Saturday, October 22, 2016

REPOST: Dragon - Live One (1985)

(New Zealand 1973 - Present)
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.

(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.
"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!"
"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].
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 
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)

Dragon were:Marc Hunter - Vocals
Todd Hunter - Bass, Vocals
Robert Taylor - Guitar
Terry Chambers - Drums
Paul Hewson - Keyboards

Dragon Live One MP3's Link (122Mb)

Dragon Live One FLACs Link (393Mb)  New Link 22/10/2016

Monday, October 17, 2016

Sonny & Cher - I Got You Babe (1965)

(U.S 1964 – 1977)
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)

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 

Sonny and Cher Link (85Mb)

Tuesday, October 11, 2016

Various Artists - FM104 Homegrown Album Vol II

(Australian Artists 1983)
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
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)]
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.

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"

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]

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]

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

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)

Wednesday, October 5, 2016

Mott The Hoople - All The Young Dudes (1972)

(U.K 1969 - 1980)
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]
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]
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
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)

Mott The Hoople MP3's (106Mb)  New Link 7/10/2016

Monday, October 3, 2016

REPOST: INXS - Inxsive 1980-82 (1982)

(Australian 1979 - 2012)
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)

Inxsive MP3 Link (114Mb)

Inxsive FLAC Link (334Mb) 

CD Artwork (6Mb)


Friday, September 30, 2016

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

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.
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 anti-gravity 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 / 128kps  + Artwork for LP / CD)

Monday, September 26, 2016

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

(U.K 1968 – 2011, 2015 – Present)
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]
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 @]
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.
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 

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

Phil Collins Link (237Mb)