Wednesday, August 29, 2012

W.O.C.K On Vinyl - Cliff Richard And The Young Ones: Living Doll (1986)

Before things get too serious at Rock On Vinyl, I thought it might be fun to post a song at the end of each month, that could be considered to be either
Weird, Obscure, Crazy or just plain Korny.
Firstly, let me state for the record that I was a big fan of The Young Ones during the 80's - perhaps it was their sick sense of humour and complete disregard for social conventions and celebrities that appealed to me (and of course Rick's fascination with Cliff Richard).
The other thing I really enjoyed about 'The Young Ones' series were the bands that made cameo appearances (musical interludes) on their shows. Some bands that immediately come to mind were Motorhead, Elvis Costello and Madness.
The series was based on four mismatched university students who shared a house in North London: Neil, the hippie; Mike, the cool womanizer; Rick, a would-be anarchist studying sociology; and Vyvyan (pronounced Vivian), the punk medical student who was prone to extreme violence. Together with their bastard Russian landlord, the world of these "bachelor boys" was surreal and violent, but ultimately hilarious. Ben Elton was responsible for making this show work and along with Blackadder, The Young Ones was Ben Elton's greatest sitcom work.
"Living Doll" is a song written by Lionel Bart made popular by Cliff Richard and the Shadows (then still The Drifters) in 1959. It has topped the UK charts twice; in its original version and a new version recorded in 1986 in aid of Comic Relief.
In 1986, 27 years after its first release, The Young Ones approached Richard to record a comic version of "Living Doll" for the Comic Relief charity. Despite the apparent contrast between the anarchic comedians and the clean cut Richard, he agreed and their version again topped the UK singles chart, for three weeks from March 1986. Shadows guitarist Hank Marvin was reunited with Richard on this recording for the first time since 1975.
This No.1 hit single was recorded in support of 'Save The Children Fund' and Oxfam with 80% of funds from the sale of this record going to the Sudan and Ethiopia and 20% to British charities via Charity Projects.
There are many references to Cliff Richard in The Young Ones, precluding their collaboration, including:
- Rick is the devoted Cliff Richard fan who recites poetry centered on his idol
- Rick's fanaticism leads to many jokes about Richard being made during the series
- The name of the show and the opening theme are taken from the Richard song 'The Young Ones'.
So, this month's WOCK on Vinyl is yet another Crazy, Comical track by who can only be described as the Craziest (Young Ones) and most Charismatic (Cliff) partnership in show business!
Post is a vinyl rip in MP3 format (320kps) with full artwork and label scans.
01 - Cliff Richard And The Young Ones: Living Doll

02 - The Young Ones: All The Little Flowers Are Happy

RIP Rik Mayall  (12/06/2014)

Young Ones Link (14Mb) New Link 11/01/2023

Sunday, August 26, 2012

The Police - Wallaby (Live in Melbourne 1981) Ex. Bootleg

(U.K 1977–1986, 2007–2008)
From their early beginnings, The Police were hailed as a maverick live band - a group that galvanized an already impressive studio sound into something otherworldly when performing. Combining controlled energy and evocative melodies, Sting, Stewart Copeland and Andy Summers played with the improvisational instincts of a jazz trio and the raw energy of a punk-rock band - a blend that made them one of the definitive rock groups of the'70s and '80s.
The group originally broke through at the same time that punk was shaking up the music scene in the late 70's. Each member came from a different musical background: Summers played with The Animals, Soft Machine and Kevin Ayers, Copeland was a member of Curved Air and had a brief solo career as Klark Kent, while Sting had played in various jazz fusion groups. The band manifested an understated virtuosity, applying their chops within reggae grooves and intricate arrangements. Between Summers' trenchant and ground breaking guitar work, Copeland's deceptively complex polyrhythms and Sting's loping bass and soaring vocals, The Police were indisputably the most adventurous ambassadors of the genre then known as new wave.
Their first album, 'Outlandos D'Amour' debuted on A&M Records in 1978 and quickly climbed the charts with such hits as "Roxanne" and "So Lonely". The following year saw the release of their sophomore record 'Reggatta de Blanc' which also topped the charts and brought us such hits as "Message in a Bottle" and "Walking on the Moon" as well as honoring the band with their first Grammy for the record's title track. 'Zenyatta Mondatta' soon followed in 1980, resulting in two more Grammy awards for the group as well as Top Ten hits "Don't Stand So Close To Me" and "De Do Do Do, De Da Da Da".
In 1981, The Police put out 'Ghost in the Machine' which went double platinum with hit singles "Every Little Thing She Does is Magic" and "Spirits in the Material World".
After a year-long sabbatical, the members reunited to record 'Synchronicity', an album that would prove to be their studio swansong and earn them three Grammy Awards in the process. The most successful Police album yet, it produced "Every Breath You Take", one of the most-remembered rock ballads of the '80s and the recipient of the 2005 BMI Award for Eight Million Radio Plays. They were ranked the #1 most played band on U.S. radio in the '80s while achieving comparable success in the UK with 5 number one albums and singles to their credit. In 1982, The Police received the Brit Award for Best Group and in 1985 were honored with the Brit Award for Outstanding Contribution to British Music.
After the band parted ways in 1986, their individual careers continued to flourish.
Concert Review
(02.21.1981 - Melbourne, Australia: Festival Hall)
Captured by the Police...
Melbourne rock fans have survived the most arresting weekend of the year. Over two nights, some 10,000 fans were "apprehended" for three hours of blissful imprisonment.
A forceful group of chaps, calling themselves t
he Police, are in Australia proving why they're one of the world's top three bands. Who cares if the trio's outdoor concert in Sydney drew a crowd of 25,000? Melbourne was privileged with two Festival Hall shows. Both were total sellouts and both more than rivaled the Police's Harbor City reception, in terms of enthusiasm as well as decibels. The old stadium hasn't seen nights like it for quite a while.
The wooden floor pulsated, the ushers rushed around frantically all night and the hall's chairs faced their severest test as the fans scrambled for a better view. Loudspeaker pleas of "get back to your seat!" were ignored and from the moment the house lights blinked off it was hard to tell just who was performing for whom.

Police won the contest... but if they hadn't had the stage lights, a platform and a massive sound system on their side, it might have been a draw. The crowd knew every word, every chant and most of the movements too.
On stage, Stewart Copeland drummed up a storm and Andy Summers' guitar re-created perfectly that unmistakable Police studio sound. But there's little doubt about the target of most of the screaming adulation. Lead singer Gordon "Sting" Sumner, had merely to smile to set off a chain-reaction of screaming adulation. He can sing, too and has a fine ability for bass and a soaring, powerful voice. 'So Lonely', 'Roxanne', and 'Message In A Bottle' were highligh
ts of a set remarkable for its fullness of sound from only three instruments. Melbourne's own Models are supporting the national tour - and their fine performance was given an enthusiastic home-town reception.
[Extract from
The Police Website © The Melbourne Sun by Mark Trevorrow]

Interview with Sting in 'Flexipop' Magazine (March 1st 1981)
Friday: The night before we played our last gig in Australia in front of 10,000. Friday morning I got up pretty early, around 9am, and went straight down to the hotel pool. There I met Willie Nelson and made friends with him. I congratulated him on his Grammy award and he congratulated me on mine. He won the best country and western song and we won the best instrumental. Then I met Oscar Peterson who was sitting in the corner drinking. I went over but he had never heard of The Police. In the afternoon I went water-skiing in Perth. It was pretty good - until I swallowed a jellyfish. Well, I nearly did. It sort of covered my face. Luckily it wasn't of he stinging variety. I mean, how can a jellyfish sting Sting?
We were supposed to catch the 10.30pm flight to London but it was delayed. The plane finally took off at midnight. I dropped a few sleeping pills and that was it... until one of the plane's engines went. The pilot told us not to panic and in fact we had to make four stops - Singapore, Bombay, Bahrain, and London. It was a 27 hour flight [extract from The Police Website]
This post is an excellent soundboard recording in mp3 format (320kps). Included is full album artwork along with alternative front cover (see below). Rip originally sourced from Viva Les Bootlegs with thanks. This recording was made during their "Zenyatta Mondatta" world tour. Other Australian dates were:
16-02-1981 Sydney Showgrounds
19-02-1981 Brisbane Festival Hall
21-02-1981 Melbourne Festival Hall
22-02-1981 Melbourne Festival Hall
24-02-1981 Adelaide Memorial Park Drive Stadium
26-02-1981 Perth Entertainment Centre
Track Listing
01. Voices Inside My Head / Don’t Stand So Close To Me

02. Walking On The Moon
03. DeathWish

04. Fall Out
05. Man In A Suitcase
06. Bring On The Night
07. De Do Do Do, De Da Da Da
08. Truth Hits Everybody
09. Shadows In The Rain
10. When The World Is Running Down
11. The Bed's Too Big Without You
12. Driven To Tears
13. Message In A Bottle
14. Roxanne
15. Can't Stand Losing You/ Reggatta de Blanc / Be My Girl
16. So Lonely

Gordon "Sting" Sumner: Lead Vocals, Bass
Andy Summers: Guitars, Vocals
Stewart Copeland: Drums, Vocals
The Police Link (170Mb)

Thursday, August 23, 2012

Mickey Finn - Selftitled (1980)

(Australian 1976-1981, 1990)
Mickey Finn formed in Adelaide, South Australia in 1976, evolving from the popular band Fraternity, which is best known for its association with Bon Scott and also the Levi Clefs. By late 1975, Fraternity had been renamed to Some Dream. In 1978, the band was eventually renamed as Mickey Finn, comprising of Bruce Howe (ex Levi Clefs), John Eyers (ex No Sweat), Mauri Berg and Joff Bateman (both ex Headband).
This bluesy rock band was led by Eyres - alias 'Uncle' John Eyers and created a large following in Adelaide's pub scene etc.
By 1980, John Freeman had rejoined as their new drummer and a second guitarist, Stan Koritini, had also been added. It was this lineup that cut the selftitled album for the Eureka label, featured in this post.
Mickey Finn released two Singles in 1980 and 1981 before fading from the rock scene, although they reunited in 1990 for a brief period.
There is not really much information documented about this short lived band other than snippets of information that I managed to find on each of the band members.
.Mauri Berg
A member of HOY-HOY! , this band started out as a trio based on the early blues of the Texas band, The Fabulous Thunderbirds, who were themselves fans of earlier artist's including Slim Harpo.
Now as a trio with Mauri Berg at the helm, the music is tougher, so the, "we're not loud, you're soft", catch phrase applies.
Whyalla boy, Mauri Berg, makes good.''1968" W.G.Berg, "1970" Headband, The Mount Lofty Rangers, with Bonn Scott. "1971" Fraternity MkII, with Jimmy Barnes and John Swan. "1976" Mickey Finn, mark one and two.
Mauri has recorded at Alberts Studios, toured the country on the strength of some no.1 singles and inspires and awes music lovers with soaring guitar playing, and definitive guitar licks.
(For more information about HOY-HOY, see
John Eyers
Fraternity recorded a single entitled "Seasons of Change" in April of 1971, then welcomed harmonica player "Uncle" John Eyers, who, in the true spirit of the Age of Aquarius, stopped by for a visit and simply never left. John Eyers joined on harmonica and vocals in May that same year.
John Freeman
There are plenty of fine drummers and percussionists around these days, but few have a true personality and personal style. Those of the old school invariably have some trademark fill, a unique placement of the beat and a sense of belonging within the music, and not just part of it. Adelaide's John Freeman is a case in point. His history includes classic Australian bands like The Levi Clefs, Fraternity, Mickey Finn and a later stint with Jimmy Barnes. In between times he's played with everybody who's anybody in Adelaide and also performs authentic and passionate country blues guitar and song when the gig arises. These days he holds down the rhythm section in a fine swinging R&B outfit called 'Rhumboogie' which also features Adelaide guitar legend Chris Finnen.
.Bruce Howe
He is an Australian bass player born in Adelaide, South Australia. Bruce has played with many good bands and certainly has stuck it out through the early years of the sixties through to the turn of the century. He spent most of his playing days with Barrie McAskill and The Levi Smiths Clefs and moved on to play with Jimmy Barnes in 1984, and then the Mega Boys and the Dalai Lama in 1986.
This post consists of FLAC from my vinyl copy and is free of any crackles or pops. Album artwork is included along with label scans. My favourite tracks are the covers "I'm A Man" and "Baby Please Don't Go". The remaining tracks are Eyers-Berg compositions, with the exception of "So many Lies" which was written by Howe.
Overall, this is an outstanding bluesy, Aussie Rock album which shouldn't be missed.
Track Listing
01 - Too Much Rigmorole
02 - Well Oiled Millionaire
03 - So Many Lies
04 - Neon Tube Kid
05 - I'm A Man
06 - DT's
07 - Quick Release
08 - Eat Your Heart Out
09 - Baby Please Don't Go
10 - Animal

Band Members:
(Uncle) John Eyers - Vocals, Harp
Mauri Berg - Lead guitar
Stan Koritni - Rhythm guitar
Bruce Howe - Bass
John Freeman - Drums
Special Guest: John Swan - Backing Vocals
Mickey Finn FLAC Link (235Mb) New Link 26/12/2023

Sunday, August 19, 2012

Yes - Palais Theatre, Melbourne (2012-04-11) Bootleg

(U.K 1968 –2004, 2008–present)
Returning for the first time since 2003, Grammy Award winning progressive rock group, YES, made their highly anticipated return to Australian shores in April 2012 for a few special theatre shows and a performance at the infamous Byron Bay Bluesfest.
The tour kicked off in Byron Bay when YES took the stage at Bluesfest on Monday 9 April, before heading down to Melbourne for a show at the Palais Theatre on Wednesday 11 April and then winding up in Sydney on Friday 13 April at the State Theatre.

Forming in London in the late 1960s, YES are regarded as one of the pioneers of the progressive genre. They are known for their classically-influenced arrangements with extended song lengths, unusual time signatures, three-part high vocal harmonies, virtuoso musicianship, eclectic blend of musical styles, dramatic dynamic and metrical changes, abstract lyrics, elaborate album art and enigmatic live stage performances.
Having sold close to 50 million albums worldwide, their status as one of the most successful bands in America throughout the 1970s was solidified when four of their albums were certified Platinum and another three albums reached Gold status. And their number one hit single, "Owner Of A Lonely Heart", held the top spot on the main charts in 1983 as well as becoming a hit on the R&B and disco charts.

The current line-up is comprised of bassist Chris Squire, guitarist Steve Howe, drummer Alan White, keyboardist Geoff Downes, and singer Jon Davison, who is a new comer to the band (replacing front man Benoit David), having joined after the release of their latest album 'Fly From Here' – produced by legendary musician and producer Trevor Horn.
And more than 40 years since their inception, Australian audiences were able to see YES perform tracks from their indelible catalogue of hugely successful hit albums, such as Fragile, Close To The Edge, Drama and 90125.

Concert Review
This is the identical set as with the NZ and Perth shows although Machine Messiah was sometimes played in place of Heart of the Sunrise. I believe the songs were longer in the Melbourne live set due to no opening act. The set list was a fantastic double act by the headliners as the ‘Friends’ that were supposed to be there were cancelled. This meant a two act Yes extravaganza.
The band were flanked by lights at the beginning with a classical suit
e to usher them on. The screen that hung above them was certainly effective though mostly showed psychedelic effects, flashy lightning bolts, colour bars, or rotating Yes logos. Often the band were shown on the screen but always overlayed with lighting effects. I would have preferred to see the band throughout the show as up the back of the theatre the band were tiny figures. They did not move about too much though Squire did his usual leg movements, standing on one leg Ian Anderson style, or shuffling across the stage and spinning. Squire did sing harmonies with the others and sounded fine to me. Howe was on his custom piece of rug and moved off to produce some electrifying lead solos. He was wonderful on the slide keyboard during "And You And I". He even jumped a few times at the end of the concert and sometimes raised his hand up to show his appreciation to the crowd.

Geoff Downes was great and remained surrounded by keyboards though he came out to play a roaming keyboard solo. Alan White drummed his heart out and only moved from the set to bow at the end. The new member Jon Davison, from Glass Hammer fame, swayed gently to the music, banged a tambourine lightly, or a shaker and generally moved gracefully around the stage. The big question was would Jon be able to reach the high notes and would his vocals do this incredible music justice? I am pleased to report that he was absolutely fantastic. Jon’s voice was spot on, the man can sing as good and perhaps better than Benoit, now a distant memory. I am glad Jon was so passionate as he really added to the experience. He stood out as the youngest member among all the grey hairs, but he looked and sounded terrific. A lot of the crowd at half time were chatting about how amazing Jon’s voice was.

The songs were played with the same vibrant passion as on the studio releases. All the classics were played and a huge slab from their new album. The lights were coloured standard spots, blue lights, to green and some red and purple but mostly it was bright white rays of lights that shone out. Occasionally house lights were flashed to encourage audience participation such as singing or clapping during certain sections. There were no strobes and it was all very tasteful and white spotlights on certain members highlighted their solos. There was no smoke, no effects though images and bright colours showed on the screen, no lasers… no set design, but each member had their own space on the stage and dominated that. Squire had a fan blowing on him perpetually during the show producing a great affect visually, and his dancing was a special effect in itself. The screen film during "Starship Trooper" was very spacey psych images, there was Roger Dean artwork in some places, and waves crashing as well as lightning bolts and a myriad of colours to enhance the music.

The crowd were courteous and very reverent towards the music. There were no stupid yelling out during the songs, like “Do Topographic!”, and the only wooping and hollering was heard after each song where it belonged. A few songs received standing ovations and rightfully so. "And You And I" got the crowd to their feet, played so beautifully throughout’ pure genius. The "Fly From Here" epic was played in its entirety and received a massive ovation with the crowd on their feet in applause, and perhaps the largest cheer of the night and spontaneous ovation came after the amazing "Heart of the Sunrise", that featured an unforgettable mid section with Howe and Downes trading off brilliantly.
Another highlight of the show was Howe’s acoustic
interlude performing well known "Clap" and the new one. He bowed graciously at the end and everyone let him know their appreciation. It was also a pleasant experience to hear "Starship Trooper", perhaps my favourite track of the night. They left after that to a standing ovation and said goodnight. The crowd roared for them to come back on and it was deafening in the Palais at that point. The band returned to play "Roundabout". I must say that it was a great way to end the show. Jon thanked the crowd and said we were beautiful Melbourne. He also said previously that they were enjoying their time in Australia. They didn’t speak too much but I remember them saying they would be playing a lot from the new album, and also introducing band members, song titles, or stating you might know this one before playing "Owner of a Lonely Heart".

The bass of Squire was turned up to maximum during "Starship Trooper", like a solo, and he danced around. Often Howe played an acoustic attached to a stand and switched guitars easily this way. The roadies kept out of the way mostly though were about to switch guitars and check the keyboards. I even saw Howe adjust his guitar during a solo as I think he believed it was slightly out of tune. They are really consummate professionals and just played virtuoso throughout. There were no drum solos which was surprising as that would have capped off White’s night who really was not as noticeable as other members, though he played well. I never noticed any faltering of Jon’s vocals though I noticed they played some songs slightly slower such as "Owner of a Lonely Heart". This version was the heavy guitar version and had recorded bangs and effects exactly like the original. Howe’s guitar solo was killer and pleased the crowd.
It was an memorable show and I certainly loved every minute of it. It was great to meet up with some Progarchive members there and also so
me Rush fans out the front caught up with me. There were lots of Yes shirts scattered about and some other bands such as Rush, Camel, Pink Floyd, and Utopia. Yes are still amazing after all these years and despite all the line up changes. They are still a force to be reckoned with and can draw a large crowd. Yes live on and I hope they will continue for many years to come.
One thing I was surprised was the lack of me
rchandise. There were absolutely no programs! That is a mystery as that would have drawn big dollars. It is the first time I have been to a show with no programs available, The three Yes Tour T-Shirts were $45 a pop, Yes logo on one, 'Fly From Here' album cover on the other with tour dates on the back, and they were snapped up by a massive crowd that had to line up in long queues. The CDs on sale for $25 were the Greatest Hits CD and Fragile Remastered. No 'Fly From Here' would you believe? There was a $15 poster available, but I was disappointed with the small choice.

It was an unforgettable show and I certainly loved every minute of it. There were lots of Yes shirts scattered about and some other bands such as Rush, Camel, Pink Floyd, and Utopia. Yes are still amazing after all these years and despite all the line up changes. They are still a force to be reckoned with and can draw a large crowd [review by AtomicCrimsonRush]
This post consists of a very good audience recording, ripped to mp3 (320kps) and includes custom artwork.
The live concert was recorded by Brother Ruprechkt and sourced from LiborioFriki at musictravellerstwo blogspot. In addition, the concert photos were sourced from TrueBeliever at with thanks. Finally, I would like to acknowledge the great concert review by AtomicCrimsonRush and am only sorry that I could not attend myself, as the concert was a sellout.
Track Listing
The Palais Theatre, St. Kilda, Melbourne

01 - Yours Is No Disgrace (from The Yes Album, 1971)
02 - Tempus Fugit (from Drama, 1980)
03 - I’ve Seen All Good People (from The Yes Album, 1971)
04 - Life On A Film Set (from Fly From Here, 2011)
05 - Solitaire (Steve Howe solo)
06 - Australia (Steve Howe solo)
07 - And You And I (from Close To The Edge, 1972)
08 - Fly From Here Pt 1-5 (from Fly From Here, 2011)
09 - Wonderous Stories (from Going For The One, 1977)
10 - Into the Storm (from Fly From Here, 2011)
11 - Heart of the Sunrise (from Fragile, 1971)
12 - Owner Of A Lonely Heart (from 90125, 1983)
13 - Starship Trooper (from The Yes Album, 1971)
14 - Roundabout (from Fragile, 1971)

The current line-up is comprised of:
Chris Squire (bassist)
Steve Howe (guitarist)
Alan White (drummer)
Geoff Downes (keyboardist)
Jon Davison (vocals)

Yes Live At The Palais Link (290Mb) New Link 18/10/2023

Tuesday, August 14, 2012

Pseudo Echo - Race (1988) + Bonus Live Tracks

(Australian 1982-1990, 1999-2005)
Pseudo Echo is an Australian band which plays New Romantic style of music. The band was formed in 1982, by schoolmates, Brian Canham (vocalist, guitar and keyboard player) and Pierre Gigliotti (bass and keyboard player). The other two members of the group were, Anthony Argiro (drum player) and Tony Lugton (guitar and keyboard player).
Following the release of debut album Autumnal Park in 1984, they were regarded as one of Australia’s hottest bands alongside INXS. Their new wave synth pop sound channelled the likes of Duran Duran and Ultravox and the singles "Listening", "Beat For You", "Stranger In Me" and "Dancing Till Midnight" gave the band a string of hit singles. The song "His Eyes" which was featured in the horror movie 'Friday The 13th – A New Beginning' gave them some initial international exposure. With several lineup changes leading into release of 2nd album 'Love An Adventure', the bands sound turned into a more poppy, upbeat vibe with the introduction of a slight rock edge. Their remake of the 70’s dance hit "Funky Town" reached Top 10 in the USA, UK, Canada and Top 20 in Germany and the likes of the title track, "Don’t Go" and "Living In A Dream" dominated the Australia scene.
With the late 80’s resulting in a changing musical landscape to one dominated by big hair, equally big guitars and hard rock, 1988 saw the band release 'Race' which mirrored the music landscape at the time. While the album no doubt alienated the majority of the bands fanbase, it equally attracted a new breed of rock loving fans. For lovers of keyboard dominated melodic rock, this album is one of those highly regarded underground classics, not just in Australia, but worldwide.
The opening tracks, being both singles, "Fooled Again" and "Over Tomorrow" are bona fide rock anthems laden with keys. About the only thing constant in comparison to the bands previous releases are lot’s of keyboards and some killer songwriting!
And speaking of keyboards, check out "Over Tomorrow" which features some awesome 'keytar' action courtesy of James Leigh! "Caught" and "Don’t You Forget", are killer pop oriented songs and highlight the band’s irrepressible knack for crafting an infectious melody and keyboard hookline/riff. Whilst "Imagination" is pure unadulterated AOR that will have you cranking out some air keytar without question… there are still some awesome guitar solo's from Brian Canham on this track.

For the new wave loving Echo fans, hearing songs like "Runaways" and "Eye Of The Storm" with their thundering guitar riffs must have been like listening to Slayer to their ears! But for those of us who were living on a diet of Van Halen, Def Leppard and Bon Jovi at the time, this was heavenly to our ears. Although the album did not surprisingly receive an abundance of critical or commercial acclaim, the band did however win the “Yamaha World Popular Song Contest” with the track "Take On The World", whatever that award means exactly I am not sure, but it sounds impressive.

Race was a radical shift from the synth-enhanced dance
music... it had a harder, pop metal edge, with look to match...This was the direction that the Leigh brothers apparently wanted the band to go, but Brian Canham (and probably Pierre Pierre, too) wasn't tremendously hip on the idea, and neither were the fans at the time... overall, Race wasn't very well-received, and Pseudo Echo was officially disbanded in November 1989.
However, none of the members have been lost in the wilderness, never to be seen or heard of again, like so many other bands of the 80's. The ‘Leigh’ brothers resurface some years later firstly as 'Vertigo' with the song "Forever Lately" and then with a name change and new singer they became 'Invertigo' achieving some decent chart success in Australia with the pop rock explosion of "Desentized" and "Chances Are". Brian Canham on the other hand has been more than busy in the capacity of songwriter and producer with much of his work being heard all over Australian radio and TV [review by Scott Smith at maytherockbewithyou]
This post consists of FLACs taken CD and includes full album artwork. Note that Race was released in the US by RCA with a different cover to that released in Australia by EMI, and I have also included this here. In addition, I have opted to include two classic live tracks - "Listening" and "Funky Town" - taken from a soundboard recording made in Dec, 1985 in Melbourne (thanks to GruntRat at the Live Preserver)
Track Listing:
01 - Fooled Again
02 - Over Tomorrow
03 - Caught
04 - Imagination
05 - Don't You Forget
06 - Runaways
07 - Searching For A Glory
08 - Take On The World
09 - Metropolis
10 - Eye Of The Storm
11 - Listening (Bonus Live 1985)*
12 - Funky Town (Bonus Live 1985)*

* Live recordings from either 'The Palace' in St Kilda or at Monash University
Band Members:
Brian Canham (Lead Vocals, Guitar)
Pierre Gigliotti (Bass, Vocals)
Vince Leigh (Drums, Vocals)
James Leigh (Keyboards, Vocals)
Pseudo Echo Link (330Mb)  New Link 04/05/2020

Tuesday, August 7, 2012

KISS - Live Unauthorised Vol 2. (1993) Ex. Bootleg

(U.S 1973-Present)
Other titles for this bootleg are:
'Kiss Destroys Anaheim - Part 1 (1976)' and 'Kis
s Live In Anaheim' (1976).
Kiss is an American rock band formed in New York City in January 1973. Well known for its members' white and black face paint and flamboyant stage outfits, the group rose to prominence in the mid to late 1970s on the basis of their elaborate live performances, which featured fire breathing, blood spitting, smoking guitars, shooting rockets, levitating drum kits and pyrotechnics. Counting the 1978 solo albums, Kiss has been awarded 28 gold albums to date, the most of any American rock band. The band has sold more than 40 million albums in the United States, of which 20 million have been certified by the RIAA and their worldwide sales exceeds 100 million albums. The 1973–'80 original lineup of Paul Stanley (vocals and rhythm guitar), Gene Simmons (vocals and bass guitar), Ace Frehley (lead guitar) and Peter Criss (drums) was the most successful [extract from wikipedia].

The Kiss Destroyer tour of 1976 resulted in quite a few bootleg LPs, the headbangers' August 20, 1976 show at Anaheim Stadium in Southern California gave us Kiss Destroys Anaheim, Parts 1 and 2. Instead of putting out a two-LP set, the illicit Idle Mind Productions (a prominent bootlegger of the 1970s) chose to release two separate LPs. On both LPs, the sound quality is OK--not fantastic, not terrible, but OK. Though Kiss Destroys Anaheim, Part 1 doesn't have the quality of a soundboard recording, one gets the impression that the bootlegger taped the show using a high-quality portable stereo recorder that he/she managed to sneak into Anaheim Stadium. This LP wouldn't win over an audiophile, but even so, performances of gems from Destroyer (including "Shout It Out Loud" and "Do You Love Me?") as well as "Firehouse," "Cold Gin" and "Black Diamond" capture the excitement of the Destroyer tour. Kiss Destroys Anaheim, Part 1 isn't the ideal document of that tour, although collectors were glad to acquire it anyway.
A year and maybe the big breakthrough after Alive sold huge amounts during 1975. August 20 1976 Kiss played perhaps the largest audience in the 70s. Prior to this gig extended the effects in the form of a larger light rig and a big firework display followed the final Encores. AMI-mounted single-camera video recordings with close-ups for 2 large video screens placed in the arena. Besides the well-known video footage, circulated "Black Diamond" with this recording, great stuff! Perhaps the most famous Kiss Boot existing is Destroys Anaheim that was first released in the 70s and then in a number of re-releases on vinyl edition. The best CD version can be found in Kiss - Kartoon CD Box, released by Godfather Records in its entirety. The rarity, however, is the colored vinyl releases, and today an expensive purchase. Not to forget the re-release on Blue vinyl that do not have the same value to collectors. [extract from]
Angel Stadium of Anaheim (originally Anaheim Stadium and later Edison International Field of Anaheim) is a modern-style ballpark located in Anaheim, California. It is the home ballpark to Major League Baseball's Los Angeles Angels of Anaheim of the American League, and was previously home to the NFL's Los Angeles Rams (now St. Louis Rams). The stadium is often referred to by its unofficial nickname The Big A. The stadium can seat up to 40,000 patrons (see pictured right - 1980)
The following is a rather raunchy interview with Gene Simmons published in Rolling Stone April, 1977 (#236) during their Alive II tour (while they were passing through London).
With Kiss shows being compared to the Normandy invasion, the lords of cartoon metal are caught on the run in Detroit. Before the decade is over, they will become the biggest live band on the planet.
Gene Simmons, dressed in a blue bathrobe in his hotel suite, asks,
"Would you like to see my collection?" He pulls about 20 Polaroid snapshots out of a suitcase and drops them on the desk in front of me. Each is a groupie posed in a spread shot or other equally imaginative position. The bodies range from beautiful to grotesque. "Names, dates and places are written on the back," he says. "Those are just for this tour."
"You must have strange diseases," I finally say.

"Did you ever do it with anyone famous?"
Humming "We've Only Just Begun", he walks into the adjoining roo
m. Star Stowe, the February Playboy foldout, and a Bunny friend of hers emerge giggling from the bathroom. Stowe wears black panty hose with holes ripped in them, skimpy blue-jean shorts and a Kiss T-shirt a couple of sizes too small. I recognise her from a Polaroid.
After a few minutes of distressed discussion, Simmons dismisses them with a curt, "Why don't you do what females are best at doing?" They immediately quiet down, so presumably that is what he thinks they are best at doing.
"We're not a great band," Simmons says, turning his attention back to me. "The musicianship is average, maybe even below, but in a year we're going to be the biggest band in the world. Two hundred million Americans out there don't appreciate subtleties. They want to be sled
ge-hammered over the head with clear issues and no pussyfooting. Remember, it was mass culture that created rock & roll. Our tastes coincide with theirs." - Charles M Young, Rolling Stone Magazine
This post consists of a rip (320kps) taken from my Australian 'Joker' CD release and includes full album artwork for both the CD and earlier vinyl bootlegs listed at the start of this post.
Note: I also have the Kiss Unauthorised Live Vol 1 release (taken from a different concert), however, I refuse to post it on my blog as it is one of the worst bootleg recordings I've ever come across. If you come across it, then don't even bother - its utter crap!
Track Listing
01 - Hotter Than Hell

02 - Nothin' To Lose
03 - Introductions
04 - Cold Gin
05 - Shout It Out Loud
06 - Do You Love Me?
07 - Rock and Roll All Nite
08 - Firehouse
09 - Black Diamond

Band Members:
Paul Stanley (vocals and rhythm guitar)
Gene Simmons (vocals and bass guitar)
Ace Frehley (lead guitar)
Peter Criss (drums)
Kiss Link (74Mb)

Thursday, August 2, 2012

Icehouse - Tenth Anniversary Bonus Pack 'Double Single' (1990)

(Australian 1977–present)
Icehouse is a band from Australia and was originally known as the 'Flowers'. They were best known in the 1970's in Sydney and Australia pubs and also into the early 1980's. They had a more mainstream success in the 1980's with radio airplay in the United States and in Europe. The band was one of the first groups to introduce the synthesizers and the Fairlight CMI in the music industry. The group was formed in 1977, by Iva Davies (born as Ivor Arthur Davies) and Keith Welsh (bass player). For a while they hired the services of Bob Kretschmer until he was replaced by Paul Gildea (guitarist). The band has released 7 albums since 1980, as well as several compilations and collaborations with other artists. The group played Rock, New Wave, Post Punk, and Synth-pop styles of music.

While still known as Flowers, they built up a strong fan base from performing acts in and around Sydney, Australia. In 1980 they signed with Regular Festival Records label and released their debut single, "Can't Help Myself". The song reached the Australian Top 10 in June , 1980. Shortly after the single, they released their first album called, 'Icehouse'. It was from this album title, that they chose to rename the band to 'Icehouse' in 1981, to avoid confusion with another band called The Flowers from Scotland.
The release of the long-awaited new Icehouse album 'Code Blue' on Monday, October 29th, 1990 marked ten years of very successful recording by this leading Australian band.
'Code Blue', had been two years in the making, and hit the record stores ten years to the week after the band's first album release. Their debut album (entitled 'Icehouse') emerged in October, 1980 to high critical acclaim and multi-platinum sales.
It earned for the band the award for the most outstanding new talent of 1980 and established the reputation of Icehouse, at home and abroad, as one of Australia's most popular and accomplished groups.
During the decade, Icehouse multiplied this initial success many fold. The band had released over seventy original songs and performed extensively throughout the world, as well as composing the music for a ballet and a film score.
.'Code Blue' was the sixth album from Icehouse. Their previous studio album, 'Man Of Colours' released in 1987 sold more than half a million copies in Australia alone, an all time record for an Australian band.
.On the subject of celebration for the tenth anniversary, Icehouse manager, Rod Willis said "Iva Davies and the boys, in fact all of us involved are too busy performing and working on promoting the album to think about a celebration party. 'Code Blue' is, in itself a major work and is celebration enough".
This post consists of the Tenth Anniversary Bonus Pack, a limited edition double single featuring their first single "Anything Possible" taken from the Code Blue album, with the non album flip side "V". As a bonus, two live tracks from their 'Flower' days are included, featuring a cover of the Easybeats classic "Sorry" along with a cover of the Marc Bolan hit "Think Zinc".
Note: A remastered edition of Code Blue was released this year in Australia on CD and is available from resellers like JB HiFi and alike.
Ripped from 'mint' vinyl in FLAC formats, and includes full album artwork with label scans. The sound quality of the live tracks is top notch and is indicative of the music they produced while playing as the Flowers.
Track Listing
01 - Anything Is Possible
02 - V
03 - Sorry (Live)*
04 - Think Zinc (Live)*
*Recorded Live at Studio 301, Sydney, August 1980

Icehouse were:
Iva Davies (Vocals, Guitar,

Simon Lloyd (Sax, Keyboards)
Steve Morgan (Bass)
Paul Wheeler (Drums)
Vocals on V (Robyne Dunn)
Flowers were:
Iva Davies (Vocals, Guitar)
Keith Welsh (Bass)
Anthony Smith (Keyboards)
John Lloyd (Drums)

Icehouse Link FLACs (99Mb)  New Link 25/12/2022