Friday, February 24, 2017

Otis Redding - History Of Otis Redding (1967)

(U.S 1958–1967)
Generally regarded as the single most influential male soul artist of the '60s, Otis Redding was one of the first artists to broaden his appeal to white audiences with a raw, spontaneous style that bore a stark contrast to the smooth, sophisticated music of Motown.

Otis Redding was born September 9, 1941 in Dawson, Georgia. When Otis was five the family moved to the Tindal Heights Housing Project in Macon, Georgia. Otis Sr. worked at the Robins Air Force Base, one of the local places of employment for blacks, and preached on the weekends. Redding began singing in choir of the Vineville Baptist Church. For much of his childhood his father was sick. Living for awhile in a shotgun house in west Macon known as Bellevue the family was forced to move back into the project after it burnt down.

Dropping out of Ballad Hudson High School in the tenth grade, and went on to work with Little Richard's former band, the Upsetters. and he send home $25 a week. Gladys Williams, a prominent local musician ran Sunday night talent shows that Otis began to compete in. After winning 15 times straight, he was no longer allowed to compete.

In 1959, Otis sang at the Grand Duke Club. In 1960  Redding began touring the South with Johnny Jenkins and The Pinetoppers. With this group he made his first recording in 1960 as Otis and The Shooters.

In 1962, Redding recorded a song he had written,"These Arms of Mine" at a Johnny Jenkins session at Stax Records in Memphis, Tennessee. The song became a major R&B hit and a minor pop hit in early 1961 on the newly form Volt subsidiary of Stax, to which he was quickly signed. Now recording in Memphis with the Stax house band Booker T. and The MGs, Redding had a number of crossover hits for Volt that included "That's What My Heart Needs," "Pain In My Heart," and "Chained and Bound." His first moderate hit was "Mr. Pitiful" in early 1965. Redding toured regularly through 1967, accompanied by Booker T. and The MGs or The Bar-Kays, developing a greater initial following in Europe than in the U.S.

In  the spring of 1965, Redding broke into the pop market with "I've Been Loving You Too Long (To Stop Now)," co-written with Jerry Butler, and his "Respect." His Otis Blue album included two hits, Sam Cooke's "Shake" and "A Change is Gonna Come" and The Rolling Stones' "Satisfaction" which became a crossover hit. Redding's "I Can't Turn You Lose/"Just One More Day" became a Top 10 two-sided R&B hit at the end of 1965. His Dictionary of Soul album yielded crossover hits "My Lover's Prayer," Fa-Fa-Fa-Fa-Fa (Sad Song)," and "Try a Little Tenderness."

In 1967 Arthur Conley had a Top 10 hit with the Conley-Redding "Sweet Soul Music" and Aretha Franklin had a Top 10 Pop and R&B hit with Redding's "Respect."   Redding recorded King and Queen with Carla Thomas and the album yielded R&B and Pop hits "Tramp" and "Knock On Wood."

Appearing as the only soul act at The Monterey International Pop Festival gained Redding widespread recognition and began establishing him with pop audiences. However, while touring, Redding's airplane crashed into the icy waters of Lake Monon near Madison, Wisconsin on December 10, 1967 killing him and four members of the Bar-Kays (Jimmy King, Ron Caldwell, Phalin Jones and Carl Cunningha). Trumpet player Ben Cauley was the only person to survive the crash. In early 1968, Redding's recording of "(Sittin' On ) The Dock of the Bay," co-written with Steve Cropper, became a top pop and R&B hit. Posthumously crossover hits continued in to 1969 with "The Happy Song (Dum Dum)," "Amen," "I've Got Dreams to Remember," "Papa's Got a Brand New Bag," and "Love Man."

In the late '70s, Redding's sons Dexter and Otis III formed the Reddings with cousin Mark Lockett for recordings on on the Believe in Dream label, distributed by Columbia. They had a Top 10 R&B hit with "Remote Control" in 1980 and eventually switched to Polydor Records in the late 1980s.

Otis Redding was inducted into The Rock and Roll Hall of Fame in 1989. [extract from history-of-rock]

Cover Linear Notes
In the sixty-seven years of this century, the blues has gone through many transformations from the old, rural singers and the early city blues men, on through the great individual performers of the 20s and 30s from Bessie Smith to Jimmy Rushing.

The blues burst out into teen-age America in the 50s with performers such as Chuck Berry and Bo Diddley and later with Ray Charles. It is now so deeply embedded in the popular music of America— —which is to say the popular music of the world— that it is almost taken for granted and seldom singled out.
An artist such as Otis Redding—and he was an artist in the broad popular field of music just as Ray Charles and Elvis Presley before him—not only sang the blues but carried over into everything he did some aspects of the blues sound and feeling. But the blues of today, even though it still deals with the fundamentals of life, has a different sound to it (just as life itself does) than characterized by Leadbelly or Bessie Smith.

And the great contribution of Otis Redding was that he made his own sound and his own style not only effective for him, not only a personal success, but a way of singing and performing, that spun off into others.
Otis Redding was a pure example of the immediacy of today's music in the sense that Marshall McLuhan speaks of immediacy. His emotional message, his charisma, his total effect was instantaneous. Furthermore, Otis Redding exemplified the whole new concept of the artist, not being limited to being a singer. Like The Beatles and almost every other important performer in the new literature of sound, Otis Redding could control, not only his own voice, but the medium through which that voice reached the public.

Without ever asking him the question, it was obvious that he manipulated the electronics involved, if only because he had served as a successful producer for other people—Arthur Conley, for one. As a songwriter, he had the touch that shaped a composition to the general need. As a producer, he tailored the sound to the moment. He was the electronic artist, the practitioner of instant communication which involved the intuitive but encompassed knowledge and planning. To take, as he had done, a highly individual hit such as "Satisfaction" and make it into his own vehicle is an example of the performer's art enhanced by the producer's knowledge and ear, to state it plainly, the producer's art as well.

Otis Redding and the Bar-Kays
In person, everything Redding did was an all-out, powerhouse, emotional explosion. He may have started out singing "Try A Little Tenderness" with tenderness, but it always ended up with "sock it to me baby!" Each number was a crescendo of rising emotion because Redding was an expert of a very special mass audience style. He could work his listeners into a frenzy more quickly than anyone I have ever known.

It was not only his ability to do this in person, but his success at sending the same energy bursting through recordings that marked him as unique. An Otis Redding song, even back in his early days as this album indicates, dealt directly in soul. As he expanded his vision, the Memphis sound of his band began to set musical styles. Today, if a phrase had to be used to categorize it, I would suggest "rock and soul" since he created an amalgam while still retaining the characteristics of the originals. The sound was distinctly his own, both instrumentally and vocally, and its effect on American popular music has been fundamental. It always swings, but it is more than just swing; it is a groovy sound which, in fact, defines the word "groovy" as applied to music. He' could be sentimental and he could be ecstatic. He could write his own songs or take others' material and adapt it. He could produce for himself and produce for others.

It is hard, in fact, to find his equivalent anywhere in the music scene which is, of course, the reason he has been the tremendous force that he was. Only a small part of that importance is indicated by the fact that in 1967 he dethroned Elvis Presley as the top male vocalist in the Melody Maker Poll. They really didn't have a category for Otis Redding. [notes by RALPH J. GLEASON]
This post consists of MP3's (320kps) ripped from my highly treasured vinyl which is in remarkable condition considering it is now 50 years old. I certainly didn't acquire it until later in life when I became fascinated in the derivation of some of my favourite 70's tracks (ie. Jo Jo Zep's cover of "Security", Max Merritt's version of "Try A Little Tenderness" and Jimi Hendrix's posthumous rendition of "Mr.Pitiful") and discovered they were all Otis Redding songs.
This anthology of hits was purchased second hand and still has the original owners name on the Atlantic label - Lee Hill.  So Lee, if you're still out there, thanks for making this gem available for me to purchase.
Full album artwork and label scans are included, along with an array of 45 covers matching the track list on this album. An alternative front cover for the ATCO release is shown above. (Note that this album is a Mono Recording but a Stereo version was also released).
Track Listing
01 - I've Been Loving You Too Long
02 - Try A Little Tenderness
03 - These Arms Of Mine
04 - Pain In My Heart
05 - My Lover's Prayer
06 - Fa-Fa-Fa-Fa-Fa (Sad Song)
07 - Respect
08 - Satisfaction
09 - Mr. Pitiful
10 - Security
11 - I Can't Turn You Loose
12 - Shake

History Of Otis Redding (83Mb)

Sunday, February 19, 2017

Peter Allen - Not The Boy Next Door (1983)

(Australian 1968–1992)
Allen was born in Tenterfield, New South Wales, a small Australian country town where his grandfather, George Woolnough, worked as a saddler. He grew up in nearby Armidale, where he lived from about 6 weeks of age until the age of 15. This is also where he first learned piano and dance.  He began his performing career with Chris Bell as one of the Allen Brothers, who were a popular cabaret and television act in the early 1960s in Australia. He began performing as "Peter Allen" around the same time.

Allen, the bon-vivant of the 'Bandstand' era was exiled from Australia to the flesh pots of Asia where the Allen Brothers teamed up with Judy Garland and the Queen of Camp adopted young Peter as her protege. She married him into the family, to her daughter Liza (with a Z). The Minnelli-Allens moved to New York where Peter worked in cabaret.

Everything went swimmingly until Liza came home early one day to find Peter in bed with another man. She claimed to be shocked by this. Allen's most important relationships were with other songwriters such as Carol Bayer-Sager. His songs were coveted by stage and screen stars (notably the Academy Award winner "Arthur's Theme") and Allen pretty much forgot about Australia until the mid-70's when 'Countdown' made him a star here with the song "I Go To Rio" and he began to call Australia home. [extract from Go-Set magazine]

In the summer of 1983, Peter was resting up in Leucadia admitting to having had a 'scalp reduction'. This was a skin-tightening process, administered to eliminate Peter's bald spot at the back of his head. (Peter said he had 'vetoed' hair plugs.) However, the hairline in front would soon tell its own story, suddenly lower and fuller, similar to a squashed mud cake at first, as these things always seem to be, but loosening up with time. Peter was also telling the press that he had a black eye as a result of a tennis mishap, which was perhaps so, ! but the skin around his eyes would soon appear tighter.

'There is such a thing as privacy,' Peter said after turning down | a home photo spread for People magazine. Cosmetic surgery was one thing, but Peter had not lost his horse sense. Bruce Vilanch, for instance, would speak of the briefing Clive Davis gave Peter Alien. [The label chief told Peter, now pushing forty, to go out and research [the field to find out what teenagers really wanted. A reasonable amount of time elapsed for Peter to accomplish this, then he reported back to [Clive Davis with his findings. Peter said he now knew what teenagers [really wanted. 'Usually around a hundred dollars,' he announced.

Peter and Dean Pitchford wrote the title song for his first Arista [album, Not the Boy Next Door. It was inspired by a 1944 Ralph Blane land Hugh Martin song, 'The Boy Next Door', the boy Judy Garland [had sung about and pined for in the Vincente Minnelli movie Meet Me in St Louis. The cover of Peter's 1983 Arista album depicted him supine atop a red piano, coiled as if ready to spring. The disco look had not worn well, indeed now appeared saturnine.  [extract from Peter Allen The Boy From Oz by Stephen Maclean, Ranmsom House Aust, 1996. p241]

This post consists of FLACs and MP3's (320kps) ripped from my vinyl copy and also includes full album artwork. Due to poor credit annotation on the cover, I am unable to list the supporting musicians on this album.  Although this album was requested by one of my blog followers, it was an album that I have been meaning to post for sometime now.  I hope you enjoy it.

Track Listing
01 - Just Another Make Out Song
02 - Not The Boy Next Door
03 - You'll Always Get Your Way
04 - You And Me (We Had It All)
05 - Fade To Black
06 - Somebody's Got Your Love
07 - You Haven't Heard The Last Of Me
08 - Easy On The Weekend
09 - Once Before I Go

Not The Boy Next Door FLACs (253Mb)

Not The Boy Next Door MP3's (96Mb)

Saturday, February 11, 2017

The Doors - Unauthorised Live Vol 2 (1993) Bootleg

(U.S 1965–1973)
This is an Australian bootleg recording of the Doors at the Felt Forum, New York, NY on 18th January 1970 (Second Show)
The Doors played a two-night stand at the Felt Forum that was to be a tour in support of the forthcoming release “Morrison Hotel”. It was also the start of the final year of The Doors as a live touring band with Jim Morrison.

The previous year had been a bad one for The Doors. In the aftermath of the March 1969 concert in Miami, Jim Morrison was charged with indecent exposure and the rest of their tour was cancelled. The Doors took advantage of this enforced hiatus from touring by going back into the studio and returning to the basics of rock and the blues. “Morrison Hotel” was recorded quickly, starting in November of 1969, with the album released in February 1970.

The Felt Forum was a small intimate venue inside Madison Square Garden for The Doors to start their touring schedule for 1970. Doors’ keyboardist Ray Manzarek likened it to the Whisky a Go-Go. Although the gig was only two nights, The Doors played two shows each evening. The shows were recorded for “Absolutely Live” and it was felt that the more intimate setting and acoustics of the venue would be enhance the recording of live material. The Felt Forum shows wouldn’t be released in their entirety until “The Doors: Live in New York” in November 2009.

Their latest album “Morrison Hotel” had not yet been released, but The Doors played a lot of songs from the album and fans enthusiastically greeted the album’s songs including “Roadhouse Blues”, “Ship of Fools”, and “Peace Frog”. The band also threw in Doors standards and songs like “Crawling King Snake”, “Little Red Rooster”, and “Love Hides”. The Felt Forum shows took their toll on Morrison’s voice and by the fourth show he sounded hoarse. Nonetheless, it didn’t stop Morrison and the rest of the band from putting on great shows which included having John Sebastian sit in, and in a Doors rarity, also having Dallas Taylor sit in with John Densmore on drums. [thanks to Jim Cherry and The Doors Examiner, Redux]

Review (LA, Free Press)
Review by Liza Williams, "The Doors at the Forum - Morrison: The Ultimate Barbie Doll" 
He isn't real because he is a poster or a golden record or an idol or a picture to kiss at night under the covers, a doll, he is the ultimate Barbie doll, and Barbie speaks when we pull her string, that's what she's supposed to do, and she only says what we want her to say because you see on the other end of the string is a piece of tape, that's why she is our Barbie doll and that's why he is our Jim Morrison and that's why we want him to sing "Light My Fire" and stop Stop STOP all these other strange sentences that the doll didn't say when we bought her, these new words on the tape, she has no right to new words, just do her thing which is our thing because we own her/him/ the ticket/the poster/the record/die idol.
[Sourced from "Riders On The Storm" by John Densmore, Arrow Books, 1991. p237]

At the start of 1970, Jim was in Mexico, vacationing with Frank. The other Doors were in New York, anxiously waiting for Jim to show. After much work, and the posting of the usual "fuck clause" bond, the band was booked into the prestigious Felt Forum.
The telephone rang in Bill Siddons' hotel room.
"Uhh ... I missed my plane."
"Jesus, Jim." Bill instantly remembered Jim's call about a missed plane en route to Miami. "Jim, are you sober?"
"Well . . ."
The January 17 and 18 concerts—two shows each night— were regarded seriously by Siddons, the other Doors, and Elektra alike. The performances were to be recorded for the live album begun the previous summer. New York was where most of the editors and writers worked, and the Felt Forum appearances were supposed to prove that the Doors were still capable of performing as a band. A no-show—or, worse, another exhibition like the one in Florida—would be suicidal.
Siddons spoke in the exasperated tones of a parent. "Jim, did you make another reservation?"
Jim said yes and gave Bill the flight number.
"We'll have a limo waiting, Jim."
"Uh . . . Billy? Uh . . . there's a stopover in Miami."
"Jim? Will you please stay on the plane?"

After hanging up, Bill called for Tony Punches. "Get on a plane and get to Miami immediately. Intercept Jim. Meet the plane when it lands at Miami and make sure Jim stays on it. We'll book you back to New York with him."
The concerts were successful. Most of the songs they played were older ones:  "Moonlight Drive,"  "Back Door Man", "Break On Through," "Light My Fire," "The End."
There were memorable moments, as when John Sebastian and Dallas Taylor, the drummer for Crosby, Stills, Nash, and Young, joined the Doors for a few songs during one show; and when a young homosexual heaved himself at Jim, locked his arms and legs around Jim's knees, and, after he was finally peeled off and carried away, Jim said casually, "Well, that's New York for ya. The only ones who rush the stage are guys." That line would be used (unexplained) in the live album. One that wouldn't be used came when someone tossed Jim a joint that was about as big around as pencil lead. "That's what I like about New York joints," he said, "you can pick your teeth with them." [Extract from "No One Here Gets Out Alive" Jim Morrison's Biography by Jerry Hopins and Danny Sugerman, Plexus Publishing, 1980 p278-279]
This post consists of MP3's (320kps) ripped from my JOKER CD Bootleg and includes the usual generic artwork.  This recording has been released under different titles (see alt cover right) as well as official double LP / CD sets entitled "The Doors: Live In New York" (artwork also included)
Even though the quality of the recording is pretty good (8/10)  it is a shame that several key tracks are missing - namely "Moonlight Drive" and "Light My Fire"
Track Listing
01.    Roadhouse Blues   6:35
02.    Peace Frog   3:46
03.    Alabama Song (Whisky Bar)  2:00
04.    (Medley) Back Door Man / Five To One   8:30

05.    Build Me A Woman   4:02
06.    When The Music's Over   12:47
07.    Soul Kitchen    7:21

The Doors were:
Jim Morrison (Vocals and Obscenities)
Ray Manzarek (Keyboards)
Robby Krieger (Guitar)
John Densmore (drums)
The Doors Unauthorised Live Vol.2 (107Mb)

Tuesday, February 7, 2017

REPOST: Craig McLachlan & Check 1-2 - Selftitled (1990) + Bonus Tracks

(Australian 1989-1991)
Craig Dougal McLachlan (born September 1, 1965 in Sydney, New South Wales, Australia) is an Australian actor and singer, best known for his role as Ed in Bugs. He has also appeared in soap operas such as Sons and Daughters, Neighbours and Home and Away.
McLachlan became well known in 1987 when he landed the role of Henry Ramsay, brother of Kylie Minogue's character Charlene, in Neighbours. Two years later, he defected to rival show Home and Away, playing schoolteacher Grant Mitchell.
McLachlan has also had success as a songwriter, guitarist and vocalist, capitalising on his popularity in Neighbours to score Australian and UK hit singles with pop tunes such as his remake of the Bo Diddley song "Mona" (AUS#3 / UK#2, 1990), "Amanda" (AUS#23 / UK#19, 1990), and "On My Own" (AUS#23, 1991). He formed various bands during the late 80's and early 90's, namely Craig McLachlan and the Y Fronts (1989), Craig McLachlan and Check 1-2 (1989-91) and Craig McLachlan and the Culprits in 1996.
In 1993 he starred as Danny in the popular West End revival of the musical Grease alongside Deborah Gibson. Also in that year he married Australian actress Rachel Friend whom he met on the set of Neighbours. Their characters Bronwyn and Henry had also earlier married in the show. They divorced in 1994.
In 1995 McLachlan appeared in the popular British television series Bugs. He played the role of a free-lance agent and electronics expert, who along with his colleagues worked covertly to combat terrorist threats. McLachlan left the show at the end of the third series.
In 2001, Craig had a breakthrough with the American movie Superfire, where he played a firemen who died at the end of the movie. In 2004, Craig got a recurring role as Kane Morgan in the populair show McLeod's Daughters, but left the show at the fourth season.
In 2005 he starred as Jeff Kennard in the Australian film Hating Alison Ashley, with fellow Neighbours star Delta Goodrem and McLeod's Daughters co-star Rachael Carpani. In 2006, he appeared in the Melbourne International Comedy Festival as a stand-up comedian.
He was at Southampton's Mayflower Theatre from Thursday 7 December 2006 in White Christmas, based on the record-breaking box office film of 1954 starring Bing Crosby and Danny Kaye. With Tim Flavin, Cliff Barnes from Dallas and Lorna Luft.
Craig was thrilled to be working back in Australia with the hit show Rescue Special Opps during 2010.
Recently, Craig come out of retirement (from the music industry) to show his support for NSW politician 'Peter Best' - who recently ran for Parliament as an independent during the 2010 Federal Elections. His aspiration was to become 'The Perfect Prime Minister' with the help of Craig and his reformed band Check 1-2, but all they achieved was some glorified publicity in the Daily Telegraph Newspaper (Sydney).
When I first saw this album at my local trash and treasure, I was apprehensive about parting with my loose change to acquire it, but curiosity finally got the better of me. I must admit I was pleasantly surprised when I first heard the album and was quite taken back with the songwriting skills and musicianship which McLachlan displays on this album. In fact, I would almost go as far to say that McLaughlan is probably a better musician than he is actor, but still have fond memories of his 'Henry' character on Neighbours back in the 80's.
The only criticism I would have is that his self-penned track "Bigger Than Texas" has a very similar riff to the hit single by the Romantics "What I Like About You" which was released in 1978. There are some well known guest artists playing on this album, namely Garth Porter from Sherbet (Keyboards & Producer), and Lindsay Field & Lisa Edwards (backing singers for John Farnham).
If you haven't heard this album before, I think you will be pleasantly surprised as I was.
The rip was taken from vinyl in MP3 (320kps) format while the FLACs were ripped from CD and includes full LP artwork and inlays. I have also included three bonus tracks, two B-sides from the hit single Amanda - "Baby Loves Funky" and "Need Your Love" (thanks to Deutros) along with the 12" Single release of "Rock The Rock". You really should Check it out !
Track Listing
01. Mona
02. Rock The Rock

03. I Almost Felt Like Crying

04. Amanda

05. What Is Love

06. Jump Into The Fire

07. Bigger Than Texas

08. Can't Take It Any Longer

09. I Don't Mind

10. Hot

11. Go

12. It's Been Good
Bonus Tracks
13 - Baby Loves Funky (B-Side Single)
14 - Need Your Love (B-Side Live Single)
15 - Rock The Rock (Extended Version 12" Single)

UPDATED POST:  New FLAC rip from CD. This ones for you Guitarman, enjoy.
Band Members:
Vocals, Guitar - Craig McLachlan
Bass - Mark Beckhouse

Drums - Mark Meyer

Keyboards - Garth Porter

Keyboards [Additional] - Chong Lim

Percussion - John Clark

Backing Vocals - John Hind, Lindsay Field, Lisa Edwards, Nikki NichollsProducer - Garth Porter
Craig McLachlan & Check 1-2 MP3 Link (120Mb)

Craig McLachlan & Check 1-2 FLAC Link (376Mb)  New Link 7/02/2017


Saturday, February 4, 2017

1927 - ....ISH (1988) plus bonus tracks

(Australian 1987–1993, 2009–Present)
1927 (read as "nineteen twenty seven") are an Australian pop rock band formed in 1987 with James Barton on drums, Bill Frost on bass guitar, his brother Garry Frost on guitar and keyboards, and Eric Weideman on vocals, guitar and keyboards. They were popular in the late 1980s and early 1990s with their major hit songs "That's When I Think of You", "If I Could", "Compulsory Hero" and "Tell Me a Story". Their multi-platinum number-one album, ...ISH (1988) was followed by The Other Side (1990) which peaked at number three. At the ARIA Music Awards of 1989 they won two categories: Breakthrough Artist – Album for ...ISH and Breakthrough Artist – Single for "That's When I Think of You". At the 1990 ceremony they won Best Video for "Compulsory Hero", which was directed by Geoff Barter. In 1992 the group released a third studio album, 1927, which reached the top 40; but they disbanded the following year. Erik Weideman reformed 1927 in 2009 with a new line-up.
Erik possess one of the best voices in Australian rock music and while 1927’s musicians may have changed over time, the one constant to 1927’s success has been the band’s lead singer, Erik Weideman. Erik has continued to perform in the music industry, playing the the big 80s shows - Here & Now, Idols of the 80's, Living in the 80's well as intimate acoustic performances.

Prior to joining 1927, Erik played in some cover bands. His big break came when he was ‘discovered’ while performing on Hey! Hey! It’s Saturday’s now ‘infamous’ ‘Red Faces’. Late in 1986 guitarist Garry Frost (ex-Moving Pictures) saw the singer and was impressed enough to ask him to join the band he was forming. That band became 1927 and the rest, as they say, is history.

But Erik says that he has been playing music for as long as he can remember. “I picked up a guitar when I was 8 years old. Then, that whole Hey! Hey! thing… I’d been playing in a couple of cover bands – one was called ‘Mixed Feelings’ – around Melbourne and we were doing a couple of gigs a week, on the weekends and working the rest of the time so that was a bit of extra pocket money for a bunch of guys having a good time. Directly prior to the Hey! Hey! thing, I was doing a lot of solo work as well so it’s something I’ve always done but that was definitely my first journey into what people like to consider as the ‘professional’ business, although that can be questionable!” [extract from rockclub40]

1927 re-grouped in 2009 for a series of national tours celebrating the band's 20th anniversary since their debut album, ...ISH, went multi-platinum. Other than Erik Weideman, each of the other three current members are new additions to the band.

In the last four years since the band came together, they have been splitting their time between doing television appearances, singing for troops in Afghanistan and performing with Swedish pop act, Roxette and Scottish rock band, Simple Minds, but fans will be happy to know that there is a new album in the works.
ISH remains one of the highest selling debut albums ever by an Australian band to this day.The story continues however with the release of their new album Generation-i., available from here. The new album has been three years in the making and is well worth the wait. Generation-i  is a beautifully crafted album and once again  showcases the songwriting talents of Erik Weideman and the band with a thoughtful and mature selection of new songs that fans old and new will love.
1927 Today
This post consists of FLACs and MP3's (320kps) ripped from CD (my vinyl has a few scratched) and includes full album artwork for both vinyl and CD. Also included are two bonus tracks, "Not Talking" which is a non-album B-Side single and an extended version of "That's When I Think Of You" from a 12" single of the same name (artwork also included).  As mentioned above, this is a classic album and in many ways highly under rated.
Track Listing
01 To Love Me  (4:21)
02 That's When I Think Of You   (4:13)
03 If I Could  (3:40)
04 You'll Never Know (3:41)
05 Compulsory Hero  (4:35)
06 All The People  (3:54)
07 Nothing In The Universe  (4:05)
08 Propaganda Machine    (3:26)
09 Give The Kid A Break  (3:36)
10 The Mess  (2:42)
11 That's When I Think Of You (Extended Version)   (5:18)
12 Not Talking (B-Side Single)  (2:42)

1927 were:
Eric Weideman (Vocals, Guitar)
Garry Frost (Guitar, Keyboards, Vocals)
Bill Frost (Bass, Vocals)
James Barton (Drums, Vocals)

1927 FLAC Link (306Mb)
1927 MP3 Link (109Mb)

Monday, January 30, 2017

Rose Tattoo - Wax Museum, Washington (1982) Ex. Bootleg

(Australian 1976-1985)
In the latter part of 1982, Angry and Rose Tattoo set off to take on the United States. America was nothing like England. The crowds were different, the music was different. Rose Tattoo arrived with their Australian-produced album, and their Australian-produced sound, and basically no one knew what to make of them.

For a start, the Americans couldn't get over their appearance. One of the first record company executives spent ages on the phone with Robbie trying to get a handle on what was required to prepare the band for a performance. They'd seen photographs, so they thought the band members needed to spend hours in the dressing room having their tattoos painted on before walking on stage. They'd already experienced the make up and costumes of Kiss, so they assumed Rose Tattoo was just an extension on the theme. They thought the tattoos were just a gimmick.

As Angry says, "Basically they just didn't believe that five guys in a band could all have tattoos. It didn't make sense to them. They started asking questions like 'How long is it going to take to airbrush all those tattoos? How much will it cost?' They just couldn't come to grips with the fact they were real and wouldn't wash off." Even when they understood the tattoos weren't fakes, they couldn't believe the band had come together like that. They thought they'd all sat down one day, and said "Gee, Rose Tattoo is a good name for a band", then spent months with the tattoo artist getting ready to look the part.

They couldn't really cope with any part of the band's image. "Robbie had to say to people in the record company 'Look, you've got to be prepared. Don't expect them to walk in, and be like me. Don't expect them to look like me. Look at the album cover, that's what they're really like.' In other words, it was like they thought the whole image was part of a we might actually clean up to be really nice guys underneath it all. We were nice guys of course, but not to their standards. It was like, you know, having your daughter bring home twelve Hell's Angels and you're a church minister. It really freaked them out."
After a while though, people did cope, and as Angry says, "Once they got used to the fact that we didn't beat people up, and we didn't molest small dogs and children, we had a really good relationship with the record company."

* US Tour Backstage Pass
Work was tough in the states.   Rose Tattoo played every night of the week, sometimes twice a night. The picked up part of the ZZ Top tour, which was great for them because they'd worked so well together in the tour across Europe. They also did a tour with a guitar player called Pat Travers, and then did a full tour with Aerosmith. They couldn't afford to take a single day off. They'd open for Aerosmith early, then go on to a pub on the other side of town and do a later gig.................

Rose Tattoo had two major problems in the States. The band just wasn't gelling the way it had in the past. There were some bitter internal conflicts between the members and management. A couple of the guys were really unsettled and unhappy about the way things were turning out. They were still convinced they should have consolidated their success by touring England and Europe for a second time, because they felt like they'd sort of hit America half-baked.

They weren't properly prepared for the US audiences, and their music wasn't packaged properly for the American promoters. Although they were getting rave reviews from their live gigs, the album wasn't getting any airplay. "It wasn't recorded in America, so it didn't sound like it was recorded in America," Angry says, "We were told that to get radio airplay we had to re-record the whole album. There just wasn't the time or money to do that. We were led to believe that if the record had an American sound, it would have got a lot more play, which would have meant a lot more sales and a lot more promotion for our spots on the tours. But, that didn't happen."

* The Tatts Live In Washington 1982
On stage, the band was having problems relating to the American style. The band was so rebellious and defiant, their reception on stage was always somewhat guarded. As Robbie says, "Obviously when they used to go on stage they got a reaction. You could always hear this expression of'oh'. It was this sort of group sigh, because most of the time they looked like they'd just been dragged out of graves. They were constantly pale and grey."

Angry's style as a front man also caused some problems with the American audience. He was too brash, and he wanted to say too much. Instead of just standing on stage saying, "Let's party", Angry always wanted to rant and rave between songs about the evils of the world. His approach suited the English audiences, but the American audiences found it too confronting. They didn't want to hear what he had to say, they just wanted to have a good time.

American Crowd Not Sure What To make Of Angry
There were even quite a few gigs where the band was booed off stage. Angry would hear the wisecracks of a heckler near the front of the audience, and in taking on one individual, would end up taking on the entire crowd. As the booing got louder and louder, he'd get angrier and angrier.
After gigs like that, the whole band would have to go somewhere quiet to try to settle down. Angry would have to sit alone trying to calm his rage before he could speak to anyone.

 Fat And Forty As Support For Gun's N Roses
In many respects the American tour was a disappointment, but it wasn't a complete disaster. Despite the problems, the boys kept up the appearance that things were terrific, so outsiders would never have known what was really going on. As Angry says, "To anyone else the band would have seemed supremely confident. Their perception of us was that we compared to the early Rolling Stones because we had the same stance. We were very brash, very was like 'You don't like this? Well, piss off' you know."
Some great things also came out of the tour. While the death knell might have been sounding for Rose Tattoo, another rock band was only just getting things together....Guns N' Roses, the band that later became the biggest rock act in the world. If it hadn't been for Angry and the boys touring the States, Guns N' Roses may never have formed.

In 1982, they were just a backyard band, performing under another name. They were nobody's, but they happened to be fans of Aerosmith, so one day they went along to one of the concerts. That's when Guns N' Roses first saw Rose Tattoo, and in their own words, they were never the same again. Later, when Guns N' Roses had achieved worldwide recognition, they freely admitted that Rose Tattoo was their inspiration. They even, to some extent, followed in the same tradition with their names...they matched the feminine rose with the masculine gun.

* US Tour T-Shirt
"They openly, gushingly credited us with their beginning, to the point where it's almost embarrassing," Angry says. "It took them a year or two to actually adopt our look and go out and get tattooed. Then they started to play like we played. I met them all when I was living in LA in 1989. They'd got word I was in town and they called and suggested we hang together for a while. They say that we were the spark that lit the fire that became Guns N' Roses. We were very flattered, and mightily pleased that we'd left our mark on the US."
[Taken from Angry: Scarred For Life p136-143]
This post consists of FLACs and MP3's (320kps) taken from a taped FM Radio Broadcast of their Washington concert. Sound quality is excellent and vibrant and includes full artwork for various releases of this popular bootleg. A must for any Tatts collector. Many thanks to the rosetattoo fanpage for the US Tour Photos shown above*

Set List:
01. Introduction
02. Bad Boy For Love
03. Rock 'n' Roll Outlaw
04. We Can't Be Beaten
05. One Of The Boys
06. The Butcher & Fast Eddy
07. Juice On The Loose
08. Rock 'n' Roll Is King
09. Branded
10. Scarred For Life

The Tatts were:
Angry Anderson (Vocals)
Pete Wells (Slide Guitar)
Robin Riley (Guitar)
Georgie Leach (Bass)
Dallas 'Digger' Royall (Drums)

Rose Tattoo FLAC Link (342Mb)

Rose Tattoo MP3 Link (107Mb)

Thursday, January 26, 2017

W.O.C.K On Vinyl - Jonathan Coleman: Aussies On 45 (1981)

(Australian 1981)
On Australia Day we come together as a nation to celebrate what's great about Australia and being Australian. It's the day to reflect on what we have achieved and what we can be proud of in our great nation. It's the day for us to re-commit to making Australia an even better place for the future. Australia Day, 26 January, is the anniversary of the arrival of the First Fleet of 11 convict ships from Great Britain, and the raising of the Union Jack at Sydney Cove by its commander Captain Arthur Phillip, in 1788.

With respect to Australia's Music Industry, we can be very proud of the contributions that our Aussie Musos have made in entertaining people from every nation with music and song, with many of our artists achieving world wide acclaim. Therefore, I would like to celebrate Australia Day by posting this wonderful medley of Aussie tunes recorded by one of our country's well known and respected T.V / Radio celebrities from the 70 / 80's. I hope you enjoy it and have a great Australia Day !

The Aussie artist that I'd like to acknowledge this Australia Day / WOCK on Vinyl post is the TV Celebrity / Radio Announcer Jonathan Coleman

Jonathan Coleman's broadcasting career started in the late 1970s in Australia when he was chosen a member of the reporting team for the popular afternoon children's TV magazine show Simon Townsend's Wonder World, created and hosted by journalist Simon Townsend. 
This was followed by several years as a DJ and presenter on the ABC's youth radio network Triple J. Jonathan is accompanied by The Brenda Gee Singers on this 1981 WEA single "Aussies On 45". Coleman was also the voice of the popular Australian 70s and 80s music radio program "My Generation", heard on the Australian Radio Network and currently hosts the Studio 10 morning show on Channel 10 (info sourced from Ozzie Musicman with thanks) 
The post consists of FLACs ripped from my 45 and includes full album artwork and label scans.
Medley Listing
(Side 1)
- Aussie Intro
- Road To Gundagai
- Waltzing Matilda
- Shaddup Your Face
- Skippy
- Tie me Kangaroo Down Sport
- Up There Cazaly
- Duncan
- Advance Australia Fair
- Come On Aussie
- Aussie Outro
(Side 2)
- Aussie Intro- Road To Gundagai
- Click Go The Shears
- Botany Bay
- Wild Colonial Boy
- Old man Emu
- A Pub With No Beer
- Aussie Outro 


Aussies On 45 - Medley (Parts 1 & 2) (49Mb)