W.O.C.K On Vinyl: Patrick MacNee & Honor Blackman - Kinky Boots (1964, 1983) 12inch Single

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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.

The Avengers was a British espionage television series that aired from 7 January 1961 to 21 April 1969. It initially focused on David Keel (Ian Hendry), aided by John Steed (Patrick Macnee). Ian Hendry left after the first series; Steed then became the main character, partnered with a succession of assistants. His most famous assistants were intelligent, stylish, and assertive women: Cathy Gale (Honor Blackman), Emma Peel (Diana Rigg), and Tara King (Linda Thorson). Dresses and suits for the series were made by Pierre Cardin.

The series screened as one-hour episodes for its entire run. The first episode, "Hot Snow", aired on 7 January 1961. The final episode, "Bizarre", aired on 21 April 1969 in the United States, and on 17 May 1969 in the United Kingdom.

The Avengers was produced by ABC Weekend TV, a contractor within the ITV network. After a merger with Rediffusion London in July 1968, ABC Weekend became Thames Television, which continued production of the series, subcontracted to ABC Television Films. By 1969, The Avengers was shown in more than 90 countries. ITV produced a sequel series, The New Avengers (1976–1977), with Patrick Macnee returning as John Steed, and two new partners. In 2004 and 2007, The Avengers was ranked No. 17 and No. 20 on TV Guide's Top Cult Shows Ever.

The Avengers was marked by different eras as co-stars came and went. The only constant was John Steed, played by Patrick Macnee.

Patrick MacNee as The Avenger's John Steed

Series 2-3 (1962-64)

The first episode broadcast in the second series (1962) introduced Steed's female partner who would change the show into the format for which it is most remembered. Honor Blackman played Mrs. Cathy Gale, a self-assured, quick-witted anthropologist who was skilled in judo and had a passion for leather clothes.

Steed & Gale

Catherine Gale was unlike any female character seen before on British TV, and she became a household name, mainly for her all leather outfit which she regularly wore during the show.

During the first series, there were hints that Steed worked for a branch of British Intelligence, and this was expanded in the second series. Steed initially received orders from different superiors, including someone referred to as "Charles", and "One-Ten" (Douglas Muir). By the third series, the delivery of Steed's orders was not depicted on screen or explained. The secret organisation to which Steed belongs is shown in "The Nutshell", and it is Cathy Gale's first visit to their headquarters.

During the Gale era, Steed was transformed from a rugged trenchcoat-wearing agent into the stereotypical English gentleman, complete with Savile Row suit, bowler hat and umbrella, with clothes later designed by Pierre Cardin. The bowler and umbrella were soon revealed to be full of tricks, including a sword hidden within the umbrella handle and a steel plate concealed in the hat.

Steed in his Pierre Cardin Suit

With his impeccable manners, old-world sophistication and vintage car, Steed came to represent the traditional Englishman of an earlier era.

By contrast, Steed's partners were youthful, forward-looking and always attired in the latest mod fashions. Catherine Gale's innovative leather outfits suited her many athletic fight scenes. Honor Blackman became a star in Britain with her black leather outfits and boots (nicknamed "kinky boots") and her judo-based fighting style. Patrick Macnee and Honor Blackman even released a novelty song called "Kinky Boots". Some of the clothes seen in The Avengers were designed at the studio of John Sutcliffe, who published the AtomAge fetish magazine.

Series scriptwriter Dennis Spooner said that the series would frequently feature Steed visiting busy public places such as the main airport in London without anyone else present in the scene: "'Can't you afford extras?' they'd ask. Well, it wasn't like that. It's just that Steed had to be alone to be accepted. Put him in a crowd and he sticks out like a sore thumb! Let's face it, with normal people he's weird. The trick to making him acceptable is never to show him in a normal world, just fighting villains who are odder than he is!"

Series 4-5 (1965-67)

Dianna Rig as 'Emma Peel'

With Honor Blackman's exit in 1964 to pursue other acting roles: the Bond girl Pussy Galore in Goldfinger (1964) and Julia Daggett in Shalako (1968), a new female partner for John Steed needed to be found. After more than 60 actresses had been auditioned, Diana Rigg's screen test with Patrick Macnee showed that the two immediately worked well together. Mrs. Emma Peel (Diana Rigg) debuted in October 1965 and her character name in the show was derived from a comment by writers, during development, that they wanted a character with "man appeal". 

In contrast to the Gale episodes, there is a lighter, comic touch in Steed's and Mrs. Emma Peel's interactions with each other and their reactions to other characters and situations. Earlier series had a harder tone, with the Gale era including some quite serious espionage dramas. This almost completely disappeared as Steed and Mrs. Emma Peel visibly enjoy topping each other's witticisms. The layer of conflict with Catherine Gale—who on occasion openly resented being used by Steed, often without her permission—is absent from Steed's interaction with Emma Peel.

Also, the sexual tension between Steed and Catherine Gale is quite different from the tension between Steed and Emma Peel. In both cases, the exact relationship between the partners is left ambiguous, although they seemed to have carte blanche to visit each other's homes whenever they please, and it is not uncommon for scenes to suggest that Steed had spent the night at Catherine Gale's or Emma Peel's home, or vice versa. Although nothing "improper" is displayed, the close chemistry between Steed and Mrs. Emma Peel constantly suggests intimacy between the two.

According to Patrick Macnee in his book The Avengers and Me, Diana Rigg disliked wearing leather and insisted on a new line of fabric athletic wear for the fifth series. Alun Hughes, who had designed clothing for Diana Rigg's personal wardrobe, was suggested by the actress to design Emma Peel's "softer" new wardrobe. Pierre Cardin was brought in to design a new wardrobe for Macnee. In the US, TV Guide ran a four-page photo spread on Diana Rigg's new "Emmapeeler" outfits (10–16 June 1967). Eight tight-fitting jumpsuits were created, in a variety of bright colours and made of the stretch fabric crimplene.

The Avengers began filming in colour for the fifth series in 1966. It was three years before Britain's ITV network began full colour broadcasting.

The Cybernauts

Science fiction and fantasy elements (a style later known as Spy-Fi) also began to emerge in storylines. The duo encounters killer robots ("The Cybernauts"), telepaths ("Too Many Christmas Trees") and giant alien carnivorous plants ("The Man-Eater of Surrey Green"). Stories were increasingly characterised by a futuristic, science-fiction bent, with mad scientists and their creations wreaking havoc. The duo dealt with being shrunk to doll size ("Mission... Highly Improbable"), pet cats being electrically altered to become ferocious and lethal "miniature tigers" ("The Hidden Tiger"), killer automata ("Return of The Cybernauts"), mind-transferring machines ("Who's Who???") and invisible foes ("The See-Through Man").

Diana Rigg was initially unhappy with the way she was treated by the show's producers. During her first series, she learned that she was being paid less than the cameraman. She demanded a raise to put her more on a par with her co-star, or she would leave the show. The producers gave in, thanks to the show's great popularity in the US. At the end of the fifth series in 1967, Diana Rigg left to pursue other projects. This included following Honor Blackman to play a leading role in a James Bond film, On Her Majesty's Secret Service, as James Bond's wife Tracy Bond.

Series 6 (1968-69)

When Diana Rigg left the series in October 1967, the British network executives decided that the current series formula, despite resulting in popular success, could not be pursued further. Thus, they decided that a "return to realism" was appropriate for the sixth series (1968–69).

Linda Thorson as 'Tara King' 

20-year-old newcomer Linda Thorson, was chosen as the new female co-star and given the name Tara King for her character. Linda Thorson played the role with more innocence in mind and at heart, and unlike the previous partnerships with Cathy Gale and Emma Peel, the writers allowed subtle hints of romance to blossom between Steed and Tara King. Tara King also differed from Steed's previous partners in that she was a fully fledged (albeit initially inexperienced) agent working for Steed's organisation.

Tara debuts in dynamic style: when Steed is called to Headquarters, he is attacked and knocked down by trainee agent Tara King, who mistakes him for her training partner.

The revised series continued to be broadcast in the US. The episodes with Linda Thorson as Tara King proved to be highly rated in Europe and the UK. However, in the US, the ABC network chose to air it opposite the number-one show in the country at the time, Rowan and Martin's Laugh-In. Steed and Tara King could not compete, and the show was cancelled in the US. Without this vital commercial backing, production could not continue in Britain either, and the series ended in May 1969. 

[Extracts from wikipedia]

This month's WOCK post consists of FLACs ripped from a 12" Single release (thanks to Sunshine) which features picture labels and a glossy green cover (artwork included).  

The Avengers was one of my favourite T.V shows during the late 60's and early 70's (re-runs), especially series 4-5 featuring Emma Peel. As an impressionable and hormonal teenager during this time, the show contained all of the attributes and sex appeal that a young boy desired, and Emma Peel certainly fitted the bill.

The single 'Kinky Boots' definately ticks the K box for this month's WOCK on Vinyl and although the pressing used is from 1983, the original recording was made in 1964 making it rather Obscure as well.

And because this 12" release also features the Theme Music from The Avengers show, it makes it even more desirable, in my opinion. I hope this month's WOCK post brings back fond memories for you as much as it did for me.

Track Listing

01 Kinky Boots

02 Let's Keep It Friendly

03 The Avengers Theme

Kinky Boots Link (46Mb)

Bad Company - 10 from 6 (1985) plus Bonus Tracks

(U.K 1973-1982, 1986 -1999, 2001-2002, 2008-2019)

Few groups entered the rock arena in the mid-70's with as much initial success, both critically and commercially, as Bad Company. Fewer still have been able to weather a period of rapidly shifting musical tastes and trends, much less maintain the popular base, as Bad Company has. It has been more than 50 years since the band formed in 1973 - with Paul Rodgers emerging from Free and Mick Ralphs leaving Mott The Hoople at its peak, to be joined by bass player Boz Burrell (ex Free) and drummer Simon Kirke (ex King Crimson).

The way Mick Ralphs has explained it: "People needed a band like ours. At the time there wasn't anybody doing what we were. Everybody was too much into theatrics. It was getting a bit sour, so we came in as a complete opposite to that".

From their first rehearsal at Paul's country home in September 1973, it was apparent that they shared a special chemistry. As song writers, Ralph and Rodgers complimented each other's strengths. Brightest of all was the quality of new songs both had in store. "Mick had 'Can't Get Enough' when we started the band," states Rodgers. "I remember him playing it for me. I was absolutely certain that it was a hit. It was one of the reasons why I thought we had a future together, Mott The Hoople wouldn't play it because it wasn't their style. I told him I would sing that song".

Paul-Rodgers-and-Mick-Ralphs

Determined to establish Bad Company on solid footing, Paul decided to call Led Zeppelin's manager Peter Grant. Grant said "Yes, I'm interested in managing Paul Rodgers", to which Rodgers replied "I come with a band". Peter was still interested. At the time we were a trio and were still auditioning bass players down at the village hall.

Grant recognised the group's potential and a handshake agreement between he and Rodgers secured his position as manager. Grant then signed them to Led Zeppelin's fledgling Swan Song label. With proper management in place, the trio turned its focus to securing a bassist to round out the group.

As a search for a suitable bassist continued, signature songs such as "Rock Steady","Movin' On", and "Bad Company" were developed and refined. With momentum building towards a public launch, the group finally recruited former King Crimson bassist Boz Burrell to fill the position, sporting a fretless bass and an easy going personna.

Bad Company 1974

With Burrell in tow, the group prepared to record their debut album, using led Zeppelin's mobile studio at Headley Grange. The eight tracks recorded at Headley Grange clearly defined the band's sound. Rock, blues and country influences were marbled skillfully within all their songs.

"We were influenced by people like Jimi Hendrix, Cream and to a certain extent, the Beatles", explains Rodgers. "I don't think that Bad Company was particularly blues influenced as a band, although I probably brought that in. We were just trying to play what felt good and natural and I think that is what gave us our identity.

Bad Company 1975

Despite the commercial potential of their music, the group had to wage a battle with Swan Song over their name. The group chose 'Bad Company', inspired by the 1972 film of the same name directed by Robert Benton. "I had to fight to get the management and record company to accept the name 'Bad Company', explains Rodgers. "They thought it was a terrible name. Peter Grant called a meeting and the band met beforehand. I told them that I had been through this before with Free (Island had wanted to call the band the Heavy Metal Kids or something corney like that). We agreed to go in and tell them that we were called Bad Company and that was the end of the story. As soon as Grant heard how strongly I felt about the name, he became very supportive and turned the record company around".

Taking full benefit of Swan Song's visibility and Grant's press and marketing skills, Bad Company made their formal debut at Newcastle City Hall in March 1974. The rousing response they enjoyed from fans and critics in the UK propelled the group towards America brimming with confidence. "In America, we opened for Edgar Winter," remembers Rodgers. "The response to Bad Comany was overwhelming, night after night. When we started out on tour, the album 'Bad Co.' had just broken into the charts. Three months later we were number one. We were received with open arms. We were finally on our way".

Bad Company's First 6 Albums

Bad Company has enjoyed a streak of gold and platinum records, from their debut  'Bad Co.', through 'Straight Shooter', 'Run With The Pack', 'Burnin' Sky', 'Desolation Angels', 'Rough Diamonds' and the hugely successful Best Of '10 from 6' LP's.

Singles such as "Can't Get Enough","Movin On","Feel Like Makin' Love","Young Blood" and "Rock 'N' Roll Fantasy" have consistently placed the group at the top of the charts.

A Young Mick

RIP Mick Ralphs (24/06/2025)

extract from ultimateclassicrock.com

Mick Ralphs, a founding member of Mott the Hoople and Bad Company, has died. He was 81.

Paul Rodgers, his former Bad Company bandmate shared,

 "Our Mick has passed, my heart just hit the ground. He has left us with exceptional songs and memories. He was my friend, my songwriting partner, an amazing and versatile guitarist who had the greatest sense of humor.

"Our last conversation a few days ago we shared a laugh but it won't be our last. There are many memories of Mick that will create laughter. Condolences to everyone who loved him especially his one true love, Susie. I will see you in heaven."

Drummer Simon Kirke also issued a statement, noting, "He was a dear friend, a wonderful songwriter and an exceptional guitarist. We will miss him deeply."

In 2016, following a tour with Bad Company, Ralphs was hospitalized with a stroke. He officially retired from performing after that. According to a press release announcing his death, "Ralphs gave his final performance with Bad Company on Oct. 29, 2016, at London’s O2 Arena. Just days later, he suffered a debilitating stroke and remained bedridden until his passing."

Ralphs was born in England in March 1944 and began playing in local bands in the early '60s. In 1969, he helped form Mott the Hoople, remaining with the band until 1973, contributing to all of the band's studio albums in some capacity.

He also played on all of Bad Company's albums, even though he didn't always tour with them.

The band's 1974 self-titled debut album included the hit single "Can't Get Enough," which was written by Ralphs. He also wrote and sang "Ready for Love" on Mott the Hoople's 1972 album, All the Young Dudes. Bad Company covered the song on their first LP.

Over the years, Ralphs played with other artists, including a spot on David Gilmour's 1984 About Face tour and as a guitarist with former Mott the Hoople bandmate Ian Hunter. He also released a handful of solo albums over the decades in addition to a couple with the Mick Ralphs Blues Band.

Ralph's death comes just months after Bad Company was finally announced as part of the Rock and Roll Hall of Fame's induction class this year.

This post consists of FLACs ripped from my CD and includes full album artwork for both CD and Vinyl media, along with label scans.  I was tempted to rip my vinyl for this post, but I'm time poor at the moment, so digital it is.

Now, as this is a tribute to Mick Ralphs, I wanted to post a Bad Company album but couldn't make up my mind which one - becase they are all good.  So in the end, I decided to post their 'Best Of' compilation from 1985,  10 from 6

Now, while digging deeper into the track selection on this compilation, I discovered that even though the album title implies the 10 tracks were taken from their first 6 LP's, there are no tracks from their 4th LP  'Burnin' Sky'.   I understand why they couldn't fit more than 10 tracks on the LP compilation, but maybe they could have substituted one of their choices (ie. 4 tracks taken from their debut album)

So I have decided to remedy this by including a couple of bonus tracks with this post, "Everything I Need" (from Burnin' Sky) and "Young Blood" (from Run With The Pack).

And now that there are 12 tracks, perhaps the album should be titled:

'12 from 6' instead. Therefore, I'm also including additional edited CD artwork to accomodate this for those who want it.

Track Listing

01 Can’t Get Enough  4:17

02 Feel Like Makin’ Love  5:14

03 Run With the Pack  5:11

04 Shooting Star  6:12

05 Movin’ On  3:23

06 Bad Company  4:50

07 Rock ’n’ Roll Fantasy  3:19

08 Electric Land  5:29

09 Ready for Love  5:02

10 Live for the Music  3:59

11 Young Blood (Bonus Track)  2:41

12 Everything I Need (Bonus Track)  3:23

Bad Company were:

Paul Rogers: Vocals, Guitar

Mick Ralphs: Guitar

Boz Burrell: Bass

Simon Kirke: Drums

Bad Company Link (332Mb)

Tootsie - Original Motion Picture Soundtrack (1982)

 (Various Artists U.S)

Tootsie is a comedy that hits all the right notes—smart, funny, and unexpectedly heartfelt. Dustin Hoffman plays Michael Dorsey, a gifted but difficult actor who reinvents himself as “Dorothy” to land a role in a soap opera.

New York actor Michael Dorsey (Dustin Hoffman) is a talented perfectionist who is so hard on himself and others that his agent (Sydney Pollack) can no longer find work for him. After a soap opera audition goes poorly, Michael reinvents himself as actress Dorothy Michaels and wins the part. What was supposed to be a short-lived role turns into a long-term contract, but when Michael falls for his castmate Julie (Jessica Lange), complications develop that could wreck everything.

Interesting Fact: Dustin Hoffman tried out his role as Dorothy by passing himself off as his daughter's Aunt Dorothy at a parent/teaching evening at her school.

Hoffman (as Dorothy)

The Story Line

Michael Dorsey (Dustin Hoffman) was a successful actor...that is until his reputation for being difficult caught up with him. The movie starts with Dorsey struggling to find work and waiting tables to make ends meet. He then sees a role come up on a soap opera called Southwest General, only it's for a woman. In desperation he puts on a dress and uses the name Dorothy in order to land the job. Dorothy proves employable and lands the job, and now Hoffman has to learn about the world of being a woman.

Hoffman (as Michael Dorsey) and his roommate (Bill Murray)

This task increases in difficulty when his character takes off as a feminist icon. Bill Murray appears as a playwright and pal, and Dabney Coleman as the soap director, Jessica Lange and Geena Davis as actresses on the soap, Teri Garr as his best friend... talk about a great cast! It's handled surprisingly sensitively considering this was 1982 and I was impressed with the depth of character provided for Dorothy. This movie is not just a silly one-note gag, it's quite a journey of growth, as well as a love story in a way and yes, and loads of laughs of course.

Michael Dorsey's girlfriend and fellow actor (Teri Garr)

It's a good comic situation, a character masquerading as something they are not. But the film doesn't presume that a man dressed up as a woman is intrinsically funny. But Hoffman gets quite excited about buying dresses and there is a lot of rhetoric about him getting into contact with his feminine side. And at work he (or she) is sassy and doesn't put up with the bullshit and the sexism and makes his/her character in the soap opera tougher: in Kramer vs. Kramer Dustin Hoffman showed that men can be better mothers than women, in Tootsie he shows men are just stronger and better women than women.

Julie (Jessica Lange) and Dorothy (Hoffman)

One of the things that bothers Dorothy is the way the soap opera’s chauvinist director (Dabney Coleman) mistreats and insults the attractive young actress (Jessica Lange) who plays Julie, a nurse on the show. Dorothy and Julie become friends and finally close confidants. Dorothy’s problem, however, is that the man inside her is gradually growing uncontrollably in love with Julie.

Julie's widowed father Les Nichols (Charles Durning) takes a liking to Dorothy

There are other complications. Julie’s father (Charles Durning), a gruff, friendly, no-nonsense sort, lonely but sweet, falls in love with Dorothy, as does Dr Van Horn in the soap opera cast, who plays the over sexed doctor in charge. Michael hardly knows how to deal with all of this, and his roommate (Bill Murray) isn’t much help. Surveying Dorothy in one of her new outfits, he observes drily, “Don’t play hard to get.”

Dorothy with Dr John Van Horn (George Gaynes)

“Tootsie” has a lot of fun with its plot complications; we get almost every possible variation on the theme of mistaken sexual identities. The movie also manages to make some lighthearted but well-aimed observations about sexism. It also pokes satirical fun at soap operas, New York show business agents and the Manhattan social pecking order. And it turns out to be a touching love story, after all – so touching that you may be surprised how moved you are at the conclusion of this comedy (but don't quote me ;-) [extracts from rogerebert reviews]

Stephen Bishop

Stephen Bishop (born November 14, 1951) is an American singer-songwriter, actor, and guitarist. His biggest hits include "On and On", "It Might Be You", and "Save It for a Rainy Day". He contributed musically and appeared in many motion pictures including a cameo roile in National Lampoon's Animal House.

In 1967, he formed his first group, the Weeds, a British Invasion-style band. After the Weeds folded, Bishop moved to Los Angeles in search of a solo recording contract. During a lean eight-year period, where he was rejected "by nearly every label and producer," he continued to write songs eventually landing a $50-a-week job with a publishing house.

Stephen Bishop 

Bishop's break came when a friend, Leah Kunkel, gave Art Garfunkel one of Bishop's demo tapes. Garfunkel chose two of his songs, "Looking for the Right One" and "The Same Old Tears on a New Background", to record for his platinum album Breakaway. Via Garfunkel's patronage, Bishop finally secured a recording contract with ABC Records in 1976. His first album, Careless, included two of his biggest hits. The first single released, "Save It for a Rainy Day", introduced Bishop to the listening public and was number 22 on the Billboard singles chart. The next single, Bishop's highest charting to date, "On and On", peaked at No. 11. The album itself rose to number 34 on the Billboard albums chart. Eric Clapton, Garfunkel, and Chaka Khan all contributed their talents to the album.

Bishop has written and performed music for many feature films. In 1978, he contributed the original songs "Dream Girl" and the titular theme to National Lampoon's Animal House, both of which he sang in falsetto. In 1980, he contributed backing vocals to "This Must Be Love", from Phil Collins' debut solo album Face Value. 

Bishop's next hit, charting at number 25 in 1982, was "It Might Be You", the theme from the movie Tootsie, unusual in that it was not penned by Bishop. Written by Dave Grusin, Alan Bergman, and Marilyn Bergman, it was nominated for an Academy Award for Best Original Song. Four of the 10 tracks on the soundtrack were performed / written by Stephen Bishop, including the main theme.

[extract from Wikipedia]

This post consists of FLACs ripped from original vinyl pressing (purchased immediately after I saw the movie at the cinemas) and includes full album artwork and label scans.  Perhaps one of my favourite movies starring Dustin Hoffman (next to Papillon), I think what really appealed to me at the time (and still does) was the great soundtrack that played in the background. 

For this reason, I have decided to share this musical masterpiece with you today, and if you haven't already seen the movie, then hunt it down now - it's a classic.

Track List:

A1 Stephen Bishop – It Might Be You (Theme From "Tootsie")  4:12

A2 Dave Grusin – An Actor's Life (Main Title) 4:33

A3 Dave Grusin – Metamorphosis Blues (It Might Be You) 

        (Instrumental)  4:05

A4 Dave Grusin – Don't Let It Get You Down 3:54

A5 Stephen Bishop – Montage Pastorale (It Might Be You) 3:24

B1 Stephen Bishop – Tootsie 4:15

B2 Dave Grusin – Working Girl March  3:51

B3 Dave Grusin – Sandy's Song 4:21

B4 Dave Grusin – Out Of The Rain 3:58

B5 Stephen Bishop – Media Zap 2:20

Tootsie Link (206Mb)

REPOST: Haze - Hazecolor-Dia (1971)

(Switzerland 1971)
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I bought this album from an import shop sale bin in Geelong many, many years ago (attracted by the multi-coloured cellophane cover) Not sure what happened to it but I most likely traded it - apparently it is now a very hard to find collectors item!
Historically undocumented, there's not a lot I can tell you about Haze, other than the fact that they formed in 1969 in Biel (Bienne) in Switzerland. However, Bacillus Records must have deemed them as important, in that they presented their debut LP in a unique cover - an LP size transparency slide (known as a "dia" in Germany) in the style used by Agfa!
Hazecolor-Dia was a Hauke & Dierks production, recorded during April 1971 at the Clerks Studio. The gimmick sleeve was created by designer Walter Seyffer, who also created the cover of the Nine Days Wonder debut album and was their singer, too.
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Haze were amongst the first to present the uniquely Krautrock "hard-rock" sound, into which they mixed a complex variety of progressive elements, featuring guitars to the fore and quite a bizarre vocalist. They were also typical of the Bacillus Records sound, if more song based than most, venturing on to psychedelic and blues realms.

Recorded in 1971, this German pressing is a complex progressive rock effort with plenty of excellent guitar playing and some nice psychedelic touches (as one would expect by its psychedelic cover)
Haze play interesting hard-rock that reminds me of early Nektar or Message. All five tracks were written by Dietmar Low. Slow, cleverly-arranged heavy progressive rock numbers, psychedelically fueled with a faint blues tinge, featuring humorous lyrics: "A Way To Find Paradise" tells about a hippy's struggle to get his hashish to smoke! Scherler really had a strange and wild voice (he usually screamed as loudly as he could), adding much to their gutsy freak rock style. Several tracks also featured flute (the flute player is not identified on the cover)
Haze, in part, seem to draw inspiration from The Edgar Broughton Band, Arthur Brown, and Captain Beefheart. This, their only album is recommended for all freak rock fans!
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This new rip was taken from a CD remaster in FLAC format and includes full album artwork for both vinyl and CD. Enjoy!

             NEW IMPROVED RIP !
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Track Listing

01 - Peaceful Nonsense (7.18)
02 - Fast Career (8.35)
03 - Be Yourself (6.26)
04 - A Way To Find the Paradise (6.58)
05 - Decision (10.14)
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Band Members:
Christian Scherler (vocals)
Heinz Schwab (lead guitar)
Hans-Jürg Frei (guitar, organ)
Dietmar Löw (bass)
Kurt Frei (drums)
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Haze link (276Mb) New Link 18/06/2025

Brian Wilson - Selftitled (1988)

(U.S 1961 - 2025)

A founding member of the Beach Boys, Brian Wilson is widely considered one of the most gifted singers, songwriters, and producers in the history of American pop music. The Beach Boys topped the charts and achieved global acclaim, expressing the spirit of summertime escapism with hits like "Surfin’ U.S.A.," "I Get Around," and "Good Vibrations." (In truth, Wilson was not much of a surfer)

The band embodied the popular image of Southern California as a lush paradise on Earth, but it also produced wistful, introspective tracks such as "In My Room." Wilson’s brothers were part of the founding lineup: Carl played lead guitar, and Dennis sat behind the drums. Wilson's cousin Mike Love and friend Al Jardine rounded out the original group.

In the middle of the '60s, inspired by the ambition of the Beatles and guided by his own psychedelic visions, Wilson created the landmark concept album "Pet Sounds," an idiosyncratic and symphonic fusion of pop, jazz, and avant-garde genres that reached for sonic perfection and helped cement his legacy.

'Pet Sounds' was not originally a commercial success. Still, it dazzled rock critics and wowed many of the recording industry's leading lights — including the members of the Beatles, who credited it with stirring them to make 'Sgt. Pepper's Lonely Hearts Club Band.'

Wilson's life was often tumultuous, earning him a reputation in music circles as a tortured genius. He struggled with mental health issues and substance abuse, sometimes channelling his inner turmoil into melancholy lyrics and moody soundscapes.

He spent years under the yoke of the celebrity psychologist Dr. Eugene Landy, who attempted to control nearly every aspect of the singer’s life. (Landy was eventually barred from any contact with Wilson and died in 2006.)

Wislon and Landy - 1987

In recent decades, Wilson was less publicly visible as he battled personal demons. However, he continued recording music, releasing various solo albums and sometimes taking the stage. He also loomed large over the modern music landscape, inspiring acts ranging from R.E.M. and Radiohead to Daft Punk and Wilco.

Recent photo of Brian

He was honored with two Grammy Awards, inductions into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame and recognition from the Kennedy Center Honors committee in 2007.

Sadly, Brian Wilson died just days ago, on the 11th June, aged 82.  

RIP Brian Wilson  Thank you for all your wonderful music.

Brian's First Solo Album

 Brian Wilson’s first solo album was released in 1988, after years of speculation and unsubstantiated rumours about his mental health and musical capacity.

There were random articles and news items regarding his condition, and the therapy that Eugene Landy was providing - that it was too controlling, or very beneficial.

Reports about Brian would range from “he’s doing great” to “still very fragile”.

It seemed that the promise of Brian Wilson ever writing and recording music again was a secondary concern, when it was uncertain how he was, as just a functioning human being.

That was the context in which “Love and Mercy” was released.

Music fans were pleasantly surprised that it has some moments, relieved that it wasn’t a disappointing disaster, but also the constant thoughts of “it’s good, considering...”, “it’s not great, however...”...

There were suspicions that Landy was too involved in the creative process, so criticisms of the music was pointed in his direction.

After all, some sources claimed he made all the decisions for Wilson.

Because of the great music Brian had created before, there were high hopes for more, but were also thankful that the album passes the general middling level of expectations we had, and not a complete embarrassing failure as some feared.

Wikipedia states: 

“Brian's solo album was released in July 1988 to favorable reviews, and reached number 54 on American record charts. Its completion came as a shock to many. Biographer Peter Ames Carlin would later note that, upon release, "[the album] succeeded at giving Brian Wilson the forward-looking perspective of a legitimate comeback. Brian had finally delivered on his oft-given promise to 'really stretch out and blow some minds' with his sheer ambition. When the needle finally lifted at the end of side two, it was easy to imagine that he really might be back on his journey to the distant frontier."

In contemporary reviews:

Stereo Review said the album would likely appease those whose expectations were "Pet Sounds II", writing "Yes, it's true. Brian Wilson's back ... [and he's] clearly at work again with talent intact". David Fricke wrote for Rolling Stone: "Brian Wilson is a stunning reminder of what pop's been missing all these years. It is also the best Beach Boys long player since 1970's Sunflower, although Wilson is the only Beach Boy on it. The songs are full of sunshine choirboy harmonies and sing-along hooks, while the rich, expansive arrangements echo the orchestral radiance of Wilson's spiritual mentor, Phil Spector." 

Brian Wilson at Tower Records store, Los Angeles
 signing copies of his first solo album. 1988

Sun-Sentinel reviewed: "Wilson's clever, mostly upbeat ideas flow magnificently throughout the record, easily transcending his emotional madness. His introspective poems and barbershop harmoniesare framed in a series of bouncy melodies that never take a trite or simple path. ... Just when you think you know where one of his songs may lead, he dips into another spacey progression, and the tune is launched again on a separate plane. In particular, the closing six-part piece, 'Rio Grande', is the kind of immensely fulfilling progressive pop with which art-rock bands such as Yes and Genesis formerly toyed, but rarely brought to satisfying completion.”

Album Cover Promo Advert

Rateyourmusic.com (by Vince Clortho) reviewed: The first and most striking element of Brian Wilson's 1988 solo album (his first, believe it or not) is how Brian's voice, aged 46 years here, sounds the best it has since at least '71.  The fact that he made the album virtually sound like an '80s version of his mid-'60s work is even better.  For me, this sits nicely next to, say, 'Love You', the last Beach Boys album that Brian had full control over and an album that showed off Brian's unique genius and idiosyncrasies in all their glory. 

At least a third of the album stands with the best material Wilson has ever written, particularly the melifluous "Melt Away" and the towering, off-kilter "Baby Let Your Hair Grow Long," while the hymnal "Love and Mercy" has become Wilson's signature solo piece. We even have nods to the Beach Boys' then-long-abandoned SMILE project in the eight minute "Rio Grande" suite. If you're a Wilson fan and don't harbor an irrational hatred of late '80s synths, sequencers and drum machines, this fine album should be an absolute home run.

This post (a tribute to Brian) consists of FLACs ripped from my pristine vinyl, sourced from a garage sale some years ago, and includes full album artwork and label scans. The original owner of this LP was a die-hard Beach Boys fan who couldn't stop talking about how much she was in love with Brian. So why was she selling the album?  Well - No turntable to play it on, but she still had the album on CD.  Lucky me !

Although I don't have the same passion as she did for this album, I still enjoy listening to it and hope this post does justice to it.  Favourite tracks are "Melt Away", the beautiful Acapella "One For The Boys" and of course "Love And Mercy". 

Track Listing

01 Love And Mercy 2:52

02 Walkin' The Line 2:37

03 Melt Away 2:58

04 Baby Let Your Hair Grow Long 3:15

05 Little Children 1:48

06 One For The Boys 1:47

07 There's So Many 2:46

08 Night Time 3:34

09 Let It Shine 3:57

10 Meet Me In My Dreams Tonight 3:05

11 Rio Grande 8:00

Brian Wilson Link (200Mb)

  

REPOST: Stylus - Where In The World (1975) plus Bonus Tracks

(Australian 1975-1979, 1992, 2002-2010)
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Stylus was a popular Melbourne funk/soul band of distinguished membership that released four albums and a number of singles 1975-1979. The band was fronted by Peter Cupples who went on to form the Peter Cupples Band (see earlier post).

Stylus grew out of the ashes of Melbourne band Mason's Cure, formed by keyboardist Ian Mason (ex-Kush). Mason's Cure issued one single on Astor in early 1975, "Let Me Love You Right"/"Back to Reality", before Mason left the group. He joined The Bootleg Band, and went on to issue a solo single, "Gotta Lotta Love"/"Keep It Up" (August 1978), and album, 'Nobody Takes Me Seriously' (Oz/EMI, 1978). Singer Peter Cupples had been the focal point of Mason's Cure, so with Mason's departure, the band recruited Sam McNally on keyboards and became Stylus. The band toured as support to Focus, Ike and Tina Turner and Sherbet, scored a deal with WEA (Atlantic) and issued the single Seals and Crofts' "Summer Breeze"/"Feelin' Blue" (July 1975). The single reached #31 in Melbourne during August. The band's second single, "World of Make Believe"/"Just Began" (October) reached #27.
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In November 1975, WEA issued the Stylus debut album 'Where in the World' (#19 in Melbourne during December). The album produced a third single, "I'm Going Home"/"Where in the World" (April 1976), but by that stage Stylus had left WEA. The band issued one single, "So Much Love"/"We All Need One Another" (#30 in August 1976), on Crystal Clear, before signing a new deal with Ross Wilson and Glenn Wheatley's Oz label (through EMI). The album For the Love of Music produced the singles "I Just Don't Wanna Fall in Love Right Now"/"Funky Fig" (October 1976) and "Kissin"/"For the Love of Music" (June 1977). By that stage, Peter Lee had been replaced by Trevor Courtney (ex-Vibrants, Skylight) initially, and then by Joe Tattersalls (ex-Ayers Rock) by the end of the year.

Courtney played on the band's third album, 'The Best Kept Secret ' (April 1978), which produced the singles "Work Out Fine"/"Natural Feeling" (March), "Look at Me"/"You Can't Get It Out of Your Head" (July) and "Got to Say Goodbye"/"Discover Your Life" (November). The prestigious American label Motown distributed the album in the USA (under the title Stylus) via the Prodigal imprint. In late 1978, Peter Roberts (ex-Ride Band) joined Stylus as co-lead vocalist. Not long after that, Mark Meyer (ex-Sailor) replaced Tattersalls on drums, and the band supported visiting American jazz guitarist George Benson on his Australian tour. The band's fourth album, 'Part of It All' (August 1979), and its single, "If You Believe in Me"/"Byron Bay" (August), were not successful and the members of Stylus parted.
A Stylus reunion tour in 2002 yielded the album 'Still Alive'.
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Interview with Stylus (RAM # 44, November 5th, 1976)
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'We Flunked Business College' admit Stylus
It's been a while. Sam McNally was telling me since Stylus last appeared in these hallowed pages. McNally is Stylus' keyboard player and he has a point: RAM No. 21 was, I think, the last time that the group scored themselves an article. In fact I think both he and vocalist Peter Cupples are slightly peeved by the fact. We three are gathered around the small kitchen table of Cupples' Elsternwick (Vic.) home getting down to a bit of interviewing, you see, and the question of Stylus long silence has popped up.
Maybe you'd noticed. Stylus have maintained a fairly low-key existence over the last six-or-so months Which is pretty unusual, because their brand of funky good-time music got them off onto a highly promising start. The singles Summer Breeze and Make Believe both did a fair share of chart climbing and the album 'Where In The World' didn't exactly sink without trace (it is now almost gold). The only real sign of activity lately, however, has been the single So Much Love, which inexplicably did very link-chart-wise. Why the silence?
Well, after about ten minutes of talking it becomes clear Stylus think they have the answer. Bv that time the conversation had shifted to a discussion of the group s old record company - W.E.A, whom they split from in January. Although Where In The World came out as well as,if not better than they had expected they have few compliments for W.E.A records.
"There was no communication with W.E.A at all," explains McNally. "They just weren't interested in us.
Well, how did you first get signed up?
"We weren't signed up with them technically".
Uh?
"It was all done through our manager", continues Cupples, ruefully munching an apple. "We didn't know much about it. We didn't know much about anything at this stage. We were sort of rookies in the business". He grins.

"lt was terribly, terribly confusing", says McNally. "because there was us, then our management, then the record company, and it was mainly between management and record company. We felt we were left in the dark".
All in all. Stylus stress, they were Not Happy.
A question about management was met with silence, then a burst of laughter, then a request from McNally to keep quiet about it. Management, they assured me, was "going to be cool, but they preferred not to talk about it.
Neither McNally nor Cupples are very specific, but they stress the musical side of the band had been disrupted over the past six months and that a lot of their time had been spent sorting out managerial and related matters.

"The most important thing we're aiming for", says McNally. "is ownership of our own music, instead of being signed up to a company that has the right to do whatever they like with what they call our Product. We want the right to say where and when we want Product X released, which is very important".
"We want to keep it together, keep it nice and honest" continues Cupples "In this business you don t need a certificate to become a manager. Any whack can become a manager, it (the business) has got to become more professional and the bands — the music — has got to be respected more. The music is the seed, everything branches out from that.
"Now we're taking a very careful look at what we are doing on a business level as well as a musical level. You've got to, otherwise (pause) you could end up really badly in the shit".

Sure enough, a week after the interview the band split their ties with the past and signed to Glenn Wheatley's Oz label
Whatever happens next, let's hope both band ,and new record company keep smiling warmly at each other. Certainly Stylus haven't done very well in the world of Big Business so far.
But less of these downers and more of the happy, musical expansiveness that Stylus are renowned for Musically, things have never been better, as Peter Cupples will tell you "Musically'.' Yeah, it feels great."
For audiences it feels great too. Stylus are a rare example of the sort of band who don't use sticks of dynamite and guitar-in-the-crotch poses as springboards for their musical prowess. They are, if you like funky, but they are definitely not the usual, banal, disco rhythm-ace hook-up that word is often applied to.
They're funky in the sweetly melodic, wordly-aware sense the best examples of Philadelphian soul music always demonstrate. A melody line is never a repetition, it's always a winding path with undulating movements that suggest the gradual unfolding of A Direction. Their choruses are a celestial blending of voices that sometimes suggest the Beach Boys singing church hymns. The music, more often than not is adventurously arranged with a subtlety and feeling fulness that demonstrates a compatibility which allows each musician to respond to his fellow members.
If there's one criticism of the group that's endured, it's that their internal harmony and unity is often mistaken for blandness. And their propensity for delving into gentle themes of Brotherly Togetherness and the Quest For Inner Peace And An Organic Gardening Plot (all members are vegetarians)" sometimes attracts the unwelcome tag of the Macrobiotic Wimps.
Still, only those who really listen can hope to know what is really going down.

The band is incredibly together as a unit," says McNally. "We feel that in the next week or so we're going to be on the verge of our-biggest breakthrough ever
This statement has more than a little to do with the fact that, by the time you are reading this, their new album For The Love Of Music will probably have been released. It's been over a year since the first album and both members become animated when talking about the newie.
"With the first album." says Cupples, "we had a lot of early stuff I'd written and it was in a Philadelphian funky vein I feel. The first one was sort of "let's have a go and see what happens" type of thing. We had no really set ideas and it came together a lot in the studio.
"Whereas the new one ... it's a lot further advanced. We're more carefully chosen the material and put the album together a hell of a lot better. This time I've gone in with a concept on about 70 % of the production things and it s been put together as more of a concept of what we're about. The playing has also improved incredibly ..
This album, as with the first, has been produced by Cupples and Trevor Courtenay and all the tracks were written by Cupples, except two which were co-written with Courtenay. The tracks are For The Love Of Music. We All Need One Another, Gettin' In The Groove, Nature Is Giving So Much Love, Sweetness, What's Right For You, Love Is All We Have, Musical Man and Moving on Home. The latter two Cupples describes as External Road songs, ones that he wrote while the group were on an interstate Sherbet tour last year. So Much Love was also written on that tour, as he explains.

"That was one of the things that inspired me to write the song for Ashley, because I sat down, took a look at the band in concert format and started thinking how we could utilise what we had within the band to make the show look better. And I thought "well it would be nice if Ashley were to come out the front". because he's got a really beautiful voice but he hadn't really sat down and sung anything. Anyway, he dug the idea and it really blew a hell of a lot of people out when he began to do it.
Indeed. I'm yet to find a person with an unkind thing to say about So Much Love and yet . . and yet . it's somehow failed to do really big business. Cupples says that he, too, thought it would do more than it did and maybe business problems are again mainly to blame: the song was recorded in December but not released until June because of the many hassles the band were experiencing.
Still, the milk is spilt and the band are now looking towards a new song. At the time of interviewing the songs were still in need of mixing. Once that's completed, a single will he selected. There is also a mystery song not yet recorded. (The following sentence, from Cupples, constitutes my only scoop of the afternoon ! (Ah- gee Rich —only one measly scoop in a whole afternoon !! — ed.)
'Yes, we have a big surprise. We have this single in the can at the moment which I'll tell you about. It's a song written by Ashley and it's really incredible.

"It's a very simple, fairly slow ballad" continues McNally and they proceed to give me an exclusive (exclusive mind you) listen to a rough mix. The song not only sounded as sweet 'n' funky as anything they've done before, it was also given a visual aspect by Cupples young son, who performed a series of guitar hero poses roughly to the beat, on a four string ukelele. The song could succeed where 'So Much Love' failed. It is also the first time another member of the band has had one of their songs recorded. The writing of McNally and guitarist Ron Peers is also developing. Cuppies informs me and hopefully this will further broaden the band's scope.

Ultimately, however, they are looking to America and possibly Europe and Japan, as their next step forward. Even though they are based in Melbourne, McNally says they rarely play here at the moment. Other states, particularly Adelaide, seem to give them a better reception but overall "it's very hard to sell this type of music in this country. Whether we have a better chance over there is hard to say — we'll just have to go over and find out"
"There s nothing definite yet" says Cupples. "Just some good things up in the air that need bringing down to the ground and sorting out. We have a few contacts in L A. and on the East Coast, so we wanna get over there and get a few things tied up. Most definitely it will be hard. But if you're in the environment where you're playing to an audience that really get off on the music, well, you really want to work for them - go home, get new things down, better things. But here you get no reaction at all from the crowds, y'know. You just wanna go home and sleep for six months. [reported by Richard Guilliair in RAM #55 Nov 5th 1976. p19].

A-World Of Make Believe / B-Just Begun

This post consists of FLACs ripped from CD (thanks to Smackster) and includes full album artwork, along with scans of an insert sheet containing B&W photos and lyrics. The CD release also contains 3 bonus tracks (all B-Side singles released between 1975-1978). I am also including a live rendition of "Summer Breeze", recorded on the Steve Vizard Show in 1992 and a scan of the RAM magazine article from which the above interview was transcribed.
Although funky R&B is not my favourite genre of music, I still enjoy Stylus's early material - in particular this, their debut album.

' New Improved Rip With Additional Bonus Tracks '
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Track Listing

01 - World Of Make Believe
02 - All In The Game
03 - Will This Continue
04 - Just Begun
05 - Summer Breeze
06 - Paradise
07 - I'm So In Love With You
08 - Where In The World
09 - I'm Going Home
10 - Can't Get It Out Of Your Head (Bonus B-Side Single, 1978)
11 - Funky Fig (Bonus B-Side Single, 1976)
12 - Feeling Blue (Bonus B-Side Single, 1975)
13 - Summer Breeze (Bonus Live 1992)

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Band Members:
Peter Cupples (Guitar, Vocals, Congas & Percussion)
Ashley Henderson (Bass, Vocals)
Ron Peer's (Lead Guitar, Vocals)
Sam McNally (Keyboards)
Peter Lee (Drums & Percussion)
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Stylus Link (377Mb)