Monday, 29 June 2015
I'll Get By (As Long As I Have You)/You're Driving Me Mad/Danger Heartbreak Ahead/Mommie And Daddy Were Twistin'
Judy Stone, a tiny 4'10 1/2" performer was belting out songs in the "Bandstand"
era... and today, Judy Stone is still one of Australia's most consistent popular
In the early 60's a young girl who aspired to be a country music singer dressed
up in all the white leather fineries etc., and made many appearances on country
shows around Sydney. This market was a very small market and virtually
controlled by other artists such as Reg Lindsay, Slim Dusty, Joy and Heather
McKeon their respective wives as well as a few others such as Bill Kelly, Tim
and Tom MacNamara etc. Judy was much younger and didn't have much of a chance
with the small amount of country music that Sydney audiences wanted at that
She moved slowly over to the more popular rock style of country that was now
beginning to chart in the Top 40 and after a few appearances on Bandstand etc.,
became one of the 'Darlings' of Australian TV. That as wel las her record
successes cement her place in Rock 'n' Roll history. .
After travelling throughout the country with "The Reg Lindsay Show", Judy began
touring with Col Joye and, before long, became a regular member of the popular
T.V. show, "Bandstand". It was in the sixties that Judy's hit songs...I'll step
down, Born a woman, 4003221 tears from now, established her as a recording
artist as well as a T.V. star.
Since the "Bandstand" days, she has appeared on every major T.V. show in
Australia and demand for her appearances has remained constant. Such is her
popularity, that judy has been invited to perform with many Top International
Artists on their Austrlian tours. They include: Sir Harry Secombe, Rolf Harris ,
Dick Emery, Johnny Mathis and Howard Keel.
The song that gained Judy the National Award in 1974, "Field of Stone", coupled
with "Mare, Mare, Mare", earned Judy the distinction of being the first
Australian Female Entertainer with two records concurrently featuring in the Top
40. In 1976, "Silver Wings and Golden Rings" firmly established her in the
Country Pop scene. "Hasta Manana" added to her successes, proving a hit in
Australia with credits from England and Scotland.
Recognition of Judy's immense talents has been overwhelming, with more than
twenty awards from T.V. and Recording Performances, including three T.V. Logies
and eight "MO"awards.
Judy has represented Austrlia three times at International Expositions, in Japan
and the United States. Her recording and singing in other languages, Flemish and
Italian, led to a hit record recorded in Japanese which enabled Judy to
successfully perform in Japan's top nightclubs.
A memorable highlight of Judy's career occurred in 1986 when she signed a
history making recording contract as the first foreign Female Performer with the
Republic of China Record Company. In September 1986, to coincide with the
release of her album, Judy was invited to Beijing to appear in a Television
Special where she sang in Mandarin to her audience.
Whilst in China, Judy endeared herself to the Chinese people, further enhancing
her reputation as one of Australia's most "PRECIOUS GEM'.
Throughout the nineties Judy Stone has performed in all major clubs and venues
throughout Australia and starred in her own one woman cabaret show at the
Tilbury Hotel in 1995. More recently Judy Stone has been a star performer in the
Col Joye Show which has been touring Nationally.
Tuesday, 23 June 2015
Just A Closer Walk With Thee/Save My Soul/Jubilee/Swing Low Sweet Chariot
Four inspirational tunes from the Reverend O'keefe can see him in the tent whipping up the congregation into a religious frenzy.
Ten Lonely Weekends/My Boy/If You Love Me/Into Each Life Some Rain Must Fall
Noeleen Batley, was one of the pioneering female stars of Australian Sixties pop. Nicknamed "Australia's Little Miss Sweetheart", her pleasing voice and demure girl-next-door image endeared her to teenagers and parents alike, and she is fondly remembered as a leading member of TV's "Bandstand Family" during the early Sixties. Compared to many other Australian acts, Noeleen enjoyed a very prolific recording career, with around 20 singles, at least eight EPs and three LPs to her credit, most of them recorded during the peak period of her career between 1960 and 1965.
Thursday, 11 June 2015
This Wheel's On Fire/Reflections Of My Life/Teach Me How To Fly/You've Got Me Thinking
Best known for their 1971 hit version of "This Wheel's On Fire", Sydney band Flake is remembered by those who saw them as one of the most accomplished and versatile ensembles of the period, capable of performing the latest pop hits or the music of Jefferson Airplane with equal assurance. Flake came to prominence at a time of change, both in Australia and internationally, as "pop" was diversifying into distinct new genres like heavy rock and progressive rock. As a result, their repertoire covered an extraordinarily wide of contemporary styles, from melodic pop, through blues, soul and R&B to psychedelia, 'prog' and heavy rock.
The group began in late 1968 when drummer Wayne Thomas quit Sydney band Plastic Tears to form his own group. He recruited four other players he knew -- singer Geoff Gray and bassist Laurie Sinclair (ex The Eli) and organist Rob Toth and guitarist Lindsay Askew (ex The Seen). The new band rehearsed solidly for three months but Laurie Sinclair was forced to drop out before their first gig due to the fact that his father died, his house burned down, he split up with his girlfriend and he had been called up for the Army -- all in the space of one week!
Thomas called in Plastic Tears bassist Mick Gaul to replace Sinclair, and the new lineup was completed when Wayne's friend Steve Williams introduced the band to singer Sharon Sims. She had done some guest spots with Steve's band The Good Intents and he was hoping to further her career by getting her a spot in the new group. Needless to say, Sharon's scorching soul voice blew them away and she joined in time for their first official gig at Shrublands Hall in Marrickville on 14 November 1968. The band's name had been decided only three weeks earlier, and it was taken from the classic 1968 Small Faces LP Ogden's Nut Gone Flake. It was not, as is sometimes claimed, inspired by the well-known brand of chocolate bar of the same name (which in fact did not hit the Australian market until about a year later).
Flake quickly rose to prominence in Sydney was at its peak, both musically and in popularity during 1969-70. They entered the 1969 2UW "Bands To Watch" competition, and defeated forty other local groups to take out first place, beating runners-up Daisy Roots by just one point. They moved through several different booking agencies including Dal Myles' agency and Harry Widmer's Cordon Bleu, finally signing with Peter Conyngham's Nova agency (largely due to the fact that Geoff Gray landed a job there), where they joined a stable of acts that included Blackfeather, ....
There were several changes of personnel during 1969. Mick Gaul left the band and was replaced by Denis Moore (recently returned from the USA) who was known to Thomas from his time with Sydney band Him & The Others. Not long after, Lindsay Askew and Rob Toth both left due to the difficulties of balancing work and band committments -- all the members somehow managed to hold down day-jobs -- and Toth subsequently joined Samael Lilith.
Askew and Toth were replaced by Dave Allen (flute, sax) and Ross Jeffries (guitar), both from Fred Karniss Army, but Jeffries was not 'in synch' with Flake's style and bowed out after a few rehearsals. Through Denis Moore, the band recruited guitarist John Russell (ex Amber). Next to leave was Sharon Sims, who had been lured away to another band, so Thomas 'pinched' another member from Fred Karniss, singer Denise Caines.
Not long after Denise joined Sharon Sims returned after her other venture went 'belly-up'. After some negotiation it was decided to expand the group to seven-piece. Fortunately Denise and Sharon got on well, and their distinctive but complementary vocal styles enabled Flake to tackle an even broader range of material. Now boasting a unique three-voice frontline, Flake was capable of tackling a remarkable breadth of material --Sharon's soulful voice was ideal for classics like "River Deep, Mountain High" and "Respect", while Denise excelled on songs like Jefferson Airplane's "Somebody To Love" and "White Rabbit" and Flake was of the only Sydney band at the time that could pump out note-perfect renditions of this and other challenging like Traffic, Spooky Tooth, Jethro Tull, The Moody Blues, Rotary Connection, Vanilla Fudge and Deep Purple.
Flake now started looking for a record deal. They had preliminary discussions with EMI, who lined up the renowned David Mackay as producer, but EMI's offer was for two Singles, with the recording of an album dependent on both Singles being hits. At this point independent producer Martin Erdman made them a better offer -- he would sing them to his Du Monde label for two Singles, plus an album, providing Flake had reasonable success with at least one of the Singles.
In early 1970 Flake went to Erdman's World of Sound studio at Ramsgate. The tracks they recorded were the Jackie Lomax song, "You've Got Me Thinking" as the A-side, with as the flip. Unfortunately, although Sydney radio programmers liked the band, they didn't like the song, so Wayne Thomas (who had chosen the A-side) then approached 2UW programmer Gary Jaegear for help. 2UW had rejected the A-side -- but not the B-side, Dylan's "This Wheel's On Fire" -- so Jaegar generously slipped "This Wheel's On Fire" onto the 2UW playlist.
Fortunately for Flake, the single came out at the start of the Radio Ban, which began in May 1970. While this controversial six-month dispute between commercial radio and record companies raged, many major label recordings -- particularly UK hits released or distributed by EMI-- were banned from commercial radio, giving independent labels like Du Monde, Fable, Sparmac and Image unprecedented access to commercial radio playlists.
Before long it was picked up by 2SM and then by stations in other cities. It definitely became a major national hit, although sources differ about exact chart placings. According to Wayne Thomas' History of Flake, it made the Top 5 nationally and stayed on the Go-Set chart for 18 weeks and charts reproduced in the CD-ROM of Martin Erdman's Du Monde compilation confirm his report that it went to #1 in the Sydney Daily Mirror chart and #2 in the 2SM chart, and that it made the Top 30 on 5AD Adelaide. Ian McFarlane's Encyclopedia entry on Flake says that it went Top 5 in Sydney (#4, July) and reached #20 nationally, whereas Martin Erdman asserts that it "reached ... No 7 nationally". Vernon Joyson claims that it spent 25 weeks on the chart. Martin Erdman also reports that the single was originally released by Festival with an orange label, but this was interrupted by the Radio Ban, so Erdman's own World Of Sound company took over pressing and distribution, with Singles released with both gold and orange labels. The single also won the 1970 2SM Australian Talent Award.
In the wake of the single's success Flake toured extensively up and down the east coast, all the while balancing their music career with their day jobs. Inevitably the strain began to tell and the first to leave was Dave Allen. His replacement was Billy Taylor (ex Purple Vision), who took over on rhythm guitar aas well as adding an extra voice to the band's already powerful vocal lineup. Taylor soon became close friends with singer Geoff Gray and the band's roadie Paul Berry, and they soon moved into a flat together. During this period Flake recorded a performance of a song from their repertiore, "Midnight Train", for the ABC's GTK pop show, but it is not yet known whether this still survives in the archives.
The band went back into the studio to record their second single, a cover of "Reflections of My Life". The original recording by UK band Marmalade had been another victim of the Radio Ban. It featured a fine guitar solo by Taylor, with John Russell playing autoharp in background, and the overdubbed orchestral arrangment was performed by the Rocky Thomas Orchestra.
Denise Caines left the group in late 1970, so Billy Taylor recruited former Purple Vision singer Shauna Jensen, who added her own superb voice to the mix and became fast friends with Sims. Caines' departure was followed by that of Denis Moore, and to replace him Billy Taylor brought in another old friend, bassist Greg Higgs, also an excellent singer with a strong vocal resemblance to Paul McCartney. As Wayne Thomas recalls, this version of Flake (Sims, Gray, Russell, Taylor, Higgs and Thomas) was the band's most commercially successful phase and the lineup that most people remember, and it was during this period that the gorup played its first concerts in Melbourne.
Shauna Jensen only perrfomed with Flake for about three months with Flake, but she did appear on the B-side of "Reflections of My Life", singing the lead vocal on Flake's cover of the Rotary Connection classic "Teach Me How To Fly" (also sucessfully recorded by Jeff St John) which had been part of Flake's live set for more than two years. The new single performed well and gained strong airplay;, charting in the Top 30 nationally and peaking at #11 in Sydney in January 1971.
Although there was now a strong demand for an album, Erdman decided to release another single first, to launch his new Violet's Holiday label. Flake were given four songs by the renowned songwriting team of Vanda & Young, and they chose one of these, "Life Is Getting Better", as their next single, which again featured an orcdestral arrangment by Rocky Thomas' orchestra. It did very well in Sydney, where it reached #12 in mid-1971.
The band's fourth single "Under The Silent Tree" (sourced from a little-known UK band called Honeybus and written by Ray Kane/Cane) featured scorching soul harmonies by Sharon, Geoff and Greg and a powerhouse solo by Taylor, and although it was musically the group's strongest single yet, many pop stations considered it a little too "heavy" and it didn't get much airplay, although it did manage to get to #26 on Adelaide's 5AD.
Flake's only LP How's Your Mother? was finally released on Erdman's Violet's Holiday label in December 1971, although the double pressures of touring and maintaining day jobs gave the band little time to record, so there was not much new material and the album was filled out by tracks from the earlier Singles.
Aided by their friends, singer and lyricist Gary Paige and guitarist Hubert Williams. The LP's lavish gatefold sleeve was Sporting a 'trippy' cover design, the album featured lighter pop-soul material on Side 1, with Side 2 featuring the band's heavier and more psychedelic side, highlighted by the epic 12-minute track "Violet Jam" (the second part of which was the Vanda-Young track "Quick Reaction"). Like many independent LP releases that came out during this transitional period (e.g. Galadriel, Melissa, McPhee) the Flake LP had no commercial success at all and it has become a rare collector's item. Just before the album came out Billy Taylor left the group and he was replaced by Mick Meehan (ex Cinnamon). The album track "Under The Silent Tree" was released as the group's fourth single and it did moderately well, reaching #35 in Sydney in November 1971.
Flake continued to be a popular attraction through 1972 but they released only one more single, "Where Are You" (Dec. 1972), which did not chart. The A-side was co-written by members of the band with lyricist Gary Paige (who also sang on the recording); the string arrangment by Rocky Thomas was overdubbed at Festival Studios. Paige, a prolific and very successful songwriter, has collaborated with many notable Australian and international composers, and he is probably best known for the pop-soul classic "Heading In The Right Direction" (co-written with Russell Dunlop) which was famously recorded by Renee Geyer.
Sharon Sims recorded her first and only solo single "To Be The One You Love", which came out in February 1973. Recorded at ATA Studios in Sydney, it was co-produced by Martin Erdman and Richard Batchens and engineered by the great Bruce Brown with the orchestral arrangement (again by Rocky Thomas) featuring Terry Wilkinson on grand piano. According to erdman, the song was an English version of the theme from an Italian movie called Venetian Anonymous.
By the end of the 1972 Flake had split up, with Wayne Thomas going on to to form a new band, Mr Madness, which was effectively a reunion of most of the original Flake -- Lindsay Askew, Mick Gaul and Rob Toth -- plus Roy Ritchie on guitar.
In early 1973 a new Flake lineup was formed by Billy Taylor and John Russell, with Ted Atkinson (bass) and Jim Penson (drums, ex Blackfeather, but by mid-year the lineup had changed to include two other former Blackfeather members, bassist Warren Ward (ex Flying Circus) and singer Neale Johns. This new Flake recorded one hard-rock single, "Scotch On The Rocks", which was released on Festival's Infinity imprint in February 1974. This last version of the group broke up at the end of '74, with Taylor subsequently joining Neale Johns in a new formation of Blackfeather in 1975.
Thursday, 4 June 2015
The Crusher/The Gremlin From The Kremlin/Shark Attack/Stompin Time
The Atlantics are an Australian surf rock band founded in 1961. Initially, the band lineup consisted of drummer Peter Hood, bassist Bosco Bosanac, Theo Penglis on lead and rhythm guitar, and guitarist Eddy Matzenik. Matzenik was replaced by Jim Skaithitis while the band was still in its earliest stages. The band's claim to fame was as Australia's most successful of the genre. Most well known for their classic hit, "Bombora", their later recordings such as "Come On" are examples of 1960s garage rock. They were the first Australian rock band to write their own hits. In 2000 the group reformed with three of the original members, and continue to release new material and perform in concert. In 2013 the group celebrated the 50th Anniversary of their first album, Bombora and the eponymous single that was their first to chart. A European tour was organised to mark the occasion.
'Bombora' was added to the National Film and Sound Archive's Sounds of Australia registry in 2013.
Tuesday, 2 June 2015
Without You/Hair/Today I Feel No Pain/Dear Prudence
After the demise of the Qustions in March 1968 Doug Parkinson, Billy Green, Duncan McGuire and Rory Thomas reunited and recruited a new drummer, Doug Lavery (ex Running Jumping Standing Still, Andy James Asylum) and took a new name that acknowledged the rapidly growing stature of their lead singer -- Doug Parkinson In Focus.
The slew of Singles released by Doug Parkinson In Focus warrants particular attention. The group (unfortunately) never made an album, but, if gathered together with their unreleased tracks (such as "Theme From 12th House"), these tracks would form a pretty solid album. Most have since been anthologised on the essential Raven compilation Doug Parkinson: In and Out of Focus.
The debut In Focus single "Advice" / "I Had A Dream" (May 1968) didn't chart, although it set out their stall in confident fashion, but the original lineup fell apart in August 1968. Organist Rory Thomas left to join The Affair and was not replaced; Doug Lavery departed to join The Valentines and was replaced by Johnny Dick (ex- Aztecs, Max Merritt & the Meteors).
In early 1969, a friend of Doug's in the UK sent him an advance copy of The Beatles' stunning new self-titled double album (now universally known as The White Album). They were smitten and immediately recorded a superb cover of the classic John Lennon song "Dear Prudence". Doug sent the tape to Festival, hoping to have it released as the next single but, incredibly, Festival turned it down. Stunned, Doug took the recording to EMI, who loved it. A record deal was signed, and the single was released on Columbia in May 1969. It shot up the charts all over the country, earning rave reviews; it peaked at #5 in the Go-Set national singles chart in early August and stayed on the chart for a solid four months, becoming the biggest hit of Doug's career. It was a brilliant showcase for Doug, enabling him to display both his power and subtlety, and it also highlighted the tight, funky cohesion of his band. The package was reinforced by its impressive flipside, the Billy Green-composed "This Must Be The End". It became one of the biggest selling Australian singles of 1969 -- no mean feat in a year that produced classics like "Smiley", "The Real Thing" and Mr Guy Fawkes" and it remains a signature tune for Doug ... not to mention being one of the best Beatles covers ever recorded.
In July, as "Dear Prudence" was heading up the charts, the group again competed in the annual Hoadley's Battle of the Sounds. In a nail-biting finish, Doug Parkinson In Focus was awarded equal first place with competition underdogs The Masters Apprentices, and the two bands shared the prize. The prize enabled the Masters to achieve their long-held dream of going to England, but for In Focus the glory was shortlived -- soon after the finals rumours began circulating that their prize money had had been misappropriated by their management.
The Hoadleys controversy was followed by another setback when their next single, "Today (I Feel No Pain)" was deemed uncommercial by EMI and was withdrawn soon after release. Fortunately, the A-side -- remarkable for its driving, slightly psychedelic backwards guitar effects -- reappeared later on the Dear Prudence EP.
They bounced back with their next single, which showcased Billy Green's brilliant pop writing skills, together with his astounding, almost orchestral (and criminally overlooked) guitar stylings on the power ballad (in the best senses of the term) "Without You" (October) which provided them with a second Top 5 hit. On its reverse side, this single featured Doug's unique take on the title song from the notorious rock musical, Hair which had recently premiered in Sydney in a blaze of publicity.
Once again on the crest of a wave, the group looked set for continued success, but in November Green and McGuire abruptly split to join the short-lived supergroup Rush with former Wild Cherries members Mal McGee and Kevin Murphy. Doug hastily recruited English guitarist Mick Rogers (ex-Playboys, Procession) and veteran guitar ace Les Stacpool and the new lineup premiered in December. By January 1970 Rush has folded and Billy Green returned in time for In Focus' appearance at Australia's first rock festival, the Pilgrimage For Pop at Ourimbah, NSW.
Duncan McGuire returned the next month, Stacpool and Rogers departed and In Focus returned to its classic lineup. Their final single was arguably also their supreme achievement, a fantastic 45 where it's hard to nominate an A or B side. "Baby Blue Eyes" / "Then I Run" was also a remarkably dynamic recording, and was one of the first stereophonic 7" singles recorded in this country. By turns lush, dramatic, evocative, funky and just plain hard-rocking, both of these Green-penned songs were shamefully neglected at the time, and deserve retrospective scrutiny for the hallmarks that they undoubtedly are. It performed moderately well, reaching #6 in May 1970, but the next month Doug and Johnny were invited to come to England to join a new band being put together by former Aztec Vince Melouney but that's another story.
Answer Me/Wild One/You're Sixteen/Let The Little Girl Dance
Singer and radio personality Grantley Dee (real name Grantley De Zoete) was a well-known and popular presenter on Melbourne radio station 3AK and he is especially notable for being the first visually-impaired pop DJ on Australian radio. But Grantley's achievements didn't stop there -- he was also a popular singer who recorded a string of singles for EMI between 1966 and 1968 and regularly also performed live during the late Sixties and into the early Seventies. Several years ago, Grantley was interviewed by media writer Ash Long, who wrote a comprehensive history of 3AK; he explained that station manager-of-the-day Nigel Dick originally recruited him as a 16-year-old in 1963, partly as a means of scoring publicity for the station. It proved successful, with Grantley and his guide dog Penny becoming popular station personalities.
Grantley started on 3AK in 1963 with "The Grantley Dee Show", a regular four-hour ‘Top 100' program on Saturday afternoons, plus the four-hour Big Sunday Show, featuring “big tunes and new releases” on Sunday afternoons. By the following year he was one of the station's top announcers and had graduated to the prime “drivetime” slot from 4pm-7pm Mon-Fri, as well as regular weekend shifts. In 1965 he moved to the morning shift from 7-9am, plus the four-hour Grantley Dee Show from 9am-1pm on Saturday and Sunday.
, Grantley was an accomplished singer and during 1966, he was the vocalist in the short-lived Melbourne-based band called The Hurricanes, although this band didn't make any recordings. His 3AK career slowed down somewhat during this year, after he was signed to EMI's subsidiary label HMV, for whom he recorded five singles, an EP and an LP. His first (and best known) single was a creditable cover of Billy Bland's 1960 hit "Let The Little Girl Dance", which is also notable as an early example of an Aussie rock single that is not sung in mock-American accent. It is now a sought-after collector's item and in late 2002 Vicious Sloth Collectables in Melbourne had this single listed for sale at AU$75.
Grantley's next two singles during '66 were a cover of Bobby Rydell's "Wild One", followed by the Johnny Burnette perennial "You're Sixteen", and HMV also released his EP and LP that year. Grantley recorded two more singles in 1967, "We Must Be Doing Something Right" (a duet with Little Pattie) and his final single for HMV, "It Hurts Me" His very last release, "Love Is A Happy Thing", was issued on Columbia in 1968. This is sometimes credited as being a second duet with Little Pattie, but Grantley kindly corrected this for us -- it was in fact a solo effort.
Concurrent with his singing career, Grantley continued DJ-ing at 3AK, hosting the drive-time shift from 3-5pm weekdays and 4-5pm Sundays during 1967-68. At the end of 1968 3AK announced that it would be expanding to 24-hour operation after years of restricted-hours broadcasting (for most of the 60s the station went off air at 5pm) and it was announced that Grantley would host the station's first all-night shift. How long he held this post is not known but he evidently left the station sometime during 1969.
In the late Sixties and into the Seventies, he fronted his own Grantley Dee Band which included famed musos Gil Matthews and Les Stacpool (guitar) (later replaced by Ron Leigh), Alan Turnbull (drums), John Vallins (bass) and Mick "The Reverend" O'Connor (keyboards). During 1970-71 he was vocalist in the Melbourne band Taurus, also with Gil Matthews. Grantley's solo career tapered off in the early seventies although he performed with two other Melbourne acts, Rock Steady and The Henchmen in 1973, neither of which made it to record.
Grantley Dee passed away on 7 February 2005.