Friday, 9 December 2016

Julie Anthony - 1975 - Hello In There FLAC

Hello In There/Light A Light/Sally/Without You/ Loving You/Lovers/Candle In The Wind/Here's That Rainy Day/My Elusive Dreams/I'm Your Song/For Old Love's Sake/Whispering Grass/ a.Goodnight b.Hello In There (Reprise)

Born 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, 8 December 2016

Eurogliders - 1983 - Pink Suit Blue Day FLAC

Jeepney Talk/Without You/Through Your Window/Laughing Matter/Darkest Hours/Get Me Out Of Here/Touching Me/On The Nightline/ Time/Magneto/Americans

Pink Suit Blue Day is the debut album by Australian indie rock band Eurogliders, released in 1982. Their debut single, "Without You", was released in June and peaked into the top 40 of the Australian Kent Music Report singles chart. A follow-up single, "Laughing Matter" in September did not chart into the top 50. Pink Suit Blue Day, produced by Englishman Lem Lubin, did not peak into the top 50 of the Australian Kent Music Report albums chart.

Guitarist and singer, Bernie Lynch (as Rip Torn) fronted a new wave band, The Stockings, in Perth, Western Australia in the late 1970s. He left in early 1980 to form Living Single with his domestic partner, UK-born vocalist, Grace Knight, which included Crispin Akerman on guitar, Don Meharry on bass guitar, Guy Slingerland on drums and Amanda Vincent on keyboards. By the end of 1981, drummer John Bennetts replaced Slingerland and the band changed their name to Eurogliders. They were signed by manager, Brian Peacock, to their first recording and publishing contracts with Polygram. They recruited Melbourne bass player Geoff Rosenberg to replace Meharry.

In late 1981, Eurogliders travelled to the Philippines capital of Manila, to start recording their first album, Pink Suit Blue Day, produced by Englishman Lem Lubin, which did not peak into the top 50 of the Australian Kent Music Report albums chart. From Manila, they relocated to Sydney where several tracks were re-recorded and the entire album was remixed. They released their first single in June, "Without You", which peaked into the top 40 on the Kent Music Report singles chart. A follow-up single, "Laughing Matter" in September did not chart into the top 50.

Johnny Farnham - 1997 - Memories Of Christmas FLAC

Santa Claus Is Coming To Town/Christmas Is/The Ringing Reindeer/Little Drummer Boy/Jingle Bells/Good Time Christmas/Christmas Happy/ White Christmas/The First Noel/Silent Night/ There's No Place Like Home/Little Boy Dear/It Must Be Getting Close To Christmas/ Everything Is Beautiful

Christmas Is... Johnny Farnham (later re-released twice as Memories of Christmas by Johnny Farnham, with different cover art, at the time of the album's release, he was now recording under John Farnham) is a studio album of Christmas songs recorded by Australian pop singer John Farnham (then billed as Johnny Farnham) and released on EMI Records in December 1970. The single, "Christmas Happy", was also released in December. The album was re-released under the new title of Memories of Christmas, on 13 November 1995 and again on 6 December 1997 with different covers and an altered track list each time.

Background Johnny Farnham's first #1 single on the Go-Set National Singles Charts was the novelty song "Sadie (The Cleaning Lady)" released in 1967. Selling 180 000 copies in Australia, "Sadie (The Cleaning Lady)" was the highest selling single by an Australian artist of the decade. His first Christmas song was a non-album single, "I Saw Mommy Kissing Santa Claus", in November 1968.[6] A cover of B. J. Thomas' "Raindrops Keep Fallin' On My Head" was released in November 1969 and peaked at #1 for seven weeks in January–March 1970. After his third album, Looking Through A Tear was released in July 1970, a non-album single, "Comic Conversation" was released in October and peaked at #10 on the Go-Set National Top 60 Singles Chart.[9] Farnham recorded his fourth album as Christmas Is... Johnny Farnham, it was released in December and contained Christmas songs but did not chart on the Go-Set National Top 20 Albums Chart. One of the songs, "Good Time Christmas", was written by Farnham. The single, "Christmas Happy", was also released in December.

Eurogliders - 1985 - Absolutely FLAC

Can't Wait To See You/The City Of Soul/What Kind Of Fool/So Tough/We Will Together/Absolutely/Jesse/Moving Away/Enough Love

Absolutely is the third studio album by Australian Indie pop, rock band Eurogliders, released in October 1985. It peaked at #7 on the Australian Kent Music Report albums chart and remained in the charts for 47 weeks, it spawned three top ten hit singles, "We Will Together" in April, "The City of Soul" in September and "Can't Wait to See You" in November. Two further singles, "Absolutely" and "So Tough" appeared in 1986.

Guitarist and singer Bernie Lynch (as Rip Torn) fronted a new wave band, The Stockings, in Perth, Western Australia in the late 1970s. He left in early 1980 to form Living Single, with keyboard player Amanda Vincent. Together, they recruited Crispin Akerman on guitar, Don Meharry on bass guitar and Guy Slingerland on drums through a series of advertisements. The following year, Grace Knight – Lynch's future domestic partner – joined as lead vocalist. By the end of 1981, drummer John Bennetts replaced Slingerland and the band changed their name to Eurogliders. They were signed by manager, Brian Peacock, to their first recording and publishing contracts with Polygram. They recruited Melbourne bass player Geoff Rosenberg to replace Meharry. In 1982, Eurogliders travelled to Manila, capital of the Philippines, to record their first album, Pink Suit Blue Day, produced by Englishman Lem Lubin, which did not peak into the top 50 of the Australian Kent Music Report albums chart. From Manila, they relocated to Sydney to release their first single in June, "Without You", which peaked into the top 40 on the Kent Music Report singles chart.

Eurogliders changed record labels from Polygram to CBS in 1983, they replaced bass guitarist, Rosenberg, with Scott Saunders and travelled to the UK in July. While there, they recruited bass guitarist Ron Francois, formerly of The Sinceros, The Teardrop Explodes and Lene Lovich. With this line-up they recorded This Island, produced by Nigel Gray (also worked with the Police) which was released in May and peaked at No. 4 on the Australian albums chart. The single, "Heaven (Must Be There)", also released in May, reached No. 2 on the Australian singles charts. Released several months later in North America, the single peaked at No. 47 in Canada, and at No. 65 on the US Billboard Hot 100 chart. The album peaked at No. 140 on the Billboard 200 chart. In Australia, "Heaven" was followed by a domino effect of two more top 10 hits, with "We Will Together" (No. 7, April 1985), and "Can't Wait to See You" (No. 8, November 1985). Their third album Absolutely, which peaked at No. 7, spent 47 weeks in the Australian charts. Between 1984 and 1986, Eurogliders toured Australia, the USA, Canada, Puerto Rico, Japan and New Zealand.

At the height of the band's success, Grace Knight and Bernie Lynch reconciled their relationship and were married in 1985 but the union was short-lived. Despite their marital separation, they stayed together in the band for another four years. Lynch and Knight dismissed Brian Peacock, and took over the band's management. 

In early 1987, journalists documented Lynch and Knight's claim that Bennetts, Francois and Vincent left the band voluntarily. Vincent went to London on a world tour with the Thompson Twins, and stayed in the UK to tour and co-wrote with Boy George. Francois became a session musician in Australia, while Bennets toured with Eartha Kitt, and later worked in the Educational IT industry before founding Monkeydrum Studios.

Reduced to a duo, Lynch and Knight recorded their fourth album (Groove) with session musicians, including Akerman. However, despite Akerman's presence on the album it was clear that Lynch and Knight by themselves were now the Eurogliders, as they were the only people pictured on the album cover or inner sleeve, or on any of the album's associated singles.

Groove peaked at No. 25 on the Australian charts in April 1988. The related single, "Groove" had peaked at No. 13 in February but the next singles, "It Must Be Love" in June, "Listen" in September and "Precious" in March 1989 did not reach the top 50.

For the album tour, Lynch, Knight and Akerman were joined by Guy Le Claire on guitar, Rex Goh on guitar (ex-Air Supply), Lindsay Jehan on bass guitar and Steve Sowerby on drums. Later in 1989, the Eurogliders disbanded. Akerman returned to his visual art background and became a painter, Lynch initially pursued a solo music career; while Knight became a successful jazz singer.

Eurogliders reformed in October 2005, with Grace Knight and Bernie Lynch using session musicians including former member, Rex Goh, and they released their fifth studio album, simply called Eurogliders and included the single, "Hummingbird", but neither album nor single peaked into the ARIA top 50 charts. They started touring again in April 2006 and performed on the Countdown Spectacular during June to August, which was a nostalgic tour of Australian bands from the 1970s and 1980s, as featured on the pop television show Countdown with its host Ian "Molly" Meldrum. In 2013, it was announced that the Eurogliders were expected to reform to support The Boomtown Rats on a planned reunion tour of Australia in May. However, the tour was cancelled due to poor ticket sales.

Wednesday, 7 December 2016

Dingoes - 1974 - The Dingoes FLAC

Come On Down/Boy On the Run/The Last Place I Wanna Be/Way Out West/Pay Day Again/Goin' Down Again/Aaron//My Sometime Lady/Sydney Ladies/Dingoes Lament

The Dingoes with John Lee on drums, Broderick Smith on lead vocals and harmonica, Chris Stockley on lead guitar, John Strangio on bass guitar, and Kerryn Tolhurst on guitar and mandolin, were formed in Melbourne in April 1973. Strangio left in August and was replaced on bass guitar by John Bois, who had been a member of Melbourne '60s pop band New Dream and was later a member (with Tolhurst) of Country Radio. The Dingoes combined R&B, country and rock 'n' roll with songs that used Australian themes and imagery.

The Dingoes were an early signing to the fledgling Mushroom Records label, it issued their debut single "Way Out West" which was jointly credited to Lee, Bois, Smith, Stockley, and Tolhurst although Bois' book confirms that the song was written by Tolhurst alone. A week before the single was released Stockley received a serious gunshot wound during an incident at a party in Melbourne that resulted in a two-month stay in hospital, initially described as an 'accidental shooting', according to music historian, Ian McFarlane's Encyclopedia of Australian Rock and Pop, Stockley was shot by notorious drug dealer Dennis Allen, who was trying to gate crash the party. An eight-hour benefit concert was held for Stockley on 4 November 1973 at Leggett's Ballroom, Greville Street, Prahran. While recuperating, Stockley was replaced by keyboard player Mal Logan (ex Healing Force, Carson), who stayed on, after Stockley returned, until the end of 1974.

Released in October 1973, "Way Out West" peaked into the top 40 on the Kent Music Report Singles Chart, and reached #26 in Melbourne, it became their signature tune. The Dingoes appeared at the third Sunbury Pop Festival in 1974, held on the Australia Day long weekend, and their performance featured on Mushroom's Highlights of Sunbury '74, released later that year. The same month, they recorded their self-titled debut LP, The Dingoes, which was produced by John French. Logan contributed keyboards on several tracks, including "Goin' Down" and "Sydney Ladies". "Way Out West" was later covered by James Blundell and James Reyne (ex-Australian Crawl) in 1992, their version peaked at #2 on the ARIA Singles Charts, Smith supplied harmonica for this version.

Lee left in May 1974 to join Ariel and was replaced on drums by Ray Arnott, (ex-Cam-Pact with Stockley, Spectrum, Mighty Kong). The Dingoes was released in June 1974, along with a second single "Boy on the Run", co-written by Stockley and Smith, which peaked at #24 in Melbourne but did not break into the top 50 nationally. The LP reached #24 on the Kent Music Report Albums Chart in July, it was the Federation of Australian Broadcasters' "Album of the Year" for 1974. A non-album single, "Smooth Sailing", written by Tolhurst, and backed with "Dingoes Lament" (an instrumental written by Bois), was released in October. During the year The Dingoes toured nationally with various artists including Bad Company, Leo Sayer, Bo Diddley, and Freddy Fender.

 Early in 1975, after appearing at the fourth Sunbury Pop Festival, The Dingoes received a phone call from expatriate Australian roadie Billy McCartney, who had seen them when visiting from the United States, where he had established himself as a tour manager for Elvis Presley and Rod Stewart. Returning to the US, McCartney recommended the band to Peter Rudge, who was then tour manager for The Rolling Stones and Lynyrd Skynyrd, and, after ten months negotiations, Rudge agreed to manage The Dingoes in the US.

The following months frustrated the band—with an expected summons from Rudge at any time, they were unable to commit to long-term tours or to recording—they lost valuable ground in Australia when they could have consolidated on the success of the LP and singles. Meanwhile, they provided two tracks, "Marijuana Hell" and the Percy Sledge cover "When a Man Loves a Woman" to the Various Artists live album Live at the Station which was released on Lamington Records in 1976. An American tour was finally arranged for mid-1976, by the time they arrived Rudge's attention was focused on Lynyrd Skynyrd. Just prior to leaving, Arnott quit the group by "mutual agreement" and Lee returned to the fold, meeting up with the band in North America. Arnott pursued a solo career and was later with Renée Geyer Band, Cold Chisel, and Jimmy Barnes.

The Dingoes signed a two-album deal with US-based, A&M records, on recommendations from McCartney and Rudge, and undertook three months of rehearsals in Canada, then headed for the US, where they set up base in Mill Valley, Northern California, at the start of 1977. They recorded tracks for their A&M album, Five Times the Sun, in San Francisco during January and February, produced by Elliot Mazer (Janis Joplin, Neil Young), with session contributions from keyboardists Nicky Hopkins and Garth Hudson; it featured liner notes by author Emmett Grogan. Five Times the Sun, which peaked at #25 on the Australian albums chart in August, included re-recorded versions of tracks from their first album. "Way Out West" and "Smooth Sailing", released in September, as a double A-single in Australia, did not peak into the top 50 Soon after, band members were granted their prized green cards, allowing them to base themselves in US, in their two-year stay they toured 40 states by road. A serious blow to the band's future came on 20 October when several members of proposed tour mates, Lynyrd Skynyrd, were killed in a plane crash, a tragedy which destroyed the morale of The Dingoes' management team.

 Stockley left the band and returned to Australia in early 1978, initially he joined Greg Quill's new band Southern Cross, and later founded Stockley, See & Mason. He was replaced in The Dingoes by American session guitarist Andrew Jeffers-Hardin, the group had moved east and settled near Woodstock, in upstate New York. In mid-1978, they recorded a third album, Orphans of the Storm, at New York's famed The Hit Factory, and continued to tour around the US until late 1978, but their efforts to enter the US record charts were unrealised. Orphans Of The Storm was released in February 1979, along with a final single, "Into the Night", but by this time Smith had returned to Australia and The Dingoes had split. 

Friday, 2 December 2016

Billy Thorpe And The Aztecs - Best Of FLAC

Over The Rainbow/I Told The Brook/About Love/Hallelujah, I Love Her So/Twilight Time/Baby, Hold Me Close/My Girl Josephine/That I Love/Funny Face/Don't Cha Know/Sick & Tired/Mashed Potato

 Billy Thorpe and the Aztecs were an Australian pop and rock group dating from the mid-1960s. The group enjoyed success in the mid-1960s, but split in 1967. They re-emerged in the early 1970s to become one of the most popular Australian hard-rock bands of the period. Thorpe died from a heart attack in Sydney on 28 February 2007.

Originally a four-piece instrumental group who had put out one surfing instrumental, "Smoke & Stack", they formed in Sydney in 1963. With the advent of the Merseybeat sound, they added a lead singer, Billy Thorpe. His powerful voice and showmanship (which made him one of the most popular and respected rock performers in Australian music), completed the original line-up, which consisted of drummer Col Baigent, bassist John "Bluey" Watson and guitarists Valentine Jones and Vince Maloney (who later played with The Bee Gees). Valentine Jones left the band shortly after Billy Thorpe had joined and was later replaced by Tony Barber.
Chart success

 The group broke through in mid-1964 with a massive nationwide hit, their cover of the Leiber and Stoller classic "Poison Ivy", which famously kept The Beatles from the No. 1 spot on the Sydney charts at the very moment that the group was making its first and only tour of Australia—a feat which resulted in Thorpe being invited to meet the Fab Four at their hotel. Over the next twelve months the band reigned supreme as the most popular 'beat' group in Australia, scoring further hits with the songs "Mashed Potato", "Sick And Tired" and "Somewhere Over the Rainbow", until they were eclipsed by the emergence of The Easybeats in 1965. The band's recording success confirmed Albert Productions, their recording company, with its worldwide distribution deals through EMI and Parlophone, as one of the most important in Australia's embryonic pop industry.

During 1965 the original Aztecs quit after a financial dispute, so Thorpe put together a new five-piece version consisting of drummer Johnny Dick, pianist Jimmy Taylor, guitarists Colin Risbey and Mike Downes and NZ-born bassist Teddy Toi. This group performed until 1966, scoring further hits with "Twilight Time", "Hallelujah I Love Her So", "Baby, Hold Me Close", "Love Letters" and "Word For Today".

Thorpe went solo in 1967 and for a brief time hosted his own TV show, It's All Happening, but personal problems and a widely publicised bankruptcy brought this phase of his career to an end in 1968. Thanks to Don for the FLAC Files.

Tuesday, 29 November 2016

Southern Cross - 1976 - Southern Cross FLAC

Money Maker/You Need It/ Jessie/What Am I Waiting For/Harris Street/Story Teller/Games/Stormy Lady

Sydney-based hard rock band Southern Cross had its roots in heavy progressive rock pioneers Buffalo. John Baxter had been sacked from Buffalo at the end of 1974. Baxter's savage guitar work had virtually defined the Buffalo sound and approach; his departure robbed the band of its most distinctive feature and boldest asset. The band's spirit simply faded thereafter.     Original line-up: Alan Milano (vocals; ex-Buffalo), John Baxter (lead guitar; ex-Head, Buffalo), Michel Brouet (bass, vocals), Jeff Beacham (drums)


Initially Baxter formed Boy Racer before teaming up with original Buffalo singer Alan Milano in Southern Cross. Baxter wrote much of the band's early live set, although he left six months after formation. Eighteen-year-old Bruce Cumming replaced Baxter on guitar. Alongside the likes of Finch, The Angels, Kevin Borich Express, Rose Tattoo and Chariot, Southern Cross swiftly became one of the most popular hard rock bands on the Sydney scene. Southern Cross signed to the independent Living Sound/Laser label and issued its debut single, `Stormy Lady'/`Queen of Rock'n'Roll', at the end of 1976. The funky, bluesy and heavy `Stormy Lady' was a good indication of the band's over-the-top style. The band's self-titled debut album (1977) featured melodic, raunchy hard rock in the vein of Billy Thorpe and the Aztecs and UK band Bad Company. It mixed flat-out, riff-rockers (`You Need It', `Money Maker', `Stormy Lady') with moody rock ballads (`Jesse', `Story Teller' and `Games').

The album scored only minimal sales, despite its strong points. By 1978, Southern Cross had broken up and Cumming and Brouet moved on to The Press. Steve Kot (vocals) and Rick Doolan (drums) completed the line-up.

Also included in this post as a bonus is a rehearsal tape from June 1976. Thanks to Tom for the FLAC Files.

Monday, 28 November 2016

Lana Cantrell - 1967 - And Then There Was Lana

 Isn't This A Lovely Day/I Will Wait For You/If You Go Away/ Let Yourself Go/I'm All Smiles/Stay/Nothing Can Stop Me Now/ I've Got A Penny/Breakfast At Tiffany's/Since I Fell For You/A Man And A Woman

Impassioned Australian singer Lana Cantrell, who found international success in the 1960s and 1970s, did not do things the easy way. A self-taught singer with no formal training, the tall, trim, shaggy-haired beauty entered the music industry and, for the duration of her career, remained true to her own vision and uniqueness every step of the way.

She was born on August 7, 1943, in Sydney, Australia, and grew up in a home filled with music. Her father, a jazz musician, was a tremendous influence and she displayed prodigious musical gifts from a very early age. Singing and playing the piano at the Sydney Town Hall by age 10, she became a viable entertainment name on the concert stage and TV by her late teens. Lana had ambitions, however, that extended far outside of her native Australia. At age 19, long before phenom Helen Reddy put Australia on the Billboard singing map in America with her #1 "I Am Woman" feminism, Lana was chartering American waters seeking her fame and fortune.

Her career began slowly in America, yet her determination and love for performing never wavered. Perhaps too quirky for mainstream stardom, she evolved into a popular marquee headliner especially on the night club and TV circuits. With the trendy, angular, slightly awkward looks of a Twiggy, with her boyishly cropped hair and large eyes, she was a highly emotive belter/chanteuse often compared to a Barbra Streisand, Liza Minnelli, Eydie Gormé or Lainie Kazan. Lana played nearly every Las Vegas hotel on the strip during her prime and wound up appearing on Ed Sullivan's popular variety show a whopping 15 times. A foreign import favorite on a host of variety show formats including "Kraft Music Hall Presents" and Red Skelton's weekly series, she served as a vibrant opening act for such stars as Jerry Lewis on the road.

Lana moved strongly into the recording arena with seven albums/CDs recorded for RCA. With such titles as "Another Shade of Lana," "Lana!" and "Act III: Lana Cantrell," a number of her singles found status back in Australia, but her Billboard charting in America was not a success. One of her songs, "Like a Sunday Morning," reached #63 in 1975. Her taste was eclectic for the changing times yet each had her own personalized stamp on them -- "I'm All Smiles," "Since I Fell for You," "If You Go Away," "I Will Wait for You," 'I'll Build a Stairway to Paradise," "What Now My Love," "Steppin' Out With My Baby" and "When You Wish Upon a Star". For every nostalgic "Yes, Sir, That's My Baby" on an album, one could also find an odd, contemporary version of a rock song such as "The House of the Rising Sun". She wasn't ahead of her time or behind the times; she merely sang and swayed to her own beat and style, refusing to be pigeon-holed. Many would say that made her relevant for all times. 

Lana spread her wings to include musical theatre as well, playing the role of Dorothy in a 70s stage version of "The Wizard of Oz" alongside baritone star Alfred Drake. But she was at her best on the concert/festival circuits and she performed all over the world -- from New York's St. Regis and Waldorf-Astoria hotels to the Sydney Opera House.

The never-married singer is a dedicated yoga disciple and, sports-wise, was once the table-tennis champion of New South Wales. Never one to be pinned down to any single interest, Lana retired from singing in 1988 (age 45) to pursue a law degree. She now practices entertainment law in New York. In 1996 she made an isolated singing appearance at the Sydney Festival Club to much public clamor, and has since showed up on a rare occasion.

Saturday, 19 November 2016

Frankie Davidson - 1977 - Music FLAC

Music/Wedding Vows/Happy Anniversary/ In The Mornin'/ Rainy Sundays/What I Did For Love/ Jezabel/Do I Love You/Da Do Da Dum Dum Dum/European Flowers/You're Breaking My Heart Cos You're Leaving/Happy

 Frankie was born in the Melbourne suburb of Black Rock and began singing to amuse his fellow servicemen. By the mid-fifties he had become a regular featured vocalist at the Ziegfeld Palais Ball Room in Melbourne. Frankie worked there with Max Bostock and his Rockets. He also recorded a series of rock’n’roll EPs on the Dance Land label. Then, in 1959, Frankie was snapped up by W&G Records. In 1961 he found his niche with ‘Yabba Yabba Doo’, which entered the charts in December. This was followed by what probably became his signature tune, ‘Have You Ever Been To See King’s Cross?’ The song achieved national acclaim for Frankie and made a mockery of the short-sighted Melbourne/Sydney rivalry of the period. After all, a Melbourne singer performing a song about an area of Sydney in 1962 was strange. In 1970 he began recording for the Fable label and produced his biggest selling single, ‘Gimme Dat Ding’, followed by ‘Ball Bearing Bird’. Frankie had also become an accomplished actor appearing in dramas such as Matlock Police, Homicide and the ABC’s production of Dynasty. In 1975 he switched to M7 Records and released an album called A Generation Of Children’s Hits. Frankie certainly made his mark with clever novelty material. Songs that followed included ‘Hector The Trash Collector’ and ‘50,000,000 Blowflies Can’t Be Wrong.

  The mid 80s saw Frankie take a new tact, releasing his first country abum with `Australian Born, Australian Bred’ which included `Hope Your Chooks Turn Into Emus and Peck Your Dunny Down’ – a hit on both the pop and country charts around the country. The show business stalwart, who in the past decade has worked diligently on improving his vocal talents which span from baritone to tenor, believes his efforts were rewarded with the 1992 MO Award nomination for Male Vocalist of the Year. “I changed from Versatile Variety Performer in 1976 to Male Vocalist in 1992 – which shows people are paying more attention to that side of my work.”

Tuesday, 8 November 2016

Richard Clapton - 2004 - Diamond Mine FLAC

Obsession/Some Sunny Day/Bomb the Bomb/Diamond Mine/High as the Heavens/The Simple Things/Head Full of Rain/Paradise Drive/Zweite Neon/ The Dark End of the Road/Tides of Time/What Does It Take to Get Lucky/All Stand Together

In a career spanning thirty-two years and eighteen fantastic albums, Richard Clapton has earned himself a very special place in the history of Australian contemporary music. A singer/songwriter who combines masterful poetic insight with a passionate rock ‘n’ roll heart, he has articulated the hopes and dreams – and the disappointment and disillusionment – of a generation of Australians. With the dedication of a true artist, he has mapped out the landscape of the human heart.

Richard Clapton is indisputably one of the most influential figures in Australian rock history. Respected by peers and critics alike for his finely-honed abilities as a musician and songwriter, he has also kept up a steady flow of hits and a loyal live following over the past two decades. He stands among a very small group of songwriters who have created timeless classics; songs which explore and reflect upon the realities of contemporary Australia, remaining fresh and relevant years after they were written.

The fact that so many of his songs are still heard on Australian radio stations every day is proof of the enduring qualities which make his music so special. The titles say it all, from Girls On The Avenue, Capricorn Dancer and Deep Water, through to Down In The Lucky Country, The Best Years Of Our Lives and I Am An Island, Richard has never stopped creating brilliant music. In recent years, he has continued to impress with songs like Angelou, Trust Somebody, Glory Road, Distant Thunder and Oceans of the Heart. Clapton spent four years writing and recording the album, Diamond Mine, at his home studio, a process he described as the most creatively liberating experience of his recording career. It was released in May 2004—eight years after his previous studio album—but did not chart.

Richard Clapton - 1982 - The Great Escape FLAC

I Am an Island/Universal/Spellbound/Flow in Motion/The Best Years of Our Lives/Syncopation Train/I Fought the Law/All Night Long/Walk on Water

Australian singer/songwriter Richard Clapton played with several bands during the late '60s and '70s as he traveled across Europe before returning to Australia in 1972 to begin his solo career.

His debut single, "Last Train to Marseilles," released in October 1972, was not commercially successful and he joined the jazz-rock band Sun for a six-week stint. His debut album, Prussian Blue, was released in November 1973, but his first chart success was with the single "Girls on the Avenue," which reached number two nationally in March 1975. He released the Girls on the Avenue album followed by the album Main Street Jive in July 1976. A European tour followed at the end of the year. Clapton's contribution to the 1977 Highway One soundtrack album, "Capricorn Dancer," peaked at number 20.

Clapton's third album, Goodbye Tiger, was released in August 1977 and is considered one of his finest works. It peaked at number five nationally during November. The next year was spent touring and recording in Los Angeles. Two tracks from the American sessions, "Steppin' Across the Line" and "When the Heat's Off," appeared on the compilation album Past Hits and Previews, released in November 1978. Clapton's American-recorded album Hearts on the Nightline peaked at number 17 and kicked off a national tour. Dark Spaces was released in 1980 and was dedicated to his rhythm guitarist, Andrew Durant, who died in June. Clapton sang three tracks on the Andrew Durant Memorial Concert album of 1981.

The Great Escape
A new record deal with WEA in 1982 produced The Great Escape, which peaked at number seven in March. The single, "I Am an Island," peaked at number 20 while the compilation album, The Very Best of Richard Clapton, peaked at number 15 during the same time. Another national tour followed which included bassist Garry Gary Beers and drummer Jon Farriss from INXS as part of his backing band; an association that began when Clapton produced their 1981 album, Underneath the Colours. In 1983, Clapton joined the Party Boys for a short time and appeared on their Greatest Hits (of Other People) album. In 1984, Clapton released his next solo album, Solidarity, and again toured the country. Glory Road followed in 1987, produced by Jon Farriss in return for Clapton's work on Underneath the Colours.

In September 1989, The Best Years of Our Lives, a live album recorded on April 16, 1989, was issued. The next four years were spent undergoing contractual difficulties until Clapton signed a five-album deal with Sony. Between record deals, Clapton remained popular on the touring circuit and went on to release Distant Thunder in 1993 and Angeltown in 1996. In 1982 he signed with WEA and the Mark Opitz-produced The Great Escape had contributions from members of Cold Chisel and INXS. The album, which peaked at No. 8 in March, spawned three singles. The hard-rocking "I Am an Island", with Cold Chisel's Ian Moss on guitar and Jimmy Barnes on backing vocals, reached the top 20. Two other singles, "Spellbound" (April) and "The Best Years of Our Lives" (September) did not chart in the top 50. In May, WEA released his compilation, The Very Best of Richard Clapton, which reached No. 18 with The Great Escape still in the top 20.

Saturday, 5 November 2016

Australian Crawl - 1985 - Two Can Play 12" FLAC

Two Can Play (7'' Version)/Two Can Play (12'' Extended Mix)/Two Can Play (Instrumental)

 Australian Crawl (often called Aussie Crawl or The Crawl by fans) were an Australian rock band founded by James Reyne (lead vocals/piano), Brad Robinson (rhythm guitar), Paul Williams (bass), Simon Binks (lead guitar) and David Reyne (drums) in 1978. David Reyne soon left and was replaced by Bill McDonough (drums, percussion). They were later joined by his brother Guy McDonough (vocals, rhythm guitar). The band was named after the front crawl swimming style also known as the Australian crawl.

Australian Crawl were associated with surf music and sponsored a surfing competition in 1984. However, they also handled broader social issues such as shallow materialism, alcoholism, car accidents, and cautionary tales of romance. 

 Between a Rock and a Hard Place was the final studio album from Australian rock band Australian Crawl. It was produced by English producer Adam Kidron (Ian Dury, Cabaret Voltaire, Aztec Camera). The album was initially released by Freestyle Records on vinyl and reached #11 on the ARIA album charts but slipped out of the top 40 two weeks later. The album was subsequently re-released on CD in 1997.

When the album virtually failed to chart, the band was ready to split but had to go out on tour for the next year to pay off the enormous $400,000 cost of producing the album. After completing their national tour of Australia in January, 1986, the band split up. Australian Crawl released a successful live album, The Final Wave, on the Freestyle Record label, towards the end of October, 1986.

 There were four singles lifted from the album, "Two Can Play"/"Two Can Play" (released June, 1985), "If This Is Love"/"You Told Me" (released September, 1985), "Trouble Spot Rock"/"Newly Weds In The Morning" (released November, 1985) and "Two Hearts"/"Across the Way" (released January, 1986).

All the singles failed to have significant chart success with "Two Can Play" reaching #44 and only remaining in the charts for nine weeks, "If This Is Love" peaking at #87 and remaining for three weeks, whilst "Trouble Spot Rock" reached #69 and stayed in the charts for four weeks.

Thursday, 3 November 2016

Martin Plaza - Concrete and Clay 12" FLAC

Concrete & Clay [Extended Mix]/Concrete & Clay [7'' Version]/I Could Be So Good

  Martin Plaza is the pseudonym of Martin Edward Murphy (born 1 January 1956), who is a vocalist/guitarist/songwriter with Australian pop/new wave band Mental As Anything. Plaza also has a solo music career and in 1986 had a No. 2 hit in Australia with his cover of the 1960s Unit 4+2 song "Concrete and Clay". Plaza has worked in other bands and is an accomplished artist.

Plaza was born Martin Murphy on the North Shore of Sydney. He attended St. Pius X at Chatswood, excelling in sporting and artistic pursuits but showing little interest in other subjects. After attending Hornsby Technical College he switched with fellow student Steve Coburn to what was then known as the East Sydney Technical College (now known as the National Art School) in Darlinghurst in the mid-1970s where he met Chris O'Doherty. Around this time he was working part-time at KFC. With O'Doherty (later known as Reg Mombassa), Coburn and another student, David Twohill, he formed the pop/rock band Mental As Anything in May 1976. Mental As Anything went on to become one of Australia's most popular bands touring widely in Australia and overseas.

 All early members of Mental As Anything are also artists and have exhibited their artworks since 1982. Whilst not being as acclaimed as Mombassa or Reg's brother Peter O'Doherty, Plaza has certainly become quite prolific in recent years, holding numerous solo exhibitions working with a variety of media and has entered the Archibald Prize, notably with a self-portrait and a portrait of Mombassa. In the mid-1990s his artwork appeared on his own line of Dodgy brand clothing as well as his designs appearing on Mambo clothing. Many of Plaza's artworks have had a Hawaiian or Hula flavour.

In the early days of Mental As Anything, band members would often invent pseudonyms for each other that combined an exotic last name with a common Australian first name. Martin Plaza was one of the products of that amusement whilst obviously being inspired by the famous Sydney pedestrian mall Martin Place. He has in the past jokingly stated that his full name is Martin DeJesus Plaza.


In 1986 Plaza performed with The Rock Party, a charity project initiated by The National Campaign Against Drug Abuse (NCADA), which included many Australasian musicians such as Crowded House members Neil Finn, Tim Finn, Paul Hester and Nick Seymour; GANGgajang members Geoff Stapleton, Robbie James and Mark Callaghan; Models members Jenny Morris and Sean Kelly; Reg Mombassa (Mental As Anything), Eddie Rayner, Mary Azzopardi (Rockmelons), Andrew Barnum (The Vitabeats), Lissa Barnum, Michael Barclay, Peter Blakely, Deborah Conway, Danny De Costa, Greg Herbert (The Promise), Spencer P Jones, John Kennedy, Paul Kelly, Robert Susz (Dynamic Hepnotics) and Rick Swinn (The Venetians). The Rock Party released a 12" single "Everything to Live For", which was produced by Joe Wissert, Phil Rigger and Phil Beazley.

In 1986, Plaza had a No. 2 hit in Australia with the 1960s Unit 4+2 song "Concrete and Clay", the subsequent solo album Plaza Suite also charted. Further singles were not as successful. In 1991 another planned solo album morphed into a collaboration with former member of Models, James Freud. Entitled Beatfish, it became one of the very first Australian Dance or House flavoured albums. Another surprising turn was his 1994 album Andy's Chest. Composed almost entirely of Lou Reed covers, it divided critics at the time. Another collaboration with Freud in 1996 produced the Hawaiian inspired Moondog project however Plaza only appears on some tracks.

Wednesday, 2 November 2016

The Dedikation - 1969 - The Dedikation

Greenburg, Glickstein, Charles, David Smith & Jones/Here Comes Jane/Be a Woman/ Barefootin'/Roly/ Season of the Witch/Wait for Me Mary-Anne/Travelling Circus/Pretender/Ruby Tuesday/Reach Out/Mr Dieingly Sad

The Dedikation were originally formed in the Upper Hutt around 1967, with the original drummer Michael Parlane being replaced by Bruce Whitelaw when they turned professional.

Their first single was released in 1969 and was a huge hit. It was "Wait For Me Maryanne"/"Sally Had A Party" and reached number 2 on the national charts. "Maryanne" was a far superior cover of the original song by the Marmalade from 1968. The Marmalade version lacks the depth of sound that the Dedikation managed to give it.

The song was a monster and few bands are capable of following up such a hit with another smash. Their second single was "Hayride"/"Barefootin'" and didn't even make the charts. The third single, a cover of the Rolling Stones did better. It was "Ruby Tuesday"/"Be A Woman" and reached number 12 on the national charts in 1970.

One self-titled album was released in 1969 and by 1970 the Dedikation had called it quits.

    Ray Mercer (Lead Guitar)
    Graeme Collins (Keyboards / Vocals)
    Graham Harvey (Bass Guitar)
    Bruce Whitelaw (Drums)

Tuesday, 1 November 2016

Airlord - 1977 - Clockwork Revenge ( 2004 Rem.) FLAC

Clockwork Revenge/Pictures In A Puddle/Ladies Of The NightEarthborn Pilgrim/Out Of The Woods/ Is It Such A Dream/You Might Even Be

Airlord was formed in Wellington in 1976, played the pubs and flew to Australia the following year, recorded an excellent albeit ignored album, "Clockwork Revenge", and disbanded in 1978. The group failed to secure a large New Zealand audience, largely because they performed original material. Airlord had to escape to Australia to earn a decent living, and although they were never a top draw card across the Tasman, their lifespan was a lot longer than had they stayed in New Zealand.

    Steve MacKenzie (Guitar / Vocals)
    Ray Simenauer (Guitar / Vocals)
    Brad Murray (Bass / Vocals)
    Alan Blackburn (Keyboards)
    Rick Mercer (Drums)

There seems to be two main singing voices, one of whom sounds like an early Peter Gabriel on steroids, while the other is a plummy tenor akin to Ray Thomas. Fortunately, the latter is the more prominent, and with some excellent rich high harmonies the Moody Blues comparison is quite striking, nowhere more than the superb Out Of The Woods. Guitars dominate the instrumentation, often with acoustic varieties providing excellent rhythmic support. Both guitarists get the chance to shine with some excellent lead runs and solos, though just occasionally a little extra spark of inspiration would come in handy. Keyboards largely fulfill a background role, mostly filling in the gaps, but the rhythm section is very good and the bass is especially inventive and forward in the mix.

 The standout songs are also the two longest - Ladies Of The Night and Out Of The Woods - each succeeding in combining wonderful songwriting with changeable 'symphonic' arrangements and scintillating rock-guitar work-outs. A couple of masterpieces there, and the rest of the album isn't far behind, except perhaps for the story-telling opening track which tries much too hard to recreate the battle of Epping Forest with overblown vocal theatrics! The finale (You Might Even Be) returns to a similar style but is more successful in marrying the theatrics with a strong sense of melody.

Despite the Gabriel-like vocals, this is no Genesis clone but an interesting, superior venture into their territory, quite at home with the likes of Fantasy or England. Had it been produced five years earlier it may well have made an impact. In retrospect, a terrific album that will appeal to lovers of Classic Prog and well worth the effort to seek it out.

Friday, 28 October 2016

L!ttle R!iver Band - 1983 - The N_et FLAC

You're Driving Me Out Of My Mind/We Two/No More Tears/Mr Socialite/Down On The Border/The Danger Sign/Falling/Sleepless Nights/Easy Money/The Net/One Day (Bonus Track)

The Net is the seventh studio album by Little River Band, which was released in May 1983. It marks what has become historically, the major crossroad in the band's musical direction. There stand several significant factors surrounding this record – it contained the band's last two singles to reach the Top 40 on the Billboard Hot 100 in the United States, with "We Two" reaching No. 22 and "You're Driving Me out of My Mind" peaking at No. 35. The album peaked at No. 11 on the Australian Kent Music Report albums chart and No. 61 on the Billboard 200.

The Net was their first full studio release to feature John Farnham as new lead vocalist replacing Glenn Shorrock and Stephen Housden taking up the mantle of lead guitarist – it is also the last album featuring original members Beeb Birtles (who permanently left the line-up after the US Tour in support of its release) and Derek Pellicci, who would rejoin the band in 1987.

 Guitarist Beeb Birtles didn't want John Farnham to replace Glenn Shorrock as lead singer of Little River Band initially. 'We were already under fire for being a middle of the road band, and the last thing we needed was someone who would bring an even more middle of the road type presentation as lead singer. I think the band was doomed from the time John joined because Capitol Records in the US didn't like
John's voice.'
The band's manager, Glenn Wheatley, fought very hard for Glenn Shorrock to stay, recalls LRB's father-figure Graham Goble. 'Wheatley believed that if Shorrock left LRB, it would be the end. But I knew if there wasn't a change, there wouldn't have been any more LRB anyway. It was a choice between changing lead singers or breaking up completely. Given that choice -why not change to the most gifted singer in the business?'
But why was Down Under's most successful band changing course after going further than any other Australian act in that toughest music market of all - America? What the fans hadn't realised was that by 1981, the facade of success was beginning to slip from LRB. Record sales were stalled, the tours were high-tech and ferociously expensive and still the band hadn't cracked that elusive US No. 1 single and the public seemed to be tiring of smooth Eagle-style harmonies and were looking for a sharper edge to their music. And there was tension on the road and in the studio between brilliant, driven musicians like Birtles and Goble and the laid-back, tomorrow's-another-day Shorrock. Beeb claims the band's irritation with Shorrock peaked while they were recording the 'Time Exposure' album in Monserrat. 'Shorrock had reached the stage in his career where he didn't want to try any more ... perhaps it was a form of midlife crisis. I'd had enough of people complaining to me about Glenn, but no one saying anything at band meetings.

  I think to this day Shorrock still holds me responsible for being the instigator, the first to say, "Look, mate I can't work with you any more". For the sake of the band, something had to be done. It was either that or other people might have left. Once I'd said it, other voices started piping up and supporting what I said.'
Graham Goble was also looking for a 'new shot of energy'. 'Creatively [with Shorrock] we felt in a bind ... we wanted to grow in all sorts of areas that the public wouldn't let us do under the guise of LRB.' Beeb, having led the charge to rid the band of its lead singer, saw no need to rush into a decision on a new singer and was surprised when the others began discussing John Farnham as the man most likely to succeed. But Graham and drummer Derek Pellicci, who had also worked on 'Uncovered', were keen on John Farnham. Graham admits to having always been a fan of John's, 'there is no singer in the world who could do more with their voice from a technical point of view... and he is also one of the best harmony singers on the planet. When we were looking at LRB, the question was, could he sing the harmonies? Not only could he sing them, but also he could sing them incredibly well. The vocals we sang on 'Playing to Win', 'The Net' and the 'No Reins' albums [the three LRB albums with John Farnham's name on the credits] are the most exciting I've ever been involved with because they were done so quickly, but with so much energy.'
In February 1981, John was holidaying at Sorrento, south of Melbourne, with Jillian and Robbie when Glenn Wheatley phoned and put the offer to him to join the band at 10.30 p.m. John went back to the kitchen, opened a bottle of wine, and sat down with Jillian; they talked about the move until 4 a.m. or so. He returned to Melbourne that morning, attended a band meeting at 11 a.m. and was in the studio at noon.
 Why did John Farnham choose LRB, just when his career was coming off hold, after a moderately successful album, 'Uncovered', a popular single in 'Help', and a rousing pub tour with his first band? To an extent, it was security; his first child had recently been born and what appeared to offer a regular and possibly handsome income was attractive to someone recently burdened by a couple of heavy financial blows; LRB seemed to offer a secure fast-track into the mainstream world of rock and roll; John's first exposure to the stadium crowds that LRB commonly played to would be great experience and, besides, he had seen them perform and he believed it to be one of the best live bands in the world. 'It was a hot band. Hot, hot, hot.' Then there was the credibility factor: John simply did not feel credible on the wilder side of popular music.
Fame had come so quickly, so easily and with a song that was a joke among his peers. How many other singers could say they'd left their job two days before a single came out and three weeks before it was a national hit? In short, John felt he'd never had to work for fame. 'I spent years buzzing around and seeing all these poor buggers living in one house with one pair of shoes between them and I always felt fairly guilty that I hadn't had to pay any dues.' LRB might just be the first step in settling the account.
Graham Goble told John that as Glenn Shorrock was going out the door after that last fateful band meeting, he turned to the room and said, "I think you should get Farnham". 'If that's true, it's nice,' said John. 'Glenn and I are good mates, though we don't see each other that much. There was no animosity there.' And he's keen to debunk the theory current at the time that Glenn Wheatley had taken him on to be groomed as a replacement for Shorrock. 'That wasn't the case in my mind. There had been a lot of in-fighting for a number of years and I understand that it got to the stage where they made the albums with one member at a time in the studio because no one would talk to anyone else. But that's the case with a lot of bands and some are very successful.'

 The songs for 'The Net' were already chosen. John's only input was to harmonise and take care of some of the lead vocals. 'I had no input because the songs were already in place. But I thought, "What the hell, let's see what happens".' It was one of the last times in his professional life that John Farnham was to adopt such an easy-going attitude to his career. His years with LRB, which were to prove the coalface of rock 'n' roll, would make him tough, wary and, for the first time, his own man. [Extract from 'Whispering Jack: The John Farnham Story' by Clark Forbes, Hutchinson Australia 1989. p89-90]  

Thanks to AussieRock for the extract.

Billy Thorpe - 1974 - Million Dollar Bill FLAC

Back On The Street Again/Drive My Car/ I Really Miss You/ It's Almost Summer/Do The Best You Can/Theme From Million Dollar Bill/Mama Told Her/Standin' Too Close To The Fire/Don't Need No Protection

William Richard "Billy" Thorpe, AM (29 March 1946 – 28 February 2007) was an English-born Australian pop / rock singer-songwriter, producer,and musician. As lead singer of his band Billy Thorpe & the Aztecs, he had success in the 1960s with "Blue Day", "Poison Ivy", "Over the Rainbow", "Sick and Tired", and "Mashed Potato"; and in the 1970s with "Most People I Know Think That I'm Crazy". Featuring in concerts at Sunbury Pop Festivals and Myer Music Bowl in the early 1970s, the Aztecs also developed the pub rock scene and were one of the loudest groups in Australia.

Thorpe also performed as a solo artist; he relocated to the United States from 1976 to 1996 where he released the space opera Children of the Sun, which peaked in the top 40 of the Billboard Pop Album chart in 1979. He worked with ex-Aztec Tony Barber to form a soft toy company in 1987 and co-wrote stories for The Puggle Tales and Tales from the Lost Forests. Thorpe also worked as a producer and composed music scores for TV series including War of the Worlds, Star Trek: The Next Generation, Columbo, Eight Is Enough and Hard Time on Planet Earth.

Thorpe returned to Australia in 1996 and continued as a performer and producer, additionally he wrote two autobiographies, Sex and Thugs and Rock 'n' Roll (1996) and Most People I Know (Think That I'm Crazy) (1998). According to Australian rock music historian Ian McFarlane, "Thorpie evolved from child star, beat pop sensation and cuddly pop crooner to finally emerge as the country's wildest and heaviest blues rocker Thorpie was the unassailable monarch of Australian rock music". Thorpe was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame in 1991. He died of a heart attack in February 2007 and was posthumously appointed a Member of the Order of Australia in June for his contribution to music as a musician, songwriter and producer.


In early 1975 Billy disbanded The Aztecs to lay plans for his move to the USA. By that stage, Thorpie no longer saw himself as the manic blues rocker. He had cut his hair and dispensed with the faded denims for more stylish attire, and was not content to sit on his laurels. His next two albums, Million Dollar Bill and Pick Me Up and Play Me Loud, featured a sophisticated mix of funk, Adult Oriented Rock (AOR), country and blues with a definite American slant. Million Dollar Bill produced the delightfully breezy single 'It's Almost Summer'/'Drive My Car' (November 1975) which was a minor hit in Melbourne and Sydney (#39). 'Do the Best You Can'/'Mama Told Her' (March 1976) was the second single. The basic line-up on the album was Thorpe, Matthews and New Zealander Billy Kristian (bass; ex-Max Merritt and the Meteors), aided by the likes of Warren Morgan (keyboards, by then a member of John Paul Young and the All Stars).

Thursday, 27 October 2016

Brian Cadd - 1998 - Live at Crown FLAC

Ya Mama Don't Dance/Every Mothers Son/Let Go/Steppin' Out/Don't You Know It's Magic/Tear Down The Barricades/Arkansas Grass/Little Ray of Sunshine/Ginger Man/Silver City Celebration Day/Keep On Rockin'

  Born in Perth, Western Australia, Brian moved to Melbourne just as the Beatles phenomenon hit Australia.
He joined “THE GROOP” in 1966 and wrote all of their many hit singles and albums including WOMAN YOU’RE BREAKING ME and SUCH A LOVELY WAY. 

                                                                                                    The Groop Brian is on the far right

 Upon their demise, he formed AXIOM, Australia’s first “supergroup” with Glenn Shorrock who was later lead singer of THE LITTLE RIVER BAND. He once again penned all of Axiom’s hits before the band broke up in England in 1969. These include ARKANSAS GRASS, LITTLE RAY OF SUNSHINE and MY BABY’S GONE.
Returning to Australia he LAUNCHED a rock label called BOOTLEG RECORDS in 1972 and Brian ran the label as well as being its first artist. The label became the most successful Independent Record Company in the history of Australian popular music up to that time. The next few years saw many gold and platinum records as a solo artist and an array of prestigious awards for film scores, title songs and TV themes.  In addition, he produced many acts and wrote and produced some of Australia's most successful advertising music. Hits from this era include: GINGER MAN, LET GO, DON’T YOU KNOW ITS MAGIC. MAMMA DON’T DANCE, ALVIN PURPLE, CLASS OF 74.

                 Axiom Brian is front right.

In 1976 he was signed to CAPITOL RECORDS as an artist and moved to Los Angeles. For the next 20 years he worked in all aspects of the International music scene from writing, production, publishing, management and the planning, development and administration of several successful music production companies. Additionally he created FAIRYDUST MUSIC, a worldwide publishing company now owning in excess of 300 song copyrights.

Brian Cadd moved back to Australia in 1997 after 25 years working in the International Music Industry in both the U.S. and Europe. He has continued to tour Australia due to the huge ‘Boomers’ audience out there, still rocking.

In July 2007, he was inducted into the ARIA, Hall of Fame. In the same year he was inducted into the Australian Songwriters Hall of Fame. He was awarded a Masters of Music in 2009 and a Doctor of Music this year.
As a writer, Brian has provided songs for an amazing string of artists both in Australia and internationally including: Joe Cocker, Ringo Starr, The Pointer Sisters, Bonnie Tyler, Yvonne Elliman, Little River Band, Charlie Daniels, Glen Campbell, Flying Burrito Brothers, Dobie Gray, Gene Pitney, Johnnny Halliday, Sylvie Vartan, Cilla Black, Trini Lopez, Russell Morris, John Farnham, Gina Jeffries, The Groop, Axiom, The Masters Apprentices and many more.