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

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Showing posts with label Rhythm and Blues. Show all posts
Showing posts with label Rhythm and Blues. Show all posts

Thursday, September 19, 2024

The Clarion Set (The Story Of Australian Independent Label Clarion 1965-1974)

 


Compilation of the pioneering 60s/early 70s Australian independent Clarion label. A smorgasbord of driving R&B, sunshine pop, studio psychedelia and progressive rock recorded in Perth, Western Australia. Based in Perth, teenager Martin Clarke was working at a local radio station when he converted a spare bedroom into a makeshift recording studio. That modest early venture evolved into Martin Clarke Recording Studios, which opened in 1962 to become Perth's first professional recording facility. By the time the studio purchased a four-track in 1966, Clarke had launched the Clarion label, working with a constant stream of solo singers and beat/R&B groups. With a raised profile after Perth TV personality Johnny Young had a national hit with the Easybeats-penned 'Step Back', Clarion signed a number of promising new acts that included The Valentines (featuring a pre-AC/DC Bon Scott) and Young's TV colleague Robbie Snowden. Clarion went on to have a number of regional and national successes, releasing interesting music into the 70s (British expatriates The Birds and Chalice, plus local progressive rockers Fatty Lumpkin) before Clarke wound down the label and relocated to England. 

'The Clarion Set' assembles the pick of the label's roster, with choice selections from the aforementioned acts as well as female-fronted folk rockers Gemini, powerhouse R&B/soul vocalist Ray Hoff, pre-Valentines garage band The Spektors and in-house psychedelic experiment The Vegetable Garden. (Amazon review)

1965-1967

1-1 Russ Kennedy And The Little Wheels– I've Got My Eyes On You (And I Like What I See)

1-2 The Times – Glad, Not Sad

1-3 Ray Hoff & The Off Beats– Bama Lama, Bama Loo

1-4 The Spektors– Gloria

1-5 Johnny Young– Cara-lin

1-6 Mort And The Mobees– Choose Who I Like

1-7 Terry Walker With The The Hi Five– Long Time Gone

1-8 Ray Hoff & The Off Beats– The Uncle Willie

1-9 Glen Ingram With The Hi-Five– Skye Boat Song

1-10 The Kompany– Tell Her No

1-11 Russ Kennedy And The Little Wheels– I've Been Watching You

1-12 Ray Hoff & The Off Beats– My Good Friend Mary Jane

1-13 The Spektors– On My Mind

1-14 Johnny Young– Step Back (demo)

1-15 Russ Kennedy And The Little Wheels– Little Wheel

1-16 Maggie Hammond– Go Laddie

1-17 Glen Ingram With The The Clan – Take This Hammer

1-18 Colin Cook– Cry I Do

1-19 The Valentines – Every Day I Have To Cry

1-20 Ray Hoff & The Off Beats– Looking For My Pig

1-21 Mort And The Mobees– Can't You See

1-22 Maggie Hammond– High Flying Bird

1-23 The Valentines – I Can't Dance With You

1-24 Johnny Young– Good Evening Girl

1-25 Ray Hoff & The Off Beats– Tossin' And Turnin'

1-26 Russ Kennedy And The Little Wheels– Too Much Monkey Business

1-27 Glen Ingram With The The Clan (8)– That It's Me

1-28 Robby Snowden– No One Really Loves A Clown

1-29 Maggie Hammond– You Won't Be Leaving

1-30 Ray Hoff & The Off Beats– Ain't Doin' Too Bad Pts. 1 And 2

1967-1969

2-1 Johnny Young– Hold On

2-2 The Proclamation– King Of The Mountain

2-3 The Valentines – Love Makes Sweet Music

2-4 The Kompany– The Family Way

2-5 The Clan – Peeping Tom

2-6 Chris James – Da Doo Ron Ron

2-7 Ray Hoff & The Off Beats– Love, Love, Love

2-8 Johnny Young– Come On Up

2-9 Robby Snowden– Talkin'

2-10 Glen Ingram– I'll Be Doggone

2-11 The Birds– No Good Without You

2-12 The Valentines – Sookie Sookie

2-13 Johnny Young– Craise Finton Kirk (Royal Academy Of Arts)

2-14 Robby Snowden– Sunshine Rides On A Trolley

2-15 The Troupadours– Come Home Baby

2-16 Colin Cook– You Baby

2-17 Ray Hoff & The Off Beats– I've Got To Get You

2-18 The Soul Purpose – Hip Huggin' Mini

2-19 Robby Snowden– Do You Want To Dance

2-20 The Troupadours– Near To Me

2-21 The Valentines – Peculiar Hole In The Sky

2-22 Johnny Young– Geno Pts 1 And 2

2-23 The Clan – Sunday Afternoon

2-24 Robby Snowden– Just A Little

2-25 The Troupadours– Little Boat

2-26 The Kompany– Little Joe The Boxer

2-27 Strawberry Fair– Come Back And Shake Me

2-28 The Proclamation– Tea And Sympathy (Don't You Worry)

2-29 Johnny Young– Every Christian Lionhearted Man Will Show You

2-30 The Valentines – She Said

2-31 Colin Cook– Riot In Cell Block Number 9

1969-1974

3-1 The Birds– Magic Words

3-2 Chalice – In My World

3-3 Swingshift – Somebody To Love

3-4 The Vegetable Garden– Hypnotic Suggestion

3-5 Gemini – Sunshine River

3-6 Willpower – Soul Finger

3-7 The Soul Purpose – Boogaloo Down Broadway

3-8 Strawberry Fair – Things We Said Today

3-9 The Vegetable Garden– Even Stevens

3-10 Fatty Lumpkin– Got To Get Back T' Nellie

3-11 Chalice – Ebenezer

3-12 The Birds– Dust In My Pants

3-13 Gemini – Twelve Thirty (Young Girls Are Coming To The Canyon)

3-14 Chalice – Mr. Won't You Help Me

3-15 The Soul Purpose – Share

3-16 Willpower – Spinning Wheel

3-17 Swingshift – We Can Work It Out

3-18 The Birds– Rene

3-19 Fatty Lumpkin– Don't Knock My Boogie

3-20 Chalice – Nearly Gone

3-21 Gemini– Butterfly Wings

3-22 Swingshift – Here, There & Everywhere

3-23 The Birds– I See The Rain

3-24 Chalice – Nine To Five Girl

3-25 Fatty Lumpkin – Millionaire




Sunday, August 27, 2017

Sunshine Coast singer/songwriter Shristi Jade releases debut EP


Shristi Jade is a recording artist and songwriter originally from the Sunshine Coast, Australia. Her debut self titled EP "Shristi Jade" was released on June 30, 2017.  The EP features lead single "Own", a song that showcases Shristi's angelic vocals and pristine songwriting.

From a young age, Shristi Jade loved singing and performing. She was always writing poems, not realising that they would one day become songs. She has cited her major influences as Jhene Aiko, Mariah Carey and Brandy. 

Back in 2015, when Shristi attended Los Angeles Fashion Week, she connected with LA based, multi-talented artists “The One” and “QB”. Following this meeting, she had a recording session with Tochi Uzo, where a promising artistic bond began. 

Following this, her music career came to fruition when she had the opportunity to work and record with James Russell, the creator of Heliport Studios in the Sunshine Coast, Australia. Heliport Studios is owned by best selling authors Barbara and Alan Pease, working with the likes of international superstar, Rihanna. 

Since then, Shristi Jade has been writing and recording music in studios across LA, the Sunshine Coast, Brisbane, Melbourne and London. 

To further her flourishing music career, she has moved to London where she is working with talented producer NOSA Appollo, recording tracks at the Chocolate Factory, which has hosted artists such as Bobbi Lewis, Kz The Producer and Longlivtheplug. 



THE EP 

Shristi Jade's three track debut EP is brought to life through her ethereal sound. The record reflects a young woman's journey through losing herself to a betrayal of the heart. 

The EP comes out at a personal and musical transition for Shristi Jade. 

"Every song on the EP was inspired and written after I made a decision to live a life which was true to my passion," she said. The themes are present not only in the music, but in the album art design created by Brisbane based artist, Mosessa. 

"The album art represents a true version of myself, wearing a traditional Nepalese sari. It was important for me to present myself in a way that showcases the way I was bought up." 

Shristi Jade's father is from Nepal and her mother is Australian. 

"I have always felt so proud to be part of two unique cultures. While writing the EP, I was inspired by my upbringing and the notion of "knowing thyself." 

"Shristi Jade" EP is available on all digital music outlets. 

Connect with Shristi here: 



Tuesday, July 28, 2015

Down Under Nuggets - Original Australian Artyfacts 1965-1967..Various Artists


Down Under Nuggets is a collection of 29 gems from the heyday of Aussie sixties music. From garage to punk, surf, mod, beat, psychedelic and just plain groovy! Many well known artists like The Easybeats, The Atlantics, Bobby and Laurie, Bee Gees, Wild Cherries, Cherokees, The Loved Ones, Purple Hearts, Missing Links, MPD LTD plus a few more lesser known for you to discover. I'm not going to say much more about this release so I'll let the track listing do the talking. Enjoy!

The Master's Apprentices– Buried And Dead 2:39
The Elois– By My Side 2:15
The Black Diamonds– I Want, Need, Love You 3:00
The Atlantics– Come On 2:54
The Purple Hearts– Early In The Morning 2:08
The Missing Links– Wild About You 2:36
The Creatures – Ugly Thing 3:18
The Lost Souls– This Life Of Mine 2:41
The Moods – Rum Drunk 2:19
Derek's Accent– Ain't Got No Feeling 2:14
The Bee Gees*– Like Nobody Else 2:35
Barrington Davis– Raining Teardrops 2:29
The D-Coys– Bad Times 2:54
The In-Sect – Let This Be A Lesson 2:42
Steve & The Board*– I Want 2:37
Toni McCann– No 1:49
Peter & The Silhouettes– Claudette Jones 2:04
The 5*– There's Time 2:18
Bobby & Laurie*– No Next Time 2:25
MPD Ltd*– I Am What I Am 2:25
The Cherokees – I've Gone Wild 2:41
The Loved Ones – The Loved One 2:51
Phil Jones & The Unknown Blues*– If I Had A Ticket 2:39
The Throb – Black 3:11
The Blue Beats – She's Comin' Home 2:24
The Easybeats– Sorry 2:35
Bobby James Syndicate*– Hey Hey Hey 2:31
The Wild Cherries– Krome Plated Yabby 2:58
The Sunsets – The Hot Generation (Soundtrack Version) 5:29











Wednesday, February 18, 2015

more updates of expired links...revisit or discover these gems for the first time



Once more, I have updated some of the older, expired links. Thanks to a request from a recent visitor, the following links have now been updated. If you come across any links that do not work, please leave a comment or send me a message through the contact page. 

Visit these for the first time or revisit again. Just CLICK on the LINK to go to the original post.



Tony Worsley and The Fabulous Blues Jays  - Ready, Steady, Let's Go




The Missing Links - Driving You Insane




The Loved Ones - Magic Box




The La De Das - How Is the Air Up There?




The Masters Apprentices - Complete Recordings



Max Merritt and The Meteors - 23 Trax of Max


Saturday, November 22, 2014

Sid Rumpo....Rhythm and Blues band from Perth...First Offense album from 1974



Sid Rumpo were an Australian R'n'B group which formed in Perth in November 1971. They issued their debut album, First Offense, in April 1974 on Mushroom Records/Festival Records but disbanded by the end of that year. The band were formed by John Hood on lead guitar and harmonica (ex-Jelly Roll Bakers, Juke); Noel Herridge on drums (Adderley Smith Blues Band); Owen Hughes on bass guitar (Jelly Roll Bakers); Robert Searls on lead guitar and vocals; and Ken Wallace on piano. In 1972 they won the Western Australian state final in the Hoadley's Battle of the Sounds. 

They appeared at both the 1973 and 1974 Sunbury Pop Festivals. According to Australian musicologist, Ian McFarlane, "one of the unique features of the band's sound was the use of dual, harmony guitar lines which had the effect of enhancing the natural spaciousness of the music. To top it off, Searls was one of the great gravel-throated blues wailers of the day".





                                        

Saturday, August 2, 2014

From Mustangs to Masters..First Year Apprentices...garage, beat, blues and R'n'B


The Masters' story began in the South Australian capital of Adelaide in early '65, with The Mustangs, a dance band formed by four Adelaide teenagers: Mick Bower, Brian Vaughton, Gavin Webb and Rick Morrison. The Mustangs were a typical example of an early-60s instrumental band, playing the obligatory Shadows and Ventures covers. The cataclysmic visit by the Beatles in 1964 rendered all that passe overnight. The Mustangs were canny enough to realise that the surf/instrumental craze was past its 'use-by' date, and they decided to change their style to incorporate the new "beat' music, so they placed a "singer wanted" ad on the noticeboard at a local music centre. On his third (and last) visit there, the ad was spotted by a young would-be bass player called Jim Keays, who was taking lessons from musician and guitar teacher John Bywaters (who was a member of one of Adelaide's most popular and accomplished beat groups). The Mustangs began to established themselves on the dance circuit around Adelaide, in suburban halls and migrant hostels. 

They built up a strong following with the local teenagers, many of whom were, like Jim, migrants from the UK (Adelaide was a major destination for UK migrants in the 50s and 60s). Their audiences were also an important influence for the band - some of these kids were very recent arrivals, who had seen the top UK bands in action only weeks before, and they had a strong effect on the band's "look", since they were directly in touch with current 'mod' fashions, a trend which was still not very well known in Australia. The next step was a name change, and because they regarded themselves, at least for a while, as apprentices to those musical "masters" like Muddy Waters, Chuck Berry and Bo Diddley, their new name (suggested by Bowers) paid homage to these heroes. They decided early on to dispense with the apostrophe.

Towards the end of 1965 they found their home-base at an Adelaide club called The Beat Basement. Before long they were they regularly packing out the club, and they graduated from the less prestigious spots to the prized Saturday afternoon residency. They also became a prime attraction at the Octagon Ballroom in the Adelaide suburb of Elizabeth (The Twilights' home turf) which was located near another large migrant hostel. Keays recalls that the regulars included two young Scots migrant boys, John "Swanee" Swan and his brother Jimmy Barnes. The band also played at a dance in Salisbury, promoted by a young Doc Neeson, later the lead singer of The Angels.

By early in the new year the Masters were one of the most popular bands in town and regularly packed out gigs across the city, as well as making mini-tours to outlying towns and cities like Murray Bridge, Mt Gambier and Whyalla. The Masters' first big break was their appearance on the Channel 7 Good Friday telethon hosted by Adelaide TV celebrity Ernie Sigley. The Masters played four songs, to a rousing reception, and by the next day they were the talk of the town.

..text courtesy of Milesago



Monday, June 16, 2014

The La De Da's...first 3 albums 1966 - 1969.. New Zealand band who made success across the Tasman



Talented, sexy, sophisticated, adventurous, dynamic, innovative -- just some of the many tags that have been been attached to The La De Das' name. But one word was always associated with them more than any other - the La De Das were cool. 

Their career spans the entire '64-'75 period. Formed in New Zealand at the very start of the beat boom, they were already major stars at home when they relocated across the Tasman a couple of years later. They're practically the only major group (on either shore) to emerge from the beat boom of 1964-65 who managed to ride out the massive musical changes of the Sixties and adapt to the new scene in the Seventies, emerging as one of Australia's most popular hard rock groups during the first half of the Seventies. 

There are a lot of similarities to their Aussie contemporaries The Masters Apprentices. Both were touted as their country's answer to The Rolling Stones. Both survived for so long in that mercurial era because they had tons of talent, determination and the ability to adapt their sound and look to align with prevailing trends. Both groups went through major personnel changes -- by the time the Masters split, singer Jim Keays was the only remaining original member, and by the time of their final 1973-74 'power trio' incarnation, only guitarist and singer Kevin Borich remained from the original La De Das lineup. 

Like the Masters, they started off as blues/R'n'B purists, and their original style leaned heavily on British R'n'B practitioners - The Rolling Stones, The Yardbirds and John Mayall's Bluesbreakers - and on the American originals like John Lee Hooker, Elmore James and Muddy Waters. They moved into their 'mod' period - with covers of Ray Charles, Motown and Northern Soul favourites, replete with tartan trousers, satin shirts and buckle shoes. Then they plunged headlong into psychedelia (the obligatory concept album, covers of songs from West Coast outfits like Blues Magoos, paisley shirts, sitars, long hair and moustaches). They almost came unstuck after the inevitable -- and ultimately futile -- attempt to "make it in England". But it's here that the stories diverge -- the Masters fell apart in England in 1972, but the Las De Das survived (just) limped back to Australia, regrouped, and bounced back with a mature and reinvigorated take on their R'n'B roots. Their final incarnation as a hard-rockin', no-frills, blues & boogie band carried them very successfully through to the mid-70s.

Here are there first 3 albums which were all originally released in the sixties.










1964 (formed as The Mergers) 
Phil Key (guitar, vocals) 
Trevor Wilson (bass) 
Kevin Borich (guitar, vocals) 
Brett Neilsen (drums, vocals) 

1965-67 
Phil Key (guitar, vocals) 
Trevor Wilson (bass) 
Kevin Borich (guitar, vocals) 
Brett Neilson (drums, vocals) 
Bruce Howard (keyboards) 

1968 
Phil Key (guitar, vocals) 
Trevor Wilson (bass) 
Kevin Borich (guitar, vocals) 
Bryan Harris (drums) 
Bruce Howard (keyboards) 

1968-70 
Phil Key (guitar, vocals) 
Trevor Wilson (bs) 
Kevin Borich (guitar, vocals) 
Keith Barber (drums) 
Bruce Howard (organ)




Friday, May 23, 2014

Renee Geyer..self-titled first album..1973..a hidden gem of blues and soul standards



Renée Rebecca Geyer (born 11 September 1953) has long been regarded as one of the finest exponents of jazz, soul and R'n'B idioms. She had commercial success as a solo artist in Australia, with "It's a Man's Man's World", "Heading in the Right Direction" and "Stares and Whispers" in the 1970's and "Say I Love You" in the 1980s. Geyer has also been an internationally respected and sought-after backing vocalist, whose session credits include work with Sting, Chaka Khan, Toni Childs and Joe Cocker.

In 2000, her autobiography, Confessions of a Difficult Woman, co-written with music journalist Ed Nimmervoll, was published. In her candid book, Geyer detailed her drug addictions, sex life and career in music. She described herself as "a white Hungarian Jew from Australia sounding like a 65-year-old black man from Alabama". She spent more than ten years based in the United States but had little chart success there. Geyer returned to Australia in the mid-1990s and her career has continued into the 21st century with her 2003 album, Tenderland, which peaked at #11 on the ARIA albums charts.

Rock historian Ian McFarlane described her as having a "rich, soulful, passionate and husky vocal delivery". Geyer's iconic status in the Australian music industry was recognised when she was inducted into the ARIA Hall of Fame on 14 July 2005, alongside The Easybeats, Hunters & Collectors, Smoky Dawson, Split Enz and Normie Rowe. Geyer and fellow 1970's singer, Marcia Hines, are the subjects of Australian academic, Jon Stratton's 2008 Cultural Studies article, "A Jew Singing Like a Black Woman in Australia: Race, Renée Geyer, and Marcia Hines".

Her first album released in 1973 is a collection of blues and soul standards with tracks that were originally done by Aretha Franklin, Bob Dylan, Joe Cocker, Bill Withers and Van Morrison. 






Tuesday, April 29, 2014

Ray Brown & The Whispers.. Sydney,1964-66 ...short lived but very successful beat band



Ray Brown and the Whispers were in the vanguard of the first wave of Australian beat pop, from 1964-67, and during their brief career they were one of the most successful and celebrated bands in the country. Aided by his boyish good looks and considerable charm, singer Ray Brown ranked alongside Stevie Wright, Billy Thorpe and Normie Rowe as one of the most popular stars of the period, and The Whispers are now widely recognised as being one of its most accomplished bands. Although they enjoyed unprecedented success at the time, the group was short-lived, and their contribution to Australian music, both during and after the beat boom, is still sadly under-appreciated.

From the outset, Ray and The Whispers distinguished themselves as a top-notch performing unit, both live and on record, and they thoroughly road-tested all their material. In retrospect their only real weakness, as far as a long-term career was concerned, was that there were no writers in the group (unlike The Easybeats, The Blue Jays and their label mates The Bee Gees). But like The Blue Jays, their choice of material showed off both their versatility and their wide-ranging tastes.




Probably the Whispers' greatest love, though, was American soul and R'n'B, and they were tireless champions of the style, covering many numbers by the top performers of that period.Their first major break in came late in the 1964 when they secured the gig as resident band at Sydney's Surf City and The Beach House, taking over from Billy Thorpe & The Aztecs. Within a short time the Whispers were regularly pulling in 2000 punters per night on Fridays and Saturdays, and by the new year they were rivalling The Easybeats for popularity in Sydney.

Their rise to national fame was meteoric -- in just six months they scored four Top 5 hits in a row in Sydney, including their record achievement -- still unbroken -- of three consecutive #1 hits from their first three releases! They were also among the most prolific recording outfits of the day, with a nine singles, ten EPs and five albums to their credit in in little more than two years.

This 2 for 1 album combines their first 2 albums and contains all their hits.




Ray Brown & The Whispers 
Lawrie Barclay (rhythm guitar) 
Ray Brown (vocals) 
Al Jackson (lead guitar) 
Pat Jeffrey (drums) 
John Manners (bass) 
Bobby Richardson (lead guitar) 1964

Ray Brown & The New Whispers (early 1967) 
Ray Brown (vocals) 
Dave Russell (guitar) 
Ronnie Peel (bass) 
Steve Hardy (drums)


 

Friday, April 18, 2014

Billy Thorpe and The Aztecs...Don't You Dig This Kind of Beat..2 albums from 1965 and 1966


This is a double treat for fans of the original Billy Thorpe and The Aztecs. These 2 albums were released at the height of their popularity in the mid 1960's. They show why they became so big, so fast. The tracks on these albums were a combination of beat, pop, rock 'n'roll and rhythm'n'blues, which highlight the versatility and talent within the group. 

They covered numbers from the likes of The Beatles, Rolling Stones and Ray Charles and capitalised on the beat boom from Great Britain. Listening to these again after nearly 50 years of their original release, you can see what the excitement was all about.






See also 2 other previous posts from this blog on The Aztecs:
http://theaussiemusicblog.blogspot.com/2013/03/billy-thorpe-and-aztecs-1964-75its-all.html
http://theaussiemusicblog.blogspot.com/2013/09/billy-thorpe-and-aztecsmore-arse-than.html


Tuesday, February 25, 2014

AC/DC..High Voltage..first album as released in Australia 1975


This is AC/DC's original first album as it was released in Australia. It shows that even from the beginning the band had that sheer energy that propelled them to the international success they are today.

AC/DC were formed in November 1973 by brothers Malcolm and Angus Young, who have remained constant members. Commonly referred to as a hard rock or blues rock band, they are also considered pioneers of heavy metal and are sometimes classified as such, though they have always dubbed their music as simply "rock and roll". To date they are one of the highest-grossing bands of all time.

Malcolm and Angus Young developed the idea for the band's name after their sister, Margaret Young, saw the initials "AC/DC" on a sewing machine. "AC/DC" is an abbreviation meaning "alternating current/direct current" electricity. The brothers felt that this name symbolised the band's raw energy, power-driven performances of their music. "AC/DC" is pronounced one letter at a time, though the band are colloquially known as "Acca Dacca" in Australia.

In November 1973 Malcolm and Angus Young formed AC/DC and recruited bassist Larry Van Kriedt, vocalist Dave Evans, and Colin Burgess, ex-Masters Apprentices drummer.Pushing hard for the band's success were Australia's legendary roadie Ray Arnold and his partner Alan Kissack. Gene Pierson booked the band to let the band play at Bondi Lifesaver on New Year's Eve, 1973.

By this time, Angus Young had adopted his characteristic school-uniform stage outfit. The idea was his sister Margaret's. Angus had tried other costumes: Spider-Man, Zorro, a gorilla, and a parody of Superman, named Super-Ang. In its early days, most members of the band dressed in some form of glam or satin outfit but this approach was abandoned seeing as Melbourne band Skyhooks had already adopted this approach to their stage presentation.

The Young brothers decided that Evans was not a suitable frontman for the group because they felt he was more of a glam rocker like Gary Glitter. On stage, Evans was occasionally replaced by the band's first manager, Dennis Laughlin, who was the original lead singer with Sherbet prior to Daryl Braithwaite joining the band. Evans did not get along with Laughlin, which also contributed to the band's ill feeling toward Evans.

In September 1974 Ronald Belford "Bon" Scott, an experienced vocalist and friend of George Young, replaced Dave Evans after friend Vince Lovegrove recommended him to George Young. Like the Young brothers, Scott had been born in Scotland before emigrating to Australia in his childhood.

By October 1974, the Australia-only album High Voltage had been recorded. It took only ten days and was based on instrumental songs written by the Young brothers, with lyrics added by Scott. Within a few months, the band's line-up had stabilised, featuring Scott, the Young brothers, bassist Mark Evans and drummer Phil Rudd. High Voltage was released on 17 February 1975.



                                      

This almost 12 minute version of "Baby Please Don't Go" is live from 1976