MADDER LAKE - STILLPOINT (1974)
One of the first bands signed, Madder Lake made a major contribution to keeping Mushroom Records financially viable while it was a fractured relationship that triggered an early termination of Madder Lake's career. While Madder Lake were popular they did not enjoy the commerical success or profile of artists such as Billy Thorpe, Skyhooks or Sherbet. Their records achieved sales in Europe but they never had the resources or opportunity to get overseas and try for success in a bigger market.
Three albums, including a best of comp, a couple of b-sides and a few tracks appearing on various live albums, not a large catalogue but what was left is some great 70s progressive rock. Madder Lake are certainly a favourite of mine.
Still Point is their first album and includes the poppy breakthrough hit 'Goodbye Lollipop' and the album version of the popular '12 lb Toothbrush'. While not as diverse as the follow-up 'Butterfly Farm', the album does protoype the Madder Lake sound.
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JO JO ZEP AND THE FALCONS – THE OZ RECORD YEARS (1975-1979)
Jo Jo Zep and The Falcons were formed by seasoned musos and quickly became one of Melbourne’s hottest live acts in the mid to late 70s. A heavily R&B influenced band, their live performances were hot and steamy, sweat drenched affairs, an atmosphere that was never really captured successfully on vinyl.
Jo Jo Zep and the Falcons were one of the first signings to Ross Wilson’s Oz Records Label. The band’s first release was the song ‘Glad I’m Living Here’ on the album ‘Living In The Land Of Oz’. The song also showed up as a b-side to the single ‘Beating Around The Bush’.
The early material was mainly originals, with a few blues/R+B covers thrown in. While their first guitarist Wayne Burt was a major contributor to the bands repertoire, his more straight ahead rock approach didn’t translate into mainstream success.
After two singles the first album ‘Don’t Waste It’ (1976) was released. With the majority of tracks penned by Wayne Burt and comprising songs from their live set, it was either the Ross Wilson production or the band’s inability to ‘whip up’ its enthusiasm that resulted in the album lacking the spark of their live performances. As an example, compare the studio version of the Cthulhu with the live version.
Even though the album was lacking the live feel there is no escaping the fact that the band had some great songs. From their excellent cover of Otis Redding‘s Security, also released as a single, through to the atmospheric ‘The Cthulhu’ there is a lot to like about this album. While Security had some minor commercial success in Melbourne, the second single ’Dancing Shoes’ failed to make a dent, quite surprising as it certainly had all the necessary attributes.
By the time they made their second album ‘Whip It Out’ (1977) Wayne Burt was on the way out being replaced by Tony Faese. While Wayne Burt was listed on the credits as an additional musician so it can be assumed that he played on a number of the tracks, including his own “Rough and Ready’, ‘Cry Cry Cry’ and ‘Fix It Up’. Band leader, Joe Camilleri (ex Pelaco Bros) provides a couple of songs, including the song I Remember that was written with Company Caine’s Gulliver and Ross Smith. Another live favourite, conspicuous by its absence on the first album, is the drummer Gary Young’s (ex-Daddy Cool) great rock track ‘The Girl Across The Street’. Bass player John Power (ex Foreday Riders) provides his gruff vocals to I’m A Madman’ and ‘Boogie In The Barnyard’. Also joining the band as a permanent member was ex Old-55 saxophonist Wilbur Wilde.
The next release was a limited edition 30cm (12 inch) live EP ‘Loud and Clear’ (1978), the entire contents later appearing on the album ‘Let’s Drip A While’. By the time this was recorded a lot of the old live favourites had been replaced by cover versions and the band’s music was more brassy and less rock orientated.
In 1978 a mini-album featuring the bands first big hit, the title track ‘So Young’ came out. The rest of the mini-album is predominantly cover versions and have a b-side feel about them. The exception being another John Power fronted blues track ‘Long Distance Call’, a song in keeping with the band’s early days. It was at this point that the band moved to Mushroom records and in 1979 released the album Screaming Targets. The initial copies of the album featuring a bonus disk of live material recorded in 1979. I have included this live material as it features tracks that the band played live during its ‘Oz Record’ years.
Although I haven’t included Screaming Targets in this post, it is worth noting that the album was a big seller and included the biggest hit to date, ‘Hit And Run’. The album also singled a change of direction with Joe Camerilli, in particular, adopting a ska influence music in the music. For the music historians out there Screaming Targets was produced by Peter Solley, the keyboardist and songwriter from UKs 70s prog band Paladin.
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DON’T WASTE IT
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WHIP IT OUT
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SO YOUNG
http://rapidshare.de/files/28279831/Jo_Jo_Zep_the_Falcons-so_young.zip
LETS DRIP AWHILE AND LIVE AT THE SENTIMENTAL BLOKE
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http://rapidshare.de/files/28288034/Jo_Jo_Zep_the_Falcons-LIVE-2.zip
SCRA – SOUTHERN COMTEMPORARY ROCK ASSEMBLY (1971)
SCRA was an ambitious project lead by conductor, composer and lead guitarist Peter Martin (who later on played with Doug Parkinson and wrote and played on the Drouyn Soundtrack among his may musical ventures). The band featured a male and female lead vocalist and numbered 10 players.
SCRA featured on the Sunbury 72 with a longish version of their Roly Poly single, a song that would not have been out of keeping on a Blood Sweat and Tears album. I recall that Roly Poly did get a little airplay at the time but didn’t set the charts alight and is certainly not a song that ever comes up in writings on early 70s Aussie music. However someone must have remembered it as I heard it played in a Big W store a month or so ago, a pleasant surprise I must add. I went looking through the comps in case some inspired person has decided that we don’t need a twentieth appearance of Eagle Rock or Friday On My Mind and has included some quality but lesser known tracks.
is is the first of the band’s two albums, both of which transcend many musical boundaries. Stylistically they can be described as a progressive jazz rock band with some blues leanings. While I am not a big fan of this musical style I am a big fan of both SCRA albums.
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http://rapidshare.de/files/28326800/SCRA-ST.zip
SPECTRUM – PART ONE (1971)
The first of the Spectrum albums, this is generally considered by critics to be their finest work. It is very much a progressive album and carries some arrangements that would not have sounded out of place in Rudd’s earlier band ‘Sons Of Vegetable Mothers’ which also included Ross Wilson. This association continues into the 70s as Wilson provided his controversial ‘Make Your Stash’ for Spectrum to record. Wilson’s later resurrected this while in Daddy Cool and included it on Daddy Cool’s ‘Sex Dope and Rock N Roll’ album. However the album omitted to include the major hit ‘ I’ll Be Gone’ and one can only imagine the reaction by fans of that song when hearing this album.
The band comprised some seasoned musos including main man Mike Rudd on vocals and guitar, drummer Mark Kennedy, bassist Bill Putt and keyboardist Lee Neale. After this release Mark Kennedy, arguably the band’s most accomplished musician, departed. Kennedy went on to play with some of Australia’s finest bands including Ayers Rock.
Interesting lyrics and arrangements, the album can be found to be either engrossing or grating, depending on your perspective. Self-indulgent head music or an inspired musical journey – take your pick. This unofficial CD release includes the single version of ‘I’ll be gone’ and it’s b-side ‘Launching Place’ as bonus tracks.
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GREG SNEDDON – MIND STROLL
An early release on the newly formed Mushroom album. Multi-instrumentalist and vocalist Greg Sneddon created this piano led progressive album. The album has classical overtones and at times is reminiscent of Rick Wakeman’s work. This is very much a 70s progressive album.
An interesting aside, Greg Sneddon maintained a musical partnership with the drummer on this album Jerry Speiser. Both Greg and Jerry being members of Men At Work. While Snedden was soon replaced by Greg Ham, Jerry went on to enjoy the ride and featured on most of Men At Work’s best known work.
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COUNTRY RADIO LIVE (1972)
This live on the studio album recorded in front of a handful of fans is a good example of Country Radio at the height of their popularity. Country Radio were formed by Go-Set rock journalist Greg Quill and included some fine players including Quill’s songwriting partner and Dingoes founder, Kerryn Tolhurst. This is the first and only album recorded under the ‘Country Radio’ name. The second release, Gypsy Queen, being a compilation of Country Radio singles, all of which are featured on ‘Wintersongs’ found elsewhere on this blog.
This album is country rock, stylistically influenced by the Band and the Byrds, it maintains singer-songwriter leanings without country music excesses. Easily accessible and is a good one to listen to when driving on those long Aussie roads.
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JACKY ORSZACZKY – BERAMIADA (1976)
Hungarian muso Jacky Orszaczky arrived in Australia in the 1971 with his heavily jazz influenced band Syrius. After the demise of Syrius, Jackie stayed around the Australian music scene and later produced his first solo album, Beramiada. This instrumental album, notable for the excellent playing with a highlight being ex-Blackfeather guitarist, John Robinson.
If you like well recorded progressive jazz influenced music with a ‘jamming’ feel then this is a fine example.
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artwork and music=
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RENEE GEYER – BLUES LICENCE (1979)
A fine album featuring backing by Kevin Borich Express on most tracks and on those without, some exceptional players are featured. Given the quality of people who have backed Geyer throughout her career this comes as no surprise.
Outside of her work in Sun and her first solo album, Blues Licence is probably one of the most least recognised in Geyer’s catalogue but is also stylistically the most consistent, albeit less soul and more blues than other releases. Initial research indicates that this album was released in the same month as Geyer’s album ‘Moving Along’. An unusual happening in Australia if it is true.
There are a fair amount of blues standards on this album but Renee is a fine singer with an easily recognisable voice that always seems to make any song she sings her own.
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Password=midastouch
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U-TURN – LIVING IN THE CITY (1977)
A band from Sydney I can’t tell you much about this one. Until I bought this album I had not heard of them although I was living in Melbourne at the time they were around so it is possible that they were a popular band playing around Sydney.
What I do know is that this appears to be their only album release. It is released on ‘Lazer Records’ and as it is produced by Sherbet producer Richard Lush (which suggests that someone was prepared to throw some money behind them) and the hairstyles were fashioned by a Faces fan. Also special mention is made of Cold Chisel and Angels producer Mark Opitz for ‘all his help’.
Musically U-Turn remind me of 70s UK good-time rock bands and the album does have some catchy tunes such as ‘I Like It’ and ‘Lady of Light’.
Other than guitarist Shane Pacey, who composed or co-composed the album with other band members, the rest of the band do not seem to have gone on to any band of note. Pacey did re-emerged a decade later in the blues band Bondi Cigars.
All in all a less known piece of Australian music history
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Password=midastouch
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