If it wasn't released on Vinyl or as a bootleg / soundboard recording - then you won't find it here.
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(Australian 1968-1977, 1998, 2003) . By and large, symphonic rock has not flourished in Australia. Sebastian Hardie was the country's first and foremost symphonic rock band. During the mid-1970s, the band enjoyed considerable success with the album 'Four Moments', but since that time has been largely forgotten in the land of Oz. Yet in European, Japanese and American progressive rock circles, the highly revered 'Four Moments' and its follow-up 'Windchase' are considered to be classics of the genre.
Graham Ford formed the Sebastian Hardie Blues Band in 1967. The band played R&B and soul covers and experienced several line-up changes. The line-up included Ford, Dennis Laughlin (vocals; later in the original version of Sherbet), Dave Waddington (vocals), Neil Williamson (organ), John Bellamy (bass), Syd Richmond (drums) and Richard Lillico (drums). The Sebastian Hardie Blues Band became Sebastian Hardie in 1968 with the arrival of singer Jon English and the Plavsic brothers. All three musicians were students at Sydney's Cabramatta High School. The band went semi-professional, working the same suburban dance circuit as The Affair, House of Bricks, The Clik and dozens of other Sydney pop bands.
Throughout 1969, Sebastian Hardie worked as backing band for rock 'n' roll legend Johnny O'Keefe. At the end of 1971, Sebastian Hardie broke up when English accepted the role of Judas Iscariot in the Australian stage production of the rock musical Jesus Christ Superstar. A year later, Ford and the Plavsics re-formed Sebastian Hardie with Steve Dunne (vocals, keyboards). At that point, the band was still playing pop covers on the dance/club circuit, with little indication of future directions.
Visiting English producer Larry Page (Daniel Boone, Kincade) was impressed enough, however, to produce the band's debut single "All Right Now/The Professional" (September 1973), released by RCA. One month after the single appeared, 19-year-old Mario Millo replaced Ford on lead guitar. Millo had been playing the Sydney dance circuit since 1969 with his band The Clik. Millo played on Sebastian Hardie's second single, "Day After Day/Mermaid on the Sand" (April 1974).
By that stage, Millo had begun to write original, highly orchestrated and inventive material which helped usher in a much-needed change of direction for Sebastian Hardie. The catalyst in the band's transformation from accomplished dance-pop band to fully fledged symphonic rock band was the decision to play a 20-minute arrangement of Mike Oldfield's popular `Tubular Bells'. Polydor Records signed the band on the strength of Millo's new material. The band supported international visitors Lou Reed and Osibisa on their respective Australian tours. At the end of 1974, classically trained musician Toivo Pilt (ex-Forever) replaced Dunne on keyboards and Millo took over lead vocals. Sebastian Hardie upstaged Dutch jazz-rock veterans Focus on their June 1975 Australian tour. With the band's increased profile, the album Four Moments and the single "Rosanna/Openings (edit)" (both August 1975) appeared to strong critical acclaim. The album attained gold status (35000 copies sold) after peaking at #13 on the national album chart; "Rosanna" reached #31.
Featuring seamless, dramatic arrangements and impeccable musicianship, Four Moments revealed the influence of European progressive rock bands like Yes, King Crimson, Genesis and Focus. It contained just three tracks, the side-long, four suite "Four Moments", the sensual, melancholic "Rosanna" and the majestic "Openings". Millo contributed some of his most epic and graceful guitar playing to the instrumental "Openings". Mercury issued Four Moments in the USA and Japan. At the end of 1975, Sebastian Hardie undertook a very successful 63-date Australian concert tour. The band's second album, Windchase, appeared in February 1976 to coincide with another national tour as support to US band Santana. Like its predecessor, Windchase boasted superb playing and well-crafted progressive rock, but it failed to live up to expectations. It produced the single "Life, Love and Music/Hello Phimistar" (February 1976).
In June 1976, the Plavsic brothers left the band amid a flurry of ill-feeling. Millo and Pilt immediately recruited a new rhythm section consisting of Doug Nethercote (bass; ex-Clockwork Strawberry) and Doug Bligh (drums; by then ex-Stuart & McKay), but a legal wrangle over ownership of the Sebastian Hardie name prevented the band from playing live. Peter Plavsic had registered the name Sebastian Hardie and therefore claimed legal right to its use. Millo argued because it was his music that had established the band's identity he was entitled to the name. The Plavsic brothers emerged as the successful party in the ensuing court case, and Millo was forced to rename his band Windchase. The brothers never did use the Sebastian Hardie name for their new band as intended. They recruited Graham Wardrop (guitar), John Bushell (guitar) and Rick Mellick (keyboards) in order to back rock'n'roll revival duo The Studs.
Windchase entered the studio during January 1977 to record a new album. Nethercote left halfway through the album session to be replaced by journeyman bass player Duncan McGuire (ex-Doug Parkinson In Focus, King Harvest, Friends, Ayers Rock). By the time the album 'Symphinity' appeared in June, McGuire and Bligh had left to be replaced by the returning Nethercote and Ralph Cooper respectively. 'Symphinity' saw the band moving into heavier jazz-fusion territory (akin to Al Di Meola), but it was not a chart success. It produced the singles "Glad to Be Alive/No Scruples" (May 1977) and "Flight Call/Horsemen to Symphinity" (October). Millo took the band on the road, but in the meantime the emergent punk and new wave movement had relegated bands like Windchase to the dinosaur scrap heap. Windchase played its last gig to 60 people in a Melbourne pub during October 1977.
Mario Millo went on to work with Jon English on the highly successful Against the Wind soundtrack, before issuing two fine, but neglected, solo albums, Epic III and Human Games. He then embarked on a successful career in television and movie soundtrack production. In 1994, the organisers of the annual US progressive rock gathering ProgFest invited Sebastian Hardie to appear on the bill. Although Millo, Pilt and the Plavsic brothers had not played together since 1976, they flew to Los Angeles in November for the festival. By all accounts, Sebastian Hardie delivered a brilliant set to which the audience responded with a standing ovation.
With overseas interest in Sebastian Hardie still strong throughout the late 1990s, the Avalon label in Japan and the Musea label in France reissued the band's back catalogue on CD. The Japanese reissues of Four Moments and Windchase included a bonus track apiece, "Day after Day" and "Since You Left Me" respectively. The band's live set from the 1994 US ProgFest also finally saw the light of day on CD, as Live in L. A. The Avalon and Musea labels also issued Mario Millo's highly regarded solo album, Epic III, on CD for the first time.
The full Sebastian Hardie / Windchase calalogue is available in CD from Mario Millo's website, along with his solo ventures. .
If you are interested in reading interviews conducted with Mario Millo, see The Progressor and an interview conducted with Sebastian Hardie while they supported YES on tour in 2003
This compilation album is a mixture of rare Sebastian Hardie tracks (currently unavailable on any official release to the best of my knowledge). Their first four singles were ripped from Vinyl, the 1998 live track ripped from YouTube and the 2003 Vodaphone live tracks (thanks to WoodyNET) ripped from cassette. Full album artwork is included (adapted from a Rock Legend's vinyl cover). The black & white photos in this posting were sourced from Mario Millo's website (with thanks).
* NOW IN GLORIOUS FLAC FORMAT *
. Track Listing
01 - All Right Now (A-Side Single 1973)
02 - The Professional (B-Side Single 1973)
03 - Day After Day (B-Side Single 1974)
04 - Mermaid On The Sand (A-Side Single 1974)
05 - Horsemen To Symphinity (Mario Millo & Men From Mars Live 1998)
06 - Four Moments (Live at Vodaphone Arena 2003)
07 - Rosanna (Live at Vodaphone Arena 2003)
08 - Openings (Live at Vodaphone Arena 2003)
. Early Band Members:
Jon English - Vocals, rhythm guitar Graham Ford - lead guitar Peter Plavsic - bass Alex Plavsic - drums . Later Band Members:
Mario Millo - Guitar, Mandolin, Vocals
Peter Plavsic - Bass Guitar
Alex Plavsic - Drums / Percussion Toivo Pilt - Keyboards .
Joe Satriani is an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.
In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour. Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993. He has worked with a range of guitarists during the G3 tour, which he founded in 1995.
Concert Against AIDS (Oakland Coliseum Stadium - May 27, 1989)
In Concert Against AIDS - also: Grateful Dead, Tower Of Power; Joe Satriani; Los Lobos; John Fogerty; Tracy Chapman
Although not billed as a Day On The Green, this special concert was promoted under this banner. 'Day on the Green' was a recurring concert in Oakland, California, presented by promoter Bill Graham and his company Bill Graham Presents. Held at the Oakland–Alameda County Coliseum, these events began in 1973 and continued into the early 1990s. The last Day on the Green overseen by Graham took place the same month as his death in a helicopter crash in 1991.
There was a series of Day on the Green shows the following year in the wake of Graham's death and there were other shows in 1994-97 at the Oakland Coliseum Stadium - namely U2, Pink Floyd, and the Rolling Stones.
This post consists of FLACs originating from a Sony TC-D5M/TDK MA-XG Cassette Master (Thanks to Don Pearson) and includes limited artwork.
There is not much information available for this concert but needless to say Satriani was on fire on the day, playing some of his best guitar licks at lightning speeds. The concert list is almost identical to his earlier King Biscuit Concert from 1988 (see previous post) and covers all of his classic tracks, however the sound quality on this bootleg is not quite as vibrant as the King Biscuit recording.
Rose Tattoo was formed in Sydney in 1976 with Leigh Johnston on rhythm guitar, Tony Lake on lead vocals and were led by slide guitarist Peter Wells—who had just departed as bass guitarist of heavy metal band Buffalo. Drummer Michael Vandersluys completed the line-up. Ian Rilen from Band of Light joined on bass guitar. He had taught himself to play while in prison and gave Wells' band the street-cred he was looking for. Rhythm guitarist Mick Cocks soon replaced Johnston; Lake and Vandersluys were substituted by former Buster Brown members Angry Anderson and Dallas "Digger" Royall respectively. Melbourne-based Buster Brown had enjoyed local notoriety, playing at the 1974 Sunbury Festival and had included future AC/DC drummer Phil Rudd. Rose Tattoo made their public debut on New Year's Eve at the rock club Chequers.
Chiefly inspired by The Rolling Stones, Faces and Billy Thorpe and his 1970s Aztecs, Rose Tattoo's hard-rocking sound quickly earned a devoted following in the Sydney area. Members of AC/DC were fans and recommended them to their label, Albert Productions.
Early in 1981, "Rock N' Roll Outlaw" started to chart in Europe, peaking at No. 2 in France, No. 5 in Germany and No. 60 in UK. The line up of Anderson, Cocks, Leach, Royall and Wells toured Europe from April. Three years after their debut the band issued the follow-up album, Assault and Battery in September, which reached the top 30 in Australia. Both Rock N' Roll Outlaw and Assault and Battery peaked at No. 1 on the UK heavy metal albums chart.
Rose Tattoo's 1981 tour of Europe included an appearance at the Reading Festival, where Anderson repeatedly head butted the amp stacks until his scalp started bleeding.They were hailed as the loudest band to play London's Marquee Club since Led Zeppelin [extract from wikipedia]. . Live At The Reading Festival 1981
Rose Tattoo played all venues during the 1981 tour of England, from small town pubs to the major stadiums. Their approach to the bigger venues was laid back. They didn't set off rockets, or use huge special effects. They just played like they were playing in a pub...a small group making a loud noise. There were always a few theatrics, but for the most part, the band just went out there and played.
The biggest gig the band ever did was the Reading Festival, in front of a huge crowd. Reading is part of a tradition in Britain, the biggest outdoor rock festival of the year. Rose Tattoo was about the middle of the line-up, but there was no doubt that, on the day, they made the biggest impact. It was one of those days where Angry walked on to the stage, but was carried off.
As he says, "It was a great day. Reading is like The Marquee. I mean there's history attached to it. I remember walking on the stage. It was amazing. It was huge, the biggest crowd we'd ever played to. You could just see people going on forever. I mean the band were fantastic that day. We played really well...really well."
In England, Angry had a thing going with the crowds that he could drink a bottle of vodka every performance. He couldn't, but he always gave it his best shot. It just became part of the show, a sort of sight gag. Angry would begin each gig with a full bottle on stage for himself, plus all the beers for the rest of the band. During the show he'd pour drinks for the boys, and toast the crowd with his vodka. After a while the British crowds turned it into a regular challenge. Toward the end of the band's set, they'd start calling for Angry to drink up and finish whatever was left in the bottle. "Skol, skol, skol" they'd yell. As the band was only on stage for just over an hour at most gigs, it was a big call. They'd want the bottle finished every time.
At the Reading gig, Angry had been drinking even more than usual, and he was way past his limits before the challenge even began. The combination of the alcohol and the adrenalin was potent. In the latter half of the band's set on stage, Angry was obviously feeling really extravagant, and in one passionate moment, head butted Pete's guitar amplifier stack. Although Angry did a lot of head butting in those days, this time, he hit his head even harder than usual. He dropped to the floor, virtually unconscious, covered in blood, and had to be carried offstage by roadies. .
He was mindless and reckless, too drunk and too high. But even now, you can see as he talks about it, that although it may not have been one of his proudest moments, it certainly was one of his most memorable. The image is unforgettable, Angry in the arms of the roadies, bloody, sweaty, tragic, in front of a sea of screaming fans. It's the kind of image that makes you realise he's serious when he says, "You feed off the crowd. The commitment is so great that sometimes you just want to die for them. Not in the true sense, but you know what I mean. You just want to give that much."
The next day Angry was infuriated when some rock writers reported that he'd been "bottled off stage". It was the suggestion that there were some fans there unhappy enough to do that which bothered him most. He tracked down the journos involved, and found out that they'd never even left the media tent, where they were too busy drinking the free booze to figure out what happened.
But, at the end of the day, it was Rose Tattoo's Reading. They stole the whole show. Angry can't help smiling when he thinks of it. "It was huge..I mean we could have walked on their hands. It was our gig. The crowd were ours. Even kids years later would say, 'I was there at Reading. I saw you.' We walked out on stage and the place went just nuts...I mean really nuts. It was goose bump territory. No, bigger than that. It was goosebump on goosebump on goosebump territory."
[extract from Angry: Scarred For Life, Ironbark Publication, by Karen Dewey, 1994. p127,129]
Rose Tattoo On Stage At The 1981 Reading Festival
This post consists of a soundboard / FM radio recording in glorious FLAC format and includes full album artwork and choice photos of the Tatts Reading Festival gig. The sound quality of this bootleg is brilliant and features many of their major hits. This bootleg is not to be missed. .
NEW IMPROVED FLAC RIP
Track Listing 01 - One Of The Boys 02 - Manzil Madness 03 - Bad Boy For Love 04 - Assault And Battery 05 - The Butcher And Fast Eddie 06 - Rock'N'Roll Is King 07 - Rock'N'Roll Outlaw 08 - All The Lessons 09 - Nice Boys (Don´t Play) . The European 1981 Tour band were: Angry Anderson - Vocals Mick Cocks - Rhythm Guitar Georgie Leach - Bass Peter Wells - Slide, Lead Guitar Dallas 'Digger' Royall- Drums . Rose Tattoo Link (283Mb) ..
(Australian 1970-75) . Once over-hyped as potential superstars of Aussie progressive rock, early-'70s hippie collective Fraternity failed to live up to expectations and might have been entirely forgotten to history had their singer not been one Ronald Belford "Bon" Scott -- future legendary frontman for AC/DC.
Formed in 1970 by bassist and de facto band leader Bruce Howe, guitarist Mick Jurd, keyboardist John Bisset, and drummer Tony Buettel, all of the recently disbanded Levi Smith's Clefs, Fraternity were conceived to be Australia's answer to the Band, and, as such, they initially didn't even feel the need to draft a true lead singer for their first trip into the studio to record a single ("Why Did It Have to Be Me?") financed by local independent label Sweet Peach. But they soon changed their minds when Bon Scott became available following the demise of his popular bubblegum group, the Valentines, inviting him to join them at their communal house in Sydney, along with drummer John Freeman (another Levi Smith's Clefs alum), who replaced Buettel. Interestingly, although their lineup was just coalescing at home and on-stage, Fraternity were already seen as a hot commodity based solely on the reputation and experience of the band members, and as they shifted out of blues-rock into art rock, under the influence of groundbreaking foreign bands like King Crimson, the Moody Blues, and Deep Purple (plus countless mind-altering substances, besides), their shows began drawing rave reviews from the excitable Aussie press.
Fraternity was soon ushered into the studio to record the songs for its debut album, 'Livestock', and though Sweet Peach wouldn't get around to releasing it until nearly a year later, the hype surrounding Fraternity continued to grow unabated as they scored repeat TV appearances throughout late '70, and even toured the country behind American rock & roll godfather Jerry Lee Lewis. That tour took them through the south central town of Adelaide, where they were welcomed like returning prodigal sons by fans and press alike, and quickly taken under the wing of one Hamish Henry. The scion of a well-to-do local family and a self-appointed patron of the arts, Henry offered Fraternity unqualified financial support if they only agreed to set down roots in Adelaide permanently, and local boys Howe and Freeman, at least, were more than happy to oblige. This decision altered the course of Fraternity's career forever and for the worse, unfortunately, as they would become increasingly isolated from the Aussie music business hotbeds of Melbourne and Sydney in what was then still a pretty sleepy and geographically remote outpost. .
Nevertheless, after performing at Sydney's Odyssey and Adelaide's own Myponga festivals (two of the largest Australian festivals in the post-Woodstock era), the members of Fraternity settled into a sheltered property outside of Adelaide named Hemmings Farm, which they intended to make into their own "Big Pink," diving headlong into their music and mounds of magic mushrooms. The group also recorded a new single entitled "Seasons of Change" in April of 1971, then welcomed harmonica player "Uncle" John Ayers, who, in the true spirit of the Age of Aquarius, stopped by for a visit and simply never left. Their long-awaited first album, the aforementioned Livestock, would finally emerge that June but impressed few with its bloated art rock meanderings -- even after Fraternity hit the road for a series of gigs across Australia. Even more worrisome, the reality was that, despite this show of activity, Fraternity's members -- now augmented with erstwhile Flying Circus guitarist/keyboardist Sam See -- had frankly grown lazy and unfocused in their entitled seclusion, spending more time communing with the trees in the idyllic surroundings of their Adelaide fiefdom than composing new material or performing local gigs. .
In the end, all this was more peace and quiet than even Bon, Howe, and Bisset could stand, and they duly vacated the farm for downtown Adelaide in late 1971, where they attempted to rekindle Fraternity's fires after being dropped by Sweet Peach. Naturally, it was Hamish Henry who would come to the rescue, dipping once again into his bottomless pockets to finance the recording of a second Fraternity album, named Flaming Galah (that being the aboriginal name for the rose-breasted cockatoo), eventually released through RCA in April of 1972.
Now mostly cured of their ponderous proggyness, the band seemed bent on exploring a bluesier, more boogie-oriented direction, but many of the songs featured were in fact quite old, or re-recorded fare, leaving room for just a handful of new compositions. Meanwhile, Fraternity had tellingly been shunned by Australia's biggest festival ever, Sunbury, so, as a last-ditch effort to make something of their ailing career, they were packed off to England by the ever-faithful Hamish (wives and dog in tow!), where their unshakable self-confidence would finally be put to the ultimate test. .
However, 18 tortuous months later, that test had resoundingly failed. Fraternity had to wait nearly six months before scoring the first of several two-bit gigs, lost Sam See to his old band, Flying Circus, and even changed their name to Fang during the desperate winter of 1972-1973 -- all to no avail. At the last, even Hamish decided that time had come to cash out, and by the early months of 1974, most of the band members had also limped home to Australia, each in his own time, signaling Fraternity's probable demise.
Shortly after his return, Bon Scott miraculously survived a motorcycle accident and then expeditiously joined AC/DC, thus sparing himself involvement in Fraternity's unexpected (and largely unheralded) reunion in early 1975. This produced no further recordings but ironically served to kick-start the career of future Cold Chisel singer Jimmy Barnes, during his lone year with the group as Bon's replacement. By 1976, Barnes was gone and Fraternity had changed their name to Some Dream, then morphed into Mickey Finn between 1978 and 1981, at which time they released a pair of singles before vanishing for good [bio by Eduardo Rivadavia, Rovi]
For some in-depth insight into the band and Bon Scott see the John Bisset Interview .
The rip was taken from a deleted CD re-release of the original LP (see cover below) in FLAC format and includes two additional single tracks - "The Race Part I & II" and their hit single "Seasons Of Change". Full album artwork for the CD release is also included along with select photos of the band. This album was quite exceptional for its time and is an essential addition for both AC/DC fans and collectors of Progressive Australian Rock.
NEW FLAC RIP!
Tracks Listing 01. The Race Part One (Non-Album Single) 2:57 02. Seasons of Change (Single Version) 3:37 03. Livestock 3:40 04. Summerville 4:22 05. Raglan's Folly 6:02 06. Cool Spot 4:54 07. Grand Canyon Suites 4:54 08. Jupiter's Landscape 2:47 09. You Have a God 2:26 10. It 8:23 11. The Race Part Two (B-Side of track 1) 4:13 . Band Members: Bon Scott (Lead Vocals, Recorder) Mick Jurd (Lead Guitar) John Freeman (Drums) John Bisset (Keyboards) Bruce Howe (Bass Guitar) Uncle" John Eyers (Harmonica On Tracks 1 & 11) . .Fraternity Link (277Mb)New Link 15/11/2024 .
This is a very nice radio broadcast from 'If I Were Brittania I'd Waive The Rules' tour in the US, most likely sourced from a very low gen tape. This killer soundboard broadcast was recorded at Rusty Springs in St Louis, Missouri on the 4th of December 1976. The sound is flawless on this disc and it was first released about 10 years ago on the great French 'On The Air' label. Bonus tracks 9 & 10 where recorded live at the legendary My Fathers Place on Long Island in New York, one week earlier and are great audience recordings.
The sound quality and mixing improves throughout the recording, with a lively and vocal crowd in the background. With additional Welsh guitarist Myf Issacs (a former member of Quest) touring with the band, Budgie's stage sound was a lot fuller than earlier gigs and Bourge was given a lot more freedom to reproduce those magical lead breaks that he is renowned for on record. Budgie only used Myf Isaac, as the second guitar player for live performances between Mid 1976 - Mid 1978 and never recorded with any of their studio work.
L-R: Tony Bourge, Myf Isaac, Steve Williams, Burke Shelley
Budgie were originally scheduled to tour America in February of 1976, however for some reason (health problem?) they cancelled their opening show in Boston (07/02/1976) and postponed their US tour until late November, kicking off at the Royal Oak Theater in Detroit (20/11/1976).
This was Budgie's first time in the states, and although their latest album 'If I Were Brittania I'd Waive The Rules' had already been released in April, they chose to play only a few tracks from this album and instead concentrated on showcasing their older material. Judging by the crowd's enthusiasm heard on these recordings, it is safe to say that Budgie had won over the yanks. Their other US tour dates are shown below.
It is worth noting that on the 2nd of December at the Night Gallery, Waukegan, they shared the bill with 'Captain Beyond' and what a gig that would have been folks! My two 'favourite bands' playing together on the same night - priceless!
20/11/1976 Royal Oak Theater, Detroit, MI, USA (Budgie's first U.S gig!)
22/11/1976 Agoura Ballroom, Columbus, OH, USA
24/11/1976 Agricultural Hall, Allentown, PA, USA (Co-headline with Montrose)
25/11/1976 My Father's Place, Long Island, New York, NY, USA
27/11/1976 Revs, Milwaukee, WI, USA
29/11/1976 Agora, Cleveland, OH, USA (with Sparks)
01/12/1976 The Beginnings, Schaumberg, IL, USA
02/12/1976 Night Gallery, Waukegan, IL, USA (with Captain Beyond)
03/12/1976 Night Gallery, Waukegan, IL, USA
04/12/1976 Rusty Springs, St Louis, MO, USA
06/12/1976 EL Tejon, Madison, WI, USA
08/12/1976 The Echo, Dayton, OH, USA
09/12/1976 Another Place, Louisville, KY, USA
??/12/1976 Ricco's, Belleville, IL, USA
This post consists of FLACs (taken from a Radio Broadcast low gen tape) and includes full artwork for both CD and Vinyl (See Vinyl Covers below). Note that this bootleg has also been released under the title of 'Breaking The Kill', but features different bonus tracks, taken from a 1975 concert in Leicester (see right).
As mentioned, the bonus tracks on the featured bootleg were taken from an earlier concert held at 'My Father's Place' - namely "Black Velvet Stallion" and "Pyramids". Because "Pyramids" had not been released on any albums at that stage, its inclusion in their set list gives us a hint that Budgie were already working on their next album (which would be called 'Impeccable') and would be released the following year.
Track List
01 Breaking All The House Rules
02 In The Grip Of A Tyrefitter's Hand
03 Parents
04 Who Do You Want For Your Love?
05 Sky High Percentage
06 I Can't See My Feelings
07 Zoom Club
08 Breadfan
09 Pyramids [Bonus Track]
10 Black Velvet Stallion [Bonus Track]
Tracks (1-8) recorded live at the Rusty Springs, St. Louis, USA on 4th December 1976.
Bonus tracks (9-10) recorded live at My Father's Place, Roslyn, NY on 25th
His first live album, 'The Alice Cooper Show' (1977) was recorded with previous members Steve Hunter & Dick Wagner, (who had played on Lou Reed’s brilliant live album, 'Rock N Roll Animal), John Prakash and two new members Fred Mandel and Penti Glan.
While they bring top-notch musicianship to the 11 tracks included here (two of which are medleys, so a total of 13 songs were performed) and everything is delivered professionally, it’s lacking a certain punch…especially on the 7 songs first recorded by the original Alice Cooper Band.
While there are no particular standout tracks, it was nice to hear earlier songs like “Under My Wheels,” “I’m Eighteen,” “Is It My Body” and “Billion Dollar Babies.” I know when it comes to an Alice Cooper concert that the music is only part of the appeal, and although it’s a pleasant listen one can't help thinking that there's something missing: the visual aspect of the show.
'The Alice Cooper Show’ was recorded live on August 19th – 20th 1977 at The Aladdin Hotel, Las Vegas, USA, during Cooper’s ‘King Of The Silver Screen’ tour (‘King Of The Sliver Screen’ is a track from the preceding ‘Lace And Whiskey’ album).
Released in December 1977 on the Warner Brothers label, the record was produced by Brian Christian and Bob Ezrin and clocks in at a compact 39 minutes and 38 seconds. It wasn’t a huge commercial success, reaching only number 131 on the 1978 Billboard chart, but is a fantastic atmospheric record capturing some of the energy and charisma of Alice Cooper, featuring some of the best songs from the album’s which preceded the tour.
I should also point out that by the 1977 tour, Cooper was in dire need of help with alcoholism (at the peak of the disease, the Coop was downing two cases of Bud and a bottle of whiskey a day). After the tour was over, Alice had himself hospitalised in a sanatorium, leading to the writing of next album ‘From The Inside’.
Alice has said that he won’t listen to ‘The Alice Cooper Show’ album because it reminds him of the period when the demon drink was killing him…
Bassist Dennis Dunaway describes Alice’s late night routine: ”He couldn’t go to bed unless he made sure he had a beer sitting next to the bed , because that was the first thing that he did in the morning…”
Alice remembers: ”Before I opened my eyes, I’d have three or four hits of beer and then I’d wake up, turn on the cartoons and then throw up. It’s okay, I’m ready for the day…Let’s go!”
The Show
The full setlist for the tour also included ‘Unfinished Sweet’ (from ‘Billion Dollar Babies’), ‘Escape’ (from ‘Welcome To My Nightmare’) and ‘It’s Hot Tonight’, ‘Lace and Whiskey’ and ‘King of the Silver Screen’ (from the ‘Lace And Whiskey’ album), which are not included on this release.
Axe-chopping of bloodied baby dolls, execution by hanging at the gallows, an androgynous stage persona wrapped in snakes (usually boa constrictors) – all part of the Alice Cooper stage act…A new addition to the show at this time was an eight-foot tall furry Cyclops, which the Coop decapitated and killed!
Alice taunting the 8 Foot tall Cyclops
Alice describes his stage persona: “When I assume the character, I have no idea what it’s gonna do, because it’s not me!”
Interviewed on ‘Kidsworld’ in 1977, A young Alice without makeup, dressed in white vest and jeans, describes the tour:
”This show that we’re doing now is about three months of rehearsals, eight or nine hours a day. Our show is a total spoof on TV. It’s a rock…it’s like a rock opera kinda thing…but I mean the whole stage looks like a television set…and we have commercials, and it’s all done to rock music and everything…it’s the first real attempt at rock theatre that really works…”
The ‘show’ starts with huge audience reaction, frantic telephone ringing and the build-up of the band, an intro for up-tempo rocker, opener to the ‘Killer’ album ‘Under My Wheels’, a perfect mood-setter…’
Love It To Death’’s expression of teenage angst ‘I’m Eighteen’ is next, then a great sequence – the psycho-sickness of ‘Sick Things’ (as Alice would have it – this could only be a Cooper track), from the snakeskin-wrapped ‘Billion Dollar Babies’ album, then the rocker ‘Is It My Body’ and a slow number ‘I Never Cry’.
The familiar drum riffs introduce the amazing title track from ‘Billion Dollar Babies’ – an enjoyable rendition with Alice handling all vocal duties, unlike, of course, the stunning original hit recording, which featured mystical singer-songwriter Donovan.
In a recent interview, Donovan cast his mind back to London, 1973:
"Alice was downstairs and I was upstairs in Morgan studios when he was doing ‘Billion Dollar Babies’ and he came in and said hello, and I went down and said hello to him, and I had heard this track and he said ‘Do you want to put a vocal on it?’ I said ‘sure’ but there’s…so big and so bouncy and so loud, I think I’m gonna have to get into a falsetto (sings ‘Billion Dollar Babies’ high part) so I did that. Nobody believed it was me, then it went to number one, didn’t it…so me and Alice are fast friends now!”
Alice remembers in a recent interview:
”The first time I met Donovan, we were recording ‘Billion Dollar Babies’ at Morgan Studios and we realised that we needed a British voice that was going to mimic my voice and I said ‘Who’s here in the studio?’ and they said ‘Donovan’s next door’ and I went ‘Oh, this’ll be great!’ ‘cause he’s got that great British voice you know, and I went into the studio, walked right into the studio and he was doing something and I said ‘Donovan, I’m Alice Cooper’…’Oh, Hi..’ and I said ‘C’mon’…’What?’…I said ‘It’s time to sing rock’n’roll…”
He did the talking part (adopts ‘British’ accent) ‘we go dancing nightly in the attic in the…’ He had so much fun doing that song, and then I said ‘now you gotta sing it and I’ll do the talking, you know’…That record went right to number one…It’s really fun to have Donovan on that. I like the idea of taking somebody out of their comfort zone and putting them in a place where they didn’t normally go to, you know. And since then, every time we see each other, we always talk about that thing…”
A cut-down version of ‘Devil’s Food’ from ‘Welcome To My Nightmare’ is an intro to ‘Black Widow’. Another first for Alice was hiring the theatrical talents of Vincent Price to narrate on a rock track – eight years before Michael Jackson’s extended video for ‘Thriller’ (with Price voiceover in the ‘graveyard’ section) – the famous horror actor speaks the monologue at the beginning of the song as ‘The spirit of the nightmare’ in which Cooper is trapped, for the mini-movie ‘Alice Cooper: Welcome To My Nightmare’.
Brilliant in its conception, the narration casts Price as a museum curator, describing the live ‘exhibits’ in the arachnid section, The recorded narration became a feature of Cooper’s live shows, after which Alice exclaims:
”These words he speaks are true We’re all humanary stew If we don’t pledge allegiance to… The Black Widow!’ (in this rare case, a male of the arachnid species…)
There are three ballads on this live album, all co-written by Alice and Dick Wagner, and beautifully crafted songs they are, evidencing the sensitive lyrical side of the man:
"Only Women Bleed", from ‘Welcome To My Nightmare’, also a hit for British actress/singer Julie Covington in 1977, is a classic, but quite dark in its subject matter, dealing with a husband’s overpowering of his wife, leading to domestic violence.
"I Never Cry" from the ‘Alice Cooper Goes To Hell’ album is a tear jerker and there’s more than a touch of autobiography about it, if you listen to the lyrics carefully.
"You And Me" was the single from ‘Lace And Whiskey’. On stage, Alice sings "You And Me" to a mannequin (in some ‘70s shows, his wife Sheryl), at first looking into her eyes, then dragging ‘her’ over his shoulder by the hair, holding her up by the hair, then throwing ‘her’ across the stage (in a fit of faked domestic violence?). I don't think this segment would go down well in current day concerts!
The live versions are spirited and sound great, although obviously not as polished and produced as the studio recordings. They do work very well in breaking up the set of rock and upbeat funkier tracks.
The medley ‘I Love The Dead’ (Alice’s homage to his necrophilia, as only he can do), ‘Go To Hell’ (Alice telling himself off for his misdemeanor's over a funk backbeat) and ‘Wish You Were Here’ (instrumental sections of the track only) works well as a set closer…
Of course, the ‘night’ ends with the encore ‘School’s Out’! delivering the lines in his trademark snarl and wagging his finger at the delirious audience… ”Well we got no class, and we got no principles, we ain’t got no intelligence, we can’t even think of a word that rhymes!” [Extract from eddiesrockmusic.wordpress.com]
Australian Tour
Australia was lucky enough to witness the beginnings of the Alice Cooper Show, when Copper's band toured Down Under in March of 1977. At the time it was billed as 'Welcome To My Nightmare - The Alice Cooper Show'.
They played at all major capital cities in Australia, including four concerts in Melbourne, at Festival Hall on March, 21st - 24th. I was lucky enough to see the show at Festival Hall, but can't for the life of me remember which of the 4 dates it was and much of the concert is a vague memory. As I was attending my first year at Uni at the time, I suspect my brain cells were somewhat impaired on the night by too many beers and perhaps other recreational substances!
Australian Tour Dates:
(1977 March)
14: Australia - Entertainment Centre, Perth
15: Australia - Entertainment Centre, Perth
18: Australia - Westlakes Football Stadium, Adelaide
21: Australia - Festival Hall, Melbourne
22: Australia - Festival Hall, Melbourne
23: Australia - Festival Hall, Melbourne
(Apparently there is an Audio Recording in circulation)
24: Australia - Festival Hall, Melbourne
26: Australia - Showground Arena, Sydney (40,000 people were in attendance, breaking the Australian record at this time)
29: Australia - Festival Hall, Brisbane
30: Australia - Festival Hall, Brisbane
31: Australia - Festival Hall, Brisbane
Thanks to alicecooperechive.com for the above Australian Dates and Press Release document
This post consists of FLACS ripped from CD and comes with full album artwork for both vinyl and CD media, plus label scans. My original intention for this post was to provide a vinyl rip, rather than a CD rip. However, I was not happy with the quality of the recording that was coming from my vinyl, in comparison with that from CD media. The left channel on my vinyl was significantly softer and less vibrant than that of the right channel and consequently decided to ditch this inferior recording. I suspect the pressing or mastering on my vinyl copy is poor compared to the newer release on CD, and so am providing it instead. I'd be interested in hearing if others have experienced this, if they own the vinyl.
Thanks to sickthingsuk.co.uk for the Alice Cooper Show posters, ticket stubs, adverts featured in this post.
One reason why I purchased this album back in the late 70's was because it featured guitarists "Steve Hunter' and 'Dick Wagner" (see left) , who I admired at the time, stemming from their past association with Lou Reed. I do remember being really disappointed with the sound quality of the guitar work when I heard this record for the first time, probably a consequence of the inferior pressing/mastering of the LP.
This appears to have been partly rectified on CD releases.
Track Listing:
01 Under My Wheels2:30
02 Eighteen4:58
03 Only Women Bleed5:47
04 Sick Things1:01
05 Is It My Body2:28
06 I Never Cry2:51
07 Billion Dollar Babies 3:13
08 Devil's Food / The Black Widow 5:41
09 You And Me2:19
10 I Love The Dead / Go To Hell / Wish You Were Here6:31
This EMI compilation from the mid 70's has always been a long standing go to album of mine, partly because it features some of my favourite tunes, like ACDC's "Baby Please Don't Go", Ralph McTell's "Streets Of London", Steve Harley's "Make Me Smile " and Ross Ryan's "Blue Chevrolet Ballerina". But for some reason, the album cover has also been an attraction to me - even though its nothing special - but maybe its the 3D masonry lettering on top of the vibrant red background that has always caught my attention. Of course, there are other great tracks featured on this album, like Pilot's "January", Sherbet's "Summer Love" and Pete Shelley's "Gee Baby", but even the obscure selections by Pepper Box, Al Martino and Gilbert Becaud eventually grow on you after lots of plays.
So, even if you haven't heard some of these tracks, I suggest you give this LP a spin, and hey; maybe this collection of tracks will become your Explosive Hits of 75' as well. And now, some light reading while you listen to this comp:
1. John Paul Young - Yesterday's Hero
John Paul Young became well known when working with producers/composers Harry Vanda and George Young. In March 1975 Alberts released John Paul Young’s recording of Vanda & Young's Yesterday's Hero, a song about the fleeting nature of pop stardom. The record hit the national charts in April, reaching #1 and staying at #1 on the Melbourne charts for six weeks. "Yesterday's Hero" sold strongly in the USA and reached #42 on the Cashbox top one hundred. A key factor to "Yesterday's Hero" success was the film clip made to promote it, which enabled the song to be given exposure on Countdown (following the official start of colour TV broadcasting March 1, 1975. The Hero LP reached #20 on the charts in November 1975 and became a gold record.
2. Bay City Rollers - Bye Bye Baby
The Bay City Rollers are a Scottish pop rock band known for their worldwide teen idol popularity in the 1970s. They have been called the "tartan teen sensations from Edinburgh" and are one of many acts heralded as the "biggest group since the Beatles". The group's line-up had many changes over the years, but the classic roster during its peak in popularity included guitarists Eric Faulkner and Stuart Wood, singer Les McKeown, bassist Alan Longmuir and drummer Derek Longmuir.
Their debut album, Rollin' debuted atop the UK Albums Charts and spent a combined total of fifty-eight weeks on the UK Albums Chart. Their follow album studio album Once Upon a Star continued this success, again, debuting a top the UK Albums Chart. The album yielded the successful singles "Bye, Bye, Baby", which topped the charts in the United Kingdom, Ireland and Australia, and "Keep On Dancing". "Bye, Bye, Baby" was the best selling single in the United Kingdom in 1975.
3. Peter Shelley - Gee Baby
Peter Shelley (alas Peter Southworth) was a British pop singer, songwriter, and music business executive. As a performer in the 1970s, he had UK hits with "Gee Baby" and "Love Me Love My Dog". He also originated the persona of Alvin Stardust, writing, singing and producing the first single released under that name, "My Coo Ca Choo".
Gee Baby is a well constructed, if not slow paced, ‘bubblegum pop’ track that was a hit in the U.K. in 1974.
This was easily the then 32 year old singer/songwriter’s most successful solo release in Australia and, in January 1975, it peaked at the national #3 position published by the ‘Kent Music Report’ (the forerunner of today’s ‘ARIA Charts’)
4. Gary Glitter - Goodbye My Love
Paul Francis Gadd, better known by his stage name 'Gary Glitter', was an English former singer who achieved fame and success during the 1970s and 1980s. He became known for his energetic live performances and glam rock persona of glitter suits, make-up, and platform boots.
The Glitter Band were a British glam rock band, who started out as a backing band for Gary Glitter from 1973.
The Glitter Band were: John Rossall (trombone and musical director), Gerry Shephard (lead guitar and vocals), Pete Phipps (drums and keyboards), Tony Leonard (drums), John Springate (bass and vocals) and Harvey Ellison (saxophone).
While backing Gary Glitter, they showcased their ability to create catchy, glam-infused rock 'n' roll that resonated with audiences around the world.
Their live shows were a spectacle to behold, featuring synchronised dance routines, flamboyant costumes, and an electric atmosphere that left fans begging for more.
But the Glitter Band's success wasn't just about the glitz and glamour. Behind the scenes, they were talented musicians, crafting their unique 'Glitterbeat' sound that blended pounding drums, catchy guitar riffs, and infectious melodies.
As they toured extensively, their fan base grew, and they became a household name in the glam rock scene. Their music and performances had an undeniable impact on the cultural landscape of the time.
"Goodbye My Love" was released in 1975 and was the band's highest charting single at number 2 in the UK Singles charts.
Interesting fact: Gerry Shephard did the lead vocals on "Goodbye My Love" and not Gary Glitter
5. Linda Ronstadt - You're No Good
Linda Ronstadt had her first hit single, “Different Drum,” in 1967 as a member of The Stone Poneys, then had a series of solo albums in the early 1970s following the group’s breakup. But it wasn’t until November 1974, 50 years ago this month, with the release of her album 'Heart Like a Wheel', produced by Peter Asher, and its lead-off single, “You’re No Good,” that the singer landed squarely at the top of the charts, a place she would find herself many times throughout the rest of her career.
"You're No Good" was originally sung by Dee Dee Warwick in 1963, however the song was made more popular by Linda Ronstadt in 1974.
Ronstadt began performing "You're No Good' to close her live shows in early 1973, after her band member Kenny Edwards suggested it to her. She first included it in her setlist while opening for Neil Young. Ronstadt gave an early televised performance of 'You're No Good' on an episode of The Midnight Special, broadcast Dec 21, 1973.
When finally recorded, Ronstadt's version went to number 1 in the United States, number 7 in Canada, number 15 in Australia, number 17 in the Netherlands and number 24 in New Zealand.
6. AC/DC - Baby Please Don't Go
"Baby, Please Don't Go" is a traditional blues song that was popularized by Delta blues musician Big Joe Williams in 1935. Many cover versions followed, leading to its description as "one of the most played, arranged, and rearranged pieces in blues history". In my opinion, the best cover was done by the UK heavy rock band 'Budgie' in 1973, however AC/DC's version comes a close second.
In November 1974, Angus Young, Malcolm Young, and Bon Scott recorded it for their 1975 Australian debut album, High Voltage but Albert Productions decided to issue it as a B-side single. However, the A-side "Love Song (Oh Jene)" was largely ignored and "Baby, Please Don't Go" began receiving airplay. The single entered the chart at the end of March 1975 and peaked at number 10 in April. AllMusic critic Eduardo Rivadavia called the song "positively explosive", while music writer Dave Rubin described it as "primal blues rock".
On March 23, 1975, one month after drummer Phil Rudd and bassist Mark Evans joined AC/DC, the group performed the song for the first time on the Australian music program Countdown (this performance would also be repeated on April 6 and 27, which is why there is often conflicting dates for this performance) And to this day, this performance remains as one of the most epic and most watched Countdown clips.
7. Al Martino - To The Door Of The Sun
"To the Door of the Sun (Alle porte del sole)" is a 1975 hit single by Al Martino and the title track of his LP.
Al’s renditiuon was an English language treatment of the Italian song “Alle porte del sole,” recorded in 1973 by Gigliola Cinquetti.
In early 1975, "To the Door of the Sun" reached number 17 on the U.S. Billboard Hot 100. It spent four months on the chart, equaling the chart run length of Martino's greatest hit, "I Love You Because" (#3, 1963).
It was Al Martino's biggest Top 40 hit in Australia, peaking at #2 in mid-1975, and also became his biggest hit of the 1970s.
Interesting fact: Apart from singing, Martino was also an actor and played the role of Johnny Fontane in the 1972 film The Godfather, as well as singing the film's theme, "Speak Softly Love". Martino had been told about the character by a friend who had read the eponymous novel and felt Martino represented the character of Johnny Fontane. Martino contacted producer Albert S. Ruddy, who initially gave him the part. Martino was stripped of the part, however, after Francis Ford Coppola came on board as director and awarded the role to singer Vic Damone. Martino, in turn, went to Russell Bufalino, his godfather and a crime boss, who then orchestrated the publication of various news articles that claimed Coppola had been unaware of Ruddy having given Martino the part.
Damone eventually dropped the role because he did not want to provoke the Bufalino crime family. Ultimately, the part of Johnny Fontane was given back to Martino. He played the same role in The Godfather Part III and The Godfather Trilogy: 1901–1980 (the television miniseries that combines The Godfather and The Godfather Part II into one film).
8. Peppers - Pepper box
The Peppers was a French male instrumental group who had a hit single in 1975 with "Pepper Box". The song reached number 6 in the UK Singles Chart, was a minor hit on the US Soul and Hot 100 charts and hit #25 in the Australian Charts.
As with several other pop hits of the early 70's, notably instrumentals, this mega hit started life as a TV commercial soundtrack. The producer Roger Tokarz, however, recognized it's potential early on and instead of the recording being given to the client, held back the tune for a commercial release. Taking inspiration from another 70's instrumental hit called "Popcorn", Tokarz recruited noted musicians Pierre Alain Dahan and Matt Camison (also to be found on Trunk Records recently released production library anthology) to expand on his theme at the Bagatelle Studios (home of the publishers of Serge Gainsbourg). Pepper Box went on to sell over 3.5 million units world wide! Not bad for a commercial jingle.
9. Pilot - January
"January" was sung by Scottish rock band Pilot. Written by the band's guitarist and singer David Paton and produced by Alan Parsons, it was released by EMI Records in January 1975 as the follow-up to the band's breakthrough single, "Magic". "January" gave Pilot their only number-one single in the UK, Ireland and Australia.
In 1973, Paton (singer and bass player), formed Pilot with a former Bay City Rollers member, keyboard player Billy Lyall and soon recruited drummer Stuart Tosh and, a few months later, guitarist Ian Bairnson. Their band name is derived from P(aton), I(an), L(yall) and T(osh) and added an O in for good measure and came up with Pilot.
"January" was actually released in the second week of January 1975, and two weeks later it was number one, had it been released a week earlier, it might have made number 1 whilst still in January, but, no, it peaked in the first week of February. It probably didn’t bother them at the time because it song wasn’t actually about a month.
“My wife was reading a book and the main character was called January, ” Paton explained. “She said, ‘January is a nice name for a girl don’t you think?’ and it just stayed in my head and I wrote the chorus with that in mind. The verse and the chorus are totally unrelated; the verse is about how I felt at the time with the success of our first single "Magic". I didn’t actually write the song in January, it was in October, just after the release of Magic. It was quickly recorded as the next single. We were recording the album, 'Second Flight', in Air Studios in London when January got to number one. I didn’t know the song was number one until I arrived at the studio where I was greeted with handshakes and congratulations.”
10. Ross Ryan - Blue Chevrolet Ballerina
Australian singer / songwriter (moved here from US as a young boy) grew up on a farm in Western Australia. He started writing songs at 14 eventually landing a record deal in 1970. His 1st major success was "I Am Pegasus" which made No. 2 in 1973. One of the most original singles of 1975, "Blue Chevrolet Ballerina" was released in March that year receiving widespread airplay but only charting at No. 38. The song appeared on Ryan's 'After The Applause' LP.
'Blue Chevrolet Ballerina' brings together the banjo feel of Neil Young's 'For The Turnstiles' (from 'On The Beach') and Jeanie C. O' Reilly's 60's hit, 'Ode To Billy Joe'.
I personally think that this is one of Ryan's best songs, and should have received the same success as his first hit "I Am Pegasus".
11. Guys and Dolls - There's A Whole Lot Of Loving
"There's a Whole Lot of Loving" is a song written by Christian Arnold with lyrics by David Martin and Geoff Morrow, released under the name of Guys 'n' Dolls. The song was a number-two hit in both the United Kingdom and Ireland and became the biggest hit for the group. The song also reached number 15 on the US Billboard Easy Listening chart and number 17 on Canada's RPM Pop Music Playlist. Elsewhere, the song reached the top 20 in Belgium, the Netherlands, and South Africa.
The song was originally recorded in 1974 by a group of session singers (including Tony Burrows and Clare Torry) for a TV advertisement for McVitie's biscuits. Guys 'n' Dolls were formed to cash in upon the popularity of the jingle and to present it as a single. However, the group was not ready in time to record an entirely new version for the single's hasty release, so the voices of the session singers remained on the single.
12. Steve Harley & Cockney Rebel - Make Me Smile (Come Up And See Me)
"Make Me Smile (Come Up and See Me)" is a song by British rock band Steve Harley & Cockney Rebel, released as the lead single from the band's 1975 album The Best Years of Our Lives. It was written by Harley, and produced by Harley and Alan Parsons. In February 1975, the song reached the number-one spot on the UK chart and received a UK Silver certification. It spent nine weeks in the Top 50. The track marked Harley’s first Number 1 hit single, entered the Top 10 in 15 countries and has sold around 1.5 million copies to date.
“People keep asking me, did I know at the time how successful Make Me Smile would become?,” Harley told Official Charts.com. “I was 23 years old and wouldn't have been considering the long-term future.
“But we all knew, in number two studio at Abbey Road, after we'd re-mixed it, that something special might just be in the air.”
“Alan Parsons, my co-producer and engineer, did a fantastic job,” he continued. “Which is why the record sounds so fresh and bright on the radio to this day, a full 40 years on!"
13. Ralph McTell - The Streets Of London
"Streets of London," was the third song that Ralph McTell ever wrote yet he deliberately left it off his debut album as he didn't think it was anything special. However, at his producer's insistence, he included it on his second album for Transatlantic, 'Spiral Staircase'. After the song was re-recorded in 1974 as a single for Reprise/Warner Bros it became a huge world-wide hit. The song reached number two on the British charts, and in Germany, there were four different versions of the song on the charts at one point, three by McTell and one by a German singer.
Produced by Gus Dudgeon and first released in the UK in 1969, "Streets of London" has become McTell's signature tune. I personally heard this track for the first time, having purchased 'Explosive Hits '75 when the single was re-released by EMI records (which earned him an Ivor Novello Award), and it has been my favourite Folk Song ever since.
14. Sherbet - Summer Of Love
Released in March, 1975, this was another pop classic by Sherbet and their first single to be released in England. It reached the National top five in Australia and became their first number-one hit on the Australian Kent Music Report Singles Chart.
Interestingly, it was their only release on EMI. Sherbet had signed a one-off deal for "Summer Love" with EMI – rival to their regular label Festival Records. This was a ploy to gain leverage when negotiating a more favourable contract. After "Summer Love" peaked at No. 1, Sherbet re-signed with Festival which issued their subsequent material on the group's own Razzle and Sherbet labels.
The song was promoted on the newly aired ABC TV pop series, Countdown, which gave it wide exposure. From early 1975, the group made more appearances on the show than any other band in the programme's history. Through late April and most of May of 1975, Sherbet’s Summer Love spent four weeks at the coveted No.1 spot, which meant that four consecutive Countdown episodes ended with the velvet tones of Gavin Wood declaring that our boys were the biggest and best in the land. For one whole month we had statistical proof that our love for Sherbet was like no other love.
In October, at the King of Pop Awards, "Summer Love" won the Most Popular Australian Single, the band won Most Popular Australian Group and their lead singer, Daryl Braithwaite, won the King of Pop award.
15. Franki Valli - My Eyes Adored You
"My Eyes Adored You" is a 1974 song written by Bob Crewe and Kenny Nolan. It was originally recorded by The Four Seasons in early 1974. After the Motown label balked at the idea of releasing it, the recording was sold to lead singer Frankie Valli for $4000. After rejections by Capitol and Atlantic Records, Valli succeeded in getting the recording released on Private Stock Records, but the owner / founder of the label, Larry Uttal, wanted only Valli's name on the label. It is from the album Closeup. The single was released in the US in November 1974 and topped the Billboard Hot 100 in March 1975. "My Eyes Adored You" also went to number 2 on the Easy Listening chart. Billboard ranked it as the No. 5 song for 1975.
The single was Valli's first number 1 hit as a solo artist on the Billboard Hot 100, but only remained there for one week. Ironically, the success of "My Eyes Adored You" triggered a revival of interest in recordings by The Four Seasons. he band was subsequently signed to Warner Bros. Records as Valli's follow-up single "Swearin' to God" was climbing to number 6 on the Hot 100.
16. Gilbert Bécaud – A Little Love And Understanding
The closing track on this 1975 compilation, this cute little recording by French legend Gilbert Becaud actually starts to grow on you (His cute little 'he he' & 'ha ha's are what give this record its quaint charm). 'A little love and understanding' came half way through Gilbert's 50 year career, and provided his only British chart hit, and a number one selling single in Sydney; while strangely making only #19 nationally. Evidently Gilbert did not receive much airplay elsewhere Down Under!
1975 was a turning point in pop culture, as some of the balladeers and superstars of the era were about to be flung aside as disco and novelty pop records became the mainstay of the upper echelons of the hit parade. Around this time, hits by crooners like Joe Dolan, Al Martino, Telly Savalas and Gilbert Becaud were still hitting the charts, but not for long (thankfully).
This post consists of FLACs ripped from my Vinyl (I actually have 2 copies - this one's near mint condition) and includes full album artwork along with label scans. This compilation is a must for your collection.
Track Listing:
A1John Young –Yesterday's Hero3:41
A2Bay City Rollers –Bye Bye Baby2:37
A3Peter Shelley –Gee Baby2:50
A4The Glitter Band –Goodbye My Love3:44
A5Linda Ronstadt –You're No Good3:25
A6AC/DC –Baby Please Don't Go4:50
A7Al Martino –To The Door Of The Sun3:18
A8The Peppers –Pepper Box2:18
B1Pilot –January3:28
B2Ross Ryan –Blue Chevrolet Ballerina3:56
B3Guys & Dolls –There's A Whole Lot Of Loving3:13
B4Steve Harley & Cockney Rebel –Make Me Smile (Come Up And See Me)3:30
B5Ralph McTell –Streets Of London4:20
B6Sherbet –Summer Love3:30
B7Frankie Valli –My Eyes Adored You3:09
B8Gilbert Bécaud –A Little Love And Understanding3:23
By and large, symphonic rock has not flourished in Australia. Sebastian Hardie was the country's first and foremost symphonic rock band. During the mid-1970s, the band enjoyed considerable success with the album 'Four Moments', but since that time has been largely forgotten in the land of Oz. Yet in European, Japanese and American progressive rock circles, the highly revered 'Four Moments' and its follow-up 'Windchase' are considered to be classics of the genre.
Throughout 1969, Sebastian Hardie worked as backing band for rock 'n' roll legend Johnny O'Keefe. At the end of 1971, Sebastian Hardie broke up when English accepted the role of Judas Iscariot in the Australian stage production of the rock musical Jesus Christ Superstar. A year later, Ford and the Plavsics re-formed Sebastian Hardie with Steve Dunne (vocals, keyboards). At that point, the band was still playing pop covers on the dance/club circuit, with little indication of future directions. 
Oldfield's popular `Tubular Bells'. Polydor Records signed the band on the strength of Millo's new material. The band supported international visitors Lou Reed and Osibisa on their respective Australian tours. At the end of 1974, classically trained musician Toivo Pilt (ex-Forever) replaced Dunne on keyboards and Millo took over lead vocals. Sebastian Hardie upstaged Dutch jazz-rock veterans Focus on their June 1975 Australian tour. With the band's increased profile, the album Four Moments and the single "Rosanna/Openings (edit)" (both August 1975) appeared to strong critical acclaim. The album attained gold status (35000 copies sold) after peaking at #13 on the national album chart; "Rosanna" reached #31.
end of 1975, Sebastian Hardie undertook a very successful 63-date Australian concert tour. The band's second album, Windchase, appeared in February 1976 to coincide with another national tour as support to US band Santana. Like its predecessor, Windchase boasted superb playing and well-crafted progressive rock, but it failed to live up to expectations. It produced the single "Life, Love and Music/Hello Phimistar" (February 1976).
entitled to the name. The Plavsic brothers emerged as the successful party in the ensuing court case, and Millo was forced to rename his band Windchase. The brothers never did use the Sebastian Hardie name for their new band as intended. They recruited Graham Wardrop (guitar), John Bushell (guitar) and Rick Mellick (keyboards) in order to back rock'n'roll revival duo The Studs.
emergent punk and new wave movement had relegated bands like Windchase to the dinosaur scrap heap. Windchase played its last gig to 60 people in a Melbourne pub during October 1977.
emergent punk and new wave movement had relegated bands like Windchase to the dinosaur scrap heap. Windchase played its last gig to 60 people in a Melbourne pub during October 1977.
Jon English - Vocals, rhythm guitar
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