Saturday, July 31, 2021

W.O.C.K On Vinyl: Jonathan Coleman & The Brenda Gee Singers - Aussies On 45 (1981)

Before things get too serious at Rock On Vinyl, I thought it might be fun to post a song or album at the end of each month, that could be considered to be either Weird, Obscure, Crazy or just plain Korny.

Sadly, Australian radio and television personality Jonathan "Jono" Coleman  lost his battle with prostrate cancer on the 9th July, 2021, at the age of 65. 

This month's WOCK on Vinyl pays tribute to his outstanding career in radio, TV, theatre, film and music.  Australia has truly lost one of it's nicest and funniest 'iconic' personalities in the entertainment industry.

Coleman first burst onto TV screens in 1979 as part of the original line-up of Simon Townsend's Wonder World, a popular afternoon children's TV magazine show.  The following is an extract of an interview held between a reporter from ABC News and Mr. Townsend.

"I met Jono as I was setting up Wonder World in 1979. I liked him tremendously," Simon Townsend told the ABC.

"He was a very funny man. But he was non-stop manic. Did I really want [to hire] him? Luckily, I tested him on film doing silly vox pops and they were hilarious. "My name was on the show, but Jono was the star."

Jono and Simon Townsend

Two years later he started presenting radio show Off The Record with Ian "Dano" Rogerson. The show quickly gained cult status and 'Jono and Dano' were snapped up by Triple M in 1984 to present the nighttime show, which they took to number 1.

Coleman was a high-profile radio presenter in England for 16 years and worked for BBC London, Sir Richard Branson's Virgin Radio and Heart 106.2. After returning to Australia, he partnered with presenter Julia Zemiro to present The Jonathan Coleman Experience on WSFM.

Most recently, Jonathan presented a weekly show with longtime Triple J friend Jon Vidler on community radio’s Northside Radio 99.3FM (The Two Jono's).

His TV credits include the Late Night with Jono and Dano show, Hey, Hey It's Saturday, Have a Go, as well as London correspondent for Channel 7's Sunrise.

According to Dano Rogerson, he was a very caring and thoughtful man who did a lot of things for the community including Radio for the Print Handicapped, the School for the Deaf and Blind, the Schizophrenia Research Institute, Carers’ Australia and most recently the Mo'vember Foundation.

Jono was a real all rounder and even dabbled in the music industry, first teaming up with Ricky May in 1983 recording the single “Built For Comfort (I Ain’t Built For Speed)", and later on accompanied by The Brenda Gee Singers, he released the single "Aussies On 45" on the WEA label in 1981. His ‘Aussies on 45’ reached no 66 on the Australian Charts.

Jonathan Coleman was also the voice of the popular Australian 70s and 80s music radio program "My Generation", heard on the Australian Radio Network. 

In 2015, Jono was awarded an OAM for his services to the broadcast media industry and to the community.   There is no doubt that Jonathan Colemen will be remembered as one of Australian Showbiz's nicest people. He is survived by wife Margot and children Oscar and Emily.  RIP 'Jono' 

Jonathan Coleman & Co-Hosts on Studio 10

So, this months WOCK on vinyl tribute still ticks boxes, but the C gets a double shot with Crazy and Coleman, but definitely in a nice way.  As usual, the vinyl has been ripped to FLAC and includes full artwork and label scans. Although Jono was not a 'rock star', his renditions of these popular Australian anthems are enjoyable and easy listening.  Hope you agree.

Side 1 Tracklist:  Road To Gundagai, Waltzing Matilda, Shuddup Your Face, Skippy, Tie Me Kangaroo Down, Up There Cazaly, Duncan, Advance Australia Affair, Come On Aussie

Side 2 Tracklist: Road To Gunagai, Click Go The Shears, Botany Bay, Wild Colonial Boy, Old Man Emu, A Pub With No Beer

Aussies On 45 Link (60Mb)

Tuesday, July 27, 2021

Steve Gibbons Band - Live: Caught In The Act (1977)

 (U.K 1971 - Present)

Steve Gibbons is a British rocker who put out a number of albums during the 70's & 80's. I have several, of which I think this is the best one, but there's several others out there I don't have. The Steve Gibbons Band was a basic Rock & Roll band, nothing too flashy. One reviewer somewhere down the line called him the British Bob Seger. A handle which may have hurt his chances in the states to be acknowledged.

This album contains some popular covers (Dylan, Beatles, Berry) as well as some great original efforts all played with originality and enthusiasm. If you're a fan of British R&R then I'd recommend this one. He's still out there performing today!

Because of the live qualities of the Steve Gibbons Band (SGB) it was logical that the third LP was not a studio album but a live recording. Recorded in the same line-up as the two albums before (bass, vocals – Trevor Burton, drums – Bob Lamb, lead guitar, keyboards, vocals – Bob Wilson, lead guitar, vocals – Dave Carroll, lead vocals – Steve Gibbons) and again supervised by Kenny Laguna as producer, it was released in 1977 under the title "Caught in the Act“. (So the title alludes to the gangster and half-world image the band gave themselves).

Among twelve songs there are no less than five cover versions, whereby only "Day Tripper“ is a widely known mega-hit by the original artists.

To promote sales, the front cover features reviews of concerts the band has given at such illustrious venues as the Whiskey in Los Angeles, the Palladium in New York or the Marquee in London. For those the review that a fan gave on the internet more than 30 years after the release of the LP would fit as headline :

I saw these guys live in 1975 supporting "The Who“ on their US tour, and they tore the place up. It’s a good thing the "Who“ were headlining because a lot of bands wouldn’t have been able to top their live show !

If you summarise the concert reviews on the LP cover, you'll get the following picture: -

The SGB had developed drastically through the American tours with The Who and was now able to play in large auditoriums without any need, and had thus attained the "licence“ for stadium concerts.
In doing so, it combined the "rawness of the young Who“ with instrumental skill.

With regard to the two guitarists Dave Carroll and Bob Wilson (different species of prairie runners in appearance – Cody and his chief scout) it was pointed out that they played "“two utterly different stylist that meshed neatly". Elsewhere there is even talk of "lethal double leads“. Together with Trevor Burton on bass and Bob Lamb on drums the band is said to have been "a squad of unusual power“.

And the singer is characterised as "powerhouse of a vocalist in the Daltrey, J. Geils vein, possessing a natural rock`n`roll acting ability and surprisingly personable stage presence despite a macho image“.

All in all, Steve Gibbons is attested that his voice is "the group`s chief asset". This voice could "strip the wallpaper“ and Gibbons‘ appearance would make even a tough guy like Johnny Cash appear to be a ninny.

Twice it is pointed out that the band could easily be mistaken for a "Southern boogie band“ coming "from somewhere north of Georgia". Lynyrd Skynyrd is mentioned in this context.
And also other critics praise the album. American Robert Christgau, who did not like the two studio LPs too much. In his own snotty style, he points out:

"Neither of Gibbons’s first two albums convinced me that the world needed a young Bob Seger–which meant among other things a craftsman who hadn’t yet mastered his craft."

To then praise the selection of Gibbons‘ covered songs on "Caught in the Act“ and his own work "Gave His Life to Rock`n`Roll“

But this time he’s writing them and picking them with a sharp nose for the cliche. Assholes the world over cover Berry and Dylan on the live album, but they won’t risk unrecognised classics like "Tulane“ and "Watching the River Flow,“ which is why they’re assholes. And how many other craftsmen could imagine a mock myth called "Gave His Life to Rock ’n‘ Roll“?

So the focus of the record and the reviews on it was on the "hard stuff“. Interestingly enough, the concert reviews printed on the record cover also positively emphasise songs (like "Spark of Love“, "Please Don’t Go“, "All Right Now“ and "Strange World“) that are not found on the album.

These are all songs in a more moderate pace. Therefore this circumstance is a clear indication that the album was not meant to show the whole musical range of the band and their concert appearances, but to emphasise the rocking side above all.

Which is absolutely successful on this record. You can hear exclusively "a band who eat thumbtacks for breakfast“.

This image is supported by the cover design. It still uses pictures from the time when the songs were recorded. Therefore, unlike the TV appearances from the time the record was edited, below you can still see a long-haired, casually dressed band of sinister-looking characters, who also posed with a pistol in front of a gold Royce Rolls.

But this also addresses one of the main problems in marketing the versatile SGB: Single sales might have been better off relying on the quieter, more pop numbers. On the other hand: How many buyers would have bought such pop songs from a 35-year-old bearded man, who could have easily been part of the crew of Captain Ahab’s ship, and in addition to that was dressed underneath the fashionable scarf like a self-indulgent professional cheat in a saloon in the Wild West?

The album was advertised with full-page ads in UK music magazines at a price of £2.49, saying that it would feature stage favourites. The adverts also announced another intensive tour, with no fewer than 21 concerts taking place between 1 October and 5 November (see left).

The itinerary included: Hastings, Plymouth, Bournemouth, Coventry, Swindon, Birmingham, Statford, Leeds, Cardiff, Edinburgh, Glasgow, Sheffield, Hanley, Chelmsford, Derby, Bracknell, London, Wolverhampton, Northhampton, Blackpool, Birkenhead, Southhampton, Eastanglia and Southend. (In a quiz about English geography, Steve Gibbons should probably do very well because of his tour experience).

The album briefly made it into the British LP charts. On 22nd Oct, 1977 it entered the charts at No. 43, climbed to No. 22 the week after and on 5th Nov, 1977 it made it to No. 51 again before it disappeared from the charts again. In Great Britain it was the most successful album of the band regarding the chart placement.

This may surprise some people, because in the perception of many people, some other albums, especially "Down In The Bunker“, are much more prominent. It is also possible that "Down In The Bunker“, which sold very well especially in Scandinavia, sold far more copies internationally and over the years than "Caught in The Act“.

The SGB has released many live recordings over the years, documenting the band in their respective incarnations. Among these, "Caught In The Act“ is the only official recording that gave an insight into the live qualities of the "classic“ line-up of SGB consisting of Steve Gibbons, Trevor Burton, Bob Wilson, Dave Caroll and Bob Lamb. (There is also another live LP of this line-up, which the BBC produced for internal use only. By the way, this line-up was the third personal incarnation of the SGB after the family tree in the book by J├╝rgen Wanda).

At the same time, at least in retrospect, the album marks the last phase of the SGB with their classic bad boy image. Their follow up album, "Down in the Bunker“ featured a more melodic and acoustic sound, thanks to the influence of their new producer, Tony Visconti. [taken from the Steve Gibbons Story]

This post was inspired by a chance find - a long lost cassette which I thought I'd lost forever but simply misplaced.  Found the sucker during a COVID lockdown cleanup and decided to celebrate by sharing it here. A quick search on the internet confirmed its lack of availability, so consider this now fixed.
Ripped from Cassette (yep, it stills spins fine) these FLACs bring to life one of my favourite travel tapes when driving around in my first car (a Beetle) back in the late 70's.  Of course, I regret not buying the LP, but the cassette tape was selling cheap at the time and my cash flow was poor.
If you haven't heard this album, then it's time to Catch Them In The Act now!

01 Watching The River Flow 4:37
02 Light Up Your Face 3:23
03 Clothes Line (Wrap It Up) 3:34
04 Git It 3:10
05 Gave His Life To Rock 'N' Roll     4:10
06 And The Music Plays On 4:19
07 Day Tripper 3:26
08 One Of The Boys 4:04
09 You Gotta Pay 2:55
10 Tulane 3:34
11 Speed Kills 3:14
12 Rollin' 6:09

Steve Gibbons Band were:
Lead Vocals – Steve Gibbons
Bass, Vocals – Trevor Burton
Drums – Bob Lamb
Lead Guitar, Keyboards, Vocals – Bob Wilson
Lead Guitar, Vocals – Dave Carroll

Tuesday, July 20, 2021

Chantoozies - Selftitled (1988) plus Bonus Singles

 (Australian 1986 - 1991)

Somethings are just meant to be – and it was certainly that way for the Chantoozies. The dynamic female pop vocal group dominated the 1980's with their party anthems, adored by audiences for their vibrant live shows and their four female strong lead vocal line-up. Led by Eve von Bibra, Angie La Bozzetta, Tottie Goldsmith and Ally Fowler on vocals – with Brett Goldsmith (bass), David Reyne (drums), Frank McCoy (guitar) and Scott Griffiths (keys) – they played to packed houses, sold-out national tours and joined international headliners on the road, all while keeping true to their ethos of putting on a great party.

It was a party in fact, that was the catalyst for The Chantoozies coming together in the first place. It was Tottie’s birthday in 1986 and for a bit of fun, the friends decided to get a group together to play at reputed nightclub the Underground for the party. Little did they know the chain of events they would set in action. The ‘one-off’ gig spurned a six-week Thursday night residency that packed the house every week – and a flood of offers to play at other iconic venues around Melbourne.

The industry had already started to sit up and take notice of The Chantoozies – who named themselves after the French word chanteuse. There was something different about this group. Not only in their effortless ability to kick off the party – and keep it going – but also in the strong female lead singers and the musicians whose repertoire had music fans, and venues, wanting more. So, Mushroom Records backed the group to release their first single – a cover of the 1970's Redbone song Witch Queen of New Orleans.

The Chantoozies version of "Witch Queen" released in 1987 changed everything. Australian music fans suddenly found out what the local Melbourne music scene already knew, this group was something really special. The single smashed into the charts, reaching #4 and the video clip, directed by Peter Faiman (of Crocodile Dundee fame) made The Chantoozies a household name overnight and turned the group who ‘got together for a bit of fun’ into a solid recording act.

(Top to Bottom)
Angie La Bozzetta,
Eve von Bibra,
Ally Fowler
and Tottie Goldsmith
They were invited to perform on Countdown and the momentum just keep rolling. The Chantoozies second single, a version of "He’s Gonna Step On You Again", went further to demonstrate their versatility as a group, sitting in the Top 20. They also headed into the studio to record their debut offering – the self-titled 'The Chantoozies' – released in 1988, and their first original single "Wanna Be Up".

Penned by Eve von Bibra and Brett Goldsmith, "Wanna Be Up" was the epitome of The Chantoozie’s sound. It embodied what their live shows were like, and it was embraced by music fans everywhere. It smashed into #5 and kept up a constant resurgence in and out of the Top 5. Their debut album went gold and platinum and held its position in the Top 10. The final single from the album, "Kiss 'n' Tell", also hit the Top 20, cementing The Chantoozies as one of the favourite groups of the decade.

Keeping up their party spirit, The Chantoozies were solidly touring everywhere. There were few venues on the East Coast they hadn’t played to packed houses, they did a host of crazy private and corporate events and a memorable New Year’s Eve performance in 1988 on the Tall Ships in Melbourne. They were regulars on TV shows such as Hey Its Saturday, Tonight Live and Countdown. [Extract from Chantoozies Website]

This post features freshly ripped FLACs from my pristine vinyl (so clean I had to wear my sunnies to kill the glare - LOL) and three 45's that I picked up awhile back (all with non-album B-Sides released in 1988). 
Of course full album artwork and label scans are included along with cover scans of the three bonus 45's. 

It is worth noting: James Reyne's great song 'Motor Too Fast' is here given a passable cover treatment (naturally with blander and less distinctive group vocals), but curiously has been retitled 'Slightest Notion' (a phrase that does, however, is sung in the chorus, though in the first line rather than the last...)  

01 Wanna Be Up 3:40
02 Kiss 'N' Tell 4:05
03 Bang Bang 4:02
04 Slightest Notion 4:26
05 Weatherman 4:21
06 He's Gonna Step On You Again 3:41
07 Hey Lord 5:32
08 Shakin' Up The Ground 5:33
09 Witch Queen 4:19
10 Little Boy Blue 4:46
[Bonus tracks]
11 Little Woman (B-Side Single) 4:07
12 The Chantoozie Shuffle (B-Side Single / Instrumental) 3:02
13 Want To Go (B-Side Single) 3:04

Chantoozies are:
Ally Fowler (Vocals)
Angie Labozzetta (Vocals)
Eve Von-Bibra (Vocals)
Tot Goldsmith (Vocals)
Brett Goldsmith (Bass / Keyboards)
David Reyne (Drums / Percussion / Backing Vocals)
Frank McCoy (Guitar / Vocals)
Scott Griffiths (Keyboards / Piano)

Thursday, July 15, 2021

Stevie Ray Vaughan & Double Trouble - Live Alive (1986)

 (U.S 1978 - 1990)

He’d have been remarkable in any era, but Stevie Ray Vaughan (SRV) arrived just at the right time in the long history of the electric blues. The late 70's and early 80's were not halcyon days for the art form: Eric Clapton’s star had waned with so-so albums such as Another Ticket and Money And Cigarettes, ZZ Top were delving into the sequencer-driven MTV-rock that made them millions but ripped up their roots: the rejuvenation of Buddy Guy, John Lee Hooker and other elder legends was still some way off… the underrated Robert Cray was making waves, but his gentler, more soulful style didn’t deliver the power-blues thrills many guitar players sought. Indeed, in a flurry of hairspray and spandex, hair metal was the 80's habitat stalked by many guitarists with cranked amps seeking to summon the spirit of Jimi.

But Stevie Ray was different. Refreshing, in that he looked even further back. Yes, Hendrix was a huge influence, but he also a keen student of Muddy Waters, Albert King, Freddie King, Chuck Berry, Lonnie Mack and Otis Rush. He incorporated the jazz styling of Django Reinhardt, Kenny Burrell and Wes Montgomery.

He made his name with his band Double Trouble in the Austin, Texas music scene, and by the turn of the 80's had bridged the gap back to the 60's blues explosion like no other. Mick Jagger was an early admirer – inviting SRV to play a private party – and after a 1982 performance at the Montreux Jazz Festival, David Bowie was immediately another. Vaughan was thus soon in the unlikely position of club-level hero and simultaneous sidekick to superstars.

There’s no doubt SRV’s guesting on Bowie’s Let’s Dance album broke his name in a way no critical roots acclaim ever could. SRV played on six of the eight Let’s Dance tracks, and a solo deal with Epic records was soon sealed (after an offer of free studio time from Jackson Browne). Controversially turning down the offer to tour with Bowie, SRV got back with Double Trouble and delivered a trio of outstanding blues albums for a new era: Texas Flood (1983), Couldn’t Stand The Weather (1984) and Soul To Soul (1985).

Alcoholism and collapse interrupted this incendiary run – filled by the in-concert Live Alive – but Vaughan returned clean and correct with In Step (1989) before tragedy struck. If he was in the right place at the right time for his rise, it was the exact opposite when he was killed in a helicopter crash in 1990. SRV had just completed an August 1990 live show in Wisconsin with those mentors who he could now consider peers: Eric Clapton, Buddy Guy, his brother Jimmie Vaughan, and Robert Cray. At just 35, Stevie Ray Vaughan was taken down just as he reached a personal summit. [extract from - Article by Michael Leonard]

Album Review
Live Alive is a magnificent double-length showcase for Stevie Ray Vaughan's guitar playing, featuring a number of extended jams on a selection of most of the best material from Vaughan's first three albums, plus covers of "Willie the Wimp," "I'm Leaving You (Commit a Crime)," and Stevie Wonder's "Superstition." The album may not be exceptionally tight or concise, but then again, that's not the point. The renditions here sound less polished than the studio versions, with Vaughan's guitar tone bitingly down and dirty and his playing spontaneous and passionate.

Live Alive is the first live album compiled from four live performances by Stevie Ray Vaughan and Double Trouble. The performances were recorded on July 15, 1985 at the Montreux Jazz Festival; July 17–18, 1986 at the Austin Opera House; and July 19, 1986 at Dallas Starfest. Much of the album was overdubbed in the studio.

Stevie's Stratocasters
My first encounter with Stevie Ray Vaughan was when I heard his Texas Flood album at a wild party in Carlton back in 1983 and immediately hunted down the album from Readings Records the day after.  I've never looked back since and have acquired most of his releases over the years. Although I have this double live album on vinyl as well, I still think Texas Flood is Stevie's best release and will post it at a later date. 
In the mean time, I am posting his 'Live Alive' album in MP3 (320kps) format for your enjoyment, along with both vinyl and CD artwork.   Favourite tracks are "Voodoo Chile" and of course "Texas Flood"

01 Say What! 4:43
02 Ain' T Gone 'N' Give Up On Love 6:26
03 Pride And Joy 4:59
04 Mary Had A Little Lamb 4:20
05 Superstition 4:33
06 I'm Leaving You (Commit A Crime) 5:40
07 Cold Shot 5:36
08 Willie The Wimp 4:51
09 Look At Little Sister 4:06
10 Texas Flood 6:36
11 Voodoo Chile (Slight Return) 9:42
12 Love Struck Baby 3:41
13 Change It 4:53
14 Life Without You 9:30

SRV were:
Guitar, Vocals – Stevie Ray Vaughan
Bass – Tommy Shannon
Drums – Chris "Whipper" Layton
Keyboards – Reese Wynans

Monday, July 5, 2021

Wishbone Ash - Live Dates (1973) FLACs

 ( U.K 1969 - Present)

During the early and mid-'70's, Wishbone Ash were among England's most popular hard rock acts. The band's sound was rooted in energetic hard rock, with a strong progressive rock influence in their extended compositions, inventive melodic sense, and the epic-scale soloing from their various guitarists (most notably Andy Powell, the group's sole constant member). Despite extensive personnel changes throughout their existence, Wishbone Ash maintained a distinct sound and a prolific longevity that earned them a lasting following. The group's most popular and best-regarded work came in the early '70's with their first four studio albums (1970's Wishbone Ash, 1971's Pilgrimage, 1972's Argus, and 1973's Wishbone Four), while they enjoyed a popular resurgence with 1987's all-instrumental Nouveau Calls, took a detour into electronic music with 1999's Trance Visionaries, and delivered a strong late-career effort with 2014's Blue Horizon.

Wishbone Ash were one of the top guitar bands in the Europe of the 1970's, although they were and remain barely known in the US. They even became tax exiles and lived in the States at the end of the 70's. 'Live Dates' is one of the very best live albums from the 70's, if not ever, for classic two-guitar rock.

It really captures the sound and vibe of Wishbone Ash live. The stylistic diversity is quite clear from their take on boogie numbers including "Jail Bait, Lady Whiskey" and the cover of "Baby What You Want Me To Do". These tracks are surrounded by the pop of "Blowin' Free", the progressive rock of "The Pilgrim", "Phoenix", and "Warrior" along with the quieter English folk of "Ballad Of The Beacon", which in my opinion is an all time classic track.

Album Review 1
I have always been rather wary of live albums for obvious reasons: poor sound quality, audience intrusion/singalong, over-indulgent solos etc., and i have very few in my collection, but "live dates" is one of the best live albums you will find, in my opinion almost up there with "Made in Japan", "Live at Leeds" and "Yessongs". The sound quality is spacious, clear and full, the playing is faultless, this MCA double LP contains some brilliant solos and has tracks taken from each of their first four albums. the album was recorded during dates at Croydon, Newcastle, Reading and Portsmouth during June 1973 on the rolling stones mobile ( who else used that?? ). Side one LP one kicks straight into "The King Will Come", "Warrior" and "Throw Down The Sword" from "Argus". 

On side two, I wish they'd included "Errors..." and "Handy" instead of "Rock'n'Roll Widow" and "Ballad of the Beacon", but actually these sound better on this live album than the studio versions, so there you go I suppose. This side ends with the blues song "Baby What You Want Me To Do" which includes great blues/slide guitar solos. LP two starts with tight versions of "The Pilgrim", boogie- style "Blowin' Free" and "Jailbait" (really cookin' now) while side four has great versions of "Lady Whiskey" and a beautiful 17 minute long version of "Phoenix" from their first LP. Other than that track, there are no long improvisations, just excellent renditions of some of their best songs. Excellent addition! [thanks to Mystic Fred from]

Andy Powell and Ted Turner

Album Review 2 (CD Release)
Live Dates is one of those classic live albums of the 70's that any rock fan must have. It is in the same league with the better known Made In Japan (Deep Purple), Yessongs (Yes), Genesis Live (a pity it is not a double album!), Live And Dangerous (Thin Lizzy), Live At Leeds (The Who) , Strangers In The Night (UFO) and very few others. Unlike many of their peers, Wishbone Ash were really better live than in the studio, as this CD shows all the time. Those guys were outstanding musicians and their performances are spotless, beautiful and, believe it or not, extremely well recorded.

Steve Uptown
The reviewed CD is the single disc version, released in the mid-90's by the Beat Goes On label, which were the very first company to actually do a fine, respectful, remastering of the original tapes. Their work on this album is up to their fame: crystal clear sound, where you can hear everything, even the guitarist pickin' on the strings of the guitar on the 17 minute epic Phoenix. The single CD holds the entire double LP in 79:48 running time, quite a feat! The double original CD by MCA has only one song on the second disc, another version of  "Phoenix", not worth the extra money you had to pay for it. At the time I thought this was very unfair to the fans and I still think so. So look for the BGO version.

Martin Turner
The set list is great, picking up songs from their first four LPs. If you ever wanted to know a band that is quite progressive and used no keyboards on their sound, then Wishbone Ash is a good example (just hear the 9 minute instrumental track Pilgrim to get a glimpse of how good and progressive they really were). Great guitar solos, licks and duels, fine vocal harmonies and a very strong rhythm section (the bass is so well mixed you can hardly believe) Those guys were very influential for the 80's hard and heavy metal bands (like Iron Maiden, among others), but not only. Their melodic sound is very original and have some classical and British folk leanings that add to their obvious rock'n roll and blues influences (they deliver a great cover of the Jimmy Reed's blues classic "Baby What You Want Me To Do"). Andy Powell is a superb guitarist, and his slide guitar interventions here and there are quite creative and different from most players.

All in all a classic album recorded when Wishbone Ash was at its peak. One of the few live albums that captures the band outdoing their already fine studio performances. Everything works here. A must have for any rock fan, prog or not. Five stars, no less. [thanks to Tarcisio Moura from]

This post consists of FLACs ripped from my trusty Vinyl copy, purchased sometime back in the late seventies, after hearing the live track "Ballad Of The Beacon" on an MCA compilation album called Some Hard, Some Hot 'N ' Some Heavy (previously posted on this blog).  

I had seen Wishbone Ash albums in the record racks but knew nothing about them and don't recollect any of their songs hitting the Australian charts at that time.   I think I picked this album up cheap at one of the pop-up record markets that occasionally appeared on my University campus and absolutely loved it.  I still play it today when I feel like hearing their signature duel guitar jams.  Closely followed by some Lynyrd Skynyrd of course!
Weighing in at just under 80mins with some fade outs of audience applause, I have made this rip fit on a single CD for your pleasure. Full album artwork and label scans are also included.
Band photos sourced from [ ] with thanks

Tracks Listing
01. The King Will Come (7:44)
02. Warrior (5:57)
03. Throw Down the Sword (6:08)
04. Rock 'n' Roll Widow (6:08)
05. Ballad of the Beacon (5:22)
06. Baby What You Want Me to Do (7:48)
07. The Pilgrim (9:14)
08. Blowin' Free (5:31)
09. Jail Bait (4:37)
10. Lady Whiskey (5:57)
11. Phoenix (17:23)

Line-up / Musicians
- Martin Turner / vocals, bass
- Andy Powell / guitars, vocals
- Ted Turner / guitars, vocals
- Steve Upton / drums

"LIVE DATES" was recorded during the latter part of June 1973 at the following venues:
Croydon - Fairfield Hall (tracks 1, 8, 9, 11)
Newcastle - City Hall (tracks 2, 3)
Reading - University (tracks 4, 5, 7, 10)
Portsmouth - Guildhall (track 6)