Saturday, November 30, 2013

W.O.C.K On Vinyl - Vince Sorrenti: Unbelievable (1985)

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.
Vince Sorrenti (born 25 March 1961 in Sydney, New South Wales) is one of Australia’s best known and leading comic entertainers, a respected and successful Australian stand-up comedian from Punchbowl, New South Wales. He is of Italian heritage which really gives him the edge with his comedy routines, and plays the 'language misinterpretaion' card to advantage (ie. gender reversal).
Vince Sorrenti has a long performance history, cutting his teeth in Architecture Revues in the early 1980s and in the burgeoning stand up comedy scene that he helped create. Graduating as an Architect in 1985 he threw full weight behind his real talent and has performed to ecstatic crowds on thousands of stages all over the world. 
The following press release for this 1985 comedy hit "Unbelievable' pretty much says it all:

 Of course, this month's WOCK of Vinyl post has alot of Crazy and Komedy associated with it.
Really!  No seriously, it has.  What, you don't think so - Unbelievable !
To make this post a little more believable, I'm also throwing in the 12" release which features his second single "Dancink (Never Cum Fat)". All tracks ripped from Vinyl to MP3 (320kps) and full artwork included.
Track Listings
01 - Unbelievable
02 - Thailand
01 - Dancink (Never Cum Fat) Fat Mix
02 - Dancink (Never Cum Fat)
03 - Unbelievable
Unbelievable Link (62Mb)

Wednesday, November 27, 2013

Gregg Sneddon - Mind Stroll (1975)

(Australian 1974 - 1980)
Australian composer and instrumentalist Greg Sneddon is a man of which not much is known today, but he has written himself into Australian history books due to one particular event: He assembled a group of backing musicians while he was recording the soundtrack of a musical called "Riff Raff", and following these recording sessions this group of musicians would later eastablish a solid career as Men At Work.

Prior to that Sneddon released a single solo album however. "Mind Stroll" was recorded in 1974 and released in 1975. A nice and varied example of keyboard driven, accessible symphonic rock, by some described as similar in style to Australian band Sebastian Hardie. 

Greg Sneddon (Synthesizer - Arp) has been in the music industry since the early 1970’s, working in various bands (Alroy 1974 and Rainbow Theatre 1976), as a session man for the likes of Skyhooks (Living in the 70’s and Ego) and even the Comedy Company (Kylie Mole’s ‘I Go I Go’). Greg was also one of the founding members of Men At Work.
While studying economics in 1979 at university, Colin Hay met drummer Jerry Speiser and invited Speiser to one of the duo's informal jams at the Grace Emily Hotel. With a drummer on board Men at Work joined prog-rocking keyboard player Greg Sneddon to provide backing music for the amateur musical Riff Raff to which Sneddon had written the lyrics and music. For a short time Sneddon was an official member of Men At Work but multi-instrumentalist Greg Ham who provided keys, sax, flute and other instruments to the Men at Work sound replaced him.

Sneddon released a solo album in1974 called ‘Mind Stroll’ with a follow up single ‘Take It Slow and Easy / Minuet In E’ in 1975. Rare and essential mid 70s piano/synth driven melodic progressive rock, but was never picked up by the radios. With flavours of Rick Wakeman in his keyboard playing and vocals similar to Peter Gabriel, this album is still worth a listen, and a vital addition to any collector’s vault. One could say that this album was a launching pad for many oz progressive rock bands of the 70’, in particular Sebastian Hardie (aka Windchase).

Review 1
I'm in two minds about this album, first off it's an album by an exceptionally gifted youg Australian guy who displays great imagination and skill, but on the other hand you only get to hear him for a total of thirty minutes and 38 seconds. All of which makes you hold your breath, but Christ,  it's a bit steep to fork out nearly six dollars (full price for an album back in 1975!) for half an hour!
Greg writes all the material and plays (here goes) Acoustic Piano, Hammond B B3, ARP Pro Synthesiser, Mellotron, Clarinet, Spinnet, Fender Rhodes, tootles around with percussion, vocals and a Two Handed Plectrum, for which he composed a concerto.
The title track opens with a drifty chaotic Pink Floydian feel which soon gives way to the gentle voice of Mr. Sneddon singing lyrics a cut above the average love song
The strongest point on the whole album is the final cut on side two "Madman" which is an eight minute long ditty that posses an amazing number of changes and some superb synthesier playing and production. The lyrics on this one have been prepared with what looks like a great deal of thought to present inherent insanity:
"Madman to the rescue for a sandwich
Which he finds hard to find The Insides out"
I don't think Greg will be able to produce this album on stage unless he has two sets of hands as there is a fair amount of over dubbing (natch!). The voice of Dayle Alison blends naturally with Greg's keyboards most effectively on "Madman"
I can only recommend this record to you musically, he is streets ahead of any other solo performer in this land, but thirty minutes long just ain't long enough!  [review by Andrea Jones, RAM #7 May 31, 1975]
Review 2
A keyboard driven album, to me very reminiscent of Wakeman's early solo work. The two dominant elements to me are, on the one hand, a strong commercial soft-rock/pop edge, particularly to the fore on the ballad "Take It Slow And Easy", and the main themes of the title track, and "Concerto For Two Handed Plectrum"; on the other hand, busy keyboard solos (sometimes approaching Emerson territory, eg "A Spell of Destruction" and "Concerto"), and 'classical' flourishes (eg the main theme of 'Minuet in E", "Winter", the secondary theme of the title track). Layers of keyboards dominate the sound, with much use of the most voguish synth sounds of the day. Sneddon shares lead vocal duties with Dayle Alison, who has a lovely voice. Not a prog masterpiece, but a very interesting record, one that stands out among the minimal output of the symphonic or symphonic-influenced bands found in Australia during the 1970s [review by s175 at]
I gotta say I'm a sucker for anything keyboard related, and this album fits beautifully into this category. Although Sneddon was not a Rick Wakeman or Ken Hensley, he certainly had great talent on the keyboard and was well ahead of his time in creating a unique style of symphonic rock. It is just a shame that he never recorded more as a solo artist and could have easily joined ranks with the likes of Mario Millo to produce some great Australian movie soundtracks. One can only wonder what the pair would have dreamed up.
This post is a rip (MP3 at 320kps) taken from my cassette tape which still plays as good as the day it was released some 38 years ago.  Full album artwork for Vinyl, CD (thanks to Woodynet at Midoztouch) and Cassette are included and a scan of the RAM record review.
Track Listing
01 - Mind Stroll
02 - Winter
03 - Take It Slow And Easy
04 - A Spell Of Destruction
05 - Minuet in E (Concerto For Two Handed Plectrum)
06 - Madman

Dayle Alison-vocals,percussion
Phil Bustson-guitars
Jerry H. Spieiser-drums
Gary Ricketts-vocals,bass
Greg Sneddon-acoustic piano,Hammond B3,ARP Pro Synthesizer,Melltron,Hohner Clavinet,Fender Rhodes,percussion instrument,vocals,spinet

Mind Stroll Link (82Mb)

Sunday, November 24, 2013

Ramatam - Selftitled (1972)

(U.S 1972-73)
Ramatam was a sort of mini-supergroup, formed in the early 70's by Mike Pinera, from the Blues Image, Iron Butterfly and Mitch Mitchell, former drummer for Jimi Hendrix. They also had one other distinction, a female lead guitarist, April Lawton, a rare thing in those days. On the surface Ramatam had an impressive musical heritage which should have seen them become a major act, however, the band only stayed together for two years (releasing 2 albums) and then disbanded due to lack of popularity.
Signed by Atlantic, the band debuted with 1972's cleverly-titled "Ramatam".  Produced by Tom Dowd, the album had it's moments, but ultimately was too diverse to make much of an impression.  With stabs at blues, country-rock,  hard rock, and jazz it was simply impossible to figure out who these guys were.  Adding to the problems, horn arrangements sank several tracks, while Dowd gave the album a weird muddy sound.
The band toured all across the U.S during 1972, supporting ELP, Humble Pie and playing shows of their own.
Recalls Bob O´Neal, Ramatam´s roadie:
"I can't pinpoint the exact dates. I don't have any photos but I can definitely remember some of the cities where we did shows and who was headlining on those shows(...) I was living in Memphis, Tennessee with my friend, Steve Dabbs. We were working for a concert promoter in Memphis named Bob Kelley. His company was Mid-South Concerts(...) Ramatam was the support act on a Humble Pie show at the North Hall of Ellis Auditorium. Ramatam's tour manager was Paco Zimmer. This show was one of the first after the band formed. The band was Mitch Mitchell on drums, April Lawton on guitar, Mike Panera on guitar and Carlos Garcia on bass. I can't recall who else may have been in the band.Anyway, Steve and I knew Paco from when he had been in Memphis the year before with Cactus. He offered us jobs as roadies for the band. We accepted the offer and left with the band going to the next show, which was playing in New Orleans at a venue called The Warehouse with Humble Pie. 
From there we continued doing shows all over the country for the rest of that summer.We played shows with Humble Pie, Edgar Winter and ZZ Top. I can remember playing Akron, Ohio at a stadium show at the Rubber Bowl with five acts on the show. We also played on a multi-day festival in the Pocono mountains in Pennsylvania. Between tour segments, the band and the crew lived in a large mansion in Huntington Harbor out on Long Island. It was a really big house with about six bedrooms. We didn't actually spend very much time there but that's where Mitch's wife, Lynn and young daughter lived(...) The band was on Atlantic Records and they were created to be a "super group" made up of stars from previously successful groups with the unique innovation of a "chick" lead guitarist. It was a flop. They didn't sell many records and the whole project dissolved rather quickly after the first few months of playing shows.
Steve and I together set up all of the band equipment. We both handled everything when loading and unloading but then he set up guitars and amps and I set up the drums and we attended to those players during the shows. I would have to say that my relationship with Mitch was a working relationship rather than a social relationship. Like everyone else in the early 70s, I had been a HUGE Jimi Hendrix Experience fan and could occasionally get Mitch to relate some stories of their touring days. I can't say that I recall any particular tales though."
[extract from Mitch Mitchell's website]

.Album Review
Tom Dowd produced 1972's self-titled debut from Ramatam, a poor-man's Blind Faith featuring co-author of The Blues Image hit "Ride Captain Ride Mike Pinera on guitar and vocals, and Mitch Mitchell on drums. The "star" of this group was alleged to be April Lawton, a chick who had the Hendrix riffs down, to be sure, but not as creative as Robin Trower and all those other gents who carried Jimi's sound and stylings into the seventies.
An appearance by the group in Boston at the old Music Hall was pure white noise and not very memorable outside of that. The album is a bit more refined, but ultimately fails to deliver the goods.
"Whiskey Place" opens the record sounding like a brazen blend of Ten Wheel Drive meets The Jimi Hendrix Experience without a Genya Ravan or a Jimi to save the day. The horns actually clash with the guitar while the bass has a mind of its own. The production work by Dowd on the first track is totally uninspired and it certainly feels like the act was left to its own devices.
Mike Pinera and Les Sampson's "Heart Song" works much better, a jazzy vision of Traffic's brand of Brit rock meeting that of the West Coast's /Quicksilver Messenger Service.
But it's not enough - Rare Earth type macho vocals do much to implode the disc's potential totally sinking Pinera's "Ask Brother Ask".
Mitchell's great drum work is wasted on the monotony of the hook, and the musicianship gets so fragmented it sounds like Eno's Portsmouth Sinfonia without the humor. The Tommy Sullivan / April Lawton composition "What I Dream I Am", on the other hand, almost gets it done - it's pretty tune with flutes, acoustic guitar work and simple percussion from Mitch.
It fails because of vocals which just can't cut it, painful singing obliterating the disc's best chance for recognition. Was Tom Dowd out having coffee or just not interested in this whatsoever?
America could've used an answer to Steve Winwood's poppy jazz, and a Genya Ravan would have brought this experiment out of the quagmire it finds itself in with her voice and production intuition.
The blues here undefined and the tape mix far from cohesive on the other band collaboration,"Wayso". Ramatam, diffused and confused, is a tragic statement of record labels trying to make a talent rather than finding one. "Changing Days" is another decent Sullivan / Lawton easy feeling co-write with horrible vocals eradicating the core goodness of the songwriting. Mike Pinera's "Strange Place" takes the Kiss riff, from "Shout It Out Loud" and puts it in a jazz setting with vocals that sound like they are auditioning for Savoy Brown...and failing to get the gig.

If that sounds awful just be thankful you're reading about it without having to hear this mess. By 1973 the group would be pared down to a power trio of Lawton, Sullivan and Jimmy Walker on drums.
Perhaps bassist Russ Smith, ex-Iron Butterfly Pinera and Mitch Mitchell saw the writing on the wall, but how they couldn't come up with something much, much better than this is the mystery.
There's enough combined talent here to have delivered a real gem. With this album Ramatam have re-written Euclid's axiom and turned it on its head: here the whole is less than the sum of its parts. The final track, "Can't Sit Still", sounds like producer Dowd looped his old Ornette Coleman and Allman Brothers tapes with his Black Oak Arkansas projects. And if Ramatam hadn't toured, people might've thought that's exactly what this was [Review by Joe Viglione]
Although my initial interest in this band and album was the connection with the Jimi hendrix Experience via drummer 'Mitch Mitchell', the similarity with Grand Funk (particularly the vocals) and the complex guitar work of April Lawton makes this album a worthy inclusion on my blog. Although the album cover is nothing to write home about, the music on this album is very colourful and diverse. It is a shame however that the the brass sections on this album are so badly produced, and somewhat stifle the brilliant guitar work of  Lawton on many of the tracks.
This post consists of a MP3 rip  (320kps) taken from my almost virgin vinyl and includes artwork for both CD and LP.  If you haven't heard this band before, then you should give it a listen.
Track Listing
01 - Whiskey Place 3:23
02 - Heart Song 4:50
03 - Ask Brother Ask 5:00

04 - What I Dream I Am 4:00
05 - Wayso 3:23
06 - Changing Days 3:31
07 - Strange Place 6:00
08 - Wild Like Wine 3:51
09 - Can't Sit Still 6:00

Ramatam were:
April Lawton (lead guitar)
Mitch Mitchell (drums)
Mike Pinera (guitar)
Russ Smith (bass, vocals)

Tommy Sullivan (keyboards, reeds, vocals)
Ramatam Link (95Mb)

Sunday, November 17, 2013

Peak - Ebondàzzar(1980)

(Australian 1980)
Often thought to be a German band because they’re on Klaus Schulze’s label, Peak is actually from Australia.  Nice electronic album but unfortunately Ebondàzzar seems to be their only release.
Formed in Adelaide, South Australia, Peak is the duo of Robert Reekes-Parsons and Paul Fisher. Both men are multi-instrumentalists, with Reekes-Parsons gravitating more to keyboards and Fisher to guitars.
How would you classify Peak's music? If you were to listen solely to Innovative Communications (Klaus Schulze's record label) promotional spiel after the 1983 re-issue of the album "Ebondàzzar" you may think Peak was a group largely influenced by King Crimson, Pink Floyd, Genesis and perhaps even Godley & Creme and Vangelis. The reality is that Peak has moments where they emulate the style of these prog giants, as well as progressive electronic great Tangerine Dream. Having said this, the complex intertwining of guitar and synthesizer may mostly remind of Manuel Göttsching's Ashra and seems to belong in the sphere with the Berlin School-aligned artists, though this is not always the case as is witnessed when listening to the whole album.

Peak has only the one album, "Ebondàzzar", initially released on Cement Records, Australia in 1980, then re-issued in Germany by Innovative Communications in 1983. On "Ebondàzzar" Reekes-Parsons is credited with playing keyboard synthesisers, vocoder, strings, electric piano, tubular bells and fragmented guitar; Fisher's credits are guitar synthesisers, electric and acoustic guitars, keyboard synthesizers and electronic effects. The duo was assisted with drumming throughout the album by John Haffert. Additional assistance on the track 'Ocean Of Dreams' came from Kym Martin with the military snare and Lindon Lisk on bass. To date "Ebondàzzar" has not been issued on CD.

Robert Reekes-Parsons and Paul Fisher
Review 1
Ebondàzzar is a reasonably rare album from Australian duo Peak - Robert Reekes-Parsons and Paul Fisher - with able assistance on drums by John Haffert. It is a purely instrumental affair with vocals limited to vocoder output, effects and grunting.
Ebondàzzar has been issued twice on vinyl. The original Australian release was in 1980 on Cement Records, followed by a re-issue in 1983 by Innovative Communications from Germany. Despite two different releases the work appears to be relatively unknown.
Ebondàzzar has nine tracks with the longest, "Along For The Ride" clocking in at a little over the nine minute mark. Having said that, all the tracks from side one segue seamlessly making a suite of sorts with a running time of 23:02, though each track is quite different and there is no real hint of a concept. (All tracks on side two are clearly segregated.)
Not a masterpiece by any means, Ebondàzzar is an album of varied soundscapes, journeying mostly into the territories of electronica, space rock and possibly Krautrock. At one point there is a step towards synthesized heavy prog as "The Hunt" goes into full flight in its last half. And to cap things off there is even a hint of blues rock with the final track, "Agent's Lunch". With the variation presented on Ebondàzzar it is a difficult album to pigeonhole.
Highlights are: the hypnotic "Along For The Ride" opening with nice guitar and synthesiser interplay that moves into a Kraftwerk-style of electronica; "Encounter" with guitar synth pyrotechnics conjuring visions of King Crimson, before turning a corner into the symphonic realm; "Nightmist" with vocoder voices and its soaring sequencer melody so readily reminiscent of Tangerine Dream; and the dreamlike "Ocean Of Dreams" that opens with the peal of tubular bells before the synthesisers takeover, and then with the synths being overlaid with military-style snare drumming and tubular bells for much of the journey.
I like this album, but have a bias towards works from Australia. That said, I don't believe fans of electronic music or space rock wherever they be from would be disappointed if they were to stumble upon Ebondàzzar in their travels (review by T.Rox at

Review 2
This subgenre isn't my specialisation, but I'm on somewhat of a mission to collect as much vintage Australian prog as I can, hence I tracked down this album. I love it more than I expected I would.
The compositional style is fairly minimalist, most of the pieces are built on simple repeated patterns and a fairly limited harmonic palette; like most minimalist music it makes up for a lack of complexity by creating hypnotic moods. Their strength is the diversity of their sound palette - their mix of various synthesizers and electronic effects with more organic instruments (especially their use of guitar), and music concrete approaches. (One guest instrumentalist is crediting with 'swimming', and they're serious - the swimming is an important part of the sound world of "Penguin")
The tracks of the first side segue seamlessly, but very diverse moods are evoked - heavy guitars and drums to open the album, calming down quickly to a more pastoral sound (with much use of flute colours); then a more strictly electronic soundworld with Tangerine Dream -style use of sequencers; then a more abstract soundworld with unsettling doppler-effect sounds sweeping in and out; then into a more ambient mood with lightly arpeggiated guitar, a simple and soothing synth contribution, ocean sounds (and, incongruously, military-style drumming), and fading out with the ocean. The second side offers more discrete compositions, again each exploring a unique soundworld - the final two tracks offer a more organic guitar-dominated approach (an acoustic, pastoral vibe for "Snail's Pace", a more electric rock feel for "Agent's Lunch"); "Penguin" and the lengthy "Along For The Ride" is back in Tangerine Dream-style territory (but with a prominent, if low-mixed, role for guitar in the latter); "The Hunt" mixes both soundworlds. [ review by S175 at]
Considering this was recorded on a 4 track machine in the lounge room of a house at Henley Beach - South Australia, the quality is actually very good. I was lucky enough to grab a copy of this album at one of their "survival" shows in the backyard of the house. The live sound was superb with a surround sound speaker set-up. From memory it was a limited 500 unit pressing they financed themselves. They were the "house band" at Portobello in Adelaide for a while too I think. [Misanthropist, 2009]
I myself only stumbled upon this album recently and was totally blown away with the progressiveness that it exhibits and can't believe that Peak didn't go onto record more. Every track on this album has a unique sound and the musicianship of these two artists is equal to any of the great Kraut Rock artists from the 70's and 80's. My favourite tracks would have to be "The Hunt" with its Troll like groans overlaying the soaring guitar riffs, "Nighmist" with its mesmorizing synth sequences echoing the sounds of Vangelis, and "Abyss" which is a dead set lift from Pink Floyds Dark Side Of The Moon. "Penguins" is an interesting track, commencing with a swimming sequence (reminiscent of Pink Floyd sound effects from "Lapse Of Reason") but quickly moves into a bouncey, boppy tune that is probably trying to portray a penguin when it walks. Being an Adelaide band, I'm sure the boys would have ventured across to Kangaroo Island at some stage in their life to visit the Penguin rookaries, and consequently influenced this track.
Needless to say, I really like this album, and highly recommend you give it a go, even if the progressive sound is not your thing. This truely is a lost gem!
Track Listing
01. Encounter (7:44)

02. Nightmist (6:24)
03. Abyss (3:29)
04. Ocean Of Dreams (5:25)
05. Penguin (4:38)
06. Along For The Ride (9:13)

07. The Hunt (4:21)
08. Snail's Pace (3:36)
09. Agent's Lunch (2.28)

Line-up / Musicians:
- Robert Reekes-Parsons / keyboard synthesisers, vocoder (A2), strings, electric piano, tubular bells, fragmented guitar, vocal effects
- Paul Fisher / guitar synthesiser, electric guitars, acoustic guitars, keyboard synthesisers, electronic effects, grunting

Additional Artists
- John Haffert / drums
- Kym Martin / military snare

- Lindon Lisk / bass
- Brook Mostyn-Smith / swimming
Peak Link (87Mb)  New Link 7/08/2018

Tuesday, November 12, 2013

Queen - Live Unlicensed (1997) Bootleg

(U.K 1970-2009)
This bootleg was recorded in London on the 12th July, 1986 at the Wembley Stadium, during Queen's 'A Magic Tour', as indicated at  []
The Magic Tour took in 26 dates around Europe's stadiums, in support of their newest album 'A Kind of Magic'. The tour commenced in Stockholm on June 7th, made its way back to London in July and then finally finishing in Spain on August 5th, before heading home again for their last concert at Knebworth. The Magic Tour was the biggest and final tour by Queen with their lead singer Freddie Mercury. In 1987, Mercury was diagnosed with AIDS and the band together made the decision to cease touring, making the concert at Knebworth on 9 August 1986 the last time the four members of Queen would perform on stage together.

Large as it is, Wembley Stadium is not the biggest stadium in the world, but in many ways it's the most important, the 'Wimbledon of rock' so to speak. There aren't that many groups who can fill it once, so the knowledge that it was full for two consecutive nights was a proof and a demonstration to the four members of Queen of their power. Attendances on each night were 72,000.
If it's of any interest, the architect's plans for Wembley Stadium are wrong. They are, in fact, four feet out. This may not matter much to a fan, but it nearly spelt disaster for Queen. Working to the plans, a special stage had been built, designed to fill one complete end of Wembley, and working against the dock the crew found it was precisely four feet too long. This wasn't the only problem at Wembley. The local authority are famous for their stringent regulations, and they refused permission for the gas torches that when lit flared out from the side of the stage (to make sure that Queen didn't use them on the second, and final concert, they even posted a guard on the gas cylinders all night!)

But God must be a Queen fan. On the Saturday it poured all day, drenching the 72,000 crowd and Status Quo as well. But it miraculously stopped for a while when Queen came on (not permanently, though - He doesn't like all their numbers). Freddie got wet as well as the band moved out from the covered part of the stage, to the front, as the lights were turned on the crowd. Four huge inflatable dummies of the group were released into the air. Two were hauled down by fans but two floated up to land in someone's garden miles away.
If the atmosphere at the concert was special because it was Wembley, the party afterwards was special because it was after Wembley. The group took over the Gardens night club, high over London with a huge roof garden filled with exotic food and strange sights. Members of the band joined other rock stars in impromptu jam sessions, and John Deacon didn't leave for home until 9 in the morning. [extract from Queen: A Magic Tour, Queen Productions Ltd, 1987. page 15]

Concert Review
The second night at Wembley Stadium is probably the most famous and well-documented concert of Queen's career. It was filmed by 15 cameras with the initial intention to air it on TV in October. David Bowie was rumoured to join the band on stage for Under Pressure, but it never materialized. Mick Jagger was in the audience, and hung out with the band before the show.
The band, particularly Freddie, seem to be a bit nervous at various points tonight, knowing well that this was the big show that was being filmed to be seen by millions of people throughout the ages. His voice is in not quite as good shape as it was last night, which led to many vocal overdubs being done for the TV/radio simulcast and official releases. Brian's nerves also reveal themselves early on, as he messes up the tapping solo in the middle of One Vision (the only time he ever missed it), and later he completely omits the first half of the Hammer To Fall solo (which he also did in Brussels).

All of these slight flaws aside, the video demonstrates how Queen had simply mastered their craft, having arguably orchestrated the perfect stadium show. It reveals a band who, through the unparalleled showmanship and charisma of Freddie Mercury, were able to connect with every one of the 72,000 people on hand. Brian May would later refer to Queen's touring work ethic as becoming "a well-oiled machine" when in the swing of things.

Pictured above is a great shot of one of the blow-ups of the band members released into the sky during 'A Kind Of Magic'. One of them was found by an old lady in her back yard the next morning.
After the impromptu, Brian May puts on a clinic of how to construct a guitar solo. A polar opposite of last night's mediocre solo spot, tonight's rendition is simply magnificent, and perhaps the definitive example of his musicality in the spotlight.

This is another one of those shows where Freddie shouts "Go Johnny!" during the instrumental part of Now I'm Here, referencing 'Johnny B. Goode' by Chuck Berry. The band attempt a couple more covers tonight, both for the last time - Gimme Some Lovin' and Big Spender. The songs had been tried out earlier in the tour, and the latter had been performed often throughout the 70s (unfortunately neither of these tracks appear on this bootleg release).
After the show, billed as "Dicky Hart And The Pacemakers" for fun, Queen and some other stars, including Cliff Richard and Samantha Fox, had a jam session at the Kensington Roof Gardens Night Club. Tutti Frutti and Sweet Little Rock And Roller were among the songs played. Short video clips have turned up in documentaries, like The Magic Years. The picture above shows Brian May and Roger Taylor moonlighting under the name of "Dick Hart And The Pacemakers".

The first lengthy official release of this show was a 1990 VHS, missing eight songs. The studio version of Brighton Rock is heard at the beginning while showing the stage and rig being set up by the crew. Vocal overdubs were present on this release and all future releases: One Vision, A Kind Of Magic, Who Wants To Live Forever, and We Are The Champions (at least) were patched up, and backing vocals for the bridge of Hammer To Fall were added as well. The usual level adjustments were done on vocals and all instruments, but many of Spike Edney's synth parts are notably much lower than they were at the show.
A 2CD version was released in 1992, with only the Tutti Frutti reprise cut. The complete show was released on CD and DVD in 2003. The US version includes three songs from the first night, and one from the Budapest show as bonus tracks. The DVD included plenty of extras, including rehearsal footage and 5 songs from the first night at Wembley. It was released once again on CD and DVD in 2011, with the DVD including the entire first night
The radio and TV broadcasts, as well as the official releases, have led to dozens of bootlegs released over the years - many of which were disguised as other shows [extract from]
This post consists of MP3 rips (320kps) taken from the 1997 AMCOS Bootleg and features approx 75% of the original concert - the recording originating from a Radio Broadcast most likely. Included is full album artwork for this Australian bootleg, but I have also included some additional covers from alternative bootleg releases. Also included are an extensive number of concert photos taken from and their Magic Tour booklet. The sound quality on the bootleg is exceptional and will not disappoint.
Note: Support bands at the Wembley concert were Australia's very own INXS, Status Quo, and The Alarm.
Track Listing
01 - Brighton Rock
02 - One Vision
03 - Tie Your Mother Down
04 - In The Lap Of The Gods
05 - Seven Seas Of Rhye
06 - A Kind Of Magic
07 - Under Pressure
08 - Another One Bites The Dust
09 - Who Wants To Live Forever
10 - I Want To Break Free
11 - Is This The World We Created

12 - Tutti Frutti
13 - Bohemian Rhapsody
14 - Hammer To Fall
15 - Crazy Little Thing Called Love
16 - Radio Gaga
17 - We Will Rock You
18 - Friends Will Be Friends
19 - We Are The Champions
20 - God Save The Queen

Queen were:
Freddie Mercury (lead vocals, piano, electric guitar),
Brian May (electric guitar, backing vocals, acoustic guitar, keyboards),
Roger Taylor (drums, backing vocals, tambourine),
John Deacon (bass guitar),
Spike Edney (keyboards, piano, electric guitar, backing vocals)

Queen Link (177Mb) New Link 04/05/2021


Thursday, November 7, 2013

Various Artists - Sunbury '74 (Parts 1 & 2)

(Various Australian Artists 1974)

The 70's was a period in Australian Rock Music when the industry showcased its very best at the annual Sunbury music festival. On each Australia day weekend from 1972-1975, 35,000 plus people would travel to a picturesque site 30 minutes from Melbourne, in anticipation of witnessing some of the greatest performance of our own rock bands. For those who attended it was an event not to be missed and still considered today to be the most successful rock music festival of its kind held in Australia.
The Sunbury Music Festivals were organised by a group named Odessa Promotions, said to be members of the Melbourne TV Industry. The principal of the company was John Fowler, and it’s said that the company included people who had previously worked on shows such as Uptight, a pop TV show of the late ‘60s. The company went into liquidation after the final concert of ‘75, which was a financial disaster compared to the previous festivals.

There’s just as much mythology about the spirit of the Sunbury Music Festival, with some regarding it as Australia’s Woodstock, a keypoint in more innocent times that embraced peace and a laid back life, while others saw the Sunbury festivals as an event that mirrored the decline of that flowery period with some suggesting that the festivals steadily became a beer-soaked yob fest.
While the Sunbury Music Festivals did much for the Aussie music scene, featuring an all-Australian line-up in ‘72’s first festival, it also attracted well-known acts from overseas in the later festivals with British bands Queen appearing in ‘74 and Deep Purple taking the stage in the festival of ‘75.
John Fowler's Odessa Promotions flexed their muscles for Sunbury '74. But getting Daddy Cool to reform wasn't enough. They decided to impose their first 'international' act on the festival.    So far, Sunbury had been a celebration of Australian music. Their international guests were unproven and no one had heard of Queen. They were just two albums old and yet to make any significant name for themselves. Where Queen were treated like. . kings...down to being chauffeured to the site, the Australians of course made their own way. (Nothing's changed of course. Ask the Australians who were forced to appear for free at Rumba recently). The rest of the Sunbury '74 performers resented Queen being there, resented everything their presence represented. The audience also resented the English band being there. For them, the Australian music was more than enough. Making things just a little worse, there was a mix-up over daylight savings. Queen had been booked to appear an hour before they expected. They made everyone wait until the sun went down. Queen didn't do themselves any favours, but they were SO unknown, and SO insignificant no-one held it against them later. Only for Queen was it a day they would never forget.
When Queen took to the stage, the band was largely unknown at that time on Australian shores and they were unfortunately heckled from the stage following their performance, allegedly after the announcer of that year’s festival asked the audience, “D'you want anymore from these pommie bastards or do ya want an Aussie rock band?”

Before leaving the stage to jeers that labelled them “pooftahs” who should go back to Pommyland, Freddy Mercury, Queen’s iconic front man (who was nonetheless fond of bottoms) boldly and bravely fired a parting shot back at the audience. He declared that when his band Queen would next visit Australia, they would be the biggest band in the world. And true to his word when they returned to our shores in ‘76, QUEEN were indeed one of the most globally acclaimed bands.
[extracts from]

The following is an account of the Sunbury '74 concert through the eyes of one of the festival's compares (and a well known celebrity from the Countdown era) - none other than Ian 'Molly' Meldrum. Reporting in his regular weekly column 'Ian Meldrums Keyhole News' (GoSet magazine, Feb 9,1974. p10), Molly gives us a wonderful run down of each band who played over the three days, and helps capture some of the excitement that occurred at what some people consider to be the best Sunbury of all. For more information about the Sunbury festival, see


SUNBURY BLOODY SUNBURY …POP ORGY…well, that was the headline in one of Melbourne’s better known Sunday papers…their editorial went on to describe how Sunbury became Sin City…of how sex, violence, drugs, and beer-swilling teenagers turned the festival into an orgy.  Wow, SUNBURY ’74 must have been sensational…I wish I’d been there…the funny thing is that I was there for the whole 3½ days and apart from a few isolated incidents involving some yahoo’s, no way known could you describe Sunbury as a violent festival…and as for the open use of drugs, well the drug squad who were there in full force must have been blind-folded because they only made a couple of arrests…thousands of contraceptives sold??...strange that the Chemists report that they only sold about a dozen. 
In other words, WHAT A LOAD OF BULL! fact, I would go as far as to say that Sunbury’74 was one of the most peaceful and most organised festivals you could ever hope for…Nude Bathing?...Well, why not?...I mean, who cares?...we have, thank you, grown up at least that much…and let’s face it, it’s papers like this Sunday rag that have made us immune to it all…they thrive on the Tits and teeth bit…unfortunately the thing they forgot to mention was the great line up of talent that kept us entertained over the three days…unfortunately this column is too short to give mention to everyone…but believe me, in one way or another, all deserve a pat on the back…my fear that this year’s Sunbury would be dreary and boring like Sunbury ’73, was completely unfounded…

Friday Night and Sherbet Slayed ‘em
Friday Night…a beautiful clear sky and the satellite city is already in full swing…and wouldn’t you know once again I opened my big trap once too often RE: SHERBET…I did say a couple of weeks back in the column that I couldn’t understand why the group was performing on the first night when most of the audience would be still hitching up their tents etc etc…Wrong…the audience hill was packed and I must say that Sherbet were magnificent…but the guys should give thanks to PIRANA, ROSS RYAN and BAND OF LIGHT who were on before them because they really put the audience in a great mood…PIRANA played a beautiful set and it’s hard to believe that they are not a bigger name in this country because they deserve to be…ROSS RYAN was good but Ross’s outstanding performance was to come on Sunday…BAND OF LIGHT were, I thought, tremendous… surely they are destined to do big things on the Australian music scene this year…and then there was SHERBET… what a performance! was their first ever Sunbury and let me tell you right here and now that they made up for the previous two years when they were unable to appear…For months I’ve been raving about their stage act and musical talents but every time I see them they just never cease to amaze me…I’ll go as far as to say that they have probably one of the finest stage acts in the world…and I’m sure the likes of Bowie, Rod Stewart and Elton John, if they were ever given the chance to see them, would agree with me…need I say that Sunbury loved them…it should, in SHERBET’S book, go down as one of the highlights in their already dazzling career…because Sunbury is a fest and in my book, and they may disagree because I believe they weren’t happy with their performance, they get 10 out of 10

To finish off Friday night, HOME, one of Australia’s up and coming groups put the final seal to the night’s superb display of entertainment.

Hot Saturday
Saturday was HOT, really, really HOT…and the drink and watermelon stores were doing great business…sure, people drank booze and happily I report that gone from the festival were the dozens and dozens of kids that were there last year staggering around till the early hours of the morning…by mid-afternoon temperatures had soared to 35 but this didn’t put a downer on UPP’s energy…here is another group that’s full of visual excitement…sure, they’ve got a long way to go but I have every confidence that over the next six or seven months they will build up the following they need and they’ll be up there with the best of them…next on were the 69’ers and as usual they provided the laughs for the day…they really are an incredibly funny group and I hope that they never lose their sense of humour…like last year, they more than wowed the crowd…and to finish off their set they had an all-out cream cake fight…as compare, they were the first act that I had to bring off stage and I’m sure you will agree that it was rather fitting that I ended up with a complete sponge-cake and cream all over my face.  SKYHOOKS were the next on and unfortunately I feel that this group needed a night-time spot when they could make full use of the lights…because they are as much into theatre as they are into music….but one thing’s for sure, watch out for the name SKYHOOKS…they’ve arrived

and they’ll be here for quite a while…SID RUMPO proved to all and sundry what fine musicians they are and after their performance I eagerly await their forthcoming album…MATT TAYLOR was on next doing his solo bit…and what can I say about MATT?... he defies all convention of a ’74 pop star… I mean, name one other pop star who gets out on stage, sits down, and says to 30,000 people, Gidday…but you can’t help but love his music…and as usual, in his own peculiar way, he got the audience going… MATT was rewarded with a fine ovation and an encore…but Matt had a surprise in store for them the following day…DINGOES were next on and boy, can they rock and roll…I absolutely love this group and obviously with the response they got, so did the Sunbury crowd…but the one thing that I feel is missing is visual projection from lead singer, BRODERICK SMITH…he possesses an incredible voice…he looks good, but for some reason he fails to project….there’s an old say Brod, If Ya Got It, Flaunt It, so Start Flaunting!  Next on were CHAIN…and has this group got themselves together up in Brisbane…all the reports and fears that the group would break up were dispelled five minutes after they started playing on stage…we all know what a fine group of musicians there are but now with the added confidence that the Australian public really do appreciate them, this group has really come alive…fortunately or unfortunately for Barry Harvey, they don’t miss him as a drummer at all…the group is tight as I’ve ever seen them…why even Phil’s developed a personality…it was a brilliant musical set and it put the crowd into a great mood for what was to come.

And what was to come was four hours of sheer musical entertainment…the BALLS hit the stage with LOBBY not far behind…and did that audience develop balls!..Wow!...sure, the skinheads and the tattoo freaks love them, but so did everyone else…and I think it would be fair enough to say that the group put on their best performance ever…and LOBBY, me boy, there’s no denying it, you’re every bit a Pop Star…and what a great sight it is to see 30,000 people cheering and yelling and rocking their hearts out…ooooh, it sends shivers up me spine…and thumbs up (in the rude sense) to all those self-appointed critics who have written in to the paper over the past few months criticising this group and labelling them boring…cause when 30,000 get their rocks off on Ballpower, they must have something…next on was a surprise…it was the LA DE DAS and I thought they were bloody fantastic…it would be hard for any group to follow LOBBY successfully but the LA DE DAS did it and did it in fine style…it’s amazing the sound that can be created by just three musicians…and watch out girls because lead singer KEVIN BORICH is about to become a sex symbol…a job well done LA DE’s…

Go Set Magazine Article

Billy’s Not Over The Hill – A Rainbow Fixed That
 Next was one of the two Sunbury miracles…I must admit I felt like an ant walking out on stage with all these towers of equipment surrounding me…it looked as if we were about to restage the Commonwealth Games…but Aztec energy was about to be let loose…just before I made the announcemen I asked BILLY if the group would be wanting to do an encore…and he replied, Don’t Ask Me Man, You’ll Know From The Reaction Of The Audience…and I must confess that I thought, God, I hope last year’s no indication of audience reaction…’cause in ’73 an encore they did not want…Sunbury ’74 was possibly the greatest test this group had to go through, and I mean the Greatest…and BILLY knew it…gone is the denim and replacing it it are the superb tailor-made velvet and leather jackets etc…the next hour was one of the most amazing sights I’ve ever witnessed since I’ve been connected with pop scene…the AZTECS didn’t Wow the audience…they destroyed them!...BILLY had them literally eating out of his hands…you know, words can’t describe what happened…they did new songs, they did old songs…and ten minutes into their set BILLY was wearing the biggest smile you could imagine…he knew he had them back…one song, what was it? can’t go round saying What on stage??....F*CK I think…front of stage in the press and group arena it was packed…the COLOURED BALLS were down there, the DINGOES…you name them, they were there, all clapping and cheering…and the audience of 30,000 up on the hill with their arms above their heads, the bare-breasted ladies up on guy’s shoulders weaving and rocking, the Excitement…it was really Too Much…and what about when part of the audience  started chanting the AZTEC “Suck More P…” slogan…a saying that derived from their days at the Whitehorse Hotel…it spread through the audience like wildfire and BILLY said “Keep it up, Keep it up”…and then he and the group wrote a song, there on stage about suck more p…
I firmly believe that audience was ready to do anything for BILLY at that stage…after a couple more numbers like Oop Poo Pah Doo, BILLY announced that he was going to do a number that we’d either hate or love…”Here’s One For The Knockers”, he said…and, my God, he did a song that he made a hit eight years ago, ‘Over The Rainbow’…we all looked at each other in disbelief, but it was sounding great!...and on his alone THORPIE can take the title of Australia’s Top Superstar, because that he is…well, the audience just went beserk after that and they just continued to scream and yell, clap and shout and rock and roll…they finally walked off stage and I passed BILLY and I almost felt tempted to say, well it doesn’t look as if you’re going to do an encore…but I didn’t exactly want to wear a guitar at that stage…and the crowd was just screaming for more, and I do mean screaming…in the middle of my Do Ya Wanna Hear More, my voice suddenly cracked in the excitement and like, for the next two days they had to put up with a rather croaky demented Meldrum…there was no doubt that AZTEC energy was back!
What a hard job for ARIEL to follow this…but like the LA DE DAS with LOBBY, ARIEL did a grand job…all the work and effort that’s been put into their visual stage act is really starting to pay off though I must admit that the big explosion on stage that they created fair frightened the daylights out of me…they performed A Strange Fantastic Dream and is it any wonder that the album is selling so well?...what a shame the group, due to an energy crisis in England, are unable to go there in March because at this stage they are very together…obviously the gigs that they have done supporting overseas bands have helped instill a lot of confidence performance-wise into the group…musically you cannot fault them…visually they are progressing in leaps and bounds…MISSISSIPPI were the next on and this group possesses a brilliant range of harmonies…they lack the visual side but they make up for it with their voices and playing…I’m sure everyone out there agreed that they’re really nice to listen to.

Sunday – Madder Seals Crown
Sunday was just as hot and the St.Johns ambulance brigade were working overtime treating people for cut feet, heat exhaustion and other minor injuries…what would a festival like this be without them?...I shudder to think…GLENN CARDIER played a beautiful set that afternoon and it’s easy to see why he was given a Commonwealth Grant…he may not be everyone’s cup of tea but with that selected audience he really does entertain…RICHARD CLAPTON is another who performed that day and although he was very nervous, he proved what a talent he has, both as a singer and as a songwriter…CAPTAIN MATCHBOX were very entertaining…like SKYHOOKS, they are more a theatrical group and it’s good to see that the Australian music scene has now found a place for this type of group…one highlight of that afternoon had to be KUSH and LINDA GEORGE…KUSH are a brilliant brass-orientated group and with JEFF up front camping his way through song after song, ’74 should see this group emerge as a top seller on the record market…LINDA GEORGE was superb…she’s undoubtedly one of Australia’s finest female singers and you can see her confidence growing day by day (an unintentional pun!)…It’s also good to see that Sunbury has come of age and is able to present artists of her calibre on such a festival…there were some fine vocal backings also by the COOKIES…

Matt Taylor
Next on were the DINGOES who gave another fine rock and roll performance…another appearance by MISSISSIPPI and then MATT TAYLOR hit the stage with a rock group backing him…and what emerged was the MATT of old, the MATT TAYLOR that we once knew as lead singer of CHAIN…he really got that audience jumping and in so many ways I strongly feel that MATT should perform with a rock group more often…and what a gas to hear him sing once again “Grab A Snatch And Hold It”…it was yet another great performance by MATT and the audience fully appreciated it…and then came the big wait…for the appearance of QUEEN…apparently there were a lot of hassles with setting up the equipment etc. and I am not going to attempt to go into who was right and who was wrong…but one thing I will say…I don’t think any group should be subjected to the insulting remarks that were made on stage prior to them going on…after all, they were asked to come here and they wanted to give the best performance they could give…the remarks made by this certain person who, I might add, was not one of the comperes, were unfair and totally unjustified… and worse still, it put a downer on the whole audience…QUEEN finally hit the stage,  with all the odds stacked against them…no, they didn’t receive the greatest applause in the world but with a very tight set, they did swing the audience back and at the end the audience gave them a polite but genuine applause…unfortunately the next day they could not appear because their lead singer was legitimately ill…perhaps a few people will have to eat their words over the next year if QUEEN make the top ranks on the international scene.

Queen at Sunbury
The saving grace of the night was the next act that was on…it was MADDER LAKE and they were really fantastic…first they had the hard task of pulling the audience out of their downer…once they achieved that they worked on the audience to bring them to what had to be the all-time high of the day…like the night before with THORPIE, the audience started to dance and wave their hands in the air etc…MADDER LAKE for the first part of their set, performed their new album, ‘Butterfly Farm’ and if you go by the audience reaction they should have no worry about it being a top seller…for the latter part of their show they performed numbers from their ‘Stillpoint’ album as well as their hit singles…and the audience ..well, need I say, just went ape…my only regret was that every programmer from interstate weren’t there to see MADDER LAKE perform…they are without a doubt one of Australia’s unique sounding bands…they are full of originality and are full of entertainment…just ask any one of the 30,000that were at Sunbury.
Queen's Setlist
After MADDER LAKE came JOHN GRAHAM and BLACKSPUR…Now there’s an under rated artist for you…but keep at it JOHN because they’re going to wake up soon…AYERS ROCK then hit the stage and what fine group of musicians they are…and full credit to them for getting the audience rocking and rolling again at 2.30 in the morning…they lack nothing in musicianship whatsoever and perhaps need a front man to give them some visual effect…once this is achieved I would imagine the sky’s the limit…both their performance this night and the following day proved that we have some really top-line Australian musicians…I thought they were great…to finish off the night, well as a matter of fact it was the very early hours of the morning, MACKENZIE THEORY played an amazing set…they really are an unbelievable group…there can be no other group like them I the world…and if they stick together then I’m sure someone from overseas is going to grab them…the worth of this group speaks for itself, but might I add that there were around about 4000 people who stayed up until 4 o’clock in the morning just to listen to this group…the group also played on the second stage and packed it out…
Daddy Who? Daddy Cool (Getting ready to go on stage at Sunbury 74)
Monday – 35C Cool Entertainment
Monday was a very tiring day…it was hot and muggy…once again PIRANA, AYERS ROCK, SID RUMPO and CHAIN entertained the crowd…ROSS RYAN made his second appearance that day and I would imagine it was one of the best performances he’s ever given…ROSS has always been full of confidence and unlike so many artists, he really knows how to work his audience…he has, over the last 12 months, emerged as one of Australia’s top singer –songwriters and his performance that day proved why he has become just that…

One group that emerged on that Monday who were virtually completely unknown before was BUSTER BROWN…they really got the crowd rocking so Watch Out For Them…that’s a definite name to put in your little black book…but Monday really belonged to DADDY COOL…they played as though they’d never ever broken up…and they somehow re-created the excitement of ’71…the crowd just went mad…Absolutely Deliriously Mad…just prior to the group coming on, they adored the stage with three giant Australian flags and during their performance they issued to the audience hundreds of toy flags…the scene was quite unbelievable…the did all their old hits…look, what more can you say…DADDY COOL HAD RETURNED…and so had the excitement…I really believe that they could have played all day and all night and the crowd still would have called for more…it was a great ending to a really successful festival…
I thank all and sundry who organised the festival, especially Odessa Promotions...and Mr. John Fowler…Sunbury ‘74 proved that the Australian music scene id very much alive…but more than that, it proved that Australian artists and musicians are amongst the finest in the world…
Sunbury Pop Orgy???...No!...Sunbury was full of Fun, Music and Entertainment…yes, this year at Sunbury a man died but also for the first time at Sunbury a baby was born… MOLLY xxxxxx


Now, firstly it should be noted that there are some discrepancies in Molly's account which should be noted. It has been reported (by that Skyhooks were booed off stage at Sunbury 74 (apparently the audience wasn't really ready for all of the glam and glitter that they brought to the table) and it is because of this that their first lead singer 'Steve Hill' left the band and was replaced by Graham "Shirley" Strahan, and of course the rest was history.  So, I guess Molly forgot to mention this in his report.
Another discrepancy lies with Milesago documenting that Blackfeather performed at Sunbury '74, yet Molly makes no mention of them playing in his extensive account. Likewise, another Sunbury review in GoSet by columnist Mitch entitled 'Front Row Reviews' (Feb 16, 1974) makes no reference to Blackfeather in amongst his listing of bands.  So, unless someone can provide direct proof, I think Milesago has got it wrong.
One real mystery associated with the recordings released by Mushroom on their Anti RipOff label (see below) is the inclusion of a recording made by an unknown group called 'Full Moon'. There has been much speculation about who they were yet 'Full Moon is absent from any reviews or articles in the GoSet Magazine at that time. There was a UK group with the same name (but are certainly not the same band) based on their style of music.

One hint that might help, is when Molly refers to a 'second stage' when discussing MacKenzie Theory's performance. It is possible that Full Moon may have performed "Freedom Jazz Dance" on this second stage to a smaller crowd, and the recording used to diversify (or fill) the Mushroom release - Part 2.
Apparently, the new concept of a 'second performing stage' was added to the Sunbury festival in 1974 to include "alternative performances such as jazz recitals, theatre, dance, mime, poetry and acoustic music." which seems to fit in with this explaination.
As to the identity of the band Full Moon, ChickaMunro provides us with the only info at hand, on the Midoztouch forum when he reports:  'From the front cover of a promo booklet from Open Sky Productions, who were putting on a gig at the Dallas Brooks Hall, Nov 1975'.
Ayers Rock, Silver Sun, Phil Manning, in concert at The Dallas Brooks Hall
Conceived in our illustrious Gardenvale, Silver Sun makes it's first public appearance tonight.
After months of solid slogging in that fine suburb, the band features John Pugh, a former member of Healing Force and FULL MOON, on lead guitar and vocals. Barry Sullivan,...bass,...Sunil De Silva from Skylight and the Dingoes on drums...Sam McNally...Mal Logan...jazz, soul and blues...funky...Herbie Hancock...Marvin Gaye..."

This has something to do with the whole Healing Force thing - who also had their biggest gig at Sunbury 73, didn't they? Also the Company Caine precursors had Pugh - and so the trail leads all over the place in Melbourne.  Any further information about this mysterious group would be gratefully received !

One final note, before I close this 'rather long post'. Apparently, Sherbet was supposed to have "Hound Dog" included on one of the featured albums but pulled the plug at the last moment for some reason and Thorpie's XXX rated track "You Can't Go Around Saying F*ck On Stage" was pulled by Mushroom in fear of legal reprocussions.  In addition, EMI would not allow its acts to appear on these albums, hence the absence of tracks by Ariel, Coloured Balls, Mississippi, Ross Ryan etc..
This post consists of two different rips (MP3/320kps) taken from vinyl, both in excellent condition.  Part 1 was sourced from Midoztouch with thanks and Part 2 comes from my personal record collection. Full album artwork, a multitude of newspaper articles (from Go Set magazine thanks to RAM) and photos (sourced from The Age archives and with gratitude) are also included as a separate download.
(Sunbury '74 - Part 1)
01 - Lizards (Madder Lake)
02 - I'm a Dingo (The Dingoes)
03 - Gonna miss you babe (Chain)
04 - Big Shake and Hi Honey Ho (Daddy Cool)

05 - New Orleans (Billy Thorpe and the Aztecs)
06 - Hey What's the Matter (Skyhooks)
07 - Roll over Beethoven (Buster Brown)
08 - Buster Brown (Buster Brown)
(Sunbury '74 - Part 2)
01 - Payday Again (The Dingoes)
02 - Morning Magic (Ayers Rock)
03 - Supreme Love (Mackenzie Theory)
04 - Love On The Radio (Skyhooks)
05 - We'll Never Do The Same Again (Matt Taylor)
06 - Wang Dang Doodle (Sid Rumpo)
07 - Sweet Home Chicago (Sid Rumpo)
08 - Freedom Jazz Dance (Full Moon)

Sunbury '74 - Part 1 Link (81Mb) Link Fixed 25/12/2019
Sunbury '74 - Part 2 Link (95Mb) Link Fixed 29/12/2019
Sunbury '74 Artwork and Photos (36Mb)

Sunday, November 3, 2013

Soundgarden - Unauthorised Loud Vol.1 (Live in USA 1988) Bootleg

(U.S 1984–1997, 2010–present)
Soundgarden is an American rock band formed in Seattle, Washington, in 1984 by singer and rhythm guitarist Chris Cornell, lead guitarist Kim Thayil, and bassist Hiro Yamamoto. Matt Cameron became the band's full-time drummer in 1986, while bassist Ben Shepherd became a permanent replacement for Yamamoto in 1990.
Soundgarden was one of the seminal bands in the creation of grunge, a style of alternative rock that developed in Seattle, and was one of a number of grunge bands signed to the record label Sub Pop. Soundgarden was the first grunge band to sign to a major label (A&M Records, in 1988), though the band did not achieve commercial success until they popularized the genre in the early 1990s with Seattle contemporaries Nirvana, Alice in Chains, and Pearl Jam.
Soundgarden, developed directly out of the grandiose blues-rock of Led Zeppelin and the sludgy, slow riffs of Black Sabbath. Which isn't to say they were a straight-ahead metal band. Soundgarden borrowed the D.I.Y. aesthetics of punk, melding their guitar-driven sound with an intelligence and ironic sense of humor that was indebted to the American underground of the mid-'80s. 

Furthermore, the band rarely limited itself to simple, pounding riffs, often making detours into psychedelia. But the group's key sonic signatures -- the gutsy wail of vocalist Chris Cornell and the winding riffs of guitarist Kim Thayil -- were what brought them out of the underground. Not only were they one of the first groups to record for the legendary Seattle indie Sub Pop, but they were the first grunge band to sign to a major label. In fact, most critics expected Soundgarden to be the band that broke down the doors for alternative rock, not Nirvana.
Soundgarden’s first ever live performance was in Seattle, WA at Top of the Court, in December 1984, as a trio with Cornell on drums. Through the 80s, the band was a non-stop music machine in Seattle, playing regularly at places like the Central Tavern and Moore Theater. The bands very first single “Hunted Down/Nothing To Say” was released, issued as a limited edition, in 1987.
In 1988, Soundgarden began to spread out extensively and tour after signing with a small label and releasing debut album 'Ultramega Ok'. In the early 90s they gained recognition and soared through the decade until disbandment.

Chris Cornell
Soundgarden achieved its biggest success with the 1994 album 'Superunknown', which debuted at number one on the Billboard charts and yielded the Grammy Award-winning singles "Black Hole Sun" and "Spoonman". In 1997, the band broke up due to internal strife over its creative direction. After several years working on projects and other bands, Soundgarden reunited in 2010 and their sixth studio album, King Animal, was released two years later.
As of 2012, Soundgarden had sold over 10.5 million records in the United States, and an estimated 22.5 million worldwide.

Although I'm not really a huge fan of grunge, I was quite partial to their mega hit "Black Hole Sun" when it was released in 1994. I am also impressed with their cover of Budgie's heavy riff  classic "Homicidal Suicidal" which I have included as a bonus track along with their rendition of Zeppelin's "Communication Breakdown".
This post consists of an MP3 rip (320kps) taken from the Banana CD bootleg and includes full album artwork and select band photos from the late 80's. Also included are covers of alternative bootleg releases of this concert held in San Francisco in 1988 - namely 'Nose Bleed' (Youth Records  release, see below) and 'Earache My Eye' (Grapefruit Release).
Track Listing
01. Hunted Down
02. All Your Lies
03. Mood For Trouble
04. Gun
05. Thank You

06. Flower
07. I Awake
08. Kingdom Of Come
09. Head Injury
10. Circle of Power
11. Incessant Mace
12. Earache My Eye
13. Homicidal Suicidal (Bonus Budgie Cover)

14. Communication Breakdown (Led Zeppelin Cover)
Band Members
Chris Cornell (Vocals, Rhythm Guitar)
Kim Thayil (Lead Guitar)
Hiro Yamamoto (Bass)
Matt Cameron (Drums)
Soundgarden Link (129Mb)  New Link 18/12/2020