classic and rare Australian popular music from the 1950's, 1960's. 1970's and beyond..including rock and roll, pop, beat, rock, surf and progressive, plus contemporary artists, new releases, reviews and other fun stuff
Tully formed in Sydney in late 1968, and, along with Tamam Shud (with whom they often performed), they were the doyens of the Sydney underground/progressive scene in the late 60's and early '70s. Their lyrical and expansive music and their interest in mysticism and esoteric philosophy was at some remove from the earthy blues/boogie ethos of contemporaries like The Aztecs, but they built up a strong following on the Sydney underground scene and the Melbourne concert circuit. Tully's members were all highly accomplished multi-instrumentalists, with years of experience behind them, and this musical breadth quickly earned them a reputation as one of the most adventurous and polished concert bands of the period.
Tully :
Colin Campbell - guitar
Michael Carlos - keyboards
Richard Lockwood - flute, sax, clarinet, piano
Ken Firth - bass
Shayna (Karlin) Stewart - vocals
Tully released 3 albums in the 1970's:
Tully (July 1970)
Sea Of Joy (June 1971)
Loving is Hard (1972)
An augmented version of Tully (billed as "Tully +4") provided instrumental backing for the "HAIR - Original Australian Cast Recording" in 1970. Tully vocalist Terry Wilson was a member of the original cast in 1969-70 and performs "Aquarius" on the soundtrack LP.
Sea of Joy is the soundtrack to an Australian surfing documentary movie released in 1971.
Justin Hunter is a passionate lover of life, absolute adventure maniac, ultra-marathon runner, electro music fan and instrumental pianist. Justin’s career began in the most humble of ways: in his hometown of Katoomba in the Blue Mountains, playing for tips on the piano in his local café. Just three years later Justin has sold thousands of CDs and acquired himself a legion of passionate fans.
Justin’s piano music seems to touch even the most unlikely of (potential) fans. His music has fallen into the hands of artists such as Chris Martin, Pink, Erykah Badu, MIA and Bono.
His first CD release came after customers were insistent that they be able to take his music home with them. ‘Mountain to Masses’, his first album cost a grand sum of $180 to record, and was quick to sell out in Katoomba and the surrounding towns. This prompted Justin to embark on a 10,000km CD-selling journey over the next few years, traveling inland from Queensland, through New South Wales and Victoria, where once in Melbourne, Justin decided to reside among the plethora of creative spaces available to young artists.
The past few years have seen Justin sell volumes of CDs, unprecedented in the current industry for most independent acts without a label, publicist or via traditional retail. His fan-base has evolved through personalised, direct selling during his travels and the strength of word-of-mouth that lovers of music naturally generate.
Justin Hunter's latest dance track is entitled ‘Clever Boy’, which he worked on with DJ Northie. Described as "Depeche Mode meets The Presets", Clever Boy has Justin stepping up to the microphone to perform the vocals himself. ‘Never underestimate others’ is the underlying message of the song, inspired by Justin’s friends & life experiences. The process of being a fool, admitting your faults, getting wiser, and taking control of life defines ‘Clever Boy’.
Since the release of 'Bleed 4 You' with Silent Titan (Thundamentals), Justin is not slowing down. He is currently working with various DJ’s, whilst continuing to collaborate with DJ Kid Kenobi & singer/songwriter Abbe May.
There are 52 sensational tracks here from the 60s and early 70s. As the cover says: "Little known songs, hard to find B-sides and bands you may not have heard of". From Beat, Garage, Surf, Instrumental, Pop, Rock and everything in between. The download comes with all artwork too. I've played it through a few times and just about every track is good if not great. Some artists you may know (or at least I do) are The Strangers, Python Lee Jackson, The Rondells, The Cherokees, Ian Turpie, Johnny Young, Marcie and The Cookies and Patsy Ann Noble. It will take you back to those TV shows of the 60s like Go! and Kommotion and have you groovin', stompin', rockin' and whatever other dance you care to remember!
This song was made famous by Billy Thorpe and The Aztecs at Sunbury'72. Johnny O'Keefe recorded it before Thorpie in 1967. I've always loved Thorpie's version, but JO'K's version is worth a listen and, in my opinion, a real rocker! Ooh Poo Pah Doo (Parts 1 and 2) was originally released in 1967 on the Leedon label (LK-1653). It was written by Jessie Hill, an American R&B and Louisiana blues singer and songwriter. The origins of "Ooh Poo Pah Doo" were apparently created from a tune played by a local pianist, who was known only as Big Four. Hill wrote the lyrics and melody, later expanding the work with an intro taken from Dave Bartholomew. It was further honed on stage, before Hill recorded a demo that he shopped to local record labels, finally recording a session at Cosimo Matassa's studio produced by Allen Toussaint. Upon its early 1960 release, it emerged as a favourite at Mardi Gras, selling 800,000 copies and reaching the Top 5 in the US Billboard R&B chart and a Top 30 slot in the Billboard Hot 100 pop chart. It has been recorded by many artists including Wilson Pickett, Taj Mahal, Etta James, Ike and Tina Turner, Dr Hook and most famously by Billy Thorpe and The Aztecs. This JO'K version was taken from the 3CD set "Johnny O'Keefe...The Birth of Australian Rock and Roll". download more Johnny O'Keefe here ..and here is one of Thorpie's versions..(from 1998 with Lobby Lloyde)
Those who might have forgotten the supreme vocal prowess of Jeffrey St John were convincingly reminded of it when, on 18 October 2000, the wheelchair-bound survivor of the '60s and '70s OzRock took the main podium at the opening ceremony of the Sydney Paralympic Games, dressed in a satin shirt depicting the Australian flag. He belted out the National Anthem in his inimitable style, and there were few dry eyes left in the house, not just because of the spectacle itself, but because fans were witnessing the return of one of Australia's finest-ever soul/rock singers.
Jeff St John was named Jeffrey Leo Newton when he was born in 1946, and grew up in Sydney. Jeff was diagnosed at birth with spina bifida, a congenital disability that causes malformation of the spine and resultant posture and walking difficulties. For much of his youth, Jeff walked with a caliper on his right leg, and underwent numerous painful operations. But the kind of tenacity to overcome this affliction that Jeff has maintained throughout his life, first became evident in his formative years. As he told Who Weekly magazine in October 2000: "I was told If you want something badly enough and put the work in, there's always a solution to achieving your goal". That goal turned out to be music. Jeff's early ambitions were fully encouraged by his parents, whose house was constantly filled with all kinds of music. "They had glorious voices. On house-cleaning days we'd be wandering around singing excerpts from musicals!"
In 1965 Jeff joined forces with an established Sydney blues-rock outfit called The Syndicate who he met by chance at the Sydney Musicians Club in early 1965. With members including guitarist Peter Anson (from legendary Sydney garage-R&B monsters The Missing Links) The Syndicate with Jeff on board soon evolved, via The Wild Oats, into The Id (named after the popular Johnny Hart cartoon strip The Wizard of Id), with Jeff also adopting the stage name he has used ever since.
Copperwine (aka Jeff St John's Copperwine), was formed in early 1969. Aided by Ross East and Peter Figures, plus Alan Ingram on bass and keyboardist Barry Kelly (from Marty Rhone's Soul Agents), 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 stage fave for many Australian acts of the time including Southern Comfort and The Affair), 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 Pat Aulton and remains one of the most accomplished and musically adventurous long players of the time. The punningly-titled "Joint Effort", released in 1970, won considerable critical acclaim, but failed to generate significant sales.
In retrospect, Joint Effort reveals at least three truths -- the album was one of Festival Record's most consistent sellers for many years, it's a fine artifact of what was musically going on with OzRock in this heady and fertile time, and it documents what a fine band Copperwine was and provided conclusive proof that Jeff is one of the best rock vocalists this country has ever produced.
Jeff St John & Copperwine (1969-72)
Jeff St John (lead vocals)
Harry Brus (bass 70-72)
Ross East (guitar, vocals)
Peter Figures (drums)
Alan Ingram (bass, vocals 69-70)
Barry Kelly (keyboards, vocals)
Glyn Mason (vocals, guitar) 1972
Wendy Saddington (co-lead vocals 70-71)
Phil Wooding (guitar 69)
1 Cloud Nine
2 Sing A Simple Song
3 Fanciful Flights
4 Any Orange Night
5 You Don't Have To Listen
6 I Been Treated Wrong
7 Days To Come
8 Reach Out
9 Can't Find My Way Home
10 Train
11 I Remember
12 Environment In 3 Parts
13 Teach Me How To Fly
14 Freedom Blues
15 Hummingbird
16 Keep On Growing
Dynamic vocal duo Bobby and Laurie was one of the leading acts in the first wave of Australian 'beat pop' 1964-67. They cut a series of fine recordings which rank alongside those of Billy Thorpe & The Aztecs, Ray Brown & The Whispers, The Easybeats, Normie Rowe and MPD Ltd as milestones of Australian pop in the mid-60s. Although perhaps not as well remembered today as some of their contemporaries, they were one of the most popular and successful acts of their day, and deserve a lot more recognition for their contributions. Bobby, Laurie and the members of their regular backing band, The Rondells, were all important figures in the development of the Melbourne rock scene, and their History is also a great illustration of the intricate (and sometimes confusing) interconnections between the many groups of the '60s and '70s. This album "Hitch Hiker" was released in 1966 and showcases both their songwriting and vocal abilities. More in a pop format than their earlier beat sound with The Rondells, this had similarities to other vocal duos like The Everly Brothers and Simon and Garfunkel, but still had a uniqueness that identified with their own sound. A good mix of rockers and ballads too. See also earlier post: I Belong With You
Owen Campbell has been playing guitar since he was 9 years old and is one of Australia’s most talented slide guitar players and songwriters, with his gravelly blend of blues, roots, soul and country, with a voice that belies his young age.
Along with his unflinching ability to sing it sweet and play it dirty, he creates a perfect blend of melody that’s simple but right, as is the way with the blues…
Described as “Possibly one of the best performers to come out of Australia for quite sometime, amazing lap steel slide guitar and a song writing ability that belies his years” (Argus News Ireland),
Campbell combines a moving, gutsy, old time sound that marries authenticity with incredible energy.
Its honest music that tells a story, rich with influences from The Band, Van Morrison, Townes Van Zandt, a little Johnny Cash, and the raspy emotion of Ray Lamontagne, Campbell’s bluesy drawl melded with a soulful slide guitar, beckons his audience to join him in his steamy, swampy, growling world.
Thorpie's message in 1973 was without doubt loud and clear! He and the ever-changing personnel of The Aztecs commanded a pre-eminent position in Aussie rock. While artists such as Ross Wilson, Mike Rudd, Lindsay Bjerre and Gulliver Smith strove to push out and pull down boundaries in their music, Thorpie and friends continued to provide high-octane, no-nonsense rock for the masses. In August , Billy switched record labels from the independent Havoc to the newly-opened local division of Atlantic Records, which was by then a subsidiary of the Warner group. Atlantic released the singles "Movie Queen" and "Don't You Know You're Changing?" in quick succession. Although the later singles of 1973 were ostensibly solo releases, they nonetheless featured most of the extant Aztecs line-up (with help from Chain pals Phil Manning and Barry Sullivan).
Before disbanding, the Aztecs recorded one more album for Atlantic. Right at the beginning of 1974, the More Arse Than Class LPcame out, provoking predictable cries of protest from conservatives about the title and its 'disgusting' gatefold cover, which opened out to show the naked, hairy posteriors of the four band members! The music on the record was where the true arse was though -- and it kicked it! It remains the Aztecs most successful studio album, and apart from the undiluted power of its music, is a strong testament to the skills of erstwhile Aztec drummer/producer/engineer/archivist Gil Matthews. Also notable was the return on bass duties of Billy's old cohort Teddy Toi. 1 Boogie Woogie 2 Walking Down The Street 3 Don't You Know You're Changing 4 No More War 5 I Wanna Know 6 Back On The Road Again 7 Slowly Learning How 8 A Little Bit Of Lunacy, Maestro Please 9 I Wanna Know 10 Pig's Blues 11 Mame 12 Movie Queen 13 Kawasaki 14 Kawasaki (Long Version) 15 Slowly Learning How (Demo Instrumental) Vocals, Bass – Teddy Toi Vocals, Drums, Percussion – Gil Matthews Vocals, Guitar – Billy Thorpe Vocals, Piano, Organ, Harpsichord – Warren Morgan Tracks 1-7 reissue of 1974 Album Bonus tracks 8-10 Live At Bill Armstrong Studios, 1973 11-12 Singles 1973 13-14 Ads 1973 15 Demo 1973 click here for more information
Kahvas Jute were a progressive/hard rock group, based in Sydney, and were active initially between 1970-74. Their album "Wide Open" is renowned for the stunning guitar playing and the strength of the songwriting. The band went on to become one of the finest acts of the era, but they never recorded again until mid 2005 when they decided to reform and try out a few new songs , much in the vein of their original album. Musically, the album fits somewhere between the likes of Cream and Blodwyn Pig, with nods in the direction of Led Zeppelin, the Jeff Beck Group etc. It's a very English sound, but far from being a slavish copy of the overseas role-model the album bears a uniquely Australian flavour. The tightly structured songs and the superb guitar work of Dennis Wilson and Tim Gaze combine to place the record head-high in the progressive stakes. Furthermore the whole shebang is held together by the restlessly exploratory bass style of the great Bob Daisley and the muscular, yet agile drum patterns of Dannie Davidson. There was no hype to the band, just an unpretentious bunch of musicians capable of producing inventive and enduring music. Not only did the band earn a reputation as one of the best live bands of the period, they also released one of the great Aussie progressive albums in Wide Open. As the title suggests, Wide Open is a free-flowing, expansive blending of rock, jazz and blues, with a touch of folk thrown in for good measure, a hard-as-nails progressive blues rock extravaganza strong on rhythm and melody, and bristling with exceptional guitar interplay. After their demise in 1974, Wilson joined Chariot, Davidson went on to session work and Daisley moved to England and became bassist with outfits like Ritchie Blackmore's Rainbow ,Gary Moore Band, Widowmaker and Ozzy Osbourne 's Blizzard Of Ozz. There is much discussion that Bob Daisley is the highest record selling Australian artist of all time... ----- CREDITS Dannie Davidson - Drums Dennis Wilson - Guitar Tim Gaze - Guitar, Vocals Bob Daisley - Bass
I recently came across this website http://www.ianmccausland.com.au/ and wanted to share it on this blog. Ian McCausland is a graphic designer and illustrator who in the past has designed album covers for Little River Band, Aztecs, Spectrum, Daddy Cool, Chain, Skyhooks, Carson, Company Caine and Matt Taylor. He was also art director for the Mushroom records label and the music paper Go-Set plus contributed to 70s underground papers Digger and Planet. He also designed the poster for the Rolling Stones' 1973 Australian and New Zealand tour.
From the website: Ian is quoted in Under the Covers: "I was very influenced by San Francisco's psychedelic Fillmore posters, Robert Crumb, and Kelly of Mouse Studios". Ian's work retains that same timeless sense of rock history, of capturing the essence of the performer's music in his imagery and style. This is Ian McCausland's life's pursuit - embrace it as part of Australia's rock'n'roll heritage.
His iconic artwork is now available for sale through the website. These are a few samples...
Okay, so The Seekers were not exactly rock and roll, but they did dominate the music charts in the mid to late sixties with their infectious folk-pop sound. They appealed to listeners both young and old and were Australia's biggest musical export of the time. The soaring harmonies, the acoustic instrumentation and Judith Durham's angelic voice combined to produce a sound that was impossible to ignore.
They originally formed in Melbourne in 1962 and were the first Australian pop music group to achieve major chart and sales success in the United Kingdom and the United States. They were popular during the 1960s with their best-known configuration as: Judith Durham on vocals, piano and tambourine; Athol Guy on double bass and vocals; Keith Potger on twelve-string guitar, banjo and vocals; and Bruce Woodley on guitar, mandolin, banjo and vocals.
The group had Top 10 hits in the 1960s with "I'll Never Find Another You", "A World of Our Own", "Morningtown Ride", "Someday, One Day", "Georgy Girl" (the title song of the film of the same name), and "The Carnival Is Over" (their rendition of a Russian folk song which the Seekers have sung at various closing ceremonies in Australia, including World Expo 88 and the Paralympics, and is still in the top 50 best-selling singles in the UK). Australian music historian Ian McFarlane described their style as "concentrated on a bright, uptempo sound, although they were too pop to be considered strictly folk and too folk to be rock."
In 1968, they were named as joint Australians of the Year – the only group thus honoured. In July of that year, Durham left to pursue a solo career and the group disbanded. The band has reformed periodically, and in 1995 they were inducted into the ARIA Hall of Fame. "I'll Never Find Another You" was added to the National Film and Sound Archive of Australia's Sounds of Australia registry in 2011. Woodley's and Dobe Newton's song "I Am Australian", which was recorded by the Seekers, and by Durham with Russell Hitchcock and Mandawuy Yunupingu, has become an unofficial Australian anthem. As from 2004, the Seekers have sold over fifty million records.
Carson were a popular Melbourne band who functioned between 1971-73. They were known earlier as Carson County Band. Their work was wide-ranging, but can best be described as boogie rock.
The “Travelling South” 45 saw the band extend beyond their earlier strictly-blues format on the A-side which was notable for a dual-guitar lead riff that leads into a passage of superb slide guitar playing. The flip side was a strong blues song with lots of riffs and superb slide.
Their debut album, ‘Blown’, was a solid effort full of wild bluesy hard rock. It's notable for Sleepy Greg Lawrie's slick slide guitar work and sported a cover with striking (but simple) sci-fi imagery. It contained a version of ‘Boogie’, which differed considerably from the single. The material ranged from powerful numbers like this to laid-back blues evidenced in ‘Up In Queensland’ and ‘Sunday In The City’ with a rock'n'jazz offering in ‘Rock And Roll Game’ and an instrumental, ‘Banana Power’, providing further diversity.
By 1973, they'd lost their sense of direction, as evidenced on ‘On The Air’. If you're into blues though, there's still a lot of relaxed playing to be heard here. There are some good guitar licks on Elmore James' ‘Dust My Broom’ and another version of ‘Boogie’, whilst ‘Dingo’ and ‘Laid-back Feel’ were good mood pieces. The album is a document of their performance at the 1973 Sunbury Rock Festival.
Ian Ferguson - Bass
Greg Lawrie - Guitar
Tony Lunt - Drums
Broderick Smith - Vocals, Harmonica
Ian Winter - Guitar
Barry Sullivan - Bass
Garry Clarke - Bass
Mal Logan - Keyboards
Mal Capewell – Sax
On the Air:
1. Dingo
2. Laid-Back Feel
3. Dust My Broom
4. Boogie
5. Sunberry Jam
6. Rock And Roll Game Blown:
7. Better Times Will Come About
8. Sunday In The City
9. Banana Power
10. Boogie
11. Let Me Sleep
12. Up In Queensland
Awaiting Departure are based in Melbourne, and, though only recently formed, they are already making their mark on the local scene and not looking back. Striving for a heavy pop-rock sound, Awaiting Departure deliver a fresh approach to modern music and are set to record their debut EP in late 2013.
The band are (as pictured above Lto R):
Aaron McKee, Andy Penny, Glen Dundee, Dylan Taylor and Jordan Nasreddin
Marty's review: the track opens with a tight, pounding rhythm section followed by a blistering and infectious guitar riff that just drives it along. The pace doesn't let up and Andy's crisp and up front vocals are the icing on this spectrum of wall to wall sound. An outstanding debut that will leave you wanting for more. Looking forward to the EP.
Over 150 minutes of "ASTOUNDING AURAL EXTRAVAGANZAS"
For all you "progressive rock" fans, this is one album you must have for your collection. 30 classic tracks from the cream of Aussie prog-rock of the late 60s and early 70s with a line-up including Carson, Lotus, Healing Force, Taman Shud, Tully, Spectrum, Company Caine, Blackfeather, Madder Lake, Fraternity (feat. Bon Scott), Daddy Cool, Colored Balls, Mackenzie Theory, Kahvas Jute, Galadriel, the Master’s Apprentices, Pirana, Bakery and many others.. From the ranks of these bands came musicians who would later emerge in AC/DC, Manfred Mann’s Earth Band, Rainbow, Be Bop Deluxe, Count Bishops and the Gary Moore Band
If you were around at the time these were originally released, then I am sure they will bring back a swag of memories. For those of you that were not, then it's time to discover some gems of Australian rock music. Many of the original albums that these tracks are from are now very hard to find while some have been re-released and are worth tracking down.
Fans of Perth’s dirty-blues-rock bastards The Floors will be stoked to hear that they can now drop the needle on a new vinyl-only release of an exclusive new single ‘Built From Bones’. The 7” single – a dirgy, threatening, ball-tearer of a song ‘Built From Bones’ again showcases Luke Dux’s ferocious howl and dangerous whisper, backed by ominous backing vocals and the mighty rhythm section of Ryan Dux [bass] and Ash Doodkorte [drums.] Listen to the track here; https://soundcloud.com/heapsawill/the-floors-built-from-bones The Dux brothers - who play not only with The Floors but also with Kill Devil Hills, Timothy Nelson And The Infidels and Will Stoker And The Embers – took home West Australian Music Industry Awards (WAMI) for Best Guitarist and Best Bassist respectively, in both 2009 and 2010, all based on the strength of live performance. Together with Ash, as ‘Built From Bones’ clearly promises, The Floors are “here to build, destroy and fuck.” The single’s B-side ‘Pick Up Your Bones’ - a jam from The Floors 2012 debut record Dead Beat – makes the morbid most of the tour theme, with a divinely filthy blues riff straight from the Delta, deep-belly drum’n’ bass bedrock and an assertion from a maniacal Dux that he ‘don’t need ya no more’. Warning bell, cue sirens. The Floors rank among the best live performers Perth has produced in a decade. Having cemented their place as song-writers with their cracking debut album, Dead Beat, the trio have produced a sound so smoke-inducing The Music called them “near flawless” surely a reference to the sheer blackness of their blues. But it is not just this sonic bombardment that gives The Floors their power. For all of the volume and fuzz, The Floors are merely amplifying the original and most primal spirit of the blues. Something akin to the heart of a classic Delta bluesman residing in an electrified world where amplifiers go to 11. Interview with The Floors here: http://killyourscene.info/the-floors-interview/
In an effort to make this blog more interesting and have varied content, I am asking you, the readers and visitors, to contribute your own articles and comments about and related to Australian music. It can be anything from the past or present, a story, anecdote, reviews etc..etc..
Here are some suggestions:
Your favourite song, EP, album
A concert or show you attended
Your top 10 Australian albums or songs
An upcoming new artist or release
Your favourite songwriter, singer or group
The eras or decades of Australian music (50s, 60s etc..etc..)
The article can be up to 400 words in length and include pictures, YouTube video, Facebook pages or links to other sites and blogs. Make it humorous if you like and be as creative as you know how.
Just go to the Contact page of this blog and email me the submission. You can use your own name or nickname if you like, whatever suits you, and you will be acknowledged accordingly. I look forward to your input..go for it!
MPD Ltd, formed in 1965, were Mike Brady, Pete Watson and Danny Finley, a Melbourne beat trio driven by a heavy rhythm section. Mike and Pete had met in Shadows-style band The Phantoms, and Danny had drummed with another instrumental band The Saxons. Mike Brady later wrote many well-known jingles, and as one half of Two Man Band had a hit with the football song "Up There Cazaly" (1979).
They had several hits between 1965 and 1967 including "Little Boy Sad", "Lonely Boy" and "Paper Doll".
Wild Side Of Life - the musical adventures of Mike, Pete and Danny! is a compilation released in 1982.
"Absence Makes The Heart Grow Fonder" (Danny Finley - Pete Watson)
"Her Favourite Song" (Mike Brady)
"I Am What I Am " (Danny Finley - Pete Watson)
"I Won't Be Back " (Mike Brady - Danny Finley - Pete Watson)
"If You Were Mine" (Bernie O'Brien)
"It's Been A Long Time Coming" (Pete Watson - Danny Finley)
"Little Boy Sad" (Wayne Walker)
"Lonely Boy " (Paul Anka)
"No Regrets " (Mike Brady - Danny Finley - Pete Watson)
"Paper Doll " (Mike Brady)
"(Remember) Walking In The Sand"(George 'Shadow' Morton)
"Wendy Don't Go "(Mike Brady - Danny Finley - Pete Watson)
"Wild Side Of Life "(Warren - Carter)
"You Might As Well Forget Him" (Tommy Roe)
The Twilights were a rock-pop group of the mid to late 1960s. Alongside their own career successes, The Twilights are also notable for the inclusion of vocalist Glenn Shorrock, who later fronted Axiom, Esperanto and Little River Band, and guitarist Terry Britten who went on to become an internationally successful songwriter and producer and pen major hits for artists such as Cliff Richard and Tina Turner. Alongside The Easybeats and The Masters Apprentices, The Twilights are widely considered to be one of the most significant Australian rock groups of the 1960s. Highly popular with teenage audiences, they were renowned for their musical excellence and live prowess, as well as their on-stage humour, and they were held in high respect by fellow musicians. The group is also notable as one of the few major Australian rock bands of the period to retain the same personnel for virtually all of its career. Like most of their contemporaries, they began as a cover band, playing accomplished renditions of hits by popular overseas bands of the era such as The Beatles, The Who and The Small Faces, and their early hits in Australia were all cover versions. The Twilights were noted for being on top of current musical trends, and their early repertoire was regularly updated with the latest British and American rock hits, which were regularly sent to them on record and tape by family and friends in the UK. Later in their career guitarist Terry Britten began to write original material but the group did not last long enough for this to have a significant impact on their career. This album is the first of only two studio albums they released in their time and has now become a collectors' item. They do some covers on the album including "Diddy Wa Daddy", "Satisfaction" and "You've Got Soul". Their biggest hit "Needle In A Haystack" is also a cover and was originally recorded by a Motown group "The Velvelettes". I remember my sister having the LP but I didn't take much notice of it at the time. Now I'm sorry I didn't grab it!
The Bee Gees may not have been Australian born, but their musical roots were certainly established whilst growing up in Queensland. Their contribution to music spans over five decades and there is no doubting the legacy they have created which remains to this day. Like other British born artists who moved to and/or settled in Australia (Olivia Newton-John, The Easybeats etc..), Australians have adopted them as "their own".
The Bee Gees as a musical group were founded in 1958. The group's line-up consisted of brothers Barry, Robin, and Maurice Gibb. The trio were successful for most of their decades of recording music, but they had two distinct periods of exceptional success: as a pop act in the late 1960s and early 1970s, and as prominent performers of the disco music era in the late 1970s. The group sang three-part tight harmonies that were instantly recognisable; Robin's clear vibrato lead was a hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the late 1970s and 1980s. The brothers wrote all of their own hits, as well as writing and producing several major hits for other artists.
Born on the Isle of Man to English parents, the Gibb brothers lived in Chorlton, Manchester, England, then moved in the late 1950s to Redcliffe, Queensland, where they began their music careers. After achieving their first chart success in Australia with "Spicks and Specks" (their 12th single), they returned to the United Kingdom in January 1967 where producer Robert Stigwood began promoting them to a worldwide audience.The Bee Gees' career record sales total more than 220 million, ranking them among the best-selling music artists of all time. They were inducted into the Rock and Roll Hall of Fame in 1997; the presenter of the award to "Britain's first family of harmony" was Brian Wilson, historical leader of the Beach Boys, a "family act" also featuring three harmonising brothers. The Bee Gees' Hall of Fame citation says "Only Elvis Presley, The Beatles, Michael Jackson, Garth Brooks and Paul McCartney have outsold the Bee Gees."
Following Maurice's unexpected death in January 2003, Barry and Robin retired the group's name after 45 years of activity. In 2009 Robin announced that he and Barry had agreed that the Bee Gees would re-form and perform again. Robin died in May 2012 after a prolonged struggle with cancer....full Wikipedia biography
This 63 track compilation highlights their musical beginnings up to and including "Spicks and Specks". It includes tracks from their first 3 albums recorded in Australia plus tracks from their early television performances. Of the 63 tracks, 44 are written by the Gibb brothers, showing the strength of their songwriting abilities. They also cover songs by The Beatles, The Hollies and The Lovin' Spoonful.
