Python Lee Jackson...In A Broken Dream...rare album from 1972

Python Lee Jackson were active in Australia from 1965 to 1968, before a brief sojourn in the United Kingdom. The group's most famous hit was "In a Broken Dream", featuring Rod Stewart as guest vocalist.

The original Python Lee Jackson formed in December 1965 in Sydney by two British men – singer Frank Kennington and guitarist Mick Liber – after meeting drummer David Montgomery. Together with bass player Roy James they played the underground circuit. A new Python Lee Jackson line-up came together around March 1966 when keyboard player and singer David Bentley left Sydney group Jeff St John & The Id to join Liber and Montgomery alongside former Unit 4 bass player Lloyd Hardy (aka Cadillac Lloyd Hudson).

Arriving in the UK in October 1968 Bentley, Liber and Montgomery (joined by former Levi Smith Clefs' bass player John Helman) played at the Vesuvio club on Tottenham Court Road. In early 1969 they performed at the Arts Lab on Drury Lane for several months where they were spotted by DJ John Peel. In April 1969 Bentley, Liber and Montgomery, joined by Jamie Byrne from The Groove, recorded three tracks in the studio with Rod Stewart.

Stewart was brought in to sing a few songs and one in particular, since Bentley had informed his band mates that he didn't think his own voice was right for it. Recorded by John Peel, "In a Broken Dream" and two other songs sung by Stewart, Doin' Fine (a version of Cloud Nine) and The Blues, remained unreleased until 1970 when Miki Dallon re-produced the track for his Youngblood label and released it, having bought the masters from John Peel. Rod Stewart was paid a set of seat covers for his car for doing the session. The single was not a success on its release but Dallon re-released it in August 1972 to coincide with Rod Stewart's release of "You Wear It Well", his second big solo single. With Rod being more famous by then, "In A Broken Dream" rose to number three in the UK Singles Chart and #56 in the U.S. Billboard Hot 100.

The Album "In A Broken Dream" was originally released in 1972 and was then re-released under the title "Funny Blend".

See full bio at Wikipedia HERE

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Group Therapy..All Aussie 70's Blues and Progressive Rock Compilation on the Infinity Label

This 8 track compilation was released in the 70's on the Infinity label and features some classic blues and progressive rock artists like Chain, Blackfeather, Aztecs, Moonstone and a few other hard to find rarities. Take a trip back.

A1 Heart'N'Soul – Hot Boogie Band 3:10

A2 Tymepiece– Why? 2:20

A3 Blackfeather– On This Day That I Die 4:00

A4 Ray Brown & Moonstone– Start Of A New Day 3:12

B1 Billy Thorpe And The Aztecs– Goodbye Baby 3:34

B2 Kahvas Jute– Free 5:12

B3 Chain – Gertrude St. Blues 5:15

B4 Cleves– Wait For A Moment 3:20

Group Therapy - The Stars of Infinity

Coloured Balls..Ball Power...1973 debut album. Greasy, no-frills boogie from Sharpie-Rock legends

Lobby Loyde formed the psychedelic/hard/blues-rock group Coloured Balls in March 1972 with Andrew Fordham on guitar and vocals, Janis Miglans on bass guitar and Trevor Young on drums.Their first single, "Liberate Rock", had been recorded by Loyde with Aztecs' members, Gil Mathews (on drums), Morgan and Wheeler as studio musicians – it was issued in August.

In January 1973, Coloured Balls teamed with guest vocalists Thorpe and Leo de Castro at the Sunbury Pop Festival, their performance was released in November as the "Help Me" / "Rock Me Baby" track on the live album, Summer Jam.The album included Coloured Balls' 16-minute version of "G.O.D.". Fordham had been replaced on guitar by Ian Millar early in the year. Coloured Balls released three singles including "Mess of the Blues" which reached the Top 40 in October.They supported Marc Bolan & T. Rex on their Australian tour. 

Coloured Balls released their debut studio album, Ball Power, in December, 1973 on EMI, which peaked at No. 13 on the Go-Set National Top 20 albums chart in February 1974. In January'74, Coloured Balls played at the Sunbury Pop Festival alongside hard rockers, Buster Brown, which included Angry Anderson on vocals and Phil Rudd on drums.

An article on rare albums in the December 2014 issue of Record Collector magazine had this to say about the album: "Coloured Balls personified the uber-macho "sharpie rock" style beloved of skinheads, men at work and other assorted ne'er do wells who frequented urban Australia's fearsome 70's pub scene. They were a mean bunch, and this record remains a rough-as-arseholes testament to antipodean rock'n'roll. The original EMI pressing is as scarce as a teetotaller in Alice Springs!" 

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The Charade...lost gem of an album from Australian vocal group from the late 1960's

A regular reader and contributor of this blog was kind enough to share this rare gem of an album, and it's been sitting on my hard drive for some time, almost forgotten. Unfortunately, I don't have much information on the group themselves, but if anyone out there knows any other details I would be more than appreciative.

The Charade released this one album on EMI back in 1969. They were a vocal group consisting of the following personnel: DAVID COOPER gtr vcls, BRIAN O'TOOLE gtr vcls, SIOBHAN SHEPPARD vcls. The album was produced by Gus McNeil, and arranged by The Charades and Gus McNeil. It was engineered by David Woodley-Page and John Taylor.

Several of the tracks on the album were written by Paul Williams/Roger Nichols, 3 of which were from Paul Williams' early band The Holy Mackerel. There are also covers of "Cinderella Rockefella", "Classical Gas", "Windy" and Gene Clarke's "Train Leaves Here This Morning". The vocals and instrumentation of the group are nothing short of superb, and the production of the album is as good as anything similar from the era. 

Their sound is akin to the likes of The Seekers, Peter, Paul and Mary and The Mamas and The Papas. 

1.BITTER HONEY
2.THE LADY IS WAITING
3.CINDERELLA ROCKFELLA
4.L.A.BREAKDOWN
5.TO PUT UP WITH YOU
6.WHAT'S THE DIFFERENCE
7.CLASSICAL GAS
8.PEACE OF MIND
9.TRAIN LEAVES HERE THIS MORNING
10.HAND-ME-DOWN MAN
11.CYCLES
12.WINDY
13.OUT ON THE SIDE
14.LOVE SO FINE
15.SONG TO RAYMONDO
16.TAKIN' LIFE EASY

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There is also a podcast link from Southern FM which tells the Charade story as told by Charade member David Cooper.

This first video on YouTube is them performing "Keep the Customer Satisfied" on Australian Bandstand. The line-up is noted as Linda Keene, Brian O'Toole and David Cooper.

This second video is "Hand-Me-Down Man" from the album

There are several other videos on YouTube including their covers of "Melting Pot", "California Soul" and "Carpet Man". Just search on "The Charade Live on Bandstand".

There are also several clips of Linda Keene and Brain O'Toole performing at the memorial concert for Greg Quill.

Wendy Saddington and Copperwine Live 1971..rare release from sensual blues and soul vocalist

Wendy June Saddington also known as Gandharvika Dasi (26 September 1949 – 21 June 2013) was an Australian blues, soul and jazz singer, and was in the bands Chain, Copperwine and the Wendy Saddington Band. She wrote for teen pop newspaper Go-Set from September 1969 to September 1970 as an agony aunt in her weekly "Takes Care of Business" column, and as a feature writer. Saddington had Top 30 chart success with her 1972 solo single "Looking Through a Window", which was written and produced by Billy Thorpe and Warren Morgan of the Aztecs. After adopting Krishna Consciousness in the 1970s she took the name, Gandharvika Dasi. In March 2013 she was diagnosed with oesophageal cancer and died on 21 June 2013, aged 63. An underrated talent and very sad loss.

Wendy Saddington's musical influences included the likes of Bessie Smith, Etta James, Mahalia Jackson, Odetta, Aretha Franklin, Nina Simone, Janis Joplin, and the raw blues from the Mississippi delta, along with the swanky soul coming from the American Stax, Atlantic and Motown labels. There was also something of the vulnerability of Edith Piaf in Wendy's pleading, bleeding vocal entreaties.

Saddington first came to notice in Melbourne psych-soul outfit The Revolution, before swiftly joining Adelaide's psychedelic/classically flavoured James Taylor Move around late 1967. When Wendy joined the emerging blues-rock ensemble Beaten Tracks, which she named (The) Chain, after the song by one of her heroines, Aretha Franklin's soul classic, "Chain Of Fools". Wendy spent around 18 months touring with Chain, and it was during this time that her passionate, earth-mother Joplin/Franklin vocal style came to prominent notice among promoters and punters alike. Also, her 'outlandish' appearance attracted magazines like Go-Set: a sad waif-like face, heavily mascara-ed around the eyes, framed by the hugest of afro 'do' this side of Jimi's Experience! Wendy favoured simple Levi's, with a basic shirt or cheesecloth kaftan top, copiously accessorised with love-beads and bangles.

Saddington's next musical outing was with Jeff St John's highly acclaimed and well-established group, Copperwine, and it's here that we finally have an officially-released recording of her sublime vocal performances! Wendy joined the band in March 1970, just after the release of Copperwine's superb Joint Effort album, and she sang live as co-lead with St John for a concentrated touring regime through to February 1971. In January of that year, with St John temporarily away from the band, Saddington fronted Copperwine for their acclaimed performance at the Wallacia Festival on the central-coast of New South Wales.

A live recording of the event was released on Festival's new progressive subsidiary Infinity during '71, which showcased Copperwine's sympathetic backing sensibilities for Wendy's distinctive vocals. On such cuts as the funky opener, Nina Simone's "Backlash Blues", and her heartfelt reading of Dylan's "Just Like Tom Thumb's Blues", Saddington continually astonishes with her sensual soul power. Another notable inclusion is Wendy's introspective and idiosyncratic reading of John Lennon's "Tomorrow Never Knows" (which Wendy introduces as a George Harrison composition!) Other highlights include "Five People Said I Was Crazy " (which, with its wild Ross East guitar solo, Barry Kelly's electric piano flourishes and Wendy's monumental banshee wail, certainly lives up to its title). The closing tour-de-force "Blues In A" completely satisfies the listener as a consummate combination of the music of one of Australia's premier all-purpose prog-blues bands of the time, with definitely one of our most unique and mesmerising blues-soul vocalists.

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Fanny Adams....first Aussie "supergroup"...rare, one-off album from 1971

On paper, Fanny Adams looked like a dream team, with four of Australasia's best musicians combining in a 'supergroup' and intent on conquering the world. Given the talent involved, this should have been a great group who did grand things, but, as so often happened in OzRock, the reality proved to be drastically different.

Vince Maloney, Johnny Dick, Teddy Toi and Doug Parkinson were veterans of some of Australia and New Zealand's top bands of the 1960s:

Vince Maloney had been in the original 1963-65 lineup of The Aztecs, but quit in '65 (along with the rest of the band) after a financial dispute. He and fellow Aztec Tony Barber then formed a shortlived duo, followed by a stint with Tony Worsley & The Fabulous Blue Jays. Vince then formed his own band The Vince Maloney Sect, which became the house band on the mid-'60s pop show Kommotion. Moving to England, he spent several years as lead guitarist in the late-60s UK lineup of The Bee Gees with drummer Colin Petersen

Johnny Dick had joined Max Merritt & The Meteors in 1963 in New Zealand and came to Australia with them in '65, alongside Teddy Toi. After the original Aztecs split from Thorpe, he and Teddy jumped ship and joined the "new" Aztecs, which lasted until 1966. He later teamed up with 'Parko' in the highly-regarded Doug Parkinson In Focus

Teddy Toi was a highly respected bassist, already a rock'n'roll veteran whose CV went back to New Zealand in the late '50s with Sonny Day & the Sundowners and included a stint in the second lineup of The Aztecs in 1965-66.

Doug Parkinson was (and still is) one of Australia's finest male singers. He started his career in a high-school band The A Sound, followed Newcastle pop outfit The Questions, which evolved into Doug Parkinson In Focus with Johnny, Duncan McGuire and Billy Green, scoring a Top 20 hit in '68 with their superb rendition of The Beatles' "Dear Prudence" and winning the Hoadley's Battle Of The Sounds in '69.

Fanny Adams were, unfortunately, short lived. Due to various issues within the band and resistance from a sceptical public, they went their separate ways, but left us with this, now rare, album which showed the enormous talent that was within.

text courtesy of Milesago

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Galadriel..rare 1971 self-titled album from talented Sydney progressive rock band

Despite their musical excellence, Sydney band Galadriel never achieved any commercial success during their short career, and they were forgotten for many years. Ironically, their eclectic and ultra-rare 1971 LP has now became one of the most collectible artifacts of Australian '70s progressive rock.

Taking their name from the Elven Queen of Tolkien's Lord of the Rings, Galadriel was formed in 1969 by guitarist and songwriter Garry Adams and drummer Doug Bligh. They soon made a name for themselves on the thriving Sydney dance/discotheque circuit. They often played at Sydney's "Joseph's Coat" disco and shared gigs with many of the top progressive groups of the day including Kahvas Jute, Blackfeather and Spectrum.

The band signed with Gus McNeil's Cellar Music, which was also the publishing company for Spectrum's Mike Rudd and Coutnry Radio's Greg Quill. Around October 1970 Galadriel recorded ten original songs at Sydney's United Sound Studios with American engineer-producer Tom Lubin. They shopped the recordings around for several more months without success, but eventually they were signed by the Polydor label, who released the LP and their second single "Standing In The Rain" / "Working", in May 1971. These were Polydor's first local rock releases in Australia and although the recordings were remarkably good, Polydor evidently lacked the experience and clout to get it noticed and regrettably both album and single sank without trace.

Late in 1971 they prepared to record their second album. Tracks slated for the new LP included the epic live highlight "Song For Your Reason", "In The Night" and "Poor Boy", one of their most commercial numbers, which was earmarked as a probable single. Unfortunately, the second Galadriel LP was never recorded.

(text courtesy of Milesago )

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Bakery...Rock Mass For Love and Momento...underground progressive rock from 1971-72

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Bakery was formed in Perth at the start of 1970. Regarded as one of the leading "underground" groups of their day, they are remembered for their superb studio album Momento, the innovative Rock Mass for Love LP and the powerful single "No Dying In The Dark".

The original lineup was John Worrall, "wild-haired guitarist" Peter Walker (ex-Jelly Roll Bakers), Mal Logan (ex-The Rebels), Eddie McDonald and Hank Davis. McDonald and Davis were both ex-members of the NZ Avengers.

In the words of encyclopedist Vernon Joyson, Bakery's work: "... blended hard rock and country with jazz using complex arrangements. Their main strength was the variety of their music which could switch from gentle acoustic passages to booming heavy progressive assaults on the senses within the same song." 

Bakery released only two singles, but both were impressive heavy rock efforts. The first, released on the RCA label, was "Bloodsucker" / "Leave Scruffy Alone" (February 1971). By the time they released their second single in July 1971, Bakery had signed with the Melbourne-based Astor label, who issued "No Dying in the Dark'" / "Trust in the Lord".

Both singles displayed the band's main stylistic influences, primarily the new wave of "heavy" bands spearheaded by British groups Black Sabbath, Led Zeppelin and Deep Purple. "Bloodsucker" was in fact a Deep Purple cover, sourced from their In Rock LP. "No Dying in the Dark" was very successful in Perth, peaking at #9 on the local chart, and it's the track for which they are now best remembered.

The B-side of the single was a track from their Rock Mass For Love LP. This unusual project was a significant thematic departure from Bakery's usual progressive/hard rock style. Recorded live at a mass at St George's Cathedral, Perth on 21 March 1971, it was one of the first Australian musical musical works of its kind, preceding the first Australian production of Jesus Christ Superstar by almost a year.

Rock Mass for Love was issued in August 1971, narrowly missing the national Top 20, and it was also issued in the USA on the Decca label. After the LP came out, Mark Verschuer (ex-Barrelhouse) replaced Tom Davidson on vocals. Verschuer sang lead vocals on their fantastic second album, the studio LP Momento released a year later in August 1972. Ian McFarlane lauds it as "a fine example of European-influenced, heavy progressive rock" and Vernon Joyson reserves particular praise for the track "The Gift", written by Peter Walker, which he describes as "an eight-minute barrage of bombastic riffs, arse-kicking solos and swirling Hammond organ in the mould of acts like Deep Purple and Leaf Hound".

...text courtesy of Milesago

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Blackfeather..At the Mountains of Madness....progressive rock landmark album from 1971

Blackfeather were one of the most popular and successful groups of the early '70s, and produced one of the landmark Aussie progressive rock albums, but a major split early in the group's history disabled what should have been a promising career for founder John Robinson. There was a bewildering series of lineup changes, with Blackfeather going through at least six major incarnations between 1970 and 1983, with a huge personnel list for each version. The list is a veritable 'Who's Who' of the 70s rock scene. However it's the first two lineups - 'Mark I', who made At The Mountains Of Madness and 'Mark II' who recorded "Boppin' The Blues" - that are the best known.

Blackfeather (Mk I) formed in April 1970 with the original lineup being John Robinson (gtr), Neale Johns (vcls), Leith Corbett (bs) and Mike McCormack (dr). All but Johns had come straight from the split of the highly-rated Dave Miller Set, who were one of NSW's most popular live groups in the late 60s, and whose classic version of "Mr Guy Fawkes" was Go-Set's pick for the Best Single of 1969.

Blackfeather began working consistently around the traps, cementing the strong fan base and critical interest that the Dave Miller Set had built up over the previous three years. As John noted, they became one of the first acts signed to Festival's newly-formed Infinity subsidiary.

It was this second lineup -- Robinson, Johns, Fortesque and Kash -- which featured on their debut album, the Australian progressive classic At The Mountains Of Madness, recorded in late 1970 and released early the following year. The LP was produced by Richard Batchens, who later worked with Sherbet and Richard Clapton. Fraternity's singer Bon Scott guested on recorder and percussion, and their keyboard player John Bissett also contributed.

At The Mountains Of Madness was released in April 1971 and was a national Top 10 LP (#7) in May. The album has perhaps not aged as well as some others from the period; the title track and the ambitious suite "The Rat" sound a little dated now, although there is sterling playing by Robinson throughout. Still, there are plenty of highlights, including the heavy-riffing "Long Legged Lovely" (with some of the heaviest bass yet captured on an Aussie recording) and the classic "Seasons Of Change", one of the most memorable and adventurous singles of the period.

..text courtesy of Milesago

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Dragon...first 2 albums...Universal Radio 1974 and Scented Gardens For the Blind 1975..rare and sort after

Before Dragon became the huge success they were in Australia, they recorded two albums in New Zealand that have now become very sort after. 

Dragon originally formed in Auckland, New Zealand, in January 1972, with a line-up that featured Todd Hunter on bass guitar, guitarist Ray Goodwin, drummer Neil Reynolds and singer/pianist Graeme Collins. All had been in various short-lived bands in Auckland. Collins is credited with using I Ching to provide the name Dragon. Their first major gig was an appearance at The Great Ngaruawahia Music Festival in early January 1973. By 1974 several personnel changes had occurred, with Todd Hunter's younger brother Marc Hunter joining on vocals and Neil Storey on drums. The band recorded two progressive rock albums in their native New Zealand, Universal Radio in 1974 and Scented Gardens for the Blind in 1975, both on Vertigo Records.

Their debut album "Universal Radio", a progressive rock style production, became a bestseller underground , and the group, meanwhile, had earned a reputation for their shocking concert paraphernalia . With a troupe of mimes, transvestites, pregnant strippers, a rotting pig's head on a microphone stand, as well as the musical mayhem and stage equipment - all worked to boost the scandalous reputation of the group.

Tracks:

01. Universal Radio - 8:33

02. Going Slow - 6:14

03. Patina - 11:45

04. Weetbix - 2:55

05. Graves - 6:56

06. Avalanche - 11:08

Bonuses:

07. Black Magic Woman (Unreleased Live) - 6:37

08. X-Ray Creature (Single A-Side of Marc Hunter, 1973) - 3:05

09. Dinghy Days (Single B-Side of Marc Hunter, 1973) - 3:30 

Personnel:

Marc Hunter - lead vocals, percussion

Ray Goodwin - lead guitar, vocals

Ivan Thompson - organ, piano, Moog synthesizer

Todd Hunter - bass, flute (09), vocals

Neil Storey - drums

+

Graeme Collins - piano (08)

Herb Mann - lead guitar (09)

Rick Shadwell – producer

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Their second album, "Scented Gardens For the Blind", continued the progressive initiatives, but differed with a softer art rock sound.

Tracks:

01. Vermillion Cellars – 3:25

02. La Gash Lagoon – 8:20

03. Sunburst – 8:37

04. Greylynn Candy – 4:58

05. Darkness – 4:45

06. Scented Gardens For The Blind – 7:35

Personnel:

Ray Goodwin - lead guitar, vocals

Marc Hunter - lead vocals, saxophone, percussion

Todd Hunter - bass, vocals

Ivan Thompson – keyboards

Neil Storey – drums

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Autumn..Comes Autumn..rare album from 1971...underrated Sydney band that had more talent than was recognized

AUTUMN ...Sydney 1970-72

Tony Romeril (vocals) 
Glenn Beatson (drums) 
Rick Graham (bass) 
Steve McMurray (guitar) 
Greg Jacques (organ) 1969 - Apr 1971 
Allan Magsuball (guitar) Apr. 1971- early 1972 
Charlie Wright (keyboards) late 1971- early 1972

Like their contemporaries The Executives, The Affair, New Dream and Zoot, Sydney band Autumn has been unfairly labelled as a lightweight pop band, mainly on the basis of their early recordings. They've also been tagged as 'one-hit wonders', although in fact they had four hits. Fronted by grievously underrated lead vocalist Tony Romeril, Autumn was a superb band with a strong following in their home city of Sydney, and they could tackle pop, country-rock and heavy/progressive rock with equal ease.

Like their close contemporaries The Flying Circus, Autumn formed at a time when rapid and significant changes were taking place in the music scene and the formerly homogeneous "pop" field was diversifying into several distinct genres. The trends that were drawing 'pop' musicians towards progressive music, "heavy rock" and country rock was counterbalanced by the popularity and commercial success of so-called "bubblegum" pop. This created to a situation where, as Glenn A. Baker has observed, "being identified as a pop band "drew automatic derision and critical dismissal".

Autumn's chart success with straight-ahead pop material has obscured the fact that this was a highly competent group, with tastes and abilities which went well beyond the confines of the three-minute formula pop single. Their true talents were not really showcased on record until their last few recordings for the Warner label and, as Glennn Baker notes "... nobody, save those who caught them live, came to realise what a sturdy, musically adept and diverse unit they were."

During the second half of 1971 Autumn released an EP, A Patch Of Autumn, followed by their hugely underrated second album Comes Autumn. Although it is dismissed by Vernon Joyson as "unremarkable", it in fact contains some outstanding material. As Aussie music archivist "MidozTouch" has noted, "Autumn's second album is so strikingly different in style and sound from their first LP that one could be forgiven for thinking they were recorded by two different groups". This included re-recordings of some of their Chart material, including Allan Magsuball's riff-tastic psych-prog nugget "Get It Down" (one of several fine tracks he contributed), a re-recorded version of "Lady Anne", and the country-styled hits "Falling" and "Miracles". This excellent LP, which has never been reissued, is one of the genuine lost treasures of early 70s Australian rock. Like all the early '70s Australian Warner recordings, the original LP is now quite rare and has become a sought-after collector's item.

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see also https://www.youtube.com/watch?v=1bHIyiBhE3Q

Kahvas Jute...Wide Open..progressive rock from 70's Sydney band

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...
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CREDITS
Dannie Davidson - Drums
Dennis Wilson - Guitar
Tim Gaze - Guitar, Vocals
Bob Daisley - Bass

WIDE OPEN