Tuesday, March 31, 2015

W.O.C.K On Vinyl - The Grind: Mile Away (1981)

Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.
What you are reading right now, and what you will soon hear, are unique achievements in Australian contemporary Rock-and-Roll. Hard Grind is a band whose name suggests the strenuousness and strength of purpose that is indeed the foundation stone of their art. Their road, as has been the case with many others, has been littered with individual success and heartache, diversion of purpose and the final flowering of this unique sound that you are about to hear.
The bands' approach to their music is perhaps best summed up by referring you to the motto that heads the list of M.R.M. Records: "Don't follow trends - make them!" The sound that Hard Grind create is the epitomy of the times we live, coloured by experience and highlighted by their unique direction of purpose.
Hard Grind formed some two years ago under the direction of lead guitarist Arnie Olbrich. The individual members came from varied and different backgrounds to combine in this creation of an original sound and rock-and-roll concept of entertainment.

Left:  Earlier band 'Tree'  Right:  'Hard Grind'
As you cast your eye on the photograph above right, the members of the band are (left to right): Bert Mattfschtk - Bass Guitar, Bret Cooper - Drums, Peter Ryan - Keyboards, and Arnie Olbrich - Lead Guitar
All members of Hard Grind provide the vocals, the leads being shared between Peter Ryan and Arnie Olbrich.
The original material makes up 90% of the band's performances is all written by Arnie. His ability to sum up the contemporary scene is uniquely reflected in the strong lyrics and music he writes and the electrifying performance the whole band gives them. ......linear notes from back cover of single

Hard Grind played a gig for the University Of Wollongong,in their Union Hall on July 30th, 1981 as recorded in the university's 1981 annual report.

'Arnie O. Connections' is the latest brainchild of local Wollongong identity Arnie Olbrich.
Most musicians in the area know Arnie as "the guy who runs Kickstart Rehearsal Studios", but he actually has an impressive history in the music industry dating back to the 70's with bands such as 'Tree', which saw them share the stage with heavyweights such as AC/DC and Johnny O'Keefe.
Arnie departed for London for several years after that, working with members of The Nashville Teens, Masters Apprentices and Billy Ocean's backing band, before returning to Australia in the early 80s to form Hard Grind which enjoyed national exposure with their top ten hit "Mile Away".
In 1988 Arnie collaborated with Leon Berger (Koo De Tah) which resulted in winning two international songwriting awards, including Best Bicentennial Song for 'The Australian Dream'. Arnie later re-recorded that song in 2009 with Lord Tim (Lord/ Dungeon) and it was subsequently entered into the National Archives, along with the associated video clip which featured rare footage of Arnie interviewing ex-Prime Minister Gough Whitlam.
This collaboration with Lord Tim proved to be so successful, Arnie approached him once again to produce and perform on the debut Arnie O. Connections album 'Piece of Yesterday' which also featured performances by a host of local Illawarra musicians, along with members of the original Hard Grind band, and included reworked versions of many of their classic songs. This album also spawned the cinematic styled video clip for the song "Lobo In Hell" which has been featured nationally on ABC TV and accumulated thousands of views on You Tube.
In late 2013, Arnie hit the studio once again for the follow-up release 'Neural Erosion'. This time the album featured performances from members of Carbon Black, Germ, The Four Kinsmen, Hard Grind and again was produced by Lord Tim, who also appeared as a guest performer.
Stylistically hard to define, 'Neural Erosion' segues effortlessly between 80's pop/rock, classic 70's rock, modern melodic hard rock, and experimental sitar-laden atmospheric grooves.
Three video clips have already been filed for the songs "Absolute Escape", "Neural Erosion" and "The Score" (the latter being a reworked, exceptionally energetic dance version of the 70s rock styled song that appears on the album)
'Neural Erosion' is available internationally via CD Baby, iTunes and Bandcamp.
So this month's WOCK on vinyl post pays tribute to Wollongong, a small seaside township located in the Illawarra region of New South Wales, Australia; which has spawned some successful (and no so successful) bands over the years.  For some great background information of some bands that have come out of Wollongong during the 70's and 80's see the following article by Mike Donaldson. from 1984.
Hard Grind is certainly an Obscure band and I recently came across this single in amongst a box of 'junk' at the flee market and was first attracted by independent record label M.R.M.
Although the A-side is OK, I much prefer the B-side track "Broken Down Machines" which sounds a lot like something that Bruce Springsteen  might have recorded.  Enjoy.

Hard Grind Link  (51Mb, FLACs)

Tuesday, March 24, 2015

Avalanche - Avalanche (1976) + Bonus Tracks

(Australian 1976-78)
Melbourne based Avalanche was a rock act fronted by 'ex-Raw Glory' vocalist Adrian Campbell. The group had been assembled by three erstwhile members of 'The Bootleg Family Band', guitarist Tony Naylor, bass player Clive Harrison and drummer Geoff Cox. With the recruitment of Campbell the quartet set about gigging as Avalanche in early 1976. The band's catchy pop/rock sound was displayed on the singles "Wizard Of Love" (in February 1976 and it went to #23 in Melbourne.), "Sweet Baby, Brown Eyes" (July 1976), "Landslide" (October 1976) and "Good For Me, Good For You" (March 1977), and on their self-titled album in September 1976. The following month brought what was potentially the group's biggest break when it was announced that they had signed with ABC Dunhill Records for release of their material in the U.S. "Wizard of Love" became their first US Single and was closely followed by their "Landslide" single. Unfortunately, reaction in the US was not strong enough to prompt a trip there.

The following year both Harrison and Cox drifted away. Clive Harrison would later issue a 1982 solo album 'Once Bitten'. John Barnes was enlisted on drums to fill the void but in quick succession he was usurped by former Pantha man Barry Cram. The bass position was given over to Graham Thompson, an ex-Stars member. Augmenting their sound with keyboard player Gerard McCabe Avalanche issued their version of The Beatles 'Got To Get You Into My Life' as a single.

Avalanche 1976
 During 1978 Campbell and Naylor had re-titled the band 'Front Page' bringing in bassist Phil Wood, 'ex-New Morning' and 'Key Largo' keyboard player Bruce Haymes and erstwhile 'Clean Cut' drummer Tony Thornton. Haymes had the briefest of tenures before he upped and left for the 'Richard Clapton Band'. He would be replaced by James Black of 'Rum Jungle' on guitar and keyboards.

Front Page only managed the one single, "I Thought I'd Never Fall In Love Again"/"Rockin' Hollywood", before collapsing (You can find this single at OzzieMusicMan). Interestingly enough Campbell's vocals sound very much like Graham Bonnet's in this single. After splitting, Naylor joined Jon English's backing band Baxter Funt and Campbell would be spotted in the early 80s as part of Funk band Adrian's Wall.
Meanwhile, ex-Avalanche drummer, Geoff Cox, was keeping busy doing voice-overs, session drumming and even a stint on Melbourne radio station 3DB as a co-announcer. He also spent several weeks filling in as a drummer for the Little River Band following Derek Pellici's accident.  Today, Coxy is a well known celebrity and T.V presenter on various Life Style Shows.

Avalanche 1977
 This post consists of MP3 (320kps) ripped from vinyl and includes full album artwork along with label scans. Also included are 4 bonus non-album singles (A/B sides).  Although there are no landslides on this record (LOL), the song writing skills of Naylor and Harrison are still strong and the LP is still worth the listen.
Thanks to Dave and Micko at Midoztouch for some of the bonus singles included here.
Track Listing
01 - Bermuda
02 - Wizard Of Love
03 - Annie
04 - Overnight Sensation
05 - Tie Your Laces
06 - Landslide
07 - Bar Room Ladies
08 - Spark In The Dark
09 - Closer To Love
10 - Symp (Instrumental)
11 - Something I Need

12 - Sweet Baby Brown Eyes
13 - The Climb (B-Side Single)
14 - Got To Get You Into My Life (Bonus Single)
15 - You And Me (Bonus Single)
16 - Good For You, Good For Me (Bonus Single)

Avalanche were:
Adrian Campbell (Vocals)
Clive Harrison (Bass)
Tony Naylor (Guitar)

Geoff Cox (Drums)
Avalanche Link (100Mb)  New Link 5/03/2017

Thursday, March 19, 2015

John Lodge - Natural Avenue (1977)

(U.K 1965 - Present)
This 1977 solo effort by John Lodge, the Moody Blues' esteemed guitarist reminds listeners of various important things. First, that he's a great rocker who enjoys an inspirational, jamming tune that can flash his electric prowess, as on the locomotive "Natural Avenue." Second, that once a Moody, always a Moody, as every song to a certain extent has that ethereal, orchestral flair to it, and incorporating this can be sappy or effective, depending on the strength of the tune ("Summer Breeze" is a bit on the melodramatic side). And finally, that Justin Hayward was and is the lead singer for a good reason. Lodge has a serviceable voice, and charms effectively on kindly ballads like "Carry Me," but there's an airy quality to his delivery that skims over the potentially deeper emotions of each tune. The album is best listened to as a nostalgia session because many of the cheesier '70s production techniques were employed, dating it pretty severely. Perhaps the fact that Lodge's solo career never fully took off is something we should be grateful for; had it, the Moody Blues might not have endured intact so many decades beyond their original heyday. [review Jonathan Widran]

Listening to the various solo albums and collaborations of the band members really drives home the following idea in my mind: the Moody Blues were a band entirely (except for Edge) made of second bananas. By this I mean that the four main songwriters were all the kind of guys you could rely on for two or three really good songs per album, but that would have trouble filling out a recording with great songs from start to finish. Now, within a band as "democratic" as the Moodies were, this made for an ideal situation, since nobody had to contribute more than two or three of those songs an album, and as such the band's albums ranged from good to great. This album, though, follows the expected pattern of a Moody Blues second banana; a bunch of material ranging from mediocre to quite good, with a couple of incredible peaks thrown in for good measure.

The album actually starts off quite strong, giving the impression of a potential minor classic. The opening "Intro to Children of Rock and Roll" (the full track is much later in the album) is a minute-long acoustic number that's just sorta there, but the title track that follows is quite interesting. It's a fascinating example of how an awkward, not-quite-right sequence of notes, as in the verses, can function as a full-fledged hook, and while the "rocking" foundation is kinda pedestrian, the various elements of the song come together in a way that I really like. "Carry Me" and "Summer Breeze" are both rather nice pop-ballads that each boast pretty lovely melodies; they each basically just ride a couple of nice, but not amazing, hooks for a few minutes a piece, and they each leave me with a warm feeling when they're over. We then come to the album's first major classic, the gloriously anthemic "Who Could Change." The melody is built around a two-note foundation, a foundation that has led to some classics through the years (e.g. "Imagine," "Isn't it a Pity") and scores of tacky anthems, and I really think this song comes out strongly on the positive end of things. It's a song that really benefits from John's "shaky" voice, in much the same way that his parts in "Isn't Life Strange" benefit, and the contrast between John's voice and the incredible build in the arrangements (including guitar parts that sound uncannily like Hayward at his best but which apparently aren't) as the song goes on really impresses me. A hardcore Moody Blues fan that hasn't heard this song is a sad hardcore Moody Blues fan indeed.

Unfortunately, the album falters pretty badly in the second half. The track immediately following "Who Could Change" ("Broken Dreams, Hard Road") is shockingly clumsy sounding after the songs that had come before it, and the weak reggae of "Piece of My Heart" doesn't make me feel any better either. "Rainbow" is a rather nice, albeit schmaltzy, orchestrated ballad, while neither "Children of Rock and Roll" nor "Street Cafe" sound as powerful or interesting as John seems to think they should. They're not bad, but they're not that great, either. Plus, the CD version ends with a bonus single, "I Threw it All Away," where John inexplicably tries to do what sounds like a Bryan Ferry imitation to my ears, and the mix of saxophones and female backing singers doesn't seem tasteful at all to me.

However, in the midst of the dreck of the second side, there is one more ballad that stands up to anything John wrote in his career with the Moodies. "Say You Love Me" is basically the template for all of the great ballads he did later, and I'm not sure he ever topped this one. The first half of each verse melody is only mildly interesting, but the second half of each verse, leading into each repetition of the chorus, is one of the most powerful bits of music (ignoring the lyrics, which are largely predictable given the title) mentioned on this whole page. There's just something amazing to me about that chord sequence, and the way John belts those lines with all of his charmingly limited might, that makes the song get stuck in my head all the time. Plus, there are some nice bits of guitar window dressing throughout, and a curious descending synth sound that pops up from time to time. Great song.

So overall, this is a pretty inconsistent offering, one I could probably give a smaller grade if I were feeling cynical, but it's definitely one I like on the whole. The peaks are great, and there are enough good songs for me to give this a 9 without too much consternation. [extract from John McFerrin Music Reviews]
This post consists of MP3's (320kps) ripped from my vinyl which I purchased from a second hand record shop in the late 70's, because of  the great album cover (Roger Dean).  The Moody Blues were one of my favourite bands at the time and Justin Hayward  was well known for his solo releases, but the name John Lodge was not familiar to me. I was therefore pleasantly surprised when I eventually realised who he was.
Also included in this post is full album artwork for LP and CD, along with the full lyric sheets from the LP.
Even though I like this album, I must admit it does sound like a watered down 'Moodies album' and kinda leaves you wanting more.  Nevertheless, if you haven't heard this album I reckon it is worth the listen, but don't expect any "Nights In White Satin" on this one.
Track Listing 
01 - Intro To Children Of Rock'n'Roll     1:05
02 - Natural Avenue     3:55
03 - Summer Breeze     5:22
04 - Carry Me     5:46
05 - Who Could Change     6:19
06 - Broken Dreams, Hard Road     4:32
07 - Piece Of My Heart     3:55
08 - Rainbow     3:51
09 - Say You Love Me     6:30
10 - Children Of Rock'n'Roll     4:30
John Lodge (6 & 12 string Acoustic Guitar, Bass, Vocals)
Steve Simpson (Spanish & 6 String acoustic Guitar)
Kenny Jones (Drums & Percussion)
Chris Spedding (Electric Guitar)
Mick Weaver (Piano)
Jimmy Jewel (Sax)
Brian Rogers Orchestral Quintet
Gary Osborne, John Richardson, Alan Williams (Backing Vocals)

John Lodge Link (123Mb)  Link Fixed 03/05/2021


Wednesday, March 11, 2015

Deep Purple - Nobody's Perfect (1988)

(U.K 1968 - 1976, 1984 - Present)
Nobody's Perfect is a live album released in 1988 by Deep Purple. It was recorded during The House of Blue Light tour in 1987 in Europe and the USA. The outer sleeve photography was designed by Aubrey Powell of Hipgnosis and the band lineup was a reunited Deep Purple Mark II
This double live set also contains a new studio (Live Jam) version of "Hush" to commemorate their 20th anniversary. (Note: "Black Night" was also re-recorded but never released).
The album represented Deep Purple's setlist at the time, which consisted much of the typical Made in Japan set, combined with newer material from the 1984 reunion album Perfect Strangers and The House of Blue Light. Songs such as "The Unwritten Law" and "Difficult To Cure" (which included an extended-riff from Beethoven's Ninth Symphony, 4th Movement) were played every night on the tour, but were not included on this album.
"Hard Lovin' Woman" includes parts of "Under The Gun" during Blackmore's guitar solo. "Strange Kind of Woman" includes the "Superstar" chorus from Jesus Christ Superstar. "Woman from Tokyo" changes into "Everyday" (Buddy Holly) halfway through. [extract from Wikipedia].
Review 1
Recorded during the tour to promote "Perfect Strangers" and the then forthcoming "House of blue light", this is a fine live album by Deep Purple. With the classic line up having reformed for those albums, all the energy and virtuosity, not to mention personality clashes, returned.

The track list borrows heavily from the legendary "Made in Japan", with no less than 6 tracks being duplicated. These include "Highway star", "Smoke on the water", and "Child in time" of course, as well as truncated versions of "The mule" and "Space truckin'". "Strange kind of woman" makes up the six, but the version here is adapted to include a call and response duet between Gillan and Blackmore, which leads to a burst of "Superstar" from Rice/Lloyd-Webber's "Jesus Christ Superstar". For those in doubt as to the reason for this, Ian Gillan sang the part of Jesus on the original Rock Opera release of "Jesus Christ Superstar". The performances of the other five tracks are faithful, perhaps with hints that this line up has played them so often that they do not now require any real effort, "Lazy" being a little too close to the truth. For some reason, Blackmore's guitar solo on "Child in time" lacks the impact of the original, sounding rather ordinary here.
The new songs are introduced by a spirited rendition of the title track from "Perfect strangers". This wonderful Zeppelinesque song which transfers well to a live environment, concludes with a blink and you'll miss it coda of "Gethsemene" from the aforementioned "Jesus Christ Superstar".
We then dip into the disappointing "House of blue light" for two songs (three if you have the extended CD) of which "Bad attitude" is the most appealing. "Perfect strangers" then contributes another number which made the album such a pleasing return to form, with "Knocking at your back door". The extended intro to the song here, which includes some classical and ragtime piano, only serves to embellish the tension of the studio version.
It's good to hear "Woman from Tokyo", the only really memorable track from "Who do we think we are" getting an airing, although it does end with a rather strange Buddy Holly interlude for no apparent reason. The album concludes with a "live jam" in the studio of Joe South's Hush, a cover of which appeared on Deep Purple's first album. The rendition of the verses here sounds surprisingly like Aerosmith's "Walk This Way" until the familiar "Na na na" chorus cuts in.
In all, a fine live album by the legendary line up of Deep Purple. It may have its shortcomings in terms of both the tracks performed and sometimes in the performances themselves, but hey, "nobody's perfect". [review by Bob McBeath from Progarchives.com]

Review 2
This compilation of live performances by Deep Purple was released in different versions and labels. In the UK and Australia, it was released under Polydor in 2 LP formats while in the US under Mercury with the same format. The CD versions also two kinds: double CD as well as single CD (with some track omissions) both released by Polydor. Mine is the single CD version and I am satisfied with the CD, including the sound quality which is much better than "Made In Japan". It's probably the technology used is significantly different. The band's performances recorded here vary with four tracks (Highway Star, Strange Kind of Woman, Perfect Strangers, and Woman From Tokyo) were taken from the same concert in Irvine Meadows, California on 23 May 1987. Four other tracks (Hard Lovin' Woman, Child In Time, Black Night, and Smoke On The Water) were taken from concert in Oslo, Norway on 22 August 1987. Two tracks (Knocking At Your Back Door and Lazy) from concert in Phoenix, Arizona on 30 May 1987. The remaining track (Hush) was taken from live jam recorded at Hook End Manor on 26 February 1988.

As far as live album, this is a very good one to enjoy as the members of the band demonstrate their full effort for the performances. Ian Gillan still can sing high register notes on "Highway Star" as well as "Child In Time". The famous "Strange Kind of Woman" which was best recorded during "Made In Japan" live record with its great break featuring great shout of Gillan responded wonderfully by Ritchie' guitar solo.But with this version Gillan performed differently even though it still have similar style. There is a good insert of "Jesus Christ Superstar" during the performance of this track. Jon Lord provides great classical music keyboard / piano solo during the opening of "Knocking At Your Back Door" (11:26). "Lazy" is also not performed as "Made In Japan" style but it's still an interesting live track.
Overall, this is a very good compilation of Deep Purple live performances in 1987. Fans of hard rock music who enjoy live record must have this CD [review by Gatot Widayanto from Progarchives.com]
This post consists of FLACs and MP3 (320kps) ripped from my Polydor double vinyl set - acquired from one of the hundreds of garage sales I've picked on countless Saturday mornings. The condition of the vinyl is pretty damn good, but it was a hard one to record with its fluctuating volume throughout many of the tracks. Full album artwork for both vinyl and CD releases is included.  I liken this double live set to their earlier  'Made In Japan' and it almost matches this classic live release by the Mark II reunion group. Gillan's vocals are still as strong as his 1972 efforts and Blackmore still reproduces some of his guitar magic on this one.
As the album says Nobody's Perfect but this double set comes pretty damn close.
Tracks Listing
01. Highway Star (6:10)
02. Strange Kind Of Woman (7:34)
03. Perfect Strangers (6:25)
04. Hard Lovin' Woman (5:03)
05. Bad Attitude (5:31) (Not on original CD release)
06. Knocking At Your Back Door (11:26)
07. Child In Time (10:35)
08. Lazy (5:10)
09. Space Trucking (6:03) (Not on original CD release)
10. Black Night (6:06)
11. Woman From Tokyo (4:00)
12. Smoke On The Water (7:46)
13. Hush (Live studio jam) (3:50)

Band Members:
Ritchie Blackmore - lead guitar

Ian Gillan - vocals

Roger Glover - bass guitar, vocals

Jon Lord - organ, keyboards, vocals

Ian Paice - drums

Nobody's Perfect MP3 Link (203Mb)
Nobody's Perfect LP1 FLAC (298Mb) New Link 01/02/2017
Nobody's Perfect LP2 FLAC (300Mb) New Link 15/08/2016

Wednesday, March 4, 2015

The Party Boys - Live At Several 21st's (1983)

(Australian 1982–1992, 1999, 2011)
Ex-Mondo Rock member Paul Christie formed The Party Boys in 1982 as an occasional “supergroup” consisting of some of Australia’s finest musicians. The concept was that Christie would employ players (all of whom had other commitments) when the need arose, and that the set they played would consist entirely of cover versions.

Paul Christie is an Australian bassist and vocalist born in Brisbane in 1953. He came to prominence as a member of the second and most successful lineup of the group Mondo Rock, which was founded by former Daddy Cool leader Ross Wilson. Christie performed on many of the group's hits in the early 1980s including 'State of The Heart', 'Cool World', 'Summer of '81', 'Chemistry', 'No Time', 'The Queen & Me' & 'In Another Love'.

After leaving Mondo Rock Christie founded the all-star touring group The Party Boys in November of 1982. From his memoirs...

'Upon leaving Mondo Rock in late 1982 I returned to Sydney and took a break on the northern beaches. I thought about options for the future and devised the concept of The Party Boys. Australian Crawl singer James Reyne & I had become friends whilst I was living in Melbourne. We shared a common belief that as musicians, we were not receiving the best financial returns based on the success experienced in our respective bands. This was the way the music business was structured coming out of the ‘70’s into the early ‘80’s...
I believed a line-up of musicians from a number of known bands performing together for an interim period, managed and coordinated by myself, would succeed, for the benefit of the musicians. In October of 1982 I approached the manager of Moby Dick Surfers Club, Graham Chatfield and proposed two concert dates for Nov 14th & 21st 1982. He accepted and booked the yet unrehearsed band. James was in Sydney filming ‘Return To Eden’, he had available time. I called guitarist Ian Moss (Cold Chisel) who was unavailable however his housemate Harvey James (Ariel, Sherbet) was and agreed to participate. I had worked with The Angels fleetingly and become friends with drummer Graham Bidstrup, he joined along with Kevin Borich who had employed me as bass player from 1977-1979 in the Kevin Borich Express...

The Nov 14th date was wildly successful, the band then performed at The Astra Hotel Bondi, The National Hotel Brisbane, The Manly Vale Hotel then Moby’s again on the 21st. A live album ‘Live At Several 21st’s' was recorded by Keith Walker of 2JJJ at Manly Vale. Released by EMI Records it achieved Gold + sales status. The band went through several incarnations over the next decade and included many famous Australian and international musicians including former and current members of Status Quo, The Eagles, Kevin Borich, The Animals, The Angels, Sherbet, Skyhooks, Rose Tattoo, 

The Choirboys, Australian Crawl, Divinyls, Models, Dragon, Swanee, GANGgajang, Rainbow, Alcatrazz, AC/DC and Noiseworks. [Extract from answers.com]

By 1987, the band had released four live albums (and a Best Of collection), with Live At Several 21sts (1983) making the national Top 10. The band finally entered the recording studio in 1987 to put down a cover version of John Kongas’ 1971 hit He’s Gonna Step On You Again, which reached Number One.

.This post consists of FLACs and MP3's (320kps) freshly ripped from my immaculately kept vinyl (so fresh that you can almost smell the Burbon & Coke that was consumed during these recordings)
Full album artwork for both CD and vinyl is also included along with label scans,  for your pleasure.
All of the tracks of on this album are well executed covers of popular hits by bands such as The Rolling Stones, Lou Reed, and Willy Dixon (to name a few), but my favourite track is their cover of the Door's hit "Been Down So Long" (originally released on their LA Woman album).
Get it while it's still hot !
Track Listing
Side one.
01. Not fade away
02. I'm your Hoochie Coochie Man
03. Beat goes on
04. Don't let go
05. Superfreak
Side two.
01. Been down so long
02. My baby drove up in a brand new Cadillac
03. Gunslinger
04. Bitch
05. White light/White heat

The Party Boys were:
James Reyne - lead vocals
Graham "Buzz" Bidstrup - drums
Kevin Borich - guitar and vocals
Paul Christie - bass and vocals
Harvey "Harry" James - guitar and vocals
The Party Boy's MP3 Link (106Mb)
The Party Boys FLACs (293Mb)  New Link 03/05/2020