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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Thursday, August 14, 2014

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



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





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



Wednesday, July 30, 2014

Introducing Sydney Blues Artist Gareth Jay



Gareth Jay is an independent Blues/Alternative musician based in Sydney, Australia. You can often find him performing across Sydney with his astonishing live looping, intricate guitar skills, complex vocals and funky harmonica skills known to keep his audiences at the edge of their seat.


Gareth has an intimate passion for blues and acoustic music, which is seen with his latest tracks Blue, Blue Sky and FuhFuhFuh” featuring James Gillard. He derives influences from Albert King, Elliott Smith, Donovan, Carole King, The Beatles, and Dr John.


Previous career highlights include performing in Japan for 4 months, composing and performing for the Adelaide Fringe Festival, featuring on Tall Ships in Sydney Harbour, supporting Deisel at Lizotte's with his trio JayMayJane and travelling along the East Coast of Australia to play shows at various venues including the Tamworth Country Music Festival.

Monday, July 28, 2014

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









Wednesday, July 23, 2014

Darryl Cotton Tribute Show podcast now available




The Annual Darryl Cotton Tribute Show was broadcast on 88.3 Southern FM's Purple Haze Show, Wednesday July 16 at 8PM AEST.

Guests on the show were musical colleagues of Darryl's: Rick Brewer (Zoot), Beeb Birtles (Frieze, Zoot), Rick Springfield (Zoot), Derek Pelicci (LRB, Darryls band), Michael Lloyd (Cotton Lloyd & Christian, Friends) & Steve Kipner (Friends).

The podcast is now available here on Southern FM:

http://www.southernfm.com.au/general/100-cotton-1-2014-annual-purple-haze-tribute-to-darryl-cotton/


Thursday, July 17, 2014

updating of expired links



Once more, I have started to update some of the older, expired links (I can't promise how far I will get this time!). 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.


just click on the links below to go to the original post








Thanks to everyone for your support and enjoy the blog.....Marty

Friday, July 11, 2014

Spectrum...Part One and Milesago...1971..progressive rock from legendary band


During their short but illustrious career, Spectrum were in the vanguard of progressive rock in Australia, and they left a legacy of innovative and imaginative music. The central figure in Spectrum was singer/songwriter/guitarist Mike Rudd (no relation to Kevin!), one of the many outstanding expatriate New Zealand performers who have contributed so much to the Australian music scene. 

Mike arrived in Australia in 1966 as rhythm guitarist for the NZ group Chants R'n'B. Chants only lasted a short time after they arrived in Australia, but Mike remained in Melbourne, where he soon teamed up with young singer-songwriter Ross Wilson and guitarist Ross Hannaford. Their first band The Pink Finks (which had also just broken up) worked in a similar vein to Chants, and had some local chart success in Melbourne. Mike was invited to be the bass player in a later lineup of their next band, the short-lived but legendary Party Machine (1967-69). This was followed by the more experimentally-oriented Sons of The Vegetal Mother (1969-71).

Sons of the Vegetal Mother was an occasional project rather than a full-time band, but Mike was apparently involved on a regular basis, even after the formation of Spectrum, and he played bass on the Vegetal's only recording, an ultra-rare EP called The Garden Party, of which only about 250 copies were ever pressed. Although close connections between them continued, by 1970 Wilson and Hannaford were concentrating on the Vegetals new offshoot Daddy Cool, so Rudd decided to put together his own band, continuing down the progressive path he had been following with Party Machine and the Vegetals.

Although Mike later described the formation of the band as "incredibly haphazard", his choices were all fortunate ones. Bassist Bill Putt, from Melbourne bands Gallery and The Lost Souls formed a lasting friendship and musical partnership with Mike, and they worked together until Putt's recent passing. Organist Lee Neale happily left his current band, Nineteen 87, who were apparently scornful of his lack of 'pop image'. A hotshot young drummer called Mark Kennedy, who had already worked with Putt in Gallery, completed the lineup. Kennedy's musical strength helped carry the band through a difficult first year, during which time the band honed their skills and found their sound.

Initially, Spectrum drew on the work of contemporary bands like Traffic, Soft Machine and Pink Floyd and they played covers of these groups in the early days, but they soon outgrew these formative influences, developing their own highly individual style. Many elements contributed to this –- their synergistic playing style, the rock-solid yet supple rhythm Putt-Kennedy rhythm section, Lee Neale’s superb keyboard playing, Mike's skewed, rather Goonish sense of humour, which was manifested in his wry song titles and lyrics, his expressive finger-picked guitar, and of course his voice, one of the most distinctive in Australian music. 

See full story here at milesago.com




Mike Rudd (vocals, guitar, recorder, harmonica) 
Bill Putt (bass) 
Mark Kennedy (drums) 1969-70 
Ray Arnott (drums, vocals) 1970-73
Lee Neale (keyboards, vocals) 1969-72
John Mills (keyboards) 1972-3


Wednesday, June 18, 2014

Jim Keays 1946-2014 RIP....an Australian rock legend whose career spanned 6 decades

..another Aussie music legend has left us..we remember you Jim and the contribution you made to Australian music history....




VALE JIM KEAYS: 1946-2014


“Jim had an aura about him; you always knew when he was in the room,” is how the best remembered of the bass players that passed through the ranks of The Masters Apprentices, Glenn Wheatley, recalled singer-songwriter and the one constant throughout the entire Masters’ existence, Jim Keays, who succumbed, at 10.30am, Friday 13 June, to pneumonia from complications resulting from a seven-year battle with multiple myeloma cancer. Keays was 67. 



As a special tribute, this is Jim's highly acclaimed solo album from 1974 with the hit title track "Boy From the Stars".





                            ..you're a legend, Jim...now you're up there with the stars...




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, June 6, 2014

The Angels...first 2 albums self-titled 1977 and Face to Face 1978



As a tribute to the late Doc Neeson, here are the first 2 albums by The Angels with the now iconic and classic tracks "Am I Ever Gonna See Your Face Again", "Comin' Down", "Take A Long Line" and "After the Rain". 

The Angels originally formed in Adelaide, South Australia, in 1974. The band later relocated to Sydney and enjoyed huge local success, clocking up hit singles across four decades, including "Am I Ever Gonna See Your Face Again", "Take a Long Line", "Marseilles", "Shadow Boxer", "No Secrets", "We Gotta Get Out Of This Place", "Let The Night Roll On", "Dogs Are Talking", and "Caught In The Night". The Angels were cited by Guns N' Roses and a number of Seattle grunge bands, including Pearl Jam and Nirvana, as having influenced their music.

In November 1970, brothers Rick and John Brewster formed The Moonshine Jug and String Band. In 1971, the band was joined by Belfast-born Bernard Neeson, an arts student and former Army sergeant and already a prominent figure on the Adelaide music scene. In 1974 they changed their name to The Keystone Angels, switched to electric instruments and began playing 1950s rock and roll on the pub circuit. In 1975, the band supported AC/DC during a South Australian tour, and later performed as the backing band for Chuck Berry.

In 1975, on the recommendation of Bon Scott and Malcolm Young from AC/DC, the band was offered a recording deal with the Albert label. They dropped "Keystone" from their name and became simply "The Angels". At this point the band had four members: Neeson on bass guitar, Charlie King (Peter Christopolous) on drums, Rick Brewster on lead guitars and John Brewster on lead vocals and rhythm guitar.

The Angels' first single, "Am I Ever Gonna See Your Face Again", was released in April 1976. They made their TV debut appearance on Countdown. Later in the year, Charlie King, at the time AWL from the army, was replaced by Graham "Buzz Throckman" Bidstrup on the drums. This was the first of three different versions of the song the band released as singles throughout their career.

The band's second single, "You're A Lady Now", was released in July 1977, followed a month later by their self-titled debut LP, The Angels. By now Chris Bailey had joined the band on bass, allowing Neeson to concentrate on vocals. Bailey had been a member of Mount Lofty Rangers with Bon Scott in 1974. Neeson's move to specialist frontman allowed the band to develop an energetic and theatrical live presence. Neeson typically appeared on stage as a wild extrovert, dressed in a Dinner suit and shaking maracas. As a foil, Rick Brewster remained motionless and wore sunglasses for every performance. He has stated that Beethoven convinced him not to move on stage.

1978's Face to Face album reached No. 16 in November and stayed on the Australian charts for 79 weeks. Mark Opitz engineered, and along with The Angels, co-produced the album. Peter Ledger, who designed the cover, won Best Australian Album Cover Design Award. Face to Face contained the band's first hit single, "Take a Long Line", which has become one of the Angels' most-recognised songs. In November, the band supported David Bowie on his first Australian tour, resulting in The Tour EP 7" single.








Thursday, June 5, 2014

Doc Neeson 1947 - 2014 R.I.P.



Angels frontman Doc Neeson dies after battle with brain cancer


"HE was a gentleman and one of Australian rock’s most underestimated singers."

Those are the words of Australian rock band the Angels’ drummer Buzz Bidstrup, following the news of his friend and former colleague Doc Neeson’s death at the age of 67.
The singer died from a brain tumour at a private Sydney Hospital early today.
Neeson shot to fame with the Angels in the 1970s and the band went on to become one of the most popular in Aussie rock history, with hits that included Am I Ever Gonna See Your Face Again?, Into the Heat and No Secrets and a string of successful albums spanning more than 20 years..




Sunday, June 1, 2014

Greg Quill and Country Radio...Fleetwood Plain...classic 1971 album



The blending of rock with elements of country music and folk was one of the most important directions in music in the late Sixties and early Seventies. Singer-songwriter Greg Quill and his band Country Radio were pioneers in this field in Australia. Many people will remember Country Radio for their popular and enduring hit "Gypsy Queen", which made the Australian Top 20 in late 1972. 

Prior to forming Country Radio, Quill was already well-known on the Sydney folk scene as a solo performer, and he also ran The Shack, the fondly-remembered folk venue at Narrabeen, on Sydney's Northern Beaches in the late 1960s. A meeting with publisher and producer Gus McNeil led to Greg being signed to Gus's new Cellar Music publishing company. Gus produced Greg's first commercial recordings, the single "Fleetwood Plain" and the subsequent album of the same name, recorded for EMI in 1970, on which he was backed by John Walsh (bass), Chris Blanchflower (harmonica), Orlando Agostino (guitars) and members of Pirana, the band which had formed from the final lineup of McNeil's old backing group The Nomads -- Graeme Thompson (bass), Jim Yonge (drums),  Tony Hamilton (lead guitar) and  Stan White (piano). The LP was released on EMI's new progressive subsidiary, Harvest.

1. "Empty Pockets/Leaving The City" 
2. "Fleetwood Plain" 
3. "Paradise" 
4. "Just Goodbye"  
5. "I'd Not Let You Be"  
6. "Song To David" 
7. "Commissar" 4:32 
8. "Observations From A Second Storey Window" 
9. "Windy On The Main" 
10. "Susannah Lee"  
11. "If You Ever" 

12. "Kitty's Song" 





Wednesday, May 28, 2014

La Mar, electronic-soul duo from Sydney: Debut Single Release "Anchor"



LA MAR is a two piece from Sydney's south producing music that delves deep into the electronic-soul genre. Combining classic vocals and intricate electronic production, LA MAR’s infectious tracks are becoming something fresh audiences have found instantly able to immerse themselves with.

Fronted by vocalist Dylan Wright, delivering raw emotion that manifests into somber and seductive imagery. With soulful influences, Dylan’s melodies establish a reflective brooding and yet sweetly mellowed atmosphere that draws the listener inside the underpinned electronic production of Andrew Grant; utilizing an array of synthesizer and keyboard sounds to artfully complement the vocals and bring modern edge to the music. A relaxed, down-tempo beat is the undercurrent of LA MAR’s sound and maintains the hints of soul throughout.





LA MAR’s new track ANCHOR marks the debut release for this new project and is the first single to be taken from a forthcoming self-titled EP. Recorded over the past few months the two writers worked in a number of different studios collecting sounds including the songs opening Fender Rhodes chords that have become the foundation for the track. The duo headed to REC Studios for the final mix with Craig Willson (Flume, New Navy, LDRU & Yahtzel). LA MAR performed a showcase at GoodGodSmallClub earlier this year alongside Phebe Starr and Revier, a string of live dates will be announced soon in support of the single.

"A song that mould’s so perfectly together in every way that it becomes a chilling experience when listening." - Stoney Roads


Sound Cloud: http://soundcloud.com/la-mar-music
iTunes Store: http://itunes.apple.com/us/album/anchor-single/id879951729
Youtube: http://www.youtube.com/watch?v=5ibglNNtHJ8
Band Facebook: http://www.facebook.com/WeAreLaMar


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, May 20, 2014

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






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