Translate

Tuesday, 5 December 2017

Masters Apprentices - 1971 - Choice Cuts FLAC


Rio De Camero/Michael/Easy To Lie/Because I Love You/Catty/Our Friend Owsley Stanley III/Death Of A King/Song For A Lost Gypsy/I'm Your Satisfier/Song For Joey - Part II



 If you are not yet familiar with The Masters Apprentices, I should direct you to the fabulous anthology "Hands Of Time-1966-1972" on the Raven label. This faultless collection was compiled by Australian rock historian Glenn A. Baker, and provides and excellent introduction to this great Australian group, who along with The Easybeats were the two top acts down under in the late 60's early 70's.


 The Masters started life in 1966 as a primal R&B garage outfit that specialized in ultra primitive rock and roll in the style of The Pretty Things and Van Morrison's early group Them. Their early sides were penned by the group's guitarist, a gifted writer named Mick Bower, but their obvious focal point was lead singer Jim Keays. Keays had both style and talent, and possessed a wailing vocal range that would rival Pretty Things lead singer Phil May.

 Early Masters recordings such as "Undecided", "Buried And Dead" & "Hot Gully Wind" are top drawer, freakbeat ravers that take a back seat to no-one. As time went on Mick Bower's songwriting became more sophisticated and reflective, tracks such as "Wars Or Hands Of Time", "Theme For A Social Climber" & "Tired Of Just Wandering" showed tremendous maturity. Sadly Bower suffered something of a nervous breakdown and was advised by his doctor to leave the pop business, which he eventually did. 


This could have spelled the end for the Masters, but Jim Keays picked up the pieces and weathered the group through the flower-power era. This era of the group was resonsible for the classic "Elevator Driver" 45 and also "But One Day" (which was a Mick Bower holdover.) The Masters entered their next phase leaning towards a harder, more progressive sound which was first introduced with the 1969 album "Masterpiece." All the while the Masters were incredibly popular in Australia regardless of their several lineup shifts. Jim Keays was the one constant that kept the group's head above water. However as 1969 turned into 1970 the group felt they were stagnating in Australia and decided to take a shot at global acceptance and relocated to England.



The Masters arrived in England in the spring of 1970 and signed with the EMI progressive label Regal Zonophone (home to The Move, The Tickle, Procol Harum & others.) This lineup featured Jim Keays on lead vocals, guitarist Doug Ford (previously with The Missing Links & Running, Jumping, Standing Still), Glenn Wheatley-bass and Colin Burgess on drums. This lineup would prove to be group's finest since the Mick Bower days.


 The Masters managed to book Abbey Road Studios to record their first album on UK soil. "Choice Cuts" (which was issued in the UK simply as "Masters Apprentices" or the "chair album") was nothing short of a revelation and a quantum leap artistically for the group. This album is just a drop dead classic from the word go. Released in 1970 "Choice Cuts" is the equal of any great record you care to mention from that year. The Masters prove to be just that, masters of any style they chose to attempt, pop, folk, progressive and full tilt, heavy rock. It's all there and it's all good!

"Rio De Camero" is a vibrant opener which combines a latin, shuffle beat with Glenn Wheatley's fluid, upfront bass lines and funky minor chords played by Doug Ford. Keays interjects with his shrieking, double-tracked vocals, the whole thing ends with a rush of guitar muscle (this track was included on the "Hands Of Time" collection.) "Michael" begins as a plaintive acoustic ballad that quickly evolves into an all out heavy guitar blitz that simply never lets up. 


  "Easy To Lie" is absolutely threatening! It begins with Wheatley's throbbing bass line and leaps right into a massive acid guitar frenzy, Keays has his vocals treated to where he sounds like Ozzy Osbourne. Doug Ford hammers at his axe with the savage intenisty of T.S. McPhee of The Groundhogs, while the rhythm section lays down a sinister, gorilla beat that would have made the Hogs proud. Then comes an absolute curveball in "Because I Love You" which reminds me of Peter Frampton's melodic contributions to Humble Pie, the song employs bright acoustic guitar patterns to a rousing chorus which fades in the manner of The Beatles "Hey Jude" & Donovan's "Atlantis." I'm sure the female fans of the group dug this romantic tune all the way.

"Catty" returns to the blistering hard rock of "Easy To Lie", the spare, punishing guitar chords remind one of Free's late, great guitarist Paul Kossoff. While the overall feel of the number is that of a funky Black Sabbath. "Our Friend Owsley Stanley III" is also in Black Sabbath territory with an equal measure of "Stand Up" era Jethro Tull. Obviously the song is an ode to the US acid kingpin, perhaps acid got to Australia a bit late, as most groups were more into singing about granola and ecology flags in 1970.

"Death Of A King" is another Groundhogs style pissed off heavy ballad which concerns itself with the tragic death of Martin Luther King. This song addresses the subject in a much more convincing fashion than U2's self-serving "Pride" anthem. "Song For A Lost Gypsy" goes for the heavy thud of Blue Cheer with positive results. "I'm Your Satisfier" is a down and dirty, funky number that once again draws a Free comparison. The final piece "Song For Joey Part 2" begins with some lovely acoustic guitar work from Doug Ford before hurling another curveball at the listener, this piece quickly shifts into the greatest Van Morrison copy since the USA garage band Things To Come's "Sweetgina", however this one goes for Morrison's "Astral Weeks" style and Keays and Co. pull it off perfectly. 


  "Choice Cuts" was greeted by glowing reviews in the UK press but somehow the record failed to attract much action at the shops or on radio and sank into obscurity until being re-discovered by collectors in the 1980's. The record now changes hands for $150+ but it lives up to that lofty price tag with room to spare. There have been a few legal and semi-legal CD re-issues of it down the years, but it seems to be out of print at the moment. Hopefully this will change very soon. "Choice Cuts" is a dazzling blend of folk, heavy and progressive styles that should be in every serious record library. The good news is that the Masters would actually up the ante with "Choice Cuts" brilliant follow-up "A Toast To Panama Red" (more on that one in a bit.)

The Masters Apprentices were one of the great groups of the late 60's early 70's and it's about time their name starts getting mentioned next to the MC5, Pretty Things, Stooges, Groundhogs etc. because they no doubt belong in that company.  (Reviewed by Dave Furgess)



Monday, 4 December 2017

The B0ys - 1981 - The B0ys FLAC


A1 Weoh, Weoh, Weoh    
A2 Same Game    
A3 Spend My Time    
A4 When You're Lonely    
A5 First Time    
A6 Waiting (All Night Long)    
B1 Leave It All Behind    
B2 Memory Lingers On    
B3 Hurt Me Babe    
B4 Why'd Ya Do That    
B5 On My Own








 Boys originally formed by guitar playing siblings, Lino and Camillo Del Roio, whilst still at high school as the Rockhouse Corporation in 1977 and started out as a cover band playing mostly top 40 rock but then progressed into playing original songs. "When You’re Lonely" was the first single released in August 1980, with the single going to No. 1 on the local charts and reaching No. 52 on the national singles charts. In September 1980 the band appeared on Countdown. The Boys released two further singles, "Hurt Me Babe" in March 1981 and "Weoh Weoh Weoh" in September 1981, which reached No. 57 and No. 76 on the national charts. The band released their self-titled debut in November 1981. In September 1982 they released, "Don't Say No", which was followed by their second album, Inside the Cage, in December 1982,. The band's original singer for the first album, Brent Lucanus, was replaced by Wayne Green (Wayne Green and the Phantoms) on their second album. A further single, "Lonely Dreamers", was released in March 1983, The original band went through several line-up changes but brothers Camillo Del Roio and Lino Del Roio were constant members throughout. The band split in 1983 but reformed in 1987 with Camillo and Lino on guitar, Eddie Parise on bass, drummer Frank Celenza, Tony Celiberti as keyboardist, and singer, Troy Newman (Extremists). A year later the band changed their name to Boyschool but split soon after.

Following the band's break up guitar playing brothers Camillo and Lino formed D.D and the Rockmen with Celenza

Lino Del Roio was appointed sales manager for Kosmic Sound (a music equipment supply company), in the late 1980s, which the two brothers subsequently bought, acquiring a number of other dealerships of leading brands of the time including exclusive dealerships for Steinberger and Ken Smith basses. They both played guitar for Western Australian hard rock outfit The Jets in the early 1990s. Tony Celeberti is an arranger for sheet music transcriptions who has worked on material by Guy Sebastian and Powderfinger, amongst others, for Australian publisher Music Sales. Brent Lucanus went on to play in a few bands around Perth, notably Change Alley with Gary Dunn.
and the DeMarchi sisters Suze and Denise. The band's drummer and bassist, Celenza and Parise, went on to form Bamboo Curtain, before joining Baby Animals. Troy Newman moved to Sydney following the band's break up and found moderate success as a solo performer, scoring a Billboard hit with the single "Love Gets Rough" and the album Gypsy Moon in 1991, released through Atlantic imprint East West Records and by Warner Music in Australia. He released a second album, It's Like This, in 1996. Newman died in March 1997.

Sunday, 3 December 2017

Original Cast Recording - 2001 - Shout! The Legend Of The Wild One




01 David Campbell - Sing (And Tell The Blues So Long)    
02 David Campbell - Wild One (Real Wild Child)    
03 David Campbell - Cry    
04 David Campbell,Tamsin Carroll - Save The Last Dance For Me    
05 David Campbell,Kevin Murphy - Rock And Roll Will Stand    
07 David Campbell - Move Baby Move    
08 Tamsin Carroll - Crazy    
09 David Campbell - (The) Sun's Gonna Shine Tomorrow    
10 Trisha Noble - He Wears My Ring    
11 David Campbell - She's My Baby    
12 David Campbell,Tamsin Carroll - Ready For You    
13 Paul Biencourt - Get A Job    
14 David Campbell - Hit Record    
15 Tamsin Carroll - Chapel Of Love    
16 David Campbell - I'm Gonna Knock On Your Door    
17 Sara Highlands,Carly O'Rourke,Eve Prideaux - Holdin' You In My Holden    
18 David Campbell,Trisha Noble,Katie McCarthy - Mockingbird    
19 David Campbell,Tamsin Carroll - I'm Counting On You    
20 David Campbell - So Tough    
21 Shout!" Cast - Tourin' Time    
22 David Campbell,Aaron Blabey - Purple People Eater/Witch Doctor    
23 David Campbell,Kurt Sneddon - Mr Bass Man    
24 Anton Koritni - Bye Bye Baby    
25 David Campbell - She Wears My Ring    
26 David Campbell - Rock Around The Clock    
27 David Campbell - What'd I Say    
28 David Campbell - Shout!


Shout! The Legend of the Wild One is an Australian musical based on the life of Johnny O'Keefe. It premiered in Melbourne at the State Theatre in December 2000, before seasons in Sydney, Adelaide and Brisbane through 2001.

The original production was directed by Richard Wherrett and featured David Campbell as O'Keefe.  Each was nominated at the 2001 Helpmann Awards, for Best Direction of a Musical and Best Male Actor in a Musical respectively. The original production was remounted for a national tour in January 2008 starring Tim Campbell as O'Keefe. 

In the mid 1970s Johnny O'Keefe takes his new fiancé to see the Sydney Stadium before it is demolished. He begins to reminisce about his life, growing up in Sydney and falling for Marianne, a German immigrant. When he hears Rock Around the Clock by Bill Haley and the Comets he discovers a passion for rock music and persuades Lee Gordon to promote him.

O'Keefe becomes famous and successful. But he is involved in a car crash and fails to crack the US market. He and Gordon fall out, his marriage collapses and Gordon dies.

However O'Keefe makes a comeback in the 1970s.

Shout! The Legend of The Wild One original cast recording was released in March 2001. The album was certified gold in Australia. It received the ARIA Award for Best Original Cast/Show Album in 2001

Thursday, 23 November 2017

Windchase - 1977 - Symphinity (2000) FLAC


1 Forward We Ride 
2 Horsemen to Symphinity 
3 Glad to Be Alive 
4 Gypsy
5 No Scruples
6 Lamb's Fry 
7 Non siamo perfetti 
8 Flight Call
 
Bonus Track
9 Horsemen to Symphinity (Live)  








This is basically Sebastian Hardie in all but name only. The Plavsic brothers left, apparently along with the Sebastian Hardie name (as neither Mario Millo nor Toivo Pilt were original SH members when the band formed). Both Mario and Toivo found themselves with new drummer Doug Bligh, and bassist Duncan McGuire, and decided to name the band Windcase, after Sebastian Hardie's second (and final) album. 

The group decided to go a more proggy Santana route here, most demonstrated on "Horsemen to Symphinity". Here Mario Millo's guitar playing isn't too different from Carlos Santana, while Toivo Pilt's keyboard playing isn't too different from Gregg Rolie. "Glad to Be Alive" is a ballad, at times reminding one of ELO (similar vocal harmonies, not to mention strings). "No Scruples" is a great piece, especially the use of Moog, Mellotron, and string synths. "Lamb's Fry" is an instrumental, fusion-influenced piece. Mario Millo, showing us his Italian heritage gives us "Non Siamo Perfetti", where he does Italian-influenced acoustic renditions of themes from "Rosanna" (from Four Moments) and "Windchase" (the Sebastian Hardie album). "Flight Call" is another ballad. Many people tend to look down on this album in comparison to Four Moments, because the inclusion of two soft rock songs, "Glad to Be Alive" and "Flight Call", the rest is rather excellent progressive rock.

Tuesday, 21 November 2017

Merv Benton - Come On And Get Me


A1 (I Do The) Shimmy Shimmy    
A2 Mess Of Blues    
A3 Lotta Lovin'    
A4 Cincinatti Fireball    
A5 Twenty Flight Rock    
A6 Come On And Get Me    
B1 Baby, Let's Play House    
B2 Nervous Breakdown    
B3 Love Me Tender    
B4 Pretty Girls Everywhere    
B5 Don't Leave Me Now    
B6 Honey Don't







 The Merv Benton story is a fascinating chapter of the Beat Boom in Australia. From his base on the Melbourne dance circuit, Merv gained national attention and quickly became one of the most popular male singers in the country. In early 1964 he signed with Melbourne's W&G Records and became one of their most prolific artists, releasing seventeen singles, six EPs, and three LPs between 1964 and 1967, and scoring an impressive run of fifteen Top 40 singles in his hometown (several of which also charted in other cities). But in 1967, at the height of his popularity, Merv was struck down by throat problems that ended his singing career.

 Merv (real name Mervyn Bonson. b. 12 August 1942) grew up in the Melbourne suburb of Reservoir and went to school at Preston High, where he was an enthusiastic tennis player. After he left shool he joined a major Victorian bank as a trainee but as a teenager he listened avidly to rock'n'roll on Melbourne radio and was captivated by the music of Elvis Presley, Sam Cooke, Gene Vincent, Chuck Berry, Little Richard and Jerry Lee Lewis. Merv saw his first Lee Gordon 'Big Show' in 1957, which featured Bill Haley & The Comets, The Platters and Freddie Bell and it was Bell especially who fired Merv's desire to become a singer.

His entry into showbiz was a classic tale, not dissimilar to that of American comedy star Adam Sandler. He started to attend dances at which pioneering Melbourne rock'n'roll band The Planets were the headliners, and he became friends with several of the group, especially the pianist Graeme Howie. Unbeknownst to Merv, Graeme entered him in a talent contest at the local Canterbury Ballroom in October 1960. By the time his name was called it was too late to back out, but as it turned out his very first public performance -- singing "Don't Leave Me This Way" -- won him first place. The same night he met young promoter Brian de Courcy.

A week later Merv met with De Courcy and decided to tfollow his dream of becoming a singer. Brian installed Merv as the vocalist with The Ramrods, a group led by Ian B. Allen and he was soon performing with them at venues like Whittlesea Hall and the Preston Migrant Centre. He quickly built up a strong local following -- creating what historian Noel McGrath charmingly describes as "mild hysteria" -- and even before his first record release he had his own fan club, with over 250 members -- a remarkable feat considering his only exposure at this stage was at local dances in Melbourne.

 Early in 1964 Merv was invited to make some demo recordings for the W&G label. The session was produced by Johnny Chester and the backing was provided by Les Stacpool (guitar), Albert Stacpool (keyboards), Frank McMahhon (bass) and Mick Lynch (drums); also in the studio was the renowned Stan Rofe, who helped advised and encouraged many Australian acts including Merv.

W&G were happy enough with the demo to select two tracks from it for Merv's debut single -- a version of Elvis Presley's "Baby, Let's Play House", backed by "Endless Sleep", which was the first in a string of Top 40 singles, reaching # 17 on the Melbourne charts, which in turn led to TV appearances on Graham Kennedy's In Melbourne Tonight. 


He was soon back in the studio to cut his next single; the original choice was Carl Perkins' "Honey Don't" but this was abandoned after The Beatles' version was released. a version of the Eddie Cochran classic "Nervous Breakdown" (b/w "Don' Cha Think It's Time") -- this time backed up by W&G's brilliant 'house' band, The Strangers -- but amid the hullaballoo of The Beatles tour was largely ignored and only reached #40 on the Melbourne charts, although Merv says that it was one of his most requested numbers.

Merv's look has been described as being in contrast to the new wave of long-haired, Liverpool-sound groups of the era but this is something of a misnomer. Films and photos of the period wll reveal that Merv's style was actually fairly typical of the time -- take a look at an old Aztecs clip, for example -- and with his clean-cut image and matinee-idol good looks, immaculately coiffed hair and sharply tailored clothes he undoubtedly won the hearts of young fans all over Australia.

Merv's next single, "Be Sweet" b/w "You're The Dog" (Aug. 1964) was issued as a reaction to criticism the W&G label was getting from radio. W&G's two-trackstudio was fairly primitive, even by the standards of the day, and some Melbourne DJs were critical of the poor sound on W&G recordings. This became a perennial problem for Australian artists and led to the long-standing practice of taking major releases to the USA to be mastered, due to Australia's relative lack of expertise in that area. Both songs on this sngle were covers of German pop songs which W&G had sourced through its publishing connections. The instrumental tracks were completely recorded in Germany, with Merv's vocals overdubbed vocals over the top. It helped to restore Merv's chart fortunes, reaching # 22 in Mebourne.


 Merv's first year as a pop star was frantic -- in just nine months he had released four singles, one EP and one LP By the end of '64, the 19-year-old singer had appeared on appeared on national television shows such as Brian Henderson's Bandstand and Johnny O'Keefe's Sing Sing Sing, and W&G released his debut album, Come On And Get Me, by which time he had become a regular on national and local TV pop shows; and had toured the country supporting Merseybeat star Billy J. Kramer.

Merv's career peaked during 1965, thanks to a continued run of successful singles. "I Got Burned" / "Cincinatti Fireball" (May) became a double-sided hit and proved to be his most successful 45 -- the A-side reached #3 in Melbourne, and the B-side was Top 5 in both Brisbane and Adelaide. His cover of Bobby "Blue" Bland's "Yield Not To Temptation" (August) reached #6 in Melbourne and also made the Adelaide Top 40. Merv's version of Crahs Craddock's "Don't Destroy Me" (October) was a Top 20 hit in Melbourne, and is also notable as one of the very first Australian pop singles to be released in a picture sleeve. Merv recalls that Noel Watson's "Can I Believe It's True" was always intended as the A-side and that he was disappointed when radio picked up "Don't Destroy Me" instead.

 His next single "(I Do) The Shimmy Shimmy '65" (Dec. 1965) was evidently a filler track, issued by W&G to maintain Merv's release schedule. It was in fact a 'very simple remix' of the B-side of "Come On And Get Me"; the only difference was an additional backing vocal by Noel Watson, and Merv recalled: "No-one was more surprised than I when I heard it on the radio."

Throughout the year he toured around Australia with his new backing group, The Tamlas. The original lineup was Charlie Gauld (guitar, ex-Thunderbirds), Ian B. Allen (bass, ex-Planets), and Eddie Chappell (drums, ex-Checkmates), but for most of their career The Tamlas comprised Chappell, the legendary Les Stacpool (guitar, ex-Chessmen), Noel Watson (guitar) and Dennis Tucker (bass, ex-Rondells). The lineup that backed Merv on most of his recordings was Les Stacpool and Noel Watson (guitars), Murray Robertson (keyboards), Dennis Tucker (bass) and Eddie Chappell (drums), with backing vocals on most of the singles by the trio of Pat Carroll, Anne Hawker and Julie McKenna.

Merv was evidently widely popular -- on her Brisbane In The Sixties site, Queensland rock fan Di Bingham cites Merv as one of her favourite Aussie performers of the period. He released four more singles in 1966 and, says McGrath, "created great excitement amongst female fans wherever he sang". He continued into 1966 "on the crest of a wave" with his winning formula of re-recordings of rock'n'roll standards. However it was at this time that he gradually began to be troubled by a nagging throat problem.

 By August 1966 his throat condition had become so serious that he was forced to withdraw from a major concert at Melbourne's Myer Music Bowl. Later that month it was announced that he was suffering from a paralysed larynx, and that he would be out of action for two years. However Merv himself has since revealed that this story was not true -- he was in fact suffering from the growth of polyps on his vocal cords, the same problem that threatened Elton John's career in the 1980s. The condition necessitated surgery, but this was years before the precise laser techniques of today, and unfortunately Merv's vocal cords were lacerated during the operation. The result was that he was not even able to speak, let alone sing, and he faced a long recuperation.

Merv: "By the time my throat had healed some six to eight months later, there was no interest (except for a few loyal fans) in the career of Merv Benton. Due to the lack of positive interest, I made the decision that it was time to bow out gracefully as one could; it was time for the dream to end. For those few short years that I lived what I had dreamt. I thank all the fans and all those that supported and contributed to allow me to realise that which occurred."

W&G had some unreleased material stockpiled, and Merv was able to make a few TV appearances, miming his last few singles on television. One of his last public appearances was on The Go!! Show, and it is all the more poignant seeing it now, knowing that the hopeful predictions of his return would come to naught. Unfortunately for Merv, the temporary retirement became permanent. It was a indeed tragedy for the young singer who had only recently been voted Australia's third top male vocalist, after Normie Rowe and Ronnie Burns, in the inaugural Go-Set Pop Poll.

With the end of his show business career, Merv returned to work with the State Savings Bank of Victoria in their public relations department. However he began to feel stifled and frustrated with bureaucracy, so, he relocated to Queensland in 1969 and set up his own real estate development business.

However, Merv did make some final recordings for W&G after recovering from his throat problems. Accompanied by Melbourne group The Fendermen, he returned to the studio in 1970 to cut a number of country tunes that were released on the album Great Country Songs (Movin' On). This is a now something of a rarity, but several tracks were included on the Canetoad CD compilation Great Shakin' Fever.

In the early 1980s Merv returned to the recording studio after he was approached by his old fried Ian B. Allen to perform again in Melbourne. Merv agreed when he found out that the backing band, The Allstars, included Les Stacpool on guitar, the legendary Henri Bource on sax and Murray Robertson on keyboards (both ex Thunderbirds), Ron Chapman on drums and Ian on bass. This group recorded a 5-track EP, with Merv singing on three of the cuts.

In 1991, Merv migrated to the USA and became a consultant and manager for the American Child Care Centres chain. However he has made occasional live musical appearances and in the early 2000s he he has returned to Melbourne from his new home near Phoenix, Arizona Australia to perform at an annual Sixties concert. Thanks to Mustang for this one.

Thursday, 16 November 2017

Doug Parkinson - 1973 - No Regrets FLAC


A1 Takin' It Easy
A2 Tell Him I'll Be All Right 
A3 I Ain't Gonna Live That Way No More 
A4 And Things Unsaid 
A5 No Regrets 
B1 Sweet Rock and Roll 
B2 Lonely 
B3 Get What You Can 
B4 Light My Fire 
B5 Dear Prudence 
B6 Love Gun  








In 1973 Doug gathered an all-star session band to record his first solo LP, the aptly-titled No Regrets, released in May on Polydor. The studio line-up was led by keyboard player John Capek (piano; ex-Carson) with Graham Morgan, Peter Figures and Russell Dunlop (drums), Tim Partridge (bass), guitarists Kevin Borich, Billy Green, Ross East and Jimmy Doyle, Roger Sellers (percussion), Don Reid (flute, sax) and Terry Hannagan (vocals). Capek co-wrote five tracks, two with Doug himself and three with Terry Hannagan; Doug contributed his first solo composition, the opening track, And Things Unsaid, and the album also featured a new version of "Dear Prudence", plus Ray Burton's "Love Gun", Kevin Borich's "Sweet Rock & Roll" and a cover of The Doors' "Light My Fire". The album was re-released in 1980 as part of Polydor's budget priced ‘Rock Legends' series.

Thursday, 9 November 2017

Rockmelons - 1992 - Form One Planet FLAC






01 That Word (L.O.V.E)
02 Stronger Together
03 Form One Planet
04 It's Not Over
05 Love's Gonna Bring You Home
06 Rain
07 More Tales of the City
08 Dance Floor
09 Ain't No Sunshine
10 Bubble and Squeak 





 Rockmelons, often referred to as the Rockies, are an Australian Pop/Dance/R&B group formed in 1983 in Sydney. Primary members are Bryon Jones, his brother Jonathon Jones and Raymond Medhurst. They had two Australian top five hit singles in the early 1990s with "Ain't No Sunshine" and "That Word (L.O.V.E.)", both sung by Deni Hines. The associated album, Form 1 Planet, peaked at #3 on the ARIA albums chart in 1992, and was certified platinum in Australia.



The group concept was formed in 1983 at a warehouse party in Sydney when Raymond Medhurst (keyboards) wanted a band to perform for a private party. He contacted the Jones brothers Bryon (keyboards, bass guitar, backing vocals) and Jonathon (keyboards, guitar, drums) (both ex-Les Ukuleles, No Heavy Lifting), they asked Medhurst's schoolmate, Vincent Dale (keyboards) (ex-Ish with Bryon Jones) to join.


In 1991, Rockmelons recruited vocalist Deni Hines and recorded their cover of Bill Withers' "Ain't No Sunshine" which reached #5 in Australia in January 1992, and was certified gold. Their follow-up single "That Word (L.O.V.E.)" (written by B. Jones, J. Jones, Medhurst and Robin Smith) reached #4 in Australia, and was also certified gold.[4] By 1992, Doug Williams had joined as a vocalist whilst Hines left to have success as a solo artist, with the "It's Alright" single (1995) peaking at #4 in Australia. Rockmelons were nominated for ARIA Album of the Year award in 1993 for Form 1 Planet, which peaked at #3 in Australia in August 1992 and was certified platinum by ARIA.

Monday, 6 November 2017

John Rowles - 1992 - 14 Classic Hits FLAC


1.Smoke gets in your eyes
2.Lonely is the night
3.Ain't no mountain high enough
4.When a man loves a woman
5.Hey
6.Everything I do (I do it for you)
7.MacArthur Park
8.Mustang Sally
9. Soul Medely
Hard to handle, Higher and higher, Sweet soul music, Midnight hour
10.Don't let the sun go down on me
11.River deep mountain high
12.The sun ain't gonna shine anymore
13.I want to know what love is
14.Sexual healing



  John Edward Rowles OBE (born 26 March 1947) is a New Zealand singer. He was most popular in the late 1960s, 1970s and early 1980s, and he was best known in New Zealand for his song from 1970, "Cheryl Moana Marie", which he had written about his younger sister.

Rowles was born in Whakatane, New Zealand, and is part Māori. His father, Eddie Hohapata Rowles, played for the 1938 Māori All Blacks. His mother was white. He was brought up in Kawerau, in the North Island of New Zealand. Rowles' birth name was simply John Rowles; he added the middle name "Edward" after his brother of that name died at a young age.

Rowles is best known in New Zealand and Australia, though he has also performed in the United States, particularly Las Vegas, Nevada and Hawaii, where he was managed by Kimo Wilder McVay. In the United Kingdom he was best known for the hit, "If I Only Had Time", which reached number 3 in the UK Singles Chart in spring 1968, and stayed in the chart for eighteen weeks. This was a cover version of the French song "Je n'aurai pas le temps" with which the French singer Michel Fugain had a hit in 1967. The song also charted big in the Netherlands, reaching #2, after which the Franck Pourcel Orchestra had a minor hit with an instrumental version of the song, bearing the original French song title. In the US Nick DeCaro and his orchestra charted with his instrumental version, released as the B-side of the single Caroline, No in late 1968, peaking at #71 in the Cash Box Top 100 in early 1969.

 Rowles had another Top 20 hit in the UK with "Hush Not a Word to Mary", also in 1968. This song also charted in the Netherlands. In the USA "Cheryl Moana Marie" got noticed in the summer of 1970 by some West Coast radio stations, but it lasted until the end of 1970 for the song to chart nationally, peaking at #64 in the Billboard Hot 100 and #78 in the Cash Box Top 100 resp. in early 1971.
In 1974 Rowles received the Benny Award from the Variety Artists Club of New Zealand Inc, the highest honour available to a New Zealand variety entertainer.




Sunday, 29 October 2017

Jeff St. John's Copperwine - 1970 - Joint Effort FLAC


Cloud Nine/Sing A Simple Song/Fanciful Flights/Any Orange Night/You Don't Have To Listen/I Been Treated Wrong/Days To Come/Reach Out/Can't Find My Way Home/Train/I Remember/Environment In 3 Parts/Teach Me How To Fly/Freedom Blues/Hummingbird/Keep On Growing



Jeff St. John was born Jeffrey Leo Newton in 1946 with Spina Bifida which, by his mid twenties eventually resulted in the need for a wheelchair.

Aged just 8, Jeff's first public performance was a kids' talent quest on Sydney's radio 2GB. Then at 15, his singing career took off with a role as a regular feature vocalist on Channel 9's teenage variety program "Opportunity Knocks", hosted by Desmond Tester. He appeared regularly on the show between 1961 and 1963. 

 A couple of years afterwards, by this time almost constantly supported by crutches because of his worsening condition, Jeff joined forces with an established Sydney blues-rock band called The Syndicate who he met by chance at the Sydney Musicians Club in early 1965 this later was merged into the band Wild Oats.

Later, in 1965, he joined The Id (named after the popular Johnny Hart cartoon strip The Wizard of Id), it was then Jeff started using the new stage name Jeff St. John, which he has used ever since.

This powerhouse band quickly became a leading attraction in Sydney with a long-term residency at the Here Disco in North Sydney, and also made their mark on the Melbourne scene, playing at the famous Thumpin' Tum with its powerful, brass-augmented repertoire and Jeff's rich and soulful vocals.

Jeff St John & the Id's reputation as one of the country's top R&B bands also earned them a well-received support gig on the 1967 Yardbirds, Roy Orbison and Walker Brothers tour of Australia.

In 1965, their debut single "Lindy Lou", was a pleasant R&B number which gave only a sight hint of the vocal prowess that Jeff would unleash on later releases. It was followed in 1966 by "The Jerk". Later that year they released "Black Girl".


Jeff and the Id are probably most remembered for their scorching, brass-laden smash single, "Big Time Operator", which featured Aussie sax legend Bob Birtles. "Big Time Operator" reached number 7 in Sydney and a respectable number 12 in Melbourne in January 1967, and the recording sessions at Festival Records in Sydney were even photographed for a special feature in Australian music magazine Go-Set. Then, out of the blue, Jeff parted ways with The Id.


 Jeff meanwhile put together Yama. The lineup again featured musicians from other successful bands of the time. Bass player Virgil East from from Python Lee Jackson, drummer Peter Figures from Throb, along with Ross East on guitar, who would continue to work with Jeff for some time thereafter. Yama folded prematurely around May 1968 after releasing one single, "Nothing Comes Easy".

Yama folded in 1968 because his pressure area became unmanageable and he came back to Sydney Hospital to try and fix the problem. After a wasted three months of unsuccessful skin grafts and over - hearing the head of his medical team saying it would probably, "Turn cancerous and kill him". He checked out and flew to Perth to begin The Copperwine experience. He was still using crutches at the time. The initial problem was not overcome until 1970 when Jeff was convinced to see Mr. John Hanrahan. Jeff says "To him I owe my life" who had just brought, from America, the almost miraculous "Rotation Flap Technique" which revolutionised the treatment of major pressure areas.

Undeterred by this, after a lengthy recovery period, Jeff became focused, and returned to live performance. Eventually Jeff started using a wheelchair and transformed his liability into his own trademark, executing 'wheelies' and pirouettes across the stage as he sang! Jeff says "With crutches, your hands are always full. The wheelchair allowed me to move around onstage and be self-
 sufficient".





In early 1969, Jeff unveiled his new band, Copperwine (aka Jeff St John's Copperwine), with low-key dates in Perth, before returning to Sydney. Copperwine soon created a following in that city's fast-developing 'head' scene. Around the time of the new band's formation, guitarist Ross East was also invited to join the revised Masters Apprentices line-up, but he turned it down, opting to stay with Jeff.

Aided by East and Peter Figures, plus Alan Ingham on bass and keyboardist Barry Kelly, Jeff St John wowed punters at the Ourimbah "Pilgrimage For Pop", Australia's first major outdoor rock festival, held at Ourimbah, NSW at the end of January 1970. The band's dynamic repertoire mixed quality prog-flavoured group originals with powerful renditions of Sly & the Family Stone's funk classic "Sing A Simple Song", a storming version of The Temptations' psych-soul masterpiece "Cloud Nine" and Blind Faith's "Can't Find My Way Home". This body of songs was captured by producer Spencer Lee in superb that remains one of the most accomplished and musically adventurous LPs of the time.


 The album entitled "Joint Effort" won considerable critical acclaim, but failed to generate significant sales. The single "Cloud Nine" suffered a similar fate in February 1970. An EP, Sing A Simple Song, which featured 4 songs from the album, was released in May 1970. Joint Effort as an album was one of Festival Record's most consistent sellers for many years, it's a fine example of what was musically going on with Australian rock in this fertile time, and it documents what a fine band Copperwine was and provided conclusive proof that Jeff St. John is one of the best rock vocalists this country has ever produced.

Another single, released in November 1970, fared extremely well. The smoothly confident, organ-led cover of Rotary Connection's "Teach Me How To Fly" propelled the band to number 12 on the Melbourne charts and a very encouraging number 3 in Sydney. Jeff's dazzling vocal performance on this record is probably the main reason why. The band toured relentlessly during 1971 and appeared with the Melbourne Symphony Orchestra. They also released another single, the delicate "Hummingbird".


 By late 1971 friction had emerged between Jeff St. John and Copperwine. He left them early in 1972 to form his own band and pursue a solo career. Seeking what he saw as a more sympathetic vehicle for his singing and songwriting, Jeff formed a touring outfit, The Jeff St John Band, featuring favoured sticksman Peter Figures, and the keyboard talents of the late, great Tony Ansell.


 In October 1972, Jeff released his first solo single, "Yesterday's Music". Jeff and band toured extensively during 1972, supporting acts as diverse as Gary Glitter, Chuck Berry and Bo Diddley. Along with the release of "The Best Of Jeff St John", Jeff was awarded the accolade of 'Most Outstanding Vocalist of the Year'.

Following a very successful year, Jeff St. John packed up and moved to the United Kingdom, so he could find out how the big kids played over there.

His farewell concert was a gala event staged at the Sydney Opera House, with the Jeff St John Band with the help of friends including Vince Melouney, John A. Bird and Ace Follington. In May 1974, an album of the concert was released, "Jeff St John Live", while Jeff was playing a handful of low-key gigs in London. 

 He returned to Australia in August 1974, to plan his next move.

On Jeff's return to Australia, he formed a new backing band, Red Cloud, and his new single "Mr Jones" was released in May 1975. Unfortunately the single was a minor sales success. It was followed up with "Blood Brother" in October. Jeff and Red Cloud maintained a heavy touring schedule during 1975-76, and the singer continued as a popular live draw.

Jeff was the first Australian artist to sign with US imprint Asylum (whose roster included The Eagles, Jackson Browne and Linda Ronstadt) and he made a return to the national Top 10 during early 1977 with his scorching version of the Frankie Miller-Andy Fraser song "Fool In Love". Jeff continued to record and perform live through the late 70s and into the early 80s, producing some quality rock performances, but in 1983, at the age of 37, he announced his retirement.

He made a memorable farewell appearance on Donnie Sutherland's late night chat show, After Dark, which made it clear that he was having problems at the time. Following this, Jeff stepped away from the limelight.

 In 1984, with the assistance of Dr. John Yeo (Director, Royal North Shore Spinal Unit), Jeff began lecturing to age groups from year 5 primary school to adult. He assisted with the creation of teaching aids, and production supervision of radio and T.V. advertising campaigns for the teaching program.

In the late 1990s Jeff moved to Perth in Western Australia, and in 1999 an old friend, drummer Ace Follington coaxed Jeff up onstage at Clancy's Fish Pub, Fremantle.

Jeff relished the chance to wield a mic again. He says "I'd been divorced from singing for so long, I'd lost sight of the fun involved".

That one-off performance led to a regular solo spot at Clancy's, the creation of an all-star backing group, Jeffrey St John & The Embers, a brand new, album titled Will The Real Jeff St John Please Stand Up? was released in 2001. On the album, Jeff has delved into the music of the '30s and '40s, performing swing standards with a rock treatment

He snickers "... instead of having big brass section solos on "Misty" and "Fascinatin' Rhythm", we've got over-driven and distorted guitar solos”.

 In 2000, he had the highest accolade of his career. when Promoter Michael Chugg, invited Jeff to perform the first two songs at the opening ceremony of the 2000 Paralympic Games in Sydney. Jeff says "BEST PARALYMPICS EVER - I love my country. It's allowed me to be crazy for more years than I can remember. To get up in front of 110,000 people live, with a TV audience of four billion, was a big honour".

Most recently, Jeff St. John was made Patron for the Mosaic Family & Community Services Organisation. This recently formed organisation provides support for disabled people in many areas, including rehabilitation programs for disabled people unfairly penalised by the legal system.






In 2016, Jeff released his auto-biography "INSIDER-OUTSIDER: The Jeff St John Story". The book is available from Starman Books.

Sunday, 22 October 2017

Martin Plaza - 1986 - Plaza Suite FLAC


Pit Stop/I Could Be So Good/Concrete And Clay/Out The Door/Best Foot Forward/Miss You Like Mad/Chalk And Cheese/Use Me All Over/Rollerina/Bats And Balls


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.

Best known as the most familiar vocalist/songwriter in Mental as Anything (that's Martin Plaza you hear singing on "If You Leave Me, Can I Come Too?," "Rock and Roll Music," "Brain Brain," and many others), Plaza took advantage of the first real break in the Mentals' career and released his debut solo album in 1986. Plaza Suite was not a departure from what the Mentals were doing on their previous album, Fundamental as Anything, although the production was slicker and keyboard-dominated (Plaza is a guitarist). To be honest, most tracks here could have been on Mentals albums, but that's neither here nor there.

 
With a batch of great songs, Plaza sounds confident and self-assured on this album, never letting the album's slick sound take over. His voice is still one of the best in the business, a perfect mixture of Roy Orbison, Elvis Presley, and Bryan Ferry. The album is mostly self-penned, and his brilliant cover of "Concrete and Clay" fits in with the originals perfectly (as of 2003, he was still performing this song with the Mentals live). Sounding like the poppier side of Rockpile, Plaza and the Mentals have always specialized in great songwriting, and almost every track here is no exception to that rule. The opener, "Pit Stop," contains all the elements of the perfect Plaza song: playful yet heartfelt vocals, a hooky melody, and an earthiness beneath the shiny surface. Other highlights include the perfect pop of "Miss You Like Mad" and "Use Me All Over," the funky "I Could Be So Good," and the joyous "Best Foot Forward."

Friday, 20 October 2017

Brian Cadd - 1972 - Brian Cadd (Vinyl) FLAC


Fairweather Friend/Tell The World To Go Away/Where The Music Is Playing/Josie McGinty/Tell Me About Freedom Again/Ginger Man/Pappy's Got The Blues/Silver City Birthday Celebration Day/Suite For Life


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 Max Ross, Richard Wright,Ronnie Charles, Brian Cadd and Don Mudie


Upon their demise, he formed "AXIOM", Australia's first "Supergroup" with Glenn Shorrock who was later the 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 LITTLE RAY OF SUNSHINE, ARKANSAS GRASS and MY BABY’S GONE.
 
Returning to Australia he joined Fable Records as head of A&R and chief producer. Fable 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 IT’S MAGIC, ALVIN PURPLE, CLASS OF 74 and MAMMA DON’T DANCE.


 Axiom Don Mudie, Don Lebler, Glenn Shorrock, Brian Cadd and Chris Stockley

 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.
 
In 1989 Cadd relocated to Nashville where he built the SALAD BOWL STUDIO facility and owned and operated several successful music production companies. For 7 years he participated in the enormous explosion of country music onto the national and then international music scene.

During this period he also wrote for, produced and ultimately joined the legendary FLYING BURRITO BROTHERS alongside original members ‘Sneaky Pete Kleinow’ and Chris Etheridge. The band released an album ‘Eye of a Hurricane’ and toured the U.S. and Europe extensively over the next several years.
 
Brian Cadd moved back to Australia permanently in 1997 after 25 years working in the International music industry in both the U.S. and Europe. A part of the enormously successful tour LONG WAY TO THE TOP in 2004, 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.
 
Apart from his Australian touring, writing and production, Brian also spends several months a year travelling the world writing and recording, particularly in Nashville and throughout Europe.
 
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.

Monday, 9 October 2017

Dinah Lee - 1996 - Dinah Lee - 1964-67 FLAC


Don't You Know Yockomo/Reet Petite/Do The Blue Beat/Who Stole The Sugar/The Nitty Gritty/Hey Chickie Baby/I'll Forgive You, Then Forget You/What Did He Say/What Kind Of Love Is This/ Is It True/Hot Spot/Pushing A Good Thing Too Far/That's It, I Quit/I Can't Believe What You Say/Let Me In/Johnny/Don't You Just Know It/He Don't Want Your Love/The Right Time/Not In This Whole World/ Summertime/He's Sure The Boy I Love/New Orleans/98.6/Too Many People/ I Keep Forgettin'







 Diane Marie Jacobs (born 19 August 1943, Waimate), known as Dinah Lee, is a New Zealand-born singer who performed 1960s pop and then adult contemporary music. Her debut single from early 1964, "Don't You Know Yockomo?", achieved No. 1 chart success in New Zealand and in the Australian cities, Brisbane and Melbourne. It was followed in September by her cover version of Jackie Wilson's, "Reet Petite", which also reached No. 1 in New Zealand and peaked at No. 6 in Melbourne. The Australian release was a double A-sided single with "Do the Blue Beat". On her early singles she was backed by fellow New Zealanders, Max Merritt & His Meteors. Lee appeared regularly on both New Zealand and Australian TV variety programs, including Sing, Sing, Sing and Bandstand. She toured supporting Johnny O'Keefe, Ray Columbus & the Invaders and P.J. Proby. According to Australian rock music journalist, Ed Nimmervoll, in the 1960s, "Lee was the most successful female singer of in both her New Zealand homeland and Australia ... on stage and on record Dinah had all the adventure and exuberance for the time the boys had".


 Dinah Lee was born as Diane Marie Jacobs on 19 August 1943 in Waimate, South Island, New Zealand. After her parents separated, she was fostered by a family near Christchurch where she attended Cashmere High School. Her father was a saxophonist, who worked selling carpets in a Christchurch department store and, part-time, ran a teen dance club – The Country Club Cabaret. In 1958, Lee was asked to sing at the club on Saturdays and became popular with local patrons. As a 15-year-old, she had her first professional gig with Bobby Davis & the Dazzlers in a small hall and they later worked in a coffee lounge. In 1962, Lee was working with Christchurch group, Saints, and dating their guitarist and vocalist, Phil Garland. By year's end Saints had split and Lee and Garland formed The Playboys with Mark Graham on guitar, Brian Ringrose (ex-Ray Columbus & the Invaders) on guitar, Dave Martin on guitar and Graeme Miller on drums. They relocated to Auckland for a residency at Top 20 Club, Lee shared lead vocals with Garland, one of her covers was Huey "Piano" Smith's "Don't You Know Yockomo?" popularised by American R&B artist Dee Dee Sharp. Playboys returned to Christchurch, but by 1963, Lee returned to Auckland to pursue her solo career, she supported gigs by Max Merritt & His Meteors or Ray Columbus & the Invaders. Playboys recruited Graeme's brother Dave on vocals and later became The Dave Miller Set in Sydney.

Lee adopted the latest Mod fashions following advice from boutique owner, Jackie Holme – a page boy haircut, white make-up, op-art clothes and white boots. After being recommended by Merritt, she joined the Startime Spectacular Tour of North Island which was headlined by Bill & Boyd and Max Merritt & His Meteors – Merritt's band backed her during her set. Her performances were more animated and energetic than typically demure female pop artists. Lee was heckled at some regional venues and her mother was unable to recognise her when catching up at an airport. Tour organiser, James Haddleton, became her manager and she was signed with Viking Records, an independent label based in Wellington and she was promoted as 'Queen of the Mods'.


Dinah Lee's debut single, "Don't You Know Yockomo?", was released in August 1964 – under the name Diane Lee, chosen by Viking – and peaked at No. 1 in New Zealand. Viking used Merritt's band to back her in the studio and after the first pressings had sold out, Viking changed the attribution to Dinah Lee. Ray Columbus & the Invaders' single, "She's a Mod" became the first by a New Zealand act to reach No. 1 on an Australian chart. Only weeks later, Lee's single, "Don't You Know Yockomo?" was issued there by EMI on their HMV label and reached No. 1 in Brisbane and Melbourne.

Lee's second single, "Reet Petite" was a cover of Jackie Wilson's hit and had also been recorded with Merritt's band, when released in September it reached No. 1 in New Zealand. Her third single, Ray Rivera's "Do the Blue Beat", followed in October in New Zealand. "Reet Petitie" and "Do the Blue Beat" were issued as a double A-sided single in Australia and reached No. 3 in Adelaide and No. 6 in Melbourne. Lee toured New Zealand and Australia on Starlift '64, promoted by Harry M. Miller, with a bill headed by The Searchers, Peter and Gordon and Del Shannon. Backing Lee at some gigs were Ray Columbus & the Invaders and, in Sydney, a newly formed group – The Easybeats. With "Reet Petite" charting in Australia, rock'n'roller Johnny O'Keefe invited Lee to appear on his television series, Sing, Sing, Sing and join his Sydney club shows.

 Upon return to Auckland, Lee issued her fourth Viking single, "Who Stole the Sugar?" in November. She featured on two half-hour specials on New Zealand TV, while "I'm Walking" was issued as her next Australian single by HMV. By year's end, Viking had also released two extended plays, Don't You Know... and Yeah, Yeah We Love Them All and her debut album, Introducing Dinah Lee.

In early 1965, Lee appeared on Australian TV shows, Bandstand and Saturday Date. One of her Bandstand performances was at Myer Music Bowl with headlining Jamaican Blue beat singer Millie Small.  Lee travelled to the United States to appear on Shindig! – she sang with Glen Campbell – and on other TV shows. Lee then went to the United Kingdom where she released, "I'll Forgive You Then Forget You" on Island Records' label Aladdin. In August–September, Lee toured New Zealand and Australia with US pop sensation, P.J. Proby – noted for splitting his pants on stage in the UK in February – who had been banned by the BBC. In Australia, HMV released "Let Me In" to coincide with the tour. Lee won 'Entertainer of the Year' at New Zealand's inaugural NEBOA Awards in late September – soon after she decided to base herself in Australia. Late in the year, Viking released a string of singles, "He Can't Do the Blue Beat", "Nitty Gritty" and "That's it I Quit", in New Zealand. In November, they released her second studio album, The Sound of Dinah Lee.

 Late in 1965, Dinah Lee relocated to Sydney and in March 1966 she undertook a second tour with Small. Lee's next single was "He Don't Want Your Love Anymore" but her chart success had begun to decline. On 29 June 1966, Australian teen newspaper, Go-Set published "The Dinah Lee Story" and she appeared on their front cover. Her public popularity was still high – she was voted No. 2 'Female Vocal' in Go-Set's pop poll in October and was in the top 5 for 1967 and 1968. Lee continued to release singles in 1966, she toured with Proby in September–October and followed with a third studio album, The Mod World of Dinah Lee late that year. In April 1967, she became the 'face' for Yardley Cosmetics' commercials on Australian TV. Her July single for Viking and HMV was "Sorry Mama" but neither company renewed her contract.

Lee spent most of the late 1960s on the night club circuit with occasional variety TV appearances. Lee successfully sued her former manager, Haddleton, for money owed and re-took control of her financial interests. According to Australia rock music journalist, Ed Nimmervoll, in the 1960s, "Lee was the most successful female singer of in  both her New Zealand homeland and Australia ... on stage and on record Dinah had all the adventure and exuberance for the time the boys had." Lee entertained troops in Vietnam in the late 1960s on Australian Broadcasting Commission-sponsored tours (under her birth name, Diane Jacobs) and was awarded the Vietnam Logistic and Support Medal.

In the 1970s, she continued to release singles including "Tell Him" in 1972 on Polydor. In 1974, she joined O'Keefe on his comeback show, The Good Old Days of Rock'n'Roll, at St. George's Leagues Club. Her next single, "It Doesn't Matter Anymore" appeared in 1976 on Festival Records. "I Can See Clearly Now" was released in 1979 on Laser Records.

In 1982, a compilation, Best of Dinah Lee was issued on Music World. By 1984, she had become involved in body building winning the 'Australian Female Body Builder of the Year' in the over 35s category. In the 1990s and 2000s, Lee continued performing on the club circuit and became a motivational speaker.

ABC-TV series, Long Way to the Top, was broadcast in August 2001. Lee featured on "Episode 2: Ten Pound Rocker 1963–1968" where she discussed the mod look and her appeal to rebellious teens, "I had this image and it wasn't cute and pretty". The TV series inspired the Long Way to the Top national concert tour during August–September 2002, which featured a host of the best Australian acts of the 1950s, 1960s and 1970s. Lee's performances of "Yokomo"  and "Reet Petite" at the final Sydney concert, as well as an interview with promoter, Michael Chugg, feature on the associated DVD, Long Way to the Top: Live in Concert released in 2002.

Pseud0 Ech0 - 1985 - L0ve @n @dventure FLAC


Love An Adventure/Don't Go/Try/I Will Be You/Girl/Living In A Dream/I Ask You Why/Lonely Without You/Lies Are Nothing/Lies Are Nothing



 Pseudo Echo are an Australian new wave band that formed in 1982 in Melbourne. The original line-up consisted of Brian Canham (vocals, guitars and keyboards), born 3 July 1962, Pierre Gigliotti (as Pierre Pierre) (bass guitar, keyboards), Tony Lugton (guitars and keyboards) and Anthony Argiro (drums). A later line-up included James Leigh (keyboards) and his brother, Vince Leigh (drums). In the 1980s, Pseudo Echo had Australian top 20 hits with "Listening", "A Beat for You", "Don't Go", "Love an Adventure", "Living in a Dream" and their cover of "Funky Town" (from Lipps Inc.), which peaked at No. 1 in 1986. In 1987, it reached No. 1 in Canada and New Zealand, No. 6 in United States and No. 8 in United Kingdom.


They released their debut album, Autumnal Park in 1984 which peaked at No. 11 on the Australian Kent Music Report. Love an Adventure followed in 1985 and reached No. 14. Their third album, Race (1988) peaked at No. 18 and in 1990 the group disbanded. They reformed in 1998 and issued Teleporter in 2000. Rock music historian Ian McFarlane, stated they "combined flash clothes, blow-wave hairstyles, youthful exuberance and accessible synth-pop to arrive at a winning combination ... and found a ready-made audience among teenagers who fawned on the band's every move".

Love An Adventure is the second studio album by Australian new wave band, Pseudo Echo. The album peaked at No. 14 in Australia and produced three Australian top twenty singles, including "Don’t Go", which peaked at No. 4.

In 1987, an alternate version of the album featuring re-recorded vocals and several different tracks, including their 1986 worldwide hit cover of "Funkytown," was released in North America by RCA Records. 

Following the success of Autumnal Park, Pseudo Echo returned to the studio in 1985, with an altered line up. Tony Lugton and Anthony Argiro both left and joined other bands. They were replaced by brothers James Leigh and Vince Leigh (aka Vincent Dingli).
Reviews

Michael Sutton from allmusic gave the album 4 out of 5 stars, saying: Their cover of Lipps Inc.'s ‘’Funkytown’’ was sadly misrepresentative of the album's stylish, hook-loaded dance rock. Pseudo Echo want people to move their feet and this album is stocked with dance floor scorchers such as "Living in a Dream", "Listening" and the funky "Try". "Funkytown" may have given Pseudo Echo a glimpse of commercial success, but the rest of 'Love an Adventure' proved that they were capable of more.