Tuesday, July 30, 2013

W.O.C.K On Vinyl - Leedon Records (1959)

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.
Recently, I was given some 'music' literature by a mate, that had belonged to his father. While skimming through one of the books, I came across an amazing flyer tucked away in amongst its pages. It had been printed by Lee Gordon (Leedon) back in 1959. The A5 sized document is in absolute 'mint condition' and is printed on gold embossed letterhead. What an amazing find! (see depicted left).
The flyer itself was a promotional handout advertising the 'Fabulous Fabian' Australian Tour, and designed to entice teenage entrepreneurs to organise at least 30 of their friends to sign up for tickets to the show, and in return pay them  £2/2/- for their organisational work.  How smart was that !
Anyhow, what really caught my eye was the list of support artists that were billed on the show with the American heart throb Fabian:
Col Joy & The Joy Boys,   Johnny O'Keefe & The D.J's,   Johnny Devlin & The Devils,   Dig Richards   and  The Crescents.  

Australian 'Fabian Tour' Program
What a star packed show this must have been and I can only wonder if some of these support artists may have stolen the show from the international star.
Now finding this priceless piece of Aussie music trivia got me thinking about how Leedon records was formed, and so the research started.
Leedon was established in 1958 by legendary American jazz promoter Lee Gordon and was co-owned by his partner Johnny O'Keefe. Lee Gordon who was famous for bringing Frank Sinatra to Australia for a concert tour, and later managing Australia’s first Rock’n’Roll act Johnny O’Keefe and staging “Big Shows” around the country. Leedon Records, the Australian record label was active from 1958 to 1969. The original "LS" series was inaugurated in 1958 with "The Shake" by The Mark IV and most of the early LS releases were tracks licenced from overseas labels by American artists such as Duane Eddy, Dion & The Belmonts, Dick Dale and Little Junior Parker.
Among the earliest Australian Leedon releases were "Rock On" by Johnny Rebb (September 1959) and Lee Gordon's own "Get The Message"
Leedon Red label
The "LK" series was inaugurated in June 1961 with Lonnie Lee's "You're Gonna Miss Me" and continued for eight years. Not surprisingly O'Keefe features prominently in the catalogue. Leedon's LK series is also notable to OzRock collectors as the venue for the earliest recordings by The Bee Gees, as well as many classic beat-era singles by Ray Brown & The Whispers and The Showmen, the debut single by The Four Strangers (the band that evolved into Tamam Shud), The Mystrys, Blues Rags & Hollers, The Amazons, The Atlantics, Russ Kruger and The Pogs. The final release in the LK series was JO'K's "She's My Baby" in July 1969.
The first series (red label) was mainly for distribution of US material although it recorded Australian acts. Around 1961 the label became a purely local label co-operated by Johnny O’Keefe until Lee Gordon passed away in 1963.
O’Keefe took control of the label and recorded and produced local acts as well as his own releases and lasted until the death of Johnny O’Keefe in 1978. Leedon records was an independent label until 1960 when it was distributed by Festival, then became part of the Festival family in 1962.
Now, to top off this amazing find, I recently came across a copy of Johnny O'Keefe's 1959 hit single "Shout" at a flee market, and it features the famous LS series label in all its glory (see below).  Boy, did I feel like 'Shouting' when I found this gem.
It is also worth noting that while researching the various artists listed on this flyer, I discovered that Dig Richards may not have actually performed as advertised. As reported by the Australian Women's Weekly, he was laid up in hospital recovering from a car accident, and the photo of Fabian visiting him seems to indicate this fact (see right).
In honour of this wonderful historical find, I have decided to post some of the singles that the supporting artists on the 'Fabulous Fabian Tour'  released at that time, and probably sang while on tour.  (Thanks must go to Deutros, from whom I acquired some of the singles included in this post, marked with *)
So this month's WOCK on Vinyl is truley a piece of 'Obscure' Aussie Rock history which I just had to share with you.
Now, how many of you would like to buy tickets to this wonderful show?  There's still 30 tickets available and I'm keen to get my £2/2/-
01 Fabian - Tiger 
02 Col Joye & The Joye Boys - Sixteen Candles*
03 Col Joye & The Joye Boys - Stagger Lee *
04 Johnny Devlin - Doreen
05 Johnny Devlin - Wild One
06 Dig Richards - I Wanna Love You *
07 The Crescents -  Mr Blue *
08 The Crescents - When You Wish Upon A Star *
09 Johnny O'Keefe - Swanee River
10 Johnny O'Keefe - Shout (Parts 1 & 2)
Lee Gordon Presents (54Mb) New Link 04/05/2021

Saturday, July 27, 2013

Budgie - Mr Kyps, Poole, UK (21-09-2006) Bootleg

(U.K 1967-1988, 1995-1996, 1999-2010)
Gig Reviews (thanks to Mr.Kyps Reviews)
'Let's All take Our Clothes Off'
Review 1: This Budgie has Claws! There really isn't much point reading this review if you were there. You' I know what I' m about to write. But for those who couldn't make it, I can only say you missed a real stormer of a gig! These three excellent musicians started with a quiet little ditty called "Panzer Division Destroyed" !, just to set the tone, and never let up right through to the last wailing feedback.
Budgie are a no-holds-barred Rock Band who show that they can still deliver the same powerhouse performance that they always have. Burke Shelley has enough energy for an entire band on his own. No wonder he stays so slim! Although he has been gigging since the late 60 s he always gives 110%.
At times I felt like shouting slow down man, you' re not a teenager any more , but why should he? It 's his driving force and determination to keep Budgie alive and squawking that makes this band an instant hit wherever they play. Steve Williams shows what a true rock drummer he is, providing driving foundations that allow the two front men to show their talents to the full.
Simon Lees
As for Simon Lees, what can I say? I was right at the front (yes that was me with the camera glued to my face!) and I have never seen fingers move so quickly. They were just a blur! It s easy to see why he won the Guitarist of the year back in 1998. I can' t wait to see how his style has contributed to the new studio album. And he' s a fine singer too. Maybe if he sang lead on the odd track, Burke could cut down on his consumption of Listerene during the gigs!
Last night was only the fifth date on a tour that runs through to mid December, if you get a chance go and see them. You won 't be disappointed. I fully intend to try and catch them very soon. Any fans of the current crop of Metal bands should see this group on tour. They are the Godfathers of the current sound. When bands like Metallica, Soundgarden, Van Halen and Iron Maiden have all covered Budgie songs, it s easy to see what a long-lasting influence they still have on the rock world. Buy some of the CDs and you will soon discover just what a talent they have. Every song is different, even a few quiet numbers that really show Burke s sensitive side. Maybe they could include the odd acoustic number in the live set. I m sure they would go down a treat. Brilliant gig guys! Can' t wait till the next one!
Burke Shelley
Review 2:  Budgie went down a storm last year to a packed-out Mr. Kyps crowd and this year would be no different. Silhouettes in half-light took their places on the stage as The Seven Dwarves "Ho-ho, Hi-ho, it's off to work we go" whimsical tune played through the PA. And then, indeed, they went to work, to have the audience shouting and applauding from the first song onwards. Not that they needed to, but they built upon their fan's rapture and took no prisoners right from the word go, stepping up the pace minute by minute, only to grab themselves a quick breath with a ballad or two here and there.
Of course, their epic 'Nude Disintegrating Parachutist Woman' was an immediate favourite and show-stopper, but relentless as ever, they kept them coming with the fabulous 'Napoleon Bona Part I & II,' 'Breadfan,' 'Whisky River,' and 'I Turned To Stone;' to namedrop but a few from their immense back-catalogue. Hot and sweaty as true rock 'n' rollers are all-too-happy to be, the hundred or so minutes zipped by in a flash. And even though the crowd of Budgie addicts would've let them keep playing into the wee small hours, it had to stop somewhere; so we went home grateful in the knowledge that with all things being equal they'll be back again next year. 
The Venue - Mr. Kyps
8a Parr Street
Lower Parkstone
Poole. U.K
Mr Kyps Live Music Venue has been a cornerstone of live music culture in Bournemouth and Poole since 2002, and has since become a regular fixture on the itinerary of national and international touring bands. Mr.Kyps host some of the best bands and live entertainment around.
Kyps has room for 300 spectators with unrestricted views throughout, and contains facilities and promotional infrastructure that easily belies our modest capacity. Since a major refurb on the Grade II Listed building in 2008, we now have one of the most impressive rooms of its size on the south coast, and our aim is to create a sound and atmosphere that is perfect for the appreciation of live music.
The stage at Kyps has seen a wide variety of performers since our inception, from internationally acclaimed players and vocalists, to the most promising up-and-coming independent acts. We pride ourselves on providing a wide spectrum of music at the venue and ensure that each and every show is presented in the best possible way, subject to the unique vibe of each particular artist.
This post, subtitled 'Let's All Take Our Clothes Off' consists of MP3 (320kps) rip taken from an Audience recording taped on a Panasonic Digital Recorder, using dual microphones. The result is nothing short of full soundboard quality. Full album artwork is also included.
Budgie were in fine form for this gig, having just started their 2006 tour of UK taking place between Sept-Dec. This bootleg's track listing and intense atmosphere is reminiscent of my personel encounter with the band when they toured Australia in 2010 (with Craig Goldy) see review.
If you haven't heard this bootleg yet, then you really have been caught Kypping!
Track Listing
01 - Pantzer Division Destroyed (07:29)
02 - Guts (04:53)
03 - Dead Men Don't Talk (05:30)
04 - Melt The Ice Away (06:17)
05 - Love Hope Peace Justice (04:12)
06 - I Turned To Stone (06:55)
07 - In For The Kill (04:35)
08 - Crash Course In Brain Surgery (02:40)
09 - Hot As A Docker's Armpit (02:30)
10 - In For The Kill (Reprise) (01:51)
11 - Nude Disintegrating Parachutist Woman (03:36)
12 - Zoom Club (06:34)
13 - Napoleon Bona - Part One & Part Two (10:01)
14 - Breadfan (03:20)
15 - Simon Lees Solo (02:30)
16 - Whiskey River (03:07)
17 - Breadfan (Reprise) (03:19)

Budgie are:
Burke Shelley - Bass, Lead Vocals
Steve Williams - Drums
Simon Lees - Guitar, Backing Vocals

Budgie Mr.Kyps Link (114Mb)

Tuesday, July 23, 2013

James Blundell - Selftitled (1989) + Bonus Tracks

(Australian 1987-Present)

James Blundell was born in Queensland town of Stanthorpe and was brought up on a sheep and cattle station near the town. As an adult he worked as a station hand across various locations in northern Australia. After a back injury sustained while working on a farm in Papua New Guinea he turned to music.

He won a Golden Guitar Award for best new talent of 1987. Blundell's eponymous first album, in 1989, followed up by "Hand It Down", which was released in the United States in 1990 following its success in Australia. Blundell's first works reflected his background as a jackaroo and his love of that life.

Blundell made a substantial mark on the Australian country music scene from the early 90s, notably through a very successful single, ‘Way Out West’, recorded with James Reyne and featured on Blundell’s 1992 release This Road. By the late 90s Blundell had become Australia’s bestselling country artist with albums such as Touch Of Water (1993) and Earth & Sea (1995). By the early 00s, Blundell’s work had broadened its base to incorporate elements of rock and pop, and he thus attracted an even wider audience than before. The anti-war single ‘Postcards From Saigon’ lodged in the Country Top 30 for four months and reached number 2 in the Australian Independent Singles Chart, where it spent three months. This song, which he wrote in collaboration with Terry McArthur, came from Deluge, a 2005 album that marked his return to prominence after a low-key spell that lasted a few years. Later in the year he presented his music together with prose writing by his father, farmer Peter Blundell: The Silver Tongued Devil & I: A Night Of Music And Verse.

Over the years, he has won nine Country Music Association of Australia Golden Guitar Awards. He also succeeded in the USA, appearing in Nashville and signing a major label contract with Compass Records.  [extract from James Blundell's Myspace]

In June, 2013 Blundell (48) was announced as the lead Queensland candidate for Mr Katter's Australian Party.
"James is anything but a career politician, which sadly 95 per cent of our MPs are", party leader Bob Katter said on Sunday.
"Like most Australians, James spent almost a decade of his young adult life in knockabout, hands-on jobs."
Mr Katter said the singer's work history and life experience made him an ideal candidate to become a voice for the people of Australia. [extract from Sydney Morning Times, June 3, 2013]
Now, I gotta say I'm not really a big fan of Country Music but I do enjoy the occasional folky ballad and I am a huge fan of 'The Dingoes'. I heard Blundell for the first time when he did a duet with James Reyne singing the Dingoes
James Blundell & Bob Katter
classic "Way Out West" and was an instant fan. When I saw this album for sale in a secondhand record shop some time ago, I decided to give it a try and was pleasantly surprised by the scope of musical talent he possessed.  Backed by some great musicians, names like Garth Porter (Keyboards, Producer), Tommy Emmanuel (Guitar) and Buzz Bidstrup (Drums), this album is a real surprise.
This post consists of MP3 rip (320kps)  from my pristine copy of Blundell's debut album along with full album artwork and lyrics sheet. I have also included some bonus tracks, firstly a live rendition of his his first single "Gidgee Bug Pub" - taken from The Ray Martin Show in 1987 and his later hit single with James Reyne entitled "Way Out West" which was ripped from my CD.  I hope you enjoy this out of print album.
Track Listing
1. Dancers

2. Rainbows
3. Another Saturday Night
4. Kimberley Moon
5. Bandy

6. A Fool Such As I
7. The Great Divide
8. Texas
9. Cloncurry Cattle Song
10. Perfect World (with Donna Fisk)

Bonus Tracks
11. Gidgee Bug Pub (Ray Martin Show 1987)
12. Way Out West (With James Reyne 1992)
Band Members:
James bludell (Vocals, Acoustic Guitar)
Buzz Bidstrup (Drums)
James Gillard (Bass, Backing Vocals)
Iam Simson (Acoustic Guitar)
Tommy Emanuel (Electric Guitar)
Garth Porter, Larry Mahoberac (Keyboards)
Wayne Goodwin (Mandolin, Violin)
Mark Collins (Banjo)
The Moy Sisters (Backing Vocals)
James Blundell Link (93Mb) New Link 23/12/2023

Sunday, July 21, 2013

Ozzy Osbourne - Heavy Metal Holocaust (1981) Bootleg

(U.K 1967-Present)
Ozzy Osbourne was fired from Black Sabbath in 1979, after his final performance with the band on 11th December 1978 during the Never Say Die! promotional tour. The singer began his solo career the same year, hiring Quiet Riot guitarist Randy Rhoads, former Rainbow bassist Bob Daisley and former Uriah Heep drummer Lee Kerslake. The band recorded their debut album, and the songs that were released on "Diary Of A Madman", between March and April the next year, releasing Blizzard of Ozz in the United Kingdom in September 1980.
Ozzy Osbourne and his band began their tour in Osbourne's native United Kingdom on 12 September 1980, a week before the album's UK release. The band played three dates in Scotland, before moving on to play 25 dates in England and one in Wales between 17 September and 31 October. Keyboardist Don Airey, who performed on the album, was replaced on tour by Lindsey Bridgewater. On every date of the leg except Middlesbrough, where Newcastle band Raven substituted due to Burke Shelleys vocal issues, the band were supported by Welsh hard rock band Budgie, who were promoting their eighth studio album 'Power Supply'. The songs for the second album "Diary Of A Madman" were recorded at the same time as the first album, their release was delayed until 1981.
Shortly before the beginning of the tour's second leg, original members Daisley and Kerslake were fired from the band. Ex-Quiet Riot bassist Rudy Sarzo and former Gary Moore drummer Tommy Aldridge (both of whom were credited on Diary of a Madman in place of the fired members, who performed all bass and drum parts) were hired to replace them in April, performing on the remainder of the tour. Blizzard of Ozz was released in the United States in January 1981, before the second leg of the tour began in the United States on 22 April 1981, where it remained until 12 July. Ozzy's band were supported on the United States run by English heavy metal band Motörhead, who remained with the tour when it moved to Canada on 13 July, adding local hard rock band Queen City Kids (promoting their debut self-titled album) to the shows. Ozzy and Motörhead performed at the Heavy Metal Holocaust concert at Vale Park, England on 1 August (from which this bootleg recording was taken), before moving back to the United States to complete another month-and-a-half of tour dates with English hard rock band Def Leppard, who were supporting their second studio album 'High 'n' Dry' [extract from wikipedia]

The Heavy Metal Holocaust Festival

The Stage & P.A 'Heavy Metal Holocaust' 1981
Another stab at using a football ground as a venue for a hard rock festival, Metal was all the rage in the early 80s , but not every promoter got it right, in this case the crowd was estimated at 20- 25,000, as another event wasn't held its fair to guess that this event may have lost money- although the arena looks pretty full in the photos we have seen. The PA was supposed to have reached new heights in amplification - rated at over 100,000 watts. It was a monster, as you can see depicted above.

Originally Black Sabbath were supposed to co-headline with Motorhead, but pulled out in early July due to ' recording commitments " to be replaced by the Ozzy Osbourne Band. Promoter John Curd was less than impressed " They originally approached me to do the show and the only thing I can say is that the next time they appear in England will be in court." [extract from ukrockfestivals.com]

Recollections of Ozzy Osbourne's Performance

Ozzy was the last minute replacement for Black Sabbath. So short notice was Sabbath's pullout that the tickets had them as headliners. He did a great set including stuff from his first solo album and also "My bit of Black Sabbath" which went down a storm [Dave Butler]

I bought my ticket via a local record store in Doncaster (Angie’s Records, unfortunately now long gone) because I was a huge Black Sabbath fan at the time. When I heard of Sabbaths withdrawal from the event I was gutted. I shouldn’t have been because the Ozzy set was something that still sticks in my memory many years later. I was a fledgling guitar player at the time and remember being amazed at how a guitarist could play so well while his ‘mate’ the lead singer was yanking his hair down almost to the floor and dragging him around. Ozzy and Randy Rhoads certainly made an impression upon a 16 year old and in hindsight my love of Sabbath ended with the 70’s and the Ozzy era’ [Dave Jackson]

Yes we were there and remember the day well. Probably due to the fact that we had to drive there and the alcohol ban in the ground. Without boring everyone with a complete review of the day we went to see Motorhead, who did the business as usual. Ok Black Sabbath did not perform but how many Heavy Rock Fans can say they saw Randy Rhodes play guitar live on stage.
I was recently talking to a young guitarist who is in a rock band about the bands we have had seen live and I happened to mention that I had seen Randy Rhodes perform with Ozzy. The guy almost fell to his knees doing the we are not worthy salute. Randy is one of his guitar Gods, and he will never see him perform. So all you people out there who were at this festival and were disappointed at not seeing Black Sabbath, I bet there are a lot more people even more disappointed at never having the chance to Randy Rhodes perform live the way we all enjoyed that day. [Rob Saripo]
It was a very warm day I remember and being quite young, I sat in the stands at stage right. I had no clue as to who Vardis and Riot were, was vaguely interested in Frank Marino and even less with Triumph. Ozzy was blinding, watching a sea of hands waving his "V" signs was incredible. Randy Rhodes of course on guitar. He played a great set! [Miles Mallorca]
[all recollections sourced from ukrockfestivals.com]
This post consist of an MP3 rip (320kps) taken from my prized vinyl bootleg which I acquired from the Victoria Market, Melbourne back in the 80's. At the time I was a big Black Sabbath fan and I was devastated that Ozzy had left the band. So when I came across his bootleg, I grabbed it immediately and paid a small fortune for it if memory serves me right. I have chosen to rip each side of the album without track breaks, to retain the continuity of the performance, although the positioning of Paranoid at the end of Side A appears to be out of sequence as official track listings indicate Paranoid was their closing track. 
Full album artwork and concert photos are included and the sound quality is very good for a bootleg.
Track Listing
(Side 1)
01 - Flying High Again
02 - I Don't Know
03 - Crazy Train
04 - Believer
05 - Paranoid
(Side 2)
06 - Suicide Solution / Guitar Solo
07 - Revelation (Mother Earth)
08 - Steal Away (The Night) / Drum Solo

Band Members:
Ozzy Osbourne – vocals
Randy Rhoads – guitar
Rudy Sarzo – bass
Tommy Aldridge – drums
Lindsey Bridgewater – keyboards

Ozzy Osbourne Link (102Mb)

Thursday, July 18, 2013

Status Quo - Golden Hour Of (1973)

(U.K 1962 - Present)
It's very much an up and down world as Status Quo will, almost to a man, tell you. The first major break through for this band, that has been together virtually from school days, was in 1967 when 'Pictures Of Matchstick Men' shot to the top five position in both the British and American charts. With sales in excess of two million and three follow-up hits "Ice In The Sun" "Down The Dustpipe" and " In My Chair" each of which gave the band international status, life looked good for the band.

Then inexplicably everything changed and the Quo slipped from the charts and the pop music headlines. But at heart a band, if it's sufficiently dedicated and talented;'survives and Status Quo not only survived the black periods but found within their own writing, a strength that makes them a strong force on the musical map of 1973. Now the college circuits and clubs occupy the working life of the band that Mike Rossi, the leader, has always believed in.
This Golden Hour album takes a good look at the musical progress over the years of Status Quo. The early hits are all there as is the gutsy promise in their playing that gave a very clear indication of just where the band were heading. Status Quo fans will find it a valuable addition to their collection; pop historians will regard it as a real find in the ever turbulent world of popular music [linear notes from album cover 1973]
Chronology Of Status Quo in 1968
(sourced from www.quoticker.de)
5.1.1968          Release of the single "Pictures of Matchstickmen" (Rossi) - Lead-Vocals: Francis Rossi. B-Side: "Gentleman Joe's Sidewalk Cafe". Lead-Vocals: Francis Rossi and Alan Lancaster. To avoid another flop, Pat Barlow paid the pirate radio station 'Radio Caroline' so that the new single was played daily. 'Radio Caroline' was founded in 1965 by an Irish businessman and was settled on ships or on air-bases close to the Dutch/English boarder. Another pirate radio station at the time was 'Radio Veronica', who regularly broadcasted the dutch TOP40.
16.01.1968      BBC-Session in studio 4 Maide Vale. (Songs: Spicks and Specks, Pictures of Matchstickmen, Judy in Disguise)

22.01.1968      Performance on the David Symonds Show in England.
24.01.1968     The permanent airplay of the new single "Pictures of Matchstickmen" on 'Radio Carline' achieved. Single entered the charts on January 24 and climbed up. The music media took notice too.
03.02.1968      Frontcover "Chartclimbers" in the New Musical Express. The single notched up at No.7 and stayed a total of 12 weeks in the UK single-charts. Another frontcover appeared on the magazine "Fabulous208", an English teenager mag.
08.02.1968      First time in the BBC-show "Top of the Pops" - no performance.
15.02.1968      First performance of The Status Quo at "Top of the Pops". Moderator: Jimmy Savile, Dave Cash. Until this time the band played with Madelaine Bell on her tour, but with the own success they retired. Immediately the first own shows were booked. More chart-success throughout Europe and USA and Australia with "Pictures of Matchstickmen" - USA No 12. Germany No. 7.
18.02.1968      Headline-concert in Ruislip, Middlesex, England. Another shows in Scotland and England.

01.03.1968      Another single had to be released to ride on the success of "Matchstickmen" and the band went into recording sessions. The Rossi-Song "Black Veils of Melancholy" was chosen.
24.03.1968      Single-release "Black Veils of Melancholy (Rossi) Lead-Vocals: Francis Rossi. B-Side the song "To be free" written by Roy Lynes. Lead-Vocals: Roy Lynes. But the new single couldn't match the success of "Pictures of Matchstickmen" and sank without a trace. The critics talked about a copy of "Pictures of..." and the band was already described as "One-Hit-Wonders".
05.04.1968     The band was signed as supporting act on the Gene Pitney-Tour which included 28 concerts throughout Great Britain. Other support bands have been: Amen Corner and Simon Dupree and the Big Sound. In bigger cities additional support was "The Marmelade". While The Status Quo toured with Gene Pitney, Andy Bown played a lot of shows with The Herd in Great Britain.
01.06.1968     Bob Young was signed as roadie for The Status Quo. Meanwhile studio recordings started for the next single release. This time a song written by songwriters Ronnie Scott and Marty Wilde (father of Kim Wilde) - "Ice in the sun".
26.07.1968     Single-release "Ice in the Sun" (Scott, Wilde) Lead-Vocals: Ricky Parfitt (and Francis Rossi). B-Side is the first Rossi/Parfitt teamwork "When my mind is not live". Lead-Vocals: Ricky Parfitt.01.12.1968     A poll on the "Record Mirror" reveals The Status Quo as number 12 of the most promising bands of the year.08.11.1968     The release of the new single "Technicolor Dreams" was cancelled in last minute by record company PYE. Only some copies exist and whenever one comes up for sale, the price is up to 400 pounds and more.
01.08.1968     The Status Quo in the Show "Top of the Pops" - no performance.
21.08.1968     The new single entered UK-Charts. Highest position No. 8 and spent 12 Weeks in the charts. With the second hit of the year the band again in the spotlights.
14.09.1968     First performance of The Status Quo on German television at the famous Beatclub (Folge 35) with the song "Ice in the sun".
19.09.1968     The Status Quo in the show "Top of the Pops" - song "Ice in the sun".
26.09.1969     The Status Quo in the Belgian show "Tienerklanken" with their first video-clip. You can see the band walking downstairs and then they are sitting around a gambling table and all are playing roulette and smoking cigars. This clip is from the Canadian DVD compilation "Remember 60's Vol.3" and it is very rare.
27.09.1968     Album-release "The Picturesque Matchstickable Messages of the Status Quo". The album couldn't chart initially.
10.10.1968     The Status Quo in "Top of the Pops" - song "Ice in the sun".
26.10.1968     Performance on the show "Crackerjack", which was very popular for kids.


This post consists of MP3's (320kps) ripped from my vinyl copy of this hard to find album.  Although the tracks are somewhat dated, they give the listener an insight into where the Status Quo sound came from. Also included is full album artwork along with select photos of the band from the 60's, some of which were sourced from the book Status Quo - Just Doin' It by Bob Young, Cassell Illustrated.
It is also worth noting that the band was a 5 piece at the time of these recordings, with the inclusion of keyboards by Roy Lynes and Rick Harrison on rhythm guitar (eventually replaced by Richie Parfit). The picture on this Golden Hour album cover is somewhat deceiving, as their' long hair' - 'quo stance' image did not appear until the early 70's - a far cry from their actual look in the late 60's (see band picture above)
Most of the tracks on this compilation come from their 1968 album 'Picturesque Matchstickable Messages From The Status Quo" and the lesser known 1969 album "Spare Parts". It should also be noted that this Golden Hour compilation by ASTOR Records was later released by Hallmark Records under the title 'Status Quo' (see cover below)
01. Pictures Of Matchstick Men

02. The Price Of Love
03. Mr. Mind Detector
04. Paradise Flat05. You're Just What I Was Looking For Today
06. When My Mind Is Not Live
07. The Clown
08. Elizabeth Dreams
09. When I Awake
10. Are You Growing Tired Of My Love?
11. Ice In The Sun
12. So Ends Another Life
13. Spicks And Specks

14. Velvet Curtains
15. Poor Old Man

16. Sunny Cellophane Skies
17. Gentlemen Joe's Sidewalk Cafe
18. Face Without A Soul

19. Sheila
20. Green Tambourine
21. Black Veils Of Melancholy

Status Quo Link (150Mb) New Link 11/01/2023

Sunday, July 14, 2013

Colleen Hewett - Greatest Hits (1974) + Bonus Tracks

(Australian 1967-1997, 2006)
Colleen Hewett was born in Bendigo, Victoria on April 16, 1950. At the age of twelve, her uncle took her to a local dance where she sang a number with the the group who were playing that night, The Esquires. She impressed both the audience and the group, so the band offered her a position with them as a vocalist. For the next three years Colleen worked regularly with the band.
The next stage of her career came in 1967 in Melbourne when she joined a vocal trio called the Creations with whom she toured Australia. From there she worked as a member of the Laurie Alien Revue and then with the Ian Saxon Sound.
In 1970 she embarked on a solo career under the management of Danny Finley who was later to become her husband. Her big break came later in the year when she won the Bandstand 1970 Best Female Newcomer of the Year award. By now she was gaining regular exposure on television as well as on the club and pop circuits. Colleen was then snapped up by Festival and her first single, 'Superstar' (from Joe Cocker's live album), which was suggested by Johnny Young, was released in June 1971.
She was well liked in the entertainment field and gained a reputation as an unspoiled, home-loving girl who was wary of the glamour and glitter of show business. Her popularity was also an important factor in her scoring a starring role in the stage production of Godspell, which opened at the Playbox Theatre in Melbourne during November of 71. As her second single, Colleen chose a song from the show entitled 'Day By Day' which was recorded using full orchestration and the Australian Boys Choir. The record became a national number one hit and the biggest selling Australian single of 1972. 'Day By Day' sold well over 50,000 copies and won a gold record for Colleen. As an interesting culmination to 1971, and as a sequel to her previous success on the Bandstand awards, she was this year elected Best Female Singer.
Colleen's commitment with Godspell made it difficult for her to get to the studios and record, but gradually she began assembling tracks for her forthcoming album. One of the songs, 'Carry That Weight', was released mid 1972 as her third single. Further recognition of her talent then came with her award as TV Week's 1972 Queen of Pop, and her win in the Go-Set national Pop Poll as Best Female singer.
The next step was to tackle the overseas market and Colleen negotiated with Paul Dainty to handle her affairs in London. Later in the year she left for the US and England. She returned on Boxing Day with the news that she had set the ball rolling regarding overseas recording and performances.
Early in 1973, Colleen took part in her second musical production with a starring role in the rock opera, Tommy. Because of the magnitude of the production, it was only presented twice. However, her performances were highly acclaimed. In May 73, she completed the recording of what was to be her first single for the year, 'Sit Yourself Down'. It was a lavish production which was reported to have cost $6,000. But in June she appeared in a TV special on the seven network and one of the songs she sang was 'Waltzing Matilda'. The reaction to the song was so great that Festival decided to release it and shelve 'Sit Yourself Down', which was finally released in December 73. Ironically, neither single made the charts.
Once again Colleen won the TV Week Queen of Pop award. Another piece of good news was that she had been chosen to co-star with Johnny Farnham in the stage show, Pippin , which was to start in February 1974.
Then, in January 74, it was announced that she had been signed to Atlantic Records by US director, Phil Rose. The agreement apparently involved a large sum of money (reported to be five figures), two albums per year and a trip to America when her contract with Pippin expired in February 1975. In the US Colleen found it difficult to make progress and eventually returned to Australia in May 1977, having produced one good album called M'Lady. She wasted no time in getting back to work and began playing clubs almost immediately.
In September 1977, Colleen was chosen for a lead role in a new ABC-TV series called 'The Truckies'
In 1980 Colleen made a welcome return to the charts with her first single in five years, "Dreamin My Dreams With You" (b/w "One Eyed Man"), her sole release on Robie Porter's Wizard label. It was the second biggest hit of her career, reaching #2 nationally in March 1980 and hitting #1 in Brisbane and Melbourne and #2 in Adelaide and Sydney. [extract from Noel McGrath's Australian Encyclopedia of Rock, Outback Press]
For more information about Colleen's singing and acting career, see the Midoztouch Website.
This post consists of an MP3 (320kps) rip from my A+ vinyl copy (found recently in an opp shop in pristine condition) and includes full album artwork. As a bonus, I am also including her 1980 single "Dreamin My Dreams With You" / "One Eyed Man" from my collection.  Now, I'm gonna have to admit that I had a bit of a thing for Colleen when I was a teenager which was only exasperated when I saw her on stage in Melbourne's presentation of Godspell. More than 40 years later, I can still hear her Angelic like voice singing those magestical words "Pre-e-e-pare, Ye The Way, Of The Lord"..........
Track Listing
01. Day By Day (Album Version)
02. Superstar
03. Waltzing Matilda
04. Can't Sit Down
05. By My Side
06. I'll Be Seeing You
07. Wish To Wish
08. Carry That Weight
09. Sit Yourself Down
10. More Today Than Yesterday
11. Danny Boy
12. Day By Day (Godspell version)
Bonus Tracks
13. Dreaming My Dreams With You (A-Side Single)
14. One Eyed Man (B-Side Single)

Colleen Hewett Link (125Mb)

Thursday, July 11, 2013

Elton John - Unlicensed Live Vol.1 & Vol.3 (1994) Bootleg

(U.K 1964 - Present)
Elton John and his band set out on 'The One Tour' just under a month prior to the album's release. The album proved a big success as did the world tour which lasted for two years. This was John's first tour since his rehabilitation from drug and alcohol addictions and bulimia in 1991. This is the last tour to feature his Roland RD-1000 digital piano. He would start playing his current Yamaha Disklavier piano shortly after.
The first European leg lasted from 26 May to 21 July visiting 13 countries ending at Barcelona Mini Stadium during the 1992 Summer Olympics. The show, filmed in front of 30,000 fans, was released on VHS and later on DVD. These releases are bootleg recordings of the Barcelona concert (broken into 2 parts) released by the AMCOS group in 1994.

John and the band then moved on to the United States where The One was a commercial success. John returned to Dodger Stadium for two sold-out shows as well as another two at Shea Stadium. John also played six sold-out shows at Madison Square Garden, playing to approximately 120,000 people over the six shows. He finished the tour with two performances in Mexico, where he had never performed in concert before, and two in Buenos Aires, Argentina. The tour was seen by 3 million people over 130 shows. The 1993 leg of the tour started with nineteen shows in Australia, four shows in Hong Kong, and two shows in Singapore, where Elton had never previously performed.

The tour when went on to North America and then Europe. It ended in a concert in Istanbul, Turkey at the Istanbul Stadium on 20 June 1993. As In Europe, Elton dedicated "The Show Must Go On" to Freddie Mercury and performed this number away from the keyboard, with a hand-held microphone. Also, he dedicated "The Last Song" to the people suffering from AIDS. George Michael finally appeared in Inglewood, California performing "Don't Let the Sun Go Down on Me" with Elton as an encore; although Elton opened the concert with the same song.
Concert Review
This bootleg contains tracks from Elton John's live performance in Barcelona, recorded in July of 1992. This was for John's 'The One' album and quite literally was a world tour. The set list contains a number of bits from that album, as well as some old standards ("Tiny Dancer" and "Saturday Night's Alright for Fighting") along with some of the 80s Elton ("I'm Still Standing" and "Sad Songs Say So Much").

The way I see it, there are two types of people who like to listen to Elton John. There are people who like the old Elton (specifically the Goodbye Yellow Brick Road era Elton) and then there are people who like Elton from any era of his career. Personally, I'm of the former category although I linger more in the 70s. After that point, I just can't seem to get into his stuff. But, looking at the track list involved with this bootleg, I thought I would be entertained regardless.

This Elton John concert, although it has capable renderings of an array of John's songs, doesn't really break any new or even interesting ground from a music standpoint. I'm not expecting a reggae version of "Daniel" or anything, but if the songs don't sound that different from the studio versions, again, why am I listening? They try to kick up the energy with stuff like "Mona Lisas" and do, to a point, succeed. But then there's stuff that drags it down again like an ill-advised cover of Queen's "The Show Must Go On" that John just doesn't have the lungs to bring off or "Sad Songs Say So Much," which is marked by John getting outgunned vocally by his trio of backup singers.

In all, these two bootleg releases are OK but they are probably aimed at the Elton John enthusiast. If you are 'The One', then you'll probably love these.
Live in Barcelona - 21st July 1992
It is worth noting that AMCOS chose to release this concert in two parts (2 CD's), however they managed to stuff up the first release by labelling the front cover as Vol.1 but the CD itself as Vol.2. Therefore, when it came to releasing the second half of the concert, they had no choice but to release it as Live Vol.3. Nevertheless, the quality of the recording is quite remarkable and is at an A+ Soundboard standard.
These bootleg releases also contain single sound files, however, I have taken the time to split each sound file into its respective tracks, without causing any interruptions to the flow of the concert.  This concert has also been released under the title of 'Heat Wave' on the Big Music Italian label (see cover below)
This post consists of MP3 rips (320kps) taken from the CD releases and also include full album artwork along with the concert photos featured above. Thanks to eltonography.com for the recording details.
Vol.1 Track Listing:
01 - The Last Song
02 - Funeral For A Friend
03 - Love Lies Bleeding
04 - Sad Songs (Say So Much)
05 - The Show Must Go On
06 - Saturday Night's Alright (For Fighting)
07 - Sacrifice
08 - Song For Guy
09 - Your Song

Vol.3 Track Listing:
01 - Don't Let The Sun Go Down On Me
02 - I'm Still Standing
03 - I Guess That's Why They Call It The Blues
04 - Tiny Dancer
05 - Philadelphia Freedom
06 - Burn Down The Mission
07 - Simple Life
08 - The One
09 - I Don't Wanna Go On With You Like That
10 - Mona Lisas And Mad Hatters
11 - Sorry Seems To Be The Hardest Word
12 - Daniel
13 - Blue Avenue

Elton John Band:
Davey Johnstone (guitars)
Charlie Morgan (drums)
Guy Babylon (keyboards)
Mark Taylor (keyboards)
Bob Birch (bass)
Natalie Jackson (vocals)
Mortonette Jenkins (vocals)
Marlena Jeter (backing vocals)

Elton John Live Vol.1 Link (52Mb)  New Links 20/12/2023
Elton John Live Vol.3 Link (70Mb) New Link 18/07/2019

Wednesday, July 3, 2013

Status Quo - The Best Of (1973)

(U.K 1962 - Present)
Status Quo are an English rock band whose music is characterized by their distinctive brand of boogie rock.
The group originated in The Spectres, founded by schoolboys Francis Rossi and Alan Lancaster in 1962. After a number of lineup changes, the band became The Status Quo in 1967 and Status Quo in 1969. They have had over 60 chart hits in the UK, the most recent being in 2010, which is more than any other rock group, 22 of which reached the UK Top Ten. In 1991, Status Quo received a Brit Award for Outstanding Contribution to Music and are still touring today.  For a full biography of the band, see my earlier post 'The Rest Of Status Quo' which is actually the second of a pigeon pair release made by PYE records, and this being the first.
Status Quo 1970 (L to R): Rossi-Parfitt-Coughlan-Lancaster-Lynes

The Status Quo Image
"We had a lot of faith in ourselves, but we had to turn our back on this pop thing," says Parfitt. "Fifty to sixty girls down the front screaming: fantastic, but we knew it weren't gonna last. But we knew we were good, we knew we had some thing, so we decided to literally heavy things up. We came off the road in 1969 and we went back to just wearing jeans, T-Shirts and pumps".
By the turn of the decade, Quo were slowly becoming visually and musically more recognizable, but there was still a spot of stagecraft to be learnt.
"We were really going places now - we were playing what we wanted to play, we were wearing what we wanted to wear and we were getting genuine reaction from the people" says Rossi.
"It was thirty or forty in the crowd one night, then fifty or sixty the next time. We felt we had a purpose and it was going somewhere. That was one of the joys of those days. When you're struggling, it's definitely you against the world and it galvanized you and you could feel it was growing and growing."
"The change was pretty black and white. You could see it in people's faces when we took to the stage. They looked at each other as if to say: 'Is this the same "Matchstick Men" band?' But at that point we didn't care; we were like, either fucking like it, or piss off," says Parfitt. "We went the complete opposite, with the long hair, ripped jeans and pumps. It got to the point where we used to buy the filthiest, most disgusting jeans from people in the street. If we spotted someone with a really beaten-up, nasty-looking pair of jeans at a show, we used to try to buy them from them. Some of the pairs we had were hideous - smelly and dirty and everything."
"I mean, you can call it a classic look now, but back then what we were aiming for, I suppose, was something that was the complete opposite of having an image," adds Rossi.
"The Castle in Tooting was a real heads' gig. Greatcoat, pint, album under your arm, sitting on the floor. It was the first time we'd played to an audience that was sitting down on the floor. We were thinking, Blimey, this is weird. The stage was only three inches high, but I remember the audience being down there. You had to get down to the audience - and that's how the legs apart, head down thing happened," recalls Parfitt. "And they were all nodding their heads, so we thought, Do the same, copy the audience - you can't go wrong. We only looked up between numbers."
"We call it the attack stance. In the early days we used to play these halls that had stages at the end of them and the crowd used to sit down cross-legged on the floor while we were playing our set," Parfitt adds. "The thing was, because they were sitting down and we were up high on the stage, we felt so far away from our audience. We started to lean forward and move our legs apart in a simple effort to get closer to our fans. We didn't want to be so far away, so the stance was born."
"It's just a great thing to nod your head on stage," says Rossi. "We just put our heads together. Funny, 'cos someone said to me, That's a good gimmick', but it's nothing like that at all. When we first did it, completely by accident, we got such a buzz off it, it had to be done again. We didn't suddenly say, 'Oh well, we'd better start standing in line shaking our hair'. It's gradually grown from the days when we just stood there nodding our heads and tapping our feet.... Once our heads start nodding, you know we're away."
"We've often whacked one another," says Parfitt. "Once I had to follow France around the stage for five minutes because me [guitar] pegs were knotted up in his hair. The roadies had to untangle us halfway through a number. I nearly pulled half his scalp out! We've fallen over a lot, too. We call that 'getting our wings'. I remember years ago doing a small youth club. We'd just gone on and the kids were going mad. France went dashing across the stage, turned round, fell off the stage and knocked himself out. Quite funny as it happens."
By early 1970 Quo had to capture this new sound and image for vinyl.
The look was easy - don't shave. "When it came to doing the photo for Ma Kelly's Greasy Spoon, we knew about it in advance," says Rossi. "We drove, did a gig, didn't wash. Did the next night's gig, didn't wash or shave, drove to London overnight. It had to look like that. It was a total rejection of all that 'press your trousers, make sure your makeup's right'. From then on, I'd always shave at night, so there'd be a bit of stubble the next morning."
The sound was best nailed on "Down the Dustpipe", written by Valley Music's Carl Grossman. It also represented a welcome return to the charts, spending 17 weeks there and peaking at No. 12.
"It was a word-of-mouth hit," says Bob Young, who provided the track's lusty harmonica. "It only got anywhere by people coming to gigs and telling their friends, and them asking for it. It proved to us that some people were enjoying the band, no matter how unfashionable we were supposed to be."
So prevalent was Young that Rossi later quipped: "He's made four TV appearances in one week. It's all very flash. I think we're gonna pack in playing and send Bob out on his own to do the gigs."
"There's nothing terribly involved," adds Rossi. "The lead guitar does things and then there's this riff. We did it in fifteen minutes in two takes. The first take was really miserable - really good - and it would have been fantastic except that something went wrong and there were a few giggles. It was a choker really. It spoiled the misery."
Although the track was not selected for Ma Kelly's Greasy Spoon it was very much in the style of the album, which also featured numerous live favourites and "Junior's Wailing", a track that became synonymous with the Quo sound throughout the Seventies as the opening anthem at their concerts.
Live, too, Quo were making a noise, particularly at the pop festivals of the early Seventies.
"We did a whole spate of those festivals," says Rossi. "There was Weeley, Lincoln and the Reading Festival. I remember the one that had the most profound effect on me was the Lincoln Festival. We tore the audience apart. It was serious, you know? When we went on at Weeley, it was about nine in the morning. We went on and when we looked out there, there was just this sea of coats over people's heads. They were just kipping down. They were actually sleeping where they were sat. So I thought, I'm not fucking having this' and went 'Oi, wake up' and did one of those things of, 'We're going to make a noise for a while, and just hope that some of you like it'. Those three festivals were the whole turning point for the band. I have no idea why, but they were. They were great reactions."
Although Ma Kelly and the subsequent album Dog of Two Head -named by roadie Paul "Slug" Lodge after the equipment van - failed to chart, the sound was right, the image - or non-image - was honed and the live audience was growing. [extract from Status Quo - Just Doin' It by Bob Young, Cassell Illustrated, 2006. p31-32]
This album is another Pye compilation (tracks taken from 'Dog Of Two Head' and 'Ma Kelly's Greasy Spoon'), which was made up of songs not already included on Pye's earlier compilations released under the Golden Hour Series (which I plan to post at a later date). The album was later re-pressed on the Astor label and it is this pressing that I own and present here.
It is interesting to note that the track "April Spring Summer & Wednesdays" appears both on this this album and the The Rest Of Status Quo - a duplication by mistake perhaps?
It is also worth noting that their hit single "Down The Dustpipe" and the single "Tune To The Music" were never released on any of their studio albums.
This posts consists of a fresh MP3 rip (320kps) taken from my precious vinyl copy and has had some bass enhancement applied. Full album artwork is included along with the band photos featured above, mostly taken from Status Quo - Just Doin' It by Bob Young, Cassell Illustrated, 2006.
Overall, this album is a great precursor to their finest LP's - namely Piledriver, Hello, Quo and On The Level.
01. Down the Dustpipe *
02. Gerdundula
03. In My chair *
04. Umleitung
05. Lakky Lady
06. Daughter
07. Railroad
08. Tune To The Music
09. April Spring Summer & Wednesdays
10. Mean Girl
11. Spinning Wheel Blues

Status Quo are:
Mike Rossi (Lead Guitar, Acoustic 
Guitar, Vocals)
Richie Parfitt (Second Guitar, Acoustic Guitar, Piano, Vocals)
Alan Lancaster (Bass, Electric Guitar)
John Coughlan (Drums, Percussion)
* Roy Lynes (keyboards)

Best Of Status Quo Link (100Mb) New Link 07/07/2017