W.O.C.K On Vinyl: Babies Go AC/DC (2012)

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

This is my second 'Babies Go' Post (my first being 'Babies Go Pink Floyd') and I'd like to say that it is a bit more up tempo with its AC/DC theme, however if you are looking for those thumping 'Vanda & Young' riffs and school boy guitar licks from Angus then you are going to be bitterly disappointed.   

I know I was -  BOO HOO !

Once again the 'Sweet Little (cover) Band' have reproduced the tunes of their 'focus band' note for note, but instead of guitars, bass and drums, they only use keyboards and wind instruments with no vocals.

The play list on this release covers most of ACDC's big hits, with a 50/50 split between their Bon Scott and Brian Johnston material. Speaking of Bon Scott, I'm sure if he was able to hear this Korny tribute he would probably turn in his grave. In fact I'm sure that all ACDC's band members would probably shout "Hells Bells, this is a Dirty Deed Done Dirt Cheap".

There's not much more that I can say about this release, as there is bugger all information available, but if by chance you actually like this Month's WOCK Posting then you might be ticking the Crazy box.

If you are interested in exploring other Babies Go titles, then I suggest you  pop over to the RGS Website     

FYI: I've only ripped the CD to MP3 (320) format, because I don't think FLAC format would actually improve your listening experience with this one. Now, I'm off to play my favourite AC/DC album before it's my bedtime..... 

Track Listing:

01 Back In Black

02 Moneytalks

03 Highway To Hell

04 You Shook Me All Night Long

05 Who Made Who

06 Whole Lotta Rosie

07 Heatseeker

08 For Those About To Rock (We Salute You)

09 Hells Bells

10 Big Gun

11 Dirty Deeds Done Dirt Cheap

12 Shoot To Thrill

13 The Jack

14 T.N.T.

Babies Go AC/DC Link (128Mb)

REPOST: Queen - At The Beeb (1989)

(U.K 1970-2009)
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Few bands embodied the pure excess of the '70s like Queen. Embracing the exaggerated pomp of prog rock and heavy metal, as well as vaudevillian music hall, the British quartet delved deeply into camp and bombast, creating a huge, mock-operatic sound with layered guitars and overdubbed vocals. Queen's music was a bizarre yet highly accessible fusion of the macho and the fey. For years, their albums boasted the motto "no synthesizers were used on this record," signaling their allegiance with the legions of post-Led Zeppelin hard rock bands. But vocalist Freddie Mercury brought an extravagant sense of camp to Queen, pushing them toward kitschy humor and pseudo-classical arrangements, as epitomized on their best-known song, "Bohemian Rhapsody." 

Mercury, it must be said, was a flamboyant bisexual who managed to keep his sexuality in the closet until his death from AIDS in 1991. Through his legendary theatrical performances, Queen became one of the most popular bands in the world in the mid-'70s; in England, they remained second only to the Beatles in popularity and collectability in the '90s. Despite their enormous popularity, Queen were never taken seriously by rock critics — an infamous Rolling Stone review labeled their 1979 album Jazz as "fascist." In spite of such harsh criticism, the band's popularity rarely waned; even in the late '80s, the group retained a fanatical following except in America. In the States, their popularity peaked in the early '80s, just as they finished nearly a decade's worth of extraordinarily popular records. And while those records were never praised, they sold in enormous numbers, and traces of Queen's music could be heard in several generations of hard rock and metal bands in the next two decades, from Metallica to Smashing Pumpkins.
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The origins of Queen lay in the hard rock psychedelic group Smile, which guitarist Brian May and drummer Roger Taylor joined in 1967. Following the departure of Smile's lead vocalist, Tim Staffell, in 1971, May and Taylor formed a group with Freddie Mercury, the former lead singer for Wreckage. Within a few months, bassist John Deacon joined them, and they began rehearsing. Over the next two years, as all four members completed college, they simply rehearsed, playing just a handful of gigs. By 1973, they had begun to concentrate on their career, releasing their debut album, Queen, that year and setting out on their first tour. Queen was more or less a straight metal album and failed to receive much acclaim, but Queen II became an unexpected British breakthrough early in 1974. Before its release, the band played Top of the Pops, performing "Seven Seas of Rhye." 

Both the song and the performance were smash successes, and the single rocketed into the Top Ten, setting the stage for Queen II to reach number five. Following its release, the group embarked on its first American tour, supporting Mott the Hoople. On the strength of their campily dramatic performances, the album climbed to number 43 in the States.
It is at this point that Queen's popularity caught the attention of the music buffs at the BBC in England and they were asked to record some of their material from their first two albums in the BBC studios, in front of a small audience. Thus, the following recordings eventuated back in 1973 and were only made available to the general public in 1989, with the release of 'Queen At The Beeb'. 
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Review 1
In fact, between 1973 and 1977, Queen recorded six sessions for the BBC, the first five during the initial flood of excitement that led up to the release of their third album 'Sheer Heart Attack', the last in 1977, when their pomp and circumstance ought to have sounded grossly misplaced amid the churning seas of punk rock — but didn't. Each and any of these is a revelation, topping the regular albums for excitement and alive with all the improvisational quirks and oddities that the band delighted in distributing through their live set. All but two, however, remain deep in the vault, leaving 'At the Beeb' to stand among the most disappointing of all the albums in this venerable series — at the same time as sounding as good as any of them. 

Drawing from Queen's first and third BBC sessions, in February and December 1973, the eight tracks are divided between the band's first two albums — seven from Queen, one (a passionate "Ogre Battle") from what was then the still-gestating Queen II. And they are what you'd expect, vast and bombastic, widescreen epics that make no distinction between the hard rock that was the early Queen's most visible calling card, and the fey, quirky balladry that was the trick up their sleeves. And, while none of the performances here can touch the familiar LP takes in terms of production values and musical excellence, again the emphasis is on visceral verve and spontaneous combustion, qualities that Queen possessed in abundance. For many years the best-selling of all BBC sessions albums, 'At the Beeb' is not an album for the casual listener; nor will it satisfy the completist collector. Nevertheless, anybody who knows the band only for the operatic grandiosity of their regular albums would do well to check it out. It might well change your opinion forever.
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Review 2 
This session featured on this album was recorded in 1973 and includes tracks which later appeared on the band's self-titled debut and its follow up, albeit in different and sometimes extended format. There is a noticeable difference in the sound of the band on this session when compared to the full album releases. For a start Brian May's guitar sound on here is one of the rawest and most brutal things you will hear on any album from the 70's. The fact that he made his own guitar, wound his own fat single coil pickups and tweaked his gear may have something to do with his sound. It is rumoured that he used to play using unusually heavy strings plucked with an old coin which also helped him to achieve his distinctive tone. 

Whatever the secret was behind May's early sound the sheer bite and aggressiveness to the overdriven guitar on here, and indeed May's explosive playing in general, are what elevates this album above the status of a mere curiosity. The art-rock tendencies that began to pervade Queen's music a few years hence are already present this early on in their career with the harmony vocals and Freddie Mercury's inventive piano melodies finding a foothold within some of the songs. But make no mistake, this is a guitar album first and foremost.

The real highlight comes in the form of an extended version of "Son and Daughter". Brian May literally bludgeons his way through the opening verses with a buzzing chainsaw of a rhythm tone. An extended middle section jam, which was later featured on 'Brighton Rock', finds May creating clever harmonies over looped tape delays and Roger Taylor going bat crazy on the sticks. "Ogre Battle", with its memorable opening riff and pounding drum beat is totally unlike its polished counterpart on 'Queen II'.

This is raw and endearingly naïve yet still the quality of performance and musicianship shine through. May is also in top form on the infectiously vital performance of "Great King Rat" driving the song along with a chugging riff and bursts of harmonized wah-wah soloing. It would be stretching things to proclaim this session performance as some sort of essential lost gem and indeed there are some rather weak tracks in the form of "Liar", "Doin Alright" and "Modern Times Rock and Roll". These lesser cuts can't be saved from mediocrity but for anyone who doubts Queen's hard rock roots the sheer raw energy displayed on much of the music should dispel this assumption.

A lot of people's abiding impression of Queen is that of a tired old commercial rock band who dabbled in some eccentric theatrics, experimented with a bit of funk here and there and slowly but surely became a parody of themselves. This would be a fair assessment if you follow their career from around 1977 onwards. But delve deeper into their past and you will find a totally different beast which certainly had it's roots firmly planted in a hard bedrock. So, next time someone tries to lecture you on what is real music while bopping away to 'Crazy Little Thing Called Love' tell them you like Queen too, remove their greatest hits LP from the 20 year old record player, stick this on and blow his speaker cones with a dose of 'Son and Daughter' at full volume.
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LP - Side 1

Liner Notes (from CD release)
This is an event. Not merely the release of more "product", but a major milestone in the annals of Rock. What you hold here are eight songs recorded in 1973 by Queen, one of the great names of post-war international music. Moreover, these are versions of well-known numbers that you will never have heard before!

 
FACT. February 1973. Queen have been on the live circuit for barely two years. But they've yet to sign a major recording deal. However, the enterprising folk at Radio One book vocalist / pianist Freddie Mercury, guitarist Brian May, bassist John Deacon, and drummer Roger Taylor for a session with producer Bernie Andrews. It is to be broadcast on Sounds Of The '70s, and four tracks are laid down on February 5th, viz My Fairy King, Keep Yourself Alive, Doin' Alright, and Liar. All of these songs were eventually to turn up on the band's self-titled debut album for EMI (released in July of that year), but these versions have never been heard before... not even in bootleg form!

 
COMMENT. It's amazing to hear the stunning renditions the band explore herein. Liar's dramatic, thundering Metal extravagance. My Fairy King's lushness and orchestral bravura. Keep Yourself Alive's responsive, momentous Metal-Pop ebullience. Doin' Alright's combination attack of blazing riffs and delicate tinctures of melody.

 
FACT. On December 3rd 1973, Queen recorded a second session for Sounds Of The '70s, performing the songs Ogre Battle, Great King Rat, Modern Times Rock'n'Roll, and Son And Daughter. With the exception of Ogre..., all the songs here were featured on the Queen LP. Ogre Battle is to emerge on the Queen II LP, released in March 1974.

 

LP - Side 2

COMMENT. Once again the quality of performance and recording are breathtaking. Ogre Battle is a panorama of virulent grandeur and broadsword clashing mania. Great King Rat has a seismic bite and flaring, cascading incandescence. Modern Times Rock'n'Roll boasts rousing, glinting rhythms. Son And Daughter is suffused with individual Blues and dramatic cloisters. Magnificent.
As I said earlier, this isn't a release, but an event. Captured here is the essence of early Queen. The style that would help shape two generations of Rock 'N' Roll. The sound that would conquer the world. This is vital, valuable, inexorable. An historical affair that still maintains a contemporary resonance. Rare indeed.
[ by Malcolm Dome, RAW magazine].
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This post consists of FLACS ripped directly from my CD copy of this official release, which is no longer available through normal resellers. Included is full album artwork for both LP and CD and alternative CD releases (namely Queen At The BBC)  have also been included. This album shows a heavy side to Queen and highlights the raw musical talent of each band member, before they got caught up with commercialism.
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NEW IMPROVED RIP !

Track Listing

01 My Fairy King
02 Keep Yourself Alive
03 Doin' Alright
04 Liar
05 Ogre Battle
06 Great King Rat
07 Modern Times Rock 'n' Roll
08 Son And Daughter
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Band members:
Freddie Mercury (lead vocals, piano, electric guitar),
Brian May (electric guitar, backing vocals, acoustic guitar, keyboards),
Roger Taylor (drums, backing vocals, tambourine),
John Deacon (bass guitar)
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Queen Link (217Mb)  New Link 28/01/2025

Mahavishnu Orchestra - Visions Of the Emerald Beyond (1975)

(U.S 1971–1976, 1984–1987)

Mahavishnu Orchestra's Visions of the Emerald Beyond is clearly, inarguably one of the best sounding Jazz/Rock Fusion Albums of All Time. In my experience few records of any kind offer the kind of Dynamics and Energy found on the best pressings of the album — If you have the size and dynamic firepower to reproduce it.

The amazing engineer Ken Scott (Ziggy Stardust, Magical Mystery Tour, Honky Chateau, Crime of the Century) is the man responsible for the sound here, but the explosive dynamics are not just for show. They’re here for a reason. This music requires that level of sonic realism; better yet, demands it. In truth, the sound is not only up to the challenge of expressing the life of the music on this album, it positively enhances it.

When you hear Ponty’s double-tracked violins explode out of each speaker on the first track, you will know what we mean when I say this record is as big and as bold a recording statement as any you have ever heard.

Mahavishnu Orchestra 1975

The Mahavishnu Orchestra on Visions of the Emerald Beyond is a completely different outfit from the one that recorded three LPs for Columbia from 1971-73. 

To put this thing into perspective it might be worth mentioning that McLaughlin was said to have had the best possible fusion band on the planet with Billy Cobham (drums), Rick Laird (bass), Jan Hammer (keyboards) and Jerry Goodman on the fiddle. This was of course the original Mahavishnu line up, Birds Of Fire being the real thing at the time.

But McLauchlin moved on. The new Mahavishnu was born with the likes of Michael Walden, Ralph Armstrong and Jean Luc Ponty, not to mention the string section. I too am a great fan of Visions Of The Emerald Beyond, and see the new Mahavishnu line up as being just as strong as the original lineup. 

Album Review (By Gary Hill, Music Street Journal: 2006 Volume 4)

Well, I tend to figure that fusion that leans heavily towards the rock end of the spectrum qualifies as progressive rock. In that case, there's no question where Mahavishnu Orchestra belongs. Everyone knows about legendary Mahavishnu guitarist John McLaughlin's fret-board prowess, but by the time this incarnation of the band came around Jean-Luc Ponty had joined bringing his exceptional skills on the violin into the fold .The truth is, these guys were an incredibly talented bunch of musicians (beyond the two most recognizable names, even) and they produced some of the most innovative and challenging music of the period. 

Jean Luc Ponty and John McLaughlin

As opposed to a lot of the output of acts like this not all of Mahavishnu Orchestra's songs were strictly instrumental. Almost half the tracks here have at least some vocals, and that adds to the variety of music that the band created. This album is a real killer - although some would say that it doesn't compare to some of their earlier works. It's a must have for prog fans who are looking to explore the fusion side. For those who haven't heard Ponty and McLaughlin, this one would be a great way to get an introduction to the works of both in one shot. They do manage to steal a lot of the show here, and as strong as these two are on their instruments - who cares?

Track by Track Review

Eternity's Breath Part 1

This rises gradually from silence with an organ-dominated sound. Bass and percussion begin to play across and the cut starts to take on a jazz meets Eastern tones texture. A burst of instrumental exploration gives way to a short percussive solo. Then a rather metallic burst of sound leads to a Zappa-like riff. As the vocals enter this becomes a jazz oriented prog rock powerhouse. The occasional side journeys into more Eastern tones are quite cool. They bring this to a logical conclusion, then a flourish of sound serves as the actual end.

Eternity's Breath Part 2

This fills the vacuum left by the previous one. It is a rather straightforward stomper that calls to mind Blood Sweat and Tears a bit. The guitar soloing on here, though, simply shreds. It should be noted that the BS & T link is in reference to the general musical form, and not the vocals arrangement or any such thing. This one is rather simple in terms of song construction, but gains all of its power from the soloing of Jean-Luc Ponty and John McLaughlin. They do twist it around later into a triumphant sounding segment that adds to the power and majesty of the overall track. Then another new segment emerges out of there and eventually pulls the vocals back in. Even then Ponty is soloing all over this thing. After it's done you can just say "wow!"

Lila's Dance

A pretty keyboard line starts this instrumental in a pretty, playful tone that's a definite contrast to the dramatic majesty of the last number. This runs through for a time as the introduction, then a new fusion sort of groove takes the track in slowly rising forms. Ponty cuts loose with a solo over the top of this and it seems as if the song is about to explode. However, instead of cutting loose into a full out fiery jam it moves back to the more restrained with the soloing laying lines of potent melody over the top of this backdrop. Ponty may be the first to solo on this cut, but he is not the only one as the duties are shared throughout this segment. Then it switches gear into a rather Kansas-sounding riff that serves as a transitionary segment. This gives over to a bass dominated segment. Then they burst back out into a guitar scream fest that is quite effective. The Kansas type riff takes it again later and they move it back out to a more melodic ballad type structure to carry forward. Some incredibly dramatic instrumental sounds are woven over the top of this, but eventually the piano returns to bookend this one out. Fans of stunning instrumental work really should not miss this one. It's a powerhouse, and everyone gets a chance to shine here as they move through all sorts of varying themes.

Can't Stand Your Funk

Well, that may be, but I sure like Mahavishnu's style of funk, and this is it. This groove starts off a bit tentatively, but as it kicks into gear full fledged it's an incredibly tasty slice of powerhouse funky tones and progressions. This instrumental is just a little over two minutes in length, but it's all quality. There's no fat on this funk machine.

Pastoral

As one might expect, the gentle sounds of nature lead this one off. They remain alone for the first two or so seconds, then an acoustic guitar motif joins. Ponty begins to weave lines of violin over the top of this backdrop and slowly they rearrange and augment this basic musical structure, enhancing it with each passing run. This is essentially a mellow balladic number, but don't let that fool you - it's anything but boring. It is quite pretty, but there is also plenty happening in this instrumental piece to keep your attention glued. They even include a drop back to classical instrumentation that is accompanied by a return of the natural soundscape. Violin pretty much rules this number, but the sum here is more than just that one instrument. Eventually only the nature sounds remain to end it.

Michael Walden & John McLaughlin

Faith

A pretty guitar line starts this, but very quickly they begin to work this over and over, creating waves of drama and power that at times become dissonant. This is an incredibly powerful instrumental that packs a lot of exploration into just two minutes. It drops back about half way through to an electric guitar texture and then a rock concert style solo takes it. Drums join in and the band launch into a frantic, but very short burst of excitement that ends in laughter.

Cosmic Strut

This comes in with something that reminds me just a little of Yes. This segment is very short lived (only a couple measures), though. They launch out into a funky sort of fusion groove from there that again showcases some stellar musicianship all around. This thing really captivates and excites as it carries through its variations. It's a pretty pure fusion-oriented outing. McLaughlin and Ponty steal much of the show, but you really can't take away from the rest of the performers, everyone contributes here.

If I Could See

A total change of pace an operatic voice starts this and the band come in as accompaniment, gradually building up to an equal par. This then begins to resemble a very odd early King Crimson sort of approach. This is all out art in motion - with less of an emphasis on musicality than making a point. As it works through the frantic jamming, though, eventually it begins to take on more definite musical themes and it fires out into a super frantic funky jazz jam that's simply awesome. That jam's origin lie in the space that ties this song and the next one together, so there will be more thorough coverage of it there.

Be Happy

The guys are literally on fire here with the bass in particular shining through. You can't take anything away from McLaughlin's guitar pyrotechnics; it's just that it's not as frequent that you get to hear the bass power a track like this. Ralphe Armstrong plays like a man possessed. This instrumental is another showcase piece and one of the best you're likely to hear anywhere.

Earth Ship

In startling contrast to the previous piece, this one starts with very sedate keyboards that build very gradually. After a time the track begins to play around within a jazzy ballad structure that serves as the backdrop for the vocals. This one is more about atmosphere and emotion than furious soloing. In that way it serves as a respite from the fury that we just experienced. Consider this the chance to catch your breath.

Pegasus

Speaking of atmosphere, this is basically a fairly brief section of spacey atmospheric jamming. It never really rises above the level of sound effects in terms of picking up a clear melody, but again it does a nice job of breaking up the disc.

Opus 1

This is a very brief (fifteen seconds) neo-classical introduction. Perhaps an opportunity for the listener to take a breather and set up for the disc's closer and seques straight into it.

On The Way Home To Earth

Spacey sounds rise up from the lead-in number. Then a noisy keyboard texture takes over a bit like some sort of crazy radio signal from a robot. This works its way into a more full-fledged fusion type groove as it carries on. It's still a bit weird and noise oriented, though. This gets pretty intense, but just doesn't quite work to me until it has a false ending couple minutes in. Then a plodding sort of bass chord takes it for a time, serving as the transition into the next movement. They scream out from there into more frantic fusion jamming, this time more on message in terms of the sounds. They still manage to turn it a little dissonant at times, but this is a rather effective piece nonetheless. They pull it towards a more melodic resolution to eventually end, and that's a good thing. Without that effort I'm not sure that this would make a great closer. Even so the ending is kind of abrupt, awkward surprise.

[Extract from musicstreetjournal.com with thanks]

This post consists of FLACS ripped from my first pressing vinyl (yet another gem in my record collection) which I have played many, many times, but religiously taken care of over the years.  Full album artwork and label scans are included.

No bonus tracks needed with this album - it's already loaded with great jazz fusion and has a unique track listing.

Note that I have taken the liberty of reproducing the tracks "If I Could See" &"Be Happy" as one track because they run into one another and I didn't want to interrupt your listening experience with a digital break.  Along with their brilliant LP 'Birds of Fire', this album is definitely Mahavishnu Orchestra's best release in my opinion.

Tracklist:

A1 Eternity's Breath - Part 1 3:10

A2 Eternity's Breath - Part 2 4:51

A3 Lila's Dance 5:37

A4 Can't Stand Your Funk   5:10

A5 Pastoral 3:42

A6 Faith 1:59

B1 Cosmic Strut 3:29

B2 If I Could See  1:16

B3 Be Happy 3:31

B4 Earth Ship 3:44

B5 Pegasus 1:51

B6 Opus 1 0:21

B7 On The Way Home To Earth  4:45

Bass, Vocals – Ralphe Armstrong

Drums, Vocals, Clavinet – Narada Michael Walden

Electric Violin – Jean-Luc Ponty

Guitar, Vocals – John McLaughlin

Keyboards, Vocals – Gayle Moran

Producer – John McLaughlin, Ken Scott, Mahavishnu 

Visions Of The Emerald Beyond Link (232Mb)

Procession - Live At Sebastians (1968) plus Bonus Tracks

 (Australian 1967-1969)

On Wednesday, April 3rd, 1968; Procession made recording history at Sebastian

's discotheque in Melbourne, Victoria.
History making, because they recorded the first stereophonic 'Live' performance album ever produced in Australia.
With the rapid advancement of modern recording equipment and techniques, live performance recording no longer presents any major technical problems - as Bill Armstrong and his associates have so capably demonstrated on this album.
However, under this technical 'magnifying-glass', the highest degree of artistry and professionalism is demanded from the performer. Anyone who hears this album or who was present that night will agree that no Australian group could be better equipped for this challenge than Procession.

My personal involvement with Procession began just six months ago when I was associated with presenting their first Australian performance. Having heard them in rehearsal I was impressed with their musicianship and originality, but was greatly concerned that they were too advanced for the general public.

I needn't have worried. In six months they have established themselves as leaders in the conte2mprary music field. It is most rewarding for all of us associated with Procession's early days, to see them so highly respected and so widely accepted by audiences and musicians alike.

It's pointless for me to discuss the individual tracks on this album - I believe they speak for themselves, and demonstrate conclusively why this group is so enormously popular at Sebastians. It only remains for me to say how honoured we are that Procession chose Sebastian's for recording this magnificent album. [Liner Notes by Anthony Knight]

A PRECIS OF PROCESSION

The Procession saga is long and wonderous and should one day be covered in a book (I've left myself a note). However, at this point in time I shall confine my outpourings to a skeletal outline which may help place the music herein in some sort of useful perspective.

Procession was very likely the most publicly ambitious (some may say pompous) of all Australian late sixties rock ensembles. But then, coming from Melbourne, that is understandable. Their launch and every action thereafter was treated with gushin reverence by Yarra scribes and, for a time, it seemed as if Go-Set magazine had been taken over as the official journal of their fan club.

Source: Go-Set, October 1969

One memorable bulletin declared: "You must prepare yourself appropriately, before you are ready for THE PROCESSION! Clear you mind of all the little thoughts and interruptions - and listen intently to their single 'Anthem'. A new sound, unique, untried before in the whole of the pop world. Intricate, involved, ingeniously devised". Of course Sydney (indeed the rest of the country) responded to this with a brick wall of indifference; which was a great shame, given the bard's undeniable excellence.

The saga begins in New Zealand, where songwriter/guitarist Brian Peacock and drummer Craig Collinge formed The Librettos, a Beatle-era chart act which never quite connected in this country (despite a superior cover of Paul Revere & The Raiders' Kicks). Late in 1966 Peacock joined Normie Rowe's 'new' Playboys while Collinge fronted Brisbane's The Knack, one of Australia's first psychedelic trios (a la Cream, Jimi Hendrix Experience).

By the end of 1967, Peacock and Collinge were back together, in the company of Englishmen Trevor Griffin (from London group The Question Marks) and former Adam Faith sideman Mick Rodgers, both of whom had drifted into the Playboys and been inspired by Peacock's vision of a totally original and progressive recording unit. That all four happened to harbour leanings toward modern jazz was not necessarily a coincidence.

Procession: Wakefield-Express-14-Sept-1968

Procession came about through the recording of a stunning Sunshine label power pop single called 'Sad', by The Playboys (sans Normie). Although the song was not a hit, the musical configuration made sense and, on December 17, 1967 (see advert below), the newly-named Procession commenced a three week season at Sebastians and Berties disco. The just-unveiled national four hour Saturday morning rock TV show Uptight (which just happened to be produced by their manager, David Joseph) featured them in a special spot each week, the Lily Brett-Ian (Molly) Meldrum-Go Set PR machine swung into action, and by the beginning of 1968 the country was well aware of the quartet.

Procession's gameplan was to make everything they did a 'first'. Thus their debut single, 'Anthem', was recorded acapella, while their debut album was recorded Live at Sebastians on April 3, 1968 (still the first live debut album in Australian rock history). Their first TV appearance had seen them backed by a 40-voice choir. Their second single, 'Listen', was the first to be recorded on an 8 track recording machine in this country (Armstrong's much-touted Scully unit).

Source: Go-Set-June-15-1968

Unfortunately, apart from one Melbourne station, pop radio claimed 'Anthem' was too long (read: too revolutionary) for airplay and the miffed group, describing Australia as being "not a country for the young" headed off for London, having landed a remarkably large (for the time) advance from Philips/Mercury Records. ln London they had the good fortune to be sent into the studio with Manfred Mann's resident musical genius, Hike Hugg. By this stage, Peacock (who had penned the fine Normie Rowe hit 'Penelope') had truly found his feet as a songwriter and handed Hugg an impressive array of original works to fashion.

The result was a sophisticated, innovative, jazz-tinged album - certainly the most impressive by an Australian act at that time. But, in a repeat of the Australian scenario, British radio showed scant interest in the group and the single 'Every American Citizen', although advertised on the front cover of New Musical Express, sunk without a trace. Not even Mick Rodger's pop idol good looks staring out of the scream rags of the day could get Procession into the charts.

Despite the band's growing live prowess, there never was the promised third album. There were some more (Procession-produced) singles, such as 'Wigwam City', but the initial creative surge had been dampened by disinterest. In a desperate move, Peacock summoned to England the leader of his favourite Australian band, The Party Machine. But not even six months sterling service by the immensely talented Ross Wilson (without recordings) could rescue the situation. Ross went back home to put together Sons Of A Vegetal Mother and come up with the Daddy Cool brainstorm, and Procession fell apart.

Bassist/guitarist Hick Rodgers, the possessor of a magnificent set of rock vocal chords, drifted back to Australia to front the hit-less Bulldog and in 1972 rejoined drummer Craig Collinge in Manfred Mann's Chapter Three/ Earth Band, becoming Manfred's lead singer for a half dozen or so albums. He also was a recording member of Greenslade and Aviator. Collinge achieved certain rock infamy by being part of the 'bogus' Fleetwood Mac formed by manager Clifford Davis which toured America in the early 70s until stopped by the legal efforts of Messer's Fleetwood and McVie. He was also a recording member of Shoot and Third World War. Keyboard player Trevor Griffin became road manager for The Sweet.

Brian Peacock, for all intents and purposes, dropped from sight and at one stage was apparently running a Melbourne health food store (the 70s equivalent of the car wash). He received some reward for his diligence and undeniable anceptual talent in 1978 when the David Joseph-managed New Seekers made the U.K. top twenty with Anthem (One Day ln Every Week), the song that Procession had recorded three times, in three different ways, with consistent lack of success. By that time, Brian had

returned to music as co-leader of Perth blues band Western Flyer, with Matt Taylor. He then moved into artist management via The Dugites and by the early 80s was guiding Perth's Eurogliders to national prominence.

And that, until I get around to the book version, is about all I have to say about the Mind Magicians of Australia's Summer (and a few other seasons) of Love. [Notes by Glenn A. Baker]

This post (requested by blog follower RSVL) consists of FLACs ripped from vinyl (thanks to Deutros for rip) and includes full album artwork and label scans. All photos (thanks to Nick Warburton) and Glenn's notes are also included.

Although I found Procession's material to be a bit dated and pedestrian, I really enjoyed their closing number "Hear Me Calling Your Name" with the band pulling out all the stops and showing a more heavier sound.  Note that the bonus ' Live Uptight' tracks suffer from tape derogation and speed issues making the listening experience a little frustrating.

One final note, if you are interested in knowing where Procession performed during their three year reign, I suggest you pop over to Nick's website

Tracklist

01 - Anthem   4:15

02 - Take Time   2:28

03 - Once Was A Time I Thought   1:51

04 - Penelope   3:06

05 - Signature Tune   4:06

06 - Nobody Knows When You're Down And Out   3:28

07 - With A Little Help From My Friends   3:32

08 - Cloudburst   2:09

09 - Minuet For Moderns   2:26

10 - Sitting In The Park   4:12

11 - Hear Me Calling Your Name   7:38

Bonus Tracks

12 - Intro,  Up And Away,  Ruby (from 'Uptight' TV Show)   4:24

13 - Once Was A Time I Thought (from 'Uptight' TV Show)   1:31

14 - Interview (from 'Uptight' TV Show)   4:51

15 - Anthem (from 'Uptight' TV Show)   3:20

16 - Penelope (from 'Uptight' TV Show)   2:56

17 - AMBO Agency Ad (from 'Uptight' TV Show)   0:41

18 - God Rest Ye Merry Gentlemen (from 'Uptight' TV Show)   2:14

Procession Are:

Mick Rodgers - Guitar, Vocals

Trevor Griffin - Keyboards

Brian Peacock - Bass, Vocals

Craig Collinge - Drums

Procession Link (297Mb)

REPOST: Doobie Brothers - Selftitled (1971)

(U.S 1970–1982, 1987–present)
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As one of the most popular Californian pop/rock bands of the '70s, the Doobie Brothers evolved from a mellow, post-hippie boogie band to a slick, soul-inflected pop band by the end of the decade. Along the way, the group racked up a string of gold and platinum albums in the U.S., along with a number of radio hits like "Listen to the Music," "Black Water," and "China Grove."
Originally a trio called Pud formed in California in 1970 and comprising Johnston, Hartmann and bassist Greg Murph, the latter quickly replaced by Dave Shogrer.. Started out as a hard rock band, toyed for a spell with gospel-oriented material using horns before return to rock roots. Expanded to four-piece with addition of Pat Simmons, a native of Sar. Jose.

Signed to Warner Bros, this lineup appeared on 1971 debut album although Shogren left soon after. Tiran Porter and Mike Hossack (percussion) were enlisted to bring Doobies up to quintet. This use of two guitarists and two percussionists was later to draw comparisons with similarly boogie-oriented Allman Brothers, although Doobies have always professed a closer affinity to San Francisco band Moby Grape. Indeed, the Grape's Skip Spence had been instrumental in bringing original Doobies together.
The Doobie Brothers honed their chops by performing live all over northern California in 1970. They attracted a particularly strong following among local chapters of the Hells Angels and scored a recurring gig at one of the bikers' favorite venues, the rustic Chateau Liberte in the Santa Cruz Mountains. An energetic set of demos (some of which were briefly released on Pickwick Records in 1980 under the title Introducing the Doobie Brothers), showcased fuzz-toned, dual lead electric guitars, three-part harmonies and Hartman's frenetic drumming and earned the rock group a contract at Warner Bros. Records. (with Tiran Porter on Bass). At this point in their history, the band's image reflected that of their biggest fans - leather jackets and motorcycles.

However, the group's 1971 self-titled debut album departed significantly from that image and their live sound of the period. The album, which failed to chart, emphasized acoustic guitars and frequently reflected country influences.
Their second album, the gold-seller 'Toulouse Street' (1972) found the band experimenting with horns on certain tracks and moving further in direction of hard rock, results being a high placing on U.S. album lists and a hit single "Listen To The Music". The 1973 set, 'The Captain And Me', repeated the process with gold status and a hit single, "Long Train Running" - and by now the Doobies were a substantial concert attraction in the U.S. Attracting cult attention in U.K., they managed to sell-out two London Rainbow gigs on their British debut early in 1974 with very little pre-publicity.

Later that year the group's instrumental prowess was boosted by the talents of former Steely Dan's slide guitarist Jeff 'Skunk' Baxter (though many critics interpreted the move as a backward one on Baxter's part). The guitarist had, however, already appeared in session role on earlier Doobies albums.
More personnel changes occurred in the following year: Hossack departed to be replaced by Keith Knudsen, formerly with Lee Michaels, with line-up boosted to six by addition of keyboards player Michael McDonald - like Baxter before him, a recruit from Steely Dan [extract from 'The New Musical Express Encyclopedia of Rock', by Logan & Woffinden, Salamander 1977]

The new sound was showcased on 1976's 'Takin' It to the Streets', a collection of light funk and jazzy pop that resulted in a platinum album. Later that year, the group released the hits compilation 'The Best of the Doobies'. In 1977, the group released 'Livin' on the Fault Line', which was successful without producing any big hits. Johnston left the band after the album's release to pursue an unsuccessful solo career. Following his departure, the Doobies released their most successful album, 'Minute by Minute' (1978), which spent five weeks at number one on the strength of the number one single "What a Fool Believes." Hartman and Baxter left the group after the album's supporting tour, leaving the Doobie Brothers as McDonald's backing band.

Following a year of audition, the Doobies hired ex-Clover guitarist John McFee, session drummer Chet McCracken, and former Moby Grape saxophonist Cornelius Bumpus and released One Step Closer (1980), a platinum album that produced the Top Ten hit "Real Love." During the tour for One Step Closer, McCracken was replaced by Andy Newmark. Early in 1982, the Doobie Brothers announced they were breaking up after a farewell tour, which was documented on the 1983 live album Farewell Tour. After the band's split, McDonald pursued a successful solo career, while Simmons released one unsuccessful solo record. In 1987, the Doobies reunited for a concert at the Hollywood Bowl, which quickly became a brief reunion tour; McDonald declined to participate in the tour.

By 1989, the early-'70s lineup of Johnston, Simmons, Hartman, Porter, and Hossack, augmented by percussionist and former Doobies roadie Bobby LaKind, had signed a contract with Capitol Records. Their reunion album, Cycles, went gold upon its summer release in 1989, spawning the Top Ten hit "The Doctor." Brotherhood followed two years later, but it failed to generate much interest. For the remainder of the '90s, the group toured the U.S., playing the oldies circuit and '70s revival concerts. By 1995, McDonald had joined the group again, and the following year saw the release of 'Rockin' Down the Highway'. But the lineup had once again shifted by the turn of the new millennium. 2000 saw the band — Hossack, Johnston, Knudsen, McFee, and Simmons — issue Sibling Rivalry, which featured touring members Guy Allison on keyboards, Marc Russo on saxophone, and Skylark on bass [extract from Wikipedia]
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Album Review
One of the most inauspicious debuts by a major rock group, this subdued slice of country boogie might be called the missing link between Moby Grape and the later, revved-up Doobies of "Listen to the Music." Only a handful of West Coast hippies bought this record originally, but it lays the blueprint for the Doobies' future radio-friendly sound: chugging rhythm guitar, stretched-out harmonies, Tom Johnston's joyful R&B vocals, and Patrick Simmons' acoustic picking. A muffled mixing job helped keep this album in the morgue, which is sad, because "Nobody" and "Greenwood Creek" rate with some of Johnston's best tunes, and they both deserve issuance on a definitive Doobie Brothers compilation. [reviewed by Peter Kurtz, All Music Guide]
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I personally like this first release as it demonstrates the roots from where the Doobies latter music would spring from. For example, if you listen closely to the track "Beehive State", you can definitely hear some Doobie riffs that were indicative of greater things to come.
This post consists of FLACs ripped from my vinyl copy which I bought 2nd hand for the pricely sum of $1.99 back in the late 70's and includes full album artwork for both CD and Vinyl plus label scans. My copy exhibits the newer Warner Bros record label and is a 1974 re-release - probably made in response to the popularity of the Doobie Brothers at that time. If you haven't listened to the Doobie's earlier material, then you really haven't 'Listened To The Music' (pun intended !)

NEW IMPROVED RIP!

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Track listing

01 - Nobody (Johnston) – 3:42
02 - Slippery St. Paul (Simmons, Johnston) – 2:14
03 - Greenwood Creek (Johnston) – 3:04
04 - It Won't Be Right (Johnston) – 2:38
05 - Travelin' Man (Johnston) – 4:25
06 - Feelin' Down Farther (Johnston) – 4:20
07 - The Master (Johnston) – 3:30
08 - Growin' a Little Each Day (Johnston) – 3:20
09 - Beehive State (Randy Newman) – 2:42
10 - Closer Every Day (Simmons) – 4:19
11 - Chicago (Simmons) – 1:40
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Band Members:
Tom Johnston - guitar, harmonica, piano, harp, vocals
Patrick Simmons - guitar, vocals
Dave Shogren - bass, organ, keyboards, vocals
John Hartman - drums
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The Doobies Link (213Mb)  New Link 16/01/2025
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REPOST: Paul Norton - Let It Fly (1992)

(Australian 1980 - 1994)
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Paul Norton (aka McNaughton) started playing bass in various bands in his teens, which led to the formation of Melbourne band The Runners. After a couple of years of constant live work The Runners were signed to Mushroom records in 1981 and released their first single "Sure Fire Thing" in 1982 followed by The album 'Hitting the Wall' and the single "Endlessly". The Runners toured constantly throughout the early eighties and went through many line up changes before disbanding in 1985.
Paul spent the next couple of years playing with various bands (Wendy and the Rocketts, Steve Hoy and the Hoy Boys) before launching a solo career in 1988. Again signed to Mushroom Records, Paul released his first single "Stuck On You" which received immediate airplay and got to number two on the Australian charts. Paul then went to London to work with producers Paul Muggleton and Mike Paxman on the next single "I Got You" (#34) and the album 'Under a Southern Sky' (the song "Southern Sky" (#32) was later chosen for Australia Day Celebrations at the 2000 Olympics in Sydney).

Paul worked live with his band for the next couple of years before teaming up with American musician/producer T-Bone Wolk (Hall and Oates Carly Simon) to work on his second album 'Let It Fly' which was recorded at Metropolis studios in Melbourne and mixed in New York at Electric Lady and Bearsville studios. Let It Fly was released in 1992 with the singles "When We Were Young" and "Lil Red Riding Hood". Paul worked live with his band over the next couple of years touring extensively throughout Australia including many aboriginal communities and Arnhem Land.
In 1994, Paul met Peter Wells RIP (Rose Tattoo) and Cletis Carr and together they formed Hillbilly Moon and later that year released the album 'Hillbilly Moon Volume One' with the song "She Left Me" receiving solid airplay on Country Music Television.
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Paul was Musical Director and wrote the score for The Australian Shakespeare’s production of Much Ado About Nothing and the finale for the critically acclaimed comedy Certified Male. Paul has written for and with some of Australia’s finest performers including Debra Byrne, Gerry Hale, Wendy Stapleton, Donna Fisk and Michael Cristian, Dobe Newton and Colleen  Hewitt. In the last few years Paul has divided his time between writing producing and working live and is currently working on a new album.
2006 saw Paul tour Australia with The Countdown Spectacular, featuring 27 of Australia's top rock acts of the 70's and 80's performing to 100,000 people nationwide. [extract from Paul's Website]
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Album Review
This album is easily the equal of 'Under A Southern Sky' and it's excellent lead single "When We Were Young" combined the cruisy, catchy feel of his earlier hit "Stuck On You" with a nostalgic lyric that teenagers young and old could relate to.
And yet for some inexplicable reason, radio stations ignored it, bar a few scattered plays in Melbourne, resulting in neither the album nor the single taking off. As a follow up single Paul issued the old Sam The Sham hit "Lil' Red Riding Hood", the album's only cover/remake. It probably seemed like a good idea at the time in that it was a nicely rockin' little version, it had recognition factor and Paul and the band, with Nick Barker guesting on vocals, sound like they're having fun too. But another of Paul's originals would have been a much better option.

With his gritty voice, the occasional use of fiddle on some tracks and the music's hybrid of country and rock styles, Paul does at times remind me of John "Cougar" Mellencamp (especially in the track "What Are We waiting For"). Without slavishly copying of course. In fact there's a downright Stones-like blues-rock swagger on a couple of my favourite tracks like "Little Miss Understood" and "Lie To Me". Elsewhere there's a stomping soul style feel on "Nothing She Can't Do" featuring some nice blues harp and the down-home country stylings of "Too Many Angels", with an incongruous but strangely befitting sax solo by Joe Camilleri
All up a great album to be sure, not a synthsizer to be found anywhere and it should have made him huge. The backing cast is also of major note as first of all, it was helmed by noted US producer T Bone Wolk (Hall & Oates/Carly Simon/Elvis Costello/Billy Joel/Wendy Matthews/UK Squeeze etc).
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His band on the album is top notch too and includes his ex-Runners band mate Mark Greig on guitar, wife Wendy Stapleton on backing vocals and drummer John Watson (Kevin Borich/Renee Geyer/Aussie Crawl). Plus guest appearances by the aforementioned Nick Barker and Joe Camilleri, with drummer Freddie Strauks (Skyhooks/Jo Jo Zep), Jen Anderson (Black Sorrows) on violin and finally Mike Brady providing backing vocals on a track or two.
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Paul went on to form Hillbilly Moon with Peter Wells RIP (Rose Tattoo) who issued one acclaimed album as well as writing for and with the likes of Debra Byrne, Gerry Hale, Wendy Stapleton, Donna Fisk and Michael Cristian, Dobe Newton and Colleen Hewett.  [thanks to Micko at the Midoztouch forum for this great album review].
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This post consists of FLACs ripped from my CD copy and includes full album artwork. A great album and well worth the listen, even if you haven't heard any of Paul's solo material. The more you listen to it, the more it grows on ya. Perhaps the radio stations should have given it a better listen.

NEW IMPROVED RIP !

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Track Listing

01.  When We Were Young
02.  When The Kingdom Comes
03.  Too Far Gone
04.  Fly Away
05.  Star
06.  Lil’ Red Ridin' Hood
07.  Too Many Angels
08.  Getting Away With Murder
09.  Little Miss Understood
10.  What Are We Waiting For
11.  Lie To Me
12.  How Great It Is
13.  Nothin’ She Can’t Do
14.  Ain’t That The Truth

Band Members:
Paul Norton (Bass, Guitar Vocals)
Mark Greig (Guitar)
T-Bone Wolk (Bass, Keyboards, Vocals)
Tim Millikan (Percussion and Drums)
John Watson (Drums)
Dino Baptiste  (Harmonica)
Backing Vocals: Wendy Stapleton/Mike Brady/Nick Barker/Nikki Nicholls/Bobby Mayo/Kasim Sultan/Mark Rivera
Additional Drums: Peter Luscomb/Freddie Strauks/Michael Braun/Doug Bradly
Keyboards: Bobby Mayo
Violin: Jen Anderson
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Paul Norton Link (431Mb) New Link 14/01/2025
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