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Friday, 8 June 2018

Radio Birdman - 1978 - Death By The Gun FLAC


Death By The Gun/Didn't Tell The Man/Dark Surprise/If I Wanted To



Deniz Tek and Rob Younger formed Radio Birdman in mid-1974 in Sydney, having recently left their bands TV Jones and the Rats respectively. The pair sought to begin a band that would challenge the commercial mainstream and be completely uncompromising. They recruited classical keyboard player Philip "Pip" Hoyle, drummer Ron Keeley and bassist Carl Rorke. The band took their name from a misheard lyric from the Stooges' song "1970" (the actual lyric is "radio burnin'").

After being rejected many times from various venues, and having resorted to putting on its own concerts in rented garages and tiny community halls, by mid 1975 Radio Birdman found an upstairs room at the Oxford Tavern in Taylor Square, Sydney. They eventually took over its management, renaming it The Funhouse. Under their management the Funhouse became a home to other outsider groups. Prior to the opening of this venue, Carl Rorke had left the band and was replaced by longtime friend of Rob Younger, Warwick Gilbert (also a former Rats member). Also to leave the band would be Philip Hoyle, and though his departure was short-lived. Guitarist Chris Masuak, initially hired to replace Hoyle.
 

Soon, a small but growing subculture grew around Radio Birdman. This coincided with the beginnings of the Sydney punk scene.

After unsuccessfully trying several studios, Radio Birdman found a supportive recording milieu with the help of Rock Australia Magazine editor, Anthony O'Grady. They recorded an EP, Burn My Eye. and their first album Radios Appear, produced by John L Sayers and Charles Fisher at Trafalgar Studios in Annandale. Trafalgar Studios, under the management of Michael McMartin, signed the band and financed the recordings. Radios Appear was critically acclaimed, getting 5 stars in the Australian Rolling Stone edition. The album owed much of its style to Detroit bands of the late 1960s, such as the MC5 and the Stooges, as well as influences ranging from the Doors to the Velvet Underground and instrumental surf music. The title of the album comes from a Blue Öyster Cult song "Dominance and Submission" from their 1974 Secret Treaties album, influences from which can also be seen in Birdman's creative output. Though Radios Appear was totally ignored by commercial radio, it was championed by Sydney station 2JJ (Double Jay). Released on the newly created, purpose-built independent label Trafalgar Records, the album was made available through mail-order and was self distributed by band members and friends to a few sympathetic record stores, never achieving widespread sales or commercial success. Several years after initial release, and following the breakup of the band, Trafalgar Records licensed the recordings to WEA who took on the album and gave it a wider release. However, sales remained limited. Despite critical acclaim, some fans felt the recordings lacked the ferocity and immediacy of the live shows and did not represent their own intense experience of the band.

 The band remained outside the mainstream, and developed an outlaw reputation. By late 1976 they began to travel to other cities to perform their shows, with several mini-tours taking in Canberra, Melbourne and Adelaide. In early 1977 keyboard player Pip Hoyle returned to the band, and his replacement, Chris Masuak, stayed in the lineup, making Radio Birdman a six-piece band for the first time.

When Sire Records president Seymour Stein came to Australia to sign Brisbane punk band the Saints, he saw Radio Birdman and immediately invited them to join his label. Under Sire, licensed by Trafalgar, Radio Birdman released a new version of Radios Appear featuring a mixture of re-mixed, re-recorded and some new material. Comparisons between the two versions of the album are disputed with some feeling that the second version is a more accurate reflection of the band's sound. Most fans however own both versions and simply treat them as two separate and different recordings.


The underground scene at the Funhouse, now incorporating the nascent punk movement, began to attract some groups with negative agendas, including the Sydney chapter of the Hells Angels. With this new, more violent, and rowdy crowd, and over capacity every night, the Funhouse was at the point of exploding. The band was blamed for violent incidents occurring at the Funhouse, and were concerned that a disaster was in the making. Following a concert at Paddington Town Hall with the Saints and the Hot Spurs, in April 1977, attended by a few hundred people, they left the Sydney scene altogether, playing sporadically in other cities and working on new material.



The band returned half a year later and performed their most famous show to date at Paddington Town Hall, on 12 December 1977. Two thousand people supposedly packed into the venue, which was partially destroyed by crazed fans. After this show, the band moved their base of operations to London, and toured extensively in the UK and Europe, both headlining and as support for Sire label-mates the Flamin' Groovies. Their overseas success was short-lived as Sire Records began having financial difficulties and were forced to drop Radio Birdman and many other bands from their label. A planned American tour with Ramones, scheduled for the second half of 1978, was cancelled. In May 1978, they recorded their second album Living Eyes at Rockfield Studio in Wales. Unreleased by Sire, the tapes eventually were released in 1981, long after the band's 1978 break-up.

Tuesday, 29 May 2018

Vicky Simms - 1962 - Yo Yo Heart @320


Yo Yo Heart/I Wanna Bop/She's Got Soul/ I'm Counting Up My Love



William Victor Simms, known as Vic Simms and Vicki Simms, is an Australian singer and songwriter. He is from La Perouse, New South Wales, and is a Bidjigal man.

Simms began his singing career at age 12 at the Manly Jazzorama Music Festival in 1957,soon after Col Joye heard him as an 11-year-old singing at a football social. He released his first single (as "Vicki Simms"), "Yo-Yo Heart" (Festival Records), at age 15. He performed with Johnny O'Keefe, Shirley Bassey and Robie Porter among other prominent singers.


After getting into alcohol and committing a robbery, he was sent to prison. Whilst incarcerated in the notorious Bathurst Gaol he learnt how to play guitar and started writing songs. In 1973, his music was heard by a Robin Hood Foundation and they sent a tape to RCA who organised to have him record an album. This album was recorded in one hour with a mobile studio in the prison dining room and was released as The Loner. It has been described as "Australia's great lost classic album of black protest music".After the release of the album he was sent on tours of other prisons, shopping malls and the Sydney Opera House as an example of a model prisoner. After he was convinced he was being used he refused to continue the shows.

After his release from prison, he reentered the entertainment industry. He has toured Australian prisons and, in 1990, he toured Canada with Roger Knox and Bobby McLeod where they played in prisons and on reservations. In 1996, he released a covers album, "From The Heart".


 Simms was given a Deadly in 2001 for Outstanding Contribution to Aboriginal Music.

In 2009, The Loner was added to the National Film and Sound Archive's Sounds of Australia registry. In 2013, it was re-released by Sandman records.

"Selections From the Loner" was released by Painted Ladies 6 June 2014. Songs from the original album were re-recorded by artists including Luke Peacock, Paul Kelly and Vic Simms himself.

Simms sang "Stranger in My Country" in both the SBS documentary and accompanying cd, Buried Country: The Story of Aboriginal Country Music.


Sunday, 27 May 2018

Mouldy Warp Bush Band- 1986 - Folk Rock FLAC


One Night Singer/Sunny Queensland/Bail Up/Wayfaring Stranger


 Not to much on this band out there in the Ether if you have ant info let me know. More than likely a Quensland band whose members were Julie Zerner Keyboards Vocals,Kenn Zerner Bass,Acoustic Guitar, Greg Adams-Drums, Peter Jones-Mandolin,Vocals,Tin Whistle and Bass, Gary Mears Vocals,Acoustic and Electric Guitar and Banjo.  Thanks to John.




Rick E. Vengeance - 1981 - Mr. Diddy-Wa-Diddy FLAC


Diddy-Wa-Diddy/If I Were A Carpenter/The Camera-Devils Of Dublin/Stolen  Car Blues



Rick is a well known acoustic musician in the Australian Folk Music Scene whose speciality is Delta Blues and Leadbelly. He ran the very popular Folk Show on Melbourne radio station 3RRR for 29 years and was the producer and occasional interviewer for the Fairly Folk radio show on UGFM from 2011 to 2013. Rick is one of the regulars at the Port Fairy Folk Festival where he created and hosts the Sunday Singalong. When he is not playing professionally you can often catch him at a late night session at one of the many small gatherings in Victoria, hanging out with other session junkies and tune tramps.
 

First appearing on the folk music scene in Australia in 1977, many fans consider Rick an institution; especially when it comes to performing at Port Fairy.

Rick E Vengeance, with his eclectic taste in clothes and flair for entertaining, first appeared on the folk music scene in Australia back in 1977 and at Port Fairy in 1978. Now 38 years later, many fans consider him an institution (some would say a relic), especially when it comes to performing at Port Fairy, where his legendary Sunday Singalongs have become an absolute festival highlight. Over the years he has been many things – dance caller, radio DJ, guitar teacher, accomplished MC, band leader and a fine guitarist.  Thanks to Sunny

Sunday, 1 April 2018

Elaine McKenna - 1960 - Elaine McKenna FLAC


Put On A Happy Face/Wouldn't It Be Loverly/ This Could Be The Start Of Something/Tammy/ Bill Bailey Won't You Please Come Home




 Elaine McKenna (24 March 1937 – 6 January 1992) was an Australian singer, who became known for her television appearances throughout the 1950s and 1960s, particularly in Melbourne where she was associated with GTV-9. For her television work, McKenna won the Logie for Best Singer at the 1961 Logie Awards.

McKenna relocated to the United States of America in late 1961. She appeared on The Bob Newhart Show in 1961.

In 1963, McKenna married American actor and performer Tim Evans. Although the couple had planned to get married at St Patrick's Cathedral in Melbourne during the Australian summer, they were married in Texas in October 1963. McKenna died in 1992.   Thanks to Sunshine

Jimmy Hannan- 1964 - Hokey Pokey Stomp & Beach Ball @320


The Hokey Pokey/You Make Me Happy/Beach Ball/You Gotta Have Love



Jimmy Hannan is a Gold Logie-winning variety show host, singer, actor and game show host. Making appearances on over 20 shows, his career in Australian television and radio spanned 30 years. In 2015, he donated a wealth of memorabilia to the NFSA, including photographs, audio recordings, film and video recordings, scripts and sheet music.

Jimmy got his start on television as a bright-eyed 18-year-old contestant on Name That Tune. It was 1956 and television had just launched in Australia. Very few people had televisions in their homes so people crowded around TV shop windows to watch, and listen - the shops kindly left the sound on. Jimmy was on the show for six weeks and never made a mistake guessing the songs. He used his £500 prize to go to Canada to further his career.

Jimmy's charming TV persona is well-reflected in his carefree, welcoming stance and huge trademark grin in the publicity photo below. Tall, with naturally blonde curly hair and blue eyes, he is perhaps most recognisable for his fantastic teeth.   

 After snagging a compere role on the musical variety show Saturday Date (1963-67, TCN-9), Jimmy wanted to make a record of his own. 'Beach Ball' was originally recorded by The City Surfers in 1963 and the words and music were written by Roger ‘Jimmy’ McGuinn, who went on to start the band The Byrds, and Frank Gari. You can hear back-up vocals from the Bee Gees (early in their career) and the song also features musicians from Col Joye’s band on drums and guitar.

In a telephone interview with Jimmy, he recalled to me with a laugh that they got the echo effect on the vocals by putting the speaker in the toilet and recording that. The song was released in February 1964 and reached number 2 on the Australian charts. Looking back he says that he put out some ‘dreadful songs’, but he remembers ‘Beach Ball’, and that time of his life, fondly. Jimmy’s vocals are assured, but today the stand-out characteristic of the song is its infectious fast-paced momentum thanks to John ‘Catfish’ Purser on drums.

Surfing music and the dance 'The Stomp' were popular at the time. During the taping of Saturday Date in 1963 an article from the Australian Women’s Weekly notes, ‘the teenage audience were so carried away with stomping on the cement studio floor that the camera was vibrating and the singer couldn’t be heard. In the end the singer and [host] Jimmy Hannan gave up trying to compete, and joined in the stomp instead.’



Two black and white photos featuring Jimmy Hannan performing at the Sydney Stadium with a band. The photo on the right shows him making his way to the stage through fans.

The concert photographs above were taken by an unknown photographer at Sydney Stadium in 1965 and are a terrific example of Jimmy’s popularity and vitality. Jimmy remembers this particular concert at Sydney Stadium where he performed alongside Johnny Devlin, Little Pattie and The Denvermen. Jimmy looks very relaxed in his role as a teen idol, managing to appear casual even in a suit jacket and tie. Jimmy went on to win a Gold Logie for most popular television personality in 1965 for Saturday Date.

In articles you read about Jimmy, journalists often mention how hard working and down to earth he is. He said in an Australian Women’s Weekly article from 1981, ‘Whenever I’ve compered a show, I’ve always stuck to the philosophy that it [the show] comes first. I try to play it low-key so people watch the programme instead of me. So many performers grab the spotlight and don’t let go.’

 

Thursday, 8 February 2018

Ray Hoff & The Offbeats - 1966 - It's Ray Hoff & The Offbeats FLAC UPGRADE


 Bama Lama Bama Loo/Tossin' & Turnin'/Lookin' For My Pigs/Let's Go, Let's Go, Let's Go


Raymond Hough only had to effect a small tweaking of his birth name but it gave him one of the coolest handles in Oz rock: Ray Hoff & the Offbeats. From the rock'n'roll cauldron of the late 1950s and throughout the beat and soul-funk era of the 1960s and beyond, it was a name that commanded respect in Australian musical circles even if it was not always familiar in the nation's households.

Kept from a level of prominence enjoyed by his peers - and indeed some lesser talents - by the lack of a signature hit or a solid body of recorded work, Hoff's fame, as it was, centred around his gruff, powerful, soul voice. Like Max Merritt & the Meteors, his formidable reputation as a song stylist and his energetic sidemen always commanded enthusiastic audiences.

 Born in Strathfield to Sydney and Margaret Hough, at the end of a line of four brothers and two sisters, he lost his father at two weeks of age and developed a passion for singing while in short pants. In 1958 he fell in with two seminal Australian rock'n'rollers, drummer Leon Isackson and flamboyant pianist Jimmy Taylor, who saw him take the stage for an impromptu warble with Johnny O'Keefe's Dee Jays at Leichhardt Police Citizens Boys Club and were impressed as much by the frantic femme response he occasioned as by his pipes.

A few band competitions later - with Isackson enticed away by Dig Richards & the RJ's but with Taylor still pounding his keys maniacally - Hoff was on Six O'Clock Rock and he and his Offbeats were setting Sydney alight with rock'n'roll as part of a pioneering elite headed by O'Keefe, Col Joye & the Joy Boys, Johnny Rebb & the Rebels and Alan Dale & the Houserockers.

It was a heady environment for a time but without a record deal (Teen Records promised but withdrew) and with fairly formidable competition from what mostly became multiple-hit acts, Hoff moved to Adelaide, then Perth, where he was warmly embraced. But it was not until he returned to Sydney in 1965 and put together a new line-up of the Offbeats that things began to fall into some sort of place.

 Signed to RCA Records, the group recorded four tracks for the label, one of which, a thumping version of Chuck Berry's Little Queenie, became as close to a hit as he would have. It could have strongly established the act had not Billy Thorpe spirited away two of his Offbeats to form a new Aztecs, leaving Hoff floundering and losing momentum. Despondent, he made his way back to Perth, where he assembled an eight-piece horn-dominated R&B powerhouse version of the Offbeats, which was signed by Clarion Records for an album - the only LP he would record until the last decade of his life. During eastern visits this commanding unit was known to give the reigning likes of Jeff St John & the Id a bit of a scare.

Hoff was one of the most active Australian performers in Vietnam during the war, although due to his soul leanings, he was heard far more by American than Australian servicemen. During one tour of duty he met a go-go dancer called Kay, who became his wife of 25 years. (Glen A. Baker)


 RIP 1942-2010.

Wednesday, 7 February 2018

The Fendermen - 1974 - Dorset Gardens Presents The Fenderman FLAC


The Impossible Dream/They Call The Wind Maria/Hello Josephine/Little Deuce Coup/Mexico


Melbourne band formed in 1962. Members have included Frankie Brent (guitar, vocals), Frankie Burns (drums), John Cosgrove (guitar, vocals), Gavin Grace (bass), Ray Houston (bass), Graham Broomfield (saxophone), Rex Harris (bass), Gordon Pendleton (drums), and Noel Tresider (piano).




In 1961 John Cosgrove saw a Fender Guitar in a Melbourne shop window and Knew instantly that this was the instrument on which to build his musical career.


John with Bassist Ray Houston and Guitarist Frank Brent , left the Blue Jays Show Band and formed the first all-Fender group in Melbourne. When drummer Frank Burns joined up,the four young musicians,together with the full support of the Fender Company in the U.S.A. became the legendary Fendermen.
The Fendermen's blend of professional arrangements and quality equipment launched them to the forefront of the local pop music scene, securing long term contracts with Leggets Paladium and the Orana Ballroom, and the late night spot at the Palais De Danse. Regular appearances on IMT with Graham Kennedy and recordings with Frankie Davidson and Merv Benton followed.

1968 saw the Fendermen move to a long running residency at the Dorset Gardens working with and supporting a long list of international acts. Now working as a duo, the Fendermen have never stopped playing. In 1996 the original members reunited for their 35th Anniversary then in 2011 for their 50th.

                                                       The Fendermen's Fenders.



Thanks To John

Patsy Anne Noble - 1964 - Private Property FLAC


Private Property/Better Late Than Never/I Did Nothing Wrong/Crack in the Door



Patricia "Trisha" Ann Ruth Noble was born on 3 February 1944 in Marrickville and grew up in Sydney, Australia. Her father was Clarence Lancelot "Buster" Noble (1 March 1913 – 1990), a comedian and singer; her mother was Helen De Paul (born Helen McGoulrick, 1921–2007), an entertainer, singer, dancer and comedian on the Tivoli circuit. During World War II, Buster served as a sergeant in the Warratahs Entertainment Unit in the AIF from November 1942 to January 1946. Noble has a younger sister, Amanda. In 1950, Noble appeared onstage with her parents and had her own radio programme. By age 14, she was qualified to teach ballet. There is a video of Patsy Ann Noble on the Dailymotion website, titled: 'Patsy Ann Noble More Than A Song'. Dailymotion website.

Noble rose to fame as a teenage singing star in the 1960s under the name Patsy Ann Noble. Her singing career was encouraged by Brian Henderson, the compere of the Australian version of Bandstand, where she made regular appearances. She was signed to the Australian HMV Records and released her first single "Like I'm in Love" / "I Love You So Much It Hurts" in November 1960. She became good friends with a young Peter Allen, who had formed the successful Allen Brothers with Chris Bell, and released one of his compositions "Busy Lips" in January 1961. However, it was not until Johnny Devlin, a New Zealand singer-songwriter, handed her the lyrics of "Good Looking Boy" in November 1961 that she had her first Top 10 hit in Melbourne. "Good Looking Boy" was also top 20 in Sydney, but did not chart internationally. It was released in the United Kingdom, but did not reach the Top 100.

Noble won the 'Best Female Singer of the Year' Logie Award for 1961, presented by TV Week. By December 1962, Patsy Ann had scored herself two No. 1 and four Top 10 singles in Australia. In 1962, she travelled to London where she was given a two-year contract with Columbia Records. There, she released many "girl group"-sounding pop songs including "Sour Grapes" (February 1963), "I'm Nobody's Baby" (1963) and "Accidents Will Happen" (1963), but received little commercial success – although she continued to score hits between 1963 and 1965 in Australia. In 1963, she appeared in the British musical film Live It Up! (with music produced by Joe Meek), although only in a singing role. In June 1965, Noble released "He Who Rides a Tiger" which peaked at No. 21 on the British Top 30, and No. 15 on Australia's Top 40.

During the 1960s, Noble released six albums in Australia and one in England, the most popular being The Blonde Bombshell (1961) which received an award for most outstanding vocal performance on an album. In the second half of the 1960s, she turned to acting and made her dramatic screen debut in a 1965 BBC television production entitled The Snowball, and soon found herself appearing on other television series, including the 1966 Danger Man episode "Not So Jolly Roger" (in which her recording "He Who Rides a Tiger" was featured), Callan with Edward Woodward, and films such as Death Is a Woman (1966), in which Noble had a lead role as the femme fatale), and Carry On Camping (1969).
 
After 1967, Noble had changed her name to Trisha Noble in order to distance herself from her years as a teen singer. She relocated to the United States beginning in 1971 and appeared in films and television series. She guest-starred on Buck Rogers in the 25th Century as Sabrina, a superhuman thief in the episode "Cruise Ship to the Stars"; and a guest appearance on The Mary Tyler Moore Show in 1976 where she played a female reporter who tries to seduce Ted Baxter (Ted Knight) during the episode "Ted's Temptation". In 1975, Noble appeared in the Columbo episode "Playback", where she meets the murderer (played by Oskar Werner) in an art gallery wearing a low-cut dress. She was cast by the director who had spotted her in a party wearing the same dress. In 1976–77, she had the ongoing role of Yvonne Holland on the soap opera Executive Suite, and appeared in the 1977 television miniseries The Rhinemann Exchange and Testimony of Two Men. In 1979, she featured on The Rockford Files as Odette Lependieu in the two-part episode "Never Send a Boy King to do a Man's Job". In 1980, Noble played the role of heiress Phyllis Morley in the mystery comedy film The Private Eyes starring Tim Conway and Don Knotts. Another ongoing role was as Detective Rosie Johnson on the police drama Strike Force (starring Robert Stack) on ABC in 1981–82.

 Trisha on the Dangerman episode "Not So Jolly Roger"

Soon after Strike Force was cancelled, Noble returned to Australia in 1983 with her son Patrick because her father, Buster, was seriously ill. She re-established a career there as a theatrical actress. In 1986, she appeared in the television miniseries Body Business. In 2002, Noble filmed a small role as Padmé Amidala's mother Jobal Naberrie in Star Wars: Episode II – Attack of the Clones which was cut from the final film – but included on the DVD release. Noble briefly reprised the role in Star Wars: Episode III – Revenge of the Sith in 2005. She continued to perform on the live stage and, as of 2007, appeared with the new National Music Theatre Company, Kookaburra, in their premiere season of Pippin as Berthe at the Sydney Theatre.

Sunday, 28 January 2018

Bryan Davies - 1965 - Bryan Davies REPOST


Dream Girl/ I'm Gonna Make You Cry/I Don't Like To Be Alone/Skinny Minnie




Bryan Davies (born in 1945) is an Australian singer from Sydney, who came to the attention of Australian rock fans in 1959. His clean-cut good looks and comparatively mellow rock style made him ideal for the TV pop shows of the era, such as Sing! Sing! Sing! and particularly Bandstand, on which Bryan became a regular. Bryan has had songs written for him by acclaimed songwriter, Jay Justin, who wrote songs for many other artists, including Little Pattie, Reg Lindsay and Slim Whitman.

Bryan's first television appearance was on teen music show, Teen Time on September 27, 1960 and he was then in his second last year of High School at Canterbury Boys' High School. He allegedly showed his appreciation of his backing band by bowing to them rather than to the audience after his performance. In spite of his singing career he successfully achieved his Leaving Certificate in 1961 when he was signed by the HMV label. Bryan released his first hit song, a cover version of Mark Wynter's "Dream Girl". Three more Top 40 contenders followed over the next twelve months. His version of "Dream Girl" outperformed the Wynter version on the Australian charts.

 Some of Bryan's others hits were "Five Foot Two", "I Don't Want To Be Alone", "Love and Money" and "Ten Pin Bowling".

After having featured on pop shows all over Australia, Bryan scored his own teen music TV series on ABC Television. At age 17, Bryan Davies became the youngest person in the world to host his own television show. The Bryan Davies Show (1962–1963) included regular guests, Neil Williams, Judy Cannon and the Don Burrows Sextet. Resident girl singer in the series was Coral Kelly who later went on to become Coral Drouyn, a well known scriptwriter. As an indication of his success was his purchase of a bright red Jaguar which featured in the opening titles of the program.

At the beginning of 1964 Bryan with The Delltones, Dig Richards, Justin and others including his then girlfriend Jacki Weaver performed in the youth oriented stage production produced and written by Bill Watson at the Palace Theatre in Sydney. The show surrounded the antics of Gadget, played by Weaver. It was a play on the then popular Sandra Dee Gidget films.


However Beatlemania was then the name of the game and the entire music industry world wide was in confusion as to the future of the industry. The emphasis had switched overnight from single performers (including Elvis Presley and Cliff Richard) to singing as distinct from instrumental, male groups, preferably British and London and even Liverpool the home of The Beatles, suddenly became the popular music capital of the world.

In 1963, Bryan had met Norrie Paramour, a top British composer, producer and conductor who produced Cliff Richard and the Shadows' recordings, during a visit to Sydney with actor/singer, Helen Shapiro famous for one hit "Walkin' Back to Happiness". Paramour was impressed with Bryan’s work and encouraged him to go to England which he did in February 1964. In May that year he began recording for Paramour

 Bryan achieved only moderate success in the UK and returned to Australia in October 1964 to re-kindle his already established recording career. He shocked his Australian fans after his first Bandstand appearance after his return. His hair was long and this was still a novelty for males in 1964 Australia and his dress, very Carnaby Street! One of Bryan's notable singles over this period was "I Need You", released in November 1965. However, it wasn’t until June 1967 that he re-entered the Australian charts with "Alberta", which became his last hit recording.

In the absence of further chart successes, Bryan has continued his singing career to this day, working mainly in the Sydney music scene.

During his career, Bryan diversified into acting and hosting roles for television shows. He was a cast member for two years on Australia's first major comedy satire program, The Mavis Bramston Show (1964–1968), and featured in the 7 Network's Anything Goes (1968). Bryan has had guest starring roles in other productions. He appeared in a Matlock Police episode, 'What's In It For Me' in 1973. In 1981 Bryan became the presenter of the short-lived Candid Camera -style game show, Catch Us If You Can.





More recently, Bryan has been involved in The Johnny O’Keefe Memorial Show, performing alongside other legends from the JOK era including Alan Dale, Vicki Forrest, Barry Stanton, Johnny Devlin and Adam. He is currently performing with Roland Storm and Lucky Starr in the "Golden Boys of Aussie Rock 'n' Roll" show.

Thanks to Brian for supplying me with the labels.

Wednesday, 10 January 2018

The Kravats - 1965 - We The Kravats FLAC


Big Ben/Can't Blame Me/Why Hide/Besame Mucho



Hobart's Spook Club and Beachcombers, Melbourne's Pinnochio's, Perth's Cannon Bridge Stomp! All Felt the impact of The Kravats.
Tasmania's premier rock export of the 1960's, The Kravats gegan in 1958, their first gig being guests on the Lee Gordon Big Show at the City Hall in Hobart supporting artists like Llord Price , Conway Twitty, The Kalin Twins, Col Joye and The Joy Boysand The Delltones and Johnny OKeefe and the DJ's and Johnny Devlin and Dig Richards.
The Personal for this first appearance were Noel Best, Ray Woodruff, Norm Walker, Max Johns and Clem Meehan (filling in for the injured Richard Millhouse who was suffering from a broken arm).



In 1963 the Spook Club began as a regular Saturday night entertainment venue in Hobart at what is now known as the Winjammer.
The Kravats became the resident band and in June 1964 received a recording contract with W&G Records in Melbourne. Paying their own expenses to undertake this venture, the first session in 1964 led to the release of the single Puppet Strings (written by Noel) b/w Bel Mir Bist Du Schoen wich sold well in Hobart reaching #2 on the local charts. The follow up single Fred b/w Jindivik both sides being written by Noel, was also recorded at this session.

3UZ Disc jockey John Vertigan (ex 7HO Hobart), a close acquaintance of the group, actively campaigned W&G's Ron Tudor for the audition session which led to the recording contract. By the middle of 1964, Beatlemania was alive and well in Tasmania and the band realised the need for a vocalist to progress to this Merseybeat-style as compared to the Shadows-style wich had been their trademark.

Barry Woodruff a younger brother of Ray was added to the band. A Friday night residencey at the popular Beachcomber at the San Carlo Hall in North Hobart and a second recording session in Melbourne followed. This recording session produced the Tasmanian #1 hit "Baby Let Me Take You Home", the top 10 follow up "It Must Be Jelly (Cause Jam Don't Shake Like That) and the EP We The Kravats which also made the singles charts.


 "Baby Let Me Take You Home" (originally released by the Animals) reached #1 in Hobart on the 5th of August 1965 ahead of the Beatles "Help" and Brendan Bowyer's "Hucklebuck".
Former Hobart D.J. Keith McGowan had moved to Perth and as a result of his efforts "Baby Let Me Take You Home" entered the top ten in Western Australia which resulted in tour to Perth which commenced in August of 1965. The visit was originally scheduled for 1 week but the Kravats were so well recieved that another week was agreed to.

The return of the band from this tour coincided with their release of "It Must Be Jelly (Cause Jam Don't Shake Like That) which reached #7 in Hobart and #2 in Launceston on the 20th November 1965.

Things were going from strenght to strenght and because of their strong popularity base in Tasmania coupled with family commitments the band made a conscious decision not to base itself on the mainland but to do short spells.

As 1965 drew to a close the EP We The Kravats became their 5th release and entered the Hobart singles charts immediatley. the standout track being "Why Hide"  written by Barry who was becoming something of a prolific writer. On this track Barry ovedubbed the harmonies himself. In 1965 this was ground breaking stuff indeed.


Just prior to their departure for W.A. Max Johns left the bamd and was replaced on drums by John McAbe from local band the Silhouettes. The third and final session with W&G followed this time with "Macka" on drums and resulted in the release of the singles "We're Gonna Howl Tonight" (1966) and "That's What I Want" (1967). The days of hitmaking were over though and these singles sank without a trace.

With legaslative changes allowing entry into hotels of 18 year olds tennage dances disappeared and a new era of cabaret entertainment commenced with the Kravats becoming the resident band at the Carlyle Hotel in Hobart. This trend continued with the move to the cabaret scene and the band worked with such artists as Kamal, John Farnham, Ross D. Wylie and the legedary Johnny O'Keefe. The Kravats continued the professional aproach to their work and this culminated in an invitation in November 1969 to provide entertainment on the P&O liner Himalaya.

Although guest appearances in mainland venues continued periodically it was the cabaret scene in Hobart that the Kravats returned, providing entertaiment for a further two decades.



Mike Furber - 1966 - Just A Poor Boy FLAC


Just A Poor Boy/Mailman Bring Me No More Blues/You're Back Again/Love Talk


Just A Poor Boy by Paul Wade,Robbie van Delft and Neville Peard The writers are three members of The Bowery Boys released in 1965 it charted #25 Melbourne #21 Brisbane #5 Adelaide #42 Perth. A single on Sunshine label, also released on Kommotion. Its main chart action was in early 1966, but it appears to have been released at the end of 1965.The Bowery Boys were formed in Brisbane in 1965. Lead singer Mike Furber was given top billing after they were signed to Ivan Dayman's Sunshine label and management. After the band broke up in 1966, Mike Furber pursued an under-appreciated solo career, but in the early 70s he appeared to good notices in the gospel rock musical Godspell.   Lyn Nuttall

Mike Furber - 1967 - It's Too Late FLAC


It's Too Late/I'm So Glad/If You Need Me/Take This Hammer


Mike Furber was born on 28 September 1948 in London, England. His father was Ed Furber and Furber was raised with a sister Marian. When he was 10, his family emigrated to Brisbane, Australia. In mid-1965 Furber as lead vocalist joined local pop band The Bowery Boys which consisted of Robbie van Delft on lead guitar and vocals, Neville Peard on drums, Paul Wade on bass guitar and vocals, and Greg Walker on rhythm guitar. The group signed with Sunshine Records and were managed by label boss Ivan Dayman. Dayman promoted the group as Mike Furber and the Bowery Boys.

In late 1965 their debut single, "Just a Poor Boy", was released and in early 1966 it became a top 5 hit in Adelaide and top 30 in both Melbourne and Sydney. The song was written by Wade, van Delft and Peard. In February 1966, their second single, "You Stole My Love", was released – it is a cover version of The Mockingbird's 1965 song and was written by Graham Gouldman. Furber's version was a top 10 hit in Melbourne and peaked at No. 12 in Adelaide. The Kommotion label released the group's debut album, Just a Poor Boy. In July, a third single, "That's When Happiness Began" was issued but the group disbanded in August.

Dayman was keen to promote Furber as a solo artist and organised appearances on local television shows: The Go!! Show and Kommotion. Furber released three solo singles in 1967, "Where Were You?" (January), "I'm So Glad" (August) and "Bring Your Love Back Home" (October) but none of them charted. National teen pop music newspaper, Go-Set, praised "Bring Your Love Back Home" as "the best disc he has ever had. It could be the break he has been waiting for to put him right back on top". Furber was one of a number of popular artists who wrote in Go-Set against Australia's involvement in the Vietnam War, "you can't find an excuse for forcing a man to give up his chosen career to go into the army and fight a war in what would be one of the most dubious conflicts of all times". In Go-Set's Pop Poll, Furber was voted in the top 5 as most popular Male Vocalist in both 1966 and 1967. Furber's label, Sunshine collapsed in 1967 and Furber had a nervous breakdown at about that time.In 1969, Furber signed with Columbia Records and released "There's No Love Left" in June. This was followed in November by "I'm on Fire" / "Watch Me Burn", which were both written by Vanda & Young (ex-The Easybeats) as a two-part pop suite. According to Iain McIntyre's Tommorrow Is Today (2006) "'I'm on Fire' is scintillating pop track underscored by a ripping lead fuzz guitar line and a solid rhythm section" however "'Watch Me Burn' is even wilder, with TWIN lead guitars (one fuzz and one wah-wah) wailing away beneath Furber's excellent vocal performance". Nevertheless neither of the singles charted and Furber was dropped by Columbia.

 In June 1970 Furber toured Australia with The Sect, and Doug Parkinson in Focus as support acts to United States group The Four Tops. In the early 1970s he was conscripted for National Service in the Australian Army during the Vietnam War. At the time of his service Furber had been involved in stage musicals: Godspell and Nuclear (1973). He was fired from Nuclear.

According to music historian Ian McFarlane, he was "never a strong-willed person to begin with, Furber continued to suffer bouts of depression". Furber committed suicide on 10 May 1973; he was found hanged in the garage of his Sydney home. According to McFarlane, "reputedly in the depths of depression, he hanged himself ... It has been suggested, however, that Furber was actually murdered because he had befriended a King's Cross prostitute".

Tuesday, 9 January 2018

Simple Image - 1969 - Four Hits From The Simple Image


Michael & The Slipper Tree/Ulla/Spinning Spinning Spinning/Grooviest Girl In The World



The original line-up of the Simple Image is as listed above, but Allan Gordon didn't stay very long and he was replaced by Gordon Wylie on drums. Barry, Harry and Gordon were all employees of Todd Motors in Wellington when they first started playing together. Harry had been around the music scene for a while, originally starting out in a group called the Young Ones, which after Harry left, went on to eventually become Larry's Rebels. Ron Gascoigne had originally played with South Island band, the Termites, before joining the Insect for six months. He left them at the end of 1966 to join the Simple Image. The Insect eventually evolved into the Fourmyula. Original drummer Allan also came from a South Island band called the Vaqueros.

Much of Simple Image's initial repertoire was strictly middle-of-the-road, and able to cross the age barrier, they soon proved popular on the wedding reception trail, while at the same time appearing in the Pantomime, Dick Whittington. After accepting an offer as ship's band, they then spent a month touring the islands aboard Arcadia before their road to fame began when booking agent Tom McDonald added the group to his booking agent roster. With him they began to get plum gigs. National support tours with Maria Dallas and Gerry Merito followed and in 1968 they signed a five year recording contract with HMV.

Their first single was "Two Kinds Of Lovers"/"Summer Wine", and released with little fanfare, it spent four weeks in the national charts in March 1968, peaking at number 11. It was their second single which really established Simple Image outside their hometown. Producer Howard Gable used a phasing technique in the mix and it gave the song a very distinctive sound. "Spinning Spinning Spinning"/"Shy Boy" climbed to number one on the charts and spent two weeks in that position in July 1968. "Spinning" was entered into the 1968 Loxene Gold Disc Awards and narrowly missed winning the top spot.

 The follow-up single showed they weren't a one-hit wonder, as "Little Bell That Cried"/"I Wanna Go To Heaven" also made the top 10, peaking at number 9. A self-titled album was also released and sold very well. It had some very striking artwork on its cover. Another single was released from the album, called "Hold Me Tight"/"Tomorrow Is Another Day" it didn't feature on the charts. The group adopted a very 'mod' image, with their stage uniform always consisting of navy blue capes with pink lining, floral shirts, bell-bottomed trousers and Cuban-heel boots. Moving into 1969 they released another huge single. This was "Grooviest Girl In The World"/"Make Time Stand Still" and it made it to number 3 on the charts. Bruce Walker, formerly from a group called Soul Sect, was added to the line-up on organ. The next single was "Ulla"/"Tomorrow Today", but it didn't make the charts.





Barry Leef left the group in June 1969 and had a short spell in a group called Retaliation, before he headed to Australia. He joined up with fellow Kiwis, Jack Stradwick, Mike Wilson and Mike Darby to form Straw Patch. They had a minor hit with a song called "Send Me No More Flowers". Barry's replacement in the Simple Image was Doug Smith and with him they chose to do a cover of a song by the Equals called "Michael and the Slipper Tree". Backed with "Mean So Much", the single was another top 10 hit, reaching number 7 in September. It was the last time the group featured on the charts. The Simple Image won the "Group Award" at the 1969 NEBOA Entertainer Of The Year Awards. Also in 1969 the group released an EP called "Four Hits From The Simple Image" and it contained "Michael and the Slipper Tree", "Ulla", "Spinning Spinning Spinning" and "Grooviest Girl In The World".

 At the end of 1969 they decided to make an assault on the Australian market. They accepted a residency at the Whiskey-A-Go-Go, a prestigious venue that they inherited from the now defunct Avengers. They had only been there a few weeks when Barry Leef rejoined them in place of Doug, but despite their popularity, they were unable to find a single to break them into the Australian charts. Over the next two years they went through a number of dramatic musical changes to meet the demands of the Whiskey clientele. They also found a liking to some artificial stimulants and as a result, Harry Leki's behaviour became quite bizarre and this eventually led to the group's demise in late 1971. Before disbanding, one final single called "Goodbye Birds"/"Send Me No More Letters" was released in 1971.

 Harry Leki returned to New Zealand and joined Arkastra. He also had a very short spell with Quincy Conserve. Barry Leef joined West Australian band Bakery as lead singer. He also formed the Barry Leef Band, which included Billy Williams, Steve Hopes, Mick Kenny, and Tim Partridge. They released one single in 1976 called "To Be Back Home"/"What Do You Wanna Do". Over the next twelve years he released four more solo singles, and was also a member of a jazz group called Crossfire in the eighties. Erana Clarke became a member of that group and by the end of the eighties her and Barry had married.

In 2001 EMI released a CD called "Spinning Spinning Spinning - The Complete Simple Image" which, using the cover from their original album, contains the entire album, plus every single they did and two previously unreleased songs.

Julie Anthony - 1978 - Something Special FLAC


My Day/Lady Bug/Everything Old Is New Again/Ain't No Mountain High Enough

Promotional release available only from the Max Factor counter at MYER stores.

 Julie Moncrieff Anthony, 23 August 1951, Galga, South Australia. Anthony was born in Galga (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.

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. 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. 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.

Thursday, 7 December 2017

The Atlantics - 1964 - The Explosive Sound Of The Atlantics FLAC


The Teddy Bears' Picnic Stomp/Cherry Pink And Apple Blossom Time/Secret Love/Three Coins In The Fountain



Think surf rock classics and a few songs come to mind. The Surfari’s Wipeout, Dick Dale’s Miserlou, Pipeline by the Chantays and of course Bombora, by Australia’s own, Atlantics. Virtually the only successful surf instrumental band, not from America.

Echoing the Shadow’s Twangy Atmospheric Instrumental Sound, they were snapped up by CBS Records and became a household name with the release of their Giant Hit Bombora.

cover-1The Atlantics went on to record seven more singles and four LPs for CBS, all of which are now regarded as classics of the Surf Instrumental Genre. They also recorded a string of vocal singles with various recording companies and these songs are now considered as outstanding examples of Pre-Punk Garage Rock. 

 After a long break from the music scene, original members Jim Skiathitis, Peter Hood and Bosco Bosanac along with new guitarist, Martin Cilia, reformed and set about recapturing the sound that had propelled them to fame so many years before and had lifted them to a legendary status worldwide.

Since reforming The Atlantics have released four excellent new CDs. “Flight Of The Surf Guitar”, ‘Atlantics – The Next Generation”, “Point Zero” and “Atlantics The Best Of”. In 2000 Bombora was given the ultimate accolade by being used in the Closing Ceremony of the Sydney 2000 Olympic Games. It was really a thrill to hear the “all new” Bombora during the closing ceremony of the Sydney 2000 Olympic Games! What could have been better than to see Bondi Life Savers and Australia’s own Kylie Minogue making their entrance to the thundering sounds of Bombora!


 Many TV appearances followed on, Studio 22, 10:30 Slot, Denise, Morning Shift, Today, A Long way to The Top and Where are They Now. A string of live appearances at Pubs, Clubs, big shows and Festivals such as, Victoria’s Queenscliff Festival, Canberra’s Folk Festival and “Wintersun” on the Gold Coast, thrilled original fans and introduced a whole new generation to the driving infectious guitar sounds of, The Atlantics.

Their brilliant performances on tours around Australia with the spectacular “Long Way To The Top” Concert and as the support act on the Beach Boys and Chris Isaak Shows, resulted in rave reviews about their music and their talents and once again cemented their title of, Australia’s Greatest Instrumental band, ever.