Rock On Vinyl

(UK 1976–1978, 2000)

Paice Ashton Lord, henceforth to be known as affectionately as PAL, is the name of a new five piece band formed by a group of gentlemen who have enough musical credits to put the London Symphony Orchestra to shame.
The idea for the band came from Jon Lord and lan Paice who, after Deep Purple finally split forever in 1976, decided that they enjoyed working together. Not a bad discovery after playing for eight years in one of the world's biggest ever bands. To Paice's drumming and Jon Lord's keyboard work they decided to add the multi-talented singer and keyboardist Tony Ashton who, over the years, has wreaked his own brand of musical havoc among bands like Ashton, Gardner and Dyke and Family.
Then came ex-Stretch bass guitarist Paul Martinez, as cool, funky and subtle as you could want, and jovial Bernie Marsden on lead guitar. Martinez and Marsden were not added simply because they happened to be buddies of Paice Ashton and Lord. No. Our dynamic trio held a long and gruelling series of auditions before arriving at Martinez and Marsden.

In fact Bernie nearly missed the boat, as he told me one night when we were watching Ritchie Blackmore's Rainbow at London's Hammersmith Odeon. He hadn't even seen the adverts asking for guitarists for the new band and it was Blackmore's drummer Cozy Powell who put him onto PAL. "Best move I've ever made" Marsden claimed from behind a huge and satisfied grin. And so the band was together and they whisked themselves off to Munich's Musicland recording studio, scene of some of Deep Purple's greatest vinyl triumphs, and the result is contained in this album.
Well, there's more of the same aggression, bite, integrity and sheer consummate musical ability. But above and beyond that there's a rhythm and style which is totally new. Would you believe funky brass sections super cool chick choruses and an r & b feel that most of us thought had been lost forever?
Just listen to Tony Ashton s rich and gravelly vocals, Jon Lord's cool and easy keyboard work, lan Paice's crisp and inventive drumming, Paul Martinez's relaxed and rolling bass and Bernie's stylish and composed guitar playing. [Brian Harrigan (Melody Maker) - Linear Notes]
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How PAL was formed
Paice, Ashton, Lord emerged in August 1976 amidst much fanfare in the music press, though it had been no secret that drummer lan Paice and organist Jon Lord were forming a band together after the messy demise of Deep Purple in March.

In those days rock still had enough of a counter culture attraction about it to support a number of weekly music papers. The story both of Purple's split and the new band was big news, with speculation both as to who would be in the band and what they might sound like. For those with more than a passing knowledge of Jon Lord's career the announcement of Tony Ashton as the third member of the project hardly came as a big surprise and, while funding for the new band would come out of the somewhat deeper pockets of Lord and Paice, the musical direction can perhaps be traced more dearly through Ashton's musical lineage.

Tony Ashton had been brought up not far from Liverpool and got into rhythm & blues at an early age, he joined The Remo Four, who made enough of a name for themselves to back George Harrision on a solo album and support The Beatles on a U.S. tour. By 1967 Ashton and drummer Roy Dyke decided to form a new band; Ashton, Gardener & Dyke was the result. They were recommended to Tony Edwards who was managing Deep Purple. Edwards thought they sounded promising and took them on. His decision was proved right when the band scored a success with the hit single "Resurrection Shuffle". It was through Edwards that Ashton and Lord came to meet, the pair finding a rapport which saw them working together on a number of projects. Lord helped with arrangements on a couple of Ashton, Gardener & Dyke's albums, after which he and Ashton co-wrote the soundtrack for a movie called "The Last Rebel".

1971 found Ashton and Lord writing and recording material for the "First Of The Big Bands" album which, due to pressure of work, wasn't finished until 1974. The album leaned towards the heavy rock and blues pattern developed by Ashton, Gardener & Dyke. Released under the Ashton/Lord banner ("we decided against Lord Ashton!" recalls Tony), it was a precursor to what would follow. Tony again: "We had tried to get a Phil Spector sound with as many musicians as we could, with two drummers and five guitar players It was an expensive experiment". Tony and Jon's musical path's crossed again in 1975 when they were both involved in the live performance of Roger Glover's "Butterfly Ball" at the Albert Hall.

The demise of Deep Purple in 1976 was not entirely unexpected. Their last studio album had been fine but on the road things had rapidly gone down hill. With the split came a chance for the members to branch out. For Jon Lord there was very little hesitation and having discussed it with Ian Paice he decided to start a new band, with Ian Ashton top of his musicians wants list,

"Ian and Jon approached me with the idea of forming a band. In fact Jon had approached me before and I hadn't liked the idea much because I couldn't see myself as a front man. I also thought that with Jon and me both being keyboard players, we'd get in each others way. I'd dropped out of playing with bonds. There were plenty of sessions to do. I was also into doing commercials and jingles for television which is interesting work. It's also quite lucrative as well. I was quite comfortable and I suppose I was in a bit of a rut". Tony was nevertheless persuaded to give it a go and the project began to take shape. " This is the second of the big bands!" quipped Jon Lord after Tony said yes.
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Nothing was announced but mysterious adverts (see left) in major music papers during July 1976 were enough to give a hint, especially if you recognised the phone number of Purple's office In London! "British Band Requires British Bass Player and Lead Guitarist for formation of new rock band by three established musicians". It must have had every musician in the country wondering.

A semi-pro guitarist called Ernie Tull was one of those who dialled the number and found himself with an audition: "I've no idea how many people applied, but it was a hell of an experience to play with those type of musicians and with the power they generate ", he told me afterwards. All the players did the some number, just a blues thing in A minor. You each went into the room, plugged in and after five minutes warm up did the number. It felt really great"

Ernie's friend saw Lord giving the thumbs up sign and they took his number but Ernie feels he was maybe too much of a Blackmore-type of player to get picked.

Lord described the auditions afterwards: "If you want to know what hell on earth is like, try conducting auditions! It's not that the musicians were bad or anything, it's just that there were so many of them. We had about sixty bass players to listen to and this came down to a short list of four. One of them was a great bass player but very much in the Glenn/Roger tradition and this didn't really fit in with what we saw the band as being. Paul Martinez fitted right in within four bars, it sounded as if he and Ian had been playing together for years and as Ian is the main driving force behind the band a rapport between these two was important". Martinez was at the time playing in a band called Stretch, which Tony Ashton already knew of. "Paul had played on (Stretch's version of) Elmer Gantry's "Why Did You Do it" which was really funky so we liked him".
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On the lead scene things were proving more difficult as Lord remembered, "Paul was almost the first bass player that came and Bernie was the fast guitarist, we could have saved all that trouble in the middle ". Bernie Marsden was with Babe Ruth (remembered by some - alright, me - for their vocalist, the charismatic jenny Haan) but he'd done numerous sessions and played with UFO and Cozy Powell's Hammer. Marsden hadn't seen the ads in the papers, it was Powell who told him about the vacancy.

Jon Lord; "We were already looking at two other guitarists, Chris West was one, he played a very jazzy style, but we wanted to keep the rock and roll element there. Another point in Bernie's favour was his ability to sing". A Sounds journalist collared Bemie down at the Nashville club shortly after the audition and asked about the band. "Who did you hear that from? I didn't know anybody knew, except for me and Purple management. I only told the rest of Babe Ruth about it yesterday. I've been blowing with them twice now and it's going very well. From what I've gathered it's going to be a bit more down to earth (than Purple), with some saxes and girl singers as well. Good old English rock and roll but with a bit of taste. I'll be the first to let you know if I actually get the gig". They phoned him the next day and he was in. "It was probably only because they were so knackered. My contribution just battered them into submission!"

On August 7th the papers announced that Lord and Paice were forming a new band and the line-up was made official on August 21st, After that there was a period of rehearsal; Paice and Lord (still tax exiles) had flown Ashton out to LA as soon as they'd decided to form the group, so the three could work undisturbed for a time, "We sat around a fender piano with ideas we all had and flung them together. This produced a lot of basic things which were later polished up in the studio". By the last week of September they were over in the Musicland studio's in Munich laying down the album (with Jon Lord's solo project "Sarabande" issued that same month).
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This post consists of FLACs and MP3's (320kps) ripped from my imported vinyl (English Pressing) which I picked up many moons ago in Flinders Street (during my Uni days). I was a huge fan of Deep Purple at the time, and bought anything that was related, even if I hadn't heard it beforehand. I wasn't disappointed with this album and felt that it had a similar sound to Deep Purples 'Come Taste The Band'. Needless to say, this album has become one of my treasured possessions, and in near mint condition it has withstood the test of time. Full album artwork and select photos are included, making this a ripper post. Enjoy
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Track Listing

01. Ghost Story (05:45)

02. Remember The Good Times (05:46)
03. Arabella (04:07)
04. Silas And Jerome (03:24)
05. Dance With Me Baby (03:20)
06. On The Road Again, Again (03:59)
07. Sneaky Private Lee (06:09)
08. I'm Gonna Stop Drinking (05:16)
09. Malice In Wonderland (06:07)
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PAL are:
Ian Paice (Drums & Percussion)
Tony Ashston (Vocals & Keyboards)
Jon Lord (Keyboards & Synthesizers)
Paul Martinez (Bas & Hilda)
Bernie Marsden (Guitar & Second Vocals)

Paice Ashton Lord FLACs (300Mb)

Paice Ashton Lord MP3's (113Mb)

(Australian 1970-Present)
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Renee Geyer's quest for success overseas continued in January 1978, when she returned to Los Angeles where she spent a couple of months recording her seventh album 'Winner', at Crystal Studios with her former producer Frank Wilson (who had worked with her on Moving Along).
She also worked clubs around California with a back-up band including her basic rhythm section of Greg Tell, Mark Punch and Barry Sullivan.
Late in March, she returned for an April Australasian tour. To the delight of her fans it featured the original band with whom she recorded her third album, Ready To Deal.
Renee flew back to America in August (via Bangkok, where she did some gigs), and finalised 'Winner', which eventually was released in Australia (on RCA in December). One of the factors delaying the album's issue may have been the split earlier in the year between Renee and her US record company, Polydor, over poor promotion of her Moving Along album.

To round off 1978, Renee performed at a grand farewell concert held in Sydney's State Theatre on December 15th. The concert was recorded for a live album and filmed with a view to producing a television special. Renee returned to the US and a mammoth tour to promote 'Winner'.
1979 looked like being a big recording year for Renee. Apart from the planned live performance LP, she had recorded a blues album in Sydney during '78 with the Kevin Borich Express plus Mal Logan and Jim Partridge, and was to record a studio LP at Motown Records under the direction of Marvin Gaye in early '79. Her single releases for 1978 were 'Money (That's What I Want)' (April) and 'Baby Be Mine' (October).
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Renee speaks out:
Gee I hated "I Am Woman" and because of it I did "It's A Man's World". I've met Helen Reddy since and she's actually a nice lady, but I wasn't crazy about the obviousness of that song of just the....anthemic thing of it, which is the very reason is was such a big hit. So that's how much I know, but it was one of the reasons I wanted to do "It's A Man's World". So it did good for me in the end.

I've had fans but never groupies. I gave off a feeling of 'don't come too close' and I still do. I don't want to get close to punters cause that's what I do on stage and it's not something you share with somebody from the audience. You're a different person to the person up there

No-one's ever tried to control my career as you could probably imagine - which is why I'm not more famous than I am. I've controlled or miss-controlled my own career. I had a manager for a while there who was a partner of the record company director, so it was all a bit of conflict of interest, but it was the wild west in those days. I pretty much have always done what I want to do and a lot of times to my detriment.

In the 70's there were very few women artists around. I've been pretty lucky,I've gotten along with the guys pretty good. But every now and again it gets a bit lonely 'cause you don't always have a lot in common with guys that are hankering after young screaming girls. You end up going back to the hotel while everyone is out drinking and parting. It can be lonely, but I wasn't whingeing about it. I was having a good time. When I was very young I was still a bit shy - believe it or not. Later on I discovered other ways to feel good. Nothing new there !
Most people in bands went through the odd substance in the 70's.

I confused a lot of people. People though I was either gay or really tough because a girl with a big voice up there with a band is considered pretty tough and self contained and assured. I was far from that, but I had a good facade.

In Australia it's an ageist thing. It's a given by certain industry people that once you hit 40 it's going over the old thing and that's not so with many artists. Steve Cummings, Paul Kelly - there's so many artists in Australia that are doing some of their best stuff now. For instance, the ARIA adult contemporary award in not televised.
[extracts from 'Love Is In The Air - Stories of Australian Pop Music' by Toby Creswell, ABC Books, 2003]
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This post consists of FLACs and MP3's (320kps) ripped from vinyl, which I recently came across at a Salvos Opp Shop. Looks like the previous owner took care of their vinyl, 'cause this copy is pop & crackle free. Some pretty typical disco / funk tracks on this album for that 70's era with no major hit singles but some great music non the less. I gotta admit I had a big crush on this lady when I was a teenager (and I guess I still have! ) and was lucky enough to see her perform on several occasions in the 70's in Geelong. If you like this album, then don't forget to check out her previous album which I've posted on this blog entitled Moving Out. As per normal, full album artwork and label scans are included. Enjoy.
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Track Listing
01 - Money (That's What I Want)
02 - I Miss You
03 - Save Me
04 - Baby I'm The One
05 - Baby Be Mine
06 - Sweet Kisses
07 - The Magic Is Still Here
08 - Bad Side Of The Blues
09 - Apartment C & D
10 - I Don't Wanna Lose A Good Thing
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The Band:
Guitar - Mark Punch, Melvin Robinson
Bass - Tim Partridge
Drums - Greg Tell
Keyboards - Nate Morgan, Neil Larson
Synthesiser - Michael Boddicker
Saxophone - Ernie Watts
Percussion - Fred Lewis, Jack Ashford
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Renee Geyer FLACs (267Mb)
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Renee Geyer MP3 (114Mb)
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(U.K 1973 - Present)

Leo Sayer (born Gerard Sayer) had a string of highly polished mainstream pop hits in the late '70s. Sayer began his musical career as the leader of the London-based Terraplane Blues Band in the late '60s.
He formed Patches with drummer Dave Courtney in 1971. Courtney used to play with British pop star Adam Faith. Faith was beginning a management career in the early '70's, so Courtney brought Patches to his former employer in hopes of securing a contract. Patches failed to impress Faith, yet he liked Sayer and chose to promote him as a solo artist. Sayer began recording some solo material written with David Courtney at Roger Daltrey's studio; the Who's lead singer liked the Sayer/Courtney originals enough to record a handful himself, including the hit "Giving It All Away." Sayer's debut single, "Why Is Everybody Going Home," failed to make any impact, yet 1973's "The Show Must Go On" hit number one in the U.K.; a cover by Three Dog Night stopped Sayer's version from charting in the U.S. The following year he released his first album, Silver Bird.

Just a BoySilver Bird was followed quickly by Just a Boy, which included two more British hit singles, "One Man Band" and "Long Tall Glasses (I Can Dance)"; "Long Tall Glasses" managed to break Sayer into the American Top Ten in early 1975. Sayer's working relationship with Courtney was severed during the recording of his third album, Another Year (1975). The following year, he released Endless Flight, which was co-written with former Supertramp member Frank Furrell; featuring the number one singles "You Make Me Feel like Dancing" and "When I Need You," the record became his biggest hit in both the U.S. and the U.K., selling over a million copies in America. Following Endless Flight, Sayer became a fixture in the American Top 40, yet his hits began to dry up in England.

Sayer began the '80s with the American number two hit, "More Than I Can Say," yet it was his last big single in the U.S. His last chart entry in America was the early 1981 hit "Living in a Fantasy"; the U.K. hits didn't stop until 1983, after "Till You Come Back to Me" scraped the charts. After laying low for the rest of the decade, he attempted a comeback in 1990 with Cool Touch, however it fell on deaf ears. [extract from Allmusic.com]
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Have You Ever Been in Love is the tenth studio album by recording artist Leo Sayer. It was originally released in November 1983 by Chrysalis in the UK, and Warner Bros.in the USA as the follow-up to his ninth album World Radio (1982). It was co-produced by the Grammy Award-winning Arif Mardin, in association with Alan Tarney, and Christopher Neil producing the other tracks. Sayer is credited as co-writer on the tracks "Don't Wait Until Tomorrow", and "Orchard Road".
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The album reached #15 on the UK Albums Chart, making it (including the greatest hits compilation album, The Very Best of Leo Sayer) his eleventh successive Top 50 chart entry in the UK Albums Chart, in a period of a little over nine years. The album spawned three singles which all reached the top sixty on the UK Singles Chart, including "Orchard Road", which would become one of Sayer's most popular songs, this would also become the last Sayer single to make the Top 20.

When Sayer wrote most of the material for this album, he was going through a dramatic breakup with his longtime wife Janice and consequently many of the songs reflected the heartbreak that he was experiencing at the time. Tracks such as "'Til You Come Back To Me", "Sea Of Heartbreak", "Your Love Still Brings Me To Your Knees", "Wounded Heart", and the beautiful "Orchard Road" all give the listener an insight into the emotional turmoil was experiencing at the time.

When Sayer and his first wife Janice finally divorced in 1985, the subsequent financial disclosure revealed that Adam Faith had badly mishandled his business affairs over the years, and most of the millions of pounds he had earned over the previous decade had been lost, through Faith's questionable investments and business expenses.

Sayer sued Faith for mismanagement; and the case was eventually settled out of court in 1992 with Sayer receiving a reported payout of £650,000.
On 12 February 2006, he made a return to number one in the UK Singles Chart, with Meck's remix of "Thunder In My Heart". It was his first appearance in the United Kingdom Top 10 for almost 24 years, and his second chart topper in the United Kingdom, almost three decades after his first. 'Leo Sayer: At His Very Best', a career spanning compilation album, was released in the United Kingdom on 6 March 2006. It featured the Meck single, alongside "When I Need You" and "You Make Me Feel Like Dancing".

In 2008, Sayer released a new album in Australia, Don't Wait Until Tomorrow. This album, produced by Garth Porter (from the Australian pop band Sherbet), and released by Universal Music Australia, featured selections from his catalogue re-arranged with strings and acoustic and jazz instrumentation.

In January 2009, Sayer became an Australian citizen, having lived in Sydney, New South Wales since 2005.

This post consists of MP3's (320kps) ripped from my vinyl album and includes full album artwork, along with all featured photos of Sayer from the early 80's. Also included are several bonus tracks, the non-album B-Side to Orchard Road entitled "Gone Solo" and his first release while performing under the name of Patch - "Living In America".
It is also worth noting that the tracks on this album were written over a three year time span with his 1980 single "More Than I Can Say" finally appearing on this 1983 album, while the title track and "Heart Stop Beating In Time" were written in 1982. The remainder were written and released in 1983. This is one of my favourite Sayer albums and I absolutely fell in love with his emotional Orchard Road when I first heard it on the radio.
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Track Listing

01 - 'Til You Come Back To Me
02 - Sea Of Heartbreak
03 - More Than I Can Say
04 - Darlin'
05 - Don't Wait Until Tomorrow
06 - How Beautiful Are You
07 - Orchard Road
08 - Aviation
09 - Heart (Stop Beating In Time)
10 - Your Love Still Brings Me To My Knees
11 - Have You Ever Been In Love
12 - Wounded Heart
13 - Love Games14 - Never Had A Dream Come True
15 - Gone Solo (Bonus Single)
16 - Living In America (Patches) (Bonus Track)
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Leo Sayer Link (150Mb)
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(U.S 1963-1970)
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July 4, 1970. Middle Georgia Raceway - Byron, Georgia. 400,000 sunburned bodies. Jimi Hendrix headlines the Atlanta Pop Festival, a monster stop near the end of his last American Tour. With him are Experience drummer Mitch Mitchell and Band of Gypsys bassist Billy Cox. Jimi and Billy were army buddies stationed in the South in '61. Nine years later they return as the Cry of Love Band. Their 'Band Of Gypsys' album is in the US Top 5, and the tour yields some of Jimi's best playing. His combined Mitchell/Cox rhythm section defines the ultimate power trio.

It is the Summer of '70. Rock festivals are the height of fashion. Independence day is on a Saturday. Jimi hits Atlanta's stage in the evening and faces the largest crowd of his life. [extract taken from DVD Cover - Jimi At The Atlanta Pop Festival]

Cry Of Love are supported by B.B. King, John Sebastian, Mountain, Procol Harum, Poco, Jethro Tull, Johnny Winter and The Allman Brothers. Randy California attends the festival and jams with Jimi in his dressing room, just before he goes on stage. A french TV film crew film part of Jimi's set.

Cry Of Love take the stage for their 02:30 (Sunday) performance. Jimi announces: "Thank you for waiting, I can't hear nothing, testing one, two three, testing, testing. I'd like to introduce the new members of the group, this is Billy Cox on bass and Mitch Mitchell on drums and yours truly on public saxophone." Jimi starts the show off with 'Fire'. "Thank you, we really hope it isn't too loud for you, because if it is we can always turn it up. I'd like to do another thing goes something like this here. Hey dig, there's a whole lot of girls running around loose because [their] old man's in the army and so forth, and when he comes back he's gonna find you up there with your other man and somebody's gonna get [it]. It's called 'Here Comes Your Lover Man'." Following this number, and without any introduction, Jimi continues with 'Spanish Castle Magic'. Then: "Yeah we'd like to slow it down a little bit and quiet it down and... do a slow blues for the evening, a thing called 'Red House'."

There are more tuning problems, and Jimi addresses the audience: "Sorry for the tuning, it'll only take a second. I'd like to do a thing that, er, we're gonna have on our new LP, a thing called 'Room Full Of Mirrors'." After this song, Jimi continues the set with 'Getting My Heart Back Together Again', 'Message To Love', All Along The Watch tower' and 'Freedom'. He then says: "Thank you very much for the last four years... [this is] dedicated to the girl over there with the purple underwear on." Jimi continues with 'Foxy Lady".

Then: "I want everybody to stand up and get off... your thing and stand up on your feet because we'd like to do a happy birthday song to America. Thing goes something like... the thing they used to brainwash [us with]... at school. Well let's all, everybody stand up and sing it together with feeling." Jimi proceeds to play the introduction to 'Star Spangled Banner', but quickly changes it to 'Purple Haze'. During the song there is a huge firework display behind the stage which lights up the night sky.
After 'Purple Haze', Jimi comments: "Thank you very much for staying with us, thank you... and... I'd like to see you again soon." Jimi continues the set with 'Hey Joe'.

Next, the band play 'Voodoo Child (Slight Return)'. Afterwards he announces: "Thank you very much for staying with us, thank you. Thank you very much, you're all really, really kind. You know, if I could see you we could get it together, but that light is blinding me, man, it's hard to play when you can't see nobody, you know." The offending spotlight is switched off and Jimi comments: "Now I can see you, yeah, right. I'd like to do a thing called 'Stone Free' - we hope you remember that one." Jimi then continues with 'Star Spangled Banner' and 'Straight Ahead'. He closes the show with a very out-of-tune version of' Land Of The New Rising Sun' [extract from Jimi Hendrix Concert Files by Tony Brown, Omnibus Press, 1999. p162]

The Cry Of Love - Atlanta, 4th July 1970

About 100 miles south of Atlanta, next to a field on the outer fringes of the town Byron, in Georgia, is a plaque erected by the Georgia Historical Society marking the location of the second Atlanta International Pop Festival, which ran from July 3-5, 1970. It reads: "Over 30 musical acts performed, including rock icon Jimi Hendrix playing to the largest American audience of this career." Despite the overwhelming attendance—which some estimates actually put as high as 400,000—the festival, and Hendrix's performance in particular, have not received their due until now.
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This post consists of MP3's (320kps) which were found on the web many years ago, and includes full album artwork and photos taken at the festival. This bootleg is one of the better sources on offer for this iconic concert, and includes all bar 2 tracks performed by Hendrix and The Cry Of Love on the night (Freedom & Foxy Lady missing). Unlike the official 2015 release, entitled 'Freedom' (which by the way incorrectly credits the recording to The Jimi Hendrix Experience), this bootleg includes the closing track on Jimi's setlist, a very out-of-tune version of''Land Of The New Rising Sun. Whether Hendrix was suffering from the effects of drugs at the end of his performance or he simply couldn't hear due to the poor acoustics, it was common practice by Hendrix at the time to close his performances with this very solemn piece, yet the track is missing from the official release making it incomplete also. So, even if you have purchased Freedom, you still need to grab this Bootleg to hear the full concert. Quality of the recording is an 8/10.
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Track Listing:
01 - Fire
02 - Lover Man
03 - Spanish Castle Magic
04 - Red House
05 - Room Full Of Mirrors
06 - Hear My Train A Comin'
07 - Message Of Love
08 - All Along The Watchtower
(Note: Tracks missing are Freedom & Foxey Lady)
09 - Purple Haze
10 - Hey Joe
11 - Voodoo Child (Slight Return)
12 - Stone Free
13 - Straight Ahead
14 - Star Spangled Banner
15 - Hey Baby

Jimi Hendrix (Guitar, Vocals)
Billy Cox (Bass)
Mitch Mitchell (Drums)
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Jimi Hendrix Atlanta Link (173Mb)
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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.
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Perhaps the icon of macho movie stars, and a living legend, Clint Eastwood has become a standard in international cinema. Born May 31, 1930 in San Francisco, the elder of two children in a middle-class family, Eastwood finished high school at the comparatively late age of 19 and worked odd jobs for several years before enrolling at Los Angeles City College, from which he dropped out after two semesters to pursue acting. He found unaccredited bit parts in such nondescript B-films as Revenge of the Creature (1955) and Tarantula (1955) during the mid-'50s while simultaneously digging swimming pools for a living, until he got his first breakthrough in the long-running TV series Rawhide (1959) with Eric Fleming. Though only a secondary player in the first season, Clint made the show his own by end of its run and became a household name around the country.

Eastwood found even bigger and better things in Italy with the excellent spaghetti westerns A Fistful of Dollars (1964) and For a Few Dollars More (1965), but it was the third installment in the trilogy where he found one of his signature roles: The Good, the Bad and the Ugly (1966). The movie was a big hit and he became an instant international star. Clint's first American-made western, Hang 'Em High (1968), was yet again a success. [extract from imdb.com]

With the rusty door-hinge of a voice he possesses today, it's hard to imagine a time when Clint Eastwood could have been groomed as a singing star, but in the early ‘60s, when he came to fame as the rebellious Rowdy in the hit Western TV series Rawhide, it wasn't such a crazy idea. In 1963, playing off the popularity of the show, Cameo-Parkway released an album featuring Eastwood's versions of classic cowboy-style tunes. While Eastwood is admittedly not an exceptional vocalist, he's not at all bad; this is by no means some Golden Throats-style celebrity train wreck. At the time, there were plenty of equally photogenic young men with no greater vocal ability than Eastwood being promoted as country singers, many with less of an actual musical background than the jazz-schooled actor.

Eastwood's soft, somewhat laconic croon might not possess the commanding quality that was de rigueur for the era's country stars, but he never strays off-key, and his style is a kind of cross between legendary cowboy singer Roy Rogers and Dean Martin. Most of the tunes he tackles here were already well-known in hit versions by other artists -- the Sons of the Pioneers'"Tumbling Tumbleweeds," Bob Wills'"San Antonio Rose," Gene Autry's "Mexicali Rose," etc. The loping rhythms, lonesome harmonica, lazy guitar licks, and male backing-vocal choruses are all in keeping with the production conventions of the day for cowboy artists.

While Cowboy Favorites didn't make Eastwood a C&W star, it wasn't his country music swan song -- years later he would record with Merle Haggard and sing in the films 'Paint Your Wagon' and 'Honky Tonk Man' [extract from allmusic.com]
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Now, let's be really honest folks. This album doesn't really fit my usual criteria for inclusion into the WOCK on Vinyl Hall of Fame - it's not really Wacky, nor is it Crazy or Korny, and having been released on CD, its not really Obscure either. But folks, it's all about Cowboys and Westerns and that's just good enough for me.
So here it is partners. A nice round up of rootin, tootin tunes that any city slicker would love to have in their personal corral, ripped from vinyl in MP3 (192kps) format. Note: There is some discrepancy as to when this album was released - some sources saying 1962 while others state 1963. So if you know for certain, then 'go ahead and make my day' LOL by leaving a comment.
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Track Listing

01. Bouquet Of Roses
02. Along The Santa Fe Trail
03. The Last Round Up
04. Sierra Nevada
05. Mexicali Rose
06. Searching For Somewhere
07. I'll Love You More
08. Tumbling Tumbleweeds
09. Twilight On The Trail
10. San Antonio Rose
11. Don't Fence Me In
12. Are You Satisfied
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Clint Eastwood Link (45Mb)
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(Australian 1971 - 1973)
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Rare Australian progressive / psychedelic rock from Melbourne-based group It Flew Away, taken from their only album 'The Lounge Room Tapes', which was recorded in 1972 but privately released in 1987 as a double LP in a small run of 250 copies.

Finally the music of this great Melbourne band is available on CD! Previously some of this material was released on a totally independent 2LP set in the late 80's, however this has been remastered from the original tapes recorded in 1972. Great keyboard/guitar interplay throughout makes this an essential addition to every Aussie 70's progressive rock collection. These guys were certainly the unluckiest band of the era in that, with all the abundant talent on show they never got to release any records at the time.

It Flew Away was a band whose story seems to sum up the hopes and aspirations of so many outfits who played their guts out to very little critical acclaim. This was in an era when simply being able to express one's musical ideas in a public forum was considered by many to be reward enough to make the long hours of rehearsal and equipment lugging seem worthwhile!

Early in 1971 Ian Clarke (keyboards), Barend du Preez (bass, vocals and harmonica) and John Reid (guitar) were living in a defunct private hospital in Prahran, writing songs and thinking only half seriously about forming a band. John's brother, Rob, took the initiative and put an ad in the Source Bookshop in Melbourne... Wanted - Creative Drummer. Guitarist, bass player and organist, writing own music, seek sincere musician to develop a group from embryonic stages to something satisfying.

In August, Shane Cleary turned up, and on a cold grey day, over a bowl of hot millet, It Flew Away was born. The band's first gig was in early December, supporting Carson at Ocean Grove, a coastal town on the outskirts of Melbourne. Then followed an appearance at Evolution ("Australia's biggest holiday dance in the heart of swinging Rosebud"). At about this time an American promoter was developing the Regent Theatre in South Yarra as a Fillmore-style concert hall Billed as a 'mixed-media palace', it promised to be an exciting new venue for rock music in Melbourne.

The Regent wanted new talent, and It Flew Away wanted a place to play, so a short, but exciting association was formed. On New Years Eve they played The Regent for the first time with Spectrum, Friends, Carl & Janie Myriad, Blackfeather and The Joy Band. With earnest expressions they presented their collection of lengthy and extravagant musical images, in front of the Stargate Corridor light show.

Throughout 1972, It Flew Away took their music wherever they could. Bookings through the Let It Be agency led the band to play at such venues as Sebastians, Q Club, Much More Ballroom, various Universities and tertiary institutions, suburban dances, and also as far afield as Adelaide, Sydney and Newcastle. Whilst in Sydney the band visited the ABC (government funded TV channel) studios, to record 'Candy Meets The Vibrator', 'Aimless Pasture' and one other song for an airing on the popular music show of the day known as "G.T.K.'.

They won a Battle of the Bands at Buronga on the Murray River near Mildura, and seemed to be achieving some recognition among informed writers in the music press. But all was not well. The Regent burned down and the Much More Ballroom closed. Taking note of these events, the band invested in a custom built PA. system that became endearingly known as the 'D.S.H.', and after a couple of live engagements, the 'D.S.H.' blew up! At least one band member believed that music could save the world, but despite this idealism, by early 1973 they were silting on the floor of Phil Dwyer's panel shop cum studio, tearing strips off each other.

Sympathetic audiences were scarce, and efforts to support It Flew Away with a theatrical rock and roll band called Thicket Ducks, and later, a straight outfit called The Pub Band had failed. Idealism was no match for a lack of equipment, and with poverty lurking just around the corner, It Flew Away would fly no more. It Flew Away really had it all, ambitious keyboard passages combined with a great guitar sound and tough rhythm section making their sound far more memorable than most symphonic rock outfits of the day.

The almost six minute opening track 'On My Way Home' has classy guitar/keyboard interplay and practically sets the tone for all the material on this release. From the epic 'Good Times' with its fantastic guitar lines, soaring keyboards and interesting lyrical content (du Preez even managed to incorporate some Tolkien imagery), to the wildness of 'Candy...' or the last track 'Pull Out All The Stops Mother', everything here is played with 100% confidence by a band on the brink of greatness, but nonetheless, one whose members never saw the door of opportunity open for them.

It had been a creative period in four peoples lives, at times joyful and positive, at others turbulent and difficult. And so to the passage of time... Fortunately for the band, they had loyal friends in Carl Hartung and Ross Williams, to whom a great debt is owed for the existence of a cache of well recorded tapes containing a number of versions of different songs, without which this music would inevitably have faded with time and memory. It was always Hartung's ambition to make an album using this material which had been hidden away in dark cupboards for many years, with only the occasional airing.

In 1987 he and Reid worked together to create a compilation reflecting various facets of the band's songwriting. Eventually, after a great deal of effort everything fell into place, and a 2LP set was produced, primarily for fans and friends in a limited edition of 250 copies. It Flew Away The Lounge Room Tapes finally saw the light of day, sold-out and disappeared! [by Carl Hartung and Glenn Terry - CD Booklet]
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This post consists of FLACs and MP3's (320kps) ripped from the Vicious Sloth re-issue CD (now out of print) thanks to Marios. Full album and booklet artwork is included.
This album would have to be be one of the hidden treasures of the 70's, and probably one of the rarest progressive Aussie rock albums ever released because it literally flew away !
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Track Listing
01. On My Way Home (B.du Preez) - 5:54
02. Good Times (B.du Preez) - 9:16

03. Raggin'MyBin (I. Clarke, B.du Preez, J.Reid) - 2:44
04. Aimless Pasture (I. Clarke) - 7:09
05. Candy Meets The Vibrator (J. Reid) - 2:52
06. Mighty Harvest (take 1) (J. Reid, B. du Preez, I. Clarke) - 5:05
07. Beach (B.du Preez) - 6:03
08. Crab Apple Jelly Jam (J. Reid, B. du Preez) - 3:15
09. Watch Out (R.Reid, J.Reid, B.du Preez) - 4:37
10. Open Spaces (B. du Preez) - 6:21
11. Pull Out All The Stops Mother (I. Clarke, B. du Preez) - 15:23

It Flew Away were:
Ian Clarke - Keyboards
Barend du Preez - Bass, Vocals, Harmonica
John Reid - Guitar
Shane Cleary - Drums

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It Flew Away FLACs Link (489Mb)
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It Flew Away MP3 Link (198Mb)
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(U.K 1965-1969, 1975-1978)
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Within weeks of Small Faces' stage debut in 1965, this ultimate Mod group entered the UK Top 20 with 'Whatcha Gonna Do About It' - featuring Marriott's strangled and passionate vocals. The follow-up, Marriott and Lane's 'I Got Mine', missed the mark but, replacing Winston with lan McLagan, the outfit got back on course in 1966 with 'Sha-La-La-La-Lee', 'Hey Girl' and, their only UK Number 1, 'All Or Nothing'.

"My Mind's Eye' and 'I Can't Make It' marked time before a switch to Immediate in 1967 facilitated an intensely creative phase. 'Here Come The Nice','Itchycoo Park', Tin Soldier'and 'Lazy Sunday Afternoon' were all late Sixties hits and characterized Small Faces' particularly English style, merging R&B with cockney chirpiness and psychedelia. 'Itchycoo Park' was also the band's only significant US hit.

After the 'Ogden's Nut Gone Flake' album (1968) was followed by two moderate-selling singles 'The Universal' and 'Afterglow', Marriott left to form Humble Pie in 1969. Jones, Lane and McLagen continued as the Faces, recruiting Ron Wood and Rod Stewart from the Jeff Beck Group. Although successful, both Humble Pie and the Faces disbanded in the mid-Seventies.

Two subsequent Small Faces re-formation albums failed to chart. Lane's career was cut short by multiple sclerosis and Marriott's death in 1991 put paid to any further reunions.
[Taken from The Encyclopedia Of Rock by Michael Heatley, RD Press 1996. p42]
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The Demise Of The Small Faces
A January 1968 Tour of Australia with The Who sowed the seeds of the Small Faces demise.
Road-rusty after a year in and out of the studio, the Small Faces’ poor performances created tension and resentment in the group, specifically between fiery singer-guitarist Steve Marriott and the more spiritually-inclined bassist-singer Ronnie Lane. In Australia Marriott cornered record exec Tony Calder.

“He said, ‘I’m not gonna give any more of my f***ing songwriting to Ronnie Lane,” Calder tells MOJO’s Mark Paytress. “I’d never realised there was a problem until then, or that Steve had been writing most of the [hit] songs.”

The tragedy was that in the studio the group were at the top of their game, with their first album on Andrew Loog Oldham’s Immediate Records – their third in total – yielding the astonishing (Tell Me) Have You Ever Seen Me and Show Me The Way, and the ardently loved Ogden’s Nut Gone Flake in the pipeline. Yet the Australia trip had broken something in the band, and it preyed on Marriott’s mind when a potentially make-or-break US tour was mooted.

“He wouldn’t go because he couldn’t face failure,” says Marriott’s mum Kay. “If they went there and weren’t accepted, it would have been dreadful for him. He was a coward in that way, bless him.”

Calder says it was also during the Australian tour that Marriott first came up with the idea of introducing Peter Frampton, the rising ‘Face Of ’68’ and guitarist/singer with The Herd, into a five-piece Small Faces. “Stevie said, ‘Go back to London and call him. I want him out of his contract.’ But it took time, maybe a year or more.”

“I love Pete,” says Small Faces organ maestro Ian McLagan, “but it wasn’t the right move for us. Maybe we should’ve got a trumpeter, not another guitarist!”

“Lazy Sunday messed things up for us. Just like Sha-La-La-La-Lee had done.”

While Ogden’s Nut Gone Flake was to reveal the copious creative life that remained in the group, MOJO’s cover story reveals surprising disharmony over its mix of psychedelic whimsy, searing soul-rock and daft cockney gurning. When managers Calder and Andrew Loog Oldham (still in recovery after his 1967 nervous breakdown) released the ebullient but polarizing Lazy Sunday as Ogden’s…’ first single in April 1968, another nail was knocked into the group’s coffin.

“We were all pissed off with that, because it messed things up for us,” McLagan tells MOJO. “Just like Sha-La-La-La-Lee had done.”

On New Year’s Eve 1968, Steve Marriott walked off stage mid-gig and broke up the Small Faces early the following year. Marriott and Frampton formed heavy rockers Humble Pie, while the rump of the band found another path to success, recruiting Ron Wood and Rod Stewart to constitute The Faces. But a quality that belonged to the Small Faces exclusively was lost.

“I wish we could have stayed together,” Faces/Small Faces drummer Kenney Jones sadly concludes, “but Steve was gung ho.” [Article from MOJO Magazine, #244 March 2014]
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This post consists of MP3's (320kps) ripped from my prized $tateside vinyl and includes full album artwork along with label scans. Although this album is a mono pressing it still has that nice 60's feel about it and all of the tracks (although not major hits) are enjoyable to listen to. So grab this album 'Immediately' (pun intended) while you can.

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Track Listing

01 - (Tell Me) Have You Ever Seen Me    2:15
02 - Something I Want To Tell You    2:06
03 - Feeling Lonely            1:30
04 - Happy Boys Happy            1:35
05 - Things Are Going To Get Better    2:36
06 - My Way Of Giving            1:38
07 - Green Circles            2:34
08 - Become Like You            1:55
09 - Get Yourself Together        2:17
10 - All Of Our Yesterdays        1:47
11 - Talk To You            2:05
12 - Show Me The Way            2:00
13 - Up The Wooden Hills To Bedfordshire    2:05
14 - Eddie's Dreaming            2:50
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The Small Faces were:
Steve Marriott (vocals, guitar)
Ronnie Lane (Bass, vocals)
Jimmy Winston (keyboards)
Kenney Jones (drums)
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The Small Faces Link (71Mb)
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(New Zealand/Australian 1969-Present)
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With a professional career spanning more than 40 years, Kevin Borich has done it all.
Beginning with the La-De-Das's in New Zealand, writing the classic hit `Gonna See My Baby Tonight’, to his Kevin Borich Express and he Party Boys, Kevin has performed at some of the biggest Rock events Australia has seen.

Sunbury and the Rockarenas in the 70’s with 60,000 people, featuring Fleetwood Mac, Santana (with whom he was invited onstage to play with Carlos) and The Little River Band. Two New Years Eve celebrations at the Sydney Opera House with 70,000 people, telecast live, nationally and internationally to Japan, at that time, a first! Numerous support shows for international acts, Elton John, Status Quo, Jeff Beck and Buddy Guy to name a few.

From your local to the big events, Kevin has carved out a revered reputation in the Australian Music Industry, performing his music with a youthful exuberance – giving extra meaning to the word Longevity.
Kevin has played and recorded with artists such as Renee’ Geyer `Blues License’ – Dutch Tilders `The Blues Had a Baby ‘- Richard Clapton `Prussian Blue’, Joe Walsh and The Party Boys, of which Kevin was a founding member.

Jammed with Carlos Santana on two of his tours, also with Bo Didley, Richie Blackmore (Deep Purple), Ron Wood (Rolling Stones), John Mayall, Taj Mahal, Living Colour.
Overseas tours and tours with Jimmy Barnes, Renee’ Geyer and Mark Hunter, have added spice to his career.

Kevin is well known for his high energy electric guitar style. At the Gimme Ted Benefit Concert for Ted Mulry, Kevin’s performance was hailed throughout the music industry as world class. A Borich show leaves his audience pleading for more, as seen at the Eastcoast Roots & Blues Music Festival Byron Bay, Thredbo Blues Festival and dozens more.

Kevin starred in the hugely successful 18 ‘Sold Out’ Australia wide ‘Long Way To The Top’ 2002 arena concerts. 2003 and Kevin, alongside Tony Joe White, John Mayall and Ray Charles (in that order) performed the Melbourne International Music & Blues Festival. In recognition of Kevin’s contribution to Australian music and blues culture he was inducted into the Australian Blues Foundation Hall of Fame. 2004 saw more gigs, more touring, more festivals and a new CD – Nomad.

Kevin Borich Plays Rockarena in 1977

Kevin included a 1930’s National Steel acoustic guitar in his show. This “laid-back” acoustic style was a very well received addition to Kevin’s performance on a selection of electric guitars, including his Fender Stratocaster and Gibson Firebird slide guitar.

Kevin continues to tour with his Express, playing material from his extensive catalogue. Some of which was re-released on CD by Festival (Kevin Borich – Collection) and EMI (Kevin Borich – Goin Down Town, a double pack of the Kevin Borich Express first two albums, `Celebration’ and `Lonely One’, now sadly out of print).

Due to popular demand, Kevin has independently produced and released his CDs:
- `Live at the Big Kahuna’ – a blues-based double live CD which shows Kevin’s versatile guitar style.
- ’Heart Starter’ – strong powerful and sensitive playing from guys who have tons of cred, Harry Brus (bass) and John Annas (drums) and on 2 tracks Kevin’s son Lucius Borich (drums).
- ‘Nomad’ – a mighty experience of the combined musical talents of Kevin and his son Lucius Borich (drums and bass) and Mark Kennedy (drums and percussion) and Harry Brus (bass). [extract from sindynurpratami.blogspot]

Kevin Borich Jams With Carlos Santana
Kevin Borich is finally getting some of the breaks he deserves. He has always been acknowledged for his guitar playing. In Australia, over the past year, no poll has been held without awarding Kevin the place of top Australian guitarist. In the last 'Ram' poll, Kevin and his drummer John Annis, won top positions in their respective categories with votes totally more than double their nearest competitor.

The 'Kevin Borich Express' was also one of the two Australian bands (Little River Band being the other) who were asked to play on 'Rockarena' this year with Santana and Fleetwood Mac. Apart from the obvious benefit of playing at the largest concerts Australia has seen for a long time, there was the bonus for Kevin and John of playing on the same stage as Carlos Santana whose music had inspired them both for a long time. Little did they both realise that they would be playing on the same stage 'at the same time' as Santana. During Santana's encore of "Evil Ways" Carlos gestured to Kevin and John to join them on stage for a jam. John played timbalis and Kevin played one of Carlos' spare Gibson guitars through a Boogie amplifier. Kevin was struck by the power Carlos exuded on stage. Carlos was very content and in control, ruling the band by his unspoken commands.

Kevin commented later, "It was an honour for me that he liked my playing enough to invite me on the stage". It was also rewarding for Kevin to have his playing and musical direction affirmed, for in spite of the rave reviews that have greeted the release of his two albums "Celebration" and "Lonely One" radio have not been very generous in their allocation of airwave time to Kevin's records. Kevin's first album is nearly gold (sales of 20,000) and the latest release "Lonely One" is selling steadily. But without radio support a record cannot expect large sales. 2SM have recently been playing "Tell Me Why" and in response to this possibly good omen Astor have rushed released the track as the follow up single to "Tango Queen".

Bill Graham (manager of Santana and promoter of such famed venues as the Fillmore, Winterland and A Day On The Green) was very impressed with the Kevin Borich Express and offered them work at his venues when they go to the States. Michael Chugg (KBE Manager) is currently in America looking at venues and record companies with an eye to touring there later in'78. [by Keith Jennings, JAMM Magazine, Feb 1978, p9]
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This post proudly presents FLACs and MP3's (320kps) freshly ripped from my almost 40year old vinyl. Full album artwork and label scans are included along with a scan of the JAMM feature article on Kevin.
This album was a fantastic follow up to his debut album 'Celebration' which I posted on this blog some time ago. Along with the title track "Lonely One", my favourite tracks on this album are "Need Your Love", "Good To See Ya" and "White Ship". Interesting to see Renee Geyer singing background vocals. This is another album that must be played with the volume cranked up and the windows wide open (in case they shatter). Enjoy
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Tracklist

01 - Need Your Love
02 - Tell Me Why
03 - Lonely One
04 - Six Million Dollar Role
05 - White Ship
06 - Tango Queen
07 - Good To See You
08 - By The Light
09 - Rescue Dream
10 - Acropolis
11 - The End Of Me (Bonus First Release)
12 - Lonely One (Bonus Live At The Forth Valley Blues Festival, Tasmania 2013)
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Kevin Borich - Guitar, Vocals

John Annas - drums, vocals
Tim Partridge - bass
Larry 'Light Fingers' Duryea - Congas
Tony Buchanan - flute, sax
Ian Bloxom - percussion
Bruce McLean - steel drums
Cahoots, Renee Geyer, Sheryl Black - backing vocals
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Kevin Borich MP3 Link (113Mb)
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Kevin Borich FLAC Link (298Mb)
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(Welsh 1969 - Present)
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Looking back to 1970's most major rock bands released at least one live album in order to capture the excitement and spontaneity of a live performance. It therefore seems unusual that Budgie or their record companies of the period did not pursue this avenue to the fullest extent. Budgie were essentially a live act and the studio albums did not truly capture the same excitement as a live concert.The only official live recordings from the period appear to be concerts broadcast by radio.

In 1974 the original drummer Ray Phillips had left the band and a replacement was needed to fulfill tour commitments. Pete Boot was drafted in and due to an album being required by the record company he ended up staying to record the album. As Burke has said of the period " it was chaotic, we were trying to rehearse the live set, do the shows and write and record new material for the new album".

One of the shows from that time was broadcast from Global Village, London in March 1974, a few weeks before the new album In For The Kill was released. It subsequently went on to enter the top 30 album chart.This show contains early versions of Hammer and Tongs and Zoom Club from the 'In For The Kill' album.The recording quality of I974's radio is a long way from recordings that are done with today's technology however due to so much interest in the band in it's early days this show is now presented in it's entirety and contains previously unreleased tracks.

In 1977 and 1978, now with Steve Williams on drums, Budgie spent long periods of time in America and Canada where they toured and recorded the Impeckable album. In May 1978 a live show was broadcast from Los Angeles.This concert contained material from the new album Impeckable and featured Myf Issac on second guitar.This show was to be one of Tony Bourge's last with the band and whilst the recording is far superior to the broadcast from London in 1974 it also shows that the band had progressed musically and the performance was a lot more polished.Tony's departure led to a short period of decline for Budgie when musical tastes were changing in Britain and it was to be two years before they regained their status as a major act.

Enjoy these recordings for what they are, with such a shortage of live Budgie material from the 70's, they are a piece of history.
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Review
I bought the older "Heavier Than Air / Rarest Eggs" release some time ago and wasn't sure whether to buy this one to get the few extra 1974 tracks, but I'm glad I did. The 1978 gig serves as the live album Budgie never released at the time - a well recorded great performance which no Budgie fan could be disappointed by, other than missing the odd classic tune such as 'Napoleon Bona-Parts 1 & 2', while 'Breaking All the House Rules' takes on a slightly over-enthusiastic tempo. Being 'remastered' has not made a revolutionary change in sound compared to the previous release however.

The 1974 tracks sound much better than the two tracks included on Rarest Eggs. The recording meets the quality of a very good bootleg: it's from a good desk mix but is hissy and with occasional tape dropout. This latter causes the odd unscheduled drift in panning & the occasional increase in background noise. There are fades in the applause and announcements between some tracks and 'Hammer and Tongs' fades just before the end. However, it's a fantastic performance, it flows from track to track and has real atmosphere and energy. The only problem is that it is now out of print (as stated on Budgie's website), so if you are after the real deal, then you'll have to source it on eBay or alike.

Budgie 1978 - Tony Bourge, Myf Issac, Steve Williams, Shelley Bourke

This post consists of FLACs and MP3's (320kps) ripped from my CD double set and includes full album artwork. Although I normally avoid publishing CD only releases, the fact that these recordings were made in the 70's but never released until recently (2005), and have been referred to as an 'official bootleg' release; I will make the exception here. Likewise, this CD set is no longer available for sale from Budgie's website.
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Track Listing

CD 1 (London 1974)
01 - Breadfan
02 - You are The Biggest Thing Since Powdered Milk
03 - Hammer and Tongs
04 - Zoom Club
05 - Parents
06 - Rocking Man

Budgie were:
Burke Shelley- Vocals, Bass
Tony Bourge - Guitar, Vocals
Pete Boot - Drums

CD 2 (Los Angeles 1978)
01 - Melt The Ice Away
02 - In The Grip Of A Tyrefitters Hand03 - Smile Boy Smile
04 - In For The Kill / You Are The Biggest Thing Since Powdered Milk
05 - Love For You And Me
06 - Parents
07 - Who Do You Want For Your Love
08 - Don’t Dilute The Water
09 - Breaking All The House Rules
10 - Breadfan

Budgie were:
Burke Shelley- Vocals, Bass
Tony Bourge - Guitar, Vocals
Myf Issac - Lead Guitar
Steve Williams - Drums

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Budgie Radio Sessions MP3's (270Mb)
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Budgie Radio Sessions CD1 FLACs (367Mb)
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Budgie Radio Sessions CD2 FLACs (413Mb)
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(U.K 1968 – 2011, 2015 – Present)
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Phil Collins' ascent to the status of one of the most successful pop and adult contemporary singers of the '80s and beyond was probably as much a surprise to him as it was to many others. Balding and diminutive, the Genesis drummer-turned-vocalist was almost 30 years old when his first solo single, "In the Air Tonight," became a number two hit in his native U.K. (the song was a Top 20 hit in the U.S.).

He got his first break in music in his late teens, when he was chosen to be a replacement drummer in the British art rock band Genesis in 1970. (Collins maintained a separate jazz career with the band Brand X as well.)

...And Then There Were Three...Genesis was fronted by singer Peter Gabriel. They had achieved a moderate level of success in the U.K. and the U.S. with elaborate concept albums, before Gabriel abruptly left in 1974. Genesis auditioned 400 singers without success, then decided to let Collins have a go. The result was a gradual simplifying of Genesis' sound and an increasing focus on Collins' expressive, throaty voice. And Then There Were Three... went gold in 1978, and Duke was even more successful.

Collins made his debut solo album, 'Face Value', in 1981, which turned out to be a bigger hit than any Genesis album. It concentrated on Collins' voice, often in stark, haunting contexts such as the piano-and-drum dirge "In the Air Tonight," which sounded like something from John Lennon's debut solo album, John Lennon/Plastic Ono Band.

During the '80s, Collins was enormously successful in balancing his continuing solo work with his membership in Genesis. In 1992, Genesis released We Can't Dance and began an extensive tour. Upon its completion, Collins released Both Sides in 1993, and the record became his first album not to produce a major hit single or go multi-platinum. In 1995, he announced that he was leaving Genesis permanently, and has continued to nurture his solo career ever since. [extract from allmusic.com]
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The following concert recording made in Melbourne (Australia) was made during Phil's big time 'The No Jacket Required World Tour' which took place between February 1985 to July 1985, in support of his 1985 album, 'No Jacket Required'. The album had been a big international success and the tour concluded with Collins performing "Against All Odds" and Long Long Way To Go at both Live Aid concerts, in London and Philadelphia, on 13 July 1985. the latter, Sting played guitar and sang backing vocals.

A television special was recorded in Dallas and aired on HBO, entitled No Jacket Required... Sold Out. The broadcast was released as a VHS in 1985 with extended footage and the title changed to Phil Collins: No Ticket Required.

Melbourne Concert Review
Recorded At the Entertainment Centre in Melbourne, this bootleg is a nice complete soundboard recording from the second night show (13th April). What makes this show a stand out is that Collins actually visited Australia before Genesis did! Phil is in fine form, using a lot of the same old gags on the song intros that he had used on the Mama tour, right down to the whole "fugitive from justice" bit that he sticks before "Don't Lose My Number." There is even a presage of his "Throwing It All Away" dee-dah-day singing in "Hand in Hand." The quality is great; the mix sounds a little weird to me, the lead vocals in particular, but sometimes the drums.

It seems in Australia bands performing live have to be backed by a string section for at least a few songs. Phil's band, he explains, is the hot tubs, so the strings are the "nine warm jets." The band introduction track, you'll notice, is incredibly long--but I also found it hilarious.

It is the complete and unedited show in a superb soundboard quality. This tour has no official complete material. This show from Melbourne is the best documentation of this tour which there is currently. I hope you like it [comments by Steve Genzano @ bluesnaggletooth12.com]
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This post consists of MP3's (320kps) taken from a soundboard feed and has been labelled as a Hussey Remaster. (thanks to the original uploader - Cina Najcler). A selection of artwork is included for the various releases for this bootleg recording, all released as a double CD set. Quality of the recording is a close 10 out of 10.
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Track Listing

CD 1
01. I Don't Care Anymore 6:25
02. Only You Know and I Know 5:59
03. I Cannot Believe It's True 4:30
04. This Must Be Love 5:47
05. Against All Odds 3:37
06. Inside Out 5:18
07. Who Said I Would 5:11
08. You Know What I Mean 4:42
09. If Leaving Me Is Easy 8:24
10. Sussudio 5:05
11. Behind the Lines 4:49
12. Don't Lose My Number 4:28

CD 2
01. The West Side 8:24

02. One More Night 5:49
03. In the Air Tonight 7:45
04. Band Introductions 8:58
05. Like China 5:29
06. You Can't Hurry love 3:01
07. It Don't Matter to Me 4:23
08. Hand in Hand 11:01
09. Take Me Home 8:15
10. People Get Ready 3:29
11. It's Alright 2:43
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Musicians:
Phil Collins : vocals, drums, piano
Peter Robinson : keyboards
Leland Sklar : bass
Daryl Stuermer : guitar
Chester Thompson : drums

The Phenix Horns :
Rhamlee Michael Davis : trumpet
Michael Harris : trumpet
Don Myrick : sax
Louis Satterfield : trombone

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Phil Collins Link (237Mb)
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Barbarella is a 1968 French-Italian science fiction film based on Jean-Claude Forest's French Barbarella comics. The film stars Jane Fonda in the title role and was directed by Roger Vadim, who was Fonda's husband at the time. The film was not popular in the US at its release, but received greater attention afterward with a 1977 re-release. It has since become a cult film, and I just love it (read Jane Fonda).

The Plot
Ho Chi Minh's favorite exercise queen stars in this amazing piece of science fiction, oh yes, Jane Fonda. What really amazes me is the movie's PG rating, considering the fact that Barbarella's antigravity breasts go bouncing through a few scenes sans clothing. (Plus there's another woman hanging from leather straps later on.)

Jane Fonda as Barbarella

Don't try and give me all that, "It was the 60's." crap either. Our heroine is dispatched to prevent a new weapon from destroying the harmony of the known universe. If one thing was threatening harmony it is this movie's soundtrack, I was torturing the cat by humming snippets to it. (Kitty actually fled the room.) After her spaceship crashes things really get weird, she encounters wild children, leather robots, Pygar, the Great Tyrant, and carnivorous parakeets.

When Barbarella finally locates Duran Duran (so that's where that band name came from) the scientist is a madman, seeking to conquer the universe and give her a fatal orgasm. I didn't stutter my friends, he straps the woman into a strange "pleasure organ/piano" thing and plays a tune which should kill her with ecstasy. It doesn't work, Barbarella shorts out the machine and it bursts into flames. Soon after this the Great Tyrant sets free the Magmous and all heck breaks loose, the end. If that wasn't warning enough I'm telling you now: This movie is all over the place and insanely groovy.

Pygar gets Barbarella's attention

After the shock of watching Barbarella strip out of her spacesuit in zero gravity (She's obviously laying on plate glass with the camera above her.), I noticed the red shag carpet covering the spaceship's interior top to bottom. For a state of the art spacecraft her ship had some issues, like the acid trip view screen and a disturbing habit of colliding with solid objects, like a planet. Let's not forget this is the future and all the messy pleasure associated with that disgusting habit of sexual intercourse has been overcome, now you just take a pill and hold hands... ...until Barbarella gets her pipes cleaned by Marcan, then she does agree "Wider is..." I mean, "The old ways are better."

This 60's soundtrack definitely fits the WOCK on Vinyl criteria, it's Wacky, Crazy and super Korny. But mostly, it's soooo 60's. Hope this brings back wonderful memories for some of you, and if you haven't seen the movie yet, then leave your brain in another room, watch the movie, and have fun with it. It's a cult classic.

Thanks to Mr Weird and Wacky for the Rip and the BadMovies Website for providing some insightful information about the movie. The soundtrack is here for your enjoyment.

Barbarella (MP3 / 128K + Artwork for LP / CD)
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(Australian 1979 - 2012)
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INXS (pronounced "in excess", In-XS) were an Australian rock band, formed as The Farriss Brothers in 1977 in Sydney, New South Wales.
Mainstays were Garry Gary Beers on bass guitar, Andrew Farriss on guitar and keyboards, Jon Farriss on drums, Tim Farriss on lead guitar and Kirk Pengilly on guitar and saxophone.
For 20 years, INXS were fronted by Michael Hutchence on lead vocals, whose "sultry good looks" and magnetic stage presence made him the focal point of the band. Initially known for their New Wave/Ska/Pop style, they later developed a harder pub rock style, including funk and dance elements. [extract from wikipedia]

The INXS story didn't start in 1979, when the band finally agreed on a name and began working in earnest towards their first record deal, but rather eight years earlier. 1971 was the year Kirk Pengilly and his best friend at school, Tim Farriss, formed their first band.

The band was called 'Guiness', laughs Kirk, 'and we basically had it for most of our high school years and about two years after we left. It was a band that meant a lot to me because I wrote all the songs and I was the singer as well. We actually auditioned Jon Farriss as drummer at one point but he was only nine years old so we kicked him out.'
'Guiness' eventually split up - but within a few months Tim Farriss contacted Kirk with an interesting idea: amalgamate the talents of Tim and Kirk with the best elements of his younger brother Andrew's band - Michael Hutchence, Carry Gary Beers and Andrew himself. The only factor needed to complete the line-up was a drummer, and although Jon was still very young - 16 by then - he was more successful at his second audition. In March 1977, the six-piece band that would become INXS was born.
'I absolutely believe that you create your own reality', says Kirk, 'but when look back on the way we came together it's just amazing. You know, Michael had been living in Hong Kong and LA for years and just happened to land in the same school class as Andrew. I'd moved from Melbourne, the Farriss brothers had moved from Perth. ....and we all just wound up in the same place like it was meant to happen.'

Michael Hutchence

In 1979, returning to Sydney, the group played their first inner city show as INXS, making their live debut on September, at the Oceanview Hotel, Toukley.

In May 1980, INXS released their debut single, "Simple Simon" on the independent record label 'Deluxe'. It was backed by "We Are The Vegetables". The single was only released in their native Australia and the song did not appear on their debut album 'INXS', except on the Australian version. The single was also released in France.
In October of the same year, their debut selftitled album 'INXS' was released in Australia, yielding the hit single, "Just Keep Walking". The group then toured the East Coast extensively (Melbourne, Sysdney, Brisbane), often playing seven nights a week.

In 1981, their Cross-Country touring of the homeland began in earnest. Fear And Loathing Tour, The Campus Tour, Stay Young Tour, Tour with No Name - some 300 shows altogether. In May of same year, "The Loved One" was released as a single in Australia, a cover of the No.1 hit by The Loved Ones, a popular Melbourne band from the 60's. (INXS recorded the same song again in 1987 for their Kick Album)

In October, 1981 they released their second album 'Underneath The Colours'. A commercial and critical success, the album reached the top #15 in the Australian charts and included the anthemic single "Stay Young". In January 1982, INXS toured New Zealand for the first time. Upon return to Australia, the band recorded "The One Thing", produced by Mark Opitz.
In April, Andrew, Michael and Kirk embarked on a pilgrimage to England and America for some R&R. Recording of their third album began in June, again with Mark Opitz producing. INXS finally left Deluxe records, and signed to WEA records in July. "The One Thing" was released as a single, and got into the Top 15 in the Australian charts. The album 'Shabooh Shoobah' was released in Australia in October of 1981 and hit the top five, becoming INXS's third gold album DownUnder.

Due to INXS's popularity in New Zealand, and a contractual committment to deliver a third album for Deluxe records, a compilation album with tracks taken from their first two albums plus some unavailable tracks was released in New Zealand (and eventually in Australia) in response to the band's new found success [extracts from INXS: The Official Inside Story Of A Band On Tour, 1992 p8, 74]

The album was a 14-track vinyl LP called 'Inxsive' (1980-82), and included six tracks previously unavailable on album - namely: "Prehistoria", "We Are The Vegetables", "The Loved One", "The Unloved One", "Simple Simon", and "Lacovocal".
This post consists of an MP3 rip of the album, taken from vinyl and includes full album artwork. There are a few jumps in some of the tracks (the LP was acquired 2nd hand), but I guess beggars can't be too choosey - this is a hard album to find.
The track "Lacovocal" sounds like it was recorded on a faulty tape unit but is in fact a bizzare instrumental remix of "Stay Young". This album is a great snap shot of where INXS came from before they made it big in both Australia and the States.

UPDATE: New FLAC Rip taken from recently acquired CD along with associated artwork.

Track Listing
01. Learn To Smile
02. Wishy Washy
03. Stay Young
04. Prehistoria
05. We Are The Vegetables
06. Underneath The Colours
07. The Loved One
08. The Unloved One
09. Simple Simon
10. Fairweather Ahead
11. In Vain
12. Big Go Go
13. Lacavocal
14. Just Keep Walking

Band Members:
Michael Hutchence (Vocals)
Kirk Pengilly (Guitars, sax and Vocals)
Garry Gary Beers (Bass)
Jon Farriss (Drums, Percussion)
Andrew Farriss (Keyboards)
Tim Farriss (Guitar)
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Inxsive MP3 Link (114Mb)

Inxsive FLAC Link (334Mb)

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(U.K 1969 - 1980)
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Formed in 1969 and named after a character from a Willard Manus novel, Mott the Hoople were heavily influenced by both Bob Dylan and traditional rock'n'roll. They achieved only modest sales with their first four albums, but David Bowie's association with the band revived their fortunes in 1972, just as they were about to quit. 'All The Young Dudes', written and produced by Bowie, resulted in a US Top 40 and UK Top 5 hit.

Allen left following the 1972 US tour and was later replaced by ex-Love Affair keyboardist Morgan Fisher. 1973's 'Mott' went to Number 7 on the UK album chart and produced two Top 10 hits, 'Honaloochie Boogie' and 'Roll Away The Stone'.

Ralphs' decision to quit (he went on to form Bad Company), was precipitated by Hunter's rigid control over musical direction. Ariel Bender (Luther Grosvenor, ex-Spooky Tooth) was recruited to record 'The Hoople' (1974) which emulated its predecessor and provided two more hits - 'The Golden Age Of Rock'n'Roll' and 'Foxy Foxy'.

A live album followed, before internal disputes saw various line-up changes including the arrival of ex-Bowie guitarist Mick Ronson. The band split after recording the 1974 single 'Saturday Gigs'. Fisher, Watts and Griffin soldiered on with new recruits as Mott, recording two unsuccessful albums.
Hunter embarked on a solo career aided by Ronson (producing the classic "Once Bitten Twice Shy"), and was an on-off association that continued until Ronson's death in 1993. [ extract from The Encyclopedia Of Rock, by Michael Heatley, RD Press, 1996, p 80]
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Mott The Hoople's 'Ian Hunter'

Mott The Hoople Split Up
On March 26,1972, Ian Hunter, lead singer and rhythm guitarist with English rock band Mott The Hoople, sat down to write a lyric expressing his anguish at the fact that the Hoople had just decided to split up. Despite a fanatical live following and four well-regarded, if inconsistent, albums, a commercial breakthrough for the ensemble had never materialized. "Rock 'n' roll's a loser's game" ran the mordant refrain of the composition in question, "The Ballad Of Mott The Hoople."
Then a miracle occurred. A fan heard of the split and decided to try to help them. That fan happened to be David Bowie, just about to become one of the biggest stars in the world via his ... Ziggy Stardust... album.

He gave them a song to record - "All The Young Dudes" - that finally gained them a genuine hit and also seemed to focus their minds. Many of their own songs now followed the template of"... Dudes," mythologizing rock in the way that Bowie's song did - although not glamorizing it. Their classic 1973 album Mott was a set almost exclusively dedicated to the subject of the trials and tribulations of being in a struggling rock band. The centerpiece of it was that cry of despair "The Ballad Of Mott The Hoople."

Hunter had a knack for the valediction. The next time the Hoople split - for good this time in 1974 - he penned the moving farewell and thank-you to Hoople fans "Saturday Gigs." [by Sean Egan,Defining Moments in Music, Cassell Illustrated, 2007. p428]
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This post consists of FLACs and MP3's (320kps) ripped from my trusty Ol' LP that has seen more parties and booze fests than I'd like to remember. But be assured that it has survived better than I did and still plays really well (please read - it's still got character)
Full album artwork are included for LP and CD and I've taken the liberty of including their early cover version of the Kinks classic "You Really Got Me" from 1969. Hope All You Young Dudes out there enjoy listening to this heavily influenced Bowie LP by some classic Glam Rockers
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Track Listing

01- Sweet Jane 4:20
02- Momma's Little Jewel 4:26
03- All The Young Dudes 3:31
04- Sucker 4:58
05- Jerkin' Crocus 4:00
06- One Of The Boys 6:46
07- Soft Ground 3:16
08- Ready For Love/After Lights 6:46
09- Sea Diver 2:54
10- You Really Got Me (Bonus Track) 2:52

Moot The Hoople are:
Ian Hunter - Vocals, Piano

Mick Ralphs - vocals, guitar
Pete 'Overend' watts - bass
Dale 'Buffin' Griffin - drums
Verden Allen - vocals, organ
Guest Artist
David Bowie - Sax

Mott The Hoople FLACs (291Mb)
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Mott The Hoople MP3's (106Mb)
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(Australian Artists 1983)
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Welcome to FM104's second homegrown collection in support of emerging local talent. Earlier this year we invited unsigned bands based in South East Queensland to submit audition tapes of original material for the project. The result was over-whelming. Over 600 entries were submitted by some 200 bands and artists. While the sheer number of entries was daunting, the overall quality of the demo tapes made the selection of the final 13 a very tough job.
We asked Brisbane illustrator Simon McLean to create the cover art and he responded with the unique homegrown concept that you
see
Homegrown II was realised with the enthusiastic support of many individuals, but special thanks must go to Peter Blyton and Murray Lyons of Suite 16, ace timekeeper Don Lebler, and FM104's Terry Anthony.

Our aim was to produce a record, in the true sense of the word, of the new music of South East Queensland in 1983. As we celebrate our third anniversary as Brisbane's FM Stereo Rock Radio, we believe we've succeeded with local technology and local talent.
[Linear Notes by Bill Riner (Program Manager)]
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Various Homegrown Vol 2 is a Australian-only FM 104 radio pressing 13-track LP, compiling music written and performed by Queensland Musicians exclusively for the Homegrown radio show, featuring such obscure names as The Jumpers, Delta 9, Skidmarks, Mindsweepers and more, housed in a unique picture sleeve with band photo insert. The following is scant little information I have been able to find for each band.
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Hungry Young Men
Featured Track: Women & Children First

Band Members: Peter Holzberger (Guitar/Lead Vocal), Ian Chamber (Guitars), Andrew Mathieson (Bass/Vocals), Tony Cambell (Drums). John Gray played keyboards, guitar and vocals for them in 1984.

Released one 7" Single "Vista Vision"/"Elves in Bondage" (1983) and one LP 'Live On A Plate' (1984) on the Sundown Records label.

Delta 9
Featured Track: Dangerous Romance

Band Members: Damon Robinson (Guitar/Vocals), Mano Merlini (Drums/Vocals), Barry Walsh (Bass), Rob Merlini (Keyboards/Vocals)

Mario Merlini and Damon Robinson went on to form Hank Panky in 1987, releasing a single in November 1987, called "I Can See Clearly Now"

Kyro
Featured Track: Living

Band Members: Greta Barber (Lead Vocal), David Osbourne (Guitars), Mark Hilton (Guitars / Keyboards), Chris Neale (Drums), Nick Heraclides (Bass)

David Osbourne, Mark Hilton and Nicholas Heraclides moved onto The Naturals. Chris Neale eventually ended up playing for the Kate Meehan Blues Band

The Tim Gaze Band

Featured Track: Dreams

Band Members: Tim Gaze (Guitars / Lead Vocal), Peter Willersdorf (Bass / Vocals), John Barns (Drums / Percussion / Vocals), Peter Bolton (Keyboards)

Tim Gaze (born 8 August 1953) is an Australian rock and blues guitarist, songwriter, singer and producer. He was a member of several prominent Australian groups of the 1960s and 1970s including Tamam Shud, Kahvas Jute, Ariel and Rose Tattoo. Gaze joined his first major band, Tamam Shud, in late 1969, replacing founding member Zac Zytnic at the age of fifteen. He played with Shud for about six months but quit suddenly around June 1970, just after the recording of their second LP Goolutionites and The Real People (which was released in October 1970).

Gaze then joined a new band, Kahvas Jute and contributed his first compositions to their only album, Wide Open (released in January 1971). Soon after its release Gaze rejoined Tamam Shud, remaining with them until the band broke up in August 1972. During this period Gaze and the other members of Tamam Shud played on the sessions for the soundtrack of the landmark Australian surfing film Morning Of The Earth, which became the first Australian film soundtrack to earn a gold record award.

In 1976, this band, with the addition of keyboard player Peter Bolton, evolved into the Tim Gaze Rock Ensemble. Later personnel changes brought in bass player Harry Curtis and keyboard player Andy Cowan. For Infinity/Festival Records, the band recorded an unreleased album of music from the soundtrack of a 1979 film, 'Band On The Run'. In early 2000, this material was recovered and released on CD.

Concurrent with these activities, he also led the Tim Gaze Band, 1977-79, the personnel including bass player Peter Willersdorf and drummer John Barnes. From 1985 to the early 90s, Gaze played slide guitar with Rose Tattoo, teamed up once more with Barnes and Willersdorf in Made In Oz, and was with Skin Game, Brothers Of The Bell, Big Secret, Ardijah, the Sultans, Oasis, the Peter Wells Band and the Millionaires.

With guitarist Phil Graham he co-wrote and recorded the soundtrack for Sultans 2: The Power Strikes Back (1990). In 1992 Gaze formed his own trio, which included Robbie France-Shaw. Through the 90s he was also with singer Gyan, Tamam Shud again, and the Bushwackers.

Rose Tattoo - Tim Gaze (third right)

In 1998, Tim formed the Blues Doctors, with Mike Gubb (piano/organ), Jim Conway (harmonica), Graeme Gibb (bass), Rob Grosser (drums), and Daniel Barnett and Ralph Frankie (brass). He also worked with multi-instrumentalist Clare O’Meara and fiddler Mark Oats as Limestone, and with Rob Grosser (drums) and Bob Daisley (bass) as the Hoochie Coochie Men.

In 2005, Gaze toured with popular singer Jimmy Barnes and was active as session musician, record producer and was Field Operations manager for ACRO at the University of Queensland. [extract from allmusic.com]

Note: During 1982-1983, his band was referred to as 'Troppo II / III' rather than the Tim Gaze Band [as reported at Oz Rock Database]
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Company Bred
Featured Track: Dreams Of Steel

Band Members: Richard Lawson (Guitar/Lead Vocal), Peter Danse (Keyboards), Peter Griffin (Bass), Paul Kent (Drums). 1982 - 1985

Released single on EMI Custom Records "Give Them What They Want, Black and White / Amberley Wives" (13687)

The Jumpers
Featured Track: Believe In This

Band Members: John O'Dwyer (Lead Vocal), Phil Treby (Bass / Vocals), Kevin Walsh (Keyboards), Peter Benson(Guitars/Vocals), Ross Gwyther (Sax), Brian Beamisgh (Drums / Timbales)

Not to be confused with the Adelaide Reggae/Ska Band (1979-1982)

Released a single on Sundown Records "You Don't See It / Hey Sexy" (SUN 0046)

La Mode
Featured Track: Jenny's Song

Band Members: Michael Whelan (Keyboards/Lead Vocal), Gerard Lacheca (Guitar / Vocals), Adam Cauper (Guitar/Vocals), John Lisignoli (Bass), Dave McDonald (Drums/Percussion), Vanessa Blocksidge (Vocals/Whisper)

Gerard Lacheca may have moved on to join the Brisbane/Sydney band 'Vicious Kites' in 1984 as lead singer. Vicious Kites released 2 singles and a mini LP

The Mindsweepers

Featured Track: Gotta Go Now

Band Members: Bryan Sweeper (Guitar / Lead Vocal), Cameron Giles ((Bass), Chris Potter (Drums), Greg Wildlife (Sax), Janice Abstract (Synthesiser)

Brisbane band who eventually moved to Sydney. A Mutant offspring of the Doors and Talking Heads.

Released a single in Oct, 1984 "Eygpt & France" and another "I'm Thinking" See YouTube clip.

Greg Parker (sax/flute) joined in 1984 when the band moved to Sydney and commented on YouTube "We had a pretty good run in the early 80s playing in clubs around Sydney, North & central Coast, Melbourne".

Note that the album back cover credits the Synthesiser player as Janice Abstract, however her correct name is Janice Jetson (see WHO's WHO Of Australian Rock, 2002. p255)

Bazzil at Prehistoric Rock reports that "4ZzZ Radio Station held a record launch gig for the "State Of Emergence" compilation album at the UQ refectory building.

If my memory is correct the girl in the photo is Janice Jetson from Brisbane band The Mindsweepers. See RAM Magazine 1986."

The Roostars

Featured Track: My Tree

Band Members: Raymond Gage (Guitar/Vocals), Steve Sykes (Guitar/Vocals), Glen Fox (Bass/Vocals), Greg Tesch (Drums)

The track "My Tree" features keyboard/synth sounds, yet no artist is credited for keyboards on the cover's band listing?

Neil Bryant

Featured Track: Closest To Me

Band Members: Neil Bryant (Vocals), Peter Blyton (Guitar), Peter Willy (Bass), Don Lebler (Linn Drum), Michael Stowasser (Keyboards)

Neil may have moved on to join the Sydney band The Brakes in 1986 as lead singer.

See the Brakes single "Shake, Shake" on YouTube

SkidMarks

Featured Track: Take Aim

Band Members: Gary Francis (Lead Vocal), Kevin Moloney (Guitar), Ken Cougan (Bass), John Spencer (Drums / Percussion)

This post consists of FLACs and MP3's (320kps) ripped from my ultra rare vinyl copy and includes full album artwork and label scans.

This radio sampler of Queensland bands is the second release by FM104 with first volume being released in 1982 . Only a few bands featured on this LP went on to greater things (ie. Tim Gaze and The MindSweepers), while most bands disappeared as quickly as they had emerged. If you are an avid collector of Aussie Rock and New Wave, then you're gonna love this album.

Finally, I would be interested to hear from any band members featured on this sampler to fill in the gaps - especially the more obscure bands who deserve better publicity.

Track Listing

01 - Michael Anthony - Aperture

02 - Delta 9 - Dangerous Romance
03 - Hungry Young Men - Women & Children First
04 - Skidmarks - Take Aim
05 - Kyro - Living
06 - The Jumpers - Believe In This
07 - Company Bred - Dreams Of Steel
08 - The Tim Gaze Band - Dreams
09 - Roostars - My Tree
10 - Neil Bryant - Closest To Me
11 - La Mode - Jenny's Song
12 - Mindsweepers - Gotta Go Now
13 - Andy Jenner - Good Morning

FM104 Homegrown Vol II FLACs (281Mb)

FM104 Homegrown Vol II MP3's (110Mb)

(U.S 1964 – 1977)
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Sonny & Cher were an American pop music duo, actors, singers and entertainers made up of husband-and-wife team Sonny and Cher Bono in the 1960s and 1970s. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector.

Songwriter Salvatore "Sonny" Bono and his 19-year-old girlfriend Cherilyn "Cher" Sarkisian made No. 1 in the Billboard pop charts on August 14,1965 with "I Got You Babe." Bono may have borrowed the hipster term "babe" from Bob Dylan's "It Ain't Me, Babe," a recent hit for The Turtles, but their songs were mid-tempo ballads and Sonny and Cher became the acceptable face of hippy culture. Sonny and Cher had the language, the uniform - all bangs, stripy trousers, and boas, clothes which still got you kicked out of restaurants in '65 -and the love anthem with none of the anarchism associated with "freaks" in the news around and shortly after this time like Ken Kesey and Timothy Leary. The fact that Bono was already 30 and that they were a married couple singing traditional love songs helped them seem less "dangerous" to the mainstream.

Signing with ATCO/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recording for an unsuccessful movie, Good Times.

Until 1967, they could not miss but the hits then stopped until the couple won their own variety
television show in 1972. Their stage act translated perfectly to the screen - Cher playing the witty intellectual and Bono her stooge. In 1972, after four years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. The hits returned, with Cher's parallel solo career proving as popular as the duo.

In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended not long after their divorce in 1975. In the decade they spent together, Sonny and Cher sold over 40 million records worldwide.

Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, right after Sonny's death in a skiing accident. [taken from Defining Moments in Music. Cassell Illustrated, 2007. p 322]

I Got You Babe (the album)
For their first album-length excursion in the wake of “I Got You Babe,” Sonny & Cher don’t tread too far outside the influence of Phil Spector, including covers of “Unchained Melody,” “Then He Kissed Me,” and “Why Don’t They Let Us Fall in Love,” of which the latter shows off the most appealing elements of each singers’ voice. “It’s Gonna Rain,” which Ahmet Ertegun favored over “I Got You Babe,” is a sub-Rascals attempt at white electric soul, while “500 Miles” is Spectorized folk-rock that Sonny carries for one verse and a chorus longer than he should have. Overall a solid album that established Sonny & Cher as a power duo and celebrity couple.

This post consists of MP3's (320kps) ripped from a CD copy of this album. My vinyl was too far gone to rip but I have included label scans and original artwork. This album was re-released in CD format under the title 'Look At Us' for some strange reason, but the track listing is identical. Hope you enjoy this 60's blast from the past. (Note: The track "The Letter" is not a cover version of the Box Top hit as one might suspect but rather an original penned by Harris & Terry - pity)

Tracklist:

01 – I Got You Babe
02 – Unchained Melody
03 – Then He Kissed Me
04 – Sing C’est La Vie
05 – It’s Gonna Rain
06 – 500 Miles
07 – Just You
08 – The Letter
09 – Let It Be Me
10 – You Don’t Love Me
11 – You’ve Really Got A Hold On Me
12 – Why Don’t They Let Us Fall In Love
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Sonny and Cher Link (85Mb)

(New Zealand 1973 - Present)
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Led by the late, great Marc Hunter, Dragon were a premiere live act in their heyday, and also released a stack of classic singles. As Australian rock historian Ian McFarlane writes, ‘Dragon were one of the most popular and notorious acts on the Australian scene … the band earned a reputation for fierce live shows, arrogant behaviour and a decadent lifestyle.’ Ah, real rock stars. But these larrikins created incredibly well-crafted pop/rock songs which, if anything, sound even better today than back in the late 1970s. Among the highlights of this compilation you will find Magic, Rain, Cry and their hit single April Sun In Cuba.

MARC & TODD HUNTER BACK TO BONDI
(External Combustion by Glenn A. Baker, Horwitz Grahame, 1990. p68-69)
Glenn writes: This piece, which appeared in the 4 November 1989 issue of The Australian Magazine, was the culmination of almost a decade of various chronicling of the band, which has long been in my personal top ten. Parts first appeared as the notes which graced both a 1983 CBS 'Best of album, Are You Old Enough?, and a Dragon songbook. Other sections were borrowed from a European biography I wrote for the band during their short stint as Hunter.

This version came together when BMG Records commissioned me to prepare an interview for the Bond! Road album, which necessitated a lengthy discourse with Todd and Marc in their Kings Cross management office.
Marc and Todd Hunter devote considerable energy to convincing people that they can't bear each other. Largely, the labour is wasted. It only takes a few minutes in their presence to recognise the benign nature of their sibling rivalry and feel the palpable empathy that flows between them. When this complementary pair earnestly tell you how opposite they are, you can only nod politely and stifle your smile.

Certainly there was a time when their blood ran in each others veins as acid, when they pulled so far apart that it seemed unlikely the rift could ever be healed. Like so many rock'n'roll siblings — the brothers Gibb (Bee Gees), Wilson (Beach Boys), Fogerty (Credence Glearwater Revival) and Davies (Kinks) among them — the Hunters did much of their growing up in public and passed through bitter phases of assimilation. But long after their heads had been turned and their hearts hardened by the rock'n'roll sycophants they came back to the security of each other. It just made sense.
"We're so totally different in any problem or any view," insists Todd. "We just come at things from a completely different direction, and end up at the same place." Marc essentially concurs: "We work so well now because we anticipate what the other is going to do...". "Anticipate and loath it in advance," interrupts Todd. Marc persists. "Musically we are totally opposed, and our polarisation results in a creative tension. Todd likes things in a certain way and 1 like them a certain way and whoever's in the middle is almost like a buffer. That's how our ideas get sort of mutated into a distinctive sound, without us even being aware of it at the time."

The Hunters have been seriously making music together, with some notable gaps, since 1973. That was the year that Marc joined elder brother Todd's aggressively experimental 'head' band Dragon; the vehicle through which the pair are still reaching an appreciative audience 16 years down the line. Those years have taken Dragon through the full spectrum of the 'rock'n'roll crazies', weaving them in and out of obscurity, fame, disillusionment, overindulgence and acclaimed accomplishment, finally depositing them in the rarely occupied elder statesman category of Australasian rock.

"The good thing about Dragon," contends Todd, "is that we've always been a bit unfashionable. That means you can enjoy periods of great success but not go out of fashion a year later. You just become a sort of hideous fact of life." That statement is concluded, like so many of Todd's, with a short, nervous laugh, sort of an apology for the transparency of the self deprecation.
Dragon may well be familiar, but it's the sort of familiarity achieved by bands like Genesis, the Angels, Pink Floyd, Mondo Rock and the Grateful Dead. The band seems to engender warmth and trust in the hearts and minds of those who have grown up with their passionate, full-bodied, fluid pop. "We've tried to take our audience with us" reveals Marc, "by staying true to the idea of pop music that we had when we first started playing. I guess we have always tried to do the best we could in that particular field and I would imagine that the people who liked us for that reason still have cause to like us. We're obviously getting better at what we do and we're still enjoying it — we couldn't keep doing it for 16 years if we didn't — but we still really don't give a shit about the fads, fashions and trends of rock music. To us, it's still pop music, that's always been the prime attraction. I like the idea of making basically disposable music which, through fluke or artistry, can last for a long time and become a part of people's consciousness. Pop doesn't receive enough honour. It can sometimes be a high art form."

The late 70s era of Australian contemporary music was dominated by Dragon's fire and ice. They arrived after the mega-platinum pop burst of Sherbet, Skyhooks, TMG and Ol'55 and reigned almost supreme until the rise of deliberately working class bands like Cold Chisel.'Australian Crawl and Men At Work, they were a union blessed with charisma, arrogant energy and an incisive yet disdainful rock vision. Their deftly structured music teetered between sweet lyricism and thinly veiled near-satanic sexuality, often projected from a chilling confrontational stance. They employed no gimmicks and made no promises. How one found them on a given night was basically how they felt that day. Thankfully, each performance was imbued with its own rare ingredients of mood and motivation, and there was rarely a truly poor one.

Through the brittle, tensile exhilaration of their early hits — This Time, Get That Jive, April Sun In Cuba and Are You Old Enough? among them — Dragon dominated the Australian charts for three intense years, from 1976 to 1978. In commercial terms they were unstoppable, the medals couldn't be minted fast enough — Band Of the Year, Album Of The Year, Most Popular New Group. They collected a stack of gold and platinum record plaques, toured America twice and, inevitably, collapsed under their own awesome weight. "We were incredible" boasted Marc Hunter during a 1986 interview. "I don't necessarily subscribe to that vision of Dragon as a dark. malevolent, destructive force but there used to be this composite energy that reared its head whenever we were together. I still don't know what it was or what caused it but I do know that it remains in the spirit of our music.
There are those who witnessed Dragon during their first peak who do subscribe to the impression that Marc dismisses. Those who saw him select sweet young things from the front rows at outdoor concerts and mock rape them on stage. And those who saw the loss of two members of the band from drug-related deaths. It is not something that the Hunters hide, nor is it something they choose to dwell upon. When Marc and Todd reunited at the end of 1982, after four basically lost years, they declared: "We're united in a common purpose and there's something seductive about that. We hadn't done what we set out to do — the drugs, drink and dissipation sidetracked us. We were too tired, we'd lost contact with reality."

Brothers Of Rock
INXS's Farriss brothers, Pseudo Echo's Leighs, Split Enz's Finns and Dragon's Hunter Brothers....Australian Music is like one big Family Tree. Chrissie Camp asks five sets of siblings (starting with the Hunters) about that special Brotherly Chemistry.
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TODD:
"The hardest thing to take about Marc is that he is such an incredible extremist. If he's feeling down, he is so down you can't believe it, but if he's up, he's incredibly positive. That can be wearing, but there's a million good things about him too.
We don't argue much these days. We used to in the '70's when we were much younger and it was more of a crusade type thing. We had huge fights. we came to blows often, but now it's great. We can finally see each others point of view even if we don't agree with it.
Our parents were very musical. Our father Stewart played sax and he'd say 'right,family band time' and the whole family would harmonise. That's a South Pacific sort of thing, island harmonies 'cos our mother is Fijian. We grew up listening to huge Maori choirs too, so Marc's and my harmonies happen completely automatically. We've never worked on it, it's instinctive for us.
I think our relationship has helped the band because there is a bond there that has made things stronger. I mean you couldn't get two more different people anywhere than us. On any issue we approach it from completely opposite degrees and I think the music benefits because of that. We're the only remaining members of Dragon, so I guess we've been the glue that keeps it together. Who's the boss?
Whoever is shouting the loudest!"
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MARC:
"Todd started first. He learn't how to play the piano and the guitar. I was the one who was always, I don't know, sneaking around chasing sheep. There was always music around when we were kids. We both got guitars for Xmas. I broke mine (laughs). I started playing the drums because it was easier to hit things rather than having to learn how they worked (massive laughs).
I definitely wouldn't have gone on to have the same career if Todd hadn't been there pushing me. He has a firm head.
We don't argue. We have minor differences about what is and is not pop music, but that's the dichotomy of the band. Todd and I have opposing points of view, and we always have strong people in the band between us to filter the ideas down.
What's the worse thing bout Todd? If you'd asked me five years ago I could have given you a list (more laughs). Nothing much really. He has the least enviable job as he's the older brother so he has to be fairly constant. He's two years older. He doesn't play the older brother role much though, only when he has to, when I do something stupid" [Extract from Countdown Annual, January, 1986. p72].
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This post is a rip taken from my cassette tape in MP3 format (320kps) and includes limited artwork. This live recording was made on 10th August, 1984 at the Sydney Entertainment Centre, at the end of Dragon's 'Body & The Beat' tour. Not a bad concert I might add and as a bonus, I'm including their 1985 hit single "Speak No Evil" which had the live rendition of "Witnesses" from this concert as its B-Side.
For up todate information on Dragon, see their following website.

REPOST: At the request of a mate, I've now posted this album in FLAC format
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Track Listing
01 - Wilderworld
02 - Magic
03 - Still In Love
04 - Body And The Beat
05 - Witnesses
06 - Promises
07 - Cry
08 - April Sun In Cuba
09 - Are You Old Enough
10 - Rain
11 - Speak No Evil (Bonus A-Side Single)
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Dragon were:Marc Hunter - Vocals
Todd Hunter - Bass, Vocals
Robert Taylor - Guitar
Terry Chambers - Drums
Paul Hewson - Keyboards
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Dragon Live One MP3's Link (122Mb)

Dragon Live One FLACs Link (393Mb) New Link 22/10/2016
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(New Zealand 1973 - 1979, 1982 - Present)
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When Dragon arrived from New Zealand in 1976, having spent the previous 4 years building up a small following and releasing two progressive rock albums, they released the more commercial single "This Time" for CBS. The single found its way onto the the Sydney charts and after being picked up by other states it peaked at number 26 on the Australian national charts in November 1976. With the success of this single, their manager at the time Sebastian Chase sent them touring around the country. They tightened up as a group and along the way began gaining fans like never before.

In March 1977 they had a short break to record an album. With this complete it was back on the road, with a new single being released while the album was being put together. The single was Paul's "Get That Jive" with Robert's "On The Beachead" on the reverse. This single peaked at number 13 on the charts. In May the album was released. Called "Sunshine" it was not long before it went gold, reaching 24 on the albums chart. Although there were songs by the others, it was the Hewson songs that generated the most interest.

A third single from the album, "Sunshine"/"New Machine", both Hewson songs, was released in August, peaking at 36 on the charts.

Success was now with them. They soon became Australia's number one band. The sudden move from poverty to wealth meant that they had more cash to spend. An item on top of the shopping list was drugs. Meanwhile Peter Dawkins had secured an American deal with Portrait Records. Late in the year they were back in the recording studio to record another album. Anticipation of its release saw the album go gold on pre-release sales alone.

"Running Free" was released in November 1977 and went on to exceed double platinum status with sales, reaching number 6 on the album charts. Again a mixture of songs from the four songwriters, the standout release was "April Sun In Cuba". Written by Paul and Marc, the single reached number 2 on the charts, only to be held out of the number 1 spot by Paul McCartney's "Mull Of Kintyre".

The single was released in New Zealand to give them their first chart entry back home, making it to number 9 in March 1978. This was good timing as Dragon returned to New Zealand in January to headline the one-day Great Western Music Festival. Having not performed in New Zealand for nearly three years left them not as popular as some other locally based groups. They returned again in February to support Boz Scaggs at Western Springs, before returning to Australia to commence their largest national tour to date. A second single from the album "Shooting Stars"/"Some Strange Dream" barely touched the charts, rising to a poor #58 position.

Dragon toasting release of the Sunshine album at the Seven Network’s Sounds show.
Left to right, Paul Hewson, Robert Taylor, Sounds host Donnie Sutherland,
Kerry Jacobson, Todd Hunter, Marc Hunter

The tour was one of their most successful ventures, although controversial at times, but the overheads were enormous, with the band members really living it up. Drugs and alcohol were becoming a major ingredient. By the end of the tour, Paul and Marc were the worst for wear. Paul had developed a serious drug habit, but through it all he still managed to churn out some further great songs. Marc had joined him with the drugs, while Robert and Kerry consumed the alcohol. The only one to stay reasonably responsible was Todd. While on tour they made the headlines around the country for reasons other than their music. While having a break during the tour at Magnetic Island, they managed to destroy the place.

On completion of the tour Dawkins had them back in the studio to record their third Australian album. While this was happening, another Hewson composition was released as a single in April 1978. "Konkaroo" backed with "Mr Thunder" also struggled on the charts, only making it to number 40. The new album "O'Zambesi" was released in September 1978. It was their biggest selling album, reaching number 3 on the album charts. From it came the single "Are You Old Enough" backed with "Company". It provided the group with their only number one single on the Australian charts.

Celebrating the gold certification of the Sunshine album with Countdown
host Ian ‘Molly’ Meldrum. Left to right, Todd Hunter (rear), Marc Hunter,
Paul Hewson, Kerry Jacobson, Meldrum, Robert Taylor

Dragon was scheduled to take their music to the USA. They left on November 11 and from the moment they arrived, they continued the antics that they had enjoyed during the tour of the previous few months. They were sent on a support tour that had them totally mismatched and their audiences were not impressed. At meetings with their American record company, they either didn't show up or when they did, they were totally off their faces. Relationships with their American record company became very cool. They had blown any chance of making it in the US.

On return to Australia, the second single from the album was released. It was "Still In Love With You"/"Politics". Dragon was still popular and the single reached #27 by the end of the year. A few more gigs were organised up and down the country but the level of support was fading. Marc's voice was suffering from over-abuse and his on-stage antics were worse. It was time to do something about it. Marc was officially sacked from the group in March 1979. Once his health was restored, he set forth on a solo career.

It was going to be difficult to replace the frontman, and they settled on using two friends, singer-saxophonist Billy Rogers from Perth band Hard Rock Cafe, and electric violinist Richard Lee, who had appeared on the O Zambezi album. This combination was different to what had been before. They aimed for a more sophisticated audience and even changed their musical style.

In June they undertook a tour with two other New Zealand bands, Hello Sailor and Mi-Sex, but left their former fans confused. To coincide with the tour they released another single "Love's Not Enough"/"Four Short Solos", but it was a failure, only reaching 37 on the charts.

To try and re-kindle interest, CBS released "Dragon's Greatest Hits Volume 1" in July. The old fans bought it and it ended up peaking at number 8 on the albums chart. Containing seven songs from their previous three albums and three singles, it was a great selection of their music, even if it was a bit presumptuous calling it Volume 1.

Dragon returned to New Zealand for their first national tour in September, but the trip was not successful. Back in Australia the new look Dragon entered the recording studio once more and the result was the album "Power Play". Two singles were released, "Counting Sheep"/"Now That Daddy's Home" and "Motor City Connection"/"Same Old Lies". Neither of these singles even made it to the charts. With the change in musical direction, there was not much room for Hewson's winning style. The album bombed miserably, struggling to 64 on the album charts, the worst position of any album they ever released.

Power Play-era Dragon, 1979. Left to right, Robert Taylor (rear),
Kerry Jacobson, Paul Hewson, Richard Lee, Billy Rogers, Todd Hunter

With audience numbers dropping and debts going up, Dragon called it a day with a gig at Selina’s on New Year’s Eve 1979, with each member going their own separate way. The public had lost interest since the departure of Marc Hunter, although he had turned up as a guest at some shows later in the year, and the band’s writers were pulling in different directions. Marc pursued his solo career, Robert Taylor played with Sydney pub band the Magnetics. Kerry Jacobsen drummed with Mondo Rock in 1980, also Bill Miller and the Great Blokes in 1980, Kevin Borich Express in 1981 and DV8 in 1984. Todd played with the Headhunters and XL Capris in 1980. Paul had the greatest success, returning to New Zealand he joined the Pink Flamingos.

Two and half years later, Dragon reformed with the original lineup and made a huge comeback, but I might save that chapter for another post. [extract from the New Zealand Music Of of the 60's & 70's website]
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Dragon Discography

This post consists of FLACs and MP3's (320kps) ripped from my vinyl copy that I purchased second hand from a local record shop. The covers are not great, so I have included artwork sourced from a mate (thanks Micko) and the usual label scans. Also included is the hard to find non-album single "Now Daddy's Home" given to me by another mate (thanks Deutros), which was the B-side to "Counting Sheep". Overall, this album holds its own, but the absence of Marc Hunter definitely didn't help album sales at the time.
All B&W photos were sourced from the Audio Culture of New Zealand Music website with thanks.
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Tracklist

01 – Motor City Connection
02 – Counting Sheep
03 – Crying Shame
04 – Bus Stop
05 – Time Of The Year
06 – Gans En Farben
07 – Crooked Highway
08 – For Free
09 – 3.33
10 – Same Old Lies
11 - Now Daddy's Home (Bonus B-Side Single)
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Dragon were:
Robert Taylor - Guitars / Vocals
Todd Hunter - Bass / Vocals
Keyy Jacobson - Drums
Paul Hewson -Keyboards / Vocals
Billy Rogers - Saxophone / Lead Vocals
Richard Lee - Electric Violin

Dragon FLAC Link (248Mb)

Dragon MP3 Link (96Mb)

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.
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In future Britain, charismatic delinquent Alex DeLarge (played by Malcolm McDowell) is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.

The movie was directed by 2001: A Space Odyssey film producer Stanley Kubrick. The soundtrack features mostly classical music selections and Moog synthesizer compositions by Wendy Carlos (then known as Walter Carlos) after undergoing gender change.

Alex's first lines were: There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim, and we sat in the Korova Milkbar trying to make up our rassoodocks what to do with the evening. The Korova milkbar sold milk-plus, milk plus vellocet or synthemesc or drencrom, which is what we were drinking. This would sharpen you up and make you ready for a bit of the "old ultra-violence".

It was that expression "a bit of the old ultra-violence" that has stuck in my mind for over 40 years and has intrigued me so much with this controversial and confronting movie. And so, I thought it appropriate to make Clockwork Orange the focus of this month's WOCK on Vinyl post. C for Clockwork and O for Orange of course, but also W for Wendy/Walter, C for Carlos and K for Kubrick.

Some Interesting Movie Facts
According to author Anthony Burgess, the title of the book (and the movie) came from East London slang, deriving from the phrase, "as queer as a clockwork orange." No independent references are known, however, and it is thought that Burgess invented the phrase himself.

Malcolm McDowell's eyes were anesthetized for the torture scenes so that he would film for periods of time without too much discomfort. Nevertheless his corneas got repeatedly scratched by the metal lid locks. After Malcolm McDowell's cornea was scratched during the filming of the Ludovico treatment scene, he insisted to Stanley Kubrick that the extreme closeup of his eye in lid-locks be postponed until the last day of production.

The snake, Basil, was introduced into the film by Stanley Kubrick when he found out Malcolm McDowell had a fear of reptiles. This was to make McDowell's character seem more intimidating, and as a practical joke by Kubrick.

Contrary to popular claims, this movie was never banned in the UK. It originally received an "X" rating in 1971 and was withdrawn from distribution in 1973 by Stanley Kubrick himself. One of Kubrick's reasons for withdrawing the movie in the UK was that, according to his wife Christiane Kubrick, he and his family received several death threats because of the film. In the 1980s and 1990s, British fans who wanted to see this movie would have to order it from video stores in other countries, usually France.

Author 'Anthony Burgess' originally sold the movie rights to Mick Jagger for $500 when he needed quick cash. Jagger intended to make it with The Rolling Stones as the droogs, but then re-sold the rights for a much larger amount. Burgess also initially distrusted Kubrick as a director, but was happy with the results.

In the music shop scene there is a list of Top Ten music bands up on the wall. One of the bands listed is Heaven 17, which one of the girls mentions to Alex. This name was used by a real band in the 1980s.

Some Interesting Soundtrack Facts
In the music shop scene where Alex asks the shopkeeper about an order he'd placed, there is a record cover clearly visible at the front that says 2001: A Space Odyssey (1968), Stanley Kubrick's previous film.

Clockwork Orange was the first movie to make use of Dolby sound, it used Dolby noise reduction on all pre-mixes and masters, but a conventional optical sound track on release prints.

Stanley Kubrick asked Pink Floyd if he could use their "Atom Heart Mother Suite" in the soundtrack. However, because Kubrick wanted unlimited license to determine what portions or edits of the song he used, the band turned him down.

When Alex is in the record store, we can see the soundtrack of Kubrick's own movie 2001: A Space Odyssey (1968) on a lower shelf with "Atom Heart Mother" above it (look for the cow in the field). Other records visible in the shop are Tim Buckley's "Lorca" (1970), on the Island shelf when Alex enters the shop. "Atom Heart Mother" is visible on this shelf as well as behind the counter. Also on this shelf is Rare Bird's "As Your Mind Flies By." Two records to the left of the "2001" in front of the counter is Crosby Stills Nash & Young's "Deja Vu" (1970). To the right of "2001" is "The Transfiguration Of Blind Joe Death" by John Fahey. Between The Beatles "Magical Mystery Tour" and "Atom Heart Mother" on the wall behind the counter is Neil Young's "After The Goldrush" (1970). The first Chicago album "The Chicago Transit Authority" (1969) can also be seen. The blonde girl with the lollipop can be seen looking at a Mungo Jerry album, "In the Summertime" (1970).

Wendy Carlos's (born Walter) synthesized score features the first ever use of a vocoder. The two pieces featuring Carlos's custom-built vocoder, "Timesteps" (an original composition, heard during the Ludovico sequence) and Beethoven's "Ode To Joy" from his Ninth Symphony (heard in the record shop) were recorded long before the film was made. The vocoder, according to Carlos, was a development from an earlier, unsuccessful voice synthesis method she'd used on her 1969 album "The Well-Tempered Synthesizer", and she'd implored synthesizer inventor Robert Moog to come up with something better using standard Moog Synthesizer modules. "Timesteps" and Beethoven's Ninth were recorded as test/demonstrations of the new device, and she brought them to "A Clockwork Orange" when Kubrick hired her to score the film. At Robert Moog's memorial service, Wendy Carlos admitted that the tracks were recorded at 1/2 speed (7.5 ips), then played back at 15 ips simply because she couldn't play a monophonic keyboard at full, standard tempo. This is actually not an uncommon recording technique.
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This post consists of MP3's (320kps) ripped (with of course, a bit of the old ultra-violence) from CD and includes artwork for both CD and LP. Alternative album cover is also depicted below.

Track Listing
01 Title Music From A Clockwork Orange 2:26
02 The Thieving Magpie 5:57
03 Theme From A Clockwork Orange (Beethoviana) 1:49
04 Ninth Symphony, Second Movement 3:52
05 March From A Clockwork Orange

(Ninth Symphony,   Fourth Movement )   7:06
06 William Tell Overture   1:20
07 Pomp And Circumstance March   No. 1   4:35
08 Pomp And Circumstance March   No. IV   1:38
09 Timesteps (Excerpt)   4:18
10 Overture To The Sun   1:47
11 I Want To Marry A Lighthouse Keeper   1:05
12 William Tell Overture   3:02
13 Suicide Scherzo (Ninth Symphony, Second Movement) 3:09
14 Ninth Symphony, Fourth Movement   1:39
15 Singin' In The Rain   2:37
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Clockwork Orange Link (109Mb)
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(Australian 1960's - 2000s)
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The career of this soprano, musical entertainer and cabaret performer spans more than four decades, with highlights including a performance of Advance Australia Far at the Sydney Olympics opening ceremony. She was made an Officer of the Order of the British Empire (OBE) and a Member of the Order of Australia (OAM) for her services. Last year she was inducted into the South Australian Music Hall of Fame.

Julie Anthony was born in Lameroo, S.A on 24 August 1949 (population 15) and raised on the family farm. In her teens she began singing with a local band and in 1970 won an amateur television talent quest. Her victory and the first prize ($600 and a trip to Tasmania) led to regular appearances on the Adelaide Tonight Show. She moved to Sydney, making television appearances and performing on the club and cabaret circuit, and eventually embarking on international tours. An engagement at the Hong Kong Hilton in 1973 was followed by the lead role in the Australian production of Irene. Three years later she starred in the UK version at the Adelphi Theatre. The Play and Players of London honoured her with the Best Newcomer (Actress) award for 1976.

She returned to Australian television and appeared in three national specials, and in the same year she married her manager Eddie Natt. In 1977 she won the Sammy and Penquin awards for Best Television Variety Performer. Tours of America followed and Anthony worked with Bill Cosby, Roy Clarke and Merv Griffin. In 1980 she was awarded an OBE for services to the entertainment industry. Three years later she accepted the role of Maria in The Sound Of Music; following a season in Sydney, the show successfully toured major and regional centres.

Julie at Opening of 2000 Olympics

For the 1988 World Expo held in Brisbane, Anthony was invited to sing with the re-formed Seekers, joining the group as lead singer from 1988-89. They released an album Live On in March 1989, which peaked at number 26. In 1988, she sang the national anthem at the official opening of Australia’s new Parliament House. The same year she returned to the stage in I Do!, I Do! In 1990, she was awarded AM in the Order of Australia for services to the entertainment industry.

In 1994, Anthony further demonstrated her versatility by teaming with jazz musician Don Burrows (reeds/flute) for tours, including a successful appearance at the Jazz and Blues Festival at the Gold Coast International Hotel in 1995. A year later she returned to cabaret with a season at the Tilbury Hotel in Sydney. In her extensive repertoire she demonstrated great conviction, whether singing ‘Amazing Grace’ or material ranging from Stephen Sondheim to the Beatles.

Julie and the Seekers (1989)

In June 1996, she accepted a cameo role as a band singer in the Bruce Beresford film Paradise Road, starring Glenn Close and Jean Simmons. Julie Anthony is one of the best and most durable
theatre and variety performers in the post-war Australian entertainment industry. She has won the prestigious Mo Award for Entertainer Of The Year three times, and Best Female Variety Performer nine times. An admirable singer and engaging personality, she has successfully blended her career and family duties.
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This post consists of FLACs and MP3's (320kps) taken from my pristine vinyl and includes full album artwork and label scans. This album is 'something special' with some great covers like Harry Nilisson's "Without You", Barry Mannilow's "I Write The Songs" and Neil Sedaka's "Laughter In The Rain".
With strings arranged by Tommy Tycho, and also co-producer on this album, this recording is top notch and shouldn't be missed.
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Track Listing
01 - My Day

02 - Lady Bug
03 - Sunday Sunrise
04 - You And Me Against The World
05 - Laughter In The Rain
06 - Without You
07 - Love Song
08 - I'm Always Chasing Rainbows
09 - I Write The Songs
10 - Everything Old Is New Again
11 - Ain't No Mountain High Enough
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Julie Anthony FLACs (226Mb)
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Julie Anthony MP3's (87Mb)
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(Australian 1979-1983)
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This Synth driven power pop outfit MEO 245 flew the new wave flag for Tasmania on the Australian music scene in the late 70s/early 80s.
They played their formative years whilst still in high school, at that time going by the moniker Guided Tour. At that stage the line-up included Chris Ball (vocals), Paul Brickhill (keyboards / vocals), Paul Northam (guitar/vocals), Mick Wilson (bass) and Campbell Laird (drums), playing a mix of covers from the songbooks of Led Zeppelin and Uriah Heep. After graduating the band decided to try their luck in the ‘big smoke’, relocating to Melbourne in February 1979, as MEO 245.
The band’s new name referenced the catalogue number from an obscure French pressing of a Beatles’ EP released by Odeon records.

MEO 245 began writing and performing their own music on the local pub/club circuit, their early style influenced by the likes of Bowie, Yes and Roxy Music, with a bit of Zeppelin thrown in. Vocalist Chris Ball returned home to Tasmania within a year, leaving the band to carry on as a quartet. During the same period Mark Kellett replaced Mick Wilson on bass.
MEO 245 were signed to Mushroom Records and issued their debut single ‘Lady Love’ in October 1980. The song was your typical melodic synth laden pop song, not a million miles away from the likes of Machinations and Dear Enemy in ensuing years. Paul Northam’s vocals remind me a bit of Dave Mason from The Reels.

The band scored an appearance on Countdown, boosting the profile of the song immeasurably, though it still only hit a moderate chart position in Australia of #43 in early 1981. Interestingly, in attempting to track down details of the Beatles French EP release, I came across a website that lists the week to week top 10 songs in France by measure of airplay popularity. For a period of several weeks during mid ‘82, "Lady Love" is listed as high as #2, though I’ve not uncovered any details as to sales figures in France.
"Lady Love" really is a great song and has a terrific 'hook riff' that should have made this a major hit world wide.
On Christmas Eve 1980, MEO 245 performed a show at Storey Hall RMIT in Melbourne, with the show recorded and broadcast by Melbourne radio station 3RRR. I plan to post this show in the near future if there is interest, so leave a comment if you're interested.

MEO 245 followed up "Lady Love" with the stand alone single "Marching Feet", which is a great track, and "Jewels", though both missed the charts.
MEO 245’s debut album ‘Screen Memory’ followed soon after. The album title is a term taken from the textbook ‘A Critical Dictionary Of Psychoanalysis’. The whole Bowie influence rang throughout the album (similar to Flowers / Icehouse), with the stimulus of Joy Division and XTC also evident. ‘Screen Memory’ peaked at #69 in late 1981, with another single "Other Places" (#44) almost matching the performance of "Lady Love".
During April/May ‘82 MEO 245 recorded the 12" Mini LP ‘Rites Of Passage’, which featured the singles "Sin City" and "Summer Girl". Unfortunately, this LP was a complete disappointment in my opinion and fell well short of their debut album.

Immediately following the release of ‘Rites Of Passage’ bassist Kellett took a passage to leave the group, replaced by Anthony Moore. Moore’s tenure with the band would be short, as during January ‘83 key member Paul Brickhill left MEO 245 to join The Little Heroes. Soon after MEO 245’s number was up, and the band called it quits.
Keyboardist Paul Brickhill played with The Little Heroes on that group’s final album ‘Watch The World’. Drummer Campbell Laird joined Soldiers Of Fortune, whilst guitarist Paul Northam later played with Luxury Device. Circa 1997 drummer Campbell Laird was living in New York and working as a freelance cartoonist/illustrator. Paul Brickhill (keyboards) was head of the Australian Ballet School, Paul Northam (vocals/guitar) was running a Melbourne based screen printing business, and Mark Kellet (bass) was a carpenter.
In 1998 Mushroom Records repackaged and re-released ‘Screen Memory’ on CD, and the band reformed to perform at the Mushroom Evolution Concert (25th Anniversary).
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This post is a mixture of CD and Vinyl rips, all taken at 320kps. I have included full artwork for both CD and LP releases and altered track listing accordingly for my bonus tracks. I have substituted the 'Rite of Passage' tracks (previously included in the CD release) with what I consider to be a better selection of tracks taken from non-album singles and live recordings. I have also included full scans of single covers and labels for the 'true collectors'. One thing that stands out with this album is the record label itself. Unlike the usual Mushroom label, Mushroom records released this album with a totally different look (see below)
I really liked MEO 245 in the 70'80's and saw them play on several occasions at La Trobe Uni and a nightclub in Preston, whose name escapes me at the moment. Perhaps if I had a better 'Screen Memory' I could remember LOL !

REPOST: At the request of a blog follower, I'm adding a FLAC rip, taken from my vinyl album, along with the bonus tracks which are also from vinyl. Nice fresh copies folks

Track Listing

01 - Other Places
02 - Jewels
03 - Burning Bridges
04 - Promises
05 - Closing In
06 - White Lies
07 - Will He Ever
08 - So Far Away
09 - Generator
10 - Wrong World
Bonus Tracks
11 - Lady Love (A-Side Single 1980)
12 - Letters and Numbers (B-Side Single 1980)
13 - Other Places Live (Mushroom Evolution Concert 1980)
14 - Marching Feet (A-Side Single 1981)
15 - Somebody's Time (B-Side Single Live 1981)
16 - Twenty Four Hours From Tulsa (B-Side Single Live 1981)
17 - Wrong World (Rocking Australia Live 1982)
18 - Closing In (Rocking Australia Live 1982)
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Band members:
Paul Brickhill (keyboards/vocals)
Paul Northam (guitar/vocals)
Mark Kellett (bass)
Campbell Laird (drums)
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MEO 245 Link (146Mb)

MEO 245 FLAC Link (413Mb) New link added 5/11/2016

Paice Ashton Lord - Malice In Wonderland (1976)

Renee Geyer - Winner (1978)

Leo Sayer - Have You Ever Been In Love (1983)

Jimi Hendrix - Atlanta Pop Festival, 4 July 1970 (Ex. Bootleg)

W.O.C.K On Vinyl - Clint Eastwood Sings Cowboy Favourites (1962)

It Flew Away - Pull Out All The Stops (1972)

The Small Faces - Selftitled (1967)

Kevin Borich - Lonely One (1977) + Bonus Tracks

Budgie - Radio Sessions 1974 & 1978

Phil Collins - Live at the Entertainment Centre, Melbourne (1985)

W.O.C.K On Vinyl - Barbarella Official Soundtrack (1968)

REPOST: INXS - Inxsive 1980-82 (1982)

Mott The Hoople - All The Young Dudes (1972)

Various Artists - FM104 Homegrown Album Vol II

Sonny & Cher - I Got You Babe (1965)

REPOST: Dragon - Live One (1985)

Dragon - Power Play (1979) + Bonus Single

W.O.C.K On Vinyl - Clockwork Orange Soundtrack (1972)

Julie Anthony - Something Special (1978)

REPOST: Meo 245 - Screen Memory (1981) + Bonus Tracks