Showing posts with label Friends. Show all posts
Showing posts with label Friends. Show all posts

Tuesday, March 28, 2023

REPOST: Various Artists - Garrison: The Final Blow Unit 1 & 2 (1973)

(Various Australian Artists 1973)
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The Garrison discotheque was a small two-storey building sandwiched between a chemist shop and a billiard parlour in High Street, Prahran (Melbourne). Thursday to Sunday nights it rocked through the early hours of the morning to the sounds of the best rock bands in Australia. Against strong opposition, the local council forced its closure in June 1973. 

Two albums were recorded over Garrison's last five nights - Wednesday 6th to Sunday 10th of June. The three groups featured on Unit (volume) 1 are "Ray Brown's One Ton Gypsy", "Madder Lake", and the group "Friends," who would later be known as "Ayers Rock". Friends contributed two songs, an early version of "Lady Montego" (as featured on Big Red Rock) and "Freedom Train", with it's incredibly long break / solo by drummer Mark Kennedy. "Boy You Shot Me Down" by Ray Brown is also worth a listen. Unit (volume) 2 is worth grabbing for the collection, but Unit 1 is the better complilation.
 
This four-piece version of Friends only lasted until the middle of the year. In early June 1973 they were one of the groups that played at the closing nights of the Garrison venue in Melbourne and the group folded soon after the Garrison farewell, with Burton Kennedy and McGuire all leaving to form their eponymous trio, which evolved into the original lineup of Ayers Rock, who re-recorded "Lady Montego" on their debut album.
This is a unique, live Australian rock'n'roll album that is certain to stand the test of time. Garrison has gone but because of this album the music will last forever - we had the final blow.

I've split the downloads into two (in case you already have one of the units), rips were taken from my recently acquired vinyl (thanks to market seller John Tait) in glorious FLAC format and includes full album artwork (sourced from Midoztouch with thanks) and label scans.
                                     **  NEW FLAC FORMAT **

Track Listing
Unit 1
01 - Madder Lake - Bumper Bar Song
02 - Madder Lake - When Is A Mouse
03 - Madder Lake - Rodney's Birthday
04 - Ray Brown - Covered Wagon
05 - Friends - Lady Montego
06 - Friends - Freedom Train
07 - Ray Brown 's One Ton Gypsy - Boy You Shot Me Down

Garrison Unit 1 Link (254Mb)  New Link 28/03/2023


Track Listing
Unit 2
01 - Chain With Matt Taylor - Grab A Snatch And Hold It
02 - Sid Rumpo - Now I`m Free
03 - Sid Rumpo - Forty Days And Forty Nights
04 - Dutch Tilders - Sweet Marie
05 - Chain - Do What You Wanna Do
06 - Matt Taylor - Roberta
07 - Alta Mira - My Soul`s On Fire


Garrison Unit 2 Link (268Mb) New Link 28/03/2023

Saturday, May 14, 2022

Various Artists: All Fired Up - The Lost Treasures Of Australian Music 1970-1990

 (Australian/New Zealand 1970-1990)

All Fired Up is a collection of Australian rock rarities compiled by Paul Conn and released by ScreenSound Australia, the National Screen and Sound Archive, which features "hits, near misses and obscurities" of Australian music. The lineup includes famous Australian acts such as Mondo Rock, Icehouse, Redgum, Richard Clapton, John Paul Young, Ted Mulry and Goanna, and is especially welcome for the inclusion of some long-lost rarities by cult acts like Friends and Mandu.

All Fired Up presents an eclectic sampling of OzRock from the 70s to the 90s, and many tracks, most lifted from the B-sides of rare singles, have never before been released on CD. These include the original Australian version of the Pat Benatar hit All Fired Up (performed by Rattling Sabres), the Franklin Dam protest song Let the Franklin Flow performed by members of bands Goanna and Redgum, and the novelty song How About a Beer for the Horse performed by John Paul Young and the All Stars under the jokey guise of 'Sandshoe Willie and The Worn Out Soul Band'. The tracks were selected by Canberra music historian and radio presenter Paul Conn.

Radio, when it bothers to look back at all, presents predictable and narrow playlists that favour a handful of "usual suspects" from Australia and which are dominated by "golden oldies" from overseas. Only a fraction of the thousands of mainstream and independent music released in these years has been re-released or repackaged. Most now languish unheard in archives and private collections, and any effort to revive interest in this period of Australian music and uncover some of its lesser known artefacts is to be roundly applauded.

Such releases are gaining even greater importance because vinyl copies of these recordings are in some cases now the ONLY copies of this music to have survived. Sadly, even for recordings made as recently as the mid-1980s, we are discovering the lamentable fact that master tapes and multitracks -- even of recordings by prominent bands such as Dugites and Numbers -- have been lost or destroyed. Many singles released in these years were one-off independent efforts which were pressed in small quantities (and which mostly sold in even smaller quantities) and the archiving and re-release of such material is of vital importance.

All Fired Up - Battling Sabres
(Written by K. Tolhunt, M. Grombacher & N. Giraldo, Released in 1987)
Better known as a hit for Pat Benatar, this original version was a one-off release by short- lived Melbourne band Rattling Sabres and failed to chart. Written and produced by Kerryn Tolhurst, previously in bands such as Country Radio, Mississippi, the Dingoes, and the Richard Clapton Band since 1970, All Fired Up was the A-side of Battling Sabres' only single. Released in a picture sleeve, it was quite an investment for the independent Mighty Boy Records. Robert Price
(ex Jo Jo Zep and the Falcons) was lead vocalist, Kerryn Tolhurst played lead guitar and the future
music director for John Farnham. Chong Lym, was on keyboards.

Power - Sharon O'Neill
(Written by S. O'Neill, Released in 1984)
Sharon O'Neill was a successful export from New Zealand to Australia, where her strong song writing skills and vocals lifted her above other artists of the 1970s. Emerging from bands such as Chapta and Wellington Shiner in her native country, she gained recognition as the support act for Boz Scaggs 1980 Australian Tour. For three years she had consistent success with "How Do You Talk To Boys", "Waiting for You", "Losing You" and "Maxine" ln 1984, her career stalled when she resigned from her recording company. Short low-key tours of New Zealand in 2001 and 2002 with "When The Cat's Away" (including Margaret Urlich) was a surprise return. "Power" was her final single for CBS and lasted three weeks in the lower reaches of the charts in August 1984. The single was co-produced by her then husband Brent Thomas and guitarist Tommy Emmanuel.

B B Boogie - Friends

(Written by Friends, Released 1972)
By December 1971, heavy music or progressive rock was finding its Australian audience when a new Melbourne outfit formed its first line-up under the name, Friends. Centered on New Zealanders vocalists Leo De Castro and Charlie Tumahai. the band was fluid through its 18 month existence.
In August 1972, the only single Friends put together came out on the ATA label. B B Boogie was the A-side, credited to the band collectively, which attracted no radio interest. No further studio recordings were made, but a live performance was included on the Sunbury 1973 triple album and the Garrison - Final Blow Unit 1 LP. It proved to be a stepping stone to greater things for some: Mark Kenndy and Duncan McGuire formed Ayers Rock, Charlie Tumahal joined Mississippi before joining UK's Be Bop Deluxe, while Leo De Castro spent the next 20 years in around 15 different, largely unknown bands. "BB Boogie" is a lesser known example of the style dominating 1970's Australian rock.

Goodbye Barbara Ann - Richard Clapton

(Written by Richard Clapton, Released in 1984)
Recorded during the April-May 1984 sessions for the LP Solidarity, "Goodbye Barbara Ann" was released as a single on the strength of first reactions to the song. This marked a new beginning for Richard Clapton who had left WEA. following the success of The Great Escape LP and a short stint with the Party Boys in 1983.
A tribute to a north coast lifestyle, with an oblique reference to Brian Wilson of the Beach Boys, the song failed to chart. Richard Clapton made one appearance on the popular ABC-TV show Countdown to promote the song but there was no serious promotional activity beyond this. By the time the Solidarity LP was released in September 1984, the song was discarded and was not included on the album or on either of the subsequent CD compilation sets.

I Heard It Through The Grapevine - The Chinless Elite

(Written by Strong/Whitfield, Released in 1985)
The Chinless Elite was a short lived band formed by Jeremy Oxley following the dissolution of his power pop band, the Sunnyboys. This unusual version of the Marvin Gayne song "I Heard It Through The Grapevine" was the B-Side of their only single released in November, 1985. Reminiscent of the Sunnyboys style (which had been influenced by the producer of their first tow LP's, veteran Lobby Loyde. The Chinless Elite demonstrated a creative approach to what was seen as a rhythm and blues classic song. They also released a 12" Mini Album in 1985 entitled Est Jest A Tastor. The band splintered within months and Jeremy Oxley disappeared from prominence in Australian rock music.

How About A Beer For The Horse - Sandshoe Willie And The Worn Out Soul Band

(Written by Sandshoe Will/Honest Stan, Released in 1979)
In 1979, John Paul Young and The All Stars were at the end of a series of successful singles (Yesterday's Hero, I Hate The Music, I Wanna Do It With You, Love Is In The Air and Standing In The Rain) and released this novelty single under a pseudonym. It was not a hit and was never preserved on LP, and the band at that time included Harry Vanda, George Young, Ray Arnott and Warren Morgan., who obviously enjoyed a joke. Although John Paul Young continued recording into the 1980's nothing matched his early successes until the revival of Love Is In The Air for the 1992 movie Strictly Ballroom, and it once again climbed the charts. How About A Beer For The Horse (and it's B-Side Truck Driver) is well worth remembering as a novelty song.

Rebecca - Mario Millo
(Written by M.Millo, Released in 1979)
Rebecca was an instrumental by guitarist Mario Millo, released as the single from The Australian Guitar Album, a compilation set of specially commissioned workouts by Kevin Borich, Ian Moss, Lobby Loyde, Phil manning and others in 1979. Mario Millo came from Sydney's western suburbs where he learned to play the mandolin as a child, releasing his first single as a 14 year old member of the Clik in 1969. During 1979 he had a busy year - writing and recording the soundtrack for Against The Wind TV series (including Jon English's "Six Ribbons" single), and recording his solo LP Epic III. After releasing a further LP Human Games in 1983, Mario Millo changed to focus on soundtrack work, including movies such as Shame (1987) and the Lighthorsemen (1987) and TV series such as Brides of Christ, Changi and Heroes Mountain - The Thredbo Story.

Let The Franklin Flow - Gordon Franklin and The Wilderness Ensemble

(Written by F.River (alias Shane Howard), Released in 1983)
Recorded live at the People For Nuclear Disarmament Concert at the Sidney Myer Music Bowl, Melbourne on 13 February 1983, this loosely assembled group was built around Goanna (led by Shane Howard) and members of other bands including Redgum. Production by Trevor Lucas (a Melbourne folk musician) turned this impromptu protest song against the damming of Tasmania's Franklin River into a hit. It reached number 15 on the charts in May that year. The B-side of the single Franklin River - World Heritage featured spoken discussion of issues by future Greens Senator, Bob Brown. The single was a fundraiser for the Tasmanian Wilderness Society.

Il Mondo Caffe - Mondo Rock

(Written by R Wilson/J Black, Released in 1982)

"Il Mondo Caffe" was the B-side of the first single lifted from Mondo Rock's successful Nuovo Mondo LP. Released in July 1982 to coincide with that LP, the A-Side "No Time" went to number 11 on the charts. It reinforced the slicker style that Ross Wilson bought to the band, contrasting with the derivative Daddy Cool. By this time, guitarist Eric McCusker was dominating songwriting in the band, but this B-side is an interesting instrumental workout co-written by Ross Wilson and keyboard player, James Black.


Roll It On Robbie - Redgum

(Written by H McDonald/M Spicer. Released in 1987)
Redgum, primarily known for it's highly politicised folk rock songs, recorded in 1987 this humorous single about condoms. The original members met in the mid 1970's at Adelaide Flinders University, but by 1987 the band's front man John Schuman had long since left. "Roll It On Robbie" was Redgum's final single release, co-written by band members Hugh McDonald and Michael Spicer. Nothing on the band's final LP Midnight Sun, would have prepared listeners for something like this song. Although it did enter the Top 40 Charts, due to it controversial content and presented in a picture sleeve complete with information about condom's usage, this rare single was regarded more as a novelty song than a serious piece of social advice. It was an unusual and unintentionally funny finale to the band's career, contrasting with the more serious content of their seven albums.

To The Shores Of His Heaven - Mandu

(Written by Mandu, Released in 1975)
This B-Side single was also the title of the only LP release by Melbourne singer Mandu whose real name was Chris Moraitis. Featuring the best of the Melbourne music scene of 1975 (Phil Manning, Gary Young, Barry Sullivan and others), this single was a sample from a very loosely arranged concept album about a visitor from space reflecting on the state of the earth. "To The Shores Of His Heaven" was recorded at Armstrong Studios in Melbourne by veteran producer Ern Rose. The A-Side was a version of the Rolling Stones "Gimme Shelter". Although he never released any further solo work, Mandu went on to work with Lobby Loyde as vocalist on two LPs - Obsecration and Live With Dubs, he then stopped recording.

Arcade - Doug Parkinson

(Written by M. Perjanik, Released in 1979)
During a career that had started in 1965 with his high school band Strings And Things, and later bands like Doug Parkinson In Focus and Fanny Adams, Doug Parkinson became famous for his rough vocals, strong stage presence and versatility. In late 1979, he took some time off from working with the Southern Star Band, to record this one-off single for the TV soap opera Arcade.
This was his only release on the ATA label. Written by Mike Perjanik and engineered by Duncan McGuire (a veteran of many bands, most notably Ayers Rock), this lightweight song still proved to be a vehicle to show off Doug Parkinson's fine voice.

Two Of A Kind - Split Enz

(Written by Tim Finn, Released in 1983)
"Two Of A Kind" was one of two songs on the B-Side of a single released by Split Enz on the 28th March, 1983. The single made no impact on Top 40 charts. Like the A-Side "Next Exit" and other B-side song "Remember When", "Two Of A Kind" was never released on a Split Enz album during the life of the band. Tim Finn wrote all three songs, the while the other two eventually made it to CD on the Rear Enz set, this one escaped. Each of the three songs was recorded in different studios - "Two Of Kind" was recorded at the Music Farm, Mullumbimby NSW. Two months after this single was released, Tim Finn released his first solo single "Fraction Too Much Friction", which charted well and was the start of the demise of Split Enz.

So Much In Love - Ted Mulry

(Written by Martin 'Ted' Mulry, Released in 1970)
In 1970, the liner notes on Ted Mulry's first solo LP said it all - "Nobody was emerging unless they were Americans who didn't need the Australian market anyway. Well, they sorted all that out and Julia did her thing...Meanwhile, Ted Mulry was driving his bulldozer and getting more gigs. His reputation as a rocking ballad singer was travelling by word of mouth as well as by radio"
British born Ted Mulry arrived in Australia in 1966, and four years later put out his first, self-written solo single. "Julia" peaked at number 5 on the Sydney charts in early 1970. The B-Side was another song in the same vein also penned by Ted Mulry, "So Much In Love". He was very shy about his prospects and was fortunate that Tony Geary from EMI Records took the chance to produce both songs on his first single on the Parlophone label. Mulry's solo career faltered after a year of moderate success, compounded by a disastrous foray back to the UK. Back in Australia, The Ted Mulry Gang revived his fortunes from 1974 onwards, and he made ten more albums until his untimely death from cancer. "So Much In Love" is a reminder of where it started for him.

Sorry - Flowers

(Written by H.Vanda/G.Young)
Recorded live in Studio 301, Sydney in August, 1980, this version of the Easybeats' hit song was released as a bonus single in 1990 as part of a double single tenth anniversary pack for Icehouse.

It was attributed to Flowers, the original name of their first album Icehouse, the reinvigorated band adopted this name to move into a decade of highly produced singles and albums. The first ten years of the band ended with 1990's Code Blue LP which saw them retreat into a studio-based vehicle for Iva Davies. The A-Side Sorry (backed with a version of the T-Rex song Think Zinc) is an energetic reminder of early punk rock.

This post consists of MP3's (320kps) ripped from CD (sourced from Midoztouch many moons ago) and includes full album artwork.  I really like this Aussie/NZ compilation because it showcases such a diverse sample of musical styles and obscurities.  And I had no idea who Sandshoe Willie And The Worn Out Soul Band was until I came across this release - would never had picked it to be an Albert Production ruse.  

Tracklist
01  Rattling Sabres – All Fired Up
02  Sharon O'Neill – Power
03  Friends – B B Boogie
04  Richard Clapton – Goodbye Barbara Ann
05  The Chinless Elite – I Heard It Through The Grapevine
06  Sandshoe Willie & The Worn Out Soul Band – How About A Beer For The Horse
07  Mario Millo – Rebecca
08  Gordon Franklin And The Wilderness Ensemble – Let The Franklin Flow
09  Mondo Rock – Il Mondo Cafe
10 Redgum – Roll It On Robbie
11 Mandu – To The Shores Of His Heaven
12 Doug Parkinson – Arcade
13 Split Enz – Two Of A Kind
14 Ted Mulry – So Much In Love
15 Flowers – Sorry

All Fired Up Link (123Mb) New Link 05/09/2023

Saturday, December 14, 2013

Various Artists - The GTK Tapes Vol 3 & 4

(Various Australian Artists 1969-75)
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The series title was an abbreviation of the phrase "Get To Know". GTK is one of several significant popular music programs produced by the ABC, and like the later establishment of Double Jay, GTK was created to address the perception that the Australian youth audience was being poorly served by commercial radio and TV and that much important international music and especially Australian popular music was being ignored by commercial TV and radio at that time.

GTK premiered on 4 August 1969 and ran until 1974, after which it was superseded by the even more successful weekly show Countdown. The first series of GTK was directed by noted TV and event director Ric Birch, who was at the time the youngest director in Australian television. Because colour television was not introduced in Australia until early 1975, most of GTK was shot on black-and-white film or videotape, although segments of programs ca. 1974 are known to have been shot in colour.

GTK ran for ten minutes and was broadcast daily from Monday to Thursday, at 6.30 pm just before the ABC's popular rural soap opera Bellbird. GTK's magazine-style format—which gave strong emphasis to local Australian rock and pop music—included interviews, reports, music film-clips (music videos) and occasional footage of local and visiting international acts in concert.   

GTK (1969-74) aimed to introduce 'new teens and twenties … to the world of trendsetting fashions, records, movies and events’. The first program included a profile of Sydney rock band The Cleves and most episodes featured a live performance filmed for GTK at the ABC’s Gore Hill studio in Sydney.

A feature of every episode—and one that makes GTK a unique document of that period of Australian music—was the daily live-in-the-studio performance segment, especially recorded by GTK. These segments featured hundreds of notable and lesser-known Australian acts of the period. The band chosen as featured group for the week would often record their own 'cover' version of the GTK theme (composed by Hans Poulsen), which was played at the start of each of the programs.

Certainly the nightly viewers -always devoted and dismayed in equal parts - were served up the readily familiar likes of Zoot, Axiom, Doug Parkinson In Focus, Autumn, Jeff St John, Sherbet, Country Radio, the La De Das, Blackfeather, Billy Thorpe, Chain, Hush, Max Merritt & The Meteors, Russell Morris, Daddy Cool, Spectrum, and Flake, but they were also exposed to new, challenging contemporary acts such as Company Caine, Captain Matchbox, Pirana, Tamam Shud, Bakery, Sun, Third Union Band, Syrius, Glenn Cardier, Kahvas Jute. Band of Talabene No Sweat, Gungan Dim; Mother Earth, Human Instinct, Langford Lever, Duck, Jeannie Lewis, Friends, Wendy Saddington, Wild Cherries, Band of Light, Gary Young's Hot Dog, Moonstone, Mighty Kong, Home, Buffalo, King Harvest, Headband and Carson.

These live performance segments were filmed in Studio 21 at the ABC's Gore Hill complex, which had originally been used for drama during the early days of live-to-air production. Groups were called in early on Monday mornings, and four songs/pieces were recorded, with one segment broadcast each day. Another aspect that makes this GTK footage important is that many of the bands were asked to play material from their live repertoire—including cover versions—rather than their current or recent hit song/s, since it was felt that the groups would perform these better and because it would show off other facets of their music. It is believed that because these live performances were filmed (and later transferred to videotape for broadcast) most of this footage was preserved, despite the fact that many of the broadcast master tapes were later erased.

It was thought for many years that most of the videotapes of the program had been erased during an ABC economy drive in the late 1970s, but recent discoveries at the ABC, notably during and after the closure of the old Gore Hill studio complex in Sydney, have revealed that much of the series (including location pieces and in-the-studio performances) was shot on film and then transferred to video. Recent estimates from the ABC indicate that as much as 90 percent of the series has survived, although regrettably most of the first year of the show was only videotape, which has since been erased.

Recent discoveries have included Mick Jagger discussing his role in Ned Kelly (1970), an exclusive GTK interviews with Pete Townshend and Marc Bolan and unique colour footage of Lou Reed's 1974 Sydney concert (including one of the earliest known films of Reed performing "Walk on the Wild Side") and his legendary Sydney press conference, which features noted Australian television journalist Ian Leslie.

GTK's final show was broadcast in late 1974 and was superseded by the highly successful ABC pop music show Countdown (1974-87).  [extracts from Wikipedia and Australian Screen website]
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This post consists of MP3's (320kps) most likely ripped from YouTube snippets of GTK episodes (and sourced with thanks from Deutros) along with full CD artwork.  Vols 1 & 2 are also available on my blog. The GTK tapes are a wonderful chronology of the diverse and highly talented Aussie musos that dominated our music charts in the early 70's.
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Vol 3. Track Listing
01 - Who Said What (Carson)
02 - Blow In D (Chain)
03 - The Devil's Disciple (Coloured Balls)
04 - Mango's Theme (Blackfeather)
05 - Winter Song (Country Radio)
06 - If Only (Ted Mulry)
07 - Only You And I Know (Doug Parkinson)
08 - Woman With Reason (Company Caine)
09 - Poem Of Joy (Healing Force)
10 - Lucille (John Farnham)
11 - 64,000 Dollar Question (Daddy Cool)

12 - Launching Place Part II (Spectrum)
13 - Way Out West (The Dingoes)
14 - Gee (Daddy Cool)
15 - Private Eye (Skyhooks)


GTK Tapes Vol 3 Link (83Mb)
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Vol 4. Track Listing
01 - Don't You Know That I Do (Sherbet)
02 - Ginger Bread Man (Brian Cadd)
03 - Munge (Chain)
04 - Boogie (Friends)
05 - Down At The Station (Daddy Cool)
06 - Nile Song (Human Instinct)
07 - Johnny B. Goode (Johnny Farnham)
08 - Message (Renee Geyer & Sun)
09 - Wishing Well (Sherbet)
10 - Sunset Song (Mighty Mouse)
11 - I've Grown Tired Already (Syrius)
12 - Speak To The Sky (Rick Springfield)
13 - Come Back Again (Daddy Cool)
14 - Make Your Stash (Spectrum)

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GTK Tapes Vol 4 Link (121Mb)
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Saturday, March 23, 2013

Various Artists - Sunbury 73

(Various Australian Artists 1973)
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The word 'Sunbury' has etched itself into Australian rock music folklore. Forty years ago it was a farming town just 40 'miles' (70s speak) north of Melbourne, an hour's drive from suburbia into a gently rolling rural landscape. In 1972 and for the three subsequent years, during the late January Australia Day weekend the word 'Sunbury' became associated with a rock music festival on a farm out of the Sunbury township. Today suburbia lurks so close to the Sunbury Pop Festival site if you turned up Billy Thorpe's amp to its obligatory '11' you'd get complaints from the neighbours on the hill. But the site is still there, identified only by the rusted wire fence surrounding the area where the stage stood, and the foundations of the toilet block nearby, in front of Jackson's Creek. Behind the creek a steep incline, in front a gently rising hill, a natural amphitheatre. 

 There had been rock festivals before and there have been rock festivals since. But Sunbury looms large as 'Australia's Woodstock' - erroneously. It could just as easily be called the first 'Big Day Out' -- held during the same weekend. Or a prototype of Meredith. Australia's real 'Woodstock' was held at Ourimbah in NSW on the Australia Day weekend in 1970. During the intervening two years 'the Woodstock nation' had been replaced by another generation of teenagers, another generation of music, another set of values The Beatles had been replaced by Led Zeppelin. But for the media those Woodstock images lingered. That's what they went to Sunbury looking for. That's what they came away with. That's what sticks in people's minds as 'Sunbury'. Those who were there remember the 'bonged out' sitting next to the underage drinkers and bikers collapsed in their own vomit after a night of shouting 'suck more piss' from the hill. The similarity between Sunbury and all festivals is the freedom to be young and free, to the soundtrack of the day's music.

Australian music had shifted dramatically during those two years between 1970 and 1972, between Ourimbah and the year of the first Sunbury in 1972. In 1970 Australian music had struggled to be 'progressive' like the rest of the world. Our record companies weren't interested. Then during the last half of that year a record ban forced the Australian music released by the major record companies off radio airwaves, retiring many of the pop stars of the day. Music fans had to go 'out' to get their music fix. In Melbourne they found Daddy Cool and Spectrum north of the river. Chain and Billy Thorpe's 'new' Aztecs south of the river. In Sydney the music retreated to the Kings Cross nightclubs entertaining servicemen on 'r and r'. The first Sunbury festival tapped into that still very alive thirst for live music. Somehow Australian music had forgotten to look over its shoulders at overseas trends and musicians and their audience were happily following their own path. In January 1972 it led to Sunbury.
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The festival had been organized by an unlikely 'hero', John Fowler, a middle-aged Channel Nine employee. While their children were smoking dope and drinking and dipping nude in Jackson's Creek elder Australians were watching John Fowler lighting the soundstage for their own addiction, 'In Melbourne Tonight'. Fowler and his advisers thought that the popular acts of the day weren't quite enough and for that first Sunbury Festival organised for the return of Max Merritt and the Meteors after just over a year in England. Ever competitive, Billy Thorpe would have made conquering the Sunbury hill his goal anyway. Having old rival Max top of the bill was an added incentive. Billy Thorpe and the Aztecs turned up the volume and made Sunbury 72 theirs'. Within weeks Billy released 'Most People I Know' and later that year a live album of the Aztecs at Sunbury became a national top ten. The only other Australian-made top ten album that year had been Daddy Cool's 'difficult' second album 'Sex Dope And Rock'N'Roll'


Sunbury 73 was set up as the most important event on the Australian music calendar. Clearly. whoever won the hill at Sunbury 73 was set up for the rest of the year. You had to be there.
A lot of people get the four Sunbury's confused. In their minds they've become one. But 1973 was THE one. In bygone years there had been a thing called the Hoadley's Battle Of The Sounds, where the bands of the day allowed themselves to be judged. The winners were kings for the year. Often the losers broke up to think of a way of winning the following year. That was the mood with which Australian music entered Sunbury 73. You had to be there. It was important to make an impression. It was the year the Sydney acts - Sherbet, Country Radio - descended on the festival, and Mississippi performed with a 35-piece orchestra. It was so important to be there, even pre-70s rock legend Johnny O'Keefe came, determined to stay in the game. And Michael Gudinski was there to record it for his just-formed Mushroom Records.
Of course Billy Thorpe was also there, returning just in time to top the bill after trying his luck in the UK. This was our chance to celebrate his return. There was no clear winning at Sunbury '73 but the points decision probably went to Thorpe. There were a lot of winners, a lot of sets went back to the traditional venues and found keen audiences for the rest of the year. [written by Ed Nimmervoli]


While Sunbury '72 was widely touted as the beginning of a new era, Sunbury '73 was the one that consolidated the festival's success. However it also marked a changing of the guard, with a number of notable bands -- Carson, Country Radio, Friends, Healing Force -- all splitting for good in the months following their Sunbury appearances. It was also the final Australian performance by Flying Circus, who had already been in Canada for some time. They returned specially for the festival, but were coolly received, and returned to Canada immediately after Sunbury, where they remained until they split some years later.
The Aztecs headlined again, reprising their huge success of the previous year and Max Merritt & The Meteors again returned from the UK to perform. One of the surprise hits of the festival was rock'n'roll legend Johnny O'Keefe; he was cheekily introduced as a "newcomer" by MC Paul Hogan, but despite an initially derisory reception, he won the crowd over and by the end of his set, as Ian McFarlane notes, he "had the audience of hippies eating out of the palm of his hand".

"Sunbury 1972 was the first, but the 1973 festival is often remembered as the best. It has a place in our music history, just like the vintage clips of the Easybeats performing 'Friday On My Mind' and AC/DC travelling down Melbourne city streets on the back of a tray truck while belting out 'It's A Long Way To The Top'."  - Steve Waldon, The Age


Like Sunbury '72, the performances were taped using a mobile multi-track facility; it is presumed that some film or video footage was made but it is not known how much of that (if any) still exists. The sound recordings were edited to become the inaugural release for the newly established Mushroom Records label, founded by Michael Gudinski and Ray Evans. With commendable hubris, it was the first Australian triple-album set ever released.
The fine performance by Carson (which would prove to be their last major concert appearance) was also released by EMI as the On The AirLP; this has long been out of print but it is scheduled for re-release on CD by Aztec Music. The other major recording culled from the festival was the extended early-morning jam session between The Aztecs, Lobby Loyde's Coloured Balls and Leo De Castro, which was released on the Havoc LP Summer Jam. This has recently been reissued on CD by Aztec Music. [extract from milesago.com]



SUNBURY - THE VENUE
Owned by George Duncan, he generously offered the use of his property at no cost to the organisers, even going so far as allowing toilet facilities and rubbish bins to be installed on the property in later years of the festival. Which really makes sense, considering he’d have had as many as 40,000 people in his “backyard”. You don’t have to be a mathematician to know a crowd like that plus three days of food and booze equals a mess that would make even Keith Moon blush.

With the Duncans’ farmland providing a natural amphitheatre, the scene of the Sunbury festivals has since become an isolated area, far from the bustling hub it was during one of music history’s most famed events. Residential subdivision in the area has since limited public access to the site and redeveloped the landscape.

According to a document on the website of Hume City Council, little remains there now but there are still the remnants of the toilet facilities and bins, along with echoes of the event that linger to this day with “small artifacts such as items of footwear and drink can pull-rings” scattered over the area.
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For more information on the Sunbury 73 concert, refer to the following websites:

hume.vic.gov.au
nla.gov.au
onlymelbourne.com.au
wikipedia.org
theage.com.au
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It was the Sunbury 73 that got me first hooked on 'Aussie Rock'. My brother owned the triple album set originally (having being lucky enough to attend the festival) but I soon managed to talk him into selling it for a bargain basement price.  Being a young teenager at the time, I was listening to overseas artists like Robin Trower, Alice Cooper and Grand Funk Railroad. However, the bands and the infectious aussie rock that they played at this famous festival was the turning point in my life. I suddenly realised that there was 'real talent' in my own back yard.  And I've never looked back.
Bands like Madderlake, Chain, Carson, Blackfeather and the Aztecs have been a huge part of my passion for music and I owe it all to this wonderful recording, released on the legendary Mushroom label (thanks Gudinski)

My only regret is that I was too young to attend the 73 Festival although I did manage to fulfill my long life dream to a point, by attending the 2010 Sunbury Backroad Festival, featuring Madderlake, Spectrum and Chain. See my review
If you haven't heard this Sunbury 73 recording, then you have really missed out on a vital chunk of Aussie Rock. Need I say more?
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The post consists of an MP3 rip (320kps) taken from my cherrished vinyl copy, which is in relatively good condition considering the number of plays it has had. The artwork included (with CD2 and as a separate link) was taken from a CD release that was circulating on the web at one stage (possibiliy C/- of the Midoztouch Forum).
Some choice photos of the venue and crowd are also included.
As a bonus, I have included a recording of Mississippi's "Kings Of The World" which was also recorded at the Sunbury 73 festival but never made it onto the triple set (sourced through YouTube)

Note: There was also a promotional E.P released featuring 6 tracks taken from the triple Sunbury album set and is one of the items on my Holy Grail List of wants. I have yet to see it turn up on ebay, and can only dream of the day when I might find it! (see pictures below bottom)
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Tracklist
CD1
01 Johnny O'Keefe – High Rollin' Man 2:57
02 Friends – Bird On A Wire / La La Song 6:58
03 69ers – Harry Rag 6:58
04 Coloured Balls – Johnny B. Goode 4:51
05 Madder Lake – Down The River / 12lb. Toothbrush 14:40
06 Band Of Light – Messin' With The Kid
07 Aztecs – Going Back Home 13:31
08 Blackfeather – I'm Gonna Love You 9:53
CD2
01 Carson – Friday Night Groove 4:53
02 Mighty Mouse – Sunset Song 10:05
03 Healing Force – Erection 6:47
04 Country Radio – Silver Spurs 4:51
05 Matt Taylor – From Brisbane To Beachworth 8:50
06 Sid Rumpo – Sailing 8:38
07 Mackenzie Theory – New Song And 8:47
08 Glenn Cardier – Australia 2:28
09 Bakery – Living With A Memory 12:12 

10 Mississippi - Kings Of The World BONUS 2:38
 
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Sunbury 1 mp3  Link (156Mb) New Link 20/12/2022

Sunbury 2 mp3 Link (183Mb)

Sunbury Artwork & Photos (20Mb)

Sunbury 1&2 in FLAC (897Mb) New Link 06/09/2024