Various Aussie Artists - Seventies Downunder Volume 1, Raven Records (1991)

(Various Australian Artists 1970-75)

A continuation of Raven’s overview of the formative years of one of the world’s most highly acclaimed musical forces – Oz Rock. This volume, dealing with the first half of the 1970s, brings together 19 exceptional performances – not novelty chart hits but bands and records of credibility and consequence – Chain, Healing Force, Daddy Cool, Jeff St John & Copperwine, Spectrum, Country Radio, Billy Thorpe & the Aztecs, Axiom, Blackfeather, La De Das, Carson, Skyhooks, AC/DC and others. With an extensively annotated colour booklet, this is one of Raven’s most impressive and essential releases.

Liner Notes (by Glenn A Baker)

The infectious insanity which began with The Beatles just couldn't last. lt wasn't allowed to. The established order of the music industry had been bowled-for-six in 1964, and for three years, rock music galloped unfettered, unashamedly innocent, naive and enjoyable. But by 1967 the 'moguls' of showbiz raised their ugly heads and the adrenalin ride was over. The clumsy but sympathetic rock TV shows were castrated, radio banished the last traces of raw R&B rock from the airwaves and, in a final blow, record companies, managers and promoters bought sufficient consolidated pressure to bear on groups to make them follow a new version of the established order.

The screaming died because the fun died, music took upon itself a dreaded element of seriousness. Records were no longer made for fun, those few groups not dumped by their record companies saw recording as a 'new art'. The age of psychedelic and progressive music was upon us and under those labels was created some of the most intelligently complex and, alternatively, appallingly self-indulgent music imaginable.

The entire fabric of 'fandom' had undergone drastic change as well. Fans were split into two camps: teenyboppers and 'heads'. The boppers supported The New Dream, Zoot and bubblegum, while the heads (prodominatly male) got off on a level of musical snobbery, which decreed that the universe revolved around a stoned, hirsute guitarist gazing at his sandalled feet during a twenty minute solo. The newly emerged drug culture can be held responsible for the latter group ('mind expansion' failed because of the poor quality of raw material it had to work upon).

The change in Australian music and society between 1967 and 1970 was drastic and severe. Music moved out of Melbourne's (the new pop capital) steamy discos into Sydney's thriving dances and finalty on to open acreage. We intently watched Monterey and Woodstock and then (following a fine tradition of aping the rest of the world) tried rock festivals ourselves. Off we trooped to Ourimbah, covering ourselves with flowers and professing undying love for fellow man. A few years later we tired of sitting in muddy fields dodging beer cans and gave the whole thing up as a bad joke.

Protest went down much the same path, as the fine and just cause of anti-war activity became little more

than a trendy 'be-in'. We didn't change the world much, as hard as we tried.

The music made in this country after the end of the 60s certainly reflected the indulgence and the uncertainty but some of it also, as the selections herein doth attest, began to display a startling innovation born of both isolation and the distillation of myriad influences. This collection picks up the story of Oz Rock from 1970 and takes us through its final half-decade in the international wilderness.
From 1975 on, thanks to Little River Band, Rick Springfield, AC/DC, John Paul Young and others (and to a change in focus from England to America), it was no longer a one-off or fluke to have Australian music on the charts of the world.

Assembled here is a breathtaking array of styles - soul, blues, country-rock, heavy metal, rock'n'roll, progressive hippy rock, unashamedly commercial pop and more. If you listen carefully enough you can discern a thread running through it all - a thread that inevitably led up to Men At Work, Split Enz, Cold Chisel and INXS. After this period though, Oz Rock was a little more calculated, a little less starry-eyed.

Now, for those interested in details.....

Max Merritt & The Meteors

Beloved soul/r&b masters Max Merritt & the Meteors had been in Australia (from NZ) for five years before scoring their first national hit, with a storming version of The Impressions' U.S. charter, "Western Union Man", from their self-titled top ten album. By this stage, Max was the only Kiwi still on board, the other slots being filled by rotund drummer Stewie Spears, bassist Yuk Harrison and saxophonist Bob Bertles. By the mid 70s, Max was recording in England for Arista and had scored a number one hit in Australia with "Slipping Away".

Jeff St. John & Copperwine

The soaring, soulful voice of Jeff St John had first been heard in 1967 when The Id made top ten with "Big Time Operator". By the end of that year he was recording with the unsuccessful Yama and, in 1969, returned to the airwaves as leader of Copperwine, a sturdy outfit comprising of Harry Brus, Barry Kelly, Peter Figures, Ross East and fellow vocalist Wendy Saddington. This cover of the Rotary

Connection's "Teach Me How To Fly" reached top twenty in Sydney in January 1971, by which time Saddington had split. A year later, Jeff did the same thing and Copperwine recorded under their own steam.

Axiom

With Glenn Shorrock from the Twilights, Brian Cadd and Don Mudie from the Groop, Chris Stockleigh from Cam-pact and Don Lebler from the Avengers, Axiom was fairly hailed as Australia's first 'Supergroup'. After cracking the top ten first out in late 1969 with "Arkansas Grass", the unit made top five in April 1970 with Cadd's hymn to his newborn daughter, "A Litte Ray Of Sunshine". 

Although they turned out a superlative album with 'Fools Gold' and then left to work in Britain, the momentum (to say nothing of the artistry) evaporated and disbandment occurred in March 1971. A few years later, Shorrock was leading the Little River Band.

Daddy Cool

Like Shorrock, Ross Wilson is an incredible survivor, his chart career beginning in 1965 with the Pink Finks and continuing to this day with Mondo Rock and solo ventures. Daddy Cool, the merging of the Party Machine and the Rondells, took shape in the first half of 1970 as a rollicking, good- time band amid a sea of hairy heavyweights. Mixing covers of obscure, vintage r&r and r&b with clever appealing originals, Daddy Cool offered a joyous celebration of rock'n'roll which took them to number one for eight weeks with their debut single, "Eagle Rock".

Carson

Carson, formed in 1970 as Carson County, deftly cashed in on the Canned Heat boogie climate to become rock festival staples. By 1972, when "Boogie" became a top thirty hit, the lineup included vocalist Broderick Smith, guitarist Greg Lawrie, Healing Force pianist Mal Logan and Chain bassist Barry Sullivan. After a chart album with 'Blown', Carson dissolved, early in 1973.

Spectrum

Some months before Ross Wilson got his new band to number one, his Party Machine partner Mike Rudd had already done just that with the bluesy, shuffling, "l'll Be Gone". Spectrum did not enjoy any further singles success but did make a series of albums which are amongst the most adventurous 'art rock' works to come out of Australia, Rudd later led Ariel and the Heaters.

Healing Force

The airy, seductive "Golden Miles" was the only hit for the band which formed in Adelaide late in 1970 (at the hands of Twilights drummer Laurie Pryor) and always seemed a shadowy, semi- permanent entity. Signed to the same label as Daddy Cool (Sparmac), Healing Force recorded no albums and had a sole hit. Vocalist Charlie Tumahai turned up in England in 1975 as a member of Be Bop Deluxe.

Blackfeather

Like Golden Miles, "Seasons of Change" was an intriguing, compelling piece, though in this case the inspiration seemed to be the gothic/medieval oveltones favoured by the British progressive/heavy metal bands of the day. Written by Blackfeathers's resident guitar wizard, John Robinson, for Bon Scott's Adelaide band Fraternity, it proved to be a far bigger hit for its originators.

The highlight cut from the 1971 album 'Mountains of Madness', it was sung with great power and distinction by Neale Johns.

Masters' Apprentices

"Because I Love You" was the peak of the writing and conceptual prowess of Masters' Apprentices guitarist Doug Ford and vocalist Jim Keays, who, with bassist Glenn Wheatley and drummer Colin Burgess, had given yet another dimension to one of the most venerable names in Oz Rock history. Recorded at Abbey Road Studio 2 in London (at the same time John Lennon was recording Working Class Hero in Studio 1), this splendid, shifting piece, with predominating acoustic guitar, became a hit all over again at the end of the 80s when it was rerecorded and reissued after being used in a television commercial.

The Zoot

Like many bubblegum bands trapped by a profitable image, Thc Zoot had a heavyweight heart just begging to be exposed. Their crashing, thunderous treatment of the Beatles' "Eleanor Rigby" was as impressive as it was unexpected and gave them their only top five hit, at the beginning of 1971 .

This unit proved to be a useful stepping stone - guitarist Rick Springfield was in the U.S. charts as a sole heartthrob a year later, bassist Beeb Birtles followed him there in 1976 as a member of Little River Band, vocalist Daryl Cotton recorded Stateside with Cotton, Lloyd & Christian, and drummer Rick Brewer was at number one on the Austalian charts in 1977 as a member of the Ferrets.

Chain

A tad heavier and immeasurably more credible was the grunting, grinding Chain and their 1971 Melbourne number one, "Black And Blue". Formed in 1967 and originally featuring the mighty Wendy Saddington, Chain hit its commercial stride in 1970 with the compact lineup of vocalist Matt Taylor, guitarist Phil Manning, drummer Barry Harvey and bassist Barry Sullivan. There seems to have been, on and off, in some format or another, a version of Chain in operation ever since, rendering the name synonymous with quality rock blues.

La De Das

The La De Das had as many musical lives as the Masters Apprentices. Beginning life in New Zealand as a down-down-under Blues Magoos in the mid 60s, they ended up as a high-powered Sydney-based hard rock quartet (then trio) in the early 70s, led by guitar hero Kevin Borich. A major concert and festival drawcard, they enjoyed only occasional radio support; the strongest being for the elastic, athletic "Gonna See My Baby Tonight", which made top ten in November 1971.

Billy Thorpe & The Aztecs

By 1972, rock chameleon Billy Thorpe probably thought that his popchart topping days were over. By then he was a wild rock warrior - pony tail flying, vocal chords quavering, decibels mounting. There was a new Aztecs and a new attitude but Thorpie could never suppress his inherent commerciality. Even a humorous piece of self-deprecation like "Most People I Know (Think That I'm Crazy)" was able to strike a responsive chord with the crowds.

Country Radio

Greg Quill was a writer for Go-Set magazine who happened to possess as much talent as most of the people he wrote about. A quality folk/country singer-songwriter, he recorded an album for EMI ('Fleetwood Plain') before signing up with Festival as Country Radio. 

Although members came and went with peak hour railway frequency, the band managed to score a substantial hit in August 1972with its second single, "Gypsy Queen", written by Greg and guitarist KerrynTolhurst. A 'live' studio album fared reasonably well but by the end of 1973 it was all over. Greg cut an impressive solo album, 'The Outlaw's Reply', before moving to Toronto, Canada, where a full circle turned and he became a leading rock journalist.

The Dingoes

Canada also proved to be a receptive market for the band Broderick Smith formed after Carson. The Dingoes, featuring Chris Stockleigh from Axiom and Kerryn Tolhurst from Country Radio, played a meaty version of country-rock overlaid with a blues sensibility. After a top thirty 1974 hit with the evocative "Way Out West", they headed way up north and spent most of the next five years flogging themselves across North America seeking a big break that sadly never came.

Matt Taylor

Uncompromising white bluesman MattTaylor recorded three solo albums for Mushroom Records between 1973 and 1975, one of which ('Straight As A Die'), sold almost as well as his Chain album. Originally not on his LP (but later added to CD reissues as a bonus track) the sprightly and disarmingly honest "I Remember When I Was Young", gave him a top thirty Melbourne hit.

Stevie Wright

When Vanda & Young returned from Britain in 1973, their first project was to restore the chart prominence of their Easybeats comrade Stevie Wright, a vocalist who had been asked to front Mott The Hoople. In 1974, they appeared live with him at the Sydney Opera House and wrote/produced the extraordinary epic "Evie", the only 11 minute plus single to go to number one anywhere in the world.

This renewed association lasted for three hits and two fine albums.

Skyhooks

Australian rock has given us few finer experiences than Skyhooks, an underground-cult politico Carlton rabble which tore the country apart with a glam rock parody built upon pithy, smart-arse lyrics that provided a long overdue observation of the contemporary Australian experience. No kangaroos or elderly emus but dreary Melbourne suburbs and unrestrained adolescent lust. "Living ln The Seventies", the title track to the band's debut album (which instantly became the biggest domestic selling Australian album in history) is as close to an anthem as we had in that era.

ACDC

And talking about anthems.....Like the resuscitation of Stevie Wright, the rise of hard rock powerhouse AC/DC was the work of Vanda & Young, who shaped the raw energy of the young band to fill an international vacuum they were convinced existed. The double-punch of Bon Scott's leering, lascivious and decidedly tongue-in-cheek vocal assault and Angus Young's brash, exuberantand bluesy guitar work proved irresistible in a country where no-frills working-class rock'n'roll had ahrvays been warmly embraced. "It's A Long Way To The Top" was AC/DCs third hit, reaching the top five at the end of 1975.

This post consists of FLACs ripped from CD and includes full album artwork.  In my opinion, this is one of the best Aussie Rock compilations from the Seventies.  It should also be noted that Raven's follow up release was titled "Do Y'self A Favour! The Countdown Years 1975-79 (Seventies Downunder Vol. 2) which was released in 1993.  

Track Listing:

1. WESTERN UNION MAN – Max Merritt & the Meteors

2. TEACH ME HOW TO FLY – Jeff St John & Copperwine

3. A LITTLE RAY OF SUNSHINE – Axiom

4. EAGLE ROCK – Daddy Cool

5. BOOGIE PART I – Carson

6. I’LL BE GONE – Spectrum

7. GOLDEN MILES – Healing Force

8. SEASONS OF CHANGE – Blackfeather

9. BECAUSE I LOVE YOU – The Master’s Apprentices

10. ELEANOR RIGBY – The Zoot

11. BLACK AND BLUE – Chain

12. GONNA SEE MY BABY TONIGHT – La De Das

13. MOST PEOPLE I KNOW, THINK THAT I'M CRAZY - Billy Thorpe & The Aztecs

14. GYPSY QUEEN – Country Radio

15. WAY OUT WEST – The Dingoes

16. I REMEMBER WHEN I WAS YOUNG – Matt Taylor

17. EVIE PART 2 – Stevie Wright

18. LIVING IN THE 70’s – Skyhooks

19. IT’S A LONG WAY TO THE TOP – AC/DC

Seventies Downunder Vol 1 Link (466Mb)

W.O.C.K On Vinyl: Babies Go AC/DC (2012)

Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

This is my second 'Babies Go' Post (my first being 'Babies Go Pink Floyd') and I'd like to say that it is a bit more up tempo with its AC/DC theme, however if you are looking for those thumping 'Vanda & Young' riffs and school boy guitar licks from Angus then you are going to be bitterly disappointed.   

I know I was -  BOO HOO !

Once again the 'Sweet Little (cover) Band' have reproduced the tunes of their 'focus band' note for note, but instead of guitars, bass and drums, they only use keyboards and wind instruments with no vocals.

The play list on this release covers most of ACDC's big hits, with a 50/50 split between their Bon Scott and Brian Johnston material. Speaking of Bon Scott, I'm sure if he was able to hear this Korny tribute he would probably turn in his grave. In fact I'm sure that all ACDC's band members would probably shout "Hells Bells, this is a Dirty Deed Done Dirt Cheap".

There's not much more that I can say about this release, as there is bugger all information available, but if by chance you actually like this Month's WOCK Posting then you might be ticking the Crazy box.

If you are interested in exploring other Babies Go titles, then I suggest you  pop over to the RGS Website     

FYI: I've only ripped the CD to MP3 (320) format, because I don't think FLAC format would actually improve your listening experience with this one. Now, I'm off to play my favourite AC/DC album before it's my bedtime..... 

Track Listing:

01 Back In Black

02 Moneytalks

03 Highway To Hell

04 You Shook Me All Night Long

05 Who Made Who

06 Whole Lotta Rosie

07 Heatseeker

08 For Those About To Rock (We Salute You)

09 Hells Bells

10 Big Gun

11 Dirty Deeds Done Dirt Cheap

12 Shoot To Thrill

13 The Jack

14 T.N.T.

Babies Go AC/DC Link (128Mb)

Various Artists - Explosive Hits '75 EMI (1975)

 (EMI Compilation 1974/75)

This EMI compilation from the mid 70's has always been a long standing go to album of mine, partly because it features some of my favourite tunes, like ACDC's "Baby Please Don't Go", Ralph McTell's "Streets Of London", Steve Harley's "Make Me Smile " and Ross Ryan's "Blue Chevrolet Ballerina".  But for some reason, the album cover has also been an attraction to me - even though its nothing special - but maybe its the 3D masonry lettering on top of the vibrant red background that has always caught my attention.  

Of course, there are other great tracks featured on this album, like Pilot's "January", Sherbet's "Summer Love" and Pete Shelley's "Gee Baby", but even the obscure selections by Pepper Box, Al Martino and Gilbert Becaud eventually grow on you after lots of plays.

So, even if you haven't heard some of these tracks, I suggest you give this LP a spin, and hey; maybe this collection of tracks will become your Explosive Hits of 75' as well. And now, some light reading while you listen to this comp:

1. John Paul Young - Yesterday's Hero

John Paul Young became well known when working with producers/composers Harry Vanda and George Young. In March 1975 Alberts released John Paul Young’s recording of Vanda & Young's Yesterday's Hero, a song about the fleeting nature of pop stardom. The record hit the national charts in April, reaching #1 and staying at #1 on the Melbourne charts for six weeks. "Yesterday's Hero" sold strongly in the USA and reached #42 on the Cashbox top one hundred. A key factor to "Yesterday's Hero" success was the film clip made to promote it, which enabled the song to be given exposure on Countdown (following the official start of colour TV broadcasting March 1, 1975. The Hero LP reached #20 on the charts in November 1975 and became a gold record.

2. Bay City Rollers - Bye Bye Baby

The Bay City Rollers are a Scottish pop rock band known for their worldwide teen idol popularity in the 1970s. They have been called the "tartan teen sensations from Edinburgh" and are one of many acts heralded as the "biggest group since the Beatles". The group's line-up had many changes over the years, but the classic roster during its peak in popularity included guitarists Eric Faulkner and Stuart Wood, singer Les McKeown, bassist Alan Longmuir and drummer Derek Longmuir.

Their debut album, Rollin' debuted atop the UK Albums Charts and spent a combined total of fifty-eight weeks on the UK Albums Chart. Their follow album studio album Once Upon a Star continued this success, again, debuting a top the UK Albums Chart. The album yielded the successful singles "Bye, Bye, Baby", which topped the charts in the United Kingdom, Ireland and Australia, and "Keep On Dancing". "Bye, Bye, Baby" was the best selling single in the United Kingdom in 1975.

3. Peter Shelley - Gee Baby

Peter Shelley (alas Peter Southworth) was a British pop singer, songwriter, and music business executive. As a performer in the 1970s, he had UK hits with "Gee Baby" and "Love Me Love My Dog". He also originated the persona of Alvin Stardust, writing, singing and producing the first single released under that name, "My Coo Ca Choo".

Gee Baby is a well constructed, if not slow paced, ‘bubblegum pop’ track that was a hit in the U.K. in 1974.

This was easily the then 32 year old singer/songwriter’s most successful solo release in Australia and, in January 1975, it peaked at the national #3 position published by the ‘Kent Music Report’ (the forerunner of today’s ‘ARIA Charts’)

4. Gary Glitter - Goodbye My Love

Paul Francis Gadd, better known by his stage name 'Gary Glitter', was an English former singer who achieved fame and success during the 1970s and 1980s. He became known for his energetic live performances and glam rock persona of glitter suits, make-up, and platform boots.

The Glitter Band were a British glam rock band, who started out as a backing band for Gary Glitter from 1973.

The Glitter Band were: John Rossall (trombone and musical director), Gerry Shephard (lead guitar and vocals), Pete Phipps (drums and keyboards), Tony Leonard (drums), John Springate (bass and vocals) and Harvey Ellison (saxophone).

While backing Gary Glitter, they showcased their ability to create catchy, glam-infused rock 'n' roll that resonated with audiences around the world.

Their live shows were a spectacle to behold, featuring synchronised dance routines, flamboyant costumes, and an electric atmosphere that left fans begging for more.

But the Glitter Band's success wasn't just about the glitz and glamour. Behind the scenes, they were talented musicians, crafting their unique 'Glitterbeat' sound that blended pounding drums, catchy guitar riffs, and infectious melodies.

As they toured extensively, their fan base grew, and they became a household name in the glam rock scene. Their music and performances had an undeniable impact on the cultural landscape of the time.

"Goodbye My Love" was released in 1975 and was the band's highest charting single at number 2 in the UK Singles charts.

Interesting fact: Gerry Shephard did the lead vocals on "Goodbye My Love" and not Gary Glitter

5. Linda Ronstadt - You're No Good

Linda Ronstadt had her first hit single, “Different Drum,” in 1967 as a member of The Stone Poneys, then had a series of solo albums in the early 1970s following the group’s breakup. But it wasn’t until November 1974, 50 years ago this month, with the release of her album 'Heart Like a Wheel', produced by Peter Asher, and its lead-off single, “You’re No Good,” that the singer landed squarely at the top of the charts, a place she would find herself many times throughout the rest of her career.

"You're No Good" was originally sung by Dee Dee Warwick in 1963, however the song was made more popular by Linda Ronstadt in 1974.

Ronstadt began performing "You're No Good' to close her live shows in early 1973, after her band member Kenny Edwards suggested it to her. She first included it in her setlist while opening for Neil Young. Ronstadt gave an early televised performance of 'You're No Good' on an episode of The Midnight Special, broadcast Dec 21, 1973.

When finally recorded, Ronstadt's version went to number 1 in the United States, number 7 in Canada, number 15 in Australia, number 17 in the Netherlands and number 24 in New Zealand.

6. AC/DC - Baby Please Don't Go

"Baby, Please Don't Go" is a traditional blues song that was popularized by Delta blues musician Big Joe Williams in 1935. Many cover versions followed, leading to its description as "one of the most played, arranged, and rearranged pieces in blues history". In my opinion, the best cover was done by the UK heavy rock band 'Budgie' in 1973, however AC/DC's version comes a close second.

In November 1974, Angus Young, Malcolm Young, and Bon Scott recorded it for their 1975 Australian debut album, High Voltage but Albert Productions decided
to issue it as a B-side single. However, the A-side "Love Song (Oh Jene)" was largely ignored and "Baby, Please Don't Go" began receiving airplay. The single entered the chart at the end of March 1975 and peaked at number 10 in April. AllMusic critic Eduardo Rivadavia called the song "positively explosive", while music writer Dave Rubin described it as "primal blues rock".

On March 23, 1975, one month after drummer Phil Rudd and bassist Mark Evans joined AC/DC, the group performed the song for the first time on the Australian music program Countdown (this performance would also be repeated on April 6 and 27, which is why there is often conflicting dates for this performance)  And to this day, this performance remains as one of the most epic and most watched Countdown clips.

7. Al Martino - To The Door Of The Sun

"To the Door of the Sun (Alle porte del sole)" is a 1975 hit single by Al Martino and the title track of his LP.

Al’s renditiuon was an English language treatment of the Italian song “Alle porte del sole,” recorded in 1973 by Gigliola Cinquetti.

In early 1975, "To the Door of the Sun" reached number 17 on the U.S. Billboard Hot 100. It spent four months on the chart, equaling the chart run length of Martino's greatest hit, "I Love You Because" (#3, 1963).

It was Al Martino's biggest Top 40 hit in Australia, peaking at #2 in mid-1975, and also became his biggest hit of the 1970s.

Interesting fact: Apart from singing, Martino was also an actor and played the role of Johnny Fontane in the 1972 film The Godfather, as well as singing the film's theme, "Speak Softly Love". Martino had been told about the character by a friend who had read the eponymous novel and felt Martino represented the character of Johnny Fontane. Martino contacted producer Albert S. Ruddy, who initially gave him the part. Martino was stripped of the part, however, after Francis Ford Coppola came on board as director and awarded the role to singer Vic Damone. Martino, in turn, went to Russell Bufalino, his godfather and a crime boss, who then orchestrated the publication of various news articles that claimed Coppola had been unaware of Ruddy having given Martino the part.

Damone eventually dropped the role because he did not want to provoke the Bufalino crime family. Ultimately, the part of Johnny Fontane was given back to Martino. He played the same role in The Godfather Part III and The Godfather Trilogy: 1901–1980 (the television miniseries that combines The Godfather and The Godfather Part II into one film).

8. Peppers - Pepper box

The Peppers was a French male instrumental group who had a hit single in 1975 with "Pepper Box". The song reached number 6 in the UK Singles Chart, was a minor hit on the US Soul and Hot 100 charts and hit #25 in the Australian Charts.

As with several other pop hits of the early 70's, notably instrumentals, this mega hit started life as a TV commercial soundtrack. The producer Roger Tokarz, however, recognized it's potential early on and instead of the recording being given to the client, held back the tune for a commercial release. Taking inspiration from another 70's instrumental hit called "Popcorn", Tokarz recruited noted musicians Pierre Alain Dahan and Matt Camison (also to be found on Trunk Records recently released production library anthology) to expand on his theme at the Bagatelle Studios (home of the publishers of Serge Gainsbourg). Pepper Box went on to sell over 3.5 million units world wide! Not bad for a commercial jingle.

9. Pilot - January

"January" was sung by Scottish rock band Pilot. Written by the band's guitarist and singer David Paton and produced by Alan Parsons, it was released by EMI Records in January 1975 as the follow-up to the band's breakthrough single, "Magic". "January" gave Pilot their only number-one single in the UK, Ireland and Australia.

In 1973, Paton (singer and bass player), formed Pilot with a former Bay City Rollers member, keyboard player Billy Lyall and soon recruited drummer Stuart Tosh and, a few months later, guitarist Ian Bairnson. Their band name is derived from P(aton), I(an), L(yall) and T(osh) and added an O in for good measure and came up with Pilot.

"January" was actually released in the second week of January 1975, and two weeks later it was number one, had it been released a week earlier, it might have made number 1 whilst still in January, but, no, it peaked in the first week of February. It probably didn’t bother them at the time because it song wasn’t actually about a month.

“My wife was reading a book and the main character was called January, ” Paton explained. “She said, ‘January is a nice name for a girl don’t you think?’ and it just stayed in my head and I wrote the chorus with that in mind. The verse and the chorus are totally unrelated; the verse is about how I felt at the time with the success of our first single "Magic". I didn’t actually write the song in January, it was in October, just after the release of Magic. It was quickly recorded as the next single. We were recording the album, 'Second Flight', in Air Studios in London when January got to number one. I didn’t know the song was number one until I arrived at the studio where I was greeted with handshakes and congratulations.”

10. Ross Ryan - Blue Chevrolet Ballerina

Australian singer / songwriter (moved here from US as a young boy) grew up on a farm in Western Australia. He started writing songs at 14 eventually landing a record deal in 1970. His 1st major success was "I Am Pegasus" which made No. 2 in 1973. One of the most original singles of 1975, "Blue Chevrolet Ballerina" was released in March that year receiving widespread airplay but only charting at No. 38. The song appeared on Ryan's 'After The Applause' LP.

'Blue Chevrolet Ballerina' brings together the banjo feel of Neil Young's 'For The Turnstiles' (from 'On The Beach') and Jeanie C. O' Reilly's 60's hit, 'Ode To Billy Joe'.

I personally think that this is one of Ryan's best songs, and should have received the same success as his first hit "I Am Pegasus".

11. Guys and Dolls - There's A Whole Lot Of Loving

"There's a Whole Lot of Loving" is a song written by Christian Arnold with lyrics by David Martin and Geoff Morrow, released under the name of Guys 'n' Dolls. The song was a number-two hit in both the United Kingdom and Ireland and became the biggest hit for the group. The song also reached number 15 on the US Billboard Easy Listening chart and number 17 on Canada's RPM Pop Music Playlist. Elsewhere, the song reached the top 20 in Belgium, the Netherlands, and South Africa.

The song was originally recorded in 1974 by a group of session singers (including Tony Burrows and Clare Torry) for a TV advertisement for McVitie's biscuits. Guys 'n' Dolls were formed to cash in upon the popularity of the jingle and to present it as a single. However, the group was not ready in time to record an entirely new version for the single's hasty release, so the voices of the session singers remained on the single.

12. Steve Harley & Cockney Rebel - Make Me Smile (Come Up And See Me)

"Make Me Smile (Come Up and See Me)" is a song by British rock band Steve Harley & Cockney Rebel, released as the lead single from the band's 1975 album The Best Years of Our Lives. It was written by Harley, and produced by Harley and Alan Parsons. In February 1975, the song reached the number-one spot on the UK chart and received a UK Silver certification. It spent nine weeks in the Top 50. The track marked Harley’s first Number 1 hit single, entered the Top 10 in 15 countries and has sold around 1.5 million copies to date.

“People keep asking me, did I know at the time how successful Make Me Smile would become?,” Harley told Official Charts.com. “I was 23 years old and wouldn't have been considering the long-term future.

“But we all knew, in number two studio at Abbey Road, after we'd re-mixed it, that something special might just be in the air.”

“Alan Parsons, my co-producer and engineer, did a fantastic job,” he continued. “Which is why the record sounds so fresh and bright on the radio to this day, a full 40 years on!"

13. Ralph McTell - The Streets Of London

"Streets of London," was the third song that Ralph McTell ever wrote yet he deliberately left it off his debut album as he didn't think it was anything special. However, at his producer's insistence, he included it on his second album for Transatlantic, 'Spiral Staircase'. After the song was re-recorded in 1974 as a single for Reprise/Warner Bros it became a huge world-wide hit. The song reached number two on the British charts, and in Germany, there were four different versions of the song on the charts at one point, three by McTell and one by a German singer.

Produced by Gus Dudgeon and first released in the UK in 1969, "Streets of London" has become McTell's signature tune. I personally heard this track for the first time, having purchased 'Explosive Hits '75 when the single was re-released by EMI records (which earned him an Ivor Novello Award), and it has been my favourite Folk Song ever since.

14. Sherbet - Summer Of Love

Released in March, 1975, this was another pop classic by Sherbet and their first single to be released in England. It reached the National top five in Australia and became their first number-one hit on the Australian Kent Music Report Singles Chart.

Interestingly, it was their only release on EMI. Sherbet had signed a one-off deal for "Summer Love" with EMI – rival to their regular label Festival Records. This was a ploy to gain leverage when negotiating a more favourable contract. After "Summer Love" peaked at No. 1, Sherbet re-signed with Festival which issued their subsequent material on the group's own Razzle and Sherbet labels.

The song was promoted on the newly aired ABC TV pop series, Countdown, which gave it wide exposure. From early 1975, the group made more appearances on the show than any other band in the programme's history. Through late April and most of May of 1975, Sherbet’s Summer Love spent four weeks at the coveted No.1 spot, which meant that four consecutive Countdown episodes ended with the velvet tones of Gavin Wood declaring that our boys were the biggest and best in the land. For one whole month we had statistical proof that our love for Sherbet was like no other love.

In October, at the King of Pop Awards, "Summer Love" won the Most Popular Australian Single, the band won Most Popular Australian Group and their lead singer, Daryl Braithwaite, won the King of Pop award.

15. Franki Valli - My Eyes Adored You

"My Eyes Adored You" is a 1974 song written by Bob Crewe and Kenny Nolan. It was originally recorded by The Four Seasons in early 1974. After the Motown label balked at the idea of releasing it, the recording was sold to lead singer Frankie Valli for $4000. After rejections by Capitol and Atlantic Records, Valli succeeded in getting the recording released on Private Stock Records, but the owner /  founder of the label, Larry Uttal, wanted only Valli's name on the label. It is from the album Closeup. The single was released in the US in November 1974 and topped the Billboard Hot 100 in March 1975. "My Eyes Adored You" also went to number 2 on the Easy Listening chart. Billboard ranked it as the No. 5 song for 1975.

The single was Valli's first number 1 hit as a solo artist on the Billboard Hot 100, but only remained there for one week. Ironically, the success of "My Eyes Adored You" triggered a revival of interest in recordings by The Four Seasons. he band was subsequently signed to Warner Bros. Records as Valli's follow-up single "Swearin' to God" was climbing to number 6 on the Hot 100.

16. Gilbert Bécaud – A Little Love And Understanding

The closing track on this 1975 compilation, this cute little recording by French legend Gilbert Becaud actually starts to grow on you (His cute little 'he he' & 'ha ha's are what give this record its quaint charm). 'A little love and understanding' came half way through Gilbert's 50 year career, and provided his only British chart hit, and a number one selling single in Sydney; while strangely making only #19 nationally. Evidently Gilbert did not receive much airplay elsewhere Down Under!

1975 was a turning point in pop culture, as some of the balladeers and superstars of the era were about to be flung aside as disco and novelty pop records became the mainstay of the upper echelons of the hit parade. Around this time, hits by crooners like Joe Dolan, Al Martino, Telly Savalas and Gilbert Becaud were still hitting the charts, but not for long (thankfully).

This post consists of FLACs ripped from my Vinyl (I actually have 2 copies - this one's near mint condition) and includes full album artwork along with label scans.  This compilation is a must for your collection.

Track Listing:

A1 John Young – Yesterday's Hero 3:41

A2 Bay City Rollers – Bye Bye Baby 2:37

A3 Peter Shelley – Gee Baby 2:50

A4 The Glitter Band – Goodbye My Love 3:44

A5 Linda Ronstadt – You're No Good 3:25

A6 AC/DC – Baby Please Don't Go 4:50

A7 Al Martino – To The Door Of The Sun 3:18

A8 The Peppers – Pepper Box 2:18

B1 Pilot – January 3:28

B2 Ross Ryan – Blue Chevrolet Ballerina 3:56

B3 Guys & Dolls – There's A Whole Lot Of Loving 3:13

B4 Steve Harley & Cockney Rebel – Make Me Smile (Come Up And See Me) 3:30

B5 Ralph McTell – Streets Of London 4:20

B6 Sherbet – Summer Love 3:30

B7 Frankie Valli – My Eyes Adored You 3:09

B8 Gilbert Bécaud – A Little Love And Understanding 3:23

Explosive Hits 75' Link (368Mb)

Various Aussie Artists - Albert Archives (1979)

 (Australian 1964 - 1975)

Albert Productions, the recording arm of the 94 year old independent publishing house J. Albert & Son, is a record label unlike any other. It came into being as a result of one man's love of rock & roll and has continued under virtually the same criteria for 14 exceedingly successful years.

Ted Albert, great grandson of company founder Jaques Albert, was 26 when Beatlemania engulfed the world late in 1963. Although he had never been involved with music recording, Ted knew that something exciting was happening and he wanted to be in on it.

With recording facilities in Sydney being all but non existent, Ted Albert dusted off the disused 2UW Radio Theatre in George Street and set about becoming a record producer. In every major city of the English speaking world, the same process was occurring as a new music empire was being built.

Ted began with two groups. One was already firmly established and had enjoyed huge national chart success on another label, the other was a scruffy bunch of young amateurs from the Villawood Migrant Hostel. Both Billy Thorpe & The Aztecs and The Easybeats became multi-hit supergroups and Ted Albert emerged as one of rock's natural producers with a raw technique honed out of eager enthusiasm.

In August 1964, the first Albert Productions single was released on the Parlophone label - "Mashed Potatoes" by Billy Thorpe, a sizeable hit. Seven months later The Easybeats debuted with "For My Woman" and for the next 18 months both acts virtually shared the top of the charts.

R&B influenced rock resigned at Alberts, as Ted sought out and recorded such premier exponents as The Missing Links and The Throb - acts that other companies would not have dreamed of signing!  In all it was a euphoric boom which lasted until The Easybeats left for England at the end of '66. Ted went with them, produced a few unreleased tracks and then returned to Australia - where he wound down his recording activities to a point of virtual cessation, after dispatching producer/A&R man Tony Geary to London as his representative.

Alberts concentrated on publishing until the end of the sixties, while The Easybeats were battling the English charts and sending home their songwriting demos in hope.

The first attempt at Albert Productions' own label was in February 1969 when the unlikely "Songs Of Brotherhood" by The Boys of Fort Street High School Choir appeared, but it was not until December 1970 that serious pop releases began with Ted Mulry's "Falling In Love Again" hit.

Ted Mulry began a second phase for the company, scoring a healthy string of chart hits and generating numerous cover versions. The engagement of publicist co-ordinator Katie MacKillop (ex secretary to Radio Luxemborg boss Alan Kleen) was another shot in the arm, as well the timely signing of a shy and diminutive young pop singer called John Paul Young. Visiting English producer Simon Napier-Bell, working out of the Albert's camp, matched John with one of the Vanda & Young demos which were on hand and the result was a huge 1972 hit with "Pasadena" (The lyrics of which, incidentally, were written by actor David Hemmings)

At the end of 1973 Harry Vanda & George Young returned to Australia after a four year production/recording stint in England, wanting to get down to some serious work. They threw their awesome weight behind the new Albert Productions label and within a matter of months the charts were saturated with Albert singles.

Throughout 1974-75 Wanda & Young returned Alberts to a boom period, akin to the turbulent 1965-66 Easybeats era.  Stevie Wright became the flagship of the fleet with the classic Evie single which won the 1974 'Song Of The Year' award for Harry & George and is enshrined as one of the top ten selling Australian singles of all time. V&Y also contributed heavily to the success of Alberts publishing division, as a result of cover versions of their songs by hundreds of international acts - including David Bowie, Rod Stewart, Bay City Rollers, Savoy Brown, James Last Orchestra, Dahlia Lavi, Joe Dolan and Marmalade.

William Shakespeare, a V&Y exercise, scored two huge hits; AC/DC began their spiraling rise to world fame with the double Platinum 'High Voltage' album and John Paul Young commenced a new phase of his career with the incredible "Yesterday's Hero"

It was not only Albert acts which rode the charts on V&Y superhits, others like Ray Burgees, Alison McCallum, Johnny O'Keefe, Doug Parkinson and Johnny Farnham queued for material and, subsequent hits.

After 1975 Vanda & Young settled down to more long term-orientated activities with the international market in mind and other Albert acts emerged as strong forces. The most notable was Ted Mulry who, with his Gang, became a teenage rock idol of immense record selling proportion. A&R Director Chris Gilbey developed a wide range of artistically interesting but commercially disappointing acts such as Cool Bananas, Wendy Grove, Bobby Marchini, Graham Lowndes, and Madden & Harris

By 1977 Alberts completed the installation of a world standard twin 24 track studio complex and moved forcibly toward the world markets with high quality rock acts like AC/DC, John Paul Young (affectionately known as Squeek by his fans), The Angels, Rose tattoo and Flash & The Pan. Now in 1978, under the A&R direction of Fifa Riccobono and the international representation of industry veteran Mike Browning, Albert Productions is enjoying the greatest level of consistent success since its inception in 1964 and is still, to Ted Albert's external credit, a true ROCK label. For it is in such an environment that Vanda & Young are able to work unhindered and albums like this, are able to be issued  [notes by GLENN A. BAKER]

This post consists of FLACS ripped from CD (thanks to Micko at Midoztouch) and includes full album artwork for both vinyl and CD releases along with label scans.  As a bonus, I thought it appropriate to include some of the tracks mentioned in Glenn A. Bakers notes that were not included on this release, as bonus tracks.  If you are looking for a full discography of Albert Production releases, I highly recommend their 50th Anniversary 5CD release entitled 'Good Times' from 2014.

Tracklist

01 The Easybeats – She's So Fine (Live)

02 The Missing Links –  Shakin' All Over

03 The Throb –  Fortune Teller

04 Billy Thorpe And The Aztecs –  The Word For Today

05 Bobby And Laurie –  Every Second Day

06 Ted Mulry –  Ain't It Nice

07 Alison McAllum And Tully –  To Love Somebody

08 The Easybeats – All Gone Boy

09 Marcus Hook Roll Band – Natural Man

10 Jeremy Paul – What Becomes Of You My Love

11 The Hooter Sisters –  So Tough

12 Cool Bananas – Been And Gone

13 John Paul Young –  You Drive Me Crazy

14 AC/DC – Rockin' In The Parlour

15 T.M.G. –  It's All Over Now

16 Stevie Wright – My Kind Of Music (Live)

17    Billy Thorpe & The Aztecs - Mashed Potatoes [Bonus Track]

18    Ted Mulry - Falling In Love [Bonus Track]

19    John Paul Young - Pasadena [Bonus Track]

20    The Easybeats - For My Woman [Bonus Track]

Albert Archives Link (458Mb)