us of a leisurely but dignified past.

Each locomotive operating on the Puffing Billy Railway has its own rich history and identity. The NA Class locomotives were originally referred to as ‘narrow gauge’. This was later abbreviated to NA Class.

The NA locomotive is the only class to have operated on the Upper Fern Tree Gully to Gembrook railway prior to closure in 1954. In fact prior to 1978, they were the only locomotives to run on Puffing Billy Railway. Other locomotives now on the line are "foreign" to the Puffing Billy Railway, although G42, the Climax, and the Tractor Appliance Company Limited (T.A.C.L) can claim association through the Moe to Walhalla railway, where they operated alongside each other on a timber tramway that branched off at Collins Siding, near the township of Erica.

PUFFING BILLY

Puffing Billy now runs on the 8-mile portion of the original railway between Belgrave and Lakeside - no longer as a common carrier but as a tourist attraction. Normal services to Gembrook were withdrawn in 1953 when a landslide near Selby caused the closure of the line.

A reprieve for the railway came in 1954 with the formation of the Puffing Billy Preservation Society, a non-profit organization whose aim is to preserve and operate this unique line as part of our heritage.

Puffing Billy then ran regularly between Upper-Ferntree Gully and Belgrave (the 4-mile section unaffected by the landslide) until 1958, when the extension of the Melbourne electric suburban service to Belgrave curtailed operations.

Determined that the little train would not be lost, the Society undertook to restore the narrow gauge beyond Belgrave. This labour of love by many people brought about the triumphant reopening of the line as far as Menzies Creek in 1962, and the extension to Emerald some three years later.

The locomotives used on the Puffing Billy line are the Narrow Gauge "A" (NA) Class of the V.R. Of the original 17 locomotives, only six remain to run Puffing Billy.

Top to Bottom: Puffing Billy NA Class Locomotives - 3A, 6A, 7A, 8A, 12A, 14A

THE BEECHIE:

In an attempt to reduce train miles on the Colac-Beech Forest-Crowes and Moe-Walhalla lines where traffic was particularly heavy, two Garratt engines (G41 and G42) were purchased in 1926 from the firm of Beyer Peacock & Co., Manchester, England. These were considerably bigger than the NAs and were capable of hauling twice the load.

After their introduction, these engines took over most of the duties on their two lines until 1954 when, with the closure of the line between Moe and Erica, G42 was transferred to Colac.

Unlike the Gembrook line, the Beech Forest line was not close to a large centre of population, so the Beechie was never fated to become a thriving tourist line. In the final years of operation, many rail fan excursions were run but these are hot sufficient to keep a railway operating, and on the 30th June, 1952, a tired G42 pulled the last train into Colac, closing the door on the last genuine operating narrow gauge line in the state.

The G42 was displayed at the Puffing Billy Preservation Society's museum at Menzies Creek until 1977 until transferred to Belgrave, where restoration to operation began in earnest in the late 1980's. As a quirk of ferroequinology history, Australian Portland Cement at Fyansford had also selected the WAGR Ms-class design for their locomotive needs. The boiler of their No.1 had been saved by the PBPS and was overhauled and fitted to G 42 during its rebuilding. G 42's original boiler is now displayed at Menzies Creek Museum.

After a very thorough and expensive restoration, G 42 was returned to service on 11 March 2004 when she moved under her own steam for the first time in 42 years. Today G 42 continues to satisfy its original design brief by eliminating double-heading of the NA locomotives on Puffing Billy's heaviest weekend trains.

For more information regarding Puffing Billy and its train services and tourist activities on offer, take a look at their website

Puffing Billy Locomotive 7NA

Side One: Storylines

1. Before the journey we hear the characteristic beat of the air compressor as Puffing Billy engine 7NA approaches the train. The fireman releases the air in the train line, there is a crash of couplers and the engine is on the train. Oil and hot water bubble on the compressor as the air hose is connected and the cock opened. Compressor beats rapidly speed up as it charges the Westinghouse air brakes before the train starts on the downgrade out of Belgrave.

2. Our journey begins! From Belgrave platform the compressor is heard in the background. The train departure announcement is made over the P.A. system, bell rings, guard whistles, engine whistles and the train rumbles out of the platform. As the sound of the air pump fades into the distance, a whistle echoes in the hills.

3. A whistle and a long echo announce the train's approach to Selby where it makes a brief stop. Another whistle (with echo) and the exhaust blasts reverbarate across the valley as the engine stamps out of the station and passes into the distance.

4. The train is heard as it approaches the landslide site, rolling up to the 2-chain radius curve, creaking around it and then puffing gently to a halt on the straight deviation. The stop is made to allow Sociely ticket examiners to change cars. This done, the guard whistles, engine replies then blasts around a 2 1/2-chain curve, car flanges screaming their protest against the rail. As the last cars pass, the engine finds a "greasy" patch of rail, slips, recovers, and then the train disappears round a bend as another whistle echoes trom hill to hill.

Side Two: Storylines

1. Engine No. 7NA approaches through the forest near belgrave. Weeds and Eucalyptus oil on the rails cause the engine to slip madly but the driver quickly makes a perfect recovery and the train passes up the grade with little loss of momentum.

2. Back on Belgrave platform, we listen to Puffing Billy returning. The train slowly climbs the 1 in 4O grade into the platform and stops. As happy passengers leave the carriages, the P.A. system sounds forth with connecting train information.

"Beechie"

GARRATT  ENGINE G42 (THE BEECHIE)

3. On a wet, cold and windy Wednesday (9/5/62) we overtake G42 on the weekly goods train to Beech Forest and pace it by car. Suddenly one of the engine units slips and the safety value blows off with its characteristic high-pitched whistle.

4. Near McDevitt on a 1 to 30 grade, G42 finds that the combination of wet rail, wet sand, 2-chain radius curves and a load of about 70 tons makes thye going heavy and slips every few feet, first one engine unit, then the other. Steam shrouds the engine, leaking at every available home and joint. Eventually the traion had to be divided.

5. With the sound of the the timber mill and magpies in the background, the train is heard approaching Beech Forest station. As it passes our microphone, a flat wheel on one of the wagons clunks by.

This month's WOCK of Vinyl post is yet again another Obscure post due to the rarity of the recordings but also ticks the O box for the two OP Shops I sourced them from [both on the same day]. What are the Odds folks?  

"The Puffying Billy Song" is ripped to FLAC while the "Whistles In The Hills" was ripped to MP3 (non-music content) with some de-clickling applied.  EP Cover artwork and label scans included.

Thanks to the Puffying Billy Website for all locomotive photos displayed in this post.

Puffying Billy EP's Link (85Mb)